Total Clips: 6 Headline Date Outlet What the Candidates Don't Say 02/02/2008 WSYR-TV Do Hillary's thin lips make her powerful? 02/03/2008 WSTM-TV Irish poet Paul Muldoon to read and rock at Colgate 02/04/2008 Post-Standard SU's billion-dollar question How to balance fund, aid? 02/07/2008 Post-Standard CU participates in National Wear Red Day 02/07/2008 The Mid-York Weekly Using Butterfly Time, We Can Learn Secrets of Our Own 'Clocks' 02/08/2008 Wall Street Journal What the Candidates Don't Say 02/02/2008 WSYR-TV Babich, Tanja Return to Top The New York State primary is only days away and many of you are taking a closer look at the candidates. When you do, pay attention to their body language. Carrie Keating is a professor of psychology at Colgate University. She specializes in interpreting facial expressions and gestures. She says the presidential hopefuls are especially mindful not just of what they say, but how they say it. "I don't think you can get to the top level, the top rung in politics anymore, without being a pretty fair actor," she says. Republican front-runner John McCain makes good use of his body and hands when he speaks. He often leans in to establish a closeness with those listening to him. His hand gestures emphasize the importance of what he's saying. It's a stragety that also works well for Hilary Clinton. Her biggest challenge is in balancing perceived power with likeability. It's something that Keating says is difficult for any woman. "If she looks masculine, competent and dominant she doesn't look feminine, warm and approachable." Looking like a commander in chief is less complicated for men. Mitt Romney and Barack Obama are both tall and have strong jaws. Those attributes give them the look of a leader. Obama, however, has a slight advantage over Romney because his voice is strong and resonant. Romney's is slightly higher in pitch. Click on the above attachment, to view the report. Do Hillary's thin lips make her powerful? 02/03/2008 WSTM-TV Chatalian, Christina Return to Top Our guest this morning is Carrie Keating, professor of psychology at Colgate University. Carrie is an expert at facial charicteristics and structure of the presidential candidates' faces. What do we see in a face the helps us perceive traits such as trust worthiness and confidence? To watch the interview, click the attachment. Irish poet Paul Muldoon to read and rock at Colgate 02/04/2008 Post-Standard Ryan, Laura Return to Top Irish poet and The New Yorker poetry editor Paul Muldoon is scheduled to read from his work on Valentine's Day at Colgate University in Hamilton, then take a stage of a different sort the next day, with his rock band, Rackett. Here's the 411 from Colgate: Muldoon will be at Colgate at 4:30 p.m. Thursday, Feb. 14 in Golden Auditorium. Then the poet and Rackett will give a live performance at 9:30 p.m. Friday in Donovan's Pub. Some background on Muldoon and Rackett, courtesy of Colgate: Born in 1951 in Northern Ireland. From 1973 to 1986 he worked in Belfast as a radio and television producer for the British Broadcasting Corporation. Since 1987 he has lived in the United States, where he is now Howard G. B. Clark '21 Professor at Princeton University and Chair of the Peter B. Lewis Center for the Arts. Between 1999 and 2004 he was Professor of Poetry at the University of Oxford, where he is an honorary Fellow of Hertford College. I interviewed Muldoon in 2006. Here's the story: 'I WANT A POEM TO FIZZ'; PAUL MULDOON MUSES ON POETRY, LYRICS, SPRINGSTEEN By Staff writer April 2, 2006 Paul Muldoon has been called the greatest thing to happen to Irish poetry since Nobel laureate Seamus Heaney. But to hear him tell it, Muldoon's just a guy waiting for words to snap, crackle and pop. In anticipation of an appearance Monday at Le Moyne College, Muldoon recently chatted by phone from his office at Princeton University, where he's the Howard G.B. Clark'21 Professor in the Humanities. In a soft brogue perhaps alloyed by his 19 years living in the United States, he mused about the blissful ignorance of youth, the fizz of poetry and Bruce Springsteen. What first drew you to poetry? I wrote something when I was 11, the first thing I remember writing. But I'm sure I wrote before then - most people do. Most children write something when they're younger - 6, 7, 8, 9. My own feeling is that when children are about 8 or 9, they're often at their best, you know? They have a particular engagement with language. They have a sense of fun with language. And they also have, allied with that, a profound sense of ignorance. They don't really know what they're doing. And that's fantastic, in my book. What makes ignorance fantastic is this: If I know something, then chances are that you probably know it, too, right? And vice versa. ... And we want to be in a place where we simply did not expect to be. So not knowing is the norm, right? It's the condition, the sine qua non, that one needs to get to, where some revelation might be at hand. So that's one of the reasons why they're so great at that age. And ... without getting overly romantic about it, that's basically what writers are trying to do. To get into that place, where they're open to the possibility. Did you know that early that you would do this for the rest of your life? Not at all. No, no, no. I wasn't thinking in those terms. I suppose there are people who think in those terms. I know for a while you worked for the BBC. Did you think that that was going to be your career? Probably. I think I did. I mean, that was in an era when people tended to stay in one job, and they stayed there. If you got a job, you could envision yourself with the slippers and the pipe by the fireside. You know? I don't know. It was a world in which there were more certainties. And that's not too long ago. Were you writing poetry in stolen moments back then? When and how did you make the permanent switch to full-time poetry? Well, you know what, I don't know if I ever really did. Somebody asked me yesterday, 'How do you possibly write your poems?' And I said, 'Well, I write them at lunchtime. I write them between meetings.' I'm trying to write a lecture at the moment. I take a half-hour here, a half-hour there. Because, basically, if I don't, it'll never happen, you know? Well, I tend to write in an office. I don't work at home. At home, I do home stuff. In the office, I work. You were a student of Nobel Prize-winning poet Seamus Heaney. What was that experience like? Well, he was a very good teacher. A great encourager, also. (One of Muldoon's high school teachers) ... knew him a little bit, and introduced me to him when I was about 16. And so I sent him a few poems, and you know, he was very encouraging and published them. And always has been very encouraging. His encouragement still means a lot to me. How do you begin a poem? Is it with a word? An image? Do you know what a poem is 'about' before you start writing it? The first two things could be one or other or a combination of both those. It depends very much from poem to poem. It might be a phrase, might be a word. ... Or an image of something that at least may have the capacity of knocking one's socks off. And often what I do ... is to wait for a couple of these images to come together, or at least to begin to come together - to sort of nod at each other, kind of engage in a little mating ritual, as it were. You know? ... Basically, you want to see what's going to happen when those two things are put down. What's going to happen? What's the explosion going to look like? What's the chemical reaction going to look like? That way, if there's a bit of a fizz, which essentially I think there needs to be in a poem. I want a poem to fizz. I want somebody coming out the other end of it thinking, 'My heavens. That was amazing.' Right? Because, you know what? If that's not happening, you'd be much better going and doing something else. Really. Much better going out and taking a walk. So there needs to be a reason for being in that poem. One needs to be moved in some way, while having been in it and coming out of it. And that applies to you as well as the reader? Oh, absolutely. Robert Frost, another of my great heroes, has a line about that. He says, 'No tears in the writer, no tears in the reader.' You've written music for opera and for your rock band, Rackett. What's the difference between lyrics and poetry? The poem has its own music. And there's something by definition missing in a song lyric. That doesn't mean they don't come close to the condition that we associate with a full-bodied poem. In fact, in many instances, there's not much to choose between them. But at some level, there still must be something missing. So even if you take a great songwriter - like Leonard Cohen, for example, who publishes his songs as poems - they're great on the page. But, in fact, there's still something missing. I understand Bruce Springsteen recorded a song you wrote with Warren Zevon. Yes, it was a song that I wrote with Warren Zevon, which Bruce Springsteen sang at a concert just after Warren Zevon died. And then it was included in a tribute album to Warren Zevon. So that's how that happened. I don't know if you're a Springsteen fan, but how did you like that experience? Oh, brilliant. Fantastic. Oh, I'm a big fan. I think he's great. Based on your work with young people, do you have any predictions about the future of poetry? Great. No concerns about it at all. None whatsoever. No, we have great poets here. ... There's lot of great poetry being written in the U.S., for example. In fact, last year I edited the 'Best American Poetry 2005' - so I had a chance to really have a big trawl through the waters. And lots of great stuff. So, poetry's fine. Poetry is in good shape. ... There are great poets around. And there are great poets around we don't know about yet. They're probably 8 or 9. They may only be 10 right now, but they're coming. And they're coming because it's a natural thing. It's a natural thing. One of our great responsibilities in education is not to squash it. SU's billion-dollar question How to balance fund, aid? 02/07/2008 Post-Standard James, Rebecca Return to Top Maybe this wasn't the best year for Syracuse University to make it into the billion-dollar club - the elite group of schools with 10-figure endowment funds. SU and other colleges with endowments of more than $500 million are drafting responses to the Senate Committee on Finance answering a long list of questions related to the issue of why tuition keeps going up when colleges have so much money. As U.S. Sen. Charles Grassley, R-Iowa, puts it: 'It's fair to ask whether a college kid should have to wash dishes in the dining hall to pay his tuition when his college has a billion dollars in the bank.' Hitting the billion-dollar mark is an exciting milestone, but SU officials aren't bragging. 'A billion dollars sounds like a lot,' said SU Treasurer Barbara Wells. 'But if you look at endowment per student, compared to comparable institutions, we're very modestly endowed.' $63,610, which puts it behind 195 other private institutions, she said. Endowment numbers for fiscal year 2007, which ended in June for most schools, were released Jan. 24 by the National Association of College and University Business Officers. That same day, the Senate Finance Committee sent out letters to 136 colleges with endowments above $500 million. In Central New York, those are SU, Cornell University, Colgate University and Hamilton College. The committee said strong endowment returns should encourage schools to take more out of their endowments to put into financial aid. They asked for replies in 30 days. Last week, Cornell announced plans to spend millions more on financial aid, eliminating loans for families with incomes under $75,000 and capping them at $3,000 a year for families with incomes up to $120,000. The plan had been in the works for a year, university officials said. Politicians have been talking about getting tough with universities by considering measures like capping tuition increases or making schools spend a certain percentage of their endowments each year. Congressional leaders should realize that rising tuition rates create a bigger pool of students eligible for financial aid, said Carolyn Ainslie, Cornell's vice president for planning and budget. And some families are wealthy enough to afford the sticker price. "Capping tuition would subsidize those that don't need it," Ainslie said. While Cornell is now paying out 4.7 percent of its endowment, the financial aid change will bump that up to 5 percent, she said. Colgate's rate was 4.83 percent for 2007, while SU's regular payout was 4.4 percent. However, special distributions, aimed at funding an academic initiative, for instance, mean that SU is taking out just over 6 percent, Wells said. Five percent would be a fair minimum spending rate, said Ronald Ehrenberg, director of the Cornell Higher Education Research Institute, who will be presenting his ideas to a conference for members of Congress in Charleston, S.C., starting Feb. 18. Endowments have been earning about 10 percent over the long term, so they could retain their value by spending 5 percent, reserving 4 percent to cover inflation and using about 1 percent to run the endowments, he said. Colgate University has no plans to change the amount it spends from its endowment, said David Hale, vice president for finance and administration. Colgate's endowment jumped up nine spots in the rankings for 2007 after one of its best years ever, which included almost $44 million in gifts and an investment return of 22.2 percent. "It was an absolutely fantastic year," Hale said. However, the steep market declines in late 2007 and early 2008 are leaving most schools hoping to avoid losing money this year and making them leery of agreeing to increase endowment spending. "We are basically looking for the endowment to provide generous support for our current students and faculty," Hale said. "We want to make sure that support is available for future generations as well." CU participates in National Wear Red Day 02/07/2008 The Mid-York Weekly Godrey, Carolyn Return to Top National Wear Red Day was held throughout the nation on Friday, and several Colgate employees in the Utica Street offices were among those to dress in bright colors to observe the day. The event is sponsored by the American Heart Association and is designed to raise awareness of the heart disease, the number one killer of both men and women. The day also shows support for those who have or are at risk of having the disease. “We wanted to show our support for the day and those who have the disease,” said Patty Caprio, director of leadership giving for the university. "You'll see though that we're wearing different shades of red – maybe mostly maroon. This week-end is when we play Cornell in hockey and we didn't want people to think we're supporting them as they're known as the Big Red," she added jokingly. For several years Colgate has taken part in the America's Greatest Heart Run and Walk at Utica College and has consistently placed among the top educational team finishers. Last year Team Colgate was honored for collecting approximately $11,000 to take first place in the college com-petition. Organizers of this year's Heart Run and Walk have set an overall goal of $1,100,000 for the March 8 event. If you'd like to be a part of Team Colgate, local registration will be held from 5 to 7 p.m. on March 4 at the Reid Athletic Center on the Colgate campus. For more information, call the American Heart Association at 315-266-5403. Using Butterfly Time, We Can Learn Secrets of Our Own 'Clocks' 02/08/2008 Wall Street Journal Hotz, Robert Lee Return to Top Of Butterflies and Time: Migrating thousands of miles every year, monarch butterflies fly across North America guided by a genetic clock in a brain no bigger than the tip of a ballpoint pen. University of Massachusetts neurobiologist Steven Reppert and his colleagues at The Monarch Project are researching the biology of the monarch butterfly's time-keeping and navigation skills. They published their latest research last month in the online journals PLoS Biology, PLoS One, and in the journal Molecular Biology and Evolution. Not until 1975, however, did researchers know where most of the butterflies went each winter. That year, an American factory technician hiking in the mountains west of Mexico City discovered their winter haven, which today forms a 217-square-mile federal Monarch Butterfly Biosphere Reserve. To further protect the species, Mexico, the United States and Canada agreed last May to designate 13 protected preserves along its migration routes as the Trilateral Monarch Butterfly Sister Protected Area Network. The University of Kansas Monarch Watch operates a volunteer tagging program to track the annual migration. The Monarch Butterfly in North America Web site offers information and resources about the biology and conservation of these butterflies. The Journey North records field observations each fall and spring as the monarchs fly to and from over-wintering sites in Mexico on an interactive migration map. Recommended Reading: Clocks are within us and around us. In The Biological Clocks that Control the Daily Lives of Every Living Thing, English neuroscientist Russel G. Foster and co-author Leon Kreitzman explore how all creatures, great and small, are slaves to the biological, circadian rhythms of time. A sense of time is embedded in our cells and our cultures writes Colgate University astronomer Anthony Aveni in Empires of Time: Calendars, Clocks, and Cultures. He traces the modern calendar's roots back to Greek pastoral poetry and prehistoric African bone markings, reviewers said, seeking in our division of time into days, weeks, months, seasons and years clues to our psychology and worldview. For the truly cosmic overview, turn to A Brief History of Time by Cambridge University professor Stephen Hawking.