The Port of Virginia Operational Standards
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Album Review: Bon Iver's 22, a Million
Album Review: Bon Iver’s 22, a Million 22, a Million, the newest album by American indie folk band Bon Iver, leaves the listener with an overarching question: Is there any border left between acoustic and electronic music? Although ambiguous as to which category it falls into, Bon Iver manages to respect both genres with a rich, homogenous mixture of experimental and traditional instrumentation. However, the album is a motley of songs that—both individually and as a group—build to nowhere, like a fleeting thought that crosses the mind at one point, but leaves no lasting impression. Founded in 2007 by singer/songwriter Justin Vernon, Bon Iver has been the vanguard of the indie folk/experimental genre. Vernon—a Wisconsin native with deep ties to the American wilderness—is undeniably influenced by a guitar-and-voice acoustic sound that is reminiscent of childhood campfires, roasting s’mores, and long silences between experienced fishermen. Tracks like “29 #Strafford APTS” and “00000 Million” have obvious connections to the folk genre: banjo, acoustic guitar, three and four-part vocal harmonizing, and chatter and laughter among musicians before the start of the song. These elements anchor the album, preventing it from straying too far from the group’s previous releases. During the five-year gap between the album Bon Iver and 22, a Million, Bon Iver evidently delved into the uncharted territory of experimental music. The use of synthesizers, vocal filtration, extensive sampling, and static-ridden beats establishes a distinctive atmosphere of digital haziness, a complementary frame for Vernon’s midwestern accent-tinged voice. -
Intermodal Freight Transport Key Statistical Data 1 D Ζ JJC · 3 1992-1997
ζ o o Ui Oí Intermodal freight transport key statistical data 1 D ζ JJC · 3 1992-1997 THEME 7 Transport eurostat STATISTICAL OFFICE OF THE EUROPEAN COMMUNITIES L-2920 Luxembourg — Tél. 4301-1 — Télex COMEUR LU 3423 B-1049 Bruxelles, rue de la Loi 200 — Tél. 299 11 11 A great deal of additional information on the European Union is available on the Internet. It can be accessed through the Europa server (http://europa.eu.int). Cataloguing data can be found at the end of this publication. Luxembourg: Office for Official Publications of the European Communities, 1999 ISBN 92-828-7307-2 © European Communities, 1999 Printed in Luxembourg PRINTED ON WHITE CHLORINE-FREE PAPER τ» O κ C LU σι σι Ci Intermodal freight transport key statistical data 1992-1997 # * EUROPEAN Δ THEME 7 COMMISSION eurOStat le^iiJ Transport Preface This publication is the first step to publish existing non-harmonised statistical data on intermodal freight transport concerning the European Union. The publication will be progressively improved in the future when more data on intermodal transport becomes available. All comments and suggestions to improve this publication are welcome and should be sent to the following address: European Commission Statistical Office of the European Communities Unit OS/C/2 Jean Monnet Building, Rue Alcide de Gasperi L-2920 Luxembourg e-mail: [email protected] Ξ£ EU Intermodal Freight Transport eurostat TABLE OF CONTENTS Introduction 7 Executive summary 8 Intermodal transport key data 10 General situation and trends of transport -
"Erase Me": Gary Numan's 1978-80 Recordings
Ought: The Journal of Autistic Culture Volume 2 Issue 2 Article 4 June 2021 "Erase Me": Gary Numan's 1978-80 Recordings John Bruni [email protected], [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/ought Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the Music Commons Recommended Citation Bruni, John (2021) ""Erase Me": Gary Numan's 1978-80 Recordings," Ought: The Journal of Autistic Culture: Vol. 2 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/ought/vol2/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Ought: The Journal of Autistic Culture by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. “Erase Me”: Gary Numan’s 1978-80 Recordings John Bruni ary Numan, almost any way you look at him, makes for an unlikely rock star. He simply never fits the archetype: his best album, both Gin terms of artistic and commercial success, The Pleasure Principle (1979), has no guitars on it; his career was brief; and he retired at his peak. Therefore, he has received little critical attention; the only book-length analysis of his work is a slim volume from Paul Sutton (2018), who strains to fit him somehow into the rock canon. With few signposts at hand—and his own open refusal to be a star—writing about Numan is admittedly a challenge. In fact, Numan is a good test case for questioning the traditional belief in the authenticity of individual artistic genius. -
Louder Than War Favourites
Albums of the Year 2018 : The Top 25 Ged Babey 9 December, 2018 As voted for by 30 of our writers, here are the Top 25 Albums of 2018. The Number One received more than twice the votes as the second place. The next ten were hotly contested with the narrowest of margins, and the rest got the same number of votes -so are in random order to be frank. But… Every one is a winner! 2018 was a great year for music and the Number 1 is no surprise… ONE IDLES Joy As An Act of Resistance (Partisan) Punk Rock reinvented and not wearing a mask of masculinity or yoke of tradition, but a wicked smile and its broken heart exposed but still beating in its chest. Punk rock which instead of calling for Anarchy and saying I Don’t Care is shouting UNITY! and LOVE IS ALL. Reviewed here by Ged Babey IDLES - DANNY NEDELKO TWO The Blinders Columbia (Modern Sky) This power trio, this band of very modern troubadours, this enlightened youth, deliver an album so explosive, so perfect, it defies any attempt at categorisation. There are odd time signatures, indefinite song structures but the tracks ebb and flow beautifully. Columbia as an album is a single piece of art as a concept. Listen, track by track, join up the dots, get the message loud and clear – England is indeed dreaming. Reviewed here by Nigel Carr The Blinders - L’etat C’est Moi [Music Video] THREE ILL : We Are ILL (Box Records) All-woman five-piece… currently based in Manchester, who highlight that quality music does not have to mean an emulation of that which has gone before. -
Satya 13 Ram Gopal Varma, 1998
THE CINEMA OF INDIA EDITED BY LALITHA GOPALAN • WALLFLOWER PRESS LO NOON. NEW YORK First published in Great Britain in 2009 by WallflowerPress 6 Market Place, London WlW 8AF Copyright © Lalitha Gopalan 2009 The moral right of Lalitha Gopalan to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transported in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of both the copyright owners and the above publisher of this book A catalogue record for this book is available from the British Library ISBN 978-1-905674-92-3 (paperback) ISBN 978-1-905674-93-0 (hardback) Printed in India by Imprint Digital the other �ide of 1 TRUTH l Hl:SE\TS IU\ffi(W.\tYEHl\"S 1 11,i:1111111,1:11'1111;1111111 11111111:U 1\ 11.IZII.IH 11.1\lli I 111 ,11 I ISll.lll. n1,11, UH.Iii 236 24 FRAMES SATYA 13 RAM GOPAL VARMA, 1998 On 3 July, 1998, a previously untold story in the form of an unusual film came like a bolt from the blue. Ram Gopal Varma'sSatya was released all across India. A low-budget filmthat boasted no major stars, Satya continues to live in the popular imagination as one of the most powerful gangster filmsever made in India. Trained as a civil engineer and formerly the owner of a video store, Varma made his entry into the filmindustry with Shiva in 1989. -
Inu- 7 the Worldbank Policy Planningand Researchstaff
INU- 7 THE WORLDBANK POLICY PLANNINGAND RESEARCHSTAFF Infrastructure and Urban Development Department Public Disclosure Authorized ReportINU 7 Operating and Maintenance Features Public Disclosure Authorized of Container Handling Systems Public Disclosure Authorized Brian J. Thomas 9 D. Keith Roach -^ December 1987 < Technical Paper Public Disclosure Authorized This is a document publishedinformally by the World Bank The views and interpretationsherein are those of the author and shouldnot be attributedto the World Bank,to its affiliatedorganizations, or to any individualacting on their behalf. The World Bank Operating and Maintenance Features of Container Handling Systems Technical Paper December 1987 Copyright 1987 The World Bank 1818 H Street, NW, Washington,DC 20433 All Rights Reserved First PrintingDecember 1987 This manual and video cassette is published informally by the World Bank. In order that the informationcontained therein can be presented with the least possibledelay, the typescript has not been prepared in accordance with the proceduresappropriate to formal printed texts, and the World Bank accepts no responsibilityfor errors. The World Bank does not accept responsibility for the views expressedtherein, which are those of the authors and should not be attributed to the World Bank or to its affiliated organisations. The findings,-inerpretations,and conclusionsare the results of research supported by the Bank; they do not necessarilyrepresent official policy of the Bank. The designationsemployed, the presentationof material used in this manual and video cassette are solely for the convenienceof th- reader/viewerand do not imply the expressionof any opinion whatsoeveron the part of the World Bank or its affiliates. The principal authors are Brian J. Thomas, Senior Lecturer, Departmentof Maritime Studies,University of Wales Institute of Science and Technology,Cardiff, UK and Dr. -
Maurice Merleau-Ponty: Phenomenology of Perception
Phenomenology of Perception ‘In this text, the body-organism is linked to the world through a network of primal significations, which arise from the perception of things.’ Michel Foucault ‘We live in an age of tele-presence and virtual reality. The sciences of the mind are finally paying heed to the centrality of body and world. Everything around us drives home the intimacy of perception, action and thought. In this emerging nexus, the work of Merleau- Ponty has never been more timely, or had more to teach us ... The Phenomenology of Perception covers all the bases, from simple perception-action routines to the full Monty of conciousness, reason and the elusive self. Essential reading for anyone who cares about the embodied mind.’ Andy Clark, Professor of Philosophy and Director of the Cognitive Science Program, Indiana University Maurice Merleau-Ponty Phenomenology of Perception Translated by Colin Smith London and New York Phénomènologie de la perception published 1945 by Gallimard, Paris English edition first published 1962 by Routledge & Kegan Paul First published in Routledge Classics 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1945 Editions Gallimard Translation © 1958 Routledge & Kegan Paul All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
THE SEMINAR of JACQUES LACAN the Logic of Phantasy
16.11.1966 I 1 THE SEMINAR OF JACQUES LACAN BOOK XIV The logic of phantasy 1966-1967 Translated by Cormac Gallagher from unedited French manuscripts FOR PRIVATE USE ONLY 16.11.1966 I 2 Seminar 1: Wednesday 16 November 1966 Today I am going to throw out some points that are rather in the nature of a promise. “Logic of phantasy”, I entitled, this year, what I count on being able to present to you about what is required at the point that we are at on a certain path. A path which implies, I will recall it forcefully today, this sort of very special return that we have already seen, last year, inscribed in the structure and which is properly speaking fundamental in everything that Freudian thinking uncovers. This return is called repetition. To repeat is not to find the same thing again, as we will articulate later, and contrary to what is believed, it is not necessarily to repeat indefinitely. We will come back then to themes that I have in a certain fashion already situated for a long time. It is, moreover, because we are at the moment of this return and of its function, that I believed I could no longer put off presenting to you in a unified way what up to now I thought necessary as a minimal indication of this journey, namely, this volume that you already find within hand‟s reach. It is because this year it will no doubt be possible for us to study in depth the function of this relation to writing - which after all, in a certain way, I forced myself up to the present if not to avoid, at least to delay - that here again I believed I could take this step. -
The Impact of Mega-Ships
The Impact of Mega-Ships Case-Specific Policy Analysis The Impact of Mega-Ships Case-Specific Policy Analysis INTERNATIONAL TRANSPORT FORUM The International Transport Forum at the OECD is an intergovernmental organisation with 54 member countries. It acts as a strategic think tank with the objective of helping shape the transport policy agenda on a global level and ensuring that it contributes to economic growth, environmental protection, social inclusion and the preservation of human life and well-being. The International Transport Forum organises an Annual Summit of ministers along with leading representatives from industry, civil society and academia. The International Transport Forum was created under a Declaration issued by the Council of Ministers of the ECMT (European Conference of Ministers of Transport) at its Ministerial Session in May 2006 under the legal authority of the Protocol of the ECMT, signed in Brussels on 17 October 1953, and legal instruments of the OECD. The Members of the Forum are: Albania, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Bulgaria, Canada, Chile, China (People’s Republic of), Croatia, Czech Republic, Denmark, Estonia, Finland, France, Former Yugoslav Republic of Macedonia, Georgia, Germany, Greece, Hungary, Iceland, India, Ireland, Italy, Japan, Korea, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Mexico, Republic of Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russian Federation, Serbia, Slovak Republic, Slovenia, Spain, Sweden, Switzerland, Turkey, Ukraine, United Kingdom and United States. The International Transport Forum’s Research Centre gathers statistics and conducts co-operative research programmes addressing all modes of transport. Its findings are widely disseminated and support policy making in Member countries as well as contributing to the Annual Summit. -
Methodological Considerations
Deacy / Theology and Film 9781405144377_4_001 Page Proof page 1 10.7.2007 11:26am Compositor Name: PAnanthi Part I Methodological Considerations Deacy / Theology and Film 9781405144377_4_001 Page Proof page 2 10.7.2007 11:26am Compositor Name: PAnanthi Deacy / Theology and Film 9781405144377_4_001 Page Proof page 3 10.7.2007 11:26am Compositor Name: PAnanthi Theology and Film Chris Deacy No serious theological activity can take place without a consideration of the social, economic, political, and cultural matrix within which it is practiced. The distrust of human judgment that permeates Karl Barth’s The Humanity of God, for instance – with the concomitant understanding that God is Wholly Other, we can only know God through God’s own revelation, and theology should thus be self-validating (cf. Barth, 1967, pp. 39, 47) – cannot be dissociated from what Barth witnessed at first hand as the folly of World War I, and the sincerely held belief that humanity was utterly lost before God. For Dietrich Bonhoeffer, similarly, the rise of Nazi Germany played an instrumental role in the formation of his program of theological ethics, whereby just ‘‘as Christ bears our burdens, so ought we to bear the burdens of other human beings’’ (in Floyd, 2005, p. 51). Bonhoeffer believed that the Church had forgotten the ‘‘costliness’’ of God’s bearing our flesh, and his own experiences in a German prison camp, where he died in 1945, led to the writing of his Letters and Papers from Prison, where he argued, in correspondence with his friend Eberhard Bethge, that in order to respond authentically to the challenge of the Gospel one must be a person for other persons – ‘‘It is not some religious act which makes a Christian what he is, but participation in the suffering of God in the life of the world’’ (Bonhoeffer, 1963, p. -
10771.Ch01.Pdf
© 2007 UC Regents Buy this book University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by phil- anthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Kramer, Lawrence, 1946–. Why classical music still matters / Lawrence Kramer. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-520-25082-6 (cloth : alk. paper), 1. Music—Philosophy and aesthetics. I. Title. ML3800.K72 2007 781.6'8—dc22 2006026454 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on New Leaf EcoBook 50, a 100% recycled fiber of which 50% is de-inked post-consumer waste, processed chlorine-free. EcoBook 50 is acid-free and meets the minimum requirements of ANSI/ASTM D5634-01 (Permanence of Paper). CONTENTS In Lieu of a Preface vii Chapter One Classical Music and Its Values 1 Chapter Two The Fate of Melody and the Dream of Return 35 Chapter Three Score and Performance, Performance and Film: Classical Music as Liberating Energy 71 Chapter Four But Not for Me: Love Song and the Heartache of Modern Life 110 Chapter Five The Ghost in the Machine: Keyboard Rhapsodies 134 Chapter Six Crisis and Memory: The Music of Lost Time 171 Chapter Seven Persephone’s Fiddle: The Value of Classical Music 205 References 227 Index 239 chapter one Classical Music and Its Values Classical music has people worried. -
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.