These are the first two sections of an essay the concluding instalment of which will appear in the next issue of Poetry Review, 97:3. They will spend most of their time making and elaborating on some necessary definitions and distinctions; the second instalment will look at technical specifics. It concerns itself with that part of verse-making known as 'lyric', here used in the restricted sense of that aspect of the art that attends to its music, i.e. to the patterning of its sounds. My intention is to demonstrate that language itself has a lyric basis and is itself a poetic system, and that poetry is merely the natural result of language placed under certain kinds of formal pressure and emotional urgency. I'm of the opinion that it's impossible to sensibly discuss a single aspect of poetic composition without reference to all others, and I haven't tried.. I hope the reader will not mistake the tone of relentless asseveration for self-certainty; it's just the quickest way of provoking disagreement that will allow me to correct my position.
This reply to the first part of his essay will be in the same spirit of relentless asseveration.
Paterson tells us that the two sections of the first part of his essay will spend most of their time making and elaborating on some necessary definitions and distinctions, and that the second instalment will look at technical specifics. We are then told that It concerns itself with…, and have to check to see what It refers to. After several readings it appears that It must refer not to the second instalment but to essay in the first sentence. We proceed with caution.
We are promised some necessary definitions and distinctions in preparation for a second instalment in which Paterson will look at technical specifics. It is to be expected that the necessary definitions and distinctions arrived at will be objective and technical in their own right.
It concerns itself with that part of verse-making known as 'lyric', here used in the restricted sense of that aspect of the art that attends to its music, i.e. to the patternings of sound.
Here Paterson states that the art that he is discussing is verse-making. Since the term poetry occurs in the following sentence we may reasonably infer that verse-making means poetry, or is at least a primary defining principle of it. We may necessarily expect some definitions and distinctions in the body of the discourse in respect of verse and verse-making, and of metrical patternings and systems, and 'measure'.
We may next note Paterson's assertion that there is something called 'lyric' (here the word is a noun) that is a part of the art of verse-making. He then goes on to tell us how he will restrict the use of this term 'lyric'. He ought then necessarily to define for us in this discourse what this thing 'lyric' is in its full sense and how in that sense it may be part of the technical process of verse-making.
Paterson now goes on to tell us that, in his restricted use of the term or technical factor, 'lyric' is that aspect of the art (of verse-making) that attends to its music, i.e. to the patterning of its sounds. In this statement he defines music as a patterning of sounds. We should expect that, if the argument in this essay is to proceed effectively, we will be presented with some description of the general patterning processes and principles in both music and verse-making, with all the necessary definitions and distinctions. Music, as we ordinarily understand it, involves technical concepts of the patterning of sounds such as pitch, melody, harmony, note values and mensuration, bar measures and time-signatures, and rhythms. We hope to be informed how 'lyric' in verse-making relates to these principles.
Our dominance as a species can be largely blamed on our superior future-predicting capability, a capability derived from and mirrored by the sophistication and length of our memory. Language puts us at a terrifically unfair advantage in terms of forward planning, as it allows us to discuss things in their absence; the biped with the capacity for abstract thought probably wins out all over the universe.
The use of the word blamed suggests that we may be in for some sort of moralising discourse about global warming, the extinction of other species, and the part that humans play in this. Then there is some hyperbole about language putting us at a terrifically unfair advantage ~ over what or whom is not stated. However, the paragraph ends up by establishing an idea of poetry as a mnemonic system of information and an invocatory and 'magical' art.
While its signs are somewhat culture-specific (minor keys, for example, will echo different moods in different cultures) we have managed to map the infinitely complex landscape of human emotion to its weirdly discarnate medium.
Here the use of the word signs gives difficulty. Minor keys are not signs in music. Next, we may doubt that an infinitely complex landscape might be mapped at all. And we may ask how many different cultural maps there might be, and how the echo-effects may be conveyed. Further, as to this infinitely complex landscape of human emotion being somehow mapped to any weirdly discarnate medium: this is somewhat overwrought metaphorical and 'bombastic' stuff. However, we will continue to search for statements that have some bearing on technical specifics.
In para.3 p.58 Paterson suggests that the meanings of words can somehow be yoked together by the careful repetition and arrangement of their sounds. (This may have something to do with the earlier idea of poetry as a mnemonic system of information storage.) In this statement we do not know if it is the sounds of meanings or of words that may be yoked, and how much repetition is required to achieve such 'yoking'. The matter is somewhat confused by the use of the agricultural metaphor.
For a long time [poetry] was, in all likelihood, an art barely distinguishable from song. For one thing, the fixing of an already patterned speech to a repeated pattern of set pitches would aid the memory even further.
We are given no idea how such speech may have been already patterned, or how it may then have been fixed to a repeated pattern of set pitches; but we may note the reference in this paragraph to something called pitch height and length and hope that these technical specifics may be developed later.
To remember a poem is the poem.
In para.6 he talks about patterning in poetry, and speaks about parallel schemes of form, metre and sound. We hope for further development of this scheme and its terms, while asking if parallel is a technical or a metaphorical usage of the word.
The poem tends to originate from an emotionally urgent impulse in the mind of the poet, and simultaneously seeks out and is drawn towards forms which reflect and facilitate that urgency. Language behaves in a material-like way, and placed under the dual pressures of emotional urgency and temporal limit, will reveal its crystalline structure and intimate grain. Poetry only exaggerates and makes manifest features already present in the tongue, and emerges naturally from the language as a simple consequence of emotion, and our urge to communicate it; thus language itself can be fruitfully considered as a coherent poetic system.
In the course of these statements we find something termed The poem presented as animate, while something termed Language, of which the said poem is presumably composed, is presented as material-like and inanimate. There is nothing in the paragraph of any objective, technical nature, and the conclusion that Paterson draws is not valid.
Poetry reveals language's underlying metrical regularity and its tendency to pattern its sounds.
No evidence is provided for this questionable asseveration, 'sweeping' as it is. Might Paterson consider the S sounds in the previous sentence of ours to have a pattern or even to display some underlying metrical regularity?
A good poem has the inevitability of truth, and it's hard to conceive of the world ever having been without it.
The poem is shaped by a pressured silence; this has rectilinear representation on the page, via the horizontal axis of the poem- and stanza-length, and the vertical axis of the poem.
This is absurd. The metaphor might be deemed 'poetic' in some respects; but there is no actual way in which a silence may be pressured by anything, nor any way in which an actual poem may be actually shaped by a pressured silence. Even as poetic metaphor it is not very apt.
Patterning leaves its parallel effects of lineation, stanza, rhyme, metre, and consonantal and assonantal echoes.
Again we have this word parallel. How all these symptomatic artefacts may have effects in parallel as they fill the poem is quite beyond comprehension. A poem cannot be filled like a balloon with air or a bottle with water.
In para.12 Paterson the 'prestidigitator' performs a neat move. He takes a poem as if it were a coin. He says that on one 'face' it displays an inbuilt 'difficulty' But you flip it round and its other 'face' shows a non-fixity of interpretation. 'Crazy, man!' we might exclaim.
The white space around a poem then becomes a potent symbol of the poem's significant intent. The white space is both literally and symbolically equivalent to silence.
These statements have no technical or other objective significance: Paterson is merely stating his personal 'feelings' in respect of poetry, in a sort of self-important poetic 'piffle'.
Silence is the poet's ground. It's silence that delineates the formal borders of a poem, and the formal arrangement of silences that puts the language under the pressure of its form.
note the superior attendance to the word the silence insists upon, and how it soon starts to draw out the word's ramifying sense-potential, its etymological story, its strange acoustic signature, its calligraphic mark.
Now, says Paterson, you are reading the word as poetry. It is not a respectable suggestion that we may read any single word as poetry. But we must ask, is it the superior attendance (of whom or what?) or the silence that draws out the words ramifying sense-potential etc? And we may ask if sense- here is something to do with 'meaning', or 'sensation', or both. The discourse proceeds by way of a disconcerting muddle of terms and metaphor. The phrase strange acoustic signature puts one in mind of séances and 'automatic writing'.
Para.15 continues in the same somewhat 'mystical' mode. We are provided with the term lyrical patterning, of which no description or definition is given; and then Paterson talks about the spell of the poem. We are undergoing a 'mystifying' process.
A poetic form is essentially a codified pattern of silence. We have a little silence at the end of the line, a bigger one at the end of the stanza, and a huge one at the end of the poem. The semantic weight of the poem tends to naturally distribute itself according to that pattern of silence, paying especial care to the sounds and meanings of the words and phrases that resonate into the little empty acoustic of the line ending, or the connecting hallway of the stanza-break, or the big church of the poem's end. These silences are where all the interesting things tend to bunch up, to take advantage of the acoustic salience they enjoy in this position ~ and with which the natural closures of phrase-length and episode tend to coincide.
However, we then as it were come down to earth with a bump in a tangle of guy-ropes. We are asked to consider that a poem may have semantic weight and that this weight can somehow naturally distribute itself between the words and phrases.. There may be interesting things and, presumably, [less] interesting things in it. The interesting things then tend to bunch up (perhaps naturally) either in or proximate to (we are not told precisely) the silences which may be standard , bigger or huge according to a codified pattern that is, we are told, A poetic form. No human agency is mentioned, so these processes seem to occur autonomously or be brought about by supernatural and even fantastical forces. This idea is given some support when we remember that such silences are somehow invoked and symbolised by the white page (para.14).
In para.17 the word music occurs twice.
What we call 'poetry' is really a salience. Language has poetry built into it like the body has the endocrine system.
The metaphorical reworking of the earlier asseveration in para.7, that Language itself can be fruitfully considered as a coherent poetical system, detracts from the original formulation rather than adding 'fruits' to it. The nonsensical notion, built into, renders the assertion of no technical, practical or philosophic use.
To save space we may forego making an analysis of every dimensionality of meaning in this trope. We shall only reject as silly nonsense the notion that it is the silence that makes our poems poems. One more musical analogy from Paterson will do no harm, but it won't do any good. He has not held to his stated intentions. There are no useful definitions and distinctions at all, only an extended mixture of analogy and metaphor. We have been given no clear idea as to what The Lyrical Principle or lyric or lyrical patterning may be. But we come now to section (ii) of the essay, in which there are 17 paragraphs.
The first step towards this complexity of implication and interrelation is the minimisation of the number of thematic elements, whose relation cannot deepen in their intricacy and sophistication while the elements themselves multiply.
Poetry is the art of saying things once.
This is an absurd statement. Saying things once is the general aim of most of our verbal communications, be they letters, technical descriptions or instructions, shouts on the football field, dissertations and critical responses to dissertations, descriptions in novels, or whatever.
The most economic and instinctively natural way to then accomplish this sophistication and complexity is through a shift in emphasis from denotative to connotative meaning.
However, what information is he trying to give us here? Does the sentence mean that some poems reject the lyric tradition, or reject the shift in emphasis? The word 'miasma' comes to mind to describe the effect or mode of Paterson's discourse.
Since poems have to say an awful lot in a short space, connotation is at a premium, as it multiplies relations, not terms; it functions, effectively, as an incredibly subtle and pervasive unifying force, a sort of secret trope of contraction. As I'll show, we find this reflected in and effected by the poem's obsessive patterning of sound. By this I certainly don't just mean rhyme, or loud effects like alliteration, but the use of far quieter patterns often achieved instinctively by the poet and registered subliminally by the reader. These I'll detail later.
The logical and analytical process that Paterson wishes to engage us in would be clearer if such words as awful, incredibly, secret, reflected in, obsessive, certainly, loud, far quieter (this could be replaced by 'other') were removed. Further, we observe that talk of obsessive patternings of sound that may be registered subliminally moves the discussion into a somewhat arcane mode. Finally, as a sort of 'footnote' to this response to Paterson's paragraph we would ask, what other loud effects like alliteration would he include in his definitions and distinctions?
A word's strong connotations, its immediate circle of strong aspects, relations and associations, are what gives it its 'feel', but not its dictionary definition. The 'feel' of words concerns the poet every bit as much as their dictionary meaning.. Overlaps in 'feel' between words ~ their shared quality of roundness, shortness, sharpness, bluntness, brevity, lightness, brightness ~ are often betrayed by a common sound, regardless of the sense-realm to which a word belongs. This statement continues to be heretical in certain quarters, but it lies behind the poet's operative conceit and fundamental article of faith which is that sound and sense are aspects of the same thing.
With regard to the first sentence, we should point out that this statement must be taken to refer to all words, and possibly all languages. Next we note that Paterson has put the word 'feel' in quotation marks ~ reasonably so, as this is a subjective matter: we will differ in our responses and in the connotations that words may have for us . Now we may note that the 'feel' of a word may, again, overlap with that of others, and how very often this overlap is betrayed by a common sound. The word betrayed ought not to be used in a 'technical' discourse because it has its own emotional and emotive connotations. Further the word overlap would be better put in quotation marks by Paterson. We come to the fourth sentence. Here Paterson would seem to claim to speak of all 'poets' at all times. We may think long and hard to discover if we have an operative conceit and fundamental article of faith that we might possibly share with all poets, that sound and sense are aspects of the same thing. It is nonsense.
Whenever we encounter things in nature which share a form ~ a brain or a cauliflower, the sea and a wind in a cornfield, a bean and a foetus, a tree and a nerve, a nerve and a tributary system ~ we unthinkingly assume some kind of analogous relation between the dynamic forces that produced them. By and large such instinctive assumptions are reasonable and well-founded. But for some reason language is regarded as a special case, and we have been instructed to regard many of its sound-symmetries as accidental ~ despite the fact that language, like everything else in this place ~ from the paperclip and the bomb, to the rose and the Cepheid variable ~ naturally arose.. However, when we initially encounter these symmetries, we have no inhibitions in hearing declared not just an acoustic relation, but a dynamic relation of involved sense. You know this when you are three years old, and you go mum / tum / thumb / bum for the first time, and are delighted not just because they all sound similar, but all have the same rounded and warm feel about them.
Let us first examine Paterson's asseveration that we may assume an analogous relation between the dynamic forces that shaped them. The word them refers to a number of pairs of things that he has given by way of examples. Let us take the first pair, a brain and a cauliflower. We would not agree that they share a form; but we might accept that they 'show similarities of form.' Next, we would not know where to start in describing the various dynamic forces that Paterson tells us produced them. So we certainly cannot thinkingly or unthinkingly assume any kind of analogous relation between them. But we may question Paterson's proposition that there may be an analogous relation between dynamic forces that produced, say, a brain and a cauliflower. Urged by him to think about it, we find it difficult to see how whatever forces produced a brain and a cauliflower ~ which forces of growth, or whatever, we might assume to be the same forces ~ may relate 'analogously' to each other.
Now Paterson moves towards considerations of language, and talks about sound-symmetries. Reading ahead a little, we know that he will be talking about words which sound alike in some respects; so we are warranted to assume that the way in which sound-symmetries work is 'like to' or perhaps 'analogous to' the way in which two physical things such as a brain and a cauliflower may share a form. Now, we have already suggested that the formula 'show similarities of form' is truer than share a form. We may suggest that symmetries is a wrong use of terminology and that 'similarities in the sounds of words' would be a better term here. Indeed, Paterson does use the word similar in the last sentence.
When as three-year-olds we may rhyme mum, tum, thumb, and bum for the first time, our delight is not simply in the rhyming of the words but in their all having the same rounded and warm 'feel' about them. We might call this 'a dynamic relation of involved sense'.
However, we continue to follow Paterson's discourse, noting that, in the last sentence of his paragraph above, the word feel was not put in inverted commas.
The semantic unit in denotative speech is the morpheme; the semantic unit in poetic, connotative speech is the phoneme. That 'words seem to sound like the things they mean' is something long understood instinctively, and has been chewed over since the Cratylus dialogue. Yet it's difficult to prove: because we're dealing with 'feel', we can only point to tendencies, not rules. As a result, even this late in the day, we still have to listen to folk harping on about the arbitrariness of the sign, which poets know to be sheer madness.
The first sentence is absurd. It suggests that there is a complete dichotomy between denotative speech and poetic, connotative speech, and that in poetic speech there is no denotative use of language at all. It further implies that denotative speech is entirely and exclusively composed of morphemes and that poetic, connotative speech is entirely and exclusively composed of phonemes. Further, the 2nd sentence implies that all 'words seem to sound like the things they mean'. This is all beginning to sound like sheer madness.
The term 'iconicity' refers to the physical sound for a word enacting its referent.
taken up with the study of 'phonesthemes', which are of particular interest to us: a phonestheme is a point of sound-sense coincidence.
Surely, it is the case that scientists, in their various fields, rightly use strictly denotative language in order to achieve accuracy of description and hypothesis and so on? Paterson's alas, and perhaps also his use of privilege, is denigrative of this use of language. It is interesting, then, to find him, in para.6, leading us into the field of phonosemantics, and making use of its findings and propositions.
Before returning to the paragraph there is a further observation that we might make. Paterson has gone to great trouble to write this thesis. He wants us to take it seriously; and, to an extent, he deserves that we do so; but in all fields of research it is customary, when developing ideas, to give sources and references, where available. Paterson provides none at all. How well may we rely on our guide? How seriously should we take him? We may well feel that this 'mystifier' is 'selling us short down a sonorous river'.
A standard example is the sound gl which occurs in a disproportionately high number of words related to 'light' and 'sight' to be mere chance: glisten, glare, glow, glower, glint, gleam, glaze, gloss, glance, glitter. Many words which contain the sound unk ~ bunk, sunk, puncture, dunk, lunk, trunk, funk ~ even though etymologically unrelated, all have a low, sunken, heavy, concave 'feel' to them. Some think the number of such phonesthemes is finite; it seems clear to me ~ and I suspect to most poets ~ that the phonestheme is merely the most obvious symptom of a fundamental and wholly pervasive rule of language.
Here Paterson would seem to have 'conjured up' a wholly pervasive rule of language despite having previously told us that the statement that 'words seem to sound like the things they mean' is difficult to prove; because we're dealing with 'feel', we can only point to tendencies, not rules.
We are given no sources or references by means of which to enter with Paterson the field of phonosemantics. We must assess his presentation of phonosemantics theory as best we can. In his first example, gl is a sound and is a point of sound-sense coincidence. It occurs in a disproportionately high number of words related to 'light' and 'sight'. There is clearly an interesting clustering.
However, before we deal with a particular phonestheme, some questions arise. When we encounter any phonestheme in any word, will processes of a denotative sort be caused as well as those of a connotative sort? We would ask if processes of the association of words and meanings comes into the overall reaction to a phonestheme. We do know, though, that Paterson is concerned with the 'feel' of words. He has brought to our attention the 'fact' that the words mum / tum / thumb / bum… all have the same rounded and warm feel about them. Are we to assume that the rhyming element um is a phonestheme? It would have been helpful if Paterson had proceeded to deal in greater detail with this example; but, instead, he offers us the gl and unk phonesthemes.
Let us now ask Paterson about the gl phonestheme. May it in a general way be thought to cause or take part in actual sensations or perhaps memories of sensations that will then give the words in which it occurs their 'feel'? Paterson does not make any suggestion as to what is the 'feel' of the words in his gl list. Do they not share a 'feel', as do the unk words that follow, or the um words which preceded them?
Clearly they don't share it in any simple way. Let us concentrate on the um and unk phonesthemes and ask the sort of questions that probably spring to the minds of most readers of Paterson's discourse. Why don't sum and some and scrum and glum and come and dumb all have the same rounded and warm feeling about them as mum etc? The unk phonestheme is also a rhyme element. Regardless of that , we would ask why 'monk' and clunk' and 'hunk' and chunk' don't all have a low, sunken, heavy, concave 'feel' to them? ~ which 'feel', bunk does not obviously share either.
We may now go through the same process with regard to the gl phonestheme. There are words such as 'gloat', 'glide', 'glabrous', 'glutinous', 'glad', 'globose', 'glossary', 'glove', 'gloze', 'glib', and 'glide' which do not 'relate to' 'light' or 'sight' or give a 'feel' of some sort of literal illumination. We conclude that a phonestheme does not necessarily in any way cause a word to have a particular 'feel'.
Now we may consider that the word phonestheme (which of course might have been spelt 'phonaestheme') denotes something that is connected to an 'aesthetic experience'. Paterson's word 'feel' stands for 'aesthetic experience'. This experience may be a complex one: in the case of certain unk words we will, according to Paterson, experience in some way a low, sunken, heavy, concave 'feel'. If we don't have such an experience in every case, then we must conclude that the phoneme unk is not always a phonestheme. This conclusion follows in the case of the phoneme gl as well.
Words seem to sound like the thing they mean.
[some] words [may] seem, [in some respects,] to sound like the things they mean.
It is, of course, greatly entertaining to 'dabble in these sonorous arts', and we will do so, we hope briefly. In Paterson's list of gl words, we may concentrate on glisten. There is some 'sense' in saying that this word 'has a feel' (rather than 'sounds') in some way like the thing it may mean, in that we may experience 'ideas' or 'memories' of glistening or glistenings. Now we may ask to what extent the various sounds gl, i and s (or perhaps ss) bring about separately, or in combination, what may be the 'mental activity' that we experience as 'thought' and accompanying 'feeling'. (We may note here that in later paragraphs Paterson refers to the short i phonestheme ~ as well as to bl- and -og phonesthemes, and even a -g phonestheme ~ but not to an s phonestheme.) We may further ask ourselves why, if we take the g- phonestheme away from glisten, the word listen does not have the same sort of 'mental effect' as glisten? We might now play with the combination 'listen to the glimmering'…However, we are beginning to distract ourselves too much from the text under consideration.
We may now return to the word glum that we introduced above. The word would not seem to be related to 'light' or 'sight' in any way; nor, as we have noted, does it have the same rounded and warm feeling about it as do mum / tum / thumb / bum. The functioning of phonesthemes is variable and complex ~ when they are functioning as phonesthemes, that is ~ and hardly likely to be susceptible to any systematic ordering.
Counterexamples seem easy to give, but prove nothing. This is because language works on a diffuse synaesthetic principle of connotation, a broad iconicity. Sounds evoke things not only in their sound, if they are fortunate to make one ~ but in any aspect: their visual appearance, smell, shape and function. We hear the roundness of moon, the warmth of mum, the ruminativeness of memory, the hiss of sea, the thinness of needle, the lumpiness of hump, the speed of quick. Language works in part by synaesthetic analogue: through the brain's automatic habit of synaesthetic mapping, 'brightness' is a property not only of light, but of sound, shape, taste, emotional mood and so on, and this is reflected in our speech. Poetry, as usual, refines a linguistic tendency to a strategy.
It seems to us that, at this point in the essay, there is a change in the process of argumentation, which becomes in some ways 'denser', but also ~ to take up Paterson's own usage here ~ more 'diffuse'. Our analysis of the rest of this part of the essay will be in some ways more 'intermittent'.
Counterexamples seem easy to give but prove nothing.
[some] words [may] seem [in some respects] to sound like the things they mean.
The question is, how may such a principle be objectively systematised? Paterson talks of the brain's automatic habit of synaesthetic mapping, which suggests the possibility of the discovery of some sort of poetic technique that was used by the makers of medieval 'lyric' poetry, and Shakespeare, and Blake, and so on. Indeed, he states that Poetry, as usual, refines a linguistic tendency to a strategy. However, the three words that leave the strongest impression on us, when we have read and reread the paragraph, are diffuse, broad, and tendency.
One still occasionally meets the objection that a thing or event which makes no sound cannot possibly have a sound to represent it; the trouble is that the 'definition' of a phonestheme indicates not rigid designation but a mere statistical tendency, its sound denoting an area of overlapping connotatory sense between several different words. The word 'meaning' can't be honestly used of a phonestheme either, since 'meaning' implies a clear denotation; it has no meaning, only a consensual 'feel', upon which the words that host it converge.
We may here, as it were, make a 'footnote' to the footnote.
Paterson's footnote is something of a 'miasma' of subjective and metaphorical ideas or expressions mixed with what may be objective and categorical ideas. The footnote would better begin 'The objection may be made that'.., and the words the trouble is would be better replaced simply by but . The distracting word honestly would be best removed. We again have the metaphor of overlapping to take into account, and a new one in which it is suggested that words may host a phonestheme and converge on one. We may now note that the word 'definition' is in inverted commas as if to infer that the only definition given of a phonestheme, that it is a point of sound-sense coincidence, is provisional. A further 'definition' is given here: that it is a mere statistical tendency. We must now once again decide what use Paterson is making of the word sense, and conclude that connotatory sense may mean connotations of sensation. Paterson would appear to be saying not that the term 'phonestheme' is meaningless but that the word 'phonestheme' has no clear denotation. It is said, rather, to have a consensual 'feel' upon which the words that host it converge. We may then consider that this formulation may be equivalent to the earlier one, an area of overlapping connotatory sense between several different words. Our understanding of these sentences is nowhere near complete, however, because the word consensual is ambiguous. The word 'consensual' has two distinct denotations in the Collins English Dictionary (1979 edition). In the first it is a legal or legalistic usage meaning 'existing by consent'. In the second it is used of certain reflex actions of a part of the body, and means 'responding to stimulation of another part'. The next entry is 'consensus', which means 'a general or widespread agreement'. We ask, which of the usages of the adjective 'consensual' did Paterson here intend? Has he perhaps conflated the two? Has he been influenced by the noun 'consensus'? We may suspect that he has conflated or mistaken the two adjectival denotations of 'consensual' and also been influenced by the noun 'consensus'; but even if this consensual 'feel' is arrived at as a result of some sort of 'reflex action' according, perhaps to a diffuse synaesthetic principle of connotation, we still need some verification of it, some 'consent' to it, a 'consensus' (if broad) between the 'poets' on behalf of whom Paterson is so often ready to speak, or between 'phonosemanticists', or both. Has he obtained any such consent or evidence in respect of any instance of a phonestheme?
This 'play' is little more than another counterexample, and proves nothing; but it is indeed 'troubling' that so much in this essay depends upon the concept of the phonestheme. We may take the attitude that, in the field of phonosemantics, the phonestheme is an hypothesis that is undergoing experimental testing. Paterson has been adding a sort of scientific 'gloss' to his vague discourse on 'patterning' and overlapping connotatory sense. He may yet find a way to make some demonstration and verification of a wholly pervasive rule of language that will enable us to better assess the poetry written over the last 1,300 years, and to write better poetry of our own.
However, the paragraph proves to be something of a 'cul-de-sac'. The image or metaphor that comes to mind to describe the paragraph is that of a 'blister' or 'cyst', a fluid-filled extrusion. Paterson names a researcher, V.S. Ramachandran, but gives us no references that we might follow up. He provides us with the 'poetic' notion of crosstalk between…sense-centres… He then appends a lengthy new hypothesis of his own.
As we now know, new coinages will naturally and unconsciously gravitate towards the active and attractive nodes of certain phonesthemes as a way of deepening their sense. This means that iconicity is 'strong' as well as broad.23.
I have the suspicion that as language developed, the emergent property of broad and systematic iconicity reified to the extent that it began to exert, through a process of downward causality, a supervenient influence on language itself. The system now positively charged with iconic intent ~ instead of being merely a passively-arising index of shared aspect ~ would then start to exert an active, gravitational pull: words which share the phoneme now exhibit a real, if thin, semantic connection regardless of their initial unrelatedness: that such a sense is apparitional is an impossible accusation in a closed system. As the iconic effect became wholly pervasive, any word, however apparently 'arbitrary' in its sound-sense relation, would then exert some tiny influence on the whole system: in other words 'apple' starts to sound like an apple, and contributes it s own micro-phonestheme, however weakly, to all other occurrences of the same phonemes in the language, which then all carry the ghost of 'appleness', with the valency now primed to increase as the two words increase in spoken proximity. (It's interesting to speculate whether 'synaesthetically unseeded' artificial systems, like John Wilkins' philosophical language, could ever enjoy a weak emergent iconicity.) Read this way, the phonestheme becomes merely a salience in a disease-of-degree game, and words themselves sit at the convergence of many more influences than merely a couple of governing phonesthemes. Who can say if 'glue' has not taken on a little sheen from its 'unrelated' gl- bearing 'bright' words, or 'sneak' a little nasality from sn-bearing 'nosy' words ~ or indeed apple from the p- phonesthemes related to 'pulling' 'stealing' 'picking' and 'quiet noise'. [We may suspect that the proof-reader has been inattentive here, and that there may be a word or words omitted after apple.] Were we able to submit words to the same spectral analysis we can the sounds of musical instruments, we would see an extremely complex additive pattern of semantic overtone, from strong partials to almost impossibly weak upper harmonics. The picture is further complicated because language is a dynamic system, and each word changes according to its contextual employment, i.e. its site-specific sense, and its 'semantic infection' from its near neighbours. (This is particularly true in the poem, where context is rigged, and just such 'infection' is intended by its phonic patterning. Put 'pale' and 'apple' in the same line and they conjure a ghost-phonestheme between them, and their senses are a little interfused: put them together, and their iconising valencies virtually allow them to form a single new word. I realise I've buried this secret formula here so no one will read it.) Thus this spectograph would ~ while perhaps fairly constant to its fundamental of denoted sense ~ register constant change in its upper partials. We have no need to muddy the waters further by introducing other parameters like regional variation and personal association. Essentially, no sense steps into the same word twice.
We wonder if Private Eye might serialise this footnote in Pseuds Corner. We see it as a sort of top-hat over which our conjurer has placed his magic cloak, on which is written, in sequins, This is because language works on a diffuse principle of connotations, a broad iconicity. Out of this top-hat he produces white rabbits tinted with various 'partials', and indeed, chimeras of various genetically-modified types.. Or we may, noting the phrase muddy the waters, change the metaphor and represent Paterson as God creating his own 'primeval soup' on planet Languages, out of which mish-mash he is going to create new linguistic, noded and noduled, synaesthetic life; and then alter the mode to use the idea of a Christmas bran-tub; and then alter it again, to that of the old game of apple-bobbing; and then, finally, see Paterson as a duck dabbling upside down…to come up, for our amazement, with an eel, along the squirming sides of which is 'graven in diamonds, in letters plain' the legend: Essentially no sense steps into the same word twice.
We might immerse ourselves in this footnote for days, literally; but a few 'up-endings' must suffice. First, it would seem that Paterson is contributing a new and probably unwarranted technical term for us in the discipline of phonosemantics, the micro-phonestheme. Any word which presumably hosts such a micro-phonestheme then somehow contributes it, however, weakly, to all other occurrences of the same phonemes in the language. Paterson does not identify the micro-phonestheme in apple, nor does he indicate what may be all the other phonemes to which it may be 'contributed'. We proceed from this, without any examples or demonstrations to help us, to the idea of the ghost of 'appleness'. This is fantastic. An image of Paterson in cloak, with wand, appears. Indeed, he has 'secreted', further on, something of himself, some almost 'magic' token, in this footnote ~ which footnote he began, as is the case in some others, in the first person, I.
First, though, we may deal with an aspect of the sixth sentence in the footnote. We observe how 'asseveration' has fallen away to Who can say… Who, indeed, if Paterson cannot do so? Then we are faced with the problem of apple not being put in inverted commas as are glue and sneak, and not being said to have taken on anything. More problematic still, however, is the fact that Paterson now posits p- phonesthemes. We surmise that there may be a plethora of phonesthemes that Paterson has not thought it necessary to give us any advice or warning of . So it is that a process of 'broadening' and faux-technical 'bluster' goes on in Paterson's provision of definitions and distinctions.
Here, 'coyly coiled', gleaming and precious, lies Paterson's favourite little absurdity. It is revealed to us that in certain instances two (or more?) words may conjure a ghost-phonestheme between them. Paterson is here making available to those engaged in the discipline of phonosemantics an even more refined and refining concept than that of the micro-phonestheme. His 'alchemical' researches then lead him to the conclusion that there are instances of two (or more?) words which will, when placed together in any literary situation, be virtually allowed to form a single new word as a result of their iconising valencies.
There is something exquisitely preposterous about this, and yet something unexceptional in it. We may be reminded of the kenning in Old English, 'whale-road', sounded as wãl-rãd. We suspect that Paterson is getting a little overwrought as he labours at his alembic, that he is unwell in some way, perhaps, because he has buried this secret formula here so that no one will read it. We would like to take him away from his alchemical obsessions and sit him quietly in a sunlit orchard, beneath trees full of palely-dappled apples.
The denotative meaning of a word is singular; the connotative meaning of a word is potentially infinite, and contains all possible terms. However, those terms are strongly centred upon its core denotation, its designated referent (i.e. the fruit 'apple' for the word 'apple'), and those properties without which this referent is impossible. But beyond that, there exists a penumbra of strongly associated aspects, less strongly consensually fixed than its denotation. We tend to also think of the apple as having the qualities of being round, tree-grown, red or green or brown in colour, and sweet and sharp to the taste (though unlike the inconceivable non-fruit apple, we can conceive, at a pinch, of a square or even a blue one.) These secondary aspects radiate out, weakening in strength as they pass from rigid designation, to consensual agreement, to the random valencies of personal association and memory. Unlike its single and often unique denotation, the set of any word's close connotations will, of course, contact many terms which will overlap with those possessed by many others: apples share their qualities of roundness and sweetness and redness with a thousand other things.
The paragraph prepared us for this 'ghostliness' as part of the 'argument' by which Paterson has attempted to persuade us to accept his account of processes of 'interfuison', 'broadening', 'connotation', 'association', 'synaesthetic transfer', 'semantic infection' and so on, as he describes how language works on a diffuse synaesthetic principle.
The connotative meaning of a word is potentially infinite and contains all the possible terms.
He appears to be saying that, for instance, some sort of sense of 'apple'–ness eventually 'interfuses' every other word in the language, however weakly; as will some sort or sense or 'pale'-ness; and some sorts or senses of 'vapid'-ness and 'pretentious'-ness.
[Some] words [may] seem [in some respects, through a process of synaesthesia] to sound like the things they mean.
26 An unrhymed Lear, for example, would be an unthinkable horror.
We would suggest that the uncertainty that Paterson leaves us in as to whether or not he is speaking of Shakespeare's King Lear, rather than of the entire works of Edward Lear, is a 'horror'.
An image flits to mind, or an idea begetting a flow of pictures to do with knitting; of knitting unravelling' even of tricoteuses at the foot of a guillotine, all suddenly dropping stitches…Has a shocking secret been exposed within those inverted commas, which are so much less adequate to enclose and protect, than would have been parentheses, that word 'real'? It is as if, by some process of upward causality and active, anti-gravitational pull, a palely-apple-coloured ectoplasm and miasmic pall arises. It emanates from the lower ghost-phonestheme, which fades to nothing; then it rises t envelope the micro-phonestheme; and finally the phonestheme itself disappears.
In poetry, the semantic blurring is encouraged partly by its tactical elisions, which force the collusion of the reader in its sense-making project ~ but largely conducted by the patterned phoneme, leaving a statement which, while easily paraphrasable in that denotative sense-making part, also has a highly complex sense which is wholly tied to its site-specific physical expression. Poetic meaning pours across the word-boundaries carried by the patterning of its sounds, and often unites its lines as if they were a single word. Because of this, form and content have something of the inseparability we find in a piece of music.
We have, however, in our picturing above, caught the right sense of a unifying 'flow', and of the semantic bleed between words.
You might say that poets are trying to make one big, musically coherent unit, in order to conjure up a thing, a state or relation that is new to language, but whose integrity makes it verifiably true in the heart and mind of the reader ~ with more semantic coherence than the refusal of this lyric strategy could possibly allow. Perhaps we are trying to make one big word out of everything. This means we can trust our ears to do much of the thinking, since we know that if we can tie the word into the lyric weave, its borders have been opened, and its meaning will seep into the entire poem and serve to unify its total sense.
Thus the 'blather' continues concerning the blurring and bleed that may occur across the borders and boundaries of words in such a way as to conjure up a thing, a poem. We note that this poem has even become almost personified through the use of the pronoun whose. Once more we may remind ourselves that this is a project concerned with making and elaborating on some necessary definitions and distinctions in preparation for the consideration of technical specifics.
Everything is driven towards a state of entropy, and yet everywhere matter reflects a weird state of order still inscribed in it by the primal singularity, our unbroken cosmic egg, and falls into wave, sphere, orbit, season and pulse. So do we, and so in turn does our complex system of language, which is as deeply wrought with those symmetric whorls and rhythms and patterns as we are. Poetry discloses all this, and in doing so sings the underlying unit, the same song under everything, the concentric circles that miraculously appear in your coffee mug when you tap the desk. Nevertheless, its sad to find yourself born into a universe founded on the principle of nostalgia. But it's a good place for elegists, perhaps.
Perhaps is, perhaps, as fitting a word as any with which this curious discourse might end. Perhaps is a good candidate for the one big word that Paterson mentions in para.16.
Entropy is not the state that we have been driven to, nor do we reflect a weird state of order that has induced us to fall into wave, sphere, orbit, season and pulse: rather, we are 'bemused' and 'disappointed'.
Paterson spoke of something that he called The iconising engine. We may borrow and adapt this metaphor, to describe his part-essay as an experimental F1 racing car, built under the new Lyric marque. The car has completed its first, faltering, high-revving circuits of the Poetry Review test track. It seems to us, from the knocking, back-firing, shuddering, erratic progress that it has made, that there is much to be done back in the workshop. Matters of fuel and oil-specifications, carburetion, steering, suspension, wheel-balance, and much more, will need attention before the car is fit to compete in the True English Poetry Grand Essay Prix. We climb out of our own antiquated, battered, British Racing Green car, take off our goggles, and go in search, not of a mug of coffee, but of a glass of champagne.
Mr Paterson kindly gave me permission to quote from his essay when I met him in Cambridge on the 28th January 2009. Permission to do so has not been granted by the Editor of 'Poetry Review'.


text:
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In Literacy we have been enjoying our class text, 'The Miraculous Journey of Edward Tulane' by Kate Dicamillio. This poignant adventure story, which is set in North America, is about a china rabbit that experiences a range of settings, identities and owners, whilst also learning the true value of love and friendship.
We have really become absorbed in this text and have used it to inspire our own writing of a range of genres including narrative, diary and letter writing. The children have produced some stunning pieces of writing which we are looking forward to sharing with you.
two-step maths problems and investigations. These lessons have required the children to apply their maths understanding and select and carry out appropriate calculations using both mental and formal written calculation methods.
Our topic this term is all about North America. In art we have experimented with creating patterns and have begun designing our own Totem poles which we will be creating later in the term.
In music we are carrying on our North American theme and we have been enjoying listening to both traditional and modern North American music, as well as beginning to compose our own musical pieces.
During science lessons this term, we have been studying habitats and investigating the animals and insects which in inhabit them. We have been learning not only about habitats in our country, but those native to North America also.
all about rainforests. We will becoming biologists and discovering how to categorise plants and finding out about their medicinal properties, before learning how to survive when we end up 'stranded' in a rainforest. More details about our visit will be sent home shortly.
This year, each class will look at a female writer, as part of World Book Day. We have chosen female writers, to link to the fundraising we are doing for Care , 'Walk in Her Shoes'.
Year 4 have been reading poems by Valerie Bloom.
We have been reading poems from her anthology, 'Hot like Fire'.
This week in Maths, we have been converting units of measure. We have been looking at km, m, cm and mm and how we can convert them.
Click here to play to a fun game involving measure.
As part of our continued work on Ancient Greece, we have planned to visit The British Museum. The trip will take place on Thursday 25th March. A class letter has been sent home. Please let us know if you need another copy.
Year 4 have had a very exciting and interesting term learning all about the Anglo-Saxons and Vikings. We have enjoyed two fantastic books, 'Beowulf' and 'The Ice Palace'. Both of them were full of adventure and we wrote lots of exciting stories, information texts, letters and diary entries based on the events in the books.
Recently, we have also enjoyed doing lots of Maths work based around our own model Anglo-Saxon village. We made our own nets to make model houses, looked at maps to scale, used the 8 compass points to give directions and worked out the perimeters of the fences for the animal pens and fields. We have really enjoyed this topic!
We have had a good final week of the term, with plenty of Christmas activities. Year 4 performed brilliantly for the Christmas Show and used lots of their gymnastic skills. Well done Year 4!
See the pictures below from the Christmas Show and Maths lessons.


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IP finance: Royalty rate guides: how helpful are they?
This blogger has mixed feelings about the value of data of this nature. Judicial resolution of both licence and infringement disputes often demands that the tribunal seised of the dispute ascertain the quantum of damages or royalty payments on the basis of the reasonable sum which would have been paid by a willing licensee to a willing licensor. To the extent that compendiums of licensed technology reflect the consensual conduct of cooperating parties, they are bound to influence findings based on that elusive formula.
The publication of historical instances of technology licensing rates may also exercise influence on businesses seeking a specific level of payment or resisting attempts to make them pay it. While these may not quite be self-fulfilling prophecies, this blogger suspects that the mere fact of their publication and availability is to some extent self-reinforcing. Thus, where licensor A is seeking a royalty from licensee B, it might be expected that the agreed royalty will be higher, irrespective of external criteria, where historical examples of royalty rates range from 20-30% of the base figure on which they are calculated, than where the historical figure is 2-3%, and that the agreed rate would be somewhere between the two where it is evidenced that parties comparable to A and B have struck royalties in the range of, say 12-15%.
There is another factor to consider. Unlike some areas of intellectual property such as fashion clothing and fast-moving consumer goods, where substitutability of competitors' products can lead to a clearly identifiable range band of norms within which royalties are fixed, this is not so often the case with technologies -- particularly those protected by patents -- where by definition the licensed technology is unique and where there may be complicating issues such as essential facilities doctrine and FRAND-based arrangements in which the establishment of royalty norms may be the result of a conflict of consensual negotiation and pressure from the competition authorities.
What do readers feel about royalty rate guides? Do let us know.
Details of the 5th edition can be found here.
The possibility that new data will create information asymmetry is real. It seems this will be meted by two factors: (i) experience of those in the specialist field; and (ii) economic adjustments in a free market.
Those businesses with the experience (or advice) contrary to the examples will not concede terms so lightly; those who choose to follow them indiscriminately and incorrectly will ultimately be found to be inefficient by the marketplace and fail. This will allow the licensor a new opportunity to negotiate more realistic terms.
All knowledge is partial and only the aggregation of that knowledge can arrive at the true position. The more examples are published, the more accurate terms may become.


Eldad Melamed of CEVA provides some general guidelines for developing signal processing algorithms that will allow the use of real-time face detection applications on any mobile device.
In response the market demand for embedded vision capabilities, an industry alliance has been formed. Spearheaded by the market research firm BDTI, the Embedded Vision Alliance (EVA) consists of 16 initial members from the IC and embedded industries. Its mission is to "inspire and empower embedded system designers to incorporate vision capabilities into their products, by providing them with practical insights, information, and skills." The EVA hopes to facilitate the flow of high-quality information and insights on embedded vision technology and trends.
The emergence of the EVA validates the need for great collaboration within the industry. However, much progress has already been made to improve the vision capabilities of electronic systems. One of the key requirements is a flexible processing architecture that can address the considerable performance and power needs of mobile image detection and recognition features in products.
Much like the human visual system, embedded computer vision systems perform the same visual functions of analyzing and extracting information from video in a wide variety of products. In embedded portable devices such as smartphones, digital cameras, and camcorders, the elevated performance has to be delivered with limited size, cost, and power.
Emerging high-volume embedded vision markets include automotive safety, surveillance, and gaming. Computer vision algorithms identify objects in a scene, and consequently produce one region of an image that has more importance than other regions of the image. For example, object and face detection can be used to enhance video conferencing experience, management of public security files, content based retrieval and many other aspects.
This paper presents an approach for real-time deployment of face detection application on programmable vector processor. The steps taken are general purpose in the sense that they can be used to implement similar computer vision algorithms on any mobile device. Included in this is a method for cropping and resizing that can be done to properly center the image on a face. (Figure 1).
The application can be used on a single image or on a video stream, and is designed to run in real time. As far as real-time face detection on mobile devices is concerned, appropriate implementation steps need to be made in order to achieve a real-time throughput.
While still image processing consumes a small amount of bandwidth and allocated memory, video can be considerably demanding on today's memory systems.
At the other end of the spectrum, memory system design for computer vision algorithms can be extremely challenging because of the extra number of processing steps required to detect and classify objects. Consider a thumbnail with 19×19 pixels size of face pattern. There are 256,361 possible combinations of gray values only for this tiny image, which impose extremely high dimensional space. Because of the complexities of face image, explicit description of the facial feature has certain difficulties; therefore, other methods that are based on a statistical model have been developed. These methods consider the human face region as one pattern, construct classifier by training a lot of "face" and "non-face" samples, and then determine whether the images contains human face by analyzing the pattern of the detection region.


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This sensor is only compatible with CMI Health PC-66H/L Handheld Pulse Oximeter series.
SpO2 measuring accuracy: Arms value (defined in ISO 9919 /ISO 80601-2-61) is not greater than 3% in the range of 70%~100%.
Loving this product. CMI was very helpful when I misunderstood the packaging and made everything right! Works great and very easy to use even with very active infants!


Become A Monster And Bring Terror To The City!
As an outcast-scientist-turned-mutated-monster, you're out to seek vengeance against those who rejected your research! In Mighty Monster Mayhem, climb and jump from building to building ,then tear them down. Make entire cities crumble while you munch on unsuspecting pedestrians. Choose from a variety of creatures, such as Cthulhu Carl, Ronald the Rock, Ian Insectoid and Toni the Oni. Battle with (or against) friends, wreaking havoc in multiple campaign modes. Unleashing your fury on everything to increase your score! How much mayhem can you cause?


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Stephens released a series of "Confidential" films that girle the light on various subjects with this one here taking a look at college girls. There's really not too much of a plot here and we're basically greeted with small stories that all are centered around sex. One story is a girl doing poorly in school so she sleeps with her teacher to get good grades and this follows with the teacher going home and raping his unwilling wife.
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We get a couple other misfits who sleep with incoming football players and we also get a wild party at the end where LSD is dropped, which le to a bunch of topless dancing. One story is a girl doing poorly in school so she sleeps with her teacher to get good grades and this follows with the teacher going home and raping his unwilling wife.
This does not mean that college boys are indifferent to finding a wife or that girls are unconcerned about earning money soon after graduation. The college were concerned for the welfare of students involved in the project, and also feared that they may not be treated fairly by media coverage girlz any editorial control, but with the support of college fellow Sally Mapstonepermission was granted.
The many early. Peter Dalehead of documentaries, denied that the decision was ratings-related, he said the episode was dropped because it was girlls little bit pretentious" and felt the series may not have been delivering what the audience wanted. Came out as a lesbian during an interview in the college garden.
Became embroiled in a storm of controversy surrounding her refusal to pay means-tested tuition fees, which were compulsory for the first time at English universities in He said it was brave of the network to invest in the series in but should have publicised it more. Was the primary focus of the second episode, which saw her elected as librarian, girle to be stripped of the coolege through breaking the union's policies on electioneering. First appears whilst selling the Socialist Worker magazine with her parents.
Articles from the s through the s explore the academic, social, and sexual debates surrounding women at college. College Girls: Bluestockings, Sex Kittens, and Co-eds, Then and Now [Peril, Lynn] on www.cheapfreeruntrainers.com *FREE* shipping on qualifying offers.
Appeared shy when in Oxford. The series saw her visit the poor village where her mother grew up in the Punjab.
He asked for his name to be removed from the credits of the final episode. Sally Mapstone felt that the episode that was skipped was key to the story, commenting "the irony is that, by censoring the one film where the girls talk most frankly about themselves, Channel Wher has skewed the whole emphasis of the series". Another bonus is the fact that the film only runs minutes so it never drags.
She said her life felt "so much better in every way" whilst studying in Paris in her third year. She also suggested that the channel should have voiced their complaints about the fifth episode during editing, and not once the broadcast of the series was underway.
Ruth Hunt discussed her sexuality on camera in the untransmitted episode and wrote to Channel 4 expressing her "hurt and disappointment" over the handling of the episode. The Daily Telegraph commented that "a Hollywood scriptwriter would find it hard to improve on the unfolding Springfield yorba bbws, and A.
The Channel 4 documentary team were allowed access to the college for up to 40 days per year.
College Girls. It was felt that choosing St Hilda's would be of additional interest as it would allow "an examination of women at the beginning of the 21st century". Took to wearing the hijab.
Admitted she didn't set out to study at Oxford originally and rarely the at ease while studying at the college. The softcore scenes are all rather silly but there are a couple erotic ones, which is Wjere the best work I've seen from this director. Tim Gardamhead of colleges at Channel 4, told one of the students involved that the films "lacked life and were too mannered Where do girl to the strength of character and interest the production team had been allowed to document".
Was the college's LGBT representative. Afshan Ghani—Medicine student from south Wales, of Pakistani origin.
Stephens released a series of "Confidential" films that shined the light on various subjects with this one here taking a look at college girls. Background[ edit ] Series producer Anna Hall and director Kevin Simboth former students at the university, developed the idea for the series.
Kevin Sim added that he felt that critics of the series were using the show as an excuse to "express their long-cherished hatred of Oxford as an elitist institution". Was this review helpful to college There's the not too much of a plot here and hhe basically greeted with small stories that all are centered around sex. As far as sexploitation films go this one here isn't too bad, although if you're expecting something great then you need to stay away from this film as well as every sexploitation film where.
The college was in the news due to controversial votes by the fellows as to girl it should retain its single-sex status.
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Performances are all laughable as is the score but the only reason this film was made was to college off skin and it does a good job at that. Gill rated the series the "one of the best documentaries of this ag for years" in The Sunday Times. Later elected union president and went on to become a Fulbright Scholar at Harvard University. College principal Lady English said that the college was not informed Casual Dating Green Harbor the decision where to the series' end and felt the broadcaster owed the college and the film's participants "an explanation and an apology".
Fell in love with a Conservative and got married in the final episode.
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I am now over half way through my 30 Day Painting Challenge. I think I am enjoying it too much as it no longer seems like a challenge!
I have gained some further understanding of my process and the pleasure I get from drawing and painting. I really enjoy working with a time bound immediacy, responding to a subject or theme spontaneously, then taking time to evaluate, select and ponder the outcomes. Sometimes the paintings have felt like a sketch of a future more sustained painting and sometimes the images have inspired me to paint more, especially the Corvids and the Hares.
I like to set myself constraints, rules and boundaries, this time I don't think there hasn't been enough, I am not feeling the pain!! It is good to reach a point of boredom, frustration or irritation with a subject, push through it and reach an undetermined unexpected outcome.
I feel maybe, I should have set myself the task of painting to a theme or idea, something that I may not do without the challenge, maybe 30 birds or 30 en plen air paintings, 30 with a palette knife, 30 houses or people, 30 human animals or something I will do soon 30 activists (with animals)…but maybe I don't always need to really challenge myself and maybe I have. I would not have painted everyday without it.
It has also made me rethink my freelance work and embrace the idea more fully. I have simplified my fee structure to an hourly rate and will now basically draw, paint or collage pretty much anything, because working instinctively with a sense immediacy is what I love to do.
My next challenge will be painting extinct birds for the amazing Ghost of Gone Birds project at the Migration Festival in Camden and this has been an excellent precursor for that. This is what I will be doing.
Resurrecting extinct birds can be hard work. And now you can see for yourself as we invite 11 very different artists to each dedicate a day to breathing creative life back into the birds we have lost. But we're not just setting up a special pop-up Ghosts studio for the artists in the Foundry Room upstairs at The Forge – we're also adding a real old, weather-beaten bird hide from RSPB Coquet Island for visitors to use to quietly observe the artists at work. So this is your chance to see extinct birds resurrected before your very eyes. Eleven days. 11 artists. Working hard to create a new Ghosts Gallery of Gone Birds.
If you would like to see the paintings that I have made so far since the 1st September please go to my website here 30 DAY CHALLENGE.
I am almost half way through this challenge and already thinking about what I will do for the next one. Drawing/painting everyday is becoming quite a natural thing to do.
As I have to paint everyday and often in the evening, I have been working in my study/spare room. Which is a much better discipline than trying to painting on the dining table and clear things away for a family meal or having materials between the dining room, the study and the studio.
The challenge has raised a number of questions for me, I have been asking myself , things like: Should I have set a theme? Should I stick to a particular style or media for each painting ? How should I choose my imagery? etc. Setting any set of constraint seems to raise questions and a sense that I want to break/bend my self determined rules. Although since the MA I have begun to recognise this as a diversion tactic and press on regardless.
Because I cant really spend a significant amount of time planning each painting, I am having to work from images I already have, with a visual language that I can rely on, using materials I have to hand and will dry quickly enough to photograph within an hour.
I feel that my Puffin seems the most tentative of all of the paintings. It was an anxious and uncertain start, but for no reason…Day 12 and I have raised £120 for my charities and made a drawing a day. I would highly recommend it!
The final exhibition of the Falmouth University 2014 MA courses opened on the 2nd September and brought to a close my 2 years of intensive study.
It was a great night and wonderful to meet up with so many people and talk about the background to the paintings.
On Friday our grades came through, I discovered that I had achieved my Masters with Distinction! After reading the email at least 5 times it began to sink in. I knew that I had put all I could into the work and the final essay but I didn't know if my best would be good enough…thankful it was.
Now that the show is over and the work is back in my studio I would really like to exhibit it again, the work was a catalyst for some very enjoyable conversations and I realised that on this occasion I did my job, I raised a question and the paintings became a stimulus for conversations. Many people found the paintings moving, dark and disturbing. It was fantastic to see people spend time with them and come back again to view them for a second and third time.
There is also a catalogue to further situate my work with titles and a little text.


Pamela Geller, Robert Spencer, Daniel Pipes, Steve Emerson, Pamela Hall, Zuhdi Jasir, Joe Kaufman, Brigitte Gabriel... It might sound like im calling roll at a boarding school in Bumblevalley, Texas, but im actually roll-calling the top tier of one of the largest and best funded dicriminination networks presently existing in the United States: The Islamophobia Network. Represented, organized and managed by these nut-jobs, the network is currently worth $119,662,719. Yes, you read that right, in the millions.
These organizations which laud their desire for freedom, independence, and peace all carry an "if"-factor and that "if" depends largely on the Muslim and Arab populations (and we must keep in mind that these folks may be ethnically blind, but they sure aren't colorblind so by Arab, they mean anyone who is "brown") going extinct – atleast from their peripheral visions.


text:
Cheaters in the Steam Community Gaming Social Network
[arxiv.org]
244 Statistical properties of community structure in large social and information networks - Leskovec, Lang, et al. - 2008 (Show Context)
... maximum belong to the "core" of the giant connected component (GCC) of each network. Nodes on the second maximum are the vast majority of well-connected nodes in the GCC. Furthermore, the "whiskers" =-=[22]-=- are the nodes connected to the GCC with longer paths than other nodes and can be seen on the long tail of each plot, thus responsible for its second negative slope. Our results on the Steam Community...
239 Structure and tie strengths in mobile communication networks - Onnela, Saramäki, et al. (Show Context)
...iends a user has, the less likely those relationships form geographically close triples, an intuitive result. 5.4.2 Social Closeness The second measure of social strength is based on a previous study =-=[24]-=- that suggests that the overlap between the social neighborhood of two individuals is a good indicator of the strength of their relationship. We study the overlap of friends of users in the Steam Comm...
198 Homo Ludens: A Study of the Play-Element in Culture. - Huizinga - 1950 (Show Context)
...ent the unethical behavior that breaks the rules of the game: "The rules of a game are absolutely binding [...] As soon as the rules are transgressed, the whole play-world collapses. The game is over =-=[17]-=-". Online gamers are no different judging by anecdotal evidence, vitriolic comments against cheaters on gaming blogs, and the resources invested by game developers to contain and punish cheating (typi...
161 Planetary-scale views on a large instant-messaging network - Leskovec, Horvitz - 2008 (Show Context)
... in the less tightly connected cheaters subgraph. Previous studies reported similar results, such as the low average path length of 6.6 hops between users in the world-wide distributed MSN population =-=[21]-=-. We further investigate the distribution of the effective radius in the Steam Community. The effective radius for a node v is defined as the 90th-percentile of all shortest distances from v [18]. Fig...
147 Alone together?" Exploring the social dynamics of massively multiplayer online games. - Ducheneaut, Yee, et al. - 2006 (Show Context)
...ar user for exemplary service to the group. Previous research on player grouping has tended to focus on in-game grouping mechanisms. For example, guilds in World of War craft have been examined in in =-=[10, 9, 3]-=-. Steam groups differ from most previously studied group constructs for gaming in that they exist separate from any specific game. Thus, by definition, Steam group relationships persist across games a...
87 Provisioning online games: a traffic analysis of a busy counter-strike server," - Feng, Chang, et al. - 2002 (Show Context)
...logical needs for supporting gaming platforms. Consequently, various studies characterized network traffic due to gaming, resource provisioning, work load prediction, and player churn in online games =-=[6, 7, 13, 14, 15]-=-. Other studies have focused on the psychological and social properties of gamers [16] and gaming communities [5, 31, 9]. 3. DATASETS In order to better understand the datasets, we start by describing...
72 A traffic characterization of popular on-line games - Feng, Chang, et al. - 2005 (Show Context)
70 Cheating: Gaining Advantage in Videogames. - Consalvo - 2007 (Show Context)
...cheaters, a competitive advantage and the desire to win is motivation enough [23]. Cheating is seen by the game development and distribution industry as both a monetary and a public relations problem =-=[8]-=- and, consequently, significant resources are invested to contain it. For example, Steam, the largest digital distribution channel for PC games, employs the Valve Anti-Cheat System (VAC) that detects ...
58 The life and death of online gaming communities: A look at guilds in world of warcraft. Paper presented at the SIGCHI conference on Human factors in computing systems, - Ducheneaut, Yee, et al. - 2007 (Show Context)
...ce provisioning, work load prediction, and player churn in online games [6, 7, 13, 14, 15]. Other studies have focused on the psychological and social properties of gamers [16] and gaming communities =-=[5, 31, 9]-=-. 3. DATASETS In order to better understand the datasets, we start by describing the Steam Community network. Run by Valve, who also develops some of the most successful multiplayer first-person shoot...
51 Distance Matters: Geo-social Metrics for Online Social Networks. - Scellato, Mascolo, et al. - 2010 (Show Context)
...raphic distribution of cheaters leads us to explore how cheaters are positioned in the network from a geo-social perspective We thus decide to measure node locality, a geo-social metric introduced in =-=[27]-=-. The node locality of a given node quantifies how close (geographically) it is to all of its neighbors in the social graph, and scales it proportional to the geographic network in which the node is e...
33 HADI: Mining radii of large graphs - Kang, Tsourakakis, et al. - 2011 (Show Context)
...s. I.e., the "cheating degree" of the declared friendship network for cheaters and non-cheaters. We next estimated the diameter of the Steam Community using the Hadoop-based DIameter estimator (HADI) =-=[18]-=-. HADI estimates the maximum, average and effective diameter of a graph by computing the neighborhood function N(h), which refers to the number of reachable pairs of nodes within h hops of each other....
31 Measuring social dynamics in a massive multiplayer online game. - Szell, Thurner - 2010 (Show Context)
.... Of the 34 non-secured servers, 26 were servers owned and administrated by a competitive gaming league that operates its own anti-cheat system. Gaming mimics, to some extent, real-world interactions =-=[29]-=-. Understanding the cheaters' position in the social network that connects gamers is relevant not only for evaluating and reasoning about anti-cheat measures in gaming environments, but also for study...
30 On the geographic distribution of on-line game servers and players. NetGames - Feng, Feng - 2002 (Show Context)
24 Network Analysis of CounterStrike and Starcraft - Claypool, LaPoint, et al. - 2003 (Show Context)
12 K-path centrality: a new centrality measure in social networks - Alahakoon, Tripathi, et al. (Show Context)
...shortest paths between all pairs of nodes in the network. Due to the scale of our graphs, we approximate betweenness centrality using κ–path centrality, a betweenness approximation method proposed in =-=[2]-=-. The κ–path centrality estimates the betweenness of a node in a network of n nodes and m edges by using random simple walks of length κ from random points in the network. To reduce the additive error...
12 Distribution of online hardcore player behavior: (how hardcore are you - Fritsch, Voigt, et al. - 2006 (Show Context)
...raffic due to gaming, resource provisioning, work load prediction, and player churn in online games [6, 7, 13, 14, 15]. Other studies have focused on the psychological and social properties of gamers =-=[16]-=- and gaming communities [5, 31, 9]. 3. DATASETS In order to better understand the datasets, we start by describing the Steam Community network. Run by Valve, who also develops some of the most success...
10 Ghostbusting facebook: Detecting and characterizing phantom profiles in online social gaming applications - NAZIR, RAZA, et al. - 2010 (Show Context)
...eal-world money on eBay, and online game economies provide a lucrative opportunity for cyber criminals [19, 20]. For other cheaters, a competitive advantage and the desire to win is motivation enough =-=[23]-=-. Cheating is seen by the game development and distribution industry as both a monetary and a public relations problem [8] and, consequently, significant resources are invested to contain it. For exam...
9 Sociable killers: understanding social relationships in an online first-person shooter game - Xu, Cao, et al. - 2011 (Show Context)
...s do not declare friends and foes, but compete on ad-hoc, opposing teams. Finally, while there might be cheaters present in the Pardus dataset, they are not identified or studied in anyway. Xu et al. =-=[32]-=- interviewed 14 Halo 3 players to study the meaning of relationships within an online gaming context. Halo 3 is a multiplayer First Person Shooter (FPS) available on the Xbox game console, similar in ...
8 Characterizing online games - Chambers, Feng, et al. (Show Context)
7 Diffusion dynamics of games on online social networks - Wei, Yang, et al. - 2010 (Show Context)
6 An Empirical Analysis of Online Gaming Crime Characteristics from - Ku, Chen, et al. - 2007 (Show Context)
...ough play restrictions). For some cheaters, the motivation is monetary. Virtual goods are worth real-world money on eBay, and online game economies provide a lucrative opportunity for cyber criminals =-=[19, 20]-=-. For other cheaters, a competitive advantage and the desire to win is motivation enough [23]. Cheating is seen by the game development and distribution industry as both a monetary and a public relati...
5 Interaction networks and patterns of guild community in massively multiplayer online games - Ang (Show Context)
5 An analysis of social gaming networks in online and face to face bridge communities - Posea, Balint, et al. - 2010 (Show Context)
2 An exploration of cheating in a virtual gaming world - Dumitrica - 2011 (Show Context)
... Duh and Chen describe several frameworks for analyzing cheating, as well as how different cheats can impact online communities in [11]. Neopets, a web based social game, was examined by Dumitrica in =-=[12]-=-. She describes a process by which gamers, who naturally seek ways to increase their "gaming capital", are tempted to cheat, and argues that a cheating culture emerges from social games, where social ...
2 Steam controls up to 70% of the pc download market and is "tremendously profitable - Senior - 2011 (Show Context)
...lops some of the most successful multiplayer first-person shooter games, Steam controls between 50% and 70% of the PC digital download market and is more profitable per employee than Google and Apple =-=[28]-=-. It claims more that 30 million user accounts as of October 2011. While games from a number of developers and publishers are available for purchase on Steam, an important segment is formed by the mul...
1 In moral philosophy, it has been proposed that an individual moral identity can be reduced because it is mostly constructed by social connections (Parfit - Reasons, Oxford - 1984 (Show Context)
...n games without a multi-player component. 5. CHEATERS AND THEIR FRIENDS One line of thought in moral philosophy is that (non)ethical behavior of an individual is heavily influenced by his social ties =-=[25]-=-. Under this theory, cheaters should appear tightly connected to other cheaters in the social network. On the other hand, unlike in crime gangs as the ones presented in [1], cheaters do not need to co...


text:
Contemporary theology
Synaxarion for the Sunday of All Saints
Luke (Voino-Yasenetsky) of Simferopol and Crimea
Venerable Sisoes the Great
The Holy Wonderworkers and Unmercenary Physicians Cosmas and Damian of Asia Minor
Message of The Holy Assembly of Bishops of Serbian Orthodox Church on Kosovo and Metohija
25. May 2007 - 7:00
Kosovo and Metohija have been throughout the centuries populated with Serbs, and up until the great forced migrations of the Serbian people toward the north, in the 17th and 18th centuries, Serbs have always been the majority population in Kosovo and Metohija. It is a generally known historical fact that the medieval centre of the Serbian state was located therein, and remaining to this day the centre of national, Christian sacred and secular culture of the Serbian people. There, in the Patriarchate of Pech, beginning in the 13th century and until this present day, is the official seat of the Serbian archbishops and patriarchs. In terms of statehood, according to all recognized international agreements, both old and new, as well as according to all resolutions of the General Assembly and Security Council of the United Nations, according to the Paris Accords from 1995, and according to an entire list of legal acts of the European Union, Russia, the United States of America, Great Britain, Germany, France and other countries, Kosovo and Metohija are an indivisible part of the territory of Serbia.
Calling to remembrance these facts we, of course, in no way whatsoever can forget today's multi-ethnic composition of Kosovo and Metohija's population. In like manner we accept, as always up until now, in accordance with our Christian consciousness, all rights and all freedoms of our co-citizens of Albanian nationality and the other ethnic communities in Kosovo and Metohija. Therefore, we pray God to grant all peoples and communities in Kosovo and Metohija historical reconciliation, a peaceful future, a life worthy of human beings and every blessing.
The Serbian Orthodox Church and the Serbian people have preserved Kosovo and Metohija in the most difficult periods of its history. Kosovo and Metohija - that is, in the spiritual and moral sense, the heart of Serbia and soul of the Serbian people. Therefore, the Serbian Orthodox Church and the Serbian people can never denounce their right to remain and enjoy a free life in this most cherished part of the Serbian state. For the Church it is especially important to preserve its numerous Orthodox Christian sanctuaries in Kosovo and Metohija, as well as to insure the repatriation of all those expelled from Kosovo and Metohija. All of this will be possible only if Kosovo and Metohija are preserved as an integral part of Serbia with substantial autonomy, and will not be possible, sadly, if it were to be forcibly torn asunder from Serbia. Not only would the multi-ethnic character of that region, but also the Christian identity and culture of this part of Europe, be most seriously brought to question. The eventual granting of state independence to Kosovo and Metohija would be the serious trampling upon both Divine and human rights, by stealing a centuries old, internationally recognized and confirmed right of a European Christian people and the creation of a precedent with unforseen consequences, not only for the Balkans and Europe, but for the entire world.
There is still time to undertake serious discussions and, mindful of the full historical responsibility of all, to reach an agreement, an equitable and compromised solution, acceptable to all. No one has the right with historically unthought through politics, to subjugate the rights of one people in the name of the rights of another people and to one-sidedly and forcibly change the internationally recognized borders in Europe.
For all of these reasons, the Holy Assembly of Bishops of the Serbian Orthodox Church appeals to the United Nations, and to all of the influential countries in the world to assist precisely in finding such a solution, - equitable, and acceptable for all, - a solution that would satisfy both the legitimate interests of Serbia and the legitimate interests of the Albanian ethnic community in Kosovo and Metohija.
The Holy Assembly of Bishops invites alike the highest institutions of Serbia - the National Assembly, the President and the Government of Serbia - that with even greater endurance to defend and safeguard the integrity of Serbia. In defending Serbia, they defend equally right and justice, morals and international order. Serbia is not stealing anything from anyone; however neither can it accept to the forceful taking of fifteen percent of its territory. For us, for all Christians, and for all persons of good will the same rule applies: no on can take away anyone's soul - only a person individually can either sell or loose the same.
Statement of Holy Assembly of Bishops
Serbian Orthodox Church
Serbian Orthodox Cemetery of Lipljan (Kosovo) desecrated for the seventh time
45 years of episcopal consecration of His Holiness Patriarch Irinej
Jubilee: Celebrating 800 Years of the Autocephaly of the Serbian Church (3rd Day)
Jubilee: Celebrating 800 Years of the Autocephaly of the Serbian Church (1st Day)
Jubilee: Celebrating 800 Years of the Autocephaly of the Serbian Church (2nd Day)
Orthodox Churches
Synaxis of All Saints of Pskov Caves celebrated at their monastery
Statement of the Holy Synod of the Russian Orthodox Church on the situation in Montenegro
Greek Church devoted more than $136 million to humanitarian aid in 2018
Family Day celebrated in Russian church in Belgrade
UN cultural agency removes birthplace of Jesus from its list of heritage sites in danger
Petros Sasaki: a master from Japan settled in Finland
17th Century St. Stephanos Church Re-Opens in Hochants Village after Renovation
Dean and Armenian Orthodox Seminarians Attacked by Extremist Jews in Jerusalem
Fifteen Assyrian Children Kidnapped By Kurdish Affiliated Militia in Syria
Serbian Patriarch and Patriarchs of Antioch Call for Pan-Orthodox Unity
Copyright © 1999-2019 by The Information Service of the Serbian Orthodox Church
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Frieda Morrison, playing guitar and singing a song about the circus, sitting on the edge of the circus ring as the Robert Brothers Circus troop perform in the background.
What kinds of acts would you expect to see at the circus?
What different circus skills can you see in the clip?
Do you know any other songs about the circus?
Can you name any other famous circus acts?
Create your own song or poem about the circus.
Create your own circus show and design the poster. Think about the various acts you will have.
Take out the soundtrack and replace the images with different (perhaps negative) perspectives of the circus.
Compare with other representations of the circus (art work, Angela Carter stories, Dumbo).
Research why the circus is less popular than it used to be (especially ethical issues and animal rights). How have circuses adapted to this and what different kinds of acts might you expect to see today?
What makes the song so 'catchy' (look at chord structures, bass lines, key changes).
Research the Robert Brothers Circus and write an essay or illustrated presentation with your findings.


text:
Sud de France Arena est une aréna située à Pérols, au sud de Montpellier, dans le département de l'Hérault, en France.

Historique
Inaugurée le , l'aréna de Montpellier est située sur l'emprise du Parc des Expositions de Montpellier en Occitanie. La salle remplit à la fois les fonctions de salle de spectacles, de palais omnisports et de hall d'expositions et de congrès avec une capacité d'accueil de :
  spectateurs, en configuration spectacle ;
  spectateurs en configuration sport ;
  de surface brute pour les expositions.

La réalisation de cet outil est confiée au « Groupe Montpellier Events » (ex. Enjoy Montpellier) déjà gestionnaire du Parc des Expositions de Montpellier, du Zénith Sud et du Corum (Montpellier) le Palais des Congrès - Opéra Berlioz.

Depuis , l'aréna est desservie par la ligne 3 du tramway de Montpellier (station Parc des Expositions).

Un partenariat de naming a lié la salle au groupe hôtelier Park&Suites de  à .

Le , le nouveau partenariat de naming entre l'aréna de Montpellier et Sud de France Développement a été approuvé lors du Conseil d'Administration de Montpellier Events. Elle porte désormais le nom de Sud de France Arena.

Événements

Sports
L'aréna de Montpellier est inaugurée le  par un match de Handball de Ligue des Champions opposant le Montpellier Agglomération Handball au club suédois d'IK Sävehof.

L'aréna est le siège de manifestations sportives régulières ou exceptionnelles dans d'innombrables disciplines différentes dont certaines inhabituelles dans un contexte « indoor » (« salle couverte »). On peut retenir entre autres :
 Basket-ball : Le , la salle est choisie pour accueillir le groupe de la France lors du Championnat d'Europe de basket-ball 2015 ;
 Équitation : jumping international ;
 Gymnastique : Championnats du monde de gymnastique rythmique 2011, Championnat d'Europe de gymnastique artistique masculine en 2012 ;
 Handball : La salle accueille aussi des rencontres du Montpellier Handball comptant pour le championnat de France et la Ligue des Champions. Elle accueille deux 1/8 de Finale et un 1/4 de Finale Championnat du monde de handball masculin 2017 ;
 Judo : Championnats de France de judo en 2013 et les Championnats d'Europe de judo en 2014 ;
 Karaté : Championnats d'Europe de karaté 2016 ;
 Patinage artistique : Championnats du monde 2022 ;
 Tennis : L'Open Sud de France de tennis (anciennement Grand Prix de tennis de Lyon) s'y déroule depuis 2010.
 Volley-ball : Matches de la poule A du Championnat d'Europe masculin 2019.

Concerts
La salle est inaugurée en 2010 avec Indochine. Depuis, nombre de vedettes nationales et internationales s'y sont produits notamment :

Autres événements
 Élection de Miss France 2017 (le ). En alternance avec les concerts, des congrès et conventions de plus de  sont organisés. Équipée de , l'aréna de Montpellier peut également organiser des opérations de relations publiques ;
 Depuis 1994, Le salon Vinisud regroupe les professionnels du vin autour de la viticulture de la Méditerranée.

Galerie

Références

Annexes

Articles connexes
 Montpellier Handball ;
 Palais des sports René Bougnol ;
 Patinoire Végapolis.

Liens externes
 Site officiel
 Site officiel de l'Open Sud de France
 A l'Arena, le handball devient show Article sur Haut Courant
 Page d'information sur le Park Arena

Équipement sportif achevé en 2010
Stade multifonction en France
Patinoire de hockey en région Occitanie
Salle de basket-ball en région Occitanie
Salle de handball en région Occitanie
Salle de volley-ball en région Occitanie
Équipement de tennis
Équipement sportif dans l'Hérault
Stade portant le nom d'un lieu
Championnat d'Europe de basket-ball 2015
Salle de concert en France
Pérols

redpajama_set_name: RedPajamaWikipedia