Sedletter: Volume 13 Number 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Sun of Words
The Sun of Words Excerpts from Aber ich lebe nur von den Zwischenräumen, an interview between Herbert Gamper and Peter Handke Wednesday April 9th to Saturday April 12th, 1986 On the morning of April 9th, 1986, it was an unusually warm day with the föhn wind blowing, and I met Peter Handke in front of the house where he was living on the Mönchsberg. He first lead me up to the tower, from where one can see down to the southern parts of Salzburg, over the plains and towards the mountains (the Untersberg and the Staufen). I asked him about the Morzger forest, whose southern extremities were visible, and about the nearby area where Loser, the protagonist of Across, lived. He asked whether these settings interested me, and this was what determined the first question I asked after we had gone down to sit at the small table by the well, in the tree-shadows, and I had taken the final, inevitable step, so that the game could begin, and switched on the tape recorder. We regretted that the singing of the chaffinches and the titmice would not be transcribed to paper; again and again it seemed to me ridiculous to pose a question in the middle of this concert. I told of a visit with Thomas Bernhard, many years ago, when, without my asking, he showed me the offices of the lawyer Moro (from the story Ungenach) in Gmunden, as well as the fallen trees infested with bark beetles at the edge of his land that had been reimagined as the General’s forest from the play Die Jagdgesellschaft. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Agent-Based Programming Interfaces for Children Tina Quach
Agent-based Programming Interfaces for Children Supporting Blind Children in Creative Computing through Conversation by Tina Quach Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Bachelor of Science in Computer Science and Engineering at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2019 c Massachusetts Institute of Technology 2019. All rights reserved. Author.............................................................. Department of Electrical Engineering and Computer Science May 17, 2019 Certified by. Andrew Sliwinski Research Scientist Thesis Supervisor Certified by. Mitch Resnick LEGO Papert Professor of Learning Research Thesis Supervisor Accepted by . Katrina LaCurts Chairman, Master of Engineering Thesis Committee 2 Agent-based Programming Interfaces for Children Supporting Blind Children in Creative Computing through Conversation by Tina Quach Submitted to the Department of Electrical Engineering and Computer Science on May 17, 2019, in partial fulfillment of the requirements for the degree of Bachelor of Science in Computer Science and Engineering Abstract Children that learn to express themselves creatively and think computationally are empowered to create rather than solely consume technology. They practice creativ- ity and learn strategies for solving problems, designing projects, and communicating ideas. However, children with visual impairments cannot access most programming experiences designed for beginners. This deprives these children of the chance to play with expressing themselves through programs that they design and create themselves. In this paper, we introduce Codi, a software agent that children can talk to in order to create, play, modify, and explore programs built using natural language. Through the design and implementation of Codi, I explore how agent-based programming in- terfaces can make programming accessible to children with visual impairments and multiple disabilities. -
NEW HAMPSHIRE Preliminary Discussions in Preparation for the Arrival of the Par Ticipants on Saturday
V Rolling Ridge Delegates To Convene Saturday By Charlotte Anderson Ten discussion leaders and the steering committee of the third annual Rolling Ridge Conference on Campus Affairs of UNH, are leaving tomorrow for North Andover, Mass., at 4:00 p.m. to hold NEW HAMPSHIRE preliminary discussions in preparation for the arrival of the par ticipants on Saturday. VOL. No. 42 Issue 6 Z413 Durham, N. H., October 23, 1952 PRICE 7 CENTS The theme of the conference will be “ Purpose and Participation on a Uni versity Campus,” with two subdivisions being “ Purpose and Participation in Academic Life,” and “Purpose and Par Mayor Stars Issues Statement I. C. Stars Wins By ticipation in Campus Life.” Questions Good Evening, Mr. and Mrs. America. Let’s go to . My five- under these two divisions will center star platform for the vear 1952 shall be: Close Margin; 3000 about leadership, student government, Star No. 1. student conduct, women’s regulations, discrimination extra-curricular social ac Be it heretofore, henceforth, and forwith known that as the new tivities, attendance rules, advisor system, Mayor of Durham, my reign over this far city shall be conceived Alumni Return Home cheating, faculty-student relations, fra in celluloid and thoroughly washed in chlorophyll. One of the most successful and well ternity and University relationship, van Star No. 2. attended Homecoming Weekends in dalism, and required courses. Be it also known that my first great production of the coming University history was highlighted by All conference delegates will gather in the close election of Mr. I. C. Stars, T-Hall parking lot at 1 :15 on Saturday, year will be centered in the College Woods and will star Boris of Phi Mu Delta, by a nine-vote mar and will register for the conference in Karloff and Margaret O’Brien in “Strange Love.” Co-featured with gin oyer his rival, Mr, Jones, of Sigma the T-Hall lobby. -
726708699321-Itunes-Booklet.Pdf
robert gibson flux and fire Twelve Poems (2004) 18 Night Music (2002) 3:53 James Stern, violin Eric Kutz, violoncello Audrey Andrist, piano 1 Aura 1:27 19 Flux and Fire (2006) 11:13 2 Wind Chime 1:10 Aeolus Quartet: 3 Cloudburst 0:57 Nicholas Tavani, Rachel Shapiro, violin 4 Reflection 2:21 Gregory Luce, viola 5 2:3 0:40 Alan Richardson, violoncello 6 Waves 1:04 7 Hommage 1:14 20 Night Music (2002) 3:52 8 Entropy 1:05 Katherine Murdock, viola 9 Barcarolle 1:24 10 Shoal 0:48 21 Offrande (1996) 9:11 11 Quatrain 1:23 Aeolus Quartet 12 Octave 1:41 22 Night Music (2002) 3:48 Soundings (2001) James Stern, violin Robert Oppelt, Richard Barber, Jeffrey Weisner, Ali Kian Yazdanfar, double bass Total: 60:54 13 Tenuous 2:23 14 Diaphanous 3:01 15 Nebulous 2:45 16 Luminous 3:03 17 Capricious 2:33 innova 993 © Robert Gibson. All Rights Reserved, 2018. innova® Recordings is the label of the American Composers Forum. www.innova.mu www.robertgibsonmusic.com Schoodic Peninsula Acadia National Park Offrande sketches (1996) Luxury, impulse! I draft a phrase and believe it protects me from this icy world, that goes through my body like a shoal of sardines. —Alain Bosquet “Regrets” (excerpt) from No Matter No Fact translation by Edouard Roditi My music has often been guided by imagery and emotion from poems that I have come to know and love. The boundaries between the arts are fluid, and the metaphor that for me most aptly illuminates this relationship—and the process of composition—is the act of translation. -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
MEXICO CITY BLUES Other Works by Jack Kerouac Published by Grove Press Dr
MEXICO CITY BLUES Other Works by Jack Kerouac Published by Grove Press Dr. Sax Lonesome Traveler Satori in Paris and Pic (one volume) The Subterraneans MEXICO CITY BLUES Jack Kerouac Copyright © 1959 by Jack Kerouac All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, or the facilitation thereof, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Any members of educational institutions wishing to photocopy part or all of the work for classroom use, or publishers who would like to obtain permission to include the work in an anthology, should send their inquiries to Grove/Atlantic, Inc., 841 Broadway, New York, NY 10003. Published simultaneously in Canada Printed in the United States of America Library of Congress Cataloging-in-Publication Data Kerouac, Jack, 1922-1969. Mexico City blues / Jack Kerouac. p. cm. eBook ISBN-13: 978-0-8021-9568-5 I. Title. PS3521.E735M4 1990 813’.54—dc20 90-2748 Grove Press an imprint of Grove/Atlantic, Inc. 841 Broadway New York, NY 10003 Distributed by Publishers Group West www.groveatlantic.com MEXICO CITY BLUES MEXICO CITY BLUES NOTE I want to be considered a jazz poet blowing a long blues in an afternoon jam session on Sunday. I take 242 choruses; my ideas vary and sometimes roll from chorus to chorus or from halfway through a chorus to halfway into the next. 1st Chorus Butte Magic of Ignorance Butte Magic Is the same as no-Butte All one light Old Rough Roads One High Iron Mainway Denver is the same “The guy I was with his uncle was the governor of Wyoming” “Course he paid me back” Ten Days Two Weeks Stock and Joint “Was an old crook anyway” The same voice on the same ship The Supreme Vehicle S. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Cultural Identity and Transnational Heritage in Contemporary Jazz: a Practice-Based Study of Composition and Collaboration
Cultural identity and transnational heritage in contemporary jazz: a practice-based study of composition and collaboration Haftor Medbøe A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy by Published Works June 2013 Abstract This study focuses on three albums of original music performed and recorded by the author as the leader of the Haftor Medbøe Group and released variously by Linn Records and Fabrikant Records between 2006 and 2010. Through the prisms of historiography, community and boundary, cultural migration, and collaboration, the thesis explores creative identity and practice as formatively and summatively applied in the realisation of the published works. The thesis employs personal reflection on the composition and performance of the published works to present an account of evolving engagement with current and historical thinking on narrative, trope and identity in jazz music and its communities. The discussion will challenge accepted constructions of linear, canonical history in jazz, offering instead a pluralist understanding of its stylistic and aesthetic development over the past century. The assumptive and selective modalities through which jazz histories and practices are collectively constructed will be viewed in parallel with the author’s retrospective understanding of personal creative history and cumulative identity. The imagining of global, national and local communities of jazz production and reception will be examined in relation to their influence on the cultural positioning of the author as a jazz composer and performer. In looking beyond historical perceptions of jazz as an instrument of American cultural diplomacy and dominance, it will be shown that the European adoption of the musical language of jazz has, using the example of Nordic Tone, given rise to discrete reinterpretations and divergences from the genre’s ethnic roots. -
Settler Colonialism + Native Ghosts
Settler Colonialism + Native Ghosts: An Autoethnographic Account of the Imaginarium of Late Capitalist/Colonialist Storytelling by Rowland Robinson A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Doctor of Philosophy in Sociology Waterloo, Ontario, Canada, 2020 ©Rowland Robinson 2020 Examining Committee Membership The following served on the Examining Committee for this dissertation. The decision of the Examining Committee is by majority vote. External Examiner: Kyle Powys Whyte Professor of Philosophy, Michigan State University Supervisor(s): Suzan Ilcan Professor, Sociology and Legal Studies Jasmin Habib Associate Professor, Political Science Internal Member: Rashmee Singh Associate Professor, Sociology and Legal Studies Internal-External Member: Linda Warley Associate Professor, English Language and Literature Other Member(s): Daniel O'Connor Associate Professor, Sociology and Legal Studies ii Author’s Declaration I hereby declare that I am the sole author of this dissertation. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract This dissertation is an Indigenous, decolonial, and autoethnographic account of the genealogical formation and function of Nativeness within biopolitical formations and racializing assemblages, as well as the visual, ontological, narrative, and affective imaginings of the northern bloc of settler colonialism (the United States and Canada). As an autoethnographic work it centres my own lived and embodied experiences to chart the corridors of settler-colonial power and knowledge production, in particular my experiences as a diasporic, urban and liminally enrolled Native person, and the very real, and at times overwhelming, affective burdens that come with such a positionality. -
A New Reading of Kant's Theory of Punishment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 A New Reading of Kant's Theory of Punishment Robert Hoffman University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Philosophy Commons Recommended Citation Hoffman, Robert, "A New Reading of Kant's Theory of Punishment" (2015). Publicly Accessible Penn Dissertations. 1063. https://repository.upenn.edu/edissertations/1063 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1063 For more information, please contact [email protected]. A New Reading of Kant's Theory of Punishment Abstract There are deep, insurmountable difficulties with the aditionaltr interpretation of Immanuel Kantâ??s writings on the subject of punishment. Although it is undeniable that throughout his published writings on practical philosophy â?? and in particular in his Metaphysics of Morals â?? he consistently advocates for the view that punishment can only be justified as a direct response to an individualâ??s act of wrongdoing, his status as one of the foremost theorists in the retributivist pantheon is philosophically untenable. In this dissertation, I articulate the ways in which Kantâ??s explicit support for retributivism directly contradicts more foundational elements of his practical philosophy and argue instead that he has the resources to consistently construct a deterrent theory of punishment. In particular, I highlight Kantâ??s division -
Stony Brook Bookstore
r -- - -" - -11 ,a - op- --,% WEDNESDAYi FEBRUARY 26 1975 Statesman Stony Brook. New Yo - Volume 18 Number-55 i Distributed free of charge throughout campus and community every Monday, Wednesday, and Friday V - - ,dF-~~~ ^ Protest Today New Add/Drop Guidelines Today's scheduled cil demonstration, endorsed by the Poli Council, incorporates the attempts i Rejected by Faculty Senate SUNY students to prevent tl s ^ X t- I proposed dormitory rent increaw By RUTH BONAPACE tdspoided-that the sUtudnt -has the "We have a good chance The Faculty Senate Executive dgnature of the instuctor to add the Committee has overruled a recent courE and p that it- does nt succeeding," claimed Polity Preside decision by the Arts and Sciences cae oner."ad/. Manginelli (right). Oth Gerry Committee on Academic Standing (CAS) 2. CAS autoacally acpt all Council business included t] ,which would have streamlined the petitioin to oP acoune if a note is evaluation of recent club allocatio procedures employed for reviewing late submitted by" he instructor and thi made by the Program and Servic add/drop requests. does not create an Council. Executive Committee Chairwoman Mobey sadd that he had interpreted Stor v on Page Estelle James doesn't see the ruling as a the actions oftt e CAS to be a _ l - of policy. She said that the matter designed to reduce the woIdlo - - revesal - decision of the CAM- on Flfy to pettioof the CAS;aprvas aid INaqaI fiiec in Marathon Dance liberalize late add/drop restrictions was Last Friday night, Hand College inconsistent with Faculty -Senate - He' idicaed that publicity wMc sponsored a Dioce Marathon to raise guidelines.