Effect of Transcutaneous Spinal Cord Stimulation on Spasticity, Mobility, Pain and Sleep in Community Dwelling Individuals Post-Stroke
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The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
Embodied Listening and the Music of Sigur Rós Peter Elsdon
Embodied listening and the music of Sigur Rós Peter Elsdon Introduction In 1990 Susan McClary and Robert Walser appealed for a musicology which could account for the effects of rock, or as they put it: ‘a greater willingness to try to circumscribe an effect metaphorically, to bring one’s own experience as a human being to bear in unpacking musical gestures, to try to parallel in words something of how the music feels’ (McClary and Walser 1990, 288-9). McClary and Walser were arguing for attempts to validate ‘physically and emotionally oriented responses to music’ (287), which they saw as crucial to any understanding of rock, but uncomfortable modes of response for musicology to deal with. Around the time of the McClary/Walser article, musicologists were questioning the body’s exclusion from discourse, and theorising ways in which it might be better integrated into musicological thought (Leppert 1993, Walser 1991). Since that time much scholarly work has been produced which interrogates the role of the body in musicking, work represented for instance by an examination of the idea of gesture (Gritten and King 2006, Davidson 1993). The bodies under examination in this discourse have been those of performers, but increasing attention is being focused on how performers experience the production of music. Fred Everett Maus has recently termed this approach an ‘analytical somaesthetics’, following Richard Shusterman (Maus 2010). This article uses facets of embodiment theory to interrogate the music of Icelandic band Sigur Rós, a group who seem to affect audience and critics alike in a way that is highly unusual for rock music. -
Sækja Blað (PDF)
Efnisyfirlit Fréttir 2 Efnisyfirlit og fréttir. Spjallfundur 3 Pistill formanns. Við ætlum að hittast og spjalla saman á léttu nótunum þann 3 Hlutaveltur fyrir Neistann. 12. apríl næstkomandi kl. 20.00 að Síðumúla 6 (gengið er inn að aftan). Meðal annars verður rætt um ferð tveggja stjórnar- 4 Hjartveikur í skólanum. kvenna, en þær fóru í október síðastliðnum á Norðurlanda- þing sem haldið var í Danmörku. Margt áhugavert var rætt 6 Nýtt fyrirkomulag þar varðandi málefni hjartveikra barna. Einnig verður rætt um hvað má gera betur í okkar starfi og hvað er til dæmis hægt að í hjartalækningum. gera fyrir unglingana okkar. Bára Sigurjónsdóttir hjúkrunar- fræðingur mætir. Við hvetjum sem flesta foreldra og aðra 7 Norrænar sumarbúðir. aðstandendur til að mæta og ræða um þessi málefni. 8 Brúðkaupsgjafir og málverk. Munið aðalfund Neistans 10 Afmælisgjafirnar til Neistans. Aðalfundur Neistans verður haldinn miðvikudaginn 24. maí 12 Þegar hjartagalli greinist næstkomandi í Seljakirkju og hefst stundvíslega klukkan 20.00. Venjuleg aðalfundarstörf. Kaffiveitingar. á meðgöngutímanum. Stjórnin. 16 Jólaball Neistans. Gott málefni þarfnast fjármagns 17 Grindavíkurkraftur. Neistinn er styrktarfélag hjartveikra barna og aðstandenda 18 Stjórnarkona Neistans á Alþingi þeirra. Starfsemin gengur bæði út á að veita þeim félagslegan stuðning og fjárhagslega styrki eftir mætti, þar sem langvinn 20 Smásagnasamkeppni veikindi koma oft verulega niður á fjárhagsafkomu heimil- anna. – verðlaunasögurnar þrjár. Fjáröflun er því stór þáttur í starfi Neistans og fer fram með ýmsum hætti. En hægt er að styrkja starfið beint með fram- 21 Gráni gamli. lagi á reikning okkar í Landsbankanum. Reikningsnúmerið er 0101-26-4995 og kennitala Neistans 490695-2309. 22 María Ósk. -
Heima- Og Frítímaslys Barna Á Aldrinum 0-4 Ára Árið2003
Læknadeild Háskóla Íslands Rannsóknarverkefni Vorönn 2004 02.01.39 Heima- og frítímaslys barna á aldrinum 0-4 ára árið2003 Erik Brynjar Schweitz Eriksson Leiðbeinendur: Brynjólfur Mogensen Herdís Storgård Hildur Sigbjörnsdóttir Sigríður Haraldsdóttir Sigurður Guðmundsson - 1 - - 2 - Efnisyfirlit 1. Efnisyfirlit...................................................................................................3 2. Útdráttur.....................................................................................................5 3. Inngangur...................................................................................................6 Skilgreining heima- og frítímaslysa...............................6 Barnaslys á Íslandi........................................................6 Forvarnir.......................................................................9 Slysaskráning á Íslandi.................................................9 Aðrar norrænar skráningar.........................................11 Rannsóknarmarkmið....................................................11 4. Efniviður og aðferðir...............................................................................13 5. Niðurstöður...............................................................................................16 Heildartíðni..................................................................16 Aldursdreifing..............................................................16 Kynjaskipting...............................................................17 Staðsetning...................................................................17 -
Sigur Rós, Sundlaugin Studio
Sign up for Newsletter INCOMING: TRANSMISSION TWO Iceland is known the world over for an amazingly original and diverse musical output that seems completely out of proportion to its population of just 320,000 people. As engineer at Sigur Rós' Sundlaugin Studio, Birgir Jón Birgisson, known to most simply as "Biggi," has the pleasure of being right at the center of this thriving music scene. We interviewed Biggi to find out about the process of recording Sigur Rós' albums, mixing their film Heima in surround, and how Ozone and Trash have become go-to tools when working with live recordings. Tell us about how you first got involved with the studio here. I knew the guys from Sigur Rós before I went to study in London. About the time that I finished there one of them just called me up and offered me a job as manager Read Artist Interviews: and engineer here. I'm basically the only one working here. I am really everything from cleaning lady to manager and sound engineer. Select an Artist How often do you have people coming in, is it a busy studio? I'd say it's pretty busy. It's one of the three or four proper studios in Iceland. We get a lot of the alternative or indie music in Iceland. So actually a lot of the bands that try to market themselves abroad come in here to do their albums, bands like amiina, Sigur Rós obviously and Mugison. We visited a store in Reykjavik and were surprised to see a huge local Complete Audio Repair. -
Human Rights Abuses in Protest Arrests the Ascendancy of Ultraflex the Government-Sanctioned Amount of Yule Lad Content
THE NEVER BEFORE HEARD HISTORY OF ODIN'S RAVEN MAGIC, IN WHICH... ALSO IN THIS ISSUE: HUMAN RIGHTS ABUSES IN PROTEST ARRESTS THE ASCENDANCY OF ULTRAFLEX THE GOVERNMENT-SANCTIONED AMOUNT OF YULE LAD CONTENT ... & MORE COVER PHOTO: Based on stills from the Odins Raven Magic The cover image is a concert recording in home-brewed homage Paris, 2008. to a faint memory of what mid-century Photocollage by scandinavian film Sveinbjörn Pálsson. posters looked like. 08: PROTEST = ARREST 11: SIGUR MF RÓS 31: ICE CAVES!!!1! 07: Hel, Half-Zombie 18: Ultraflex Makes You 28: COVID-Christmas Full-Sex Icon Sweat Buffets 06: High On Highlands 26: #YuleLadHoliday 30: Holiday-Scopes First EDITORIAL New Year Di!erent Mankind What will change in the new year? Well, But we were also reminded of how seem like a distant dream. That every- can’t be underestimated. This our wake everything—or not so much. The whole underfunded our healthcare system is. thing and everyone will get back on up call. And from what I have seen and world connected for a moment over Icelanders of my generation have been their feet. That tourism will come back. read and experienced myself in this the dreaded coronavirus. We saw what raised up to believe it was the best in the That we will be able to visit our loved pandemic, I’m more optimistic than leaders and nations are made of. And world. It is not. The reason is decades of ones when we want. And that the econ- pessimistic. Let’s wake up, do the work what’s perhaps more important, we politicians underfunding the system in omy will bloom. -
Norður Og Niður Schedule with the Flow and Interact with It Live,” Says Band Member Sólrún Words: John Rogers & Jessica Peng Sumarliðadóttir
SPECIAL ISSUE 2017: NORÐUR OG NIÐUR SIGUR RÓS ARE SEEING OUT 2017 IN STYLE. THEIR NORÐUR OG NIÐUR FESTIVAL PROMISES TO FILL THE HAZY VOID BETWEEN CHRISTMAS AND NEW YEAR WITH MUSIC, ART, LIGHT AND COLOUR. INSIDE: WE TALK TO THE BAND ABOUT CREATING THE FESTIVAL; THE ARTISTS NOT TO MISS; THE FULL SCHEDULE; AND LOTS MORE. SCHEDULE, INFORMATION, GUIDES AND INTERVIEWS “It’s tempting when you’re scor- ing a movie like this, which is quite South And Up? abstract and doesn’t really have a clear story, to just improvise, go Don’t get lost in the Norður og Niður schedule with the flow and interact with it live,” says band member Sólrún Words: John Rogers & Jessica Peng Sumarliðadóttir. “But we decided we wanted to sort of work the film With 46 fascinating artists al- and make it easier for us and for the ready announced for the inaugu- audience to stay focused, because ral Norður og Niður music festival, the tempo of the film is quite differ- and more to come, we thought ent from the tempo we’re used to we’d offer you a few choice today. Some scenes are excruciat- picks from the lineup. Here are ingly long and sort of about noth- a handful of artists you should ing, while others that have a lot go- firmly ring on the schedule. ing on and are over in a moment.” JFDR Jófríður Ákadóttir has grown Framing Fantômas from her folk roots to being one of the most well-known faces of Amiina was originally asked to the Icelandic music scene. -
Sigur Rós: Heima Sigur Rós: Heima Heima
Island Iceland Dokumentarfilme Documentary Films Sigur Rós: Heima Sigur Rós: Heima Heima 2007, 97 Min., DigiBeta, Farbe colour, englische Fas- sung English version Regie Director Dean DeBlois Kamera Camera Alan Calzatti, Gudmundur Magni Ágústsson, Denni Karlsson Schnitt Editing Nick Fenton Musik Music Sigur Rós Mitwirkende Cast Jón Thór Birgisson, Orri Páll D‘yrason, Georg Holm, Kjartan Sveinsson (Sigur Rós), Hildur Ársælsdóttir, María Huld Markan, Edda Rún Ólafsdóttir, Solrun Sumarlidadóttir (Amiina) Produktion Production John Best, Dean O‘Connor, Klikk Productions Festivalkontakt Festival Contact Icelandic Film Ein Konzertfilm über die Island-Tournee der Band Sigur Rós Centre 2006, mit berauschenden Landschaftsbildern illustriert. Ólafsvík, Ísafjördur, Djúpavík – das sind nicht gerade Namen wie Regisseur Dean DeBlois, geboren 1970 in Kanada, Woodstock, „Rock am Ring“ oder Roskilde. Und dennoch wur- begann seine Laufbahn in der Animationsfilmabtei- de auch hier Pop-Geschichte geschrieben: Im Sommer 2006 be- lung eines Fernsehsenders in Ottawa. Nach dem Ab- schlossen die Musiker der Band Sigur Rós, zum Abchluss einer schluss seines Studiums an der Sheridan Universi- ausgedehnten Welttournee auch in ihrer Heimat aufzutreten. Und ty ging er nach Irland, wo er mit dem Regisseur Don zwar nicht allein in Reykjavik, wie dies die Bands aus dem Ausland Bluth an Filmen wie „A Troll in Central Park“ (1993) normalerweise tun, sondern auch in den kleineren Orten – um und „Thumbelina“ (1994) zusammenarbeitete. 1994 so den Isländern etwas von dem zurückzugeben, was sie ihrem wechselte er als Layouter zur Walt Disney Company, Heimatland verdanken. Denn Island hat die Musik von Sigur Rós war dort Koautor der Animationsfilme „Mulan“ (1998) stark geprägt. Fast scheint es, als würden die sphärischen Klänge und „Lilo & Stitch“ (2002), für den er auch als Koregis- und enigmatischen Sounds geradezu aus der weiten, zerklüfteten seur verantwortlich war. -
Download the App on My Phone
down to earth Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) down to earth: a memoir. Copyright © 2020 by Gísli Pálsson. This work car- ries a Creative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the au- thors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://cre- ativecommons.org/licenses/by-nc-sa/4.0/ First published in 2020 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-953035-16-5 (print) ISBN-13: 978-1-953035-17-2 (ePDF) doi: 10.21983/P3.0306.1.00 lccn: 2020947754 Library of Congress Cataloging Data is available from the Library of Congress Copy Editing: Rachel Katz Book Design: Vincent W.J. -
Sigur Ross ( ) Free
FREE SIGUR ROSS ( ) PDF Ethan Hayden | 168 pages | 23 Oct 2014 | Continuum Publishing Corporation | 9781623568924 | English | New York, United States Sigur Rós discography - Wikipedia The band was joined by Kjartan Sveinsson on keyboards in The album's reputation spread by word of mouth over the following two years. Soon critics worldwide were praising it effusively, [14] and the band was playing support to established acts such as Radiohead. A thousand copies of the EP were printed and sold during the spring tour of The EP was sold in a blank-white-paper case. Upon release all tracks on the album were untitled, though Sigur Ross ( ) band later published song names on Sigur Ross ( ) website. All of the lyrics on are sung in Vonlenskaalso known as Hopelandic, a language without semantic meaning, which resembles the phonology of the Icelandic language. It has also been said that the listener is supposed to interpret their own meanings of the lyrics which can then be written in the blank pages in the album booklet. Radiohead's contribution was not commercially released. I had to have it. Their fourth album, Takk It was also used in the final scene of the movie Penelopefor the trailer of the film Children of Men and for the trailer of the film Slumdog Millionaire. Following this, demand for the single grew. It was made more widely available by EMI in consequence. This song is also used in the trailer for the Disney movie Earth as well as in the film We Bought a Zoo. They also performed twice in the United States in February. -
Monitor 1. Nóvember 2012
MONITORBLAÐIÐ 45. TBL 3. ÁRG. FIMMTUDAGUR 1. NÓVEMBER 2012 MORGUNBLAÐIÐ | mbl.is FRÍTT EINTAK TÓNLIST, KVIKMYNDIR, SJÓNVARP, LEIKHÚS, LISTIR, ÍÞRÓTTIR, MATUR OG ALLT ANNAÐ Taktu þátt í Airwaves leik Símans og þú gætir unnið miða á Airwaves ‘13 eða iPhone 5 ENNEMM / SÍA / NM55058 MYNDA BINGÓ Spilari: marteinn Reitir: 8/8 Tími til stefnu: 5d, 2klst, 30mín #SVITI #ROKK #TÆKNI #INNLIFUN #LJÓS #DANS #STJARNA #HOPP Hvernig spilarðu myndabingó? Stofnaðu þitt eigið bingóspjald og taktu þátt 1) Skráir þig til leiks Hafðu símann á lofti, gríptu stemninguna og sendu inn á Instagram 2) Tekur mynd með símanum þínum og þú getur unnið miða á Iceland Airwaves 2013 eða glænýjan iPhone 5! 3) Sendir hana á Instagram og merkir með viðeigandi merki (t.d. #rokk) Farðu á bingo.siminn.is til að taka þátt eða finndu Símann á Facebook. 4) Myndin birtist sjálfkrafa á spjaldinu #airwaves12 fyrst&fremst FIMMTUDAGUR 1. NÓVEMBER 2012 MONITOR 3 Gamli var í honkara hér áður fyrr, í old days eftir að hafa lent í alveg sjúku gargi. MONITOR MÆLIR MEÐ... UM HELGINA Listahátíðin ÞESSI MYND NÁÐIST AF Unglist, SÁLVERJUM Í GÆR sem haldin ÞEGAR ÞEIR VORU er á vegum AÐ HVÍLA SIG Hins hússins, hefst á morg- un. Á laugar- dagskvöldið fer fram tískusýning hátíðarinnar sem klæðskera- og kjólasaumanema Handverks- og hönnunarskólans (innan Tækniskólans) standa fyrir. Tískusýningin fer fram kl. 20 í Víkinni, Sjóminjasafni Reykjavíkur, og ætti engin sönn tískulögga að láta hana framhjá sér fara. Á AIRWAVES Helsti hausverkur Airwaves-far- ans á hverju ári er líklega eitthvað á þessa leið: „Hvernig á ég að ná að sjá allt sem mig langar að sjá? Það er of mikið fjör í gangi!“ Til þess að geta skipulagt sína Airwaves-helgi í þaula mælir Monitor því með því þjóðráði að sækja sér Airwaves-app Símans sem fáanlegt er fyrir iPhone og Android-síma. -
Download Images,” Sigur Rós, Accessed June 13, 2015
Florida State University Libraries 2016 Listening for Locality: A Sense of Place in the Music of Sigur Rós, Dan Deacon, S# Percussion, and Nick Zammuto Matthew DelCiampo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LISTENING FOR LOCALITY: A SENSE OF PLACE IN THE MUSIC OF SIGUR RÓS, DAN DEACON, SŌ PERCUSSION, AND NICK ZAMMUTO By MATTHEW J. DELCIAMPO A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Matthew J. DelCiampo defended this dissertation on March 18, 2016. The members of the supervisory committee were: Denise Von Glahn Professor Directing Dissertation Chris Coutts University Representative Frank Gunderson Committee Member Margaret Jackson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am grateful to have many supportive mentors, colleagues, and friends, without whom this dissertation would not have been possible. I would first like to thank my advisor, Dr. Denise Von Glahn, for her constant dedication to both my work and my growth as a scholar. Her enthusiasm, intellectual guidance, and meticulous editing have shaped this document in innumerable ways. I could have not asked for a better mentor. It has been a pleasure to work with you. Thanks also goes to my dissertation committee, Dr. Frank Gunderson, Dr. Margaret Jackson, and Dr. Christopher Coutts whose suggestions and criticisms throughout the research and writing process expanded my theories and methodologies.