International Ultramarine Corps

The International Ultramarine Corps, formerly the Ultramarine Corps, is a fictional team of superheroes published by DC Comics. They first appeared in DC One Million #2 (November 1998), and were created by Grant Morrison and Howard Porter.

History

The Corps was created by the U.S. as a government-sponsored group of superhumans to rival the more independent Justice League. Led by General Wade Eiling, the original members of the team were Flow, 4-D, Pulse 8 and Warmaker One. During a fight with the JLA, the UMC realised that Eiling was dangerously insane and that they were on the wrong side; they then sided with the League against their leader.

Having developed a mistrust of governments, the Corps subsequently declared themselves independent of any and all nations and built a free-floating city in which to dwell, which they named Superbia and set in the air above the ruins of Montevideo. They put out a call to other disaffected superheroes to join them in their city, and received a number of responses from around the globe, although the total population and demographics of Superbia are unknown.

Traffic flow (computer networking)

In packet switching networks, traffic flow, packet flow or network flow is a sequence of packets from a source computer to a destination, which may be another host, a multicast group, or a broadcast domain. RFC 2722 defines traffic flow as "an artificial logical equivalent to a call or connection."RFC 3697 defines traffic flow as "a sequence of packets sent from a particular source to a particular unicast, anycast, or multicast destination that the source desires to label as a flow. A flow could consist of all packets in a specific transport connection or a media stream. However, a flow is not necessarily 1:1 mapped to a transport connection." Flow is also defined in RFC 3917 as "a set of IP packets passing an observation point in the network during a certain time interval."

Conceptual description

A flow can be uniquely identified by the following parameters within a certain time period:

Rapping

Rapping (or emceeing,MCing,spitting bars,or rhyming) is "spoken or chanted rhyming lyrics". The components of rapping include "content", "flow" (rhythm and rhyme), and "delivery". Rapping is distinct from spoken-word poetry in that it is performed in time to a beat. Rapping is often associated with and a primary ingredient of hip-hop music, but the origins of the phenomenon can be said to predate hip-hop culture by centuries. It can also be found in alternative rock such as that of Cake, gorrilaz and the Red Hot Chili Peppers. Rapping is also used in Kwaito music, a genre that originated in Johannesburg, South Africa, and is composed of hip-hop elements.

Rapping can be delivered over a beat or without accompaniment. Stylistically, rap occupies a gray area between speech, prose, poetry, and singing. The word (meaning originally "to hit") as used to describe quick speech or repartee predates the musical form. The word had been used in British English since the 16th century. It was part of the African-American dialect of English in the 1960s meaning "to converse", and very soon after that in its present usage as a term denoting the musical style. Today, the terms "rap" and "rapping" are so closely associated with hip-hop music that many use the terms interchangeably.

Cadence

Cadence may refer to:

Music

Other

Cadence (music)

In Western musical theory, a cadence (Latin cadentia, "a falling") is "a melodic or harmonic configuration that creates a sense of resolution [finality or pause]." A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.

Cadences are strong indicators of the tonic or central pitch of a passage or piece.Edward Lowinsky proposed that the cadence was the "cradle of tonality."

Classification of cadences in common practice tonality with examples

In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords:

Cadence (poetry)

In poetry, cadence describes the fall in pitch of the intonation of the voice, and its modulated inflection with the rise and fall of its sound.

Etymology

From Middle French cadence, and from Italian cadenza, and from Latin cadentia with the meaning to fall.

Cadence in poetry

In poetry cadence describes the rhythmic pacing of language to a resolution and was a new idea in 1915 used to describe the subtle rise and fall in the natural flow and pause of ordinary speech where the strong and weak beats of speech fall into a natural order restoring the audible quality to poetry as a spoken art. Cadence verse is non-syllabic resembling music rather than older metrical poetry with a rhythmic curve containing one or more stressed accents and roughly corresponding to the necessity of breathing, the cadence being more rapid and marked than in prose.

Legacy

The idea that cadence should be substituted for metre was at the heart of the Imagist credo according to T. E. Hulme. Unrhymed cadence in Vers libre is built upon 'organic rhythm,' or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system . Cadence in Free verse came to mean whatever the writer liked, some claiming verse and poetry had it, but prose did not, but for some it was synonymous with Free verse, where each poet has to find the cadence within himself.