Photograph manipulation involves the transformation or alteration of a photograph. Some photograph manipulations are considered to be skillful artwork, while others are considered to be unethical practices, especially when used to deceive. Photographs may be manipulated for political propaganda, to improve the appearance of a subject, for entertainment, or as humor.

Depending on the application and intent, some photograph manipulations are considered an art form because they involve creation of unique images and in some instances, signature expressions of art by photographic artists. For example, Ansel Adams used darkroom exposure techniques, burning (darkening) and dodging (lightening) a photograph. Other techniques include retouching using ink or paint, airbrushing, double exposure, piecing photos or negatives together in the darkroom, and scratching instant films. Software tools applied to digital images range from professional applications to basic imaging software for casual users. Photoshopping is a verb for photograph manipulation as a genericized trademark of Adobe Photoshop.

History and techniques

Photo manipulation dates back to some of the earliest photographs captured on glass and tin plates during the 19th century. The practice began not long after the creation of the first photograph (1825) by Joseph Nicéphore Niépce who developed heliography and made the first photographic print from a photoengraved printing plate. Traditional photographic prints can be altered using various methods and techniques that involve manipulation directly to the print, such as retouching with ink, paint, airbrushing, or scratching Polaroids during developing (Polaroid art). Negatives can be manipulated while still in the camera using double-exposure techniques, or in the darkroom by piecing photos or negatives together. Some darkroom manipulations involved techniques such as bleaching to artfully lighten or totally wash out parts of the photograph, hand coloring for aesthetic purposes, or mimicking a fine art painting.

In the early 19th century, photography and the technology that made it possible were rather crude and cumbersome. While the equipment and technology progressed over time, it was not until the late 20th century that photography evolved into the digital realm. In the 20th century, digital retouching became available with Quantel computers running Paintbox in professional environments, which, alongside other contemporary packages, were effectively replaced in the market by editing software for graphic imaging, such as Adobe Photoshop and GIMP. At the onset, digital photography was considered by some to be a radical new approach and was initially rejected by photographers because of its substandard quality. The transition from film to digital has been an ongoing process, although much progress was made in the early 21st century as a result of innovation that has greatly improved digital image quality while reducing the bulk and weight of cameras and equipment.

Whereas manipulating photographs with tools such as Photoshop and GIMP is generally skill-intensive and time-consuming, the 21st century has seen the arrival of image editing software powered by advanced algorithms which allow complex transformations to be mostly automated. For example, beauty filters which smooth skin tone and create more visually pleasing facial proportions (for example, by enlarging a subject's eyes) are available within a number of widely used social media apps such as Instagram and TikTok, and can be applied in real-time to live video. Such features are also available in dedicated image editing mobile applications like Facetune. Some, such as FaceApp use deep-learning algorithms to automate complex, content-aware transformations, such as changing the age or gender of the subject of a photo, or modifying their facial expression.

The term deepfake was coined in 2017 to refer to real images and videos generated with deep-learning techniques. The alterations can be created for entertainment purposes, or more nefarious purposes such as spreading disinformation. Fraudulent creations can be used to conduct malicious attacks, political gains, financial crime, or fraud. More recently, deep fakes superimposing the faces of celebrities and other persons onto those of pornographic performers for the purpose of creating pornographic material has become prevalent; deepfake pornography has been criticized due to issues with lack of consent.

Political and ethical issues

Photo manipulation has been used to deceive or persuade viewers or improve storytelling and self-expression. As early as the American Civil War, photographs were published as engravings based on more than one negative. In 1860, a photograph of the politician John Calhoun was manipulated and his body was used in another photograph with the head of the president of the United States, Abraham Lincoln. This photo credits itself as the first manipulated photo.

Joseph Stalin made use of photo retouching for propaganda purposes. On May 5, 1920, his predecessor Vladimir Lenin held a speech for Soviet troops that Leon Trotsky attended. Stalin had Trotsky retouched out of a photograph showing Trotsky in attendance. In a well-known case of damnatio memoriae ("condemnation of memory") image manipulation, NKVD leader Nikolai Yezhov, after his execution in 1940, was removed from an official press photo where he was pictured with Stalin; historians subsequently nicknaming him the "Vanishing Commissar". Such censorship of images in the Soviet Union was common.

Photo manipulation is largely considered a useful tool in modern political campaigning and photo manipulations are oftentimes used to amplify political messages and undermine political opponents. For example, on January 6, 2020, US Rep. Paul Gosar (R-Ariz.) tweeted a photo of US President Barack Obama shaking hands with Iranian President Hassan Rouhani, with the caption "The world is a better place without these guys in power." It was pointed out that this meeting never took place and in reality was a doctored photo of a meeting between President Obama and Indian Prime Minister Manmohan Singh. Gosar was criticized for attempting to spread disinformation. The photo had also been previously used in a 2015 advert for Senator Ron Johnson.

The pioneer among journalists distorting photographic images for news value was Bernarr Macfadden: in the mid-1920s, his "composograph" process involved reenacting real news events with costumed body doubles and then photographing the dramatized scenes—then pasting faces of the real news-personalities (gathered from unrelated photos) onto his staged images.

In the 1930s, artist John Heartfield used a type of photo manipulation known as the photomontage to critique Nazi propaganda.

Some ethical theories have been applied to image manipulation. During a panel on the topic of ethics in image manipulation Aude Oliva theorized that categorical shifts are necessary in order for an edited image to be viewed as a manipulation. In Image Act Theory, Carson Reynolds extended speech act theory by applying it to photo editing and image manipulations. In "How to Do Things with Pictures", William J. Mitchell details the long history of photo manipulation and discusses it critically.

Use in journalism

A notable incident of controversial photo manipulation occurred over a photograph that was altered to fit the vertical orientation of a 1982 National Geographic magazine cover. The altered image made two Egyptian pyramids appear closer together than they actually were in the original photograph. The incident triggered a debate about the appropriateness of falsifying an image, and raised questions regarding the magazine's credibility. Shortly after the incident, Tom Kennedy, director of photography for National Geographic stated, "We no longer use that technology to manipulate elements in a photo simply to achieve a more compelling graphic effect. We regarded that afterward as a mistake, and we wouldn't repeat that mistake today."

There are other incidents of questionable photo manipulation in journalism. One such incident occurred in early 2005 after Martha Stewart was released from prison. Newsweek used a photograph of Stewart's face on the body of a much slimmer woman for their cover, suggesting that Stewart had lost weight while in prison. Speaking about the incident in an interview, Lynn Staley, assistant managing editor at Newsweek said, "The piece that we commissioned was intended to show Martha as she would be, not necessarily as she is." Staley also explained that Newsweek disclosed on page 3 that the cover image of Martha Stewart was a composite.

Image manipulation software has affected the level of trust many viewers once had in the aphorism "the camera never lies". Images may be manipulated for fun, aesthetic reasons, or to improve the appearance of a subject but not all image manipulation is innocuous, as evidenced by the Kerry Fonda 2004 election photo controversy. The image in question was a fraudulent composite image of John Kerry taken on June 13, 1971, and Jane Fonda taken in August 1972 sharing the same platform at a 1971 antiwar rally, the latter of which carried a fake Associated Press credit with the intent to change the public's perspective of reality.

There is a growing body of writings devoted to the ethical use of digital editing in photojournalism. In the United States, for example, the National Press Photographers Association (NPPA) established a Code of Ethics which promotes the accuracy of published images, advising that photographers "do not manipulate images [...] that can mislead viewers or misrepresent subjects." Infringements of the Code are taken very seriously, especially regarding digital alteration of published photographs, as evidenced by a case in which Pulitzer prize-nominated photographer Allan Detrich resigned his post following the revelation that a number of his photographs had been manipulated.

In 2010, a Ukrainian photographerStepan Rudik, winner of the 3rd prize story in Sports Featureswas disqualified due to violation of the rules of the World Press Photo contest. "After requesting RAW-files of the series from him, it became clear that an element had been removed from one of the original photographs." As of 2015, up to 20% of World Press Photo entries that made it to the penultimate round of the contest were disqualified after they were found to have been manipulated or post-processed with rules violations.

Retouching human subjects
A common form of photographic manipulation, particularly in advertising, fashion, and glamour photography, involves edits intended to enhance the appearance of the subject. Common transformations include smoothing skin texture, erasing scars, pimples, and other skin blemishes, slimming the subject's body, and erasing wrinkles and folds. Commentators have raised concerns that such practices may lead to unrealistic expectations and negative body image among the audience.

Use in fashion
The photo manipulation industry has often been accused of promoting or inciting a distorted and unrealistic image of most specifically in younger people. The world of glamour photography is one specific industry that has been heavily involved with the use of photo manipulation (what many consider to be a concerning element as many people look up to celebrities in search of embodying the 'ideal figure'). Manipulation of a photo to alter a model's appearance can be used to change features such as skin complexion, hair color, body shape, and other features. Many of the alterations to skin involve removing blemishes through the use of features included within popular image editing programs which are designed for just such purposes. Photo editors may also alter the color of hair to remove roots or add shine. Additionally, the model's teeth and eyes may be made to look whiter than they are in reality. Makeup and piercings can even be edited into pictures to look as though the model was wearing them when the photo was taken. Through photo editing, the appearance of a model may be drastically changed to mask imperfections.

In an article entitled "Confessions of a Retoucher: how the modeling industry is harming women", a professional retoucher who has worked for mega-fashion brands shares the industry's secrets. Along with fixing imperfections like skin wrinkles and smoothing features, the size of the model is manipulated by either adding or subtracting visible weight. Reverse retouching is just as common as making models skinnier, "distorting the bodies of very thin models to make them appear more robust in a process called reverse retouching. It is almost worse than making someone slimmer because the image claims you can be at an unhealthy weight but still look healthy. In reality, you can't, you have to Photoshop it". Reverse retouching includes eliminating shadows from protruding bones, adding flesh over body parts, color correcting, and removing hair generated for warmth from extreme weight loss. Professionals are saying that if an image is not labeled "not retouched," then the public can assume that photograph has been modified. As the fashion industry continues to use photos that have been manipulated to idealize body types, there is a need for education about how unreal and unhealthy these images are and the negative implications they are promoting.

A digital manipulation expert, who edited and altered a lot of images for the fashion industry and wants to remain private, says it is normal to digitally manipulate a photograph of a model to make them appear thinner, regardless of actual weight. Generally, photographs are edited to remove the appearance of up to . However, in the past 20 years, the practice has changed, as more celebrities are on social media and the public is now more aware of their actual appearances; it is likely that significant alterations would be noticed. The retoucher notes that the industry's goal is to make significant income in advertising and that the unrealistic ideals cycle will continue as they have to maintain this.

Since 2012, Seventeen Magazine announced they will no longer manipulate photos of their models. The decision was made after a 14-year-old girl, Julia Bluhm, petitioned that the magazine use a minimum of one unaltered photo in each of their spread per issue. The petition received over 84,000 signatures.

On social media
Not only are photos being manipulated by professionals for the media but with the rise of social media, everyone has easy access to editing photos they post online. Social media filters have become a major part of photo manipulation. Through apps like Snapchat, Instagram, and TikTok, users are able to manipulate photos using the back or front camera, applying pre-made filters to possibly enhance the quality of the picture, distort themselves, or even add creative elements such as text, coloring or stickers. Filters that are provided on social platforms are typically made by social media companies or are user-generated content. Frequently, social media users apply edits to their photos to correspond with the text. Recent developments in photo editing include the addition of polls, GIFs, music, countdowns, donations, and links. Influencers rely on the use of filters for the purpose of engagement. Social media filtering is useful to boost follower activity, as the active use of filtering can be seen as unique. An ordinary photo versus one that has been manipulated with a filter shows social media followers that a particular influencer is creative and fascinating. When photo filtering became popular, it took the world by storm: "Meta reports that over 600 million people have used an AR effect on Facebook or Instagram".

That being said, there are multiple implications associated with social media and photo manipulation. Countless mobile phone applications, such as Facetune, have been created to allow smartphone users to modify personal images. These applications allow people to edit virtually every aspect of themselves in the photo. With social media users and the younger generation being exposed to an extreme amount of imagery that has been manipulated, the consequences include unrealistic body ideals that are unachievable.

Furthermore, popular social media platforms, like TikTok have revealed filters that create an illusion of physical attributes, such as the "skinny filter" and the "perfect skin filter". Part of the idea of perfection on Social Media comes from Japanese culture and the word "kawaii". Kawaii translates to an overall aspect of cuteness; exerting fragile, girly, and childlike emotions in Japanese. Kawaii's photos exerted a sense of perfection that came from the opportunity to enhance their photos in a photo-booth setting. This notion catalyzed the first selfie phone camera by Kyocera in 1999 which led to the posting of selfies during the beginnings of MySpace in the early 2000s.

In advertising
Photo manipulation has been used in advertisements for television commercials and magazines to make their products or the person look better and more appealing than how they look in reality. Some tricks that are used with photo manipulation for advertising are: fake grill marks with eye-liner, using white glue instead of milk, or using deodorant to make vegetables look glossy.

Celebrity opposition
Photo manipulation has triggered negative responses from both viewers and celebrities. This has led to celebrities refusing to have their photos retouched in support of the American Medical Association that has decided that "[we] must stop exposing impressionable children and teenagers to advertisements portraying models with body types only attainable with the help of photo editing software". These include Keira Knightley, Brad Pitt, Andy Roddick, Jessica Simpson, Lady Gaga, and Zendaya.

Brad Pitt had a photographer, Chuck Close, take photos of him that emphasized his flaws. Chuck Close is known for his photos that emphasize the skin flaws of an individual. Pitt did so in an effort to speak out against media using image manipulation software and manipulating celebrities' photos in an attempt to hide their flaws. Kate Winslet spoke out against photo manipulation in media after GQ magazine altered her body, making it look unnaturally thin. 42-year-old Cate Blanchett appeared on the cover of Intelligent Life's 2012 March/April issue, makeup-free and without digital retouching for the first time.

In April 2010, Britney Spears agreed to release "un-airbrushed images of herself next to the digitally altered ones". The fundamental motive behind her move was to "highlight the pressure exerted on women to look perfect". In 2014, Hungarian pop vocalist and songwriter Boggie produced two music videos that achieved global attention for its stance on whitewashing in the beauty industry: the #1 MAHASZ chart hit "Parfüm" (Hungarian version) and "Nouveau Parfum" (French version) from her self-titled album Boggie, which reached two Billboard charts (#3 Jazz Album, #17 World Music Album). In the videos, the artist is shown singing as she is extensively retouched in real-time, ending with a side-by-side comparison of her natural and manipulated images as the song fades out.

Corporate opposition
Some companies have begun to speak out against photo manipulation in advertising their products. Dove created the Dove Self-Esteem Fund and the Dove Campaign for Real Beauty to build confidence in young women, emphasizing "real beauty", or unretouched photographs, in the media. Clothing retailer Aerie's campaign #AerieREAL emphasizes that their clothes are for everyone and that their advertisements have not been retouched in any way, saying "The real you is sexy."

The American Medical Association stated that it is opposed to the use of photo manipulation. Dr. McAneny made a statement that altering models to such extremes creates unrealistic expectations in children and teenagers regarding body image. He also said that the practice of digitally altering the weight of models in photographs should be stopped, so that children and teenagers are not exposed to body types that cannot be attained in reality. The American Medical Association as a whole adopted a policy to work with advertisers to work on setting up guidelines for advertisements to try to limit how much digital image manipulation is used. The goal of this policy is to limit the number of unrealistic expectations for body image in advertisements.

Government opposition
Governments are exerting pressure on advertisers, and are starting to ban photos that are too airbrushed and edited. In the United Kingdom, the Advertising Standards Authority has banned an advertisement by Lancôme featuring Julia Roberts for being misleading, stating that the flawless skin seen in the photo was too good to be true. The US is also moving in the direction of banning excessive photo manipulation where a CoverGirl model's ad was banned because it had exaggerated effects, leading to a misleading representation of the product.

In 2015, France proceeded to pass a law that battles against the use of unrealistic body images and anorexia in the fashion industry. This includes modeling and photography. The models now have to show they are healthy and have a BMI of over 18 through a note from their doctor. Employers breaking this law will be fined and can serve a jail sentence of up to six months. When a creator of a photograph does not disclose that the picture is edited or retouched, no matter how small the edit, they may also receive a fine or 30% of the costs of what they used to create their ad.

In 2021, Norway enacted legislation making it a requirement to label digital manipulations of the bodies of persons when depicted in advertising. Failure to do so is punishable by a fine.

Support
Some editors of magazine companies do not view manipulating their cover models as an issue. In an interview with the editor of the French magazine Marie Claire, she stated that their readers are not idiots and that they can tell when a model has been retouched. Also, some who support photo manipulation in the media state that the altered photographs are not the issue, but that it is the expectations that viewers have that they fail to meet, such as wanting to have the same body as a celebrity on the cover of their favorite magazine.

Opinion polling
A survey done by the United Kingdom-based fashion store New Look showed that 90% of the individuals surveyed would prefer seeing a wider variety of body shapes in media. This would involve them wanting to see cover models that are not all thin, but some with more curves than others. The survey also talked about how readers view the use of photo manipulation. One statistic stated that 15% of the readers believed that the cover images are accurate depictions of the model in reality. Also, they found that 33% of women who were surveyed are aiming for a body that is impossible for them to attain.

Dove and People Weekly also did a survey to see how photo manipulation affects the self-esteem of females. In doing this, they found that 80% of the women surveyed felt insecure when seeing photos of celebrities in the media. Of the women surveyed who had lower self-esteem, 70% of them do not believe that their appearance is pretty or stylish enough in comparison to cover models.

Social and cultural implications
The growing popularity of image manipulation has raised concern as to whether it allows for unrealistic images to be portrayed to the public. In her article "On Photography" (1977), Susan Sontag discusses the objectivity, or lack thereof, in photography, concluding that "photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored and tricked out". A practice widely used in the magazine industry, the use of photo manipulation on an already subjective photograph creates a constructed reality for the individual and it can become difficult to differentiate fact from fiction. With the potential to alter body image, debate continues as to whether manipulated images, particularly those in magazines, contribute to self-esteem issues in both men and women.

In today's world, photo manipulation has a positive impact by developing the creativity of one's mind or maybe a negative one by removing the art and beauty of capturing something so magnificent and natural or the way it should be. According to The Huffington Post, "Photoshopping and airbrushing, many believe, are now an inherent part of the beauty industry, as are makeup, lighting and styling". In a way, these image alterations are "selling" actual people to the masses to affect responses, reactions, and emotions toward these cultural icons.

"Photoshop" as a verb

The terms "Photoshop", "photoshopped" and "photoshopping", derived from Adobe Photoshop, are ubiquitous and widely used colloquially and academically when referencing image editing software as it relates to digital manipulation and alteration of photographs. The term commonly refers to digital editing of photographs regardless of which software program is used.

Trademark owner Adobe Inc. object to what they refer to as misuse of their trademarked software name, and consider it an infringement on their trademark to use terms such as "photoshopped" or "photoshopping" as a noun or verb, in possessive form or as a slang term, to prevent "genericization" or "genericide" of the company's trademark. Separately, the Free Software Foundation advises against using "photoshop" as a verb because Adobe Photoshop is proprietary software.

In popular culture, the term photoshopping is sometimes associated with montages in the form of visual jokes, such as those published on Fark and in Mad magazine. Images may be propagated memetically via e-mail as humor or passed as actual news in a form of hoax. An example of the latter category is "Helicopter Shark", which was widely circulated as a so-called "National Geographic Photo of the Year" and was later revealed to be a hoax. Photoshop contests are games organized online with the goal of creating humorous images around a theme.

Gallery

See also

References

External links

 Digital Tampering in the Media, Politics, and Law – a collection of digitally manipulated photos of political interest
 Hoax Photo Gallery – more manipulated photos
 Erased figures in Kagemni's tomb — discusses political image manipulation with an example from Ancient Egypt

Digital art
Photographic techniques
Photojournalism controversies
Photography controversies
Photography forgeries

Photograph manipulation


Pyrola macrocalyx er tegund blómplantna af lyngætt. Hún er ættuð frá A-Kína (Jilin) og Kóreuskaga.

Tilvísanir

Lyngætt

Pyrola macrocalyx


An Pelexia ventricosa in uska species han Liliopsida nga syahan ginhulagway ni Célestin Alfred Cogniaux, ngan ginhatag han pagkayana nga asya nga ngaran ni Schltr.. An Pelexia ventricosa in nahilalakip ha genus nga Pelexia, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Pelexia

Pelexia ventricosa


Luca Raicu (n. 1874 – d. 1948) a fost un deputat în Marea Adunare Națională de la Alba Iulia, organismul legislativ reprezentativ al "tuturor românilor din Transilvania, Banat și Țara Ungurească", cel care a adoptat hotărârea privind Unirea Transilvaniei cu România, la 1 decembrie 1918.

Activitate politică
A fost un agricultor, consilier principal la Camera de Agricultură Arad din Arad și delegat la Marea Adunare Națională de la Alba Iulia din 18 noiembrie/ 1 decembrie 1918 în calitate de reprezentant al Cercului Arad și al PNR.

Note

Legături externe
 http://www.dacoromania-alba.ro/nr67/gazeta.htm

Vezi și
 Lista delegaților la Marea Adunare Națională de la Alba Iulia

Nașteri în 1874
Decese în 1948
Delegați la Marea Adunare Națională de la Alba Iulia
Agricultori români

Luca Raicu


Charlotte Amalie - fruer & friller er en dansk kortfilm fra 2005, der er instrueret af Lissen Dirckinck-Holmfeld.

Handling
Året er 1663. Stedet Hessen-Kassel. Hovedpersonen, Charlotte Amalie, er en yndig, tysk prinsesse på 13 år, der elsker at ride.

Denne historiske novellefilm for børn og unge fortæller om Charlotte Amalies liv (1650-1714) fra ubekymret ungdom i Hessen Kassel, til hun bliver dronning af Danmark og skænker riget en tronarving i 1671.

Charlotte Amalie

- er 16 år, da hun indgår et arrangeret ægteskab med den danske kronprins Christian. Hun er reformert, den danske kongefamilie er protestanter.

- må kæmpe en hård kamp for at vinde sin konge og sin plads i familien fra sin magtsyge svigermor Sofie Amalie.

- og Christian 5. indgår kort efter brylluppet den aftale, at når han får en søn, så får hun en kirke. Og det får Charlotte Amalie, lige overfor Rosenborg Slot i København byggede Christian Den reformerte Kirke, og her ligger den endnu.

Referencer

Eksterne henvisninger

Danske film fra 2003

Kortfilm fra Danmark

Charlotte Amalie - fruer & friller


Francisco Pimentel Agostini, conocido bajo el pseudónimo de Job Pim (Caracas, 1 de septiembre de 1889 - Caracas, 12 de agosto de 1942), fue un escritor y humorista venezolano.

Trayectoria
En 1917, junto a Leoncio Martinez, José Antonio Calcaño y José Rafael Pocaterra, fundó el diario humorístico Pitorreos.

Hijo de Francisco Pimentel Anderson y Margarita Agostini Caspers, se desarrolló en una familia con afición a la literatura. Realizó su educación primaria en el colegio de Teresa Pérez Bonalde y cursó bachillerato en el colegio Santa María. Entre 1909 y 1912, estudió derecho, carrera que no llegó a culminar ya que durante este lapso comprobó su vocación literaria. Aunque fue un destacado poeta lírico, se le conoce fundamentalmente por su obra humorística, bajo el pseudónimo de «Job Pim».

Su carrera periodística comenzó en El Nuevo Diario, en 1913, con una sección titulada Pitorreos. Luego pasó a ser colaborador en los diarios El Universal y El Heraldo, además de escribir en las revistas El Cojo Ilustrado y Élite. En 1923 participó junto a Leoncio Martínez en el semanario Fantoches, que poco tiempo después se convirtió en diario. Desde allí, se presentó como un vehemente opositor a la dictadura de Juan Vicente Gómez y dio inicio a un período de nueve años por distintas cárceles del país.

Al morir Gómez, fue designado cónsul de Venezuela en Valencia, España, cargo que desempeñó hasta el comienzo de la Guerra Civil Española, cuando el ministro Esteban Gil Borges le ordenó retornar. Después de la guerra volvió a España, pero su estado de salud le obligó a regresar a Caracas en 1940, donde reanudó su actividad periodística hasta su muerte el 12 de agosto de 1942.

En 1950 fue homenajeado por el Ministerio de Educación de Venezuela al renombrar una de las escuelas de la caraqueña parroquia Santa Teresa en su honor. Sus Obras Completas fueron editadas por su hermana Cecilia Pimentel en 1958 y publicadas el año siguiente por la Editorial América Nueva en México.

Su hermana Cecilia Pimentel Agostini nació en Caracas el 10 de julio de 1892. Estudió en el Colegio San José de Tarbes, en Caracas. Fue docente de francés e inglés. Ejerció los siguientes cargos: Jefa de Servicio de la Dirección de Asistencia Social del Ministerio de Sanidad y Asistencia Social (1936); fundó la Junta de Aislados del Leprocomio de Cabo Blanco y fue su presidenta (1936-45 y 1951-83) y La Liga Venezolana de Defensa y Solidaridad Americana, la Agrupación Cultural Interamericana del Hogar Americano, la Liga contra la Mendicidad y la Asociación Venezolana de Mujeres. En 1957 recibió el reconocimiento como Mujer de las Américas por la Unión de Mujeres Americanas, con sede en Nueva York, EE.UU. Algunos de sus escritos más célebres son: Bajo la tiranía, 1919-1935 (1970) y Reminiscencias Familiares (1975). Falleció en Caracas el 18 de diciembre de 1983.

Obra
 Verso
 Desde mi Periscopio
 Pitorreos, 1917
 Sal de Pim, 1943
 Graves y Agudos, 1940
 Prosa
 Enciclopedia Espesa, 1931
 El Balance de Eva, 1922

Referencias

Enlaces externos
 Biografía de Job Pim - VenezuelaTuya.com
 Selección de artículos y poemas de Francisco Pimentel «Job Pim»

Caraqueños
Escritores de Venezuela del siglo XX
Humoristas de Venezuela
Poetas de Venezuela del siglo XX
Miembros de la Academia Venezolana de la Lengua

Job Pim


الشاعر خلدون جاويد شاعر عراقي مغترب، ولد في 25 نيسان 1948 وقيل في 1947 في سدة الهندية التي تتنقل إداريا ما بين محافظة كربلاء ومدينة بابل، ووالده من مدينة بغداد، ووالدته من مدينة بابل، وكان والده موظف يتنقل بين محافظات الجنوب وأخيرا استقر في بغداد.

أنهى مراحل الدراسة واكمل الدراسة الجامعية عام 1973، وتخرج من فرع اللغة الإنجليزية في كلية الآداب (كلية اللغات الملغاة). وكتب الشعر منذ عام 1964 وفي عام 1966 بدأ ينشر شعره في صحف بغداد باسم خلدون الموالي، ومن الصحف والمجلات التي نشرت اشعاره هي المنار والجمهورية وملحقها الأدبي والشعب ومجلات مثل الإذاعة والتلفزيون والأجيال لاتحاد المعلمين والمتفرج.

ترك فكرة النشر في الصحافة بعد عام 1968 لكنه  كتب ونشر باسم خلدون جاويد في جريدة طريق الشعب وحاول جهده  ان لا يظهر كأسم في مجال الشعر أو سواه في تلك الفترة.

في عام 1978 غادر العراق على الأمل ان يعود له العام القادم، ولكنه قد مر عليه 30 عاما على غيابه القسري منه لتوالي الآلام والاحزان عليه.

بدأ السياحة من أول محطة وهي بلغاريا لقرابة عام ومن ثم الجزائر لتسعة اعوام. ومدينة دمشق لفترة ما، ومدينة موسكو لثمان أشهر، والدانمارك منذ عام 1991. ثم زار العراق لشهر واحد في نوفمبر عام 2003.

أهم منجزاته
كتب في كل هذه المراحل شعرا وقصة ونقدا ورواية وخواطر.

لديه الآن بحدود (15 – 20) مخطوطة تنتظر النشر وحاول أن يجمعها في ملفات واضع أياها في مكتبته لربما يأتي يوم يستطيع إخراجها على شكل كتب أو هذا مايعده ولده  نوار به، لو قيّض له ذلك من بعده!

حصل على شهادة الماجستير من الجامعة العالمية للعلوم الإسلامية في لندن قبل عامين. لم يستفد منها في التعيين الذي تأمله في بغداد مدينة احلامه!

العمل الحالي
الآن هو متقاعد ومتفرغ للكتابة عن العراق وبعمل يومي متواصل وشديد الوتيرة ربما أثر ويؤثر عليه صحيا. عمله هو ليس شعريا بل نضاليا، العمل على ساحتين الدفاع عن الحرية ضد الميليشيا دعاة الدين، والعمل من اجل تحرر المرأة،  لأن المرأة هي الوجه الآخر للحياة الديموقراطية المنشودة بل الجانب الشديد الحساسية فيه. ان الساحتين النضاليتين تعطي من الزحم العملي الثوري الملحمي ما يستغرق سنين العمر بطولها.

مؤلفاته
 كتابة على صليب وطن – شعر.
 شكرا من الكامب – شعر.
 البقايا – شعر.
 لماذا هجوت الجواهري ورثيته – مذكرات.
 قم ياعراق – شعر.
 الحنين إلى البيت – شعر.
 إيزيديون بلا تبعيث ولا أسلمة - شعر.

مواقع خارجية
صفحة خلدون جاويد في موقع الحوار المتمدن
موقع البيت العراقي

أشخاص على قيد الحياة
أشخاص من محافظة كربلاء
خريجو جامعة لندن
شعراء عراقيون في القرن 20
شعراء عراقيون في القرن 21
شعراء عرب
مغتربون عراقيون
مهاجرون عراقيون إلى الجزائر
مهاجرون عراقيون إلى الدنمارك
مهاجرون عراقيون إلى بلغاريا
مواليد 1947
مواليد 1948
شعراء بالعربية في القرن 20
شعراء بالعربية في القرن 21

خلدون جاويد


Jakob Thyregod Scheuer (født 1956) er en dansk pædagog og forfatter af ungdomsromaner.

Karriere
Scheuer har en familiebaggrund med forfattere, men beskæftigede sig i mange år med forskellige pædagogiske opgaver, især i forhold til børn og unge med problemer.

Han skrev sin første bog med titlen Jægersoldater i 1991 og kom efterhånden til at skrive flere bøger om unge og deres møde med kriminelle miljøer. Han arbejder nu på halv tid i en børnehave, og resten af tiden skriver han bøger.

Bibliografi
Jakob Scheuer har udgivet følgende bøger:
 Jægersoldater (1991)
 På kampholdet (1993)
 Farlig leg (1995)
 Kæreste med Connie (1997)
 Farlige venner (1998)
 Farlig fest (2006)
 Farlige gader (2007)
 Farligt møde (2008)
 Skud i ghettoen (2009)
 Barcelona må vente (2010)
 Den store chance (2010)
 Det forkerte land (2011)
 På fire hjul (2012)
 Altid klar (2012)
 På flugt fra Fattiggården (2013)
 Herregårdsbisse (2014)
 Hvad nu, Oliver? (2014)
 En kamp for livet (2015)
 Et år i Helvede (2016)
 Den sorte taske (2016)
Splatterkrigen (2017)
Det hvide snit (2018)
Det røde kort (2018)

Referencer

Eksterne henvisninger
Officiel hjemmeside

Romanforfattere fra Danmark

Jakob Thyregod Scheuer


L'expérience est un mode d'acquisition de connaissances qui ne passe pas exclusivement par la raison. Le concept dispose d'une grande fécondité philosophique et a été au cœur de débats épistémologiques.

Concept
Le terme « expérience » est, en philosophie, polysémique. On utilise parfois l'expression d' pour éviter la confusion avec l'expérience entendue comme compétence acquise par un individu, ou l'expérience scientifique que codifie la méthode expérimentale, ou encore l'expérience technique.

Si l'expérience est un mode premier de contact avec le monde, la philosophie occidentale s'est caractérisée, depuis Platon, par une remise en question de la validité des connaissances acquises par l'expérience, et, par conséquent, à une dévaluation de l'expérience. Ces philosophes opposent alors l'expérience à la raison raisonnante qui seule peut soutenir une . L'expérience produit l'opinion, sujette à l'erreur, et productrice de passions. Le pragmatisme, au contraire, estime que la connaissance claire se forme par une série d'expériences, qui ne peuvent manquer d'associer la perception, la réflexion et l'action.

Courants de pensée

Empirisme
L'empirisme est un courant philosophique qui soutient que l'expérience sensible permet d'éprouver quelque chose susceptible d'enrichir le savoir. Les sens ne sont alors pas ou peu trompeurs, et permettent de rentrer dans un contact véritable avec le monde. La tradition empiriste considère l'expérience comme la source de données sensorielles, à partir desquelles se construit la pensée.

Thomas Hobbes commence le Léviathan en affirmant une théorie empiriste. L'expérience est permise par la multiplicité des souvenirs d'entrées en contact avec le monde par les sens. Il écrit ainsi que .

Aristotélisme
Aristote constitue une école de pensée à part entière. Il soutient une thèse de l'expérience qui n'est ni exactement empiriste, ni exactement rationaliste. Annick Stevens qualifie Aristote d'. Nous approchons le réel par les sens, dont l'intellect se nourrit pour former la connaissance dans l'esprit.

Rationalisme
Le rationalisme est un courant philosophique qui, à l'âge classique, admettait l'existence d'idées innées, non issues de l'expérience sensible, et d'idées composées par l'entendement seul, donc totalement indépendantes de l'expérience. Ce courant de pensée s'opposait à l'empirisme. Il fondait sa doctrine sur une opposition entre l'a priori (qui est antérieur et indépendant de l'expérience sensible), et l'a posteriori (qui est postérieur et dépendant de l'expérience sensible).

Kantisme
Emmanuel Kant n'est ni purement empiriste, ni purement rationaliste. Il cherche à dépasser l'opposition entre les deux écoles en en soutenant que l'expérience permet une compréhension du monde parce qu'elle repose sur des formes a priori de l'intuition et de l'entendement.

Au sens kantien, l'expérience désigne l'ensemble du processus de synthèse, utilisant les catégories de l'entendement, qui transforme les données sensibles en objets possibles pour la connaissance.

Pragmatisme
Le pragmatisme, notamment de John Dewey, fait de l'expérience, c'est-à-dire du souvenir de l'interaction avec l'environnement, animé et inanimé, un concept central. Le pragmatisme évite de dissocier la connaissance de l'action.

Expériences en philosophie
Dans ses questionnements, ses propositions et sa méthode de travail, la philosophie utilise plusieurs types d'expérience :

 l'expérience de pensée : expression due à Ernst Mach, désignant la résolution d'un problème en imaginant une expérimentation non réalisable concrètement ; Einstein et Schrödinger ont abondamment utilisé cette notion.
 l'expérience intérieure : expression due à Georges Bataille évoquant l'expérience mystique dépouillée de la dimension divine.
 l'expérience interne : l'ensemble des faits de conscience (antérieurs ou immédiats) pouvant être mobilisés.

Notes et références

Concept épistémologique

Expérience (philosophie)


Purple Rain (Princeov album)
Purple Rain (Princeova skladba)
Purple Rain Tour
prosvjedi Purple Rain u Kaapstadu
purplera1n
Purple Rain (1984.), film

Purple Rain


Af fædrene jord er en dansk dokumentarfilm fra 2004 instrueret af Dan Säll efter manuskript af Gorm Rasmussen.

Handling
Af fædrene jord handler om rødder og forandring, om mennesker i Danmark, nu. Vi møder drømmeren, amatørarkæologen, der oprigtig tror, at fortiden og han har en slags pagt. Vi møder familien, hvis livsdrøm knuses i sammenstødet mellem fortid og nutid. Vi oplever landbofamilien, der begravede bedstefar i gravhøjen. Bonden, der to gange så sin jord og sin å lemlæstet på grund af udviklingen. Og de danske nomader, efterkommere af taterne og de farende svende. Filmen er en rejse igennem det smukke danske landskab, hvor vi bliver vidne til menneskers forsøg på at finde balancen mellem den moderne verdens krav og deres egne personlige længsler efter at leve og bevare de meningsfulde værdier, vi bærer med os fra fortiden. Georg Brandes skildrede danskerne kritisk og køligt kærligt for godt 100 år siden. Filmen bruger hans skarpslebne blik for svaghed og styrke til at undersøge os selv nu. Holder den gamle kulturradikalers ord?

Referencer

Eksterne henvisninger

Dokumentarfilm fra Danmark
Danske film fra 2004

Af fædrene jord


Gwich'in er en indianerstamme som lever i Alaska samt og det nordlige Canada, hovedsageligt nord for polarcirklen. Deres sprog tilhører den athabaskanske sprogfamilie. Traditionelt har Gwich'in-indianerne ernæret sig med rendrift sig på den nordamerikanske ren, cariboun. I dag lever ca. 9000 gwich'iner i 15 lokalsamfund i Alaska og i Northwest Territories og Yukon i Canada.

Eksterne kilder/henvisninger

 Gwich'in Council International
 Vuntut Gwitchin web site (Yukon)
 Gwich'in Tribal Council web site (Northwest Territories)
 Gwich'in Social and Cultural Institute

Etniske grupper i Canada
Oprindelige amerikanere
Folkeslag i Arktis

Gwich'in


István Englert (* 27. Juli 1958 in Kecskemét) ist ein ungarischer Badmintonspieler.

Karriere
István Englert gewann nach mehreren Juniorentitel 1975 seinen ersten nationalen Titel bei den Erwachsenen in Ungarn. Sechs weitere Titel folgten bis 1986. 1982 wurde er Dritter beim Internationalen Werner-Seelenbinder-Gedenkturnier in der DDR.

Sportliche Erfolge

Referenzen
Statistiken des Ungarischen Badmintonverbands

Badmintonspieler (Ungarn)
Ungarischer Meister (Badminton)
Ungar
Geboren 1958
Mann

István Englert


A teleprompter, also known as an autocue, is a display device that prompts the person speaking with an electronic visual text of a speech or script.

Using a teleprompter is similar to using cue cards. The screen is in front of, and usually below, the lens of a professional video camera, and the words on the screen are reflected to the eyes of the presenter using a sheet of clear glass or other beam splitter, so that they are read by looking directly at the lens position, but are not imaged by the lens. Light from the performer passes through the front side of the glass into the lens, while a shroud surrounding the lens and the back side of the glass prevents unwanted light from entering the lens. Optically this works in a very similar way to the Pepper's ghost illusion from classic theatre: an image viewable from one angle but not another.

Because the speaker can look straight at the lens while reading the script, the teleprompter creates the illusion that the speaker has memorized the speech or is speaking spontaneously, looking directly into the camera lens. Notes or cue cards, on the other hand, require the presenter to look at them instead of at the lens, which can cause the speaker to appear distracted, depending on the degree of deflection from the natural line of sight to the camera lens, and how long the speaker needs to glance away to glean the next speaking point; speakers who can internalize a full sentence or paragraph in a single short glance timed to natural breaks in the spoken cadence will create only a small or negligible impression of distraction.

The technology has continued to develop, including the following iterations:
 first mechanical paper roll teleprompters — used by television presenters and speakers at U.S. political conventions in 1952
 dual glass teleprompters — used by TV presenters and for U.S. conventions in 1964
 computer-based rolls of 1982 and the four-prompter system for U.S. conventions — added a large off-stage confidence monitor and inset lectern monitor in 1996
 replacement of glass teleprompters at U.K. political conferences by several large off-stage confidence monitors in 2006.

'' in the US, and 'Autocue' in Commonwealth and some European countries, were originally trade names, but have become genericized trademarks used for any such display device.

History

The TelePrompTer Corporation was founded in the 1950s by Fred Barton, Jr., Hubert Schlafly and Irving Berlin Kahn. Barton was an actor who suggested the concept of the teleprompter as a means of assisting television performers who had to memorize large amounts of material in a short time.
Schlafly built the first teleprompter in 1950. It was simply a mechanical device, operated by a hidden technician, located near the camera. The script, in inch-high letters, was printed by a special electric typewriter on a paper scroll, which was advanced as the performer read, and the machines rented for the then-considerable sum of $30 per hour.

The teleprompter was used for the first time on December 4, 1950, in filming the CBS soap "The First Hundred Years." It was used by Lucille Ball and Desi Arnaz in 1953 to read commercials on-camera. Jess Oppenheimer, who created I Love Lucy and served for its first five years as its producer and head writer, developed the first "in-the-lens" prompter and was awarded U.S. patents for its creation. His system uses a mirror to reflect a script onto a piece of glass placed in front of the camera lens, thus allowing the reader to look directly into the camera.

The producers of Dragnet (1951 TV series) estimated the use of teleprompters cut the show's production time by as much as 50% Arthur Godfrey, Raymond Massey, Sir Cedric Hardwicke, and Helen Hayes were early users of the technology.

The technology soon became a staple of television news and is the primary system used by newscasters today.

In 1952 former President Herbert Hoover used a Schlafly-designed speech teleprompter to address the 1952 Republican National Convention in Chicago. U.S. Governor Paul A. Dever spoke at the 1952 Democratic National Convention, also held in Chicago, using a mechanical-roll teleprompter on a long pole held by a TV technician in the convention audience, while the 1952 Republican National Convention used a smaller teleprompter placed in front of the speaker's rostrum. Mechanical prompters were still being used as late as 1992.

In the early years of teleprompter use by politicians, some saw the device as cheating. in 1955, Richard L. Neuberger, a Democratic Senator from Oregon, proposed legislation that if a politician used a teleprompter the use of the device had to be noted in the speech.

The new technology saw quick adoption in the sponsored film industry where cutting production costs made the difference between a film that made money and one that lost money. Cinécraft Productions was the first to advertise the availability of three-camera synchronized filming with a Teleprompter when in 1954 they began to advertise their use of the new technology in Business Screen, a magazine dedicated to the sponsored film industry. Cinécraft used the technique to film the 1953 to 1960 weekly television series, The Ohio Story. Cinécraft also used the technique for executive desk talks in the 1950s and 60s.

On January 4, 1954, Dwight Eisenhower was the first President to use a teleprompter for a State of the Union address.

The first personal computer-based teleprompter, CompuPrompt appeared in 1982. It was invented and marketed by Courtney M. Goodin and Laurence B. Abrams in Los Angeles, California. The custom software and specially-redesigned camera hardware ran on the Atari 800 computer, which featured smooth hardware-assisted scrolling. Their company later became ProPrompt, Inc., still in business . Paper-based teleprompting companies Electronic Script Prompting, QTV, and Telescript followed suit and developed their own software several years later when computers powerful enough to scroll text smoothly became available. In January 2010 Compu=Prompt received a Technology and Engineering Emmy Award for "Pioneering Development in Electronic Prompting".

Etymology

The word "TelePrompTer", with internal capitalization, originated as a trade name used by the TelePrompTer Corporation, which first developed the device in the 1950s. The word "teleprompter", with no capitalization, has become a genericized trademark, because it is used to refer to similar systems manufactured by many different companies. Some other common terms for this type of device are:
 Autocue, the trademark of Autocue Group Ltd, most commonly used in Commonwealth countries
 Autoscript is used to brand the devices in the United States
 cueing device
 electronic speech notes
 idiot board (slang)
 prompter

Modern design

Television

Modern teleprompters for news programs consist of a personal computer, connected to video monitors on each professional video camera. In certain systems, the PC connects to a separate display device to offer greater flexibility in setup, distances, and cabling. The monitors are often black-and-white and have the scanning reversed to compensate for the reflection of the mirror. A peripheral device attached has a knob that can be turned to speed up, slow down, or even reverse the scrolling of the text. The text is usually displayed in white letters on a black background for the best readability, while cues are in inverse video (black on white). Difficult words (mainly international names) are spelled out phonetically, as are other particulars like "Nine-eleven" (to specify that the event 9/11 should not be pronounced "nine-one-one", for example).

With the development of inexpensive teleprompter software applications as well as free Web-based teleprompter applets, many different disciplines are now using teleprompters to help them deliver sermons, deliver speeches, and create quality audio recordings. Unlike their more advanced counterparts, these entry-level products work on desktop computers, laptop computers, and even tablet computers to enable the speaker to control the rate and flow of their speech. They are also used by many different organizations and schools to deliver prewritten information by relative novices. They are usually called "personal teleprompters."

Presidential (or glass) teleprompters

Glass teleprompters were first used at the 1956 Democratic National Convention. The inventor of the teleprompter, Hubert Schlafly, explained that he wanted to create a less obtrusive teleprompting system than the ones used at the time. He said, "We developed a 'one-way mirror' device we called the Speech View system... The prompter, hidden in the base, reflected the text on the glass to the speaker while the audience looked through the glass without being aware of the text. Two such prompters, one on the right and one on the left of the speaker allowed him to switch from one to the other and appear to address the entire audience".

Schlafly's company then created a speaker's lectern that included two synchronized glass teleprompters and a range of technological innovations including air conditioning and an adjustable-height speaker's platform. The success of the system led the company to develop a new model for use on TV cameras, with the glass placed directly in front of the lens. The camera "looked through the glass; the performer looked directly at the TV audience and was able to read the text word for word. This device now has worldwide use".

Typically, a screen on either side of the speaker shows mirrored text from upward-facing floor monitors at the base of a stand supporting a one-way mirror at the top, angled down towards the screen. The speaker sees the text on the screen reflected in the mirror, while the audience sees what looks like a sheet of tinted glass on each side of the speaker.

Schlafly's glass teleprompters were also used for the 1956 Republican National Convention, and at both parties' conventions from then on. In 1964, glass teleprompters were used by Robert F. Kennedy, at the time the Attorney General, who served in both the Kennedy and early Johnson Administrations (1961-1964), to deliver his convention speech.

Confidence monitors
In 1996, for the first time, speakers at the Democratic National Convention, held at the United Center in Chicago, Illinois, used a four-teleprompter system: as can be seen at another convention in image (A), the first three prompters are placed to the left, right and in front of the speaker, the latter embedded within the speaker's lectern, enabling the speaker to look down at the lectern without losing his/her place in the text of the speech; while in image (B), the fourth prompter is a large confidence monitor located immediately below the lenses of the TV broadcast cameras, at a distance of several meters/yards from the speaker.

This modification to the traditional two-teleprompter set-up continues to be in use at both the Democratic and Republican parties' national conventions: the two glass teleprompters on either side of the speaker's lectern create the illusion that the speaker is looking directly at the audience in the hall, the monitor embedded in the lectern, together with the fourth, much larger teleprompter screen, known as a 'confidence monitor', placed immediately below the broadcast TV cameras which are located some distance away from the convention stage on a specially-constructed broadcasting gantry. This placement of the center prompter creates the illusion that the speaker is periodically looking straight into the camera lens and thereby appears to directly address the TV audience watching the televised Convention coverage.

In 2006, speakers at the Liberal Democrat Conference, held at the Brighton Centre in Brighton, UK also used a three-screen system (but this time consisting entirely of large off-stage confidence monitors mounted on poles — which are often described outside North America, together with glass teleprompters, as "autocues"), where the skill required for those using it, according to the Liberal Democrats' former leader, Menzies Campbell (2006—2008), is to move their gaze seamlessly from one screen to the other: left, center (near the broadcast TV cameras), right and then back again.

As well as helping the speaker to appear to sometimes directly address the TV audience during his/her speech, this system also allows the speaker — in another case cited, the party's then-new leader, Nick Clegg (2008—2015) — to abandon the podium lectern and roam the stage, speaking with apparent spontaneity but in fact constantly assisted by three large autocue screens placed throughout the conference hall. Ironically, this use of the system was adopted by Clegg to counter the oratorical success of another party leader, David Cameron (later to become British Prime Minister), who bestrode stages while speaking seemingly off-the-cuff, having memorized key parts of his speech.

This use of multiple off-stage confidence monitors also dispenses with the need for glass teleprompters to be present on the conference stage, thereby reducing "stage clutter", and removing the inevitable restrictions on the speaker's movement and field of vision imposed by on-stage glass prompters. The disadvantage of such a system is that the provision of "giant teleprompters" becomes essential to maintaining the illusion of speaking with apparent spontaneity.

Paper Prompter
A Ghanaian video journalist, Emmanuel Kwasi Debrah who got tired of time-wasting during interviews, when subjects get their thoughts mixed up designed a portable device known as Paper Prompter.

It is meant to avoid having to type points on a laptop or on a piece of paper and show it to the interviewee. It is particularly helpful for solo journalists whose attention is often divided between manning the camera and focusing on the interviewee.

The device is made up of a hollow shaft fitted with a cylindrical bar with holes aligning the edge of the bar. The holes are points of attachment to the clip. The sheet of paper is therefore held to the bar by the clips. It is fitted with a bolt to regulate the length of the cylindrical bar depending on the camera or paper size. The tool has a hot shoe adapter to mount on the camera and a cold shoe adapter at the top to accommodate a light or a microphone. As the reporter focuses on his camera, the interviewee looks at the sheet of paper which has the write-ups to help interviewees sail through the interview smoothly. Questions can be written on the teleprompter paper for interviewees to answer without the interviewer interrupting.

Gallery
Various types of modern teleprompters

See also
 Cue card
 Interrotron, a similar device displaying a live image of an interviewer or interviewee instead of text, allowing both to look straight at the camera

Notes

External links

 1966 Cinécraft production film demonstrating the use of multi-cameras with teleprompters. Source: Hagley Library digital archive
 Kevin Martin, Innovation At Cinécraft: Multi-Camera Production For Television. Hagley Collection Research and News
 Joseph Stromberg, A Brief History of the Teleprompter. Smithsonian Magazine, October 22, 2012

Audiovisual introductions in 1950
American inventions
Television technology
Television terminology
TelePrompTer Corporation

Teleprompter


Fastachee (Fas-te-chee, Fas-ta-cheeč Little Giver), Little Giver je duh kukuruza iz mitologije Miccosukeeja i Seminola. Obično se pojavljuje kao patuljak. Mali Darovatelj pojavio se ljudima kako bi im darovao kukuruz, zbog čega je kasnije uvijek bio počašćen.

Izvori

Indijanska mitologija (Mali ljudi)
Indijanska mitologija (duhovi kukuruza)
Mikasuki
Seminole

Fastachee


Eventyret om den vidunderlige kartoffel er en dansk tegnefilm fra 1986 med instruktion og manuskript af Anders Sørensen.

Handling
Det er en af hverdagens anonyme helte, der er hovedpersonen i denne muntre, kulturhistoriske gennemgang af kartoflens vandring fra indianernes land til det danske middagsbord.

Referencer

Eksterne henvisninger

Kartoffel
Animationsfilm fra Danmark
Danske film fra 1986

Eventyret om den vidunderlige kartoffel


Dylan Walsh (Gerçek ismi Charles Hunter Walsh, d. 17 Kasım 1963, Los Angeles, Kaliforniya), FX televizyon dizisi, Nip/Tuck'daki Dr. Sean McNamara olarak bilinen rolüyle tanınan Amerikalı oyuncudur.

17 Kasım 1963 tarihinde Los Angeles, Kaliforniya'da Dünyaya gelmiştir. Ailesi Dış İşleri'nde çalıştığı için, 10 yaşına kadar Doğu Afrika, Hindistan ve Endonezya'da yaşamıştır. Ailesi Amerika'ya geri döndüğünde Virginia'ya yerleşmiş ve Walsh burada lisede oyunculuğa başlamıştır. 1986 yılında Virginia Üniversitesi'nden mezun olmuştur.

Üniversite mezuniyeti sonrası profesyonel olarak oyunculuk yapmak için New York'a gelmiştir. İlk rolü bir televizyon filmi olan "Soldier Boy"da almıştır. "Loverboy" isimli filmde de rol aldıktan sonra, "Kate&Ally" isimli televizyon dizisinde düzenli olarak oynamıştır. 1989 yılında profesyonel olarak Dylan Walsh ismini kullanmaya başlamıştır.

2003 yılında, Nip/Tuck isimli televizyon dizisindeki Sean McNamara rolünü üstlenmiştir.

1996 yılında aktris Melora Walters ile evlenmiş ve 2003 yılında boşanmışlardır. Bu evlilikten Joanna ve Thomas isminde iki çocuğu bulunmaktadır. 2004 yılından itibaren aktris Joanna Going ile evli olup, bu evlilikten Stella Haven Walsh isiminde bir kızı olmuştur.

Filmografi

 One Part Sugar (2006).... Ray Tuckby
 Nip/Tuck .... Dr. Sean McNamara
 The Lake House (2006) .... Morgan
 Edmond (2005) .... Interrogator
 Antebody (2005) .... Jacob Ambro
 Anchorman: The Legend of Ron Burgundy (2004) (uncredited) .... Phil
 Everwood .... carl Feeney
 More Than Meets the Eye: The Joan Brock Story (2003) (TV) .... Jim Brock
 The Lone Ranger (2003) (TV) .... Kansas City Haas
 The Twilight Zone .... Adam
 Presidio Med .... Danny Gibson
 Blood Work (2002) .... Detective John Waller
 Jo (2002) (TV)
 Par 6 (2002) .... Mac Hegelman
 Power Play (2002) .... Matt Nash
 We Were Soldiers (2002) .... Capt. Robert Edwards
 Jet Boy (2001) .... Boon Palmer
 Deadly Little Secrets (2001) .... Cole Chamberlain
 Chapter Zero (1999) .... Adam Lazarus
 Final Voyage (1999) .... Aaron Carpenter
 The Almost Perfect Bank Robbery (1998) (TV) .... Frank Syler
 The Outer Limits .... Sgt. Eldritch
 Men (1997) .... Teo Morrison
 Brooklyn South (1997) TV dizisi .... Off. Jimmy Doyle
 Divided by Hate (1997) (TV) .... Louis Gibbs
 Changing Habits (1997) .... Felix Shepherd
 Eden (1996) .... Bill Kunen
 Congo (1995) .... Dr. Peter Elliot
 Nobody's Fool (1994) .... Peter Sullivan
 Radio Inside (1994) .... Michael
 Telling Secrets (1993) (TV) .... Jesse Graham
 Arctic Blue (1993) .... Eric Desmond
 "Gabriel's Fire" (1990) TV dizisi .... Louis Klein
 Betsy's Wedding (1990) .... Jake Lovell
 Where the Heart Is (1990) .... Tom
 Chameleons (1989) (TV) .... Stan
 When We Were Young (1989) (TV) (as Charles Hunter Walsh) .... Lee Jameson
 Loverboy (1989) (as Charles Hunter Walsh) .... Jory Talbot
 "Kate & Allie" .... Ben

Dış bağlantılar

1963 doğumlular
Amerikalı erkek sinema oyuncuları
Amerikalı erkek dizi oyuncuları
Yaşayan insanlar
21. yüzyılda Amerikalı erkek oyuncular

Dylan Walsh


Valentina Petrovna Vernigorova ( ;født 15. juni 1997 i Volgograd, Rusland) er en kvindelig russisk håndboldspiller som spiller for HK Kuban Krasnodar og Ruslands kvindehåndboldlandshold.

Referencer

Håndboldspillere fra Rusland
Håndboldspillere fra HK Kuban Krasnodar
Personer fra Volgograd

Valentina Vernigorova


The Queen Elizabeth-class battleships were a group of five super-dreadnoughts built for the Royal Navy during the 1910s. These battleships were superior in firepower, protection and speed to their Royal Navy predecessors of the  as well as preceding German classes such as the . The corresponding  ships were generally considered competitive, although the Queen Elizabeth class were  faster and outnumbered the German class 5:2. The Queen Elizabeths are generally considered the first fast battleships of their day.

The Queen Elizabeths were the first battleships to be armed with  guns, and were described in the 1919 edition of Jane's Fighting Ships as "the most successful type of capital ship yet designed." They saw much service in both world wars. Barham was lost to a U-boat attack in 1941, but the others survived the wars and were scrapped in the late 1940s.

Background and design

The early design history of the Queen Elizabeth class is not well known because not many records have survived in the files of the Admiralty. When Winston Churchill became First Lord of the Admiralty in October 1911, the ships of the 1911–1912 Naval Programme, the four s and the battlecruiser  were being ordered and preliminary design work had begun on the new class of battleships scheduled for the 1912–1913 Naval Programme. Each class received its own alphabetical designation with the Iron Dukes being MIV, the fourth major iteration of Design M. Presumably the improved 1912–1913 ships were Design N, but no details of it have been found in Admiralty records. The letter O was not used during this time. Naval historian Norman Friedman believes that Design P was a slow ship armed with ten  guns based on a passing reference in the official history of naval construction during the First World War that such a ship was a precursor to the Queen Elizabeths.

Churchill and the retired First Sea Lord, Admiral of the Fleet Lord Fisher corresponded at length during this time with Fisher advocating for a fast (probably ) ship armed with eight guns and nearly as well armoured as a battleship, something that he sometimes called a "super-Lion", referring to the battlecruiser . Friedman believes that the Director of Naval Construction (DNC), Sir Philip Watts, designated Fisher's concept as Design Q with a slower version being the Queen Elizabeth class as Design R. "The destruction of papers may thus have concealed the reality that instead of being a spectacular advance on previous battleships, the Queen Elizabeths were a slow version of a ship which Fisher and probably Churchill badly wanted. Much of the fragmentary evidence for the fast ship is to be found in Fisher's letters to Churchill."

The tactical mission of these ships is portrayed as being fast enough to manoeuvre to catch the head of the enemy's battleline and concentrate fire against it, but they were actually intended to prevent the German battlecruisers, which were more heavily armoured than their British equivalents, from doing the same to the British fleet. A memo from Churchill to Rear-Admiral Gordon Moore, Third Sea Lord, on 27 October 1912, stated "the speed and power of the Queen Elizabeths...is sufficient to protect the battle fleet against any turning movement by German battlecruisers.

Influenced by Fisher, Churchill ordered development of the 42-calibre BL 15-inch Mk I gun using the codename "14inch Experimental" in January 1912. This was a risky decision as development of new heavy guns and their turrets was normally a multi-year project, and a failure would seriously delay the completion of the ships. The first gun turret was successfully tested on 6 May 1914, likely much to the relief of the Admiralty.

The Admiralty decided on the design of the Queen Elizabeths on 15 June 1912, with the decision on whether they would solely use fuel oil deferred to a subsequent meeting. That meeting must have happened very shortly afterwards because the design that received the Board's stamp the following day was oil-fueled. The design had not been optimised to burn oil instead of coal and the fuel tanks had different requirements than the coal bunkers previously planned. Eustace Tennyson d'Eyncourt, the DNC who followed Watts, estimated that the change so late in the design process cost some  that could have been put to better use. To guarantee a supply of oil in wartime, Churchill negotiated the Anglo-Persian Oil Convention.

Fisher also believed that the 1912–1913 ships should all be battlecruisers instead of the usual mix of three battleships and a battlecruiser. Churchill initially agreed with him, but was persuaded to go back to the original plan, much to Fisher's fury. Given the speed of the new ships, envisaged as , it was decided that the battlecruiser would not be needed and a fourth battleship would be built instead. When the Federation of Malay States offered to fund a further capital ship, the Admiralty decided to add a fifth unit to the class, .

In some respects, the ships did not quite fulfil their extremely demanding requirement. They were seriously overweight, as a result of which the draught was excessive and they were unable to reach the planned top speed of 25 knots. In the event, the combination of oil fuel and more boilers provided for a service speed of about , still a useful improvement on the traditional battle line speed of  and just fast enough to be thought of as the first fast battleships. After Jutland Admiral John Jellicoe was persuaded that the slowest ship of this class was good only for about , he concluded that, since this should be considered as the speed of the squadron, it would not be safe to risk them in operations away from the main battlefleet.

Description
The ships of the Queen Elizabeth class were  long between perpendiculars,  long at the waterline, and had a length overall of , excluding the sternwalk fitted on several ships. They had a beam of  and a draught of  at deep load. They had a normal displacement of approximately  and  at deep load. The ships had a metacentric height of  at deep load. Their crew numbered between 923 and 951 officers and ratings as completed; by 1920, the number of crew had grown to 1,016 then to 1,025. Service as a flagship increased these numbers from 1,249 to 1,262 that same year.

They were powered by two sets of direct-drive steam turbines, Parsons units were fitted in ,  and Malaya while  and  had Brown-Curtis turbines. The latter pair were not equipped with the cruising turbines to improve fuel economy at slow speeds used in the first three ships. Each turbine set drove two shafts with , three-bladed propellers, using steam provided by 24 Babcock & Wilcox boilers at a working pressure of  in all but Warspite and Barham, which received boilers manufactured by Yarrow. The boilers were ducted into a pair of funnels. The turbines were divided into three watertight compartments arranged side by side; the low-pressure turbines driving the inner pair of shafts were in the centre engine room together, while the high-pressure outboard turbines were in the rooms on either side.

The turbines were rated at  at overload and were intended to give the ships a maximum speed of , although they fell short of that. Due to the war only Barham ran her sea trials on a measured course; in August 1916 she reached a top speed of  from  at deep load. Fuel storage amounted to  of fuel oil which enabled the ships to steam for  at a cruising speed of , which fell to  at full speed.

Armament and fire control
The Queen Elizabeth class was equipped with eight breech-loading (BL) 15-inch Mk I guns in four twin-gun turrets, in two superfiring pairs fore and aft of the superstructure, designated 'A', 'B', 'X', and 'Y' from front to rear. The guns were initially supplied with 80 shells per gun, but the magazines were later modified to allow for up to one hundred shells per gun. The ships carried the guns in Mk I mounts that allowed for elevation to 20 degrees and depression to -5 degrees. The mounts had a weight of 782 t and a train of- 150 to + 150 degrees. The guns themselves had a weight of 101 t. They could be loaded at any angle, but the crews typically returned to +5 degrees, since the guns could be cleared faster that way. They fired  projectiles at a muzzle velocity of  to a range of . Their designed rate of fire was one shot every 36 seconds.

The gun even remained competitive in the Second World War after receiving further shell upgrades and mountings with greater elevation, and HMS Warspite would eventually record a hit during the Battle of Calabria which to this day is one of the longest-range naval gunnery hits in history - 24,000 metres (26,000 yd).

The guns could elevate to 20° and depress to −5°, but the turret sights could only elevate 15°, effectively limiting the range that could be achieved unless firing under director control.  The sights were equipped to permit the guns to fire at full charge or with  charge.

The ships' secondary battery consisted of sixteen 45-calibre BL  Mk XII guns. The guns had a muzzle velocity of  from their  projectiles. At their maximum elevation of 15 degrees, they had a range of . As designed twelve of these were mounted in casemates on the upper deck, six of each on the broadside of the vessel amidships; the remaining four guns were on the main deck aft abreast 'Y' turret. In an effort to ameliorate the flooding problems that the casemated guns in the Iron Duke-class ships had in heavy seas, the guns in the Queen Elizabeths were moved back from abreast 'A' turret to 'B' turret, but this made little difference in service. The aft guns were more prone to flood and were virtually useless even in moderate seas. Only Queen Elizabeth was completed with them; one pair was removed and the other was repositioned on the forecastle and protected by gun shields in May 1915. The casemates were plated over to improve their seaworthiness. The other ships were similarly modified while fitting-out.

Each gun was provided with 130 rounds. Stowage was provided for 30 rounds at each gun as the only ammunition hoists for them were located at the forward end of the battery. Captain Morgan Singer, commander of the RN's gunnery school HMS Excellent, criticized this arrangement, saying that it had been proven inefficient in the pre-dreadnought battleships and he recommended using dredger hoists as they were much faster. His comments were rejected as the Admiralty believed that the guns would only intermittently be in use as destroyers attempted to close to torpedo range and they desired to maintain a break in the cordite supply between the magazines and the battery. In service this led to the gun crews keeping additional rounds immediately available at the guns in case they were needed. This resulted in an ammunition fire aboard Malaya during the Battle of Jutland that nearly resulted in the loss of the ship.

The ships also mounted four 3-pounder () saluting guns. Their anti-aircraft (AA) armament consisted of two quick-firing (QF)  20 cwt Mk I guns. They were fitted with four submerged  torpedo tubes, two on each broadside. Each ship was supplied with a total of 20 Mk II or Mk IV torpedoes.

The Queen Elizabeth-class ships were completed with two fire-control directors. The one that was mounted above the conning tower was protected by an armoured hood and was fitted with a  rangefinder. The other director was on top of the tripod mast and was equipped with a . The main armament could be controlled by 'X' turret as well and each turret was fitted with a 15-foot rangefinder. A torpedo-control director with a 9-foot rangefinder was mounted at the aft end of the superstructure. The secondary armament was primarily controlled by directors mounted on each side of the compass platform on the foremast once they began to be fitted in March 1917. The rangefinders in 'B' and 'X' turrets were replaced by  models between 1919 and 1922.

Flying-off platforms were fitted on all the ships on the roofs of 'B' and 'X' turrets in 1918. Between them the ships carried three fighters and seven reconnaissance aircraft.

Armour
Armour protection was modified from the previous , with a thicker belt and improved underwater protection. The scale of deck armour was less generous, though typical of contemporary practice.

Ships
A further ship was authorised in 1914 and would have been named Agincourt (a name later applied to a dreadnought expropriated from Ottoman Turkey). Although most sources and several official papers in the class's Ships Cover describe her as a further repeat of the Queen Elizabeth design, one historian - Nicholas Lambert - has suggested that Agincourt would have been built on battlecruiser lines. This design would have kept the Queen Elizabeth armament, but substituted thinner armour down to  instead of , for example] in order to gain a  top speed.

Whatever the case, Agincourt was cancelled at the outbreak of war in 1914. The cancellation, proposed by Churchill in memoranda of 1 and 14 June 1914, was intended to shave around £900,000 off that year's naval estimates, which had met with resistance from leading members of the ruling Liberal Party. It had been proposed to build a new type of semi-submersible torpedo cruiser, the HMS Polyphemus class, in place of Agincourt, and submarines in place of another planned battleship, HMS Resistance, and in place of all but two or three of that year's planned destroyers.

Service

First World War
In the First World War, Queen Elizabeth was detached from the squadron and took part in the Dardanelles Campaign, but missed Jutland as she was undergoing dock maintenance.

At the Battle of Jutland, four of the ships formed Admiral Hugh Evan-Thomas's 5th Battle Squadron, and in the clash with the German 1st Scouting Group under Admiral Franz von Hipper they "fired with extraordinary rapidity and accuracy" (according to Admiral Scheer, commander of the High Seas Fleet), damaging  and  and a number of other German warships. These battleships were able to engage German battlecruisers at a range of 19,000 yards (17,400 m), which was beyond the maximum range of the Germans' guns. Three of the Queen Elizabeths received hits from German warships during the engagement, yet they all returned home. Warspite was the most heavily damaged, with her rudder jammed and taking fifteen hits, coming close to foundering.

Between the wars
Between the wars, the ships received considerable upgrades, including new machinery, small-tube boilers, deck armour upgrades, torpedo belt armour, trunked funnels, new secondary armament and anti-aircraft armament, and many improvements in gunlaying and electronics. Queen Elizabeth, Valiant, and Warspite were the most modernised, with all three receiving the new "Queen Anne's Mansions" block superstructure for the bridge, whilst twenty 4.5" dual-purpose guns in 10 turret mountings replaced the 6" casemate secondary weapons on Queen Elizabeth and Valiant. Warspite kept her 6" secondary guns, now reduced to just four per battery.

Second World War

By the Second World War, the class were showing their age. Barham and Malaya, the least-modernized of the class, were at a disadvantage compared to modern battleships.  In spite of this, Malaya prevented an attack on a transatlantic convoy by the modern German battlecruisers  and  by her presence. Queen Elizabeth, Warspite, and Valiant, the more modernised of the class, fared better. With her modern fire control equipment, Warspite scored a hit on an Italian battleship during the Battle of Calabria at a range of more than 26,000 yards, one of the longest range naval artillery hits in history.

Modern torpedoes outclassed their torpedo belt protection: in November 1941, Barham was torpedoed by a U-boat and sank in five minutes, with the loss of over 800 of her crew, when her magazines detonated. Warspite survived a direct hit and two near-misses by German glider bombs, while Queen Elizabeth and Valiant were repaired and returned to service after being badly damaged by limpet mines placed by Italian frogmen during a raid at Alexandria Harbour in 1941.

HMS Queen Elizabeth
 took part in the Dardanelles Campaign of 1915 bombarding forts, but missed Jutland in 1916. She became Admiral Beatty's flagship in 1917 after he assumed command of the Grand Fleet. In the Second World War she was mined by Italian frogmen and badly damaged, but did not ground in the shallow water of Alexandria Harbour in 1941. She was subsequently repaired, and served in the Far East until 1945.

HMS Warspite
 suffered severe damage at Jutland, being hit by at least 15 heavy shells. She lost 14 men, with 32 wounded, firing a total of 259 shells. In the Second World War, she took part in many battles, including Narvik, Cape Matapan, Crete, and Salerno, where she was hit by a glider bomb. She was never fully repaired, and became a coastal bombardment ship, covering the Normandy landings, further operations in other parts of France, and the Walcheren landings. She holds the most battle honours for an individual ship in the Royal Navy's history, with 15.

HMS Valiant
 received no hits at Jutland but suffered one wounded and fired 288 shells. In the Second World War, she took part in the attack on the French Fleet at Mers-el-Kebir, and was mined and damaged at Alexandria in 1941. She was repaired, and served in the Far East until 1944. On 8 August 1944 whilst in the floating dock at Trincomalee, Ceylon, she was severely damaged when the dock collapsed with the result that repairs were stopped.

HMS Barham
 was named after Lord Barham, First Lord of the Admiralty. The Barham received five hits at Jutland, suffering 26 dead and 46 wounded and fired 337 shells. In the Second World War, she fought at Cape Matapan. On 25 November 1941 she was struck by three torpedoes from , commanded by Oberleutnant zur See Hans-Diedrich von Tiesenhausen, and went down with 850 of her crew.

HMS Malaya
 was hit eight times at Jutland, suffering 63 dead and 68 wounded, and fired 215 shells. In the Second World War, she escorted convoys and was damaged by a torpedo from  in 1941. Subsequently, she escorted several convoys and supported various operations following the Normandy invasion until she was decommissioned in 1945.

HMS Agincourt
HMS Agincourt was to be the sixth member of the Queen Elizabeth class. She was authorized in 1913, and intended for completion in late 1916, but was cancelled after the outbreak of the First World War. She is not to be confused with  that was ordered by Brazil, sold to the Ottoman Empire while under construction, and seized for use by the Royal Navy before the beginning of the first World War.

Other ships
The Canadian Naval Aid Bill of 1913 intended to provide the funds for three modern battleships, which most likely would have been three more members of the Queen Elizabeth class, potentially named as Acadia, Quebec and Ontario, in much the same way as Malaya had been funded. The bill met with stiff opposition in Parliament, and was not passed. It is unclear if these ships would have served in the Royal Navy (as with outright gifts like Malaya or the battlecruiser ), or if they would have served in the Royal Canadian Navy (, an , served with the Royal Australian Navy).

Notes

Citations

Bibliography

External links

 Troels Hansen, Queen Elizabeth class and Battle of Jutland
 Dreadnought Project Technical material on the weaponry and fire control for the ships

Battleship classes
 Queen Elizabeth class battleship
Ship classes of the Royal Navy
 Queen Elizabeth class battleship
 Queen Elizabeth class battleship

Queen Elizabeth-class battleship


Kalliope (Yunanca: Καλλιόπη), Yunan mitolojisindeki müzlerden (ilham perileri) biri. Yunanca "Καλλιoπε" - "güzel sesli"den gelmektedir. Müzlerin en büyüğü ve en zekisidir. Tanrı Apollo'dan Orfe ve Linus adlarında iki oğlu olmuştur. Kalliope epik şiirin, destanların ilham perisidir. Bu yüzden, mitolojiye göre, şairlere epik şiirleri, destanları ilham eden, yazdıran odur.

Kaynakça

 Erhat, Ezra (2004 ), Mitoloji Sözlüğü İstanbul:Remzi Kitabevi (Büyük Fikir Kitapları Dizisi) ISBN 9789751403919

Sanat tanrıçaları
Müzler
Yunan tanrıçaları
Trakya mitolojisi
Ares
Apollon'un aşık olduğu kadınlar
Zeus'un çocukları
Hikmet tanrıçaları

Kalliope


Fanny Marc, née Estelle Odile Fanny Legendre le  à Paris et morte le  à Nice, est une sculptrice française.

Biographie

Formation
Fanny Marc étudie auprès des sculpteurs Alexandre Falguière, Louis-Ernest Barrias et Georges Lemaire.

De santé fragile, elle et son mari acquièrent en décembre 1909 par adjudication le Fort-les-Bains à Amélie-les-Bains dont le climat lui convient. Elle en fait son atelier d'activités artistiques. Après le décès de son époux, elle cède le Fort à une œuvre caritative avant de décéder quelques années plus tard.

Carrière artistique
Fanny Marc expose des sculptures au Grand Palais en 1904, lors du Salon annuel de l'Union des femmes peintres et sculpteurs. Cette œuvre est jugée  lors de l'exposition par The Times. En 1886, elle est membre de la Société des artistes français.

Elle obtient une mention honorable en 1895, reçoit la médaille de la troisième place en 1904 et la deuxième place en 1906.

Pour avoir évité les clichés des sujets bibliques, Fanny Marc est qualifiée de  dans un inventaire de 1912 des sculpteurs français par , dans lequel Yvonne Diéterle et elle sont les deux seules femmes citées.

Hommages
Une rue porte son nom à La Ferté-sous-Jouarre où elle vécut.

Œuvres

 Amélie-les-Bains-Palalda :
 jardin de l'Ancien Théâtre de Verdure : La Vérité sortant du puits, statue en marbre. Sa main droite serre le manche d'un miroir à main, dont le haut (le miroir lui-même) a disparu, certainement brisé (quand ?) ;
 devant l'Office de tourisme installé dorénavant rue du Vallespir : le groupe de marbre intitulé La Naïade, ou : Le Jet d'eau, a été placé après restauration en 2019-20 ; malheureusement sa main droite a été brisée depuis (en 2022)...
 La Ferté-sous-Jouarre :
 cimetière communal : Monument aux morts de 1870 ou Monument aux enfants du canton, morts pour la patrie, 1907, gisant en marbre,
 place de l'hôtel de ville : Fontaine de la Jeunesse, groupe en bronze, œuvre disparue.
 Meaux, jardin Bossuet : Narcisse et Écho, 1930, groupe en marbre,
 localisation inconnue :
 Jésus sur la prière, vers 1904 ;
 Adam et Ève chassés du paradis, Salon de 1906 ;
 Mort d'Abel ;
 Nymphe et son enfant.

Notes et références

Liens externes

Sculpteur français du XIXe siècle
Sculpteur français du XXe siècle
Sculptrice française
Naissance en mai 1858
Naissance dans l'ancien 5e arrondissement de Paris
Décès en mai 1937
Décès à Nice
Décès à 78 ans

Fanny Marc


الناقل  هو مجموعة من الخطوط الإلكترونية التي عن طريقها تتم التبادلات بين مكونات الحاسوب.

أنواعه
 خط البيانات: هي مجموعة من الخطوط الثنائية الاتجاه من وإلى المعالج عن طريقها تتم التبادلات بين المعالج ومحيطه (RAM، Interface...).
 خط العناوين: هي مجموعة من الخطوط الأحادية الاتجاه هي التي تتيح للمعالج إمكانية تعيين مكان أو موضع في الذاكرة.
 خط التحكم: ترسل عدد من الإشارات المتزامنة التي تؤمن للمعالج ومختلف الأجزاء خط سير متناغم.

مميزاته

 العرض هو عدد البايت التي يمكن أن تمر في آن واحد متلا nappe دات 32 بيت يمكن أن يمر بها 32 بيت بشكل متوازي.
 التردد وهو عدد مجموعات (العلب) المعلوماتية التي يمكن ارسالها في الثانية وهي تقاس بـ Mhz.
 الصبيب وهي عدد المعلومات التي يمكن ارسالها خلال مدة معينة، ويمكن حسابها بالعلاقة التالية. الصبيب = التردد x العرض.

طالع أيضا

 ناقل نظام

مصادر

نواقل حاسوبية
إلكترونيات رقمية
لوحة أم
بنية الحاسوب

ناقل (حاسوب)


USS Tinian (CVE-123) was a  of the United States Navy. Ordered and constructed during World War II, Tinian never entered active service and was assigned to the Pacific Reserve Fleet, Tacoma after being completed. In June 1955, the ship was reclassified a helicopter carrier and in May 1959, a cargo ship and aircraft ferry. The ship remained in reserve for her entire career and was struck from the Naval Vessel Register on 1 June 1970 and sold for scrap.

Service history
The escort carrier was laid down on 20 March 1945 at Tacoma, Washington, by Todd-Pacific Shipyards, Inc. Tinian was  launched on 5 September 1945; sponsored by Miss Grace L Woods; and accepted by the US Navy on 30 July 1946. Never commissioned, the escort carrier was assigned to the Pacific Reserve Fleet, 19th Fleet, at Tacoma, Washington. On 12 June 1955, the ship was reclassified as an escort helicopter aircraft carrier and re-designated CVHE-123. In early June 1958 Tinian was taken in tow at Tacoma, Washington, by the US Navy MSTS tugboat USNS Yuma, destined for San Diego, California. While very near the Swiftsure Bank lightship, Neah Bay, Washington; at the entrance of the Strait of Juan de Fuca, Yuma developed engine troubles. Yumas distress call brought  to her rescue. The crew of the Swiftsure lightship went to general quarters, ready to assist. Fir then escorted Yuma and Tinian to safety. On 9 June 1958, Tinian arrived at San Diego, under tow by Yuma, and was berthed at South Tee Pier. In May 1959, she was again reclassified, this time as a cargo ship and aircraft ferry, AKV-23. Tinian remained with the San Diego Group of the Reserve Fleet until 1 June 1970 when she was struck from the list. Her hulk was sold to Levin Metals Company, San Jose California, on 15 December 1971 for scrap.

References

US Department of Homeland Security. United States Coast Guard Historian's Office

Commencement Bay-class escort carriers
1945 ships
Tinian (CVE-123)

USS Tinian


Luc Besson er franskur kvikmyndaleikstjóri, kvikmyndaframleiðandi og handritshöfundur, fæddur 18. mars 1959 í 15. hverfi Parísar.

Hann kom fyrst fram á 9. áratugnum með myndunum Síðasta orrustan (Le Dernier Combat) 1983 og Subway 1985. Hann náði fyrst almennum vinsældum með kvikmyndinni Hafið bláa hafið 1988. Hann naut samt lítilla vinsælda meðal gagnrýnenda þar sem hann þótti setja sjónræna fagurfræði ofar söguþræði mynda sinna. Hann var meðal þeirra leikstjóra sem voru kenndir við stefnuna cinéma du look á 9. áratugnum. Hann fylgdi vinsældum Hafið bláa hafið eftir með myndunum Nikita 1990, Léon 1994, Fimmta frumefnið 1997 og Jóhanna af Örk 1999.

Hann stofnaði framleiðslufyrirtækið EuropaCorp árið 2000 til að reyna að keppa við bandarískar kvikmyndir á alþjóðamarkaði með franskri kvikmyndaframleiðslu mynda á ensku með alþjóðlegu leikaravali. Fyrirtækið framleiddi nokkrar vinsælar kvikmyndaraðir, sem oft byggðust á hans hugmyndum, eins og Taxi, Taken og Sendillinn. Myndirnar nutu alþjóðlegra vinsælda og gengu vel í kvikmyndahúsum. Hann kom sér upp eigin kvikmyndaveri, Cité du cinéma, og stofnaði kvikmyndaskóla sem býður upp á ókeypis menntun fyrir ungt fólk í handritsgerð og leikstjórn.

Eftir nokkrar tilraunir náði hann aftur alþjóðlegum vinsældum með kvikmyndinni Lucy árið 2014 sem varð vinsælasta franska kvikmynd sögunnar á alþjóðavettvangi. Eftir það réðist hann í gerð stórmyndarinnar Valerian and the City of a Thousand Planets sem náði ekki þeim vinsældum sem vonast var til. Eftir næstu mynd, Anna, árið 2019, lenti EuropaCorp í fjárhagsvandræðum.

Hann hefur hlotið César-verðlaunin fyrir bestu leikstjórn fyrir Fimmta frumefnið 1998 og á 40. afmælishátíð verðlaunanna hlaut hann heiðursverðlaun fyrir framlag sitt til franskrar kvikmyndagerðar..

Árið 2018 sakaði hollenska leikkonan Sand Van Roy Besson um nauðgun. Fleiri konur hafa sett fram ásakanir á hendur honum, en kosið að koma ekki fram undir nafni. Hann hefur hafnað öllum ásökunum af þessum toga. Árin 2019 og 2021 voru mál gegn honum felld niður vegna skorts á sönnunargögnum.

Tilvísanir

Franskir kvikmyndaleikstjórar
Franskir kvikmyndaframleiðendur
Franskir handritshöfundar

Luc Besson


Epacrideae, tribus  vrjesovki, dio potporodice Epacridoideae. Opisan je 1829. godine. Pripada mu 3 roda, od kojih su dva isključivo iz Australije i jedan iz Novog Zelanda (oba otoka) i Australije.

Rodovi
 Epacris Cav.
 Lysinema R.Br.
 Woollsia F.Muell.

Izvori

Epacridoideae

Epacrideae


Tryzoub (en ukrainien : ), est un mot commun signifiant « trident ».

Ce mot peut faire référence :
 au trident de Volodymyr le Grand figurant sur les armoiries de l'Ukraine ;
 à l'organisation politique pan-ukrainienne Tryzoub fondée en 1993.

Tryzoub


Feuersnot (título original en alemán; en español, La necesidad de fuego o Ansia de fuego), Op. 50) es un Singgedicht (poema cantado) u ópera en un acto con música de Richard Strauss y libreto en alemán de Ernst von Wolzogen, basado en el artículo de J. Ketel "Das erloschene Feuer zu Audenaerde" en la Oudenaarde Gazette, Leipzig, 1843. Se estrenó en la Königliches Opernhaus de Dresde el 21 de noviembre de 1901.

Temáticamente, la ópera se ha interpretado como una parodia de la idea de Richard Wagner de "redención a través del amor", con el personaje de Kunrad representando al propio Strauss.

Historia
Fue la segunda ópera de Strauss.  Se estrenó en la Königliches Opernhaus de Dresde el 21 de noviembre de 1901.  Gustav Mahler dirigió el estreno en Viena en la Hofoper el 29 de enero de 1902, en presencia del compositor, pero no fue un éxito comercial, a pesar de la cuidadosa preparación musical de Mahler. En tiempos del estreno, los subtextos eróticos y sexuales y la psicología eran perturbadoras para el público, así como lo que se percibía como naturaleza "avanzada" de la propia música a los músicos de ideas más conservadoras.

Esta ópera rara vez se representa en la actualidad; en las estadísticas de Operabase no aparece entre las óperas representadas en el período 2005-2010.

Personajes

Referencias
Notas

Fuentes
Amadeus Almanac, acceso 16 de junio de 2009
Holden, Amanda (Ed.), The New Penguin Opera Guide, Nueva York: Penguin Putnam, 2001. ISBN 0-140-29312-4
Reducción para piano, partitura completa
Licencia

Óperas de Richard Strauss
Óperas en alemán
Óperas de 1901
Óperas estrenadas en Dresde
Óperas en un acto

Feuersnot


فرانشيسكو داتارو (1495 - 1576) وابنه جوزيبي داتارو (1540 - 1616) البنـّاءان الرئيسيان لدى أهم عائلة معماريين كريمونية بالقرن الخامس عشر. بدأ آل داتارو نشاطهم في بناء كاتدرائية كريمونا، الانضمام الرسامين وأعضاء مجلس الوزراء القرارات أسرة ساكا، والمهندس انطونيو ميلوني.

مراجع

مقالات عن مجموعات أشخاص
مواليد عقد 1490
مواليد عقد 1540
وفيات 1576
وفيات 1616
معماريون إيطاليون
معماريون إيطاليون في القرن 16
معماريون من كريمونا

فرانشيسكو وجوزيبي داتارو


ආර්.පී.ජී හෝ රොකට් බෝම්බ යනු උරහිස මත රඳවා යුධ ටැංකි විනාශ කරන ආයුධයකි. මෙයට නියාමනය නොකරන ලද පුපුරණ ද්‍රව්‍ය අඩංගු රොකට්ටුවක් විදීම ට හැක.ආර්.පී.ජී යනු යන්නෙහි පරිවර්තනයයි. අත් මත රඳවන යුධ ටැංකි නාශක බෝම්බ විදිනය.

බොහෝ නවීන යුධ ටැංකි මෙවැනි රොකට්ටු වලට ඔරොත්තු දෙන ලෙස නිමවා ඇත. එබැවින් යුධ ටැංකියේ දුර්වල ස්ථානයකට නියමිත ලෙස පහර දීමට සිදුවේ. කෙසේ වුවත් ආර්.පී.ජී තවමත් කුඩා යුධ වාහන සඳහා ප්‍රහාර එල්ල කිරීමට සහ ගොඩනැඟිලි සහ බන්කර සඳහා පහර දීමට ඵලදායී වේ. මේවා තවමත් නවීන යුධ ටැංකි වලට යම් උපායමාර්ගික අවස්ථා වල තර්ජනයක් වේ.ආර්.පී.ජී - 29,වඩා දියුණු වර්ගය,ටැන්ඩම් ආරෝපණ තාපයෙන් ටැංකි වල ඇති ආවරණ‍ය හරහා ගමන් කරයි. මේයට නවීන ටී-90 යුධ ටැංකිය විනාශ කළ හැක.මෙවැනි ආර්.පී.ජී-29 අවියෙන් චැලෙන්ජර් 2 යුධ ටැංකිය ඉරාකයේ අල් අම් රා විනාශ කරන ලදී.

යුධ අවි

ආර්.පී.ජී හෝ රොකට් බෝම්බ


Benzaldehit, aromatik aldehitlerin en basit üyesi. C6H5CHO formülünde olup, renksiz, uçucu bir likittir. 179 °C'de kaynar, acı badem kokusundadır. Acı bademden ve sentetik olarak benzal klörünün hidrolizi ile elde edilir:

C6H5CHCl2 + H2O → C6H5CHO + 2HCl

Diğer bir metot da toluenin uygun ortamda oksidasyonundan elde edilir.

Benzaldehit trifenil metan ve akridin boyaları üretiminde bir ara ürün olarak önemli bir materyaldir. Birçok organik bileşiğin sentezinde, parfümeri ve fotoğrafçılık kimyasında kullanılır.

Aromalar

Çözücüler
Fenil bileşikleri

Benzaldehit


Ang Tshering (ou Ang Tsering ; 1904 - 22 mai 2002) était un sherpa connu pour sa participation à l'expédition britannique de 1924 sur le mont Everest et à la catastrophe d'escalade du Nanga Parbat en 1934.

Tshering est né au Népal en 1904 et a travaillé comme sherpa de 1924 à 1973. Au cours de l'expédition du Nanga Parbat, il a passé sept ou neuf jours dans la tempête jusqu'à ce qu'il atteigne le camp un, puis a pu alerter les Allemands de la catastrophe. Il a travaillé comme sherpa pour l'expédition indienne à l'Everest de 1965.

Décoration
 Ordre du Mérite de la République fédérale d'Allemagne

Sherpas
Naissance en 1904
Décès en mai 2002
Décès à Darjeeling

Ang Tshering


Vojvođanska liga je bila liga drugog stupnja nogometnog prvenstva Jugoslavije u sezoni 1952.  Sudjelovalo je 8 klubova, a prvak je bio "Spartak" iz Subotice.
Liga je igrana od 7. ožujka do 23. svibnja 1952. godine.

Ljestvica

 "Jedinstvo" iz Bačke Topole se navodi i kao "Eđšeg"
 "Spartak" iz Subotice, "Dinamo" iz Pančeva i "Proleter" iz Zrenjanina su se plasirali u završnicu za republičkog prvaka Srbije
 "Spartak" je postao prvak Srbije, te je kroz dodatne kvalifikacije izborio nastup u Prvoj saveznoj ligi

Rezultatska križaljka

 Izvori:

Kvalifikacije za Vojvođansku ligu
Za sezonu 1952./53. je "Vojvođanska liga" proširena na 12 sudionika. U kvallifikacijama je sudjelovalo 8 sudionika - prvaci 6 zonskih liga (liga pokrajinskih centara), drugoplasirani iz "Novosadske zone" te sedmoplasirani iz "Vojvođanske lige".
Igrano u tri kruga. Pobjednici susreta su se kvalificirali u "Vojvođansku ligu", a poraženi su nastavili s kvalifikacijama.

Unutrašnje poveznice
 Podsavezna liga AKMO 1952.

Vanjske poveznice

Izvori
 exyufudbal.in.rs, Nogometno prvenstvo FNRJ 1952., Vojvođanska liga, wayback arhiva
 Laslo Taboroši: 100 godina fudbala u Bačkoj Topoli 1913-2013, Bačka Topola, 2013., CIP, str. 91
 fsgzrenjanin.com, Period 1944. - 1955., pristupljeno 7. siječnja 2019.

VOJ 1952 1
VOJ 1
1952 1 VOJ 1
1952

Vojvođanska nogometna liga 1952.