Expand to the line number of the location of the macrocall. Return 0 if the line number could not be determined.
Join path components into a full path. If some argument is an absolute path or on Windows has a drive specification that doesn't match the drive computed for the join of the preceding paths, then prior components are dropped.
Convert a path to an absolute path by adding the current directory if necessary. Also normalizes the path as in normpath. Convert a set of paths to an absolute path by joining them together and adding the current directory if necessary. Equivalent to abspath joinpath path, paths Convert a set of paths to a normalized path by joining them together and removing ".
Equivalent to normpath joinpath path, paths Canonicalize a path by expanding symbolic links and removing ". On case-insensitive case-preserving filesystems typically Mac and Windows , the filesystem's stored case for the path is returned. Return a relative filepath to path either from the current directory or from an optional start directory. This is a path computation: the filesystem is not accessed to confirm the existence or nature of path or startpath.
On Unix systems, replace a tilde character at the start of a path with the current user's home directory. On Windows, split a path into the drive letter part and the path part.
On Unix systems, the first component is always the empty string. If the last component of a path contains a dot, split the path into everything before the dot and everything including and after the dot. Otherwise, return a tuple of the argument unmodified and the empty string. Split a file path into all its path components.
This is the opposite of joinpath. Returns an array of substrings, one for each directory or file in the path, including the root directory if present. Powered by Documenter. Theme documenter-light documenter-dark. This document was generated with Documenter. Using Julia version 1. Simultaneously referencing the past while pointed to the future, Hesitation Marks finds NIN relentlessly experimenting with new textures, deep grooves and restraint. The result makes for a deep, accessible listen with lots hidden under the surface.
The first music released by Nine Inch Nails. A companion piece to Broken. Featuring J. An interesting remix record with some real gems.
The companion piece to The Downward Spiral. Part live artifact, part fever dream. Currently out of print.
The first taste the world got of The Fragile , choosing by design of course a track with no hope of commercial airplay. The companion to The Fragile featuring Various manipulations of songs recorded from The Fragile sessions. A live recording compiled from the Fragility 2.
Also a video which is probably out of print — working on it. A strange collection of stripped down, sometimes live tracks new and old. The blueprints for future NIN records and film work lie within. The video portion exists somewhere. An all instrumental version of The Fragile with lots of additional music from the era. Rediscover your favorite NIN record in a new light.
Vinyl only so you can have something to bitch about. The soundtrack to the groundbreaking Oliver Stone film of the same name, produced by Trent Reznor. Listen to this. Reznor dips his toe into scoring with David Lynch while also assembling the soundtrack for one of his most impenetrable films.
The first proper film to be scored by Reznor and his creative partner Atticus Ross earns them an Academy Award. Released worldwide days before the US election, it failed to help prevent the US from electing an unqualified madman to office.
Alternately meditative and incredibly stress-inducing, the latest score from Trent and Atticus. The film is better than you are expecting and the score of course is awesome. Includes the first songs written by the band while they find their sound. Featuring some tracks from the upcoming full-length Welcome Oblivion. Dense, dark, hypnotic and beautiful. Soundtrack and all sound effects done by Reznor and NIN accomplices. Sonno was recorded in hotel rooms, using a Roland MC through a delay pedal, recorded direct, sometimes into a small portable speaker system.
After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment. Lisa Fischer. Mariqueen Maandig John Malm Jr. Book Category.
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