1,742,248 research outputs found
Simone De Haan/Greg Schiemer: Improvisation (1983)
No full text"In 1976 Greg Schiemer began designing and building some simple electronic circuits which he mounted in plastic kitchenware and called the Tupperware Gamelan. Having played both in a real gamelan and in a r ve improvisation group with AZ music, his initial objective was to form an ensemble of musicians playing small unsophisticated electronic musical instruments. In 1983 Kai Tai Chan, director of the One Extra Company, proposed a work using instruments of the Tupperware Gamelan, as part of a stage set for a dance performance. TheresultingworkwasPorcelainDialogue. TheGamelan by this time included sixteen analog oscillators and a digital control unit. Instead of being a collection of instruments played by a large number of people, each of these instruments, called UFOs, was modified to allow it to be used as a pendulum, functioning as part of a stage set and operated by a single performer. Each oscillator was mounted in a small Tupperware container which contained a tiny amplifier and loudspeaker. These were suspended from the ceiling of the theatre by the cable~ that connected them to the digital logic box. In performance, these containers were swung back and forth, further dispersing the sound. The pitches, timbres and rhythms the oscillators played were determined by the digital control unit. This control unit, constructed in a much larger piece of Tupperware, had a number of switches on its cover. In performance, these were operated by one of the dancers, who followed a score of symbols such as '3 :30, C3 down' , meaning tum switch C3 down at 3 minutes and 30 seconds into the piece. The heart of the digital control unit was an 8-bit pseudo-random sequence generator. This provided two separate binary signals for each of four binary-to-decimal decoders, each of which drove the lines going to one of sixteen oscillators. Any group of four lines could be made to switch on or off depending on the two binary signals controlling the decoder, the resultant melodic movement at times beating in unison with another oscillator, at times 'jumping' from one oscillator to another, at times proceeding like a conventional hocket. These binary lines had additional switches which allowed Boolean transposition of the code. For example, a sequence of code such as 1, 3, 2, 4 could be transposed to 2, 1, 3, 4 by altering one binary switch. This meant that the spatial path followed by the melodic line could be affected by the four possible combinations of two switches. The logic signals which drove the control lines could also be modulated with audio signals, forcing side-bands from each of the local oscillators. In this way, each of the sixteen oscillators was capable not only of producing four pitches unmodulated, but was able to produce a va~t variety of timbres, usmg methods of modulation with properties similar to both pulse-width modulation and amplitude modulation. The instrnments heard in this recording are the ones used for Porcelain Dialogue. They were set up to swing from the ceiling of the Lewellyn Hall in Canberra, and then played by the composer in this improvisation with rombonist Simone de Haan. This recording of the Tupperware Gamelan though realising something less than the full potential of the instruments, is the only one available." -- Greg Schieme
Simone De Haan: Major C (1980)
No full text"Major C consists of a C major chord, the individual notes of the chord recorded in real time ( although some tracks were recorded at slow speeds), and multi-tracked to create a massive layer of sound. The process was primarily concerned with creating subtle changes in timbre, attack and intonation within the overall sound of the chord. Major C was initially recorded at the Queensland Conservatorium of Music in 1980." -- Simone de Haa
"Wenn Menschen frei sind, wirkt Coaching effektiver":Interview mit Erik de Haan
No full textIn einer neuen Metaanalyse haben zwei Wissenschaftler die Effektivität von Coaching untersucht und allein schon für ihr Studiendesign viel Beachtung erhalten. Zudem sind die Ergebnisse zum Teil durchaus erstaunlich. Studienautor Erik De Haan erklärt im Interview, welche Faktoren Coaching effektiver machen und warum er Coaching-Plattformen kritisch sieht
Third Ways Out of the Crisis of Liberalism: Moderation and Radicalism in Germany, 1880-1950
Get PDFIdo de Haan argues that at the end of the nineteenth century, debates about the middle way shifted ground from the constitutional and moral foundation of post-Revolutionary politics, to the preconditions of a stable socio-economic order. Searching for a middle way between ideological extremes, German economists and sociologist aimed to identify a ‘third way’ as an alternative to both unrestrained capitalism and oppressive socialism. In many ways, the varieties of new and neoliberalism are continuation of the politics of moderation. Yet the search for a middle ground did not always lead to political moderation: third ways could also lead to the radical politics of the Third Reich
Ervaringen van een praktijkman
No full textHein de Haan heeft jarenlange ervaring met het ontwerp en de begeleiding van CPO-projecten: de praktijkman aan het woord
Nitraatconcentraties nog te hoog (interview Janjo de Haan en Brigitte Kroonen)
No full textArtikel n.a.v. presentatie van Janjo de Haan en Brigitte Kroonen tijdens Kennisdag Bodemkwaliteit op zand en mestbelei
Criotettix japonicus De Haan
No full text10. Criotettix japonicus (De Haan), 1842 Acridium (Tetrix) bispinosum var. japonicum De Haan, 1842, Verh. Natuur. Geschied. Nederl. Overz. Bezitt., p. 169. Criotettix japonicus (De Haan); Gunther, 1938, Stettin. Ent. Ztg., 99: 147. Criotettix japonicus (De Haan); B.-Bienko & Mishchenko, 1951, Opred. Faune SSSR, 38: 90. Criotettix japonicus (De Haan); Blackith, 1992, Tetrigidae of S.E. Asia, 37. Criotettix japonicus (De Haan); Liang & Zheng, 1998, Fauna Sinica, Insecta vol. 12, Orth. Tetrigoidea, 81–82. Criotettix japonicus (De Haan); Zheng, 2005, Fauna of the Tetrigoidea from Western China. 83–85. Specimens examined: 7 ɗ 5 ΨP. R. CHINA: Guangxi: Huangjiang (Daan), 2005 -VII- 10; 1 ɗ 5 Ψ P. R. CHINA: Guangxi:Lipu, 2005 -VII- 17; 2 ɗ 1 Ψ P. R. CHINA: Guangxi: GuiLing (Zhaoyang), 2005 -VII- 14; 2 Ψ P. R. CHINA: Guangxi: Lingshan, 2005 -VIII- 24; 3 ɗ 1 ΨP. R. CHINA: Yunnan: Pingbian (Daweishan), 2005 -VII- 25; 3 ɗ 1 Ψ, P. R. CHINA: Yunnan: Funing(Funingpo), 2005 -VIII-04. Dstribution: P. R. China: Yunnan, Guangxi, Hunan, Guangdong, Sichuan, Guizhuo.Published as part of Wei, Shizhen, Zheng, Zhemin & Deng, Weian, 2007, A review of the genus Criotettix Bolivar (Orthoptera: Scelimenidae) from China, pp. 39-49 in Zootaxa 1423 on page 45, DOI: 10.5281/zenodo.17569
‘Enorme leerkans voor nieuwe deelnemers in project’ : Koeien & kansen zoekt deelnemers uit noorden of zuidwesten, zegt projectleider Michel de Haan
No full textKoeien & Kansen zoekt deelnemers uit noorden of zuidwesten, zegt projectleider Michel de Haan, projectleider bij Wageningen Livestock Research
Lyreidus De Haan 1841
No full textGenus Lyreidus De Haan, 1841 Lyreidus De Haan, 1841: 137. Type species. Lyreidus tridentatus De Haan, 1841, by monotypy. Species included. Lyreidus antarcticus Feldmann & Zinsmeister, 1984, L. bennetti Feldmann & Maxwell, 1990, L. brevifrons Sakai, 1937, L. elegans Glaessner, 1960, L. fastigatus Rathbun, 1919, L. hungaricus Beurlen, 1939, L. lebuensis Feldmann & Chirono-Gálvez in Feldmann, 1992, L. stenops Wood-Mason, 1887, L. tridentatus De Haan, 1841, L. waitakiensis Glaessner, 1980, and L. sp. (sensu Karasawa 1993).Published as part of Van Bakel, Barry W. M., Guinot, Danièle, Artal, Pedro, Fraaije, René H. B. & Jagt, John W. M., 2012, A revision of the Palaeocorystoidea and the phylogeny of raninoidian crabs (Crustacea, Decapoda, Brachyura, Podotremata) 3215, pp. 1-216 in Zootaxa 3215 (1) on page 83, DOI: 10.11646/zootaxa.3215.1.1, http://zenodo.org/record/524864
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