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SSG in Africa - 2.1 FIVE KEY ACTORS
SSG in Africa - 2.1 FIVE KEY ACTORS http://www.ssronline.org/ssg_a/index4.cfm?id=16&p=16 framework for governance in the security sector. Whilst noting that the authors of this Handbook are careful not to describe it as the road-map or Guidebook for security sector governance in Africa, they have examined the scope, processes, actors and contexts of security sector reform in Africa, and reflected the diversities of terrains and directions to produce, what is to my knowledge the first comprehensive and practical guide on governing the security sector, drawing on both good and bad practices, providing realistic entry-points for broadening the security agenda in our states and at the same time suggesting ways of ensuring the professionalisation of our security forces in defence of the states and protection of the citizens. As we continue our own task in he building of a comprehensive security architecture, we will utilise this Handbook extensively in that work. It is my hope the practical tools and lessons presented here from a variety of experiences will inspire, support and assist our security institutions, military academies, research institutions, civil society organisations and international actors in the critical task of security sector governance in Africa Professor Alpha Oumar Konare Chairperson, African Union Commission. Acknowledgements The handbook has been produced by a collaborative effort among researchers and practitioners across Africa. Core members of the writing team are: Nicole Ball, 'J. Kayode Fayemi, 'Funmi Olonisakin, and Rocklyn Williams. Contributors to the handbook are: Len LeRoux, Ntsiki Motumi, Janine Rausch, and Mark Shaw. The handbook has also been the subject of consultations during regional meetings held by affiliated research networks in Western and Southern Africa during which researchers, policy makers, and practitioners gave generously of their time. -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
World Bank Document
Document of The World Bank FOR OFFICIAL USE ONLY Public Disclosure Authorized Report No. 48331-TH INTERNATIONAL BANK FOR RECONSTRUCTION AND DEVELOPMENT PROGRAM DOCUMENT Public Disclosure Authorized FOR A PROPOSED PUBLIC SECTOR REFORM DEVELOPMENT POLICY LOAN (PSRDPL) IN THE AMOUNT OF US$1BILLION TO THE Public Disclosure Authorized KINGDOM OF THAILAND OCTOBER 21, 2010 Public Disclosure Authorized Poverty Reduction and Economic Management Unit East Asia and Pacific Region This document has a restricted distribution and may be used by recipients only in the performance of their official duties. Its contents may not otherwise be disclosed without World Bank authorization. GOVERNMENT FISCAL YEAR October 1 – September 30 CURRENCY EQUIVALENTS (Exchange Rate Effective as at October 2010) Currency Unit Thai Baht (THB) US$1.00 29.89 ABBREVIATIONS ADB Asian Development Bank NESDB National Economic and Social Development Board BOB Bureau of the Budget OAG Office of the Auditor General’s BOP Balance of Payments OCSC Office of the Civil Service Commission BOT Bank of Thailand OPDC Office of the Public Sector Development Commission CDP Country Development Partnership PAD People’s Alliance for Democracy CDP-G Country Development Partnership with PAMP Public Administration Management Plan Thailand on Governance and Public Sector Reform CGD Comptroller General’s Department PART Performance Assessment Rating Tool COA Chart of Accounts PDMO Public Debt Management Office DPL Development Policy Loan PEFA Public Expenditure and Financial Accountability DSA Debt -
Maid of Orleans Hintergründe Von S
Maid Of Orleans Hintergründe von S. Radic Maid of Orleans (The Waltz Joan of Arc) ist ein Lied der britischen Synthie-Pop-Band Orchestral Manoeuvres in the Dark (kurz „OMD“) aus dem Jahre 1982. Es war nach Souvenir und Joan of Arc die dritte Single-Auskopplung aus dem Studio-Album Architecture & Morality. Um Verwechselungen mit der Single Joan of Arc zu vermeiden, wählten OMD den Titel Maid of Orleans. Es ist im deutschsprachigen Raum die bis heute erfolgreichste Single der Band. Architecture & Morality ist das dritte Studio- album der britischen Pop-Band Orchestral Manoeuvres in the Dark. Es wurde im und Paul Humphreys eine der besten Elektropop-Bands November 1981 veröf- der 80er Jahre heranreifen würde. 18 Hits später zieht fentlicht. das Duo aus Liverpool Bilanz, und die Songs funkeln wie eh und je: die vornehme "Maid Of Orleans" ebenso wie die stürmischen "Tesla Girls". Am meisten fällt in dieser hochkarätigen Umgebung die letzte Single "Dreaming" ab - doch zum Trost gibt's auf CD vier Hintergrund. Der Text wurde von Andy McCluskey Stücke mehr, darunter "We Love You" und "La Femme geschrieben und handelt von der französischen Accident" im vorzüglichen Maxi-Mix. Nationalheldin Jeanne d’Arc. Ursprünglich wurde das © Stereoplay Lied zum 550. Todestag von Jeanne d’Arc, den 30. Mai 1981, geschrieben. Die Melodie ist ein, im Synthesizer Bei OMD hat sich in den letzten Jahren nicht viel getan. entstandenes, Dudelsack-Stück, welches von einem Auf ihrem "neuen" Album, das die Höhepunkte der walzerähnlichen 6/8-Takt unterlegt ist. Das etwa letzten neun Jahre enthält, verlässt die Gruppe nur einminütige Intro besteht aus elektronischen Klängen, selten seichte Elektronik-Niederungen. -
The Record Producer As Nexus: Creative Inspiration, Technology and the Recording Industry
The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy by Michael John Gilmour Howlett April 2009 ii I certify that the work presented in this dissertation is my own, and has not been presented, or is currently submitted, in candidature for any degree at any other University: _____________________________________________________________ Michael Howlett iii The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry Abstract What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali- like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. -
World Bank Document
Report No. 23349-MK FYR of Macedonia Public Expenditure and Institutional Review Public Disclosure Authorized April 2, 2002 Poverty Reduction and Economic Management Unit Europe and Central Asia Region Public Disclosure Authorized u Public Disclosure Authorized Public Disclosure Authorized Document of the World Bank CURRENCY AND EQUI'VALENTS Currency Unit USUS$ 1 = Denar 67 FISCAL YEAR January 1-December 31 ACRONYMS AND ABBREVIATIONS BOO Build-operate-own BRA Bank Rehabilitation Agency CBA Collective Bargaining Agreements CEEC Central and Eastern European countries CPI Consumer Price Index FDI Foreign direct investment FIAS Foreign Investment Advisory Service FRY Federal Republic of Yugoslavia (Serbia and Montenegro) FTA Free Trade Agreement FWA Framework Agreement GoM Government of the FYR Macedonia GNFS Goods and non-factor services HIs Health Institutions HIF Health Insurance Fund IAS International Accounting Standards MIPA Macedonia Investment Promotion Agreement MUCE Ministry of Urban Planning, Construction and the Environment NBRM National Bank of the Republic of Macedonia PEIR Public Expenditure & Institutional Review PA Privatization agency PTA Preferential trade agreement ROW Rest of the world PRO Public Revenue Office RER Real exchange rate SB Stopanska Bank DIF Deposit Insurance Fund SEC Securities and Exchange Commission SRP Special Restructuring Program SSO State and socially owned enterprises VAT Value added tax ZPP Zaved za Platen Promet (payment bureau) Vice President: Johannes F. Linn Country Director: Christiaan J. Poortman Sector Director: Pradeep K. Mitra Sector Leader: Helga W. Muller Task Manager: Pascale N. Kervyn de Lettenhove ACKNOWLEDGEMENTS This Public Expenditure and Institutional Review (PEIR) has been prepared for the Government of FYR Macedonia. A World Bank team, working with Government officials and other donors, including the European Union (EU) and the United Kingdom's Department for International Development (DFID), completed the first draft for discussion with the Government in 2000. -
KNOW YODI. COLLEGE ¦ Was Perfectly Justified
. Inter-fraternity President Editorial Glee Club Pres ents Harry Paul Is asks the freshman Delegation Goes To Augusta ' and non fraternity upper-class- A settlement effected yesterday between the owner of the ^ Where Meeting Wi th Acheson Messiah Saturda y -' men to forestall forming opin- •* Elmwood Hotel and a student faculty committee of Colby College ions about fraternities until closed the incident of discrimination which occured last Saturday Results In Terminatin g Affair their knowledge -of fraternal evening at the aforementioned establishment; In a public re- The first post-war production of rules arid regulations, is suffi- lease the owner of the hotel stated that it "is not the policy of the On Saturday evening, December 7, Handel's "Messiah" , at Colby will be cient to arrive at fair and intelli- hotel to practice discrimination and admitted that the in- William Mason a Colby College stu- presented Saturday evening, Decem- gent conclusions. By the time ' cident in question was . a case of discrimination due to exer- dent, was refused service' in the Pine ber 14 iri the Women's Union • with a the Echo goes to press the In- cise of bad judgment. Tree Tavern. Upon speaking to the chorus; of two'hundred and fifty-Col- ter-fraternity counsel ' will have . This declaration has been accepted "by the college and the Manager of the Elmwood, Henry Mc- by and 1 Bowdoin students,-townspeo- " distributed copies of these -rules "Elmwood Incident" is now closed. However, despite the fa'ct Avoy, Mason was informed that he ple and faculty, supported by a string ' around -the campus. -
2 to Be Somebody: Ambition and the Desire to Be Different
2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time. -
HOUSE of COMMONS Rt Hon Boris Johnson MP Prime Minister 10
HOUSE OF COMMONS LONDON SW1A 0AA Rt Hon Boris Johnson MP Prime Minister 10 Downing Street London SW1A 2AA Sent by email 8 February 2021 cc: Rt Hon Oliver Dowden MP, Secretary of State for Digital, Culture, Media and Sport Dear Prime Minister Time for Europe-wide Visa-free work permits for UK Touring Professionals and Artists Today we gathered in support of Tim Brennan’s petition to call on the UK Government to act. It is clearly time for clarity and to negotiate and secure a free cultural work permit that gives visa free travel throughout the 27 EU states for music touring professionals, bands, musicians, artists, TV and sports celebrities. Touring professionals now face the problem of having to navigate the differing requirements of 27 Sovereign EU states. To get working permits for crews (including dancers & performers, techs, video, sound and lighting crew, the riggers, special effects, set carpenters, & automation, wardrobe, makeup and hair, the production team, catering, the drivers, and anyone else working behind the scenes) for each country they visit is a huge barrier and cost. We would like to see the creation of reciprocal arrangements for specified work between the EU and the UK, which could in theory be established through a similar system to ETIAS which the EU will bring into place on the 1st of January next year. As you know, musicians will be required to fill out a carnet that will come at “a significant cost” to touring professionals. We would like the Government to ensure that complicated and costly Carnets will not be required for portable musical instruments and also provide grant support for the additional costs of Carnets that may be incurred by bands and groups of musicians and touring professionals travelling together. -
THE ACICA REVIEW December 2015 | Vol 3 | No 2 | ISSN 1837 8994
The ACICA Review – December 2015 1 er 2013 6 THE ACICA REVIEW December 2015 | Vol 3 | No 2 | ISSN 1837 8994 2 The ACICA Review – December 2015 CONTENTS The ACICA Review December 2015 INFORMATION PAGE President’s Welcome ……………………………………………………………….…….………….......... 3 Secretary General’s Report………………………………………………………………..…………..…... 4 The Amazing World of Arbitration: Australian Perspectives …………………………………………… 9 AMTAC Chair’s Report …………………………………………………………………….…………….… 10 News in Brief ………………………………………………………………………………….………..…… 12 CASE NOTES John Holland Pty Ltd v Kellogg Brown & Root Pty Ltd (No 2) [2015] NSWSC 565……………..…... 13 All's Fair in Love and Award Enforcement: Yukos V Russian Federation………………………..…... 15 Respecting party autonomy and resisting domesticity in international arbitration……………………. 19 OTHER ARTICLES Aircraft Support Industries ………………………………………………………………………………… 22 ISDS in ChAFTA – where’s the beef?……………………..….……………………………………...…… 25 The Third APEC Senior Officials’ Meeting ………………………………………………………….……. 29 Getting to Yes Sooner – some footnotes from the trenches ..…………………………………………. 30 The TPP Investment Chapter: Mostly More of the Same …………………………………………….… 32 Commercial Courts: An alternative mechanism for the settlement of international commercial disputes ……………………………………………………………………………..….……... 35 The International Arbitration Act 1974 – summarising recent legislative amendments ……….……. 39 2015 New South Wales Young Lawyers International Arbitration Moot …………………………..…. 41 The 3rd Annual International Arbitration Conference in Sydney -
At BIMM Manchester
PROSPECTUS 2019/20 YOUR MUSIC CAREER STARTS HERE BIMM.CO.UK/MANCHESTER LONDON BERLIN HAMBURG DUBLIN BIRMINGHAM MANCHESTER BRISTOL BRIGHTON DEAR APPLICANT, As College Principal for BIMM Manchester, on his development label, Blue Noise. As a I’ve had the privilege of helping to start studio and live session guitarist and vocalist young musicians on their path to success in I’ve worked with major labels, such as the music industry. Like them, I started out 20 Polydor, EMI and Island, and have performed years ago as a music undergraduate, joining on many live shows including Royal Gala the first ever year of students at a prestigious Performances, stage shows (Rent, War of the music college in the North West of England. Worlds) and even classical performances. It was there that I first developed my love for music education, and the idea of studying In 2007 I returned to education as a Music contemporary popular music at degree level and Music Technology lecturer, before was really exciting to me. Those three years progressing into educational management as THE SECRET TO SUCCESS were among the best of my life, and I have a Head of Quality Assurance for Teaching and passion for creating a similar experience for Learning and then later as Head of Faculty the students here at BIMM Manchester. for Creative Arts. IS NO SECRET Since leaving university, I’ve worked I’ve spent my working life in the North West professionally as a songwriter and session of England and I believe that this part of musician, spending the last 18 years the world, and in particular Manchester, has experiencing the highs and the lows of produced some of the greatest modern music If you want to make it You’ll cross paths with everything the music industry has to offer. -
Orchestral Manoeuvres in the Dark Orchestral Manoeuvres in the Dark Mp3, Flac, Wma
Orchestral Manoeuvres In The Dark Orchestral Manoeuvres In The Dark mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Orchestral Manoeuvres In The Dark Country: UK Released: 1980 Style: Electro, Synth-pop MP3 version RAR size: 1692 mb FLAC version RAR size: 1304 mb WMA version RAR size: 1211 mb Rating: 4.8 Votes: 621 Other Formats: MP2 ASF AUD XM MIDI MOD AA Tracklist Hide Credits 1 Bunker Soldiers 2:54 2 Almost 3:44 Mystereality 3 2:45 Saxophone – Martin Cooper 4 Electricity 3:39 5 The Messerschmitt Twins 5:41 Messages 6 4:12 Guitar – Dave Fairbairn Julia's Song 7 4:41 Guitar – Dave FairbairnLyrics By – Julia KnealePercussion – Malcolm Holmes 8 Red Frame/White Light 3:12 9 Dancing 2:59 10 Pretending To See The Future 3:46 Companies, etc. Phonographic Copyright (p) – Virgin – DICD 2 Copyright (c) – Virgin Records Ltd. Recorded At – The Gramophone Suite Mixed At – The Gramophone Suite Glass Mastered At – DADC Austria Credits Engineer – Paul Collister Photography By [Foto] – Trevor Key Producer – Chester Valentino, Orchestral Manoeuvres In The Dark Voice, Bass, Keyboards, Percussion [Electronic], Drum Programming – Andy McCluskey Voice, Keyboards, Percussion [Electronic & Acoustic], Drum Programming – Paul Humphreys Written-By, Arranged By, Performer – Andy McCluskey, Paul Humphreys Notes Recorded and mixed at The Gramophone Suite, Liverpool. ℗ 1980 Dindisc Ltd./© Virgin Records Ltd. Manufactured in Austria "Mastered by DADC Austria" credit on matrix. Barcode and Other Identifiers Barcode: 0 7777860172 2 SPARS Code: AAD