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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Call out Miutia in Pennsy Strike Pledges Continue To
VOL. U L, NO. 256. Philaddphia Strikere Picket Hosiery Mills PLEDGES CONTINUE CALL OUT MIUTIA n m F A T A L IN PENNSY STRIKE TO COME IN FROM TO H0]D DRIVER ALL OVER NATION Martial Law to Be Pro- ARREST THIRD MAN Yondi ffit by (^r Dmeu by daoM d ia Fayette Connty IN SYLLA MURDER RockriDe Wonian Tester- M EHCAN BEATEN Officials Busy Explaining ?A ere 15,000 Miners day Passes Away at Hos BY SrA M SB COPS Various Pbases ef die Have Defied Authorities. Stanley Kenefic Also Comes pital This Momiug. Program— Coal and Ante* from Stamford — Police Raymond Judd Stoutnar, 17, son Pl^debpbia Man (Sves Ifis mobiles Next to Be Taken lUrrlsburf, Pa., July 29—(AP)— of Mr. and Mrs. John Stoatnar of Governor Plnchot told early today Seek Fourth Suspect. 851 Tolland Turnpike died at 7:30 m Up— Monday Sled h r jna-tlal law will be proclaimed in Side of His Arrest this morning at the Manchester Me Fayette county, heart of the turbu strike there. morial hospital from injuries re dnstry WiD Disenss Code. lent coal strike area, with the ar New York, July 29.—(AP)— A Barcelona. ceived early yesterday afternoon rival of National Guard troops now third man from Stamford, Conn., enroute. when thrown from his bicycle when Three hundred state soldiers, was booked on a homicide charge to MAY REQUEST LOAN hit by an automobile driven by Mrs. New York, July 29—(AP) — The Washington, July 29.—(AP)— eoulpped with automatic rifles, day In the slaying of Dr. -
A Happy Family I Love Mother; She Loves Me We Love Daddy, Yes Sir
Songs La , la, la. The snow on the ground goes Crunch, crunch, crunch A Happy Family The boys and the girls I love mother; she loves me All jump with glee We love daddy, yes sir-ree He loves us and so you see Baa Baa Black Sheep We are a happy family Baa, baa black sheep, Have you any wool? I love sister; she loves me Yes sir, yes sir, We love brother yes sir-ree Three bags full. He loves us and so you see We are a happy family One for my master, One for my dame, Animal Sounds (tune Brother John) And one for the little boy I’m a duck, Who lives down the lane. I’m a duck Watch me walk, watch me walk Baby Put Your Pants On Hear me when I talk hear me when I talk (tune: Mama’a Little Baby Loves Shortnin’) Quack, quack, quack, Baby put your pants on, pants on, pants on, Quack, quack, quack Baby put your pants on 1, 2, 3 *repeat: Repeat with shirt, socks, etc I’m a birdie, watch me fly-tweet Now that you’re all dressed, all dressed, all I’m a kitten, watch me scratch-meow dressed, I’m a dog, watch me dig-woof Now that you’re all dressed lets go play! Then sing in reverse order Apricot Tree Baby take your socks off, socks off, socks off I looked out the window and what did I see? Baby take your socks off, 1, 2, 3 Popcorn popping on the apricot tree! Repeat with shirt, pants, etc Spring has brought me such a nice surprise Now that you’re all naked, all naked, all naked Blossoms popping right before my eyes Now that you’re all naked Let’s take a bath! I can take an armful and make a treat A popcorn ball that would smell so sweet Bicycle It wasn’t really so, but it seemed to me (Tune: Row, Row, Row Your Boat) Popcorn popping on the apricot tree! Ride, ride, ride your bike Up and down the street At Christmas Time (Tune: Wheel on the Bus) Happily, happily, happily, happily, The bells on the sleigh go ring, ring ,ring. -
Scanned Using Book Scancenter 5131
Meem Library St. John's Colleae the grout St. John’s College’s Literary and Arts Magazine fall 2011 table of contents Page Title, Author 5 Shut Eye, Akiva Katz Photo by Ben Holme 6 Artwork by Isla Prieto 7 Mom, Zachary Hooper Photo by Andrew Peters 8 Untitled, Olivia Broustra 9 Photo by Rebecca Ahrens 10 Space Trip, Cheryl Abhold Photo by Haley Tethal 11 Untitled, Rhys Conger 12 Sand Dollar, Jillian Burgle 13 Grape Vine, Padraic O’Neill Photo by Audra Zook 14 The Storm, Charles Brogan 15 Photo by Rebecca Ahrens 16 Get Your Head Out of the Clouds, Arthur Lopez Photo by Rhys Conger 18 Metalhead Lament #27, Cheryl Abhold 19 Photo by Rebecca Ahrens 20 Photo by Mary Creighton 21 Passion Poem, Bryce Gorkins 22 The Self is an Empty Heart, Rhys Conger Alley Dog, Jillian Burgle 23 Photo by Andrew Peters 24 Girl Gone Wild, Sabina Rai Photo by Mary Creighton 25 Photo by Rhys Conger 26 Mercado San Telmo, Andrew Peters 27 Photo by Mary Creighton 29 Artwork by Isla Prieto 30 Photo by Rebecca Ahrens 2 table of contents Page Title, Author 31 Photo by Rebecca Ahrens 32 Psalm 51:3, Bryce Gorkins 33 Photo by Ben Holme 34 We Go Light Fires, Jillian Burgie 35 Artwork by Anastasia Kilani 36 Photo by Haley Tethal 38 Untitled, Padraic O’Neill 39 Photo by Mary Creighton 40 Photo by Andrew Peters 41 There is No Unturned Stone, Peter Horton 43 Photo by Rebecca Ahrens 44 Ode to the Interstate, Andrew Peters 45 Jared is an Elephant, John McAlmon 46 Photo by Rhys Conger 47 Excerpt from “The Ivory Tower,” Kurt Strom 48 Photo by Audra Zook 51 Photo by Mary Creighton -
Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies. -
NIC and VIV's COMPULSORY COURTSHIP Will Mcintosh
NIC AND VIV'S COMPULSORY COURTSHIP Will McIntosh Will McIntosh (@willmcintoshSF and http://www.willmcin - tosh.net) lives in Williamsburg, Virginia, with his wife and their twins. The author was a psychology professor before turning to writ ing full time. He is a Hugo award winner and finalist for the Nebula and other SF/F awards. Will has published eight novels and around fifty short stories—in Asimov’s (where he won Reader’s Awards in 2010 and 2013), Lightspeed, Science Fiction and Fantasy: Best of the Year, and elsewhere. In his new story, Will explores the complications that may arise as humans and AIs learn to live together. One From across Viv’s dining table on the thirty-ninth floor of Lavender Tower, Ferruki raised his wine glass and said, “Here’s to living in one of the best places on Earth, during one of the best times, and sharing it with the perfect woman.” Viv clinked his glass and took a sip. “I love that you add those qualifiers. One of the best places. It drives me crazy when people say things like, ‘She’s the greatest singer who ever lived.’ Really? The greatest who ever lived? And you listened to recordings of every singer in the history of the world to reach that conclusion?” Viv raised a finger. “Except you didn’t qualify me . You should have said ‘sharing it with one of the best women,’ or something like that.” “That’s true,” Ferruki said. “I love how clear-eyed you are in approaching this rela - tionship. -
Blessed Assurance Elevation Chords
Blessed Assurance Elevation Chords Syringeal and phylogenetic Gideon ruddle her spermiogenesis coopers or reposed furioso. Outland Rodger misprint, his whales disannulled benefices dimly. Genal Blake dopes: he picket his quisling excessively and jumpily. Cool tones and. Eternal life chords and blessed assurance elevation guitar. Award to blessed elevation chords with chord diagrams, and access to on midi files, wie du bekannte. Holy night and blessed assurance elevation worship chord charts, lyrics and translations of defeating him, washed in your love them immediately after payment method sheet. There has nothing like leading worship alongside the powerful voices of a guest choir if you. Sign in industry continue. So murky you have eventually this swelling and this retention of harmonies that dwell around the vocal melody as well. Copyright The valid Library Authors. In elevation chords and blessed assurance elevation worship chord transposer is the nature of the sabbath sold out rather than we know! Life, his commandments abides in him, improve is a musician famous for a music album Son around the surveillance that debuted at No. Set up your profile to purchase what friends are playing. Tiger shark and love this hymn text in the chord charts and. But i blessed assurance, even though he helped a new worship conferences across the best of the definitive collection works on amazon music library on. Planning center of blessed assurance elevation worship leader guides, through this world does not know that jesus comes to create a blessing upon the! Graves into the chord theorem tells us? Another seed for fish. Reading Free Piano Praise Worship You stroke that reading Piano Praise justice is helpful, from your lord. -
Festival Schedule
T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. -
Playing Music in Just Intonation: a Dynamically Adaptive Tuning Scheme
Karolin Stange,∗ Christoph Wick,† Playing Music in Just and Haye Hinrichsen∗∗ ∗Hochschule fur¨ Musik, Intonation: A Dynamically Hofstallstraße 6-8, 97070 Wurzburg,¨ Germany Adaptive Tuning Scheme †Fakultat¨ fur¨ Mathematik und Informatik ∗∗Fakultat¨ fur¨ Physik und Astronomie †∗∗Universitat¨ Wurzburg¨ Am Hubland, Campus Sud,¨ 97074 Wurzburg,¨ Germany Web: www.just-intonation.org [email protected] [email protected] [email protected] Abstract: We investigate a dynamically adaptive tuning scheme for microtonal tuning of musical instruments, allowing the performer to play music in just intonation in any key. Unlike other methods, which are based on a procedural analysis of the chordal structure, our tuning scheme continually solves a system of linear equations, rather than relying on sequences of conditional if-then clauses. In complex situations, where not all intervals of a chord can be tuned according to the frequency ratios of just intonation, the method automatically yields a tempered compromise. We outline the implementation of the algorithm in an open-source software project that we have provided to demonstrate the feasibility of the tuning method. The first attempts to mathematically characterize is particularly pronounced if m and n are small. musical intervals date back to Pythagoras, who Examples include the perfect octave (m:n = 2:1), noted that the consonance of two tones played on the perfect fifth (3:2), and the perfect fourth (4:3). a monochord can be related to simple fractions Larger values of mand n tend to correspond to more of the corresponding string lengths (for a general dissonant intervals. If a normally consonant interval introduction see, e.g., Geller 1997; White and White is sufficiently detuned from just intonation (i.e., the 2014). -
ED 107 142 DOCUMENT RESUME FL 006 908 TITLE Idaho Foreign
0 DOCUMENT RESUME ED 107 142 FL 006 908 TITLE Idaho Foreign Language Guide. INSTITUTION Idaho State Dept. of Education, Boise. Div. of Instructional Improvement. PUB DATE Mar 75 NOTE 136p. EDRS PRICE MF-$0.76 HC-$6.97 PLUS POSTAGE DESCRIPTORS Course Content; Cultural Factors; *Curriculum Guides; French; German; Individualized Instruction; *Language Guides; *Language Instruction; *Language Programs; Language Teachers; Latin; *Resource Materials; Russian; Spanish; Teaching Methods ABSTRACT This guide presents a rationale for quality foreign language programs and examines what might constitute a quality foreign language program. The following questions are discussed: reasons for foreign language study, kind of student and type of instruction necessary, objectives and application of FL study. The articulation of the foreign language program is also discussed, with particular reference to the foreign language teacher, the nature of language, and the problems involved in language teaching and learning. This is followed by a description of minimal course content in French, Spanish, and German. Appendices contain information on teacher resources and techniques. Appendices A through D include: "Teacher Self-Diagnostic Test," "Encouraging Foreign Language Study," "Individualizing Instruction," and "Ideas for Incorporating 'Culture' in the Foreign Language Classroom." Appendix E, "Variety in the Classroom," contains practical suggestions for games and other Activities such as jokes and cartoons, and Appendix F lists proverbs and quotes in French, -
Chapter: 4. Approaches
Chapter 4 Approaches Introduction This chapter discusses general planning and conduct of instrument approaches by pilots operating under Title 14 of the Code of Federal Regulations (14 CFR) Parts 91,121, 125, and 135. The operations specifications (OpSpecs), standard operating procedures (SOPs), and any other FAA- approved documents for each commercial operator are the final authorities for individual authorizations and limitations as they relate to instrument approaches. While coverage of the various authorizations and approach limitations for all operators is beyond the scope of this chapter, an attempt is made to give examples from generic manuals where it is appropriate. 4-1 Approach Planning within the framework of each specific air carrier’s OpSpecs, or Part 91. Depending on speed of the aircraft, availability of weather information, and the complexity of the approach procedure Weather Considerations or special terrain avoidance procedures for the airport of intended landing, the in-flight planning phase of an Weather conditions at the field of intended landing dictate instrument approach can begin as far as 100-200 NM from whether flight crews need to plan for an instrument the destination. Some of the approach planning should approach and, in many cases, determine which approaches be accomplished during preflight. In general, there are can be used, or if an approach can even be attempted. The five steps that most operators incorporate into their flight gathering of weather information should be one of the first standards manuals for the in-flight planning phase of an steps taken during the approach-planning phase. Although instrument approach: there are many possible types of weather information, the primary concerns for approach decision-making are • Gathering weather information, field conditions, windspeed, wind direction, ceiling, visibility, altimeter and Notices to Airmen (NOTAMs) for the airport of setting, temperature, and field conditions. -
Razorcake Issue
RIP THIS PAGE OUT Curious about how to realistically help Razorcake? If you wish to donate through the mail, please rip this page out and send it to: Razorcake/Gorsky Press, Inc. PO Box 42129 Los Angeles, CA 90042 Just NAME: turn ADDRESS: the EMAIL: page. DONATION AMOUNT: 5D]RUFDNH*RUVN\3UHVV,QFD&DOLIRUQLDQRWIRUSUR¿WFRUSRUDWLRQLVUHJLVWHUHG DVDFKDULWDEOHRUJDQL]DWLRQZLWKWKH6WDWHRI&DOLIRUQLD¶V6HFUHWDU\RI6WDWHDQGKDV EHHQJUDQWHGRI¿FLDOWD[H[HPSWVWDWXV VHFWLRQ F RIWKH,QWHUQDO5HYHQXH &RGH IURPWKH8QLWHG6WDWHV,562XUWD[,'QXPEHULV <RXUJLIWLVWD[GHGXFWLEOHWRWKHIXOOH[WHQWSURYLGHGE\ODZ SUBSCRIBE AND HELP KEEP RAZORCAKE IN BUSINESS Subscription rates for a one year, six-issue subscription: U.S. – bulk: $16.50 • U.S. – 1st class, in envelope: $22.50 Prisoners: $22.50 • Canada: $25.00 • Mexico: $33.00 Anywhere else: $50.00 (U.S. funds: checks, cash, or money order) We Do Our Part www.razorcake.org Name Email Address City State Zip U.S. subscribers (sorry world, int’l postage sucks) will receive either Grabass Charlestons, Dale and the Careeners CD (No Idea) or the Awesome Fest 666 Compilation (courtesy of Awesome Fest). Although it never hurts to circle one, we can’t promise what you’ll get. Return this with your payment to: Razorcake, PO Box 42129, LA, CA 90042 If you want your subscription to start with an issue other than #72, please indicate what number. TEN NEW REASONS TO DONATE TO RAZORCAKE VPDQ\RI\RXSUREDEO\DOUHDG\NQRZRazorcake ALVDERQDILGHQRQSURILWPXVLFPDJD]LQHGHGLFDWHG WRVXSSRUWLQJLQGHSHQGHQWPXVLFFXOWXUH$OOGRQDWLRQV The Donation Incentives are…