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And if performance is an effective means of making analytical claims, then it should likewise be an effective means of critiquing them. 2 If we accept Lewin’s position that the goal of analysis is “to hear the piece better,” then the medium of sound is surely the most direct way of communicating analytical insights. Though Lewin goes on to acknowledge that “verbal analyses, while inevitably partial and distorted, are very useful,” his point is well worth considering. Hence, the only complete, faithful, and properly presented analyses of a piece are. , and to arrange his presentation in a way that will stimulate the musical imagination of his audience. The task of the analyst is “merely” to point out things in the piece that strike him as characteristic and important. , its goal is simply to hear the piece better, both in detail and in the large. Whatever the use to which analysis is put. One of the more eloquent arguments in favor of this view was put forth nearly half a century ago by David Lewin: Although much of the discussion has focused on ways in which analysis can inform performance, it has also been suggested that the act of performance itself can serve as a form of analysis. The relationship between performance and analysis is an important topic in music theory today. Whereas Bantock and Respighi adhere to the bipartite form of Bach’s setting, albeit with subtle and compelling modifications by Respighi, Stokowski reveals a latent tripartite form by omitting the repeat of the opening A section, he proposes a minor-mode B section followed by a modified recapitulation. These three transcribers also illuminate different aspects of the work’s form. Stokowski casts Bach’s contrapuntal setting as an ornamentation of Nicolai’s original chorale melody, which he regards as the work’s centerpiece Bantock treats the chorale melody as merely a foundation upon which to build a new musical edifice, adding his own newly composed counterpoint to Bach’s setting and Respighi undertakes a more holistic reading of the work, acknowledging both Nicolai’s and Bach’s contributions while focusing on Bach’s setting as a whole. To illustrate, the paper considers transcriptions of Bach’s chorale “ Wachet auf” by Leopold Stokowski, Sir Granville Bantock, and Ottorino Respighi, and demonstrates that these translations represent three very different readings and interpretations of Bach’s text which collectively shed light on the work’s meaning.Įach transcription proposes a different reading of the relationship between Nicolai’s tune and Bach’s setting. This paper argues that the act of transcribing a musical text for a different group of instruments also constitutes a “reading,” and that both processes of translation will inevitably shed light on certain features of a work while obscuring others. Many scholars have argued that the act of performance, as a “reading” of a musical text, can serve as a form of analysis. Geom_point(aes(color= Group2, shape = Group1))+ If need be, you can then adjust the legend, e.g with override.aesĭemo Then change the look of this aesthetic with scale functions.First define an aesthetic for your variables (color/fill/shape/linetype/alpha).Unfortunately, your code is not fully reproducible (where is summarySE from? What are sd.x and sd.y)? Here hopefully some more general guidance, translating Camilles spot on comment into code. Geom_polygon(aes(fill = Group2), alpha = 0.2, color = "grey",show.legend = F)+Īes(x = Mean_X, y = Mean_Y, colour = Group2), size = 4)+Īes(x = Mean_X, ymin = Mean_Y-SE_Y, ymax = Mean_Y+SE_Y,Ĭolour = Group2), width = 0.2,show.legend = FALSE)+Īes(y = Mean_Y, xmin = Mean_X-SE_X, xmax = Mean_X+SE_X,Ĭolour = Group2), height = 0.2,show.legend = FALSE)+ĭata= Sum_DF,aes(label=Group2, colour=Group2, x = Mean_X, y = Mean_Y),check_overlap = F, Geom_point(aes(colour = Group2, shape = Group2))+ So, first, you can summarise your dataframe by grouping by "Group1" and "Group2" using group_by function from dplyr package and calculate the mean and SEM using summarise as follow: library(dplyr)Īnd then you can use both dataframes (df and Sum_DF) to plot your various geom by calling inherit.aes = FALSE when you want to call the second dataframe (here I used geom_polygon instead of geom_encircle because you did not specify from which library it was obtained - ggalt - and I did not want to install it): library(ggplot2) in order to indicate to ggplot2 that you are using a different dataframe from the one specified in ggplot(. When you have multiple dataframe to call, you can use the argument inherit.aes = FALSE in geom_. In the current output, the legend only shows factors from GroupA, how can I eide the code to have all legend keys from GroupA, GroupB, GroupC? Guides(colour = "none", shape = "legend")+ Geom_point(data=GroupC,aes(colour=Group2),size=2, alpha=0.3, shape= 0)+ Geom_encircle(data=GroupC, aes(fill = Group2), s_shape = 1, expand = 0,Īlpha = 0.2, color = "black",size=1.5, show.legend = F)+ Geom_point(data=GroupA,aes(shape=Group2), size=2,alpha=0.2)+ Geom_point(data=GroupB,aes(color=Group2), size=3, shape=21, alpha=0.2)+ Geom_text(data=GroupB_SE,aes(label=Group2, colour=Group2),check_overlap = F, Geom_errorbarh(aes(colour=Group2,xmax=X+sd.x, xmin=X-sd.x), alpha=1,size=1.5)+ Geom_point(aes(colour=Group2),size=4, alpha=1)+ GroupB_SE<-merge(GroupB_YSE, GroupB_XSE, by=c("Group2","N")) GroupB_XSE <- summarySE(GroupB, measurevar="X", groupvars=c("Group2")) GroupB_YSE <- summarySE(GroupB, measurevar="Y", groupvars=c("Group2")) GroupC <- dplyr::select(filter(demo, Group1="C"), Group2, X, Y) GroupB <- dplyr::select(filter(demo, Group1="B"), Group2, X, Y) GroupA <- dplyr::select(filter(demo, Group1="A"), Group2, X, Y) I would like to show all three legends.įor example, I have this data set: data('demo') Group1 Group2 Y X I have a multiple plot with three data frame in ggplot2. So we know we have a good GPT Partition Table. But that doesn't mean that all manufactures follow the standard even though there required to. Most GPT partition tables should have the same format. Open the gpt_main0.bin in a hex editor and take a look at it. Now that we have the gpt_main0.bin and gpt_both0.bin we can start using the spreadsheet to make the partition.xml When your all done the terminal will look like this. Lets copy the primary gpt into the TARGET folder.Ĭp -rf ~/Desktop/Create-Part/ROM/PrimaryGPT_0.bin ~/Desktop/Create-Part/TARGET/gpt_main0.bin mkgpt -i ~/Desktop/Create-Part/ROM/PrimaryGPT_0.bin -o ~/Desktop/Create-Part/TARGET/gpt_both0.bin Make one more folder inside Create-Part folder called TARGETĪfter you have done that open up a terminal window in LINUX. Make a folder inside the Create-Part folder called ROM and copy all the files from the extracted. Make a folder on your desktop called Create-Part and extract copy the tools there. So we have gpt_main0.bin how do we make gpt_both0.bin or the gpt_backup0.bin? kdz file to gpt_main0.bin they are exactly the same. If you renamed the PrimaryGPT_0.bin from the. You will also find the gpt_both0.bin in the unbrick roms along with gpt_main0.bin and gpt_backup0.bin. That would write the partition info to the emmc of the device. Gpt_both0.bin is a special format file for GPT that can be used with fastboot Just pay close attention to my instructions. Then I will show you how to use the spreadsheet and the PrimaryGPT_0.bin to make the dreaded Partition.xmlĭon't worry its easier than you think. Next I will show you how to use a couple of the tools. So you can get a feel for whats going on. Read them all and actually do them even though you dont have a dragonboard. These tools apply to all the qualcomm chips. These files are the main gpt and the backup gpt.īut at any rate. These are the files that you can parse with parsebinarypartition.bl and other similar tools. The files we have now are the same as what we would have if we used DD to pull a backup from the device. Now that we have the factory flash files we can actually get something done. kdz the only tool that worked on this rom was the version What a PITA.įor anyone trying to unpack the. Please hold off on posting until I let you know I am finished with the tutorial. I will go over the process of filling in the data you need to generate the partition.xml YOU MAY BE ABLE TO DO THIS IN WINDOWS BUT I RECOMMEND NOT TOO.ĭownload and unzip the generator spreadsheet. YOU CAN USE THE SPREADSHEET IN WINDOWS IF YOU INSTALL OPEN OFFICE ( IT'S FREEWARE) YOU CAN USE A UBUNTU BOOTABLE CDROM OR USB FLASH DRIVE. THIS PROCESS REQUIRES A LINUX OPERATING SYSTEM ( NO WINDOWZ ) There is still a process that must be followed in order to do this correctly. I have created a OPEN OFFICE CALC spreadsheet to create the data you need to put in the partition.xml file automatically. I have not found any python or bash scripts that will create the partition.xml.Īnd many of the Qualcomm Proprietary tools floating around are out of date and no longer apply. Creating the partition.xml file is key for building unbrick Roms. Large crystals range in size from approximately 4. Medium c rystals range in size from approximately 3.5" - 4" Small c rystals range in size from approximately 2.5" - 3" This crystal is known for helping connect. In this Takanta guide, we will explore its meaning, healing properties, and spiritual significance and symbolism. It is said to be a stone of high vibration. The result is a stone with a beautiful, iridescent sheen. They can be of great use to those who suffer from depression, anxiety, and panic attacks who want to restore inner peace and balance.Īngel aura crystals can help awaken empathy and optimism, and can also enhance memory, mental clarity, creativity, and intelligence. Crystal Healing Properties of Aura Quartz The angelic rainbow sheen of Angel Aura Quartz Crystals emits a Purifying + balancing for all of the chakras, these. Angel aura quartz is a type of quartz that has been artificially enhanced with metals. They aid in stress relief and can also bring the body into balance by releasing harmful negative energies. These crystals are effective aura cleansers and can help clear all of the seven chakras. They are are believed to hold an energetic connection to the angelic realm. Angel aura is named as such because the iridescent sheen resembles the gossamer wings of the celestial beings. As such, angel aura crystals will exhibit the properties of these precious metals as well as the underlying stone - here, clear quartz. It helps heal and balance all the Chakras and is generally. Metaphysical Angel Aura Quartz Metaphysical Properties Has all the properties of clear quartz, helpful in focusing, amplifying, and transferring energy. While this is an enhanced product, the natural stone underneath still retains its healing properties and you get some amazing colors and extra strength from the. Amazing high vibration, aids communication, clairaudience, automatic writing and brings. Angel aura is a coating created by heat fusing vaporized precious metals to the surface of a crystal. Angel Aura Quartz is said to help with insight and connection to the divine and cosmic consciousness. The soothing energy of Rose Quartz fosters empathy, reconciliation and forgiveness of others, lowering stress and tension of the heart. Aqua Aura Quartz is created by bonding gold with clear quartz. 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In one unified stack, it offers a complete solution that saves you the hassle and inefficiency of working with multiple products that don't sync with each other. From planning through operations, is a first-of-its-kind integrated work automation platform. is the most powerful no-code work automation cloud-based platform (PaaS) for collaborative infrastructure projects. We work with marquee customers who are fortune 100 companies such as Staples, Canon, National Grid, Con Edison, and Gilbane. We are a US headquartered global product software company with offices located worldwide. Sightjack ?The Shibito? trying to get into the door Siren Blood Curse Walkthrough - Siren Blood-Curse 71Īnd run down stairs A. Siren Blood Curse Walkthrough - Siren Blood-Curse 70 Siren Blood Curse Walkthrough - Siren Blood-Curse 68Īt the top you will find the reception office, unlock it & go inside Siren Blood Curse Walkthrough - Siren Blood-Curse 69Ĭall for help on the intercom, Cut scene. Siren Blood Curse Walkthrough - Siren Blood-Curse 67Īfter the Shibito goes back to her business come out and head for the stairs A and go up. Head inside the incinerator room and look for the reception key and pick it up Siren Blood Curse Walkthrough - Siren Blood-Curse 66 Wait till she goes into the room opposite from the incinerator Siren Blood Curse Walkthrough - Siren Blood-Curse 65 Run to The door in the back right corner Siren Blood Curse Walkthrough - Siren Blood-Curse 62Īnd through to the next door, go to the C Stairs and head down Siren Blood Curse Walkthrough - Siren Blood-Curse 63įollow the path until you meet up with a shibito Siren Blood Curse Walkthrough - Siren Blood-Curse 64 Wait till it goes back to work and turn the machine back on, then run back to the examine point and ?squeeze? through it Siren Blood Curse Walkthrough - Siren Blood-Curse 61 Siren Blood Curse Walkthrough - Siren Blood-Curse 60 Watch the shibito as it turns off the device to the left (heart monitor). Siren Blood Curse Walkthrough - Siren Blood-Curse 58įollow the stairs down, there will be a shibito in an operating room, notice the examine point in between the divider Siren Blood Curse Walkthrough - Siren Blood-Curse 59 Open the door Siren Blood Curse Walkthrough - Siren Blood-Curse 57Īnd sneak by the shibito it is dark but you must turn off your flashlight to get to stairs B. Episode 3 part 1 Siren Blood Curse Walkthrough - Siren Blood-Curse 55īella Monroe, Escape The Saiga Hospital Siren Blood Curse Walkthrough - Siren Blood-Curse 56 You can jump to nearby pages of the game using the links above. The cool thing about this tuner is the Denoise setting which helps to cancel out background noise so as not to interfere with your tuning if you are in a noisy space. It has a huge range which makes sense given that it can tune pretty much an instrument under the sun. I think AC/DC tuned to something like 430Hz. It can be calibrated in case you don’t want to tune your guitar to the standard A=440Hz. It has settings for 400+ instruments and a library of 900+ different tunings. Cadenza has other resources out there as well to help you on your musical journey, so that is another rabbit to chase if you so choose. If you are brand spanking new at the guitar with no idea of how to use a tuner or a metronome, a user guide is included to help you. The user interface is very intuitive and easy to navigate, like pretty much anything that works with Apple. This is also a very fast-responding tuner with a response latency of less than 1 millisecond. Cadenza – $1.99 – iOS onlyĬadenza is a combination tuner/metronome with the ability to sequence the metronome to change tempo and time signatures. This is essentially the interface of the pedal and does its job like an old reliable truck. BOSS (parent company: Roland) has been in the game for a long time. If you are the type of person who never ever likes to pay for an app, then don’t stray too far from this one. It may not be quite as accurate as the pedal at +/- 1 cent. Instrument-specific settings, a chromatic option (which is the setting I typically use), an audible pitch reference, and a newsfeed with the latest gear news from BOSS. It has many of the bells and whistles of the pedal, but with a few extras. This is the app version of the industry-standard BOSS TU-3 pedal tuner. Here are some great tuner apps to check out for yourself. Let’s see your $20 Korg tuner from Guitar Center do that! A tuner app could have extras such as a metronome, help with alternate tunings, a chord library, guitar maintenance tips, and more. The big advantage an app has over its standalone counterpart is the extra features that come with an app. Just understand that they exist, work around them, and just wait for the next tech update. The point is to not let these downsides bother you too much. This is another issue that is getting better with time and advancement. A good pedal tuner will be +/- 0.1 cent while rack tuners will be even more accurate.Ī smart device may also experience latency issues with the tuner, meaning you will have to turn the tuner a little bit and wait for the note to register. It’s debatable how accurate apps are versus digital or electric tuners, but technology is advancing constantly. I think we all know our smartphones are capable of tuning a guitar, but how good of a job do they do?Ī guitar tuner app hears the notes of a guitar the same way a digital handheld tuner does, only the microphones of many phones are not designed with this use in mind. tt feels silly to type that question out as a sub-heading because it’s a question my 72-year-old Dad would ask with his eyes squinted as though he were looking into the sun. A tuner app is a must-have for any guitar player and while I don’t think it exactly replaces a handheld tuner, it comes close. Different situations call for different tuners, but most hobbyist guitar students only need a basic tuner as opposed to a $100 pedal tuner or rackmount tuner.īut, it is really necessary to drop even just $25 on a handheld tuner? Or should you get a tuner app for $2.50? Heck, most tuner apps can be had for free. There really is no way around it and if you bought your guitar without getting a tuner as well, you will find out very quickly that you are dead in the water. If you are going to play the guitar, you must have a tuner. When I used to tell new students that their assignment for next week was to get some spare strings and a tuner, I got a look that said, “Yeah okay, buddy…” and was greeted the following week by an out-of-tune pupil with a broken string. If that guitar is not in tune, no amount of reverb, distortion, or wah is ever going fix it and I will sound terrible forever. I often say that buying a tuner was the most boring purchase I ever made, but it was the most important. After all, it only takes one small bump, change in atmosphere, or exaggerated string bend to knock a guitar or bass out of tune. It is also what I would say between line checks or during a stage reset to remind the musicians to keep everything sounding on point. “Okay, let’s tune up!” This is usually the first thing I say to kick off a guitar lesson. And, who knows, a few years down the line these may all be commonplace.īut is this type of technology a good fit for your business? The Pros of Cutting-Edge Technologyįirst, let’s examine the benefits of using cutting-edge technology. New cutting-edge technologies include quantum computing, deep learning, cobotics (human-robot collaboration), and neuromorphic chips. This type of technology exists at the frontier of knowledge and is often viewed as “game-changing.”Īt one point, the cloud, containers, artificial intelligence, and machine learning, were all cutting edge. Cutting edge technology could be software that’s already out of beta and has been made available to both the general public and business users, but has yet to be properly vetted by users. Because of this, there’s always a high risk of unreliability.īut let’s not mistake cutting-edge technology with alpha or beta releases. What is Cutting Edge Technology?Ĭutting edge (otherwise known as “ bleeding edge “) technology is exactly what it sounds like-technology that hasn’t had the opportunity to fully mature. But when the competition is willing to take the chance-and it pays off-those companies might see dividends from taking such risks.īut are those risks something that would benefit your company? Let’s dive in. This level of advancement in the field of technology does make many businesses nervous. The moment containers caught on, Kubernetes came into being. As soon as the cloud was developed, cloud-native deployments became all the rage. New software, software stacks, hardware, and ideas are born and made ready so fast many businesses cannot keep up. Technology moves at an extremely rapid pace these days. We consider the center cell to be in position 13 and the six Von Neumann neighbors share “faces” and have positions 4, 10, 12, 14, 16 and 22. Imagine a 3 by 3 by 3 block of cells numbered as in the three planes shown below. In a rectangular three dimensional grid there are various highly symmetric choices for neighborhoods. A site is considered debris Cyclic cellular automata in 3-dimensions Note that once a bond is open it must remain open for all future time. The bond between two neighbors is open if the difference between their states is −1, 0, 1 mod N. Section snippets Cyclic cellular automata and terminologyĪ cyclic cellular automaton is defined as an automaton where each cell takes one of N states 0, 1, 2, … , N − 1 and a cell in state i changes to state i + 1 mod N at the next time step if it has a neighbor that is in state i + 1 mod N, otherwise it remains in state i at the next time step. We also see that demons have a great deal of more freedom to evolve in complex forms. In this paper we experimentally explore the 3-dimensional analogs of spirals and see that they depend upon neighborhood shape. Previous theoretic work on 3-dimensional periodic spirals motivated by chemical reactions shows that there are limits on possible configurations and an exclusion principle is developed. The same analysis means that CCA on 3-dimensional rectangular grids should also evolve through phases to a final nontrivial periodic configuration. Readers interested in a more complete explanation should consult those references. The fact that cyclic cellular automata on random backgrounds are expected to evolve into a periodic organized state can be explained, , as will be tersely described in the next section. Generally speaking, the general form of the spirals echoed the neighborhood shapes in the sense that their form roughly followed the form of an inverted outline of the neighborhood, but spiraling and periodic. In those automata were investigated using a wide variety of neighborhoods including asymmetric and quasicrystalline neighborhoods. The end result is visually dramatic, periodic spirals that self-organize. When CCA are applied to a random initial configuration in 2D, they typically evolve through distinct phases that have different appearances. We will refer to them as cyclic cellular automata (CCA). He states they were discovered by David Griffeath who subsequently investigated them with others. ĭewdney described cyclic cellular automata in Scientific American in 1989 where they were called cyclic state automata. Perhaps the most famous cellular automata is Conway’s Game of life that was popularized by Martin Gardner’s Scientific American columns, and has since been shown to be capable of universal computation,. Cellular automata are valuable because they may be described using simple local rules yet the global behaviors that evolve from those rules can be extremely rich. At each time step the states of all cells are updated according to a local rule that depends only upon the state of the cell and its neighbors. At every time step each cell is in a state and the set of allowed states is usually finite. The model can be used to study the grain growth process of Fe-1C-1.5Cr alloy steel under three-dimensional conditions.A cellular automaton is a collection of cells each of which has neighbors. The results show that the model established in this paper can well describe the austenite grain growth process of Fe-1C-1.5Cr alloy steel at different temperatures. The paper presents the calculation steps of the three-dimensional cellular automaton model and the calculation methods of key parameters such as grain boundary curvature and grain growth speed, and validates the model calculation results. The strength of neighbor lattice point’s influence is determined by the distance from the center lattice point. This model proposes a discrete representation of the three-dimensional grain boundary curvature, and calculates the 26 neighbor lattice points to the center lattice point in three-dimensional space. A three-dimensional (3D) cellular automaton model describing the austenite grain growth process of Fe-1C-1.5Cr alloy steel is established. |