RBS 2043 premièrement nommé 2MASX J23444387-4243124 est une galaxie elliptique de Seyfert type 1.9 qui est connue pour sa source X hyper lumineuse. Elle a été annoncée en août 2013 par le programme SBATASS (Swift-BAT all-sky hard X-ray survey). Dans les archives du SBATASS, cette galaxie apparaît comme une source radio et X très puissante. Lors de la découverte par le SBATASS, l'instrument X du SWIFT était calibré dans une émission de 14 à 195 Kilo électronvolts (KeV). Le centre de RBS 2043 présente une grande variabilité de luminosité, ce qui démontre la présence d'un trou noir supermassif, voire un trou noir ultra-massif. Elle se situe dans la constellation du Phénix à plus de 800 millions d'années-lumière.

Caractéristique de RBS 2043

Période de RBS 2043

La variabilité de RBS 2043 semble être erratique, en effet, les périodes de RBS 2043 ne suivent aucune régularité. Lors de la découverte de RBS 2043, le SWIFT est resté concentré dessus, ce qui a permis de noter les hausses et baisses de luminosité. Avec les données du SWIFT, on peut ériger ce graphique.

Année 2004
Le SWIFT nous montre qu'en janvier 2004, la luminosité de RBS 2043 est passée d'une magnitude absolue de -20 à -30 puis en février, elle est passée de -30 à -27. Pendant le mois de mars, la luminosité est passée de -27 à -25 puis lors du mois d'avril, la luminosité est passée de -25 à -20 mais lors du mois de mai et du mois de juin, la luminosité est passée de -20 à -25 en mai et est passée de -25 à -40 en juin. Pendant le mois de juin, RBS 2043 est devenu l'objet stellaire le plus lumineux de l'univers connu. Lors du mois de juillet, la luminosité est passée de -40 à -23 puis le mois suivant, elle est passée de -23 à -25. En août et septembre elle s'est stabilisée à -27 puis en octobre elle est redescendue à -22 puis en novembre elle est remontée à -34 et enfin en décembre, elle est redescendue à -25.

Résultats des analyses
Avec un telle variabilité, beaucoup de questions se posent. Cette variabilité s'explique par un rapprochement entre des étoiles du centre galactique et le trou noir central. Ce rapprochement a pour effet de créer des événements TDE et de disperser les gaz des étoiles; ces gaz se regroupent pour former de grands milieux interstellaires qui s'alignent entre le centre de RBS 2043 et nous. Ces alignements entre les gaz et le centre ont pour effet de bloquer les trois quarts des rayons lumineux.

Trou noir central de RBS 2043
Grâce à la vitesse des milieux interstellaires, la masse du trou noir a pu être estimée. La masse a été calculée avec la méthode de dispersion des vitesses de ces milieux. Ces milieux interstellaires se déplacent à une vitesse moyenne de 131 000 km/s; avec une telle vitesse, le trou noir central tourne autour d'une masse de 20 milliards de masses solaires. Avec une masse de 20 milliards de masses solaires, ce trou noir occupe la 13ème place du classement des trous noirs les plus massifs de l'univers. Mais une telle masse lui donne aussi un rayon de Schwarzschild de 394.9 unités astronomiques (UA) et un diamètre de 789.8 UA.

Activité de RBS 2043A*
RBS 2043A* est le trou noir central de RBS 2043; ce trou noir est extrêmement actif. Cette activité crée la fameuse luminosité qui est masquée par les nuages de gaz. Il est aussi à l'origine de l'émission radio, X et ultraviolette.

Voir aussi

Article connexe

 Liste des trous noirs les plus massifs
 Événement de rupture par effet de marée

Références

Quasar
Galaxie elliptique
Galaxie active
Source X
Source radio
Trou noir supermassif
Constellation du Phénix

RBS 2043


Koretoshi Maruyama (丸山 維敏; 5. listopada 1936.), japanski majstor borilačkih vještina. Izravni je učenik Moriheija Ueshibe. Nositelj je 8. Dana u aikidu. Osnivač je škole Yuishinkai aikido.

Životopis
Koretoshi Maruyama je prvi put počeo da vježba aikido u Hombu dojo-u 1956. godine, a usporedo s tim je vježbao aikido u klubu Sveučilišta Keio. Nakon što je završio studij na Sveučilištu Keio, radio je u obiteljskom poslu, ali je isto tako nastavio i svoje usavršavanje u aikidu. Godine 1967. godine postao je uchi-deshi osnivača aikida Moriheija Ueshibe, koji mu je dodijelio 6. Dan u aikidu.

Godine 1972. je napustio Aikikai i prešao da bude instruktor u Ki No Kenkyukai, gdje mu je Koichi Tohei dodijelio 8. Dan. Godine 1990. postao je predsjednik Ki No Kenkyukaija. Na toj dužnosti se zadržao do 1991. kada je podnio ostavku. Nakon toga, otišao je u samostan u Saitama prefekturi, gdje je boravio do 2001. godine.

Dana, 9. svibnja 1996. godine, dok je još uvijek boravio u samostanu, Maruyama je osnovao Yuishinkai aikido, dobivši odobrenje svećenika iz hrama za to. Po izlasku iz samostana 2001. godine počeo je da predaje aikido u Japanu i širom svijeta. Mnogi instruktori aikida su mu se pridružili na tom putu.

Izvori

Vanjske povezice
 Youshinkai aikido

Japanske aikidoke

Koretoshi Maruyama


30775 Lattu este un asteroid care intersectează orbita planetei Marte.

Descriere
30775 Lattu este un asteroid care intersectează orbita planetei Marte. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,78 ua, o excentricitate de 0,47 și o înclinație de 14,3° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 30001-31000
 Centura de asteroizi

Referințe

Asteroizi care intersectează orbita planetei Marte

30775 Lattu


Itō, Ito, Itou, Itoh or Itoo (written:  or  in hiragana) is the sixth most common Japanese surname. Less common variants are  and .

Notable people with the surname
, Japanese actress
, Japanese handball player
, Japanese manga artist
Akira Ito (disambiguation), multiple people
, Japanese comedian
Atsushi Ito (disambiguation), multiple people
, Japanese announcer
, Japanese speed skater
, Japanese actress
, Japanese voice actress
, Japanese singer, actress, dancer and model
, Japanese speed skater
, Japanese architect, architectural historian and critic
Daisuke Itō (disambiguation), multiple people
, Japanese footballer
David Ito (born 1966), Japanese comedian, actor and businessman
, Japanese writer
, Japanese singer
, Japanese cyclist
, Japanese long jumper
, Japanese motorcycle racer
, Japanese surgeon
, Japanese footballer
, Japanese swimmer
, Japanese baseball player
, Japanese rugby union player
, Japanese actor
, Japanese handball player
, Japanese baseball player
, Prime Minister of Japan in the late 19th century
, Japanese shogi player
Hiroki Ito (disambiguation), multiple people
, Japanese writer
, Japanese game producer, director and designer
, Japanese mayor
, Japanese guitarist
, Japanese character designer and animator
, Japanese swordsman
, Japanese painter
Jeremy Ito (born 1986), American football player
Jerry Ito (1927–2007), American actor
, Japanese Confucian philosopher and educator
, Japanese activist, entrepreneur and venture capitalist
, Japanese medical researcher and psychiatrist
, Japanese horror manga artist
, Japanese mixed martial artist
, Japanese baseball player
Junko Itō, American linguist
Junya Ito (disambiguation), multiple people
, Japanese badminton player
, Japanese voice actress
, Japanese singer
, Japanese women's footballer
, Japanese dancer and choreographer
, Japanese swimmer
, Japanese actress
, Japanese softball player
, Japanese footballer
, Japanese anime screenwriter and artist
, Japanese astronomer
, Japanese photographer and installation artist
, Japanese physician and biologist
, Japanese swimmer
, Japanese composer, conductor, and writer
Kenichi Itō (disambiguation), multiple people
, Japanese video game composer and musician
, Japanese footballer
, Japanese footballer
, Japanese voice actor
, Japanese jazz singer
, Japanese art director
, Japanese actress
, Japanese mathematician
, Japanese sprinter
, Japanese politician
, Japanese illustrator
, Japanese long-distance runner
Lance Ito (born 1950), American judge
, Japanese long-distance runner
, Japanese actress
, Japanese professional wrestler
, Japanese long-distance runner
, Japanese footballer
, Japanese economist
, the first official Japanese emissary to Europe
, Japanese actress, artist, model and idol
Maryanne Ito (born 1983), American musician
Mary Ito, Canadian television and radio personality
, Japanese video game artist
, Japanese cyclist
, Japanese trampolinist
Masanori Ito (disambiguation), multiple people
, Japanese neuroscientist
, Japanese World War II holdout
, Japanese businessman
, Japanese politician and Prime Minister of Japan
, also known as Hikaru Nanase, Japanese singer and composer
, Japanese synchronized swimmer
, Japanese choreographer
, Japanese figure skater
, birth name of Mika Doi, Japanese voice actress
, Japanese voice actress
, Japanese voice actor
, Japanese freestyle skier
, Japanese voice actress and singer
, Japanese table tennis player
Minoru Ito (disambiguation), multiple people
 Japanese actress and model
, Japanese voice actress
, Japanese politician
Miyoko Ito (1918–1983), American artist
, Japanese cultural anthropologist
, Japanese automotive engineer
, Japanese footballer
, Japanese ski jumper
, Japanese anime director
, Japanese writer, social critic and feminist
, Japanese manga artist
, better known as Noriko Hidaka, Japanese voice actress
, Japanese ice hockey player
Ogura Yonesuke Itoh (1870–1940), Japanese-American artist
, Japanese actress
, Japanese sculptor
, Japanese conductor
, Japanese manga artist
, Japanese actress, model and gravure idol
Robert Ito (born 1931), Canadian actor and voice actor
, Japanese footballer
, Japanese footballer
, Japanese professional wrestler
, Japanese footballer
, Japanese swimmer
, Japanese tanka poet and novelist
, Japanese softball player
, Japanese shogi player
, Japanese actress
, Japanese singer and actress
, Japanese television personality
, the real name of Project Itoh, Japanese science fiction writer and essayist
Saya Ito (born 1999), Japanese kickboxer
, Japanese announcer and television personality
, also known as Hitoshi Itō, Japanese poet, writer and translator
, Imperial Japanese Navy admiral
, Japanese painter
, Japanese voice actor
Sharon Ito (born 1960), American journalist
, Japanese table tennis player
 (born 1960), Japanese manga artist
Shin Ito (born 1964), Japanese wingsuit pilot and skydiver
Shingo Ito (disambiguation), multiple people
, Japanese motorcycle racer
, Japanese swimmer
, Japanese Buddhist
, Japanese footballer
, Japanese artist
, Japanese politician
, Japanese politician
, Japanese journalist
, Japanese actor and comedian
, Japanese voice actress and singer
, Japanese footballer
, Japanese rugby union player
, Japanese footballer
, Japanese swimmer, Japanese freestyle swimmer
, Japanese historian of science
, Japanese film director
, Japanese sport shooter
, Japanese samurai and daimyō
, Imperial Japanese Navy admiral
Susumu Ito (1919–2015), American cell biologist and soldier
, Japanese politician
, Japanese actor and voice actor
, Japanese writer
, Japanese businessman
, Japanese professional wrestler
, Japanese ski jumper
, Japanese kickboxer
, Japanese economist and academic
, Japanese manga artist
Takenori Ito, Japanese mixed martial artist
, Japanese general
, Japanese field hockey player
, Japanese rugby union player
, Japanese footballer
Takuma Ito (disambiguation), multiple people
Takuya Ito (disambiguation), multiple people
Tari Ito (born 1951), Japanese performance artist
, Japanese tennis player
Tatsuya Ito (disambiguation), multiple people
, Japanese composer
Terry Ito (born 1949), Japanese director, television producer, critic and writer
, Japanese footballer
, Japanese footballer
Tomohiko Ito (disambiguation), multiple people
, Japanese sprinter
, Japanese baseball player
, Japanese Paralympic athlete
, Japanese actor
, Imperial Japanese Navy admiral
, Japanese architect
, Japanese rower
, Japanese baseball player and manager
, Japanese politician
Willie Ito (born 1934), American animator
, Japanese classical composer
, Japanese boxer
, Japanese engineer and scientist
, Japanese photographer
, Japanese chemist
Yoshihiro Ito (disambiguation), multiple people
, Japanese sport shooter
, Japanese daimyō
, Japanese sprinter
, Japanese actor and singer
, Japanese tennis player
, Japanese politician
, Japanese footballer
Yuji Ito (fighter), Japanese mixed martial artist
Yuki Ito (disambiguation), multiple people
, Japanese footballer
, Japanese fashion model and actress
Yuna Ito (born 1983), American singer-songwriter and actress
, Japanese actor
, Japanese footballer
, Japanese footballer
Yuzuru Ito (before 1989 – 2000), quality assurance expert
, Japanese singer and guitarist

Fictional characters
, a character in the manga series Hikaru no Go
Ayami Itō, a character in the video game Tokyo Dark
, a character in the media franchise Gakuen Heaven
, protagonist of the visual novel School Days
Satomi Ito, a character in the television series Teen Wolf
Kōsaku Itō, a character in the 2017 romantic drama film My Teacher based on the manga series of the same name

References

See also
Itō clan, a Japanese clan

Japanese-language surnames

Itō (surname)


In marketing, customer lifetime value (CLV or often CLTV), lifetime customer value (LCV), or life-time value (LTV) is a prognostication of the net profit
contributed to the whole future relationship with a customer. The prediction model can have varying levels of sophistication and accuracy, ranging from a crude heuristic to the use of complex predictive analytics techniques.

Customer lifetime value can also be defined as the monetary value of a customer relationship, based on the present value of the projected future cash flows from the customer relationship. Customer lifetime value is an important concept in that it encourages firms to shift their focus from quarterly profits to the long-term health of their customer relationships. Customer lifetime value is an important metric because it represents an upper limit on spending to acquire new customers. For this reason it is an important element in calculating payback of advertising spent in marketing mix modeling.

One of the first accounts of the term customer lifetime value is in the 1988 book Database Marketing, which includes detailed worked examples. Early adopters of customer lifetime value models in the 1990s include Edge Consulting and BrandScience.

Purpose

The purpose of the customer lifetime value metric is to assess the financial value of each customer. Don Peppers and Martha Rogers are quoted as saying, "some customers are more equal than others." Customer lifetime value differs from customer profitability or CP (the difference between the revenues and the costs associated with the customer relationship during a specified period) in that CP measures the past and CLV looks forward. As such, CLV can be more useful in shaping managers' decisions but is much more difficult to quantify. While quantifying CP is a matter of carefully reporting and summarizing the results of past activity, quantifying CLV involves forecasting future activity.

Customer lifetime value:
The present value of the future cash flows attributed to the customer during his/her entire relationship with the company.

Present value is the discounted sum of future cash flows: each future cash flow is multiplied by a carefully selected number less than one, before being added together. The multiplication factor accounts for the way the value of money is discounted over time. The time-based value of money captures the intuition that everyone would prefer to get paid sooner rather than later but would prefer to pay later rather than sooner. The multiplication factors depend on the discount rate chosen (10% per year as an example) and the length of time before each cash flow occurs. For example, money received ten years from now must be discounted more than money received five years in the future.

CLV applies the concept of present value to cash flows attributed to the customer relationship. Because the present value of any stream of future cash flows is designed to measure the single lump sum value today of the future stream of cash flows, CLV will represent the single lump sum value today of the customer relationship. Even more simply, CLV is the monetary value of the customer relationship to the firm. It is an upper limit on what the firm would be willing to pay to acquire the customer relationship as well as an upper limit on the amount the firm would be willing to pay to avoid losing the customer relationship. If we view a customer relationship as an asset of the firm, CLV would present the monetary value of that asset.

One of the major uses of CLV is customer segmentation, which starts with the understanding that not all customers are equally important. CLV-based segmentation model allows the company to predict the most profitable group of customers, understand those customers' common characteristics, and focus more on them rather than on less profitable customers. CLV-based segmentation can be combined with a Share of Wallet (SOW) model to identify "high CLV but low SOW" customers with the assumption that the company's profit could be maximized by investing marketing resources in those customers.

Customer Lifetime Value metrics are used mainly in relationship-focused businesses, especially those with customer contracts. Examples include banking and insurance services, telecommunications and most of the business-to-business sector. However, the CLV principles may be extended to transactions-focused categories such as consumer packaged goods by incorporating stochastic purchase models of individual or aggregate behavior. In either case, retention has a decisive impact on CLV, since low retention rates result in Customer Lifetime Value barely increasing over time.

Construction

When margins and retention rates are constant, the following formula can be used to calculate the lifetime value of a customer relationship:

The model for customer cash flows treats the firm's customer relationships as something of a leaky bucket. Each period, a fraction (1 less the retention rate) of the firm's customers leave and are lost for good.

The CLV model has only three parameters: (1) constant margin (contribution after deducting variable costs including retention spending) per period, (2) constant retention probability per period, and (3) discount rate. Furthermore, the model assumes that in the event that the customer is not retained, they are lost for good. Finally, the model assumes that the first margin will be received (with probability equal to the retention rate) at the end of the first period.

The one other assumption of the model is that the firm uses an infinite horizon when it calculates the present value of future cash flows. Although no firm actually has an infinite horizon, the consequences of assuming one are discussed in the following.

Under the assumptions of the model, CLV is a multiple of the margin. The multiplicative factor represents the present value of the expected length (number of periods) of the customer relationship. When retention equals 0, the customer will never be retained, and the multiplicative factor is zero. When retention equals 1, the customer is always retained, and the firm receives the margin in perpetuity. The present value of the margin in perpetuity turns out to be the Margin divided by the Discount Rate. For retention values in between, the CLV formula tells us the appropriate multiplier.

Methodology

Simple commerce example

(Avg Monthly Revenue per Customer * Gross Margin per Customer) ÷ Monthly Churn Rate

The numerator represents the average monthly profit per customer, and dividing by the churn rate sums the geometric series representing the chance the customer will still be around in future months.

For example:
$100 avg monthly spend * 25% margin ÷ 5% monthly churn = $500 LTV

A retention example

CLV (customer lifetime value) calculation process consists of four steps:
 forecasting of remaining customer lifetime (most often in years)
 forecasting of future revenues (most often year-by-year), based on estimation about future products purchased and price paid
 estimation of costs for delivering those products
 calculation of the net present value of these future amounts

Forecasting accuracy and difficulty in tracking customers over time may affect CLV calculation process.

Retention models make several simplifying assumptions and often involve the following inputs:

 Churn rate, the percentage of customers who end their relationship with a company in a given period.  Churn rate + retention rate = 100%.  Most models can be written using either churn rate or retention rate.  If the model uses only one churn rate, the assumption is that the churn rate is constant across the life of the customer relationship.
 Discount rate, the cost of capital used to discount future revenue from a customer.  Discounting is an advanced topic that is frequently ignored in customer lifetime value calculations.  The current interest rate is sometimes used as a simple (but incorrect) proxy for discount rate.
 Contribution margin
 Retention cost, the amount of money a company has to spend in a given period to retain an existing customer.  Retention costs include customer support, billing, promotional incentives, etc.
 Period, the unit of time into which a customer relationship is divided for analysis.  A year is the most commonly used period.  Customer lifetime value is a multi-period calculation, usually stretching 3–7 years into the future.  In practice, analysis beyond this point is viewed as too speculative to be reliable.  The number of periods used in the calculation is sometimes referred to as the model horizon.

Thus, one of the ways to calculate CLV, where period is a year, is as follows:

where  is yearly gross contribution per customer,  is the (relevant) retention costs per customer per year (this formula assumes the retention activities are paid for each mid year and they only affect those who were retained in the previous year),  is the horizon (in years),  is the yearly retention rate,  is the yearly discount rate. In addition to retention costs, firms are likely to invest in cross-selling activities which are designed to increase the yearly profit of a customer over time.

Simplified models

It is often helpful to estimate customer lifetime value with a simple model to make initial assessments of customer segments and targeting. If  is found to be relatively fixed across periods, CLV can be expressed as a simpler model assuming an infinite economic life (i.e.,  ) :

Note: No CLV methodology has been independently audited by the Marketing Accountability Standards Board (MASB) according to MMAP (Marketing Metric Audit Protocol).

Uses and advantages

Customer lifetime value has intuitive appeal as a marketing concept, because in theory it represents exactly how much each customer is worth in monetary terms, and therefore exactly how much a marketing department should be willing to spend to acquire each customer, especially in direct response marketing.

Lifetime value is typically used to judge the appropriateness of the costs of acquisition of a customer. For example, if a new customer costs $50 to acquire (COCA, or cost of customer acquisition), and their lifetime value is $60, then the customer is judged to be profitable, and acquisition of additional similar customers is acceptable.

Additionally, CLV is used to calculate customer equity.

Advantages of CLV:
 management of customer relationship as an asset
 monitoring the impact of management strategies and marketing investments on the value of customer assets, e.g.: Marketing Mix Modeling simulators can use a multi-year CLV model to show the true value (versus acquisition cost) of an additional customer, reduced churn rate, product up-sell
 determination of the optimal level of investments in marketing and sales activities
 encourages marketers to focus on the long-term value of customers instead of investing resources in acquiring "cheap" customers with low total revenue value
 implementation of sensitivity analysis in order to determinate getting impact by spending extra money on each customer
 optimal allocation of limited resources for ongoing marketing activities in order to achieve a maximum return
 a good basis for selecting customers and for decision making regarding customer specific communication strategies
 a natural decision criterion to use in automation of customer relationship management systems
 measurement of customer loyalty (proportion of purchase, probability of purchase and repurchase, purchase frequency and sequence etc.)

The disadvantages of CLV do not generally stem from CLV modeling per se, but from its incorrect application.

Misuses and downsides

NPV vs. nominal prediction
The most accurate CLV predictions are made using the net present value (NPV) of each future net profit source, so that the revenue to be received from the customer in the future is recognized at the future value of money. However, NPV calculations require additional sophistication including maintenance of a discount rate, which leads most organizations to instead calculate CLV using the nominal (non-discounted) figures. Nominal CLV predictions are biased slightly high, scaling higher the farther into the future the revenues are expected from customers.

Net profit vs. revenue
A common mistake is for a CLV prediction to calculate the total revenue or even gross margin associated with a customer. However, this can cause CLV to be multiples of their actual value, and instead need to be calculated as the full net profit expected from the customer.

Often ecommerce reporting systems will report Lifetime Revenue (LTR), rather than Lifetime Value based on net profit, due to the difficulty most ecommerce platforms have generating an accurate profit figure (i.e. calculating accurate sold item costs, marketing costs and delivery costs) on an order by order basis. Lifetime Revenue can still be a very valuable and useful metric for ecommerce stores to report on in order to measure site performance.

Segment inaccuracy
Opponents often cite the inaccuracy of a CLV prediction to argue they should not be used to drive significant business decisions. For example, major drivers to the value of a customer such as the nature of the relationship are often not available as appropriately structured data and thus not included in the formula.

Comparison with intuition
More predictors, such as specific demographics of a customer group, may have an effect that is intuitively obvious to an experienced marketer but are often omitted from CLV predictions and thus cause inaccuracies in certain customer segments.

Over-values current customers at the expense of potential customers
The biggest problem with how many CLV models are actually used is that they tend to deny the very idea that marketing works (i.e., that marketing will change customer behavior). Low-value customers can be turned into high-value customers by effective marketing. Many CLV models use incorrect mathematics in that they do not take account of the value of a far greater number of middle-value customers, over-prioritizing a smaller number of high value customers.  Additionally, these high-value customers may be saturated (i.e., not have the ability to buy any more coffee or insurance), may be the most expensive group to serve, and may be the most expensive group to reach by communication. The use of survey data is a viable way to collect information on potential customers.

CLV is a dynamic concept, not a static model
A Customer Life Time Value is the output of a model, not an input. If you change the model inputs (e.g., let's say marketing is effective and you increase your retention rates), your average CLV will increase. However, when you engage with customers in such way which cause detraction, the opposite may happen and average CLV will go down (e.g. let's say the invoicing department sends them the wrong or unclear invoices).

See also
 Customer profitability, the profit the firm makes from serving a customer or customer group over a specified period of time
 Gompertz distribution, commonly applied to describe the distribution of adult lifespans by demographers and actuaries
 Customer value maximization, What is CVM and How to increase Customer Value?
 Buy Till you Die, a class of statistical methods to estimate customer lifetime value

References

External links
 MASB Official Website
 LTV Overview Video as part of Product Analytics Course
 How to maximize CLV, calculate and maximize customer lifetime value in mobile apps.

Lifetime value
Management cybernetics

Customer lifetime value


حرب السنوات الأربع هو مسلسل سوري ليبي مشترك صدر عام 1980م كتابة وإنتاج داوود شيخاني وإخراج هيثم حقي، ومن بطولة أسعد فضة ولطفى بن موسى ورضوان عقيلي.

أحداث المسلسل
يحاول تجسيد الحرب التي قامت بين حاكم طرابلس (ليبيا) يوسف باشا القره مللي، وأخيه أحمد باشا القرة مللي، وحرب طرابلس التي استمرت أربع سنوات، حيث يبين العمل مطامع الحكومة الأمريكية في ليبيا. وكذلك محاولة أمريكا احتلال الشواطئ الليبية بأكبر أسطول بحري في ذلك الوقت وبوجود أكبر سفينة بحرية ( فيلادلفيا) ذات الأربع والأربعين مدفع ويبين المسلسل طريقة أسر السفينة وطاقمها من قبل الريس مراد آغا دون إراقة قطرة دم واحدة وتدميرها.

طاقم العمل
 أسعد فضة: بدور (يوسف باشا)
 رضوان عقيلي: بدور (الريس مراد النابلتاني)
 عدنان بركات: بدور (أحمد باشا)
 عبدالرحمن أبو القاسم: بدور (القنصل الأمريكي إيتون)
 جيانا عيد: بدور (زينوبا)
 يوسف خشيم: بدور (كابتن ديكاتور) في البحرية الأمريكية
 محمد الزعلوك: بدور (شيخ الجوازي ) في بنغازي
 صباح السالم: بدور (حكيمة)
 سحر فوزي: بدور (مزموريس)
 حسن قرفال: بدور ( ابن يوسف باشا ) وصهر عمه أحمد باشا.
 وفاء الموصللي: بدور (جين)
 صلاح مخللاتي: بدور (القبطان التونسي)
 جهاد الزغبي: بدور (أميرال موريس)
 صبحي سليمان: بدور (أميرال بريبل)
 ياسين أرناؤوط: بدور (أميرال ديل)
 صباح عبيد: بدور (خورشيد باشا)
 فتحي بدر: بدور ( درويش )
 لطفي بن موسى: بدور ( حسونة الدغيس ).. مستشار أو وزير الدولة.
 عبد الله الريشي: بدور (الريس زريق )
 عمران راغب المدنيني: بدور (حسن المغني)

مراجع

مسلسلات عربية مشتركة
مسلسلات تلفزيونية تاريخية سورية
مسلسلات تلفزيونية سورية بدأ عرضها في 1980
مسلسلات تلفزيونية تاريخية عربية

حرب السنوات الأربع (مسلسل)


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There's Plenty of Room at the Bottom: An Invitation to Enter a New Field of Physics, qui se traduirait par « Il y a beaucoup de place en bas : une invitation à entrer dans un nouveau domaine de la physique » est une conférence donnée par le physicien Richard Feynman lors de la réunion annuelle de la Société américaine de physique à Caltech le . Feynman y considère la possibilité d'une manipulation directe d'atomes individuels comme une forme de chimie synthétique plus puissante que celles utilisées à l'époque. Bien que des versions de la conférence soient réimprimées dans quelques magazines populaires, elles passent largement inaperçues et n'inspirent pas les débuts conceptuels du domaine de la nanotechnologie. À partir des années , les défenseurs des nanotechnologies le citent pour établir la crédibilité scientifique de leurs travaux.

Conception
Feynman considère certaines ramifications d'une capacité générale à manipuler la matière à l'échelle atomique. Il s'intéresse particulièrement aux possibilités de circuits informatiques plus denses et aux microscopes qui peuvent voir des choses beaucoup plus petites que ce qui est possible avec les microscopes électroniques à balayage. Ces idées ont ensuite été concrétisées par l'utilisation du microscope à effet tunnel, du microscope à force atomique et d'autres exemples de microscopie à sonde locale et de systèmes de stockage tels que Millipede, créés par des chercheurs d'IBM.

Feynman suggère également qu'il devrait être possible, en principe, de fabriquer des machines à l'échelle nanométrique qui « arrangent les atomes comme nous le voulons », et font une synthèse chimique par manipulation mécanique.

Il présente également la possibilité « d'avaler le docteur», une idée qu'il attribue dans l'essai à son ami et étudiant diplômé Albert Hibbs. Ce concept implique la construction d'un petit robot chirurgical avalable.

Comme expérience de pensée, il propose de développer un ensemble de mains de manipulateur, à l'échelle un quart, asservies aux mains de l'opérateur pour construire des machines-outils à l'échelle d'un quart analogues à celles que l'on trouve dans n'importe quel atelier d'usinage. Cet ensemble de petits outils pourrait ensuite être utilisé par les petites mains pour construire et faire fonctionner dix ensembles de mains et d'outils à l'échelle un seizième, et ainsi de suite, aboutissant peut-être à un milliard de minuscules usines pour réaliser des opérations massivement parallèles. Il utilise l'analogie d'un pantographe comme moyen de réduire les éléments. Cette idée a été anticipée en partie, jusqu'à l'échelle microscopique, par l'auteur de science-fiction Robert A. Heinlein dans son histoire Waldo de .

Au fur et à mesure que les tailles diminuaient, il faudrait repenser les outils, car la force relative des différentes forces changerait. La gravité deviendrait moins importante et les forces de Van der Waals telles que la tension superficielle deviendraient plus importantes. Feynman a mentionné ces problèmes de mise à l'échelle lors de son discours. Personne n'a encore tenté de mettre en œuvre cette expérience de pensée ; certains types d'enzymes biologiques et de complexes enzymatiques (en particulier les ribosomes) fonctionnent chimiquement d'une manière proche de la vision de Feynman. Feynman a également mentionné dans sa conférence qu'il pourrait être préférable d'utiliser éventuellement du verre ou du plastique, car leur plus grande uniformité éviterait des problèmes à très petite échelle (les métaux et les cristaux sont séparés en domaines où la structure en réseau prévaut). Cela pourrait être une bonne raison de fabriquer des machines et de l'électronique en verre et en plastique. À l'heure actuelle, il existe des composants électroniques constitués des deux matériaux. Dans le verre, il existe des câbles à fibres optiques qui amplifient les impulsions lumineuses à intervalles réguliers, en utilisant du verre dopé à l'erbium, élément de terre rare. Le verre dopé est épissé dans la fibre et pompé par un laser fonctionnant à une fréquence différente. En plastique, les transistors à effet de champ sont fabriqués avec du polythiophène, un polymère inventé par Alan J. Heeger et al. qui devient un conducteur électrique lorsqu'il est oxydé. En 2016, seulement un facteur 20 séparait la mobilité des électrons entre le plastique et le silicium.

Défis
Lors de la réunion, Feynman conclut son discours par deux défis et offre un prix de  au premier à résoudre chacun d'eux. Le premier défi qui impliquait la construction d'un nanomoteur fut  réalisé en  par William McLellan diplômé de Caltech, un homme méticuleux, utilisant des outils conventionnels. Le moteur remplissait les conditions, mais n'avançait pas l'art. Le deuxième défi impliquait la possibilité de réduire les lettres suffisamment petites pour pouvoir faire tenir l'Encyclopædia Britannica entière sur la tête d'une épingle, en écrivant les informations d'une page de livre sur une surface 1/ plus petite à l'échelle linéaire. En 1985, Tom Newman, un étudiant diplômé de Stanford, a réussi à réduire le premier paragraphe d'un compte de Charles Dickens, Le Conte de deux cités de 1/ et a remporté le deuxième prix Feynman . Le directeur de thèse de Newman, R. Fabian Pease, avait lu l'article en  ; mais c'est un autre étudiant diplômé du laboratoire, Ken Polasko, qui l'avait lu récemment, qui a suggéré de relever le défi. Newman recherchait un modèle aléatoire arbitraire pour démontrer sa technologie. Newman a déclaré : .

Réception
Le New Scientist a rapporté que . Feynman avait  sans même . Aucune copie du discours n'était disponible. Un « admirateur prévoyant » a apporté un magnétophone et une transcription éditée, sans les blagues de Feynman, a été réalisée pour publication par Caltech. En , l'ingénierie et la science de Caltech ont publié le discours. En plus des extraits de The New Scientist, des versions ont été imprimées dans  et . Les journaux ont annoncé la victoire du premier défi. La conférence a été incluse dans le dernier chapitre du livre de 1961, Miniaturization.

Impact
K. Eric Drexler a ensuite repris le concept de Feynman d'un milliard de petites usines et a ajouté l'idée qu'elles pourraient faire plus de copies d'elles-mêmes, via le contrôle informatique au lieu du contrôle par un opérateur humain, dans son livre de 1986 Engines of Creation: The Coming Era of Nanotechnologie.

Après la mort de Feynman, les chercheurs étudiant le développement historique de la nanotechnologie ont conclu que son rôle dans la catalyse de la recherche en nanotechnologie n'était pas très apprécié par de nombreuses personnes actives dans le domaine naissant dans les années 1980 et 1990. Chris Toumey, anthropologue culturel à l'université de Caroline du Sud, a reconstitué l'histoire de la publication et de la réédition du discours de Feynman, ainsi que l'enregistrement des citations de « Plenty of Room » dans la littérature scientifique.

Dans l'article de 2008 de Toumey  , il a trouvé onze versions de la publication de , ainsi que deux exemples d'un discours étroitement lié de Feynman,  que Feynman a appelé «  » (publié sous le nom «  »). Dans les références de Toumey se trouvent également des cassettes vidéo de ce deuxième entretien. La revue Nature Nanotechnology a consacré un numéro en 2009 au sujet.

Toumey a découvert que les versions publiées du discours de Feynman avaient une influence négligeable au cours des vingt années qui ont suivi sa première publication, mesurée par les citations dans la littérature scientifique, et pas beaucoup plus d'influence au cours de la décennie qui a suivi l'invention du microscope à effet tunnel en 1981. L'intérêt pour « Plenty of Room » dans la littérature scientifique a considérablement augmenté au début des années 1990. C'est probablement parce que le terme « nanotechnologie » a attiré une attention sérieuse juste avant cette époque, à la suite de son utilisation par Drexler dans son livre de 1986, , qui citait Feynman, et dans un article de couverture intitulé « Nanotechnology », publié plus tard cette année-là dans un magazine scientifique à grand tirage, OMNI. La revue Nanotechnology a été lancée en 1989 ; la célèbre expérience Eigler-Schweizer, manipulant précisément 35 atomes de xénon, a été publiée dans Nature en avril 1990 ; et Science avait un numéro spécial sur la nanotechnologie en novembre 1991. Ces développements et d'autres suggèrent que la redécouverte rétroactive de «  » a donné à la nanotechnologie une histoire emballée qui a fourni une date précoce de décembre 1959, plus une connexion à Richard Feynman.

L'analyse de Toumey comprend également des commentaires de scientifiques en nanotechnologie qui disent que "Plenty of room" n'a pas influencé leurs premiers travaux et la plupart d'entre eux ne l'avaient lu que plus tard.

La stature de Feynman en tant que lauréat du prix Nobel et figure importante de la science du a aidé les défenseurs de la nanotechnologie et a fourni un lien intellectuel précieux avec le passé. Plus concrètement, sa stature et son concept de fabrication de précision atomique ont joué un rôle dans la sécurisation du financement de la recherche en nanotechnologie, illustré par le discours du président Bill Clinton en  appelant à un programme fédéral :

.

La version de la loi sur la recherche et le développement en nanotechnologie qui a été adoptée par la Chambre en  prévoyait une étude de la faisabilité technique de la fabrication moléculaire, mais cette étude a été supprimée pour protéger le financement de recherches moins controversées avant qu'elle ne soit adoptée par le Sénat et promulguée par le président George W. Bush le .

En 2016, un groupe de chercheurs de la TU Delft et de l'INL () a signalé le stockage d'un paragraphe du discours de Feynman en utilisant un code binaire où chaque bit était composé d'une seule vacance atomique. À l'aide d'un microscope à effet tunnel pour manipuler des milliers d'atomes, les chercheurs ont rédigé le texte :

Qui pourrait se traduire ainsi :

Ce texte utilise exactement 1 kilo-octet, soit , constituant ainsi le premier kilo-octet d'atome, avec une densité de stockage 500 plus grande que les approches de l'état de l'art. Le texte nécessaire pour « arranger les atomes comme on veut », en damier. Cet hommage autoréférentiel à la vision de Feynman a été couvert à la fois par les revues scientifiques et les médias grand public.

Dérivés en fiction

 Dans , une nouvelle publiée en 1964, Damon Knight utilise l'idée d'une barrière qui doit être construite atome par atome (une barrière temporelle, dans l'histoire).

Éditions

 .
 .
 .
 .

Voir également

 La loi de Moore
 Nanoauto

Références

Liens externes

 Le discours classique de Feynman en 1959 : There's Plenty of Room at the Bottom
 There's Plenty of Room at the Bottom en février 1960 Ingénierie et science Caltech Magazine

Société américaine de physique
California Institute of Technology
Nanotechnologie
Pages avec des traductions non relues

There's Plenty of Room at the Bottom


La palianytsia (en , ) est un type de pain ukrainien composé principalement de farine de blé cuit dans un four domestique. Ce pain au levain ou à la levure a une entaille semi-circulaire sur le tiers supérieur.

Étymologie
Le mot vient du verbe ukrainien , palyty, signifiant « cuire », « brûler » ou « fumer ». Une autre théorie est basée sur l'hypothèse que pOlianytsia est un pain traditionnel produit par les Polanes () une tribu médiévale des Slaves de l'Est.

Recette
La palianytsia traditionnelle était cuite à partir de pâte levée. Du houblon bouilli est mélangé dans une jatte avec de la farine de blé tamisée. La pâte obtenue est pétrie, recouverte et laissée refroidir. De la levure ou du levain sont ajoutés à la pâte refroidie, avant qu'elle ne soit placée dans un four non chauffé pendant la nuit. Le matin, la pâte qui a déjà levé est pétrie avec de la farine de blé, de l'eau tiède et du sel. Elle est ensuite divisée en morceaux, qui sont roulés sur la table. Le pain obtenu est placé au four sur une pelle en bois, saupoudré de farine ou de feuille de chou cuite à la vapeur. Enfin, une scarification est pratiquée dans le pain pour lui permettre de gonfler davantage lors de la cuisson.

Selon GOST 12793-77, les boulangeries de l'URSS produisaient une palianytsia ukrainienne normalisée cuite dans des moules. Elle avait un poids de  à , avec une coupe latérale de trois quarts de cercle.

Symbolisme
Dans le christianisme, la palianytsia, comme le pain en général, symbolise le bonheur et le bien-être, le corps de Dieu, l'affection, l'hospitalité et la sécurité. Palianytsia peut également être interprété comme un symbole du soleil.

Selon la croyance populaire, on ne doit pas manger un morceau de palianytsia après une autre personne, car cela lui enlèverait son bonheur. Il est également de mauvais augure de laisser un morceau non consommé ; et manger du pain derrière le dos d'une autre personne « mangera » sa force.

Autres utilisations
Le mot « palianytsia » est utilisé comme schibboleth en ukrainien, pour identifier les personnes dont l'ukrainien n'est pas la langue maternelle. Les Russes ont tendance à prononcer « palianytsia » en remplaçant le son ukrainien  (noté  et translittéré ) par , et parfois l'ukrainien я (ia) par а (a), ressemblant davantage à palianitsa (). Lors de l'invasion de l'Ukraine par la Russie en 2022, le mot est devenu l'un de ceux proposés pour identifier les groupes de reconnaissance ennemis subversifs.

Articles connexes
 Korovaï
 Knish

Notes et références

Cuisine ukrainienne
Symbole de l'Ukraine
Pain ukrainien

Palianytsia


A string trimmer, also known by the portmanteau strimmer and the trademarks Weedwacker, Weed Eater and Whipper Snipper, is a garden tool for cutting grass, small weeds, and groundcover. It uses a whirling monofilament line instead of a blade, which protrudes from a rotating spindle at the end of a long shaft topped by a gasoline engine or electric motor.

String trimmers are commonly used for cutting low foliage near obstacles or on steep or irregular terrain. Most professional-grade line trimmers can accept attachment blades to be used as brush cutters for more dense vegetation.

History
The string trimmer was invented in the early-1970s by George Ballas of Houston, Texas, who conceived the idea while watching the revolving action of the cleaning brushes in an automatic car wash. His first trimmer was made by attaching pieces of heavy duty fishing line to a tin can bolted to an edger. Ballas developed this into what he called the "Weed Eater", since it chewed up the grass and weeds around trees.

The word "strimmer" is correctly a trade name for a particular make of string trimmer, but it is often used as a generic for any string trimmer. From it has been backformed the colloquial verb "to strim".

Terminology by country
The terminology used to refer to string trimmers varies by country and sometimes state:
 South Africa — Line trimmer or brushcutter
 Australia — whipper snippers
 UK / Ireland - Strimmer, Grass trimmer or brushcutters

Design

A string trimmer works on the principle that a line spun fast enough on its center stiffens by centrifugal force; the faster the hub turns, the more rigid the line. Even round-section nylon line is able to cut grass and slight, woody plants quite well. Some monofilament lines designed for more powerful cutters have an extruded shape, like a star, that helps the line slash the material being cut; the line is thus able to cut quite large woody plants (small shrubs) or at least girdle them effectively. These lines make solid disks less necessary for tough jobs.

The line is hand-wound onto a reel before the job is started, leaving both ends extending from the reel housing. The motor turns the reel and the line extends horizontally while the operator swings the trimmer about where the plants are to be trimmed. The operator controls the height at which cutting takes place and can trim down to ground level quite easily.

As the line is worn, or breaks off, a bump feed string trimmer the operator knocks the reel on the ground so a release mechanism allows some of the line in the reel to replace the spent portion. Newer models "auto-feed", where a small cutter ensures the exposed length does not exceed what can be swung efficiently. Newly extended line operates more efficiently because of its heavier weight and surface effects. The speed of the spinning hub is controlled by a trigger activated throttle on the handle.

A fixed line string trimmer has a trimmer head that takes pre-cut line inserts.  There is no wound spool of line in the trimmer head, the user instead feeds the pre-cut line in to the appropriate slots, making the trimmer easier to feed line into and troubleshoot than a bump feed system.

For vertical cutting the whole machine can be tilted or some trimmers allow the head to be adjusted at different angles.

String trimmers powered by an internal combustion engine have the engine on the opposite end of the shaft from the cutting head, while electric string trimmers typically have an electric motor in the cutting head, but there are other arrangements such as where the trimmer is connected to heavy machinery and powered by a hydraulic motor.

The head contains a safety shield on the user side and a rotating hub which may also be called a head or spool. Disadvantages of a gasoline-powered string trimmer include its greater weight, the need to refuel, and the significant vibration that carries throughout the device, both of which interfere with its maneuverability and contribute to muscle fatigue. Advantages include complete mobility and higher maximum power.

Large trimmers, used for cutting thick roadside grass and weeds in large areas, are both heavier and more powerful.  Some are fitted with a harness to spread weight onto the shoulders. Often referred to as brush cutters, these often mount straight or circular metal blades instead of  monofilament line.

Accessories

Many string trimmers allow the hub, the head or the lower part of the shaft to be replaced with accessories. Common accessories include:
 metal or plastic blades
 a small chain saw
 a toothed hedge trimmer
 a cultivator

Quick-release shafts are offered on many newer models which do not require any tools to switch in accessories.

Power and emissions

Gasoline-engine powered trimmers usually have a minimum of  displacement motors. At this size they can easily turn  line and some have nylon blades as accessories to the line-reel. A  engine can swing a  line and often has metal-blade accessories. Most trimmers use two stroke engines and require gasoline mixed with oil. Due to pollution laws four stroke engines are becoming more popular, particularly in the commercial market. Manufacturers include Honda, MTD and Craftsman. Companies such as John Deere carry low-emission two-stroke engine trimmers. Stihl manufactures a hybrid four stroke engine trimmer that still requires oil to be pre-mixed into the fuel. Battery powered models should eventually see increased market share in California due to state restrictions planned to take effect in 2024 on gas-powered gardening equipment.

Battery-powered string trimmers offer cleaner alternatives to consumers by producing zero emissions, being more efficient, and eliminating risks of spilled gasoline. Gas powered string trimmers are not regulated to have emission-capturing technology.

Electric string trimmers have the advantage of being very light, easy to maneuver and easy-to-operate. However, both the power cord and total cord length limit them.  Typically less powerful and robust than gasoline-powered units, they are normally are limited to  maximum diameter nylon because of their lower power output (400 to about 1200 watts). Recharge time for a battery model using small or large sealed lead acid, nickel metal hydride, or lithium ion batteries is typically several hours; some models offer a quick-charge option of as little as half an hour, or a removable battery pack.

Propane-powered string trimmers were also manufactured by Lehr.

Plastic pollution
Earth Island Journal criticised string trimmers as a source of plastic pollution due to the string being shredded while in use.

Safety concerns
String trimmers can send debris flying randomly at high speed. It is typical for the user to wear either safety glasses or a suitable visor to protect their eyes, but passersby are still at risk. The debris can even damage cars and buildings, with a particularly high risk of broken glass.

Chain-link flail rotors, and any other trimmer head with linked metal parts, were prohibited from sale in the EU after a fatal accident in 2010.

See also
 Brushcutter (garden tool), a heavy duty tool which may take a line trimmer head or various other blades
 Leaf blower

References

Notes

Gardening tools
Lawn care
Habitat management equipment and methods
American inventions

String trimmer


er en Japansk fodboldspiller, der spiller som midtbanespiller for den amerikanske klub Seattle Reign FC og . Hun har tidligere spillet for den franske klub Montpellier i Division 1 Féminine og NTV Beleza i Japan. Hun vandt verdensmesterskabet med Japan i 2011. Hun er venstrefodet. Hun har repræsenteret Japan ved VM i fodbold for kvinder i 2007, 2011 og 2015, og ved AFC Women's Asian Cup to gange. Hun blev valgt til VM 2015 All-Star truppen.

Hæder

Klub
NTV Beleza
L. League
 Mestre: 2005, 2006, 2007, 2008, 2010
Empress's Cup
 Mestre: 2005, 2006, 2008, 2009
 Nadeshiko League Cup
 Mestre: 2007, 2010

Landshold
 VM i fodbold for kvinder
 Mestre: 2011
 Toer: 2015
 AFC U-17 Women's Championship
 Mestre: 2005

Referencer

Eksterne henvisninger

Kvindelige fodboldspillere fra Japan

Rumi Utsugi


WrestleMania 32 var den 32. udgave af pay-per-view-showet WrestleMania produceret af verdens førende wrestlingorganisation, WWE. Det fandt sted d. 3. april 2016 fra AT&T Stadium i Arlington, Texas foran 76.976 tilskuere.

Showets hovedattraktion var en VM-titelkamp mellem den regerende verdensmester Triple H og Roman Reigns. Derudover mødtes The Undertaker og Shane McMahon, samt Brock Lesnar og Dean Ambrose.

Resultater
 WWE Intercontinental Championship; Zack Ryder besejrede Kevin Owens Dolph Ziggler, Sami Zayn, Sin Cara, Stardust og The Miz i en ladder match
 Chris Jericho besejrede AJ Styles
 League of Nations (Sheamus, Alberto Del Rio og Rusev) besejrede The New Day (Kofi Kingston, Big E og Xavier Woods)
 Brock Lesnar besejrede Dean Ambrose
 WWE Women's Championship: Charlotte besejrede Becky Lynch og Sasha Banks i en triple threat match
 The Undertaker besejrede Shane McMahon i en hell in a cell match
 Baron Corbin vandt Andre the Giant memorial battle royal
 The Rock besejrede Erick Rowan på seks sekunder
 WWE World Heavyweight Championship: Roman Reigns besejrede Triple H

Wrestling i USA
WWE
Tv-programmer fra USA
Wrestling i 2016

WrestleMania 32


Zoopagomyceta é um clado de fungos do grupo Amastigomycota inicialmente considerado ao nível taxonómico de divisão (como  Zoopagomycota Spatofora, 2016), mas recentemente elevado ao nível de superfilo. Antes do advento da filogenia molecular, o grupo era clasificado como uma subdivisião dentro da divisão parafilética Zygomycota (como Zoopagomycotina).

Filogenia
De acordo com Wijayawardene et al., 2020, filogenia do grupo será a seguinte:

Referências

Index Fungorum : Zoopagomyceta Tedersoo, Sánchez-Ramírez, Kõljalg, Bahram, Döring, Schigel, T. May, M. Ryberg & Abarenkov 2018

Fungos

Zoopagomyceta


بلدية الفَحْص أو (نقحرة: ألفاث ديل بي) (بالإسبانية: Alfaz del Pi) هي بلدية تقع في مقاطعة لقنت التابعة لمنطقة بلنسية شرق إسبانيا.

الديموغرافيا
بلغ عدد سكان بلدية الفحص 21.670 نسمة عام 2011 (وفقاً للمعهد الوطني الإسباني للإحصاء).

مراجع

مصادر
  الموقع الرسمي لبلدية الفحص

بلديات مقاطعة بلنسية
بلديات لقنت
أماكن مأهولة في مقاطعة لقنت
أماكن ذات اسم عربي الأصل في شبه الجزيرة الإيبيرية

ألفاث ديل بي


Farquhar Robert Oliver (March 6, 1904 – January 22, 1989) was a politician in Ontario, Canada.

Oliver was elected to the Legislative Assembly of Ontario as a United Farmers of Ontario Member of the Legislative Assembly in the 1926 provincial election at the age of 22.

Oliver was re-elected as a UFO MLA in the 1929 election and was the sole (and last) United Farmers member in the legislature until 1941.  In that year, he formally joined the Ontario Liberal Party and the cabinet of Premier Mitchell Hepburn as Minister of Public Works and Welfare after informally supporting the Liberals and attending their caucus meetings since 1934.  Oliver quit the cabinet in late October 1942, in protest against Hepburn's leadership of the Liberal Party. Hepburn had quit as Premier of Ontario but refused to resign as leader, and appointed Gordon Daniel Conant as the new Premier without consulting the party.  Oliver's resignation contributed to a crisis that eventually led to  both Hepburn and Conant's resignations and a leadership convention in May 1943. Harry Nixon was elected the party's new leader.  Oliver rejoined the cabinet under new Premier Harry Nixon as Deputy Premier, but Nixon's government was short-lived, going down to defeat in the October 1943 election placing third behind the victorious Progressive Conservatives and the Co-operative Commonwealth Federation which became the Official Opposition.

Oliver became the party's acting leader in the legislature 1945 after Hepburn, who had regained the leadership of the party, lost his seat in the 1945 provincial election. The Liberals, nevertheless, displaced the CCF and Oliver became Leader of the Opposition and then permanent leader of the party in 1947 by defeating four other candidates to win a leadership convention. He led the party through the 1948 election that again reduced the Liberals to third place behind the Tories and CCF. Oliver resigned the leadership in 1950, and was replaced by Walter Thomson. However, Thomson was unable to win election to the Legislature, so Oliver remained house leader. Oliver became party leader again from 1954 until 1958, including the 1955 election, but resigned due to caucus feuding. MPPs Albert Wren, who had placed second behind Oliver in the 1954 leadership convention, and Arthur Reaume attacked Oliver's leadership of the party as ineffectual and were expelled from caucus in 1957, shortly before Oliver resigned so that a new leadership convention could be held. Despite his experience, he was never able to lead his party to victory. Farquhar Oliver retired from the legislature in 1967, and died in 1989 at the age of 84.

Farquhar Oliver was the nephew of British Columbia Premier John Oliver.

References

External links
 Farquhar Robert Oliver at The Canadian Encyclopedia

1904 births
1989 deaths
Leaders of the Ontario Liberal Party
Ontario Liberal Party MPPs
Members of the Executive Council of Ontario
Members of the United Church of Canada
United Farmers of Ontario MLAs

Farquhar Oliver


Heinz Holliger (født 21. maj 1939 i Langenthal) er en schweizisk oboist, komponist og dirigent.

Biografi
Holliger gik på musikkonservatorium i Bern og Basel. I 1959 fik han den første internationale pris for sit obo-spil.

Igennem årene er han blevet en verdenskendt oboist, og flere værker er skrevet decideret til ham, ligesom Holliger selv har komponeret meget musik.

Hæder
Heinz Holliger har modtaget flere store internationale priser og anerkendelser.

 1987 Léonie Sonnings Musikpris
 1988 Kunstpreis der Stadt Basel, Frankfurter Musikpreis
 1991 Ernst von Siemens' musikpris
 1998 Æresdoktor ved universitetet i Zürich
 1999 Langenthals kulturpris
 2002 Grammy Award i kategorien Producer of the Year, Classical
 2004 Preis der deutschen Schallplattenkritik
 2007 Zürcher Festspielpreis (Uddelt første gang)
 2008 Rheingau Musikpreis
 2015 Schweizer Grand Prix Musik

Eksterne henvisninger
 Heinz Holliger  hos Schott Music

Oboister
Komponister fra Schweiz
Dirigenter fra Schweiz
Modtagere af Léonie Sonnings musikpris
Schweizere i 1900-tallet
Schweizere i 2000-tallet

Heinz Holliger


الانجذاب الجنسي  هو انجذاب يحدث بين جميع أنواع الكائنات الحية ومنها البشر بغرض ممارسة الجنس، بحيث يتم التزاوج بين الكائنات للتناسل.

في الإنسان
تختلف الأشياء الجذابة جنسيا في الإنسان باختلاف الثقافات والمناطق، ولكن أكثر ما يحدث الانجذاب الجنسي هي الأشياء الحسية خصوصا في بداية العلاقة مثل :

 البصر : كيف يبدو شكل الشخص وملبسه
 الرائحة : كيف تبدو رائحة الشخص سواء كانت طبيعية أو اصطناعية، فالرائحة الغير مناسبة تكون طاردة جنسياً، لقد بحث العلماء البيولوجيون ووجدوا أن عامل الرائحة الطبيعية للجسم، عندما لا تضاف إليه روائح غريبة من الممكن أن يحتوي على فيرمونات الجنس (التي تستعمل كأحدى الوظائف على أنها رمز للانفتاح الجنسي). يمكن أن يشعروا النساء بفيرمونات الجنس أكثر من الرجال، من ناحية أخرى، حتى الرجال ينجذبون إلى النساء عندما تكون رائحة جسدهن الطبيعية والصافية، بانسجام جيد مع رائحة العطر الخاصة بهن.
 الصوت: كيف يبدو صوت الشخص أو صوت حركته.
 المظهر الخارجي: فالرجال بشكل خاص والنساء يتأثرون بشكل كبير بالمظهر الخارجي، الذي يولد لديهم الانجذاب الجنسي، و السبب في ذلك لأنه يزيد من الغريزة الجنسية، وبهذا يزيد المتعة المترتبة عن الجنس.

في الحيوانات
في عالم الحيوان نجد أن الذكور من عائلة الثدييات، يتأثرون فقط  بالرائحة التي تفرزها الأنثى في فترة الشبق. حيث أنهم لا يعيرون الانتباه للمظهر التي تظهر به، بينما الإناث يتأثرن عادة بالمظهر الخارجي للذكور. يتطرقون إلى حجمهم، لونهم، لقرونهم، لقدرة التودد لديهم، ولقوتهم في القتال ضد الذكور الاخرين. كل ذلك، حتى تقبل بعملية التزاوج معهم.

انظر أيضاً
 جنس آمن
 قذف (أحياء)
 انتصاب
 ضعف جنسي
 مراحل العملية الجنسية
 سيلدينافيل
 جنس خارجي

مراجع

انجذاب جنسي
الجاذبية الجسدية
جنس
سلوك الإنسان
علم نفس تطوري
فلسفة الجمال

انجذاب جنسي


The refresh rate, also known as vertical refresh rate or vertical scan rate in reference to terminology originating with the cathode-ray tubes (CRTs), is the number of times per second that a raster-based display device displays a new image. This is independent from frame rate, which describes how many images are stored or generated every second by the device driving the display. On CRT displays, higher refresh rates produce less flickering, thereby reducing eye strain. In other technologies such as liquid-crystal displays, the refresh rate affects only how often the image can potentially be updated.

Non-raster displays may not have a characteristic refresh rate. Vector displays, for instance, do not trace the entire screen, only the actual lines comprising the displayed image, so refresh speed may differ by the size and complexity of the image data.  For computer programs or telemetry, the term is sometimes applied to how frequently a datum is updated with a new external value from another source (for example; a shared public spreadsheet or hardware feed).

Physical factors
While all raster display devices have a characteristic refresh rate, the physical implementation differs between technologies.

Cathode-ray tubes

Raster-scan CRTs by their nature must refresh the screen since their phosphors will fade and the image will disappear quickly unless refreshed regularly.

In a CRT, the vertical scan rate is the number of times per second that the electron beam returns to the upper left corner of the screen to begin drawing a new frame. It is controlled by the vertical blanking signal generated by the video controller, and is partially limited by the monitor's maximum horizontal scan rate.

The refresh rate can be calculated from the horizontal scan rate by dividing the scanning frequency by the number of horizontal lines, plus some amount of time to allow for the beam to return to the top. By convention, this is a 1.05x multiplier. For instance, a monitor with a horizontal scanning frequency of 96 kHz at a resolution of  results in a refresh rate of  89 Hz (rounded down).

CRT refresh rates have historically been an important factor in videogame programming. In early videogame systems, the only time available for computation was during the vertical blanking interval, during which the beam is returning to the top corner of the screen and no image is being drawn. Even in modern games, however, it is important to avoid altering the computer's video buffer except during the vertical retrace, to prevent flickering graphics or screen tearing.

Liquid-crystal displays
Unlike CRTs, where the image will fade unless refreshed, the pixels of liquid-crystal displays retain their state for as long as power is provided, and consequently there is no intrinsic flicker regardless of refresh rate. However, refresh rate still determines the highest frame rate that can be displayed, and despite there being no actual blanking of the screen, the vertical blanking interval is still a period in each refresh cycle when the screen is not being updated, during which the image data in the host system's frame buffer can be updated.

Computer displays

On smaller CRT monitors (up to about ), few people notice any discomfort between 60–72 Hz. On larger CRT monitors ( or larger), most people experience mild discomfort unless the refresh is set to 72 Hz or higher. A rate of 100 Hz is comfortable at almost any size. However, this does not apply to LCD monitors. The closest equivalent to a refresh rate on an LCD monitor is its frame rate, which is often locked at 60 fps. But this is rarely a problem, because the only part of an LCD monitor that could produce CRT-like flicker—its backlight—typically operates at around a minimum of 200 Hz.

Different operating systems set the default refresh rate differently. Microsoft Windows 95 and Windows 98 (First and Second Editions) set the refresh rate to the highest rate that they believe the display supports. Windows NT-based operating systems, such as Windows 2000 and its descendants Windows XP, Windows Vista and Windows 7, set the default refresh rate to a conservative rate, usually 60 Hz.  Some fullscreen applications, including many games, now allow the user to reconfigure the refresh rate before entering fullscreen mode, but most default to a conservative resolution and refresh rate and let you increase the settings in the options.

Old monitors could be damaged if a user set the video card to a refresh rate higher than the highest rate supported by the monitor. Some models of monitors display a notice that the video signal uses an unsupported refresh rate.

Dynamic refresh rate

Some LCDs support adapting their refresh rate to the current frame rate delivered by the graphics card. Two technologies that allow this are FreeSync and G-Sync.

Stereo displays
When LCD shutter glasses are used for stereo 3D displays, the effective refresh rate is halved, because each eye needs a separate picture. For this reason, it is usually recommended to use a display capable of at least 120 Hz, because divided in half this rate is again 60 Hz. Higher refresh rates result in greater image stability, for example 72 Hz non-stereo is 144 Hz stereo, and 90 Hz non-stereo is 180 Hz stereo.  Most low-end computer graphics cards and monitors cannot handle these high refresh rates, especially at higher resolutions.

For LCD monitors the pixel brightness changes are much slower than CRT or plasma phosphors. Typically LCD pixel brightness changes are faster when voltage is applied than when voltage is removed, resulting in an asymmetric pixel response time. With 3D shutter glasses this can result in a blurry smearing of the display and poor depth perception, due to the previous image frame not fading to black fast enough as the next frame is drawn.

Televisions

The development of televisions in the 1930s was determined by a number of technical limitations. The AC power line frequency was used for the vertical refresh rate for two reasons. The first reason was that the television's vacuum tube was susceptible to interference from the unit's power supply, including residual ripple. This could cause drifting horizontal bars (hum bars). Using the same frequency reduced this, and made interference static on the screen and therefore less obtrusive. The second reason was that television studios would use AC lamps, filming at a different frequency would cause strobing. Thus producers had little choice but to run sets at 60 Hz in America, and 50 Hz in Europe. These rates formed the basis for the sets used today: 60 Hz System M (almost always used with NTSC color coding) and 50 Hz System B/G (almost always used with PAL or SECAM color coding). This accident of chance gave European sets higher resolution, in exchange for lower frame-rates. Compare System M (704 × 480 at 30i) and System B/G (704 × 576 at 25i). However, the lower refresh rate of 50 Hz introduces more flicker, so sets that use digital technology to double the refresh rate to 100 Hz are now very popular. (see Broadcast television systems)

Another difference between 50 Hz and 60 Hz standards is the way motion pictures (film sources as opposed to video camera sources) are transferred or presented. 35 mm film is typically shot at 24 frames per second (fps). For PAL 50 Hz this allows film sources to be easily transferred by accelerating the film by 4%. The resulting picture is therefore smooth, however, there is a small shift in the pitch of the audio. NTSC sets display both 24 fps and 25 fps material without any speed shifting by using a technique called 3:2 pulldown, but at the expense of introducing unsmooth playback in the form of telecine judder.

Similar to some computer monitors and some DVDs, analog television systems use interlace, which decreases the apparent flicker by painting first the odd lines and then the even lines (these are known as fields). This doubles the refresh rate, compared to a progressive scan image at the same frame rate. This works perfectly for video cameras, where each field results from a separate exposure the effective frame rate doubles, there are now 50 rather than 25 exposures per second. The dynamics of a CRT are ideally suited to this approach, fast scenes will benefit from the 50 Hz refresh, the earlier field will have largely decayed away when the new field is written, and static images will benefit from improved resolution as both fields will be integrated by the eye. Modern CRT-based televisions may be made flicker-free in the form of 100 Hz technology.

Many high-end LCD televisions now have a 120 or 240 Hz (current and former NTSC countries) or 100 or 200 Hz (PAL/SECAM countries) refresh rate. The rate of 120 was chosen as the least common multiple of 24 fps (cinema) and 30 fps (NTSC TV), and allows for less distortion when movies are viewed due to the elimination of telecine (3:2 pulldown). For PAL at 25 fps, 100 or 200 Hz is used as a fractional compromise of the least common multiple of 600 (24 × 25). These higher refresh rates are most effective from a 24p-source video output (e.g. Blu-ray Disc), and/or scenes of fast motion.

Displaying movie content on a TV

As movies are usually filmed at a rate of 24 frames per second, while television sets operate at different rates, some conversion is necessary. Different techniques exist to give the viewer an optimal experience.

The combination of content production, playback device, and display device processing may also give artifacts that are unnecessary. A display device producing a fixed 60 fps rate cannot display a 24 fps movie at an even, judder-free rate. Usually a 3:2 pulldown is used, giving a slight uneven movement.

While common multisync CRT computer monitors have been capable of running at even multiples of 24 Hz since the early 1990s, recent "120 Hz" LCDs have been produced for the purpose of having smoother, more fluid motion, depending upon the source material, and any subsequent processing done to the signal. In the case of material shot on video, improvements in smoothness just from having a higher refresh rate may be barely noticeable.

In the case of filmed material, as 120 is an even multiple of 24, it is possible to present a 24 fps sequence without judder on a well-designed 120 Hz display (i.e., so-called 5-5 pulldown). If the 120 Hz rate is produced by frame-doubling a 60 fps 3:2 pulldown signal, the uneven motion could still be visible (i.e., so-called 6-4 pulldown).

Additionally, material may be displayed with synthetically created smoothness with the addition of motion interpolation abilities to the display, which has an even larger effect on filmed material.

"50 Hz" TV sets (when fed with "50 Hz" content) usually get a movie that is slightly faster than normal, avoiding any problems with uneven pulldown.

See also
 Plasma display
 Comparison of display technology
 List of mobile phones with a high refresh rate display
 High frame rate
 Flicker-free

References

External links
 What is Monitor Refresh Rate?

Television technology
Graphics hardware
Rates

Refresh rate