A senile Chinese man and his blind wife, whose son went off to fight in the brutal war against Japan, mistakes a wounded Japanese man (Akira Takarada) for their son. Their daughter-in-law (Betty Loh Ti) now has to make a decision on whether to kill the Japanese, who, as would turn out, is actually a journalist against the Japanese invasion.
A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand. Afterwards audience members often applaud. After a performance, performance measurement sometimes occurs. Performance measurement is the process of collecting, analyzing and reporting information regarding the performance of an individual, group, organization, system or component.
The means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance; the return applause signals "thank you" to the audience. In Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performer's faces.
Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members get involved in the production.
Computer performance is characterized by the amount of useful work accomplished by a computer system or computer network compared to the time and resources used. Depending on the context, high computer performance may involve one or more of the following:
The performance of any computer system can be evaluated in measurable, technical terms, using one or more of the metrics listed above. This way the performance can be
Compared relative to other systems or the same system before/after changes
In absolute terms, e.g. for fulfilling a contractual obligation
Whilst the above definition relates to a scientific, technical approach, the following definition given by Arnold Allen would be useful for a non-technical audience:
Nyx (English /ˈnɪks/;Ancient Greek: Νύξ, "Night";Latin:Nox) is the Greek goddess (or personification) of the night. A shadowy figure, Nyx stood at or near the beginning of creation, and mothered other personifieddeities such as Hypnos (Sleep) and Thanatos (Death), with Erebus (Darkness). Her appearances are sparse in surviving mythology, but reveal her as a figure of such exceptional power and beauty, that she is feared by Zeus himself.
In his description of Tartarus, Hesiod locates there the home of Nyx, and the homes of her children Hypnos and Thanatos. Hesiod says further that Nyx's daughter Hemera (Day) left Tartarus just as Nyx (Night) entered it; continuing cyclicly, when Hemera returned, Nyx left. This mirrors the portrayal of Ratri (night) in the Rigveda, where she works in close cooperation but also tension with her sister Ushas (dawn).
Night (1960) is a work by Elie Wiesel about his experience with his father in the Nazi German concentration camps at Auschwitz and Buchenwald in 1944–45, at the height of the Holocaust toward the end of the Second World War. In just over 100 pages of sparse and fragmented narrative, Wiesel writes about the death of God and his own increasing disgust with humanity, reflected in the inversion of the parent–child relationship as his father declines to a helpless state and Wiesel becomes his resentful teenage caregiver. "If only I could get rid of this dead weight...Immediately I felt ashamed of myself, ashamed forever." In Night everything is inverted, every value destroyed. "Here there are no fathers, no brothers, no friends," a Kapo tells him. "Everyone lives and dies for himself alone."
Wiesel was 16 when Buchenwald was liberated by the United States Army in April 1945, too late for his father, who died after a beating while Wiesel lay silently on the bunk above for fear of being beaten too. He moved to Paris after the war, and in 1954 completed an 862-page manuscript in Yiddish about his experiences, published in Argentina as the 245-page Un di velt hot geshvign ("And the World Remained Silent"). The novelist François Mauriac helped him find a French publisher. Les Éditions de Minuit published 178 pages as La Nuit in 1958, and in 1960 Hill & Wang in New York published a 116-page translation as Night.
Dan Gorelick | Longest Night TidalCycles performance – Piano Phase
Performed on 12/21/21 as part of the TidalCycles "Longest Night" stream (https://night.tidalcycles.org/) on the winter solstice 2021. The main melodic motif is from Steve Reich's Piano Phase composition. I experimented with different phase offsets and Euclidian rhythms on the motif.
setup:
[ tidalcycles midi ] into [ prophet 6 ] into [ zoia pedal ] into [ blackhole audio capture ]
published: 22 Dec 2021
Longest Night Stream December 2021 - moistpeace - 2021-12-22 12:00
Longest Night Stream December 2021 live performance by moistpeace from TOKYO/JAPAN
Tidalcycles Livecoding with openFrameworks VJ system
published: 05 Feb 2022
Ralt144MI [LIVE-CODING] The Longest Night - Winter Solstice Marathon -TidalCycles - Cycle #82
The Longest Night - Winter Solstice Marathon -TidalCycles - Cycle #82
17h00 Dec 22-17h20 Dec 22
Performed on 12/21/21 as part of the TidalCycles "Longest Night" stream (https://night.tidalcycles.org/) on the winter solstice 2021. The main melodic motif is ...
Performed on 12/21/21 as part of the TidalCycles "Longest Night" stream (https://night.tidalcycles.org/) on the winter solstice 2021. The main melodic motif is from Steve Reich's Piano Phase composition. I experimented with different phase offsets and Euclidian rhythms on the motif.
setup:
[ tidalcycles midi ] into [ prophet 6 ] into [ zoia pedal ] into [ blackhole audio capture ]
Performed on 12/21/21 as part of the TidalCycles "Longest Night" stream (https://night.tidalcycles.org/) on the winter solstice 2021. The main melodic motif is from Steve Reich's Piano Phase composition. I experimented with different phase offsets and Euclidian rhythms on the motif.
setup:
[ tidalcycles midi ] into [ prophet 6 ] into [ zoia pedal ] into [ blackhole audio capture ]
Performed on 12/21/21 as part of the TidalCycles "Longest Night" stream (https://night.tidalcycles.org/) on the winter solstice 2021. The main melodic motif is from Steve Reich's Piano Phase composition. I experimented with different phase offsets and Euclidian rhythms on the motif.
setup:
[ tidalcycles midi ] into [ prophet 6 ] into [ zoia pedal ] into [ blackhole audio capture ]
Fly, as high as you can Don't you fear the night The night belongs to us Even last out last When you fall down to the floor Don't hide the tears away Look right deep inside of you Through the dark, you'll see the light Wherever you'll go, whatever you'll do I'll be standing right beside you No matter how far, no matter how long I will follow where you go Cause I believe in you I believe in you Run, as far as you can You can reach the stars And through the midnight sky Love will rise again, and it will shine When you fall down to the floor Don't hide the tears away Look right deep inside of you Through the dark, you'll see the light Wherever you'll go, whatever you'll do I'll be standing right beside you No matter how far, no matter how long I will follow where you go Cause I believe in you I believe in you. Wherever you'll go, whatever you'll do I'll be standing right beside you No matter how far, no matter how long I will follow where you go Cause I believe in you I believe in you.