This word usually appears in the phrase "in unison", which means "together, at the same time" or "at the same musical pitch". So an excited crowd responding to a speaker may shout in unison, and a group of demonstrators may chant in unison. The old church music called Gregorian chant was written to be sung in unison, with no harmonizing voices, and kindergarten kids always sing in unison (at least when they can all find the same pitch). In a similar way, an aerobics class moves in unison following the instructor, and a group or even a whole town may work in unison when everyone agrees on a common goal.
I asked a similar question to this before but I was unable to reply to the devs because I was busy at that time. I'm hoping this time I tell the full story in one post but if you have any questions, feel free to ask and I'll try to respond in a timely manner.
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I'm unable to receive any notifications on my phone. When I do launch unison and close unison, I do see the unison in my window tray and in task manager. Upon relaunching unison (it is supposedly running in the background). it needs to reconnect to my phone. When closed(minimized & running in background) either unison looses connection or unison stops functioning. At first I thought there was something wrong with my phone but it's not as unison is already running in the background of my phone.
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Oct. 18, 2021, marked a milestone moment for the School of Nursing community. On that day, the School's In UniSON anti-oppression position statement and commitments were introduced as a way to acknowledge the impact of structural racism and other forms of structural oppression on our country, communities, and School.
We continue to have ongoing conversations about not only our commitment but also our actions in support of that commitment. We recognize the importance of words, but even more important is what we do with those words.
In unison, the members of the University of Maryland School of Nursing acknowledge the devastating impact of structural racism and other forms of structural oppression on our country, communities, and School. We recognize the ways our institution was not, and still is not always, a welcoming and supportive place for all its constituents. Black, Indigenous, Latinx, and people of color (BILPOC) have too often been the victims of oppression, incivility, racism, and discrimination. As a community, we oppose racism, sexism, homophobia, transphobia, xenophobia, ableism, ageism, and discrimination based on religion, heritage, ideology, ethnicity, gender, and socioeconomic status.
We condemn oppression in all forms within the School, among our partners, and in the broader community. We strive to understand how to make a more supportive, welcoming, and restorative community. We will work to stop the perpetuation of white supremacy, which results in the unfair treatment of our students, colleagues, patients, and neighbors. Our inaction, when our neighbors are deprived of quality education, fair policing, housing, employment, food, and health care, is not acceptable.
In unison, we advocate for a School that intentionally creates positive change to address structural oppression. This change requires strategic planning, collaboration, and accountability; silence, delayed action, retaliation, and victim blaming are not tolerated. This also requires eliminating bias in our curriculum, policies, and procedures and working side by side with our community members to advocate for police reform and equity in education, housing, and health care. We will have courageous conversations about structural oppression and work to create positive change.
Note: The authors wish to acknowledge the importance of using inclusive, affirming language. Language continues to evolve, and we seek to continue to update our language to demonstrate our commitment to diversity, equity, and inclusion. Please send suggestions, concerns, and ideas to this form.
But then it happened. Nose pressed against my local art shop window looking for something new, a little black box caught my eye that was to not only change the course of my practise but arguably my life.
Spending spree over, alas! Deciding they were too fragile, too precious for me to use, I felt they would make a fine present for a very good friend, the French artist Leopoldine Hugo, a pastelist whose work I truly admire. The pastels were squirrelled safely away as I continued in my comfort zone, scratching, scraping, splashing and spilling in oils, inks, acrylics, wax and plaster et al.
Giving little chance for error, I worked without hesitation and with immediacy on black card or the paper Canson Mi-Teintes Touch. Using a dry sponge I created smokey effects evocative of the toxic tear gas, combining thick pastels with the odd pastel pencil or Cont crayon, the short stabbing lines giving the illusion of chaos and frenzy.
I recently revisited this series originally made in 2010 by creating a pastel specially for this blog to see how I could push and diversify the medium using pastels almost as I would use paint. Once again I used black card for my support. I made a ground of black gesso mixed with fine carborundum grit, a material I use for printmaking. It comes in various grit sizes enabling control of the tooth from fine to rough. By combining smooth areas using painted pastel pigment in gum arabic, with rough surfaces, I aim to give priority of maximum depth and energy through contrasting textures, colour and form.
The white chalk was cost effective but I found the marks insipid. Given that so many of the now redundant pastels were in fragments I gave myself permission to use this deluxe product in a most unorthodox way. Loving the broken texture of orange lines on the rough, uneven surface, and exhilarated by the physicality and scale, I threw myself into action up and down ladders until the wall was covered using all my oranges and reds, A14, O1, O3, O7, O8, until there was nothing left but crumbled bits and plenty of dust.
Orange 7 so fiery I dubbed it the punk pastel, raised the temperature to that of a furnace. Looking up into the studio from the garden, the wall looked as though it was on fire. Certainly my wallet had been charred in the imaginary flames. Further recklessness was going to cost.
In the past much of my work was provocative, unsettling, edgy as subjects related to human rights and confrontational issues. In fact I had avoided pastels with the erroneous belief that pastels were a gentle medium for artists (with a few exceptions) who produced exquisite drawings or paintings.
Now call me old fashioned, but with the radio on in the background, when I listened to a man boast about his ability to grab a woman by her genitalia on account of his celebrity status, going on to become the president of the United States, Orange 7 snapped into shards as my blood boiled.
Ah yes! Thank you, important reminder and must study. That phenominal ability to create light as if he coukd stare at the sun itself. John Hersey the artist, I would say scientist @artiscience who started @unisoncolour pastels primary aim was to capture light in every crystal
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. Rhythmic unison is another term for homorhythm.[1]
Equality is never found in consonances or intervals, and the unison is to the musician what the point is to the geometer. A point is the beginning of a line, although, it is not itself a line. But a line is not composed of points, since a point has no length, width, or depth that can be extended, or joined to another point. So a unison is only the beginning of consonance or interval; it is neither consonance nor interval, for like the point it is incapable of extension.[4]
In orchestral music unison can mean the simultaneous playing of a note (or a series of notes constituting a melody) by different instruments, either at the same pitch; or in a different octave, for example, cello and double bass (all'unisono). Typically a section string player plays unison with the rest of the section. Occasionally the Italian word divisi (meaning divided, abbrev. div.) marks a point where an instrumental section, typically the first violins, is to be divided into two groups for rendering passages that might, for example, include full chords. Thus, in the divisi first violins the "outside" players (nearer the audience) might play the top note of the chord, while the "inside" seated players play the middle note, and the second violins play the bottom note. At the point where the first violins no longer play divisi, the score may indicate this with unison (abbrev. unis.).
When an entire choir sings the main melody, the choir usually sings in unison. Music in which all the notes sung are in unison is called monophonic. In a choir with two or more sections, such as for different vocal ranges, each section typically sings in unison. Part singing is when two or more voices sing different notes. Homophony is when choir members sing different pitches but with the same rhythm. Polyphony is when the chorus sings multiple independent melodies.
On synthesizers, the term unison is used to describe two or more oscillators that are slightly detuned in correspondence to each other, which makes the sound fatter.[clarification needed] This technique is so popular that some modern virtual analog synthesisers have a special oscillator type called "super saw" or "hyper saw" that generates several detuned sawtooth waves simultaneously.[citation needed] 152ee80cbc
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