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Highland Games. Kilts Galore. Help: Graduating
THEFriday, October 10, 2014 - Volume 61.5 14049 Scenic Highway,BAGPIPE Lookout Mountain, Georgia, 30750 www.bagpipeonline.com Burning at Help: Graduating and the Stage Highland Games. Kilts Galore. Headed into Law BY KRISITE JAYA BY MARK MAKKAR Burning at the Stage took place Life after Covenant can either be on Thursday (10/3) night. The exciting or foreboding, but hear- Overlook was crowded with music ing from people who are already performances, friends huddling there always helps in lighting the around straw-bales, and marshmal- path that is to come. During the lows roasting atop fire pits. Alumni Law Career Panel, organized by who happened to be in town for the Center for Calling & Career, Homecoming contributed to the students listened to three Covenant festivities, exchanging squeals and alumni who have pursued work in hugs with familiar faces. The event, the field of law since graduating. according to the Senior Class Dr. Richard R. Follet introduced Cabinet member Sam Moreland, the meeting by stating that “Cov- “has taken different forms over the enant has a list of 60 graduates that years, but tends to have the ele- have gone into some kind of law ments of music, the Overlook, fire after graduating from Covenant.” and s’mores, and relaxed fellowship Three of them were able to make as commonalities.” it to the Panel. Josh Reif, John Many have long associated the Huisman, and Pete Johnson shared event with the Homecoming tradi- stories about when they were at tion, but Burning at the Stage is an BYGARRET SISSON Around 150 people attended was featured as the announcer. -
Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code -
Négociations Fondation Maeght : Entre Célébrations Monaco - Union Européenne Et Polémique R 28240 - F : 2,50 € Michel Roger S’Explique
FOOT : SANS FALCAO ET JAMES, QUELLES AMBITIONS POUR L’ASM ? 2,50 € Numéro 135 - Septembre 2014 - www.lobservateurdemonaco.mc SOCIÉTÉ USINE D’INCINÉRATION : LES SCÉNARIOS POSSIBLES ECOLOGIE CHANGEMENT CLIMATIQUE : POURQUOI IL FAUT RÉAGIR CULTURE NÉGOCIATIONS FONDATION MAEGHT : ENTRE CÉLÉBRATIONS MONACO - UNION EUROPÉENNE ET POLÉMIQUE R 28240 - F : 2,50 € MICHEL ROGER S’EXPLIQUE 3 782824 002503 01350 pour lui Solavie pag Observateur 09/2014.indd 2 08/09/14 15:51 LA PHOTO DU MOIS CRAINTES epuis des mois, dans certains milieux, on ne parle que de ça. En principauté, le lancement des négociations avec l’Union européenne (UE) inquiète pas mal de monde. Notamment les professions libérales qui craignent Dde voir tomber le presque total monopole qu’ont les Monégasques sur ces professions très encadrées réglementairement. « Ceci entraînerait à très court terme la disparition de notre profession telle qu’elle existe depuis des siècles. Ce qui est très préoccupant. D’autant plus que ce sera la même chose pour les médecins, les architectes, les experts-comptables monégasques… », a expliqué à L’Obs’ le bâtonnier de l’ordre des avocats de Monaco, Me Richard Mullot. Une crainte qui a poussé les avocats, les dentistes, les médecins et les architectes à se réunir pour réfléchir à la création d’un collectif. Objectif : défendre auprès du gou- vernement leurs positions et leurs spécificités qui restent propres à chaque profession. En face, le gouvernement cherche à rassurer. Dans l’interview qu’il a accordée à L’Obs’, le ministre d’Etat, Michel Roger, le répète. Il est hors de ques - tion de brader ce qui a fait le succès de la princi- pauté : « Il n’y aura pas d’accord si Monaco devait perdre sa souveraineté ou si ses spécificités devaient être menacées. -
6012904936.Pdf
912288 УДК . ББК .Англ Г Гулов А. П. Olympway. форматов олимпиадных заданий по английскому языку Электронное издание М.: МЦНМО, 8 с. ISBN ---- Учебное пособие предназначено для подготовки к олимпиадам по английскому язы- ку учащихся – классов, включает в себя материалы по разделам «Лексика» и «Грам- матика». Материалы пособия могутбыть использованы для подготовки ко всем этапам олимпиад, от школьного до всероссийского; как при индивидуальных занятиях, так и при работе в классе. Издание адресовано учащимся и учителям средней школы. Подготовлено на основе книги: А. П. Гулов. Olympway. форматов олимпиадных заданий по английскому языку. — М.: МЦНМО, . — ISBN ----. 12+ Издательство Московского центра непрерывного математического образования , Москва, Большой Власьевский пер., , тел. () ––. http://www.mccme.ru © Гулов А. П., . ISBN ---- © МЦНМО, . UNIT 1 Task 1. Choose the correct answer. 1 fi sh in ____ waters (извлекать выгоду) muddy drumly blurred foggy troubled 2 like shooting fi sh in a ____ (очень легко) barrel jar cask teapot kettle 3 need (something) like a fi sh needs a ____ (абсолютно не испытывать потребности в чем-то) car bicycle coach truck scooter 4 there are plenty more fi sh in the ____ (существует много возможностей для успеха) pond lake sea loch river 5 big fi sh in a small ____ (важная персона для небольшой организации) pond lake sea loch river Task 2. Match the two columns. [COLLECTIVE NOUNS] 1 herd A of bees 2 swarm B of fi sh 3 bunch C of dancers 4 shoal D of cattle 5 troupe E of fl owers Task 3. Choose the correct answer. [COMMONLY CONFUSED WORDS] 1 “I’m not insinuating anything,” responded he blandly, “but I angel / angle have to look at things from every ____ there is.” 2 They say he succeeded in making her believe that he was an angel / angle ____ of Retribution. -
Theory, Experience and Affect in Contemporary Electronic Music Trans
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Strachan, Robert Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-10 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a14/uncanny-space-theory-experience-... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Explorar TRANS: Por Número > Robert Strachan Por Artículo > Por Autor > Abstract This article draws upon the author’s experiences of promoting an music event featuring three prominent European electronic musicians (Alva Noto, Vladislav Delay and Donnacha Costello) to examine the tensions between the theorisation of electronic music and the way it is experienced. Combining empirical analysis of the event itself and frequency analysis of the music used within it, the article works towards a theoretical framework that seeks to account for the social and physical contexts of listening. It suggests that affect engendered by the physical intersection of sound with the body provides a key way of understanding Share | experience, creativity and culture within contemporary electronic music. -
The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model
The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model Werner, K. J., Abel, J., & Smith, J. (2014). The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital Model. In A. Georgaki, & G. Kouroupetroglou (Eds.), Proceedings of the 40th International Computer Music Conference and the 11th Sound and Music Computing Conference (pp. 1453–1460). http://quod.lib.umich.edu/cgi/p/pod/dod-idx/tr-808-cymbal-a-physically-informed-circuit-bendable- digital.pdf?c=icmc;idno=bbp2372.2014.221 Published in: Proceedings of the 40th International Computer Music Conference and the 11th Sound and Music Computing Conference Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2014 The Author(s). This is an open access article published under a Creative Commons Attribution License (https://creativecommons.org/licenses/by/3.0/), which permits unrestricted use, distribution and reproduction in any medium, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. -
The Effects of Background Music on Video Game Play Performance, Behavior and Experience in Extraverts and Introverts
THE EFFECTS OF BACKGROUND MUSIC ON VIDEO GAME PLAY PERFORMANCE, BEHAVIOR AND EXPERIENCE IN EXTRAVERTS AND INTROVERTS A Thesis Presented to The Academic Faculty By Laura Levy In Partial Fulfillment Of the Requirements for the Degree Master of Science in Psychology in the School of Psychology Georgia Institute of Technology December 2015 Copyright © Laura Levy 2015 THE EFFECTS OF BACKGROUND MUSIC ON VIDEO GAME PLAY PERFORMANCE, BEHAVIOR, AND EXPERIENCE IN EXTRAVERTS AND INTROVERTS Approved by: Dr. Richard Catrambone Advisor School of Psychology Georgia Institute of Technology Dr. Bruce Walker School of Psychology Georgia Institute of Technology Dr. Maribeth Coleman Institute for People and Technology Georgia Institute of Technology Date Approved: 17 July 2015 ACKNOWLEDGEMENTS I wish to thank the researchers and students that made Food for Thought possible as the wonderful research tool it is today. Special thanks to Rob Solomon, whose efforts to make the game function specifically for this project made it a success. Additionally, many thanks to Rob Skipworth, whose audio engineering expertise made the soundtrack of this study sound beautifully. I express appreciation to the Interactive Media Technology Center (IMTC) for the support of this research, and to my committee for their guidance in making it possible. Finally, I wish to express gratitude to my family for their constant support and quiet bemusement for my seemingly never-ending tenure in graduate school. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iii LIST OF TABLES vii LIST OF -
Introduction to Computer Music Week 1
Introduction to Computer Music Week 1 Instructor: Prof. Roger B. Dannenberg Topics Discussed: Sound, Nyquist, SAL, Lisp and Control Constructs 1 Introduction Computers in all forms – desktops, laptops, mobile phones – are used to store and play music. Perhaps less obvious is the fact that music is now recorded and edited almost exclusively with computers, and computers are also used to generate sounds either by manipulating short audio clips called samples or by direct computation. In the late 1950s, engineers began to turn the theory of sampling into practice, turning sound into bits and bytes and then back into sound. These analog-to-digital converters, capable of turning one second’s worth of sound into thousands of numbers made it possible to transform the acoustic waves that we hear as sound into long sequences of numbers, which were then stored in computer memories. The numbers could then be turned back into the original sound. The ability to simply record a sound had been known for quite some time. The major advance of digital representations of sound was that now sound could be manipulated very easily, just as a chunk of data. Advantages of employing computer music and digital audio are: 1. There are no limits to the range of sounds that a computer can help explore. In principle, any sound can be represented digitally, and therefore any sound can be created. 2. Computers bring precision. The process to compute or change a sound can be repeated exactly, and small incremental changes can be specified in detail. Computers facilitate microscopic changes in sounds enabling us to producing desirable sounds. -
A Comprehensive History of Techno and Finding God in the Music with Ellen Allien
Editorial A Comprehensive History of Techno and Finding God in the Music With Ellen Allien Kian McHugh | August 3, 2020 When my Zoom call with Ellen Allien connects, at last, I feel weeks of anticipation turn to uncontrollable excitement. My fingers, sweaty from nerves, and a poorly brewed Starbucks coffee, type out the instructions on how to get her audio configured. Ellen is lounging in her Ibiza flat where she has painted all of the walls completely black so that when the sun shines through her window, the room glows yellow. The first fully formed thought I could pencil down was that her posture seemed to denote a sincere attention to detail and confidence in comfort that most others lack. For the first 2 minutes of the call, we both instinctively laugh, muted, and unaware that our discussion of Techno would soon gravitate toward, and then find unexpected momentum in… a deep consideration of Techno, God, and religion. “Rap is where you rst heard it… If rap is more an American phenomenon, techno is where it all comes together in Europe as producers and musicians engage in a dialogue of dazzling speed.” – Jon Savage (English writer, broadcaster and music journalist). In Hanif Abdurraqib’s 2019 book, Go Ahead in the Rain: Notes to A Tribe Called Quest, he so beautifully praises “the low end” of a track: “The feeling of something familiar that sits so deep in your chest that you have to hum it out … where the bass and the kick drums exist.” His point rings true across all music that is heavily percussion driven. -
The Psytrance Party
THE PSYTRANCE PARTY C. DE LEDESMA M.Phil. 2011 THE PSYTRANCE PARTY CHARLES DE LEDESMA A thesis submitted in partial fulfilment of the requirements of the School of Humanities and Social Sciences, University of East London for the degree of Master of Philosophy August 2011 Abstract In my study, I explore a specific kind of Electronic Dance Music (EDM) event - the psytrance party to highlight the importance of social connectivity and the generation of a modern form of communitas (Turner, 1969, 1982). Since the early 90s psytrance, and a related earlier style, Goa trance, have been understood as hedonist music cultures where participants seek to get into a trance-like state through all night dancing and psychedelic drugs consumption. Authors (Cole and Hannan, 1997; D’Andrea, 2007; Partridge, 2004; St John 2010a and 2010b; Saldanha, 2007) conflate this electronic dance music with spirituality and indigene rituals. In addition, they locate psytrance in a neo-psychedelic countercultural continuum with roots stretching back to the 1960s. Others locate the trance party events, driven by fast, hypnotic, beat-driven, largely instrumental music, as post sub cultural and neo-tribal, representing symbolic resistance to capitalism and neo liberalism. My study is in partial agreement with these readings when applied to genre history, but questions their validity for contemporary practice. The data I collected at and around the 2008 Offworld festival demonstrates that participants found the psytrance experience enjoyable and enriching, despite an apparent lack of overt euphoria, spectacular transgression, or sustained hedonism. I suggest that my work adds to an existing body of literature on psytrance in its exploration of a dance music event as a liminal space, redolent with communitas, but one too which foregrounds mundane features, such as socialising and pleasure. -
The BG News December 4, 1998
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 12-4-1998 The BG News December 4, 1998 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News December 4, 1998" (1998). BG News (Student Newspaper). 6417. https://scholarworks.bgsu.edu/bg-news/6417 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. FRIDAY,The Dec. 4, 1998 A dailyBG Independent student News press Volume 85* No. 63 Speaker: HIGH: 57 ^k LOW: 50 'Sex is not an , emergency □ The safe sex discussion sponsored by Womyn for Womyn adressed many topics ■ The men's basketball of concern for women. team heads to Eastern Michigan Saturday. By mENE SHARON SCOTT The BG News Birth control methods, tools for safer sex and other issues ■ The women's were addressed at a "Safe Sex" basketball team is ready roundtable Thursday. The dis- for the Cougar BG News Photo/JASON SUGGS cussion was sponsored by Womyn for Womyn. shoot-out. People at Mark's Pub enjoy a drink Thursday. Below, John Tuylka, a senior psychology major takes a shot. Leah McGary, a certified fam- ily nurse practitioner from the Center for Choice, led the discus- Bars claim responsibility sion. ■ The men's swimming McGray emphasized the and diving teams are importance of using a birth con- BATTLE to curb binge drinking trol method. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.