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Originally from the San Francisco bay area in California, American composer and multimedia artist Cole D. Ingraham holds a B.M. in Music Composition from the University of the Pacific, an M.F.A. in Electronic Music and Recording Media from Mills College, and a D.M.A. in Music Composition from the University of Colorado at Boulder. Currently Cole is living in Shanghai, China teaching music composition, theory, technology, and flute at FaceArt Institute of Music. He is an active performer, improviser, creative programmer, both as a soloist and a collaborator. His aesthetic involves experimentalism, noise, drone, programming as performance, and all things abstract. Since 2008 Ingraham has performed around the world as part of the international network laptop quartet Glitch Lich. As a group they have developed a large amount of software to allow them to perform their unique brand of audio/visual art in real time, with our members distributed across the US, UK, and China. The quartet has been very active internationally with notable performances including the 2010 SuperCollider Symposiumin Berlin Germany, the 2011 and 2013 Network Music Festivals in Birmingham UK, the 2012International Computer Music Conference in Ljublana Slovenia, New Interfaces for Musical Expression in Seoul, Korea in 2013, and the first ever Algoraves in Tokyo, Japan in 2014. Beyond the realm of acoustic instruments, he regularly writes software instruments and systems to realize his musical ideas. These range from stand-alone programs, to custom synthesized instruments and effects, to novel analogue and/or digital interfaces for controlling the software. Particularly of note is a custom app for the iPad called Un:Limit. This is a multitouch interface with a variable number of “virtual strings” and visual guides to aid in locating various tunings. The app also responds to the amount of surface area the performer’s finger is covering, adding an extra level of expression control. Un:Limit has been used in a number of performances of works written both specifically for it and those originally for other instruments. Creative coding, programming as a means of creating art, is a central part of Ingraham’s work. This is not only true for his live coding performances, but for all aspects of his creative output. This stems from the idea that code is the most direct way to interact with the computer itself (Ingraham’s instrument of choice). This allows a great deal of flexibility and creativity not always present with pre-made software. Because of this, most of his creative work is created entirely from code, with minimal reliance on commercial software.
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В своем докладе я расскажу что такое Глобальная карта, как она устроена, какие технологии, архитектурные решения, принципы и подходы используются. Как мы боремся с высокими нагрузками, с какими проблемами сталкиваемся, и как их решаем.
Левон Авакян "Архитектура мета игры Wargaming. Глобальная карта 2.0"
Левон Авакян "Архитектура мета игры Wargaming. Глобальная карта 2.0"
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Este PPT describe la naturaleza de la historia y una posición crítica a la teoría de la evolución
La historia y análisis a la teoría de la evolución
La historia y análisis a la teoría de la evolución
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Левон Авакян "Архитектура мета игры Wargaming. Глобальная карта 2.0"
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