text:
Israel's History of Infidelity. 1In the seventh year, on the tenth day of the fifth month,* some of the elders of Israel came to consult the LORD and sat down before me.a 2Then the word of the LORD came to me: 3Son of man, speak to the elders of Israel and say to them: Thus says the Lord GOD: Have you come to consult me? As I live, I will not allow myself to be consulted by you!—oracle of the Lord GOD.
4Will you judge them? Will you judge, son of man? Tell them about the abominations of their ancestors,b 5and say to them: Thus says the Lord GOD: The day I chose Israel, I swore to the descendants of the house of Jacob; I revealed myself to them in the land of Egypt and swore to them, saying: I am the LORD, your God. 6That day I swore to bring them out of the land of Egypt to the land I had searched out for them, a land flowing with milk and honey, a jewel among all lands.c 7Then I said to them: Throw away, each of you, the detestable things* that held your eyes; do not defile yourselves with the idols of Egypt: I am the LORD, your God.d
8But they rebelled and refused to listen to me; none of them threw away the detestable things that held their eyes, nor did they abandon the idols of Egypt. Then I considered pouring out my fury and spending my anger against them there in the land of Egypt.e 9I acted for the sake of my name, that it should not be desecrated in the eyes of the nations among whom they were: in the eyes of the nations I had made myself known to them, to bring them out of the land of Egypt.f 10Therefore I led them out of the land of Egypt and brought them into the wilderness. 11g Then I gave them my statutes and made known to them my ordinances, so that everyone who keeps them has life through them. 12h I also gave them my sabbaths to be a sign between me and them, to show that it is I, the LORD, who makes them holy.
13But the house of Israel rebelled against me in the wilderness. They did not observe my statutes, and they rejected my ordinances that bring life to those who keep them. My sabbaths, too, they desecrated grievously. Then I considered pouring out my fury on them in the wilderness to put an end to them,i 14but I acted for the sake of my name, so it would not be desecrated in the eyes of the nations in whose sight I had brought them out.j 15Nevertheless in the wilderness I swore to them that I would not bring them into the land I had given them—a land flowing with milk and honey, a jewel among all the lands. 16Their hearts followed after their idols so closely that they did not live by my statutes, but rejected my ordinances and desecrated my sabbaths. 17But I looked on them with pity, not wanting to destroy them, so I did not put an end to them in the wilderness.
18Then I said to their children in the wilderness: Do not follow the statutes of your parents. Do not keep their ordinances. Do not defile yourselves with their idols. 19I am the LORD, your God: follow my statutes and be careful to observe my ordinances; 20keep holy my sabbaths as a sign between me and you so that you may know that I am the LORD, your God.k 21But their children rebelled against me: they did not follow my statutes or keep my ordinances that bring life to those who observe them; my sabbaths they desecrated. Then I considered pouring out my fury on them, spending my anger against them in the wilderness; 22but I stayed my hand, acting for the sake of my name, lest it be desecrated in the eyes of the nations, in whose sight I had brought them out. 23Nevertheless I swore to them in the wilderness that I would disperse them among the nations and scatter them in other lands, 24because they did not carry out my ordinances, but rejected my statutes and desecrated my sabbaths, having eyes only for the idols of their ancestors. 25Therefore I gave them statutes that were not good,* and ordinances through which they could not have life.l 26I let them become defiled by their offerings, by having them make a fiery offering of every womb's firstborn, in order to ruin them so they might know that I am the LORD.m
27Therefore speak to the house of Israel, son of man, and tell them: Thus says the Lord GOD: In this way also your ancestors blasphemed me, breaking faith with me. 28When I brought them to the land I had sworn to give them, and they saw all its high hills and leafy trees, there they offered sacrifices, there they made offerings to provoke me, there they sent up sweet-smelling oblations, there they poured out their libations.n 29So I said to them, "What is this high place* to which you go?" Thus its name became "high place" even to this day.o 30Therefore say to the house of Israel: Thus says the Lord GOD: Will you defile yourselves in the way your ancestors did? Will you lust after their detestable idols? 31By offering your gifts, by making your children pass through the fire, you defile yourselves with all your idols even to this day. Shall I let myself be consulted by you, house of Israel? As I live—oracle of the Lord GOD—I swear I will not let myself be consulted by you!p
32What has entered your mind shall never happen: You are thinking, "We shall be like the nations, like the peoples of foreign lands, serving wood and stone." 33As I live—oracle of the Lord GOD—with mighty hand and outstretched arm, with wrath poured out, I swear I will be king over you!q 34With mighty hand and outstretched arm, with wrath poured out, I will bring you out from the nations and gather you from the countries over which you are scattered;r 35* I will lead you to the wilderness of the peoples and enter into judgment with you face to face. 36Just as I entered into judgment with your ancestors in the wilderness of the land of Egypt, so will I enter into judgment with you—oracle of the Lord GOD. 37Thus I will make you pass under the staff* and will impose on you the terms of the covenant.s 38I will sort out from you those who defied me and rebelled against me; from the land where they resided as aliens I will bring them out, but they shall not return to the land of Israel. Thus you shall know that I am the LORD.
39As for you, house of Israel, thus says the Lord GOD: Go! each of you, and worship your idols. Listen to me! You shall never again desecrate my holy name with your offerings and your idols!t 40For on my holy mountain,* on the highest mountain in Israel—oracle of the Lord GOD—there the whole house of Israel shall worship me; there in the land I will accept them all, there I will claim your tributes, the best of your offerings, from all your holy things.u 41As a sweet-smelling oblation I will accept you, when I bring you from among the nations and gather you out of the lands over which you were scattered; and through you I will manifest my holiness in the sight of the nations.v 42Thus you shall know that I am the LORD, when I bring you back to the soil of Israel, the land I swore to give your ancestors. 43There you shall remember your ways, all the deeds by which you defiled yourselves; and you shall loathe yourselves because of all the evil you did.w 44And you shall know that I am the LORD when I deal with you thus, for the sake of my name, not according to your evil ways and wanton deeds, house of Israel—oracle of the Lord GOD.x
* [20:1] The seventh year…the fifth month: August 14, 591 B.C.
* [20:7] Detestable things: in the Book of Ezekiel, Israel's continued worship of idols in Egypt and in the wilderness, despite the Lord's powerful deeds on their behalf, is the reason God punishes them so severely; they must learn and acknowledge that he is their only Lord. Cf., e.g., Exodus (5:1–6:9; 14:10–30; 16:1–36) and Numbers (11:1–15; 14:1–12; 20:1–9), where the people's failure to trust Moses and the Lord brings punishment.
* [20:25–26] I gave them statutes that were not good: because Israel rejected the Lord's life-giving laws, he "gave" laws (e.g., the sacrifice of every firstborn) that would lead only to death and destruction. Dt 12:29–31; Jer 7:31; 19:4–5 may address a popular assumption that the Lord accepted and perhaps required child sacrifice, especially as evidence of great trust during national emergencies (2 Kgs 3:27; Mi 6:7). By combining language from Ex 22:28 with the vocabulary of child sacrifice, Ezekiel suggests that firstborn sons were regularly sacrificed in Israel.
* [20:29] High place: a cultic site, originally a hilltop, but often a raised platform in a sacred area. Until Deuteronomy's insistence that official and legitimate worship of the Lord take place only in Jerusalem, these local shrines were popular places for worship (e.g., 1 Sm 9–10) or for consulting the Lord (1 Kgs 3:4–5). In order to unite the Kingdom of Judah politically and religiously, Dt 12:2 demands destruction of the high places. Ezekiel, like other prophets, condemns Israelite worship at these places and identifies this illegitimate worship as one reason for the punishment of exile.
* [20:35–38] Exile among other lands occasions a new exodus and a new wilderness journey back to Israel. The Lord will eliminate the rebellious, as he did on the first journey, and use the surviving remnant to reveal his power to the nations.
* [20:37] Pass under the staff: in Lv 27:32–33, a method of counting off animals to select those to be dedicated for the tithe. In Ezekiel, on the other hand, those who survive the selection process are marked for destruction for violating the covenant.
* [20:40] Holy mountain: the Temple mount and Jerusalem in contrast to "every high hill" in v. 28 (cf. the royal Zion theology in Ps 48:2). Acceptable worship takes place here among a restored people, a theme taken up in chaps. 40–48 (cf. 40:2).
b. [20:4] cf. Ez 16:2; Mt 23:32.
c. [20:6] Ex 3:8; 6:8; Dt 8:7–10.
e. [20:8] cf. Ez 16:26; Ex 32:7.
g. [20:11] Lv 18:5; Dt 4:7–8; Rom 10:5.
h. [20:12] Ex 20:8, 10; 31:13; Dt 5:12; Neh 13:17–18.
i. [20:13] Jer 11:7–8; 17:21–23.
s. [20:37] Lv 27:3; Jer 33:13.
u. [20:40] cf. Ps 2:6; Is 11:9; 56:7.
v. [20:41] cf. 2 Cor 2:14.
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text:
Grumpysaurus Rex Kid Funny Grandpa Tumbler
30oz. Tumblers feature stainless steel double-wall construction, vacuum insulated for 2X cold and heat retention compared to glass or plastic containers, removable clear lid and textured sweat-free powdercoat.
• Tumbler Brand - Polar Camel
• BPA and Lead Free
• Hand Wash Only
• Do Not Microwave
• Proudly Made In USA
It takes about 1 to 3 weeks (10-24 days) from the time of purchase for the product to get to your destination.In some cases it may take up to 4 weeks, for example during the Holiday season.
The tracking number takes 3-5 business days to appear , since we prepare the package for the shipment it takes about 36 hours after your purchase for us to prepare it for the shipping. The tracking update comes by email also you can see it on your order page or Facebook Messenger window at the top . PLEASE COPY PASTE THE TRACKING TO USPS WEBSITE TO TRACK IT, DO NOT USE THE SITE GIVEN BY EMAIL! Please check all of your email folders for an update or come back to your order page in 3-5 days!
If the item does not get to you 6 weeks after the purchase (please understand that sometimes packages get stock at customs and in some cases it takes 4-6 weeks) Please don't ask for a refund before 6 weeks pass after the purchase.
Yes! We love you and want to keep you and your person information safe from harm. The solution to this problem is to encrypt your sensitive data for transmission. Secure Sockets Layer (SSL) was created for this very purpose. SSL uses a complex system of key exchanges between your browser and the server you are communicating with in order to encrypt the data.
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If your item arrived damaged please contact us within 7 days of delivery and send photos of damaged items and packaging it arrived in. (USPS requires this to file a claim). We'll work on getting a new items to you as soon as possible.

subset: commoncrawl


text:
lojban by Choice/LojbanPod newbie lesson A0002/Forum
(Redirected from Lojban by Choice/LojbanPod newbie lesson A0002/Forum)
Jump to navigation
Jump to search
Readers' Forum
This is the page to discuss the lesson, ask your questions, leave your comments, or just to say hello!
Click here or the tab labeled "edit this page" at the top of this page in order to add your comment at the end.
example: title of comment (start and end with "==")
Text of comment. Sign your comment using "--~~~~". This will look something like this: --Martin Kraus (talk) 09:26, 14 November 2008 (UTC)


text:
It looks like you have not created your personal home page yet.
A personal home page can be used to publish data about yourself, such as:
- who you are, what you do, what you like or dislike
- your phone number, email address or other contact information
- a photo of yourself
You also can use a personal home page to store information for yourself (and maybe also for others), such as:
- your favourite links
- your todo list
- your notes
Keep in mind that a personal home page is usually public, anyone can read and edit it (and this is a good thing, see it as a means of communication with you). However, you can create protected sub-pages to restrict public access to some of your pages.


text:
This Domino Cards game is build upon new words appeared in Short-Term Spoken Chinese (3rd Edition) Threshold Vol. 1 (ISBN 9787301257357) Lesson 12.
The goal of Dominoes is to build a string of domino cards by matching a word on your domino to its Pinyin on the domino path.
The Chinese words on the cards are with colorful strokes, which means each stroke is with a different color.
This game can be played with two to four players.
How to use:
1. Print the worksheet on A4 or US Letter size paper and cut the cards following the crop marks.
2. Shuffle the domino cards.
3. The first player selects one of cards and puts it, face up. The player must read aloud the Chinese and Pinyin on the card.
4. The next player takes his turn. He needs to scan the left cards for a word that matches Chinese or Pinyin on the already-played domino card. When he finds one, he adds it to the playing field, reads both Chinese and Pinyin on the card aloud.
4 pages | 1.0MB .


text:
Good morning, I'm Steve Inskeep.
Jennifer Lawrence won the Best Actress Oscar for "Silver Linings Playbook." Surely, that will be remembered longer than her performance at the Academy Awards. On the red carpet she used a four-letter word which ABC bleeped. Inside, she fell on her way to accept the award. Later, reporters asked how she'd prepared for the evening. Lawrence said her family had taken over her house and at some point, quote, "I did a shot." It could happen to anybody.
You're listening to MORNING EDITION. Transcript provided by NPR, Copyright NPR.


text:
Bank of America's Monty Sayler and Merrill Lynch's Ryan Kirby recently presented United Way of the Lower Eastern Shore Executive Director Kathleen Mommé with a $7,000 corporate gift from Bank of America for the 2010 United Way Campaign. Submitted Photo
Bank Earns 5-Star Rating
OCEAN CITY – The Bank of Ocean City has announced that it has again received the coveted 5 Star Rating from Bauer Financial, Inc.
Bauer Financial has been analyzing and reporting on the financial condition of the nation's banking industry since 1983. Through the years, Bauer Financial has earned the reputation as "the nation's bank rating service".
Bank of Ocean City has been servicing Ocean City and the surrounding area since 1916.
Association Elects Leaders
BERLIN – The Eastern Shore Building Industry Association has announced the election of its Executive Committee and Directors for 2011 at its recent December meeting.
The executive committee will consist of President John Kotoski, River Run Development Associates; Vice President Greg Greiser, Messick Inc.; Associate Vice President Jeremy Crawford, Bradco Supply Company; Secretary Greg Sauter, Geo-Technology Associates, Inc.; Treasurer Phillip Cheung, E.S. Gregory & Associates; and Immediate Past President Don Messick, Messick, Inc.
The Directors include Denis Brilliant, GFL Roofing; Steve Campbell, Avon Dixon Insurance; Kate McCloskey, Interior Concept, Inc.; Bill Hays, Handy Hays Service; Colleen Deptula, Beach Construction; Richard Insley, Rinnier Management; Mike Poole, Rakow Homes; Robert Purcell, Beachwood Inc.; and Brian Trego, Stone Tech Crushing.
Utility Seeks Higher Rates
SALISBURY – Delmarva Power this week asked the Maryland Public Service Commission to authorize an increase in electric delivery rates for the company's nearly 200,000 Maryland customers.
If approved, the change would add 2.8 percent to monthly residential electric bills, effective July 21, 2011. The typical bill for a Standard Offer Service residential customer using 1,000 kilowatt-hours a month would increase by $3.76, moving the average monthly bill from $135.26 to $139.02.
The proposed $17.8 million increase reflects rising costs required to provide customers with safe and reliable electric service. Factors include upgrades to the electric system to improve reliability and support investment in new technology.
"We are seeking a relatively modest rate increase to help us keep pace with the demands for quality service and the cost of maintaining and improving our electric delivery system so that we can ensure the continued, reliable flow of electricity to our customers," said Gary Stockbridge, President, Delmarva Power Region. "Investing in a safe, reliable and efficient electric system benefits the communities we serve."
Delivery rates cover the cost of the poles and wires that carry electricity to customers' homes and businesses and are separate from supply rates. Supply rates are driven primarily by the cost of fuel to make electricity and reflect the cost of energy that Delmarva Power purchases on behalf of its Maryland customers who do not buy power from an alternate supplier. Customers who buy from a competing supplier will see the same increase in their delivery rates.
Community Honored
BERLIN – GolfCourseHome® Network's 3rd Annual "Best of the Best" rankings selected The Carl M. Freeman Companies' Bayside as a Community of Distinction for 2010.
The selection is based on a summation of honors reflecting all major media rankings of golf courses and golf communities for the current year.
With over 500 homes settled, Bayside will have more than 1,600 homes when completed.


text:
The website you attempted to reach has been discontinued. You can view all archived Smithsonian websites here.
To browse collections documenting the Smithsonian's history, people, events, and research, visit the Smithsonian Institution Archives' Collections Search. You can also obtain Rights & Reproduction information for these collections on this website.
To view records from across the Smithsonian's museums, libraries, archives and research centers, please visit the Smithsonian Collections Search.


text:
Discomfort and pain in your jaw, clicking while you talk or chew, and swelling on the sides of your face can be caused by Temporomandibular Joint Disorder (TMD). TMD can make talking and eating both painful and uncomfortable. Our Huntersville dentist understands how TMD can make your day a challenge. We've compiled a list of helpful tips for managing TMD discomfort, but also encourage you to schedule a visit to see us for a full evaluation.
Finding Relief at Home
If your jaw is swollen, try applying a cold compress to your face. We recommend holding the compress in place for about 10 minutes. If you are able, try a few gentle jaw stretches. After the cold compress, apply warm, moist heat to the same area. You can keep this warm compress in place for an additional 5 to 10 minutes.
If your discomfort is particularly noticeable, try over-the-counter pain relievers such as nonsteroidal anti-inflammatory drugs (NSAIDs) or ibuprofen. If you find yourself taking pain relieving medications daily, please contact us immediately.
The "Don'ts" of TMD
Applying excess pressure to your jaw can make your TMD discomfort worse. Don't use your hand as a rest for your chin, as doing so increases the amount of pressure and strain placed on your jaw. If you talk on the phone frequently, avoid holding the phone on your shoulder while bending your neck to keep it in place.
Clenching your jaw and keeping your teeth tightly closed can also lead to a build-up of pressure in the jaw. During the day, try to keep your teeth from touching. By create a little space between your teeth, you will be relieving pressure from your jaw.
Contact Us
Our Huntersville dentist is here to help you. Schedule a consultation with our dentist in Huntersville to learn more about the solutions available for people just like you dealing with TMD discomfort. We will provide a thorough examination to determine the best course of treatment for your TMD.
Relief may be closer than you think. Contact our dental team to learn more today.
Tate C. Langdon, DDS, PA of Huntersville, NC
Phone: (704) 875-0123
Url: https://huntersvilledentist4u.com/
15329 Hodges Cir.
Huntersville, NC 28078


text:
My Lord God,
I have no idea where I am going.
I do not see the road ahead of me,
I cannot know for certain where it will end.
Nor do I really know myself,
And the fact that I think
I am following your will
Does not mean I am actually doing so.
But, I believe
That the desire to please you
Does in fact please you.
And I hope I have that desire
in all that I am doing.
I hope that I will never do anything apart
from that desire.
And I know that if I do this
You will lead me by the right road,
Though I may know nothing about it.
Therefore, I will trust you always
Though I may seem to be lost
And in the shadow of death.
I will not fear,
For you are ever with me,
And you will never leave me
To face my perils alone.
~ Thomas Merton


text:
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Fax: (650) 725-8375
Find a doctor or plan and prepare for your hospital stay or upcoming appointment.
Start your search for doctors and specialists with locations throughout the Bay Area.
From hospital to clinics, we have easily accessible locations across the Bay Area and beyond.
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From pre-birth to new parent seminars, we design classes with you and your family in mind.
Get information on health conditions, symptoms, treatments, safety and best practices.
Resources for continuing education and training as well as information for referring a patient.
We're building healthier, happy lives with the most advanced and family-friendly hospital.
Get involved: donate, volunteer, join our team and follow us on social media.
Read our stories and ideas for creating a healthier, happy life for you and your family.
You can help support the health of children and pregnant moms.
Our volunteers often say they give their time, and get paid in smiles and hugs.
Whether you attend or host an event, you're helping to support our kids and families.
A career with us is about passion, teamwork and providing extraordinary care.
Get connected to a community of patients, families, friends and supporters.
Jefferson Medical College, Philadelphia, PA, 1999
The Children's Hospital of Philadelphia, Philadelphia, PA, 2000
The Children's Hospital of Philadelphia, Philadelphia, PA, 2002
Massachusetts General Hospital, Boston, MA, 2005
Pediatric Endocrinology, American Board of Pediatrics
Pediatrics, American Board of Pediatrics
© Stanford Children's Health


text:
Exam Title: EC-Council Disaster Recovery Professional (EDRP)
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text:
5. DJ Hardware
Although Mixxx can be used with just a laptop or desktop computer, fully taking advantage of Mixxx's features requires specialized DJ hardware. Depending on your budget and application area, your setup and requirements may vary. This chapter provides general background information about various types of DJ hardware.
To make DJing with Mixxx a fun experience, at least the following pieces are needed:
speakers to play the music to the audience,
an audio interface with 4 mono/2 stereo output channels (or 2 mono output channels + a DJ splitter cable),
headphones for prelistening tracks while another track is playing on the speakers, and
audio cables and adapters to connect the equipment to your computer.
Additionally, you might consider getting the following equiment:
a controller,
turntables, an audio interface with phono inputs and timecode vinyl,
a laptop/controller stand,
a surge protector to protect the equipment from voltage spikes,
cases for laptop, controller and headphones, and
custom fader and knob caps to customize your gear.
Veja também
Instructions how to use DJ Controllers that work out-of-the-box with Mixxx can be found in the Hardware Manuals section of this manual. The Mixxx DJ Hardware Guide on the Mixxx Wiki also lists additional devices, including information about their prices, features, and compatibility with Mixxx.
5.1. Controladores
DJ controllers are devices with knobs, faders, buttons, and jog wheels to control DJ software such as Mixxx. Controllers allow quick access to different controls while providing tactile and visual feedback indicating the state of each control, such as the position of a knob or whether a switch is on or off. This allows you to focus on manipulating the music without needing to look at your computer screen all the time. Controllers also allow using two hands to manipulate two different controls at the same time, which is required for many mixing techniques.
DJ controllers typically do not do any actual audio processing. Instead, they send signals (typically MIDI or HID over a USB cable) to the computer to instruct DJ software how to manipulate the audio. Many DJ controllers include an audio interface with 2 separate stereo outputs built into the device. This allows the DJ to transport and setup only one piece of hardware in addition to a laptop. Some devices can be used as both a controller and hardware mixer.
Mixxx can work with any MIDI or HID controller as long as there is a mapping file to tell Mixxx how to understand the controller's signals. Mixxx comes bundled with a number of MIDI and HID mappings, which are listed in the Hardware Manuals section. For controllers that Mixxx does not yet support, you can search the forum to see if anyone has started a mapping. You can also start one yourself using the information in the Controller Mapping Documentation on the wiki.
Veja também
Usando Controladores MIDI/HID describes how to configure Mixxx to use controllers.
5.2. Audio Interfaces
An audio interface (also known as a «sound card», although few of them are shaped like cards anymore) is a device that allows a computer to send output to and receive input from audio equipment. Whether using internal or external mixing, it is recommended to use a single audio interface with at least 4 independent output channels (2 separate stereo pairs).
The headphone jack on most laptops is not a second audio output. Rather, plugging headphones into the jack simply redirects the laptop's single stereo output from its speakers to your headphones. A splitter cable can be used to separate the stereo output of a headphone jack into two separate mono outputs for headphone cueing, but it is recommended to use a sound card with at least four mono outputs (for two stereo pairs). Such sound cards tend to be higher quality than those built into laptops and allow your mix to be enjoyed in stereo by your audience.
Unlike some proprietary DJ systems, Mixxx can use any audio interface and any MIDI or HID controller that your OS has drivers to use. If your controller has an integrated audio interface, you may choose to use a different audio interface for higher quality audio. Mixxx can also use multiple audio interfaces simultaneously.
Audio Interface Considerations
This section provides background information to help you choose an audio interface to use with Mixxx.
Bit Depth and Sample Rate
Most music is published with a bit depth of 16 bits at a sample rate of 44.1 kHz because this is all that is needed to store all the detail of music in digital form.
Bit depth determines the possible dynamic range of the signal. 16 bits is more than enough for playing back music. While 24 bits is helpful for recording, it is useless for playback.
Half the sample rate determines the maximum frequency that can be represented by the signal. Humans generally can't hear frequencies above 20 kHz, so a sampling rate of 44.1 kHz, representing a maximum frequency of 22.05 kHz, is fine for playback. Higher sample rates like 88.2 kHz and 96 kHz can be helpful to reduce aliasing distortion when recording, but have no benefit for playback and make your computer work harder.
For a more thorough and technical explanation of why 16 bits at 44.1 kHz is all that is needed for playback, read 24/192 Music Downloads Are Very Silly Indeed.
When considering specifications, higher dynamic range, higher signal-to-noise ratio (SNR), higher maximum output level, lower THD+N (Total Harmonic Distortion + Noise; look for a more negative dB value or smaller percentage), and lower crosstalk (more negative dB value) are better. Cheap audio interfaces tend to not have these specifications published.
Connector and Cable Types
If you are unfamiliar with professional audio equipment, read Digital DJ Tips" Essential Guide to Audio Cables for DJs to understand the different kinds of connectors on audio interfaces. It is better to use an audio interface with balanced outputs, especially if you will run long cables directly into an amplifier or active speakers without going through a hardware mixer. Balanced signals reject interference and are less susceptible to ground loop hum issues (which can be a problem when plugging unbalanced gear into separate power sources).
However, most venues have DJs plug into hardware DJ mixers, which typically only have RCA inputs (RCA cables cannot be balanced). Most home/computer speakers and amplifiers have RCA and/or 1/8» TRS stereo inputs. Most live sound mixers have balanced 1/4» TRS mono inputs. If you need to interconnect balanced and unbalanced gear, refer to this guide from Presonus (deleted, via archive.org) and this guide from Rane (deleted, via archive.org).
Number of Channels
Audio interfaces sometimes have multiple connectors for a single channel, resulting in more connectors than channels. So, not every connector can send or receive and independent signal. For example, some audio interfaces made for DJing have 4 output channels with 4 mono output connectors and 1 stereo headphone connector. This does not mean that the audio interface can send out 6 different signals at the same time; rather, the signal on 2 of the mono outputs and the stereo headphone output would be the same. Also, many controllers have separate main and booth outputs with independent volume controls, but they both play the same signal.
Vinyl Control and Phono Preamplifiers
Turntables output low voltage (phono level) signals that need to be amplified to line level before most audio equipment can work with them. So, if you want to use Controle por Vinil, sometimes referred to as a Digital Vinyl System (DVS), it is best to have phono preamplifiers (one for each deck) somewhere between your turntable and sound card to boost the turntable's phono level signal to line level. Mixxx can amplify phono level signals in software, but it is better to do it in hardware. The phono preamp can be in the turntable, in the audio interface, or a stand alone device. Most audio interfaces do not have phono preamps; these are generally found on audio interfaces specifically made for controlling DJ software with timecode vinyl. Mixers with audio interfaces have phono preamps on their deck inputs, but not necessarily on every deck input. Many higher-end all-in-one controllers also include audio interfaces with phono preamps.
Driver Support
Unlike some proprietary DJ programs, Mixxx works with any audio interface that is compatible with your operating system — including for timecode vinyl (DVS) use.
USB Audio Class compliant audio interfaces should work out of the box on all operating systems supported by Mixxx. This is the case for the integrated audio interfaces in most DJ controllers. Sound cards that aren't USB Audio Class compliant need a driver for each OS.
On Windows, you should install the manufacturer's drivers even for USB class compliant audio interfaces to be able to use the recommended ASIO sound API.
If you are considering buying a controller or audio interface, the easiest way to tell if it is USB class compliant before you buy it is to search for macOS drivers for the device on the manufacturer's website. If it is advertised as compatible with macOS or iOS but there are no drivers to download for macOS, the device is USB class compliant.
5.3. Mixers
Mixers are devices that combine audio signals. DJ mixers are different from live and studio mixers because they have multiple stereo channels with phono preamplifiers for connecting Turntables. It is conventional to use a DJ mixer with Controle por Vinil, but vinyl control can be used without a hardware mixer.
Using Mixxx with a DJ mixer requires an audio interface with at least 4 mono outputs (2 stereo pairs) to send Mixxx's decks to the mixer's stereo channels. Some DJ mixers have a USB audio interface built into them. This lets Mixxx send unmixed audio files directly to the mixer without needing a separate stand-alone audio interface.
Often DJs who use DJ software with internal mixing send their main output to a hardware mixer. This can be helpful to send the mixed signal to both a main speaker output for the audience and booth speakers for the DJ with separate gain controls for each output. It also facilitates smooth transitions between DJs.
However, using an external mixer with internal mixing is not necessary and reduces the sound quality. Each piece of equipment an audio signal passes through reduces the sound quality, so avoiding unnecessary equipment in the signal path can provide better sound quality. Many DJ controllers provide separate main and booth outputs with independent volume controls. Alternatively, a sound card with at least 6 output channels can be used with Mixxx's Booth output.
Many people confuse «analog mixers» and «hardware mixers», but these are not the same. Many hardware mixers process audio digitally with specialized signal processors as opposed to a general purpose CPU like those in laptop and desktop computers.
5.4. Turntables
Turntables are mechanical devices that play music recordings cut into vinyl phonograph records. Before software like Mixxx was available, the art of DJing originated with turntables and DJ mixers. Special vinyl records can be used with turntables to control the playback of digital files in Mixxx as if the digital file was pressed onto the vinyl record.
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5.5. CDJs
CDJs are devices that play digital audio files and have controls from manipulating the playback of the audio. Originally CDJs played audio CDs, but new devices typically use USB storage drives or SD cards. Some CDJs can be plugged into a computer with a USB cable to function as a controller for Mixxx.
5.6. Microphones
Microphones convert changes in sound pressure in air to changes in voltage (an analog audio signal). Mixxx can work with any microphone that can be plugged into your audio interface.
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5.7. Headphones
Being able to listen to what you will play next in headphones before your audience hears on the main speakers or your broadcast stream is an essential part of DJing. DJ headphones are generally better quality than typical consumer headphones. Importantly, they are designed to have good isolation, meaning they block outside sound. This allows the DJ to focus on the sound in the headphones better without having to turn up the volume to drown out sound from the monitors, PA system, and chatter. Also, DJ headphones have hinges or flexible headbands that allow the DJ to take off one headphone cup to hear the monitor or PA output better in one ear and compare it to the headphone output in the other ear.
When shopping for headphones, consider how well they isolate sound and their durability. The most frequent places that headphones break are the cable attachment point and the headband. Look for headphones with detachable cables, metal headbands, and other individually replaceable parts. Avoid Bluetooth headphones because these may be unreliable and will always reduce sound quality. Active noise canceling headphones also tend to have worse sound quality than other headphones of a comparable price. DJ headphones with a closed design block out a lot of sound simply by being closed.
Whether to get on-ear or over-ear headphones is a matter of personal preference. Everyone's head is different, so headphones that are comfortable for a friend or a reviewer may not be comfortable for you.
In-ear monitors (IEMs) isolate sound better than headphones but are more expensive. They usually cost more than double the price of good DJ headphones with comparable quality. They may be a sound investment for musicians who play often in very loud environments to preserve their hearing.
5.8. Splitter Cables
DJ splitter cables are the cheapest way to get two separate sound outputs from your computer. These plug into the onboard audio interface built into computer motherboards and split the stereo signal into two separate mono signals. However, onboard audio interfaces are not good quality, and you lose the stereo effect of hearing different sounds arranged in space.
Devices marketed as «headphone splitter» instead of DJ splitters duplicate one stereo signal in two jacks. These cannot be used for headphone cueing. Also, generic stereo-to-mono splitter cables or adapters typically have two mono jack outputs. Plugging headphones or stereo speakers into a generic stereo-to-mono splitter will only play sound on one side of the headphones or speakers.


text:
This rectangular window overlay features a red and yellow
butterfly with pink and purple flowers with a variegated white
white background. The border is of variegated tans and pink.
This rectangular window overlay features a red and yellow
butterfly with pink and purple flowers with a variegated white
white background. The border is of variegated tans and pink.
Pricing, Image Preview & Ordering Your Custom Window Film
Enter the dimensions of your window and please enter your fractions as decimals, for fractions see fraction helper below. Do not include any other symbols like " or add the word inch.
Select the display material from the drop down and click "Get Pricing."
This will take you to the basket page which will display the price and a Preview button you can click on to see how the film will look.
From here you can click the Checkout button to order, click the Remove button to remove it from the basket, or Save to your Wish List.
If your image doesn't look quite the way you want, Contact Mary Anne and she can make custom edits to get your window film just right.
To get accurate pricing you need to enter your fractions as decimals.
Fractional Inch Helper Chart
1/8 = .125
1/4 = .25
3/8 = .375
1/2 = .5
5/8 = .625
3/4 = .75
7/8 = .875
For other conversions just divide your top number by the bottom number.
Example: 7/16 is 7 divided by 16 = .4375
Transparent material
If you just want something pretty and see through transparent material is what you should order.
Since you will see through the colors this film will not provide any real privacy.
This material will allow all light possible into the room.
Privacy material
Privacy material is used when you don't want to see outside and you don't want anyone to see in.
Works great in bathrooms or anywhere privacy is needed and allows defused light into the room.
This material is also used for back lighting purposes and defuses the sun's glare from coming into the room.
Both of these materials have a removable adhesive back.
If you would prefer a non-adhesive film please contact Mary Anne and let her know.
A Laminate would be recommended if your window receives 4+ hours of Extreme Direct Sunlight Daily to help prolong the life of the film and the colors.
Stained glass colors and textures will have other subtle colors included along with the main color.
This is important to keep in mind if you only want white since you may see other slight colors variances in the printed film.
Please feel free to contact me with your custom requests.


text:
Lista ofert pracy w ITDS Polska Sp. from o.o.na forum with real comments and opinions about earnings. Chciałbyś/abyś pracować w ITDS Polska Sp. z o.o.? Are you interested in jobs?
Can the company itself to you again!. Łatwo i bez problemu znajdziesz ostatnio publikowane oferty pracy dla ITDS Polska Sp. o.. and reviews.
Leave your offer together with a brief description of why this offer you are interested in.. Leave your valid email address in order to be able to contact you.Zostaw opinię i daj znać kiedy była aktywna i czy ta oferta jest jeszcze aktualna do ITDS Polska Sp. o..
Więcej prawdziwych opinii o ITDS Polska Sp. o.. you will find below [Click here]
Help us create an independent reputable portal for employers and leave your true opinion anonymously because it is very important- Do not believe – read our Manifesto and the purpose of what we envision the site SuperPracodawca.pl!
You are an employer?– get involved actively in discussion! Even the negative comments can become a motivation to change for the better – think about the response in the current discussion. Your good opinion and desire to change may attract new, motivated staff.
You have a job offer? Take advantage of our offers and place them on our site


text:
It's true that record levels of home price appreciation have spurred significant equity gains for homeowners over the past few years. As Diana Olick, Real Estate Correspondent at CNBC, says:
"The stunning jump in home values over the course of the Covid-19 pandemic has given U.S. homeowners record amounts of housing wealth."
That's great for your home's value over the last couple of years, but what if you've lived in your home for longer than that? You may be wondering how much equity you truly have.
The National Association of Realtors (NAR) has done a study to calculate the typical equity gains over longer spans of time. The data they compiled could be enough to motivate you to move. Just remember, to find out how much equity you have in your specific home, you'll want to get a professional equity assessment from a trusted real estate advisor.
How Your Equity Grows
Let's start by establishing how you build equity in your home. While price appreciation is clearly a factor that can help boost your equity, you also build equity over time as you pay down your home loan. NAR explains:
"Home equity gains are built up through price appreciation and by paying off the mortgage through principal payments."
Average Equity Growth over Time
The study from NAR breaks down the typical equity gain over time (see graph below). It calculates the equity a homeowner potentially gained if they purchased the median-priced home 5, 10, or 30 years ago and still own it today.
These six-figure numbers are impressive and certainly enough to help you fuel a move into your next home, but they're not a promised amount. Remember, your own equity gain will be different. It depends on how long you've been in the house, your home's condition, any upgrades you've made, your area, and much more.
If you want to find out how much equity you have, partner with a trusted real estate professional for an equity assessment on your home. They can provide an expert opinion on what your house is worth today and how the equity you've gained over time can help you when you purchase your next home. It may be some (if not all) of what you need for your next down payment.
Bottom Line
If you're thinking about selling your house and making a move, home equity can be a real game-changer, especially if you've been in your current home for a while. If you're ready to find out how much equity you have, let's connect.


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Novelist Gary Shteyngart was a wheezing, asthmatic and fearful 7-year-old when he and his parents emigrated from the Soviet Union to Queens, New York, in 1979. (This was soon after America negotiated a trade deal with the Soviets that included allowing Jews to immigrate to Israel, Canada or the U. S.) He tells Fresh Air's Terry Gross that his health was a deciding factor in his parents' decision to move.
"When I was growing up, the ambulance would come almost every week to take me to the hospital because there were no other treatments for asthma," he says. "[My mother] really made this calculation of whether to leave her family behind and have me grow up fairly healthy, or stay with them and have me grow up an invalid, and ... she decided to go to America."
Still, the relocation meant little Shteyngart was suddenly living in the country he had been taught was the enemy. His parents, who had been prevented from practicing Judaism in the Soviet Union, sent Shteyngart to a Hebrew school in Queens, where he felt lost and despised. As he slowly became more American, the distance between him and his parents seemed to grow. Eventually, girls, booze and 12 years of four-times-a-week psychoanalysis also entered the picture. But writing was always a constant, dating back to when he was 5 and wrote a 100-page comic novel.
Shteyngart draws from his life story in satirical novels like Russian Debutante's Handbook, Absurdistan and Super Sad True Love Story. His new memoir is called Little Failure.
Interview Highlights
On adjusting to life and school in America
I think my father ... was the one that believed in Judaism to a large extent, and he joined a synagogue immediately, and that was the one community that he felt really close to, these Orthodox Jews. I, on the other hand, was sentenced to eight years of Hebrew school for a crime that I didn't commit — a conservative school in Queens. To him, being Jewish was this amazing thing that he had fought for all his life and he was denied in Leningrad, but for me, it was a different experience.
I had fur coats and fur hats, and [they] smelled of various woodland animal-type smells. The teachers would take me aside and say, 'Look, you can't be this furry.'
Those were the years when being a Russian was how you were labeled. You were labeled "The Russian." It wasn't just this confederacy of Jews; it was American Jews and Israeli Jews, and then there was me and a couple other Ruskis, and we were despised pretty roundly. ...
And also I had fur coats and fur hats, and [they] smelled of various woodland animal-type smells. The teachers would take me aside and say, "Look, you can't be this furry. You can't dress in these furs. Children won't play with you if you have that much fur on." ... Basically what I was told in school every day was where we came from was wrong and where we were now was right. ... It's a lot for a sensitive 7-year-old to be told that everything he loved and believed in has to be replaced with something else.
On his struggle to learn English
My problem was that I didn't know any English. So on top of not knowing any English, there was another language, Hebrew, which was even harder, that they were trying to teach me. It was too much. ...
And at home we had no television so I couldn't learn English from TV, so for the first years in Hebrew school I would sit apart from everyone at the cafeteria ... and I would just have long conversations in Russian with myself ... in this gigantic fur hat and fur coat, speaking in a language that nobody understood. And all the kids would run up to me and do the crazy sign and laugh and laugh and laugh, but I wouldn't stop because that was the only language that would make me comfortable. ... In speaking it, I could pretend that the people I loved were around me.
On his circumcision
I think I was 8. I'll have to ask my mohel, my circumciser. ... I think my father's belief was that without this I would not be fully a Jewish boy, and in his mind there was nothing more important than making sure that I was a Jewish boy. I think my mother probably had her doubts; I'm pretty sure she did, because she's very against these kinds of medical interventions. But I think ... it meant the world to him.
It was awful for me, but some kind of bond did survive. I did become what he always wanted to be, which was a person growing up in a country where being Jewish wasn't a mark against you. In some parts of New York, it was a mark for you. So I'm not super happy that it happened, but I've certainly made peace with my mohel.
On the traumatic deaths in his family
My mother is a wonderful cataloger of everything that has happened to our family, so thanks to her and thanks to my father, discussions with him, I was able to do a pretty fair portrait of how my family became who they are — and that means death.
They died in the most horrific ways imaginable. ... There's an entire photo album my mother keeps, which is Uncle so-and-so, his wife and children all buried alive. When the Nazis invaded Belorussia, where my grandparents are from, that entire branch of the family was just buried alive by the Germans.
Then there's Uncle Aaron, who ended up mutilated in Stalin's labor camps. Then there's my father's father, who was a Red Army soldier, one of the millions who died right outside of Leningrad. He was in artillery, and Stalin had not prepared for the war — they were fighting with sticks at some point. The Germans just mowed them down. The book includes a scene where I go to the place where my grandfather died.
On processing his family's difficult history
To me that's one of the most important parts of the book because of the fact that my father wasn't raised by his actual father, but was raised by a horrific stepfather who my grandmother remarried. ... That [caused] irreparable damage to my father, growing up with that man, the violence of that relationship.
As I wrote this book, I began to think of my own relationship with my father, which had its ups and downs, certainly more ups than his relationship with his [stepfather]. I began to realize how one little trick of history could've created a very different world for both of us. Especially for him, because there is a loving man, who is my father, but the circumstances in which he grew up, I kept thinking, "What chance did he have?" ... Oddly enough, in writing this book, there are scenes of cruelty between all of us, but it made me love my parents much more because I thought, "My God. Where did you come from? What a place you came from with Hitler and Stalin and the lies. I can't believe you did as well as you did."
Copyright 2023 Fresh Air. To see more, visit Fresh Air.


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What can you find underneath a British railroad or parking lot? These days it could be skeletons, and probably a lot of them. Last month, researchers announced the bones of a man discovered underneath a British parking lot were actually King Richard III. Today, a British rail project says some of its staff stumbled upon skeletons of people who may have died of the Black Death nearly 700 years ago, during an outbreak of bubonic plague.
Thirteen skeletons were found lying in two neat rows about eight feet beneath the road in central London, as workers surveyed land for the Crossrail project, a transportation effort that's building new rail lines for London. It's believed they're from a bubonic plague outbreak in 1348: researchers also found pottery dating from that time period, and say the depth at which the bodies were buried, also indicates an approximate time of death.
It's interesting how the rail effort came across the bones. The Crossrail lines will crisscross the British capital with a lot of underground tunnelling, so the company hired a team of archaeologists to work on any potential discoveries. Up to now, the company says: "the finds uncovered from our work sites include prehistoric animal bones, Roman remains, human remains from the infamous 'Bedlam' psychiatric hospital and remnants of Britain's industrial past. An extremely rare piece of UK amber, estimated to be 55 million years old, is also on display."
Then there's the amazing burial ground discovered this month. The company says some historical records suggest as many as 50,000 people could be buried in the area. Records suggest these no man's land burial grounds for plague victims were used through the 1400's, but no evidence of a huge cemetery has ever been found.
The skeletons will go to the Museum of London Archaeology, where they'll be tested for DNA remnants. Scientists are interested in learning more about the plague. As the Associated Press reports, "the plague began ravaging Europe in 1347, spreading quickly and killing an estimated 30 percent to 60 percent of the European population. Some 75 million people in all are believed to have died in the four-year pandemic, including 25 million Europeans."
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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text:
Groovy example source code file (MissingPropertyExceptionNoStack.java) The Groovy MissingPropertyExceptionNoStack.java source code/* * Copyright 2003-2007 the original author or authors. * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. */ package org.codehaus.groovy.runtime.metaclass; import groovy.lang.MissingPropertyException; public class MissingPropertyExceptionNoStack extends MissingPropertyException { public MissingPropertyExceptionNoStack(String propertyName, Class theClass) { super(propertyName, theClass); } public Throwable fillInStackTrace() { return this; } } Other Groovy examples (source code examples)Here is a short list of links related to this Groovy MissingPropertyExceptionNoStack.java source code file: |
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text:
Interviewer: > Beryl Graham Interviewee: > Rudolf Frieling
Beryl Graham: In your essay in the catalogue for The Art of Participation you identify different kinds of participation, ranging from where theres lots of creative input from the audience into the artwork, to your terminology of more or less determined kinds of participation. I was wondering if you had observed very different responses from the audience; for example, Stephen Willatss A Moment of Action (1974) seems to have a highly determined intent, whereas Erwin Wurms works have much less. Rudolf Frieling: Yes, one of the things that I tried to do was to group together a number of works that would show not only the range of different historic and contemporary approaches but also the emergence of a concept of participation. The range from John Cages 433, which is just saying okay, whatever is happening in these four minutes and thirty-three seconds is part of the work, to something as predetermined as Stephen Willats with his multiple choice questionnaire is not directly comparable perhaps, but these differences highlight the frame of the curatorial concept. The time to prepare the show was short, space was definitely limited, but the diversity of works functioned as a reflection on the conditions of participation. In most of these works there was either a conceptual approach to, or an actual openness to, the potential that you could read works and interpret works totally differently. Willats is addressing the fact that combining a different set of key words with a set of similar images really depends on the viewer. Maybe from todays point of view you would say it is didactic, but historically it was a radical shift when Hans Haacke and others were asking the audience to evaluate something and to place a vote. We often had this discussion internally: how do we treat a past work? Do we treat it as a document or do we treat it as something that you can experience again in one way or another? So on the one hand its very important that we were gathering the information about what people thought and did at the time, and then offered as much as possible an actual experience. On the other hand, some more predetermined works can be relatively dry and dont create the kind of enthusiasm that, say, One Minute Sculptures by Erwin Wurm did, which was hugely popular. However, placing them in direct proximity also lets you perhaps critically assess the more hilarious works from a more conceptual or political point of view. BG: I was thinking that the Stephen Willats piece and the Erwin Wurm piece might appeal to very different kinds of people. RF: Yes, absolutely. We did this at SFMOMA, which is a major tourist destination. Its not a contemporary art space although we do consider ourselves as also an institution that embraces contemporary art. In any case, we do have an obligation to be accessible to all ranges of publics and we were very careful to stage a show that would provide points of access to a number of different audiences. So one of the really crucial curatorial decisions was to say were not putting up a show thats just a document, that places you in a whole historical timeline, leading you from the 50s, 60s and so on to the present time by giving you all kinds of records and documents, which would certainly have told a much more complex story. It was important to select a number of works that would still be significant for a certain moment in time but would also guarantee some sort of an experience now. Thats not always possible, but whenever that was possible, we did it. BG: And did you notice any sort of cultural difference concerning participation? Being British myself, but also having lived in California (and youre a German living in California), I was struck by how different cultures behave in different performative ways RF: Absolutely, and I was positively amazed by the willingness of the Californian audience to be active in the museum, but sometimes also by their liberties and excuses to perform and just do whatever they wanted to do in terms of their own creativity. And they were literally taking some of the works merely as starting points to then do something else. It was really important for me to understand the extent to which people can use the proposition but also possibly misuse it. And, you know, its hard to say misuse because of these really quite open situations and proposalsin which case what would misuse possibly be? In some ways, it is finding out about that barrier that makes you still think of an artwork as a very specific proposal, rather than just saying, heres a platform and you can do whatever you want. And the beauty of works lies often in the specificity of a concept or material combined with the openness or lack of instruction in terms of its activation. BG: Moving on to the impact of participation beyond the gallery walls, and after the audience leaves, I am thinking of Hans Haackes News piece where news from a printer keeps spewing onto the floor, and also some works where people get to take things home RF: Reading the news and taking something home might not be what you would consider the most participatory experience. With Hans Haackes News, theyre just reading the news, browsing through it, but the work depends on a whole set of participants outside the museum who are feeding this piece, by just being news editors and journalists who are publishing news items. So there is a context, a social and political context in real time, which is providing the content for whatever you are then reading. And then we had, for instance, a stack piece by Felix Gonzales-Torres where the audience were allowed to take a printed poster from a stack. We did ask a number of people, So why are you participating in this?, and a lot of people said, Well, I actually love this picture. And some of them were then taking the picture and folding it into objects so they were creating new works out of it. Some of them were even throwing them around in the galleries and thats, well, the learning curve that you have as a curator in keeping a show up and running for a long time. In other words, these two works address a relation to space in real time that is institutionally but also aesthetically defined. Theres been a general belief on behalf of the audience that the museum is opening up. That was understood as a message from us at SFMOMA to our public. One of those instances was the fact that we changed our photography policy because of the show, and we do now allow photography in our permanent collection, and by default also in a temporary exhibition unless a lender specifically prohibits that. Were not and dont wish to be in the position of policing a no-photography policythis is happening anyway, this is a cultural use that people make of their visit. It has really been helpful to promote and to advocate a more positive and more risk-taking policy on behalf of the institution. BG: Thinking about risk-taking, you include photographic documentation of an Abramovic/Ulay performance Imponderabilia (1977) in Italy, where museum visitors had to squeeze between their two naked bodies to enter a gallery space. I was looking at that image and wondering if you could actually do that live now, and here. Are some kinds of participation are just too intimate or too challenging or ? RF: Id say thats very subjective; I certainly think that for every one of us there is a different level where you do not want to be bothered any more or challenged. From an institutional point of view, weve seen so much nudity in museums that all you have to do is to provide a disclaimer and to let people know that they are about to see nudity and that this might not be suitable for children, for example. And we were literally not discussing that level of re-enactment first of all for very simple practical reasons, but secondly, in this specific case, I would have my doubts whether Abramovic/Ulay would want this to happen again. It was so much about the artist actually exposing himself or herself to the public that it cannot just be repeated by a volunteer, lets say. However, with this question in mind, we have been reviewing each specific case of a work, whether to re-enact or reinstall a work as an experience or rather show it as a document. BG: I was also thinking of how Claire Bishop has criticised Nicolas Bourriauds take on relational aesthetics; her argument is that she finds his selection of artists too feel-good, and that in a participatory system theres got to be space for conflict. Did you feel there was space for conflict in the kind of participatory works selected? RF: I was obviously very aware of that whole background, and we did want to make references to that whole group of works. For a number of reasons we did not extensively cover that specific group of artists that has been subsumed under the term relational aesthetic because its been fairly recently on the scene everywhere. We wanted to acknowledge that this way of thinking and producing has been around for a while, but, more importantly, we did not want to go the same route of merely gesturing towards participation, but rather to literally embrace the different moments and different aspects of actual participation in the galleries, and, yes, that did include conflict. At the same time it is hard to direct that, and its hard to generate that as a pre-planned event. One of the conflicts that we came up with was an inner institutional conflict. Just to give you one example: can we actually distribute free beer? How does that work? There were a number of legal issues around that, quite a Californian problem. Another conflict was a specific artistic instruction by Erwin Wurm, where he displays a fridge and asks the audience to have a line or smoke a joint, or drink a beer inside the fridge, and believe it or not, we did have a visitor who smoked a joint in the fridge and it did create a conflict. So from a curatorial point of view, you were exhibiting a work that could not be enacted because you would clearly be in a legal conflict with the museum. So the fact that people were ready to literally challenge the show, the museum certainly, and also the museum guards, on a very personal level, was part of our understanding, part of our knowledge. To the credit of all my colleagues, who were running the show for three months, day to day, there were conflicts that got immediately addressed in a good way, so we were ready to be more open the next day or the next time it happened. From an institutional point of view it was really a learning curve to not put in place again such certain policies and clear boundaries. And some artists were also pushing us in that direction; for instance, Jochen Gerz deliberately left us to figure out how to deal with the billions of conceptual and practical questions that a hugely participatory project like The Gift necessarily poses. I could also quote one other example where people were taking a piece by Lygia Clark, which is called the Elastic Net, Rede de Elástico, and literally throwing things around the galleries; they were using it like a jump rope and were documenting that on video and were then were putting it onto YouTube and so on. So at that moment we realised that the guards should have protected the works on display next to this in a much better way. All these works created a kind of uncertainty around our approaches on every level. To a certain extent thats good, because its then opening up avenues, and to another extent obviously it made certain barriers that we cant deny, concerning legal structure and institutional framework, just much clearer. BG: Did the guards have special training from the curators? RF: No. We did obviously instruct the guards on what we thought was a good policy but then you cant foresee whats actually going to happen. So it was really learning by what was going on. And what was wonderful to see was that we were learning through what people were posting online. We would see all kinds of documents come up either on Flickr or on YouTube and then say, Wait a minute, what actually happened in the galleries? BG: So, what boundaries were drawn exactly? For example, if they did screw up the Gonzales-Torres posters and throw them around, was that allowed or was that something that they were gently discouraged from doing? RF: It was to a certain extent allowed, however we were trying to then instruct the guards to say, look, this work is really about this, knowing that we do not want to prescribe a certain action, but at the same time also pointing them to, how should I say that, review what this work was actually about. That was a blurry line, but I would also want to say that we did have some problematic experiences it was certainly a show that did not say everything has to be open and participatory but rather looked at opening up situations as well as the critique of those situations. At the same time it did provide a range of literally new experiences inside the museum, which in any case is highly based on the notion of do not touch the work of art. I could give you one more concrete example of a work that we actually commissioned, which redefined our educational space through a series of do-it-yourself furniture made out of cardboard. An architectural duo from New York called Freecell provided Stack to Fold, which had three components: one was a table, one a bench and one was called Elbow. The Elbow did not have a specific functionality, however; it was a geometric object that you could combine into a sort of growing landscape of objects and sculptural configurations. These works were really quite hard to assemble. It was difficult for the general public to understand how to fold them. However, we included this in a space that also housed and hosted the salon by Tom Marioni, The Act of Drinking with Friends is the Highest Form of Art. The moment you had about 100 people in that space all drinking beer, people would go back to it and would start building, and it would become possible to do it, so it changed literally the atmosphere and the spirit of a space in a good way, in a very productive way. BG: That Tom Marioni work is in the SFMOMA collection, as are some works from the 2001 exhibition 010101 (010101 online) at SFMOMA, which included a lot of participative work. So, Im wondering, has that past institutional knowledge about showing participative work built up confidence, and enabled your show to happen? RF: Yes, absolutely, probably because three things were coming together. One was that SFMOMA to a certain degree has a legacy of somewhat experimental shows and works. Secondly, we are close to Silicon Valley, to an area that is really about inventing new ways of communication, new ways of networking, etc. And we feel that we need to establish a relationship to that complex field, not necessarily by bringing Facebook into the galleries, but somehow by reflecting on what that means for us. Thirdly, we were in a very positive moment financially speaking so we felt it was something we could take on, whereas right now with the economic downturn, a costly show would probably face some serious resistance. 010101 is still in our institutional memory, one of the more memorable shows, and one of the shows that literally engaged the whole museum. But you cant do that every year with the same amount of input and sustainability; its impossible. However, to revisit that, to go back to those moments and think, we need to move onto the next level and do this again in a different way, is what I learned from my colleagues whove been here much longer. And finally for me it was a way to also work myself into a whole given framework here in California, institutionally but also historically and regionally, so we did include seminal participative moments of the Bay Area legacy as realised by, for example, Ant Farm and Lynn Hershman Leeson. BG: Talking of legacy, my last question is about the critical future of participative work, and perhaps new media work too. Being in a collection (and collected works being exhibited in different contexts) is an important route into provenance and art history, and I was interested to see that Janet Cardiffs Video Walk, which was commissioned for 010101, was collected by SFMOMA, and is also in The Art of Participation. Good art criticism is also an important factor and is often a rare commodity for new or non-object-based art. There has been some debate about the lack of any aesthetics of participation to inform art criticism, so what do you see as the future for participative art? What will be the legacy from work produced now? RF: So many questions, and so few answers that I can offer. We did get extensive critical feedback from Artforum to Parkett as well as the blogosphere, obviously. The extent to which the show became visible on Flickr or YouTube was astonishing. But despite the feedback that one would expect, from high praise to not participatory or not critical enough, one thing is certainly clear to me: in order to enhance our understanding of the complexities of experiential works, time-based works, participatory works, generative works and so on, we have to be able to actually experience the work. Books simply fail in assuring an informed reception of such works. A productive future discussion and reception of processual, time-based and participatory works will follow once we address and challenge the limitations of specific discourses, be that the discourse on contemporary art that cannot embrace the complexity of technological challenges, or the other way around, that the spheres of new media do not overlap with a larger frame of historical or contemporary references in terms of, for example, a concept of participation. We need shows, publications and courses that bring these legacies and contemporary trajectories into a shared space as experience and discourse. And even as a collecting institution, we understand the need to revisit and consequently discuss installations and time-based works by reinstalling them in the galleries. To conclude and to answer your question in a much more personal way, I dont think that it is the future of art to be participatory, just as it is not necessarily to be more technological. But at the same time, the future of art cannot be seriously discussed if we exclude these notions. That is what The Art of Participation: 1950 to Now proposed in San Francisco, and that is what the show will revisit in 2010 in Dortmund, where it will open the new spaces of the former Museum am Ostwall.
installation time space audience video participation criticism education museums publishing race
Beryl Graham Rudolf Frieling


text:
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