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northernlite » Rock » Dark Tranquillity - Manifesto Of Dark Tranquillity
Dark Tranquillity - Manifesto Of Dark Tranquillity
Dark Tranquillity Europe Century Media Death Metal Heavy Metal 2009
1 UnDo Control 5:11
2 Not Built To Last 3:38
3 The New Build 4:06
4 Final Resistance 3:01
5 The Sun Fired Blanks 4:17
6 The Treason Wall 3:31
7 Terminus (Where Death Is Most Alive) 4:24
8 Misery's Crown 4:14
9 Haven 3:32
10 The Lesser Faith 4:38
11 Hours Passed In Exile 4:46
12 ThereIn 5:55
13 Focus Shift 3:36
14 Lost To Apathy 4:37
15 The Wonders At Your Feet 3:02
16 Indifferent Suns 3:36
17 My Negation 6:29
18 Monochromatic Stains 3:38
Artwork, Design – medialogistics.com
Bass – Michael Nicklasson
Drums – Anders Jivarp
Electronics – Martin Brändström
Guitar – Fredrik Johansson (tracks: 16 to 18), Martin Henriksson, Niklas Sundin
Photography By – Marcus Bergman
Photography By [Original Cover Photo] – Karim Hatoum
Voice – Mikael Stanne
"Best-Of" compilation from the Century Media years, releases at a reduced price during the Metal for the Masses Campaign 2009.
Note: Daniel Antonsson is credited as new bass player but he does not play in any track
Note: Track durations taken from the CD player
Note: Booklet contains an introductory biography.
Tracks 1 to 4 taken from the album "Fiction".
Tracks 5 to 7 taken from the album "Character".
Tracks 8 to 11 taken from the album "Damage Done".
Tracks 12 to 15 taken from the album "Haven".
Tracks 16 to 18 taken from the album "Projector".
(C) Copyright Control (tracks 1 to 7)
(C) Magic Arts Publishing (tracks 8 to 18)
(P) 2009 Century Media Records Ltd.
Manufactured in Germany
Mastering SID Code: IFPI LB 46
Matrix / Runout: 53514654/9978872 23
Copyright (c) – Copyright Control
Published By – Copyright Control
Copyright (c) – Magic Arts Publishing
Published By – Magic Arts Publishing
Phonographic Copyright (p) – Century Media Records Ltd.
Songs in album Dark Tranquillity - Manifesto Of Dark Tranquillity 2009. Dark Tranquillity - Focus Shift. Dark Tranquillity - Terminus Where Death is Most Alive. Dark Tranquillity - The Lesser Faith. Dark Tranquillity - Misery's Crown. Dark Tranquillity - The New Build. Dark Tranquillity - Lost to Apathy. Dark Tranquillity - My Negation. Dark Tranquillity - Final Resistance. Dark Tranquillity - Monochromatic Stains. Dark Tranquillity - Hours Pa. Compilation CD by Dark Tranquillity. Released on February 2009 through Century Media Records. Focus Shift 2. Terminus Where Death free to Dark Tranquillity Manifesto Of Dark Tranquillity Focus Shift, Terminus where Death Is Most Alive and more. 18 tracks 76:41. Discover more music, concerts, videos, and pictures with the largest catalogue is the eighth studio album by the Swedish melodic death metal band, Dark Tranquillity. The album was released by Napalm Records on April 19, 2007, and by Century Media in the UK on April 23, and in the US on April 24. This is the last new material to feature Michael Nicklasson as their bassist before leaving in August 2008 and the last release to be recorded at Studio Fredman. Manifesto of Dark Tranquillity. Sitting at the heart of one of metal's most influential scenes, Dark Tranquillity have earned themselves a spot in the metal hall of fame as one of the Gothenburg melodic death metal scene's founding fathers. Collecting some of their greatness into one compilation, Manifesto of Dark Tranquillity captures some of the high-intensity riffage that helped to put both the band and an entire scene on the map. Delivering plenty of epic songs, rapid-fire guitar heroics, and just the right mix of melody and brutality, Manifesto is a must-have for anyone not already familiar with Dark Tranquill. Dark Tranquillity: Swedish melodic death metal band from Gothenburg. They are considered one of the pioneering acts of the Gothenburg metal scene, which also includes bands such as In Flames and At the Gates. Dark Tranquillity is regarded as the Gothenburg fathers in the film entitled Out of Nothing: A DT Documentary released by Century Media, which was filmed in Gothenburg, Sweden in April 2009. Atoma, Forward Momentum, Monochromatic Stains и другие песни. Dark Tranquillity discography all. Where Death Is Most Alive Tour 2008 2008. Yesterworlds 2009. Dark Tranquillity. Type: Compilation. Tracks 1 to 4 taken from the album Fiction. Tracks 5 to 7 taken from the album Character. Tracks 8 to 11 taken from the album Damage Done. Tracks 12 to 15 taken from the album Haven. Tracks 16 to 18 taken from the album Projector. extreme music, экстремальная музыка, metal, металл, grindcore, грайндкор, grind, brutal, брутал, black metal, блэк металл, doom metal, дум металл, death metal, дет метал, folk metal, pagan metal, heavy metal, хэви металл, gothic metal, готика, металл альбомы, free music, бесплатная музыка, свободный обмен музыкой, новинки, раритеты, new and rare music, music discussions, discographies, band history, дискографии, истории групп, обсуждение музыки. Dark Tranquillity : Manifesto of Dark Tranquillity,альбом, рецезия, трек-лист, mp3, тексты песен. Dark Tranquillity is a Swedish melodic death metal band from Gothenburg
Performer: Dark Tranquillity
Title: Manifesto Of Dark Tranquillity
Country: UK & Europe
Released: 02 Mar 2009
Style: Death Metal, Heavy Metal
Source: CD, Compilation
№ Cat: 9978872
Label: Century Media
Related to Dark Tranquillity - Manifesto Of Dark Tranquillity MP3 FLAC:
Shadowkings - Tranquillity
Roger St-Denis - Spa
John O'Hare - Energy Grooves
Dark Tranquillity - Live Damage
Illdisposed - Dark
Dark Tranquillity - Projector
Dark Tranquillity - Fiction
Dark Tranquillity - Atoma
Dark Tranquillity - Skydancer
Dark Tranquillity - Character


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Malarstwo religijne – przedstawienia Boga Ojca, Trójcy Świętej i aniołów, epizodów ze Starego i Nowego Testamentu, scen z życia Matki Boskiej, wizerunków świętych i błogosławionych oraz wydarzeń z historii i życia Kościoła (chrystianizacja Europy, mnisi, życie liturgiczne, rok kościelny i jego święta, sakramenty, modlitwa i medytacja itp.)

Typy przedstawień
 prezentacyjne (poszczególne Osoby Boskie i cała Trójca Święta, patriarchowie, prorocy, kapłani, królowie i bohaterowie Starego Testamentu, apostołowie, Ewangeliści, święci i dostojnicy Kościoła, reformatorzy, twórcy nowych wspólnot chrześcijańskich),
 dewocyjne (Ecce Homo, Chrystus Frasobliwy, Niesienie Krzyża, Madonna z Dzieciątkiem, Pieta, przedstawienia Najświętszego Serca Pana Jezusa itp.),
 historyczne (sceny ze Starego i Nowego Testamentu, apokryficzne sceny z życia Marii i Świętej Rodziny, motywy z życia świętych),
 alegoryczne (Fons Vitae, Hortus deliciarum, Tablica Prawa i Łaski, Speculum Humanae Salvationis, Concordantia Caritatis, Żywe Drzewo Krzyża, personifikacja Cnót, Przywar i Sztuk Wyzwolonych, emblematyka religijna).

Formy
 mozaiki (Rawenna),
 witraże (Katedra w Chartres),
 freski na ścianach i sklepieniach (Kaplica Sykstyńska),
 jednorodne tematycznie i formalnie cykle obrazów w kaplicach kościelnych i prywatnych (Kaplica Scrovegnich),
 malarstwo ołtarzowe (dyptyki, tryptyki, poliptyki, pentaptyki) (Ołtarz z Isenheim),
 ikony (ikonostas),
 acheiropoieta – przedstawienia Jezusa Chrystusa "nieuczynione rękoma ludzi", uważane za powstałe w sposób nadprzyrodzony (Mandylion, chusta św. Weroniki, Całun Turyński),
 Droga Krzyżowa – zespół (od. XV w. 14 stacji) przedstawień obrazujących Mękę Pańską (labirynty posadzkowe w katedrach gotyckich, Drogi Krzyżowe w przestrzeni miejskiej, kalwarie),
 obrazy dewocyjne do użytku prywatnego,
 małe ołtarzyki podróżne zamykane na czas transportu,
 iluminowane modlitewniki rękopiśmienne i drukowane (całostronicowe kompozycje ze scenami figuralnymi, ornamenty oplatające tekst lub inicjały).

Bibliografia
 Pismo Święte Starego i Nowego Testamentu (zwłaszcza Księgi Mojżeszowe i Ewangelie),
 ogólnochrześcijańskie wyznania wiary,
 nauka Ojców Kościoła,
 postanowienia soborów,
 apokryfy, żywoty świętych, miracula, wizje mistyczne,
 własne doświadczenia historyczne i duszpasterskie poszczególnych społeczności lokalnych.

Funkcje
 lekcja wiary dla ludzi niepiśmiennych (błędnie utożsamiana z funkcją kodeksów tzw. Biblii pauperum),
 wizualne przypomnienie tajemnicy Wcielenia i dokonań świętych,
 zachęta do pobożności.

Zobacz też
 Ikonografia chrześcijańska
 Kościół katolicki
 Historia malarstwa
 Kult obrazów

Bibliografia
 Biblia w malarstwie, Poznań: Penta, 1992,

 Tadeusz Boruta, O malowaniu ciała i duszy, Kielce: Jedność, 2006,

 Chiara de Capoa, Stary Testament. Postacie i epizody, Warszawa: Arkady, 2007,
 Regis Debray, Nowy Testament w arcydziełach malarstwa, Warszawa: Świat Książki, 2009,
 Regis Debray, Stary Testament w arcydziełach malarstwa, Warszawa: Świat Książki, 2009,
 Michele Doloz, Radalfo Papa, Oblicze Ojca, Kielce: Jedność, 2007,
 Jacques Duguesne, Francois Lebrette, Historia Kościoła w arcydziełach malarstwa, Warszawa: Świat Książki, 2009,
 Jacques Duguesne, Francois Lebrette, Żywoty świętych w arcydziełach malarstwa, Warszawa: Świat Książki, 2009,

 Gianni Guadalupi, Świat Biblii w obrazach, Warszawa: Arkady, 2008,

 Jezus według mistrzów, red. Elżbieta Olczak, Warszawa: Demart, 2008,
 Ikonografia nowożytnej sztuki kościelnej w Polsce, t.1-2, red. Janusz St. Pasierb, Warszawa: ATK, 1987.
 Virdis Caterina Limentani, Pietrogiovanna Mari, Arcydzieła malarstwa ołtarzowego, Warszawa: Arkady, 2004,

 C. Pietrangeli, Watykan. Arcydzieła malarstwa, Warszawa: Arkady, 2000,

 Słownik terminologiczny sztuk pięknych, red. S. Kozakiewicz, Warszawa 2007,

 M. Zlatohlavek, C. Muller-Ebeling, Ch. Ratsch, Sąd Ostateczny, Kraków: WAM, 2002,

Linki zewnętrzne
 Biblia w malarstwie
 Malarstwo religijne
 Sztuka biblijna

Tematyka w malarstwie

redpajama_set_name: RedPajamaWikipedia


XXIV, 496 S., 72 s/w Tab.
Primate Craniofacial Function and Biology is an integrative volume with broad coverage of current research on primate craniofacial biology and function. Topic headings include: the mammalian perspective on primate craniofacial form and function, allometric and comparative morphological studies of primate heads, in vivo research on primate mastication, modeling of the primate masticatory apparatus, primate dental form and function, and palaeoanthropologic studies of primate skulls. Additionally, the volume includes introductory chapters discussing how primatologists study adaptations in primates and a discussion of in vivo approaches for studying primate performance. At present, there are no texts with a similar focus on primate craniofacial biology and no sources that approach this topic from such a wide range of research perspectives. This breadth of research covered by leaders in their respective fields make this volume a unique and innovative contribution to biological anthropology.
Primate Craniofacial Function and Biology is an integrative volume with broad coverage of current research on primate craniofacial biology and function. Topic headings include: the mammalian perspective on primate craniofacial form and function, allometric and comparative morphological studies of primate heads, in vivo research on primate mastication, modeling of the primate masticatory apparatus, primate dental form and function, and palaeoanthropologic studies of primate skulls.
Additionally, the volume includes introductory chapters discussing how primatologists study adaptations in primates and a discussion of in vivo approaches for studying primate performance. At present, there are no texts with a similar focus on primate craniofacial biology and no sources that approach this topic from such a wide range of research perspectives. This breadth of research covered by leaders in their respective fields make this volume a unique and innovative contribution to biological anthropology.


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Brandon Dyer
Chargers forward, Ubong Okum (right), and Andrew College forward, Demarco Bethea (left), have a jump ball to start off their game on Jan. 19, 2023.
Brandon Dyer, Sports Editor
The men's Chargers basketball team faced off against the Andrew College Tigers Thursday night, Jan. 19, in what would be a game that would ultimately end in them hanging on to a 78-74 overtime win.
There was more on the line in this game for the Chargers than just another notch in the win or loss column, but it would put the team's record at 8-8, which was a huge milestone for Chargers head coach JJ Merritt.
"It feels good to be back at .500, but there's still a lot of work to do… You start a season like we did and it's easy to put your head down and break apart as a team, but one thing we have stressed is keeping this thing together," Merritt said.
The Chargers started the season 2-7 before winning six of their last seven games.
Chargers guard Julian Dozier would end with nine points in the contest while Akili Evans would lead the Chargers in scoring with 16 points. Other notable Chargers scorers included Joel Pullen, with 14 points, and PJ Carter, with 15 points.
The first half of the game was a defensive battle, with neither team able to take charge, as they would trade blows back and forth. The Tigers would head into halftime with a 24-21 lead.
Chargers guard Julian Dozier (right) signals for another play to set a screen for him during their game against Andrew College on Jan. 19, 2023. (Photo by Brandon Dyer)
Coming out of the locker room for the second half was a different tale for both teams, as the offenses took over. The Tigers held a 9-point lead with four minutes remaining as the game was winding down.
The Chargers would pressure the Tigers defensively, leading to five turnovers in the final five minutes of the game. Chargers guard Akili Evans played a major part in that defensive run, coming away with two steals.
"I was just doing what I could. I felt like my shot was off for most of the game and I wanted to contribute any way that I could," Evans said.
Those turnovers would propel the Charger's offense enough to take a 3-point lead with one minute left after an inbound steal by Evans led to an and-one basket on the offensive side.
The Chargers couldn't get defensive stops with one minute remaining in regulation, resulting in an opportunity for the Tigers to tie the game with six seconds left. They would make the most of that opportunity, with Tigers guard Elliot Yorke Jr. making a 3-point attempt with .2 seconds left to take the game into overtime.
Dozier took over for the Chargers on offense in overtime, scoring seven of the team's 12 points.
"The first 35 minutes of the game, I played pretty embarrassing and thankfully we went into overtime and I was able to prove myself," Dozier said.
Dozier and Evans were the only two Chargers players that scored in overtime.
"We've been in overtime before so we knew what we needed to do to win," Meritt said.
The Chargers will be back at home next Saturday to take on the East Georgia State Bobcats as part of a doubleheader with the women's basketball team.
Brandon Dyer, Sports Editor & Podcast Host
Sports editor Brandon Dyer strives to become the next big thing in journalism. He has been a part of the Six Mile Post staff for four semesters and wants...
Injuries the new norm for today's athletes
Dennis-Cassanova's fresh start
NBA Predictions
Valentine, Brannigan lead the way in Chargers win

redpajama_set_name: RedPajamaCommonCrawl


One exception is if there is a special relationship between either the plaintiff and the defendant or between the defendant and the third party. Examples of special relationships are parents and their children, as well as employers and their employees. In these situations, the parents and the employers are in the best position to protect others against the risk that the children or the employees pose towards others. Another exception is the "negligent undertaking doctrine." Under that doctrine, a person who voluntarily acts to protect another person has a duty to exercise due care if certain conditions are satisfied.
California's Supreme Court has explained that to show that a defendant has a duty towards a plaintiff in cases where one would not normally apply, the plaintiff must prove that an exception applies, and that certain factors support imposing such a duty. Here, the plaintiff argued there was a special relationship between the local chapter and the national chapter. The court reasoned that the national fraternity does not monitor or control the day-to-day operations and activities of the local chapter. Therefore, there was no special relationship between the national chapter and the local chapter, and the national chapter did not have a duty to protect the plaintiff from the local chapter's conduct. In addition, the court determined there was no special relationship between the plaintiff and the national chapter by virtue of her status as an invitee on the premises. Finally, the court rejected the plaintiff's negligent-undertaking argument. The court reasoned that the national chapter did not direct the local chapter's day-to-day activities, and did not undertake a duty to directly supervise or control the local chapter.
If you have been injured in a California slip-and-fall accident, the consequences to you and your family can be devastating. Medical bills can be extraordinary and some injury victims are unable to work. The Neumann Law Group is dedicated to helping victims navigate the legal system so that they can obtain the financial compensation they deserve and hold others accountable for their actions. We provide comprehensive, trustworthy legal representation in a wide range of legal cases. Call us at 1-800-525-6386 or fill out our online form to set up a free consultation.


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Q: Open Source Library that read Shapefile for Reverse Geocoding I am looking for an open source library that enables us to read/query shapefile (ESRI shapefiles).
Basically I have an application that performs a reverse-geocoding similar task.
The application takes inputs as latitude/longitude and it must return corresponding zipcode.
Therefore I am looking for a library which will basically read the given shapefile and will answer to the queries like (lat/long -> zipcode). I have with me the Zipcode Tabulation Area TIGER shapefile which is made available by US Census Data.
Does anyone know of any such a library ?
Thanks!

A: take a look at GeoTools: http://docs.geotools.org/latest/userguide/tutorial/quickstart/index.html

redpajama_set_name: RedPajamaStackExchange


Father's Day | Lovin' Blue Mountain!
You can tell what was the best year of your fathers life, because they seem to freeze that clothing style and ride it out.
I gave my father a $100 and said " Buy yourself something that will make your life easier". So he went out and bought a present for my mother.


Gathering photographs, organizing and assembling them in a scrapbook has created a new industry, scrapbooking. And the tool that had added of of the major sources of new artwork ideas is the Universal Laser and Cutting System. The ULS system is the leader in this industry because it can cut a variety of materials that gives the scrapbooking queens and kings the ability to display their family history. Below are some sample materials used in the scrapbooking industry.


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Tag Archives: Hau 2
November 14, 2013 by wasswasswass
There are known knowns; there are things we know that we know.
There are known unknowns; that is to say, there are things that we now know we don't know.
But there are also unknown unknowns – there are things we do not know we don't know.
– Donald Rumsfeld
I am curious what unknown Meg Stuart/Damaged Goods is venturing into with Violet that I saw at HAU 2 on October 30, 2013. The program states that "Stuart once again ventures into the unknown." I would agree that she "has banished the socio-emotional issues that have coloured her previous pieces in order too concentrate on the kinetic and the abstract."(from the program) The other pieces I have seen by her, Replacement and Do Animals Cry, dealt a lot with social and emotional issues as far as I could tell.
Is Violet a venture into the unknown in terms of logic, tool, or aesthetic? To concentrate on the kinetic and the abstract is not venturing into the unknown. That realm of inquiry has been and continues to be heavily investigated. Maybe the unknown refers to not knowing the results of a predetermined process. As someone who also makes performance work, I am curious to know what the known knowns and the known unknowns are in this piece. In other words, what was set(predetermined) and what was not(determined in the moment). I am guessing that the upstage line of five dancers was known; that they would undergo solo states work was known; that the diagonal of dancers from downstage right to upstage center stage was known; that the V shape of dancers was known; that the rolling clump of bodies was known.
I do not have an issue with elements, phrases, locations, etc. being predetermined in a piece. But if the first sentence in the explicative text in the program talks about venturing into the unknown, I want that unknown to be defined. Are the kinespheric processes unknown? Are the spatial configurations that will arise unknown? Is the sound unknown? Or are they using known processes to discover something unknown.
However the piece is constructed and whatever the choreographer's intentions may be, I appreciated the events on stage as they gave me a framework upon which I could lay some of my own questions about performance. Simply put, I would say that Violet is a quintet of "balls to the wall" solos that are attempting to walk the fine line between ignoring the group and composing spatially with the group. Watching the performance through that lens, I could think about my work with Lower Left. The Ensemble Thinking work, as spatially clarifying and enlightening as it is, sometimes robs the dancer of a wild solo body. The outward focus on the group's spatial relationships can stultify the individual's expression. Violet, as I viewed it, is an inspirational, though not completely successful, step in the direction of co-mingling the wild low-brained body with a conscious and refined spatial awareness. I say unsuccessful because several times I saw dancer's "drop out" of their solo body work and shift their location to complete a line or angle in space. Another point (and this might be a bit nit-picky) but the dancers used their right arms much more than their left arms to initiate and investigate movement.
The music by Brendan Dougherty does "produce a dense wall". At its loudest, which is a good chunk of the time, the music I found overwhelmed the dance. Volume, in my opinion, is sometimes used for instant gravitas. The dancers' movement became insignificant beneath the weight of the sound. At one point, a dancer screamed. I couldn't hear her through all the racket. I could merely see the indication of a scream, a grimacing visage. Quite an image if you want to use a social-emotional lens, even stronger if you add the lenses of race and gender – a white male making so much noise the scream of a small Asian female cannot be heard. But we are in the kinetic and abstract so forget that interpretation. Despite the volume, I enjoyed the music.
The large brown wall in the back looked like it was tacked on. It was quite large but not large enough to envelope the theater/stage space and create a "space" within. From where I was sitting I could not see enough of a reflection in it to give me another perspective on the events on stage. The brown wall did, though, reflect the visible light spectrum nicely. Everyone likes a rainbow.
In explaining the title Violet, Stuart says that "Violet is the last colour in the spectrum, before ultraviolet, before the unknown, before the imperceptible." Violet maybe the last color in the visible light spectrum right before ultraviolet. But it is not before the unknown. After ultraviolet rays are x-rays, gamma rays, and finally cosmic rays. Granted everything after the violet is imperceptible to the human eye and therefore, in a sense, imperceptible. Though we can sense prolonged exposure to ultraviolet rays after the fact – sunburn. But is she saying that something known but not perceptible with our five senses is actually unknown. Is the body the ultimate arbiter of known and unknown? If so, then why have the loud music and the brown wall? Let's enjoy sweaty, spinal, rolling, screaming, walking, falling, running, shaking, flinging bodies for their own sake.
She is right, though. Violet is a great name for a rock band. Too bad these guys got it.
Tagged composition, dance, Hau 2, Meg Stuart, review, somatic | 2 Comments |
A Few Thoughts on
March 10, 2013 by wasswasswass
After Trio A
Andrea Bozic
HAU 2
19:30 7.12.12
Why did the female performer follow the male performer?
Why did she wear short sleeves and he long sleeves? Is that a reference to the phallus?
Why did she wear Nike and he Adidas?
Why did her shoe laces match her shirt, but this was not the case for the male performer?
Interpretation…always confusing…how are we supposed to know which elements to interpret? And how? And if the piece is intended to be interpreted at all?
All that aside – The energies of the performers were quite different. She approached the process of following a video of him following a video of Trio A danced by Rainer with much a much more task-oriented energy. When I watched him I felt that he was performing personality more than following the process. His energy was flying out to the audience instead of being channeled into the attempt to following the choreography.
But it is almost irrelevant, in my opinion, that the choreography from Trio A was used. Any choreography would suffice. As someone who is interested in the spectrum of deliberation in relation to choreography and improvisation and how a dancer responds to visual input, I am more interested in the process of instantaneous recreation than what the material is that is being recreated than the fact that Trio A was used. The choreographer was asked to make a new work in relation to an historical piece and she chose Trio A. Not a bad choice, I say, being a fan of the piece. Also using such an iconic piece as a reference gives instant gravitas to this piece.
I am more interested in watching the body/mind of the dancer puzzle out the pathways in the moment, giving it the old college try and not commenting on it during it. For this reason, for me Lito was more engaging, and truer to the spirit of Trio A, than Felix.
Tagged choreography, dance, Hau 2, performance, review, Trio A | Leave a comment |
Blue Accords
Live from Berlin, it's Monday night. Though when you read this it won't be Monday night. Though chances are 1 in 7 that it will be a Monday, but not the same Monday night that I am writing this. I was lucky enough to see two shows in this year's Tanz im August festival. I say lucky, not in relation to what I saw, but that I was able to get tickets. Seems like dance performances sell out here in advance. The tickets I got were for the Thomas Hauert/Zoo performance of Accords at the Akademie der Kunste performance and for the Juan Dominguez performance of Blue at Hau 2. I had never heard of these companies before. Availability determined my fate.
To be flippantly glib or glibly flippant (can one be flippantly flip?), I would say that Zoo's performance of Accords was Flocking 201 mixed with simulstart and a peppering of bad contact and that Blue was bad acting with few props. Should I describe the performances in more detail? Should a Danish professor include the cartoons in her book about the cartoons and how they incited the Muslim world?
The set for Accords was an empty stage with black panels hung in the back. Each the height of the stage and about 3 feet wide, they were spaced widely enough apart for dancers to slide on/off stage between them. The lighting varied from general washes to sharp diagonal bands to lighting behind the backstage panels (one of my favorite parts) to murky gobos. The costumes were tight primary color pants and shirts covered in black mesh body suits. Sound was a smorgasborg. Wish I hadn't recycled the program so I could tell you what the exactly range was. I remember classical music and the chirping of birds. Oh and Eric Satie. Thank gawd for Eric, because I was able to tell how far along we were in the performance. That is the only good thing about using a bunch of songs in performance, letting the audience figure out how much longer they have left, well that and to tell the audience how cool your iPod play list is.
The performance consisted of sections delineated by performers entering or exiting the stage through the spaces between the curtain. The sections were either simulstart/stop, flocking, or awkward partnering. Simulstart or simultaneous start is when the performers try to move at the same time. When engaged in this score, dancers tend to clump near each other and did Hauert and his dancers. Flocking is when people move in a clump changing spacing/facing with no discernible leader. Awkward partnering is skilled bodies coming in contact in an improvised manner consciously eschewing the CI movement paradigm. The tension in the hands and reluctance to full engage the hands on the bodies of other dancers lead me to believe that the dancers did not have much CI training. But I cannot be sure as the program did not have any information on the dancers themselves.
Three memorable sections:
1. The panels were lit from behind and the dancers ran them cross stage. It was like watching stills from a movie(French guy?Lumiere?), runners caught mid-stride.
2. Two dancers lying on the ground down stage left, light from above. Simple movements of limbs extending across and above each other.
3. All 7 dancers onstage dimly lit with a marsh(?) soundscape. Dancers would move with similar timing and flavor to the bird calls in the soundscape.
Why were these more memorable sections? I'd say the first one was the change of relationship to the set and the visual pop dancers appearing in bright light. The second because it was something besides simulstart/stop, flocking, or awkward partnering. And the movement wasn't as frantic allowing some respite from locorhea (movement diarhhea?) as can happen in improvisation and well choreography too for that matter. The third, though it was kinda cheesy and strawberry ice cream, 5, 5, 5, 5, I get it 5, but it was nice to see a more direct relationship between the movements and sounds. "The bird is chirping and I am dancing in the same rhythm, whee!!"
What was Hauert trying to reveal to the audience? Listening skills? The performers had rehearsed a lot and it was enjoyable to watch the skilled bodies move simultaneously. But their energy was too inward, too much into the group. Can a group be tuned and aware with out everyone having to look into the center? One woman who came out and did a solo (that was too short) was lithe and rubber limbed and able to go in an direction with ease, drawing support from all facets of her body. Too short in that she was joined by another dancer for a close range let's look at each other and smile simulstart duet, "show the audience what you are feeling, that you are having a good time" It was also enjoyable to see the melding of flocking and simulstart, different dancers taking the initiative to change to facing or the vocabulary. And as nice as it is to see an improvisation stay within a world or a frame, I felt that this one went on too long. But maybe Hauert was using the boredom created to make those three sections pop. I think a little less boredom would have made them pop just fine.
Blue by Juan Dominguez as I stated before was bad acting with a few props. Or maybe it was avant garde dancing with a few props, or maybe it was advanced guard singing with a few props, or maybe it was fortgeschrittene Wache welding with a few props. In these post-disciplinary days (a term I learned about recently from a friend who learned about it from the Art Institute of Chicago), I can't say for sure what it was – dance, singing or welding. But as Blue was part of Tanz im August, Blue with be viewed as dance for the purposes of this diatribe…I mean review.
The recap – 4 people standing on stage, 2 women hugging center stage, a man stage right near 2 cases of water bottles, another woman stage left. A black curtain arcing from upstage right to center stage. Full white lighting exposing the walls, pipes etc. And they kept standing, and standing. Yep, I must be in Europe, the piece is starting with standing. Add in self conscious smiling. Another man enters. The five dancers (welders? weavers? clowns?) clump together, hold hands occasionally kiss each other on the check, shift position. A piece of cheesecake enter the scene and two women eat it with exaggerated enjoyment. "Show the audience what you are feeling and tasting" I imagined the choreographer (director? conductor? therapist?) saying. Pants are removed, shirts exchanged, a wig appears on the bald guy. Someone leaves stage, the performers start laughing uproariously as one of them enters with a piece of black cloth. Fingers become horns and a bull fight ensues. An iron board, a TV and a large piece of iron that is used as a couterbalance enter the stage. More laughter. Someone pulls up the white marley and crawls under pretending to go to sleep. More laughter. Sexual innuendos appear – A man sucking a plastic bag, rubbing his ass crack on the corner of the wall, a woman rubbing her nipples on a rope. Another woman humping the crack between two marley sheets. "We're doing the sex thing. Wink Wink." A woman thrusts her left breast repeatedly into a boot. Rubbing each others noses, a duet goes between recognizable and silly sexual acts. The five dancers clump together each touching or groping at least 1 other person. As soon as the nudity appeared about 15 people started to leave. Not sure if it was because of the nudity or that they finally had had enough. Enough of what exactly? Watching five people "experience" things in an exaggerated manner? After the mock orgy, a ping pong ball appeared and the dancers(?) formed a circle. Throwing the ball back and forth the performers screamed. One by one they left the stage. Oh, I think I forgot to mention the part when the water bottles were rolled across stage. This, too, was seen as hilarious.
The audience half heartedly clapped. I booed. The performers did not reappear. The audience clapped louder trying to get the welders(?) back on stage. They did not appear.
My main objection to this piece was that there were no boundaries. Anything could have happened and it would have fit in the piece. Maybe that was Dominguez's point. Anything goes. In the program he wrote – Reversing the temporality of events, putting them out of context…- Yep, I guess that is what I mean by boundaries, the events had no context. He also wrote – …prolonging the pleasure…exaggerated manner…- Was that the faux sex and exaggerated enjoyment of the cheesecake? -…tracing the amorphous… – sounds impossible – …imagining reality… – why bother? it's already here- – …transforming curiousity…astonishing more –
AHHH, THIS REVIEW IS GETTING TO BE WAY TOO LONG AND LOSING FOCUS…
(hmm…sounds like the last piece)
Tagged art, dance, Hau 2, Juan Dominguez, review, Tanz im August, Thomas Hauert | Leave a comment |


In 2003, while much of the juvenile justice and child welfare system was under scrutiny, being discussed and re-designed, Frank Martin, Editor of the West Plains Daily Quill, did something unusual and commendable.
He began publishing a series on Missouri's juvenile justice and child welfare system – following a child and family as a "sample" case through the system highlighting the FACTS and protocol of what actually occurs in Missouri's juvenile justice/child welfare system.
Frank's paper also began keeping and publishing statistics which highlighted crimes against children, that occurred in the West Plains community to educate the public to what is "actually" occurring. This information was (and continues to be found) on the front page of the Daily Quill.
A copy of the Quill's series was provided to all those in attendance by Frank Martin. We thank him for that lovely gesture. MJJA's Board of Directors was made aware of Frank's efforts, and wanted to acknowledge his paper's excellence in reporting. Frank accepted the Award at MJJA's Fall Educational Conference October 30, 2003.
The Award read as follows: The Missouri Juvenile Justice Association presented this EXCELLENCE IN JOURNALISM AWARD to the West Plains Daily Quill for its outstanding series on Missouri's juvenile justice system. The unbiased and factual content of each article served to educate thousands of readers to the important and challenging work of those within Missouri's juvenile justice system who serve over 87,000 children each year. The integrity displayed in your reporting reflects a strong commitment to children in need of a future.


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FFXIV – Responding To Criticisms
I see a lot of people on Twitter and at least one person on a certain MassivelyOP podcast mention that they keep trying to play FFXIV but they just can't get into it. I consider myself a pretty jaded MMORPG player, and I can certainly understand the reasons people don't like FFXIV. But I thought I would try to document here how I personally overcame the biggest criticisms people have with the game.
I won't deny some bias, though. I have a healthy "investment" in the game by this point, if you want to call it that. I've played since October 2013, since A Realm Reborn 2.0. Not continuously, but in bursts here and there. I cancelled my subscription for a while in 2014 but otherwise I've been subscribed the whole time. (I regret that time I wasn't subbed because I'm behind on my Veteran Rewards. :)
It's hard to write this because I have to cast my mind back to the early days, when the game was still new. It's easy to sit here now when I'm comfortable with the game and say, "Well, obviously it's a great game." It's hard to remember what it was in those early days that retained my interest even in the face of its problems. Because I certainly wouldn't deny that FFXIV has problems. (OH MY GOD THE ENDLESS CONFIRMATION DIALOGS. YES JUST TELEPORT ME!) I can understand and sympathize with most of the reasons people give for not liking the game. Here's the big ones I see:
That Final Fantasy Vibe
Nothing says Final Fantasy like Moglin, chieftain of the moogles. (And no, I don't know what a moogle is supposed to be either.)
There are people who are turned off just by the Final Fantasy setting. There's not much I can say to that. All I can say is that FFXIV is the very first and to date only Final Fantasy game I've ever played, so it's all new to me. I guess I'm lucky that way.
It's hokey, cartoonish, idealistic high fantasy that bears no resemblance to any reality I've ever experienced.
But there's something about it that I find strangely appealing. It's just so different from reality. Nobody seems to have a care in the world. There's a child-like innocence that permeates every part of life in Eorzea. I suppose it reminds of the kind of fantasy I read when I was younger but sort of grew out of. In a gaming industry where everyone seems determined to create games that are more and more gritty and graphic and real, it's unusual and a little refreshing to see a more "family friendly" game like this, and I guess that's part of what draws me to it.
(But why FFXIV and not WoW, you say? That's pretty easy: FFXIV has realistically-rendered graphics, which is my preference, and WoW doesn't. Not to mention FFXIV has numerous gameplay mechanics that are superior to WoW's.)
But still, despite a veneer of sugary sweetness, there are bad things in this game world. There's a dark side to Eorzea too-betrayal and rape and torture and cruelty are all there, particularly in Stormblood-it's just not shoved in your face all the time, and sometimes you have to read between the lines. In fact, because the darker elements of life are so often covered over in FFXIV, it's all the more shocking when it surfaces.
That Main Scenario Quest
I think this is the first meeting with Thancred if you start in Ul'dah. He looks like a kid!
One of the biggest issues people seem to have with the game is the mandatory Main Scenario Quest (MSQ). You have to do this one major questline to "unlock" 90% of the game.
If you hate following quests in MMORPGs, then, well, I can't help you much. I also think you're playing in the wrong genre to begin with. :) Questing has been a major component of MMORPGs since at least 2004, and it's certainly been a component of RPGs of any kind since time out of mind.
Here's my take. Before quests, in MMORPGs like UO and AC (I don't know about EQ), if you wanted to get experience points and gain levels, you had to run out into the wilderness, find some monsters, and stand there killing them over and over again for hours. It was fresh and new at the time, but in hindsight it was repetitious and boring and time-consuming (what we would now call a "massive grind").
When I first played WoW in 2006, the fact that I could "kill 10 rats," hand in a quest, and get a ton of experience points for it (way more than the experience of just killing the rats) was a revelation. Quests were awesome! I thought. What a huge time-saver!
I still think of MMORPG quests in those terms. As time-savers. Shortcuts. It's a bonus that they sometimes happen to have a good story attached to them.
But unfortunately it's fairly well-documented that the Main Scenario Quest is not very exciting in FFXIV from level 1-50. I don't remember much about it quite frankly. In some ways it's a prologue to the events that occur after you reach 50. It's sort of like reading an epic fantasy series that builds from a slow beginning.
So what kept me going forward? It wasn't the story, that's for sure. If I didn't really care what happened next in the story, what else was there to motivate me to keep playing?
This is where I have to start dredging around in my memory. Here are the first two posts I wrote about FFXIV in October 2013: The creatively-titled FFXIV and Things That Are Different in FFXIV.
Part of it I think is the huge variety of things you can do in the game while you're leveling. If you get bored with the MSQ (which I did, often), you can instantly switch to any of about 20 other "classes" to play and level those. This is a great feature if you like alts. (At least, if you like alts for the purpose of playing different class styles, which is my preference. If you like alts for the purpose of making different-looking characters, FFXIV isn't as amenable.)
Not only can you play different combat classes, but you can play gathering and crafting classes. I have long thought that gathering and crafting should be classes unto themselves, as opposed secondary skills, so FFXIV fit perfectly into my MMORPG worldview. They are full-time occupations in FFXIV.
Learning to chop down trees back in the good old days.
This helped me a lot in the early days, because I've always liked gathering in MMORPGs. I just enjoy running around clicking on shiny things I guess. FFXIV provides two basic gathering jobs and a more complex fishing job that you can play around with whenever you get bored. And the gathering nodes are shared, so there is no "competition" for resources like some games. That's a huge plus for me, and back in 2013, shared nodes was still a relatively new concept for MMORPGs.
Not only that, but the gathering is more complex than simply running around clicking on things. You have a skill bar that you need to use wisely to get the best results, and you have to avoid monsters, which all makes it a bit more engaging than most games. I love to learn new things, so the fact that I had to learn how to gather and craft was a huge draw.
The game mechanics themselves are a very nice blend of old MMORPG and new MMORPG. Looking back, I really appreciated the slower pace of the combat. FFXIV chose to buck the trend of MMORPGs getting faster and faster and more action-y, and went back closer to the genre's roots, and I appreciated that (not least because I'm not getting any younger). It's a standout feature of the game.
Yet the slower pace of the global cooldown timer (2.5 full seconds to start) doesn't necessarily mean fights are boring. There are some very complex boss fights that get really crazy and chaotic. (I still remember the exultation of getting through Titan Hard the first time.)
They kept the number of abilities you have to juggle to just about the right number for me. It's more than the controller-friendly five or six you get with GW2 and ESO, which can get boring, but less than the dozens you get with something like Rift or EQ2, which can get overwhelming. It makes it easier to return to the game after a long absence, and that's always a big plus. There are MMORPGs that I just can't bring myself to log back into because of too much complexity: Namely EQ2, and sometimes even Rift. (At least Rift can be helped by macros.) (LotRO used to have this problem too until they simplified it.)
I recall another carrot that FFXIV constantly held out in front of you while leveling from 1-50: You always got some new class ability every other level. Sometimes they were passives, but sometimes they were active, so you had to incorporate a new ability into your rotations, which meant that your class kept evolving and changing over the entire leveling game. I loved that about leveling.
Newer MMORPGs have a tenancy to front-load a lot of your abilities right near the beginning of the game. WildStar and ESO and BDO come to mind here. The way you play your character in WildStar really doesn't change at all after about level 20. (I never got past 30, but there were certainly no significant new skills to look forward to according to the ability trees.) That meant that levels 20 through 50 would be a repetitive grind of doing the same thing all the time, just against different mobs in different places. Nothing new to learn. ESO is fairly similar. You can upgrade and "morph" your abilities, but they remain basically the same. At least through around level 45.
I guess my point is that FFXIV provides new things to learn on a regular basis during the leveling process, and that's something I love. (Admittedly, they have nerfed this a little bit in Stormblood-I don't think you get new abilities at quite the same pace anymore. But then again, leveling seems to go a lot faster now.) Not all games do that. In fact, I dare say most games don't do that anymore. They want everyone to be at peak badassery from the moment you step into the game, for fear players will instantly leave again. The problem for me is that if you don't leave, the game has nowhere to go but down. I want my MMORPGs to start slow and build up from there, like RPGs of old, and FFXIV does that.
And here's something else I just thought of about FFXIV: Even after you get to the endgame and have a set rotation of skills, there are still opportunities to change up the way you play. You might find yourself in a Leveling Duty running a level 20 dungeon, and have to adjust how you play on the fly to the skills you had back at level 20. That's kind of exciting. I can't think of any other game that does that. (Many other games scale your abilities to different levels, but I can't think of any others that actually remove abilities when you go back to lower levels.)
That Stoic Nodding
I don't know if she actually nodded here, but let's face it, she probably did.
Yeah, it's weird. You just have to get used to it. :)
But seriously, I think you can escape out of all the cut scenes now. In the olden days you couldn't skip certain cut scenes (like the very first one, which was so annoying when trying different races and classes). But now I think you can.
Personally I just find the nodding and other static animations a quirky affectation that gives the game its unique character. And it doesn't bother me for another reason: I know it allows the developers to create their cut scenes and stories faster, which allows them to deliver their content on a rock solid schedule that is by far the most stable in the business right now. (BDO also seems to be doing well.)
Compare with games like Mass Effect. Their cut scenes are amazing, but they have to do motion capture and that's expensive and difficult and time-consuming to develop and it still ends up looking fake. Whereas with FFXIV they mainly just script out a series of emote actions and camera angles and they're done. It's more than adequate to convey a good sense of the characters and story. If you think about it, ESO and SWTOR both do basically the same thing. All those NPC interactions are just showing you a character model doing pre-programmed emotes while you listen to a voiceover. It was the same with GW2 in the original Personal Story.
I've flippantly compared FFXIV cut scenes to puppet shows, but I actually think that's a valid comparison. You can get just as engrossed in a story acted out by puppets as ones acted out by real people. (Remember Team America: World Police?) Not to mention stories acted out by hand-drawn cartoons. At least I can.
Besides, if you like taking screenshots, there are tons of opportunities to take them during the cut scenes. I'd guess that 90% of my screenshots came from cut scenes.
That Mandatory Grouping
Working out strategy in my first run of Stone Vigil which happened to also be my first all-Miqo'te group.
This is another complaint I see levied at FFXIV fairly often. It's true, and there's no getting around it. If you want to see the whole game, particularly after level 20 or so, you have to do a lot of group dungeon and trial instances. (I don't know the exact number, but I'm sure it's at least twenty of them before you get to 70.) Otherwise you'll hit a wall in the Main Scenario Quest and you won't be able to leave your starting zone.
The only thing I can say is that I don't much like it either, but the game is good enough that it's worth dealing with it. They've made it as easy as it is possible to make it: The LFG tool is one of the best in the biz. The FFXIV PUG community is one of the friendliest around. There are incentives in the game to not be a jerk in the form of the commendation system. There is a whole mentor system now which I honestly don't know that much about. There are multitudes of friendly guilds ("free companies" or FCs in FFXIV lingo). And without exception, every single time I've typed in "I'm new here" at the start of a dungeon, someone has responded with something like, "No worries."
That's not to say you'll never run into some jerks. They're always around. The good news is that they tend to stick together in the Party Finder doing their speed runs and loot farming so they're easy to avoid. If all else fails you can always leave an instance and try again later.
It's Too Hard To Catch Up
I've seen some people express an interest in playing FFXIV, and maybe even say they like the game, but they are frustrated that they are too far behind and can't catch up.
I can sympathize based on my experience with LotRO. I would love to have the persistence and determination to push through LotRO with my dinky little level 50-something Archer plugging away in Moria, but every time I get in there and contemplate the incredibly slow leveling curve and the massive amount of work it'll take to catch up, I get frustrated, and give up on it. I'm currently debating which class to buy a level 95 boost for so I'll at least have a chance to see Mordor. It seems that we as a species are doomed to play only the MMORPGs in which we reach the endgame before the first couple of expansions get released.
So I guess I have to admit that part of why I keep playing FFXIV is that I'm already caught up enough that I can keep playing at a comfortable pace.
I'm not sure what to say to someone who is just starting out. It does seem to be much easier and faster to level now than it used to be. All you have to do is follow the Main Scenario Quest, you don't even need to touch side quests anymore. There are probably tons of people who would be willing to help anyone starting out. I certainly don't mind doing lower-level (under 50) content again. In fact, I love doing lower level content because I actually know how to do it and I'm comfortable with it. :) There are significant bonuses to higher-level players for grouping up with new players in dungeons, too. I've literally never seen anyone say, "Oh no, these bonus tomestones aren't worth putting up with a new player!" The exact opposite is usually the response I see: "Hurray!!! A new player!!"
I remember seeing all kinds of "Leveling Guilds" in WoW, who I think catered specifically to people who were leveling or otherwise behind the cutting edge of game content. I don't know if such things exist in FFXIV, but it seems like there should be.
One other observation I've made: There are always people leveling up from the beginning. I constantly see people in the lower level zones with the green leaf over their head (signifying they are relatively new). In fact I see bunches of people at the endgame with the green leaf over their heads, which indicates to me that it probably doesn't take nearly as long to get to the maximum level as it did for me.
I don't know if that will help anyone, but those are at least some of the reasons why I've persisted in spite of the issues.


Shortly after Michael Jackson dies, I dream that he and I are sharing an apartment in Oakland, California, above a dentist's office and next door to a newly remodeled synagogue. We've been living together long enough that I'm content to sit beside him without feeling the need to speak. The sun is sinking beneath the Golden Gate Bridge, and the fog is rising like smoke from a fire.
That summer the storms finally hit. Everyone knew they were coming, at least everyone who'd avoided the powerful temptation to self-delusion. But no one expected the ferocity and the volatility, the way the rain and hail would fall so hard and so long that it grooved the blacktop. the twisters that sliced through Brooklyn, wildfires that scorched the Smokies. No one ever thought they'd see lightning strike thrice, didn't believe that the rising tides could take the land, couldn't have imagined the settling of New Brighton Beach in the Catskills or Little Long Beach in the Inland Empire. But even if they had, there wasn't much they could have done.
Because of the watchfulness of the overseers, it is not easy—they watch closely, keen to catch and punish; each falling lash a sacrament: being an overseer is a calling rather than a deputation—but sometimes he'll break one of the stones, take an edge from a block, secreting the rubble in his rags, close to his skin. Once, a plinth broke free from its anchor, sliding down and over the ramp, crushing, killing and annihilating before it crashed to earth (its mother) breaking into thousands of raw-edged pieces. He had been put on cleanup while the overseers had beaten to death the shift manager, and he'd been able to save so many pieces, some as large as his fist.
And so the man speaks his evil in the room and says that the body of Christ tastes like chicken. He is a liar. The body of Christ tastes like cardboard—not chicken—cardboard is truer than chicken and both thoughts are blasphemous and evil and under God's scrutiny and once you get on God's bad side (because we're all convinced He has one, and our human condition keeps us held to that conviction, no matter what comes out of our mouths) well then, the jig is up. And so you need not try anymore and you give in, as this poor man was prepared to do, indeed planning to do, because giving up was just so much swifter. And he forgets that the moment he gives up he begins a fast and downward spiral where everything is exponentially more difficult.
I stood over the corpse of Inga Johnson, grinning. "She looks so peaceful," I thought. Her red lips sloped downwards in a natural state of nothingness. Rouge gave color to her otherwise colorless face; her eyes shut, so gently that they looked like they wanted to pop open any second. I laughed at the idea of a corpse opening its eyes. "Preposterous," I balked. Suddenly the cadaver's eyes did pop open.


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♥The dress was perfect! Very light and flowy.
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♥The color isn't quite the same as the picture but it's only very slightly off so just be aware!
♥ It is Asian size. Asian size is smaller than the UK size. Please check our size chart in the size decription before you place the order.
2.Mansual measurement may exist 1~2cm difference.


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text:
Q: Prove that the factorization of $x^n-1$ contains only 2 factors if and only if $n$ is prime I  would like to prove the following statement.

If $n$ is a prime number, then the factorization of $x^n-1$ over
  $\Bbb{Z}$ contains only $2$ factors, and those factors are:
  $$x^n-1=(x-1)(x^{n-1}+x^{n-2}+\cdots+x+1).$$

I have already proved that the factorization above is valid for all $n\in\Bbb{N}$, what's left to prove is that if $n$ is a prime number, then $(x^{n-1}+x^{n-2}+\cdots+x+1)$ is irreducible. I know the Eisenstein's criterion could be used, but I have no clue how the proof can be developed. Help!
PS: If it helps with anything, I have also proved the inverse. That is, if $n$ is a compound number, then the factorization $x^n-1$ contains more than 2 factores (which I don't think it helps at all).

A: We have
$$
x^{n}-1= \prod _{d\mid n}\Phi _{d}(x)
$$
where $\Phi _{d}(x)$ is the $d$-th cyclotomic polynomial.
When $p$ is prime, we have
$$
\Phi_p(x) = x^{p-1} + x^{p-2} + \cdots + x + 1
$$
whose irreducibility follows from Eisenstein's criterion applied to $\Phi_p(x+1)$.

A: The polynomial $x^n-1$ contains as many algebraic factors, as $n$ contains divisors.  Each of these algebraic factors contain a first term $x^a$, where $a$ is the Euler totative of the divisor.
These equations can be demonstrated and evaluated from the decimal.  This works at least for all values where the euler totative is less than 163 (that's as far as i went)
You start off with the numbers 9, 99, 999, &c.
a   b            c         d        e
1 9               9     555564    x-1
2 99             11     555566    x+1
3 999           111     555666    x2+x+1
4 9999          101     555656    x2+1
5 99999       11111     566666    x4+x3+x2+x+1
6 999999         91     555646    x2-x+1

b is simply $10^a-1$.  c is the residue, when b is divided by previously evaluated c, if the index a divides the current a.
d is c, added by a number 555555.  Normally the number of 5's is larger than the largest value.  When 5 is subtracted from each digit, it gives the numerator for each power of x.  This is the equation in e.
A program language like REXX is sufficient for this end.
To these one needs to note that the gaussian factorisation holds for particular multiples (odd number by some x), such as $x^4+x^3+x^2+x+1=x^2+3x+1\pm \sqrt{5x}(x+1)$.

A: The $n$th roots of unity are any numbers $c$ such that $c^n=1$ (these include complex numbers). A primitive $n$th root of unity is any number $c$ such that $c^n=1$ and $n$ is the smallest integer $k$ such that $c^k=1$. Reading from here, there are exactly $ϕn$ primitive $n$th roots of unity for all $n$. This follows from the fact that if $d|n$, then $x^d-1 | x^n-1$ and any $d$th root of unity is also an $n$th root of unity, so then in order to be a primitive $n$th root of unity, $d$ must be relatively prime to $n$, therefore there are $ϕn$ roots of unity. If $n$ is prime, then $1$ is the only non primitive $n$th root of unity, and the rest are primitive root of unity. Since the number of $n$th primitive roots of unity is $ϕn$ and $n$ is prime, there are $n-1$ primitive $n$th roots of unity. There must be an irreducible polynomial, also known as the $n$th cyclotomic polynomial, which contains all primitive $n$th roots of unity. In turn from the information above, the $n$th cyclotomic polynomial has degree $ϕn$, but since $n$ is prime, the $n$th cyclotomic polynomial is of degree $n-1$, and $(x^n-1)/(x-1)$ is indeed the $n$th cyclotomic polynomial and $x^n-1$ will only have two polynomial factors. If $n$ is composite, then $ϕn$ < $n-1$ and the $n$th cyclotomic polynomial is not of degree $n-1$, therefore $(x^n-1)/(x-1)$ is not irreducible and $x^n-1$ contains at least $3$ polynomial factors.


happilyfull: got cheese risotto? . . . in a giant block of cheese?
got cheese risotto? . . . in a giant block of cheese?
i am a big "bar-foodie"
yup, i like going to bars, not to drink, but to eat their food!
not sure what a izakaya is?
wikipedia puts it simply as "is a type of japanese drinking establishment which also serves food to accompany the drinks; they are popular, casual places for after-work drinking. you order food & drinks throughout the course of meal as desired and unlike other japanese styles of eating, food items are usually shared by everyone at the table. izakayas always offer wide variety of all sorts of dishes"
one of the reason why i like coming to musha is because unlike some izakayas where it's smokey from yakitori or is crowded with drunk 20s, the torrance location actually is somewhat "homey"!
i learned the true joy of a ice-cold-beer after college, once i started working . . .
until then, i never used to appreciate beer at all because it made me full too quick & it got warm too fast & i didn't think it tasted good at all!
enough about drinks & onto musha's food!!!
their small dishes are all yummy and you won't be too disappointed with whatever you pick!
in a roll, but we serve as a dip; try this with a crispy rice cracker"
& last but not least . . .
musha's cheese risotto is really a must because it's just special!
it is on the manager's recommendation menu as, and rightfully so too, "italian dish with japanese creation. japanese grain brown rice cooked with chicken broth. then pan fried with bacon onion and a touch of heavy cream. served in a whole cheese bowl to your table"
& an additional perks for those looking for chill places for a birthday party!
they turn off the light of the whole restaurant to sing you birthday song + the kitchen does a fire show to get people excited!!!
. . . i felt so bad for whoever that had to do the fire show that day because there were three birthdays that night in the span of less than an hour! he must have been sweating in the back, swinging the wok!
i wish i actually was able to give you detailed food description, as their website didn't do a very good job explaining other than few that made the manager's pick! so i will make sure to make an "update" to this post next time i visit musha again!
Oh my gosh... I want to jump on a plane right now and eat there for dinner! Your pictures are great! The food looks yummy! What a fun way to spend a birthday or any night!
As soon as I saw your post title, I immediately thought of Musha! And sure enough, Musha it is! I haven't been there in years, and I must go back soon!


text:
NGC 4229 ist eine linsenförmige Galaxie vom Hubble-Typ S0-a im Sternbild Jagdhunde am Nordsternhimmel. Sie ist schätzungsweise 300 Millionen Lichtjahre von der Milchstraße entfernt.

Das Objekt wurde am 2. Januar 1786 von William Herschel entdeckt.

Weblinks
 SIMBAD Astronomical Database

Einzelnachweise

Linsenförmige Galaxie


text:
Kids affected by Hurricane Florence receive new bikes for free
By Patrick Lloyd | June 3, 2019 at 10:15 PM EDT - Updated June 3 at 11:25 PM
ROBESON COUNTY, NC (WMBF) - Several kids in Robeson County who were affected by flooding from Hurricane Florence received free bicycles Monday at the Robeson County Department of Social Services.
The bikes were assembled by employees of the Robeson County-based construction company, Metcon.
The employees were on a work retreat in Myrtle Beach back in April when they used the bike assembly as a team building exercise.
The employees were then faced with the question of what to do with the bikes. They decided to donate them to kids who were affected by flooding.
"We thought that there'd be nothing better to do than to give back to kids that had actually been affected from both hurricanes," President and CEO of Metcon, Aaron Thomas, said.
For the kids who received the bikes, the donation was more than just a bicycle. It meant a chance for the kids who couldn't afford bikes to enjoy life as a kid the same way so many others already can.
"They're happy with it," Frances Hanty said.
Hanty's grandchildren, Aiden and Adison, received bikes Monday. Hanty's home was flooded from both Hurricane Matthew and Hurricane Florence. She said she can't thank the employees of Metcon enough.
"They don't know how much they appreciate them," Hanty said.
Not all the kids who were invited to Monday's event were able to make it, but they'll still be able to pick their bikes up whenever they can. If they can't, Thomas said Metcon will be glad to deliver the bikes to them.
Patrick Lloyd
Patrick Lloyd is a Reporter/Multimedia Journalist at WMBF News. He started in May 2017.


Howard University, she lives in Takoma Park, Maryland.
and the National Portrait Gallery, LIFT and the Tate.
This entry was posted in Department of English Literature news and events and tagged Curdella Forbes, Department of English, Department of English Literature, English Department, English Literature, Peepal Tree Press, Professor Alison Donnell, Reading, Roger Robinson, University of Reading. Bookmark the permalink.


I'm a Postdoc at the NASA Jet Propulsion Laboratory, working on foreground models for observational cosmology. Most of my work is done in python and in the framework of Bayesian statistics and machine learning.
8 How to create a numpy array of N numbers of the same value?


This temple is so beautiful and huge. You have amazing carvings all over the structure. It is also where the Heritage Walk of Ahmedabad starts from. It is very peaceful and not very crowded also. Parking is available.
Perhaps the oldest temple started by Shree swaminarayan from where it spread over not only across Gujarat but even to international locations. Simply majestic & grand. Situated in a crowded old city kalupur area is must visit to get the divine blessings.
Swaminarayan temple in kalupur was old temple build by shree swaminarayan him self. It was beautiful temple and well organised and maintained.
Very attractive architectural arch and bracket painted in bright colours, anywhere in the Swaminarayan temple you will get the perfect characteristic.
This is really very nice heritage place and wonderful statues of LORD NARNARAYAN and LORD SWAMINARAYAN . This is a first Swaminarayan temple of the world and built up in the presence of LORD SWAMINARAYAN.
Get quick answers from Shree Swaminarayan Mandir Kalupur staff and past visitors.
What is the prasad served at this temple?
Our visit was short, and so much to see and experience. I do not remember what prasad was served, or if any was served whilst we were there.
Is there any facility to stay?
Yes. There is a facility by Mandir Trust for stay and food alongwith assistance for tourists.


40 Years of Christmas Memories and Traditions.
EDITOR'S NOTE: This is a sponsored post on behalf of Tylenol and the #HowWeFamily campaign. The thoughts, opinions and traditions are all mine.
As you know, we're teaming up with TYLENOL to celebrate all the different ways people family during the holidays, and to share #HowWeFamily. Christmas has always been my favorite holiday and I'm sure that I'm not alone in that sentiment. The 25th of December and the few weeks preceding it have always brought the best out in people. Everywhere you go there's a feeling of humanity in the air.
People seem to be gentler, kinder and overwhelmingly polite. Street lights are dressed with holly and garland, department stores carry the tunes that have been sung by carolers for decades and if we're lucky enough, snow piles up on the street corners, with kids building snowmen and forts and sledding until their clothes are soaked through.
Sledding with my brother Eric circa 1984.
We bake thumbprints and sugar cookies, help our neighbors shovel their driveways and give a smile to the man or woman ringing the bell in front of the red Salvation Army bucket at the grocery store as we rifle through our pockets for anything we can offer.
These have always been a constant for me over the last 40 years, but there are also a few special traditions and little things that I remind me of my childhood and beyond – things that I've made an effort to carry into adulthood, as well as pass on to my children, in an effort to make it as magical for them as it was for me.
We would spend hours stringing cranberries and popcorn.
As a child, the weekend after Thanksgiving was one that we'd certainly look forward to. Me and my brothers would pile into my dad's work truck and head over to our neighbor's Christmas tree farm. We'd pull the tree saw from the bed and begin hiking into the field, looking for that perfect tree to drag back to the house while mom greeted us with the smell of hot cocoa and chocolate chip cookies baking away in the oven.
We've bounced back and forth between a real tree and an artificial one over the past few years, but the kids focus is solely on hanging (breaking) as many ornaments as possible, as quickly as possible. And on occasion, we've had to get tough and take necessary precautions. Everyone remembers #treegate – right?
My wife carried her own childhood traditions into our family and one in particular that we all love and get excited for is decorating wooden birdhouses with her Memaw and Pop each year.
Every year they get more and more unique.
A dozen cousins will gather around the long table and choose from a bounty of different candy that's been collected since Halloween, smear on the icing and go to town, decorating their own houses with individual flare.
During the week before Christmas, we always visit Santa, just like my wife and I did as children.
WHERE ARE MY PARENTS AND WHY IS EVERYONE LAUGHING AND TAKING PICTURES??
What begins as an early fear evolves into pure love. There's nothing quite like watching the smile on their little faces as they whisper their wish lists in Santa's ear, while asking where the big guy parked his reindeer.
As we head home, we remind the littles that this season isn't always about 'getting' gifts… it's more about 'giving'.
Delivering toys to the tots at Emory Children's hospital with Uncle Max.
Christmas Eve finally arrives and there are only two things left to do.
This guy takes donations for his power bill!
We'd love to know how you and your family celebrate the holidays! Do you have any favorite traditions or celebration? Share yours with us and @TYLENOL using #HowWeFamily!
From my family to yours, we wish you the very merriest Christmas and a Happy New Year!
« Looking Back on Amazing Trips with the Kids PLUS a HUGE Travel Giveaway!


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Claire Thompson '20 and Sarah Fillier '24 help Canada win gold at Beijing Winter Olympics
Fillier and Thompson helped Canada to a 3–2 win over Team USA in the gold medal game.
Photo courtesy of @PWIH/Twitter.
Kameron Wolters
February 21, 2022 | 10:33pm EST
Two Princetonians won gold last week at the 2022 Beijing Winter Olympics.
Claire Thompson '20, who plays defense, and forward Sarah Fillier '24 won gold on Thursday as part of the Canadian women's ice hockey team that defeated the United States in the gold medal match by a score of 3–2.
In another chapter of the rivalry that many consider to be the best in the sport, Canada won a record fifth gold medal in women's ice hockey. The Canadians were in control for much of the game, scoring about seven minutes into the game and holding a 2–0 lead at the end of the first period. Canada would add another goal about midway through the second period, creating a 3–0 deficit for the United States. The United States would fire back with a goal late in the second, but the deficit would prove too large. The United States added another goal in the final minute of the game, giving the Canadians a 3–2 victory.
The victory caps a historic Olympic run by Canada. The Canadian team went 4–0 in their group stage games, with Fillier, the youngest member of the Canadian team, scoring four goals through the first two games of the Olympic competition, finishing with eighth total in seven games. In their group stage game against Switzerland, Thompson scored 1 goal and put up 2 assists en route to the team's 12–1 victory. Their group stage also included a 4–2 victory over the American team. Canada would go on to win their quarterfinal and semifinal games by a combined score of 21–3, before beating the United States in the gold medal match. The team finished the tournament with an Olympic-record 57 goals scored.
"On top of the world," Fillier stated in an Instagram post commemorating the win, "olympic gold medalists, what a ride."
A post shared by sarah (@sarahfillier16)
Thompson finished the tournament with the highest plus-minus (meaning her team had the best goal differential while she played) of any player at the Olympics, as well as two goals and 11 assists for 13 total points across seven games. Thompson also shared a post on Instagram about the victory, captioning her post, "It's heavier than I thought," in reference to the medal.
A post shared by Claire Thompson (@clairethomps98)
At the conclusion of the Games, Thompson will continue to be an ambassador for the Professional Women's Hockey Players Association, while Fillier will return to Princeton where she will continue to lead the women's ice hockey team.
Kameron Wolters is a contributor to the Sports section at the 'Prince.' He can be reached at kw9217@princeton.edu or on Instagram at @kam.wolters.


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Southern Fried Homicide
Terror in the Tar Heel State
After growing up in a tiny coal town and pulling herself up by her bootstraps, a FBI secretary had a whole lot to live for. But out of nowhere, her promising life is cut short leaving friends wonder who would snuff out such a vivacious woman?
Who Killed Thanksgiving?
When a mother of four is found tortured and brutally murdered in her home, the people of Northport, Washington discover that their isolation doesn't guarantee their safety.
Murder Comes To Town
The Nightmare After Christmas
Rumors fly in the small town of Auburn, New Hampshire after well-known local George Jodoin is found murdered in his bed and the top three suspects are his close friends.
Christmas Terror
When a beloved couple vanishes just before their annual Christmas party, their family fears the worst - and police must do everything from posing as the Mafia to coaxing information from threatened witnesses in order to solve a years-long mystery.
Terror grips Wylie, Texas on Friday the 13th, when young mother and teacher Betty Gore is hacked to death with an axe. Is a copycat psycho killer trying to create his own real life slasher film? The truth turns out to be more horrifying than fiction.
1980's: The Deadliest Decade
Coffin For Christmas
Barbara Mackle, a promising co-ed and real estate heiress, is kidnapped and buried alive in a coffin-like "capsule." From Washington D.C. to Miami, local police and the FBI race to find the culprit before Barbara's time underground runs out.
A Crime To Remember
The End of Innocence
Twenty-three year-old Brandi Wells is a spirited young woman about to get a second chance in pursuing her lifelong goal. But, her dreams are cut short when police find her abandoned vehicle the morning after she goes out alone to a nightclub.
A Mother's Secret
A locally adored and respected mother of three living in Colorado vanishes. Her community is shocked to learn she has been working as an adult escort. With a violent previous marriage, and another marriage before that, no one knows whom to blame.
A Fateful Meeting
25-year-old Amy St. Laurent vanishes one night while out on a date with an out of town friend. Suspicion soon falls on a suspected sexual predator, but detectives need to work around the clock to find a way to connect him to the grisly crime.
The Last Truck Stop
Michele Whitaker is vivacious, attractive, and out of control. Drinking heavily and fighting with her mother, she hitches a ride to a truck stop and disappears. Most think she is dead, but her family never gives up.
A Lost Soul
Lee Cutler is the universally loved high school senior who disappears after dropping off his best friend on a cool autumn morning. The search involves police officers across two states, underwater divers, and a nationwide watch.


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Laurence Pike: Holy Spring
Holy Spring is the second solo album by Australian percussionist, drummer and composer Laurence Pike - an article of faith, expressing the sense that the ritual of performance can transcend the confines of style, structure and concept to connect with something universal. The name of the album is beautifully ambiguous, evoking a wellspring, but also rebirth, and more besides. It sounds constantly, effervescently fresh, just as it should when its creation was a series of surprises to its own creator. The listener, just like the musician, are privy to what Pike describes as the music simply playing itself.Improvisation has played a role throughout Pikes long and diverse career in music. Whether as part of PVT, Triosk or Szun Waves, or collaborating with Liars, legendary jazz pianist Mike Nock, DD Dumbo or the mighty Bill Callahan, he has long been a responsive musician for whom sensitive listening leads to spontaneous invention.


In Ireland, an IRA man betrays a killer to the police, thinking he is his mistress's lover.
Includes a 32 page booklet.
Blu-ray A America- Kino Lorber - No cuts - Includes both the silent version (99:55) and the sound version (84:08).
Blu-ray ALL United Kingdom- British Film Institute - No cuts - Includes both the silent version (99:42) and the sound version (84:08).


I'm adding a new segment to my blog called Mise-en-scène.
For (potential) Korean readers out there, yes, it is a strange choice of name for my new segment. Because in Korea, Mise-en-scène is a name of a brand of hair products.
Basically, an arrangement of a scene in a film is described as a mise-en-scène.
My segment titled Mise-en-scène will be centered on famous film locations I will visit in Europe (and potentially other parts of the world if I continue this segment after my trip to Europe).
I think this is a really exciting project I have for myself.
I already picked around 16 locations based on three movies (& series) that have deeply impacted me in various ways.
Mise-en-scène is a way for me to show my passion for cinematography. It's also a way for me to tick off my bucket list of my must-travel places in the UK (and other parts of Europe).
I'm really excited for this project and I hope my readers would enjoy it as well.
By the way, today's Christmas Eve! I've always loved the holiday season. Bought a pint of ice cream to share with my dad, and I'll be watching Midnight in Paris.


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Are you plagued by hundreds of Spiders and their webs all over the outside of your home, cottage or business? At Kawartha Pest Control we have a treatment especially designed to eliminate 98% of this problem and its guaranteed right through till September.
Thermal remediation – or heat treatment – for getting rid of bed bugs is performed by heating the entire interior of a home or structure to a temperature of 135 – 145 degrees Fahrenheit (causing no damage to the home) for a specified period of time.
Just wanted you to know how happy we are with the service you performed for us this spring. The bats in our attic were so bad my wife refused to come back to the cottage until they were gone. They must be a big problem on our lake, as several of our neighbours seem to have had them as well. Your man Larry had sealed a couple of their cottages and I was quite impressed with the job he did. A friend of ours used another company and what a mess, silicon was dripping from everywhere. Larry is a master at his profession. Your price wasn't the lowest but I'm convinced the job was well worth it.
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Jack was very helpful and had lots of expertise. I was told I had bedbug bites. Jack examined my home and with his expertise I was able to rule out bedbugs as a cause of my red welts. The cost to fumigate would have been extensive in time and hard cash and Jack's honest and professional advice got me off bedbugs and out again looking for the right solution (which I found). Thanks Jack for your honesty, experience and professionalism.