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|Felicitas D. Goodman||Indiana University Press||ePub|
In tomb 23 on the Rio Azul in Guatemala, archeologists came across a figurine representing a young man (pl. 65). He is sitting cross-legged and has his arms folded over his chest. The posture is also seen in a warrior from a classical Maya site at Jaina, on the western coast of the peninsula of Yucatán. Two features, however, distinguish the Rio Azul figurine from the Jaina one. The man from the Rio Azul has his tongue between his lips, and the figurine is a whistle.
When we did the posture for the first time in Cuyamungue in the summer of 1986, one participant was advised to heal a split in her body, another one was to guard something, and Isi was told, rather severely, “If you don’t have any questions now, come back when you do.” Although there were also other kinds of visions, of a hammock, of finely decorated pots, “as if from Mimbres,” of potsherds scattered about, we still decided mainly because of Isi’s report that the posture was intended for divining. However, when we did the posture once more in Columbus in November 1986 with a rather large group, Belinda was informed emphatically that divination was not what the Spirits had in mind: “No—that won’t happen here.”See All Chapters
|Lonely Planet||Lonely Planet||ePub|
E-reader devices vary in their ability to show our maps. To get the most out of the maps in this guide, use the zoom function on your device. Or, visit http://media.lonelyplanet.com/ebookmaps and grab a PDF download or print out all the maps in this guide.See All Chapters
|L_on Rosenthal||Parkstone International||ePub|
The imagination of Romantic artists was full of colourful visions and resonant or visual harmonies. How did they find the suitable concrete means to express them? How did they carry out their work? Painters, sculptors and musicians all had their own language and specific techniques. However, they developed them from a common mould. It is interesting to try to define the artists’ intentions as they were entering their studios. The Romantic artist claimed the same freedom in the practical making of a work as in the concepts behind it. He would not follow any conventional rule such as the conception of a type of beauty, the predominance of drawing or melody over colour and orchestration, systems of composition, balance, symmetry or purity. The knowledge and understanding of great masters and of the great artistic movements shows how vain those concepts can be. In the past, students who knew only the work of their patron might believe that he alone held the truth. But from then on, the treasures of the past were unveiled and accessible, and one had to admit that geniuses expressed themselves using the most diverse and sometimes opposite methods. It was absurd to choose between them as they were all worth admiring. Widened understanding opens up our eyes and allows freedom to break in; museums and libraries were a source of liberation.See All Chapters
T. Ashley McGrew
Publications Chair of Preparation, Art Handling, and Collections Care Information Network (PACCIN), email@example.com
I have yet to meet anyone whose goal in life is to become a master of move project procurement, but I do know from experience that this unheralded, yet essential element of project management goes a long way towards furthering a fully successful end result. Though I would never claim to have a comprehensive grasp on this topic there are a few things I’ve noticed along the way. When you think about what you need to make a project happen it seems obvious that you need stuff. What may not be so apparent is the number of choices you will have to make in regard to that stuff and also how interrelated it is to other aspects of a well-run project.
Certain crucial decisions must be sorted out before the money can be spent (or mis-spent as the case may be). Questions to answer such as what are the needs of the collection being packed or re-housed (function), how will the materials be used to accomplish this task (prototyping), what will the scope of the project (small or large — diverse or consistent), who will be doing the purchasing and how will they accomplish it, and planning of space for both supplies and work areas.See All Chapters
|Raffi Krikorian||O'Reilly Media||ePub|
Sometimes, you just need to use C. For those times, you'll need a compiler that is capable of generating binaries to run on your Series 1 or Series 2 TiVo.
There are times that you realize why C is one of the most popular programming languages out there. If you use it right, it makes code that's small and fast. Plus, there is already a lot of code out there written in C, including most of the Unix utilities [Hack #34] we've been using in this book. Using a cross-compiler is your best shot at turning your favorite little program into a TiVo binary.
Cross-compiling is a black art that deserves a book unto itself, so we'll keep to installing a cross-compiler and writing a small C program to satisfy ourselves that it works and provide yet another avenue for further TiVo hacking. If you look at http://tivoutils.sourceforge.net, you'll notice quite a few cross-compilers listedmost notably, http://prdownloads.sourceforge.net/tivoutils/usr.local.powerpc-tivo.tar.bz2?download. These are the cross-compilers that run under Linux and generate binaries to run on Series 1 and Series 2 TiVos, respectively. Both are set up in basically the same way, thanks to the hard work of M. Drew Streib.See All Chapters
Business & Economics