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Material Art from China
^ LACMA Hosts Annual Muse ’til Midnight Event Inspired by The Allure of Matter: Material Art from China WHO: The Los Angeles County Museum of Art (LACMA) hosts its annual Muse ’til Midnight event, an immersive late-night museum experience. This year’s Muse ’til Midnight draws inspiration from The Allure of Matter: Material Art from China (June 2, 2019–January 5, 2020) bringing together works from the past four decades, in which conscious material choice has become a symbol of the artists’ expression. The evening includes an exceptional musical lineup curated by independent record label Ninja Tune and internet radio pioneer dublab, featuring performances by acclaimed artists such as Actress, Octo Octa, Julianna Barwick, Yu Su, and many more. Additionally, site-specific sound and visual installations, inspired by materiality, will be on view. Performances are to take place at various locations throughout the museum. This year’s event includes after-hours access to several exciting LACMA exhibitions, including The Allure of Matter: Material Art from China; Beyond Line: The Art of Korean Writing; The Invisible Man and the Masque of Blackness; and Mary Corse: A Survey in Light. Hands on art-making activities, three performance stages, a cash bar, and food for purchase will be available during the event. Muse ‘til Midnight is presented by SHOWTIME® and Max Mara. WHEN: Saturday, September 7, 2019 7:30 pm–midnight Broad Contemporary Art Museum, Level 1 7:30 pm–midnight | Miracle Mile | Strange Loop Visuals 7:30 pm–8:30 pm | Yu Su (DJ Set) 8:30 pm–10 pm | Octo Octa (DJ Set) 10 pm–midnight | Actress (DJ Set) Broad Contemporary Art Museum, Level 2 8 pm–8:45 pm | Jeremiah Chiu (Live) 9 pm–9:45 pm | Ana Roxanne (Live) 10 pm–11 pm | Julianna Barwick (Live) 11:15 pm–midnight | Ki Oni (Live) Smidt Welcome Plaza 7:30 pm–8:45 pm | Maral (DJ Set) 8:45 pm–10 pm | HELLO DJ (DJ Set) WHERE: LACMA Smidt Welcome Plaza 5905 Wilshire Blvd. -
Operator's Manual
OPERATOR'S MANUAL MARINE RADAR FAR-2218 FAR-2218-BB FAR-2228 FAR-2228-BB FAR-2228-NXT FAR-2228-NXT-BB FAR-2238S FAR-2238S-BB FAR-2238S-NXT FAR-2238S-NXT-BB FAR-2318 FAR-2328 FAR-2328-NXT FAR-2328W FAR-2338SW FAR-2338S Model FAR-2338S-NXT www.furuno.com ĝ !"# !$ %$&&#!'"'($)* !"#! (((+ ,'-'+" IMPORTANT NOTICES General • This manual has been authored with simplified grammar, to meet the needs of international users. • The operator of this equipment must read and follow the instructions in this manual. Wrong operation or maintenance can void the warranty or cause injury. • Do not copy any part of this manual without written permission from FURUNO. • If this manual is lost or worn, contact your dealer about replacement. • The contents of this manual and the equipment specifications can change without notice. • The example screens (or illustrations) shown in this manual can be different from the screens you see on your display. The screens you see depend on your system configuration and equipment settings. • Save this manual for future reference. • Any modification of the equipment (including software) by persons not authorized by FURUNO will void the warranty. • The following concern acts as our importer in Europe, as defined in DECISION No 768/2008/EC. - Name: FURUNO EUROPE B.V. - Address: Ridderhaven 19B, 2984 BT Ridderkerk, The Netherlands • All brand, product names, trademarks, registered trademarks, and service marks belong to their respective holders. • InstantAccess bar is a trademark of FURUNO Electric co., Ltd. • SDHC is a registered trademark of SD-3C, LLC. How to discard this product Discard this product according to local regulations for the disposal of industrial waste. -
Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
Program Final (Sept 17, 2012)
Program Final (Sept 17, 2012) Where not otherwise indicated, the chair of the session is the final speaker. Session 1 - Thurs 1:30pm - 3pm Session 1 (D) Frontier 202A Disease and Subjectivity M.K. Nixon. Keep Bleeding: Hemorrhagic Sores, Trade, and the Necessity of Leaky Boundaries in Defoe’s Journal of the Plague Year This paper considers the way in which nonhuman contagious disease is crucial in shaping human subjectivity. To this end, this essay probes notions of two boundaries that are both political and personal—the border between the national subject and the international other, and the boundary between the self and all that lies outside of it—in a consideration of Daniel Defoe’s 1722 text, A Journal of the Plague Year. Operating from the notion that the personal is indeed political, this essay asserts that these two borders are largely intertwined, particularly when considering infectious diseases. By way of examining attitudes towards national and personal boundaries, this paper focuses in large part on Defoe’s representation of the eponymous buboes of the bubonic plague, juxtaposing and exploring his depiction of suppurated and calcified bubonic sores as metonymic signifiers of both personal and national boundaries that are transgressed or fortified, respectively. Examination of Defoe’s illustration of bubonic sores shows that Defoe depicted the Great Plague of 1665 in ways that I assert were thoroughly influenced by his conceptualization of international trade—a conceptualization which resisted the nationalistic xenophobia typical of his day and instead embraced a type of individualistic mercantilism. Defoe’s views on economics and trade, then, influenced his understanding of the Great Plague and cycled back to result in a view of man and nation that advocates permeable boundaries even in response to the hugely threatening potential of a complete breakdown of self- and nation-constituting borders. -
"Hips Don't Lie" (Feat
"Hips Don't Lie" (feat. Wyclef Jean) Ladies up in here tonight No fighting, no fighting We got the refugees up in here No fighting, no fighting Shakira, Shakira I never really knew that she could dance like this She makes a man wants to speak Spanish Como se llama (si), bonita (si), mi casa (si, Shakira Shakira), su casa Shakira, Shakira Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs of my body And I'm on tonight You know my hips don't lie And I'm starting to feel it's right All the attraction, the tension Don't you see baby, this is perfection Hey Girl, I can see your body moving And it's driving me crazy And I didn't have the slightest idea Until I saw you dancing And when you walk up on the dance floor Nobody cannot ignore the way you move your body, girl And everything so unexpected - the way you right and left it So you can keep on shaking it I never really knew that she could dance like this She makes a man want to speak Spanish Como se llama (si), bonita (si), mi casa (si, Shakira Shakira), su casa Shakira, Shakira Oh baby when you talk like that You make a woman go mad So be wise and keep on Reading the signs of my body And I'm on tonight You know my hips don't lie And I am starting to feel you boy Come on lets go, real slow Don't you see baby asi es perfecto Oh I know I am on tonight my hips don't lie And I am starting to feel it's right All the attraction, the tension Don't you see baby, this is perfection Shakira, Shakira Oh boy, I can see your body moving Half animal, half -
Wiyaala EPK Google Doc.Docx
The Most Promising Artiste in Africa - All Africa Music Awards (Afrima) 2014 The Revelation of the African Continent - All Africa Music Awards (Afrima) 2014 Best Female Vocal – Vodafone Ghana Music Awards 2015 Songwriter of The Year – Vodafone Ghana Music Awards 2015 “Wiyaala is sensational” DJ Rita Ray’s artistes to watch out for in 2015 on BBC Africa “She’s taking the musical game, devouring it, and asking for seconds” Mind Of Malaka Daily Graphic “unyielding Wiyaala blew away the richly diverse audience at Alliance Francaise” Circumspect: Wiyaala in Concert, The Making of an African legend The Music Wiyaala fearlessly explores different musical genre in pursuit of her musical ambitions. In just one year, she has played Afro- pop sex kitten, Afro-tribal warrior queen, old school reggae man-eater, Afro-house dreamer and the nation’s favorite soccer playing girl next door. She self-assuredly inhabits every musical role with unwavering conviction whilst displaying the power and physicality of an Olympic athlete. Once the “young lioness of Africa” gets on your radar, whether you like it or not, she will prey on your senses until you are left breathless and begging for more. The Beginning Born in Wa, the capital town of the Upper West Region of Ghana, Wiyaala is the second of four sisters. Her mother was a chorister and her father a local government health official. Her childhood was spent in Funsi, a small West African village. At a very young age, Wiyaala attracted attention as an entertainer, artist and athlete. Her Madonna/Michael Jackson inspired performances always providing much notoriety in the village. -
“Praying Angrily”
“Praying Angrily” Psalm 69 Erica Cooper Assistant Minister August 4, 2019 The Ninth Sunday of Pentecost In 1993 I attended my very first rock concert. Or concerts, I should say. In the early 90’s Lollapalooza was a budding 4-day outdoor music festival touring the U.S. with top billing bands like Sonic Youth, the Breeders and Green Day. I was thirteen years old, still in middle school, and really had no business being there, but I had some older high school friends who invited me to go, with their mom chaperoning in the background of course. It was hot and humid that day, as is always the case in Atlanta in July. I had been chugging water all afternoon to stay hydrated, and soon needed to use the bathroom. Between bands, I took my friend Nori with me as we headed out on a thirty-minute journey across the field, weaving a bobbing through 20,000 sweaty, sunburned Gen-Xers. We made it to the bathroom finally, and were delighted that the next band had not yet gone on stage, we didn’t miss out on anything. So we headed back across the field to our area where the rest of our friends were. But, somewhere in the middle of our journey, Nori and I lost one another. I looked around but couldn’t find her, and at this same time, another band started to play, so I stopped where I was to listen. This band was unfamiliar to me, a band called Rage Against the Machine. At first I didn’t notice the group of 20- something shirtless men gathering around me. -
UNDERSTANDING PORTRAYALS of LAW ENFORCEMENT OFFICERS in HIP-HOP LYRICS SINCE 2009 By
ON THE BEAT: UNDERSTANDING PORTRAYALS OF LAW ENFORCEMENT OFFICERS IN HIP-HOP LYRICS SINCE 2009 by Francesca A. Keesee A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degrees of Master of Science Conflict Analysis and Resolution Master of Arts Conflict Resolution and Mediterranean Security Committee: ___________________________________________ Chair of Committee ___________________________________________ ___________________________________________ ___________________________________________ Graduate Program Director ___________________________________________ Dean, School for Conflict Analysis and Resolution Date: _____________________________________ Fall Semester 2017 George Mason University Fairfax, VA University of Malta Valletta, Malta On the Beat: Understanding Portrayals of Law Enforcement Officers in Hip-hop Lyrics Since 2009 A Thesis submitted in partial fulfillment of the requirements for the degrees of Master of Science at George Mason University and Master of Arts at the University of Malta by Francesca A. Keesee Bachelor of Arts University of Virginia, 2015 Director: Juliette Shedd, Professor School for Conflict Analysis and Resolution Fall Semester 2017 George Mason University Fairfax, Virginia University of Malta Valletta, Malta Copyright 2016 Francesca A. Keesee All Rights Reserved ii DEDICATION This is dedicated to all victims of police brutality. iii ACKNOWLEDGEMENTS I am forever grateful to my best friend, partner in crime, and husband, Patrick. -
Grammy Award Winner WYCLEF JEAN Live from the Apollo Stage in Partnership with ADCOLOR Wednesday, September 9
Grammy Award Winner WYCLEF JEAN Live from the Apollo Stage in partnership with ADCOLOR Wednesday, September 9 Wyclef Jean performs his 1997 debut album THE CARNIVAL Harlem, NY – September 1, 2020 – The Apollo Theater will kick off its all-digital fall 2020 season on Wednesday, September 9 at 8:00pm EST with a historic performance by Grammy Award-winning Haitian-American rapper, musician and actor Wyclef Jean. Presented in partnership with ADCOLOR, the multi-instrumentalist will perform his iconic debut album, Wyclef Jean Presents The Carnival, live on the Apollo’s Main Stage with no audience and minimal crew. The special concert, which will be streamed free of charge on the Apollo’s Digital Stage and as part of ADCOLOR Everywhere, will feature Wyclef’s revolutionary mix of Haitian creole, rap, world music, and pop. Nearly 25 years after the debut release, The Carnival continues to be a poignant example of Jean’s musicality and his influence on the music industry at-large. To RSVP for the free event, please click here. “Stepping on the Apollo stage back in 1996 accomplished one of the greatest goals I had as a young Fugee, so it really feels like I’m coming home by having the opportunity to perform at the theater again,” said Haitian American rapper, musician and actor, Wyclef Jean. “I’ve been wanting to do a complete performance of The Carnival for a while now, and I’m excited that I'm able to combine energies with the Apollo and ADCOLOR to pull it off. All three of us are here to celebrate culture, diversity and the Black American experience, and we’re ready to provide a historic performance that does just that.” "We are thrilled that Wyclef Jean is returning to the Apollo Stage, 24 years since his very first performance in 1996, to celebrate his boundary-pushing album," said Apollo Theater Executive Producer Kamilah Forbes. -
Label ARTIST Piece Tracks/Notes Format Quantity
Label ARTIST Piece Tracks/notes Format Quantity Sire Against Me! 2 song 7" single I Was A Teenage Anarchist (acoustic) 7" vinyl 2500 Sub-pop Album Leaf There Is a Wind Featuring 2 new tracks, 2 alternate takes 12" vinyl 1000 on songs from "A Chorus of Storytellers" LP Righteous Babe Ani DiFranco live @ Bull Moose recorded live on Record Store Day at CD Bull Moose in Maine Rough Trade Arthur Russell Calling Out of Context 12 new tracks Double 12" set 2000 Rocket Science Asteroids Galaxy Tour Fun Ltd edition vinyl of album with bonus 12" 250 track "Attack of the Ghost Riders" Hopeless Avenged Sevenfold Unholy Confessions picture disc includes tracks (Eternal 12" vinyl 2000 Rest, Eternal Rest (live), Unholy Confessions Artist First/Shangri- Band of Skulls Live at Fingerprints Live EP recorded at record store CD 2000 la 12/15/2009 Fingerprints Sub-pop Beach House Zebra 2 new tracks and 2 alternate from album 12" vinyl 1500 "Teen Dream" Beastie Boys white label 12" super surprise 12" vinyl 1000 Nonesuch Black Keys Tighten Up/Howlin' For 12" vinyl contains two new songs 45 RPM 12" Single 50000 You Vinyl Eagle Rock Black Label Society Skullage Double LP look at the history of Zakk Double LP 180 Wylde and Black Label Society Gram GREEN vinyl Graveface Black Moth Super Eating Us extremely limited foil pressed double LP double LP Rainbow Jagjaguwar Bon Iver/Peter Gabriel "Come Talk To Bon Iver and Peter Gabriel cover each 7" vinyl 2000 Me"/"Flume" other. Bon Iver track is EXCLUSIVE to this release Ninja Tune Bonobo featuring "Eyes -
'Host Event Zone' Developments of the Heavy Metal Festival Wacken Open
Annals of Leisure Research ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/ranz20 Celebrating 30 years louder than hell: exploring commercial and social ‘Host Event Zone’ developments of the heavy metal festival Wacken Open Air Dorothee Bohn & Cecilia de Bernardi To cite this article: Dorothee Bohn & Cecilia de Bernardi (2020): Celebrating 30 years louder than hell: exploring commercial and social ‘Host Event Zone’ developments of the heavy metal festival Wacken Open Air, Annals of Leisure Research, DOI: 10.1080/11745398.2020.1825972 To link to this article: https://doi.org/10.1080/11745398.2020.1825972 © 2020 The Author(s). Published by Informa View supplementary material UK Limited, trading as Taylor & Francis Group Published online: 14 Oct 2020. Submit your article to this journal Article views: 165 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ranz20 ANNALS OF LEISURE RESEARCH https://doi.org/10.1080/11745398.2020.1825972 Celebrating 30 years louder than hell: exploring commercial and social ‘Host Event Zone’ developments of the heavy metal festival Wacken Open Air Dorothee Bohn a and Cecilia de Bernardi b aDepartment of Geography, Umeå University, Umeå, Sweden; bCentre for Tourism and Leisure Research (CeTLeR), School of Technology and Business Studies, Dalarna University, Falun, Sweden ABSTRACT ARTICLE HISTORY Although respective research has proliferated, little attention has Received 21 August 2020 been given to the processual nature of festivals. By drawing upon Accepted 3 September 2020 the concept of host event zones, we examine how different KEYWORDS spectators perceive the development of the heavy metal festival Music festival; host event Wacken Open Air (WOA) with respect to the dynamics between zone (HEZ); Wacken Open Air the festival as a temporary place in which visitors enjoy spectacle Festival; heavy metal; neo- and ritual, a commercial site and the everyday living space of tribes local inhabitants. -
Pinar Toprak
PINAR TOPRAK COMPOSER AWARDS ASCAP FILM AND TELEVISION MUSIC AWARD MCMILLON$ NOMINATION (2021) ASCAP Composers’ Choice Award Television Theme of the Year EMMY AWARD NOMINATION (2020) MCMILLION$ Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) MOTION PICTURES CAPTAIN MARVEL Anna Boden & Ryan Fleck, dirs. Marvel Studios SKYFIRE Simon West, dir. Screen Media Films PURL (short) Kristen Lester, dir. Pixar THE ANGEL Ariel Vromen, dir. Sumatra Films JUSTICE LEAGUE (additional music) Zack Snyder, dir. Warner Brothers THE MONSTER PROJECT Victor Mathieu, dir. Epic Pictures Group IT’S TIME Frank Waldeck, dir. Mt. Philo Films THE CHALLENGER Kent Moran, dir. Wishing Well Pictures IN UTERO Kathleen Man Gyllenhaal, dir. MRB Productions 3349 Cahuenga Boulevard West, Los Angeles, California 90068 Tel. 818-380-1918 Fax 818-380-2609 PINAR TOPRAK COMPOSER MOTION PICTURES (continued) THE GIFT OF FEAR Jeff Apple, dir. UnKnown THE WIND GODS Fritz Mitchell, dir. Mt. Philo Films TIDES OF FATE Fritz Mitchell, dir Mt. Philo Films THE CURSE OF DOWNERS GROVE Derick Martini, dir AliBella Pictures THE CHALLENGER Kent Moran, dir Wishing Well Pictures WHEN THE STORM GOD RIDES Michael Preece, dir TEK Productions RESILIENT 3D Michael Taverna, dir MonteCristo Pictures THE WIND GODS Fritz Mitchell, dir Mt. Philo Films VAMPERIFICA Bruce Ornstein, dir. Blood River Productions RESTOS Alfonso Pineda Ulloa, dir Delicious Films LAST WILL Brent Huff, dir Moviecid THE RIVER MURDERS Rich Cowan, dir Sony Pictures Entertainment GIRLS! GIRLS! GIRLS! (co-composer) Jen Lynch, dir Women on Top Productions THE LIGHTKEEPERS Daniel Adams, dir Cape FilmworKs BREAKING POINT Jeff Celentano, dir Evolving Productions THE CRIMSON MASK (co-composer) Elias Plagianos, dir.