HELLO.
We are a leading financial services company operating in several countries around the world including Canada, Germany and India.
We have been providing financial products and services for over 150 years. Today, we offer a wide range of life assurance, pension and investment products as well as banking services and healthcare insurance. Through our investment arm, we also manage assets.
A placement with us will provide a great opportunity to develop your skills and get a flavour for the world of work you'll enter once you finish school.
We want you to enjoy your time with us – perhaps one day you might be interested in a career with us.
YOUR FIRST DAY
WHAT TO DO WHEN YOU ARRIVE
When you get to the building, go to the main reception area and ask for your placement contact.
WHAT YOU WILL BE DOING
During your placement we'll introduce you to as many general office skills as we can. Things like:
- Using a PC
- Using a photocopier and fax machine.
- Distributing and issuing mail.
- Learning how information is filed and stored.
- Attending meetings.
- Listening to phone calls.
- Working within a team.
WHAT'S EXPECTED OF YOU
Do your best – the way you behave during your placement is really important, the more you put into it, the more you'll get out of it.
You should:
- Attend work at the times agreed.
- Be polite and helpful.
- Do your best to carry out any tasks.
- Show interest and enthusiasm.
- Tell your contact (by 9.30am) if you are unable to come to work.
- Adhere to office rules and guidelines.
- Dress appropriately.
You should not:
- Misuse or discuss confidential information.
- Use office resources for personal use.
- Let yourself down with inappropriate behaviour.
- Use your mobile phone whilst in the office.
- Misuse the intranet/internet.
--
This booklet has some diary pages with questions to help you review each day. Try to answer the questions at the end of each day.
DAY 1
Did you arrive at the time arranged and who was your first contact?
...
Did you feel nervous? If yes, what made you feel nervous?
...
What tasks (if any) did you perform today?
...
What skills have you used? What have you learned today?
...
How do you feel about your first day in the workplace?
...
Do you feel tired or unhappy or pleased with yourself?
...
DAY 2
Did you work with the same people today? If no, who did you work with?
...
What tasks did you perform and what did you find particularly interesting?
...
Is the workplace as you expected? If no why is this?
...
Do you feel tired or unhappy or pleased with yourself?
...
DAY 3
Did you feel like getting up today to go on your work placement? If no, why was this?
...
What are the main rules and regulations in this work place?
...
Have the rules or regulations affected you and why do you think they are necessary?
...
Describe the main tasks you completed today.
...
What was the best part of today's experience?
...
DAY 4
Did you arrive at the agreed time today?
...
Describe the main tasks you completed today.
...
Do you think anyone could do this type of work, or do you think people need special qualities or qualifications?
...
Describe the type of work going on around you.
...
How does this happen?
...
DAY 5
What did you enjoy most about your work experience?
...
What did you enjoy least about your work experience?
...
How can you use your new skills back at school?
...
Did you find the staff friendly and helpful? If no, why do you think this is?
...
Would you like to work in an environment like this when you finish school? If no, why not?
...
Now your work experience is nearly over, have your ideas and expectations of work changed? If yes, how?
...
(from a genuine text)
Friday, June 5, 2009
Tuesday, June 2, 2009
(Near) Redemption / Rebirth of a Sock Monkey
Ed sent this through. He's been playing with online translation tools.
This is wonderdul. I will let this speak for itself, except to point the reader's attention back to the source material, to identify Ed as the one speaking in italics, and to presume aloud that movies are being used as stand-ins for languages.
(ORIGINAL TEXT: I'm sitting at the wheel, staring ahead, or at sort of an angle, staring out across the lanes of traffic. I can see these trees on the far side, the leaves, the long grass. They've stopped. There's grey shapes in the corner of my vision, hovering in mid-air, which I assume are stopped pigeons except I can't check because I've stopped too. Can't move, can't even swivel my eyeballs in their sockets.)
I should have been onto this from the start,
just imagine we first met
Ong bak
and then
The Ring
to reach:
I, in advance, such as the wheel sitting still staring at the cross or traffic lanes. I have stopped in the remote areas of their leaves and long grass, you can see these trees. The gray shape in the corner of my vision, so to check I have to stop hovering in the air and take advantage pigeons will not stop except for me. Can not be moved, rotated in the socket but I can not.
but with Nightwatch we found that:
I, in advance, such as the wheel sat still staring at the cross or traffic. I stopped in remote areas, their leaves and long grass, you can see these trees. As gray as in the corner of my vision, so that I have to stop to check the hanging in the air and use the pigeons will not stop, except for me. It can not be moved, rotated in the socket, but I can not.
but by finding the lemon tree (recommended):
I, in advance, such as the wheel was still staring at the cross or traffic. I stopped in remote areas, the leaves and long grass, you can see the trees. As gray as the corner of my vision, so I have to stop to see the hanging in the air and pigeons will not stop, but me. It can not be moved, turned in the socket, but I can not
and after staying with the host:
In advance, and the wheels are still looking at the cross or traffic. Remote area, stopped in the leaves and long grass, you can see the trees. Gray to the corner of my vision, so I will not stop watching it, hanging in the air and dove Now, excuse me. That is, the socket set, but I can not do is move sueopseup
we next hang out with Z though it is not the end:
In advance, and the wheels are still looking at the cross or traffic. Remote area, stopped in leaves and long grass, you can see the trees. Gray on the corner of my vision, so I will not stop watching it, hanging in the air and dove Now, excuse me. That is, the reception, but I can not do is go sueopseup
a quick look through The Eye reveals:
Prior and the wheels are still concerned about cross-strait or traffic. Remote areas, parked in the leaves and long grass, the trees you can see. Gray corner, my dream, so I will not stop the watch and the doves flying in the air now, I am sorry. In other words, the reception, but I can not do is to sueopseup
and finally
we have to visit Abdul Alhazred
and he has some tales to tell:
Before the wheels are still concerned about cross-strait or transit. Remote areas, and had been parked in the leaves and long grass, you can see the trees. Gray corner, my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception, but I can not do is sueopseup
honest to god I've just been cutting, pasting, and using the google translation monster;
so 2 thoughts;
Is "Sueopseup" on Sleepdep's list of names for blogspot verification?...
and given the nature of the tale the paragraph is taken from isn't it nice that we can see the end of the story from here:
my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception,
since if the doves are flying, he's sorry, since we're aware of the reception awaiting him...
--
NB A day or two later Ed wrote again with:
the same journey without returning to English each time between languages produces this:
Before the wheels are still concerned about cross-strait or transit. As long as the grass-roots level of the tree in the remote areas, and you can see. Gray corner, my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception, but I can not do is sueopseup.
and d'oh missed out Hindi, in the original:
इससे पहले कि पहियों अभी भी पार के बारे में चिंतित हैं जलसंयोगी या पारगमन. दूरस्थ क्षेत्रों, और पत्तियों और लंबी घास में पार्क की गई थी, आप वृक्ष देख सकते हैं. ग्रे कोने, मेरा सपना है, कि घंटों के लिए बंद नहीं करेंगे और हवा में उड़ कबूतर, और मैं माफी चाहता हूँ. दूसरे शब्दों में, स्वागत है, लेकिन मैं ऐसा नहीं कर सकता sueopseup है
=
Before the wheels still are worried about cross-strait or transit. Remote areas, and leaves and grass in the park was long, you can see the trees. Gray corner, my dream, that will not stop for hours in the air and flying pigeons, and I'm sorry. In other words, welcome, but I can not do is sueopseup
ah and notice the acceptance of the inevitable - 'Welcome'
This is wonderdul. I will let this speak for itself, except to point the reader's attention back to the source material, to identify Ed as the one speaking in italics, and to presume aloud that movies are being used as stand-ins for languages.
(ORIGINAL TEXT: I'm sitting at the wheel, staring ahead, or at sort of an angle, staring out across the lanes of traffic. I can see these trees on the far side, the leaves, the long grass. They've stopped. There's grey shapes in the corner of my vision, hovering in mid-air, which I assume are stopped pigeons except I can't check because I've stopped too. Can't move, can't even swivel my eyeballs in their sockets.)
I should have been onto this from the start,
just imagine we first met
Ong bak
and then
The Ring
to reach:
I, in advance, such as the wheel sitting still staring at the cross or traffic lanes. I have stopped in the remote areas of their leaves and long grass, you can see these trees. The gray shape in the corner of my vision, so to check I have to stop hovering in the air and take advantage pigeons will not stop except for me. Can not be moved, rotated in the socket but I can not.
but with Nightwatch we found that:
I, in advance, such as the wheel sat still staring at the cross or traffic. I stopped in remote areas, their leaves and long grass, you can see these trees. As gray as in the corner of my vision, so that I have to stop to check the hanging in the air and use the pigeons will not stop, except for me. It can not be moved, rotated in the socket, but I can not.
but by finding the lemon tree (recommended):
I, in advance, such as the wheel was still staring at the cross or traffic. I stopped in remote areas, the leaves and long grass, you can see the trees. As gray as the corner of my vision, so I have to stop to see the hanging in the air and pigeons will not stop, but me. It can not be moved, turned in the socket, but I can not
and after staying with the host:
In advance, and the wheels are still looking at the cross or traffic. Remote area, stopped in the leaves and long grass, you can see the trees. Gray to the corner of my vision, so I will not stop watching it, hanging in the air and dove Now, excuse me. That is, the socket set, but I can not do is move sueopseup
we next hang out with Z though it is not the end:
In advance, and the wheels are still looking at the cross or traffic. Remote area, stopped in leaves and long grass, you can see the trees. Gray on the corner of my vision, so I will not stop watching it, hanging in the air and dove Now, excuse me. That is, the reception, but I can not do is go sueopseup
a quick look through The Eye reveals:
Prior and the wheels are still concerned about cross-strait or traffic. Remote areas, parked in the leaves and long grass, the trees you can see. Gray corner, my dream, so I will not stop the watch and the doves flying in the air now, I am sorry. In other words, the reception, but I can not do is to sueopseup
and finally
we have to visit Abdul Alhazred
and he has some tales to tell:
Before the wheels are still concerned about cross-strait or transit. Remote areas, and had been parked in the leaves and long grass, you can see the trees. Gray corner, my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception, but I can not do is sueopseup
honest to god I've just been cutting, pasting, and using the google translation monster;
so 2 thoughts;
Is "Sueopseup" on Sleepdep's list of names for blogspot verification?...
and given the nature of the tale the paragraph is taken from isn't it nice that we can see the end of the story from here:
my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception,
since if the doves are flying, he's sorry, since we're aware of the reception awaiting him...
--
NB A day or two later Ed wrote again with:
the same journey without returning to English each time between languages produces this:
Before the wheels are still concerned about cross-strait or transit. As long as the grass-roots level of the tree in the remote areas, and you can see. Gray corner, my dream, that will not stop for hours and the doves flying in the air, and I'm sorry. In other words, the reception, but I can not do is sueopseup.
and d'oh missed out Hindi, in the original:
इससे पहले कि पहियों अभी भी पार के बारे में चिंतित हैं जलसंयोगी या पारगमन. दूरस्थ क्षेत्रों, और पत्तियों और लंबी घास में पार्क की गई थी, आप वृक्ष देख सकते हैं. ग्रे कोने, मेरा सपना है, कि घंटों के लिए बंद नहीं करेंगे और हवा में उड़ कबूतर, और मैं माफी चाहता हूँ. दूसरे शब्दों में, स्वागत है, लेकिन मैं ऐसा नहीं कर सकता sueopseup है
=
Before the wheels still are worried about cross-strait or transit. Remote areas, and leaves and grass in the park was long, you can see the trees. Gray corner, my dream, that will not stop for hours in the air and flying pigeons, and I'm sorry. In other words, welcome, but I can not do is sueopseup
ah and notice the acceptance of the inevitable - 'Welcome'
Sunday, May 31, 2009
Thursday, May 28, 2009
Horrific Nightmare Action (2 of 2)
Been meaning to finish this. So:
Men, boiler suits and masks – hammers, rope. More and more people screaming. Breaking into the flats, pulling the people out, dragging them. Into the courtyard. Pushing their bodies into the coffins.
I’m watching. I think: oh shit I have to protect my grandmother. Pushing them into coffins and hammering the lids shut with massive iron nails. Up onto my feet, armchair falling over.
One of the teams is near the flat, the leader looks my way
looks right at me
points
to say: 'that one'
and they set down the hammers
start walking over
walking across the courtyard of coffins
walking through harsh sunlight
sound of screaming is everywhere
but not too fast
an assured, practical stride
four or five of them
coming over
I run to the door and somehow it's hanging open. Somehow they're closer than they should be. The first one is just three or four steps away. Blank-faced mask, reaching out.
No time to shut the door. Got to save my grandmother.
I turn and run into the flat, and that's when everything
I mean everything
explodes with wriggling, crawling
there are old people climbing out from everywhere
out from inside the furniture
under the carpet
out from behind the pictures on the wall
climbing out of vases, climbing down out of the lampshades
they have these leering eyes
broken teeth
naked
all of them are naked, they have drooping flesh and liver spots
matted hair
veins under their skin
purple/black flesh from bad circulation
I run through the lounge, leaping up from the limbs clutching up from the floor, amazed - HORRIFIED! - by this. In the hallway doors are bursting wide, they're falling out in twined masses, piling onto the floor.
I scream. I turn back - the men are stepping inside, the first man is staring at me across the writhing, transformed room. His eyes are made of shining metal.
I don't have a choice, I run into the hall. I have to step on some of them. They moan. They are hard to step on, they're all in motion, churning, it's a sexual thing - OH GOD, they're having SEX with each other, or they're trying to.
The rooms have moved. The whole layout of the flat has changed, I open the door to what should be my grandmother's bedroom, but it's a toilet and two of them are pushed up, rutting against the sink and watching me in the mirror.
I turn - metal eyes at the end of the hall. Climb over more of them, they're moaning now, and here's a side-hall which is free of them, it's empty, then a corner, a small room. A washing machine. A big wooden door. Beside the door, my third grade teacher.
My teacher pulls her top off, revealing large naked breasts.
She points at the door, a gatekeeper from an old, old story.
She says: "Your father is waiting for you."
The panic is gone. A strange silence has settled, it's almost like peace but it's not. A hum of expectancy.
I step up to the door. My teacher's breasts are heavy, pale, round. She smiles.
"Go in."
I open the door. It's a bedroom. Not my grandmother's.
It's too late to save her anyway.
Ornate. A four-poster bed, drapes and tapestries on the walls. Antique furniture. A large gold-coloured statue - an eagle taking flight with something dead in its claws. On a side table, a smaller sculpture of two dogs tearing at each other's throats. The whole place has a feeling of opulence, dread.
Opposite the door is the most important thing - a cheval glass. A full-figure mirror. Ornate golden frame, fashioned into a series of animals eating each other. This has been a recurring image for me, both before and since. Chains of animals, all eating each other. Here, looking at this mirror, I think: this is Nazi stuff. Evil.
I look at the mirror. I guess I must have taken a step forward because she's closed the door behind me. The hum is actually in my ears now, humming and growing louder. The reflection in the mirror is cloudy, I can only vaguely see myself, my own body. The glass is rippling, like water. The glass is on fire. Those invisible flames which shimmer, warp your vision. My reflection is moving, stepping closer.
What did she mean "My father is waiting"? My father?
It isn't my reflection. Something's coming out. Something breaks the surface up high, up at the top - two points, horns. Far apart, more and more of them. And now I can see fingers, emerging to grip the frame, which is on fire.
More and more of the horns, my god they are huge.
And a hairy knee, a leg, a cloven hoof planted onto the carpet, which blackens, scorched.
I'm thinking: MY FATHER?
When this thing comes out, when I see its face, some part of me will be destroyed, utterly. It doesn't matter that it's only a dream. When I see this thing's face, it'll be over.
Men, boiler suits and masks – hammers, rope. More and more people screaming. Breaking into the flats, pulling the people out, dragging them. Into the courtyard. Pushing their bodies into the coffins.
I’m watching. I think: oh shit I have to protect my grandmother. Pushing them into coffins and hammering the lids shut with massive iron nails. Up onto my feet, armchair falling over.
One of the teams is near the flat, the leader looks my way
looks right at me
points
to say: 'that one'
and they set down the hammers
start walking over
walking across the courtyard of coffins
walking through harsh sunlight
sound of screaming is everywhere
but not too fast
an assured, practical stride
four or five of them
coming over
I run to the door and somehow it's hanging open. Somehow they're closer than they should be. The first one is just three or four steps away. Blank-faced mask, reaching out.
No time to shut the door. Got to save my grandmother.
I turn and run into the flat, and that's when everything
I mean everything
explodes with wriggling, crawling
there are old people climbing out from everywhere
out from inside the furniture
under the carpet
out from behind the pictures on the wall
climbing out of vases, climbing down out of the lampshades
they have these leering eyes
broken teeth
naked
all of them are naked, they have drooping flesh and liver spots
matted hair
veins under their skin
purple/black flesh from bad circulation
I run through the lounge, leaping up from the limbs clutching up from the floor, amazed - HORRIFIED! - by this. In the hallway doors are bursting wide, they're falling out in twined masses, piling onto the floor.
I scream. I turn back - the men are stepping inside, the first man is staring at me across the writhing, transformed room. His eyes are made of shining metal.
I don't have a choice, I run into the hall. I have to step on some of them. They moan. They are hard to step on, they're all in motion, churning, it's a sexual thing - OH GOD, they're having SEX with each other, or they're trying to.
The rooms have moved. The whole layout of the flat has changed, I open the door to what should be my grandmother's bedroom, but it's a toilet and two of them are pushed up, rutting against the sink and watching me in the mirror.
I turn - metal eyes at the end of the hall. Climb over more of them, they're moaning now, and here's a side-hall which is free of them, it's empty, then a corner, a small room. A washing machine. A big wooden door. Beside the door, my third grade teacher.
My teacher pulls her top off, revealing large naked breasts.
She points at the door, a gatekeeper from an old, old story.
She says: "Your father is waiting for you."
The panic is gone. A strange silence has settled, it's almost like peace but it's not. A hum of expectancy.
I step up to the door. My teacher's breasts are heavy, pale, round. She smiles.
"Go in."
I open the door. It's a bedroom. Not my grandmother's.
It's too late to save her anyway.
Ornate. A four-poster bed, drapes and tapestries on the walls. Antique furniture. A large gold-coloured statue - an eagle taking flight with something dead in its claws. On a side table, a smaller sculpture of two dogs tearing at each other's throats. The whole place has a feeling of opulence, dread.
Opposite the door is the most important thing - a cheval glass. A full-figure mirror. Ornate golden frame, fashioned into a series of animals eating each other. This has been a recurring image for me, both before and since. Chains of animals, all eating each other. Here, looking at this mirror, I think: this is Nazi stuff. Evil.
I look at the mirror. I guess I must have taken a step forward because she's closed the door behind me. The hum is actually in my ears now, humming and growing louder. The reflection in the mirror is cloudy, I can only vaguely see myself, my own body. The glass is rippling, like water. The glass is on fire. Those invisible flames which shimmer, warp your vision. My reflection is moving, stepping closer.
What did she mean "My father is waiting"? My father?
It isn't my reflection. Something's coming out. Something breaks the surface up high, up at the top - two points, horns. Far apart, more and more of them. And now I can see fingers, emerging to grip the frame, which is on fire.
More and more of the horns, my god they are huge.
And a hairy knee, a leg, a cloven hoof planted onto the carpet, which blackens, scorched.
I'm thinking: MY FATHER?
When this thing comes out, when I see its face, some part of me will be destroyed, utterly. It doesn't matter that it's only a dream. When I see this thing's face, it'll be over.
Tuesday, May 19, 2009
The Three Hyperlinks
I've spent the last week working on other stuff, so have been unable to bring more Sleep Dep into the world.
So here are some links.
Exhilarating - Just in case you are not one of the 900,000 people who've seen this already. "There Are Monsters". Watch it in full screen, pay attention.
Wonderful - "White Girl Dreams", ten pages from Mary K Brown. Navigation is on the left. MK Brown is who Sleep Dep wants to be when it grows up.
Inspirational - The complete and downloadable recordings of Shooby Taylor, the Human Horn. Start from the top. Don't stop after the first couple. Keep listening. Listen to them all.
So here are some links.
Exhilarating - Just in case you are not one of the 900,000 people who've seen this already. "There Are Monsters". Watch it in full screen, pay attention.
Wonderful - "White Girl Dreams", ten pages from Mary K Brown. Navigation is on the left. MK Brown is who Sleep Dep wants to be when it grows up.
Inspirational - The complete and downloadable recordings of Shooby Taylor, the Human Horn. Start from the top. Don't stop after the first couple. Keep listening. Listen to them all.
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