text:
Afternoon tea o'clock
Apr 02,2014
Our top chef, based in Mayfair, gives us the low down on the historical and traditional aspects behind the British favourite, afternoon tea.
The simple cup of tea is firmly ingrained into our British culture, yet the act of stewing tea leaves goes way back, and remains a fundamental ingredient of many countries and cultures. Tea ceremonies are deeply rooted in Chinese culture, and similarly, other eastern countries like Japan enjoy the tea ceremony. Using tea to form the basis of a social event isn't an unfamiliar custom for those of us in the West. While those in the East may prefer their Chai untampered with, there's no denying that the British view tea as a conduit to something sugary!
Afternoon tea, traditionally served with scones, lashings of jam, sandwiches and pastries, has been part of our culture since the 19th century, and has increased in popularity over the years. The infamous Mad Hatter's Tea Party in Alice in Wonderland, propelled the occasion into popular culture and many of us enjoy gathering with friends over a spot of tea and cake.
We love the pomp and ceremony that comes with afternoon tea, and Paul Danabie, our Executive Chef at the Millennium Hotel London Mayfair, was on hand to tell us a few facts about this popular British tradition.
Could you tell us a little about your background as a chef? How long have you been working at the Millennium Hotel London Mayfair and has it always been in the same capacity?
I started my career at Inverlochy Castle in Fort William; from there I have worked in some great four and five star hotels in the UK, including Gleneagles and The Goring, each offering a fantastic afternoon tea experience. In 2010, I worked in Charlotte, North Carolina, at the Bank of America Corporate Tower as Executive Chef, where we introduced more European flavours into the menus.I came to the Millennium Hotel London Mayfair in 2012, as Executive Chef, after being part of the opening team at Hilton Heathrow Terminal 5.
Can you give our readers a bit of background on the history of afternoon tea?
Is it true that it used to be reserved exclusively for 'ladies of high society' in the 19th century? It is said that Anna, the Duchess of Bedford, started the tradition of having a pot of tea and a light snack when she was visiting Woburn Abbey. When she returned to London, she continued on the tradition, and invited her friends to join her. Afternoon tea was becoming respected and fashionable enough to move the practice into the Drawing Room. From there, the tea and sandwiches were introduced, to fill the void between luncheon and dinner.
What can guests expect from the afternoon tea menu at the Millennium Hotel London Mayfair?
What classic elements and flavours do you bring to the table? Are there any modern twists? We always offer cucumber sandwiches on white bread and smoked salmon on wholemeal bread, however, our other two flavours change with the seasons. Most establishments offer scones with preserve and clotted cream but at the Millennium Hotel London Mayfair, we also offer lemon curd and two flavours of scone, traditional and fruit. Our modern twists are incorporated into our pastries and mousses, but we add Cambridge burnt cream and Eton mess when our strawberries are in season. We are also looking to introduce some flavoured breads to add depth of flavour to our sandwiches, and offer a Gentleman's Afternoon Tea with more savoury flavours, and a whisky or brandy cocktail instead of a glass of Champagne.
And what about the tea itself, what types do you serve? We use Twinings loose teas for their unique taste, and offer six flavours, including, camomile, Assam, Earl Grey, green tea, mint, Darjeeling and jasmine pearls.
What about the service and afternoon tea experience at the Millennium Hotel London Mayfair? What can guests expect when they arrive?
Afternoon tea is one of the most traditional elements left in our modern world and it would be a shame to tamper with this. We have a variety of offers on our traditional cream tea and our Celebration Tea, all served with a glass of chilled Champagne. We also offer a special afternoon tea, specifically for our junior diners. However, we do not just offer afternoon tea but also an afternoon tea experience where our 'Royal butler' trained team are on hand to cater for your every need.
We all know that when it comes to afternoon tea that it's the details that count; do you cut the sandwiches into fingers as per tradition or into triangles? Always fingers
Finally, the Millennium Hotel London Mayfair hosted an afternoon tea for bloggers on Sunday 30th March for Mother's Day - what is your opinion of food blogging?
Food blogging is key to our success. We are always reviewing social media sites to monitor our guests' experience and to look at ways we can improve, but also to praise our team for their continued hard work and dedication to making our afternoon tea experience a success.
In the words of Dodie Smith, I shouldn't think even millionaires could eat anything nicer than new bread and real butter, and honey for tea.
What's your favourite afternoon tea selection?


text:
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subset: commoncrawl


text:
I'm sorry to have to inform those of you who aren't religious about organics, you have another horrible, terrifying issue to deal with: synthetic biology. So when you consume or use such things as coconut oil, vanilla, cocoa or cacao, ginseng, saffron, stevia, palm kernel oil, in addition to worrying about gmo's and 1 billion tons of pesticides, you have to worry about whether it's the real thing grown on land or a 3 dimensional fabricated image of the real thing springing from a test tube and fomented in factory vats.
Apparently when the attempts at synthetically manufacturing bio-fuels failed, the industry moved on to attempting to synthetically manufacture the above and more. I'm not totally clear or an expert – I went to one panel discussion with the experts – and my understanding is that they take dna and add tons of sugar to come up with a product that looks & tastes (or so they say) like cocoa or ginseng, and off they go with laboratory-developed food, oil, medicines, etc.
So maybe you think you'll just look for the label (like gmo's, yes?) and you'll be able to tell. These synthetic biology people are marketing their product as "natural" – just like the gmo and pesticide advertising – so you have to know that "natural" means jack shit, has always meant jack shit, and now means even more of jack shit.
Maybe you don't care about what you're consuming. I've even heard folks says they have to die of something – and I say, sure, why not cancer?
I was at the y today when I overheard a middle-aged (maybe 40's) white womon speaking about her diet. She said she tries to eat organic but sometimes she eats just whatever she wants to eat.
I approached her of course and asked her why she eats organic. She was surprised and said 'for my body of course'. And I asked her when she doesn't eat organic, how does she reconcile that with her body.
She told me she believes her body is strong enough to deal with a few toxins. So this might be true, I concede. She is quite buff, tall, and bounces in rhythm to her words while we talk.
I ask her if she considers herself "green" and caring about other people, the environment, and the mother earth. She nods enthusiastically and smiles broadly.
Then I ask her, those times when she decides to not eat organic, to eat 'whatever', how does she reconcile knowing she's contributing to farming practices that are destroying the mother earth, let alone sickening and killing the farm workers who have to handle pesticides, herbicides, fungicides.
Her body stills and her words cease as she stares at me, color ebbing from her face like a receding wave. "I don't" she says stiffly. I ask her back if that's okay with her.
Synthetic biology will not just harm your body but if you're not motivated to avoid synbio (for short) images of food, think about the mother earth. Or even more clear, think about the farmer. Synbio cuts out the farmer – except to grow extraordinary amounts of sugar cane for this industry. Once again, it is the small person and everyone she hires and depends on who will get severely hurt.
Small farmers – along with our very food both growing and delivery systems – have been under attack forever in this country and other countries burdened with our "free-trade agreements".
But this synbio has potential to threaten the very lives not to mention livelihoods of even more farmers and all the people who support this small farming system. And what about the health of consumers or the mother earth?
Growing sugar cane destroys land and sugar cane is almost impossible to remove from land once it takes hold.If folks have to sell sugar cane for us, how can they grow food for themselves?
I know, some believe this is a great 'techno fix' - like gmos were supposed to be, etc.etc.etc.
I suppose if you believe in "techno fixes" you'll want to embrace this newest technology that's destroying our mother earth and her people. And you'll justify your acceptance as wiping out world hunger or disease.
The problem is when you want to identify "world hunger" as the issue, you've already falsely set yourself up to think certain solutions will work, i.e. 'techno fixes'.
The problem is not world hunger, but certain countries' gluttony: we throw away MINIMUM one rosebowl stadium's worth of food EVERY DAY. That would be enough food to feed every person in the world who is starving.
What the U.S. and Europe spends on perfume per year, would provide ALL the food and sewerage needs of the 2/3rds of the world's humans who are going without.


text:
No prob with investigating gear. But before we go really far down a gear-specific path, I'd like to send this out to the group. ... And ... also call in some expert experimentalists who are good for this sort of work: Satinder Gill in Cambridge, and Helgi Schweitzer in Innsbruck. They've been interested in our work. Helgi Schweitzer in particular is a master experimentalist who's worked with questions of of collective rhythm and synchrony. http://www.dalaielian.de/jon-helgi/And Satinder's coming to workshop with us March 1 - 8. So she may as well get warmed up :)Cheers,Xin Wei
Hi, dear Memory+Place folks!Hello, did we miss a step? What are our scenarios?The problem with almost all HMD experiment is that they are designed from an ocularcentric perspective, which in turn comes from putting a sharp divide between observer and the observed . Our MP starts from a thoroughly embedded perspective, so to speak, so we have to be very careful that our experiment does not buy the framing assumption along with the tech. Having been around visualization research plus a lot of the AR stuff for a few decades I can attest to the enormous and rigid representationalist assumptions that are hardwired, literally, into HMD's, starting with what is "3D."So I'd be very very careful to design experiments that retain whole-body movement in physical space. Of course this increases the challenge of designing a scenario that'll allow the phenomena to emerge.Part of our "non-methodology" is to avoid pre-judging as much as possible what the salient "observables" are in a given situation.The predominantly ocularcentric "VR" and "AR" tech is designed squarely under the naive sensory-mode-specific assumptions, that either cut out the body altogether (focussing on what the subject sees as representation , or more subtly, assumes that being in the world is simply summing the sense-modalities together, as if experience is merely the linear sum of video input + audio input + ___ input.Of course we can use the gadgets without the engineers' perceptualist or cognitivist assumptions, but typically the more complicated the gear, the more we have to unbuild or hack around in order to use the gear outside its spec.Sorry I was not present on Friday last week, else I would've been able to express this more easily verbally :)Constructively, I would propose two design strategies:(1) Let's try to mitigate the representationalist tendency by going to auditory transference rather than visual. There is a significant practical issue as well. Audio data takes so much less bandwidth and processing power that we can do a LOT richer augmentation and experiment with sound streams -- more phenomenological research for less engineering. Less experiment-specific gear means working with more familiar props. I propose to follow a modified version of Grotowski's "poor theater" and instead of building entirely synthetic perceptual fields, see what experiments we can design that work by defamiliarizing familiar things and bodies and places in situ.(2) What I think is utterly crucial at this stage is to imagine what we would do with the such transference gear.For example, I propose we talk more in email the scenario set-up. Where should this occur?Ideally what to bodies do , in what sort of space? Empty, cluttered with familiar domestic, or public props? indoors? One or more than one person at a time?EXAMPLE: WALKING EXPERIMENT:Scenario:For example: Hard shoes, bare wooden floor. Blindfold one person hearing binaural sound of footfalls from another person. Some "exercises"(A) Walk with that person.(B) Take a walk for 5 minutes. Return to where you were.(C) Listen to recording of another person. Try to walk as that person walked.This can involve time, but also orientation if we unleash the full power of our spatialization set-up: we can ask the person to try to walk not only at the pace, but also where (in the apparent trajectory) of what s/he hears. This is very different than the usual externalist, representationalist approach : A observes B and tries to imitate B. Here we are putting A in B's place -- A hears what B hears -- and we ask A to corporeally do what B may have done corporeally in order for B to have heard what is in A's headphones.SO, let's hear more scenarios?Cheers,Xin WeiOn 2010-02-08, at 8:56 AM, Timothy Sutton wrote:Hi all,
I've just forwarded the links David & Zohar collected to a researcher
friend who just conducted a VR experiment in his research lab. As a
subject I tried the glasses they bought, which I suspect are probably
out of our range — but he may have some input. They had the particular
need of needing to track the movement on the same device to input into
a first-person game sim, which I'm not sure would be necessary for
MP's purposes. (though helpful) The glasses were a bit uncomfortable
and the awkward ergonomics of movement took a bit out of the
experience, but the size of the frame and quality of the image was
close enough for jazz. By my memory they seemed like something along
the lines of the 3DVisor product.
From a quick look at the i-Glasses 920.. the proprietary processor
seems at least to be able to deactivate the 3D feature.
I assume that anything above standard-def resolution is unnecessary
cost? Since a small mounted camera would not provide any better
resolution anyway.. we would just have to deal with outputting back to
a composite signal, ideally getting as low latency as possible in the
input-output loop. DV latency one-way is bad enough, but the DFG I/O
(not DV), is probably about the best we've got. I forget if you can
use two of them on one machine (two FW busses?) to get the input and
output. And I forget if both of ours are in working condition.
On Mon, Feb 8, 2010 at 10:26 AM, zohar <email@example.com> wrote:The TAG group might have some, I will ask.
On Feb 8, 2010, at 9:41 AM, "David Morris" <email@example.com>
We hadn't set a next meeting. I don't think the 12th will work for me. I
have meetings 9-6, and really should go out after the 6 to take a speaker to
dinner, so, unless Xin Wei is physically going to be in town, I don't think
I could fit in this meeting. The19th I am away.
Can Zohar and others do research on the goggles. One other factor is
availability, actually being able to get them in Canada.
I also wonder if it might be the case that some other lab on campus has some
that we could borrow, if things work this way when you're doing experiments,
etc. (So far the only thing I've ever need to borrow is a book.)
From: Sha Xin Wei [mailto:firstname.lastname@example.com]
Sent: Monday, February 08, 2010 4:19 AM
To: David Morris; email@example.com
Subject: Re: Googling for Googgles
Hi Everyone
When's the next mtg Friday Feb 12 6 pm?
I would like be present so we can decide on what to get etc.
Xin Wei
On 2010-02-06, at 10:40 AM, David Morris wrote:
Dear MIPers,
We had a nice go round with Mazi's goggles displacing us via videocam
hijinx, but we're realizing there are limits on those myVu goggles. First,
lo-res, second, people with eyes like mine, with heavy duty glasses, can't
seem to get their image into focus.
So, I've been googling around a bit, and come up with these which I leave
our tech people to look at further (we'd also been thinking 3d goggles would
be better to get independent inputs to each eye), as a start:
http://www.nvidia.com/object/3D_Vision_Main.html These look nice, cheap--but
proprietary system for getting input into them.
http://www.3dvisor.com/ Probably very good for our application, would work
with glasses, but expensive, at best we could afford one pair. But, from the
faqs, it looks like researchers like us are interested (e.g., one q is can
you use them in MRI machines, another is can you use them with noise
cancelling headphones)
http://www.i-glassesstore.com/i-3d.html midrange, but again I wonder about
proprietary 3d inputs. (haven't had a chance to read through these things
thoroughly, but e.g.,
http://www.allvideoglasses.com/blog/2009/10/06/hr-920-specifications-1, this
review here says " 3D Video Format: Interlaced 3D Video" for the i-Glasses
HR 920, which I'm guessing would mean the two pictures are transmitted as
one interlaced signal, and then decoded in the glasses, which would mean
that we'd need to get interlaced output from jitter, which might also mean,
I guess, half the frame rate per image? Or a higher frame rate output? Do s
composite signals have a variable refresh rate, I don't know how they're
This might be a good resource: http://www.allvideoglasses.com/
http://www.edimensional.com/product_info.php?cPath=21&products_id=28 --can't
quite figure these out.
Also see this re. my idea to use a Wii to track head rotations and use the
motorized mount that the mirror is currently on to guide the cameras on a
tripod head. http://emol.org/3dentertainment/3dgaming/news/3dwiipc.html
Here are some more models and oddities...
This one is quite over the top :) 'Full 360-Degree View'
http://www.gizmowatch.com/entry/toshibas-implausible-head-mounted-display-for-full-360-degree-view/wireless video feed- remote flying and goggles,
would be perfect for what we need- cable less camera+ video goggles if only not so pricey...(~$1500)
http://gizmodo.com/202964/remote-flying-with-vr-goggles-and-a-cameragood source for comparison of whats out there
http://www.thevideoglasses.com/these are pretty cool and open many options
http://www.ptgrey.com/and lastly, these seem as solid,no brand, cheap solution-
http://www.saferwholesale.com/category-s/77.htmpricing and quantity seem to be the question in order to make a decision of how to proceed. /z. Quoting David Morris <firstname.lastname@example.com>:Dear MIPers,
We had a nice go round with Mazi's goggles displacing us via videocam
hijinx, but we're realizing there are limits on those myVu goggles. First,
lo-res, second, people with eyes like mine, with heavy duty glasses, can't
seem to get their image into focus.
So, I've been googling around a bit, and come up with these which I leave
our tech people to look at further (we'd also been thinking 3d goggles would
be better to get independent inputs to each eye), as a start:
http://www.nvidia.com/object/3D_Vision_Main.html These look nice, cheap--but
proprietary system for getting input into them.
http://www.3dvisor.com/ Probably very good for our application, would work
with glasses, but expensive, at best we could afford one pair. But, from the
faqs, it looks like researchers like us are interested (e.g., one q is can
you use them in MRI machines, another is can you use them with noise
cancelling headphones)
http://www.i-glassesstore.com/i-3d.html midrange, but again I wonder about
proprietary 3d inputs. (haven't had a chance to read through these things
thoroughly, but e.g.,
http://www.allvideoglasses.com/blog/2009/10/06/hr-920-specifications-1, this
review here says " 3D Video Format: Interlaced 3D Video" for the i-Glasses
HR 920, which I'm guessing would mean the two pictures are transmitted as
one interlaced signal, and then decoded in the glasses, which would mean
that we'd need to get interlaced output from jitter, which might also mean,
I guess, half the frame rate per image? Or a higher frame rate output? Do s
composite signals have a variable refresh rate, I don't know how they're
This might be a good resource: http://www.allvideoglasses.com/
http://www.edimensional.com/product_info.php?cPath=21&products_id=28 --can't
quite figure these out.
Also see this re. my idea to use a Wii to track head rotations and use the
motorized mount that the mirror is currently on to guide the cameras on a
tripod head. http://emol.org/3dentertainment/3dgaming/news/3dwiipc.html
-----Original Message-----
From: firstname.lastname@example.com
[mailto:email@example.com] On Behalf Of zohar
Sent: Wednesday, February 03, 2010 6:56 PM
To: email@example.com
Subject: Reminder MEMORY + PLACE Friday Feb 5th 6 PM
Hi all,
just a reminder that we will meet on Friday Feb 5th @ 6 PM
to review the tech aspects, play with gear and brainstorm some more.
see you then !
Sent: Sunday, January 31, 2010 5:30 PM
To: Sha Xin Wei; Mazi Javidiani
Cc: firstname.lastname@example.com; zohar Kfir; Timothy Sutton
Subject: Re: next meeting Memory+Place experimental group: Friday
Dear Helgi,It is very kind of you to respond so quickly and generously.
Pardon me for not being ab le to arrange a joint session on Thursday
because my laptop died and now I am traveling from house to house and
borrowing other people's networks.
It would be a pleasure to arrange for us to talk with my colleague
David Morris if possible about our Memory and Place experiments,
sometime after I return to Montrea.Let me ask all three of you if you would all perhaps be available on
the weekend Dec 19-20.With Warm Regards,
Xin WeiOn Wed, Dec 9, 2009 at 10:07 PM, Helgi Schweizer <email@example.com> wrote:Hi Satinder.
It is a real a christmas surprise gift to get this message from you. I hope, you are doing well
in the UK. The topic Xin Wei has come up with is not only very exciting, but it is in a certain
way also historically connected to me. The relation of memory and learning to the experience
of space, to body movement and emotion was central to all the experiments my doctor-father
Ivo Kohler invented and carried out in his very peculiar fashion. I was involved in some of them.
As you might know, Kohler was in very close contact to James G. Gibson and admired his
ecological psychology. Kohler became most famous for developping further the experiments
of George Stratton, especially wearing prism-glasses that inverted left and right for several
months. I think Kohlers experiments are worth being thought over anew, this time with
emphasis on his notions aside, that he did not publish because he thought they were too
strange or counterintuitve. Most of them were related to changes in space perception, but
could only be described in a more or less qualitative way, that would not seem scientifically
appropriate, at least not for publiction.
As to my present work, I am at the moment immersed in a somewhat different work, applying
my fundamentalistic theory to a number of fields of practice. At the moment I am writing a book on
Theater (in a very broad sense). It is my book number twenynine. The focus is now, approaching the
end of the book, on interachtive media and computer games. (Actually, my younger son is successfully
running a browser game).
As soon as I shall have finished this work, I would love to take part in Xin WeiŽs project. I think, I am
still good for the one or the other weird idea when it comes to design experiments.
Dear Satinder, could you give me an idea, what are your fields of interest at the present? Although
I am retired, I am still doing research on interpersonal synchronisation and rhythmic interaction, on
manipulation of subjective time by music and especially by application of Ganzfeld. We have done a
lot of work developping further the so called colour-light- music. This was a joint-project with the
philharmony in Luxemburg. (Thats where the money is).
With warm regads.
D-86911 Diessen Fax : 0049-(0)8807-948440
>> We had our first seminar on Thursday, Oct 1--which was stimulating and
> productive.
>> We decided the next seminar will be next Thursday, Oct 8, 3:30 pm.>> Today, we did introductions, and then started a discussion geared to 3
> interrelated dimensions of the project, roughly:> 1) Theoretical/conceptual: what is memory, and what is its relation to
> place, and to our identity?> 2) Experimental: What might a phenomenological experiment probing memory and
> its relation place look like, what sort of content will serve to let us do
> an experiment on this topic?> 3) Methodological: what is a phenomenological experiment anyway, and what
> protocol might we use to have the experiment be properly open-ended in a
> phenomenological way, yet be robust in investigating the phenomena?>> We based our discussion today on observations about memory, via experience,
> prior experimental results, and our various backgrounds in philosophy, art,
> neuroscience. We had Russon and Casey as background. We broached some
> possible platforms for the experiment, beyond the table-top theater, e.g., a
> whole room in which one would move, with interactive projections on the
> walls; or a Janet Cardiff-like place-walk with sounds triggered at certain
> places.>> We decided that for next week, we would dig into details of Casey to try and
> refine our discussion, starting with the body memory chapter.>> We are hoping that Xin Wei will be there, and that he could give a demo of
> some of the TML work and tech, and also that Elena could demo her work on
> the mirror experiment.
>> Best,
>> David
>> Harry and I thought we'd take up David's invitation to start the readings soon. I believe David's coming back form a conferende soon (>), and that Harry will send an initial email to see who's up for that The minimum shall be the active experimentalists. >> The ones who have been active or will be active in building (sw/ gear) for the actual experiment, with interests as far as I recall -- please amend or correct!
>> Morgan -- pattern recognition
> Elena -- set up camera, table> Zohar -- set up camera, Jitter>> Harry -- readings, experiment design
>> Liza expressed interest as well -- perhaps working with "subjects" based on her extensive experience in the Dream and Nightmare Lab @ U dM.
>> I would expect the actual table top experiments should be quite easy to implement! (If not, let's drop it and design another experimental configuration :) David and I have an initial one that I hope someone (Morgan and Zohar) will be interested in and able to realize. We'll need to refine the experiment design.
>> Please be on the lookout for email via the memory+place mailing list about the discussion seminar.
>> Looking forward to it,
> Xin Wei
>> PS. I asked Yu Satow to set up a demo of techniques for tracking objects on the white table in TML -- in conversation with Navid, Morgan, Elena, et al.
>> I would like to let you know about the current (for this summer) and future (fall) phenomenological experiments with David Morris.
> It may affect you in one way or the other (especially, the other, I hope).
>> First of all, this is tml wiki page for the project:
> http://tml.ath.cx:8080/wiki/pmwiki.php?n=Projects.MemoryPlace
>> It has description of the project and , for those who are or will be part of the reading group, the list of the readings with links to their pdf's:
>> Project has two parts:
> - "mirror" - happening in the tml right now. Designated corner - by the electronics /soldering station (may change).
> - actual "memory place" - happening in fall (initial setup to be done in summer, see below). Designated table - big white oval tml table, that will be used as projection surface.
>> 1) "mirror" :
> - Apple Cinema Display - taken away from the video station to the designated corner)
> - G5 - Xin Wei suggested we use Varo, the video station now has its display instead of the big one
> - 2 analogue cameras + 2 digitizers : for now, I've found two unemployed digitizers, all cameras seem to be integrated in some setup (? JS, does it mean - in use?) so I'm borrowing the hexagram cameras for now but this will need to change....
>> 2) "memory place" - table theatre
> - Varo the G5, along with cameras and digitizers will migrate into the second phase of the project. Apple Cinema Display will safely return to its natural video environment and one of the small Mitsubishu projector will be promoted to animate the table theater ( permanently installed there)...
>> So there are three working periods coming up this summer (scheduled for now, could be - forth one in the second half of august).
>> 1. June 24 - June 30:
> Setup "mirror" experiment: see how simple (visual) manual and more complex (temoral) manipulations work. Come up with protocol.
>> 2. June 12 - June 18
> Improve the protocol - clarify what the experiment actually should be. Invite and schedule participants. Collect some data (?)
>> 3. July 27 - August 3
> Follow up whatever comes out in 1 and 2, maybe collect some more data with some more participants.
> Setup table theater and brainstorming on it.
>> Suggestions and comments are welcome.
>> Elena
Hi Elena,At yesterday's meeting we decided to go ahead with(1) dressing a "mirror" -- Michael M had a good idea: use a half silvered mirror, to give a sense of the "mirror-ness" -- maybe use a video mixer like the one the Jerome checked out from Hexagram for Frankenstein to blend in the image of camera with live see-through, to achieve some of the effects desired.We should design the experiment and tun it during the summer.(2) Setting up the "tabletop theater" -- so we can get ideas for designing the fall experiment.2.1 Mount a small Mitsubishi projector over the oval table, and also a camera + digitizer;2.2 Run cables to a G5 that we can use for this. I agree that we should use a separate G5 that we can add to the ozone network for this.This same G5 should also be the acquisition machine for sensor data from one of the SensorDocks. I will work with Patrick to attach a SensorDock to thee same G5 that we designate. Let's confer on which one can be multiply purposed, and how. (Use your Hexagram account, and maintain run version of code on SVN on tml local?)I'll work with you on this, too, so we can define a protocol :)Xin Weicc as courtesy FYI Ozone and other folks who may be able to advise you, or have an intellectual interest in this.
Applied and Experimental Phenomenology: Memory, Identity and Place
Orienting Readings
David Morris, Sha Xin Wei, Concordia University, 2008
In this research project, which is funded by a seed grant from Concordia (see the summary appended below), we are going to be exploring the interrelation between memory, identity and place, including things in the places around us. We want to get a sense for how our experience of identity and memory is sedimented in places/things around us, rather than being 'onboard' us, such that places and things are interwoven with and buoy our memory and identity—and conversely memory and identity are woven into and buoy experienced things and places. To give an image: we might think of the snail as 'carrying its home on its back'; we could think here of our identity and memory of ourselves—our sense of self and being at home in the world—not as being coiled into something that we carry along with us, but infiltrating places and things in our built and lived environment, and thence tying us up in tendrils with things and places. Hence phenomena such as homelessness, displacement and so on, of being lost, not ourselves—phenomena in which we can be disturbed as it were from the 'outside', which show that the outside is not quite outside. That is, much as we 'come back to ourselves' when reviving from a faint, we 'come back to ourselves' and are reminded of ourselves when we come home, or come back to our workspace, or finally become oriented in the ways and places of a new city.
To get a sense for this connection between memory, identity and place, we are going to be developing experiments that vary and play on this connection. We want to do this to get results relevant for philosophy, comprehending human experience, and making art (for example, seeing how to make new sorts of things, perhaps textured, rhythmed, lit environments that call up new senses of memory, identity, or thinghood).
The development of these experiments involves two axes of exploration: a substantive one, concerned with place, memory, identity, especially in relation to the body, movement and things; a methodological one, concerned with how to go about doing phenomenological experiments. Here we might note two things about phenomenological experiments: first, they would be more focused on enabling precise descriptions of experiences, from a first person point of view and tracking the dynamics of the individual experience, rather than quantifying over populations according to variables already specified by the experimenter; second, they would be more focused on arriving at the conceptual framework proper to the experience generated in the experiment, vs. constructing an experiment to fit an already given conceptual framework—or at least they would keep open this arrival.
To prepare for these exploration, we are going to be holding an orienting seminar. Initially we had planned to this over several weeks in the summer 2009, but given scheduling matters, we think it better to have a compressed seminar in the beginning of fall 2009. What we give below are sets of reading that we think appropriate to getting the conceptual juices flowing. The idea is that participants would read these at their own pace over summer, taking notes, or writing up small observations, and then we would gather over a one or two days, say some Friday and/or Saturday in the earlier part of the fall term, for intensive discussion of at least the key texts. We've divided the texts into key texts, and complementary/supplemental texts which are given in []. They range from easily accessible texts that would make for fun summer reading, to more dense philosophical texts. Most of the text focus on the substantive axis of exploration. We think we're going to be inventing a lot on the second one. Thoughts for readings here are welcome. We're initially going to be using experiments suggested by DM's paper about mirrors as a test bed for the methodological axis.
Reading list:
1) Introduction to phenomenological method and phenomenological interrelation of body memory, things and places:
Russon, John. Human Experience: Philosophy, Neurosis, and the Elements of Everyday Life. Albany: State University of New York Press, 2003. Introduction and Part 1, "The form of human experience", chapters on interpretation, embodiment, memory, pp 1-47 [This is a very accessible introduction to some of the relevant issues about phenomenological method, embodiment and memory, giving key ideas about our memory being in things, and the importance of movement.]
Casey, Edward S. Remembering: A Phenomenological Study. 2nd ed. Bloomington: Indiana University Press, 2000. chapters on "Body Memory" and "Place Memory," pp 146-215 [An accessible, rich and perceptive study of the various ways that memory is embedded in the body and place.]
[Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Colin Smith. Atlantic Highlands, New Jersey: The Humanities Press, 1962. "Preface". This introduces phenomenology and its method as embedded in our concrete existence, and anticipates the need for phenomenology to appeal to concrete experiences, including experimentally produced ones, to advance its investigations. Much denser reading.]
2) Studies of the importance of place and our moving interaction with to our making sense of where and who we are
[Casey, Edward S. Getting Back into Place: Toward a Renewed Understanding of the Place-World. Bloomington, Indiana: Indiana University Press, 1993. A superb and substantial account of the importance of place in relation to our bodies and movement.]
3) A phenomenological account of space and our relation to things:
Heidegger, Martin. Being and Time. Translated by John Macquarrie and Edward Robinson. New York: Harper and Row, 1962. Chapter I.III, "The Worldhood of the World" [About 45 pages, skipping over section B. This is a crucial phenomenological study of what it means to be in the world, and how our being in it is not a matter of an abstract/geometrical spatial locatedness, but our meaningful relation and connection to things around us. Dense, but small—if it's too technical and opaque, don't get bogged down in it but leave it for our seminar.]
[Heidegger's "Building, Dwelling, Thinking" and "Art and Space" can be read here to get his later views of the importance of place/space to us.]
4) Another phenomenological account of space, and an example of phenomenological strategies and motives for deploying experimental data:
Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Colin Smith. Atlantic Highlands, New Jersey: The Humanities Press, 1962. "Space", about 60 pages. [Intricate but rich and insightful reading that shows how our sense of space depends on habitual bodily attitudes and interactions with things that establish a spatial 'level' that orients us. Includes a study of dream spaces.]
[If you find the above too dense, the following commentary/synopsis can be helpful: Kockelmans, Joseph J. "Merleau-Ponty on Space Perception and Space." In Phenomenology and the Natural Sciences: Essays and Translations, edited by Joseph J. Kockelmans and Theodore J. Kisiel. Evanston, IL: Northwestern University Press, 1976.]
[You could also read Morris, David. The Sense of Space. Albany, NY: State University of New York Press, 2004. This is a further explorations of the interactions between body, movement and lived space, and examples of using experimental data.]
5) A testbed for phenomenological experiment & methodological issues:
Morris, David. "The Other in the Mirror: On Mirror Reversals, Faces and Intercorporeality," circulating draft. [This paper aims to show that our experience of left-right reversals in mirrors in fact depends on our relation to other moving bodies as intersubjectively meaningful to us. So it also shows how our sense of identity is hooked into moving interactions with people, places and things around us. It leads to predictions about how TML manipulated mirror experiences might vary our experience of reversals, and we are going to use these predictions to design experiments to test out the very idea of phenomenological experiments.]
Morris, David. "Bergsonian Intuition, Husserlian Variation, Peirceian Abduction: Toward a Relation between Method, Sense and Nature." Southern Journal of Philosophy 43 (2005): 267-98. A somewhat technical paper that might be useful for thinking about phenomenological experiments, insofar as it points out that the source of variation in experiments is important to what we can get out them: we bias experiments to the extent that we already decide on the parameters of variation or on the dimensions of measurement of the output experience, so we should look to ways in which experience itself, in its own dynamic, tells us how it varies.]
Grant Summary:
This blogis for recording the team chatter of the team of researchers & students in the Topological Media Lab, philosophy and media arts working to create a series of experiments in the Memory+Place seed project with David Morris and Sha Xin Wei.
The project WIKI is http://topologi.ca/wiki/projects:memory-place
and the email lists are:
Experimental Working Group <firstname.lastname@example.com>
Memory Seminar <email@example.com>
- Xin Wei


text: danielofifi 370 Posted May 25, 2019 (edited) 20 hours ago, afahoy said: Could just be you're a better driver now 🙂 Regarding the missing Tornado, it actually seems the whole place has been 'demilitarised' – the trucks are no longer a nice olive drab colour, for example, and instead look like old civilian ones. I miss the Tornado... Maybe it's because of greylancer's offensive post that they removed the jet from the stage? 😉 Edited May 25, 2019 by danielofifi 3 Share this post Link to post Share on other sites


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Command: thmea¶
Themefinder - General Documentation¶
This documentation describes utilities and procedures for constructing, maintaining and augmenting the themefinder musical databases.
Themefinder is a web-based application that allows users to search for musical themes and incipits. Users may search using a variety of search-keys, including pitch contour, scale degree, date-of-composition, etc.
When a search is executed, a "results-page" is generated listing all of the themes that match the search criterion. If more than 10 themes are found, the results are distributed over two or more results-pages, with 10 themes presented on each page.
The results for each theme consist of a text header that reports basic information such as composer and title, and a notational rendering (displayed using a .gif image file). In addition, users can select the [M] button which causes a MIDI sound (.mid) file to be downloaded for listening. Also, a [I] button can be selected which causes a new page to be displayed containing detailed reference information pertaining only to one particular theme. This reference information is stored in a .inf file.
Theme Files¶
Each theme is represented by a single Humdrum file, designated with the ".thm" file extension. A theme file normally contains a single **kern spine representing some theme or incipit. If more than one **kern spine is present, only the left-most spine is used for searching purposes.
Other spines may be present in theme files, such as spines for encoding lyrics/text (**silbe, **text), harmonic function (**harm), or another other information. Currently, such non-kern encodings are ignored by the themefinder search engine, however future proposed extensions will make use of such information. Users may view the complete Humdrum theme file using the [H] links displayed on any search-results page.
Each theme file also contains a number of Humdrum Reference Records that are used for bibliographic, text, or reference-related searching. Theme files should minimally contain reference records identifying the composer (!!!COM) and title (!!!OTL). Additional reference records are welcome and desireable. Global and local comments can also be included, and are encouraged when they clarify aspects of the encoded music.
A special reference-formating record (!!!ref) must be present in each theme file. The purpose of this record is to instruct themefinder how to format the header text which appears immediately above the notated theme when displaying a search-results page. The following two headers illustrate typical header texts:
- Beethoven, Ludwig van, Pathetique Sonata, Opus 13, No. 1.
- Anon. Mrs. Brown's Owl, Traditional English Ballad.
The format for a given theme header is specified by indexing other reference information contained in the file. Consider, for example, the following record:
!!!ref: @{COM}, @{OTL} (@{XEN})
This record indicates that the !!!COM (composer) information should be displayed, followed by a comma, followed by a space, followed by the original title (!!!OTL), followed by the English translation of the title (if present) given in parentheses. The  ...  surrounding the original title is the HTML (hypertext markup language) code for rendering text in italics – hence the title will appear italicized.
ISTN Numbers¶
Themefinder accesses themes by a numerical identifier called an Internal Standard Theme Number (ISTN). An original theme file might be named "webern31a.thm", but this file is ultimately copied to something like 122293375723.thm. A single number is used to identify all of the pertinent theme-related files. For example, the corresponding MIDI, notational image, and reference information files would be named 122293375723.mid, 122293375723.gif and 122293375723.inf.
The main purpose of ISTN numbers is security. Since these files are directly accessible to the world wide web, it is possible that someone might attempt to retrieve and copy the entire database. The ISTN numbers are intentionally very large, and randomly generated. Consequently, the ISTN numbers are "sparse": it is very unlikely that any given number corresponds to an actual file. This means that automated web requests for a particular numerical file are unlikely to fetch an actual file. Multiple attempts to fetch many files will alert us to attempts at database theft before a remote site is able to download many actual files.
ISTN numbers are stored in the /themefinder/istn/allocation/ directory. The file free.istn identifies randomly generated numbers that are available for use. The file used.istn contains a list of numbers that are already in use.
Adding Themes¶
In order to add themes to the themefinder database, the user must first encode a Humdrum **kern file (.thm) for each individual theme or incipit. From this original file, the user must generate three additional file types: a notation image (.gif) file, a MIDI sound (.mid) file, and a reference information (.inf) file. Detailed instructions for generating each type of file are given below.
Themes are usually stored in groups called collections. An example of a collection is the Essen Folksong Collection. Sometimes individual theme files are added to an existing collection. Frequently, whole new collections consisting of hundreds of themes are added. Each collection is stored in a separate directory.
Themes are also classified according to repertory. Examples of repertories included "classical" music, "folk" music, and "chant". A repertory may consist of several collections. Repertoires are used by themefinder to limit the search to particular types of works.
Generating Image Files (.gif)¶
The notational images (.gif) files are generated via the Humdrum ms command, which in turn makes use of the Mup music typesetting utility. The ms command generates postscript output. A further program (ps2gif) translates postscript files to gif, crops the image to a suitable size, and makes the image transparent so any HTML background can appear behind the notation.
Normally, the entire process of generating a .gif file is completely automated (see below). That is, the user normally need not invoke the ms, the mup or ps2gif commands. However, limitations in the ms command often generate errors using Mup, and so some .gif files must be produced manually. In this case, invoke the ms command with the -z option so that an intermediate .mup file is generated. Edit this file until it conforms fully to the Mup input syntax. Then use the mup and ps2gif commands to generate an appropriate .gif file. For details, refer to the documentation for the ms command.
Generating Information Files (.inf)¶
The info (.inf) files provide essential indexing information. A typical info file is shown below:
- @THEME: albinoni-01-01 @REPERTOIRE: classical @COLLECTION: lvh @ISTN: 122293375723 @DESCRIPTION: Albinoni, Toaso Givanni: Sonata 1 Op. 1 No. 1 @MOVEMENTSNS: @SINGLESNS: @WORKSNS: @COLLECTIONSNS: 122293375723 0596234234 23409234098243
234098230498234 23409834059345 5069243098534098 234098340598345 23049834059834[other themes that are related by collection] @LINKTHEME: [points to numbered files that contains web link to
- this theme]
- @LINKMOVEMENT: [points to numbered files that contains web link to
- this movement]
- @LINKWORK: [points to numbered files that contains web link to this
- work]
- @LINKCOLLECTION: [points to numbered files that contains web link
- to this collection]
The @THEME record identifies the name of the original theme file (without the .thm extension). In the above case, the corresponding theme file is albinoni-01-01.thm. The @REPERTOIRE record identifies the larger repertory to which the work belongs. As noted above, repertoires are used by themefinder to limit the search to particular types of works. The @COLLECTION record identifies the collection to which the theme belongs. The @ISTN is the unique numerical identifier used by themefinder to identify the particular theme. The @DESCRIPTION record holds the literal theme header (including HTML codes) that appears above the notated theme when the search results are displayed.
The @MOVEMENTSNS record is used to identify possible other themes that may appear in a single movement; these are indicated using the ISTN numbers for each theme. The @SINGLESNS record is currently not used. It is intended to identify single movement works. The @WORKSNS record is used to identify all themes in the same work – that is, all themes from all movements.
Theme files are normally processed in groups (typically by collection). Each collection is located under the main /themefinder/collections directory. Examples of collections subdirectories include /lmotet/ (Latin motets), /essen/ (Essen Folksong Collection), /asm/ (Library of Congress, American Sheet Music collection), and /densmore/ (Francis Densmore Native American music collection).
Under each particular collection, there is a /source/ subdirectory which contains all the Humdrum theme (.thm) files. Since collections typically contain large numbers of themes, the /source/ directory is further divided into alphabetized subdirectories (/a/, /b/, /c/, ... /z/). The themes are distributed in these lettered subdirectories according to any scheme the user chooses. For example, one might choose to order the themes alphabetically by composer. The purpose is simply to avoid theme source directories containing an unmanageable number of files.
Under each particular collection there is also an /info/ subdirectory which contains all of the information (.inf) files. As in the case of the /source/ directory, the /info/ directory contains alphabetized subdirectories (/a/, /b/, etc.) whose purpose is (once again) to avoid excessive numbers of files in a single directory. The directory structure for /info/ duplicates exactly that for the /source/ directory.
Another subdirectory included for each collection is the /bib/ directory. This directory contains a series of files named a.bib, b.bib, c.bib, etc. Each .bib file contains one record (line) for each file in the corresponding /source/n directory. For example, if /source/lvh/a contains 25 themes, then the file /source/bib/a.bib will contain 25 lines. Each record in the .bib file begins with the ISTN number, followed by a tab. All reference records in the theme file are then appended, with each reference record separated by a tab. In other words, all reference records for a single theme file are amalgamated and placed on a single line – one line for each theme file. (Note that single lines may contain several hundred characters.) E.g.
020000000100 !!!COM: Albinoni, Tomaso Giovanni etc.
The .bib files are used when searching for reference-related information using grep.
Yet another subdirectory included for each collection is the /istn/ directory. This directory contains a single file (all.istn). This file is in the Humdrum format and consists of four spines: **repertory, **collection, **theme, and **istn. Each data record pertains to a single theme in the collection. The record specifies the repertory assignment, the collection name, the file name for the original theme file (minus the .thm extension), and the ISTN number. A sample file is given below:
**repertory **collection **theme **istn classical lvh albinoni-01-01 122293375723 classical lvh albinoni-01-02 659146339995
The following figure illustrates the overall directory structure.
The following table again outlines the overall directory structure, and also identifies the location of various special files and executables:
free.istn (numbers available for use)
used.istn (numbers already in use)
/bin - contains general software
/pvh/ (ojibway)
/rsc (Reprint Services Corp.)
/lmotet (latin motets)
/essen (Essen)
/asm (American Sheet Music - Library of Congress)
/ccarh (musedata - doesn't exist yet)
/source -contains theme directories
/a - subdirectories for a collection (arbitrary)
a1.thm, a2.thm, a3.thm etc.
/bin -contains collection-specific software
/info contains .inf files
/bib -contains bibliographica information
/a.bib (file) [see below for organization]
/b.bib (file)
/istn -contains a file (all.istn) that provides all of
the ISTN numbers and their corresponding file names [see below]
/0 e.g. 910052132800.lnk
[link numbers are generated by a combination of date/time of submission and random numbers
* randomid generates random numbers not beginning with 9 (which indicates link ID) or 0 (unused) (this *CAN* generate duplicates of existing numbers)
* ps2gif translates postscript files to gif; (1) makes the image transparent (2) crops the image
* addistn2info adds a International Standard Theme Number to makegifs
Within this directory are four files: nnnnnnnnnn.gif (notation gif file) nnnnnnnnnn.inf (information file) nnnnnnnnnn.thm (humdrum theme file) nnnnnnnnnn.mid (MIDI0 file) Within INFO FILE: [M] [W] [C] movement, work, collection (appears on results page) ————————————————————————
Web Links¶
Themefinder provides opportunities for web-users to attach links from a specific theme to a particular web page – anywhere on the world-wide web. This allows, for example, a scholar who has written a web document pertaining (say) to the Mozart Symphony 41, to provide a web links from all of the pertinent themes to his/her web document.
Links are established by using a special HTML "links" form which is accessed through the [L] button on the theme information page. When the form is submitted, a link file is created, the syntax for which is illustrated below.
"movement"] | @CATEGORY1: academic | @CATEGORY2: data:humdrum | @DESCRIPTION: All of the tone rows used in the serial works of Schoenberg, Berg, and Webern. Theory students and scholars alike may find these files a useful resource in their study of these works. | @URL: http://www.ccarh.org/publications/data/humdrum/tonerow | @AUTHOR: Justin London (Paul von Hippel, ed.) | @AUTHORURL: | @CONTACTNAME: Paul von Hippel | @CONTACTEMAIL: firstname.lastname@example.com | @SUBMITHOST: hummer.stanford.edu (184.108.40.206) | @CONTROLMODIFICATION: N | @PASSPHRASE: ccarh | @CREATIONDATE: Tue Aug 29 21:07:19 2000 | @MODIFICATIONDATE: Tue Aug 29 21:07:19 2000 | @EXPIRATIONDATE: | @QUALITY: 950 | @COMMENTS: | @END: ISTNLINK
A submitted link generates a file in which is stored in the /themefinder/links/submitted directory. As in the case of other themefinder files, link filenames are assigned a large random number. Link filenames always begins with the number 9. The number is generated by a combination of date/time and random numbers.
When a submitted link is processed, the file is moved to the "process" subdirectory, edited, and then the "make process" command is executed from the "links" directory. This causes the modification of any pertinent INFO file, and copies the submitted-link file to the link storage directory (/9/ directory ). It also updates a list/all.lst file which contains a list of all of the link files, ordered from oldest to most recent submitted link. (This list is used in the cgi-bin/themenewlinks script to allow viewing of the most recently added links to themefinder. Click on "New Links" on the main web page.)
How to Build a Themefinder Database¶
Suppose we have 1,000 new themes that we have assembled or translated from a donated database. We can generate the appropriate files and integrate the themes in themefinder as follows.
Presuming that the themes warrant a new "collection" we would create a new subdirectory under /collections/. E.g.
mkdir /collections/ragtime
Provide edited Humdrum files containing the themes. These files may contain any Humdrum spines, but must contain a **kern spine. (Only the first **kern spine is used in generating music-related indexes.) In addition, create a serious of 26 alphabetic subdirectories and distribute the files throughout these directories. (The distribution is arbitrary.)
- mkdir /collections/ragtime/a
- mkdir /collections/ragtime/b mkdir /collections/ragtime/c etc.
For a new collection, copy the "Makefile" from one of the existing collections to the new collection: E.g.
cp /collections/essen/Makefile /collections/ragtime
Change to the /themefinder/istn directory and run the "make" command (?Craig is this correction?). Make the ISTN index (/istn/all.istn) file, getting free ISTN numbers from the /themefinder/istn/allocation/free.istn. Remember to eliminate these numbers from free.istn and copy them to used.istn.
Commands available with the makefile:
img: create gif image files with ms and convert. midi: create the midifiles and directory from source. info: create the info files from the source files. bib: create bibliographic database. database: create thema database. groupings: edit info files and isnert grouping data. clean: remove all backup directories.
make img - runs makegifs (which takes a kern file and generates a gif file) i.e. runs mup; outputs are put in the /img directory results in /img/a/nnnn.gif /img/b/nnnn.gif, etc. make midi - makes a directory /midi results in /midi/a/nnnn.mid /midi/b/nnn.mid, etc. make info - makes INFO file in the /info directory make bib - makes bib files (for searching all reference records) make database - this calls themebuilder to make the thema database make groupings - Before running this, you must make a directory called "groups" which contains [see below] make clean if an old versions already exists the make program automatically copies the old director, e.g. /img becomes /img-old
Finally, set up the cache directories so everything is searchable. (The cache directory contains simply links to the real locations for the .gif .inf .mid and .thm files.)
cd /themefinder/web/cache/istn
new make command:
make allinks: create symbolic links for all themes.
or by individual collections, e.g.
- make tonerow
- make renaissance
is used to search ...]¶
SAMPLE /istn/all.istn file **repertory **collection **theme **istn classical lvh albinoni-01-01 122293375723 classical lvh albinoni-01-02 659146339995 ——————————————————————— SAMPLE grouping file /group/local/all.grp and /group/istn/all.grp (local is what you type by hand; /group/istn is generated by another special make command. BY HAND: c: alibinoi-01-01 albinoni-01-02 albinoni-01-03 albinoni-01-04 (all on single line; first letter can be c, w, or m followed colon, followed by tab, followed by theme file names (sans .thm) RESULTING "compiled" VERSION: (using a local make command)
Hi David,
The Themefinder description on the additional commands page is pretty accurate. Here are the couple of statements I found that need correcting/elaboration:
> Also, a [I] button can be selected which causes a new page to > be displayed containing detailed reference information pertaining only > to one particular theme. This reference > information is stored in a .inf file.
.inf files only store Themefinder-specific maintenance records which are generated automatically from other data and would look too ugly to place into the .thm files. Instead, all available reference information on the information page of a theme is stored in the original .thm file:
>> Also, a [I] button can be selected which causes a new page to >> be displayed containing detailed reference information pertaining only >> to one particular theme. This reference information is stored in the >> .thm theme file.
> but this file is ultimately copied to something like 122293375723.thm.
This is somewhat true. There are two directory structures currently in Themefinder: (1) for each independent collection of themes where the names are preserved from the submitter, and (2) one enourmous file structure with 11,111 directories, or so, which store symbolic links to the real collection files.
Directory structure (2) is used by the web CGI-scripts to access the themes in a uniform manner, but Directory structure (1) is used for storage of the themes. It would be possible to distribute directory structure (2) with the web CGI interface files in a portable fashion to other computers for mirror websites of Themefinder.
> The main purpose of ISTN numbers is security.
A secondary purpose of ISTN numbers is to provided a uniform access to independently named collection sets and allow possible interaction between independent collection sets with an easier way of writing the supporting code for theme access.
Hi David,
The Themefinder description on the additional commands page is pretty accurate. Here are the couple of statements I found that need correcting/elaboration:
> Also, a [I] button can be selected which causes a new page to > be displayed containing detailed reference information pertaining only > to one particular theme. This reference > information is stored in a .inf file.
.inf files only store Themefinder-specific maintenance records which are generated automatically from other data and would look too ugly to place into the .thm files. Instead, all available reference information on the information page of a theme is stored in the original .thm file:
>> Also, a [I] button can be selected which causes a new page to >> be displayed containing detailed reference information pertaining only >> to one particular theme. This reference information is stored in the >> .thm theme file.
> but this file is ultimately copied to something like 122293375723.thm.
This is somewhat true. There are two directory structures currently in Themefinder: (1) for each independent collection of themes where the names are preserved from the submitter, and (2) one enourmous file structure with 11,111 directories, or so, which store symbolic links to the real collection files.
Directory structure (2) is used by the web CGI-scripts to access the themes in a uniform manner, but Directory structure (1) is used for storage of the themes. It would be possible to distribute directory structure (2) with the web CGI interface files in a portable fashion to other computers for mirror websites of Themefinder.
> The main purpose of ISTN numbers is security.
A secondary purpose of ISTN numbers is to provided a uniform access to independently named collection sets and allow possible interaction between independent collection sets with an easier way of writing the supporting code for theme access.
Hi David,
Here is the outline of a set of guidelines for Themefinder maintenance and theme collection additions to Themefinder that would be good to generate:
- Section I is documentation to give out to prospective theme donors.
- Section II is documentation on how to incorporate the themes into Themefinder by the Themefinder staff.
- Section III is other sorts of documentation not covered in Sections I and II.
I have written a draft of Section I for you to elaborate/expand on if you like. John Howard might be interested in having this sort of documentation.
Sometime soon I will go though adding a theme collection step-by-step and describe the process in detail and accurately. The current web documentation describes much of the process but would not be complete for someone who hasn't done the process.
And the left-over parts of the documentation not covered in sections I and II can go into documentation tentatively outlined in section III.
I. Original Data Files A. Theme files 1. **kern data 2. Theme length 3. Bibliographic records 4. !!!ref: instruction B. Naming conventions C. Theme group files D. Image files E. Conversion from other musical data formats into Humdrum II. Installing Original Data Files into Themefinder A. Creating the source directory B. Creating derivative representations 1. MIDI 2. graphical images C. Allocating ISTN values D. Creating database indices 1. Thema database 2. Bibliographic database E. Processing grouping files F. Creating info files G. Generating web interface links III. web interface and maintenance technicalities A. File access considerations 1. Namespaces 2. ISTN allocation 3. Directory structures B. CGI scripts for user interface C. Session implementation D. Filesystem constraints
Submitting Theme Collections to Themefinder¶
There are two general stages to adding themes to themefinder: (I) creating theme files with musical and bibliographic data, as well as a theme grouping file that contains relations between themes; and (II) installing theme data files and generating supporting files.
Original Data Files
B. Naming conventionsC. Theme group filesD. Image filesE. Conversion from other musical data formats into Humdrum.
Theme files
- **kern data
- Theme length
- Bibliographic records
- !!!ref: instruction
I. Original Data Files.¶
I.A. Theme files.¶
Musical themes in the Themefinder database are stored one theme to a file. The structure of the theme file is the standard Humdrum file format with the first spine in the file being the thematic monophonic music to be indexed for searching. This musical data is in the **kern musical representation. Other spines may be present, such as lyrics, neumatic notation, tone-row pitch classes, etc. Currently these additional spines are ignored by the thema command which indexes the musical data for searching purposes.
The length of the theme should nominally be one line of output produced in the generation of the muscial score in section II.B.2. As a rule of thumb, 30 notes fit well onto a single line. Also, about 4 measures of 4/4 meter consisting mostly of eighth-notes fits well onto one line. The primary reason for this guideline is to have an clean aesethic to the search result display. If the theme is longer than about 30 notes, then you can currently:
- not encode the rest of the theme.
- place the rest of the theme in global comment records
Another possibility would be to invent a tandem interpretation to mark the end of the graphically displayed portion of the theme.
Here is an example theme encoded for Themefinder (Twinkle, Twinkle, Little Star):
A complete themefile example can be found on the web, for example, at: http://www.themefinder.org/cgi-bin/themeinfo?istn=168786577544&type=humdrum
The key signature in the example above, "*k[]", contains no sharps or flats, and the theme is in C-major according to the tandem interpretation "*C:". In order for scale degree searches to be done in themefinder, you must include the key of the theme which is a tandem interpretation in the form "*C:" where C is the tonic note of the key, and the case of the key determines the mode: uppercase for major, and lowercase for minor. Examples: "*F#:" = F-sharp major, "*a-:" = a-flat minor.
The time signature interpretation "*M4/4" is important for metrical searches in themefinder. The clef indication is important for the graphical display of the notation. Either treble or bass clefs are preferred. Only use other clefs such as alto clef if the music fits much better on that clef. Measure numbers can optionally be encoded with the theme, but they are not used for searching or printing of the theme in Themefinder.
In addition to the musical data, a theme file contains any type of bibliographic records that are appropriate for the theme. A list of standard Humdrum bibliographic records may be found at http://dactyl.som.ohio-state.edu/Humdrum/guide.append1.html . For the above example, the title record would be:
!!!OTL: Twinkle, Twinkle, Little Star
You can also specify the language used in the bibliographic record by adding a two character ISO marker for the language (such as EN for English, DE for german, ES for spanish, FR for french). This language encoding may be useful for future language display options in Themefinder, but are currently not used:
!!!OTL@EN: Twinkle, Twinkle, Little Star
There is one bibliographic record which is required for application in generating a short text entry for the theme in the search results pages:
This record indicates what to display as identification for the theme on the search results pages in Themefinder. Shorthand substitution patterns of the form @{XXX} are replaced with the contents of the bibliographic record starting with the pattern !!!XXX: . All other characters in the !!!ref: record will become part of the final text string:
!!!ref: @{OTL}
For the above example theme, will become:
Twinkle, Twinkle, Little Star
The ... surrounding the title are the HTML codes for indicating an italic font.
I.B. Theme file naming conventions.¶
Theme filenames within a collection being submitted should start with a letter (a-z) and can be of any reasonable length. The file name ends with the extension ".thm". Allowable characters include lowercase letters, numbers, the dash (-) and underscore (_).
In Themefinder, theme files will be segregated according to the first character of their filename, with up to 26 subdirectories dividing the theme files into smaller units. Ideally, there should be no more than 3,000 themes in any of these subdirectories. The unix file system used with Themefinder could perhaps reasonably hold up to 10,000 files in any particular subdirectory. If there are more theme files than 3,000 then perhaps they should be renamed, or split into a second collection group. Usually the name of the file indexes the themes in some manner, such as with the Latin Motet collection:
j15672312-01.thm j = Initial from last name of composer 1567 = RISM number 1567 for a particular year 23 = RISM number 1567/23 for a particular edition 12 = The 12th motet in the edition 01 = first voice (top voice) of the motet .thm = File extension indicating that this is a Humdrum theme file.
For a theme collection, each theme must contain a unique filename. Filenames between collections do not need to be unique.
I.C. Theme group files.¶
An important secondary data entry to provide to Themefinder is called a theme group file. This file describes the relation between themes on several levels:
- movement – themes which belong to the same movement.
- work – themes which belong to the same composition which may consist of several movements.
- collection – themes from compositions which are related in some way. such as the same opus number, or same genre.
The collection group, for example, may consist of:
- J.S. Bach's Well-Tempered Clavier, Book I
- Vivaldi's Op.3 concertos
- Chopin's Preludes
A general guideline for the size of a grouping is no more than 50 themes. However, up to 100 themes in a group, particularly a collection group, is reasonable. Larger group sizes are unweldy and are not encouraged. For example, all the themes in the symphonies of Haydn would be too large. All the themes from Beethoven's symphonies are at about the limits of a reasonable group size. Note that the "collection" grouping is different than a Themefinder "collection".
A theme grouping file contains all types of relations for all the themes in a collection. To indicate a group one of the following three characters are placed on the first column of the line: "m", "w", "c", followed by a colon, ":", followed by a tab charcter, followed by a list of theme filenames, each separated by one space. Below is an example set of grouping entries for a three movement piece. "file6" is from the third movement. Since there is only one theme in the third movement, it does not have a movement-level entry in the groupings file. But note that in the "work" level grouping "file6" is included.
Notice that the filenames in the groupings file do not include the ".thm" extensions.
In Themefinder, the theme grouping file data will be converted into ISTN values and is used for several things:
- providing buttons [M], [W], and [C] for each theme that is a member of a larger grouping. For example the opening theme to Beethoven's 5th symphony has a hyperlink [M] that lists all of the themes in the first movement, and [W] which lists all themes in the 5th symphony.
- Web hyperlinks can be associated with themes on various levels: (a)theme, (b)movement, (c)work, (d)collection. The grouping file is the mechanism for making the maintenance of links common to several themes simpler.
It is possible to generate theme group files automatically if the themes are indexed in a systematic way. For example, The Latin Motet theme collection contains an incipit for each voice. The filenames of the Motet themes were organized such that each composition had the same filename start, followed by a voice indication:
- j15672312-01.thm Soprano incipit
- j15672312-02.thm Alto incipit j15672312-03.thm Tenor incipit j15672312-04.thm Bass incipit
which could be automatically processed into a theme grouping entry like so:
w: j15672312-01 j15672312-02 j15672312-03 j15672312-04
Since automatic groupings of the themes are nearly impossible to generate without errors, the theme groups file should be generated by hand in most cases.
I.D. Image files.¶
Image files are preferrably generated in Themefinder with the Humdrum Toolkit program "ms" which generates PostScript output which can then be converted to GIF images for display in Themefinder. This process should be automatic, but often requires human intervention and correction, Such as the theme of Bach's Well-Tempered Clavier Prelude in C Major, book 1 – where the notation of the theme is polyphonic.
For non-standard repertoires, you may have to generate your own graphical notation for the themes. For the Latin Motet collection, for example, the "ms" command was not used; rather, a program was written to translate the theme data into the MUP format directly, which was then used by the mup program to convert the data into PostScript output. The twelve-tone collection was also a special case.
I.E. Conversion from other music data format into Humdrum.¶
Contact the Themefinder staff if you have a large set of musical themes encoded in a method other than Humdrum **kern data. Usually someone can convert the data into Humdrum with an existing conversion program or write a new conversion program. Existing conversion programs in the Humdrum Toolkit:
- MuseData to kern program called muse2kern
- ESAC to kern
- Finale to kern?
Other conversion tools available:
- MUSTRAN to kern
- DARMS to kern – this is a specialized converter which
converted the Latin Motet incipit collection into Humdrum.
Converting from MIDI is problematic for many reasons including: chromatic accidental information is not recorded, measure lines are usually not recorded, etc.


text:
General News of Friday, 16 August 2019
Source: Graphic.com.gh
The Flagbearer of the opposition National Democratic Congress, (NDC), Mr John Dramani Mahama, says he will build on the great sides his previous administration made towards revamping and repositioning Technical and Vocational Education and Training (TVET).
Speaking at the launch of the 27th Annual Residential Delegates Congress of the Ghana Union of Technical Students (GNUTS) in Kumasi, the former president who is leading the NDC to the 2020 elections said he will move to rebrand TVET and make it more attractive to students.
"It is my intention, in the future government that I will head, to rebrand TVET into an alternative of first choice rather than the wretched path that students are compelled to take when all other doors are closed to them", Mr Mahama noted.
Continuing, Mr. Mahama said his administration will continue to clear the pathway, so that the path toward technical and vocational education training from the basic level, through the secondary level, to the tertiary level, "will be an alternative of first choice and not an alternative of rejected students", adding "I daresay that we need our brightest and best to take the path of technical education, if we are to transform this country."
Mr. Mahama also explained that the conversion of polytechnics into technical universities was to help advance more vigorously, a process of repositioning them as strategic institutions that train personnel with high level technical skills in the TVET domain, towards the country's economic and national development agenda.
The NDC Flagbearer described the journey from HND to BTech as unnecessary, too long and unreasonably frustrating.
According to him, it was a real struggle for students to gain admission into the few higher education institutions, which offered the HND holder the opportunity for a top-up to upgrade their qualifications into a degree.


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Complete and Immediate Visibility of High Frequency Trading Environments
On Sunday (Monday morning in Hong Kong) we announced a partnership with TS-Associates and Terilogy to bring advanced performance monitoring capabilities for high frequency trading (HFT) environments for Financial Services companies. Terilogy is our key Asia Pacific partner, and they are also representing SevOne at Trading Architecture Asia 2011 this week.
This year has been huge for SevOne in terms of geographic expansion; including our partnership with Terilogy. They are applying their substantial expertise to integrating and reselling our solutions in the APAC region. In April, shortly after the devastating tsunami, SevOne CTO Vess Bakalov (the person in all of the videos) and SVP of Worldwide Sales and Business Development, Bill Conners, spent a week in Japan meeting with Terilogy for training and sales calls. Since then, Terilogy established and launched an ultra low latency "Center of Excellence" in Tokyo for showcasing and demonstrating a comprehensive solution based on "Best of Breed" precision instrumentation and network performance technologies. Naturally, SevOne is a featured solution, along with our new partner TS-Associates.
Terilogy planned and hosted a seminar with TS-Associates and us in Hong Kong prior to Trading Architecture Asia 2011. The topic of the seminar is "Get Complete Visibility in Zero Latency Competition" consistent with the conference theme of "The race to zero latency." So what is "Best of Breed" performance monitoring in low latency environments? SevOne already offers a high frequency polling capability that many of our financial services customers use today. And now, as demonstrated at the Terilogy Center of Excellence (CoE), SevOne integrates with TS-Associates TipOff®, a low-latency probe. This enables IT operations teams and business managers to get complete and immediate visibility of the performance of their HFT environments using the same reporting consoles and workflows used to manage their network and servers.
SevOne can be configured to connect to one or more TipOff appliances to gather and monitor summary latency metrics on transaction flows. This allows users to monitor critical HFT performance indicators such as hop latency, build baselines of normal utilization levels and proactively monitor and raise alerts when utilization deviates from historical norms. Once alerted, a user can quickly troubleshoot the network and trading infrastructure.To learn more about SevOne and our TipOff integration, you can view our Ensure High Frequency Trading Performance partner datasheet and visit our Financial Services solution page.


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text:
Most bank holidays fall on a Monday or Friday, so part-time employees who do not work on these days could be disadvantaged with fewer days off compared with full-time employees.
To ensure that all employees have at least the statutory minimum annual leave entitlement and that part-time employees are not treated less favourably than full-time employees, many employers provide part-time employees with a pro-rated bank holiday entitlement.
One option is to calculate pro-rated bank holiday entitlement according to the number of hours that the part-time employee works, irrespective of whether they work on the days on which bank holidays fall.
For example, if full-time employees are entitled to eight bank holidays a year, in addition to their normal annual leave entitlement, a full-time employee working a five-day week of 37.5 hours would be entitled to 60 hours of leave on bank holidays (i.e. eight days of seven and a half hours). A part-time employee working a three-day week of 22.5 hours would be entitled to a pro-rated bank holiday allowance of 36 hours (22.5 ÷ 37.5 x 60 = 36 hours).
The part-time employee should book the 36 hours' pro-rated bank holiday entitlement as annual leave under the organisation's normal procedure. If the employee is scheduled to work on any bank holiday, they would need to book this as annual leave to take the day off. If the business is closed on bank holidays, the employer could require the employee to take annual leave if they are scheduled to work on these days, by including this in the employee's contract or giving appropriate notice.
If you have any further questions on the subject matter then please contact Karen Scott on 07762 629 448 or get in touch by clicking here.
Disclaimer: While every effort is made to ensure that the contents of these articles are up-to-date and accurate at the time of publication to the website, no warranty is given to that effect and Specialist HR Solutions Ltd does not assume responsibility for their accuracy and correctness. The articles are provided free of charge and for information purposes only and should not be seen as a substitute for dedicated legal advice.


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I was talking with an executive team about the high voluntary and involuntary turnover their organization was experiencing in recently filled leadership roles. The execs' conclusion (or excuse) for the cause of the turnover was that the exiting leaders "just didn't fit our culture." They felt that they just needed … Continue reading The Fallacy of Hiring for Culture Fit
Month: March 2016
The New Talent Equation: Hire Slow, Lead Easy, Develop Intentionally, Fire Fast
In 2014, I had the privilege of visiting Facebook headquarters to learn how this rapidly growing and innovative firm leverages talent to drive results. When we were talking about their approach to talent, our host said that Facebook, "hires slow, manages easy and fires fast." My reaction was, "Wow! That's a brilliant … Continue reading The New Talent Equation: Hire Slow, Lead Easy, Develop Intentionally, Fire Fast
Training is a Dead End
Why employees are avoiding Training and eLearning in droves Consider the results of a Corporate Leadership Council survey of 1500 managers in 53 organizations around the world: 76% felt that their Learning and Development function was ineffective or very ineffective in helping them achieve business targets Only 14% would actively … Continue reading Training is a Dead End


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text: The Picture of Indian Family in America in Jhumpa' Lahiri's Short Story "Interpreter of Maladies" or What picture of Das Family, a Bengalee family settled in America comes out in Lahiri's "Interpreter of Maladies"? Somnath Sarkar 02:54:00 Jhumpa Lahiri's Interpreter of Maladies is a short story about Indo-American family. She gives in the story ample glimpses at the life... Read More Share Twitter Facebook Google+


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Marvel Comics Legend STAN LEE Passes Away At 95
Renuel Fallore
Posted at
Sad news for all the Marvel stans out there—legendary writer, editor, and publisher of Marvel Comics and executive producer of the movies in the Marvel Cinematic Universe Stan Lee has passed away. He was 95 years old.
"My father loved all of his fans. He was the greatest, most decent man," Lee's daughter J.C. confirmed the news to TMZ. Over the years, the beloved creator of our favorite superheroes had suffered from various illnesses—from pneumonia to heart complications—forcing him to cancel some major convention appearances, including his supposed visit in Manila earlier this year for the Asia ComicCon 2018.
Born Stanley Lieber, the now-dubbed "Father of Marvel" began working in the industry in 1939 and revolutionized the Marvel comics in the 1960s. He created and co-created amazing characters like Black Panther, Spider-Man, the X-Men, the Mighty Thor, Iron Man, the Fantastic Four, the Incredible Hulk, Daredevil, and Ant-Man. His staple cameo appearances have been much-anticipated in every Marvel movie.
His wife of 69 years, Joan, died in July 2017.
In 2008, Lee was awarded the National Medal of Arts, the highest US government award for creative artists.
Your memory and awesome contribution will live on. Rest in peace, Stan "The Man" Lee!
November 12, 2018


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CHARLOTTE, N.C. -- Defensive end Charles Johnson, who ranks second behind Julius Peppers on the Carolina Panthers all-time sack list with 67 1/2, has officially retired.
The Panthers released Johnson in February after a 2017 season in which the former Georgia star was suspended for four games in December for violating the league's policy on performance-enhancing drugs. He also went without a sack for the first time since his rookie year in 2007.
Johnson took full blame for the suspension, saying he took the drug while recovering from back surgery that basically signaled the end of his career.
Prior to that, Johnson was a perennial team captain and quiet leader in the locker room.
"Great team player, good person and leader,'' coach Ron Rivera said.
In an interview with the team website about finalizing his decision to retire, Johnson recalled a conversation with former University of Georgia administrator Carla Johnson while he played for the Bulldogs.
"When I was at Georgia, she asked me, 'What if you don't make it to the NFL?' '' Johnson recalled. "And I forgot that I had told her I was going to be a janitor back in my hometown."
Johnson, from Hawkinsville, Georgia, went on to play 11 NFL seasons for the Panthers after being selected in the third round of the 2007 draft.
In 2012, he signed a six-year, $72 million deal that earned him the nickname "Big Money.'' He had a career-high 12 1/2 sacks that season en route to becoming the first player in team history with four consecutive seasons with at least nine sacks.
Johnson told the team website he wanted to be remembered as "loyal, hard-working.''
"A Panther all the way through,'' he said. "The Panthers were all I knew, and all I ever wanted to know.''


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He is one of the smiliest babies I've ever seen, but definitely the smiliest in our family. He smiles instantly when you make eye contact, and is often smiling to himself too. We love it! Happy happy Jack. (Happy Jack Road, Wyomingites?)
Smalls LOVES this red play mat. I take it with me when I know I'll be somewhere for a while - he's there when I'm cooking, working out, or doing chores.
|Bumbo Boy!
He's turning into the next stage of infant and it's so fun - he is so strong and interactive and I love watching him grab everything. He sucks on his hands and is starting to think about rolling over.
|look at this cute little boy, little button nose


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Good morning sunshine! Don't spend the most glorious part of the day cooking and cleaning a skillet.
Start the day out right with a great tasting breakfast that only requires hot water. Campfire Meals has your next backpacking food with high-quality breakfasts that you'll want to eat at an time - not just on an adventure!


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Mike Herrera (MXPX, Tumbledown) has announced plans to not only embark on an acoustic tour with Gasoline Heart's Louis DeFabrizio, but also release an acoustic album of live material. A full press release regarding all of this can be read below. If you haven't picked up Tumbledown's latest album, what are you waiting for? After […]
Mike Herrera acoustic album
Mike Herrera (MXPX, Tumbledown) solo tour, acoustic album
April 13th, 2011 James Shotwell


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Keep a Gravy Boat on The Table Year-Round
In many homes, the gravy boat comes out for special occasions. Buck the convention and create a new signature in your home by keeping a boat available for weeknight meals or weekend brunches. The addition of a thick, flavorful sauce lends a touch of luxury and indulgence to your daily dining and everyday cuisine. Let yourself make storage space for more than one boat even. You can trade out looks the same way you switch the rest of your tabletop depending on the mood and the meal.
Making The Most of a Holiday Staple
Explore different ways to bring an upbeat feel to your table by looking to the touch points of holiday seasons when meals are exciting and hold surprises for your family or guests.
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- Choose a gravy boat with an included warmer. This charming base holds the boat aloft and has a small opening where you can place a tea light. The flame of the little candle keeps the gravy warm, like a catering pan.
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- Create a polished atmosphere by selecting a high-shine option or one with a filigree or other decorative handle. If you use a plain white pourer most of the time, bring this one out for special occasions. A plain white separator lets you make more of a statement with special gravies.
Deciding Whether or Not To Use a Spoon
There exists an interesting debate around the use of a spoon with a gravy boat.
As with most dining table rules, you can choose to stay strict and make sure everyone at the table follows your lead, or you can simply set up a few cues and see what makes everyone comfortable, which has a lot of mannerly merit as a concept, anyway.
- If you want your dinner guests to use a spoon, be sure to put out a spoon. Place it near the boat and ensure it has a small plate on which to rest. If you have a large table, put a spoon on a plate on each side of the boat.
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Discover how rich meals feel with the simple addition of a well-loved gravy boat.


text: We have been cleaning Furs since the 1960s. Our fur cleaning process is a noninvasive non-emersion method. Our solution penetrates the fur and cleans the surface of the skin. After cleaning and drying we spray our glazing solution that separates the fur and gives the individual strands body and shine. We need a week to complete the process with cost varying by the length of the coat.