Episode 308: JOHNNYSWIM That Sounds Fun with Annie F. Downs
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ASPSU President Approves SFC 2012–13 Budget Proposal
INDEX Nationals or bust NEWS............................2 FREE ARTS...............................6 The Vanguard is published every Senior Sean MacKelvie moves OPINION.........................11 Tuesday and Thursday SPORTS..........................14 on to nationals in javelin SPORTS pagE 14 PSUVANGUARD.COM PORTLAND STATE UNIVERSITY PUBLISHED SINCE 1946 PORTLAND STATE UNIVERSITY PUBLISHED SINCE 1946 THURSDAY, MAY 31, 2012 • VOL. 66 NO. 59 Strategies for a ASPSU president approves global university SFC 2012–13 budget proposal PSU releases internationalization of the local re- new vision for gion, leveraging global engagements and mobilizing international alumni. internationalization The strategy was created by the In- ternational Council, a group of more KATRINA PETrovICH VANGUARD STAFF than 20 faculty, staff and student rep- resentatives from all of PSU’s differ- Portland State has a new vision for ent academic colleges and institutes. global education. The university recent- According to the council’s chair, ly released the Strategy for Comprehen- Professor Vivek Shandas, this inter- sive Internationalization, a report that nationalization strategy was two and establishes an eight-year framework for a half years in the making. how PSU plans to become a more glob- “This strategy tries to help coor- ally focused institution. dinate, integrate and then ultimately “The creation of this strategy follows disseminate all the internationaliza- from a recognition that we live in a global tion efforts happening on campus,” society now. All of the things that a uni- Shandas said. versity does need to fit into that context,” He claimed that, unlike a lot of uni- explained Provost and Vice President for versities, PSU has a multitude of in- Academic Affairs Roy Koch. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Sabotage! and Other Stories
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2010 Sabotage! And Other Stories Gregory Elliott Luther The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Luther, Gregory Elliott, "Sabotage! And Other Stories" (2010). Graduate Student Theses, Dissertations, & Professional Papers. 853. https://scholarworks.umt.edu/etd/853 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SABOTAGE! AND OTHER STORIES By GREGORY ELLIOTT LUTHER Bachelor's of University Studies, University of New Mexico, Albuquerque, NM, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Fiction The University of Montana Missoula, MT December 2010 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Chair Deirdre Mcnamer English Kevin Canty English Maria Bustos-Fernandez Modern and Classical Languages and Literatures Luther, Gregory, M.F.A, Fall 2010 Creative Writing Fiction Sabotage! And Other Stories Chairperson: Deirdre McNamer Co-Chairperson: Kevin Canty This is a collection of short fiction written between 2008-2010. ii Schooling Somehow I was the last to get the news. Eric Sullivan knew a guy in Modesto that was friends with the son of the teacher, the actual dude, Mr. -
<I>Always Coming Home</I>
Volume 17 Number 3 Article 7 Spring 3-15-1991 The Making of Always Coming Home Ursula K. Le Guin Todd Barton Margaret Chodos-Irvine George Hersh Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; and Hersh, George (1991) "The Making of Always Coming Home," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 17 : No. 3 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol17/iss3/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Transcript of panel discussion from 1988 Mythopoeic Conference. Author, illustrator, composer, and cartographer/ researcher discuss the genesis of Always Coming Home. Additional Keywords Le Guin, Ursula K. Always Coming Home; Le Guin, Ursula K. -
Download Song List
song list t 01282 772646 m 07790 584 922 e [email protected] gavinyoung.co.uk Song Title Artist Genre Moonriver Andy Williams / Buble Big Band/swing Minnie The Moocher Cab Galloway Big Band/swing Dream Dean Martin Big Band/swing Little Old Wine Drinker Me Dean Martin Big Band/swing Kick In The Head Dean Martin Buble Big Band/swing Volare Dean Martin/buble Big Band/swing Come Fly With Me Frank Sinatra Big Band/swing A Foggy Day Michael Buble Big Band/swing A Song For You Michael Buble Big Band/swing All I Do Is Dream Of You Michael Buble Big Band/swing All Of Me Michael Buble Big Band/swing Alway On My Mind Michael Buble Big Band/swing At This Moment Michael Buble Big Band/swing Baby You've Got What It Takes Michael Buble Big Band/swing Call Me Irresponsible Michael Buble Big Band/swing Cant Buy Me Love Michael Buble Big Band/swing Cant Take That Away From Me Michael Buble Big Band/swing Chicago Michael Buble Big Band/swing Close Your Eyes Michael Buble Big Band/swing Coming Home Baby Michael Buble Big Band/swing Crazy Little Thing Called Love Michael Buble Big Band/swing Crazy Love Michael Buble Big Band/swing Cry Me A River Michael Buble Big Band/swing Dream A Little Dream Michael Buble Big Band/swing End Of May Michael Buble Big Band/swing Everything Michael Buble Big Band/swing Feeling Good Michael Buble Big Band/swing Fly Me To The Moon Michael Buble Big Band/swing For Once In My Life Michael Buble Big Band/swing Georgia Michael Buble Big Band/swing Have I Told You Lately That I Love You Michael Buble Big Band/swing Haven’t Met -
War in the Age of Intelligent Machines
Introduction The image of the ''killer robot" once belonged uniquely to the world of science fiction. This is still so, of course, but only if one thinks of human like mechanical contraptions scheming to conquer the planet. The latest weapons systems planned by the Pentagon, however, offer a less anthropo morphic example of what machines with "predatory capabilities" might be like: pilotless aircraft and unmanned tanks "intelligent" enough to be able to select and destroy their own targets. Although the existing prototypes of robotic weapons, like the PROWLER or the BRAVE 3000, are not yet truly autonomous, these new weapons do demonstrate that even if Artificial Intel ligence is not at present sufficiently sophisticated to create true "killer robots,'' when synthetic intelligence does make its appearance on the planet, there will already be a predatory role awaiting it. The PROWLER, for example, is a small terrestrial armed vehicle, equipped with a primitive form of "machine vision" (the capability to ana lyze the contents of a video frame) that allows it to maneuver around a battlefield and distinguish friends from enemies. Or at least this is the aim of the robot's designers. In reality, the PROWLER still has difficulty negoti ating sharp turns or maneuvering over rough terrain, and it also has poor friend/foe recognition capabilities. For these reasons it has been deployed only for very simple tasks, such as patrolling a military installation along a predefined path. We do not know whether the PROWLER has ever opened fire on an intruder without human supervision, but it is doubtful that as currently designed this robot has been authorized to kill humans on its own. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
A Blank Space Extended: on the Poetics of Osvaldo Lamborghini
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 A Blank Space Extended: On the Poetics of Osvaldo Lamborghini Kevin Paul Soto Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Latin American Languages and Societies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Soto, Kevin Paul, "A Blank Space Extended: On the Poetics of Osvaldo Lamborghini" (2016). Senior Projects Spring 2016. 105. https://digitalcommons.bard.edu/senproj_s2016/105 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. A Blank Space Extended: On the Poetics of Osvaldo Lamborghini Senior Project submitted to The Division of Languages and Literature of Bard College by Kevin P. Soto Annandale-on-Hudson, New York May 2016 Acknowledgements If I were to list every single person who has helped me out in some way, either by directly having a hand in this project or even just keeping me sane and well, I would run up an innumerable amount of pages, and we would have a “Library of Babel” type of situation on our hands. -
The Willow Pattern Characters
THE WILLOW PATTERN [Transcribed from the libretto in the British Library by Vincent Daniels] CHARACTERS AH-MEE (a Chinese Maiden ) MISS AGNES FRASER HI-HO ( her Lover ) MR POWIS PINDER SO-HI ( her Father ) MR REGINALD CROMPTON SO-LO ( his Friend ) MR R. ROUS WEE-PING ( a Rich Lady ) MISS ROSINA BRANDRAM PING-PONG ( her Lover ) MR WALTER PASSMORE TEE-THING ( his Grandmother ) MISS JESSIE POUNDS FEE-FI ( a Poor Girl ) MISS BLANCHE GASTON MURRAY FO-FUM ( her Lover ) MR W. H. LEON CHORUS OF PAIRS OF LOVERS SCENE: A CHINESE GARDEN, AS IN THE WELL-KNOWN WILLOW PATTERN Libretto SCENE. - A Chinese garden, House L.C., Willow tree L of House, Bridge R, It is late afternoon. Enter CHORUS, CHINESE MEN and GIRLS CHORUS. Comes a merry throng With wreaths and garlands laden Sound the joyous gong, China man and maiden. Beat it loud and long, Bing! Bang! Sound the gladsome gong, Cling! Clang! In praise of the god Choo-Chow Tow! Kow! In praise of the god Choo-Chow. FO-FUM. For today is the Feast of Lovers When every youth discovers His heart is laid At the feet of a maid With toddling tootsicums! FEE-FI. And every maid that toddles 1 Is dressed in her best, and swaddles Her figure petite In a costume neat – So rattle the Chinese drum, And beat Every Chinese gong ALL. Clang! Clang! FEE-FI. Beat them loud and long. ALL. Bang! Bing! FEE-FI. And join in the joyful song I sing In praise of the god Choo-Chow. ALL. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table. -
Broadside Songbook
a d..sid..e BOB DYLAN: W"HAT HIS SONGS REALLY SAY ; DIANA DAVIES IN THIS ISSUE: Bob Dylan's songs interpreted by Alan Weberman, who finds in them the radical militant continuing to protest The Establishment. ALSO: Songs by ARLO GUTHRIE, BRUCE PHILLIPS, PABLO NERUDA, JAN DAVIDSON. FOREWORD Dear Readers of this Songbook: I got a check in the mail the other day. It Bill." They spelled out in detail the whole was for $3,050.06. It came, like similar list of a nation's crime against a people - ones before it over the last few years, by with a clear and precise schedule of cash pay airmail from a Berlin bank in Germany. As ments due. for each. All realistically worked usual, the explanation on the check said in out in negotiations with the Germans. A cash German, ENTSCHADIGUNGSZAHLUNG. I still can't value placed on all the categories of horrors! pronounce it, but I can translate it: RESTI So much for Loss of Life ... Loss of Liberty •.. TUTION PAYMENT. Restitution! To whom? For Loss of Health ... of Parents ... of Education .. c.what? Most important of all -- ~ whom? of Property ... bf Inheritance ... of Insurance .. stitution to the survivors and victims of of Business. It was an enormous task, cover ial persecution for the deaths and terrible ing 13 years, and the accounting involved ses they suffered under the Nazi government some six million people killed by the Nazis. Germany. Paid out -- not by the actually But the restitution payments have made it ty Hitler government, but by the suc- possible for the surviving vict~ms of 7ac~sm or government which accepted its responsi to start a decent life over aga1n.