Make (or MAKE) is an American bimonthly magazine published by Maker Media which focuses on do it yourself (DIY) and/or DIWO (Do It With Others) projects involving computers, electronics, robotics, metalworking, woodworking and other disciplines. The magazine is marketed to people who enjoy making things and features complex projects which can often be completed with cheap materials, including household items. Make magazine is considered "a central organ of the maker movement."
Its first issue was released in January 2005, and as of March 2014, 38 issues have been published. The magazine is subtitled "technology on your time." It is also available as an IPad version and a Texterity digital edition on the Web, which is free of charge to existing magazine subscribers. The HTML-based digital edition allows for searching and includes additional content such as videos, with freely accessible blogs, podcasts and forums also available in the website. The digital edition also allows limited sharing of articles with friends.
Besides building programs, Make can be used to manage any project where some files must be updated automatically from others whenever the others change.
There are now a number of dependency-tracking build utilities, but Make is one of the most widespread, primarily due to its inclusion in Unix, starting with the PWB/UNIX 1.0, which featured a variety of tools targeting software development tasks. It was originally created by Stuart Feldman in April 1976 at Bell Labs. Feldman received the 2003 ACM Software System Award for the authoring of this widespread tool.
Before Make's introduction, the Unix build system most commonly consisted of operating system dependent "make" and "install" shell scripts accompanying their program's source. Being able to combine the commands for the different targets into a single file and being able to abstract out dependency tracking and archive handling was an important step in the direction of modern build environments.
Jewellery or jewelry (/ˈdʒuːᵊlᵊri/) consists of small decorative items worn for personal adornment, such as brooches, rings, necklaces, earrings, and bracelets. Jewellery may be attached to the body or the clothes, and the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal, often combined with gemstones, has been the normal material for jewellery, but other materials such as shells and other plant materials may be used. It is one of the oldest type of archaeological artefact – with 100,000-year-old beads made from Nassarius shells thought to be the oldest known jewellery. The basic forms of jewellery vary between cultures but are often extremely long-lived; in European cultures the most common forms of jewellery listed above have persisted since ancient times, while other forms such as adornments for the nose or ankle, important in other cultures, are much less common. Historically, the most widespread influence on jewellery in terms of design and style have come from Asia.
Jewellery is an album by Micachu that was released on March 9, 2009, on a joint venture between Rough Trade Records and Accidental Records. The album features her band The Shapes, which comprises Raisa Khan (keyboards and electronics) and Marc Pell (percussion and drums).
Upon its release, Jewellery received generally positive reviews and maintains a 75 score on Metacritic. Most reviews, both positive and negative, emphasized the originality and experimental, sometimes difficult nature of the music. Drowned in Sound praised the experimental sound of the album calling it "thrillingly improbable pop made by a grade-A maverick."The Guardian similarly praised the music for combining "hard experimentation with soft introspection, her scrappy, lo-fi production wrapped in warmth."
Some reviews were more mixed, but again focused on the experimental sound. PopMatters noted the challenging nature of the music: "The whole experience seems crowded with random experimentation for its own sake," adding, "With a little patience, however, Jewellery soon orders itself."Under the Radar was less sympathetic, asserting, "The record is admirable for its crashing ambitions, but it unfortunately devolves into a tuneless, nearly unlistenable mire of avant-noise fragments."