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Spiritual Randomness
Fr. Thomas M. Pastorius August 4, 2019 Spiritual Ponderings Spiritual Randomness Someone shared with me the following story called the “Deck of Cards Prayer Book”. Upon finding that the War To End All Wars was actually at an end, a soldier wandered away from his barracks and into town. As he passed a small church, he stopped and looked in and saw that the townsfolk had gathered for worship. The soldier wandered in, down the aisle and slid into a pew. He took his seat next to some worshipers who were at that moment sitting with their heads bowed in prayer. The soldier having no prayer book took out a time-worn deck of playing cards. He fanned the cards before him and started to mumble to himself. His fellow worshipers, amazed at the soldier for displaying a deck of cards, the "Devil's Tickets," in the house of the Lord, nudged him and whispered, "Put those away, you can't do that here!" The soldier paid little attention to them and carried on with his cards and mumblings. Soon the fellow worshipers became alarmed and sent out for the constable and the poor man was arrested. He was placed in the jail for the night and the next morning was brought before the town magistrate, charged with disorderly conduct for displaying a deck of cards in a place of worship. The Magistrate asked what he had to say for himself, "Guilty or not guilty?" The soldier standing before the bar of justice replied, "Not guilty, Your Honor, and with your kind permission, I would like to present this defense for my actions." With that, he took out his old time-worn deck of cards, fanned them out before him, and then he began: • "Your Honor, to me this deck of cards is my prayer book and Bible. -
Sonification As a Means to Generative Music Ian Baxter
Sonification as a means to generative music By: Ian Baxter A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts & Humanities Department of Music January 2020 Abstract This thesis examines the use of sonification (the transformation of non-musical data into sound) as a means of creating generative music (algorithmic music which is evolving in real time and is of potentially infinite length). It consists of a portfolio of ten works where the possibilities of sonification as a strategy for creating generative works is examined. As well as exploring the viability of sonification as a compositional strategy toward infinite work, each work in the portfolio aims to explore the notion of how artistic coherency between data and resulting sound is achieved – rejecting the notion that sonification for artistic means leads to the arbitrary linking of data and sound. In the accompanying written commentary the definitions of sonification and generative music are considered, as both are somewhat contested terms requiring operationalisation to correctly contextualise my own work. Having arrived at these definitions each work in the portfolio is documented. For each work, the genesis of the work is considered, the technical composition and operation of the piece (a series of tutorial videos showing each work in operation supplements this section) and finally its position in the portfolio as a whole and relation to the research question is evaluated. The body of work is considered as a whole in relation to the notion of artistic coherency. This is separated into two main themes: the relationship between the underlying nature of the data and the compositional scheme and the coherency between the data and the soundworld generated by each piece. -
Determination ONE K–5
WEEK GRADES Determination ONE K–5 MAY 2020 BIBLE STORY Send Me on My Way Dear Elementary Parents, Jesus' Final Orders to His Disciples/Ascension Who would have thought social distancing and extended time Matthew 28:16-20; Luke at home would be realities we face in 2020? I have found 24:50-53; Acts 1:1-11 myself thinking, “I did not see that coming” in a whole new way lately. But God did. He knew that every event that has unfolded would, and He knows every event that will MEMORY VERSE unfold. So, while we could not have anticipated this season, Let us not become tired of doing and we don’t know how long it will last, let’s be intentional good. At the right time we will about this time we have with our kids. Let’s use this time to connect with them and teach them about the God who gather a crop if we don't give up. knows, is with us, and loves us. In this packet you will find Galatians 6:9, NIrV a few resources to help your family to this. Head over to the church website https://bridgechurch.cc/corona to watch the video and then follow the steps below. We would LOVE for you to post on social media your family doing LIFE APP these activities!! Determination-Deciding it's Know your church family loves you and is praying for you! worth it to finish what you started BOTTOM LINE What To Do Keep going even when it seems impossible. -
By Liana Lowenstein, MSW, RSW, CPT-S Live Webinars Recorded Webinars
Creative Interventions For Children With ADHD 2 CE Hours by Liana Lowenstein, MSW, RSW, CPT-S Live Webinars Recorded Webinars Bundles Subscriptions Corporate Trainings Anxiety Bereavement CBT Couples Elder Care Telehealth Ethics Trauma Play Therapy About Core Wellness Core Wellness, LLC is a dynamic training group offering evidence-based, practical workshops via live/webinar and recorded webinar. Our passionate and knowledgeable trainers bring engaging CE materials that stimulate the heart and mind for client care and effective and actionable clinical skills. Core Wellness, LLC has been approved by NBCC as an Approved Continuing Education Provider, ACEP No. 7094. Core Wellness is approved to offer social work continuing education by the Association of Social Work Boards (ASWB) Approved Continuing Education (ACE) program as well as the Maryland Board of Social Work Examiners. Credits are also accepted by the Board of Professional Counselors and Board of Psychologists of Maryland. Core Wellness, LLC is recognized by the New York State Education Department’s State Board for Social Workers #SW-0569 and New York State Board for Mental Health Practitioners, #MHC-0167. We are an Association for Play Therapy (APT) Approved Provider #20-610, course credits are clearly marked. For other states, contact your board & let us know if we can help! CW maintains full responsibility for all content. See site for full details. Liana Lowenstein, MSW, RSW, CPT-S Liana Lowenstein is a Registered Clinical Social Worker, Certified Play Therapist-Supervisor, and Certified TF- CBT Therapist who has been working with children and their families in Toronto since 1988. She presents trainings across North America and abroad. -
Rules of Play - Game Design Fundamentals
Table of Contents Table of Contents Table of Contents Rules of Play - Game Design Fundamentals.....................................................................................................1 Foreword..............................................................................................................................................................1 Preface..................................................................................................................................................................1 Chapter 1: What Is This Book About?............................................................................................................1 Overview.................................................................................................................................................1 Establishing a Critical Discourse............................................................................................................2 Ways of Looking.....................................................................................................................................3 Game Design Schemas...........................................................................................................................4 Game Design Fundamentals...................................................................................................................5 Further Readings.....................................................................................................................................6 -
A Cultural History of Tarot
A Cultural History of Tarot ii A CULTURAL HISTORY OF TAROT Helen Farley is Lecturer in Studies in Religion and Esotericism at the University of Queensland. She is editor of the international journal Khthónios: A Journal for the Study of Religion and has written widely on a variety of topics and subjects, including ritual, divination, esotericism and magic. CONTENTS iii A Cultural History of Tarot From Entertainment to Esotericism HELEN FARLEY Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Helen Farley, 2009 The right of Helen Farley to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN 978 1 84885 053 8 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Printed and bound in Great Britain by CPI Antony Rowe, Chippenham from camera-ready copy edited and supplied by the author CONTENTS v Contents -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
NEWSLETTER August 2016
NEWSLETTER August 2016 Volume 11 Issue #08 CLUB NEWS August 2 SAOS We introduced Suzanne Susko as our AOS Representative. Meeting Suzanne explained the benefits of AOS membership by Janis Croft, secy@ including discounts and free admission to over 300 gardens staugorchidsociety.org as well as the very informative culture sheets provided on the member’s side of the AOS website. Welcome and Thanks. President Bob Schimmel Orchid Events. There are no Florida orchid shows in opened the meeting at 7:15 the next two months. The Odom’s 6th Annual Cattleya pm with 65 attendees. Bob Symposium will be held in Fort Pierce from August 5 and 6. thanked Jeannette Smith, Leslie Brickell and Elaine Show Table Review. Courtney Hackney stated that the Hardy for the refreshments table demonstrates that there are summer blooming orchids while reminding all to which are primarily the Bifoliate Cattleyas from Brazil. He Alan Koch drop a dollar in the jar. pointed out the Cattleya leopoldii as a prime example. He We welcomed two new then discussed the Lc. Maui Plum ‘Volcano Queen’ (whose members, Joan and Charles Delony who joined at the one parent is Cattleya leopoldii) that has been bred for meeting, along with eight guests. cluster of flowers and likes high light. Next was the pure Our Membership Veep, Linda Stewart recognized our white Cattleya Hawaiian Wedding Song ‘Virgin’ which was several August birthday people with a free raffle ticket. produced in the 60’s. Hybridizers used the large corsage Bob informed all that the Best of Show voting would occur type varieties along with the smaller flower size species to between the Show Table discussion and program and produce a flower that worked much better as a corsage. -
FWWH Revised Songbook ―This Camp Was Built to Music Therefore Built Forever
FWWH Revised Songbook Revised Summer 2011 ―This camp was built to music therefore built forever‖ These are the songs sung by Four Winds and Westward Ho campers – songs that have expressed their interests and ideals through the years. As you sing the songs again, may they recall memories of sunny days, and some misty and rainy ones too, of sailing on sparkling blue water, of cantering along leafy trails, of exploring the beach when the tide is out. May these songs remind you of unexpected adventure, and of friendships formed through the sharing of Summer days, working and playing together. 1 Index of songs A Gypsy‘s Life…………………………………………………….7 A Junior Song……………………………………………………..7 A Walking Song………………………………….…….………….8 Across A Thousand Miles of Sea…………..………..…………….8 Ah, Lovely Meadows…………………………..……..…………...9 All Hands On Deck……………………………………..……..…10 Another Fall…………………………………...…………………10 The Banks of the Sacramento…………………………………….…….12 Big Foot………………………………………..……….………………13 Bike Song……………………………………………………….…..…..14 Blow the Man Down…………………………………………….……...14 Blowin‘ In the Wind…………………………………………………....15 Boy‘s Grace…………………………………………………………….16 Boxcar……………………………………………………….…..……..16 Canoe Round…………………………………………………...………17 Calling Out To You…………………………………………………….17 Canoe Song……………………………………………………………..18 Canoeing Song………………………………………………………….18 Cape Anne………………………………………………...……………19 Carlyn…………………………………………………………….…….20 Changes………………………………………………………………...20 Christmas Night………………………………………………………...21 Christmas Song…………………………………………………………21 The Circle Game……………………………………………………..…22 -
Aesthetic Humanism: the Radical Romantic Vision of Blake and Byron
Aesthetic Humanism: The Radical Romantic Vision of Blake and Byron By John William Davies, B.A. A Thesis Submitted to the Department of English California State University Bakersfield In Partial Fulfillment for the Degree of Master of Arts in English Spring 2013 Copyright By John William Davies 2013 Aesthetic Humanism: The Radical Romantic Vision ofBlake and Byron By John William Davies This thesis has been accepted on behalf ofthe Department ofEnglish by their supervisory committee: Dr. Susan Stafinbil Committee Chair Dr. Steven Frye Aesthetic Humanism: The Radical Romantic Vision of Blake and Byron If Shakespeare “invented the human,” a claim made rather spectacularly by the critic Harold Bloom in a 1998 book, then the six British poets who comprised what was to become known as the Romantic Period perfected the mode. Shakespeare, in Bloom’s terms, depicted interiority in a unique way, allowing his characters to “overhear” themselves, to be self-reflective and existential (or proto-existential). Existentialism proper, along with the whole modern conception of self, has been merely catching up. It is my contention that the Romantics accelerated this paradigm shift by making the figure of The Poet highly subjective in a way it had not been before. Byron is the archetype. The “Byronic Hero” inaugurated in “Childe Harold’s Pilgrimage,” and perfected in “Manfred” and “Don Juan,” is subjectivity (at least male subjectivity) personified, a titillating amalgam of ambition, weakness, androgyny, power, lust; mortality and immortality in locked combat like Jacob and the angel. Only Jacob is not an abstract, allegorical figure here. These characters are Byron, by his own admission “such a strange mélange of good and evil that it would be difficult to describe me” (qtd. -
Microgenres MOUG 2021 Presentation (6.531Mb)
Microgenres Memory, Community, and Preserving the Present Leonard Martin Resource Description Librarian Metadata and Digitization Services University of Houston Brief Overview • Microgenres as a cultural phenomenon. • Metadata description for musical microgenres in a library environment using controlled vocabularies and resources. • Challenges and resources for identifying and acquiring microgenre musical sound recordings. • This presentation will focus on chopped and screwed music, vaporwave music, and ambient music. Microgenre noun /mi ∙ cro ∙ gen ∙ re/ 1. A hyper-specific subcategory of artistic, musical, or literary composition characterized that is by a particular style, form, or content. 2. A flexible, provisional, and temporary category used to establish micro- connections among cultural artifacts, drawn from a range of historical periods found in literature, film, music, television, and the performing and fine arts. 3. A specialized or niche genre; either machine-classified or retroactively established through analysis. Examples of Musical Microgenres Hyper-specific • Chopped and screwed music Flexible, provisional, and temporary • Vaporwave music Specialized or niche • Ambient music Ambient Music • Ambient music is a broad microgenre encompassing a breath of natural sounds, acoustic and electronic instruments, and utilizes sampling and/or looping material Discreet Music, Discreet Music, by Brian Eno, 1975, EG Records. to generate repetitive soundscapes. • Earlier works from Erik Satie’s musique d’ameublement (furniture music) to the musique concrete works of Éliane Radigue, Steve Reich’s tape pieces, and synthesizer albums of Wendy Carlos are all precursors of ambient music. • The term ambient music was coined by composer Brian Eno upon the release of Michigan Turquoise, Catch a Blessing. 2019. Genre tags: devotional, ambient, his album, “Discreet Music,” in 1975. -
1 U2 and Igor Stravinsky: Textures, Timbres, and the Devil Dr. Dan
U2 and Igor Stravinsky: Textures, Timbres, and the Devil Dr. Dan Pinkston Introduction At first glance, Igor Stravinsky and U2 have little in common. A Russian composer known for ballets and symphonies and four Irish rock stars inhabit different musical genres and approaches. This paper argues that although Stravinsky and U2 are from separate musical worlds, each occupies a similar place of importance within that world, and has a parallel record of artistic achievement and influence. In addition, similarities in their musical thinking and their spiritual response to fame and success will be discussed. The parallels in their musical and spiritual development are fascinating, and as this paper will show, give the listener a new perspective on hearing the music of both U2 and Stravinsky. I. The Music: Textures, Timbres, and the Minimalist Connection Texture and Timbre in the Early Works Igor Stravinsky (1882-1971) initially made his mark on the musical world with a series of ballets in the early 20th century. These works, written for Serge Diaghilev’s Ballets Russe, caused a stir in the Parisian musical scene, and Igor Stravinsky became an overnight musical phenomenon.1 The first of these ballets, The Firebird (1910), showed Stravinsky’s complete assimilation of the styles and techniques of contemporary composers such as Claude Debussy, and predecessors such as Nicolai Rimsky-Korsakov. The work was completely modern, if not radical, and revealed that the young Stravinsky was part of an artistic movement that was breaking with the Germanic traditions of the 19th century. One of the prominent features of this new French Impressionistic and Russian Nationalistic music was the prominence of instrumental color, or timbre, in the identity of the music.