Steve Wiest is an American trombonist, arranger, big band director, music educator at the collegiate level, jazz clinician and illustrator/cartoonist. From 1981 to 1985, he was a featured arranger with the Maynard Ferguson Band. Wiest is in his sixth year as Associate Professor of Jazz Studies and Commercial Music at the University of Denver Lamont School of Music, he is the Coordinator of the 21st Century Music Initiative at the school. Wiest has been a professor for thirty-one of the thirty-nine years that he has been a professional trombonist and arranger. From 2007 to 2014, Wiest was Associate Professor of Music in Jazz Studies at the University of North Texas College of Music and, from March 2009 to August 2014, he was director of the One O'Clock Lab Band and coordinator of the Lab Band program. At North Texas, Wiest taught conducting and oversaw The U-Tubes — the College of Music's jazz trombone band. Wiest is a three-time Grammy nominee — individually in 2008 for Best instrumental Arrangement and in 2010 for Best Instrumental Composition, collaboratively in 2010 for Best Large Jazz Ensemble Album, which he directed.
As of 2013, Wiest has in excess of 58 arrangements and compositions to his credit, which include 10 original compositions from his current project. After attending Hattiesburg High School, in Hattiesburg, Wiest completed a bachelor's degree in Jazz Studies at the University of Southern Mississippi, mentored by Raoul F. Jerome. After graduation, he joined the band of Maynard Ferguson as a featured trombonist and one of two arrangers, touring five to seven months a year from 1981 to 1985. In 1985, Wiest began graduate school at the University of North Texas, earning a master's degree in Jazz Studies in 1988. While there, he played lead trombone in the One O'Clock Lab Band, which toured Australia in 1986 and produced one live album, four studio albums. Three of his compositions and one arrangement were recorded on Lab'86, Lab'87, Lab'88, another composition was recorded on Lab'89, after he graduated; as a grad student, Wiest directed the Nine O'Clock Lab Band, served as an arranging TA for Paris Rutherford, directed the Three O'Clock Lab Band.
Wiest studied trombone with Vern L. Kagarice, DMA. Independently, Wiest studied trombone with Jay Friedman of the Chicago Symphony. From 1988 to 1990, Wiest served as Assistant Director of Jazz Studies at the University of Texas at Arlington, among other things, he ran the UTA Improvisation Camp and directed the Small Jazz Group Program. For 17 years, from 1990 to 2007, Wiest was the Director of Jazz Studies and Trombone Performance at University of Wisconsin–Whitewater, directing jazz ensembles, which included a standard modern big band and the university's premier jazz band: an Art Blakey-style small group called The Jazz Symposium, he taught improvisation, music history and classical trombone. For a number of years, Wiest was a member of the Faculty Brass Quintet Establishing a small group, rather than a big band, as the premier jazz ensemble and intensified advanced music laboratory was a pedagogical innovation of Wiest; the Jazz Symposium produced one featuring guest artist Ernie Watts.
Under the direction of Wiest, The Jazz Symposium performed at the North Sea Jazz Festival, the Montreux Jazz Festival, King's College London From 1994 to 1999, Wiest was a member of the Doc Severinsen Big Band. In 2006, Wiest reunited with Maynard Ferguson for Ferguson's final series of concerts: 6 nights, 12 sold-out performances at The Blue Note, Greenwich Village. From the fall of 2007 until August 2014, Wiest was at the University of North Texas as Assistant Professor of Jazz Composition and Jazz Trombone. Wiest founded the College's trombone band. In May 2009, Wiest became director of One O'Clock Lab Band and coordinator of the Lab Band Program, after having served as interim director since August 2008. Since 2014 Wiest has been Coordinator of the 21st Century Music Initiative at the University of Denver Lamont School of Music. In August 2013, Wiest, a sci-fi enthusiast, published a sci-fi novel, The Dover Stone: A Concerto for Folded Space. Wiest explains that it is built on inter-connected vignettes or movements that comprise an epic tale of life from other worlds and our place in the cosmos.
The Term "folded space" is a theoretical speed of travel, faster than the speed of light, exceeding relativistic velocity by folding space, bringing far to near, reducing the long distances to a virtual zero. The tale is the impetus for ten compositions by Wiest, who describes the works as "programmatically informed" by the science fiction." The fictional vignettes culminate to answer real-life physicist Enrico Fermi's famous question, "Where is everybody?", a reference to the wonderment of life elsewhere in the universe. The stories occur in periods from 1182 to 2457; the Steve Wiest Eclectic Electric Band will record the compositions as one album titled, Concerto for Folded Space. Wiest's compositional style ranges from straight ahead to jazz fusion, sometimes pop-rock. With this project, Wiest is experimenting with serialism, not in a strict sense, but many elements are generated from rows; the musical portion is an ArtistShare project and is scheduled for release early 2014. The band members are Wiest, Stockton Helbing, Braylon Lacy, Ryan Davidson, Noel Johnston, Daniel Pardo.
Gödel's ontological proof is a formal argument by the mathematician Kurt Gödel for the existence of God. The argument is in a line of development. St. Anselm's ontological argument, in its most succinct form, is as follows: "God, by definition, is that for which no greater can be conceived. God exists in the understanding. If God exists in the understanding, we could imagine Him to be greater by existing in reality. Therefore, God must exist." A more elaborate version was given by Gottfried Leibniz. Gödel left a fourteen-point outline of his philosophical beliefs in his papers. Points relevant to the ontological proof include 4. There are rational beings of a different and higher kind. 5. The world in which we live is not the only one in which we shall have lived. 13. There is a scientific philosophy and theology, which deals with concepts of the highest abstractness. 14. Religions are, for the most part, bad—but religion is not; the first version of the ontological proof in Gödel's papers is dated "around 1941".
Gödel is not known to have told anyone about his work on the proof until 1970, when he thought he was dying. In February, he allowed Dana Scott to copy out a version of the proof. In August 1970, Gödel told Oskar Morgenstern that he was "satisfied" with the proof, but Morgenstern recorded in his diary entry for 29 August 1970, that Gödel would not publish because he was afraid that others might think "that he believes in God, whereas he is only engaged in a logical investigation." Gödel died January 14, 1978. Another version different from Scott's, was found in his papers, it was published, together with Scott's version, in 1987. Morgenstern's diary is an important and reliable source for Gödel's years, but the implication of the August 1970 diary entry—that Gödel did not believe in God—is not consistent with the other evidence. In letters to his mother, not a churchgoer and had raised Kurt and his brother as freethinkers, Gödel argued at length for a belief in an afterlife, he did the same in an interview with a skeptical Hao Wang, who said: "I expressed my doubts as G spoke Gödel smiled as he replied to my questions aware that his answers were not convincing me."
Wang reports that Gödel's wife, two days after Gödel's death, told Wang that "Gödel, although he did not go to church, was religious and read the Bible in bed every Sunday morning." In an unmailed answer to a questionnaire, Gödel described his religion as "baptized Lutheran. My belief is theistic, not pantheistic, following Leibniz rather than Spinoza." The proof uses modal logic, which distinguishes between contingent truths. In the most common semantics for modal logic, many "possible worlds" are considered. A truth is necessary. By contrast, a truth is contingent. For instance, "more than half of this planet is covered by water" is a contingent truth, that relies upon which planet "this planet" is. If a statement happens to be true in our world, but is false in another world it is a contingent truth. A statement, true in some world is called a possible truth. Furthermore, the proof uses higher-order logic because the definition of God employs an explicit quantification over properties. First, Gödel axiomatizes the notion of a "positive property": for each property φ, either φ or its negation ¬φ must be positive, but not both.
If a positive property φ implies a property ψ in each possible world ψ is positive, too. Gödel argues that each positive property is "possibly exemplified", i.e. applies at least to some object in some world. Defining an object to be Godlike if it has all positive properties, requiring that property to be positive itself, Gödel shows that in some possible world a Godlike object exists, called "God" in the following. Gödel proceeds to prove. To this end, he defines essences: if x is an object in some world a property φ is said to be an essence of x if φ is true in that world and if φ entails all other properties that x has in that world. Requiring positive properties being positive in every possible world, Gödel can show that Godlikeness is an essence of a Godlike object. Now, x is said to exist if, for every essence φ of x, there is an element y with property φ in every possible world. Axiom 5 requires necessary existence to be a positive property. Hence, it must follow from Godlikeness. Moreover, Godlikeness is an essence of God, since it entails all positive properties, any non-positive property is the negation of some positive property, so God cannot have any non-positive properties.
Since necessary existence is a positive property, it must be a property of every Godlike object, as every Godlike object has all the positive properties. Since any Godlike object is existent, it follows that any Godlike object in one world is a Godlike object in all worlds, by the definition of necessary existence. Given the existence of a Godlike object in one world, proven above, we may conclude that there is a Godlike object in every possible world, as required. Besides axiom 1
Newsbeuter is a text-based news aggregator for Unix-like systems. It was written by Andreas Krennmair in 2007 and released under the MIT License; the program is aimed at power users and strives to be "the mutt of rss feed readers." It supports the major feed formats including RSS and Atom and can import and export subscription lists in the OPML format. Newsbeuter supports podcasting and synchronization; as of 2017, the project is no longer maintained. "Newsbeuter" is a pun on the German word "Wildbeuter", which means "hunter-gatherer". According to Clifford Wolf, credited for coming up with the name, "during the stone age, people hunted and gathered their food, these days, they hunt and gather news and information." Newsbeuter is controlled by the keyboard, its default keybindings resemble those of vi. The program supported synchronization with Google Reader since version 2.2, but this feature was removed when Google discontinued Google Reader. Support for alternatives such as The Old Reader and NewsBlur was introduced in version 2.8.
Newsbeuter's appearance and keyboard shortcuts are configured with a single text file. Newsbeuter was the most popular news reader among Arch Linux users in 2012, received 1.8% of votes in the "Best RSS Reader" category in a 2013 survey by Linux Journal. The program is featured in magazine articles and software lists to demonstrate the power and versatility of the command line interface; as an alternative to compiling the source files, Newsbeuter can be installed from pre-built binary packages on Debian, Arch Linux, Slackware, FreeBSD, OpenSUSE, Mandriva, PLD Linux, OS X through the Homebrew package manager. List of feed aggregators Comparison of feed aggregators Official website newsbeuter on GitHub Development blog
The Alexandrine Sinodos is a Christian collection of Church Orders. This collection of earlier texts dates from the 4th or 5th century CE; the provenience is Egypt and it was used in the ancient Coptic and Ethiopian Christianity. The original text, written in Greek is now lost. Translation in Ge'ez, Bohairic Coptic, Sahidic Coptic and Arabic remain extant; the Sahidic translation is found in British Museum manuscript or.1820, dated 1006, was published in 1883 by Paul de Lagarde. A new edition was published in 1954 by Till and Leipold The Sahidic version lacks of some prayers found in other manuscripts; the Arabic translation is complete and dates to before 1295 CE. It is found in Vaticanus manuscript ar.149, was published in 1904 by George William Horner. Editions were published by J. Perier in 1912 and Turnhout in 1971; the Ge'ez translation, which dates from the 13th century, is a complete copy of the original with additional interpolations. It is found in British Museum manuscript or.793, was published in 1904 by George William Horner.
The Bohairic translation was made in 1804 from the Sahidic text, was published in 1848 by Henry Tattam. The more ancient translations are the Arabic versions; the Ge'ez version is derived from the Arabic one The Alexandrine Sinodos is a collection of Church Orders divided in seven books. It is so composed: Book 1 includes the Apostolic Church-Order Books 2 and 3 include the Egyptian Church Order Books 4 to 7 include the eighth book of the Apostolic Constitutions, without the last chapter and without the liturgical prayers; the numbering of the chapters is different in each version. The Sahidic and Bohairic versions divide the Apostolic Church-Order in 30 chapters, while the Arabic and Ge'ez versions divide it in 20 chapters; the Sahidic and Bohairic versions have the Apostolic Tradition from the 31 to 62, while the Arabic and Ge'ez versions from 21 to 47. Apostolic Constitutions Verona Palimpsest G. W. Horner, The statutes of the apostoles or Canones Ecclesiastici, 1904: English text of the Ge'ez version, of Arabic version and of the Sahidic version Henry Tattam The Apostolical Constitutions, or Canons of the Apostles 1848: English text of the Bohairic version
Gerald Busby is a Texas-born American composer. Busby was born in Texas, he studied piano as a child. He attended Yale where he studied music in college, but once graduated, began working as a traveling salesman. At age 40 he began to compose, a direction which surprised him. In 1977, with the assistance of Virgil Thomson, he moved to the Hotel Chelsea in New York City where he has written most of his work. Living at the Hotel Chelsea brought him into contact with numerous cultural figures. One of them was his then-partner Wallace Potts. Potts gave Paul Taylor a recording by Busby's music, which led to Busby writing the score for Taylor's dance Runes. Regarding his scores for Paul Taylor's dance "Runes" and Robert Altman's film 3 Women, Busby said "Those two pieces are acknowledged as masterpieces, so that I know they’ll last beyond me,” Mr. Busby said. “Not because what I did was a masterpiece, but I was part of it."In 1985 Busby was diagnosed with HIV as was his partner Samuel Byers. Byers died on December 14, 1993.
"Sam’s death was just unbearable... He withered away. I was there the whole time with him and taking care of him, so I just went nuts." After a bout of depression and drug addiction, he began composing again. In 2007, his monthly income amounted to $658 from Social Security, $78 in disability payments, $156 in food stamps. Income from his music was undependable; the New York Times ran him as one of their "most neediest cases." Through the Federation of Protestant Welfare Agencies, Busby was able to receive $754.96 for digitizing recordings made on perishable cassette tape. Despite being HIV positive, he claims that his immune system has regenerated, something he attributes to his daily practice of reiki, he continues to live at the Hotel Chelsea. Rehrmann, Alexis. "Back From the Edge, Living His Life Note by Note". New York Times. Retrieved 2015-09-06. Gopnik, Adam. "The Last Living Bohemian in Chelsea Tells All". New Yorker. Retrieved 2015-09-06. Lucas, Craig. "Gerald Busby". BOMB-Artists in Conversation.
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