#tableau interview questions 2018

[sinceileftyoublog]

30 (Technically 34) Albums We Loved That Happened To Come Out in 2020

So much has already been said and written about this cursed past year, but a few good things came out of it, including the music. Album-wise, like many before it and many to come, it was an embarrassment of riches. But even with so much time on our hands to devour new tunes, it was often old favorites, songs of comfort or familiarity that garnered the heaviest rotation. For many artists, too, it was a year ripe for revisiting or reissues of old material, looking at existing songs with fresh and new perspectives. Simply put, with so much to listen to, new and old, the prospect of ranking a finite number of albums felt not only daunting, but frankly a bit stupid. Maybe we were late to the game, but 2020 taught us that music should and can be appreciated in multiple contexts, not limited to but including when it first came out and when it was heard again and again, even if years later. The records below--listed in alphabetical order--happened to be released in some form in 2020, whether never-before-heard or heard before but in a different format. And the only thing I know is that we’ll be listening to them in 2021 and beyond.

Autechre - SIGN & PLUS (Warp)

The legendary British electronic music duo surprise released SIGN a mere month and a half after its announcement and then PLUS 12 days later. The former was a beatific collection of soundscapes that belied the band’s usual harsh noise, while PLUS embraced that noise right back, drawing you in with the clattering chaotic burbles of opener “DekDre Scap B” and lurching forward. -Jordan Mainzer

Against All Logic - 2017-2019 (Other People)

The perennially chill ambient house artist Nicolas Jaar had a busy 2020, as usual, releasing two albums under his name, Cenizas and Telas. But it was 2017-2019, the follow-up to the debut album from his Against All Logic moniker, that came first and throughout the year helped to illustrate Jaar’s penchant for combining inspired samples with club beats and tape hiss. Take the way the lovelorn vocals of “Fantasy” or soulful coos of “If Loving You Is Wrong” war skittering, scratchy percussion and cool arpeggios, respectively: Jaar is coming into his own as a masterful producer almost a decade after he released his first full-length. Oh, and bonus points for including none other than Lydia Lunch on a banger so blunt it would make Death Grips blush. - JM

Bartees Strange - Live Forever (Memory Music)

Like many, my introduction to Bartees Strange was through Say Goodbye to Pretty Boy, his EP of The National covers. Creativity and shifting perspectives shine through each song’s reimaging, like flipping the coarse, almost manic “Mr. November” into something softer, more meditative. It felt like a mere peek into what was to come on Live Forever. Bartees Strange is a world-builder. Each track on his debut unfolds and welcomes you to a wildly engaging tableau, a fully constructed vision. “Jealousy” opens with soft vocals and birdsong. “In a Cab” is the slick soundtrack to racing through a cityscape in the rain, seeing the blurred lights of the high-rises above as you pass by. “Kelly Rowland” warps wistful pop song feelings. “Flagey God” takes you into a dark, pulsing club while only a few songs later, “Fallen For You” wraps you in echoed vocals and romantic, raw acoustic guitar.

It’s an accomplishment to craft an album of individual songs that stand strongly on their own but still feel cohesive. 2020 wasn’t all bad. It gave us Live Forever, a declaration of an artist’s arrival. - Lauren Lederman

Charli XCX - how i’m feeling now (Atlantic)

Back in the spring, many of us wondered who would put out something great in 2020’s quarantine. It was hard to imagine that the intensity of a global pandemic would really allow for artists to embrace creativity. That thought carries the same eye-roll inducing feeling of “We’ll get some great punk music out of a Trump presidency,” but of course, Charli XCX delivered. Through live workshops with fans and longstanding collaborators, she delivered songs to dance alone to in your bubble. Charli embraces the unknown of the moment but clutches onto what’s familiar. Under the glitch-pop veneer of the album, she digs into the anxieties of not just this moment of time but of the bigger questions we all confront: trajectories of relationships with friends, romantic partners, ourselves. Album standouts “forever” and “i finally understand” embrace that feeling of both looking for control and accepting the lack of it. Charli is a master at balancing this. - LL

Christine and the Queens - La Vita Nuova (Because Music)

Named after a Latin text by Dante Alighieri about missing a woman who has died, Chris’ La Vita Nuova is not about mourning a death but instead about loneliness and isolation, post-relationship or otherwise. It doesn’t bang quite like her previous two albums, but it hits harder than ever.

Read our full review here.

Dogleg - Melee (Triple Crown)

Released on March 13th, right as the COVID-19 pandemic hit, Melee was supposed to be supported by three cancelled tours–SXSW, an opening slot for Microwave, and an opening slot for Joyce Manor–and an appearance at this year’s cancelled Pitchfork Music Festival. Listening to the songs on the record, you can only imagine how they translate: the jerky momentum of “Bueno”, build-up of “Prom Hell”, gang vocals of “Fox”, clear-vocal anthem of “Wrist”, and odd groove of “Ender”.

Read “Buckle Up, Motherfucker”, our interview with Dogleg.

Dua Lipa - Future Nostalgia & Dua Lipa/The Blessed Madonna: Club Future Nostalgia (Warner)

Where Dua Lipa’s much-anticipated second album Future Nostalgia succeeded was in its disco anthems and retro, club-ready beats, so who better to bring out the best of the record than The Blessed Madonna? The turntablist masterfully curates a mix of heavy hitters of the charts and the underground that not only offers an essential complement to Future Nostalgia but transcends it. Sending the tracks out to various producers and singers for features and then adding her own samples on top, she invites you to peel back the layers, enter a YouTube rabbit hole of sample searching as much as bopping along.

Read our full review here.

Emma Ruth Rundle & Thou - May Our Chambers Be Full (Sacred Bones)

Roadburn Festival has long been on my bucket list, and since the pandemic showed me how much live music can be taken away in a flash, when it’s safe again to travel and go to a festival, I may just pull the trigger and go--especially considering it’s the springboard for such fruitful and inspired collaborations as the one between Louisville singer-songwriter Emma Ruth Rundle and Baton Rouge sludge dwellers Thou. Rundle embraces the heavier opportunities on the follow-up to her incredible 2018 record On Dark Horses with the ever-flexible Thou backing her up vocally and instrumentally. Slow-burning opener “Killing Floor” offers a familiar introduction to fans of both--sort of what a Rundle/Thou song would sound like--before grunge chugger “Monolith” introduces huge, catchy riffs and “Out of Existence” a True Widow-esque dirge, newfound inspirations for both artists bringing the best out of each other. - JM

Fiona Apple - Fetch the Bolt Cutters (Epic)

What makes Fetch the Bolt Cutters stand out among Apple’s catalog and music in general is the clarity with which Apple seethes at those who have wronged her, whether ex-boyfriends or patriarchal oppressors, and looks to her relationships with other women for peace of mind.

Read our full review here.

HAIM - Women in Music Pt. III (Columbia)

For HAIM, the title Women in Music Pt. III is suggestive that, more than their previous two records, their third centers around the experiences of being an all-female band in a historically white cis male-dominated scene, at least one that wouldn’t call catchy riffs written by a man “simple” or call attention to the faces a man makes while playing. What it doesn’t let on to is how deeply personal the record is, how, by unabashedly embracing genres and styles of music that they love, HAIM have made far and away their best album. Co-produced by the usual suspects, Danielle Haim, Ariel Rechtshaid, and ex-Vampire Weekender Rostam Batmanglij, it’s instrumentally and aesthetically dynamic and diverse, consistently earnest without devolving into cheese.

Read our full review here.

Irreversible Entanglements - Who Sent You? (International Anthem)

I’ve been captivated by Irreversible Entanglements ever since I first saw them at Pitchfork Music Festival 2018. The radical poetry of Camae Ayewa (aka Moor Mother) is the perfect front for a ramshackle mix of Luke Stewart’s spidery bass, Tcheser Holmes’ weighty drums, and a horn section that concocts tones that range from hopeful to desperate. At their best, Who Sent You? is a shining example of celebratory Afrofuturism and metaphysics that makes the urgency of Ayewa’s more concrete and political words all the more necessary. “No Más”, composed by Panamanian-born trumpeter Aquiles Navarro, is a declaration against imperialist oppression, while the stunning title track flips the switch like a Kara Walker painting, as Ayewa’s the one interrogating the police officer terrorizing her community. “Who sent you?” she repeats, never spiraling, grabbing a hold of the power and never letting go. - JM

Jeff Parker - Suite for Max Brown (International Anthem/Nonesuch)

It’s Jeff Parker’s mom’s turn. After 2016′s The New Breed ended up being a tribute to the guitarist’s father, who passed away during the making of it, Parker decided to pay tribute to Maxine while she was still alive. Suite for Max Brown (Brown is his mother’s maiden name; Max is what people call her) is a genre-bending collection of tracks inspired by Parker’s DJing, juxtapositions of sequenced beats with improvisation that certainly sound like the brainchild of one individual. Indeed, Parker plays the majority of the instruments on it and engineered most of it at home or during his 2018 Headlands Center residency in Sausalito, CA; though all of the players and the vocalist (Jeff’s daughter Ruby Parker) on The New Breed show up, plus a couple trumpeters (piccolo player Rob Mazurek and Nate Walcott of Bright Eyes) and cellist Katinka Kleijn, Suite for Max Brown is a distinctly Jeff Parker record.

Read our preview of Jeff Parker & The New Breed’s set at Dorian’s last year.

Jeff Rosenstock - NO DREAM (Polyvinyl)

Jeff Rosenstock throws us right into the spinning, manic energy of NO DREAM, his latest release from a seemingly endless well of music that never lacks urgency. It’s a reminder that though it’s been a strange year, the issues Rosenstock tackles here aren’t new. There’s no interest in making you feel comfortable here. On the album’s title track, Rosenstock sings, lulling you into a false sense of security, “They were separating families carelessly / Under the guise of protecting you and me.” But reality sets in, and the hazy guitars spin out as he spits, “It’s not a dream!” and, “Fuck violence!”

My image of Jeff Rosenstock in the year 2020 is masked up with “Black Lives Matter” scrawled across the fabric of his mask in Sharpie, performing album highlight “Scram!” on Late Night with Seth Meyers as high energy as ever. It felt like watching someone send out a beacon, both a distress signal and a call to arms. - LL

Jessie Ware - What’s Your Pleasure? (PMR/Friends Keep Secrets/Interscope)

I am not someone who goes to clubs. I don’t “go out dancing,” preferring to let loose in the privacy of my own home or a trusted friend’s house party. But Jessie Ware’s What’s Your Pleasure? makes me think I could embrace a night out like that, once the world opens up again, of course. The album is filled with syncopated disco beats that feel fresh and classic all at once. The abundant horns and strings on “Step Into My Life” are decadent, like light bouncing off sequins in a dark room. Ware’s voice is slinky and velvety one moment, windswept like her album cover the next. It’s songs like “Save a Kiss” that embrace both, allowing her to show off her range. - LL

Laura Marling - Song for Our Daughter (Partisan)

With sparse production, mostly from her but with additions from Ethan Johns and Dom Monks, Marling foregoes the comparative maximalism of the Blake Mills-produced Semper Femina, her last proper full-length, and 2018′s LUMP collaboration. The songs aren’t simple, but they’re succinct, and every element, from Marling’s finger-picked guitars, the occasional slide guitar, and that unmistakably calm voice, sometimes alone and sometimes layered, fits. It’s her most universal set of songs yet, centering around the times when we’re apart from one another but reflecting on when we were together and when we might be together again, with no guarantees.

Read the rest of our review here.

Les Amazones d’Afrique - Amazones Power (Real World Records)

The groovy pan-African collective expands upon their debut Republique Amazone and then some with Amazones Power, a tour-de-force statement of female empowerment in the face of oppression against women throughout the African diaspora. Indeed, the album is more than just songs boldly decrying FGM, though those demands ring heavily. Instead, the group goes further, delving into gender power structures in marriage on “Queens” and selectively finding strength in tradition on “Dreams”. And this time, they include men to stand alongside with them. “Together we must stand / Together we must end this,” sings Guinean musician/dancer/artist Niariu on opener “Heavy” in solidarity with features Douranne (Boy) Fall and Magueye Diouk (Jon Grace) of Paris band Nyoko Bokbae. But perhaps it’s her kiss-off on “Smile” that hits hardest: “I shut up for no one.” - JM

Lianne La Havas - Lianne La Havas (Nonesuch)

The British singer-songwriter’s much anticipated follow-up to 2015′s Blood was better than I could have ever imagined. A song cycle about life cycles--of nature, of lives, of a relationship--inspired by an actual breakup, Lianne La Havas is a contemporary neo soul masterpiece. Overview opener “Bittersweet” is an instant earworm, La Havas’ coo-turned-belt filling the space between classic and increasingly emotive slabs of piano and guitar. Funky, lovestruck strut “Read My Mind” is the soundtrack for the unbridled confidence of finding new love. Yes, the doubts begin to sow on the fingerpicked melancholy of “Green Papaya” and “Can’t Fight”, and where the album goes from a simple narrative perspective may be predictable: They break up, they don’t get back together, La Havas enjoys her independence. But the depth of the arrangements and assuredness of La Havas’ singing is a product of an artist starting to really show us what she can do. And how many people can pull off a Radiohead cover like that? - JM

Lomelda - Hannah (Double Double Whammy)

What does it mean to title an album after yourself? Lomelda’s latest album is centered around discovering more about yourself while not always having the answers. Despite the lyrical content, the album is self-assured. Hannah Read’s voice feels as steady as ever as it navigates these twisting questions, like the way the world can shift after a kiss. She finds power in softness and reflection throughout the album, like when she explores the mantra-like words of “Wonder” or through a reminder to do no harm in “Hannah Sun”. In a year that allowed for perhaps more reflection than usual, Hannah makes space for the questions that arise out of figuring yourself out, of making sense of the messiness of it all, wrapped in warm guitar, balanced vocals, and steady drums. - LL

Moses Sumney - Grae (Jagjaguwar)

“Am I vital / If my heart is idle? / Am I doomed?” Moses Sumney famously sang on his stunning 2017 debut Aromanticism, an album that saw him developing his acceptance of being alone. grae, his two-part 2nd full-length, and his first since officially moving from L.A. to the Appalachian Mountains of Asheville, North Carolina, doubles down on themes of heartbreak, but instead of being sure in his seclusion, he embraces the unknown. The album teeters between interludes of platitudes about isolation and ruminations on failed human connection, and maximally arranged clutches of uncertainty. “When my mind’s clouded and filled with doubt / That’s when I feel the most alive,” Sumney coos over horns and piano on slinky soul song “Cut Me”; it’s an effective mantra for the album.

Read the rest of our review here.

Norah Jones - Pick Me Up Off The Floor (Blue Note)

At the time we previewed Norah Jones’ 7th studio album, she had only released a few tracks from it. Turns out the rest was just as powerful. From the blues stomp of “Flame Twin” to the rolling piano stylings of “Hurts to Be Alone”, Pick Me Up Off The Floor is an album full of jazzy orchestrations and soul and gospel-indebted arrangements, Jones’ silky, yearning voice tying together the simple, yet lush and deep instrumentation. And that other Tweedy feature, that closes the album? It’s a heartbreaking portrait of loneliness, one of many on a record that still manages to celebrate being alive all the while. - JM

Phoebe Bridgers - Punisher (Dead Oceans)

Phoebe Bridgers is a master of details. Her lyrics shine when they get specific. They range from the mundane to morbid: A superfan’s ghost-like wandering under a drugstore’s fluorescent lights, a skinhead likely buried under a blooming garden, reckoning with the you in “Moon Song”’s lines, “You are sick, and you’re married / And you might be dying.” Bridgers has always been able to set a scene meticulously, and Punisher arrived with 11 songs that expanded that skill, both lyrically and musically, with her dark humor intact and a fuller sound that includes her boygenuis collaborators’ harmonies. - LL

PJ Harvey - To Bring You My Love: The Demos & Dry - The Demos (Island)

Yes, revisiting Dry’s demos as a separate entity is still worthwhile. Harvey’s powerhouse vocal performance carries the acoustic strummed “Oh My Lover”, while the comparatively minimal arrangement of “Victory” highlights bluesy riffing, call-and-response harmonies, and layered guitar and vocals. The singles, the slinky and sharp “Dress” and propulsive anthem “Sheela-Na-Gig”, hold up to their ultimate studio versions, too. But it’s the To Bring You My Love material that provides novelty because it’s never been released and more so because it encompasses the greatest aesthetic contrast from the album. From the warbling hues and guitar lines of the title track to the tremolo haze of “Teclo” to the crisp snares of “Working With The Man”, the demos show a continuity and level of cohesiveness with the diversity of Dry and Rid of Me not shown on the studio version of Harvey’s more accessible commercial breakout. (Predictably, the album’s most well-known song, “Down by the Water”, is the closest to its eventual version.) “Long Snake Moan” is simultaneously more spacious and more noisy, its garage blues a total contrast to the lurking “I Think I’m A Mother” and swaying shanty “Send His Love To Me”. And “The Dancer” fully embraces its flamenco influences, hand claps and all.

Porridge Radio - Every Bad (Secretly Canadian)

Is there a better opening line than “I’m bored to death, let’s argue”? That kind of duality is found across all of Every Bad as it grapples with the frustrations and anxiety of trying to figure it all out, whatever that might mean for you. “Maybe I was born confused, but I’m not,” vocalist Dana Margolin repeats throughout the opening track, roping in listeners with the dizzying feeling of trying to make sense of yourself. The band’s guitar and synth sound coupled with Margolin’s howl makes for a dance party filled with dread, rendering Margolin’s already strong, repetitive lyrics even more spiraling. And yet, by the time we get to “Lilacs”, a glimmer of something else shines through as the music gets more manic and Margolin’s voice begins to soar: “I don’t want to get bitter / I want us to get better / I want us to be kinder / To ourselves and to each other.” - LL

Sault - Untitled (Rise) & Untitled (Black Is) (Forever Living Originals)

Yes, Black Is still pulls plenty of devastating punches. ���Eternal Life”, a segue from the gospel boost of “US”, juxtaposes a deliberate drum beat with zooming synths, both ascending like a chorus of angels, as they sing, “I see sadness in your eye / ‘Cause I know you don’t wanna die,” presenting the oppression of Black life at the hands of white supremacy in inarguable terms. Ultimately, though, it’s the anthemic nature of the songs, resistant of platitudes, that shines through. “Nobody cared / This generation cares,” says Laurette Josiah on “This Generation”. Whether she’s talking about young people in general or the latest generation of young Black leaders, the sentiment is reflected on songs like “Black”, wherein over dynamic, sinewy instrumentation, the singers alternate between encouragement, support, and love of the self and others.

Read our full review here.

Shamir - Shamir (self-released)

Shamir’s voice is a bright beacon in a sea of conventional singers. Shamir captures the effervescence of pop music and weaves it together with elements of country, alt rock, and diary confessional lyrics all supported by the emotion and range of his vocals. There’s something for everyone across the album’s 11 shimmering tracks. Lead single and opener “On My Own” feels like a declaration of self and self-sufficiency, an anthem of a breakup song. The almost pop-punk bounce of “Pretty When I’m Sad”, paired perfectly with lines like the angst-ridden, “Let’s fuck around inside each other’s heads,” feels impossible to not bop along to. The twang of “Other Side” would put a country crooner to shame. That’s the power of Shamir. His voice has the ability to smoothly convey joy, resilience, and humor. He uses elements of several genres, not just the dance-pop of his debut, to build a unique album that gives listeners so much to sift through and, of course, dance to. - LL

Songhoy Blues - Optimisme (Fat Possum)

If Songhoy Blues’ second album Resistance lacked “the grit of its predecessor,” it’s clear from the hard rock stomp of the opening track of Malian band’s third album Optimisme that they rediscovered their mojo. More importantly, they couple this maximal brashness with tributes to those who make their world a better place: fighters for freedom, women, the young. It’s perhaps the first Songhoy Blues record to truly combine the celebratory nature of their desert blues with a balanced mixture of idealism and vigor. - JM

Spanish Love Songs - Brave Faces Everyone (Pure Noise)  

How can you find hope in hopelessness, or optimism when every news story points to cruelty? Is it naïve to keep searching for light in the dark? I don’t think so, and I don’t think Spanish Love Songs does, either. I’d like to think we both believe that’s not naivety, but power. It’s the embers you need to really ignite a flame. After all, this is the band with a song titled “Optimism (As a Radical Life Choice)”. It’s a band whose crunching guitars and earnestness insist that despite death and depression and addiction, the instinct to survive shines brightly above all. That relentless hope resurfaces across Brave Faces Everyone’s 10 tracks even as it works through the bleakness of everyday life. - LL

Tashi Dorji - Stateless (Drag City)

The magnum opus from the Asheville-based picker is a group of evocatively titled, disorderly songs about the desolate hellscape of America for outsiders and immigrants. Enigmatic in its nature, not exactly narrative, Stateless combines Dorji’s urgent strumming with moody motifs, captured beautifully in a studio setting for maximum emotional wallop. - JM

Touche Amore - Lament (Epitaph)

Is this what an almost uplifting Touche Amore album sounds like? It’s cathartic in a newer way for the band, especially after the beautifully rendered grief of Stage Four. Lament loses none of the band’s aggression or urgency. “Come Heroine” thrusts listeners into that urgency and introduces a moment of warmth, Jeremy Bolm’s vocals still rasping and insistent: “You brought me in / You took to me / And reversed the atrophy.” The bounciness of “Reminders” may seem close to optimism, but a sharper look at the lyrics uncovers more than blindly looking to the things that bring joy. “I’ll Be Your Host” is reflective, a few years removed from Touche Amore’s previous album and the immediacy of loss, self-aware and growing, but still raw. The album closer, “A Forecast”, takes a turn, a lone voice and piano acting as a confessional before giving way to thrashing guitars and the realization that growth and reckoning with trauma doesn’t mean minimizing it. It means learning to keep moving forward and to stop for help when you may need it. - LL

Waxahatchee - Saint Cloud (Merge)

The best album yet from Katie Crutchfield is inspired by positive personal change (getting sober, dealing with codependency issues, her blossoming love with singer-songwriter Kevin Morby) and reflections on family and friends. Named after the suburb of Orlando where her father’s from, Saint Cloud is a genre-hopping collection of stories and feelings that doesn’t necessarily follow any semblance of narrative. On opener “Oxbow” and country-tinged ditty “Can’t Do Much”, Crutchfield’s increasingly aware of the need to pick your side and your battles, whether in the relationship between two people or between the allure of the bottle and the next-day hangover. Some of the best songs on the album see her finding commonalities with others as a means towards self-love. Gentle strummer “The Eye” refers to her natural creative relationships with Morby and her sister Allison. “War” she wrote for herself and best friend, who is also sober, the title a metaphor for one’s fight to remain substance-free. “Witches” is an ode to her best friends, including Allison and Snail Mail’s Lindsey Jordan, all equally frustrated by the toxic nature of the music industry and the world at large, ultimately lifting each other up because they simply have each other.

Read our full review here.

[svrtechnologiescom]

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[mr-entj]

Are there any resources you can point me to in order to improve my consulting math? Management consulting is a route I want to take after university but the biggest thing standing in my way is the lack of math skills I have (I study Law and Political Science).

Combined with the following ask:

Mr. ENTJ, I’m extremely artistically inclined but somewhat incompetent in mathematics. Yet I’ll be studying Commerce at the most prestigious university in my country in the Fall of 2018 for undergrad. To what degree do I need mathematical knowledge to be successful in business and how can I improve my grasp on mathematical concepts? I lack interest in numbers and symbols so I’m wondering if there’s a more creative/artistic way of looking at it.

Hi Mr-entj. How much math did you have to learn to be good at business? I’m horrible at it but looking for ways to improve and quickly before I graduate.

It depends on what kind of business you’re looking to do but generally the math concepts in college are much more complex than anything you’ll use in the real world. Unless you’re an analyst for a think tank in Washington D.C. weaving complicated macroeconomic models, consulting/business math is straightforward. Don’t be intimidated.

Business Math Concepts

Master:

Division

Percentages

Decimals

Probability

Statistics

Conversions (units of measurement)

Algebra (especially finding unknowns)

Basic Finance (especially interest, compound interest, risk)

For mental math (important in the case interview), the expectation is you can do problems like these in your head:

25% of $10 million = ?

$32,000 x 4 = ?

$1 million increased by 50% = ?

15,000 decreased by 30% = ?

The majority of business math will come in the form of word problems because the real world isn’t going to come up to you and ask: “Hey, my company is failing and I need to figure out what’s wrong, what’s 200x+3= 50,000? Solve for x, thanks.”

They’ll ask you questions like these instead:

“Hey, my company is failing and I need to figure out what’s wrong. Can you identify which department is underperforming the most, quantify by how much, and recommend solutions?”

“I feel like we’ve increased our financial performance this year, can you show me which specialization brings in the most revenue with the lowest overhead?”

“Our community clinic needs to save money to stay open, can you find a way to identify the least utilized services and the highest utilized services? Can you measure the impact to our patients if we change any of these services?”

“Hey, we put in that solution a month ago and we want to know how well it’s working. Can you figure out if we solved our problem and by how much?”

The key takeaway is you have to understand what’s going on, what message the data is telling you, and the cause and effect of your actions. Questions that might come up include:

What the hell is going on here?*

How are we measuring success? Is it making more money? Is it losing less money? Is it higher output? Is it better quality scores? Is it fewer errors? What’s the metric for success?

How do I know we’re successful? How do we quantify and measure it?

If I want to increase variable A, what do I need to change/move/increase/decrease/close/open to make it happen?

If I increase variable A, what impact (if any) will it have on variable B?

The data says that C has decreased, how much impact did D or E have on that change (if at all)?

*critical question to answer in any business environment.

Business Math Tools

Learn:

Data visualization. All data and insights gleaned from calculations need to be translated into a data visual (graph). People will run for the hills if you hit them with a giant wall of text summarizing week to week revenue reports; that’s not a stimulating read so use graphs. Learn histograms, line charts, pie charts, waterfall charts, etc. Know how to read them, how to use them, and when to use them.

Microsoft Excel like the back of your hand. This program will be used to run numbers and process data. Learn VLOOKUPs, pivot tables, shortcuts, and all the goodies.

Tableau is a powerful data visualization software that’s very popular. It’s used to produce dynamic charts and graphs that automatically update based on fresh data.

SQL if you’re a glutton for punishment. SQL is used to query for data, knowing SQL makes you infinitely more attractive in the job market.

Resources

Math: Consulting Math, Math 2, Math 3, Math 4, Business Math concepts, GMAT books are also useful

Graphs: 44 Types of Graphs and How to Use Them, Working with charts, graphs, and tables, Data Visualization 101, Types of Graphs

Excel: Excel Formulas, Formulas 2, Formulas 3, Excel Shortcuts, Shortcuts 2

Tableau: Tableau 101, Tableau Community Forums, Hot Keys & Keyboard Shortcuts

SQL: SQL Tutorial, SQL Tutorial 2, 18+ Best Online Resources for Learning SQL and Database Concepts (2018 revision)

[katebutlerwrites]

Contemplating the Alien Conjurings of Charline von Heyl

Published on Arte Fuse 10/11/2018

Charline von Heyl has compared painting to chasing a dog on a leash. In the presence of any one of her large-scale tableaus at Petzel Gallery, a viewer can only do the same. Von Heyl combines, torques and frames rigid shapes, images of objects, animal and human figures, patterns and motifs, paint drips and scribbles into something like collages of subconscious signals. Like some other contemporary painters, she plays with the syntax of picture-making, inventing images that deal more in dramatic possibilities than in actualities. I am accustomed to asking what a painting is. Von Heyl proposes what a painting can do.  

In the back room of Petzel I am staring at large canvas titled “La Vache Qui Rit,” French for the laughing cow, a moniker that may or may not be a reference to that brand of cheese-to-go (the painting’s predominance of white and red supports this theory). The drama takes place on a sheer white ground (masking a puzzle of shapes) within a square black frame so rigid it could be a photoshop element. Within are black hearts, teardrops, triangles and silhouetted twists which rise the geometric bird-like form that could have been pulled from a decorative sampler. Beneath the black shapes are masses of blood-red and bruise-magenta. As my eye moves from the lower right toward the upper left I see the silhouettes of legs, what might be a bow, the top of a skull, and an upside-down coat of arms. I catch myself interpreting these ambiguous forms as objects, and in so doing become aware of my own viewership. I see myself seeing. A black teardrop shape sits below two open white circles of the skull’s eye, and it looks like crying. I notice another face: an elongated horizontal heart at center becomes the mouth to a hollow eye drawn in charcoal slightly upward to the left. Von Heyl’s paintings conjure up different associations depending on where you look.  

Perhaps the graphic shapes in “La Vache Qui Rit” would not seem so free, so buoyant, had von Heyl not dabbed and flitted her brush in red across the canvas. In black, she has doodled a lattice across the leg shapes and made charcoal squiggles on top. One effect of these markings is to further enrich the painting’s tangled web of associations. On top of the red “scull” in “La Vache Qui Rit” for instance, two parallel dashes further evoke the hollow nose holes of an eyeless face.

Such brushwork also relates the primal energy underlying von Heyl’s more explicit figures and shapes. Throughout the paintings, a cursory mix of drips or scribbles dance across the surface, sometimes contained by more sharply defined forms in the foreground. In “The Flood Subject,” black and lime green teardrop shapes, almost kitsch in their uniformity, emerge from a radio fuzz of black and blue marks. That drag-and-drop sampling of graphic elements could be read as a computer-era update to the expressive vocabulary of free-handed doodling that occupies much of the painting’s ground (think Baldessari in the jungle). Both the uniform shapes and the active brushwork suggest the importance of intuitive play, where poetic meaning is revealed from chance juxtapositions and guileless exertion. Uniting the associations of images with the rhythmic associations of paint drips, scribbles, and strokes, von Heyl’s paintings are both haptic and cerebral, both self-evident in their formal unity and charged with inscrutable meanings.

Wondering where the human subject fits into all this, I see an answer in “Mana Hatta.” In the painting, the silhouettes of two heads appear to overlap, intercepting each other, as well as forming a base for evocations of radio waves and signals. From the hypnosis-eye of the figure at left toward the bottom of the canvas, cartoonish waves meander through black, red and blue. These patterns are overlaid by three outlines of jumping rabbits, punctuated by little stamps of red. No explicit reference is made to Alice in Wonderland, but between the leaping rabbits and target circles for eyes such an association is appropriate.

In writing this review, I return to words associated with sorcery: I want to say that von Heyl ’s works are incantations, or that she conjures or summons. In a recent interview with Jason Farago for Even Magazine von Heyl describes her preoccupation with fabricating new images from “a net of synchronicities and associations,” that, like that dog on a leash, seem to have a will of their own. She says, “the paintings are almost the conclusion of a series of steps of fetishistic projections, which want to find a voice.”

The sort of fetish von Heyl describes, associated in some cultures with voodoo, has its origins in the Portuguese “feitico,” or sorcery, derived from the latin facticius, meaning “artificial” and “facere” to make. Here I admit my ignorance about the actual ritual uses of so-called fetish objects, yet the etymological history of the term is itself revealing. The origins of “fetish” both in “sorcery” and in making confirms a reality that is familiar to many artists: that the medium has a mind of its own. A hallmark of a good painting, or a good image, is that it seems to look back. Von Heyl’s paintings so adhere to their own internal laws that I can imagine them telecommunicating to one another after the gallery lights are off.

Von Heyl’s paintings are strange, compelling new realities. Yet one flip side of their originality is that they are extremely particular, as fetishes, including the sexual kind, tend to be. I want to think that because von Heyl’s paintings are radical and interesting they are also necessarily great, but viewing them only takes me so deep. I felt alienated in the presence of some of her images, either due to the crypticness of their signs (such as “Poetry Machine”) or because of the thinness of the pictorial space. The painting “Corrido,” for instance, selected for the gallery’s front room, left me cold. The work features a black antler shape at the center opening to checkers, layered over decorative motifs and patterns. I wouldn’t say I didn’t like the painting: I liked the hot orange beside the cool yellow, the white drips over black. But the exuberance of the decorative motifs felt spectral and hollow, like garlands from a neoclassical statue framing nothing. My identification with the painting’s theatre of effects was disproportionate to the grandeur of the massive canvas.

Still, Charline von Heyl’s work is compelling me to ask new questions, even to re-consider how painting can mean today. It is true that I didn’t jive with “Corrido.” Yet, like all of the works comprising the exhibition I am compelled by my own uncertainty regarding how to see it. Her works ask for repeated viewings, for considering and re-considering. One visit to Petzel and some 1,000 words later, von Heyl’s paintings are still pulling me by the leash.

[360digitmg-training]

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Text bracket, Document vectors, Text bracket using Doc2vec In this module, you will be tutored in more about Text Bracket and Document Vectors using Doc2vec. ADF, Random perambulation and bus Arima In this module, you will study ADF, Random walk, and Auto Arima styles used in the Time Series. Smoothing This module will educate you tips on how to use this fashion for univariate knowledge. 

 The design is the ultimate step in Data Science coaching and will allow you to to point out your moxie in Data Science to employers. The Data Science Course Master's program is a planned studying path that's really helpful by high business experts. You may also develop a proficiency within the newest movie about AI & Deep literacy by using Tensorflow after which Data Visualization using Tableau. Individual courses at Edureka are about the specialisation of the world of one or two specific areas, nevertheless, you need to be a Data Scientist, also that's the stylish route to take. According to Glassdoor, Data scientists are the alternate-stylish job in 2021. Data Scientists are the stylish sought- after in the field of information wisdom still, the demand for information scientists in Hyderabad is scarce which implies there are lots of druthers

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 Coaches are skilled in multiple real- time systems of their diligence. Besant Technologies would be offering you with real- time, tone- paced training. At Besant Technologies, it's doable for you to to learn grounded on your individual schedule. You can get the maximum advantages of question decision at any time with our 24 × 7 reversal. You get to profit from the newest course material model with no redundant value. snare the information of enterprise evaluation and business intelligence. 

  As companies step into the sector of Big Data, the necessity for the storehouse of information also grows indirectly. All the businesses have begun to shift their focus to constructing the fabrics and storage of Data. The Data Science Training Institute in Hyderabad at 360DigiTMG offers a comprehensive understanding of the course to the scholars. Teachers at 360DigiTMG trains the scholars with in- depth data of the content and helps them in achieving their professional careers as well. You pay formally for the course and can repeat it numerous times sooner or later for free. 

As information becomes increasingly complicated and substantial, companies bear advisers . This boosts the way forward for data wisdom as companies come reliant on data- driven decision- timber. the party should enrol for the StarAgile job assure program and complete the training as described by the placement group. party ought to complete all the conditions to come eligible for interviews. The providers of a data scientist are necessary for healthcare, retail enterprise, telecommunications, automotive, digital Marketing, professional providers, and cyber securities diligence. StarAgile chooses professional preceptors with time and education moxie. 

  The data science training in hyderabad  will train you in lots of data wisdom instruments and programming tools, which will help you work your information to work with a company of your volition. Different enterprises use different tools, so knowledge of the favoured instruments makes you stand out from the job request competition. The instructing workers are nice, they give us day wise assignments which helped me to use the algorithms of machine literacy and likewise give us the backup classes. The entry they give could be veritably useful to pay attention to the assignments constantly. The Deep literacy Course with TensorFlow Certification by Edureka is curated with the backing of educated assiduity professionals as per the newest musts & demands. This Deep studying instrument course will help you to master in style algorithms like CNN, RCNN, RNN, LSTM, RBM exercising the rearmost TensorFlow 2. zero pack in Python. 

360DigiTMG presents basically the most applicable and up- to- date Data Science course in Hyderabad in cooperation with IIT Madras. The course class is designed by high assiduity professionals with expansive moxie in this sphere. I enrolled in 360DigiTMG's course to support my career and it was a fantastic moxie. 

  This Data Science with R Training encompasses an abstract understanding of Statistics, Time Series, Text Mining and a preface to Deep Learning. Throughout the R Programming Course, you'll apply real- life use- cases on Media, Healthcare, Social Media, Aviation and HR. There are fewer job openings available for the data wisdom and analytics positions in India alone. As the preceptors have business experience they can simply juggle between scholars and professionals at Data Science guiding in Hyderabad. 

 Also, you'll have complete access to the IBM Watson Cloud Lab for Chatbots. To become a knowledge scientist, one will need to have a bachelor's degree in a computer- related area or information wisdom. instruments and degrees from honoured universities ore-learning institutes add a structure to your knowledge and wisdom career. Data Science charge camps will help you turn out to be a master in this area. 

  Misclassification, Probability, AUC, R- Square This module will give everyone tips on how to work with Misclassification, Probability, AUC, and R- Forecourt. AIC, BIC, Model Fitting, Training and Test Data In this module, you'll learn every little thing you want to know about a number of models similar as AIC, BIC, Model Fitting, Training, and Test Data. The posterior module is Machine literacy that will teach us all the Machine Learning strategies from scratch, and the popularly used Classical ML algorithms that fall in each of the classes. In this module, you will learn the forms of joins and learn how to mix information. Chi- Square is a thesis testing methodology employed in Statistics, which is used to measure how a model compares to precise information. One Sample T- Test One- Sample T- Test is a thesis testing methodology employed in Statistics. 

 Also, in India, there was a 20 enhancement for the Data Scientist function in comparison with the final time on the report submitted byPayScale.com. Since Data Science is a multidisciplinary area the job openings for this subject are immense. Listed below are the colourful aqueducts of businesses that rent Data Scientist campaigners. 

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 Data wisdom is a subject that is known among massive companies for helping them make income. Data collected over a long term will occasionally present patterns that could presumably be used to prognosticate the conduct of the request and thus make a profit using that knowledge. The area has lots of reaches as several pots and associations are counting on data to make a profit. This should indicate ample jobs for someone who is well clued in understanding and working with a large quantum of delicate knowledge. The campaigners are awarded a Data Science course completion instrument as soon as they complete the data wisdom course in Hyderabad successfully. 

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[jessmarieross]

Juxtapoz Magazine - May 26, 2018

VIA WOOL & COTTON: AN INTERVIEW WITH ERIN M RILEY

By Jessica Ross

Imagine your high school bedroom. Think about all the posters that adorned your walls, the tapes or cds that bestrewn your desk, and the various accoutrements that lent themselves so perfectly to your budding personal identity. Looking back, do these objects carry meaning? Do they possess a certain emotional weight, positive or negative? Why do you think that is?

Next month, textile artist Erin M. Riley endeavors to answer these questions for herself through a new body of work at PPOW Gallery. Titled “Used Tape” this new show focuses on Riley’s own journey through the turbulent world of womanhood and sexual identity. Via wool and cotton, Riley has assembled an inanimate tableau of personal affects, each carrying their own unique significance to the artist. Working in her signature style, Riley continues to push her work and enter discussions that are at times uncomfortable, and ultimately entirely necessary. According to the gallery, “The imagery in Riley’s work is derived from personal photographs, found photographs sourced from the internet, and still lifes. She explores the innate difficulty of womanhood, objectification of the female body, and traumas both large and small that weigh on the search for self-identity. Riley has a history of sexual assault and violence in her family, the fear of which had a deep impact on the formation of her sexual identity. Her work is often partially autobiographical, an aspect of her practice that she sees as essential to both processing these experiences and to make others feel less alone."communicating with one another.  

Click here to see the rest of this article

[foxquote768]

Solitaire 3D

3d Klondike Solitaire

Solitaire 3d Pro

Start playing unlimited online games of solitaire for free. No download or email registration required, meaning you can start playing now. Our game is the fastest loading version on the internet, and is mobile-friendly.

Luckily, Solitaire 3D makes it easy by including numerous ways to learn the ropes for each and every single game. All forms of direction have been designed to be as and brief and crystal clear as possible. Includes conveniently available written instructions for all.

Play over 500 versions of solitaire - Play Klondike Turn 1, Klondike Turn 3, Spider, Free Cell, Pyramid, and Golf , among many other versions.

Undo moves - The chances of winning are between 80 and 90%. Matlab r2020b install. However, even if you have a winnable game, if you make one wrong move, it may be the end of your game. If you're stuck, you can undo as many moves as you’d like to get yourself back in the game and win!

Change difficulty levels - You can play with turn 1 and turn 3 options. Turn 1 is when 1 card is drawn from the stockpile at a time and is an easier version. Turn 3 is when three cards are moved from the stockpile at time, and is harder because you can only play every third card.

Track your moves and time - If you're competitive, you’ll want to track how many moves it takes to win a game, how long it takes, and how many times you pass through the deck. You then challenge yourself to beat your record times and number of moves. Practice makes perfect!

Create a free account - If you’d like, you can register an account to save a game and pick up where you left off on any device. We’ll even track all the games you’ve played, including your time to completion and total number of moves. You’ll can see how you get better over time.

Play the game of the day - Everyday, we introduce a new winnable game. See how you perform compared to other players. Scroll below the game to see the current leaders, and try to beat their score. You can play as many times as you like, and leave comments and tips.

Play on your mobile phone or tablet - Our game works perfectly on any size phone or tablet device, both in vertical and horizontal orientations.

Enjoy a clean design, animations, and sounds - We’ve designed our playing cards to be classic and clean, so they are easy to read as you sequence cards, and our animations keep you engaged. You can also customize playing card designs, play with sounds, and play in fullscreen mode.

Solitaire rules and how to play

Solitaire 3D contains all of the following games: Accordion Aces Up Agnes Bernauer Agnes Sorel Algerian Patience Australian Patience Alternations Baker's Dozen Baker's Game Baroness Beleaguered Castle Black Hole Blondes and Brunettes Brigade Bristol Buffalo Bill Calculation Canfield Castles in Spain. Check out all the Solitaire 3D achievements, latest news, previews, interviews, videos, screenshots and review from your number one Xbox One resource site. 3D Mahjong games are played in 3 Dimensions, an extra dimension is added to the Mahjong Solitaire Games. We collected the best free online 3D Mahjong Games including Mahjong Dimensions. 3D Asteroids 3D Reversi Deluxe Balls! Bug Defender Cheveree Cribbage Cubes Hearts Micropul Sudoku Table Tennis Pro Vroom Vroom!!! If you need support, first look at the Frequently Asked Questions list: GrassGames' FAQ. Solitaire 3D Forums.

Game setup: After a 52-card deck is shuffled you’ll begin to set up the tableau by distributing the cards into seven columns face down, with each new card being placed into the next column.

The tableau increases in size from left to right, with the left-most pile containing one card and the right-most containing seven. As an example, this means the first seven cards will create the seven columns of the Tableau. The eighth card distributed will go into the second column, since the first column already has its one and only card.

After the piles are complete, they should be cascaded downwards such that they form a “reverse staircase” form towards the right. Ultimately, you will have seven piles, with the first pile containing one card, the second pile containing two cards, the third pile containing three cards etc. Only the last card in each of the Tableau columns is flipped over face up so you can see it’s suit, color and value. In our game, this is automatically done for you!

Mpv. Sep 18, 2018 One of the tests run during a CBC is a mean platelet volume (MPV) test. An MPV test measures the average size of your platelets. It’s closely related to a platelet count test, which measures the. Mean platelet volume (MPV) is a measure of the average size of your platelets, a type of blood cell that helps prevent bleeding. MPV is particularly important in determining the cause of thrombocytopenia (a low platelet count) or thrombocytosis (a high platelet count), and it can be a useful diagnostic tool even if your platelet count is normal.

Mancala Play Mancala, the classic board game. Single- and online multiplayer. Mancala game.

All leftover cards after the foundations are created become the “Stock,” where you can turn over the first card.

Knight rider kitt scanner. The original KITT scanner had 8 halogen lamps placed in a V-shaped structure on the front of Knight Industries Two Thousand, which was a 1982 Pontiac Trans Am. The idea of the KITT scanner was to provide a feeling that the car had a external sensor. The original lamps was halogen lamps, and had an after glow (light decay).

Goal: To win, you need to arrange all the cards into the four empty Foundations piles by suit color and in numerical order, starting from Ace all the way to King.

Tableau: This is the area where you have seven columns, with the first column containing one card and each sequential column containing one more additional card. The last card of every pile is turned over face up.

Stockpile: This is where you can draw the remaining cards, which can then be played in the game. If not used, the cards are put into a waste pile. Once all cards are turned over, the remaining cards that have not been moved to either the tableau or foundation can then be redrawn from the stockpile in the same order.

Playing the game:

Face up cards in the tableau or stockpile can be moved on top of another face up card in the tableau of an opposite color that is one rank higher, forming a sequence of cards.

Groups or stacks of sequenced cards in the tableau can also be moved together on top of a card of the opposite color and higher rank.

If a tableau column has only face-down cards remaining, the last card is flipped over and can be played.

To start a foundation pile, an Ace must be played. Once a foundation pile is started, only cards of that suit can be placed in that specific pile.

3d Klondike Solitaire

As cards are surfaced from the stockpile or tableau, and there are no other cards on top of them, they may be moved to a foundation pile if they can be placed in the right order.

If a tableau column is empty, you may move a King, and only a King, to that column.

Win by moving all the cards to the Foundation piles in the right order.

Solitaire 3d Pro

News and updates

12/16/20 - We've rebuilt our Freecell and Spider games so they now have the same great features as our Klondike game. On those games, you can now play the game of the day and change card desgins. Check them out!

12/29/2020 - We added a new tile matching game, Mahjong! If you don't know how to play, there is a guide to instruct you below the game!

1/12/2021 - We introduced Hearts, a trick-taking card game, to our platform. While normally played with other people, you can play against the computer. Keeping track of cards and anticipating moves is critical to winning this game.

1/20/2021 - Now when you play on mobile, the cards will appear bigger. We hope this will further imporve gameplay and usability for mobile users.

2/25/2021 - If you like hearing cards move, you can now play with sounds. Under the more button you'll find the option to turn sounds on.

3/18/2021 - We introduced comments. Now after every game, you can leave comments and and tips for other players.

4/15/2021 - While we love card games, we also love all classic games. We're pleased to announce that we released Sudoku with various difficulty levels. If you're intested in a number puzzle, give Sudoku a try!

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[spamzineglasgow]

(HOT TAKE) Notes on a Conditional Form by The 1975, part 1

In the first instalment of a two part dialogic HOT TAKE of The 1975′s latest album, Notes on a Conditional Form (Dirty Hit, 2020), Maria Sledmere writes to musician and critic Scott Morrison with meditations on the controversial motormouth and prince of sincerity that is Matty Healy, the poetics of wrongness, millennial digression and what it means to play and compose from the middle.

Dear Scott,

> So we have agreed to write something on The 1975’s fourth studio album, Notes on a Conditional Form (Dirty Hit/Polydor). I have been traipsing around the various necropoli of Glasgow on my state-sanctioned walks this week, listening to the long meandering 80-minute world of it, disentangling my headphones from the overgrown ferns, caught between the living and dead. Can you have a long world, a sprawling fantasia, when ‘the world’ feels increasingly shortened, small, boiled down to its ‘essentials’? Let’s go around the world in 80 minutes, the band seem to say, take this short-circuit to the infinite with me. I like that; I don’t even need a boat, just a half-arsed WiFi connection and a will to download. I’m really excited to be talking with you, writing you both about this; it’s an honour to connect our thoughts. I want writing right now to feel a bit like listening, so I write this listening. When my friend Katy slid into my DMs on a Monday morning with ‘omg the 1975 album starts with greta?????????’ and then ‘what on earth is the genre of this album ?!’ I just knew it had to happen, this writing-listening, because I was equally alarmed and charmed by the cognitive dissonance of that fall from Greta’s soft, yet urgent call to rebel (‘The 1975’), into ‘People’ with its parodic refrain of post-punk hedonism that would eat Fat White Family on a Dadaesque meal-deal platter ‘WELL, GIRLS, FOOD, GEAR [...] Yeah, woo, yeah, that’s right’. Scott, you and I went to see The 1975 play at the Hydro on the 1st of March, my last gig before lockdown. I’d been up all night drinking straight gin and doing cartwheels and crying on my friend’s carpet, and the sleeplessness made everything all the more lush and intense. Those slogans, the theatrical backdrops, the dancers, the lights, the travellator! Everything so EXTRA, what a JOURNEY. And well, it would be rude of me not to invite you to contribute to this conversation, as a thank you for the ticket but also because of your fortunate (and probably unusual) positioning as both a classically trained musician (with a fine-tuned listening ear) and fervent fan of the band (readers, Scott messaged me with pictures of pre-ordered vinyl to prove it).

> It seems impossible to begin this dialogue without first addressing the FRAUGHT and oft~problematic question of Matty Healy, the band’s frontman, variously described as ‘the enfant terrible of pop-rock’ and ‘outspoken avatar’ (Sam Sodomsky, Pitchfork), ‘enigmatic deity’ (Douglas Greenwood for i-D), ‘a charismatic thirty-one-year-old’ and ‘scrawny’, rock star ‘archetype’, not to mention ‘avatar of modern authenticity, wit, and flamboyance’ (Carrie Battan, The New Yorker). ‘Divisive motormouth or voice of a generation?’ asks Dorian Lynskey with (fair enough) somewhat tired provocation in The Guardian, as if you could have one without the other, these days. ‘There are’, writes Dan Stubbs for The NME, ‘as many Matty Healys here as there are musical styles’. So far, so postmodern, so elliptical, so everything/yeah/woo/whatever/that’s right. Come to think of it, it makes sense for The 1975 to draft in Greta Thunberg to read her climate speech over the opening eponymous track. Both Matty and Greta, for divergent yet somehow intersecting reasons, suffer the troublesome, universalising label of voice of a generation. Why not join forces to exploit this label, to put out a message? I’ve always thought of pop music as a kind of potential broadcast, a hypnotic, smooth space for desire’s traversal and recalibration. More on that later, maybe. What do you think?

> You can imagine Matty leaping out of a cryptic, post-internet Cocteau novelette (if not then straight onto James Cordon’s studio desk), emoji streaming from his fingertips like the lightning that Justine wields in Lars von Trier’s film Melancholia (2011); but the terrifying candour of the enfant terrible is also his propensity to wax lyrical on another (bear with my clickhole) YouTube interview about his thoughts on Situationism and the Snapchat generation. It feels relevant to mention cinema right now, if only in passing, because this album is full of cinematic moments: strings and swells worthy of Weyes Blood’s latest paean to the movies, but also a Disneyfication of sentiment clotted and packed between house tracks, ballads and rarefied indie hits. Nobody does the interlude quite like The 1975. Maybe more on that later, also.

> Where do I start though, how to really write about this, how to attain something like necessary distance in the space of a writing-listening? Matty Healy, I suppose, like SPAM’s celebrated authorial mascot, Tom McCarthy, poses the same problem of response: how to write about an artist whose own critical commentary is like an eloquent, overzealous and self-devouring, carnivorous vine of opinion?  

> Now, let’s not turn this into a discussion about who wears pinstripes better (we can leave that to readers - these are total Notes from the Watercooler levels of quiche). There seems to be this obsession with pinning (excuse the pun) Matty down to a flat surface of multiples: a moodboard, avatar, placeholder for automatic cancellation. He’s the soft cork you wanna prod your anxieties through and call it identity, you wanna provoke into saying something bizarrely, painfully true about life ‘as it is now’. Healy himself quips self-referentially, ‘a millennial that babyboomers like’. I don’t really know where to start really, not even on Matty; my brain is all over the place and I can’t find a critical place to settle. I’m lost in the fog and the stripes, some stars also; I haven’t even washed my hair for a week. Funnily enough, in 2018 for SPAM’s #7 Prom Date issue I wrote a poem called ‘Just Messing Around’ where the speaker mentions ‘pinning my eye to the right side / of matt healy’s hair all shaved / & serene’ and you don’t really know if it’s the eye that’s shaved or the hair, but both I guess offer different kinds of vision. Every time I google the man, IRL Matty I mean, I am offered a candied proliferation of alluring headlines: ‘The 1975’s Matty Healy opens up on his beef with Imagine Dragons’, ‘The 1975’s Matty Healy savagely destroys Maroon 5 over plagiarism claims’. Perhaps the whole point is to define (or slay?) by negation. Hey, I’ll write another poem. The opening sentence comes from Matty’s recent Guardian interview.

Superstar

I’m not an avocado, not everyone thinks I’m amazing. That’s why they call me the avocado, baby was a song released by Los Campesinos! in 2013, same year as the 1975’s debut. In the am I have been wanting to listen and Andy puts up a meme like ‘The 1975 names their albums stuff like “A Treatise on Epistemological Suffering” and then spends 2 hours singing about how hard it is to be 26’ and I reply being 26 IS epistemological suffering (isn’t that the affirmative dismissal contained in the title, ‘Yeah I Know’) I mean only yesterday I had to ask myself if it’s true you can wish on 11:11 or take zinc to improve your immune system or use an expired provisional license to buy alcohol like why are they even still asking I thought indie had died after that excruciating Hadouken! song called ‘Superstar’ which was all like You don’t like my scene / You don’t like my song / Well, if you Somewhere I’ve done something wrong it seems a delirious, 3-minute scold of the retro infinitude of scarf-wearing cunts with haircuts, and yeah sure kids dressed as emos rapping to rave is not the end of the world, per se, similarly I had to ask myself is there a life in academia is there a wage here or there, like the Talking Heads song And you may ask yourself, well How did I get here? Good thing I turn 27 next month Timothy Morton often uses the refrain, this is not my beautiful house this is not my beautiful wife to refer to those moments you find yourself caught in the irony loop and that’s dark ecology the closer you are the stranger it feels like slice me in half I’ll fall out with more questions you can plant in the soil like a stone or stoner, just one more drag of does it offend you, yeah? will I live and die in a band Matty sings the sweet green meat of my much-too-old -and-such-youthful experience of adding healthy fat to conference dialogue, like ‘Avocado, Baby’ was released on a record called No Blues I believe a large automobile is hurtling towards me now in negative space and the driver is crooning Elvis and reciting my funding conditions and everything feels like there aren’t not still people who believe the new culture of content is a space ‘over there’ and you can still have earnest power ballads about love if you want them =/ to cancel (too many tabs don’t make a tableau but in the future facebook has a paywall) and fame is a drag the pressure we put on the atmosphere, like somewhere you’re alive and still amazing asking wtf I’m reading this novel by Roberto Bolaño set partly in 1975 before we had internet it seems poets got laid a lot that year in Mexico City before I was born to pick up video calls with a spliff in one hand in the splendid, essential heat like a difficult knife in my side you can put me on toast, grind the pepper over me gently and say fucking hell this has taken forever.

> I guess I want or wanted to begin with this question of difficulty that rises when responding to Notes on a Conditional Form. How do you approach an album whose delayed release places it in a position of considerable hype, an album whose world tour and promotion is again delayed by global pandemic, an album shrouded in the ever-shifting controversy of Matty’s persona, an album whose length and sonic variety risks collapse into litanies of zany superlative and necrophilic attempts to revive musical category as vaguely relevant here? As beautiful as it is to catalogue the offbeat Pinegrove vibes of ‘Roadkill’, the shoegaze croons of ‘Then Because She Goes’ and the pop-punk, chord-bright euphoria of ‘Me & You Together Song’, I could keep going and going with this. I could just list and just list this. The album is a generous offering: a tribute to the album as form in an age where attention tapers away on high-streaming playlists set to conditioned, circadian moods curated by the likes of Spotify or Apple Music. The album is a Borgesian plenitude of multiple pathways, multiple timelines, infinite feed, choose your own adventure; a hypertext of cultural reference almost worthy of Manic Street Preachers at their Richey Edwards era of paranoid, intellectual peak; a metamodernist feat of oscillation between irony and sincerity, an extended tract, a drunk millennial ramble, a journey that loops from house party to club basement to the streams of sexuality repressed and expressed encounter...and yet. It is both more and less than these things. In trying to capture Notes on a Conditional Form with some pithy, journalist’s statement, I’m doing it all wrong.

> Sidenote: I recently listened to Rachel Zucker give a 2016 lecture on ‘The Poetics of Wrongness’ as part of the Bagley Wright Lecture Series. She makes a case for wrongness in poetry and critique, rejects the poem of pithy essence, the short, pretty and to the point lyric whose meaning is easily digested in a greetings card, or A Level exam paper, say. ‘Instead of the Fabergé egg of the short lyric, I prefer the aesthetics of intractability and exhausted exhaustedness’, the mistakes, lags or aporia made along the way in one of these long and winding poems. Notes on a Conditional Form is full of what some might deem mistakes, digression, exhaustion; but it is also peppered with the gloss of almost perfect pop ‘hits’ such as ‘Me & You Together Song’ and ‘If You’re Too Shy (Let Me Know)’. A wrong poem should be, ‘ashamed and irreverent’, which feels like a decent description of The 1975’s general orientation towards artistic conception. There is cringe and incongruity, there is by all intents and purposes ‘too much of it’, whatever we mean by ‘it’. And yet, that is its beautiful poetics of wrongness, the sound of wrongness, which ‘prefers the stairs’ to the easy elevator pitch (as Zucker puts it), that ‘prefers a half-finishing crumbling stairwell to nowhere’. I like to think about this 1975 album as a kind of exhausting Escherian scene of shifting, crumbling stairwells, shuffling and reassembling against the glistering backdrop of the internet’s inverse void, where everything, literally everything is translated to a starry excess of 1s and 0s, our collective binary data, the white hot, unreadable howl of our noise. What do you think Scott, would Matty find this image agreeable? Does that matter?

> Pushing dear Matty aside, say what you like, let’s start (again) with the title: Notes on a Conditional Form. Following 2018’s A Brief Inquiry Into Online Relationships, it’s fair to position these records as gestures towards philosophical statements ‘of the times’. Important to recognise the resistance to total or dominating knowledge built into the titles: these are not complete tracts or theses, but rather ‘a brief inquiry’ and ‘notes’. It’s obviously the ancient yet *hip* thing to do in capital-P Philosophy, to put out your statement on aesthetics and ethics, and I think The 1975 are playing with that tradition and its failure. You can imagine if his attention span were different, Matty Healy would’ve already written a PhD thesis on this stuff and published it as drunken bulletins on LiveJournal in 2007. As it stands, we have the smorgasbord sprawl of this eclectic record to get through in this cursèd year of 2020 — it’s not like we have much of anything better to do right now, when everything feels so futile, beyond reason and even the greatest human endeavour. Haha, woo, Yeah :’(((.

> Let’s stay in that conditional space between crying and laughter. Conditional form is interesting as a term, often used in grammar to refer to the ‘unreal past’ because it uses a past tense but does not actually refer to something that literally happened in the past: If I had texted him back, we would probably have gone to the gig that night. There’s something about the conditional as the ur-condition of the internet, the proliferating possibilities it offers and the hauntological strains of what could have been had we chosen x option over y, z, a, b, c, infinity...As millennials, we often make decisions by hedging, always caught in the conditional state of what it is to be. Hovering in the emotional shortcuts provided by dumb yellow icons, the poetics of abstraction. A verb form’s dalliance with uncertain reverb; and so we live our conditional lives.

> To push this further, we can say the internet is, as ever, Matty Healy’s natural habitat. In a recent podcast interview with Conor Oberst for The Face, Healy tells his favourite emo-country hero that ‘my natural environment by the time I started The 1975 was the fucking internet’. So how does that ecosystem play into the music? In a damning review for The Line of Best Fit, Claire Biddles concludes:

The 1975’s first three albums are ideal and distinct worlds to inhabit, each individually cohesive but situated in specific contexts — the anticipation of the small town, profundity in the face of vacuous fame, and the horror and isolation of late capitalism. Perhaps because of its broken genesis, Notes has no such common context, and ends up feeling flat, directionless and inessential, where its forebears felt vital, worthy of devoting a life to. For a band with proven dexterity in deftly capturing the nuances and quick changes of contemporary conversation, it is disheartening to witness them with nearly nothing of note to say.

That description — ‘flat, directionless and inessential’ — is kind of how I experience the internet right now, in the paradox of Web 2.0 becoming utterly essential, somehow, to how I live my life, how I love, how I am with friends. The internet as my ecosystem, my utility, my complete environment, my Imaginary — beyond the mere utility of a WiFi connection. Broken genesis might well describe the childhoods of those of us who grew up online, whose platforms collapsed around them, whose adolescent data was lost in the great ~accidental annihilation of the MySpace servers, whose identities were always already fractured, performed, anonymised or exquisitely personalised, deferred into only the (im)possible keystroke of utterance and trace, the fort-da play of MSN sign-ins. ‘My life is defined by a desire to be outward followed by a fear of being seen’, Matty says in a new short film for Apple Music, released in tandem with the album. The internet requires this chiaroscuro destiny: not to burn always with Baudelaire’s hard and gem-like flame (O to be an IRL flaneur beyond times of lockdown) but to endlessly flicker between the bright green light of presence and the shade of what once was called afk, away from keyboard. To live and burn in the gap between extroversion and introversion, to live in this conditional state of tendency. To express with emoji, send pics, is to both reveal and withhold something else, essential.

> I like albums to feel like worlds; I appreciate Biddles’ evocation of the cohesion experienced in the first three 1975 records. But perhaps it is a kind of violence to assume a world must have cohesion to exist. What is even meant by ‘common context’? What pressure are we putting on a singer, a band, a cultural moment to produce something familiar and harmonious, and to whom, at what scale? What does it mean to be the biggest band in the world...for a bit? How does that work when everything is dissonance, transience, noise, interference; both this and not-this; when life itself is lived as the flat traversal of a millioning existential terrains that seem to collapse into this nowness in which I feel myself sliding forever? Can anyone weigh-in on what it means to make music, art or writing that’s ‘worthy of devoting a life to’, because the gravity and force of that condition for good art, good pop, seduces me so.

> Maybe the point is to always be in the middle, to never quite start to write about The 1975, to find yourself always already writing about this album because this album was always already writing about your life. I have said nobody does the interlude quite like The 1975, but I was being coy, because the hottest twentieth-century philosophical double act, Deleuze and Guattari (haters gonna hate), do the interlude rather nicely. The point of a rhizome being ‘no beginning or end [...] always in the middle, between things, interbeing, intermezzo’ as they write in A Thousand Plateaus (1980). I see the musical interlude of a pop record, the instrumental moment without lyric, as a kind of middling gesture that places the listener in that conditional state of presence and absence, a hinge between songs, times and narrative moments. Maybe my favourite moment in A Thousand Plateaus is the statement: ‘RHIZOMATICS = POP ANALYSIS, even if the people have other things to do besides read it, even if the blocks of academic culture or pseudoscien-tificity in it are still too painful or ponderous’. Painful or ponderous might be a fair critique levelled at the enfant terrible vibes of Matty’s lyrics and generic pick’n’mix, but isn’t this tactic a kind of swerving punch at the categorical violence that keeps people out of academia, that keeps academic discourse so often stale in the first place? Unlike most journal articles, let’s face it, pop reaches ‘“the people”’. Perhaps Notes on a Conditional Form is the rhizomatic sprawl of the myriad we need as an alternative to institutional hierarchy, ring-fencing and the language games of academia. Surely the title is a reference to the very ‘pseudoscient-tificity’ D&G mention? I’m gonna quote Richard Scott’s blurb to Colin Herd’s 2019 poetry collection, You Name It here (not least because the indie publishers, Dostoyevsky Wannabe, come straight out of Manchester, home to The 1975, and because Herd’s poetic spirit is pure pop generosity with a platter of theory on the side), because I want to say similar things of this album: ‘Colin Herd’s poems are masterpieces of variousness. They are talismans against Macho demons. They are snatches of theory operating under lavish spills of language’. The good thing about Herd’s poetry and Matty Healy’s lyrics is that the impulse towards romantic or florid expression is always tapered by an interest in the mundane and everyday. Healy is always singing about pissing or buying clothes online or, as on ‘The Birthday Party’, singing about ‘a place I’ve been going’ that seems to consist of the lonely, infinite regress of conversations about seeing friends and watching someone drink kombucha while buying, in the convenient life of rhyme, Ed Ruscha prints.

Ed Ruscher, Cold Beer, Beautiful Girls (2009)

> So what kind of listening does this rhizomatic sprawl demand — does it expand beyond the banal or find a holding space there, a heaven of affect chilled to late-modernity’s crisp perfection? ‘The End (Music For Cars)’ is a luxurious, Hollywood ‘soaring’ moment, all strings and swells, fucking woodwind, and comes as the third track on the album, where normally you’d place it as some kind of penultimate climax, the album’s landscape pan-out or big swelling screen kiss in three-dimensional rotation. The band’s ‘Music For Cars’ era comprises their two most recent records, and you have to take it as a nod to Brian Eno’s 1978 ambient classic Ambient 1: Music for Airports (Matty recently interviewed Eno again for The Face, cool). The thing about cars is you drive around in them, you follow rules but also whims and desires, convictions; you choose to join others or you pursue the selfish acceleration (‘People are afraid to merge on freeways in Los Angeles’ goes the laconic teenage refrain in Bret Easton Ellis’ 1985 debut novel Less Than Zero). You only listen to music half-attentively; you don’t listen close enough to trade in souls. Are we being invited to experience this album as an ambient disruption of figure and ground, presence and absence, here and there, space and place, intimacy and despondency? Driving feels increasingly ‘directionless and inessential’ when the scale effects and obscenities of the anthropocene, of covid and other late-capitalist crises loom in our vision, when the sign systems we used to navigate our lives by seem to shimmer out of focus, or pixelate and deteriorate through endless memetic replication... You can’t help feel like Biddles review kind of misses the point.

Sylvano Bussoti, Five Pieces for Piano for David Tudor (1959)

> What point would that be though, in a world of rhizomatic overlap and intersecting, middling lines, a direction without seeming end? I love the approximation at work when Biddles writes, ‘with nearly nothing of note to say’, because that seems to be a possibility condition for writing in the age of the internet. To write in a way that is almost less than zero and loop back upon some kind of infinity, yet keep it in 2-step. I think back to Rachel Zucker’s image of the half-finished crumbling stairwell, and feel an amiable sense of approval towards this band who always work between the registers of diary, confession, advertising, provocative sloganeering and faux-didactics, never quite settling in to specifically tell you this particular story. It’s all mess, and it’s awful and delicious, I’m sorry. ‘Nothing Revealed / Everything Denied’ is the title of track 13 on the album: that movement between nothing and everything feels like the absolutist, absurdist conditions of ‘truth’ possibility in the Trumpocene/age of so-called ‘post-truth’. ‘Life feels like a lie, I need something to be true’, Healy sings with strained conviction in the song’s opening. But what is at stake in this truth? ‘I never fucked in a car, I was lying’, goes the line, referring back to the dramatic in medias res opening to ‘Love It If We Made It’, notable banger from A Brief Inquiry…: ‘We’re fucking in a car, shooting heroin / Saying controversial things just for the hell of it’. If lying is a pun on telling a mistruth or laying back, practically sexless in a passive state, there’s a deliberate play on apathy, agency and distortion here. It’s something Matty seems snagged on. On ‘I Like America & America Likes Me’ he collapses aesthetic superficiality, capital’s lyric abstraction (‘Oh, what’s a fiver?’) and generalised crisis into this (un)conscious desire for shutdown, expressed in fragmentary bullets of needing-to-know-and-not-know: ‘Is that designer? Is that on fire? Am I a liar? Oh, will this help me lay down?’ And then that impassioned refrain, processed through vocal distortion as if to enact the difficulty in clarity as overcome somehow by the sheer making of noise: ‘Belief and saying something / And saying something / And saying something’. It’s the endless, driving recursion of our lives online, online.

> Back to ‘The End (Music for Cars)’ which really is the middle of the beginning. It’s weird to listen to songs about driving and lying down in the middle of lockdown, drowning in the bloat of social media, on top of our ongoing climate emergency (yeah, remember that, it’s still happening), where high-carbon travel feels like an exhausted, almost impossible concept. A musician complaining about travelling is an age-old subject for a song, but this feels just as much about living in the in-between times of the internet (remember the sweet naivety of the information superhighway) as much as the great Road, for which Kerouac longed as much as Springsteen, Dylan, or Lana Del Rey. Is Matty Healy homesick though? ‘Get somewhere, change my mind, eh / Get somewhere but don’t find it / I don’t find what I’m looking for’. It’s all ‘(out there)’ as the parenthetical refrain goes, but maybe ‘out there’, outside, is the maddening supplement, as Derrida would say, to our lives online, thus revealing their mutual, entwined dependency. Imagine the M6 but tangled up crazily, zanily, like one of those Sylvano Bussoti scores. It’s not like you’re trying to get home, get back, exactly. It’s not like you can just click back on your browser and erase that trace of the touch that enacts it. That’s the weird-ass sensation of being an ecological being: ‘Wherever you go, there you are’, writes Tim Morton in Being Ecological (2018). We’re all pretty alien, even to ourselves.

> If life feels like a lie, as Matty sings, does it matter anymore whether it is or not? Or, to pose the question differently, how do we feel into, attune to something like ‘truth’, a shared reality or feeling? ‘Out there’ is only a state of ellipsis [...] a vine extended, something for the listener, user, consumer and/or human to cling to — or be strangled by. In the aforementioned Apple Music video, Matty takes away the canvas and presents the frame beneath, in a gesture that is comically overwrought with Duchampian pretention around the state and context of the artwork itself. ‘Sometimes I think what is the point of...it’s not my atheism coming out, it’s just my being human coming out’, he muses. The phrase ‘coming out’, with its connotations of closeting, shame and cocoon-like emergence is intriguing here. In a dehumanising, post-internet world of neoliberalism and its attendant microfascisms, its commodification of all kinds of art, its easythink translation of poetry-to-advertising, what would it mean to come out as human after, or better still, in the middle of all this? It’s significant that he trails off after ‘the point of…’, for surely the point itself (of the art?) would be to find yourself here, there, right in the middle of it all. And then in ‘Nothing Revealed / Everything Denied’, it’s like Matty is calling us back from that epistemological and ontological boiling point of knowing and being, like in singing we could go along, we could feel present and ‘true’ again, even with friction and difference. We gotta take hold, cool ourselves down from the rhetoric and into warm emotion, the smell of paint, erotic vibration of bass, in a manner of speaking.

> What if the mode of inquiry were not to investigate but rather to follow the lines of flight, to riff on this world where narrative arcs and chains are replaced by the multiple possibilities of hallucinatory experience, what Deleuze and Guattari call ‘a continuous, self-vibrating region of intensities whose development avoids any orientation toward a culmination point or external end’? To just desire and trace it. This, Scott, is where you come in (and I finally shut up to listen). There is so much more to write about this album, echo for echo, and I feel like I’ve only begun the tracing which was already beginning: I want to know your thoughts on The 1975 and America, on gender and genre, on bodies and football and friendship, on political engagement, those house beats, on the beautiful, sultry appearance of Phoebe (fucking) Bridgers, on sincerity, on the question of ‘What Should I Say’...It’s been playing on my mind that I will never say what I want to, or should, or would say of this album, but this perhaps is what I would otherwise have said. I give you my notes in conditional form.

Read part 2 of our review in Scott Morrison’s response here.

Notes on a Conditional Form is out now and available to order. 

~

Text: Maria Sledmere

Published: 23/6/20

[ramyamediboyina-blog]

ExcelR offers an in-depth understanding of Tableau Desktop 2018 Associate Certification training for Tableau developers and complete Tableau Server training for Tableau administrators. Training includes 30 hours of hands-on exposure to ensure that you are left will a feeling of being an expert at the Tableau tool usage. We have considered the industry requirement & devised the course to ensure that you have the practical exposure required to swim through the interviews with ease. The case studies explained towards the end will only reinforce the practice learning to make you complete to face the real world projects & problems which are solved using Tableau. The datasets chosen ensures that you learn every option completely. With a lot of industry connects you get to know the job opportunities which none would otherwise. Mock interview questions & the final project which help you establish as an adroit in the space of data visualization. Learning the leading data visualization principles will ensure that you always work with a combo of “Data Visualisation Dos & Dont’s + Tableau Tool”.

[mariabblackyr2]

Hannah Starkey 

Personal Research for Group Tableau Task

Hannah Starkey constructs photographs of staged settings of women in their everyday environment and experiences playing into voyeurism by presenting different, new ways of seeing women. This document of the female experience is an exploration of how women are represented in image culture.  Her staged portraits of women blend techniques such as portraiture, staging and documentary photography together to create complex photographs that leave the viewer wondering what's happening in the image. 

To create her narrative driven photographs Starkey recreates and reenacts scenes of women she had seen in cafes, etc in her everyday life. The way she manipulates these scenes with her mix of documentary, almost editorial photography style alongside her specific mise en scene creates an image that should portray the everyday however comes off more cold and dark which leaves a sense of enigma for the viewer. Her constructed photographs have layers of meaning buried in them due to ambient light from windows and mirrors which are used to create a conversation.

Similarly to Gregory Crewdson, Starkey creates a freeze frame of life. Due to the choice of the mise en scene each photographer chooses to add, their choice of lighting and the way they frame their image creates a sense of enigma. They tell the narrative they want to as well as asking the viewer to look a little closer to ask questions. Looking into Starkey further has allowed me to understand tableau photography works better when there are multiple layers that not only bring the viewer in but also create a complex photograph that makes them ask questions. This is an aim that our group is going for in our final photograph.

Links:

https://www.theguardian.com/artanddesign/2018/dec/08/hannah-starkey-photographer-interview-space-for-women-sean-ohagan

https://www.itsnicethat.com/articles/hannah-starkey-mack-books-publication-photography-040119

https://www.tate.org.uk/art/artists/hannah-starkey-2683/hannah-starkey-important-moment-women

[dataanalyticscoursetraining]

ExcelR offers an in-depth understanding of Tableau Desktop 2018 Associate Certification training for Tableau developers and complete Tableau Server training for Tableau administrators. Training includes 30 hours of hands-on exposure to ensure that you are left will a feeling of being an expert at the Tableau tool usage. We have considered the industry requirement & devised the course to ensure that you have the practical exposure required to swim through the interviews with ease. The case studies explained towards the end will only reinforce the practice learning to make you complete to face the real world projects & problems which are solved using Tableau. The datasets chosen ensures that you learn every option completely. With a lot of industry connects you get to know the job opportunities which none would otherwise. Mock interview questions & the final project which help you establish as an adroit in the space of data visualization. Learning the leading data visualization principles will ensure that you always work with a combo of “Data Visualisation Dos & Dont’s + Tableau Tool”.

[toldnews-blog]

New Post has been published on https://toldnews.com/politics/the-note-beto-orourke-speaks-to-state-of-democrats-union/

The Note: Beto O'Rourke speaks to state of Democrats' union

The TAKE with Rick Klein

It’s been all of five weeks in the political wilderness for Beto O’Rourke, enough time for a road trip, a tooth cleaning, some long runs and all manner of speculation about his political ambitions.

The former Texas congressman emerges from his relative political silence on Tuesday with an Oprah Winfrey interview that is one of the most anticipated media appearances of the early 2020 campaign.

As President Donald Trump delivers his State of the Union Tuesday night, the Democratic Party sits in a state of nervous anticipation.

There’s the distraction of Virginia Gov. Ralph Northam, a situation made worse for his party by his resistance to calls for his resignation. Then there are the missing pieces of the 2020 puzzle, where only former Vice President Joe Biden rivals O’Rourke in terms of a non-candidate impacting the thinking of the rest of the Democratic field.

For all that O’Rourke has said about himself, and all that is presumed to be known about him, he is still in soft focus as a potential candidate. Unknown still are what policy stances he would take and where he stands on ideological and attitudinal divides.

The anticipation is now part of the Beto appeal. At bottom, the question for him to answer is whether he wants it — knowing that running against a diverse field of popular Democrats is quite a bit different than a head-to-head campaign in Texas against Sen. Ted Cruz.

The RUNDOWN with MaryAlice Parks

The president who famously said that he “alone” could fix issues facing the country, will give his second State of the Union address Tuesday, addressing members of Congress who — it turns out — are necessary for getting anything done at all.

The speech is coming two weeks later than originally scheduled after a partial government shutdown and partisan stalemate that brought all previous plans to a halt.

AP

House Democratic leader Nancy Pelosi of California holds a news conference at the Capitol in Washington, Thursday, Dec. 13, 2018.

Democratic Speaker Nancy Pelosi, who has fought funding for the president’s wall at every turn, will welcome the president to her chamber and sit over his shoulder all night. It’s a striking tableau of divided government.

Expect other noticeable visuals too. This is the first State of the Union where newly-seated and highly-controversial Supreme Court Justice Brett Kavanaugh will likely appear in his robes with the rest of members of the high court.

And it is not just Pelosi that the president will have to work with to avoid future impasses. He still needs members of his own party, who have been reluctant and skeptical of his pronouncements — as of late — on everything from declaring a national emergency to ignoring the guidance of his intelligence officials. Imagine the visuals if Republicans choose not applaud something he says on foreign or domestic policy.

The TIP with Adam Kelsey

For all of the attention paid in political circles to the Democrats who are dancing around a 2020 presidential run, it could be jarring to be snapped out of the Washington bubble and be exposed to the reality that many Americans are still unfamiliar with a number of top candidates.

In a Monmouth University poll released Monday, the vast majority of the party’s candidates and potential candidates were still unknown to more than a quarter of those surveyed. Even some of the politicians who are the beneficiaries of recent buzz, like Sen. Sherrod Brown, D-Ohio, who won reelection in November and just embarked on a listening tour; Sen. Amy Klobuchar, D-Minn., another reelection winner who made a name for herself at Kavanaugh’s Supreme Court confirmation hearings; and Julian Castro, who rolled out his presidential campaign last month with a Texas rally attended by thousands, were still unknown by 41, 39 and 35 percent of the poll’s Democratic-leaning respondents, respectively.

Carolyn Kaster/AP

Senate Judiciary Committee member Sen. Amy Klobuchar questions Attorney General nominee William Barr during a Senate Judiciary Committee hearing on Capitol Hill in Washington,D.C., Jan. 15, 2019.

It’s become cliche to say that it’s still early in the campaign cycle, but such a head-start is now the reality of presidential politics. And with preemptive favorites like Biden and Sen. Bernie Sanders, I-Vt., each known by over 95 percent of respondents and receiving favorability ratings of 80 and 68 percent, respectively, the rest of the potential Democratic field has a lot of catching up to do if the primaries are going to be as competitive as expected.

THE PLAYLIST

ABC News’ “Start Here” Podcast. Tuesday morning’s episode features ABC News Senior Foreign correspondent Terry Moran and ABC News Senior Congressional correspondent Mary Bruce — they preview Tuesday night’s State of the Union address and examine whether or not President Donald Trump will declare a national emergency to secure border wall funding. Then, ABC News Deputy Political director MaryAlice Parks talks about former Georgia gubernatorial candidate Stacey Abrams, who is set to deliver the Democratic response to Trump’s address. http://apple.co/2HPocUL

WHAT YOU NEED TO KNOW TODAY

The president will deliver the State of the Union address in the House chamber at 9 p.m.

Stacey Abrams, the former Georgia House of Representatives minority leader, will deliver the Democratic response to the president’s State of the Union address at 10:30 p.m.

The Senate will be in session starting at 10 a.m.

The House of Representatives will be in session at noon.

Former U.S. Rep. Beto O’Rourke will be interviewed by Oprah Winfrey as part of her “Supersoul Conversations” in New York City at 2 p.m.

Howard Schultz, former Starbucks CEO and author of “From The Ground Up: A Journey To Reimagine The Promise Of America,” holds a book tour event in Boston at 6 p.m.

The Note has a new look! Download the ABC News app and select “The Note” as an item of interest to receive the day’s sharpest political analysis.

The Note is a daily ABC News feature that highlights the key political moments of the day ahead. Please check back tomorrow for the latest.

[360digitmg-training]

Data Science Course Training Institute In Hyderabad

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Text classification, Document vectors, Text classification using Doc2vec In this module, you'll be taught even more about Text Classification and Document Vectors using Doc2vec. ADF, Random stroll and Auto Arima In this module, you'll study ADF, Random walk, and Auto Arima methods used in Time Series. Smoothing This module will teach you tips on how to use this technique for univariate knowledge.

The project is the ultimate step in Data Science coaching and will allow you to to point out your expertise in Data Science to employers. The Data Science Course Master's program is a planned studying path that is really helpful by high business experts. You may also develop a proficiency within the newest expertise about AI & Deep learning by using Tensorflow after which Data Visualization using Tableau. Individual courses at 360DigiTMG think about the specialisation of the world in one or two specific areas. Nonetheless, you need to be a Data Scientist, then that is the best route to take. According to Glassdoor, Data scientists are the second-best job in 2021. Data Scientists are the best sought-after in the field of Data Science However, the demand for information scientists in Hyderabad is scarce which implies there are lots of alternatives for employment.

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Misclassification, Probability, AUC, R-Square This module will train everyone tips on how to work with Misclassification, Probability, AUC, and R-Square. AIC, BIC, Model Fitting, Training and Test Data In this module, you will undergo every little thing you want to know about a number of models such as AIC, BIC, Model Fitting, Training, and Test Data. The subsequent module is Machine Learning that will train us all the Machine Learning strategies from scratch, and the popularly used Classical ML algorithms that fall in each of the classes. In this module, you'll undergo the forms of joins and learn how to mix information. Chi-Square is a Hypothesis testing methodology utilised in Statistics, which is used to measure how a model compares to precise noticed information. One Sample T-Test One-Sample T-Test is a Hypothesis testing methodology utilised in Statistics.

Also, in India, there was a 20% enhancement for the Data Scientist function in comparison with the final year on the report submitted by PayScale.com. Since Data Science is a multidisciplinary area the job opportunities for this subject are immense. Listed under are the various streams of businesses that rent Data Scientist candidates.

Data science is a subject that's known among massive companies for helping them make income. Data collected over a big term will sometimes present patterns that could probably be used to predict the conduct of the market and therefore make a profit using that knowledge. The area has lots of scope as several corporations and organisations are counting on data to make a revenue. This should imply ample jobs for someone who's well versed in understanding and working with a large amount of difficult knowledge. The candidates are awarded a Data Science course completion certification as soon as they complete the data science course in Hyderabad successfully.

For more information

360DigiTMG - Data Analytics, Data Science Course Training Hyderabad  

Address - 2-56/2/19, 3rd floor,, Vijaya towers, near Meridian school,, Ayyappa Society Rd, Madhapur,, Hyderabad, Telangana 500081

099899 94319

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[emmablisa]

Tableau Real Time Interview Questions By experts

If you're looking for Tableau Interview Questions for Experienced or Freshers, you are at right place. There are lot of opportunities from many reputed companies in the world. According to research Tableau has a market share of about 16.2%. So, You still have opportunity to move ahead in your career in Tableau Analytics. Mindmajix offers Advanced Tableau Interview Questions 2018 that helps you in cracking your interview & acquire dream career as Tableau Developer.

 Q. What is the difference between context filter to other filters?

Whenever we crate context filter

·         Tableau will create a temporary table for this particular filter set and other filters will be apply on context filter data like cascade parameters… suppose we have crated context filter on countries >> we have chosen country as USA and India

·         Tableau will create a temporary table for this two countries data and if you have any other filers >>other will be apply on this two countries data if we don’t have any context filter

·         Each and individual record will check for all filters

Q. What is disadvantage of context filters?

·         The context filter is not frequently changed by the user – if the filter is changed the database must recomputed and rewrite the temporary table, slowing performance.

·         When you set a dimension to context, Tableau crates a temporary table that will require a reload each time the view is initiated. For Excel, Access and text data sources, the temporary table created is in an Access table format. For SQL Server, My SQL and Oracle data sources, you must have permission to create a temporary table on your server. For multidimensional data source, or cubes, temporary tables are not crated, and context filters only defined which filters are independent and dependent.

Q. What are the five main product offered by Tableau company? Tableau offers five main products: Tableau Desktop, Tableau Server, Tableau Online, Tableau reader and Tableau Public.

Q. What is the current latest version of Tableau Desktop(as of Sep, 25th 2017)?

Current version: Tableau Desktop Version 10.4

Q. What is data visualization? Data visualization refers to the techniques used to communicate data or information by encoding it as visual objects (e.g. points, lines or bars) contained in graphics.

Interested in mastering Tableau Course? Enroll now for FREE demo on Tableau Training.

Q. Why tableau? Whether your data is in an on-premise database, a database, a data warehouse, a cloud application or an Excel file, you can analyze it with Tableau. You can create views of your data and share it with colleagues, customers, and partners. You can use Tableau to blend it with other data. And you can keep your data up to date automatically.

[adgradlife]

Alumni Spotlight - Sara Scarlett

Name: Sara Scarlett

Major at UT: Public Relations

Graduation date: May 2017

Current Livelihood: Social Media Coordinator, Chevron Corporation, San Ramon, CA

What is your position at Chevron and what does your role entail?

I am the social media coordinator for Chevron. In addition to drafting and publishing content on the corporate Facebook, Twitter, LinkedIn and Instagram, I also do a lot of work with analytics. I generate reports that measure engagement to optimize our content and convey strategy to key business partners. I also assist with data visualization to show the business value of social media.

How would you describe the company culture?

Chevron really takes care of its employees and supports work/life balance. I will highlight a few things:

9/80 schedule: We work the 9/80 schedule which means I work 9 hours each day (instead of 8), but then I get every other Friday off. It’s so nice to have those Fridays off for weekend trips, appointments and time to relax.

OE Moments: Before each meeting, no matter how big or small, we start off with an Operational Excellence “OE” moment that improves understanding of safety, health, environment, reliability and efficiency in the workplace and at home. For example, when the wildfires struck in Sonoma, my coworker shared tips for fire safety after dealing with evacuating her elderly parents from the area.

Ergonomics: Upon starting Chevron, all employees get an ergonomic evaluation which assesses your workstation to be sure it fits you properly. Everyone has a sit/stand desk, but these evaluations could result in a different chair, mouse, keyboard, etc. When they found out I was left handed, I immediately received a left-handed mouse to use!

RSI Guard: To reduce repetitive stress injuries (RSI), Chevron has a software installed on the computers to encourage employees to take breaks from their tasks. A window will pop-up, freeze your computer and lead you in stretches for a few minutes.

What is the most rewarding part of your job?

Chevron has a loyal employee base and a lot of them like to show their sense of pride on social media. It is really rewarding for me to see them share stories as replies to our posts.

Were you in any organizations at The University of Texas at Austin and if so, what positions did you hold?

For my first few years, I was a member of the UT Women’s golf team. After stopping to focus on internships and school, I got involved with Texas Sweethearts spirit group and Texas Tower PR as a member of the Health Alliance of Austin Musicians account.

How did UT impact your life and career? Did the Stan Richards School or any other organizations at UT help you with what you’re doing now?

Attending college 1,500 miles away from my hometown made me the independent and ambitious woman I am today. I love that I now have a large network of people- most of whom I have never met before- simply because I am a Longhorn. Just yesterday at our Chevron gym, I got a “hook ‘em” from another employee and we bonded over our love for the University. As far as my career, the Stan Richards School helped me tremendously. I am confident in my abilities and potential because of the great hands-on education I received.

Which professors were the most memorable to you and why?

Professor Wilcox was my first Richards School professor and played an integral role in my time at UT. His passion and experience are one of the reasons why I decided to study public relations. Professor Hunt’s Strategies class is also very memorable to me. I worked with a real client and learned some important tips from the industry.

Why did you choose to study public relations?

I’m both a right-brained “creative” thinker and left-brained “logistical” thinker. Public relations intrigued me because I can combine both of those skills into one career.  

What do you love (or don’t love) about living in the Bay?

The Bay area is a great place to live! I love that it is close to so many different climates- Monterey, Napa and Lake Tahoe are all a short drive away. I’m a big foodie too, and there are hundreds of incredible restaurants in the area. The weather is hard to beat too!

What are your short-term and long-term career goals?

My short-term career goal is to learn Tableau and other platforms for better data visualization. I strive to be a constant learner so for a long-term goal I want to continue broadening my knowledge. I’m not exactly sure where I will be or what I will be doing, but I’m going to see what sparks my interest along the way and set more short-term goals.

What is your favorite thing to do outside of work?

We have a great Texas Exes chapter in SF so on game days I enjoy going to our bar and rooting for the Longhorns with other alum! I’m also big on bucket lists. I’ll grab a friend and try a new restaurant, hike, museum, etc. and cross it off my bucket list!

What publications/sites/newsletters do you subscribe to and find are most helpful in your occupation?

The first thing I do every morning at work is read The Skimm. It gives me a good sense of what is going on in the world in a short read. As far as social media reads, I’ve found TechCrunch to be the best.

What is the hardest part of your job?

I would say the transition from school to working full-time has been the most difficult. I can no longer go to the grocery store or watch Netflix at 2 p.m. on a weekday. Initially, I got really exhausted and had trouble focusing for 9 hours, but I have since adjusted. My secret is a cup of coffee in the morning and a cup of tea in the afternoon!

What is the most interesting project you have worked on so far in your career?

I��ve only been in my role for two months so it’s been a lot of learning and development. We are starting to scope out our 2018 strategy this week so I’m looking forward to being part of that!

Where do you see the industry going?

It is such a vital industry. Many people across the world still lack basic forms of energy. Even for us in the United States, the industry enables us to do so many things. Telephones, prosthetic limbs, cameras, jet fuel… none of this would exist without oil and gas!

What advice would you give to a current student in the Stan Richards School?

Remember that your internships are just a very long interview. Be sure to ask questions, take on additional assignments and work hard! My current job sprouted from an internship and I know a lot of other companies hire through internships as well.