Nov 24, by Splintered Sunlight. Alabama Getaway Minglewood Blues El Paso Deep Elem Blues Midnight Moonlight Dark Hollow I Know You Rider The Music Never Stopped Tangled Up in Blue Nov 23, by Hairy Larry. Excerpted from the stream recorded on November 23, All songs by Topics: Live concert, jazz, blues, bossa, piano, hairylarryland, twitch, livestream.
Nov 22, by Goose. Thanks to Rob O for the clamp space. Greeting The Whales AUATC Flodown Arcadia set 2: Nov 22, by Magnolia Express.
Nov 21, by Goose. Earthling Or Alien? Echo Of A Rose All I Need Indian River Wysteria Lane Rockdale Set 2: Intro Slow Ready Old Man's Nov 21, by Hairy Larry.
Excerpted from the stream recorded on November 21, All songs by Larry Topics: Live concert, jazz, blues, piano, hairylarryland, twitch, livestream. Nov 21, by Uncle John's Band. Nov 21, by Grampas Grass. Slow Ready Nov 21, by Charlie Hunter. Nov 21, by Poway Symphony Orchestra. Berlioz Capriccio Espagnol — N. Tchaikovsky Fred Moyer, Tchaikovsky Fred Nov 20, by Shook Twins. Figure It Out 2. Rubberball 3. Try As I Might Do 5. Anna Rosa 6. Leftovers 7. Message 8. Where Or When 9. Want Love Shake Full band Awhile No Choice Tall Drink Rotten Ones Stay Wild E Nov 20, by John Spignesi Band.
Eminence Front [1] 2. Hero's Theme 3. Last Train 5. Hurricane [2] 6. Tough Guy 7. Catch Yourself Before You Fall Nov 20, by Keller Williams. Nov 20, by HannaH's Field. Revolutionary Soldiers 2. Blessings 3. Source: Zoom H4N.
Nov 20, by Grav. Nov 20, by The Stubblefield Band. Nov 20, by The Lizards. Nov 20, by Lou Shields. Lou Shields Al Ringling Brother's Brewery Baraboo, WI old yesterday oldtime way ain't no use one of them days new orleans ain't been back home junkstore rag just my luck bantor cold life rattlin' rain take take take bantor tuning hollering back at me 61hwy old road right back to now dog gone shame bantor rubber tire fireside loving man old friends walk along river Source: Soundboard.
Nov 20, by Jawn of the Dead. The Mighty Quinn Greatest Story Ever Told Charlie Big River Loose Lucy Deep Ellum Blues Looks like Rain Nov 20, by Kasvot. Nov 20, by Tim Palmieri. Nov 20, by Mark Karan. He's Gone 2.
Brown Eyed Women 3. In these recent releases, we added the ability to freeze comment threads on works and news posts; added a limit to the number of tags on works; and prepared the site for localization, starting with our email notifications. As usual, there are also bug fixes and behind-the-scenes improvements. Schreier ThePadawan , and Sharra Neely! Main Content While we've done our best to make the core functionality of this site accessible without javascript, it will work better with it enabled.
Doctor - Bombay Mr. Doctor - Doc Holiday Mr. Drastick - The Gladiators Anthem Mr. Focus - Man From Mars Mr. Kane - Pain Killer'z Mr. Len - Pity The Fool Mr. Lif - I Phantom Mr. Lif - Mo' Mega Mr. Lif - Emergency Rations Mr. Lif - Enter The Colossus Mr. Lif - Mo' B-Sides Mr. Lif - Sleepyheads 3 Mr. Lucci - Diabolical Mr. Mar - Me So Fly Mr. Marcelo - Brick Livin' Mr.
Midas - Last Man Standing Mr. Mike - Wicked Wayz Mr. Mike - Rhapsody Mr. Pookie - Tha Rippla Mr. Serv-On - Life Insurance Mr. Ti2bs - Nobody's Perfect Mr. Melodie - Diva Ms. Time N. And The Posse N.
Life O. One Be Lo - Project: F. One Be Lo - The R. Kelly - R. Kelly - 12 Play R. Kelly R. Kelly - TP It still works on me. In the 90s Word 6. I was particularly fond of the outliner - just a great great tool to plan a text, reorganize a text, get the structure right. To this day I miss that outliner - I've never met an outliner that was as good at getting out of the way and letting you think and write.
Everything else I ever tried felt clunky and administration-heavy. Even modern day Word isn't as good - keyboard shortcuts are missing, and you can't even set them up on a Mac, at least. But then I sat back and thought about how much more there is, really - of course the Rocky Horrow Show-game I got for Christmas and we then played, collectively as a family, for 48 of the next 72 hours inbetween all the meals.
There are so many tools that suddenly give you superpowers - and it's very easy to have fond memories of those. Running tons of fun simulations in Matlab. The fantastic way Mathematica 's functional programming model just feels so reasonable to a mathematician wanting to code.
All that information AWK pulled out of text files for me. The way Latex can make your shoddy mathematical thinking look as crisp as all the brilliant ideas. It's different when you write your own, probably.
I still miss the toolset we built while I was at Ascio. Sure it had a lot of quirks - but man, was it capable. I miss the fun of putting together a text messaging game system for the company christmas party in an hour, beer in hand, after hours, before going to the party. I'm always looking for that in tools I use, that " you can actually do that in an hour "-feeling.
I miss the 'today' search in Finder every single day - the searches you can build on your own are not a perfect copy - somethings amuck with default ordering quickly going out the window - and basically 'Spotlight' and the 'today' search were the only things I genuinely love on my Mac.
They gave me that quick little move I could make, task done, and I can't anymore. Some of the big IDEs have a lot of those power moves, and it's awesome - and I'm not embarrased to admit I miss Delphi for that - but then I also miss writing cellular automata in Turbo Pascal.
Android Lollipop feels like one of the recent things that'll make this list. The new notification system - with easy access to no buzzing, vibration and social media plings during night, make it possible to use notifications without being killed by your wife, because your twitter friends decide to favorite you at 3 in the morning not even a goddamned retweet! It's the little things that just work, that do it.
I'm really happy with the code hinting in Atom - even if the editor itself is damned full of flaws and frequently vomits all over you. I fuck up less now I have it - I like not fucking up.
I've too many unhappy "why the hell doesn't that work" experiences with my daily tools to feel as good about them - damned happy about the power of perl and CPAN when I was using that; and pretty happy with Ruby a lot of the time, but so many stupid gotchas every day. I would love to put a lot of creative tools on here - and it really saddens me I can't.
I'd love to love 'that video editor' or 'that music thing' - but none of them give me that 'what you can do in an hour'-feeling. Which is just because I'm not, you know, good at it. But I'd like to be happy about that, not miserable. I'd rather be happily mediocre - but done in an hour - than still mediocre and hours from deadline. I'm more of a Skitch guy, than a Photoshop guy - and pretty bummed they decided to fuck up Skitch.
I was hoping Macaw would do it for writing websites. I was hoping Imitone would be an instrument I could use - but none of them deliver that happy moment where, hey I actually did this! And it's done now! And I did it!. Hvor skal datareformationen komme fra? Det var lidt en blandet rodebunke, men underholdende undervejs, mest i en time med Gary Shteyngart, der var det rene stand-up act - "I turned to writing, making fun of the Torah, which became 'Gonorah'.
Hvad handlingen i Brawe New World egentlig er fortaber sig. Rushkoffs antihistorieargument. The Law of Requisite Variety tells us that, the more complex your control of an environment, the more limited the space of outcomes. This is usually framed in a positive manner - you can pin down the response by adding controls - but in a pull media environment , like most social media, that's not a plus.
Add complexity to what you say, and you diminish your likely audience. Experience tells us that Twitter is a horrible medium for debate, but a fantastic medium for sparking debate. Keeping messages below characters keeps conversation starters short and open, and that is very fruitful as conversation seed material. It does however also mean that you can only seed conversations. There is limited scope for definite statements that lock a debate down, once a consensus begins to emerge.
For that you need to go off Twitter. The entire conversation can stay in one medium. I'm guessing conversations will lock down much better because of it. Idag fylder Bob Dylan 70, og det er jo en fantastisk anledning til at snakke lidt om Jesus. A few days ago my brother asked me if I know of a good way to record what was going on on the screen of his Windows laptop. The following conversation then occured Me: There are a number of good options. The good word to search for is 'screencast' Brother: Alright, I'll search then.
Me: I think it's easier that way. Brother: Agree. But the search word is important. Me: Yup. Arthur C. Clarke has this famous quote that "any sufficiently advanced technology is indistinguishable from magic", and here it is, realized almost to a T: How do you operate Google? Through magical incantation. You can find anything - if you know the magic spell. In this case, channeling Harry Potter , findus screencastius!
I've always been a specialist first, but I've managed a few people anyway and the hardest trick - and the most essential - has always been to teach people what I will now name Locked Room Thinking. Locked Room Thinking is the realization that you're in a bind, and there's nobody else, but that you'll make it out anyway. You're faced with some problem, and instead of assuming that there's a workaround, or that somebody else will come along and fix it for you, or maybe they already know what to do, or maybe it can't be done at all you simply need to learn the mindset that you're the guy on post, and nobody knows better and you're just going to have to work it out.
I'm sure that sounds completely toxic to a lot of coaches and workplace happiness experts, but in my experience it's the essential difference you need to make in your work. I don't know if this is a danish thing - I don't really think so - but it's been rare for junior employees to come in the door with this mindset where I've worked. It can take a lot of coaxing to build this spirit in people. The good news is that I know from experience that it can be built; it's not a basic character trait that you either have or you don't.
The Internet is great, thinking out of the box is great, collaboration is great and shortcuts are awesome but compared to your complete and total belief that the problem is there in front of you, and that it's not going away, and that no one else already has the answer, and that it's on you to fix it, and that you have the ability to do that.
That is the essential step in getting things done. Over the years, as I've tried to familiarize myself with more and more culture, in particular more and more genres of music, I can look back at a lot of what I've come to call gateways - in a musical context "gateway albums".
Gateways are the works that either transcend notions of genre completely or works made by gifted artists of one genre, simply visiting another. Looking back at the gateway albums once you've familiarized yourself with a genre is always interesting.
More often than not, the old gateways pale once you've internalized the true value system from the genre. The point of the gateway was always to show you the values of the genre, not entirely to adopt them.
It's mostly a matter of visiting not being. But I still treasure the great gateways - they truly provide an invaluable service. I'm never going to wake up in i Harlem with tickets for the James Brown show later that night at the Apollo.
How am I going to figure out what that's all about without a tour guide? I'll give you some examples, to firm up what we're talking about, and try to separate various types of gateway. Let's start with the work of geniuses. Miles Davis' Kind of Blue is the quintessential example of an album that simply transcends the genre it comes from. You could say it's a jazz album. It clearly is. But it doesn't really matter, because the playing and music is so fantastic that pretty much anyone with ears can understand that it is.
Appreciating Kind Of Blue won't tell you if you'd appreciate jazz music as such. What you're picking up on isn't necessarily "what jazz players do". It's what Davis is capable of. What Bill Evans is capable of. What Cannonball is capable of. For a white kid from Scandinavia most of Prince's albums are good gateways to the funk gods. Once you've come to appreciate the JB's circa , and revisit Prince, you understand that there are limits to Prince's funk.
It's clearly no longer the funky stuff that impresses you, more the 80s synths and drum machines. The liberties Prince takes with the funk to make it palatable to a rock audience kills a lot of the fun. The live performances brings a lot of the funk back, but still - it's just not Sly Stone or James Brown or George Clinton. Prince is a good example of a classic difference between the gateway artists and the real thing. The gateway artists are always individualists.
Modernists, not traditionalists. They are always personally present in front of the music, whereas the truly great genre musicians often give off a vibe of being in service of the genre even though they are of course always really great players in their own right.
My personal introduction to latin music - in particular mambo - was not furnished by gateway extraordinaire Buena Vista Music Club which might not be a true gateway at all, by the way, but more on that later. I got my intro years earlier through David Byrne's Rei Momo album.
I've been listening to that again lately, and it actually holds up pretty well. In front of a backdrop of pitch perfect latin, Byrne makes the music simpler for a westernized pop listener by singing some good songs. Bob Dylan, and also The Band, have been great gateways to american roots music. Dylan is palatable to the adolescent-in-thes-in-scandinavia me, because he adopts the "subjective performer" standards I expect, but the music is clearly informed by all manner of roots music.
On a similar note, The Rolling Stones used to do the same thing for the blues. The Stones you listened to because they're the Rolling Stones! For pure country, a European like me could do a lot worse than listen to a couple of Elvis Costello albums: King of America for the easiest way in and Almost Blue for a more genuine visit to country music.
More recently, Oh Brother Where Are Thou has done a stellar job of playing roots music for a new audience - but that's not a true gateway album in the sense I mean. That's an actual showcase of the real thing - like Buena Vista Social Club mentioned above - made possible by sugaring with moving images. The Commitments soundtrack-album comes closer to gateway-ism for soul music, since it's clearly soul played by an all white tribute band.
I'm in Berlin for the weekend, to meet tons of nice people, and attend the Cognitive Cities conference , which was a concentrated yesterday, and more of a mellow sunday.
Probably best that way - other events take note. Just got a guided tour of Betahaus from Henrik Moltke, which seems to be an allround great place. They certainly have really great chairs.
But let's go back to yesterday and a very full conference day: While we seem to be waiting indefinitely for The City Is Here For You To Use , Adam Greenfield has certainly polished his story, and struck an excellent balance between caution and openness.
The inevitability of technology always comes up in these kinds of talk, but I understood Greenfields suggestions for law or design principles for technology of public spaces as trying to strike a balance; between simply requiring of the users of technology that the consequences of their technology use be reasonable and requiring the technology itself to be - something I simply don't believe it can be.
It can't not be either. The presentation was crisp, and I found it the language much more transparent than what I usually consider Greenfield's style. To me, a great improvement, so I'm hoping that'll translate into the book when it makes it to the publisher.
When done well, this kind of thing is simultaneously abstractly pleasing and very concrete, and I thought it worked here. I really liked the short pitch from Vini Tiet on doing Cognitive Buildings, in particular for the accidental observation that a lot of this informational urbanism isn't really being developed on an economic model of utility, but more to deliver particular specifications.
This is a weakness of the movement towards informational infrastructure. At some point it needs to start to pay for itself, and it's a little bit unclear as yet, how that works out.
Tiet's view is that, a certain quality of a building can only be built with information, but obviously some of us were hoping that the technology curve also works for houses, and that we'll get cheaper greatness, not just higher luxury, from the technology.
I didn't particularly care for Dannie Jost's whatever-it-was-she-was-talking-about, except for the quips "I consider architecture a kind of agriculture, but that's my problem" is a great example and the reminder of what a particular narrow focus physicist arrogance, I remember from university, looks like. If she said anything at all, I think it was terribly trivial, actually this is a little better , and then just add cities. Epistemology , though. I quite liked Georgina Voss' polished pitch on the Homesense Project, and I like the combination of ambition and practicality of the project.
Post lunch highlights for me were Anil Bawa-Cavia's Urbagram images. To me they had some refinement that is often missing from this kind of thing, and which really makes the difference.
Matt Biddulph seems to be up to interesting things, but I got the sense that we'll only get to hear the exciting stuff a little later. The amazing garbage tracking project from MIT's SENSEable City Lab that Dietmar Offenhuber showed us had everything you could want in terms of being actually embedded in an urban landscape, having a truly urban scale, and having depth of analysis and presentation.
Great stuff. And then to close out the day, Warren Ellis gave us some powerful imagination fueling lines on ghosts seeping from the ground; the electric world around us, and the electric world inside the brain.
Great closer - and a suitable match to the opening. That's a lot of good stuff in a day, I think. Clearly we need these organisers to put on more shows like this. The term time shifting used to be about personal DVRs and avoiding ads and separating appointment television - like sports games or the stuff kids like and lunch rooms talk about - from the rest of television, but for me, personally, it's beginning to mean something else: When is cultural product X available on the service I'm hooked into.
This all comes at a loss of coherence, of course, but a lot of that is regained as the cultural artifacts become linkable talking points in online media. Det er ikke pynt. Det er ikke glasur.
Det er effekt. Ringere end de ting, man taler om, endda. If the classical repertoire is anything for you at all, you'll find something here. The standout classical record label is Deutsche Grammophon - Just DG among friends - and they have recently done a great service to classical music, by putting out a collection of 55 CDs in celebration of years of operation. It's quite a remarkable collection.
From DGs amazing catalog of recordings you get the top performers of stand out works, from pretty much all of musical history, "classical" musical history that is - but that stretches from medieval times to West Side Story, so a solid years worth of music. There's a lot of gold there. Great performers.
Great music. I'm always trying to convince people that they're really missing out, by not checking out the classical repertoire, and this box set is a convenient way for you to find what type of classical music is for you.
If you don't find it here, I'd say you're unlikely to find it - except the modern dissonant stuff, which is curiously absent. No Bartok even, or Shostakovich. No Ligeti. None of the American serial music. But with those caveats, this box set really is it. The mainstream is solidly represented. If this leaves you cold, that makes me a little sad, but I will just have to accept that classical really is not for you. However, 55 CDs is still a lot of sound to chew your way through. With that problem in mind, I've condensed the CD set - neatly packaged in themed discs of similar music - into just 53 tracks.
I did this by choosing exactly one cut from each CD, leaving out only two CDs that were the second disc of 2-disc works. I'm still happy to make the same claim about the 6 hours I do about the 55 discs. If these 6 hours leave you cold, you're never going to have much fun in the concert hall. If, on the other hand, you find something you like, you're going to find a lot more.
I am going to try to make suggestions for further listening for all of the 53 tracks in the next couple of days. If you already listen to classical music, feel free to make suggestions in the comments below. If you have questions about the music, or my choice of tracks, feel free to ask. Stupid interaction alert: 1. Choose country before trying to buy. You can only buy from the search page, not the album info pages.
Final bonus playlist: These are my 2 hours worth of personal favourites from the 6 hour selection. I'll have to make a separate playlist for that. Anyway, jeg synes rigtig godt om det. Here's a thought I've been having for a while, inspired by the news that's been trickling out about computer assisted front running , and other disreputable, but common pointless ways of making money on the stock exchange.
It's just trading in noise. It's a market that has really lost all interest in the economy. It's safer, because you don't have to worry about the direction the market is taking - but of course it's bad if capital is tied up in this useless stuff instead of in funding growth. Similarly, newspapers, simply have no interest in informing us about anything. They need attention, they need to make noise.
This is becoming more and more apparent with digital news, which is even more about noise, as the only way the digital media knows how to get paid is by making noise. So instead of forming a useful view of what's going on in the world and helping us make sense of that and move on, it's better for the newspaper to amplify our feeling that we're in a state of flux, and there's a useful disagreement to be had.
We wouldn't have a pointless debate about evolution in a country like Denmark if noise wasn't attractive to the media. Nobody in their right mind, in , in Denmark, thinks the world is year old, and dinosaurs are a hoax.
But, it's quality noise, so it gets some airplay. It's an odd thing to look at, when you work in an area - technology - that is just full of new places we can go. It's hard to understand this stale zombiefied view of the world as something that has come to an end, where we only have the entertainment of noise.
Kunstigt ben. Jeg er ikke et sekund i tvivl om at Raoul Foltz mentalt er med i en agentfilm af en art. Hvordan kom man fra A til B? Blogposten har godt fat i det: En GPS fra erne. Vejene, og kortet over dem og systemet med vejnumre, har lavet den store indviklede 3-dimensionelle verden om til sprog.
Naturligvis er sproget en maskine, der faktisk virker. Det er uret, der er grundpulsen. Et lod, der falder til jorden. Det er det, der driver solen henover himlen. Kortet bliver landskabet. De andre ting var man hellere alene med.
So a week ago some of us met to talk about things and eat marshmallows at Holmen, here's my list of takeaways, a summary of sorts. I tried to organize the schedule into a friday oriented around people and a saturday oriented around stuff, or a slightly different take, a Friday around how what we do is received, and a Saturday oriented around how it is made.
We didn't stick to this plan in a strict way, but it worked out well as an organising principle. Moving on to more hopeful ground, Nadja Pass gave a nice introduction to the hopes behind Borgerlyst , and for me the high point of that was actually a nice discussion I had with Ernst Poulsen and Emme about the plight of local news and Ernst's enthusiasm for fixing that.
Hope to hear more about that in a future KCast. To me a high point of the day was when Kristoffer blurted out - having told us about how hard it is to persuade immigrants to take in interest in the governance of the buildings they live in - "I just don't think you get to these problems in your world", meaning approximately that most of the web technology we make simply doesn't get this close to really hard problems, like overcoming language barriers and cultural barriers on the scale Kristoffer runs into in the environment he works in.
My best bet is, that he is absolutely right. Most of us work in relatively safe domains where the users are more similar to us than we like to admit.
Most of us probably - to much to high a degree - design for people like ourselves. This is good news, of course. It means there's tons of ideas still to be had, and still to be brought to life. To end out the day, Caroline Beck shared with us some sensible and wide ranging suggestions for urban planning principles. We even got a nice poster of them - get your digital copy here PDF. Mark Wubben gave a really nice presentation with some good dogma rules for fast hacking. I particularly liked that the presentation was based in part on a botched attempt at fast prototyping, and not just cheerleading for "fast is good".
I would like to suggest also the following work principle, not in Mark's slides - but maybe implied: If you don't know how to solve your problem, take away resources - maybe you're just confused by your options, not by the problem. And then we closed out the talking portion of the day by hearing about an interesting project that Riem and Marie are doing, about identifying different "inventive personas" - I was really happy with the overall level of conversation and participation, this was a very flat type of event, and we probably couldn't have done that if we'd filled the venue to capacity, so in the final analysis, I was quite happy with the whisper marketing too, I thought it brough a great crowd together.
I don't know how much of the presentation material I'll be able to get and make available, but if you're interested, leave a note here, or on the Ning network. Domenech vidste jo godt, det meste af kampen, at spillet var ude og fiaskoen total. Fysisk stod fiaskoen godt til ham. Selv romanen fik han ikke skrevet, for hans virkelighed bestod af tre ord, det var ingen roman, det var blot en elendig lille sandhed, som beherskede ham.
Skrive sig forbi noget som helst. Det er det der er det fantastiske ved computere. Men en fin Hollywood art-movie kunne der komme ud af det. Selv holder jeg fantastisk meget af Borges. Wer du auch seist: am Abend tritt hinaus, aus deiner Stube, drin du alles weisst. A short while ago, Adam Greenfield did a series of tweets 1 , 2 , 3 about "core texts". The stuff that he has read that he just keeps coming back to, somehow or other, and - this is the good part - the age at which it was first experienced.
I really like that idea. A kind of cultural tree-ring dating of the mind. I've been thinking about my own list of texts, but somehow it's easier for me to start with music. Greenfield mixes genres - but I never do, so I won't. Here goes:. A lot of formative stuff I don't listen to anymore can't make the cut, a lot of these are representative of a much broader and deeper interest Gasolin', Dylan, Young, Prince.
Det er Linux, der skaber Linus' anseelse - ikke omvendt. Feltet har en lang historie af boy wonders, der pludselig dukker op med de smukkeste resultater ud af ingenting. Det er bl. Man kan heller ikke forsvare det med sin integritet eller status. Det er rigtigt eller ikke rigtigt.
Klavermennesket over dem alle. Ikke alene det, af de 17 skiver er der kun 4 af skiverne der har andre lydkilder end klaveret. Alle ugens dage. Endelig besked. En komplet Bach-udgave fylder noget i stil med CDer, en komplet Beethoven omkring Skynet, fra Terminatorserien. Rimeligt sjovt, det der, og mere eller mindre realiseringer af jokes fra Anders And-bladet. Der er bare det galt med begge undergangshistorier at vi simpelthen hverken er rationelle faktamonstre eller hedonistiske nydelsesmonstre.
Viden aka Fakta aka "Den virkelige verden vi forestiller os". Offentligheden aka "Vores sociale virkelighed". Det giver ikke mening at skille de tre ad, hvis man skal fremskrive hvilke medier vi vil opleve fremover.
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