පුළුල්ව විග්‍රහ කළහොත් දුර සංනිවේදනය (remote sensing) යනු භෞතිකව, ස්පර්ශ නොවන හෝ ආසන්නයේ නොපවතින වස්තුවක හෝ සිදුවීමක් වාර්තා කිරීම මඟින් හෝ සංඥා ආසන්නයේ නොපවතිව වස්තුවක හෝ සිදුවීමක් වාර්තාගත කිරීම මඟින් හෝ සංඥා ලබාගත හැකි උපකරණ වලින් කුඩා හෝ විශාල පරිමාණයෙන් තොරතුරු ලබා ගැනීමයි. (අහස්යානා, අභ්‍යවකාශ යානා, චන්ද්‍රිකා, බෝයාවන් හො නැව් මඟින්) සාමාන්‍ය භාවිතයේදි දුර සංනිවේදනය යනු විවිධ ක්‍රම උපායන් යොදාගනිමින් වස්තුවක හෝ යම් ප්‍රදේශයක තොරතුරු එක් රැස් කිරීමයි. ඒ අනුව කාලගුණ චන්ද්‍රිකා මඟින් පෘථිවි නිරීක්ෂණය, කාලගුණික බෝයාවන් භාවිතයෙන් සාගර හා වායුගෝලිය නිරීක්ෂණය, අධි ශබ්ද තරංග මඟින් කලල නිරීක්ෂණය, චුම්භක අනුනාද ප්‍රතිරූප (MRI), පොඨිස්ට්රෝන් පිටකිරීම, ටොමොග්‍රෆි (Tomognpy) සහ අභ්‍යවකාශ යාන යන සියළුම දේ දුර සංනිවේදන සඳහා උදාහරණ වේ.

වර්තමානයේ දි මෙම වචන සාමාන්‍යයෙන් භාවිතා කරන්නේ ගුවන්ගත කළ ගුවන්යානා හා අභයාවකාශ යානාවල භාවිතාකරන උපකරණවල ඡායාරූප සංඥා තාක්ෂණය හැඳින්විමය, මෙය වෛද්‍ය ඡායාරූප වැනි කොටස් වලින් වෙනස් වේ. දුර සංවේදන ආකාර 2 කි. ඉන් එක් ආකාරයක් වන්නේ අක්‍රිය සංවේදකය. එමඟින් වස්තුවකින් හෝ ප්‍රදේශයකින් නිකුත්වන හෝ පරාවර්තනය වන ස්වභාවික ශක්තීන් (විකිරණ ) අනාවරණය කර ගනී. පරාවර්තිත හිරුඑළිය මෙම සංවේදක මඟින් බහුලව හඳුනාගන්නා විකිරණ වර්ගයකි. පටල ඡායාරූපකරණය, අධෝරක්ත කිරණ, CCD (Charged Coupled Device) හා රේඩියෝ මීටර අක්‍රිය සංවේදක සඳහා උදාහරණය වේ. අක්‍රිය සංවේදක වස්තුවකින් නිකුත්වන හෝ පරාවර්තනය වන විකිරණ හඳුනාගෙන එම මිනුම් ලබාගන්නා අතර, ක්‍රියාකාරි සං‍වේදක වස්තුන් හා ප්‍රදේශ නිරීක්ෂණයට හා ස්කෑන් කිරීමට ශක්තීන් නිකුත් කරයි. රේඩාර් යනු ක්‍රියාකාරි දුර සංවේදක සඳහා උදාහරණයකි. එයින් වස්තුවක උස, වේගය, පිහිටීම හා දිශාව මැන ගැනීමට කිරණ නිකුත් කිරීම හා ආපසු පැමිණීම අතර කාලය උපයෝගී කර ගනිමින් නිගමනවලට එළඹිය හැකිය. දුර සංවේදක මඟින් අනතුරුදායක හෝ ළගාවිය නොහැකි ප්‍රදේශ වල දත්ත ලබා ගත හැක. දුර සංවේදක භාවිතයෙන් ඇමෙසන් වනය වැනි ප්‍රදේශ වල වනගහණය අඩුවීම, ආර්ටික් හා ඇන්ටාර්ක්ටික් ප්‍රදේශවල ග්ලැසියර දියවිමෙන් ඇතිවන දේශගුණික විපර්යාස, වෙරළාශ්‍රිත හා සාගරය පතුලේ ඇතිවන වෙනස්වීම නිරීක්ෂණයට උපකාරී වේ. සීතල යුද්ධය (Cold war) සමයේ අනතුරුදායක දේශසීමා ප්‍රදේශවල යුධ කටයුතු සඳහා අවශ්‍ය දත්ත එක්රැස් කෙරුනේ මෙම ක්‍රමයෙනි. වියදම් අධික හා මන්දගාමි දත්ත එක්රුස් කිරීමේ ක්‍රම වෙනුවට වස්තුවට හෝ ප්‍රදේශයට බාධාවක් නොවන අයුරින් දුර සංවේදනය යොදාගත හැක.
කක්ෂීය මධ්‍යස්ථාන විද්‍යුත් චුම්භක වර්ණාවලියේ විවිධ කොටස් වලින් දත්ත එක්රැස් කර සන්නිවේදනය කරනු ලබයි. තවද පොළවේ පවතින විශාල ප්‍රමාණයේ ගුවන් විදුලි සංඥා අවශෝෂක මඟින් ලබා ගන්නා දත්ත හා සම්බන්ධ කර විද්‍යාඥයින්ට එල්නිනෝ වැනි දීර්ඝ කාලීන ස්වභාවික සංසිද්ධි වල රටාවන් ගොඩනගා ගැනීමට හැකිවී ඇත. පෘථිවි විද්‍යාවේ ස්වභාවික සම්පත් කළමනාකරණය, කාෂිකර්මයේදි වගාබිම් භාවිතය හා සංරක්ෂණය, ජාතික ආරක්ෂාව සඳහා දේශසීමාවල ගුවනින් හා පොළවේ දත්ත එක්රැස් කිරීම වැනි විවිධ කාර්යයන් සඳහා දුර සංවේදනය භාවිතා වේ.

දුරස්ථ ප්‍රතිග්‍රහණය


Linden ist ein Gemeindeteil der Gemeinde Windelsbach im Landkreis Ansbach (Mittelfranken, Bayern).

Geographie
Südlich des Dorfes fließt der Windelsbach, der mit dem Wurmbach zum Ödenbach zusammenfließt, der ein linker Zufluss des Kreuthbachs ist. 0,5 km südlich liegt der Klosterwald, 0,5 km nordwestlich der Vogelbachwald.

Die Kreisstraße AN 8 führt nach Nordenberg (1,5 km nördlich) bzw. nach Windelsbach (2,2 km östlich). Gemeindeverbindungsstraßen führen nach Schweinsdorf (2 km westlich) und an Wachsenberg vorbei zur Staatsstraße 2250 (3,5 km südlich).

Geschichte
Ursprünglich waren die Herren von Nordenberg in Linden begütert. 1383 verkauften sie ihre Ansprüche an die Reichsstadt Rothenburg.

Im Rahmen des Gemeindeedikts (frühes 19. Jahrhundert) wurde Linden dem Steuerdistrikt Schweinsdorf und der Ruralgemeinde Nordenberg zugeordnet. Im Zuge der Gebietsreform wurde Linden am 1. Januar 1972 nach Windelsbach eingemeindet.

Baudenkmäler
 Haus Nr. 6: zugehörig eingeschossiges Fachwerkwohnstallhaus, frühes 19. Jahrhundert
 Haus Nr. 10: einfaches Wohnstallhaus des frühen 19. Jahrhunderts in Fachwerk

Einwohnerentwicklung

Religion
Der Ort ist seit der Reformation evangelisch-lutherisch geprägt und nach St. Martin (Windelsbach) gepfarrt. Die Einwohner römisch-katholischer Konfession sind nach St. Johannis (Rothenburg ob der Tauber) gepfarrt.

Literatur

Weblinks

Fußnoten

Geographie (Windelsbach)
Ort im Landkreis Ansbach
Dorf

Linden (Windelsbach)


Zgrada na Tomislavovom trgu 14, građevina u mjestu i gradu Samobor, zaštićeno kulturno dobro.

Opis
Stambeno - poslovni objekt nalazi se na Trgu kralja Tomislava 14 u središtu Samobora. Jedna je od šest reprezentativnih kuća u nizu smještenih na južnoj strani Trga. To je ugrađena pravokutna jednokatnica s dvostrešnim krovištem podignuta 1906. na mjestu starije prizemne građevine. Uglovi objekta su blago rizalitno istaknuti te u razini kata imaju po jedan erker. Reprezentativne prostorije kata orijentirane su prema Trgu, dok su pomoćne prostorije smještene u južnom dijelu objekta te orijentirane prema potoku Gradna. Međukatnu konstrukciju čini ravan strop na traverzama. Primjer je reprezentativne gradske kuće u kojoj se miješaju kasni historicistički oblici s novim secesijskim stilom.

Zaštita
Pod oznakom Z-4727 zaveden je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "profalna graditeljska baština".

Izvori

Zaštićene stambeno-poslovne građevine u Zagrebačkoj županiji
Građevine u Samoboru

Zgrada, Tomislavov trg 14 (Samobor)


Inezgane es una ciudad de la prefectura Inezgane-Aït Melloul localizada en la orilla norte del río Sus a unos 13 km al sur de Agadir, en la costa atlántica de Marruecos.

En muchos sentidos es un suburbio de Agadir, pero a diferencia de esta ciudad que se centra sobre todo en el turismo, Inezgane es una ciudad típica marroquí. Inezgane es el eje principal de transporte para la región, toda vez que se encuentra ubicada en la intersección de las carreteras N1, N8 y N10.

La ciudad es conocida no solo por sus zocos y joyería de plata, sino que también por su mercado alimenticio; en este contexto, el martes es el principal día de mercado en la ciudad debido a la afluencia de los pueblos vecinos quienes llegan a Inezgane a comercializar sus productos y comprar otros.

El nombre de Inezgane deriva de la palabra amazig Anzigane que significa «La cueva» o «Esa cueva», y es debido a la gran cantidad de cuevas del área.

Referencias

Ciudades de Marruecos
Localidades de la prefectura de Inezgane-Aït Melloul
Comunas de la prefectura de Inezgane-Aït Melloul
Capitales de provincia y prefectura de Marruecos

Inezgane


Age of Love steht für:
 Age of Love (Album), Studioalbum der deutschen Dance-Band Scooter (1997)
 Age of Love (Band), italienisches Trance-Projekt

Age of Love


Datisca glomerata, vrsta uspravne trajnice iz porodice Datiscaceae, jedna je od dva predstavnika u rodu datiska. Domovina joj je Sjeverna Amerika, i to Kalifornija, i susjedna Nevada i sjeverozapadni Meksiko.

Svi dijelovi biljke su otrovni.

Prvi puta opisana je 1835. kao Tricerastes glomerata C.Presl

Sinonimi
 Cannabina glomerata (C.Presl) Kuntze
 Tricerastes glomerata C.Presl

Izvori

Datiska

Datisca glomerata


Erich Karl Wilhelm Georg Martini (* 10. April 1843 in Schwerin; † 12. Februar 1880 in Hamburg) war ein deutscher Chirurg.

Leben und Wirken

Martini wurde in Schwerin als zweiter von fünf Söhnen eines Juristen geboren. Er wuchs in Rostock auf und studierte Medizin an der dortigen Universität. Zu seinen akademischen Lehrern gehörten Carl Bergmann, Gustav Simon und Theodor Thierfelder. Im Anschluss an eine Studienreise nach Prag, Wien und Berlin übernahm er im Februar 1869 eine Stelle als Assistenzarzt an der chirurgischen Abteilung am Krankenhaus St. Georg. Im Herbst 1871 verließ er die Klinik und ließ sich zunächst in Hamburg nieder. 1876 übernahm er die stellvertretende Klinikleitung, ein Jahr später im November das Direktorium der chirurgischen Klinik am Krankenhaus St. Georg. Er verstarb 1880 im Alter von nur 36 Jahren an einer Sepsis, die er infolge einer bei einer Obduktion erlittenen Verletzung entwickelt hatte.

Ehrung
Auf dem Friedhof von St. Jacobi errichtete man ihm ein Grabmal. Zum Gedenken an Erich Martini wurde 1880 von Freunden, Kollegen und Patienten die Dr.-Martini-Stiftung gegründet, die seit 1883 alljährlich den Dr.-Martini-Preis zur Förderung des wissenschaftlichen Nachwuchses verleiht.

Auf dem Ohlsdorfer Friedhof wird auf der Sammelgrabmalplatte Allg. Krankenhaus St. Georg des Althamburgischen Gedächtnisfriedhofs unter anderen an Erich Karl Wilhelm Georg Martini erinnert.

Auch eine Straße in Hamburg-Eppendorf ist nach Erich Martini benannt.

Literatur
 Susanne Helmholz, Heinz-Peter Schmiedebach, Ansgar W. Lohse: Forschung um jeden Preis? Martini-Stiftung – Die Preisträger in den Jahren 1933 bis 1949.  In: Hamburger Ärzteblatt. Jg. 66 (2012), H. 2, S. 12–16 (PDF-Dokument; 6,8 MB).

 Bericht über die Dr. E. Martini-Stiftung. In: Jahrbücher der Hamburgischen Staatskrankenanstalten. Band 1, F.C.W. Vogel, 1890, S. xlvii.

Einzelnachweise

Weblinks

Chirurg
Mediziner (19. Jahrhundert)
Deutscher
Geboren 1843
Gestorben 1880
Mann

Erich Martini (Mediziner, 1843)


Entoloma vernum (Seth Lundell, 1937), sin. Rhodophyllus vernus (Seth Lundell ex Henri Romagnesi, 1947) sau Entoloma cucullatum (Jules Favre ex Bruno Cetto, 1987), din încrengătura Basidiomycota, în familia Entolomataceae și de genul Entoloma, este o specie de ciuperci otrăvitoare, denumită în popor pieptănuș primăvăratic. Buretele coabitează, fiind un simbiont micoriza (formează micorize pe rădăcinile arborilor), dar are de asemenea calități saprofite. El se poate găsi în România, Basarabia și Bucovina de Nord, crescând solitar sau în grup, în păduri mixte și de conifere dar și pe pășuni în preajma unei conifere, de la deal la munte, primăvara, din martie până în iunie.

Descriere

Ordinul Agaricales este de diversificare foarte veche (între 178 și 139 milioane de ani), începând din timpul perioadei geologice în Jurasic în diferență de exemplu cu genul Boletus (între 44 și 34 milioane de ani).
 Pălăria: are un diametru de 3-6 cm, este fragedă, higrofilă și subțire cu marginea deseori răsfrântă spre picior și cârpită, mai întâi conică, în formă de piramidă, apoi complet întinsă, deseori ascuțit cocoșată precum din când în când ușor striată. Cuticula este netedă și catifelată, cu fibre radiale mai deschise. Coloritul diferă între maro închis cu tonuri măslinii, și gri-cenușiu.
 Lamelele: sunt late, dense, bombate, rotunjite spre picior și acolo aderate, cu multe semi-lamele, coloritul lor fiind la început gri, apoi de un roz murdar. Lamelele sunt, inițial albe, apoi de un roz-închis.
 Piciorul: are o lungime de 3-8 (10) cm și o grosime de 0,4-0,8 cm, este cilindric, tare, comprimat, mătăsos-fibros și ușor brăzdat, de aceiași culoare cu pălăria, cu un puf al miceliului alb și fin către bază.
 Carnea: este apoasă, fragedă, în picior fibroasă și de un colorit gri-albui. Ciuperca este de gust plăcut, ușor de ciuperci precum un miros imperceptibil.
 Caracteristici microscopice: are spori poligonali (cu 4-6 colțuri), picurați, ușor elipsoidali și de colorit roz, având  o mărime de 9-12 x 7-9 microni.

Toxicitate
Entoloma vernum este o ciupercă tare otrăvitoare dar neletală din genul Entoloma care provoacă stări de greață și vărsături, probleme acute la nivel gastrointestinal cu diaree, dureri de burtă, de asemenea dureri de cap  și amețeli. Simptomele de ingestie încep după un 15 minute până la 2 ore de la ingerare. Se suspectă, că cauza intoxicației ar fi un glicovinil (C4H7NO2) precum diferite alcaloide. În plus, acest soi conține concentrări relativ mari de cupru, zinc, mercur și arsen în relație cu alte specii.

Confuzii
Pieptănușul primăvăratic poate fi confundat în special cu Tricholoma terreum (comestibil, lamele albe sau cenușii, niciodată roze, crește mai târziu, din vară până toamnă), un soi foarte căutat șai apreciat în Franța, mai departe cu diverse specii comestibile până otrăvitoare, ca de exemplu: Entoloma cetratum (otrăvitor), Entoloma clypeatum sin. Rhodophyllus aprilis (comestibil, miros de făină, imediat după colectare câteodată chiar săpunos, primăvara sub cireș, gutui, măr, merișor de miere, păr, prun păducel, porumbar), dar niciodată în păduri]]), Entoloma conferendum sin. Entoloma staurosporus (probabil toxic), Entoloma incanum (otrăvitor), Entoloma jubatum (necomestibil), Entoloma sepium (comestibil, cuticulă mai deschisă, crește sub porumbar), Entoloma sericeum (otrăvitor), Inocybe mapipes (otrăvitor, carnea tăiată devine ușor maronie, crește mai târziu), Inocybe erubescens sin. Inocybe patouillardi (letal), Inocybe rimosa sin. Inocybe perlata (otrăvitor), Macrocystidia cucumis (fără valoare culinară, mai mic), Pluteus cervinus (ciuperca cerbilor, comestibil) sau Rhodophyllus stauroporus (suspect, miros de faină).

Specii asemănătoare în imagini

Note

Bibliografie
 Marcel Bon: "Pareys Buch der Pilze", Editura Kosmos, Halberstadt 2012, ISBN 978-3-440-13447-4
 Bruno Cetto: "Der große Pilzführer"/"I funghi dal vero", volumele 1-2 (vezi sub note)
 Rose Marie și Sabine Maria Dähncke: "700 Pilze in Farbfotos", Editura AT Verlag, Aarau - Stuttgart 1979 și 1980, ISBN 3-85502-0450* H. Clémençon: "Pilze im Wandel der Jahreszeiten", vol. 1 și 2, Editura Éditions Piantanida, Lausanne 1981
 Rose Marie și Sabine Maria Dähncke: "Pilze", Editura Silva, Zürich 1986
 Jean-Louis Lamaison & Jean-Marie Polese: "Der große Pilzatlas", Editura Tandem Verlag GmbH, Potsdam 2012, ISBN 978-3-8427-0483-1
 Hans E. Laux: "Der große Pilzführer, Editura Kosmos, Halberstadt 2001, ISBN 978-3-440-14530-2
 Meinhard Michael Moser: "Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas" ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983

Legături externe

 Entoloma sinuatum, film

Entoloma
Ciuperci otrăvitoare
1937 în știință

Entoloma vernum


Nebioğlu, Zonguldak ilinin, Çaycuma ilçesine bağlı bir beldedir. Dört mahalleden oluşur: Karaevligeriş mahallesi, Yeşilyurt mahallesi, Terziler mahallesi, Yenipazar mahallesi

Tarihçe
Daha önceleri Bartın Merkez ilçesine bağlıyken, 5 Eylül 1944'te Çaycuma ilçesine bağlandı. 9 Ocak 1997 tarihinde belediye statüsü alarak beldeye dönüştü.

Nüfus

Kaynakça

Çaycuma belde ve köyleri

Nebioğlu, Çaycuma


Torben Forsberg (født 17. april 1964 i København) er en dansk filmfotograf.

Forsberg har i årene 1985 til 1995 arbejdet som mode- og interiørfotograf for flere magasiner, herunder IN Magazine og World of Interior. Fra 1989 til 1993 gik han på Den Danske Filmskole, hvorfra han blev uddannet filmfotograf.

Filmografi

Film
 Obduktionen (1991) - kortfilm
 Mifunes sidste sang (1999) − 2nd unit-fotograf
 På fremmed mark (2000) − 2nd unit-fotograf
 Ørkenens juvel (2001) − Fotograf
 Olsen-banden Junior (2001) − Fotograf
 Halalabad Blues (2002) − 2nd unit-fotograf
 Dommeren (2005) − Fotograf
 Far til fire - gi'r aldrig op (2005) − Fotograf
 Anja og Viktor - Brændende kærlighed (2007) − Fotograf
 Flammen og Citronen (2008) − Fotografassistent
 De Vilde Svaner (2009) − Fotograf

Tv-serier
 Karrusel (1998)
 Rejseholdet (2000-04)
 Sommer (2008)

Eksterne henvisninger
 Personlig hjemmeside

Filmfotografer fra Danmark
Personer fra København

Torben Forsberg


A mystery film is a genre of film that revolves around the solution of a problem or a crime. It focuses on the efforts of the detective, private investigator or amateur sleuth to solve the mysterious circumstances of an issue by means of clues, investigation, and clever deduction. By 2022, mystery films are generally referred to as detective fiction.

While cinema featured characters such as Sherlock Holmes in the early 1900s, several other Sherlock Holmes likes characters appeared such as Boston Blackie and The Lone Wolf. Several series of mystery films started in the 1930s with major studios featuring detectives like Nick and Nora Charles, Perry Mason, Nancy Drew and Charlie Chan.
While original mystery film series were based on novels, by the 1940s many were sourced from comics and radio series. Towards the 1940s these series were predominantly produced as b-movies, with nearly no mystery series being developed by the 1950s.

Around the 2020s a wave of popular theatrical straight mystery films were released theatrically including Kenneth Brannagh's Murder on the Orient Express (2017) and Rian Johnson's Knives Out (2019) as well as on streaming services with the parodic Murder Mystery (2019) starring Adam Sandler.

Definition and characteristics
Mystery films mainly focus on solving a crime or a puzzle. The mystery generally revolves around a murder which must then be solved by policemen, private detectives, or amateur sleuths. The viewer is presented with a series of likely suspects, some of whom are "red herrings", –persons who have the motive to commit the crime but did not actually do it–, and attempts to solve the puzzle along with the investigator. At times the viewer is presented with information not available to the main character. The central character usually explores the unsolved crime, unmasks the perpetrator, and puts an end to the effects of the villainy.

In their essay on horror and mystery cinema from 2022, Mark Jancovich and Shane Brown stated that mystery films generally referred to detective fiction in 2022.

History
The works of Arthur Conan Doyle were often adapted to the screen in early cinema, specifically with Sherlock Holmes such as  Sherlock Holmes Baffled (1900). Gary Don Rhodes wrote that the large volume of detective films released in the 1910s either owed to Sherlock Holmes but that contemporary reviews such as that of Moving Picture World in 1911 bemoaned the lack of a proper Sherlock Holmes adaptation in "Doctor Doyle's finished style." By 1915, the same trade paper stated that "strange as it may seem, the story of crime mystery is fast degenerating into one of stock properties."

There were several mystery and detective films produced during the silent film era, including numerous films involving Sherlock Holmes, Boston Blackie and The Lone Wolf. Mystery and detective films were among the most popular genres of the silent film era. This ranged to American, British, German and Danish adaptations of Sherlock Holmes and European series like Nick Carter, Nat Pinkerton and Miss Nobody.
With the beginning of sound film, mystery film series came into their own with Philo Vance in the 1929 film The Canary Murder Case.A series of films continued in until 1947. Other series followed such as Charlie Chan which began in 1931 and ended in 1949 with 44 films produced.

In the 1930s, most of the major Hollywood film studios produced mystery series, with MGM having Nick and Nora Charles and Joel and Garda Sloane, Warner Bros. having Perry Mason, Torchy Blane, Brass Bancroft and Nancy Drew. Universal had Bill Crane while Fox had Charlie Chan and Mr. Moto.

American mystery film series of the 1930s predominantly relied on mystery literature for inspiration. About every character from the 1930s drew from literature, such as Charlie Chan, Nick and Nora Charles, Thatcher Colt, Perry Mason, and Mr. Wong. The 1930s featured many female detectives of various ages from Nancy Drew, Torchy Blane and Hildegarde Withers while the 1940s had none.
Productions in the 1930s were occasionally A-budget pictures such as The Black Camel (1931), Aresene Lupin (1932) and The Thin Man (1934).

By the 1940s, film detectives came from multiple sources such as radio and comic strips and many others had original scripts. MGM, Warner Brothers, and Paramount had generally halted their production of mystery films by 1942 leaving production to these films being made by RKO, Columbia, Universal and other more minor studios. This led to what author Ron Backer described as 1940s mystery films as being "almost always B-productions" with actors who were "past their prime". These included Chester Morris as Boston Blackie, Warner Baxter as the Crime Doctor, Warren William as the Lone Wolf and Basil Rathbone as Sherlock Holmes.  These smaller budget films led to more major productions such as John Huston's The Maltese Falcon (1941) while Murder, My Sweet (1944) introduced the character Philip Marlowe to film.  Marlowe would appear again in The Big Sleep (1946) while other films author Martin Rubin deemed as notable detective mysteries included Laura (1944). These detective films drew upon thriller and thriller-related genres with their nocturnal atmosphere and style influenced by expressionism. They often overlapped with film noir, which arose in the mid-1940s and was coined by French critics in 1946. The style was not acknowledge by American filmmakers, critics or audiences while these films were being developed until the 1970s.

Mystery films series disappeared by the 1950s. With the exception of Miss Marple films in the 1960s, it was rare to find films with a female lead that had any sequels. Bran Nicol found that the more traditional "clue-puzzle mystery" was "well-served" by 1960s and 70s film adaptations like The Alphabet Murders (1965), Murder on the Orient Express (1974), and Death on the Nile (1978), the decades following it left mystery adaptations to be made for television as the "default home of sumptuous Golden Age adaptations"

Eric Sandberg (Crime Fiction Studies) stated that while film streaming services were predominantly dominated by iterations of Nordic noir and police procedurals, there have been works inspired the classical mystery fiction, such as the parodic Murder Mystery starring Adam Sandler and Jennifer Aniston which was one of Netflix's most popular films of 2019. Sandberg noted that only by the 2020s, specifically with Kenneth Branagh's 2017 The Murder on the Orient Express had the genre been financially successful again with more than $350 million grossed worldwide, leading to a sequel Death on the Nile (2022). Other variations of included Rian Johnson's Knives Out which was not an adaptation of a golden age work, but was Johnson's first foray into the "puzzle-mystery" style, and was the second highest-grossing film in America in 2019.

See also
 Mystery fiction
 List of mystery films
 List of film noir
 List of female detective characters

References

Citations

Sources

Film genres

Film

Mystery film


Slike s izložbe – uspomena na Viktora Hartmana (ruski: Картинки с выставки – Воспоминание о Викторе Гартмане) suita je za klavir koju je skladao Modest Musorgski 1874. godine. Suitu su kasnije prerađivali i orkestrirali mnogi skladatelji, a najčešće je izvođena orkestracija Mauricea Ravela iz 1922. godine.

Kontekst i nastanak
Modest Musorgski je bio ruski skladatelj iz razdoblja romantizma. Bio je časnik, a glazbu je učio privatno. Formalno je bio član "Velike petorke", ali se izdvaja svojim posebnim glazbenim izrazom.

"Velika petorka" (ru. Могучая кучка - "Moćna gomilica"; "Ruska petorica"; "Balakirjevski kružok") naziv je grupe mladih skladatelja koja je bila aktivna u Sankt Peterburgu od 1856. do 1870. godine. Sačinjavali su je skladatelji "nižeg staleža", "amateri" (za razliku od "elitnih" skladatelja koji su završili konzervatorij, kao npr. Čajkovski): osnivač grupe Milij Balakirev (glazbenik, 25 godina), Aleksandar Borodin (liječnik, 28), Nikolaj Rimski-Korsakov (časnik, 18), Modest Musorgski (vojnik, 23) i Cezar Kjui (časnik, 27). Cilj grupe bio je skladanje glazbe s korijenima u ruskom folkloru umjesto oslanjanja na europsku tradiciju.

Na izložbi u Sankt Peterburgu u veljači i ožujku 1874. koju je organizirao Vladimir Stasov (glazbeni i likovni kritičar) bilo je predstavljeno preko 400 Hartmannovih crteža i slika: dizajna kostima i zgrada, slike s putovanja po Europi. Većina slika s te izložbe sada je izgubljena. Stasov je zaslužan za opis celokupnog djela i za opis pet izgubljenih slika (1, 2, 3, 4, 7) koje su Musorgskome poslužile kao inspiracija.

O glazbi
Slike s izložbe Musorgski je napisao 1874. godine u spomen na svoga prijatelja Viktora Hartmana koji je preminuo godinu dana ranije (Виктор Гартман; 1834. – 1873., slikar i arhitekt
). Jedanaest Hartmanovih slika Musorgski je pretočio u deset stavaka suite. Kao uvod i između slika javlja se još šest stavaka: pet promenada bez naslova te jedan naslovljeni stavak. Suitu su kasnije prerađivali i orkestrirali mnogi skladatelji, a najčešće izvođena je orkestracija Mauricea Ravela iz 1922. godine. Skladatelji su prerađivali djela Musorgskoga iz više razloga, najčešće radi ispravljanja grešaka zbog nebrige autora (konzumirao je previše [[votka|votke], što je i bio razlog njegove prerane smrti). Musorgski je bio gorostas pa su mu i šake bile ogromne. U ''Slikama s izložbe' ' pisao je pasaže za veliki raspon svojih šaka, koje većina prosječnih pijanista nije mogla izvesti.

Trajanje suite je oko 35 minuta.

Galerija
Sačuvane slike koje su Musorgskome poslužile kao inspiracija:

Izvori
 Marianne Williams Tobias: Pictures at an Exhibition Indianapolis Symphony Orchestra, www.indianapolissymphony.org  (Pristupljeno: 7. lipnja 2020.)
 Betsy Schwarm: Pictures at an Exhibition, Encyclopædia Britannica, www.britannica.com  (Pristupljeno: 7. lipnja 2020.)
 Bilder einer Ausstellung, Russisches Musikarchiv, www.russisches-musikarchiv.de  (Pristupljeno: 7. lipnja 2020.)

Vanjske poveznice

Skladbe razdoblja romantizma

Slike s izložbe


An Festuca uninodis in uska species han Liliopsida nga ginhulagway ni Eduard Hackel ngan Teodoro Theodor Juan Vicente Stuckert. An Festuca uninodis in nahilalakip ha genus nga Festuca, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Festuca

Festuca uninodis


Asteroid ili mali planet je "izgubljen" kada ga promatrači ne mogu pronaći jer više ne mogu precizno predvidjeti njegovu lokaciju. To se događa ako orbitalni elementi malog planeta nisu dovoljno precizno poznati, obično zato što je luk promatranja za objekt prekratak. Mnogi su asteroidi (vrsta malih planeta) ranije izgubljeni, ali su ponovno otkriveni u 1980-ima i 1990-ima; ipak, mnogi mali planeti su i dalje izgubljeni.

Pravi broj izgubljenih asteroida može biti preko 150 000. Tu je i oko 30 000 nebrojenih tijela s parametrom nesigurnosti U= 9, što ukazuje na najveću moguću nesigurnost u određivanju njihove orbite. Mnoga od ovih tijela promatrana su godinama, ako ne i desetljećima, i moraju se smatrati izgubljenima. Također postoji više od tisuću objekata koji se nalaze u blizini Zemlje (NEO) s lukom promatranja od samo jedan ili dva dana.

Po nekim se definicijama izgube tisuće, ako ne i deseci tisuća, uglavnom malih promatranih manjih planeta - ne mogu se vidjeti s odgovarajućim teleskopima na njihovim predviđenim mjestima jer je neizvjesnost predviđenih orbita prevelika. Neke izgubljeni mali planeti otkriveni u proteklim desetljećima ne mogu se pronaći, jer dostupni promatrački podaci nisu dovoljni za pouzdano određivanje orbite. S ograničenim informacijama astronomi ne mogu znati gdje tražiti objekt u budućim datumima.

Povremeno se "novootkriveni" objekt pokaže kao ponovno otkrivanje prethodno izgubljenog predmeta. To se može utvrditi izračunavanjem unazad "nove" orbite objekta (nakon što je to čvrsto poznato) i provjerom prošlih pozicija u odnosu na one koji su prethodno zabilježeni za izgubljeni objekt. To obično uvelike produžuje duljinu luka objekta, fiksirajući orbitu mnogo preciznije. Za izgubljene komete proračuni povratne orbite posebno su škakljivi zbog negravitacijskih sila koje mogu utjecati na njihove orbite, poput emisije mlaza plina iz jezgre kometa.

Vidi također

 Izgubljeni komet
 Predotkriće

Izvori

Mali planeti

Izgubljeni asteroid


Dražan Kozak (Derventa, 31. srpnja 1967.), hrvatski znanstvenik, podrijetlom iz BiH.

Životopis
Rodio se u Derventi od roditelja, prosvjetnih radnika. Otac je bio nastavnik njemačkog, a mati učiteljica razredne nastave. Djeda mu je protjerao Treći Reich prije Drugog svjetskog rata iz Boleslawieca u Poljskoj. Po materinoj strani je iz Žeravačkog Potoka, otkamo su predci došli iz Hercegovine. Djetinjstvo je Dražan proveo u Žeravcu. U obitelji se njegovala ljubav prema knjizi, a Dražan je uvijek zanimala tehnika. U Žeravcu je išao u osnovnu školu. Završivši osnovnu i srednju, upisao je Strojarski fakultet u Slavonskom Brodu Sveučilišta Josipa Jurja Strossmayera u Osijeku. Za vrijeme studija nagrađen je nagradama dekana i rektora za visok prosjek ocjena. Diplomirao je na temu Pouzdanost zavarenih konstrukcija.

Od 1. kolovoza 1991. znanstveni je novak na Katedri za strojarske konstrukcije na svom matičnom fakultetu. Usporedno je pohađao poslijediplomski studij konstrukcijskog smjera na Fakultetu strojarstva i brodogradnje Sveučilišta u Zagrebu, gdje je magistrirao 1995. godine Eksperimentalno i numeričko određivanje parametara mehanike loma. Doktorirao je disertacijom Doprinos numeričkoj i eksperimentalnoj analizi lomnog ponašanja heterogenih struktura 2001. na Fakultetu strojarstva i brodogradnje Sveučilišta u Zagrebu. Na matičnom fakultetu u Brodu docent je od 2002., izvanredni profesor od 2005., redoviti profesor od 2009. i redovni profesor u trajnom zvanju 2014. godine, Zavod za strojarske konstrukcije Katedra za mehaniku i čvrstoću. Obnašao je dužnost dekana na svom Strojarskom fakultetu u Slavonskom Brodu. Od 1.10.2017. do 2020. godine je prorektor za nastavu i studente Sveučilišta Josipa Jurja Strossmayera u Osijeku. Sada je rektorov asistent za osiguranje kvalitete na Sveučilištu u Slavonskom Brodu i redoviti profesor za područje mehanike i čvrstoće materijala na Strojarskom fakultetu u Slavonskom Brodu.

Autor je ili suautor više od 100 znanstveno-stručnih radova objavljenih u zbornicima radova s održanih simpozija i više od 75 radova u časopisima. Prof. Kozak ima referiranih 105 radova u Web of Science, koji su citirani 600 puta (Web of Science Researcher ID: AAG-5800-2019). H-indeks mu je 13.

Član je uredničkog odbora više časopisa u Hrvatskoj (Tehnički vjesnik) i inozemstvu (Slovačka, Poljska, Rumunjska, Turska, Rusija, Srbija). Suradnik je raznih ustanova u Češkoj, Kazahstanu, Sloveniji, Rumunjskoj i dr.

Član je sljedećih udruga: American Society of Mechanical Engineers, European Structural Integrity Society, Central European Association for Computational Mechanics, Hrvatskoga društva za mehaniku, matičnog odbora za polja strojarstva, brodogradnje, tehnologije prometa i transporta, zrakoplovstva, raketne i svemirske tehnike Nacionalnog vijeća za znanost, visoko obrazovanje i tehnološki razvoj RH i Kluba znanstvenika Udruge Hrvata BiH Prsten. Predsjednik je hrvatske podružnice Europskog društva za cjelovitost konstrukcija.

Izvori

Vanjske poveznice
 Strojarski fakultet u Slavonskom Brodu
 LinkedIn profil
 Google Scholar

Životopisi, Slavonski Brod
Hrvatski znanstvenici
Strojarstvo

Dražan Kozak


Onaç, Mustafakemalpaşa - Bursa ili Mustafakemalpaşa ilçesine bağlı mahalle
 Onaç, Ilgaz - Çankırı ili Ilgaz ilçesine bağlı köy
 Onaç, İskilip - Çorum ili İskilip ilçesine bağlı köy

Onaç


La rue Jean-Baptiste Verheyden (en néerlandais: Jean-Baptiste Verheydenstraat) est une rue bruxelloise de la commune de Woluwe-Saint-Pierre qui va de la rue Arthur André à la rue Henri Vandermaelen sur une longueur totale de 160 mètres.

Historique et description

Le nom de la rue vient du soldat au 14ème Régiment d'Artillerie Jean Baptiste VERHEYDEN, né le 11 mai 1888 à Woluwe-Saint-Pierre et décédé à Calais en France le 1 octobre 1918 de maladie (grippe et pneumonie), inhumé dans le carré militaire du cimetière de Woluwe-Saint-Pierre.

Situation et accès

Inventaire régional des biens remarquables

Voir aussi
 Liste des rues de Woluwe-Saint-Pierre

Liens externes
 Commune de Woluwe-Saint-Pierre

Notes et références

 La Chanson des rues de Woluwe-Saint-Pierre de Jean Francis. Louis Musin Éditeur – Bruxelles 1975

Rue à Woluwe-Saint-Pierre

Rue Jean-Baptiste Verheyden


فرقة غنائية مصرية أسسها الموسيقار عمار الشريعي عام 1980
أعضائها هم : حنان ومنى عبد الغني وعلاء عبد الخالق.
و من أشهر أغانيهم أغنية الحدود.

في عام 1986 تم حل الفرقة، ولكن في عام 2017 أجتمع الفريق مرة أخرى في حلقة لبرنامج صاحبة السعادة، وفي 2020 أعلنت منى عبد الغني عبر حسابها عن عودة الفريق وتنظيم حفل لهم.

ألبومات الفرقة
 مطلوب موظف
 حنغني
 قول يا باسط
 خارج المنافسة
 الحدود

أشهر أغاني الفرقة
 حبيبتى بتعلمنى أحب الحياة
 كتيبة الإعدام
 مع الايام
 الموضات
 الحدود
 الي كل طير مهاجر
 ح نغني
 مطلوب موظف
 مع الأيام
 الموضات
 نفسى أنا
 ح يجوزوني
 تحت العشرين
 حا أعيش
 نفسي أنا

طالع أيضاً
 فرقة النهار
 فرقة المصريين
 فرقة الأصدقاء
 فرقة الچيتس
 فور إم
 فرقة طيبة

المصادر

فرق غنائية مصرية
فرق موسيقية عربية

فرقة الأصدقاء


Olaylar

Doğumlar
 Eylül - Mutî, Abbasi halifesi (ö. 974)

Ölümler
 Lando, papa

914


Vadim Pávlovich Kapranov, en ruso: Вадим Павлович Капранов (Moscú, 26 de febrero de 1940 - Moscú, 4 de junio de 2021)  fue un jugador y entrenador ruso de baloncesto.

Carrera deportiva
Consiguió una medalla en competiciones internacionales con la selección de la Unión Soviética y cuatro como seleccionador de la selección femenina de Rusia.

Falleció a los 81 años, el 4 de junio de 2021 en Moscú, debido a la pandemia de COVID-19.

Palmarés
 Copa de Europa: 2
CSKA Moscú:   1969, 1971.

Referencias

Enlaces externos

Entrenadores de baloncesto de Rusia
Entrenadores de baloncesto de la Unión Soviética
Baloncestistas de la selección de la Unión Soviética
Baloncestistas de la Unión Soviética
Baloncestistas de Rusia
Baloncestistas del CSKA Moscú
Baloncestistas del Dinamo Moscú
Nacidos en Moscú
Fallecidos en Moscú
Fallecidos por pandemia de COVID-19 en Rusia

Vadim Kapranov


pcm - ISO kod za nigerijski pidžin
 pulsno-kodna modulacija (Pulse-code modulation)
 fazno promjenjiva memorija (Phase-change memory)
 fazno promjenjivi materijal (Phase Change Material)
 Pro Cycling Manager

PCM


Julius Robert von Mayer (25 November 1814 – 20 March 1878) was a German physician, chemist, and physicist and one of the founders of thermodynamics.  He is best known for enunciating in 1841 one of the original statements of the conservation of energy or what is now known as one of the first versions of the first law of thermodynamics, namely that "energy can be neither created nor destroyed". In 1842, Mayer described the vital chemical process now referred to as oxidation as the primary source of energy for any living creature. His achievements were overlooked and priority for the discovery of the mechanical equivalent of heat was attributed to James Joule in the following year. He also proposed that plants convert light into chemical energy.

Early life

Mayer was born on 25 November 1814 in Heilbronn, Württemberg (Baden-Württemberg, modern day Germany), the son of a pharmacist. He grew up in Heilbronn. After completing his Abitur, he studied medicine at the University of Tübingen, where he was a member of the Corps Guestphalia, a German Student Corps. During 1838 he attained his doctorate as well as passing the Staatsexamen.  After a stay in Paris (1839/40) he left as a ship's physician on a Dutch three-mast sailing ship for a journey to Jakarta.

Although he had hardly been interested before this journey in physical phenomena, his observation that storm-whipped waves are warmer than the calm sea started him thinking about the physical laws, in particular about the physical phenomenon of warmth and the question whether the directly developed heat alone (the heat of combustion), or the sum of the quantities of heat developed in direct and indirect ways are to be accounted for in the burning process. After his return in February 1841 Mayer dedicated his efforts to solve this problem.

In 1841 he settled in Heilbronn and married.

Development of ideas
Even as a young child, Mayer showed an intense interest with various mechanical mechanisms. He was a young man who performed various experiments of the physical and chemical variety. In fact, one of his favorite hobbies was creating various types of electrical devices and air pumps. It was obvious that he was intelligent. Hence, Mayer attended Eberhard-Karls University in May 1832. He studied medicine during his time there.

In 1837, he and some of his friends were arrested for wearing the couleurs of a forbidden organization. The consequences for this arrest included a one year expulsion from the college and a brief period of incarceration. This diversion sent Mayer traveling to Switzerland, France, and the Dutch East Indies. Mayer drew some additional interest in mathematics and engineering from his friend Carl Baur through private tutoring. In 1841, Mayer returned to Heilbronn to practice medicine, but physics became his new passion.

In June 1841 he completed his first scientific paper entitled "On the Quantitative and Qualitative Determination of Forces". It was largely ignored by other professionals in the area. Then, Mayer became interested in the area of heat and its motion. He presented a value in numerical terms for the mechanical equivalent of heat. He also was the first person to describe the vital chemical process now referred to as oxidation as the primary source of energy for any living creature.

In 1848 he calculated that in the absence of a source of energy the Sun would cool down in only 5000 years, and he suggested that the impact of meteorites kept it hot.

Since he was not taken seriously at the time, his achievements were overlooked and credit was given to James Joule. Mayer almost committed suicide after he discovered this fact. He spent some time in mental institutions to recover from this and the loss of some of his children. Several of his papers were published due to the advanced nature of the physics and chemistry. He was awarded an honorary doctorate in 1859 by the philosophical faculty at the University of Tübingen. His overlooked work was revived in 1862 by fellow physicist John Tyndall in a lecture at the London Royal Institution. In July 1867 Mayer published "Die Mechanik der Wärme." This publication dealt with the mechanics of heat and its motion. On 5 November 1867 Mayer was awarded personal nobility by the Kingdom of Württemberg (von Mayer) which is the German equivalent of a British knighthood. von Mayer died in Germany in 1878.

After Sadi Carnot stated it for caloric, Mayer was the first person to state the law of the conservation of energy, one of the most fundamental tenets of modern day physics. The law of the conservation of energy states that the total mechanical energy of a system remains constant in any isolated system of objects that interact with each other only by way of forces that are conservative.
Mayer's first attempt at stating the conservation of energy was a paper he sent to Johann Christian Poggendorff's Annalen der Physik, in which he postulated a conservation of force (Erhaltungssatz der Kraft).  However, owing to Mayer's lack of advanced training in physics, it contained some fundamental mistakes and was not published.  Mayer continued to pursue the idea steadfastly and argued with the Tübingen physics professor Johann Gottlieb Nörremberg, who rejected his hypothesis.  Nörremberg did, however, give Mayer a number of valuable suggestions on how the idea could be examined experimentally; for example, if kinetic energy transforms into heat energy, water should be warmed by vibration.

Mayer not only performed this demonstration, but determined also the quantitative factor of the transformation, calculating the mechanical equivalent of heat.  The result of his investigations was published 1842 in the May edition of Justus von Liebig's Annalen der Chemie und Pharmacie. It was translated as Remarks on the Forces of Inorganic Nature  In his booklet Die organische Bewegung im Zusammenhang mit dem Stoffwechsel (The Organic Movement in Connection with the Metabolism, 1845) he specified the numerical value of the mechanical equivalent of heat: at first as 365 kgf·m/kcal, later as 425 kgf·m/kcal; the modern values are 4.184 kJ/kcal (426.6 kgf·m/kcal) for the thermochemical calorie and 4.1868 kJ/kcal (426.9 kgf·m/kcal) for the international steam table calorie.

This relation implies that, although work and heat are different forms of energy, they can be transformed into one another. This law is now called the first law of thermodynamics, and led to the formulation of the general principle of conservation of energy, definitively stated by Hermann von Helmholtz in 1847.

Mayer's relation

Mayer derived a relation between specific heat at constant pressure and the specific heat at constant volume for an ideal gas. The relation is:

,

where CP,m is the molar specific heat at constant pressure, CV,m is the molar specific heat at constant volume and R is the gas constant.

Later life

Mayer was aware of the importance of his discovery, but his inability to express himself scientifically led to degrading speculation and resistance from the scientific establishment. Contemporary physicists rejected his principle of conservation of energy, and even acclaimed physicists Hermann von Helmholtz and James Prescott Joule viewed his ideas with hostility. The former doubted Mayer's qualifications in physical questions, and a bitter dispute over priority developed with the latter.

In 1848 two of his children died rapidly in succession, and Mayer's mental health deteriorated. He attempted suicide on 18 May 1850 and was committed to a mental institution. After he was released, he was a broken man and only timidly re-entered public life in 1860.  However, in the meantime, his scientific fame had grown and he received a late appreciation of his achievement, although perhaps at a stage where he was no longer able to enjoy it.

He continued to work vigorously as a physician until his death.

Honors
 1840 Mayer received the Knight Cross of the Order of the Crown (Württemberg).
 1869 Mayer received the prix Poncelet.
 The Robert-Mayer-Gymnasium and the Robert-Mayer-Volks- und Schulsternwarte in Heilbronn bear his name.

In chemistry, he invented Mayer's reagent which is used in detecting alkaloids.

Works
 Ueber das Santonin : eine Inaugural-Dissertation, welche zur Erlangung der Doctorwürde in der Medicin & Chirurgie unter dem Praesidium von Wilhelm Rapp im July 1838 der öffentlichen Prüfung vorlegt Julius Robert Mayer . M. Müller, Heilbronn 1838 Digital edition by the University and State Library Düsseldorf

References

Further reading

External links

1814 births
1878 deaths
19th-century German physicists
Recipients of the Copley Medal
People from Heilbronn
Thermodynamicists

Julius von Mayer


Kertme, Amasya ilinin Göynücek ilçesine bağlı köydür.

Tarihçe
Köy, 1926 yılından beri aynı adı taşımaktadır.

Coğrafya
Köy, Amasya il merkezine 45 km, Göynücek ilçe merkezine 27 km uzaklıktadır.

Nüfus

Kaynakça

Dış bağlantılar

Göynücek belde ve köyleri

Kertme, Göynücek


Aylmer Buesst (Melbourne, 28 de enero de 1883-enero de 1970) fue un director de orquesta, maestro y estudioso australiano, quien pasó su carrera en el Reino Unido. Se le relaciona sobre todo con la ópera y la música vocal. También escribió una obra importante sobre los leitmotifs en las óperas de Richard Wagner y era una autoridad en heráldica.

Biografía
Aylmer Wilhelmy Buesst nació en 1883 en Melbourne, hijo de William Augustus Buesst (1846–1935) y Helen Violette, de soltera Pelt. Sus hermanos fueron Victor Augustine (1885-1960; un compositor), y Tristan Noël Marchand (1894-1982; un soldado, abogado y coleccionista de cosas de Australia). La familia Buesst había emigrado en los años 1870 desde Staffordshire en Inglaterra, "buesst" es una palabra anglosajona que significa "robusto".  A pesar de todo, su madre más tarde pretendió que el nombre fuera alemán y a veces añadido una diéresis (Büesst) para que así pareciera.

Estudió violín en Melbourne, donde fue celebrado como un prodigio. Durante los años 1890 el virtuoso visitante Joseph Joachim se fijó en él y lo llevó a Breslau para estudiar con él. Tuvo ulteriores estudios en el conservatorio de Breslau, luego con César Thomson en Bruselas y August Wilhelmj en Londres.  Sus estudios musicales continuaron en el Conservatorio de Leipzig, incluyendo estudios de dirección con Arthur Nikisch.

En 1911 fue invitado a dirigir la Orquesta de Hallé en Mánchester, Inglaterra.  En 1914, con el estallido de la Primera Guerra Mundial, fue aprisionado en Strangeways Prison como un enemigo en la creencia de que ea alemán, considerando que hablaba alemán con fluidez, y desarrolló un acento inglés que sonaba a alemán de sus años de estudio en el continente europeo, y también había adoptado la diéresis cuando escribía su apellido.  Recabó la ayuda de un amigo externo, Sir Gerald Woods Wollaston (un futuro Garter Principal King of Arms 1930-1944) en busca de sus antepasados, para probar que él era de pura raza inglesa.  Wollaston fue capaz de asegurar su liberación después de diez meses.  En el proceso, Wollaston consiguió que se organizara un Grant of Arms para Buesst.  Irónicamente, debido a su excelente alemán, Buesst (que rápidamente había eliminado su diéresis) fue usado entonces para interrogar a oficiales alemanes capturados y ayudando, en general, con traducciones a través del resto de la guerra. A pesar de estar despejadas las dudas sobre simpatías alemanas o conexiones familiares, no se le necesitó más en la Hallé debido al sentimiento prevalente antialemán. Regresó a Breslau, convirtiéndose allí en Kapellmeister. Fue en Breslau donde se interesó por la heráldica, y comenzó lo que más adelante sería una colección de libros y otros materiales de heráldica europea, incluyendo todos los blasones del Sacro Imperio Romano Germánico. Su biblioteca fue más adelante donada para ayudar a fundar la colección del Instituto de Heráldica y Estudios Genealógicos.

Aylmer Buesst dirigió la Compañía de Ópera Moody-Manners, la Compañía de Ópera D'Oyly Carte, luego la Compañía de Ópera Beecham 1916-17 y 1919-20. Fue cofundador de la Compañía de Ópera Nacional Británica (BNOC), que dirigió en 1922-28. Se casó con la soprano May Blyth en 1924.

Su libro El anillo del nibelungo: una guía acto por acto de la trama y la música de Richard Wagner fue publicada en 1932, tuvo una segunda edición en 1952, y durante muchos años fue una referencia estándar sobre el uso que Wagner hizo del leitmotif, cada uno de los cuales identificó.

En 1933 fue nombrado Director musical asistente de la BBC hasta 1936. Guio la representación del estreno de la Cantata Profana de Béla Bartók, en una retransmisión de radio desde Londres el 25 de mayo de 1934. Dirigió la Orquesta Escocesa en 1939-40.

Desempeñó cargos docentes en la Royal Academy of Music, el Royal College of Music y la Guildhall School of Music. Entre sus estudiantes estuvieron los compositores Buxton Orr e Imogen Holst, los directores George Weldon, Robert Jenner, y Thomas Loten, y el tenor Ian Partridge.

Fue presidente de la Sociedad Orquestal de St Albans y su hija Jill fue una pianista.

Falleció en enero de 1970, a la edad de 86 años.

Grabaciones
Aylmer Buesst hizo grabaciones con Enrico Caruso, Richard Crooks y Heddle Nash.

Hizo la tercera grabación de la ópera de Mascagni Cavalleria rusticana, con la BNOC en 1927.  Esta fue la primera grabación de una ópera completa que se hizo en Inglaterra usando el proceso eléctrico.  Los principales cantantes fueron Heddle Nash, Justine Griffiths, Harold Williams, la esposa de Buesst May Blyth y Marjorie Parry (entonces esposa de John Barbirolli). La grabación ha sido lanzada en CD, emparejada con Eugene Goossens dirigiendo Pagliacci de Leoncavallo.  Este lanzamiento ha recibido una serie de encendidos elogios.

Referencias
Notas

Fuentes
 Grove's Dictionary of Music and Musicians, ed. Eric Blom, 5.ª ed., 1954, Vol. I, p. 1003

Directores de orquesta de Australia
Directores de orquesta del Reino Unido
Profesores de Australia
Profesores de Reino Unido
Richard Wagner
Heraldistas
Músicos clásicos del siglo XX del Reino Unido
Nacidos en Melbourne

Aylmer Buesst


Huáscar is an ironclad turret ship owned by the Chilean Navy built in 1865 for the Peruvian government. It is named after the 16th-century Inca emperor, Huáscar. She was the flagship of the Peruvian Navy and participated in the Battle of Pacocha and the War of the Pacific of 1879–1883. At the Battle of Angamos, Huáscar, captained by renowned Peruvian naval officer Miguel Grau Seminario, was captured by the Chilean fleet and commissioned into the Chilean Navy.

Today Huáscar is one of the few surviving ships of her type. She has been restored and is a memorial ship anchored in Talcahuano, Chile. Huáscar is the second oldest armored warship afloat after , and the oldest monitor afloat.

Technical details

Captain Cowper Coles, wrote of Huáscar: "...as a sea-going vessel of 1,100 tons, 300-horse power, and a speed of 12 1/4 knots. Her foremast is fitted with tripods; she carries two 300-pounders in one turret." And "...the "Huascar" class of 1865 fitted with a hurricane deck; she was one of six different classes designed and built by Messrs. Laird Brothers, to whom the credit for their great success is due. She can fire right ahead from her 300-pounders, and aft within 15 degrees of the line of keel, but would have a stern chaser either on or under her poop."

The British magazine Engineering described it: "She is an armour-clad monitor built by Messrs. Laird Brothers, of Birkenhead, in 1866...... She is 190 ft. in length between perpendiculars, 35 ft. in extreme breadth, and 19 ft. 9 in. in depth of hold. Her builder's tonnage is 1101, and indicated horse power 1500. Her draught of water is 15 ft. 6 in., and her maximum speed is said to be 12 knots when her boilers are in good condition, and the bottom is clean. Her usual speed under good working conditions is probably not more than 10 1/2 to 11 knots. She is propelled by a single screw. The Huascar is a rigged two-masted vessel, the foremast being upon Captain Cole's tripod principle. Her freeboard, or height of deck above water, is about 5 ft. She carries two 300-pounder Armstrong guns in one turret, which is protected by 5 1/2-in. armour plating upon a teak backing of 14 in. The sides are protected by armour plating 4 1/2 in. thick amidships, tapering to 2 1/2 in. at the extremities, which is also worked upon a teak backing of 14 in. There is an armoured pilot tower of hexagonal form abaft the turret from which the ship is worked in action; and the openings in the deck are protected by 2-in. iron plates that are shipped in the openings for skylights or hatchways. The Huascar is an iron-built vessel, and at the time she was built was most perfect in all the appliances of defence, and in her internal arrangements."

Career in Peruvian Navy

First years

Huáscar was ordered by the Peruvian government from the British shipbuilder John Laird Sons & Company in 1864 for the war against Spain. Laird House had extensive experience of these advanced ships, designing and building the "Laird ram"s. She was built for a price slightly more than £81,000, and launched in Birkenhead on 7 October 1865.

Commanded by Peruvian-Chilean Captain José María Salcedo, a naval officer in service of the Peruvian government, who had supervised construction on behalf of the Peruvian Navy she left for Peru on 20 January 1866 on a trip that saw some trouble: a month-long wait at Brest, a minor collision with the ironclad Independencia on 28 February, refusal of service by neutral countries, a month of repairs at Rio de Janeiro, insubordination by Independencia's commander and the capture and sinking of the Spanish brigantine Manuel. When she finally arrived in port at Ancud in allied Chile to join the rest of the combined fleet on 7 June, it was too late for her to participate in the conflict.

Under Captain Lizardo Montero, Huáscar prepared at Valparaíso to participate in a late 1866 expedition to fight the Spanish fleet in the Philippines. However Montero, with several other Peruvian officers, objected to plans for Rear Admiral John R. Tucker –formerly a commander of Confederate warships during the American Civil War – to command the fleet, and requested to be relieved. Captain Salcedo took back command of Huáscar, but the expedition was eventually cancelled.

In February 1868, Peruvian naval officer Miguel Grau took command of Huáscar and would remain in command until 1876, becoming her longest-serving commander. His long years aboard the ironclad would prove very valuable later and he would also become Peru's most renowned naval officer.

Peruvian Civil War

Huáscar participated in Nicolás de Piérola's 1877 attempt to overthrow the Peruvian government. On the 6 May, two of de Piérola's supporters, Colonel Lorranaga and Major Echenique, boarded the Huáscar at the port of Callao while the captain and executive officer where ashore. Some of the ship's officers on board were part of the plot and persuaded the crew to join their cause. Now in rebel hands, the Huáscar put to sea with Luis Germán Astete in command. Other Peruvian naval ships present in the port, such as the Atahualpa were in a state of disrepair and unable to pursue. The ship was used to harass, sabotage and disrupt government forces and shipping lanes. During these actions foreign shipping was also affected, leading to British intervention.

On 29 May 1877, she fought the inconclusive Battle of Pacocha against two British vessels, the frigate HMS Shah and the corvette HMS Amethyst, commanded by Admiral Algernon Frederick Rous de Horsey. This battle saw the first use in combat of the newly invented self-propelled torpedo which, at the time, had just entered limited service with the Royal Navy. Huáscar surrendered to the government after almost one month in rebel hands.

War of the Pacific

Huáscar participated in the War of the Pacific (1879–1883), initially in the service of Peru. Once again under the command of Captain Grau, she became famous for daring harassment raids on Chilean ports and transports. As a result, during the opening months of the war, the ground invasion was delayed for almost six months until the Chilean fleet could find and stop Huáscar.

On 21 May 1879 Huáscar led the lifting of the Chilean blockade of Iquique. During the Battle of Iquique, the Chilean captain of the corvette Esmeralda, Arturo Prat, was killed on Huáscar'''s deck. After sinking the corvette by repeated ramming, Huáscar rescued the survivors, then continued pursuit of a fleeing enemy ship, the Covadonga.

During the next 137 days Huáscar not only evaded confrontation with the enemy fleet, following orders from the Peruvian government, but made the coast insecure for Chilean transport ships. Her biggest prize was the Chilean gunned transport Rímac with 260 men of the cavalry regiment "Carabineers of Yungay".

Determined to secure the supply lines needed for the invasion of Perú, the Chileans committed every possible unit to hunt down Huáscar. On 8 October 1879 Huáscar was captured by the Chilean Navy under the command of Galvarino Riveros Cárdenas at the Battle of Angamos, during which Rear Admiral Grau and 32 of her crew of 200  were killed.

Career with Chilean Navy
War of the Pacific

After the Battle of Angamos, Huáscar entered the service of the Chilean Navy. At Arica she fought a duel with the Peruvian monitor  Manco Cápac while participating in the bombardment of the city –where her new commander Manuel Thomson was killed– and she also aided in the blockade of Callao.

After the war
After the war, in 1885 and 1887, Huáscar was renovated, including renewal of boilers, new screw design, and all-new steam engines to move the gun and artillery turrets.

In May 1888, as part of a ceremonial division commanded by Rear Admiral Luis Uribe, Huáscar brought the bodies of the officers of the Esmeralda from their graves at Iquique to a new burial place at Valparaíso. These were the same officers killed on Huáscar's deck at the Battle of Iquique; Rear Admiral Uribe had been the executive officer aboard Esmeralda and a survivor of the battle.

Chilean Civil WarHuáscar participated in the 1891 Chilean Civil War between government and congress. Undergoing major maintenance work at the onset of the war, she was seized and towed out of Valparaíso by the rebel-leaning navy, and readied for action within three days.

Commanded by Captain José María Santa Cruz, she participated in the takeover of the port city of Taltal by the rebels, ran escort duty for convoys and protected rebel-held ports. She returned once more to the port of Iquique, this time to bombard the port city held by government forces. After almost eight months of fighting, the war ended with the government's surrender.

PostwarHuáscar continued serving the Chilean Navy until a boiler explosion in 1897 at the Talcahuano military harbour resulted in her decommissioning. Partially repaired, she later served as the first submarine tender in the Chilean Navy from 1917 to 1930.

In the early 1930s Huáscar was taken in hand for reconditioning as a heritage ship. Recommissioned in 1934, Huáscar was now armed with two 8-inch guns, three 4.7 inch guns and four 47 mm guns. It now wore the flag of the Port Admiral at Talcahuano. As late as 1949 she was listed in Jane's Fighting Ships as a coast defense ship; the photograph of Huáscar in that year's edition dated from 1938.

Preservation as memorial ship

When she was recommissioned in 1934, Huáscar was the oldest vessel of the Chilean Navy. Between 1951 and 1952, work was undertaken with the aim to completely restore her to her 1897 condition, when she finished her service in the Chilean Navy, and declare her a shrine to the glory of both the Peruvian and Chilean navies.

She became a floating museum and a memorial, displaying many objects and relics recovered from Navy warehouses or donated by private citizens from the Talcahuano and Concepción area, including:
 A shrine with portraits of the three commanders that lost their lives on her deck, set in the commander's quarters.
 A portrait gallery in the boiler room.
 A prayer room, duly authorized by the Archbishop of Concepción

Between 1971 and 1972, a second restoration phase was undertaken at the Chilean Navy's drydock in Talcahuano: the hull was completely repaired, and engines rebuilt according to original blueprints obtained in England. Since then, a strict maintenance program ensures survival and preservation for future generations.

In 1995, the World Ship Trust conferred the Maritime Heritage Award on the Chilean Navy for its restoration of Huáscar.Huáscar is berthed at the port of Talcahuano, Chile. The Talcahuano Naval Base and Shipyards were devastated by the 2010 Chile earthquake and the resulting tsunami; although Huáscar was at the base then, she survived with no apparent damage and reopened to visitors in March 2011.

SignificanceHuáscar is one of the few early-ironclad-era warships still afloat.  Huáscar'' remains highly regarded in both Peru and Chile, being considered as the tomb of the Peruvian Admiral of the Fleet Miguel Grau and the Chilean Captains Arturo Prat and Manuel Thomson.

References

Bibliography

External links

 Technical descriptions of the ship, by Gerald Wood, in collaboration with Philip Somervell and John Maber, Part I (page 2) and Part II (page 86), Magazine "Warship", Volume 10, UK-, US-,. Retrieved on 27 December 2011.
 Ramming Speed! Naval Battles of the Ironclad Emperor of the Pacific Illustrated two-part article puts the story of the Huascar in context with the evolution of Ironclad sea warfare.
 The amazing Huascar

Ironclad warships of the Peruvian Navy
Ironclad warships of the Chilean Navy
Ships built on the River Mersey
1865 ships
Ships of the War of the Pacific
Captured ships
Museum ships in Chile
Maritime incidents in May 1877

Huáscar (ironclad)


ජ්වාලාමාලිනී (,) යනුවෙන් හැඳින්වෙන්නේ ජෛන ආගමේ අටවන තීර්ථංකර ශ්‍රී භග්වාන් චන්ද්‍රප්‍රභූගේ යක්ෂණිය (ආරක්ෂක ආත්මය) යි. ඇය මුල්කාලීන මධ්‍යතන යුගයේ කර්ණාටකයේ වඩාත්ම පුළුල් ලෙස වන්දනාවට ලක්වූ යක්ෂණියන් අතුරින් අයෙකි.

නිරුක්තිය සහ සම්භවය
ජ්වාලා යනු ගිනි ජාලාව යන්නයි. මාලිනී යනු මාලය දරාසිටින්නිය යන්නයි. විවිධ පුරාණ ග්‍රන්ථ තුළ ඇය දක්නට ලැබෙන අතර වායු පුරාණයේ ඇය ශිව සමගත්, බ්‍රහ්මාණ්ඩ පුරාණයේ සහ මත්ස්‍ය පුරාණයේ ඇය ශක්ති දෙවඟන සමගත් සම්බන්ධව දක්වා ඇත.

ජෛන පුරාණෝක්තිවේදය තුළ
ජෛන සාහිත්‍යය තුළ ඇයව වහ්නි දේවී හෙවත් අග්නි දේවතාවිය ලෙස සලකා ඇත. ඇ‍ගේ ප්‍රතිමා ස්වරූපවල ඇගේ හිසෙන් පැනනගින ගිනි දලු දක්වා ඇත. ඇය ගිනි දළුවලින් හිස සරසා සිටිනු විස්තර කෙරේ.

ජ්වාලාමාලිනී වන්දනය
මෙම දේවතාවිය තන්ත්‍රික අනුබැඳියා පවතියි. සාහිත්‍යය අනුව ජ්වාලිනී කල්ප ලෙස ඇයව වන්දනය ආරම්භ කළේ ද්‍රවිඩ ගණ නම් නිකායේ ජෛන තන්ත්‍රික ආචාර්යවරයකු විසිනි. පුරාවෘත්තයේ සඳහන් වන්නේ මෙම දේවතාවිය විසින්ම තමන් පිළිබඳ තොරතුරු ගොනුකරන ලෙස හෙලාචාර්යට පැවසූ බවකි. අභිලේඛන අනුව එකල ඇය වෙනුවෙන් චාරිත්‍ර රැසක් ඉටුකෙරුණු බැව් පෙනේ.

දේවාලය
සියලුම ජෛනයන් සඳහා පූජනීය ස්ථානයක් වන ඇය වෙනුවෙන් කැපකළ ජ්වාලාමාලිනී දේවාලය පිහිටියේ ඉන්දියාවේ කර්ණාටක ප්‍රාන්තයේ චික්මගලූර් දිස්ත්‍රික්කයේ නරසිංහරාජපුර ප්‍රදේශයේ ය.

හෙලාචාර්ය විසින් සිය ක්‍රමය තේරුම් කරදුන් මලය හේමග්‍රාම ප්‍රදේශය වර්තමාන කර්ණාටක ප්‍රාන්තයේ මයිසූර් දිස්ත්‍රික්කයේ චම්රාජ්නගර් තලුක්හි මලෙයූර් යැයි විශ්වාස කෙරේ. ක්‍රි.ව. 909ට අයත් අභිලෙඛනයක් අනුව මෙම ප්‍රදේශය ද ජෛනයන්ට පූජනීය ස්ථානයකි. මෙම අභිලේඛනයෙහි ජෛන දේවාලයකට කළ ප්‍රදානයන් පිළිබඳව ද සඳහන් වේ.

මේවාත් බලන්න
ජ්වාලාමාලිනී දේවාලය

බාහිර සබැඳි
 ජෛන තීර්ථයෝ
 ජෛන තීර්ථ - ශ්‍රී සිංහනාගාද්දේ ජ්වාලාමාලිනී

උද්ධෘත සහ ආශ්‍රේයයන්

ජෛනාගමේ දිව්‍යමය පරිවාරකයෝ

ජ්වාලාමාලිනී


Kečkovce este o comună slovacă, aflată în districtul Svidník din regiunea Prešov. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 249 de locuitori.

Istoric
Localitatea Kečkovce este atestată documentar din 1582.

Note

Legături externe

Localități din Slovacia

Kečkovce


Agustín Rodríguez Santiago eller bare Agustín (født 10. september 1959 i Marín, Spanien) er en spansk tidligere fodboldspiller (målmand).

Agustín tilbragte størstedelen af sin karriere hos Real Madrid, som han repræsenterede i 12 sæsoner, frem til 1990. Han var med til at vinde fire spanske mesterskaber, to Copa del Rey-titler og en udgave af UEFA Cuppen med Real, men var dog i store dele af sin tid i klubben reserve for blandt andet José Manuel Ochotorena og Francisco Buyo.

De sidste fire år af sin karriere spillede Agustín hos CD Tenerife. Han stoppede sin karriere i 1994.

Titler
La Liga
 1986, 1988, 1989 og 1990 med Real Madrid

Copa del Rey
 1982 og 1989 med Real Madrid

Supercopa de España
 1988 og 1989 med Real Madrid

Copa de la Liga
 1985 med Real Madrid

UEFA Cup
 1986 med Real Madrid

Referencer

Eksterne henvisninger

Fodboldspillere fra Spanien
Fodboldspillere fra Real Madrid CF
Fodboldspillere fra CD Tenerife

Agustín Rodríguez Santiago


Türkiye
 Gökçepınar, Serik - Antalya ili Serik ilçesine bağlı mahalle
 Gökçepınar, Dursunbey - Balıkesir ili Dursunbey ilçesine bağlı mahalle
 Gökçepınar, Gercüş - Batman ili Gercüş ilçesine bağlı köy
 Gökçepınar, Çorum - Çorum ili merkez ilçesine bağlı köy
 Gökçepınar, Gümüşhane - Gümüşhane ili merkez ilçesine bağlı köy

Yunanistan
 Gökçepınar, İskeçe

Gökçepınar


Jægerne - tilbage til vildmarken () er en svensk thriller fra 2011 instrueret af Kjell Sundvall med Rolf Lassgård og Peter Stormare i hovedrollerne.

Medvirkende
Rolf Lassgård som Erik Bäckström
Peter Stormare som Torsten
Kim Tjernström som Peter
Annika Nordin som Karin Johansson
Lo Kauppi som Johanna Lager
Jesper Barkselius som Åström
Eero Milonoff som Jari Lipponen
Johan Paulsen som Mats
Yngve Dahlberg som Eriks boss
Juho Milonoff som Esa Lipponen

Eksterne henvisninger

Svenske film fra 2011
Thrillere

Jægerne - tilbage til vildmarken


Visual System est un collectif d'artistes pluridisciplinaires. Leur domaine de prédilection est la lumière et leur medium principal est la LED.

Né en 2007, ce collectif parisien regroupe des architectes, musiciens, sculpteurs, codeurs, motion-designer. Avec comme ambition une célèbre maxime du compositeur John Cage « que la lumière soit vue et que la musique soit entendue », Visual System spatialise des atmosphères harmoniques et colorées en investissant tout un lieu. Depuis ces installations, ils y explorent la relation entre l'espace et le temps, la nature et la science, la rêverie et la réalité.

Guidé par ce principe, le collectif sculpte des espaces aux formes géométriques composés de LED et de sons. Cette fusion de deux sens (la vue et l'ouïe) produit au spectateur une expérience spectaculaire et hypnotique.

Ils inventent des dispositifs lumineux et sonores qui sont en interaction directe avec l'espace urbain en explorant ses principes de perception, de participation, d'échange et en utilisant tout ce que les nouvelles technologies peuvent offrir tant au niveau spatial que spectral.

S'appuyant sur les dernières avancées technologiques, ils sont avant tout des conteurs d'histoires. Ils racontent des histoires d'aujourd'hui, abstraites et colorées, qui convoquent les mécanismes internes de nos images mentales, et nous montrent que notre perception du monde a pour principal instrument non pas les yeux, mais le cerveau.

Depuis sa création, Visual System a réalisé des œuvres pour, entre autres, l'Atomium de Bruxelles, la Gaîté-Lyrique à Paris, plusieurs festivals en Chine et en Thaïlande et plus encore.

Principales Installations
 2021:
 Détour, Gaité Lyrique, Paris
 Little +, Nuits Blanches, Gaité lyrique, Paris
 Abîme, Nuits Blanches, Gaité Lyrique, Paris
 Symbol, Atomium, Brussels
 Circonvolutions, Centre Wallonie-Bruxelles, Paris
 2019:
 , Atomium, Brussels
 M Tour 2019, Cirque d'hiver Bouglione, Paris
 One second later, Atomium, Bruxelles
 Opium, Polygon Live Stage, Wonderfruit Festival, Thaïlande
 2018:
 Panache, Tour Panache, Grenoble
 Santos de Cartier, Tank Museum, Shanghai
 Circum, Centre Georges-Pompidou, Paris
 Plazia Francia (aka Gotan project), Scénographie Jeremie Lippman, World Tour
 NTM Tour 2018, Scénographie Jeremie Lippman, France
 , Shanghai, Chine
 2017:
 Altn8, Wonderfruit, Thaïlande
 50 colors, A2Z Art Gallery, Paris, France
 Beyond the Wall, Bercy, Paris
 Little Talk, Studio 9, Hong Kong
 Pulse, Showroom Adidas, Paris
 2016:
 Talk, Atomium, Bruxelles, Belgique
 Here to Create, Trocadéro, Paris
 ADAM, Art & Design Brussels Museum, Bruxelles, Belgique
 Palais of speed, Palais de Tokyo, Paris, France
 VS Carré X, Croisement Festival, Guangzhou, Chine
 2015:

 Diamond, LVMH, Paris, France
 Potted Palm, VAW Festival, Mexico, Mexico
 2014:
 Out of control , Atomium, Bruxelles, Belgique
 The Opus, collaboration avec le designer Français Matteo Messervy, Bangkok, Thaïlande
 C42, Citroën Showroom, Paris
 2013:
 Green Room Session, Paris, France
 Lunettes M, Mojo Tour of artist M 1056 x 18, C42 show room, Paris, France
 Blue Rider II , Jakarta, Indonésie
 Devoteam, Atomium, Bruxelles
 Infinity, Atomium, Bruxelles
 ID#2013 Poème Numérique, Atomium, Bruxelles, Belgique
 #uttruckshop  Uniqlo, New York, États-Unis
 2012:
 So Ouest, Auditoire, Levallois, France
 Grill of fourmis, Aparak 2.0, Rennes, France
 Trafik , Zenith, Nantes, France
 Blended Blood, Bund, Shanghai, Chine
 Little Ghost, Fab Fest, La Gaîté Lyrique, Paris, France
 Radio FG, Grand Palais, Paris, France
 Transit II, Atomium, Bruxelles, Belgique
 2011:
 Organic Culture, Scopitone, Nantes, France
 Théâtre Liberté, Toulon, France
 8-BIT Kermesse 3, Labanque, Béthune, France
 2010:
 88, Le Garage, Béthune, France
 Poom Box, Poom Music Band
 Usina Electrica , Electricity Factory, Festival Outsider, Buenos Aires, Brésil
 BNP Opéra (en collaboration avec Superbien), Paris, France
 Transit I, Atomium, Bruxelles, Belgique
 Blue Rider, de Shanghai in Shenzhen, Chine
 Flux (musique de Le Tone), Nuits Blanches, Metz, France
 Uniqlo / VS / Laclique, Hôtel Salomon de Rothschild, Paris, France 48 x 48,
 Digitalnights, Singapore Art Museum, Singapore, Singapour
 Nemo-104, Festival Nemo-104, Paris, France
 Spectral Issue, Lab-labanque, Béthune, France
 Exit 2010, Festival Exit 2010, Créteil, France
 2009:
 Digital Experience, Festival Crossing The lines New York, États-Unis
 Mini 20n, Macy's Broadway, New York, États-Unis
 2008:
 Digital Experience #02, Shanghai e-Arts Festival, Chine
 Pixel Display #01, F.E.S.T., Carthage, Tunisie
 48 x 48, Festival Scopitone, Nantes, France
 Scattered, Théâtre de l'Agora, Évry, France
 106, Le 106, Rouen, France
 3x5x8, Galerie Numeris Causa, Paris, France
 2007:
 Digital Experience #01, Shanghai e-Arts Festival, Chine

Notes et références

Collectif d'artistes

Visual System


George Gerbner (8 Ağustos 1919 - 24 Aralık 2005), Macar asıllı Amerikalı iletişim bilim profesörü.

Budapeşte, Macaristan'da doğan Gerbner, 1939 yılında ABD'ye yerleşti. Temple Üniversitesi'nde öğretim üyeliği yapmıştır. Pennsylvania Üniversitesi bünyesindeki Annenberg İletişim Okulu'nun eski dekanı olan Gerbner, 1967'den bu yana, prime-time televizyon programları üzerine gözlemler ve analizler yapan Kültürel Göstergeler Projesi'nin (Cultural Indicators Project) müdürü, Kültürel Çevre Hareketi'nin (Cultural Environment Movement) kurucusu ve başkanıdır. Gerbner, medya endüstrilerinin gittikçe tekelci hale gelen yapıları üzerine yürüttüğü çalışmalarla, bu alanda bir otorite haline gelmiştir.

Gerbner, başlattığı Kültürel Göstergeler Projesi ile iletişim çalışmalarına katkılarda bulunmuştur. 1967'den beri devam eden bu proje çerçevesinde, görsel-işitsel medyanın kültürel çevremizi nasıl etkilediğini ve şekillendirdiğini anlamaya ve eleştirmeye yönelik çalışmalar yürütülmektedir. Örneğin Gerbner'e göre medyada sürekli olarak cinsellik ve şiddete dayalı programlar üretilmektedir (Sahil Güvenlik, Zeyna, Herkül vs) çünkü bu konular diyalogdan çok imaja dayanmaktadırlar ve dünyanın her yerinde anlaşılabilir niteliktedirler. Gerbner, imaja dayalı programların üretilme nedenini, bu türden yapımların yabancı televizyonlara kolayca pazarlanabilmesi ile açıklamaktadır. 1996'da Gerbner birkaç kişiyle bir araya gelip Kültürel Çevre Hareketini başlatmıştır. Bu girişimle amaçlanan, yurttaşlara sadece tüketerek yurttaş olunamayacağını anlatmak ve zihinleri çevreleyen kültür endüstrilerine karşı yurttaşları harekete geçirmektir.

Gerbner'in geliştirdiği "diyalektik iletişim modeli" ile, Shannon-Weaver'ın doğrusal (linear) modelinin hedefin alımlamasını tam olarak ölçemeyeceğini kanıtlamıştır.

Gerbner'in bazı kavramları:
 Televizyon Dünyası
 Mutlu Şiddet
 Acımasız Dünya Sendromu
 Kültürel Ekme

Acımasız Dünya Sendromu
Gerbner'in ünlü ekme kuramı yaklaşımına göre televizyonda sürekli olarak izleyiciye sunulan mesajlar, izleyicilerin gerçeklik hakkında fikir ve tutumlarını etkilemektedir. Gerbner ve arkadaşları televizyonun sürekli olarak toplumdaki egemen fikirleri ekmekte olduğunu söylemiş ve bu nedenle çok televizyon izleyen kişilerin gerçeklik algısının doğrudan televizyon mesajlarıyla oluştuğunu belirtmiştir. Buradan hareketle Gerbner ve arkadaşları televizyondaki aşırı şiddet içeriklerinin birçok insanın dış dünyadan korkmasına sebep olduğunu vurgulamış ve bu kişilerin dünyayı gerçek hâlinden daha güvensiz bir ortam olarak değerlendirdiğini belirtmiştir.

Dış bağlantılar
 George Gerbner web sitesi
 The Cultivation Theory: George Gerbner
 Announcement of Bell Atlantic Professorship
https://dergipark.org.tr/download/article-file/360787
https://www.mediaed.org/transcripts/Mean-World-Syndrome-Transcript.pdf

1919 doğumlular
Budapeşte doğumlular
2005 yılında ölenler
20. yüzyıl Amerikalı bilim insanları
21. yüzyıl Amerikalı bilim insanları
Philadelphia'da ölenler
Pensilvanya Üniversitesi öğretim üyeleri

George Gerbner


Veliki sat, američki film noir iz 1948. godine. Snimljen prema romanu književnika Kennetha Fearinga. Za film ga je adaptirao književnik Jonathan Latimer.

Sažetak
Moćan novinski magnat počinio je ubojstvo u afektu. Tragove ubojstva prikrio je tako da je sumnja pala na čovjeka kojega uopće ne poznaje i koji je slučajno bio u dodiru s žrtvom.

Američki filmovi 1940-ih
Filmovi 1940-ih

Veliki sat (1948.)


Quincy es una estación en las líneas Rosa, Naranja, Marrón y Púrpura del Metro de Chicago. La estación se encuentra localizada en 220 South Wells Street en Chicago, Illinois. La estación Quincy fue inaugurada el 3 de octubre de 1897.  La Autoridad de Tránsito de Chicago es la encargada por el mantenimiento y administración de la estación.

Descripción
La estación Quincy cuenta con 2 plataformas laterales y 2 vías.

Conexiones
La estación es abastecida por las siguientes conexiones de autobuses:
 Rutas del CTA Buses

Referencias

Enlaces externos

 Estación Quincy
 Líneas y estaciones del Metro de Chicago

Estaciones de ferrocarril de Estados Unidos inauguradas en 1897
Estaciones de la línea Rosa (Metro de Chicago)
Estaciones de la línea Púrpura (Metro de Chicago)
Estaciones de la línea Naranja (Metro de Chicago)
Estaciones de la línea Marrón (Metro de Chicago)

Quincy (Metro de Chicago)


A Branford Steam Railroad (BSRR) é uma ferrovia industrial de bitola padrão, com 11,6 km de extensão, que atende a pedreira Tilcon Connecticut, em North Branford, Connecticut, nos Estados Unidos. Foi construída em 1903, por Louis A. Fisk, um empresário de Branford, Connecticut, para transportar passageiros para uma pista de turfe. Fisk também construiu a Damascus Railroad, em 1905, estendendo a rota da Branford Steam Railroad até North Branford, atendendo às pedreiras. A autorização de funcionamento da Damascus Railroad foi alterada em 1907, permitindo uma segunda extensão até uma nova pedreira adjacente à montanha Totoket. A Branford Steam Railroad assumiu o controle da Damascus Railroad em 1909, e é a operadora desde então.

Em 1916, a Branford Steam Railroad encerrou o transporte de passageiros, continuando com o transporte de cargas. A empresa transporta rochas de basalto da montanha Totoket, em North Branford, desde 1914. Naquele ano, Fisk vendeu a ferrovia para um grupo que estava criando uma pedreira, formado pela Hayden, Stone Co. e a família Blakeslee, de New Haven, a New Haven Trap Rock Company, que se tornou operadora da pedreira e da Branford Steam Railroad. Após uma disputa da rota com a Shore Line Electric Railway, a Branford Steam Railroad construiu uma extensão para o sul até uma doca em Pine Orchard, em Long Island Sound, que permanece em uso até hoje para transferir pedras para barcaças, seguindo para distribuição. Rochas de basalto também são transportadas por via férrea para um intercâmbio com a Providence and Worcester Railroad.

Ferrovias

Branford Steam Railroad


Crkva Blažene Djevice Marije (Gospe od Planice), crkva u Kostirni kod Komiže, Vis, zaštićeno kulturno dobro

Opis dobra
Crkva Gospe od Planice u Kostirni na otoku Visu smještena je uz staru cestu koja vodi iz Visa u Komižu. U povijesnim izvorima spominje se 1668.g. Kružnog je tlocrta s plitkom pravokutnom apsidom na istoku, a građena je kamenom. Na vrhu krovišta s izbačenim krovnim vijencem u obliku romboidno postavljenih cigli ima lanternicu. U strukturi ziđa razaznaju se tri faze gradnje, iako crkva stilski pripada baroknom slogu. Zidovi unutrašnjosti crkve ožbukani su bijelom žbukom, a pod kupolom završavaju profiliranim kamenim napustom. U apsidi je mali kameni barokni oltar sa slikom "Susret Marije i Elizabete ".

Zaštita
Pod oznakom Z-5695 zavedena je kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "sakralna graditeljska baština".

Izvori

Zaštićene sakralne građevine u Splitsko-dalmatinskoj županiji
Katoličke crkve u Komiži

Crkva Blažene Djevice Marije u Komiži


O Strong Openweight Tag Team Championship (em japonês: STRONG無差別級王座, STRONG musabetsu-kyū ōza) é um campeonato de duplas de wrestling profissional de propriedade e promovido pela promoção japoenesa New Japan Pro-Wrestling (NJPW). O título é apresentado exclusivamente no programa de televisão NJPW Strong Live da NJPW nos Estados Unidos. Os atuais campeões são a Aussie Open (Kyle Fletcher e Mark Davis), que estão em seu segundo reinado como equipe e também individualmente.

História
Em 8 de junho de 2022, a NJPW anunciou a criação do campeonato, disputado em um torneio de oito equipes que estava programado para determinar os campeões inaugurais, culminando em uma luta final no Strong: High Alert em 24 de julho de 2022. A Aussie Open (Kyle Fletcher e Mark Davis) derrotaram Christopher Daniels e Yuya Uemura na final do torneio para se tornarem os campeões inaugurais.

Torneio inaugural

Reinados
Até  de  de , houveram três reinados entre duas equipes compostas por quatro campeões individuais. Os campeões inaugurais foram a Aussie Open (Kyle Fletcher e Mark Davis). Chris Sabin é o campeão mais velho com 40 anos, enquanto Kyle Fletcher é o mais jovem com 23.

Os atuais campeões são o Aussie Open (Kyle Fletcher e Mark Davis), que estão em seu segundo reinado, tanto como equipe quanto individualmente. Eles derrotaram os campeões anteriores The Motor City Machine Guns (Alex Shelley e Chris Sabin) e Dream Team (Hiroshi Tanahashi e Kazuchika Okada) no Capital Collision em 15 de abril de 2023, em Washington, DC.

Referências

Campeonatos da NJPW

Strong Openweight Tag Team Championship


Die International Society for Education through Art (InSEA) ist ein 1951 gegründeter internationaler Verein zur Förderung der kulturellen Bildung, ästhetischen Erziehung und der Auseinandersetzung mit der Kunst.

Geschichte
InSEA wurde 1951 anlässlich eines unter der Schirmherrschaft der UNESCO in Bristol abgehaltenen Seminars für Kunsterziehung gegründet. Dem Seminar mit dem Titel The Visual Arts in General Education wohnten 20 Nationen bei. Die erste Verfassung entstand 1954 in Paris. Erster Präsident war Edwin Ziegfeld. Durch einen Vertrag wurde der InSEA 1963 der Status einer beratenden Organisation der UNESCO zuerkannt. Im gleichen Jahr erfolgte der Zusammenschluss mit der FEA (Fédération Internationale pour l'Éducation Artistique), einer 1904 in Bern gegründeten internationalen Vereinigung für Kunsterziehung.

Kongresse
Weltkongresse fanden statt in: Den Haag, Niederlande (1937); Manila, Philippinen (1960, 1990); Montreal, Kanada (1963); Prag, Tschechoslowakei (1966); New York, USA (1969, 2002); Coventry, Vereinigtes Königreich (1970); Zagreb, Jugoslawien (1972); Sevres, Frankreich (1975); Adelaide, Australien (1978), Rotterdam, Niederlande (1981); Rio de Janeiro, Brasilien (1984); Hamburg, Deutschland (1987); Brisbane, Australien (1999); Viseu, Portugal (2006) und Osaka, Japan (2008).

Regionalkongresse fanden statt in: Baden, Österreich (1980); Nikosia, Zypern (1982); Sofia, Bulgarien (1983); Bath, Vereinigtes Königreich (1985); Vancouver, Kanada (1986); Lagos, Nigeria (1988); Stockholm, Schweden (1988); Kairo, Ägypten (1989); Helsinki, Finnland (1992); Lissabon, Portugal (1994); Taichung, Republik von China und Manila, Philippinen (1995); Glasgow, Großbritannien (1997); Tokio, Japan (1998); Poznań, Polen (2000); Stockholm/Helsinki/Tallinn (2003); Istanbul, Türkei (2005); Karlsruhe/Heidelberg (2007); Rovaniemi, Finnland (2010).

Sonstiges
InSEA publiziert das dreimal pro Jahr erscheinende International Journal of Education Through Art.

Der Bund Deutscher Kunsterzieher ist Mitglied der International Society for Education through Art.

Literatur
 Boerma, A. (1958). International Society for Education through Art, I.N.S.E.A., Second General Assembly, the Hague, Netherlands, 19th-23rd August 1957 / La Societe Internationale Pour l'Education Artistique, INSEA Deuxieme Assemblee Generale. [International Issue] Art Education, 11 (3). 7-8+10-17+19-21.
 Boughton, D. (2010) InSEA's Future Role in Art Education. Past President's Forum InSEA World Congress, Osaka Japan, Aug 9, 2008
 Read, H. E. (1954). Education through Art. (3rd edition). New York, Pantheon Books.
 Read, H. E. (1949). Education for peace. New York: C. Scribner's Sons.
 Smith, R. A. (Ed.) (1978). The International Society for Education through Art InSEA. [Special Issue] Journal of Aesthetic Education, 12 (2).
 Smith, R., & Smith, C. M. (Eds.) (1984). Defining Cultural and Educational Relations - An International Perspective. [Special Issue]. Journal of Aesthetic Education, 18 (2).
 Steers, J. (2001). InSEA: A Brief History and a Vision of its Future Role. International Journal of Art & Design Education 20 (2), 215-229.

Weblinks
 Offizielle Website
 International Journal of Education Through Art
 Verfassung von 1954 (PDF; 518 kB)

Einzelnachweise

Kunstpädagogik
UNESCO
Gegründet 1951


Ryohei Suzuki (født 12. juni 1949) er en tidligere japansk fodboldspiller. Han var i perioden 1986–1989 træner for Japans kvindefodboldlandshold.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan
Fodboldtrænere fra Japan

Ryohei Suzuki


Ailau bezeichnet in Osttimor:

 Ailau (Aldeia, Suro-Craic), Aldeia im Suco Suro-Craic, Gemeinde Ainaro
 Ailau (Ort, Suro-Craic), der Hauptort des Sucos Suro-Craic
 einen Ort und Aldeia im Suco Tutuluro, Gemeinde Manufahi, siehe Tutuluro

Siehe auch:
 Eylau

Ailau