text:
CEO DailyCFO DailyBroadsheetData SheetTerm Sheet
Newsletters ·CFO Daily
Are CEOs being richly compensated despite poor performance?
BYSheryl Estrada
May 31, 2022, 10:26 AM UTC
At a time when inflation is at a 40-year high, and wages aren't keeping up, the compensation of CEOs at large corporations keeps rising, despite the disapproval of some shareholder groups and even employees.
"Maximum Wage: Meet the 10 Most Overpaid CEOs in the Fortune 500—plus the 10 Most Undervalued," a new Fortune report by Maria Aspan and Scott DeCarlo, takes a deep dive into what the leaders of the largest companies in America are earning, and asks whether it's really justified. The Fortune 500 CEOs the authors evaluated earned a median total compensation of $15.9 million in the most recent fiscal year, up 30% from a year earlier, their research found.
To compile the rankings, Aspan and DeCarlo focused on pay vs. performance, based on returns for shareholders. They analyzed the compensation and stock performance of the 280 Fortune 500 CEOs who have been in their jobs for at least three years. No. 1 on the Most Overpaid list is Dexter Goei, CEO of cable provider Altice USA. The authors write: "Goei isn't the highest paid CEO on our list. But he ranks No. 1 because Altice's stock has underperformed so dramatically."
Amazon CEO Andy Jassy didn't earn a spot on the Most Overpaid CEOs list. But his compensation offers a striking contrast to what an Amazon employee earns. According to the report, "Jassy, who in July succeeded founder Jeff Bezos, had the highest CEO-to-worker [pay] ratio in the Fortune 500 last year. The retail Goliath, which has long faced complaints over working conditions in its massive warehouses, has been fiercely fighting unionization efforts at several facilities. Meanwhile, Amazon decided to award Jassy a 2021 pay package worth $213 million as granted—or 6,474 times the $32,855 median salary of Amazon's employees." You can find out which Fortune 500 CEOs are being overpaid based on their performance, along with a list of CEOs that actually deserve a raise here.
When it comes to CFOs and compensation, a Mercer analysis released in February found that finance chiefs at S&P 500 companies earned a median annual total compensation of $4,944,900 in 2021. That data was based on companies whose fiscal year ended between June 2021 and October 2021.
A CFO is usually the point person when it comes to setting budgets and spending plans. But not when it comes to setting executive compensation: It's really the responsibility of a company's board of directors and the compensation committee to set what a CEO earns, says Alyse Bodine, partner and global managing partner of the Financial Officers Practice at Heidrick & Struggles.
"Usually there are compensation consultants that the board would leverage," Bodine explains. "And they would conduct a compensation study to determine what is the best structure."
Sheryl Estrada
sheryl.estrada@fortune.com
A new report by Gartner finds that CFOs view growth in tech as essential. In the next two years, 78% of CFOs surveyed plan to maintain or increase enterprise-wide digital investments, according to the report. And within their own finance departments, 52% of CFOs said they're scaling up digital investments, while 38% said they intend to maintain their current investment levels. The finds are based on a survey of 199 CFOs and senior finance leaders
How to Spot—and Develop—High-Potential Talent in Your Organization, a new report in Harvard Business Review, outlines the telltale behaviors of successful employees. Typically, organizations look to past performance to identify future leaders. However, that method doesn't identify "early-career high potentials or people who haven't had equitable access to mentoring, sponsorship, development, and advancement opportunities," according to the report. The authors share a model they've developed for predicting leadership potential that's grounded not in achievements but in measurable behaviors.
Gregory J. Peterson, SVP and CFO at Southwest Gas Holdings (NYSE: SWX), has announced his intention to retire no later than October 2022. President and CEO Karen Haller will continue to work with Peterson as the company undertakes the process to identify his successor. Peterson has worked at Southwest Gas for more than 26 years in various leadership roles.
Ron Shelton has been appointed as senior VP, CFO, and treasurer at Navitas Semiconductor (Nasdaq: NVTS). Shelton was previously CFO at Adesto Technologies, a provider of application-specific semiconductors. Prior to that, he was CFO at GigOptix, Cirrus Logic, and other semiconductor companies. Shelton is currently a member of the board and an officer of Parabellum Acquisition Corp. (NYSE: PRBM), a blank-check company.
"Cash is still trash. Do you know how fast you're losing buying power in cash?"
—Ray Dalio, founder of the world's largest hedge fund Bridgewater Associates, told to CNBC.
This is the web version of CFO Daily, a newsletter on the trends and individuals shaping corporate finance. Sign up to get it delivered free to your inbox.


footing and would greatly disincentivize them from participating in DNT).
> > apparently some people think is an OK outcome).
> false negatives per month.
> expect. It works on a per-site basis and has per-site permissions.
> Try it at code.w3.org/privacy-dashboard/ UI was tested in UX labs.
> suggest that we think beyond "pop up".
> least look at that option.
Next message: Rigo Wenning: "Re: Alternative Text for DNT: 0 (ACTION-209, ISSUE-148)"


examine one aspect of how aesthetic adjectives ordinarily function: the context sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians' contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment turns out to be different from what they had in mind.


text:
Find My Alpha Battery
TRUCKS AND HEAVY EQUIPMENT
ALL ALPHA BATTERIES
ALPHA EX BATTERYExtreme Performance
How Batteries Work
Jump Start February 4, 2021
Anatomy of a Car Battery: What's Inside?
Battery Terminal/Bushing: The terminals are connected to the positive strap and the negative strap of the end cells, and are the interfacing point between the battery and the vehicle's electrical system.
Battery Acid: The acid is a high-purity solution of sulfuric acid and water.
Cast-on Strap for Batteries: The cast-on straps are welded to the top of each element to provide an electrical connection to the terminals.
Battery Negative Plate: The negative plate contains a metal grid with spongy lead active material.
Battery Separator: The separator is a polyethylene material that separates the positive plates from the negative plates to provide an efficient flow of electrical current.
Positive Battery Plate: The positive plate contains a metal grid with lead dioxide active material.
Lid on Battery: The lid is made of polypropylene resin and sealed to the battery case.
Battery Case: The case is polypropylene resin, which holds the battery plates, cast-on straps and electrolyte. It's designed to minimize vibration impact and extend battery life.
Battery Plates: The element consists of stacked alternating positive and negative plates. The plates are connected at the top by a cast-on strap that is welded to the plates. The elements fit into the individual cells of each battery.
Battery Paste: The paste is a lead oxide mixture that creates both lead dioxide and sponge lead. It adheres to the positive and negative battery grids.
How Does Your Car Start?
When you insert the key in your car's ignition and turn the switch or push the button to 'ON,' a signal is sent to the car's battery. Upon receiving this signal, the car battery converts chemical energy into electrical energy. This electrical power is delivered to the starter to crank the engine. The battery also provides power to the car's lights and other accessories.
This voltage table shows how much energy remains in a battery as the battery voltage reading changes.
Voltage refers to the amount of electrical potential your battery holds. The standard automotive battery in today's vehicles is a 12-volt battery. Each battery has six cells, each with 2.1 volts at full charge. A car battery is considered fully charged at 12.6 volts or higher.
When the battery's voltage drops, even a small amount, it makes a big difference in its performance. The table on the left shows how much energy remains in a battery as the battery voltage reading changes.
Though not fully charged, a car battery is considered charged at 12.4 volts or higher. It is considered discharged at 12.39 volts or less.
Note: A fully charged specific gravity of 1.265 corrected to 80°F is assumed.
Sulfuric acid, lead plates and lead oxide react to form lead sulfate, during this process, electricity is produced
Electrical energy in a battery is generated by a chemical reaction. In the case of a lead-acid battery, a mixture of sulfuric acid and water, known as electrolyte, reacts with active material inside the battery.
A battery's voltage largely depends on the concentration of sulfuric acid. To get a voltage of 12.6 volts or higher, the weight percentage of sulfuric acid should be 35 percent or more.
As a battery is discharged, the reaction between sulfuric acid and active material forms a different compound and the concentration of sulfuric acid declines. Over time, this causes the battery's voltage to drop.
Typically, as temperatures drop, more power is needed to start the engine.
Cranking Power
Vehicle engines require cranking power to start. The power needed depends on many factors, such as engine type, engine size and temperature. Typically, as temperatures drop, more power is needed to start the engine. Cold cranking amps (CCA) is a rating that measures a battery's cranking power. It refers to the number of amps a 12-volt battery can deliver at 0°F for 30 seconds while maintaining a voltage of at least 7.2 volts. For example, a 12-volt battery with a 600 CCA rating means that at 0°F, the battery will provide 600 amps for 30 seconds without dropping below 7.2 volts.
How to Choose Your Battery
Battery Testing and Maintenance
Overview How do you know which battery is right for your vehicle? Here...
Jump Starting and Charging
Jump-Starting Your Car: Complete Instructions Using Jumper Cables Your...
© 2022 Alpha EX Battery. All Rights Reserved.

redpajama_set_name: RedPajamaCommonCrawl


text:
EFFECTS OF DIETARY VITAMIN C AND VITAMIN E ON THE PERFORMANCE OF LAYING HENS IN THE HUMID TROPICS
This study which lasted for 52 weeks investigated the effects of dietary Vitamin C (L-ascorbic acid) and Vitamin E (dl- alpha tocopheryl acetate) on the performance of laying hens in the humid tropics. A total of 240 twenty-four week old Golden Neslink pullets were randomly selected from a flock of 550 birds and randomly divided into sixteen treatments of 15 pullets. The birds were initially vent examined to ensure that they were at point of lay before commencing the study. Each pullet was randomly assigned to a previously cleaned and disinfected cage measuring 49 x 35 x 42cm at a stocking density of one bird per cage. Four dietary levels of Vitamin C: 0, 200, 400, and 600mg Kg-1 basal diet were combined with four dietary levels of Vitamin E: 0, 125, 250 and 375mg Kg-1 basal diet in a 4 x 4 factorial arrangement in a Completely Randomized Design. All management principles were observed. Dead birds were promptly removed for autopsy when the need arose. At the end of the study, three birds were selected per treatment for haematological investigation. Blood samples were collected from the wing vein of the birds using a 3ml syringe and a 23-gauge needle and placed in micro tubes with Ethlene diamine tetra acetic acid (EDTA) as anti-coagulant for determining the haematological values. The samples were cooled to 4 oC, using icepacks and transferred to the laboratory within 12h of blood collection. The economic implication of the study was then calculated. Data obtained were subjected to analysis of variance (ANOVA) using SPSS. The mean minimum and maximum indoor temperatures recorded during the study ranged between 18.3-25.0 oC and 27. 15-34 oC respectively while the RH values lay between 53.0 and 88.9%. These were well outside the zone of thermo neutrality for laying hens. Results obtained indicated that, there were highly statistical differences (P < 0.01) between Vitramin C and Vitamin E treated birds for hen day production (HDP), feed intake (FI), feed conversion ratio (FCR), Haugh unit score (HUS), , egg weight (EWT) and incidence of cracked eggs. The treatment, T7 (400mg vitamin C + 125 mg vitamin E Kg-1 basal diet) was superior to all the other treatments and had the highest values for HDP (85.45±1.15), FI (113.15±0.56), HUS (96.27±0.47), and EWT (69.11±1.52). These values were however, statistically similar (P > 0.05) to T8 (600mg Vitamin C + 125 mg Vitamin E Kg-1 basal diet). The lowest values for HDP (42.33±1.43), FI (65.42±0.61), HUS (75.50±2.10) and EWT (54.50±1.15) were observed in T1 (Controls). The synergism between Vitamin C and E is different from the sum of the two vitamins applied separately. Loss in body weight, incidence of cracked eggs and mortality were statistically higher (P < 0.01) in T1 (controls) than vitamin treated birds which showed no significant (P > 0.05) differences. With Vitamin C supplementation, birds on T3 (400 mg Vitamin C kg-1 basal diet) were superior to T2 (200 mg Vitamin C kg-1 basal diet) and T4 (600 mg Vitamin C kg-1 basal diet). Similarly, for Vitamin E supplementation, birds on T9 (250 mg Vitamin E kg-1 basal diet) were statistically different (P < 0.01) from T5 (125 mg Vitamin E kg-1 basal diet) and T13 (375 mg Vitamin E kg-1 basal diet). For haematological values investigated T7 recorded the highest values for RBC (4.11±0.15×106), Hb (8.80±0.31g/dl), and WBC (18300±519.62/mm3) and these were statistically similar (P > 0.05) to T8 but highly statistically different (P < 0.01) from the rest of the treatments. There was highly significant interaction (P < 0.01) in the net income/dozen of eggs that accrued from the study. T7 had the highest net income/dozen egg of N1, 627.11±28.68 while the least net income (N560.50±32.12) was generated from T1. This work therefore upholds that vitamins C and E act in synergy, and that the combined effects of the two antioxidants are additive, immunomodulatory, anti-parasitic and economical.
Department: Animal Science Project Topics and Materials


Matt Cain dominated the Phillies this afternoon, beating the Phils by a score of 3-0. All the talk for the next 24 hours will be how the Phils bats failed them -- none of the talk will focus on Manuel's insistence that Carlos Ruiz is the worst hitter in the order, or Cole Hamels and Shane Victorino inexplicably swinging at pitches that killed rallies.
In the top of the 4th inning the Phils had men on first and second with only one out. The game was still tied. Jimmy Rollins and Raul Ibanez were the next two hitters, and they were both retired to end the inning. The player with the highest OBP on the team this season (who also has much better numbers when he's not batting 8th), Carlos Ruiz, was left on deck as Ibanez flailed away at Cain. Rally killed.
In the top of the 5th inning with one out and nobody on base, Cole Hamels was at the plate facing a 2-0 count. Great! The pitcher is at the plate and Cain is struggling to get the ball in the strike zone! Since Cain has a 3.3 BB/9IP for his career, I was really looking for a walk to the pitcher in this situation. The score was only 2-0 at this point. What happens? Hamels SWINGS at a pitch clearly out of the strike zone, about even with his shoulders. Groundout to first. Victorino then walked on FOUR PITCHES. But, Manuel decided it would be good for Hamels to swing away with a 2-0 count, and Victorino's walk went to waste. I can goddamn guarantee that he wouldn't be swinging 3-0, but 2-0 was the time to swing for the fences. AWFUL MANAGING.
Finally, with runners on first and second in the 7th inning and two outs, Victorino swung at a 3-1 pitch, also at his shoulders but off the plate as well. It was 3-0 and he was the tying run. If he simply takes the pitch, it's bases loaded for Utley, and you're a cheap hit away from a 3-2 game, and a real hit away from the lead. Manuel decided that Matt Cain on his 118th pitch wasn't wild enough to warrant a patient approach, and it backfired. Victorino grounded out and the game was essentially over.
All three of these instances probably did not cost them the game itself, but they sure as hell didn't help.
Now Joe Blanton has to save the season.


American Scholarship, a foundation of the American Government's advancement help program for Africa, give access to Postgraduate/Undergraduate instruction, preparing and proficient improvement open doors for reasonably qualified Africans from qualified nations.
There are many Scholarships, grants, and bursaries which can help support you financially with your studies in America. They are offered by the American Government, education institutions, and a number of other public and private organisations.
The America Awards aim to promote knowledge, education links, and enduring ties between America and our neighbours through America's extensive scholarship programs. The program brings together scholarships offered by the Department of Foreign Affairs (DFAT), the Department of Education and the American Centre for International Scholarships.
All scholarships listed on our website are available to international students. Many are available to students of all nationalities, however all scholarships conditions are set by the institution or organisation offering the scholarship and applications have to be done directly with the scholarship provider. Do you want a Scholarships for African Students, Undergraduate Scholarship, then this free Scholarship application page is for you.
Note: American scholarships are available for both American and international students at many universities and educational institutes are for higher education levels as: undergraduate, master degree and PhD programs.
Entrance Requirements: To be eligible to receive an America Awards Scholarship, applicants must: Be a minimum of 18 years of age at the time of commencing the scholarship.
Hold permanent residency in America or be applying for a visa to live in America permanently.
Have satisfied any specific criteria established by the Program Area or the government of the applicant's country of citizenship (e.g. having worked a certain number of years in an appropriate sector) vii. be able to satisfy the admission requirements of the institution at which the award is to be undertaken.
English Language Requirements: An applicant or awardee will meet DFAT's English language requirements for receiving an America Awards Scholarship. Where an applicant or awardee does not meet DFAT's English language requirements the awardee will need to provide an academic English language test.


text:
The Problem of Cheating
There is some difficulty in attempting to discourage player cheating in a decade in which the majority of undergraduate students admit that they have cheated at least once in their college career, corporate embezzlers are enrolled in tennis camp—er, low-security prisons—and the president of the United States shows little to no remorse for having cheated on his marriage. However, there are very good reasons why neither players nor DMs should tolerate a cheater—the cheating player causes resentment among other players, annoys the DM and reduces everybody's enjoyment in the game and trust in each other.
Experts say there are three factors involved in the commission of a crime: motive, method and opportunity. The motive is the reason to commit the crime. The method is the way to commit the crime. The opportunity is the chance to commit the crime. DMs and honest players can and should take steps to reduce motives and opportunities for cheating in their campaigns.
There are three basic motives for cheating: (1) The desire to "win," (2) the desire to be better than other characters and (3) the desire to save a character from death.
The desire to "win." This is a motive most common to new players, especially those who have been suckled on video games where killing monsters and accumulating riches and power is the goal of the game. These players haven't learned that roleplaying is its own reward—that the "winner" of the roleplaying game is the one who has the most involved interactions with others and who lives the most interesting story throughout the campaign. In a really good campaign, every player is a winner.
To reduce this motive, DMs and other players should place less value on wealth, magic items and titles and emphasize derring-do and roleplaying. Experience points should be divided evenly among players, not given individually to the person who killed the monster or claimed the Staff of the Magi. The players also should consider dividing treasure evenly (see my earlier essay on Divvying Up the Loot for some ideas on how to do this) to emphasize teamwork over self-interest.
The desire to be better than other characters. This motive is similar to the first, but the player's motive is to outdo the other players—to have the toughest, most skillful, wealthiest character in the group. These players are putting individual success over group success.
To reduce this motive, the DM must give every player a chance to shine—my gaming group calls this "putting the character in the spotlight" or, sometimes, "putting the character on the hot seat." When creating a new adventure, the DM should try to develop situations that will emphasize each character's strengths—a chance for fighters to fight, thieves to sneak or pick locks, mages to use their spells, clerics to apply their religious knowledge, and so forth. The spotlighted skills don't have to be class-specific. If you have a character with a proficiency in rock climbing, provide a cliff to scale; if you have a player with the gift of gab, provide a guard to fast-talk. If every player knows that at some point or another s/he'll be given a chance to star, the motivation to try to outdo everyone else will be reduced. In addition, praise should be given equally to everybody who does something praiseworthy, and should be given in particular to excellent plan-makers and roleplayers, rather than excellent dice-rollers.
The desire to save a character from death. This motive can be found across the board. Almost every gamer has been tempted to cheat at least once to save a beloved character from certain doom.
Fortunately, AD&D is a game where death is seldom permanent, and this motive can be reduced. First, the DM must remember that players don't want their characters to die. My feature on Ask Not For Whom the Die Rolls discussed how DMs can avoid arbitrarily killing characters.
The DM can also reduce this motive by making the chances of coming back to life reasonable. Raise Dead or Resurrection spells should not be beyond the financial reach of most mid- to high-level characters. Most churches are willing to take magic items in lieu of cash, some may exchange a Raise Dead for a promise of help in the future (this is especially useful for low-level characters and provides the DM with an easy way to motivate characters to go on an adventure at some point in the future), and many churches will provide discounts to devout members. Because time is an issue for the Raise Dead spell, our DM created a special magic Preserve salve that can be rubbed over a corpse to preserve it in a sort of Temporal Stasis—necessary if the characters face a long trek back to the nearest high-level temple!
Players can help reduce this motive by being willing to go out of their way to bring characters back to life. After all, it may be their character who dies next, so there's good reason to develop a norm of everybody pitching in money for a Raise Dead each time a member of the adventuring group dies.
There are three basic methods for cheating in the game: (1) Reading DM-only works, (2) lying about die rolls and (3) fudging numbers. I will only present the methods here—ways to reduce the opportunity to use these methods are presented under the Opportunity section.
Reading DM-only works. If the player knows the DM is using a module, s/he can purchase the module or borrow it from somebody else and read through it to get an idea of what's coming up. If the player knows a certain monster is going to be encountered (perhaps the main villain is a shadow dragon), s/he can read the monster's description in the Monstrous Compendium. This method is most likely to be associated with the first two motives—the desire to win and the desire to be better than other characters.
Lying about die rolls. Because die rolls are the basis of the game, this method is ubiquituous and can be associated with all three motives. There are many ways to lie about die rolls. The player can roll the dice far away from others to prevent the DM or other players from seeing what was rolled. The player can use crystal dice, which are very hard to read from a distance. The dice can be rolled and quickly swept up again before anyone has a chance to see the roll. The player can roll the dice over and over during the game until a good roll is achieved, and then let the dice sit, claiming that roll the next time a roll is required. The player can choose the best number when a die is cocked. The player can use 2d10 to roll percentages and arbitrarily change the "high" die according to whatever percentage is most desirable (e.g., an 8 and a 2 can be read as 82 or 28). This system of failing to designate a high die can be used in a number of other ways, such as rolling 1d6 and 1d10 for 1d20, failing to designate for the d6 whether 1-3 is "0" and 4-6 is "1" ... or odds are "0" and evens are "1."
Fudging numbers. This method can involve padding a character's experience points or failing to subtract lost hit points. The player who does the first is probably motivated by the desire to win or to be better than other players, and the player who does the second is probably motivated by the desire to keep a character from dying. Other ways to fudge numbers include adding up armor class or saving throw bonuses incorrectly. If caught, the player can usually plead that the mistake was an accident. A player might also lie about the number of healing potions, arrows, or other types of equipment that s/he possesses.
The opportunity to read DM-only works. This method is used most often when an adventure continues from one session to the next, giving the player a chance to "do some homework" on the dungeon or monsters.
To reduce the opportunity to use this method, the DM should try to avoid using published works. However, most DMs are too busy to create original dungeons for every session, so the alternatives are to avoid revealing the name of the module or Dungeon adventure being used or to change the module enough so that reading through it will do little to help the player. The first way of reducing opportunity can be difficult, especially if the players buy modules for the DM (big boxed modules are standard Christmas gifts to the DM in my gaming group). The second is the best, and in fact there are few DMs who will run a module exactly as it was written. For example, when my adventuring group went through Dragon Mountain, we ended up facing a retriever instead of a dragon in the final showdown! We would have preferred the dragon.
The DM can change NPCs, monsters, traps and treasure to keep players from gaining any significant advantage from reading through an adventure before the game. In addition, a DM who suspects that a player is reading monster descriptions before a game can give the monster special abilities, strategies, or magic items that will help reduce the advantage the player has gained from reading its description.
As an aside, the players in my group have long since stopped subscribing to Dungeon magazine because the DMs in our group use it. Since both my husband and I are DMs at various times, we look over each new issue that comes in and initial the adventures that seem most appropriate for our groups. Neither of us will read an adventure that we have not initialed.
The opportunity to lie about die rolls. The best way to reduce this opportunity is to game around a table, so that players are close to each other and can monitor each others' die rolls. Players who are spread out over a living room or around different tables have too much opportunity to cheat.
The DM can nip cheating in the bud by insisting on witnessing all character-generation rolls. A good way to do this is to call a "character generation session" in which everybody gets together to work on their characters at the same time, allowing the DM and other players to monitor the rolls.
The DM should also set a few ground rules for rolling dice, e.g. "no rolling dice until a roll is called for," "the DM must witness all rolls," "don't pick up the rolled dice until your turn is over," "a cocked die is always rerolled," and "always call the high die before the roll is made." Some or all of these—or other rules—can be set before the game begins to deal with whatever problem the DM or players perceive.
Players who are concerned about somebody lying about their die rolls should make a point of watching whenever a roll is made—this can be done naturally, usually without giving offense. After all, everybody should be interested in whether or not a saving throw is made or a strike succeeds!
Players who are concerned about being accused of cheating should make their rolls in the open and let the dice sit, use dice that can be easily read from a distance, and stick to a method of rolling mixed dice (for example, when I roll percentages, I always call the palest die the high die—when I use my own dice it's the clear die, but if I need to use somebody else's dice, I simply make sure to use dice of different colors, one paler than the other).
The opportunity to fudge numbers. This is the hardest method to foil without becoming a police officer. The DM can ask to keep all character sheets between games (in addition to preventing cheating, this gives the DM a chance to study each sheet when working on the next adventure), but this does little to prevent in-game numbers fudging.
DMs can keep track of experience points themselves without too much difficulty. However, it's considerably more work for them to keep track of each character's hit points and saving throws, especially during combat situations. I certainly wouldn't want to bother with it, although DMs who use computers as they run a game might be able to set up a simple program to keep track of these numbers.
One technique that both prevents cheating and serves as a useful device in major combat situations is to set up a white board or sheet of paper that lists each character's name and armor class and special abilities and defenses. Hit points and saving throws can be added easily enough. This gives the DM a quick reference ("what armor class does the monster need to hit?", "is the mage's Stoneskin still up?") and lets players monitor their spells, erasing each as it goes down or expires.
To help keep players honest about their possessions, including money, one DM in our group makes a point of saying "mark it off!" whenever an item is used or destroyed. Although this doesn't necessarily keep a player from cheating, it certainly reduces the opportunity, since it calls attention to the fact that the item is gone.
If somebody wants to cheat hard enough, s/he will. There's a limit to what you can do to prevent it. But reducing the opportunity for cheating is part of the DM's many responsibilities, and these suggestions should help.
originally written August 30, 1998


text:
Carousel / Churchill Museum / In the News / Uncategorized / Westeryears / WT Stories
Westeryears:The Swashbuckling Churchillian
by Westminster College · Dec 19, 2018
by Nancy Carver, Churchill Fellow and St. Louis author
Over the next few months, Westeryears will feature a series of columns about the history and background of the Church of St. Mary the Virgin, Aldermanbury as Westminster College and America's National Churchill Museum prepare to celebrate the 50th anniversary of the Church with a spectacular Churchill weekend on campus May 3-5. Here is the first:
Born to one of the most famous actors of his time, Douglas Fairbanks Jr. greeted the world with panache. Even in his youth, he had style, personality, and verve. So much so, that he captured the attention of none other than Joan Crawford, whom he married at the age of 19. Active in social and political circles, his friends included A-list celebrities, foreign politicians, and members of prestigious families. His magnetism attracted many to his flame that shone brightly and extended beyond his theatrical and movie performances.
Unknown to many people, one of his greatest achievements dealt with his participation in fundraising for the relocation of the English heritage building, the Church of St. Mary the Virgin, Aldermanbury to its present site on the campus of Westminster College in Fulton, Missouri. The backdrop for that story requires some knowledge of Fairbanks Jr., the man.
While critics often said that junior did not command the same presence as his famous father on stage or in the movies, the son actually eclipsed the father in real life. A Navy man in World War II, the young man learned the art of military deception while assigned to Lord Mountbatten's Commando staff in the United Kingdom. He used that skill well in other military operations.
His awards included the United States Navy's Legion of Merit with the bronze V (for valor), the Italian War Cross for Military Valor, the French Legion d'Honneur, the Croix de Guerre with palm, the British Distinguished Service Cross and the Silver Star. The Brazilian government awarded him the National Order of the Southern Cross (officer grade). After the war, the German government awarded him the Federal Cross of Merit for his contribution to the relief of the needy in occupied Germany. Although he entered the war with trepidation, he emerged a hero.
Unwilling to sit idly, Douglas seized every opportunity and attacked life with gusto. He pursued an acting career before and after his military service and even worked with his father on the movie, The Return of Zorro, where he honed his very own swashbuckling skills.The actor's involvement in the church fundraising project began with a brief stint on a game show. The vice president of the college and capable project manager, Dave Stinson, a handsome and equally personable man, made a fundraising trip to Manhattan where he was approached by a recruiter for the game show, "Password." As fate would have it, Fairbanks ended up appearing as his partner on the show. The two men failed miserably on the game show, but decided to make amends by going on a Manhattan club crawl. That event led to a lifelong friendship.
As Stinson's son, Steve, said, "Fairbanks involvement in the project put a gleam and sparkle on the project. Today, we would say he made it hip…when Fairbanks came to Fulton, the champagne flowed. He also brought elegant dresses for mom."
Fairbanks helped make the rededication of the church in 1969 as part of the Churchill Museum and Library a success. Vitally interested in the project, Fairbanks coordinated invitations to members of the Churchill family, Mountbatten and other notable and wealthy people. He enlarged the scope of donors tremendously via his connections in Hollywood, London and New York. Not content to sit on the sidelines, his energetic approach to the project led him to check in frequently on its progress and offer outstanding advice.
Why was the project so important to both Fairbanks and the college? For some time, an appropriate memorial to Winston Churchill, who in 1946 gave his famous Sinews of Peace (Iron Curtain Speech) in the Historic Gymnasium, seemed necessary to appropriately address its impact. At first, a special building came under discussion. Since the college had a special need for a chapel to replace one whose foundation had failed, a consulting architect suggested that they explore getting one of the ruined London Churches mentioned in a LIFE magazine article about the 1940 Blitz of London.
The idea combined two important factors, a particular need and a particular purpose. The removal of a Christopher Wren church, which had lost its congregation in its post-War setting, and its relocation to Fulton, Missouri, seemed a phoenix-like way of commemorating the visit of Church and the survival of England after a prolonged war with a common enemy. It tied the two countries together in remembrance of their joint endeavor to seek peace and a future for both countries.
Churchill called it "an imaginative concept." Fairbanks thought of it as a way to once again work together with England for a common purpose. He undoubtedly delighted in honoring both Churchill and the genius of Christopher Wren. The idea took hold and the monumental task of relocating the church achieved its goal. Unfortunately, Fairbank's performance in a play prevented him from attending the re-hallowing of the church.
As the re-dedication of the church approaches its 50th anniversary celebration, Westminster College is planning a celebration and fundraising event to help revitalize and preserve the church. Like any good fundraising event, it needs another Fairbanks to help make it a success. Casting another Fairbanks for the role seems an almost impossible task.
Follow America's National Churchill Museum on social media and online at:
Facebook: National Chuchill Museum
Twitter: @churchillmuseum
Instagram: @national_churchill_museum
Website: https://www.nationalchurchillmuseum.org
Next story Alumnus Brock Ayers Discusses Memories of President George H. W. Bush
Previous story Plans for Southern Swing Admissions Event In Full Motion: Bring a Blue Jay


Rev. Joseph Dyke Walter Deavor, .
Rev. Richard Edmund Williams, .
Full Title Thirty-First Annual Catalogue of the Illinois Wesleyan University Bloomington, Illinois.
Description No covers; stated number on title page incorrect. This should be the thirty-second.
Full text ILLINOIS WESLEYAN UNIVERSITY. 7 LL. B\, In Cursu. Abney, Albert G. Arnold, Harry Lawrence Brooks, Windle Grove . Craig, William Patterson Craig, Charles Curtis Keeslar, John William Lowen trout, Otto Arthur McNulta, Robert Peton Parr, Franklin J. Risley, Theodore Granville . Swearingen, Otho D. Sikes, John Hardin Vandeventer, Roland Galalia, III. V ienna. Ill 7 m Kankakee, III. Champaign, III. Galesburg, III. . Danville, III. . Bloomington , III. Bloomington, III. Cooksville, III. Mt. Carmel, III. Heyworth, III. Mason City, III. Mt. Sterling, 111. Ph. B. On Examination i^Non -resident ^Course.) Rev. David Lodwick Brethour, Alice E. Brown, Rev. David Johnstone Caswell, Rev. Elijah Chesney, Rev. Joseph Dyke Walter Deavor, . Rev. Joseph Finnemore, Rev. Edward Fletcher Jordan, Rev. David Keppel, . • \ Edward Gerard Lyle, Rev. John Joshua Leach, Rev. Frank Lenig, William Wirt Mills, Rev. David M. Mihell, Rev. James Affleck Fraser McBain, Monroe Willis Spear, Rev. John Oakley Spencer, Rev. David Taylor Cornelia Belle Wells, Rev. Richard Edmund Williams, . Brantford, Ont. . lafayette, Ind. Brantford, Ont. . Bay City, Mich. Mifflinsville, Pa . Manchester, Eng. Tremont, III. Havana, N. 7~. Fort Collins, Colo. Brighton, Ont. St. Louis, Mo. Bethlehem, Pa. Belleville, Ont. Providence, R. I. Mt. Gilcad, 0. Tokio, yapan. Cutchogue, N. 7". Utica, N. T. Pittston, Pa.


text:
Tasting Notes by Black Tomato
Get a whole new take on the 'Big Five' as you explore some of our favourite corners of South Africa, before winding down on the beautiful beaches of Benguerra Island in a trip that ties together culture, wildlife and luxury.
Ease yourself into laid-back luxury as you hop from the beachside seclusion of Mustique to the private paradise of Petit St Vincent and onto the iconic glamour of Barbados.
Nowhere inspires wanderlust quite like India. A nation bursting with colour, epic landscapes and architecture so impossibly beautiful it has to be seen to be believed – and this luxury experience will leave you speechless.
Eating at a Michelin – starred restaurant is one thing. But now you can learn about the country through the lens of some of the most critically acclaimed chefs in the world, by travelling with them on the ultimately culinary experience
Wellbeing – inspired nature adventures. These itineraries, designed alongside David de Rothschild and his like minded team at The Lost Explorer, are for those wanting to reconnect with the outdoors and have an adventure focused on health and wellbeing.
Eating at a Michelin – starred restaurant is one thing. But now you can learn about the country through the lens of some of the most critically acclaimed chefs in the world, by travelling with them on the ultimately culinary experience.
Home / Inspirations / Jetsetters with Christian Oth Studio: Venice
Portraits | Italy
Become a Jetsetter in Venice with Christian Oth Studio
We've teamed up with Christian Oth Studio to bring a first of its kind service that merges a luxury travel experience with the best in class photography. As both companies are driven by a relentless passion for storytelling, Jetsetters is there to plan a getaway centered around your very own editorial shoot.
Sylvia and Greg came to Christian Oth looking for the perfect backdrop for a high-end fashion photoshoot. After learning more about their likes and what they wanted to get out of the shoot, we knew that Venice, a city that oozes with romance and history, would be the perfect place for this couple. It's a city that takes you back to where it all started with romance, truly historic architecture and an authentic Italian taste that you wouldn't find anywhere else.
In this itinerary, Sylvia and Greg started through the canals of Venice to the Zen gardens of the Aman Venice and then headed into quaint streets for the best tapas in the city.
Peek into their full itinerary below:
Once landed in Venice, a driver will be waiting for you at the airport to take you on towards your private gondola ride to the Aman Venice. Set within the 16th century Palazzo Popodopoli and overlooking the Grand Canal, it's this sumptuous Aman luxury and Venetian canal-side romance that makes for a perfect backdrop for Sylvia and Greg's story.
Set off on an enchanting evening gondola ride through the romantic canals of Venice to watch the sun slowly disappear into the depths of the canal. Shortly after, head to Trattoria alla Madonna for dinner where you'll find a wonderfully delicious authentic Italian taste. It's a short ten-minute walk from the Aman Venice and hidden away beyond the better-known restaurants of the city.
Once you've had breakfast and enjoyed a leisurely morning at the Aman, you'll discover the secrets of mask-making from a Venetian master craftsman. Dive into the history of this magical art form and take your attempt on making a mask of your choice.
The following day, prep for a photo shoot with Christian and his team. Sylvia collaborated with fashion designers Ermano Scervino and Suzanne Harward to design a regal and romantic look.
In late afternoon, if time permits, stop off for a taste of the best tapas in the city. Take the traghetto across the Grand Canal, just like the Venetians do, to discover a remarkable church and pay a visit to a hidden Venetian wine shop. Continue to a lovely interior Zen garden and learn about the history of the Bucintoro—the great galley used by doges of Venice.
Meet your private English-speaking guide the following day and together with your private skipper, set off in a deluxe water-taxi for an exploration of Venice's legendary lagoon.
Jump over to the island of Murano, world famous for its glass making and lamps, and visit some of the exquisite glass workshops. Then continue on to the neighboring island of Burano, celebrated for its lacework and brightly colored homes, where you can stroll through the magical streets and explore the wonderful shops with their array of fine lacework.
If time allows the following morning, take a walk to the Peggy Guggenheim Museum and explore the works by de Chirico, Leger, Braque, Klee, Picasso and more.
That night, glide out on a private boat tour through the canals, catching the lights of the great palazzi shimmering across the water. You'll have a sunset photoshoot around the Aman in its exquisite light-filled rooms and both of the Zen Gardens.
Raise one last toast to your time in Venice, you'll be headed back home the following morning, but not to worry your professionally shot photos will arrive shortly after so you can re-live the memories all over again.
Just as Sylvia and Greg's journey has been tailored just for them, we can build out a trip exclusively for you that reflects both of your personalities and with Christian Oth, we'll capture each moment while you're away. Just like we've done with his team in Portugal as well.
Meet Noah Posnick, our first Every Cloud Reporter
Meet our Every Cloud competition Finalists
Plates | Italy
The search for white gold in Italy's mountainous north
Places | Italy
A guide to Italy's Amalfi Coast
LEARN | Italy
From Tuscany to Texas: tracing the artworks and paintings of Michelangelo
Passions | Italy
Top five hikes in the Italian mountains
Black Tomato US
LG, 4-14 Tabernacle Street, London, EC2A 4LU


This is a image galleries about 02 Nissan Pathfinder. You can also find other images like wiring diagram, parts diagram, replacement parts, electrical diagram, repair manuals, engine diagram, engine scheme, wiring harness, fuse box, vacuum diagram, timing belt, timing chain, brakes diagram, transmission diagram, and engine problems. But we don't host any of these image files according to 02 Nissan Pathfinder on this site. We never store the image file in our host. We just links any topics about 02 Nissan Pathfinder to many other sites out there. If you need to remove any file or want to see the images, please contact original image uploader or browse out there.
#02 nissan pathfinder code 1610, #02 nissan pathfinder lift kit, #02 nissan pathfinder firing order, #02 nissan pathfinder reviews, #02 nissan pathfinder maintenance guide, #02 nissan pathfinder ecm, #02 nissan pathfinder transmission, #02 nissan pathfinder p1456, #02 nissan pathfinder problems, #02 nissan pathfinder drive cycle, #02 nissan pathfinder missing, #02 nissan pathfinder p0335, #02 nissan pathfinder engine, #02 nissan pathfinder v6 code p1140, #02 nissan pathfinder mpg, #02 nissan pathfinder code p1320, #02 nissan pathfinder mods, #02 nissan pathfinder code p0335, #02 nissan pathfinder overheating problems, #02 nissan pathfinder idle relearn, #02 nissan pathfinder p0021, #02 nissan pathfinder p0138, #02 nissan pathfinder 4x2 no reverse, #02 nissan pathfinder with a p0021.


text:
"""
    MoinMoin - logout action

    The real logout is done in MoinMoin.request.
    Here is just some stuff to notify the user.

    @copyright: 2005-2006 Radomirs Cirskis <nad2000@gmail.com>
    @license: GNU GPL, see COPYING for details.
"""

from MoinMoin.Page import Page

def execute(pagename, request):
    return LogoutHandler(pagename, request).handle()

class LogoutHandler:
    def __init__(self, pagename, request):
        self.request = request
        self._ = request.getText
        self.page = Page(request, pagename)

    def handle(self):
        _ = self._
        # if the user really was logged out say so,
        # but if the user manually added ?action=logout
        # and that isn't really supported, then don't
        if not self.request.user.valid:
            self.request.theme.add_msg(_("You are now logged out."), "info")
        return self.page.send_page()

redpajama_set_name: RedPajamaGithub


text:
Amyotrophic Lateral Sclerosis Symptoms
Amyotrophic Lateral Sclerosis Symptoms - Page 3
By Stephanie Watson @WatsonWriter
Early-stage amyotrophic lateral sclerosis symptoms
The first amyotrophic lateral sclerosis symptoms can be so mild that they're barely noticeable. Usually the first sign is muscle weakness, which affects 60 percent of people with ALS. You might have trouble performing fine movements requiring muscle strength, like grasping a pen, or picking a book up off a shelf.
Some people first experience muscle weakness in a single limb — an arm or a leg. This is called "limb onset" ALS.
The muscles also twitch as signals from motor neurons are disrupted — just as a radio station pops in and out when its signal weakens. Muscle twitches are called fasciculations. They're not painful, but they can be annoying and interrupt sleep.
Muscle cramping is also common. These spasms can be painful.
Other early ALS symptoms include:
Dropping things
Slurred speech
Early ALS symptoms may occur in only one part of the body — such as in an arm or leg. The effects gradually spread from one part of the body to another.
<< Previous Next: Middle-stage ALS symptoms >>
Christopher Nystuen, MD, MBA


Looking for the fun of a Shop Hop with the convenience of everything being under one roof? Come to Pinwheels and Friends in the Holiday Inn, Mt. Kisco NY this February. Super Bowl weekend is a great time to get together with friends and see what local (and not so local) shops have to offer.
Classes, friendship, shopping and prizes abound at Pinwheels and Friends! Lots of things to see and do, with a ton of activity to packed into a small space.
Click the photo below to learn more and register for your favorite classes before spaces are all filled up!


Medium Rollers for the Remington® KF-20I Hair Setter is rated 4.8 out of 5 by 20.
10 Medium Rollers for the Remington KF-20I Hair Setter.
Rated 5 out of 5 by SAN1 from Thankful I have had my hot rollers for years. The ends of of the rollers started coming off....was very sad to think that I had to try to find a new set of rollers. Tried many sets returned all and then look at Remington web-site and saw that I could order more rollers for my set. YAY!!!! Back in business and curling my hair again. The new rollers are great...thanks much!!
Rated 5 out of 5 by sdc1961 from small & medium curlers with clips I ordered small and medium curlers with clips and they arrived in time and are great!
Rated 5 out of 5 by Kathianne from Good Replacement Rollers My Remington Hair Setter base still worked well, but the mid-size rollers, especially, were falling apart. These medium rollers work well with the base, and were a reasonable price. If they perform similarly to their predecessors, they will last quite a long time.
Rated 5 out of 5 by PearlHilo from Replacement Didn't realize there were replacement rollers so I am very pleased that I didn't have to buy a whole new roller set. Love this roller set.
Rated 5 out of 5 by mrssmitty1 from Best Rollers Yet ! Thank You, Remington, for finally offering replacement rollers ! I have used your products for years and when the rollers wore out, I would have to buy a new unit. Now, you have given me a Better Roller than the originals ! These rollers are superior to the originals, They don't get so hot on the ends and I don't get rollers that are too hot to handle ! They also grab your hair better for a nice, tight curl. Can't ever be without them ! Thank You Again !!
Why do the MEDIUM rollers cost more than the LARGE rollers?
I had that question, too; however, there are 10 medium rollers and only 6 large rollers. Therefore, the medium rollers cost more.
Will these rollers fit the old pink based model?
I have the KF-20I old pink based rollers. They are old and the velvet is coming off and the tips are dirty. I wanted to replace the medium rollers and was wondering if these would fit. My rollers are white and brown so I wasnt sure if they were they same thing. If not, do you have rollers to fit the pink based rollers? Thanks.
They should fit. Check to see if the prongs on your roller base are short, about an inch tall. If so, then yes, these rollers will fit. I would buy enough to last a long time. I did. Sometimes if you drop the roller, the end will break off. It will still work but may pull your hair. Buy extra rollers while you can. I only use the Remington sets and have for many years. I would be lost without my sets. They should make more of the KF201 style curler sets.
Yes, these parts are interchangeable.
Do you still make the Remington Solutions Roller set with wax inside? I can't find them online. Would you help me find them?
I like the rollers with the wax inside because they get hotter than the ones without wax inside, and they stay hotter longer. I don't like the ones with the slit down the side and the clips do not whole my hair as tight. I would like to buy a new velvety soft hair setter with the wax inside the rollers if you can help me find them. I would like the Remington complete roller set system.
Will these rollers fit the Remington Solutions roller set (travel set - contains 5 medium and 5 small rollers)?
Thank you for your inquiry. No, these rollers will not fit the Solutions unit. Unfortunately, this unit has been discontinued and parts are no longer available.
Have a Remington Protect & Shine set. I missing one medium roller thanks to my pooch. Will this roller fit my set?
Thank you for your inquiry. Our rollers are designed to fit specific units. Please contact us with your model number so we can verify whether this part will be compatible.
Will these rollers fit the 1080i model?
Thank you for your inquiry. No, these rollers will not fit your unit. We are sorry to inform you that we no longer manufacture the item you speak of. I have checked with our sales department and they informed me that we no longer have any remaining stock or parts for purchase.


text:
The Ballerina's
Phallic Pointe
of Writing
Kinesthetic Empathies &
the Politics of Compassion
Authoring:
Linda Caruso Haviland
Concluding reflections on
Susan Foster! Susan Foster!
by Dr. Linda Caruso Haviland
Editor's note: Dr. Linda Caruso Haviland introduced each lecture prior to its performance by Dr. Susan Leigh Foster. The Pew Center for Arts & Heritage commissioned Dr. Caruso Haviland to write these commentaries on the events, and the discussions they engendered, within the context of Dr. Foster's body of work.
Image from the postcard flyer for The Smell of Fact, choreographed by Susan Foster and performed at Dance Theater Workshop, May 3–5, 1985. Courtesy of Susan Foster.
As with any performance, Susan Foster's series of performed lectures is open to critique. Trying to process the complex of text as it comes flying towards you, sometimes dense with theory, always in a shifting relationship to gesture, is not easy. How to hold onto or recover or instantly integrate the multiple elements occupies at least part of the energies and attention of viewers. Although Foster indicated that she works to make all the competing or complementary elements of the performed lecture accessible, she also aims to put forth a multiplicity of discursive and gestural meanings, further complicating the reception of the work. Nevertheless, she is a provocateur. The text confounds the non-academic viewer's expectations for performance; the performance confuses, even alarms, the academic awaiting the lecture.
Foster's performed lectures gather together and physicalize the processes of seeing, doing, reading about, writing about, and thinking about dance—forcing the viewer to confront them all at once, in the same time and space, which is sometimes frustrating, sometimes illuminating. These performances are meant to disrupt both common notions and revered practices on stage and in the lecture hall, so it may be worth it to grab what sense you can from the words and the movement and just run with it.
Despite her stated motives, reasoned claims, and thorough answers to queries and challenges in both the lectures and Q & As, I could still quibble or outright argue with some of her points in various lectures—for example, the retention of phallus in the first lecture and the strict delineations between performer and choreographer in the second. The exchanges during the Q & As made clear that viewers had their own questions and arguments as well. However, rather than a critical dissection, what follows is an overview of the lectures highlighting what emerged as the consistent and important points through the motional and discursive texts of all three.
It is always about dance/It is never just about dance
Susan Foster is a dance historian. This identity and how it plays out in her choreography of writing and performing was noted in my introduction to the lectures. It is by looking not only at dance as a present-day art form but also in the past that she can construct a sufficiently broad terrain of meaning with which to make sense or use of what is before us in the present. But the impact of these performed lectures goes beyond using history as a lens for analyzing the dynamics of the now; they also present the practice of dance history as a field or discipline that is reimagined, bodied, and vitalized.
In her second lecture Foster performed the writer sitting quietly, supposedly disengaged from body while engaged in the intellectual work of generating verbal and written signs. In her other writings, she has specifically addressed the acquisition of this posture within the discipline of history. Historians, she says, are trained to stand apart from that which they research, to speak with "transcendental certainty," to refrain from "[affiliating] with their subjects," and to acquire the "practice of stillness…a stillness that masquerades as omniscience." Instead, Foster moves towards a practice of history in which her body "wants to consort with dead bodies, wants to know from them: What must it have felt like to move among those things, in those patterns, desiring those proficiencies, being beheld from those vantage points?" Note 1 As a scholar who researches the vital, moving body, she, herself must remain vital and move.
As a historian, Foster encourages and supports a dancer in understanding where she or he comes from as a dancer, what dance has been to others before her or him. She does this not by privileging one 'true' view of the past but by reconstructing a researched landscape layered with historical, geographical, and cultural 'facts.' She then ponders motional possibilities that these facts might suggest and offers some theoretical or conceptual tools to dig more deeply. Moving and thinking and writing and speaking, Foster invites the reader or viewer to move through and work through the ideas, to imagine and consider what and why his or her alter ego in another time and space may have been thinking, feeling, dancing.
In becoming familiar with past instantiations of dance and dancing, the pressure of historical, social, and political circumstances on its form, practice, reception also become visible. This is the second point that reemerges again and again in Foster's work. Whether through explicating the sexualization and commodification of the ballerina in the first lecture, through redefining and reconfiguring relationships between writing and dancing in the second, or through calling to our attention the socio-cultural construction of the empathetic relationship in the third, Foster reminds us that dance, and how we speak and write about it, is always grounded in political dynamics. To attend to the politics of the dancing body, for example, would remind us that even as we are seduced by the beauty of the pas de deux, we should understand how gender and even class and race play out in it.
By attending to the politics of writing and dancing Foster examines the hierarchical relationship and "conditions of inequality" between the two. In both cases, it is not just about what is formed, the dancer's body or the written dance text, but the conditions of forming, and the value and status each carries within a given culture and historical period. Writing, for example, that foregoes any reciprocal relationship and, instead, is constituted as speaking for or in place of the dance, consigns dance solely to the realm of the mute and shores up the same mind/body dichotomy that has consistently, in western culture, undermined the status and power of dance as an agent of signification or change.
In two of the three lectures, the political ramifications of dichotomizing sameness and difference emerge as a particularly critical point. In lecture 2, as we have seen, Foster maintains that dancing and writing or speaking about dance should exist in a dynamic relation of parity. Focus too strongly on how similar they are and you erase their important differences. Focus on how different they are and you risk cutting dance off completely from language. Nothing could be said or written about it or about its meaning or significance.
Importantly, Foster suggests that an analysis of the extent to which difference or sameness is maintained will reveal that "politics motivates one or the other" and provide clues to underlying structures of sociopolitical power. What are the political dynamics of this choice? She reminds us that "you always have to keep asking that question." In lecture 3, the difference/sameness dichotomy plays out in the construction of the empathetic relationship as "a political decision, the choice to affiliate with either sameness or difference to the exclusion of the other." And, she says, the "choice[s] towards sameness, denying difference" or "towards difference, denying commonality" are never fully consciously or freely chosen in unmediated ways; they always respond to the "political exigencies of the social."
Understanding how dance is located in relation to the political informs us about power and status with reference to the very basis of our humanness, the moving, conscious body, and by extension to everything deemed bodied within a culture, from gender to class to race. And this political consciousness is one element that makes Foster's work so vital. Dance is not merely decorative or entertaining, not just an escape from the real into the beautiful and fantastic, although it can be that as well. Dance is lived, it is vital, it is a locus of meaning; it shapes and is shaped by culture, it has power and it carries consequences.
Certainly, in a lecture series, one must pay attention to the use of language. Even a performed lecture is composed of ideas and arguments spun out in words and phrases as well as gestures. Foster's use of and attitude towards language can be considered on several interrelated levels, among them its function in writing/dancing, the influences and sources that shape it, its complexity, its intended audiences, and its implications and impact in the world.
Speaking language and writing language are not the same act and it is misleading to conflate them. Speaking language and performing dance are not the same either. Foster wants to maintain these distinctions but also wants to show where there is overlap that should ensure parity among these modes of communication and expression. Foster insists, for example, that the writer is utterly bodied, whether or not the writer attends to or utilizes this bodied state of being while writing.
Foster also insists, as well, that our bodies have all of the semiotic power of writing and texts. In moving, we generate a plurality of meanings and become a locus of signification and meaning, tracing these in time and space. This is why Foster favors a dance writer who is both convinced of the power of dance to shape the language that tries to capture it and committed to a writing that works in partnership or dialogue with the dance. This writer, explains Foster, choreographs her writing, taking on the conceptual but always through the urgent presence of the body moving in time and space, moving in the social, and moving in the historical moment. As such, Foster argues, dance is a bodily writing, and the deliberate structuring of dancing, i.e., choreography, is an act of writing dancing that parallels the written text in its capacity to signify, to activate conventions of representation, to construct identities, and to present ideas, feelings, and values.
The styles and approaches to writing/dancing, whether texts or choreography, are multiple. As Foster proposed, "writing, imagined as choreography, can create a duet with its subject, choosing from the many ways of moving with it." There are some who accuse Foster and other dance scholars of using language that is too obtuse for the everyday dancer and reader, either deliberately—to set themselves apart as members of an elite intelligentsia—or carelessly—oblivious to the needs or reactions of everyday dancers and readers. Interestingly, this argument has played out in a broader public arena over the last ten years or so and continues to do so with distinct contingents facing off in journals, symposia, and the press.
On the one hand, there is the distrust of any language that is complex, often accompanied by charges of an overreliance on jargon, obfuscation, irrelevance, myopia, or deliberate elitism. On the other hand, there is a distrust of those accused of engaging in "dumbing down" language or succumbing to political pressures towards anti-intellectualism, as well as a resistance to giving up language that, by its very estrangement from everyday language, interrogates the status quo. One side holds the expectation that clarity and plain speech are most effective at conveying important ideas; the other, that rigorous intellectual work may be necessary before fully grasping important ideas.
George Orwell, in his 1946 essay "Politics and the English Language," argued that an end to obtuse or other "bad habits" of writing would make room for clear thinking, "a necessary first step toward political regeneration." Judith Butler, renowned postmodern scholar, in a New York Times op-ed piece defending herself after winning first place in a 'bad writing' survey, acknowledged the need for scholars "to clarify how their work informs and illuminates everyday life," but warned that "such scholars are obliged to question common sense, interrogate its tacit presumptions and provoke new ways of looking at a familiar world." She cites twentieth-century thinker Theodor Adorno, who laments the ease with which the public circulates received opinion in an unexamined way: "only what they do not need first to understand, they consider understandable." Note 2
This is an ongoing argument, but two things are clear. One is that language is powerful. Like every other human construct, but perhaps more so, it is shaped by but also shapes us, its users, often in ways that we do not notice. The second is that, once again, we are caught in a binary where the choices seem clear: we either use plain language that is accessible, informative, and doesn't alienate the reader from our comments or propositions; or we find and use new language that best holds new and even revolutionary ideas and forces us to rethink what we have said and its relationship to how we have said it—even if this language is complicated, obscure, or off-putting. We can either fight this out within the field of dance or we can figure out how to learn one another's languages. We can learn how to talk with one another, choosing both clarity and complexity, whether we are engaging with the richness of just one dancework or with the very important but often convoluted philosophical or social problems that dance forces us to confront.
In all three of her lectures and in her extensive body of writing, Foster makes it clear that she is interested in and committed to making her ideas—written, spoken, performed—accessible to her audiences. However, she also defends her right to play with and structure language so that it can, in fact, more specifically contain and communicate her ideas and her arguments. Foster does not hold back from the fact that she is going to make us work a bit to process all of the languaged ideas that confront us over the course of her lectures or in her many texts. And she seems convinced that reconfigured structures of writing and speaking can undermine their everyday sense and usage and actually force us to reframe and rethink the world differently.
This is evident all the more so in Foster's lectures, in which written and spoken text is paired with a variable inventory of gestures and movement. "There is a place for that technical language that allows one to be more precise and to think more deeply into issues," Foster argues, while adding, "only if that is important or of interest." Not being interested is not, she explains, equal to being dumb. Anyone making that accusation from any side of the argument is only sustaining the false mind/body dichotomy that "keeps smacking dance down" (Q & A, lecture 1).
Foster's writing does not seek complexity solely to identify itself as erudite. In addition to its need to hold arguments, it takes its shape, as noted above, from the dance itself. Foster's writing always originates in her participation in or observation of the semiotic and physical power of dance which forces her, in turn, to structure and phrase her writing to reflect her experiential as well as conceptual engagement. "The act of writing about bodies […] originates in the assumption that verbal discourse cannot speak for bodily discourse, but must enter into 'dialogue' with that bodily discourse. The written discourse must acknowledge the grammatical, syntactical, and rhetorical capacities of the moved discourse." Note 3 The writing is not meant to hold us at an objective or intellectual distance, but instead to invite us in to re-experience the physical and conceptual acts of dancing and dance recast in language. But finding our way in is, admittedly, not always easy.
Foster loves the lexicon and the rules of engagement that operate in the realms of academia and critical theory, and there is no point in faulting her for that. Why shouldn't she avail herself of the many schools of analysis that have thrown their hats into the academic arena in the last few decades? One never knows when a particular way of making sense in one discipline will yield fruitful results in another. However, Foster does not subscribe to the usual academic practice of pinning dance, as a passive subject, under the gaze of some theory or the other. She delights in the fact that dance looks back, speaks back, kicks back, further illuminating or else revealing inadequacies or lacunae in these theories. She is committed to corporealizing or giving body to theory despite any resistance or reluctance on its part.
Foster uses language as a defensive and an offensive strategy as well. Without fluency in this style of writing and speaking, claiming a space for dance in academia is next to impossible. She is really adept in the worlds beyond stage and studio, where an unsettling number of people still don't understand or value dance, or worse, have no interest in doing so. She can speak a language that identifies her as 'one of them,' but not just as a talking head, dueling it out with other theorists who have long ago forgotten the artwork in the clash of theories or the sound of their own voices arguing.
Foster is a true subversive—she injects these dialogues and conversations with the visceral power of bodiliness. She wraps this vocabulary around the act of people dancing and refuses to let others ignore this thing that dance makers and dancers do. Our worldwide cyber-culture has begun to undermine the old top-down power surge that determined who got into the academy, or museums, or onto the stage. Now, often unruly voices and bodies refuse to obey those directives to fall into line, and Foster gleefully participates in those acts of rebellion. But some of these voices still come from institutions that best speak or understand "theory" and, directly or indirectly, still have an effect on the status of dance. Foster's agenda, to give dance a voice and presence in those institutions, is important and has served the dance world well, even when it has remained unaware of her work and her efforts.
Lastly, although Foster performs and is utterly committed to the bodiedness of dance, this is demonstrated most clearly in her primary fields of endeavor, dance history and research. She locates herself within the emerging field of dance studies, which, as she explains, has taken as one of its basic organizing disciplinary questions how one writes about dancing (Q & A, lecture 1). This question, along with her commitment to understanding and articulating (as she argued in lecture 2) how one achieves a vital relationship and parity between dance writing and writing dancing, drive her work. The choreography of her writing is as deliberate and meticulous as the choreography of any dance work. Her style is meant to command the attention of scholars in other fields as well as dance, and to provide a framework for more deeply considering dance for any who are so interested. But as one audience member pointed out, just as in dance or dancemaking, it takes practice (Q & A, lecture 2).
It is clear that Foster believes that the "historically specific relationship" between critic and scholar has "changed dramatically" (Q & A, lecture 2), opening up the possibility of dialogue. And it is clear that although she recognizes that there are different kinds of writing for different kinds of audiences, she hopes dancers and dance makers will take on her writing; that they will talk back to her and to other dance scholars and that, together, they can talk back to the academy that "produces this lack of regard—or utter disregard—for human movement." Her entire history of writing indicates that she refuses to yield to the notion that dance is only intuitive, sensory, and before or beyond language, and she warns against buying into that mystique.
Although Foster is convinced that her writing comes from and is shaped by dancing and dance-making, she doesn't think her writing is mandatory reading for anyone in the field. As dance makers, dancers, or viewers of dance, keeping up with the latest critical/theoretical discourses is not a prerequisite. Nor is familiarity with the language that is often generated by conceptually or historically specific schools of thought. Obtuse or difficult 'texts,' whether spoken, written, or choreographed, can be frustrating, but it's up to us to decide which are worth the trouble. Besides, a range of dance writing indicates richness in the field that we might want to celebrate and encourage rather than disparage. Additionally, continuing to develop our own—as Foster says—"technical language that allows [dancers and dance makers] to be precise and to think more deeply into issues" (Q & A, lecture 2), may help us clarify what we think is important to say about dance, and to whom and how we choose to speak about it, even if our audiences or ways of speaking end up being very different from hers or each other's. Either way, the questions asked are those that we share at the heart of dance—what is it, why do we do it, what connects those who do it with those who see it?
Over the course of the three performances, Foster moved through dancing, through making dances, through theorizing dance in the discourses of language and text, and through performing that text. We all engage in this quadruple helix—in different proportions and in our own idiosyncratic ways. Figuring out our relationships and responsibilities to our multiple roles of dancer, maker, thinker, writer, and viewer as they play out in ourselves and with others, is an ongoing challenge. This process is neither a post-postmodern dance-off nor reality show of dance theorists versus dance critics versus dancing artists. Instead, Foster invites us to kinesthetically and mindfully bring together multiple approaches to dance that can probe, partner, and know each other—not as competing stances but rather as rich, different ways in which we inhabit dance or dance inhabits our bodies and our culture.
Foster, "Choreographing History," in Choreographing History, ed. Foster et al. (Bloomington: Indiana University Press, 1995), 6–7. Back to article
Butler, Judith, "A 'Bad Writer' Bites Back," op-ed in New York Times (Mar 20, 1999), A15. James Miller offers a useful, if not unbiased, overview of the issues in "Is Bad Writing Necessary? George Orwell, Theodor Adorno, and the Politics of Literature," in Lingua Franca Online, 9.9. (December/January 2000). Back to article
"Choreographing History," 9. Back to article
This page is designed to print either using the 'Print Article' button or your browser's native print function. Certain elements of the page (the left-hand navigation, the video, etc.) will not be printed in order to provide the best printed reading experience.


Controversial plans to build homes and a shop on the site of a former school sports hall and playing field in the Hyde Park area of Leeds are back before councillors on Thursday – with council planning officers recommending that they get the go-ahead.
It's been a long-running row.
The plans have been opposed by local councillors, MPs, campaign groups and residents, who have been calling for the facilities off Victoria Rd to be made available to local schools and the local community as part of what they call the "Hyde Park Olympic legacy".
The campaigners have sought backing from several different quarters – and often been frustrated: by Sport England, for example, who haven't raised objections to the development on the sports site that used to be part of Leeds Girls High School.
The campaign has wanted too to have the plans turned down on public health grounds – because, they say, the facilities are sorely needed for exercise by a local population that suffers from high rates of obesity, diabetes and cardio-vascular disease.
But in a report prepared for Thursday's meeting, council officers are sticking to their advice that the plans comply with both the council's development policies and the provisions of last year's Health and Social Care Act.
Even Leeds public health director Dr Ian Cameron intervened at one stage in the row, suggesting that the council's leaders support the principle of retaining the playing fields for community use.
But lawyers intervened, and that particular initiative came to nothing.
The latest setback for the campaign came earlier this week when the council withdrew the site from its list of community assets, after the site owners challenged a decision taken in May to include it.
" … there is insufficient evidence to conclude that it is 'realistic' to think that the site could be brought back into community use in the next five years," a decision from the council's director of city development said.
"I reach this conclusion on the basis of the likely value that would need to be paid for the site, which could be considerable, coupled with the lack of a practical and deliverable plan to meet this cost," he said.
The planning officers are saying too that the latest proposals submitted by the developers have overcome earlier concerns over the detail of the lay-out and the development's impact within the local conservation area.
There's a gentle reminder in the officers' conclusion that any decision taken by councillors to reject the planning application on Thursday will have to stand up at an appeal with the planning inspector – should it come to that.
"Officers recognise that this application is very sensitive and very important to the local community and very careful consideration has been given as to whether grounds for refusal could be substantiated in relation to the loss of the protected playing pitches and buildings," the report concludes.
"The principle of an out of centre retail development has similarly been carefully appraised. Officers consider that refusal is not justified on these grounds and could not be defended successfully on appeal.
"In light of the issues raised within the report that outline the benefits and also the impacts of the proposed development it is clear that the recommendation to grant Outline Planning Permission is an on balanced recommendation (sic)," it says.
Thursday's meeting is open to the public. Details of the time and venue and reports are here.
This entry was posted in Uncategorized and tagged chartford homes, holbeck land, hyde park, hyde park olympic legacy, leeds, leeds city council, leeds girls high school. Bookmark the permalink.
The developers proposals are destruction & destruction is not regeneration. The community loses & only a few profiteers gain.
The tragedy is that across the city there are many more development sites available that don't involve the destruction if badly needed community facilities & greenspace. So why this site? Why take this away from my community?
I will be speaking against the application. Game on.


text:
3 Andromedae is een ster in het sterrenbeeld Andromeda. De ster heeft de typische oranje gloed van een type K reus.

Ster binnen 200 lichtjaar
Type K-reus
Ster in Andromeda

redpajama_set_name: RedPajamaWikipedia