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20 posts categorized "Sound and vision"
BL Labs Symposium (2019): Book your place for Mon 11-Nov-2019
Image taken from page 203 of '[Griffith's new historical description of Cheltenham and its vicinity ... with ... engravings. L.P.]'
Posted by Mahendra Mahey, Manager of BL Labs
The BL Labs team are pleased to announce that the seventh annual British Library Labs Symposium will be held on Monday 11 November 2019, from 9:30 - 17:00* (see note below) in the British Library Knowledge Centre, St Pancras. The event is FREE, and you must book a ticket in advance to reserve your place. Last year's event was the largest we have ever held, so please don't miss out and book early!
*Please note, that directly after the Symposium, we have teamed up with an interactive/immersive theatre company called 'Uninvited Guests' for a specially organised early evening event for Symposium attendees (the full cost is £13 with some concessions available). Read more at the bottom of this posting!
The Symposium showcases innovative and inspiring projects which have used the British Library's digital content. Last year's Award winner's drew attention to artistic, research, teaching & learning, and commercial activities that used our digital collections.
The annual event provides a platform for the development of ideas and projects, facilitating collaboration, networking and debate in the Digital Scholarship field as well as being a focus on the creative reuse of the British Library's and other organisations' digital collections and data in many other sectors. Read what groups of Master's Library and Information Science students from City University London (#CityLIS) said about the Symposium last year.
We are very proud to announce that this year's keynote will be delivered by scientist Armand Leroi, Professor of Evolutionary Biology at Imperial College, London.
Professor Armand Leroi from Imperial College
will be giving the keynote at this year's BL Labs Symposium (2019)
Professor Armand Leroi is an author, broadcaster and evolutionary biologist.
He has written and presented several documentary series on Channel 4 and BBC Four. His latest documentary was The Secret Science of Pop for BBC Four (2017) presenting the results of the analysis of over 17,000 western pop music from 1960 to 2010 from the US Bill Board top 100 charts together with colleagues from Queen Mary University, with further work published by through the Royal Society. Armand has a special interest in how we can apply techniques from evolutionary biology to ask important questions about culture, humanities and what is unique about us as humans.
Previously, Armand presented Human Mutants, a three-part documentary series about human deformity for Channel 4 and as an award winning book, Mutants: On Genetic Variety and Human Body. He also wrote and presented a two part series What Makes Us Human also for Channel 4. On BBC Four Armand presented the documentaries What Darwin Didn't Know and Aristotle's Lagoon also releasing the book, The Lagoon: How Aristotle Invented Science looking at Aristotle's impact on Science as we know it today.
Armands' keynote will reflect on his interest and experience in applying techniques he has used over many years from evolutionary biology such as bioinformatics, data-mining and machine learning to ask meaningful 'big' questions about culture, humanities and what makes us human.
The title of his talk will be 'The New Science of Culture'. Armand will follow in the footsteps of previous prestigious BL Labs keynote speakers: Dan Pett (2018); Josie Fraser (2017); Melissa Terras (2016); David De Roure and George Oates (2015); Tim Hitchcock (2014); Bill Thompson and Andrew Prescott in 2013.
The symposium will be introduced by the British Library's new Chief Librarian Liz Jolly. The day will include an update and exciting news from Mahendra Mahey (BL Labs Manager at the British Library) about the work of BL Labs highlighting innovative collaborations BL Labs has been working on including how it is working with Labs around the world to share experiences and knowledge, lessons learned . There will be news from the Digital Scholarship team about the exciting projects they have been working on such as Living with Machines and other initiatives together with a special insight from the British Library's Digital Preservation team into how they attempt to preserve our digital collections and data for future generations.
Throughout the day, there will be several announcements and presentations showcasing work from nominated projects for the BL Labs Awards 2019, which were recognised last year for work that used the British Library's digital content in Artistic, Research, Educational and commercial activities.
There will also be a chance to find out who has been nominated and recognised for the British Library Staff Award 2019 which highlights the work of an outstanding individual (or team) at the British Library who has worked creatively and originally with the British Library's digital collections and data (nominations close midday 5 November 2019).
As is our tradition, the Symposium will have plenty of opportunities for networking throughout the day, culminating in a reception for delegates and British Library staff to mingle and chat over a drink and nibbles.
Finally, we have teamed up with the interactive/immersive theatre company 'Uninvited Guests' who will give a specially organised performance for BL Labs Symposium attendees, directly after the symposium. This participatory performance will take the audience on a journey through a world that is on the cusp of a technological disaster. Our period of history could vanish forever from human memory because digital information will be wiped out for good. How can we leave a trace of our existence to those born later? Don't miss out on a chance to book on this unique event at 5pm specially organised to coincide with the end of the BL Labs Symposium. For more information, and for booking (spaces are limited), please visit here (the full cost is £13 with some concessions available). Please note, if you are unfortunate in not being able to join the 5pm show, there will be another performance at 1945 the same evening (book here for that one).
So don't forget to book your place for the Symposium today as we predict it will be another full house again and we don't want you to miss out.
We look forward to seeing new faces and meeting old friends again!
Image taken from page 99 of 'Festival of Song: a series of Evenings with the Poets. Prepared by the author of "Salad for the Solitary" ... (F. Saunders). With ... pictures by Members of the National Academy of Design. Engraved by Bobbett and Hooper'
For any further information, please contact labs@bl.uk
Posted by Digital Research Team at 1:57 AM
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BL Labs Awards 2019: enter before 2100 on Sunday 29th September! (deadline extended)
We have extended our deadline for our BL Labs Awards to 21:00 (BST) on Sunday 29th September, submit your entry here. If you have already entered, you don't have to resubmit, however, we are happy to receive updated entries too.
The BL Labs Awards formally recognises outstanding and innovative work that has been created using the British Library's digital collections and data.
Submit your entry, and help us spread the word to all interested parties!
This year, BL Labs is commending work in four key areas:
Research - A project or activity that shows the development of new knowledge, research methods, or tools.
Commercial - An activity that delivers or develops commercial value in the context of new products, tools, or services that build on, incorporate, or enhance the Library's digital content.
Artistic - An artistic or creative endeavour that inspires, stimulates, amazes and provokes.
Teaching / Learning - Quality learning experiences created for learners of any age and ability that use the Library's digital content.
After the submission deadline of 21:00 (BST) on Sunday 29th September for entering the BL Labs Awards has passed, the entries will be shortlisted. Selected shortlisted entrants will be notified via email by midnight BST on Thursday 10th October 2019.
A prize of £500 will be awarded to the winner and £100 to the runner up in each Awards category at the BL Labs Symposium on 11th November 2019 at the British Library, St Pancras, London.
The talent of the BL Labs Awards winners and runners up over the last four years has led to the production of a remarkable and varied collection of innovative projects. In 2018, the Awards commended work in four main categories – Research, Artistic, Commercial and Teaching & Learning:
Research category Award (2018) winner: The Delius Catalogue of Works: the production of a comprehensive catalogue of works by the composer Delius, based on research using (and integrated with) the BL's Archives and Manuscripts Catalogue by Joanna Bullivant, Daniel Grimley, David Lewis and Kevin Page from Oxford University's Music department.
Artistic Award (2018) winner: Another Intelligence Sings (AI Sings): an interactive, immersive sound-art installation, which uses AI to transform environmental sound recordings from the BL's sound archive by Amanda Baum, Rose Leahy and Rob Walker independent artists and experience designers.
Commercial Award (2018) winner: Fashion presentation for London Fashion Week by Nabil Nayal: the Library collection - a fashion collection inspired by digitised Elizabethan-era manuscripts from the BL, culminating in several fashion shows/events/commissions including one at the BL in London.
Teaching and Learning (2018) winner: Pocket Miscellanies: ten online pocket-book 'zines' featuring images taken from the BL digitised medieval manuscripts collection by Jonah Coman, PhD student at Glasgow School of Art.
For further information about BL Labs or our Awards, please contact us at labs@bl.uk.
Posted by Mahendra Mahey, Manager of of British Library Labs.
Africa, Americas, Australasia, BL Labs, Black & Asian Britain, Collaborations, Contemporary Britain, Data, Digital scholarship, Events, Experiments, Fashion, Humanities, Legal deposit, LIS research, Maps, Projects, Research collaboration, Sound and vision, Tools
Innovation Labs and the digital divide
Guest posting by Milena Dobreva-McPherson, Associate Professor Library and Information Studies UCL Qatar with contributions from Tuesday Bwalya, Lecturer, Library and Information Science Department, The University of Zambia (UNZA) and Fidelity Phiri, Visiting Researcher, UCL Qatar.
Can you recall seeing an interesting digital cultural heritage object from Zambia lately? If you search the Europeana Collections portal, you will find some 2500 digital objects coming from European heritage institutions. Alongside these items, you can enjoy the sound recording of a grunting and splashing Hippopotamus captured on 2 July 1985 on Luangwa river in Zambia. This object was aggregated from the British Library's sound collection.
Digitisation efforts of various Zambian institutions date back to 2002; for example, at the National Archives of Zambia (which does not have its own website at the time of writing this post), finding digital content originating from Zambian institutions is currently a challenge, unless you are visiting these institutions in person. One possible reason is that institutions in Zambia digitise for the purposes of internal collection management, preservation, and on-site use, like many other organisations. A rare exception is the digitised collection of the records of the United National Independence Party (UNIP) of Zambia, which was created in 2007 in collaboration with the Endangered Archives Programme of the British Library. While it cannot be accessed on any Zambian digital platform, it is available on the website of the British Library.
Is this situation (of very little accessible digital material online in the archives) common for all cultural sectors? Let us have a look at museums. In this domain, the Livingstone Museum was the first to carry out digitisation activities in 2009. The National Museum Board of Zambia, an umbrella organisation for 5 national and 2 community museums, also has an online presence with digitised images. However, trying to explore the Photo gallery or Audio/video files in the Multimedia section on the website returns the ominous 404 Page not found error although the Board definitely has plenty of objects to share.
Certainly, one could argue that the poor institutional online digital presence is to be expected in a country within the Global South where a digital divide still exists. After all, even finding data to assess the scale of this digital divide is a challenge, and the body of publications on digital divide in Africa had been quite limited with some 100 identified works over 12-year period (2000-2012). There is also a lack of recent estimates on the state of technological use in museums. Back in 2002, Lorna Abungu suggested that "[a]t present, out of 357 known museums throughout the African continent (including the Indian Ocean islands), only seventy-five have – on an institutional level – at least basic Internet access for e-mail."
And, while tackling the digital divide is one of the big challenges of the Global South, when we look at it specifically from the digital cultural heritage perspective it has a global effect. Those within the divide are not able to use modern information and communication technologies to their full advantage. This is one of the reasons digitisation is either delayed or caters only for on-site use in Zambia, for example. But for those on the other side of the divide it results in impaired access to the digital heritage currently being accumulated in the regions affected by the digital divide. This is why the users searching for the sounds of hippopotamus splashing will have a chance to discover them only if they are deposited in a collection on the other side of the divide.
To foster a change within this current situation of a lack of accessibility to the digital cultural heritage of Zambia, UCL Qatar joined forces with the National Museums Board of Zambia to deliver a day-long workshop on Innovation Labs in Cultural Heritage Institutions which was hosted on 1 August, 2019 by the Livingstone Museum. You can read more about this event , in a 'Reflections from the First Sub-Saharan African Workshop on Digital Innovation Labs in Cultural Heritage Institutions' blog post.
Fig. 1. After discussing how to overcome some of the disadvantages of the digital divide:
Participants in the Innovation Labs in Cultural Heritage Institutions which was hosted on 1 August, 2019 by the Livingstone Museum
There was a clear message from Mahendra Mahey, of British Library Labs that innovation in user engagement can start small, with the use of open source tools and popular web platforms. This event provided useful insights on the questions newcomers to the Innovation Lab community have to ask. In September, a Book Sprint to develop the first guide for setting up, running and maintaining a Digital Cultural Heritage Innovation Labs will be held in Doha, Qatar.
Here are some of these interesting questions for the wider labs community:
Keeping in mind how the level of technological innovation is different on both sides of the divide; what should an innovation lab within the divide offer? Incremental innovation to the state of technology around or advanced innovation to match the global leaders?
How much can open platforms support innovation for these labs?
Can the route of using predominantly open tools and platforms for innovation labs be used also as a way to enhance open science in the Global South?
Until a shift in the digital access happens, we will continue browsing some digital content on Zambian heritage coming from other cultural heritage organisations outside Zambia, beyond the digital divide.
Dr Milena Dobreva-McPherson, is Associate Professor Library and Information Studies at UCL Qatar with international experience of working in Bulgaria, Scotland and Malta. Since graduating M.Sc. (Hons) in Informatics in 1991, Milena specialized in digital humanities and digital cultural heritage in the Bulgarian Academy of Sciences, where she earned her PhD in 1999 in Informatics and Applied Mathematics and served as the Founding Head of the first Digitisation Centre in Bulgaria (2004); she was also a member of the Executive Board of the National Commission of UNESCO. Milena's research interests are in the areas of innovation diffusion in the cultural heritage sector; citizen science; and users of digital libraries. Milena is a member of the editorial board of the IFLA Journal - Sage, and of the International Journal on Digital Libraries (IJDL) - Springer and a member of the steering committed of the three biggest conference series in digital libraries, IJDL, TPDL and ICADL. Consultant of the Europeana Task Force on Research Requirements.
Mr Tuesday Bwalya, Lecturer, Library and Information Science Department, The University of Zambia (UNZA). He holds a Master's Degree in Information Science from China. In addition, Mr. Bwalya has received training in India and Belgium in Library Automation with Free and Open Source Library Management Systems such as Koha and ABCD. His research interests include free and open source library management systems; open access publishing; database systems; web development; records management; cataloguing and classification.
Fidelity Phiri is currently employed as Librarian at Moto Moto Museum and a visiting researcher at UCL Qatar. He has worked for National Museums Board of Zambia since 2001. He holds a Bachelor's degree in Library and Information Science from the University of Zambia. Fidelity also graduated in April 2019 from UCL Qatar and is a holder of a Master's degree in Library and Information studies. His research interests are in bibliometrics studies and digital humanities/units that provide access to digital collections.
Acknowledgements: We would like to thank Fred Nyambe for the photos and Dania Jalees for the editing.
Africa, BL Labs, Collaborations, Data, Digital scholarship, Events, Experiments, LIS research, Newsroom, Projects, Research collaboration, Sound and vision, West Africa
Creating Geo-located Digital Sound Walks
A few months ago, here at the British Library we held an interesting Exploring with Sound Walks event, that discussed digital projects that connect literature, sound recordings, place, technology and walking. Several digital tools were mentioned by the presenters at this event, so this post, by Marcin Barski, is a practical guide for creating geo-located sound walks.
We hope you are inspired to create your own walks, listen to sound walks, vote for your favourite (you need to be logged in to vote), and maybe attend one of the Sound Walk Sunday events taking place on the 1st and throughout the month of September 2019. If you can easily travel to London, you may also be interested in attending a Sound Walk Sunday walkshop in and around the British Library, taking place 10:00-13:00 on Saturday 31st August.
Image copyright Stefaan van Biesen
Over to Marcin for his advice on creating sound walks:
Let's start with some basic definitions. A sound walk is any activity that involves both walking and some form of listening. Listening is a much broader term than most of us would ever suspect. It can basically relate to the very act of giving attention to sound, but if we focus on details we soon realise that, as much as it happens mostly involuntarily, in certain circumstances and contexts we can direct it at the topics or phenomena that otherwise would have been lost in the very rich audiosphere that incessantly surrounds us.
It's rather important to understand that those topics and phenomena do not necessarily need to be of audial nature. Using pre-recorded sets of narratives, spoken word or studio-engineered music, we can make our audience aware of stories normally hidden from sight.
In recent years several tools have been developed that help sound walk artists, educators and creators place sounds in exact locations. Once placed, we need to tell our audience how to find and experience them. This can be achieved by voice instructions, QR codes or most commonly (and conveniently) by using mobile apps that determine the user's position via GPS and trigger sounds in the exact locations where we would like them to be heard.
Below you will find a quick guide on how to start creating your own geo-located sound walk, along with descriptions of some of the tools that can make the process smooth and stress free.
Know your subject
The very first thing you will need to do is to decide what story you want to tell. Do you know it well enough already, or is there a need to do some research? Is the story self-explanatory, or will you need to explain some or all details to your audience? And - actually, maybe the first question to ask - is it a story at all? Some sound walks can be based on natural recordings and music only, meaning the whole covered area changes its character without a single word.
Once your story is ready, decide how it should be conveyed to your audience. Do you prefer to tell the story yourself, or maybe it will be better to find and interview other people with significant knowledge of the topic? Creating a sound walk can sometimes be similar to working on a radio piece, in which important elements are delivered by experts or insiders. Will you need to record everything yourself or is it possible to find archival sounds that would add something valuable to your content?
Choose the area
In the next step you will need to decide what area should be covered with your sounds and narratives. Would you like the sounds to be located only in the described and meaningful locations, or would you prefer to have the whole area covered with some more or less abstract background recordings? In the latter case, you need to take into consideration that the larger the area, the more sounds will be needed to fill all the silent spaces.
Bear in mind that your audience will most likely experience your piece by foot, hence the distances between the particular spots should not be too large. The best results are achieved when distances between the sounds allow for smooth and undistracted strolling.
Remember to consider safety! Don't force your audience to walk in hazardous or restricted areas. They will be using headphones, so choose a route away from busy roads.
Choose your tools
Each app you are going to use will come with specific requirements for the format or duration of your recordings. In most cases these requirements will be easy to meet, but make sure you are doing it correctly right from the beginning to avoid the hassle of file conversion or additional editing in later stages. You will find helpful descriptions of some of the available apps below.
Creating a geo-located sound walk can be fun not only for you, but also for others. Consider working in a group in which all of you have assigned tasks or subjects to cover. You will be surprised how much a socially creative activity it can become. Some people create sound walks with children, or with their local community groups.
Recording and editing
We don't all carry high quality microphones in our pockets. Of course, if you want to create an audiophile experience, you will need to secure professional audio recorders and microphones, however technology is not a barrier anymore. You can even use your smartphone to make your recordings - their quality will definitely be good enough to record speech.
If you'd like to use background sounds, and you have no means of making the recordings yourself, there are repositories of sounds available on the Internet. Impressive collection of sounds can be found, for example, on the British Library's SoundCloud channel. You can also search at http://archive.org and http://freesound.org - which are available for you to use free of charge.
There's quite a number of open-source and free sound editing software on the Internet. If you're not a professional sound designer, most likely Audacity will be enough for you. It's easy to use and has all the features you may need. It's also quite popular so you will find many helpful tutorials online.
Placing sounds
This is probably the most pleasant and at the same time the most challenging part of the work. Be prepared to spend hours in your chosen area and to have your patience tested. Although most of the apps allow for fairly accurate placing of sounds, you will need to test each single location yourself. Sometimes you will need to move a sound by a few metres, other times you will want to change the way in which two sounds interact with each other. Wear comfortable shoes and submit to the trial and error process. Despite the challenges, trust us, it's fun!
Go public and advertise
Once you are sure that all of your recordings are out there and in the exact places you want them to be, you can make your walk public. In most of the available apps you can publish with just one click. And when it's public, don't forget to tell everyone to try it. It's very rewarding to hear back from your audience - you will realise how much your work has re-shaped their perception of the chosen space.
Here is a list of digital tools and platforms available for making sound walks:
Echoes gives you the freedom to explore breath-taking GPS-triggered audio tours wherever you are. With the Echoes Creator, you can quickly and easily upload audio, images, and text, geolocate them on the map, and publish them for the world to see. Just add shapes to the map, which create geofenced areas. These will trigger content when your listeners physically walk inside them.
Echoes is free to use and available at http://echoes.xyz
PlaceCloud
Placecloud's mission is to reveal the cultural significance of everyday places. To achieve this, they have invented something called 'placecasts', or place-specific podcasts: short audio recordings with GPS coordinates attached to them. Users can listen to them while being physically present in the places they refer to.
Placecloud keeps the process simple: many of the steps described above won't be necessary when working with this tool. By adding your recordings you become part of a wider community of 'placecasters'.
http://www.placecloud.io
VoiceMap
VoiceMap is a tool for digital storytelling in public spaces. It's designed for storytellers and passionate locals all over the world who can - in an easy way - share their thoughts and narratives about the places they live in. As a creator you can guide your audience around your city - and get paid for this.
http://voicemap.me
Locosonic
Similar to Echoes, Locosonic is designed for creating "movies for your ears" - as they call it. Locosonic Soundscapes link sounds, music and stories to a location. While exploring an area, you will hear the Soundscape that matches your location. Like an additional sense, Locosonic allows you to experience places through their stories and music.
http://www.locosonic.com
CGeomap
CGeomap is a collaborative tool which allows people to work together on the same project. Very easy to use, it creates simultaneously an online map and a browser-based web app, geolocating audio, text and visual content, without the need to install on your device.
It is more limited in terms of sound than Echoes or Locosonic, but adds media to your walk, and generates simultaneously an online media map, accessible for all on desktop. An extra feature allows the user to shift, while walking, from one map to the other, activating up to three layers of content in one place.
Info: http://bit.ly/300hpMS
Aporee
radio aporee ::: miniatures for mobiles is a platform for (creating) sound walks. These are created and organised by a web-based editing tool and listened to with a mobile phone app, while walking outside, at the site where the piece is created for. In addition to the phone apps, a (prototype) browser-based web app is also available, without the need to install the app on your device.
https://aporee.org/mfm/
We hope you have fun making and listening to sound walks! Sound Walk Sunday events are taking place on the 1st and throughout the month of September 2019. One of them "Ecumenopolis – the whole world is one city", by Geert Vermeire, is being made for walkers around the British Library London, the State Library of Moscow, the National Library of Greece and the City Library of Sao Paulo, so we can't wait to listen to this work.
This post is introduced by Digital Curator Stella Wisdom (@miss_wisdom) and Andrew Stuck from the Museum of Walking. Many thanks to Marcin Barski, curator, music publisher, sound and installation artist, co-founder of the Instytut Pejzażu Dźwiękowego (Polish Soundscape Institute) for writing this practical guide to creating sound walks.
Collaborations, Contemporary Britain, Experiments, Sound and vision, Tools
Exploring with Sound Walks
Interested in literature, sound recordings, place, technology and walking? Then you may wish to attend our upcoming Exploring with Sound Walks event at the British Library on the afternoon of Friday 7th June. Places are free, but please book here; https://soundwalks.eventbrite.co.uk.
Following on from our recent 'Season of Place', which was about all things digital mapping; at this Sound Walks event Mahendra Mahey from BL Labs will talk about the Library's current Imaginary Cities exhibition, which showcases fantastical cityscapes created by the Library's artist in residence Michael Takeo Magruder. Michael used cutting–edge digital technologies to remix images and live data from the Library's digital collection of historic urban maps to create fictional and beautiful cityscapes, including an explorable algorithmically generated virtual reality work.
Imaginary Cities exhibition trailer
Bringing us back to exploring real world physical cities; Andrew Stuck, Founder of the Museum of Walking and podcaster at Talking Walking will talk about sound walks, explaining what they are and giving an overview of Sound Walk Sunday, which is scheduled for Sunday 1st September 2019 and the week following.
A sound walk is any walk that focuses on listening to the environment, or adds to the experience for example through the use of sound recordings; a scripted narrator, or choreographed score etc.
Sound Walk Sunday has a map and directory of sound walks on their website, and they facilitate a worldwide network of creatives, institutions and museums to share practices and knowledge around sound walks and walking pieces. Furthermore, this initiative curates a collaborative resource of educative materials, which is available to the public, empowering people to create their own sound walks.
To give examples of the types of works and digital technologies that can be used to create sound walks, there will be a series of short talks and videos by:
Fred Adam from the GPS Museum and Geert Vermiere of the Milena principle & Made of Walking about their CGeomap platform
Marcin Barski, curator, music publisher, sound and installation artist
NG Bristow, writer, director, filmmaker and installation artist
Babak Fakhamzadeh, Dérive app, Kompl and Sauntering verse
George Fort, Placecloud.io
Alastair Horne, a British Library and Bath Spa University PhD student who is making a creative audio work set in Brompton Cemetery
Josh Kopeček, Echoes
Trailer for Alastair Horne's creative audio project set in Brompton Cemetery
We are hoping the Exploring with Sound Walks event will encourage people to make entries for the current Sound Walk Sunday open call, which is inviting people to create outdoor audio, geo-located, immersive performances, listening walks and sound walks.
Furthermore, we would be delighted if any new sound walk works use our Wildlife Sounds. To explain more about these recordings, Cheryl Tipp, Curator of Wildlife & Environmental Sounds at the British Library will talk about this fabulous collection, giving examples of how they have been used creatively by sound artists and game designers, to sow some seeds of inspiration.
Hope to see you there! - Friday 7th June, British Library, book here; https://soundwalks.eventbrite.co.uk.
This post is by Digital Curator Stella Wisdom (@miss_wisdom)
BL Labs, Collaborations, Contemporary Britain, Digital scholarship, Events, Literature, Sound and vision
Staying Late at the Library ... to Algorave
Blog article by Algorave audio-visual artist Coral Manton. Coral is curating this British Library Lates Algorave in collaboration with British Library Events, BL Labs, Digital Scholarship and The Alan Turing Institute.
On the 5th April British Library Lates will host an Algorave in the atrium. Algorave artists will live-code music and visuals, writing code sequences generating algorithmic beats beneath the iconic Kings' Library Tower.
Alex Mclean AKA Yaxu
The scene grew out of a reaction to 'black-boxing' in electronic music - where the audience is unable to interface with the 'live-ness' of what the performer is making. Nothing is hidden at an Algorave. In an Algorave you can see what the performer is doing through code projected onto walls in realtime. The creative process is open and shared with the audience. Code is shared freely. Performers share their screens with the crowd, taking them on a journey through making - unmaking - remaking, thought processes laid bare in lines of improvised code weaving it's way through practised shaping of sound.
Coral Manton AKA Coral
As a female coder, becoming part of the Algorave community has led me to reflect on the power of seeing women coding live, and how this encourages greater participation from women. Algorave attempts to maintain a positive gender balance. More than this the joy of seeing women confidently and openly experimenting with code, sharing their practise, making mistakes, revelling in uncertainty and error, crashing-restarting-crashing again to cheers from the supportive crowd willing the performances to continue sharing the anarchic joy of failure in a community where failure leads to new possibilities.
ALGOBABEZ AKA Shelly Knotts and Joanne Armitage
Algorave is a fun word - an algorithmic rave - a scene where people come to together to create and dance to music generate by code. Technically Algorave is described as "sounds wholly or partly characterised by the emission of a succession of repetitive conditionals". The performers writes
lines of code that create cyclic patterns of music, layered to create an evolving composition. The same is applied to the visuals: live coded audio reactive patterns, showing shapes bouncing, revolving, repeating to the beat of the music. All of this creates a shared club experience like no other.
Visual Artists Antonio Robert AKA hellocatfood: "I like to do Algorave because I think it runs an otherwise perfect black box computer into a live performance instrument. Playing at an Algorave forces me to abandon what I know and respond to everything happening around me. It shows me that even something as meticulously designed as a computer is a living tool that is subject to randomness and mistakes."
Antonio Roberts AKA hellocatfood
Algorave is an open, non-hierarchical global community, with it's hub in Sheffield. There have been Algoraves in over 50 cities around the world. Algorave is not a franchise, it is a free culture, anyone can put on an Algorave - however their approach should align with the ethos of the community. Algorave collapses hierarchies - headliners are generally frowned upon. Diversity is key to the Algorave community. Algorave is open to everyone and actively promotes diversity in line-ups and audiences. The community is active both online and at live events organised by community members. The software people use is created within the community and open-source. There is little barrier to participation. If you are interested in Algorave come along, speak to the performers, join the online community, download some software
(e.g. IXI Lang, puredata, Max/MSP, SuperCollider, Extempore, Fluxus, TidalCycles, Gibber, Sonic Pi, FoxDot and Cyril) and get coding.
If this sounds like your scene or you want to know more, please join us at the Algorave Late Event. Tickets available here: https://www.bl.uk/events/late-at-the-library-algorave
Also check out https://algorave.com & https://toplap.org
BL Labs, Collaborations, Contemporary Britain, Data, Events, Experiments, Music, Research collaboration, Sound and vision, Tools, Visual arts
BL Labs 2018 Artistic Award Runner Up: 'Nomad'
Nomad is a collaborative project between Abira Hussein, an independent researcher and curator, and Sophie Dixon and Ed Silverton of Mnemoscene. They were the runners up in the BL Labs Artistic Award category for 2018, and they've written a guest blog post about their project for the Digital Scholarship blog.
Nomad: Reconnecting Somali heritage
The project has been supported by the Heritage Lottery fund and premiered at the British Library and British Museum during the Somali Week Festival 2018. Centred around workshops engaging Somali communities in London, Nomad explores the creative use of Mixed Reality and web-based technology to contextualise archival Somali objects with the people and traditions to which they belong.
Nomad began with three Somali heritage objects - a headrest, bowl, and incense burner - which had been digitised at the British Museum. Thanks to Object Journeys, a previous project Abira was involved in, they were freely available to use.
Our goal was to reflect the utilitarian nature of the objects by showing their intended use. Furthermore, in Somali culture, songs and poetry are very important and we wanted to reconnect the objects to the sounds and traditions to which they belonged.
Our approach was to use Microsoft's Mixed Reality HoloLens headset to show a Nomadic Somali family using the objects in real, everyday spaces. When wearing the headset the user can select different objects to reveal different members of the family, seeing how the object would be used, and hearing the songs which would have accompanied their use.
You can get a taste of the HoloLens experience in this short video (1 minute).
To create these ephemeral figures we used motion capture and 3D modelling, creating the clothing by referencing archival photographs held at the Powell Cotton Museum in Kent.
We used the British Library's John Low collection as the source for the sounds you hear in the Mixed Reality experience. John Low travelled across Somalia between 1983-1986 working for an NGO to support community development. In his spare time he made field recordings with different tribes and dialects, providing an insight into the diversity of Somali oral traditions. The collection includes work songs reflecting pastoral life and poems, also known as Gabay, which are often recited in communal settings.
Workshop held at the British Museum during the Somali Week Festival
With support from the Heritage Lottery Fund we toured the Mixed Reality experience to different Somali communities in London. The immersive experience became a way to inspire and encourage communities to share their own stories, to be part of an openly accessible archive representing their own narratives for Somali cultural heritage.
These workshops were exciting events in which participants handled real objects, tried the Mixed Reality experience and took part in the photogrammetry process to capture 3D models of the objects they had brought to the workshops.
To make the objects and sounds accessible to all, we also created Web-based Augmented Reality postcards to be used in the workshops.
Workshop participants looking at 3D objects using web-based Augmented Reality on their mobile phones
From the workshops we have 3D models, photographs and audio recordings which we're currently adding to an online archive using the Universal Viewer. For updates about the archive and to find out more about our project please visit us at nomad-project.co.uk.
Watch the Nomad team receiving their award and talking about their project on our YouTube channel (clip runs from 4:15 to 8:16):
Find out more about Digital Scholarship and BL Labs. If you have a project which uses British Library digital content in innovative and interesting ways, consider applying for an award this year! The 2019 BL Labs Symposium will take place on Monday 11 November at the British Library.
Africa, BL Labs, Collaborations, Digital scholarship, Events, Experiments, Projects, Sound and vision, Tools, Visual arts
BL Labs 2018 Artistic Award Winner: 'Another Intelligence Sings'
This guest blog is by the winners of the BL Labs Artistic Award for 2018, Robert Walker, Rose Leahy and Amanda Baum, for 'Another Intelligence Sings'.
When the natural world is recorded, it is quantised for the human ear, to wavelengths within our perception and timeframes within our conception. Yet the machine learning algorithm sits outside the human sensorium, outside the human lifespan. An algorithm is agnostic to the source, the intention and the timescale of data. By feeding it audio samples of lava and larvae, geological tensions and fleeting courtship, the seismic and the somatic, the many voices of life are woven into a song no one lifespan or life form could sing.
Another Intelligence Sings ( AI Sings ) is an immersive audio-tactile installation inviting you to experience the sounds of our biological world as recounted through an AI. Through the application of neural networks to field recordings from the British Library sound archive a nonhuman reading of the data emerges. Presenting an alternative composition of Earth's songs, AI Sings explores an expanded view of what might be perceived as intelligent.
The breadth of the British Library Wildlife and Environmental Sounds archive enabled us to take a cross section of the natural world from primordial physical phenomena to the great beasts of the savannas to the songbirds of the British countryside. The final soundscape is created from using two different neural networks, Wavenet and Nsynth. We trained Wavenet, Google's most advanced human speech synthesis neural network, on many hours of field recordings, including those from the British Library archives.
Nsynth is an augmented version of Wavenet that was built and trained by Magenta, Google AI's creative lab. Nsynth creates sounds that are not a simple crossfade or blend but something genuinely new based on the perceived formal musical qualities of the two source sounds. This was used to create mixtures between specific audio samples, for example, sea lion meets mosquito, leopard meets horse, and mealworm meets ocean.
Click here to play a 4 minute clip of the sound from the installation.
Through this use of the technology, AI Sings reorients the algorithm's focus, away from the human expression of individual thought and towards an amalgam of geological and biological processes. The experience aims to enable humans to meditate on the myriad intelligences around and beyond us and expand our view of what might be perceived as intelligent. This feeds into our ongoing body of shared work, which raises questions about the use of artificial intelligence in society. Previously, we have used a neural network to find linguistic patterns not perceivable to human reading to mediate our collectively written piece Weaving Worlds (2016). In AI Sings we continue this thread of asking which perspectives an AI can bring that human perception cannot.
AI Sings takes digital archive content and makes it into a tactile, sensuous, and playful experience. By making the archive material an experiential encounter, we were able to encourage listeners to enter into a world where they could be immersed and engaged in the data. Soft, tactile materials such as hair and foam invited people to enter into and interact with the work. In particular, we found that the playful nature of the materials in the piece meant that children were keen to experience the work, and listen to the soundscape, thereby extending the audience of the archive material to one it may not usually reach.
By addressing the need for experiential, visceral and poetic encounters with AI, Another Intelligence Sings goes beyond the conceptual and engages people in the technology which is so rapidly transforming society. We hope this work shows how the creative application of AI opens up new possibilities in the field of archivology, from being a tool of categorisation to becoming a means of expanding the cultural role of the library in the future.
The piece premiered at the V&A Digital Design Weekend 2018 on 22nd of September as part of London Design Festival, where it was exhibited to over 22,000 visitors. Following the weekend we were invited by Open Cell, London's newly opened bioart- and biodesign studio and exhibition space, to be showcased on their site.
More about the project can be found on our websites:
www.baumleahy.com + www.irr.co + www.amandabaum.com + www.roseleahy.com
Watch the AI Sings team receiving their award and talking about their project on our YouTube channel (clip runs from 8.18):
BL Labs, Collaborations, Data, Digital scholarship, Events, Experiments, Games, LIS research, Music, Off the Map, Projects, Science, Sound and vision, Tools, Visual arts
BL Labs 2018 Research Award Winner: 'The Delius Catalogue of Works'
The BL Labs Symposium, 2018


One of the purposes of Human Resources is to provide a list of qualified candidates as potential employees for the FHQ Tribal Council. We also ensure that appropriate policies, procedures and standards are in place to protect our employees and our organization.
We work with our member First Nations by informing and sharing information on proposed laws and policies.


Are two hours not enough? Add some extra time of photo fun at your event!
• Any Green Screen package.
• Cannot be combined with any other discount.
Allow your guests to email their photos at our sharing station!


Rapid Prototyping is an institute central facility created in year 2004. The facility is extensively used by students and faculty across the entire institute apart from many individuals and industries out side IIT Delhi. The term rapid prototyping (RP) refers to a class of technologies that can automatically construct physical models from Computer-Aided Design (CAD) data. These "three dimensional printers" allow designers to quickly create tangible physical prototypes of their designs, rather than just two dimensional pictures. Rapid prototyping machine installed at IIT Delhi is based on Selective Laser Sintering (SLS) technology. The process uses polymer powder (polyamide) as a raw material to build artifacts irrespective of their complexity. The prototypes can be made in five different materials namely polyamide, glass-filled polyamide, Alumide (Aluminium mixed polyamide), primecast (wax type of material) and Somos (rubber-like material).
EOS P360 Rapid Prototyping Machine from EOS GmbH, Germany.
Analysis and improvement of accuracy in selective laser sintering (Ph.D. work of Mr K Senthilkumaran).
Improvement of part strength in selective laser sintering (Ph.D. work of Mr Prashant Kumar Jain).
Improvement of part quality in selective laser sintering by study and control of surface roughness (A research project sponsored by CSIR).


text:
Columns Language It's All In Your Head
It's All In Your Head
Tuesday, February 5, 2019 at 8:01 pm | ל' שבט תשע"ט
Pull up a chair. I've got a story for you.
Back when I was a mail-order copywriter, one day I was drinking decaffeinated coffee. (It was before a fast day and I was weaning myself off caffeine.) Then I noticed something weird. Even though I knew it had no caffeine, it still gave me a lift.
Somehow, whether because of the taste or the ritual, it gave me some of the feeling of a real cup of coffee.
If you're thinking placebo, we're on the same page.
OK, so what is a placebo? Oxford English Dictionary defined it as "A drug, medicine, therapy, etc., prescribed more for the psychological benefit to the patient of being given treatment than for any direct physiological effect; esp. one with no specific therapeutic effect on a patient's condition, but believed by the patient to be therapeutic (and sometimes therefore effective)."
Merck Manual, a standard reference for doctors and pharmacists, took it further: "The term placebo (Latin for 'I will please') initially referred to an inactive, harmless substance given to patients to make them feel better by the power of suggestion. More recently, sham interventions … have also been considered placebos."
Suddenly it hit me. I discovered that a placebo can work even if you know it's a placebo. Eureka! I was the Louis Pasteur of snake oil.
I told the mail order company's lawyer about my discovery and that we should start selling placebos.
He came back with a typically cautious response:
"You're nuts!"
I held myself back from telling him to stick to his area of expertise. I knew this was a leap of faith from his defanging my edgy sweepstakes promotions.
Still, he was intrigued enough to ask a patent lawyer friend of his. (Drumroll, please.) The patent lawyer thought I might be right. So that led to my becoming a drummer in a medicine show. No, I don't mean a percussionist. I mean in the sense of a sales representative. I was drumming up business.
I'd guess the two senses of drummer are related. Around 60 years ago I went to a Lag BaOmer parade. The marching band included a bass drum that said "Deacon Fife's Magic Remedy — Good for Man or Beast."
But before the selling came the research. I dove in and became a virtual doctoral candidate in placebology.
At one point, the patent lawyer told me that mass of material I sent him was impressive, but the key point of whether a placebo works if you know it's a placebo still needs more research. Then he added, "But I know that telling that to you is like telling a kid he has to eat more ice cream."
I love ice cream, in a manner of speaking.
I went back into the fray.
Not so simple. Who is going to finance research that could show you don't need to buy drugs? Certainly not the drug companies.
That was way before Ted Kaptchuk of Harvard Medical School ran a study showing that patients who knew they were taking placebos reported twice as much symptom relief as a no-treatment group. At that time the only solid research I could find was a 1963 experiment run by Lee Park and Uno Covi of Johns Hopkins University School of Medicine: "Nonblind Placebo Trial; An Exploration of Neurotic Patients' Responses to Placebo When Its Inert Content Is Disclosed."
Park and Covi selected 15 neurotic outpatients at a psychiatric clinic and carefully worked with a prepared script, which read in part: "Many people with your kind of condition have also been helped by what are sometimes called 'sugar pills,' and we feel that a so-called sugar pill may help you, too."
Then, just to be sure, the script explained that a sugar pill "is a pill with no medicine in it at all. I think this pill will help you as it has helped so many others. Are you willing to try this pill?"
Fourteen of the patients agreed. All of them showed improvement. One refused. Her symptoms later increased.
In a 1953 Pogo cartoon, a pelican named Roogey Batoon was selling snake bite remedy. No snake bites? No problem. He carried a snake for unbitten customers. Roogey opened his case and out came Snavely the snake, with a top hat … and an expression that said he was feeling no pain.
"Snavely! Is you been at the remedy again?"
"Hotcha! I bit myself, Boss … it was a case of life or worse."
But it goes deeper than a serpent's tooth.
Norman Cousins referred to the power of positive emotion as "the biology of hope and the healing power of the human spirit." Hope and faith can actually change biology.
As the Tzemach Tzedek said, "Tracht gut, vet zayn gut — Think good, and it will be good."
Please send smiles, sticks and stones to language@hamodia.com.

redpajama_set_name: RedPajamaCommonCrawl


Lyra was one of the nicest, smartest nad most decent people I have ever met. Lyra was part of a new generation of Northern Irish journalists (and young people) who had moved past sectarian identities and wanted to build a more progressive, more peaceful Northern Ireland. Lyra was a powerful advocate for LGBTi rights, civil liberties and human rights.
Lyra was also an incredible investigative journalist. She was in Forbes 30 Under 30 List, had a growing international reputation and was working on her second book.
I had the pleasure to get to know Lyra through her working on the grassroots campaign to reform the law of libel in Northern Ireland. Lyra was a passionate defender of press freedom and exposing the truth.
You don't expect journalists to be killed anywhere. For it to happen to a friend, in a (troubled) democracy, is just unbelievable. I feel so sad for Lyra's family. She was an incredible person and I will really miss her.
" 'All the money in this Gofundme will go to the family of Lyra McKee for funeral expenses and to decide on her legacy.' "
Women Count USA is a vehicle for change. Please support this work in whatever way you can.
How we speak to and of each other matters.


The Algarve has come top of the Live and Invest Overseas top 10 list, beating off competition from regions in France, Bali, Slovenia and Brazil, while Portugal as a country has come 7th in the world in the International Living top 10 for 2019.
The rankings are based on a number of different factors and have been designed to help retirees choose the ideal place to live and invest in once they finish full time work.
The Live and Invest Overseas rankings are put together by Kathleen Peddicord and her team who grade a total of 21 destinations around the world in Latin America, Europe and Asia across 14 different criteria.
While Cascais was also featured in the top 10, at number 5, the Algarve was seen as the best place to retire to mainly because of the low cost of living in the region, especially for those buying property or having income in US dollars.
Other reasons that pushed the Algarve to the top included the exceptional year round weather, wide spread use of the English language in the Golden Visa programme which allows for easy residency in the country for those from outside the EU.
Our years of experience and wide network of contacts enabled us to build an extensive portfolio of apartments, villas, plots and very special real estate opportunities, not only in the Golden Triangle area of the Algarve, but right along the coast.


On the 9th March, amidst great ceremony at the newly erected Marylebone Station in London, the Great Central Railway London Extension is officially opened. This opening took the form of a special train for the Directors only, followed by a lavish meal at the station where the main concourse and platform area was turned into a dining area for the occasion. Colourful flags and banners were draped from the roof and many of the diners actually ate in their top hats. A series of presentations followed, and then the Rt. Hon C. T. Ritchie pulled a simple silver lever on the platform which admitted steam to an awaiting locomotive's cylinders - and the train left to the sound of cheers and celebration.
Public passenger services on the London Extension begin on 15th March. In spite of heavy publicity, the first three trains only carried four, fourteen and thirty-four passengers respectively.


Any chance of that Wengergrip Group buy happening?
I remember Def had floated the idea out there a while back. Was there ever any movement on it?
better and love the hex bit adapter.
Re: Any chance of that Wengergrip Group buy happening?
I have a WengerGrip and while the pliers are heavy duty I don't care much for the hex bit set up. It's not very functional IMHO. I much prefer the Ranger 73/75 set up with the pliers folding completely and neatly into the handle.
Don't listen to Tim- he's from California, what does he know?
Seriously, I like the WengerGrip (aka SwissGrip) and think it's one of the better multitool designs out there which is why I jumped at the chance to get a bunch of them for Multitool.org and SOSAK members. Unfortunately, the gentleman at Wenger that I deal with is a very busy gentleman and I have never heard any more about the possibility of importing a bunch of them. I will continue to harass him about it though, as I have several people that keep asking me about it.
Thanks for the heads up Def. I have been wanting one of those for so long.
of the new Rangers. They fix the one flaw the OHT had, the chisel ground blade.


text:
Q: How to integrate Zxing without installing barcode scanner application? I added Zying android application to my application as library. Then edited Manifest.xml and tried to use Intent integrator. No luck.
Downloading scanner app is totally unreasonable.
By the way:
Intent scanIntent = new Intent("com.google.zxing.client.android.SCAN");
scanIntent.setPackage("com.google.zxing.client.android");

11-11 15:15:27.793: WARN/System.err(15384): android.content.ActivityNotFoundException: No
Activity found to handle Intent { act=com.google.zxing.client.android.SCAN
cat=[android.intent.category.DEFAULT] pkg=com.google.zxing.client.android (has extras) }

A: +1 for your question. I tried this but no luck then I added it's code files in my app. If you wish you can also do that. Here ia a link:
http://code.google.com/p/zxing/source/browse/trunk#trunk%2Fandroid
If you get any better way then let me know.

A: You are trying to access the ZXing scanner in two directly conflicting ways.  The purpose of the IntentIntegrator that ZXing provides is to make accessing the external scanner app simpler by building the Intent for you with all the appropriate constants and flags.  If you do not want to install and run the external scanner app from Android Market on a device, IntentIntegrator is not for you.  This is also true wit the Java code you posted, as it is essentially the same Intent the integrator would create to launch the external application.
If you integrate ZXing into your project as a library, then the components become a part of your application and they must be referenced as such.  For example, a declaration in AndroidManifest.xml needs to be added such as:
<activity android:name="com.google.zxing.client.android.CaptureActivity"
  android:screenOrientation="landscape"
  android:configChanges="orientation|keyboardHidden"
  android:theme="@android:style/Theme.NoTitleBar.Fullscreen"
  android:windowSoftInputMode="stateAlwaysHidden">
  <intent-filter>
    <action android:name="com.google.zxing.client.android.SCAN"/>
    <category android:name="android.intent.category.DEFAULT"/>
  </intent-filter>
</activity>

Make sure you used the correct name here for the activity and action, as these have to reference the library. Then you can launch the scanner Activity from your Java code using the following:
int REQUEST_SCAN; //Request code for Intent result
String packageString = "com.yourapplication.packagename";

Intent intent = new Intent("com.google.zxing.client.android.SCAN");
intent.setPackage(packageString);
//Add any optional extras to pass
intent.putExtra("SCAN_MODE", "QR_CODE_MODE");
//Launch
startActivityForResult(intent, REQUEST_SCAN);

Notice the Intent action matches the declaration in the manifest, but the PACKAGE is this application, not the Android Market ZXing application.
HTH

A: You need to follow step as given by the link
http://www.androidaz.com/development/zxing-qr-reader-direct-integration
you can download core.jar  from
http://repo1.maven.org/maven2/com/google/zxing/core/2.2/
The above is working for me, if you get error just put the core-2.2.jar in libs and clean your project

redpajama_set_name: RedPajamaStackExchange


Save your application regularly. This will update pre-populated fields later in the application and protect all the information previously entered.
When ready to reopen the application, you will find it under "pending requests." Click on your application, and then click "edit" in the top right corner.
Once your application is completed and saved, click "submit" at the top of the application. Once your application is submitted, you will no longer be able to edit.
Update your organization and contact information.
From the main page of the grantee portal, click the link on the left side of the page called "organizations," then click edit.
To edit contact information, click the link titled "people" then edit.
Our mission is to build community through music. To do so, we generally support popular contemporary music, such as rock, hip-hop, Americana, EDM, R&B, and many others.
How do I know which goal is the best choice for my request?
Please choose the goal your request most closely aligns with. Our Music Programs staff does not provide goal fit feedback or support to the applicant. We recommend that you review our Music Programs goals to help determine the best fit.
Is there a funding preference for or specific funding allocation by goal area?
No. We are responsive to the needs of nonprofits and allow them to determine what goal area best fits their organization, program or project. All applications are reviewed individually across all goal areas.
One of Music Programs' goals is to help musicians and music-related businesses grow and develop. To what age group does the word "musicians" refer?
"Musicians" refers to musicians of all ages.
Please review the Muse guidelines for detailed information about Music Programs goals, Muse eligibility, and what we look for in a strong Muse application.
Do you provide funding to organizations that are not 501(c)(3) public charities?
No. Muse applicants must be 501(c)(3) public charity organizations. Private foundations, government entities, public school districts, and type III non-functionally-integrated supporting organizations are ineligible to apply to Muse.
Yes. Faith-based organizations are eligible to apply to Muse. However, applications may not include activities that support or promote a specific religious purpose. Programming provided by faith-based applicants must be open to the wider community without regard to the participants' religious beliefs. Programming must not include proselytizing or mandatory attendance at any religious service.
What is a typical Muse award amount?
Awards are between $1,000 and $20,000. Grants can only be used to cover expenses associated with the type of support requested (i.e. general operating, program, or project support).
Is there a deadline for Muse consideration?
Yes. There are two grant rounds per year (in Spring and Fall) during which applications are accepted. Deadlines for each grant round will be posted on the How to Apply page. Check this page regularly for updated deadlines.
Funding decisions are typically communicated to applicants within three months of the application deadline.
Do I need to submit a new Muse application each year for a recurring program?
Yes. A new application is required for each program each year. Funding one year does not guarantee future funding.
Are multi-day events eligible for funding?
Yes. Muse funds seasonal programs, festivals and other multi-day events that align with our goals. Muse supports multi-day events that are connected thematically (e.g. summer concert series or multi-day festivals) and that advance the music-related work of the applicant.
What is the difference between a program support, project support and general operating support request?
Program support grants fund direct expenses associated with your specific program or service, which should align with one of the Music Programs goals.
Program support expenses include, but are not limited to staffing, equipment, and program-specific operational costs.
Programs are typically operational each year, though first-time pilot programs are also eligible for funding. Programs do not need to be 12-months in duration. However, consistent delivery and integration into organizational planning is required for a request to be considered a program support request.
Project support grants fund an organization's operational capacity and ability to deliver successful programming.
Project grants support activities that are not part of the organization's regular activities (i.e. purchase of equipment, capital and/or infrastructure improvements, technical assistance, capacity building, etc.).
Project support grants are one-time in nature and nonrecurring with predefined timelines and budgets established by the organization.
General operating grants invest in a grantee's mission rather than specific projects or programs. It allows grantees to use funds as they see fit to reach their goals. Please see "Support Types" in the Muse guidelines for eligibility requirements associated with each request type.
Is there a funding preference towards general operating, program, or project support?
No. We are responsive to the needs of nonprofits and allow them to determine what type of funding is most beneficial to their organization. All applications are reviewed individually across all request types.
Can my organization apply for multiple support types (general operating, program, project)?
No. Organizations may only submit one application per grant cycle for one support type; general operating, program, or project support.
How many times per year can I receive funding for general operating support?
Organizations are only eligible to receive general operating support once annually. Organizations may, however, apply for general operating support in one cycle and program or project support in the next cycle, and receive funding for both within the same year. Organizations cannot apply for funding for general operating support twice in one year regardless of whether the request was funded.
Organizations must be in operation for two consecutive years or more to apply for general operating support and they must be located within the geographic boundary of Larimer and/or Weld counties.
Public universities and colleges are ineligible to apply for general operating support.
How many times per year can I receive funding for program support?
Organizations may only receive support for a single program once annually. Organizations may, however, apply for support for a different program within the same year, and receive funding for both programs within the same year. Organizations cannot apply for funding for the same program twice in one year regardless of whether the request was funded.
How many times per year can I receive funding for project support?
Organizations may only receive support for a single project once annually. Organizations may, however, apply for support for a different project within the same year, and receive funding for both projects within the same year. Organizations cannot apply for funding for the same project twice in one year regardless of whether the request was funded.
What is the IRS rule for public support?
For any organization that has been classified by the IRS as a public charity because of the public nature of its support (i.e. under Section 509(a)(1)/170(b)(1)(A)(vi) or Section 509(a)(2) of the Internal Revenue Code), total grant awards from Bohemian Foundation, within the calendar year, may not exceed 30% of the organization's annual budget or otherwise hinder its ability to meet its public support requirements. The impact of our grant awards on an organization's ability to meet the public support requirements can differ greatly, depending on whether grantees rely on the public support test of Section 509(a)(1)/170(b)(1)(A)(vi) or Section 509(a)(2). Therefore, grantees should contact a tax advisor to address any questions regarding the public support requirements.
In some cases, applicants may be asked to provide a written statement, signed by an officer, that a new grant from Bohemian Foundation will not result in a loss of public charity status, accompanied by a summary of financial data for the five years preceding the current tax year, as well as estimates for the current tax year.
When describing the relevance of your request, aim to reflect a strong understanding of the current popular contemporary music and community landscapes of Northern Colorado, as well as of music industry trends more broadly. Where possible, provide examples.
Cite your data sources and use current data, when available.
When describing the community need you are trying to address, please be as specific as possible.
Cite your data sources and use current data, when available. Where possible, use relevant local data which describes the community need. In some instances, local data may not be available, and applicants may choose to reference regional or statewide data. While statewide or national data may be referenced, please try to describe how it's relevant to the local context.
If there are other organizations that perform similar services, explain how you avoid duplication of services and/or partner where possible. Furthermore, explain how your organization is different from other similar organizations or services.
To demonstrate stakeholder buy-in, aim to convey the community's enthusiasm about your organization and/or program. Provide examples of feedback received from key stakeholders, news articles, social media statistics, program participants, etc.
List any partner organizations who are committed to your organization program, or project, and provide specific details about how your organizations collaborate.
Explain how your organization identifies and engages key stakeholders and participants.
Applications that demonstrate creativity and innovation are strongly encouraged, especially when addressing long-standing or particularly stubborn challenges.
Clearly identify and explain the issue or challenge your organization and/or program is addressing.
Be as specific as possible when explaining how your organization and/or program is uniquely addressing a particular issue or challenge and how it is different from other organizations that are similar or who perform similar services.
Muse encourages proposals that include fun elements that enliven and inspire while also advancing popular contemporary music and Music Programs goals.
Describe anything unique or special your organization or program does to add an element of fun to what you are doing.
Requests should demonstrate how funding from Muse will leverage additional funding from multiple sources, including contributed and earned income.
Include information in your application and budget about all other funding sources, both philanthropic and non-philanthropic.
Philanthropic revenue sources include those from foundation grants (private, corporate, or community), individual donations, and revenue from fundraising events.
Non-philanthropic revenue sources include any other revenue sources not included in the philanthropic sources, including government grants and earned income.
Muse places a high importance on responsible resource management.
Organizations should aim to convey effective and ethical business practices and responsible financial stewardship. Explain how your organization manages its annual budget and acquires new funding and revenue sources.
Wherever possible, explain any deviations from planned financial activity and provide reasoning for the change.
Please see the Muse application required documents for a detailed list of required documents.
How do I submit correct budget documents?
Make sure the timelines on your budget documents match the timelines you've entered in your application.
Budget totals in uploaded documents should match budget totals you've provided in the application.
Include your top five revenue sources from both philanthropic and non-philanthropic sources. Only include this Muse request if it is one of your top five revenue sources.
If your organization or the proposed program has recently lost one of your top five funding sources, please include it in this section and mark the status as "declined" or "no longer eligible." Including this information helps us understand the overall funding situation for your organization or program and will not be considered in the review.
If you do not have five philanthropic and/or non-philanthropic revenue sources, including fewer than five is fine.
Do you have an indirect cost policy?
Bohemian allows indirect costs to be included in program request budgets. There is no specific percentage guideline, however reviewers will assess budgets for a clear correlation between the request and the indirect/overhead costs associated with it.
Make sure documents are easy to read because we include them as-is in the materials for reviewers. Budgets may be submitted in any format (e.g. Excel or PDF), and ideally, they will fit on one page. Please include page numbers and carry over column headings if the document is more than one page in length.
Clearly label all documents (both the file name and in the document header).
Make sure the timelines the budget covers are clearly labeled.
Make sure the specific line items your Muse request will be allocated towards are clearly identified in your budget documents. See the Muse Budget Template for an example or use the template as your request budget.
Prior year budget-to-actual documents should include both the prior year budget and the prior year actual expenses on the same page.
What information do I include in the application for the Top 5 Funding Sources?
Please include your top five revenue sources from both philanthropic and non-philanthropic sources and indicate whether these funds are secured or requested.
Philanthropic Revenue: These sources of revenue include grants (foundation or corporate), individual donations, and revenue from fundraising events.
Non-Philanthropic Revenue: Any other revenue sources not included in the philanthropic section, including government grants (e.g. Community Development Block Grant).
Important Note: Only include your Muse request if it is one of your top five revenue sources.
These top five funding sources should also be reflected in your uploaded request budget.
If you do not have five sources in one of the above categories, less than five is alright.
My Muse request timeline doesn't align with my organization's fiscal year.
Most request timelines will align with an organization's fiscal year. In special circumstances your program may operate on a timeline outside of your fiscal year. When this occurs, additional documents are required. If your timelines do not align, please contact Music Program staff for guidance regarding mismatched timelines.
What do you mean by prior year?
Your prior year is the most recent fully-completed 12 months of providing services. For example, if your request timeline is 1/1/2017 – 12/31/2017 your most recent fully-completed prior year is 1/1/2016 – 12/31/2016.
When is an interim report required for my Muse award?
Interim reports are not required for all Muse awards. If your organization has an active grant for the same request you are currently applying for, you must submit an interim grant report in conjunction with that application. Interim reports should briefly summarize progress made in accomplishing your project objectives to date, and share high-level lessons learned to date. Please include budget-to-actuals to date in conjunction with your report. Interim reports do not exclude you from submitting a final report.
To submit an interim report, you must first inform Music Program staff that one is required for your request. We will then allow you access to your interim report form in the grantee portal. Once complete, interim reports can be uploaded by clicking "Reports Due" in the grantee portal. See instructions here.
Be sure your report narrative and budget align with the relevant grant proposal. Address what was planned (and what was in the grant application) and what was delivered.
Do I need to submit a final report for my prior Muse award?
Yes. Please reference Section 4 in your grant agreement for more details about the timing and content of the report.
I still have questions. Where can I find out more information?
For Muse workshop information visit our Application Assistance page.


Carnegie Hall believes in the potential of young people and in providing them with the opportunity to create, produce, and perform music. Through the Musical Connections program, teens in the justice system collaborated with hip-hop collective Circa '95 and chamber-music ensemble Decoda this spring, writing original songs and performing them for friends and family during a special concert on May 11 in the Resnick Education Wing.
When several dozen children and parents crowded into the tiny lobby of Carnegie Hall's new Resnick Education Wing, the palpable excitement did not diminish as we squeezed into an elevator to the 10th floor. We were going to a concert of Musical Connections, Carnegie Hall's incredibly varied set of community-based projects, this particular one conducted in partnership with Passages Academy, the NYC Administration for Children's Services, and the Center for Community Alternatives.
In collaboration with Decoda, a classical music collective, and Circa '95, a hip-hop duo, teenagers and young adults in non-secure placement had created compositions. These were youth sentenced to a program in which they are placed in residential settings closer to their families and provided with other resources in an effort to ease the transition back into their communities.


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Once you have gone through the requirements and you have boiled down to handful of requirements matching your profile, then the very first thing you need to do is grab the email id of the employer and keep it somewhere safe. The next thing you need to do is Update your Resume. As our theme goes, this is one stop destination for all Baan Solution, so we also intend to help the Job Seeker in updating the resume through our Resume Rampup Service. This is one of a unique service one can avail and it comes under various packages.
Resume Rampup is a perfect resume builder service which will tweak and twist your resume to align according to the current Market demands. As the saying goes the first impression is the last impression. So we need to make the first look worth taking a notice of. There are enormous cases, wherein fresher's or newbies wanting to make their mark in the IT industry are kept gaping in to what the IT industry actually requires. One would be having the talent, the skills that the industry requires, he/she may also be able to orally command his skills to the interview panel, but eventually it boils down to the interview call. IT is less demand, higher supply industry. There are lesser requirements in the Industry as compared to the voluminous amount of people wanting to make their mark in the Industry, so there is a stiff competition within the Industry for one to move a notch ahead of their competitors. Such competitiveness environment is definitely a healthy sign going forward, but how can one stand this competitiveness. It all boils down on your presentation skills, how you market yourself to the Industry. Resume or Curriculum vitae is the initial step towards marketing yourself.
You can avail this service by dropping a mail to resumerampup@gmail.com or visit http://resumerampup.wordpress.com for more details.
If anyone comes across any new Baan Job Openings which are not listed here, then feel free to post Baan Job details here, so that everyone benefits from these.
One Stop Destination for Baan Solutions.
Seems to be comprehensive list of Baan Jobs available online.
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This is probably not what this post was about, but very important… If you are leaving the country with the children without your spouse, you need to carry a notarized letter that authorize you to do so from your spouse (or whoever have the legal rights). Some countries only do random checks but if you don't have it when they do, they could send you back home. Some airlines may refuse to let you board their planes for this reason. I knew that if you leave the US for Canada, they will check for sure. This apply if you are driving across the border too.
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Please see Counting days per month in a date range, part 1 of 2 for the complete problem statement.
Now we have to count the number of days in each month. As illustrated by our timeline diagram, we must be sensitive to whether the month actually contains Begin_Date or End_Date. For any given month, the lower end of the range of dates that need to be counted is either the first of that month or Begin_Date, whichever is greater. Also, for any given month, the upper end of the range of dates that need to be counted is either the first of the next month, or the day after End_Date, whichever is less. We need the first of the next month (rather than the last day of the month) or the day after End_Date (rather than End_Date) because we want to include the last day in the count.
We can handle these end-point conditions either with CASE expressions, or, since we're using MySQL syntax, by taking advantage of the convenient LEAST and GREATEST functions.
Note the use of the MySQL TO_DAYS function to assist in the calculation of elapsed days. TO_DAYS takes a date and returns a day number which represents the number of days since some base date in the past (which date this is doesn't matter). Subtracting a smaller day number from a larger day number therefore gives the number of elapsed days between those two dates. In other databases (and in MySQL after version 4.1.1), a DATEDIFF function may be used instead.
When developing a query, it's important to have comprehensive test data with conditions that cover all possibilities, e.g. date range is only one day, date range is within one month, date range crosses year-end boundary, etc.


This monograph presents recursion theory from a generalized point of view centered on the computational aspects of definability. A major theme is the study of the structures of degrees arising from two key notions of reducibility, the Turing degrees and the hyperdegrees, using techniques and ideas from recursion theory, hyperarithmetic theory, and descriptive set theory.
The emphasis is on the interplay between recursion theory and set theory, anchored on the notion of definability. The monograph covers a number of fundamental results in hyperarithmetic theory as well as some recent results on the structure theory of Turing and hyperdegrees. It also features a chapter on the applications of these investigations to higher randomness.


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A winning culture has altered the landscape at Wells Fargo Arena
Win or lose, Sun Devil fans are coming in packs to see ASU men's basketball
ASU senior guard Shannon Evans II (11) fires up the crowd in the second half of ASU's 80-77 loss to Utah at Wells Fargo Arena in Tempe, Arizona on Thursday, Jan. 25, 2018.
Jack Winn
By Anthony Totri | January 28, 2018 | 4:19pm MST
In years past, ASU men's basketball has not been recognized as an elite level program, but an undefeated non-conference stretch quickly changed that. Wins against Xavier University and the University of Kansas berthed a No. 3 ranking, and has since altered the landscape for Sun Devil fans.
"Even beating Kansas at a neutral site wouldn't have quite meant as much," ASU alumnus Robin Stanton said. "But, going into their home court, early start, 99 percent of the fans in the arena rooting for the Jayhawks … that's gotta be one of the five bests wins in the history of the program."
Just days after the team's 10-point victory over one of the country's powerhouse schools, Stanton and a group of ASU supporters launched a GoFundMe in hopes to keep head coach Bobby Hurley at the helm of the success in Tempe.
"The discussion started because everyone was starting to get nervous that we might lose Bobby Hurley to another school," Stanton said. "Apart from paying him more money, the number one way to keep him is to keep the arena full, because I would think if anything would be to drive him away from staying at ASU long-term, it would be playing games in front of a half-empty arena."
With the idea spawning through a SunDevilSource discussion board, fans have raised over $2,600, which bought "15 games worth of tickets in total."
Before every game, the tickets are given away based off an honor system via the discussion board, but within 10 to 15 minutes, they are gone.
It is hard to prove just one win spurred a flock of fans to fill Wells Fargo Arena. A dozen non-conference victories and a packed home court against back-to-back weak opponents during winter break was the incentive the athletic department needed to create more space for fans.
Over 11,000 strong at the arena tonight.
Sun Devil Nation, thank YOU. pic.twitter.com/129z0pZhzf
— Sun Devil MBB (@SunDevilHoops) January 26, 2018
"We came back from holiday break and I was looking at the inventory, and there was no inventory for the most part for fans for Pac-12 games," Senior Associate Athletic Director Dave Cohen said. "The opportunity to allow up to 4,000 more fans to watch this tremendous product is really what drove the decision."
Even as the Sun Devils struggle through conference play, fans have not wavered. After the team dropped two of its first three Pac-12 games, the newly dubbed "Bank", or Wells Fargo Arena, occupied crowds of over 13,400.
The 13,000-plus crowd that made an appearance during the Oregon schools' stretch is the largest crowd since the 2009-10 season (13,966).
"We're a basketball school now," Cohen said. "It's a testament to what Bobby has done … and Bobby has lived up to every single expectation of what we were looking for in a new coach."
The question lingered if fans would continue to show their support at the games since the team has split in each of its last four weeks – most recently after a heartbreaking overtime loss to Utah.
Two days later, 13,943 people showed up to put that question to rest.
Great win for the Devils, great crowd tonight at "The Bank"! Can't tell you how gratifying it is to see our fans create such an incredible atmosphere at WFA! Time now to take this show back on the road. Forks Up! @K_Dodd3 @DougTammaro
— Tim Healey (@TimHealeyASU) January 28, 2018
"It's been outstanding," Hurley said after ASU's win over Colorado. "It's been consistent, and it was very impactful tonight. In the second half, when we got rolling and we were hitting our shots and stopping them, it seems like it just got louder and louder. It was a great atmosphere to be a part of."
A fair portion of the crowd was sporting the newest selling point for ASU basketball: "Guard U" T-shirts.
"We were having a celebratory dinner in Las Vegas," Cohen said. "Bobby is one of the most celebrated point guards ever, (associate head coach) Rashon (Burno) was a point guard himself and played at DePaul. We clearly have four of the best guards in the conference, maybe the country. So Bobby made a comment that just said 'hey, we're kinda like Guard U', and I said 'okay, that's a t-shirt,' that's a branding."
As the team sits at 16 wins with a little over a month until the March Madness Tournament, the defining game as far as fan commitment is chalked up for Feb. 15.
The Wildcats come to town and will likely be featuring a top-10 ranking. To make it all the more enticing, ASU already announced the game is sold out.
This season's round two of the rivalry will be the indicator if this team is ready to be back in the spotlight.
"Success just breeds more issues, and they're all good issues," Cohen said. "Never in my dreams did I think that we would be sitting here and having a capacity of 14,000. The best part about it, and the thing that's probably most pleasing: it's organic. It's a testament to the team and to the people in Scottsdale and Phoenix that are around here and want to come watch these guys play."
Reach the reporter at atotri@asu.edu or follow @Anthony_Totri on Twitter.
Like State Press Sports on Facebook and follow @statepresssport on Twitter.
ASU water polo welcomes new season with highest ever ranking
By Walker Smith
Construction underway for new ASU beach volleyball facility
By Avianna Hoppes
Domenika Turkovic's work ethic shaped her for new leadership role with ASU women's tennis
By Danny Stipanovich


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UAE ties with Hay Festival severed after sex assault claim by employee
19 October, 2020, 09:10 am
Last modified: 19 October, 2020, 09:16 am
UAE threatens jail for mocking anti-Covid measures
Bangladesh condemns hijacking of UAE ship by Houthis
UAE: Why the world's 3rd Covid resilient country is safe to travel amid pandemic
UAE approves Sinopharm's protein-based vaccine
Ms McNamara is waiting to hear whether the Crown Prosecution Service will take up her case
Sheikh Nahyan bin Mubarak Al Nahyan's lawyers say he is "surprised and saddened" by the allegations. Photo :Getty Images via BBC
The Hay literary festival has accused a senior Gulf Royal named Sheikh Nahyan bin Mubarak Al Nahyan of sexual assault.
Caroline Michel, Hay chair, said they would not work in Abu Dhabi again while Sheikh Nahyan remains minister of tolerance as he attacked one of their employees named Caitlin McNamar who is seeking legal redress, reports BBC.
Sheikh Nahyan, 69, has denied the allegations.
Ms McNamara, 32, told the Sunday Times that the alleged attack happened on 14 February at a remote private island villa where she had been summoned, she thought, to discuss preparations for the first-ever Hay Festival in Abu Dhabi, which was opening 11 days later.
She said she told both her employer and embassy officials soon after the attack, and went to the police in the UK when coronavirus lockdown restrictions lifted.
A statement from Caroline Michel, chair of Hay Festival. pic.twitter.com/2WhMH8xggf— Hay Festival (@hayfestival) October 18, 2020
According to the Sunday Times, Ms McNamara is waiting to hear whether the Crown Prosecution Service will take up her case, and said she had decided to waive her right to anonymity because "I feel I have nothing to lose".
"I want to do this because I want to highlight the effect of powerful men like him doing things like that and thinking they can get away with it," she told the newspaper.
"It seemed clear from the set up I was not the first or last. It really took a massive mental and physical toll on me for what to him was probably just a whim."
The Sunday Times said Sheikh Nahyan had not responded to its approach for a comment on the allegations, but had received a statement from London libel lawyers Schillings which said: "Our client is surprised and saddened by this allegation, which arrives eight months after the alleged incident and via a national newspaper. The account is denied."
Schillings declined to give further comment to the BBC.
In a statement, posted on Twitter, Hay Festival Chair Caroline Michel, said: "What happened to our colleague and friend Caitlin McNamara in Abu Dhabi last February was an appalling violation and a hideous abuse of trust and position.
"Sheikh Nahyan bin Mubarak Al Nahyan made a mockery of his ministerial responsibilities and tragically undermined his government's attempt to work with Hay Festival to promote free speech and female empowerment".
"We continue to support Caitlin in seeking legal redress for this attack and we urge our friends and partners in the UAE to reflect on the behaviour of Sheikh Nahyan bin Mubarak Al Nahyan and send a clear signal to the world that such behaviour will not be tolerated. Hay Festival will not be returning to Abu Dhabi while he remains in position."
Hay Festival / UAE / Sheikh Nahyan bin Mubarak Al Nahyan
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Situated 4km from the Chora, Ornos bay resembles a small village by the sea. A small dock harbours several fishing boats while the tavern on the beach stretches down to the waves. Surrounded by luxury resorts and houses the bay is protected by the summer winds. Attracting families, Ornos is well organized, offering umbrellas, sun beds and easy access.