You can define a component and use it in several other components. It is not always obvious how a certain pattern can be solved with composition. React is influenced by functional programming but it came into the field that was dominated by object-oriented libraries.
It was hard for engineers both inside and outside of Facebook to give up on the patterns they were used to. To ease the initial adoption and learning, we included certain escape hatches into React. Three years passed since React was released. The landscape has changed. Multiple view libraries now adopt a component model similar to React. Using composition over inheritance to build declarative user interfaces is no longer a novelty.
We are also more confident in the React component model, and we have seen many creative uses of it both internally and in the community. In this post, we will consider the problems commonly caused by mixins.
Then we will suggest several alternative patterns for the same use cases. We have found those patterns to scale better with the complexity of the codebase than mixins.
At Facebook, React usage has grown from a few components to thousands of them. This gives us a window into how people use React. Thanks to declarative rendering and top-down data flow, many teams were able to fix a bunch of bugs while shipping new features as they adopted React. Occasionally, the React team would see groups of components in different projects that people were afraid to touch. These components were too easy to break accidentally, were confusing to new developers, and eventually became just as confusing to the people who wrote them in the first place.
Much of this confusion was caused by mixins. People successfully employ them in different languages and paradigms, including some functional languages. At Facebook, we extensively use traits in Hack which are fairly similar to mixins.
Nevertheless, we think that mixins are unnecessary and problematic in React codebases. Sometimes a component relies on a certain method defined in the mixin, such as getClassName.
Mixins break the common and usually safe assumption that you can rename a state key or a method by searching for its occurrences in the component file. You might write a stateful component and then your coworker might add a mixin that reads this state.
In a few months, you might want to move that state up to the parent component so it can be shared with a sibling. Will you remember to update the mixin to read a prop instead? DJs can use a mixer's crossfader to switch between tracks or use the volume control for each source with the crossfader permanently positioned in the middle. Mixing is usually done through the use of headphones and a monitor speaker or foldback as basic aids.
At this basic level the DJ is required to develop a specific auditory skill where each track's tempo had to be distinguished while listening to more than one piece of music. The use of compact discs and players such as the CDJ by DJs brought technological advances for the DJ performing a mix including a readout of the bpm and a visual representation of the beat.
Modern computer technology has allowed automatic beatmatching and led to debate regarding its use, which is sometimes described as cheating. DJ software provides automatic beatmatching and key detection which simplifies harmonic mixing. To be released commercially, DJ mixes often need many copyright clearances and licenses. The vast majority of DJ mixes throughout the years have only been legal in so far as the copyright holders generally do not choose to take legal action against the DJ for the authorized use of their material.
DJs often distribute their recorded mixes on CD-Rs or as digital audio files via websites or podcasts for promotional purposes. EAN is build up using digits for country prefix, digits manufacturer code, 5-digit product reference number and a check digit.
This composition is Copyright - by Jon Masciana and tes. Permission is granted to distribute this file for non-profit use in its unaltered form in electronic medias. Please ask for permission if you want to publish it under other conditions. All pictures are copyrighted to the corresponding companies and artwork designers.
Produced by Neil Barnes and Mat Clarke. Engineered by Steve Jones. Contains a sample of Magic's Wand written by Thomas Dolby. Guitar by Greg Fleming. Keyboards and addition programming by Jeremy Shaw. CD: US?? UK Edel;?? UK Solid State Records;?? UK Ten Records;?? DE Logic Records;?? US Hypnotic;?? UK Island;?? US Gee Street;?? Thanks And Acknowledgements We would thank the following people for their contributions: Matt Shillaber matthews redac. Pat Ibbetson djpat dj-pat. Matias matias temppeli.
Benoit Carretier bcarretier morgane. Meckah meckaman home. Bradley Allen bradleyallen xtra. Danielewski 's disjointed novel House of Leaves has been compared by some to the remix concept. A remix in literature is an alternative version of a text.
William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the s. Remixing of literature and language is also apparent in Pixel Juice by Jeff Noon who later explained using different methods for this process with Cobralingus A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work.
It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through.
Famous examples include The Marilyn Diptych by Andy Warhol modifies colors and styles of one image , and The Weeping Woman by Pablo Picasso, merges various angles of perspective into one view.
Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. Other types of remixes in art are parodies. A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.
In recent years the concept of the remix has been applied analogously to other media and products. In , the British Channel 4 television program Jaaaaam was produced as a remix of the sketches from the comedy show Jam. Remix production is now often involved in media production as a form of parody. Scary Movie series is famous for its comic remix of various well-known horror movies such as Ring, Scream, and Saw.
This form of remix is also used in advertisements, creating parodies of famous movies, TV series, etc. For example, McDonald's published a commercial poster that parodied the movie Dark Knight.
Virtua Fighter had been released on the Saturn in a less-than-impressive state. Sega had attempted to make an accurate port of the Sega Model 1 arcade version, and therefore chose to use untextured models and the soundtrack from the arcade machine. However, as the Saturn was incapable of rendering as many polygons on screen as Model 1 hardware, characters looked noticeably worse. Many claim it to be even worse than the Sega 32X version, thanks to the added CD loading time.
Virtua Fighter Remix was created to address many of these flaws. Models have a slightly higher polygon count though still less than the Model 1 version ; they are also texture-mapped, leading to a much more modern-looking game that could effectively compete with the PlayStation.
The game also allows players to use the original flat-shaded models. North American owners would get Virtua Fighter Remix for free if they registered their Saturns, while Japanese customers would later receive a SegaNet compatible version. Because remixes may borrow heavily from an existing piece of music possibly more than one , the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law.
Of note are open questions concerning the legality of visual works, like the art form of collage , which can be plagued with licensing issues. There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form for example, it might only borrow a motif which is modified, and be completely different in all other respects , then it may not necessarily be a derivative work depending on how heavily modified the melody and chord progressions were.
On the other hand, if the remixer only changes a few things for example, the instrument and tempo , then it is clearly a derivative work and subject to the copyrights of the original work's copyright holder.
The Creative Commons is a non-profit organization that allows the sharing and use of creativity and knowledge through free legal tools and explicitly aims for enabling a Remix culture. The artist can limit the copyright to specific users for specific purposes, while protecting the users and the artist. Generally, the courts consider what will amount to a substantial part by reference to its quality, as opposed to quantity and the importance the part taken bears in relation to the work as whole.
There are proposed theories of reform regarding the copyright law and remixes. Nicolas Suzor believes that copyright law should be reformed in such a manner as to allow certain reuses of copyright material without the permission of the copyright owner where those derivatives are highly transformative and do not impact upon the primary market of the copyright owner.
There certainly appears to be a strong argument that non commercial derivatives, which do not compete with the market for the original material, should be afforded some defense to copyright actions.
Stanford Law professor Lawrence Lessig believes that for the first time in history creativity by default is subject to regulation because of two architectural features.
First, cultural objects or products created digitally can be easily copied, and secondly, the default copyright law requires the permission of the owner. Join Date Jan Posts Join Date Dec Location london Posts Join Date Jul Posts 4, The last 2 are particularly good. Join Date Jul Location Back oop north!
Posts 4, Anything by Prodigy!!!! Because as we knowThis technique gives you immense control over your effects and production, allowing you to create a separate mixer channel for your effects to blend back later. I use a stock plugin called 'fruity send' to create a duplicate track, it's a really handy plugin which I'm sure you'll find many uses for:) Effects include: Parallel Drum Compression.