Descriptive Writing Essay Example for Free

Descriptive Writing Essay I could feel a gentle warm breeze that was blowing in from the west, bringing with it a mouth-watering smell of strawberry ice cream. Also with the wind came the enchanting smell of fresh salty air mixed with another smell that I didn’t recognise. The active bustling metropolitan was surrounded by rolling emerald green hills, giants watching over me. In the centre of the city sat a colossal thirty storey skyscraper made purely out of glass and reinforced steel. The city faced the never ending topaz sea: it stretched all the way up to a calm and pleasant lake which glittered over a mile away in the distance. The north section of the city was taken up by imposing skyscrapers and a humming metropolitan of lights and music; a huge building encrusted completely with multi-coloured gems that bathed the city in the reflective luminosity. Nestled at the bottom of the skyscrapers were dozens of magnificent and completely unique cafe’s and bars. The first cafe at the top was a marble building that looked like a mausoleum, with heavy columns. The second bar was completely different- a million lights flashed from every surface. The third cafe was a long, low building with the front made completely of glass that was patterned with hundreds of different patterns, and it had beanbags inside and low coffee tables. Another cabin was covered in flowers that had grown on the walls and doorway and another spectacular cabin was made of solid gold that seemed to glow in the sunlight.

Household Appliance Engineering Report: Standing Fan

Household Appliance Engineering Report: Standing Fan Household appliances  Engineering report Making of stand fan. Due date:24/03/2017 The introduction This report explores and examines the history and evolution of the stand fan detailing how they work and the materials used. The purpose of the report is to illustrate the functions and special features as well as to provide information about the social, environmental, sustainability and cultural connection that rose due to development and use of the stand fan. As the time progressed, technologies have drastically changed, the use of polymers and smaller sized powerful motors have allowed the stand fan to be lighter as well as improved performance and lowered the manufacturing cost when compared to heavy metals and bigger motors used in the past. a stand fan is a common household appliance used for cooling an area it is basically a traditional fan set on an adjustable pole which is attached to a base, it also contains at least 3 wind speed range. The earliest model of fans appeared during the 1800s it was basically a bipolar motor attached to a six-leaf shaped flat brass blades. These early fans were either a unique, or an expensive appliance, used in large offices or wealthy homes. The decade of 1910-1920 brought major changes. Around 1910, electric fans were being made for residential use, they had six wings and ran on slower speed and the cages were now made with steel due to lack of brass as well as the blades were rounded in shape and shrank from diameter of 8 down to 5. Description A stand fan is a common household appliance they are much more effective and popular than other table fans as it can be adjusted to move up and down as well as its head oscillates till 180 degree or remain steady pointing at one direction. A stand fan is just like a normal table fan but its set on an extendable pole which is attached to a base. It has three speed settings and an on off button usually named as 0. This type of fans is usually placed at a corner of the room or in an advantageous location to achieve greater cooling experience. 2.1 How it works Stand/pedestal fan works with the help of an electric motor. A motor consists of coil of wire wrapped around a metal center and when electricity is passed through this, it produces rotational motion and a hub/cap connects the motor with the metallic/plastic blade which circulates the air around, these blades are shaped on an angle which helps to carry air from one point to another. The control box contains four switches three to control speed and one to turn the fan on or off. The extendable pole can be used to increase or decrease the height of the fan. 2.2 Assembly Slide the 2-off base cross sections together. Remove the screws from the center of the base cross section, and then fasten the fan pillar in position. Now unscrew and remove the plastic retainer that locks the two support sections together slide over and fit the plastic base cover. Set the height of the extension pole and then lock into position with the plastic screwed retainer. Set the motor and switch control section over the extension pole and secure into position with the locking screw. Remove shaft protecting cover and unscrew guard retaining nut/hub/cap anti-clockwise and remove. Take the rear-guard section and slide it over the threaded screw on the fan body (make sure, the handle on the guard is facing upwards). Screw on the plastic nut/hub/cap to secure the rear guard in place. Push the blade on to the motor shaft until it reaches the stop. Screw on the blade retaining cap/hub/nut in a clockwise direction to secure the blade in position. Hook the front guard on to the rear-guard section at the top. Secure the two guard sections together with the clips around the edges. The screw and nut at the bottom of the grille MUST be fitted. Components Guard (rear and front grill) it is a metal netting used to protect fan blades from any physical contact this protects the fan from any damage as well as the user. Motor it is the heart of the fan as it converts the applied electrical energy into mechanical output energy. Blade these are the paddle shaped objects connected to the motor which spins and creates airflow Hub/cap it is a device which connects the fan blade with the motor. Extension pole this is the component that makes stand fan special, it allows the user to adjust the height of the fan according to their preference. Head support frame this component gives the stand fan its feature of tilting its head up or down. Switch box/ control box this is the component which contains the electric circuit and switches which controls the speed of the fan as well as turn it on or off. Component Material made from blades Polymer/aluminum Rear and back grill steel Extendable pole Polypropylene polymer/ metal Screws Metal (carbon steel/stainless steel) and plastic 3.1 Materials materials component Why it is used? Polymer/plastic -blades -Screws -Hub/nut/cap -switch -it is used because plastic would be more safer and cheaper than metals as well as it will decrease the weight of the fan. Metal (carbon steel/stainless steel) -extension pole -screw -guard (front and back grill) -it is used to make the product more durable Advantages and disadvantages 4.1 Advantage They are very easy to assemble also put them away when you are not using it as you can separate the components easily. You can move them around the house easily and put them in an advantageous location. Due to its extendable pole, you can adjust its height according to your preference. It is cheap and you can assemble it yourself. Theyre lightweight and can provide cool air over large area. They can be easily cleaned. 4.2 disadvantage Theyve less safety for children as they might stick their finger inside the grill. Cooling range is smaller. theres too much noise when the fan runs in higher speed. Impact on society This household appliance had a great impact on the society and peoples life. As before the invention of pedestal/stand fan there was only mechanical fans which required people to apply energy physically to cool the temperature or circulate air. When pedestal/stand, fan was invented it made peoples life way easier. During the early stage of the invention these fans were only used in big offices or wealthy homes but when refrigerated air was used in commercial buildings the fan makers focused more towards residential use. Then these types of fans started to appear at everyones home. The invention of pedestal/stand fan made life of the people more easier as they were cheaper and easy to assemble as well as it didnt need much maintainance. Conclusion The making of the stand fan and different materials used in the stand fan has been explored in this report. Pedestal/stand fan is usually made of polymers and metals like stainless steel, aluminum. They are more advantageous than other table or ceiling fans due to its extendable pole which allows the user to increase and decrease its height according to their preference and also because its cheaper than ceiling fans as well as it is easy to assemble.

The Origins Of The Church Of Scientology Essay -- Religion Scientology

During the dawn of the mid 20th century a new idea began to formulate within the mind of L. Ron Hubbard that would later give birth to what is known today as one of the fastest growing religions of the 21st century; this controversial religion is called Scientology. Scientology has acquired many individuals from all walks of life, ethnicities, and International regions of the world into its membership. According to the New Oxford American Dictionary the definition of Scientology is â€Å"a religious system based on the seeking of self-knowledge and spiritual fulfillment through graded courses of study and training.† In addition, Scientology claims to comprise the remedies used to deliver people from drugs and alcohol abuse, as well as, therapeutic solutions to help others recover from serious injuries at an astonishing progressive rate. In essence, this movement’s main agenda is to bring order to a world of chaos through spreading its teachings, improving environmental conditions on planet earth, and developing the holistic being through using different methodologies and technologies. Moreover, by obtaining a basic understanding of Scientology and its purpose we can now explore and uncover the answer to a question that sparks the curiosity of outsiders in western civilization; such a question is How did it Begin? The origins of this culture began in the year of 1923 when L. Ron Hubbard started his studies of the mind and spirit. Likewise, such studies resulted in the creation of a manuscript entitled Excalibur; this book was completed in 1938 but was never published. Furthermore, it was in this unpublished work that the word â€Å"Scientology† first appeared. The literal interpretation of the phrase means â€Å"the study of knowing how t... ...sion, my answer to the â€Å"church† of Scientology pertaining to the existence of God will be in the form of a philosophical question that states, if a tree falls in the forest and no one is around to hear it does it make a sound? Works Cited 1) Cooper, Paulette â€Å"The High Cost Of Scientology.† The Scandal Of Scientology. Web. 28th Nov. 1997 2) Communication Office Bulletin (HCOB). Hubbard, L. Ron. 18 July 1959. 3) â€Å"Dianetics.† New Oxford American Dictionary. Version 2.0.3 2005-2007. 4) lronhubbard.org/biography. N.P., 1995-2010. Web. 6 Nov. 2010 5) patheos.com. N.p., 1 Jan. 2008. Web. 6 Nov. 2010 6) â€Å"Scientology.† New Oxford American Dictionary. Version 2.0.3 2005-2007. 7) The New King James Version (NKJV) Bible. Ed. Thomas Nelson Nashville: 1982. 8) Watchman Fellowship. â€Å"What Christians Should Know about the Church of Scientology.† Web. 1 Jan. 2009.

Contradictions in the Great Gatsby Essay -- English Literature

Contradictions in the Great Gatsby They were known as the roaring twenty’s because the economy at the time was through the roof and people were partying all over the place. At the time there was a prohibition on the manufacturing and sales of intoxicating drinks. Since a lot of people did not feel like drinking gin they made in their bathtubs all the time, there was a huge market for organized crime. Organized criminals catered to the needs of the drinking public by illegally supplying them with liquor and made a fortune doing it. Even with all the crime in the jazz age, it will still be remembered for its glittering lights and unbridled romance. This just goes to show that life is filled with contradictions. Even with all the crime that went on, the twenties was still an era that was filled with excitement and joyous occasions. There are many contradictions in The Great Gatsby, written by F. Scott Fitzgerald, on one hand it’s glamorous, romantic and exciting and on the other hand it’s crude, corrupt and even disgusting. This double vision applies to people, places and events. Fitzgerald creates the roaring twenties by showing the division of society. The Buchanan’s live on one side, East Egg, and Jay Gatsby lives on the other side, West Egg. The West Egg is saturated with no rules or restrictions from past generations. It is a place that is filled with colorfulness yet everything clashes with each other. It has a sense of rawness to it and it is very much unstructured. The West Egg represents the fast moving-chaotic twenties. Gatsby is a part of West Egg society. West Eggers are the newly rich; the people who have worked hard and earned their money in a short period of time. Their wealth is based on... ...in the 1920s, where it has come from and where it is going. Jay Gatsby personifies the American Dream in modern terms, a perverse interpretation of what it was at inception. The American Dream is that anybody can pull themselves up by their bootstraps. Fitzgerald is saying that this is not necessarily true. He implies that socio-economical circumstances heavily influence a person’s ability to achieve the American Dream. America is an illusion, just an image that is presented. People in and outside America accepts the American ideals which are presented through the media, especially through visual mediums such as movies and television. This serves to create an ideal image of America which people hold falsely. When they try to achieve the American Dream, which is presented to them constantly, they realize the brutal reality which hides behind the illusion.

Understanding Electric Motors :: physics motor electricity

MOTOR BASICS BASIC COMPONENTS * Armature - Sometimes called a rotor. This is the part that spins. The armature can be either a permanent magnet or an electromagnet. * Stator - This is the part that doesn't move. The rotor spins in the magnetic field contained in the stator. HOW WORKS A MOTOR? The force that that turns the armature comes from the magnetic field of the armature trying to line up with the external magnetic field of the stator. This force is called torque. This torque will cause the armature to turn until its magnetic field is aligned with the external field, but no further. How does the armature continue to spin? One of the magnetic fields must be changed so that the armature has to turn again. The armature will spin so long as there is always a torque acting on it. How this is accomplished is what sets each type of electric motor apart. DIRECT CURRENT MOTORS SIMPLE DIRECT CURRENT MOTOR In a DC motor, the armature consists of any number of windings, each one an electromagnet. The armature is immersed in a directional external magnetic field. This external field does not move, and can come from permanent magnets or electromagnets. A direct current in a set of windings creates a polar magnetic field. A torque acts on the rotor due to its relation to the external magnetic field. Just as the magnetic field of the rotor becomes fully aligned with the external magnetic field, the direction of the current in the windings on the armature reverses, thereby reversing the polarity of the rotor's electromagnetic field. A torque is once again exerted on the rotor, and it continues spinning. The change in direction of current is facilitated by the split ring commutator. The brushes remain stationary, but they are in contact with the armature at the commutator, which rotates with the armature such that at every 180Â ° of rotation, the current in the armature is reversed. BRUSHLESS DIRECT CURRENT MOTOR A brushless DC motor has a permanent magnet or magnets for the armature. The external magnetic field comes from any number of electromagnets that are turned on and off at the correct times by a timing device. The exact workings of different brushless DC motors depend on the type of timing device used. This example uses a Reed switch.

A Levels

w w ap eP m e tr .X w *6364028069* 9701/05 CHEMISTRY Paper 5 Planning, analysis and evaluation October/November 2007 1 hour 15 minutes Candidates answer on the Question Paper. No Additional Materials are required. READ THESE INSTRUCTIONS FIRST Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. You may use a soft pencil for any diagrams, graphs or rough working. Do not use staples, paper clips, highlighters, glue or correction fluid. DO NOT WRITE IN ANY BARCODES. Answer all questions. You are advised to show all working in calculations.Use of Data Booklet is unnecessary. At the end of the examination, fasten all your work securely together. The number of marks is given in brackets [ ] at the end of each question or part question. For Examiner’s Use 1 2 Total This document consists of 9 printed pages and 3 blank pages. SPA (NF/CGW) T30933/8  © UCLES 2007 [Turn over om .c s er UNIVERSITY OF CAMBRIDGE INTERNATIONAL E XAMINATIONS General Certificate of Education Advanced Subsidiary Level and Advanced Level 2 1 The hydroxides of Group I metals (LiOH, NaOH, KOH, RbOH, CsOH) are highly corrosive white solids which rapidly absorb water vapour on exposure to the atmosphere.All of these solids dissolve exothermically in water. The enthalpy change of solution, ? Hsoln, is the energy change associated with the following reaction. M represents the Group I metal. M +(aq) + OH–(aq) M OH(s) + (aq) The following diagram represents theoretical stages in the formation of aqueous MOH. M +(g) + OH-(g) + (aq) lattice energy hydration enthalpy of the ions H hydration M OH(s) + (aq) H soln M +(aq) + OH-(aq) Lattice energy and hydration enthalpy are both more exothermic when ions carry a higher charge and/or ions have a smaller radius. When comparing Group I hydroxides, changes in ?Hhydration are more significant than changes in lattice energy. (a) By considering trends in the size and charge of the ions, pred ict the likely trend in ? Hsoln from LiOH to CsOH and sketch your prediction. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Hsoln LiOH NaOH KOH RbOH CsOH [2]  © UCLES 2007 9701/05/O/N/07 For Examiner’s Use 3 (b) The enthalpy change of solution, ? Hsoln, for any Group I hydroxide can be measured For Examiner’s Use experimentally in the laboratory. In experiments to compare ? Hsoln for LiOH, NaOH, KOH, RbOH, CsOH state the independent variable †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ , the dependent variable †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. the other variable to be controlled †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. . [3] (c) Draw a labelled diagram to show the apparatus you would use to obtain data from which ? Hsoln could be determined. From the information given on page 2 and the apparatus you plan to use, identify two possible sources of error in the experiment and state how you would minimise the effect of each. rror 1 †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ error 2 †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ [3] d) Identify a health and safety risk in the experiment and explain how you would minimise it when carrying out the experiment. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦ [2]  © UCLES 2007 9701/05/O/N/07 Turn over 4 (e) Describe the procedure you would carry out to find the enthalpy change of solution, ? Hsoln, for one of the Group I hydroxides. Your plan should give a step-by-step description of the method, including †¢ how you would measure the independent variable, †¢ how you would measure the dependent variable, †¢ appropriate masses and volumes of reagents. The following data may be of use in planning the detail of your experiment. Ar: Li, 6. 9; Na, 23. 0; K, 39. 1; Rb, 85. 5; Cs, 133. 0, O, 16. 0; H, 1. 0 4. 3 J are required to raise the temperature of 1. cm3 of any solution by 1 °C. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ 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[4]  © UCLES 2007 9701/05/O/N/07 For Examiner’s Use For Examiner’s Use 5 (f) The procedure is repeated for each of the Group I hydroxides. Show how you would tabulate the results for all the experiments. [1] (g) Show how you would use the results of one experiment to calculate the enthalpy change of solution, ? Hsoln, for the reaction. [1] [Total: 16]  © UCLES 2007 9701/05/O/N/07 [Turn over 6 2Students were asked to investigate how the rate of reaction between magnesium ribbon and hydrochloric acid varied with change in concentration of the acid. 2HCl(aq) + Mg(s) MgCl2(aq) + H2(g) Student 1, looking at the equation, suggested the following. rate of production of hydrogen gas = k[HCl ]2 This student used the following apparatus to investigate the rate of production of hydrogen gas, H2. gas syringe magnesium ribbon dilute hydrochloric acid The student used a 500 cm3 measuring cylinder to measure 100 cm3 of dilute acid into a conical flask. A 1 cm length (0. 1 g) of magnesium ribbon was dropped into the acid in the flask and the stopper quickly replaced in the flask. The stop-clock was started and the volume of gas collected was measured at 0. 5 minute intervals. The results of the experiment were recorded as shown in the table below. time / min time / min volume of H2 / cm3 0. 5 15. 5 5. 5 80. 0 1. 0 25. 0 6. 0 82. 5 1. 5 34. 0 6. 5 85. 0 2. 0 43. 0 7. 0 87. 0 2. 5 51. 0 7. 5 87. 5 3. 0 59. 0 8. 0 91. 0 3. 5 65. 0 8. 5 92. 5 4. 0 69. 5 9. 0 93. 5 4. 5 74. 0 9. 5 94. 5 5. 0  © UCLES 2007 volume of H2 / cm3 75. 0 10. 0 95. 0 9 701/05/O/N/07 ForExaminer’s Use For Examiner’s Use 7 (a) Plot a graph of volume of hydrogen produced against time. [2] (b) Identify clearly on your graph any anomalous readings and suggest a reason for these anomalous readings. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ [1] (c) On the graph you have plotted, construct a line from which you can calculate the initial rate of reaction.Calculate the initial rate of reaction and show your working. initial rate = †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. cm3 min–1 [2]  © UCLES 2007 9701/05/O/N/07 [Turn over 8 (d) By considering the experimental method described, explain why the plotted line does not pass through 0,0. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1] (e) Identify a further source of error in the method describ ed and suggest a change to the method to reduce this error. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ 1] (f) Students 2-8 carried out similar experiments with different concentrations of acid. The initial rate of reaction was calculated for each of their experiments and is shown in the table below. Enter in the table the initial rate you have calculated for Student 1. student volume of acid used / cm3 volume of water used / cm3 mass of magnesium used /g initial rate relative concentration of acid / cm3 min–1 1 100 0 0. 01 2 45 55 0. 01 8. 0 3 90 10 0. 01 16. 4 4 60 40 0. 01 11. 5 5 100 100 0. 01 9. 3 6 35 65 0. 01 6. 8 7 80

A Semiotic Approach on How Meaning Can Be Created in an Audience

A Semiotic Approach on How Meaning can Be Created In An Audience â€Å"Human intellectual and social life is based on the production, use, and exchange of signs† (Danesi, 2002) As Danesi (2002) states, signs are an integral part of society; from watching television, listening to music, reading, writing or talking, we are engaged in sign based behaviour. This engagement with signs is known as the study of semiotics.Dating back to 460-377BC, with the founder of Western medical science, Hippocrates, coining the term, then known as semeiotics, he described signs consisting of three dimensions; the physical dimension, known as the signifier, the referent, or signified, and the signification (Danesi, 2002). These dimensions only have meaning when â€Å"it has someone to mean to† (Williamson, 1978). In the 20th century, semiotic theory was developed by a group of semioticians, linguists, psychologists and cultural theorists, based on the saussurean-Piercean paradigm (Danesi, 2 002).First introduced to the public in the 1950’s by Roland Barthes, to describe our mediated culture, semiotics is essential when creating an advertisement. Among other things, semiotics plays a significant role in engaging the intended audience- the buyer. Whether it is the elderly, teens, children, men or women, the placement of colours, text, images and other signs, play a key role in the success of the advertisement (Scott, 1994).By taking a semiotic approach, this essay will demonstrate how meaning can be created in an audience, by the analysis of two advertisements, and discussing how codes and context are central in the ‘anchoring’ of meaning. First introduced by Roland Barthes (1977), the notion of anchorage, discusses the linguistic essentials that can help anchor, or constrain, how a reader interprets an image: â€Å"to fix the floating chain of signifieds† (Barthes, 1977). The advertisements chosen are from differing and contrasting magazines; the first from iconic fashion magazine Vogue and the other from a men’s magazine, Men’s Health.These differing genres have been chosen to illustrate how contexts and codes within specific social relations, groups, classes, institutions, structures and things (Thwaites, Davis and Mules, 2002) play an integral role in creating meaning (Scribd, 2012). Much of what we have come to understand about society, is learnt from the texts that are presented around us; through Hollywood blockbusters, to novels and magazines. Chandler concludes that â€Å"life is thus lived through texts and framed by texts to a greater extent than we are normally aware of† (Chandler, 2001).This means that advertisements not only refer to ‘real world’ concepts that we deal with day to day, but they also make reference to other texts. The level of this ‘intertextuality’ (Fiske, 1987) is what influences social beliefs and ideals in the world we live in. The advertiseme nt from Vogue (See ad 1) features a sepia- colour scheme, with an alluring female to the right, and a bottle of ‘j’adore Dior’ perfume, to the left. Many signifiers are present in this advertisement; the female (Charlize Theron), is dressed in an elegant gold beaded dress, with a high beaded neckline, drawing the viewers eye to her strong jaw-line and bronzed face.Her pose is that of elegance and power, the background light shining around her slim figure. The colour of the clothing, and overall image, compliment the golden-sepia tone of the bottle of perfume on the left. Chandeliers are placed around the perfume bottle, and out of focus behind the woman. The signifieds present are; the gold dress giving an impression of the woman being a high profile member of society of, chandeliers are present in homes of the wealthy and the sepia tones represent warmth. By using a female of celebrity status, the advertisements appeal rises with the wider female audience, due t o her known status.The key connotations featured in this advertisement are; the gold coloured dress connotes wealth, elegance and popularity. The powerful and elegant stance of the woman connotes power a female will gain when wearing this fragrance. Due to her celebrity status, the audience can also feel empowered, with a ‘celebrity’ status. The sepia tones connote warmth, and invite the viewer to become involved with the advertisement. Along with the bronzed body of the woman, the French writing j’adore (meaning I love) adds an essence of romance, and connotes desire, and sex appeal.As the ad connotes power, it is open for both upper and lower/middle class woman to interpret. Upper class woman could strive to maintain power, whilst lower class desire to gain power, by using the product. The way the creators of the ad have placed the female in this position, in these surroundings, to represent the product, has been done deliberately to target the desired audience ; woman have a desire to feel beautiful, powerful, and sexy, therefore the creator has appropriately placed the advertisement in a women’s very well known and popular fashion magazine, to gain maximum results from the targeted audience.Leiss (1990) states that â€Å"at the core of advertising’s purposes now is not the message itself as a communicator of meaning, but rather its relationship to the audience† (Leiss et al. , 1990). With the development of the theory of marketing segmentation, it is logical to therefore conclude that creators of advertisements don’t focus on the product, but the signs and codes that connate particular meanings of positivity that are related to a certain lifestyle, culture, or social group (Scribd, 2012).The connotations pervade media representations, and symbolise psychological or social themes and situations that are familiar and understandable to the audience (Danesi, 2002), in order to successfully sell the product. The ad vertisement from the Men’s Health (see ad 2), is selling ‘Tom Ford Perfume’. This somewhat controversial ad has many key signifiers. The male figure lying on a bed is the predominant focus, followed by a female hand with red nail polish touching the male’s chest. The object that is being advertised is only shown as a half.The basic colour scheme is black and white, with the exception of the red nail polish and orange cologne bottle. The signifieds present are; the male is an essential selling point of the advertisement, therefore he takes up the majority of the page. Sex appeal is what the advertiser is trying to convey, and the glimpse of a female hand can be seen as elegant and flirty. The key connotations are; the male figure as desirable and powerful- every woman would want an intimate connection with him. The red fingernails connote passion, desire, lust, and a thirst for action (Danesi, 2002).By using this cologne, the advertisement connotes that the user will become the ultimate object of desire, playing in to the male want of intimate connections with females. As the male figure has ‘sex appeal’ the advertisement encourages the partner of a male to purchase the fragrance, so she could have a ‘sexy’ male partner. The orange tone of the cologne bottle connotes warmth, stimulating the senses. When producers try to convey certain meanings, audiences may or may not assign the same meanings (Littlejohn, 1996).As mentioned in the first analysis, the advertisement is open to other audiences, whilst the male cologne ad is more closed, but it is up to the reader to decide whether or not they belong to the context or not. Signs are combined in to texts, but a text has no meaning on its own (Smagorinsky, 2001). It draws value from surrounding elements and from reader association, but also from what it is not (Littlejohn, 1998). The amalgamation of these creates the context in which the text functions; if you are n’t a wearer of perfume or cologne, you will have no interest in what it is trying to sell you, hence the importance of context.Thwaites and colleagues (2002) mention that â€Å"the social situations in which a sign is used may determine the appropriate content, type of sign and coding; signs contextual functions indicate the context in which it operates (Thwaites, Davis and Mules, 2002). Chandler explains that Stuart Hall pointed to the role of social positioning in the interpretation of mass media texts by different social groups (Chandler, 2001). Hall also suggested three hypothetical models of interpretive codes or positions for the reader of a text (Hall, 1980). But what Hall and also Chandler miss, is what happens when you don’t understand an advertisement at all?Because, as Griffin says; â€Å"like chameleons that take on the colouration of their environment, words take on their meaning of the context in which they are used† (Griffin, 2000). The opinion that the usefulness of semiotics decreases and is above all dependant on the skill of the interpreter is not new. Leiss (1990) argues that a key drawback for semiotics is that â€Å"it is heavily dependent upon the skill of the individual analyst† (Leiss, 1990). Less skilful analysts â€Å"can do little more than state the obvious in a complex and often pretentious manner† (Leiss, 1990).As Littlejohn (1996) states â€Å"meanings of a message are affected by events outside the message itself†, therefore the most successful advertisements focus on making sure the audience understands the content being conveyed (codes) and the content lays emphasis on certain meanings over others (context). In this perspective, the kind of magazine reflects how meanings are emphasised. Bignell (1997) even argues that â€Å"as well as being a collection of signs, the magazine is a sign in itself† (Bignell, 1997), the magazine is therefore a â€Å"powerful ideological forceâ €  (McRobbie, 2000) in society.Even though some postmodernists believe that texts are endlessly polysemic (Barthes 1977, Fiske 1987), meanings are still able to be communicated. Leiss (1990) argues that â€Å"for advertising to create meaning, the reader or viewer must do some ‘work’, because the meaning is not lying there on the page, one has to make an effort to grasp it† (Leiss et al, 1990). When analysing both of these advertisements, this statement is correct- the creators of the ad have given the reader ‘A and C’ but the reader must fill in the blank, or as it is known in this example, B.The application of semiotics in advertising varies significantly depending on the product being sold. Common themes almost always stay the same- the sense of freedom or excitement you get from purchasing a specific car or the feeling of popularity when you drink a certain type of alcohol (Messaris, 1997). This is done by using specific images, which resonate with the intended audience. For example, if there is an advertisement for a new Jeep, images of it going through all types of terrain will be shown, or alcoholic beverages are advertised at a party scene, all to make the audience want to buy the product (Messaris, 1997).As Chandler and Bignell suggest, signs and codes can be a medium itself, and described by Leiss (1990) â€Å"an ad is a mediator between creator and reader, standing at the confluence of the double symbolic process in the marketplace, where producers of goods try to attempt to construct one set of meanings, and where consumers use these meanings (along with meanings drawn from other sources) in the construction of their own lifestyles† (Leiss et al. , 1990).This is why semiotics is significant, even on a basic level, as it can show us how meanings have the ability to both construct and maintain particular social attitudes and ideals of a specific society. On a multifaceted level, the notion of intertextuality is intriguing and should be studied more widely as it exposes the many intricate ways in which contexts transfer from each other, showing how the contexts migrate from one another and portray the uncertainty of meaning. Appendix Ad 1. Ad 2. Bibliography Barthes, R. 1977, Image-Music-Text, London. Bignell, J. 1997, Media Semiotics: An Introduction, Manchester: Manchester University Press.Chandler, D (2001), â€Å"Semiotics, the basics†, Routledge. Culler, J. 1985, Saussure, London. Danesi, M. 2002, ‘An Outline of Semiotic Theory’, In Understanding Media Semiotics, London, pp 28-53. Dior, 2012, (‘Dior Advertisement’), Vogue Magazine, June 2012, pp. 1-2. Fiske, J. 1987, â€Å"Intertextuality† in Fiske, J, Television culture, Methuen Griffin, E. 2000, Communication; a first look at communication theory, McGraw-Hill. Hall, S, 1980, Encoding/decoding, In Centre for Contemporary Cultural Studies (Ed. ): Culture, Media, Language: Working Papers in Cu ltural Studies, London. Leiss, W. Kline, S. & Jhally S. , 1990, Social Communication in Advertising: Persons, Products and Images of Well-Being, 2nd Edn, London. Littlejohn, S. 1996, Theories of Human Communication, 5th Edn, Wadsworth. McRobbie, A. 1995, Feminism and Youth Culture, 2nd edition, Macmillan Press, London. Messaris, P. 1997, Visual Persuasion: The Role of Images in Advertising, Sage. Scott, M. 1994, ‘Images in Advertising: The need for a Theory of Visual Rhetoric, Journal of Consumer Research, vol. 21 No. 2, pp. 252-273. Scribd 2012, Scribd, Date Accessed 25 May 2012, http://www. scribd. om/doc/22099314/Semiotic-analysis-of-two-ads? &lang=en_us&output=json&session-id=74ea6fd65172766fface3eec2d5bfb14. Smagorinsky, P. 2001,’ If meaning is constructed, what is it made from? Toward a cultural theory of reading’, Review of Educational Research, vol. 71, pp. 133-169. Tom Ford, 2010, (‘Tome Ford Advertisement’), Men’s Hea lth Magazine, March 2010, pp. 2. Thwaites, T. , Davis, L. & Mules, W. 2002, Introducing Cultural and Media Studies; a semiotic approach, New York. Williamson, J. 1978, Decoding Advertisements; Ideology and Meaning in Advertising, London.