text:
Triumph of Lethargy Skinned Alive to Death : Helpless
by Tom Lee
Though you may not recognize the name, Triumph of Lethargy Skinned Alive to Death is a Seattle band featuring Spencer E. Moody (previously of Murder City Devils/Dead Low Tide) and Corey Brewer (Bright Shiny Objects). The band's debut, Helpless is a record defying convention, based around the Neil Young cover from which its name emanates, splattering library music, noise and spoken vacancy into something bordering brilliance.
The opening "Demolition Man" bristles with apt unease, nodding to Stephen Malkmus and the Red Krayola. "The Salted Ones, Into The Mud" recalls Sonic Youth circa Evol and Alan Splet's Lynch soundtrack. Tellingly, the line "they broke his earmuffs" emerges among Moody's screams. "The Morning Trumpets Failure" brings the first glimpse of the Neil Young cover, as the line "There is a town…" appears vampirically through disjointed noise bearing loose relation to Gravenhurst. We hear a little more Young on "There is a Town," which transforms itself from Eraserhead chill-out to a mixture of Nick Cave and Hit to Death in the Future Head-era Flaming Lips.
Six tracks in, the full cover of "Helpless" arrives. It's a beautifully malformed rendition, recalling Sparklehorse circa Vivadixiesubmarinetransmissionplot and Lou Reed's Berlin. One couldn't wish for a more fitting centrepiece for the record. After this, "Svevo Bandini" is lush and frazzled with shades of Tortoise and Broadcast. "Salt" is one of the most beautiful songs of the year in a backhanded fashion, slightly reminiscent of Dean Wareham at his most serenely Velvet Underground fixated. A static bath elevates things as "Sincerely L. Cohen" meanders nicely, though its hard to decide whether to compare it to Mogwai, Four Tet, or Love and Rockets. "The Pleasures of My Life" closes the album like a mixture of Phillip Glass' music for Koyaanisqatsi and Ben Christophers' "Skyscraper."
It's a pleasure to hear an album that doesn't quite sound like anything else. Helpless is hardly the most commercially successful or reviewer-friendly record I've encountered this year. But it is one of the best.
Alan R. Splet – Eraserhead OST
Sparklehorse – Vivadixiesubmarinetransmissionplot
Lou Reed – Berlin
Triumph of Lethargy Skinned Alive to Death
Tom Lee October 26, 2005


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text:
Pop Will Eat Itself: Hidden cycles of exchange in contemporary sound
Exactly twenty years ago several men boarded a ferry to the bleak Scottish island of Jura, described by former resident George Orwell as 'extremely ungetatable'. After a late dinner of battered haggis they carried two suitcases through the rain to a brick boathouse. There they lit a fire, unpacked fifty bundles of banknotes and shoved it in. The total amount – one million pounds – was all that remained of a very successful music career.
The two protagonists were Bill Drummond and Jimmy Cauty who called themselves the K Foundation. In previous years they'd enjoyed phenomenal chart success as, in turn, The Justified Ancients of Mu Mu, The Timelords and The KLF. Their tracks Doctorin' The Tardis, 3am Eternal and Last Train To Trancentral helped establish them as 'the biggest-selling singles act in the world for 1991', an achievement pre-empted in their 1989 manifesto The Manual (How to Have a Number One the Easy Way).
After amassing considerable royalties they began to dispose of them in increasingly elaborate ways. Firstly they terminated their pop career by firing blanks into the audience at the 1992 BRIT Awards, dumping a dead sheep at an after-party and deleting their back catalogue in the UK. They established the K Foundation award for worst artist of the year in which they gave Rachel Whiteread double what she'd won earlier the same night at the Turner Prize.1
Then they nailed the cash to a board and displayed it in a snowy Surrey field. Two men wearing tuxedos guarded the money as a red armoured van blared K Cera Cera, the K Foundation's single with The Red Army Choir made 'in acknowledgement of the recent brave steps taken by the Israeli Government and the Palestinian Liberation Organisation.'2
They offered their million pound fortune to several galleries for display but even at the bargain price of £750,000 no one bit. So they decided to burn it. They planned the deed for the then-disused Bankside Power Station on London's River Thames, which would reopen six years later as Tate Modern. Eventually however they undertook the ritual privately and destroyed the documentation. What remains of their act – besides memories, aura, later regret and a secretly kept videotape – is a single house brick made from the ashes.3
Why burn one's most tangible asset and not, as many implored, give it to charity? Two years later Drummond and Cauty tried to explain their actions on a late night Irish talk show. The audience were visibly aghast. One man said 'I think it's disgusting that two people should be allowed to do such a thing with so much poor in this country and in foreign countries. It's such a disgrace.' Drummond countered: 'If we'd gone and spent the money on swimming pools and Rolls Royces I don't think people would be upset.'4
In fact, burning the money – illegal as it would be – might have indirectly benefitted the poor. According to controversial economics professor Steven Landburg, the act of burning money subtly increases everybody's wealth due to the immediate vacuum in available currency; that is, deflation. 'If you are thinking of remembering the Treasury in your will, and you are something of an egalitarian, consider a bonfire instead.'5
The viewers' reactions echoed those to Michael Haneke's 1989 film The Seventh Continent, which charts the slow breakdown of a middle-class Austrian family. En route, the father flushes all of their money down the toilet. In an already harrowing film the 'money shot' proved most controversial. Haneke recalled that audiences at Cannes 'left the cinema, slamming the doors. Everywhere I showed the film, that was the main scene people complained about. Because it's the greatest taboo. It's a lot less disturbing if parents kill their children and themselves than if they destroy money. It's completely taboo in our society.'6
People get funny when artists fuck with money. Exposing the financial workings of the creative industries seems especially taboo, as Andrew Frost recently wrote in The Guardian:
One of the ironies of contemporary art is its will to be subversive. It's a product, sure, but it has a meaning beyond its material worth and that's why people are willing to pay big dollars for it. To be reminded of that commercial transaction is deeply unsettling and to do it blatantly is seen as bad taste.7
Drawing attention to art's economic conditions is especially uncommon in sound practice. The K Foundation's actions were unusual in the nineties and such a nascent tradition remains startling in the work of newer artists such as German composer Johannes Kreidler who has sonofied global market behaviour with devastating results.
Johannes Kreidler, Charts Music (2009), image courtesy the artist.
When the K Foundation destroyed their fortune, reactions varied – ordinary people were horrified, the music industry was awed and the art world shrugged. You could say their value dropped, rose and flatlined. The economic value of their sound was high – the duo sold thousands of records – as was their live sonic actions. Yet the value of their final act was mixed at best. When they went to sell the ashes they discovered the art market value of their career to date – the most optimistic gallery prognosis was £850.8
One could argue their primary art world value was the latent prestige of their anarchic Situationism – they lived the destructive rock lifestyle as a conscious set of strategies, enacted expertly through the press. Yet although the music industry celebrated their actions as provocative and brave the art world dismissed them as naïve and unoriginal.9 Despite this various British visual artists echoed their actions in subsequent years. In 1995 Damien Hirst won the Turner Prize after displaying his own dead sheep. In 2001 Michael Landy destroyed the 7,227 items he owned in an act supported by Arts Council England and Art Angel. Soon after, Tino Sehgal became known for his own undocumented ephemeral transactions (the ones that, in contrast, generate lots of money).
The K's action can be seen as a particularly extreme interplay between materiality and immateriality. They accumulated value through a mix of actions (releases, performances) and more tangible means (LPs, CDs and cassettes) then erased their capital. This immediately stunted their economic value – radically – yet afforded a residual prestige through the extremity of the act. Their career can thus be seen as a simple curve in which material emerges from the immaterial – from nothing to something to nothing again. Curiously, their action created virtually no 'currency' in the art world despite similar actions before and after by other artists.10
The foundation was dedicated to purging their materiality. Their manifesto The Manual specifically denotes that in order to achieve musical success 'you must be skint and on the dole… [this] gives you a clearer perspective on how much of society is run… having no money sharpens the wits. Forces you never to make the wrong decision. There is no safety net to catch you when you fall.'11
The apex of their immaterial bent was expressed in their single K Cera Cera whose advertisements declared it to be 'Available nowhere. No formats [war is over if you want it] is the interstellar anthem of the K Foundation.'12 The reference to John Lennon and Yoko Ono echo the latter pair's silent track The Nutopian National Anthem for a country with 'no land, no boundaries, no passports, only people'. This echoes John Cage's 4'33 and 0'00 as well as the master of immaterial exchange, Yves Klein, whose The Monotone-Silence Symphony features a dramatic twenty-minute chord followed by forty minutes of silence.
Many visual artworks directly address the cycle of exchange or the means of their own production. Denis Beaubois's Currency series (2011-ongoing) memorably displays a wad of $100 notes comprising the exact amount of money granted to make the work.13 However, such self-reflexivity remains rare in sound arts. There is a disjunct between how sound is read critically within different disciplines. In visual art, sound is often viewed as an immaterial post-object practice. Sound art theorists, by contrast, typically treat sound as an abstract material phenomenon. Musicologists tend to analyse sound as a set of formal relationships. Pop writers take a more sociological approach, although not always with a critical eye to the economics.
In recent sound scholarship one might highlight two sympathetic yet diametric viewpoints. On the one hand, Christoph Cox acknowledges the need to go beyond abstract or formalist readings of sound in favour of a more concrete approach, 'a complex of forces materially inflected by other forces and force-complexes.'14 Seth Kim-Cohen resists such approaches. In In The Blink of an Ear: Toward a Non-Cochlear Sonic Art (2009) he counters essentialist and phenomenological readings in favour of thinking more contextually and conceptually. He seeks to align sound practices with the non-retinal conceptualism of Marcel Duchamp and strongly rejects the notion of sound-in-itself.15
A key work for Kim-Cohen is Robert Morris' Box With The Sound Of Its Own Making (1961) in which the artist built a small wooden box and, as the title suggests, embedded within it a recording of the box being built. An equally self-referential work is Tom Johnson's Failing: A Very Difficult Piece for String Bass (1976) in which a solo double bassist undertakes a piece whilst continually commenting on their performance, contemplating failure whilst daring themselves to succeed – and in the process, of course, both failing and succeeding.16
Just as the literal generation of sound is frequently invisible, so too is the complex chain of economics that brings it into being. Classical music particularly avoids such transparency. It never foregrounds the massive infrastructural back end it demands – the most expensive instruments played in the most expensive spaces by those with the most available time to train and practice – and never mentions the minimal cost of its material (dead composers rarely ask for a fee). One could further argue that the classical music industry depends on its heroes to impale themselves, Christ-like, upon the economic vagaries of their time in order to serve our sound economy now. Mozart dies for our subscription seats.
Julian Day, Music for Pianist, 2014
This elusive dance between acknowledging and disguising money only enhances classical music's value: it's art for art's sake, unsullied by a grubby world, but sounds best within glittering sails on Sydney Harbour. Is it coincidence that right between the two remaining nubs of public housing in Sydney's CBD, Australia's best funded major performing arts group Opera Australia splashed $11.5 million to float a giant chandelier for Verdi's La Traviata?
In her paper Terminal Prestige Susan McClary addresses the partition between economy and artistry in contemporary classical music, criticizing 'the nineteenth-century notion that music ought to be an autonomous activity, insulated from the contamination of the outside social world.' She tags the value cycle the 'economy of prestige':
Within the context of industrial capitalism, two mutually exclusive economies of music developed: that which is measured by popular or commercial success and that which aims for the prestige conferred by official arbiters of taste … [Composer and conductor Pierre Boulez] states: 'The economy is there to remind us, in case we get lost in this bland utopia: there are musics which bring in money and exist for commercial profit; there are musics that cost something whose very concept has nothing to do with profit. No liberalism will erase this distinction'.17
It's worth remembering that Boulez, once the outspoken leader of the European avant garde, has now amassed more Grammy Awards than U2, Paul McCartney, Eric Clapton, Kanye West or Beyonce.
Johannes Kreidler, Audioguide (2014), image David Helbich
Boulez first attracted attention as a leader of the so-called Darmstadt School, a group of forthright composers that met and taught at the Internationale Ferienkurse Für Neue Musik in Darmstadt, Germany. Their approach, forged in the aftershock of World War II, was the epitome of locked-off abstract musical thought. One of the lingering images from this year's festival, however, was of 100 violins lying smashed on a stage after a 7-hour series of 'talk shows' in which the topics included the aesthetics of the destruction of the World Trade Centre towers.
The instigator was the young German composer and artist Johannes Kreidler who creates ingenious and pointed works in the traditions of Fluxus and German artists Martin Kippenberger and Joseph Beuys. His oeuvre includes compositions such as Charts Music in which stock market charts are fed into a pop music software program, rendering the fall of Lehman Brothers and the Bank of America into vertiginously nosediving melodies. In a triptych of three photographs he drops a precious violin, mimicking Chinese artist Ai Weiwei's famous destruction of a 2,000-year-old Han dynasty urn.18
Kreidler has also undertaken actions that address politics both within and outside the music world: smashing a cello onstage to protest the merging of two orchestras; bringing together children, singers and 100 robots to demonstrate outside an employment office; and delivering a truckload of copyright forms to a performing rights agency to register a 33-second piece of music containing 70,200 samples.
Kreidler's most notorious work remains Fremdarbeit ('Outsourcing') from 2009. The Klangwerkstatt festival in Berlin paid Kreidler €1,500 to write a new piece. Kreidler in turn outsourced the labour to a Chinese composer who charged €30 to write the music and an Indian computer programmer who charged a whopping €15 to analyse Kreidler's recent work, provide a breakdown (25% samples, 75% instrumental sounds, 39% loud, 15% soft) and write a generative code.19 Kreidler pocketed the remaining cash.
The crude translation from artisan-for-hire to score yielded several problems. At one point in the performance the pianist stops and explains that the score goes beyond his instrument's range, which he dismisses as 'probably a misunderstanding'.20 Further, the Chinese composer wrote for more instruments than Kreidler was willing to fund so he substituted them with high-quality samples ('if you close your eyes, you might not notice the difference').21 When, at the premiere, a member of the audience accused Kreidler of exploitation the composer replied:
Well, that's globalization for you. This keyboard was probably also made in China and sold here at a much higher price. The clothes I'm wearing come from third-world countries and are sold here for a lot of money. That's the system we use all the time and no one seems to mind.22
Like Andy Warhol and Jeff Koons before him, Kreidler is unafraid to expose, frame and embrace the capitalist cycle of production in his work. The discomfort that different audiences have felt in experiencing Fremdarbeit exemplifies the consistent ruptures in art between the idea of unique objects and mass reproduction, high art versus low art platforms, asymmetrical power structures and conspicuous versus embedded wealth.
Kreidler is an example of what philosopher Harry Lehmann calls a "content-based aesthetic shift", an attempt to move beyond the focus on material in modernism and the rearrangement of material in postmodernism to instead deal with aesthetic and intellectual content transparently and evenly.23 When the same listener at the premiere protested that they weren't hearing Kreidler's music, the composer replied 'Of course it's my music! I bought it. Legally, it is my music – I own the patents.' He also said 'I'm not hiding anything. And composers who do nothing but write their little structures should be ashamed.'
Kreidler visits Australia this month for the Liquid Architecture festival of sound arts, which is curated this year by Other Film's Joel Stern and Danni Zuvela. In their catalogue the pair recognize the dichotomy between essentialist and conceptual readings of sound and aim to present a more contextual program that is 'invested in artists working with sound to ask questions about the systems, forces and assumptions structuring our society, our experience, and our listening, and to make those audible, or visible (or maybe let's just say, 'perceptible').'24 This translates to work that recognizes the hidden relations in sound practice and frames 'context not as an "added extra", but as indivisible from the work itself.'
Alongside Kreidler, Liquid Architecture features Australian sound art collective Ur 1st Luv whose Pozible campaign A Sound Investment ricocheted against the end of the financial year. Like Kreidler their LA work addresses the generation of value within the structure of the work, a form of autophagy in which the system feeds on the system. The implicit underpinning of economy is reflected in the embedded dollar signs in their section of the festival catalogue.
A Sound Investment invited individual philanthropy in the form of a Pozible campaign in which the artists Andrew Brooks and Sam Pettigrew offered incentives to reach their target. This utilized a federal government initiative to match dollar-for-dollar Pozible funds up to $5,000. Their work suggests that the shift to crowd and corporate funding is problematic because more experimental initiatives are less likely to attract an audience. It also ponders that the government uses dollar-matching campaigns to wean artists off public funding and force them into survival mode. The artists note that in recent funding cuts the 28 major performing arts bodies retained secure funding whereas independent artists remain vulnerable, a potential class of unfunded excellents. True to the experimental spirit the material outcome of their project remains speculative although they sold enough T-shirts and mugs to vault over the Pozible line.
As seen in the work of Ur 1st Luv, Johannes Kreidler and the K Foundation, sound presents an complicated case study in value. Several dichotomies are often present: rarity versus availability, 'in' versus 'out', materiality versus immateriality. Sound's economic value can be difficult to ascertain. It is clearly contextual – it depends on the genre or artform and the stature of the person creating, recognizing, selling or buying it. This applies to different aspects of the material cycle: buying a physical track, commissioning a new composition, performing a piece. Person A moves their right arm up and down. Person B does the same. Person A – let's call them a famous orchestral conductor – gets $100,000. Person B – let's call them the local choir director – receives nothing. How can the same physical gesture represent two different values?
On the face of it, society wants artists to 'get a job' and stop scrounging off the public. As brickie Mitchell Browne eloquently pondered in the Sydney Morning Herald, 'Maybe it is fair that workers stuck on the 9-5 treadmill have their money confiscated so that artists living their dream can remain utterly unfettered by the need to create something with any potential for commercial return.'25 Yet there is a conflicting societal desire here. We want artists to be self-sufficient but we also want art to be art, unsullied by self-realization. We value the entrepreneur but we dismiss purely commercial artistic enterprise. By partitioning the funding of key large organizations but forcing independent artists to beg for small amounts we maintain artists right where we want them – kept.
Perhaps here we can return to the KLF's The Manual and view it as a kind of action score that consciously references the mechanics of success and exchange.26 As with these other works it suggests that creating and presenting work is not necessarily two halves of the artistic process but rather a loop that extends the frame of reference into a necessary cycle. The K Foundation never gave a definitive explanation as to why they burnt their fortune but offered at least one salient tip along the way. "It's to do with controlling the money," said Cauty. "Because money tends to sort of control you, if you've got it. It kind of dictates what you can do with it. You've got to spend it, give it away, invest it. And we just wanted to be in control of it."27
1. They'd already spent £20,000 – the exact amount of the Turner Prize – on advertising their award.
2. Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995].
3. A colleague who taped the burning secretly retained a copy.
4. The Late Late Show, RTE, August 1, 2014 [originally aired 1995].
5. Steven Landburg, The Armchair Economist, (New York: Free Press, 2012), 84.
6. Serge Toubiana, Michael Haneke interview on The Seventh Continent (1989) accessed 30 August 2014 https://www.youtube.com/watch?v=0Lkl8sNh-C8.
7. Andrew Frost, 'Melbourne's tale of two art fairs: paintings, perfume and a Rolls-Royce', The Guardian, accessed 18 August 2014.
8. Rene Gimpel, director of Gimpel Fils Gallery, expressed interest in selling the suitcase with the ash and documentation within the European art market: 'Since the money is burnt the object now with the burnt ashes has a value which is an artistic value which bears no relation to the original value of the currency inside. That's how I would come to conclusions. In the sense that the whole gesture of destroying this, this fantastic iconoclastic gesture, this anarchist gesture of disposing of this money, putting it in this case, and along thinking back to the K Foundation's history and its involvement with Rachel Whiteread and so on, that's what adds value to this. And I think I could sell a case like this for about a thousand pounds. Which means I would ask for 1200 and settle for 850.' (Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995])
9. Anthony Reynolds of Anthony Reynolds Art Gallery said: 'I'm afraid I didn't find it the sort of thing that I was either particularly interested in, certainly not as art, and it was not something that I thought I would want to show in the gallery … Well I don't think you can want to be artist. You are an artist or you're not an artist. You can't set out and say I'm going to be an artist – how do I do it?' (Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995])
10. Reducing the immaterial to the material could be seen as problematic. One of the K Foundation's advisers said, 'If you burn a million quid, whether that is a stupid ridiculous thing to do, it's a grand thing to do. If you make it into a brick you've made some pathetic little object … Once you've done it, to then make it into a brick, just to throw away what's actually worth money again on something that's so tiny and insignificant … you don't even know why you've done it.' Cauty replied, 'a lot of pop stars end up a lot worse off that owning a brick.' (The Late Late Show, RTE, 1 August, 2014 [originally aired 1995])
11. Jimmy Cauty and Bill Drummond, The Manual, accessed 15 August 2014, http://freshonthenet.co.uk/the-manual-by-the-klf/.
12. The K Foundation, 'K Cera Cera', New Music Express, accessed 18 August 2014 http://www.libraryofmu.org/display-resource.php?id=332.
13. An Australia Council New Work Established grant of $20,000.
14. Christoph Cox 'Beyond Representation and Signification: Toward a Sonic Materialism' in Journal of Visual Culture 10, no.2 (August 9 2011), 145.
15. Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-Cochlear Sound, (New York: Bloomsbury), 2013.
16. In David Lang's Are You Experienced? the composer himself breaks the fourth wall by first introducing his own piece on stage before becoming enmeshed in a concocted story that you as a listener have been kidnapped and knocked unconscious. It resembles the way Michael Hanake breaks the fourth wall in his film Funny Games in which we as viewers become implicated in the horrific violence enacted on screen.
17. Pierre Boulez, quoted in Susan McClary, 'Terminal prestige: the case of avant-garde music composition', in David Schwarz, Anahid Kassabian and Lawrence Siegel (eds) Keeping score: music, disciplinarity, culture, (Charlottsville: University Press Virginia), 1997, 56.
18. The act of destroying value – whether material or immaterial – is well established. Countless artists have destroyed things in their work, especially valuable objects of which musical objects are obvious targets. There is a deep oeuvre in which violins are smashed, guitars dragged and pianos set alight. This history is partly about attacking the sacred but also about critiquing social scores, objects that direct behaviour and interpersonal coding across decades. Learning to play the piano as a child is only partly about the instrument, it also guides one's future social and professional position.
19. The Chinese composer was X. Xiang and the Indian programmer was R. Murraybay.
20. Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 https://www.youtube.com/watch?v=L72d_0zIT0c.
22. The same listener protested that they weren't hearing Kreidler's music, to which the composer replied "Of course it's my music! I bought it. Legally, it is my music – I own the patents. You can buy things like that. But of course, no one really owns a work of art anyway, not even the composers from Asia. The musicians who play the work are also involved and they play on instruments built by instrument makers. The instruments themselves rely on centuries of technological developments. Every musical score contains centuries' worth of knowledge and craft. What I'm doing here is just honest for once. When Jorg Widmann sits in the Grant Hotel in Dubai composing Viennese waltzes, that's cynical. I'm not hiding anything. And composers who do nothing but write their little structures should be ashamed." (Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 https://www.youtube.com/watch?v=L72d_0zIT0c).
24. Joel Stern and Danni Zuvela, 'All Sounds Are Implicated,' in Liquid Architecture 2014 (festival program), 7.
25. Mitchell Browne, Why should artists at work fund idlers at art? In Sydney Morning Herald, accessed August 30 2014.
26. The K Foundation ultimately described the act of burning money as boring, an undertaking initially thrilling but quickly just a task like accounting. Timothy Quirk similarly describes the reality of money as boring in My Hilarious Warner Bros. Royalty Statement in which he describes the frustrating lengths he goes to as a 'non-recouping' artist to make sense of his record company's opaque accounting procedures. (Timothy Quirk, 'My Hilarious Warner Bros. Royalty Statement' in Ann Powers, Best Music Writing 2010, Cambridge, MA: Da Capo Press, 2010) David Byrne offered an unusually frank dissection of the backend economics of a successful pop career in his recent book How Music Works?, right down to budgetary pie charts. Both he and Quirk imply a self-defeating question of how musicians are meant to progress in a post-iTunes age. (David Byrne. How Music Works. San Francisco: McSweeney's, 2012)
27. In one of several, sometimes contradictory explanations, Cauty said it was to "see how far we could possibly go with an idea … go the whole way. And then not come back again." (Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995]).
invited individual philanthropy in the form of a Pozible campaign in which the artists Andrew Brooks and Sam Pettigrew offered incentives to reach their target. This utilized a federal government initiative to match dollar-for-dollar Pozible funds up to $5,000. Their work suggests that the shift to crowd and corporate funding is problematic because more experimental initiatives are less likely to attract audience. It also ponders that the government uses dollar-matching campaigns to wean artists off public funding and force them into survival mode. The artists note that in recent funding cuts the 28 major performing arts bodies retained secure funding whereas independent artists remain vulnerable, a potential class of unfunded excellents. True to the experimental spirit the material outcome of their project remains speculative although they sold enough T-shirts and mugs to vault over the Pozible line. As seen in the work of Yr 1st Luv, Johannes Kreidler and the K Foundation, sound presents an complicated case study in value. Several dichotomies are often present: rarity versus availability, 'in' versus 'out', materiality versus immateriality. Sound's economic value can be difficult to ascertain. It is clearly contextual – it depends on the genre or artform and the stature of the person creating, recognizing, selling or buying it. This applies to different aspects of the material cycle: buying a physical track, commissioning a new composition, performing a piece. Person A moves their right arm up and down. Person B does the same. Person A – let's call them a famous orchestral conductor - gets $100,000. Person B – let's call them the local choir director - receives nothing. How can the same physical gesture represent two different values? On the face of it, society wants artists to 'get a job' and stop scrounging off the public. As brickie Mitchell Browne eloquently pondered in the Sydney Morning Herald, 'Maybe it is fair that workers stuck on the 9-5 treadmill have their money confiscated so that artists living their dream can remain utterly unfettered by the need to create something with any potential for commercial return.'25 Yet there is a conflicting societal desire here. We want artists to be self-sufficient but we also want art to be art, unsullied by self-realization. We value the entrepreneur but we dismiss purely commercial artistic enterprise. By partitioning the funding of key large organizations but forcing independent artists to beg for small amounts we maintain artists right where we want them – kept. Perhaps here we can return to the KLF's The Manual and view it as a kind of action score that consciously references the mechanics of success and exchange.26 As with these other works it suggests that creating and presenting work is not necessarily two halves of the artistic process but rather a loop that extends the frame of reference into a necessary cycle. The K Foundation never gave a definitive explanation as to why they burnt their fortune but offered at least one salient tip along the way. "It's to do with controlling the money," said Cauty. "Because money tends to sort of control you, if you've got it. It kind of dictates what you can do with it. You've got to spend it, give it away, invest it. And we just wanted to be in control of it."27
2. Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995]
4. The Late Late Show, RTE, August 1, 2014 [originally aired 1995] 5. Steven Landburg, The Armchair Economist, New York: Free Press, 2012, p84
6. Serge Toubiana, Michael Haneke interview on The Seventh Continent (1989) accessed on 30 August 2014 from https://www.youtube.com/watch?v=0Lkl8sNh-C8
7. Andrew Frost, 'Melbourne's tale of two art fairs: paintings, perfume and a Rolls-Royce', The Guardian, accessed on 18 August 2014.
9. Anthony Reynolds of Anthony Reynolds Art Gallery said: 'I'm afraid I didn't find it the sort of thing that I was either particularly interested in, certainly not as art, and it was not something that I thought I would want to show in the gallery ... Well I don't think you can want to be artist. You are an artist or you're not an artist. You can't set out and say I'm going to be an artist – how do I do it?' (Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995])
10. Reducing the immaterial to the material could be seen as problematic. One of the K Foundation's advisers said, 'If you burn a million quid, whether that is a stupid ridiculous thing to do, it's a grand thing to do. If you make it into a brick you've made some pathetic little object … Once you've done it, to then make it into a brick, just to throw away what's actually worth money again on something that's so tiny and insignificant ... you don't even know why you've done it.' Cauty replied, 'a lot of pop stars end up a lot worse off that owning a brick.' (The Late Late Show, RTE, 1 August, 2014 [originally aired 1995])
11. Jimmy Cauty and Bill Drummond, The Manual, accessed on 15 August 2014 from http://freshonthenet.co.uk/the-manual-by-the-klf/
12. The K Foundation, 'K Sera Sera', New Music Express, accessed on 18 August 2014 from http://www.libraryofmu.org/display-resource.php?id=332
13. An Australia Council New Work Established grant of $20,000
14. Christoph Cox 'Beyond Representation and Signification: Toward a Sonic Materialism' in Journal of Visual Culture 10, no.2 (August 9 2011): 145
15. Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-Cochlear Sound, New York: Bloomsbury, 2013
17. Pierre Boulez, quoted in Susan McClary, 'Terminal prestige: the case of avant-garde music composition', in David Schwarz, Anahid Kassabian and Lawrence Siegel (eds) Keeping score: music, disciplinarity, culture Charlottsville: University Press Virginia, 1997, p 56
20. Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 from https://www.youtube.com/watch?v=L72d_0zIT0c
21.Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 from https://www.youtube.com/watch?v=L72d_0zIT0c
22. The same listener protested that they weren't hearing Kreidler's music, to which the composer replied: "Of course it's my music! I bought it. Legally, it is my music – I own the patents. You can buy things like that. But of course, no one really owns a work of art anyway, not even the composers from Asia. The musicians who play the work are also involved and they play on instruments built by instrument makers. The instruments themselves rely on centuries of technological developments. Every musical score contains centuries' worth of knowledge and craft. What I'm doing here is just honest for once. When Jorg Widmann sits in the Grant Hotel in Dubai composing Viennese waltzes, that's cynical. I'm not hiding anything. And composers who do nothing but write their little structures should be ashamed." (Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 from https://www.youtube.com/watch?v=L72d_0zIT0c) 23. Johannes Kreidler, Fremdarbeit – by Johannes Kreidler Doku, accessed 20 August 2014 from https://www.youtube.com/watch?v=L72d_0zIT0c
24. Joel Stern and Danni Zuvela, 'All Sounds Are Implicated,' in Liquid Architecture 2014 (program), p7
25. Mitchell Browne, Why should artists at work fund idlers at art? In Sydney Morning Herald, accessed on August 30 2014.
26. The K Foundation ultimately described the act of burning money as boring, an undertaking initially thrilling but quickly just a task like accounting. Timothy Quirk similarly describes the reality of money as boring in My Hilarious Warner Bros. Royalty Statement in which he describes the frustrating lengths he goes to as a 'non-recouping' artist to make sense of his record company's opaque accounting procedures. (Timothy Quirk, 'My Hilarious Warner Bros. Royalty Statement' in Ann Powers, Best Music Writing 2010, Cambridge, MA: Da Capo Press, 2010) David Byrne offered an unusually frank dissection of the back end economics of a successful pop career in his recent book How Music Works?, right down to budgetary pie charts. Both he and Quirk imply a self-defeating question of how musicians are meant to progress in a post-iTunes age. (David Byrne. How Music Works. San Francisco: McSweeney's, 2012)
27. In one of several, sometimes contradictory explanations, Cauty said it was to "see how far we could possibly go with an idea … go the whole way. And then not come back again." (Omnibus, "A Foundation Course In Art", BBC, 30 July 2014 [originally aired November, 1995]
Julian Day is an artist, composer and writer/broadcaster. He treats sound as a political phenomenon that queries proximity, agency and territory, evidenced in two site-responsive...

redpajama_set_name: RedPajamaCommonCrawl


I created a time series chart in vuforia. In the preview i can see my time series data. When I open the experience on a tablet the data doesn't show. I just get the message "Data is not loaded yet"
@Rmcrabb Could you please check and look for any errors in ThingWorx application logs to see if there is any entity permission related issue or otherwise ?
I found my problem. I had a permisions issue with the user logged in vuforia.


text:
using System;
using System.Collections.Generic;
using System.Data.Entity;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

using NUnit.Framework;
using Moq;

using OnLineShop.Data.Contracts;
using OnLineShop.Data.Models;

namespace OnLineShop.Data.Tests.EfDbSetWrapper.Tests
{
    [TestFixture]
    public class All_Should
    {
        [Test]
        public void ReturnEntitiesOfGivenSet()
        {
            // Arrange
            var mockedDbContext = new Mock<IOnLineShopDbContext>();
            var mockedSet = new Mock<DbSet<Category>>();

            // Act
            mockedDbContext.Setup(x => x.Set<Category>()).Returns(mockedSet.Object);
            var mockedDbSet = new EfDbSetWrapper<Category>(mockedDbContext.Object);

            // Assert
            Assert.NotNull(mockedDbSet.All());
            Assert.IsInstanceOf(typeof(DbSet<Category>), mockedDbSet.All());
            Assert.AreSame(mockedDbSet.All(), mockedDbSet.DbSet);
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
USS Benham (DD-397) Areas With Asbestos Exposure
The USS Benham (DD-397) was a Benham-class destroyer laid down on September 1, 1936, and launched on April 16, 1938. It was commissioned on February 2, the following year under Rear Admiral T. F. Darden's command with the hull number DD-397 and served in the US Navy for 3 years until it was sunk at the Battle of Guadalcanal on November 15, 1942. During its activity, the ship carried a complement of 251 people on board and had its main missions in Newfoundland, the Gulf of Mexico, Pearl Harbor, Midway Atoll, Guadalcanal, Tulagi or the Solomons. For the services brought to the country during World War II, USS Benham (DD-397) received 5 battle stars.
The brave men who served our country in the Navy from World War II through the Vietnam War were unknowingly exposed to high levels of airborne asbestos fibers throughout ships and shipyards during their military service. Navy veterans have a higher risk of asbestosis - a buildup of scar-like tissue in the lungs that can result in loss of lung function, disability, and even death, than other members of the military.
Everyone who served on the USS Benham (DD-397) inhaled the asbestos fibers and is at risk for developing lung disease
Shipmates on USS Benham (DD-397)
james thomas andrews
david elvin ayres
donald w. barnes
carl david burroughs
seymour brown
foster bob campbell
thomas francis darden
henry john horst
john kermit stevenson
b. j. vilardo
hugh albert wingo
alton p. wray
john ambrose walls
archie lee greer
russell h. johnson
clarence r. ohrns jr.


text:
Champions in manufacturing: Delivering PPE to those on the Covid front lines
De Blasio says officer entitled to due process
New York City Mayor Bill de Blasio says the officer who placed a chokehold on Eric Garner exactly five years ago is entitled to due process under state law.
De Blasio said Wednesday the decision whether to fire Officer Daniel Pantaleo is up to Police Commissioner James O'Neill.
Garner died July 17, 2014 after Pantaleo placed him in a chokehold. Pantaleo's lawyer says the officer arrested Garner using techniques approved by the Police Department.
De Blasio spoke on radio station Hot 97 the day after federal prosecutors announced they would not bring civil rights charges in the case.
Garner's family members and others have demanded that de Blasio fire Pantaleo. But the Democratic mayor and presidential candidate said O'Neill will decide Pantaleo's fate by Aug. 31 after the departmental disciplinary process has concluded.
Garner's mother, Gwen Carr, said she would receive some closure if Pantaleo were fired.
Pantaleo's lawyer, Stuart London, says the officer used techniques approved by the New York Police Department while arresting Garner, who died after uttering "I can't breathe."
A spokeswoman for Democratic Mayor Bill de Blasio says the police commissioner is expected to decide Pantaleo's fate by Aug. 31, after receiving a report from an administrative judge.
Potential punishment ranges from loss of vacation days to termination.
Sponsored Content: Telehealth: Evolving a Short-term Response to Long-term Capabilities


text:
Why Did Senator John Kerry Stand Idly By? - By PAUL CRAIG ROBERTS
Naïve Americans who think they live in a free society should watch the video filmed by students at a John Kerry speech September 17, Constitution Day, at the University of Florida in Gainesville.
At the conclusion of Kerry's speech, Andrew Meyer, a 21-year old journalism student was selected by Senator Kerry to ask a question. Meyer held up a copy of BBC investigative reporter Greg Palast's book, Armed Madhouse, and asked if Kerry was aware that Palast's investigations determined that Kerry had actually won the election. Why, Meyer asked, had Kerry conceded the election so quickly when there were so many obvious examples of vote fraud? Why, Meyer, went on to ask, was Kerry refusing to consider Bush's impeachment when Bush was about to initiate another act of military aggression, this time against Iran?
At this point the public's protectors—the police—decided that Meyer had said too much. They grabbed Meyer and began dragging him off. Meyer said repeatedly, "I have done nothing wrong," which under our laws he had not. He threatened no one and assaulted no one.
Kerry's meekness not only in the face of electoral fraud, not only in the face of Bush's wars that are crimes under the Nuremberg standard, but also in the face of police goons trampling the constitutional rights of American citizens makes it completely clear that he was not fit to be president, and he is not fit to be a US senator.
[for the rest click on the heading]
Uproar over plan to split Jerusalem - Al Jazeera
Canada Dollar Dominance Shows Break With U.S. Doll...
pigeons, jamil naqsh and i
Pashtun Suicide Terrorism---An Update: Internation...
Greenspan: Ouster Of Hussein Crucial For Oil Secur...
Greenspan on 60 Minutes: It was all Bush's fault ...
It is the death of history - Special investigatio...
An Open Letter to the New Generation of Military O...
Pakistan's poker-game - Irfan Hussain
Saudi Feminist Wajeha Al-Huwaidar Launches New Cam...


Scratching or even breaking a violin by mistake is more common than you would think. This is because of a violins delicate structure and components.
And, however careful you might be with your violin, it'll likely to get broken or scathed if you do not protect it with a quality violin case.
Like having a house to live in, your violin needs a safe place that can serve as its home. This buying guide of the best violin cases and their individual reviews will help you narrow down your search and select the perfect protective casing for your violin.
But, what do you need to keep in mind?
While you sure are looking for something unique or something that is cool, you need to purchase an appropriately sized case for your instrument.
This makes for proper violin strings and body seating on the cushioned insides of your case. This, of course, guarantees you constant plays, and more time spent with your treasured companion.
Violin cases are all about offering enhanced protection to your musical instrument allowing you to use your violin for a much longer period. Traveling by road, sea or air, any one of these high-quality cases is sure to keep you covered.
The D'Luca Double Violin Case offers you more than meets the eye! It's black-burgundy color sure is catchy, but it offers you slightly more than nice looks and great design: it is a double violin case!
If you have two violins, this is an excellent case for you, because you can carry both of them at once without needing a second case. Despite this feature, the D'Luca Double is lightweight and allows for easy carriage.
This violin case doesn't look excessively larger on the outside. At dimensions of 36 x 12 x 8 inches, it has been slightly modified to fit two instruments without compromising on being a compact violin case. It is also attractive and handmade from top quality luxurious materials to offer you an excellent all in one case.
It offers the ultimate protection for your violins. Its heavy duty condensed molded plywood is hardy and does not easily break or burst through on impact. The entire interior is well padded for protective cushioning.
Inside this casing is hygrometer that shows you when the humidity levels are getting high or low in the box. This helps you know when to remove your violins for temporary humidity drop, or it is safe to leave them in their case.
It full zippered (grade nylon) music sheet pocket, two convenient shoulder straps, four bow holders, and under handle latch with key ensure that you can easily access your violins whenever you want to, carry them over your shoulder, and safely put the casing under lock and key to prevent unauthorized access.
Nice product, don't you think?
Lightweight with handle and shoulder straps for easier carriage.
Made with high-quality, luxurious materials.
Handmade for a better finish.
A hydrometer to show you the case interior humidity levels.
Easy open and close features.
Several owners only have one violin, and there is no variant for them.
There isn't any room for additional accessories inside the casing.
Thermoplastic is a material that is known for its ability to withstand significant amounts of pressure without bowing to it. If your looking for that high tensile strength but in a smaller surface area then you've got yourself the Guardian CV-019 Oblong violin case. This cases outer shell can withstand up to 200 pounds of pressure without cracking so we might just call it unbreakable.
On the inside is a plush interior lining that cushions your violin and sits it comfortably. On this same interior is a suspension padding that absorbs the shock, in the event, that an external force acts on the violin case. Its overall oblong shape also saves you a lot of stress at an airport or hotel check-in as it cannot be mistaken for what it is.
You have easy, quick access to your violin thanks to two simple to use bow holders. Carrying it is relatively easy likewise as it has a black handle on its side. There is a velcro strap to hold your violins neck in the event that you did not close the case properly, and the lid case suddenly opened while being carried.
Plush interior with suspension padding.
Easy to open and close quickly.
Velcro strap for added safety.
The bow holders pop open themselves at times.
No shoulder strap for carrying variability.
The Baker Street BK-4020 is a brown violin case that sports a luxurious vintage design. It is sturdy, yet lightweight because of its overall outer plywood structure. Its elegant plush suede interior makes for all-around suitability for your violin.
The interior is padded to support your fragile instrument. It also has cushioned suspensions that offer ultimate scratch and break protection in the event of an external force hitting your violin case. Inside are a built-in hygrometer and a thermometer that show you when humidity and temperature levels are getting high or low within your case.
The interior is also brown in color, matched with the outer to give you a nice solid tone. The interior is designed with tasteful, rope-pattern accents around its upper and lower edges for a more attractive look. Also inside is an extra interior blanket for added cushioning.
Moving to the outside, you get a full-size, zippered exterior music pocket for your violin accessories and two smaller ones for your personal effects. Over the plywood skeleton is a finely tailored all exterior leather. This elegant, brown leather is covered at several points with textured nylon to give your casing a more classic accent.
Even better, you get two handles (one on the top and a sporty black handle at the side) and a lock to keep intruders out of your case. You also get a removable backpack strap as well as four bow holders and silk backing ribbons for easy and varied carrying possibilities. A classic vintage indeed!
Plush suede exterior with suspension and extra blanket included provides maximum cushioning.
Matching interior and exterior colors.
One large and two small accessory pockets.
Luggage grade nylon zipper and under handle latch with key.
Backpack strap and two handles for ease of carriage.
The plywood casing can only withstand medium levels of pressure.
It only comes in one color (brown).
The Crossrock Violin has a hardened fiberglass outer casing. This fiberglass is reinforced plastic using a special glass fiber that is finely finished to give you a black, smooth and shiny appearance. It is also lightweight (8 pounds) for ease of carriage.
What more do you get with this product?
Aside from its great looking shell-like exterior, the inside is lined with high-quality velvet and has shock suspensions fitted for ultimate violin protection. It has two handles: a Crossrock leather handle at the side and grab handle on the top. It can also be strapped to you back if you'd prefer it that way.
The dimensions are 33.5 x 12.6 x 7.1 inches as it is curved towards the end to make it smaller. It uses two bow holders to keep the case locked and has a key for security on one of the holders. This casing is a great item for your violin as it just looks great and is sure to offer your violin the much-needed protection it deserves!
Hardened casing to guarantee protection.
Shock protection for internal cushioning effect.
Three carrying variations offer a lot of possibilities.
Bow holders allow for easy case opening and closing.
It does not offer you much space to keep any accessories you may have.
The side handle is known to break off quite easily.
Everyone loves leather, but it seems to cost 'an arm and a leg.' The Sky PTVNCW01 Violin Case manufacturers understand this and offer you all the premium leather looks in the outer casing of this item but without the associated high costs. Their secret? They use their own blend of specialized materials to mimic leather down to its finest detail!
The Sky case is lightweight yet durable. It is all weather compatible and is the true definition of "come rain, come shine" as it does well under both conditions, all while protecting its precious contents. With a sturdy solid wood skeleton, and the inside fitted and finished to detail with beautiful, luxurious velvet lining and one matching blanket cover.
It features a vaporizer bottle and holder that automatically keeps the moisture out. You also get a large music sheet pocket on top of this case. With its neck restraint and tailpiece protector, you can be so sure your violin will never fall out.
This case has two handles (side and top) as well as four bow holders, as well as, shoulder straps. With two amply sized storage compartments, you can be sure you'll have somewhere to put your violin accessories or personal effects. This black case sure has a lot to offer you and your violin!
Offers your violin all weather protection.
Vaporizer bottle and holder to keep the moisture out.
Detailed interior with extra cushions and added blanket cover.
Violin restraints to prevent accidental violin fallouts.
It does not offer you a key lock feature.
The Paititi motto: the treasure within. Sure, these guys know what your violin means to you and as such have put a lot of detail into the manufacturing of this case making it lightweight yet hardy and durable.
It has a full-length music sheet pocket at its top. And, there should be no unpleasant surprises with its sturdy zipper as its open and close option. It also features an external hydrometer for humidity checks and control.
On the inside are suede brown and blue cloth cushions to support your violin. At the center of this cushioning are suspensions that absorb shock if the box drops or is hit by another object. This cushion comes with a matching blanket to complete the beautiful design.
Several options are available: shoulder strap, backpack carriage, or use of either of its two top and side handles. With an extra tube included for your violin strings, you sure won't have to leave anything out of the Paititi PTVNQF28!
Feature an external built-in hydrometer.
Cushioned interior with suspensions to protect your violin from external impact.
Extra violin case plastic tube included.
The Protec Professional as in the name is a casing for professionals. So, let us look at the professional features that this case presents.
First off, the exterior is a lightweight, black breathable cloth and leather material. This makes it soft to the touch while not compromising on its main function: protecting your violin.
The breathable casing ensures that temperature and humidity never get to levels that would affect your violin within the case. The full-length exterior has a full sheet music pocket at its rear. You also get a key and code lock system (TSA lock) for you to use either or both of them!
Moving to the internal components, you get a soft wine velvet interior, with suspension padding and a luxurious blanket. These offer all the impact protection you need for your instrument.
General features include a string tube, a hygrometer, four English bow clips, a humidifier, a built-in rain-jacket, a large front pocket, and sturdy handle, hook and loop leatherette closure, and an included shoulder strap. This case is also backpackable as it has an option of you using it with a backpack strap.
We guess you now understand what the Protec folk meant by the "professional" next to their name?
Weather resistant 1680D ballistic nylon exterior.
Hook and loop leatherette closure.
Soft interior with suspension padding and blanket.
Several features and add-ons to offer you the best overall experience.
The backpack straps are a separate item.
While not quite as light as a feather, at 3.31 pounds, the Featherweight C-3960 Deluxe Violin Case seems to be true to its name. However light, this ultra-lightweight offers your violin the ultimate protection.
The wooden frame of this violin case is rigid and reinforced to maximize its ability to withstand impact. This frame features an extra rugged black Cordura nylon which is a material sure to stand up to the elements and look great for many years to come. It has one interior and one exterior accessory compartment and well as two bow holders and adjustable shoulder straps.
The interior is well cushioned and made fancier with padded gray nylon. It offers you a zipper closure which is strong and at the same time firm.
The Featherweight C-3960 is a combination of lightweight, quality craftsmanship. This uniqueness goes even further with extras space for two bows, an arched top, padded neck support with Velcro fasteners, and a hard ABS handle. All this awesomeness; just for you!
Reinforced wooden frame to maximize its ability to withstand impact.
Interior and exterior accessory compartments.
Sturdy open and close zipper.
The interior color and design are not a yes for most.
There are no extra protective paddings, suspensions or a protective blanket with this unit.
The Sky Violin VNCW06 incorporates European luxury design to give it high-standards and beautiful looks. This luxurious Euro-style oblong violin case combines these desirable features with being lightweight and durable.
The VNCW06 is built with sturdy solid wood and has a luxurious cushioned velvet lining. This comes with a matching coffee/brown blanket to add to its beauty and guarantee even more protection for your violin. The coffee/brown cloth exterior is rainproof and can withstand sunlight as well without fading.
There is a neck restraint and tailpiece protector to prevent your violin from accidentally falling out. This cases manufacturers mantra is "the violin case that you can rely on," which seems right on point with all the extra protection features it has.
Well… four bow holders, one clear tube to hold violin strings, hygrometer, and thermometer, large music sheet pocket on top, two ample size storage compartments for rosin, a shoulder rest and shoulder straps, magnetic rain flap, key lock feature, hand carry handles (side or top).
Sky Violin sure knows how to offer your violin "Fort Knox" protection!
Well cushioned interior with matching color blanket.
The D'Luca is a violin case designed for ¾ size violins. But, it also comes in full size and ½ size variants. This violin case comes in a black finely finished durable casing.
This case is lightweight. At just 3 pounds it couldn't be easier to carry. This hardened exterior features a full-length zippered music sheet pocket, a double shoulder strap, as well as brass screws attached to its canvas case cover for rigidity and a stylish look. It also has a key lock feature.
On the inside are suede cushions with an accessory compartment as well as a matching blanket. This simple case is just right for you if you have a slightly smaller sized violin as it fits just perfectly!
Fit for smaller size violins.
Shoulder and hand carrying options.
Cushioned interior with matching blanket.
No hygrometer or thermometer option.
The red and brown interior is not a great match for most.
While the ultimate choice for a violin case purchase will depend on your preference as the player, there are a few things you should look out for.
If you travel a lot, you should favor buying a hard shell case as you never know what might be stored on the case while in travel luggage storage. Lightweight cases are usually cloth based and are not able to withstand great pressure or impact.
The interior should be well cushioned and have suspensions to offer impact protection to your violin. You should also consider features as humidity and temperature indicators and all-weather compatibility of your violin case.
This is widely varied. Some violin cases offer you storage for two violins. If you have two, then this would be just right for you. Also, check that the case interior is neither too large or too small for your instrument. Accessory storage is a likewise very important feature of any violin case as well as a few extra spots for your spare strings and music scripts.
This is totally dependent on your choice and preference. Buy a color and design you will be happy to see every day and also be glad to be seen with.
So, What're The Best Violin Cases?
A violin case represents you. This is because it will be the first impression anyone has of you when you're up and about with the case. It also obviously offers invaluable protection for your prized violin and keeps you playing it without a hitch for much longer.
This violin casing seems to offer the most protective features among all we reviewed. Also, it gives you a professional and great design that you are sure to love. Its strong point of not just measuring humidity and temperature but likewise regulating it as well. Its all-weather compatibility also helped make it the winner.
So, try it out! You sure won't be disappointed.


text:
Heads Monsanto Wins, Tails We Lose (18/3/2008)
Heads Monsanto Wins, Tails We Lose; The Genetically Modified Food Gamble
Robert Weissman
Huffington Post, March 18 2008 http://www.huffingtonpost.com/robert-weissman/heads-monsanto-wins-tail_b_92195.html
There have been few experiments as reckless, overhyped and with as little potential upside as the rapid rollout of genetically modified crops.
Last month, the International Service for the Acquisition of Agri-biotech Applications (ISAAA), a pro-biotech nonprofit, released a report highlighting the proliferation of genetically modified crops. According to ISAAA, biotech crop area grew 12 percent, or 12.3 million hectares, to reach 114.3 million hectares in 2007, the second highest area increase in the past five years.
For the biotech backers, this is cause to celebrate. They claim that biotech helps farmers. They say it promises to reduce hunger and poverty in developing countries. 'If we are to achieve the Millennium Development Goals (MDGs) of cutting hunger and poverty in half by 2015,' says Clive James, ISAAA founder and the author the just-released report, 'biotech crops must play an even bigger role in the next decade.'
In fact, existing genetically modified crops are hurting small farmers and failing to deliver increased food supply -- and posing enormous, largely unknown risks to people and the planet.
For all of the industry hype around biotech products, virtually all planted genetically modified seed is for only four products -- soy, corn, cotton and canola -- with just two engineered traits. Most of the crops are engineered to be resistant to glyphosate, an herbicide sold by Monsanto under the brand-name Round-up (these biotech seeds are known as RoundUp-Ready). Others are engineered to include a naturally occurring pesticide, Bt.
Most of the genetically modified crops in developing countries are soy, says Bill Freese, science policy analyst at the Center for Food Safety and co-author of 'Who Benefits from GM Crops,' a report issued at the same time as ISAAA's release. These crops are exported to rich countries, primarily as animal feed. They do absolutely nothing to supply food to the hungry.
As used in developing countries, biotech crops are shifting power away from small, poor farmers desperately trying to eke out livelihoods and maintain their land tenure.
Glyphosate-resistance is supposed to enable earlier and less frequent spraying, but, concludes 'Who Benefits from GM Crops,' these biotech seeds 'allow farmers to spray a particular herbicide more frequently and indiscriminately without fear of damaging the crop.' This requires expenditures beyond the means of small farmers -- but reduces labor costs, a major benefit for industrial farms.
ISAAA contends that Bt planting in India and China has substantially reduced insecticide spraying, which it advances as the primary benefit of biotech crops.
Bt crops may offer initial reductions in required spraying, says Freese, but Bt is only effective against some pests, meaning farmers may have to use pesticides to prevent other insects from eating their crops. Focusing on a district in Punjab, 'Who Benefits from GM Crops' shows how secondary pest problems have offset whatever gains Bt crops might offer.
Freese also notes that evidence is starting to come in to support longstanding fears that genetically engineering the Bt trait into crops would give rise to Bt-resistant pests.
The biotech seeds are themselves expensive, and must be purchased anew every year. Industry leader Monsanto is infamous for suing farmers for the age-old practice of saving seeds, and holds that it is illegal for farmers even to save genetically engineered seeds that have blown onto their fields from neighboring farms. 'That has nothing to do with feeding the hungry,' or helping the poorest of the poor, says Hope Shand, research director for the ETC Group, an ardent biotech opponent. It is, to say the least, not exactly a farmer-friendly approach.
Although the industry and its allies tout the benefits that biotech may yield someday for the poor, 'we have yet to see genetically modified food that is cheaper, more nutritious or tastes better,' says Shand. 'Biotech seeds have not been shown to be scientifically or socially useful,' although they have been useful for the profit-driven interests of Monsanto, she says.
Freese notes that the industry has been promising gains for the poor for a decade and a half -- but hasn't delivered. Products in the pipeline won't change that, he says, with the industry focused on introducing new herbicide resistant seeds.
The evidence on yields for the biotech crops is ambiguous, but there is good reason to believe yields have actually dropped. ISAAA's Clive James says that Bt crops in India and China have improved yields somewhat. 'Who Benefits from GM Crops' carefully reviews this claim, and offers a convincing rebuttal. The report emphasizes the multiple factors that affect yield, and notes that Bt and Roundup-Ready seeds alike are not engineered to improve yield per se, just to protect against certain predators or for resistance to herbicide spraying.
Beyond the social disaster of contributing to land concentration and displacement of small farmers, a range of serious ecological and sustainability problems with biotech crops is already emerging -- even though the biotech crop experiment remains quite new.
Strong evidence of pesticide resistance is rapidly accumulating, details 'Who Benefits from GM Crops,' meaning that farmers will have to spray more and more chemicals to less and less effect. Pesticide use is rising rapidly in biotech-heavy countries. In the heaviest user of biotech seeds -- the United States, which has half of all biotech seed planting -- glyphosate-resistant weeds are proliferating. Glyphosate use in the United States rose by 15 times from 1994 to 2005, according to 'Who Benefits from GM Crops,' and use of other and more toxic herbicides is rapidly rising. The U.S. experience likely foreshadows what is to come for other countries more recently adopting biotech crops.
Seed diversity is dropping, as Monsanto and its allies aim to eliminate seed saving, and development of new crop varieties is slowing. Contamination from neighboring fields using genetically modified seeds can destroy farmers' ability to maintain biotech-free crops. Reliance on a narrow range of seed varieties makes the food system very vulnerable, especially because of the visible problems with the biotech seeds now in such widespread use.
For all the uncertainties about the long-term effects of biotech crops and food, one might imagine that there were huge, identifiable short-term benefits. But one would be wrong.
Instead, a narrowly based industry has managed to impose a risky technology with short-term negatives and potentially dramatic downsides.
But while it is true, as ISAAA happily reports, that biotech planting is rapidly growing, it remains heavily concentrated in just a few countries: the United States, Argentina, Brazil, Canada, India and China.
Europe and most of the developing world continue to resist Monsanto's seed imperialism. The industry and its allies decry this stand as a senseless response to fear-mongering. It actually reflects a rational assessment of demonstrated costs and benefits -- and an appreciation for real but incalculable risks of toying with the very nature of nature.


text:
"""
Strategies for users selection to be a
possible candidate to be member of a user neighborhood.

Please check the base.BaseUserNeighborhoodStrategy before
implement your own strategy.

"""

# Author: Marcel Caraciolo <marcel@muricoca.com>
#
# License: BSD Style.

from scikits.crab.recommenders.knn.base import BaseUserNeighborhoodStrategy
import numpy as np
from scikits.crab.similarities.basic_similarities import UserSimilarity
from scikits.crab.metrics.pairwise import euclidean_distances

class AllNeighborsStrategy(BaseUserNeighborhoodStrategy):
    '''
    Returns
    --------
    Returns all users in the model.
    This strategy is not recommended for large datasets and
    it is the dummiest one.
    '''
    def user_neighborhood(self, user_id, data_model, similarity='user_similarity',
        distance=None, nhood_size=None, **params):
        '''
        Computes a neighborhood consisting of the  n users to a given user
        based on the strategy implemented in this method.

        Parameters
        -----------
        user_id:  int or string
            ID of user for which to find most similar other users

        data_model: DataModel instance
            The data model that will be the source for the possible
            candidates

        similarity: string
            The similarity to compute the neighborhood  (default = 'user_similarity')
            |user_similarity'|

        distance: function
            Pairwise metric to compute the similarity between the users.

        nhood_size: int
            The neighborhood size (default = None all users)

        '''
        user_ids = data_model.user_ids()
        return user_ids[user_ids != user_id] if user_ids.size else user_ids

class NearestNeighborsStrategy(BaseUserNeighborhoodStrategy):
    '''
    Returns
    --------
    Returns the neighborhood consisting of the nearest n
    users to a given user. "Nearest" in this context is
    defined by the Similarity.

    Parameters
    -----------
    user_id:  int or string
        ID of user for which to find most similar other users

    data_model: DataModel instance
        The data model that will be the source for the possible
        candidates

    similarity: string
        The similarity to compute the neighborhood  (default = 'user_similarity')
        |user_similarity'|

    distance: function
        Pairwise metric to compute the similarity between the users.

    nhood_size: int
        The neighborhood size (default = None all users)

    '''
    def __init__(self):
        self.similarity = None

    def _sampling(self, data_model, sampling_rate):
        #TODO: Still to be implemented in a best way
        return data_model

    def _set_similarity(self, data_model, similarity, distance, nhood_size):
        if not isinstance(self.similarity, UserSimilarity) \
             or not distance == self.similarity.distance:
            nhood_size = nhood_size if not nhood_size else nhood_size + 1
            self.similarity = UserSimilarity(data_model, distance, nhood_size)

    def user_neighborhood(self, user_id, data_model, n_similarity='user_similarity',
             distance=None, nhood_size=None, **params):
        '''
        Computes a neighborhood consisting of the  n users to a given
        user based on the strategy implemented in this method.
        Parameters
        -----------
        user_id:  int or string
            ID of user for which to find most similar other users

        data_model: DataModel instance
            The data model that will be the source for the possible
            candidates

        n_similarity: string
            The similarity to compute the neighborhood (Default = 'user_similarity')

        nhood_size: int
            The neighborhood size (default = None all users)

        Optional Parameters
        --------------------
        minimal_similarity: float
            minimal similarity required for neighbors (default = 0.0)

        sampling_rate: int
            percentage of users to consider when building neighborhood
                (default = 1)

        '''
        minimal_similarity = params.get('minimal_similarity', 0.0)
        sampling_rate = params.get('sampling_rate', 1.0)

        data_model = self._sampling(data_model, sampling_rate)
        #set the nhood_size at Similarity , and use Similarity to get the top_users
        if distance is None:
            distance = euclidean_distances
        if n_similarity == 'user_similarity':
            self._set_similarity(data_model, n_similarity, distance, nhood_size)
        else:
            raise ValueError('similarity argument must be user_similarity')

        neighborhood = [to_user_id for to_user_id, score in self.similarity[user_id] \
                           if not np.isnan(score) and score >= minimal_similarity and user_id != to_user_id]

        return neighborhood


Let's not deny that online dating can be a bit of a minefield - you're putting yourself out there so that anyone can contact you, and you'll meet all kinds of people online!Logging on with the hope of finding love can become a chore if you're not careful.The Serial Dater clocks up a serious amount of time online and when you ask how many people they've dated off the site, their vague answer of, ' I can't remember,' lets you know we're talking triple figures here. His aim is to meet as many women as possible and see where that takes him.There's nothing wrong with going on a few dates, but this man takes it to a whole new level!
Similar to the Fun Guy, the Fast Mover likes to take things at his pace. – I live in Inverness but come down to London at least once a year! The long distancer 'Wow, you look amazing, we have so much in common – i'd love to chat! He's also the guy who has pictures of dogs, landscapes, random inspirational quotes and a turtle he saw on the beach last summer in Tenerife. The w**ker 'If you don't have a dream, how are you going to make it come true' … Intense emails that go on for pages, 4am Skype chats and phonecalls - telling each other you've never felt this way before and you can't wait to meet. The Houdini builds you up and then disappears, usually with no explanation. Yes, his kids are incredibly sweet and they're his world.But he doesn't need to broadcast that on an online dating profile - there's a time and a place!


text:
the kangra cooperative bank limited
the kangra cooperative bank limited karnataka IFSC Code and MICR Code
Browse for city or district wise list of the kangra cooperative bank limited IFSC codes, MICR codes, contact numbers and addresses of bank branches in Karnataka, India
Locate any details of the kangra cooperative bank limited Branch in Karnataka.
the kangra cooperative bank limited karnataka Select District Bagalkot Belgaum Bellary Bengaluru Bidar Bijapur Dakshina Kannada Davanagere Dharwad Gulbarga Hassan Hubli Dharwad Kolar Koppal Mysore Raichur Shimoga Yadgir Select Branch
Hubli Dharwad
How to find ifsc code for THE KANGRA COOPERATIVE BANK LIMITED branches in Karnataka
In the IFSC Code, there is four letter text which represents the THE KANGRA COOPERATIVE BANK LIMITED, while the last six digits represent the particular branch of the bank THE KANGRA COOPERATIVE BANK LIMITED.
These IFSC codes are allotted by RBI, and can never be similar for two branches, irrespective of the same bank, just like the DNA. With such a streamlined process it is easier to find a THE KANGRA COOPERATIVE BANK LIMITED in a specific location, which could be in the State of Karnataka.
The fact that there are One Lakh Thirty Thousand IFSC codes already allotted by RBI, there is chain of THE KANGRA COOPERATIVE BANK LIMITED branches we have in Karnataka. These specific codes ensure that no payment gets transferred to the wrong beneficiary. It is the precision and the vast network of THE KANGRA COOPERATIVE BANK LIMITED that ensures payments happen instantly and THE KANGRA COOPERATIVE BANK LIMITED is able to transfer funds between two parties without any hassles.
The RBI keeps reviewing their available list of IFSC codes, and makes necessary modifications in case a need comes across. You can take a look at the IFSC code list by visiting RBI's official site that has the IFSC codes for THE KANGRA COOPERATIVE BANK LIMITEDs and other.
There are various sublet branches in Karnataka which in turn refers to small banks, like co-operative banks that aren't allotted IFSC codes that are accessible via bank names and branch. A simple yet effective example is YESB0NCCB01 which could be mistaken for Yes Bank, but is being used by The Nawada Central Co-operative Bank.
There are various ways to find about your preferred bank, and one such way is by searching about the same on Google. The use of mobile payments with THE KANGRA COOPERATIVE BANK LIMITED in Karnataka has seen a rise, and with various banking merchants in Karnataka coming into the forefront, we may have more options by our side. With a streamlined process, and RBI at the helm of the proceedings you can be sure that your money is safe and you don't need to worry about the process or the financial transaction with THE KANGRA COOPERATIVE BANK LIMITED. There is a possibility that more merchants will join this evolution of banking technology in THE KANGRA COOPERATIVE BANK LIMITED Karnataka, and we may see more and more payment options in due course of time in THE KANGRA COOPERATIVE BANK LIMITED, Karnataka.
It is now important that you get your KYC done for using banking services with THE KANGRA COOPERATIVE BANK LIMITED, and while the same was disputed, no one can or will dispute about the benefit of IFSC Codes in Karnataka . Nothing feels better in this fast paced world than the use of an IFSC code of THE KANGRA COOPERATIVE BANK LIMITED to transfer funds between places in Karnataka at the click of a button. What definitely needs to be checked is the use of right THE KANGRA COOPERATIVE BANK LIMITED IFSC code, so that the remittance doesn't return back to the remitter, while you as a beneficiary wait for the money to hit your THE KANGRA COOPERATIVE BANK LIMITED account.
Bajaj Finserv Offers Unique Proposition on Personal Loans
27 November 2017:Pune, Maharashtra, India Bajaj Finserv offers a unique proposition - Personal Line of credit to its customer that allots a specific amount that can be withdrawn and used for any financial requirements for any purpose you can easily withdraw money. Personal Line of Credit is a personal loan that allows the consumer to use any amount within the assigned limit and pay interest on the amount withdrawn. This is a special loan provide by Bajaj Finserv where the user only pays the interest amount as EMI. Consumer opting for Line of credit pay up to 45% lowers EMIs every month. Benefits of Personal Line of Credit by Bajaj Finserv 1. Lower instalments 2. Flexibility 3. No collateral 4. No hidden costs
SBI Reduces Home Loan Rate To Lowest In 6 Years
5th November 2016: Effective from November 1st 16, SBI the largest bank in the country has revised the home loan rate of interest to 9.10% per annum for women borrowers, which was earlier 9.25%. For other borrowers the rates have been revised from 9.30% to 9.15%. These rates are effective for a loan amount up to Rs. 75Lacs.
SBI offers lowest interest rate on home loans at 8.30%.
14 November 2017:Were you scouting for the best offers on home loan for your dream home? In a huge relief to customers, the country's major lender State Bank of India (SBI) has reduced lending rate on the home loan to 8.30%. With this reduction, SBI's offering in the home loan segment has become the lowest on the market. On November 1, your bank reduced its one-year MCLR by 5 basis take into account 7.95% against 8 every cent earlier. Home loans lending rates are pegged over and above one-year MCLR rate. While for the salaried men the spread stands at 40 most basic points, women borrowers have to pay 35 most basic points over and above MCLR for a property loan. The bank has reduced auto loan rates too. The lending rate now stands reduced to 9.2% from 9.25% earlier after the lower in MCLR. The women loan borrowers can avail the same at 9.15% due to a reduced spread of MCLR applicable to them. ICICI Bank has an MCLR rate of 8. 20 percent for one year which has been last reduced in January 2017. An additional one more private sector bank, Axis Bank has additionally reduced their MCLR to 8.25% in January this year. Bank of India (BoI) tinkered with its MCLR in The month of September, this year, in order to reduce its rate from 8.40% to 8.30%. According to experts, other banks will be required to reduce MCLR rate due to a reduction in incremental expense of borrowing.
Punjab National bank (PNB) cuts the Lending rate by 0.70%
1st January 2017:Punjab National Bank has reduced its Marginal Cost of Lending Rate (MCLR) by 0.70% to 8.20% with effect from 1st january2017. Clearly, the steepest cut in MCLR by 70 bps from 1st January 17 comes as result of surge in deposits into PNB post November 8th demonetisation announcement. Home Loans, Personal Loans, Car loan and other loans from ONB to get cheaper anytime soon, but the announcement from PNB is yet to come.
Bank of Maharashtra cuts MCLR by 0.5% for all tenors
07 November 2017:Bank of Maharashtra has reduced its marginal costs of funds based lending rates (MCLR) by 0.05 percent for all the tenors up to one year. The new rates will be effective from 7 November 2017. "The bank has reviewed its marginal cost of funds based lending rates (MCLR) with effect from November 7, 2017," it said in regulatory filing. For all the tenors overnight, one month, three months, six months and one year, the bank had cut the MCLR by 0.05 percent each to 8.10 percent, 8.15 percent, 8.20 percent, 8.55 percent and 8.65 percent each. However, the bank has kept its base rate unchanged at 9.60 per cent. From April 2016, banks migrated to MCLR system for new loans and review it on monthly basis. The bank may choose to keep it unchanged to revise it downward or upward depending on the market conditions.
Govt sees RBI to cut rate amid slowdown
02 October 2017:The government expects a helping hand from the RBI in the form of an interest rate cut in the next economy policy review on Wednesday to increase growth which fell to a three-year low of 5.7 percent in the June quarter. According to an SBI report, the RBI is likely to maintain status quo on the key lending rate in its October 4 policy decision as it is "stuck in a puzzle" of low growth and global uncertainties. It said that against the background of flexible inflation targeting, the clear question that arises is choosing between the move towards the 4 percent inflation target quickly or staying in the inflation band. "We expect the RBI to stay on hold at the upcoming meeting as rising incoming inflation and projections of further acceleration in inflation ahead will mean that there would be limited space for further easing," Morgan Stanley said in the research note.A top finance ministry official said there is scope for a RBI rate cut at the next policy review as retail inflation continues to be low. Though, retail inflation rose to a five-month high of 3.36 percent in August due to costlier vegetables and fruits. The consumer price index-based inflation was 2.36 percent in July. Assocham has written to the Reserve Bank of India and the Monetary Policy Committee to cut the interest rates at least by 25 basis points, given the challenges being faced by the economy which needs immediate measures for revival of growth. "At least 50 bps elbow room can be taken with regard to 3.2 percent fiscal deficit for the current and the next financial year," the chamber said.
Midnight Roll-out Of GST: Impacts on Everyone's life
30 June 2017:The midnight launch of the GST on Friday, June 30, by Prime Minister Narendra Modi will unify 29 states and 1.2 billion population of the country into a single vast market. GST will impact people life in many ways some of them will be visible right after the launching. Some of the visible impacts seen are as follows-
If you enter a restaurant at 11 pm on Friday and leave after midnight, you will have to bear the new GST instead of the usual service tax.
Taking a taxi on Friday and paying for it after midnight will leave you paying GST instead of VAT.
Customers will be levied with GST on hotel bills settled any time after July 1.
The new tax regime will apply on online shopping after midnight.
As GST will make economy class air travel cheaper and is going to increase the tax on business class, buyers are advised to buy economy tickets after midnight and business class tickets before midnight.
Government will consider extending July 31 deadline for income tax return
29 July 2017:There is a possibility of enlarging July 31 deadline for filing income tax return, a senior bureaucrat in the finance ministry told ET Now. If a decision is taken to extend the deadline, it is unexpected to inform the public till the last day as the taxman does not want to assess to get unenthusiastic." Taxpayers this year have been facing many new difficulties, so prima facie there is a genuine case to extend the deadline", as said by the Government officials. Illustration this, Chartered Accountants are burden with extra work and have been busy with the transition to the Goods and Services tax. "Chartered Accountants' immediate priority has been to help their business clients' transition for GST, and not filing personal income tax returns," said the sources.
RBI decided to relook into their guidelines for white label ATMs
07 September 2017:The RBI in its annual report published last week said that it has been decided to review the WLA guidelines comprehensively, particularly from the perspective of WLA deployment targets. "If they are talking about deployment targets not being met, it would help if they found out the reasons behind the slow pace of the industry and one of the major reasons is the low interchange fees for ATM transactions," said Sanjeev Patel, chief executive officer of Tata Communications Payment System. "There are few major issues which we have highlighted to the central bank time and again, though at present we do not know what the regulator plans to do with the sector, it will be extremely helpful if few of our demands are listened to by RBI," said Loney Antony, managing director of Hitachi Payment Services. There is also a need to relook into the number of entities that had been licensed by the central bank. The statement by the Reserve Bank in its annual report indicates the amount of seriousness with which they are looking at the sector.
If You Are an NRI You Can Swap Demonetised Notes
31st December 2016: The finance ministry of India has announced that all the non-resident Indians(NRIs) can exchange the demonetised Rs. 500/- and Rs. 1000/- notes till June 30th, 2017. The notes can be deposited at specified RBI offices. This is announced post-President Shri Pranab Mukherjee cleared an ordinance which criminalize possession of scraped demonetised notes amounting over Rs. 10, 000. Under the new ordinance holding, transferring and receiving demonetised is illegal and a punishable offense.


The paper analyses actual and future strategic projects in New Belgrade – turbulent urban space in transition and mechanisms of contemporary urban managing cooperation between the public and the private sector as a role for spatial (re)development.
Urban concept, with a possibility for new spatial interventions and a good infrastructural level, marks New Belgrade as a perfect field for various new urban projects and investments – determinations for urban municipal area of Belgrade. One of the last European urban societies in transition, with new reinventing and actual global influence NBG grew into an interesting point for investments and the whole mechanism of urban transformation produced within this market challenges. The pivot point for actual and future financial and urban development in the region, this area presents a polygon for new strategy of re-urbanization based on duality of private- public investments.
This mode, as a new example, can be adapted like a dominant concept for future interventions in the field of spatial planning and architectural design as well.
Areas on main infrastructural points are interesting for private investments with all recognisable possibilities to make appropriate profit, and on the other side, city public administration have interest to use them like a direct input for future infrastructural and spatial projects. It is very important to make a correct cooperation which will enable an attractive free market game and at the same time high quality and the best possible appropriate spatial concepts in case of citizens and architectural and urban values. Even at the beginning of evolution; this mechanism needs to make a balance between a wild market influence and sustainable identity in order to suspend effects of negative spatial transformation (it has that possibility to learn from surrounding examples ). At the same time taking positive experiences from developing urban systems can be an important roll in self- development.
Actual and strategic projects in progress ( private/public sector) in that way put more attention on keeping a positive trend in quality of urban redesigned of NBG with all expected effects for economical development which will be produced in this area.


text:
Aphex Twin - Selected Ambient Works 85-92 Double LP
2013 reissue. Import vinyl LP. Irish DJ Richard James (a.k.a. Aphex Twin) got into the techno sound at it's very dawn. He soon became a master of the "ambient" techno sound, later inspiring many other artists. Many critics consider his double album "Selected Ambient Works 85-92" as his most seminal recording. More than just a thumping raver groove, intricate melodies woven into and around the beats keep the music anything but dull. Some of it's most noted cuts are "Tha," "Heliosphan," "Hedphelym," "Schottkey 7th Path" and "Delphium." In all there are 13 tracks on this 2-LP import. This version of "Selected Ambient Works 85-92" is a reissue.
A1 Xtal 4:51
A2 Tha 9:01
A3 Pulsewidth 3:47
B1 Ageispolis 5:21
B2 I 1:13
B3 Green Calx 6:02
B4 Heliosphan 4:51
C1 We Are The Music Makers 7:42
C2 Schottkey 7th Path 5:07
C3 Ptolemy 7:12
D1 Hedphelym 6:02
D2 Delphium 5:36
D3 Actium 7:35
Label: Apollo – AMBLP3922
Format: 2 x Vinyl, LP, Album, Reissue, Remastered
Style: IDM, Techno, Electro, Experimental, Ambient


The Douglas F4D Skyray (always known as the 'Ford' because of its designation) was intended to be the US Navy's first supersonic fighter, though in fact it was really a transonic aircraft.
A very handsome machine it had a relatively short career but equipped quite a number of units both with the Navy and the US Marines. It was flawed and fell short of being a true all-weather fighter, but it had excellent manoeuvrability and an impressive rate of climb and it provided many pilots with their first experience of jet aircraft.
The altogether sleeker F5D Skylancer was a true supersonic successor and provided a considerable advance over the Skyray, but it fell victim to cost cutting and only a few examples were completed, some of which were used for research.
This book is written by Tony Buttler and is superbly illustrated by Richard J.Caruana.


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Gary Miron's and Jessica L. Urschel's A Study of Student Characteristics, School Finance, and School Performance in Schools Operated by K12 Inc. [PDF], from the school of education at the University of Colorado Boulder, is a substantial and critical study of K12 Inc., the largest private provider of virtual schooling in the US. Education Week reports that the value of K12's stock fell by over 30% within three days of publication.
Photo of William Gibson by Frederic Poirot; original source; file licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.
Mike Sharples sent me a link to this pre-release version [PDF] of Innovating Pedagogy 2012, which he has written for the Open University with Patrick McAndrew, Martin Weller, Rachel Ferguson, Elizabeth FitzGerald, Tony Hirst, Yishay Mor, Mark Gaven, and Denise Whitelock.
The report gives an accessible overview of ten new forms of teaching, learning and assessment, and it has been written for non-academics. It looks to have been inspired by the EDUCAUSE Horizon Reports, but with a focus on learning and teaching.
This 3 July 40 minute interview by Jason Calcanis with Udacity founder Sebastian Thrun is, how shall I say? very "West Coast", even setting aside the advertisements.
I found myself feeling greater empathy with the interviewee than the interviewer, though you do have to admire Calcanis's interview technique, apart from his tendency to interrupt a bit too much.
Thrun has a very clear vision; his heart is in the right place; and he has understood in a deep and serious way how online learning, done on a really big scale, and organised and supported in the right way, can and will change things for the better. The kinds of changes that Thrun envisages (to models for learning, to what it means to be a teacher, to the educational establishment) will -- if they are done right -- be worth it from the point of view of learners and the world at large. But if you were now setting out on a career as a teacher, especially in post-compulsory education, wouldn't you have to take seriously Thrun's points about the fall in the proportion of the workforce in the developed world involved in farming, once modern mechanised methods took hold?
On 18 July I will do an interview for ALT News Online with Harvard physicist Eric Mazur, who will be a keynote speaker at the 2012 ALT Conference, but who happens also to be speaking in my home town Sheffield. I asked the ALT Members' Discussion List for suggestions for questions to use in the interview, and here are the 10 interview questions I will use as the basis of the interview.
1. Was there a breakthrough moment when the idea of peer instruction came to you? Can you describe it?
2. Your original work on peer-based instruction preceded the ubiquitous Internet. What difference has the Internet and the widespread availability of "always on" devices made to your thinking on peer-based instruction?
Lesson 1: No president with an activist Board of Governors is now safe if the university does not have a clear institutional strategy for online learning. It's now become the latest buzzword in post-secondary education.
Lesson 2: MOOCs may be the answer – but what is the question? May there be better solutions to the question? And may such solutions exist already but are not being sufficiently supported?
Lesson 3: Governments are increasingly not going to accept the status quo or business as usual. In particular, if your institution doesn't have a meaningful strategy for innovation in teaching, for improving the cost-effectiveness of the organization, and particularly a strategy for online learning, you will become increasingly vulnerable to funding cuts.
Lesson 4: Prepare and train your faculty to deal with change and innovation in teaching, and in particular for teaching online.
Lesson 5: If public institutions do not respond effectively to the challenge of change, they will eventually be swept aside by the private sector – and will deserve it.
Epigeum is a spin-out company from Imperial College London. Co-founder David Lefevre sent me this piece about mass online tutoring systems. He wrote it partly prompted by hearing a talk - "one of the most impressive presentations I have seen in our field" - by Daphne Koller (co-founder of Coursera), on 2 July at the University of London Computer Centre.
Human tutors are present but the delivery system allows them to operate largely at a meta level and therefore teach many more students than is possible via more traditional methods. ..... As anyone who has taken a course on these systems will attest, the learning experience does not feel impersonal. The effect is a rich, engaging experience far removed from the solitary browsing experience provided by OpenCourseWare.
Nearly two years old, but still fresh, this post by Mark Guzdial in his Computing Education Blog, is worth reading. As an aside, it has an interesting description of how/why "ordinary" users fail when they try to edit Wikipedia. Mark's Education is already Gamified (from which I came across "Just how little students learn") sheds interesting light on the current enthusiasm for badges, and why the "badge fad" needs treating with some care.