In computing, a data segment (often denoted .data) is a portion of an object file or the corresponding virtual address space of a program that contains initialized static variables, that is, global variables and static local variables. The size of this segment is determined by the size of the values in the program's source code, and does not change at run time.
The data segment is read-write, since the values of variables can be altered at run time. This is in contrast to the read-only data segment (rodata segment or .rodata), which contains static constants rather than variables; it also contrasts to the code segment, also known as the text segment, which is read-only on many architectures. Uninitialized data, both variables and constants, is instead in the BSS segment.
Historically, to be able to support memory address spaces larger than the native size of the internal address register would allow, early CPUs implemented a system of segmentation whereby they would store a small set of indexes to use as offsets to certain areas. The Intel 8086 family of CPUs provided four segments: the code segment, the data segment, the stack segment and the extra segment. Each segment was placed at a specific location in memory by the software being executed and all instructions that operated on the data within those segments were performed relative to the start of that segment. This allowed a 16-bit address register, which would normally provide 64KiB (65536 bytes) of memory space, to access a 1MiB (1048576 bytes) address space.
DATA were an electronic music band created in the late 1970s by Georg Kajanus, creator of such bands as Eclection, Sailor and Noir (with Tim Dry of the robotic/music duo Tik and Tok). After the break-up of Sailor in the late 1970s, Kajanus decided to experiment with electronic music and formed DATA, together with vocalists Francesca ("Frankie") and Phillipa ("Phil") Boulter, daughters of British singer John Boulter.
The classically orientated title track of DATA’s first album, Opera Electronica, was used as the theme music to the short film, Towers of Babel (1981), which was directed by Jonathan Lewis and starred Anna Quayle and Ken Campbell. Towers of Babel was nominated for a BAFTA award in 1982 and won the Silver Hugo Award for Best Short Film at the Chicago International Film Festival of the same year.
DATA released two more albums, the experimental 2-Time (1983) and the Country & Western-inspired electronica album Elegant Machinery (1985). The title of the last album was the inspiration for the name of Swedish pop synth group, elegant MACHINERY, formerly known as Pole Position.
The word data has generated considerable controversy on if it is a singular, uncountable noun, or should be treated as the plural of the now-rarely-used datum.
In one sense, data is the plural form of datum. Datum actually can also be a count noun with the plural datums (see usage in datum article) that can be used with cardinal numbers (e.g. "80 datums"); data (originally a Latin plural) is not used like a normal count noun with cardinal numbers and can be plural with such plural determiners as these and many or as a singular abstract mass noun with a verb in the singular form. Even when a very small quantity of data is referenced (one number, for example) the phrase piece of data is often used, as opposed to datum. The debate over appropriate usage continues, but "data" as a singular form is far more common.
In English, the word datum is still used in the general sense of "an item given". In cartography, geography, nuclear magnetic resonance and technical drawing it is often used to refer to a single specific reference datum from which distances to all other data are measured. Any measurement or result is a datum, though data point is now far more common.
Scene is an album by the Japanese noise musician Merzbow. A limited edition version included Early Computer Works and a poster.
All music composed by Masami Akita.
The scene subculture is a contemporary subculture which has been common in the United States, Europe, Asia, and Latin America from the late 2000s until the mid 2010s. People (most often in their teens to 20s) involved in this style are called "scene people," "scene kids," "trendies" or sometimes "scenesters" in the US, "moshers," "chavmos," or "chemos" in the UK, "coloridos" in Latin America, and "shamate" in China.
The scene subculture began in United Kingdom during the late 1990s and early 2000s when some members of the chav subculture began to experiment with alternative fashion, and took fashionable characteristics of indie pop, emo, rave music, and punk fashions. The fashion originally included typical pop punk and skater clothing like tripp pants, stripes, tartan, spiky hair, Chucks, Vans, and trucker hats derived from grunge and skate punk fashion. Older punks and skaters, however, looked down on these young trendies (as they were then called) for their inauthenticity and inability to skate.
A youth subculture is a youth-based subculture with distinct styles, behaviors, and interests. Youth subcultures offer participants an identity outside of that ascribed by social institutions such as family, work, home and school. Youth subcultures that show a systematic hostility to the dominant culture are sometimes described as countercultures.
Youth music genres are associated with many youth subcultures, such as punks, emos, ravers, Juggalos, metalheads and goths. The study of subcultures often consists of the study of the symbolism attached to clothing, music, other visible affections by members of the subculture, and also the ways in which these same symbols are interpreted by members of the dominant culture.
Socioeconomic class, gender, intelligence, conformity, morality, and ethnicity can be important in relation to youth subcultures. Youth subcultures can be defined as meaning systems, modes of expression or lifestyles developed by groups in subordinate structural positions in response to dominant systems — and which reflect their attempt to solve structural contradictions rising from the wider societal context.
Company:
Scene One
Streetsinger:
Once upon a time, a young American went to Paris with nothing but a guitar and a dream.
His name was Taylor Collins.
Taylor:
I play Taylor Collins.
Streetsinger:
And he dreamed of being a singer, a poet, a writer of songs,
he dreamed of fame....keep dreaming.
It was June 1969, he was backpacking through France when he walked into this small,
this little Parisian cafe right in the shadow of the Eiffel Tower.
And there he met a beautiful young waitress who had dreams of her own.
Her name was Faith
Faith:
I play Faith
Faith:
And Faith would be a dancer and one day hope to play the New York stage.
Oh, love was a song, life was a dance,
why it was as if their very fate was sealed within the pages of a fairytale.
And with every fairytale comes a lullabye, so Taylor
was writing one, one that would follow these young lovers for the rest of their lives.
Taylor: (singing)
La la la la, la la, la la la la. La la la la, our love will stay strong.
La la la la, la la, la la la la,
Let our fate write words to this song. (spoken) That's all I got so far.
Streetsinger:
But even fairytales come to an end,
and before the lullabye was finished he had to go back home.
He kissed her goodbye. A kiss with a promise to love her for eternity.
A kiss with a promise to bring Faith to America,
a kiss with a promise to finish the unfinished lullabye.
Taylor: I promise
Streetsinger:
But he never kept that promise. She never heard from him again.
Faith had his child but Taylor, he never knew.
And Faith named her little girl for Taylor's home far away.
She named her Brooklyn. And she would rock baby Brooklyn to sleep
with that simple unfinished lullabye
Faith: (singing)
La la la la, la la, la la la la. La la la, Our love will stay strong.
Faith and Brooklyn:
La la la la, la la, la la la la
Brooklyn:
Let our fate write words to this song.
Streetsinger:
And soon Faith became the dancer she'd hoped to be,
know throughout the City of Lights as The Parisian Butterfly.
And she played all the grand stages, her name on every marquee.
Ah, but there was no joy in fame for this delicate young beauty,
for the singer, the poet, the writer of songs never returned.
And so for the next five years little Brooklyn would watch as her mother
revealed her broken heart in dance.
Paradice:
Five minutes! Five minutes to show time!
Brooklyn:
Merry Christmas mommy!
Faith:
Thank you Brooklyn