Oblique is an album by jazzvibraphonistBobby Hutcherson featuring performances by Herbie Hancock, Albert Stinson and Hutcherson's regular drummer Joe Chambers. The album was originally recorded in 1967 and first issued as catalog number GXF-3061 in Japan, in 1980. It was remastered and re-released on CD as a part of the Rudy Van Gelder Edition in 2005 with a different cover artwork. Oblique marks Hutcherson's second release in a quartet setting, his previous being Happenings from 1966. The personnel on Happenings are identical, save the replacement of Bob Cranshaw with Albert Stinson.
The pieces
Oblique is different to his previous sessions, because there is less emphasis on Hutcherson's compositions. He contributes three tunes to the date, all of which are of a more lyrical, subdued style. The one Hancock composition is of a more funky jazz-rock style, yet very laid back, likely due to the lack of horns. The set closes with two of Chambers' compositions, in his typically ominous and avant-garde manner.
Oblique (2008) is a film by the Norwegian artist Knut Åsdam (1968).
Synopsis
The 13 minute film Oblique (2008) is an articulation of identity in transition. The entire film was shot on a train moving through a continuous mass built from cities and their adjoining regions. The characters are traveling in the suspended generic space of the train through regions composite of old and new economies and old and new social realities: Newly built outer areæ around the cities, construction sites, institutional and office buildings, transitory places, between growth and collapse, marked by quasi-contradictory processes of economic progress and development of slums. On the train coach itself, a targeted but sometimes absurd narrative plays itself out as a linguistic reaction to the time and place.
Urban environments, and their heterotopic sites, are locations for Knut Åsdam's investigations into social design, patterns of behavior and modes of subjectivity, with a particular focus on spatial identity's disorder and pathologies. Åsdam perceives a city as a machine of desire, its geography as a system of desire and its architecture as a generator of desiring practices. Usage and perception of public urban spaces, their structures of political power and authority occupy a central place in the artist's studies of identities.
A dimension is a structure that categorizes facts and measures in order to enable users to answer business questions. Commonly used dimensions are people, products, place and time.
In a data warehouse, dimensions provide structured labeling information to otherwise unordered numeric measures. The dimension is a data set composed of individual, non-overlapping data elements. The primary functions of dimensions are threefold: to provide filtering, grouping and labelling.
These functions are often described as "slice and dice". Slicing refers to filtering data. Dicing refers to grouping data. A common data warehouse example involves sales as the measure, with customer and product as dimensions. In each sale a customer buys a product. The data can be sliced by removing all customers except for a group under study, and then diced by grouping by product.
Typically dimensions in a data warehouse are organized internally into one or more hierarchies. "Date" is a common dimension, with several possible hierarchies:
Directed by The Malloys, the music video for "Dimension" was first aired in the week of 13 February 2006. Prior to this, the video was featured on the 2006 extended play (EP) Dimensions.
Critical reception
In a review of Wolfmother for Blender, writer Jonah Weiner identified "Dimension" as an example of the band "at [their] hardest", describing it as an "acid anthem".NME reviewer James Jam described the song as "a throb of gonzometal not unlike Black Sabbath playing Motown".
A field k has Krull dimension 0; more generally, k[x1, ..., xn] has Krull dimension n. A principal ideal domain that is not a field has Krull dimension 1. A local ring has Krull dimension 0 if and only if every element of its maximal ideal is nilpotent.
Explanation
We say that a chain of prime ideals of the form
has length n. That is, the length is the number of strict inclusions, not the number of primes; these differ by 1. We define the Krull dimension of to be the supremum of the lengths of all chains of prime ideals in .
These projects point to Baines’s defining attributes ...David Pearson, one of two art directors for the series, described how his “often-oblique approach gave the series a crucial added dimension” ....
This “Macedonia” of discontents was laced with resentment and distaste for the purely “cultural” dimension of the Cultural Revolution... Only oblique remarks hinted at the dimensions of the project.
has length n. That is, the length is the number of strict inclusions, not the number of primes; these differ by 1. We define the Krull dimension of 
to be the supremum of the lengths of all chains of prime ideals in 
