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Forum:Domo,o,jkhrdhyt hnjm e45sm b vn jy b
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k vmj bj,jk
- The first person to post an asinine psychological analysis of this forum topic gets a banning. I'm hardly even joking. Actually, let's make that an analysis of any kind whatsoever. —rc (t) 21:44, 17 October 2006 (UTC)
- How about... an evaluation? -- » Sir Savethemooses Grand Commanding Officer ... holla atcha boy» 16:08, 17 October 2006 (PDT)
- I have three things to say here:
- Your nonsense does not belong in BENSON's glorious halls.
- Rc, you're no fun. Honestly, I'd like to see how anyone could possibly psychoanalyze this.
- That's rich coming from the guy who fea*is shot by hidden cabal agent* --User:Nintendorulez 20:40, 18 October 2006 (UTC)
- Benson's Glory Hole? -- Sir Mhaille (talk to me)
- Jeez, I got to stop leaving my monkey alone with my computer and my browser set to Uncyclopedia... -- Hindleyite 13:50, 19 October 2006 (UTC)
GARRRRHG! BENSON LIKES HIS FORUM NEAT AND TIDY! POST PRAISE OR SOMETHING IF YOU MUST COME TO BENSON'S REALM. Benson 00:40, 20 October 2006 (UTC)
- IT WAS POSTED BY AN ANONYMOUS IP. THEY ARE OUR ULTIMATE ENEMIES, MY LIEGE. Crazyswordsman...With SAVINGS!!!! (T/C) 00:52, 20 October 2006 (UTC)
- Dear Crazyswordsman--You are my favorite; right behind Benson. --Anyone 13:38, 20 October 2006 (UTC)
- Our ultimate enemies are the admins that dislike BENSON. Users that dislike BENSON are second, followed by IPs. --User:Nintendorulez 20:48, 21 October 2006 (UTC)
- Dear Crazyswordsman--You are my favorite; right behind Benson. --Anyone 13:38, 20 October 2006 (UTC)
Domo arigato,uyaklea iu43,807 iouewn rfu. ~ T. (talk) 13:53, 20 October 2006 (UTC)
- It's actually spelled, "arigatoo." That's how it was spelled in my Japanese textbook. Nobody knows that because of the Styx lyric. Crazyswordsman...With SAVINGS!!!! (T/C) 16:47, 20 October 2006 (UTC)
- My textbook has some unusual spellings too, but if you directly covert the Hiragana ありがとう to Romaji, you'd get Arigatou. Either way, Styx is wrong. --User:Nintendorulez 20:46, 21 October 2006 (UTC)
/me uses German accent This IP is obviously a manic individual- just look at the syntax. 'bj,jk' suggests that the origin of this IP's issues is an incident involving a malevolent moose and a steamroller. /me sends bill for twenty grand. --Lord Fluffy who rains fire from the heavens 11:30, 3 May 2007 (UTC)
- Uh oh, Rc doesn't look happy. I dunno what he's gonna do with that big stick... -- Hindleyite Converse 12:00, 3 May 2007 (UTC)
/me offers RcMurphy the couch. How was your relationship with your mother, Rc? --Lord Fluffy who rains fire from the heavens 14:59, 3 May 2007 (UTC)


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Written on: 09/09/2013
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subset: commoncrawl


text:
|Brunetti-pierri, Nicola
|Doty, Stephen
|Hicks, John
|Phan, Kelly
|Mendoza-londono, Roberto
|Blazo, Maria
|Tran, Alyssa
|Carter, Susan
|Lewis, Richard
|Plon, Sharon
|Phillips, William
|Smith, O'brian
|Ellis, Kenneth
|Lee, Brendan
Submitted to: Molecular Genetics and Metabolism
Publication Type: Peer Reviewed Journal
Publication Acceptance Date: 12/1/2007
Publication Date: 3/4/2008
Citation: Brunetti-Pierri, N., Doty, S.B., Hicks, J., Phan, K., Mendoza-Londono, R., Blazo, M., Tran, A., Carter, S., Lewis, R.A., Plon, S.E., Phillips, W.A., Smith, O.E., Ellis, K.J., Lee, B. 2008. Generalized metabolic bone disease in Neurofibromatosis type I. Molecular Genetics and Metabolism. 94:105-111. Interpretive Summary: Some genetic diseases can involve bone growth abnormalities. Neurofibromatosis, which is the most common autosomal dominant disease, is one of these, but little is known about how it alters bone growth in childhood. We compared the whole-body skeleton mass of children with this disease with our reference healthy pediatric population, matching for age, height, and gender. We also used techniques to examine how bone was being formed, and how vitamin D affected this process. We found that the children with neurofibromatosis had bone significantly below normal, and that treatment for these defects did not show improvements after two years.
Technical Abstract: Skeletal abnormalities are a recognized component of Neurofibromatosis type I (NF1), but a generalized metabolic bone defect in NF1 has not been fully characterized thus far. The purpose of this study was to characterize at the densitometric, biochemical, and pathological level the bone involvement in NF1 patients. Using dual energy X-ray absorptiometry (DXA) we analyzed bone status in 73 unselected NF1 subjects, 26 males and 47 females, mainly children and adolescents (mean age: 16.6 years). In a subgroup of subjects with low bone mass, we measured indices of calcium–phosphate metabolism, bone turnover, and bone density before and after vitamin D and calcium treatment. We found statistically significant and generalized reduction in bone mass with the mean lumbar bone mineral density (BMD) z-score being -1.38 +/- 1.05 (CI 95% -1.62 to -1.13), and whole body bone mineral content (BMC) z-score -0.61 +/- 1.19 (CI 95% -0.94 to -0.29), both significantly reduced compared to normal controls (p < .001). PTH was moderately elevated, and after 4 months of supplemental therapy with calcium and vitamin D, it decreased to the normal range. However, BMD z-scores did not significantly improve after 2 years of follow-up. Histological analysis of bone samples from NF1 patients revealed substantial alteration of bone microarchitecture due mainly to reduced trabecular bone. Our observations are consistent with a generalized bone metabolic defect due to loss of the function of neurofibromin. Early identification of patients with osteoporosis may permit more timely and aggressive treatments to prevent the likely substantial morbidity associated with increased fracture risk later in life.


text:
Calendar January 2012 (12 Months)
Price: $22.49
Prints in 3-5 business days
2012 Calendar of pictures submitted by members of www.britishcarforum.com
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text:
Pioneer 114
Education: B.A. University of New Hampshire; M.A., Ph.D. University of Minnesota
Academic Interests:
My specialty is developmental psychology and close relationships across the lifespan, including parent-child relationships, friendships, romantic relationships, aggression, and media effects. I am especially interested in topics related to children and adolescents.
Some of my specific research interests include:
observational research methods for studying relationships, aggression and conflict in friendships and romantic relationships, and the effects of media on child development (including television, videogames, and the internet).


text:
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|prev home next
|Cultural Differences
and the Dynamics of Collaboration
Internationalizing New Work in the Performing Arts created a laboratory—decentralized at seven sites across country—for exploring issues of cultural difference in collaborative work. It was anticipated that the collaborations that brought together U.S.-based artists and artists from Africa, Asia, the Caribbean, Latin America, and Mexico could produce any number of outcomes: the identification of common ground, the forging of new artistic territory, or the recognition that there was no basis or possibility for collaboration.
The work of the initiative revealed that cultural difference manifests in a variety of ways, often complex and multi-layered. Five key findings emerged concerning cultural differences in the dynamics of collaboration, which are discussed in the pages that follow:
|Defining Collaboration
Attitudes toward collaboration differed among initiative participants. This had an impact on the expectations artists and institutions brought to the collaboration and the ways they encountered and mediated difference. A few artists questioned the very value of collaboration; most saw it as a process whose inherent value was understood and recognized.
The relative importance placed upon innovation and experimentation in a culture's art forms appeared to have an impact on how artists approached the collaborative process. Some Asian and American initiative participants saw this as part of an East/West dynamic. The "language of collaboration" appears to be more familiar to U.S.-based artists and institutions than their Asian colleagues, observed Kathryn Libal, site ethnographer for Northwest Asian American Theatre (NWAAT). Zai Kuning, a performance/installation artist from Singapore who worked at NWAAT, said, "Collaboration is more a term of the West and America. It involves democracy…the struggle is always an artist looking for a position within the group or getting comfortable protecting themselves from things they don't wish to do."
Yet others advanced a seemingly opposite perspective, suggesting that collaboration is something of a lost art in the West. Judy Mitoma, director of UCLA's Center for Intercultural Performance noted, "Collaboration comes out of a shared knowledge to achieve a goal. In some countries, everything is collaboration. In U.S. culture, with its emphasis on originality and individuality, we place less emphasis on collective collaboration."
Whatever perspectives artists brought to the collaboration, the process was continually under negotiation in terms of artistic vision, process, and final product. "Defining collaboration continues to be difficult," noted Libal. "Cooperation, sharing, trust, compromise, willingness to listen are key components to the collaborative spirit."
Power issues surfaced frequently during collaborations, and this more often had to do with artistic discipline than it did with cultural differences. When processes of creation within a particular artistic discipline confer specific degrees of authority, this needs to be acknowledged and negotiated at the outset.
A case in point was Balseros, an operatic work co-commissioned by Miami-Dade Community College, Cultural Affairs with the Florida Grand Opera and the South Florida Composers Alliance. "In Balseros, several elements hindered the collaborative process," noted site ethnographer Tim Bucuvalas. "Perhaps the primary problem in the collaborative process was that the two primary artists were accustomed to working in different types of theatrical models [as composer/conductor and playwright/director], each of which is governed by a different set of rules….[A]lthough the collaboration was ultimately successful…I must note that not all successful collaborations are necessarily easy."
As projects moved toward a performance, issues of authority and control often came into sharper focus. At the Guadalupe Cultural Arts Center, for example, a director had to be hired from outside the collaboration to mediate authorial differences that developed between a playwright and choreographer as the production entered rehearsal. Although there was often friction and uneasiness when one person emerged as "the boss" and worries arose about how this might compromise the collaborative process, strong leadership by one individual sometimes proved to be a mechanism for insuring equitable contributions by all the partners. In the case of a five-artist collaboration supported by NWAAT, for example, the skills of the writer/director helped move the production from "fragmentation to cohesion" and created a framework in which the voice of one of the more reticent artists could be heard. "The director was able to weave text, movement, and music in a way to draw her back into the production and more fully into the project," Libal reported.
When working across cultures, issues of disciplinary mix take on added complexities. The characteristic distinctions that Western artists often make between forms and disciplines may not apply in other cultures. In African performing arts traditions, for example, there can be a more holistic relationship among dance, music, and theatre without the confines of the Western divisions of discipline or genre. In such cases, respective roles and responsibilities must be carefully understood as the collaboration unfolds.
Many initiative participants viewed their participation within a broader political framework, and this had an impact on how both artists and institutions approached their work. Sometimes projects moved forward because something larger was at stake. "This collaborative process is a way to facilitate communication between two countries: the United States and Mexico," said Jorge Piña, former theatre director at the Guadalupe Cultural Arts Center. "When you have governments fighting each other but you have grassroots organizations that are working with other grassroots organizations, you see communication flowing back and forth…and communication flows faster and stronger when the arts are given the chance to speak."
In a parallel fashion, some institutional participants structured collaboration as part of a broader agenda to achieve social cohesion within their local community. "It is about stimulating an entire ecology of arts agencies," said Michelle Heffner Hayes about the process of bringing small and large Miami-based organizations into partnership in support of international artistic collaborations.
Artists often move toward deeper and deeper levels of commitment as they traverse "stages of encounter" that typically characterize international collaborations: encounter/commitment, exploration/negotiation, and composition/production.
Artists consistently expressed a desire to work at deeper and deeper levels once a commitment to work together was in place. Artists recognized the need to move beyond the superficial overlay of forms and the importance of not appropriating cultural forms and techniques in ways that could be construed as culturally insensitive.
"We are not cutting and pasting forms that already exist," said Keith Terry (U.S.) about his collaboration with I Wayan Dibia (Bali). "We are developing ideas using the essence of the two forms, Kecak and Body Music…and that is the kind of thing that we must always remind ourselves: not to misrepresent the elements of the cultures. The work should speak much deeper than just putting forms together."
Zhou Long, a performing artist from China, similarly articulated the desire to work deeply by identifying the essential "spirit" of his tradition. "During a collaboration with an international artist, the most important thing is not to express your traditional culture, but to work together. I believe that collaboration is an organic joining of forms from different cultures. When you work in international collaborations, it is more important to draw the spirit of your tradition and bring something else to explore."
|The Working Process
Language Barriers: Basic communication among artistic participants who were not fluent in English was one of the first issues that had to be addressed during the collaborative process. While many sites used translators/interpreters, others chose to work with international artists who were bilingual and English-speaking, easing the need for constant mediation through an interpreter. Still others found that the "universal" nature of the arts obviated the need for constant interpretation during periods of artistic exchange.
Accuracy of Translation: The capabilities and accuracy of the interpreter proved to be a lynchpin for success in multi-lingual situations. "The [interpreter] has to be a faithful echo," noted musician/performance artist María Elena Gaitán, who has also worked as a court interpreter. "The person serves as a cultural mirror. That person has to be sensitive to the culture, in both languages. Organizations must understand that there is a standard for [interpretation], and it is not your overworked bilingual secretary."
For interpretation to be effective, interpreters must have some understanding of the performing arts and familiarity with its vocabulary. For example, when translators were not conversant with the performing arts, their translations fell short. More successful was the use of bilingual artist participants as interpreters or the use of outside interpreters who were also artists.
"Universal" Communication: Sometimes participants found they could transcend the barriers of language through their art. For example, during an APPEX rehearsal where most of the participants were Chinese speakers, the three English speakers (a Vietnamese American, a Japanese American, and a Caucasian American) reported that rich communication took place even though linguistic exchange was being carried out entirely in Chinese. "I'll never forget the flag dance," said a participant. "We [the English speakers] kept saying 'What?!' But within twenty minutes we had the dance."
Some artists said that while not having a common language was frustrating at times, it was not an impenetrable barrier. "Language is the last barrier," said Peng Jingquan (China), at an initiative convening. "We try to understand, respect each other by spending time together. But even when we are sitting together without any [common] language, we judge by our eyes, touch by hands. We know each other." I Dewa Berata (Bali) similarly observed, "Language is not as important as the feeling [between artists]."
Collaborations that featured choreographers and musicians appeared more likely to "transcend" language barriers. For example, Ivonice Satie, a Japanese-Brazilian dancer/choreographer who spoke Japanese and Portuguese but little English, reported that she experienced few communication difficulties in her collaboration with two U.S.-based artists. "Dance is the language," she said. "Transmission takes place by demonstrating, watching, repeating."
Fluency and Equity: A lack of fluency in English proved frustrating for even some bilingual artists. Since collaborations took place in the U.S., English invariably was the privileged language of communication. "It takes a while to think, to make the question," noted Sen Hae Ha, a Korean dancer/choreographer. "The topic changes by the time you are ready to speak," similarly observed Nami Yamamoto, a Japanese-born American dancer/choreographer.
This problem came into particularly sharp relief at Global Interchange, a major gathering of artists who participated in the initiative. Although there were multiple interpreters present—Spanish, French, Japanese, Chinese, Portuguese—interpretation progressed slowly because interpreters were bilingual in English and one other language. Multiple series of interpretations were therefore necessary to ensure comprehension among the group. "Interpretation is a tedious process for all and affects how focused people can be," said a participant. By the end of the three-day meeting, when artists were presenting suggestions to the Ford Foundation about future support of international collaboration, "language exhaustion" set in. "The conversations became English-centered to the extent that the bilingual English, French, and Spanish-speaking artists asked the English-speaking artists on the stage to finish reading the suggestions they were assigned to read."
Aesthetic Differences: One of the hardest cultural issues to bridge is aesthetic difference. Reflecting on the difficulties that sometimes must be bridged in this area, Japanese composer Somei Satoh, noted, "For people from the East, music comes from silence. People from the West think music and silence are opposites. Japanese people think silence is like motherhood, the silent womb. People from the West think that silence is just silence." Heather Hitchens of Meet The Composer found this aesthetic variation to "be key and the hardest part" in a collaboration. However, in initiative collaborations, partners who wanted to work together found something in the other's work that drew them to the other person's aesthetic. This aesthetic disjuncture may be more of a problem in curated collaborations where a third party brings together artists who may not be familiar with one other's standards of what would be considered a work of artistry, beauty, or fulfillment.
Cultural Stereotypes: Initiative work caused many participants to confront stereotypes they harbored about specific cultural groups or performance traditions. An African artist said he came to the initiative assuming "all Americans cared about was money, guns, and jeans." An artist from Malaysia said she came to the U. S. with a sense that she was coming to "the enemy camp" and only over time, as she got to know people, did she begin to "separate the American people from the American government." An African-American artist experienced a "bolt of lighting" when he visited Haiti for the first time and had to confront his own "romantic exoticism [and] racism," as he grappled with his preconceived notions of things African and with the "repulsion" he experienced toward third-world poverty and squalor.
Similarly, at the conclusion of an APPEX residency, an Asian artist spontaneously confessed that he had been taught to hate people from another Asian country and that throughout the residency he had studiously avoided working with two artists from this country (even though this was not apparent to participants). Choking with tears, he apologized to the artists, and they, too, wept as they all embraced.
Stereotyping also surfaced frequently around assumptions about "traditional" art forms. Traditional art forms from other cultures are often viewed as static and unchanging versus contemporary work that is seen as innovative and even improvisational. "We in the United States don't necessarily know the difference between contemporary and traditional and how that gets defined in an African cultural context," said Baraka Sele, an Africa Exchange primary partner. "A lot of times when we thought we were looking at traditional work, we were actually looking at contemporary work. That confusion comes because, a lot of times, contemporary artists in Africa infuse their contemporary work with traditional elements. And because we don't really know what that means, don't have definitions, don't necessarily know the aesthetic, we're often confused."
Furthermore, the term "traditional" is often wrongly associated with "folkloric." This confusion can be demeaning to international artists who may work in traditional genres but employ innovation and creation. "Our company doesn't want to be bound and shackled by tradition or confused in any way as folkloric," explained David Abílio, artistic director of the Song and Dance Company of Mozambique. "We have to reflect the present and continually reinvent ourselves."
Equity Considerations: From the very beginning, initiative administrators were acutely aware of equity issues and worked hard to insure equity of language (through the use of translators) and equity of compensation (by configuring stipends to deal with differential taxation and cost of living).
Geographic Locale: Yet equity issues were inescapable, especially given that collaborations took place on American soil and were generally instigated by U.S.-based artists and institutions. This created what one ethnographer characterized as an "imperialistic pressure." Almost all the grantees have worked to address this issue, trying to find ways in which at least some of the collaborative activity can take place outside the U.S.
Gender Considerations: Culturally-linked gender issues were another source of difficulty during collaborations. Africa Exchange, for example, reported that while women's representation in the performing arts is improving in the U.S., "it is still an issue in African nations." The ethnographic team at the GCAC also made note of gender issues, "Problems did surface between the [Chicana] playwright and the [Mexican] choreographer which the playwright attributed to culture and gender differences between herself and her Mexican colleague. Although she never confronted him on the issue, the playwright thought that the choreographer had problems with the language she used, which she termed Chicano vernacular and is characterized by frequent code switching [between English and Spanish] and borrowing [of vocabulary]. The playwright also felt her Mexican colleague had a problem with her aggressiveness."
Generational Issues: Disparities in age were another source of power imbalance, which had a cultural dimension. For example, at UCLA's APPEX program, when a senior Asian artist/scholar participated with a younger but highly accomplished artist from the same country, the younger artist deferred to the older one, even though the older man's skills were much more intellectual than performative. While this was distressing to many of the American artists, this was not an issue for the younger Asian artist, who respected the hierarchy of age without resentment. This deference and lack of resentment was confusing and even maddening to some American artists.
|Finding Common Ground
Despite the many factors that had the potential to derail collaborations—including language barriers, cultural assumptions, aesthetic differences, genre differences, and the imponderables of interpersonal chemistry—many collaborators did find common ground. Commitment to the work, flexibility, ability to connect on a personal as well as an artistic level, and readiness to make extended time commitments all seemed to be important factors in moving the work forward. The facilitating role of the institution was also significant.
Commitment to the Work: The prospect of the "work"—whether it was the exploratory stages of intercultural exchange or the products that might emerge from such interactions—often inspired artists to move beyond cultural difference. "What we trusted in each other was the quality of integrity in work," said American dancer/choreographer Victoria Marks about her collaboration with Chinese actor/playwright/director Xu Ying. "We didn't know the context and history for each of our given gestures. What references traditional theatre forms in China for Xu Ying, is an interesting adaptation of personal narrative for me. What does happen is my habits are circumvented. I look at things with new eyes."
Flexibility: Flexibility, the ability to listen, and mutual respect were key elements in moving a collaboration forward. According to José Manuel Galván, director of Surcos de Oro/Watered with Tears (GCAC), "The first attitude I had to adopt was to be flexible, to listen, to try to see where the designers were, where the creators were, and the producers…I think that professional respect, respect at the human level, is something that we need to touch in this process of collaboration."
"There's always this trepidation, going into these arranged marriages, that it's not going to be a good fit," said Lourdes Pérez, a Puerto Rican singer/songwriter participant in the GCAC's final collaboration, De Viajes, Fronteras y Mariposas (Of Journeys, Borders, and Butterflies). But after she completed the collaboration with the Mexican choreographer, Serafin Apunto, she noted, "We both have definite identities as musicians and choreographers, but at the same time we have been very flexible. And I would say that the collaborative process itself is an art because it doesn't matter how good or how definitive you are, if you don't have the flexibility, this process won't work. This flexibility and interest in what each one is doing is what it's about."
Personal Connections: When collaborators were able to make a personal connection this often facilitated their ability to come together on aesthetic issues, despite cultural and other differences. Sometimes this was accomplished when people met together in informal social settings—eating together, recreating together, and sometimes living together. "The bottom line is we got together on a very interpersonal level," said filmmaker John Pai (U.S.) about his collaboration with dancer/choreographer Mew Chang-Tsing (Malaysia). "It was not our individual artwork that originally brought us together. It was something more hidden and something more intrinsic to each of us. It wasn't the art form. It wasn't light. It wasn't dance. It wasn't movement. In that discovery, we found similarities in our dissimilarities."
Extended Contact: The complexities of international collaboration and the multiple levels of difference that must be traversed mandate working situations where deep levels of exchange are possible. Time—for exploration and negotiation, play and argument—is essential. Multi-stage residencies and long-term residencies were among the ways participating organizations structured activities to allow for this much-need element.
A grounding rooted in one's own cultural tradition or aesthetic proved to be an important indicator of potential success with intercultural collaboration. Yet that deep grounding also means that the conditions and process for genuine collaboration must be built slowly over time with a willingness to let go of that bounded expertise to work in and with another genre, medium, or culture. "In an intercultural collaboration, you have to come to it with a particular strength first and then be open," said Philadelphia-based tabla player, Lenny Seidman. "In my experience, sometimes artists are so grounded [that] it is a struggle. It's a real struggle to give up everything they know in order to embrace another grounding, another tradition. It is not simple. The intercultural collaboration takes a great deal of time to really do it and do it well with a lot of integrity."
For Dibia and Terry this process took over a decade. "We do a lot of teaching to each other," explained Terry. "We go back and forth a lot. Sometimes we will very specifically have parts in mind, and we will teach it to each other. Other times we will come together frequently as improvisers and one person may just start a vocal rhythmic line, for instance, and just repeat that. And then the other person will start hearing this other part and bring in a counterpart. It goes back and forth like that…It's a gradual thing. It took ten years to get 'Body Tjak' to the stage, and I don't think we could have done it any quicker."
|Expectations and Maintenance of Difference
The Value of Confrontation: Initiative participants came to recognize that dissimilarities and conflict can be productive aspects of a creative collaborative effort. "One of the pitfalls in collaboration is to arrive at the lowest common denominator—something that everyone can agree upon. Everyone feels good about having done the work and we're all friends. That's a bad thing for my theatre company," said Ruth Maleczech, co-artistic director of New York-based Mabou Mines. "We have a lot of fights about work we're making. That's a normal condition for us: there's a lot of disagreement, a lot of egos on the line, a lot of differences of philosophy, opinion, and approach. We want to encourage our international collaborators to do the same thing."
Respecting "Otherness": Another pitfall is to exoticize the other partner or to think that through the work, you and your collaborators have transcended difference and are the same. Victoria Marks observed:
|Setting the Stage:
Administrative Support for Artistic Collaborations
When institutions function as active facilitators and creative partners, the goals of intercultural collaborative practice can most fully be realized. A philosophical commitment—both to the underlying principles of international exchange and to collaborative activity—needs to be in place before an organization embarks on international collaboration.
Among the multiple strands that must be undertaken are:
The Phase I Report extensively chronicled ways that the institution can serve as a facilitator and creative partner in the collaborative process. While those findings are not recapitulated here, the work of Phase II confirmed the validity of the body of knowledge that emerged during Phase I around institutional best practices. For a more detailed discussion of administrative issues, consult the Phase I Report (available from Arts International or online: www.fordica.org).
|Future Considerations
The work of the initiative has brought into focus a range of issues related to cultural difference and has created fertile ground for the development and articulation of strategies that can support international work. Yet the absence of a process to follow artists longitudinally, after their participation in the initiative, places limitations on the ability to assess long-term initiative impact. In looking toward refining and building upon the work of initiative participants to date, the need for reciprocal opportunities for U.S.-based artists to engage with their international colleagues outside the U.S. has been widely acknowledged. This is as a critical step in addressing equity considerations within the collaborative process.
While international collaboration between performing artists is fraught with pitfalls, it is important to note that artists spoke passionately about intercultural collaboration as a process that engendered personal transformation, artistic growth, and the opportunity to have an impact in a broader social and political arena. Artists desired more, not less, opportunities to engage in this difficult but rewarding process of international, cross-cultural collaboration.
* - First published in "A Report on the Ford Foundation Initiative: Internationalizing New Work in the Performing Arts" Phase II: 1999-2002 (2002). Reprinted with the permission of Arts International.
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text:
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text: Police defend sobriety checkpoints By Paul Fallon January 3, 2011 Story Share Tom Hindman Local police officers line Washington Street during a recent DUI checkpoint. Police say the checkpoints are effective deterrents for drunken driving, but a restaurant trade group has criticized the practice as ineffective harassment of those who have a social drink or two. Tom Hindman Police are required to announce checkpoints, like this one on Quarrier Street, ahead of setting them up. CHARLESTON, W.Va. -- The flashing lights and police officers of a sobriety checkpoint can strike fear in a driver's heart.And police say that's exactly the point of the checkpoints - even if few drunken drivers are actually caught.Such checkpoints have come under recent fire as unnecessary intimidation from a trade group representing restaurants where people sometimes have a drink with their dinner.But local police say they're a necessary tool to keep drunken drivers off the streets.Lt. Sean Crosier of the Kanawha County Sheriff's Department said deputies usually catch two or three impaired drivers during a sobriety checkpoint. He added that patrols are normally much more effective because there is no law requiring the law enforcement agency to advertise the location of the patrol."But I think the checkpoints are more effective than what the numbers show," he said.Crosier believes sobriety checkpoints deter many people from driving while impaired and instead encourage them to use a designated driver while out on the town. He added that although the checkpoints are not as effective as patrols, impaired drivers are still caught at the checkpoints."And anything we can do to take an impaired driver off the road should be considered effective," Crosier said.However, a national trade association released a statement in the national media calling sobriety checkpoints "ineffective."Officials with the American Beverage Institute, an association representing 8,000 restaurants, said the checkpoints were ineffective because on average, three DUI arrests are made for every 1,000 drivers stopped.Sarah Longwell, managing director for the institute also said the checkpoints, "harass responsible adults who have been drinking moderately prior to driving." Bob Tipton, director of the state Governor's Highway Safety Program, strongly disagreed with Longwell's assessment. Tipton also took issue with Longwell's statement about moderate drinkers."What exactly is moderate?" he asked. "Anytime you get behind the wheel when you've been drinking, it's dangerous."According to statistics provided by Tipton, 302 sobriety checkpoints were conducted in West Virginia from Dec. 29, 2009 to Dec. 29, 2010. A total of 199 people were arrested for DUI at those checkpoints, according to the statistics.During that same time period, 146,976 cars passed through those checkpoints. The Governor's Highway Safety Program provides grant funding to help departments cover the cost of sobriety checkpoints and saturation patrols. Saturation patrols are a tactic when a large number of officers are concentrated in a small geographic area.From Dec. 29, 2009 to Dec. 29, 2010, a total of 2,654 DUI arrests were made as a result of saturation patrols across the state, according to the statistics provided by Tipton. During that time period, 1,180 officers worked a total of 37,081 hours on the saturation patrols. Although officers arrested a larger number of people during saturation patrols, Tipton still believes sobriety checkpoints are effective in deterring impaired drivers."I think checkpoints reach a lot more people and discourage drunk driving," he said.Tipton pointed out that checkpoints are very visible, but few people notice additional officers out on patrol.A little over $1 million in grant money was spent around the state to fund the saturation patrols, according to the statistics. Tipton did not have the exact amount of money spent on DUI checkpoints. However, Crosier estimated that each checkpoint held by the county costs about $2,500. The Governor's Highway Safety Program provided this funding in the form of grants. The Kanawha County Sheriff's Department had eight sobriety checkpoints in 2010, Crosier said.Citations other than DUI are also issued during sobriety checkpoints, Tipton said. From Dec. 29, 2009 to Dec. 29, 2010, 1,081 citations were issued to drivers operating a vehicle without insurance.Nineteen felony arrests were also made during that time period, and seven fugitives from justice were also apprehended during sobriety checkpoints, Tipton said.Sgt. Shawn Williams with the Charleston Police Department's Traffic Division believes that both sobriety checkpoints and saturation patrols are effective in catching impaired drivers. He noted that the Charleston Police Department normally runs about two sobriety checkpoints a month."We normally arrest five or six people during a checkpoint," he said.He agreed that when analyzed dollar for dollar, saturation patrols are much more effective in catching impaired drivers. But like Tipton and Crosier, Williams said sobriety checkpoints are very visible and often deter people from driving while intoxicated."Sobriety checkpoints spread the message that drunk driving will not be tolerated," he said.Williams estimated that each sobriety checkpoint costs about $2,500, which is reimbursed to the department using grant money.Sgt. Michael Baylous, spokesman for the West Virginia State Police, also believes checkpoints are vital in the fight against impaired drivers."DUI checkpoints are very effective in letting the public know we're enforcing DUI laws," Baylous said.Baylous did not have exact numbers of how many sobriety checkpoints the State Police have run throughout the year. He also did not have numbers readily accessible on the number of people arrested for DUI at checkpoints or saturation patrols. Contact writer Paul Fallon at email@example.com or 304-348-4817. Story Share Story Share Trending Now 1 14 Kanawha County schools in need of air-conditioning work 2 Kanawha magistrate Yeager resigns amid embezzlement investigation 3 WV resettlement group says refugees scheduled to arrive in fall 4 Late documents put WV public colleges under financial aid restrictions 5 Jim Justice company cited by feds in coal prep plant death YMCA offering free membership trials Previous Story Kanawha school closed due to water problem Next Story


text:
I've been a plumber and electrician so long, I could've wired Ben Franklin's key to his kite. I plumb and wire both stick and timber frames, and right-angle drills are perfect for my roughing-in tasks because they fit well between joists and studs. These brutes will drill big, deep holes in practically anything, from bone-dry double 2x10 spruce to 1-1/8-inch-thick OSB subfloor and rock-hard 8x8 timbers.
Test Criteria
I tested medium-duty and heavy-duty 1/2-inch right-angle drills. The medium-duty tools include the DeWalt DW120K, Makita DA4000LR, Milwaukee 3107-6, and Porter-Cable 7556. The heavy-duty units include the DeWalt DW124K, Makita DA4031, and Milwaukee 1676-6 Hole Hawg.
I reviewed the tools' owner's manuals, tested for power, and evaluated speed-change, balance, and feel under load. These drills are too powerful to test in softwood, which wouldn't have yielded useful comparison results, so I upgraded to white oak timbers, which I frequently encounter in timber frames.
Out of the Box
Owner's manual. I once worked with a guy named Elvin who was drilling a ceiling joist from a stepladder when the bit jammed. The bit stopped dead, but the drill kept going -- and so did Elvin -- until I unplugged it and he dropped to the floor.
When you work with tools this powerful, it's important to read the directions. Milwaukee has the best manual in this test group. It covers all the bits we use and warns about "reaction torque," which is what happened to Elvin. The DeWalt manuals provide little spec info, nor mention anything about reaction torque. Makita's medium-duty drill manual only provides maximum diameters for two bits, while its heavy-duty drill manual is complete. However, both manuals are in metric. Porter-Cable's manual covers general safety rules, bit specs, and speed change.
Kit box. Milwaukee and Porter-Cable have the best kit boxes of the medium-duty group. Both companies provide tough cases with strong handles and clasps. Makita's is much too big for its tool. DeWalt's is made of thin, malleable plastic and doesn't seem like it will hold up for very long. All the heavy-duty drills boxes are good and tough, although Makita's is unnecessarily huge.
Drilling test. Based on manufacturers' bit specifications, I pitted all the tools against 8-inch and 15-inch white oak timbers. For each test, I put a brand-new bit on each tool and buried a 41/2-inch hole saw, a 29/16-inch self-feed bit, and bored into the timbers with 1-inch and 1-1/2-inch auger bits.
Medium-duty drills. All of these tools devoured the white oak and all cut at nearly the same speed. Each tool easily buried hole saws and self-feed bits, which means they'd easily cut holes for waste lines, vents, and wires in softwood for new construction. They'd also have no problem drilling other materials like siding or plywood. All the tools spun the bits in and removed them easily. Makita's was the smoothest, quietest drill, while the Porter-Cable tool had the most power of the bunch.
When I buried the 1-1/2-inch auger bits into a 15-inch timber, the drills finally bogged down but I couldn't get any of them to back out. Medium-duty drills' capture bolts can break if you try to reverse stuck bits. If you encounter serious timber drilling like this, you need heavy-duty units. Their gearing mechanics make them heavier, but it's well worth the weight.
Heavy-duty drills. These models are the Olympic drill team. All the tools cut at the same speed but performed differently on the 15-inch timber test. The 7.5-amp Milwaukee and 8-amp DeWalt drills labored towards the end. But the 10-amp Makita steamed through. It spun smoothly and quietly on the way in, then easily spun back out. The DeWalt and Milwaukee drills had trouble removing the auger bits.
Feel. Weight is distributed similarly on most of the medium-duty models. They're comfortable for drilling straight in, overhead, or sideways in stud and joist cavities. The Porter-Cable drill, however, is longer and heavier than the others, which makes it slightly less manageable. The heavy-duty models have similar weight distribution, although the Milwaukee Hole Hawg has the best balance and feel.
Trigger design and handle size impact how the medium-duty drills feel. Makita has the best trigger; it's oversized and parallel to the handle. Even with gloves on, you can get your hands in there without catching the trigger and there's plenty of room to engage the forward/reverse switch. DeWalt's small trigger is okay, but the bottom of the handle gets smaller and cramps big hands. Milwaukee's handle is a tight squeeze too, especially near the trigger, which sticks out too far into the handle space for me. The handle on Porter-Cable's drill allows lots of room for your fingers, but the tool would benefit nicely from a flat, oversized trigger.
Speed change. This is the most important element separating these two types of drills. On the heavy-duty tools, you flip a switch to change from low to high speed. To change speed on a medium-duty unit, you have to remove the right-angle head and flip it around, which takes several minutes.
Cool stuff. Small features like slotted chucks, detachable cords, and clutches make a big difference with these tools. Slots in the back of the DeWalt and Makita medium-duty drills' chucks afford mechanical connections to the gear systems. That removes pressure off the capture bolts when the tools are under load in reverse.
Milwaukee and Porter-Cable use a different chuck mechanism that can put too much pressure on the capture bolts and could cause them to break. I've snapped enough bolts to assure you that it's possible and it isn't fun.
I wish all my tools had a power cord like Milwaukee's Quick-Lok three-prong, replaceable power cord. Instead of rewiring a damaged cord, you simply unplug the Quick-Lok and buy a new one. The only three-prong cord in the bunch, it doesn't kink in the box and stays in the receptacle better than a standard two-prong cord.
Drilling with right-angle drills is dangerous work, which makes the clutch an important feature. If the bit sticks in the hole or jambs on a nail, the clutch kicks in and you don't get hurt or lose control of the tool. The best feature on the DeWalt DW124K drill is its clutch. It's nicely tuned and didn't engage during any of the heavy-duty drilling tests. I think all of these drills should have a clutch.
Overall, I like heavy-duty, direct-drive models best. They fit in anywhere medium-duty tools do and they carry out more work. Milwaukee's Hole Hawg is a great choice if you want a tool that's lightweight, has good power and easy maneuverability. If you're searching for pure power, Makita's DA4031 is the answer. However, DeWalt's DW124K provides the best power and mobility combination, and it has that terrific clutch.
Makita's DA4000LR is the best of the medium-duty drills. It's powerful, runs smoothly and quietly, and has a slotted chuck. I like DeWalt's DW120K. It's lightweight, powerful, has good speed change, and it's got a slotted chuck. Next is Milwaukee's 3107-6, which has good power and a great cord, but lacks a slotted chuck. Porter-Cable's 7556 is the most powerful of the medium-duty group. However, it's the heaviest of its class, lacks a slotted chuck, and has a difficult speed change.
Rex Cauldwell is a licensed contractor, master electrician, plumber, and home inspector. He lives in Copper Hill, Va.
Tools of the Trade has arranged with the companies in this test to donate their tools to Habitat for Humanity.
Thanks to Magna for supplying the self-feed bits and Lennox for supplying the auger bits and hole saws.


text: Sir, > Linux kernel size is around 512 MB. > Bochs is taking around 12 sec to load Linux which is unacceptable > as per as system requirements. You will probably have to get a faster hard drive. With the numbers you provided this gets down to about 43 Megabytes per second, which is not too bad. The question is: - Why do you need such a big kernel? > Bochs itself is too slow in executing the things. > I observed that it is around 20 times slow than LinuxBIOS which is > executing before Bochs. > > Please help me in fixing this problem. > Thanks in advance Use LinuxBIOS directly, or use filo. http://www.linuxbios.org/index.php/FILO Best regards, Stefan


text:
The securities regulator has flagged the possibility that it might start taking enforcement action against banks and financial planners who breach advice rules that are the subject of proposed changes, creating further uncertainty for the wealth industry, which has been in a state of flux for the best part of five years.
The Australian Securities and Investments Commission warned on Tuesday it would review its current policy of not taking enforcement for flouting controversial rules that could be changed by the Coalition government.
"We are still within our facilitative period. We are looking to assist firms to get their compliance regimes in place. We will inform the market if we have to moderate the approach in the next few days," said ASIC deputy chairman
ASIC revealed a possible change in its stance on Tuesday after a decision by Finance Minister
The government had been expected to introduce a set of regulations reversing the advice regime established under the Labor government this week. Legislation containing other amendments to the Future of Financial Advice (FoFA) regime were introduced last week but were referred to a Senate committee.
Furore over amendments
Despite the furore over the Coalition's proposed amendments from critics who argued they would leave consumers vulnerable to unscrupulous and greedy advisers, the financial planning industry had been expecting that they would eventually come into force.
ASIC had previously announced that it would not enforce the rules that were subject to change.
But lawyers warned that ASIC's stance would not prevent advice firms and banks that breached the rules from facing civil action from aggrieved clients.
They also noted that the hiatus created more uncertainty for the industry.
"There is greater uncertainty about the final position [of FoFA]. The industry would need to bare that in mind.
"There is uncertainty about the shape of the carve-out," said Richard Batten, partner at Minter Ellison, referring to a plan to release individuals giving advice that is not tailored towards an individual client's needs from having to comply with a ban on conflicted remuneration.
"I would be advising clients to hold off [on introducing pay structures that conflict, or might conflict with the laws]," said Mr Batten.
"If they have the time I would suggest waiting because there is too much uncertainty," he added.
"I would not be putting in commissions on general advice where personal advice has been given in the past 12 months [a pay model that would be permitted under the Coalition's planned changes]," said Pam McAlister, lead partner of Hall & Wilcox's superannuation practice and chair of the Law Council's superannuation committee.
The government had planned to enact the changes immediately using regulations that do not require parliamentary approval, then enshrine them in law after July 1 when the new Senate sits.
The government felt the need to enact the changes by regulation because Labor's laws come into effect on July 1 and the industry will need to start adapting now.
The Australian Financial Review


text:
Iraq aims to increase its oil reserves to 270 billion barrels and overtake Saudi Arabia as the world's top reservoir, Oil Minister Amer Rashid was quoted Saturday, August 3, as saying.
"By transforming potential reserves into proven reserves, Iraq will occupy the top position in the world with 270 billion barrels and overtake Saudi Arabia," Rashid said in a government daily, Al-Jumhuriya.
"To achieve this objective, we must step up efforts in oil prospecting in Iraq," the minister said.
Iraq's proven reserves currently stand at 112 billion barrels, leaving it in second place behind Saudi Arabia, whose reserves are estimated at 261 billion barrels.
According to Iraqi oil experts, Iraq has an additional 214 billion barrels in potential reserves.
"Studies have proven that between 70 and 90 percent of the potential reserves can be transformed into proven reserves," said Rashid.
He said the Iran-Iraq conflict in the 1980s, the 1991 Gulf War over Kuwait and UN sanctions in force since Iraq's 1990 invasion of the emirate had all hampered Baghdad's efforts to develop oil reserves.
In a separate interview, Rashid said Iraq had 74 operational oilfields, and that "several other fields which are not being used could allow Iraq to raise output to six million barrels per day", double current production.
"Several foreign companies have expressed their wish to cooperate with Iraq in this area," he told the weekly Al-Ittihad.
Iraq has signed contracts with a number of foreign oil companies, notably from Russia and China, to develop oilfields, but the deals cannot be implemented until sanctions are lifted.
Under a UN exemption to the sanctions regime, Iraq exports crude to finance imports of essential goods. — (AFP)
© Agence France Presse
© 2001 Mena Report (www.menareport.com [1])
[1] http://www.menareport.com
[2] http://www.albawaba.com


text:
Anyone who has driven across Texas knows that simply setting your sights on the next state's faraway border is a form of torture that could last for days. So when I was offered a writing assignment that involved traveling to Big Bend National Park in West Texas, I decided to break up the long drive with some dancing. I knew that the dance halls in Texas were like no others, and I love hearing the sweet croons of Western music enough to take on a few detours. I packed my boots in Washington and headed west.
According to Stephen Dean, co-founder of an organization called Texas Dance Hall Preservation, most of the state's historic dance halls are in the central and coastal regions. This is where German, Czech and Polish immigrants settled in the mid- to late 1800s. They would preserve their culture by gathering to celebrate the harvest or a holiday, sharing food and dancing the polka. The polka evolved into one type of two-step (quick-quick-slow pattern), but the more popular version -what's known as Texas two-step (quick-quick-slow-slow) - evolved from the fox-trot and looks like dancers taking small walking steps together.
The charm of these dance halls is that they're very much the same today as they were back when: You go for no-frills fellowship, cheap beer, good music and dancing.
Some are nothing more than a barn with a dance floor," said Dean, who has been to more than 750 Texas dance halls, most of which are rarely used. "There's something special about it. You're dancing, the outside is coming in through the windows, and you're in a historic wood building. "
Of course, there are many other types of places to two-step in Texas. As Dean explained it: "A dance hall is where you go and dance with your wife. The honky-tonk is where you go and dance with someone else's wife. "
My first stop was in Houston, at Goode's Armadillo Palace - decidedly more honky-tonk than dance hall. But that's a technicality I chose to ignore; when the dance floor beckoned, I danced. It was a good opportunity to brush up on my two-step the night before I headed to Austin.
My crash course in Texas music included such subgenre terms as redneck rock and red dirt, and I quickly learned that Bob Wills was the "king of Western swing," that everybody loves Asleep at the Wheel and that Willie Nelson is nothing short of divine.
I started hearing certain artists' names over and over - Dale Watson, Bobby Flores, Amber Digby, Jesse Dayton. No matter where these folks were playing, people would follow them.
On a Sunday afternoon, I caught Watson at Ginny's Little Longhorn Saloon, on the north side of Austin, which was as crowded as a frat party, but people still made room to dance. On my last night in Austin, I went to the Broken Spoke on the south side of the city.
Part dance hall, part honky-tonk, the Broken Spoke is legendary. Country music lover James White decided to open the place after he got out of the Army in 1964, and he still shows up nightly. I paid for a two-step class and walked onto the dance floor.
The owners' daughter Terri, wearing ripped jeans, a pixie haircut and a headset, sprinkled dance floor wax on the cement floor like it was fairy dust. She started her class with the guys lined up on one side, gals on the other. There were a lot of boots and cowboy hats, but there were also sneakers and sequins. Terri explained that Western swing is just two-step with turns. "Quick quick, slow slow," she said. "There is a follower. There is a leader. I don't care who is who. But girls, if you're following, don't fight him. "
We paired up to practice, and I partnered with a tall blond lead. Terri reminded us not to lift our toes. "That song 'Boot Scootin' Boogie' is about keeping your boots on the floor," she said. During the lesson, her dad stood in the back, wearing a white cowboy hat, a turquoise cowboy shirt with rhinestones and a matching kerchief around his neck. After class, the dance floor was packed before the band even began.
I spent the next day in New Braunfels, home of historic Gruene (pronounced "green") Hall. Located on the banks of the Guadalupe River, Gruene is the oldest continuously operating dance hall in the state. It was built in 1878 as a community center for cotton farmers. Back then, people would go there to celebrate weddings, births, deaths, business deals or the end of a workday. Aside from the tourists it's not much different today.
In front, I scanned photos of the artists who have played here - George Strait, Lyle Lovett, Garth Brooks, Jerry Jeff Walker. The back looks essentially like a barn with a stage. Bands perform daily, and there's something sweet about watching the dancers: Some looked as if they'd been moving together for generations; others were young enough to still be wearing patent-leather Mary Janes.
En route to my next stop, I saw firsthand why this beautiful area of Central Texas is called Hill Country. I arrived in Luckenbach, about 90 minutes northwest of Gruene and outside the town of Fredericksburg, which still maintains much of the German culture brought over by its original settlers. Luckenbach opened as a trading post in 1849, and it still sits more or less in the middle of nowhere, with a general store, a dance hall and a tollbooth-size tavern. The 1977 Waylon Jennings and Willie Nelson song, "Luckenbach, Texas," made it famous.
I showed up on a weeknight for what they call a picker circle - a few guitarists sitting around, playing acoustically. I found myself standing around the wood-burning stove with about a dozen locals, sipping Lone Stars, listening to the tunes.
My last stop was Dallas for a Western swing class at Sons of Hermann Hall, an old fraternal organization known for its live music and swing dances. The instructor talked us through the steps and turns, and we rotated partners. The crowd was mostly young. By the time the band played Frank Sinatra's "South of the Border," I was feeling confident. I'd never be a Texan, but I had a feeling that the music and the two-stepping would always be with me.


text:
When you begin competing against the big boys for wins, it is all about the little things, and North Side did not do the little things against the Panthers.
Six penalties, including three on the very first drive of the game, cost North Side. One of the biggest was a penalty on the extra point attempt on the Redskins' first quarter touchdown. With a shaky kicking game, any errors in that department can cause trouble, and that is exactly what happened.
As for the kicking game, The Pig wonders how a school of nearly 1,500 kids cannot have just one effective kicker. For that matter, the special teams in general failed North Side. Repeatedly, they let Snider punter Josh Spitnale's punts bounce their way inside the 10 yard line instead of catching them and giving the North Side offense decent field position.
Little things? Yes. Add them up and you cannot beat elite programs like Snider without doing those little things right.
Perhaps the biggest stat was turnovers. North Side only turned the ball over twice to the Panthers' one, but both came in Snider territory, including one inside the 20 yard line. If North Side scores on just one of those drives, momentum could have went the other way.
North Side has the athletes and has the talent to compete against Snider and the other big dogs in Class 5A, but the Redskins have to put a coat of polish on their game. Shore up the special teams, cut out the penalties and hold onto the football.
If North Side does that, a potential rematch in sectionals between the Redskins and Panthers could be another fantastic matchup.
?- Good to see Bishop Luers put the attention back on the football field, The Pig is sure it felt darn good for players, coaches and fans on Friday night to play some football. Who knows what the future holds, but being able to hit someone else on the gridiron for 48 minutes can cure a lot of ills.
- Hey, look at that! Leo got a game from an ACAC opponent! Heritage took the Lions to the brink in overtime before pulling out the victory. Fans of both teams told The Pig that Leo got a favor at the end of regulation. After being called for a penalty for too many men, somehow the Lions were able to run a final play with the scoreboard at zeroes to tie the game on a field goal.
Whatever the case, the big story is that the Lions were tested in conference play, their players had to perform for four-plus quarters to earn the win. Too many times the last few years, Leo was not having to play its regulars deep in games, so when postseason time came, a switch had to be thrown.
Coach Jared Sauder is not complaining about the test his team got on Friday.
Now, could anyone in he NHC give Homestead a game


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Regular Check-Ups During Pregnancy
It is important to make an appointment to see your midwife or doctor as soon as you find out you are pregnant.
Throughout your pregnancy, you will be offered regular check-ups. The number of check-ups you have will depend on many things. If this is your first baby you will have a few extra check-ups and certain medical conditions will also make it necessary for you to be checked more frequently. Any pregnant woman can contact her midwife or doctor if there is something she needs to discuss
Regular Check-Ups in PregnancyThese check-ups will probably include:
weighing you
taking your blood pressure
feeling your stomach (to check your baby's size and position)
listening to your baby's heartbeat
checking your urine for infections and blood sugar problems
checking your general well-being
Blood Tests in PregnancyWhile you are pregnant, you will be offered various blood tests which provide information that helps you deliver a healthy baby. You should never be afraid to ask questions about the tests you are offered and what further decisions you may have to take depending on the results. It is important to discuss any of your concerns with your midwife or doctor and feel free to take time to consider your options.
Tests can include:
identifying your blood group and type
HBV testing (HBV causes hepatitis B)
testing for conditions such as syphilis, anaemia or the sickle cell trait
testing for immunity to rubella (German measles)
HIV testing
April 2011
My pregnancy journey By getting in touch with a midwife as soon as possible in your pregnancy, you will get all the expert help you need, including advice about your pregnancy screening options and tests. (External Link)
More..... Pregnancy | Stay Healthy During Pregnancy
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Basic Knowledge and Easy Understanding
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Reliabilism is a theory that countenances basic knowledge, that is, knowledge from a reliable source, without requiring that the agent knows the source is reliable. Critics (especially Cohen 2002) have argued that such theories generate all-too-easy, intuitively implausible cases of higher-order knowledge based on inference from basic knowledge. For present purposes, the criticism might be recast as claiming that reliabilism implausibly generates cases of understanding from brute, basic knowledge. I argue that the easy knowledge (or easy understanding) criticism rests on an implicit mischaracterization of the notion of a reliable process. Properly understood, reliable processes do not permit the transition from basic knowledge to understanding based on inference.


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My Goals…Why do I set them? Why do I share them here?
- Setting goals helps me remain focused.
- Sharing my goals helps to hold me accountable.
- I hope that it may inspire you to set goals for yourself? Give it a try! Start small if it seems overwhelming or like too much work. Or maybe it seems pointless to you? Give it a shot. (Even my husband has jumped on the goal setting bandwagon!)
Are you new to goal setting? Here are a few posts that may help or inspire you:
How to Set Goals using Short Challenges and Mini Goals
How Short Challenges and Mini Goals Work for Me
One Simple Task to Help You Follow Through On Your Goals
Record kiddo bedtime – Goal: 8:00
February: Partial success. She was in bed by 8:00 at least 50% of February. Most other nights were between 8:10-8:15. We were dealing with meltdowns from our 3-year old. After being more intentional (writing it down is key for me!) about getting her to bed early, the behavior has improved. More sleep = happy girl = happy momma. :)
March: Goal time is 8:00. {For 3-year-old only.}
Record my wake-up and bedtimes
February: Recording the times? Success. The actual bedtimes? FAIL. Somehow my bedtime inched back to my usual of mid-night. This makes getting up at 6 AM much harder! The goal is to move my wake-up time to 5:30 AM at some point, but that cannot happen if I continue to go to bed too late.
March: Wake-Up goal is 6 AM. Bedtime goal is 11:30 PM with twice per week at 11:15 PM.
Computer Shut-Down
February: Not bad. I averaged 10:30. I did have a few nights that were much later, which makes falling asleep difficult.
March: Computer needs to be off at 10:45. I am going to try to do this EVERY night.
Make Top 3 Morning Tasks list each evening
February: Pass. Every night but one! I'm much more efficient with my time if I wake up knowing what I want to get done before the girls get up. If you want to join me on this one, feel free to use My Daily Planner 2015 to write down your list.
March: Continue writing down Top 3 Morning Tasks list each evening.
God's Word
February: Read one chapter per day in: Galatians, Ephesians, Philippians, Colossians. Done.
March: I am going to get back into reading from my NIV Mom's Devotional Bible*. I last left off in Proverbs. I enjoy the short mom-specific devotionals and typically have a take-away that stays with me.
February: 50% complete. I finished The Fringe Hours: Making Time for You* (read my review here). I did not complete another book, but I am halfway through this gripping book:
March: Complete All the Light We Cannot See: A Novel* and one more book.
Screen Time
February: I recorded how many one-hour windows I could go without checking my phone or computer. Most days I was satisfied with how I did, being media-free a few hours throughout the day.
March: Continue recording how many hour windows I can go without checking my phone or computer.
February: Cardio – 3 days per week at minimum: complete! Burpees: I missed days earlier in the month and had to do major catch-up this last week. I was determined to complete this goal. It's a perfect example for why I take the time to set goals and record my progress. Otherwise I wouldn't have made myself do so many the last few days of February.
March: Cardio (running or elliptical) – 3 days per week at minimum. Burpees – On non-cardio days, do 40 burpees. (Read here how burpees helped me get back into a fitness routine.)
Drink 64 ounces of water
Februrary: No problem. I just needed to be aware that I wasn't drinking enough water and record water intake for about a week or so and I was back on track.
March: No goal…I'm back to my usual water chugging self. :)
One-on-one outing/time with each girl
February: Complete!
March: Once during the month of March.
Weekly "Date" night with hubby
February: We even had a real dinner and a movie date! We went to the movie Unbroken. We also rented The Good Lie*. I definitely recommend it. We played cribbage a few nights and I am finally getting out of my losing streak.
March: Weekly movie night or game night.
Enjoy more outdoor time
February: FAIL. I wanted to get the girls outside to play once per week, but it was too cold for a one and three year old. I did take them swimming and that should count double?
March: Try again. I want to make sure the girls get out to play once a week in March. Spring is around the corner, right?
Pack up and drop off at least 2 bags of clothing and such at Goodwill
Decluttering and simplifying stuff is such a process for me. I often try to sell on ebay or other sites, but sometimes I just need to pack it up in a bag and get it out of the house. Otherwise I just end up shuffling the same items around. It's time consuming (I could write multiple posts on this…). I just need to be realistic about some of the items I know I will not be able to sell and just get rid of them.
Be more intentional about my prayer life
I am not setting a specific day-to-day goal around this. I do not want to make my prayer life something to check off my blog goal list…as that would mean my intentions were a tad off (stating the obvious?). I am fine cramming in burpees at the end of the month so I don't have to report back that I failed that goal. My prayer life? I won't be cramming that in for a monthly goal report. I just want to get back into praying more often.
Plan and throw a bridal shower
Yeah to a wonderful soon-to-be sister-in-law and upcoming wedding in May!!
No baking desserts all month
My husband told me this was a bad goal. If I have had a long day, I have been known to make a quick batch of brownies or cookies so we can have dessert that night. My husband and I have polished off a 9X13 pan of brownies in 24 hours. No problem. I thought it might be good for our health to try and NOT do that all month? I hesitated as his birthday is in March and then I cannot make his favorite peanut butter blossom cookies with dark chocolate. He confirmed that it was a goal I shouldn't set. So I guess I am free to load us up on sugar in March. ;)
Onto the blogging goals…
Blog Goals from February:
- Getting better at planning ahead and scheduling out posts. Towards the end of February I was getting much better at this. Continue in March.
- Focus on content. Improving…Continue in March.
- Improve categorization and improve site navigation. Someday…
New Blog March Goals:
- Write first guest post for early April.
- Backup WordPress.
- Add more Pinnable images to old posts.
- Consider planning a series.
Now to update my goal tracking spreadsheet.
Do you make monthly goals? Feel free to link to your March goals in a comment. I enjoy reading goal lists. I find encouragement hearing what others are desiring to focus on.
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Linked to: Saturday Soiree, Faith & Fellowship, SITS Sharefest, Saturday Spotlight, Small Victories Sunday, #friendswithgoals, Motivation Monday, Good Morning Mondays, Mommy Moments, Living Proverbs 31, Monday Madness, Motivational Monday, Mama Moments, Modest Monday, Oak & Oats, The Art of Homemaking, Mom2Mom, Titus 2 Tuesday, The Nectar Collective, Tuesday Talk, Goals with Grace, Wined Down Wednesday, Let's Be Friends, So Much At Home, Wise Woman
Women with Intention, Ladies Collective, Coffee & Conversation, Simply Inspired Wednesday, A Little R & R, Growing in Grace, Shine Blog Hop, Awesome Life Friday, Friday Favorites, Faith & Fellowship, Faith Filled Friday, Frugal Friday, Grace & Truth, Saturday Soiree, SITS Sharefest, Saturday Spotlight
73 comments on "March Goals"
I enjoyed reading your list. It is encouraging to see how other people set goals, and hear about how they met them. This year I set yearly goals, but I broke them down into monthly goals. I think that will help me accomplish them.
I loved reading about your goals and it DOES inspire me to be more specific with my own. I'm excited to read your review of The Fringe Hours. It's on my March to-read list. I just have to note: I LOVE cribbage. It's one of my favorite card games and SO few people know how to play it. I keep trying to teach my husband, but he's just not very interested. Thankfully, I can usually talk my mom into playing. :)
Great goals- I need to do better about already having a plan in mind the night before! That is smart! Cant believe it is almost March! Have a great weekend!
Wow, impressed . . . goals, well right now, I'm trying to put down this computer and not think about social media for say, one hour!! Great inspiration for us all! Glad I stopped by.
This is a great list of goals for March. May you actually achieve reaching them. Goals are always a great thing to set each month.
I started working on my March goals this morning when I wrote my morning pages. I'll look at them again in the morning, and they should be ready to go.
Wow , you're doing great so far. I started setting goals and recording them in my blog too, but February wasn't a very good month …hopefully this month I can take up where I left them! Have a great week! ;)
I love how you have your goals so nicely organized and work of them each month! I made some goals for myself this month: http://www.aharvestofblessing.com/2015/03/02/march-goals/
I could relate so much to every goal. You've inspired me to do better in each category. I think it's awesome that you record your progress, and have such a list of worthy pursuits. Thanks for sharing!
Whoo Hoo! Kudos on your progress. When we seek Him 1st, He will ensure everything else is aligned according to His will. Happy to be your neighbor at Mom 2 Mom Monday Link-up.
They are some great goals! I try to keep myself limited to no more than 4 personal goals and no more than 4 blog goals each month. With two kids (3 and under) and a crazy schedule, there's just no way to fit in more than that. I'm also trying to work on my bedtime, although my goal involves staying up later. I usually crash at about 8pm or so after the kids have gone to bed. Lights on and all.
Love this! Good job. That bedtime thing is so hard!
I love goals! My main goal last year was to read the Bible through. I finished in December! I also like smaller goals such as what you are doing! One of my smaller goals is to only check fb once per day. Thaaaattttsss not going well. I made a smaller goal to check in the morning and then at 4:00. It's going better! But I think I'll take your idea and narrow my goal for this each month. Great thoughts! Saw you on Motivational Monday Link-up. :)
You have a lot of goals! Go 'head gurl!
I so appreciate that you track your progress. Makes so much sense. You'll know where you're going and what you need to accomplish based upon what you've seen yourself accomplish.
Thank you for sharing.
Nice list. Quite long, but I guess there are a lot of days in March ;-).
Great job on getting back on track for your water goal. I struggle with drinking water in the winter. Watching the snow storm out my window as I type this…and thinking of coffee–not water :-( .
Backing up WordPress is something I want to do every month, but I find it DAUNTING. You'll have to let us know how that goes.
I love your goals! I love your priorities! I am so glad we've crossed paths~
I love your goals for weekly dates with your hubby and dates with your girls. We don't get regular dates but anytime in-laws are visiting or we visit them, we are out the door for a date :) Good luck with your goals, I need to do better turning off my computer no later than 10 so I can get quality reading time in before bed. Thanks for sharing with Small Victories Sunday Linkup and hope you join us again this weekend! Pinning to our linkup board.
So inspiring :) I love reading goals and it is great to see you following through! Blessings :)
Wow great job! I have to write things down too. It's the best way for me to remember to get things done. Hope you enjoy March and all it holds for you. : )
I'm visiting from the 'Wise Women' link-up.
I have several goals I need to get back to right away, including my Bible listening! Thanks for the reminder!
I don't think I could go to bed at 11:30 PM and get up at 6:00 AM every day. I'd get too sleepy! I get up at 5:00 AM, but we go to bed by 9:30 PM!
I love these goals, and it's making me want to write some of my own as well. The computer shut down that you have is also a goal I struggle with. It's hard to just turn off everything, and when I do, I often have sleepless nights as well. Your March goals look solid and very inspiring as well. Thanks for sharing :)
Great list! I love that you logged your non device time…eek…that actually scares me to see the actual amount of time! I might have to try it
Great post and I agree that writing goals down and sharing them helps to keep us accountable. I guess I am just very careful what I share :-). Thanks for linking this up at Good Morning Mondays, you are such an encouragement to me. Blessings
LOVE your list and how intentional you are, even about rest! And I'm really inspired by your blog goals – thinking about my own now!
Great list! Breaking it down into smaller goals within one goal sure helps. I'm working on my prayer life right now too. I broke it down into smaller chunks and that sure helps! I need to cut back on media and drink more water too – great reminder! Thanks for linking up with us for Tuesday Talk! -Jess
Wow you have a great way of breaking down your list! I have started making monthly goals.. but I havent made any for march yet so I am already behind! ha!
I love reading other's goals. I HAVE to, have to drink more water! Thanks for the reminder.
I really enjoyed your list of goals. I'm a huge list maker and goal setter and I love how you are getting your children in bed at a certain times. I truly believe children love schedules and structure.
I'm a goals girl as well and these are all great! You have a lot of goals for yourself lady! And I love that you review your previous month's goals and track yourself to them. It's all about being intentional.
Great goals! And you're making progress – nice!
I have a goal to put my computer away by 7 pm each night. I do pretty well except for weeks like this when my husband is away!
I like your screen time goals. I aim to keep Blogger, twitter, and Facebook closed during the morning (except for a quick first-thing check of each) when I am usually trying to be productive.
I really want to read All the Light You Can Not See – I keep hearing such good things about it!!
I found your blog through Small Victories Sunday linkup – good luck on your March goals!
Wonderful goals and what a way to make sure you get them done by blogging. Gonna try that MAYBE!
Good goals, some I should do to like the pinnable images. or drinking the water
Thanks for sharing on the Art of Home-Making Mondays! I laughed about your hubby not liking the dessert goal! My husband always encourages eating healthier but he also has a sweet tooth and at the end of the day, he will often inquire about a little something sweet to munch on :) I think it a highlight of their long, hard-working days.
Great goals!! There are so many that I should imitate as well – sleep, unplugging, getting the kids outside, decluttering! You've definitely motivated me to make some goals myself!
What kind of goals do you make the night before for the next morning?
Great goals! I try to set morning goals the night before too! It seems like I get more accomplished in the morning now that I do set goals the night before. Thanks for sharing your goals with us :)
Wow, that looks like a huge list to me :) I guess I don't set enough goals, ha! I think I have them in my head but don't write them down. Not very effective, eh? Thanks for linking with Grace and Truth!
Thanks so much for linking up at RCH Awesome Life Friday. This is a great post!
I like that you are holding yourself accountable to your goals, and that the goals are family and individual related as well as business, self aware ones. Great job. Thanks for linking up to Small Victories Sunday Linkup.
I can't wait to hear how March went! Something that has helped me with getting a break from technology has been to turn off notifications on selected apps on my phone. Now my phone doesn't alert me when someone "likes" a Instagram photo or sends an email. It has helped me a lot! I'm going to write down bedtimes/wake times in April — I think that would be quite helpful!
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text: Can anyone answer 2 questions about the new FileVault featured in Lion? I understand that it only shares it's name with the current version and that everything else is completely new. This is potentially fantastic news as it could allow us to start transitioning to FileVault instead of our current train-wreck encryption solution. My questions: 1: How does the new FileVault deal with power on authentication? Are system files stored on a separate partition and the rest of the drive unlocked at the standard log-in screen or do you enter your password to even begin the boot process? The answer to this question could spark a laundry list of additional questions. 2: Does anyone have any experience testing the new FileVault's central manageability (currently we're using JAMF to manage our environment) and reporting abilities? We need to be able to monitor the encryption process, get updated once encryption is completed and be able to regularly query the computer to determine if it's still encrypted or if it's been re-imaged and encryption needs to be pushed again. Auditing our logs to prove a system was encrypted and was still encrypted the last time it checked in to the network is definitely a deciding factor. I've been waiting to gain access to the Lion developer preview for a while now but since I work for a large corporation it's taking forever for our lawyers to review the license agreement. Any additional information you can offer up on the new FileVault's viability in a secure environment would be much appreciated. I'm really hoping it's more than just a security toy for home users.


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2014 Religious Trends
Three Questions in the Name of Love
Editors' Note: This article is part of the Public Square 2014 Summer Series: Conversations on Religious Trends. Read other perspectives from the Catholic community here.
Jesus, Elton John tells us, "was all about love and compassion and forgiveness and trying to bring people together and that is what the church should be about." Therefore, he claims, Jesus would have, without a doubt, approved gay marriage.
This sort of assertion is hardly limited to Sir Elton. Most actions that run contrary to Catholic morality with regards to human life and sexuality are currently accepted, justified and promoted in the name of love: any form of sexual activity outside of marriage, same-sex marriage, artificial contraception, artificial procreation, abortion, euthanasia—say it is "for love" and one must bow before it or be cast aside.
This is a tyranny of sentimentalism that affects all of us; we are all its victims when we adhere to sentimentalism's irrational and destructive axioms by engaging in or approving "the loving thing to do" even when it makes little moral or natural sense. We are also made victims when we refuse allegiance to the subjective diktat of sentimentalism, since we are automatically labeled as blinkered, fundamentalist killjoys in the eyes of a relativist world. You cannot dialogue with sentiment: you either love or hate. Conform or be marginalized.
In this context, the Catholic formation of adults, and particularly of couples, requires not only a faithful, merciful, and accessible proclamation of Church teaching in matters of sexual morality, but a preliminary cultural detox so as to avoid pitfalls and dead-ends. An articulate demonstration that artificial procreation is against the law of God and the good of the couple will make little impact on a sentimentalist who will often maintain that it is still the "most loving thing to do," and do it anyway.
The Extraordinary Synod of Bishops on the Family scheduled for October is meant, in large part, to address failures in catechesis and new modes of pastoral outreach. As the Vatican has made a point of asking for feedback, here is a non-exhaustive model of three steps I recommend take place as a preliminary to Catholic teaching. These will help to disarm sentimentalism, by inviting adults to engage in a simple act of thinking through three questions:
1) What is love? Until you come into agreement about the definition of love, there is no need to proceed further. To love is to seek actively the good of the other above my own good. The finality of love is not myself, but the other person. Married or unmarried, if I seek the other person for the sake of my own unsubordinated sexual or emotional gratification, I am using this person. I (in my sexual or emotional needs) become the finality of my commitment to love. This applies also to the desire, acceptance, or refusal of a child, when it is subordinated to my emotional needs. Moreover, unconditional love does not mean unquestioned acceptance of a person's opinions or desires. To love diabetic persons unconditionally does not mean to encourage them unconditionally to eat the sweets they crave.
Sr. Hyacinthe Defos du Rau, OP is a member of the Dominican Sisters of Saint Joseph, England and the author of the Anchor resource for Adult Catechesis.