IAM

IAM may refer to:

Concepts

Groups

I Am (French band)

IAM (pronounced as English "I am") is a French hip hop band from Marseille, created in 1989, and composed of Akhenaton (Philippe Fragione), Shurik'n (Geoffroy Mussard), Khéops (Eric Mazel), Imhotep (Pascal Perez), and Kephren (François Mendy). 'IAM' has several meanings, including 'Invasion Arrivée de Mars' ('Invasion from Mars', 'Mars' is frequently used as a metaphor for Marseille in IAM's songs). Another meaning is Imperial Asiatic Man, while AKH often refers to L'homme Impérial Asiatique.

Themes

Africa and Ancient Egypt

One of IAM’s central themes in its songs is Africa. The group is one of the pioneer French rap groups and draws heavily on allusions to Africa, and particularly to ancient Egypt, in its music. Their 1991 song "Les tam-tam de l'Afrique" was one of the first French rap hits and the first song to deal expressly with the issue of slavery [needs citation]. Using a sample of a Stevie Wonder song, "Les tam-tam de l'Afrique" focuses on the “abduction of its inhabitants, the Middle Passage, and the plantation system in the Americas.”

Mode (computer interface)

In user interface design, a mode is a distinct setting within a computer program or any physical machine interface, in which the same user input will produce perceived different results than it would in other settings. The best-known modal interface components are probably the Caps lock and Insert keys on the standard computer keyboard, both of which put the user's typing into a different mode after being pressed, then return it to the regular mode after being re-pressed.

An interface that uses no modes is known as a modeless interface. Modeless interfaces intend to avoid mode errors by making it impossible for the user to commit them.

Definition

A precise definition is given by Jef Raskin in his book The Humane Interface:

"An human-machine interface is modal with respect to a given gesture when (1) the current state of the interface is not the user's locus of attention and (2) the interface will execute one among several different responses to the gesture, depending on the system's current state." (Page 42).

Mode (literature)

In literature, a mode is an employed method or approach, identifiable within a written work. As descriptive terms, form and genre are often used inaccurately instead of mode; for example, the pastoral mode is often mistakenly identified as a genre. The Writers Web site feature, A List of Important Literary Terms, defines mode thus:

History of mode

In his Poetics, the ancient Greek philosopher Aristotle uses 'mode' in a more specific sense. Kinds of 'poetry' (the term includes drama, flute music, and lyre music for Aristotle), he writes, may be differentiated in three ways: according to their medium of imitation, according to their objects of imitation, and according to their mode or 'manner' of imitation (section I). "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us" (section III). According to this definition, 'narrative' and 'dramatic' are modes of fiction:

Mode (music)

In the theory of Western music, mode (from Latin modus, "measure, standard, manner, way, size, limit of quantity, method") (Powers 2001, Introduction; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.

Mode as a general concept

Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed mode as a general term but limited for melody types, which were based on the modal interpretation of ancient Greek octave species called tonos (τόνος) or harmonia (ἁρμονία), with "most of the area between ... being in the domain of mode" (Powers 2001, §I,3). This synthesis between tonus as a church tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition (see Hucbald and Aurelian). It is generally assumed that Carolingian theorists imported monastic Octoechos propagated in the patriarchates of Jerusalem (Mar Saba) and Constantinople (Stoudios Monastery) which meant the eight echoi they used for the composition of hymns (e.g., Wellesz 1954, 41 ff.), though direct adaptations of Byzantine chants in the survived Gregorian repertoire are extremely rare.

Grind (2003 film)

Grind is a 2003 American comedy film about four young aspiring amateur skaters Eric Rivers (Mike Vogel), Matt Jensen (Vince Vieluf), Dustin Knight (Adam Brody), and Sweet Lou Singer (Joey Kern) who are trying to make it in the world of pro skateboarding by pulling insane stunts in front of pro skater Jimmy Wilson (Jason London).

Plot

While the rest of his high school graduating class is heading to the same old kind of college, skateboarder Eric Rivers and his best friends, Dustin, a goal-oriented workaholic, and misfit slacker Matt have one last summer roadtrip together to follow their dream of getting noticed by the professional skateboarding world—and getting paid to skate. When skating legend Jimmy Wilson's skate demo tour hits town, the boys figure that as soon as he sees their fierce tricks, he'll sign them up for his renowned skate team immediately, right? Unfortunately, the guys are intercepted by Jimmy's road manager and they can't get their foot in the door, much less their boards. But they do get some free advice: keep skating, stay true to yourself, and stay in the game—if you're good, you'll get noticed. Following their dream—and Jimmy's national tour—Eric, Dustin and Matt start their own skate team, reluctantly sponsored by Dustin and his college fund.

Grind (musical)

Grind is a musical with a book by Fay Kanin, music by Larry Grossman, and lyrics by Ellen Fitzhugh. Grind is a portrait of a largely African-American burlesque house in Chicago in the Thirties.

The reviews were mixed at best. In his New York Times review, Frank Rich wrote: "...the show has become a desperate barrage of arbitrary musical numbers, portentous staging devices, extravagant costumes..., confused plot twists and sociological bromides..." "Grind" fared poorly at the box office; "The production was a disaster; the show lost its entire $4.75 million investment, and Prince and three other members of the creative team were suspended by the Dramatists Guild for signing a "substandard contract." 1985 was a bad year for Broadway musicals, and only one hit (Big River) had emerged by the time Tony nominations were submitted. Since there was little decent competition, "Grind" received a Tony nomination for Best Musical. Ken Mandelbaum wrote of the season: "The original Big River came along at the end of a dismal season for new musicals, and Leader of the Pack, Quilters, and the fascinating but unworkable Grind posed virtually no competition.