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Management of Data Elements in Information Processing
PB-249-530 MANAGEMENT OF DATA ELEMENTS IN INFORMATION PROCESSING U.S. DEPARTMENT OF COMMERCE / National Bureau of Standards SECOND NATIONAL SYMPOSIUM NATIONAL BUREAU OF STANDARDS GAITHERSBURG, MARYLAND 1975 OCTOBER 23-24 Available by purchase from the National Technical Information Service, 5285 Port Royal Road, Springfield, Va. 221 Price: $9.25 hardcopy; $2.25 microfiche. National Technical Information Service U. S. DEPARTMENT OF COMMERCE PB-249-530 Management of Data Elements in Information Processing Proceedings of a Second Symposium Sponsored by the American National Standards Institute and by The National Bureau of Standards 1975 October 23-24 NBS, Gaithersburg, Maryland Hazel E. McEwen, Editor Institute for Computer Sciences and Technology National Bureau of Standards Washington, D.C. 20234 U.S. DEPARTMENT OF COMMERCE, Elliot L. Richardson, Secrefary NATIONAL BUREAU OF STANDARDS, Ernest Ambler, Acfing Direc/or Table of Contents Page Introduction to the Program of the Second National Symposium on The Management of Data Elements in Information Processing ix David V. Savidge, Program Chairman On-Line Tactical Data Inputting: Research in Operator Training and Performance 1 Irving Alderman, Ph.D. "Turning the Corner" on MIS, A Proposed Program of Data Standards in Post-Secondary Education 9 Donald R. Arnold, Ph.D. ASCII - The Data Alphabet That Will Endure 17 Robert W. Bemer Techniques in Developing Standard Procedures for Data Editing 23 George W. Covill An Adaptive File Management Systems 45 Dennis L. Dance and Udo W. Pooch (Given by Dance) A Focus on the Role of the Data Manager 57 Ruth M, Davis, Ph.D. A Proposed Standard Routine for Generating Proposed Standard Check Characters 61 Paul -Andre Desjardins Methodology for Development of Standard Data Elements within Multiple Public Agencies 69 L. -
Signumclassics
143booklet 23/9/08 13:15 Page 1 ALSO AVAILABLE on signumclassics Different Trains Time for Marimba Steve Reich Daniella Ganeva The Smith Quartet SIGCD057 SIGCD064 Signum Classics are proud to release the Smith Quartet’s debut Time for Marimba explores the 20-th century Japanese repertoire for disc on Signum Records - Different Trains. The disc contains three marimba including music by five pre-eminent post-war composers. of Steve Reich’s most inspiring works: Triple Quartet for three string quartets, Reich’s personal dedication to the late Yehudi Menuhin, Duet, and the haunting Different Trains for string quartet and electronic tape. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 143booklet 23/9/08 13:15 Page 3 Electric Counterpoint Electric Counterpoint Steve Reich 1. I Fast [6.51] 2. II Slow [3.22] 3. III Fast [4.33] 4. Tour de France Kraftwerk [5.25] 5. Radioactivity Kraftwerk [5.57] 6. Pocket Calculator Kraftwerk [6.44] 7. Carbon Copy Joby Burgess & Matthew Fairclough [5.14] 8. Temazcal Javier Alvarez [8.05] 9. Audiotectonics III Matthew Fairclough [3.47] Total Timings [49.55] Video: Temazcal [8.09] Powerplant Joby Burgess percussion Matthew Fairclough sound design Kathy Hinde visual artist The Elysian Quartet www.signumrecords.com 143booklet 23/9/08 13:15 Page 5 Electric Counterpoint Tour de France improvising with flute, electric guitar, cello and Carbon Copy Steve Reich (1936-) Ralf Hutter (1946-), Florian Schneider (1947-) vibraphone as the then Organisation, they Joby Burgess (1976-) and Matthew Fairclough I Fast II Slow III Fast and Karl Bartos (1952-) explored the sounds of the modern industrial (1970-) world, setting up their own studio, Kling Klang, Joby Burgess xylosynth Radioactivity which remains at a secret location in Dusseldorf. -
PRESS RELEASE the Guggenheim Museum Bilbao Will Host Eight
PRESS RELEASE The Guggenheim Museum Bilbao will host eight concerts of the German band Kraftwerk in October Between October 7 and 14, 2016 Kraftwerk will be presenting in the Guggenheim Museum Bilbao’s Atrium The Catalogue – 1 2 3 4 5 6 7 8, a series of concerts reviewing chronologically and in 3-D the career of the legendary German band Tickets will go on sale on February 9 Between October 7 and 14, 2016 the Guggenheim Museum Bilbao will host eight concerts of the German band Kraftwerk, which will mark the starting point for the celebrations of the Museum’s 20th anniversary. Over eight consecutive nights, the pioneering electronic music band will present The Catalogue – 1 2 3 4 5 6 7 8, a series of concerts that will explore chronologically the sound and visual experimentation of Kraftwerk, with spectacular visual and 3-D effects in the Museum’s Atrium. The Concerts Kraftwerk’s live concerts are a perfect synchronization between the audiovisual show, the purest digital sound, and 3-D screening. In a combination of sound and image, the band will perform more than four decades of musical and technological innovation, including new improvisations, 3-D screenings, and multimedia animations. Beginning with Autobahn and according to the chronological order of their publication, every night will be a tour of one of Kraftwerk’s studio albums that will also include additional compositions of their back catalog. The eight concerts will be as detailed below: Autobahn (1974) - October 7 Radio-Activity (1975) - October 8 Trans Europe Express (1977) - October 9 The Man-Machine (1978) - October 10 Computer World (1981) - October 11 Techno Pop (1986) - October 12 The Mix (1991) - October 13 Tour de France (2003) - October 14 Tickets Tickets can be purchased as from Tuesday, February 9, at 10 am through doctormusic.com, ticketmaster.es, Fnac, Carrefour Travel Agencies, Halcon Travel Agencies, other usual points of sell of Ticketmaster and by phone at 902 15 00 25. -
Special Report Kraftwerk at the Tour De France Special Report Kraftwerk at the Tour De France Kraftwerk
XXXKRAFTWERK SPECIAL REPORT KRAFTWERK AT THE TOUR DE FRANCE SPECIAL REPORT KRAFTWERK AT THE TOUR DE FRANCE KRAFTWERK Last month, KRAFTWERK played ‘Tour De France’ live at the opening stage of the world’s most famous cycle race – the first time they’ve done so in the 30 years since the track was recorded. As their legion of fans find themselves asking about almost everything the band do, “What took them so flipping long?” Words: JOOLS STONE Pictures: CHRIS P KING As a concept, Kraftwerk performing their ‘Tour De France Soundtracks’ album in its entirety at the opening stage of the Tour de France itself sounds so mind-bogglingly obvious you wonder why it’s taken them so long to do it. Ralf Hütter and his associates played Manchester’s Velodrome back in 2009, but amazingly this is the first time that Kraftwerk have made an official live appearance at the world’s premier pro cycling event. Tonight, they will perform one of their 3-D audio-visual extravaganzas as part of the Tour’s Grand Départ celebrations at Utrecht’s Tivoli Vredenburg, the Dutch city’s new, five-storied, angular wedge of a concert hall. The only thing that could make it more conceptually perfect was if they’d managed to get the race to start on their home turf of Düsseldorf instead of here in the Netherlands. Like most things in Kraftwerk lore, the three-decade journey to get here has been as arduous as the climb up Mont Ventoux. The song ‘Tour De France’, which was originally intended for inclusion on the abandoned ‘Techno Pop’ album, has long served as an unofficial jingle to the famous cycle race. -
Kraftwerk's Influence on Music Technology & German Cultural
1 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Scott Shannon University of Houston, Texas, USA [email protected] Kyle J. Messick Ivy Tech Community College, Indiana, USA [email protected] https://orcid.org/0000-0002-0452-0922 2 Through the Looking Glass: Kraftwerk’s Influence on Music Technology & German Cultural Identity Although the band Kraftwerk have been extensively noted for their pioneering musical style, what has been given less attention is their broader cultural impact, how they served as a source for German identity in a time of crisis, and the conditions under which their music was formed and changed over time. This article examines their influence through the sense of cultural identity Kraftwerk provided for Germanic peoples post-World War II, their fundamental influence on future musical acts that would incorporate electronics into their music, their innovation in their creation of new musical instruments/technologies, and the application of those instruments in novel performance and recording settings. Keywords: Kraftwerk, krautrock, music technology, Germanic culture, identity The Emergence of Kraftwerk & Krautrock During the 1960’s and 1970’s, popular music as a whole experienced an explosion of growth and diversification. With the developments of the progressive rock and industrial scenes in the UK, the jazz fusion scene in the US, and the krautrock/“Berlin School” scenes in Germany, music was undergoing a complete cosmopolitan renaissance heavily rooted in sonic experimentation and pushing musical boundaries in a way that had never been witnessed before. “Krautrock” was the colloquial term used to describe the experimental rock that developed in West Germany in the late 1960s that combined elements of psychedelic rock, electronic music, and a broad range of avant-garde influences. -
Manuel Gottsching and Ash Ra Tempel Kraftwerk
296 THE AMBIENT CENTURY AMBIENCE IN THE ROCK ERA 297 minimalism of Like The comDll1ll1g his sweetly toned guitar style with mellow keyboard patten> of AJomenti FeUd (Virgin Venture 1987). Brian Eno sponsored sounds. New Age Of Earth (1977) danced along on a rush some of the tonal on the Japanese collection, Pink, Blue And Amher sounds, lapping on the shores ofFleetwood Mac blues one moment, off 1996). for a fresh overview ofeverything Roedelius has to ofIer, try into the cosmic ether the next. Here texture was Gottsching going /~ !1WIypl/n (All Saints out of his way to create an interplanetary sound of the future. Blackouts (I was less but his guitar glowed as usual. Correlations (1979) and Bell Alliance (1980) had their moments but Gottsching was increasingly at odds with the some of the drum-machine tracks sounding positively awk MANUEL GOTTSCHING AND ASH RA TEMPEL ward. Sensing his music needed more concentration, he took time off and during the last month of 1981 recorded the astonishing E2-E4 One ofthe most mellifluously gifted guitarists to come out ofthe German rock a wonderfully dancey rhythm track with space for liquid sounds, scene of the 1970s was Manuel Gottsching. His fusion of bass grooves, hesitant nervy keyboard motifs and the silken provisation with electronic treatments made his first group, Ash Ra notes of old. At nearly an hour long it a space all ofits own, thus one of the m<;>st exciting Gennan bands oftheir era. the mid-1970s he was a becoming one ofthe most-sampled records ofthe House ofthe 19805 solo inventor, allying his fender and Gibson streams with effects to the and 19905 a veritable soundtrack for the E generation. -
The Role of Kraftwerk in the Development of Electro-Funk
KRAFTWERK: MUSIC NON-STOP Chapter 9 ‘Dragged into the Dance’ – the role of Kraftwerk in the Development of Electro-Funk ‘Once upon a time, ‘the future’ was something that hadn’t happened yet. It lay up ahead of us somewhere in the distance, filled with an unknown potential whose features and even outlines were unguessable. But during the twentieth century, an extremely odd thing has happened. In the 1920s, science fiction writers began developing detailed scenarios of what the future would be like; and since World War II the technology for making those scenarios come true has been expanding at an unprecedented rate. By now, our sense of history as a linear progression into the future has collapsed. We’re living in the future today; there’s no way to escape.’ (Aikin, 1982, p.33) Jim Aikin’s article on Kraftwerk was written just a few months before DJ producer Arthur Baker, Afrika Bambaataa and the Soul Sonic Force teamed up in New York to produce the recording ‘Planet Rock’. This was a new musical concept that matched the electronic, robot-inspired music of Kraftwerk, an emerging electronic aesthetic in African-American dance music and the improvised form rap. In the US Billboard listings, the song reached number #4 in the Black charts, and #3 in the Disco/Dance charts, and gave exposure to Bambaataa’s vision for a new electronic rap/funk sound. The new form that ‘Planet Rock’ played a large part in kick starting would later be named ‘electro funk’, and paved the way for the explosive success of Hip Hop in the years to come. -
Chapter 2 /Blind Folio Pg 18
Vaughan / Multimedia: Making It Work / 0071832882 / Chapter 2 /blind folio pg 18 18 CHAPTER 2 Text In this chapter, you sing text and symbols for communication is a very recent human will learn how to: development that began about 6,000 years ago in the Mediterranean Fertile UCrescent—Mesopotamia, Egypt, Sumeria, and Babylonia—when the first ■■ Recognize the importance meaningful marks were scraped onto mud tablets and left to harden in the of word choice sun. Only members of the ruling classes and the priesthood were allowed to ■■ Describe the difference read and write the pictographic signs and cuneiforms. The earliest messages between a typeface and a delivered in written words typically contained information vital to the font and list at least three management of people, politics, and taxes. Because this new medium did attributes of a font, for not require rote memorization by frail human gray matter, written messages example, upper/lowercase, became popular among the elite. Unlike their memory-based counterparts, serif/sans serif, PostScript/ these new “written” messages were less likely to perish due to acts of God, TrueType/OpenType and certainly weren’t going to die from dysentery or suffer from amnesia. ■■ Discuss the importance of Even if a message were intercepted by foes or competitors, it would still be text and ways text can be indecipherable—except by those few who had acquired reading skills (see leveraged in multimedia Figure 2-1). presentations In fact, because those who could read probably attended the same ■■ Discuss the presenta- private school or shared the same tutors, in those days reading, writing, tion of text on Windows, and power politics were naturally intertwined. -
People's Computer Co
PEOPLE'S COMPUTER CO. ~~ Stall 1 Subscription Information EDITOR: Bob Albrecht 2 Computer Awareness lab PRODUCTION: Mary Jo McPhee 3 Comfort House BOOK REVIEW EDITOR: Dan Rosset , Trenton Computer Festival CIRCULATION: Laura Reininger , FORTRAN Man COMPLAINT DEPT: Happy Lady 6 BASIC Music ART DIRECTOR: Dover 9 San Andreas Fault Caper STRAIT FRONT: LeRoy Phillip Finkel 10 World As a Holcq<lm in Your Heart DRAGONS-AT·LARGE Bill fuller's Biofeedback Bibliography John Snell Larry Press l' YOlX Brain is a Hologram Oon Inman LO ·OP Center 16l' Electronic Projects for Musicians Gregory Yob Mac Oglesby 17 Computer Music References Lee Schneider NeTM 18 Minicalculator Information Sources Todd Voros Kurt Inman 20 S!NNERS Peter Sessions Bill Fuller 22 Tiny BASIC Doug Seeley Sprocket Man 23 Tiny TREK Marc LeBrun Joel Miller 2' LO·OP Center Dean Kahn Joyce Hatch 26 Computer Clubs & Stores Roger Hen5tey Sol Libes 27 Publications 101" Computer Dr.Oobb MS. Frog 29 Dr.Oobb's Lichen Wang 30 16 Bit Computer Kit 31 A Musical Number Guessing Game RETAINING SUBSCRIBERS: 32 Los Cost Software John R. Lees, Jr. 33 Dragonsmoke Th. Computer Corner, Harriet Shair 34 Sprocket Man John Ribl. 36 Programmer's Toolbox Bill Godbout ElectroniCl 37 Leters and Other Numbers ""rk S. Elgin 43 BookstOl"e PEOPLE'S COMPUTER COMPANY. P.O. Box 310.MENlO PARK, CALIFORNIA 94025.(415)323-3111 PCC /)/)J PeC is published six Of more times a year by PEOPLE'S COMPUTER DR. DOBS'S JOURNAL OF COMPUTER CALlSTHENT1CS AND COMPANY, a tax exampt, independent non-profit corporation in ORTHODONTIA is published ten times per year, monthly except Menlo Park~ California. -
Popxport Ranking – the List the Most Successful Music Titles from Germany | Editorial Deadline: 1 July 2016
Page 1 PopXport Ranking – The List The Most Successful Music Titles from Germany | Editorial Deadline: 1 July 2016 Position Year Artist Title Single or Highest chart position Highest chart position Highest chart position Highest chart position Points Album in Germany in the UK in the USA in another country Position Points Position Points Position Points Position Country Points Total 1 2015 Felix Jaehn Cheerleader (OMI / Felix Jaehn Remix) S 1 108,9 1 118,8 1 128,7 1 Australia 99 455,4 2 1983 Nena 99 Luftballons / 99 Red Balloons S 1 108,9 1 118,8 2 127,4 1 New Zealand 99 454,1 3 1989 Milli Vanilli Girl I’m Gonna Miss You S 2 107,8 2 117,6 1 128,7 1 Netherlands 99 453,1 4 1990 Snap! The Power S 2 107,8 1 118,8 2 127,4 1 Netherlands 99 453 5 1999 Lou Bega Mambo No. 5 (A little bit of…) S 1 108,9 1 118,8 3 126,1 1 France 99 452,8 6 1989 Milli Vanilli Girl You Know It’s True S 1 108,9 3 116,4 2 127,4 2 Netherlands 98 450,7 7 1985 Harold Faltermeyer Axel F (OST “Beverly Hills Cop I”) S 2 107,8 2 117,6 3 126,1 1 Ireland 99 450,5 8 1991 Scorpions Wind of Change S 1 108,9 2 117,6 4 124,8 1 France 99 450,3 9 1990 Enigma Sadeness (Part 1) S 1 108,9 1 118,8 5 123,5 1 France 99 450,2 10 1992 Snap! Rhythm Is a Dancer S 1 108,9 1 118,8 5 123,5 1 France 99 450,2 Page 2 Position Year Artist Title Single or Highest chart position Highest chart position Highest chart position Highest chart position Points Album in Germany in the UK in the USA in another country Position Points Position Points Position Points Position Country Points Total 11 1996 No Mercy Where Do You Go S 3 106,7 2 117,6 5 123,5 1 Canada 99 446,8 12 1977 Donna Summer I Feel Love S 3 106,7 1 118,8 6 122,2 1 Netherlands 99 446,7 13 1990 Enigma MCMXC a.D. -
KRAFTWERK BIOGRAPHY 1970 Ralf Hütter and Florian Schneider
KRAFTWERK BIOGRAPHY 1970 Ralf Hütter and Florian Schneider founded the electronic KLING KLANG STUDIO in Düsseldorf, Germany and started the Multimedia Project KRAFTWERK 2014 Grammy Lifetime Achievement Award SELECTED SOLO EXHIBITIONS AND PERFORMANCES 2019 3-D Concert, Orchard Hall, Tokyo, JP 3-D Concert, Star Hall, Hong Kong, HK 3-D Concert, Olympic Hall, Seoul, KR 3-D Concert, Anfiteatro di Ostia Antica, Rome, IT 3-D Concert, Philharmonie de Paris, FR 2018 3-D Concert, Kremlin Palace, Moscow, RU 3-D Concert, Albertinum, Dresden, DE 3-D Concert, Arenale Romane, Bucarest, RO 3-D Concert, Universidad Hall, Sofia, HU 2017 The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Officine Grandi Riparazioni, Turin, IT 3-D Concert, Tour de France, Ehrenhof, Dusseldorf, DE 3-D Concert, Royal Albert Hall, London, UK The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Koningin Elisabethzaal, Antwerpen, BE 2016 The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Museo Guggenheim, Bilbao, ES 3-D Concert, Hollywood Bowl, Los Angeles, USA The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Den Norske Opera, Oslo, NO 3-D Concert, Movement Detroit, USA 2015 3-D Concert, Lichtburg, Essen, DE 3-D Concert, Ryman Auditorium, Nashville, USA 3-D Concert, Gran Teatre del liceu, Barcelona, ES The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Danish Radio Concert House, Copenhagen, DK The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Paradiso, Amsterdam, NL The Catalogue – 3-D Concerts – 1 2 3 4 5 6 7 8, Neue Nationalgalerie Berlin, DE 2014 The Catalogue – 3-D Concerts – 1 2 3 4 5 6 -
KARL BARTOS OFF the RECORD CD / LP (180G Vinyl) Plus CD / Download Release Date: March 15Th 2013
KARL BARTOS OFF THE RECORD CD / LP (180g vinyl) plus CD / download Release date: March 15th 2013 OFF THE RECORD – THE NEW ALBUM FROM KARL BARTOS, Label: Bureau B EX-KRAFTWERK Cat no.: BB079 Karl Bartos’ new album is an audio-visual sensation! Lost Distributor: Indigo for many years, some of his early music has been CD 974282 reconceived and re-contextualised in a thrilling modern First run of the CD Version will setting. Here’s the story: during Kraftwerk’s heyday Karl have a 44 Page Booklet, later Bartos wrote – off the record – a secret acoustic diary. Versions will have a 20 Page Based on his musical jottings – rhythms, riffs, hooks, Booklet sounds, chords and melodies – this is what he has come up EAN: 4047179742825 with today: twelve brand new, exciting, timeless songs. LP 974281 KARL BARTOS – THE MELODY MAKER Standard Vinyl Version EAN: 4047179742818 Karl Bartos is well-known as one-quarter of the “classic” LP 955821 (ltd Vinyl, 1000) Kraftwerk line-up. Many of their most influential rhythms and limited Vinyl Version with 20 memorable melodies were actually conceived in his home studio. Page Booklet, Gatefold They would later be used on an unstoppable succession of hits EAN: 4047179558211 from the Düsseldorf band as they ascended to the lofty heights of popular music culture. As a major contributor to The Man-Machine (1978) and Computer World (1981) Bartos has had a decisive influence on Kraftwerk’s Tracklisting: music. Rolling Stone author Mike Rubin says of this years: “there's something timeless and universal about their songwriting 01.