the recording is comprised of unprocessed field and or location recordings in 10 minute parts mixed consecutively person to person.
recorded live at issue project room – oa can factory, brooklyn ny.
the order of performance: scott smallwood, sawako, seth cluett, ben owen and civyiu kkliu. 2007-08-23.
Organized as a transversal field recording orchestra, the combo of Scott Smallwood, Sawako, Seth Cluett, Ben Owen and Civyiu Kkliu structured this project, providing a draft of unprocessed recordings strictly localized in fractions of 10 minutes each that have been consecutively mixed by an artist in a reciprocal handover. In "Phonography Meeting" the background climax is maintained by an "ambiance" very much "in progress" but basically homogeneous, despite the plurality of sound materials included here. The result, besides being interesting and enjoyable in its particular aesthetic interpretation, obviously involves a whole series of reflections on the approach – not always similar – that brings an investigator to operating with such procedures. "Who is the composer?", wonders Scott Smallwood, implicitly underlining how the randomness implied in any capture stimulates the sound-artist to develop a particular attentive quality. Sawako – instead – in the gentle pseudo-simplicity that is her mark, tells us how she loves to make recordings in the big parks of metropolises such as Tokyo or New York City, while Seth Cluett asks himself how much the act of recording "isn't a form of memory in itself but a catalyzer for imagination that mirrors memory in its way of operation". With non textual interventions (in the included booklet) Ben Owen and Civyiu Kkliu guide us to other reflections: on the visual, site-specific nature of the work of a sound artist and on the intrinsic permutational quality of the recorded material, reminding us in a Burroughsian way how cut-up techniques are redundant of poetry but can also assume the form of an exercise in exorcism referring to the emptiness of everyday life.
Comme d'habitude sur le label winds measure, la pochette (signée Ben Owen) est magnifique et la musique est littéralement hors du commun. Pour phonography meeting 070823, il s'agit d'une suite de field-recordings, quoique qu'une suite évoque peut-être un peu trop la musique, il faudrait peut-être mieux dire qu'il s'agit d'une fresque en cinq tableaux, ou d'un poème en cinq strophes je ne sais pas. Plus précisément, il s'agit de cinq tableaux sonores composés de field-recordings uniquement, cinq propositions de cinq musiciens qui se succèdent. Dans les notes, on peut lire que la "phonographie" n'est rien d'autre que l'écriture des sons, l'écriture sonore; et effectivement, chaque musicien propose ici, avec son propre langage sonore, un univers à faire vaciller l'imaginaire, un univers construit à partir d'un langage composé de sons divers, et non de notes. Smallwood commence avec des gouttes d'eaux qui tombent mécaniquement dans du liquide, gouttes accompagnées d'une sorte de métronome, tandis que des voitures circulent ponctuellement; et parfois, cet univers sonore est interrompu par une mélodie mécanique elle-aussi. D'un autre côté, Civyiu Kkliu clôture cette fresque avec un drone puissant, brutalement interrompu par des bruits blancs, qui finiront eux-mêmes par fusionner avec le bourdon, dans un finale brutale et intense. Entre-temps, on peut entendre des enregistrements citadins, des fêtes d'anniversaires enfantines, inquiétantes et fantomatiques, des bruissements de feuilles, du vent, des micros ultrasensibles, etc.
La force de cette suite poétique vient de la diversité esthétique des matériaux: des matériaux parfois très abstraits que l'on peine à reconnaître, d'autres d'une limpidité envoutante, on est toujours balancé entre la musique (mélodies, rythmes) et le bruit (souffles), entre l'abstrait et le concret, entre le déterminé et l'indéterminé. Cette diversité produit des univers multiples qui demandent une attention et une activité importante de la part de l'auditeur, si jamais il veut s'y retrouver. Les différentes strophes de ce poème (ré-)activent la puissance et les possibilités de l'imagination, de la sensibilité auditive, autant chez les musiciens (lors des enregistrements et lors de la création) que chez les auditeurs. Musique pour le corps et l'esprit, qui peuvent enfin se réunir (alors qu'ils étaient faussement séparés par une idéologie scientiste) dans cette musique poétique, aventureuse, sensible, nouvelle, charmante et envoûtante.
As usual on the winds measure label, the album cover (signed Ben Owen) is beautiful and the music is literally extraordinary. In phonography meeting, 070823, it consists of a suite of field-recordings, although as the term suite evokes "music" in a perhaps too much traditional way, it might be better to say that this is a fresco in five tables, or a poem in five stanzas, I do not know. Specifically, there are here five sonic tableaux consisting uniquely of field-recordings, a succession of five offerings from five musicians. In the notes we read that "phonography" is nothing other than the writing of sounds – sonic script. And indeed, each musician here offers through his own individual idiom a sonic universe to wobble imagination, built from a language composed of various sounds rather than musical notes. Smallwood begins with drops of water falling mechanically in a liquid, accompanied by a kind of metronome, while occasionally cars move around. Sometimes this sound universe is interrupted by a melody, which also sounds mechanical. On the other hand, Civyiu Kkliu brings the fresco to a closure with a powerful drone, brutally interrupted by white noise, which eventually merges with the drone towards a brutal and intense final. Meanwhile, we hear recordings of urban environments, children's birthday parties, disquieting and ghostly, rustling leaves, wind, ultra-sensitive microphones, etc..
The strength of this poetic suite results from the aesthetic diversity of materials: sometimes they are quite abstract and difficult to identify, other times captivatingly crystalline. One is continuously balancing between the music (melodies, rhythm) and noise (breathlike sounds), between the abstract and the concrete, between the determinate and indeterminate. Such variety produces multiple sound worlds which require special attention and a significant activity on the part of the listener, if he ever minds not to get lost in it. The different stanzas of this poem (re-)activate the power and possibilities of imagination and of aural sensitivity – both among musicians (when recording and when creating) and listeners. Music for body and mind, which can finally unite (after having been deceivingly separated by a scientistic ideology) in this poetic, adventurous, sensitive, novel, charming and captivating music.
It's always nice to get in the mailbox Winds Measure releases and one of the reasons is their packaging: visual design is clean, austere and sober, paper is nicely textured, booklets are pressed with relief printing and in general every detail has been carefully and tastefully taken care of.
"Phonography meeting 070823″ is the product of a performance at Issue Project Room in Brooklyn, NY on August of 2007 when the artists gathered and used unprocessed field and or location recordings in a 10 minute person to person performance/sequence that sums for a 47:14 final piece.
The result is quite heterogenic, it ranges from raw phonographic archive to what seems like more processed material. The order of performance was Scott Smallwood, Sawako, Seth Cluett, Ben Owen and Civyiu Kkliu and you can find a folded paper sheet with text and images by each one of the performers.
Scott Smallwood has a very nice text about field recordings where he talks about the frustration of the field recordist when the sound produced by the object of his recording is interrupted by other "unexpected / unwanted / hidden" sounds and how this experience works as a door to a universe of thoughts and images that the recordist encounters while recording. This beautiful text is reflected during the first minutes of the piece where the juxtaposed sounds create this focus / distraction effect as the more environmental and natural sounds seem to clash with the noisy droning sounds of noise pollution as they come to the sufrace and disappear. Scott Smallwood is very effective at creating a sequence with such strong instrumentation and still draw this level of articulation with the text; this writings are something everyone with a reduced hearing experience can relate to, but it goes deeper and further into our experiences with the unexpected, the unpleasant, the misleading and the distracting.
After minute 9:40 a sound emerges, it seems like some sort of machine that fades out to and a series of watery sounds and panned voices that arise and develop. Sawako's artwork part is a handwritten text where she talk about parks. She talk about them being some sort of calm relief in the middle of the noise produced by the big cities. After minute 10 the piece acquires some sort of introverted character, as it feels like we are in the middle of something overwhelmed and dazzled by the presence of sound. Again a very interesting and effective articulation between the sequence and the text.
On minute 18 the sounds of what seems like church bells are revealed. Sett Cluett's is featued on the artwork with some really interesting text about memory and imagination and about how the recordings of sounds and the playback of those sounds triggers the imagination on the listener with the help of the memories imprinted on the recordings. This text leads to very interesting questions and reflections towards the act of recording and the use of the recordings when played back.
On Minute 22 a very powerful sequence starts build up with juxtaposed sounds that are not easily recognizable while revealing this fascinating sound object withs a strong rhythmic and narrative character; around 27:40 these sounds fade to another sequence of a sounds with rhythmic patterns produced by what seems like a single object being physically manipulated either by man or nature.
Ben Owen's presence in the artwork sheet is a series of six treated photographs of what seems like landscapes. At minute 32 a series of harsh textured sounds emerge. The sound image of this sequence is beautiful very immersive and tactile; this part has as noisy / artificial-like nature that develops through uneven organic patterns which reveals a beautiful formal analogy. Another very strong perceptual experience for the listener.
Civyiu Kkliu is from Japan and on the artwork sheet he played with words in some sort of conceptual exercise. In the last ten minutes of the piece the sound becomes more artificial and abstract. More than phonography this part is reminiscent of electroacoustic sound as it gives to the whole work an unexpected twist that leaves the listener surprised and wandering. Very strong ending.
"Phonography meeting 070823″ is a work that rises interesting questions and reflections towards the act of recording and towards the listening experience while revealing beautiful sound images so strong and full of sense that could work equally effective with and without the images and text.
Five recordings as presented live at Issue Project Room in 2007, all based around field recordings, bleeding from one to the other. The creators provide "notes" for each, ranging from proper note to six photos (Owen) to a set of three and four letter words (Kkliu).
Smallwood's piece mixes more or less "traditional" sounds–wind, water, chimes, birds–but it has an appealing thickness to it, a density often missed in such works. It's in episodes, like a series of snapshots, drifting into a fine deep drone that ushers in a welter of urban sounds, a large, populated interior space. Actually, I'm never quite sure when one person's music ends and another begins. I'm thinking that the children partying are within Sawako's contribution, but who knows? Doesn't matter too much…It progresses through wooly buffeting with crunchy…footsteps? (perhaps Cluett's portion)…abstract crackles, indecipherable sounds (Owen?), very intense, like hyper-magnified quiet noises…a buzzing hum, very long held, a household device, perhaps, listened to from a fly's closeness. FIne journey, wish I'd been there.
A busy day today, getting a lot done, catching up on the email backlog, cooking and eating a great lunch with Julie, starting to write my review of Grundelweiser for The Wire, and this evening, as well as listening to the music I am about to review, I turned in my top ten records of the year to the magazine. I haven't felt comfortable with this kind of thing for a few years now, and as we are less than halfway into November and the pile of unlistened to CDs here remains of small skyscraper proportions I feel even less easy about it than ever. If The Wire print the list this year (they didn't last year) then I will add some further notes here and alter the list to include anything further that may have crossed my path. If the list doesn't get printed then I'll do the same as last year and pretend I never wrote it!
So, to tonight's CD. before writing, I should add that returning to CD listening over the past few days after the intense experience of the Grundelweiser festival hasn't been easy. Everything I have played has seemed loud and dramatic, for obvious reasons, and readjusting my senses to more active music has taken a bit of time. The CD I have listened to the most though, while not particularly quiet does require a similar kind of closely attentive listening. The disc in question is a release on Windsmeasure, a collective release by five (I think) New York based field recordists, that is, as far as I can tell, a collection of five live performance excerpts from a concert in the city that gives its name to the CD's title- Phonography Meeting 070823. The five musicians (should we call them phonographers?) are Scott Smallwood, Sawako, Seth Cluett, Ben Owen and Civyiu Kkliu. As well as provide the music for the CD, each of them also wrote a few notes on field recording for the liner notes, which range from the thoughtfully humorous (Smallwood) to the pictorial (Owen) to the obliquely impenetrable (Kkliu's concrete poetry). The entire package, being on the windsmeasure label is of course lovingly designed and printed.
Now, according to my CD player, there is only one track on this disc, and while for certain there are many points in the piece whereby the sounds cut from one recording to another, its impossible to tell where one composer's work starts and another's ends. The liner notes state that the performances run in the same order as listed on the sleeve, so i could hazard a guess at who has contributed what here, but somehow it doesn't seem important, and I would prefer to treat the CD as one single work collectively curated. So a lot takes place in here, ranging from some of the clichés of field recording, but done very well, to some very nice, far more abstract work. I am on record a few times this year saying that I am bored of hearing certain sounds presented in familiar, uninteresting ways. This disc opens with the sound of running water, I think a rainstorm, with water gushing from somewhere alongside one constant, rapid and loud drip that gives the sounds an odd sense of metronomic rhythm. Yes, I have heard a lot of CDs of water-related field recordings, but here this is done well, and the recording has enough personality of its own to keep it interesting, just as it doesn't outstay its welcome either, moving on to other sounds after just a few minutes. We also hear children shouting, another familiar trait, but there they are muffled voices, perhaps at a shopping centre, with other peculiar sounds foregrounded alongside, including something that sounds like the call of an elephant. The reason this CD works for me (and it works very well) is through its constant stream of sounds that make their mark on you, present you with their varying qualities, lead you to wonder what you are listening to, and then merge into something else, something often quite different again. So we have the children, perhaps playing kazoos?! and then a lovely section of soft crunching sounds, gritty and rough in texture and impossible to identify, followed by a series of extended buzzing and humming, maybe domestic appliances recorded, maybe computer feedback, its hard to tell, but these sounds are nowhere near the gushing water that opened the piece and take the music to somewhere quite different.
One of my concerns about field recording, and then musical compositions based upon their arrangement, is that it can be a very easy thing to do. Digital recorders are cheap these days, and throwing a few sound files into sequencing software takes a matter of minutes. Occasionally I receive CDs that sound like little time was taken over them, and often it feels like little original thought, or little compositional integrity has been applied to the music. This is not the case with Phonography Meeting. The sounds here are all interesting, all encourage curiosity and closer listening rather than just present themselves inactively and the album oozes a feeling of love and care. To quote Scott Smallwood from his excellent liner notes; "So many recordings have been ruined by inability to still my hand and heart, I get too excited!". The passion shown here comes through in the music, there is nothing relaxing or 'ambient' here, everything grabs your attention and feels like it has something to say. These are the essential differences with field recordings for me. First there is the search for sounds, new sounds, difficult sounds, hidden sounds, unusual sounds- and then they are pulled together in an intelligent and caring manner. Although recorded live at a concert, and so all presented in one evening I thoroughly suspect that the work here was carefully chosen and considered before it was used. When utilised this way field recordings will always win me over, as this album does very nicely.


text:
From Space to Kevin Spacey: Content Marketing World Keynote Announced
There's some interesting connectivity between last year's closing Content Marketing World keynote speaker, William Shatner, and this year's opening keynote speaker Kevin Spacey. We are, quite literally, going from space to Spacey!
Kevin Spacey's James MacTaggart Memorial Lecture at the Edinburgh Television Festival, last year, generated buzz amongst content marketers because of what he had to say about audiences, platforms and storytelling.
Spacey said, for example, "If you watch a TV show on your iPad is it no longer a TV show? The device and length are irrelevant … For kids growing up now there's no difference watching Avatar on an iPad or watching YouTube on a TV and watching Game Of Thrones on their computer. It's all content. It's all story."
This is a sentiment not lost on Content Marketing World founder, Joe Pulizzi, who announced today that Kevin Spacey will be the opening keynote speaker.
"We are beyond thrilled to have Kevin Spacey joins us for this year's event," says Joe Pulizzi, founder of the Content Marketing Institute. "Mr. Spacey is a dynamic actor, writer, producer and director. His critically-acclaimed Netflix original series, House of Cards, has broken content distribution barriers in television. We believe he has great insight that applies to content marketing and corporate storytelling that will resonate with our audience."
This is sure to be a special year at Content Marketing World!

redpajama_set_name: RedPajamaCommonCrawl


Featuring Inspector Dreyfus - one of Alastair Reynolds most popular characters - this is a fast paced SF crime story, combining a futuristic setting with a gripping tale of technology, revolution and revenge. One citizen died a fortnight ago. Two a week ago. Four died yesterday . . . and unless the cause can be found - and stopped - within the next four months, everyone will be dead. For the Prefects, the hunt for a silent, hidden killer is on . . . Alastair Reynolds has returned to the world of The Prefect for this stand-alone SF mystery in which no one is safe. The technological implants which connect every citizen to each other have become murder weapons, and no one knows who or what the killer is - or who the next targets will be. But their reach is spreading, and time is not on the Prefects' side.


Classic Paws Pewter Pet Urn, is a beautiful Pet Urn crafted with love in solid brass and Paw Prints are embossed all around. The Classic Paws Pewter Pet Urn is made of solid brass and has a pewter finish. Remember your beloved pet with this pet urn. Dimensions: 5.9 x 3.9", Capacity: up to 40 lbs.


text:
TUBEROUS SCLEROSIS COMPLEX
TSC, a rare disease?
Treatments and medical research
Genetics and prognosis
Tuberous Sclerosis is a genetic disease, generally with random distribution, with no parental age effect.
TSC is a rare disease, but it is not exceptional because its frequency is about 1 case in 6,000 births. About 60,000 people are affected by the disease in Europe, about as much in the United States and probably more than two millions worldwide. TSC is one of most wide-spread rare diseases. As a comparison, prevalence (number of patients) of cystic fibrosis or haemophilia is almost twice lower than that of TSC.
Tuberous Sclerosis Complex remains little known by the public and, regrettably, very often by the medical community in general. The main reasons are that it has a large diversity of expressions, but also little exposure to the media in many countries. Tuberous Sclerosis remains a disease with complex mechanisms and the symptoms may vary between the individuals and their age.
Some patients will be slightly affected and will live an almost normal life; others, more heavily affected, will need all the support of their family to develop their capacities at best. Each individual affected by TSC has his own story.
What to do at diagnosis ?
Dermatological symptoms
Learning and schooling
Reference Centers
History of the disease
Les news du Forum
by: AntonioHoago
by: AndreyHoago
May 5, 2019, 04:21
вао ремонта квартир москва
by: Mavavto
Blacklist Iphone App Review
by: Thomasmaymn
Agence WebMarketing Built-in


Escondido German Auto Center is proud to offer FREE loaner cars to our customers! Call for more information.
Escondido German Auto Center was established in 1995 to provide customers with factory quality repair work using factory parts, done by factory trained and experienced technicians, at below factory prices. Our shop is owned and operated by Derek McCubbin and his business partner Dustie Michael. Derek is factory trained in both Porsche and Bentley and is a diehard VW enthusiast with over 13 years of experience working on European automobiles. Dustie, who is a factory trained Mercedes Benz technician, became a Master Mechanic at the age of 19 and has a passion for automobiles (he is an avid BMW owner and enthusiast) and making sure every job turns out perfect. Keeping our customers happy is job #1. Give us a call to see for yourself.
Graduated From Universal Technical Institute May 2002. Graduated From Elite Mercedes Benz Training October 2002. ASE Master Certified December 2002.
Quality of work is top notch here and they take their time to troubleshoot all the issues in detail and provide the appropriate recommendations and educate the owner (Derek and Alex are great). You will never feel pressured to do anything you don't want to. The price is also reasonable and the facility, including the waiting room area is well maintained, clean, and welcoming. I have both of my cars serviced here and have no reason to switch. Highly recommend.
Excellent shop ... professional, knowledgeable and factory trained individuals on Porsche, Mercedes, BMW and Volkswagen. Even have the factory authorized diagnostic equipment that typically only the factory dealers have on-site so the most challenging issues can be diagnosed, reprogrammed and/or updated. Very fair and reasonable estimates. Could not be more pleased for my Cayenne, X3 and Mercedes.
If you are looking for a auto shop that will quickly, safely, and correctly fix, repair, or service your European vehicle, I would highly recommend Escondido German Auto! Derek and his team have always work together to answer all of my questions and concerns and then follow up several days later to insure my vehicle is preforming to meet my expectations. I will not take my European cars to anyone other then Derek and his team at Escondido German Auto!


Add 4 digital inputs to your VINT Hub. These inputs have a shorter trigger time than a VINT port in Digital Input mode.
If you need to expand the number of digital inputs on your VINT Hub, this module provides four extra inputs at minimal cost. Switches, buttons, or any device with a logic-level output can be read by these inputs. The DAQ1200 connects to a port on a VINT Hub. See the Connection & Compatibility tab for a list of hubs.
If you need isolation, compatibility with higher voltages, or more digital inputs per VINT port, have a look at the "Other Digital Inputs" tab for more options. If you plan on counting pulses on a high-frequency signal (faster than 500 Hz) or to measure pulses shorter than 2ms in length, you'll want to use one of our specialized frequency counter Phidgets instead.
Connect the DAQ1200 to the VINT Hub using the Phidget cable.
Connect a switch or digital sensor to one of the DAQ1200's inputs.
Now that you have everything together, let's start using the DAQ1200!.
In order to demonstrate the functionality of the DAQ1200, the Phidget Control Panel running on a Windows machine will be used.
Linux users can follow the getting started with Linux guide and continue reading here for more information about the DAQ1200.
The DAQ1200 features four digital input terminals, all of which share a common ground. Each input has a built-in pull-up resistor to allow for easy interfacing to all manner of switches.
To interface a switch with the DAQ1200, simply connect the switch across the input and ground terminals for a channel.
The DAQ1200 can also detect signals from 5V logic level devices. Be aware that the input is active-low, which means that LOW voltages will be detected as TRUE, and HIGH voltages as FALSE.
In some applications, particularly where there is a lot of electrical noise (automotive), or where you want maximum protection of the circuitry (interactive installations, kiosks), electrical isolation buys you a huge margin of protection.
If wired according to the diagram, driving the LED will cause the DAQ1200 to report TRUE.
Note that in cases where many isolated inputs are required, or for simplicity's sake, you may want to consider using the DAQ1300 or DAQ1301, which are (more sophisticated) ready-made isolated digital input Phidgets.
* Note: Current consumption is equal to 27µA plus 500µA for each digital input that is grounded.


Anna is always ready to provide the highest quality of customer service and an exceptional experience.
Anna has had the pleasure of originating mortgage loans in the Chicagoland and Northwest Indiana area for over 30 years. She specializes in a broad spectrum of programs benefiting all buyers, from first-time to luxury purchases. Anna works closely with her realtors and builders to offer special financing, such as down payment assistance.
What she enjoys most is the gratification that comes from helping people, whether it is getting them into a new home or just being available to answer questions about their existing loan. Anna appreciates the long-term relationships she's built with her clients through the years. She continues to become a valuable asset in their lives.
Whether you're seeking a property in Illinios, Northwest Indiana or a vaction home in Florida, Anna is always ready to provide the highest quality of customer service and an exceptional experience.
"The service was excellent. Anna had great attention to detail, as well as being friendly and professional. I was fully informed throughout the process. Communication couldn't have been better. Thank you for your help with my first home purchase. I will definitely recommend you to to my family and friends." Samantha C.


Almighty God, our heavenly Father, we humbly beseech Thee to look down upon us and guide us safely on the highways today. Instill in us Thy spirit of love and consideration for our fellow men, so that our actions may follow Thy light and with Thy help we may lessen the loss of life by accident. We seek Thy infinite understanding and mercy.


Sumatanga offers endless recreational opportunities for the young and old alike. The 55-acre lake is ideal for paddle boating, canoeing, and fishing. By the Lake, at the McBee Camping Area are sites both for tent and RV camping, with covered pavilions nearby for picnicking groups. The lake is open for fishing Monday-Saturday. Gas powered boats are not allowed, trolling motors are permitted.
Ten RV electrical and water hookups are available.
Campers have access to sanitary dumping station.
There are two bathhouses for camper use, one in McBee Pavilion and the other near the boat launch. The McBee bathhouse has 2 showers, 2 toilets and 2 sinks.
There are four tent platforms behind McBee pavilion or you can pitch your tent on the ground.


text:
NEC Symphony Orchestra, Loebel/ Smetana, Mozart, Previn, Gershwin
Ensemble: NEC Symphony
Conductor: David Loebel
Smetana: Overture to The Bartered Bride
Composer: Bedrich Smetana
Overture to The Bartered Bride (7:26) N/A
Mozart: Symphony no 36 in C major, K 425 "Linz" N/A
Composer: Wolfgang Amadeus Mozart
Adagio - Allegro spiritoso (10:25) N/A
Poco adagio (7:57) N/A
Menuetto (4:20) N/A
Finale: Presto (11:24) N/A
Previn: Principals
Composer: André Previn
Principals (13:19) N/A
Gershwin: Porgy and Bess: A Symphonic Picture N/A
Composer: George Gershwin
Scene in Catfish Row (with peddlers' calls; Strawberry Woman; Crab Man) (3:36) N/A
Opening Act 3 "Clara, Clara" (Requiem) (2:53) N/A
Opening Act 1 (Introduction) (1:01) N/A
Summertime (2:15) N/A
I Got Plenty O' Nuttin' (2:10) N/A
Storm Music (Hurricane) (1:46) N/A
Bess, You Is My Woman Now (3:10) N/A
The Picnic Party (Oh, I Can't Sit Down) (3:57) N/A
There's a Boat Dat's Leavin' Soon for New York (1:11) N/A
It Ain't Necessarily So (1:48) N/A
Finale (Oh, Lawd, I'm On My Way) (1:41) N/A


text:
/*
 * Desc: 3D position interface.
 * Author: Sachin Chitta and John Hsu
 * Date: 10 June 2008
 */
#ifndef GAZEBO_JOINT_TRAJECTORY_PLUGIN_HH
#define GAZEBO_JOINT_TRAJECTORY_PLUGIN_HH

#include <boost/thread.hpp>
#include <boost/thread/mutex.hpp>

#include "gazebo/physics/physics.hh"
#include "gazebo/transport/TransportTypes.hh"
#include "gazebo/common/Time.hh"
#include "gazebo/common/Plugin.hh"
#include "gazebo/common/Events.hh"

namespace gazebo
{
  class JointTrajectoryPlugin : public ModelPlugin
  {
    /// \brief Constructor
    public: JointTrajectoryPlugin();

    /// \brief Destructor
    public: virtual ~JointTrajectoryPlugin();

    /// \brief Load the controller
    public: void Load(physics::ModelPtr _parent, sdf::ElementPtr _sdf);

    /// \brief Update the controller
    private: void UpdateStates();

    private: void FixLink(physics::LinkPtr link);
    private: void UnfixLink();

    private: physics::WorldPtr world;
    private: physics::ModelPtr model;
    private: physics::JointPtr joint;

    private: boost::mutex update_mutex;

    // Pointer to the update event connection
    private: event::ConnectionPtr updateConnection;
  };
}
#endif

redpajama_set_name: RedPajamaGithub


The Hunter Distillery team is pleased to announce we won 2 medals at this years International Wine & Spirit Competition, held in London.
We received a silver medal for our Aged Vodka and a bronze medal for our Aged Gin.
Aged in wood for three years, these are limited to a maximum 300 bottles of each. Our Aged Vodka has been released at 77% ABV, and our Aged Gin at 52% ABV.
Available for tasting and sale at our Distillery Door.
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text:
Carlos Betancourt
Artwork Series
the Shop.
The Art as an offering the body as an Altar (2009): Janet Batet
Carlos Betancourt: The Art as an offering; the body as an altar
By Janet Batet (Arte Al Dia essay)
Carlos Betancourt's oeuvre is an explosion of sensations: lush, radiant, eccentric, uninhibited. His entire artistic proposal is the happy consequence of a meticulous accumulation that the artist manages admirably as a master of ceremonies. And that's Carlos Betancourt: a clever artificer who, picking up here and there little apparent non-sense elements, builds up a new vibrant cosmogony brimming with significance and poetry.
His entire artistic proposal is based on an insatiable quest for identity. A complex and mutant identity hard to comprehend: the Caribbean identity. Often associated with the Caribbean Basin, it's difficult to establish clear boundaries for the region. Sometimes limited to the islands; sometimes spread out to the continental coasts washed by the Caribbean Sea.
Always heterogeneous and diverse; multi-racial, multi-lingual, trans-cultural, the Caribbean culture is a vast kaleidoscope of subtle complexity and incredible variety. If migration was the foundation of the region and the whole Caribbean culture, it now becomes the cornerstone of a relative new phenomenon: the Caribbean Diaspora, and associated with it, the apparition of what is known as the Trans-Caribbean identity.
The trans-Caribbean identity occurs outside the Caribbean in all those places where peoples of Caribbean origin reside. It is constructed from memories of assigned Caribbean values, ecology, and history1
Imbued with his own diversified personal background, -born and raised in Puerto Rico, from Cuban parents- this Miami based artist is himself an exponent of this Trans-Caribbean identity and so is his work. Betancourt explores the history of Caribbean culture through its roots. Such are the cases of the Taíno and the African heritage. However, it is not a folkloric or a naïve vocation which attracts Betancourt's attention but the desire of finding these pristine influences in its connection with contemporary urban culture. Betancourt stops on Taíno culture as the original culture of the area, rich in legends and traditions deep- rooted in the Caribbean but, in most cases, neglected. Taíno Indians, a subgroup of the Arawakan Indians inhabited the Greater Antilles and were dominant throughout the Caribbean when Christopher Columbus arrived in the New World. The Taínos lived in theocratic kingdoms and had hierarchically arranged chiefs or caciques. They believed they evolved from caves and were animists.
The second theoretic body integrating Carlos Betancourt's oeuvre is the Afro-Caribbean culture, a long acting cultural tradition in the area distinguished by its character of resistance culture. Africans in the Caribbean fought to maintain their cultural tradition by forming clubs called Nations in all the islands. Each nation had to pledge to preserve African language, culture, religion, and music. Different religious bodies
1 Ethnicity and Identity in the Caribbean: Decentering a Myth. Ralph R. Premdas, Workingpapers, p46.
appeared associated to this resistance process. Thus, Santería en Cuba, Voodoo en Haiti, and Cambomblé en Brazil became active part of the Caribbean culture today.All these diverse cultural elements are integrated with each other into a new personal cosmogony that discusses identity and diversity through Carlos Betancourt's artistic proposal. The idea of offering, so deeply ingrained in the Taíno and Afro-Caribbean cultures, emerges as the central pivot of Betancourt's oeuvre. His characters, always loaded with meaningful attributes, seem to be carrying votive elements: the gift facilitator and peacemaker. The Taíno culture distinguishes for its animist notion where every single element is loaded with life and consequently, revered and respected. Any negligence or forgetfulness can alter the balance of the cosmos and turn against each other.
This essential notion is a cornerstone in Carlos Betancourt's proposal. Even when his oeuvre is inhabited by the most controversial characters -impressive for their richness and diversity-, all of them are located at the same level: always positioned in the human condition.The cut-out Army (2006) is an obvious exponent of this concept. First of all, and from a nominal point of view, the title imposes different semantic levels. On the one hand, there is a reference to the technical production process of the work, in which the artist cut out the characters in order to fully integrate them to a new, different composition non-existent outside the oeuvre. On the other hand, the title refers to a sort of surreptitious communication. In the espionage language, a cutout is a mutually trusted intermediary or channel of communication that facilitates the exchange of information between agents. An ideal cutout agent doesn't know whom the message comes from or goes to, thus if captured will be unable
to reveal other colleagues. In Carlos Betancourt's oeuvre, this idea is emphasized by the characters that, forced to share the same space, seem to ignore each other.The cut-out Army compiles an amazing collection of characters, arranged symmetrically on a black background, as a very organized sequence. Each of the characters engaged in such a capricious procession, looks straight to the camera, challenging the viewer, confronting him openly. Paradoxically, none of them seems aware of the other people surrounding them. So outgoing and uninhibited, these archetypes reveal to us their real selves, their most intimate fantasies and desires, integrating the most outstanding eccentric collection.
The (Last) Supper (2008) is a kind of compendium and at the same time is a paradigmatic creation within the production of this artist. The magnificent glicee print is a clin d'oeil to Leonardo da Vinci's famous mural. It is not the first time that Betancourt makes fair use of the common cultural legacy that the Renaissance conveys. Obsessed with the exploration into the human being -through the identity-, the artist uses this common repertoire to introduce to us new topics.
The main idea featuring in The (Last) Supper remains the offering. But now the characters themselves seem to embody the idea of gift, exposing them as the best offering. All of them carry elements – stereotypes- generally associated with the Caribbean culture. We can barely separate them from each other, because they all appear to be juxtaposed in an overwhelming cross-symbiosis.
Knowing Betancourt's interest for the Caribbean identity, the work immediately brings to our minds the passage narrated by Columbus on his trip diary where the Admiral described how the Taínos –which in Arawak language means good people- approached the conquerors with their hands full of offerings. Both
sides exchanged presents as a symbol of friendship. This alleged peace pact sealed by the offering, however, lasted a very short time which in the work of Betancourt is reaffirmed by the title of the artwork that refers to the moment when Jesus tells his Apostles that one of them will betray him.The Re-collections series (2008) is closely related to the above-mentioned works. The series shares the idea of cut-out. The elements conforming the series are extracted from its original context and extrapolated, being re-inserted in a new cosmogony. We attend to the stereotypical idea about The Caribbean: colorful flowers, exotic shells, exuberant nature, sensual bodies.
From a formal language point of view, prevails a sort of horror vacui. No space is neglected. However dominating, the composition's global harmony returns a quiet state of mind to the spectator. The preference for the accumulation, the bright colors, the glossy surface, the exaggeration, and sometimes the grotesque, ties Betancourt's production with the tradition of the American pop culture and kitsch. These influences become one of the main pumps feeding Carlos Betancourt's artwork, which is always in a close relationship with the urban culture.
Carlos Betancourt's characters bring to mind the oeuvre of American artists such as Duane Hanson and Jeff Koon. At the conceptual level, however, the names of artists such as Ana Mendieta, Jose Bedia and Arnaldo Roche Rabel prevail.The Re-collections series is a plethora of quotations and juxtapositions discoursing about personal and regional identities. Two essential socio-cultural reasons are associated with it the Transculturation phenomenon and the Trans-Caribbean identity.
... the term 'Transculturation' best expresses the different phases of the transitive process from one culture to another, because this entails not only the acquisition of a different culture, which is strictly speaking what the Anglo-American term 'acculturation' means, but the process also necessarily implies the loss or uprooting of a preceding culture (...) The union of cultures occurs similarly to the genetic coupling of individuals: the child always has something of each progenitor, but is also always different from each of them.i
The Transculturation appears then as the survival instinct that defines the most authentic Caribbean culture. Associated to this complex process, is the Cultural Cimarronaje, where anything is re-built and re- adapted to our own beliefs and identity. Hard to translate into English, the Spanish word cimarrón refers to the escaped slave who refused to submit either physically or culturally to the slavery institution. Hidden away in the mountains, they kept alive the African roots and, for the others still in captivity, the illusion of freedom. The Cultural Cimarronaje refers subsequently to the active spirit that looks forward to resist any cultural domination, struggling to maintain even in the most adverse circumstances the roots of the culture-of-origin.
This is the spirit that animates Carlos Betancourt's artistic proposal which deals with antipodes such as identity and otherness, acculturation and transculturation, colonization and cultural survival. The human body becomes the appropriated territory for this speech: original altar and final refuge. It would seem that the body in the work of Carlos Betancourt turns into island: islands populated with all the influences that the sea brings to them. And that is the Caribbean.
From time to time the artist engages in a sort of re-writing process. Appropriating body surfaces - sometimes his body-, Betancourt gives back to us testimonies of our inner being. The body is offered as a receptacle of traditions, memories, fears and desires now revealed to us. Curiously, in this new palimpsest, the writing is often inverted, which is somehow evidence of a surreptitious but essential nuance behind the whole production of this artist. I'm referring to the interpretation process in which the communication is mediated always by the otherness and the tension of a repertoire most of the time not understood. This process generates new meanings and is also valid.
After all, the Trans-Caribbean identity is also that: a hypertrophied form of identity. Tempered by distance, memory, and fantasy, this legacy often comes to us by second or third hand. Extrapolated from their original context, and now exposed to a new environment, new elements are added into that chameleonic spirit, this capricious creature that is the Trans-Caribbean identity in the midst of contemporary urban culture.
Janet Batet
1 Ortiz, Fernando, Contrapunteo cubano del tabaco y del azúcar (Advertencia de sus contrastes agrarios, económicos, históricos y sociales, su etnografía y su transculturación.)(Cuban Counterpoint of Tobacco and Sugar - Notice of its agrarian, economic, historic and social contrasts, its ethnography and transculturation.) Madrid, 1999, p. 83
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Nobel textiles in St James's Park
In this project five designers from Central Saint Martins have been paired with five Nobel prize winners. The idea was that they would collaborate and the designers would produce a collection reflecting the research undertaken by the scientists. The work was on show in five greenhouses in St James's Park. This was a good venue because the work was secure yet accessible to the general public and catalogues and information had been left in the greenhouses for further information. I thought the most interesting display was that by Rachel Wingfield which involved a series of structures and solar cells. I also thought the biodegradable garden furniture by Carole Collet pictured here was a clever response to the subject of apoptosis. The five projects are listed below.
Philippa Brock collaborated with Sir Aaron Klug (Nobel Prize for Chemistry, 1982) to produce a collection of Jacquard weaves that explore the methods of transforming 2-dimensional weaving approaches into 3-dimensional models. Carole Collet collaborated with John Sulston (Nobel Prize for Medicine, 2002 with Sydney Brenner and Robert Horwitz) to create a collection of garden furniture based on the principles of programmed degradation. Rachel Kelly worked with Tim Hunt (Nobel Prize for Medicine, 2001); she has designed a collection of transparent wallpapers and paper lanterns in response to his discovery of cycling proteins which appear and disappear. Shelley Fox collaborated with Peter Mansfield (Nobel Prize for Medicine, 2003), and has created a fashion collection based on the MRI mapping of the body fat of six volunteers. Rachel Wingfield collaborated with John E Walker (Nobel Prize for Chemistry, 1997), to create architectural scale textiles that explore urban food production, in response to John's work on ATP synthesis.
The church of St Martin-in-the-Fields in Trafalgar Square is being restored. It was designed by James Gibb in 1726 and the restoration aimed to return the church to its original state. Floors added in Victorian times have been removed and the coloured glass windows put in after bomb damage in World War II have been replaced with clear glass, similar to the original. The aim has been to maximise the amount of natural light coming into the church and to bring it closer to the original Baroque design. The decorative plaster work on the ceiling has also been restored and the golf leaf has been renewed. The new East Window is beautifully simple and is shown in the photo here.
Hadrian: Empire and Conflict
This exhibition at the British Museum is a celebration of the life and times of the Emperor Hadrian who became emperor in AD 117. The exhibition was quite general. One area discussed Hadrian's origins in Spain and the trade links with Italy. There was a large area devoted to the Jewish revolt in present day Israel. The section on architecture was probably the most interesting with models of the Pantheon in Rome and Hadrian's residence near Tivoli, which was the size of a small town. Hadrian took an active interest in architecture and is also most famous in Britain for his wall in the north of England. The exhibition was well produced and not as crowded as the First Emperor, which we saw earlier in the year, this made it much easier to appreciate the items on view and even to sit and admire the photographs of the remains of the residence at Tivoli.
Knitting and Stitching Show
I helped to set up this exhibition on behalf of the Westhope Group of lacemakers at the NEC for the Knitting and Stitching Show. My piece 'Memories are made of this' is in the far right hand corner; it consists of three panels showing the degeneration of memory and is made of bobbin lace and silk paper. As well as helping to set up the show I also stewarded for a day. The response from the public was enthusiastic and we had plenty of visitors. Many of them were students who were interested to see what could be done with lace techniques. The exhibition will tour with the Knitting and Stitching Show to Alexandra Palace, London, and Harrogate.
Medicine Now
This exhibition at the Wellcome Collection contains a range of artistic responses to the themes The body, Genomes, Malaria and Obesity. As a biologist who also produces artworks I found the exhibition fascinating. One piece I particularly enjoyed was Origin a DVD by Daniel Lee. In it, a fish like a coelacanth is gradually transformed into a man, but it is done so subtly you can hardly see the changes as they occur. I also thought Julie Cockburn's Anagram was effective. Based on the Human Genome Project she has taken a paint colour chart and cut out the DNA base letters from it to form groups of words. I found Andrea Duncan's piece, 23 pairs, amusing. She has used 23 pairs of socks to represent the chromosome pairs that make up the human genome in a witty display. Susie Freeman and Liz Lee had worked together on an interesting installation called Veil of tears which represented the problems of malaria in Africa. A series of mosquito nets hung from the ceiling and contained the drugs needed to fight malaria. Altogether an interesting and thought provoking exhibition
Skeletons: London's buried bones
This exhibition at the Wellcome Collection contains skeletons found in excavations during the redevelopment of various parts of London. They come from the Museum of London's collection which contains 17,000 skeletons covering 16 centuries. Each skeleton reveals its own story and it is quite amazing how much empathy one can feel for a skeleton. The marks on their bones show how they lived and what they died from. One particularly poignant skeleton of a young woman also contains the skeleton of a small fetus. The skeletons are well displayed, each in its own case but when we went it was difficult to read the labels as there were so many people looking at each case. It would have been better if the cases had been labelled on each side rather than just one. However, it was encouraging to see so many people interested in history and medical archaeology.
Christina Kim exhibition
We came across this exhibition in the Music Museum in Bologna. Unfortunately there was no catalogue or any explanation of the exhibits but they seemed to deal with identity and clothing. There were several 'dresses' made of lace and see through material mainly in white and ecru, some hanging on hangers, others suspended from the ceiling and some hanging in front of patchwork hangings. There was also an interesting installation based on a Mexican custom linked to shrines and amulets. In Mexico they sell small sewn hearts individually in boxes and call them miracles. In the installation these amulets and others were pinned on to different 'shrines' depicting 'saints'. This was similar to the amulets we had seen at various shrines in the churches. Unfortunately I was not allowed to take photographs and there were no postcards. This photo was taken on the staircase just before we entered the exhibition and depicts small amuletic shapes hanging from the ceiling.
We spent some time in Bologna as part of our summer holiday. It is a beautiful city with numerous churches and museums as well as good food and shopping. The porticoes are magnificent and make walking round the city a pleasant experience in the hot sun. We were amazed by the height of the twin towers, even more so when we saw a model in one of the museums of the town in the Middle Ages when there were hundreds of them and every house seemed to have a tower. The churches were most impressive with so many different styles and decoration. I was also fascinated by the reliquaries containing the relics of various saints.
Paper lace and light
This paper making workshop with Jean Mould Hart was part of the Oxford Summer School programme. On the first day we revised paper making and made textured paper. We also overlapped paper, embedded scrim and used biscuit cutters to remove part of the paper to leave openings. On the second day we made the lace paper that was what interested me most. This is done by getting a thin layer of paper pulp on the screen then placing lace and open meshes over the pulp and applying a fine mist of water over them. This disperses the paper to the edges of the holes forming a lace like texture. The paper is then left to dry on the screen. It is an interesting technique and one that could be combined with lace to produce interesting effects. The samples are all in my sample file.