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Psychopathic serial killers are a source of infinite public fascination. If best-selling novels, hit TV series and popular films are any indication, you'd think real-life Hannibal Lecters were constantly running amok in the U.S. Thankfully, such offenders are far less prevalent in reality than they are in entertainment — but the disproportionate damage done by violent and even nonviolent psychopaths not surprisingly attracts intense scientific interest as well. On May 11, in fact, the New York Times explored whether psychopaths can be diagnosed as young as age 9.
Another way to figure out what makes the psychopath tick is to contrast him — and they are overwhelmingly male — with other abnormal personalities. In a recent study led by Jean Decety, a professor of psychology and psychiatry at the University of Chicago, researchers looked at a personality trait often confused with psychopathy: sexual sadism.
The Psychopath vs. the Sadist
The typical Hollywood serial killer combines psychopathic traits — cold calculation, lack of empathy, delight in manipulation — with the sadist's joy and erotic pleasure gleaned from the pain of others. But in reality, these traits may be quite distinct. "If you look at movies, there are people that are both — like Hannibal Lecter," says Decety. "I'm not sure that's what we have in the real world."
Decety and his colleagues recently published a brain-scan study of 15 violent sexual offenders, eight of whom were classified as sexual sadists. The research deliberately excluded psychopaths in order to find brain differences unique to sadism.
Participants were shown images that involved either pain or no pain — for example, a picture of a person stabbing a table or another person's hand with scissors, or an image of someone slamming a car door and either hitting or not hitting another person.
When viewing the pictures of pain, the sadists showed greater activation in their amygdala — a brain area associated with strong emotion — compared with the other sexual offenders. Moreover, the sadists rated the pain experienced by the victim as more intense than the nonsadists did. And the more intense the sadists thought the pain was, the greater their activation in another brain region called the insula, which is involved with monitoring one's own feelings and body states.
"When you feel something like disgust, pain, pleasure, even orgasm, the insula plays a critical role to bring those bodily emotions to awareness," Decety says.
Decety's study suggests that sadists seem to be especially tuned in to what their victims are feeling — in fact, they experience it vicariously and are aroused by it. Psychopaths, on the other hand, tend to be indifferent to the emotions of others. "If you live with a psychopath and you cry because that person was unpleasant to you, that probably doesn't matter to him. He is not moved and doesn't care, because he doesn't feel anything about what you feel," says Decety. "The sadists do feel. They understand that the victim is in pain."
Psychopathy vs. Antisocial Personality Disorder
In another new study aimed at elucidating the workings of the psychopathic brain, researchers at King's College London explored the differences between people with psychopathy and those with another dangerous personality type: antisocial personality disorder (ASPD). The Diagnostic and Statistical Manual of Mental Disorders (DSM), psychiatry's diagnostic manual, views psychopathy as basically the most extreme type of ASPD, but increasingly, research suggests that they are separate. "Nobody had ever done [a brain-imaging] study contrasting people with ASPD and psychopathy," says lead author Nigel Blackwood.
Blackwood describes people with ASPD this way: "They're impulsive, irritable and hotheaded. They use reactive aggression like the classic pub-brawl scenario when they see a threat where it may not exist and use violence to 'solve' the situation."
"Once that's done, they might experience some degree of regret or remorse. They might feel guilty. They have lot of anxiety [disorders] and depression and substance misuse," he says. Psychopaths, in contrast, may be equally violent and aggressive — and are also likely to frequently take drugs — but they are remorseless and coldly plan their attacks.
Another difference: both those with ASPD and psychopathy tend to have experienced maltreatment during childhood, but unlike people with ASPD, psychopaths don't have symptoms of posttraumatic stress disorder as a result. Quite the opposite: psychopaths tend to have little anxiety and virtually no fear.
Compared with people with ASPD only, the brain-scan study found that psychopaths had reduced volume in a region called the anterior rostral prefrontal cortex (arPFC) and another area known as the temporal pole. These regions are important for understanding one's own thoughts and feelings as well as the minds of others.
"Both areas are involved in the process of thinking about yourself and other people at the same time to work out their intentions, emotional state and desires," Blackwood says. While psychopaths clearly require some sense of what others are thinking and feeling to allow them to manipulate people, damage here could explain their own lack of emotion and indifference to that of their victims.
Decety's work and that of others had previously shown differences between psychopaths and normal people in a nearby prefrontal area, the ventromedial prefrontal cortex, or vmPFC. "That region is [used] to combine emotion and cognition to make decisions," says Decety, noting that people with brain damage there may become pathological gamblers or make other repeatedly bad choices. Without the vmPFC, negative consequences don't seem to affect behavior.
Psychopaths, of course, are well-known for their resistance to punishment. Their lack of fear means they don't worry about physical pain or harm, and their lack of concern for the feelings of others means social punishment doesn't work either. If you don't care if you hurt or disappoint people — and aren't bothered by rejection — you won't feel ashamed or guilty or embarrassed, and consequently won't be motivated to avoid those feelings.
When Does Psychopathy Begin?
The roots of all types of antisocial behavior appear to be laid down in early childhood, with genetic predispositions interacting with nurture — or typically, in these cases, a lack thereof — to shape development.
Some children seem to be born with slight antisocial tendencies: they are difficult to discipline and have impaired self-control. Indeed, to warrant a diagnosis of adult ASPD, antisocial behavior must begin early in life, in what is labeled childhood conduct disorder (CD) and characterized by persistent defiant and sometimes cruel behavior.
Most children with CD will not grow up to become psychopaths, however, and at least one-third outgrow the diagnosis entirely; they don't even develop ASPD. But a smaller group show an early lack of fear and indifference toward others that is much more troubling. These children, who are characterized as having callous/unemotional traits, are at greatest risk for becoming psychopaths.
Sexual sadism also seems to have early developmental roots. "What I would predict is that this kind of behavior has its origins very early in infancy. The way babies are treated or abused may have long-term consequences for the development of the pathways for pleasure and pain," Decety says.
When young children, who are dependent on their caregivers, are abused, they have little choice but to love the people who are hurting them. "If the caregiver is inflicting pain and you also love that person, a weird relationship can develop where pain becomes pleasurable," says Decety. "What is important to realize is that the pathways in the brain that are involved in pain processing and the pathways involved in pleasure are linked. They have to overlap to some extent. That's why if in development something goes wrong and you mix the two, you [may] seek pleasure from pain."
Can Psychopathy Be Cured?
Adult psychopaths don't fear the pain of punishment, and similarly, they aren't bothered by social pain. Children with callous/unemotional traits are the same and, as a result, are extraordinarily difficult to manage. While simple conduct disorder can result from having antisocial tendencies and being raised in a violent or chaotic home — and can therefore often be helped by remedying that situation — CD with callous/unemotional traits seems to have a stronger genetic basis and is more intractable.
"Treatment programs for conduct disorder are very good, but the callous/unemotional group doesn't respond to things like punishment, the naughty step, or time out," says Blackwood. In the same way, psychopaths are much harder to reform than adults with ASPD.
Because they don't respond to punishment, reward-based treatments work best for callous/unemotional children, even as they seem counterintuitive for the most badly behaved kids. "We have to open our eyes about what the neuroscience tells us," says Decety. "We have intuitions [about what will work], but they are often wrong and not accurate."
As a result, Blackwood and most other experts support separate diagnoses to emphasize the differences between the hotheaded adult antisocial personality and the cold-blooded psychopath, or in children, those with ordinary conduct disorder and those with CD plus callous/unemotional traits.
"In the DSM-5 [the pending update of the DSM], it looks reasonably clear that there will be specifications for CD with or without callous/unemotional traits, but there is no equivalent for adults. It's still lumped together as ASPD, and I think it's important to tease out these groups," says Blackwood. That will be especially important given that labeling a child as a potential psychopath could itself have severely negative effects on his future.
Of course, these classifications say nothing about why one person becomes a psychopath while another becomes antisocial, or why some sadists develop a taste for masochism too. Decety's research didn't include sadists who weren't sex offenders — but he would like to study the differences between people who engage in consensual and nonconsensual behavior. Researchers are also studying the life course of children identified with CD and callous/unemotional traits. Finding out what differentiates the group that becomes psychopathic from those who manage to master or outgrow these traits might help prevent some of the worst criminal behavior.
Then, perhaps, the most gruesome fiction will no longer involve real-world inspiration.


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IMPORTANT: HOW TO USE THIS INFORMATION: This is a summary and does NOT have all possible information about this product. This information does not assure that this product is safe, effective, or appropriate for you. This information is not individual medical advice and does not substitute for the advice of your health care professional. Always ask your health care professional for complete information about this product and your specific health needs.
(bell-a-DON-a al-KA-loyd/FEE-noe-BAR-bi-tal)
USES: This product contains several medications: belladonna alkaloids (made up of the drugs hyoscyamine, atropine, and scopolamine) and phenobarbital. Belladonna alkaloids help to reduce the symptoms of stomach and intestinal cramping. They work by slowing the natural movements of the gut and by relaxing the muscles in the stomach and intestines. Belladonna alkaloids belong to a class of drugs known as anticholinergics/antispasmodics. Phenobarbital helps to reduce anxiety. It acts on the brain to produce a calming effect. Phenobarbital belongs to a class of drugs known as barbiturate sedatives.
OTHER USES: This section contains uses of this drug that are not listed in the approved professional labeling for the drug but that may be prescribed by your health care professional. Use this drug for a condition that is listed in this section only if it has been so prescribed by your health care professional.
This drug may also be used to relieve the symptoms of irritable bowel syndrome.
HOW TO USE: Take this medication by mouth as directed by your doctor. If you are taking the immediate-release tablets or liquid form of this medication, take it usually 3 to 4 times a day or as directed by your doctor.
If you are using the liquid, carefully measure the dose using a special measuring device/spoon. Do not use a household spoon because you may not get the correct dose.
If you are taking the extended-release tablets, take them usually every 12 hours or as directed by your doctor. Do not crush or chew extended-release tablets. Doing so can release all of the drug at once, increasing the risk of side effects. Also, do not split the tablets unless they have a score line and your doctor or pharmacist tells you to do so. Swallow the whole or split tablet without crushing or chewing.
Antacids lower the absorption of this medication. If you are taking an antacid, take it at least 2 hours apart from this medication.
The dosage is based on your medical condition and response to treatment. In children, the dosage is also based on weight.
Do not increase your dose or take this drug more often without your doctor's approval. Your condition will not improve any faster and the risk of serious side effects may increase.
This medication may cause withdrawal reactions, especially if it has been used regularly for a long time or in high doses. In such cases, withdrawal symptoms (such as anxiety, muscle twitching, shakiness, dizziness, worsening weakness, nausea, vomiting) may occur if you suddenly stop using this medication. Withdrawal from the phenobarbital can be severe and include seizures and (rarely) death. To prevent withdrawal reactions, your doctor may reduce your dose gradually. Consult your doctor or pharmacist for more details, and report any withdrawal reactions immediately.
When this medication is used for a long time, it may not work as well. Your doctor may need to increase your dose or change your medication. Talk with your doctor if this medication stops working well.
Along with its benefits, this medication may rarely cause abnormal drug-seeking behavior (addiction). This risk may be increased if you have abused alcohol or drugs in the past. Take this medication exactly as prescribed to lessen the risk of addiction.
Tell your doctor if your condition persists or worsens.
SIDE EFFECTS: Dizziness, drowsiness, weakness, blurred vision, dry eyes, dry mouth, nausea, constipation, and abdominal bloating may occur. If any of these effects persist or worsen, tell your doctor or pharmacist promptly.
To relieve dry mouth, suck (sugarless) hard candy or ice chips, chew (sugarless) gum, drink water, or use a saliva substitute. To relieve dry eyes, consult your pharmacist for artificial tears or other eye lubricants.
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Remember that your doctor has prescribed this medication because he or she has judged that the benefit to you is greater than the risk of side effects. Many people using this medication do not have serious side effects.
Tell your doctor immediately if any of these unlikely but serious side effects occur: decreased sweating, dry/hot/flushed skin, fast/irregular heartbeat, loss of coordination, slurred speech, fainting, mental/mood changes (such as confusion, agitation, unusual excitement, depression, rare thoughts of suicide), difficulty urinating, decreased sexual ability, slow/shallow breathing.
Tell your doctor immediately if any of these rare but serious side effects occur: signs of anemia (such as unusual tiredness, pale skin), signs of infection (such as fever, persistent sore throat), easy bruising/bleeding.
Get medical help right away if you have any very serious side effects, including: eye pain/swelling/redness, vision changes (such as seeing rainbows around lights at night).
A very serious allergic reaction to this drug is rare. However, seek immediate medical attention if you notice any symptoms of a serious allergic reaction, including: rash, itching/swelling (especially of the face/tongue/throat), severe dizziness, trouble breathing.
This is not a complete list of possible side effects. If you notice other effects not listed above, contact your doctor or pharmacist.
In the US –
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In Canada – Call your doctor for medical advice about side effects. You may report side effects to Health Canada at 1-866-234-2345.
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Before using this medication, tell your doctor or pharmacist your medical history, especially of: personal or family history of glaucoma (angle-closure type), enlarged prostate, problems with urination due to a blocked urinary tract, other stomach/intestinal problems (such as slow gut, blockage, ulcerative colitis, infection, little/no stomach acid, ileostomy/colostomy patients with diarrhea), overactive thyroid, heart problems (such as coronary artery disease, angina, congestive heart failure, fast/irregular heartbeat, heart problems due to severe bleeding), high blood pressure, heartburn problems (such as acid reflux, hiatal hernia, esophagus problems), certain nervous system problem (autonomic neuropathy), myasthenia gravis, liver problems, kidney problems, a certain blood disorder (porphyria), restlessness or excitement during past use of phenobarbital, breathing/lung problems, drug/alcohol abuse, mental/mood conditions (such as depression, thoughts of suicide, psychosis).
This drug may make you dizzy or drowsy or cause blurred vision. Do not drive, use machinery, or do any activity that requires alertness or clear vision until you are sure you can perform such activities safely. Avoid alcoholic beverages.
The liquid form of this product may contain alcohol or sugar. Caution is advised if you have diabetes, alcohol dependence, liver disease, or any other condition that requires you to limit/avoid these substances in your diet. Ask your doctor or pharmacist about using this product safely.
This medication may make you sweat less, making you more likely to get heat stroke. Avoid doing things that may cause you to overheat, such as hard work or exercise in hot weather, or using hot tubs. When the weather is hot, drink a lot of fluids and dress lightly. If you overheat, quickly look for a place to cool down and rest. Get medical help right away if you have a fever that does not go away, mental/mood changes, headache, or dizziness.
Older adults may be more sensitive to the side effects of this drug, especially drowsiness, confusion, unusual excitement, constipation, and urination problems. Drowsiness and confusion can increase the risk of falling.
Children may be more sensitive to the side effects of this drug. This drug can often cause excitement instead of drowsiness in young children.
This medication is not recommended for use during pregnancy. It may harm an unborn baby. Consult your doctor for details. Hormonal birth control products (such as pills, patch, ring) may not be effective if taken with this medication (see also Drug Interactions section). Discuss reliable forms of birth control with your doctor.
This medication passes into breast milk and may have undesirable effects on a nursing infant. Consult your doctor before breast-feeding.
DRUG INTERACTIONS: See also the How to Use section.
The effects of some drugs can change if you take other drugs or herbal products at the same time. This can increase your risk for serious side effects or may cause your medications not to work correctly. These drug interactions are possible, but do not always occur. Your doctor or pharmacist can often prevent or manage interactions by changing how you use your medications or by close monitoring.
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Some products that may interact with this drug include: etravirine, potassium tablets/capsules, rilpivirine, sodium oxybate, drugs that are affected by slowed gut movement (such as metoclopramide, pramlintide).
This medication may affect the absorption of other products such as levodopa, griseofulvin, certain azole anti-fungal drugs (ketoconazole, itraconazole), slowly dissolving forms of digoxin, among others.
Many other drugs that also cause dry mouth and constipation may interact with anticholinergics/antispasmodics such as belladonna alkaloids. Tell your doctor or pharmacist about all the products you take, including: amantadine, other anticholinergic drugs (such as atropine, glycopyrrolate, scopolamine), other antispasmodic drugs (such as clidinium, dicyclomine, hyoscyamine, propantheline), certain drugs used to treat Parkinson's disease (such as benztropine, trihexyphenidyl), certain drugs used to treat irregular heart rhythms (such as disopyramide, quinidine), MAO inhibitors (isocarboxazid, linezolid, methylene blue, moclobemide, phenelzine, procarbazine, rasagiline, selegiline, tranylcypromine), phenothiazines (such as chlorpromazine), tricyclic antidepressants (such as amitriptyline).
Other medications can affect the removal of phenobarbital from your body, which may affect how this product works. Examples include disulfiram, drugs to treat seizures (such as phenytoin, valproic acid), St. John's wort, among others.
Phenobarbital can speed up the removal of many other medications from your body, which may affect how they work. Examples of affected drugs include cyclosporine, doxycycline, estrogens, metronidazole, ranolazine, voriconazole, "blood thinners" such as warfarin, corticosteroids such as prednisone, calcium channel blockers such as felodipine/nimodipine, among others.
This medication may decrease the effectiveness of hormonal birth control such as pills, patch, or ring. This could cause pregnancy. Discuss with your doctor or pharmacist if you should use additional reliable birth control methods while using this medication. Also tell your doctor if you have any new spotting or breakthrough bleeding, because these may be signs that your birth control is not working well.
Tell your doctor or pharmacist if you are taking other products that cause drowsiness or slow/shallow breathing including alcohol, antihistamines (such as cetirizine, diphenhydramine), drugs for sleep or anxiety (such as alprazolam, diazepam, zolpidem), muscle relaxants, and narcotic pain relievers (such as codeine).
Check the labels on all your medicines (such as allergy or cough-and-cold products, diet aids) because they may contain ingredients that cause drowsiness or a fast heartbeat. Ask your pharmacist about using those products safely.
This medication may interfere with certain laboratory tests (including gastric secretion tests), possibly causing false test results. Make sure laboratory personnel and all your doctors know you use this drug.
Phenobarbital is very similar to primidone. Do not use medications containing primidone while using phenobarbital.
This document does not contain all possible drug interactions. Keep a list of all the products you use. Share this list with your doctor and pharmacist to lessen your risk for serious medication problems.
OVERDOSE: If overdose is suspected, contact a poison control center or emergency room immediately. US residents can call their local poison control center at 1-800-222-1222. Canada residents can call a provincial poison control center. Symptoms of overdose may include: large pupils, hot/dry skin, fever, severe dizziness, severe drowsiness, severe thirst, mental/mood changes (such as confusion, unusual excitement), fast/irregular heartbeat, muscle weakness, inability to move (paralysis), slowed breathing, fainting, inability to wake up, seizures.
NOTES: Do not share this medication with others.
Management of digestive disorders may include lifestyle changes such as stress reduction programs, exercise, stopping smoking, and dietary changes, in addition to medication. Talk to your doctor or pharmacist about lifestyle changes that might benefit you.
If this medication is used for an extended period of time, laboratory and/or medical tests (such as blood counts, liver function tests) may be performed periodically to check for side effects. Consult your doctor for more details.
MISSED DOSE: If you miss a dose, take it as soon as you remember. If it is near the time of the next dose, skip the missed dose and resume your usual dosing schedule. Do not double the dose to catch up.
STORAGE: Store at room temperature between 68-77 degrees F (20-25 degrees C) away from light and moisture. Avoid freezing the liquid. Do not store in the bathroom. Keep all medicines away from children and pets.
Do not flush medications down the toilet or pour them into a drain unless instructed to do so. Properly discard this product when it is expired or no longer needed. Consult your pharmacist or local waste disposal company for more details about how to safely discard your product.
Information last revised October 2014. Copyright(c) 2014 First Databank, Inc.

subset: commoncrawl


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Monday, March 5, 2012
Dwimmermount on Google+
Over the course of the three hours, the players explored maybe a quarter of the first level of the dungeon, encountering mostly empty rooms with weird stuff in it, along with the occasional group of orcs and some giant centipedes. I felt a little bad about this, because, since I really wanted to wow the players with the mystery and majesty of my megadungeon and instead they spent a lot of time poking around dusty rooms filled with stuff that made no sense to them. Of course, that's by design. When I began the creation of Dwimmermount back in 2008, I explicitly did so according to the guidelines in Volume III of OD&D, which means lots of rooms devoid of monsters or obvious treasures. Now, I hope that even these "empty" rooms are nevertheless intriguing to players, but one never can tell. And, since this was my first time using Google+ (or playing with any of these people), I wasn't sure how well it'd be received.
By all reports, though, the session went well. Poor Burgoth died in the closing minutes of the session, when he stepped out from behind cover to cast sleep on some orc archers. He got skewered by their arrows, making him the first casualty of Dwimmermount's online existence. I intend to make Google+ sessions a weekly occurrence, though I still haven't worked out all the details of scheduling or deciding how many people can participate (let alone who they will be). If you're someone with a lot of experience with online play, feel free to offer advice and suggestions in the comments below. Neophyte at this that I am, I could certainly use any and all suggestions you have to offer.
37 comments:
FWIW, I'd love to at least follow/watch a session in silence prior to running the demo at garycon.
ReplyDeleteRepliesLet's try to make that happen! I justified giving myself an obviously much-coveted spot in this game by saying I needed the experience to run the games at the Brooklyn Strategist, and that goes double for you because I had already been a player in the PbP post. (James, "ill-fated" doesn't apply - PbP games are as shortlived as DCCRPG characters, yours generated a lot of enjoyment and insight on its trip through the funnel!)
While I don't know if I would say I have a LOT of experience, I've been tooling around on ConstantCon for a bit, and I think that Jeff Rients' strategy of compiling a list of potential players and then selecting a random party of 4 at each session seems to work well. Especially for a game that lots of people would probably be interested in playing, as I assume will be the case here.
ReplyDeleteHere's a list of tips I've learned over the couple dozen OD&D sessions I've run:
* Get the tech figured out before the game
* 6 Players + DM seems to be the max for G+ to function properly with full cameras and audio
* If some's mike it picking up feedback, it's the guy where can't hear the feedback's mike
* Use http://www.twiddla.com/ - it's awesome
* Don't worry too much if someone get's booted by G+ for one unexpected reason, but remember to invite them back- Replies
Seriously considered doing this as a backer reward in order to handle scarcity and scheduling. What do others think?
DeleteHonestly, I think selling play access for something other than charity would feel really contrary to the DIY spirit of Constantcon and FLAILSNAILs.
But that's just my personal opinion, there is no executive committee and others may feel very differently (though there was a recent G+ conversation spanning 300 comments were the atmosphere on the whole tilted pretty heavily against "pay to play" as a concept).
* Twiddla for whiteboarding (they will give you a free account if you're gaming)
* Google spreadsheets for PC roster, diary (the only way I
can track game time)
* Keep the sessions to 2-3 hours
* Have players mute when not talkingRepliesI'd love to crowdsource a spreadsheet to handle a roster everyone could fill in to say "here are the dates and times when I am available for Dwimmermount gaming" and "I'm interested in just playing with James, or playing with anyone, or running a session" and "here's my G+ handle" and "just in case this is the town I'm in if you're nearby I do/don't want to game in person." Slots in any one game are finite but it'd be great to let the potentially infinite interest in playing self-organize different sessions any time of the day or night.
DeleteGoogle spreadsheets are shareable. It is easy even to put forms in front. If you want to discuss this project a bit more, email me at firstname.lastname@example.com.
And if google docs won't work, there are other options.
In terms of advice on running a game, I would say there is a current capacity problem in that the players way out number the GMs for the popular games (a good kind of problem). I've found that running more than 4-5 players a session can be a real bother and if you couple that with the large interested pool coming up with a system on who's in the play group becomes a priority.
Personally I like a little continuity in the play group balanced with new blood now and again so I basically did this:
1. Created an "inner pool" of nine players that I both enjoy and knew would be consistently interested in showing up for a weekly game (and it helps to have a certain day and time scheduled).
2. Each week I put out an announcement on G+. Depending on my mood I allot 3-5 seats to the inner pool and 0-2 to new players. I then draw out of the hat the names of each and announce them.
3. Any inner pool player that wanted in but didn't get picked gets automatic seating at the next session. (This means I tend to be picking a lot fewer names than step two seems to suggest.)
The system has worked pretty well so far. I end up with a core of consistent players with enough new blood to keep it fresh. And it pretty much cuts down on flakiness (previously I had a lot of no shows when I just had a longish waiting list that I would randomly dice for).RepliesThe desire to have an illustrator-in-residence (because it's awesome when game art reflects actual play) and an Adept+ backer (because Autarch's experience suggests that you can get game art that really speaks to fans by having them help choose its subjects) be part of each session will tend to lead to an "inner pool" so I'm glad it's a good idea for other reasons. I like the idea of James choosing other people for the inner pool that he knows he'll enjoy playing with- that'd make it more enjoyable for me as a participant as well.
I'm really interested in this topic. I have run games over text chat with a die roller, but that was long ago and I'd like to do something similar.
How did you handle die rolls? Did you use some online die roller, honor system, or something else?
I like the suggestion of Twiddla, that looks easy to use. I've looked at some of the free virtual game table apps, but sorting them out seemed to be too daunting for me to get into right now.RepliesTwiddla can handle die rolls. All you have to do is enter "d6" (or whatever number you want) into the chat window. But mostly we use an honor system.
There is a second whiteboard that I like better Dabbleboard. The accounts are free and you can save the map between sessions.
Both Twiddla and Dabbleboard helpfully have graph paper overlays.Having used Dabbleboard a few times, I have to disagree with you here. It is clunky and limited. Since it treats each figure drawn as a separate object, it is extremely tricky to draw maps. It also lacks the dice functionality, which I greatly appreciate.
Play around with both beforehand, James, and you'll soon determine which you prefer.
Twiddla is ok especially if you are fine with the "flowchart" style of mapping.
You can get on there yourself and mess with with it so you can draw your own.
If you are interested in trying it out, here's a short tutorial I whipped up for G+ gamers:
http://dndwithpornstars.blogspot.com/2011/08/another-useful-toy-for-playing-on-line.htmlRepliesDoes Twiddla save maps? I'd love to see the one we generated to add to the layers of hints players can glean from session summaries and player-made maps.
Less univerally relevant tips for G+ gamers:
- Zak is a dab hand at killing things with ventriloquism. Locfir recommends having his PCs in your party.
- Locfir's Man had an awesome name and profession Zak whipped up in impressively no time at all using Vornheim but Locfir refused to use it because he is an elven racist. I was hoping the human PCs in the party would keep track of this poor candlemaker's individuality but no such luck.I map like my 1 year old son, so twiddla is fine. Twiddle does save maps (I've posted some on my blog).
There are things about the drawing interface that still bug me, but over all, it works well enough for my players.
There is a graph paper mode, but that's too limiting for me.
My suggestions for G+ Gaming.
Aside from scheduling and availability of players,
I'd suggest using some of the current online tools to manage the actual game - I'm using Obsidian Portal for one of my games - www.obsidianportal.com (my game is http://www.obsidianportal.com/campaign/expedition-to-the-razor-cliff/wikis/main-page)
This can have th character roster and henchmen, in game notes from the players, places for the GM to list treasure, easily accessible to everyone playing.
I know of two programmers who are working on virtual tabletops for G+ There's Dragons for Dinners (https://plus.google.com/u/0/109168817752832780219/posts) by Charles Jaimet. I've tested this app twice, and it makes a real difference to playing the game. He's hoping to release it into the wild after bit more beta testing. It includes a dice roller, maps, player icons, chat, plus integrated google stuff like the video chat and sound.
The other is Tabletop Forge (https://plus.google.com/u/0/110771920494591644897/posts) I haven't tested it yet, but it offers some of the same functionality as Dragons for Dinner.
Also, as one of the survivors of the play by post game, i'd be interested in venturing back into Dwimmermount, and will be paying attention when/if info is forthcoming.
my g+ btw is https://plus.google.com/u/0/116967487448793199128/postsI ran an Eclipse Phase campaign for about a year via Skype and GoogleDocs. Here follow seven Lessons Learned.
1) Have patience.
Technical difficulties come and go. Schedules will vary according to the season, local holidays, time zones, etc. Sometimes you must tolerate background noise such a spouse watching television or a loud child. Have patience.
2) Trust your players.
Roll dice on the honor system. Other methods just require too much overhead to deserve the effort.
3) Keep everything on-line.
Use Google Docs or some work-alike to keep everything on-line: character sheets, play calendars, session notes, character lists, maps, etc. Share them with broad permissions. Encourage players to update and contribute outside the game sessions. You can update logistics tracking away from the table, so to speak.
4) Make video optional.
Video eats bandwidth. Having a screen full of talking heads doesn't necessarily add to the game. Do you really want to know that one player, while awaiting his or her turn, left the table to fold laundry or change a diaper? Or even more likely, the cat that decided to point its tail at the camera won't delight anyone.
Avoid the distraction and play audio-only.
5) Record the audio.
(Probably easier in Skype than in Google+)
Nothing proved more helpful to me as a GM than recording the audio stream for later review. Get the permission of everyone involved before you push the button. Provide copies to each person who asks. Try very hard to get separate speakers on separate tracks.
6) Use a headset.
Even a cheap headset works better than anything but a high-quality microphone or webcam. Built-in microphones usually don't deserve the trial.
7) Have patience.
Repeated on purpose.Rewritten and no doubt improved after the first attempt vanished
I ran a year-long Eclipse Phase campaign via Skype and Google
Docs. Here follow the lessons learned.
1) Have patience.
Technical problems come and go. Scheduling conflicts vary by
season. Family members make un-mutable background noise. Cats will sit on keyboards. Players will take off-line vacations. Emulate Job.
2) Video proved more distracting than helpful.
Not every player will have a high-speed fiber line. Video eats
bandwidth. A screen full of talking heads helps less than you think. Voice tone communicates boredom or puzzlement as well as
facial expressions. Background events such as a player folding the laundry or changing a diaper can happen simultaneously with play only if the other players don't get distracted by the sight. Seriously--do you want to require players to hire a babysitter for the sake of your game, or would you rather make it possible for a player to just hold their infant at the table?
3) Keep everything on-line and shared.
Character sheets, maps, session notes, game-time calendars,
real-world calendars, dramatis personae, places visited, all of it belongs on-line. Share the notes as widely as possible--including character sheets. Everyone can update a list of places visited or people met with their own impressions. If done in character, this document turns into a prop for later play.
4) Record the audio of each session as a memory-aid.
Get everyone's permission first and establish a method to share the results. Try to record each speaker on a separate track. This might prove technically easier for Skype than for Google+. Recording can establish who said what when, what player has what clues, etc. They also entertain listeners during long commutes.
5) Reserve game sessions for actual play.
- Troubleshoot technical difficulties in advance.
- Handle overhead out of play time.
Rules questions, in-game logistics, etc., all of it can happen "away from the table" via chat, email, or in the commmon
documents' change logs. Keep session time for actual play.
6) Play session length trades off with scheduling and with pace.
- Short game sessions ease scheduling, but retard game pace.
If you play weekly for ninety minutes, you have a good chance of finding a common window in everyone's schedule. You also have about (90/N) minutes for each of N players, including the GM. Parallel plot lines or individual attention will further slow pacing.
- Long game sessions speed game pace, but prove hard to schedule.
If you play weekly for one hundred & eighty minutes, you have
twice as much time per player as in the previous example. You also have to find a larger common block of time among all schedules. Good luck.RepliesJay,
Have you tried recording your gaming sessions with Audacity? It is a free open source program that I've used to record audio from the Internet. Here's a link: http://audacity.sourceforge.net/
It would record the sound that comes out of your speakers, (or headphones), just fine and the audio quality is good. You can export the audio files to different formats, like .mp3, .wave & .oog
I'm not sure if you could record separate speakers on different tracks, but then I wasn't aware Skype had that capability.Yeah, I considered doing exactly that. I used Audacity when I did a Delta Green fiction podcast some years ago, and I know the program fairly well. I used it to post-process the raw audio into something with consistent levels and less feedback.
IIRC, I used a program called MP3 Skype recorder (?) to create the Skype session recordings, which I think Ross Payton of Role-Playing Public Radio recommended it. It played fairly nicely with Skype on Windows. This meant I didn't have to any Linux-side device hacking to make it work, and that reduced the pain-in-the-neck count for the task.Two more points occur to me.
7) Set up a script to prepare your computer for play. I.e., run it immediately on log-in instead of your usual start-up. It should open all the relevant web sites and documents, stop all irrelevant programs, and arrange all tabs in the right windows on the right workspaces. Don't do this by hand, and run it before the session starts. Get help writing the script if you need it, and err on the side of doing less. Include only what you know you will need.
8) Use Google Earth if it has imagery or overlays for the period and area of your game's setting. Do not let your players use G.E. unless their characters have access to something in-setting that's comparable. As a GM, you can easily describe what they see from G.E., but your game will slow down if you as the GM must ask the players what they look at in G.E..
Exception--in Eclipse Phase, one PC built a simulated space that recreated the Paris Opera House. We all used G.E. and Google Images to understand what the PC had built in virtual reality. In the same game, we discussed a cross-country route in-character using Google Mars for trip planning. In both cases, the player did a great deal to create the game world.
G.E. also works just fine for fantasy wildernesses. Just pick a part of Earth with matching terrain, placemark it, and never tell the players that their characters hiked through the Schwarzenwald, not Mirkwood.
- AnonymousMarch 7, 2012 at 6:16 AM
Sorry, a late reply, I've been in the hospital with our new baby daughter :)
So, I've been playing in P&P's Google+ games. Here's a quick summary:
1. Dice rolls. We roll real dice and trust each other to not cheat. (I feel that this has been working great.) Some people have used the dice roller in Twiddla if they are lacking dice for that session.
2. Mapping. We use Twiddla. To "save maps", just take a screenshot at the end of the game, crop out the Twiddla window leaving the bare map, and load that in as an image on a fresh whiteboard at the start of the next game. That has been working terrifically for us.
3. Recording sessions. Sometimes someone will be motivated to write a summary and post it to the KnKA members-only thread for the game. There is usually always a recording made however.
Video - http://vimeo.com/album/1747378 hosted on Vimeo since you can upload <= 500 MB videos using the free account.
Just audio - http://dl.dropbox.com/u/46445073/giants.xml. I write the pod-feed by hand.
Recording method - http://plankhead.com/blog/2252/how-to-record-a-google-hangout-on-mac-os-x-for-free-with-free-software + my own flow for editing/getting it below 500MB.
4. Who plays. We have a core party who plays every week. We often postpone if 2 or more players can't make it. If one player can't make it we just press on (character sheets often available in a dropbox share). - AnonymousMarch 7, 2012 at 6:30 AM
A couple of posters have mentioned recording the sessions - at least the audio. It's a tricky business and requires practice. If you try it for the first time with an important game you will mess it up! :)
For Google+ audio you will need a method to record both mic + system sound, perhaps looping both through a software mixer (e.g. as per the "how to record a Google+ Hangout" link I provided in my previous post, if you were using OS X).
If that doesn't sink in, and you try recording it anyhow, and you only get your voice, or you don't get your voice but you get the other voices, the above explanation is the reason! :)


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I baked the cake in a smaller, skinnier tin. It turned out just right. I made the caramel creamier and softer and set it in a separate tin. I sliced everything up, assembled it easily and covered it with a glossy layer of chocolate. Because I wanted to keep that shiny layer of chocolate for photographs I made the mistake of leaving the cake out in the open in my warm kitchen for more than half the day while I was busy with some wedding planning crap. And I returned to DISASTER. My shiny, pretty cake had literally flopped. The caramel had softened slightly in the warmer temperature, which I should have known (and have been kicking myself for ignoring), and because my cake stand is slightly tilted, the caramel layer had started to slide to one side, making HUGE, ugly cracks in the top of my ganache layer. A lot of swearing ensued. Followed by a lot of desperate attempts to press the ganache layer back together with my hands making the situation even worse, which is why you can see that the surface of the cake went from a shiny top layer (as seen in the process photos at the bottom of this post), to the rough, mottled mess that you will notice in the other couple of photos I was barely able to salvage from this situation. Ugh.
The good news is, the cake tastes pretty bloody good. Pretty much as close to being a twix cake as I had hoped. At least it achieved that in taste, even if it failed in looks. Just DON'T leave it out at room temperatures or warmer for many, many hours like silly me. I know it looks like a LOT of caramel on there. I won't lie, there is quite a lot of caramel because I wanted to make the ratios similar to the actual Twix bar, but the cakes are pretty small (together the two cakes are less than half the size of the Tim Tam Cake) and the caramel is salted to help balance it out. I also tried to reduce the sugar in the cake to stop it from being sickly sweet. But still it's a lot of caramel for one mouthful of cake so a small slice of this cake is more than enough to satisfy. I just wish I had some decent photos of it to share with you, I very nearly didn't post this recipe but then I would have had nothing to celebrate this week with. Oh well, it almost seems appropriate that I celebrate a blog anniversary with a little bit of rage and semi-fail cake, I always said that I would share my baking failures along with the successes.
I tend to forget that I have no luck when caramel is involved, and everything gets incredibly messy in my kitchen when there's chocolate. After those three futile attempts at this cake I admitted defeat, there was no way I had the time or energy to try again, especially when I got so close on the last one! Yep, it might be a while before I can fully enjoy a Twix bar again. But maybe you will have better luck than I did, since you can learn from my mistakes. It's a great cake for a Twix or caramel lover, and not too hard to assemble. Sure the caramel can be a little scary for a beginner and you need a sugar thermometer for it, but if you have all the equipment prepared it's very straightforward. And totally worth it when you get to taste that creamy, smooth caramel. Anyway, here's to another year of sharing my recipes (and sometimes a little rage)!
Twix Cake
(makes two small cakes, serves 8-10, salted caramel recipe adapted from David Lebovitz's recipe, cake adapted from my regular yellow cake recipe)
For the cake:
90g (about 3/4 cup) plain flour (all-purpose)
1 tsp baking powder
1/8 tsp salt
60ml (1/4 cup) milk
1/2 teaspoon vanilla extract
60g (1/4 cup) sugar (preferably caster/superfine)
60g (1/2 stick) unsalted butter, softened
1 medium egg
For the caramel: (note, make sure you read David Lebovitz's post for tips if you are new to making caramel)
1 cup heavy cream (use pure/pouring cream in Australia)
1/2 teaspoon vanilla extract or bean paste
Heaped 1/2 teaspoon sea salt flakes
1/2 cup (160 g) light corn syrup or golden syrup (I used Lyle's Golden Syrup)
1 cup (200 g) sugar
4 tbsp (60 g), butter, cubed, at room temperature
For the milk chocolate ganache:
200g (7 oz) milk chocolate, finely chopped (please use good quality chocolate)
150ml (2/3 cup) pure/pouring cream (or heavy whipping cream in the US, min 35% fat unthickened)
Optional: crushed Twix bars to place between the cake and caramel, to give it some crunch
Grease and line two 20cm x 10cm (8x4inch) loaf tins (standard sized tin, it actually measured closer to 21x11cm when I checked it) with baking paper. If you only have one tin available, you will have to bake the cake first and then reuse the tin for the caramel. Prepare the cake; preheat oven to 180°C (350°F). Combine flour, baking powder and salt in a medium bowl and set aside. Mix milk and vanilla together in a measuring jug.
Using an electric mixer on low speed, beat sugar and butter in a large bowl until blended. Increase speed to high and beat for 2 mins or until pale and creamy. Reduce speed to medium, add egg and beat well until smooth. Alternately add flour mix and milk mixture, beginning and ending with flour mixture (I did it by adding 1/3 of of the dry mixture followed by 1/2 of the wet mixture at a time). Beat until smooth, occasionally scraping bowl with a spatula. Pour batter into one of the prepared tins, smooth top with a spatula and bake for 20-25 minutes or until a skewer into the centre comes out clean and the outside is golden. Cool in tin for 5 mins and then turn out onto wire racks to cool completely.
Prepare the caramel; Place cream, vanilla, salt and butter in a small saucepan and gently heat, stirring every now and then until the mixture just comes to the boil. Cover and set aside, keeping it warm while you prepare the sugar syrup. In a medium or large heavy based saucepan fitted with a candy thermometer, place golden syrup and sugar and place on medium heat, stirring gently until the sugar dissolves. Once the mixture is melted together and the sugar is evenly moistened, only stir is as necessary to keep it from getting any hot spots. Cook until the syrup reaches 150°C(300°F). Remove the pan from the heat and stir in the warm cream mixture (take care as it will bubble up a lot) until it is smooth and even. Return to the heat and cook the mixture to 120°C(245°F). Remove the pan from the heat and stir until smooth, then pour into the other prepared tin. Leave to cool completely (or chill for about half an hour to allow it to set). Cut the cake and caramel layers into two long halves, and place the caramel layers on top of the cake (you may need to trim off some of the caramel to get the proportions right). Place cakes on a cake stand or plate, I recommend placing the stand on a large piece of baking paper to catch any chocolate that might drip off in the next part.
Prepare the ganache; place chopped chocolate in a heatproof bowl and gently heat cream in a small saucepan until it just comes to the boil, then pour hot cream over the chocolate and set aside for 5 minutes to allow the chocolate to melt. Using a whisk, gently combine mixture until it is smooth (if there are still lumps, place the bowl over a pot of simmering water and stir until they are gone). Set aside to cool, when it has returned to room temperature and is thickened but still easily pourable, use a spoon or measuring cup to pour over the top of each cake, coating each one with a thin, smooth layer. You can use a spatula to make sure it covers the entire cake. With the remaining ganache, wait until it has cooled slightly more and then drizzle thin strips of ganache (I used a whisk) over the tops of each cake to create a rippling effect. Scrape off excess ganache from the cake stand with a spatula and clean off with paper towels. Chill in the fridge until the ganache has set, about half an hour. You can keep the cake chilled in the fridge, but you will need to take it out of the fridge for about 30mins to an hour to let the caramel soften a bit before serving.


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When designing the all-new Ridgeline aluminum trail handlebar, our goal was to create the perfect trail bar that disappears beneath you while encouraging you to chase adventure and seek out new experiences wherever possible. We precisely targeted lower rise options at 15mm and 25mm with a stable width of 800mm for a more efficient and aggressive position on the bike. To do this, we took an oversized 35mm bore platform and dispersed the load over an 800mm width. It was critical for us to keep the weight down without sacrificing strength.
This is where our unique proprietary Gradient Butting Technology shines, allowing us to remove excess material in areas of less stress and fatigue that can cause the stiff feeling commonly felt with other 35mm handlebars on the market. We can then add material to areas of greater stress and fatigue to increase the long-term strength and durability. This gives you, the rider, more confidence to chase new experiences and forget about the gear beneath you. Our goal is for you to become one with the bike and never let up on chasing your new adventure!
- Oversized 35mm Bore Aluminum Handlebar
- Designed for Enduro / All Mountain / Trail
- Incredibly detailed two-tone bead blasted and polished ano finish
- Custom butted 7075 T73 aluminum utilizing our proprietary Gradient Butting Technology
- 800mm wide
- 9 degree bend x 5 degree upsweep
- Flex and deflection characteristics designed to match the Skyline handlebar
- Features measured cut marks and center alignment detail
- Black ano finish with colored graphics
- Weight: 303 grams
Part Numbers
Option | UPC | MPN | Store SKU |
35.0mm / Bronze / 15mm / 800mm | 817180023572 | 26-RDGLN15-BZ | 638-2128+09 |
35mm / 35mm / 35mm / 35mm / 35mm / 35mm / 35.0mm / Stealth / 15mm / 9 ° / 800mm | 817180023503 | 26-RDGLN15-ST | 638-2128+01 |
35mm / 35mm / 35mm / 35mm / 35mm / 35mm / 35.0mm / Stealth / 25mm / 9 ° / 800mm | 817180023589 | 26-RDGLN25-ST | 638-2128+02 |


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Tickets for events at Prince Edward Theatre, London
Venue Information
The Prince Edward Theatre is a West End theatre situated on Old Compton Street, just north of Leicester Square, in the City of Westminster. The theatre was designed in 1930 by Edward A. Stone, with an interior designed by Marc-Henri Levy and Gaston Laverdet. Named after Prince Edward (then the Prince of Wales, briefly Edward VIII and later Duke of Windsor), it opened on April 3, 1930 with a performance of the musical Rio Rita. Other notable events in its opening years included the London debut of famed cabaret artiste Josephine Baker, who performed her famous 'Bananas Dance'. In 1935, Stone converted the theatre to a dance and cabaret hall, being renamed the "London Casino". In 1942, stage alterations were undertaken by Thomas Braddock, re-opening as the "Queensberry All Services Club" in 1942 - a club for servicemen, the shows were broadcast on the BBC. After the war, the architects T. and B. Bradock restored the building to theatrical use, becoming the "London Casino" once again - when the King of Yiddish Music Leo Fuld hit the stage.[citation needed] In 1954, the same architects converted it to a cinema, reopening as the "Casino Cinerama Theatre". In 1974, the theatre was acquired by impresario Bernard Delfont, and a new screen installed at a cost of £150,000. Four years later, in 1978, it was converted back to a theatre, by RHWL Architects and given its original name, reopening with the world premipre of the musical Evita on 21 June 1978. Further renovations were undertaken by RHWL in 1992-93, increasing the size of the stage, reopening 3 March 1993 with a revival of Crazy for You. The ABBA musical, Mamma Mia! premiered here on 6 April 1999, transferring to the Prince of Wales Theatre, after a five year run. Owned by the Delfont Mackintosh Group, the theatre can seat a maximum of 1,618 theatre-goers.
By Tube
The nearest Tube station is Leicester Square which is around 300m away. Tottenham Court is about 400m away too.
By Train
The closest train station is Charing Cross which is approximately 550m away.
By Bus
Buses that run near the theatre: 3, 6, 9, 12, 13, 14, 15, 19, 22, 23, 38, 88, 94, 139, 159, 453.
There are meters on Soho Square. There is also a Masterpark at China town and Poland street. Also there is an NCP at Wardour Street, Denman Street, Newport Place and Brewer Street.
Step-free information
Entrance to the auditorium through a double EXIT door opening outwards on Greek Street, then up a very short ramp to Box 1 where there are 2 spaces for wheelchair users and 2 companions. Transfer seating is available to row A. The theatre is able to store a maximum of 2 wheelchairs and one scooter per performance, next to the EXIT door.
Wheelchair Access
An Access rate is available for wheelchair users and Patrons who have specific access requirements. To discuss your visit and availability please call 0844 482 5137.
Hearing Systems
Headsets are available from the Access attendant for a £5 refundable deposit.
Guide Dogs
Two guide dogs are permitted access to the auditorium per show. The venue staff can also dog-sit if this is arranged in advance.
General Access Info
For any queries and to book please call 0844 482 5137.


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Job Description
At Outback Steakhouse, we believe that people want to be part of something they can be proud of, is fun, and values you. Our goal for you as an Outbacker is to allow your BOLD personality to shine, make it a great place to work, while exceeding concentrated customer service and serious food standards, bringing our Guests an AUS-SOME experience.
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The Host is also responsible for:
- Make memorable first and last impressions
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Application Instructions
Please click on the link below to apply for this position. A new window will open and direct you to apply at our corporate careers page. We look forward to hearing from you!
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The quilting is done.
The binding is on. It is a really lovely red/orange check fabric from the fabric range "Paper Dolls" by Windham Fabrics.
And a view of the back - pieced of course, with fabrics to compliment the front.
Now for sale in my Etsy Store. Feel free to email me if you have any questions.
You can find this quilt for sale in my Etsy Store. SOLD
I hope that you have enjoyed the parade of citrus colored fabrics being turned into a quilt this week. What's next?


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GIL .. BIOSCI/Bionet News .. Biosequences .. Software .. FTP |
File Detect: File Detect is a Windows 95 program. This program detects new, modified or deleted files in your disk. Also detects new or deleted folders (Directories). This is very useful to know what files (As to be *.DLL's, *.OCX's, *.TTF's *.HLP's and many other) are copied to your disk when you install a new program, driver or make a change in the system configuration. As you know, when you install a program or driver in your disk, a lot of files are installed in your system folders, Some times you uninstall a program and these files remain there occupying several MB of space in your disk. Think about it. How many times do you download a program from the Internet?. How many games?. With File Detect you can take control on this situation since all what is copied to your disk is detected. For more information about this program and for downloading it visit the home page: www.angelfire.com/fl/filedetect -------------- next part -------------- An HTML attachment was scrubbed... URL: http://iubio.bio.indiana.edu/bionet/mm/x-plor/attachments/19981220/d5ed4fec/attachment.html


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Graphic designer Danielle Aubert and percussionist/composer Jason Treuting will come to Princeton University in the fall to begin two years of teaching and collaboration as the first Fellows in the Creative and Performing Arts.
The Fellows in the Creative and Performing Arts program provides support for early-career artists who have demonstrated both extraordinary promise and a record of achievement in their fields with the opportunity to further their work while teaching within a liberal arts context.
Open to artists in all disciplines, fellows are selected for a two-year residency to teach one course each semester or, in lieu of a course, to undertake an artistic assignment, such as directing a play, conducting a student music ensemble or choreographing a dance with students. Fellows will be active members of the University's intellectual and artistic community while in residence, with access to the resources and spaces necessary to their work.
Aubert and Treuting were chosen from a pool of almost 1,200 applicants. "Given that it was our first year, this process quickly proved to be surprisingly competitive," said Michael Cadden, chair of the Lewis Center for the Arts and senior lecturer in theater. "We were inundated with truly extraordinary candidates from every conceivable discipline — artists who have much to offer the world in terms of vision, craft, intellect and commitment."
"We are very pleased to welcome Danielle and Jason to Princeton's creative community and look forward to the gifts they will bring to our students, our faculty and the larger Princeton regional community," Cadden said.
The Mellon Foundation awarded Princeton a $3.3 million challenge grant in September 2012 to endow and launch the program, which was matched by an anonymous alumnus. The program is also supported through the $101 million gift from 1955 alumnus Peter B. Lewis, which established the Lewis Center for the Arts. Creating the fellowship program is a component of a 2006 University initiative to make the arts central to the Princeton undergraduate experience.
Aubert is an assistant professor at Wayne State University in Detroit and author of "16 Months' Worth of Drawings in Microsoft Excel" (2006, Various Project). In 2008, Aubert began designing the quarterly journal Criticism, which in 2012 was selected to be a part of the 25th Brno Biennial of Graphic Design in the Czech Republic. In 2009, she and Lana Cavar co-founded the International Typographical Union. Together they have made a series of projects that explore paper distribution and after-market paper and presented work in various venues including the School of Art Institute of Chicago, the Palais de Tokyo in Paris and Motto in Berlin. Also in 2009, Aubert, Cavar and Natasha Chandani launched the group Placement, which edited, wrote for and designed "Thanks for the View, Mr. Mies" (2012, Metropolis Books), about life in Lafayette Park, part of Detroit's Mies van der Rohe Residential District.
"We were impressed not only with Danielle's work but with her ability to see things around the campus and the town that we ourselves had not noticed, as well as her ability to articulate what she saw," Cadden said.
"Given the importance of 'place' in her work, this should have come as no surprise, and I'm certain that she will find central New Jersey a rich repository for her aesthetic project," Cadden said. "Danielle is particularly fascinated by how the obsolete and the discarded can be deployed to artistic ends — an ecological approach to artmaking that will speak to students and colleagues across the curriculum."
Treuting has performed and recorded in venues as diverse as the Brooklyn Academy of Music, the Walker Art Center in Minneapolis, the Andy Warhol Museum in Pittsburgh, Lincoln Center for the Performing Arts in New York City, DOM in Moscow and Le National in Montreal. As a member of So Percussion, which has performed at Princeton, Treuting has collaborated with artists and composers including Steve Reich, David Lang, John Zorn, tabla master Zakir Hussain, the electronic music duo Matmos and choreographer Eliot Feld.
Treuting's compositions include So Percussion's third album, "Amid the Noise," and contributions to "Imaginary City," an evening-length work performed in the Brooklyn Academy of Music's 2009 Next Wave Festival. Recent commissions for other ensembles have included a concerto for So Percussion and string orchestra for the League of Composers Orchestra; music for a video installation in collaboration with Alison Crocetta; and an evening-length collaboration with the choreographers of the Lyon, France-based Projet in Situ. He has taught percussion both in master classes and privately at more than 80 conservatories and universities in the United States and internationally.
"We are so thrilled Jason will be joining the artistic community at Princeton," said Steve Mackey, chair of the Department of Music and professor of music. "In addition to being an accomplished composer and percussionist, he is a consummate collaborator and brings so much to the table — and not just his musical skills. He is, simply put, a complete artist for whom no detail is trivial."
"Our undergraduate and graduate students will benefit from Jason's atypical journey to evolve a personal compositional language and process," Mackey said. "I can see him interacting not just with student composers and musicians but also students in dance and music history, with faculty clamoring to involve him in their classes given his natural gift for speaking to aspiring artists."


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Early morning fog rising over the Dubai Marina skyline - view from Nasimi Beach
Light. It is one the most important aspects of any kind of photography. Good or bad lighting can make or break any image. Light is what I love playing around with in my own photography. Taking shots from bright and crisp to moody and atmospheric is a challenge I really enjoy tackling.
So, when selecting a venue for the Dubai Food Photography and Styling workshop the only venue that matched all the requirements was Nasimi Beach at Atlantis, The Palm Dubai.
Sally and I shared the same thoughts, ideas and visions for this workshop, so working together with her was a true pleasure. She is thoughtful, eloquent and alert and with her great contacts in Dubai we had the workshop planned and organized smoothly.
I was fairly at ease when I landed in Dubai and was looking forward to meeting Sally in person for the first time. I was also eager to check out the location, which was going to house 12 delegates for 2 full days. I've been to the Atlantis several times during previous visits to Dubai and enjoyed meals at their various restaurants, but this time I was looking at it with different eyes.
According to the legend, the island of Atlantis was a glorious and powerful place that sank into the ocean in a single day. It seems the Atlantis has been resurrected in all it's glory on the island of The Palm in the far away desserts of Dubai. Where once there was nothing but sand and sea, now stands this striking building stretching across the sandy shores of a man made island shaped like a palm tree. Dubai is a city of superlatives and the Atlantis surpasses the wildest of imaginations.
I was extremely proud and happy to have such a stunning venue open it's doors for our workshop. Scrutinizing Nasimi Beach in terms of light, practicality and working conditions, on the morning before the workshop, was difficult as I kept getting captivated by the panorama, the setting, the decorations - a photographers dream come true. One thing was sure - there was plenty to get inspired by and I was certain the backdrop was going to create some great work over the next couple of days.
Sally and I also managed to get the final bit of prop shopping done before the workshop. Dubai is a paradise for inexpensive fabric and both of us had a great time selecting some gorgeous designs and colors for the participants to work with the next day.
Slowly the delegates began to arrive at the Meet & Greet breakfast. It was the perfect day in Dubai, not too hot and not too sunny with some lovely diffused light! It was great meeting nine gorgeous ladies and one courageous man, who arrived not only from Dubai but some had flown in from Kuwait, Egypt an Bahrain especially for the workshop.
Over some delicious pastries, fresh fruit and a variety of colorful juices we got to know each other. A lively and energetic group of people, filled with many desires and wishes and as we discussed each persons goals and expectations I was raring to help them take the first step towards them.
The group had a wide range of experience, knowledge and skills from bloggers to professional photographers, TV producers and food stylists, I think we covered the whole range. It was an exciting mix and my job was to give each one enough insight, motivation and the push in the right direction to help them think differently and inspire them to find creativity in places where they might not usually look for.
Class started straight after breakfast and I had planned a very strict and packed day for the participants. We discussed principles of food photography and styling, covering the fundamentals. Each slide brought on several questions and I discussed the topics in depth addressing each query and sharing some of my secrets.
We only paused for lunch: a colorful feast of bruschetta, salads, a wide selection of fresh sushi and sweet treats. But before everyone could dive in - it was the obligatory photo shoot time! Food photographers … it's what makes us tick
After lunch we continued with a mix of theory enhanced by practical exercises I made them complete to make sure each one got a chance to practice some of what was discussed.
The team at Atlantis generously provided us with several ingredients and dishes and our participants could freely walk the grounds of Nasimi Beach finding the right setting and light for their exercises.
Finally we were at the end of day one and I could hear the brains buzzing, but before I let each one go, I paired them in teams and handed each team their individual assignment, which they had to work on and complete the following day. Sally and I had organized several highlights for their assignments throughout the two days.
The first two highlights were that very evening. It started with cocktail demonstration performed by one of Nasimi Beaches lively bar tenders. I think the entire group, including me were very much ready for our pre-dinner drinks. As the cameras clicked away, participants found inspiration in various corners. The sandy beach, the blue water, even the the green thickets were creatively used to photograph the rainbow colored cocktails against the backdrop of the striking coral colored Atlantis.
As the sun began to sink in a glowing sky, the rays bouncing against the shimmering skyscrapers in the horizon, we began to relax with our drinks and simply enjoy the warm evening on Nasimi Beach.
We were then whisked away through the hotel and arrived to the terraces of Levantine, Atlantis' delightful Lebanese restaurant where a grand banquet was prepared especially for us. We got to pre-taste several of the dishes, which will be served during Ramadan. The feast was fit for kings and queens and truly we were treated like royalty with delectable mezzehs, succulent and slow roasted whole shoulder of lamb, a variety of vegetables and aromatic rice. The highlight for me was tasting Lebanese wines for the first time. I was surprised by the wonderful rich nuances and delicious flavors. My family joined us for dinner that evening and Soeren was totally stoked at the belly dancer that performed that evening. The meal was concluded with a selection of fine Arabic desserts, including a selection of Baklava.
We started the next day on the same note we ended it the previous evening. Sally and I had arranged for another grand highlight with more food, more eating and more photographing.
Lafayette Gourmet was our destination and we were very warmly welcomed by Chef Russell Impiazzi, who first provided us with sweet breakfast of pastries, fruit and freshly brewed coffee, before he whisked us away on a tour of the extensive gourmet store.
Instantly one realizes the passion that drives Chef Russell, he captivated many of us as he talked us through luxurious ingredients, exotic produce, divine cuts of meats and cooking methods. He had the keys to an incredible cheese room and invited us into the pork room and then he cooked for us. I was smitten!
The trip to Lafayette Gourmet was not only one of pleasure though, the participants were on an assignment and as they were given free access to the entire store, they spread out every where shooting and styling. The challenge was to shoot in low light and artificial lighting conditions.
We found it hard to leave Lafayette Gourmet, as Chef Russell kept bringing plates and plates of food - a seafood paella topped only by a succulent chicken paella and a simple yet incredibly flavorful bruschetta. It was time to head back to the Atlantis, where Chef Hani was ready with his cooking demonstration.
As we left the cool air-conditioned Dubai Mall, which houses Lafayette Gourmet, the temperatures outside had risen, the sun shone down with all its might. Chef Hani was going to prepare two types of koftas, one of them was using meat that is smoked with thyme and cloves. After he finished preparing the dishes, I took over and styled the dishes, talking the participants through some of my work processes while I style my shots.
It was getting hot and the cabana that was put up to protect us from the sun became a hot house, making the fresh rocket leaves wilt quickly. I worked fast and the participants quickly shot a few photos.
After a 3 course lunch of luscious prawn and avocado salad, sea bass with steamed vegetables and a hazelnut pavlova, the participants were given a few hours to complete the final phase of their assignment.
The chefs at Nasimi Beach provided us with dishes, which Sally and I had selected from their menu, and also arranged the main ingredients for each dish for the participants to style and shoot in their own way.
Once again the grounds of Nasimi Beach provided ample space and inspiration, allowing the pairs enough room to work and get their creative juices flowing.
The day ended with each team presenting their assignment and the whole group giving their constructive critique.
I am always amazed at how much the participants evolve in a period of a few days, when they are given room to grow and discover their creativity, when they can discuss their issues with like-minded people. As an instructor I always find this part of the workshops the most rewarding.
Sally and I said our farewells, but not before spoiling them with one final highlight. Our generous sponsors had provided us with amazing items for what turned out to be three goodie bags!
Thank you Finer Things, Jones the Grocer, Lafayette Gourmet, Lindt, Toffee Princess, Weber for your wonderful generosity.
A very big thank you goes out to the entire team at Atlantis The Palm, our main sponsors who created not only the perfect surrounding for this workshop but spoilt us with their lavish generosity. We'll be back - soon!
[Photo Credit: Sally Prosser]
My deepest gratitude and appreciation is for Sally. We met on Twitter and the rest - as they say is history. Sally has found a firm spot in my heart and we parted as friends, saying "auf wiedersehen" - because we shall meet again.
[Photo Credit: Sally Prosser]
Read more about the workshop in reviews by:
Sally Prosser: Sharing Secrets
Holly S. Warah: Part one and Part two
Alyssa: Dubai: A trip of Firsts
Hope you enjoyed a little insight to what went on at the Dubai workshop. For those who missed out - Sally and I have our heads together and are planning again!
I am still going through several images taken over the entire 2 weeks of my stay in Dubai and there will be another post in the next couple of weeks about all the exciting things I experienced, awesome people I met and stunning places I visited. For now I need to play catch up with many things and get back to work on my photography assignments.
Wish you all a grand week and relaxing weekend!
All photographs and written content on What's For Lunch, Honey? © 2006-2012 Meeta Khurana Wolff unless otherwise indicated. | All rights reserved | Please Ask First


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This is WEEKEND EDITION from NPR News. I'm Scott Simon. You know when Raymond Sokolov began writing about food, it was considered a specialty portfolio. Today, celebrity chefs abound at the U.S. and Britain with cookbooks, TV shows and groupies. Kids from the kinds of families who used to eat SpaghettiO's now know the difference between capellini, fusilli and zitoni. They root for Iron Chef contestants. There are four-star restaurants in one-horse towns. Great deli in Ann Arbor; great sushi in landlocked places. What's happened? Raymond Sokolov has written a memoir about his life writing about food. It's called "Steal the Menu: A Memoir of Forty Years in Food." Raymond Sokolov joins us from New York. Thanks so much for being with us.
RAYMOND SOKOLOV: My pleasure.
SIMON: You should tell us about that title first.
SOKOLOV: Well, in 1971, the Times was looking - New York Times - was looking for someone to replace the illustrious Craig Claiborne. And eventually I was amazingly hired. And there I was on my first day at work having lunch with Craig. And I said Mr. Claiborne, I'm so new at this. Can you give me any advice? And he said, well, you'll figure it out, but there is one thing you need to do, and that is steal the menu. And I said what? And he said, well - you know, this was way before the Internet, obviously - and he said there's so much information in it. You don't want to be calling them on deadline to find out how much a cote de boeuf cost or how they spell their appetizer name. So, the best thing is you want the menu. And if you ask for it, they might give it to you, they might not, and if they don't want to give it to you, they'll be watching you. So, best thing is to fold it up, put it under the table and stick it in your pocket or your briefcase.
SIMON: How did the - I mean, I've been sitting here sitting thinking on this and how the Hart-Cellar Act, or Immigration Nationality Act of 1965, improved food in the United States.
SOKOLOV: Well, it got rid of what was lovingly known as oriental exclusion. The immigration law, until Hart-Cellar, made it very, very difficult for Asians to get into this country - and a lot of other people not of North European background. And so all of the sudden, in the '60s and certainly ever after, there was an avalanche of legal immigration, and these people were very sophisticated, who were coming over to be students and engineers. And some of them dropped out of school and started restaurants. And basically the very high-quality Asian food we now have was impossible before Hart-Cellar.
SIMON: Have we gotten a little crazy about food in this country?
SOKOLOV: The explosion of interest in food that we have in this country, and really in the world, I think, is a result of many things. One, is people know things now that they didn't because of the cookbook industry that made it possible for them to get serious information about food. That started with Julia Child and Jim Beard, people who were really serious explainers and educators as well as authors of recipes. And then people traveled after, say, 1960 in a way that they never had before. And a lot of them discovered that gastronomic travel was something you could do between visits to museums or skiing or whatever you went abroad to do. And so they saw what authentic food was in foreign countries and weren't so interested in kind of fraudulent copies of it when they came home. So, our restaurants got better because they were being held to a higher standard.
SIMON: Well, early in your career at the Times, you wrote about a Chinese restaurant, I think, in a shopping mall in New Jersey.
SOKOLOV: Actually, it was attached to a BP gas station on Route 1, U.S. 1. It was call A Kitchen. And it looked like some kind of chop suey joint that you might stop in while you were waiting for a tire to get fixed. But in fact, these people - the wife - was a very skilled cook and it was an amazing little place that I wish I had been able to wait a little to write about it. But Claiborne decided he was going to leave the minute that I was on staff and it was one of the three tryout pieces that I had in the bank. So, we ran it and it destroyed the place. The phone rang off the hook. They had no idea how to handle their celebrity and in fact they deteriorated. It was my first taste, so to speak, of the power of the food press.
SIMON: Does that exist anymore in these days of Yelp?
SOKOLOV: Well, you could find out a great deal about a restaurant in the age of the Internet that you never could in 1972. I mean, you could get - almost every restaurant in the world has its menu posted. And reviews and biographies of the chef. You can really get a feel for what a place is. Even before Yelp, I remember having lunch with William Rice, who ended up running the World of Food at the Chicago Tribune. And he was in New York as the editor of Food and Wine magazine when it first began. And we were having lunch, and he said to me, you know, it doesn't matter what we say anymore. There's too much out there. Too many people are paying attention and there are too many ways to find out about this, so that one voice just can't have the influence that it did. And I think that that's basically true.
SIMON: Raymond Sokolov. His new book: "Steal the Menu: A Memoir of Forty Years in Food." Thanks so much for being with us. Do I say bon appetit?
SOKOLOV: Thank you. Transcript provided by NPR, Copyright NPR.