Word: patterns
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Dates: during 1950-1959
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...direction in the compounded crises of Berlin, Tibet, Iraq, and at a time of a rising tide of weariness with cold war that might lead the Communists to miscalculate the free world's resolution. He had no need to, and probably would not, follow the precise pattern of Dulles policies; but as long as there was a cold war to fight, he could take a guideline from the London Observer's appraisal of Foster Dulles: "We have come to appreciate how enormously important it is for the man leading the strongest nation in the world to understand...
...also charts daily market volume, number of issues traded, new highs and lows, and odd-lot trading. For point-and-figure charts (also used by other chartists) he notes each change of a point or more in a stock (½ point if the stock is under 20). By the pattern thus established, he determines whether a stock is going to move straight up or down or merely back and fill. In an upward move, he forecasts the "objective," i.e., the price at which the stock should be sold. In a move down, he forecasts the level where it should...
...reason why charts can predict a rise, says he, is a simple one. "When the top officers know that a company has taken a turn for the better, they start buying the stock themselves, or tell their friends. This buying shows up on the chart. As a new pattern forms, it is not hard to project what the stock should...
...year ago, when American Motors was seesawing between 11 and 14, Tabell noticed what he calls a "strong technical pattern," predicted an "upside potential" of 34 if the stock got above 14. When it did rise, leveling off around 34, Tabell's chart showed a new potential of 44. American Motors sold as high as 43⅜ by January, then slid back to 25½ before climbing back to 38¼ last week. Tabell admits that charts are far from infallible; often two chartists will arrive at opposite conclusions. Therefore, when a stock attracts Tabell's attention...
Randall Thompson has chosen the last course, bringing a modern harmonic vocabulary to the forms and even the styles of the classical composers. His most distinctive characteristic--the parallel chordal progressions and the contrary motion of mirroring lines shows the same concern for pattern that characterizes baroque music. His counterpoint is at times almost indistinguishable from late baroque, especially in his formal fugues, and he avoids the unusual intervals of contemporary music in favor of more traditional linear movement...