"My mindset was to always be the best player I could be," Avant said. "There are guys who naturally just have more ability than you. You can't do anything about it because God has blessed them with more athletic talent. But at the same time, for the talent level that I had, it was barely above the league standard, I was able to get so much out of it just because I worked at it and I appreciated it. I think that's what separated me from a lot of people.
Audiences too, will be informed about their understanding of great variety available in the choral art. Most choirs have a regular group of people that come to their concerts. The first time they hear a work that is avant garde, it is possible that some will not understand, or even enjoy the piece. But the second time they hear this type of piece they may listen more intently and by the third time, they will come to expect and even enjoy these unusual forms of beauty. Familiarity in music breeds love; the Top 40 stations across our continent...
Claim 1 of the patent is framed as "a method of producing a laminated data card having a plurality of edges," the steps in which comprise, first of all, providing an envelope having a coupling means for maintaining the outer sheets in a "congruent face-to-face relationship with each other." The coupling means is to be positioned so as to permit "wide separation" of the sheets, and to permit proper location of an edge of the insert abutting the coupling means. Claim 1 goes on to state that the claimed method separates the outer sheets along at least two outer edges to permit a data sheet "to be easily and rapidly inserted between said outer sheets and gripped thereby." The patented method is said further to comprise the steps of "inserting an inner data bearing sheet between said outer sheets and against said coupling means for accurately positioning an edge of said data-bearing sheet with respect to said outer sheets," and, finally, to laminate the outer sheets and inner data bearing sheet "by the application of heat thereto." Claim 2 is of the "method of claim 1 wherein said coupling means is formed by heat sealing said first and second outer sheets together at widely separated positions of said outer sheets to provide for accurate alignment of the edges of said inner data bearing sheet."
The Aesthetics of Stagnation:Ashley McKenzie's Werewolf and the Separated Society Sean O'Brien (bio) Separated from his product, man himself produces all the details of his world with ever increasing power, and thus finds himself ever more separated from his world. The more his life is now his product, the more he is separated from his life.
Ashley McKenzie's bleak and beautiful film Werewolf (2016) would appear to tell a story about opioid addiction.1 The film's protagonists, Vanessa (Bhreagh MacNeil) and Blaise (Andrew Gillis), are both recovering addicts on a methadone treatment program, frequenting pharmacies for their medicine and conversing with government bureaucrats and clinic doctors about their progress and mental health. And yet McKenzie's feature debut avoids the tragic excess of conventional junkie movies. There are no thrilling scenes of the characters getting high, stealing, or performing sex work, as one might typically expect to find in a film about drug addiction. As McKenzie says in an interview, "I talked to different people in the methadone program, but I'm not trying to make some sort of exposé."2 In fact, Werewolf is hardly a story at all, at least not in the generic sense of a conventionally defined narrative arc. And while the departure from linear narrative has long been an avant-garde mainstay, the film's recursive structure and oblique close-ups suggest a suffocating constriction instead of some sense of freedom from the dictates of a commercial film industry that we might associate with earlier avant-garde cinema such as the French nouvelle vague. This is because Werewolf, as I hope to show, is first and foremost a cinematic meditation on precarity as a social experience of economic stagnation, one that attends to the gendered forms that precarity assumes in an era of deindustrialization.
In avant-garde architectural magazines and books, the upheaval of graphic design and photography not only transformed the visual form: it may have contributed to modifying modes of reading as well. The driving hypothesis of this essay is that in architectural periodicals of the late 1920s and 1930s, even those of a rather traditional form, new modes of perceiving the space of the book as a whole gave rise to semantic associations generated by these juxtapositions, collisions or effects of distance between word and image. This article analyzes the effects of the organization and space of the book or journal on the significations carried by texts, captions and images. Although taking place in French and Italian magazines that are distant, both aesthetically and politically, from the experiments of German and Central European avant-garde typographers and photographers, those effects are sometimes unexpected. Yet are these new modes of perception inherited from the avant-garde or from functionalist experiments? Or are they simply indebted to the wide public dissemination of these experiments through publication, advertising and illustrated magazines from the late 1920s onwards?
Single 4-digit year. NOTE: Some films have multiple rows in this table because of multiple release years. In order to allow numeric search operations such as between and greater than, these were not generated as pipe-separated values. E.g., see pfafilm31474 below.
NOTE: Some films have multiple rows in this table because of multiple release years. In order to allow numeric search operations such as between and greater than, these were not generated as pipe-separated values. E.g., see pfafilm31474 below. 041b061a72