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Tag Archives: coercion
The Burgundy Ribbon Rule
Another rule, and for the time being, at least, I am happy* with the wording here: an abuse of asking almost always presents an abuse of power.
Take the case of burgundy affair at the public pension fund CalPERS, as documented by Yves Smith over at Naked Capitalism.
This past fall, documents obtained by Smith show, CalPERS CEO Marcie Frost "asked the CalPERS senior leadership team to wear burgundy to show their support for her" as she faced questions about representations she had made regarding her educational background before and after she was hired. Burgundy ribbons were set out in break rooms with messages urging the "Team" to wear one in a show of support. "No pressure and no problem if you do not want to do this," the message reads, "it is completely voluntary." Completely.
"This is obviously inappropriate," writes Smith,
since a request made by a CEO is effectively an order. CalPERS executives and employees are civil servants, not Frost's personal retainers. As an expert on managerial and political conduct reacted:
I don't even know what category to put this in. A scandal-plagued boss orchestrating support by inventing gang colors and pressuring employees to wear them? What happens to the employees who don't perform this ritual of fealty? Should they be polishing their resumés and practicing their swimming skills?
These incidents smack of underlying panic. Frost is working overtime to shore up her position as CEO in the face of fully deserved questions regarding her long history of misrepresentations about her background, which include committing perjury in Washington on a gubernatorial questionnaire. Not only is Frost pushing her subordinates far too hard to back her up, since they can only do so much for her and coercing them will diminish their good will, she is also showing a lack of a sense of professional boundaries….
Frost's burgundy campaign may well have crossed the line into creating a hostile work environment. One senior staff member who came to the office and saw the "dress burgundy" request too late to comply issued a written apology. Similarly, when "asked" to wear burgundy to an offsite, one [employee] who wears only black and white felt compelled to buy a burgundy outfit to comply…
…word clearly got around quickly, including the notion that non-compliance was risky.
I am still fussing over the word "presents," and I've considered "masks" and variations in that direction, as well as "declares," "represents" or "signals." That one abuse (presenting an order as a request) almost always carries the other with it — almost always, because I don't want to get caught up right now in handling exceptions — is the essential thing.
You can read my other posts about asking here.
*Postscript: On reflection, I might prefer this much more straightforward and concrete formulation: when someone presents an order as a request, look for an abuse of power. That way, we don't have to worry too much about motives, or figure out whether the person doing the asking is trying to get away with something. It falls to the person being asked to watch for abuse, and conduct herself accordingly. (Being asked for something, or to do something, turns the ethical spotlight on you, or at least requires you to share it with the person doing the asking. This is your moment.) In a case like the present one, and in most superior-subordinate relationships, calling out abuse may be impractical. Subordinates will bury grievances, reluctantly comply, or pretend not to have been aware of the request. The subordinate's dilemma in this case registers a failure of governance; a failure of governance at the highest reaches makes itself manifest at even the lowest levels and in the most trivial matters (the wearing of a ribbon). More immediately, presenting orders as requests hijacks power, creates distrust (after all, we can't help but wonder about motives), and makes people prone to dissemble. All this thwarts collaboration, or the power to do things (to act) together.
This entry was posted in Ask Is A Verb, Governance, Language, Leadership, Louis V. Galdieri's Blog and tagged abuse, abuse of power, ask is a verb, asking, burgundy, CalPERS, CEO, coercion, command, command and control, compliance, compulsion, conversation, corporate governance, ethics, governance, Marcie Frost, obedience, orders, power, power of asking, requests, subordination, voluntarism, voluntary, Yves Smith on December 19, 2018 by lvgaldieri.
Nussbaum on the Shortcomings of the Transactional
I turned to Martha Nussbaum's Anger and Forgiveness to gain a better understanding of the transactional model of conversation and what it might and might not comprise, and to think a little more about why it's of little help, or at least insufficient, when it comes to cooperative undertakings. Here, Nussbaum presents a broad philosophical and historical look at transactional forgiveness in the Jewish and Christian traditions, and while she doesn't directly address my much more modest concern, some of what she says about transactional forgiveness — a "central theoretical concept in medieval and modern Jewish philosophy and…highly influential…in the Christian tradition" — applies to what I have said in previous posts about asking and bidding.
For my purposes, the main trouble with transactional forgiveness as Nussbaum describes it — and a shortcoming of the transactional in general — is that it involves scorekeeping. (Imagine a conversation about what to do that was tallied as a ledger of asks and bids. You might be able to measure what's practicable, but it seems unlikely that tally would be of much use to two people who were committed to doing anything together at all. It might just generate a backward-looking mindset, constant interruption to check who allowed for what, or conflict and resentment.)
When it comes to forgiveness, the scoreboard is a register of the wrongs one has committed and the forgiveness one has obtained by confessing to each count, pleading for forgiveness and doing the appropriate penance. For Nussbaum, this makes people especially prone to the payback error, the notion that score-settling, or allaying the anger of the wronged party, will set things right once and for all in some cosmic balance.
This all makes for an "anxious and joyless" life, in which the "primary commitment to God fills up the whole of one's life": all this keeping track of one's performance or non-performance in relation to an angry God means there is "simply not much room to look at or care for another human being as such, and certainly no room for spontaneity, passion or play." This is a point to which Nussbaum returns a number of times, and it's one I would emphasize as well in talking about the ways a transactional mindset can obstruct and frustrate human relationships.
The transactional life is full of "worry." One must always be watchful, take note of every transgression, scrupulously confess every wrongful act or omission and, in the Christian tradition, every wrongful desire and wish.
The transactional forgiveness process is perfectionistic and intolerant in its own way. The list-keeping mentality that it engenders is tyrannical toward human frailty, designedly so. We must constantly scrutinize our humanity, and frequently punish it. At least the Jewish tradition limits the scrutiny to things that a person can be expected to control. The transactional strand of the Christian tradition contains no such limitations and is consequently…punitive toward the everyday…. Stoic philosopher Epictetus' instruction, "Watch over yourself as if an enemy is lying in wait," could easily have been said by many a Christian thinker — or by many a parish priest.
"Ritualized and coercive," transactional forgiveness leaves "no room for generosity or spontaneity"; nothing is "freely given." Instead of taking an open, constructive and pragmatic attitude toward our shared future, we are stuck worrying over every little thing each has said or thought or done.
This entry was posted in Ask Is A Verb, Language, Leadership, The Power of Asking and tagged ask, ask is a verb, asking and bidding, coercion, collaboration, commitment, conversational ethics, cooperation, ethics, forgiveness, generosity, joint commitment, joy, Martha Nussbaum, moral philosophy, non-coercion, openness, play, pragmatism, spontaneity, transactional, transactional forgiveness on September 4, 2016 by lvgaldieri.
Serious Conversations, 11
"When in the Republic Thrasymachus says that justice is in the interest of the stronger, and Socrates starts to question him about this, Thrasymachus should hit Socrates over the head," writes Robert Nozick in Philosophical Explanations.
He concedes too much when he enters an activity, discussion, that assumes that there is some mark of correctness and rightness other than (and superior to) strength. Similarly, there are norms of discussion that Thrasymachus draws upon — for instance, that anyone's objection put seriously and sincerely ought to be replied to — and these norms, too, are incompatible with the position he states. Must the stronger also reply to an objection, if it is not in his interest?
Nozick returns to Thrasymachus' surrender in his discussion of moral dialogue:
When someone raises a moral objection to something we are doing or planning, we feel we owe him an answer, a moral answer. It will not do simply to hit him on the head or to shrug our shoulders. An ethical egoist would reply only if he thought doing so was in his own interest; we feel we have to respond with moral reasons. (However, we do not have to expend our life's savings to track down the person who objected and then went off to travel in inaccessible places. We ought to respond, prima facie, although this 'ought' can be overridden by other considerations.) Only by responding are we treating him as a value-seeking I; the only way to respond to his requesting moral reasons or raising moral objections, the only response to it qua that, is to offer moral reasons in justification or defense of our actions, to engage, if need be, in a moral dialogue with him. (Recall our earlier remark about how Thrasymachus undercuts his own position by engaging in discussion.) To engage in moral dialogue with someone is itself a moral act, whose moral character does not lie solely in being an attempt to get at the moral truth, or in being a vehicle to change and deepen a personal relationship and thereby be a means toward resolving moral conflict. Rather, (sincere) engagement in moral dialogue is itself a moral response to the other's basic moral characteristic [as a value-seeking I], apart from its being a means toward satisfactory accommodation with the other. It is itself responsive to him; perhaps that is why openness in moral dialogue, considering carefully and responding closely to the concerns of the other, so often is an effective means toward resolution of conflict. When each is aware that the other is responsive to his or her own (valuable) characteristics in the very act of discussion and in the course the discussion takes, then this noticing of mutual respect is itself a force for good will and the moderation of demands; the altered conditions created by the dialogue may fit different moral principles so that new solutions are appropriate.
A moral dialogue of this sort is an especially clear example of a mutual value-theoretic situation…where each participant is responsive to the other's basic moral characteristic, is aware that the other is responsive to her own, and is responsive to the other's responsiveness, is aware of the other's second-level responsiveness and is responsive to it, and so on….We want to be in mutual value-theoretic situations; only then is the value in us (including our own value responsiveness) adequately answered. Hegel's discussion of the master-slave relation elaborates how domination thwarts this; the master cannot force this responsiveness from the slave, and unless the master shows responsiveness to the slave's basic moral characteristic (but then he could not remain his master) the slave cannot respond to that.
This entry was posted in Ask Is A Verb, Louis V. Galdieri's Blog, Readings, The Power of Asking and tagged ask, asking, coercion, conversation, dialogue, Kant, Kantian, master-slave, moral dialogue, moral reasons, mutual governance, mutual value-theoretic situations, mutuality, non-coercion, non-coercive power, Plato, Plato's Republic, rationality, reasons, responsibility, responsive interaction, Robert Nozick, serious conversations, slave, Socrates, Thrasymachus, value-seeking I on June 9, 2016 by lvgaldieri.
When Lily Says "No"
Always take no for an answer is a cardinal rule of asking, I wrote in my first post on this theme. It's a version of the golden rule that's especially worth bearing in mind when making plans to collaborate or act with others, or just talking about what we are going to do.
While giving someone an order might be a way to delegate authority and raise her stature in a group, asking recognizes the authority and standing she already has. According this basic respect takes precedence over extracting promises and concessions or getting to yes in a conversation or negotiation, and unless another person can say "no" and have that answer heeded, she will never really be able to say "we". "No" marks the spot where you stop and we begin.
In other words, taking no for an answer is not just about respecting others, but about respecting and caring for how things are between us (the theme of a post I wrote earlier this week) and for the sense of us we have. That sense of us is how we make up and maintain the social world together. When we ask someone to do something, or ask what we are going to do, we openly acknowledge that there is — or can be — a "we," not just you and I, but a plural first person. Asking creates an opening. It puts us out in the open.
The philosopher Margaret Gilbert seems to be heading in this same direction when she remarks in passing: "successfully questioning someone involves entering a joint commitment with that person."
Take a moment to consider the example she offers. Bob addresses Lily with the question, "Shall we dance?" And Lily answers, "Yes, lets!" From this point on, the usual Gilbertian scenario unfolds. Having expressed their readiness to enter a joint commitment — indicating "that all is in order as far as one's own will is concerned" — Bob and Lily are now jointly committed to dance together.
Once they start dancing, or, actually, even before that, once Lily has said yes and as she rises from her seat, each will have to answer to the other in the event one of them violates the joint commitment, or at least Lily would be justified in complaining if Bob were to drag his feet, go outside for a smoke, or give in to sultry Melissa, who is beckoning with her eyes from the other side of the room.
Unfortunately, Gilbert never elaborates on what "successfully questioning someone" entails, or what might make it different from unsuccessfully questioning someone. On the surface, it looks as if Bob "successfully" questions Lily here because she says "yes" to his request: she accepts his invitation to dance. Bob and Lily have therefore reached an explicit agreement. But let's not confuse successfully questioning someone with getting to yes, or confuse getting to yes with reaching an agreement. (It's worth noting that for Gilbert, joint commitments don't always entail explicit agreements. The way Gilbert puts it is: "everyday agreements can be understood as constituted by…joint commitments" [her emphasis]).
What if Lily says "no"? What if she rolls her eyes, or sticks her nose in the air? In that case, has something like an agreement been reached?
Maybe. As long as Bob takes Lily's no for an answer, we can say he and Lily have agreed not to dance. Of course, Bob might not like our putting it that way. He might say he failed to get Lily to dance with him, but that might also go to show that he was not prepared to take no for an answer and regarded Lily's consent as the only acceptable outcome. We might do better if we were to characterize Bob's questioning Lily in terms of Lily's responsiveness — on that score, both yes and no would count as success — or if we think about what Bob's asking Lily to dance and Lily's refusal puts between them, how it constitutes them as a plural subject.
Though not committed to dance together, Bob and Lily are not done with each other or free of shared commitments after Lily says "no." In a very important way, their relationship has just begun. When one person addresses or flags the attention of another, with a question or a nod, the squeak of a chair or a sneeze, they "jointly commit to recognizing as a body that the two of them are co-present," Gilbert writes. People mutually recognize each other in this way all the time, on queues and in coffee shops, in bookstore aisles and on city sidewalks. Here we are, a "we". Asking helps get us there.
So even if Lily politely refuses Bob with a "no thank you," or rudely brushes him off, Bob can take solace in the thought that he has successfully questioned Lily. Bob's failed bid to dance with Lily commits Lily and Bob to recognize that the two of them are co-present, there in the dance hall. Bob and Lily now have a sense of us, even if Lily will never dance with Bob, and that sense — that relationship — will endure.
With that enduring sense of us between them, Bob and Lily are now jointly committed to Lily's refusal as well. So if Bob were to order Lily or insist that she dance with him, or grab her by the arm and drag her to the dance floor, coercing her, Lily has every right to complain. And if the next time Bob saw Lily he were to pretend that she never refused him at the dance, he would be doing Lily wrong.
This entry was posted in Ask Is A Verb, Louis V. Galdieri's Blog, The Power of Asking and tagged ask, asking, care, co-presence, coercion, collaboration, complaint, consent, dancing, joint commitment, leadership, Margaret Gilbert, moral claims, mutual accountability, mutual recognition, no, non-coercion, non-coercive leadership, non-coercive power, power, power of asking, power relations, the power of asking on March 18, 2016 by lvgaldieri.
The Political Project of MCRC v. EPA, 1
Ore trucks from Lundin Mining's Eagle Mine make their way down the Triple A road.
I've just gotten around to reading the complaint filed on July 8th in the U.S. District Court for the Western District of Michigan, Northern Division, by the Marquette County Road Commission against the EPA. The complaint alleges that the EPA's repeated objections to County Road 595 — that the road will threaten and destroy wetlands, streams and protected wildlife in its way — are "arbitrary and capricious" and in violation of Section 404(J) of the Clean Water Act. The Road Commission asks the court to set aside the EPA's Final Decision against the building of County Road 595, restore Michigan Department of Environmental Quality's authority to permit the road, and bar the EPA from further interference in the matter.
While it may take the court some time to decide whether MCRC v. EPA has any legal merit, the complaint is written to serve other ends as well: political objectives. The complaint is aligned with efforts in Michigan, Wisconsin and elsewhere, to ease regulations, subvert the legal authority of the EPA and whip up anger against the federal government; and the plaintiffs appear to be connected, through their attorneys, to one of the most powerful Republican party fundraisers and a network of ultra-wealthy political donors.
The MCRC complaint directs ire against a familiar cadre of enemies — environmental "activists," overreaching federal bureaucrats and the area's indigenous community; and it pretends to discover a dark conspiracy, in which these groups meet "surreptitiously," write "sarcastically" about mining interests, and collude to block economic development. In fact, it's often hard to decide whether the arguments and evidence assembled in this complaint are meant to serve as legal fodder or support political posturing. So I thought I would try to sort through them in a short series of posts on the CR 595 lawsuit.
There is the tiresome pretense throughout the complaint that CR 595 would serve as something other than a haul route from the Eagle Mine to the Humboldt Mill, and that the road will benefit the public as much as the mining company. While the mining company says it is committed to making do with current infrastructure, the public clearly deserves some relief: trucks hauling ore on a makeshift route from Eagle have already been involved in a few scary accidents, and it remains a question whether cars can safely share the same road, especially an icy winter road, with ore trucks trying to beat the clock. People are understandably concerned, too, about big trucks loaded with sulfide ore barreling through the city of Marquette.
The public has another cause for grievance, and it makes for some angry foot stomping in the complaint: the MCRC spent millions to prepare for EPA reviews of the CR 595 application and failed repeatedly to win approval. Both time and money were wasted, the complaint says, not due to incompetence, stubbornness or denial, but because the EPA was never going to give the Road Commission a fair hearing. It's in this connection that the complaint tries to lay out an "anti-mining" conspiracy between the EPA and environmental activists and the indigenous community in the Great Lakes Basin, and where the arguments become specious and contorted.
In subsequent posts I'll address some of the ways MCRC v. EPA constructs this anti-mining strawman in order to mount a political offensive; and throughout this series, I'm going to be asking whether the "anti-mining" label correctly characterizes the evidence brought by the MCRC. I think it's fair to say from the outset that it does not accurately represent the priorities and commitments of people and groups concerned about the construction of CR 595. It's reductive, and turns road skeptics into industry opponents. To be against this particular haul road — or hold its planners to the letter of the law — is not necessarily to pit yourself against the entire mining industry.
The anti-mining label deliberately confuses haul-road opposition with opposition to the mining industry in order to coerce people into going along with the haul road or risk losing their livelihood, or at least the jobs and economic prosperity promised when mining projects are pitched. The MCRC complaint goes even further: it conflates mining with economic development — or reduces all economic development in the region to mining — and so runs roughshod over the thoughtful arguments of people like Thomas M. Power, who has studied the ways mining can restrict and quash sustainable economic development.
The anti-mining label fences ordinary people in, distorts and exaggerates their legitimate concerns, and does not recognize that people might come to the CR 595 discussion from all different places. Most don't arrive as members of some anti-industry coalition; they are fishermen, residents, property owners, teachers, hunters, parents, hikers, snowmobilers, birdwatchers, loggers, parishioners, kayakers, merchants, and so on. Some are many of these things all at once.
The label is fundamentally disrespectful: it refuses to meet people on their own terms and fails to ask what any of the people who oppose CR 595 actually stand for. What do they want for the area? What do they value and love? What do they envision for the future? Where do they have shared interests? Where do they have real differences? How can we work together? The anti-mining label forecloses all those questions. Instead, people are divided. The label demands that everybody take one side or the other (and, as I learned in the course of my work on 1913 Massacre, in the Upper Peninsula that demand has deep historical roots in the labor conflicts of the early twentieth century; but, no worries, in this series of posts I'll try to stay focused on the present).
I have always had trouble with the idea that "anti-" and "pro-" mining positions should govern the way we talk about the environmental regulation of mining. I myself can easily slip into this way of talking. But as I tried to explain in an exchange on this blog with Dan Blondeau of Eagle Mine, that way of thinking impedes and short-circuits important conversations about the ethics of mining. Playing the anti-mining card reduces the questions of whether and how mining can be done responsibly — in this place, by that company, at this time — to mere pro and contra. It's a dangerous ruse: instead of identifying risks and addressing responsibilities, it generates social conflict.
This entry was posted in Business and Society, Lake Superior, Prosperity and tagged 1913 Massacre, anti-mining, business, Clean Water Act, Clean Water Rule, Club for Growth, coercion, copper mining, corporate social responsibility, corruption, County Road 595, CR 595, Dan Blondeau, Eagle Mine, environmental ethics, environmental politics, Environmental Protection Agency, EPA, ethics of mining., freshwater, Great Lakes, Lake Superior, Lundin Mining, Marquette, Marquette County Road Commission, Marquette County Road Commission v. EPA, MCRC v. EPA, MDEQ, Michigan Department of Environmental Quality, mining, mining ethics, nickel mining, ore trucks, politics, pro-mining, right wing politics, Section 404, social conflict, social responsibility, Upper Peninsula, Water, Watershed on July 22, 2015 by lvgaldieri.
To Ask and To Demand
I've been reading a little this morning about Pathological Demand Avoidance Syndrome. First described by child development psychologist Elizabeth Newson, PDA is a pathology on the autism spectrum characterized, as its name suggests, by avoidance of the normal demands of everyday life: things like getting dressed, going to school, eating one's cereal, and so forth. It's not procrastination: the avoidance is not of the task but of the demand, which is met not just with anxious defiance but with all sorts of socially manipulative behaviors (some of them charming) as well as violent outbursts.
I suspect that this diagnosis and its treatment will have lots to teach me about what I've been calling — not without misgivings — the power of asking. I'm also hoping that Newson's work and other research on PDA will shed some light on the question Marc Tognotti put to me in an email after I posted my notes on Austin and Asking: namely, whether we can talk coherently about demands as a kind of asking. I've been satisfied with making rough equivalences between the terms, and in an earlier post I've even managed to cheat the idea of moral claims into the word "demand."
Marc countered that he was surprised that I included demands in a discussion of asking and that there is a difference between demands and requests (or asking someone to) that's probably worth maintaining. In short, to talk about demands and asking in the same breath confuses things, he says, because demands are more akin to commands or coercion than requests.
I admit there's a lot here to sort out, including questions about the kinds of authority, moral or otherwise, we need to make commands, demands and requests. For the time being, I'm taking refuge in the etymological roots of our English word "demand" in the French demander, and I've also found some shelter in the Oxford English Dictionary, which lists "to demand" among the definitions of ask. But none of that will do for very long. It might be nothing more than an avoidance strategy.
Still, I think it's clear that the verb ask can be used exercitively — to exercise power, and that using the verb ask in that way can be (let me put it this way for now) pretty much like making a demand: "I ask that you take your hands off me." "I ask you to respect my rights." "I ask you to come forward, so that you can see this for yourselves." Maybe those examples are a little clunky and formal, and I admit that the last one can be construed as invitation rather than a demand. More importantly, I don't want to limit the "power" that I am talking about here to the making of demands or even the kind of asking that is pretty much like a demand. Ultimately, I am more interested in the way that asking — or serious conversations about what to do — can give people an equal share in power.
I still have a lot more reading to do before I can tie all this back to PDA, but I've managed to grasp the basics. People with PDA experience demands as a complete loss of control: powerlessness. They feel coerced, not asked to or whether they would. Even the most trifling demand seems to eclipse their will. In this diagnosis, demands are more like commands, less like asking or the start of a conversation about what to do. Even the simplest request or suggestion can be mistaken for an order and resisted.
One parent of a child with PDA reports that her child misinterprets "everything as a demand" being shouted at her; and to overcome the child's pathological demand avoidance she and her husband "always try to phrase demands in a way that offers…choices and we are always prepared to negotiate." Many boundaries too, have to be negotiated, even when it's a question of what's safe or lawful, so that the child "feels that it is either her choice or is open to negotiation."
Of course it's deceptive, a manipulation to give the illusion of control and preempt the child's manipulations. It's not a serious conversation; it's power play: the parents engage the child in mimicking the very real power we share when we have choices to make, nobody is in charge and nothing is settled. And that is what these children seem to want, but only because that gives them a chance to take back control.
Postscript: some readers have found my last paragraph controversial or just wrongheaded. Please take a moment to read the comments on this post from parents of children diagnosed with PDA.
This entry was posted in Ask Is A Verb, Language, Readings, The Power of Asking and tagged anxiety, ask, ask is a verb, asking, authority, coercion, command, control, conversations, demand, Elizabeth Newson, exercitive, Marc Tognotti, moral authority, moral claims, non-coercion, pathological demand avoidance, pathological demand avoidance syndrome, pda, power, power of asking, serious conversations, will on March 2, 2015 by lvgaldieri.
Austin and Asking
Ask is a verb: to ask is to do something or, usually, to do a number of things. To ask is, first and almost always, to address someone, even, I'd say, when you are wondering aloud to yourself ("what's it all about?" or "what's wrong with me?" or "why do I put myself through this?" If they are not simply outbursts or exclamations disguised as questions, these are often indirect and emotionally-charged ways of asking, "what am I going to do?"). To ask is to do other things as well: to inquire about something, someone or some state of affairs, to request clarification or permission, or to make a demand (as the French verb demander reminds us.)
Turning the verb into a noun — talking about "the ask" — confuses the address and runs roughshod over this whole range of human activity and human relationships that asking might involve.
Sometimes that's deliberate. It allows people to pretend they aren't giving an order when they are, or to present an order as an institutional requirement, to deflect questions about power and authority or just make it impossible for people to say no, as they should be able to do if you are genuinely asking them to do something. (Always take no for an answer might be another rule of asking; but I can easily think of exceptions, as when, for instance, we demand respect or claim rights. Those are obviously special cases.) There are all sorts of ways besides these in which talking about "the ask" as opposed to asking skirts questions of power, surrenders authority and takes authority from others. It's a big drain.
I'm trying to take things in exactly the opposite direction: I want to talk about asking as an exercise of power, and the verb "ask" as an exercitive. (It seems it would be easiest to do that in cases where we are making a simple demand — e.g., "I ask that you remove your foot from mine".)
I'm borrowing the word "exercitive" here from J.L. Austin's How to Do Things With Words, where Austin comes very close a number of times to talking about what we do when we ask, close enough to encourage my own thinking in this direction. He makes some intriguing remarks about asking as an illocutionary act that "[invites] by convention a response or a sequel," and in this context he differentiates asking to from asking whether you will or asking yes or no and the different responses they invite.
Unfortunately, when Austin directs his attention to the verb "ask" near the very end of his lectures, in a discussion of his dictionary "fieldwork," he gives very little guidance.
In Lecture XII, Austin includes ask among the Expositives — verbs "used in acts of exposition involving the expounding of views, the conducting of arguments, and the clarifying of usages and references." (Or, as he puts it elsewhere, "the expositive is the clarifying of reasons, arguments and communications.") This is how Austin himself uses the verb "ask" throughout How To Do Things With Words: he often introduces an argument with "we may ask," "we must ask," "we should naturally ask," "we are now asking," "it may be asked at this point," and so on. The lectures themselves can be read as an exercise in expositive asking.
Item 3a. "Ask" listed among the expositives in the final lecture of How To Do Things With Words
Ask is one of an "enormous number" of expositives, Austin says, which "seem naturally to refer to conversational interchange." The verb is, however, listed here all by itself as item 3a, a subset of the little group that includes inform, apprise, tell, answer, and rejoin. Why not include it with the others? It appears that ask is a special case of some kind, its own item.
Based on my reading I can't say exactly what kind of item Austin considers it to be. I'm not sure anyone can say for certain. The text of How To Do Things With Words is reconstructed from Austin's lecture notes, auditor's notes and a few other sources. According to Urmson, who edited the first edition of the lectures, "there is no definite key to [this list of expositives] in the extant papers." (I haven't yet had a chance to look at the second edition to see if Austin's later editors have added anything more on this point. Update 6 Feb 2015: I checked; they do not.)
There's enough in these lectures to suggest that we need to go well beyond the confines of item 3a even to make sense of asking on Austin's own terms. Austin readily admits that expositives might be "exercitives…as well," if they "involve exertions of influence or exercise of power." The distinctions aren't sharp. Things can get fuzzy. So "asking me to" do this or that is close enough to ordering ("order" tops Austin's list of exercitives) that it can sometimes cause confusion: "sometimes you are not ordering me": you can't, because you "are not in the appropriate position to do so" and don't have "the right," but it sounds as if you are because you are "asking me to rather impolitely."
Consider, for example, someone who approaches you at a nightclub and says "Dance," and another who asks, "Would you like to dance?" Both are asking you to dance, but the first sounds as if he is ordering you to dance, and he's in no position to do that.
Bugs Bunny's playful response subverts Yosemite Sam's order to dance. Sam has a gun, so he can coerce a dance, but as the comedy here demonstrates, he doesn't have the authority or intelligence to order Bugs Bunny around.
Of course things can go to the other extreme, and Austin is interested in situations like these: for example, someone who approaches you in a nightclub, clicks his heels together, bows gracefully and, upon rising, asks "Would you care to dance?" or inquires whether you might do him the honor of listing him on your programme du bal for the evening.
The things that have to be in place, the conditions that have to obtain for you to order me, are not the same as those that obtain when you are asking me or when we are having a conversation about what to do. It helps to be polite, but good manners are not all there is to it; and as we see in the example of the bowing gentleman at the nightclub — or Austin's own example of the offended man who challenges another to a duel by saying "My seconds will call on you" — every form of courtesy has its season. Genuine respect and the authority it confers on others (and some measure of empathy as well) are the appropriate kinds of deference when it comes to asking: we are, after all, trying to share power, not just seize it.
This entry was posted in Ask Is A Verb, Language, Readings, The Power of Asking and tagged ask, asking, Austin, authority, Bugs Bunny, coercion, collaboration, conversation, conversational stance, cooperation, courtesy, deliberation, dialogue, empathy, exercitive, felicity conditions, J.L. Austin, manners, non-coercion, order, ordering, power, respect, sharing, sharing power, the power of asking, Yosemite Sam on February 4, 2015 by lvgaldieri.
Philosophy and Coercion: Boethius on Torture
I've written a few posts about non-coercive power and how it can be created and shared through genuine co-deliberation — or what I've been calling serious conversations. In the course of my work on this topic, I've discovered that good examples of non-coercive power, the kind of real-world examples that illustrate the concept with anecdotal detail and stick with you after you read them, are not so easy to find.
More often than not, history shows us the other side of the coin — namely, coercive power. This is the case when it comes to the history of philosophy as well; and philosophers have written and thought about coercive power and its exercise by the state at least since the days of Socrates.
The release of the Senate CIA Torture Report today sent me back to one of my favorite philosophers: Boethius (480-525 AD), who discussed coercion and torture in a work called The Consolation of Philosophy.
Boethius wrote the Consolation while he himself was imprisoned — and, according to some sources, tortured — before being executed by Theodoric the Great. The Consolation takes the form of a dialogue between Boethius and Lady Philosophy, who appears to Boethius when he is at his most wretched.
Philosophy consoles Boethius
The passage I remembered today is from Book 2 (Pr 6), where Philosophy argues that what we ordinarily prize as power is actually weakness, or just a temporary advantage that we are likely bound to lose. Another turn of Fortune's wheel, and the torturer might suffer the very torments he inflicts: a vicious circle. Virtue lies in self-possession:
What, indeed, is this power which you think so very desirable? You should consider, poor earthly animals, what it is that you seem to have in your power. If you should see a mouse seizing power and lording it over the other mice, how you would laugh! But if you consider only his body, what is weaker than a man who can be killed by the bites of insects or by worms finding their way into him? For who can force any law upon man, except upon his body, or upon his fortune which is less than his body. You can never impose upon a free spirit nor can you deprive a rationally self-possessed mind of its equanimity. Once, when a certain tyrant tried to torture a free man into betraying the partners of his conspiracy against the tyrant, the man bit off his tongue and spat it in the raging tyrant's face. In this way the torments which the tyrant inflicted as the means of his cruelty, this wise man made the means of virtuous action. Indeed, what can any man do to another which another may not do to him? We recall that Busirus, who was accustomed to kill his guests, was himself slain by his guest, Hercules. Regulus had bound many of his African captives in chains; but before long he was himself chained by his captors. How slight is the power of a man who cannot prevent someone else from doing to him what he does to others.
This entry was posted in Ask Is A Verb, Louis V. Galdieri's Blog, Readings, The Power of Asking and tagged Boethius, CIA Torture Report, co-deliberation, coercion, coercive power, Consolation of Philosophy, demands, equanimity, freedom, medieval, moral philosophy, non-coercive power, philosphy, self-possession, Senate CIA Torture Report, serious conversations, stoic, Stoicism, the power of asking, torture, tyranny, vicious circle, virtue on December 9, 2014 by lvgaldieri.
Serious Conversations, 4
The sculptor Richard Serra tells the following story about a Charles Mingus session at San Francisco's Jazz Workshop, sometime around 1956.
The performance was in the afternoon and there was a fan on. It was really loud and Mingus was going through his set and they were recording, and the bartender turned off the fan. Mingus had an apoplectic fit. He jumped over the bar and practically throttled the guy. 'That fan was one of my instruments,' he said. And it made me think, as someone who wanted to be an artist, that you had to pay attention all the time to everything that was going on, because everything was of potential use, if you could see the potential.
Place matters, whether you are playing music, making a sculpture or — as I like to remind people — simply having a conversation. From Mingus, Serra learned "to pay attention to everything that was going on," and that ambient attention or awareness of place has figured prominently in Serra's own art, which frequently involves creating site-specific, large-scale sculptures that both fit with and alter their surroundings. Place furnishes the sculptor with context, material and ideas: everything is of "potential use, if you..see the potential". Place can be both potent and useful, a power and a utility. For Serra, it's all a matter of paying attention.
Richard Serra creates large-scale, site-specific sculptures that draw on and amplify the power of place.
How, then, might we tap the power of place and put it to use when it comes to serious conversations? How do we pay attention to the place we are and how does that attention get repaid?
This is a vast topic, so for now I want to set out a few markers, just to get the discussion started.
First and most obviously, place situates the participants. We can talk about place in this basic sense as the setting of a conversation — not merely a location, site or spot; the setting is more like a scene in which we are the actors. I am not entirely sure about the theatrical metaphor (which is inescapable when we talk about place as a scene or setting): I don't mean to imply that conversations are performances for the benefit of anyone other than the interlocutors, that they require an audience, or that the place has the temporary and artificial qualities of a stage or set, put up or constructed for the sake of staging a conversation. That all sounds too contrived, and it implies a grand designer or author behind the scenes. Of course every conversation involves some element of make believe and there is a performative aspect to all conversation, but we ought to imagine an unscripted play, spontaneous or at least unplanned, in which the actors themselves are sole authors and creators — an improvisation.
Place sets conditions and defines limits: this is where we are, not over there, not elsewhere, maybe not even where we most want to be, but here. Limits imply presence, a here and now, and it's up to us to recognize and attend to that. Our attention registers the basic obligation we have to one another, which is simply to be in this place (and in this conversation). The word 'obligation' here shouldn't be misleading or mistaken for mandate or coercion: when a conversation is serious, we are not under any compulsion. We claim each other's attention. It makes sense, then, to talk about place as a space of commitment, a setting to which we can both lay claim and which permits us to make some simple claims: stay and talk awhile; listen to me; help me understand what you are saying. As I've said before, you can't just walk away or start playing hula hoops and I can't take part if I am whistling Dixie or daydreaming of someplace far away. This place is not just incidentally a backdrop for our conversation and our conversation is not a backdrop for some other action that will define or disrupt the place; our mutual presence here commits us jointly to the conversation. Attending to place helps us respect and keep that commitment.
Place creates new possibilities in the conversation, as participants discover and avail themselves of their situation in all sorts of ways. This is close to what Richard Serra is getting at when he talks about paying attention to everything that's going on — a noisy fan, the voices of children playing nearby, the smell and feel of the lush green grass, the roar of traffic or the flow of a nearby stream, a tweeting bird or a passing cyclist, the wail of sirens or the approach of the police, the patter of the rain, the creak of the wood as we settle on a rough-hewn bench. The important point here is that in conversation we experience a place from the inside and in company with others. To keep company is to be a participant, not merely an observer of the place, looking in or looking on from the outside. Our conversation is what's going on there — or at least one of the most important things going on.
Place is intrinsic to the unfolding of conversation, the warp to its woof; and to an appreciable extent, place and conversation may be indistinguishable — especially once things get going. Or it might be easier just to say conversation is the place we create between us. It's not a question of your place or mine. It's ours.
This entry was posted in Ask Is A Verb, Language, Leadership, Louis V. Galdieri's Blog, The Power of Asking and tagged Charles Mingus, coercion, collaboration, conversation, ethics, improvisation, jazz, joint commitment, language, leadership, leading, Margaret Gilbert, mutual accountability, non-coercive power, obligation, place, power, Richard Serra, sense of place, serious conversations on May 28, 2014 by lvgaldieri.
So far in these notes on serious conversations I've talked about questions of authority and trust as well as the joint commitments conversations entail. What little I've managed to say may not amount to more than the observation that what makes a conversation "serious" has less to do with subject matter than with the mutual obligations of its participants and their disposition toward the activity of conversation.
Let me spell that out a little more. In order for a conversation to be serious, all parties would have to enter freely into it. So a police interrogation or a dressing down at work are not very likely to qualify as serious conversation, though I wouldn't rule out the possibility that they might become serious if things were to take an unexpected turn. Joint commitment can't be coerced; and while it's possible that one party in a conversation might officially be in charge of things, by election, contract or appointment, all parties have to be vested with equal authority in the conversation — or have equal standing to make claims of others, despite differences in title, social stature, organizational standing, etc. To put it another way, all parties in a serious conversation are mutually accountable to each other.
In subsequent posts I hope I can explore this basic position a little more and strengthen it — or, if need be, abandon it in favor of something more compelling. Right now I want to be clear that while serious conversation requires parity, it's still possible to lead a serious conversation, so long as leading the conversation does not violate the covenant or commitment the participants have made. It all comes down to how one leads, and it's possible — it's very easy — to mislead a conversation: it happens all the time.
For example, someone might insist on getting to the point. A rule of serious conversation applies here: the point is almost beside the point.
The primary point of any conversation, which takes precedence over any insight, conclusion or plan for action the conversation might eventually yield, is that we have jointly committed to do something together — namely, have a conversation. That commitment will entail obligations to each other, some of which we can enumerate right at the outset, because we know, roughly, what conversation will require: e.g., you can't suddenly walk away, or I can't start singing "la la la" while you are talking or patronize you or coerce you into agreement. Others might become apparent only as the conversation wends its way, and neither of us can really know where the conversation will lead — unless, of course, one of us is being disingenuous or duplicitous, in which case the conversation is a sham.
When people insist we get to the point, they are not just short-circuiting the conversation; their efforts to control or wrap up the conversation risk foreclosing on claims we might make or unmet obligations we might have to each other as participants.
This is why, by the way, it's important to be tolerant of meandering turns the conversation might take and of what I call verbal fidgeting and others call throat clearing: all the little tics and tacks we use before we actually get around to saying anything definite. Verbal fidgeting — "like," "I mean," "so…" "you know," etc. — in conversation can be an annoyance, but it isn't just noise; and noise-to-signal ratio is not the best metaphor for conversation.
Fidgeting can indicate that someone is uncomfortable with silence, which is worth attending to, because it might tell us the person isn't listening or feels nervous and doesn't know how to sit with the restlessness that being with others sometimes involves. But fidgeting can also help coordinate the conversation and the being together that conversation entails, bringing others in, building bridges, redirecting attention. At the very least it can help us get to know the habits and manners of the others with whom we're speaking, and conversation happens where those habits and manners — those styles — meet.
This entry was posted in Language, Leadership, The Power of Asking and tagged asking, authority, coercion, collaboration, context, contextualization, contextualization cues, conversation, fidgeting, getting to the point, joint commitment, leadership, leading, mutual accountability, non-coercion, non-coercive power, obligation, power, serious conversations, seriousness, the point, the power of asking, trust, verbal fidgeting on March 9, 2014 by lvgaldieri.
A Brief Note to Close the Year
On the Boundary Waters, Top Interior Department Lawyer Gets the Historical Record Wrong
Interior Still Hiding the Role of Political Appointees — Update on the Boundary Waters FOIA Case
Posner is Right About Why Friedman is Wrong, But…
Boundary Waters FOIA on Fox 9 "Investigators"
@sz_duras Mine would be "celebrity is a political toxin." 6 hours ago
I have no idea what the consulting jargon means here— "more aligned" (with what?); "dynamic" (?) — nor do I know i… twitter.com/i/web/status/1… 22 hours ago
@moon_app_minor Yes I think that gets the balance right. It was also comical, a little pathetic. 1 day ago
Anyway I included a couple of screenshots in this post. I have some others. lvgaldieri.com/2019/07/25/new… 1 day ago
@moon_app_minor I don't think I'd get very far pressing the matter in court, but I wondered about the ethics of maintaining that account. 1 day ago
1913 Massacre
ask is a verb
Boundary Waters Canoe Area
Boundary Waters Canoe Area Wilderness
Boundary Waters Reversal
business and society
Eagle Mine
joint commitment
Lundin Mining
Marquette County Road Commission
Marquette County Road Commission v. EPA
non-coercion
non-coercive power
serious conversations
sulfide mining
the power of asking
Twin Metals


The works depicted here were created by Peter D. Verheyen between 1987 and the present. Most of them have been exhibited in one or more juried or invitational exhibitions. To find out more about him, continue on to his Curriculum Vitae.
Click on book thumbnails/titles for larger image.
John Waters. Carsick. Farrar, Straus and Giroux, 2014.
Tradebook. Rip cover off; take tacking iron (with protective layer between) to remove the bulk of the hot-melt adhesive and round while still warm; attach a rolled cord to make a shoulder as there was none; make the endpapers from AAA maps; trim; give top edge a coloring of Woodland Scenics asphalt color (bookbinding and choo-choos overlap); apply rolled endbands from map; line spine; make (German) case; cover with distressed corrugated cardboard; case-in. 21 x 14.5 x 3.5 cm. Bound 2018.
Full binding description, process and more images here.
Ernst Collin. The Bone Folder. The Boss Dog Press, 2017.
Quarter salmon parchment binding with paste paper sides (both made by the binder); endpapers of Cave Paper "Alphabet"; graphite top edge; sewn endbands. Décor on boards from images in the text by John (Hans) Schiff with title stamped in gold. Also bound in are an extra set of enlarged photographs and the prospectus. 30.5 x 23.5 x 3 cm. Bound 2018.
For more on the Boss Dog Press edition see the Pressbengel Project Blog.
Modified Bradel binding with cod leather spine and goat vellum boards; endpapers show the 1st and last spreads of the ur-German edition; graphite top edge; wrapped leather endbands with light surface gilding. Décor on boards from images in the text by John (Hans) Schiff with title stamped in gold. Also bound in are an extra set of enlarged photographs and the prospectus. 30.5 x 23.5 x 3 cm. Bound 2018.
Ernst Collin. The Bone Folder. Peter D. Verheyen, 2015.
Dorfner/de Gonet "open joint" style binding. Text sewn on three reinforced vellum thongs; bottom- and fore-edge rough cut with graphite top edge; gold and gray silk endband; spine covered in natural Niger goatskin with cutouts to show sewing; pastedown and fly leaf collaged from original Pressbengel edition and other related writings by Collin; boards covered in gray Harmatan Oasis goat with raised onlays of red chagrin leather; author and title stamped in graphite. 20.5 x 14 x 1.5 cm. Bound 2017.
Textblock can be downloaded as PDF print edition laid out for binding in signatures (5 signatures of 16 pages each).
Danish Millimeter binding; text sewn on three ramie tapes; bottom- and fore-edge rough cut with graphite top edge; paste paper endband; spine covered in salmon parchment made by binder; paste paper endpapers; boards covered in paste paper with author and title stamped in graphite. 20.5 x 14 x 1.5 cm. Bound 2017.
Sewn on three frayed out tapes; red Roma endpapers, graphite top edge; red leather endbands; spine covered in black trout leather with invisible corners covered in same; boards covered in paste paper with title stamped in gold. 24.5 x 17 x 1.5 cm. Bound 2017.
Ladislav Hanka.Remembering Jan Sobota, 2012.
Modified Bradel binding (Gebrochener Rücken); layered Indigo Night Cave Paper endpapers; sewn on 5 vellum slips; spine in parchment; leather endbands; boards edged in parchment and covered with distressed birch wood veneer on covers with onlaid suede salmon leather closure; title stamped in gold on front board. 29.5 x 25.5 x 1 cm. Bound 2017.
Dorfner/de Gonet "open joint" style binding. Text sewn on two reinforced leather tapes; bottom- and fore-edge left uncut with graphite top edge; black leather endband; spine covered in snake-skin; "O'Malley Crackle" flyleaves; boards covered in Pergamena goat vellum with design taken from illustrations underneath; "O'Malley Crackle" doublures and roundels on front of boards. Housed in Layered Indigo Night semi-soft slipcase. 26 x 16 x 1.7 cm. Bound 2014. Collection of Lynne and Robert Veatch.
Modified Bradel binding (Gebrochener Rücken); sewn on 5 vellum slips; paste paper endpapers by the binder; graphite top edge; endbands of rolled gray leather; spine covered in red chagrin leather with cutouts to reveal slips and sewing; boards edged with red chagrin along fore-edge and covered in paste paper by the binder with black chicken foot leather and vellum slip onlays. 27 x 18.5 x 1 cm. Bound 2014.
Gaylord Schanilec and Clarke Garry.Mayflies of the Driftless Region. Midnight Paper Sales Press, 2005.
Dorfner/de Gonet "open joint" binding; sewn on 3 brown salmon leather slips; flyleaves and doublures of Cave Paper "layered indigo day" paper; graphite top edge; rolled endbands brown salmon leather; spine covered in gray salmon leather; boards covered in full vellum with printed illustrations from text below; salmon leather slips attached to boards and framed with decorative weathered wood veneer; tied mayfly attached to front board. 26.5 x 19 x 2 cm. Bound 2013.
A description of the structure and binding process can be read on the Pressbengel Project blog.
Ladislav Hanka., Remembering Jan Sobota. 2012.
Modified Bradel binding (Gebrochener Rücken); layered Indigo Night Cave Paper endpapers; sewn link stitch on 5 reinforced slips of same paper as ends; endbands of endpaper paper around core; spine covered in brown kangaroo with cutouts to reveal slips and sewing; boards covered in brown tie-dyed Pergamena deer parchment; onlays of suede salmon leather with fishing fly mounted into lacuna in parchment; title stamped in gold on front board. 29.5 x 25.5 x 1 cm. Bound 2013.
Modified Bradel binding (Gebrochener Rücken); text of Rives Heavyweight paper; endpapers same as text; sewn on two vellum-reinforced leather tapes and one linen tape; red leather endbands; spine covered in brown Cave Paper with cutouts for tapes; boards covered in green Pergamena goat vellum; decor of rattlesnake with sculpted leather-covered apple. 31 x 31 x 6 cm. Bound 2012.
Dos-a-dos limp vellum tacketed binding model.
Interpretation of, Mandatorum Exitus, 1589, Lelio Buccapadulio Camerari, a 1579 Italian limp tacketed ledger style binding. Interpretation is based on a ledger created by the Canonici Sancti Petri, the priests who celebrate in St. Peter's. The "Camerarius / Camerlengus," or administrator in this case was Lelio Buccapadulio. The register records the payments, receipts, and other information for the celebrations of the Cononici Sancti Petri for the years 1587-1590.
Full limp vellum dos-a-dos binding; first textblock sewn on 3 alum-tawed leather thongs with secondary sewing onto 2 split leather thongs; second textblock of individually sewn pamphlets in paper wrappers with vellum spines; pamphlets sewn onto 2 slit leather thongs; both textblocks secured into wrappers with vellum tackets; leather ties at fore-edges held in place with tackets. 23 x 16.5 x 7 cm. Bound 2011.
In my interpretation of this binding I included vellum fragments and leaves that show expenses and income for my own private binding "business" that were printed in the Voglare typeface designed by Stephen Farrell and based on a 1601 Florentine manuscript written by an anonymous clerk.
Images of the creation process can be viewed here.
Arthur Miller.The Crucible. The Viking Press, 1953.
1st edition; disbound; washed and deacidified; signatures reformed; plain Rives Lightweight endpapers with sewn leather joint and dark red Fabriano flyleaf and doublure; sewn on three tapes; edges rough cut on three sides with top edge gilt; handsewn silk endband; covered in full gray goat with title in onlaid leather letters; names stamped in blind and gold; low relief black leather onlays. 20.5 x 14.5 x 2.5 cm. Bound 2011.
The individuals whose names are stamped into the cover were persecuted for their political beliefs during the McCarthy Era. The black leather bars represent the hundreds of other persecuted individuals not listed by name.
Pamela Leutz.The Thread That Binds. Oak Knoll Press, 2010.
Modified Bradel binding (Gebrochener Rücken); red Roma endpapers; sewn link stitch on four reinforced leather tapes; dark red and gray handsewn endbands; spine covered in gray leather with cutouts for tapes; boards covered in reddish brown Pergamena deer vellum; titled stamped in gold on front cover with leather onlays. 23 x 15.5 x 4 cm. Bound 2010.
Edgar Allan Poe.The Raven. Cheloniidae Press, 1986. Alan James Robinson, illus.
Modified Bradel binding (Gebrochener Rücken); paste paper endsheets; sewn on two tapes; paste paper stuck-on endband; spine covered in dark red goatskin with feathers pressed into surface; boards covered in paste paper made by the binder with leather fore-edges; in anthracite foil on spine. 16.8 x 25 x 2.5 cm. Bound 2010.
View with both boards open.
Lance Hidy. Designing the Mentoring Stamp. Kat Ran Press, 2007.
Plain endpapers same as text; sewn on 3 tapes, graphite top edge; orange and blue handsewn endband;covered in paste paper made by the binder with paste paper onlays; title stamped in graphite on front cover. 23 x 15 x 1 cm. Bound 2009.
Ruth Vassos. John Vassos, illus. Ultimo. E.P. Dutton, 1930.
Sewn on 3 frayed out cords; endpapers of black Japanese paper with gold and silver flecking; graphite top edge with black and gray sewn endbands; covered in full alum-tawed goat with décor of raised leather onlays and surface gilding; title in graphite. Ultimo tells the story of the death of the earth under blanket of ice, man's migration below the surface, and ultimate emigration to a new world. The design is drawn from the stark graphic illustrations of Vassos. Just as man was marking time before emigration, the 14+ year binding period was an exercise in marking time. 25.5 x 19 x 2 cm. Bound 1995-2009.
Edelpappband / millimeter binding: Plain endpapers same as text; sewn on 3 tapes;"paste papered" top edge, gray and blue handsewn endband; leather trip at fore-edges and top/bottom of spine; covered in paste paper made by the binder; title stamped in graphite on spine. 26 x 19.5 x 2 cm. Bound 2008.
The Guild of Book Workers 100th Anniversary Exhibition Catalog. 2006.
Modified Bradel binding (Gebrochener Rücken); white Johanot endpapers; sewn link-stitch on 4 black vellum slips; slips and thread died black; burnished graphite top edge; paste paper stuck-on endband; spine covered in dark grey oasis goat with cutouts for slips; boards covered in paste paper with terracotta leather onlays on both boards; title stamped in anthracite foil. 28 x 22 x 1.5 cm. Bound 2007. Collection of Karen Hanmer.
David Hodgdon. The Double Escape. Laureate Press, 2005.
Modified Bradel binding (Gebrochener Rücken); endpapers of white Ingres; sewn using link stich on five vellum slips; top edge in graphite and burnished; sewn silk endbands; spine covered in teal goatskin with cutouts to reveal vellum slips. Boards covered in natural deer vellum; title stamped in gold on front cover. Slipcase covered in lightblue Canapetta bookcloth with vellum edging at top and bottom; gold stamped teal goatskin leather label. 38 x 26 x 1.5 cm. Bound 2007.
The Enchiridon of Epictetus. Press Intermezzo, 1997.
Edelpappband / millimeter binding: Endpapers of red Roma paper; top edge gilt; endband of paste paper around thread core, vellum trim along top and bottom edges; covered in hand-made paste paper; title in gold on front cover. 16.5 x 12 x 1cm. Bound 2005.
Fritz and Trudi Eberhardt.Rules for Bookbinders. The Boss Dog Press, 2003.
Edelpappband / millimeter binding: Endpapers same as text; top edge in graphite and burnished; dark red leather endband around thread core; vellum trim at head/tail caps with invisible corners; covered in handmade paste paper; title in graphite on front cover. Soft "Ascona-style" slipcase covered in paper to match book with title in graphite on spine. 18 x 12.5 x 1cm. Bound 2005.
Wolfgang Puissant.Centro del bel Libro Ascona. 1988.
Edelpappband / millimeter binding: Endpapers of grey Ingres; top edge in graphite and burnished; blue leather endband around thread core; red eel leather trim at head/tail caps and foredge; covered in hand-make paste paper; logo of Centro del bel Libro as raised red eel leather onlay. Soft "Ascona-style" slipcase covered in paper to match book with title in gold on spine with logo of Centro del bel Libro as raised red eel leather onlay. 20 x 14.5 x 1cm. Bound 2005.
André Ricard. The Book of Origins – Le Livre des Origines. 2004.
Set book binding exhibition organized by ARA-Canada.
Modified Bradel binding (Gebrochener Rücken); textblock sewn on three slips of Cave Paper brown walnut dyed paper; endpapers of Cave Paper brown walnut dyed paper; gilt top edge; sewn silk endbands; Bradel case with 1/4 veined calf vellum spine and undyed goatskin sides; slips laced through at joint; decor of codfish leather onlay and blind tooling. 22.5 x 14.5 x 2.5 cm. Bound 2005. Collection of Karen Hanmer.
Noirs, Bleus, Sables. Livre de poète de Nane Couzier. 2001.
Textblock sewn on 5 leather/vellum slips in black, blue, and brown; graphite top edge; sewn silk endbands; case covered in full blue dyed goat vellum; leather/vellum slips laced through at joint; multicolored colored spine label with title in graphite foil. Leather onlays on case derived from typography of text. 40 x 25 x 2.5 cm. Bound 2005.
Exhibition catalog to the Mostre Internationale Di Rilegatura D'Arte held in Italy, 1999. German-style springback; sewn on three tapes with endsheets of Roma paper; graphite top edge; red leather wrapped endband; covered with two veined calf vellum panels at top and bottom with center panel painted with textured acrylic; spine and sewing exposed in center panel and painted with textured acrylics; title stamped in gold. 28 x 25.5 x 6.5 cm. Bound 2004.
Teach Me, Star of Night! / Laer Mig, Nattens Stjerne!.Bird Press, 2000.
Modified Bradel binding (Gebrochener Rücken); sewn on 3 tapes; endpapers of Cave Paper "Alphabet"; graphite top edge; handsewn silk endbands; spine covered in snakesekin with boards covered in veiney calf vellum. Title stamped in graphite foil with grey leather onlays reflecting the typography of the poetry. Dimensions: 24 x 27.5 x 1.5 cm. Bound 2004. Binding is on the deluxe, hand-colored edition. The regular edition binding can be seen here.
Saturday Night, 1953 / The Elements. Angorfa Press, 1998.
Edelpappband / millimeter binding: Sewn on 3 ramie tapes; plain endsheets same as text; solid graphite edges; red eel-skin leather endbands; case covered in original paste paper by binder with blue eel-skin leather trim at head, tail, and along foreedges; title stamped in black on spine. 18 x 13 x .7cm. Bound 2003. The book, in the "Cased Binding" category, was awarded the Harmatan Leather Award for Forwarding in the Society of Bookbinders' 2003 Bookbinding Competition.
John DePol: A Catalogue Raisonné 1935 -1998. The Book Club of California, 2001.
Sewn on 3 frayed out cords; sewn "zig-zag" endsheets of grey Roma paper with leather joint; graphite top edge; brown and blue endbands. Covered in full Harmatan goat; raised leather onlays with image of DePol's signature in reverse, and portrait on leather using a laser printer directly on the leather. 31 x 23.5 x 3cm. Bound 2003.
Carsten Ramcke.A Christmas Tale, and Other Short Stories. 2002.
Compilation of railroad related Christmas stories produced in an edition of two; full paper case (Edelpappband / millimeter binding) covered in paste paper over laser output by the binder with grey leather top and bottom edging; printed paper spine label. 21 x 14.5 x 1cm. Bound 2002.
Gregory Santos.Animals That Should Exist But Never Have. 2002.
Letterpress text with photopolymer illustrations by Gregory Santos; text sewn on 2 raised cords with non-adhesive (Louise Genest) concertina leather spine; boards covered in full veiney calf vellum with original plate underlaid; cords wrapped with thread, laced into boards, and colored with acrylics; handsewn endbands; sharkskin covered spine pieces at head and tail. 19 x 15.25 x 2cm. Bound 2002.
26 Words. Bird Press, 1998.
An artist's alphabet book based on 26 random selected words from the dictionary illustrationed lithographically printed from hand-drawn plates with letterpress text all on Rives BFK. Half the edition is printed on light gray, the other half on beige using red ink. Covered in full Niger goat with onlays of chagrin and oasis goat, and frog; housed in hinged and cut-out slipcase in oasis leather and veiney calf vellum. 12.5 x 14 x 4 cm and when extended fully it is almost 7 meters' long. Bound 1998 in edition of 10 unique bindings in addition to 3 fine bindings which were completed between 1998 and 2000. This alphabet book is a collabortive effort with Thorsten Dennerline, and was originally completed for the Guild of Book Workers' exhibit ABECEDARIUMS.
Quarter leather case binding with leather along fore-edge; sides covered in paste paper with onlays of birch bark; text block sewn on tapes; burnished graphite top edge; handsewn endbands; title in leather covered relief on spine. 21.5 x 16.5 x 3.5cm. Bound 1999.
A Collection of Paper Samples from Hand Papermills in the United States of America. Peter and Donna Thomas, 1993.
Sample book of 27 examples of the art of hand papermaking in the U.S.
Modified Bradel binding (Gebrochener Rücken); sewn on 4 sharkskin thongs using colored linen thread; endpapers of John Koller's HMP paper; thongs visible through cutouts on spine and run across spine into leather "bosses" on cover; covered ¼ leatherwith paste paper sides by the binder; titled in relief using leather over board and inset into a leather covered from with HMP paper base. 29.5 x 23.5 x 3 cm. Bound 1996.
Vergil.Bucolica. Aristide Mailloil (illus.). Suhrkamp Verlag, Frankfurt, 1952.
Sewn five vellum slips with plain paper endsheets; gilt top edge; handsewn silk endbands; vellum slips laced through cover; covered in full veiney calf vellum; low relief reversed illustrations underlayed beneath vellum; titled in gold on front cover. 26.5 x 17 x 2 cm. Bound 1994.
Satyra Qvinta Ivvenalis / Juvenal's Fifth Satire. Windover Press, 1979.
Sewn on 3 frayed out cords with plain paper endsheets; gilt top edge; handsewn silk endbands; covered in full oasis goatskin with leather onlays; tooled in blind. 25.5 x 17 x 2 cm. Bound 1994.
Longus.Daphnis und Chloe. Hauswedell und Co., Leipzig, 1939.
Sewn on 5 vellum slips; graphite top edge; black and gold endbands; vellum slips laced through cover; covered in full vellum with underlayed illustration from text and title in gold on spine. 24 x 15 x 2cm. Bound 1994.
Fine Printers Finely Bound, Too. The Guild of Book Workers, New York, 1992.
Exhibition Catalog to the Guild's 85th anniversary exhibition. Sewn on 3 frayed out cords; gray "zig-zag" endsheets and sewn red leather joint; graphite top edge; red and gray endbands. Covered in full chagrin leather with multicolored onlays in black, gray and sharkskin. Tooled in gold and blind. 24 x 16 x 1.5cm. Bound 1993.
Exhibition Catalog to the Guild's 85th anniversary exhibition. Sewn on 3 frayed out cords; gray "zig-zag" endsheets and sewn red leather joint; graphite top edge; red and gray endbands. Covered in full chagrin leather with multicolored onlays in black, gray and sharkskin. Tooled in gold and blind. 24 x 16 x 1.5cm. Bound 1993. Whereabouts unknown – sold on eBay by original commissioner.
Ladislav Hanka., Opus Salvelinus. Rarach Press, 1990.
Original lithographs by Ladislav Hanka depicting the life-cycle of the trout. Sewn on 5 vellum slips; olive and turquoise endbands; vellum slips laced through cover; covered in full veiney calf vellum. Decor derived from the illustrations; underpainted charcoal and watercolors. Title in black on dark-red full-length leather label. 26 x 28.5 x 2 cm. Bound 1993.
Ladislav Hanka, Opus Salvelinus. Rarach Press,1990.
Original lithographs by Ladislav Hanka depicting the life-cycle of the trout. Sewn on 5 vellum slips; olive and turquoise endbands; vellum slips laced through cover; covered in full veiney calf vellum. Decor derived from the illustrations; underpainted charcoal and watercolors. Title in stamped in black on front cover. 26 x 28.5 x 2 cm. Bound 1993.
Four Greek Women. Thelfini Press, .1982.
Book of poetry by four Greek women poets. Sewn link stitch; black leather endbands; leather inner joint with endpapers of paper; covered in full terracotta oasis goatskin, with onlays of calf and goat; tooled and titled in blind and gold. 21.7 x 14 x 1.5 cm. Bound 1992. Collection of Egon Verheyen.
Edgar Allan Poe.The Black Cat. Cheloniidae Press, 1984. Alan James Robinson, illus.
Sewn on three frayed-out cords; paste paper endsheets with leather joint; handsewn silk endbands; covered in full black oasis goatskin with sculptural rendering of cats head including glass eye and mixed media brickwork. 24.2 x 16.5 x 3 cm. Bound 1992.
Sewn on 3 frayed out cords with black and white paste paper endsheets; handsewn silk endbands; case covered in paste paper with black and white boxcalf onlay; title stamped in black. 25.5 x 17 x 2 cm. Bound 1992.
Carol J. Blinn.A Fowl Letter Book. The Warwick Press, 1989.
Alphabet book printed letterpress with hand colored illustrations by C.J. Blinn. Sewn link stitch; orange double folio endleaves; solid graphite edges, orange paper endbands. Covered in full vellum. Decor of underlaid letters in black. Duck's head and apple made of sculpted board covered with reversed alum tawed pig, and paper. 16 x 10.5 x 1cm. Bound 1992.
Tom Philips. Dante's Inferno. Thames and Hudson, 1985.
Sewn on five stained (black) vellum slips; gray Roma endsheets; solid graphite edges; violet and burgundy endbands. Covered in full transparent vellum over boards with slips laced through cover. Decor is an original woodcut on Morike paper by artist Jeanine Coupe-Ryding. 29 x 21.5 x 4 cm. Bound 1990.
Hans Holbein.Bilder des Todes (Dance of Death). Insel Verlag.
Facsimile of an early 1920's Insel Verlag publication. Text and images copied onto nideggen paper from the original; sewn with a linked stitch; endsheets same as text; solid graphite edges; maroon leather endbands; covered in full benyon vellum with decor underneath (vellum made selectively transparent). 18.5 x 12.75 x 1 cm. Bound 1989.
Edelpappband / millimeter binding: Sewn on tree linen tapes; plain paper endsheets; graphite top edge; purple leather endbands; full paper case (millimeter binding) covered in paste paper by the binder with olive leather top and bottom edging; title tooled in blind on natural leather label. 21.7 x 14.1 x .7 cm. Bound 1987.
A selection of recently bound presentation bindings can be found here.


text:
Calycina gardneri es una especie de coleóptero de la familia Mordellidae.

Distribución geográfica
Habita en la India.

Referencias

Gardneri
Coleópteros del subcontinente indio

redpajama_set_name: RedPajamaWikipedia


text:
Кривошије је назив за српско племе или за висораван и историјску микрорегију изнад Рисна у Боки Которској, општина Котор у Црној Гори, односно једно вријеме дио Старе Херцеговине, на источним обронцима Орјена.

Назив
Кривошија је назив за једну врсту сабље која у хералдици означава првенствено знак храбрости и спремности да се брани свој ареал.  Назив племена и области Кривошије је у вези са овим оружјем.

Географија
Кривошије у ширем смислу означава територију Горњих и Доњих Кривошија и Горњих и Доњих Леденица, док у ужем смислу територију Горњих и Доњих Кривошија.
Кривошије су ртом Пазуа подијељене на Горње и Доње Кривошије, а чине их села:
 Драгаљ
 Звечава
 Кнежлаз
 Малов До
 Црквице и
 Хан.

Ова села чине мале групе кућа које су, прилагођавајући се конфигурацији терена, подигнуте без нарочитог реда. Данас је већина села скоро напуштена.

Природне одлике

Кривошије су познати по најизразитијим облицима дубоког крша. Планине су претежно покривене бјелогирчном шумом (буквом и др.) а на Орјену су очуване и шуме бора мунике. У ледено доба знатан дио Орјена био је захваћен глацијацијом. Наслаге леда биле су између осталог око Звечаве. Од средишњег Орјена спуштају се ледничке долине према Граховском и Драгаљском пољу, која су покривена флуциоглацијалним наносом, дебелим и до 10 m.

Клима

Клима је медитеранска и измијењено медитеранска, карактеристична по обимној количини падавина зими. Љета су топла и сушна.

Историја

Област је добило име по неком Кривошићу чије се име помиње у дубровачком извјештају из XV вијека. Према неким изворима, први помен области Кривошија у писаним изворима је из извјештаја млетачког заповједника у Рисну, Анђела Гонема, из 1686. године. У извјештају се помиње 15-20 кућа у Кривошијама. Ревија Историја за август 2014. на 21.страни помиње сабљу кривошију, тако да је вјероватно да је ово ратничко српско племе добило има баш по тој врсти сабље, јер су и Дробњаци наводно добили име по дробу, након убиства-освете над Ченгићима. Презиме Сјеклоћа је по томе што су сјекли Турке, а постоји податак да Косово није по птици кос већ што су се ту војске косиле одвајкада. Све то иде у прилог чињеници да су наше области и племена добијала имена по војним терминима. У опису грба Будисављевића се помиње саблља кривошија.

Кроз Кривошије пролази пут који је био значајан у средњовјековно и античко доба. О томе свједоче између осталог остаци поплочаног пута у дубодолини Лупоглава.

Кривошије се налазе на територији некадашње турске нахије Риђани и дијелом Драчевице. Риђани, средњовјековни Власи, сматрају се прецима Кривошијама. Због учесталих субока и мијешања са црногорско-херцеговачким племенима, Риђани полако нестају.

Истраживања племена Кривошија показаују да се од 1430. до 1500. године знатан број становника племена одселио у Боку которску. Сеобе су настављене и у вријеме турске владавине. Кривошије у том периоду учествују у устанцима племена Никшића и подловћенске Црне Горе. Тада се у ове крајеве насељабају братстава из Цуца, Бјелопавлића, Пјешиваца,околине Цетиња и мањим дијелом из Херцеговине. Од њих у 17. вијеку развијају се у Кривошијама братства
 Бојанићи
 Самарџићи
 Радојичићи
 Радуловићи
 Вучуровићи
 Одаловићи
 Жмукићи
 Ристелићи
 Благојевић
 Лакићевић
 Илићи (слава св. Петка)
 Водовари
 Ковачи (слава Јовандањ), даљим поријеклом из Цуца
 Ковачи (слава Ђурђевдан), даљим поријеклом из Бањана
 Кокотовићи
 Лазовићи-Леденице
 Милетићи-Леденице
 Илићи (слава Ђурђевдан)-Леденице
 Суботићи-Леденице

Кривошијама владају Турци до 1684. године, затим припадају Млетачкој републици до пропасти Венеције 1797. године, када прелазе у састав Аустроугарске. Од 1807. припадају Француској, од 1813. Црној Гори. Бечким конгресом 1814. године, Кривошије су поново под Аустроугарском контролом, као дио Илирских покрајина. Ово је изазивало побуне међу локалним становништвом, од којих је вјероватно најпознатији онај из 1869. године. Још данас у крају постоје остаци аустроугарских утврда.

Вук Караџић је забиљежио да је 1834. у Кривошијама било око 250 кућа и 1.200 душа, сви грчког закона.

Аустроугарска влада овим крајем све до 1918. године када је формирана Југославија.

Цркве
 Црква Св. Јована, Драгошево село, Звечава (XVII вијек)
 Црква Рождества Богородице, Малов До (1831)
 Црква Покрова Богородице, Драгаљ (1867)

Занимљивости
 Кривошије су подручје с највећом количином падавина у Европи – у просјеку 480 -{mm}- дневно.
 Грчки мит каже да се гробови Кадмоса, оснивача Тебе, и његове жене Хармоније налазе на подручју Кривошија.

Знамените личности поријеклом са Кривошија

 Љубиша Самарџић.
 Жељко Самарџић.
 Мирко Самарџић.
 Гојко Самарџић.
 Саво Илић, народни херој са Леденица

Види још
 Племена Црне Горе
 Стара Херцеговина

Референце

Спољашње везе

 Племена Старе Црне Горе, Брда, Херцегоцине и Приморја
 Црквени споменици на подручју Кривошија и Леденица - II дио
 Кривошије заробљене у беспућу

Географија Црне Горе
Српска племена
Племена Старе Херцеговине


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Following the success of our instant latte range, we have developed Barista Blends of the six lattes aimed at the food service sector. The lattes are very on-trend, with the wellness, organic, vegan and free-from sectors booming globally. This trend is especially strong amongst Millennials who are looking for a more interesting, yet delicious, alternative to coffee and tea. The blends have been formulated to be added to steamed milk, either dairy or non-dairy, and are all certified organic, vegan and free from.
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2. Capt Ron's Cure ALS 100×100 Swim Challenge – Sunday January 8th – 8 – 12pm Hubbard Community Pool, 200 Hall Ave SE, Hubbard, OH 44425 Fee $8.
In honor of our friend and one of the first club members, Ron Turney. I give Ron 1/2 credit 2nd only to Corky for teaching me to swim like an athlete. This event is open to everyone of any level. Swim 100 yards, 1000 or all 10,000 to benefit the ALS Association. Thanks Amy Javens for putting this together.
At the Davis Family YMCA. Register online at YoungstownYMCA.org or at the Davis Family YMCA.
Do one or both. Ride a spin bike or byob and trainer.


text:
12 Dec 2017 3:23 PM +00:00 UTC
Football Manager 2018: Paris Saint-Germain Guide, Player Ratings & Tactics
Fronted by the most expensive player of all-time Neymar, how far can you take this uber talented PSG side on FM 18?
By Alastair Pusinelli
Despite not lifting the Ligue 1 trophy for the first time in five years, Paris Saint-Germain are perhaps better for it. Losing out last season caused the owners to dig deep into their pockets, spending a massive £365 million if you include Kylian Mbappe's deal which will go through at the end of the season.
Neymar – CA 5 star (190), PA 5 star (197)
Edinson Cavani – CA 4 star (164), PA 4 star (174)
Thiago Silva – CA 4 star (163), PA 4 star (174)
Claudio Gomes – CA 1.5 star (92), PA 3.5-4.5 star (150-180)
Yacine Adli – CA 1.5 star (94), PA 3-4 star (140-170)
Moussa Diaby – CA 1.5 star (102), PA 3-4 star (130-160)
Team Report
Transfer Targets
Central/Defensive midfielder – Jorginho (CA 152, PA 157)
Players to sell
Achieve the ultimate goal
Paris Saint-Germain first team squad, player roles and ratings
With all that spent, PSG are not only the overwhelming favourites to win back their French crown, but the belief is now that they can fight for Champions League glory. The Parisians have already seen off Bayern Munich in the group stage, but can you take them the whole way in Football Manager 2018?
PSG Chairman Nasser Al-Khelaifi will welcome you to the club as soon as you start up your game, and present you the philosophies of the club. At Paris Saint-Germain all you need to do is sign high profile players, perhaps the easiest set of philosophies to abide by on FM 18.
Shortly after this Al-Khelaifi will discuss with you the expectations for the season. The default is to win both the Ligue 1 title and French Cup, which is unnegotiable. You will have the option to choose how far you think you will get in the Champions Cup (Champions League), but you are best off sticking with the quarter-finals in your first season.
The Coupe de la Ligue and Trophee des Champions are marked as not important.
Transfer: £40 million
Wage: £3.6 million per week (Current spend: £3.3 million)
PSG tend to go for a 4-3-3 system, but we are going to go a little braver with a 4-2-3-1 wide. This allows you to get as many of your best players on the pitch at the same time, but if you want a little more protection, go for a 4-1-2-3 DM wide.
Alphonse Areola beats off competition from Kevin Trapp in goal, and his back four consists of new signing Dani Alves, Marquinhos, captain Thiago Silva and Layvin Kurzawa.
The central midfield pairing is comprised of all-rounders Marco Verratti and Adrien Rabiot. Javier Pastore is in the number 10 role, with Angel di Maria and £196 million man Neymar providing the width. Edinson Cavani leads the line.
On the bench you will want Kevin Trapp, Presnel Kimpembe, Thomas Meunier, Thiago Motta, Julian Draxler, Lucas Moura and Kylian Mbappe.
With so much talent, identifying just three key players is a tough task in this PSG side. With so many players yet to hit their peak as well, this team could grow into one of the best we've seen on the European stage.
Neymar made the almost £200 million move to Paris in the summer from Barcelona, more than doubling the previous transfer record held by Paul Pogba. The Brazilian superstar made the switch to France as he wanted to be the main man at the club and step out of Lionel Messi's shadow. It has proved a masterstroke so far, with the 25-year-old already netting 15 goals in his first 18 games for his new club.
Neymar's outstanding 190 CA consists of 20 dribbling, 20 technique and 19 movement with his potential an unbelievable 197.
Despite signing Neymar, Edinson Cavani is still PSG's main source of goals. With Zlatan Ibrahimovic leaving the club at the start of last season, this allowed Cavani to show his true worth, scoring 49 goals in 50 games, and he has 23 in just 21 games this season.
He may now be 30, but don't be surprised if his 164 current ability still creeps towards his 174 potential. The Uruguayan's best attributes are his 18 stamina, 18 heading and 18 work rate.
With all that attacking talent, PSG need to make sure they don't get caught up the other end, and the experienced Thiago Silva is on hand to thwart any attack. The captain is amongst the best defender's in the world, and he and countryman Marquinhos (CA 158) have formed a solid partnership at the back for Les Rouges-et-Bleu.
The 32-year-old brings a CA score of 163, which could still flirt back towards his 174 potential. The centre back offers you 17 marking, 17 determination and 17 concentration.
Something PSG have turned to in recent years to looking to improve their youth setup. Adrien Rabiot, Alphonse Areola and Presnel Kimpembe have showed that the club doesn't need to continue to spend cash, so who is part of the next wave of youngsters coming through?
Defensive midfielder Claudio Gomes is the current captain of the France U18 side. The 17-year-old is yet to make his debut for the PSG first team, but with limited options in defensive midfield, a strong turn out for the youth sides this season could propel him into the picture.
His 92 current ability rating can rise to a superb potential between 150 and 180. Gomes has attributes of 14 agility, 14 balance and 13 pace making him a fantastic sweeper behind the midfield.
Recently linked with a move to Barcelona, it is crucial PSG keep hold of Yacine Adli. The central or attacking midfielder has already scored six goals for France U17s, and the board will need to manage him carefully, as he looks desperate to kick-on with his career.
The 17-year-old may only have a 94 CA but his could rise to a potential as high as 170, with his best stats currently 14 balance, 14 technique and 13 dribbling.
Looking to be PSG's next Neymar is Moussa Diaby. The 18-year-old may have to wait a while for minutes at the Parc des Princes with so much talent in wide areas at the moment, but expect him to be there or thereabouts in a couple of years' time.
The left winger has a decent 102 current ability score, rising to a potential between 130 and 160. He has attributes of 12 first touch, 12 technique and 10 consistency on FM 18.
Team Leaders - Thiago Silva (C), Thiago Motta (vice-captain), Edinson Cavani
Highly influential - Daniel Alves, Angel di Maria, Neymar, Lucas Moura, Marco Verratti, Alphonse Areola, Marquinhos, Javier Pastore, Adrien Rabiot
Dynamics are the main new feature for Football Manager and they illustrate the atmosphere inside the dressing room. Be sure that there are no unhappy players in the squad, and this is even more important for the more influential players in the side. Saying the wrong thing to the wrong player can cause the dressing room to turn against you, and the performances on the pitch will fall as a result.
It is a fantastic squad at PSG, but you do feel there are a couple of holes in the side. You needed to identify which is the most important to rectify, with only three centre halves in your squad, one conventional holding midfielder and one conventional striker. With so much spent already, you will need to sell off some talent to bring in new recruits.
Thiago Motta is the only defensive midfielder in the squad, and at the age of 34 this needs to be rectified. Yes, you have players like Marco Verratti and Adrien Rabiot who can fill in there, but the void of Blaise Matuidi has not been filled.
Napoli's Jorginho looks to be the solution, with the 25-year-old able to play in both central and defensive midfield. The Italian may have earned just three caps, but that is sure to change as the Azzurri build towards the next World Cup with a more youthful squad.
On FM 18, Jorginho will offer you a 152 current ability rating, which can rise to a solid potential of 157. This would make him a great player to rotate between starting and on the bench, but you will still need to fork out £40 million for him with wages upwards of £51,000 a week.
Alternative Options:
Sami Khedira – Age 30, Juventus, Germany, CA 165, PA 167, Value: £32m, Wage: £125k
Radja Nainggolan – Age 29, Roma, Belgium, CA 170, PA 170, Value: £34m, Wage: £100k
Blaise Matuidi – Age 30, Juventus, France, CA 156, PA 158, Value: £25m, Wage: £110k
Ander Herrera – Age 27, Man United, Spain, CA 152, PA 160, Value: £33m, Wage: £115k
You could easily not sell anyone for PSG, but the squad is heavily one sided to the attacking players, especially wingers. If you want to balance out the squad you will need to sell a couple of these players.
Lucas Moura
It looks likely that Brazil international Lucas Moura will leave the club at the end of the season, as you can't see him getting past Neymar, Angel di Maria, Julian Draxler and Kylian Mbappe. His 151 CA and 156 PA may look promising, but it is wasted if he is spending most of his time on the bench. Look to sell the right winger for close to £30 million and you will save £62,000 a week in wages.
Hatem Ben Arfa
It's a similar story for Hatem Ben Arfa, however the Frenchman can fill in as a striker which could persuade you to keep him. The former Newcastle man almost moved to Barcelona in 2016, but all of these signings at PSG have starved him of game time. You will only get £4 million for the right winger or attacking midfielder, but you will free up a massive £170,000 a week in wages.
You'd expect the finances at PSG to be in good health, and you'll be pleased to here that the bank balance is on the up for the French giants. Turnover is set to decrease slightly, expenditure will increase and profit will turn to loss, and that is perhaps a result of the ridiculous spending catching up with them. Expect to have the best part of £200 million in your transfer budget next summer however, but whether the £165 million for Kylian Mbappe comes out of this remains to be seen.
Winning back the Ligue 1 title is the minimum aim for PSG this season. With such a talented squad, the French Cup should take care of itself but the big challenge comes in Europe. Are you likely to win it in your first season? Probably not, the squad is thin in some areas, but there is no reason you can't lift the 'Champions Cup' trophy in your second season. One thing's for sure, you will have plenty of fun with this rich and exiting Paris Saint-Germain side.
Role
Role Ability
CA/ PA
Alphonse Areola 24 GK Goalkeeper Defend 3 star 145/ 154
Daniel Alves 32 DR Full-Back Attack 4 star 164/ 174
Marquinhos 23 DCR Ball Playing Defender Stopper 4 star 158/ 175
Thiago Silva 32 DCL Ball Playing Defender Stopper 4 star 163/ 174
Layvin Kurzawa 24 DL Full-Back Attack 3 star 143/ 147
Marco Verratti 24 MCR Advanced Playmaker Support 4 star 163/ 171
Adrien Rabiot 22 MCL Deep Lying Playmaker Defend 3 star 147/ 165
Angel di Maria 29 AMR Inside Forward Support 4 star 161/ 174
Javier Pastore 28 AMC Advanced Playmaker Support 3 star 151/ 159
Neymar 25 AML Inside Forward Support 5 star 190/ 197
Edinson Cavani 30 STC Advanced Forward Attack 4 star 164/ 174
Kevin Trapp 26 GK Goalkeeper Defend 2.5 star 143/ 149
Presnel Kimpembe 21 D (C) Ball Playing Defender Stopper 3 star 141/ 164
Thomas Meunier 25 D (R) WB (R) M (RC) AM (R) Wing-Back Defend 3 star 145/ 147
Thiago Motta 34 DM Anchor Man Defend 3 star 147/ 163
Julian Draxler 23 M (RL) AM (RLC) Inside Forward Any 3 star 153/ 169
Lucas Moura 24 AM (R) Winger Support 3 star 151/ 156
Kylian Mbappe 18 AM (RL) ST (C) Winger Attack 3 star 147/ >170
Alec Georgen 18 D (R) Full-Back Attack 1.5 star 104/ >130
Yuri 27 D (L) WB (L) Full-Back Attack 2.5 star 142/ 144
Christopher Nkunku 19 DM M (C) Advanced Playmaker Attack 2 star 121/ >130
Giovani Lo Celso 21 M (LC) AM (C) Advanced Playmaker Support 2.5 star 131/ >150
Hatem Ben Arfa 30 AM (RC) ST Inside Forward Support 2.5 star 134/ 164
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