Physical space is more decisive in creating community than we realize. Most meeting spaces are designed for control, negotiation, and persuasion. While the room itself is not going to change, we always have a choice about how we rearrange and occupy whatever room we are handed. Community is built when we sit in circles, when there are windows and the walls have signs of life, when every voice can be equally heard and amplified, when we all are on one level—and the chairs have wheels and swivel.
When we have an opportunity to design new space, the same communal consciousness applies. We need reception areas that tell us we are in the right place and are welcome, hallways wide enough for intimate seating and casual contact, eating spaces that refresh us and encourage relatedness, meeting rooms designed with nature, art, conviviality, and citizen-to-citizen interaction in mind. And we need large community spaces that have those qualities of great communal intimacy.
Finally, the design process itself needs to be an example of the future we are intending to create. The material and built world is a reflection of the connectedness, openness, and curiosity of the group gathered to design the space. Authentic citizen engagement is as important as design expertise.
Traditionally, son clave was written in 2/4. The first measure is referred to as
"fuerte" (strong) and is called trcsillo ("triplet"); the second measure is "debil"
(weak), thus defining the relationship of "tension-relaxation", (fig. 3.10):
3,10 Son Clave in 2/4
This clave is the signature of the Cuban son, as well as numerous other rhythmic styles. It is also directly related to another African rhythmic cell called the cinquillo (or, five-note cell), shown here in two notations (fig. 3.11):
The cinquillo is the cell derived from the Cuban contradanza and the danzon.
Like the tresillo in the clave pattern, the cinquillo is a strong phrase, followed by a consequent or weak phrase, (fig. 3.12):
This complete, bi-measure phrase is referred to as the baqueteo of the danzon, and functions like the clave in the structure of the danzon style. (Refer to Chap.
V, Rhythmic Styles).
Another clave pattern derived from 6/8 clave is also found in sacred African music, and sspecifically in the music of the Abakua tradition. As in the development ofson clave> rumba dave evolved from the 6/8 pattern by eliminating two notes from the phrase, (fig. 3.13):
From a socio-biological point of view, we have childhood and adulthood: adolescence is the time in between the two. Biology considers hormones and other physical features to characterize the stage of development of each individual, and society has adopted yardsticks that have varied over the years and in different cultures to determine the rights and duties of each person according to his chronological age.
In the psychoanalytic world, following Freud’s instinct theory, we speak of childhood, latency, adolescence, and adulthood. Latency is seen as a period of quiescence, when instinctual drives that dominated the child’s development through the oral, anal, phallic, and genital phases of childhood subside and we find a child who appears not to be under pressure from his instinctual urges. Puberty marks the resurgence of instinctual drives and leads to a growing individual who struggles with his unconscious instinctual impulses and tries to accommodate the pressures from his environment and from his developing physical endowment. In other words, his early identifications with his parents and his present dependence on them produce child-like feelings and urges, while his widening horizons and growing independence lead him to rebel against them. Adulthood signifies the achievement of some balance between instinctual drives and the forces of reason, that is, a sense of becoming a responsible social being.
Chapter 5 introduced writing constraints in your class diagrams using OCL. You don't have to use OCL to express constraintsyou can use your favorite programming language syntax or even natural language. This appendix discusses the advantages of OCL and provides more details about how to more use OCL.
Recall from Chapter 5 that a constraint is written in curly braces after the element it constrains or displayed in an attached note. Figure A-1 shows different ways of specifying that the attribute rating has to be non-negative.
FigureA-1.Different ways of attaching and expressing a constraint
Figure A-1 shows that the words expressing a constraint can vary. Constraints can be written in natural language, such as:
Constraints can also look like a programming language expression, such as:
Because natural language can be ambiguous (and long-winded!), many modelers use syntax similar to their preferred programming language: notice that rating >= 0 looks like a Java or C expression.
Constraints can get more complicated; for example, they can specify that a value isn't null. This means you have a lot of options for expressing constraints, so how do you decide which notion to use? Such an expression may look different in different programming languages. If constraints are expressed in a standard and predictable way, not only can you easily understand the constraint, but also automated tools can understand the constraint. This allows automatic checking of constraints in your diagrams and in the code generated from the diagrams.
T H E M , I F T H E Y ’ L L K E E P M E T H AT L O N G ”
An account of key members of the Light Crust Doughboys and those closely associated with the group whose later years and deaths are not covered in the main text:
Herman Arnspiger, one of the original Light Crust Doughboys, also played with Bob Wills and the Texas Playboys from 1934–1940.
Arnspiger had a second career in Tulsa as a pilot. He worked as the chief pilot and instructor at the Spartan School of Aeronautics, and later became a test pilot for Douglas Aircraft. Arnspiger established the Sunray Oil Company’s aviation department. He retired in 1964, and died in a Tulsa nursing home at the age of 79 in 1984 (“Last original member”).
Cecil Brower played for Leon McAuliffe and on Red Foley’s television program following his service in the Coast Guard during World
War II. Brower followed Foley to Nashville, and became a much sought-after session musician. In the 1960s, he joined Jimmy Dean’s band. On November 21, 1965, Dean performed at Carnegie Hall in