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Nathan Langston
My cousin Rick called me up. He was flying to Seattle from LA to do some casting for his second feature-length film and I asked if I could tag along. Having never auditioned for anything, I was supremely curious as to how that process works.
Like you, I've seen countless, hackneyed scenes about actors enduring the horror of auditions. In those films, the main character, goes into a room full of other actresses who all look like her. After waiting, she is called in by a casting director; a plumpish, bored, unromantic, joyless, monotone woman who is impressed by nothing. The actress expected to read four pages of script but is cut off not 20 seconds in – "Thank you. We'll let you know."
We've all seen this scene in like... ten movies at least, right? Personally, I'm imagining Carey Mulligan, Amy Adams, or perhaps Kristen Wiig as the auditioning actress role. For the casting director, I'm picturing Kathy Bates, or Jessica Lange. Beth Grant would be perfect too. What's super meta is that an actor had to audition to win the role of an auditioning actor. And the actor playing the casting director had to audition in front of a real casting director. I want to see that scene! I also wanted to see if that scene was even mildly accurate.
So here's a list of my non-actor, non-director, non-casting, non-movie-business takeaways about the casting process.
1. I Should Think More Highly of Acting
For some reason, I figured that a scriptwriter, director, casting director, SOMEONE, had a specific idea of what sort of person would play a role and the job of the auditioning actor was just to conform to that. Which is true, partly, in some cases. But I was blown away how often Rick, the dude who wrote the script, wasn't sure exactly which direction a role would go.
When I ran a ballet company and used lots of classical musicians. The main thing you're looking for is accuracy. How flawlessly can they perform exactly what is written on the page? I mean, expression, style, emphasis are important, but it's not like one cellist plays different notes or rhythms than the other cellists. They can either play it or they can't.
Not so with actors. Five different people can read the same snippet of dialogue and it's like five completely divergent scenes. The meaning of the words is entirely unique depending on who's saying them.
Part of this, I think, is due to the fact that musical notation, while still fairly inarticulate, is far more specific than written language. Is a comma a breath? A beat? A point of emphasis? A turn? How loud should it be? There's no dynamics in written language, no forte or pianissimo. There's no time signature, no beats per minute or written rhythms. Actors just make it all up as they go.
I always had a slightly condescending idea of actors as artists- that they didn't write their own words, that it was sort of a scam perpetrated by beautiful people. Nope! They invent the meaning of the words, creating a character as much or probably more than the script itself. Honestly, it'd be like if I wrote a music score and then we had different instruments come in to audition for the same line. A tuba, a piccolo, a guitar, a trumpet, and a piano, all auditioning for the exact same part.
2. Directing Actors is a Weird Trick
Apparently some directors hate running auditions. Not so with Rick. He said he likes getting practice working with and directing actors. Even when someone obviously is not right for a part, he'd ask for a few different passes with an actor. Part of that was to see how "directable" they were, how responsive they were to input thrown at them, which would be paramount over the course of a production.
Sometimes he'd say, "Let's do it again but faster," or "Smaller," or "Let's do a crazy take." Other suggestions were more abstract. "Try it loopier," or "Wear a bigger top hat," or "Less French Detective and more Bronx Police Commissioner." An especially useful one that he deployed a number of times was, "Okay, now try it again but as a serial killer." There's no serial killer in the light-hearted script but he used the serial killer prompt for a number of different roles – always with fascinating results.
Now and again. He'd get up and show them something physical like, "Just let your arms hang," or "Can you nervously use more of the space?" And for some folks, he'd close his eyes, thinking really hard about what to say, which generally seemed like a bad sign. Other times, I don't think he wasn't actually thinking with his eyes closed, I think he was desperately trying not to burst out laughing, which was a super double duper bad sign. And occasionally, he'd say, "Let's do it again, just like that," which seemed like a very good sign. Maybe he was looking to see if it was a fluke or something the actor could dial in reliably.
The successful auditions showed a ton of unique looks, which would provide the director with more flexibility to bring a script to life. Some of the actors sucked on their first take but, by the third or fourth adjustment, got to a really potent place.
3. Real People are Better Characters
Some folks came in, introduced themselves and just shot the breeze with us before getting started, and were far more compelling and illuminating characters than they were when they started "acting." When they started to read the lines, it was like they suddenly became two dimensional, cliché, predictable. I could tell Rick's direction was trying to prod them back to the regular person who walked in the door.
That's awfully hard. Being yourself but speaking someone else's words is super tough. Plus, being looked at so intensely is tough. In physics, the Observer Effect is the fact that observing a situation or phenomenon necessarily changes that phenomenon. This is obviously true for acting. You turn a camera on someone and suddenly they can't even walk or talk like normal humans.
On the other hand, one person came in who was such a flabbergastingly jaw-dropping character, without trying to "act," that my cousin said... "I need that guy. I need to write a part for him."
4. Choosing is Hard
Sorting the actors and actresses into "good" and "bad" is way easy. Hell, I could do it and I don't know anything about acting. It was just obvious. Beyond that though, it seems like a mystery to me. Sorting out which of the five good actors would get a part seems arbitrary. There's no established rubric by which to measure those talents. It's not even apples and oranges. It's apples and monkeys.
(Side note: Come to think of it, why can't you compare apples and oranges? They're both fruit. I just Googled "What's the Opposite of an Apple?" and fell down a truly bizarre rabbit hole.)
I glanced over the notes Rick was taking as people auditioned and agreed with everything he wrote. A few of them... I thought they were better than he did but probably because I've seen fewer actors, fewer auditions, and have never worked with them. Rick said he usually kept auditioning until he saw someone who was so totally head-and-shoulders above, so fascinating, so off-the-charts perfect that he finally understood the character and the script that he, himself, had written. To me it seems almost like looking for a person to fall in love with, going on date after date after date after date until you just... fall in love. And even if you can't articulate in words what love actually is, you'll work your ass off to find it.
Yes. For better and worse, casting is speed dating.
5. Why isn't Reading a Bigger Deal?
One of the things I was helping Rick out with was reading the other parts of dialogue for people who were auditioning. This was a good idea because it takes a good deal of attention to read all those interstitial lines, that could be better spent watching, thinking, noticing, suggesting, etc. Plus, I had such a blast doing it. I got to read all these different parts, pretending to be all these different people – old men, young women, crazy people, sad people – and didn't have to be all nervous about it. There's something splendid about acting. You get to lie on purpose and not only is this behavior tolerated, it's encouraged. I wish we didn't call them actors and called them liars instead. "Hey, Look! It's that gorgeous liar in that show I like!" "And the Oscar for Best Liar goes to..."
Occasionally, I got too into it and Rick had me dial it back, making it more blank and mannequin-esque so that the way I read didn't impose on the space the actors had. That makes sense. If one character is totally one way, that would force the other actor to respond, sort of dictating the meaning. On the other hand, he told me numerous times that the way I was reading made the audition one of the most fun he'd ever done. This means one of two troubling things (or both).
The first possibility was that he was blowing smoke up my ass. I'm not an actor. I don't practice or take classes. The other possibility is that people really do read lines to auditioning actors like a lifeless, bored, unromantic, exhausted, bored, joyless casting director, just like in those cliché movie scenes. Maybe there's a good reason they're cliché. Perhaps they're accurate, that there's just too many auditions to churn through to do an attentive reading with every auditioning actor.
If so, that sucks. Acting is a back and forth sort of thing, a game of catch. Seems to me like half of acting is responding to what the other actors do. A reader could throw the opposing lines at the actors with different inflections and intentions to see if the auditioning actor could recognize and respond to those different vibes.
Logistically, it'd be impossible to audition each actor with every combination of every other actor in some sort of perfect chemistry matrix. On the other hand, chemistry is indispensible. I don't know anything about making movies but I've paid fifteen bucks numerous times to sit in a dark theater on a bright day and watch two people talk to each other with zero chemistry. Lack of chemistry is a waste of money and time and sunshine.
Even when I was reading a woman's part or as someone was who a different age or a different race, I felt as though I could feel actual chemistry from the good auditions. When it happened, it felt like a pleasingly ticklish discomfiture, and I felt like Rick and I didn't want to talk for a while after the lines were done, letting the moment sink in before saying, "That was amazing. Really great take. Now can we run the same thing but... can you do it as a serial killer?"
6. Casting is Sheer Exhaustion
The first day, we did like... thirty? Thirty-five auditions? We watched people read from noon to six and it was as if we had stumbled into a vortex, a magic wardrobe, a tear in the fabric of time. It seemed like days passed and after, I was dead.
Part of it is that it's mentally exhausting observing and evaluating. Same thing goes for staying at the Metropolitan Museum of Art too long. Fatigue from the work of watching just devastates your brain and eyes and ears. I felt like I could barely string a decent sentence together by the time we finished and Rick said, "You think that's tiring? Try shooting a movie, Cousin. Our days are usually twice as long as that, twelve hours, sometimes longer. And it's every single day for weeks."
And So The Moral of The Essay is This:
Acting definitely deserves more respect than I've ever given it. It's an authentic art form that generates the work as much as a scriptwriter or a director. The process of auditioning is even more brutal than those cliché scenes in movies when someone is enduring a brutal audition.
Mostly know that, if you're auditioning, the glassy-eyed visages on the other side of the table have nothing to do with you. It's because the people evaluating you are super tired and needed to eat a burrito hours ago. Even looking at masterpieces for six hours will wear out anyone.
Lastly, this. I only went to one set of auditions. I'm sure it's different for other writers and directors and casting teams. Furthermore, I'm highly, highly biased because this particular writer/director/casting director is my beloved cousin.
This project could be awfully good. Ultimately, his comeuppance as actor-judge will be revisited ten-fold when peeps watch the entirety of what he's brought to screen. That said, getting a little peek at a few of the characters alone got me pumped to see the whole story on the big screen. I'm not pandering to Rick as a family member helping out with casting. The whole time, I was thinking, "There's something here. I think there may be something here."
Cement Suitcase
prepro


This course allows you to jointly study Applied Drama & Education Studies, giving you a fully rounded experience of both subjects.
We have a passion for drama at BGU, and we want to share that passion with you. If you love drama and want to use it to make a difference in the wider world, then you'll find that our Applied Drama courses, which mix the academic and the creative, will offer you the opportunity to put your love of drama to practical use.
Applied Drama at BGU is for you if you are lively, curious and interested in making a difference to others. It's ideal if you want to take your projects into the community, such as into special needs and mental health settings, care homes, schools, nurseries, youth groups and many more – whilst all the time improving your performance skills, communication skills and knowledge of the subject.
We encourage our students to express individuality, connect with local communities and demonstrate what they have to offer. You'll learn how to assess community needs, use your energy and imagination to respond accordingly, devise workshops and performance work, and learn organisational, fundraising and event management skills at the same time. In addition to the academic study of drama and theatre, you will find yourself working in a lively atmosphere with like-minded people on interesting projects. Many of these projects are taken into schools and other community settings, such as youth groups, special needs units and care units, making drama work for individuals, community groups and society as a whole. You'll have the opportunity to work collaboratively in groups, acting, directing and studying theatre.
In addition to our full-time and part-time staff, we bring in specialist practitioners to all our drama degree programmes. This means that we can offer an up-to-date and relevant professional perspective. Our specialist practitioners offer students the chance to work alongside professional companies and take part in local and national festivals. Elements of enterprise and problem-solving, which are invaluable assets in the employment market, are central to our drama courses. As well as performance skills, you'll develop good communication skills, confidence and resourcefulness.
At all stages of the course, you will practice what you learn through practical study and live projects. Extended placements make this a unique course, tailored perfectly for you. We encourage individuality and are genuinely interested in your ideas and what you have to offer.
We use a versatile range of assessments in Drama which reflect both the equal emphasis we place on theory and practice, and the importance we give to the future employment skills of our graduates. Theory-based assessment methods include analytical reports, student-led seminars, presentations, essays, dissertations, exhibitions of work and portfolios. More practical assessment methods may include analysed performances, group presentations, practical performances or large scale individual community placements.
Combining your study with Applied Drama opens up a variety of other career possibilities.
Throughout our Drama courses, you will acquire a number of useful skills which can be transferred to the workplace, such as good communication skills, the ability to work effectively in groups and as an individual, good organisational and decision-making skills, effective analytical skills, and the ability to apply theory to practice.
Possible future careers for Applied Drama graduates could include Theatre management, Drama therapy, Teaching and academic careers, Community and mainstream theatre work, Community work (such as Special Educational Needs and mental health). All Drama graduates may also find employment in the public or private sectors, in the creative industries, within the media, tourism and leisure or with education.
During the course of this module you will explore key contemporary theories relating to the functions of fact based theatre, including the work of Douglas Murray and Littlewood and work of many verbatim theatre makers such as Richard Norton-Taylor, Gillian Slovo, Moises Kauffman, Alana Valentine. The historical origins and nature of verbatim and documentary will be considered in addition to theatre design, convention and the staging of plays.
This module will act as a foundation for the rest of the course and will ensure that you have a common core understanding of essential critical and practical skills. The module will reference the work of a selection of theatre practitioners and theatre styles such as Stanislavski, Artaud, Grotowski.
This module will take a European perspective of theatre history in a social context. A representative selection of eras from the following list; Greek, medieval, Elizabethan, Restoration, Commedia dell'Arte, Melodrama, pantomime and Naturalism will be selected and exemplar texts from each of the eras will be explored.
This module will allow you to extend your theoretical knowledge of the field and to enhance the understanding of workshop techniques in relation to Applied Theatre. The history and political and social background of Theatre in Education will be studied and the challenges of interventionalist theatre will be explored in some detail.
The purpose of this module is to allow you to gain detailed insights into the world of the playwright, their intentions and influences. You will implicitly consider how one's social class, context and gender influence performance work, and investigate form, structure and meaning.
This module puts an emphasis on the political effect – both radical and conservative – of popular theatre forms, considering them in shifting contexts of nationalism, multiculturalism, citizenship and globalisation. The module will begin with a consideration of a variety of popular theatrical traditions such as carnival, street performance and spectacle, pantomime, children's theatre, stand-up comedy, circus skills and others to connect these popular theatre forms to questions of identity and civic participation.
You will engage in an examination of appropriate planning for theatrical events and consideration of possible rehearsal techniques. Design concepts within a working context, and the style and form of the production will be considered with reference to theories introduced in other modules.
This module will include study of the major practitioners in educational drama during the past thirty years, and emerging drama teaching philosophy. Detailed consideration will be given to the place of signing, symbol and metaxis in drama teaching and the subtleties of working alongside young people in developing process drama will be practiced in the studio.
During the course of this module you will be equipped to identify an area that interests you regarding your research project on a topic of your own choosing, with support from a supervisor and/or personal tutor, plenary teaching and online learning resources. Lectures will consider issues of research design and the creation of research questions, qualitative and quantitative methodologies, data gathering (and the ethics of data collection) and analysis.


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redpajama_set_name: RedPajamaCommonCrawl


You'll be toasty all season in the Minnetonka Theresa Folded women's slipper. It features a fur cuff and lining along with rich suede and moc-toe. Finished with a decorative tie and to easy slip-on construction.


Learning can happen before birth. Joe Hutto1 lived in the Wind River Mountains of Wyoming, where he got to know mule deer. Over the course of seven years, Hutto habituated them to his presence and was able to integrate himself into their society. Recognizing individuals allowed him to discern family relationships and to observe how the deer conducted their day-to-day lives. One deer who became pregnant happened to be very close to Hutto, and allowed him to follow her to where she would lie in her final weeks of her pregnancy. She even allowed him to lie down with her, put his head on her belly, and listen to her baby. He talked to the baby, and sang to it. Then, for several days, she was nowhere to be found. Hutto was worried. And then she appeared at his door. In the distance was an anxious youngster. Joe said hello to the little one, and he came running forward. Evidently the little one recognized his voice, which he had come to trust before he was born.
Learning before birth is not limited to mammals. We are thrilled by the mystery of sea turtles, who somehow return to the place of their birth to give birth themselves, several years later. No one seems to understand how they can do this. Surely their beach does not have a distinctive scent, or distinctive "look" from the sea. So how could they show up where they were born? I think I have the answer.
We built our house in the woods. One day I looked up our new driveway, and there was a huge turtle sitting there, staring at the house. I walked her to the side of the house, so she could continue down the hill to the river, and half an hour later, she was back in the driveway, staring at the house. Unlike my car's GPS, which is happy to reroute me when I make a mistake, this turtle must have returned to a magnetic meridian that she used to guide her travel between pond and river. From her size, she might have been 30 years old, and had certainly made this trip between pond and river many times.
On another day, a big snake came down the driveway, tracing the turtle's route. Our house was again in the way, but Mrs. Snake dealt with the issue with less evident confusion. She spent the night in the brush near our front door, and the next day continued on to the river — I could tell from the sound of the Blue Jays down near the river just where she now was. She apparently used about the same route as Mrs. Turtle, and was also making a semi-annual commute between pond to river.
On another day, I needed to go out the front door, and swung it open. A big turtle fell in. She had been standing on her back legs, struggling to get in through the glass. I don't think she was the same turtle I'd previously seen, so this commuter route was starting to look like it once handled a lot of traffic.
So I thought I'd figured out the commuter route for these reptiles. But what happened next left me amazed. One day I stepped out onto the front porch to find a walnut up against the house. No, not a walnut. A tiny turtle, who'd flipped over on his back trying to get into the house. This little guy must have been born just a month or two earlier. He must have been born on the bank of the pond, and must be headed down to the river. As I thought about it, I realized that he had made this trip before: inside an egg, inside mom, he must have taken the trip from river to pond. On the trip, in the darkness of his eggshell, he must have sensed the critical magnetic meridian, and memorized it. Now he could do it all by himself. We think of turtles as not teaching their young anything, but this critical information was something that he must have learned from mom.
And so that could explain how a turtle hatched on a beach in the ocean could possibly figure out how to get back there when it was an adult: it could memorize while in the egg, either before or after the egg was laid.
What do turtles, snakes, and mule deer have to do with horses? Plenty. Youngsters have much to learn. A horse won't wait for your trainer to arrive. He'll need to get started earlier than that. And so a foal that is about to be born likely has a good idea of who he is. He likely knows one or two human voices, knows his mom's voice, knows the voices of some of the others in the pasture.
"Imprinting" is a word that is often heard, and is used by laymen very casually to describe some connection that has formed between two animals. The popular horse literature is full of references to imprinting, and the value of imprinting foals on humans.
Having hand-raised many baby birds with the idea that they would attach to me and be better companions, I can attest to the power of imprinting, as well as the damage it can do. Amelia and Buster had five babies that we hand-raised, taking them away from their parents at two weeks. These five cockatiels became great buddies of ours. On Sunday mornings we'd open the door to their room and call them, and they'd all fly down the stairs and join us for a session of "coffee, papers, and babies in bed." We learned the meanings of many of the words they used — I estimated over 100 words used to signify their internal states in different contexts. But when it came time to raise babies, the boys never figured it out. Stewball and Freckles both were good at courtship, at mating, at sitting on eggs. They took the tougher day shift, so their wives could be out foraging in the room and relaxing. But when the little ones hatched, things went badly. Stewball knew how to feed the babies, and did a good job of that. (He still regurgitates on my knee to show me what a great spouse he'd be.) But his grooming was excessive, and he wouldn't stop at cleaning up formula or adjusting a few feathers: he'd pull all the feathers out of the babies heads, one by one. And Freckles never learned what to do with a baby after it had hatched. We'd find a baby lying in the corner of the nest box, with Freckles busy sitting on the remaining unhatched eggs.
Bean was one that Freckles ignored, and we took him away from his dad when he was just a few hours old (and his eyes were still closed). His early days were spent in an incubator on my desk, on a different floor of the house than the other birds lived on. Until he fledged, he never saw his father or mother. But then we returned him to the room with the others. He immediately flew straight to his Dad, and hasn't been far from his side since. We've never been able to understand how he decided who to bond with, but perhaps he had already bonded while in the egg, listening to his dad whisper sweet things to his mom in the nest box.4 Today Freckles and Bean share a dialect, making them easy to distinguish from the others.
Imprinting can certainly give a bird two identities. Our hand-raised birds seem to view themselves as birds most of the time, but some of them are very comfortable at times being a person. Stewball, for instance, is now sitting on my knee, grooming his feathers. Soon I will be going downstairs to watch TV. He'll likely choose to come with me, and watch TV with us until his biological clock tells him it is bedtime. Then he'll say the word that means "I need to go up." We'll take him back to his room, where he will spend the night with 6 other birds, including his wife. When I take him back upstairs to their room, he may make a kissing sound as he gets closer — an indication he is fantasizing about being with his wife. But then, as he flies from my shoulder to her, he switches to the cockatiel word for love. For this word, at least, Stewball is bilingual.
Early research focused on the following reaction of precocial birds, something that is now called "filial imprinting". Filial imprinting is useful in fostering a mother-offspring bond, and makes perfect sense. Even if a bird could learn to follow a man in boots or follow a toy train, in nearly every case the big moving thing nearby is mom, and learning to follow her is a key to survival. We can be comfortable believing that such a feat did not originate with birds, but that young dinosaurs of many species might have also followed their moms.
Filial imprinting seems to have been found in every species of bird that has been studied. We are all familiar with pictures of ducklings following a human or a dog that they have imprinted on. Whether filial imprinting occurs in other species is an open question. While there is a huge amount of early learning in mammals, it is not clear that any of this learning should be called "imprinting." While the general public is comfortable with the word "imprinting" when talking about young mammals such as foals, scientists don't use the term. I won't either, but I'll need to account for the positive effects of early exposure, so keep reading.
An individual bird of one color that is reared by foster parents of the same species but a different color will prefer to later pair with another of the foster parent color. This has been found in ducks, domestic fowl, domestic and feral pigeons, zebra finches, and Bengalese finches.
Sexual imprinting can occur when the eggs of one species are hatched and raised by foster parents of another species7.
In contrast to the willingness of birds to engage in sexual imprinting, and the willingness of researchers to study it, sexual imprinting has scarcely been examined in mammals, perhaps because it does not occur. One study found that mice raised by a different subspecies of mouse seemed to prefer that different subspecies as partners when mating.8 There have been many reports of males of various species of mammals trying to mate with things outside their species — a dog under the dining table mating with your leg, for instance — but all of these stories derive from lust and confusion, rather than imprinting. G once mounted his Parelli ball while we were playing with it, but he never met a Parelli ball until he was 8, and had not imprinted on it.
I believe it is safe to conclude that sexual imprinting does not occur in mammals.
Miller's book "Imprint Training" advocates for intensely, intimately handling newborn foals, pinning them down and doing this in very long sessions at birth, when it first stands, and when it first walks. Clinton Anderson seems to advocate equally rough treatment of a foal in a video.9 Of course we should listen to Anderson, because (according to him), "Clinton and Downunder Horsemanship are recognized as world leaders in the equestrian industry and continue to offer the very best in innovation, inspiration and instruction." The techniques proposed by Miller and Anderson do not seem to have anything to do with imprinting, however, but rather with roughing up the newborn. As understood by scientists, parents don't manhandle their babies during imprinting. They care for them. The baby figures who to love and follow.
However, a number of studies conclude that the "imprinting" advocated by Miller and Anderson do not work, and is not a good idea.
Williams and others studied 131 foals and divided them into different treatment groups: no imprint training, imprint training four times (at birth, 12, 24 and 48 h after birth), or imprint training once (at birth, 12, 24, 48, or 72 h after birth). Foals then received minimal human handling until they were tested at 6 months. The researchers concluded that neither the number of imprint training sessions (0, 1, or 4) nor the timing of imprint training sessions (none, birth, 12, 24, 48, or 72 h after birth) influenced the foal's behavior at 6 months of age.11 In this study, imprint training did not result in better behaved, less reactive foals.
We know that kin recognition occurs throughout the animal kingdom, including single-celled organisms. There does not seem to be a general theory of how this happens, so I'm free to offer my personal views here. First, it seems unlikely that each species developed its own means of deciding who is kin. So we need to consider a thread that could run through the entire animal kingdom. Such a thread could be that of familiarity.
All organisms have had some experience with themselves. If they have a sense of smell, then their own odor is surely familiar. Many animals have hearing, and can make sounds; such sounds will be familiar.
Repeated exposure breeds familiarity, and familiarity breeds comfort. Individuals are drawn to those that are comforting. In the course of doing this, comfort breeds greater familiarity, strengthening the bond between individuals.
The more another individual smells or sounds or looks like us, the more likely they are to be kin. But in many species, kin recognition could simply be an artifact of familiarity.
Familiarity could account for both "normal" kin recognition (that is, a wolf raised by wolves) and "abnormal" kin recognition (a child raised by wolves). But it doesn't account for kin recognition in animals that don't have the degree of parenting offered by birds, mammals, alligators, and some fish.
How does familiarity breed comfort? It might be because familiarity lowers plasma corticosterone levels in birds,13 which underlie stress. It may be that familiarity shapes the effects of oxytocin, making us want to associate with and protect those we are familiar with, and be more violent or aggressive to those we are not familiar with. Whatever the mechanism, it seems likely that hormone levels play some role.
An instinct is an unlearned fixed action patten that is triggered by some stimulus. In his fabulous book "Illumination in the Flatwoods: A season with the wild turkey", Joe Hutto14 describes how very young turkeys walking through the woods were able to behave differently toward poisonous and non-poisonous snakes on their first encounters. Because his turkeys had never been out of his sight, Hutto could be sure that these encounters were their first. It seemed clear to me that some clues to species identification were buried in these turkey's brains at birth, and guided their reactions appropriately.
Instinct might explain how turtles choose partners. Turtles have almost no contact between parent and progeny. Dad inseminates mom and leaves. Mom lays eggs and leaves. The only real contact is while junior is in the egg, inside mom. But turtles don't hang out in schools or flocks. They live solitary lives, and are found together only when something of common interest has drawn them, such as a feeding station on a dock in the river. Instinct, rather than acquired familiarity, must explain turtle choice of partners. But just exactly how this works is a mystery — at least to me.
Other reptiles, though, get more nurturing in childhood. Mrs. Alligator, for instance, carefully builds a nest, guards the nest from predators, and as the babies hatch, helps them get out of their shells. She carries them to nearby water in her mouth, and protects them for a year or more. For mama alligator, some mix of instinct and childhood experience may be crucial to her success as a mother.
People who have the chance to work with foals will often make a claim that they spend time with them so that they will imprint on humans. Certainly spending time with a foal gives them a good headstart in understanding and accepting the ways of the bipedal world.
Familiarity seems like a perfectly useful explanation of how a foal might learn to recognize his kin. And there are a number of studies that suggest that early exposure to humans might be good for foals. In one experiment,15 lamb twins were used to determine the effect of exposure to humans. Lambs were fed milk replacer and handled four times a day for five minute periods at the ages of 1-3, 3-5, 5-7, or 7-9 days. Those lambs that received this 40 minutes of human contact at the age of 1-3 days were less timid and more willing to make contact with a human than those exposed later in life or their twins, who were not exposed. But even if we are willing to extrapolate from lambs to horse foals, we should not extrapolate from 1-3 days to 1-3 years. Early contact seems to be far more important in building comfort with human contact.
By the definition used by scientists, there is a sensitive period that is critical for imprinting: During this period, the youngster is best able to learn who it is, and who it should follow. As this period of greatest sensitivity comes to an end, exposure produces weaker learning, weaker tendencies to follow. The abruptness of the end of the sensitive period may depend on the species. But in the studies which use the term "filial imprinting", the critical period is a matter of hours or days, not weeks or months.
This is not to say that later contact with an animal is without benefit. Handling birds and mammals under positive circumstances can lower their stress when people are present, decreasing the effects of humans on their health, fecundity, productivity, and welfare.
We should also expect that early gentle handling might lead to improved learning capabilities when working with human trainers. Williams et al16 review this literature: Foals which received handling sessions that lasted varying periods from one week to 18 months, beginning at weaning, learned more quickly and had fewer errors on a learning task than foals that did not receive any handling. Foals that received more handling learned the quickest and had fewer errors than those foals that received less handling;17 Williams et al also cite a study finding that foals handled 5 days/week beginning 24 h after birth and ending 42 days after birth were trained to lead more quickly than those handled beginning at 42 days and lasting until 84 days after birth.
Short periods of positive or reinforcing handling can alleviate animal stress in the presence of people, decreasing its impact on animal health18, fecundity19, productivity20 and welfare21. In chickens, daily habituation to non-threatening people increases egg production22 and allows them to gain weight faster with less feed.23 Food rewards and gentle handling decrease the heart rate, adrenal response and flight distance of sheep in the presence of people24. Gently stroking pigs whenever they approach people, increases approaches towards people, growth rate and feed-conversion efficiency25. We should assume that at all ages, increased familiarity with people will improve a horse's comfort with them, and in turn, will improve their well-being. So spend some quality time with your horse!
Five daily sessions of 20 minutes each will likely produce more benefit than one session of 100 minutes. In general, repeated distributed exposures will allow for a dissipation of satiation with each other, and you'll get more bang for your buck. Of course, if you must drive 20 minutes for such a session, massed exposure as a single 100 minute session is more practical.
Quality does matter. You are teaching your horse that you can be trusted, that you are gentle, that you won't hurt him. Every time you behave otherwise and betray the developing trust, the more work you will need to put in to restore it. So if you are in a foul mood, stay home. If your horse doesn't want to do what you want to do, change your plans to suit his. Remember that while familiarity with a consistently pleasant person can breed comfort, familiarity with the unpleasant can breed contempt.
Ensure that your rules for kindness are followed by others who interact with your horse. Your horse will both distinguish between people and generalize to all people. So when their vet comes to judge the Pony Club contestants, of course the ponies will move off in different directions — distinguishing between people, and wanting to avoid the vet. But if your horse was repeatedly twitched at the track, even if you would never twitch him, he may fear your hand near his head for years afterward — generalizing to all people, and wanting to avoid hands near his head.
If your time with your horse must be limited, give him as big a dose as you can. Speak softly. Rub him. Scratch his chest and neck. Let him see you from all angles, and both of his sides, coming and going. Spend that time doing what he loves. Carrots won't hurt: he'll associate his happiness with your presence.
3 Prägung also translates as "coining", "stamping", and "engraving".
5 Immelmann, K. (1972). Sexual and other long-term aspects of imprinting in birds and other species. Advances in the Study of Behavior, 4, 147-174.
6 Klinghammer, E. 1967. Factors influencing choice of mate in altricial birds. In "Early Behavior: Comparative and Developmental Approaches" (H. W. Stevenson, ed.), pp. 5-42, Wiley, New York.
7 Immelmann, K. (1972). Op. Cit.
8 Mainardi, D., Scudo, F. M.. and Barbieri, D. 1965. Assortative mating based on early learning: population genetics. Ateno Parmense 36, 583-605.
10 Williams, J.L., Friend, T.H., Toscano, M.J., Collins, M.N., Sisto-Burt, A. and Nevill, C.H. (2002) The effect of early training sessions on the reactions of foals at 1, 2 and 3 months of age. Appl. anim. behav. Sci. 77, 105-114.
11 Williams, J. L., Friend, T. H., Collins, M. N., Toscano, M. J., Sisto-Burt, A., & Nevill, C. H. (2003). Effects of imprint training procedure at birth on the reactions of foals at age six months. Equine veterinary journal, 35(2), 127-132.
13 Barnett, J. L., Hemsworth, P. H., Hennessy, D. P., McCallum, T. H. & Newman, E. A. 1994. The effects of modifying the amount of human contact on behavioral, physiological and production responses of laying hens. Appl. Anim. Behav. Sci., 41, 87–100.
15 Markowitz, T. M., Dally, M. R., Gursky, K., & Price, E. O. (1998). Early handling increases lamb affinity for humans. Animal Behaviour, 55(3), 573-587.
16 Williams, J. L., Friend, T. H., Collins, M. N., Toscano, M. J., Sisto-Burt, A., & Nevill, C. H. (2003). Op cit.
17 Heird, J.C., Whitaker, D.D., Bell, R.W., Ramsey, C.B. and Lokey, C.E. (1986) The effects of handling at different ages on the subsequent learning ability of 2-yearold horses. Appl. anim. behav. Sci. 15, 15-25.
18 Maier, S. F., Watkins, L. R. & Fleshner, M. 1994. Psychoneuroimmunology: the interface between behaviour,brain, and immunity. Am. Psychol., 1004–1017.
19 Hemsworth, P. H., Barnett, J. L. & Hansen, C. 1986a. The influence of handling by humans on the behaviour, reproduction and corticosteroids of male and female pigs. Appl. Anim. Behav. Sci., 15, 303–314.
of the herdsman's personality on milk yield. J. Agric. Labour Sci., 1, 44–59; Apple, J. K., Unruh, J. A., Minton, J. E. & Bertlett, J. L.
1993. Influence of repeated restraint and isolation stress and electrolyte administration on carcass quality and muscle electrolyte content in sheep. Meat Sci., 35, 191–203.
Animal Welfare. London: Chapman & Hall.
22 Barnett, J. L., Hemsworth, P. H., Hennessy, D. P., McCallum, T. H. & Newman, E. A. 1994. The effects of modifying the amount of human contact on behavioral, physiological and production responses of laying hens. Appl. Anim. Behav. Sci., 41, 87–100.
23 Hemsworth, P. H., Coleman, G. J., Barnett, J. L. & Jones, R. B. 1994. Behavioural responses to humans and the productivity of broiler chickens. Appl. Anim. Behav. Sci., 41, 101–114.
24 Hutson, G. D. 1985. The influence of barley food rewards on sheep movement through a handling system. Appl. Anim. Behav. Sci., 14, 263–273.
25 Hemsworth, P. H. & Barnett, J. L. 1991. The effects of aversively handling pigs, either individually or in groups, on their behaviour, growth, and corticosteroids. Appl. Anim. Behav. Sci., 30, 61–72.


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The Game Sports Football College football College sports
Oklahoma Big 12 Alabama SEC Cincinnati The American Ohio State Big Ten
AP Top 25: Ohio State jumps to No. 2 past 'Bama, Cincinnati
By RALPH D. RUSSO - Nov. 21, 2021 02:21 PM EST
Ohio State receiver Garrett Wilson, right, celebrates his touchdown against Michigan State with teammate Chris Olave during the first half of an NCAA college football game Saturday, Nov. 20, 2021, in Columbus, Ohio. (AP Photo/Jay LaPrete)
Ohio State is No. 2 in The Associated Press college football poll, surging three spots Sunday past No. 3 Alabama and No. 4 Cincinnati in a close vote.
Georgia is a unanimous No. 1 in the AP Top 25 presented by Regions Bank for the seventh consecutive week, but for the second week in a row, No. 2 has changed.
Alabama slipped past Cincinnati last week and then Ohio State leapfrogged them both after routing Michigan State 56-7 on Saturday. The Buckeyes received 1,434 points from the media panel. The Crimson Tide had 1,423 and the Bearcats got 1,416.
Notre Dame is up to a season-high No. 5 and Michigan will go into its game against Ohio State next Saturday ranked No. 6. The winner of Buckeyes-Wolverines will play in the Big Ten championship game.
Oklahoma State moved to a season-high No. 7 and is one of three teams from the Big 12 residing in the back half of the top 10, along with No. 9 Baylor and No. 10 Oklahoma.
The Cowboys host the Sooners next Saturday in a Bedlam game that will help decide the Big 12 championship participants. Oklahoma State has clinched a spot, and Baylor and Oklahoma are still alive.
Mississippi rounds out the top 10 at No. 8.
POLL POINTS
Michigan State was one of two teams ranked in the top 10 last week to get blown out Saturday.
The Spartans dropped five spots to 12th after losing to Ohio State and Oregon fell from fourth to 11th after getting pounded 38-7 by Utah. The Utes moved up eight spots to No. 16.
The last time two top-10 teams lost by 30 or more points on the same day was Sept. 22, 1984, when No. 15 Florida State beat No. 4 Miami 38-3 and No. 1 Nebraska beat No. 8 UCLA 42-3.
— For the first time this season no teams fell out of the rankings.
Four ranked teams lost in total, with Wake Forest and Arkansas joining Oregon and Michigan State. The Demon Deacons were the only ranked team to lose to an unranked team. Wake's lopsided loss at Clemson dropped the Deacs eight spots to No. 21.
No. 25 Arkansas fell four spots after losing at Alabama by a touchdown, narrowly keeping Clemson from returning to the Top 25 for the first time since the last weekend of September. The Razorbacks received 105 points to Clemson's 101.
SEC — 5 (Nos. 1, 3, 8, 14, 25).
Big Ten — 5 (Nos. 2, 6, 12, 17, 18).
ACC — 3 (Nos. 20, 21, 24).
Big 12 — 3 (Nos. 7, 9, 10).
Pac-12 — 2 (Nos. 11, 16).
American — 2 (Nos. 4, 19).
Conference USA — 1 (No. 15).
Mountain West — 1 (No. 22).
Sun Belt — 1 (No. 23).
Independent — 2 (Nos. 5, 13).
RANKED vs. RANKED
— No. 2 Ohio State at No. 6 Michigan. For the 24th time, The Game will be a top-10 matchup.
— No. 10 Oklahoma at No. 7 Oklahoma State. Bedlam will be a top-10 matchup for the third time. The last time was 2015 and the Sooners won by 35.
Follow Ralph D. Russo at https://twitter.com/ralphDrussoAP and listen at http://www.appodcasts.com


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Can IV Therapy Vary Per Individual?
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rep informed me that they don't have that capability as of yet, but she suggested I contact you to see if it could be done from your end. My question is, can TD initiate a transfer from another bank to an account with them? I was speaking with a bank where I have a savings account. I asked if I could transfer money from that account to one we have with TD. The rep informed me that they don't have that capability as of yet, but she suggested I contact you to see if it could be done from your end. My question is, can TD initiate a transfer from another bank to an account with them?
Thanks for dropping by TD Helps, Jeanne. We'll be happy to provide the information that is needed to transfer funds. You may review the options for an incoming wire transfer or an Account to Account transfer below. A wire transfer may be initiated from the sending bank. We recommend contacting the sending bank for further instructions or requirements you may need to adhere to. TD Bank will be unable to initiate this transaction if we are the receiver. For an Incoming Domestic Wire Transfer, it is necessary to provide the following information to any individual or financial institution wiring funds into your TD account: 1.	Your account number 2.	Your routing number (first 9 digits on the bottom of your checks) 3.	Your account title, exactly as it appears on your account There is a $15.00 fee for an Incoming Wire on consumer and business accounts. TD Bank also offers Account to Account transfers to move funds to (and from) your account with another bank. To use External Transfers, you must have a profile in Online Banking with a U.S. address, a unique U.S. phone number, a Social Security Number, and a valid unique email address. After you login to your online profile, choose the Transfers tab. This will bring you to the page where you may choose internal transfers between accounts at TD Bank, or the option to Begin the external transfers set up. You will need to Enroll to use this service. Click on Enroll now. On the page that appears- please review your contact information and read the Terms and Conditions. Once completed, you may click on the three boxes which: 1. Accepts the Terms and Conditions 2. Confirms that you are able to access the TD Bank Fee Schedule 3. Accepts possible contact with regard to transfers Once completed, click on Accept and you may continue to schedule a transfer. We hope you find our answers helpful and please don't hesitate to return to TD Helps if you have any further questions.


text:
Vijay Hazare Trophy: Maharashtra drubs TN to remain unbeaten
Tamil Nadu took the field without skipper Vijay Shankar, troubled by a back pain. B. Indrajith led the side well and got the best out of the bowlers to restrict Maharashtra's in-form batting line. The target of 271, however, proved beyond Tamil Nadu's reach despite the middle-order trying its best. In the ultimate analysis, the knock of 82 by opener Ruturaj Gaikwad proved precious for Maharashtra.
Vijay Lokapally
Cuttack 01 March, 2017 17:31 IST
After the batsmen delivered the goods, Shrikant Mundhe picked up four wickets to help Maharashtra down Tamil Nadu. - File photo: Vivek Bendre
Maharashtra kept its record of being unbeaten intact with a 22-run win over Tamil Nadu in a Vijay Hazare Trophy natch here. In a crucial match at the DRIEMS ground at Tangi, Maharashtra handed Tamil Nadu its first defeat and in the process, qualified for the knockout to be held at Delhi from March 13.
With four wins and matches against Uttar Pradesh and Tripura in hand, Maharashtra can afford to take things easy, while Tamil Nadu needs victories from its remaining encounters against Kerala and Tripura.
Akshdeep ton guides UP to victory
Tamil Nadu took the field without skipper Vijay Shankar, troubled by a back pain. B. Indrajith led the side well and got the best out of the bowlers to restrict Maharashtra's in-form batting line. The target of 271, however, proved beyond Tamil Nadu's reach despite the middle order trying its best. In the ultimate analysis, the knock of 82 by opener Ruturaj Gaikwad proved precious for Maharashtra.
Gaikwad is 30, and has just played one first-class match and one T20 game. In three List A contests, his scoring sequence has been 9, 79 and 132. He maintained his consistency with a 76-ball 82 that contained nine fours and two sixes. His pattern of strokeplay, hitting in front or square of the wicket, was not dictated by the line and length of the ball. His range was wide and allowed him the freedom to take chances against the Tamil Nadu bowlers.
The cheap dismissals of Vijay Zol (18) and Ankit Bawne (18) did not shackle Gaikwad's intent to bat freely. His form was evident in the quick positioning of feet as Gaikwad dominated the Tamil Nadu bowlers. In the company of Kedar Jadhav, he revelled by trying to match the aggressive approach of his skipper. The Tamil Nadu attack felt the pressure before the breakthrough came in the shape of Jadhav's wicket, who was foxed by left-arm spinner Rahil Shah.
Inspired by Jadhav's wicket, Tamil Nadu looked to dry the flow of runs and the strategy paid when Gaikwad was trapped leg-before. It was a crucial strike by seamer Anthony Dhas and put a halt to the pace that Maharashtra had maintained. It was left to Naushad Shaikh to keep up the momentum set by Gaikwad and Jadhav. Shaikh did well to keep the strike and hit three fours and three sixes in his 66-ball knock.
Maharashtra, however, failed to cross the 300-mark for the first time in four matches, having made 376, 311 and 367 in its previous outings. For Tamil Nadu, the major share of wickets went to M. Mohammed (two for 36), Rahil Shah (two for 53) and Aswin Crist (two for 70).
The Tamil Nadu chase never took wing since G. S. Raju (37), Kaushik Gandhi (38), B. Aparajith (26) and Indrajith could not finish the job they had started with a flourish. The planning was missing in the Tamil Nadu camp in this match and a late charge by M. Mohammed failed to stop Maharashtra's progress to the next round.
Bruno Fernandes to Man Utd: Numbers that should encourage the fans


They're big, they're old and they're beautiful! Hand-crafted in our workshop out of reclaimed barn wood, giving them that rustic feel whose accents tell of past lives. Each table is slightly different. Great for family style dining, wine-country settings and farm-to-table meals. Easily seats 10 people.


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Everything you wanted to know about the Alexander Technique but were afraid to ask:
an evening with Peter Ribeaux: Friends Meeting House, London, 15th June 2010
By Poppy Walshaw
This June event was without a defined theme: rather, we were asked to 'come armed with questions about the Technique'. The resulting discussions were very interesting and informative, focusing on both some specific details of Peter Ribeaux's teaching, as well as more philosophically about the 'timeless core' of the Technique, and how we impart and even develop this. As the talk was by its nature dictated by the specific questions raised, I would like to examine some of these points in some detail.
The starting point was this concept of there being a 'timeless core' of the Alexander Technique. What do we perceive this to be, and how can we impart this to pupils? Peter feels that whilst he works in the same fundamental way with all pupils, one is nevertheless dealing with what the pupil most wants to work on. It doesn't really matter whether one works more physically or psychologically, as we are ultimately a psycho-physical unity; "the way in, of working, is our preference". How pupil-led can the teaching be, given the inherent necessity of means-whereby and sticking to principle in the teacher's work? Peter does initially work at the source of a pupil's pain: for example, to start work with the arms and shoulders for stringed-instrument players. Over the decades of experience, he feels that one can 'see' the cause of problems faster, recognising the inevitably common patterns of misuse. One must of course be wary of the temptation of an endgaining quick-fix; however, Marjory Barlow was quoted as saying: "You get cunning in your old age".
How can we define what a 'timeless core' of this Technique is? The question was raised whether a pupil must use the four books that Alexander wrote. Peter mentioned some of the parts of the writings that he finds most essential: the books are certainly one of the clues that we have as to how Alexander worked. How can we know this through other sources? Obviously, the work has been handed down through a lineage of teachers to trainees, but Peter questioned whether Alexander would actually recognise how many AT teachers nowadays work with their hands. The Alexander Technique is a living thing, and it doesn't matter exactly what you are doing, rather how you do it, your own 'directions', and using yourself as well as you can. Peter described how as a teacher, one can in fact do "anything you like, within reason", especially with more experienced pupils-provided that one never pulls oneself or the pupil 'down'. By sticking to principle, and especially to the head-neck-back relationship, one stays with the means-whereby, without knowing exactly what the result will be, which is why the work always remains exciting.
This leads me onto a description of some of the more specific, 'mechanical', questions that arose about the AT and Peter's own work.
A question was raised by a pupil about his confusion between our use of the terms 'head' versus 'mind'. In referring to the head leading, he seemed to see an ambiguity as the mind, or thought, also 'leads'. Here I quote Peter's description of the head physically leading:
The first preliminary to movement, the first things that needs to be engaged, is that the neck is free and the head coming off the end of the spine in the direction we call forward and up. The up is a sort of illusion.
What he believes Alexander means by a free neck is just the freedom between the occiput and the axis (i.e. at the top of our spine). The head always leads forwards in our directions: if we walk backwards, the head still leads off the end of the spine forwards whilst the body is allowed to move backwards.
How do we free the neck? He works in fact to keep 'stability' in the body, for example by directing the feet into the ground which 'reflexly bounces back' so that the head leads away from the ground. By considering the total organism, we can help to let the neck be free: we create good conditions for that to be allowed.
Did Alexander refer to 'primary control' or 'the primary control'? Is it the mechanism, or the manner of operating the mechanism: the entity or activity? In fact Alexander seems to say 'the manner of use of the Primary Control'. Peter suggested that the differences in how teachers define the primary control is one of the main factors that differentiates 'styles' of the AT. Peter's own descriptions dealt with "a connection through, which gives you an entity (the primary control), which runs from the deepest level of musculature from head to feet." The feet in turn fire stretch reflexes up into the deep muscles of the organism, for example between the vertebrae, and the eyes play an important role. So we are rather like a tent with its guy ropes, in the way that overlapping layers of muscles, in the correct tonus, give us support.
Following on from the above point, a definition of 'misuse':
Misuse is the way in which the movement musculature takes the role of the support musculature. We shouldn't let one 'contaminate' the other. By undoing the contamination of the superficial muscles, the teacher allows the deeper muscles to learn to work: those that should be doing the supporting. Good use is about moving coordinated as one piece or system, and this condition of good support is, he feels, a prerequisite for being able to let the head lead, and so on.
What is the difference between 'opposition' and 'staying in the back'? Both of these terms are post-Alexander expressions, particularly from Patrick Macdonald's teaching. Peter described his teacher's work: that it did instant inhibition and direction, all in one go, and that he could get things no other teacher can, in terms of actually working the organism as a whole. 'Staying in the back' he described as 'using some consciousness in the back so we are not lurching forwards': if we stay in our back, our experience is of having a better sense of what is going on in the world (i.e. the periphery). 'Opposition' he defined as one bit of the body moving in opposition to another, slightly different to the term 'separation'. For example, there is separation between the legs and the back, but opposition between the back back and the legs (or knees) directing forwards. There can be the opposition of our feet to our hands: the arms 'should work in the same way as the legs', for example in a crawl, and also the opposition of our feet to the ground.
What is 'non-doing'? It is not doing nothing, though that may be a preliminary step. The decades of experience have given Peter a more complex sense of many such Alexander concepts than the first appearance of the sense of the words.
Stress Management: Peter works extensively with stress management, and described how the Alexander principles are inherent in this work, even when not specifically explained. His coaching includes how to stop, and what to do when we stop, so that we gain control over ourselves and our circumstances in tiny ways. He teaches techniques to think our way through the day, such as allowing the phone to ring once longer than normal, counting whilst breathing, or regularly remembering to take a small action such as to lie down once a day. This allows some moments to evaluate one's situation and reactions.
The evening certainly dealt in an interesting amount of depth with many central issues and questions. As a trainee teacher myself, having not experienced Peter's work before, I would have welcomed more activity or hands-on work to enhance this, as words can perhaps only approximate to learning through experience.
As Peter said: "There are genuine puzzles in the Alexander Technique"…
© Poppy Walshaw 2010


The seminar room is on the first floor and is equipped with modern technical solutions. For more private meetings there is also a smaller seminar room on the ground floor.
Coffee breaks and group menus upon request.


7. With the aim of promoting understanding of the illness in the community and working towards better treatment options and quality of life for those affected by the disorder in South Australia, Ms Janne McMahon OAM, Dr Martha Kent, Professor Andrew Chanen and the Australian Borderline Personality Disorder Foundation request the South Australian Legislative Council to acknowledge the first week of October each year as Borderline Personality Disorder Awareness Week and a statewide specialised borderline personality disorder service (unit) for South Australia be established.
Leave out paragraph 5 .
7. The state government supports the proposal to increase the awareness of borderline personality disorder. However, this should be built into existing Mental Health Week activities. The government will also be exploring ways for improving networking of South Australian borderline personality disorder experts.
In regard to paragraph 5 of the motion, borderline personality disorder is a serious mental disorder with significant morbidity and mortality. It has been estimated that between 3 and 10 per cent of persons with BPD take their own lives (Clinical Practice Guidelines for the Management of Borderline Personality Disorder—National Health and Medical Research Council—2012). Suicide has complex social, cultural and health components. The assertion that BPD is a leading cause of suicide is not evidence-based and should be deleted.
In the past, BPD has struggled to find acceptability, respect and compassion within the arena of mental health. Historically, this has been due in part to limited effective treatment options. Now that a range of psychological therapies has been demonstrated to be effective for borderline personality disorder, the situation has radically changed. The Borderline Personality Disorder Work Group was established in June 2010 by the statewide Mental Health Clinical Network to obtain reliable information regarding the current status of borderline personality disorder service provision within the public mental health service and to make recommendations to SA Health regarding a workable, multidimensional, statewide service delivery model for patients with borderline personality disorder in South Australia.
A report was produced by the statewide Mental Health Clinical Network titled 'Borderline personality disorder: an overview of current delivery of borderline personality disorder services in the public service across South Australia and a proposed way forward' (the report) which describes the current service delivery to consumers with a diagnosis of borderline personality disorder within the state mental health system, along with the impact on their families and carers.
The statewide strategic mental health committee has considered the report and the feedback from public consultation which ran from June 2014 to July 2014, and is working with the statewide Mental Health Clinical Network on next steps. The report offers a way forward to build on current service provision, taking into consideration the key components of a future service model based on the NHMRC's clinical practice guidelines and international best practice guidelines.
The Australian government National Health and Medical Research Council's 'Clinical practice guidelines for the management of borderline personality disorder', released in March 2013, examined the efficacy of specialised services for people with borderline personality disorder. It was determined that '…there was insufficient evidence to formulate evidence-based recommendations on the role of specialised BPD services'.
SA Health will be exploring ways for improving networking of South Australian borderline personality disorder experts but, at this stage, will not embark on establishing a specialised borderline personality disorder service. Opportunities exist to build on existing pathways by including early intervention strategies, training, supervision and support around non-dialectical behavioural therapies.
Policy development identifying borderline personality disorder as core business and enhanced services providing coordinated care will ensure a reduction in the stigma associated with this diagnosis for both consumers and their families. It will also assist in the reduction of the number of adverse outcomes for this consumer group, with direct savings to public health services through a decline in hospital presentations.
In addition, all South Australian mental health services are able to support people experiencing the symptoms of serious mental illness, including borderline personality disorder, through the SA Health Mental Health Services Pathways to Care policy directive. This directive ensures that, wherever a person presents to public mental health services, their symptoms and issues, not simply their diagnoses, are addressed and appropriate support is provided. I urge honourable members to support the government's amendments.
The college welcomes Kelly Vincent's comments on the importance of a dedicated mental health service for persons living with the difficulties brought about by borderline personality disorder. A dedicated service, with a group of experts who can deliver timely care, is strongly supported. We will be discussing this with the Minister of Health, Jack Snelling, in the coming weeks to support the proposed plan for a specific service for the patient group.
I have also received correspondence from other stakeholders working in this area strongly in support of the motion, including Ms Janne McMahon, OAM, mental health consumer advocate. According to Ms McMahon, people with BPD experience the worst prejudice, discrimination and stigma than do others with mental illness. This appears in the main to be as a result of a lack of recognition of BPD as a mental disorder, and as such people with the diagnosis are actively excluded from the mental health system.
Because admission to psychiatric care or mental health services is often refused, general practitioners who lack the appropriate skills and training are left to manage patients with BPD. It also impacts on our emergency departments and generally our health system as a whole. My limited understanding of this disorder is that self harm, including suicide attempts, is also very common amongst those people suffering from it.
According to Ms McMahon, in Adelaide alone there have been five BPD-related deaths known of over the last 12 months. It is also estimated that one-third of young people who die by suicide have the diagnosis or traits of BPD. The fact that we do not have a state-wide policy dealing with the issues and needs of people with borderline personality disorder is something that needs urgent attention, particularly given the alarming suicide rate that is attributable to this disorder.
In supporting this motion I urge the government, and the Minister for Health in particular, to carefully consider the devastating effect that this disorder is having on our community, and to work with advocacy and stakeholder groups on this very important issue.
The Hon. S.G. WADE ( 17:52 :15 ): I rise to speak on this motion to indicate the Liberal Party's support for it. Also, up front I indicate that the Liberal Party will not support the government's amendment on two grounds: first, on my understanding the government's objection to clause 5 is that the suggested prevalence of 10 per cent is not evidence based. My recollection is that the SA Health work group, the borderline personality work group, does quote studies that show that the rate of completed suicide and people with BPD has been estimated to be approximately 10 per cent, and on that basis we are happy for clause 5 to stand. In relation to the proposed amendment to clause 7, we always read this motion as being focused on a statewide borderline personality service rather than the issue of the week, so in that regard we certainly prefer the original clause 7 than the proposed alternative.
In supporting the motion, the Liberal Party commends the Hon. Kelly Vincent and the Hon. Tammy Franks for bringing the motion to the council. According to parliamentary procedure one motion can only have one mover, but the two honourable members have formed a tag team on this issue, and a formidable team at that. The motion is structured in three parts, as I see it: first, the motion recognises the impact of the illness; secondly, the motion highlights a lack of understanding of the illness, even amongst service providers; and, thirdly, the motion highlights the need for a service.
Given the shortness of time and the fact that other honourable members want to make a contribution, I will not take the opportunity to highlight all the issues as I had intended to do, but I am duty bound to indicate to the council that I have received a large number of contacts from members of the public conveying their personal stories of living with borderline personality disorder, either personally or with a member of their family or someone they care for. I thank them for their courage in telling their story. That is a powerful contribution to raising awareness and it certainly has been helpful to me and other members of the Liberal Party in considering the need for a service.
[BPD] is a serious mental disorder with significant morbidity and mortality, but has struggled to find acceptability, respect and compassion within the arena of mental health. Historically this has been due in part to limited effective treatment options. Now that a range of psychological therapies [have] been demonstrated to be effective for BPD, the situation is radically changed.
The preferred model is a statewide specialist BPD service that has an educational and service development focus with a highly specialised clinical component. A statewide specialist BPD service such as this would coordinate services and would significantly improve staff morale and patient flow through acute services.
The Liberal team looks to the experiences of the Victorian jurisdiction and what has been learnt from the work of the work group and the feedback we have had from consumers and those who care for them, and we are persuaded of the need for a statewide service. We hope that the government, having had the foresight to establish that working group, will now follow through on its conclusions.
The Hon. R.L. BROKENSHIRE ( 17:56 :50 ): I will be brief so that this can go through before six. Family First strongly supports this. We commend the Hon. Tammy Franks and the Hon. Kelly Vincent. We thank the huge number of people who sent detailed, sad and tragic emails to us. It needs to be supported and, with that, I just say, let's get on with it, let's make it statewide and let's see some action.
[I speak today] as co-mover of this motion, as a passionate advocate for people with borderline personality disorder and the family and friends who care for them. Since I first became aware of this mental health issue more than three years ago, I have repeatedly asked questions of this health minister and his predecessor calling on improved services to support people with BPD and, in particular, the establishment of a specialist mental health service for people with borderline personality disorders, their family carers, and professionals who work with them.
This week is the one-year anniversary of the death of a young Adelaide woman with a borderline personality disorder diagnosis. She took her own life after our health system dismally failed her. A woman, younger than me, died last year because we, the South Australian community, could not provide adequate support and treatment through our health system. This death, like every suicide, leaves a trail of carnage, of depression, of sadness , of despair through the family and friends who surround that person. It is tragic and it should not happen.
Reports at both state and commonwealth level have recommended changes to the way we support people with borderline personality disorders in both the clinical and community settings. The state government, the mental health minister, have paid no heed. It is not good enough. Dignity for Disability is tired of reports being written and ignored. Promises of 'we'll look into this, we'll investigate that, we might do this' are not acceptable.
Let' s say you have no humanity and it worries you not a bit about this tragic loss of life and the wasted years that occur when people with borderline personality disorder are not given adequate treatment through our health system. Well, let's look at the economic argument—this is just one case study.
This male, with a BPD diagnosis, presented 97 times to the Emergency Department before he had received Dialectical Behaviour Therapy, or DBT. He had a history of self-har m, alcohol a nd substance abuse, physical health problems and lacked suitable accommodation. After receiving D B T (and I remind the chamber that there are long waiting lists for DBT programs), he was reunited with his family and moved into independent accommodation. He had no self-harming behaviour for 18 months and no presentation to EDs for two years. The cost saving to our health system by this man not presenting to EDs is $82,450.
Given BPD has a prevalence of 1 to 4 per cent of our population, and this group ha s among the highest level of unmet need, it is not hard to explain how an investment of $1.4 million in a SPECTRUM style [resource service] could result in savings of $100 million per year to our health and mental health budget bottom line.
It is time for parliament and this government to take action—we don't wan t to hear weasel words and empt y promises—we want a funded, resourced statewide specialist unit for Borderline Personality Disor d e r . Lives are being lost, families are under enormous stress, and we are not doing our job as a community to provide support to people with mental illness. It is time to get on with it.
Dignity for Disability commend the motion to the chamber.
The Hon. T.A. FRANKS: I have further comments, Mr President. I now speak on behalf of the Greens and sum up this debate. I thank those speakers who made a contribution, particularly the Hon. Kelly Vincent, who cosponsored this motion with me, and indeed the Hon. Stephen Wade, the Hon. Robert Brokenshire, the Hon. John Darley, and the Hon. John Gazzola, whose speech, I think did not do him justice. I suspect it was written by a West Wing wannabe rather than by somebody who had actually gone and done the research.
For a start, I indicate that the Greens will oppose the government amendment to this motion. I point out to the government that this motion we debate today is, in essence, the exact same motion that the federal Senate passed, with a few slight wording changes. In that place, it was cosponsored by the Labor senator for Queensland, Jan McLucas, and the Greens senator for South Australia, Penny Wright.
Clearly, the federal and state Labor parliamentary position on this issue seems to be different. I point to their particular concern about their recommendation that instead of recognising Borderline Personality Disorder Awareness Week in the first week of October, as was done in the federal motion and as is done in the health.gov.au health calendar—the federal calendar on health events—they suggest that perhaps this issue should be hidden within Mental Health Week in the following week, totally missing the point that this has actually been declared by the appropriate organisations and recognised at a federal level as the appropriate week.
It does not want to be subsumed within Mental Health Week. The whole idea of having an awareness-raising week is to raise awareness. Lumping it in with another week does it no justice and shows that this government's contribution was not well researched. The government also baulks at the statistics around suicide. If they have quibbles around the wording—and I suspect their quibbles are around the term 'leading cause of suicide'—they should have spoken to us about that. If they want to redefine a motion and insert their own words, those words should be done in consultation, not just with the members of this council but of course with the communities they purport to serve.
Given they did not even know that this was their own motion at a federal level, given they do not even know the health calendar date for Borderline Personality Disorder Awareness Week is already set for the first week of October (as we are simply recognising here), given they had not paid heed to the annual report of the Australian BPD Foundation and seem to have very little awareness of the recommendations of that foundation, I suggest they go away and read up. When Borderline Personality Disorder Awareness Week occurs in the first week of October next year, they are invited, as members of parliament, to Borderline Personality Disorder Awareness Week.
I do hope they attend those events. Perhaps they will not be doing it as the state Labor Party representatives. They will have to come as a conscience vote because, of course, their party does not support that week, but I hope they raise their own awareness and, in turn, that of their party. With those few words I commend this motion to the council.
Sitting suspended from 18:05 to 19:45 .


text:
Woodland Fox
Choose a size or contact us for larger sizes and custom orders - Prices shown are ex gst From A4 Size Sample (210mm x 297mm) $15 2x2ft (70cm X 70cm) $35 4x2ft (1.2 metres W X 70cm H) $45 2x4ft (70cm W X 1.2 metres H) $45 4x5ft (1.2 metres H x 1.5 metres W) $89 5x4ft (1.5 metres H X 1.2 metres W) $89 5x5ft (1.5 metres H x 1.5 metres W) $105 5x6ft (1.5 metres W x 1.8 metres H) $115 6x5ft (1.8 metres W x 1.5 metres H) $115 5x7ft (1.5 metres W x 2.2 metres H) $130 7x5ft (2.2 metres W x 1.5 metres H) $130 5x8ft (1.5 metres W x 2.5 metres H) $140 8x5ft (2.5 metres W x 1.5 metres H) $140 9x5ft (2.8 metres W x 1.5 metres H) $160 5x9ft (1.5 metres W x 2.8 metres H) $160 10x5ft (3 metres W x 1.5 metres H) $175 5x10ft (1.5 metres W x 3 metres H) $175 12x5ft (3.7 metres W x 1.5 metres H) $209 5x12ft (1.5 metres W x 3.7 metres H) $209
From - $15.00 AUD A4 Size Sample (210mm x 297mm) $15 - $15.00 AUD 2x2ft (70cm X 70cm) $35 - $35.00 AUD 4x2ft (1.2 metres W X 70cm H) $45 - $45.00 AUD 2x4ft (70cm W X 1.2 metres H) $45 - $45.00 AUD 4x5ft (1.2 metres H x 1.5 metres W) $89 - $89.00 AUD 5x4ft (1.5 metres H X 1.2 metres W) $89 - $89.00 AUD 5x5ft (1.5 metres H x 1.5 metres W) $105 - $105.00 AUD 5x6ft (1.5 metres W x 1.8 metres H) $115 - $115.00 AUD 6x5ft (1.8 metres W x 1.5 metres H) $115 - $115.00 AUD 5x7ft (1.5 metres W x 2.2 metres H) $130 - $130.00 AUD 7x5ft (2.2 metres W x 1.5 metres H) $130 - $130.00 AUD 5x8ft (1.5 metres W x 2.5 metres H) $140 - $140.00 AUD 8x5ft (2.5 metres W x 1.5 metres H) $140 - $140.00 AUD 9x5ft (2.8 metres W x 1.5 metres H) $160 - $160.00 AUD 5x9ft (1.5 metres W x 2.8 metres H) $160 - $160.00 AUD 10x5ft (3 metres W x 1.5 metres H) $175 - $175.00 AUD 5x10ft (1.5 metres W x 3 metres H) $175 - $175.00 AUD 12x5ft (3.7 metres W x 1.5 metres H) $209 - $209.00 AUD 5x12ft (1.5 metres W x 3.7 metres H) $209 - $209.00 AUD


More on This Morning's Fire at 83 Elizabeth St.
Just back from the fire on Elizabeth St. Here's the latest.
An Astoria institution opens an LES outpost this summer.
Steve Nash's sixth annual Showdown NYC.
Hamilton Fish Swimming Pool Opens Today!
One day before the summer season begins at Hamilton Fish Pool.
Taylor Lautner on the Lower East Side!
Taylor Lautner takes it easy between scenes. Photos by thelodownny.com.


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Rocketing food costs push inflation to 3.8%
Escalating food prices have pushed inflation up to an alarming 3.8% in June, well above the government's official 2% target.
The Consumer Price Index (CPI) – the official measure of inflation – hit 3.3% in May, prompting the Bank of England's governor to write to the chancellor Alistair Darling with an explanation. In his letter, governor Mervyn King warned inflation could reach 4% by the end of the year.
His stark forecast appears to be coming true, with the Office for National Statistics today announcing CPI was at 3.8% in June. The news has raised fears that interest rate cuts are out of the window, while interest rate rises could be on the cards.
The main reason for inflation moving so far above target is rocketing food prices. Food inflation alone hit 10.6% last month, with the cost of meat - particularly beef - now rising at a rate of 11.2%.
Meanwhile, elsewhere in the supermarket, fruit inflation hit 8.2% in June, from 2.4% the previous month, while breads and cereals saw an increase of 11.9%. Oil and butter prices were also considerably higher in June, reaching 28.2%.
But it's not just food prices causing inflation to reach such dizzy heights. The rising cost of crude oil has pushed up petrol prices as well as utility bills, while digital cameras, DVDs and package holidays have also increased significantly.
Retail Price Inflation (RPI) - which includes mortgage payments - was also increased in June, from 4.3% the previous month to 4.6%. The Office For National Statistics says falling house prices and fewer mortgage payments prevented RPI from rising even higher.
Impact on interest rates
Peter Newland, an economist at Lehman Brothers, believes that members of the Bank of England's Monetary Policy Committee (MPC) - which sets interest rates - remain concerned about the risk of inflation passing into wages. If this happens, then high inflation can easily become entrenched in the economy.
However, Newland says that the economic slowdown should restrain inflation: "We continue to judge that the sharp slowdown in activity, that now appears to be happening, will restrain core inflation and wages and that, once the near-term spike in inflation passes, the next move in interest rates will be down."
Members of the MPC have also hinted that interest rate rises might not be their immediate reaction to rising inflation, and that cuts still lie ahead.
In a speech about inflation, MPC member Andrew Sentance said battling inflation was complicated, not least because of the impact of the credit crunch.
He said: "Our judgements on monetary policy clearly needs to take into account how much of a slowdown is in the pipeline already from these financial market and banking developments."
If this slowdown is influential enough on inflation, then rate rises might not need to happen in the short-term.
Kate Barker, also a member of the MPC, has hinted that rises are not at the top of the committee's to-do list. She warned against leaving interest rates at their current level for too long because of the danger it posed to the economy.
Barker told The Times: "The mistake we could make, and we are all worried about this, is of holding policy too tight, and the economy weakening more than is necessary to get inflation back on target."
Protect your savings from rising inflation.
Beat food inflation with the Moneywise guide to cutting your supermarket bill.
RPI RIP? Chancellor backs away from banishing discredited measure of inflation - for now
Chancellor Sajid Javid has decided not to act on recommendations to change the Retail Price Index (RPI) measure of inflation, leaving consumers to face unfair price hikes
Inflation ticks up in the wake of wage growth with energy bills and council tax to blame
Inflation has increased in the wake of bumper wage growth and now exceeds the Bank of England target
Head of financial watchdog Andrew Bailey appointed new Bank of England governor
While seen as a favourite for the job, Bailey's appointment is not without criticism.
Goldman Sachs cuts Marcus account rate for new savers again
The rate on the formerly market-leading easy-access savings account has been cut to 1.35%
Bank of England holds interest rate and warns of Brexit uncertainty damaging growth
The Bank warned that delaying of Brexit beyond 31 October risked uncertainty becoming more deeply "entrenched", damaging growth prospects
Bang-on inflation leaves headaches for central bankers and a new Prime Minister
The latest inflation figures, bang on the Bank of England's 2% target, present a problem to policymakers and new Prime Ministers alike
Jasmine Birtles: Inflation? It's turning me into a basket case
British workers now receiving 2.3% real-terms pay rises as inflation drops


In this tutorial you'll learn how to make a very elegant professional-looking portfolio template.
Begin by creating a new file (File>New) with 1024×768 px and 72 dpi. Applying the Rectangle Tool (U), we'll represent the background of the picture to be.
Next we'll select the Brush Tool (B) with blurred edges of white color and a big size for picturing a flare on the background.
Apply the here shown parameters for the last made layer: Fill 30% on the layer.
Make a copy of the recently created layer and apply the Free Transform option to turn the copy over and to place it the way it is demonstrated below.
We should also apply a new option on the made layer (Add a Mask) on the lowest part on the menu palette. Next select the Gradient Tool (G) for using it diagonally from the lowest right corner to the left upper corner.
Using the Rectangle Tool (U), try to represent the portfolio section of white color on the site's page.
Insert now the corresponding pictures in the appropriate sections, cut out previously, according to their sizes.
The site's page is finished!


KABUL, Afghanistan – Eight American troops and a U.S. contractor died Wednesday after an Afghan military pilot opened fire during a meeting at Kabul airport — the deadliest episode to date of an Afghan turning against his coalition partners, officials said.
_On April 18, an insurgent managed to sneak past security at the heavily fortified Afghan Defense Ministry compound in the capital and killed two Afghan soldiers and an officer.
_Two days before that, an Afghan soldier walked into a meeting of NATO trainers and Afghan troops at Forward Operating Base Gamberi in Laghman province in eastern Afghanistan and detonated a vest of explosives hidden underneath his uniform. The blast, the worst before Wednesday's shooting, killed six American troops, four Afghan soldiers and an interpreter.
_On April, 15, a suicide bomber dressed as a policeman blew himself up inside the Kandahar police headquarters complex, killing the top law enforcement officer in the restive southern province.
_In northwest Afghanistan, a man wearing an Afghan border police uniform shot and killed two American military personnel on April 4 in Faryab. The gunman was upset over the recent burning of the Quran at a Florida church, according to NATO intelligence officials.
_In February, an Afghan soldier, who felt he had been personally offended by his German partners, shot and killed three German soldiers and wounded six others in the northern province of Baghlan.
_In January, an Afghan solider killed an Italian soldier and wounded another in Badghis province. The two soldiers were cleaning their weapons at a combat outpost when an Afghan soldier approached them with an M16 rifle and asked to use their equipment to clean his gun. The Italians saw that the Afghan soldier's rifle was loaded and asked him to unload it, at which point the Afghan soldier shot the two Italians and escaped from the base.


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