Determinism: The Rebirth of a Brainchild

Weasels Ripped My Flesh is the seventh studio album by the American rock group the Mothers of Invention, and the tenth overall by Frank Zappa, released in 1970. It is the second album released after the Mothers disbanded in 1969, preceded by Burnt Weeny Sandwich. In contrast to its predecessor, which almost entirely focused on studio recordings of arranged compositions, Weasels Ripped My Flesh consists of a combination of live and studio recordings and features more improvisation.

Weasels Ripped My Flesh is the seventh studio album by the American rock group the Mothers of Invention, and the tenth overall by Frank Zappa, released in 1970. It is the second album released after the Mothers disbanded in 1969, preceded by Burnt Weeny Sandwich. In contrast to its predecessor, which almost entirely focused on studio recordings of arranged compositions, Weasels Ripped My Flesh consists of a combination of live and studio recordings and features more improvisation.

NEW YORK, NY – September 5, 2024 – Legacy Recordings, the catalog division of Sony Music Entertainment, is releasing The Alan Parson Project’s The Turn Of A Friendly Card (Sessions) on all DSPs today.
This newest volume in Legacy’s Alan Parsons Project Sessions Series, The Turn Of A Friendly Card (Sessions) serves as an essential companion to the APP’s groundbreaking fifth studio album. Originally released in 1980, the RIAA-certified platinum The Turn Of A Friendly Card stands as a remarkably prescient audio masterpiece intended to be a creative sonic warning about the dangers of casino gambling. The historic album was made in six weeks, after co-founders Alan Parsons and Eric Woolfson had moved with their young families to Monte Carlo.

NEW YORK, NY – September 5, 2024 – Legacy Recordings, the catalog division of Sony Music Entertainment, is releasing The Alan Parson Project’s The Turn Of A Friendly Card (Sessions) on all DSPs today.
This newest volume in Legacy’s Alan Parsons Project Sessions Series, The Turn Of A Friendly Card (Sessions) serves as an essential companion to the APP’s groundbreaking fifth studio album. Originally released in 1980, the RIAA-certified platinum The Turn Of A Friendly Card stands as a remarkably prescient audio masterpiece intended to be a creative sonic warning about the dangers of casino gambling. The historic album was made in six weeks, after co-founders Alan Parsons and Eric Woolfson had moved with their young families to Monte Carlo.

NEW YORK, NY – September 5, 2024 – Legacy Recordings, the catalog division of Sony Music Entertainment, is releasing The Alan Parson Project’s The Turn Of A Friendly Card (Sessions) on all DSPs today.
This newest volume in Legacy’s Alan Parsons Project Sessions Series, The Turn Of A Friendly Card (Sessions) serves as an essential companion to the APP’s groundbreaking fifth studio album. Originally released in 1980, the RIAA-certified platinum The Turn Of A Friendly Card stands as a remarkably prescient audio masterpiece intended to be a creative sonic warning about the dangers of casino gambling. The historic album was made in six weeks, after co-founders Alan Parsons and Eric Woolfson had moved with their young families to Monte Carlo.

Bill Ives has enjoyed a rich and varied career as both performer and composer (Grayston Ives). These experiences, culminating in nearly two decades as Informator Choristarum (Director of Music) at Magdalen College, Oxford, are reflected in a compositional style which is complex yet accessible, rich and colourful. His choral music comes from the heart, and this deeply personal reaction to the texts enables the performer or listener to engage with and enjoy the music to its full extent.

Bill Ives has enjoyed a rich and varied career as both performer and composer (Grayston Ives). These experiences, culminating in nearly two decades as Informator Choristarum (Director of Music) at Magdalen College, Oxford, are reflected in a compositional style which is complex yet accessible, rich and colourful. His choral music comes from the heart, and this deeply personal reaction to the texts enables the performer or listener to engage with and enjoy the music to its full extent.

This book is the only account of what honeybees actually see. Bees detect some visual features such as edges and colours, but there is no sign that they reconstruct patterns or put together features to form objects. Bees detect motion but have no perception of what it is that moves, and certainly they do not recognize "things" by their shapes. Yet they clearly see well enough to fly and find food with a minute brain. Bee vision is therefore relevant to the construction of simple artificial visual systems, for example for mobile robots. The surprising conclusion is that bee vision is adapted to the recognition of places, not things.