Glenn Renwick (born 1956) is the current acting Director, since 1999, of Progressive Insurance.
Career Track
* In 1986 Renwick joined Progressive Insurance as Auto Product Manager for Florida.
* Following this, he led Progressive's Consumer Marketing group.
* Chief Information Officer (CIO) from January 1998 to March 2000.
* Chief Executive Officer - Insurance Operations and Business Technology Process Leader from 1998 through 2000
* Chairman of the Board of Progressive Casualty Insurance Company, a subsidiary of Progressive Corp., from March 2000 to March 2004
* Since January 2001 Chief Executive Officer and President of The Progressive Corp.
Career Track
* In 1986 Renwick joined Progressive Insurance as Auto Product Manager for Florida.
* Following this, he led Progressive's Consumer Marketing group.
* Chief Information Officer (CIO) from January 1998 to March 2000.
* Chief Executive Officer - Insurance Operations and Business Technology Process Leader from 1998 through 2000
* Chairman of the Board of Progressive Casualty Insurance Company, a subsidiary of Progressive Corp., from March 2000 to March 2004
* Since January 2001 Chief Executive Officer and President of The Progressive Corp.
Richard Denner (born November 21, 1941) is an American poet associated with the Berkeley Street Poets and the Poets of the Pacific Northwest. He is the founder and operator of dPress, which has published over two hundred titles, mostly of poetry and most in chapbook format.
Biography
Denner was born in Santa Clara, California and raised in the Oakland Hills. In 1959, he enrolled in the University of California, Berkeley but dropped out the following year, initially working in Moe's Books and for The Berkeley Barb. Soon after, he founded the one-man printing operation, dPress, the backlists of which now contain some two hundred titles.
In 1965, he attended the Berkeley Poetry Conference, what John Bennett has called, “an event creating white light intensity that rivaled any drug high and had more staying power.”
This convergence of the Black Mountain, San Francisco Renaissance, Beat and Northwest Schools gave Denner the pivotal opportunity to study under such avant-garde poets as Charles Olson, Ed Dorn, Robert Creeley, Allen Ginsberg, Joanne Kyger, Lew Welch, and Jack Spicer. Later he would study with Robert Bly, Gary Snyder, Philip Whalen, Denise Levertov and Carolyn Kizer at Fort Worden Center for the Arts in Port Townsend, Washington. But it was Jack Spicer’s molding of series poetry into little books that had the most singular effect.
In 1972, he returned to education, and received a BA in English and Philosophy at the University of Alaska in Fairbanks.
The former proprietor of the Four Winds Bookstore in Ellensburg, Washington, Denner took up the practice of Vajrayana Buddhism. His most recent major work is a long series of cantos in collaboration with David Bromige.
Works
*Collected Poems:1961-2000 was published by Comrades Press in 2001.
*The Collected Books of Richard Denner: Volumes 1-12 are published by dPress.
Biography
Denner was born in Santa Clara, California and raised in the Oakland Hills. In 1959, he enrolled in the University of California, Berkeley but dropped out the following year, initially working in Moe's Books and for The Berkeley Barb. Soon after, he founded the one-man printing operation, dPress, the backlists of which now contain some two hundred titles.
In 1965, he attended the Berkeley Poetry Conference, what John Bennett has called, “an event creating white light intensity that rivaled any drug high and had more staying power.”
This convergence of the Black Mountain, San Francisco Renaissance, Beat and Northwest Schools gave Denner the pivotal opportunity to study under such avant-garde poets as Charles Olson, Ed Dorn, Robert Creeley, Allen Ginsberg, Joanne Kyger, Lew Welch, and Jack Spicer. Later he would study with Robert Bly, Gary Snyder, Philip Whalen, Denise Levertov and Carolyn Kizer at Fort Worden Center for the Arts in Port Townsend, Washington. But it was Jack Spicer’s molding of series poetry into little books that had the most singular effect.
In 1972, he returned to education, and received a BA in English and Philosophy at the University of Alaska in Fairbanks.
The former proprietor of the Four Winds Bookstore in Ellensburg, Washington, Denner took up the practice of Vajrayana Buddhism. His most recent major work is a long series of cantos in collaboration with David Bromige.
Works
*Collected Poems:1961-2000 was published by Comrades Press in 2001.
*The Collected Books of Richard Denner: Volumes 1-12 are published by dPress.
Staccato-harmonic duo-tone is a new discovery in guitar technique by Le-Tuyen Nguyen, an Australian composer and researcher who is teaching in Sydney Australia. He presented a lecture-recital on this new technique at the Darwin International Guitar Festival Australia in July 2007.
Staccato-harmonic duo-tone is the simultaneous sounding of 2 tones on 1 string of the guitar; each tone has its own definite pitch, duration, articulation and distinctive tone colour. The lower tone has the normal staccato tone colour with shorter duration; the higher tone has the natural harmonic bell-like tone colour with longer duration as much as the physical vibration of the guitar string.
Method of Production
Staccato-Harmonics Duo-tones are produced by using the left hand finger to press the string directly on a specified fret onto the fingerboard (the string actually touches the specified fret) and plucking the string with the right hand at the same time. Both left hand and right hand must release immediately to let the string continue to vibrate. When both hands release, the fundamental tone is stopped therefore creating a staccato effect; at the same time this allows the harmonic tone to emerge and sustain its duration.
Sound Palette
When staccato-harmonics duo-tone technique is performed, both the fundamental tone and natural harmonic tone are sounded. Duo-tones could be found directly on the frets where the natural harmonics are found, including:
# First harmonic: 12th fret
# Second harmonic: 7th and 19th frets
# Third harmonic: 5th fret
# Fourth harmonic: 4th, 9th and 16th frets
# Fifth harmonic: 3rd fret
In practice, duo-tones are clearly audible when performed on the bass strings of the guitar at the 4th, 5th, 7th, 9th and 12th frets where the fundamental bass tones contrast strongly with the natural harmonic treble tones. Duo-tones are difficult to produce on the 2nd and 1st strings where only the fundamental notes are heard while the natural harmonic tones are very soft with an almost noise-like character. Below is a sound palette of functional staccato-harmonics duo-tones, where both the fundamental tones and the harmonic tones are clearly identified:
550px
Notation of staccato-harmonic duo-tone
Although the guitarist only performs on 1 string, the notation of staccato-harmonic duo-tone needs to reflect the present of 2 different layers, each has its own musical character:
Excerpt from Nocturne (1996) by Le-Tuyen Nguyen
550px
In the above excerpt, we could see the general considerations in notating the staccato-harmonic duo-tone technique:
# Two layers of sound, with upper stems for higher harmonic layer and down stem for lower staccato layer.
# Clear indication of staccato of the lower layer
# Diamond shape note head for harmonics with text indicating higher octave
# Specified exact string and exact fret
# Clear indicative text: Staccato-Harmonic Duo-tone
Compositions with Staccato-Harmonic Duo-tone technique
#Nocturne (1996) by Le-Tuyen Nguyen
#Fantasia (1998) by Le-Tuyen Nguyen
References:
http://www.darwinguitar.com/workshops.php
Staccato-harmonic duo-tone is the simultaneous sounding of 2 tones on 1 string of the guitar; each tone has its own definite pitch, duration, articulation and distinctive tone colour. The lower tone has the normal staccato tone colour with shorter duration; the higher tone has the natural harmonic bell-like tone colour with longer duration as much as the physical vibration of the guitar string.
Method of Production
Staccato-Harmonics Duo-tones are produced by using the left hand finger to press the string directly on a specified fret onto the fingerboard (the string actually touches the specified fret) and plucking the string with the right hand at the same time. Both left hand and right hand must release immediately to let the string continue to vibrate. When both hands release, the fundamental tone is stopped therefore creating a staccato effect; at the same time this allows the harmonic tone to emerge and sustain its duration.
Sound Palette
When staccato-harmonics duo-tone technique is performed, both the fundamental tone and natural harmonic tone are sounded. Duo-tones could be found directly on the frets where the natural harmonics are found, including:
# First harmonic: 12th fret
# Second harmonic: 7th and 19th frets
# Third harmonic: 5th fret
# Fourth harmonic: 4th, 9th and 16th frets
# Fifth harmonic: 3rd fret
In practice, duo-tones are clearly audible when performed on the bass strings of the guitar at the 4th, 5th, 7th, 9th and 12th frets where the fundamental bass tones contrast strongly with the natural harmonic treble tones. Duo-tones are difficult to produce on the 2nd and 1st strings where only the fundamental notes are heard while the natural harmonic tones are very soft with an almost noise-like character. Below is a sound palette of functional staccato-harmonics duo-tones, where both the fundamental tones and the harmonic tones are clearly identified:
550px
Notation of staccato-harmonic duo-tone
Although the guitarist only performs on 1 string, the notation of staccato-harmonic duo-tone needs to reflect the present of 2 different layers, each has its own musical character:
Excerpt from Nocturne (1996) by Le-Tuyen Nguyen
550px
In the above excerpt, we could see the general considerations in notating the staccato-harmonic duo-tone technique:
# Two layers of sound, with upper stems for higher harmonic layer and down stem for lower staccato layer.
# Clear indication of staccato of the lower layer
# Diamond shape note head for harmonics with text indicating higher octave
# Specified exact string and exact fret
# Clear indicative text: Staccato-Harmonic Duo-tone
Compositions with Staccato-Harmonic Duo-tone technique
#Nocturne (1996) by Le-Tuyen Nguyen
#Fantasia (1998) by Le-Tuyen Nguyen
References:
http://www.darwinguitar.com/workshops.php
Riskdata is an alternative risk management process where along with traditional passive risk measurement (such as VaR etc.) the risk manager uses active management to understand the sources of risk. By doing so the manager creates value.
Active risk management vs. Passive risk measurement
Passive risk management (also called risk measurement) typically includes static risk measures such as Value at Risk, Expected Shortfall, etc., and are appropriate to measure the risk of passive investments.
For active investments (where the portfolio is rebalanced often) static risk measures are not sufficient.
Active risk measurement allows for identification of risk sources and the analysis of past returns. In this way an investor can identify fund managers which deliver excess returns (alpha).
Example of active risk management creating value
By implementing an active risk management process the fund manager creates value (creates alpha). For example, say that the distribution of returns of a portfolio are as depicted in the left figure. By implementing an active risk management process the manager can limit the losses, changing the distribution of returns to the one in the right figure and indirectly creating excess return.
Active risk management vs. Passive risk measurement
Passive risk management (also called risk measurement) typically includes static risk measures such as Value at Risk, Expected Shortfall, etc., and are appropriate to measure the risk of passive investments.
For active investments (where the portfolio is rebalanced often) static risk measures are not sufficient.
Active risk measurement allows for identification of risk sources and the analysis of past returns. In this way an investor can identify fund managers which deliver excess returns (alpha).
Example of active risk management creating value
By implementing an active risk management process the fund manager creates value (creates alpha). For example, say that the distribution of returns of a portfolio are as depicted in the left figure. By implementing an active risk management process the manager can limit the losses, changing the distribution of returns to the one in the right figure and indirectly creating excess return.