Podcasts about sequitur

NUNTII PRESCRIPTI IN SERMONE LATINO EX UNIVERSITATIS PANAMERICANAE DISCENTIBUS ET EX LUIS PESQUERA OLALDE. News translated into Latin by the students of the Universidad Panamericana and by Luis Pesquera Olalde. DE SCRIPTURAE PRAESENTATIONE. TRANSALTIONES IN LITTERIS CAPITALIBUS (VEL MAGNIS) SUNT. GRAMATICAE ADDENDA ET EXERCITIA IN LITTERIS PARVIS SUNT. About the writing format. Translations are presented in capital letters. Grammar notes and exercises are presented in lower case. ‘‘NUNTII EX PERIODICIIS HEBDOMADARIIS: SECUNDUM CALENDARIUM IULIANUM ‘A DIE VICESIMO SECUNDO MENSIS AUGUSTI’ ‘AD DIEM VICESIMUM QUINTUM ENSIS AUGUSTI’ ‘ANNO DOMINI BIS MILLESIMO VICESIMO QUARTO’ ‘SUNT’. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA ET ANGLICA’ ‘AUDIS’! IN CIVITATIBUS FOEDERATAE AMERICAE. TRANSLATIONES A CASANDRA FREIRE SUNT. SICAGUM, ILLINOESIA. 'DEMOCRATAE' 'IN CHICAGO COLLEGERUNT' 'PROPTER CONVENTIONEM NATIONALEM FACTIONEM', [UBI KAMALA HARRIS PROPRIE VOCANDA ESSET] [UT CANDIDATA PRAESIDENTIALIS PARTITUM EIUS]. {De syntaxe: orationem secundariam temporalem attende} // 'LINDSEY GRAHAM, 'SENATOR FACTIONIS REPUBLICANAE', 'CUM FIDES IN TRUMP', MONUIT [UT 'TRUMP' 'PERDET COMITIA'], [SI 'CONTINUE CURRICULAE KAMALA HARRIS APPELARET] ET ['SIBI IGNOMINIAM' INURERET 'ATQUE NE NEGOTIA POLITICA']. {De syntaxe: orationem secundariam conditionalem attende} // 'BRENTWOOD CALIFORNIA'. ['ROBERTUS FRANCISCUS KENNEDY JR.', ‘DICITUR’ ['PROXIME HEBDOMAS' ‘PROPE VITAE CURRICULUM CONFECISSE’] ]. {De syntaxe: orationem secundariam completivam infinitive in acusativo attende} // VASINTONIA. ‘MAGISTRATI AD CRIMINA INVESTIGANDUM’ ‘IN CIVITATE FOEDERATAE AMERICAE’ ‘CONFIRMAVERUNT’ [‘IRAN’ ‘POST RECENTEM CYBERTUMULTUS’ ‘FECISSE’ AD DONALD TRUMP EXPEDITIONEM PRAESIDENTIALEM']. {De syntaxe: orationem secundariam completivam infinitive in nominativo attende} IN IAPONIA. [‘PRIMUS MINISTER IAPONIAE, FUMIO KISHIDA’, DECLARAVIT [EUM AD FACTIONIS SUIS COMITIA NON ADFUTURUM ESSE] ]. {De syntaxe: orationem secundariam completivam infinitivi in accusativo attende} IN THAILANDIA. TRANSLATIO A FERNANDA SOLÍS EST. [IN BANGKOK,] ‘PAETONGTARAN SHINAWATRA, PRINCEPS FACTIONIS GUBERNANTIS PHAI THAI,’ ‘NOVA PRIMA MINISTRA’ ‘ELECTA EST’. {De morphologia: nominem ex prima INVENITE}. IN SUDANIA. ‘IN SUDANIA’, ‘DILUVIAE’ ‘EX DECEM MORTUIS’ ‘CAUSA SUNT’. // ‘IN SUDANIA’, ‘PACTIONES’ ‘PRO PACE’ ‘CONTRA BELLUM CIVILE’ ‘DE INDUTIIS’ ‘CONTINUANT’. IN SENEGALIA. ‘ACTA DIURNA ET ALIQUAE SOCIETATES MERCATORIAE TELEVISIFICAE’ ‘UNIUS DIEI OPERISTITIUM’ ‘CONTRA REGIMINIS RESTRICTIONES’ ‘EFFECERUNT’. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET ITALICA’ ‘AUDIS’! IN ITALIA. ‘IN PORTICELLO’, ‘IN LUXUS NAUFRAGIO’, ‘SEPTEM PERSONAE’ ‘SUFFOCATAE’ ‘FUERUNT’. IN HAITIA. ‘IN SANCTO MARCO’, [‘CATERVA’ ‘CARCEREM’ ‘ASSULTAVERUNT’] ET [‘CAPTIVORUM NUMERUM INDETERMINATUM’ ‘LIBERAVERUNT’]. {De syntaxe: orationes coordinatas videte} OBITUARIUS. [ALAIN DELON, [QUI ‘ORBIS TERRARUM PULCHRIOR VIR’ ‘APPELLATUR’], ‘MORITUR’]. {De syntaxe: orationem secundariam relativam attende} ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GALLICA’ ‘AUDIS’! IN ORIENTE MEDIO. ‘PRIMUM MORTUS ESSE’ ‘QUOD AD TSHAL INGREDITUR’. IN SUECIA. TRANSLATIO A VALENTINA SUÁREZ EST. ‘IN STOCKHOMIA’, ‘MONITIO DE VARIOLA’ ‘EST’. IN SERBIA. TRANSLATIO AB ALISSA SOUZA EST. ‘BELGRADO’ ‘LITHII EXTRACTIONEM’ ‘APPROBAT’. [‘QUAMQUAM’ ‘MAXIMA PARS PATRIAE’ ‘ADVERSATUR’], ‘REGIMEN’ ‘INCEPTO LITHII EXTRACTIONIS’ ‘IN VALLE IADARI MENSE’ ‘IULIO APROBAT’. ‘HOC INCEPTUM’ ‘NECESSITATIBUS UNIONIS EUROPAEAE’ ‘SATISFACERE DEBET’. {De syntaxe: orationem secundariam concessivam attende} IN BULGARIA. TRANSLATIO AB ALBA DANIELA RODRÍGUEZ EST. ‘DE ANTI-LGBT REMEDIIS’. ‘SERDICA’ ‘PUTIN EXEMPLUM’ ‘SEQUITUR’. ‘PRAESES BULGARUS’ ‘LEGEM’ ‘IN SUA PATRIA’ ‘IDIBUS AUGUSTIS’ ‘FIRMAVIT’ [QUAE ‘OMNEM PROPAGANDAM HOMOSEXUALEM’ ‘VETAT’]. {De syntaxe: orationem secundariam relativam attende} IN RE PUBLICA POPULARI DEMOCRATICA COREANA. ‘REIPUBLICAE COREAE MILES’ ‘DESCIVIT’. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GERMANICA’ ‘AUDIS’! IN UKRAINA. TRANSLATIONES AB ALISSA SOUSA SUNT. IN KURSK. ‘INSULTANS UCRANIAE’ ‘OPERARIOS ET MILITES RUSSIAE’ ‘IN PROVINCIA KURSK’ ‘COMMOVIT’. ‘TERRITORIUM RUSSICUM’ ‘INVIONABILE NON ESSE’ ‘DEMOSTRAVIT’. // ‘RUSSIA’ ‘IN NIU-YORK’ ‘VICIT’ ET ‘POSITIONEM SUAM’ ‘IN DONETSK’ ‘CONSOLIDAVIT’. // ‘IN KIOVIA’, ‘UCRAINAE CURIA VEL PARLAMENTUM’ ‘LEX AD ECCLESIAS ORTHODOXAS RUSSICAS INTERDICENDUM’ ‘PERROGAVIT’. IN RUSSIA. ‘TRIBUNAL RUSSICUM’ ‘XENIYA KARELINA’ ‘DONATIONE PRO UCRAINA’ ‘AD DUODECIM ANNOS IN CARCERE’ ‘CONDEMAVIT’. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET HISPANICA’ ‘AUDIS’! IN VENETIOLA. ‘INDICIUM PROXIMUM’ ‘IN LINGUA LATINA, ANGLICA ET GRAECA ANTIQUA’ ‘RECITÁBIMUS’. TRANSLATIONES A LUCERO MAILLE SUNT. ‘PROTESTATIONES’ ‘CONTRA VICTORIAM CONTROVERSAM NICOLAI MADURO’ ‘IN COMITIIS PRAESIDENTIALIBUS’ ‘SUPERIORIS MENSIS’ ‘IN CARACIS’ ‘ORTAE SUNT’. Καράκας. Πλεῖονες διαμαρτυρίαι κατὰ τῆς ἀμφιλεγομένης νίκης τοῦ Νικολάου Μαδούρου ἐν ταῖς προεδρικαῖς ἐκλογαῖς τοῦ παρελθόντος μηνός. IN NICARAGUA. [‘NICARAGUAE REGIMEN’ ‘MILIA QUINGENTA SOCIALIES INSTITUIONES’ [‘QUAE HOSTILES CONTRA REGIMEN SUNT’] ‘VETUIT’]. {De syntaxe: orationem secundariam relativam attende} IN MEXICO. TRANSLATIONES A SAID RAYMUNDO DELGADO SUNT. MEXICOPOLIS. IUDICES SUBDUCUNT. ['IUDICES FOEDERATI MEXICI' 'CONTRA PROPOSITUM' 'PRAESIDIS ANDREAS MANUEL LOPEZ OBRADOR' 'PROTESTANT'] ['QUOD' 'POTENTIAM JUDICALIS' 'REFORMARE PROCURAT'] ] ET [ILLI 'SUUM LABOREM' PRO EODEM 'RELIQUERUNT']. // IN BRASILIA. ‘iX’ ‘A BRASILIA’ ‘DECESSUS EST’. IN ARGENTINA. IN ARGENTINA, ‘VIGILES’ ‘ICTUM ANTISEMITAM’‘VITAVERUNT’. SI NUNTII IN LINGUA LATINA TRADUCTOR ESSE VOLUERIS, QUAESO LITTERAM ELECTRONICAM AD lpesquera@up.edu.mx MITTAS’. If you would like to collaborate as a translator in Nuntii in Lingua Latina, please send an email to lpesquera@up.edu.mx

Find out more about The Tree Trimming Game, Sequitur, Jokkmokk, Marvel Remix, Unboxed, Crabs in a Bucket, Star Realms Academy, Caution Signs, Pack the Essentials, Maize Craze, and Mycelia ! The post Episode 361 – PAX Unplugged 2023 – Days Two & Three appeared first on The Family Gamers.

In this episode, Cherise is joined by Chris Brown and Brent Linden, Principals and Co-founders of Linden, Brown Architecture. They discuss Sequitur Winery in Newberg, Oregon.You can see the project here as you listen along.Originally a dairy farm, a 7,500-sf barn at the heart of an unused farm in the Willamette Valley, has been transformed into a cathedral for winemaking. The project included 11,000 sf of new structures for wine production support and hospitality spaces. As for the original heavy timber barn, it required seismic retrofitting, so to preserve the original structure, it was lifted 3-feet to make way for the new foundation! If you enjoy this episode, visit arcat.com/podcast for more. If you're a frequent listener of Detailed, you might enjoy similar content at Gābl Media. Mentioned in this episode:ARCAT Detailed on Youtube

10-XI-2023. IN ISRAEL. In die Lunae. In ‘THE JERUSALEM POST’ ‘LEGITUR’: ‘COPIAE ad Israelem Defendendum (abbreviatione anglica I-De-eF)’ ‘MONSTRAVIT’ ‘quod Hamas’ ‘nosocomia ut scutum UTITUR’. // ‘CIVIS’ ‘Hizbullah rocheta’ ‘MORTUI FUIT’. // ‘Duos MILITES hebraici’ ‘MORTUI SUNT’. // ‘Beniaminus NETANJAHU, Israelis primus minister,’ ‘DICIT’ ‘armistitium sine obsidibus reditum NON FUTURUM ESSE’. In die Martis. In ‘THE JERUSALEM POST’ ‘LEGITUR’: ‘COPIAE ad Israelem Defendendum (abbreviatione ‘I-De-eF’)’ ‘destructionem Hamas cunicolurum’ ‘CONTINUAT’. // ‘HIZBULLAH’ ‘missiles’ ‘a Meridie’ ‘contra Israelem’ ‘IECIT’. // ‘COPIAE ad Israelem Defendendum (‘I-De-eF’)’ ‘bellum’ ‘in hieme’ PARATURUS EST. // ‘KNESSET, parlamentum civitatis Israelis’ ‘pecuniare rationem’ ‘pro bellum’ ‘REFERT’. // ‘Finis VIGIL hebraico-americano’ ‘NECATUS EST’. // ‘BURNS, Officium Centrale Intelligentiae (abbreviatione ‘Ce-I-A’) dux’ ‘Israelem’ ‘VISITABIT’. In die Mercurii. In ‘THE JERUSALEM POST’ ‘LEGITUR’: ‘COPIAE ad Israelem Defendendum (vel ‘I-De-eF’)’ ‘ad Gazae civitatis cor’ ‘PROGREDITUR’. // ‘Yoav GALANT, copiarum ad Israelem Defendendum Australis dux’, ‘DIXIT’ ‘non moram pro auxilio humanitario’ ‘PERMITURUS ESSE’. // ‘CONTENTIONES’ ‘in Septentrio’ ‘CONTINUANT’. // ‘De CIVITATIBUS FOEDERATIS AMERICAE et Israele’: quod Israel ‘duas belli frontes’ ‘non HABEAT’, etiam ‘NAVIS bellica’ ‘in Gazae litus’ ‘HABET’. In die Iovis. In ‘THE JERUSALEM POST’ ‘LEGITUR’: ‘Andron securus vel humanitario’ ‘pro palestinensibus’ ‘CREANT’. ‘Milia et milia’ ‘per hac’ ‘FUGIUNT’. // ‘COPIAE ad Israelem Defendendum (abbreviatione ‘I-De-eF’)’ ‘plures canales’ ‘DESTRUUNT’. // ‘Quattuor hebaricos’ ‘MORTUI FUERUNT’. // ‘Minus quantitas ex missilibus’ ‘a Septentrione et a Meridie’ ‘contra Israelem’ ‘IACTATI FUERUNT’. IN CANADA. ‘Primi MINISTRI uniti’ ‘pro rebus combustis pretiis iustis’ ‘SUNT’. // ‘Foederationis official pro technologia DUX’ ‘de “ArriveCam” casu’ ‘MENTITUS EST’. // ‘CANCER pulmonum (anglice ‘lung-cancer’)’ ‘decennium et decenium’ ‘multum DIMINUIT’. IN CIVITATIBUS FOEDERATAE AMERICAE. TRANSLATIONES ex Israel García Avilés SUNT. Trump in causa civile a fraude exadversus iudicem stat et negotium defendit. // Hi qui suffragium ferunt, abortum facere approbant in Ohione. Inferrunt ictum ad Congregationem Popularem Reipublicae. IN BRITANNIÁRUM REGNO. ‘Dominus Mark Rowley, Vigilum Metropolitanorum (abbreviatione ‘eM-E-Te’) dux’, ‘vetare’ ‘Indutiae Diem’ ‘URGET’. // Sed contra, ‘THE TIMES’ DICIT’ ‘Vigiles vetare hunc dies’ ‘non VELLE’, nisi ‘Rishi SUNAK Britanniae primus minister’ et ‘Suella BRAVERMAN’ ‘VOLUNT’. // ‘CAROLUS Tertio, rex Britanniarum et quattuordecim regnorum Consortionis Populorum’, ‘locutionem primam’ ‘ad parlamentum’ ‘ante comitia’ ‘ALLOCUTUS EST’. IN SINAE. TRANSLATIO ex Israel García Avilés EST. Societates peregrinae laboris pecuniam plurimam in Sina collocandi retinent. Xi iuvenes ad rem rusticam allicit. IN AUSTRALIA. TRANSLATIO ex Israel García Avilés EST. Prima congregatio praetorum in septeno anno. Presidens vocat propinquitates ‘coctas’. Xi se congregat cum Albanese, vocans iter Primi Ministri ‘exordium futuris’. IN ORBE TERRARUM. ‘Calidiorum dierum CIFRA maxima’ ‘in anno’ ‘in Tokyo’ ‘SUBSCRIBUNT’. IN UCRAINA. ‘Ursula DE LEYEN, Commissionis Europaeae praesidens’, ‘DIXIT’ ‘adunationem Ucrainae’ ‘ad Unionem Europaeam’ ‘geostrategicam importantiam’ ‘ESSE’. IN ITALIA. ‘MIGRANTES’ ‘ab Italia ad Albaniam’ ‘VADUNT’. ‘ALBANIA’ ‘triginta sex milia migrantes’ ‘ACCIPIT’. IN RUSSIA. ‘MOSCOVIA’ ‘a Pactione de armis non nuclearibus’ ‘EXIT’. IN ORIENTE MEDIO. ‘G-septem’ ‘ad bellum solvendum’ ‘creare duae civitates’ ‘denuo PROPONIT’. IN BAHARINA. ‘BAHARINA’ ‘mille quingentos annos’ ‘fidei’ ‘CELEBRAT’. IN IRANIA. ‘Narges MOHAMMADI, cum Praemio Nobeliano Pacis anno Domini bis milesimo vicesimo tertio honorata est et qui in carcere Evin Teherani est’, ‘apocarteresiem’ ‘INCIPIT’. IN BANGLADESIA. ‘Opositorum politicorum COMPREHENSIONES’ ‘in Bangladesia’ ‘SUNT’. IN SOMALIA ET KENIA. ‘PLUVIAE magnae et INUNDATIONES’ ‘in Somalia et in Kenia’ ‘SUNT’. IN SUDANIA. ‘Viginti VICTIMAE’ ‘granata manuale’ ‘in mercatu’ ‘FUERUNT’. IN CAMARUNIA. ‘Viginti CIVES’ ‘assultu’ ‘MORTUI FUERUNT’. IN NIGERIA. ‘Undecim PERSONAE’ ‘assultu armato’ ‘MORTUI FUERUNT’. IN ORBE TERRARUM. TRANSLATIO ex Casandra Freire EST. Propter duodetriginta Colloquium Unitarum Gentium Mutationis Climatis ( abbreviatio ‘Ce-O-Pe’), contentiones augent. IN FRANCIA. ‘Franciae HEBRAEI’ ‘TIMENT NE’ ‘eos’ ‘OPPUGNETIS’. // De mathematica. ‘Mathematicae GRADIS’ ‘in Francia’ ‘in omni gradu scholari’ ‘lamentabilis’ ‘EST’. IN BELGIO. TRANSLATIONES ex Casandra Freire SUNT. Fere tertiarum plurior cancellarii in quīndecim annis. // Regimen De Croo lege "contra turbationibus" damnum afficitur. IN RUSSIA. ‘RUSSIA’ ‘missilem’ ‘a nave submarina iactus’ ‘EXPERITUR’. ‘Hoc MISSILE’ ‘octo milia chilometra’ ‘PERCURRIT’. IN LITUANIA. ‘Duos Germaniae PHALANGES’ ‘pro Lituania’ ‘SUNT’. IN HISPANIA. ‘Iudex contra terrorismum (vel ‘tromocratia’)’ ‘ad Puigdemont et Rovira’ ‘ACCUSAT’ et ‘contra amnestiam’ ‘COLLOCATUR’. // ‘Hispaniae REGIMEN’ ‘contra clamores’ ‘Ferraz’ ‘PROTEGET’. IN LUSITANIA. ‘COSTA’ ‘in Lusitania’ ‘corruptione’ ‘DIMITIT’. IN MEXICO. ‘Arthurus ZALDÍVAR’ ‘a Tribunal Supremum’ ‘DIMITIT’ ut ‘SHEINBAUM CONSOCIET’. IN AEQUATORIA. ‘Noboa CONSILIUM oeconomicum’ ‘dubitationes’ ‘FERT’. IN PERUVIA. ‘CONGRESSUS Iudicialis Potestatis’ ‘sententiam’ ‘RECUSAT’ et ‘ABIGERE Conventum Nationalem Iustitiae’ ‘VULT’. // Sed postridie ‘PAENITETUR’. IN CILIA. ‘CONCILIUM’ ‘Constitutionis (vel ‘formae civitatis charta’) propositionem’ ‘TRADIT’. ‘Gabriel BORIC, praeses Ciliae,’ ‘ad plesbiscitum’ ‘in septimo decimo die decembirs mensis’ ‘CONVOCAT’. IN ARGENTINA. ‘Comitia’ ‘in duabus hebdomadae’ ‘ERUNT’ et ‘MILEI’ ‘commodum’ ‘HABET’. // ‘SPECULATIO clandestina kirchnerista’ ‘DENUNTIANT’. IN LUSITANIA. ‘Medicamenta stupefactiva’ ‘in Joao Galamba domu’ ‘INVENIUNT’. IN BRASILIA. ‘Fraudem in licitationibus’ ‘in Maranhao’ ‘INVESTIGANT’. IN MOZAMBICO. ‘Confoederatio Consociationum Oecomicarum Mozambici (abbreviatione ‘Ce-Te-A’)’ ‘praesidentis auxilium’ ‘PETIT’ ut ‘Angolae pisa’ ‘EXPORTENT’. IN PROMUNTORIO VIRIDI. ‘In Promuntorio Viridi praesidentia’ ‘vehiculorum pretia in confirmationi modi’ ‘SUNT’. IN SANCTO THOMA ET PRINCIPI. ‘Sancti Thomae et Principi PRAESES’ ‘Lusitaniae conditio politica’ ‘proprie SEQUITUR’. IN GRAECIA. ‘AD Michalis Katsouris’ ‘Unonis Athleticae Constantinopolitanae (abbreviatione ‘A-E-Ka’) fautor’ ‘INVESTIGANT’. // ‘Pelliculam’ ‘de assultu cum missili contra navem cyprios’ ‘EXSOLVUNT’. IN IAPONIA. ‘KAKO ab Akishino, principissa Iaponiae’ ‘Peruviae’ ‘VISITAVIT’, ut ceremonia de centum quinquaginta annis legatorum rationum CELEBRARET. // ‘Multam’ ‘ex unum punctum quinque milia miliardum ienorum’ ‘contra COSTCO societatem lucrativam’ ‘in Iaponia’ ‘IMPONUNT’. // ‘SOMPO societas assecurationis’ ‘accusationibus de fraude’ ‘in situ INVESTIGANT’. // ‘MINISTERIUM oeconomiae, Commercii, Industriae et oeconomicis subsidiis Iaponiae’ ‘negotia parva et mediocria (abbreviatione ‘eS-eM-E-eS’)’ ‘AUXILIABUNT’.

Sequitur XIV was written for the Hamburg-based pianist and performer Jennifer Hymer and sets the thumb piano in focus. This instrument, named ‘Mbira' in Africa, was discovered in the middle of the 20th Century from the British ethnomusicologist Hugh Tracey, who developed out of it a standardized western instrument named ‘kalimba', and let it be produced industrially. In contrast to the African original, this western new construction is tuned diatonically. First I tried to approach the instrument like a child in that I pushed away all knowledge about the high art of Mbira-practice to the side. What did I see before me? A trapezoidal shaped wooden box with metal blades of differing lengths that were fastened over a sound hole in the middle. After I examined the sound possibilities of the kalimba's body through rubbing, scratching and knocking, I attached a contact microphone to its surface and sent the sounds through the same computer program that I had developed for the other “Sequitur” compositions. Suddenly everything became enchanted: the canonic layering of my knocking and scraping noises compressed themselves into a polyrhythmic layering and I felt myself being transported to the south of Africa where the African musicians play this instrument in ensemble and thereby produce a highly complex polyphony which the Viennese musicologist Gerhard Kubik described as “inherent patterns.” Only later I dedicated myself to the metal tines and through the help of live electronic manipulation found means and ways to dig out an ongoing diatonic. After many months of free experimenting, I was finally able to write a concisely written score for Jennifer Hymer, which turned my summing-ups of this instrument into a sound journey. https://www.essl.at/works/sequitur/sequitur-14.html

Whenever you need something taken care of, often times you like to do it yourself. However, there are certain tasks that we just cannot do on our own. It requires the help of external parties whether that may be employees or even outside consultants. This week we are chatting with Beverly Haydel, founder of Sequitur Consulting. With a career that has brought her all over the country, she now focuses on doing what she loves, connecting people. Through connecting people she is able to provide value to businesses and public legislators through conversations around problem solving and coming to an agreement. Making the decision to move to Baton Rouge was one she did not take lightly, however, it has been the right call from the get go. Being involved in the community is extremely important for Beverly, from sitting on boards for companies such as Currency Bank to volunteering to help organizations in her spare time. Thank you for your continued support of the show, we greatly appreciate each and every one of you that follow us along! Sponsors: Horizon Financial Group, Currency Bank, Falaya Real Estate, Mercedes-Benz of Baton Rouge, Lake Men's Health Clinic & Gov't Taco Patty-G Wardrobe: McLavy's LTD Vodcast Website: https://thepattygshow.com/ Sequitur Consulting Website: https://www.sequiturla.com/ --- Send in a voice message: https://anchor.fm/pattygshow/message Support this podcast: https://anchor.fm/pattygshow/support

Answering the question of; what is self awareness? and how do we apply it to mental health?

Producer Stories is made possible by AVVAY, the first nationwide location scouting company. This podcast highlights the producers behind the world's best content. They are unsung heroes, literally making miracles happen on the set of every shoot. Join us as we share their epic stories and the wisdom they've picked up along the way. In this episode, we talk to producer Denis Deck, Founder and Executive Producer at Sequitur Cinema.

In episode 14 of the Let's Connect! Podcast, Philip Attfield, CEO at Sequitur Labs, joins host Ken Briodagh to talk Artificial Intelligence and Machine Learning and how their interactions impact the way we should be thinking about Security at the Edge of the network in IoT.Philip and Ken define the terms you need to know, the risks that you'll face and how AI & ML at the Edge can impact your IoT Network security. Then, they talk solutions and strategies at the leading edge of IoT security best practice.Philip Attfield is the CEO of Sequitur Labs Inc. He brings a strong background in computing, networking, security and systems modeling. He has more than 20 years of industry experience in large enterprises and small entrepreneurial firms. Starting his career at Nortel, Phil was a member of its scientific staff and developed software tools and in-house products for modeling, synthesis and verification of telecom and network equipment hardware.Sequitur Labs is developing seminal technologies to improve trust in a connected world, reducing the cost and complexity to build secure embedded and IoT devices. Sequitur's products span a range of disciplines required for trusted computing, from boot through the full device lifecycle. Sequitur's security solutions provide real business value to device makers, such as reducing BoM costs, protecting revenue by thwarting IP theft, improving product reliability and reducing liability, and improving device lifecycle management processes. Follow Sequitur Labs on Twitter!Time Stamps:(0:00) Welcome to the Let's Connect! Podcast(1:35) Introduction to Phillip Attfield and Sequitur Labs(2:39) Securing AI & ML at the Edge(4:29) What are the Risks of Lax AI & ML Security?(8:00) Does AI at the Edge Introduce Greater Vulnerability to the Network?(10:57) What are the Best-Practice Security Strategies, Right Now?(14:00) What Should You Worry About?(17:13) What is Unique about IoT Systems Security?(18:32) Sunsetting Technology and Out-of-Date Security(20:18) Final Thoughts

Just when you thought you had plugged all the holes, more vulnerability points pop up. Actually, in the case of the consumer IoT, they were there all along, just far less publicized. In the big scheme of things, having an individual get hacked is a big deal, but usually just for that one person. However, if you hack multiple people, you could be getting to a point where it’s a big deal for more than one individual. Phil Attfield, the CEO of Sequitur Labs, has a pretty handle on this and understands how and why every node needs to be secured, and that’s what we discussed in this week’s Embedded Executives podcast.

Kinsella on Liberty Podcast, Episode 293. This is my discussion with my old friend and colleague, patent lawyer Steve Mendelsohn, about faith and free will and related issues, some of which are discussed in his book Shallow Draughts: Faith in the Absence of Free Will (2017) (PDF of this book and his most recent one posted here [Shallow Draughts] and here [Sequitur] with his permission). (Steve and I worked as patent lawyer associates together from about 1994-96 or so in Schnader Harrison in Philly.) Yes, yes, I know I normally talk only about libertarian legal theory, or, mostly, IP, and try to avoid discoursing about topics I don't think I'm an expert on ... like faith, concept formation, knowledge theory, free will, compatibilism, and the like, but, hey, what the hell. Caveat listener! Youtube version embedded below.

Kinsella on Liberty Podcast, Episode 293. This is my discussion with my old friend and colleague, patent lawyer Steve Mendelsohn, about faith and free will and related issues, some of which are discussed in his book Shallow Draughts: Faith in the Absence of Free Will (2017) (PDF of this book and his most recent one posted here [Shallow Draughts] and here [Sequitur] with his permission). (Steve and I worked as patent lawyer associates together from about 1994-96 or so in Schnader Harrison in Philly.) Yes, yes, I know I normally talk only about libertarian legal theory, or, mostly, IP, and try to avoid discoursing about topics I don't think I'm an expert on ... like faith, concept formation, knowledge theory, free will, compatibilism, and the like, but, hey, what the hell. Caveat listener! Youtube version embedded below.

This is my discussion with my old friend and colleague, patent lawyer Steve Mendelsohn, about faith and free will and related issues, some of which are discussed in his book Shallow Draughts: Faith in the Absence of Free Will (2017) (PDF of this book and his most recent one posted here [Shallow Draughts] and here [Sequitur] with his permission). (Steve and I worked as patent lawyer associates together from about 1994-96 or so in Schnader Harrison in Philly.) Yes, yes, I know I normally talk only about libertarian legal theory, or, mostly, IP, and try to avoid discoursing about topics I don’t think I’m an expert on … like faith, concept formation, knowledge theory, free will, compatibilism, and the like, but, hey, what the hell. Caveat listener!

Find Ed here:sequitur-sf.comEd is a partner at Sequitur, a boutique branding consultancy based in San Francisco whose mission is to help companies be their better selves. He is a father, a partner, a reader, a runner, and a curious soul. In this episode Ed talks about being a life long learner and how we can look at life in a macro and Micro lens!--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/appSupport this podcast: https://anchor.fm/speakforchange/supportSupport the show (Http://Www.patreon.com/speakforchangepodcast)

In this episode, we chat with Brian Daigle, co-founder of Sequitur Classical Academy. He discusses the classical education model, how the school divides grade levels, and more. Note: Since the recording of this podcast, Thomas Achord has been hired as headmaster. For more information, visit www.edchoice.org.

Recorded live at INTONAZIONE festival on 20 Sep 2019 at Eremo Santa Caterina in Rio nell'Elba, performed by Rafał Zalech (viola & live-electronics)during a dance performance of Andrea Nagl. Mixed and produced by Karlheinz Essl. Sequitur is a series of compositions for various solo instruments and live-electronics which I started in 2008. Somehow it can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur compositions use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities become blurred. Each piece can be performed by the player alone who just has to press a key on the computer keyboard whenever this is indicated in the score. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. More information: http://www.essl.at/works/sequitur.html

Recorded live at INTONAZIONE festival on 20 Sep 2019 at Eremo Santa Caterina in Rio nell'Elba, performed by Rafał Zalech (viola & live-electronics)during a dance performance of Andrea Nagl. Mixed and produced by Karlheinz Essl. "Sequitur" is a series of compositions for various solo instruments and live-electronics which was started in 2008. Somehow it can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur compositions use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities become blurred. Each piece can be performed by the player alone who just has to press a key on the computer keyboard whenever this is indicated in the score. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. More information: http://www.essl.at/works/sequitur.html

In this episode cohost Grant Johnson returns to talk with us about the Godzilla movie. Also we announce our next meet up and Hunter tries to explain non sequitur humor.

Version for sound sculpture and live-electronics, performed by Karlheinz Essl. Recorded live at the Technical Museum Vienna, 3 Oct 2009 http://www.essl.at/works/non-sequitur.html „non Sequitur” is a series of pieces for various gadgets (like punch-tape controlled music boxes, kalimbas or sound sculptures) and live-electronics which are side products of Karlheinz Essl's Sequitur cycle. Although the non Sequitur pieces are using a similar software as the Sequitur compositions, they are mainly based on improvisation and can only be played by Karlheinz Essl himself.

To celebrate our newest Patreon episode (where Darren watched Mindy's beloved St. Elmo's Fire for the first time), we're bringing you this bonus episode where Mindy watched Star Wars: A New Hope for the first time. Ever. As an adult. Join us on Patreon for access to all exclusive content like this, and fully produced Rants Macabre episodes, commentaries, a Behind-the-Scenes documentary, an installment of The Science of Fear, etc. etc.

Episode 42: Musical Fluency-A conversation with Brian McWhorter Brian McWhorter is associate professor of music at the University of Oregon. Previously, he held positions at Manhattan School of Music, Louisiana State University, East Carolina University, and Princeton University. He earned the Bachelor of Music degree from the University of Oregon and the Master of Music degree from The Juilliard School. While living in New York City, McWhorter’s performing career gravitated toward contemporary classical and improvised music. He has worked with many of the United States’ best-known modern music ensembles including Third Angle, Sequitur, Ensemble Sospeso, counter(induction, Ne(x)tworks, Tilt Brass, Elliott Sharp’s Orchestra Carbon, Continuum and Meridian Arts Ensemble. Now, as co-artistic director of Beta Collide, a new music group whose debut album was described as one of the top classical albums of 2010 by the Willamette Week, he is engaged in some of the most diverse projects of his career. Hailed as a “terrific trumpeter” by The New York Times, McWhorter has been a featured soloist at the Festival of New Trumpet (New York City), Church of Beethoven (Albuquerque), Jornados de Creación Musica (Mexico City), and at Bargemusic (Brooklyn). He worked extensively with brass chamber groups including the Oregon Brass Quintet, Extension Ensemble, Manhattan Brass Quintet and the American Brass Quintet. As a member of the brass and percussion sextet Meridian Arts Ensemble from 2001-2010, McWhorter performed, commissioned and recorded some of the most demanding and progressive music ever written for brass. Meridian’s album Timbrando – a collection of Latin American contemporary works – was recently profiled on NPR’s All Things Considered. McWhorter was appointed principal trumpet of the Eugene Symphony by Giancarlo Guerrero for the 2008-2009 season. Additionally, he has performed as principal trumpet with the Portland Opera, Oregon Ballet Theatre Orchestra, Quartz Mountain Music Festival Orchestra, American Sinfonietta and Oregon Bach Festival Orchestra. He has also performed with the Metropolitan Opera Orchestra, the New Jersey Symphony Orchestra and many others.

 McWhorter’s discography spans many genres from contemporary chamber to orchestral, improvised music to pop and rock. He has worked with Dave Douglas, John Zorn, John Cale (The Velvet Underground), Natalie Merchant, Anne Heaton, Nini Camps, Hugh Blumenfeld, and The Sharp Things.

  

Performed by Andrii Pavlov (violin) and Karlheinz Essl (electronics). Recorded live at Plivka, Kiev on Nov 19th, 2016 during Karlheinz Essl’s portrait concert at the festival EM-VISIA. http://www.essl.at/concerts/2016.html#kiev

Performed and recorded by Karlheinz Essl on 14 Jan 2009 at Studio kHz. Having played the electric guitar as a rock-obsessed teenager, I re-discovered it 25 years later. In the meantime, I have studied composition and musicology and became heavily involved with electronic and computer music. Working as a composer writing complex musical scores I felt more and more the desire to re-connect to those ecstatic times when I was performing on stage with my electric guitar. But first I developed my own idiosyncratic electronic instrument called m@ze°2 (1998 ff.) which I am still using for free improvisation and live performances. In 2007, I was ready for another change when the handling with MIDI controllers, graphic tablets, keyboards, computer mouses and pedals became more and more insufficient. I was seeking for an instantaneous, tactile input device to be included into my live-electronic setup. First I was thinking of a custom-made wooden resonance box equipped with strings, contact microphones and pickups that could be plucked, bowed, beaten and scratched. As such a device had to be constructed first (and I am not really good at tinkering) I suddenly realized that a common electric guitar already fulfilled most of my requirements. So I bought myself a Steinberger electric guitar — the most compressed instrument of its kind — and started to study the almost forgotten playing techniques again. Fortunately, as the body obviously has a strong memory, I got back very quickly to the status of playing that I had 25 years ago. However, meanwhile my musical mind has completely changed: Not being primarily interested in re-adapting those powerful rock clichés, I tried to develop a fresh view onto the electric guitar. First of all I decided not to use a plectrum at all and to develop a personal finger-picking technique which incorporates several elements that I used when playing the double bass. Then I discovered the possibilities of an E-Bow, which serves as a wonderful substitution for the standard bow. Later I became familiar with tapping technique and the use of a volume pedal in order to shape the envelope of the sound. With these achievements, I wrote a piece for electric guitar and live-electronics in the beginning 2008 as part of my Sequitur project. This cycle advertently relates to the famous "Sequenze" of Luciano Berio as an attempt to write a series of pieces which take advantage of the idiosyncratic instrumental possibilities - and confront them with a realtime sound processing environment that has its own secret life. Info: http://www.essl.at/works/sequitur/sequitur-8.html

This week, we bring you an interview with Indiana University double bass professor Kurt Muroki. Kurt is an outstanding performer, teacher, and artist, and we had a great conversation about teaching, learning, and performing. Enjoy! About Kurt Muroki: Former Artist Member with the Chamber Music Society of Lincoln Center, Professor Kurt Muroki began his musical studies on the violin at the age of six and subsequently performed concerti with the Honolulu Symphony and the Maui Symphony. Mr. Muroki went on to study the Double bass at the age of 13 and entered the Juilliard School of Music at 17 studying with his teacher / mentor Homer R. Mensch.   At the age of 21 Kurt began performing with the internationally renowned Sejong Soloists under ICM Management. Kurt has performed with the The Jupiter Chamber Players, Speculum Musicae, “Great Performers” series at Lincoln Center, Ensemble Sospeso, Sequitur, The Metropolitan Opera Orchestra, Brooklyn Philharmonic, American Composers Orchestra, Tokyo Opera Nomori, New York City Ballet, 92nd St. Y, and Bargemusic. Festivals include Marlboro Music Festival, Festival L’Autonne at IRCAM, and Aspen Music Festival to name a few. Kurt is also active playing movies, commercials, popular, and classical recordings with titles including the Oscar winning film “The Departed”, “Extremely Loud and Incredibly Close”, “Hitch”, “Julie and Julia”, “The Manchurian Candidate”, “Roger Daltrey Sings Pete Townshend” – The Who, Sting, Peter Gabriel, and Itzhak Perlman.   Mr. Muroki has won numerous competitions including 1st prize in the Aspen Music Festival double bass competition, the first bassist to win the New World Symphony concerto competition, and the Honolulu Symphony Young Artists competition. He has collaborated with members of the Guarneri, Juilliard, Tokyo, Orion quartets, Ensemble Wein-Berlin, Jaime Laredo, Lynn Harrell, Maurice Bourgue, Toru Takemitsu, Peter Schickele, John Zorn, and Brian Ferneyhough among others, and has performed concerto tours throughout Asia and the United States. Professor Muroki is currently tenured faculty at the Jacobs School of Music at Indiana University, Artist/Lecturer at Stony Brook University, Distinguished Artist at the McDuffie Center for Strings at Mercer University, faculty/Director of the Kaplan Fellowship program at the Bowdoin International Music Festival, teaches at New York String Orchestra Seminar, and has been a judge at the Yale Gordon Competition at Peabody Conservatory, ASTA, and others. Mr Muroki is a past Board Member of the International Society of Bassists and is a D’Addario Strings Artist.

Sifting through the archives, I found some yet to be heard conversations with friends at bonfires. These are not full conversations, just funny non-sequiturs that made us laugh and hopefully will make you laugh. Just 10 friends with guitars, a roaring fire and maybe a drink. Just one, that we all shared. These are all clips from different times during two different bonfires. The highlight being "Alyssa Finishes Your Sentence." Thank you to Berto, Melaynee, Lyss, Coy, Beej, Jon, J$, Jess, and Jordan for participating and making me laugh. Thank you to the estate of Morton Downey Jr. for the music (intro, middle and outro). @DMTAMpod on Twitter

Recorded by Isabel Ettenauer for the CD "whatever shall be - music for toy instruments and electronics" (edition eirelav, 2013) Having written several pieces for the toy piano before, I dedicated Sequitur V to this interesting instrument which — in fact — has not much in common with the piano as we know it. Its sound resembles chimes or maybe parts of a gamelan orchestra and therefore is not connected to the great history of classical piano music from Bach to Stockhausen; a fact that makes this instrument more accessible for me. Although the toy piano is tiny in every respect, the sound that it produces in Sequitur V becomes incredibly rich thanks to amplification and realtime sound processing. Info: http://www.essl.at/works/sequitur/sequitur-5.html

"Cover Their Faces" by Lust for Youth from the album Growing Seeds; "The Oppressor" by Co La from Soft Power Memento; "Ever Be Real" by Internet Club from Vanishing Vision; "The Weird Stone" by Eternal Tapestry from A World Out of Time; "Night Porter" by Rangda from Formerly Extinct; "Your Cast Will Tire" by Raime from Quarter Turns Over A Living Line; "Wet Blanket" by Metz from their self titled album; "A Home for Paco Sala" by Paco Salo from Ro-Me-Ro; "Numb" by Andy Stott from Luxury Problems; "Mixed Messages" by Steve Hauschildt from Sequitur; "Mecanique" by Forma from Off/On.

"Cover Their Faces" by Lust for Youth from the album Growing Seeds; "The Oppressor" by Co La from Soft Power Memento; "Ever Be Real" by Internet Club from Vanishing Vision; "The Weird Stone" by Eternal Tapestry from A World Out of Time; "Night Porter" by Rangda from Formerly Extinct; "Your Cast Will Tire" by Raime from Quarter Turns Over A Living Line; "Wet Blanket" by Metz from their self titled album; "A Home for Paco Sala" by Paco Salo from Ro-Me-Ro; "Numb" by Andy Stott from Luxury Problems; "Mixed Messages" by Steve Hauschildt from Sequitur; "Mecanique" by Forma from Off/On.

And we’re back!  We’ve been away for a while, enjoying various summer activities, but now we’re entering the bleak, dark, drippy days of fall and winter… known to the enlightened as MOVIE WATCHING SEASON!!!   But did you guys know, if you worked on an underwater oil rig in the 1980s, you didn’t have the technology […]

We’re back!  On this episode of Emerson vs. Cook, we take you on a mystical pilgrimage to the heart of Egypt with our discussion of the film “Passion in the Desert.”  What unites man and beast, and what will tear them apart?  Colonialism?  Patriarchy?  Infidelity?  ALL THREE!?!?!?  

Our second podcast wherein we discuss the many peculiar and perplexing roles (and accents and hairstyles) of film star, Nicolas Cage. With special guest: Donnie B  

Our first podcast wherein we discuss horrible, awful, hilariously evil children from cinema (and our own lives) through the lens of  “The Bad Seed.”  

Performed by Amy Horvey (trumpet) and Karlheinz Essl (live-electronics)at the Concordia University, Montreal on 23 Sep 2011. Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-6.html

Aufgenommen am 27. November 2010 im ZKM_Kubus in Karlsruhe (D) mit Mike Svoboda (Posaune) und Karlheinz Essl (Live-Elektronik). Seit 2008 arbeitet Karlheinz Essl an dem 14-teiligen Zyklus „Sequitur“ für unterschiedlichste Soloinstrumente und Live-Elektronik, der an die berühmten „Sequenze“ von Luciano Berio anknüpft. Hatte dieser einst prototypische Solostücke geschaffen, in denen die jeweiligen Instrumente mit all ihren klanglichen Finessen virtuos in Szene gesetzt werden, so geht es Essl um die Erweiterung dieses Ansatzes unter Einbeziehung der Live-Elektronik: Ein penibel auskomponierter und live gespielter Solopart wird via Mikrophon in ein eigens dafür geschaffenes Computerprogramm eingespeist, das daraus in Echtzeit einen elektronisches Klang-Environment generiert. Diese „Begleitung“ wird ausschließlich vom Input des Soloinstruments bestimmt, das mit sich selbst in vielfache Beziehung tritt. Wie in einem Spiegelkabinett lösen sich die ursprünglichen Identitäten auf und erzeugen ein komplexes Beziehungsgefüge, das einen tranceartigen Sog ausübt. Sequitur X wurde für den Posaunisten Mike Svoboda geschrieben und ist ihm gewidmet. Info: http://www.essl.at/works/sequitur/sequitur-10.html

Recorded live with Barbara Lüneburg (electric violon and live-electronics) on 30 Oct 2010 in Vienna. Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. Info: http://www.essl.at/works/sequitur/sequitur-3.html

Performed by Goska Isphording (harpsichord) and Karlheinz Essl (live-electronics) at NatLab Eindhoven (NL) on 10 Sep 2010. In this composition, the harpsichord is played in a highly unconventional manner. Except for the end of the piece, no keys are touched. Instead, the sound board and the lowest string of the instrument are excited in different manners. A contact microphone mounted on the sound board acts like an acoustic lense that amplifies sounds that are normally inaudible. The interaction between the harpsichordist and the live-electronics creates a kind of meta-instrument. Its novel sounds and expressions purposely avoid the typical percussive sound of the harpsichord, which is only heard at the end of the piece as a quotation. By preparing the instrument with a thin nylon thread, sustained "drone" sounds can be produced as an antitheses to the needle-sharp and rapidly decaying harpsichord attacks. Info: http://www.essl.at/works/sequitur/sequitur-12.html

Recorded live on 9 June 2010 at the Essl Museum, Klosterneuburg by Tzenka Dianova (piano) and Karlheinz Essl (live-electronics). Karlheinz Essl's “Sequitur XIII” (2009/2013) for extended piano and live electronics is an innovative work in which the piano has been transformed into a super instrument thanks to a computer-based algorithmic system. Turning the relatively simple instrumental material into an orchestral entity through various real-time harmonic and spectral alterations, the piece multiplies the functions of the original instruments by recording the musicians' performance and playing it together with its modified version (Maria Kallionpää, 2014) Info: http://www.essl.at/works/sequitur/sequitur-13.html

Sequitur XIV was written for the Hamburg-based pianist and performer Jennifer Hymer and sets the thumb piano in focus. This instrument, named ‘Mbira’ in Africa, was discovered in the middle of the 20th Century from the British ethnomusicologist Hugh Tracey, who developed out of it a standardized western instrument named ‘kalimba’, and let it be produced industrially. In contrast to the African original, this western new construction is tuned diatonically. First I tried to approach the instrument like a child in that I pushed away all knowledge about the high art of Mbira-practice to the side. What did I see before me? A trapezoidal shaped wooden box with metal blades of differing lengths that were fastened over a sound hole in the middle. After I examined the sound possibilities of the kalimba’s body through rubbing, scratching and knocking, I attached a contact microphone to its surface and sent the sounds through the same computer program that I had developed for the other “Sequitur” compositions. Suddenly everything became enchanted: the canonic layering of my knocking and scraping noises compressed themselves into a polyrhythmic layering and I felt myself being transported to the south of Africa where the African musicians play this instrument in ensemble and thereby produce a highly complex polyphony which the Viennese musicologist Gerhard Kubik described as “inherent patterns.” Only later I dedicated myself to the metal tines and through the help of live electronic manipulation found means and ways to dig out an ongoing diatonic. After many months of free experimenting, I was finally able to write a concisely written score for Jennifer Hymer, which turned my summing-ups of this instrument into a sound journey. Recorded at the premier at Klang!Container in Hamburg on Sep 13th, 2009 Info: http://www.essl.at/works/sequitur/sequitur-14.html

Recorded by Lars Mlekusch (alto sax) and Karlheinz Essl (live-electronics) at Studio kHz (18 Aug 2009). The Sequitur cycle consists of 14 different compositions for various solo instruments and live-electronics. It can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-7.html Info: http://www.essl.at/works/sequitur.html

Recorded by Anton Lukoszevieze (cello) and Karlheinz Essl (live-electronics) at the University of East Anglia (Norwich, UK)on 18 Sep 2008. The Sequitur cycle consists of 14 different compositions for various solo instruments and live-electronics. It can be seen as a reference to Berio’s famous “Sequenze” cycle of solo pieces which focus on specific playing techniques of the respective instrument. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-4.html

Recorded live on 23 Apr 2008 at the Essl Museum, Klosterneuburg with Georg Riedl (clarinet) and Karlheinz Essl (live-electronics). Sequitur is a series of 14 compositions for various solo instruments and live-electronics written for outstanding soloists. Somehow it can be seen as a reference to Luciano Berio's famous Sequenze cycle of solo pieces which focus on specific playing techniques of the respective instrument. Essl's Sequitur cycle includes pieces for orchestral instruments like flute and violin, but also for voice, electric guitar, toy piano or kalimba. All Sequitur composition use a software written in MaxMSP which creates an electronic accompaniment from the instrument’s live input; the player is confronted with his own playing, and this creates a situation like moving in a house of mirrors where the identities becomes blurred. The Sequitur software generates a complex canon on the fly, the temporal structure and density of which being controlled by random operations. This yields different results every time the piece is performed. Although following a precisely notated score, there is always a good portion of surprise for the musician which emphasizes his awareness and attentiveness. Info: http://www.essl.at/works/sequitur/sequitur-2.html