Nexus Dance Vol 2 |BEST|

This is an instrument that's specifically designed for producers of contemporary dance music, with the supplied Dance Vol 2 preset expansion pack containing 128 patches for use in trance, electro house and hard dance styles. Presets can be tweaked with a range of sound-shaping tools, and both the arpeggiator and trancegate are impressive. The Mix screen enables you to adjust individual layers - each patch can have up to four - and there are some good effects, too.

NEXUS2explores new sonic territory delivering complex, ultra-fat,contemporary soundstorms that sound as good as the most expensive andbest hardware available today. A powerful and flexible architecture isthe foundation that supports the immediately useful and spontaneouslyengaging design of the instrument. Every aspect of NEXUS2 was built to produce music of the highest quality, quickly, with the least amount of fuss.

Nexus Dance Vol 2 |BEST|

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Features like search, favorites, and categorization arestandard not only in the factory library but in all availableexpansions. You will never feel lost or confused searching extensivelyand wasting time, you will be able to pinpoint the sound you are afterwithin seconds. You won't run out of sounds quickly either as NEXUS2offers an impressive array of 19 expansions covering a wide gamut ofcontemporary music styles and produced by the worlds top sounddesigners. So Whether you need the most powerful dance lead sounds toset the club on fire, or a full gregorian choir for your nextmasterpiece, NEXUS2 delivers.

He worked together with DJ Manuel Reuter (DJ Manian, danceformation Cascada, also Spencer & Hill) and has produced many club hits and remixes for Sugababes, Moby, Scooter (band), Axwell, Public Enemy, and Tiësto.He is also a developer of audio music software as well as being a sound designer. Under the company name "Vengeance-Sound" he releases Soundsets / Sample CDs. As a sound designer for Access Music Electronics, Roland Music, Waldorf synthesizer, Propellerheads, Tone2 & reFX Manuel Schleis works as well. In 2016 his new line of VST Plugins, called "Vengeance Producer Suite", was released (in cooperation with audio software company Keilwerth Audio).Additionally Manuel Schleis works as a tutor for "dance production" for example the "Roland Synth2Sound Tour", "SAE" & "Musikmesse Frankfurt".

Reviewed by: Dancing from the Past to the Present: Nation, Culture, Identities Kathy Foley Dancing from the Past to the Present: Nation, Culture, Identities. Edited by Theresa Jill Buckland. Studies in Dance History series. Madison: University of Wisconsin Press, 2007. 320 pp. 32 black and white photos, 6 maps, 2 illustrations. Cloth $55.00, paper $24.95. This compilation of nine essays includes four on Asian or Pacific topics. The opening essay by the editor effectively notes the history of contemporary dance studies within the larger nexus of new history, cultural studies, and performance studies. The most provocative essays are the ones written by dance [End Page 397] scholars who have spent a lifetime studying the genres they discuss. Adrienne Kaeppler's "Dances and Dancing in Tonga: Anthropological and Historical Discourses" emphasizes a diachronic analysis of the Tongan laka laka, showing how choreographies influence later work as she compares accounts from Captain Cook's voyage in 1777 with pictorial and late nineteenth-century accounts, with work she saw as a young anthropologist in 1964, and with dances for the eightieth birthday celebration of King Tauf'ahau Tupou IV in 1998. This essay shows a comprehensive command of the history and genre. Judy Van Zile's "Interpreting the Historical Record: Using Images of Korean Dance for Understanding the Past" questions the presumed usefulness of historical paintings for drawing conclusions about dance practices of the past. Her points are well argued in relationship to the two specific Korean dances that she details: "Ch'ōnyongmu," an important mask dance with exorcistic implications that has been documented in court records since the late thirteenth century, and "Chinju kommu," a sword dance from the city of Chinju. Janet O'Shea's "Dancing through History and Ethnography: Indian Classical Dance" details her movement from an embedded student of Balasaraswati style bharatanatyam to an ethnographer with a historically nuanced understanding of the wider tradition. Felicia Hughes-Freeland's "Constructing a Classical Tradition: Javanese Court Dance in Indonesia" demystifies the court bedhaya tradition of Java. These two essays are by scholars whose work is now reaching full maturity. This set of essays would be of use as a text in a world dance or anthropology of performance class. Additional essays deal with Romani performance, Yugoslav dance, English Morris dance, and dance in New Mexico's pueblos. All the essays are useful models of researchers who are moving between ethnography, historical research, and movement analysis.

We would like to help teachers become betterculture brokers, but first we needed to find out what teachersunderstood already. Our research project investigated scienceteachers’ current awareness of the cultural aspects of Westernscience, and the connection between an Aboriginal student’s homeculture and the culture of science taught in their classroom. Thisconnection, or "nexus", between a community’s culture and theculture of Western science is captured by the phrase "science andculture nexus" (SCN).

In summary, most students cross a culturalborder when they enter a science classroom, some students lesssmoothly than others. A science teacher’s role as culture brokerwill facilitate smoother border crossings into school science forAboriginal students. Fatima’s rules and collateral learning helpexplain how students react if their own worldviews differ from theworldview of Western science. These ideas guided our analysis of thestudy’s empirical findings and helped us better understandteachers’ beliefs science and culture and theirnexus.

Before a rational in-service program can bedeveloped for science teachers (both Aboriginal and non-Aboriginalteachers) who instruct First Nations and Métis students,research is needed to document Saskatchewan teachers’ currentunderstandings of the connection between a student’s homeculture and the culture of Western science taught in theclassroom. This connection, or nexus, between a community’sculture and the culture of Western science is captured by the phrase"science and culture nexus" (SCN).

Objective 2: To convey the various views on the science and culture nexus held by science teachers with various backgrounds who currently teach First Nations and Métis students in grades 7 to 12 in Saskatchewan.

Most of the 10 interviewees would have likely"disagreed" with item C6 as well, but their reasons would varyconsiderably. For instance, Joe who did not separate the twoknowledge systems in his mind (scientific and Aboriginal), believedthat an individual can take what he or she can from each type ofknowledge system (140). Doug explained that Aboriginal knowledge canhelp his students learn science when the science content is used toexplain Aboriginal ideas (233). Gary claimed that Aboriginalknowledge is "the best teaching tool you could use" (355) and citedthe resource material Practising the Law of CircularInteractions. Gary’s approach would be to teach criticalthinking skills first (361), because critical thinkers will not see aconflict between science and Aboriginal knowledge. He added: Ifstudents "make no effort to get involved in the information,they’ll be ignorant" (369); thus, there was no problem ofAboriginal knowledge inhibiting students’ learning of science.Brent recognized that traditional values do conflict with chemistrytheory but pointed out that one can understand an idea (forthe purpose of passing tests and getting to university) but notbelieve it. The distinction between understanding andbelieving a scientific idea seems to be fundamental to learningscience. Gary and others also alluded to this distinction.

When the issue of Aboriginal versus scientificknowledge arises, as it did in the discussions just above, differentviewpoints begin to surface about how to handle two different, andpotentially conflicting, knowledge systems. At one extreme isBetty’s approach of "meshing" the two knowledge systemstogether, while at the opposite extreme is Brent’s approach ofsegregating the two so someone can understand one system withoutnecessarily believing it. These two extremes (and various positionsin between) comprise a theme that pervades other issues about thescience and culture nexus -- different ways of resolving potentiallyconflicting knowledge systems. The theme will be illustrated furtherin sections below, and will constitute a significant conclusion tothe SCN project.

It is interesting to note that in all thediscussions presented in this report, teachers tend to reiterate thesame theme to explain different issues about school science and theproblems faced by Aboriginal students. It is also significant to notethat the potential cultural conflicts between science and FirstNations knowledge (conflicts that seemed to be relegated to a lowpriority in earlier discussions) were given greater credence byseveral teachers when they talked about students’ avoidance ofscience classes and careers.

Their teacher lamented, "No matter how well Ithink I teach a topic, the students only seem to learn what they needto pass the test, then, after the test, they forget it all anyway"(p. 925). Tobin and McRobbie (1997, p. 366) documented ateacher’s complicity in Fatima’s rules: "There was a closefit between the goals of Mr. Jacobs and those of the students andsatisfaction with the emphasis on memorisation of facts andprocedures to obtain the correct answers needed for success on testsand examinations." When playing Fatima’s rules, students (andsome teachers) go through motions to make it appear as if meaningfullearning has occurred, but at best rote memorization of key terms andprocesses is only achieved temporarily. 2ff7e9595c