Blue's Clues is an American interactive educational children's television series, created by Angela C. Santomero, Todd Kessler, and Traci Paige Johnson, that premiered on Nickelodeon's Nick Jr. block on September 8, 1996, and concluded its run on August 6, 2006, with a total of six seasons and 143 episodes. The original host of the show was Steve Burns, who left in 2002 and was replaced by Donovan Patton (as "Joe") for the rest of the series. The show follows an animated blue-spotted dog named Blue as she leaves a trail of clues/paw prints for the host and the viewers to figure out her plans for the day.

The producers and creators combined concepts from child development and early-childhood education with innovative animation and production techniques that helped their viewers learn, using research conducted thirty years since the debut of Sesame Street in the U.S. Unlike earlier preschool shows, Blue's Clues presented material in a narrative format instead of a magazine format, used repetition to reinforce its curriculum, structured every episode the same way, and revolutionized the genre by inviting their viewers' involvement.

Research was part of the creative and decision-making process in the production of the show, and was integrated into all aspects and stages of the creative process. Blue's Clues was the first cutout animation series for preschoolers in the United States and resembles a storybook in its use of primary colors and its simple construction paper shapes of familiar objects with varied colors and textures. Its home-based setting is familiar to American children, but has a look unlike previous children's TV shows.

Upon debuting, Blue's Clues became the highest-rated show for preschoolers on American commercial television, and was critical to Nickelodeon's growth. It has been syndicated in 120 countries and translated into 15 languages. Regional versions of the show featuring local hosts have been produced in other countries. By 2002, Blue's Clues had received several awards for excellence in children's programming, educational software and licensing, and had been nominated for nine Emmy Awards.

A live production of Blue's Clues, which used many of the production innovations developed by the show's creators, toured the U.S. starting in 1999. As of 2002, over two million people had attended over 1,000 performances. A spin-off called Blue's Room premiered in 2004. A revival of the series titled Blue's Clues & You!, hosted by Josh Dela Cruz premiered on Nickelodeon on November 11, 2019. The show's extensive use of research in its development and production process inspired several research studies that have provided evidence for its effectiveness as a learning tool.

History

Background
By 1990, parents, teachers and media experts had been criticizing "the lack of quality fare for children on commercial television" for many years. Up to that point, PBS was the only source for quality children's television; other broadcasters voluntarily set educational standards for their programming and "were expected to regulate themselves", but it led to little change in the quality of children's programs. By the time Blue's Clues premiered in 1996, there was a large number of TV shows for children, but most of them were violent and designed to sell action toys and other products; as co-creator Angela C. Santomero put it, "a vehicle for toy-based 'commercials'". According to author Diane Tracy in her 2002 book Blue's Clues for Success, "The state of children's television was pretty dismal".

There was little incentive for producing high-quality children's television until 1990, when Congress passed the Children's Television Act (CTA), which "required that networks be held accountable for the quality of children's programming or risk losing their license". The CTA set no hourly quotas and left it to the Federal Communications Commission (FCC) to determine compliance to the law, so little positive improvements were made. In 1996, the FCC passed additional regulations, including requiring broadcasters to, in a provision called "the Three-Hour rule", air at least three hours of children's programming per week, between the hours of 07:00 to 22:00, and that they be tagged with an E/I (Educational and Informational) logo so that children and their families could easily find the programs. The cable network Nickelodeon, which was recognized, along with PBS, as a leader in the creation and production of high-quality children's programming, was not required to comply with federal regulations to provide informative or educational content, but did so anyway, before the CTA became law.

According to Heather L. Kirkorian and her fellow researchers Ellen Wartella and Daniel Anderson in 2008, since television appeared in homes beginning in the mid-20th century, critics have often expressed concern about its impact on viewers, especially children, who as Kirkorian argued, are "active media users" by the age of three. Researchers believed that there were links between television viewing and children's cognitive and learning skills and that what children watched may be more important than how much they watched it. She reported that up until the 1980s, researchers had only an implicit theory about how viewers watched television, and that young children were cognitively passive viewers and controlled by "salient attention-eliciting features" like sound effects and fast movement. As a result, most researchers believed that television interfered with cognition and reflection and as a result, children could not learn from and process television. In the early 1980s, however, new theories about how young children watch television suggested that attention in children as young as two-years old were largely guided by program content.

Conception
In the mid-1990s, Nickelodeon, looking to create programming for preschoolers, hired a team of three producers, Angela C. Santomero, Todd Kessler, and Traci Paige Johnson, to create a new television program for young children. According to The New York Times, Kessler was the first creator to be brought on board to the project. Kessler had worked on Sesame Street, but he disliked its format and thought that it was too static and not visual enough, and was a freelance producer at Nickelodeon at the time. Santomero, who named Fred Rogers as a major influence, worked at Nickelodeon as a researcher and Johnson was a freelance artist and animator. Santomero later said that they "were young, and Nickelodeon took a chance on us".

Daniel R. Anderson of the University of Massachusetts at Amherst, who author Malcolm Gladwell called one of the "pioneering television researchers", was an adviser for the new show. Nickelodeon had hired Anderson as an adviser for its Nick Jr. block of preschool programs starting in 1993, although Santomero had already been getting his input about research informally. When Nickelodeon enlisted her to co-create Blue's Clues, he came on in a more formal capacity. Anderson later said that he "jumped at the chance" to serve as an advisor for Blue's Clues because "Nickelodeon was interested in providing programs that would actually benefit preschoolers rather than merely entertain them". Anderson also stated that the choice to produce the show as overtly and clearly educational was a departure for Nickelodeon and for any commercial network. According to research conducted by Nickelodeon, parents of preschool aged children wanted the shows they watched to be educational.

Santomero, Kessler, and Johnson met in a conference room at Viacom, which owned Nickelodeon, in New York for a month to create Blue's Clues. According to Santomero, the creators of Blue's Clues wanted to create a children's television show that was "something very simple and graphic and slow", emphasized social and emotional skills, treated children like they were smart, and helped them feel empowered. The character Blue was originally conceived as a cat, and the name of the show was to be Blue Prints, but the show's name was changed and Blue became a dog because Nickelodeon was already producing a show about a cat and because, as Anderson reported, children who watched the pilot, which was used for testing, "almost universally called the show Blue's Clues". Even though most children's television shows at the time were built around male characters, Blue was female and as The New York Times put it, "never wore a bow".

Kessler handled the show's "computer-based production", Santomero the research, and Johnson the design. By 2001, the show's research team, which worked collaboratively with the show's producers and creators, consisted of director of research Alice Wilder, who joined the Blue's Clues team shortly after the show's debut, Alison Sherman, Karen Leavitt, and Koshi Dhingra. They were given $150,000 to produce a pilot, about a quarter of the budget for other Nickelodeon shows at the time, which was used in 1995 to test the show's interactive elements with its potential audience. The pilot was considered lost, but in 2021, Santomero announced that she owned a copy of it, and that the pilot was filmed in 1994.

Premiere and later history
Blue's Clues premiered in the U.S. on September 8, 1996. The premiere was the highest-rated premiere of any Nickelodeon program, and the show became crucial to the network's growth. Scholar Norma Pecora called Blue's Clues the "cornerstone" of Nickelodeon's educational programming. By the end of 1997, it was the highest-rated show for preschoolers on commercial television, and was the third-highest rated show behind children's public television shows; Barney & Friends and Arthur. Within 18 months of its premiere, Blue's Clues was as well known among the parents of preschoolers as more established children's shows such as Sesame Street and Barney & Friends. In 2002, Tracy reported that it was one of the highest-rated shows for preschoolers, was preschool children and their parents' favorite cable preschool program, was viewed by approximately 13.7 million viewers each week, and aired in about 60 countries.

In 2000, after 75 episodes, with "no fanfare" and no announcement from Nickelodeon, co-creator and co-producer Todd Kessler left Blue's Clues and the network to pursue other projects. He told The New York Times that he had "no hard feelings" regarding his departure. Kessler continued to be listed as an executive producer for the run of the show and for any future spin-offs. Also in 2000, CBS, which was also owned by Viacom, began airing the show as part of the centerpiece of its Saturday and Sunday morning children's programming. In 2004, Blue's Clues stopped production, which Santomero called "devastating", although it continued to air on Nickelodeon, and a spin-off, Blue's Room, was launched in the same year. It featured puppets, as well as the original show's second host. Blue's Clues celebrated its 10-year anniversary in 2006 with a prime time special and the release of a DVD entitled "Blues Biggest Stories", which consisted of eight half-hour episodes spanning the show's history.

In November 2019, a reboot of Blue's Clues premiered. The show, called Blue's Clues & You!, is hosted by Josh Dela Cruz and features many of the same characters in the original show. Steve Burns, the original show's first host, serves as a writer and director on the new show; he has also made guest appearances, along with the original show's second host Donovan Patton, and participated in the casting of Dela Cruz.

Casting

The most important casting decision was that of the host, the only human character in the show. The host's role was to empower and challenge the show's young viewers, to help increase their self-esteem, and to strongly connect with them through the television screen. The producers originally wanted a female host. After months of research and over 1,000 auditions, they hired actor/performer Steve Burns based on the strength of his audition. Burns received the strongest and most enthusiastic response in tests with the young audience. Johnson said what made Burns a great children's TV host was that "he didn't want to be a children's host ... He loved kids, but he didn't want to make a career out of it". Burns decided to leave the show in the autumn of 2000, departing in January 2001. He was in over 100 episodes of Blue's Clues when his final episodes aired in April 2002. Burns himself stated, "I knew I wasn't gonna be doing children's television all my life, mostly because I refused to lose my hair on a kid's TV show, and it was happenin' – fast."

After the producers conducted 1,500 auditions, Burns was replaced by actor Donovan Patton, who played Steve's brother Joe, introduced to the audience in articles in Nickelodeon's magazine and on its webpage and an arc of three episodes. Burns' departure generated "outlandish rumors" and was featured in a Time magazine story. Patton had never seen Blue's Clues before he auditioned for the part, and like Burns, who worked with him to help him prepare for the role, was also popular with preschool test audiences. The producers later reported that finding someone who could match Burns' "deceptively simple performance" was difficult. Patton became a "household name", although as Johnson stated, his character was named Joe because "Donovan was a little too hard on a preschooler's tongue". According to The New York Times, Donovan played the role more relaxed and "taller" than Burns.

Even though research demonstrated that children tend to pay less attention to adult male voices, Burns and Patton were chosen as the program's hosts because they were popular with their audience. Daniel Anderson insisted that Burns and Patton were the best actors for their roles out of the hundreds who auditioned, calling them "actors who could mime as demanded by the mixed action and animation format", and reported that there was no evidence that children paid less attention to them than to other parts of the program. He also said that Burns and Patton overcame what he called "attentional bias against men" in three ways: by behaving energetically and childlike; by breaking the fourth wall and talking directly to the audience, often by looking directly into the camera and asking their audience, "Will you help?", and like Fred Rogers, forming a direct relationship to the audience; and by "always doing something". Anderson insisted that by forming a relationship with the audience, the actors' male voice became cues to the audience to pay attention and stated that it was the hosts' style of presentation that determined child attention.

Johnson was cast as Blue's voice because, of the show's crew, she was able to sound the most like a dog. Nick Balaban, who wrote the music for the show along with Michael Rubin, was cast as the voice of Mr. Salt. Balaban initially used a Brooklyn accent for Mr. Salt before settling on a French accent. Rubin also provided the voice of Mailbox.

Format
In The Tipping Point, author Malcolm Gladwell, who called Blues Clues the "'stickiest'—meaning the most irresistible and involving—television show ever", described its format:

Steve, the host, presents the audience with a puzzle involving Blue, the animated dog ... To help the audience unlock the puzzle, Blue leaves behind a series of clues, which are objects marked with one of her paw prints. In between the discovery of the clues, Steve plays a series of games—mini-puzzles—with the audience that are thematically related to the overall puzzle ... As the show unfolds, Steve and Blue move from one animated set to another, jumping through magical doorways, leading viewers on a journey of discovery, until, at the end of the story, Steve returns to the living room. There, at the climax of the show, he sits down in a comfortable chair to think—a chair known, of course, in the literal world of Blue's Clues, as the Thinking Chair. He puzzles over Blue's three clues and attempts to come up with the answer.

Nickelodeon researcher Daniel R. Anderson called the structure of Blue's Clues a game that presented its viewers with increasingly challenging and developmentally appropriate problems to solve. Early episodes focused on basic subjects such as colors and numbers, but later the programs focused on math, physics, anatomy, and astronomy. The show's producers believed that comprehension and attention were strongly connected, so they wrote the episodes to encourage and increase their viewers' attention. They used content and production characteristics such as pacing which gave children time to respond, as well as "camera techniques, children's voices, musical cues, sound effects, clear transitions, repeatable dialogue, and visuals". Participation, in the form of spoken or physical response from the audience, and the mastery of thinking skills were encouraged by the use of repetition, both within the structure of individual episodes and across multiple episodes. The producers used a variety of formal features, which were auditory, and content features, which consisted of invitations given to the audience. The features were also in the form of both recurrent and unique formats and content. The purpose of the recurrent formats and content, which were similar in every episode, was to increase viewers' attention, comprehension, and participation during key educational lessons.

Nickelodeon originally aired the same episode daily for five days before showing the next one. The producers believed this telecast strategy empowered young children by giving them many opportunities to master the content and problems presented to them. Scholar Norma Pecora considered the broadcast strategy of airing the same episode for five consecutive days in a week "sound educational thinking", because children tend to watch the same episodes multiple times and learn from repetition, and "economically clever" because the network could air 2.5 hours with one episode over five days.

Episodes

Educational goals
The creators and producers' mission of Blue's Clues was to "empower, challenge, and build the self-esteem of preschoolers ... while making them laugh". According to Anderson and his colleagues, the show's curriculum was based on "inherent respect for preschoolers and their ability to think and learn while having fun". Anderson and his colleagues stated that Blue's Clues was created with the question: What does television teach young children? Kessler, Santomero, and Johnson were influenced by Mister Rogers' Neighborhood and by Sesame Street, the first children's television program to create a detailed and comprehensive educational curriculum developed from research and use developmental theory, child development, learning theory, and research. According to Anderson, it was essential that the writers and creators of Blue's Clues have background and experience in early childhood development theory and research in order to ensure that the audience understood the dialogue, game, and recurrent program elements in each episode.

Like Sesame Street, formative research was an important part of the development of each episode of Blue's Clues, which was included in the show's production budgets . "We wanted to learn from Sesame Street and take it one step further", Santomero said. The producers and creators used formative research, which the producers called their "secret sauce", during all aspects of the program's creative and decision-making process, and Nickelodeon provided the funding to support it. In addition to a curriculum that emphasized reasoning skills relevant to preschoolers' everyday lives, the producers wanted to include audience participation, called by Variety its "call and response style", that encouraged problem solving, mastery of the information presented, positive reinforcement, and prosocial messages. They believed that a strong sense of self-esteem, which they sought to develop in their viewers, was linked to independent thinking and thinking skills. Anderson stated, "Age-appropriate pacing and explicit directions give children an opportunity to have a voice". Anderson and his colleagues compared audience participation on the program with hands-on practice provided by a caregiver. The show's producers believed, despite the viewpoints of past researchers, that children were intellectually active while watching television.

Sesame Street tested a third of its episodes, but the Blue's Clues research team field tested every episode three times with children aged between two and six in a variety of preschool environments such as Head Start programs, public schools, and private day care centers, in order to ascertain their abilities, interests, and knowledge, to ensure the mission and philosophy of the program, and to ensure balanced demographic groups. There were three phases of testing: content evaluation, video evaluations, and content analysis. In their tests of the pilot, conducted throughout the New York City area with over 100 children aged from three to seven, they found that as the pilot progressed, children's attention was captured and sustained, and they became excited and actively participated, standing to get closer to the television and speaking to the host. The producers and researchers also consulted outside advisers, who were chosen based on their expertise and the needs of each script. As Anderson stated, the formative research team served "as a liaison between the feedback provided by the preschoolers and outside advisers and the production team, including writers, talent, producers, directors, element artists, and animators".

Blue's Clues was designed and produced on the assumption that since children are cognitively active when they watch television, a television program could be an effective method of scientific education for young children by telling stories through pictures and by modeling behavior and learning. These learning opportunities included the use of mnemonics in the form of mantras and songs, and what Tracy called "metacognitive wrap-up" at the end of each episode, in which the lessons were summarized and rehearsed. The producers wanted to foster their audience's sense of empowerment by eliciting their assistance for the show's host and by encouraging their identification with the character Blue, who served as a stand-in for the typical preschooler.

The thinking games presented in each episode used what Anderson called "a layered approach" that took the varying capabilities of the audience into account. Santomero said that they used scaffolding and that layering was inherent in the script and design of each game. They purposely presented the problem presented in increasing levels of difficulty, to prevent children from feeling frustrated and to master concepts, experience success, and feel empowered to attempt to solve more challenging concepts presented to them. The producers' goal was that all viewers understood the problem, even if they did not know how to solve it. As a result, the child was temporary frustrated by not knowing the answer because after giving them time to come up with it, child voice-overs provided the answers for them, so that they learned the correct answers, even if they were unable to come up with them. If the child was able to come up with the answers, however, they felt "part of a larger, knowing, child audience" when their answers were confirmed by the voice-overs. The child voice-overs also helped viewers maintain high levels of attention during critical educational portions of the episode and modelled the audience involvement encouraged by the program. The audience was told how they could help problem-solve by the host explaining how, by the child voice-overs modeling verbal participation, and by giving them enough time to respond. According to Johnson, the slow pace of the program was challenging for television directors used to the fast pace of television production and for parents, who praised the pace but expressed concerns that their children would find it boring.

Sesame Street reflected the prevailing view that preschoolers had short attention spans; it featured a magazine-like format consisting of varied segments. Based on research conducted over the 30 years since the launch of Sesame Street by theorists like Anderson, the producers of Blue's Clues wanted to develop a show that took advantage of children's intellectual and behavioral activity when watching television. Previous children's television programs presented their content with little input from their viewers, but Blue's Clues was one of the first children's shows to actively invite its viewers' involvement. Its creators believed that if children were more involved in what they were viewing, they would attend to its content longer than previously expected—for up to a half hour—and learn more. They also dropped the magazine format for a more traditional narrative format. As Variety magazine stated, "The choice for Blue's Clues became to tell one story, beginning to end, camera moving left-to-right like reading a storybook, transitions from scene to scene as obvious as the turning of a page". Every episode of Blue's Clues was structured in this way.

The pace of Blue's Clues was deliberate, and its material was presented clearly. Similar to Mister Rogers' Neighborhood, this was done was in the use of pauses that were "long enough to give the youngest time to think, short enough for the oldest not to get bored". The length of the pauses, which was estimated from formative research, gave children enough time to process the information and solve the problem. After pausing, child voice-overs provided the answers so that they were given to children who had not come up with the solution and helped encourage viewer participation. Researcher Alisha M. Crawley and her colleagues stated that although earlier programs sometimes invited overt audience participation, Blue's Clues was "unique in making overt involvement a systematic research-based design element". Blue's Clues also differed from Sesame Street by not using cultural references or humor aimed at adults, as this could confuse preschoolers but, instead, made the show literal, which the producers felt would better hold the children's attention. The structure of each episode was repetitive, designed to provide preschoolers with comfort and predictability. Repetition of the same skills used in different contexts or games within and across episodes encouraged the mastery of thinking skills and the approach to content within an episode was consistent with learning theory that emphasized situated cognition and provided all viewers, no matter their age or abilities, with repeated opportunities to try to solve the problems presented.

Since preschoolers tend to have difficulty understanding transitions, especially when they involve active inferences about time, space, and characters' perspective, the program's producers minimized transitions that required inference so that their viewers' intellectual resources could be devoted to understanding the episode's content. They accomplished this goal by limiting the number of settings during an episode and with the transitions occurring only between them and signaled by dialogue and enough time and information necessary to process them. The primary settings in Blue's Clues were the host's house and backyard, and transitions between them were usually done continuously, without the use of cuts. If transitions were accompanied by cuts, it was done by the host moving to and through a door and continuing as he entered the front or backyard. The biggest transition in Blue's Clues occurred when the host "skiddoed" and jumped into a picture or book, done in a magical way with plenty of warning that it was coming, and began and ended in the new environment. Anderson reported that children clearly understood and enjoyed the skiddo transition. Santomero reported that the skidoo transition was inspired by the use of the trolley in Mister Rogers' Neighborhood, which also served as a transition device.

Production
The producers and writers of Blue's Clues used content and television production techniques such as camera techniques, the use of children's voices, musical cues, sound effects, repeatable dialogue, and visuals in order to encourage and increase comprehension and attention. Blue's Clues was set in the home—the environment that was most familiar and secure for preschoolers—and looked like no other children's television show. The theme and topic of each episode, which was in development, from idea development to final production, for approximately one year, was chosen by the research team. Writers created a goal sheet, which identified their objectives based on the show's curriculum and audience needs. According to show researcher Koshi Dhingra and her colleagues, the integration of writing and researching Blue's Clues was unique and involved "an extremely collaborative process". Script drafts, once developed and approved by the show's creators and research team, were tested at public and private schools, day care centers, preschools, and Head Start programs by three researchers, who would narrate the story in the form of a storybook and take notes about the children's responses. The writers and creators revised the scripts based on this feedback. A rough video, in which the host performed from the revised script in front of a blue screen with no animation, was filmed and retested. The script was revised based on the audiences' responses, tested a third time with animation and music added, and incorporated into future productions.

According to Dhingra and her colleagues, the researchers represented the preschool viewer. After coming up with an idea for an episode, the writers met with Alice Wilder, head of the research department for Blue's Clues, to discuss their idea. The research department and writers then discussed if the topic and approach to the topic was appropriate for preschoolers, and if they accepted it, the content of the episode was further developed. They would often bring in outside consultants who were experts in the subject matter and the processes in teaching it to preschoolers. Wilder considered the researchers experts in how the concepts they wanted to present would translate to the medium of television rather than in a classroom or museum, but they considered preschoolers, who evaluated each script from their perspective, to be their " true experts". The writer took the information they gathered from the research department, preschoolers, and experts and wrote a treatment, or detailed outline of the script, which included goals for the entire episode and for each game. The writers, Wilder, and the research team had a treatment meeting, which Dhingra and her colleagues described as "an organized creative brainstorm", which was rooted in the philosophy and mission of the show, the art of good storytelling, and the point of view of their viewers. The goal of the treatment meeting was to give the writers everything they needed to create a workable second draft of the episode script, and to ensure that it fit the needs of their viewers.

The researchers brought in experts, if needed, and then, at the second draft stage, interviewed preschoolers. Preschooler testing was conducted in three rounds: the concept test, and video test, and content analysis. The producers and creators of the show, during their interviews of preschoolers, created a rough version of the episode, with the host and preliminary animations and backgrounds, and showed it to preschoolers to gain further feedback and was designed to assess their reactions to the content and visuals. According to Dhingra and her colleagues, the greatest strengths of the development of all episodes of Blue's Clues were the high levels of collaboration between all departments involved in the creation of the show, the clearly-defined strategies they used to effectively include their preschool viewers in the development process, and their use of the mission, philosophy, and structure of the program to create and develop each episode.

Most of the show's production was done in-house, rather than by outside companies as was customary for children's TV shows at the time. Blue's Clues was filmed in a studio in Tribeca, Manhattan, New York. The show's creators understood that the look and visual design of the show would be integral to children's attachment with it. Johnson expanded on the "cut-out" style she had created during her college years. Blue's Clues was the first animated series for preschoolers that utilized simple cut-out construction paper shapes of familiar objects with a wide variety of colors and textures, resembling a storybook. Johnson also used primary colors and organized each room of the home setting into groups. The green-striped shirt worn by the show's original host, Steve, was inspired by Fruit Stripe gum. The goals were to make the show look natural and simplistic; as Tracy put it, "freshly cut and glued together with a vivid array of textures, colors, and shadows" similar to picture book illustrations. The program's design was influenced by an understanding of the cognitive, emotional, and social capabilities of preschoolers. For example, the purpose of the notebook in Blue's Clues, which was used to record the clues presented throughout an episode, was to teach preschoolers how to overcome their poorly developed memory skills by using external mnemonic aids and lists. The music, produced by composer Michael Rubin and pianist Nick Balaban, was simple, had a natural sound, and exposed children to a wide variety of genres and instruments. Rubin and Balaban used Anderson's research about the importance of using auditory cues to increase children's attention and inserted auditory signatures to encourage the audience to pay attention to the episodes "at critical junctures for learning". According to Tracy, the music empowered children and gave the show "a sense of playfulness, a sense of joy, and a sense of the fantastic". Rubin and Balaban encouraged the musicians who performed for the show to improvise.

The host performed each episode in front of a "blue screen", with animation added later. The show's digital design department combined high-tech and low-tech methods by creating and photographing three-dimensional objects, then cutting them out and placing them into the background, which made the objects look more real and added perspective and depth. Johnson hired artist Dave Palmer and production company Big Pink to create the animation, which was at that time a new technology, from simple materials like fabric, paper, or pipe-cleaners, and scan them into a Macintosh computer so that they could be animated using inexpensive computer software such as Media 100, Ultimatte, Photoshop and After Effects. instead of being repeatedly redrawn as in traditional animation. Johnson credited Kessler with the idea of using the Macintosh. The result was something that looked different from anything else on television at the time, and the producers were able to animate two episodes in eight weeks, as compared to the sixteen weeks necessary to create a single episode by traditional methods. Their process looked like traditional cut-out animation, but was faster, more flexible, and less expensive, and it allowed them to make changes based on feedback from test audiences. Unlike traditional animation environments, which tended to be highly structured, the animators were given information about the characters and goals of the scenes they would animate, and then given the freedom to work out the timing and look of each scene themselves, as long as their creations were true to the characters and to the story. By 1999, the show's animation department consisted of Palmer, twenty animators, eleven digital designers, and five art directors and model makers. By 2002, Nickelodeon had built a "state-of-the-art" $6 million digital animation studio that housed 140 people, including 70 animators.

Reception
Ratings for Blue's Clues were high during its first season, and it was Nickelodeon's most popular preschool program. It has been described as the first commercial television show for preschoolers that was both educational and profitable. Its creators met regularly with businesses that developed Blue's Clues merchandise and products to ensure toys that were educational and met "the same high ... standards as the show". Products, like the show, were heavily tested prior to marketing. Blue's Clues had sold almost 40 million units of its 45 VHS and DVD titles by 1998 and generated over $1 billion in product licensing in 2000. More than ten million Blue's Clues books were in print by 2001 and over three million copies of six CD-ROM titles based on the show had been sold. Seven Blue's Clues titles sold at least 1 million copies each. The show's first direct-to-video production was Blue's Big Musical Movie (2000), featuring Ray Charles and The Persuasions; it received mostly positive reviews and has sold over 3 million copies since 2006. The launch of Blue's Clues products at FAO Schwarz's flagship store in New York City was the most successful product launch in the store's history and was attended by over 7,000 people. Steve Burns' final episode in 2002 was viewed by 1.9 million preschoolers and received a 47 percent share of the overall audience. By 2002, Blue's Clues had received several awards for children's programming, educational software, and licensing. It won eight consecutive Emmys between 1998 and 2005 and won a Peabody Award in 2001.

Starting in 1999, a live production of Blue's Clues toured the U.S. to positive reviews. As of 2002, over 2 million people had attended over 1,000 performances. The creators of the TV show were involved in all aspects of the live show, aiming to translate the bond between the TV show's audience and its cast to the stage. The creators chose Jonathan Hochwald as the live show's producer, Gip Hoppe as its director, and Dave Gallo as its set designer. Neither Hoppe nor Gallo had any previous experience in children's theater. Nick Balaban and Michael Rubin, who wrote the music for the TV show, composed the live show's soundtrack. The producers were concerned with children's response to the host, who was played by Tom Mizer (a different actor than the host of the TV show), but his young audience enthusiastically accepted and embraced him. Actors were encouraged to improvise and respond to the audience, which resulted in changes throughout the show's run. The show's script included humor that both children and their parents could enjoy.

Regional versions of the show, featuring native hosts, have been produced in other countries. Kevin Duala hosted the United Kingdom version and the show became part of pop culture in South Korea. In total, Blue's Clues was syndicated in 120 countries, and was translated into 15 languages. In 2000, it became one of the first preschool shows to incorporate American Sign Language into its content, with between five and ten signs used consistently in each episode. Blue's Clues won an award from the Greater Los Angeles Agency on Deafness (GLAD) for promoting deaf awareness in the media.

Cultural influence and impact
The extensive use of research in the development and production process of Blue's Clues inspired several studies that provided evidence for its effectiveness as a learning tool. As Anderson and his colleagues reported, Blue's Clues had "a beneficial cognitive and social impact" the longer younger children watched it, which increased steadily over time, and that its benefits to cognitive development are both durable and cumulative. They also believed that the research conducted on the program demonstrated that when children's television programs were based on information gained from child development concepts, had a systematic curriculum, and were designed with "a research-based understanding of how children use and understand television, it can be a powerful and positive influence". As they stated, "it appears that the program is not only doing well, but it is also doing good". In 2004, Anderson said that Blue's Clues "raised the bar" for educational television; he and Variety reported that audience participation became an important part of other educational preschool TV programs such as Dora the Explorer and Sesame Street. Anderson also reported that after Blue's Clues, all of Nickelodeon's educational programming included the use of formative research.

In 2019, shortly after the premiere of Blue's Clues & You, the New York Times called Blue's Clues "something of a throwback: a leisurely paced, unflashy show with the educational bona fides of its public TV predecessors Mr. Rogers and Sesame Street". It also stated that Blue's Clues paved the way for shows like Dora the Explorer. The program was the first children's cable show built entirely around direct address, the first to invite preschoolers to play along with the characters with games and "mini-mysteries", and the first to include built-in silences designed for child participation. As The New York Times stated, "The show was interactive before interactivity became mundane".

Based on anecdotal evidence that preschoolers enjoyed repeated viewings of the programs they watched on television, including Anderson's own experience with his four-year-old daughter, who asked to watch a tape of the pilot of Blue's Clues 17 times, the producers decided to repeat each episode daily for a week. Despite no published evidence that repeated viewings resulted in increased comprehension, especially for younger viewers, and would reinforce the problem-solving skills taught in each episode, and because they did not have enough money to produce a full season of episodes, Nickelodeon agreed to their broadcast strategy, and they were the first network to experiment with the approach. In the summer of 1996, before the premiere of Blue's Clues, Santomero, Anderson, and Wilder conducted a study, funded by Nickelodeon, about the effect of repeated viewings of the pilot episode on its viewers and their ability to learn the curriculum content contained in the episode.

Anderson reported that the results of the study were "clear, striking, and to us, very interesting". They found that except for the five-year-old boys they tested, audience participation greatly increased with repetition, especially for the problem-solving portions of an episode, as did their comprehension and problem solving. Anderson stated, "As children learned how to solve the problems they would shout out the answers, talk to Steve, point to the screen, jump up with excitement, and so on". After five viewings, children had also become skilled at solving similar problems that had not been presented in the episode. Anderson reported that the repetition broadcast strategy worked during the program's first year. Nickelodeon used the same strategy for its premiere of Dora the Explorer in 2000, and Nielsen ratings for both programs indicated no change in audience size during the time the repetitions aired. The study also demonstrated that watching Blue's Clues changed how children watch television and that their problem-solving skills and interaction would transfer to other programs they watched.

In 1999, Anderson and a team of researchers, some of which were his colleagues at Nickelodeon, studied how episode repetition affected comprehension, audience participation, and visual attention. The researchers tested whether repeated viewings of the show resulted in mastery over the material presented, or whether viewers would habituate to what they watched or become bored. The study demonstrated that for the first few repetitions, children pay close attention to the educational content because it was more cognitively demanding. The researchers concluded that audience participation was lower because children were devoting more of their cognitive resources to understanding and solving the problem presented in the episode. When they mastered the problems, which the researchers suspected happened the third time the children viewed the episode, they paid the same amount of attention to the educational content as to the entertainment content, which was less demanding. Audience participation, however, increased because their cognitive resources were freed up and because they knew the answers to the questions asked by the host and other characters. Anderson and his colleagues believed that their study proved that episode repetition appeared to foster their viewers' empowerment, as demonstrated in the viewers' enthusiastic efforts to help solve problems the host and other characters posed.

The study also demonstrated that experienced viewers (those familiar with the program) looked less at the screen than inexperienced viewers. All children looked at educational content more than at entertainment content. Experienced viewers looked at content unique to the program, but inexperienced viewers did not distinguish between the two types of content, since for them, all content was new. Experienced viewers interacted with the program more and showed better comprehension of the content than inexperienced viewers, especially when they were exposed to content that was repeated across episodes. As Anderson and his colleagues put it, "These results further support the notion that when content is new and challenging, preschoolers pay greater attention, but when it is in a recurrent format and therefore readily mastered, they interact more". In other words, "Interaction in Blue's Clues to some extent thus reflects mastery". Nielsen ratings of the show's first season, when the same episode was shown daily, were flat over the five-day period, which indicated to Anderson that young children did not tire of its repetition or of its complexity over time. According to Crawley and her colleagues, the producers' repeat broadcast strategy had no negative effectives of the program's ratings and appeared to be a success.

In 2000, another team of researchers, including Anderson, Crawley, and other Nickelodeon colleagues, studied if watching Blue's Clues changed the way children watch television and if they learned "an interactive style of television viewing", meaning that they were more interactive with an episode from a different series than viewers who did not have experience watching Blue's Clues. They compared experienced and unexperienced viewers as they watched an episode of Big Bag, a "curriculum-based magazine format" series that aired on Cartoon Network, directed towards approximately the same audience as Blue's Clues. They found that although experienced Blue's Clues viewers paid less overall attention to Big Bag than inexperienced viewers, their patterns of attention across Big Bag were identical to their attention to an episode of Blue's Clues. They also demonstrated that viewers had the same amount of comprehension in both programs, but Blue's Clues viewers interacted more with Big Bag than inexperienced viewers. When the content of Big Bag was new and challenging, Blue's Clues viewers paid more attention, and when it was familiar, either from previous viewings or in a format they recognized, they interacted with it more. In short, Anderson and his colleagues found that "interaction in Blue's Clues to some extent reflects mastery" and felt that their study demonstrated that watching Blue's Clues changed how young children watch television. Researcher Shalom M. Fisch, however, stated that although the show attempted to be "participatory", it could not truly be so, because unlike interactive computer games, the viewers' responses could not change or influence what occurred on-screen.

In 2002, Crawley, Anderson, and their colleagues conducted another study on the effects of Blue's Clues, this time researching whether more experienced viewers mastered the content and cognitive challenges faster and easier than first-time viewers. They surmised that experienced viewers would comprehend and interact more with the recurring and familiar segments of the show designed to aid comprehension, but they found that familiarity with the structure of an individual episode did not provide experienced viewers with an advantage over the inexperienced viewers. Crawley and Anderson also studied whether experienced viewers of Blue's Clues interacted more with other children's TV shows and whether the viewing behaviors they learned from Blue's Clues could be transferred to other shows. They found that although experienced viewers of Blue's Clues interacted with an episode of another series, they did not spend more time watching it than viewers unfamiliar with the show. The researchers stated, "It is apparent that, although preschoolers learn to enthusiastically engage in overt audience participation, they do not, by and large, have a metacognitive understanding of why they do so."

The 2002 studies demonstrated that experience with watching one TV series affects how children watch other programs, especially in the way they interact with them. They also showed that since children are selective in the material they attend to and that their interaction increases with comprehension and mastery, children tend to pay more attention to novel information and interact more with material they have seen before and mastered. According to Crawley and her colleagues, Blue's Clues demonstrated that television could empower and influence children's long-term motivation for and a love of learning. As they stated, "One need only to watch children watch Blue's Clues to realize that they respond to it with enormous enthusiasm".

Erin Ryan and her colleagues performed a 2009 study on the effect of the use of American Sign Language (ASL) in Blue's Clues episodes. They analyzed 16 episodes over two weeks for the content and frequency of the signs used and found a high incidence of ASL use by various characters, but that it was inconsistent, especially in the connection between English words and their corresponding signs. The purpose of signed communication and its connection with ASL and the Deaf community was also not clearly explained. The researchers speculated that hearing children with no previous ASL exposure would become familiar with ASL and with deaf people by these episodes, thus reducing the stigma attached to deafness and hard of hearing individuals. Based on other research about the positive effects of teaching ASL to hearing children, the researchers also speculated that it could lead to an increase of vocabulary skills and IQ, as well as improve interpersonal communication. They surmised that deaf children would feel more included and less isolated and have more opportunities to view positive models of ASL and deaf people.

Georgene L. Troseth and her colleagues at Vanderbilt University studied how toddlers used information gained from prerecorded video and from interactions with a person through closed-circuit video, and found that two-year-old children did not learn as much from prerecorded videos because the videos lacked social cues and personal references. Two-year-olds who viewed a video with instructions about how to find a toy in an adjoining room from a non-interactive researcher did not use the information, even though they smiled and responded to questions. Troseth speculated that their research had implications for interactive educational shows like Blue's Clues, which although was "on the right track" because the host invited interaction with the show's viewers, did not provide children with the social cues to solve real-world problems. Troseth stated that repetition, repeated exposure, and familiarity with the show's host may increase children's ability to learn facts and to use strategies they learn from Blue's Clues to solve new problems. Her research suggested that Blue's Clues engaged young children and elicited their active participation because they mimicked social interaction.

2019 revival

On March 6, 2018, Nickelodeon announced a revival of the series, with a new host and 20 new episodes. An open casting call for the show's new host occurred in April, and production began in the summer of 2018. On September 13, 2018, it was announced that the show would be titled Blue's Clues & You!, and Josh Dela Cruz would be the host of the revival. The show premiered on November 11, 2019.

Notes

References

Citations

Sources
 Anderson, Daniel R. (1998). "Educational Television is not an Oxymoron". The Annals of the American Academy of Political and Social Science 557 (1): 24–38. doi:10.1177/0002716298557000003
 Anderson, Daniel R. (2004). "Watching Children Watch Television and the Creation of Blue's Clues". In Hendershot, Heather (ed.). Nickelodeon Nation: The History, Politics, and Economics for America's Only TV Channel for Kids. New York: New York University Press. .
 Anderson, Daniel R.; Jennings Bryant; Alice Wilder; Angela Santomero; Marsha Williams; Alisha M. Crawley. (2000). "Researching Blue's Clues: Viewing Behavior and Impact". Media Psychology 2 (2): 179–194. doi:10.1207/S1532785XMEP0202 4
 Calvert, Sandra L and Kotler, Jennifer A. (2003). "Lessons from Children's Television: The Impact of the Children's Television Act on Children's Learning". . Applied Developmental Psychology. 24 (3), pp. 275–335. doi:10.1016/S0193-3973(03)00060-1. Retrieved 3 June 2021.
 Crawley, Alisha M.;Daniel R. Anderson; Angela Santomero; Alice Wilder; Marsha Williams; Marie K. Evans; Jennings Bryant (June 2002). "Do Children Learn How to Watch Television? The Impact of Extensive Experience With Blue's Clues on Preschool Children's Television Viewing Behavior". Journal of Communication 52 (2): 264–280. doi:10.1111/j.1460-2466.2002.tb02544.x
 Dhingra, Koshi; Alice Wilder; Alison Sherman; Karen D. Leavitt (April 2001). "Science on Television: Case Study of the Development of "Bugs" on "Blue's Clues" (PDF). Change Agents in Science Education. Annual meeting. Seattle, Washington: American Educational Research Association, pp. 1–18
 Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. New York: Little, Brown, and Company.
 Kirkorian, Heather L.; Ellen A. Wartella; Daniel R. Anderson. (Spring 2008). "Media and Young Children's Learning". The Future of Children 18 (1): 39–61 doi:10.1353/foc.0.0002
 Moll, George (executive producer). "Behind the Clues: 10 Years with Blue" (2006). Short documentary. Countryline Productions.
 Osborne, Barbara (Summer 1997). " A Field Guide to the Children's Television Act". . Washington, D.C.: CME/InfoActive Kids, pp. 1–16. Retrieved 3 June 2021.
Pecora, Norma (2004). "Nickelodeon Grows Up: The Economic Evolution of a Network". In Hendershot, Heather (ed.). Nickelodeon Nation: The History, Politics, and Economics for America's Only TV Channel for Kids. New York: New York University Press. .
 Ryan, Erin; Cynthia Nichols; Melissa Weinstein; Rebecca Burton. (2009). "Helping Hands? The Use of American Sign Language in Nickelodeon's Blue's Clues". Conference Papers – International Communication Association: 1–37.
 Tracy, Diane. (2002). Blue's Clues for Success: The 8 Secrets Behind a Phenomenal Business. New York: Kaplan Publishing. .
 Troseth, Georgene L.; Megan M. Saylor. Allison H. Archer. (May/June 2006). "Young Children's Use of Video as a Source of Socially Relevant Information". Child Development 77 (3): 786–799. doi:10.1111/j.1467-8624.2006.00903.x

External links

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Blue's Clues


{{Infookvir književnik|boja=#b8b|Ime=Dunja Detoni-Dujmić|rođenje=29. rujna 1941.|nacionalnost=Hrvatica|vrsta=lirske pjesme, eseji, kritike, znanstvene studije i dr.|nagrade=[[Nagrada Tin Ujević|Nagrada Tin Ujević]], nagrada Josip Juraj Strossmayer, nagrada Kiklop}}

Dunja Detoni Dujmić (Križevci, 29. rujna 1941.) hrvatska je književna povjesničarka, kritičarka, leksikografkinja i pjesnikinja.

 Životopis
Školovala se u Zagrebu gdje je 1965. godine završila studij komparativne književnosti i engleskog jezika, a 1977. godine ondje je i doktorirala. Bila je urednica u Leksikografskom zavodu Miroslav Krleža od 1979., a potom u Školskoj knjizi od 1998. do 2008. godine. Objavljuje u mnogim časopisima od 1970. godine (Forum, Kolo, Republika, Most i dr.) i u više zbornika sa znanstvenih skupova.

Članica je Društva hrvatskih književnika.

 Djela
Objavljuje književne studije, eseje i pjesme. Objavila je i monografije te knjige.

Autorica je više stotina natuknica o hrvatskim književnicima u različitim leksikonima i enciklopedijama (Hrvatski biografski leksikon, Leksikon hrvatskih pisaca, Leksikon hrvatske književnosti – Djela, Enciklopedija hrvatske književnosti, Österreichisches biographisches lexikon). Napisala je četiri monografije za ediciju Enciklopedija hrvatske književnosti Zavoda za znanost o književnosti Filozofskog fakulteta u Zagrebu. Napisala je i opsežnu književnopovijesnu studiju o hrvatskim književnicama od 1800. do 1945. Ljepša polovica književnosti (1998.).

Djela joj uključuju:

 Fran Galović, monografija, 1988.
 Dinko Šimunović, monografija, 1991.
 Tomislav Ladan, monografija, 1992.
 Hajon, zbirka pjesama, 1993.
 Zbirka listova, zbirka pjesama, 1993.
 Pripovijesti Dinka Šimunovića, studija, 1994.
 Krugovi, monografija, 1995.
 Z mojih bregov Frana Galovića, studija, 1996.
 Ljepša polovica književnosti, književnopovijesna studija, 1998.
 Bluzeri, zbirka pjesama, 2006.
 Tiha invazija, zbirka pjesama, 2010.
 Lijepi prostori: Hrvatske prozaistice od 1949. do 2010., književnopovijesna studija, 2011.
 Bili smo istok i zapad, zbirka pjesama, 2014. Mala noćna čitanja, književne kritike, 2017.
 Svjetski dan samoće, zbirka pjesama, 2018.
 Nebeski grafiti, zbirka pjesama, 2019.
 Susreti u kon/tekstu, studije i eseji, 2020.
 Una paloma en el supermercado, poesia escogida, 2021.
 Ako sam ikada postojala, proza, 2022.

Zastupljena je u više antologija, a pjesme su joj prevedene na španjolski, engleski, njemački i bugarski.

 Nagrade
Osvojila je nagradu Tin Ujević 2011. godine za zbirku Tiha Invazija, Nagradu Zvane Črnja za knjigu eseja Lijepi prostori 2012., a za knjigu književnih kritika Mala noćna čitanja Nagradu Julije Benešić 2017. Glavna je urednica Leksikona stranih pisaca i Leksikona svjetske književnosti – Djela, osvojila je nagradu Josip Juraj Strossmayer za oba, a za Leksikon svjetske književnosti – Pisci nagradu Kiklop. Dobitnica je Povelje Visoka žuta žita'' za sveukupni književni opus i trajni doprinos hrvatskoj književnosti 2020.

Izvori

Životopisi, Križevci
Hrvatski leksikografi
Hrvatski književnici
Hrvatski pjesnici
Hrvatski kritičari
Hrvatski znanstvenici

Dunja Detoni-Dujmić


محمدِّ ولد النحوي(1947 م ببكر - 29 نيسان 2001م), حفظ القرآن الكريم وهو في التاسعة من عمره، ثم التحق بمحظرتين شهيرتين في المنطقة هما محظرة أهل احويب الل ومحظرة محمد عالي ولد فتي، حيث تعلم العلوم الشرعية، قبل أن يلتحق بالتعليم النظامي 1960م في مدرسة معطي مولان ويكمل دراسته الابتدائية المزدوجة في مدرسة "المذرذرة، حاصلا علي شهادة ختم الدروس الابتدائية المزدوجة. كان الراحل في طَليعَة الرعيل الأول من البعثيين في القطر الموريتاني, وأكمل تعليمه الجامعي في دكار بالسنغال، حاصلاً على دبلوم في الطب العام، قيل أن يتخصص في طب الأطفال في العام 1984م. عاد الرفيق الراحل إلي أرض الوطن حيث خدم في المستشفي الوطني (1984 - 1990). تولي إدارة عيادة مقام إبراهيم الخاصة 1994م.

نفي خارج القطر إثر اعتقالات البعثيين في العام 1982م تولي قيادة (امين عام) حزب الصواب خلفاً للرفيق خطري ولد الطالب جدو، في أول قيادة منتخبة 1994م، وظل اميناً عاماً للحزب حتى تاريخ وفاته.

مواليد 1947
وفيات 2001

محمد ولد النحوي


Milenka Rojas Rival (14 de noviembre de 1994) es una nadadora chilena.

Oriunda de la comuna de Quilicura, aprendió a nadar a la edad de 7 años en el balneario de Lican Ray, Villarrica, donde es apodada "La sirenita". El año 2007, a la edad de 13 años, cruzó el Canal de Chacao, desde la isla de Chiloé a Puerto Montt, obteniendo el récord a nivel nacional.

En 2009 se tituló campeona mundial juvenil en nado abierto, y el año siguiente logró el récord de travesía a nado en el Lago Calafquén. El 3 de mayo de 2009 ganó el Torneo de Natación en Aguas Abiertas Isla del Sol en el lago Titicaca, Bolivia.

En 2011, con sólo 17 años, obtuvo el récord femenino de cruce a nado del Estrecho de Gibraltar, marcando 2 horas y 49 minutos entre Tarifa (Cádiz, España) y Punta Ahmiar (Marruecos).

Actualmente estudia arquitectura en la Universidad de Chile.

Referencias

Enlaces externos

Nacidos en Quilicura
Nadadores de Chile

Milenka Rojas


Kosmos 2427, ruski izviđački satelit za optičko izviđanje (fotografski, vrsta koja se vraća s filmom) iz programa Kosmos. Vrste je Jantar-4K2M (Kobaljt-M br. 558).

Lansiran je 7. lipnja 2007. godine u 18:00 s kozmodroma Pljesecka. Lansiran je u nisku orbitu oko planeta Zemlje raketom nosačem Sojuz-U 11A511U. Orbita mu je bila 182 km u perigeju i 354 km u apogeju. Orbitne inklinacije je 67,14°. Spacetrackov kataloški broj je 31595. COSPARova oznaka je 2007-022-A. Zemlju je obilazio u 89,87 minute. Pri lansiranju bio je mase oko 6700 kg.

Vratio se na Zemlju 22. kolovoza 2007. godine. Iz misije je ostao još jedan dio koji je ostao kružiti u niskoj orbiti pa se kao i solarni paneli vratio u atmosferu.

Izvori
А.Железняков. Энциклопедия "Космонавтика". Хроника освоения космоса. (rus.)
Heavens-above (engl.)
NASA (engl.)
Planet4589.org Tablični prikaz podataka o satelitima (engl.)
N2YO Satellite Database - Tehnical Details - Real Time Satellite Tracking and Predictions (engl.)
Gunter's Space Page Yantar-4K2M (Kobalt-M, 11F695M) (engl.)

Vanjske poveznice
N2YO.com Search Satellite Database (engl.)
Celes Trak SATCAT Format Documentation (engl.)
Kunstman  Satellites in Orbit (engl.)

Sateliti Kosmos

Kosmos 2427


Tissington is a village and former civil parish, now in the parish of Tissington and Lea Hall, in the Derbyshire Dales district of Derbyshire, England. In 2001 the parish had a population of 158. The population "Tissington and Lea Hall" at the 2011 census was 159. It is part of the estate of Tissington Hall, owned by the FitzHerbert family since 1465. It is a popular tourist attraction, particularly during its well dressing week. It also gives its name to the Tissington Trail, a  walk and cycle path which passes nearby. The Limestone Way, another long-distance path and bridleway, passes through the village itself.

History
Tissington (Old English "Tidsige's farm/settlement")  is recorded in the Domesday Book of 1086 as Tizinctun, having been given to Henry de Ferrers by the King:
"In Tizinctun Ulchel, Edric, Ganel, Uluiet, Wictric, Leuric, Godwin had 4 carucates of land for geld.  Land for 4 ploughs.  Now in the demesne there (are) 3 ploughs: and 12 villanes, and 8 bordars having 4 ploughs, and 1 mill of 3 shillings (value); and  of meadow.  Underwood  in length and 4 furlongs in breadth.  In the time of King Edward it was worth £4, now 40 shillings"
During the reign of Henry I the estate passed to the Savage family. After the death of the last male heir, William le Savage in 1259 it was split between the families of the joint heiresses, the Meynells and Edensors. The Meynell's part of the estate was acquired in marriage by Nicholas FitzHerbert in the 1460s. During the reign of Elizabeth I, Francis, the great-grandson of Nicholas, purchased the remainder from the heirs of Edensors. From then the village and estate has been wholly in the ownership of the FitzHerbert family.

During the Civil War a redoubt or siegework was constructed on the hill north of the church. The buried and earthwork remains are protected as a Scheduled Monument. Tissington Hall was garrisoned for the King by its owner, Colonel Fitzherbert
in December 1643.

As of March 2021, and since 1989, the owner of the village was Sir Richard FitzHerbert, 9th Baronet who resides at Tissington Hall. In an interview, he said that 45 of the properties were rented out and that tenants farmed the 2,000 acres around the Hall which operates some corporate events and weddings.

On 1 April 2009 the parish was abolished and merged with Lea Hall to form "Tissington & Lea Hall".

Notable buildings

In the centre of the village is Tissington Hall, the seat of the FitzHerberts. A Jacobean building built in 1609 by Francis FitzHerbert, replacing an earlier moated manor house, it is a Grade II* listed building. The owner was awarded the Bledisloe Gold Medal "for estate management by the Royal Agricultural Society" in 2006.

The parish church of St Mary opposite the hall has a Norman tower and font. The font is thought to depict a scene from the legend of Saint Beorhthelm of Stafford.

The majority of the other buildings in the village are built in the local vernacular style, of which around 70% are listed buildings.

Well dressings
An estimated 50,000 people visit the village to view its well dressings each year. Six wells (Children's Well, Coffin Well, Hall Well, Hands Well, Town Well and Yew Tree Well) are decorated during the week of Ascension Sunday with pictures formed by pressing flower petals and other organic materials into a clay substrate. The pictures are usually on a Biblical theme reflecting current events or anniversaries. This tradition is often cited to date back at least to 1348, following the village's escape from the Black Death, which the villagers attributed to the purity of the water in its wells.

Literary connections
Richard Graves wrote some of his novel The Spiritual Quixote whilst staying in Tissington.

See also
Listed buildings in Tissington and Lea Hall

References

External links

Tissington Hall & Fitzherbert family website
Tissington - Peak District On Line

Villages in Derbyshire
Towns and villages of the Peak District
Tourist attractions of the Peak District
Former civil parishes in Derbyshire
Derbyshire Dales

Tissington


Symbion A/S er et iværksættermiljø for innovative startups og virksomheder i København, Danmark. Iværksættermiljøet har fire lokationer, Symbion på Østerbro, Univate på (Københavns Universitet, Sønder Campus) Islands Brygge, Creators Floor på (Copenhagen Business School) Frederiksberg og COBIS på Nørrebro.

Symbion er et privat aktieselskab ejet af Symbion Fonden, Københavns Universitet, Copenhagen Business School og en række af andre private investorer.

Hos Symbion bor der 450 innovative startups, iværksættere og mindre virksomheder, hvor 260 er lokaliseret på Symbion, 120 på Univate, 20 på Creators Floor og 50 på COBIS. Symbion på Østerbro omfatter 20.000 m². Derudover omfatter Univate 5.000 m², Creators Floor 600 m² og COBIS 12.000 m². Iværksættermiljøet tilbyder et vækstprogram, Accelerace, og virksomhederne i miljøet arbejder primært inden for IoT, AI, hardware, big data, blockchain, SaaS, edtech, agrifood, biotech, healthtech og gaming.

Navnet "Symbion" stammer fra "Symbiosis" (græsk for symbiose), som var kerneidéen bag virksomheden dengang, den var en forskerpark; et miks af forretning og forskning på en symbiotisk måde.

Symbion faciliterer

 Coworking
 Fælleskontorer
 Private kontorer
 Mødelokaler
 Professionel sparring
 Professionelle workshops og meetups
 Advisory boards
 Netværksgrupper etc.

Historie
Grundlagt i 1986 af seks forskere, Symbion var et statsanerkendt "innovationsmiljø" af Uddannelses- og Forskningsministeriet. Denne status betød, at virksomheden Symbion administrerede en uspecificeret mængde penge på vegne af ministeriet. Siden da har en række sub-investeringsselskaber blevet etableret af Symbion, de har været belønnet adskillige gange med officelle anerkendelser og er nu engageret i iværksætteri i hele Danmark.

I 2006 etablerede Symbion f.eks. GazelleGrowth, en sub-virksomhed hvis formål var at internationalisere danske virksomheder, som administrerede mere end 32 milioner dansker kroner på vegne af det danske Uddannelses- og Forskringsministeriere.

I 2009 etablerede Symbion Copenhagen Bio Science Park (COBIS) i samarbejde med Scion DTU og Incuba Science Park.

Referencer

 https://symbion.dk
 http://cobis.dk/en
 https://www.accelerace.io
 Symbion Science Park

Iværksætteri
Innovation
Kontorhoteller
Virksomheder i København

Symbion


Saxon es el Álbum debut de la banda británica de heavy metal Saxon, publicado en 1979 por Carrere Records. Según la crítica, su sonido demostró una inexperiencia de parte de la banda y poco apoyo por parte de la discográfica independiente. Para promocionarlo en el mismo año se lanzaron dos canciones como sencillos: «Big Teaser/Rainbow Theme» que entró en el UK Singles Chart en el puesto 66 y «Backs to the Wall» que obtuvo la posición 64 en la misma lista.

En 2009 EMI Music lo remasterizó con algunas maquetas adicionales grabadas en 1978 mientras aún se llamaban Son of a Bitch. También incluyó canciones en vivo registradas en el primer festival Monsters of Rock de 1980 y en las sesiones de la BBC Radio, específicamente en el programa Friday Rock Show de Tommy Vance, celebrado el 15 de febrero de 1980.

Lista de canciones
Todas las canciones escritas por Byford, Quinn, Oliver, Dawson y Gill.

Miembros
 Biff Byford: voz
 Graham Oliver: guitarra eléctrica
 Paul Quinn: guitarra eléctrica
 Steve Dawson: bajo
 Pete Gill: batería

Referencias

Enlaces externos
Sitio oficial de Saxon

Álbumes de Saxon
Álbumes debut de 1979
Álbumes de heavy metal
Álbumes de Carrere Records
Álbumes epónimos
Álbumes en inglés

Saxon (álbum)


بلدية روا , هي إحدى بلديات مقاطعة برغش, التي تقع في منطقة قشتالة وليون, والتي تقع في شمال غرب إسبانيا.

يبلغ عدد سكانها 2.272 نسمة وفقاً لإحصائية سنة (2002).

مراجع

أماكن مأهولة في مقاطعة برغش
بلديات برغش

روا (برغش)


La Sri Lanka Football Premier League, llamada Dialog Champions League por razones de patrocinio, es la segunda división de fútbol de Sri Lanka, la cual se disputó por primera vez en 1985 y es organizada por la Federación de Fútbol de Sri Lanka.

Sistema de competencia
La Sri Lanka Football Premier League se juega con un sistema de 2 fases:
 Primera Fase: Los 18 equipos se dividen en dos grupos de diez clubes cada uno, los clubes de cada grupo se enfrentan todos contra todos a 2 vueltas, completando 18 partidos. Los mejores 4 lugares de cada grupo avanzan a la segunda ronda o cuartos de final y los últimos dos lugares de cada grupo descienden a la División Uno.
 Segunda Fase: Los 4 equipos se enfrentan, el 1.º contra el 4.º y el 2.º contra el 3.º a un partido. Los que ganen juegan la final para decidir al campeón.

Equipos de la Dialog Champions League 2016

Palmarés

Títulos por club

Últimos Goleadores

Véase también
 Super Liga de Sri Lanka
 Copa FA de Sri Lanka
 Selección de fútbol de Sri Lanka

Referencias
 Sri Lanka - List of Champions
 Temporada 2011
 Temporada 2010
 Temporada 2008
 Liga de Sri Lanka

Sri Lanka
Fútbol en Sri Lanka
Eventos deportivos en Sri Lanka

Liga Premier de Sri Lanka


Ángel Machado (Córdoba, 1834-Buenos Aires, 1906) fue un ingeniero, agrimensor y político argentino, intendente municipal de la ciudad de Córdoba entre 1902 y 1903.

Biografía

 Nació en la ciudad de Córdoba, en cuya universidad cursó los estudios de ingeniería civil.

En 1884, junto al agrimensor Eleázar Garzón, planteó a la municipalidad de Córdoba la posibilidad de llevar adelante la confección del primer relevamiento catastral de la ciudad. Iniciado el trabajo luego de firmado el contrato mediante el cual se le encomendaba la tarea, en 1886 presentó al municipio los primeros relevamientos, los cuales continuaron hasta 1889. Su obra sería tomada como referencia hasta la década de 1930.

Tras una fecunda labor docente, llegó a ser decano de la Facultad de Ciencias Exactas, Físicas y Naturales de la Universidad Nacional de Córdoba en el período comprendido entre el 28 de febrero de 1890 y el 1° de marzo de 1894.

Fue diputado provincial, presidiendo la cámara durante cuatro períodos legislativos entre 1888 y 1891.

En el gobierno de José Figueroa Alcorta (1895-1898) ocupó las carteras de hacienda y gobierno. Desempeñando esta última, en 1897 impulsó la organización del Departamento de Ingenieros de Córdoba dentro de la órbita del Departamento Topográfico.

En 1898 fue elegido diputado nacional, ocupando una banca en el Congreso de la Nación hasta 1902. El 4 de junio de ese año, asumió como intendente municipal de la ciudad de Córdoba tras la renuncia de Gerónimo del Barco, completando su período el 4 de septiembre de 1903. Desde el año siguiente fue nuevamente diputado nacional, cargo que ocupó hasta su muerte.

Falleció el 28 de agosto de 1906.

Referencias

Revista de la Junta Provincial de Historia de Córdoba, N° 22, 2006
Diario de sesiones de la Cámara de Diputados de la Nación, 1904
Nómina alfabética de diputados de la Nación, período 1854-1991, 1991
Historia del Catastro Municipal

Intendentes de la ciudad de Córdoba (Argentina)
Diputados provinciales de Argentina (Córdoba)
Diputados del Congreso de la Nación Argentina por Córdoba
Políticos del Partido Autonomista Nacional
Agrimensores de Argentina
Ingenieros de Argentina
Alumnado de la Universidad Nacional de Córdoba
Miembros de la Academia Nacional de Ciencias (Córdoba)

Ángel Machado


A Ford Maverick é uma picape com base monobloco produzida pela Ford Motor Company. É produzida no México e foi criada originalmente para o público dos EUA, que a tem como o automóvel Ford mais barato do país e que está abaixo da Ford Ranger.

Foi construída no mesmo chassi de tração dianteira que o Escape e o Bronco Sport.

O automóvel está sendo produzido na Hermosillo Stamping and Assembly (instalação de montagem de automóveis de propriedade da Ford Motor Company localizada na cidade Hermosillo, no México) ao lado do Ford Bronco Sport, para os mercados automotivos da América do Norte e do Sul. A produção foi iniciada em 2 de setembro de 2021.

A Ford explicou em uma entrevista que a picape não recebeu este nome devido ao Ford Maverick da década de 1970, mas sim porque eles achavam que o nome "Maverick" ressoaria bem com clientes mais jovens com estilos de vida mais ativos e esportivos.

Configuração
A Maverick tem uma configuração de 4 portas e 5 ocupantes. Ao contrário das picapes maiores da Ford, não é oferecida em nenhuma outra configuração.

A sua caçamba tem comprimento de 1344 mm, capacidade de carga de 617 kg e volume de 943 litros.

No Brasil
No Brasil, ela foi lançada em 15 de fevereiro de 2022, sendo importada do México. É oferecida somente a versão topo de linha Lariat com o pacote FX4, custando R$ 239.990 (preço nacional), sendo mais cara que a Ranger. Comparações com a Fiat Toro são inevitáveis, apesar da Ford do Brasil não criar concorrência com ela, devido à grande diferença entre os preços de ambos. A Maverick FX4 é vendida com tração 4x4 e o mesmo motor 2.0 a gasolina de 253 cv que equipa o Bronco Sport, além de transmissão automática de 8 velocidades.

A versão Lariat FX4 foi projetada exclusivamente para o mercado brasileiro, que traz pneus de uso misto 225/25 com rodas aro 17 pretas e um adesivo na lateral da caçamba escrito FX4.

Maverick
Caminhonetes
Veículos com tração dianteira
Veículos com tração 4×4
Automóveis de 2021

Ford Maverick (2021)


Vernon George Wentworth Harrison (14 mars 1912 - 14 octobre 2001) était président de la Royal Photographic Society et un professionnel de la « recherche de documents contestés. »

Biographie
Harrison est né à Sutton Coldfield, Warwickshire, Angleterre en mars 1912, d'un père instituteur. Harrison fait ses études à la Bishop Vesey's Grammar School avant d'étudier la physique, la chimie et les mathématiques à l'université de Birmingham. Par la suite, il entreprend trois années de recherche postuniversitaire au département de physique, étudiant en particulier « l'utilisation de la photographie et de la photomicrographie comme support d'enregistrement. »

Après avoir obtenu son doctorat, Harison a été brièvement employé dans les laboratoires londoniens de la Printing & Allied Trades Research Association (PATRA) en tant que physicien de recherche, peu avant que la guerre n'éclate, et qu'il ne prenne un poste au ministère de l'Approvisionnement. Les archives et l'équipement de PATRA sont détruits lors des raids aériens sur Londres, et de nouveaux laboratoires au sud de Londres, à Leatherfield, ne sont ouverts qu'en 1947, date à laquelle Harrison commence à travailler « sur les propriétés optiques du papier, l'impression en couleur et la qualité de la reproduction en demi-teinte ». En 1957, il est promu au poste de directeur de la recherche et se retrouve responsable d'un personnel qui compte alors environ 120 personnes.

Faux et authenticité
En 1967, il rejoint Thos. De La Rue & Co. (imprimeur de billets de banque, timbres-poste, certificats d'actions, passeports, etc.) comme directeur de recherche dans leur centre de recherche de Maidenhead. Une partie de son rôle - et de celui du centre - consiste à « étudier les méthodes des contrefacteurs et des faussaires et à concevoir des méthodes permettant d'améliorer la sécurité des produits de la société. » Développant un intérêt pour les contrefaçons de toutes sortes. A sa retraite en 1977, Harrison s'installe à titre privé et indépendant pour examiner des documents suspects et douteux pour toutes les parties du système juridique - défense et accusation - devenant rapidement « habitué à témoigner devant un tribunal et à se soumettre à un contre-interrogatoire. »

Dans ce rôle, il a examiné un large éventail de sujets et de supports :

 « Des documents élisabéthains contestés aux graffitis sur les murs, en passant par des testaments douteux, des faux contrats d'hypothèque et des documents financiers à profusion, des lettres anonymes et les lettres empoisonnées, des notes de menace, une affaire d'espionnage, l'examen de la fausse monnaie et des plaques d'impression illicites, l'identification du papier de billet récupéré des égouts et la valeur probante des photographies. »

Intérêts fortéens et psychiques
Harrison a été membre de la Society for Psychical Research (SPR) et a été cofondateur et rédacteur en chef du Fortean Times, avec Hilary Evans, Jenny Randles, Bob Rickard et Hugh Pincott (ancien secrétaire et trésorier de SPR) – de l'Association pour l'étude scientifique des phénomènes anormaux (ASSAP).

À la suite de prétendues photographies du monstre du Loch Ness prises par Anthony "Doc" Shiels en 1977, Harrison a été contacté par Tim Dinsdale pour obtenir des conseils d'expert sur leur authenticité. Harrison écrit dans sa lettre, datée du 3 décembre 1977 et publiée dans Fortean Times n° 29 (été 1979), qu'il a trouvé :

 « La transparence est tout à fait normale et [qu'il] n'y a aucune preuve de double exposition, de superposition d'images ou de travail manuel avec de l'eau de javel ou de la teinture. »

Il poursuit en excluant presque totalement que l'objet (prétendument « Nessie ») soit une branche, mais conclut cependant « qu'il n'est pas possible de dire, à partir d'une seule photo, ce que la photographie représente exactement. »

Discrédit du rapport Hodgson de décembre 1885
En 1984, Harrison s'intéresse au premier « rapport Hodgson » de la Society for Psychical Research dans lequel Helena Petrovna Blavatsky était stigmatisée comme l'un des « imposteurs » les plus doués, ingénieux et intéressants de l'histoire. Harrison étudie les différents documents concernés, pour un premier rapport, « J'Accuse : An Examination of the Hodgson Report of 1885 » – publié le 8 mai 1986 par le SPR (et révisé après de nouvelles recherches par Harrison en 1997). Harrison a finalement conclu que le rapport Hodgson n'avait pas été entrepris scientifiquement et qu'il était « imparfait et indigne de confiance » et « devrait être lu avec une grande prudence, voire ignoré. »

Autres Intérêts
Passionné de photographie depuis toujours, il a été, entre 1974 et 1976, président de la Royal Photographic Society of Great Britain, et parmi ses autres intérêts figure la musique de Franz Liszt. Il est le cofondateur survivant et un ancien président de la société (anglaise) Liszt.

Harrison se décrit comme « lisant les équations de Schrödinger et Dirac à travers les yeux de Francis Thompson. »

Bibliographie partielle

 Théorie de l'écran en demi-teinte (The Photographic Journal)
 Les signatures sur les murs de la maison Queens à Linton Cambs (actes SPR, octobre 1994)
 HP Blavatsky et le SPR (1997)
 " Harry Price and the Rudi Schneider Phenomena" in Psychical Studies - the Journal of the Unitarian Society for Psychical Studies, n° 38, hiver 1987

Références

Liens externes

 HP BLAVATSKY et le SPR : un examen du rapport Hodgson de 1885 par Vernon Harrison, Ph.D

Étudiant de l'université de Birmingham
Parapsychologue
Photographe britannique
Décès en octobre 2001
Naissance en mars 1912
Décès à 89 ans

Vernon Harrison


Aux Samoa, les 'ie Samoa, 'ie toonga ou nattes fines de Samoa sont des objets dont la valeur culturelle est significative et pouvant servir de monnaie d'échange. Bien qu'il existe des nattes pour s'allonger, les nattes qui s'échangent n'ont pas cet usage et cet article traite uniquement de ces dernières. En 2019, l'élément rattaché aux îles Samoa « le 'ie Samoa, ou natte fine, et sa valeur culturelle » intègre la liste représentative du patrimoine culturel immatériel de l'humanité.

Description et fabrication
Les nattes fines de Samoa sont fabriquées à la main. Leur extrémité est bordée de frange et de plumes vertes ou rouges. Une natte est fabriquée par battage et aplatissage de certaines écorces (on obtient alors du tapa), ou par découpage de lanières dans des feuilles et des écorces et tressage de ces dernières, ce qui permet aussi de fabriquer jupes et éventails. Une natte peut mesurer jusqu'à quinze mètres carrés. Leur forme est rectangulaire, elles sont tressées (et non tissées). La description officielle de l'UNESCO indique que chaque fibre mesure un millimètre de large, ce qui exige une grande dextérité. L'artisanat des nattes fines est réalisé par des femmes (plus nombreuses) et des hommes. La fabrication d'une natte peut durer plusieurs mois ou un an.

Dans la société samoane
Nommées "nattes fines" par les anthropologues, ces objets apparaissent dans des mythes. Désignées sous le nom "mea sina" (choses lumineuses), elles s'échangent lors de cérémonies.

Dans les mythes
Une légende attribue à la natte fine une origine de Fiti-Uta, village de l'Est de l'archipel. Dans un article, Serge Tcherkezoff rappelle que l'Est est la direction de la vie dans la mythologie polynésienne (là où l'Ouest est celle du royaume des morts). Une jeune femme, non mariée, et deux de ses compagnons sont capturés par des Tongans. Elle porte une natte fine, alors ordinaire, fabriquée par une ancêtre. Ses compagnons étant condamnés à mort, tous trois se revêtent de la natte et le roi des Tonga leur laisse la vie sauve. La natte se nomme alors 'ie toonga, nom phonétiquement proche de Tonga, mais sémantiquement différent. Selon Tcherkezoff, c'est la valeur symbolique des nattes, et non le matériau en lui-même, qui justifie son importance.

Usage
Aux Samoa, jusque dans les années 1960, le tapa est utilisé, mais cet usage est moins important que celui de la natte fine. Cette dernière peut être échangée contre des cochons, ou de la nourriture, et constitue ainsi une forme de monnaie. Il existe des récits de l'histoire samoane (le plus ancien, en langue samoane, datant du dix-neuvième siècle) où la natte permit de sauver la vie de son possesseur. Ainsi, un coupable se présentant devant chez ses victimes muni d'une natte fine se disait prêt à réaliser un échange compensatoire, ce qui pouvait lui laisser la vie sauve. La natte est déployée pendant le don et la frapper serait impensable. Ses usages sont cérémoniels (vêtements temporaires, linceul, siège aux grandes occasions, pour des personnes considérées comme importantes). Une natte portée par un vainqueur de guerre se nomme 'ie o le mālō (ce dernier terme désignant le vainqueur, puis le gouvernement). Dans le cadre de cérémonies funèbres, quand le défunt a disparu en mer (la communauté ne disposant donc pas de son corps), la natte est employée pour réaliser l'enterrement. Un petit animal revenant de l'océan, souvent un insecte, est enterré dans la natte : il symbolise l'âme du mort (sans être confondu avec cette dernière), avec autant d'animaux que de personnes défuntes, d'après des récits de missionnaires. Dans la transmission des pouvoirs, un nouveau chef reçoit une natte après la mort de l'ancien, en même temps qu'il reçoit le nouveau nom. Dans la mesure où la natte se transmet de génération en génération, elle est le symbole d'une lignée et traduisent l'histoire familiale, même données. Une natte reprisée, et donc ancienne, revêt plus de valeur. De même, une natte de couleur cuivrée a de la valeur du fait de son ancienneté. Dans son essai sur le don, Marcel Mauss mentionne les nattes samoanes, durant quelques pages, les qualifiant de monnaie. Selon lui, leur caractère pérenne leur permet d'apporter la cohésion sociale. D'après Serge Tcherkezoff, la pérennité des nattes est à nuancer car ces dernières sont assez fragiles, par rapport aux coquillages, aux pierres et à l'ivoire d'autres pays d'Océanie, qui y servent de monnaie d'échange.

Reconnaissance
En 2019, l'UNESCO décide d'intégrer « le 'ie Samoa, ou natte fine, et sa valeur culturelle » à la liste représentative du patrimoine culturel immatériel de l'humanité. La description officielle évoque un « savoir-faire exceptionnel » ainsi que la préservation de structures sociales.

Notes et références

Patrimoine culturel immatériel de l'humanité aux Samoa
Culture samoane

Natte fine samoane


رون بيرلمان  ممثل أمريكي من مواليد 13 أبريل 1950، حاصل على جائزة الغولدن غلوب 1989 لأفضل ممثل في مسلسل درامي عن دوره في الجميلة والوحش.

مواقع خارجية

 Ron Perlman interview
 Ron Perlman at الطماطم الفاسدة

مراجع

أشخاص على قيد الحياة
أشخاص من مانهاتن
أشخاص من واشنطن هايتس
أمريكيون من أصل ألماني
أمريكيون من أصل أيرلندي
أمريكيون من أصل إنجليزي
أمريكيون من أصل بولندي يهودي
أمريكيون من أصل سويسري
أمريكيون من أصل كندي فرنسي
أمريكيون من أصل نرويجي
أمريكيون من أصل يهودي
أمريكيون من أصل يهودي ألماني
أمريكيون من أصل يهودي مجري
خريجو جامعة مينيسوتا
ديمقراطيون من ولاية كاليفورنيا
ديمقراطيون من ولاية نيويورك
رواة كتب صوتية
سياسيون أمريكيون يهود
كوميديون ذكور أمريكيون يهود
كوميديون من مدينة نيويورك
ممثلو أداء صوتي رجال أمريكيون
ممثلو أفلام أمريكيون
ممثلو ألعاب فيديو أمريكيون
ممثلو تلفزيون أمريكيون
ممثلون أمريكيون في القرن 20
ممثلون أمريكيون في القرن 21
ممثلون ذكور يهود أمريكيون
ممثلون من مدينة نيويورك
مواليد 1950
يهود أشكناز
يهود أمريكيون في القرن 20
يهود أمريكيون في القرن 21

رون بيرلمان


Lammbräu steht für
 Sindelfinger Lammbräu, Brauerei
 Schwieberdinger Lammbräu, Produkt der Schwieberdinger Lammbrauerei

Siehe auch:

 Lammbrauerei (Begriffsklärung)
 Neumarkter Lammsbräu

Lammbräu


El HAL Jet Trainer-16 (HJT-16) Kiran (en español: "rayo de luz")  es un avión de entrenamiento biplaza, fabricado por Hindustan Aeronautics Limited (HAL). La Fuerza Aérea India lo emplea como aeronave de entrenamiento intermedia, para los pilotos que anteriormente realizaron la instrucción básica en los HPT-32 Deepak. También es utilizado por el equipo de acrobacia aérea de la  Fuerza Aérea India, Surya Kiran y por el equipo de la  Armada India, Sagar Pawan.

Variantes
Kiran I
 versión de preserie, equipada con un turborreactor Rolls-Royce Viper Mk.11; 6 unidades construidas.
Kiran IA
 versión de serie del Kiran I con capacidad para portar carga bélica. Equipado con dos puntos de anclaje bajo las alas; 190 fabricados
Kiran II
 versión mejorada, con cuatro puntos de anclaje, y doble cañón de 7,62 mm. Actualizados con motores Rolls-Royce Orpheus.

Especificaciones (Kiran Mk.IA)

Véase también

Referencias

Enlaces externos

Aviones entrenadores militares de India de los años 1960
Kiran

HAL Kiran


Yaşaroğlu, Tunceli ilinin Mazgirt ilçesine bağlı bir köydür.

Tarihçe
Köyün eski ismi "Koman" olup 1960 yılı nüfus sayımından itibaren Yaşaroğlu adıyla kayıtlarda yer almaktadır.

Coğrafya
Tunceli iline 66 km, Mazgirt ilçesine 33 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar
 Yerelnet

Mazgirt belde ve köyleri

Yaşaroğlu, Mazgirt


Krasnogorsk (, ) er en by i Moskva oblast, Centrale føderale distrikt i Den Russiske Føderation. Byen er fra 2018 det administrative center i oblasten. Krasnogorsk har  indbyggere, og og er en del af Krasnogorsk byområde, der ifølge oblasten, har omkring 317.000 indbyggere.

Byen ligger ved Moskva-floden og dens lille biflod Banka, 22 km fra Moskvas centrum (2 km fra MKAD) og ligger direkte op til Moskvas nordvestlige bygrænse.

Geografi

Krasnogorsk er beliggende i metroområdet Moskva lige udenfor motorvejsringen MKAD. De nærmeste byer er, ud over Moskva, er Khimki og Dedovsk. Begge byer ca. 15 km fra Krasnogorsk.

Byen er tæt omgivet af skove, mest blandskov adskilt af områder med nåletræ. Skovområderne består hovedsageligt af gran, birk og bævreasp. De træløse områder er stærkt urbaniserede.

Luftforureningen er blevet forværret siden år 2000. Normerne overskrides i flere lokalområder, der er præget af forurening fra de store trafikårer og industrianlæg. Ifølge den uafhængige økologiske ekspertise "Ecostandart" var Krasnogorsk i 2006 sammen med Balasjikha, Khimki, Ljubertsy, Kasjira, Voskresensk og Podolsk de syv byer i nærheden af Moskva med den største luftforurening.

Klima

Krasnogorsk har et koldt tempereret fastlandsklima (Köppens klimaklassifikation Dfb). Den koldeste måned er januar med en gennemsnitstemperatur på -9,3 °C. Den varmeste måned er juli med en gennemsnitstemperatur på 18,3 °C. Den gennemsnitlige temperatur på års basis er 4,8 °C. Den gennemsnitlige årlige nedbør er 673 mm.

Historie

Krasnogorsk er opstået ud fra flere landsbyer, herunder fra Banki som opkaldt efter floden Banka (Банька) og Pavsjino, der nu er navnet på jernbanestationen i Krasnogorsk. Landsbyer er kendt fra 1800-tallet.

Den nuværende by opstod i . På den tid blev landsbyen Banki ændret til et arbejderkvarter knyttet til en optiskudstyrs fabrik, der blev grundlagt på stedet. Samtidig fik bebyggelsen sit nuværende navn, der betyder "Rød bjergby". I 1930'erne blev infrastrukturen til bebyggelsen kraftigt forbedret og den nyoprettede Krasnogorsk rajon i Moskva oblast blev kraftigt udvidet. Blandt andet blev der bygget en betonfabrik i byen, og der blev oprettet flere nye kolkhozer i det omkringliggende område. Den 7. oktober 1940 fik Krasnogorsk bystatus.

Under slaget om Moskva var der kampe om byen i slutningen af 1941, og optikfabrikken evakueredes midlertidigt.

I efterkrigstiden blev industrien i Krasnogorsk genopbygget, og byen blev udvidet med flere nye kvarterer. I løbet af den administrative reform i 2004 blev blev Krasnogorsk sammenlagt med flere omkringliggende landsbyer, som nu udgjorde den "bymæssig bebyggelse Krasnogorsk". Sidstnævnte strækker sig i øst op til Moskvas bygrænse. I 2007 blev hjemstedet for administrationen af Moskva oblast bygget i Krasnogorsk, og i 2018 blev Krasnogorsk officielt administrativt center i oblasten.

Befolkningsudvikling

Note: Data fra folketællinger

Økonomi
Krasnogorsk er bedst kendt for produktionen af kameraer (mærkerne Zenit, Zorki og Krasnogorsk) og andre optiske enheder til civil og militær brug fra firmaet Krasnogorskij zavod, der opstod fra den optiske fabrik, der blev grundlagt i 1932. Derudover produceres der byggematerialer, emballage og fødevarer i byen.

Trafik

Krasnogorsk ligger ved motorvejen  "Baltija", Moskva - Volokolamsk - den lettiske grænse, og ved jernbanen fra Moskva til Riga, med den lokale station Pavsjino, der har regelmæssige tog til Riga-banegården i Moskva.

Mjakinino-stationen fra slutningen af 2009 på Moskvas metro (Arbatsko-Pokrovskajalinjen) ligger i Krasnogorsk. Metrostationen var den første, der blev bygget uden for Moskvas bygrænser.

Kultuur

Sport

Krasnogorsk betragtes som en af højborgerne for den russiske isspeedway. Flere gange har isbanen i Krasnogorsk været ramme om isspeedways-verdensmesterskab.

Seværdigheder

"Museet til minde om tyske antifacister" blev åbnet i 1985 i den tidligere bygning for "Den centrale antifascistiske skole for krigsfanger" (Antifaschule) i nærværelse af repræsentanter fra BRD og DDR. I dag er museet en gren af Moskvas centrale museum for den store fædrelandskrig.

Venskabsbyer

Nævneværdige bysbørn
 Vladimir Petrov (1947–2017) ishockeyspiller
 Igor Ozjiganov (f 1992) ishockeyspiller

Referencer

Eksterne henvisninger

Byer i Moskva oblast
Etableret i 1932

Krasnogorsk


Hydrovatus es un género de coleópteros adéfagos  perteneciente a la familia Dytiscidae.

Especies seleccionadas
Hydrovatus abaonus
Hydrovatus abraeoides	Regimbart 1895
Hydrovatus absonus	Guignot 1948
Hydrovatus acuminatus	Guignot 1950
Hydrovatus acutus	Sharp 1882
Hydrovatus adachii	Kamiya 1932
Hydrovatus adelphus	Guignot 1956
Hydrovatus aequatorius	Gschwendtner 1943
Hydrovatus affinis	Regimbart 1895

Referencias

  1995:
  (2000) Predaceous Diving Beetles (Coleoptera: Dytiscidae) of the Nearctic Region, with emphasis on the fauna of Canada and Alaska, National research Council of Canada, Ottawa.
 ; ;  2005: A synopsis of the South American Hydrovatus (Coleoptera: Dytiscidae: Hydroporinae), with notes on habitat and distribution, and a key to species. Revista de la Sociedad Entomológica de Argentina, 64(1-2): 61-69. PDF
  1988: A phylogenetic investigation of Hydrovatus, Methlini and other plesiotypic hydroporines (Coleoptera: Dytiscidae). Psyche, 95(3-4): 327-344.

Enlaces externos

 Nomenclator Zoologicus

Hydrovatini

Hydrovatus


Derek Smith (* 13. Oktober 1984 in Belleville, Ontario) ist ein ehemaliger US-amerikanisch-kanadischer Eishockeyspieler, der im Verlauf seiner aktiven Karriere zwischen 2004 und 2017 unter anderem 94 Spiele für die Ottawa Senators und Calgary Flames in der National Hockey League (NHL) auf der Position des Verteidigers bestritten hat. Den Großteil seiner Laufbahn verbrachte Smith jedoch in der American Hockey League (AHL), wo er über 330 Partien bestritt und mit den Binghamton Senators im Jahr 2011 den Calder Cup gewann.

Karriere

Smith begann seine Karriere als Eishockeyspieler bei den Wellington Dukes, für die er von 2000 bis 2004 in der Ontario Junior Hockey League aktiv war. Anschließend besuchte er drei Jahre lang die Lake Superior State University, für deren Eishockeymannschaft er parallel in der Central Collegiate Hockey Association spielte. Am 12. April 2007 unterschrieb der Verteidiger einen Vertrag als Free Agent bei den Ottawa Senators. Für deren Farmteam Binghamton Senators spielte er von 2007 bis 2011 regelmäßig in der American Hockey League und gewann mit der Mannschaft in der Saison 2010/11 den Calder Cup. Zudem bestritt er in diesem Zeitraum ein Spiel für die Elmira Jackals aus der ECHL. Von 2009 bis 2011 stand er in insgesamt elf Partien für die Ottawa Senators in der National Hockey League auf dem Eis, konnte sich dort jedoch zunächst nicht durchsetzen.

Zur Saison 2011/12 wechselte Smith innerhalb der NHL zu den Calgary Flames, bei denen er in seinem ersten Jahr in 47 Spielen zwei Tore und neun Vorlagen erzielte.

2014 wechselte Smith zu den ZSC Lions in die National League A, bei denen er eine Saison verbrachte, ehe er wieder nach Nordamerika zurückkehrte und sich den Arizona Coyotes anschloss. Diese setzen ihn vorerst bei ihrem AHL-Farmteam, den Springfield Falcons ein, ehe er im Sommer 2016 nach Europa zurückkehrte und einen Vertrag beim KHL Medveščak Zagreb unterschrieb. In der Saison 2016/17 wurde Smith positiv auf Doping getestet und vom Weltverband IIHF bis September 2018 gesperrt. Im Zuge dessen beendete er seine aktive Karriere.

International
Smith vertrat die USA im Juniorenbereich bei der U18-Junioren-Weltmeisterschaft 2001 in Finnland. Dabei belegte er mit der Auswahl den sechsten Platz. Im Turnierverlauf blieb er in sechs Spielen punktlos.

Erfolge und Auszeichnungen
 2007 CCHA Second All-Star Team
 2011 Calder-Cup-Gewinn mit den Binghamton Senators

Karrierestatistik

International
Vertrat die USA bei:
 U18-Junioren-Weltmeisterschaft 2001

Weblinks

Einzelnachweise

Eishockeyspieler (Lake Superior State Lakers)
Eishockeyspieler (Binghamton Senators)
Eishockeyspieler (Elmira Jackals, ECHL)
Eishockeyspieler (Ottawa Senators)
Eishockeyspieler (Calgary Flames)
Eishockeyspieler (Abbotsford Heat)
Eishockeyspieler (ZSC Lions)
Eishockeyspieler (Springfield Falcons)
Eishockeyspieler (KHL Medveščak Zagreb)
Dopingfall im Eishockey
Doping in Kanada
Kanadier
US-Amerikaner
Geboren 1984
Mann

Derek Smith (Eishockeyspieler, 1984)