30 Results for : designate

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    “On the refusal of Major Anderson to engage, in compliance with my demand, to designate the time when he would evacuate Fort Sumter, and to agree meanwhile not to use his guns against us, at 3.20 o'clock in the morning of the 12th instant I gave him formal notice that within one hour my batteries would open on him.” - P.G.T. Beauregard’s official report on Fort Sumter  Despite the fact that the Civil War was fought nearly 150 years ago, it remains a polarizing topic for the country to this day, and Americans continue to debate who the greatest generals of the war were, arguing the pros and cons and battle records of the men who fought. Although Confederate generals like Robert E. Lee, Stonewall Jackson, and JEB Stuart have long been the most celebrated men of the South, in April 1861, the man of the hour was P.G.T. Beauregard, the South’s hero of Fort Sumter. Though Beauregard has never been considered one of the pantheon members of the South, it was he who was in command at Fort Sumter and responsible for the first shots of the Civil War.  Though Beauregard is remembered for his participation at Fort Sumter, the rest of his military career and personal life have been mostly relegated to the footnotes of history books. However, Beauregard was one of the most unique men of the war. A creole born in Louisiana, Beauregard’s foreign appearance and demeanor were inescapable among his contemporaries, but he had a long and distinguished career at West Point and in the Mexican-American War even before the Civil War.Furthermore, Beauregard was one of the few who fought in crucial battles in both the East and West, commanding at the First Battle of Bull Run and later Shiloh, and his defense of Petersburg in 1864 saved the Confederacy for nearly another year.   ungekürzt. Language: English. Narrator: Scott Clem. Audio sample: https://samples.audible.de/bk/acx0/119510/bk_acx0_119510_sample.mp3. Digital audiobook in aax.
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    The term psychomancy (pronounced, "sy-ko-man-see"), is derived from two Greek words, the first psycho, meaning "the soul; the mind; the understanding" (and generally used to indicate "psychic" or unusual powers of the soul or mind); the second word, mancy, meaning "to divine; to foresee, or foreknow; to detect secret things" - and in occult parlance, "to sense" or "to receive impressions by the astral senses". So the word, as we use it, may be said to mean "psychic sensing" and in this work will be so used. The word psychomancer means "one practicing psychomancy", and the word psychomantic means "relating to psychomancy". The word clairvoyance is frequently used by people to designate some of the phases of psychomancy, but strictly speaking, this term is incorrect when used in this sense, the true occult meaning of the word clairvoyance being "transcendental vision, or the perception of beings on another plane of existence - the seeing of disembodied souls, elementals, etc.". And so, in this work, we shall consider the true phenomena of clairvoyance as distinct from that of psychomancy. In this work, we shall regard as the true phenomena of psychomancy all the various phenomena known as psychometry; crystal gazing; perceiving distant scenes; a perception of past events and indication of future events; either in the full waking state; the state of reverie; or the state of dreams. And so, this work will examine, consider, and explain the various phases of phenomena above indicated - in short, the phenomena of "sensing" objects by means of astral senses, omitting the phenomena of clairvoyance or seeing disembodied souls, etc., which we regard as belonging to a different phase of the general subject and which require special consideration and examination. We will cover the following topics in their own separate lesson: the nature of psychomancy; how to develop yourself; simpl ungekürzt. Language: English. Narrator: Dennis Logan. Audio sample: https://samples.audible.de/bk/acx0/139728/bk_acx0_139728_sample.mp3. Digital audiobook in aax.
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    Coming of age as the son of the man all call Father comes with divine obligations and procreative consequences. In a small community called Origin, life for young Silas is simple, peaceful, and so wrapped up in secrets that he isn't even aware that he is the only one - the last one - to learn of the monumental events in store for him. Every man, woman, and child eagerly anticipates Silas's coming of age, the precise moment when he is destined to perform his all-important birthright: the very continuation of the town itself. Silas is the son of the man all call Father, the sole leader of the small, the man whose commands no one disregards, whose love and favor all live to earn. One evening, Silas drops to his knees as ordered, dutifully recites all of Father's commandments, and remains completely unaware of what will soon be asked of him, demanded of him: the loss of his own innocence and the loss of young Joanne's, the first of countless, untouched female members of the community Father will designate and direct his son to use in fulfilling his divine, singular purpose. Always striving for Father's praise and approval, young Silas desperately struggles to understand what is asked of him and just how to carry it out. Time and again, Silas considers no choice but to fulfill his purpose and obey Father, only to blame himself as the cause of each woman's subsequent disappearance. For Silas, fear mingles with physical desire, reluctance couples with denial, pleasure equates harm, and he learns the ways of intimacy under the most guarded, convoluted conditions - all under Father's watchful, judgmental eye. When the full story and Silas' destiny are finally revealed, the truth is so shocking that Silas' once idyllic, innocent life is turned completely upside down as he realizes the full extent and meaning of family. ungekürzt. Language: English. Narrator: Me. Audio sample: https://samples.audible.de/bk/acx0/023248/bk_acx0_023248_sample.mp3. Digital audiobook in aax.
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    Using Which Position Should I Play?, you will know how to: Best utilize your skills to help a team Play your ideal position Describe your game to an interested coach or scout Contribute consistently to a team In basketball, unlike hockey, soccer, and baseball, any player can do anything. Score in the post. Dribble. Shoot the ball. Guard whomever has the ball on the opposition. Unlike a soccer midfielder, who cannot use his hands like the goalie, or a baseball shortstop, who can’t throw pitches to the batter, a basketball player, as long as he is on the court, can perform any function the game requires. Anyone can move to any spot on the floor, and the same rules apply to every player regardless of size or designated position (if any). To this idea, basketball is and has always been “positionless”, but it is still useful to have a general idea of what your game is. The better you know your own game, the more easily you fit into a role on a team (or, the better you can tell if you can even help a certain team). The better you know your own game, the better you can sell yourself to a coach or general manager who’s looking to fill his roster. The better you know your own game, the more easily you can look at a game situation, see what is needed, and contribute. Many teams at the professional and college level play positionless basketball. Every player knows his game and knows his role, and due to their versatility, positions and duties need not be designated for the team to play winning basketball. This is only possible when you have a group of high-caliber, high-IQ, versatile players. But not every team is this gifted. Even at the professional level, some coaches still want more structure: They will designate positions for players and sometimes define (or confine) players’ roles based on those positions. This helps the coach maintain order and helps a coach hold players accountabl ungekürzt. Language: English. Narrator: Dre Baldwin. Audio sample: https://samples.audible.de/bk/acx0/123553/bk_acx0_123553_sample.mp3. Digital audiobook in aax.
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    No Reserve is your guide to shattering the ceiling you’ve built on your dreams by taking risks on yourself and your passions. Its 11 strategies for removing the reserve from your life — or dispensing with any minimum conditions for taking action and giving of yourself — will enable you to live with unlimited joy, success, optimism, and a fearless generosity. These strategies will not only transform your life for the better, but they will also enable you to make impressions on the lives of others, moving the needle of humanity toward the greater good.Life is like an auction: You get your best returns if you don’t set a reserve on it. The foremost “auctiontainer” who works with premier nonprofits such as St. Jude Children’s Research Hospital, Alice Cooper’s Solid Rock, and the Make-A-Wish Foundation®, Letitia Frye knows how important it is to designate auctions as “no reserve”, or without a minimum bid. What’s more, she’s learned how crucial it is to approach life this way as well. When there is no perceived limitation, there is room for chance — as in, unlimited opportunities for success. Having worked her way to the top of a male-dominated industry, left a turbulent marriage to build a high-profile career as a single mom, suffered the devastating losses of her ex-husband and her plus-one child, and survived a traumatic brain injury, Letitia has bounced back from tragedy and beaten the odds multiple times and emerged stronger, more confident, and more successful. In No Reserve, she shares 11 key strategies that will help listeners stop limiting themselves in all their endeavors — their career, their relationships, and their personal growth. As listeners will discover, you can have everything you want in life, but you have to stop looking for opportunities to come to you, or for the road suddenly to become easier. Oftentimes, you have to make your own path: Do the work before getting paid for it, create your own network by mentori ungekürzt. Language: English. Narrator: Letitia Frye. Audio sample: https://samples.audible.de/bk/acx0/222642/bk_acx0_222642_sample.mp3. Digital audiobook in aax.
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    It is certain that large numbers of slaves were exported from eastern Africa; the best evidence for this is the magnitude of the Zanj revolt in Iraq in the 9th century, though not all of the slaves involved were Zanj. There is little evidence of what part of eastern Africa the Zanj came from, for the name is here evidently used in its general sense, rather than to designate the particular stretch of the coast... to which the name was also applied. (Ghada Hashem Talhami, "The Zanj Rebellion Reconsidered", The International Journal of African Historical Studies) It has often been said that the greatest invention of all time was the sail, which facilitated the internationalization of the globe and thus ushered in the modern era. It was the sail that linked the continents of Africa, Asia, and Europe, and thus it was also the sail that facilitated the greatest involuntary human migration of all time. The transatlantic slave trade was founded by the Portuguese in the 15th century for the specific purpose of supplying the New World colonies with African slave labor. It was soon joined by all the major trading powers of Europe, and it reached its peak in the 18th century with the founding and development of plantation economies that ran from the South American mainland through the Caribbean and into the southern states of the United States. The East African Slave Trade, on the other hand, or the Indian Ocean Slave Trade as it was also known, was a far more complex and nuanced phenomenon, far older, significantly more widespread, rooted in ancient traditions, and governed by rules very different to those in the western hemisphere. It is also often referred to as the Arab Slave Trade, although this, specifically, might perhaps be more accurately applied to the more ancient variant of organized African slavery, affecting North Africa, and undertaken prior to the advent of Islam and certainly prior to the spread of the institution south ungekürzt. Language: English. Narrator: Scott Clem. Audio sample: https://samples.audible.de/bk/acx0/090804/bk_acx0_090804_sample.mp3. Digital audiobook in aax.
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    The Lean Approach to Digital Transformation: From Customer to Code and From Code to Customer is organized into three parts that expose and develop the three capabilities that are essential for a successful digital transformation: 1. Understanding how to co-create digital services with users, whether they are customers or future customers. This ability combines observation, dialogue, and iterative experimentation. The approach proposed in this book is based on the Lean Startup approach, according to an extended vision that combines Design Thinking and Growth Hacking. Companies must become truly "customer-centric", from observation and listening to co-development. The revolution of the digital age of the 21st century is that customer orientation is more imperative -- the era of abundance, usages rate of change, complexity of experiences, and shift of power towards communities -- are easier, using digital tools and digital communities. 2. Developing an information system (IS) that is the backbone of the digital transformation - called "exponential information system" to designate an open IS (in particular on its borders), capable of interfacing and combining with external services, positioned as a player in software ecosystems and built for processing scalable and dynamic data flows. The exponential information system is constantly changing and it continuously absorbs the best of information processing technology, such as Artificial Intelligence and Machine Learning. 3. Building software "micro-factories" that produce service platforms, which are called "Lean software factories." This "software factory" concept covers the integration of agile methods, tooling and continuous integration and deployment practices, a customer-oriented product approach, and a platform approach based on modularity, as well as API-based architecture and openness to external stakeholders. This software micro-factory is the foundation that continuously produces and provides constantly evolving services. These three capabilities are not unique or specific to this book, they are linked to other concepts such as agile methods, product development according to lean principles, software production approaches such as CICD (continuous integration and deployment) or DevOps. This book weaves a common frame of reference for all these approaches to derive more value from the digital transformation and to facilitate its implementation. The title of the book refers to the "lean approach to digital transformation" because the two underlying frameworks, Lean Startup and Lean Software Factory, are directly inspired by Lean, in the sense of the Toyota Way. The Lean approach is present from the beginning to the end of this book -- it provides the framework for customer orientation and the love of a job well done, which are the conditions for the success of a digital transformation.
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    The Lean Approach to Digital Transformation: From Customer to Code and From Code to Customer is organized into three parts that expose and develop the three capabilities that are essential for a successful digital transformation: 1. Understanding how to co-create digital services with users, whether they are customers or future customers. This ability combines observation, dialogue, and iterative experimentation. The approach proposed in this book is based on the Lean Startup approach, according to an extended vision that combines Design Thinking and Growth Hacking. Companies must become truly "customer-centric", from observation and listening to co-development. The revolution of the digital age of the 21st century is that customer orientation is more imperative -- the era of abundance, usages rate of change, complexity of experiences, and shift of power towards communities -- are easier, using digital tools and digital communities. 2. Developing an information system (IS) that is the backbone of the digital transformation - called "exponential information system" to designate an open IS (in particular on its borders), capable of interfacing and combining with external services, positioned as a player in software ecosystems and built for processing scalable and dynamic data flows. The exponential information system is constantly changing and it continuously absorbs the best of information processing technology, such as Artificial Intelligence and Machine Learning. 3. Building software "micro-factories" that produce service platforms, which are called "Lean software factories." This "software factory" concept covers the integration of agile methods, tooling and continuous integration and deployment practices, a customer-oriented product approach, and a platform approach based on modularity, as well as API-based architecture and openness to external stakeholders. This software micro-factory is the foundation that continuously produces and provides constantly evolving services. These three capabilities are not unique or specific to this book, they are linked to other concepts such as agile methods, product development according to lean principles, software production approaches such as CICD (continuous integration and deployment) or DevOps. This book weaves a common frame of reference for all these approaches to derive more value from the digital transformation and to facilitate its implementation. The title of the book refers to the "lean approach to digital transformation" because the two underlying frameworks, Lean Startup and Lean Software Factory, are directly inspired by Lean, in the sense of the Toyota Way. The Lean approach is present from the beginning to the end of this book -- it provides the framework for customer orientation and the love of a job well done, which are the conditions for the success of a digital transformation.
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    A SHORT DISCUSSION OF MIDI In the beginning there was chaos and confusion. Each manufacturer prided itself on the uniqueness of it's musical instruments. No two could be connected up to work with each other. Yamaha synths would not work with Kawai or Buchla or Kurzweil. In order to get a different set of sounds, musicians had to carry large numbers of keyboards to their venues, and with the coming of digital instruments, it looked like things were going to get worse. Then in October, 1981, Dave Smith and Chet Wood of the California based company, Sequential Circuits, read a paper on a Universal Synthesizer Interface at the annual meeting of the Audio Engineering Society (AES) Over the course of the next year discussions took place among the American and Japanese representatives during which the name was changed to Musical Instruments Digital Interface. (MIDI) The first MIDI synthesizer, the Sequential Circuits Prophet 600, shipped in December of 1982, and a month later the first coupling of two different synthesizers took place at the annual meeting of the National Association of Music Manufacturers. (NAMM) It was a Prophet 600 and a Roland Jupiter 6, American and Japanese. The official Midi 1.0 Detailed Specifications was published in October of 1983, a little over twenty years ago. It has never had to be revised, although it was expanded. It is voluntarily followed by all the musical instrument manufacturers in the world. There are two organizations that oversee the Midi specifications, the Midi Manufacturers Association (US, Canada, and Europe), and the Japanese Midi Standards Committee, and neither will act without the approval of the other. What we have here is an almost unique cooperation between competitors. It's almost as if all the automobile manufacturers were to get together and standardize parts! But the amazing thing is that Midi has gone way beyond it's original purpose of standardizing interfaces so that different instruments can talk to each other. It has become a tool for composers that rivals the development of musical notaion, many centuries ago. It is the elegance and simplicity of Midi that makes it so attractive. Much like a word processor, it takes very little computer power to make it work. A Midi message consists of a command to start, a number that designates a note, a number that indicates how loud the note is to be, and a command to stop. Along with that is a number to designate it's position in the song, and a tempo map to determine the speed of the music. That's about it! The actual sound is made by the music module, like notation, Midi makes no sounds. It's just numbers. Midi can do many other things, of course. It can record a sustain pedal, it can control a reverb unit. It can even turn the lights on or off. But without a sequencer, it's use would be limited. A sequencer is a machine that records all the Midi numbers in their proper places, usually first into RAM, then when revised to suit, onto a floppy or hard drive. What a sequencer really does is allow you to change all those numbers around until you finally get what you were looking for. Can you think of anything more useful to a composer than that?
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    The term 'toccata' (from the Italian toccare 'to touch') was one of the first used to designate music for a keyboard. Originally it was a short improvisation - a kind of impromptu prelude - played at the beginning of a church service or a concert, allowing the musician to connect with the instrument. It subsequently developed to become a demonstration of the performer's talent.
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