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Moving Parts
Jennifer Lucy Allan
The Mire ran from early 2008 until 2013, when The Wire's website was relaunched. The blog became defunct as the site expanded into new areas, and much of The Mire's remit was covered by other parts of the site, as it mutated into new sections: galleries, opinion columns, features and more.
In the name of completism and for the good of the archive, all blog content is archived here, right back to the first missive in 2008.
Mother Motherland & The Last Post
Nathan Budzinski
During a recent visit to Kiev as part of a selection panel for a call for sound and art works made by the ECAS network, I visited the Ukranian capital's World War Two memorial. I made my way through the Soviet era metro and out to the hills overlooking the wide Dnieper River, with clusters of imposing looking tower blocks beyond its opposite banks. After passing through a park, the gold-domed Pechersk Lavra and Memorial To The Holodomor Victims (the Ukrainian "terror-famine" in the early 1930s) I enter a pedestrian boulevard. At the head of it sit kiosks and cafes, with small groups of visitors escaping from the hot weather, sipping beer in the shade of umbrellas.
The broad boulevard stretches out under the hot sun for nearly a kilometre. I hear the muffled sounds of distant music being played. Suddenly, a loud and mournful male voice starts singing in contrabass right next to me. The entire boulevard is lined with speakers, blasting out a loop of emotionally piqued funereal songs, the sound crackling and warbling from disintegrating speaker cones and what could be poor MP3 compression. In the distance is a giant sculpture of a steel-plated woman warrior.
Further down, I come up to a large, covered section, partly made of poured concrete, shafts radiating out in rhythmic echoes from a Soviet star, embedded crater-like on a monolithic pillar to the left as you enter. There are several grottos, with the tinny sound of mournful singing reverberating around the cool space and bouncing off its hard walls. A roughly hewn socialist-realist frieze depicting rows of super-sized soldiers, workers and peasants, sits against the hard edged abstraction of the concrete. The march of figures lead through the grotto, and out to the other side, guns, farming tools and reinforcement bars pointing towards the warrior woman "Mother Motherland" (intentionally built just taller than the Statue Of Liberty).
Onwards, past another large cluster of gargantuan soldiers frozen in the midst of battle, two tanks face each other with their gun barrels crossed, both bizarrely painted in bright blue and orange, and covered in dots.
The elegiac songs continue, and from this position the guttural stops and warped, soaring vowels puncture the airspace with delayed echoes around the figure, the multitude of speakers sounding out the vastness of the space; a journey from the everyday to cosmic-scaled history at the foot of Mother Motherland.
Here she is, gleaming in the light, a sword thrusting skywards in one hand, in the other a shield emblazoned with Soviet hammer and sickle.
Inside the bunker-like pedestal supporting the Mother is the National Museum Of The History Of The Great Patriotic War (Of 1941–1945), that tells the history of World War Two and the Eastern Front from the Ukrainian, and Kievian perspective. Finished in 1981, the building and its collection are a time capsule from the late Soviet era. The figure was designed by the socialist-realist artist Yevgeny Vuchetich, famous for his grandiose sculptures glorifying Soviet heroism.
The two floors of exhibits take in much of the horror of that time, and aims to convey war through feeling, creating dramatic displays. Like how a title sequence of a movie sets up a tone for the following feature, music acts as a lead-in, preparing visitors for the main event ahead and helping define the emotional parameters of the experience.
The objects on show create a bleak impression: many are simply bits of detritus left over from battles, rusting shards of metal, decomposed boots. There's the wreckage of an airplane, photos of unnamed victims hanging on its torn wing. Panoramas of fiery battle scenes are framed by soldiers' heads cast in heavy bronze. A cluster of old speaker cones emit a painfully high pitched static tone (appropriate, though I imagine they were meant to be broadcasting something different). Elsewhere a vitrine containing a child's jumper dangles off some barbed wire, tiny shoes sitting next to a pair of shackles.
In one section, if any visitors might have missed the point, a barrel of a cannon points at an old hessian textile, dotted with pictures of victims, a flower pot at its base.
In the last room are thousands of photographs of people, surrounding a banquet table lined with the canteens of the dead, phonographs placed intermittently along its length. Different brass instruments are suspended in the air, a swarm of disembodied horns mutely signalling victory.
The materials used emit feeling: cold concrete, lofty marble and austere granite, proud brass, melancholy bronze and energetic steel. All of them strong and hard wearing, each resonating at their own sensorial register.
The whole impression is one of overdriven, screeching emotion. It's so bombastic that my first reaction is how pushy and crass it is. My mind muddles the Soviet kitsch and atrophied, dramatised feeling with the caricatures of the former Eastern Bloc. And now updated to include cruel nouveau riche oligarchs with their tacky gold enamelled Louis XIV furniture, rudimentary capitalism and unrestrained ambition next to abject poverty – and other myths help to reinforce old assumptions about the East as depraved and barbaric.
Contrast the above experience with another type of remembrance: the British Commonwealth's various iterations of Remembrance Day. They're all based around a main event of two minutes of silent observance by attendees – performed by veterans and active members of national armed forces – and most usually organised around a cenotaph (empty tomb, in Greek). Communal silence rendered into a monumental sculpture. This silence is followed by a poignant, yet sometimes incongruously peppy tune called "The Last Post", a bugle call signalling the end of the day's duties, widely used in remembrance ceremonies.
Compared to a ten hectare complex of reverberating elegies and up-the-ante monumental sculpture, two minutes of silence seems a stoically restrained and tasteful method of remembrance. But crassness and refinement are to taste as politeness and rudeness are to manners. They are spectrums in which public performances of adherence to a social order take place. And both these examples don't tolerate much deviation from obedient behaviour. If the National Museum Of The History Of The Great Patriotic War (Of 1941–1945) is a platform for individuals to play out a type of reverential melodramatics, the two minutes of silence reach just as authoritatively into the psyche.
Below is a video from the Australian Army Headquarters's YouTube channel showing a lone soldier playing "The Last Post". They've decided that it's more effective to have the bugler alone in the posh architecture, with dramatic worm's eye views of him and close up shots on blood red poppies and lists of the fallen on stone. It plays off of ideas of restraint and stoic poise, but it also overflows with a kind of melodrama.
As the distance from World War Two increases, its horrors slowly disintegrate in the mausoleum worlds of mediated myth and pomo relativism. The two World War's were proof of how we are always precariously close to tearing ourselves apart. Remembrance Day was started in 1919 and repeated so as to never forget World War One as the war to end all wars – but memorisation by rote learning hasn't worked and never will.
Historian and broadcaster David Hendy once told me that "ultimately when people want silence, or when people complain about noise, there's a power struggle going on". This links the above examples of ritual and memory, showing the role that power has in repeating these spaces and rituals – and being the cause of this ongoing misery. It's clear that rituals of silence and melodramatic reverence are preventative measures against noisily active remembrance, something that at this moment can only be understood by the powers that be as an unpatriotic, violent attack on memory. But of course this noise would be a protest against hollow traditions, empty things used to perpetuate war-mongering, and the greed that usually drives it.
Music questions power and authority as much as it reinforces it. Kiev's memorial complex made me try to think of different types of music and remembrance that act against this mind erasing monumentalism. Enter that other ritual of self-forgetting, nationalistic memory and feeling control: the national anthem. Specifically, Albert Ayler's "Spirits Rejoice", a free jazz call and response riffing off the French national anthem, "La Marseillaise". Without irony it transforms all the hollow rompitypomp of a national anthem and makes it distinctly noisy and present. Its power lying in the fact that it has a very real object that it is ecstatically freeing up, rather than trying to escape from:
Tags: David Hendy | Kiev war museum | Mother Motherland | Nathan Budzinski | remembrance day | the last post | World War One | World War Two
Listen And Learn
Derek Walmsley
The listening session, where writers are herded into a company office to get the first spin of a new album, is now an everyday – yet still clandestine – event. Big independents and major labels are paranoid about their precious new albums leaking through journalists (anecdotally, most leaks happen before it even goes out to the media) so they operate an odd nannying operation whereby you can come along and hear the album... but there's no chance of getting it into your own hands.
There's two types of listening session. The first and the most excruciating is where a PR is detailed to sit in with you, giving tedious behind-the-scenes gossip on how the artists got their shit together, all the while trying to keep a sneaky eye on your response to the music. It's like a waiter in a posh restaurant painstakingly explaining all the ingredients to you, constantly checking whether you enjoyed it, and asking if there's anything you need, when all you want to do is tuck in.
But the other type, where the label leaves you alone with the music on a kick-ass stereo and some space to think, can be a privilege. There's still an uncomfortable sense of being temporarily admitted onto foreign terrain – you're ushered into a bustling office, where a label rep politely but firmly asks you to hand over your phone and laptop; they swiftly whip out some legal papers for you to sign to stop you talking about the record online. You're given a room with a stereo and tastefully dimmed lights, the label rep presses play and discretely exits, and you're left to sprawl on a beautiful sofa and soak up the sounds.
The one I went to most recently was loud. You felt the change in the air pressure as the basslines kicked in (so the album quite literally made an impact on writers). Drums become huge, acoustic instruments become monolithic. You get completely lost in the sound, which is fun as hell, but the exact opposite of what you're trying to do when you're critically assessing a new album. The problem is even worse if you've just chugged one of their complimentary beers.
Sitting there, in an empty room with a big pair of speakers facing you, and nothing to do but stare back at them, questions start flying through your mind. Why did they choose this sound rather than that sound? Do they make music with a listener in mind, or just for their personal amusement? No doubt these kind of crises have already been faced by the musicians themselves, day after day in the studio, especially in the case of electronic music. Alone in the room, electronic music starts to sound a little like modern composition, where the arrangement and the detail is amazing, but you're lost for reference points as to what all this stuff is for.
The listening session is a gentle form of mind control. Sat in an office for nearly an hour, you get a touch of Stockholm syndrome: you develop an affection for your jailers, and the music you're stuck listening to. With time on your hands, you rationalise. There must be a reason they've gone in this new direction. Hey, maybe these corny celestial choirs and expensive brass sections make a kind of weird sense! You've already made the long journey down to the label offices on a weekday afternoon, so you don't want the time to feel wasted. The travel, booking your slot, the logistics, already confer a legitimacy on the album. It feels like an event; the album physically exists, and is ready to hear. These are hard facts, and they make you hear the music differently, and more deferentially, than if it were just some MP3 files sent via email. With the whole promotional apparatus in full swing, the question of whether the album is any good or not gets lost in the buzz.
That said, I revel in these occasions, not because you get to hear an album a couple of weeks before everyone else (or because of those complimentary beers) but because it's such a rare opportunity to take an hour to think, to listen, and to ponder music itself. Wouldn't it be better, you wonder, if we didn't all rely on beats so much? What effect does this weird discord have on my nervous system? And as an experience in pure sound it's impressive, unless you happen to have a particularly astonishing stereo at home. The separation between the sounds is vertiginous. The bassline is over here – but the melody is way over there. How the hell do you process that? It's thrilling but anxiety inducing. This is music with all the reference points gone, a free-float through tonal realms which, like an acid trip, is an experience that's hard to properly relate to acquaintances afterwards.
As a critical exercise it can be almost useless. You walk away, head swimming with vague sense impressions, but as any good journalist knows, it's the follow-up questions that are the crucial ones, and you can't take a second listen to triangulate the music, the lyrics, the songs titles, and who played what. But for a record company, the propaganda work is already done – the listening session is a marker in the sand, a sign that this album is a serious proposition, and that you better think twice about treating it flippantly.
Tags: complimentary beer | label promotion | listening session | music criticism | stereo
Deadheads, Doors and live supercuts
Jennifer Lucy Allan
Sounds that weren't meant to be recorded have an uncanny quality. It's these that superimpose scenes of animated yet soulless bodies on Oscar Powell's recent 12"s, Body Music (Diagonal), and an untitled 12" (on Boomkat's Death Of Rave). Sounds taken from live bootlegs of New York No Wave groups – like chickens jerkily strutting around the yard with no heads – pure motor movements minus autonomy and intention.
Talking to Powell for the March issue of the magazine got me thinking about these bits in between live sets. In Powell's music they are what makes his sound so uncomfortable – that which separates it, in terms of its construction, crowbarring apart beats and guitar twangs, and on a macro level, lifting it above the dense forests of hi-fidelity frequencies currently populating dancefloors. A trail of hyperlinks led inevitably to a series of live supercuts.
The first, a year of The Grateful Dead warming up: every single tune up on from 1977 spliced together in chronological order, in one hour and a half supercut. Far from being utterly unlistenable, (even for a non-Deadhead like myself) it's charged with audience anticipation, a giddy anticipation audible behind the endless meanderings, recast awkwardly as one long improvisation, scattered with rogue hi-hats and dribbling riffs.
A hyperlinked wormhole led to this, a shorter 15 minute supercut of sections in between live tracks by The Doors (by @JS_666). This is a different beast – a psychedelic wormhole of unhinged madness, false starts and MC Escher-like beginnings and endings, woven into the frayed ends of tassled carpets.
There's also this, 37 solid minutes of Neil Young & Crazy Horse descending into and ascending from a vortex of riffage. Here, the in-between bits are sonic manfestations of trains of thought, threads followed, and how long is a piece of string when you're talking Neil Young & Crazy Horse? They lose the thread, take it up again, follow tangents, but always loop back, to riffs on riffs on riffs. Arc was released on a major in 1991, bundled as a double pack with Weld.
These supercuts have an entirely different atmosphere than a) listening to any of these groups live or recorded, and b) listening to most other recorded music. You could compare these edits to improvisations, but that's not fair. The stuff here is a step before improvisation – these are run downs, shake 'em offs, and tune ups, the endless wind/whine down by groups that get lost – the sound of being in The Zone (or not).
As a signing off note: the difficult matter of stage banter. Joni Mitchell is rubbish at it. Fugazi were feral. And then there's this, a supercut of Geordie Venom frontman Cronos introducing tracks, squawking hoarsely about Newcastle Brown while an audience member screams "I WANT A DRINK!".
Tags: Arc | crazy horse | neil young | powell | the doors | the grateful dead
Family affair (Disco re-edit)
Tony Herrington
Flying Lotus stares moodily from the cover of The Wire's October issue, his third eye caught in a blur as it materialises in the region of his right temple. A neat/corny camera trick by photographer Jake Walters, you might think. But either way it feels like an appropriate representation – after all, FlyLo is a producer-DJ whose ancestors were cosmic visionaries.
As interviewer Britt Brown points out, but as all you Generation Bass cadets will already know full well, FlyLo's great aunt was Alice Coltrane, that divine messenger who appeared to us in the guise of a jazz musician – although Britt doesn't go on to state the next obvious but still rather mindnumbing fact that this meant his great uncle would have been John Coltrane himself, had he lived long enough to anoint baby Steven Ellison's head once he'd come into the world in October 1983.
Another of FlyLo's great uncles (a blood relative rather than in-law – he was Alice's half-brother) was the somewhat lesser known Ernie Farrow, a double bassist who was another family fixture on Detroit's vibrant post-war jazz scene. He might not be up there in the pantheon of black music mystics alongside John and Alice, but in the late 50s Ernie was a core member of the group led by Yusef Lateef, who definitely is. Lateef was one of the first jazz musicians to reject his given identity (William Emanuel Hudddleston – a slave name if ever there was one) and convert to Islam. A multi-instrumentalist who introduced strange new instruments and scales to hard bop, he was a significant influence on John and Alice's emerging concept of Universal Consciousness. Great Uncle Ernie's basslines and rebab playing were core components of Lateef's late 50s/early 60s jazz-exotica albums such as Before Dawn, Jazz And The Sounds Of Nature, Prayer To The East and Eastern Sounds. These were records which mixed modal jazz and Hollywood kitsch with pan-Africanisms and proto-New Age spirituality in a way that ensured they would become foundation stones of the fusion aesthetic that would underpin much of the advanced black music to emerge in the subsequent two decades – which is to say the traditon which lends FlyLo's Web 2.0 cosmogrammatic beat science the kind of historical weight that is both real and deep but also mediated and synthetic, predicated on a very conscious process of fabrication.
FlyLo is an industry player too, of course – recording for Warp, pulling down all those headliner DJ slots, mentoring the next generation of downtempo beatnutz via his Brainfeeder label. And as Britt also points out, he has some family precedents for these rather more pragmatic aspects of his operation too.
Even closer on the bloodline than Alice or Ernie is their half-sister Marilyn McLeod, aka FlyLo's granny, who in the 1970s was a songwriter for Tamla Motown. And if Marilyn wasn't exactly a one-woman Holland-Dozier-Holland, a handful of her songs found their way into the repertoires of some of the label's headline acts, as both they and Motown attempted to adjust to the seismic changes in black R&B precipitated by the rise of disco.
(There's a nice family photo on the site of photographer Theo Jemison which has FlyLo holding up a copy of Great Aunty Alice's A Monastic Trio LP, while behind him granny sits playing an upright piano).
In his article, Britt singles out Marilyn's big moment, Diana Ross's recording of "Love Hangover", which was co-written in 1976 by Marilyn and regular collaborator Pam Sawyer. This was the track that reignited the solo career of Motown's hottest property by propelling her into the realm of the glitter ball (literally almost, as during the recording sessions producer Hal Davis rigged the studio with a glitter ball substitute in the form of a strobe light to get Ross the Boss, initially something of a reluctant disco diva, into the appropriate mood of hedonistic abandon). Despite being issued six years into the disco decade, by which time the music had established an irresistible style and momentum that was all its own, "Love Hangover" is one of those cuts whose structure carries a trace-echo of disco's debt to Bronx salsa: watch out for the vertiginous moment around 2:50 minutes in when dreamy bliss turns to urgent desire as the sickly-sweet sentiments and structure of the song suddenly shift into a mantric bass-drums coda that builds and builds but never peaks.
Four years before "Love Hangover" yoked itself to the disco juggernaut to hit serious paydirt, Marilyn co-wrote "Walk In The Night" for veteran R&B saxophonist Jnr Walker. This was a proto-disco-cum-Easy Listening instrumental phantasia that predated by a year the records most commonly cited as the ones that ushered in disco as a musical genre in its own right, namely The Temptations' "Law Of The Land" and Eddie Kendricks's "Girl You Need A Change Of Mind" (both also issued by Motown). As well as having a melody that was somehow both ethereal and indelible (a classic Easy Listening strategy), "Walk In The Night" had the kind of propulsive mid-tempo backbeat that would ensure it would become a Northern Soul staple.
The same year she wrote "Walk In The Night", another of Marilyn's compositions (this one co-written with Berry Gordy Jr himself no less) was given to Marvin Gaye, who recorded it in the fraught interregnum between the post-civil rights laments of What's Going On and the carnal entreaties of its eventual follow up Let's Get It On. "The World Is Rated X" was originally slated for inclusion on the abandoned You're The Man album and has had something of a peripatetic existence ever since (it was included on the Got To Give It Up anthology and the expanded edition of Let's Get it On). So it's one of the lesser known tracks from the most feted period of one of the most conflicted artists of all. But it's an amazing performance by the singer, in terms of the timing and the flow, and the way he invests the rather parochial protest lyric with urgent beseeching drama. As the track progresses the arrangement thickens to add the kind of epic backdrop of strings and horns that would become a disco archetype. You can still hear it all percolating away beneath the rebarbative drum programming and EQing on this typical mid-80s remix (the original is nowhere to be found on YouTube's increasingly compromised archive).
In 1979, Marylin finally got to record and sing one of her own songs, though not for Motown. "(I Don't Wanna Dance Tonight) I Got Love On My Mind" was originally released as a Fantasy 12". The A side was reissued earlier this year on the American Hot volume of the Disco Discharge series. But whatever her talents, Marilyn was no Loleatta Holloway, and it's the instrumental B side that you need, a 144 bpm disco flyer in the style of Azymuth's "Jazz Carnival". The track has never been reissued, and its 'record spinning on a turntable' YouTube post has been wiped from the archive by the copyright lawyers (although you can hear it here courtesy of the Disco Delivery blog). Which is a double disservice, because while such posts are vilified by the record industry as pure piracy, their comments pages can serve as channels for the dissemination of some illuminating local history.
As an example, on that now deleted YouTube post someone called Charles had commented: "I had the pleasure of working with [Marilyn] on my group's first album Rare Gems Odyssey." This turns out to be Charles E Givings, an LA session drummer who, in the mid-70s, worked regularly with Marilyn when she was demoing her songs for Motown (the organisation relocated from Detroit to LA in the early 70s taking Marilyn with it – which I guess might be the reason FlyLo grew up in the suburbs of the San Fernando Valley rather than inner city Detroit: what would his tracks have sounded like if Motown and granny had stayed put, I wonder?). The record Charles is referring to is the 1977 debut by his fabulously obscure Cali-funk troupe Rare Gems Odyssey. The album, which contained a number of Marilyn McLeod writing credits, disappeared without trace (although it seems the group is still a going concern). But a decade after its release, two of its tracks had a brief second life in the UK's Rare Groove underground, one of the incubator club scenes for the generation of Brit-hop producers and label runners who would emerge in the 90s to help define the jazzy downtempo loops 'n' beats aesthetic that would become one of the (unacknowledged) templates for FlyLo's jazzy downtempo hiphop-electronica fusions (if FlyLo doesn't owe props to Mo'Wax, then my name's James Lavelle).
Fast forward two decades to 1998, when time folded in on itself, and Marilyn and Pam Sawyer got paid twice over, by writing the cookie cutter R&B of Monica's "The First Night", which pivoted on a sample of "Long Hangover" (cute).
"The First Night" is one of those tracks which became a YouTube meme, generating multiple webcam karoake versions. I'm not saying it pre-echoes FlyLo's own cyber-soul productions with Erykah Badu on the new Until The Quiet Comes album, but I can't help flashing on one serendipitous correspondence. In his interview with Britt, FlyLo refers to the album as "a children's record, a record for kids to dream to". Meanwhile, one of the comments on that YouTube post states: "My mum used to sing this to me as a Lullaby... and I'm planning to do the same for my kids."
Tags: alice coltrane | Ernie Farrow | Flying Lotus | Marilyn McLeod | Music discussion | The Wire | Think pieces
A family affair (Wire edit)
Jennifer Lucy Allan
In April 2002 Jake Walters photographed Alice Coltrane at her home in Santa Barbara for the cover of The Wire 218. One of the extended family members hanging out at the shoot was Alice's teenage nephew, Steven Ellison. Ten years on, and Ellison is now better known as Flying Lotus, patron saint of downtempo beat makers, and now Jake has photographed him for the cover of the forthcoming October 2012 issue of the magazine.
So we couldn't resist a pose with a copy of that issue graced by the numinous presence of his late, great Aunty Alice, and here it is. The October issue, complete with more images from Jake's shoot, will be on sale from next week and on its way to subscribers from the end of this week. The digital edition will be dropping in from the ether on Tuesday.
Tags: alice coltrane | Flying Lotus | The Wire
Ladies and gentlemen, we are floating in space
Since 2008 Jan Jelinek has been releasing recordings from the archives of an electronic 'outsider' musician, Ursula Bogner. Born in 1949 and employed as a pharmacist for Schering, she devoted her leisure time to exploring electronic sound, constructing a home studio, attending workshops and building up a body of tape and synthesiser pieces that reverberate with a ghostly, eerie intimacy.
Except, of course, she probably didn't – Bogner is widely believed to be one of Jelinek's various musical personae, despite his carefully constructed story of a chance meeting with her son followed by the donation of an archive of reel-to-reel recordings, photos and writings. After the first Bogner release in 2008 – a compilation of fragmentary works dated '1969-88' – another, more fully realised album, Sonne = Blackbox, followed in 2011. This release took the tale further, coming with extensive documentation of Bogner's research into esoteric areas such as space travel and Wilhelm Reich's theories of 'orgonomy'. More recently, Jelinek has taken his discovery out live, with performances in which he and Andrew Pekler interpret Bogner's compositions.
'Andrew Pekler & Jan Jelinek play Ursula Bogner' was on my list of must-sees at Mutek festival in Montreal a few weeks ago. Sonically, the Bogner releases, with their gently unearthly analogue miniatures, ticked many of my boxes, whoever the man or woman making the music was. I'd no problem with being Jelinek's target audience conceptually, either. It seemed pretty clear that he intended to comment on the ongoing fascination with unearthing marginal figures from electronic music's past, an archival itch that, four years after the first Bogner release, seems no closer to being scratched. That he chose a female musician was significant. Composers like Daphne Oram, Laurie Spiegel, Eliane Radigue and Ruth White are not only outliers because of their obscurity; their gender puts them even more intriguingly on the margins (although, as more musicians/engineers of all genders come to light, perhaps the well-meaning but slightly fetishy edge to this strain of archive fever will die down a little). The Reichian ideas about libidinal orgone energy that Jelinek added to the mix could even be seen as a gentle dig at the essentialist ideas of tactility, mysticism and sensuality that often linger around descriptions of electronic music made by women. Jelinek's take on sound and gender seemed sharp, funny and on point, and if women's roles in shaping electronic music are finally coming into the light, what's a little irony along the way? On the flight over to Canada I'd been reading about science fiction writer Alice Sheldon, whose stories published under the name James Tiptree Jr were praised for being "ineluctably masculine"; electronic sound, like science fiction, offers a space to play with identity, subvert stereotypes.
My misgivings start to take shape in the dark, hushed space of the Monument-National theatre, where it is harder to ignore who is turning the dials. On stage, Jelinek and Pekler manipulate tape machines and oscillators. Their actions are projected on one half of a screen above them, the rest of which plays out a slideshow of Bogner ephemera: schematics and diagrams; linocuts of planets; photographs of Bogner's home-built orgone accumulator. And, of course, photos of someone purporting to be the woman herself – at home, at work, at play. High, delicate and disembodied voices echo out from whimsically named 'Sombrero Galaxies' into the ornate domed room, and Jelinek pitchshifts his own voice up to an androgynous tone to narrate a text. The mixture of pure analogue abstraction and the vocal-based 'emotive register' spoken of in the sleevenotes to Sonne entices me to drift off into a fluid, utopian post-gender future space, like the calm galaxies depicted in Bogner's planet prints; something it's easy to do when listening to the records.
But in this three-dimensional setting, the physical facts keep asserting themselves. At an electronic music festival whose performers are for the most part male, the Ursula Bogner project doesn't feel so different from anything else on show. I find myself asking, as a static image of Bogner hovers over the stage, whether it's OK for male musicians to co-opt a history that isn't theirs. Does Jelinek's ironic objectification of a woman who probably never existed edge real women's art even closer to the margins, trivialise it for those of us who think rediscovering it is less a subject for satire and more an urgent political project? Is the endpoint of this playful exercise in gender-bending postmodernism just a theatre full of people staring at a photo of a woman, listening to music made by men? The sounds that come from this configuration of Jelinek, Pekler and the hypothetical Ursula Bogner are inviting, but their live presence alienates, leaves me thinking that this collaboration is better left in the disembodied realm of recording, where one isn't so easily reminded of the still-skewed realities of who actually gets to make, perform and benefit from music.
Tags: events | Gigs | Jan Jelinek | Music discussion | Ursula Bogner
Remix, remake, remodel
Jennifer Lucy Allan
Is the term remix redundant? Music has been begging, borrowing and stealing since day one. But does a remix denote more about the working process than the actual nature of the track? When so much is on long term loan, where's the dividing line between say, a prodigiously used sample and a remix? Is 'remix' just a label that's used top-down, from label to listener, to make sure you're accessing an audience efficiently?
Perhaps the trouble is that remixes are often half-baked, passed around on short deadlines to every Tom, Dick and Harry with a URL, touted as 'exclusive', when it's one from a bag of ten or more quick-fix mixes that add a lazy beat or beefed up production to give a track a longer shelf life. (The plague of bad blog-House mixes that were recycling Pitchfork-hits for desperate music bloggers got so bad The Hype Machine built in a 'no remixes' functionality.) It's the churnalism of music production.
Of course it's not always like that, but it can feel like finding a needle in a haystack. The good ones often catch you off guard by changing everything about a track, a drastic restoration or rebuild that changes how you thought and felt about something, a sweet vocal line looped into a frightening verbal tic, a tiny synth line scrubbed clean and brought to the fore, massive and shining.
From these thoughts I'm led to the entry-level philosophical puzzle of Theseus's ship. It asks: if you change every plank in Theseus's ship from oak to teak one by one, then at the end, is it still the same ship? Applied: if you replace or change every element of a track, is it still the same track? (...And if Theseus asks Wiley to change the planks, who owns the ship when the job's done? Theseus? Or Wiley? – Leaving aside the fact that Wiley would probably take the credit for it floating.)
From Ancient Greek puzzles there's only one small step to Mark E Smith, naturally: If you change every member of The Fall – is it still The Fall?
Talking to Nik Void for a feature in this month's magazine, I was struck by the way she talks about how Factory Floor pass on their records for remixing so readily (to Chris Carter and Stephen Morris, among others). For her it's about a continuation of ideas, giving someone what you've done and seeing what they will do with it – orphaning your own work so it might see something of the world, if you like.
Void said: "We like giving our stuff to other people to see how they develop it further, just letting it go."
"Just letting it go" – is this the nub of the issue? When you slap a bunch of names on something, notions of authorship, ownership, rights, and the ego of the creator all come into a power play. An artist gives someone a track and asks them to remix it. Is the track, as Nik Void suggests, a collection of ideas passed from one person to the next? Or (philosophically speaking not – God forbid – legally) does the original work belong to one person, passed on to someone else to be reworked (but not re-authored)?
And what about Tom Moulton mixes, Theo Parrish's Ugly Edits, and the rest? The waters are muddied, and in certain areas (the stuff that would once be tagged Ambient Techno for example), there can be a disjunct between what's called a remix and how a track has been constructed and reconstructed. Music is so tied up in ideas, concepts, and the sonic properties of equipment, that it might often be more correct to talk about something's continuing life cycle than it is to call it X's remix of Y by Z.
The term remix isn't really doing its job. In the same way that genre tags are in many ways redundant, maybe the term remix is limp and ineffective too. Genre tags act as vague signposts, but they can't draw a map. A remix can tell you who's been on the buttons, but won't give up the story of what really happened behind the desk.
Tags: genre | Music discussion | nik void | remix | rework | The Wire | Think pieces
Going underground (Disco re-edit)
Tony Herrington
The Loft staff Thanksgiving party, 1979. Photo: Don Lynn
A number of disco revivals around at the moment – a four CD box set of Tom Moulton's remixes of tracks issued in the early-mid-70s by Philadelphia International; four new volumes in the Disco Discharge archive series; a ruffneck mix of vintage disco obscurities posted online by Chicago Footwork producer du jour Traxman – all serving to remind us that the more the world sinks into the mire of capitalist folly the more prominent disco becomes. As the breathless press release accompanying those Disco Discharge releases puts it: "The new installment couldn't have come at a better time as history repeats itself, when the going gets tough, disco gets going!"
But buried in that sentiment is the main reason disco is still derided by so many so-called serious music types. When the going gets tough, disco gets going – yes, but in the wrong direction. The wisdom (if we can call it that) on disco that prevails in multiple subcultural nooks and crannies from Noise to alt.rock to Improv is that it is suffocating escapist froth, a retreat from the frontline of the Real into a dressed up, dumbed down, perpetual denial state of corny, showbizzy razzle-dazzle, all flaunt and flirt, oblivious to everything other than the solipsistic desire to go bang with all your friends at once, night in, night out. (Is it necessary to point out that such judgments rarely seem based on close encounters with disco's actual milieu, let alone a close analysis of the actual music, which in its original state melted a complex of Afro rhythms – Bronx salsa, gospel and R&B, samba and Afrobeat – into a mix that was insouciant enough to suck up Broadway showtunes, Hollywood musicals, early synth experiments, jazz, minimalism and exotica? But then disco is the ultimate example of a genre whose complex reality and backstory has been obscured by its subsequent global commodity status, as the music that taste forgot, the sound that sucks.)
But as those revisionist disco historians Peter Shapiro and Tim Lawrence have already demonstrated, disco's detractors should consider a couple of other angles on its supposedly head-in-the-stars refusal to grapple with the issues, its decadent insistence on fun and frivolity in the face of all the urgent evidence to the contrary (and is it necessary to reiterate the WASP-ish dimension to so much anti-disco rhetoric?)
For instance, rather than 'speaking truth to power' in the nominally engaged manner of protest songs of all stripes (rock, folk, R&B) – songs whose visceral platitudes and patinas seduced their audiences into thinking they were right there on the barricades, fed their sense of moral superiority in the taxonomy of cultural consumers – what if in its original incarnation, disco's inclusive dancing-in-the-ruins vibe actively turned its back to the cynical machinations of prevailing elites and hierarchies? Consider the climate and conditions in which disco emerged, which is to say the dog days of the early 70s in the necropolis of Manhattan, when America was freezing in the chill winds of global economic meltdown and rampant political conservatism, and the pitiless systemic response to Vietnam protests, civil rights and the rise of identity politics. Now consider the possibility that, instead of knuckling under to this harsh 70s reality, disco proudly and defiantly resisted it by having the nous and the nerve to walk away, disappearing into a polymorphously perverse autonomous zone where none of it mattered, and where divisions of class, race, gender and sexuality were allowed to dissolve in a cavalcade of esoteric rituals that suspended time for as long as the night allowed.
Many of disco's pioneers (New York DJs-cum-club runners such as David Mancuso and Francis Grasso) had come of age during long strange trips through the 60s counterculture, and in quasi-legal private-public spaces like The Church and The Loft the prone hippie credo of turning on, tuning in and dropping out took on a whole other meaning, transmuted for harder times into a more complex mantra of silence, exile and cunning. In these and other out of the way places at the centre of it all, disco revolted in style by creating a series of occult enclaves where the young and the damned, the bad and the beautiful, the perverse and the perverted could congregate in mutually assured communion, away from workaday existence and the (hetero)normative scheme of things with all its persecutions and privations. What disco's detractors perceived as reckless hedonism, its initiates (and let's not forget who those early denizens of the disco night actually were: blacks, Latins, gays, women; the socially marginalised and maligned) understood to be a far more subversive process of self-determination and community solidarity.
The clothes and the drugs, the roleplaying and the rituals may appear poles apart, but really, when you get right down to it, is what was happening at a socio-psychological level at the dawn of disco any different to what now occurs in those subcultural scenes which emerged partly in opposition to everything that disco apparently promoted (irony rather than authenticity, the anonymity and mutability of the DJ mix rather than the fixed co-ordinates of authorial identity, music used and abused as instant hit and disposable commodity)? The rhetoric that surrounds supposedly uncompromising avant garde scenes such as Noise, Improv, DIY makes claims for them that weirdly echo the imperatives that gave rise to disco: a revolt against deleterious systems – social, cultural and political – which took the form of a retreat underground and the creation of new ways of being based on new sets of shared values. Whether you choose to frequent loft parties or basement jamz or Improv workshops has everything to do with where you as an individual feel warm and secure, cocooned by likeminds and familiar faces, free to go bang with all your friends at once, night in, night out. The differences can be measured in degrees, are mere semantics, surface details.
Undergrounds are formed out of necessity by individuals and communities that have historically been on the wrong end of economic and cultural isolation, fear and loathing, cynicism and ignorance, snide jokes and sneering asides – the deviants, the aberrations, the exiles, the dispossessed. As David Mancuso told Tim Lawrence in Love Saves The Day: "The underground was where it was safe. It was where you wanted to be." He's referring to the milieu of the lofts and warehouses of disco's first blush, but he might as well be talking from the perspective of the occupants of the basements and backrooms of contemporary Noise and Improv: the underground, and underground status, as an end in itself; not an interim step to aboveground integration, but a defence mechanism against it (as if integration was ever possible on anything other than their terms). Aboveground is mendacious, censorious. Of course it is where you have to return, and you negotiate its treacherous terrain as best you can, like a fugitive, ducking into doorways and shadows, lurking in cracks and crevices, detouring down back streets, keeping your head down, hiding away in the cold light of day. But it's the last place on earth you want to be, and you remove yourself from it at every opportunity, night in, night out.
Disco fermented far underground, but through a number of insidious processes became the embodiment of everything that, in the eyes of other subterranean enclaves, was abhorrent about what happened aboveground. But this was merely another example of the process in which countercultures are co-opted by capital and distorted into grotesque parodies denuded of their original vernacular power to suspend one reality and replace it with another (disco is no more, no less an escape from reality than, say, Noise; instead, both are the endorsement, the validation of anOther). Punk becomes New Wave, Metal becomes AOR, revolutionary gestures become stadium grandstanding, the disco mix becomes cheesy opportunistic chart pop. And what remains of the underground responds by burrowing deeper, until its vibrations are barely discernible on the surface.
Essentially (as in: this is their true essence), undergrounds such as Noise, Improv and DIY, or Bassline and UK funky (or whatever they are calling the latest troglodyte modifications of disco DNA this week) all serve the same purpose, providing a psychic and physical refuge for those looking for other modes of existence, a context in which to intensify marginal ideas and esoteric experience, ones that might carry them up and above and beyond all the bright lies and dull routines, the banal facts of a world on the brink, if only for a night.
Tags: Clubs | disco | Music discussion | The Wire | Think pieces
Last month a DJ showed me life: Hieroglyphic Being @ CTM
Jennifer Lucy Allan
A month ago a DJ set by Hieroglyphic Being (aka Jamal Moss) set my world on fire. It was in Berlin, at the CTM festival, and I can't stop going over it in my head, rerunning the maths to find the multiplying factor. It was the first time I'd seen Moss DJ. It started at 3am, following an impeccable set of tessellated Techno by Kassem Mosse. But Jamal Moss's set was a different beast entirely: loose, sloppy and incredibly ugly in some parts, but always giddy, impatient and unpredictable. It ran through pitched up and pitched down tracks, and too many genres and styles to count on one hand. At one point it got into a call and response dialogue between New York disco and Krautrock. The mixing was at times slick, incredible (an air raid siren threaded through three tracks, sewing them together). In other places it was a dirty hack made with a blunt instrument.
The constantly changing pace sent me nuts, for Hieroglyphic Being's disregard for the conventions of what constitutes 'good' DJing. In fact the performance capsized all the cliches that have built up around our idea of what makes a 'good' DJ set, ie that good mixing is a smooth segue between two tracks; that a set should move through styles in a gradual progression; that bpms shouldn't ramp up, plummet and shoot up again in the space of three minutes. Moss moved between sections full of sudden schizophrenic cuts from one track to another, and passages where he would let one groove run unmolested for almost ten minutes. Tracks were pulled after one chorus, played backwards, rewound. They were sped up to 170 bpm, then slammed up next to slow 80 bpm funk.
I laughed my way through it, half the time shaking my head in disbelief, frowning, puzzled. Admittedly, it pushed my buttons, that New York disco stuff always does. But it was done with such confident swagger – with Moss resplendent in Battlefield Earth leather chic – that it worked.
Some friends said they were finding it "very challenging". Why? Because what was expected (even given Hieroglyphic Being's diverse output) was not being adhered to. Descriptions of the mood in clubs and on dancefloors often resort to religious analogies, and this set required you to make a leap of faith, or find yourself at an impasse with regard to the sheer iconoclasm of it. CDJs are frowned on in some circles, but central to Moss's set was the way it foregrounded the sound of these tools – the fake scratching sound of the CDJs, the speed shifting (sometimes without pitch control), and brutal use of the fader.
Whereas Kassem Mosse's set felt like a perfectly calibrated clockwork model (not conventional, but certainly neat and tidy), Hieroglyphic Being's was the boss-eyed Frankenstein's monster you fall in love with precisely for his scars and club foot.
Tags: berlin | Clubs | ctm festival | Gigs | Hieroglyphic Being | Music discussion | The Wire


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Dossier - The Professor part 2
Walkthrough - Dossier - The Professor part 2
Omega Market: The next place you want to visit is the Omega Market, an establishment owned by a surprisingly-friendly Batarian named Marsh. Marsh will implore you to make deals with him. You can check out his kiosk to see what wares he's currently dealing in, just like with any other merchant you run into. However, Marsh is a little more susceptible in terms of convincing him to make a deal with you so that you can get his goods at a discount. While he admits that he can't go as low as the dangerous Omega black market might go, he can still give you a pretty good deal. Nice!
Kenn's Salvage: Kenn's Salvage, and its proprietor, a Quarian (not surprisingly) named Kenn, have fallen on pretty hard times. As you speak with Kenn, you'll learn that he initially came to Omega as part of his Quarian pilgrimage, but was quickly robbed of all he owned and forced to open this salvage mart in order to survive. He admits that his prices are kept higher than his competition on purpose, at the behest of Harrot, the Elcor you visited earlier. This entire sequence, if you're willing to help Kenn out, will open up the side quest entitled Omega: Struggling Quarian. Whether or not you undertake it is up to you -- you can find more information on it in the Side Quests section of the guide. And speaking of side quests, you can also purchase the FBA Couplings you need to complete the Normandy: FBA Couplings side quest as well. Just browse Kenn's computer in order to do so.
Near Kenn's Salvage, you can speak with a couple of frightening, mysterious creatures known as Vorcha. The Vorcha are scary-looking creatures, and you don't exactly see them too often. When you speak to one of them, a male named Shisk, he'll automatically shut you down in conversation, unwilling to say too much, thinking that you work for someone you've never heard of. Be sure that you undertake this little side conversation, since it can actually have implications later on. At the very least, it will introduce you to the Vorcha, who you will be massacring in the Quarantine Zone before very long.
There are only a few more things to do here -- two things specifically -- before you finally find your way to the Quarantine Zone, where we can continue on with the task at hand. The idea for both of these endeavors is to find your way to the VIP section of the Afterlife, near Lower Afterlife, at the northeastern corner of the map. Getting there is actually easy if you use the corridor by Kenn's to reach an alternate entrance (via the "long way"). Otherwise, you'll be rebuffed by the guard at the VIP section's main door. When you get there, you should first seek out a huge Krogan named Patriarch. Speak with him at length, and you'll learn that he used to rule Omega before Aria came in and took things over from him. Now, he works as one of her advisors. The conversation with him, while not necessary, is still interesting. Thus, he's worth tracking down.
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|Me and Jessie Diggins (left) chest bumping after winning gold in
the team sprint
WORLD CHAMPIONS… Wow, I can't believe I'm actually writing this right now. It hasn't sunk in yet. Surely I am about to wake up, this is just a dream. Did that really just happen?!
It's barely been 24 hours since I crossed the finish line in the team sprint and together with my teammate Jessie Diggins, we became the first Americans to win world championship gold in cross-country skiing. I still feel like I'm floating a few inches off the ground. The endorphins and positive energy have not worn off yet. This goal has been over a decade in the making and it's been beyond amazing to actually experience the sequence of events I've visualized hundreds of times in my head.
Yesterday was a very special day. We came into the team sprint knowing that if we both skied well and were able to avoid any major trouble, we could be in the hunt for a medal and possibly even the victory. This meant there was more pressure on us than we're used to. Thankfully, we were able to remain calm, focused and confident.
|Me and Jessie celebrating!
The team sprint is one of the most demanding cross-country races. Each team consists of two members that ski alternating laps around a 1.2-kilometer course until both members have each completed three laps. First there is a semifinal round, with only the two top teams automatically advancing to the final. Then there is about an hour break before it's time to do the whole thing over again!! The race is a mass-start format which means you are racing closely with many other teams, and with skis and poles involved, there is always contact. In order to be successful in this event you have to have depth, endurance, a little luck, and still enough speed to sprint into the finish!
Jessie and I skied strong and smart to take the top qualifying position out of the semifinal. This gave us confidence that our form was strong and our skis were fast. But of course, the competition would be tougher in the final!
Through the opening few rounds of the final we were in good position. While I got ready to click into my bindings for my last lap, I heard the announcer call out that Jessie was making a move to drop the pack. Even though she momentarily lost her pole and had to get a new one, she tagged off to me with a few seconds lead. It was so thrilling going into that last lap to be on a lone run to take the gold.
When I crossed that finish line, my legs were so wobbly I crashed down into the snow. Jessie came running over and we both got to take in what had just happened for the first time. What an amazing moment to share with a teammate! This for sure blows any individual success I've ever had right out of the water! And then our teammates and coaches were there to celebrate with us.
There are so many things you don't even know to prepare for. What will you do in front of the photographers when your victory is just a few seconds old? Will you remember the words to "The Star-Spangled Banner" when the flag is raised? How can you possibly express to your relay partner and all the people that helped you get to this moment how grateful you are for their support? It's funny how so much time is spent building up to these races and then, when it actually happens, it's the most epic flurry of activity you could ever imagine.
While it's been a total whirlwind, I have an incredible feeling of satisfaction and genuine gratitude for all it's taken to get here. I competed at World Championships here in Val di Fiemme 10 years ago when a medal wasn't even a remote possibility. It's pretty cool to think about how far we've come. And pretty cool to think about where we're still going to go!
We still have a few more races left at this World Championships, so now it's back to work!
Please check out the video of the race and some exciting highlights of our historic day on the U.S. Ski Team YouTube channel. Thanks for tuning in!


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|أدوات الموضوع
|انواع عرض الموضوع
MAXON CINEMA 4D R13.051 (x86/x64)
cinema , maxon , x86 or x64
CINEMA 4D R13.051 (x86/x64)
MAXON CINEMA 4D R13.051 (x86/x64)
Size : 4.65 GB
New version of the simplified character animation, with support for stereo and 3D-rendering of the physical Today, the company officially announces MAXON CINEMA 4D R13, the new generation of lead editor of three-dimensional graphics for animation design, visual effects, three-dimensional drawing and rendering. Brand new character animation tools, support for stereo and 3D-rendering of the physical help artists around the world quickly and easily create high quality images and animations for various industries.
In tomzhe year in which the company celebrated its 25th anniversary, and in consequence the most successful fiscal year in company history, the company continues to develop MAXON solutions for designers, because more and more daily work is decentralized, using a variety of industrial conveyors and modern technology, such as stereoscopy, must be maintained.
آ«CINEMA 4D R13 is filled with workflow enhancements that will help overcome the daily difficulties the team project," said Harald Egel (Harald Egel), co-founder and CEO of MAXON. "Artists love the new three-dimensional graphics tools for character animation, and rendering even more physical. Not to mention the new features for easy creation of stereoscopic work, which lead to sensational opportunities for processing of visual entertainment. "
Specific innovations in CINEMA 4D R13:
MAXON CINEMA 4D offers four different versions that are designed for different areas of activity in which artists work a three-dimensional graphics. Pay attention! Not all the described functions contained in each version of CINEMA 4D.
The new expanded and improved rendering engine
Three-dimensional graphics artists always try to improve the quality of their work. The new version provides all users of CINEMA 4D a number of tools that you can in the shortest time to obtain more realistic results.
Physics, Rendering: creation of photorealistic images is even easier than it nibylo. Based on the functions of these cells, such as focal length, aperture and shutter speed, this additional rendering engine can be physically correct to calculate the three-dimensional blurring in motion and depth of field and distortion of the lens, and more.
New subsurface scattering: Now create translucent materials such as milk, leather, wax, or even easier. New subsurface scattering shader allows you to achieve realistic results and works with standard and a new 'physical' system rendering.
General Configuration of emitters: emitters combining setting for various effects such as depth of field blur in motion, the surface shadows, occlusion of the environment and blurred reflections and transparency, you can save significant time. The radiation may work adaptively or with a certain value.
New smoothing filters: with the new smoothing algorithm, namely Mitchell and Gauss, we can now achieve a better quality anti-aliasing.
Stereoscopic workflow
Stereoscopy is maintained throughout CINEMA 4D R13 and thus provides a reliable solution for creating three-dimensional stereo images in better quality and for different types of processing.
Transformation in the stereoscopic camera: perhaps a simple transformation of any camera in the "parallel", "offset", "to turn" or "circle of" stereoscopic camera.
The working process of creating a stereoscopic image with a preview of stereo images can be seen directly in the viewport. Preview may take place in the display modes "anaglyph", "interlaced imageآ», آ«Shutterآ» and "bilateral".
Stereoscopic rendering settings: allows you to render stereoscopic images and combined to create separate stereoscopic channels for further processing or compositing channels.
Support for image manager: view stereoscopic animation, editing and exporting images parallax combined or separate stereoscopic files.
More than a simple tool for character animation
The range of new tools for character animation makes up this technically complex processes, such as creating a barn and cyclical movements. Thus, beginning animators can easily make the characters first success, but it will simplify things for professionals.
The new object Character: This object is a self-Rieger, which greatly simplifies the creation of a system of joints and connect it with a three-dimensional geometry. You can also create and use new, custom harvesting rigs.
The new system of movement of the character: allows you to create your own or use ready-parametric cycles of walking, based on the cyclical movements. The figures go automatically to the spline, or on different surfaces, even the individual steps can be set. This feature works not only with the object of character, but in the whole scene.
The new system of muscles: CINEMA 4D R13 has a system of muscles, which allows you to attach the muscle to various joints that leads to deformation of the model. Also includes a warp to stretch and move the skin.
The new warp Interaction: deform the surface of objects on the basis of their interaction with other objects, so the character could for example leave footprints in the snow.
Numerous workflow enhancements, modeling and animation
CINEMA 4D is known for ease of use. Improve navigation and interface allow the user to work in the CINEMA 4D R13 is even more efficient and intuitive.
Improved navigation camera: a new, based on the navigation cursor will automatically use the "intersection point" in the scene, depending on where the user starts to navigate. This, among other things, allows the camera to move smoothly, no matter where the point of intersection. Navigation around the scene and the object has now become very easy.
آ«Sticky Keysآ»: this technology allows the use of a tool holding its keyboard shortcut. Once the keypad buttons are released, CINEMA 4D is returned to the previous tool.
The new interface is the user data of the "Spline": a function whose parameters are controlled by the curves have now new types of splines, which are now much easier to configure.
Indicator of the object: this feature indicates the location of objects outside the camera and kind of helps you quickly navigate to these objects.
Tools for working with surfaces: new infinite axis enables the user to place objects on other objects. The axis can now display and rotation of the brace, which points to its possible folding (Gimbal Lock). Several of the selected objects at the same time can now be transformed separately and not only in the group. And with the sandwiched button CTRL and click, you can easily and quickly extrude new polygons.
Improved animation: the animation system has been significantly improved based on user feedback. Better was the work of the F-curves with markers and interpolation of keys, and much more.
An efficient workflow
Participants in teams of professionals working on the three-dimensional graphics are increasingly common project work remotely from each other, using different platforms and operating methods. This increases the requirements for CINEMA 4D R13 and therefore provides a range of new possibilities for sharing elements of the scene, as well as enhanced data exchange with other software packages.
Brand new items Xref: These objects allow you to work more efficiently using the links to external files. Xref Objects can texture, animate them to use expressions and simulation without changing the original object. A huge advantage in team work on projects.
Improved integration COFFEE and the Python: powerful programming languages ??in a single manager, provide opportunities for programmers to develop all kinds of plugins and scripts. CINEMA 4D offers a common environment in which to process the scripts Python, and COFFEE and C + + API.
Enhanced support for file formats: three-dimensional graphics artists are now even more flexibility in working with a variety of file formats. Multiprohodny rendering can now be made in an OpenEXR file format when using multiple layers. Most popular formats FBX and COLLADA also been reworked and provide an opportunity now even easier to exchange scenes between different programs.
Support for After Effects: a great connection with the program Adobe After Effects is now enhanced support for object "Director". It also now supports the export of markers in the timeline and format of the NTSC frame rate to 29.97.
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المصدر منتديات قلب - قسم برامج جديده 2014 - حل مشاكل الكمبيوتر - دورات اصلاح الكمبيوتر - كل مايخص الكمبيوتر وملحقاته
|مواقع النشر (المفضلة)
|الكلمات الدليلية (Tags)
|cinema, maxon, x86 or x64
|جديد مواضيع قسم برامج جديده 2014 - حل مشاكل الكمبيوتر - دورات اصلاح الكمبيوتر - كل مايخص الكمبيوتر وملحقاته
|أدوات الموضوع
|انواع عرض الموضوع
العرض العادي
MAXON CINEMA 4D R13.051 (x86/x64)
|المواضيع المتشابهه
|كاتب الموضوع
|آخر مشاركة
|RenderKing - VRay Texture Pack for Cinema 4D
|برامج جديده 2014 - حل مشاكل الكمبيوتر - دورات اصلاح الكمبيوتر - كل مايخص الكمبيوتر وملحقاته
|Maxon Cinema 4D Studio R13.029 Mac OSX Multilaguage-TeNbArA (2011/Reup)
|برامج جديده 2014 - حل مشاكل الكمبيوتر - دورات اصلاح الكمبيوتر - كل مايخص الكمبيوتر وملحقاته
|MAXON CINEMA 4D R13.058 (Update Advanced Render, VRay)
|MAXON CINEMA 4D R13.051 (x86/x64)
|نسخة السفن الخام الـ 32/64 بت (Windows 7 Ultimate SP1 Multi-JuNe 2012 (x86/x64
|دليل قلب


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Jussi Jaaskelainen pulled off a string of fine saves as West Ham held Southampton to a goalless draw in difficult conditions at St Mary's.
In a match devoid of many moments of class, the oldest man on the pitch proved decisive as Saints were denied a first home win of the season.
The 38-year-old was first called into action after 11 minutes, somehow keeping out a Dani Osvaldo effort when it looked easier to score - the best chance of a tepid first half in which Kevin Nolan had a goal ruled out for offside.
Lambert hit the post moments after play resumed. The England international, making his 200th Southampton appearance, was then denied by Jaaskelainen as Mauricio Pochettino's side pushed for the opener.
The veteran Finn, supported impressively by James Collins and Winston Reid, was also at his best to stop Morgan Schneiderlin, who was lucky not to be booked in the first half for a poor tackle on Mohamed Diame.
Referee Andre Marriner chose not to even award a free-kick for that challenge and was in the spotlight again after adjudging a Joey O'Brien lunge on Adam Lallana only worthy of a booking.
Heading into the game, much of the talk revolved around Ravel Morrison.
The highly-rated but unpredictable 20-year-old was handed his first Premier League start in place of Stewart Downing, who has joined Andy Carroll, Joe Cole and George McCartney in the treatment room.
Southampton brought in Nathaniel Clyne, Jay Rodriguez and Luke Shaw, with the latter almost caught out in the opening minutes.
Diame impressively controlled a crossfield ball and turned the teenage left-back, giving him space to sting the palms of Artur Boruc.
West Ham were quickest to settle in miserable conditions on the south coast, with Boruc forced into action after the wind sent a Matt Jarvis cross towards his goal.
Saints, though, should have taken the lead with their first chance of the afternoon.
After losing his man down the left, Rodriguez's cute cutback from the byline found Osvaldo unmarked - but the Italian's goalbound strike was impressively blocked by Jaaskelainen.
It was a chance Southampton's record signing was clearly frustrated not to have buried, with a chance at making amends soon after denied by the quick thinking of Reid.
The New Zealand international's outstretched leg prevented him running free at goal, with Jaaskelainen thwarting Lambert from the rebound.
Diame saw an audacious long-range drive whistle just over as West Ham pushed for an opener in the rain, which they thought they managed just past the half-hour mark.
Boruc spread himself well to stop Jarvis when through one-on-one but captain Nolan rifled home from outside the box - only for the offside flag to cut the Hammers' celebrations short.
Schneiderlin was fortunate not to receive a yellow card for a poor challenge on the already booked Diame, with West Ham furious as the midfielder left in pain on the floor without so much as a free-kick.
Lambert nodded over and Morrison curled just wide from 25 yards, before Marriner called time on a turgid first half.
Victor Wanyama, particularly poor in the first half, forced Jaaskelainen to tip over from distance shortly after the restart, with a goal almost coming from the resulting corner.
Lallana swung the ball in and Lambert's powerful header rattled the post, followed by hopeful calls for a handball against the impressive Collins when Wanyama attempted to strike home the rebound.
Saints had seemingly given up on their attempts to threaten the Hammers with aerial balls and reverted to playing on the deck, with Osvaldo slipping through Lallana only for Jaaskelainen to thwart him.
Pochettino's side continued in the ascendancy and Schneiderlin saw a threatening overhead kick was headed away by Reid after Osvaldo had seen a shot blocked.
Mark Noble and Wanyama were both booked for late challenges, with Joey O'Brien soon joining them for a tackle on Lallana that saw tempers fray and could have resulted in a red.
The challenge came after Jaaskelainen superbly turned a Schneiderlin volley around the post, with the veteran goalkeeper then brilliantly clawing away a curling Lambert effort.
Collins lashed over as West Ham pushed a for a late winner and Saints saw appeals for a handball against Nolan rejected, with Wanyama firing the final chance wide.


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Today marks 17 years that The One and I have been together (which is actually more like 30 in straight years). The way he tells it, it was my linens that clinched it for him.
In 1993 I bought my first bed. Before that, during college and just after, I made do with a futon or, on occasion, a pile of dirty laundry on the floor. But when I turned 32, I decided it was time to have a proper place to sleep. Bereft of the design gene my people are supposed to possess, I chose a ridiculously large model with massive head and foot boards. To camouflage this Victorian monstrosity, I purchased tons of pillows and one of those all-in-one matching linen sets that no matter how you use it, you can't screw up—kind of like Garanimals for beds. Gold sheets with a barely perceptible floral pattern contrasted with a deep brown and burgundy coverlet and matching shams and neck rolls.
One look and he was smitten. All of his life The One wanted a bed with a headboard and lots of pillows so he could prop himself up, eat caviar, drink champagne, and read, "like Joan Collins," he's wont to say.
For me, it was his cooking that sealed the deal.
It's not that he was a great cook back then, because he wasn't. (There was that time he wanted to make a healthy cake from a box and used a wickedly peppery olive oil instead of canola. I could go on, but shan't.) No, it was the fact that one Sunday afternoon late in October he stood at the counter in his house in upstate New York, cutting and dicing and shaking pans. For me. It was the first time anyone I cared for made a meal for me. The recipe: Cider-braised pork loin with sautéed apples.
Love food, I call it.
I remember waking up from a nap, the angled light of late afternoon long gone, and walking down the hall. Kenny G (yes, Kenny G) was playing on the stereo. I hadn't yet thrown myself into cooking, so I was fascinated. I leaned against the kitchen doorway and watched. This was long before we remodeled. The white walls and cabinets the color of chewing tobacco hadn't yet been painted butter yellow and Navajo white. The sliding glass door to the deck was another year away. The cutting board was an old piece of wood (and, sadly, since lost in one of our moves); the stove electric, its coils glowed red like a giant branding iron. He wore an apron; The One likes to be neat when he cooks.
I'm convinced the reason I recall that moment, that room—when so many others have slipped from memory—is the food. His love food. It anchored us in time, exerting an emotional pull that still keeps us orbiting around each other, all these years later.
Not long after, again on a Sunday, I made him a sour cream apple pie. My love food. While baking, the apple slices jostled together in layers interspersed with a tangy cream. On top a perfect pebbly streusel crown. Back then I was rail thin and ate nothing but Fiber One cereal for dinner, so he was surprised I even baked.
"I'm a gourmet cook," I said a bit defensively.
"Really?" Was that doubt in his voice?
"Yes." And to prove it, I pulled out the Gourmet magazine that featured the recipe. My logic was of the rock-steady kind: if A equals B, and B equals C, then A equals C. Ergo, if the recipe I made is from Gourmet, and Gourmet is the magazine of gourmet cooks everywhere, I am therefore a gourmet cook. He sniggered a bit but still ate two pieces, holding out his plate Oliver-like, asking, "Please, sir, I want some more."
Throughout that autumn and winter, our first together, Sundays were our pork and pie day. We never seemed to tire of these dishes. Eventually the weather warmed, and we discovered the grill together. As we grew older (and withstood three near breakups, the loss of loved ones, the inexorable march of age) other recipes became our love food. There were his tuna burgers with wasabi mayonnaise, stewed chicken and olives, and mile-high lemon meringue pie (which he made for me just once and will never make again, it was so complicated). My Christmas goose, salt cod casserole, and dark chocolate espresso cake.
As I write this, on a Sunday, The One is in the kitchen, the rhythmic toc-toc-toc rocking of his favorite chef's knife—the 8-inch one with the cracked handle—reaches me. Something is spitting in the sauté pan; it smells like lamb. On the stereo, a movie soundtrack (he's mercifully outgrown Kenny G). In a few minutes I'll walk out and watch him. Thankful that we're still together, thankful that he's still making love food for me seventeen years later.
Love Food, AKA Sour Cream Apple Pie Recipe
LC aka Dutch Apple Pie Note
For reasons that vary according to who tells the story, a streusel-topped apple pie tends to be dubbed Dutch Apple Pie here in the states. Anyone think they've got the true story? Go on. Tell us.
Sour Cream Apple Pie
- Quick Glance
- Serves 8
IngredientsEmail Grocery List
- For the crust
- 1 1/4 cups all-purpose flour
- 6 tablespoons (3 ounces) unsalted butter, cold, cut into bits
- 2 tablespoons vegetable shortening, cold
- 1/4 teaspoon salt
- For the topping
- 3 tablespoons (11/2 ounces) unsalted butter, at room temperature
- 1/4 cup plus 2 tablespoons granulated sugar
- 1 teaspoon ground cinnamon
- 2 tablespoons all-purpose flour
- For the sour cream filling
- 1 1/3 cups sour cream
- 2/3 cup granulated sugar
- 1/4 teaspoon salt
- 2 teaspoons vanilla extract
- 2 large eggs
- 3 tablespoons all-purpose flour
- 5 large (about 2 1/4 pounds) Granny Smith apples, peeled, cored, and thinly sliced
- Make the crust
- 1. In a large bowl using a pastry blender or two knives held criss-cross fashion, blend the flour, butter, vegetable shortening, and salt until the mixture resembles meal. (You can instead buzz the ingredients in a food processor until crumbly.)
- 2. Add 3 tablespoons of ice water, toss the mixture until the water is incorporated, and form the dough into a ball.
- 3. Knead the dough lightly with the heel of your hand against a smooth surface for a few seconds to distribute the fat evenly and re-form it into a ball. Dust the dough with flour and chill it, wrapped in wax paper, for 1 hour.
- Make the streusel topping
- 4. In a small bowl blend together the butter, sugar, cinnamon, and flour until the mixture is combined well and then chill the mixture, covered, until ready to use.
- Make the sour cream-apple filling
- 5. Once the dough is fully chilled, whisk together the sour cream, sugar, salt, vanilla, eggs, and flour in a large bowl until the mixture is smooth, add the apples slices, and stir the filling until it is combined well.
- Assemble the pie
- 6. Position a rack in the middle of the oven and heat the oven to 350°F (175°C).
- 7. Roll out the dough 1/8 inch thick on a lightly floured surface, fit it into a 10-inch (6-cup capacity) pie plate, and flute the edge decoratively.
- 8. Spoon the filling into the shell, smoothing the top, and crumble the topping evenly over it. Bake the pie until it's golden and the apples are tender, 1 to 1 1/4 hours. Transfer the pie to a rack, and let it cool completely.
Recipe Testers Reviews
If you make this recipe, snap a photo and hashtag it #LeitesCulinaria. We'd love to see your creations on Instagram, Facebook, and Twitter.


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Create A Month of Gratitude Frame
With little more than an inexpensive picture frame and a few leftover scraps you can express your thanks in a wonderfully decorative fashion using your scrapbooking supplies. On our thankful-for list: our talented friends at Imaginisce who shared this project with us!
A Month of Gratitude frame by Janet Wilkins for Imaginisce. Supplies: Cardstock: Bazzill Basics Paper; Patterned paper and rhinestones: Imaginisce; Frame: IKEA; Font: Avant Garde; Other: Adhesive and spray paint.
Here's how to create your own piece of gratitude home décor:
1. Spray paint frame, frame stand, and two binder rings.
2. Create title and 30 journaling spots using lined paper download or your own supplies. Decorate frame using leftover scrapbooking supplies.
3. Punch holes in top of plastic frame center and paper cards. Attach using binder rings.
Voila! You've got a whole month of celebrating thankfulness. Who says Thanksgiving only has to be one day?
For more tips for your scrapbooking, see the Creating Keepsakes magazine November/December 2010 issue.
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The GEF-720-VH Ventless Hood Fry Kettle cooks 72 pieces of fried chicken quickly and easily, delivering maximum profits with minimum effort and expense. The GEF-720-VH utilizes non-pressurized frying to produce delicious crisp and moist fried chicken every time.
The Giles Ventless Hood Fry Kettle is the most advanced frying appliance available. The integral ventless hood provides capability to deep fry delicious foods in areas where traditional vent hoods cannot be accommodated or are not permitted. Features a user-friendly electronic cooking Controller ... Occupies limited space, is easy to clean and simple to maintain, and has the largest capacity of any fryer in its class for handling those high-volume operations ... Equipped with heavy-duty casters for convenient mobility ... Auto-Basket lift raises product at end of cook cycle, preventing over-cooking ... Convenient on-board oil filtration makes oil filtering a snap.
The self-contained fire suppression system used in the Giles Ventless Hood is an Ansul R-102A system and includes piping, discharge nozzles (appliance & plenum), fusible link brackets and cable conduit, release mechanism and 1.5 gal. suppressant tank. Final installation, charging and testing of the system must be performed by an authorized Ansul agent (cost is not included in price and is the responsibility of the purchaser).
The GEF-720-VH is not just for chicken ... easily diversify your menu to include mouthwatering seafood, vegetables and a variety of other tempting foods.
Unit comes complete with Fry Basket, Fry Basket Cover, Waste Oil Discharge Hose, Pot Brush, Kettle Drain Brush, Element Brush, Stir Paddle, Crumb Shovel, complete set of Hood filters and Operations Manual


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Halloween Hooded Cloak Wizard Wicca Robe Cape Coat Gothic Fancy White Velvet Purple Silk
- Gender: Unisex
- Fabric: Velvet, Satin
- Brand: ANGELWARDROBE
- Popular Eras: Medieval, Renaissance
- Theme: Gothic, LARP, Wicca, Sorcerer
This Is A Outside Velvet. Inside Colored Silk. Soft Material Fairly Lightweight. A Long Tie Made From The Same Color Velvet Material As The Body Of The Cloak. In The Collar Off The Cloak Lining Is Fully Attached Along The Front Seams. For Halloween. Cosplay,LOTR Costume. Scenes Dress Up.
Please note the first colour is the outer velvet colour and the second colour is the silk lining.
Currently, the sizing and measurement information for each of our costumes, cloaks, and other pieces can be found directly on the item's listing page. Remember to measure yourself carefully. If you are in need of advice in terms of which size to choose or if you need measurement information that you do not find in the item's description, please contact us at firstname.lastname@example.com.
Need a size not available at Andy Designs?
We are always looking for new colors and sizes to add to our current offerings. If we do not carry your particular size of an item you would like, we would love to hear from you. When we know there are people out there interested in something we don't offer, we often try to add those to our store.


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US Broadcasters Honour Industry Giants (NEWS BRIEF)
(HN, October 14, 2011) - Renowned television journalist Christian Amanpour is among recipients of an annual US broadcasting awards ceremony held today in New York City.
Lauded as a leader of a new generation of TV correspondents, Amanpour was described by the Library of American Broadcasting Foundation as being fearless and passionate in her reporting.
"In a time when many critics say Americans don't care enough about foreign news and news organizations are castigated for not covering stories far from our shores, Christiane Amanpour has been working hard for almost 30 years to bring home just those kind of stories," the organization said at today's Giants of Broadcasting event.
In a passionate acceptance speech, Amanpour, a former CNN chief international correspondent who jumped to ABC News in 2010 to anchor This Week With Christian Amanpour and provide other network coverage and analysis, said she would like to see more women in journalism - including in top TV network management. "I'd also like to see a female president," she said.
Also awarded for journalistic excellence was NBC News anchor Brian Williams, who inherited the anchor chair in 2004 from Tom Brokaw at just age 43, and is known for cutting edge coverage of the Katrina crisis in New Orleans and the Indian Ocean tsunami.
The organization said of Williams, a former volunteer firefighter: "Being a broadcast network news anchor is to join a select club. And being able to balance the gravitas and earnestness necessary to report on horrific natural disasters and wars, while maintaining a widely appreciated sense of humour, is rarer still. Brian Williams is in a class almost by himself."
In February 2011, when he reported on the Tahrir Square uprising in Egypt, his Nightly News broadcast enjoyed its highest ratings in six years.
Williams, true to form, accepted the award with an off-the-cuff speech that suggested he reached the prized anchor chair almost by chance - pointing out, for example, that he is a college drop-out who started his career in media by answering telephones.
Speakers at the foundation event acknowledged rapid technological change and shifting audience habits as challenges to the industry, but added that core journalistic values will remain.
Also honoured today were: CBS Sunday Morning and Brian Lamb, the founder of C-SPAN.
- HUMNEWS staff


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Explore Easter Island - Hotel Otai
Long a destination of mystery, Easter Island offers a special, off-the-beaten-track adventure. You will explore the ancient moai (sculptures) that have fascinated and baffled history buffs for generations.
- Accommodations
- Breakfast & one lunch
- Transfers
- Sightseeing
- Entrance fee
With over 85 years of experience, SITA World Tours is one of North America's most reputable Tour Operators for exotic destinations worldwide. Headquartered in Los Angeles, SITA is renowned for upholding the travel industry's highest standards with unparalleled quality of service. Recognized for providing an above and beyond travel experience, SITA is committed to crafting journeys that are remembered for a lifetime. SITA services the entire North America, with offices in New York, Chicago, Ho...


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About this Quilt
Scrappy Strips: FREE Quilt Block Pattern
Bright, cheerful prints give Sarah Maxwell and Dolores Smith's Staccato bed quilt pattern lots of contemporary charm. The simple one-block quilt design is sure to provide instant quilting gratification. Click image below for more information on the quilt pattern. Click Web Bonus link below for the FREE Scrappy Strips quilt block pattern.
Click here for the FREE Scrappy Strips quilt block pattern.
Finished Size
Bed quilt: 80½˝ x 80½˝
Scrappy Strips block: 10˝ x 10˝
Featured Fabrics
Sarah and Dolores used fabrics from Sweetwater's Wishes collection by Moda to make the quilt.
Kit Offer
A kit of fabrics for quilt top and binding is available while supplies last for $115.30 ppd. (MO residents, $124.15 ppd.) from Homestead Hearth, 105 N. Coal, Mexico, MO 65265; 573-581-1966; homesteadhearth.com.
Click links below for…
Library of FREE Quilt Block Patterns
The Staccato bed quilt is fully patterned in the April/May 2014 McCall's Quick Quilts issue shown below.
McCall's Quick Quilts April/May 2014
Purchase issue: instant digital download
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Hey guys, I was wondering which players you guys think will be available for trading around the deadline? Will Shane Doan be available with Mueller waiting in the wings to take the "C" from him? Who would be available to make a trade for?
Hey guys, I was wondering which players you guys think will be available for trading around the deadline? Will Shane Doan be available with Mueller waiting in the wings to take the "C" from him? Who would be available to make a trade for?
^^^Props to MJ-BULLS for the userbar!
Sig bet with IvyPickin87(Also an Avatar bet with Hawkize31): Arizona WILL beat Iowa on 09/18/10
Sig bet with Windycityflyer and Dewsox79: The Cubs WILL have a better record in 2010 than the white sox
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There's no one in here, it's going to take months to get a few responses.
Jovo-cop, Doan and Bryzgalov should get moved for picks, but they won't.
I think most of the Coyotes are very attractive to other teams. They are extremely young, cheap, and brimming with talent. Guys like Mueller, Hanzel, Turris, Boedker, Thikinov, and Yandle would be indemand and would probably fetch a nice return for the Yotes. Cheaper, more seasoned guys who are excellent role players like Lombardi, Upshall and Prucha would also fetch decent returns. The Coyotes would probably love to get rid of Jovonaski and Bryzgalov's contracts, but I dont see too many teams wanting them. Phoenix can actually play, they have talent, its just everything off the ice that is debilitating.
The coyotes trading doan would be like the Avalanche trading Sakic (last year). Never will happen.
New Video. Isles season highlights 2011-12!
Doan has a no-movement clause
Coyotes are off to a nice start...look like coach Ulfy has them clicking on all cylinders...hopefully they can continue that trend and start getting some people to show up to the rink...
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Last edited by jmichael7753; 11-17-2009 at 08:16 PM.
Doan wouldn't have signed a contract with a no move if he wanted out of Phoenix.
Bruins fan popping his head in here, I just read something, I think on ESPN, that the B's were looking at trading for Mueller...just curious on your take on that...
Leafs fan here just wondering what is going on with Turris?
(disclaimer:)All opinions are just out of my head and in no way can be taken as fact until they happen
I believe Turris just wants out of Phoenix because he thinks in a bigger market he could get more attention. He was drafted 3rd overall and has done nothing. Kane and JVR were drafted ahead of him and both have huge contracts and are key members of their clubs. Turris is only 22 and has the ability to be that guy for Phoenix in a season or two. The coyotes top line are all over 35, so patience would have paid off. That is why I see his trade request as a sign of immaturity.
Maloney is trying to teach him a lesson now. He knows that if Turris is traded they aren't going to get anything of real value for a guy who puts up 25 points and then holds out. So now it is just awkward. Turris still believes he has some sort of leverage when the Coyotes don't care about him anymore. They may trade him by the end of November, but only if someone offers more than he is worth. Don't expect Maloney to take a low draft pick for him. Heck The way NYR is playing, and Maloney's relationship with Sather, I am expecting the Rangers to throw some draft picks in Phoenix's direction come November.


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DatacenterDynamics Converged pulls together the people, processes and technology necessary to execute a world class data center strategy under one roof.
With 70% of DCD attendees responsible for the direction, tactical management, and operational implementation of their data center strategy we are continually evolving our conference programmes to meet growing information needs.
No matter what a your role is in the data center value chain, you will benefit from the insight of the world's industry-leading practitioners presenting case studies or technical papers on how to optimise internal and external IT requirements from a facility, IT, and business perspective.
Our hallmark multi-track conferences are supported by a unique expo environment where vendors are encouraged to exhibit often sizeable infrastructure products and make software demonstrations.
Data center professionals can no longer confine themselves to traditional disciplines and demarcated responsibilities. The siloed and often fractious relationship between Facilities and IT is being challenged at every turn. The battle for optimisation is being fought where physical and logical infrastructure meet, and Cloud infrastructure and Software-as-a-Service become a reality.
Please enter your contact details below to request more information about DatacenterDynamics Atlanta 2012. The Datacenter Dynamics team will be in touch to share more information about the event and answer any questions you may have.
Design, Build, Operate focuses on every part of the mission-critical facility lifecycle. From site selection and engineering design through to power availability and full data centre automation; this is a must attend event for any organisation embarking on a new data centre project or operating existing facilities.
For every decision to build a data centre there is one to outsource. From collocation to Platform-as-a-Service, from Software-as-a-Service, to building your data centre capacity in the cloud, what are the options most appropriate to your organisation? This conference theme explores an enterprise's strategic options for data centre outsourcing, weighing up the economic benefits, the risks and the performance characteristics against those of doing it yourself.
The efficiency of the facility is only half the equation – optimising all the systems that run within it is crucial: from processing to storage, to network to application. The ITO conference stream provides insight on how IT needs drive data centre strategy and how that impacts infrastructure requirements.
DatacenterDynamics Atlanta is specifically designed to fill the knowledge and networking needs for both those responsible for the design, build an operation of IT facilities as well as key IT decision makers responsible for strategic decisions regarding capacity planning and technology investment.
Registered attendees of an event are able to access the majority of the material presented after an event. We are introducing a new system - PresentationPLAYBACK - which enables you to listen to a full sound recording of the session along with the PowerPoint and any associated movies in a single file.
You will therefore need to have a recent version of Adobe Flash Player installed on your computer in order to view them (Google Chrome Users need not worry about this, as it's pre-built-in). Although we now endeavour to record all presentations in this format, occasionally - for technical reasons beyond our control - it is not possible to fully capture all sessions; in such cases you will only be able to view a PDF.
To access PresentationPLAYBACK you must be signed into your account. Click on the MyDCD button on the top navigation panel which will take you to your personal homepage - on the right hand column you will find an area headed 'My Presentations'. Here are listed the conferences you have access to (see access and restrictions below). The links will take you to the programme page of that conference, and by clicking on a session you will be taken to the individual conference asset where you will find the feature. Alternatively you can navigate to the conference site you wish and acess the file directly from there - remember you must be signed in.
DatacenterDynamics Conference sessions with this feature available will display the PresentationPLAYBACK icon:
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The conference presentations you can view depend on your membership level. Silver members only have access to those from the events they have actually attended, whilst Gold members have access to presentation materials from all our events around the world. Click to here to find out about membership levels and how you can upgrade.