A theme that comes up time and again in our research is the importance of balance. Being with people 24/7/365 doesn’t benefit anyone, not the person doing it nor the people they’re hanging out with. If we’re constantly marinating in others’ thoughts and opinions, we can lose track of our own. By the same token, being on our own day-in-and-day-out isn’t good either. The trick is to have equilibrium between the two, the right amount of social time to fulfill an evolutionary imperative and the ideal amount of solitude to reap its reward. Ultimately, the needs for both belonging and separation are not opposing drives so, how can we achieve psychological integration? This chapter elaborates on how to do that and on the true cause of loneliness.

“Interface” in present usage is a modern concept whose roots lie in physical science and engineering disciplines. For serendipitous reasons it happens to work well as a conceptual tool for structuring Sun Tzu’s approach to leadership topics, starting with the political level (the ruler) and extending in the military realm down to the level of common soldiers. That is the focus of Theme #13.

Markets do not arise in a vacuum, nor are they self-sustaining. They are undergirded by foundational institutions. They are sustained by formal and informal rules that are enforced through legal means or public moral suasion (forte of justice). There is a requisite minimum level of trust and mutual solicitude among its participants (forte of agape). Agape and justice complement each other—mutually reinforcing, substituting, or making up for each other’s limitations. Akin to “homeostasis” in biology wherein the human body balances various fluids, cells, and organisms to function properly, there is a delicate equilibrium that must be maintained between agape and justice for a functional socioeconomic life.

This chapter examines trimming as a face of moderation. It starts from the definition of trimming given by the Marquess of Halifax in a famous essay, “The Character of a Trimmer” (1684), and compares trimmers to tightrope walkers. It argues that trimmers tend to support the parties they dislike least and search for a “wise mean between barbarous extremes.”

This chapter focuses on eclecticism as a face of political moderation. Starting from the definition of eclecticism given by Michel de Montaigne in his Essays, it shows that eclecticism has important implications for the ways in whicb we conceive of our political attachments. It then considers the justification of eclecticism given by Daniel Bell in his book The Cultural Contradictions of Capitalism (1976) and compares it to the eclecticism at the heart of the fusionist movement initiated by Frank Meyer in the 1960s. Finally, it presents eclecticism as a way to avoid any form of “blueprint thinking.”

This chapter, while acknowledging that there are certain differences and similarities in how the law treats standards development organizations (SDOs) that develop voluntary standards, offers a holistic analysis of the procedural principles introduced in the WTO, EU, and US regulatory frameworks, namely, transparency, openness/participation, consensus, impartiality, balance, effectiveness, relevance, coherence, coordination, concerns of developing countries, appeal, and access to standards, which this study collectively refers to as “due process” principles. This chapter further explores the relevance and suitability of these principles to the different types of standards bodies and identifies the shortcomings of each of the legal mechanisms with regard to ICT standardization. It concludes that these principles are formulated rather flexible and, to be effective, need further concretization by SDOs.

This chapter analyses the extent to which the legal instruments discussed in Chapters 3, 4, and 5 apply to the examined SDOs. It also evaluates these organizations’ rules and procedures against the due process requirements of the applicable regulatory frameworks discussed in Chapter 6. While acknowledging the heterogeneity of the organizations’ operational frameworks, this chapter also emphasizes that their organizational rules – while designed in self-regulatory processes – should yet be considered within the legal constraints of the applicable regulatory frameworks. Indeed, SDOs enjoy a wide discretion not only to implement the due process requirements, but also to determine what these requirements mean, defining such terms as “consensus,” “openness,” and “balance” in their procedural rules. While observing that there are different ways to implement due process principles into the organizations’ procedures, this chapter notes that the level of procedural guarantees offered during the different stages of decision-making differs per organization, but is often insufficient from the perspective of legitimacy.

Falls are common in older adults. Falls are the number one cause of injury and death in the geriatric population. Fortunately, falls can be prevented. When evaluating falls acute triggers of falls should be distinguished from chronic predisposing factors. Syncopal/pre-syncopal episodes comprise the minority of falls causes. Gait and balance deficits are the most important culprits contributing to falls. Exercise is the only single intervention shown to prevent falls in older adults. Multicomponent medical and biomechanical interventions should be utilized to successfully treat falls.

The first chapter claims that the imperial fiction of Joseph Conrad and William Faulkner rejects accounting as a totalizing logic, and by extension, questions the English novel’s complicity in propagating that false logic. Accounting, which had remained unobtrusively immanent to realist novels of empire, surfaces to the diegetic level in a classic instance of a thematization of the device and becomes available for critical contemplation. Drawing from Max Weber, Mary Poovey, and Georg Lukács, I attend in particular to the dandy accountant of Heart of Darkness, the accretive narrative structure of Nostromo, and Shreve’s recasting of Sutpen’s life as a debtor’s farce in Absalom, Absalom! If Conrad equates accounting with lying, Faulkner reveals secrets elided in rows of debit and credit one by one as sensational truths; to those ends, both writers invoke Gothic conventions. By dispatching the totalizing technique that had been invented by early modern merchants and finessed by realist novelists to generate faith in a transnational fiduciary community, Conrad and Faulkner impel the discovery of original forms with which to express the modern transnational world order.

We demonstrate that there is little consensus on what representativeness is, either in statistics or in corpus linguistics. Representative is a general term that must be made specific within a particular context in order to evaluate a sample. We introduce ten attested conceptualizations of corpus representativeness: (1) representativeness as “general acclaim for data”; (2) a representative corpus has been collected with the “absence of selective focus”; (3) a representative corpus contains texts that are “typical or ideal cases” of the target domain; (4) a representative corpus is a “miniature of the population”; (5) a representative corpus achieves “coverage of the population’s heterogeneity”; (6) a representative corpus “permits good estimation”; (7) a representative corpus is a corpus that is “good enough for a particular purpose”; (8) a large corpus is more important than a representative corpus; (9) a representative corpus is a “balanced” corpus; (10) a representative corpus is never possible. The term “balance” does not have a single agreed-upon definition in CL, and in fact, is often defined in contradictory ways. A unified and operational definition of corpus representativeness is needed.

Comic prose has much in common with other genres and styles; timing and balance, for example, are integral to its effects. Jonathan Greenberg and David Galef offer an examination of many different techniques in comic writing that build upon and depart from familiar strategies, many of them relying on upending expectations. The chapter enumerates various techniques, including reversal, elaboration, soundplay, excess (and restraint) and parody.