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Is It Possible to Intelligently Design and Then Deny the Inte
Is It Possible to Intelligently Design and then Deny the Intelligent Desig... http://www.uncommondescent.com/intelligent-design/is-it-possible-to-int... Home About Resources Search Uncommon Descent holds that... Materialistic ideology has subverted the study of biological and cosmological origins so that the actual content of these sciences has become corrupted. The problem, therefore, is not merely that science is being used illegitimately to promote a materialistic worldview, but that this worldview is actively undermining scientific inquiry, leading to incorrect and unsupported conclusions about biological and cosmological origins. At the same time, intelligent design (ID) offers a promising scientific alternative to materialistic theories of biological and cosmological evolution -- an alternative that is finding increasing theoretical and empirical support. Hence, ID needs to be vigorously developed as a scientific, intellectual, and cultural project. read more... Additional Descent Swarm Intelligence vs. Real Intelligence . Can all intelligence be reduced to the local, rule-governed interaction of unintelligent agents? Dawkins reviews Behe in the NYTimes . How many ad hominems can you count? $100,000,000 anonymous gift to University of Chicago … for 800 full scholarships per year to lower-income students. Bravo! THE EDGE OF EVOLUTION: THE SEARCH FOR THE LIMITS OF DARWINISM at Amazon.com … Michael Behe’s newest book is now available at booksellers. programmed by evolution to see design where there really isn’t any … and thus do evolutionary psychologists explain the resurgence of design Charles Colson weighs in on the Gonzalez tenure case Dawkins’s CV One colleague recently claimed that Dawkins’s record of peer-reviewed publications leaves something to be desired. -
The New Answers Book 3
First printing: February 2010 Copyright © 2009 by Answers in Genesis. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission of the publisher, except in the case of brief quotations in articles and reviews. For information write: Master Books®, P.O. Box 726, Green Forest, AR 72638 ISBN-13: 978-0-89051-579-2 ISBN-10: 0-89051-579-4 Library of Congress Number: 2008903202 Unless otherwise noted, all Scripture is from the New King James Version of the Bible. Printed in the United States of America Please visit our website for other great titles: www.masterbooks.net For information regarding author interviews, please contact the publicity department at (870) 438-5288. ® ACKNOWLEDGMENTS AND SPECIAL THANKS Acknowledgments and special thanks for reviewing or editing chapters: Steve Fazekas (theology, AiG), Frost Smith (biology, editor, AiG), Mike Matthews (editor, AiG), Gary Vaterlaus (science education, editor, AiG), Tim Chaffey (theology, Midwest Apologetics), Dr. John Whitcomb (theology, presi- dent of Whitcomb Ministries), Dr. Larry Vardiman (atmospheric science, chair- man of the department of astro-geophysics at the Institute for Creation Research), Ken Ham (biology, president and CEO of Answers in Genesis), Donna O’Daniel (biology, AiG), Dr. Tim Clarey (geology), Christine Fidler (CEO of Image in the UK), Mark Looy (editor, AiG), Dr. Terry Mortenson (history of geology, AiG), John Upchurch (editor, AiG), Dr. Jason Lisle (astrophysics, AiG), Dr. John Morris (geological engineering, president of the Institute for Creation Research), Dr. Andrew Snelling (geology, director of research at AiG), Dr. David Menton (retired, cell biology, former associate professor of anatomy at Washington Uni- versity School of Medicine, now AiG), Dr. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
The Fan Data Goldmine Sam Hunt’S Second Studio Full-Length, and First in Over Five Years, Southside Sales (Up 21%) in the Tracking Week
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 24, 2021 Page 1 of 30 Leader; Travis Denning Makes History INSIDE The Fan Data Goldmine Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No. 1 on Billboard’s lionBY audienceTATIANA impressions, CIRISANO up 16%). Top Country• Spotify’s Albums Music chart dated April 18. In its first week (ending April 9), it earnedLeaders 46,000 onequivalent the album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingStreaming to Nielsen Giant’s Music/MRC JessieData. Reyez loves to text, especially with fans.and Ustotal- Countryand Airplay Community No. 1 as “Catch” allows (Big you Machine to do that, Label especially Group) ascends Southside‘Audio-First’ marks Future: Hunt’s seconding No.a phone 1 on the number assigned through the celebrity when you’re2-1, not increasing touring,” 13% says to 36.6Reyez million co-manager, impressions. chart andExclusive fourth top 10. It followstext-messaging freshman LP startup Community and shared on her Mauricio Ruiz.Young’s “Using first every of six digital chart outletentries, that “Sleep you canWith- Montevallo, which arrived at thesocial summit media in No accounts,- the singer-songwriter makes to make sureout you’re You,” stillreached engaging No. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Understanding the Experience of Attending a Modern Music Concert
UNDERSTANDING THE EXPERIENCE OF ATTENDING A MODERN MUSIC CONCERT Eloi Fernández Aisa Master’s Thesis – Spring 2013 Experience-based Designing Centre Supervisor and co-supervisor: Gloria Gómez and Ian Coxon M.Sc. in Product Development and Innovation Institute of Technology and Innovation Faculty of Engineering - University of Southern Denmark Understanding the experience of attending a modern music concert 1 ABSTRACT This research aims to uncover valuable insights that can be used in the development of innovative products, services or systems, after deeply understanding the experience of the modern music concert attendees, concretely in small-medium indoor venues. Although the overarching goal is to improve the concert experience, the main objective for this research is to focus on exploring the most profound aspects of the experience, usually hidden, which lead to the detection of deep and significant user needs. A qualitative research which applies a hermeneutical phenomenological approach is the method used to achieve the expected goal. Different steps, such as immersing myself into the experience or exploring other’s feelings and impressions through intense non-structured interviews, help me to collect all the data required for a proper research. The SEEing method is a systematic process useful to analyse the qualitative raw material, acquiring an advantageous understanding of the deeper meaning layers of the lived experience. As an output of this research process, a clear picture of the experience of attending a modern music concert in small-medium venues appears. A simple read to the seven category stories that sharply define the experience, is enough for a non-expert in the field to plainly understand the experience insights. -
Evolution Exposed (Hebron, KY: Answers in Genesis, 2006), P
footnotes from THE LIE We thank you for listening to the audiobook presentation of the 25th an- niversary special edition of The Lie by author Ken Ham. This download contains footnote details as well as other information related to the printed book, includ- ing more about the author and a timeline of his ministry work. For more infor- mation on other books available from Master Books, the world’s leading creation science publisher, visit our website at www.masterbooks.net. To learn more about author Ken Ham, and the Answers in Genesis Ministry, visit www.answersingen- esis.org. Chapter 1 Endnotes 1. Ken Ham and Britt Beemer, Already Gone: Why Your Kids Will Quit the Church and What You Can Do to Stop It, with Todd Hillard (Green Forest, AR: Master Books, 2009), p. 170. 2. “August 10, 2009, What I learned from the Creation Museum,” posted by a member of the Secular Student Alliance, http://pnrj.xanga.com/709441435/ what-i-learned-from-the-creation-museum/. 3. Vickie Aldous, “Nudity Issue Sparks More City Council Debate,” Ashland Daily Tidings, http://www.dailytidings.com/apps/pbcs.dll/article?AID=/20091118/ NEWS02/911180316. 4. For more information on observational science and historical science, see Roger Patterson, Evolution Exposed (Hebron, KY: Answers in Genesis, 2006), p. 24–26, http://www.answersingenesis.org/articles/ee/what-is-science. 5. For more information on Noah’s ark and the Flood, see Ken Ham and Tim Lovett, “Was There Really a Noah’s Ark and Flood?” inThe New Answers Book ,1 Ken Ham, editor (Green Forest, AR: Master Books, 2006). -
Life Is Hard's Indie Artist Guide to Music Marketing
Life is Hard’s Indie Artist Guide to Music Marketing The Importance of Music Marketing The biggest problem independent artists’ face is obscurity. You can have extraordinary songs, but if nobody is listening to them you will never achieve major success. It’s more than just having a great product or a catchy tune, you need to promote your brand. People need to get to know you, and they need to be inspired by you. As an artist, you need to connect with your audience in a personal way. The good news is we are living in amazing times where technology has made this process so much easier than in the past. The barriers to entry have been lowered so that you don’t have to rely on a producer or a major label to reach an audience. Within the past 16 years we have experienced the emergence of the internet, email, social media, DIY distribution channels, affordable home recording software and equipment, and many more tools at our disposal. So be encouraged and embrace the possibilities. The sky is the limit! One last thing on this topic… Don’t be overly protective of sharing your music, taking on an attitude of “they will have to pay to hear my music.” The main goal is to get it out there in the public domain, regardless of whether you have to sell it, or give it away. If your music is good, people will pay for it, regardless. You will make money! Copyrighting your Music Songwriters need to protect their music. -
Signature of Controversy
I n “In this volume Granville Sewell provides “As the debate over intelligent design grows T delightful and wide-ranging commentary on increasingly heated... it is refreshing to find a HE the origins debate and intelligent design... discussion of the topic that is calm, thoughtful, Sewell provides much needed clarity on topics and far-ranging, with no sense of having to B e ignature f that are too often misunderstood. His discussion advance an agenda or decimate the opposition. G I S o of the commonly confused problem of entropy In this regard, Granville Sewell’s In the NNI is a must read.” Beginning succeeds brilliantly.” Cornelius G. Hunter, Ph.D. William A. Dembski, Ph.D. N author of The Design Inference author of Science’s Blind Spot G ontroversy A N c In this wide-ranging collection of essays on origins, mathematician Granville Sewell looks at the D big bang, the fine-tuning of the laws of physics, and the evolution of life. He concludes that while O there is much in the history of life that seems to suggest natural causes, there is nothing to support THER Responses to critics of signature in the cEll Charles Darwin’s idea that natural selection of random variations can explain major evolutionary E S advances (“easily the dumbest idea ever taken seriously by science,” he calls it). Sewell explains S A Y why evolution is a fundamentally different and much more difficult problem than others solved s ON by science, and why increasing numbers of scientists are now recognizing what has long been I obvious to the layman, that there is no explanation possible without design. -
Billboard Magazine
HANGING OUTWITH During the Hangout, Goulding chatted But enough musicians have picked up face to face with 60 fans who took turns on the service that Google has kicked in being onscreen. Some wept during theirnew features. In December, it introduced chats as they asked Goulding such personal On Air, the ability to record and rebroadcast questions as "How do you know you're in Hangouts. When selected, a video recording love?" One young fan turned his webcam of the session is automatically uploaded to around to give Goulding a tour of his tinythe artist's YouTube channel, where he or dorm room. A mother and her daughter she can choose to edit and publish the con- THE BAND in Australia showed her the view of thetent later. And in August, Google launched weather there from their window. Studio Mode, an enhancement specifically "It's a very warm experience," Boguckidesigned for recording music. Instead of re- New social video services help artists develop says. "That's not easy to achieve in digital." cording a video on a narrow frequency band The use of online video to promote art-used for voice chats, Studio Mode captures a niehrinad sanni ehsin witiavanisratarart ar:II1 airshi intim% ists in any mainstream fashion dates back wider audio spectrum designed to mimic the I.;IUbUI I CAI -11111U I UldllUllbIllpb VVIIII IIICII Id to the days of Myspace, Bogucki says. quality of a professional recording studio. "Back then, video was expensive to pro- Major acts have taken to Hangouts, in- duce," he says. "Nobody could do it unless cluding Bruno Mars, whose Oct. -
I Also Survived a Debate with a Creationist (With Reflections on the Perils of Democratic Information) Kelly C
Clemson University TigerPrints Publications Philosophy & Religion 2012 I Also Survived a Debate with a Creationist (with Reflections on the Perils of Democratic Information) Kelly C. Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/phil_pubs Part of the Evolution Commons, and the Religion Commons Recommended Citation Please use publisher's recommended citation This Article is brought to you for free and open access by the Philosophy & Religion at TigerPrints. It has been accepted for inclusion in Publications by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Published bimonthly by the OF National Center for Science Education EPORTS THE NATIONAL CENTER FOR SCIEncE EDUCATION REPORTS.NCSE.COM R ISSN 2159-9270 FEATURE I Also Survived a Debate with a Creationist (with Reflections on the Perils of Democratic Information) Kelly C Smith IT WAS A DARK AN D STORMY N I GHT When I was an undergraduate many years ago at Georgia State University, I had a biology class with Fred Parrish. I vividly remember him relating the tale of his harrowing experi- ence debating a creationist, about which he later wrote a classic cautionary article (Parrish 1988). I went on to become a philosopher of science and evolutionary biologist myself, and I make it a point to teach my students all about the dangers of debating creationists (see, for example, Bartelt 2004; Naff and Bechtel 2003; Edwords 1982). So when I accepted the latest evolution debate invitation to come my way, I thought I knew what I was doing. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID.