text:
Revelation 15:151-16:21 (NKJV)
16 Then I heard a loud voice from the temple saying to the seven angels, "Go and pour out the bowls of the wrath of God on the earth."
First Bowl: Loathsome Sores
2 So the first went and poured out his bowl upon the earth, and a foul and loathsome sore came upon the men who had the mark of the beast and those who worshiped his image.
Second Bowl: The Sea Turns to Blood
3 Then the second angel poured out his bowl on the sea, and it became blood as of a dead man; and every living creature in the sea died.
Third Bowl: The Waters Turn to Blood
4 Then the third angel poured out his bowl on the rivers and springs of water, and they became blood. 5 And I heard the angel of the waters saying:
"You are righteous, O Lord,
The One who is and who was and who is to be,
Because You have judged these things.
6 For they have shed the blood of saints and prophets,
And You have given them blood to drink.
For it is their just due."
7 And I heard another from the altar saying, "Even so, Lord God Almighty, true and righteous are Your judgments."
Fourth Bowl: Men Are Scorched
8 Then the fourth angel poured out his bowl on the sun, and power was given to him to scorch men with fire. 9 And men were scorched with great heat, and they blasphemed the name of God who has power over these plagues; and they did not repent and give Him glory.
Fifth Bowl: Darkness and Pain
10 Then the fifth angel poured out his bowl on the throne of the beast, and his kingdom became full of darkness; and they gnawed their tongues because of the pain. 11 They blasphemed the God of heaven because of their pains and their sores, and did not repent of their deeds.
Sixth Bowl: Euphrates Dried Up
12 Then the sixth angel poured out his bowl on the great river Euphrates, and its water was dried up, so that the way of the kings from the east might be prepared. 13 And I saw three unclean spirits like frogs coming out of the mouth of the dragon, out of the mouth of the beast, and out of the mouth of the false prophet. 14 For they are spirits of demons, performing signs, which go out to the kings of the earth and of the whole world, to gather them to the battle of that great day of God Almighty.
15 "Behold, I am coming as a thief. Blessed is he who watches, and keeps his garments, lest he walk naked and they see his shame."
16 And they gathered them together to the place called in Hebrew, Armageddon.
Seventh Bowl: The Earth Utterly Shaken
17 Then the seventh angel poured out his bowl into the air, and a loud voice came out of the temple of heaven, from the throne, saying, "It is done!" 18 And there were noises and thunderings and lightnings; and there was a great earthquake, such a mighty and great earthquake as had not occurred since men were on the earth. 19 Now the great city was divided into three parts, and the cities of the nations fell. And great Babylon was remembered before God, to give her the cup of the wine of the fierceness of His wrath. 20 Then every island fled away, and the mountains were not found. 21 And great hail from heaven fell upon men, each hailstone about the weight of a talent. Men blasphemed God because of the plague of the hail, since that plague was exceedingly great.
Ill. Have you ever heard the expression, "It couldn't get much worse."? Well, for those who are still alive on the earth at the beginning of the last part of the tribulation things can and do get a whole lot worse! The great God of grace, love and immense patience has finally reached the limits endurance. It is time for His wrath to fall upon the world and the events described here are awful in their descriptions, but surely worse in their fulfillment. Thank God, if you know for sure that you will miss this awful time.
Let's look in on the time of the Seven Last Plagues.
A. v.1-4 A Period Of Waiting – There is much to see here:
1. Seven angels carrying seven bowls full of judgment.
2. A gracious God whose wrath is about to be poured out.
3. The tribulation saints, and the song they sing. (Ill. The Song of Moses – Ex. 15 – A Song of Physical Redemption; The Song of The Lamb – A Song of Spiritual Redemption.) They sing of God's Greatness, His Goodness and His Glory! They sing of His Virtue, His Victory and His Vengeance. (Ill. The songs of Heaven!)
(Ill. Will be a blessing to be there and hear that!)
B. v.5-8 A Place Of Worship – There is much here also
1. The Messengers Of Wrath – These come from the very presence of God himself. They step from the place of absolute holiness to execute judgment upon the place of absolute wickedness.
a. They Possess Divine Righteousness – (Ill. Linen) What they are doing is right and just!
b. They Possess Divine Restraint – (Ill. Golden girdles) They have involved no passion of their own. What they are about to do is painful, but absolutely necessary!
2. The Mediators Of Wrath – One of the Four Beasts, (Rev 4:6-8); The cherubim who ever guard the holiness of God. (Ill. They represent the totality of God's creation, it is fitting that one should be involved in the redemption of the planet, Ill. Rom. 8:19-21.
3. The Manifestation Of Wrath – The way into God is barred by a time as His wrath blazes out against a world that has rejected Him and His Son Jesus.
Ill. The priest in the OT; Ill. The Blood of Jesus opened a way into the very presence and heart of God. That way is now briefly closed so that those who have rejected that way and have served the Devil and his son, the Antichrist can be judged.) God's own glory and holiness bars the way, (Ill. Egypt – Ex. 14)
A. v.1 Judgment Commanded – Here, the very voice of God Himself can be heard He gives the command for judgment to begin! (Ill. What follows is literal!)
B. v.2-9 Judgment Commenced – (Ill. Picture dive-bombers (warplanes) in orderly formation delivering their ordinance on target and on schedule!)
1. v.2 The Unexpected Cancer Of The Seal – Ill. A boil. Ugliness and pain.
2. v.3 The Unexplained Contamination Of The Sea – Ill. The clotted, rotting blood of a dead man. (Ill. A place of life becomes a place of great death!) (Ill. A Plague in Egypt)
3. v.4-7 The Unexaggerated Corruption Of The Streams – Ill. Very literal!
a. v.4 The Reality Of This Judgment – (Ill. A Plague!) Jesus' first miracle was water to wine, something good to draw men to Him; now he turns water to blood, to remind men of Him!)
b. v.5-6 The Rightness Of This Judgment – (Ill. Poetic justice!) God always rewards men according to their deeds!
c. v.7 The Response To This Judgment – The voice of the altar, where the Blood of the Lamb was poured out, speaks and joins in agreement with the deeds of holy God! (Ill. Many saints have shed their blood on the altar of sacrifice before the Lord. That altar now cries out in gladness at the vengeance of their blood!)
4. v.8-9 The Unequaled Catastrophe Of The Sun – God allows the heat to be turned up and the man on earth are scorched by the heat of the sun. (Ill. The power of our sun.) Man's response to this plague is to blaspheme God and to continue on in their sins. A true and revealing portrait of mankind's wicked heart!
C. v.10-21 Judgment Completed – God's rescue of the world proceeds in three stages.
1. v.10-11 The Domains Of The Beast Are Ravished – Ill. Men chose darkness over the Light of Life, the Lord Jesus and now God gives them what they wanted! (Ill. This darkness is only a weak foretaste of what they face in Hell – Matt. 8:12. (Ill. Gnawing tongues and intense pain!)(Ill. Blasphemy)
2. v.12-16 The Directives For The Battle Are Released –
a. v.12 The Euphrates is dried up. The Kings of the east will come against Israel. (Ill. China – 200,000,000 and Japan!)
b. v.13-14 – Demonic spirits are unleashed to deceive the world into a war against the beast. This is Armegeddon!
c. v.15 – Man is again told that Jesus is on the way. Man is warned to be ready!
d. v.16 – All the armies of the world converge on Jerusalem to stamp out the last of the believers.
3. v.17-21 The Destruction Of Babylon Is Realized – The world system is brought down.
a. v.17-18 Premonitions of disaster and a great earthquake
b. v.19 (Ill. Babylon) The city falls and the world is stricken by the touch of God.
c. v.20 The calamity is so great that the mountains collapse and the islands are moved out of their present places. (Ill. Some see nuclear power here!) Whatever it is, it is the touch of almighty God!
d. v.21 Hail stones weighing over 100 pounds will fall on men. Again, men blaspheme God. Man is totally depraved!
Are you prepared to leave before the hammer falls?
You better be!


text:
Spacious 2BR Condo Unit Near NAIA for Sale - Ready for Occupancy (Price Negotiable)
This Asian Tropical themed condominium community comprises an abundant array of leisure amenities fit for your family's lifestyle!
- Spacious 61 sqm condo unit with amazing view of the pool amenities.
- New and unused.
- Soon to have access to nearby LRT Line 1 Cavite Extension.
- Near business districts (Makati City and BGC).
- Near commercial centers (Duty Free, Puregold, SM Mall of Asia, SM Sucat and Resorts World) and NAIA Airport.
- Complete with function rooms, gym, convenience stores, pool, gardens, badminton and basketball court.
- Perfect for end users and young professionals.
Mortgage Calculator
a month
Property Price
Down Payment
Interest Rate
Loan Term
Show more
Information Summary
|Property Value:
|Php 0.00
|Loanable Amount:
|Php 0.00
|Php 0.00%
|Interest rate:
|Term / Period:
|Monthly Payment:
|Php 0.00
|Total Interest:
|Php 0.00
|Recomended Monthly Income:
|Php 0.00
Payment Schedule
Mortgage Reduction Over Term
Unit Details
|Selling Price
|₱ 4,300,000 10.3% more expensive vs average in Paranaque City
|Floor Area
|61 Sqm 10.9% smaller vs average in Paranaque City
|Arista Place
|Floor Number
|Parking Slots
|With Balcony
|Date Listed
|Mar 6, 2017
Project Details
Project Name
Project Type
Unit Types
Arista Place project of DMCI Homes in Sto Nino Sucat Paranaque is designed to attract end-users and upgraders from the surrounding cities of Parañaque, Las Piñas, Muntinlupa, and Pasay, who can benefit from its strategic location. The project's target markets are depicted as homeowners who are planning to upgrade their lifestyle to the current state of modern condo living.
It will cater also to the middle-income market composed of decision makers, first-time homeowners, young start-up families and young couples / early nesters aspiring for a calmer, relaxed, and unhurried home environment with their children. They are family oriented & low key individuals who value peaceful & simple living. and find happiness and contentment in the beauty of nature.
- 24-hour Security
- Gym
- Swimming Pool
- Small Pets Allowed
- Jogging Path
- Game Room
- Playground
- Basketball Court
- Gazebo
- Viewing Deck
- Social Hall
- Garden
- Santo Nio Elementary School - 0.25 km
- Don Galo Elementary School - 0.30 km
- Paraaque National High School Don Galo Annex - 0.30 km
- Paranaque Science High School Annex - 0.53 km
- Polytechnic University of the Philippines - 0.59 km
- San Francisco Family Clinic - 0.33 km
- Santo Nio de Rosales Family Clinic - 0.34 km
- Paraaque Community Hospital - 0.76 km
- King Crab House - 0.48 km
- Luk Foo Cantonese Kitchen - 0.51 km
- T2 Nics - 0.62 km
- Chef Roberts Table - 0.67 km
- Puregold Paraaque - 0.50 km
- Duty Free Philippines - 0.63 km

subset: commoncrawl


text:
Ongoing Projects
Olympia Enchante
Say hello to our first and most luxurious luxury villas in Bengaluru - Olympia Enchante located behind the Forum Value Mall in Whitefield. Enchante is made up of aesthetically designed Villas with serene landscaping. Enchante brings together some of the best consultants along with Olympia to ensure...
Ultra Luxury Villas
26 Luxury Villas in 4.5 Acres
6,500 sq. ft clubhouse
Aqua Beamont
Just 50m off the Eastern Metropolitan Bypass, across the lake with ITC Sonar, Silver Spring and Science City as neighbors, Aqua Beaumont are luxury apartments in Kolkata that comes with a unique three-level Car Park, a Landscaped Garden Deck and Sky Apartments starting from the third level. Pioneeri...
Luxury Condominiums
Proposed Gold Rated Green Building
All Apartments are Vaastu Approved


text:
The Babylon Public Library in Babylon, Long Island is seeking a Part Time Librarian.
Part Time Librarian-Adult Reference Department
Description: The Babylon Public Library is a vibrant well-used resource in our community. We are seeking an experienced, team oriented, enthusiastic, and customer service oriented librarian to fill a part time position not to exceed 17 hours per week. Flexibility is needed as hours will include weeknights, Saturdays and Sundays.
Duties Include:
- Providing reference and reader's advisory to adults and young adults.
- Assisting patrons in the use of library resources and technology.
- Assisting patrons with e-book and audio book technology.
- Other duties as assigned.
- MLS from an ALA accredited school.
- PC proficiency including working knowledge of Microsoft Office, Innovative Interfaces catalog and online databases.
- Strong customer service skills with a positive outlook.
Interested candidates should e-mail resume and cover letter by Friday, September 26th to:
Neely McCahey
Babylon Public Library
Babylon Public Library


text:
Relationship Between Magmatism/Volcanism, Deformation and Economic Mineralization within Paleozoic Strata in the Terrace-Kitimat Area, British Columbia (NTS 103I)
- Geoffrey Pignotta, University of Wisconsin
Economic mineralization in the Terrace‐Kitimat area is concentrated along the intrusive boundary between the eastern margin of the Coast Plutonic Complex (CPC) and supracrustal rocks of Stikinia. Recent regional mapping by the British Columbia Geological Survey indicates that Paleozoic volcanogenic and marine sedimentary strata (Zymoetz Group) host potential Volcanic‐Hosted Massive Sulphide (VHMS) mineralization (Nelson et al., 2008a; McKeown et al, 2008). This newly discovered VHMS potential is believed to be analogous to other VHMS deposits found in Stikinia (e.g., the Tulsequah Chief deposit) that are characterized by massive sulphide lenses, disseminated sulphides and syngenetic alteration of felsic volcanics to quartz‐sericite schist.
The primary objective of this project is structural analysis, geochemical characterization and economic mineral assessment of several exposures of Zymoetz Group rocks. This will be accomplished through:
These analyses will constrain the nature and timing of economic mineralization within these rocks, and assess the regional economic potential in the Terrace‐Kitimat area.
Phone: 604-662-4147
Fax: 604-662-4107
Privacy Policy
Code of Conduct and Ethics Guidelines


text:
My dear Rachel,
I want to apologise for arguing with you the other day. I know that I shouldn't drink because it makes me say and do things which I don't mean. I haven't touched a drop since you left and that's over with now. You have been so very good to me these last months, and I know it's a strain with a family to look after.
You are, of course, right about Emily. You and I know that she took her life, and that she was deeply unhappy when she did. What makes me saddest is that she was so young and had so much more to see and do.
You are, however, wrong to think I don't love you. I love you, and Ellen, very much. I am so proud of you and all you have achieved. You're so strong and independent, and I know you are a wonderful mother. I know I have not been a good father to you, and God knows I was much less a good husband to Ellen, and for that I am truly sorry. When Emily killed herself, I was heartbroken, and also scared of my responsibility for her unhappiness. I thought I might infect the other people I loved with my destructive influence, so I avoided you and your mum at the time you most needed my support. I know now that was wrong and that I could have helped.
I'm so very tired now, and I can't turn back the clocks to make right what I failed to do. But I wanted you to know how much I love you.


text:
Karnataka Premier League (KPL 2017) start date is announced by the officials, it's September 1. The complete KPL 2017 schedule and match fixtures are released by the board.
The confirmed KPL 2017 timetable has been reported by KSCA. The Karbonn Smartphones KPL 2017 controlled by Cycle Pure Agarbathies will be played in the memory of S.D.N.R Wadiyar, the previous leader of the KSCA. The KPL 2017 will be communicated live on Sony Six for all cricket fans. Look at the entire groups, squads and live broadcast television slots of KPL T20 2017.
Add up to eight groups would play in the KPL season 6 and Mangalore United is the best group up until now. Bijapur Bulls were the safeguarding champion of Karnataka Premier League 2016 yet neglected to hold it. This local cricket competition is established on a base of the prevalent Indian Premier League (IPL). In the competition, there is amass organize top where top four groups will fit the bill for the knockout stage.
KPL 2017 Cricket Tournament Details:
- Competition Name – Karnataka Premier League
- Format – T20
- Participants – 8
- Edition – 6th
- Year – 2017
- Organiser – KSCA
2017 KPL Teams
- Mysuru Warriors
- Kalyani Blasters Bengaluru
- Bijapur Bulls
- Belagavi Panthers
- Bellary Tuskers
- Hubli Tigers
- Namma Shivamogga


text:
Resource Centre: So This Is Democracy? reports
"So This is Democracy?" is an annual publication produced by the Media Institute of Southern Africa (MISA) to record and reflect on incidents of media freedom and free expression violations monitored by MISA in the previous year. The publication is based on daily monitoring, research, and analysis gathered in the 11 Southern Africa Development Community (SADC) countries where MISA operates.


text:
Recently we had the chance to catch up with Olly, and see what life has been like for him since he completed Year 12 at BHCS three years ago (2012). Many of you who know him, know he was a great addition to the BHCS crew, bringing joy to those who surround him, and always ready with a joke. He is one of the reasons the students now dress up in costumes at every event they can!
Life has been difficult for Olly, and his family, since he finished School. After a long and courageous battle, his mum pass away in early March, 2014. This, amongst other set backs, forced him to put his life on hold and not pursue the things he wanted to do.
When imagining life outside of School, Olly thought he would be travelling overseas, or even studying at uni… this isn't what he is up to now – but who knows what the future holds! Eventually he plans to enroll in uni and study teaching.
Currently, Olly works at the Tree Tops Café at BHCS. You should pop in and say hi! The café has amazing food, and Olly makes great coffees!
While he was in Year 11, he completed a mission tour to Thailand with Maranatha. What a great experience! Some of his favourite memories from School would have to be the staff vs student sports matched. "Although we never won, they were always a great laugh."
I think many of us can agree with Olly when he says the thing he misses the most were the people – both students and staff. Although, he does miss the students from his Year Level, now that he is working at BHCS, missing the teachers is no longer a factor – he sees them every work day!
We love seeing Olly here at the School, and are sure he would love to see you drop in for a coffee. You may even see some of your old teachers!
All the best with your future studies Olly. You are one tough cookie!
Do you have a story you'd like to share? Have you stepped into an exciting career? Got kids? Married? We would love to hear from you! Shoot us an inbox to our alumni facebook page!


text:
Canadian Breast Cancer Foundation CIBC Run for the Cure
by Mary Beth Roach
In 1996, my mother, Rose Roach, was diagnosed with breast cancer at age 52. A family therapist with Addiction Services dedicated to helping and supporting others, she organized a family team, the Rose Runners, to participate in the Canadian Breast Cancer Foundation CIBC Run for the Cure. The Rose Runners has participated in the Run for the Cure every year since 1996. For my mother, the event was not only about raising money for breast cancer research, education, and awareness, but also about bringing family, friends, and communities together to support Island women with breast cancer. On the day of the run, she was always amazed as the sea of white and pink t-shirts flooded streets for as far as the eye could see.
Although my mother, lost her battle with breast cancer in 2000, the Rose Runners continue to participate in the Canadian Breast Cancer Foundation CIBC Run for the Cure. We remain committed to supporting Island women with breast cancer and believe that one day a cure will be found. This year alone, 100 Island women will be newly diagnosed with breast cancer and 25 Island women will die from the disease (Canadian Cancer Statistics, 2006).
Two members of the Rose Runners, Yvette McKenna and Mary Leah Trainor, hatched a fund-raising idea. Accomplished quilters, they spoke with other quilters, about the possibility of making a quilt to support the Canadian Breast Cancer Foundation CIBC Run for the Cure. Sixteen quilters agreed to help. Woodland Creatures, the quilt pattern chosen, features 9 woodland animals, flanked by a sparrow border at the top and chipmunk border at the bottom. Each stitch has been hand quilted. In total, the quilt has taken over 1000 hours to complete. A work of art, the quilt is a gift from talented Island quilters to women and families touched by breast cancer.
Thanks to Lucy Hickey, Karen Beauregard, Maureen Garrity, Brenda MacKinnon, Edie Zakem, Iva Steward, Brenda Harper, Jean Steele, Velda Taylor, Mary Leah Trainor, Yvette McKenna, Judy Fraser, June Lund, Eileen Howatt, Joyce Doyle, Cheryl Doyle, Marsha Dennis, and Beverly Boswell for the many hours spent quilting Woodland Creatures in support of breast cancer research, education, and awareness.


text:
Other Go blogs
I finally found other Go blogs. I haven't had a chance to yet read through any of them but I'm listing the more interesting ones here in case anyone wants to have a look.
- A Go Player - All I know at this time about the poster is that he uses the name Jay. The blog is a year old and the author is now 15k.
- Go Shodan Challenge - The author goes by the name of O_Scientist. She lists other Go blogs in the lower part of her right column.
- Me in Beijing - Carl, the author, is studying Wei-Chi in Beijing! He posts in English and in Swedish.
- Ed Goes Nuts Playing Go - Edward Hammerbeck in Kentucky seems to keep this blog current. His archives go back to March 2005.


text:
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
*In collaboration with Shri. Devesh Garu.
Variants of Organized Crime
1. Crime arising out of necessity and poverty is easily taken care of by good governance and effective utilization of carrot and stick.
2. Ccrime arising out of mentality which derives pleasure from "doing something different" or "breaking rules" cannot be tackled by good governance.
3. Crime arising out of faulty laws can be corrected by means of changing laws and social counselling.
To elucidate with an example, smuggling of gold was illegal in independent India. But people have been trading and importing gold for ages in India. Due to policy decisions by govt, certain networks and their routes were deemed illegal and the import was branded as smuggling. This gave them incentive to continue trading while avoiding taxes. While they grew powerful and wealthy, they found new commodities to trade[like drugs and weapons] using the already perfected means and routes of smuggling less harmful product.
The drug traderoute of kabul-karachi-mumbai-vizag-SE asia has been existent for centuries now. One cannot stop it merely by making it illegal. What is law, but a mere sentence, if state isn't in position to enforce it. The biggest and only "gunda" in nation-state has to be the state. But there is no such compulsion on a civilizational state, as long as these fringe elements are kept under the hold of Sanskriti so that their services be used when the time arises, in lieu of certain price.
The significance of the tale of Paritala Ravindra.
With respect to Hyderabad-Secunderabad, the 80's and 90's did see the emergence of politicos in the "right direction". However, before the action could get into the den of the entrenched Islamist networks, one such MLA (not native to Hyderabad) was put down due to a Jaichand like character. You will get a clear picture by watching a Ram Gopal Verma biopic - Raktacharitra.
The slow infiltration of Andhra Pradesh by various interests began right after NDA came to power in 1999. The first victim was Alimineti Madhava Reddy. He was a powerful man from Telangana and commanded lot of respect from all over AP. He was Chandrababu Naidu's right hand man. It was said that Naidu's success was only possible because of Madhava's steadying hand by his side.
Madhava Reddy was killed off in a Naxalite attack. It was for the first time in history that a sitting Home Minister and Deputy CM of any state was murdered in this way in spite of having Z-security. Back then and even now, many people consider his death as the work of his political opponents. Madhava Reddy's death was a tragedy for many reasons. Firstly, he was a Hindu with strong affiliation to the religion. Ssecondly, he wasn't in bed with the mining and drug mafia which supposedly has close connections with INC network. Thirdly, he was a shrewd politician who knew how to get his way without being dictatorial. And finally, he wasn't afraid to get his hands dirty or have others do it for him.
He didn't care for the "established" regime in Hyd. That is the entrenched Islamist mafia of Hyderabad since days of Nizam and Razakars and now with alleged political backing of few pro-Islamist political parties and leaders. The situation is further complicated with boiling Telangana issue. In many ways, Madhava Reddy's political savvy exceeded Naidu's and could have rivaled that of YSR's, had he lived to steer the hand of TDP.
He didn't care for the "established" regime in Hyd. That is the entrenched Islamist mafia of Hyderabad since days of Nizam and Razakars and now with alleged political backing of few pro-Islamist political parties and leaders. The situation is further complicated with boiling Telangana issue. In many ways, Madhava Reddy's political savvy exceeded Naidu's and could have rivaled that of YSR's, had he lived to steer the hand of TDP.
Let's take the case of Paritala Ravi himself. He is shown, in the film, to be killed by a guy who is thirsting for vengeance. Howsoever true this may be, but how come this guy, Surya Narayana Reddy aka Maddelacheruvu Suri, who was wronged in the 90's, took him so long to get his revenge. I mean in the end, all he had to do was attack Paritala Ravi when he was traveling in a car. How come it was only after INC/YSR came to power that the Suri became so emboldened and found the means to take out Ravi?
The real life Suri, as opposed to filmy one, was a felon. His family wasn't that better off either. The acts committed SN Reddy 'Suri' are some of the worst atrocities by any political family in India. Paritala Ravi, believe it or not, was a relief to the people there. He gave them security that the goons under INC-network couldn't care to give.
The Role of Intelligence Bureau in the episode of Paritala Ravi
The last scene of film Rakta-Charitra 2, when the IB officer confronts 'Suri' says a lot. It is implied that IB allowed the assassination of Ravi to happen. It is both disconcerting and disturbing since there is a pattern here. Ravi's background would give people too much of "power" by setting a precedent. To be clear, Paritala Ravi's career was not the usual one for the reason that he was the first guy in AP (perhaps in India), since 1947, who actually waged guerrilla warfare on an entrenched network of criminal-politico gangsters, defeated or at least dented their power base enough to make inroads for himself and the agriculturalist interests that backed him. For several years in the 80's he really did go into the hills and jungles and waged war on the local Congress networks and eventually earned enough of a reputation and attracted enough business and labor networks to get himself elected and also create a base for Telugu Desam.
To truly give the "social justice" issue a much wider base and bigger fight, Ravi's ideological background was not enough. His radicalism was fueled by personal grievance based on the "pro-poor" activities of his father. But for a "first phase" of rebellion against INC in the region, it was a good start.
For about 10 years, he was basically waging asymmetric warfare. during all this time, the major antagonists - INC elites of the region - were in power and continued to make his life miserable. IB did not really "help" in Ravi's power. Perhaps, they just ignored him as another "naxalite" and left it at that. It was only after he became a long-term thorn in INC's side because of his charismatic personality and the ability to persuade and cajole certain important networks, especially the Leftist unionist/agriculturalist type people, that INC and their helpers started targeting him. In this phase, it is alleged that Jagan Reddy and his followers provided Ravi's killers with info and equipment while they were in jail. This is not easily covered up without having the local police-wallahs and intelligence inputs in their pockets.
When probed diligently beyond the surface, even voters of INC in recent times remember Paritala Ravi, Alimineti Madhava Reddy, and few others like them, whose lives were basically a story of commitment against INC and who ultimately all were murdered.
Relevance of Paritala Ravindra in this narrative of political treason and organized crime
Paritala Ravindra was perhaps first non-Hyderabad based "tough man" who after coming to power, rounded up the mafia based in Hyderabad. This mafia is the important link in the trade route mentioned in opening section. No other political party showed the balls to take on the interests of the politician-gangster nexus operating in this trade-route anywhere. Be it in kabul, Karachi, Mumbai or Hyderabad, those in power dare not touch this network heads on.
Paritala Ravindra will pay for all his bad deeds in next birth, according to Indian theory of Karma. But he sets one important precedent of daring to perform a deed which Vijaynagar empire, Marathas did not. That is attempting to bring the Hyderabad node under civilizational influence of Pro-India and pro-Dharma forces.
Paritala Ravi cannot be called "Dharmik" in truest sense. But he surely level the playground for the time he was in power. Our narrative learns many important lessons from the example of Paritala Ravi.
Paritala Ravi cannot be called "Dharmik" in truest sense. But he surely level the playground for the time he was in power. Our narrative learns many important lessons from the example of Paritala Ravi.


text:
Q: Which type of toothbrush should I use?
A: The brand of the toothbrush is not as critical as the type of bristle and the size of the head. A soft toothbrush with a small head is recommended because medium and hard brushes tend to cause irritation and contribute to recession of the gums, and a small head allows you to get around each tooth more completely and is less likely to injure your gums. It's unnecessary to "scrub" the teeth as long as you are brushing at least twice a day and visiting your dentist at least twice a year for cleanings.
Q: Is one toothpaste better than others?
Q: How often should I floss?
Q: What's the difference between a "crown" and a "cap"?
Q: What's the difference between a "bridge" and a "partial denture"?
Q: What about "silver" fillings versus "white" fillings?
Q: Do I need to have a root canal just because I have to have a crown?
9010 Glenwater Drive, Suite 108 • Charlotte, NC 28262
Please call the office for appointments, cancellations and emergencies.
© 2008 José L. Arocho and Nelly A. Matos, DDS, PLLC
A Smile 4 U Family Dentistry
(704) 549-1199
9010 Glenwater Dr. Suite 108 Charlotte, NC 28262


text:
|Yoon Cho
|Medium: Video
Studio Location:
1102 49th Ave. - Studio# PH1E
Email: email@example.com
Website:: www.yooncho.com
Artist Bio:
Yoon Cho's work has been featured in exhibitions in the United States and Europe, including the Islip Art Museum, NY; Austin Museum of Art; Wichita Falls Museum of Art; Museum of Fine Arts, Tallahassee; Korean Cultural Service NY at Korean Consulate General NYC; Arario Gallery, NYC; The Dallas Center for Contemporary Art; Dunn and Brown Contemporary, Dallas; Women & Their Work, Austin; Penn State University at Altoona; The LAB, San Francisco; University of Texas at Dallas; DiverseWorks, Houston; Centro de Cultura Contemporanea, Barcelona; Circulo de Bellas Artes, Madrid; and Imago Mundi, a Collateral Event of the 55th International Art Exhibition of the Venice Biennale, Italy.
She is a recipient of Puffin Grant, Barbara Deming Memorial Fund, and the Artist's Grant from Vermont Studio Center Residency. She also was a visiting artist at Ringling College of Art and Design.
She received a BFA from Rhode Island School of Design and a MFA from Parsons School of Design. She was born in Seoul, Korea and currently lives and works in Long Island City, New York.
Artist Statement:
(NOTE: The displayed images are cropped from the originals. Please visit www.yooncho.com for more images.)
The Desert Walk Interdisciplinary Project
(#: environmental art, feminist art, performance, video, photography, drawing, digital art)
The Desert Walk video and photo series explores the connection with our environments with superimposed digital drawings of various biological life forms over the image of myself walking. The graphics of biological life forms such as cells, pollen, reproductive organs, embryos, and skeletons in the sky tell a story of interconnection with the earth.
The Desert Walk Series is comprised of 14 prints with a video and is the first installment of the Walk Project. The Walk Project is a four part series - Desert, Water, Mountain and Urban Walk Series. The Walk Project encapsulates beauty, destruction, and preservation of the land we live in.
The Desert Walk Series was made possible in part by Puffin Grant and Barbara Deming Memorial Funds. The Walk Project is a fiscally sponsored by New York Foundation for the Arts, a 501(c)(3), tax-exempt organization.
All images and text copyright Yoon Cho


text:
Compositions » Eight Electronic pieces
Original Sleeve notes for the Smithsonian LP release
The old battles over the use of the term music in electronic music have given place to new ones over the term electronic. Electronics are now generally accepted as a means to musical ends. But just what is 'electronic' and what is not is hotly argued by the composers now working in the technique. The Germans and Dutch have been insisting on the purity of their electronic music by using only oscillators as sound sources. To the French, such insistence on purity is a typically Germanic fanaticism; they prefer natural sound sources (concrete). The Americans have generally taken a middle ground, and this promises to be the most fruitful – a combination of oscillator and natural sources. The eight pieces in this album represent this combination. The fine 'Poème Élèctronique' of Edgar Varèse is a combination in his 'Kontaktes.' So the combination technique suggests it may become the international style in electronic music, as the serial technique of composition has in orchestral music.
Why combination? Each source of sound has its limits and advantages: pure oscillator sounds are usually dry, harsh, sharp, limited in timbre and without much harmonic complexity – they can, however, be controlled much more easily than natural sounds and can produce any tune the composer wants. Natural sounds have their own 'tunes' and are difficult to control, but they have a great range of timbre – just a dropped plate has all kinds of harmonics to explore. To realise these harmonics, however, a natural sound must usually be transposed electronically into a concrete sound. This process abstracts the sound enough to make it usable in a piece of music. Music that uses only these transposed sounds is called Musique Concrète from the French, who claim to have invented it – although the first work in this technique was done in Russia long ago in the adventurous days of Formalism, before such activities were banned as not being in the public interest. This concretization of sound involves slowing down or speeding up the recorded sound through several generations of tape, filtering it, adding various kinds of echo - a process that often takes the bite out of it, so it lacks the cleanness and impact, the presence of pure oscillator sounds which can be used directly from the oscillator with little or no doctoring.
Music must have both range and definition, and in a sustained electronic piece, both of these sources are needed. Each source has its own general sound, a perspective that becomes monotonous if unrelieved. Oscillator sound is usually small and close up – a string quartet sound - while concrete sound is usually large and distant, a little veiled. A simple example of both is to be found in the first part of the eighth piece on this record: the gong which starts the piece is a natural sound - a concretized saucepan hit – while the tempo series laid over it is electronic. In this case, the two different perspectives have been blended somewhat with added echo. Echo doesn't affect concrete sound much – such sounds have their own acoustics built in – but it does soften the sharpness and flatness of electronic sound, giving it a little 'room' to sound in. An example of this effect is the little oscillator tune which starts the first piece – without echo it would sound flat and dead. Thus, the electronic composer has to provide his own hall along with his own orchestra.
In listening to this music, it is usually impossible, and most pointless, to sort out the sources as electronic or concrete. It is their use, their arrangement, upon which the success of these pieces as music depends. Varèse calls his electronic work Organized Sound, and the term indicates the importance of organization in this new music. The composer is confronted with a potential orchestra of thousands of instruments, and control is a major struggle. Building a piece is like improvising with a huge orchestra, recording as you go. Something starts, develops, and you're never sure of where it's going or how, even if, it will end. In the early pieces on this record (numbered in order of composition, one to six) I simply set two or three tapes of sounds going at once – chance combinations, accidental themes, chaos – all were recorded. Then I sat down and edited the half-hour result into three or four or five minutes, into something that seemed to be a 'piece.' This process led to a gradual disenchantment with the novelty of my sounds, and this disenchantment led to greater control from the start. A sound had to work into the piece under way, or it would be excluded before it got in. So, the seventh piece is much less cut up than the sixth was, and the eighth was not cut into at all, except to join the sounds and passages into a time relationship.
I had 12,000 feet of taped sounds when I started my first piece; I now have four times that amount to work with. Existing as they do, at random on reels of tape, they are little more than a unique sound-effects collection. Only organization: selecting, mixing, cutting – can turn them into music. Electronic music must be listened to, finally, not for the novelty of its sounds, but for the sense of its composition – its ideas. The novelty will wear off in time for the listener as it did for the composer. If it doesn't, the piece has failed the listener as music, or he has failed the piece. If the novelty of a jet plane in a piece of music continues to be its chief interest for a listener, he has shut himself in with people who play the 'Pines of Rome' only for the nightingale in it. These new sounds are exciting, but they shouldn't obscure what the composer is trying to do with them. A composer working in this new way is taking chances, if he's any good. A composer who plays a traditional toccata on a square-wave oscillator, using it as a substitute for an organ, is taking no chances; much electronic music today is simply using new instruments to play old musical ideas, using the novelty of the new sound to make the piece 'modern.' But a composer who deals with wind, riflefire, water, jets, is flirting with chaos; the excitement of his music lies in his control of this near-chaos, as the excitement of Stravinsky's 'Sacre' is held in his control of an orchestra that constantly strains toward chaos. These new sounds demand new ideas from the composer willing to wade into unknown regions. It is appreciation of chances taken and results gained that the listener must try for.
It seems unlikely to me that electronic music will ever replace the traditional orchestra, as come critics and composers have feared. Even when it has been designed to supplement the orchestra, it suffers in comparison with the live sounds, and the combination is usually cumbersome: the orchestra plays, then sits in resentful silence while a loud-speaker roars and whispers fuzzily. But the speaker can't roar as loudly or whisper as quietly as can the orchestra, and until tape recording and reproducing is improved dramatically, resulting in much wider dynamic range and signal-to-noise ratio, electronic music can't match, much less replace, the clear voice of the orchestra. Electronic music is recorded music – it exists only in a recording. The cuts on this record are not performances that have been recorded – they are the performances; you perform the piece when you play it on the phonograph. No recording of more than a few instruments can compare with the real thing. Electronic music can compare favorably only with other recorded music. The few successful combinations of electronic and live music have involved only a few live instruments, playing with, not in between, the taped sounds. Perhaps the future of recording – the use of thermo-plastics instead of magnetics, for instance – will change all this, but until then the orchestra has nothing to fear from electronic music. The traditional orchestra still holds worlds of new sound for the composer willing to explore it. Webern's 'Six Pieces for Large Orchestras' has been around for over fifty years as an example of such new exploration, yet few composers have even tried to duplicate the adventurousness of this work.
Perhaps the orchestra itself is responsible for its fears of obsolescence. A large orchestra is a conservative body; it is governed and administrated. New works submitted to it by unknown composers must pass a long gauntlet of administrators before acceptance for performance – a discouraging process for young composers who want to work on a large scale. Most of the new music being performed today is chamber music, sometimes involving only a solo percussionist. So, too, it is difficult for the new composer, whose ideas are unorthodox, to get his work recorded. Record companies, with a few brave exceptions, release only oft-performed works: the catalogue lists eleven collections of Kreisler, two of Varèse, one of Webern. Electronic music offers a way out of this stalemate: the new composer can compose – record – perform (one process) works of large scale and unorthodox ideas. He becomes administrator and conductor; the performance will match exactly his concept, and there are no worries about other interpretations. All that stands in the way to realisation is the technical aspect. But this is a mountainous difficulty for most composers; put them in a room with a lot of machines and they only want to get out. But the machines can be learned in a much shorter time than it took the composer to learn the techniques of traditional music. The composer who wants to do an electronic piece must either become also a good technician, or have the assistance of a creative technician – and there are more of these around than most composers think. Many of the best mixers and tape editors in recording studios are also musicians who read and know music. And the composer who begins his work with a technician can, if he will learn as they go along, soon be doing his own mixing and editing. This new man – the composer-technician – is in the best position to realize the full potential of electronic music, and the control so necessary to the work.
Europe has been quicker to realise aid to composers who want to work in electronics than has America. Electronic works are often commissioned by radio stations and record companies, who supply their facilities and technical assistance to realise the commissioned piece. NWDR and Deutsche Grammaphon in Germany, Philips in Holland, RTF in France – all have been assisting composers with electronic works for years. But in America this kind of aid is difficult, if not impossible, to come by. With the only electronic center – that at Columbia University – limited in its ability to accommodate more than a selected few composers, the independent composer must turn to record companies and radio stations for facilities – and these have shown no interest in such sponsorship. Yet here they have a unique opportunity to originate new music for air or disc. In the same way an orchestra commissions new works for live performance in its hall, they can commission works for their station or record label, works that would exist in no other way – and as aid, they can offer use of facilities they already have. In my own case, I had use of the facilities of the Gotham Recording Corporation in New York City, and as composers acknowledge more traditional grants and aids, I would like to acknowledge the aid this studio has given me toward realising these eight pieces.
Tod Dockstader, July 30, 1961
Sleeve notes for the Locust CD issue
Tod Dockstader's Eight Electronic Pieces is an unqualified masterpiece of Musique Concrète, a transmission from a reality that is strangely familiar yet completely removed from everyday experience. It is chaotic yet surgically precise, otherworldly in its sound and scope yet unmistakably the product of human innovation and discovery. It is most of all a challenge to the musical form - Dockstader eschews traditional melody, harmony and rhythm - but in cutting, pasting and manipulating recorded sounds he evokes genuine drama and emotion, properties that distinguish the finest music regardless of its origins and elemental makeup.
Born March 20th, I932 in St. Paul, Minnesota, Dockstader worked for animation production houses UPA and TerryToons before accepting a job at New York City's Gotham Recording Studios. There he created Eight Electronic Pieces, first privately issued and later picked up by Moe Asch's Folkways Records in I96I. Subsequent efforts including Luna Park, Apocalypse and the epic Quatermass, followed. Dockstader operated, in large part, outside the sphere of the music world record labels commonly rejected his efforts, and his attempts to join the famed Columbia-Princeton Canter for Electronic Music were summarily dismissed. In the wake of the agonizing Omniphony project he stopped making music altogether.
Tod Dockstader effectively disappeared from music several decades before his recordings were rediscovered and celebrated by successive generations. On May 7, 2003, I spoke with Tod about his life before, during and after the creation of Eight Electronic Pieces.
Jason Ankeny, May 2003
Peeps and Beeps: Open Ears in Gotham City
I had a regular Depression-era childhood. It was very ordinary. My only experience with music was the radio, because in those days, there was a lot of music on the radio. Classical music. Serious music. That's where I started to listen. I was interested in radios-how they worked and magic like that. It was an odd combination: I was fascinated by the electronics of the radio, and I liked serious music. When I was 12 or 13, I got a federal license, and I was a radio amateur for a while. So I learned electronics that way - it was all tubes and all very primitive.
I went to public school, and then I went to the University of Minnesota, so I was exposed to a lot of good live music because of the Minneapolis Symphony. It was a quiet time - we went right from the Depression into the war. I had three majors: I was majoring in Art, English Lit and Psychology, particularly Abnormal Psychology. I was interested in thought and the brain, and Abnormal Psychology was a great way to study it because of the extremes - what goes wrong tells you a lot about the process of thought. I almost got nabbed for Korea, but I managed to weasel out. I got a psychiatric 4-F. I'd had allergies all my life, so I went to the guy who had treated me most of my life and he had saved all my records and he was very much against the war so he wrote up a sealed document that I presented to the inspectors at the exam. The Army would have driven me nuts if I hadn't already been nuts.
After I left the university, my wife and I went out to L.A. We just got in an old car and drove. My wife taught school, and in a way, I supported us by doing cartooning for all kinds of trade publications. Whatever they wanted illustrated, I would illustrate. Then I decided I wanted to make movies. Everybody does, out there. The way it is now, you can major in film and get real experience, but in those days there wasn't any of that. I had a portfolio of my cartoons, and I carried that around with me, so I went to Disney Studios and they were looking for somebody to work in the sub-sub-sub-sub-basement, filing ancient film cels: the celluloid stuff that cartoons are based on. They said, 'Leave your book here with the secretary, and it will be here when you come back.' When I came back, my book was gone, and it turned out some animators came by and they said, 'Who is this? Send him to our place when he comes back.' So I talked to them and they said I should go to UPA, that I'd die at Disney. There was a director at UPA called T. Hee and he was doing the 'Mr. Magoo' stuff. I went over and he looked at my book and said, 'I'll tell the manager to hire you.' UPA had a little ad in The Hollywood Reporter looking for editors, and that's what I wanted to do - I thought if I could get into editing, that was the way to get to be a director. I had already made an appointment to apply for an apprentice editor job, and the manager said 'Wait a minute, you're supposed to be here tomorrow for the editor's job, and here you are now and you're an animator.' I said, 'I'd rather be an editor,' so I edited film.
I was at UPA for about a year and a half. The studio went upside-down: They went into television and failed miserably. The only thing that happened out of all that is I learned to edit film, and part of that in those days was optical tracks - the sound was optical. As it turned out, learning to edit film and to mix soundtracks was the first training I had in sound. From there I went to TerryToons in New York. The guy who ran TerryToons, Gene Deitch, wanted to save money on soundtracks, which were costing him a lot of dough, so he asked if anyone knew how to run a tape recorder. I started doing tracks for him, and that was the first time I worked professionally in sound. I had to teach myself, because no one there knew how to do it. By day I did storyboards, and at night I did soundtracks.
I saved up some money, and I decided I'd write a play, write a novel, that sort of thing: Greenwich Village aspirations. I took time off and stayed home and wrote. Nothing went anywhere, and I said, 'Well, I'll go back to work.' But there was a recession, so I was living on unemployment for a long time. In order to get unemployment, you have to keep a log that you're looking for work, and I had nowhere to look-the animation had dried up. So I remembered my experience with tape at TerryToons, and I landed a job at Gotham Recording in New York City as an apprentice sound engineer. That's where the music started.
I really enjoyed sound. There were a lot of funny sounds in radio that always fascinated me - squeals and peeps and beeps, all kinds of mysteries. I don't know why it fascinated me - it just did. Gotham wasn't a big music studio - it was really a medium sized factory. Very small studios and editing rooms. We were doing all kinds of taping for radio and commercials, training films, plays, whatever. We used a lot of sound-effects, and I just started saving sounds. I could store them, and with tape editing, I could do all kinds of things to them. It happened that at that time appeared the first Musique Concrète - the Schaeffer "Etudes," the little Toonerville Trolley train things, the saucepan songs. It was very modest and monaural, the things he was doing. That really interested me, but I thought the music was kind of … dull. Extremely simple. And I never did like repetitive loops. But the fact that it was being taken seriously interested me, and so I thought, 'Maybe I can do something.' A composer, all he needs is a paper and pencil - you just write. But in this world that I was interested in, you needed some pretty heavy equipment - very expensive. I was lucky because I had this engineering job, and I was always willing to work at night, so they finally gave me a master key to the whole place. I would do the paying job as fast as I could, and then I would start wailing - doing my own stuff.
So that's where the Eight Electronic Pieces came from. I'd record some sounds - water, wind, whatever made a noise - and then I'd go play with them in the editing rooms. At home, I'd put a microphone out the window when the wild cats were calling to each other, or, as I used to do in the apartment that I lived in, I would climb up into the elevator shafts and record the motors. You find sounds, you see. And that's your raw material. It's more or less random - it's a matter of luck finding sounds, and walking around with your ears open. From doing the work, then you get selective, and you know 'No, that's no good, that's not going to work, but that's a good sound, and I can use it.' It's from doing it and failing, and then remembering the color the sounds have in them for what I needed to make a piece. It's a matter of going around and tapping on things. I remember I'd spend time at dimestore toy counters, because they had little noisemakers. Halloween was a great time to find stuff, too. I'd listen to it and I'd imagine because I knew what I could do with it. In my mind I could pitch it down or pitch it up or imagine running it backwards - I'd done so much of it that I had kind of a cerebral circuit, like a preview. I'd just collect all these things, and I'd get favorites, and then I'd look for sounds that would go with those favorites. And that's when the piece would start to form- when I started to get judgmental.
Why I chose the sounds I did, I really do not know. I liked dramatic music - I liked modern as opposed to classic. I liked jazz, and I liked eccentric music. I don't remember thinking this at the time - it's all in retrospect - but I went for dramatic sounds, dark sounds, something with some theater in it. To me it was all finding out - I had no preconceived ideas. I was working intuitively. I just wanted to make some music that I liked, and this was the only way I knew how to do it because I happened to have a background in the technology of recording. In those days, there were no synthesizers - it was just tape recording. I'd just start things going and see what happened. I'd wait for something good, and I cannot tell you why I decided something was good or something was bad. I was in it, but I was not predetermining anything. I had no goal. I just wanted to make something I liked. I just listened, and if it seemed to work and seemed to move and the tempos were good and there were good surprises and it had an atmosphere, then I kept it. A lot of times it just wouldn't work, but it worked enough.
The first seven pieces were on 7½ IPS tape, and it seemed to be working, so I took it seriously and did 15 IPS, which is the professional speed, and I think that was on Number Seven or Eight. In New York at that time, FM radio was much more adventurous than it is now - even staid stations like WQXR, which is the New York Times station, would play some pretty adventurous music, and some of this musique concrète was appearing on the air. I knew how to make lacquer masters, so I made 50 pressings - I could do it cheaply, because I was an engineer so I got discounts. I sold them door - to - door and sent them to every record company in New York or anywhere, and the only one who responded was Moe Asch at Folkways.
I did want people to hear it. I wasn't in a cave someplace. I wanted them to hear what I was doing because I liked it, and I thought maybe somebody else would too, just as I liked other people's music. I did everything could, but nobody took it. I was outside the circles. I didn't know anybody in music at all. I had no correspondence with anyone. I was considered a primitive, you know, kind of a joke - somebody who just did this stuff. And then I just quit - I just disappeared. There was an orchestral work called 'Omniphony' It was an expensive thing to do: I don't know how many people played - 25 musicians or something like that. Owl Records was a hobby of a wealthy fellow in Colorado. He funded the recording, and I had this collaborator - he transcribed some of my sounds. That was the whole idea. It was a lousy experience, and I stopped making music after that. I said, 'I don't want anything to do with music.' I just walked away I guess I'd done what I wanted to do.
I worked for an industrial design company specializing in exhibits. For that kind of work you use everything - film, sound… it's a kind of Theater in that way. From that I went into business with another fellow from the Gotham days, and we started up a company, Westport Communications Group, and we did a lot of educational audio-visual work, starting out with filmstrips. We went from that into doing videos - I did a lot of American history videos for American Heritage. I wrote them and found the pictures - it was all archival material. It was a great job. I did that for years, and did very well in it.
I had built a studio for the purpose of producing these audio-visuals. It was a mixing studio. So I had this equipment - a couple Ampexes, a mixing board, this, that and the other thing. The business went bankrupt, so instead of getting money, I just took the equipment as the liquidation, and I brought it home and put it in a little room. I still liked to do the work - I loved to put my hands on the tools. But I didn't have any of my original source materials because I destroyed them all in the bankruptcy - there was no place to store it all. I had hundreds of thousands of feet of tape, but I didn't want to do that kind of thing anymore, so I just started out from scratch. I thought, 'What can I use for an idea source?' I always need something. Sometimes it was a balloon, or a toy, or a faucet - there was some germinal thing that would start me thinking.
In this case it was shortwave radio. One of the pieces of equipment that I had saved was an old analogue shortwave radio that I had used in one of the educational audio-visuals that I did - communications was the subject. So I turned on the radio and went back a million years to when I was very young and I became fascinated again with the potential of not the broadcast, but the atmospheric sound. In between the broadcasts or the signals there is sound - it's kind of electronic. It can sound like cosmic breathing. I remembered it from my days as a radio amateur - I was always interested not particularly in the broadcasts but some of the odd things between the broadcasts. You tune across and there are really miraculous sounds in the silence. I thought, 'I think I can do something with that.' It took me about ten years to do it, and now I've got about three CDs worth of stuff. I call it 'Aerial' - I always had to have a name first, because you pile up a lot of tape, and you've got to have a project name or everything gets lost.
Tod Dockstader
as told to Jason Ankeny, May 7, 2003
Tod Dockstader: Eight Electronic Pieces, 1960
This is not "pure" electronic music in the German use of the term - not oscillator-music, synthetic music, laboratory music. It is not pure concrète music - natural sound, transmuted by re-recording. It is a combination of both. The American term "tape music" covers it, but poorly. "Tape music" suggests any piece of music recorded on tape, the traditional use of tape. Here, there is no performance to preserve; the recording is the performance. These pieces can only be played by a phonograph or tape recorder. Without electronics, the electronics of tape recording, they would not exist. So they are electronic music in the technical sense that Varèse's "Poeme Electronique" is electronic music: a piece combining concrète and electronic sources, dependent upon electronics for its realization. Although the Germans insist on the purity of their electronic music, Stockhausen's "Gesang der Jünglinge" is a combination of concrete children's voices with oscillator-generated sounds - a combination that gives this piece a range of ideas his "pure" pieces do not have. This and the Varèse piece are the two major works so far produced (and available in disc release) in the medium, and both are combinations.
Why combination? Each pure source has its limits and advantages: pure electronic sounds are often dry, harsh, sharp, limited in timbre, without much harmonic complexity. Concrete sound, while having a range of timbre as great as natural sound itself, tend, for reasons of the extensive re-recording they must go through, to lack cleanness and impact - the presence of pure electronic sound. Music must have both range and definition; in electronic music, a sustained piece calls for this combination. I use electronic sources for percussion, tempo, accent, and concrete sources for thematic and "full orchestra" passages. For instance, the eighth piece begins with a series of sustained bell-like sounds, over which a sharp snare-like tempo is laid. The bell sound is concrete; the drum, electronic. The source of the bells was a single hit on a saucepan; the drum was a single switch arc, reverberated into tempo by tape-echo. In the case of the arc, prolonged reverberation turns it into a flute-like flutter and this flutter is used, in various pitches and tempos, in several of these pieces. This is a simple example; in most places it is impossible, and pointless, to sort out the sources as concrete or electronic. It is the use of them, the composition, on which the success of these pieces a music depends.
In composing these pieces, I used a library of tape cells (sound units, such as a single pitched vibration, a piece of concretized wind, a passage of voice vibration) that grew to 12,000 feet of tape before the first composition was tried. In the early, exploratory pieces (numbered one to six), I simply started two reels of tape cells going and waited for a happy accident of combination. From the first "happened" theme, I proceeded to build the piece with more control, trying to keep it related to the first accident. Still, accident was responsible for much in these first pieces. In a medium as wide and unruly as this, where anything is possible, control becomes a major struggle, and a piece is not so much built as torn down into form. Some of these early pieces ran half-an-hour originally. As I went along, a gradual disenchantment with the cells set in; a cell had to work into the piece under way or it would be excluded, no matter how interesting it was as a sound by itself. This necessary familiarity with my cells is a continuing labor that goes on between compositions, as the collection of cells goes on between compositions, too. In electronic music, the composer is also not only conductor and performer - he is the musical director as well, charged with collecting an orchestra of thousands of instruments, remembering where each one is and how it sounds, and keeping each of these virtuosi under control.
The new listener to this music will run into a major difficulty right away: identification. For instance, the listener whose first experience in electronic music was "Forbidden Planet" will have a hard time keeping science-fiction images from coming to mind. Along with this, he will probably be identifying some of the sounds he is hearing: "That's a jet; that sounds like someone with a bad heart"; or "that sounds like my icebox." These associations take control of the piece, and put it into the realm of sound effects for the mind's eye, or, at best, program music like "Peter and the Wolf." There is nothing wrong in this, as long as the listener can progress beyond it. In this apparent wilderness of strange sounds, such identifications will often be the only way the listener can begin to know the piece, or even stand it. However, if the novelty of a jet plane in a piece of music continues to be its chief interest for the listener, the piece has certainly failed him as music, that would be like playing the "Pines of Rome" only for the nightingale in it. This problem of "significative noises" (Stravinsky's term) will become less as electronic music is heard more, and as composers naturally come to use fewer such sounds.
For me, the best use of electronic music is not in concerts, which are usually harrowing to sit all the way through, - nor with orchestras, where it suffers from the "live" vs. "canned" comparison - but in performance on the listener's own playback equipment. These pieces are meant for that use, are meant to be listened to close up. As with any recording, the better this equipment is, the more will emerge from the piece played. This is particularly true of electronic music, since the techniques of concretization often produce harmonies in the sub and supersonic frequencies - sounds that are more felt as a presence in the room than heard. The basic structure, however, is in the middle frequencies, and so these pieces can be explored on the simplest phonograph. The test of a small speaker playback is a good way for the composer, too, to explore the ideas of his piece; it's like writing out a quartet reduction of a symphony, to find out if there is a real structure to it, or if it's all just orchestration. This contention between the natural chaos of the sources-the anarchy of noiseand the realization of their order in a piece of music, is the tension and excitement of electronic music.
Jason Ankeny, May 2003
Study no.7
Eight Electronic Pieces (Smithsonian Folkways, 1961)
Folkways SM 3434
Dockstader's crucial and remarkably advanced early concrete pieces, originally released privately. This particular recording has been re-issued on the Locust label with new liner notes. Tod Dockstader did the analog-to-digital transfer from the original tape, and Ernst Karel mastered the recordings for the Locust CD.
Eight Electronic Pieces (Locust Music, 2003)
Reissue of Dockstader's crucial and remarkably advanced early concrete pieces, originally released privately and then reissued by Folkways in 1961. Tod Dockstader did the analog-to-digital transfer from the original tape, and Ernst Karel mastered the recordings for CD.
Omniphony 1 (ReR MEGACORP, 2002)
ReR TODD1
Reissue with a stereo version of Study No. 7 of the Eight Electronic Pieces and Past Prelude.


text:
What are some of your favorite books on the subject of religion, atheism or similar topics?
For me--
God's Problem by Bart Erhman
The God Virus by Darrell Ray
Views: 75
A good read
Jesus Wars: How four Patriarchs, three Queens, and two Emperors decided what Christians would be believe for the next 1500 years. By John Philip Jenkins
god is not Great, Christopher Hitchens
Letter to a Christian Nation, Sam Harris
The God Delusion, Richard Dawkins
The Moral Landscape, Sam Harris
King James Version Holy Bible
The Age of Reason, Thomas Paine


text:
I can't stop thinking about the roof.
News leaked last week that in July of this year, Nationals owner Ted Lerner approached the D.C. City Government to ask them to fund a $300 million retractable roof for Nationals Park.
A roof on Nats Park is as impractical as it is unlikely. First, the city of Washington D.C. spent over $600 to fully fund a new stadium for the Nationals not that long ago (the park opened in 2008). Frankly, I'm shocked the team had the temerity to ask, particularly when the city is in the process of funding two other sports-entertainment ventures: a renovation of the Verizon Center and a soccer-only facility for D.C. United. On top of that, I doubt you could find a room of people in the entire DC Area that believes Nationals Park needs a roof. Seattle needs a roof. Miami needs a roof. The Nationals had only four rain-outs last season. Besides, since the stadium wasn't designed for a retractable roof, any addition would be aesthetically awkward if not an architectural monstrosity.
For these reasons, most Nationals fans rolled their eyes and moved onto the next story, which promptly arrived when the Nats snatched Doug Fister from the Detroit Tigers.
But I can't stop thinking about the roof.
Why do the Lerners want a roof on Nationals Park? My most reasonable guess is that they want to turn the stadium into a 365-day entertainment venue. The team has been aggressive courting concerts and other events (such as Paul McCartney), but Washington D.C.'s winter weather means the venue will mostly sit empty from November-March. Since baseball season runs from April-October, there are only a few days on the calendar capable of hosting a non-baseball event at the stadium. Maybe the Lerners view event rentals as an untapped gold mine.
The other possibility is that Lerners believe a roof is necessary for the baseball season. Washington D.C. is not a climate like Miami and Seattle, where frequent rain-outs mandate a roof. But Washington D.C. has a wickedly humid summer. Sometimes the weather is unbearable in July and August—two of the biggest revenue generating months for a team since kids are out of school. Arizona and Houston are two teams that have a roof simply because of the summer heat.
The entire episode underscores the fact that Nationals Park—and by extension the Nationals franchise—hasn't found its identity yet. The identity of the Chicago Cubs is deeply intertwined with Wrigley Field, a fact demonstrated by the contentious negotiations over the park's planned renovations. A baseball stadium is truly a home, for the fans and the team. The fact that the Lerners would propose such a radical overhaul barely six years into the park's tenure speaks volumes about the ownership and the stadium they were gifted by the city.
We all had high hopes for Nationals Park. Major League Baseball and the city chose a prime spot for the stadium, right on the water merely blocks from the Capitol. Yet various geographical and architectural considerations left most fans with a view of neither. Most stadiums are defined by the view beyond their outfield walls—the Warehouse in Baltimore, the Clemente Bridge in Pittsburgh. Nationals fans have a view of parking garages. Nationals Park has all the modern conveniences of a new ballpark, but it's still lacking an aesthetic identity.
The biggest ballpark news this offseason was the Braves' decision to abandon Turner Field in Atlanta for a new stadium in Cobb County, Georgia. This news was shocking simply because Turner Field is barely 16 years old. There are active major league players who began their careers before the stadium even existed.
New stadiums can go in two directions. They can become instant classics, like Camden Yards and PNC Park, where today's fans can't even imagine their home park ever being replaced. New stadiums can also fail to capture people's imaginations, like Turner Field and the Washington Redskins' FedEx Field right up the road, where fans and ownership alike count the days until the time is ripe to replace it.
Six years old and a major facelift already on the table, it's becoming more obvious which direction Nationals Park is headed.


text:
Data Analytics Symposium 2016 Call for Speakers
The Call for Speakers is now closed
Selected Speakers will be notified in January 2016
Please direct questions to firstname.lastname@example.com
Are you interested in presenting at Data Analytics Symposium, taking place during Prospect Development 2016, July 27-28? To submit your proposal, log into your APRA profile* and click on the track icon** above.
*If you are not an APRA member, click here to create a guest account.
Why Should I Present at Data Analytics Symposium?
Don't take our word for it! Hear what past presenters have to say:
"I presented at the Data [Analytics]Symposium during Prospect Development 2015 in New Orleans on the evolution of our organization to a data driven culture. Presenting at APRA definitely increased my engagement at the conference. Being able to share my experiences with the APRA community was powerful. People from diverse organizations and in different positions can relate to your successes and challenges. I was approached by several people after my presentation as well to network post conference." —Kim Blackburm, Assistant Director Prospect Management and Data Analysis, UF Development & Alumni Affairs
"Presenting at the Data Analytics Symposium for the first time last year was a great experience for me as it helped me expand my network with other speakers and peers in a way that I do not feel would have been as possible if I had just been an attendee. Since I work at a smaller university, APRA's speaker compensation program, which provides financial assistance to presenters, was a huge help as my organization was not able to cover my costs and I would not have been able to attend, let alone present, if it had not been for their generous support." —Michael Pawlus, Assistant Director, Prospect Research and Development, Grand Valley State University
What Should I Prepare Before I Submit?
Download the Data Analytics Symposium submission checklist for insight into:
- The information we'll ask you to submit
- Submission guidelines
- Ideas on how to make your submission stand out
If I'm Selected, What is Expected of Me as a Speaker?
If your proposal is selected, we expect you to:
- Commit to presenting. No last minute speaker changes. This is an opportunity for the individual, not for the company.
- Share your presence at the event with your social networks. Help spread the word about your session through social media to increase attendance and foster excitement around your topic and the conference!
- Meet the deadlines outlined in the online speaker center for hotel booking, slides, abstracts, etc.
- Get creative! Help APRA market your session by contributing an informational blog post, creating a short video or providing anything else you feel will make your session stand out.
- Outline clear and acturate learning objectives that will provides attendees with what they will take way from the session.


text:
Mar 28, 2010
Daily outfit: Witch of the waste
This skirt was discovered in a barn sale. The place was filled with tons and tons of boxes of various goods, and the crowd was left to just dig through them all. I knew in one of those boxes I would find clothes, and I knew those clothes were going to be good.
Some of my best 1950s finds were from that sale, and everything was dirt cheap. I talked them down to 50 cents for this skirt since it was in bad shape, but a bit of sprucing up and I have a lovely 1950s piece.
I cannot wait for summer so I can get back to digging through garages and barns, that's when I have my most fun.
On of these days I will iron my clothes before I wear them, but after a few hours the wrinkles just seems to be less noticeable!
On another note-
I am thinking of a new blog feature that would be to take a runway look, or styled look in a magazine, then reworking it and taking it to the streets.
A look for less feature, if you will.
How to take the essence of a runway look but make it so anyone can work it into an everyday outfit, with easy to acquire pieces.
I also think this will be a great way to look into my closet with a whole new light.
So, if you have a photo of a runway look, or a scan/picture from an outfit you've saved from a magazine - Help me out and send it my way, with your blog link, and I will see what I can do!
Labels: Daily Outfit
6 comments:
- AnonymousMarch 28, 2010 at 9:28 AM
I really like this combination and the pendant. The idea sounds brilliant, will be definitely looking forward to it.ReplyDelete
You have a lovely blog! I love your style.ReplyDelete
Oh I love the idea for this post! And I can't wait to see what you do with reader's suggestions! Great striped top and I love that long skirt!ReplyDelete
Love your blog!ReplyDelete
...you look beautiful in this outfit:)
amazing lookReplyDelete
great blog
Ironing is overrated! =)ReplyDelete
Love this look too!
Subscribe to: Post Comments (Atom)


text:
A fast processing A4 colour printer, the SP C340DN model more than meets the demands of most small to medium sized offices. You'll appreciate the low start-up costs, as well as the ability to print much more quickly and efficiently – thanks to its high-speed processor. Workflow is maximised with innovations like WiFi Direct (optional) where you can print from smart devices without connecting to a network. And the range of paper capacity, handling options and fast network connection all add to its efficient productivity.
|A4 colour printer
|Automatic duplex (standard)
|Paper Supply
|600 sheets (standard) [1 x 500 tray + 100 sheet bypass] / 1,100 sheets (maximum) [with 500 sheet paper tray]
|Paper Output
|150 sheet delivery tray (standard)
|Paper Size
|A6 (64 x 125 mm minimum) to A4 and banner (216 x 1260 mm maximum)
|Paper Weights
|60 to 163 gsm (standard tray), 60 to 220 gsm (bypass), 60 to 105 gsm (optional tray), 60 to 90 gsm (duplex)
|First Page
|13.5 seconds (BW & FC)
|25 ppm (BW & FC)
|1,200 x 1,200 dpi [maximum]
|2 GB RAM (standard) / 320 GB Hard Disk Drive (option)
|Print Languages
|PCL 5c/6, PS3, PDF Direct (standard) / - (options)
|USB 2.0, USB 2.0 Host, Ethernet (100Base-TX/10Base-T) (standard) / Wireless LAN (IEEE802.11a/g) (option)
|Duty cycle
|75,000 pages
|400 x 480 x 387 mm (w x d x h)
|29 kg


text:
Product Details
Heavy Duty Zinc-Plating Steel Hair Pins - For Cars, Mechanics, Garages, Workshops, Power Equipment, Trucks, Lawn Mowers, Small Engine Repair, & Fastening
HIGH QUALITY- hair pins are made of a zinc plated, steel construction that lasts a lifetime, ensuring you that you won't need to replace these.
VARIETY- This cotter pin assortment contains a variety of hairpin sizes that way you have everything you need for any mechanical, automotive, or small engine repair. Contains the 6 most popular sizes of hair pins. Outstanding value for the amount of pins given.
The company's products include a variety of high-precision electronic springs, compression springs, tension springs, torsion springs, retainers, flat springs, square springs, special-shaped springs, wave springs, hardware products, and integrated inductors. The company's products are mainly used in high-end switches, electronics, electrical appliances, stationery, medical care, automobile and motorcycle accessories, home appliance accessories, hardware power tools, communications tools, inductors and other related fields.
The company has advanced production equipment and strong technical force. With dozens of imported CNC spring manufacturing machines, fully automatic continuous tempering furnaces and other series of high-precision testing and other advanced equipment to ensure that its quality meets customer requirements. We have always been adhering to the business philosophy of "survive by quality, seek development by technology". Over the years, we have won the reputation, trust, and support of our customers with high quality, high starting point quality products, featured sales services and a good corporate image.
We sincerely hope that we can make a modest contribution to the development of your company, help your company reduce costs in the use of parts, improve your company's product quality and stability and assembly efficiency breakthroughs, and strive to develop together with your company, Create brilliant! Welcome calls, letters, guidance, negotiation, and look forward to working with your company as soon as possible!
Previous: Black Gridwall Knife Shelf Bracket
Next: Grid Panel Display Shelf
Related Products


text:
Super six strings theory of world peace
Jihad is not the best job description of a UN Goodwill Ambassador and a rock star who has taken up the 'mission' of spreading peace through music.books Updated: Sep 10, 2010 23:35 IST
Jihad is not the best job description of a UN Goodwill Ambassador and a rock star who has taken up the 'mission' of spreading peace through music.
But Salman Ahmad, the founder and frontman of the Pakistan-based — and South Asia's longest-lasting band — Junoon, feels that the best way to bridge the chasm between the West and the Muslim world is by waging a peaceful counter-jihad.
Thus the title Rock And Roll Jihad (Jaico, Rs 395) of his autobiography, which has been co-authored by freelance journalist Robert Schroeder.
Having grown up in awe of Led Zeppelin and the Beatles, Ahmad did not have to wink twice while deciding on his career plans. The weary situation in 80s Pakistan gave an impetus to his aspirations of using six-strings to riff about an impotent government, the rise of religious fanatics and corruption.
This, despite the fact that "pop and rock musicians during the eighties were considered the moral equivalent of mirasis or kanjars (low-class singers and musicians or dancers)."
From performing in college festivals to the formation — and dissolution — of his bands Vital Signs and Junoon (which had a huge fan following across the subcontinent), from being banned from playing in Pakistan to performing at the Nobel Peace Prize Concert in 2007 and in front of former American President Bill Clinton in 2006, Ahmad has come a long way in making the world understand that one can "be a Muslim and play electric guitar".
First Published: Sep 10, 2010 23:27 IST


text:
Q: I originally got the laptop with vista business. It crashed on me one day and so i decided to reformat and downgrade to XP Pro. Install went clean. Started installing all the drivers and everything was running fine except for the network controller. It registers as an intel 82562GT. I downloaded the driver off the hp support website and i also downloaded the direct driver from Intel. I still have issues with this. The device is installed but it will not pull on IP address from the DHCP server im running off of. I can connect wirelessly perfectly fine but the ethernet connection will just not work. Any suggestions.. ... . Thanks for your time.
A: if you installed windows xp sp3 student edition.
Problem starts when the driver for wireless doesnt want to install and also have problems with network controller.
1)just have flashed bios with this driver:
2)Un-install windows xp sp3


text:
Will Hunting has a genius-level IQ but chooses to work as a janitor at MIT. When he solves a difficult graduate-level math problem, his talents are discovered by Professor Gerald Lambeau, who decides to help the misguided youth reach his ...
Watch HD Movies Online For Free and Download the latest movies. For everybody,
everywhere, everydevice, and everything ;)
When becoming members of the site, you could use the full range of functions and
the most exciting films.
please do not skip this step, it is important.
We will send a new password to your email. Please fill your email to form