text:
La chiesa di Sant'Andrea è una delle chiese di Quartu Sant'Elena.

È ubicata in via Leonardo da Vinci, al centro del parco Andrea Parodi, nella località di Sant'Andrea, parte della frazione di Flumini di Quartu.

Storia
La chiesa, risalente al XV secolo, sorge probabilmente su un precedente tempio romano.

Fin dal XVI secolo, quando le sagre campestri erano numerose, la chiesa era meta di scorrerie dei pirati tant'è che nel 1621 il viceré vietò che i pellegrinaggi avvenissero di notte. Nel XVII secolo la chiesa subì un importante restauro.

Nel 1793, quando le truppe della Francia rivoluzionaria sbarcarono a Quartu e occuparono la chiesa come fortino, qui avvenne il combattimento che determino la cacciata dei francesi dal territorio quartese.

La chiesa è stata  ristrutturata.

Descrizione
La chiesa è in stile gotico catalano. La facciata termina con una cornice coronata da merli dentati ed è sormontata da un piccolo campanile a vela. Al centro è presente un rosone da cui entra la luce all'interno della chiesa.

Ai lati del tempio sono presenti tre contrafforti. Prima del presbiterio, che è sollevato rispetto alla navata di qualche gradino, è presente una porta per ogni lato. Nel lato destro tra i contrafforti sono ricavate la dispensa (sala utilizzata per la Sagra di san Giovanni Battista) e la sacrestia.

All'interno della chiesa è presente una sola navata. Dieci pilastri in muratura si allargano verso l'alto e sostengono il tetto.

Nel tempio sono presenti elementi di epoca romana come una base di colonna su cui è posto un capitello corinzio.

Gli arredi lignei più importanti sono le statue lignee di Sant'Andrea, di San Giovanni Battista e di Sant'Antonio da Padova.

Le celebrazioni liturgiche più importanti che si svolgono nella chiesa sono a dicembre per la festa di Sant'Andrea e il 24 giugno e l'ultima domenica di luglio per la festa di San Giovanni.

Bibliografia
Guida alle antiche chiese di Quartu.Cagliari, Ettore Gasperini Editore, 1999.

Voci correlate
Quartu Sant'Elena

Quartu


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text:
Domat/Ems (Domat  è il toponimo in romancio, Ems quello in tedesco, unico ufficiale fino al 1943; ) è un comune svizzero di 8 132 abitanti del Canton Grigioni, nella regione Imboden della quale è il capoluogo.

Geografia fisica

Storia

.

Monumenti e luoghi d'interesse

 Chiesa parrocchiale cattolica dell'Assunzione, eretta nel 1739 ;
 Chiesa cattolica di San Pietro, eretta nel VII-VIII secolo e ricostruita nell'800 circa;
 Chiesa cattolica di San Giovanni Battista, eretta nel XII secolo e ricostruita nel XVI secolo;
 Chiesa riformata.

Società

Evoluzione demografica
L'evoluzione demografica è riportata nella seguente tabella:

Lingue e dialetti
Nel 1921 la popolazione che parlava romancio era l'83%, nel 2000 la percentuale era scesa al 12%; la lingua più utilizzata è il tedesco.

Infrastrutture e trasporti

Domat/Ems è servito dalle stazioni ferroviarie di Domat/Ems e di Ems Werk della ferrovia Landquart-Coira-Thusis.

Amministrazione
Ogni famiglia originaria del luogo fa parte del comune patriziale e ha la responsabilità della manutenzione di ogni bene ricadente all'interno dei confini del comune; comune politico e comune patriziale sono separati dal 1942.

Note

Bibliografia
 AA. VV., Storia dei Grigioni, 3 volumi, Collana «Storia dei Grigioni», Edizioni Casagrande, Bellinzona 2000.

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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Buying a fixer-upper at a discount and bringing it up to par to rent or sell is a proven business model, in or out of a Real Estate IRA. Renovation and construction projects are just part of life for the serious Real Estate IRA owner. Even if you don't particularly think of yourself as a renovator and you're just relying on rental income with no 'pop' in price from your renovations, sooner or later you're going to have to replace the roof on that property. In which case you're going to have contractors crawling all over your house, tearing it up.
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text:
Q: Extract string inside specific pattern [...] in R I have a column, Industry which looks like below, I would like to create a new column called Code which only contains the character that appear in the [...], THEN I wish to create a new column Industry_2 which contains all the characters but witHout the [...] so my results would look like below.

Industry
Code
Industry_2

Total, all industries

Total, all industries

Agriculture [11]
[11]
Agriculture

Manufacturing [31-33]
[31-33]
Manufacturing

A: Use tidyr::separate with a look-ahead for the delimiter to keep the [ in the second string.
df <- data.frame(Industry = c("Total, all industries", "Agriculture [11]",
                        "Manufacturing [31-33]"))

library(tidyr)
separate(df, Industry,
         sep = " (?=\\[)",
         into = c("Industry_2", "Code"),
         remove = FALSE)

output
               Industry            Industry_2    Code
1 Total, all industries Total, all industries    <NA>
2      Agriculture [11]           Agriculture    [11]
3 Manufacturing [31-33]         Manufacturing [31-33]

A: If it is on the end of the line you could use gsub:
 dataset$Code = gsub(".*\\[", "\\[", dataset$Industry)
 dataset$Industry_2 = gsub("\\[.*", "", dataset$Industry)

A: library(data.table)
df[c('code', "industry_2")] <- tstrsplit(df$Industry, " (?=\\[)", perl = TRUE) |> rev()

#                Industry    code            industry_2
# 1 Total, all industries    <NA> Total, all industries
# 2      Agriculture [11]    [11]           Agriculture
# 3 Manufacturing [31-33] [31-33]         Manufacturing

redpajama_set_name: RedPajamaStackExchange


r=me, though I wonder about other potential cases where we'd end up with an exception on the ExecState.
> r=me, though I wonder about other potential cases where we'd end up with an exception on the ExecState.
There are other potential cases, like value.toString. However, the conversion function is huge and I want clean it up before treating the other cases.
I'm landing this since it fix the concrete reproducible (and important) case we have -- converting 'document' to 'QVariantMap'. We can improve the exception "cleaning" later.


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text:
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Walker Railey, Jimmy Swaggart, Madalyn Murray O'Hair, Anton LaVey, Will Campbell , Matthew Fox
Author Lawrence Wright
Knopf | Vintage
On sale May 16, 1995 | 288 Pages | 978-0-679-76163-1
See Additional Formats
Interdisciplinary Studies > Social Science > American Studies
Religion > Comparative Religion > American Religions
Sociology > Social Institutions > Sociology of Religion
In this fascinating book about religion in America, one of this country's most probing yet sympathetic journalists puts forth stories not only of real grace but of despair, sexual scandal, and attempted murder.
Lawrence Wright's Saints and Sinners are Jimmy Swaggart, who preached a hellfire gospel with rock 'n' roll abandon before he was caught with a, prostitute in a seedy motel; Anton LaVey, the kitsch-loving, gleefully fraudulent founder of the First Church of Satan; Madalyn Murray O'Hair, whose litigious atheism sometimes resembled a brand of faith; Matthew Fox, the Dominican priest who has aroused the fury of the Vatican for dismissing the doctrine of original sin and denouncing the church as a dysfunctional family; Walker Railey, the rising star of Dallas's Methodist church, who, at the pinnacle of his success, was suspected of attempting to murder his wife; and Will Campbell, the eccentric liberal Southern Baptist preacher whose challenges to established ways of thinking have made him a legend in his own time.
By letting us listen to their voices and see the individuals in all their complexities, Lawrence Wright has written a richly fascinating book about the passions, triumphs, and failures of the life of faith.
"Trenchant, fair-minded, gracefully written. . . . Wright brings his subjects into sharp focus with plenty of perceptive details." —Cleveland Plain Dealer
"A very American struggle. . . . [Wright] memorably articulates his battle . . . between doubt and belief." —Newsweek
"An entertaining, and insightful account . . . vivid . . . beautifully rendered stories." —Chicago Tribune
© Kenny Braun
LAWRENCE WRIGHT is a staff writer for The New Yorker, a playwright, and a screenwriter. He is the best-selling author of the novel, The End of October, and ten books of nonfiction, including Going Clear, God Save Texas, and The Looming Tower, winner of the Pulitzer Prize. He and his wife are longtime residents of Austin, Texas. View titles by Lawrence Wright
Additional formats
Lawrence Wright
Mr. Texas
The Plague Year
America in the Time of Covid
Random House Large Print
The End of October
God Save Texas
A Journey into the Soul of the Lone Star State
The Terror Years
From al-Qaeda to the Islamic State
Thirteen Days in September
The Dramatic Story of the Struggle for Peace
Going Clear
Scientology, Hollywood, and the Prison of Belief
In the New World
Growing Up with America from the Sixties to the Eighties
Al Qaeda and the Road to 9/11
Remembering Satan
A Tragic Case of Recovered Memory

redpajama_set_name: RedPajamaCommonCrawl


text:
About Mr. Write
Mr. Write's Page
OBSERVATIONS / RECOLLECTIONS / STORIES
« Anthem
Keeping It Clean »
Sitting on a Gold Mine
July 7, 2009 by Rocky Smith
Dahlonega, Georgia, a small town in the rolling hills north of Atlanta, was founded in 1828 following the discovery of gold. It is the site of America's first major gold rush, 20 years before the biggie in California.
In the middle of Cherokee territory, Dahlonega quickly mushroomed into a boom town. The city, in fact, got its name from the Cherokee word "Dalonige," which means "yellow money."
The presence of so many lucrative mining operations in the area soon led to the forcible relocation of most of the Cherokee to Oklahoma — that Trail of Tears thing. After all, business is business.
Although the mines played out long ago, gold still drives the town's economy today. Dahlonega is a heavily-promoted and quite successful tourist destination. Some might say tourist trap; it depends on your point of view.
The downtown historic district is anchored by the oldest courthouse in Georgia, now home to the Dahlonega Gold Museum. Visit Dahlonega and tour one of the old mines. Or pan for gold. Or shop till you drop.
Once or twice a year, I drive over to Dahlonega for the day. The town is attractive and interesting, in spite of being unashamedly commercialized.
I usually stop to browse at my favorite art gallery, which features a great selection of local arts and crafts. Invariably, I go home with a suncatcher, a woodturning, or a piece of pottery. Like I need more stuff.
Also, every year or so, I stop to have lunch at the Smith House, a historic inn and restaurant located just off the public square. The inn dates back to 1895, the restaurant to 1922.
The food is served family style. Guests are seated at long tables, where they dine with a dozen strangers. All use their best manners as they pass around steaming bowls of country vegetables, fried chicken, cathead biscuits, and other delights.
Waitresses keep the drinks filled and more bowls coming until one by one, the guests surrender. It is, you see, an all-you-can-eat experience.
So far, the quality of the food has remained high. Although the price has quadrupled over the years to $18.00 per person, a meal at the Smith House is as good today as it was 30 years ago. That isn't true of all the famous old eateries around here.
In 2006, workmen renovating the Smith House dining room made a fascinating discovery that resurrected a slice of Dahlonega history: the legend of the Smith House mine. Bear with me as I set the stage…
The story began in 1895, when Frank Hall, a Dahlonega businessman, broke ground for a new home and office on land he owned near the town square.
While excavating a cellar for the building, Hall's workmen struck a vein of gold said to be several feet wide, depth unknown.
Hall excitedly reported his find to the local newspapers, and he applied to the city for a mining permit.
The city fathers refused. They said they couldn't allow a mining operation within mere yards of the center of town.
Hall sued the city and lost. Frustrated, he closed down the mine. He announced that he had sealed the shaft with a thick cap of concrete, and he proceeded to construct the house directly on top of the mine.
For the next decade, rumors swirled that Hall was secretly extracting gold from the mine anyway. He denied it.
After a few years, Hall moved to Atlanta. According to rumor, he sold the place because the mine finally played out.
A dozen years later, in 1922, the property was bought by Henry and Bessie Smith, who turned the house into an inn and restaurant.
Henry and Bessie ran the Smith House until 1946, when they sold it to another local businessman, Bill Fry.
Fry operated the place until 1970, when he sold it to his property manager, Fred Welch. Fred's son Freddy and grandson Chris run the Smith House today.
Through the years, the various owners have been careful not to mess with success. The Smith House hasn't changed, and the formula still works.
So, back to the renovation of the dining room in 2006…
As soon as the project got underway, workers unexpectedly punched through the concrete floor, uncovering an old mine shaft that disappeared straight down into the darkness.
Freddy and Chris knew immediately what they had found. They lowered a light and a video camera. The shaft drops 20 feet and diverges into two horizontal shafts.
Which means the rumors about Frank Hall probably were true. He couldn't get a mining permit, but apparently, he worked the claim anyway.
The Welches have since confirmed that the mine still contains valuable gold ore. They removed samples and placed them on display for the tourists.
They also rigged a large mirror over the shaft, which gives guests a view into the mine below.
The Welches claim no gold is being mined. No one has reason to doubt them.
But then, Frank Hall said the same thing 100 years ago.
The Dahlonega public square.
The Smith House.
Photo of the newly-discovered mine shaft in 2006.
Posted in Edutainment | Tagged History, People, The South | 1 Comment
on December 14, 2018 at 7:29 PM | Reply Family Stories: Memories with Cousin Charles Bryan | Everyone Has a Story
[…] (photo printed with permission from Rocky Smith) […]
25 Random Things
About the Posts
Life Down South
Life Elsewhere
Notable Prose and Poetry
Pets and Other Fauna
Recollections 9 to 5
Recollections Personal
Smith Family Tales


Sebastian Copeland is an award-winning photographer, extreme athlete, filmmaker, author, lecturer, and environmental activist. As an international speaker on climate crisis for more than a decade, Copeland has been featured on television and radio and has given keynote addresses to audiences at the United Nations, the World Affairs Council, and the General Assembly on Climate in New Orleans. He is the recipient of the International Photography Awards' 2007 Professional Photographer of the Year award for his book Antarctica: The Global Warning.


text:
Q: break statement in c++ by pressing enter #include <iostream>
using namespace std;
int main()
{
    int n,t=0,k=0;
    cin>>n;
    char data[n][100];
    int num[n];
    for(int i=0;i<n;i++)
{
    while(1)
    {
        cin>>data[i][t];
        cout<<data[i][t]<<endl;
        if(data[i][t]=='\n') break;
        k++;
        if(k%2==1) t++;
    }
    cout<<i;
    num[i]=(t-2)/2;
    k=0;
t=0;
 }

    for(int i=0;i<n;i++)
    {
        while(1)
        {
            cout<<data[i][t];
            if(t==num[i]) break;
            t++;
        }
        t=0;
    }
}

here is the code I have written in c++ which gives the even numbered characters from the starting half of every word given by the user but when giving input after pressing enter the loop should break but the loop is not breaking
while(1)
{
    cin>>data[i][t];
    cout<<data[i][t]<<endl;
    if(data[i][t]=='\n') break;
    k++;
    if(k%2==1) t++;
}

A: By default formatted input using the "input" operators >> skip white-space, and newline is a white-space character. So what's happening is that the >> operator simply waits for some non-white-space input to be entered.
To tell the input to not skip white-space you have to use the std::noskipws manipulator:
cin>>noskipws>>data[i][t];

A: There are some ways to implement in C++ what OP is trying to do. I'd start avoiding Variable Length Arrays, which aren't in the Standard and using std::strings and std::vectors instead.
One option is to read an entire line from input with std::getline and then process the resulting string to keep only the first half of even chars:
#include <iostream>
#include <string>
#include <vector>

int main() {
    using std::cin;
    using std::cout;
    using std::string;

    cout << "How many lines?\n";
    int n;
    cin >> n;

    std::vector<string> half_words;
    string line;
    while ( n > 0  &&  std::getline(cin, line) ) {
        if ( line.empty() )     // skip empty lines and trailing newlines
            continue;
        string word;
        auto length = line.length() / 2;
        for ( string::size_type i = 1; i < length; i += 2 ) {
            word += line[i];
        }
        half_words.push_back(word);
        --n;
    }

    cout << "\nShrinked words:\n\n";
    for ( const auto &s : half_words ) {
        cout << s << '\n';
    }

    return 0;
}

Another is, as Joachim Pileborg did in his answer, to disable skipping of leading whitespaces by the formatted input functions with std::noskipws manipolator and then read a char at a time:
// ...
// disables skipping of whitespace and then consume the trailing newline
char odd, even;
cin >> std::noskipws >> odd;

std::vector<string> half_words;
while ( n > 0 ) {
    string word;
    // read every character in a row till a newline, but store in a string
    // only the even ones
    while (    cin >> odd  &&  odd != '\n'
            && cin >> even && even != '\n' ) {
        word += even;
    }
    // add the shrinked line to the vector of strings
    auto half = word.length() / 2;
    half_words.emplace_back(word.begin(), word.begin() + half);
    --n;
}
//  ...


The mima bo umbrella baby stroller is a stylish, lightweight, compact and modern baby buggy stroller.
The bo umbrella baby stroller is a stylish, lightweight, compact and modern baby buggy stroller. The first mima® baby buggy stroller which offers a concrete solution for all refined globetrotters.
Fold bo with a simple flick of the wrist and lifting of a lever.
A carrying handle makes it easy and comfortable to transport.
Stand bo folded against a wall thanks to the handbrake system.
Front wheels with 360º swivel and wheel block.


text:
Il cantante ha cambiato nome tre volte, da Yamatsuka Eye a Yamantaka Eye, fino a Yamataka Eye, mentre uno dei suoi soprannomi è eYe o EYヨ. Yamataka Eye è anche dj sotto il nome di DJ 光光光 o DJ pica pica pica ("pica" significa "luminoso") ed è noto anche nel jazz con i Naked City di John Zorn.

Collegamenti esterni


text:
Q: How to have more than one tty console in yocto? After building the yocto genericx86-64 target.
It can boot, login with root.
However, it only has 1 tty, I can't press ALT + F2 / F3 .... to open a new tty console.
How to setup yocto to have more than one tty console?

A: Your machine configuration sets the variable SERIAL_CONSOLES, currently probably to value "115200;ttyS0". You should be able to modify that or override it in your local.conf with
SERIAL_CONSOLES = "115200;ttyS0 115200;ttyS1"

to add another tty.


Hartzell Propeller is giving four lucky attendees of the Sun 'n Fun International Fly-In and Expo the chance to win a ride with Team AeroDynamix, the world's largest aerobatics team. To win, we want you to show us how you prepare for Sun 'n Fun. Take a picture of yourself, your family or (even better) your plane getting prepped for the big show. Then, upload the picture to your favorite social network and tag it #FlyWithHartzell.
Here are the details: Hartzell is giving away four seats with Team AeroDynamix. Winners will ride two at a time on Saturday morning, April 5. The first pair takes off at 8AM, and the second will fly at 10AM. Although we are proud sponsors of Team AeroDynamix, we cannot provide tickets to Sun 'n Fun. In order to win, you must be able to attend at these times. Winning passengers must be 18 or older and cannot exceed 210lbs per person. Winners will be required to sign a passenger waiver, which will serve as their ticket.
Enter today by posting your pictures Facebook, Twitter, Instagram or Pinterest and adding the hashtag #FlyWithHartzell. Winners will be chosen at random, but we really want to see your best shots as we prep for this once-in-a-lifetime opportunity. We will announce the winners live on April the 2nd; they will be featured on the Hartzell blog, meet members of the Hartzell Propeller team and take off with Team AeroDynamix on the 5th.
Want to see what else we'll be doing in sunny Florida? Click here.


text:
ngBoxBounce
===========

[![Build Status](https://travis-ci.org/OpenServicesEU/ngBoxBounce.svg?branch=master)](https://travis-ci.org/OpenServicesEU/ngBoxBounce)
[![Bower version](https://badge.fury.io/bo/ngBoxBounce.svg)](http://badge.fury.io/bo/ngBoxBounce)

Angular.js directive that automatically scrolls the content inside the box it
was applied to along the vertical axis. This only happens if the content
overflows its parent box.

It does so by applying CSS 2D transformations along the Y-axis. For browser
compatibility see caniuse.com on
[2D Transforms](http://caniuse.com/#feat=transforms2d) and [CSS
animations](http://caniuse.com/#feat=css-animation).

Getting started
---------------

 * Include the script on your page after the AngularJS tag:

        <script type='text/javascript' src='path/to/angular.min.js'></script>
        <script type='text/javascript' src='path/to/ng-boxbounce.min.js'></script>

 * Ensure that your application module specifies ngBoxBounce as a dependency:

        var app = angular.module('myApplication', ['ngBoxBounce']);

* Apply the directive to any box that potentially has an overflow and a fixed
    height.

        <div ng-box-bounce>
          <!-- content to be scrolled -->
        </div>

### Duration

The duration of the animation can be controlled by binding the `duration`
attribute:

        <div ng-box-bounce duration="{{ time }}">
          <!-- content to be scrolled -->
        </div>

### Easing function

The easing function can be defined by binding its name to the `easing`
attribute:

        <div ng-box-bounce easing="{{ name }}">
          <!-- content to be scrolled -->
        </div>

See the CSS property
[animation-timing-function](https://developer.mozilla.org/en-US/docs/Web/CSS/animation-timing-function)
for a complete list of possible names and combinations.

License
-------

**ngBoxBounce** is licensed under the MIT license. See the LICENSE file for more details.

redpajama_set_name: RedPajamaGithub


Click the button below to add the Gun Coat Hook to your wish list.
The detail in this coat rack is amazing. Cut from 1/8 inch steal, it is very sturdy and will hold your heavy gear with no problem. The wood grain paint detail makes the gun look real. It is finished with two coats of clear for a high gloss and long lasting finish. The hooks are approximately 1 1/2 inches deep and spaced approximately six inches apart to allow room for bulky jackets. The lower, hook portion, of the coat rack is finished with a flat black texture, no clear.
Perfect for home, cabin or hunting shack.


Fabulous opportunity to rent a clean and spacious studio with bathroom in the heart of Miami. Fully furnished with small kitchen , more or less 345 sq ft ,porcelain floor, full size bed, with sofa/pull out bed, 1 parking space, and a lot more. Shared laundry facility. Monthly rental includes water, electricity, and internet. Also available for short term rental for 6 months $1,600, or 3 months $ 1,700, or 1 month for $1,800. Great locations near Coral Gables, expressways, supermarkets, malls, and restaurants.


text:
Home»BlissGhana»Hollywood Movie On Ghana's 3million dollars World Cup Drama
Hollywood Movie On Ghana's 3million dollars World Cup Drama
Dan Mirvish and Darryl Wharton-Rigby
Hollywood is set to produce a movie inspired by the juicy and jaw-dropping stories surrounding the Black Stars of Ghana at the 2014 FIFA World Cup, according to The Wrap, a California-based entertainment and media news website.
Reports say the storyline will centre on a true story of the courier tasked with flying a cash amount of $3m from Ghana over the Atlantic Ocean to Brazil in an effort to stop the Ghanaian football team from quitting the competition in protest over lack of pay. Things go wrong when the courier is ambushed on the way to making the drop, leaving him less than 12 hours to recover the stolen money.
The story is inspired by current events surrounding the World Cup in Brazil, where the government of Ghana delivered $3 million in cash in order for its team to continue playing. Ghana's national soccer team said they hadn't been paid the appearance fees they were promised, while the nation's Deputy Sports Minister, Joseph Yammin, said payment delayed because players and government officials couldn't agree on the form of payment, the report added.
The report said Bugeater Films is considering the project and it will be written and directed by Darryl Wharton-Rigby, an award winning US writer, director and professor.
Founders of Bugeater Dan Mirvish and Barry Hennessey will produce the film.
Hennessy told the Wrap: "I've shot extensively in both Ghana and Brazil, and this is a perfect project to capture the raw energy that both countries have to offer."
Ghana, who at one point refused to train due to lack of remuneration, subsequently lost their final group match 2-1 to Portugal and exited the competition.
Meanwhile back home in Ghana, the shocking tales that have enveloped the Black Stars are getting murkier with more skeletons popping out of the cupboard.
Source: News1Gh
dollars ghana's hollywood movie World
Man sues hospital for shortening his penis
I am I am very proud of my son-Kubolor's father
Obinim angry over Kumawood's Movie Poster
Girls To Go Braless (Boobs Show) at the Premiere Of 'Amakye & Dede' Movie, See details ↓
Audio: Blending Swagger with Sentiment: Ghana's hip life star Sarkodie on BBC Africa
Sarkodie reveals reasons for the attacks in 'Mans' World' Song
Shirley Frimpong-Manso's 'Rebecca' Movie Saves The Day At AMVCA 2016 | BlissGh
Amakye Dede not happy with Kofas new movie "Amakye & Dede" which stars Majid, Kalybos, John Dumelo…
Ghana's duo 'D2' speaks on split
Shirley Frimpong Manso to premiere new movie "Rebecca"


text:
Demokracja: bóg, który zawiódł. Ekonomia i polityka demokracji, monarchii i ładu naturalnego (ang. Democracy: The God that Failed. The Economics and Politics of Monarchy, Democracy, and Natural Order.) – książka Hansa-Hermanna Hoppego. Polskie wydanie opublikowano w 2006 roku (Warszawa).

Hoppe prezentuje w niej konserwatywną wizję społeczeństwa anarchokapitalistycznego. Jednocześnie krytykuje demokrację jako zaprzeczenie i niekonsekwencję idei liberalnej oraz polityczny odpowiednik socjalizmu w gospodarce. Za mniej szkodliwy od publicznego rządu demokratycznego uważa rząd prywatny, czyli monarchię.

Spis treści
 Wstęp
 O preferencji czasowej, rządzie i procesie decywilizacyjnym
 O monarchii, demokracji i pojęciu ładu naturalnego
 O monarchii, demokracji, opinii publicznej i delegitymizacji
 O demokracji, redystrybucji i destrukcji własności
 O centralizacji i secesji
 O socjalizmie i desocjalizacji
 O wolnej imigracji i przymusowej integracji
 O wolnym handlu i ograniczonej imigracji
 O współpracy, plemieniu, mieście i państwie
 O konserwatyzmie i libertarianizmie
 O błędach klasycznego liberalizmu i o perspektywach wolności
 O rządzie i prywatnej produkcji bezpieczeństwa
 O niemożliwości rządu ograniczonego i widokach na rewolucję

Linki zewnętrzne
 Demokracja – bóg, który zawiódł (fragmenty)

Anarchokapitalizm
Libertarianizm
Publikacje związane ze szkołą austriacką
Teoria ekonomii


What's Social Media Star Sophie Willocq's Ultimate Travel Planning Hack?
That model-esque figure. Those baby-doll eyes. Oh, and her stylish chops.
You probably already know of social media star Sophie Willocq. With her stunning good looks and strong online presence, it's no surprise that the 27-year-old has garnered a 79.7k-strong following at press time.
For the uninitiated, the former Singapore Airlines' stewardess isn't just a pretty face. From being the youngest contestant in The New Paper New Face 2005 (she was just 15 then) to bagging the winning title home, we sure can learn a thing or two from Sophie. Plus, her deft ability in styling for the Singapore weather (as seen on her Instagram #OOTDs) has gotten us all envious, too.
In this round of The Art of Travel (we interviewed local fashion stylist Martin Wong in the last), we roped in Sophie, also a travel junkie, to share with us some holiday planning tips.
Check out what local fashion stylist Martin Wong can't travel without, our guide to dressing for winter, and our 4D3N guide to a relaxing retreat in South Korea.


text:
Q: Matplotlib colorbar whitespace I am trying to plot this figure and I cannot figure out how to get rid of the whitespace at the edge.
Also, I want to remove the red and have it start on the orange, giving it only 5 contour levels. As I adjust the settings, it links the colorbar to the scale. I still want the red to be in the colorbar. What am I doing wrong?
import numpy as np
import matplotlib.pyplot as plt
from IPython.display import Image
from IPython.core.display import HTML
z = np.load('heights.npy')
nx, ny = np.shape(z)
plt.contour(np.transpose(z),np.linspace(z.min(),z.max(),7), colors='black')
plt.contourf(np.transpose(z),np.linspace(z.min(),z.max(),7))
plt.colorbar(orientation='horizontal')

plt.xlim(0, nx)
plt.ylim(0, ny)
plt.set_cmap('jet')
plt.savefig('pc3.png', format='png', bbox_inches=0)
plt.close()
Image(url='pc3.png')


text:
Mac Miller Never Stopped Trying to Improve His Craft
Posted On : September 10, 2018 Published By : Brandon Hint
When Mac Miller called himself "the hardest-working person in the universe" on his 2014 mixtape Faces, you had good reason to believe him. For two years at that point, we'd been hearing near-mythical stories about star-studded, marathon sessions at "The Sanctuary," the studio Miller built in his house after he moved from his native Pittsburgh to L.A. in 2012. Members and affiliates Top Dawg Entertainment, Odd Future and Flying Lotus' experimental Brainfeeder collective filtered in and out, with Mac as the constant. That period in his life sounds as thrilling as it does exhausting. While discussing unreleased material with Noisey in 2015, Mac explained, "There's about nine projects. Thundercat and I made a band, and we did a full instrumental album in three days. I didn't sleep for three days and just cycled in musicians. I would keep calling people so I never had to sleep…"
Although that Thundercat collab album never materialized, the Sanctuary sessions that were released between mid-2012 and 2014 stand as quite the resumé for Miller, who died Friday at the age 26. In addition to Mac's sophomore studio album, a jazz album under the alias Larry Lovestein, a mixtape under the alias Delusional Thomas, a beat tape under the alias Larry Fisherman and Faces, Miller produced for his absurd rolodex new friends. He made tracks with Ab-Soul, Earl Sweatshirt, Sir Michael Rocks, Dash, Lil B, SZA and Riff Raff, as well as an entire full-length with frequent collaborator Vince Staples.
It's hard to understate how surprising this all was at the time. Before 2012, Mac had been known primarily, if not exclusively, as a "frat rapper," a term wielded derogatorily by critics to describe the wave mostly white, mostly privileged, mostly terrible rappers to whom Asher Roth's "I Love College" was a pround thesis statement. Articles like "A Guide to Understanding Frat Rap," "Straight Outta Suburbia: A Beginner's Guide to Frat Rap," and "Mac Miller and Four Other Frat-Rappers You Should Know" all cited him as a core member the "genre." It may not have accurately described Mac, who always seemed much more reverent rap history than say, Hoodie Allen, but it stuck. His 2011 debut album, Blue Slide Park, famously received a 1.0 Pitchfork review.
On the same Faces track that featured the "hardest-working person" line, Mac said, "They wasn't hearin' me 'til I fucked with the Brainfeeder." He wasn't wrong: Stereogum's Tom Breihan wrote that Miller was "threatening to become interesting" on "S.D.S," and even SPIN's Jordan Sargent, the author that infamous Pitchfork review, proclaimed, "Mac Miller is Cool Now," just over a year-and-a-half after Blue Slide Park's release. (I also took part in this sudden reappraisal.)
But it wasn't just Miller's enble contacts list that was responsible for this unexpected critical about-face. It was unmistakably clear that this dude was devoting the vast majority his waking life to improving his craft — to stepping up his bars, to improving as a singer, to becoming a beat wizard, to mastering multiple instruments, to writing increasingly complex music. This commitment never waned in the years since Mac left The Sanctuary behind, during which his prolificacy slightly tapered f, but the richness his work grew exponentially. The death a talented musician is a loss no matter what stage their career they're in, but Miller's palpable drive adds another sad layer to his passing: He seemed to be just getting started.
Whatever your feelings are about Miller's early work, or even his recent work, this commitment to his bettering his art was admirable and unquestionable. In a Vulture prile by Craig Jenkins that was published the day before Miller's death, Miller noted some inspiration he'd recently taken from HBO's new documentary The Zen Diaries Garry Shandling: "He was always writing the words, 'Just be Garry.' 'Just be Garry.' And that shit struck a chord with me because that's the goal, to get better and to try to make this shit the most a reflection who I am."
You can see the fruit Miller's increased introspection on his last two albums, The Divine Feminine and Swimming. The former found him musing about the inner workings love over languid jazz-funk, while the latter captured the rocky post-breakup aftermath with songs about "Hurt Feelings" and "Self Care." But that drive for honesty manifested itself in other important ways as well. As a white man making his living in hip hop, Miller recognized the importance checking his privilege and at times ceding ground to the black artists he counted as influences and peers. In a 2015 interview between him and Staples, he acknowledged that privilege with a level frankness and self-reflection that few (if any) his fellow frat rappers have ever demonstrated.
"I remember touring and doing shows, and I was the first rap show ever in all these colleges," he said. "Six thousand kids, and I'm the first hip-hop show because I'm white-college-friendly. That was always a demon for me. It was hard to sit here and know that, because I was a white dude, I was able to sell easier and be more marketable."
He echoed that sentiment in that Noisey interview from the same year, saying that he "wouldn't feel right being up here without going through some type getting there and gaining the respect his] peers." Clearly, in the wake Jay-Z's now-famous "… black people really magic . Mac Miller nice too though" tweet, Miller gained that respect.
Whether stepping up his piano chops or reckoning with his place in the world, Miller gave f the distinct impression always trying to better himself as an artist. In recent years, he dove head-first into live instrumentation, posing himself almost as more a bandleader than a rapper in Swimming sessions as well as his recent Tiny Desk Concert. As his final tweets revealed, he couldn't wait to go on tour with Thundercat, up-and-coming rapper J.I.D., and a full band. What we know about plans for the Swimming tour fers a final snapshot what he was all about: playing music with his friends, supporting young artists, and continuously trying to enrich his art.
Posted in: RNBTagged : breakup,hea,hip hop,love,rap,rock,sad,writing
Missy Elliott Flips It, Reverses It: Sept. 9 in Hip-Hop History
Souls Of Mischief's A-Plus Teams With Knobody For "Grow Theory" LP


text:
Hong Kong (SAR)
Hong Kong Institute of Design / CAAU
© Sergio Pirrone
http://www.archdaily.com/334902/hong-kong-institute-of-design-caau/
Mau Wu Tsai Village, Hong Kong (SAR)
Architects: CAAU
Area Area of this architecture project Area: 42000.0 m²
Photographs Photographs: Sergio Pirrone
Project Leaders: Thomas Coldefy, Isabel van Haute
Associate Architects: P & T Group Hong-Kong
Structural Engineering: ARUP Hong Kong
Mep Engineering: PBA Hong Kong
Landscape Architects: ACLA Hong Kong
Acoustics: SHEN, MILSOM & WILKE Hong Kong
Budget: 78,212,112 €
Client: Vocational Training Council Hong Kong
2006, the competition
Thomas Coldefy and Isabel Van Haute, equipped with solid international experience, decided at the beginning of 2006 to take part in the international competition for the building of the Hong Kong Institute of Design. One hundred and sixty two teams submitted entries to the competition, the two architects were selected in August 2006 from five teams invited to take part in the second phase. They then went to Hong Kong, to collaborate with local partners architect, engineers, and a quantity surveyor partner according to the rules of the competition. They are named as winners in November 2006 by the international jury which included in particular, the American architect, Richard Meier.
Thomas Coldefy and Isabel Van Haute move to Hong Kong for five months at the beginning of 2007 to develop the project on site, to set up the team and to speak with the partners and clients and to immerse themselves in the spirit of the location.
Access Diagram
Presented to the Hong Kong community and to future users, the project seduces them with its answer which is well tuned to educational needs, solicitous of the environment and local context, but also bold, ambitious and very open to the outside. In autumn 2008, work starts on the site after 18 months of project development led on site by the CAAU practice. And eighteen months later the HKDI – 42, 000 m² – is delivered. The first students take the giant, mechanical escalator at the beginning of the academic year in September 2010. This creation merited Thomas Coldefy and Isabel van Haute the "40 under 40" prize, organised by the European Centre for Architecture, Art Design and Urban Studies and the Chicago Athenaeum.
The urban context The building is located in the Tiu Keng Leng area, to the north east of Hong Kong Island, in the Sai Kung district, adjacent to the Tseung Kwan O area and Junk Bay. The area is served by the metro, on the Tseung Kwan O line, 20 minutes from HK Central, and also has a bus station. Although activity there is mainly residential and commercial, nature is also very much present for the site is surrounded by green hills and the view over Junk Bay is everywhere.
The building, located in the heart of the area, may provide the community with a meeting place by making its sports areas and auditoriums available; at the same time, it will bring an energy to the social life of the area by the presence of 4, 000 students within the campus, the numerous exhibitions and activities organised around the urban space it has created.
The project offers spatial reinterpretation of its built-up city context, where social interactions are teeming in the various bases of the buildings whereas they disappear vertically; the extra height provided by one part of the programme allows one to envisage interactions on different levels and creates new connections with the ground.
The architectural project
Metaphor for creativity about to burst forth, the "Blank Sheet" expresses the project's intentions: bringing together and then presenting the multidiscipline nature and targets of the future Institute of Design. In concrete, glass and steel, its radical architecture, light and transparent, invites one to reflect on the combination of multiple and opposing situations : introversion and extroversion, modesty and exhibition, exclusivity and wide accessibility, micro and macro city, classicism and experimentation …
Each functional element, first decomposed, amalgamates and interpenetrates or cuts itself off, by offering the project an immediate clarity from the outside which is very resonant in the city. The flexible and evolutionary plan allows one to envisage future liaisons with the neighbouring campus, LWL.
The base of the building, the giant " urban lounge " favours meetings and exchanges, whilst taking advantage of internal and external green spaces and views of the countryside, thus fulfilling the liaison with the city.
The podium, whose gentle slope stands 7m below the King Ling Road, designed as a landscaped extrusion of the ground, directly linked to the urban environment on two levels – a common space and at the same time an external gallery – is characteristic of Hong Kong infrastructures. Open, sheltered by the platform above, it can host multiple events. The podium is made up of four auditoriums, a café, a space for exchanges with the design industry, a sports hall and an exhibition hall. For the roof, an urban park and sports grounds are available to the students and visitors from nearby. The large auditorium, with capacity for 700 seats, is intended to host conferences, seminars or classical music concerts, but also more recreational activities, fashion shows, pop music concerts, contemporary dance spectacles.
An aerial platform
Covered in glass which is screenprinted white, the immaculate and minimal volume of the platform floats above the towers "like "an aerial city.". It groups together the library, school administration offices as well as various related spaces. Its landscaped roof is accessible during exceptional events.
The towers are at once the soul of the Institute, its structure and its vertical distribution. They express the diversity and the specific nature of the disciplines represented in the Design Institute. Their appearance accentuates the platform's immateriality, a poetic sensation and reflection of a creative environment.
This overall composition, emerging from the interpenetration of interlinked elements, defines the Institute as a timeless building and unveils its ambition of synergy, of a cutting edge school, of publicity and interactivity, destined to become a bright beacon in the city.
Concrete, glass and steel, three classic materials are implemented for a radical architectural process, a building of a different age reduced to its fundamental functions. The steel, processed into a white trellis, is used as a structural skin for both the inside of the platform and the outside of the towers. The glass of the platform gives it great permeability which strengthens the sensation of tension between the architectural elements.
The structural cement of the podium is combined with glazed facades to exceed mere functionality and create a strong visual and spatial impact.
The construction system
The overall stability of the towers is ensured by a vertical steel trellis structure called "diagrid", equipped with a conventional beam-slab floor system in reinforced concrete.
This "diagrid" system in steel offers excellent lateral rigidity supporting both the floating platform and the framework of the escalator which spans a length of 60m. HKDI is a pioneering project in Hong Kong, due to the choice of a peripheral steel trellis structural system.
An innovative structure in composite reinforced concrete /steel trellis – with upper frameworks which are pre-stressed and post-stressed, diagonal beams in steel and lower frameworks in reinforced concrete – has been introduced and developed in order to support the floating platform which spans an area of 100 m x 100 m. The composite trellises are either simply supported, or placed overhanging from the towers in steel trelliswork.
Uniformly distributed on the floating platform in two orthogonal directions, they are used to support the beam-slab floor system in reinforced concrete.
This composite structure not only provides the floating platform with rigidity and sufficient resistance, it also meant construction costs could be optimised, in so far as the budget set by the client was not exceeded. The implementation of the project also required that the architects design a 60 m long escalator structure – the longest escalator in Hong Kong – supported by a three-dimensional steel structure without any immediate support. Over and above the general design of the infrastructure work, the dynamic analysis carried out meant there could be a guarantee that the vibrations caused by the escalator engines do not cause discomfort to users. Independently of the design, the ability to construct the floating platform has been, from the initial creative stage, one of the major concerns. Sufficient tests were carried out in order to ensure that the proposed structure would be built without any risk and within a reasonable timeframe. Several construction methods have been researched, including preassembly of the main frame of the floating platform on the ground and then having it elevated into final position using heavy lifting appliances. After assessing risks, difficulty and costs linked to construction in this way, the in situ manufacturing method with complex on site assembly procedures was adopted. Finally, to reduce on site preassembly work to a minimum, the majority of secondary structural elements of the floating platform were built after completion of the main structures and removal of the scaffolding which supported them.
Address: 3 King Ling Road, Tseung Kwan O, Hong Kong (SAR)
CAAU
Glass Steel Concrete
Projects Built Projects Selected Projects Educational Architecture Higher Education Institute Dabaseducational3D ModellingMau Wu Tsai VillageHong Kong (SAR)
Cite: "Hong Kong Institute of Design / CAAU" 21 Feb 2013. ArchDaily. Accessed . <https://www.archdaily.com/334902/hong-kong-institute-of-design-caau/> ISSN 0719-8884
香港设计学院 / CAAU


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DigVentures - Crowdfunding archaeology and heritage projects
www.nesta.org.uk/blog/digventures-crowdfunding-archaeology-and-heritage-projects/
Lisa Westcott Wilkins tells us how crowdfunding platform DigVentures can help to raise finance for archaeology and heritage projects.
Peter Baeck
Co-Head of the Centre for Collective Intelligence Design
Peter is responsible for a number of large scale research projects and experiments that explore how human and machine intelligence can be combined to solve social challenges.
Lisa Westcott Wilkins is the co-founder and managing director of DigVentures, a crowdfunding platform set up to help raise finance for archaeology and heritage projects.
We met up with Lisa to talk about crowdfunding for heritage projects and how DigVentures aims to democratise archaeology, traditionally a closed discipline, to make it more accessible to all.
Why should charities, community groups and social entrepreneurs be excited about crowdfunding?
Crowdfunding is the most compelling way to reach new audiences, launch your ideas into the world, and raise much-needed funding for new endeavours - especially in sectors like heritage, which have been hit hard by budget cuts. Crowdfunding breaks down geographical barriers through the power of digital communications, and most importantly crowdfunding helps to articulate and promote a socially-minded triple bottom line: people, profits, and the planet.
Why was your platform set up and what are you hoping to achieve?
Through our platform, we mobilise public fascination with archaeology and heritage, by giving everyone the chance to become involved with exciting projects around the world. Archaeology has previously been a closed discipline, but our goal is to democratise participation in archaeology, heritage and citizen science projects through the use of digital technology and crowdfunding.
How can your platform help people or organisations interested in fundraising for a good cause?
Our crowdfunding and crowdsourcing platform connects projects with a worldwide audience of active participants. Partners benefit from diversified income, increased revenue, visitor footfall, and digital profile. Participants get to join in, try archaeology, and be a part of internationally important excavations, either in the trenches or online. Local communities benefit from the long-term sustainability of their heritage resources.
Are there any unique features of your platform we should know about?
DigVentures operates a niche platform focused on archaeology and heritage projects worldwide, particularly those that use crowdfunding to stimulate public participation.
If you could give three tips to someone using crowdfunding for a good cause what would they be?
1) It's not just about the money: be strategic when setting campaign goals. Consider non-financial outcomes as markers of success. What have you gained?
2) Break your idea: Raising 30% from friends and family doesn't make a successful campaign. Invite people to sense-check for where it doesn't click. Plug the holes before launch.
3) Be a nimble communicator: your crowd will have questions. They will want answers. How present are you in the conversation?
You can read more about DigVentures and the types of projects it supports at: digventures.com
Read the other interviews with crowdfunding platforms.
Photo Credit: Virginia State Park, Creative Commons 2.0 license


Free highlights of Crystal Palace's home match against Newcastle United are now available to watch on Palace TV.
The 0-0 draw sees the Eagles remain in 11th with seven points whilst the visitors move up to 18th with two points from six games.
Check out the best of the afternoon's action as Palace certainly created enough chances to get a deserved victory but at the other end it was another clean sheet for Wayne Hennessey. His fourth in seven Premier League appearances.
All the action is now available to watch on Palace TV, as well as post-match reaction from Luka Milivojevic, Andros Townsend and manager Roy Hodgson.
If you haven't registered yet, then sign up today for free and you get access to a host of exclusive video content, including these highlights and interviews with first-team squad members.


Send roses in Norwalk to make any occasion more special. Bruce's Flowers & Greenhouses stocks the finest varieties of roses, including Fragrant David Austin Roses, Lush Garden Roses, Premium Ecuadorian Roses, and Sweet Spray Roses. Pick your favorite color or ask our team for the best selection of the day.


Please bring child(ren) no earlier than one half hour before the beginning of each convention session.
Pick up your child(ren) immediately after each session.
You are responsible for getting your own child(ren)'s meals each day. We will provide light snacks.
Be sure that one of the people in charge of childcare knows when your child(ren) has/have arrived or is/are leaving.
Please minimize the time spent dropping off and picking up your child(ren). We find this helps the children acclimate to the new environment.
Please label your child(ren)'s diaper bag, toys and/or other belongings. We recommend that only needed items be brought to childcare.
Please speak to your child(ren) about respecting the rules governing childcare and the authority of those in charge.
NFB Camp will not be taking children to the pool for swimming during childcare hours.
If your child(ren) is/are in need of medication of any kind, you will be responsible for administering that yourself. Childcare workers will not take responsibility for dispensing medicine to any child.
Parents will be issued "pick-up cards" at the time their child(ren) is enrolled at the camp. These cards must be signed by a parent and distributed to those individuals authorized to pick up the child(ren). Parents should keep a card for their personal use. When picking up your child(ren) please show your "pick-up card" to the staff person in charge. NO CHILD(REN) WILL BE RELEASED UNLESS THE INDIVIDUAL PICKING UP THE CHILD (REN) DISPLAYS A PROPERLY FILLED OUT "PICK-UP CARD" SIGNED BY THE PARENT, or government issued photo identification matching the name printed by the parent on the registration form.
Please inform Carla McQuillan immediately if a card is lost or stolen.
A list of teenagers wishing to baby-sit in the evening will be compiled at the sign-in table at NFB Camp. Any teenagers who want to be placed on the list should come to NFB Camp or contact Carla McQuillan.
$100 for one child for the entire week and $75 for siblings. This does not include banquet.
$25 per day per child. This does not include banquet.
$25 per child for banquet.
We reserve the right to discontinue care for any child who brings weapons to camp and/or is aggressive or violent towards children and staff.
If this creates a financial hardship, please contact Carla McQuillan prior to convention. FEES PAID AND FORMS FILLED OUT IN ADVANCE WILL MINIMIZE TIME SPENT AT THE REGISTRATION DESK.
Go to NFB Camp registration form.


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Posts Tagged 'StepMania'
Aydan Appreciates: 'Mercury' by Kommisar
Posted October 3, 2019 by Aydan Scott
Having been a long-standing member of the FlashFlashRevolution community, Kommisar was a name I had commonly encountered betwixt his music and simfile charting. Kommisar has contributed to ChipWIN in the past on more than a few volumes, with each track containing his legendary, patented jazzy 'insaneous chiptune solos'. Recently he's re-released a number of tunes in the form of an EP titled 'Mercury'; each piece on the EP is impressive in its own right. The most impressive facet to his compositions is the fact that all of the pieces on 'Mercury' were written on 1xLSDJ; this is quite hard to believe considering the depth of each track on the EP! Now that we have the ability to listen to this in its entirety as intended, let's revisit some of these amazing tunes!
Raw Cuts with Kuma #19: Petriform
Posted February 3, 2014 by Bronx Kuma
Hey ChipWINners! Welcome back to Raw Cuts! This time around, I took the time to chat with an artist I wasn't really familiar with until rather recently, but in preparing for this sit down, I realized what a n00b I was for being ignorant of him til now! Combining 15+ years of experience, enthusiasm and dedication to his craft, this eclectic composer has not only blown my mind, but has recently released a new album which can easily be considered one of the best chip albums of the year! But don't take my word for it! Sit down and join me as I take the time to get to know Paul Parr, the man also known as Petriform!
Kuma: First and foremost I'd like to thank you for taking the time to sit down with me and do this interview! I know it's early in the day for you, but it means a lot having you here with me.
Petriform: Thank you! It's a pleasure speaking with you.
Kuma: So to start things off, I'd like to know how things started with you. When did your musical journey begin and what prompted you to take to composing and producing?
Petriform: Well, for as long as I can remember, my father was a solo performing musician; a guitarist. He played lots of covers, and must have decided at some point that he couldn't cover everything he wanted with just a guitar, so he was an early adopter of MIDI synthesizers and sequencers – particularly ones that could accurately emulate real instruments. He would edit MIDI files to create backing tracks for himself, which he would then play back through a particularly good-sounding synthesizer for his live sets. That's how I first got into composing – with a MIDI keyboard, a synthesizer, and some early version of the Cakewalk DAW. Just messing around with that stuff. I never took it seriously until the mid-2000s, when a friend got me way, way into Dance Dance Revolution, and, having heard about StepMania, the open-source counterpart in which one can add their own songs, I was driven pretty heavily forward to make my own songs for that purpose. That's when I really started to step up and produce.
Kuma: Oh wow! So you've been at this for a while! But I notice you mentioned that you really didn't take it seriously for a while. Does that mean you're not a formally trained musician? Was music just something you picked up from watching your dad perform and produce over the years or did you actually take the time to take formal lessons with him or another teacher?
Petriform: I'm not formally trained. I picked up my very first composition and production habits from my dad's setup, but I'm self-taught in most regards, having picked up things by listening closely to the music I like, and kind of attempting to emulate the theory that makes those songs so good in production after production. I don't know much about formal music theory, and I can't read music. I've always picked up instruments by ear, though I'm not particularly good at any of them. I think what it comes down to is a whole lot of listening and experimenting over the years. It builds up.
Kuma: I would definitely say it has! Having listened to the back catalog of your music available on Bandcamp, I can honestly say you're one of the most diverse musicians I've interviewed on Raw Cuts! It's that diversity I want focus on now in particular as I've noticed that between your solo work and your work with dtrx, your style changes a lot. Tell me what first brought dtrx together and how much of dtrx's music is your input? Whats your creative process like with them vs when you're working solo?
Petriform: All of dtrx is myself, actually. That's a holdover from the years when I would use different aliases to release different genres and styles of music, kind of as a way to avoid people getting hyped for a release from me and having the result be completely different music than they'd expected. "dtrx" was always just kind of a placeholder signature, or label, to signify that whatever was released therein, I was ultimately behind. The multiple aliases deal is a very DDR thing, so I definitely picked it up from there. I think it was a good thing at the time, to diversify the styles of my projects so that I could explore them fully without having to meet anyone's expectations. But recently I've felt it more appropriate to consolidate down to simply Petriform; the "dtrx" is pretty much only still there as a legacy sort of thing. It was great for me when I was experimenting with a ton of diverse projects, but I've been slowly phasing it out. I hope all of that makes sense!
Kuma: You dirty SOB, you pulled a fucking Peczynski on me!
Petriform: This is the part where I reveal myself to be Vince McMahon. "IT WAS ME, AUSTIN! IT WAS ME ALL ALONG!"
Kuma: D=
Petriform: But yeah, that whole gimmick was generally a tool to give me more space to experiment musically.
Kuma: Well, while I'm still hurt by this betrayal, I'll attempt to gather my composure and continue this interview.
Petriform: Okay!
Kuma: That being said, I find it funny that you felt the need to live up to your following so much that you felt the need to create aliases just for freedom of expression. I wasn't nearly as hardcore into the ddr scene as some of my friends were, but was that really a necessity now that you look back on it? Did you really feel you'd let people if you went from like…drum and bass to footwork?
Petriform: A necessity? Maybe not. From drum and bass to footwork, definitely not. But I've done some pretty off-the-wall stuff like harsh noise, drone, and speedcore before, stuff that isn't actively featured on the front page of my website and whatnot, where there's a real night and day difference that I feel a lot of people wouldn't really be down with. I think it gave me more peace of mind than anything, but another component to it, and perhaps this one is more reasonable, was that I was still making songs for StepMania, where the whole DDR alias diversification really starts to become immediately relevant. Many of my friends who I met through DDR or StepMania who have started composing music have done or still do the alias thing, too. I still think it's helpful for composers and producers who don't really have a grip on their style yet, and want to try new things.
Kuma: That's a fair enough answer. My sadness is less profound now. That being said, your work has become much more streamlined over the past 2 or 3 years, and in particular I noticed this with the release of 'Brown Plaid'.
That's not to say you don't still diversify even within that album, but it flows much more cohesively than some of your previous work. What was your creative process like on that album and how did it differ from work you had previously done?
Petriform: 'Brown Plaid' is an odd one for me because I had been working on it on and off for the better part of three years, which is far longer than the work period of any other album I've released. In years past, I would cap off my albums with the more moody stuff that you hear reflected in 'Brown Plaid', but after my album 'Exposition' in 2010, I stopped, because I wanted to have an album full of that kind of stuff, and I wanted it to be special. So I would write songs for it on the side in tandem with the other projects I was working on – The Cross Section' EPs, 'Relentless Eventful', and even most of my newest, 'Veneer'. I counted – by the time it was finally plausible for me to form 'Brown Plaid' cohesively, I had over 40 works-in-progress that I was considering for it. I whittled that down to the fifteen tracks I though were best suited to each other and made the most cohesive album, and that's what got released. I haven't had the luxury of doing that with my other albums, so its cohesion probably is far smoother. With regard to my older work, pre-2010, I was still making StepMania songs and throwing them together into albums. Cohesion in my work didn't really exist until I was making it for myself and not as what essentially amounted to game design.
Kuma: The amount of time and focus you put into BP really shows and I'm glad you took the time to make it. For as much as any of us like a scene or feel the need to give back to it, being able to create for ourselves is just as important and I'm glad you found the time to do so. I have to say though, whittling down from 40 tracks down to 15 is quite impressive. I haven't heard anything like that since I last interviewed SSD engage and S.P.R.Y. said that he had some 50-odd mostly complete songs laying around he still had yet to finish and release.
That being said, since you brought up the topic of your newest album, lets discuss that, shall we? By the time this interview is published, the album will have been made public, but I've had the pleasure of listening to it early, and I have to say, and I mean this without intent of kissing ass or buttering you up, but 'Veneer', along with 'Brown Plaid', has cemented you as one of my fave musicians in the scene. Tell me, what into making 'Veneer' and what did you want to get out of the experience of bringing it to fruition?
Petriform: Thank you! I created 'Veneer' because, since very early 2010, I hadn't put out a full-length chiptune album – only EPs, most notably 'Cross Section' and its follow-up, 'Cross Section Part II'. With those I was testing the waters of combining the backbone of drum and bass music with predominant chiptune leads and accompaniment – something that had certainly been done before, but I hadn't seen a lot of personally. That, I think, might be my favorite music to make, and it turns out a lot of people liked hearing it! I knew immediately that I wanted to bring that concept to a full-length release, and the 'Cross Section' EPs laid down the framework for it. That desire strengthened considerably when I became close to the chiptune scene in and around the San Francisco Bay Area and started playing shows, something I hadn't done for a few years, and under different names.
The combination of releases I'd put out recently and the experiences I've had thus far in that scene made 'Veneer' logically the next thing that I needed to make happen, and it's happening. In creating it, I hope to have strengthened my skills in chiptune tracking, which I'm always working on improving, and concept album authorship, which I kind of halfheartedly shot for. But most importantly, I want to have created something that others can enjoy and share. I hope 'Veneer' fulfills that for some people.
Kuma: I definitely feel you have, and I know this will be one of those albums I share with people when I intro them to the chiptune. That being said, you mentioned performances, and you have a very big one coming up very soon, don't you? Why don't you tell us about Rockage 3.0 and how you got involved in this amazing follow up to Frequency 3.0!
Petriform: Yes! I'm extremely excited to participate in Rockage 3.0, and to experience it in general. Rockage 2.0 last year was probably the most fun weekend I had for all of that year, and it was also my first real exposure to the chiptune scene in my area. Previously I had simply thought that nothing was going on in local chiptune outside of San Francisco, but I was wrong – I just wasn't looking hard enough. And, of course, I wanted in on it. So, on the last day of Rockage 2.0, I spoke with maybe three or four people and gave them a sampler of some of my chiptune material – one of those people being Eric Fanali, who runs Rockage and puts on chiptune shows, among many other shows, in and around San Jose, and my involvement in the local scene kind of snowballed from there.
What I can tell you about Rockage 3.0 is that the lineup is amazing; even better than last year. I'm so very excited to be playing the same event as many of my friends and many chiptune and VGM musicians that I have a ton of respect for. And on top of that, the plethora of free play arcade games and tournaments for prizes (if you're going, readers, fight me at Hydro Thunder) is staggering – the fun never ends! It's unmissable. Rockage 3.0 is at San Jose State University from February 7th to the 9th, and I hope to see you all there!
Kuma: Oh man that sounds like MAGFest all over again! I'm super upset I can't make it and mad jelly of my friends who are going! That aside, is there anyone you're sharing the stage with you're especially looking forward to seeing perform? Slime Girls? Danimal Cannon? Space Town Savior? Who are you most looking forward to partying with?
Petriform: I try to make it out to see the local acts as often as I can – Slime Girls, crashfaster, Matthew Joseph Payne, Together We Are Robots, Super Soul Bros., the list goes on. Seeing Space Boyfriend, Mega Ran, and Danimal Cannon is always fun when they roll through town. Bit Brigade kicks ass. I've never seen The Megas before, so I'm looking forward to that, too! Gnarboots is a fucking experience. I love seeing my friends in Curious Quail and Cartoon Violence. Sorry that I'm practically going through the whole damn lineup, but it really IS stacked – it'll probably be the best I've ever attended. It's a party, for sure.
Kuma: Definitely sounds like it, and I know my friends who are attending definitely can't wait to get out there and get stupid with you. That being said, I'd once again like to thank you for taking the time to sit down for this interview. Is there anything you'd like to say in closing–shout outs, promotions, thank yous–before we wrap things up?
Petriform: Well, I'd like to thank you for having me, and ChipWIN in general for being so damn awesome! Readers, I hope you enjoy my new album, 'Veneer', and come out to Rockage 3.0! Let's party!
That wraps it up for this edition of Raw Cuts. Don't forget to follow Petriform on your fave form of social media, as well as checking out his music, including his newest release, 'Veneer', and my personal favorite,'Brown Plaid', both of which you can listen to below! Last but not least, if you are in the San Jose Area next weekend, do yourself a favor and get your ass to Rockage 3.0! It is a party that is sure to impress! Peace!
Petriform
Facebook | Bandcamp | Soundcloud | Tumblr | Twitter | Youtube
Rockage 3.0
Facebook | Tumblr | Twitter | Fb Event
Guest Speaker: Aydan Scott on Kola Kid's Afterparty
Posted April 23, 2013 by AndrewKilpatrick
We here at the Chiptunes = WIN Blog are EXTREMELY happy to be presenting a new guest writer, Aydan Scott, speaking this week about chipbreak gigamoth Kola Kid.
So everyone put down your 'Get Lucky' vinyls and give your most raucous and welcoming of applause! Take it away Aydan:
Russian chipartist Kola Kid transforms ideas and themes from numerous genres to create an extremely unique and incredible sound. I discovered Kola Kid through StepMania. Songs by Kola Kid in the game include 'Can't Hide Your Love', 'Purple Drank', and 'Spaceman', all stepped by chiptune prodigy Kommisar. His first release, 'Rave to the Grave', is fast, hard-hitting, and extremely aggressive – the essence of chipbreak. His music calls breakbeat artists such as Venetian Snares and The Flashbulb to mind; it also calls to mind Sabrepulse's album 'Chipbreak Wars', which is, to me, the defining album of the chipbreak genre.
However, 'Rave to the Grave' is not the album that I'm interested in for the sake of this review; I'm going to be reviewing 'Afterparty', a much calmer album compared to its predecessor. The drum patterns are reminiscent to those of Sabrepulse, but the melodies used are far less harsh and aggressive in tone. 'solar flux' is the opening to the album, and its soothing melody flows extremely well against the static drum samples. The second track, 'square spooner fisher pusher', transitions well from the previous track; the fluidity of the transition is one of the highlights of this album.
The third track, 'like a robot', takes on a darker tone, whilst still remaining fairly calm. The rhythm and melodies in this song are particularly memorable, and the choppiness of the vocal sampling is a fantastic addition. '0909' follows, returning to the previous, upbeat tone. The repetition in the beginning sets the listener up for a nice change in the rhythm, and as the melody repeats itself, more and more is layered over it until it climaxes with a somewhat abrupt end.
The final track, 'lucky 13', is the most interesting to me. It opens with an incredibly aggressive tone, and once the melody is introduced, the drums back off completely before the two of them join together. I feel as though 'lucky 13' could have expanded on its theme just a little bit more, and it could have ended less suddenly; Kola Kid's intent, however, may very well have been to instil this kind of feeling onto the listener. 'Afterparty' is an excellent example of "how to chipbreak"; if you enjoyed Kola Kid's second release, you can download it in the embed below.


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Hawkins Homestead, also known as the Zachariah Hawkins Homestead, is a historic home located at 165 Christian Avenue in Stony Brook in Brookhaven Town, Suffolk County, New York. It was built originally about 1660 and is a saltbox-form dwelling.  It has two principal components: a mid-17th-century -story house to the west and a large mid-18th-century (c. 1720 and 1750) and early-19th-century (c. 1812) -story addition to the east.

It was added to the National Register of Historic Places in 1988. It is south-west of the Bethel–Christian Avenue–Laurel Hill Historical District at 165 Christian Ave.

References

Houses on the National Register of Historic Places in New York (state)
Houses in Suffolk County, New York
National Register of Historic Places in Suffolk County, New York


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From Faith that Endures, by Ron Boyd-MacMillan, (Fleming Revell, 2006), pages 322-323.
The Biblical scholar William Barclay described a New Testament Christian as having three remarkable characteristics: "One, they were absurdly happy; two, they were filled with an irrational love for everyone; and three, they were always in trouble." Persecuted Christians are constantly in trouble. As a Palestinian pastor put it, "If you speak truth to power, power always reacts." An encounter with the persecuted reveals the incendiary nature of this gospel we follow.
II Timothy 3:12 — Everyone who wants to live a godly life in Christ Jesus will be persecuted.
I Peter 5:6-10 — Humble yourselves, therefore, under God's mighty hand, that he may lift you up in due time. Cast all your anxiety on him because he cares for you. Be alert and of sober mind. Your enemy the devil prowls around like a roaring lion looking for someone to devour. Resist him, standing firm in the faith,because you know that the family of believers throughout the world is undergoing the same kind of sufferings. And the God of all grace, who called you to his eternal glory in Christ, after you have suffered a little while, will himself restore you and make you strong,firm and steadfast.
We join our prayers with their cries for deliverance, O Lord, asking that you embrace them with your nearer presence and provide your promised deliverance in the midst of their suffering. Breathe in them your peace which passes all understanding, and assure them that nothing in all creation can ever separate them from your love which is in Christ Jesus our Lord. Strengthen them as you did for all the saints and martyrs who went before, with the confidence that death is of no lasting consequence in your eternal Kingdom.


Mural Arts Philadelphia unites artists and communities through a collaborative process, rooted in the traditions of mural-making, to create art that transforms public spaces and individual lives. Since its inception in 1984, Mural Arts has created more than 3,000 community driven murals and provided thousands of under-served youth and adults with award-winning arts education programming.
Mural Arts Philadelphia is seeking a full-time Arts Integration Program Manager for its Art Education department, which serves over 2000 opportunity youth annually through in and out-of-school programming at 25+ sites across the city.
In 2012, the Art Education department began a new chapter, establishing multi-year arts integration partnerships with charter and public schools across the city. The Arts Integration Program Manager facilitates the development of each partnership and oversees the in-school and after school programming and professional development at each site. The ideal candidate will have a background in youth education, experience with arts integration, and strong facilitation and partnership-building skills.