Every Company Is a Publishing Company

Every Company Is a Publishing Company Every Company Is a Publishing Company Every Company Is a Publishing Company By Mark Nichol A recent Wall Street Journal article that beamed a spotlight on sophomoric speaking and grammar gaffes in the workplace covered the issue fairly thoroughly but left unsaid some pertinent points. The article discussed the epidemic of informality in critical corporate settings such as staff meetings and in-person communication with clients: What do you do when employees seem ignorant of expectations for adopting the appropriate linguistic register in these contexts, using chatting vernacular (â€Å"You guys, like, cut it out!†) when a moderate degree of formality (â€Å"Please, let’s just have one person talk at a time†) or even a sober formality (â€Å"I wish to remind you to raise your hand if you wish to be called on to comment†) may be expected? It also discusses disturbingly colloquial correspondence, or that which is rife with typographical errors and poor grammar. The answer, for some companies, is to require employees to have one or more colleagues review letters and emails before they are sent out. Others hire consultants to train workers to become better writers. But both strategies have their weaknesses: Two or three heads are not necessarily better than one, especially if they are empty when it comes to writing skills. And writing workshops can only accomplish so much unless they are intensive and extensive and expensive. A combination of these approaches is best but still won’t produce flawless results, and many businesses are not willing or able to invest in the effort. Is this issue such a big deal? It depends on who you ask. This word nerd says, â€Å"Hell, yeah!† (or, depending on the pertinent linguistic register, â€Å"Indubitably.†). What does every enterprise have in common, besides selling a product, a service, or an idea? The answer: communication. All businesses must connect with current and prospective customers or clients, and partners, through transmission of language (usually at least primarily written language). Even if the only text the recipient sees is a business card, an invoice, or an email, the company’s reputation is on the line on every line. What’s the ideal solution? Every business publishes information (and, believe it or not, clients and customers notice poor and careless writing, even if they don’t recognize specific errors). So, treat your business like a publishing company, and institute an editorial process. At my last job before I began the current freelancing phase of my editing and writing career, I was responsible for the presentation of all content on the website of a prestigious educational foundation. Therefore, I considered it of paramount importance that the content be of outstanding quality. In addition to editing the journalistic content, I insisted on editing all marketing and advertising copy, I vetted job postings, I even pored through the site’s terms of use. Eventually, this comprehensive quality control became onerous and I delegated some responsibilities, but visitors had to work hard to find errors on that site. If you work at a sizeable company and you have responsibility for or are otherwise involved in the generation of business-to-business, business-to-client/customer, or even internal content, I urge you to consider or recommend designating the resident grammar geek, or a hiring a staff or contract editor, to serve as the conduit for at least the most significant communications or correspondence. Of course, only the smallest enterprises can monitor all messaging, and even then, requiring inspection of all email messages seems repressive. But the solution discussed above, perhaps combined with workshops and one-on-one consultation conducted by the designated editor, will have a significant positive impact on the quality of your company’s communications. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Business Writing category, check our popular posts, or choose a related post below:Types of RhymeOne Sheep, Two Sheep, One Fish, Two Fish . . .While vs. Whilst

Marketing Coursework Example | Topics and Well Written Essays - 500 words - 1

Marketing - Coursework Example In addition, it involves high initial cost since it needs the support of skilled faculties and well designed marketing charts. The application of scientifically developed questionnaires would assist the marketing team to reduce the errors to some extent. It is also discovered that an efficient market planning program would help the marketers to bring the associated costs within the framed budget. Ford Edsel, New Coke, and Beta Max Video are the three products whose adoption rates have been affected by factors like compatibility, relative advantage, and trialability. Economists have opined that the failure of Ford Edsel can be attributed to issues associated with adoption rates which arose from the factors of relative advantage and compatibility. It had not any attractive features more than other models of the ford. Similarly, the adoption rate of New Coke, a product of Coca-Cola has been affected by compatibility and trialability. It failed to assess customers’ interests. The feature of relative advantage negatively affected Beta Max Video, a subsidiary product of Sony. It had possessed almost similar features as that of the previous model U-matic.

308 2nd assignment Essay Example | Topics and Well Written Essays - 1000 words

308 2nd assignment - Essay Example This essay considers these strands of Adam Smith’s theory of classical economics by investigating their interrelation. In the Wealth of Nations Smith offers a famous example of a primitive value system. Using the example of a beaver and a deer, he states that it takes twice as long to hunt the beaver as the deer, so that the beaver should be worth twice as much as the deer. In this example the value of a good is directly related to the labor that is required to procure it, therefore the profit is the compensation or cost of doing business. Smith states, â€Å"In this state of things, the whole produce of labour belongs to the laborer† (Medema & Samuels, 2003, p. 162). Smith acknowledges that such an example is not only simplistic, but due to the complications of the contemporary economic structure is no longer feasible. Indeed, the contemporary market (18th century United Kingdom) has given way to a process he refers to as division of labor, which complicates this example. In the Wealth of Nations Smith argues that one of the fundamental characteristics of the 18th century British economic structure is the division of labor. According to the division of labor In Chapter 1 (Medema & Samuels, 2003), Smith describes a situation where labor is divided within a pin factory so that the ultimate number of pins produced is greatly increased. In order to achieve this increase in production the capitalist must engage the services of the laborer and the landlord, and invest heavily in machinery. It follow that â€Å"In every society the price of every commodity finally resolves itself into some one or other, or all of those three parts† (Medema & Samuels, p.162). Smith is ultimately stating that the price of the commodity, after factoring in the costs of the land, labor, and machinery, is the residual profit. Smith distinguishes between natural prices and

Finance Manager in Home and Personal Care Products Essay - 37

Finance Manager in Home and Personal Care Products - Essay Example The researcher states that while investigating the financial activities and the operations of the newly acquired company, she found out that the company had issues with appropriate accounting practices that were geared towards inflating sales and earnings of workers. Most conspicuously, the company was involved in the very expensive commercial aimed at marketing and creating awareness of the company. The expenses were exorbitantly high amounting to millions of dollar. Secondly, the company had a number of assets without a clear list of their nature. However, on the deeper examination of these assets, she found out that, the controversial and expensive commercials were among the assets. To deal with the issues, Lisa as a finance manager had to follow the right procedure in solving an ethical issue as presented by IMA. To do so, she went on to Anderson, who was her immediate supervisor in the newly acquired company. Before doing the visit, she prepared herself adequately well with the plan of valuations of the parent company. The plan was supposed to inform Anderson on the requirement of the mergers and acquired the company by the mother company’s policy on a valuation of her assets and financial control at large. However, to her surprise, Anderson did not pay much attention to the plan that was fundamental in harmonizing the organization with the operation of the parent company. The issue at hand juts needed the intervention of the chief financial officer of the newly acquired company Anderson, to be resolved by providing clear information on the assets that the company held. This is because they are the major stakeholders of the stalemate that has been identified by Lisa. He rubbished the need of Lisa to gain more understanding of the other accrued liabilities. Anderson turns her down and insists that it is none of her business. Anderson is quick to assert that Lisa does not understand and comprehend the business, and the journal entries are standard pra ctice. He claims that if Lisa understood the nature of uncertainty of the prestige fragrance business, she would be able to go in line with what the company wants.

Romantic Era And The Byronic Hero English Literature Essay

Romantic Era And The Byronic Hero English Literature Essay The Romantic Era and the Byronic Hero. During the eighteenth and early nineteenth centuries, literature and art as well as political philosophy were deeply influenced by new ideas about individualism and citizen rights. The American and French Revolutions illustrate the power and volatility of these new ideas. Although the term Romantic wasnt applied to this period until many decades later, the writers of this period expressed a sense of collective intellectual energy that they called the spirit of the age.†It was a time for questioning the status quo, challenging conventions of social hierarchy, and elevating the value of the common man and woman. Romantic writers reflected on the beauty of the natural world as a means of discovering, illuminating, and articulating their own insights about human nature. Their writing frequently included scathing critiques of social injustices, mainly associated with growing urbanization; meanwhile, they idealized rural landscapes and lifestyle s. Many of these authors were profoundly influenced by Miltons poetic works, especially  Paradise Lost. For example, William Blakes  Songs of Innocence and Experience  juxtaposes poetic visions of the world first through the eyes of a child, or innocent, and then through experienced eyes that recognize sin and inhumanity as part of the human fallen condition. As mentioned in the readings, Blake argued that Miltons Satan was the true hero of  Paradise Lost, and many of his contemporaries agreed with him. Miltons Satan inspired a new figure in English literature: the Byronic Hero. In this lesson, we will read several defenses of this rebellious and misunderstood, tragic character. In particular, we will investigate how this figure informs Mary Shelleys famous gothic novel,  Frankenstein. During the Romantic period, the art form of the novel became increasingly popular, in conjunction with a growing reading public. Some of the most famous and influential novels of this era include Jane Austins satiric novels of sensibility and manners, Walter Scotts historical novels, and Mary Shelleys critique of science and society in  Frankenstein. Most of us are familiar with the monstrous figure of Frankenstein from popular culture: film and television images. Mary Shelleys original creature was conceived in the aftermath of the French Revolution and the subsequent bloodshed that shocked and disillusioned many of the initial supporters of this revolution. Note that the name Frankenstein refers specifically to the scientist, Victor Frankenstein, who created a living Creature. The relationship between Victor and the Creature offers a complex commentary on the duties and responsibilities of both a creator and the created, which invites comparisons with Miltons depiction of the rel ationships between God, Adam and Eve, and Satan. Shelley interweaves the Biblical narrative of the Fall in Genesis with the Greek myth of Prometheus, another creation myth about duty, betrayal and punishment. Furthermore,  Frankenstein  explores themes of pride and ambition by combining these grand epic narratives with Shelleys own personal experiences of procreation, parenting, and death. Lesson Four Reading Assignment Readings: In  Masters of British Literature  (Longman, Vol. B), skim â€Å"The Romantics and their Contemporaries†, (pp. 3-28). Also read: William Wordsworth, â€Å"The World is too much with us†; â€Å"London 1802† (231-2); â€Å"Manfred’ and Its Time: The Byronic Hero† (386-7); and Coleridge, â€Å"Satanic Pride and Rebellious Self-Idolatry† (392-3) In the Longman Cultural Edition of Mary Shelley’s  Frankenstein, please read Susan Wolfson’s introduction (pp. xvii-xxii) before you read the novel. Then read Mary Shelley’s  Frankenstein  (the 1818 edition). And, then read the excerpts in â€Å"God, Adam, and Satan† (301-322). Reading Questions: As you read the novel, consider the following questions: What is the effect on the reader of learning about Victor’s story through the third-person, Walton, and his letters to his sister? On page 34, Victor images the gratitude that his creation will feel towards him. How does he respond, on page 37, when he actually animates the body of his creation? How does Victors initial vision of being a creator differ from the reality throughout the rest of his tale? How would you describe Victors character? How is he perceived by other characters in the novel? At various points in the narrative do you find your allegiance shift from Victor to the Creature, or vice versa? Why might the author want the reader to feel sympathy for each of these characters? Traditionally, a novel will have a protagonist, or hero, and an antagonist, or villain. Who is the protagonist and who is the antagonist in this work? Consider how this narrative evokes the story of the Garden of Eden, the Forbidden Fruit of the Tree of Knowledge, the desire to be godlike, and the Fall from Grace. What is the effect of these allusions? How does this novel view science and the quest for knowledge? Does Walton learn anything from Victor’s tale? Is it significant that he acquiesces to his men’s desires to return to England? Lesson Four Writing Assignment Essay Assignment: Select one of the following essay prompts. After considering how you would answer each of the questions in the prompt, craft a thesis based on your answers and write a 5-page essay, supporting your selected topic. In Chapter VII of volume II, the Creature finds a bag of books, including Milton’s  Paradise Lost. How is the Creature affected by reading this epic poem as â€Å"true history† (98)? Shelley invites us to compare Victors creation with Miltons retelling of Genesis. How does this comparison influence our interpretation of  Frankenstein?  Is the Creature more similar to Adam or to Satan? Does Shelley’s novel encourage us to view Satan as a heroic rebel or the arch-fiend? Explain your answers with evidence from both  Paradise Lost  and  Frankenstein  and additional readings about the Romantic poets. Milton embellishes much of the Genesis story, but regarding the punishment of Eve, he restates the King James Bible text (Genesis 2:16) with almost no alteration or addition; Miltons God decrees to Eve: Thy sorrow I will greatly multiply By thy conception; children thou shalt bring In sorrow forth, and to thy husbands will Thine shall submit, he over thee shall rule. (Book X, lines 193-6) Mary Shelleys mother, Mary Wollstonecraft, was a famous feminist who died from complications of childbirth soon after Mary was born. Mary Shelley suffered miscarriages and the early deaths of several of her own children. Many critics hypothesize that Shelleys experiences of birth and death greatly influenced her creation of  Frankenstein. They argue that Victors obsession with creating a human represents a desire to possess and/or circumvent human reproduction. In your essay, connect Victors desire to supplant human procreation to Eves temptation to possess knowledge and become godlike. How are their transgressions similar and different? How are their punishments similar and different? You might consider the theory of the Fortunate Fall† in your discussion. Discuss how the Romantic Poets interpreted Miltons  Paradise Lost. Explain the political and social events that influenced their ideas about God and Satan.   Refer to at least two examples from the poets writings in the Reading Assignment, as well as the scholarly commentary.  Then, consider Mary Shelleys incorporation of  Paradise Lost  into  Frankenstein.   Does her adoption of Milton reflect or challenge the ideas of what Susan Wolfson terms Romantic Satanism (p 301 in the Longman Cultural Edition of  Frankenstein)?   In other words, how does Shelleys novel respond to the Romantic Poets interpretation of Miltons epic poem? Paradise Lost (Paradise Lost) revealed human sin and corruption. The poem describes the rebellious angels of Satan. Adam and Eve were possessed by Satan, ate the fruit from the tree of the knowledge of good and evil that God prohibited eating. Finally, Satan and his cohorts were turned into snakes. Adam and Eve were expelled from the garden of Eden. The poem reflects the poets freedom to pursue the lofty spirit. Satan had gathered many rebel angels under him. The poem describes how Satan and his angels fall into hell by the thunder and the heat of fire, after a while, he wakes from dizziness. Satan awakens all the same angles in Heaven, and they got up. Satan comforts them in the speech, inspiring them, finally he told them, according to an ancient prophecy or report in heaven, there is a new world and a new creature to be created. So they decided to hold a plenary session of the prophecy, and discussed countermeasures. At the beginning of the meeting, the first question is debated: it is necessary to take a risk of war to restore the kingdom of heaven. The final three take a proposal, which is Satan mentioned, to explore whether the prophecy or hagiography is correct. According to legend, the God is creating a new world and a new species, a creature with not much difference between them. The difficult question is who will be sent to do the difficult exploration. Their leader Satan alone bears the task, winning peoples admiration and applause. After the meeting, other members pursue pleasure randomly. In the journey of Satan through the hell gate, the door is closed, the person in charge of the gate talked with Satan. Finally, the man opened the door. Satan saw a big pit between the hell and the heaven, which is chaotic world. Under the guidance of the ordeal, he only went to see what hes looking for in new world. When Satan went into the new world, God seated on a throne saw. The God refers to the prophecy that Satan will seduce human, and his plot will succeed. Human beings are free, and there is resistance to temptation, sweeping all slander to justice, the ability of wisdom. He also claims; people commit crime because of many reasons. Satan is wandering edge of a wasteland for a while in the new universe. Seen from what is called empty border place, people and things soaring; then, he would fly to the sun. He first pretends to deform for junior angels, sincerely, to see a new world and live in one of these people. Under Youlies guidance, he flies to paradise. Satan finally reached the new world, and it landed in a survey of the garden of Eden place, where it has been close to his destination, he alone takes bold adventure, to be against God, man. The moment he got into all kinds of confusion, his heart occupies many strong emotions: jealousy, fear, despair and so on. But in the end he decided to implement the evil plans, along the radial paradise. He crossed the border, into a cormorant, squatting on the tree of life the highest office park, looking around. It is his first sight of Adam and Eve. His wonder at their beautiful appearance and the happy scene make him determined to make them fall. After eavesdropping on their conversation, knowing they were forbidden to eat the fruits from the park tree of knowledge, which can let them under penalty of death. He decided to start, entice them to transgress. He leaves here, trying to further understand the situation. As night falls, Adam and Eve want Gabriel to send an angel, sending two power ful angels to Adams house, to protect the sleep of Adam and Eve, lest suffering from evil. They found him on the ear of Eve, in her dream to seduce her. The devil was arrested on the spot, brought before Gabriel. When questioned, his attitude is very strong; but for the warning, flies out of paradise. After snooping the Satan has sinister motives, like a lost soul in the night and returns to paradise, into the inside body of sleeping serpent. In the morning Adam and Eve are out to work, and each person does the job by their own. Adam did not approve of it, worrying about the danger, which had been previously warned the enemy will seduce her at her when she was alone. Eve would not be as strong and decisive enough, so she wants to separate labor, to test her ability. Adam finally gave in. Seen her alone, snake skillfully came to her, close to her; at first look, then opening, said a lot of flattery, flattering her how outstanding she is. Eve, listening to what the snake spoke, became very curious, asking how he can speak like human beings, but also can also understand so well. The snake answered, that is because of eating fruit from a certain tree in the garden, which can also make people more rational. Eve asked him to have a look of that tree. She looks, what is unexpected is tha t this tree is the right tree of the knowledge that the God forbids her to eat. The snake is of strong courage, using many reasons to persuade her to try. She finally tries, feeling very delicious. She thought to let Adam have a taste of this thing. But she hesitated, finally decided to give him this fruit, and advised him to eat. Adam was frightened at first because this is forbidden. But finally he decided to eat the fruit. The forbidden fruit in the two persons takes effect, they feel ashamed; and they find something to cover their nakedness. Then two people quarrel with one another. God said: they are unable to prevent Satan going into the park. Sin and death, sitting in the gate of hell, are excited to find Satan succeeds in the new world of conspiracy, so they are determined to follow their father Satan. They followed their path according to Satan, building a road or bridge on the chaotic world. As they prepare to leave back to hell, they meet Satan, returning after a conceited triumphant. Satan successfully indulges in verbiage before all the people for human conspiracy. Audience only applauds. And they, like in the paradise, are suddenly transformed into a snake. In their eyes, the scene of the forbidden tree appeared, they stretched to pick the fruit, but full of dust.Sin and death still continue their work. Adam came to know of his degraded condition, deeply sad, and Eve comfort is also rejected by him. Eve adheres to persuade him. In order to avoid the curse fallen to his descendants, she advised Adam to use violence; he strongly opposed, but reminded her of her sons to revenge snake, thereby holding good hope, encouraging her to pray with him to appease the anger of god. Then Satan, in the snakes image, committed a terrible, hateful deception behavior in the garden. Milton has been very clever in describing this story. He uses the story to deliver a spirit of freedom. And he makes full use of this story to show his ideas.

The Character of Ophelia in Shakespeares Hamlet :: GCSE English Literature Coursework

The Character of Ophelia in Hamlet      Ã‚   Of all the pivotal characters in Hamlet, Ophelia is the most static and one-dimensional. She has the potential to become a tragic heroine; to overcome the adversities inflicted upon her, but she instead crumbles into insanity, becoming merely tragic. This is because Ophelia herself is not as important as her representation of the duel nature of women in the play. Ophelia serves a distinct purpose: to show at once Hamlet's warped view of women as callous sexual predators, and the innocence and virtue of women.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The extent to which Hamlet feels betrayed by Gertrude is far more apparent with the addition of Ophelia to the play. Hamlet's feelings of rage against his mother can be directed toward Ophelia, who is, in his estimation, hiding her base nature behind a guise of impeccability. Through Ophelia we witness Hamlet's evolution, or de-evolution into a man convinced that all women are whores; that the women who seem most pure are inside black with corruption and sexual desire. And if women are harlots, then they must have their procurers. Gertrude has been made a whore by Claudius, and Ophelia has been made a whore by her father. In Act II, Polonius makes arrangements to use the alluring Ophelia to discover why Hamlet is behaving so curiously. Hamlet is not in the room but it seems obvious from the following lines that he has overheard Polonius trying to use his daughter's charms to suit his underhanded purposes. In Hamlet's distraught mind, there is no gray area: Polonius prostitutes his daughter. And Hamlet tells him so to his face, labeling him a "fishmonger", even if Polonius cannot decipher the meaning behind Hamlet's words. As Kay Stanton argues in her essay Hamlet's Whores:    Perhaps it may be granted...that what makes a woman a whore in the Hamlets' estimation is her sexual use by not one man but by more than one man.... what seems to enrage [Hamlet] in the 'nunnery' interlude is that Ophelia has put her sense of love and duty for another man above her sense of love and duty for him, just as Gertrude put her sense of love and duty for her new husband above her sense of love and duty for her old. Gertrude chose a brother over a dead Hamlet; Ophelia chooses a father over a living Hamlet: both choices can be read as additionally sexually perverse in being, to Hamlet, 'incestuous'.

Heritage and Production of Archaeological Data

our site – CUSTOM ESSAY WRITING – EXAMPLE ESSAY Introduction This critical analysis essay centers on heritage, discussing what it demonstrates about the production of archaeological data through case studies. It covers a discussion of whether the production of archaeological data is always objective. There is an assumed synergy between heritage and archaeological data, as demonstrated by the concept â€Å"Archaeological Heritage Management† (Waterton and Smith, 2009: 41). Taking the archaeological point of view, heritage is often referred to as the material culture of the past, or those manmade structures and artefacts that comprise the archaeological record and are intended to explain the past (Waterton and Smith, 2009). The production of archeological data is a result of a study and observation of archeological record, which helps establish the domain of heritage (Binfold, 2009). Is the production of archaeological data always objective? The production of archaeological data is always objective, and this is recognised explicitly by the literature (e.g. Waterton and Smith, 2009). The ways in which heritage demonstrates this objectivity is seen in the tacit assumption embodied in the knowledge being produced from interpreting the past, which informs identity and is thus called ‘heritage’ (Waterton and Smith, 2009: 42), as well as the needed consistency of the data (both in terms of individual inventory and organisational inventory) so that they may be capable of use in the future (Barrett, et al., 2007). Since data must be consistent to this level, subjectivity has therefore no room in their production. Worthy of note is the fact that there are various contexts from which the production of heritage can take place, ranging from historical documents, archaeological excavations, values and meanings placed on heritage such as buildings and natural environment. Similarly, archeological heritage is commonly produced through research as well as academic discourses, which in fact help promote what is considered ‘heritage’ (Hicks, McAtackney, and Fairclough, 2007: 102). In managing the artistic heritage, the acquisition of data is an important aspect (Ferrari, 2010). Since archaeological heritage is produced through research and is formed by inferences through discourses, it is but proper to say that such process of production is objectively carried out since research itself is a field of objective characterisation. The notion that heritage is characterised by ‘multi-vocality’ (Habu, Fawcett, and Matsunaga, 2008: 38; Waterton and Smith, 2009: 42) does not automatically suggest that it is non-definitive and subjective in its production of archeological data. Archaeological data are material, and this materiality enables the concept of heritage to become intrinsically knowable and controllable. These knowable and controllable characteristics is seen in the extent through which archaeological heritage can be defined, discovered, recorded, managed, and conserved. The naturalisation of archaeological assumptions also supports this knowable nature of heritage in legal and policy documents (Waterton and Smith, 2009). Such process cannot therefore be merely placed in some subjective assumptions of data production. This is further supported by an assertion (e.g. Hodder, 2004) that archaeology can take an interpretive form, and its role is to facilitate the involvement of the past in the pr esent period through objective archaeological data. Smith (2004) also calls objects from the past as part of an objective archaeological record, reinforcing the general claim of the literature on the subject. Additionally, much can be learned about past history by using more theorised approaches to understand the relationship between history and archaeology (Robertson, Seibert, Fernandez, 2006). Such theory application is an objective stance of the archeological field (e.g. Cobb, Harris, Jones et al., 2012; Gibbon, 2014; Jones, 2002). Case studies on heritage and production of archaeological data A case study that may be cited in this paper is the Lodenice project in central Bohemia in the early 1990s, which is also known for a Viereckschanze (rectangular enclosure) excavation. This project identified an Iron Age settlement and remnants of decorative arm rings dating from 2nd to first centuries BC. This project, which produced a Celtic carved rag stone head, used an analytical fieldwork survey and multivariate mathematical analysis, combined with geographical information system (GIS) (Hicks et al., 2007). This example demonstrates the extent to which the production of archaeological data aims to be as objective as possible, for the archaeologies may simply assume the nature of data collected, but lack of definite measurements and other objective applications would place the whole investigation into mere assumptions. Another case that may be cited is the Bylany Project in Norway (1990s). Grants were used to finance archaeological research, enabling the excavation of Neolithic circular enclosures of Bylany’s complex. The integration of National Heritage Institute with rescue excavation administration has been a pending situation, which can negatively impact long-term archeological research in the Kutna Hora region. This archeological research is currently on systematic monitoring (Biehl and Prescott, 2013). The production of archaeological data informs of their use for future research and knowledge production as well as their objective and systematic production, reinforcing the idea that these data are always objective. Moreover in England, a data standard for the Sites and Monuments Records (SMRs) was established in the 1990s, facilitated by what is now known as the English Heritage’s National Monument Record. This data standard acknowledged the importance of records, including the activities of people involved in studying the resource, the sources of such information, and information on the process of managing the resource. This is to enable the successful management of the archaeological and historic environment within which archaeological data are derived (Barrett, Dingwall, Gaffney, et al., 2007). This manner of record-keeping for the production of archaeological data reveals the importance of objectivity. Worthy of discussion is the Tsodillo rock art in Botswana, which was the focus of intensive survey programme and recording by the Botswana National Museum during the late 20th century. The rock art holds the archaeological evidence that human settlement once existed in the landscape (Hicks et al., 2007). The recording and survey carried out by the Museum indicate the pursuit for objectivity in the investigation of the Tsodillo landscape. These case studies discuss what heritage demonstrates about the production of archaeological data being systematically acquired and processed, and thus entail the collaboration of specific government organisations in charge of heritage and archaeological data management. Thus, despite the perceived artistry of heritage, it is largely governed by some objectivity and system-specific characteristics in the production of archaeological data. Conclusion This critical analysis essay has discussed what heritage demonstrates about the production of archaeological data. It has focused on whether the production of archaeological data is always objective, illustrating the answer through cases studies. This brief claims that such production is indeed always objective, as reinforced by the extant literature denoting such objectivity and systematic stances. These data must necessarily be consistent in order for them to be of viable use in the future; hence, subjectivity has no room in their production. Moreover, archaeological data are material, enabling them to become inherently knowable and controllable and are thus definable, discoverable, recordable, manageable, and conservable. Case studies are provided, aiming to serve as evidence for the objectivity of the production of archaeological data. References Barrett, G., Dingwall, L., Gaffney, V., Fitch, S., Huckerby, C., and Maguire, T. (2007) Heritage Management at Ford Hood, Texas: Experiments in Historic Landscape Characterisation. England: Archaeopress. Biehl, P. F. and Prescott, C. (2013) Heritage in the Context of Globalization: Europe and the Americas. NY: Springer. Binfold, L. R. (2009) Debating Archaeology: Updated Edition. CA: Left Coast Press, Inc. Cobb, H., Harris, O. J. T., Jones, C., and Richardson, P. (2012) Reconsidering Archaeological Fieldwork: Exploring On-Site Relationships Between Theory and Practice. NY: Springer. Ferrari, A. (2010) The 8th Framework Programme of the European Commission and the Safeguard of Cultural Heritage: The EACH Project. Italy: CNR, Institute of Chemical Methodologies. Gibbon, G. (2014) Critically Reading the Theory and Methods of Archaeology: An Introductory Guide. Maryland: AltaMira Press. Habu, J., Fawcett, C., and Matsunaga, J. M. (2008) Evaluating Multiple Narratives: Beyond Nationalist, Colonialist, Imperialist Archaeologies. NY: Springer. Hicks, D., McAtackney, L., and Fairclough, J. (2007) Envisioning Landscape: Situations and Standpoints in Archaeology and Heritage. CA: Left Coast Press, Inc. Hodder, I. (2004) Theory and Practice in Archaeology. NY: Routledge. Jones, A. (2002) Archaeological Theory and Scientific Practice. UK: Cambridge University Press. Robertson, E. C., Seibert, J. D., Fernandez, D. C., and Zender, M. U. (2006) Space and Spatial Analysis in Archaeology. Alberta: University of Calgary Press. Smith, L. (2004) Archaeological Theory and the Politics of Cultural Heritage. London: Routledge. Waterton, E. and Smith, L. (2009) Heritage, Communities and Archaeology. London: Bloomsbury Academic.