text:
New Directions in Proof Complexity
Monday 10th April 2006 to Thursday 13th April 2006
|08:30 to 10:00
|10:00 to 11:00
P Pudlak ([Academy of Sciences, Prague])
$On \forall\Sigma_1^b$ sentences provable in bounded arithmetic
We shall give a characterization of \forall\Sigma_1^b sentences provable in theories S_2^i. We shall consider also certain unrestricted versions of the principles that characterize these sentences and prove that they require iterated exponential time. This gives partial evidence that the hierarchy of \forall\Sigma_1^b sentences provable in S_2^i is strictly increasing.
|11:00 to 11:30
|11:30 to 12:00
The complexity of proving the discrete Jordan Curve theorem and related principles
The Jordan Curve Theorem states that a simple, closed curve divides the plane into exactly two connected components. We consider the ``discrete'' version of this theorem (JCT) where the curve lies in an nxn grid. The Theorem can be formalized as either true statements in Bounded Arithmetic or families of propositional tautologies. Here we show that the formalizations in Bounded Arithmetic are provable in some weak theories (i.e., V^0 and V^0(2)); this implies that the families of tautologies have short proofs in the corresponding propositional proof systems.
First, we formalize the theorem when the simple curve is given as a sequence of edges on the grid. We show that in this case the theorem can be proved in the theory V^0. Next, we consider the case where the input is a set of edges which generally form multiple simple closed curves. The interesting conclusion here is that the set of edges divides the plane into at least two connected components. We show that this is indeed provable in the theory V^0(2).
The related principles include the STCONN on grid graph considered by Buss [Polynomial-size Frege and Resolution Proofs of st-Connectivity and Hex Tautologies] and the nonplanarity of K3,3. STCONN is reducible to JCT, and thus it is provable in V^0(2). This improves Buss's result (that STCONN has polysize proof in TC^0-Frege).
|12:00 to 12:30
Uniform proof complexity
One main aim in Propositional Proof Complexity is to prove strong lower bounds for a general propositional proof system. Inspired by this program, we will introduce uniform reducts of propositional proof systems. Uniform reducts are sets of first order formulas of arithmetic which are defined using translations from first order formulas to propositional formulas. We will describe basic properties of uniform reducts, discuss their relationship to Cook's Programme, and explain some more advanced features of them. Recently, Steve Cook made an obervation relating the study of uniform reducts to the existence of optimal proof systems - if time permits we will touch on this as well.
|12:30 to 13:30
|Lunch at Wolfson Court
|14:00 to 15:00
$T^1_2, T^2_2$ and search problems
We give some new, natural principles characterizing the \Sigma^b_1 consequences of these theories, based on a reflection principle for resolution.
|15:00 to 15:30
|15:30 to 16:00
E Jerabek ([Toronto])
Approximate counting in bounded arithmetic
We use the dual weak pigeonhole principle to develop approximate counting in bounded arithmetic. As an application, we show how to formalize classes of randomized algorithms, such as BPP.
|16:00 to 16:30
When can $S^1_2$ prove the weak pigeonhole principle?
It is well known result of Krajicek and Pudlak that if $S^1_2$ could prove the injective weak pigeonhole principle for every polynomial time function then RSA would not be secure. In this talk, we will consider function algebras based on a common characterization of the polynomial time functions where we slightly modify the initial functions and further restrict the amount of allowable recursion. We will then argue that $S^1_2$ can prove the surjective weak pigeonhole principle for functions in this algebra.
|17:00 to 18:00
|Wine and Beer Reception
|18:45 to 19:30
|Dinner at Wolfson Court (Residents only)
|09:30 to 10:30
S Cook ([Toronto])
Capturing complexity classes by their reasoning power
For each of many standard complexity classes within NP we associate a canonical set of universal and existential theorems which are those which can be proved using concepts in the class. In some cases we can also associate canonical proof systems in the quantified propositional calculus.
|10:30 to 11:00
Constraint propagation as a proof system
Refutation proofs can be viewed as a special case of constraint propagation, which is a fundamental technique in solving constraint-satisfaction problems. The generalization lifts, in a uniform way, the concept of refutation from Boolean satisfiability problems to general constraint-satisfaction problems. On the one hand, this enables us to study and characterize basic concepts, such as refutation width, using tools from finite-model theory. On the other hand, this enables us to introduce new proof systems, based on representation classes, that have not been considered up to this point. We consider ordered binary decision diagrams (OBDDs) as a case study of a representation class for refutations, and compare their strength to well-known proof systems, such as resolution, the Gaussian calculus, cutting planes, and Frege systems of bounded alternation-depth. In particular, we show that refutations by ODBBs polynomially simulate resolution and can be exponentially stronger.
Joint work with Albert Atserias and Phokion Kolaitis.
|11:00 to 11:30
|11:30 to 12:00
The proof complexity of matrix algebra
There are fast parallel algorithms for computing the characteristic polynomial of a matrix: notably Berkowitz's and Csanky's algorithms. While these algorithms run in NC2, all the known proofs of correctness require polynomial time concepts. Are there quasi-polynomial Frege (i.e., NC2-Frege) proofs of correctness of these algorithms? Or is it the case the universal matrix identities separate Frege and Extended Frege? This talk will address these questions and present recent progress in this area.
|12:00 to 12:30
|A minimal quantified proof system for polytime reasoning
|12:30 to 13:30
|Lunch at Wolfson Court
|14:00 to 15:00
R Impagliazzo ([California, San Diego])
Which SAT instances are the hardest?
|15:00 to 15:30
|15:30 to 16:00
S Riis ([London])
Sporadic propositional proofs
The following feature is shared by certain weak propositional proof systems: If $\psi_n$ is a uniformly generated sequence of propositional formula, and the sequence $\psi_n$ has polynomial size proofs, then the sequence $\psi_n$ in fact has polynomial size proofs that are generated in an uniform manner . For stronger propositional proof systems (like the Frege Proof Systems) this feature might fail and sporadic proofs (that are not instances of a sequence of uniform proofs) might exist. In the talk I will argue that understanding and limiting the behaviour of these sporadic proofs could be crucial for any serious progress in Propositional Proof Complexity.
|16:00 to 16:30
Resolution by pebbling games
We present an approach to study the complexity of refutations in Resolution by means of certain pebbling games. We will define certain classes of such games that allow to obtain a new frame for: (1) proving size lower bounds in Resolution; (2) devising new algorithms to find Resolution refutations; (3) characterizing the hardness of provability in Resolution as an "almost" satisfiability. We'll discuss about how to extend a similar approach to stronger systems than Resolution.
|18:45 to 19:30
|Dinner at Wolfson Court (Residents only)
|09:30 to 10:30
T Pitassi ([Toronto])
Using lower bounds in proof complexity
|10:30 to 11:00
Narrow proofs may be spacious: separating space and width in resolution
The width of a resolution proof is the maximal number of literals in any clause of the proof. The space of a proof is the maximal number of memory cells used if the proof is only allowed to resolve on clauses kept in memory. Both of these measures have previously been studied and related to the refutation size of unsatisfiable CNF formulas. Also, the resolution refutation space of a formula has been proven to be at least as large as the refutation width, but it has remained unknown whether space can be separated from width or the two measures coincide asymptotically. We prove that there is a family of k-CNF formulas for which the refutation width in resolution is constant but the refutation space is non-constant, thus solving an open problem mentioned in several previous papers.
|11:00 to 11:30
|11:30 to 12:30
Connections between zero-one programming, communication complexity and proof complexity
Some of the most powerful techniques for solving NP-complete problems are based on integer programming techniques such as the Lovasz-Schrijver lift-and-project method. When used for satisfiability algorithms, such techniques can be viewed as propositional proof systems that prove tautologies (by establishing that the negation of a formula is unsatisfiable), and the proof structure is a successive derivation of low-degree inequalities over the rationals until a contradiction is found.
A major challenge on the frontier of propositional proof complexity is to understand the power of these propositional proof systems (which we call "threshold logics") . At present, it is conceivable that such systems could prove every tautology with derivation cubic in the size of the tautology (note: it is fairly easy to come up with examples that require large refutations by a particular algorithm based on these ILP techniques, however, the proof systems can be viewed as generalizations that nondeterministically make optimal choices at each step to minimize derivation size, so the difference is between proving lower bounds for a particular algorithm and proving lower bounds for all possible algorithms of a certain form). It is conjectured that there are tautologies which require exponential size to prove in these systems but there is yet no proof to confirm this.
In this lecture, we survey recent progress in a program towards proving size lower bounds for these logics by proving lower bounds for the multiparty number-on-the-forehead communication complexity of the set-disjointness function. Our primary contributions are: establishing the reduction from proof size lower bounds to communication lower bounds, and new lower bounds (that fall slightly short of what is needed for a superpolynomial proof size lower bound) for the NOF communication complexity of the set disjointness function.
Some of this material will appear in Computational Complexity 2005, some of it is submitted, and some of it is ongoing. Collaborators include Paul Beame, Toniann Pitassi, and Avi Wigderson.
|12:30 to 13:30
|Lunch at Wolfson Court
|19:30 to 18:00
|Conference Dinner at Christ's College (Dining Hall)
|09:30 to 10:30
The strength of multilinear proofs
We discuss an algebraic proof system that manipulates multilinear arithmetic formulas. We show this proof system to be fairly strong even when restricted to multilinear arithmetic formulas of a very small depth. Specifically, algebraic proofs manipulating depth 3 multilinear arithmetic formulas are strictly stronger than Resolution, Polynomial Calculus (and Polynomial Calculus with Resolution); and (over characteristic 0) admit polynomial-size proofs of the (functional) pigeonhole principle. Finally, we illustrate a connection between lower bounds on multilinear proofs and lower bounds on multilinear arithmetic circuits.
|10:00 to 10:30
A complete resolution-like calculus for Maxsat
Max-SAT is the problem of finding an assignment minimizing the number of unsatisfied clauses of a given CNF formula. We propose a resolution-like calculus for Max-SAT and prove its soundness and completeness. We also prove the completeness of some refinements of this calculus. From the completeness proof we derive an exact algorithm for Max-SAT and a time upper bound. Joint work with Jordi Levy and Felip Manya.
|11:00 to 11:30
|11:30 to 12:30
Parametrised proof complexity
Motivated by the well known concept of Fixed-Parameter Tractability, we initiate research in an area that we call Parametrised Proof Complexity. We first give a Cook-Rekhow-style definition of a parametrised proof system, and then relate the (im)possibility of existence of a fixed-parameter tractable (FPT) proof system to the FPT vs W[2] question. We observe that the most popular method for designing fixed-parameter algorithms, Bounded Search Tree, corresponds to Tree-like Resolution in the context of parametrised proof systems, and give some upper and lower bounds for the latter. We finally discuss and prove some dichotomy results (also called complexity gap theorems) for weak relativised proof systems.
This is a work in progress, joint with B. Martin and S. Szeider.
|12:30 to 13:30
|Lunch at Wolson Court
|14:00 to 14:30
P Naumov (McDaniel College)
Meta complexity of propositional proofs
|14:30 to 15:30
On the power of Lovasz-Schrijver hierarchy
Lov\'{a}sz and Schrijver described a generic method of tightening the LP and SDP relaxation for any $0$-$1$ optimization problem. These tightened relaxations were the basis of several celebrated approximation algorithms (such as for MAX-CUT, MAX-3SAT, and SPARSEST CUT).
In this talk I will survey recent lower bounds for the number of rounds in this model for well-known problems such as MAX-SAT, Hypergraph Vertex Cover and Minimum Set Cover. Also I will elaborate why these lower bounds are encoding dependent, in particular the standard NP reductions do not seem to work in this model. This fact leads to the wide list of open problems, which appear important for proof complexity, computational complexity and algorithm design.
|15:30 to 16:00
|18:45 to 19:30
|Dinner at Wolfson Court (Residents only)


text:
Bala Balls: A Source of Raw Energy
Enjoy a dynamic December!
For many of us, December is an extremely busy time of year. Holiday parties, shopping for gifts, decorating, baking, participating in extra activities with children, and meeting year-end deadlines at work are some of things that take up more of our time.
While much of what we experience at this time of year is very fulfilling and happy, the holidays can also be a time when some of us experience sadness and depression. When the sentiments of the season cause us to miss loved ones that have passed on or we lament the loss of love in a relationship, feelings of loneliness can come creeping in.
Whether it's stress or eustress, imbalances created during this time of year have the ability to overwhelm us and leave us feeling depleted and anxious. Tendencies to allow our dinacharyas (daily routines) to fall by the wayside as we strive to keep up with activities, are one of the main reasons why we become imbalanced during a time when we need to feel fortified most!
Taking the time to stay properly nourished can be difficult but if we remember to honor our highest good and remain present with even the simplest rituals, we can enjoy the benefits of being balanced!
Loaded with protein, fiber, digestive spices, and healthy fat, these balls are sure to support your need for nourishment on the go and can also serve as a delicious treat at this festive time of year.
Because none of the ingredients in this recipe are cooked, it can be made ahead of time and kept for days in the fridge, while still retaining prana (life force). Enjoy the bala (strength) derived from these balls with a cup of ginger tea, chai, or hot cider.
Bala Balls
- 1 cup oats
- 1 cup buckwheat groats, soaked overnight, rinsed, and then dehydrated in a dehydrator or on a baking sheet in a very low-temperature oven (no higher than 150 degrees), about 4 hours, or until crunchy
- 2 tbsp chia seed
- 1 cup oat bran
- 1 cup ground flax seed
- 1 cup shredded coconut (can be toasted)
- 1/2 cup raw cacao powder
- 1/4-1/2 cup pea protein, or another protein powder of your choice (optional)
- pinch of mineral salt
- 1 tsp ground cinnamon
- 1 tsp ground cardamom
- 2 tsp vanilla extract
- 1 cup sunflower seed butter or a nut butter of your choice
- 2/3 cup raw honey
- 1/4-1/2 cup coconut oil
1. Mix all dry ingredients together in a bowl.
2. In a separate bowl, mix all wet ingredients together.
3. Add wet ingredients to the dry ingredients, mix well, and refrigerate for a few hours.
4. Roll into balls
Serve at room temperature.
NOTE: If your mixture is dry and doesn't ball up, add some room temperature water to improve the binding consistency.
Interested in learning more about Ayurveda and the programs at the Art of Living Retreat Center? Check out our annual catalog here!

subset: commoncrawl


text:
Important information to help you understand how data is added to GRID, what is in the database, why we included it, and how data was gathered.
What data is included in GRID?
GRID is comprised of a worldwide collection of institutes associated with academic research. The institutes contained are distinguished by a unique identifier, GRID ID. Each unique GRID record also contains relevant metadata, as well as relationships between associated institutes.
What metadata is included?
GRID records contain a wealth of metadata obtained from trusted sources. Among these we include established dates, name aliases, acronyms and geolocation. Additionally we include links to external webpages such as wikipedia and official websites, as well as external identifiers such as ISNI, GeoNames and Fundref.
What types of relationships are included?
GRID records can display relationships between each other. We currently model two types of relationships. A relationship that defines a subordinate association, called a parent-child relationship See example and a relationship that describes other associations, called a related relationship. See example
How do we add data to GRID?
Data extracted from research funding grants and research paper affiliations is formatted into source data. In this format, source data is associated manually to the corresponding GRID record in a process called mapping. Whenever a source data row can not be mapped to a GRID record, a new record is created. Records are named by using the generally recognised name of the institution, which is determined by querying the official website, encyclopaedic records and other trusted data sources.
What types of institutes can be found in GRID?
|An educational institution where research takes place. Can grant degrees and includes faculties, departments and schools.
|See example
|A health related facility where patients are treated. Includes hospitals, medical centres, health centres, treatment center. Includes trusts and healthcare systems.
|See example
|Business entity with the aim of gaining profit.
|See example
|Repository of documents, artifacts, or specimens. Includes libraries and museums that are not part of a university.
|See example
|Organisation that uses its surplus revenue to achieve its goals. Includes charities and other non-government research funding bodies.
|See example
|An organisation operated mainly by the government of one or multiple countries/territories.
|See example
|A building or facility dedicated to research of a specific area, usually contains specialised equipment. Includes telescopes, observatories and particle accelerators.
|See example
|Used in cases where none of the previously mentioned types are suitable.
|See example
How do we choose the name for an institute?
GRID records are named based on the official or most recognisable version of their name. This conforms to what is available from a valid source, such as the official website or the main Wikipedia entry. In cases where a local language name has an official English version, the latter is preferred.
Type-specific mapping
Mapping is the process by which we manually assign source data rows to GRID records. The type of institute affects the way source data are mapped to GRID records. In particular we adhere to the following mapping policies when dealing with specific types.
University faculties, schools, departments and campuses are all mapped to the main university record, with the exception of campuses part of university systems.
University systems members are mapped to individual GRID records. See example
Companies with multiple offices in the same country/territory are mapped to the GRID record of the head office. Their names contain the country/territory in which their head office is located in parenthesis. See example
Education related healthcare institutes, e.g. university hospitals, are mapped separately from the affiliated educational institution. See example


text:
Gig Harbor Wings & Wheels back July 2 with aircraft, cars, motorcycles
Gig Harbor Wings & Wheels is back for its seventh year with activities for aviation, car and motorcycle enthusiasts alike.
The air show and car show runs from 11 a.m. to 4 p.m. July 2 at the Tacoma Narrows Airport, located at 1202 26th Ave. NW in Gig Harbor.
Attendees will be able to watch airplane fly-bys, aerobatic performances and drone races, meet pilots, enjoy a car and hot rod show, and see the Smoke-N-Thunder jet car as it races down the runway at 300 miles per hour. A schedule of events is available at www.freedomfair.com/wings-and-wheels.
"Year after year, Gig Harbor Wings & Wheels offers amazing sights and activities for those who appreciate historic planes and cool cars and motorcycles," said Jensene Linenko, Gig Harbor Wings & Wheels event director.
The event will also feature dozens of planes on display, live music, food and arts and crafts vendors, a beer garden, and activities for children. Private companies may offer rides on biplanes and helicopters. Those interested should ask for details at the gates.
Tickets are available in advance at www.freedomfair.com/wings-and-wheels or at the door. Tickets are $20 for adults 18 and older; $15 for seniors and military ID card holders; $10 for children ages 6 to 17; and free for children ages 5 and under.
Onsite airport parking will be available for $5, and can be purchased at www.freedomfair.com/wings-and-wheels or at the event. These spots are limited.
Offsite parking is available at St. Anthony's Family Medicine parking lot at 4700 Point Fosdick Dr. NW in Gig Harbor. Free shuttle buses will run every 15-30 minutes from 10:45 a.m. to 4:30 p.m. between the parking lot and the event.
Gig Harbor Wings & Wheels is produced by the Tacoma Events Commission. The commission also hosts the Tacoma Freedom Fair & Air Show on July 4 at on the Ruston Way Waterfront.
For questions about Gig Harbor Wings & Wheels
Jensene Linenko, Gig Harbor Wings & Wheels event director
(253) 255-4939
For questions about the Tacoma Narrows Airport
Lauren Behm, Pierce County Planning and Public Works interim airport and ferry administrator
(253) 798-2421


text:
There's no place quite like Montreal. Referred to as "Canada's Cultural Capital" this city boasts an exciting jazz scene, thrilling nightlife and access to fantastic museums, festivals, orchestras, operas, ballets and films.
Whether you're here for a short term rental or longer term relocation, might we suggest that you come hungry, because Montreal has the highest number of restaurants per capita in Canada.


text:
So anyway, this person Tibor Machan chimes in to this discussion, and says,
I have been impressed and influenced by Rand and have done reasonably well in the discipline and find the effort to purge her disgusting--how many thinkers I might purge if I just went by me gut reactions, like that commentator appears to have done! (Habermas, Derrida, Lyotard (?), Parfit, and a whole bunch of funsterists/sophists posing as serious philosophers. Give me a break. Let a million flowers bloom and ignore the snooty bunch!
The funny thing is, I kind of agree with this, overall. I side with the commenters who think the SEP ought to cast its net widely, in case I ever need a quick, accurate overview of otherwise worthless "philosophical" set of ideas. But then there's this weird inclusion of Derek Parfit, whom I did not realize had much in common with Habermas, Derrida, or Lyotard. Hmmmm.
It didn't take long for an anonymous commentator to come to Parfit's defense:
Judging by his comment above, Tibor Machan appears to think that Ayn Rand is vastly superior to a number of other philosophers, including - of all people - Derek Parfit. At the very least, he suggests that the case for excluding Rand from the SEP is *on par* with the case for excluding the work of Parfit (!).
This is not the place to discuss the merits of Professor Parfit's writings. I will simply note that Machan's assessment of the relative merits of Parfit's work and Ayn Rand's work is surely the the most bizarre and preposterous claim that has ever been made on this blog.
So Tibor Machan replies:
So I read that "Machan's assessment of the relative merits of Parfit's work and Ayn Rand's work is surely the the most bizarre and preposterous claim that has ever been made on this blog." We are to take this on faith, I assume. Well, I have studied Parfit's work--Reasons and Persons, in particular--and it is pure funsterism, sophistry: Because something is logically not inconceivable (that, say, we are all nations or teams, not individuals), it becomes a serious philosophical thesis. Give me a break. Just because someone is clever it doesn't make him or her philosophically astute! (At least is looks match his style!)
I don't know about you, but I found this exchange to be extremely fun. Say what you want, Atlas Shrugged is not philosophically on a par with Reasons and Persons. And if the main, representative thesis you took away from R&P is that "Because something is logically not inconceivable..., it becomes a serious philosophical thesis," then you were not "studying" it (as Mark Silcox points out in a later comment). And luckily for us all, Ayn Rand and her writing style are extremely sexually attractive. Also, what is funsterism? I googled it, but Google thought I was spelling it wrong.
--Mr. Zero


text:
- September 7, 2018
- Posted by: ipaytotal
- Categories: best high risk merchant account provider, best high risk merchant services, E-Commerce, Fraud Prevention, high risk merchant account application process, high risk merchant account provider, MOTO Merchant Accounts
In payments industry parlance, MOTO (often written MO/TO) denotes Mail Order or Telephone Order transaction payment processing. Like all other e-commerce transactions, they come under Card Not Present (CNP) category. All Products and services can be ordered and paid through so many modes of payment such as mail, e-mail, fax, or telephone without the card being physically present in a store with the consumer.
Like other CNP purchases, MOTO transactions are considered at a higher risk for fraud than those made in a store with customer card in hand (card-present). In daily business life, many merchants accept orders over the phone, and some receive orders via mail also. One may be thinking why in this day and age would anyone would like to order something over the phone, or by mail? The answer is easy: Comfort is the king. Well, it is certain But that is not with everyone finds it comfortable to put their credit card account information "out there" because they perceive a higher risk to entering credit card or banking details online.
Also, some shoppers prefer to have real-time experience talk to a live person before placing an order. However, they still might have questions or concerns regarding a certain product which requires more information before going for the purchase. Such customer resistance to online ordering can lead to lower sales revenue — not something most merchants want to contemplate. Merchant accounts are the best solution to mitigate this challenge in order to put business away from the risks faced day to day basis.
So How Do MOTO Transactions Work?
Cardholder's identity and the validity of the transaction are the most important task that Mail order/telephone order (MO/TO) and electronic commerce merchants must verify to the greatest extent. There are sales methods of three transaction types:
Retail Transactions
Retail transactions take place with the payment card present in a store, It basic functions swiping, keying, insert into an EMV chip reader, using a terminal in the store.
MOTO Transactions
MOTO transactions take place when the card number is received through the mail or relayed over the phone. The merchant enters the received card information through an online gateway or a terminal. Even if the card is not present, still the purchase information shall include certain verification of (security) data, i.e CVV or CVC2 code, zip code of card registration, billing and shipping addresses, and expiration date.
E-commerce Transactions
E-commerce transactions take place when the consumer uses his card onto the merchant's website by entering his card information in order to process via the online payment gateway. Verification of information is also done for these transactions, by providing the billing and shipping addresses, CVV or CVC2 code, and expiration date. Merchants desiring to establish MOTO capabilities must ensure that their payment processing system is set up correctly to include MOTO sales.
What to Look for in MOTO Merchant Accounts
Before choosing a MOTO merchant account provider, one has to be assured that one is specialized in providing MOTO payment processing services:
- To a wide range of industries;
- Acceptance of a variety of payment cards, including Visa, MasterCard, and many other popular card brands;
- Processing of multiple currencies in offering transaction;
- Using a PCI-DSS Level 1 compliant payment gateway your chosen provider of MOTO merchant accounts also specializes in helping their clients manage the risks associated with CNP transactions, including latest chargeback management and sophisticated risk management technologies.
To Know More about MOTO Merchant Accounts
When you're ready to say "hello" to MOTO processing, give IPaytotal a call — and benefit from the secure, streamlined MOTO card processing we offer. It is certain that MOTO merchant accounts can be expensive in this current times. Many organizations are charging a high rate for MOTO accounts due to the inherent risk prevailing within the industry. But that is not the case with us. At Ipaytotal, we are very proficient in helping your firm to mitigate risk while minimizing cost at the same time. We understand the security risks are inherent within organizational functions but there are remedies under MOTO service solutions to mitigate these risks.
We have extensive years of experience supporting business owners in streamlining the processing of remote transactions. We'll start by learning more about your business and customers. And then initiate a MOTO merchant account solution which helps organizations to reduce the fraudulent activity risk to your business.
Hence saving you potentially thousands of dollars annually, simultaneously improving services to your most valuable customers. Give us a call at +44 800 776 5988 or get in touch with us through our website. Our comprehensive ongoing account management ensures that customer always receives an instant response regarding account issues that arise in course of their business. Our specialists provide all kinds of answers to your questions along with guidance 24/7. Hence, In this manner, you are able to meet your processing motive of the transactions as you grow well into the future. As your business partner, that's what we strive to become contributory to your "SUCCESS".


text:
Nothing says summer like bright colors and less clothing. What better tie those two together than some sexy lingerie? Trending right now are bright and bold colors for the warmer season ahead. So ladies you can shove those beige panties in the back because you won't need it again until winter time. A new collection designed by Mimi Holliday, will have you sitting trendy in that office – and the best part is, no one has to know it but you.
Mimi Holliday's pieces are not only versatile to transition from spring to summer, but it's versatile for women of all shapes and sizes as well, because let's face it, we can't all look as good as these models. Whether you could use some extra padding or need more coverage, we're like your best friend, The Pink Slip's picks will support you. Finally, a pretty bra for women with big breasts!
The Woozie Fully Padded Super Plunge AND The Mimi Holliday L'Amour Super Plunge Bras
To all my petite friends, don't be shy. Take the plunge and come out in style in these sexy bras. These bright and bold collections really give you a sexy lift. It's warm out, so why not take the twins out (subtly) for a cup of joe. You'll soon be sitting pretty, but don't be afraid to let your straps show. Shop these looks here and here.
The Woozie Shoulder Bra AND The Bisou Bisou Cherie shoulder bras
Are we good or what? These bras are bright, fun, and super playful bringing you style, comfort, and full coverage for a busty you. Let the lace wrap your curves creating a sexy silhouette. Shop the looks here and here.
So brighten your day, or someone elses (wink wink) with some of my favorites at The Pink Slip.


text:
Quality Policy
Cemix has reaffirmed its commitment to achieve the highest standards in product quality and service by obtaining ISO 9001:2008 accreditation.
"By applying for and achieving ISO 9001 registration, we reassure our customers and our team that we aspire to ever higher levels of quality excellence," says Bhav Dhillon, Director, Cemix Limited.
The company's quality policy is to meet or exceed customers' needs and expectations by setting and measuring organisational and quality objectives in an environment of continual improvement, Mr Dhillon said.
He appreciated the importance of the role played by teamwork in achieving this high watermark of quality and said Cemix aimed to be a company where every member is proud to be a part of the team.
This twin focus on customer and quality has made Cemix a Telarc SAI ISO 9001 registered supplier – an internationally recognised certification that is an independent approval of Cemix's commitment to manufacture products of consistent high quality standard.
ISO 9001 is a globally recognised quality standard established by the International Organisation for Standardisation in Geneva, Switzerland and recognised by over 150 countries worldwide.
The team at Cemix is ecstatic and has vowed to aggressively continue to improve its products and processes to better serve its customers.
Using proven technology as a base, the team methodically works through the tried and tested product formulations to identify further opportunities for enhanced quality assurance. The company also has in place world-class management practices and customer relationship management (CRM) systems, which gives the team a strong base to achieve the highest levels of customer satisfaction.
Cemix is a homegrown New Zealand company that has been successfully manufacturing and distributing construction products for the past three decades. Its brands Multicrete and Fastcrete are market leaders in their categories.
With an ultramodern manufacturing facility in Onehunga, Auckland and warehouses in Nelson, Christchurch and Dunedin. Cemix is successfully serving its markets and achieving unmatched sales growth.
Cemix products are available nationally at Bunnings, Carters, ITMs, Placemakers, Mitre10 and other leading hardware merchants.


text:
This in-line printing and die-cutting process allows Amherst Label to create high-quality labels on a wide variety of materials, including paper, film and foil surfaces. We offer a variety of products created using this process, including the following:
True color is available at Amherst Label. By using separations of four different ink colors (cyan, magenta, yellow and black) any color in the rainbow can be yours. The vibrant colors and exceptional detail of four color process labels can really set your product apart.
Our high quality prime labels are the perfect medium for creating eye-catching packaging for your product. Mix and match materials, finishes, and adhesives to suit your needs and ensure the perfect label every time.
For that extra special and unique project or any address label/reply label forms, our wide web division can print up to 18" x 24" using eight different colors, even two on the liner! Hot foil stamping is available for a premium and high-end look!
Offer your customers a little something extra with custom printed coupon labels from Amherst Label. Advertise your brand's latest discounts, rebates, and contests with instant redeemable peel-off or fold-out labels featuring high-quality graphics and attention-grabbing colors.
Keep your packages looking clean and professional with customized shipping and mailing labels. You can rest easy knowing that your shipments and product will be handled accordingly when clearly labeled.
Cost effective and versatile, Amherst Label's laser sheets are available in a variety of materials and finishes to suit your needs. Your choice of shape and size will allow you to further customize your experience.
Looking to catch your customer's attention? Brightly colored piggyback labels are the perfect medium for promoting sales and programs. Consisting of two layers, one which adheres to your surface of choice, and one that peels off, piggyback labels are perfect for special events and prize giveaways.
Organizing and packaging are as easy as one, two, three with these versatile peel-and-stick pinfeed labels. Whether you are in the market for something plain and simple, or something bright and eye-catching, Amherst Label will happily customize your experience.
With repositionable labels, you don't have to worry about making a mistake or ripping papers and packages. Simply peel them off and position accordingly!
Direct thermal labels are the perfect option for clearly labeling parts and printing bar codes. No ribbons necessary. Use them directly on your product, or add to packaging for easy processing.
Amherst Label's thermal transfer labels and ribbons are perfect when you are looking for a durable product. Whether you are in need of a simple barcode, or a high resolution image, this customizable product is certain to get the job done.
Didn't see what you were looking for? No problem! Amherst Label can meet your needs with a seemingly endless array of sticker products.


text:
9 Bedtime Routines For Parents That Actually Work
Bedtime is often a constant battle for parents of small children. For some reason, kids think the house transforms into some kind of magical amusement park for parents after they're asleep, and they don't want to miss out on any of the fun. But for weary moms and dads, all of the protesting can zap away any remaining energy you may have left at the end of the day. If you're tired of the bedtime battle, you need to find bedtime routines for parents that actually work.
They may be too young to read the clock on the wall, but children thrive on routine. Warm baths, soft music, and a transitional stuffed animal can help kids get more comfortable with the idea of going to sleep. Keeping the time and the order of your bedtime rituals consistent each day can also help them anticipate what's next and avoid a lot of unnecessary protesting. That's not to say that they won't try to ask you for an extra five minutes to say goodnight to all of their toys.
Although you're probably willing to try any and everything to get your kids off to sleep, certified sleep consultants the Sleep Sisters recommend limiting your routine to somewhere between 15 and 30 minutes, to prevent putting your little ones down to sleep too late.
Bedtime may never be easy, but trying a few of these tips can help take some of the stress out of getting your kids to sleep.
1. Take A Bath
There's nothing like a nice warm bath to get your kid ready for Dreamland. According to What to Expect, a bath can help kids relax after an active day of play.
2. Have A Snack
After going to the potty, a hungry tummy is the second most popular reason to get up during the night for my kids. According to the Baby Sleep Site, allowing your child to have a healthy snack with little sugar can help them sleep through the night.
3. Keep The Time Consistent
It's important for parents to train their kids' bodies to prepare for bedtime. As WebMD mentioned, keeping bedtime the same every day — even on weekends — can help you establish a sleep pattern.
4. Use A Transitional Object
Often, children protest bedtime because they don't want to be away from their parents. But as Parents suggested, putting your child down to sleep with a transitional object such as a favorite stuffed animal can help make bedtime a lot easier.
5. Play Soft Music
My daughter has listened to the same lullaby CD for six years, and refuses to go to sleep without it. According to Parenting, soft music, without words, can help set the mood for sleep.
6. Dim The Lights
As it gets closer to bedtime, turn the lights down low. Making the room darker can help your child get used to the idea that nighttime is for sleeping, as the American Occupational Therapy Association mentioned.
7. Unplug
Today's kids are constantly plugged in. Television, iPads, and laptops act as stimulants and make it difficult to get kids ready for a good night's sleep. As Parenting suggested, start winding down approximately one hour before bedtime by turning off the television, computer, and other electronic devices.
8. Read A Story
Reading a bedtime story in your child's room can help set the mood and get her ready for sleep, according to What to Expect. Just try to avoid anything scary that might make her want to climb into your bed after a bad dream later.
9. Choose PJs
Letting your child choose her favorite pair of pajamas before bed can help get comfortable — and maybe even a little excited – about going to sleep, according to the Baby Sleep Site. A lightweight cotton pair is best to keep your child's body at a comfortable temperature throughout the night.


text:
Our Cemetery Supply Company History
Founded in 1973 by William Toson, Tribute originally focused on providing sales and marketing assistance to local cemeteries and funeral homes in Wisconsin. Our cemetery supply company now offers complete design, construction and management services to the End of Life Profession.
Tribute prides itself on its family owned and operated Wisconsin cemeteries. We represent four generations of dedicated services to our communities offering affordable, preplanning options for all faiths, customs and interests.
Tribute Cemetery Systems, together with its sister companies Tribute Precast Systems was founded in 1983 to supply precast concrete burial products to the industry. Tribute Design Systems was established in 1985 to meet the special design needs of our clients. Together, we make up The Tribute Companies, a firm that is proud to offer a unique set of offerings to the entire funeral and cemetery profession.


text:
Kia Rio Hatchback for rent in Dubai
- Minimum age of driver is 21 years (or additional insurance charges apply)
- Valid passport and visa required
- 6 months valid UAE driving license for residents (New license covered only together with 6 month license from your home country orr additional insurance charges apply)
- Valid International driving license for visitors and tourists (List of countries with their home driving license)
- Require DEPOSIT* blocking from Credit card
- All Yeti cars are non-smoking, fine applies.
- Car should be returned clean.
- In case of accident, if hirer is at fault or third party is unknown, INSURANCE EXCESS** is payable.
* Security Deposit: 1500.00
** Insurance Excess: 1500.00
If you want to Rent Kia Rio in Dubai, come to Yeti Car Rental! Our Kia Rio for rent is in perfect condition, non-smoking! Kia Rio Is a perfect car for hire in Dubai.
Call Us


text:
Adams Metro Ethernet, FastE, and Gigabit Ethernet via the Ohio Ethernet Internet Network!
Research Adams Ethernet Internet Network Instantly Online!
Looking to install an Ethernet Connection in Adams County, OH? We can assist.
To obtain a Ethernet Internet Network Quote for your business in Adams County, give us a call at (888) 765-8301 or use our online quote Ethernet price tool (on the left) to get an initial estimate on Ethernet Providers in Adams. Once we receive your information we'll give you a call to discuss your individual Ethernet Service request.
Why use ethernetinternetnetwork.com for your Online Adams Ethernet Bandwidth Research?
- Our Adams Ethernet Internet Network tool does the shopping for you.
- We give an unbiased opinion on Ethernet Services in Adams County.
- It's FREE
- Choose from over fifty telecom service providers
- No obligation consultation
Ethernet Internet Network Adams County
We may have a Ethernet Internet Network in the Adams County Cities:
- Bentonville Ethernet
- Blue Creek Ethernet
- Cherry Fork Ethernet
- Lynx Ethernet
- Manchester Ethernet
- Peebles Ethernet
- Seaman Ethernet
- Stout Ethernet
- West Union Ethernet
- Winchester Ethernet


text:
One challenge of photography is to try and look at things differently – you can easily get in a creative rut by doing the same thing and taking photos at the same angle – so I headed out in the sunshine with my Nifty 50 lens, with the aim to choose a spot – sit down and spend a few moments photography and experimenting with aperture to create a range of different images of the same scene.
Emma as part of her #Yearwithyoucamera free photography course, encourages you sometimes to think differently about your images…. Continue reading


text:
When the first settlers came to the area the best sites were taken first and this one is no exception. The original 1900's home has been removed leaving an incredible estate property in South Sewall's Point. Spectacular sunset views from every vantage point are experienced because the property is 25+ feet above Sea Level, and sits on the bend in the river. The land consists of 1.9 Acres w/171ft of River Frontage & water to accommodate a 100+ft Mega Yacht. Massive 100+ year old oak trees & native Palms are on site as well. The adjacent parcel is also for sale and together would create 3.3 acres & 322wf. Sewall's Point is a prestigious South Florida peninsula town; highlighted by picturesque waterfront views of the St. Lucie River to the west & the Intracoastal Waterway to the East. Set backs are 30' from road, 15' at the sides and dwelling is to be set back 50' from the waterfront.
Listing courtesy of Waterfront Properties & Club C. Selling Office: Network Property Group, LLC.


text:
For me, 2012 was about making big decisions and finding the courage to act on them. My resolution was to leap, and it was a driving force in my life. Luke and I reevaluated our move to Chicago and fought our longing to sell the house, knowing we weren't ready. I left my employer of seven years after an all-consuming job search. I joined a church for the first time in my adult life and found new ways to look at God and my place in the world.
In the middle of all that leaping, my last baby turned one. Kara and Nathan enjoyed vacation bible school, preschool and swim lessons, and Kara took dance. Luke became more serious about running. I spent more time with girlfriends, swapping playdates for lunches and coffee away from our kids. My dad ran for political office. I called a plastic surgeon's office to ask about a tummy tuck, but I never scheduled the consult. I had my first mammogram.
I read thousands of tweets and Facebook updates, but only two hardcovers. Blogging was sporadic, and I never started my book. I was jealous. Money was tight.
A few times I came through for people when I could have looked the other way. Of all the things I did last year, that's what I'm most proud of.
One-inch picture frame prompt courtesy of Anne Lamott


text:
Happy Easter week. Do you have any fun plans for celebrating?
Friday we will be going to our church's Good Friday service that we have every year with another local church. We will spend some time reflecting on what Christ did for us so many years ago on the cross. It is a quiet service remembering how Christ gave His only Son to die on the cross for our sins. He loved us so much He was willing to do that. Then on Sunday we will rejoice in the fact that the grave could not keep Him down. Jesus arose from the grave and is alive today! Hallelujah! What a special day of remembering and knowing how much our Lord loves us!!!! It really is one of the best days of the year!!!
We also will do some fun things with our kids on Saturday. No year is complete without an egg hunt, a fun Easter basket, and a huge homemade peanut butter egg. I'm sad and happy that my kids are big enough that they don't care about coloring eggs. Sad because that means they are growing up…but so happy not to have to deal with colored dyes!
Let's get to the party and see what fun things you have been up to this week.
Welcome to Time to Sparkle Tuesday Link Party, where you can find all the newest creative ideas from around the web! Stop by every Tuesday, link up your posts, and check out what others are sharing! You'll discover some amazing new blogs and find inspiration for projects, recipes, and more! This party is hosted by four lovely ladies, so your projects will be shared on ALL FOUR blogs!
Inside BruCrew Life | Facebook | Twitter | Pinterest
The Gunny Sack | Facebook | Twitter | Pinterest
The Recipe Critic | Facebook | Twitter | Pinterest
Love Grows Wild | Facebook | Twitter | Pinterest
Each week we will pick our favorite links as features and share them, so make sure to follow the Time to Sparkle Pinterest Board!
Let's see what your hosts have been up to this week:
Easy Pepperoni Calzones from The Gunny Sack
DIY Wood Pallet Arrow from Love Grows Wild
Nutella Cream Eggs from Inside BruCrew Life
Carrot Cake Muffins with Cream Cheese Filling from The Recipe Critic
Here are the fabulous features from last week's party chosen by Alyssa, The Recipe Critic:
Sugar Cookie Nests from Mandy's Recipe Box
Lemon Poppyseed Muffins from Dessert Now Dinner Later
Strawberry Lemon Ricotta Pancakes from Tastes Better from Scratch
Peanut Butter Cookie Dough Brownie Layer Cake
Spring Cleaning 101 from Princess Pinky Girl
Recycled Easter Egg Crayons from Crafts by Courtney
DIY Bunny Garland from Brave New Home
Now let's party! It's Time to Sparkle!


text:
Use the left mouse to play the game.
Welcome to Rapid Fire – a mouse skill and shooting game! There is no doubt that it will be an advantageous realm for you to practice your shooting ability and pursue the dream of being an excellent shooter as well as marksman. Oh guys! It's time to experience it!
It's easy to find 2 main modes inside this game: Adventure and Survival. Hit the one for the initial challenge. No matter which mode the player is in, the ultimate goal he must carry out is to shoot down all stickmen coming from all sides. If he is not rapid, the enemies will destruct his cannon and kill him. In brief, let's adjust this weapon so as to aim and fire the targets accurately.
Spend time getting access to Rapid Fire and training your shooting skill right away, all players! Have lots of joyful moments with it!
Date Added: 2015-04-03
Category: Mine Games
Played 3337 times


text:
Online trading can be a great and lucrative career move for those who make it work. However, there are also risks involved. Whether it's the inherent risk that the value of your investment goes down as well as up, or the risk that you'll come across a scam broker who will place your capital at risk, there's a lot to consider. One way to mitigate at least the latter risk is to pick an established trading platform.
Safety and security
The most obvious benefit to choosing an established trading platform, of course, is from a safety point of view. By investing your capital in a more established place, it's more likely that it will move through channels that are safer to use. For a platform or broker, success and endurance over time tends to lead to higher revenues. That, in turn, means more money to hire quality software architects and other developers who are able to make the platform as safe as possible to use.[Continue Reading…]


text:
Social Critique and Analysis 1
Murray Dineen
This paper is born of the analytic intractability of "Vergangenes," Schoenberg's opus 16, no. 2, and of reflections upon Theodor Adorno's essay "Arnold Schoenberg, 1874-1951." 2 The opening measures of the piece - concise, taut, pregnant in analytic suggestion - offer great potential for coherent and unified tonal development. Schoenberg, for his reasons, sets aside this promise; the remainder of the piece seems to relate at best tangentially to its opening. Schoenberg - following Adorno's social critique - could not create a work of integrity and coherence for reasons at heart social. "Vergangenes," as a totality, is as much a product of a certain compositional sterility with roots in a social condition as the opening measures, taken in their own right, are a product of compositional fertility grounded in the principle and techniques of tonality. My appreciation of the work will attempt to address this compositional sterility and its social roots, an unusual endeavour, admittedly, for a music theorist.
"Erwartung" and Musical Space
Schoenberg's earliest published song, given the foreboding title "Erwartung," op. 2, no. 1, shows already the evident mastery of the principle of tonality, the reference of all pitches to a tonal centre by compositional means. The tonality of "Erwartung" is hardly adventuresome; the tonal distance traversed modest (see Figure 1): to begin, modulation from tonic E-flat major to C major, the latter followed by a chain of dominants leading to V7 of E major (enharmonically F-flat, the distant Neapolitan region). Ultimately V7 is reinterpreted implicitly as the familiar "augmented sixth" harmony in the tonic region, and thus the harmony returns to its point of departure.
I shall describe the tonality of "Erwartung" as constructed of interval cycles, successions of tones distant by a single interval (following the model of the cycle of fifths, as Schoenberg did in the Harmonielehre and elsewhere). Figure 2 comprises three interval cycles - descending semitones, descending minor thirds, and ascending perfect fifths - all starting from E flat. (Here I adopt the familiar convention of describing pitches and intervals by integers, with C=O [ten represented by t; eleven by e].) The backslashes in Figure 2 mark the end of a given interval cycle and the beginning of its repetition. The two upper cycles of Figure 2 are aligned according to common pitch content reckoned from the lowest cycle, the referential cycle of fifths.
Figure 1: The Tonal Regions implicit in Schoenberg's "Erwartung," op. 2, no. 1 3
Figure 2: Interval Cycles of Ascending Fifths, Descending Thirds, and Descending Semitones: the Tonal Space of Erwartung,'-op. 2, no. 1 4 5 6
Schoenberg begins Erwartung" with a progression to the lower third, to C major, a progression which defines the interval cycle of descending minor thirds as characteristic of the song's tonality. The chain of dominants to V7 of E major defines the interval cycle of ascending fifths as another characteristic. Every entry of the cycle of descending thirds duplicates the pitch class content of every third entry in the cycle of fifths (note where the two cycles align in Figure 2 at pitch classes 3, 0, 9, and 6). The cycle of thirds exhausts itself when after four entries it returns to E flat to cycle anew, at the same point at which the cycle of fifths is exhausted and begins its own new cycle. A moment's glance at Figure 2, will show how the coincidence of common pitch content between the two cycles divides the cycle of fifths into four parts (again, at pitch classes 3, 0, 9, and 6) coinciding with each of the four entries in the cycle of thirds.
The implicit reinterpretation of the dominant seventh of E major as augmented sixth of tonic E-flat major in m. 17 establishes a third complementary interval cycle, built of descending semitones.7 Every entry in this cycle of descending semitones duplicates the pitch class content of every fourth entry in the cycle of ascending perfect fifths (in Figure 2, at pitch classes 3, 2, 1, 0, etc.). But since the cycle of descending semitones exhausts itself only after twelve entries, the cycle of ascending fifths must be repeated four times before the two coincide again on E-flat (pitch class 3). Figure 2 presents the three divisions of tonality articulated in "Erwartung" - into cycles of descending semitones, descending minor thirds, and ascending fifths, coinciding through common pitch-class content. 8
Figure 3: The Tonal Space Particular to "Erwartung," op. 2, no.1
Figure 3, taken from the last division of Figure 2, presents the tonal space particular to "Erwartung." The integers in bold face correspond to the pitch classes tonicized in the song; entries in bold duplicated on two lines mark points at which the harmony pivots from one cycle to another. Beginning with the descending third cycle moving from tonic E-flat (integer 3) to a tonicized C major (integer 0), the harmony continues with the ascending fifth cycle from 0 to 4 (V7 of E major), and concludes with the semitone cycle from 4 back to 3 (to E-flat major), by reinterpreting V7 of E major as augmented sixth harmony in tonic E-flat major.
This pivoting path through three cycles constitutes the tonal space particular to "Erwartung." It goes without saying that there are countless paths through this pitch space, "Erwartung" - unlike "Vergangenes" - works in tonal terms, by tracing such a readily appreciable path through tonal space. 9
Let me propose an analytic model from my analysis of "Erwartung," figures 2 and 3 in particular. We can conceive of tonal space as a set of interlocking cycles reckoned from a tonic (Figure 2). During the course of a piece, the harmony will move from cycle to cycle, tracing a particular path through space (Figure 3). When all the appropriate cycles in a work are aligned, a path emerges that encapsulates the harmony of the piece. In other words, the coherent alignment of cycles unlocks a spatial perspective on the musical work.
To turn to an analogy: briefcases often come with a kind of combination lock with which one aligns several numbered cylinders according to a code. The arrangement of cylinders affords a multitude of potential combinations (as does Figure 2). When aligned in a particular combination (as in Figure 3), the cylinders fall into synchronization and the lock is released. What I have done in "Erwartung" is to show the alignment of several cycles - thirds, fifths, and semitones - that unlock, so to speak, a perspective on the tonality of the song.10
The Opening Contrapuntal Combination in "Vergangenes"
"Vergangenes" begins with a remarkable three-voice contrapuntal combination (see Example 1):11 the inner voice as a subject, with an invertible countersubject in the lowest and highest voices. 12 The most striking aspect of the
Example 1: Arnold Schoenberg "Vergangenes", op. 16, no. 2, mm. 1-2 in Anton Webern's reduction for 2 pianos, and the contrapuntal combination.
combination, however, is its treatment - that Schoenberg should make so little use of its potential. Nowhere in "Vergangenes" does one find the tonal clarity of "Erwartung," or the serial works, or in truth the next of the Five Pieces, "Farben," op. 16, no. 3. 13 Schoenberg had his reasons (which I shall turn to shortly), but there is no denying the potential of the "Vergangenes" combination.
Implying a cyclical space like that of "Erwartung," the "Vergangenes" combination comprises four cyclically related trichords (read vertically in Figure 4) arranged in three voices (read horizontally in Figure 4). Each voice is comprised of alternating interval cycles or cyclic patterns the highest and lowest voices move by directed intervals - 3 and +2 (pitch class 8 to pitch class 5 to pitch class 7, in the highest voice), while the middle voice moves by -2 and +1. (The integers in parentheses in
Figure 4 represent directed intervals between successive pitches in a given voice.)
The first and second trichords are invertible (in Figure 4, compare the integers in italics and parentheses, which represent interval classes between members of a given trichord), as are the first and fourth trichords (6 above 5, in Figure 4, inverts as 5 above 6). The inversional relationship, then, that governs trichords 1 and 2 holds as well between 1 and 4, so that one might say the inversional association of trichords 1 and 2 is embedded within the larger inversional link of trichords 1 and 4.
Figure 4: The Contrapuntal Combination Expressed as Trichords 14
Following the model of "Erwartung," and Figure 2 above, I have extended these cyclic patterns until the pitch class content of trichord 1 (with vertical interval class content 6 above 5) is replicated as trichord 25 (see Figure 5). Taking the replication of trichord 1 in trichord 25 as a large-scale point of articulation, and all the intervening trichords in the -3+2 cyclic pattern to be divisions thereof, one has an articulate musical space - implicit in the combination - not unlike like the musical space of the cycle of fifths in "Erwartung." Let me continue now to extend and develop the opening "Vergangenes" combination in an effort to demonstrate its potential.
Figure 5: The Contrapuntal Combination Extended Cyclically 17 15 16
Recall that the inversional relationship governing trichords 1 and 2 of the combination is identical to that between trichords 1 and 4. The distance between the highest pitch classes of trichords 1 and 4 is ordered interval -4, the descending major third. Figure 6 presents another hypothetical cycle, "-4," created by eliminating the second and third trichords.of the combination. (For the sake of clarity, hereafter I shall represent trichords by the pitch class content of the highest voice of the combination alone, and the interval class content of the respective trichord below.)
If one were to extend the -4 cycle of inverted trichords, this series would continue untill trichord 1 is replicated (uninverted) as trichord 7 of the cycle (see Figure 6 and Figure 7 below).
Figure 6: Derived Cycle Directed Interval -4 19. 18
If one takes the uninverted replication of trichord 1 to be a large scale point of articulation in the cycle -4, and all the intervening trichords in the cycle to be divisions thereof, surely we have a second articulate musical space - a partner to the cyclic pattern -3+2 (see Figure 7), much as in "Erwartung," the cyclic space of fifths was combined with the cyclic spaces of thirds and semitones. With this counterpoint of cycles and cyclic patterns, one must repeat the -3+2 cyclic pattern once before the -4 cycle exhausts itself and, in beginning again, replicates the pitch class content (and thus the interval class content) of the opening trichord. (Accordingly, only the first and last entries of Figure 7 are exactly equivalent).
Figure 7: Counterpointed Cycle -4 and Cyclic Pattern -3+2.
Motion in the -3+2 cyclic pattern constitutes the finest spatial gradation, equivalent to a progression from station to station on the cycle of ascending fifths in "Erwartung." Motion in -4 space leaps over the finer gradations of -3+2 space, much as do the descending third progressions or the resolution of the chord of the augmented sixth in "Erwartung."
How easy it would be to create a particular tonal space from these cycles and patterns. The two overlap at six points; there are six, indeed seven (with the repeat of the duplicated pitch class 8) opportunities to move from one cycle to another.
Other partitionings of space suggest themselves: a cyclic pattern compounded of -4 (the first to the fourth trichord of the combination) and +1 (from the fourth trichord [past the first] to the second trichord), which enriches the -4 array of Figure 7 by adding pitch classes 1, 2, 5, 6, 7, 10, and 11 to the upper voice (see Figure 8).
Figure 8: Counterpointed Cyclic Patterns -4+1 and -3+2. 20 21
Figure 9: Counterpointed Cyclic Patterns -4 0 and -3+2 22 23
Or a partition that follows the fourth trichord of the combination with its untransposed inversion, creating the cyclic pattern -4 0.- Reckoned from the upper voice of Figure 9, every trichord is inverted immediately while retaining the same upper voice pitch class (hence the 0 entry in the cyclic pattern): the trichord with pitch class 4 (in its upper voice) and interval content 5 over 6 is followed by a trichord with the same pitch class but with interval content 6 over 5 (see the lower part of Figure 9 above). The effect is to speed up the cycle in counterpoint with the -3+2 cyclic pattern: the content of the first trichord is duplicated without having to repeat the -3+2 pattern (compare Figure 7).
With these various hypothetical spaces, I am not attempting to reconstruct "Vergangenes"; reconstruction is not the point of the exercise above. My point is simply that Schoenberg might have found in the opening combination a means to create the kind of tonal articulation found in "Erwartung." The respective musical spaces of the two works would have been dramatically different: one a tonal space oriented toward a central point; the other a cyclic space, without intrinsic orientation. These not insignificant differences aside, there is material in the opening measures of "Vergangenes" to create a clear and coherent musical space, and Schoenberg's neglect of this material seems hardly happenstance.
Cyclic Material in "Vergangenes"
Schoenberg does not in truth neglect the combination entirely. The viola part in m. 23 (see Example 2) suggests a cyclic pattern comprised of descending major seconds filled in chromatically (D-C#-C natural) repeated a semitone below (C#-CnaturalB) in mm. 24-25. The two descending figures are separated by an ascending leap to E in m. 24 (setting aside the D# linking this E to the subsequent descending figure.) The viola part resembles the inner voice of the work's opening measures by its descending major seconds (see the oboe part replicated in Example 2) and resembles the upper voice by the leap of a major third, like the leap from F to the accessory A in m. 1 (see piano part, the right hand, m. 1, in Examplel). Interpreting this motive as a cyclic pattern, there are four essential components: directed intervals -2 (filled in as two descending semitones), +4, -3 (filled in by D-sharp), and -2 (again filled in as two descending semitones), yielding the cyclic pattern -2/+4/-3/-2.
Example 2: "Vergangenes," mm. 23-25.
The passages that follow m. 23 present variations that would yield new cyclic patterns, were they continued sequentially. Some of these variants are presented imitatively, others are linked, and one variant alludes back to the trichordal content of the initial contrapuntal combination. At m. 26, in lieu of +4 we find +3, in lieu of -3, -4 (Example 3), which I shall call the cyclic pattern -2/+3/-4/-2.
Example 3: "Vergangenes," mm. 26-28.
At mm. 28 and 29 two more variants of the motive appear (Example 4). (in this and subsequent examples, editorial additions and deletions have been made only to clarify the relation of these passages to their model.) Two overlapping cyclic patterns are involved: first -2/+5/-4/-2 (with a compass of a descending interval 3), and secondly - 2/+4/-4/-2 (with a compass of a descending interval 4). Four statements of the cyclic pattern -2/+3/-4/-2 appear in mm. 30-34 (Example 5). In m. 36 (Example 6), the cyclic pattern -2/+4/-4/-2 appears, set with accompanying lines. (The celeste joins with the downbeat pitches of the violin to present common-tone trichords, akin in interval content to the opening trichords). Measures 40-45 involve cyclic patterns, -2/+4/-4/-2 and -2/+3/4/-2 (Example 7), combined in overlapping successive statements, so that the concluding -2 of one pattern becomes the initial -2 of the next.
Example 4: "Vergangenes," mm. 28-30.
Example 5: "Vergangrenes," mm. 30-34.
Example 6: "Vergangrenes," mm 36-38.
Example 7: "Vergangrenes," mm 40-44.
Each of the cyclic patterns presented above could be extended sequentially to make a true cycle. In Example 8, 1 have extended editorially the cyclic pattern -2/+3/4/-2 taken from mm. 30ff. This particular pattern would exhaust itself rapidly - the last 3 pitches of m. 34 replicate the first three pitches of mm. 30-31. After four overlapping entries of the pattern (each starting down a minor third from its predecessor), the first two pitches of the pattern return. The cyclic pattern -2/+31-4/-2 itself becomes part of a larger pattern, -3.
Example 8: "Vergangenes," mm. 40-44.
I shall call such sequential statements of a cyclic pattern entry cycles, in this case entry cycle -3 (as indicated in Example 8), since successive entries start at interval -3 below. To recapitulate, for terminological clarity: Let intervalcycle denote a succession of a single interval class, for example the cycle of fifths. Let cyclic paffern denote a succession of two or more intervals in compounded interval cycles, like the succession -2/+3/-4/-2 to be found in the motive of m. 23. And let the term entry-cycle refer to the interval or intervals between successive cyclic patterns, as in mm. 30-34. Since the pattern -2/+31-4/-2 begins (with overlapping entries) on A (m. 30), G-flat (m. 31), E-flat (m. 32), and C (m. 33), 1 refer to this as entry cycle -3.
These three notions - interval cycle, cyclic pattern, entry cycle - when combined lead easily toward a notion of a structural hierarchy: that is to say, interval cycles embedded within cyclic patterns, embedded in turn within entry cycles.
As I have suggested (and despite the minor resemblances cited immediately above) the greater part of "Vergangenes" shows little systematic relation to the opening combination. A passage beginning at m. 40, however, is worthy of further note in terms of the cyclic concepts introduced above. Example 9 is extrapolated from the cyclic patterns and entry cycles of Examples 7 and 8. (The rhythm is interpreted freely, and editorial additions are noted in brackets). The lower stave, starting with score m. 41, is built around the entry cycle -3, with overlapping entries of the cyclical pattern -2/+3/-4/-2 (as in the lower stave of Example 7 and 8). The entry cycle in the higher stave is built of two entry cycles and cyclic patterns in alteration (as in the upper stave of Example 7), entry cycles -2 (with pattern -2/+4/-4/-2) and -3 (with pattern -2/+3/-4/-2). There are at least two noteworthy aspects of this combination of entry cycles:
1. First, if extended as I have done in the graph, the two entry cycles will share briefly a common pitch content (the last seven pitches in each stave of the example) and then diverge again. Since two different entry cycles are appearing successively in the upper stave, counterpointed against only one entry cycle in the lower stave, the two staves orient to each other like a wedge; they grow successively further apart by semitone with every appearance of the -2 entry cycle in the higher stave. I have tried to indicate this wedge-like shape in the example by noting in boxes the vertical interval separating simultaneous entries: first interval class 10, then interval class 11, etc. As noted, the two staves will share the same pitch content for a brief moment and then begin growing apart again. The two complete entry cycles (-2/-3 in the higher stave, -3 in the lower) would align as in Figure 10. (The initial pitches of each cyclic pattern in the higher and lower staves are represented in Figure 10 by the highest and lowest lines of integers; the vertical intervals between these pitches are in italics. Compare the last seven entries (bold face) in each line of the figure with stemmed notes and with the intervals in boxes in Example 9):
Example 9: "Vergangenes," mm. 40ff
Figure 10. 24 25
2. Secondly (again with reference to Example 9), wherever entry cycle -2 in the lower stave combines with entry cycle -3 in the upper it will replicate, however briefly, an aspect of the original contrapuntal combination.
i. Recall that the upper and lower voices in m. 1 fall interval -3, while the inner voice falls interval -2 (see Figure 4). In Example 1 0a, note the vertical intervals 10 followed by 11 (in boxes) between the staves and the entry cycles -2 in the upper voice and -3 in the lower. These counterpointed entry cycles replicate the interval content of the middle and lower voices in the opening combination.
ii. Were we to extend these two entry cycles along the lines of Figure 10, this parallel would occur eleven times, wherever the intervals in boxes between staves change, i.e. from 0 to 1, from 1 to 2, and so forth, (noted by asterisks in Figure 11). There are, then, eleven possibilities for drawing this type of motivic parallel between large scale entry cycles and the cyclic pattern of the opening combination.
Example 10 a - b: "Vergangenes," mm. 41ff
Figure 11: Entry cycles -3 and -226
Surely here is a potential that Schoenberg overlooked, and not by happenstance I will suggest again.
Social Critique
Working with the initial combination of "Vergangenes," and following the model of "Erwartung," I have developed musical spaces built of interval cycles, cyclic patterns, and entry cycles. To reiterate, my intention is not recompositional (certainly not to suggest a repaired "Vergangenes") but rather to show the potential of the opening combination and to show the minimal relation it holds to the remainder of the piece.
In this respect, I call the work intentionally "flawed," since it goes against the premise of organic unity so central to Schoenberg's writings, to their reception, and to much analytic work undertaken in North American theoretical studies. This would entail a shift in the conception of a theorist toward the role of social critic, a shift with dramatic consequences for another widely held analytic premise, that of the work's purely musical autonomy. In truth, my analysis and my reconstructed spaces are an attempt to demonstrate the effect, in Schoenberg's middle period oeuvre, of a set of social circumstances that denied the composer the ability to write organically.
From the perspective of a fundamentally flawed work, I am forced as an analyst to go beyond the score in admitting evidence. Above all, I am forced to invent evidence (something analysts are not accustomed to doing) - my notion of various musical spaces stemming from the opening contrapuntal combination. Had I been able to adopt a premise of organic unity in "Vergangenes," I could limit my analysis to within the bounds of the work and avoid straying into ancillary questions. But by invoking the notion of a "flaw" I am forced to seek external support for my conclusions about the work's failure. A flaw, after all, is not the product of a work's inner nature but rather produced by some lack or excess in which the making of the work, its design, and the ability of its own terms, intrinsically. A flawed work fails only with regard to some standard above and beyond itself, to which, for reasons likewise extrinsic, it does not measure up.
To find a sociological context for assessing the work's failure, I turn to Theodor Adorno, not because I agree with his modernist tenets - out of date in a postmodernist era - but rather because he addressed Schoenberg's work, the post-tonal and pre-serial work in particular, by articulating a larger, rigorous critique of a social nature. I turn to Adorno to help formulate a rationale for why Schoenberg would construct such a contrapuntal combination at the beginning of a work and then ignore its potential, and why - if you will allow me my analysis above - he should make only brief and obscure reference to the intricate and potential musical space that I have crudely just begun to fathom.
Working within Adorno's critique, I conclude that Schoenberg created "Vergangenes" in reaction to certain sociological and historical pressures that trivialized the expression of a composer's idea. Following Adorno, for Schoenberg the only avenue to take in avoiding the corruption and petrification of musical style in the first decades of our century was to destroy the accustomed medium of stylistic presentation, musical space. My task as a theoretician and analyst has been "negative," in the sense of trying to rebuild something that was, for reasons historical and social, necessarily destroyed and hence could not go into the concept of a musical piece. The foundation of my analysis is history and society: in trying to reconstruct the space that Schoenberg left unrealized, I am seeking to understand the extent to which he abrogated - destroyed through neglect - the implicit space of "Vergangenes" under the weight of social and historical pressures.
Two essays, Schoenberg's "New Music, Outmoded Music, Style and Idea," taken from the collection entitled Style and ldea, and Adorno's essay entitled simply "Arnold Schoenberg, 1874-1951," from the collection entitled Prisms27 will serve as principal sources for the following discussion. For Schoenberg purely musical ideas are the immutable stuff of music. Immutable, eternal in a Platonic sense, musical ideas are not susceptible to historical variation or social pressure. For Schoenberg, music is I'art pour I'art 28 Given the influence of Schoenberg's music and thought, it is more than coincidental that the tenet I'att pour I'att orients much North American analytic work.
For Adorno, however, Schoenberg's musical ideas were not beyond the influence of certain social and historical necessities. Schoenberg's non-tonal works were composed in resistance to a sociological and historical development: the growth of the entertainment industry and the commodification of music, which brought about a petrification and corruption of style. For Schoenberg, style was the simply a commodity a fact that rendered the musical idea redundant. In reaction, Schoenberg pared style t~ a minimum, and one of the essential elements done away with was the impression - the stylistic presentation - of musical space.
Following Schoenberg, we can speak of tonal relations spatially - measured by distance (or "interval") in a consistently delineated system (the system of scale degrees) reckoned in terms of direction from a tonal centre. In the time frame allotted the title "common practice harmony", such a space was generalized from piece to piece, so that one may speak of a common spatial practice in tonality.
The essential link to Adorno in Schoenberg's thought is the distinction between idea and style, one that harkens back to the distinction between noumenal and phenomenal that Schoenberg would have had at least from Schopenhauer. For Schoenberg, style is a means of representing an idea. By way of example, a generalized idea of musical space would be represented (or made concrete) in the spatial layout of a particular work-'s tonality - this spatial concretization constituting one aspect of the work's tonal style.
Style flows from idea: a composer "will never start from a pre-conceived image of a style; he will be ceaselessly occupied with doing justice to the idea. He is sure that, everything done which the idea demands, the external appearance will be adequate."29 Accordingly, the style of the work must of necessity correspond to a musical idea. Style must never be preconceived. Style, the vehicle, must never precede idea, the verity.
For Adorno, the elevation of style at the hands of the entertainment industry caused a dramatic reaction: Schoenberg amplified the pure, essential, ideational structure of his music at the expense of style:30
Both practically and then theoretically [Schoenberg] steadfastly rejected the notion of 13 style", in the sense of a category existing prior to the subject-matter and oriented on external consensus; instead, he spoke of the 'idea', meaning the pure elaboration of musical thoughts.
Schoenberg pushed musical ideas directly to the surface:31
What he designated as the 'subcutaneous' - the fabric of individual musical events, grasped as the ineluctable moments of an intemally coherent totality - breaks through the surface, becomes visible and manifests itself independently of all stereotyped forms.
Adorno speaks of a "second, latent structure," built of ideas underpinning Classic and Romantic music,32
The manifest sound- material of Classicism and Romanticism, the tonal chords and their normed associations, the melodic lines balanced between triad and second intervals, in short the entire facade of the music of the last two hundred years is submitted to productive criticism [by Schoenberg] .... what was crucial in the great music of the tradition was not those elements as such, but rather the specific function they -assumed in the presentation of a particular compositional content. Beneath the facade was a second, latent structure.
and which became the principal structure of Schoenberg's work:
Schoenberg's spontaneous productive power executed an objective historical verdict - he liberated the latent structure [the musical idea] while disposing of the manifest one [style].
For Adorno, Schoenberg's op. 11 piano pieces mark the beginning of this development. Prior to op. 11, Schoenberg's music seems to rely on clear and articulate tonal space (witness "Erwartung"). But by op. 11, tonal space has become too decadent and precious, and must be destroyed. Adorno saw this clearly: "It is precisely this illusion of [musical space] that the movement of the piano pieces op. 11 destroys."'34The opus of "Vergangenes" is, of course, numbered 16.
Conclusions: Social Critique and Analysis
As I said above, it is with the tenet l'art pour l'art that many of us orient our analytic work. We look at tonal spaces intrinsic, or "organic," to a piece of music. And yet, as I have tried to show, Adorno's thought would support the view that pieces do not work in spatial terms, indeed are made not to work for reasons extrinsic to the work proper, social and historic reasons. To take up such a train of thought as a tenet of analysis has been my task. What this entails for analysis and theory, I want to briefly consider now.
My approach in this paper has differed fundamentally from that adopted by other analysts. First, I have not tried to reconstruct a coherent spatial whole from incomplete or fragmentary evidence (along the lines of Deryck Cooke's reconstructions of Mahler); such an enterprise I would call a positive reconstruction, since it seeks simply to create another musical object to stand in lieu of its flawed correspondent. Instead, I have tried to postulate what could have been spatial unity in a work I take to be intentionally flawed; I have tried to create a ghost or spectre, the purpose of which is simply to better show the "flaw" in the original, and not to supplant it. Let me call this negative reconstruction. Surely from internal evidence alone "Vergangenes" is flawed by the standards set in the musical tradition Schoenberg fell heir to; not to take up coherently the manifold possibilities latent in the opening contrapuntal combination is an act of flawing, of deliberately destroying the a potential of a coherent whole. But we can only know such a flaw by constructing its repair.
In projecting a working musical space for "Vergangenes," I have engaged in an act of social critique. To reconstruct Mahler or Schubert is to create coherence for properly internal reasons; such a project is undertaken (perhaps naively) out of a spirit of charity to the composer and his idea. But to construct a repaired "Vergangenes" would be to violate Schoenberg's intent (following Adorno) and to do his idea the greatest disservice.
Were I to proffer my analysis as a means to correcting Schoenberg, to patching the flaw (and I an certain that Schoenberg would have slammed the score on my fingers had he looked over my shoulder and seen what I was up to), I would (following Adorno) weaken the deliberate stance Schoenberg took in his music against the elevation of style at the hands of the culture industry and crass commercialism. To do so would be to take a position linked inextricably to a social critique. By making "Vergangenes" work as an embodiment of a unified musical space, a space worn thin or petrified by Schoenberg's day, I would be rejecting Schoenberg's social stance.
Instead, I offer my analysis as means of showing how far Schoenberg went in abrogating musical space, by leaving largely unaddressed the tonal possibilities of the opening contrapuntal combination in "Vergangenes." My analysis, in effect, honours the critical social stance that Adorno attributes to Schoenberg.
Social critique, I would suggest, is a necessity in the analysis of "Vergangenes." My stance, as I have suggested, involves a social critique; but so too does the stance I eschew, the positive construction, a stance of a far more brutal kind. Positive reconstruction is linked closely with organicism - that a work is as absolute and self contained l'art pour l'art, as a human cell - and organicism, at least the nineteenth century formulation taken up by music theory, takes little into account of social circumstance. "Vergangenes," I think, challenges all that.
1 A version of this paper was read at the annual meeting of the Canadian University Music Society at Carleton University in Ottawa, June 1993, under the auspices of the Social Sciences and Humanities Research Council. The author wishes to thank, among others, William Benjamin, Edward Laufer, and David Huron for the colloquy that followed the paper's presentation.
2 See Murray Dineen, "Adorno and Schoenberg's Unanswered Question," Musical Quarterly 77, no. 3 (1993): 415-27.
3 The abbreviated names of the regions, circled in the figure, are taken from Schoenberg's Structural Functions of Harmony.
4 Cycle of descending semitones (augmented sixth as enharmonic dominant seventh.)
5 Cycle of descending minor thirds.
6 Cycle of ascending perfect fifths
7 The descending semitone cycle, known as the Neapolitan relation, is a very powerful mechanism for partitioning the traditional tonal space built of fifth and third relations into larger divisions. With a certain prudence, composers working with a largely diatonic tonality confined themselves to the last entry in the cycle - the customary Neapolitan relation.
8 This representation of tonality as an array is implicit in Schoenberg's circle of fifths, found in the Harmonielehre. The coordination of two arrays is implied in the chart of the regions in Schoenberg's Structural Functions of Harmony, in which a horizontal array of third relations (between relative majors and minors) is aligned with vertical arrays of fifth relations. George Perle has noted Alban Berg's exhaustive catalogue of interval cycles in "Berg's Master Array of the Interval Cycles," Musical Quarterly 63, no. 1 (1977): 1-30.
9 A glance at the opening measures reveals a remarkable economy in "Erwartung": the descending semitone cycle, which comes into play at mm. 17-18, is anticipated in the opening measure by the characteristic harmony of the song: C-flat, G-f [at, E-flat, and A (setting to one side the D-natural) form the familiar chord of the augmented sixth in E-flat major, the means (respelled enharmonically as the dominant seventh of E major) by which the harmony returns to the tonic region in m. 18, the means by which the descending semitone cycle is brought into play. Schoenberg, I think, would have taken a certain pride in this, and might have called it an organic relation, and the chord of the opening measure a "germinal cell".
10 With apologies to Henry James's The Figure in the Carpet
11 The term "contrapuntal combination" in Schoenberg's usage is defined in P. Murray Dineen, "The Contrapuntal Combination: Schoenberg's Old Hat," in Music Theory and the Exploration of the Past, C. Hatch and D. Bernstein, eds. (New York: Norton, 1993), 435-48.
12 Paul Lansky has noted various characteristics of the combination: 1) Trichords 3 and 4 are transpositions at T [11 ] of trichords 1 and 2, respectively. 2) Trichords 2 and 4 are ';inversions" of trichords 1 and 3. They are not only "inversions" in the pitch-class sense, such that each pitch class in each trichord has one complementary pitch class in tis inversionally related trichord, and all the sums of complementary pitch-class numbers between any two inversionally related trichords are the same, mod 12, but these are also pitch inversions and this creates several important musical relations. First, the succession of intervals formed by registrally adjacent pitches in trichords 1 and 3, reading from bottom to top, [5,6] is reversed in trichords 2 and 4. Second, the pairs of complementary pitches in trichords 1 and 2, for example, (G-sharp, G-flat), (D,C) and (A,F, are "symmetrically arranged" around a "centre of symmetry," d-flat [above middle c].... See Paul Lansky, "Pitch-Class Consciousness," Perspectives of New Music 13, no. 2: 37.
13 See Charles Burkhart, "Schoenberg's Farben," Perspectives of New Music 12, nos. 1-2 (1973-740: 141-72, Allen Forte, The Structure of Atonal Music (New Haven: Yale University, 1973), 166-77, and John Rahn Basic Atonal Theory (New York: Longman, 1980), 5973.
14 Roman numeral integers refer to pitch classes; integers in italics and parentheses to vertical intervals between members of trichords; directed integers in parentheses to intervals of the cyclic patterns in a given voice.
15 These integers represent cycles of pitch classes in their respective voices (see figure 4 above.)
16 These integers in italics represent the vertical interval class content between pitch classes of a trichord.
17 These integers represent cycles of pitch classes in their respective voices (see fig. 4 above). Integers in italics represent the vertical interval class content between pitch classes of a trichord.
18 Only the highest voice of the combination is presented here, accompanied by the interval content of the respective trichord below (integers in italics.) This particular cycle is derived from the first and fourth entries of the opening combination (compare figures 4 and 5.)
19 Only the highest voice of the combination is presented here, accompanied by the interval content of the respective trichord below (integers in italics). This particular cycle is derived from the first and fourth entries of the opening combination (compare figures 4 and 5).
20 A cyclic pattern created from every fourth entry in the highest voice of the combination, extended cyclically.
21 The highest voice of the combination, extended cyclically.
22 A cyclic pattern created from successively every second and fourth entry in the highest voice of the combination, extended cyclically.
23 The highest voice of the combination, extended cyclically.
24 Entry cycles -3 -2.
25 Entry cycle -3.
26 Compare the integers in bold with the stemmed notes in ex. 10b.
27 Arnold Schoenberg, "New Music, Outmoded Music, Style and Idea," in Style and ldea.- Selected Writings of Arnold Schoenberg, L Stein, ed., L. Black, trans. (Berkeley: University of California Press, 1984), 118-19; and Theodor W. Adomo, "Arnold Schoenberg, 1874-1951," in Prisms, Samuel and Shierry Weber, trans. (Cambridge: MIT Press, 1983), 147-72.
28 "One thinks only for the sake of one's idea. And thus art can only be created for its own sake. An idea is born; it must be molded, formulated, developed, elaborated, carried through and pursued to its very end. Because there is only' l'art pour I'art', art for the sake of art alone." Schoenberg, "...Style and Idea," 124.
29 Schoenberg, Style and Idea, 121.
30 Adorno, "Arnold Schoenberg 153.
31 Adorno, "Arnold Schoenberg 153.
32 Adorno, "Arnold Schoenberg 155-56.
33 Adorno, "Arnold Schoenberg 156.
34 Adorno, "Arnold Schoenberg 161 ftnt.
ex tempore
as published in Vol. VIII/1, Summer 1996


text:
At the Snowflake Partner Summit, Qlik was named a FY 2020 Snowflake Technology Partner of the Year, recognizing Qlik Data Integration in the Data Engineering category.
See why Qlik was named a MQ Leader for the 10th year in a row – and discover how Qlik can help you pull ahead.
Once again, Qlik's partner program has been awarded a 5-Star ranking by CRN in their annual Partner Program Guide. This is the 6th year running that Qlik's program has received this designation.
In this report, the reviews come straight from the people who know BI best – the users. BARC surveyed over 3,000 BI users, and they ranked Qlik #1 for customer experience and performance satisfaction in the large international BI vendors peer group, and a leader in customer satisfaction, product satisfaction, business value, and analyses. The report includes comparative rankings, analysis from BARC, and quotes from Qlik users.
We challenge the status quo with our ease of use and proven data replication capabilities – so you can take a modern approach to the way you handle data.
DBTA listed Qlik as the Best Data Integration Solution in 2019 due to the solution's ability to create a cohesive system that can ingest data from a range of sources, perform transformation, data cleansing, schema integration, and deduplication at scale.
DBTA recognized Qlik as the best CDC Solution in 2019 based on its ability to deal with the increasing volume of data and the speed at which that data changes.
DBTA's list of Trend-Setting Products for 2019 highlighted Qlik Replicate as one of the offerings that promise to help organizations derive greater benefit from their data, make decisions faster, and work smarter and more securely.
The BARC BI Survey — the world's largest and most comprehensive study of BI end users — provides user feedback from over 3,000 respondents on 36 BI products. Qlik achieved top rankings in several key areas, including ease of use, query performance, and visual analysis. And, users named Qlik a clear leader when it comes to business value, customer satisfaction, and more.
Best Data Visualization Solution
Data visualization has turned into an irreplaceable standard for today's business intelligence (BI). Data visualization tools now play an integral role in democratizing data and analytics, opening up access to data-driven insights to workers throughout an organization.
Solutions Review listed Qlik (Attunity) as a top integration tool for 2018, noting "Qlik is one of the few providers in the marketplace to offer above average on-prem and cloud data integration products. Its suite of traditional solutions includes virtually every major tool type."
Qlik (Attunity) is listed as one of the most important companies in big data in Q4 2018, with InsideBIGDATA noting, "these companies have proven their relevance by the way they're impacting the enterprise through leading edge products and services."
The Datanami editors named Qlik (Attunity) as one of their top 5 vendors to watch in their 2018 annual readers' and editors' choice awards.
Dresner ranked Qlik #1 in the Location Intelligence Market Study for GeoAnalytics.


text:
The Hare Krishna Movement in Fiji has invested $4.7 million in the country by building its temple in Sigatoka town.Spokesperson for the Movement Dr Rajesh Maharaj said construction works of the Shri Radha Damodar temple started three years ago and work is still underway.
However, he said the decision to have the opening this weekend is due to this auspicious month in the Movement's calendar.
He said the initiative to have the temple constructed came from two female members of the Hare Krishna Movement and this act is the first of its kind in the Movement's history.
He said the temple will cater for the homeless and elderly too.
The Hare Krishna temple opening will take place today with various prayers and installation of statues.
Report From FIGIVILLAGE


text:
Students in Catalonia are upset that Muslim students are tossing their children's ham sandwiches in the trash.
Islam versus Europe reported, via ROP:
Four Spanish mothers have written a letter denouncing the goings-on at a school in Tarrasa, Catalonia, where, they say, indigenous pupils are routinely harassed by their Muslim classmates and the school authorities always seem to take the side of the aliens.
Advertisement - story continues below
According to the letter, the nursery school does not meet the legally-mandated minimum of having at least 20% of the class speaking the native language as their mother tongue! Arabic has become the dominant language in the corridors and playgrounds. The school is now sending out official notices in Arabic and Catalan only, not Spanish. In one class, 83.33% of the pupils speak Arabic. There is even a letter in Arabic posted on one of the school doors, in violation of the law.
The outraged mothers also claim that Muslim pupils prevent their own children eating sandwiches if the sandwiches contain ham or other meat derived from pigs. The offending sandwiches will simply be plucked from their hands and thrown in the bin by the Muslims.
TRENDING: It Begins: Black Lives Matter Mob Demands White People Move Out of Homes and Leave Them for Black People (VIDEO)
The city has turned a blind eye to the situation.
** This story was translated by Alerta Digital
Advertisement - story continues below
In December 2010 a teacher in the region was investigated for saying "ham" in class.


text:
Berenice Abbott
The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework-that to me is the art of photography.
--Berenice Abbott
At age seventy-seven Berenice Abbott thus explained her approach to making images. She learned photography in the 1920s in Paris, as a studio assistant of fellow American expatriate Man Ray. She soon opened her own portrait studio, where she photographed artists and intellectuals living in Paris, including James Joyce and Eugène Atget. After Atget's death, Abbott was instrumental in promoting his work by preserving his prints and negatives and arranging for publications and exhibitions of his photographs. She returned to the United States and began to photograph the architectural landscape of New York City, which resulted in the publication Changing New York. She taught at the New School for Social Research in New York from the 1930s until 1958. In 1939 Abbott began what many consider to be her most ambitious project that spanned more than twenty years. Believing science to be a valid subject for artistic statements, she set out to illustrate that photography was the medium uniquely qualified to unite art with science. During this period, Abbot produced thousands of photographs and designed and patented scientific equipment, including two cameras. In 1958 she was recognized by the physical science study committee of Education Services, in Cambridge, Massachusetts and worked with them for three years at the Massachusetts Institute of Technology to create a physics text book.