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Elders' Journal

The Elders' Journal of the Church of Latter Day Saints (the name changed to Elders' Journal of the Church of Jesus Christ of Latter Day Saints with the third issue) was an early Latter Day Saint periodical edited by Don Carlos Smith, younger brother of Joseph Smith. It was the successor to the Latter Day Saints' Messenger and Advocate and was eventually replaced by the Times and Seasons.

History
Two issues of the Elders' Journal were published in Kirtland, Ohio in 1837. The newspaper was then relocated to Far West, Missouri where two more issues were printed. The first two issues were published on the press that had previously been used to publish the Messenger and Advocate — but this press fell into the hands of Warren Parrish's schismatic "Church of Christ" and a new press had to be obtained before printing could continue. Joseph Smith and Sidney Rigdon relocated to a new headquarters in Far West and continued to publish the Elders' Journal until the events of the 1838 Mormon War in Missouri prevented further operations in the state. The press of the Elders' Journal in Far West, was used by the LDS Church to publish Rigdon's July 4th oration, which was one of the factors that increased tensions between Latter Day Saints and non-Mormons in northwestern Missouri.

Prospectus
The revised prospectus for the periodical (reprinted in No. 3) reads:
 * "PROSPECTUS for the ELDERS' JOURNAL of the Church of Jesus Christ, of Latter Day Saints.
 * It is, we presume, generally known, that this paper was commenced in Kirtland, Ohio, in October last; but by reason of the great persecution against the Saints in that place, the paper had to be stopped; and through the craft of wicked men they go possession of the Printing Office, and knowing they could not hold it, it was burned.

 * The paper is now about to be resuscitated in this place; to be conducted as set forth in the former prospectus. It will be issued in a few weeks, and sent to the former subscribers, as previously stated.

 * We send this prospectus to arouse the Saints to energy in obtaining subscribers. — We hope the Elders abroad, will not fail to use their influence to give as general a circulation as possible.

 * The JOURNAL will be Edited by Joseph Smith, jr., and Published by Thomas B. Marsh, at Far West, Caldwell County Missouri.

 * Terms—One dollar, per annum, paid in advance. All letters must be Post Paid, and directed to the Publisher.
 * Far West, Mo. April 26, 1838.

Contents
The Elders' Journal contains a number of letters from church leaders, minutes from church conferences as well as notices of marriages and obituaries. The July 1838 issue published a "Q & A" style interview with the editorial board (led by Joseph Smith, Jr.) about Smith's personal history and Mormon beliefs.

Namesake
In 1903, under the direction of Ben E. Rich, the LDS Church's Southern States Mission began publishing a monthly periodical called Elders' Journal, which was named after the 1837–38 periodical of the same name.

By September 1, 1904, the publication had moved from Atlanta, Georgia, to a newly purchased Southern States Mission office in Chattanooga, Tennessee, and, with a price increase from $0.25 to $0.50 annually, became a semi-monthly publication.

In June 1907, the Elders' Journal was merged with The Liahona, a weekly publication created in April 1907 for use in all missions of the LDS Church in the United States. The combined publication was named Liahona: The Elders’ Journal and printed in Independence, Missouri. The new publication retained the format of the Elders' Journal rather than The Liahona and remained semi-monthly. Subscription lists from both publication were combined, roughly 20,000 copies of the first edition were printed, and the consolidated publication continued for the next 37 years.

In the final issue of Liahona: The Elders’ Journal, published February 27, 1945, the editors recommended readers subscribe to one of two LDS Church periodicals; the weekly Church News, or the monthly magazine The Improvement Era. Wrapped with the final issue was a sample copy of the Church News as it was presumably less well known to subscribers than The Improvement Era. The Church News, a weekly insert in the Deseret News, had been available in limited circulation outside of Utah since 1943. The Improvement Era, had been available since 1897.

title: Elders' Journal


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Condor (disambiguation)

Condor is the common name for two species of birds.

Condor, CONDOR, El Condor, or The Condor may also refer to:

Places

 * Condor, Rio Grande do Sul, Brazil, a municipality
 * Condor, Alberta, Canada, a hamlet
 * Cerro El Cóndor, a stratovolcano in Argentina
 * Condor Peninsula, Palmer Land, Antarctica
 * Cordillera del Cóndor, a mountain range in the Andes
 * El Cóndor (Jujuy), Argentina, a town
 * Condor (mountain), in the Andes in Peru
 * Condor Peak, a mountain in California, United States

People

 * Condor of Cornwall, earl of Cornwall
 * Lana Condor (born 1997), American actress
 * Sam Condor, politician of Saint Kitts and Nevis
 * Condor Laucke (1914–1993), Australian politician
 * Mat Hoffman (born 1972), American BMX rider
 * Kevin Mitnick (born 1963), US computer worker
 * Carlos Manuel Hoo Ramírez (born 1978), drug trafficker
 * Alfred Williams (born 1968), US retired football player

Fictional characters

 * Black Condor, in DC Comics
 * Condor (comics), in Marvel Comics
 * Condor, a starship in The Invincible by Stanislaw Lem, 1964
 * Captain Condor in UK comic Lion
 * Black Condor of Chōjin Sentai Jetman
 * Steel Condor of Up, Up and Away

Films

 * El Condor (film), a 1970 Western film
 * The Condor (film), 2007 animated superhero film

Periodicals

 * Cóndor (newspaper), a German-language newspaper published in Chile
 * The Condor journal, now Ornithological Applications

Other uses in arts, entertainment, and media

 * Condor, a 1984 novel by Graham Masterton
 * Condor (TV series)
 * The Condor (album), 1986 album by Steve Lacy

Attractions and rides

 * Condor (ride), an amusement ride
 * El Condor (roller coaster), at Walibi Holland

Brands and enterprises

 * Condor Club, an early strip club in San Francisco, California, US
 * Condor Cycles, a bicycle manufacturer based in London, England
 * Condor Films, a film and TV production company based in Zurich, Switzerland
 * Stoeger Condor, a type of shotgun

Computing and technology

 * Condor High-Throughput Computing System
 * CONDOR secure cell phone, NSA project
 * Moto E (1st generation), an Android smartphone made by Motorola with the codename Condor

Aviation

 * Condor, a version of the BQM-147 Dragon unmanned aerial vehicle for the US Coast Guard
 * AGM-53 Condor, US Navy missile project
 * Antonov An-124, a Ukrainian/Soviet aircraft, NATO reporting name "Condor"
 * Boeing Condor, a test unmanned aerial vehicle
 * Curtiss B-2 Condor, a 1920s American bomber
 * Curtiss T-32 Condor II, a 1930s US biplane aircraft
 * Focke-Wulf Fw 200 Condor, a German WWII bomber
 * HMH-464 ("Condors"), US Marine helicopter squadron
 * Schweizer RU-38 Twin Condor, an US reconnaissance aircraft

Ships

 * Condor-class gunvessel, Royal Navy, 1876–87
 * Condor-class sloop, Royal Navy, 1898–1900
 * HMS Condor, Royal Navy ships
 * SMS Condor, an Imperial German Navy cruiser
 * USS Condor, US minesweepers
 * MV Condor Islander
 * HSC Condor Liberation
 * HSC Condor Voyager

Other military uses

 * Condor (APC), a German armoured personnel carrier
 * Condor (Argentine missile)
 * Condor A350, a Swiss military motorcycle
 * Condor Legion, a Nazi unit in the Spanish Civil War
 * Operation Condor (disambiguation), several military operations
 * RM Condor, a UK Royal Marines base in Arbroath on the east coast of Scotland

Sports

 * Condor (golf), a score of four under par
 * Bakersfield Condors (1998–2015), former minor-league ice hockey team based in California, US
 * Bakersfield Condors (AHL), a minor-league ice hockey team based in California, US
 * Club El Condor, later Bogotá F.C., Colombia, a Colombian football club
 * Jonquière Condors, former ice hockey team based in Jonquière, Quebec, Canada
 * Pittsburgh Condors, a former US basketball team

Air

 * Aero Condor, an airline based in Lima, Peru
 * Condor (airline), Germany
 * Condor Group, the Mexican City Police helicopter fleet
 * ADI Condor, an American motor glider
 * Davis-Costin Condor, a UK sailplane, 1953
 * Druine Condor, a French 1950s light aircraft
 * FMA IA 36 Cóndor, a 1950s projected Argentine jet airliner
 * Schleicher Condor, a German glider
 * Seahawk Condor, an ultralight aircraft
 * Southern Condor, a US ultralight aircraft
 * TL Ultralight Condor, a Czech ultralight aircraft
 * Wills Wing Condor, a US hang glider
 * Rolls-Royce Condor, an aircraft piston engine
 * El Condor Airport, a former airstrip near El Condor, Tarija, Bolivia

Land

 * Condor (train), an express freight service between London and Glasgow 1959–1965
 * Cóndor station, a railway station in Bolivia
 * Dennis Dragon or Condor, a double-decker bus manufactured 1982–1999
 * UD Condor, a line of medium-duty commercial vehicles introduced in 1975
 * Toyota Kijang, a series of pickup trucks and minivans, sold as the Toyota Condor in South Africa

Sea

 * Condor (yacht), 1981
 * MV Empire MacKendrick, named Condor, 1949–1955
 * Condor Ferries, a ferry company providing service between the Channel Islands, the UK, and France
 * Condor of Bermuda, a yacht
 * SS Condor, Grace Line steampships

Other uses

 * Comet Nucleus Dust and Organics Return (CONDOR), a spacecraft mission
 * Condor (options), a trading strategy

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Condor (disambiguation)


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Wikipedia:Articles for deletion/Brohi

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was redirected. -- AllyUnion (talk) 07:21, 17 Feb 2005 (UTC)

Brohi
Talks about an ancient language with no evidence or basis whatsoever, and a defunct external link. No content on page. (note, I accidentally used the //db// tag rather than //vfd// earlier today, sorry about that) (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:51, 2005 Feb 11 (UTC))
 * Keep, the link is working but this article should be either considered a Wikitionary article or a stub. Wikipedian231 17:16, 11 Feb 2005 (UTC)
 * I was bold enough to redirect this to Brahui, that has earlier been edited by a user with the IP that created this page, and currently contains all the information the Brohi page had and more. Note, however, that the page history of the Brahui page indicates that there has been some controversy over what should be there and what should be at Brahui language. It might be relevant to revert the Brahui page to this version. / Alarm 18:27, 11 Feb 2005 (UTC)

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title: Wikipedia:Articles for deletion/Brohi


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Droodles

Droodles was a syndicated cartoon feature created by Roger Price and collected in his 1953 book Droodles, though the term is now used more generally of similar visual riddles.

Form
The general form is minimal: a square box containing a few abstract pictorial elements with a caption (or several) giving a humorous explanation of the picture's subject. For example, a Droodle depicting three concentric shapes – little circle, medium circle, big square – might have the caption "Aerial view of a cowboy in a Port-a-john."

Origins
The trademarked name "Droodle" suggests "doodle", "drawing" and "riddle". However, the form of the droodle – a riddle expressed in visual form – has earlier roots, for example in a drawing (indovinelli grafici) by the Italian painter Agostino Carracci (1557–1602), and the term is widely used beyond Price's work.

Droodles are (or were) purely a form of entertainment like any other nonsense cartoon and appeared in roughly the same places (newspapers, paperback collections, bathroom walls) during their heyday in the 1950s and 1960s. The commercial success of Price's collections of Droodles led to the founding of the publishing house Price-Stern-Sloan, and also to the creation of a Droodles-themed game show, Droodles, on NBC in 1954. There was also a droodle-based game called "Mysteriosos" on HBO's Braingames. Series of newspaper advertisements for the News and Max brands of cigarettes featured cigarette-themed Droodles.

Appearances in art and popular culture
One of Price's original Droodles serves as the cover art for Frank Zappa's 1982 album Ship Arriving Too Late to Save a Drowning Witch. Price's other captions for that drawing include "Mother pyramid feeding her baby."

In the classic book The Little Prince, written by Antoine de Saint-Exupéry, a notable Droodle appears as part of one of the most iconic illustrations in the work. During one of the conversations between the Little Prince and the narrator, an intriguing drawing of a snake that swallowed an elephant is presented.

Droodles gained popularity in Latin America through a famous TV show called El Chavo del Ocho. In one episode, characters draw figures similar to Droodles, Creating iconic scenes in the show.

By the end of Roberto Bolaño's long novel The Savage Detectives the mysterious works by the lost poetess Cesárea Tinajero turn out to be a short series of mexican culture visual puns, similar to Price's Droodles.

title: Droodles


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Wikipedia:Articles for deletion/Beyondblue

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. -- AllyUnion (talk) 07:15, 17 Feb 2005 (UTC)

Beyondblue
Company vanity page. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC))
 * "initiative of the Australian federal and state and territory governments". It's not a company, and I think federal initiatives are quite notable. Keep. Mgm|(talk) 21:36, Feb 11, 2005 (UTC)
 * Keep, article needs expansion. BeyondBlue receives 10,000+ hits on Google. Megan1967 23:22, 11 Feb 2005 (UTC)
 * Keep and expand. Important Australian mental health initiative associated with former Victorian Premier Jeff Kennett. Capitalistroadster 09:09, 14 Feb 2005 (UTC)

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text:
Wikipedia:Articles for deletion/Boil it down

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was userified. -- AllyUnion (talk) 07:20, 17 Feb 2005 (UTC)

Boil it down
Silly poem, no encyclopedic content. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC))

 * Delete and send to BJAODN. --FOo 17:54, 11 Feb 2005 (UTC)

 * It was never intended as an Encyclopaedic article. I am surprised that anyone would ever think it was. It is meant at part of a tutorial on how to write good articles for Wikipedia. Perhaps homour and some light-heartedness occasionally has no place here? Apwoolrich 19:32, 11 Feb 2005 (UTC)
 * This is an encyclopedia, not a humor magazine. It's either a copyright violation or it belongs in Wikisource.  What did you expect would happen to it once you'd completed your "tutorial", and why did you think the article space was a valid place for it?  Speedy deleted.  RickK 22:16, Feb 11, 2005 (UTC)

 * I'm all for humor, but not in the article namespace. If it's part of a tutorial, please move it to your userspace or the Wikipedia namespace. Move. Mgm|(talk) 22:06, Feb 11, 2005 (UTC)

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text:
Wikipedia:Articles for deletion/Bury Your Dead

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was keep. -- AllyUnion (talk) 07:22, 17 Feb 2005 (UTC)

Bury Your Dead
Simple vanity page, yet another wanna be band. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC)) Capitalistroadster 23:52, 12 Feb 2005 (UTC)
 * Delete, not notable, possible band vanity. Megan1967 00:50, 12 Feb 2005 (UTC)
 * Keep, because Victory Records is, I think a major enough label to qualify for WikiProject Music's guidelines for inclusion. Also, 81,000 google hits is an awful lot.  They look like a one-hit wonder in the hardcore/metal community, maybe.  Tuf-Kat 09:39, Feb 12, 2005 (UTC)
 * Keep. Notable enough for Wikipedia, lots of hits with the most prominent ones about them although phrase is a common one. Two albums with one on reasonably notable label. The MTV website shows them as undertaking a US tour starting this weekend.
 * Keep noteable enough for Wiki. TV Ads for their tour have broadcast on MTV/MTV2. They performed at the Day Off Fest in 2004 (alongside Slipknot and Hatebreed), and Victory Records is a major label as far as hardcore is concerned. Plus not as if anyone cares but i've seen them in concert, they're pretty decent.  ALKIVAR ™[[Image:Radioactive.svg|18px|]] 06:58, 13 Feb 2005 (UTC)

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text:
Wikipedia:Articles for deletion/Christian Bowman

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. -- AllyUnion (talk) 07:19, 17 Feb 2005 (UTC)

Christian Bowman
Nothing notable said of this person, no reason why he would be in wikipedia. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC))

 * Delete; agreed completely. --FOo 17:56, 11 Feb 2005 (UTC)

 * Recurring role in Lost (3 times, 1 uncredited), one appeareance in North Shore. (from IMDB listing) Official site doesn't show much more, apart from work on a few theather productions. Part of his screenplays are online, suggesting they haven't been sold yet. Delete. Mgm|(talk) 21:54, Feb 11, 2005 (UTC)
 * Delete, not notable yet. Megan1967 23:28, 11 Feb 2005 (UTC)
 * Delete: promo. Wile E. Heresiarch 07:47, 13 Feb 2005 (UTC)

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text:
Wikipedia:Articles for deletion/Trans-Lux

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Trans-Lux
Unimportant small manufacturer, little content in article. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC))
 * A mess as is, but I vote keep and expand. I might tackle this myself as I seem to recall that they had an office in or near Torrance, California at one time.  They were a film distribution company prior to becoming a stock ticker manufacturer.  In fact, I hit them up for a job and that's when I learned they weren't in the entertainment biz anymore (see Felix the Cat). - Lucky 6.9 00:24, 12 Feb 2005 (UTC)
 * Keep, cleanup, formerly famous. -- Jmabel | Talk 00:57, Feb 12, 2005 (UTC)

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text:
Wikipedia:Articles for deletion/Two bananas

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. -- AllyUnion (talk) 07:54, 17 Feb 2005 (UTC)

Two bananas
Neologistic slang. Never heard of it, either.(212.206.63.108's slightly messed-up nominations fixed Uncle G 16:53, 2005 Feb 11 (UTC))

 * Joke, not funny enough for BJAODN. Delete. --FOo 17:53, 11 Feb 2005 (UTC)
 * Delete. Crap. jni 18:12, 11 Feb 2005 (UTC)
 * Delete. I don't know what to call it, but delete it.  GRider\talk 19:13, 11 Feb 2005 (UTC)
 * Delete, slang term. Megan1967 23:33, 11 Feb 2005 (UTC)

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Margarete Gallinat

Oberaufseherin Margarete Gallinat (born 1894, date of death unknown) was the chief supervisor at Kamp Vught, Netherlands. She later became a supervisor at Ravensbrück concentration camp.

Life
Gallinat was born in 1894 in East Prussian Puntigam.

Work as Oberaufseherin
In April 1940, Gallinat read a newspaper ad for Aufseherin and decided to apply. Two months later she started in Ravensbrück, where she worked until the summer of 1943, eventually becoming deputy Oberaufseherin.

title: Margarete Gallinat


text:
Wikipedia:Articles for deletion/VarVar

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Joyous 23:54, Feb 20, 2005 (UTC)

VarVar
Vanity page for a filesharing tool that is currently in development. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:52, 2005 Feb 11 (UTC))
 * Thanks for the help, Uncle G! (212.206.63.108 = me losing my password :/ ) Radiant! 22:04, Feb 14, 2005 (UTC)
 * Self-admitted press release. "VARVAR is not an entirely complete product yet". I'll be happy to reconsider my vote when it's actually up and running. For now, delete. Mgm|(talk) 21:34, Feb 11, 2005 (UTC)
 * Delete until after it has been released and become sufficiently notable. Rossami (talk) 00:05, 13 Feb 2005 (UTC)

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title: Wikipedia:Articles for deletion/VarVar


text: User talk:83.70.238.103

title: User talk:83.70.238.103


text:
Dynamic inconsistency

In economics, dynamic inconsistency or time inconsistency is a situation in which a decision-maker's preferences change over time in such a way that a preference can become inconsistent at another point in time. This can be thought of as there being many different "selves" within decision makers, with each "self" representing the decision-maker at a different point in time; the inconsistency occurs when not all preferences are aligned.

The term "dynamic inconsistency" is more closely affiliated with game theory, whereas "time inconsistency" is more closely affiliated with behavioral economics.

In game theory
In the context of game theory, dynamic inconsistency is a situation in a dynamic game where a player's best plan for some future period will not be optimal when that future period arrives. A dynamically inconsistent game is subgame imperfect. In this context, the inconsistency is primarily about commitment and credible threats. This manifests itself through a violation of Bellman's Principle of Optimality by the leader or dominant player, as shown in.

For example, a firm might want to commit itself to dramatically dropping the price of a product it sells if a rival firm enters its market. If this threat were credible, it would discourage the rival from entering. However, the firm might not be able to commit its future self to taking such an action because if the rival does in fact end up entering, the firm's future self might determine that, given the fact that the rival is now actually in the market and there is no point in trying to discourage entry, it is now not in its interest to dramatically drop the price. As such, the threat would not be credible. The present self of the firm has preferences that would have the future self be committed to the threat, but the future self has preferences that have it not carry out the threat. Hence, the dynamic inconsistency.

In behavioral economics
In the context of behavioral economics, time inconsistency is related to how each different self of a decision-maker may have different preferences over current and future choices.

Consider, for example, the following question: When this question is asked, to be time-consistent, one must make the same choice for (b) as for (a). According to George Loewenstein and Drazen Prelec, however, people are not always consistent. People tend to choose "500 dollars today" and "505 dollars 366 days later", which is different from the time-consistent answer.
 * (a) Which do you prefer, to be given 500 dollars today or 505 dollars tomorrow?
 * (b) Which do you prefer, to be given 500 dollars 365 days from now or 505 dollars 366 days from now?

One common way in which selves may differ in their preferences is they may be modeled as all holding the view that "now" has especially high value compared to any future time. This is sometimes called the "immediacy effect" or "temporal discounting". As a result, the present self will care too much about itself and not enough about its future selves. The self control literature relies heavily on this type of time inconsistency, and it relates to a variety of topics including procrastination, addiction, efforts at weight loss, and saving for retirement.

Time inconsistency basically means that there is disagreement between a decision-maker's different selves about what actions should be taken. Formally, consider an economic model with different mathematical weightings placed on the utilities of each self. Consider the possibility that for any given self, the weightings that self places on all the utilities could differ from the weightings that another given self places on all the utilities. The important consideration now is the relative weighting between two particular utilities. Will this relative weighting be the same for one given self as it is for a different given self? If it is, then we have a case of time consistency. If the relative weightings of all pairs of utilities are all the same for all given selves, then the decision-maker has time-consistent preferences. If there exists a case of one relative weighting of utilities where one self has a different relative weighting of those utilities than another self has, then we have a case of time inconsistency and the decision-maker will be said to have time-inconsistent preferences.

It is common in economic models that involve decision-making over time to assume that decision-makers are exponential discounters. Exponential discounting posits that the decision maker assigns future utility of any good according to the formula

 * $$U(t) = U(0) e^{-\rho t}$$

where $$t=0$$ is the present, $$U(0)$$ is the utility assigned to the good if it were consumed immediately, and $$\rho$$ is the "discount factor", which is the same for all goods and constant over time. Mathematically, it is the unique continuous function that satisfies the equation

 * $$ U(t_1)/U(t_2) = U(t_1+c)/U(t_2+c);$$

that is, the ratio of utility values for a good at two different moments of time only depends on the interval between these times, but not on their choice. (If you're willing to pay 10% over list price to buy a new phone today instead of paying list price and having it delivered in a week, you'd also be willing to pay extra 10% to get it one week sooner if you were ordering it six months in advance.)

If $$\rho$$ is the same for all goods, then it is also the case that

 * $$ U_A(t_1)/U_B(t_1) = U_A(t_2)/U_B(t_2);$$

that is, if good A is assigned higher utility than good B at time $$t_1$$, that relationship also holds at all other times. (If you'd rather eat broccoli than cake tomorrow for lunch, you'll also pick broccoli over cake if you're hungry right now.)

Exponential discounting yields time-consistent preferences. Exponential discounting and, more generally, time-consistent preferences are often assumed in rational choice theory, since they imply that all of a decision-maker's selves will agree with the choices made by each self. Any decision that the individual makes for himself in advance will remain valid (i.e., an optimal choice) as time advances, unless utilities themselves change.

However, empirical research makes a strong case that time inconsistency is, in fact, standard in human preferences. This would imply disagreement by people's different selves on decisions made and a rejection of the time consistency aspect of rational choice theory.

For example, consider having the choice between getting the day off work tomorrow or getting a day and a half off work one month from now. Suppose you would choose one day off tomorrow. Now suppose that you were asked to make that same choice ten years ago. That is, you were asked then whether you would prefer getting one day off in ten years or getting one and a half days off in ten years and one month. Suppose that then you would have taken the day and a half off. This would be a case of time inconsistency because your relative preferences for tomorrow versus one month from now would be different at two different points in time—namely now versus ten years ago. The decision made ten years ago indicates a preference for delayed gratification, but the decision made just before the fact indicates a preference for immediate pleasure.

More generally, humans have a systematic tendency to switch towards "vices" (products or activities which are pleasant in the short term) from "virtues" (products or activities which are seen as valuable in the long term) as the moment of consumption approaches, even if this involves changing decisions made in advance.

One way that time-inconsistent preferences have been formally introduced into economic models is by first giving the decision-maker standard exponentially discounted preferences, and then adding another term that heavily discounts any time that is not now. Preferences of this sort have been called "present-biased preferences". The hyperbolic discounting model is another commonly used model that allows one to obtain more realistic results with regard to human decision-making.

A different form of dynamic inconsistency arises as a consequence of "projection bias" (not to be confused with a defense mechanism of the same name). Humans have a tendency to mispredict their future marginal utilities by assuming that they will remain at present levels. This leads to inconsistency as marginal utilities (for example, tastes) change over time in a way that the individual did not expect. For example, when individuals are asked to choose between a piece of fruit and an unhealthy snack (such as a candy bar) for a future meal, the choice is strongly affected by their "current" level of hunger. Individuals may become addicted to smoking or drugs because they underestimate future marginal utilities of these habits (such as craving for cigarettes) once they become addicted.

In media studies
Theories of media choice have not explicitly dealt with choice inconsistency as it was defined by behavioral economics. However, an article by Gui et al. (2021) draws on behavioral economics literature to address blind spots in theorization of inconsistent media selection in media studies. It also highlights that inconsistent choice is even more frequent and relevant in the digital environment, as higher stimulation and multitasking makes it easier to opt for immediate gratification even in the presence of different long-term preferences.

Stylized examples

 * In a game theory context, an announced government policy of never negotiating with terrorists over the release of hostages constitutes a time inconsistency example, since in each particular hostage situation the authorities face the dilemma of breaking the rule and trying to save the hostages. Assuming the government acted consistently in not ever breaking the rule, it would make it irrational for a terrorist group to take hostages. (Of course, in the real world terrorists might not act rationally.)
 * Students, the night before an exam, often wish that the exam could be put off for one more day. If asked on that night, such students might agree to commit to paying, say, $10 on the day of the exam for it to be held the next day. Months before the exam is held, however, students generally do not care much about having the exam put off for one day. And, in fact, if the students were made the same offer at the beginning of the term, that is, they could have the exam put off for one day by committing during registration to pay $10 on the day of the exam, they probably would reject that offer. The choice is the same, although made at different points in time. Because the outcome would change depending on the point in time, the students would exhibit time inconsistency.

 * Monetary policy makers suffer from dynamic inconsistency with inflation expectations, as politicians are best off promising lower inflation in the future. But once tomorrow comes lowering inflation may have negative effects, such as increasing unemployment, so they do not make much effort to lower it. This is why independent central banks are believed to be advantageous for a country. Indeed, "a central bank with a high degree of discretion in conducting monetary policy would find itself under constant political pressure to boost the economy and reduce unemployment, but since the economy cannot exceed its potential GDP or its natural rate of unemployment over time, this policy would instead only lead to higher inflation in the long run". The first paper on this subject was published by Finn E. Kydland and Edward C. Prescott in the Journal of Political Economy in 1977, which eventually led to their winning the Nobel Memorial Prize in Economic Sciences in 2004. (See also Monetary policy credibility.)
 * One famous example in literature of a mechanism for dealing with dynamic inconsistency is that of Odysseus and the Sirens. Curious to hear the Sirens' songs but mindful of the danger, Odysseus orders his men to stop their ears with beeswax and ties himself to the mast of the ship. Most importantly, he orders his men not to heed his cries while they pass the Sirens; recognizing that in the future he may behave irrationally, Odysseus limits his future agency and binds himself to a commitment mechanism (i.e., the mast) to survive this perilous example of dynamic inconsistency. This example has been used by economists to explain the benefits of commitment mechanisms in mitigating dynamic inconsistency.
 * A curious case of dynamic inconsistency in psychology is described by . In the experiment, subjects of the study were offered free rentals of movies which were classified into two categories - "lowbrow" (e.g., The Breakfast Club) and "highbrow" (e.g., Schindler's List) - and researchers analyzed patterns of choices made. In the absence of dynamic inconsistency, the choice would be expected to be the same regardless of the delay between the decision date and the consumption date. In practice, however, the outcome was different. When subjects had to choose a movie to watch immediately, the choice was consistently lowbrow for the majority of the subjects. But when they were asked to pick a movie to be watched at later date, highbrow movies were chosen far more often. Among movies picked four or more days in advance, over 70% were highbrow.
 * People display a consistent bias to believe that they will have more time in the future than they have today. Specifically, there is a persistent belief among people that they are "unusually busy in the immediate future, but will become less busy shortly". However, the amount of time you have this week is generally representative of the time you have in future weeks. When people are estimating their time and when deciding if they will make a commitment, they anticipate more "time slack" in future weeks than the present week. Experiments by on this topic showed that people tend to discount investments of time more than money. They nicknamed this the "Yes...Damn!" effect because people tend to commit themselves to time-consuming activities like traveling to a conference under the false impression that they will be less busy in the future.

title: Dynamic inconsistency


text:
Wikipedia:Articles for deletion/WhiteRaven

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. -- AllyUnion (talk) 07:19, 17 Feb 2005 (UTC)

WhiteRaven
Vanity page of a blind programmer whose source was stolen by his employer, suspected hoax. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:53, 2005 Feb 11 (UTC))

 * Doesn't seem to be newsworthy, but I could be wrong. Delete unless some citations and good stuff like that show up. --FOo 17:55, 11 Feb 2005 (UTC)
 * Delete unless references show up. "all content legally shared?" I don't think so. There's such a thing as copyright. Mgm|(talk) 21:41, Feb 11, 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Wikipedia:Articles for deletion/W.bloggar/2005-02-11

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was KEEP. dbenbenn | talk 14:49, 23 Feb 2005 (UTC)

W.bloggar
Vanity page for a text editor. No description in entry. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:53, 2005 Feb 11 (UTC))

 * It's real software apparently. Cleanup if possible, delete if that fails. --FOo 17:50, 11 Feb 2005 (UTC)
 * Keep, cleanup and expand. W.bloggar receives over 60,000 hits on Google. Megan1967 23:25, 11 Feb 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Cognitive analytic therapy

Cognitive analytic therapy (CAT) is a form of psychological therapy initially developed in the United Kingdom by Anthony Ryle. This time-limited therapy was developed in the context of the UK's National Health Service with the aim of providing effective and affordable psychological treatment which could be realistically provided in a resource constrained public health system. It is distinctive due to its intensive use of reformulation, its integration of cognitive and analytic practice and its collaborative nature, involving the patient very actively in their treatment.

The CAT practitioner aims to work with the patient to identify procedural sequences; chains of events, thoughts, emotions and motivations that explain how a target problem (for example self-harm) is established and maintained. In addition to the procedural sequence model, a second distinguishing feature of CAT is the use of reciprocal roles (RRs). These identify problems as occurring between people and not within the patient. RRs may be set up in early life and then be replayed in later life; for example someone who as a child felt neglected by parents perceived as abandoning might be vulnerable to feelings of abandonment in later life (or indeed neglect themselves).

Sources and origins
As the name implies, cognitive analytic therapy (CAT) evolved as an integrative therapy based on ideas from cognitive and analytic therapies. CAT was also influenced in part by George Kelly's constructivism. Kelly had developed personal construct theory and the repertory grid method, and Kelly's approach to therapy "offered a model of nonauthoritarian practice" that psychotherapist Anthony Ryle found appealing.

Ryle, a general practitioner and analytically trained psychotherapist, was undertaking research into psychotherapy practice using repertory grids in the 1970s. He found that the themes eventually addressed in analytic work were in fact present in transcripts from the very first sessions. However the slow, exploratory nature of traditional analytic therapy meant that these were not always addressed early and assertively, with the result that therapy, while effective, took a long time to produce results. In a 1979 paper, he proposed a shorter, more active form of therapy which integrated elements from cognitive therapy practice (such as goal setting and Socratic questioning) into analytic practice. This would include explicitly formulating the problems experienced by the patient, and sharing this formulation with the patient to engage them in psychotherapy as a co-operative enterprise.

Subsequently, CAT has been influenced by ideas from the work of Soviet psychologist Lev Vygotsky and Russian philosopher Mikhail Bakhtin. From Vygotsky come concepts such as the zone of proximal development (ZPD) and scaffolding. The ZPD implies that new tasks set for the patient (for example, tolerating anxiety about social situations) should extend what they do beyond their current capabilities, but only by a small and achievable amount. Scaffolding involves the therapist providing support for the patient's efforts to change, but varying this level of support as the patient's needs change.

Bakhtin provided concepts such as dialogism from which come techniques such as Dialogical Sequence Analysis. This is a structured attempt to identify and visually display sequences of behaviour, thinking, and emotions so that the patient becomes more aware of these and can start to modify them.

In practice

The model emphasises collaborative work with the client, and focuses on the understanding of the patterns of maladaptive behaviours. The aim of the therapy is to enable the client to recognise these patterns, understand their origins, and subsequently to learn alternative strategies in order to cope better.

The approach is always time-limited, typically taking place over 8–24 weekly sessions (the precise number being agreed at the start of therapy). Sixteen sessions is probably the most common length. In the first quarter of the therapy (the Reformulation phase) the therapist collects all the relevant information, asking the patient about present day problems and also earlier life experiences. At that point the therapist writes a reformulation letter to the client. This letter summarises the therapist's understanding of the client's problems. Particular attention is given to understanding the connection between childhood patterns of behaviour and their impact on adult life. The letter is agreed between patient and therapist and forms the basis for the rest of the work.

After the reformulation letter the patient may be asked to complete diaries or rating sheets to record the occurrence of problems and their context. During this period (known as the Recognition phase) patient and therapist construct a diagrammatic formulation to illustrate the unhelpful procedures which maintain problems for the patient. The aim of this phase is to enable the patient to recognise when and how problems occur.

In the second half of the therapy work moves into the Revision phase, where patient and therapist identify and practice "exits" from the procedural diagram established in the previous phase. For example, a problematic procedure might move a patient from feeling angry to taking an overdose. An exit might involve expressing the anger in some way as an alternative to self-injuring behaviour.

At the end of the therapy, patient and therapist each write "goodbye letters" which they exchange, summarising what has been achieved in the therapy and what remains to be done. After the end of the agreed number of weekly sessions, planned follow-up sessions take place to monitor and support the changes that have been made. Typically, a 16-session CAT might be followed up by a single session one month after the end of therapy, and a final one three months later.

Evidence base
CAT has been the subject of a number of research studies published in peer-reviewed journals. These include randomised controlled trials (RCTs) and other kinds of study. The approach is too new for any systematic reviews of RCTs to have been conducted, and therefore is not yet explicitly recommended by name by the UK National Institute for Health and Clinical Excellence (NICE). However NICE has recommended that there should be further research of CAT, for example in borderline personality disorder. A review of CAT research evidence published in 2014 reported that although there were five randomised controlled trials published, research evidence into the approach was dominated by small-scale, practice-based studies. These tended to be with complex and severe clinical groups; 44% of studies reviewed involved personality disorder. A review of CAT looking back over the 30 years to its beginnings contains a meta-analysis of 11 outcome studies of CAT. The overall number of patients treated in the studies was 324 and the average effect size across all studies was 0.83 (95% confidence interval 0.66–1.00). This is a large effect and suggests that CAT is efficacious in treating mental health problems.

Evidence from randomised controlled trials
CAT has been shown to lead to subjective improvement in people with anorexia nervosa. It has also been shown to produce significant improvements in adolescents with a diagnosis of borderline personality disorder. A different trial suggested that CAT for adult patients with personality disorders also showed improvements in symptoms and interpersonal functioning, as against controls who deteriorated on these measures. CAT has also been shown to improve patients' management of diabetes. An RCT of the use of a CAT-informed assessment for young people who had self-harmed suggested that it was effective in increasing rates of attendance at community follow-up.

Evidence from other methodologies
Comparative studies have suggested CAT to be at least as effective as other forms of brief psychotherapy, person-centred therapy and cognitive behavioural therapy, and interpersonal psychotherapy.

Case series and single case studies have also been published describing the use of CAT in:
 * Depression
 * Dissociative psychosis
 * The treatment of offenders
 * Brain injury
 * Deliberate self-harm
 * Dissociative identity disorder
 * Histrionic personality disorder
 * Panic disorder
 * Psychological problems in multiple sclerosis
 * With carers of people with dementia
 * Morbid jealousy
 * Borderline personality disorder
 * Paranoid personality disorder
 * Survivors of child sexual abuse

title: Cognitive analytic therapy


text:
Wikipedia:Articles for deletion/Whitestarr

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. -- AllyUnion (talk) 07:19, 17 Feb 2005 (UTC)

Whitestarr
One-line vanity page about a wanna-be rock band. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:53, 2005 Feb 11 (UTC))

 * Delete -- bands with no albums or other notability don't go in encyclopedias. --FOo 17:56, 11 Feb 2005 (UTC)
 * They seem to be doing more live performances then recordings. Clusty gets hits for mentions in All Access Magazine.com, MTV.com and Atomfilms.com. And they have associations with notable fathers (producers). Keep and cleanup. Mgm|(talk) 22:02, Feb 11, 2005 (UTC)
 * Delete, not notable yet - no albums released, possible band vanity. Megan1967 23:30, 11 Feb 2005 (UTC)
 * Delete, because the article does not meet the guidelines of WikiProject:Music. Tuf-Kat 09:40, Feb 12, 2005 (UTC)
 * Looking closer at MTV.com's article, I'll change my vote to weak delete. An article on the band may be appropriate, but it needs to establish notability within the article. Tuf-Kat 03:44, Feb 14, 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Wikipedia:Articles for deletion/WikEd

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. -- AllyUnion (talk) 07:20, 17 Feb 2005 (UTC)

WikEd
Simple URL to a university wiki without any details as to what it's for. (212.206.63.108's slightly messed-up nominations fixed Uncle G 16:53, 2005 Feb 11 (UTC))
 * Too close to a list of external links, which is speedy material. No context. Delete. Mgm|(talk) 22:04, Feb 11, 2005 (UTC)
 * Delete. Collection of external links. jni 14:07, 12 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.

title: Wikipedia:Articles for deletion/WikEd


text:
User:Chris71

It seems that world domination is not happening the revolution will stop for tea.

title: User:Chris71


text:
Natural Science and Technical Academy Isny

The Natural Science and Technical Academy Isny (German: Naturwissenschaftlich-Technische Akademie Isny, NTA or NTA Isny) is a privately run, state-approved German university focusing in applied sciences, located in Isny im Allgäu.

Since its founding in 1945, it has had a steadily expanding scope, including food chemistry (1967, expanded 1994 to include environmental analysis), physical electronics (1968), pharmaceutical chemistry (1972), and computer science (1992).

The university claims that the physical electronics and pharmaceutical chemistry programs are unique in Germany.


text: Category:English mathematicians

title: Category:English mathematicians


text:
Talk:Ferruccio Busoni

Russolo citation
Does anyone know of the citation where Russolo is listed as one of Busoni's pupils? I'm currently researching both and it would help me out a lot, but I haven't come across it in any of my readings.
 * I inserted a request for a reference. (I don't believe Russolo was a Busoni pupil.) Unfortunately, it now appears on another web site as fact without substantiation, e.g., Piano Society:Ferruccio Busoni. This author probably got it from Wikipedia. I don't think that would make a valid citation for Wikipedia, would it... Robert.Allen (talk) 08:41, 13 April 2009 (UTC)

Recordings
Hi Helohe, Unfortunately listing the recordings of Busoni's music is not viable (Amazon has almost 300 of them!) so I changed this section to be about Busoni's recordings. I would suggest that if you want to mention specific recordings that you do so in a subarticle on the specific piece. Or if you want to mention musicians who championed Busoni's music in general... Tedneeman 23:57, 24 May 2005 (UTC)

 * The Recordings section was very confusing. It did not distinguish clearly between his audio recordings for Columbia and the piano rolls, so I split it into two subsections. Here is a good example of what I mean: it mentioned recordings of Liszt's Sonata in B minor and Beethoven's Hammerklavier; these may actually be intended to refer to piano roll recordings which have been lost, but I don't know for sure, and don't have a reference yet, so I left them in the section about the well-documented lost audio recording of Gounod-Liszt Mephisto-Waltz where they originally appeared and asked for references. (Regarding the Gounod-Liszt, see Recordings by Ferruccio Busoni). Also the "La Campanella" in the list of surviving recordings probably refers to a piano roll recording as well. I hope we can straighten this out as some point. --Robert.Allen (talk) 05:08, 14 July 2009 (UTC)

Fantasia Contrappuntistica
I think Fantasia Contrappuntistica should get its own page. Including a description whats the difference in the 4(?) Versions. helohe 08:12, 22 July 2005 (UTC)

Cramer and Busoni
Regarding Busoni's "edition" of Cramer: I think the etudes in the Klavierubung, even though they are called "nach Cramer", are close enough to Cramer's originals so that "edition" is the right word. In the first few he hardly changed anything. Tedneeman | Talk 22:25, 17 August 2005 (UTC)

Turandot Link
The link in the article goes to Puccini's Turandot - there is no article here on the Busoni opera of that name. --Philip Howard 23:58, 24 November 2005 (UTC)

Detailed addresses of burial place, etc.
The descriptions of his burial place and last home seem to be a bit overboard. I think few English speakers have any idea what all that stuff, especially the numbers, means. I know I don't. I think that information should be made more concise, or cut out entirely. --Rschmertz 05:52, 12 March 2006 (UTC)

International Piano Contest
I've added the link to the Busoni Contest in Bozen / Bolzano. I would quote it on the article with a little citation. It was started in 1949 by Cesare Nordio enrolling judges such as Arturo Benedetti Michelangeli. Maybe we should think to link to the English page only. Alegreen 07:27, 3 November 2006 (UTC)

State of the article
I feel this article needs a good rewrite. There are sections that are poorly organized, and other sections that sound as if they have been ill-translated from (maybe) German. I am not a Busoni expert by any means but I will try my hand at doing some work when I can; feel free to beat me to it! --Wspencer11 (talk to me...) 18:02, 4 January 2007 (UTC)

 * Which sections are poorly organized? How so? Which sections sound poorly written? How could those sections be improved, specifically? Hyacinth (talk) 22:13, 14 June 2008 (UTC)

The very first paragraph reads horribly to begin with. —Preceding unsigned comment added by 130.117.138.59 (talk) 19:15, 8 April 2009 (UTC)

Media
Has anyone else noticed that a number of the recordings in the media section are not by Busoni? The transcriptions of Jesu, Joy of Man's Desiring, Sinfonia to Cantata no. 29, and Sheep May Safely Graze are by Myra Hess, Wilhelm Kempff, and Egon Petri (respectively). Wsupianist (talk) 14:57, 7 October 2008 (UTC)

 * Thanks for the information. I was the original uploader of the files, and I found them at this directory of Pandora Records. They were all labelled as being by Busoni. Wikipedia's catalog of adaptations by Ferruccio Busoni confirms what you are saying. I'm quite embarrassed that these files stayed on Busoni's article for over fifteen months, and I wish I'd found your message sooner. I have removed the files from this article, and marked them for deletion. They are probably copyright violations as well because their transcribers died relatively recently. Graham 87 14:57, 2 June 2009 (UTC)

Composer project review
I've reviewed this article as part of the Composers project review of its B-class articles. This article is B-class; it lacks a complete works list, and has relatively little popular reaction to his playing or compositions. My full review is on the comments page; questions and comments should be left here or on my talk page.  Magic ♪piano 14:46, 5 February 2009 (UTC)
 * List of compositions by Ferruccio Busoni: article created 9 Feb; not yet complete, but getting there Robert.Allen (talk) 08:48, 13 April 2009 (UTC)

Busoni's name
Is Busoni's middle name really "Michelangiolo" as opposed to the more familiar "Michelangelo" ? MUSIKVEREIN (talk) 13:17, 14 July 2009 (UTC)

 * According to Dent (who may have actually checked a document, since he specifies that Busoni was "christened" with the name), it is "Michelangiolo". Antony Beaumont lists him as "Michelangelo" in the New Grove entry. Couling also uses "Michelangelo", but she probably used Beaumont as her source. --Robert.Allen (talk) 03:35, 15 July 2009 (UTC)

Brahms and Neo-classicism
I removed the following because it does not really fit in at this point:

"Earlier, Brahms had also made a transcription of the same chaconne, but for left hand only. Thus some consider him an originator of neoclassicism in music."

When we add a section on Busoni's theories about Neo-classicism, which he called "Young Classicism", it would be very appropriate. --Robert.Allen (talk) 22:41, 14 July 2009 (UTC)

Actually the German title reads: Von der Einheit der Musik, von Dritteltönen und junger Klassizitat... --Robert.Allen (talk) 03:49, 15 July 2009 (UTC)

Met Liszt?
Currently, we have: "A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met Liszt, Johannes Brahms and Anton Rubinstein".

Well, Grove V says, of Busoni: ".... Liszt, for whom he always had the greatest admiration, although he never heard Liszt play and never even saw him". What do we make of this discrepancy? -- JackofOz (talk) 04:55, 1 November 2009 (UTC)
 * Is the author of the Grove V entry Antony Beaumont? Dent (p. 24) asserts that Liszt was in Vienna for the celebration of the fiftieth anniversay of Beethoven's death in 1877 and (1) Busoni heard Liszt play the Concerto in E-flat and was "bitterly disappointed with his performance" (Liszt was getting pretty old by then) and (2) Busoni played for Liszt a few days later at a meeting in the rooms of Liszt's cousin Eduard von Liszt with whom Liszt stayed when in Vienna. He says the event was arranged by Busoni's patroness Caroline Gomperz-Bettelheim. Beaumont's 1987 book of letters repeats this information (in the chronology on p. xvii). Couling repeats Dent's story in her 2005 book, so she was apparently unaware of any change as of that date. Perhaps later research has shown it to be false. I would tend to trust the most recent information, but it might be best to search for confirmation, and/or consult the source of it, to see more details of the argument. --Robert.Allen (talk) 11:00, 1 November 2009 (UTC)

Couling also quotes a 3 April 1879 letter (pp. 31-32) from Busoni (perhaps written by his mother) to Otto von Kapf in which it is claimed that Ferruccio was examined by Liszt (among others) for his competency on the piano (Couling's footnote cites the original letter in the Berlin State Library). (Actually a different translation of this letter is also in Beaumont, 1987, p. 8.) --Robert.Allen (talk) 11:27, 1 November 2009 (UTC)
 * I just realized you are using the old Grove (1954). I was wondering whether "V" was some sort of typo, now I understand. I would guess that the information in that edition is out of date, but I'm surprised it did not take Dent into account. That was first published in 1933. I'm curious whether the Grove V articles had bibliographies, and if so, whether the article listed Dent. --Robert.Allen (talk) 17:08, 1 November 2009 (UTC)

 * Surprise, surprise! The Grove V article was written by none other than "E.J.D" = Edward J. Dent.  He seems to have been relying on his faulty memory, rather than checking the facts recorded in his own book written 21 years earlier.  Unless, maybe, he had reason in 1954 to gainsay what he'd written in 1933.  --  JackofOz (talk) 20:36, 1 November 2009 (UTC)

That's a hoot! I expect you're right about him relying on his memory. (He turned 78 in 1954.) Also, I seem to remember that Busoni himself claimed late in his life that he had never met Liszt, but I haven't been able to find where I read it. I'll keep looking. --Robert.Allen (talk) 21:09, 1 November 2009 (UTC)
 * Something I didn't mention, he (Dent) said in his book that there was no longer any documentation of the event, but doesn't say who his source for the information was. --Robert.Allen (talk) 21:29, 1 November 2009 (UTC)

 * Well, how odd. I'm quite prepared to believe he met Liszt, however briefly, and that does seem well documented.  So it's surprising he would have denied it in his latter years.  Maybe it was always a legend around which certain "facts" accreted, which he wanted to put to rest before he died.  --  JackofOz (talk) 08:14, 2 November 2009 (UTC)

Bach/Busoni Chaconne - A Musical Myth
This text focuses the musical myth in which has been transformed the piano transcription done in 1892 by the pianist and composer Ferruccio Busoni (1866-1924), based on the composition of Johann Sebastian Bach named Chaconne – BWV 1004, the 5th Movement of the Partita Nr 2 for solo violin.

Bach composed the Partita Nr 2 between 1720 and 1723 and according to some scholars, prominently Professor Helga Thoene,1 the Chaconne was done in homage to Maria Barbara, his first wife, unexpectedly died in July 1720 during his absence by reason of work. Bach was not informed about the wife’s death and when he returned the body had been buried a week ago. This loss motivated him to compose the Chaconne.

Busoni became known mainly because of his many transcriptions for solo piano of Bach’s compositions, specially the Chaconne and the Chorale Preludes as, by example, that named “Nun komm’ der Heiden Heiland” (Now comes the gentiles’ Saviour) – BWV 659. Being a great pianist, he influenced new pianist generations at the transition from the Romanticism to the Modernism.

Usually the transcriptions are done with the purpose of performing the music through a different instrument of that the composer had chosen for the original score. Concerning the Bach’s Chaconne, many and several transcriptions have been done for piano, guitar, organ, bassoon, orchestra and even one for choral (See http://www.scoreexchange.com/scores/95424.html). Frequently the transcriptions of Bach’s compositions are object of polemic arisen by purist critics who do not accept modifications in the opuses of that, who is considered the Music’s father, or by other critics who accept changes, but with reservations, mainly those concerning the original’s content or essence.

The Busoni transcription of the Bach’s Chaconne has been object of criticism by both the tendencies. Busoni did so many alterations to the original – of expression, rhythm, time and even quantity of measures – which affected strongly the opus’ content of deepest feelings and expressive emotions. It’s impossible to believe that Busoni, with his vast knowledge on the Bach’s music, was not conscious of the intrinsic but not written performance indications in the original, since they were not used at that period. However, even who knows a minimum about baroque music (See Doctrine of the Affections) and, particularly, a little of Bach’s music, can almost naturally see the presence of narratives and dialogs  in the ascendant or descendant, bass or treble phrasing, which concern the expression. Because of the deliberated distance from the original, it is not wrong to say that this transcription could be another composition, a great composition if it were not the fact that, in despite of the alterations, still it is the Bach’s Chaconne, even though transfigured. It’s, for example, as if the Da Vinci’s Monalisa were redone with other colors, other lines and proportions, but even so it could be recognized.

What would have been the Busoni’s purpose in doing these alterations? It’s known that Busoni, answering the pianist D’Albert’s criticism in May 1894, argued that the violin, for its limitations, wasn’t suitable for the Chaconne performance.2 According to this declaration, Bach would have made a mistake, or it would have been impossible for him to choose the adequate instrument or instruments. There are even people who suppose, without proof, that the Bach’s Chaconne for solo violin would be a reduction from other composition for orchestra, whose score would have been lost. These favorable arguments to the Busoni’s transcription work to justify its orchestral character. But this character is just the Achilles heel of this argumentation.

The arts, particularly the music, consist in feeling and expressing emotions. Regarding this Chaconne, it´s a deep emotion of a man who lost his wife and, after visiting her grave, is now alone in his room. Nobody, at this moment, feels like him that pain. Would he have than inspiration to compose for an orchestra or it would be more naturally adequate that he had chosen an intimist instrument as the violin to compose for? Let’s listen to an expert so qualified as Johannes Brahms:

“The Chaconne is the most wonderful, unfathomable pieces of music. On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth shattering experience would have driven me out of my mind."

Brahms did also his piano transcription from the Bach’s Chaconne in the most simple and faithful way to the original and for left hand performance. A caprice or a gift and respect to those pianists who lost the use of one of the hands? It’s a beautiful transcription that causes emotion. It’s worthwhile to watch the pianist Anatol Ugorski playing it in the You Tube.

All those people who have done a transcription for orchestra from this Chaconne did not get a corresponding success to the original masterpiece weight, nor to the experience and competence of great composers as Leopold Stokowski whose transcription for symphonic orchestra, even being grandiose, don’t awake emotion with the same intensity like the original for solo violin. Why? I’ll try to answer, paradoxically, with other question: why the piano transcription done by Franz Liszt (1811-1886) from the Funeral March, 2nd Movement of the Beethoven’s 3rd Symphony, the Heroic, also doesn’t correspond to the Liszt’s mastery of the piano, neither to this Beethoven’s masterpiece? Each opus owns an essential character which is built from the initial idea, impulse or motivation of its creator. The Beethoven’s motivation to compose this Funeral March wasn’t based in an individual feeling, particular like that which motivated Bach to compose the Chaconne, but in other feeling of universal or collective ambit and resulting from that historic moment, a feeling of deep respect for the died and anonymous heroes of the French Revolution. This motivation couldn’t prosper through a solo instrument composition, but only by a Symphonic Orchestra executing a symphony. Nevertheless, the Bach’s Chaconne also moves millions of people around the world because, in the likeness of the spectator, the listener also abandons himself to the catharsis process by feeling as his own the another’s pain.

In his Chaconne transcription Busoni has opted for the orchestral character by availing himself of and exploring at the utmost the sonority, timbre and pedals resources of the modern grand pianos made in Europe (Bösendorfer, since 1828 in Austria) and after in the USA (Steinway & Sons, since 1853). This transcription became a musical myth and also a challenge even to the great pianists because of its complexity, on the point of many of them, almost that obligatorily, have included it in their repertoires. However, not all of them. Why? Glenn Gould (1932-1982), the great Bach’s interpreter, didn’t record it although had done recordings of Beethoven-Liszt Symphonies transcriptions. Vladimir Horowitz (1903-1989) also didn’t it, but has recorded another Bach-Busoni transcription, the Chorale Prelude – BWV 659. Purists? Absolutely not. Are they from those who accept changes, but with some reservations? Personally, I think so.

According to some enthusiasts of this transcription, Busoni, by exploring the piano timbre resources, would allow the interpreter to “almost hear the roll of drums and the ringing of bells.”2 However much I have heard this transcription many times by many performers, I couldn’t hear bells. What one hears well is, surprisingly, the sound of a steam locomotive (mm. 40-47), an abrupt change of tempo and touch –“più mosso ma misuratto” – that interrupts the narrative and breaks the melodic line and the passage unity. Busoni, along the transcription, deliberately ignores the Bach’s typical poetic rhetoric, so exuberant in this Chaconne. The strong sonority effects and the emphasis in grandiosity, which don’t allow the interpreter to perform with coherent expression, hide the evocations, dialogs, affirmations, exclamations, questions and answers, so clear in the Bach’s original to an attentive audience.

In the initial measures Bach evokes the Barbara’s name, following a clear dialog between them (mm. 7-20). Successively the phrases and passages go ahead suggesting reminiscences from the courtship happy days in Arnstadt and the marriage in Dornheim (mm. 24-119); the lancinating lament for the loss of Barbara (mm. 124-131); the complaining and revolt while talking to God (mm. 132-147); the disapproval about the insatiability of the death (mm. 148-150); increasing desperation, delirium, loss and refinding of the faith (mm. 151-183); the God’s answer to Bach at the music climax (mm. 184-189); a laudation act (mm. 200-207); dedication of the Chaconne to Barbara (mm. 208-225); a flamenco theme of moorish influence  (mm. 228-239) and at last the moving farewell (mm. 248-256). Evidently the impressions above are personal and were inspired by listening many times to some violin performances. They are cited only to show the idea and emotion richness of the Bach’s Chaconne. Deep emotion, for sure, is the essence of this masterpiece.

These few observations concerning the Bach’s original for solo violin certainly didn’t pass unperceived to Busoni, a great connoisseur of the Bach’s music, composer and great pianist. Why than would he have concretized his Chaconne transcription in this way, covering that essence with another kind of emotion, with grandiosity? Personally, I come to the conclusion that Busoni wished to make something greater than the original. But when you deal with masterpieces I would say that it’s impossible. To the pianists who play this Bach-Busoni transcription a note of respect because it’s a personal conquest and an important mark in their careers. Nevertheless, here remains the suggestion to perform, also, another piano transcription, faithful to the original Chaconne.

Luiz Antonio V Penteado

Nov. 2010

Notes: 1.	Helga Thoene, “Ciaccona Tanz oder Tombeau?", ISBN 3-935358-60-1, 2005.

2.   Fabrikant, Marina: “Bach-Busoni Chaconne: A PianoTranscription Analysis”, pag. 57                    University of Nebraska-Lincoln, 2006.

3.   Fabrikant, Marina: “Bach-Busoni Chaconne: A PianoTranscription Analysis”, pag. 4                    University of Nebraska-Lincoln, 2006. Bibliography:

Rueb, Franz, “48 variações sobre Bach”. Ed.Companhia das Letras, São Paulo,     2001. Fabrikant, Marina: “Bach-Busoni Chaconne: A PianoTranscription Analysis”. University of Nebraska-Lincoln, 2006.

Helga Thoene, Ciaccona Tanz oder Tombeau?", ISBN 3-935358-60-1, 2005. — Preceding unsigned comment added by 201.42.9.70 (talk) 15:41, 24 August 2011 (UTC)

Aesthetics
The Aesthetics section of this article does not seem as if the author was even attempting to be objective. It expresses value judgments regarding tonality, and without evidence pronounces judgments on the degree to which Busoni is tonal. The only citation serves to contradict the authors interpretation. This section needs a complete rewrite. — Preceding unsigned comment added by 18.111.104.44 (talk) 01:22, 28 July 2012 (UTC)

Pupils
I have no idea how the names of the pupils were gathered, how sourced, why in no apparent order. I linked at least what I could. The German Wikipedia has life data and what they did in life. Worth trying? --Gerda Arendt (talk) 10:41, 9 February 2016 (UTC)
 * The German article has a long (and by no means complete) list, completely unreferenced, with a one or two word career description, dates and references. To incorporate such a list as part of the main article would I think be rather distracting. I think such an item would come off better as a separate article (List of pupils of...) As many of the pupils will be mentioned (I hope) in the expanded biography, we could wait till later to make a final decision.--Smerus (talk) 14:23, 9 February 2016 (UTC)
 * Good ideas. Perhaps those not mentioned in the article (especially without even a link) are not needed anyway. --Gerda Arendt (talk) 14:54, 9 February 2016 (UTC)

Catalogs/Lists(?)
I note that the existing associated articles (Catalog of original compositions by Ferruccio Busoni, Catalog of adaptations by Ferruccio Busoni and Ferruccio Busoni discography (as composer)) are also ragbags. I think, for a start, they should be retitled as 'List of..' ('Catalog' is rather pompous and makes a claim to inclusivity which there is no way of assessing or justifying), and generally tidied up to avoid mass overlinking, etc. any views?--Smerus (talk) 14:23, 9 February 2016 (UTC)
 * I wanted to do it, but it takes an admin. Graham, would you do that: List of compositions by Ferruccio Busoni, Ferruccio Busoni discography? --Gerda Arendt (talk) 15:00, 9 February 2016 (UTC)
 * ps: to make things worse, the first redirect points to the wrong article (also discography), but it's probably pointless to change now, --Gerda Arendt (talk) 15:02, 9 February 2016 (UTC)
 * All done. Thanks for the ping. Graham 87 15:59, 9 February 2016 (UTC)
 * Thanks for the work. Every time I install ill I think of you, and that is often! --Gerda Arendt (talk) 16:06, 9 February 2016 (UTC)

Everything around the lists is massive. Overbolding, overlinking, - normally I would clean it up - but it's so long. There seems to be a second discography, less advertised. - The articles on compositions are very modest, and not many, see Ferruccio Busoni, --Gerda Arendt (talk) 21:37, 9 February 2016 (UTC)feel free to add, just click on the little E in the upper left.
 * Late March–early April I updated the first 27 entries of List of adaptations by Ferruccio Busoni, not experiencing particular problems in the process. Let's not imply "beyond salvation" too soon maybe. --Francis Schonken (talk) 11:48, 1 July 2016 (UTC)

Add note to GAN tag?
Is it OK to add the following note to the GAN tag on top of this page: |note= A discussion tangentially involving some of the content of this article took place at Wikipedia talk:WikiProject Classical music (June–July 2016) ? (or something in that vein) --Francis Schonken (talk) 10:56, 1 July 2016 (UTC)

 * The normal GA reviewer will look at the talk and see this. It also seems over. - The nomination is templated, with few parameters. --Gerda Arendt (talk) 12:34, 1 July 2016 (UTC)
 * Re. "It also seems over" – the chaconne question there is still unanswered: don't know very well whether this biography should go GAN without mentioning a piece that probably leads the list of Busoni's most popular works (or if it doesn't lead that list, it would be very near to the top). Does anyone know a solo piano work by Busoni that was recorded more often? --Francis Schonken (talk) 07:57, 2 July 2016 (UTC)

The Brautwahl libretto edition
I'd like to add this sentence to Ferruccio Busoni:

Rationale: I think such text edition too representative to leave it unmentioned in the "writings" section. --Francis Schonken (talk) 07:58, 2 July 2016 (UTC)
 * But:
 * 1) do you know whether or not his other libretti were also published in such editions (as implied by ("sometimes"))? - and -
 * 2) The publishing of limited editions of works of literature, sometimes with special illustrations, was not at all uncommon in the early 20th century - I have numerous examples in my own library. What is so special about this edition that makes it worth mentioning? What makes this edition especially "representative"? If nothing special, it falls under WP:UNDUE and/or WP:TRIVIAL imo as far as this article is concerned. It may however be appropriate for Die Brautwahl.--Smerus (talk) 09:34, 2 July 2016 (UTC)
 * Turandot seems to have one: ; For Arlecchino I could only find less luxurious text editions (so "sometimes" seems OK). Note that the Turandot one was only published much later, so it seems more reasonable to mention the one that was published during the composer's lifetime.
 * The librettos received scholarly attention (e.g., ), they are also discussed in the context of his essays, a sizable portion of which involve stage works (see Brendel's 2015 book I mentioned at the WikiProject talk page), so I think mentioning one or two of the librettos as example in the writings section far from uncalled for. Wikipedia's biographical article on the composer mentions lost compositions, with comparatively little scholarly study (and, of course, "unpublished"). --Francis Schonken (talk) 17:17, 2 July 2016 (UTC)
 * Also, seems a preliminary version of the Brautwahl libretto is tied to the Entwurf essay: https://books.google.com/books?id=u6_ZZcyELZkC&pg=PA196 – 197 (I had been wondering why the title page of the 1913 edition said it was the "second and final" version of the libretto, harmonized with the score) --Francis Schonken (talk) 19:19, 2 July 2016 (UTC)

Francis, please do not twist my comments. I am not arguing against mentioning the librettos in the article as part of B's writings. I am disputing including anything about this edition. It is not significant in any way to B's career, and does not appear to represent a different version of the original libretto. As it happens I've now found the very detailed programme booklet (190 pages) of the 1992 Brautwahl production in Berlin, which I attended. It mentions (p. 129) that Busoni's publisher Cassirer arranged this de-luxe edition of the libretto, a year after the premiere, signed by the composer and artist, and distributed it to his contacts. This is the only specific reference I have come across to this edition in secondary sources and it does not indicate that the edition was in any way significant to Busoni's life or work. Certainly not in any sense 'representative'. Unless you can come up with something which says different, mention of this edition belongs, if anywhere at all, in the article on Die Brautwahl.--Smerus (talk) 22:05, 2 July 2016 (UTC)
 * The Entwurf einer neue Ästhetike der Tonkunst was first published in 1907 by Schmidl. There were two editions of the Entwurf in that year (both by Schmidl). The first of these contained an early version of the Brautwahl libretto (that is: before Busoni had started composing the opera).
 * The 1913 edition of the libretto has "Zweite, endgültige, mit der Komposition übereinstimmende Fassung" (Second and final version, in accordance with the composition) on the title page, so it is a valid (and illustrated) version of the opera's text.
 * Besides being valid, illustrated, and published during the composer's lifetime, it has the advantage of being available on-line. I'm not attached to the wording of the sentence above, but to answer your question why I propose to link to precisely this edition of a Busoni libretto (sorry for not answering that question before): it is what we often do when a particular edition of a work is available on-line: we link to it from the author's biographical article. Compare (for instance) Picander's article: the editions of that author's librettos that are available at archive.org are linked from the author's article. Similar for Johann Nikolaus Forkel: for this author an English translation of one of his books is available at Gutenberg.org, so we link to it from the biography. We do the same for compositions (mostly linked to IMSLP and/or ChoralWiki). In this case there are separate articles listing Busoni's compositions, and you will find the IMSLP links for the compositions there. For Busoni there is not a separate article listing his writings (yet), and seems unlikely that half a dozen published writings would warrant a separate list article, so I think that besides the two books of essays, the biography should provide a link to at least one printed edition of a libretto, for which an illustrated one, available on-line, is more than representative enough. --Francis Schonken (talk) 23:33, 2 July 2016 (UTC)

- Smerus (talk) 06:57, 3 July 2016 (UTC)

Updated proposal
I'd replace the second paragraph of the writings section, currently:

by:

Rationale: see above. --Francis Schonken (talk) 07:59, 3 July 2016 (UTC)

 * The first sentence of this paragraph contains information ('two opera librettos') not substantiated by the reference. The second sentence is irrelevant to the article. The third sentence is correct, but in incorrect English. The last sentence is OK.--Smerus (talk) 09:50, 3 July 2016 (UTC)

Given name
Michelangiolo? Really? The Rambling Man (talk) 21:01, 16 July 2016 (UTC)
 * Did you read the detailed footnote regarding this, including the spelling? --Gerda Arendt (talk) 21:07, 16 July 2016 (UTC)

Sidebar
I reverted the newly-created sidebar added by an editor listing Busoni's works. Amongst my reasons are:
 * Duplication: his works are already listed in a template at the foot of the article
 * Unnecessary clutter
 * The article is a general biography of Busoni; to have a detailed listing of his works at its head is distracting and unnecessary. Encyclopedic practice (e.g. Grove Dictionary of Music and Musicians and similar works) is to have a list of compostions after the biographical artcle.
 * The article has GA status and it would be normal polite practice to discuss any major changes on the talkpage before instituting them. I invite editors' comments.--Smerus (talk) 17:42, 30 July 2016 (UTC)
 * I entirely concur on all four points. This list of works is, admittedly, more appropriate and relevant than an info-box that tells us the name of the composer's wife, place of burial etc, and duplicates the info alongside it in the lead, but it is in the wrong place: it is usually wise to consider the practice of professional works of reference, and Grove – about as authoritative as you can get – and does very well without info-boxes, sidebars and the rest of the clutter so prevalent in Wikipedia. The final bullet point above is pretty much a bullseye too, I'd say. There is a related question being pursued here and here, where a similar point of polite practice seems not to occur to some of the more absolutist I-B apostles.  Tim riley  talk    07:08, 31 July 2016 (UTC)

Helsingfors
"In 1888 the musicologist Hugo Riemann recommended Busoni to Martin Wegelius, director of the Institute of Music at Helsingfors (now Helsinki, Finland, then part of the Russian Empire)"

Helsingfors is still called Helsingfors. It is also called Helsinki and was called Helsinki in 1888. This is due to the fact that Finland was and is a bilingual country. Helsingfors is the name in Swedish, Helsinki the name in Finnish. — Preceding unsigned comment added by 137.163.31.190 (talk) 11:06, 16 February 2018 (UTC)
 * Helsinki is the present WP:Commonname in English. Helsingfors was its official name when part of the Russian Empire. Nothing more to say, I think.--Smerus (talk) 11:52, 16 February 2018 (UTC)
 * I second using "Helsinki", as it is more commonly used and recognized in English. "Helsinki" has been used in Finnish official documents since 1812 when Helsinki became the capital. Most documents in English (including Wikipedia itself) use "Helsinki" when discussing the Grand Duchy of Finland (1809–1917). During the Grand Duchy era Helsinki had three official names: Helsinki (Finnish), Helsingfors (Swedish), and Гельсингфорс (Russian). For some reason the official name in Russian persisted almost a decade after the Grand Duchy era. If this page was in Russian, Гельсингфорс would be the historically informed choice. 77.86.206.239 (talk) 15:55, 11 January 2019 (UTC)

Infobox
I think that for the sake of giving it a more professional look, the article could do with an infobox. I've already written one --- it's in the article's history, deleted in accordance with GA conventions. What do you guys think? Etmetalakret (talk) 16:08, 21 February 2022 (UTC)
 * 'A more professional look' - many of us, including me, would oppose an infobox because it gives an 'unprofessional' look - but both these views are simply variations of WP:IDONTLIKE. The article is already at GA status, which would suggest it is, overall, of a 'professional' nature. The question is whether an infobox would add any value to the article. The article is already appropriately summarized in its lead section and therefore I do not believe an infobox would add anything. If anyone wants to know e.g. exactly where he was born or died, neither of which facts are in any way central to his career, they can read the article. So I oppose this proposal. --Smerus (talk) 10:04, 22 February 2022 (UTC)

title: Talk:Ferruccio Busoni


text:
Jackson Kemper

Jackson Kemper (December 24, 1789 – May 24, 1870) in 1835 became the first missionary bishop of the Episcopal Church in the United States of America. Especially known for his work with Native American peoples, he also founded parishes in what in his youth was considered the Northwest Territory and later became known as the "Old Northwest" (Indiana, Missouri, Wisconsin, Minnesota and Nebraska), hence one appellation as bishop of the "Whole Northwest". Bishop Kemper founded Nashotah House and Racine College in Wisconsin, and from 1859 until his death served as the first bishop of the Episcopal Diocese of Wisconsin.

Early life
Baptized David Jackson Kemper by Dr. Benjamin Moore, the Assistant Rector of his parents' congregation at New York City's Trinity Church, he would eventually drop the given name "David." He had been born in the Hudson River Valley of New York, where his parents had taken temporary refuge during a smallpox outbreak in New York City. His father Daniel Kemper had been a Deputy Clothier-General in the Continental Army during the American Revolution. His mother, Elizabeth (Marius) Kemper, descended from well-known families of the Dutch New Amsterdam era.

Kemper entered Columbia College at the age of fifteen, where he studied theology under Dr. Henry Hobart and graduated in 1809 as the valedictorian of his class.

Career
Relocating to Philadelphia, Kemper was ordained a deacon of the Episcopal Church in 1811 by Bishop William White, and a priest in 1814 as he served at Christ Church. Particularly interested in evangelism, Kemper even persuaded his elderly mentor to make a missionary journey to western Pennsylvania during which also he founded St. Matthew's Episcopal Church in Wheeling, West Virginia.

In 1835, the Episcopal Church's General Convention decided to consecrate missionary bishops to preach the Gospel west of the settled areas. Fr. Kemper was the first chosen. After being consecrated as a bishop he promptly headed west for Indiana and Missouri. Since most clergy who had lived all their lives in the settled East were slow to respond to his call to join him on the frontier, Kemper determined to recruit priests from among men already in the West. He established a training college in St. Louis, Missouri, for that purpose, which failed in 1845 for lack of funding. He went on to found Nashotah House in 1842 and Racine College in Wisconsin. Kemper also founded the mission parish that became the Cathedral Church of All Saints in Milwaukee.

Kemper constantly urged outreach to the Native American peoples, and translations of the Scriptures and the services of the Church into their languages. His first official act as Missionary Bishop, in what would become Wisconsin, was laying the cornerstone for a new frame church building for Hobart Church, Duck Creek, which served the Oneida Indian Mission. Perhaps more significantly, the first ordinations in what would become Wisconsin were also at Hobart Church. There Kemper ordained William Adams and James Lloyd Breck, two young recruits from the East who helped him establish Nashotah House Seminary, on October 9, 1842. He was regularly invited to the Oneida reservation at Duck Creek by chief Daniel Bread. Kemper ordained a Native American, Enmegahbowh, of the Ottawa tribe as a deacon in 1859.

Kemper supported the Oxford Movement, although he maintained the importance of separation from the Roman Catholic Church. He ordained James De Koven as a priest in 1855, and supported Benjamin Onderdonk during his trial. In 1846 Kemper purchased a property adjacent to Nashotah House where he lived the rest of his life. From 1847 until 1854, Kemper served as Provisional Bishop of the newly formed Diocese of Wisconsin, and then served as its diocesan bishop from 1854 until his death in 1870. Kemper also supported creation of a new diocese, though he did not live to see the formation of the Diocese of Fond du Lac come to fruition.

Bishopstead, his residence in Delafield, Wisconsin, is listed on the National Register of Historic Places. Kemper Hall, an Episcopal school for girls in Kenosha, Wisconsin that was named after him, is also listed on the National Register.

Veneration
Kemper is honored with a feast day on the liturgical calendar of the Episcopal Church (USA) and of the Anglican Church in North America on May 24. Nashotah House and now the Anglican Province of America have a mission funds named after the missionary bishop.

title: Jackson Kemper