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Battle-hardened roadies reopen a string of O2 venues on tour, headlining Brixton Academy. Photo: Luke Dyson
Reopening O2 Brixton Academy: Circa Waves
Brixton Academy welcomes a capacity crowd of Circa Waves faithful orchestrated by a band of battle-hardened roadies for the first time since the onset of the COVID-19 pandemic.
After over a year in oblivion with no in-person audiences, O2 Brixton Academy finally flung open its doors in August to welcome a talented but equally beleaguered troupe of technical production crew and raucous fans during the final stop of Circa Waves' sold-out UK tour.
Initially devised in support of their fourth album, Sad Happy – which was released in two parts in January and March 2020 – Circa Waves, like all touring acts, found their forthcoming stage offering shelved, postponed and ultimately, cancelled in the wake of the COVID-19 pandemic.
Over a year later, the Liverpudlian indie rockers were given the go-ahead to pick up their tour, with technical support from the likes of Siyan, SSE Audio/Wigwam, Northern Star Touring and Pixeled Video providing expertise, equipment and infrastructure. An Allen & Heath dLive supplied by SSE Audio/Wigwam, situated in monitor world was, by far, the standout piece of kit for Tour Manager/Monitor Engineer, AJ Sutherland, who recalled the vital aspects of the mixing console.
"I was so busy with the tour management side of the job, that it was a necessity to have a console I could programme and operate quickly. The extensive options regarding surface configuration and the number of assignable soft keys meant I could get the monitors done to a high standard with minimal faffing about."
However, extra admin regarding health and safety paperwork and the rapid scramble to keep the show on the road when crew suddenly had to isolate is something Sutherland, who ended up testing positive along with another member of the technical production team midway through the tour, had to prepare for.
Following his unforeseen exit from the tour, FOH Engineer, Joe Crouch's workload was expanded to assume the role of the day-to-day tour management as well as his traditional mixing duties. "We were really fortunate to have him there ready to go," remarked Sutherland, describing Crouch as the 'right person' to step up and command both roles.
"Everyone stepped up and helped out as much as possible when two members of the crew tested positive for COVID-19, and it was only due to the efforts from the crew and band that meant we could continue," Crouch said rather modestly, speaking to TPi having successfully paved a COVID-19 secure pathway to the final, headline date of the tour. "It was fantastic to be able to reach Brixton Academy for the last show of the tour and play a key part in the reopening of such an iconic venue. The atmosphere was incredible."
COVID-19 also affected the day-to-day aspects of Crouch's traditional touring workflow. He highlighted "simple things like working out the best route to FOH before doors" to avoid as much contact as possible with audiences, to "making sure we were careful about who was backstage and on the bus at all times" – each posing a significant logistical challenge.
Despite restrictions easing by the time they reached O2 Brixton Academy, the crew protected themselves and continued to respect the boundaries and differing rules from venue to venue. The bus was well stocked with lateral flow tests, and once the positive cases were discovered in the group, a plan was put in place to deal with it.
"The band were separated from the crew and taken directly to a hotel, in case more of the crew were positive. We then organised for both band and crew to have PCR tests to assess how well we could continue the rest of the tour. Luckily, these all came back negative, and after consulting with the promoter and the next venue, the following show was able to take place," Crouch said, recalling the haste in which the crew had to seek replacements to fill the roles of TM/Monitor Engineer and Guitar Technician at a day's notice.
"Everything on the bus was sterilised with the help of our driver, and all the equipment that our crew had touched had to be cleaned thoroughly. While it's always important to stay healthy on tour, it's never been such an important and complex issue as it is now," Crouch underlined.
Of equal importance, Crouch believes, is maintaining the connectivity of crew amid the pandemic. "There is still some uncertainty surrounding the future of live events," he said, referring to the loss of talented individuals to other sectors during the lockdown of live events. "It's important that crew can support each other, whether it's by helping out with staff shortages last minute, recommending colleagues for roles to help clients put on the best events possible, or simply discussing and sharing best practices to keep shows safe. This is all done by connecting and communicating as much as possible."
For all the uncertainties facing the team, excitement, it appears, was the prevailing emotion. "Circa Waves were the first band to play at some of these venues since before the COVID-19 pandemic," Crouch said, recounting the "buzz" of busy people engaged and excited about putting on a show.
"Everyone from our team and all of the local staff I worked with echoed the same sort of feelings – it's good to be back doing what we love. We had a really great team on the tour and everyone did an incredible job, from the advance to the implementation of the shows and the work from the local staff and crews.
"It's obvious from the reactions the band had from the audiences and the atmosphere at the shows that everyone had been looking forward to getting back to live events and to seeing live music in-person. It's great to be able to help people enjoy something that they have been missing, and that at one point no one was 100% certain we would have back." Despite the 18-month hiatus, dancing and singing with a crowd quickly felt normal again. "It still feels like there are still some challenges ahead for the live events sector; whether it's the possibility of new COVID variants and restrictions or difficulties with international travel into Europe and the rest of the world, but I also believe that the events industry is resourceful and adaptable, and people will always want to experience live events," Crouch shared. "My time away from this job has only made me realise how much I love it, and I'm going to try my best to continue doing it for as long as possible."
A post shared by Circa Waves (@circawaves)
'THE FIRST GIG BACK IN MANY VENUES'
"This design was signed off and ready to go last year and then COVID-19 hit, and the tour was cancelled a week-and-a-half prior to it starting," Show Designer, Liam Tully said, recalling the devastating news of the tour's cancellation after he had just completed his first full day of programming.
"The latest iteration of the design has changed slightly," he explained, pointing out that everything was initially uploaded to Dropbox and left for the best part of a year, so it was ready to go. "I'd advanced everything during that last week in March 2020."
Following a series of cyclical on-and-off dates filling up the pages of his touring calendar, Tully had little hope that the show and his designs would ever see the light of day. "I honestly didn't think it would happen, and I had taken on prior commitments with James Bay, expecting the Circa Waves tour to be cancelled. Even a week prior to the tour, we were waiting for confirmation on Scotland's easing of restrictions, with two dates of the tour set for Scotland. Our tour began on the 10th, but Scotland didn't make an announcement until the eighth, so it was very touch and go. Gigs over a certain capacity in Scotland also required a specific event licence, which AJ and the production team handled expertly," Tully reported.
"In the end, it worked out well because we were the first gig back in many of the venues we visited on the tour," he said, referencing O2 Academy venues like Leicester, Glasgow and Brixton as a 'surreal' experience, having spent the past 18 months creating content for screen consumption. "I've never seen audiences react to support bands, as well as the main act, so positively. I had to pinch myself now and again to remind myself that it was real."
The show was run on a MA Lighting grandMA3 full size console run on MA2 mode. The entire show was visualised in Syncronorm Depence² from Tully's home. Around half the songs were set to timecode, overseen by Lighting Operator, Zach Burnside, during the dates of Tully's prior commitments.
The design was based around a big, white cyc backdrop, lit up for most of the show – "humongous backlit looks on a big white cyc with different colours and no frontlight with band silhouetted" was how Tully described it. Equipment-wise, GLP impression X4 Bars adorned the lighting rig, side and wash light was achieved by Martin by Harman MAC Aura XBs, while Philips SL NITRO 510s were tasked with sidelight duties.
"This tour was quite difficult to design because we were going from Glasgow Academy, which houses around 3,000 with a normal-sized stage, to Norwich's Waterfront with around 600 capacity," Tully said, describing the project as a "hybrid tour", which meant cramming as much of the design in as possible each night. "I had a plan B, C and, in some cases, D. This often required cutting down some of the six towers of sidelights as well as a few fixtures from the back of the rig."
For the headline show, additional fixtures were provided for the side towers, such as Robe MegaPointes, Claypaky Sharpys and Martin By Harman MAC Aura XBs. "There are a lot of budget requirements from bands following the pandemic, so being flexible with the fixture choice is crucial. Siyan were very accommodating to the budget and met it straight away," Tully said, having shared a long-standing relationship with the lighting vendor for many years, recently collaborating on James Blake's Shakespeare Globe livestream [TPi #256].
Siyan also ensured a 50/50 gender split of crew for the O2 Brixton Academy date. "It's great to see the gender divide starting to balance out naturally without it being a conscious decision," Sutherland stated. "Everyone seemed to be happy to be back at work, which fed through to all facets of the production," Tully added, summing up his personal experience. "It felt like we were back to normal and it was a relief to complete the tour safely. Although a part of me is slightly worried about being shut down again, which has never happened before in my career. Now there is a pang of doubt in the back of my mind whenever I design a show."
Pixeled Video supplied four Magic FX stadium shots and two Magic FX stage shots along with 20kg of confetti for the O2 Brixton Academy date. Despite missing the headline show, Sutherland's tour highlight came during the band's hometown O2 Liverpool Academy show, where he was able to trigger the confetti cannon himself.
Pixeled Video Director, Lucy Harrison supplied, set up and operated the machines cued by Tully to ensure 'perfect timing' of the effects. "We fired three hits during the show. The first was during the band's first track, Wake Up, for a big impact with white paper and silver metallic confetti; the second hit, during T-Shirt Weather, was made up of orange paper and gold; after the encore, the band stayed on stage for a dance party soundtracked by their walkout music – Sandstorm by Darude – and this is when the third hit of rainbow confetti came," Harrison explained. "The confetti really helps make it a more memorable experience. It's great to see everyone take some of it home as a souvenir."
A post shared by TPi (@tpimagazine)
'A SURREAL EXPERIENCE'
"When they kick at your front door / How you gonna come?" The Clash's Paul Simonon snarled in 1979 as a stark depiction of discontent in Brixton at the time. Forty-two years later, while a multitude of societal issues still rumble on, the live events sector – and venues in particular – would be forgiven for adopting a similar battle cry in the wake of the COVID-19 pandemic.
"To be back in such an iconic venue as Brixton again after being away for so long was a surreal experience. Seeing all departments working together again was such an uplifting experience and hearing the crowd cheering and applauding was quite emotional. The mood was definitely electric as everyone was buzzing to be there," Harrison concluded. "I felt so at home being on a stage again and it really helped me realise how much I love my job. There is something about live events that's so exciting and enriching, and everyone was so ready to let their hair down and have a good time."
This article originally appeared in issue #265 of TPi, which you can read here.
www.circawaves.com
www.wigwam.co.uk
www.siyan.co.uk
www.pixeledvideo.co.uk
www.liam-tully.com
Circa Waves
Pixeled Video
Siyan
SSE Audio
Wigwam Acoustics
Jacob Waite
Fontaines D.C. experience the trials and tribulations of post-lockdown touring
Erasure hit the road with over 600m of neon and LED infrastructure
Laura Marling's crew adopt a 'less is more' approach to production
© Total Production International 2022


You can use the contract opened date as a criteria on the contract summary list.
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Approved CWA Chemical Test Methods The analytical methods promulgated under Clean Water Act section 304(h) are sometimes referred to as the "304(h)" or "Part 136" methods. The methods measure chemical and biological pollutants in media, such as wastewater, ambient water, sediment, and biosolids (sewage sludge).
reviews of methods of measuring tack and test methods, to articles that only briefly reported the use of a particular test within testing of other material properties. Four basic methods for measuring tack were described. These are: • loop tack • rolling ball • "Quick stick" • probe measurement devices.


text:
Shlomo Mintz
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Shlomo Mintz (Hebrew: שלמה מינץ) (born 30 October 1957) is an Israeli violin virtuoso, violist and conductor. He regularly appears with orchestras and conductors on the international scene and is heard in recitals and chamber music concerts around the world.[1]
2 Musical career
3 Career as conductor and artistic director
4 Teaching career
5 Additional activities
Shlomo Mintz was born in Moscow. In 1959, when he was two, his family immigrated to Israel, where he studied with Ilona Feher, a student of Jenő Hubay. Feher introduced Shlomo Mintz to Isaac Stern, who became his mentor. He was also a student of Dorothy DeLay in New York.
Musical career[edit]
Prime Minister Shimon Peres (left) receiving Israeli violinist Shlomo Mintz at a reception given in honor of conductor Zubin Mehta's 50th birthday. At right, Mira Avrech
His first performance on stage was at the age of six, and at age eleven he played as soloist with the Israel Philharmonic Orchestra. Soon afterward, he was called on a week's notice by Zubin Mehta to play Paganini's Violin Concerto No. 1, Op. 6, with the orchestra when Itzhak Perlman fell ill. He made his Carnegie Hall debut at the age of sixteen with the Pittsburgh Symphony Orchestra (conducted by William Steinberg).
Under the auspices of Isaac Stern and the American-Israel Cultural Foundation he started studying at the Juilliard School of Music in New York and soon afterward at the age of 18, he made an extensive tour through Europe. He also signed, still in his early twenties, a long-term recording contract with Deutsche Grammophon and was invited by Berlin, Vienna, Concertgebouw, Chicago, Los Angeles, Cleveland, Philadelphia and New York Philharmonic Orchestras frequently.
Along his career, he has collaborated with such a famous artists like Isaac Stern, Mstislav Rostropovich, Pinchas Zukerman, Itzhak Perlman, Zubin Mehta, Claudio Abbado, Carlo Maria Giulini, Antal Dorati, Erich Leinsdorf, Eugene Ormandy, Riccardo Muti, Yuri Temirkanov, Ida Haendel and Ivry Gitlis.
Career as conductor and artistic director[edit]
At the age of eighteen, Mintz launched a parallel career as a conductor, and has since led acclaimed orchestras worldwide including the Royal Philharmonic (United Kingdom), the NHK Symphony (Japan) and the Israel Philharmonic. He was music advisor of the Israel Chamber Orchestra from 1989 to 1993, and in March 1994 was appointed artistic advisor and principal guest conductor of the Maastricht Symphony in the Netherlands, which he led for some weeks during four seasons, sometimes as both conductor and violin soloist. In 2008, he became principal guest conductor of the Zagreb Philharmonic. From 2002 to 2012, he was artistic director of the Sion-Valais International Music Festival. Mintz was also the artistic director of Arena di Verona winter season and performed Mendelssohn Elijah Oratorio, as a highlight of his season.
His guest conducting appearances included orchestras like Concertgebouw Orchestra, La Scala, London Symphony Orchestra, Royal Philharmonic Orchestra, Rotterdam Philharmonic, Stuttgart Radio Orchestra, La Fenice, Detroit Symphony and Teatro Colón.
Teaching career[edit]
Mintz gives master classes worldwide, including Crans-Montana Classics, Switzerland, since summer 2012, where he is the Artistic Director.
He was one of the founders of the Keshet Eilon International Violin Mastercourse in Israel, an advanced-level summer program for young talented violinists from all around the world in Kibbutz Eilon, Israel, and served as a patron there for eighteen years (1992-2010).
Additional activities[edit]
Mintz is one of the main actors/co-founder of the "Violins of Hope" project together with violinmaker Amnon Weinstein. Forty-five violins once owned by players who lost their lives in ghettos and concentration camps during World War II were restored by Weinstein and have been displayed internationally. The Violins of Hope were presented in a special event in Jerusalem for the sixtieth-anniversary celebration of the State of Israel.
Mintz has served as a jury member of international competitions, including the Tchaikovsky Competition in Moscow (1993) and the Queen Elisabeth International Music Competition in Brussels (1993 and 2001). He was also invited to be jury president of the International Henryk Wieniawski Competition (October 2001) for the Violin in Poznań, Poland. From 2002 to 2011, he was jury president of the Sion Valais-International Violin Competition in Switzerland. He is a mentor and jury president of the International Violin Competition in Buenos Aires, president of the Ilona Fehér Budapest Violin Competition, the Munetsugu Angel Violin Competition Japan and HKIVS Shlomo Mintz Beijing International Violin Competition.
Premio Accademia Musicale Chigiana, Siena
Diapason d'Or
Grand Prix du Disque (twice)
Gramophone Award
Edison Award (twice)
Cremona Music Award
In May 2006, Mintz received an honorary doctorate from the Ben-Gurion University of the Negev in Be'er Sheva, Israel for his international artistic contributions.
Mintz maintains an active recording schedule as both soloist and conductor for Deutsche Grammophon, Erato, RCA Victor, Avie Records and Challenge Records.
J.S. Bach: Bach Sonatas & Partitas for Solo Violin, BWV 1001 – 1006, Deutsche Grammophon
Bartok: 2 Portraits, Deutsche Grammophon
Bartók: Violin Concerto No. 1, RN
Beethoven: Violin Concerto and the two Romances, Deutsche Grammophon
Brahms: Complete Violin & Viola Sonatas, Avie Records and Magnatune
Brahms: Violin Concerto, Deutsche Grammophon
Bruch: Violin Concerto in G minor, Deutsche Grammophon (first recording, together with Mendelssohn: Violin Concerto in E minor)
Debussy: Violin Sonata in G minor, Ravel: Violin Sonata, Franck: Violin Sonata in A, Deutsche Grammophon
Dvořák: Violin Concerto, Deutsche Grammophon
Fauré: The two Violin Sonatas, Op. 13 in A & Op. 108 in E minor, Deutsche Grammophon
Israel Philharmonic: 60th Anniversary Gala Concert, RCA Victor
Kreisler: Selected violin works, Deutsche Grammophon
Lalo: Symphonie Espagnole, Vieuxtemps: Concerto No. 5 and Saint-Saëns: 'Introduction et Rondo Capriccioso', Deutsche Grammophon
Mendelssohn: Violin Concerto in E minor, Deutsche Grammophon (first recording, together with Bruch: Violin Concerto in G minor)
Mendelssohn: The two Violin Sonatas, Deutsche Grammophon
Mozart: Sinfonia Concertante in E-flat for Violin and Viola, K. 364, RCA Victor
Mozart: The five Violin Concertos, Sinfonia Concertante in E-flat and Concertone, Avie Records (also on Magnatune)
Paganini: The 24 Caprices for violin solo, Op. 1, Deutsche Grammophon
Prokofiev: The Violin Concertos, in D major and G minor, Opp. 19 & 63, Deutsche Grammophon
Prokofiev: The two Violin Sonatas, in F minor and D major, Opp. 80 & 94a, Deutsche Grammophon
Shostakovich: Violin Sonata Op.134 & Viola Sonata Op. 147, Erato
Sibelius: Violin Concerto in D minor, Deutsche Grammophon
Stravinsky 'Histoire du Soldat', Valois
Vivaldi: 'The Four Seasons' (Il Cimento dell' Armonia e Invenzione: Violin Concertos 1-4), Deutsche Grammophon
Vivaldi: Complete Violin Concertos (in 10 vols.), MusicMasters Classics.*
List of violinists
Music in Israel
Shlomo Mintz bio
^ Shlomo Mintz bio
Jaques Cattell Press (Ed.): Who's who in American Music. Classical. First edition. R. R. Bowker, New York 1983.
Boris Schwarz: Great Masters of the Violin. From Corelli and Vivaldi to Stern, Zukerman and Perlman. Simon and Schuster, New York 1983.
Darryl Lyman: Great Jews in Music. J. D. Publishers, Middle Village, NY 1986.
Kurtz Myers: Index to record reviews 1984-1987. G.K. Hall, Boston, Ma. 1989.
Shlomo Mintz Music YouTube
Sibelius Violin Concerto 3rd movement on YouTube
Kreisler's Recitativo & Scherzo on YouTube
Mendelssohn violin concerto in E Minor, 1st movement on YouTube
Noah Klieger (August 14, 2011). "Auschwitz violin entertains IDF troops". Archived from the original on October 24, 2013.
David Dubal interview with Shlomo Mintz, WNCN-FM, 10-Mar-1985
Accademia Musicale Chigiana International Prize laureates
Gidon Kremer (1982)
Peter Serkin (1983)
Shlomo Mintz (1984)
Krystian Zimerman (1985)
Anne-Sophie Mutter (1986)
Andras Schiff (1987)
Viktoria Mullova (1988)
Andrei Gavrilov (1989)
Frank Peter Zimmermann (1990)
Evgeny Kissin (1991)
Gil Shaham (1992)
Esa-Pekka Salonen (1993)
Andrea Lucchesini (1994)
Maxim Vengerov (1995)
Hagen Quartet (1996)
Tabea Zimmermann (1997)
Lilya Zilberstein (1998)
Matt Haimovitz (1999)
Julian Rachlin (2000)
Leif Ove Andsnes (2001)
Hilary Hahn (2002)
Arcadi Volodos (2003)
Artemis Quartet (2004)
Sarah Chang (2005)
Paul Lewis (2006)
Lisa Batiashvili (2009)
Rafał Blechacz (2010)
CiNii: DA0836264X
MusicBrainz: e32e635d-ee6e-45c7-bcf3-aad9407dfefa
SNAC: w6xk8dm4
Retrieved from "https://en.wikipedia.org/w/index.php?title=Shlomo_Mintz&oldid=879453558"
Israeli classical violinists
Male violinists
Jewish classical violinists
Russian Jews
Israeli Jews
Magnatune artists
Accademia Musicale Chigiana International Prize winners
21st-century classical violinists
Wikipedia articles with possible conflicts of interest from November 2012
Wikipedia external links cleanup from November 2012
Wikipedia spam cleanup from November 2012
Articles lacking reliable references from November 2012
Wikipedia articles with CINII identifiers
Wikipedia articles with LNB identifiers

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Carr Center for Human Rights Policy | HARVARD.EDU
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Protocol to the African Charter on Human and People's Rights on the Rights of Women in Africa (Maputo Protocol Text)
Protocol to the African Charter on Human and People's Rights on the Rights of Women in Africa (Maputo Protocol Text). African Union; 2003.
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The Maputo Protocol was originally adopted by the "Assembly of the African Union" in Maputo, Mozambique on July 11, 2003. The official document is titled "Protocol to the African Charter on Human and People's Rights on the Rights of Women in Africa."
The Maputo Protocol is a treaty instrument that is binding on all countries that ratify it. It went into effect in November 2005, after the minimum 15 of the 53 African Union member countries ratified it. As of June 2007, according to the African Union, 43 nations had signed it and 21 had formally ratified it: (Benin, Burkina Faso, Cape Verde, Comoros, Djibouti, Gambia, Libya, Lesotho, Malawi, Mali, Mozambique, Mauritania, Namibia, Nigeria, Rwanda, South Africa, Senegal, Seychelles, Tanzania, Togo and Zambia).
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This weekend, we tackled another honest slogan: "I'm Not OK." It's okay to not be okay, but it's not okay not to know it. All of us have issues. The problem is that we think we know what all of our issues are, but that's not really true. We know some of them but not all or even most of them. Often, we are the last person to know the biggest flaws or problem areas in our lives.
Jeff shared how research shows most Americans rate their abilities higher than they actually are, including their driving abilities, intelligence, honesty, and job performance. Why do you think that is?
Have you ever been in a situation where someone was not self-aware of a blind spot?
Did anyone try to drop hints or help that person become more aware?
Jeff shared how most people tend to be easily critical about the mistakes and motives of others, but they easily explain away their own mistakes and assign the best motives to themselves. Have you found that to be true? How?
King David struggled with self-deception in a big way. He rationalized his adultery with Bathsheba, his deceit, and even his murder of her husband, Uriah. And, for about a year or so, he thought he got away with it all. But then, God reminded him of his self-deception. Read about it in 2 Samuel 12:1-14.
How did Nathan go about telling David a hard truth? Why do you think he chose this strategy?
When was the last time you had to tell someone a hard truth? How did it go? What have you learned about sharing hard truths with others?
How did David receive this hard truth? After a year of living in self-deception and rationalizing sin, why do you think David was open to hearing this message and repenting?
Have you ever had a "Nathan" share something difficult with you? How were they helpful to you?
Sometimes a person shares with us feedback that we don't agree with or don't think is true. How do you decipher between feedback you need to listen to and feedback you probably need to dismiss?
Do you currently have a "booger-in-nose" friend, someone who has the freedom to point out potential blind spots in your life? What does it take to develop that type of friendship? What does it look like to give that person permission to be a "Nathan"?
Now, read Psalm 139:23-24 and James 1:22-25.
Besides friends, how else does God convict us and make us aware of problem areas in our lives? Have you personally experienced Him convicting you in one of these ways? Share with the group.
How do you make time for God to speak to you? Do you have a regular rhythm? How can you grow in this area?
We're about to enter into a season called "Love Does The Unexpected," where we're thinking about how to live a lifestyle of love and surprising grace. God showed His love for us in a surprising and unexpected way —He sent His Son to live with us, die for us, and make a way for us to know Him.
Why did that story connect with you? What does it mean to love unexpectedly? Talk about this with your group.


of Kernel concept. In particular, all CGAL kernels."
tkae the sqrt of a number.
an exact predicate/exact construction kernel without one of LEDA or GMP?
> of Kernel concept. In particular, all CGAL kernels."
> tkae the sqrt of a number.
> an exact predicate/exact construction kernel without one of LEDA or GMP?
Known issue (to me at least).
>> model of Kernel concept. In particular, all CGAL kernels."
>> unable to tkae the sqrt of a number.
> Known issue (to me at least).
FWIW, the straight skeleton package uses such a cheat.
which does what Sylvain said.
You might wan't to base your version on that one.
conversion, and for Quotient<NT> it avoids the division.
> >> model of Kernel concept. In particular, all CGAL kernels."
> >> unable to tkae the sqrt of a number.
> > Known issue (to me at least).
> FWIW, the straight skeleton package uses such a cheat.
> which does what Sylvain said.
> You might wan't to base your version on that one.
> conversion, and for Quotient<NT> it avoids the division.
>>> model of Kernel concept. In particular, all CGAL kernels."
>>> some CGAL exact pred exact construction kernels do not have sqrt?
>>> unable to tkae the sqrt of a number.
>> Known issue (to me at least).
> the to_double conversion, and for Quotient<NT> it avoids the division.


text:
Home / Christian anti-arms fair protesters acquitted
Christian anti-arms fair protesters acquitted
By staff writers
There were scenes of jubilation this afternoon, as five Christian peace protesters were acquitted of 'aggravated trespass' at Stratford Magistrates Court.
The charges against them related to an incident in September 2013, when the five (writer, activist and Ekklesia ssociate Symon Hill, Dan Woodhouse, a trainee minister in the Methodist Church, PhD student Chloe Skinner, caterer Chris Wood and teacher James Clayton) blockaded the London arms fair (DSEi) for an hour by praying, singing hymns and reciting scripture.
It was the video evidence supplied by the police for purposes of prosecution which helped the five win the case, ironically. They had not received clear instructions as to what to do when they left the Excel ground, it was decided.
The defendants have made the case throughout that they were exercising conscience, seeking to prevent killing, and drawing attention to both the illegal sale of torture equipment and the routine supply of the tools of repression by the multi-billion pound arms industry.
At one point in the trial the police said that Symon Hill was "shouting in a religious manner" at the protest. He was, in fact, reciting the famous 23rd Psalm ('The Lord is my Shepherd') at a volume necessary to be heard in public while being arrested.
None of the defendants had any previous criminal records and they all entered pleas of Not Guilty to the court. They faced up to three months' imprisonment and fines for their action if they had been convicted.
By comparison, on the same day as the five kneeled to pray and protest at the arms fair back in September, two companies were thrown out of the exhibition for displaying illegal torture equipment. However, they were removed only after their illegality was raised by an MP in Parliament. Their staff and managers were neither arrested nor charged with any crime. Instead, police arrested and charged peaceful protesters.
Campaigners said tonight that the court verdict was another important landmark in resistance to the international arms trade, and in particular to the Defence and Security Equipment International (DSEi) exhibition – which is a shop window for weapons being supplied to authoritarian regimes and dictators world wide. Opponents want it closed down and the involvement of the UK government ended.
The five Christian peace campaigners, who expressed gratitude from both religious and non-religious supporters, secured backing for their cause and for action on the are trade from former Archbishop of Canterbury, Dr Rowan Williams, Green MP Caroline Lucas, Occupy, the United Reformed Church and the World Methodist Council, as well as many Christian and civic peace and justice NGOs.
* Arms trade trial raises key issues about the industry, churches and protest: http://www.ekklesia.co.uk/node/20084
* More from Ekklesia on protests against the London Arms Fair: http://www.ekklesia.co.uk/tags/8731
Keywords:resistance | prayer | peaceful protest | London arms fair | DSEi | campaign against arms trade | arms trade


text:
The AMIE project at Oak Ridge National Laboratory Photos: Jason Richards/Oak Ridge National Laboratory
How to Print a Building
Start with a machine called Bertha pumping out 100 pounds of carbon fiber-infused plastic an hour, add vacuum insulation, and pair it with a 3D-printed car that provides a wireless charge.
By Whet Moser
Above: The AMIE project at Oak Ridge National Laboratory
Photos: Jason Richards/Oak Ridge National Laboratory
In 2014, at the International Technology and Manufacturing Show in Chicago, a car was printed on the showroom floor. A massive 7'x13'x3' 3D printer—a collaboration between Oak Ridge National Laboratory, Local Motors, and Cincinnati Inc.—laid out a line of carbon fiber-infused plastic for 40 hours, building the body layer by layer.
That same year, Phillip Enquist, a partner in urban design and planning at Skidmore, Owings & Merrill, found himself at the University of Tennessee as part of a collaboration with ORNL. (The city of Oak Ridge was itself designed by SOM in 1942 as part of the Manhattan Project.) Oak Ridge had BAAM, the Big Area Additive Machine that had built the car (by 2015 it would build Bertha, a larger machine that could print 100 pounds an hour). Now it had an architect and designer on hand. So how do you top 3D-printing a car?
By 3D-printing a building.
"We cooked up this idea," says Brian Douglas Lee, another partner at SOM. "Could you actually generate a car that, through its engine and batteries, powers a house? And could the house also have a reciprocal relationship and power a car? That seemed reasonable. You could get solar collectors and power a battery; there's lots of people doing home batteries, like Tesla [the Powerwall], lots of cars that have battery resources, and with bidirectional charging, the house could power the car, or the car could actually help power the house."
AMIE's 3D-printed building and the 3D-printed car that powers it
The result is the Additive Manufacturing Integrated Energy (AMIE) Manufacturing Demonstration project. The car (a PUV, or printed utility vehicle) is something of a homage to the old World War II Jeep Willys, themselves an early experiment in accelerated manufacturing. It connects through a wireless charging pad to the "house"—with a Murphy bed and kitchenette—which looks like something that pairs with a car: an Apple store meets an Airstream trailer. "It started out as being something that could travel," Lee says. "Some of the early designs started out looking like shipping containers."
Small, modular housing is not new, of course. Shipping containers themselves are actually en vogue as one form of it, and one of the project's partners was Clayton Homes, which makes mobile and prefab homes. But the pictures of AMIE don't really capture the material. It feels a bit like the plastic wood you find in benches and playgrounds, but it's heavy. (And as a plastic, it can also be recycled.)
"It's a little bit heavier than wood but five times as strong with the carbon-fiber-infused material," says Andrew Obendorf, an SOM associate director. "It's like a very fine plastic corduroy. If you had corduroy pants made of plastic, that's kind of what it looks and feels like. That's the process of laying down beads of material creates that texture."
But the structure of the building is relatively thin. Which is another part of the experiment.
A piece of the building is moved into position
"At Oak Ridge, they had lots of people doing lots of different things—building enclosures, refrigerators, mechanical equipment. Insulation is one of the things they're very interested in, because you know how badly some houses are insulated," Lee says. "It's all about insulation, creating as tight an envelope as possible, so when you generate energy, you can use it within. Dealing with that super-insulation, that's not that thick or high-cost, it was one of the ideas that was a beginning influence on the project."
And in 2014, Oak Ridge was also working on a Department of Energy project about vacuum-insulation panels, which are thin but much more efficient than foam or fiberglass. It's like insulating a house inside a travel mug instead of inside a sweater.
"It's a piece of insulative material that's about an inch thick when they make it," Obendorf says. "That inch of material has an insulation property of about 40 on an R-value scale. That's about double what you get in your six inches of insulation that you have in your house. It's very high-value insulation. But the negative side of it is that it's vacuum-sealed. The vacuum's what gives it these properties. It's a material that's used a lot in refrigerators—places where you want to keep things very cold but you have a protected shell that it sits inside of."
The stiff 3D-printed plastic gave them a shell in which to place the effective but fragile vacuum panels. "That's where the printing came into play—we could print, essentially, around this panel that needed to be protected, couldn't be punctured," Obendorf says. "If it's punctured it loses almost all of its value."
"You think about the way you deploy material differently," Lee says. "There's no waste; the whole thing's recyclable. You can then think about forms that are different than normally you might do. In design, it's always easier to make rectilinear things. Here you can come up with forms that are more organic, and more connected to the ways that they're actually stressed or fit together. That's why the thing is shaped the way it's shaped. It's really trying to take advantage of those properties of minimizing stress at the corners. Taking advantage of the fact that you can bend material out in a morphing way, so you get the light gills on the surface. To have a cantilever, a very thin material, for the canopy that stretches out."
But what's it for? For now, AMIE is mostly about exploring the concept and the technology.
"People have talked about a lot of different things—dormitories, the homeless, the military," Lee says. "But stepping back, though, for us it was a little more that, if you had to print a small structure and you want to explore this issue of 3D printing as a material, could you actually do a self-contained unit? It was about the technology of 3D printing first. If we wanted to really get serious about the applications of this in the next phase—in fact, we are—how can you actually create modular components that could even be smaller, or bigger, and be combinable to create structures that would serve lots of the needs that we see in society today?"
Inside the finished product


Speak to Rivett east of Grookin Hill. Use his Methane Grenades to fend off the Jinyu attack.
Looks like you stirred up a hornet's nest killin' all them fish-folk.
They're conductin' a full-on counterattack on Grookin Hill!
I was hopin' to get some R&D time, but we're gunna hafta put my methane-grenade theory to work right away!
Meet me on the east side of the fort, and bring yer throwin' arm!
Rivett Clutchpop says: Hurry, <player>! We have to start the smelling... I mean, the shelling!
... and he runs off.
Careful, <player>! Methane labs like these can be extremely volatile.
Come on, come on, come on! They'll be here any moment!
So if I just substitute the powder with compressed...fuel, we should be in business! So to speak.
Assuming this works, I'll need a name for my invention. How 'bout... Grookin Grenade?
Whooohwee! Smells like Dalaran Sharp!
Important for hunters: Make certain to not be using any aspect which provides speed. The daze-if-struck component will carry over to the vehicle - at least, that was my experience when I leveled through the zone on my hunter. If you are already in the vehicle with its UI, I believe you can use the console command "/cancelaura Aspect of the Pack" (without the quotation marks, and substituting in Aspect of the Cheetah if appropriate).
Important for EVERYBODY: If a jinyu gets too close you won't be able to attack it with the... Grookin Grenade. Shokia won't kill it for you either. The jinyu will knock you out and you'll have to speak to Rivett again. Make your shots count! Your "ammo" is restocked only so fast.
If you abandoned the quest, you can pick it back up from Rivett Clutchpop in Dookin' Grounds (Jade Forest) at 30,52. He's kneeling in front of a pile of steaming... well, you know.
Stuff said while attacking the jinyu. Asterisk indicates fixed time, i.e. intro and outro. Rest is random-ish.
*Rivett Clutchpop says: Okay, <player>. I can only make these so fast... you gotta make every shot count!
*Shokia says: I've got your back, <player>.
Rivett Clutchpop says: Here, <player>, catch!
Rivett Clutchpop says: Use it or lose it, mister!
Shokia says: Hey, stop stealing my kills, <player>!
Shokia says: That was my kill, <player>!
I'd say repelling the attack is an understatement!


Develop communication tools for restaurant and cafe and sale them.
・Able to create app/web specifications with a related department and person in charge.
Candidates who have the following skills and experience are welcomed!!


Yass Army! BTS have given us new music.
They're the group that keep on giving – the UK Army are still on a high from their visit to the capital where they performed two dates at London's O2 – and absolutely smashed it, let's face it – and now they've given us that little bit more, announcing a brand new track with Steve Aoki.
To cap it off, they've made the unusual move of singing the entire track in English on the chilled dance track about trying to claw back a relationship after a break up.
surpriseeee ?we're back! got a new collab w/ my brothers @BTS_twt coming at u tomorrow!! who wants to hear it now?? Tweet #WasteItOnMe to unlock a preview!
The group have worked with Steve Aoki before on the hit song Mic Drop, as if we even need reminding, which has over 365 million views on YouTube and saw the lads performing in Korean.
Waste It On Me features on Steve's upcoming new album Neon Future III on 9 November.
The record also features some incredible collaborations, to be announced in time.
It comes just after RM released his solo venture titled Mono.
It has seven tunes, the same as the number for J-Hope's solo mixtape, Hope World. RM teased his fans by announcing the release of a mixtape just moments after he was voted best leader in K-pop on Friday.
In the 20 minutes after it was released into real world, over 45,000 fans retweeted the iTunes link on BigHit Entertainment's tweet, and over 73,000 (and climbing) people have liked the tweet.
The songs showcase RM's talent for singing, rapping and features both poppy numbers and slow jams.
They include collaboration with other artists, too. The second track, Seoul is produced by HONNE, and the fourth track Bad Eye and sixth track Pass By are collaborations with eAeon and NELL respectively.


The Coal Authority has an exciting opportunity for a Head of Portfolio Office to join the team based in Mansfield.
This is a really exciting time to join the Coal Authority as we continue to implement our ambitious 5 year plan and as the Head of Portfolio Office you'll lead and facilitate the process of business planning and delivery assurance across a complex multi-million pound operational business, through the development and implementation of portfolio, programme and project management best practice. The role is integral to our strategy and requires close working relationships with our Executive Leadership team and reports directly into the Strategy and Performance Director.
Our work keeps the public protected from the effects of historical mining and improves and enhances the environment. We also prevent water courses from being contaminated and work with both private and public partners to manage their risks and help support their strategic decisions. Using our knowledge, experience and vast databases we're also supporting the housing and construction markets with mining information products and services.
Our people really are our greatest asset and that's why we're developing a learning culture where they feel valued, are listened to and can grow and develop. We're inclusive, progressive and offer flexible working options and great benefits including family friendly policies in a modern work environment. We're an exciting organisation where you have the opportunity to make a real difference.
If you feel that you are the right candidate for the role as our Head of Portfolio Office then please click 'apply' now! We'd love to hear from you!
Because of the number of applications expected, only successful candidates will be contacted.
Successful candidates must pass basic security checks and will be subject to UK Immigration requirements.
The Coal Authority embraces diversity and promotes equality of opportunity. There is a guaranteed interview scheme (GIS) for candidates with disabilities who meet the minimum selection criteria.


"A driver restore disk works with a Windows Windows XP disk to restore your Panasonic Toughbook..."
A driver restore disk works with a windows disk to return your Panasonic Toughbook CF-T4G Windows XP back to the original factory setup.
Once windows has installed you put this disk into the drive as soon as windows gives you a found new hardware dialog box. Once inserted the Panasonic Toughbook CF-T4G Windows XP will automatically find all the drivers and also install most of the original factory software. BEWARE OF GENERIC DISKS ! All Drivers and factory software are operating system specific so you must have the correct software and drivers for your Panasonic Toughbook CF-T4GWindows XP. Some of the drivers you would find on this Panasonic Toughbook CF-T4G Windows XP Restore Disk are listed below. Not all will be applicable to your system as this list is for information only for Panasonic Toughbook CF-T4G Windows XP Restore Disk.
The ExeDesk is a feature rich virtual desktop manager that optionaly replaces standard Windows desktop. The program features multiple object types (icons, buttons, frames, text,...), menus, tool windows and more. Fully customizable and easy to use.
BMon is a Bluetooth monitor suite that monitors Bluetooth devices (with their Bluetooth on) and add them to a database for later review.Also BMon can analyze each devices manufacturer and device class.Monitoring can be done within specific interval from 30 to 90 seconds.BMon log the active devices to a database that can be used for printing or editing.


Today's church depends far too much on our own resources and methodologies and far too little on the power of God brought down to us through prayer. When was the last time that prayer took more time in your morning worship than the music special? When was the last time you had a concert of prayer where the people poured out their hearts to God? Do your folks ever fall on their knees before the Lord in prayer and brokenness?
As a pastor I discovered that the more our congregation prayed and sought the Lord the greater our effectiveness in ministry and evangelism. If we are going to make disciples the church must return to a passion for prayer.
Disciples of Jesus pray. As we emulate Jesus we look at His prayer life and we do the same thing He did. His prayer life was real and amazing. How is your prayer life?
Let the following quotes and thoughts move you to pray and lead your church to pray.
I read this quote from R.A.Torrey's book, The Power of Prayer, when I was in high school. This quote has always challenged me. Members of our churches think that they can be like Jesus without spending time with Him in prayer and in His Word. Part of our challenge in making disciples is that our culture has saturated our thinking with the idea that everything is instant. We think that we can instantly be like Jesus without spending quality time with Him in prayer. It will not happen. Let's pray and lead our people to pray!
barrier, brokenness, disciple-making, organ recital, power, prayer. Bookmark.


text:
Q: Confirmation email not being sent from php and mysql data? So I have a form in which you can ask someone to join your group via email and for some reason it's not sending the emails out, it was working perfectly fine yesterday and now something seems to be broken. This is the form:

    <form id="addmember" action="addingmember.php" method="post" autocomplete="off">

                Member Email:

            <input type="email" required autocomplete="off" name="memberemail"
                   style="color: black; padding: 8px; height: 48px;"/>

        <button type="submit" class="button button-block" name="submit">
            Submit
        </button>
    </form>

And this is the addingmember code:
<?php

include '../db_connection.php';

session_start();

$leaguename = $_SESSION['league_name'];
$startdate = $_SESSION['start_date'];
$enddate = $_SESSION['end_date'];
$joincode = $_SESSION['joincode'];

$_SESSION['memberemail'] = $_POST['memberemail'];

$memberemail = $link->escape_string($_POST['memberemail']);

//check member Email matches
$memberemail = $link->query("SELECT Email FROM logins WHERE Email =' " . $_SESSION['memberemail'] . "'")->fetch_assoc()['memberemail'];

$to = $memberemail;
$subject = "Becoming part of $leaguename";
$body .= "So you want to become part of $leaguename?" . PHP_EOL;
$body .= "Please click the link below to join!" . PHP_EOL;
$body .= "http://www.linkhere.com/login/verify.php?memberemail=$memberemail&joincode=$joincode;" . PHP_EOL;

$headers = "From: emailhere";

mail($to, $subject, $body, $headers);
//header("location: addanothermember.php");

?>

A: $memberemail = $link->query("SELECT Email FROM logins WHERE Email =' " . $_SESSION['memberemail'] . "'")->fetch_assoc()['memberemail'];

You basically select "Email" in the query, but want to get "memberemail" from it instead. Maybe this is the issue.
Add a check for that $memberemail variable.
Also, it is a bit dangerous to use $_SESSION['memberemail'] in the query without escaping it.

redpajama_set_name: RedPajamaStackExchange


text:
Drawbacks with the GUI
<<Previous – Up
For artist Paul Brown, attempts to make computer interfaces resemble their physical precursors are invidious. In copying past technologies, they limit exploration of the "multiple medium" and stymie the development of interfaces less bound by pre-digital conventions. [1] Some artist/programmers believe that GUI-using artists do not develop a solid foundation, or justification, for using the computer. As Brown says:
User-friendly tools work by adopting existing paradigmatic metaphors. […] they tell the user [there] is nothing new to learn; […] they cauterise creative development and […] delay […] the evolution of new methodologies and critical dialogues.[2]
Brown sees the transference of skills from pre-digital media as an impediment to the development of computer-specific art. Specifically, what he calls the Iconic interface is intuitive to a degree, but prevents the user developing their knowledge of the computer's underlying processes, nor "the wider application, functionality or sociopolitical implications of computer technology."[3] Whilst I agree with this in substance, I cannot see how the GUI impairs an artist's understanding of the computer's social or symbolic role.
This is supported by the findings of Colin Beardon and Sue Gollifer in the investigation into the computer's role in typical artistic practice. They discovered (in the context of modern GUI-based artwork) that "the computer rarely dominates autonomous creative work practice unless by deliberate choice of the user." Rather, it often complements traditional artistic techniques. Beardon and Gollifer conclude the computer is unlikely to supplant such practices because their diversity is artistically important. [4]
Indeed, the computer often ends up emulating such traditional graphics techniques through its interface and tools. Some commentators question whether the result is true "computer" art. In such cases the computer seemingly confers no special visual quality; it only speeds the process. For instance, digitally-manipulated collages of scanned images differ very little from their photographic forebears, especially once they are judged on paper as physical artefacts.
The computer artist and designer John Maeda, when asked "Is computing an artform?" replied that the "gigantic Iris prints" made by many contemporary artists are not examples of Computer Art per se; they are merely digitised versions of existing artwork. [5] Evidently, simply using a computer does not qualify one as a "computer artist" This view is widespread amongst computer artists who program their own work.
The major criticism of the GUI made by artist-programmers is that the visual directness of the interface keeps users from fully exploiting the power of computer processes, forcing them down paths imposed by the categories of commercial software they employ. Because of the boundaries between, say, 3D graphics packages, photo editors and DTP software, one's choice of image is determined by choice of software to a degree. Even the freedom granted by the visual interface could itself be regarded as a constraint. Mark Gross makes this cri de coeur:
THE COMPUTER IS TOO CONSTRAINING! it does not provide the freedom to create; it limits what I can do […]
THERE AREN'T ENOUGH CONSTRAINTS!; the computer lets me do anything I want; there's nothing to work against, say as opposed to working with ink on rice paper, the medium is very unforgiving; you must execute the strokes with skill and craft; the constraints are very exacting and this enhances creativity.[6]
Thus the flexible interface does not provide sufficient direction, yet holds the artist to a particular set of design constraints that are inherent to the software. However, as Catherine McIntyre points out, it is difficult to connect the creative act so directly to the medium itself. If the computer is used purely as a platform for imaging software, then the understanding is bound up with the image and the tools:
If you practise enough the technique becomes automatic, like driving, and then all the decisions you make, consciously or unconsciously, are the 'real' creative ones […] [McIntyre in an email]
The importance of Photoshop to McIntyre's work is that it allows her to take her existing knowledge of collages and extend it in the new medium. The GUI's potential for the extension of art (as opposed to its facilitation) is greatly underrated. For McIntyre, it is the emergent properties of Photoshop usage which enhance her experimentation with images.
Insofar as Computer Art draws analogies or uses directly comparable techniques from older forms of visual art, it may be said to have continuity with them. So long as the screen is treated as a surface – particularly as a 2D surface – there will be little obvious discontinuity with older techniques. In such cases, the computer's role is transparent enough to be a production tool for creating visually similar effects (to photography, painting, etc.) by digital means.
The negative side to the GUI, as pointed out by Brown amongst others, is that familiarity breeds conservatism and there have been few radical departures from the basic model of windows and icons since the Mac's introduction in 1984. Rather, the idea has been refined with successive operating systems offering very similar types of interface. Development has occurred in the field of display technology, increasing resolution and attempting to make documents and images displayed on the computer resemble their printed counterparts to ever-greater degrees: in other words "what you see is what you get" or WYSIWYG. Or, as Don Gentner and Jakob Nielsen put it: "what you see is all you get." [7]
Ever since its development by Xerox and subsequent popularisation by Apple and Microsoft, the mouse/windows interface been subject to criticism for its lack of depth, both visually and structurally. Three problems that have been raised with the metaphorical basis of the GUI are:
1) The new interface has underlying features not present in the metaphor's source domain;
2) The reverse is also true;
3) The features they seemingly share actually work quite differently.[8]
Programmer and interface developer David Gelernter sees these metaphors as having profound consequences for computer usage: "The desktop metaphor traps us in a "broad" instead of "deep" arrangement of information that is fundamentally wrong for computer screens." [9] This is because the screen is presented as a two-dimensional sheet of virtual paper (or at best a window into a three-dimensional space) rather than a multi-dimensional area where the relations between documents can be understood. Gelernter has proposed an interface built around a timeline, with documents being located both by importance and the time of their creation.
The need to maintain some continuity with the printed page reflects roles in which the computer is used. From simple word-processing to photo manipulation to DTP, all have some relation to paper and will eventually end up being output to a printer. This constraint has even extended to purely electronic documents – for instance web pages – which, no matter how many animations or sounds they contain, are in the end simply digital continuations of the conventions of the printed page and do not extend it in ways which are suggested by the nature of the computer screen. [Paul Brown's contention] In some ways, it seems as though the GUI's success as an interface has led computers down something of a blind alley, at least in terms of their usability.
It is absolutely necessary to understand the premise behind the GUI and the compromises involved before one can comprehend the computer's place in contemporary fine art practice. The conflict in the interface is between simplicity, usability and ability, in terms of presenting powerful tools as graphical features. Granted, the artists examined in this thesis are mainly programmers, but in this respect they are untypical of computer usage in visual art. Most artists will become acquainted with the computer through standard graphics packages, and since the GUI will doubtless remain established for at least another decade, it is important to assess it in artistic terms.
Potential replacements for the current GUI include systems incorporating some level of AI to recognise drawing elements. They supply tools in the right context using sketching as the interface. At present, "The Right Tool at the Right Time" and "Electronic Cocktail Napkin" are experimental, but they point towards interfaces which comprehend pictorial elements and utilise gestures as the basis for tool functions.
As Cohen points out, the "easy to use" computer can become a closed box, a mere image appliance which is used but not understood.[10] Meanwhile, animator Robert Darroll is sceptical of the straightforward interactivity of such systems and critical of the element of play, extolled by Wilhelm Flüsser, as deleterious to planning and structure. Many artist-programmers feel this way about the GUI. Darroll holds that technological art which is only concerned with playfulness never gets beyond kindergarten stage and rarely achieves the depth necessary to make a meaningful artwork. [11]
This expectation that the GUI is facile may be tested on the example of natural media paint packages. The images created with these programs are intended to counter our expectations of computer graphics as precise, hard-edged and photorealistic in appearance. The program Painter is perhaps the most widespread example of this tendency towards mimicry of older painting tools: it captures their visual effects. This is not straightforward photorealism, but rather experiential realism which matches our expectation of the visual consequences of using particular inks and surfaces; say, Japanese brushes on rice-paper. The artist has the ability to specify most aspects of the brush, and most characteristics of the paper.
However, such programs need not be used as simple substitutes for older media. The calligrapher and computer artist Tom Kemp has discovered ways of making images with Painter that are quite unlike any traditional oil-paintings. They might even be an unprecedented visual form that he only discovered by using a computer and a Wacom graphics tablet. [Picture and further ref to Tom] Combining his calligraphic skills with his appreciation of marks on a surface and the qualities of line, he has been able to comprehend Painter with the tablet as an image-making device and learnt to use its outcomes.
[Plate XXXII: Tom Kemp's work uses the scanner in novel ways. Here, he has painted using his hand moving over the scanner head. Ache, 2000; Harp, 2000. This also uses the hands above the scanner. Awed is an example of his innovative use of Painter]
Although he undoubtedly works within the inherent structure of the Painter interface (which, incidentally, is quite different to Photoshop) his development of the possibilities within this interface are entirely his own. There is a strong degree of continuity between his painted works (scan existing image) and some of his computer drawings, but his more recent digital work has built on this repertoire and combined it with computer-specific effects. Kemp's most novel discovery (aside from the artistic use of the Palm Pilot PDA) has been his deployment of the scanner as more than an image capturing device, making it a creative mechanism in its own right. These distinctive digital paintings involve the movement of objects in front of the scanning head, and the rotation of the scanner itself as the image is digitised. Kemp sees all the objects he uses – his hands, his head, postcards, etc. – as "brushes" making lines. Thus there is a deeper continuity with his calligraphic brush-work than simply making a facsimile of virtual ink on virtual paper.
Even when he employs Painter with a graphics tablet as a digital analogy to his earlier methods, Kemp has found novel applications. For instance, he uses the pooling and brush hair effects to create these interconnecting circles and lines. Here, the system's idiosyncrasies are used to produce a specific technique more fluent, yet more controllable, than any superficially similar analogue drawing. Kemp's reasoning is… [see website] Above all, however, he is not constrained by the apparently restricted interface; rather, its similarities have furthered his art and allowed him to make discoveries that would not have been apparent if he had approached the computer as a programmer. Fluency and practice with traditional artforms have yielded new avenues for his art on the computer.
Perhaps the artist-programmers' attacks on the "limited" GUI are too swingeing? Abstract animator Larry Cuba, at least, believes that in certain cases programmers should allow for the power and flexibility of today's paint programs, which can achieve much that was impossible by traditional means. However, he thinks that devices such as the DAB "virtual paintbrush" are a bridge too far. [12]
This is a haptic simulation of a paintbrush at SIGGRAPH where the "feel" of the brush and of the paint & surface was as close as possible to the real thing, and even drying parameters for the paint could be set. Moreover, the force-feedback stylus allows the artist to react to the bristles of the brush against a simulated surface; as its developers describe it, "[the] haptic stylus serves as a physical metaphor for the virtual paint brush". [13] To Cuba, the DAB is more of a "what shall we do with this technology?" type of demonstration, rather than "what can it do for this problem?"[14]
Nevertheless, programs that use the visual analogy of oils, chalks and watercolours demonstrate a need to invest the computer image with traditional visual qualities. Yet there is no reason why computer graphics has to assume a CAD-like character; nor why it should necessarily present itself as a cod-paintbox. Although we associate hard-edged photorealism with computer graphics, in the end it has no inherent quality; everything is conferred on it by the parameters of the underlying software. As Richard Hoadley said of traditional musical instruments versus electronic ones:
A standard instrument is limited in terms of its number of controllable parameters, but infinite in the performer's physical and mental ability to control them. An electronic instrument is (in principle) unlimited in terms of its number of controllable parameters, and because of the very implications of this, is limited by the performer/programmer's physical and mental ability to control them.[15]
Ultimately, artistic computer usage does not lend itself to purist interpretations, even if programmers feel they are closer to the machine's workings than those who simply skate around on the graphical surface. [Reffin-Smith, Brown, Franke] Are artist-programmers using the computer in a more "artistic" way than those who employ existing software designed by others? One might invert this and say that GUI-users are closer to graphical processes than programmers, who have to approach them indirectly through scripting.
Regardless of the supposedly inflexible uniformity of Windows-based graphics systems, they can be as open-ended as any individual programming effort when handled by an expert user. Granted, this user is dependent on the efforts of others and need not know how the underlying system works – but how necessary is this to the development of a graphical style?
An artist with a thorough knowledge of their chosen software will be able utilise its various effects and features to further their artistic vision, commensurate with their expertise and understanding, which seems sufficient to count as an individual "style". Manfred Mohr said that an artist should not ask "what can the computer do?" but rather ask themselves what they want to do and then deduce whether the computer could be useful. If so, the artist then has to find a way of asking the right questions, "amplifying our thoughts and intentions". He quotes Abraham Moles: "La machine ne pense pas, elle nous fait penser". [16]
Because the computer does not think, it is up to the artist to impose their art and mould the formless data to their design. Most graphics software was not intended for artistic use per se. For instance, the effects in many bitmap image editors like Photoshop are aimed primarily at commercial users and are thus concerned with utility and spectacle. They are not perhaps "artistic" in and of themselves (particularly when trying to mimic traditional artistic media!). Yet because they are governed by changeable parameters, and because their usage is after all subordinate to the artist's intent, they can therefore be deployed artistically based on inherent knowledge of the software environment.
Through my correspondence with the artist Catherine McIntyre, I have begun to appreciate how the computer is used as an adjunct to the art; a facilitator, not a focus. Nonetheless, it remains a fundamental part of the artwork.
Of course, the price we pay is that the computer becomes a "production aid" and a tool, or at most a sort of para-medium which incorporates the functions of several other media into itself. The term "Computer Art" may seem overstretched when it covers seemingly unrelated artforms such as those of Mohr and Cuba, and those of Kemp and McIntyre. But this reflects the great change in the computer itself from a monolithic object of wonder to widely distributed commodity. The computer has been absorbed into the culture of visual production: it is no longer enough to simply point to its computational origins as an explanation and leave it at that. Anyone who has experienced the process of computer image-making will appreciate there is far more to it than simply drawing with a mouse; likewise, the range of Computer Art techniques demands further examination. I shall now turn my attention to the older method of creating computer images, by directly programming the software.
[1] Paul Brown: "Networks and Artworks: the failure of the user-friendly interface", from Computers and Art Stuart Mealing, (Exeter, 1997), p141
[3] "The Ethics and Aesthetics of the Image Interface" Paul Brown, 1990 – revised version ACM SIGGRAPH Computer Graphics, Vol. 29, No. 1, February 1994
[4] "Designers as Users", Colin Beardon, Sue Gollifer, Christopher Rose & Suzette Worden
Paper presented at Computers in Context: Joining Forces in Design, Third Decennial Conference, Århus, Denmark, 14-18 August 1995.
[5] "Reputations: John Maeda", Interview by Elizabeth Resnick, Eye No.37, Vol.10, Autumn 2000, pp14-15.
[6] "Software as a new art form" Gerry Stahl – find web ref
[7] "The Anti-Mac Interface" Don Gentner and Jakob Nielsen, http://www.useit.com/papers/anti-mac.html
[8] "The Anti-Mac Interface" Don Gentner and Jakob Nielsen, ibid
[9] "The Second Coming – A Manifesto" By David Gelernter, Edge 70, June 15-19 2000, find web ref
[10] Cohen, Harold, PAGE 1981.
[11] Interview with Robert Darroll, Iotacenter, Los Angeles, 2001.
[12] Interview with Larry Cuba, iotaCenter, Los Angeles, August 2001.
[13] "DAB: Interactive Haptic Painting with 3D Virtual Brushes", Bill Baxter, Vincent Scheib, Ming C. Lin, Dinesh Manocha, Department of Computer Science, University of North Carolina at Chapel Hill. http://www.cs.unc.edu/~geom/dab/files/dabsmall.pdf
[15] "Music Technology and Musical Expression" Richard Hoadley, April 2000 find http:// ref
[16] Interview with Robert Mallary, Artist and Computer (1976) Ruth Leavitt


text:
http://tvtropes.org/pmwiki/pmwiki.php/Film/NightSchool1981
Film / Night School (1981)
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Night School (released in the United Kingdom as Terror Eyes) is a 1981 American Slasher Film, directed by Ken Hughes (Chitty Chitty Bang Bang) and starring Rachel Ward, in her feature film debut. The music score was composed by Brad Fiedel (The Terminator, Fright Night).
A Boston police detective investigates a series of gruesome decapitations of various college coeds committed by a helmeted, black-leather clad serial killer which leads him to suspect a well known anthropology professor as well as his female live-in assistant.
Night School contains examples of:
Calling Card: The killer always leaves the severed head of their victim submerged in water.
Chairman of the Brawl: During the fight in the café, Carol attempts to hit the killer with chair. The killer shrugs it off.
Danger Takes A Back Seat: At the end of the film, the killer seemingly rises from the backseat of Lt. Austin's car and holds a knife to his throat. It turns out to be Taj playing a practical joke.
Giallo: Has elements of this, particularly with regards to the killer's wardrobe.
It Always Rains at Funerals: It is raining during Victor's Lonely Funeral.
Karma Houdini: Eleanor gets away with the murders.
Kukris Are Kool: The killer wields a kukri: using it to decapitate victims with a single stroke.
Lonely Funeral: Eleanor is the only mourner at Victor's funeral.
Love Makes You Crazy: The motivation for the killer. When Eleanor learns she is pregnant with Victor's child, she starts eliminating everyone she sees as threat to her new family. This includes all of the women Victor has been unfaithful to her with, and anyone who threatens Victor, such as the Dean, who threatens to fire him.
Offscreen Teleportation: The killer at one point vanishes and reappears inside a cupboard, with no indication of how they could have got there. At another point, they disappear from the café and turn up at the mouth of the alley ahead of the woman who is attempting to escape them, despite the fact this would have involved them completely looping the block.
Off with Her Head!: All of the victims are murdered by being decapitated.
The Peeping Tom: Gus is a peeping tom, which leads Taj to suspect him of being the killer. He is arrested while peeping at the house where the final murders take place.
Pregnancy Makes You Crazy: Combined with Love Makes You Crazy. After learning she is pregnant, Eleanor starts murdering all of the women her partner has been unfaithful with, and then anyone who threatens him or his career.
Pun-Based Title: The film's UK title sounds an awful lot like "terrorize".
Shower of Love: Victor and Elanor have sex in the shower.
Teacher/Student Romance: Professor Millett has had affairs with numerous of his students, and is living with his research assistant.
You Just Told Me: Following a loaded question from Lt. Austin, Eleanor explains the ritual significance of a headhunter placing their victim's head in water. She then asks him how he knew about it, and he replies that she just told him.
The Night of the Grizzly
Creator/Paramount
Night After Night After Night
The Night of the Generals
Mystery and Detective Films
Nine Dead
Films of the 1980s
The Night the Lights Went Out in Georgia
New Boy
School Stories
Night School (2018)
Slasher Movie
Nine Lives (2002)
Night on Earth
AmericanFilms/N to S