Performance Tuning Quotes

Being a woman is worse than being a farmer there is so much harvesting and crop spraying to be done: legs to be waxed, underarms shaved, eyebrows plucked, feet pumiced, skin exfoliated and moisturised, spots cleansed, roots dyed, eyelashes tinted, nails filed, cellulite massaged, stomach muscles exercised. The whole performance is so highly tuned you only need to neglect it for a few days for the whole thing to go to seed. Sometimes I wonder what I would be like if left to revert to nature — with a full beard and handlebar moustache on each shin Dennis Healey eyebrows face a graveyard of dead skin cells spots erupting long curly fingernails like Struwelpeter blind as bat and stupid runt of species as no contact lenses flabby body flobbering around. Ugh ugh. Is it any wonder girls have no confidence?

On the page, punctuation performs its grammatical function, but in the mind of the reader it does more than that. It tells the reader how to hum the tune.

Now, I normally do not like it when people sing near me, much less at me. I don't care if they're good, bad, or mediocre. It's all the same. Unless you're signed to a major label with music I can find on iTunes, I don't want to hear your live performance. It's why I can't watch American Idol. I keep worrying the contestants will mess up and be embarrassed, and then I'll be embarrassed for them.

Because each nation has its own history of thieving and lies and broken faith, therefore there can only flourish international suspicion and jealousy, and international moral shame becomes anæmic to a degree of ludicrousness. The nation's bagpipe of righteous indignation has so often changed its tune according to the variation of time and to the altered groupings of the alliances of diplomacy, that it can be enjoyed with amusement as the variety performance of the political music hall.

When you have two notes from two different performances Auto-Tuned, it sounds like a car horn. And then you add harmonies, and it starts to sound like baby seals honking." - Tom Lord-Alge on Auto-Tune

Oh, I see how it is. Baby finds her Johnny Castle, and all of a sudden, she forgets about the small matter of her BFF?” There was only one person in the world who could deliver that line with a straight face. Until I’d heard his voice, I hadn’t realized just how much I’d missed it. “Devon!” Chase stiffened as Dev’s name left my lips, and Devon beamed at me, doing a good impression of someone who hadn’t been bristling a moment before, when I’d buried myself in Chase’s arms. “In the flesh,” Devon said. “When you call, Bronwyn, I answer. Always.” It was a testament to the gravity of the moment that he didn’t treat everyone present to an impromptu performance of “Ain’t No Mountain.” Lest Devon decide the situation did call for some tunes, I pushed on.

Hema thought of Shiva, her personal deity, and how the only sensible response to the madness of life . . . was to cultivate a kind of madness within, to perform the mad dance of Shiva, . . . to rock and sway and flap six arms and six legs to an inner tune. Hema moved gently . . . she danced as if her minimalist gestures were shorthand for a much larger, fuller, reckless dance, one that held the whole world together, kept it from extinction.

She played the first movement of Beethoven’s Pathétique Sonata.” “Number Eight,” said Anna. “Opus 13?” He nodded. “For almost two years, she played it every music night.” “What’s wrong with that?” Anna asked. “It’s a beautiful piece.” Charles grinned. “You’d think that. And it is. But I hear it in my nightmares, and I imagine Da does, too. You can’t play a tuned piano out of tune, but that’s the only thing she didn’t do to that poor piece of music. “Every performance was something new. Once she performed with a blindfold. Once she set a metronome up and never once played at the speed of the metronome. Once she played it at a quarter speed and added the other two movements.” He laughed at the memory. “People would think she was done, start to clap, and she’d play another note. A very slow note. It felt like it went on forever. But she never quite tipped my da into anything but white-lipped anger.

From inside the tavern came the sounds of a fiddle being tuned, various plucks and tentative bowings, then a slow and groping attempt at Aura Lee, interrupted every few notes by unplanned squeaks and howls. Nevertheless the beautiful and familiar tune was impervious to poor performance, and Inman thought how painfully young it sounded, as if the pattern of its notes allowed no room to imagine a future clouded and tangled and diminished.

6 p.m. Completely exhausted by entire day of date-preparation. Being a woman is worse than being a farmer—there is so much harvesting and crop spraying to be done: legs to be waxed, underarms shaved, eyebrows plucked, feet pumiced, skin exfoliated and moisturized, spots cleansed, roots dyed, eyelashes tinted, nails filed, cellulite massaged, stomach muscles exercised. The whole performance is so highly tuned you only need to neglect it for a few days for the whole thing to go to seed. Sometimes I wonder what I would be like if left to revert to nature—with a full beard and handlebar moustache on each shin, Dennis Healey eyebrows, face a graveyard of dead skin cells, spots erupting, long curly fingernails like Struwwelpeter, blind as bat and stupid runt of species as no contact lenses, flabby body flobbering around. Ugh, ugh. Is it any wonder girls have no confidence?

The final question will be: is the soundscape of the world an indeterminate composition over which we have no control, or are we its composers and performers, responsible for giving it form and beauty?

Silence doesn’t mean no activity; it means highly synchronized actions, much like the work of a well-tuned motor. More noise and vibration never assure better engine performance; indeed, quite the opposite.

Lebedev: France has a clear and defined policy... The French know what they want. They just want to wipe out the Krauts, finish, but Germany, my friend, is playing a very different tune. Germany has many more birds in her sights than just France... Shabelsky: Nonsense! ...In my view the German are cowards and the French are cowards... They're just thumbing their noses at each other. Believe me, things will stop there. They won't fight. Borkin: And as I see it, why fight? What's the point of these armaments, congresses, expenditures? You know what I'd do? I'd gather together dogs from all over the country, give them a good dose of rabies and let them loose in enemy country. In a month all my enemies would be running rabid.

There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them.

Breath control training will change your body and mind in remarkably positive ways. It will tune your nervous system and allow you to activate the parasympathetic or sympathetic nervous systems at will, helping you to perform in a stressful environment or to excel in competition.

While leadership is important, just as important is how leadership is communicated. On the one hand, you can command good performance from someone in exchange for not firing them. On the other hand, you might be able to ignite the desire in a person to perform well by tuning in to their state of mind.

What followed was a great treat for me. This was Irish traditional music as I had hoped to see and hear it, spontaneous and from the heart, and not produced for the sake of the tourist industry. As I sat there with my pint in my hand, enjoying the jigs and the reels, I watched the joy in the player’s faces and in those around them who tapped their feet and applauded enthusiastically. Music the joybringer. No question of being paid, or any requirement to perform for a certain amount of time. Just play for as long as it makes you feel good. This was self expression, not performance. Someone would begin playing a tune and the fellow musicians would listen to it once through, hear how it went and join in when they felt comfortable, until, on its last run through, it was being played with gusto by the entire ensemble. This process provided each piece with the dynamic of a natural crescendo which could almost have been orchestrated.

Connected companies are living, learning networks that live within larger networks. Power in networks comes from awareness and influence, not control. Leaders must create an environment of clarity, trust, and shared purpose, while management focuses on designing and tuning the system that supports learning and performance.

As the lights dimmed and the audience hushed, I closed my eyes and tuned into the ripples of anticipation that always came at the beginning of a live performance. That shared intimacy among strangers where, for just as moment, everyone laid aside their baggage and life to be completely present as one - a communal hopefulness.

When she opened her eyes they were confronted by a musical box against the opposite wall - one of those early Bavarian toys where mechanical figures perform to the tune. 'How odd,' she thought. The little stage showed a group of fiddlers, two couples in costumes like those of the ball she had just quitted, and in a doorway at the side, a gypsy or beggar man. Very faintly the distant waltz came to her ears, but no footsteps ringing in the abandoned halls. With her hand pressed to her unsteady heart, acting under a sudden compulsion, she pushed down the lever. Delicate plucked music started up; the fiddlers sawed with their clumsy arms in time to an ethereal waltz. The couples moved jerkily out and each raised an arm to clasp its partner. To various clicks and rumbles from under the floor they began to revolve with each other and to orbit round the room. Their movements were sinister because of being both reluctant and predestined. Here they were and this is was what they must do. ("Many Coloured Glass")

To master the virtual equation and make all the elements work together, you have to become the connector. In fact, your greatest role as a virtual manager is to link the various parts of his/her team to accomplish the goals that lead to its formation in the first place. You may need to shift gears, perform ream tune-ups, realign, and refuel your team's energy along the way.

Mother and Father apologize. They sing a show tune: 'What are we to do? What are we to do? She's so blue, we're just two. What, oh what, are we supposed to do?' In my headworld they jump on Principal Principal's desk and perform a tap-dance routine. A spotlight flashes on them. A chorus line joins in, and the guidance counselor dances around a spangled cane. I giggle. Zap. Back in their world.

Eventually, the performance of a classifier, computational power as well as predictive power, depends heavily on the underlying data that are available for learning. The five main steps that are involved in training a machine learning algorithm can be summarized as follows: Selection of features. Choosing a performance metric. Choosing a classifier and optimization algorithm. Evaluating the performance of the model. Tuning the algorithm.

Intuition is soul guidance, appearing naturally in man during those instants when his mind is calm. Nearly everyone has had the experience of an inexplicably correct ‘hunch’, or has transferred his thoughts effectively to another person. The human mind, free from the static of restlessness, can perform through its antenna of intuition all the functions of complicated radio mechanisms—sending and receiving thoughts and tuning out undesirable ones. As the power of a radio depends on the amount of electrical current it can utilise, so the human radio is energised according to the power of will possessed by each individual. All thoughts vibrate eternally in the cosmos. By deep concentration, a master is able to detect the thoughts of any mind, living or dead. Thoughts are universally and not individually rooted; a truth cannot be created, but only perceived. The erroneous thoughts of man result from imperfections in his discernment. The goal of yoga science is to calm the mind that without distortion it may mirror the divine vision in the universe.

Men seemed to have it all, to be considered superior in all perceivable ways, and yet we were discouraged from striving for any form of dominance deemed masculine. To be described in any way as "manly" was the vilest of insults. Such adaptability was required of us to perform this internal U-turn, to conform our loyalties to this crackpot framework, rife with contradiction. I can see now that our ability to do so was evidence not of a lacking survival instinct but of a finely tuned one. What I needed to survive middle school just happened to be the opposite of what I would have needed to survive on Wild America.

Imposter syndrome grew into self-doubt, and my thoughts snowballed from You aren’t good enough to write this essay to You aren’t good enough to write any essay. I was shame-spiraling, people-pleasing, and, most worrisome, when I wrote, I was performing for the white gaze and consumerism. Thinking of all the ways I would or could be applauded and praised for work I had yet to even complete. True to exactly what I research, fear, doubt, and cynicism were hindering my ability to be present. I had to tune out everything and every voice around me and remind myself that this work, like all my work, was a try. It was, and I am, allowed to be and become without expectation.

When natural music is heightened and polished by art there man first beholds and can with great wonder examine to a certain extent, (for it cannot be wholly seized or understood) the great and perfect wisdom of God in His marvellous work of music, in which this is most singular and indeed astonishing, that one man sings a simple tune or tenor (as musicians call it), together with which three, four or five voices also sing, which as it were play and skip delightedly round this simple tune or tenor, and wonderfully grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed, and believe that there is nothing more extraordinary in the world than such a song adorned with many voices.

When natural music is heightened and polished by art, there man first beholds and can with great wonder examine to a certain extent (for it cannot be wholly seized or understood) the great and perfect wisdom of God in His marvellous work of music. In which this is most singular and indeed astonishing: that one man sings a simple tune or tenor (as musicians call it), together with which three, four, or five voices also sing, which, as it were, play and skip delightedly round this simple tune or tenor, and wonderfully grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed and believe that there is nothing more extraordinary in the world than such a song adorned with many voices.

When natural music is heightened and polished by art”, he said once, “there man first beholds and can with great wonder examine to a certain extent, (for it cannot be wholly seized or understood) the great and perfect wisdom of God in His marvellous work of music, in which this is most singular and indeed astonishing, that one man sings a simple tune or tenor (as musicians call it), together with which three, four or five voices also sing, which as it were play and skip delightedly round this simple tune or tenor, and wonderfully grace and adorn the said tune with manifold devices and sounds, performing as it were a heavenly dance, so that those who at all understand it and are moved by it must be greatly amazed, and believe that there is nothing more extraordinary in the world than such a song adorned with many voices.

There is no such thing as hell, of course, but if there was, then the sound track to the screaming, the pitchfork action and the infernal wailing of damned souls would be a looped medley of “show tunes” drawn from the annals of musical theater. The complete oeuvre of Lloyd Webber and Rice would be performed, without breaks, on a stage inside the fiery pit, and an audience of sinners would be forced to watch—and listen—for eternity. The very worst among them, the child molesters and the murderous dictators, would have to perform them. Save for the exquisite oeuvre of a certain Mr. Lomond, I have yet to find a genre of music I enjoy; it’s basically audible physics, waves and energized particles, and, like most sane people, I have no interest in physics. It therefore struck me as bizarre that I was humming a tune from Oliver! I mentally added the exclamation mark, which, for the first time ever, was appropriate. Who will buy this wonderful evening? Who indeed?

Flow is an extremely potent response to external events and requires an extraordinary set of signals. The process includes dopamine, which does more than tune signal-to-noise ratios. Emotionally, we feel dopamine as engagement, excitement, creativity, and a desire to investigate and make meaning out of the world. Evolutionarily, it serves a similar function. Human beings are hardwired for exploration, hardwired to push the envelope: dopamine is largely responsible for that wiring. This neurochemical is released whenever we take a risk or encounter something novel. It rewards exploratory behavior. It also helps us survive that behavior. By increasing attention, information flow, and pattern recognition in the brain, and heart rate, blood pressure, and muscle firing timing in the body, dopamine serves as a formidable skill-booster as well. Norepinephrine provides another boost. In the body, it speeds up heart rate, muscle tension, and respiration, and triggers glucose release so we have more energy. In the brain, norepinephrine increases arousal, attention, neural efficiency, and emotional control. In flow, it keeps us locked on target, holding distractions at bay. And as a pleasure-inducer, if dopamine’s drug analog is cocaine, norepinephrine’s is speed, which means this enhancement comes with a hell of a high. Endorphins, our third flow conspirator, also come with a hell of a high. These natural “endogenous” (meaning naturally internal to the body) opiates relieve pain and produce pleasure much like “exogenous” (externally added to the body) opiates like heroin. Potent too. The most commonly produced endorphin is 100 times more powerful than medical morphine. The next neurotransmitter is anandamide, which takes its name from the Sanskrit word for “bliss”—and for good reason. Anandamide is an endogenous cannabinoid, and similarly feels like the psychoactive effect found in marijuana. Known to show up in exercise-induced flow states (and suspected in other kinds), this chemical elevates mood, relieves pain, dilates blood vessels and bronchial tubes (aiding respiration), and amplifies lateral thinking (our ability to link disparate ideas together). More critically, anandamide also inhibits our ability to feel fear, even, possibly, according to research done at Duke, facilitates the extinction of long-term fear memories. Lastly, at the tail end of a flow state, it also appears (more research needs to be done) that the brain releases serotonin, the neurochemical now associated with SSRIs like Prozac. “It’s a molecule involved in helping people cope with adversity,” Oxford University’s Philip Cowen told the New York Times, “to not lose it, to keep going and try to sort everything out.” In flow, serotonin is partly responsible for the afterglow effect, and thus the cause of some confusion. “A lot of people associate serotonin directly with flow,” says high performance psychologist Michael Gervais, “but that’s backward. By the time the serotonin has arrived the state has already happened. It’s a signal things are coming to an end, not just beginning.” These five chemicals are flow’s mighty cocktail. Alone, each packs a punch, together a wallop.

Extract from 'Quixotic Ambitions': The crowd stared at Katy expectantly. She looked at them - old women in black, exhausted young women with pasty-faced children, youths in jeans and leather blousons chewing gum. She tried to speak but the words wouldn’t come. Then, with a sudden burst of energy, she blurted out her short speech, thanking the people of Shkrapova for their welcome and promising that if she won the referendum she would work for the good of Maloslavia. There was some half-hearted applause and an old lady hobbled up to her, knelt down with difficulty, and kissed the hem of her skirt. She looked at Katy with tears rolling down her face and gabbled something excitedly. Dimitar translated: ‘She says that she remembers the reign of your grandfather and that God has sent you to Maloslavia.’ Katy was embarrassed but she smiled at the woman and helped her to her feet. At this moment the People’s Struggle Pioneers appeared on the scene, waving their banners and shouting ‘Doloy Manaheeyoo! Popnikov President!’ Police had been stationed at strategic points and quickly dispersed the demonstrators without any display of violence, but the angry cries of ‘Down with the monarchy!’ had a depressing effect on the entertainment that had been planned; only a few people remained to watch it. A group of children aged between ten and twelve ran into the square and performed a series of dances accompanied by an accordian. They stamped their feet and clapped their hands frequently and occasionally collided with one another when they forgot their next move. The girls wore embroidered blouses, stiffly pleated skirts and scarlet boots and the boys were in baggy linen shirts and trousers, the legs of which were bound with leather thongs. Their enthusiasm compensated for their mistakes and they were loudly applauded. The male voice choir which followed consisted of twelve young men who sang complicated polyphonic melodies with a high, curiously nasal tenor line accompanied by an unusually deep droning bass. Some of their songs were the cries of despair of a people who had suffered under Turkish occupation; others were lively dance tunes for feast days and festivals. They were definitely an acquired taste and Katy, who was beginning to feel hungry, longed for them to come to an end. At last, at two o’clock, the performance finished and trestle tables were set up in the square. Dishes of various salads, hors-d’oeuvres and oriental pastries appeared, along with casks of beer and bottles of the local red wine. The people who had disappeared during the brief demonstration came back and started piling food on to paper plates. A few of the People’s Struggle Pioneers also showed up again and mingled with the crowd, greedily eating anything that took their fancy.

Johnny Rotten slouches at the front of the stage, propped up on the mike stand. He's leaning so far forward he looks as if he might topple into the empty space in front of the audience. · His face is pale and his body is twisted into such an awkward ugly shape he looks deformed. He looks ordinary, about the same age as us, the kind of boy I was at comprehensive school with. He's not a flashy star like Marc Bolan or David Bowie, all dressed up in exotic costumes, he's not a virtuoso musician like Eric Clapton or Peter Green, he's not even a macho rock-and-roll pub-band singer – he's just a bloke from Finsbury Park, London, England, who’s pissed off. Johnny sneers at us in his ordinary North London accent, his voice isn't trained and tuneful, it's a whiny cynical drawl, every song delivered unemotionally. There's no fake American twang either. All the things I'm so embarrassed about, John's made into virtues. He's unapologetic about who he is and where he comes from. Proud of it even. He's not taking the world's lack of interest as confirmation that he’s wrong or worthless. I look up at him twisting and yowling and realise it's everyone else who's wrong, not him. How did he make that mental leap from musically untrained, state-school-educated, council estate boy, to standing on stage in front of a band? I think he's brave. A revolutionary. He's sending a very powerful message, the most powerful message anyone can ever transmit. Be yourself.

Zeke drifted over to her father’s guitar in the corner of the office. He stared at it for a few long moments, before glancing at her over his shoulder. “Mind?” She shook her head, curious what he would do with the old acoustic. It had seen better days and Dad kept it more for sentimental reasons than practical. Zeke picked it up and dust swirled away. He fitted it under his arm, running through chords to check to see if it was in tune. It wasn’t off by much, but his broad fingers tweaked and tightened until it was at perfect pitch. Seamlessly, he strummed the opening chords to “Home” by Michael Buble. Ember knew her mouth had to be hanging open, but she didn’t care. As if he couldn’t not, his deep voice fell into accompaniment. She stepped away to sink down into a chair, entranced by the broken man singing, eyes shut. Tendrils of need and longing crept into her heart, and it was one of the most beautiful things she’d ever seen. Tears filled her eyes. Almost halfway through the song, his fingers fumbled a note and he stopped singing. When she lifted her eyes to look at him, he stared at her as if he’d forgotten she were there. Jaw tight, emotion brimming in his eyes, he set the guitar back on the stand and walked out of the room. Ember could have wept. She didn’t know why he’d quit, but she wanted him to come right back in and finish the song. Her mind knew what melody was supposed to come next, but it couldn’t create the same type of emotion he had while singing. She thought back to the absolute absorption on his face as he sang, and realized he hadn’t stuttered or hesitated once through the entire performance.

Does the prince play?" asked the lute player. "Hamish is a wee beast with all stringed things," Fergus said. "Pity those wolves didn't have strings." Immediately, the woman passed the lute to Hamish. He didn't move his arms in time to take it, so she simply plopped it down in his lap. "I'll trade you a tune for your dish of pears." Hamish sat there, a frozen little creature with big eyes. Pinned to the bench by fear and by the lute. How badly Merida wanted him to be able to play fearlessly for this group. Not for their benefit, but for his. How was it that his sense of fun had been replaced by a sense of fear? She whispered to him, "You could play 'Crosses and Squares.'" Still he was frozen. Maldouen said, "Don't you think you owe Ol' Flower a tune for saving your life?" Maldouen was being playful, but he had, without realizing, hit upon the only way Hamish perform: obligation. Hamish let fear rule him, but not at the expense of other people. Hamish whispered, "All right," and then added, to the dog, "Ma'am," which made the entire table laugh uproariously. Hamish began to play. The villagers began to clap in time with him. Hamish played faster. They clapped faster. Hamish played little riffs and twirls, and the villagers got up and danced along with the well-known tune. With the lute in his hand and the tune ringing out strongly, it was almost possible to believe Hamish wasn't afraid, but Merida knew better. This was how it always went. When Hamish played for other people, he always looked like a different person. Straighter, surer. More like Hubert or Harris. This was part of a good show, after all, and he felt obligated to give Ol' Flower a good show.

There are two ways in which the human machine goes wrong. One is when human individuals drift apart from one another, or else collide with one another and do one another damage, by cheating or bullying. The other is when things go wrong inside the individual—when the different parts of him (his different faculties and desires and so on) either drift apart or interfere with one another. You can get the idea plain if you think of us as a fleet of ships sailing in formation. The voyage will be a success only, in the first place, if the ships do not collide and get in one another’s way; and, secondly, if each ship is seaworthy and has her engines in good order. As a matter of fact, you cannot have either of these two things without the other. If the ships keep on having collisions they will not remain seaworthy very long. On the other hand, if their steering gears are out of order they will not be able to avoid collisions. Or, if you like, think of humanity as a band playing a tune. To get a good result, you need two things. Each player’s individual instrument must be in tune and also each must come in at the right moment so as to combine with all the others. But there is one thing we have not yet taken into account. We have not asked where the fleet is trying to get to, or what piece of music the band is trying to play. The instruments might be all in tune and might all come in at the right moment, but even so the performance would not be a success if they had been engaged to provide dance music and actually played nothing but Dead Marches. And however well the fleet sailed, its voyage would be a failure if it were meant to reach New York and actually arrived at Calcutta. Morality, then, seems to be concerned with three things. Firstly, with fair play and harmony between individuals. Secondly, with what might be called tidying up or harmonising the things inside each individual. Thirdly, with the general purpose of human life as a whole: what man was made for: what course the whole fleet ought to be on: what tune the conductor of the band wants it to play. You

Would you say that that man is at leisure who arranges with finical care his Corinthian bronzes, that the mania of a few makes costly, and spends the greater part of each day upon rusty bits of copper? Who sits in a public wrestling-place (for, to our shame I we labour with vices that are not even Roman) watching the wrangling of lads? Who sorts out the herds of his pack-mules into pairs of the same age and colour? Who feeds all the newest athletes? Tell me, would you say that those men are at leisure who pass many hours at the barber’s while they are being stripped of whatever grew out the night before? while a solemn debate is held over each separate hair? while either disarranged locks are restored to their place or thinning ones drawn from this side and that toward the forehead? How angry they get if the barber has been a bit too careless, just as if he were shearing a real man! How they flare up if any of their mane is lopped off, if any of it lies out of order, if it does not all fall into its proper ringlets! Who of these would not rather have the state disordered than his hair? Who is not more concerned to have his head trim rather than safe? Who would not rather be well barbered than upright? Would you say that these are at leisure who are occupied with the comb and the mirror? And what of those who are engaged in composing, hearing, and learning songs, while they twist the voice, whose best and simplest movement Nature designed to be straightforward, into the meanderings of some indolent tune, who are always snapping their fingers as they beat time to some song they have in their head, who are overheard humming a tune when they have been summoned to serious, often even melancholy, matters? These have not leisure, but idle occupation. And their banquets, Heaven knows! I cannot reckon among their unoccupied hours, since I see how anxiously they set out their silver plate, how diligently they tie up the tunics of their pretty slave-boys, how breathlessly they watch to see in what style the wild boar issues from the hands of the cook, with what speed at a given signal smooth-faced boys hurry to perform their duties, with what skill the birds are carved into portions all according to rule, how carefully unhappy little lads wipe up the spittle of drunkards. By such means they seek the reputation for elegance and good taste, and to such an extent do their evils follow them into all the privacies of life that they can neither eat nor drink without ostentation. And

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

Edgerton/Assassins of Dreamsongs 169 The thick, frosty rain had long since subsided. A thin, fur clad figure peered through the thick, rain soaked foliage, just outside the army's encampment. The old Wizard's raspy whisper suddenly broke the silence. He shivered against the cold and swore to himself, as no eyes peered back at him from the forest. "Damnable rabbits!" He shook both stiff, old legs from the bitter cold of the forest night and from the puddle he had been standing in. The half-asleep guard paid no attention or tribute to the thin, fur clad bearer of wood, as he trudged through the camp's outer perimeter with a load of firewood in his arms. Slumber played a barbaric tune to the rhythms of the wind through the trees, while the army slept. Arkin readjusted the stack of wood held precariously in his arms, as he walked through the center of camp. His steady, silent pace took him around large mud puddles and before a roaring fire built beneath a rocky shelf. The large bonfire spit colorful sparks into the blackness and the cold of the night. His thin arms let fall the wood he had gathered, while he surveyed the camp. A long, walking stick suddenly appeared in his hand, as if by magic, while his senses took in all around him. The small, white haired Wizard leaned lazily on his heavy staff for a thoughtful moment, while his calculating eye took in the figures huddled on the ground around the small campfires. Edgerton/Assassins of Dreamsongs 170 In the forest, two sets of eyes suddenly blinked their timidity at Arkin and then disappeared. "Dull witted rabbits to save a future King," he grumbled. "Will wonders never cease." From an ancient leather pouch, old weathered hands drew a sparkling dust that seemed to be alive in its’ every glimmer. The old man watched its’ mesmerizing glow for a moment. Then, as if youth possessed his body once again, Arkin began dancing like a misguided wood nymph through the camp, sprinkling the powder on the slumbering figures. The old Wizard's ritualistic dance took him the complete circumference of the camp. An old Wizard smiled broadly, as he danced by the giant, blond Nobleman chained helplessly to a tree. Their eyes met in an exchanged mischievous greeting. Garish beamed his roguish smile at him, hope renewed once more. The blond, captive Nobleman had to fight back the mounting laughter in his throat, from the comforting sight of his mentor and the queer fairy dance he was performing. His gaze followed the little man's every step with pure delight. The little Grand Master Wizard slowed his mischievous fairy dance only long enough to retrieve the glimmering Sword of Damen from the pile of weapons in the center of the camp. Edgerton/Assassins of Dreamsongs 171 The Old Man carefully concealed the sword under his cloak and continued his fairy dance, while sprinkling the sparkling powder over the sleeping figures. Stooping low, he picked up a shield and flung it over his shoulder. Once again the old, fur clad Wizard’s movements brought him to where he had first entered the camp, through the forest. The half-asleep guard awakened faintly, to watch the little man in his queer dance, as he moved towards him. He made no effort to detain the Old One but merely stared in disbelief, as Arkin vanished into the forest once again. The guard stood dazed in disbelief at the sight and then rubbed away the sleep from his eyes, uncertain if he had been daydreaming.

How do you shift responsibility for performance from the briefer to the participants? How much preparation do people do prior to an event or operation? When was the last time you had a briefing on a project? Did listeners tune out the procedures? What would it take to start certifying that your project teams know what the goals are and how they are to contribute to them? Are you ready to assume more responsibility within the leader-leader model to identify what near-term events will be accomplished and the role each team member will fulfill?

Serlo himself loved music much: he used to maintain, that a player without taste for it never could attain a distinct conception and feeling of the scenic art. "As a man performs," he would observe, "with far more ease and dignity, when his gestures are accompanied and guided by a tune; so the player ought, in idea as it were, to set to music even his prose parts, that he may not monotonously slight them over in his individual style, but treat them in suitable alternation by time and measure.

Cultural Diplomacy—and an Accolade Among Piazzolla’s tasks during his first summer at the Chalet El Casco was the composition of “Le Grand Tango,” a ten-minute piece for cello and piano commissioned by Efraín Paesky, Director of the OAS Division of Arts, and dedicated to Mstislav Rostropovich, to whom Piazzolla sent the score. Rostropovich had not heard of Piazzolla at the time and did not look seriously at the music for several years.7 Written in ternary form, the work bears all Piazzolla’s hallmarks: tight construction, strong accents, harmonic tensions, rhythmic complexity and melodic inspiration, all apparent from the fierce cello scrapes at the beginning. Piazzolla uses intervals not frequently visited on the cello fingerboard. Its largely tender mood, notably on display in the cello’s snaking melodic line in the reflective middle section, becomes more profoundly complex in its emotional range toward the end. With its intricate juxtapositions of driving rhythms and heart-rending tags of tune, it is just about the most exciting music Piazzolla ever wrote, a masterpiece. Piazzolla was eager for Rostropovich to play it, but the chance did not come for eight years. Rostropovich, having looked at the music, and “astounded by the great talent of Astor,” decided he would include it in a concert. He made some changes in the cello part and wanted Piazzolla to hear them before he played the piece. Accordingly, in April 1990, he rehearsed it with Argentine pianist Susana Mendelievich in a room at the Teatro Colón, and Piazzolla gently coached the maestro in tango style—”Yes, tan-go, tan-go, tan-go.” The two men took an instant liking to one another.8 It was, says Mendelievich, “as if Rostropovich had played tangos all his life.” “Le Grand Tango” had its world premiere in New Orleans on April 24, 1990. Sarah Wolfensohn was the pianist. Three days later, they both played this piece again at the Gusman Cultural Center in Miami. [NOTE C] Rostropovich performed “Le Grand Tango” at the Teatro Colón, Buenos Aires, in July 1994; the pianist was Lambert Orkis. More recently, cellist Yo-Yo Ma has described “Le Grand Tango” as one of his “favorite pieces of music,” praising its “inextricable rhythmic sense...total freedom, passion, ecstasy.

They thought they’d completed their assignment when the studio asked for one more, something punchy for a big production number. So they returned to the piano in their office on the Paramount lot. Several unproductive hours later, they gave up and took a drive in the Los Angeles hills, each of them in an irritable mood. Mercer, trying to think of something cheerful, remembered an “offbeat little rhythm tune”8 he’d heard Arlen humming a few days earlier, one that brought to mind a three-word phrase that had long intrigued him, “Accentuate the Positive.” Later, he gave differing accounts of where he’d first heard that phrase. One was that he’d been in an African American church in Savannah when the preacher, Bishop Grace—called Daddy Grace by his congregation—used it in a sermon. The other was that he’d been told that Father Divine—a Harlem preacher who claimed to be God—had used it. Either way, it was perfect for a song, which he and Arlen created by singing to each other as they continued their drive. Given the source of its lyric and the music’s gospel feel, it’s ironic that it was used in a racially offensive way. In the movie, Bing Crosby and Sonny Tufts performed it in blackface. But “Ac-cent-tchu-ate the Positive” became a jukebox hit and an enduring pop classic.

If you can’t, and you think any strategic or performance goal will be successful without the hard-core support of this particular group, you’re building a base camp on Mt. Delusional.

Success =
 Know your music backwards. Tune-up. Be healthy. No booze & drugs rehearsing/performing. Glam up. & Avoid the No1 cause of band break-ups; don't sleep with fellow musicians!

NCA uses a kernel module to transparently cache static web content in a kernel memory buffer, and replies to HTTP document requests for documents in its cache without ever waking up the application web server.

John Hennessy and David Patterson: they are titled Computer Organization and Design: The Hardware/Software Interface and Computer Architecture: A Quantitative Approach (both published by Morgan Kaufmann).

Its track record in services was mixed. iTunes had been a runaway success that had transformed the music industry, but Apple Maps had been a bust. MobileMe, a 2008 online service for email, contacts, and calendar, hadn’t worked, and Siri, Apple’s novel voice assistant, had fallen behind its rivals in performance. In the absence of the next game-changing device, Cook was betting that he could persuade customers to stick with iPhones by getting them as tethered to Apple Music and other services as they had been

The first represents the amount of time required to read or write a given location in memory, and is called the memory access time.

second, the memory cycle time, describes how frequently you can repeat a memory reference.

Paging is not necessarily indicative of a problem; it is the action of the page scanner to try and increase the size of the free list by moving inactive pages to disk.

Early in my happy adventures as a gigging musician, putting my ragbag of borrowed licks and boundless, puppyish enthusiasm before very kind audiences, I had an epiphany. Whatever my ambitions, I was not required to have mastered the piano completely before playing for people. The jazz world may be strewn with mighty saxophonists who turn up to gigs bellowing “any tune, any key, any tempo”. To me, they are God-like figures. But I did not have to be, indeed could never be, like them. Instead, I simply had to be able to play the tunes I was performing at that moment. Back then the audience did not need to know that there was not much else beyond the 10-song set they’d just heard. I would still be, and indeed remain, the best jazz pianist of all the British restaurant critics. There’s a lot to be said for being good over a narrow bandwidth; for doing a small number of things really well, rather than trying to prove your exhausting high-trapeze virtuosity.

entertaining. I saw some Ramona in my freckled, skinny self. As a member of the Boy-Haters’ Club of America, I especially enjoyed laughing along as she chased Davy around the playground in Ramona the Pest. I didn’t think of myself as a pest, per se, but I did my fair share of terrorizing boys when the moment called for it. The moment often did call for it, since I was a true and loyal member of the BHCA. We met sporadically, whenever we were near the clubhouse, which was more often than you might think since it was an hour away. Our clubhouse was in the Academy of Natural Sciences in Philadelphia, on the second floor, behind an exhibit about dinosaurs. A set of carpeted steps led up to a large window with spectacular views that made it the ideal location for our meetings. There were two items on our agenda, and we had already done the first—singing the namesake song. My father wrote it, and the tune’s not very specific; it is most closely related to the opening for a local news show. Because it was so short we often sang it multiple times, as we did that day, the quality of our performances going down with each repetition. Once we’d settled down from that, it was time for the second half of our club business.

Even with all of this plot to be dispensed, the songs do rise organically out of the script. Doris’s first entrance, in head-to-toe buckskin, finds her astride a stagecoach, belting out the very catchy Sammy Fain/Paul Francis Webster song “The Deadwood Stage (Whip Crack Away).” The rollicking tune and exuberant Day vocal match the physical staging of the song, and character is revealed. Similarly, later in the film there is a lovely quiet moment when Calamity, Bill, the lieutenant, and Katie all ride together in a wagon (with Calamity driving, naturally) to the regiment dance, softly singing the lilting “Black Hills of Dakota.” These are such first-rate musical moments that one is bound to ask, “So what’s the problem?” The answer lies in Day’s performance itself. Although Calamity Jane represents one of Day’s most fondly remembered performances, it is all too much by half. Using a low, gravelly voice and overly exuberant gestures, Day, her body perpetually bent forward, gives a performance like Ethel Merman on film: She is performing to the nonexistent second balcony. This is very strange, because Day is a singer par excellence who understood from her very first film, at least in terms of ballads, that less is more on film. Her understated gestures and keen reading of lyrics made every ballad resonate with audiences, beginning with “It’s Magic” in Romance on the High Seas. Yet here she is, fourteen films later, eyes endlessly whirling, gesturing wildly, and spending most of her time yelling both at Wild Bill Hickok and at the citizens of Deadwood City. As The New York Times review of the film held, in what was admittedly a minority opinion, “As for Miss Day’s performance, it is tempestuous to the point of becoming just a bit frightening—a bit terrifying—at times…. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.” She is butch in a very cartoonlike manner, although as always, the tomboyish Day never loses her essential femininity (the fact that her manicured nails are always evident helps…). Her clothing and speech mannerisms may be masculine, but Day herself never is; it is one of the key reasons why audiences embraced her straightforward assertive personality. In the words of John Updike, “There’s a kind of crisp androgynous something that is nice—she has backbone and spunk that I think give her a kind of stiffness in the mind.

Who are we, the people who have ADHD? We are the problem kid who drives his parents crazy by being totally disorganized, unable to follow through on anything, incapable of cleaning up a room, or washing dishes, or performing just about any assigned task; the one who is forever interrupting, making excuses for work not done, and generally functioning far below potential in most areas. We are the kid who gets daily lectures on how we’re squandering our talent, wasting the golden opportunity that our innate ability gives us to do well, and failing to make good use of all that our parents have provided. We are also sometimes the talented executive who keeps falling short due to missed deadlines, forgotten obligations, social faux pas, and blown opportunities. Too often we are the addicts, the misfits, the unemployed, and the criminals who are just one diagnosis and treatment plan away from turning it all around. We are the people Marlon Brando spoke for in the classic 1954 film On the Waterfront when he said, “I coulda been a contender.” So many of us coulda been contenders, and shoulda been for sure. But then, we can also make good. Can we ever! We are the seemingly tuned-out meeting participant who comes out of nowhere to provide the fresh idea that saves the day. Frequently, we are the “underachieving” child whose talent blooms with the right kind of help and finds incredible success after a checkered educational record. We are the contenders and the winners. We are also imaginative and dynamic teachers, preachers, circus clowns, and stand-up comics, Navy SEALs or Army Rangers, inventors, tinkerers, and trend setters. Among us there are self-made millionaires and billionaires; Pulitzer and Nobel prize winners; Academy, Tony, Emmy, and Grammy award winners; topflight trial attorneys, brain surgeons, traders on the commodities exchange, and investment bankers. And we are often entrepreneurs. We are entrepreneurs ourselves, and the great majority of the adult patients we see for ADHD are or aspire to be entrepreneurs too. The owner and operator of an entrepreneurial support company called Strategic Coach, a man named Dan Sullivan (who also has ADHD!), estimates that at least 50 percent of his clients have ADHD as well.

We are all more than just our bodies, but also our thoughts, emotions, and spirituality, which combine to determine our health.” “Our bodies have a natural wisdom with intrinsic knowledge of how to grow, heal, balance, and regenerate.” “We have the ability to change our own genetic blueprints for ourselves and for our children.” “Your body is more than the sum of its parts; it has an energy, or life force, that goes beyond the mere physical nature of your body or your generation.” “Human health is intricately and inextricably connected to planetary health.” “Water is the life source and most essential component of each cell of your body.” “Learn to live in the moment and tune in to mindful breathing while engaging all of your senses to soak in the universe around you.” “Healthy sleep habits will help you learn faster, get stronger and more fit, and protect yourself from diseases.” “Spiritual awakening is important for the state of consciousness with which you meet the world.” “If you don’t make self-care a priority in your life, you will pay a high price as your health declines.” “Balance is not something you are born with, nor is it something you find. Rather, it is something you must create” “If your body is balanced, your mind will be at peace and your spirit will soar!” “Resilience to injury is not an inborn trait; it must be nurtured and acquired.” “Excessive fear of injury takes away the joy of living.” “Allow nature to nurture a child’s backbone, literally and figuratively.” “Dig deep and find the foundation of your own core to prepare you for all adversity, sustain your health and wellness through all your endeavors, and build the home of your dreams for your mind-body-spirit.” “The shared challenges of despair, hardship, and adversity promote collaboration, and collaboration fortifies the collective consciousness of the international community.” “Learn to live your life from your core, and harness and embrace your unlimited potential for strength, health, and growth.” “Hang loose and fly like a butterfly to withstand all the perturbations and punches life brings your way.” “Get back in touch with your primitive animal spirit and pop some pandiculation into your day” “Cultivating body awareness will help you stand taller, look slimmer, and find your grace against gravity.” “Exercise, outlook, diet, and lifestyle choices actually change the way your DNA is expressed within your body to help you avoid injury, fight disease, and thrive.” “When you substitute negative beliefs with positive ones, you will begin to notice positive results.” “Find what floats your boat and enjoy the journey!” “Do not fear the storm, for you will learn to sail your ship through wind and wave.

Christ wrote a beautiful tune, which the church has often performed well, and often badly. But the melody was never completely drowned out. Sometimes it became a symphony.

Christ wrote a beautiful tune, which the church has often performed well, and often badly. But the melody was never completely drowned out. Sometimes it became a symphony.

As the lights dimmed and the audience hushed, I closed my eyes and tuned into the ripples of anticipation that always came at the beginning of a live performance. That shared intimacy among strangers where, for just a moment, everyone laid aside the baggage of life to be completely present as one—a communal hopefulness.

These reviews of David’s performances come from my father’s collection of David’s clippings, which he certainly never burned as is depicted in Shine. After he died Leslie kept the clippings, and then passed them on to David. I made myself some copies years later.

A few months ago, Marta Kaczmarek, the actress who plays my mother in Shine, stumbled across Leslie performing the violin in a Perth market. She approached him and actually apologized profusely for the hurt and harm that have been caused to him by what she now knows to have been an utterly fictitious piece of cinema.

Undoubtedly, David did give some brilliant performances in London. Among these was his rendition of Rachmaninoff’s Third Piano Concerto in D Minor in July 1969, for which he was awarded the Dannreuther Prize for best performance of a piano concerto at the Royal College of Music for that year. However, the way it is depicted in Shine—as a dramatic scene in which David collapses on stage while playing, causing him to suffer a mental breakdown and then to return directly to Perth—is entirely fictional. Firstly, David had already played the piece in public several times before, for example, in Perth and Melbourne in 1964. Secondly, David did not collapse. Thirdly, he stayed in London for another year after this performance, giving several other concerts, among them Rachmaninoff’s Third Piano Concerto again, on March 24, 1970, at the Duke’s Hall at the Royal Academy of Music in Marylebone Road. Fourthly, the onset of his illness was slow, both predating and postdating this concert, and his condition was almost certainly connected with a history of chronic mental illness in the Helfgott family. And fifthly, he did not blame his “daddy.

Scott Hicks, in what he has referred to in interviews as the “ten-year odyssey” it took to research and make Shine, could surely have found out—if not from David or a library, then by speaking to my mother, Leslie, or me—that David had mastered Rachmaninoff’s Third Piano Concerto at least five years before the 1969 London performance that, Hicks alleges, caused David to collapse on stage and led to a major breakdown.

Poor school performance and productivity are temporary; motivation is permanent.

God still searches for men and women who are motivated by a desire to honor and obey him above all else. Our performance doesn’t have to be perfect in order for God to use us, but we do need a heart that beats in tune with his.

It's not a personality clash between them; it's something else, for which neither is to blame, but for which neither has any solution, and for which I'm not sure I have any solution either, just ideas. The ideas began with what seemed to be a minor difference of opinion between John and me on a matter of small importance: how much one should maintain one's own motorcycle. It seems natural and normal to me to make use of the small tool kits and instruction booklets supplied with each machine, and keep it tuned and adjusted myself. John demurs. He prefers to let a competent mechanic take care of these things so that they are done right. Neither viewpoint is unusual, and this minor difference would never have become magnified if we didn't spend so much time riding together and sitting in country roadhouses drinking beer and talking about whatever comes to mind. What comes to mind, usually, is whatever we've been thinking about in the half hour or forty-five minutes since we last talked to each other. When it's roads or weather or people or old memories or what's in the newspapers, the conversation just naturally builds pleasantly. But whenever the performance of the machine has been on my mind and gets into the conversation, the building stops. The conversation no longer moves forward. There is a silence and a break in the continuity. It is as though two old friends, a Catholic and Protestant, were sitting drinking beer, enjoying life, and the subject of birth control somehow came up. Big freeze-out. And, of course, when you discover something like that it's like discovering a tooth with a missing filling. You can never leave it alone. You have to probe it, work around it, push on it, think about it, not because it's enjoyable but because it's on your mind and it won't get off your mind. And the more I probe and push on this subject of cycle maintenance the more irritated he gets, and of course that makes me want to probe and push all the more. Not deliberately to irritate him but because the irritation seems symptomatic of something deeper, something under the surface that isn't immediately apparent.

Levin and Duckworth are two of the cofounders of Character Lab, which uses Duckworth’s experimental work at the Upper Darby School District near the University of Pennsylvania to fine-tune the character performance interventions that Levin initiated at KIPP schools in the early 2000s. Interestingly, much of the research that is used to justify the use of the Seligman-Duckworth resiliency improvement methodology is the same data offered to justify the Seligman deal that cost the U.S. Army $145 million (see chapter 1) for interventions that brought no benefit to GIs suffering from the stresses of war. We may wonder how much these alleged remedies for children might cost federal and state education departments, whose bankrolls are much smaller than those at the Pentagon.

Sound the call to attention,” Ned told the bugler. The goblin put the instrument to his lips, but after a pause he lowered it. “What’s that sound like? I forget.” Ned strained his memory. It’d been a while since he’d heard it himself. “I think it goes da-da-da-dum, da-dum, da-dum, dum-dum-da-dee.” “Begging your pardon, sir, but that’s the dismissal song,” said Frank. “Call to attention has more pep. Da-dee-da-dee, dum-dum-dee-dum, dee-dee, I believe.” “I thought it was more like dee-dee-dee-dee, dum-dum-dee-, dee-dee-doh,” said Gabel. “You’re both wrong,” countered Regina. “It’s dum-dum-dee-dee, dum-dum-dee-dum.” “That’s the orcish wedding march,” said Gabel. “Call to attention has more ooomphh.” “What’s ooomphh?” asked Frank. “It’s half the pep,” said Gabel, “and about three-quarters more pizzazz.” “There’s no pizzazz in the call to attention,” said Regina, “and if you ask me, he’s already overdoing the pep.” The insulted bugler balked. “My pep is always dead-on, I’ll have you know. My pizzazz is nearly perfect. I’ll grant you my ooomphh isn’t always on target, but I’d say a touch more shebang and a healthy dose of zing is what’s required here. I could throw in a little wawawa as well. That never hurts.” “There’s no place for wawawa in legitimate military music,” said Regina. “Yes,” agreed Gabel. “Just stick with the ooomphh.” “No shebang either?” said the bugler. “I guess you could put in a little shebang,” said Gabel, “but if I even hear one note of wawawa I’ll have you thrown in the brig.” Though small, the bugler’s slight chest was mostly lungs, and he unleashed a long blast of musical improvisation. The discordant tune filled the citadel. The orcs and goblins nodded along appreciatively, while everyone else covered their ears. The powerful sound floated all the way to the roc pens where the giant birds proceeded to tear at each other in panicked alarm. Caught up in the performance, the bugler kept on playing until Ned gave the order to stop, and Regina yanked away his instrument. The sweaty bugler gasped. “How was that?” “Too much zoop,” said Frank. “Not enough zing,” added Gabel. “No bop at all,” said Regina. The goblin snatched back his bugle. “Everybody’s a critic.

One of the primary reasons that abstraction is overloved is that a completed program full of the right abstractions is perfectly beautiful. But there are very few completed programs, because programs are written, maintained, bugs are fixed, features are added, performance is tuned, and a whole variety of changes are made both by the original and new programming team members. Thus, the way a program looks in the end is not important because there is rarely an end, and if there is one it isn't planned.

The apartments had probably been built back in the 70’s when the country was going through some ugly social times. Maybe the country was going through its adolescent phase and breaking out with a bad case of social acne. Cheesy professors were running around the country proclaiming “turn on, tune in, drop out.” A mean-spirited drunk from LA was cranking out poems about the low-life and reaching for another beer out of the refrigerator on stage as part of his performance. The porn industry was in its golden era. People proclaiming their individuality and uniqueness were all dressed the same. Mothers thought they were educating their kids by letting them watch Sesame Street, but they were just turning their kids into TV junkies and a future generation of pudding heads with blank faces ready to believe anything on the lamestream media. The Vietnam War eventually came to an end after Laos was clustered bombed, which had nothing to do with ending the war. Dominoes didn’t fall. A new war memorial went out for bid. Some crazy scientist found a way to make clothes out of chemicals - polyester. Dwarfs found their favorite hangout - the disco. The whole country seemed to be dancing to the disco beat, hypnotized by the flashing strobe lights off the big, shiny ball.

Silence doesn’t mean no activity; it means highly synchronized actions, much like the work of a well-tuned motor. More noise and vibration never assure better engine performance; indeed, quite the opposite.

Grain Declaring the grain is the pivotal step in a dimensional design. The grain establishes exactly what a single fact table row represents. The grain declaration becomes a binding contract on the design. The grain must be declared before choosing dimensions or facts because every candidate dimension or fact must be consistent with the grain. This consistency enforces a uniformity on all dimensional designs that is critical to BI application performance and ease of use. Atomic grain refers to the lowest level at which data is captured by a given business process. We strongly encourage you to start by focusing on atomic-grained data because it withstands the assault of unpredictable user queries; rolled-up summary grains are important for performance tuning, but they pre-suppose the business's common questions. Each proposed fact table grain results in a separate physical table; different grains must not be mixed in the same fact table.

Without conversion of heart we cannot serve God on earth. We have naturally neither faith, nor fear, nor love, toward God and His Son Jesus Christ. We have no delight in His Word. We take no pleasure in prayer or communion with Him. We have no enjoyment in His ordinances, His house, His people, or His day. We may have a form of Christianity, and keep up a round of ceremonies and religious performances. But without conversion we have no more heart in our religion than a brick or a stone. Can a dead corpse serve God? We know it cannot. Well, without conversion we are dead toward God. Look round the congregation with which you worship every Sunday. Mark how little interest the great majority of them take in what is going on. Observe how listless, and apathetic, and indifferent, they evidently are about the whole affair. It is clear their hearts are not there! They are thinking of something else, and not of religion. They are thinking of business, or money, or pleasure, or worldly plans, or bonnets, or gowns, or new dresses, or amusements. Their bodies are there, but not their hearts. And what is the reason? What is it they all need? They need conversion. Without it they only come to church for fashion and form’s sake, and go away from church to serve the world or their sins. But this is not all. Without conversion of heart we could not enjoy heaven, if we got there. Heaven is a place where holiness reigns supreme, and sin and the world have no place at all. The company will all be holy; the employments will all be holy; it will be an eternal Sunday. Surely if we go to heaven, we must have a heart in tune and able to enjoy it, or else we shall not be happy. We must have a nature in harmony with the element we live in, and the place where we dwell. Can a fish be happy out of water? We know it cannot. Well, without conversion of heart we could not be happy in heaven. Look round the neighborhood in which you live and the persons with whom you are acquainted. Think what many of them would do if they were cut off for ever from money, and business, and newspapers, and cards, and balls, and races, and hunting, and shopping, and worldly amusements! Would they like it? Think what they would feel if they were shut up forever with Jesus Christ, and saints, and angels! Would they be happy? Would the eternal company of Moses, and David, and St. Paul be pleasant to those who never take the trouble to read what those holy men wrote? Would heaven’s everlasting praise suit the taste of those who can hardly spare a few minutes in a week for private religion, even for prayer? There is but one answer to be given to all these questions. We must be converted before we can enjoy heaven. Heaven would be no heaven to any child of Adam without conversion. Let no man deceive us. There are two things which are of absolute necessity to the salvation of every man and woman on earth. One of them is the mediatorial work of Christ for us, His atonement, satisfaction, and intercession. The other is the converting work of the Spirit in us, His guiding, renewing, and sanctifying grace. We must have both a title and a heart for heaven. Sacraments are only generally necessary to salvation: a man may be saved without them, like the penitent thief. An interest in Christ and conversion are absolutely necessary: without them no one can possibly be saved. All, all alike, high or low, rich or poor, old or young, gentle or simple, churchmen or dissenters, baptized or unbaptized, all must be converted or perish.

It’s talk like this that thrills and amazes people in the aerospace industry, who have long been hoping that some company would come along and truly revolutionize space travel. Aeronautics experts will point out that twenty years after the Wright brothers started their experiments, air travel had become routine. The launch business, by contrast, appears to have frozen. We’ve been to the moon, sent research vehicles to Mars, and explored the solar system, but all of these things are still immensely expensive one-off projects. “The cost remains extraordinarily high because of the rocket equation,” said Carol Stoker, the planetary scientist at NASA. Thanks to military and government contracts from agencies like NASA, the aerospace industry has historically had massive budgets to work with and tried to make the biggest, most reliable machines it could. The business has been tuned to strive for maximum performance, so that the aerospace contractors can say they met their requirements. That strategy makes sense if you’re trying to send up a $1 billion military satellite for the U.S. government and simply cannot afford for the payload to blow up.

Understanding the three sets of goals, and establishing organizational policies and practices that are in tune with them, is the key to high workforce morale and firm performance. There is no conflict between the goals of most workers

The Bible reminds us that a little leaven leavens the whole loaf of bread. If one insists on maintaining a competitive spirit in the face of the above behaviors, it may be a strong indicator of a lack of value alignment. Such individuals may need to find an organization that is more in tune with their approach to organizational life.

Generally speaking, of course, any pursuit of art in camp was somewhat grotesque. I would say that the real impression made by anything connected with art arose only from the ghostlike contrast between the performance and the background of desolate camp life. I shall never forget how I awoke from the deep sleep of exhaustion on my second night in Auschwitz—roused by music. The senior warden of the hut had some kind of celebration in his room, which was near the entrance of the hut. Tipsy voices bawled some hackneyed tunes. Suddenly there was a silence and into the night a violin sang a desperately sad tango, an unusual tune not spoiled by frequent playing. The violin wept and a part of me wept with it, for on that same day someone had a twenty-fourth birthday. That someone lay in another part of the Auschwitz camp, possibly only a few hundred or a thousand yards away, and yet completely out of reach. That someone was my wife.

As the conversation turned to the medical experiments Dad performed on the dog that had been dumped in our yard last week, I tuned out and tried to think of what I would get if I crossed an Iceberg rose with a Sunsprite. A nice pale yellow and only a few thorns. Could be interesting. If Grandma were still alive, she’d appreciate it.

The meditation is working on what we need first. We cannot get to a higher place or find that other door we discussed until our frequency is right. If we have emotional issues that need to be healed, it's going to work on that first. It's going to take the amount of time it needs to fix it, but it will be fixed. If we don't currently have emotional problems, and are straightened out in every other area, we're going to start having these other experiences more than likely. It's tuning and setting us in a certain way to ready us for what we're going to be. It will never push us into something we're not ready for. It doesn't work that way. It's putting all our parts together like a car being tuned up. While the car is out of shape, we're not going to be able to do one hundred miles per hour; it's going to putter and jerk around. However, if it gets a tune-up, it will perform at a more optimal level. When we meditate we're tuning ourselves up, especially under this system. We will be rewarded by our meditation efforts each time with a better experience, until we're ready to perform flawlessly and effortlessly in higher regions because we're meditating at our highest performance level. We've been working our energy. It gains progressively as we work with it. It rewards us so we can have greater experiences to get to where we're trying to go.

The truth about the universe (here) is infinitely stranger, and infinitely more grand: it lies in the Laws of Physics that have come to know Themselves through humanity. Our destiny and purpose are encoded in the fine structure constant, and the value of the density omega. The human race - in whatever form, robot or organic - will keep on advancing for the next ten billion years, until we can give rise to the hyperintelligence which will cause the finely tuned Big Bang required to bring us into existence. If we don't die out in the next few millenia. In which case, other intelligent creatures will perform the task. It doesn't matter who carries the torch. Exactly. None of it matters. Why should I care what a civilisation of post-humans, robots, or aliens, might or might not do ten billion years from now? What does any of this grandiose shit have to do with me?

Verse speakers and opera singers could learn a great deal if they listen to all forms of popular music from Billie Holiday to Edith Piaf, where the passion, the feeling, the intonation, the tempo all arise from the word. In Broadway jargon, this is called ‘reading’ a song. I once asked Richard Rodgers, composer of Oklahoma! and countless other musicals, whether he had a stash of melodies in a top drawer, waiting to be used. ‘Of course not!’ he said. ‘I need the words.’ Like every composer of songs, it is the words that are proposed by a lyric that awaken the tune”.

Christmas and the New Year were celebrated with vastly more acclaim and spontaneity than in most civilized countries, and there were many other gala days which no voyageur ever passed up without the celebration prescribed in the pays d’en haut. Harmon’s first Christmas in the interior came as somewhat of a shock to him, accustomed to the proprieties of the New England mode of celebration, for he says, “This day being Christmas, our people have spent it as usual in drinking and fighting.”11 Kennicott, however, was alive to the picturesqueness of this class of men and more in sympathy with their methods of self-expression. Consequently his remarks on a Christmas celebration in the Northwest are more detailed and full of interest. “The day after Christmas, Flett gave a Christmas ball…. The dancing was, I may say without vulgarity, decidedly ‘stunning.’ I should hardly call it graceful. The figures, if they may be called such, were only Scotch reels of four, and jigs; and … the main point to which the dancers’ efforts seemed to tend, was to get the largest amount of exercise out of every muscle in the frame…. The music consisted of a very bad performance of one vile, unvarying tune, upon a worse old fiddle, accompanied by a brilliant accompaniment upon a large tin pan.

In the end, my sisters went along with what I wanted—mostly because I framed this as one of Mom’s dying wishes. It was my job to give the CD to the funeral director—to Adam. I downloaded the song from the Wizard of Oz soundtrack on iTunes. As the service began, he played it over the speaker system. Unfortunately it wasn’t “Somewhere over the Rainbow.” It was the Munchkins, performing “Ding Dong! The Witch Is Dead.

Brailsford and his team continued to find 1 percent improvements in overlooked and unexpected areas. They tested different types of massage gels to see which one led to the fastest muscle recovery. They hired a surgeon to teach each rider the best way to wash their hands to reduce the chances of catching a cold. They determined the type of pillow and mattress that led to the best night’s sleep for each rider. They even painted the inside of the team truck white, which helped them spot little bits of dust that would normally slip by unnoticed but could degrade the performance of the finely tuned bikes.

processor performance doubles roughly every eighteen months, but memory performance doubles roughly every seven years.

Caches are organized into equal-sized chunks called lines.

Linux addresses this issue by adopting an empirical rule related to the processor’s cache size: the larger the processor’s cache, the longer a process will wait for a piece of time on that processor.

Every LWP has a kernel thread, but every kernel thread need not have an LWP:

Threads generally fall into five categories for scheduling: timesharing (ts), interactive (ia), kernel, real-time (rt), and interrupt.

Buses implement either circuit-switched or packet-switched protocols.

If a process tries to write to a shared page, it incurs a copy-on-write fault.[5

kswapd’s behavior is controlled by three parameters, called tries_base, tries_min, and swap_cluster,

system that is paging is writing selected, infrequently used pages of memory to disk,

while a system that is swapping is writing entire processes from memory to disk.

Memory is consumed by four things: the kernel, filesystem caches, processes, and intimately shared memory.

Physical effects, both long and short term, include: Racing heart, headache, nausea, muscle tension, fatigue, dry mouth, dizzy feelings, increase in breathing rate, aching muscles, trembling and twitching, sweating, disturbed digestion, immune system suppression and memory issues. Your body was designed to endure brief moments of acute stress, but chronic stress (stress that is ongoing) can start to cause chronic health conditions, like cardiovascular disease, insomnia, hormonal dysregulation and so on. If the ordinary physical experience of stress is prolonged, the physical effects can have consequences in the rest of your life… Mental and psychological effects include: Exhaustion and fatigue, feeling on edge, nervousness, irritability, inability to concentrate, lack of motivation, changes to libido and appetite, nightmares, depression, feeling out of control, apathy and so on. Stress can reinforce negative thinking patterns and harmful self-talk, lower our confidence, and kill our motivation. More alarming than this, overthinking can completely warp your perception of events in time, shaping your personality in ways that mean you are more risk averse, more negatively focused and less resilient. When you’re constantly tuned into Stress FM you are not actually consciously aware and available in the present moment to experience life as it is. You miss out on countless potential feelings of joy, gratitude, connection and creativity because of your relentless focus on what could go wrong, or what has gone wrong. This means you’re less likely to recognize creative solutions to problems, see new opportunities and capitalize on them, or truly appreciate all the things that are going right for you. If you are constantly in a low-level state of fear and worry, every new encounter is going to be interpreted through that filter, and interpreted not for what it is, but for what you’re worried it could be.  Broader social and environmental effects include: Damage to close relationships, poor performance at work, impatience and irritability with others, retreating socially, and engaging in addictive or harmful behaviors. A person who is constantly stressed and anxious starts to lose all meaning and joy in life, stops making plans, cannot act with charity or compassion to others, and loses their passion for life. There is very little spontaneity, humor or irreverence when someone’s mind is too busy catastrophizing, right? As you can imagine, the physical, mental and environmental aspects all interact to create one, unified experience of overthinking and anxiety. For example, if you overthink consistently, your body will be flooded with cortisol and other stress hormones. This can leave you on edge, and in fact cause you to overthink even more, adding to the stress, changing the way you feel about yourself and your life. You might then make bad choices for yourself (staying up late, eating bad food, shutting people out) which reinforce the stress cycle you’re in. You may perform worse at work, procrastinating and inevitably giving yourself more to worry about, and so on…

The band members were doing what they could to make ends meet: Hidalgo and Pérez took work as instructors at Plaza de la Raza, the East L.A. center for arts and education, while Lozano worked as a teaching assistant at Hollenbeck Junior High in Boyle Heights. At one point around this time, jobs became so scarce that, at the behest of Mike Gonzalez, a former member of Rosas’s band Fast Company, they worked as strolling musicians, in full mariachi garb, drumming up business for a new restaurant by performing Mexican tunes on the mall at the Music Center in downtown L.A. A picture of the group from this era shows them looking stiff and distinctly uncomfortable in their matching embroidered black suits.

The Recipient will take whatever time they need to return to full consciousness at the conclusion of the tuning process and then wash their hands in cold running water as well as drink a glass of cold water to settle themselves and sever the connection to the Reiki Master doing the remote tunings. How to Perform the Reiki Distant Attunements Step 1: Agree the day, date and time of the attunement ceremony with the receiver. Step 2: Decide on the connection method. Print a picture of the receiver's home or location from Google Maps if needed. Step 3: Decide how you will use the Direct Intention and Surrogate method during the attunement ceremony. We think a printed image / video of the receiver is really helpful, so ask the receiver to send you a picture of yourself to use during the tuning. (Please note: although it is not essential to use a receiver photo during the distant tuning ceremony). Step 4: Be ready with the reiki chant or heartbeat music playing in the background, at least 5 minutes before the agreed time. Taking a few minutes to interact with the energies of the reiki and pull in the energy / images in which you will work during the remote tuning ceremony. Step 5: Intone a short prayer, quietly. (Example: "I call upon Reiki, the Universal Life Force, all past, present and future Reiki Masters (remember Reiki is not bound by time or space) in particular Dr. Usui, Dr. Hayashi and Mrs. Takata to close and participate in this sacred distant tuning ceremony for (insert name of students). I ask that Reiki's power and wisdom establish this connection now and guide and assist me by allowing our energies to connect across time and space so that I can pass on Reiki's gift through the tuning of (insert the name of the students) to Usui Reiki Level 1, 2 and 3. I propose that this ritual be an uplifting and encouraging event for (insert the name of the students) so that (insert the name of the students) the optimistic and strong Reiki Master / Teacher can go forward from this point on. Phase 6: Now, when you look down, imagine / visualize the surrogate / proxy being linked and transferred through time and space, so you're in the room with your student / recipient. Based on the amount of tuning you are doing, envision or picture yourself now in front of the receiver and go through the entire process in your imagination or through the surrogate / proxy physical actions using the strategies outlined in Lesson 8, 9, 10 or 11. You should ask the power and wisdom of reiki to sever the connection between you and the student / recipient at the end of the tuning ceremony and ask reiki to return you to your present location. Conclude the ritual with a brief thank you prayer, then then wash your hands in cold running water and drink a glass of cold water to stabilize yourself and sever the bond between yourself and the recipient / student entirely.

Ozmo Motorsport is a long established tuning company with over 19 years experience. For all of your motorsport performance needs, call today. We specialize in ECU re calibration, commonly known as remapping and chip tuning, for almost any vehicle on the market and offer quality tuning at competitive prices. We are Dorset’s number 1 remap tuning specialist, we are also the longest established ecu tuning experts in the area. We are specialists in ALL vehicles and not just cars.

Sound performance The sound quality depends on how well the codec can reproduce different recording situations. However, different people may hear the sound differently 1. Pitch, principles: The performance is better when the codec can restore different recording situations more accurately. 2. Loudness, principles: The performance is better when the codec can restore different recording situations more accurately.) 3. Tone color : ① Frequency range (principle: The codec can cover the range of frequencies that humans can hear, which is from 20 Hz to 20,000 Hz. ②Response time (principle: the shorter the better, excellent threshold is 10ms.) ③The spatial effect (The best codec is the one that can create a realistic sound effect without distorting or losing any specific frequencies. It should also have a balanced ratio of sound quality and compression.) 4. Sense of space, the principle: The codec should be able to reproduce the sound as if it is coming from different distances and directions in the recording studio. 5. Tuning style, the principle: The codec should be able to capture the details of the sound, such as the resolution, the atmosphere, the balance and connection of the three frequencies (bass, midrange, and treble), and the vocals and instruments. The codec should also be able to match the original recording as closely as possible. If the codec has a different tuning style from the original recording, it is not necessarily worse, but it should still be clear and pleasant. If the codec has a better tuning style than the original recording, it is even better.