81. Critique - Part 3 Our critique. Expropriation of capitalists or the dissolution of the private power War leads to greater weightage of high organic composition spheres in http://www.geocities.com/CapitolHill/Lobby/2379/crit3.htm

III Significance of the tendency of the rate of profit to fall Marx’s analysis Marx went on to show that growing accumulation of capital implies its growing concentration. Thus grows the power of capital, the alienation of the conditions of social production personified in the capitalist from the real producers i.e. the workers. Capital comes more and more to the fore as a social power, whose agent is the capitalist. In this ambiance what was made irreconcilable was the contradiction between the general social power into which capital develops, on the one hand, and the private power of the individual over those social conditions of production on the other. Our critique The scope of operation of the general law of the tendency of the rate of profit to decline was implicit but never explicitly stated. But the scope may be guessed at by considering the fact that the development of stock companies was included within counteracting forces. Translated to present day reality it means inclusion of almost total global capital, excluding a non-significant part, within counteracting forces! Given this meaninglessness of the ‘average rate of profit’, to say that ‘the tendency of the rate of profit to fall’ is ‘the law of capital’ is absolutely farcical. That this farce is widely enacted can possibly be explained as an ideology or apology for bureaucratic or management run capitalism.

82. Composers Forum Objectives The composition Forum is designed to provide student composers to other student composers and composition faculty for feedback and critique. http://www.fiu.edu/~garciao/Composers_Forum.html

COMPOSITION FORUM (Fridays 11:00-12:15 in the Recital Hall) Dr. Orlando Jacinto Garcia Spring 2005 Objectives: The Composition Forum is designed to provide student composers the opportunity to present their works to other student composers and composition faculty for feedback and critique. The Forum is also a time where students can hear lectures, see demonstrations, and be involved in discussions on topics and issues of importance to the student composer. Selected concerts and other related events are an additional component of the Forum. Grading: Composition Forum is a credit course required of all student composers enrolled in Comp III-VI as well as graduate composition students. In order to receive a Passing grade in the course students must attend all required forum meetings and events as well as present a composition at the forum and the student composers recital. Required presentation of composition(s): At the beginning of the semester students enrolled are assigned a Comp Forum period where they will present a work for critique and discussion. The work should be performed live (although a tape recording of a live performance may be substituted for the live performance) - electroacoustic works approved by one or more of the composition faculty are also eligible). The same or another work must be included at the student composers recital being presented during the semester. Works for the student recital must be approved by one of the composition faculty. Performers must be obtained by the student. The name of the approved work and performers name(s) must be submitted to the director of the composition program no later than two weeks prior to the concert date and the work must be heard and approved by one of the composition faculty no less than one week prior to the concert. At the discretion of the faculty, students in the first semester of the program may be exempt from presenting a work at the forum and/or on the student composers concert.

83. Entrez PubMed There is increasing interest in body composition in paediatric research, asdistinct from growth and http://www.ncbi.nlm.nih.gov/entrez/query.fcgi?cmd=Retrieve&db=PubMed&list_uids=1

84. Please Critique Freely, Thanks! [Archive] - Canon Digital Photography Forums The image does not have traditional or formal composition. With regard tothe photo presented for our critique, I would have cropped much tighter such http://photography-on-the.net/forum/archive/index.php/t-1780.html

Canon Digital Photography Forums 'Sharing Knowhow' section Critique Corner PDA View Full Version : please critique freely, thanks! DoctorMoth 15th of January 2002 (Tue), 02:31 PM http://image2.pbase.com/u5/doctormoth/large/964075.Conorferns82900.jpg gandini 15th of January 2002 (Tue), 02:43 PM OK, here goes... What's the objective for this image? What are you trying to communicate, or what is being communicated (intentional or not)? Why is the young man in the photo? Why is he placed low? What is his relationship to his surroundings? Is this a portrait, or a landscape? The image does not have traditional or formal composition. Not that it is a requirement, but if you're going to compose non-traditionally, then there should be a good aesthetic reason for it. Only a master of composition can break the rules of composition (modified Miles Davis quote.) I would have cropped the person much, much tighter. But I'm a tight cropper all the time (too tight sometimes!) Usually the background is only included to the point that it provides some context to the subject. In this case it dominates. Just my thoughts, and please keep sharing!

85. Critique Please - Canon Digital Photography Forums Cute Doggy, so so composition. Deck railing needs a ood power washing. You asked . Unknown plant critique please, ID if you know! http://photography-on-the.net/forum/showthread.php?t=89766

86. Media Critique #14 - Jerusalem Rally On CNN Media critique 14 Jerusalem Rally on CNN Hundreds of thousands rally in supportof Jerusalem. 4) DEMOGRAPHIC composition OF ATTENDEES http://www.aish.com/jewishissues/mediaobjectivity/Media_Critique_14_-_Jerusalem_

16 Elul 5765 / 20 September 2005 Torah reading: Ki Tavo Aish.com Weekly Email - Over subscribers Jewish World jewish society israel diary middle east media objectivity ... jerusalem Society Today Spirituality Family Dating Jewish Literacy Holocaust Studies Torah Portion Shabbat Holidays Western Wall Cam Ask The Rabbi MP3 Audio Site Aish Shopping Programs in Israel About Aish/Donate Email Lists RSS Aish.com delivered handheld devices e-mail New! Aish.com Toolbar by Aish.com Staff Hundreds of thousands rally in support of Jerusalem. CNN treats it like a sneeze. This week, while at least a quarter-million Israelis gathered outside the Old City walls in support of Jerusalem, CNN completely downplayed the event an act that media watchdogs are calling CNN's worst violation of objectivity in recent memory. This critique refers both to CNN's earlier and later report on the rally: http://www.cnn.com/2001/WORLD/meast/01/08/mideast.02/index.html http://www.cnn.com/2001/WORLD/meast/01/08/mideast.04/index.html This critique will examine five points: How many people attended the rally?

87. Maverick Philosopher - Composition And Identity composition and Identity Constantin Brunner Notes Correspondence critique ofAnalytic Philosophy critique of Continental Philosophy http://maverickphilosopher.powerblogs.com/composition_and_identity/

Maverick Philosopher Web Monkey's Tool Box Search This Site! HTML Color Codes Philosopher's Tool Box Athenaeum Library of Philosophy Butchvarov Papers Dennett's Dangerous Idea Internet Encyclopedia of Philosophy ... Stanford Encyclopedia of Philosophy Logician's and Linguist's Tool Box Online Etymology Dictionary Categories Main About Me, My Blog, and its Purposes Aboutness Academe ... You Call This Poetry? Contact William F. Vallicella Subscribe Composition and Identity Titles RSS Composition and Identity Full Content RSS Email Notification Get Posts by Email Recent Posts Against Buddhist Reductionism: Call for Comments Archives Home Apr 2005 E-Mail Policy Civil e-mail containing comments, constructive criticisms, and the like is gladly received, although I cannot promise to answer everything. I will, however, make an honest attempt. Offensive e-mail is deleted unread. Choose your subject headings carefully as I sometimes decide to delete from them. I do not open attached files from unknown parties. If you send a message not addressed to me in particular, I will be tempted to let someone in general answer it. Pith is king and neatness counts. E-mail is subject to posting in whole or in part at my discretion unless the sender requests otherwise. Comments Policy You must be pre-approved to leave comments on this site. If I know you and you have already established your bona fides, then you are in like Flynn, whether or not you hide behind a pseudonym. But if I don't know you, or you have proven yourself to be offensive in the past, then you are out like Stout — unless you reveal your real identity and provide me with some way of verifying it. In other words, no one I don't know will be approved who comments anonymously or pseudonymously. Full statement

88. Vitia » Blog Archive » Back To Class With Crowley While I appreciate the way that Crowley’s critique of composition points to someof the ways in which the mandatory firstyear composition course has served http://www.vitia.org/wordpress/archives/2003/10/17/back-to-class-with-crowley/

Untitled, for Revision Back to Class with Crowley The Knowledge Factory learning can learn something from that first-year writing course, because of the nature of the work. First-year writing is fundamentally different from first-year physics. John at Jocalo Ways of Reading ), and others teach the personal essay, and others like institution is Class mobility is not a necessary reason for the existence of composition, any more than class mobility is a reason for the existence of Physics 101. At the same time, I do am Fair enough. On to Derek Bok and Stanley Aronowitz and some prospectus-writing. This entry was posted on Friday, October 17th, 2003 at 10:46 pm and is filed under General . You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed. Chris Says: October 18th, 2003 at 11:08 pm Mike Says: October 18th, 2003 at 11:25 pm for its approach . The thing is, after I got my MFA and decided I wanted to do a PhD in rhet/comp, it kind of dawned on me that there are other approaches, so I wound up coming to my current institution. papers writers But in any case: thanks for the feedback.

89. Pfau, 'The Voice Of Critique: Aesthetic Cognition After Kant,' Part II - Romanti Part II of The Voice of critique Aesthetic Cognition After Kant by Thomas alternately engaged in its composition or in its reconstruction Music http://www.rc.umd.edu/praxis/philosophy/pfau1/tp1ii.html

Romanticism and Philosophy in an Historical Age The Voice of Critique: Aesthetic Cognition After Kant PART II Thomas Pfau , Duke University II Let me now offer a fuller account of the first of these paradigms. Above all, it insists on the epistemological significance of aesthetic experience, that is, on its ability to "attune" the mind and thus prepare the ground for what Kant had called "knowledge in general." The aesthetic, in other words, is being conceived as a formal rehearsal of the subject's cognitive mobility. Thus the subject of aesthetic experience focuses at first on minimal units of observation—say, a musical motif Let me briefly exemplify. Remarking on the striking lack of thematic, much less melodic, substance in Beethoven's op. 31, no. 2 sonata (also known as "The Tempest"), Carl Dahlhaus notes how that sonata's gradual distillation of its central musical "concept" presupposes a strong dialectic bond between "musical form" and the practice of listening. Both have to be "reflective." In his words, the intelligibility of musical form hinges on "an awareness of the pattern from which it deviates, and through this deviation draws attention to the change in the central category of instrumental music—the concept of the theme. The 'theme' is both an improvisatory introduction and a transitional pattern; instead of being presented in standard exposition, it dissolves into an ante quem and a post quem " (14f.). Arguably, the dominant models of nineteenth-century musical aesthetics and analysis (Hanslick, Riemann, Schenker) are all premised on an active experience of music, one revolving not around the passive reception of sound but demanding the silent, listening isolation of recursive, imitative, antithetical, or otherwise differential patterns in a given composition.

90. DeviantART: ULTIMATE Photography Critique By =Doubtful-Della Speaking of which, if you have received the ultimate critique, do not fret; The parts of photography include the technical aspect, the composition, http://www.deviantart.com/deviation/16857827/

You will not be able to use some of the features of deviantART.com because JavaScript has been turned off in your browser. Please search your browser's Help to find out how to turn JavaScript back on. deviant ART U sername: P assword: Lost Password Become a Deviant Buy Art S earch: Browse Shop Chat Events Forum Services Help Browse without ads: Subscribe to deviantART ULTIMATE Photography Critique A deviation by = Doubtful-Della Zoom In Set as Mobile Wallpaper Artist's Comments Doubtful-Della , deviant since Oct 14, 2003 I compiled this for = 's club, (that I co-founded) I'm posting it here first to work out any bugs that I may have in it. Let me know what you think. Should I add to it? Rephrase it? Delete something? Please let me know. I'm not sure if this is going to wind up being a journal entry or a detailed (with photographs) submission later on. In any case, I'll keep you updated if you wish. Links and references found at bottom of tutorial. On a side note, if you could help get the word out there on this Critique by placing it in your journal, signiture, or just by simply faving it, it will be very much appreciated. Thank you! Please note that this tutorial is focusing on critiquing photography “The whole point of commenting is to express both your positive and negative thoughts on whatever piece; the positive will act as compliments on the artist, while the negative will help them realize their mistakes. When we point out mistakes, we often do not know how to say it constructively, and in the end we tend to skip the negative all together, which is a big no-no. Speaking of which, if you have received the ultimate critique, do not fret; it is not directed to you as a person. Do not take them as personal attacks, and feel all mad and confused. This should be a helpful learning tool.” `

91. Vermont MIDI Project An online music mentoring project, networking over sixty schools where students in grades K12 submit their music compositions for sharing and critique by professional composers, teachers and other students. http://www.vtmidi.org/

1995-2005 Vermont MIDI Project marks the beginning of our 10th year of infusing music composition into the curriculum. The purpose of the Vermont MIDI Project is to encourage and support students in composing and arranging music. A community of professional composers, teachers, pre-service educators, and students engage in mentoring and online discussion of student work. Learn more Membership Partners and Organizations Support Our Efforts ... Opus 11 CD/DVD now available! Sibelius USA is currently supporting a pilot project to bring some schools from across the country into the VT MIDI Project in the fall of 2005. If interested, contact Sandi MacLeod With the goal of improving music education, the Sibelius program and the VT MIDI Project make an ideal team. The readily accessible Sibelius notation software and Sibelius Scorch provide a captivating platform for students to enter, edit, view, share and playback their scores. The Vermont MIDI Project provides online mentoring for student work, live performance of student compositions, and professional development for teachers utilizing Sibelius software. Recent Presentations Hear more about our work at the upcoming presentations: Indiana Music Educators Conference Saturday, January 15, 11:00 am

92. FMC | Major Label Contract Critique Major Label Contract Clause critique. October 3, 2001 The controlled compositionclause limits the amount of mechanical royalties the company is http://www.futureofmusic.org/contractcrit.cfm

Major Label Contract Clause Critique October 3, 2001 download PDF of document Preface In publishing this document we are not attempting to say that these clauses are illegal, nor are we suggesting that artists who sign these contracts do so without excellent representation. What we are saying is this: The majority of these clauses exist in the boilerplate language of the standard contracts offered to artists by each of the five major labels. The majority of artists regularly sign contracts that seem to go against their best interest as a concession for gaining access to the means of production, distribution and promotion that is increasingly controlled by five labels and their parent corporations. Outside of the major label music world many of these clauses are seen as an affront to basic logic. Clause 1: Transference of ownership You own nothing, ever! What the clause says: What the clause means: If you don't recoup the costs necessary to produce, market, and distribute the record, you will never see another penny beyond your advance (unless you wrote some of the songs, and even then it's not probable).

93. Photography, Photo Forums, Digital Camera Reviews, And Photo Critique Photography, photo critique, digital camera reviews and nature photographyphotography photo critique. http://www.usefilm.com/

94. Measurement: A Critique Of The Expression Of Paediatric Body Composition Data -- http://adc.bmjjournals.com/cgi/reprint/85/1/67

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95. Acoustic Rock Song - My Confession (Critique Please!) - Music & Composition Foru Acoustic Rock Song My Confession (critique please!) - Music CompositionForum - Home Recording Connection. http://www.homerecordingconnection.com/forum.php?action=view_thread&id=8432&frm=

96. The Resistant Writer entitled The Uses of composition History, Paine offers a valuable critiqueof the tendency in composition scholarship to figure nineteenthcentury http://jac.gsu.edu/jac/19.4/Reviews/strickland.htm

buy back issues add to the archive contact an editor home The Resistant Writer: Rhetoric as Immunity, 1850 to the Present Charles Paine (Albany: State U of New York P, 1999. 261 pages). Reviewed by Donna Strickland, Butler University In a 1998 JAC interview with Stuart Hall, Julie Drew refers to having heard the "first faint rumblings of what may prove to be a significant backlash against cultural studies . . . in rhetoric and composition." Charles Paine's The Resistant Writer adds a certain level of noise to this rumbling, while, at the same time, demonstrating the continued importance of cultural studies to the field of composition studies. Paine writes a compelling cultural history, and he uses that history as a form of critique that demonstrates the limitations of what he refers to as "composition and cultural studies." By examining the theories of nineteenth-century composition teachers within the context of the rise of print journalism and cultural anxieties over its supposed deleterious effects, Paine's study joins a growing number of recent cultural historiesincluding Miriam Brody's Manly Writing , Kathryn Flannery's The Emperor's New Clothes , and Thomas P. Miller's

97. Learn Field Techniques: Light And Composition With Kerry Drager Online Photo Course Field Techniques Light and composition 8 Weekly CritiqueSessions Helpful feedback is crucial to every developing photographer, http://www.betterphoto.com/photocourses/KRD02.asp

our newsletters . Enter email: Search Site: Home Courses How Our Courses Work Course Categories: ... Join What They're Saying... "I want to again say that I really appreciate your vision and support you offer with the BetterPhoto website. Thanks for taking the time to reach out. I love the site. I'm really enjoying the images and people who create them. You're the man!" - Daniel Email this page to a friend Online Photo Course: Field Techniques: Light and Composition Toll-free order processing: 1-888-58-ORDER (888-586-7337) 8-Week Online Photography Course with Instructor Kerry Drager Take a fun quiz to see if this course is right for you Author of Golden Dream: California from Gold Rush to Statehood Scenic Photography 101 Start Date: Wednesday, October 05, 2005 End Date: Monday, December 05, 2005 Skill Level 4 - Serious Hobbyist to Intermediate Category : Composition and Design Learn from home! - this class is taught via the Internet! Only $267 USD At a Glance: 1. Beginning/Intermediate 2. Outdoor field techniques 3. Survey of subjects

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