The 2014 NFL season was the 95th season in the history of the National Football League. The season began on Thursday, September 4, 2014, with the annual kickoff game featuring the defending Super Bowl XLVIII champion Seattle Seahawks hosting the Green Bay Packers, which resulted with the Seahawks winning, 36-16; the season concluded with Super Bowl XLIX, the league's championship game, on Sunday, February 1, 2015, at University of Phoenix Stadium in Glendale, with the New England Patriots defeating the Seattle Seahawks, 28–24, in one of the closest games in Super Bowl history. The 2014 league year began at 4 pm EST on March 11, which marked the start of the league's free agency period; the per-team salary cap was set at a $10 million increase from the previous year. The so-called "legal tampering" period during which time agents representing prospective unrestricted free agent players were allowed to have contact with team representatives with the purpose of determining a player's market value and to begin contract negotiations, began at noon on March 8.
A total of 471 players were eligible for some form of free agency at the beginning of the free agency period. In addition, a number of paid players were released after the start of the league year to allow their teams to regain space under the salary cap. Among the high-profile players who changed teams via free agency were cornerbacks Darrelle Revis, Dominique Rodgers-Cromartie, Aqib Talib and Alterraun Verner. Four players were assigned the non-exclusive franchise tag by their teams, which ensured that the team would receive compensation were the player to sign a contract with another team; these players were defensive end Greg Hardy, tight end Jimmy Graham, placekicker Nick Folk and linebacker Brian Orakpo. Two other teams used the transition tag, which offers the player's current team a chance to match offers from other franchises and guarantees draft pick compensation if a tagged player signs elsewhere. Players given the transition tag were Jason Worilds and Alex Mack. Mack signed a five-year, $42 million offer sheet with the Jacksonville Jaguars which included $26 million in guaranteed money and a player option to void the contract after two seasons.
The Browns retained Mack who became the league's highest paid center. One restricted free agent switched teams in 2014: wide receiver Andrew Hawkins of the Bengals was signed by the Browns. Restricted free agents are players with three or fewer seasons in the league whose contracts have expired. Teams may tender contract offers which allow them to match offers from other teams and may trigger draft pick compensation to be received from the signing team. Hawkins was tendered at the minimum level, which means the Bengals would not receive any draft compensation; the Browns signed him to a $13.6 million, four-year offer. Saints safety Rafael Bush signed an offer from the Falcons, but the Saints retained Bush by matching the offer; the 2014 NFL Draft was held May 8 -- 2014, in New York City. The draft process began with the NFL Scouting Combine, where draft-eligible players were evaluated by team personnel, held in Indianapolis on February 19–25; the draft included a record number of 98 non-seniors.
The event was delayed two weeks compared to its traditional position on the NFL calendar in late April due to a scheduling conflict at Radio City Music Hall, the draft venue since 2006. In the draft, the Houston Texans made University of South Carolina defensive end, now outside linebacker Jadeveon Clowney the first overall selection. There was discussion leading up to the draft as to the future of the event in New York City, where it had been held since 1965. Given the increased interest in the draft over the past decade, there was a belief that the event may have outgrown Radio City Music Hall, the venue for the past nine drafts; the possibility of extending the draft to four days was being discussed. On October 2, 2014, Auditorium Theatre in Chicago was announced as the official site for the following year's draft. Training camps for the 2014 season were held in late July through August. Teams may start training camp no earlier than 15 days before the team's first scheduled preseason game.
Prior to the start of the regular season, each team played four preseason exhibition games. The preseason schedule got underway with the Pro Football Hall of Fame Game on Sunday evening, August 3; the Hall of Fame game is a traditional part of the annual Pro Football Hall of Fame induction weekend celebrating new Hall of Fame members. It was played at Fawcett Stadium, located adjacent to the Hall of Fame building in Canton, Ohio; the game, televised in the U. S. on NBC, featured the New York Giants and Buffalo Bills, with the Giants winning 17–13. Continuing the recent trend of schedul
In music, moment form is defined as "a mosaic of moments", and, in turn, a moment is defined as a "self-contained independent section, set off from other sections by discontinuities". The concept of moment form, the specific term, originated with the composition Kontakte by Karlheinz Stockhausen. A "moment", in Stockhausen's terminology, is any "formal unit in a particular composition, recognizable by a personal and unmistakable character." It can be either a mixture of the two. "Depending on their characteristics, they can be as long or as short as you like". "Moment forming", on the other hand, is a compositional approach in which a narrative overall line is deliberately avoided. The component moments in such a form are related by a nonlinear principle of proportions. If this system of proportions exhausts a set of possibilities, the form is said to be "closed". Moment form does not avoid perceptible goal-directed processes. "They refuse to participate in a globally directed narrative curve, not their purpose".
In Stockhausen's words, works with this propertyneither aim at the climax, nor at prepared multiple climaxes, the usual introductory, rising and fading-away stages are not delineated in a development curve encompassing the entire duration of the work. On the contrary, these forms are intense and seek to maintain the level of continued "main points", which are equally present, right up until they stop. In these forms a minimum or a maximum may be expected in every moment, no developmental direction can be predicted with certainty from the present one, they are forms in which an instant does not have to be just a bit of a temporal line, nor a moment just a particle of a measured duration, but rather in which concentration on the Now—on every Now—makes vertical slices, as it were, that cut through a horizontal temporal conception to a timelessness I call eternity: an eternity that does not begin at the end of time but is attainable in every moment. I am speaking of musical forms in which nothing less is being attempted than to explode the temporal concept—or, put more accurately: the concept of duration....
In works of this kind the start and stop are open and yet they cease after a certain duration. Besides Kontakte, works cited by Stockhausen as being concerned with moment forming include the earlier Gesang der Jünglinge, as well as the subsequent Carré, Mixtur, Mikrophonie I, Mikrophonie II, Hymnen, Samstag aus Licht, Michaelion from Mittwoch aus Licht, Himmelfahrt and Himmels-Tür; the concept of moment form has been confused with mobile forms, because in four of these compositions, the component moments can be ordered in different ways. Several other works by Stockhausen have this "mobile" feature, without falling into his category of moment form, for example, Klavierstück XI, Refrain and Sirius. Certain works by other composers, both earlier and contemporaneous, such as István Anhalt, Earle Brown, Elliott Carter, Barney Childs, Roberto Gerhard, Michael Gielen, Hans Werner Henze, Charles Ives, Witold Lutosławski, Olivier Messiaen, Morgan Powell, Roger Reynolds, Joseph Schwantner, Roger Sessions, Igor Stravinsky, Anton Webern, Stefan Wolpe, Yehuda Yannay, Frank Zappa, have been cited as instances of moment form.
Albaugh, Michael D. 2004. "Moment Form and Joseph Schwantner's Aftertones of Infinity". DMA diss. Morgantown: West Virginia University. ISBN 0549737960. Clarkson, Austin. 2001. "Wolpe, Stefan." The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. In Grove Music Online. Oxford Music Online. Dack, John. 1999. "Kontakte and Narrativity". EContact 2, no. 2. Kaletha, Holger. 2004. "Decomposition of the Sound Continuum: Serialism and Development from a Genetic-Phenomenological Perspective." Perspectives of New Music 42, no. 1: 84–128. Kohl, Jerome. 1981. "Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968". Ph. D. diss. Seattle: University of Washington. Kramer, Jonathan. 1978. "Moment Form in Twentieth Century Music". The Musical Quarterly 64:177–94. Kramer, Jonathan. 1988. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books. Morgan, Robert. 1975. "Stockhausen's Writings on Music".
The Musical Quarterly 61, no. 1: 1–16. Reprinted in The Musical Quarterly 75, no. 4: 194–206. Sa
Rolf Dieter Brinkmann was a German writer of poems, short stories, a novel, essays and diaries. Rolf Dieter Brinkmann is considered an important forerunner of the German so-called Pop-Literatur, he published nine books of poems in the 1960s, dealing with the appearance of the present culture and the sensual experience of active subjectivity. During that period he wrote Keiner weiß mehr, a novel of modern family life, his early prose was inspired by the French nouveau roman. The precision of description of this style never left him, but merged in his poetry with influences from Gottfried Benn and William Carlos Williams, Frank O'Hara, Ted Berrigan. In 1972/73 Brinkmann was a recipient of a fellowship at the German Academy Villa Massimo in Rome, his sensibility and the despair of civilisation permeating Rom and the other posthumously published prose writings goes deep. The spring of 1974 he was a visiting lecturer at the German Department of University of Texas at Austin, he was posthumously awarded the Petrarca-Preis in 1975 for his major and praised and influential last book of poetry Westwärts 1 & 2.
In 2005 a new expanded edition of this book was published with 26 longer poems added as well as a 75 pages long postscript by the author. These parts were reluctantly excluded from the first edition by Brinkmann as the publisher thought the book was too extensive. After a couple of readings at Cambridge Poetry Festival some weeks before the publication of Westwärts 1 & 2, he was killed in a hit-and-run-accident in central London. Vorstellung meiner hände ISBN 978-3-498-00667-9 Briefe an Hartmut 1974-1975 ISBN 3-498-00608-8 Schnitte. ISBN 3-498-00525-1 Erkundungen für die Präzisierung des Gefühls für einen Aufstand: Träume, Aufstände, Morde: Reise, Magazin: die Story ist schnell erzählt ISBN 3-499-25169-8 Erzählungen ISBN 3-498-00493-X Der Film in Worten: Prosa, Erzählungen, Essays, Hörspiele, Collagen, 1965-1974 ISBN 3-498-00469-7 Standphotos. Gedichte 1962-1970 ISBN 3-498-00461-1 Rom, Blicke. ISBN 3-499-25094-2 Westwärts 1 & 2. ISBN 3-499-25063-2 ISBN 3-498-00528-6 Keiner weiß mehr. Like a Pilot: Rolf Dieter Brinkmann, Selected Poems, 1963-1970.
Under Glass, a foldout broadsheet of 13 poems, translated by Mark Terrill. An Unchanging Blue, Selected Poems 1962-1975, trans. Mark Terrill, 222 p. ISBN 1-60235-198-8 Long poem Some Very Popular Songs, trans. Mark Terrill, published in B O D Y John MacKay and Modernity: From Wordsworth to Mandelstam, esp. pp. 28– 34. ISBN 0-253-34749-1 Heinz Ludwig Arnold, Zeitschrift text + kritik, Themenheft: Rolf Dieter Brinkmann. Nr. 71, 1981, ISBN 3-88377-074-4 Index of contents With an annotated selected bibliography. Johann Reißer: Archäologie und Sampling - Die Neuordnung der Lyrik bei Rolf Dieter Brinkmann, Thomas Kling und Barbara Köhler. Kulturverlag Kadmos, Berlin 2014, ISBN 978-3-86599-222-2. Thomas Boyken, Ina Cappelmann und Uwe Schwagmeier: Rolf Dieter Brinkmann: Neue Perspektiven. Orte, Helden, Körper. Fink, München 2010, ISBN 978-3-7705-4945-0. Theo Breuer: Was Neues im Westen oder Brinkmann macht weiter. In: T. B.: Aus dem Hinterland. Lyrik nach 2000. Edition YE, Sistig 2005. Maleen Brinkmann: R. D. Brinkmann.
Literaturmagazin 36. Rowohlt, Reinbek 1995, ISBN 3-498-03892-3. Karl-Eckhard Carius: Brinkmann. Schnitte im Atemschutz. Edition text + kritik, München 2008. Roberto Di Bella: ‚... das wildgefleckte Panorama eines anderen Traums‘. Rolf Dieter Brinkmanns spätes Romanprojekt. Königshausen & Neumann, Würzburg 2015, ISBN 978-3826050848. Otto Dörner: Rolf Dieter Brinkmann – Der Dichter aus Vechta. In: Jahrbuch für das Oldenburger Münsterland 1987. Vechta 1986, S. 322–340. Gunter Geduldig, Ursula Schüssler: /:Vechta! Eine Fiktion!/: der Dichter Rolf Dieter Brinkmann. Secolo, Osnabrück 1995. Id.: Bibliographie R. D. Brinkmann. Aisthesis, Bielefeld 1997. Id.: Amerikanischer Speck, englischer Honig, italienische Nüsse. Rolf Dieter Brinkmann zum 60. Eiswasser. Zeitschrift für Literatur, 7. Jahrgang, 2 Bände, Eiswasser Verlag 2000. Ders. Und Marco Sagurna: Too much. Das lange Leben des Rolf Dieter Brinkmann. 2. Ed. Eiswasser, Vechta 2000. - Collection of interviews with friends and writers. Oliver Kobold: Lange nachdenkliche Gänge.
Rolf Dieter Brinkmanns Lyrik und Prosa 1959–1962. Universitätsverlag WINTER, Heidelberg 2014. Andreas Moll: Text und Bild bei Rolf Dieter Brinkmann. Intermedialität im Spätwerk. Peter Lang, Frankfurt am Main 2006. Hansjürgen Richter: Ästhetik der Ambivalenz. Studien zur Struktur „postmoderner“ Lyrik, exemplarisch dargestellt an Rolf Dieter Brinkmanns Poetik und dem Gedichtband „Westwärts 1 & 2“.' Peter Lang, Frankfurt am Main 1983. Jan Röhnert, Gunter Geduldig: Rolf Dieter Brinkmann. Seine Gedichte in Einzelinterpretationen. 2 vols. Walter de Gruyter, Berlin 2012, ISBN 978-3-11-022362-0. Jörgen Schäfer: Pop-Literatur. Rolf Dieter Brinkmann und das Verhältnis zur Populärkultur in der Literatur der sechziger Jahre. M & P Verlag für Wissenschaft und Forschung, Stuttgart 1998. Stephanie Schmitt: Intermedialität bei Rolf Dieter Brinkmann. Konstruktionen von Gegenwart an den Schnittstellen von Text, Bild und Musik. Transcript, Bielefeld 2012, ISBN 978-3-8376-2224-9. Udo Seinsoth: Katalog Nr. 20. Bibliografie der Veröffentlichungen.
Antiquariat Beim Steinernen Kreuz: Rolf Dieter Brinkmann zum 50. Geburtstag. Eigenverlag, Breme