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John Coltrane recorded A Love Supreme in December of 1964 and released it the following year. He presented it as a spiritual declaration that his musical devotion was now intertwined with his faith in God. In many ways, the album mirrors Coltrane's spiritual quest that grew out of his personal troubles, including a long struggle with drug and alcohol addiction.
From the opening gong and tenor saxophone flutter, a four-note bass line builds under the sound. This simple riff becomes the musical framework for the rich improvisations that comprise John Coltrane's 33-minute musical journey.
"I remember they cut the lights down kind of," says McCoy Tyner, who played piano on A Love Supreme as a member of Coltrane's band in the early and mid-'60s. "The lights were dimmed in the studio. I guess they were trying to get a nightclub effect or whatever. I don't know if it was John's suggestion or whatever. I remember the lights being dimmed."
It made sense to try to imitate the dim-lighted intimacy of a club during the studio recordings, he says, because it was on stage during live shows where the quartet would explore, practice and rehearse new material. He says there was an amazing unspoken communication during the "Love Supreme" sessions. In fact, he says, Coltrane gave very few verbal directions. Tyner calls the album a culmination and natural extension of chemistry honed through years of playing together live.
"You see, one thing about that music is that it showed you that we had reached a level where you could move the music around. John had a very wonderful way of being flexible with the music, flexing it, stretching it. You know, we reflected that kind of thing. He gave us the freedom to do that. We thought of something, 'Oh, then we'll play it,' you know? And he said, 'Yeah, I have a feeling'—you know? And all that freedom just came together when we did that record."
It was that free-wheeling openness which allowed the musicians—Coltrane, Tyner, along with drummer Elvin Jones and bassist Jimmy Garrison—to build a complex four-part suite around a relatively basic musical idea.
Lewis Porter heads the masters program in jazz history and research at Rutgers University-Newark. He's the author of John Coltrane: His Life and Music. Porter says that simple idea culminating in the first movement with an unprecedented verbal chant by Coltrane forms the foundation of the entire suite. It's a theme Coltrane consciously uses in subtle and careful ways throughout A Love Supreme. For example, toward the end of part one, "Acknowledgement," Coltrane plays the riff in every key.
"Coltrane's more or less finished his improvisation, and he just starts playing the 'Love Supreme' motif, but he changes the key another time, another time, another time. This is something very unusual. It's not the way he usually improvises. It's not really improvised. It's something that he's doing. And if you actually follow it through, he ends up playing this little 'Love Supreme' theme in all 12 possible keys," says Porter. "To me, he's giving you a message here. First of all, he's introduced the idea. He's experimented with it. He's improvised with it with great intensity. Now he's saying it's everywhere. It's in all 12 keys. Anywhere you look, you're going to find this 'Love Supreme.' He's showing you that in a very conscious way on his saxophone. So to me, he's really very carefully thought about how he wants to present the idea."
While A Love Supreme is a recognized musical masterpiece, it had enormous personal significance for Coltrane. In the spring of 1957, his dependence on heroin and alcohol lost him one of the best jobs in jazz. He was playing sax and touring with Miles Davis' popular group when he became unreliable and strung out. Alternately catatonic and brilliant, Coltrane's behavior and playing became increasingly erratic. Davis fired him after a live show that April.
Soon after, Coltrane resolved to clean up his act. He would later write, in the 1964 liner notes to A Love Supreme, "In the year of 1957, I experienced, by the grace of God, a spiritual awakening, which was to lead me to a richer, fuller, more productive life."
But Coltrane didn't always stay the clean course. As he also wrote in the album's notes, "As time and events moved on, I entered into a phase which is contradictory to the pledge and away from the esteemed path. But thankfully now, through the merciful hand of God, I do perceive and have been fully reinformed of his omnipotence. It is truly a love supreme."
The album is, in many ways, a reaffirmation of faith. And the suite lays out what you might call its four phases: "Acknowledgement," "Resolution," "Pursuance" and "Psalms." A Love Supreme has even spawned something of a religious sect. Reverend Franzo Wayne King is pastor of the Saint John Coltrane African Orthodox Church in San Francisco. The congregation mixes African Orthodox liturgy with Coltrane's quotes and a heavy dose of his music. Pastor King calls the album the cornerstone of his 200-member church.
"When you look at the composition of titles and the sequence in which John has them laid out, we say that there's formula in that album. When he says, 'Acknowledgements, resolutions and pursuance,' it's like saying, 'Father, Son and Holy Ghost.' It's like saying, 'Melody, harmony and rhythm.' In other words, you have to acknowledge and then you resolve and then you pursue, and the manifestation of it is a love supreme."
While it's unknown whether Coltrane would have wanted to be worshiped or have his art deified, it's clear in every way that he saw A Love Supreme as much more than just another recording. Coltrane took control of every detail of the album, unlike any of his other works, including writing the liner notes and an accompanying poem. The poem, it's been discovered, is written to match the slow music of the fourth movement, "Psalms." It's a connection Coltrane hints at cryptically in the liner notes.
Pastor King remembers the day his congregation made the discovery. "It was so funny. We were here. We had been collected as a community, and we used to just read it and try to put some passion in it, you know. And then one day, we were reading the album, because he said the last part is 'Psalms,' which is in context, written context. And we said, 'Well, what is he trying to say here?' And then we put it on and sang, 'A love supreme. I would do all I can to be worthy of you, oh, Lord.' It's kind of like Pentecostal preaching, you know," Pastor King says. "We had a great day. We woke up and found out that the music and the words went together, and that was like a further encouragement that John Coltrane was, indeed, you know, sent by God and that that sound had really jumped down from the throne of heaven, so to speak."
While Pastor King sees explicit Christian symbolism in A Love Supreme, others point out that Coltrane took a much more general view. Coltrane was careful to say that while he was raised Christian, his searchings had led him to realize that all religions had a piece of the truth.
Only once did Coltrane perform the entire "Love Supreme" suite live, and there are no recorded interviews in which he talks about the album's personal significance. In fact, Coltrane didn't even talk about it with his band mates. "We didn't talk about a lot of things," says Tyner. But he does say the band knew that A Love Supreme had unique chemistry.
"He told me, he says, 'I respond to what's around me,'" remembers Tyner. "That's the way it should be, you know? And it was just—I couldn't wait to go to work at night. It was just such a wonderful experience. I mean, I didn't know what we were going to do. We couldn't really explain why things came together so well, you know, and why it was, you know, meant to be. I mean, it's hard to explain things like that."
From NPR.org
Mediterranean river discharge patterns depend on properties of the atmospheric water budget as well as on the geographical characteristics of the Mediterranean catchment. A substantial latitudinal gradient characterizes Mediterranean precipitation year-round, with dry areas along the African coast and significantly wetter ones north of the Mediterranean Sea (Struglia et al. 2004). Winter is the main rainy season for the European land regions, which contribute most of the discharge, while summers south of 40 degrees N are basically dry. Most of the water discharge in the northern region occurs during short floods associated with maximum river flow after heavy rainfall, which generally occurs between February and May. The strong summer-winter rainfall contrast, which increases from north to south and from west to east, is the major characteristic of the Mediterranean climate (UNEP/MAP/MED POL, 2003). In the large and medium-sized river basins in north and central Europe, wide-ranging and continuous precipitation is the most common cause of flooding. Floods also occur in association with snow melt in late spring and early summer. Intense shortlasting rainfall during spring and fall affecting small coastal catchments is the main cause of coastal floods in arid and semiarid parts of the Mediterranean area.
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"Mad Max"
-4500x6000 (Windowed Borderless Gaming Hotsampling)
-Duncan Harris' CE Table (FOV, aspect ratio)
-In-game Photomode
-ReShade Framework + 2B3`s custom shaders
Collector's edition Mad Max should have this glove with brass knuckles.
Sandia researchers are lessening the burden for analysts sifting through massive data sets by developing the science to gather insights from the data in nearly real time.
Sandia researchers worked with students at the University of Illinois Urbana-Champaign, an Academic Alliance partner, to develop analytical and decision-making algorithms for streaming data sources and integrated them into a nearly real-time distributed data processing framework using big data tools and computing resources at Sandia. The framework takes disparate data from multiple sources and generates usable information that can be acted on in nearly real time.
Learn more at bit.ly/2B9YuEm.
Photo by Randy Montoya
The term trace metal is used here for potentially toxic metals that persist in the environment, bioaccumulate in human and animal tissues, and biomagnify in food chains. Metals and organometallic compounds are commonly included in emission inventories and monitoring networks, specially mercury, cadmium and lead. Urban and industrial wastewaters, atmospheric deposition and run-off from metal contaminated sites constitute the major sources of toxic metals. Persistent organic pollutants (POPs) are organic compounds that are resistant to environmental degradation through chemical, biological, and photolytic processes. POPs persist in the environment, are capable of long-range transport, bioaccumulate in human and animal tissue, biomagnify in food chains, and have potentially significant impacts on human health and the environment. POPs include certain chlorinated pesticides and industrial chemicals such as polychlorinated biphenyls (PCBs), most of which have already been prohibited in Mediterranean countries. However, POPs can also be unintentionally released, mainly as a result of combustion processes or as by-products in some industrial processes. Some examples are dioxins and furans, hexachlorobenzene (HCB), PCBs, or polycyclic aromatic hydrocarbons (PAHs).
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Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
John Swinney, Cabinet Secretary for Finance, Constitution and Economy, Scottish Government appeared before the Finance Committee to give evidence on the Scotland’s Fiscal Framework. 02 March 2016. Pic - Andrew Cowan/Scottish Parliament
I've seen a lot of versions shooting the old port but the skies that day demanded a bit of a straight forward approach for me to compose the scene. This image was shot about 4 months ago. I wanted to show our newly inducted alumni's of the Chasing Light workshop how rewarding it is to be a Landscape photographer and what our place has to offer. Building the right attitude and mindset, We all can be great with what we love to do. I miss shooting with great light. I hope to capture more after the stormy weather. Batch 22 lets do a group shoot this time around! its gonna be an adventure!
Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
In the photo the Rapporteur Ivailo Kalfin.
Parliament is to vote on the EU’s long-run budget for 2014-2020 on Tuesday and its annual one for 2014 on Wednesday, following their approval in the Budgets Committee on 14 November.
Parliament is to vote Tuesday on the EU’s long-run budget, the Multi-annual Financial Framework. This vote has been postponed several times because the conditions Parliament set out in its resolution of 3 July were not met.
However, these conditions are now met:, a deal is in place to remedy payment shortfalls for 2013, the legal bases for the various EU programmes are agreed and progress is being made towards establishing a High-Level Working Group on EU "own resources".
www.europarl.europa.eu/news/en/news-room/plenary/2013-11-...
This photo is free to use under Creative Commons license (CC) and must be credited: "© European Union 2013 - European Parliament" (Attribution-NonCommercial-NoDerivs Creative Commons license). For HR files please contact: webcom-flickr(AT)europarl.europa.eu
www.parino.it/antique-painting-oil-canvas-landscape-knigh...
COD: 6394
Antique Italian painting of the 19th century. Work oil on canvas depicting particular "landscape with castle and knight" of excellent painter's hand. Framework signed lower left Amalia Barabino (see photo). Wooden frame not coeval sculpted and re-gilded with some signs of wear. Paintings, for collectors and antique dealers. It has a small color drop at the bottom center, canvas in good state of conservation. Sight size: H 38.5 cm x W 53 cm.
Measure: H 51 x W 64 x D 5 cm
#antiques #antiquities #decor #decoration #painting #art #framework #oiloncanvas #landscape
Most raised-bed garden books use a 4'x4' model. The slope and general arrangement of my backyard wouldn't really allow for that. I mean, it is possible, but not ideal. Boja, being the visual genius that she is, suggested a 2'x8' arrangement. As is usually the case with all of her spoken statements, she was completely right.
I decided on a place to lay the frame down and beat up the area with a mattock.
The frame is plain pine wood from Home Depot. It was difficult to find wood that was actually dry and not split or warped. I couldn't believe how heavy the wood was there. It must have seriously been cut the day before.
I would have preferred Trex or even treated wood, but I couldn't find it in the sizes I wanted. Both were too expensive anyway. Most people think that treated wood can leach chemicals into the soil, but I saw a couple of studies online that showed that this effect is negligible and not a problem at all. The sawdust is a problem during cutting, however. It might also be a bad idea to use treated wood as a cutting board. I also wouldn't use it for a crib. Homemade toothbrushes with the stuff ... yeah, they are also bad. Anyway, if I could find the sizes I wanted, I would make future beds with treated wood - it lasts much longer.
What you see here came from two 10' pieces of ~1.5"x~11.5" wood. We had two 2' pieces cut off of each big plank at Home Depot.
We drilled some holes in the sides and put big screws in there. Making sure the holes and everything lined up while dealing with these very unwieldy boards made me want to try and break them with my head. I highly recommend drinking heavily before assembly. The whole process will take just as long, but at least you will have a good time. Also, being angry and violent while drunk is somewhat acceptable.
After it was all put together, Boja and I took our frame "out back" and put it down in the area I had prepared. I made sure the box was at least somewhat level and filled in the gaps underneath the frame.
When that part was done, I stood around and posed and smiled very smugly. I really should have a stockpile of trophies for moments like those.
When the prospect of anyone besides Boja noticing how magnificent everything looked dwindled, I brought down the giant, redolent bags of soil. I don't remember how many bags we had. Maybe 16 cubic feet? Anyway, I dumped that all in, watered it, and let it sit for a couple of days before planting anything.
Yay!
Scene 10 of our re-creation: 2 years later.
'Eleven of the brands and retailers sourcing from the factories involved in the Tazreen and Rana Plaza disasters joined high-level compensation meetings, facilitated by the ILO as a neutral chair, on 11-12 September in Geneva. Many other major companies failed to attend, showing total contempt for the 1,900 workers who were injured and the families of over 1,200 workers who were killed making their products' ... Immediately after the meeting Primark committed to providing a further three months salary to all affected families as emergency relief. Unfortunately, none of the other brands or retailers present at the meeting committed to provide such emergency relief' (Source: www.cleanclothes.org/news/press-releases/2013/09/12/bangl...).
'"It is difficult to understand why some brands are using any excuse to try to avoid responsibility. The workers are waiting for money and medical assistance," Monika Kemperle, assistant general secretary of IndustriALL, told Reuters. The Primark discount chain owned by Associated British Foods ..., present at the meeting, also expressed frustration. "The company remains concerned about the length of time it is taking to agree a framework for long-term compensation. As a result the company will now pay a second tranche of emergency aid, lasting three months," Primark said in a statement. It added it had created the first comprehensive database of most of those in Rana Plaza at the time of the disaster, registering details of 3,333 workers as part of its aid plan' (Source: www.reuters.com/article/2013/09/12/us-bangladesh-retailer...).
This is scene 10 of our 10-scene set: www.flickr.com/photos/followthethings/sets/72157632897292...
The rest of the story is here www.followthethings.com/primark.shtml
LEGOing by Ian Cook.