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Nghiên Cứu Công Nghệ Flex, Ứng Dụng Xây Dựng Phần Mềm Quản Lý Trắc Nghiệm Cho Khoa Cntt Trường Đh Tdm
TRƯỜNG ĐẠI HỌC THỦ DẦU MỘT KHOA CÔNG NGHỆ THÔNG TIN BÁO CÁO TỔNG KẾT ĐỀ TÀI KHOA HỌC VÀ CÔNG NGHỆ CẤP TRƯỜNG NGHIÊN CỨU CÔNG NGHỆ FLEX, ỨNG DỤNG XÂY DỰNG PHẦN MỀM QUẢN LÝ TRẮC NGHIỆM CHO KHOA CNTT TRƯỜNG ĐH TDM Mã số: Chủ nhiệm đề tài: KS. Bùi Sỹ Vương Báo cáo tổng kết đề tài: Nghiên cứu công nghệ Flex, ứng dụng xây dựng phần mềm quản lý trắc nghiệm cho khoa Công nghệ thông tin Trường ĐHThủ Dầu Một Bình Dương, 03/2013 Chủ nhiệm đề tài: KS. Bùi Sỹ Vương Trang 2 TRƯỜNG ĐẠI HỌC THỦ DẦU MỘT KHOA CÔNG NGHỆ THÔNG TIN BÁO CÁO TỔNG KẾT ĐỀ TÀI KHOA HỌC VÀ CÔNG NGHỆ CẤP TRƯỜNG NGHIÊN CỨU CÔNG NGHỆ FLEX, ỨNG DỤNG XÂY DỰNG PHẦN MỀM QUẢN LÝ TRẮC NGHIỆM CHO KHOA CNTT TRƯỜNG ĐH THỦ DẦU MỘT Mã số: Xác nhận của đơn vị chủ trì đề tài Chủ nhiệm đề tài (chữ ký, họ và tên) (chữ ký, họ và tên) ThS. Đinh Thị Thu Hương KS. Bùi Sỹ Vương Báo cáo tổng kết đề tài: Nghiên cứu công nghệ Flex, ứng dụng xây dựng phần mềm quản lý trắc nghiệm cho khoa Công nghệ thông tin Trường ĐHThủ Dầu Một Bình Dương, 03/2013 Chủ nhiệm đề tài: KS. Bùi Sỹ Vương Trang 1 Báo cáo tổng kết đề tài: Nghiên cứu công nghệ Flex, ứng dụng xây dựng phần mềm quản lý trắc nghiệm cho khoa Công nghệ thông tin Trường ĐHThủ Dầu Một MỤC LỤC DANH MỤC BẢNG BIỂU, HÌNH ẢNH .......................................................................... -
Phlltl'suphy, Robotics And'ftid . Dr
PASADENA, CALIFORNIA DECEMBER 9, 2002 Despite Invitation, Students Absent in Post.."Vectors Meeting nary meetings. the issue could wait no longer, oft By PHIL ~RN~T To students' deIi,ght,: Dr. BalJi- November 26th, Jo,u siqe~tepped ,' Stuae~ts \Von a majqr victort'last more ultimate!y tejected, V~etOl'S,. ~he ASCIT-mc standstill to. hand -::rifoi1fIiwilt5n Irrstitute'·Art-Corrimit-: Meanwhile, students-soughtto right select Ryan McDaniel '03 for the . z- ~"~ - ''"imn'7a6.Pl'etr'&'PeTlJna:-,:lip- "'past'wrongs- 'aQo.:this·time around. p'6~ition. There were sufficient ~Ast:I:r-,Ji'(f"mptiQn-,toIsea~-',in~r.t·a represen.tative'''ih''tfiemeet-' 'votes from the ASCIT BoD' in fa~ .... ' ", "trepJ¢se'n~Slti~e-?n ~~ d5~~' '~~gs 0ft~t?IAC alm.ed at select~ng vor of McDatliel to confirm his se- mittee',charged WIth selectmg a re- a replacement for Vectors. lection. piacement for Veciors. - ASGIT President Ted Jou '03 Last week, however, the Institute However, despite an explicit in- asked Pietro Perona, tht< temporary: Art Committee reconvened for the vitation, student leaders cited mis'- chair of the lAC, if he would con- first time since Baltimore's cancel D, Korta/The California Tech communication in their failure to sider the possibility of allowing a Humanities chairperson Jean Ensminger has rejected a second, last send a representative to last week's student to serve on the committee. Continued on Page 4, Column 1 ditch, Hail-Mary student petition to reinstate dismissed popular Rus first lAC meeting, raising concerns Dr. Perona, after debating Jou's sian literature and language professor George Cheron. -
Mary Lattimore & Jeff Zeigler
Mary Lattimore & Jeff Zeigler Music Inspired by Philippe Garrel’s Le Révélateur Thrill - 420 LP List $18.99 BOX LOT LP 25 *9037H-AECABg Vinyl is non-returnable GENRE : EXPERIMENTAL/SOUNDTRACK FILE UNDER: “L” Lattimore, Mary “Z” Zeigler, Jeff RELEASE DATE : July 22, 2016 Harpist Mary Lattimore and guitar/synthesizer player Jeff Zeigler NO EXPORT (JAPAN, S. AMERICA EXPORT OK) premiered their score for the 1968 French film Le Révélateur at the TRACK LISTING: 6. A Road renowned Ballroom Marfa’s annual silent film program in 2013. Although 1. The Glimmering Light 7. Hidden in a Cabinet created as an intentionally silent work, director Philippe Garrel endorsed 2. A Tunnel 8. Running Chased showing the film with every subsequent performance of the score. 3. A Forest 9. Stanislas 4. Laurent and Bernadette 10. The Revealer, Alone Lattimore and Zeigler’s score powerfully conveys isolation, despair and 5. Family Portrait 11. The Sparkling Sea awakening, amplifying sentiments portrayed in the film. Le révélateur, meaning the processor of images, in the film is the small boy who is given SALES POINTS voice through the rhythmic and inventive harp performance and through Lattimore and Zeigler present their score to French director emotive melodica lines, eerie synth and guitar. Together, the duo creates Philippe Garrel’s 1968 silent film Le Révélateur a soundscape that perfectly matches the film’s progression as it follows the boy’s journey from a family’s dysfunctional home life into a godless The duo of Mary Lattimore (harp) and Jeff Zeigler (guitar, post-apocalyptic landscape. Lattimore and Zeigler’s music becomes tense synthesizer, production) blend ancient classical traditions and rigid during scenes of desolation, switching only briefly to a soaring with modern improvisation and electronic performance major key during a moment of hope. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Lado a Capítulo 1
Licenciatura en Comunicación y Cultura Compañías Discográficas Independientes: Las indies como propuesta alternativa de industria cultural en la Ciudad de México Trabajo recepcional que para obtener el título de Licenciado en Comunicación y Cultura Presenta Edgar Hugo Navarro Corona Directora de trabajo recepcional Mtra. Graciela Martínez Matías México D.F. Agosto 2010 SISTEMA BIBLIOTECARIO DE INFORMACIÓN Y DOCUMENTACIÓN UNIVERSIDAD AUTÓNOMA DE LA CIUDAD DE MÉXICO COORDINACIÓN ACADÉMICA RESTRICCIONES DE USO PARA LAS TESIS DIGITALES DERECHOS RESERVADOS© La presente obra y cada uno de sus elementos está protegido por la Ley Federal del Derecho de Autor; por la Ley de la Universidad Autónoma de la Ciudad de México, así como lo dispuesto por el Estatuto General Orgánico de la Universidad Autónoma de la Ciudad de México; del mismo modo por lo establecido en el Acuerdo por el cual se aprueba la Norma mediante la que se Modifican, Adicionan y Derogan Diversas Disposiciones del Estatuto Orgánico de la Universidad de la Ciudad de México, aprobado por el Consejo de Gobierno el 29 de enero de 2002, con el objeto de definir las atribuciones de las diferentes unidades que forman la estructura de la Universidad Autónoma de la Ciudad de México como organismo público autónomo y lo establecido en el Reglamento de Titulación de la Universidad Autónoma de la Ciudad de México. Por lo que el uso de su contenido, así como cada una de las partes que lo integran y que están bajo la tutela de la Ley Federal de Derecho de Autor, obliga a quien haga uso de la presente obra a considerar que solo lo realizará si es para fines educativos, académicos, de investigación o informativos y se compromete a citar esta fuente, así como a su autor ó autores. -
Pure Psychic Chance Radio: 2016 Jim Leftwich
Pure Psychic Chance Radio: 2016 Jim Leftwich Table of Contents Pure Psychic Chance Radio: Essays 2016 1. Permission slips: Thinking and breathing among John Crouse's UNFORBIDDENS 2. ACTs (improvised moderate militiamen: "Makeshift merger provost!") 3. Applied Experimental Sdvigology / Theoretical and Historical Sdvigology 4. HOW DO YOU THINK IT FEELS: On The Memorial Edition of Frank O’Hara’s In Memory of My Feelings 5. mirror lungeyser: On Cy Twombly, Poems to the Sea XIX 6. My Own Crude Rituals 7. A Preliminary Historiography of an Imagined Ongoing: 1830, 1896, 1962, 2028... 8. In The Recombinative Syntax Zone. Two Bennett poems partially erased by Lucien Suel. In the Recombinative Grammar Zone. 9. Three In The Morning: Reading 2 Poems By Bay Kelley from LAFT 35 10. The Glue Is On The Sausage: Reading A Poem by Crag Hill in LAFT 32 11. My Wrong Notes: On Joe Maneri, Microtones, Asemic Writing, The Iskra, and The Unnecessary Neurosis of Influence 12. Noisic Elements: Micro-tours, The Stool Sample Ensemble, Speaking Zaum To Power 13. TOTAL ASSAULT ON THE CULTURE: The Fuck You APO-33, Fantasy Politics, Mis-hearing the MC5... 14. DIRTY VISPO: Da Vinci To Pollock To d.a.levy 15. WHERE DO THEY LEARN THIS STUFF? An email exchange with John Crouse 16. FURTHER SUBVERSION SEEMS IN ORDER: Reading Poems by Basinski, Ackerman and Surllama in LAFT 33 17. A Collage by Tom Cassidy, Sent With The MinneDaDa 1984 Mail Art Show Doc, Postmarked Minneapolis MN 07 Sep '16 18. DIRTY VISPO II (Henri Michaux, Christian Dotremont, derek beaulieu, Scott MacLeod, Joel Lipman on d.a.levy, Lori Emerson on the history of the term "dirty concrete poetry", Albert Ayler, Jungian mandalas) 19. -
Final Appendices
Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth- Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14), This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15578/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Online-Publikationen der Gesellschaft für Popularmusikforschung / German Society for Popular Music Studies e. V. Hg. v. Ralf von Appen, André Doehring u. Thomas Phleps www.g f pm- samples.de/Samples1 4 / harper.pdf Jahrgang 14 (2015) – Version vom 5.10.2015 »BACKWOODS«: RURAL DISTANCE AND AUTHENTICITY IN TWENTIETH-CENTURY AMERICAN INDEPENDENT FOLK AND ROCK DISCOURSE Adam Harper My recently completed PhD research (Harper 2014) has been an effort to trace a genealogy of an aesthetic within popular music discourse often known as »lo-fi.« This term, suggesting the opposite of hi-fi or high fidelity, became widely used in the late 1980s and early 1990s to describe a move- ment within indie (or alternative) popular music that was celebrated for its being recorded outside of the commercial studio system, typically at home on less than optimal or top-of-the-range equipment. -
Dave Hartley on How to Balance Your Personal Project with the One That Pays the Bills
October 30, 2017 - Philadelphia’s Dave Hartley is best known for his supporting role as the bassist in The War on Drugs, the popular heartland rock band that just released its fourth album, A Deeper Understanding. Aside from the band’s founder, Adam Granduciel, Hartley is the only member to appear on every album. But in his spare time, Hartley makes symphonic pop as Nightlands, a group he concedes may sell more tickets and records if it sounded more like The War on Drugs. But for Hartley, who released his fourth Nightlands album, I Can Feel the Night Around Me, in May, compensation is the least important reason for pursuing his own project. As told to Grayson Haver Currin, 2256 words. Tags: Music, Inspiration, Beginnings, Process, First attempts, Multi-tasking, Success. Dave Hartley on how to balance your personal project with the one that pays the bills You released the first album from your own project, Nightlands, two years after the first album by The War on Drugs. Did playing bass with that band inspire you to try something on your own? The story of my involvement in The War on Drugs is the story of musical maturation. I met Adam Granduciel when I was 25 or so. We both worked a shit job together at this property management company. We’d moved to Philadelphia around the same time for the same reasons. A lot of people leave home, go to college, and want to go somewhere new. You don’t realize at the time that you’re setting your life on a path, when you think you’re just drifting. -
Finance Board Passes the Buck
A LT0 ti ÍDWflJmVILU ■ w f r l SPO-fiTS -♦ ..........r miDi Southern Illinois University Edwardsville ♦ T uesday, October 19, 1999 Vol. 52, No. 16 ♦ S p o r t s ................ 9 Finance board Tons of Fun says no SIUE’s S a r a h passes the buck to drugs and alcohol W illiam s faced BY BRIAN WALLHEIMER King did for the civil rights HER SISTER NF.WS REPORTER movement. The trip will include a Virginia at the visit to King’s home and his SIUE Invitational Student senate finance board memorial. members are sending a program At the finance board meeting GOLF MATCH request for $6,030 from the Alpha Friday, some members said the T h u r s d a y . Phi Alpha fraternity to the student funding seemed more like a travel senate. request rather than a program The request is for the 12th request. The student senate Annual Martin Luther King Jr. capped travel funding at $425 E d it o r ia l ........... 3 Dedication. In the request ,$5,000 earlier in the semester. was set aside for the rental of Alpha Phi Alpha members three busses for a trip to Atlanta argued that the event begins on to cap off the weeklong campus and that the Atlanta trip is celebration. essential to their program. They Alpha Phi Alpha members said it was not a travel request S t u d e n t said the Atlanta trip will provide because it pertained to their participants With a sense of what program. -
Recording Artist Recording Title Price 2Pac Thug Life
Recording Artist Recording Title Price 2pac Thug Life - Vol 1 12" 25th Anniverary 20.99 2pac Me Against The World 12" - 2020 Reissue 24.99 3108 3108 12" 9.99 65daysofstatic Replicr 2019 12" 20.99 A Tribe Called Quest We Got It From Here Thank You 4 Your Service 12" 20.99 A Tribe Called Quest People's Instinctive Travels And The Paths Of Rhythm 12" Reissue 26.99 Abba Live At Wembley Arena 12" - Half Speed Master 3 Lp 32.99 Abba Gold 12" 22.99 Abba Abba - The Album 12" 12.99 AC/DC Highway To Hell 12" 20.99 Ace Frehley Spaceman - 12" 29.99 Acid Mothers Temple Minstrel In The Galaxy 12" 21.99 Adele 25 12" 16.99 Adele 21 12" 16.99 Adele 19- 12" 16.99 Agnes Obel Myopia 12" 21.99 Ags Connolly How About Now 12" 9.99 Air Moon Safari 12" 15.99 Alan Marks Erik Satie - Vexations 12" 19.99 Aldous Harding Party 12" 16.99 Alec Cheer Night Kaleidoscope Ost 12" 14.99 Alex Banks Beneath The Surface 12" 19.99 Alex Lahey The Best Of Luck Club 12" White Vinyl 19.99 Algiers There Is No Year 12" Dinked Edition 26.99 Ali Farka Toure With Ry Cooder Talking Timbuktu 12" 24.99 Alice Coltrane The Ecstatic Music Of... 12" 28.99 Alice Cooper Greatest Hits 12" 16.99 Allah Las Lahs 12" Dinked Edition 19.99 Allah Las Lahs 12" 18.99 Alloy Orchestra Man With A Movie Camera- Live At Third Man Records 12" 12.99 Alt-j An Awesome Wave 12" 16.99 Amazones D'afrique Amazones Power 12" 24.99 American Aquarium Lamentations 12" Colour Vinyl 16.99 Amy Winehouse Frank 12" 19.99 Amy Winehouse Back To Black - 12" 12.99 Anchorsong Cohesion 12" 12.99 Anderson Paak Malibu 12" 21.99 Andrew Bird My Finest Work 12" 22.99 Andrew Combs Worried Man 12" White Vinyl 16.99 Andrew Combs Ideal Man 12" Colour Vinyl 16.99 Andrew W.k I Get Wet 12" 38.99 Angel Olsen All Mirrors 12" Clear Vinyl 22.99 Angelo Badalamenti Twin Peaks - Ost 12" - Ltd Green 20.99 Ann Peebles Greatest Hits 12" 15.99 Anna Calvi Hunted 12" - Ltd Red 24.99 Anna St. -
The War on Drugs: Dream World
The War on Drugs: Dream World 4 The War on0 Drugs: Dream World By Michael Tedder Contributor on 03.10.14 in Features “One more round,” Adam Granduciel yells, hand in the air. He steps back into the batting cage and, just like the last few times, most of the balls he hits go straight up to the top of the net. I’m not entirely sure how one “wins” at a batting cage, but I’m fairly certain that’s not it. The cage in question, Philadelphia’s Everybody Hits, has been, at various times in its history, a silent-movie Lost In The Dream theater, a dirty-movie theater and a popular location for The War On Drugs wedding receptions. Looking at the wooden floors, I 2014 | Secretly Canadian / SC Distrib… doubt they’ve been cleaned since the silent-movie era. Buy Now There’s a distressed wall completely covered with baseball cards and two pinball machines in the back, though only the 1983 Sega Championship Pinball game has both flippers. A few neighborhood kids are running around, one of whom grabs my tape recorder mid-interview to ask me what it is. An iPod is pumping out a Pavement playlist, and a True Value sign hangs on the right wall. I’ve come to Everybody Hits to watch the War on Drugs hit a few balls, and to get some insight into the making of their third album Lost in the Dream, a monumental testament to the enduring power of American rock and roll, and the infinite possibilities for mutation contained therein.