In positive psychology, a flow state, also known colloquially as being in the zone, is the mental state in which a person performing some activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by the complete absorption in what one does, and a resulting transformation in one's sense of time. Flow is the melting together of action and consciousness; the state of finding a balance between a skill and how challenging that task is. It requires a high level of concentration. Flow is used as a coping skill for stress and anxiety when productively pursuing a form of leisure that matches one's skill set.

Named by the psychologist Mihály Csíkszentmihályi in 1970, the concept has been widely referred to across a variety of fields (and is particularly well recognized in occupational therapy).

The flow state shares many characteristics with hyperfocus. However, hyperfocus is not always described in a positive light. Some examples include spending "too much" time playing video games or becoming pleasurably absorbed by one aspect of an assignment or task to the detriment of the overall assignment. In some cases, hyperfocus can "capture" a person, perhaps causing them to appear unfocused or to start several projects, but complete few. Hyperfocus is often mentioned "in the context of autism, schizophrenia, and attention deficit hyperactivity disorder – conditions that have consequences on attentional abilities."

Components
Jeanne Nakamura and Csíkszentmihályi identify the following six factors as encompassing an experience of flow:

 Intense and focused concentration on the present moment
 Merging of action and awareness
 A loss of reflective self-consciousness
 A sense of personal control or agency over the situation or activity
 A distortion of temporal experience, as one's subjective experience of time is altered
 Experience of the activity as intrinsically rewarding, also referred to as autotelic experience

Those aspects can appear independently of each other, but only in combination do they constitute a so-called flow experience. Additionally, psychology writer Kendra Cherry has mentioned three other components that Csíkszentmihályi lists as being a part of the flow experience:
 Immediate feedback
 Feeling the potential to succeed
 Feeling so engrossed in the experience, that other needs become negligible
Just as with the conditions listed above, these conditions can be independent of one another.

Etymology
Flow is so named because, during Csíkszentmihályi's 1975 interviews, several people described their "flow" experiences using the metaphor of a water current carrying them along: "'It was like floating,' 'I was carried on by the flow.

History
Mihaly Csikszentmihályi and others began researching flow after Csikszentmihályi became fascinated by artists who would essentially get lost in their work. Artists, especially painters, got so immersed in their work that they would disregard their need for food, water and even sleep. The theory of flow came about when Csikszentmihályi tried to understand the phenomenon experienced by these artists. Flow research became prevalent in the 1980s and 1990s, with Csikszentmihályi and his colleagues in Italy still at the forefront. Researchers interested in optimal experiences and emphasizing positive experiences, especially in places such as schools and the business world. They also began studying the theory of flow at this time.

The cognitive science of flow has been studied under the rubric of effortless attention.

Mechanism
In any given moment, there is a great deal of information made available to each individual. Psychologists have found that one's mind can attend to only a certain amount of information at a time. According to Csikszentmihályi's 2004 TED talk, that number is about "110 bits of information per second." That may seem like a lot of information, but simple daily tasks take quite a lot of information. Just decoding speech takes about 40–60 bits of information per second, which is why when having a conversation, one cannot focus as much attention on other things.

Generally, people have the ability to decide what they will give their full attention to. This excludes basic distinctive feelings, such as hunger and pain.  However, when one is in the flow state, they are completely engrossed with the one task at hand and, without making the conscious decision to do so, lose awareness of all other things: time, people, distractions, and even basic bodily needs. According to Csikszentmihályi, this event occurs because all of the attention of the person in the flow state is on the task at hand; there is no more attention to be allocated.

The flow state has been described by Csikszentmihályi as the "optimal experience" in that one gets to a level of high gratification from the experience. Achieving this experience is considered to be personal and "depends on the ability" of the individual. One's capacity and desire to overcome challenges in order to achieve their ultimate goals leads not only to the optimal experience but also to a sense of life satisfaction overall.

Measurement
There are three common ways to measure flow experiences: the flow questionnaire (FQ), the experience sampling method (ESM), and the "standardized scales of the componential approach."

Flow questionnaire
The FQ requires individuals to identify definitions of flow and situations in which they believe that they have experienced flow, followed by a section that asks them to evaluate their personal experiences in these flow-inducing situations. The FQ identifies flow as multiple constructs, therefore allowing the results to be used to estimate differences in the likelihood of experiencing flow across a variety of factors. Another strength of the FQ is that it does not assume that everyone's flow experiences are the same. Because of this, the FQ is the ideal measure for estimating the prevalence of flow. However, the FQ has some weaknesses that more recent methods have set out to address. The FQ does not allow for a measurement of the intensity of flow during specific activities. This method also does not measure the influence of the ratio of challenge to skill on the flow state.

Experience sampling method
The ESM requires individuals to fill out the experience sampling form (ESF) at eight randomly chosen time intervals throughout the day. The purpose of this is to understand subjective experiences by estimating the time intervals that individuals spend in specific states during everyday life. The ESF is made up of 13 categorical items and 29 scaled items. The purpose of the categorical items is to determine the context and motivational aspects of the current actions (these items include: time, location, companionship/desire for companionship, activity being performed, reason for performing activity). Because these questions are open-ended, the answers need to be coded by researchers. This needs to be done carefully so as to avoid any biases in the statistical analysis. The scaled items are intended to measure the levels of a variety of subjective feelings that the individual may be experiencing. The ESM is more complex than the FQ and contributes to the understanding of how flow plays out in a variety of situations, however the possible biases make it a risky choice.

Standardized scales
Some researchers are not satisfied with the methods mentioned above and have set out to create their own scales. The scales developed by Jackson and Eklund are the most commonly used in research. Mainly because they are still consistent with Csíkszentmihályi's definition of flow and consider flow as being both a state and a trait. Jackson and Eklund created two scales that have been proven to be psychometrically valid and reliable: the flow state scale-2 (which measures flow as a state), and the dispositional flow scale-2 (designed to measure flow as either a general trait or domain-specific trait). The statistical analysis of the individual results from these scales gives a much more complete understanding of flow than the ESM and the FQ.

Characteristics

The flow state can be entered while performing any activity, although it is more likely to occur when the task or activity is wholeheartedly engaged for intrinsic purposes. Passive activities such as taking a bath or even watching TV, usually do not elicit a flow experience because active engagement is prerequisite to entering the flow state. While the activities that induce flow vary and may perhaps be multifaceted, Csikszentmihályi asserts that the experience of flow is similar whatever the activity.

Flow theory postulates that three conditions must be met to achieve flow:
 The activity must have clear goals and progress. This establishes structure and direction.
 The task must provide clear and immediate feedback. This helps to negotiate any changing demands and allows adjusting performance to maintain the flow state.
 Good balance is required between the perceived challenges of the task and one's perceived skills. Confidence in the ability to complete the task is required.

It has been argued that the antecedent factors of flow are interrelated, and as such, a perceived balance between challenges and skills requires that the goals are clear, and feedback is effective. Thus, the coordination of perceived demands and task skills can be identified as the central precondition of flow experience.

In 1987, Massimini, Csíkszentmihályi and Carli published the eight-channel model of flow . Antonella Delle Fave, who worked with Fausto Massimini at the University of Milan, calls this graph the Experience Fluctuation Model. The model depicts the channels of experience that result from different levels of perceived challenges and perceived skills. The graph illustrates another aspect of flow: it is more likely to occur when the activity is a higher-than-average challenge (above the center point) and the individual has above-average skills (to the right of the center point). The center of the graph where the sectors meet represents the average level of challenge and skill across all individual daily activities. The further from the center an experience is, the greater the intensity of that state of being, whether it is flow or anxiety or boredom or relaxation.

Several problems of the model have been discussed in literature. One is that it does not ensure the perceived balance between challenges and skills which is said to be the central precondition of flow experience. Individuals with a low average level of skills and a high average level of challenges, (or the converse) do not necessarily experience a match between skills and challenges when both are above their individual average. Another study found that low challenge situations which were surpassed by skill were associated with enjoyment, relaxation, and happiness, which, they claim, is contrary to flow theory.

Schaffer (2013) proposed seven flow conditions:
 Knowing what to do
 Knowing how to do it
 Knowing how well one is doing
 Knowing where to go (if navigation is involved)
 High perceived challenges
 High perceived skills
 Freedom from distractions

Schaffer published a flow condition questionnaire (FCQ), to measure each of these seven flow conditions for any given task or activity.

Challenges to maintaining flow
Some of the challenges to staying in flow include states of apathy, boredom, and anxiety. The state of apathy is characterized by easy challenges and low skill level requirements, resulting in a general lack of interest in the activity. Boredom is a slightly different state that occurs when challenges are few, but one's skill level exceeds those challenges causing one to seek higher challenges. A state of anxiety occurs when challenges are high enough to exceed perceived skill level, causing distress and uneasiness. These states in general prevent achieving the balance necessary for flow. Csíkszentmihályi has said, "If challenges are too low, one gets back to flow by increasing them. If challenges are too great, one can return to the flow state by learning new skills."

The autotelic personality
Csíkszentmihályi hypothesized that people with certain personality traits may be better able to achieve flow than the average person. These traits include curiosity, persistence, low egotism, and a high propensity to perform activities for intrinsic reasons. People with most of these personality traits are said to have an autotelic personality. The term "autotelic" derives from two Greek words, auto, meaning self, and telos meaning goal. Being autotelic means having a self-contained activity, without the expectation of future benefit, but simply to be experienced.

There is scant research on the autotelic personality, but results of the few studies that have been conducted suggest that indeed some people are more likely to experience flow than others. One researcher (Abuhamdeh, 2000) found that people with an autotelic personality have a greater preference for "high-action-opportunity, high-skills situations that stimulate them and encourage growth" compared to those without an autotelic personality. It is in such high-challenge, high-skills situations that people are most likely to experience flow.

Experimental evidence shows that a balance between individual skills, and demands of the task (compared to boredom and overload) only elicits the flow experience in individuals having an internal locus of control or a habitual action orientation. Several correlational studies found need for achievement to be a personal characteristic that fosters flow experiences.

Autotelic Personality also has been shown in studies to correlate and show overlapping of flow in personal life and the Big Five Personality Traits of Extraversion, Agreeableness, Conscientiousness, Neuroticism, and Openness to Experience. More particularly the traits of agreeableness and extraversion. Study of Autotelic Personality is difficult as most studies are performed through self-evaluation, as an Autotelic Personality is difficult to observe.

Group

Group flow (or team flow) is notably different from independent flow, as it is inherently mutual. Group flow is attainable when the performance unit is a group, such as a team or musical group. When groups cooperate to agree on goals and patterns, social flow, commonly known as group cohesion, is much more likely to occur. If a group still has not entered flow, a team-level challenge may stimulate the group to harmonize.

Applications

Applications suggested by Csíkszentmihályi versus other practitioners
Only Csíkszentmihályi seems to have published suggestions for extrinsic applications of the flow concept, such as design methods for playgrounds to elicit the flow experience. Other practitioners of Csíkszentmihályi's flow concept focus on intrinsic applications, such as spirituality, performance improvement, or self-help.

Education

Flow state theory suggests that when individuals are in a state of flow, they experience deep immersion, focus, and intrinsic motivation in their activities. In the context of education, flow has been associated with increased student engagement, which is a key determinant of learning success .

Numerous studies have examined the relationship between flow and student engagement, demonstrating positive associations. For example, Csikszentmihalyi and Larson (1984) found that students who reported experiencing flow during their academic tasks exhibited higher levels of engagement, concentration, and enjoyment. Similarly, Cho and Lee (2017) discovered that flow experiences positively correlated with student engagement in a college classroom setting.

Flow state research has also explored its impact on learning outcomes, such as knowledge acquisition, skill development, and creativity. When students are in a state of flow, they are more likely to experience a heightened sense of focus, concentration, and intrinsic motivation, which can lead to improved learning outcomes.

Studies have shown that flow experiences can enhance cognitive processes related to learning. For instance, Schüler and Brunner (2009) found that university students who reported being in a state of flow while studying demonstrated better information recall and problem-solving abilities. In addition, studies by Simons and Dewitte (2004) and Jackson and Csikszentmihalyi (1999) revealed that flow experiences positively influenced creativity and innovation among students.

Applications
The concept of flow has been applied to various educational settings and practices, offering valuable insights for teaching and learning. Here are a few notable applications:

 Skill development: Flow state theory can inform the design of curricula and learning activities that promote the development of specific skills. By structuring tasks to align with students' skill levels and providing immediate feedback, educators can facilitate skill acquisition and mastery.
 Optimal learning environments: Flow state research suggests that the design of learning environments can significantly impact student engagement and learning outcomes. Creating environments that are challenging, supportive, and tailored to students' interests can facilitate flow experiences and foster deep learning.
 Motivation and well-being: Flow state theory emphasizes the role of intrinsic motivation in optimal performance and well-being. Educators can encourage students' intrinsic motivation by promoting autonomy, competence, and relatedness in the learning process, thus facilitating flow experiences.
 Classroom management: Understanding flow state dynamics can help educators manage classroom activities more effectively. By providing clear instructions, structuring tasks, and offering appropriate challenges, educators can create conditions conducive to flow, leading to improved classroom experiences.

These applications demonstrate the potential benefits of integrating flow state theory into educational practices. However, further research is needed to explore the specific strategies and interventions that effectively foster flow in educational settings.

History
In education, the concept of overlearning plays a role in a student's ability to achieve flow. Csíkszentmihályi states that overlearning enables the mind to concentrate on visualizing the desired performance as a singular, integrated action instead of a set of actions. Challenging assignments that (slightly) stretch one's skills lead to flow.

In the 1950s British cybernetician Gordon Pask designed an adaptive teaching machine called SAKI, an early example of "e-learning". The machine is discussed in some detail in Stafford Beer's book "Cybernetics and Management". In the patent application for SAKI (1956), Pask's comments (some of which are included below) indicate an awareness of the pedagogical importance of balancing student competence with didactic challenge, which is quite consistent with flow theory:

Around 2000, it came to the attention of Csíkszentmihályi that the principles and practices of the Montessori Method of education, seemed to purposefully set up continuous flow opportunities and experiences for students. Csíkszentmihályi and psychologist Kevin Rathunde embarked on a multi-year study of student experiences in Montessori settings and traditional educational settings. The research supported observations that students achieved flow experiences more frequently in Montessori settings.

Music
Musicians, especially improvisational soloists, may experience a state of flow while playing their instrument.
Research has shown that performers in a flow state have a heightened quality of performance as opposed to when they are not in a flow state. In a study performed with professional classical pianists who played piano pieces several times to induce a flow state, a significant relationship was found between the flow state of the pianist and the pianist's heart rate, blood pressure, and major facial muscles. As the pianist entered the flow state, heart rate and blood pressure decreased, and the major facial muscles relaxed. This study further emphasized that flow is a state of effortless attention. In spite of the effortless attention and overall relaxation of the body, the performance of the pianist during the flow state improved.

Groups of drummers go through a state of flow when they sense a collective energy that drives the beat, something they refer to as getting into the groove or entrainment. Likewise, drummers and bass guitarists often describe a state of flow when they are feeling the downbeat together as being in the pocket. Researchers have measured flow through subscales; challenge-skill balance, merging of action and awareness, clear goals, unambiguous feedback, total concentration, sense of control, loss of self-consciousness, transformation of time and autotelic experience.

Sports

The concept of being in the zone during an athletic performance fit within Csíkszentmihályi's description of the flow experience. Theories and applications of being in the zone and its relationship with an athletic competitive advantage are topics studied in the field of sport psychology. In a qualitative study of NCAA Division I athletes on the experience of flow, 94% of the athletes described flow state as causing a merging of action and awareness, and that it was effortless and automatic.

Timothy Gallwey's influential works on the "inner game" of sports, such as golf and tennis, described the mental coaching and attitudes required to "get in the zone" and fully internalize mastery of the sport.

Roy Palmer suggests that "being in the zone" may also influence movement patterns as better integration of the conscious and subconscious reflex functions improves coordination. Many athletes describe the effortless nature of their performance while achieving personal bests.

In many martial arts, the term Budō is used to describe psychological flow. Mixed martial arts champion and Karate master Lyoto Machida uses meditation techniques before fights to attain mushin, a concept that, by his description, is in all respects equal to flow.

The Formula One driver Ayrton Senna, during qualifying for the 1988 Monaco Grand Prix, explained: "I was already on pole, [...] and I just kept going. Suddenly I was nearly two seconds faster than anybody else, including my team mate with the same car. And suddenly I realised that I was no longer driving the car consciously. I was driving it by a kind of instinct, only I was in a different dimension. It was like I was in a tunnel."

Former 500 GP rider Wayne Gardner talking about his victory at the 1990 Australian Grand Prix on The Unrideables 2 documentary said: "During these last five laps I had this sort of above body experience where actually raised up above and I could see myself racing. It was kind of a remote control and it's the weirdest thing I've ever had in my life. [...]" After the race Mick [Doohan] and in fact Wayne Rainey said: "How the hell did you do that?" and I said: "I have no idea."

Religion and spirituality
In yogic traditions such as Raja Yoga, reference is made to a state of flow in the practice of Samyama, a psychological absorption in the object of meditation.

Games and gaming

Flow in games and gaming has been linked to the laws of learning as a part of the explanation for why learning-games (the use of games to introduce material, improve understanding, or increase retention) have the potential to be effective. In particular, flow is intrinsically motivating, which is a part of the law of readiness. The condition of feedback, required for flow, is associated with the feedback aspects of the law of exercise. This is exhibited in well designed games, in particular, where players perform at the edge of their competency as they are guided by clear goals and feedback. The positive emotions associated with flow are associated with the law of effect. The intense experiences of being in a state of flow are directly associated with the law of intensity. Thus, the experience of gaming can be so engaging and motivating as it meets many of the laws of learning, which are inextricably connected to creating flow.

In games often much can be achieved thematically through an imbalance between challenge level and skill level. Horror games often keep challenges significantly above the player's level of competency in order to foster a continual feeling of anxiety. Conversely, so called "relaxation games" keep the level of challenges significantly below the player's competency level, in order to achieve an opposite effect. The video game Flow was designed as part of Jenova Chen's master's thesis for exploring the design decisions that allow players to achieve the flow state, by adjusting the difficulty dynamically during play.

It improves performance; calling the phenomenon "TV trance," a 1981 BYTE article discussed how "the best seem to enter a trance where they play but don't pay attention to the details of the game." The primary goal of games is to create entertainment through intrinsic motivation, which is related to flow; that is, without intrinsic motivation it is virtually impossible to establish flow. Through the balance of skill and challenge, the player's brain is aroused, with attention engaged and motivation high. Thus, the use of flow in games helps foster an enjoyable experience, which in turn increases motivation and draws players to continue playing. As such, game designers strive to integrate flow principles into their projects. Overall, the experience of play is fluid and is intrinsically psychologically rewarding independent of scores or in-game successes in the flow state.

Design of intrinsically motivated computer systems
A simplified modification to flow has been combined with the technology acceptance model (TAM) to help guide the design of and explain the adoption of intrinsically motivated computer systems. This model, the hedonic-motivation system adoption model (HMSAM) is modelled to improve the understanding of hedonic-motivation systems (HMS) adoption. HMS are systems used primarily to fulfill users' intrinsic motivations, such for online gaming, virtual worlds, online shopping, learning/education, online dating, digital music repositories, social networking, online pornography, gamified systems, and for general gamification. Instead of a minor, TAM extension, HMSAM is an HMS-specific system acceptance model based on an alternative theoretical perspective, which is in turn grounded in flow-based concept of cognitive absorption (CA). The HMSAM further builds on van der Heijden's (2004) model of hedonic system adoption by including CA as a key mediator of perceived ease of use (PEOU) and of behavioral intentions to use (BIU) hedonic-motivation systems. Typically, models simplistically represent "intrinsic motivations" by mere perceived enjoyed. Instead, HMSAM uses the more complex, rich construct of CA, which includes joy, control, curiosity, focused immersion, and temporal dissociation. CA is construct that is grounded in the seminal flow literature, yet CA has traditionally been used as a static construct, as if all five of its subconstructs occur at the same time—in direct contradiction to the flow literature. Thus, part of HMSAM's contribution is to return CA closer to its flow roots by re-ordering these CA subconstructs into more natural process-variance order as predicted by flow. Empirical data collection along with mediation tests further support this modeling approach.

Workplace

Conditions of flow, defined as a state in which challenges and skills are equally matched, play an important role in the workplace. Because flow is associated with achievement, its development may have specific implications for increased workplace satisfaction and achievement. Flow researchers, such as Csikszentmihályi, believe that certain interventions may be performed to enhance and increase flow in the workplace, through which people would gain 'intrinsic rewards that encourage persistence" and provide benefits. In his consultation work, Csikszentmihályi emphasizes finding activities and environments that are conducive to flow, and then identifying and developing personal characteristics to increase experiences of flow. Applying these methods in the workplace can improve morale by fostering a sense of greater happiness and accomplishment, which may be correlated with increased performance. In his review of Mihály Csikszentmihályi's book "Good Business: Leadership, Flow, and the Making of Meaning," Coert Visser introduces the ideas presented by Csikszentmihályi, including "good work" in which one "enjoys doing your best while at the same time contributing to something beyond yourself." He then provides tools by which managers and employees can create an atmosphere that encourages good work. Some consultants suggest that the experience sampling form (EMS) method be used for individuals and teams in the workplace in order to identify how time is currently being spent, and where focus should be redirected to in order to maximize flow experiences.

In order to achieve flow, Csikszentmihályi lays out the following three conditions:
 Goals are clear
 Feedback is immediate
 A balance exists between opportunity and capacity

Csikszentmihályi argues that with increased experiences of flow, people experience "growth towards complexity". People flourish as their achievements grow and with that comes development of increasing "emotional, cognitive, and social complexity." Creating a workplace atmosphere that allows for flow and growth, Csikszentmihályi argues, can increase the happiness and achievement of employees. An increasingly popular way of promoting greater flow in the workplace is using the "serious play" facilitation methods.

Implications
In the study "Predicting flow at work: Investigating the activities and job characteristics that predict flow states at work", Karina Nielsen and Bryan Cleal used a 9-item flow scale to examine predictors of flow at two levels: activity level (such as brainstorming, problem solving, and evaluation) and at a more stable level (such as role clarity, influence, and cognitive demands). They found that activities such as planning, problem solving, and evaluation predicted transient flow states, but that more stable job characteristics were not found to predict flow at work. This study can help us identify which task at work can be cultivated and emphasized in order to help employees experience flow on the job. In her article in Positive Psychology News Daily, Kathryn Britton examines the importance of experiencing flow in the workplace beyond the individual benefits it creates. She writes, "Flow isn't just valuable to individuals; it also contributes to organizational goals. For example, frequent experiences of flow at work lead to higher productivity, innovation, and employee development (Csikszentmihályi, 1991, 2004). So finding ways to increase the frequency of flow experiences can be one way for people to work together to increase the effectiveness of their workplaces."

Effects

Books by Csikszentmihályi suggest that enhancing the time spent in flow makes our lives more happy and successful. Flow experiences are predicted to lead to positive affect as well as to better performance. For example, delinquent behavior was reduced in adolescents after two years of enhancing flow through activities.

People who have experienced flow, describe the following feelings:
 Completely involved in what we are doing – focused, concentrated.
 A sense of ecstasy – of being outside everyday reality.
 Great inner clarity – knowing what needs to be done, and how well we are doing.
 Knowing that the activity is doable – that our skills are adequate to the task.
 A sense of serenity – no worries about oneself, and a feeling of growing beyond the boundaries of the ego.
 Timelessness – thoroughly focused on the present, hours seem to pass by the minute.
 Intrinsic motivation – whatever produces flow becomes its own reward.
However, further empirical evidence is required to substantiate these preliminary indications, as flow researchers continue to explore the problem of how to directly investigate causal consequences of flow experiences using modern scientific instrumentation to observe the neuro-physiological correlates of the flow state.

Satisfaction
Flow is an innately positive experience; it is known to "produce intense feelings of enjoyment". An experience that is so enjoyable should lead to positive affect and happiness in the long run. Also, Csikszentmihályi stated that happiness is derived from personal development and growth– and flow situations permit the experience of personal development.

Several studies found that flow experiences and positive affect go hand in hand, and that challenges and skills above the individual's average foster positive affect. However, the causal processes underlying those relationships remain unclear at present.

Performance and learning
Flow experiences imply a growth principle. When one is in a flow state, they are working to master the activity at hand. To maintain that flow state, one must seek increasingly greater challenges. Attempting these new, difficult challenges stretches one's skills. One emerges from such a flow experience with a bit of personal growth and great "feelings of competence and efficacy". By increasing time spent in flow, intrinsic motivation and self-directed learning also increases.

Flow has a documented correlation with high performance in the fields of artistic and scientific creativity, teaching, learning, and sports;

Flow has been linked to persistence and achievement in activities while also helping to lower anxiety during various activities and raise self-esteem.

However, evidence regarding better performance in flow situations is mixed. For sure, the association between the two is a reciprocal one. That is, flow experiences may foster better performance but, on the other hand, good performance makes flow experiences more likely. Results of a longitudinal study in the academic context indicate that the causal effect of flow on performance is only of small magnitude and the strong relationship between the two is driven by an effect of performance on flow.
In the long run, flow experiences in a specific activity may lead to higher performance in that activity as flow is positively correlated with a higher subsequent motivation to perform and to perform well.

Criticism

Research on flow experiences is well established, however there are still unresolved, critical issues with the universal definitions and measurements associated with the concept. In recent years, the language, definitions, measurement approaches, and models of flow state in the research community continually increased. A systematic review of flow state studies conducted from 2012 to 2019 took one of the first steps towards determining a potential universalization of terminology for future use in research of flow.

Psychological flow state research has made significant strides in understanding the concept and its implications. However, like any scientific field, it is not without its criticisms and areas that require further investigation.

This section explores the criticisms of flow state research and highlights the potential directions for future research.

 Lack of Clarity and Operationalization: One common criticism of Csikszentmihalyi's flow theory pertains to the lack of clarity and operationalization of its components. Flow is described as a state of complete immersion, but there is ongoing debate regarding the specific dimensions and criteria that constitute flow experiences. Some researchers argue that the theory lacks clear and consistent guidelines for measuring flow, which limits comparability across studies and hinders the establishment of a standardized framework
 Homogeneity of flow experiences: Critics have raised concerns about the assumption that flow experiences have consistent qualities and outcomes across different individuals and activities. While Csikszentmihalyi's theory posits a universal nature of flow, some argue that flow experiences might vary depending on personal characteristics, cultural factors, and situational contexts. This criticism highlights the need for a more nuanced understanding of the diversity and contextual nuances of flow experiences. Keller and Landhäußer advocate for a flow intensity model because many models of flow have trouble predicting the intensity of flow experiences that can occur under various circumstances where skill and task demands fit together to produce flow. Cowley found that because self-reported flow happens after-the-fact, it does not really capture the aspect of flow that happens in the moment. Furthermore, that aspect of flow is prone to change, so the self-reported experience of flow cannot be trusted as much.
 Limited attention to negative aspects: Csikszentmihalyi's flow theory primarily focuses on positive aspects of the flow experience, emphasizing enjoyment, intrinsic motivation, and optimal performance. However, some researchers argue that neglecting the potential negative aspects of flow, such as potential conflicts, negative emotions, or overuse leading to burnout, limits the comprehensiveness of the theory. Critics call for a more balanced approach that considers both positive and negative dimensions of flow experiences.

The lack of standardized definitions, measurement approaches, and terminologies hampers the cumulative progress of flow state research and poses challenges in synthesizing and comparing findings across studies. It also limits the development of comprehensive theoretical models that can encompass the complexity and nuances of flow experiences. Addressing these critical issues is essential to enhance the scientific rigor and validity of flow state research, enabling a deeper understanding of this intriguing psychological phenomenon. Despite these criticisms and challenges, the study of flow states continues to evolve and expand. Researchers are actively working towards refining the conceptualization, measurement, and theoretical frameworks of flow. Through ongoing efforts to establish consensus and develop standardized guidelines, the field aims to overcome these limitations, paving the way for more robust and comprehensive investigations into the nature and significance of psychological flow states.

Csikszentmihályi writes about the dangers of flow himself:...enjoyable activities that produce flow have a potentially negative effect: while they are capable of improving the quality of existence by creating order in the mind, they can become addictive, at which point the self becomes captive of a certain kind of order, and is then unwilling to cope with the ambiguities of life.
Further, he writes:The flow experience, like everything else, is not "good" in an absolute sense. It is good only in that it has the potential to make life more rich, intense, and meaningful; it is good because it increases the strengths and complexity of the self. But whether the consequence of any particular instance of flow is good in a larger sense needs to be discussed and evaluated in terms of more inclusive social criteria.

Keller and Landhäußer (2012, p. 56) advocate for a flow intensity model because many models of flow have trouble predicting the intensity of flow experiences that can occur under various circumstances where skill and task demands fit together to produce flow.

Cowley et al. found that because self-reported flow happens after-the-fact, it does not really capture the aspect of flow that happens in the moment. Furthermore, that aspect of flow is prone to change, so the self-reported experience of flow cannot be trusted as much.

Cameron et al. found that there is not a lot of information on group flow, and this may be hindering development in managerial and theoretical contributions.

Braxton Soderman's 2021 monograph Against Flow: Video Games and the Flowing Subject points out that flow exists on ideological grounds as an individualist counterpoint to socialism. Furthermore, the application of flow via gamification has brought work and play into ever closer relationship. Play is, therefore, converted into a form of unpaid labor.

Global-cultural perspectives
In a global context, there is a gap in understanding how flow manifests within various socio-cultural contexts. Cross-cultural comparative studies, as suggested by Engeser and Rheinberg (2008), could delve into how flow experiences differ across societies, deepening our understanding of the concept's universality or cultural specificity.

Longitudinal studies, capable of tracking flow experiences over extended periods, could offer insights into the sustained effects of flow on personal development, well-being, and performance. As Seligman and Csikszentmihalyi (2000) have suggested, such research could offer a more nuanced understanding of the concept's long-term impact.

Technology

The impact of technological advancements on flow experiences represents another noteworthy research direction. As digital technology increasingly permeates our lives, exploring how immersive technologies such as virtual reality or augmented reality facilitate or hinder flow states could be an enlightening line of study. The potential of such research has been discussed by Csikszentmihalyi and Csikszentmihalyi (2014), emphasizing the need to understand how digital distractions may disrupt flow and how these effects could be mitigated. Another critical avenue for future research is the role of flow in online learning. The rise of digital education platforms, as discussed by Csíkszentmihályi and Nakamura (2018), necessitates investigations into how flow can be fostered in these contexts and how it might influence learning outcomes.

The neuroscientific underpinnings of flow are a developing field with significant potential. With advancements in neuroimaging technologies, as highlighted by Linden (2021), the opportunity to correlate psychological experiences of flow with their physiological counterparts becomes increasingly feasible

Ethics
Additional research into how flow impacts ethical decision-making across professional fields could have extensive implications. An exploratory study by Nielsen and Cleal (2010) hints at the potential role of flow in influencing ethical judgments, suggesting the necessity more extensive research in this domain.

Other areas of research
Cameron et al. proposed a research program that focuses on how group flow is different from individual flow, and how group flow affects group performance. These ideas will address some of the issues in group flow research such as poor data collection and interpretation. Sridhar & Lyngdoh suggested that research should investigate how mobility affects the ethical performance of sales professionals. Furthermore, there should be longitudinal studies done in various fields to understand the ethical implications of flow in sales.

See also

Absorption (psychology)
Altered state of consciousness
Autotelic
Boreout
Hypnosis
Hypomania
Imagination
Mindfulness
Ovsiankina effect
Peak experience
Play
Phenomenology (psychology)
Prayer
Samadhi
Trance
Narrative transportation
Work as play
Wu wei

References

Citations

Sources

  (a popular exposition emphasizing technique)

External links

 "Living in the Flow"
 ; presentation at the February, 2004 TED conference
 Schaffer, Owen (2013), Crafting Fun User Experiences: A Method to Facilitate Flow

Attention
Educational psychology
Interest (psychology)
Positive psychology
Problem solving

Flow (psychology)


An Poa autumnalis in uska species han Liliopsida nga ginhulagway ni Henry Ernest Muhlenberg ngan Stephen Elliott. An Poa autumnalis in nahilalakip ha genus nga Poa, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Poa

Poa autumnalis


Pătrat Negru  (cunoscută și sub denumirea de Pătratul Negru sau chiar de Pătratul Negru al lui Malevici) este o pictură emblematică a pictorului rus Kazimir Malevici, din perioada futuristo-cubistă (sau suprematistă, după estimarea autorului) a creației sale, anii 1910.

Prima versiune a picturii a fost realizată în 1915. În total, Malevici a realizat patru variante, dintre care ultima se crede că a fost pictată la sfârșitul anilor 1920 sau începutul anilor 1930. Prima variantă a Pătratului Negru a fost prezentată pentru prima oară în 1915 în cadrul expoziției Ultima expoziție futuristă 0,10 din 1915.

Lucrarea este frecvent invocată de critici și istorici ai artei, curatori și artiști plastici ca fiind punctul zero al picturii, referindu-se la semnificația istorică a pictării și la parafrazarea lui Malevici.

Istoric
Malevici a pictat prima sa variantă a picturii Pătrat Negru în 1915. Se știe că în total, artistul plastic rus a pictat patru variante ale picturii, dintre care ultima se crede a fi fost realizată la sfârșitul anilor 1920 sau la începutul anilor 1930, în ciuda inscriptării 1913, făcută de pictorul suprematist pe spatele ultimei variante. Pictura este obișnuit cunoscută ca fiind Pătrat Negru sau Pătratul Negru ori Pătratul Negru al lui Malevici. A fost expusă pentru prima dată la expoziția cunoscută ca Expoziția 0,10 din 1915.

Detalii forensice dezvăluie adevărul despre modul în care pictura Pătratul Negru a fost realizată; nu a fost pictată pe o pânză nouă, ci a fost pictată peste o compoziție mai complexă și mai colorată, datată anterior.

Context istoric

O multitudine de istorici și critici de artă, pictori și curatori se referă la Pătratul Negru ca fiind una din lucrările de artă esențiale ale artei moderne, respectiv ale artei abstracte în general.

Malevici a declarat lucrarea sa Pătratul Negru ca o lucrare suprematistă, o mișcare artistică pe care a proclamat-o el însuși, fiind teoreticianul și practicianul acesteia, mișcare care este asociată astăzi aproape exclusivist cu opera sa și cu cea a elevului său El Lissitzky.

Mișcarea a avut o serie de suporteri printre membri avangardei ruse, dar a fost considerabil minimalizată de mișcarea artistică "soră", constructivismul, al cărei manifesto s-a armonizat mult mai bine cu ideologia și sentimentele guvernului revoluționar comunist al primelor zile ale Uniunii Sovietice. Suprematismul poate fi înțeles mai bine  ca fiind o fază de tranziție în evoluția artei ruse, făcând tranziția evoluționară dintre futurism și constructivism.

Cu toate acestea, saltul mai mare și mai universal, reprezentat în pictură, este ceea ce lipsește între pictura reprezentativă și pictura abstractă - o tranziție complexă cu care Pătratul Negru a devenit identificabil și pentru care a devenit una dintre lucrările cheie sau unul din simboluri.

Percepție
Lucrarea este adesea amintită de critici și istorici de artă, de curatori și de artiști plastici ca fiind "punctul zero al picturii, referindu-se la semnificația sa istorică ca o parafrază la numeroase comentarii, pe care Malevici însuși le-a făcut de-a lungul timpului referitoare la Pătratul Negru, comentarii făcute în scrisori adresate colegilor, prietenilor și negustorilor de artă.

Câteva din comentariile lui Malevici, referitoare la propria sa lucrare, urmează.
 "Este de la zero, în zero, [unde] începe adevărata mișcare a ființei."
 "M-am transformat în zero de formă și am ieșit de la nimic la creație, adică la Suprematism, la noul realism în pictură - la creația ne-obiectivă"
 "[Pătratul Negru este menit să evoce] experiența ne-obiectivității pure în golul alb al unui nimic eliberat".

Criticul Peter Schjeldahl scria despre lucrare și timpul realizării sale:

"Pensula [sa] este viguroasă, suculentă și bruscă: umplând formele, fusionând cu marginile. Dară formele sunt fără de greutate, mai mult ca gândurile decât ca imaginile. Nu te uiți la imagine atât de mult ca să te lansezi în misterul său fără de urme. Dincolo de flerul designului său evident, munca pare ușoară pentru că este [ușoară]. Malevic este monumental nu pentru ceea ce a pus în spațiul pictorii ci pentru ceea ce a scos: experiența corporală, tema fundamentală a artei occidentale de la Renaștere încoace. În afară de o tradiție mistică, tipic rusă, pe care o exploatează - evocând vraja compactă a icoanei, ca o conductă a divinului - lucrarea sa se înscrie într-un "Cântec al drumului deschis" cosmic. [Pictura sa] transmite pur și înflorit. Această calitate părea în sincronism cu Revoluția [rusă] din 1917. Nu a fost - [fapt] de care Malevici a fost dureros conștient - mai întâi [arătată] de rivalii săi din avangarda rusă și, apoi, concludent, de regimul lui Iosif Stalin."

Conservare
Calitatea picturii s-a degradat considerabil de-a lungul timpului trecut de când fusese pictată.

Astfel, criticul Peter Schjeldahl scria în 1999:
"Pictura arată groaznic, spartă, zgâriată și decolorată, ca și cum ar fi petrecut ultimii optzeci și patru de ani astupând o fereastră spartă. De fapt, a petrecut tot acest timp în arhivele sovietice, plasată printre cele mai puțin valoroase posesiuni ale statului. Malevici, precum alți membri ai erei revoluționare a avangardei ruse, a fost aruncat în uitare sub Stalin. Toporul a căzut [pe artist] în 1930. Acuzat de "formalism", a fost interogat și întemnițat pentru două luni."

Descoperiri contemporane
În 2015, în timpul examinării picturii Pătratul Negru la microscop, istoricii de artă ai Galeriilor Tretriakov au descoperit un mesaj scris sub stratul de vopsea de ulei neagră. Cea mai probabilă interpretare a mesajului este "Bătălia negrilor într-o pivniță/peșteră întunecată".

Mesajul a fost conectat cu un comentariu relativ comic din 1897 al scriitorului francez Alphonse Allais, care spunea despre culoarea negru, continuă și compactă: "Lupta negrilor dintr-o pivniță noaptea" (conform, "Combat de Nègres dans une cave pendant la nuit"). Cercetătorii de la Galeria de stat Tretriakov au presupus că Malevici nu făcea decât să răspundă la gluma lui Allais.

A se vedea și
 Pictura Pătrat roșu
 Pictura Cerc negru

Referințe

Picturi din 1915
Artă abstractă
Artă rusă
Minimalism
Picturi moderne
Picturi realizate de Kazimir Malevici

Pătrat negru (pictură)


Frances Elizabeth Wynne (Dinbych Wales, 1836. – 1907.), velška umjetnica

Roditelji su joj bili Sarah Hildyard i Charles Griffith-Wynne. Tijekom života je često putovala i na tim je putovanjima napravila brojne skice. Osam svezaka ovih skica nalazi se u zbirci nacionalne knjižnice u Walesu.

Galerija

Izvori

Britanski likovni umjetnici
Životopisi, Wales

Frances Elizabeth Wynne


An Dendrochilum stellum in uska species han Liliopsida nga ginhulagway ni Jeffrey James Wood ngan James Boughtwood Comber. An Dendrochilum stellum in nahilalakip ha genus nga Dendrochilum, ngan familia nga Orchidaceae.

Mabibilngan ini ha Sumatera. Waray hini subspecies nga nakalista.

Mga kasarigan

Dendrochilum

Dendrochilum stellum


Riyad Mahrez (Sarcelles, Francuska; 21. veljače 1991.) je alžirski nogometaš koji igra kao krilo za saudijski Al-Ahli i alžirsku nogometnu reprezentaciju.

Počeo je karijeru u AAS Sarcellesu s 13 godina. Počeo se profesionalno baviti nogometom 2009. godine kada je prešao u Quimper, gdje je igrao samo jednu sezonu. Mahrez 2010. godine prelazi u Le Havre II, B selekciju Le Havrea. 2011. postaje regularni prvotimac Le Havrea te 2014. prelazi u Leicester City koji je tada igrao u Championshipu.

S Leicester Cityem 2013/14 osvaja Championship te klub prelazi u Premier Ligu. Sezone 2015/16 Leicester City radi čudo te osvaja ligu nakon što su promovirani u ligu tek prošle sezone. Leicester City tako postaje šesti klub koji je osvojio Premier Ligu. U Leicester Cityu ostaje do ljeta 2018. godine kada za 50 mil £ prelazi u Manchester City.

Izvori

Alžirski nogometaši
Nogometaši Leicester Cityja
Nogometaši Manchester Cityja
Aktivni nogometaši

Riyad Mahrez


Brahmanizm, M.Ö. 2000 öncesi Brahmanların kurduğu bir din.

Tarihi
Brahmanizm'in kutsal metinleri Brahmanalarla Upanişadlardır. Upanishadlar, M.Ö. 600 ile 500 yılları arasında meydana getirilmişlerdir. Atman ile Brahman'ın özdeş olduğunu, insandaki ve güneşteki ruhun bir ve aynı şey olduğunu ve Tanrı' nın görünen her şeyin ta kendisi olduğunu anlatır. Brahmanizm'in ana tezleri bu terimlerden oluşur. Kainatın temel özü olan Brahman ile insanların derin benlikleri olan Atman'ın özdeşliği; daha önceki davranışların semeresi olan Karman ve buna bağlı olarak ruh göçü ya da tekrar tekrar doğuş zinciri anlamına gelen Samsara gibi terimleri anlatır. Animizm'den ölülerin sonradan yaşadıkları fikrini alıp muhafaza etmekle beraber, aynı varlık tarafından birbirini sonsuz şekilde takip eden hayatlar yaşanabileceğini kabul etmemektedir. Günümüzdeki Brahmanizm anlayışına göre, bu durumun tersi, yaratıkların sayısındaki düzenin önceki yaşamlardaki insan ve hayvan hayatlarının muhteva ve düzenine bağlı olduğu anlatılmaktadır. Her bir yaşamın, daha önceki bir yaşama göre olduğu zorunluluğu getirilmiştir ve buna "Karman" adı verilir.

Buna benzer görüşler Hinduizm'de de yer almaktadır. Ruhun defalarca bedenlenişine olan inancın Hindistan'da ne derecede yaygın olduğunu, XI. yüzyılda Hindistan'ı ziyaret etmiş olan Birûni, "İçten gelerek söylenen şehadet kelimesi Müslümanların özelliği olduğu gibi, tanrı üçlemesi Hristiyanların, Cumartesi gününe hürmet ise Yahudilerin alametidir. Aynı şekilde Ruhgöçü de Hint dininin nişanıdır. Buna inanmayan o topluluktan değildir." sözleriyle aktarır.

Kuralları
Az veya çok iyi bir hayat sürmüş olunduğuna göre, ölümden sonra da az veya çok yüksek bir hayata kavuşulur. Yani, yeni bir bedene giriş, daha önceki hal ve gidişimize bağlı olan bir durumdur. Böylece din düşüncesi, ahlakın da özü haline gelmektedir; insanın yaptıklarının iyi veya kötü oluşunun mükafatı veya cezası, sonradan daha iyi ya da daha kötü bir bedene giriş şeklinde ortaya çıkmaktadır.

Fakat yeniden doğmak "dünyanın ıstırabına" yeniden ortak olmak demektir. Hayatın böyle ebediyen yeniden başlayışı, ıstırapların da ebediyen yeniden başlayışı demektir. İnsan, Atman'la Brahman'ın tıpkılığına inandığı anda, arzu da sönecektir. İşte bu, bilgi yoluyla erişilen kurtuluştur.

Kaynakça

Hinduizm
Uzak Doğu dinleri

Brahmanizm


En grådig algoritme er en algoritme som hele tiden vælger det som ser bedst ud i øjeblikket. For eksempel kan problemet med at give byttepenge tilbage løses med en grådig algoritme. For at give færrest muligt mønter tilbage, er det bedst at hele tiden give mønter med størst mulig værdi retur. 46 kr. = 20 kr. + 20 kr. + 5 kr. + 1 kr. = 4 mønter.

Kendetegnet for en grådig algoritme, er at det ikke er muligt at ændre de allerede foretagne valg. I eksemplet med byttepenge, betyder det at algoritmen må vælge at give 20 kr., uden at vide om der findes en god måde at give de resterende 26 kr. på.

Grådige algoritmer er generelt hurtige, men giver ikke altid den rigtige løsning. Antag, at der findes en mønt med en værdi af 16 kr. I så fald vil den optimale tilbagelevering af byttepenge være 20 kr. + 16 kr. + 10 kr. = 3 mønter. Dermed er det i mange tilfælde nødvendigt at bruge dynamisk programmering for at kunne afprøve flere forskellige muligheder parallelt.

Andre eksempler hvor grådige algoritmer er nyttige, er i en vægtet graf at bruge Prims algoritme for at finde mindste udspændende træ og Dijkstras algoritme for at finde korteste vej.

Ofte er det også nok at finde en god løsning, som ikke behøver at være optimal. Grådige algoritmer kan da ofte give tilnærmelsesvise løsninger på relativt kort tid.

Algoritmer

Grådig algoritme


El gallo (Gallus gallus) es una especie tropical de la familia Phasianidae nativa del sudeste asiático. Dentro de esta especie se encuentra la variedad de gallos y gallinas domésticos, descendientes de la variedad gallo salvaje rojo con algo de hibridación del gallo salvaje gris. El gallo silvestre fue domesticado hace, al menos, siete mil años en Asia y posteriormente introducido en todo el mundo. La variedad doméstica se cría globalmente como fuente de carne y huevos.

Descripción

Los gallos y gallinas silvestres presentan un gran dimorfismo sexual. Los machos son de mayor tamaño, miden alrededor de 70 cm de largo frente a las hembras que miden 63,5 cm. Presentan carúnculas rojas en todo su rostro, con una gran cresta en lo alto de la cabeza y dos colgantes en la base del pico también rojas, pero la cresta que cuelga bajo sus oídos, denominada orejilla, puede ser roja o blanca. El resto de su cabeza y cuello están cubiertos por plumaje fino y rubio dorado que se va haciendo más claro en la parte inferior del cuello, pecho y parte superior del manto. También tiene plumas finas y alargadas de color rubio o canela anaranjado que cuelgan en los laterales de la espalda. Sus hombros son granates y la base de su cola blanca. El resto de su plumaje es de color negruzco, con iridiscencias verdes y azules, y broncíneas en las primarias. Su cola es muy larga y sus plumas centrales están arqueadas. El plumaje de la hembra es críptico como es típico en la familia, de tonos pardos con veteado negro y blanquecino, con tonos rubios en el cuello. Su cola es más corta y de tonos negruzcos. Las hembras aunque también tienen carúnculas faciales rojizas, solo tienen crestas vestigiales en el píleo y carecen de crestas colgantes en la base del pico. Las patas de ambos sexos son grisáceas. aunque las de los machos presentan espolones.

Durante la época de cría los machos anuncian su presencia con el típico kikiriki, aunque más corto que el de los gallos domésticos, y se corta repentinamente en el final. Sirve tanto para atraer a parejas potenciales como para mantener alejados al resto de machos de su territorio. Además ambos sexos emiten cacareos complejos.

Taxonomía y distribución
La especie del gallo y la gallina fue descrita científicamente por Carlos Linneo en 1758 en la décima edición de su obra Systema naturae, con el nombre binomial de Phasinus gallus, que en latín significa «faisán gallo». Dos años más tarde la especie fue trasladada al género Gallus, creado por Mathurin Jacques Brisson, quedando con el nombre científico actual Gallus gallus.
Se conocen seis subespecies:
 Gallus gallus bankiva - ocupa el sur de Sumatra, Java y Bali;
 Gallus gallus gallus - se extiende por desde el norte de Indochina hasta el este de Tailandia;
 Gallus gallus jabouillei - presente del norte de Vietnam al sur de China (Yunnan suroriental, Guangxi y Hainan);
 Gallus gallus murghi - presente en el norte de la India y la región adyacente de Nepal y Bangladés;
 Gallus gallus spadiceus - se encuentra en Birmania hasta el suroeste de Yunnan, la península malaya y norte de Sumatra.
Gallus gallus domesticus - subespecie doméstica.

Comportamiento

Es una especie gregaria que vive en pequeños grupos jerárquicos de entre dieciséis y cuarenta ejemplares que se desplazan por la selva. Son aves de hábitos diurnos y terrestres que limitan su vuelo para alcanzar los árboles cuando llega el ocaso para dormir, y para escapar del ataque inminente de los depredadores. En cualquier caso sus vuelos son de corta distancia. Los miembros del grupo se comunican entre sí mediante treinta tipos de cacareos diferentes. Sus llamadas de alarma tienen distinta estructura si avisan de depredadores aéreos o terrestres, lo que ayuda a los demás miembros del grupo a reaccionar.

Son omnívoros que se alimentan de insectos, lombrices, semillas, brotes de plantas y frutos, incluidos los de los cultivos como los frutos de las palmeras aceiteras. Pasan más de la mitad del día buscando alimento. Suelen picotear por el suelo y escarbar en busca de lombrices e insectos. Tienen una buena percepción auditiva y visual en un contorno de entre 4 cm y 50 m. Además estas aves están dotadas con un gran sentido del tacto en sus patas. Suelen tomar baños de arena y polvo para limpiar su plumaje y deshacerse de los parásitos.

Suelen criar dos nidadas al año, compuestas de seis a doce huevos, de unos 35 g. La gallina incuba los huevos de diecinueve a veinte días en un agujero somero recubierto de hierba que utiliza como un nido. Sus polluelos son precoces y siguen a su madre al poco de nacer. El gallo protege y alerta al grupo de la presencia de depredadores, como las rapaces. En cuanto escuchan la alarma los polluelos se ocultan en la maleza. Sin embargo solo uno de cada cuatro consigue superar el año de vida. Una vez superada esta edad crítica los gallos y gallinas pueden alcanzar los quince años de edad.

Apareamiento y cría

Los machos realizan una exhibición relacionada con la comida que llevan a cabo cuando encuentran comida en presencia de una hembra. La exhibición se compone de reclamos, cacareos y movimientos llamativos de la cabeza y el cuello. Durante la actuación, el macho recoge y deja caer repetidamente el alimento con el pico. La exhibición suele terminar cuando la gallina coge el alimento del suelo o directamente del pico del macho. A veces acaban apareándose.

En muchas zonas, las aves selváticas rojas se reproducen durante la estación seca del año, normalmente en invierno o primavera. Esto ocurre en partes de la India, Nepal, Tailandia, Vietnam y Laos. Sin embargo, se ha documentado la reproducción durante todo el año en plantaciones de aceite de palma en Malasia y también puede ocurrir en otros lugares. Durante el periodo de puesta, las hembras ponen un huevo cada día. Los huevos tardan veintiún días en desarrollarse. Los polluelos salen del nido en unas cuatro o cinco semanas, y a las doce semanas son expulsados del grupo por su madre, momento en el que comienzan un nuevo grupo o se unen a uno ya existente. La madurez sexual se alcanza a los cinco meses, aunque las hembras tardan algo más que los machos.

Los machos dominantes intentan mantener el acceso reproductivo exclusivo a las hembras, aunque las hembras eligieron aparearse con machos subordinados alrededor del 40% de las veces en un rebaño salvaje en libertad en San Diego, California.

Domesticación
La domesticación se produjo al menos hace siete mil cuatrocientos años a partir de un grupo del área natural de los gallos bankiva y que se difundió en oleadas tanto al este como al oeste. Los primeros restos arqueológicos indiscutidos de pollos domésticos corresponden a unos huesos de aproximadamente 5400 a. C. asociados a un yacimiento en Chishan, en la provincia china de Hebei. En la región del Ganges, en la India, los gallos bankiva eran usados por los humanos ya hace siete mil años. En cambio, no se han identificado pollos domésticos más antiguos de cuatro mil años en el valle del Indo, aunque todavía se debate la antigüedad de los pollos encontrados en las excavaciones de Mohenjodaro. Es muy probable que los primeros gallos y gallinas llegaran a occidente a través de la ruta de la seda. Aproximadamente en el 2000 a. C. llegaron a oriente medio. En 1500 a. C. los pollos habían llegado a Egipto. Enseguida se extendieron por el Mediterráneo, llegando a Grecia y Roma. A la remota península ibérica fueron llevados por los fenicios. En este momento ya se consumía su carne y sus huevos, y además se usaba como ofenda ritual en los cultos religiosos. Aproximadamente a partir del 600 a. C. los pollos fueron llevados más allá de los Alpes y se extendieron por el resto de Europa.

En julio de 2012 el equipo de Alice Storey publicó un estudio genético que tenía como objetivo estudiar el origen y la dispersión de los pollos domésticos. Se tomaron muestras de ADN mitocondrial de huesos antiguos recuperados de Europa, Tailandia, el Pacífico y Chile, y de los yacimientos coloniales españoles de Florida y la República Dominicana, con muestras europeas procedentes de hace mil años y del Pacífico de hace tres mil años. El estudio genético concluye que los pollos domésticos empezaron a exportarse fuera de su región nativa de Asia hace más de tres mil años, y se diseminaron tanto hacia el este, en dirección a Europa, como hacia el oeste en dirección a la Polinesia. Aunque generalmente no se producen híbridos fértiles del gallo bankiva con los otros tres miembros del género, el gallo de Ceilán (G. lafayetii), el gallo gris (G. sonneratii) y el gallo de Java (G. varius), lo que podría indicar un único ancestro de los pollos domésticos, una investigación reciente ha constatado la ausencia del gen de la piel amarilla, que se encuentra en los pollos domésticos, en los gallos bankiva silvestres lo que indicaría hibridación con el gallo gris durante su domesticación.

Estado de conservación
Se cree que los linajes puros de gallo bankiva silvestre están en serio peligro de extinción debido a la hibridación con los pollos domésticos que corrientemente están sueltos en los límites de los bosques.

Referencias

Enlaces externos

 ARKive (videos e imágenes)
 BirdLife

Aves del Sureste Asiático
Aves del subcontinente indio
Taxones descritos por Carlos Linneo
Animales descritos en 1758

Gallus gallus


Don Pepijn Schipper (n. Coevorden, Drente, ), conocido como Don Diablo es un rapero, DJ, productor y compositor de EDM neerlandés. Actualmente ocupa el puesto #9 en la encuesta realizada en 2022 por la revista DJmag, y obtuvo el puesto #44 en el sitio web 1001tracklists en 2022. En 2015, fundó su sello discográfico "HEX₳GON" y el show de radio con el mismo nombre.

Biografía
A una edad temprana siempre mantuvo interés por la música y el cine. También realizó cortometrajes que fueron difundidos por el canal musical The Box y suele producir bandas sonoras para películas.

Después de firmar su primer contrato discográfico a la edad de quince años, Don Diablo ha tenido la oportunidad de crecer como productor, y a su vez, como artista. Su música es una mezcla de estilos musicales que van desde el electro al dubstep pasando por el downtempo al drum & bass. A finales de 2005, Don Diablo fundó su propio sello discográfico, Sellout Sessions, y comenzó a perfeccionar su sonido propio y elevar su perfil en su país natal, los Países Bajos. El éxito le siguió poco después con lanzamientos como "Blow", "Who's Your Daddy", "Pain Is Temporary", "Pride Is Forever" y "Hooligans" con la colaboración del rapero británico Example. "Blow" fue el primer sencillo lanzado a nivel internacional con licencia en más de diez territorios después de la creación, causó un gran revuelo en la escena dance.

Don Diablo también se las arregló para completar sus estudios y logró obtener un título de licenciatura en periodismo. Además de su propia carrera como artista, Don Diablo también ha producido para otros artistas. Se destaca su coproducción junto a Diplo titulada "Make You Pop".

También trabajó en el 2010 con la banda canadiense Dragonette, con quien lanzó el sencillo "Animale". En 2011, gracias al polémico video musical, no sólo resultó un éxito radial, sino también causó sensación en YouTube y también fue nominado a "Mejor video del año" en los Premios TMF y nominado en la categoría de "Mejor Artista Dance" en los premios anuales 3FM.

En 2014, Diablo estrenó su nuevo concepto visual "The Hexagon" con la compañía visual con sede en Los Ángeles "VSquared Labs".
En octubre de 2014, Diablo hizo su debut en la lista de los mejores 100 DJs de DJ Mag en el No. 82. En octubre de 2015, Diablo fue galardonado con el premio "Mejor escalador del año" de DJ Magazine, saltando 52 lugares hasta el número 30 en la lista de los 100 mejores DJs para 2015.

Don Diablo lanzó su sello discográfico Hexagon. El primer lanzamiento, un remix de Alex Adair "You Make Me Feel Better Better", contenía el no. 1 puesto en Beatport durante casi dos semanas y el sello fue galardonado como "el mejor nuevo sello del año". En 2015, su programa de radio HEXAGON se emitió en más de 35 países y ocupa una posición top 10 en la sección de podcast de iTunes cada semana.

Don Diablo ha dirigido todos sus propios videos musicales. En 2013, Warner Brothers le pidió a Don que creara la canción de todo el mundo para el aclamado juego Batman: Arkham Origins. La pista y el video que lo acompaña se convirtieron en un éxito viral; fue visto millones de veces en YouTube. En 2015, Diablo colaboró con su compañero DJ holandés Tiësto en la canción "Chemicals" con la voz del cantante y productor danés Thomas Toreasen. A lo largo de 2016 y 2017, Diablo realizó una gira por toda Europa, que se agotó en varios lugares, incluido su primer espectáculo en Londres.

En 2017, Don Diablo lanzó Past.Present.Future, una compilación de canciones previamente lanzadas, que incluyen éxitos "On My Mind", "Cutting Shapes", y su colaboración con Tiësto "Chemicals" con Thomas Troelsen. Don Diablo ganó el premio Highest Future House de DJ Mag's 2017 y ocupó el puesto número 11 en la encuesta Top 100 de DJ Mag.

En noviembre de 2017, anunció a través de Instagram que lanzará su primer álbum en 10 años, titulado "FUTURE", acompañado por una gira mundial que comenzará durante el primer año, la mitad de 2018.

El 9 de febrero de 2018 lanzó su tercer Álbum de estudio titulado: FUTURE, donde destacan temas como "Everybody's Somebody", "People Say, "Head Up"; entre otros. También realizó una Gira del Álbum por Norteamérica.

Discografía

Álbumes de estudio
 2004: 2Faced
 2008: Life is a Festival, banda sonora de Radeloos
 2016: Don Diablo presents The Hex Files
 2017: Past.Present.Future
 2018: Reconstructions
 2018: FUTURE
 2021: FOREVER
 2022: BACK TO THE FUTURE (EP)

Compilaciones
 Sellout Sessions 01 (2005)
 Sellout Sessions 02 (2008)
 Drive By Disco (Mixed By Don Diablo) (2009)
 Sellout Sessions 03 (2009)
 Don Diablo presents The Hex Files 002 (2016)

Sencillos de Don Diablo
 1997: First DJ on the Moon EP
 1997: Floating Into Hyperspace EP
 1997: The Return

 1998: After Midnight
 1998: Batteries Not Included
 1998: Entering The Twilight Zone EP
 1998: Is Anybody Out There?
 1998: Science Fiction
 1998: The Arrival
 1998: The Beginning

 1999: Space Station Docking

 2000: Casa Del Diablo
 2000: Cosmic Flight
 2000: Elysium
 2000: Return Of The Psycho (Pt. One)
 2000: The Sound Of Fear

 2001: Crowd Pleaser
 2001: Endless Voyage
 2001: On My Own
 2001: Take Off

 2002: Cloud Nr. 9
 2002: Is Anybody Out There
 2002: Red Planet

 2003: Amplified Heart
 2003: Anarchy
 2003: Cockroaches
 2003: Control (con Klitzing)
 2003: Shock!
 2003: The Next Life
 2003: Useless

 2004: Fade Away (Round & Round) (Pt. 1 & 2)

 2005: Blow (con The Beatkidz)
 2005: Wet Smoke 2006: Easy Lover (presents Divided)
 2006: I Need to Know 2006: Rock Music 2006: Who's Your Daddy 2007: Stand up 2007: Pain is Temporary, Pride is Forever 2007: This Way (Too Many Times) 2007: Give It Up (vs. Public Enemy)

 2008: I am not from France
 2008: Music Is My Life
 2008: We'll Dance (Moke vs Don Diablo)
 2008: Audio Endlessly (feat. Viva City)

 2009: Hooligans (con Example) [Sony Music]
 2009: Disco Disco Disco [Sony Music]
 2009: To cool for school [Sony Music]

 2010: Monster EP (con Sidney Samson) [Sony Music]
 2010: Make You Pop (con Diplo) [Mad Decent]
 2010: Who's your Daddy U.K. Version 2010: Animale (con Dragonette) [Sony Music]

 2011: Mezelluf (con Noisia) [Sony Music]

 2012: The Golden Years [Sony Music]
 2012: Silent Shadows [Sony Music]
 2012: Lights Out Hit (ft. Angela Hunte) [Sony Music]
 2012: The Artist inside (ft. JP Cooper) [Sony Music]
 2012: M1 Stinger (ft. Noonie Bao) [Sony Music]

 2013: Give it All (ft. Alex Clare & Kelis) [Sony Music / Protocol Recordings]
 2013: Starlight (Could You Be Mine) (con Matt Nash y Noonie Bao) [Axtone Records]
 2013: Prototype (con CID) [Protocol Recordings]
 2013: Edge Of The Earth [Sony Music]
 2013: Origins [Spinnin' Records]
 2013: Got Me Thinkin (con CID) [X]

 2014: Black Mask [Spinnin' Records]
 2014: Knight Time [SPRS]
 2014: AnyTime [SPRS]
 2014: Back In Time [SPRS]
 2014: Back To Life [Spinnin' Records]
 2014: Generations [Size Records]
 2014: King Cobra (Tomorrowland Edit) (con Yves V) [Smash The House]

 2015: Chain Reaction (Domino) (ft. Kris Kiss) [Spinnin' Records]
 2015: My Window (ft. Maluca) [Spinnin' Records]
 2015: Universe (ft. Emeni) [Spinnin' Deep]
 2015: On My Mind [Spinnin' Records]
 2015: Chemicals (con Tiësto ft. Thomas Troelsen) [Musical Freedom]
 2015: Got The Love (con Khrebto) [Spinnin' Records]
 2015: I'll House You (ft. Jungle Brothers) [Spinnin' Records / HEXAGON]

 2016: Tonight [Spinnin' Records / HEXAGON]
 2016: Silence (ft. Dave Thomas Jr.) [Spinnin' Records / HEXAGON]
 2016: Drifter (ft. DYU) [Spinnin' Records / HEXAGON]
 2016: What We Started (con Steve Aoki x Lush & Simon) (Neon future III / FORΞVΞR DΞLUXΞ ΞDITION) [Spinnin' Records / HEXAGON]
 2016: Cutting Shapes [Spinnin' Records / HEXAGON]

 2017: Switch [Spinnin' Records / HEXAGON]
 2017: Children Of A Miracle (con Marnik) [Spinnin' Records / HEXAGON]
 2017: Echoes (Future) [HEXAGON]
 2017: Save A Little Love (Future Deluxe) [HEXAGON]
 2017: Momentum (Future Deluxe) [HEXAGON]
 2017: Don't Let Go (ft. Holly Winter) (Future) [HEXAGON]
 2017: Take Her Place (ft. A R I Z O N A) (Future / FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2017: You Can't Change Me (Future) [HEXAGON]

 2018: People Say (ft. Paije) (Future) [HEXAGON]

 2018: Everybody's Somebody (Future) (ft. BullySongs) [HEXAGON]
 2018: Higher (ft. Betty Who) (Future) [HEXAGON]
 2018: Head Up (ft. James Newman) (Future) [HEXAGON]
 2018: Give Me Love (ft. Calum Scott) (Future) [HEXAGON]
 2018: Believe (ft. Ansel Elgort) (Future Deluxe) [HEXAGON]
 2018: Wake Me When It's Quiet (con Hilda) [HEXAGON]
 2018: Anthem (We Love House Music) [HEXAGON]
 2018: Heaven to Me (ft. Alex Clare) [HEXAGON]
 2018: Survive (ft. Emeli Sandé & Gucci Mane) (FORΞVΞR) [HEXAGON]
 2018: I Got Love (ft. Nate Dogg) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]

 2019: You're Not Alone (ft. Kiiara) [HEXAGON]
 2019: Fever (con CID) [HEXAGON]
 2019: Brave (con Jessie J) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2019: The Rhythm [HEXAGON]
 2019: The Same Way (ft. KiFi) [HEXAGON]
 2019: Never Change (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2019: UFO (con Eldzhey) [HEXAGON]
 2019: Congratulations (ft. Brando) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]

 2020: We Are Love [HEXAGON]
 2020: Bad (ft. Zak Abel) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON / Virgin]
 2020: Inside My Head (Voices) [HEXAGON]
 2020: Thousand Faces (feat. Andy Grammer) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2020: Mr. Brightside [HEXAGON]
 2020: Johnny's Online (como Camp Kubrick) [HEXAGON]
 2020: Invincible [HEXAGON]
 2020: Kill Me Better (con Imanbek ft. Trevor Daniel) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]

 2021: Into The Unknown (FORΞVΞR) [HEXAGON]
 2021: Problems (con JLV ft. John K) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2021: Falling For You (como Camp Kubrick) [HEXAGON]
 2021: Eyes Closed [HEXAGON]
 2021: Whatchu Do (como Camp Kubrick) [HEXAGON]
 2021: Borderlines (como Camp Kubrick) [HEXAGON]
 2021: Through The Storm (ft. Jordan Mackampa) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2021: Too Much To Ask (con Ty Dolla $ign) (FORΞVΞR) [HEXAGON]
 2021: Tears For Later (con Galantis) (FORΞVΞR) [HEXAGON]
 2021: Hot Air Balloon (con AR/CO) (FORΞVΞR DΞLUXΞ ΞDITION) [HEXAGON]
 2021: Cheque (FORΞVΞR) [HEXAGON]

 2022: Face To Face (feat. WATTS) [HEXAGON]
 2022: Gotta Let U Go (con Dominica) [HEXAGON / We Play]
 2022: Day & Nite [HEXAGON]
 2022: No Piensa (con PnB Rock y Boaz van de Beatz) [HEXAGON]
 2022: All That You Need [HEXAGON]
 2022: 2 Things [HEXAGON]
 2022: Journey (Take Me Where You Wanna) [HEXAGON]

 2023: Not Alone (con Azteck) [HEXAGON]
 2023: Beyond The Fire [HEXAGON]
 2023: Lucky Ones [HEXAGON]
 2023: Feelings [HEXAGON]
 2023: Deja Vu [HEXAGON]
 2023: Golden [HEXAGON]
 2023: Stop Loving You [HEXAGON]
 2023: Still Cutting Shapes [Spinnin' Records / HEXAGON]
 2023: Futute Rain (con Tony Ann) [HEXAGON]
 2023: Set Me Free (con RetroVision) [HEXAGON]
 2023: Let Me Love You [Spinnin' Records / HEXAGON]

 Remixes

1997:
 Fast Forward – "The Beginning"
 Thulsa Doom – "Totally Fixed" (Don Diablo's Re-Fix)
 Yahel – "Devotion"

2001:
 Vincent De Moor Presents Emerald – "Fly Away"

2002:
 Misja Helsloot vs Roland K. feat. Nicole – "A Different World"
 Svenson & Gielen – "Answer The Question"
 Mutant DJ with MC Magika – "Hardhouse Raver"
 Yahel – "Voyage"

2003:
 Savier & Blue Bourbon – "Should I"
 Sean Paul – "Get Busy"
 Laidback Luke – "We Can Not Get Enough"
 Kayestone – "Backburner"
 Dahlio Bond – "Amplified Heart"
 Misja Helsloot – "Different World"

2004:
 Dance Valley – "A Decade Of Dance"
2005:
 Voidd – "Better Girl"

2006:
 MV – "Mr. Roboto"
 2Faced – "Rock Music"
 Coburn – "We Interrupt this Program"
 Kraak & Smaak – "Money in the Bag"

2007:
 Mason – "You Make Me Wanna Dance"
 Imaginary Friends – "Cheap Rocks"
 The Young Punx – "Your Music is Killing Me"
 Laidback Luke – "Rocking with the Best"
 Newton Faulkner – "Dream Catch Me"
 Ron Carroll – "Walking Down the Street"

2008:
 Kaseo – "Kill the Radio"
 Tami Chynn ft. Akon – "Frozen"

2009:
 Rudenko – "Everybody" J-Cast – "It's Just Begun Again"
 Kaz James ft. Macy Gray – "Can't Hold Back"
 Tila Tequila – "I Love U"
 Walter Meego – "Girls"
 The BPA feat. Iggy Pop – "He's Frank"
 Plump DJs – "Beat Myself Up" Cagedbaby – "Forced"
 Stereo MCs – "Show Your Light"
 Dragonette – "Fixin to Thrill"
 Little Man Tate – "I Am Alive"
 Scanners – "Salvation"
 Linus Loves – "Prom Night"
 One eskimO – "Givin' Up"
 Heads We Dance – "When the sirens sound"
 Plushgun – "Crush to pass the time"
 Example – "Girl Can't Dance"
 Frankmusik – "Confusion Girl"
 Master Shortie – "Dead End"
 Mika – "We Are Golden"
 Bimbo Jones – "And I Try"

2010:
 Cassius – "Youth, Speed, Trouble, Cigarettes"
 The Chemical Brothers – "Swoon"
 Gorillaz – "Superfast Jellyfish"
 Rox – "I don't believe"
 Pete Lawrie – "All that we keep"

2011:
 Larry Tee Ft. Roxy Cottontail – "Let's Make Nasty (Bounce Little Kitty)"
 ''Tinie Tempah feat. Wiz Khalifa – "Till I'm gone"

2012:
 Justice – "Helix"
 Karin Park – "Thousand Loaded Guns"
 Martin Solveig feat. Dragonette – "Hello" (Why Are We Whispering Remix)
 The Other Tribe – "Skirts"
 Labrinth – "Express Yourself"

2013:
 Don Diablo feat. Alex Clare & Kelis – "Give It All" (Don Diablo & CID Remix)
 Nicky Romero vs. Krewella – "Legacy" (Don Diablo Remix Ft. Sway)

2014:
 The Chainsmokers feat. SirenXX – "Kanye"
 R3hab & NERVO feat. Ayah Marar – "Ready for the Weekend"
 Krewella – "Enjoy the Ride"
 Ed Sheeran – "Don't"
 Jessie J feat. 2 Chainz – "Burnin' Up"

2015:
 Marlon Roudette – "When the Beat Drops Out" (Don Diablo Remix)
 Alex Adair – "Make Me Feel Better" (Don Diablo & CID Remix)
 Lethal Bizzle – "Fester Skank" (Don Diablo Remix)
 King Arthur feat. Michael Meaco – "Belong To The Rhythm (Don Diablo Edit)"
 Blonde feat. Alex Newell – "All Cried Out" (Don Diablo Remix)
 Madonna – "Ghosttown" (Don Diablo Remix)
 Rudimental feat. Foy Vance – "Never Let You Go (Don Diablo Remix)"
 Tiësto & KSHMR feat. Vassy – "Secrets" (Don Diablo Remix/'VIP' Remix)
 The Wombats – "Give Me A Try (Don Diablo Remix)"

2016:
 Birdy – "Keeping Your Head Up (Don Diablo Remix)"
 L'Tric ft. Miles Graham – "1994  (Don Diablo Edit)"
 Bastille -- "Good Grief (Don Diablo Remix)"
 Rihanna - "Love On The Brain (Don Diablo Remix)"
 DJ Snake - "Let Me Love You (Don Diablo Remix)"
 Don Diablo, Steve Aoki, Lush & Simon - "What We Started (feat. Bullysongs) [Don Diablo's VIP Mix]"

2017:
 The Chainsmokers & Coldplay - "Something Just Like This (Don Diablo Remix)"
 Zonderling – Tunnel Vision (Don Diablo Extended Edit)
 Don Diablo & Marnik – Children Of A Miracle (Don Diablo VIP Mix)
 Don Diablo, Arizona – Take Her Place (Don Diablo VIP Mix)

2018:
 Kygo, The Night Game - Kids in Love (Don Diablo Remix)
 Diplo, MØ – Sun In Our Eyes (Don Diablo Remix)
 Martin Garrix, Khalid – Ocean (Don Diablo Remix)
 Don Diablo – Survive (Don Diablo VIP Mix)
 Big Pineapple – Another Chance (Don Diablo Chill Mix)
2019:
 Panic! At The Disco – High Hopes (Don Diablo Remix)
 Mark Ronson & Miley Cyrus – Nothings Breaks Like a Heart (Don Diablo Remix)
 Keanu Silva – King of My Castle (Don Diablo Edit)
 Don Diablo & Kiiara – You're Not Alone (Don Diablo VIP Mix)
 Ellie Goulding - Sixteen (Don DIablo Remix)
 Don Diablo, Jessie J - Brave (Don DIablo VIP Mix)
 Zara Larsson - All The TIme (Don DIablo Remix)
 David Guetta, Martin Solveig - Thing For You (Don DIablo Remix)

2020:

 Don Diablo – Congratulations (Don Diablo VIP Mix)

 Anne Marie – Birthday (Don Diablo Remix)
 Ali Gatie – What If I Told You That I Love You (Don Diablo Remix)
 Danny Olson, JT Roach - Hide And Seek (Don Diablo Remix)
 Robin Schulz, Wes - Alane (Don DIablo Remix)
 Don Diablo, Imanbek feat. Trevor Daniel - Kill Me Better (Don DIablo VIP Mix)
 Dua Lipa feat. DaBaby - Levitating (Don DIablo Remix)
2021:

 Don Diablo, Ty Dolla $ign - Too Much To Ask (Don DIablo VIP Mix)
 Don Diablo, Freak Fantastique - Stay Awake (Don Diablo VIP Mix)

2022:

 The Chainsmokers - High (Don DIablo Remix)
 Don Diablo - Day & Nite (Don DIablo VIP Mix)
 Avicii, Sebastien Drums - My Feelings For You (Don Diablo Remix)
 Don Diablo ft. PnB Rock y Boaz van de Beatz - No piensa (Don Diablo VIP Mix)

Discográfico

Hexagon Records
 2015: Alex Adair - Make Me Feel Better (Don Diablo & CID Remix)
 2015: King Arthur feat. Michael Meaco – Belong To The Rhythm (Don Diablo Edit)
 2015: The Wombats - Give Me A Try (Don Diablo Remix)
 2015: Corderoy - Close Your Eyes (Don Diablo Edit)
 2015: King Arthur feat. Michael Meaco - Praise You
 2015: Madison Mars - Theme O
 2015: Toby Green - Move
 2016: Jonas Aden - Temple
 2016: Khrebto - Mad Citizens
 2016: NOMNOM - Ok
 2016: Sagan - Boomers
 2016: Madison Mars - Milky Away
 2016: King Arthur - Right Now feat. TRM
 2016: Toby Green - Everytime
 2016: Madison Mars - Venus
 2016: Madison Mars - Doppler
 2016: Madison Mars - Ready Or Not
 2016: Bali Bandits - Toink
 2016: Sagan - Happiness
 2016: King Arthur - Right Now feat. TRM (Sam Feldt Edit)
 2016: Corderoy - No Bounds feat. Ghost Singer
 2016: Raven & Krey X Steff Da Campo - Chicago
 2016: PBH & Jack Shizzle - Call Me feat. Michelle McKenna
 2016: Holl & Rush - Lift Me Up
 2016: Zonderling - Be Free
 2016: Ryan Blyth x Duane Harden - Back To You
 2016: Madison Mars - Future Is Now
 2016: Bali Bandits - Smack!
 2016: La Fuente - 4000
 2016: Paul Mayson - Let Me Go
 2016: Paul Mayson - I'll Come Back feat. Edison Effect
 2016: Paul Mayson - Lock It Up feat. Brave
 2016: Paul Mayson - Run (Feat. The Hi)
 2016: King Arthur - Last Hour
 2016: King Arthur - Mayday (feat. Kozze)
 2016: King Arthur - Pretty Young Money
 2016: King Arthur - Belong To The Rhythm (Feat. Michael Mecaco) (Don Diablo Edit)
 2016: King Arthur - Talking About Love feat. TRM
 2016: King Arthur - Living For You (Feat. Francis)
 2016: King Arthur - Believe In The Kingdom
 2016: King Arthur - Praise You (Chill Mix) feat. Michael Meaco
 2016: King Arthur - Keep This Love feat. Underdown
 2016: King Arthur - House Is Fire feat. TRM
 2016: King Arthur - Never Gonna Give Up feat. Katie Sky
 2016: King Arthur - All We Need feat. Underdown
 2016: Toby Green - High
 2016: Vndy Vndy - I Was Here
 2016: Going Deeper - Little Big Adventure
 2016: Bali Bandits - Oh Baby (Croissant)
 2016: Ryan Blyth x Duane Harden - Back To You (Don Diablo Edit)
 2016: Dropgun x Farleon - Fever
 2016: Jonas Aden x Brooks - Take Me Away
 2016: Landis - Remedy
 2016: Madison Mars - Put Em Up
 2016: Sagan - Tell Me Why
 2016: Bali Bandits - Kaboom
 2016: Mike Mago - Secret Stash (Feat. Dragonette)
 2016: Dropgun - Nobody
 2016: Mike Mago - Secret Stash (Feat. Dragonette) [The Him Remix]
 2017: La Fuente - Capitol
 2017: Stadiumx - The Fall (feat. BISHØP)
 2017: LOUD ABOUT US! - Drums
 2017: Retrovision - Waves
 2017: PBH & Jack Shizzle - Bring The House
 2017: DJ Licious - I Can't Stop
 2017: CID - Creeping
 2017: Sumera - Faith
 2017: Sagan- Tempus
 2017: Tom Reason - Rather Do
 2017: We Are Loud - Tandori Groove
 2017: Needs No Sleep - Won't Stop
 2017: Swanky Tunes & Going Deeper - One Million Dollars
 2017: Retrovision x Raven & Kreyn - Nobody Else
 2017: Dropgun - Nothing New (ft. Kaleena Zanders)
 2017: Tom & Jame x Holl & Rush - Move On Me
 2017: Raven & Kreyn x Matroda - Back To The Future
 2017: Bart B More x Steff Da Campo - Jump!
 2017: Sagan - Banzai
 2017: Zonderling - Particle Parade
 2017: Zonderling - Annalog
 2017: Zonderling - Tunnel Vision (Don Diablo Edit)
 2017: Zonderling - Landslide
 2017: StadiumX - It's Not Right But It's Ok
 2017: Swanky Tunes, Going Deeper - Time
 2018: Steff Da Campo, Siks - Make Me Feel
 2018: Gabry Venus - Bongo Gongo
 2018: Matt Nash x Bout - You
 2018: Lush & Simon - Feel So
 2018: Dropgun - Dark Sky
 2018: CID - Werk
 2018: CID & Sizzy Rocket - Bad For Me
 2018: CID - I Miss You
 2018: Big Pineapple - Another Chance (Don Diablo Edit)
 2018: Zonderling x Don Diablo - No Good
 2018: StadiumX & Metrush - Do It Again (feat. BISHOP)
 2018: Keanu Silva - Fine Day
 2018: Lumberjack & Hreez - Forever
 2018: Asketa & Natan Chaim - Give You Everything
 2018: Mo Falk - Mammut
 2018: LOUD ABOUT US! - Kill The Beat
 2018: Jordan Jay & Arena - Perfect
 2018: Carta x SMACK - Hit The Deck (feat. Kris Kiss)
 2018: Matt Nash & FaderX - In My Head
 2018: Bali Bandits - All On You (If I Can See)
 2018: G-Pol - No Fear
 2018: Holl & Rush x Raven & Kreyn - Faith (feat. Ryan Konline)
 2018: Going Deeper & Cybermode - Trump It
 2018: Matt Nash & Venomenal - Feel It
 2018: Swanky Tunes - In The Club
 2018: Big Pineapple - Another Chance (Keanu Silva Remix)
 2018: Big Pineapple - Another Chance (Don Diablo Chill Remix)
 2018: Steff Da Campo - Deeper Love
 2018: DJ Licious - I'll Be Alright
 2018: Zen/It - Rêve
 2018: Jonas Aden - I Dip You Dip
 2018: JLV - Something Good
 2018: Jordan Jay - Never Know
 2018: Retrovision - Get Up
 2018: Retrovision - Found You
 2018: Retrovision - Bring The Beat Back
 2018: Dropgun - Drought (ft. Nevve)
 2018: Steff Da Campo - September (ft. Dave Crusher)
 2018: Zen/It - Hypnosive
 2018: La Fuente - Shimmy Shaker
 2018: Keanu Silva - Fine Day (BLR Remix)
 2019: Promise Land - I N33D
 2019: Siks x Adrien Toma - Get Funky
 2019: Jonas Aden - Meet You
 2019: Krosses - On Your Own
 2019: High 'N' Rich - No Limits
 2019: Keanu Silva - King Of My Castle (Don Diablo Edit)
 2019: PBH & Jack Shizzle - I Wanna Know You
 2019: Raven & Kreyn - Bad Boy
 2019: Sagan - Robo
 2019: Jaded & Black Caviar x Antony & Cleopatra - Slippin'
 2019: JLV - Want Love
 2019: Dropgun x Sebastian Wibe - I'm On My Way
 2019: Matt Nash - Belong
 2019: RetroVision - House Beat
 2019: King Arthur x Big Pineapple - Friends
 2019: Lady Bee feat. Miles Hi - Prove You Wrong
 2019: Don Diablo x CID - Fever
 2019: Asketa & Natan Chaim x Mo Falk - Little Love
 2019: Asketa & Natan Chaim - Real Love (feat. Kyle Reynolds)
 2019: Asketa & Natan Chaim - Bring The Funk Back
 2019: Zent/It - Wave
 2019: La Fuente - So Fat
 2019: JLV - Cyber Heart
 2019: Charles B & VCTRY - Funky Sound
 2019: Oliver Wade - Twisted
 2019: PBH & Jack Shizzle - Future Sound
 2019: Don Diablo feat. Jessie J - Brave
 2020: Jordan Jay & Mo Falk - Back in Time
 2020: Don diablo feat . Andy Gamer - Thousand Faces
 2020: Don diablo - Mr.Brightside

Premiaciones y nominaciones

Nominaciones
TMF Awards 2007
 Mejor video musical - "Pain is Temporary, Pride is Forever"
TMF Awards 2011
 Mejor video musical - "Don Diablo con Dragonette - Animale"
3FM Awards 2011
 Mejor Artista Dance | nominado junto a Tiesto, Armin van Buuren y Sander Kleinenberg"
3FM Awards 2012
 Mejor Artista Dance | nominado junto a Tiesto, Armin van Buuren y Afrojack"

Ganador
Esquire Best Dressed Man Awards 2007
 Personaje Holandés Mejor Vestido del Año

GKA Awards 2007
 DJ holandés más popular

Ranking Djmag

Ranking 101 Djs 1001 Tracklist

Referencias

Enlaces externos

Disc jockeys de los Países Bajos
Productores discográficos de los Países Bajos
Remixers

Don Diablo (DJ)


Kineski čajevac (lat. Camellia sinensis), korisni vazdazeleni grm iz porodice čajevki čija je postojbina jugoistočna i južna-središnja Kina. Vrsta je prvi puta opisana kao Thea sinensis L..

Uzgaja se zbog poznatog napitka koji ima stimulativna i ljekovita svojstva, a poznat je, ovisno o podvrsti kao kineski i indijski čaj.  Stoljećima se smatralo da crni i zeleni čajevi potječu iz različitih biljaka. U stvari potječu od iste vrste, ali crni čaj je fermentiran.

Podvrste
 Camellia sinensis var. assamica (J.W.Mast.) Kitam.
 Camellia sinensis var. dehungensis (Hung T.Chang, H.S.Wang & B.H.Chen) T.L.Ming
 Camellia sinensis var. pubilimba Hung T.Chang

Sinonimi

Izvori

Čajevke

Kineski čajevac


Cuenca, İspanya'nın Kastilya-La Mancha özerk bölgesinde şehir. 2018 itibarıyla nüfusu 54.898 kişidir. Şehir UNESCO'nun Dünya Mirası listesinde yer almaktadır.

Mutfak
Kuzu bağırsağından yapılan ve kokoreçe benzeyen zarajo adlı yöreye özgü yemeği ile ünlüdür.

Galeri

Kaynakça

Dış bağlantılar
 Resmi İnternet Sitesi

İspanya'daki Dünya Mirasları
İspanya'daki şehirler
Kastilya-La Mancha
Cuenca ili

Cuenca, İspanya


Olga Sergueievna Bodrova (en ), née le  à Moscou, en Russie, est une actrice russe de théâtre et de cinéma. Elle est la fille de l'acteur décédé en 2002 Sergueï Sergueïevitch Bodrov.

Biographie
Olga Bodrova est née dans la famille de comédiens de Sergueï Sergueïevitch Bodrov et Svetlana Alexandrovna Bodrova, et est la petite-fille du réalisateur Sergueï Vladimirovitch Bodrov. Elle perd son père à l'âge de quatre ans lors de l' (2002). Après avoir obtenu son diplôme de lycée, elle entre à l'Académie russe des arts du théâtre (2016), où elle étudie dans l'atelier de . En 2017, elle joue dans le court-métrage La Confrontation et, en 2020, elle joue un petit rôle dans le film Kalachnikov , dont le producteur était son grand-père Sergueï Vladimirovitch Bodrov. Mais la version finale du film ne reprend pas l'épisode où elle joue. En 2020, Bodrova est passée pour la première fois à l'avant-scène : elle a organisé la cérémonie de clôture du festival Zerkalo.

En 2021, a eu lieu la première du film de Nikolaï Khomeriki More volnouietsia raz, dans lequel Bodrova joue le rôle principal.

Famille
En 2020, Bodrova s'est mariée avec l'acteur Sergueï Bystrov.

Prix et récompenses
 En 2021, Olga Bodrova reçoit le prix du meilleur rôle féminin lors du festival de cinéma Kinotavr 2021 pour le film More volnouietsia raz (réalisateur : Nikolaï Khomeriki).

Références

Liens externes

Actrice russe du XXIe siècle
Étudiant de l'Académie russe des arts du théâtre
Naissance en juillet 1998
Naissance à Moscou

Olga Bodrova


Gilbert Brown ist der Name folgender Personen:

* Gilbert Brown (Footballspieler) (* 1971), amerikanischer American-Football-Spieler
 Gilbert Brown (Basketballspieler) (* 1987), amerikanischer Basketballspieler

Gilbert Brown


La classe Kasturi est une classe de corvettes de la marine royale malaisienne. La classe comprend deux navires, KD Kasturi et KD Lekir constituant le 22ème escadron de corvettes, leur port d'attache étant Lumut.

Les deux navires de la classe portent le nom de Hang Kasturi et Hang Lekir, deux personnages du récit épique malais du XVe siècle . Ils partagent cette caractéristique avec les deux frégates de classe Lekiu, KD Lekiu et KD Jabat, ainsi que l'ancienne frégate devenue navire-école KD Hang Tuah, qui portent également le nom de personnages de l'épopée.

Après environ 25 ans de service, ils ont subi une vaste modernisation connue sous le nom de Service Life Extension Program (SLEP) à partir de 2009, leur permettant d'être employés pendant encore 10 à 15 ans. Ils ont depuis repris du service actif.

Les navires

Voir aussi

Notes et références

Liens internes
 Liste des navires de la marine royale malaisienne

Classe de corvette
Marine royale malaisienne
Navire construit en Allemagne

Classe Kasturi


Drapelul Siriei a fost adoptat la data de 30 martie 1980. Acesta a fost și steagul Republicii Arabe Unite.
Culorile steagiului sunt acelea ale Panarabismului, găsite de asemenea și pe steagurile Yemenului, Egiptului și Irakului. Cele două stele reprezintă Egiptul și Siria, cele două națiuni care au fost parte a Republicii Arabe Unite.

Drapele istorice

Note

Siria
Siria

Drapelul Siriei


Der Brennende Rübling (Collybiopsis peronata, Syn. Marasmiellus peronatus, Gymnopus peronatus, Marasmius urens) ist eine Pilzart aus der Familie der Omphalotaceae.

Merkmale

Makroskopische Merkmale
Der Hut misst 3 bis 6 cm im Durchmesser, ist jung konvex (schirmförmig) geformt und verflacht sich später. Er ist hygrophan. Die Hutoberfläche nimmt Farbtöne an, die von ocker bis rötlich-braun oder auch gelb reichen, zur Hutmitte hin verdunkelt sich die Farbe in ein entsprechend dunkleres Braun. Ihre Beschaffenheit ist glatt, feinfaserig, trocken und weist einen gewissen Glanz auf. Der Hutrand verläuft glatt, im Laufe des Alterns setzt oft eine Wellung ein, die Textur ist dann gerieft oder sogar grob-gezahnt.

Die Lamellen sind jung blass-gelb, dunkeln beim Ausreifen des Fruchtkörpers zu creme-braun nach. Sie sind entfernt stehend dick, gegabelt und frei, also nicht am Stiel angewachsen.

Der Stiel ist 3 bis 7,5 cm lang und 0,3 bis 0,8 cm dick und in der unteren Hälfte schmutzig weiß bis gelb zottig behaart. Ein Annulus in Form eines Rings oder Ringrests ist nicht vorhanden. Die Oberfläche ist teilweise grobfaserig, ansonsten glatt. Die Stielbasis weist kaum Verdickungen auf.

Das Fleisch ist blassgelb und in der Konsistenz weich-schammig. Der Geruch ist schwach, unspezifisch, der Geschmack gewöhnlich scharf, selten auch mild oder säuerlich.

Das Sporenpulver ist weiß und inamyloid.

Mikroskopische Merkmale
Die elliptischen bis subzylindrischen, glatten Sporen messen (6,5–)8,5–10(–11,5) × 3–4(–4.5) µm und sind inamyloid. Der Länge-Breite-Quotient beträgt (1,9) 2,1–2,7, im Mittel um 2,4.

Die Basidien sind viersporig, schmal keulenförmig, messen 20–40(–50) × 6–8 µm und haben eine Basalschnalle.

Die Lamellenschneide ist steril, also ohne ausgreifende Basidien, sondern durch Cheilozystiden besetzt. Diese messen 25–90 × (4,0–)4,6–5,0 µm, sind schmal keulenförmig und haben apikal gewöhnlich einen oder mehrere warzen- bis fingerförmige Auswüchse. Diese Auswüchse messen gewöhnlich 2,0–10(–20) × 1,0–5,0 µm. Falls aber nur ein Auswuchs vorhanden ist, kann dieser auch fadenförmig und bis zu 100 µm lang und 2,0–2,5 µm breit sein. Die Zellwände der Auswüchse sind dünn und farblos-hyalin bis gelblich.

Pleurozystiden treten nur zerstreut auf der Lamellenfläche auf, sind schmal keulenförmig, messen 60–70 × 6,0–8,0 µm und haben dünne, farblos-hyaline bis gelbliche Zellwände.

Die Hutdeckschicht besteht aus liegenden, radial verlaufenden Hyphen von 3,0–8,0 µm Breite. Die Zellwände sind dünn, farblos-hyalin oder blass braun, glatt oder gelb inkrustiert. Die Endzellen der Hutdeckschichthyphen zeigen teils zerstreute, warzenartige Ausstülpungen, seltener auch längere, zylindrische Auswüchse.

Caulozystiden sind im oberen Bereich des Stiels häufig. Sie sind bis 7 µm breit, mehr oder weniger dünnwandig, farblos-hyalin bis etwas bräunlich, zylindrisch, manchmal auch eingeschnürt, teils auch mit Anschwellungen und zeigen manchmal warzenartige Auswüchse.

Schnallen treten in allen Geflechten zahlreich auf.

Artabgrenzung
Aufgrund der sich beim Ausreifen braun verfärbenden Lamellen besteht Verwechslungsgefahr mit braunsporigen Lamellenpilzen, wenn kein Sporenabdruck erstellt wird. Ähnlich kann auch Gymnopus impudicus aussehen, der sich aber durch einen unangenehmen Geruch nach faulendem Kohl erkennen lässt. Verwechslungsgefahr besteht aufgrund der entfernt stehenden Lamellen eventuell mit dem ebenfalls hygrophanen Rötlichen Lacktrichterling (Laccaria laccata), obwohl sich die Spezies in der Farbe deutlich unterscheiden.

Ökologie und Phänologie
Die in Mitteleuropa häufige Art kommt in Laub- und Nadelwäldern vor. Der Pilz wächst auf gefallenem Laub, beispielsweise dem der Buche, wie auch an und unter Farnen, etwa auf Heideflächen. Ein weiterer häufiger Standort ist bemooster oder von Nadelblättern bedeckter Waldboden. Der Pilz ist saprotroph, ernährt sich also von verrottendem Pflanzenmaterial. Das Bilden von Hexenkreisen ist bei diesem Rübling nicht selten. Die Fruchtkörper sind recht zäh und langlebig.
Die Wachstumszeit erstreckt sich von Juli bis Oktober.

Bedeutung
Der Pilz ist ungenießbar. Es liegen Hinweise für toxische Blausäure-Verbindungen vor, die eine Giftigkeit als möglich erscheinen lassen.

Quellen
 http://www.cybertruffle.org.uk/cgi-bin/nome.pl?organism=212142&glo=ger
 http://healing-mushrooms.net/archives/gymnopus-peronatus.html
 http://www.mycobank.org/MycoTaxo.aspx?Link=T&Rec=493829

Einzelnachweise

Weblinks

Omphalotaceae (Familie)

Brennender Rübling


Rejsetiden for tog i Danmark 2016 er en oversigt over rejsetiden med tog på udvalgte jernbanestrækninger i Danmark i 2016. Rejsetiden - der er angivet i timer og minutter - er opgjort ud fra de korteste rejsetider angivet i DSB's køreplan for 2016 (K16) gældende fra den 13. december 2015, de øvrige togoperatørers køreplaner og rejseplanen. Enkelte destinationer i Tyskland og Skåne er medtaget i det omfang, de indgår som en integreret del af den danske trafik.

De korteste rejsetider med lyntog fra København er 1 time og 13 minutter til Odense, 2 timer og 48 minutter til Aarhus, 2 timer og 37 minutter til Esbjerg (InterCity mellem Odense og Esbjerg) og 4 timer og 12 minutter til Aalborg.

Ifølge DSB indebærer køreplanen K16 de mest omfattende rejsetidsreduktioner siden åbningen af Storebæltsforbindelsen i 1997. På nogle rejser opnås rejsetidsgevinster på op mod 46 minutter. Endvidere er rejsetiden reduceret med ca. 20 minutter fra København H til eksempelvis Esbjerg (med skift i Odense), Sønderborg (lyntog) og Flensborg (med skift i Fredericia). Rejsetiderne i 2016 forventes videreført i 2017 og 2018.

Fjern- og regionaltog

S-tog

Metro

Lokalbaner

Se også
 Rejsetiden for tog i Danmark
 Gode Tog til Alle
 Togfonden DK

Referencer

Eksterne henvisninger
 Rejseplanen

Lister relateret til Danmark
Rejsetiden for tog i Danmark

Rejsetiden for tog i Danmark 2016