Articles with hCards
මයිල්වාගනම් නිමල්රාජන් 2000 ඔක්තෝම්බර් 19 දින ඇඳිරි නීතිය අතරතුර ශ්‍රී ලංකා යුධ හමුදාවේ අධි ආරක්‍ෂිත කලාපයේදී පැරාමිලිටරි ඊපීඩීපීයට අයත් තුවක්කු කරුවන් විසින් වෙඩි තබා ඝාතනය කරන ලද යාපනයේ ජ්‍යෙෂ්ඨ මාධ්‍යවේදියෙකි.

පුවත්පත් කලාවේ වෘත්තිය
1980 දශකයේ අගභාගයේ සහ 1990 දශකයේ මුල් භාගයේ යුද්ධයෙන් විනාශ වූ උතුරු යාපනය අර්ධද්වීපයේ මාධ්‍යවේදියෙකු ලෙස ඔහු බීබීසී හි දෙමළ සහ සිංහල භාෂා සේවා, දෙමළ භාෂා වීරකේසරී පුවත්පත සහ සිංහල භාෂාවෙන් රාවය පුවත්පත ඇතුළු විවිධ ප්‍රවෘත්ති සංවිධාන සඳහා වාර්තා කළේය. නිමලරාජන් වාර්තා කළ කාලය තුළ මාධ්‍යවේදීන්ට නිදහසේ ප්‍රවේශ වීමට ඉඩ නොදී ඇති ආරවුල් සහිත ප්‍රදේශයක් වන යාපනයෙන් ස්වාධීන ප්‍රවෘත්ති මූලාශ්‍ර කිහිපයෙන් කෙනෙකි.

ප්‍රහාරය සහ ඔහුගේ කතාව
ඔහු ලිපියක් ලියමින් සිටියදී ප්‍රහාරකයන් ඔහුගේ නිවසට පැමිණ වෙඩි තබා ඇත. ඔවුන් පිටත්ව යාමට පෙර ඔවුන් අත්බෝම්බ දෙකක් විසි කළ අතර එයින් ඔහුගේ මව වන ඒ වන විට 58 හැවිරිදි ලිලී මයිල්වාගනම් සහ ඔහුගේ බෑණනුවන් වන 11 හැවිරිදි ප්‍රසන්න ජෙගතාස් බරපතල තුවාල ලබා ඇත. පසුව ඔවුන් ඔහුගේ පියා වන 66 හැවිරිදි සංගරපිල්ලේ මයිල්වාගනම්ගේ වම් කණට යටින් දිගු පිහියකින් කපා නහරයක් කරකවා ඔහුගේ මුහුණේ සලකුණක් තැබූහ. නිමලරාජන්ගේ වැඩිමහල් සොහොයුරිය වන ප්‍රමරාණි ජෙගතාස්ට ශබ්ද ඇසුණි. ඇය කාමරයට එන විට අඳුර වැටී තිබූ අතර ඇගේ දෙපා බිම ඇලී ඇති බව ඇයට දැනුනි. ඇය විදුලි පහන දල්වා බැලූ විට, ඇගේ මල්ලිගේ ලේ වලින් බිම වැටී ඇති බව ඇය දුටුවාය. ඔවුන් රෝහලට යන විට ඔහුගේ වැඩිමහල් සහෝදරියගේ පුතා වූ පියා, මව සහ ඔහුගේ බෑණනුවන් හදිසි වාට්ටුවට ගෙන ගොස් ඇත. ප්‍රමරාණි ඇගේ මල්ලිගේ සිරුර ඇගේ උකුල හරහා තබාගෙන මුළු කාලයම හඬමින් සිටියාය.

ඇයි එයාව මැරුවේ
මාධ්‍යවේදීන් සුරැකීමේ කමිටුවට අනුව, යාපනයේ 2000 පාර්ලිමේන්තු මැතිවරණයේදී ඡන්ද කොල්ලකෑම් සහ බිය ගැන්වීම් පිළිබඳ නිමලරාජන් වාර්තා කිරීම ඔහුගේ ඝාතනයට හේතු වූ බවට සැක කෙරේ.

කවුද එයාව මැරුවේ
එක් දෙමළ පක්ෂයක් වන ද්‍රවිඩ එක්සත් විමුක්ති පෙරමුණ නිවේදනයක් නිකුත් කරමින් කියා සිටියේ මෙම ඝාතනය සිදු කළ බවට තමන් සැක කරන ඊපීඩීපී නම් දේශපාලන සහ මිලිටරි කණ්ඩායම බවට සැක කරන බවයි. TULF ප්‍රකාශකයෙකු පැවසුවේ ආසන්නතම හේතුව නිමලරාජන් ඊපීඩීපීයේ බලකොටුවක් වන කයිට්ස් දූපත් වල සහ යාපනය නගරයේ ඡන්ද කොල්ලකෑම් ගැන ලියා තිබීමයි. TULF ප්‍රකාශය පදනම් විරහිත චෝදනාවක් බව පවසමින් EPDP කිසිදු සම්බන්ධයක් ප්‍රතික්ෂේප කර ඇත.

යාපනය විශ්වවිද්‍යාලයේ ශිෂ්‍ය සංගමය ශීර්ෂ පාඨය සහිත පත්‍රිකාවක් නිකුත් කළේ යාපනයේ පුනරුත්ථාපනය මෙයද? ඊපීඩීපී එකට කෙලින්ම චෝදනා කරනවා. පුනරුත්ථාපන (උතුර) අමාත්‍යාංශය ලබාගත් පක්‍ෂය ජනතාවට මිනීමැරුමක් ලබාදී ඇතැයි එහි සඳහන් වේ.

ඔක්තෝබර් 10 වැනි දින මැතිවරණයෙන් පසුව, යාපනයෙන් වැඩි ඡන්ද ලබා ගැනීමට අසමත් වීම සම්බන්ධයෙන් අවම වශයෙන් අර්ධ වශයෙන් හෝ තමා වගකිව යුතු ඊපීඩීපීයේ උදහසට ලක් වූ බව නිමලරාජන් සගයන්ට පැවසූ බව වාර්තා විය. තර්ජන කිහිපයක් එල්ල වීමෙන් පසු තමාගේ ආරක්ෂාව ගැන කනස්සල්ලට පත්ව සිටින බව ඔහු පැවසීය.

මාධ්‍යවේදියා අධි ආරක්‍ෂිත කලාපයක ජීවත් වූ අතර ඔහුගේ ඝාතකයන්ට ඔහුගේ නිවසට යාමට සහ අනාවරණය නොවී පිටව යාමට අපහසු විය. මෙම ප්‍රදේශය හමුදා මුරපොලවල් සහ විශේෂ කුඩ ආරක්ෂක පද්ධතියකින් දැඩි ලෙස පාලනය වේ. එපමණක් නොව මෙම ඝාතනය සිදුව ඇත්තේ ඇඳිරි නීතිය ක්‍රියාත්මක වේලාවන්හිදීය.  දේශසීමා රහිත වාර්තාකරුවන්' ඔවුන්ගේ 2003 වාර්ෂික වාර්තාවේ  අත්අඩංගුවට ගත් සැකකරුවන්ගෙන් බොහෝ දෙනෙක් ඊපීඩීපී සාමාජිකයින් බවත්, ඝාතනය කෙලින්ම පිළි නොගත්තද, ඔවුන් එකිනෙකාට චෝදනා කර ඇති බවත් පැවසීය.

රජයේ ප්‍රතිචාරය සහ විමර්ශනයේ ප්‍රතිඵල
එවකට සිටි රජය වහාම පරීක්ෂණයක් ආරම්භ කළේය. පුද්ගලයන් 10 දෙනෙකු රඳවා ගෙන ඇති අතර, ඔවුන්ගෙන් වැඩි දෙනෙක් ඊපීඩීපී සාමාජිකයින් ය. ඔවුන්ගෙන් බොහෝ දෙනෙක් මෙම ඝාතනයට එකිනෙකා සම්බන්ධ කර ගත්තද, බලධාරීන් වසරකට වැඩි කාලයක් නඩුව අවහිර කළහ. කෙසේ වෙතත්, සැකකරුවන් දෙදෙනෙකු වන ඩේවිඩ් මයිකල් කොලින්ස් සහ යම් විෂුවා නිදහස් කරන ලදී. පසුගිය ඊපීඩීපී සාමාජිකයින් රටින් පැන ගොස් සිටියද ඔවුන්ගේ විදේශ ගමන් බලපත්‍ර රාජසන්තක කර නැත. 2002 වසර අවසන් වන විට සැකකරුවන් කිසිවකු නඩු විභාගයට ඉදිරිපත් කළේ නැත. ඝාතනය සිදුවූ ස්ථානයේ තිබී සොයාගත් තීරණාත්මක සාක්ෂි පිළිබඳ පරීක්ෂණවල ප්‍රතිඵල නැවත ලබා දීමට පොලිසිය තවමත් කටයුතු කර නොතිබුණි ; ඊ.පී.ඩී.පී.යෙන් ලබාගත් ගිනි අවි, ඝාතනය සිදුවූ ස්ථානය අසල පාපැදියක තිබී සොයා ගත් ඇඟිලි සලකුණු, උණ්ඩ කොපු සහ අත්බෝම්බයක අස්ථි කොටස්. මේ සියල්ල වාර්තා කළේ නිදහස් මාධ්‍ය ප්‍රවර්ධනය කරන මධ්‍යස්ථ සංවිධානයක් වන දේශසීමා රහිත වාර්තා විසිනි.

මේකත් බලන්න

 ශ්‍රී ලංකාවේ සිවිල් යුද්ධය

යොමු කිරීම්

2000 මරණ
1961 උපත්
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මයිල්වාගනම් නිමල්රාජන්


පරමාණුව වටා ඉලෙක්ට්‍රෝන වල පිහිටීම අවබෝධ කර ගැනීමට එකල සිටි විද්‍යාඥයන් වන " j.j.තොම්සන් ,අර්නස්ට් රදර්ෆර්ඩ් ,නීල්ස් බෝර්" යන විද්‍යාඥයන් විසින් විවිධ මත ඉදිරිපත් කළ අතර  ඒවා පහත පරිදි වේ.

1.    තොම්සන් ගේ ප්ලම් පුඩිම් ආකෘතිය

2.    රදර්ෆර්ඩ් ගේ ග්‍රහ ආකෘතිය

3.    නීල්ස් බෝර් ගේආකෘතිය

v ප්ලම් පුඩිම් ආකෘතිය.

"පුඩිමක් තුල තැන තැන මිදි ගෙඩි විසිරී ඇත්තා සේ (+) ආරෝපිත ඝන ගෝලයක් (එනම් න්‍යෂ්ටිය) තුළ (-) ආරෝපිත ඉලෙක්ට්‍රෝන ගිලී පවතී." මෙය තොම්සන් විසින් ඉදිරිපත් කළ පරමාණුක ආකෘතියයි.

මෙහිදී තොම්සන් විසින් අවදාරණය කර ඇති කරුණු කීපයකි.එනම්,

·       පරමාණුව ඝන මාංසල ගෝලයක් බව.

·       එය (+) ආරෝපිත බව.

·       (-) ආරෝපිත ඉලෙක්ට්‍රෝන ගිලී පවතින බව.

නමුත්, රදර්ෆර්ඩ් කළ රන්පත් පරීක්ෂාව මගින් පරමාණුවේ බොහෝ ප්‍රදේශ හිස් අවකාශ බව හදුනා ගත් අතර (+) ප්‍රෝටෝන හා (-) ඉලෙක්ට්‍රෝන එකට පැවතිය නොහැකි නිසා තොම්සන්ගේ මෙම අදහස බැහැර විය.

v ග්‍රහ ආකෘතිය.

"සූර්‍යයා වටා ග්‍රහවස්තු ගමන් කරන්නා සේ (+) ආරෝපිත න්‍යෂ්ටිය වටා(-) ආරෝපිත ඉලෙක්ට්‍රෝන ගමන් කරයි." මෙය රදර්ෆර්ඩ් විසින් ඉදිරිපත් කළ පරමාණුක ආකෘතියයි.මෙය න්‍යශ්ටිය පදනම් කරගත් පළමු ආකෘතිය වන නිසා මෙය "පළමු න්‍යශ්ටික ආකෘතිය" ලෙස හදුන්වයි.

න්‍යෂ්ටිය (+) ආරෝපිත නිසා එය වටා ගමන් කරන (-) ආරෝපිත ඉලෙක්ට්‍රෝනය, න්‍යෂ්ටිය වෙතට ශක්තිය අඩු වන මාර්ගයක් ඔස්සේ න්‍යශ්ටිය මතට පතිත විය යුතුය.නමුත් එසේ නොවීමට හේතුව රදර්ෆර්ඩ් හට තම ආකෘතිය ඔස්සේ පහදා දීමට නොහැකි විය. එමනිසා ඔහුගේ එම ආකෘතියද ඉවත දැමීමට සිදු විය.

v බෝර් ආකෘතිය.

පරමාණුව පිලිබඳ ආකෘතියක් නීල්ස් බෝර් විසින් ද ඉදිරිපත් කල අතර එය H පරමාණුව පදනම් කරගෙන නිර්මාණය වී ඇත. එහි පහත කරුණු ඇතුලත් වේ.

·       H පරමාණුවේ ඉලෙක්ට්‍රෝනය න්‍යෂ්ටිය වටා යම් නිශ්චිත දුරකින් එනම් කවච වල (කක්ශ වල) පවතින බව.

·       මෙම කක්ශ වල පවතින ඉලෙක්ට්‍රෝන වල නිශ්චිත ශක්තියක් පවතින බව(ශක්ති ස්තාවර අවස්තාව).

·       ඉලෙක්ට්‍රෝන සිදු කරන වලයාකාර චලිතය සඳහා ඉලෙක්ට්‍රෝන ශක්තිය වැය නොකරන අතර ඉලෙක්ට්‍රෝන න්‍යශ්ටිය මතට පතිත වීමක්ද සිදු නොවේ.

·       එක් ශක්ති මට්ටමක සිට වඩා ඈත වූ ශක්ති මට්ටමකට ඉලෙක්ට්‍රෝන සංක්‍රමනය වීමේදී ඉලෙක්ට්‍රෝන විසින් ශක්තිය අවශෝශනය කර ගනියි.

·       එලෙසම පෙර ශක්තිමට්ටමට පැමිනීමේදී ඉලෙක්ට්‍රෝන විසින් අවශෝශනය කරගත් ශක්තිය විමෝචනය කරයි.

මෙලෙස ශක්ති අවශෝශනය හා විමෝචනය "ෆෝටෝන" ලෙස සිදු කරයි.

පරමාණුව වටා ඉලෙක්ට්‍රෝන වල පිහිටීම


La  est l'une des trois circonscriptions législatives que compte la préfecture d'Ōita au Japon. Cette circonscription comptait  électeurs en date du .

Description géographique

La deuxième circonscription de la préfecture d'Ōita regroupe les villes de Hita, Saiki, Usuki, Tsukumi, Taketa, Bungo-ōno et Yufu, les extrémités est et ouest d'Ōita et le district de Kusu.

Députés

Notes et références

Voir aussi

Articles connexes
 Chambre des représentants du Japon

Circonscription législative au Japon

Deuxième circonscription de la préfecture d'Ōita


13. etape af Giro d'Italia 2018 gik fra Ferrara til Nervesa della Battaglia 18. maj 2018.

Elia Viviani tog sin tredje etapesejr.

Etaperesultater

Samlet

Referencer

Eksterne henvisninger

13

13. etape af Giro d'Italia 2018


Römnitz Almanya'nın kuzeyinde Schleswig-Holstein eyaletinde, Herzogtum Lauenburg iline bağlı bölge. 5,21 km² yüzölçüme sahiptir. Nüfusu, 30 Eylül 2006 itibarıyla yaklaşık 60 olarak tespit edilmiştir. Belediye Başkanlığı Karl Guse tarafından yürütülmektedir.

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Römnitz


علم إسرائيل (بالعبرية: דגל ישראל) هو العلم الرسمي لدولة إسرائيل، والذي يمثل الدولة وسيادتها ومؤسستها ومواطنيها، سواء كان في إسرائيل أو في العالم. هذا العلم ذو الخلفية البيضاء الذي يتجلى به خطين أفقيين لونهما ازرق داكن، وبينهما نجمة داوود بنفس اللون.
كانت بداية هذا العلم منذ أيام الهجرة الأولي، حيث تبنته الحركة الصهيونية كشعار لها منذ نشأتها في عام 1897. تم اختيار هذا العلم بدلاً من (علم النجوم السبعة) الذي إقترحه بنيامين زئييف ثيودور هيرتسل. وبعد قيام الدولة في عام 1948 سعي مجلس الدولة المؤقت حول إيجاد علم للدولة، فتم ترشيح علم الحركة الصهيونية بشكل رسمي ليستخدم كشعار لدولة إسرائيل في 28 أكتوبر 1948، وقد تم تفضيله وفقا لأفكار أخرى خاصةً لأنه يملك شعبية كبيرة التي كانت لديه عند الشعب اليهودي.

يري جزءا كبيرا إلي حدا ما من السكان اليهود بإسرائيل، ومن اليهود الذين يعيشون في دول آخرى أن في العلم القومي رمزا لاستقلال دولة إسرائيل، ومن أحد التعبيرات عن النصر رفع العلم علي أسطح المنازل وعلي السيارات في ذكرى يوم الاستقلال (يوم إقامة الدولة عام 1948). هناك جدل في القطاعات الحريدية والقطاعات العربية حول علاقة العلم وعن مكانته في المجتمعن خاصة إنه رمز للصهيونية واليهودية.

صورة العلم
صورة علم الدولة والعلاقات بين الأبعاد التي حددت وأعلنت في البيان الرسمي لمجلس الدولة المؤقت:
يبلغ طول العلم 220 سم، وعرضه 160 سم. الخلفية بيضاء وعليها خطين لونهما ازرق داكن، والمساحة بينهما 25 سم، مائلة إلي كل طول العلم من الضلع إلي الضلع. المسافة بين الخط العلوي والخط السفلي تبلغ 15 سم. ويتوسط الخلفية البيضاء بين الخطين الزرقاوين بمسافة متساوية «نجمة داوود» المتكونة من ستة خطوط زرقاء عرضها 5.5 سم لكل منهما، يندمج فيها مثلثين متساوي الأضلاع، وقاعدتهما تتوافق مع طول الخطين الزرقاوين للعلم «هذا العلم كان معروفا باسم ريشون لتسيون».

تاريخ علم إسرائيل

استخدام العلم لإقامة دولة إسرائيل
المقال الرئيس –العلم العبري
علي مايبدو، كان الأديب النمساوي اليهودي لودفيج أغسطس فرانكل هو أول من طرح فكرة " أن الألوان القومية اليهودية هي اللون الأزرق والأبيض. عام 1864 , بعد زيارة القدس، باسم (ألوان أرض يهوذا) الاستخدام الفعلي لهذا العلم، في تصميمه المأخوذ، يمكن أن ينتسب لأيام الهجرة الأولي.
وقد وثق الأديب مردخي هليل كوهين في حفل تكريم الميلاد ال100 لموسي مونتيفوري، في عام 1884 وبها «في المرة الأولي ظهرلنا ان الألوان القومية كثيرة ولم نعلم أن الأزرق والأبيض هما لونا شعبا».
اختيار الألوان، سواء كانت علي يد فرانكل وعلي يد أشخاص من الهجرة الأولي، لم تكن بالمصادفة، لان كما هو المتعارف عليه في التقاليد اليهودية القديمة اعتادوا ارتداء شال الصلاة ذو اللون السماوي (الطاليت)والذي تم ذكره في سفر (العدد) الإصحاح 15 الفقرة 37-39 :
«وكلم الرب موسي قائلا: كلم بني إسرائيل وقل لهم ان يصنعوا لهم اهدابا في أذيال ثيابهم في أجيالهم ويجعلوا علي هدب الذيل عصابة من إسمانجوني» [الاسمانجوني هو اللون السماوي طبقا للتفسير الذي ورد في شرح الكتاب المقدس للقس أنطونيوس فكري ]*.
ورمز نجمة داوود التي تتوسط العلم، وجدت في ثقافات الشعوب منذ فترة التاريخ القديم، ولكن تم ربطها باليهودية في عناصر الفن والاستخدامات المقدسة العديدة.
رفع إسرائيل بلكيند في 1885 , مؤسس حركة بيلو، وكان العلم تصميمه يشبه لعلم إسرائيل الحالي الذي أعده معه فاني ماروفيتش (رقعة من القماش الأبيض: عليه شريطين سماوين مثل التي في الطاليت لدينا ونجمة داوود ذو اللون الأزرق)
في احتفالات الذكري السنوية الثالثة لمستعمرة «ريشون لتسيون» كان وقت ذلك العلم معروف باسم (علم ريشون لتسيون). يشبه هذا العلم الذي استخدمه مايكل هالبيرن في حدث بنس تسيونا في عام 1891 , وكذلك تم استخدامه في (منظمة أبناء صهيون)لهذا العالم.
لم نكن نعرف كيف كانت الأحداث لدي أولئك الذين حضروا المؤتمر الصهيوني الأول في بازل 1897, حيث حصلوا علي موافقة علي العلم ذي الخطين الزرقاوين اللذين علي الخلفية البيضاء ويتوسطهما نجمة داوود، وقد رفض اقتراح بنيامين زئيف هرتسل وهو (علم ذو سبعة نجوم ذهبية).وكانت هذه ظروف نشأة العلم الإسرائيلي الذي كان في الأصل علم الحركة الصهيونية، كما وصفه ديفيد ولفسون، في حين انه يصف نفسه بانه الأب الروحي لفكرة تصميم العلم وفقا لشال الصلاة (الطاليت):
"جاء في مرسوم زعيمنا هرتسل: جئت لبازل، لإتخاذ كل الاستعدادات للمؤتمر الأول.ومن بين العديد من التساؤلات التي كانت تشغلني كانت أحدها...وضع العلم ولكن المؤتمر؟ ماهي ألوانه؟ ولكن لم يكن لدينا علم.
هذه الفكرة ألمتني جدًا. نحن نحتاج إلي إنشاء علم. ولكن ماهي الألوان التي سنختارها؟
ومن هنا توهجت في ذهني هذه الفكرة: حقا نحن لدينا علم.الأبيض الأزرق.الطاليت (شال الصلاة) الذي نتشح به في صلواتنا –هذا الطاليت هو رمزنا. وجدنا إذن ان هذا الشال هو الذي يجب أن يعلن أمام إسرائيل وجميع الشعوب. وطلبت آنذاك علم أزرق ابيض ونجمة داوود المرسومة عليه، وهكذا جاء علمنا القومي إلي العالم.(ديفيد ولسون)

في نهاية الحرب العالمية الأولي، بعد أن طرد اليهود من تل أبيب وانتقلوا من مدينة كفار سابا الي مدينة يافا، ابتكر أحد الزعماء المحليين الحاخام مناحيم إسحق كاليونر فكرة رفع العلم علي نوافذ منازلهم، ورسم صورة العلم المعروفة اليوم.وفي عام 1920 دعا بعض التجار الأوائل مصنع في إيطاليا.
وفي فترة التسوية خدم العلم الحركة الصهيونية، وكان يُرفع علنا في المناسبات الرسمية. إستخدمها اللواء اليهودي في شارة الكتف الخاصة بالامين بنفس تصميم العلم.وقاد رجال اللواء رفع علم إسرائيل إلي جانب العلم البريطاني، ولكن واجه القادة البريطانيين علي هذا السياق. وفي وقت إعلان الاستقلال «إقامة الدولة» زُينت القاعة بعلم كبير، الذي بُسط علي الحائط وراء الخطباء، واستخدم كمركب من التصميمات الجذابة، التي تؤكد وقتذلك علي استقلال إسرائيل من الانتداب البريطاني.

الموافقة على العلم كعلم إسرائيل
بعد إقامة الدولة كان هناك خوف من أن يصبح علم الحركة الصهيونية هو علم دولة إسرائيل فأن ذلك يولد مشاكل سياسية وقانونية لأعضاء الحركة الصهيونية الذين هم مواطنى دول أخرى
وبالتالى تم رفع أعلام الدولة على متن السفن -علم السلاح البحرى وعلم الأسطول التجارى. وطالت المناقشة عامة بشأن العلم والنظر في مقترحات مختلفة للتصميم
قدمت لجنة العلم والشعار الخاصة بمجلس الدولة المؤقت عدة مقترحات وتم استقبال عدد كبير من الأفكار لتصميم العلم واستندت معظمها إلى علم الحركى الصهيونية مع اختلافات قليلة.
 اضافات خاصة تم اقتراحها (تقديمها)
اقتراح אוטה וליש وهو خطين سميكين باللون الأزرق على خلفيه بيضاء وبينهم سبعة نجوم ذهبيه مشابهه لنجمة داوود وهذا الالإتراح ذكرهه בנימין זאב הרצל في كتابه (دولة إسرائيل) وتم اختيار هذا الاقتراح بأعتباره الفائز من قبل اللجنة
تغيير لون نجمة داوود الصفراء لانها عندما تذكر فهي تشير إلى ضحايا المحرقة
إضافة صورة (جور اسد يهودا) (كما يبدو اليوم رمزا لمدينة القدس) في وسطة نجمة داوود بشكل مشابه لرمز الكونغرس (المؤتمر)الصهيونى الأول.
מרדכי נמצא-בי اقترح في كتابه (العلم) ادماج العلم الصهيونى داخل علم دولة إسرائيل بشكل مشابه لمزيج علم المملكة المتحدة مع اعلام رابطة الشعوب البريطانية (الكومنولث)
وفي نهاية الأمر تقرر اعتماد علم الحركة الصهيونية بدون أي تغيير، فهذا يرجع في الأساس إلى شعبيته الكبيرة بين الشعب اليهودى، حتى بدأت الدول والمنظمات الأجنبية الاعتراف به كعلم وطنى للشعب اليهودى
فهذا القرار تم اتخاذه بعد المراسلات التي اجراها משה שרת مع الجماعات الصهيونية في العالم وخاصة في الولايات المتحدة الإمريكية، وتم اتخاذ الموافقة وشجع على هذا ان علم الحركة الصهيونية العالمية سيستخدم أيضا كعلم لدولة إسرائيل وتم اتخاذ القرار النهائي بشأن علم دولة إسرائيل في 28 أكتوبر 1948 .
وكان هناك نيه بأن تدرج السبعة نجوم الذهبية الخاصة بهرتسل في شعار الدولة بلا من شعارها. ولكن في نهاية الأمر تم اختيار شعار لايتضمنهم وماتبقى فهم رمز للمدن الإسرائيلية

قانون العلم
حددقانون الوضع القانوني والسياسي لعلم إسرائيل ورمزه وفقا لقانون العلم، وحدد قانون العلم الشعار ونشيد الدولة لعام 1949، والصادر في 24 مايو 1949 . [2]
ويحدد القانون علم الدولة، شعار الدولة ونشيدها الوطني. ويحظر القانون استخدام العلم لأغراض تجارية، خاصة إنتاج الاعلام وبيعها، وفي هذه الحالات يجب الحصول علي إذن من وزير الداخلية. وينص القانون الأماكن التي يوجد فيها التزام لرفع العلم مثل (الدوائر الحكومية)، ويضع حظرجنائي للإهانة كرامة علم لدولة. الاستخدام السليم للعامة العلم الوطني عادة للأعراف المعمول بها في بلدان أخرى، ولكن نختلف عنهم في العديد من الجوانب المهمة. في الولايات المتحدة يعتبرحرق أو تدنيس العلم الوطني من قبل المواطنين خاصة تعبير عن التطرف، ولكن يحميه إطار مبدأ حرية التعبير. القانون الإسرائيلي لا يسمح بحرية تعبير مشابهة. ومع ذلك، اللوائح حول استخدام العلم من قبل المسؤولين أكثر صرامة مما كانت عليه بإسرائيل. في الولايات المتحدة حدد قانون، على سبيل المثال، يجب أن يرتدي الحرس اللون الرسمي الخاص بعلم الدولة، وأن المسؤولين ينبغي أن تحصل علي الرعاية من العلم ودفن العلم كملابس بالية في الأرض. هذه الأمور ليست موجودة في إسرائيل (باستثناء هيئة الأركان العامة فكانت هذه وظيفتها، بدًأ بالجنود). وفي بريطانيا اعتاد المواطنين استخدام العلم الوطني (في «الاتحاد جاك») كزينة، وحتى علي اكياس المتاجر الكبري أو علي الملابس الداخلية. اما إسرائيل فاستخدام مثل هذا للعلم غير مقبول.
يحدد القانون الإسرائيلي الأقدمية للعلم حيث يلوحون بالاعلام في المؤسسات والمنظمات، بحيث ترفع الراية للبلد أولا وعرض برنامجاً من تاريخ الماضيو. عندما رفع علم الدولة مع أعلام بلدان أخرى وجدعلاقة ان جميع الأعلام على حد سواء.(أصبح متساوي مع باقي الاعلام الأخرى)
وفقا لإجراء تعديل على قانون 1997، والتي تم إضافتها بناء على مبادرة من MK ليمور ليفنات، أن يرفع راية المبنى الرئيسي أو أمام المبنى الرئيسي جميع المدارس والمؤسسات التعليمية المعترف بها من قبل وزارة التربية والتعليم، بما في ذلك المؤسسات المعترف بها ولكن غير رسمية. ومع ذلك، فإن القانون لا يطلب اعترافات المؤسسات برفع العلم من قبل وزارة الشئون الدينية، والمؤسسات التعليمية الحريدية والتي قد تمانع رفع العلم.
قوانين العلم والشعار (استخدام دولة العلم)، 1953، والتي وردت في 16 أبريل 1953 تحديد تفاصيل فنية كثيرة حول الطريقة التي سيتم رفع العلم بها، وكيفية الاستخدام السليم لها
الكثير من سكان الدولة اليهودية يروا في العلم التعبير عن قومية واستقلال الشعب، وشعاره. على سبيل المثال، واحدة من التعبيرات البصرية كأقوى تطبيق لسيادة على أراضي الولة خلال حرب الاستقلال ورفع علم ورقي في إيلات .
الصور والرسومات مقبولة لعرض علم إسرائيل كما الساري من اليسار، كما هو شائع في معظم البلدان، ولكن على النقيض من الكتابة في العبرية والعربية فهما اللغتان الرسميتان في إسرائيل. في بلدان أخرى حيث من المعتاد أن يكتب من اليمين إلى اليسار (وخاصة في الدول العربية) تعرض عندما يكون صاري العلم علي اليمين .منذ العلم الإسرائيلي هو محور متماثل لكلا طولية وعرض المحور، واجب تغيير الموقع لا تغيير شكل العلم. يرفع العلم أيضا، والشنق عموديا ارتفاع بأكمله كذلك يمارس من المبنى. في مثل هذه الحالة غالبا ما تميل لتمتد إلى ما هو أبعد من النسب التي حددت في قانون العلم، والمعتاد في هذه الحالة تحويل نجمة داود التي استمررأسها يشير إلى أعلى وأسفل (بدلا من خطوط زرقاء). هذه الطريقة مثيرة للجدل: في عيد الاستقلال 2008 قدم بنك هبوعليم الأعلام الإسرائيلية (التي صنعت في الصين) وبها نجمة داود ذو الرؤؤس المشيرة صعودا وهبوطا. وقد زعم كل من القناة 7 ونقادأخرون أن هذا يشكل انتهاكا لقانون العلم. [4]
في ديسمبر 2010، وافق الكنيست علي تعديل قانون العلم وشعار ونشيد الدولة، الذي فرضته على المؤسسات الممولة كليا أو جزئيا من قبل الدولة لشراء الأعلام الوطنية التي صنعت في إسرائيل فقط .

نسبة العلم
وافقت المؤسسات الحضرية رفع العلم الوطني الي جانب علم السلطة المحلية . وفي غضون أسبوع قبل عيد الاستقلال، اعتادت السلطات المحلية تزيين أعمدة الإنارة بأعلام الدولة وأعلام السلطة المحلية. وأصبح رفع العلم على اسطح المنازل خاصة في عيد الاستقلال مقبولاً. هذا ليس مطلوباً بموجب القانون أو لائحة، وإلا أن سلطات الدولة شجعت المواطنين للقيام بذلك. كما شكلت في نهاية القرن العشرين العادة أن يعلق العلم على السيارات في يوم عيد الاستقلال بواسطة لائحة خاصة.
وخلال تلك السنين، قدم بعض لفتات ذات صلة بالعلم، وهي عادة للتعبيرعن وضعها الراسخ والقوي.وعلى سبيل المثال، تغطية بناء مسرح«هبيما» في تل أبيب بعلم إسرائيلي ضخم، خلال حرب الخليج الأولى، التي بها أطلق صواريخ على تل أبيب. عزام عزام، الذي سجن في مصر بتهمة التجسس كان متشحا بالعلم الإسرائيلي في الوقت الذي عاد فيه من السجن في 2004 .
وبالإضافة إلى ذلك، اعتمد المواطنين الإسرائيليين الممارسات المقبولة في بلدان أخرى بشأن العلم الوطني. على سبيل المثال، سيرفر غال فريدمان نفسه كان متشحا بالعلم عندما فاز بالميدالية الذهبية في أولمبياد أثينا عام 2004 . التغطية بالأعلام الوطنية هي ممارسة شائعة بين الرياضيين الذين يمثلون البلدان في المسابقات الرسمية. ورائد الفضاء ايلان رامون الذي اهان علم دولة إسرائيل، جنبا إلى جنب مع الكائنات الأخرى ذات مغزى اللوحة للاطفال الذين لقوا حتفهم في المحرقة، رسالة من رون أراد، وكأس المقدس والتوراة الصغيرة. هذه الممارسة أيضا، واتخاذ العلم وغيرها من البنود الهامة، والأرباح بين رواد الفضاء من دول مختلفة خلال الرحلات إلى الفضاء.
يعتبر«الأزرق والأبيض» ألوان العلم وهي ترمز إلى المنتجات الإسرائيلية، وجاء التعبير باللغة العامية مثل «الأزرق والأبيض شراء».
في احتجاج ضد خطة فك الارتباط المستخدمة في كلا الجانبين العلم الإسرائيلي للتعبير عن معارضتهم أو دعم لبرنامج. «الشرائط البرتقالية» التي رافقت معسكر المعارضين للخطة، تعلق في البداية بالعلم، وظهرت بعد ذلك في «الأعلام البرتقالية» في العلم، ولكن اللون البرتقالي. أعرب عن أنصار الخطة ودعمهم عن طريق عرض خطوط زرقاء، أو زرقاء وبيضاء، وذلك لتذكير بالعلم الإسرائيلي.
وعلى مقربة من الاحتفال بذكري عيد الاستقلال 60 ل دولة إسرائيل (2008) تفسير حجم العلم الإسرائيلي 100 من 200 متر عند سفح المدينة الحمراء. هذا هو العلم الأكبر في العالم اليوم (مارس 2008). [5]

الجيش الإسرائيلي وعلم الدولة
تربط إدارة الاركان العامة 33.0401 علاقة علم إسرائيل بعبم الجيش الإسرائيلي، وصور الأشخاص وبعلم العسكرية ووظيفتها. في دولة إسرائيل القائمة على الأغاني العسكرية الجماعية والتي بها الكثير من النصوص الحكومية/الرسمية (وبخاصة النصوص المركزة على الذكرى لمصابى المعارك في إسرائيل وبيوم إقامة الدولة وكذلك ذكرى الأحداث النازية وابطالها) ينظمون بالبرامج العسكرية وبمشاركة جنود الجيش الإسرائيلي ارتباط ماهية الجنود وعلاقتهم بالجيش الإسرائيلي وبالعلم وهي معيار مقبول وضمان للجنود وللشعب باكمله وبالتعليم وعلاقته واحترام العلم .
ووفقا لوظيفة العلم يرفع في كل وحدات الجيش الإسرائيلي يوميا بعد وقت الاستيقاظ وحتى نهاية اليوم مع الغروب .هذا الطقس يمثل ركائز رئيسة في الحياة الروتينية اليومية للجنود .ووفقا لوظيفته ترفع الاعلام في اوقات الحداد وذلك في ذكرى مصابى معرك إسرائيل سابقا وكذلك في يوم ذكرى الأحداث النازية وابطالها .وتحدد الحكومة مناسبات الحداد .وتندرج وظيفته أيضا في ان العلم لم ير في المنفى "الأرشيف المحلى المحدد لذلك "وفي مشابهه للنطق اليهودى القديم لجنيزا الكتب المقدسة، وهاهى اعلام موحدة طبقا لقيمتها التاريخية "المحفوظ عليها طبقا لرؤية الجزء التاريخى للجيش الإسرائيلي

علاقة الأقليات في إسرائيل بالعلم
علم الدولة غير مرحب به في القطاع الحريدي وفي القطاع العربي. المؤسسات التعليمية الحريدية لم يلتزموا برفع العلم، في حين أن مؤسسات الدولة التعليمية العربية اعتادت رفع العلم عدة مرات بصورة متواضعة أكثر من المعتاد في القطاع اليهودي. في القطاع الدروزي تم قبول رفع العلم الإسرائيلي جنبا إلى جنب مع علم الدروز، هذا العلم هو المشترك لكل الشعوب الدرزية في العالم.
على الرغم من أن علم الدولة أُقيم على أساس الرموز اليهودية، العديد من الحريديم يعتبرونه رمزا للحركة الصهيونية، وهي الحركة التي كانت تعارض أيديولوجيتهم، لذلك تجنبوا استخدام تلك الرموز. ومع ذلك، كان الحاخام شلومو يوسف كانيمان، رئيس مستوطنة بانيفيزيس حريصا على رفع كل عام في عيد الاستقلال العلم الوطني على سطح المستوطنة، وفي اعقاب ذلك اعتاد تغيير الحاخام مناحيم رجل اليعازر .
زعم الجمهور العربي أن هذا العلم لا يمثلهم، لأنه ليس به أي تمثيل للشعب العربي، لا الإسلام أو المسيحية . وأدي ذلك الأمر الي اقتراح لتغيير العلم عن طريق إضافة رمز الهلال المرتبطة بالإسلام ووضعها إلي جانب نجمة داود، أو اختيارتصميم أكثر حيادا من الناحية الدينية .

وبناء على هذه الاقتراحات كتب شلومو افينري عن الاقتراح بشأن العلم، انه من الممكن فهم العلاقة العربية الإسرائيلية للدعوات عن تغيير العلم باجتماعه مع نجمة داوود لكن أيضا هناك اعلام لدول ديمقراطية كثيرة يظهر فيها الصليب: سويسرا والسويد، الدنمارك والنرويج، وكما هو مفهوم الصليب المضاعف لانجلترا واسكتلندا في العلم البريطانى .فهل يمنع اليهود الشرقييون بهذا هذه الدول لوضع عقائدهم على اعلامهم؟ كما هو مفهوم فهذا له صلة، حيث أن الدولة الديمقراطية ترتبط بالاقلية .في هذا المستوى الرمزى، عرب إسرائيل هم يعيشون في مجتمع جيد، من كل مكان، لا يعنى أي تطبيع ديمقراطى الزام الولة لتغيير أفضل شعاراتها "
لذلك اجاب سامى سموحة، في حين ان ليس هناك مساواة بين دول الغرب العقائدية على الاخلاق الديمقراطية الليبرالية والتي بها بذلمك الأساس العرقى يتكون من اثنين، وبين إسرائيل والتي تمثل العرقيات طبيعة تشكلها، وهويتها، وفي العنصر التأسيسى الذي لها وبالسياسات الشعبية القائمة فيها .
ووفقا لكلام سموحة ان كل ذلك (يقصد العلم) ليس هوية إسرائيلية قائمة على كل الشرق على أساس المساواة، يجب العمل على أن علم الدولة قائم على شعارات يهودية لها دلالاتها
مقترحات لتغيير العلم، والتي لم تشمل تصميم الخرسانة الجديدة العلم، لم يأت لمناقشة مؤسسات الدولة، ولكنها تأتي من وقت لآخر للمناقشة العامة، في جلسة استماع حول ما إذا كانت إسرائيل، على النحو المحدد في أساس قانون: كرامة الإنسان وحريته «دولة يهودية ديمقراطية»، أو، والطلب من بعض الدوائر، يجب أن يكون «دولة لجميع مواطنيها». وينظر الطلب على العلم التغيير إليها البعض على أنها تهديد لجوهر الدولة. وعلي خلفية تعليم ليمور ليفنات عندما كان وزير التربية والتعليم، في 2001، بدأت فرض تعديل العلم، ونظام رفع العلم علي الواجهات جميع المدارس في إسرائيل، بما في ذلك القطاع العربي والحريدي.

انظر أيضا
 قائمة أعلام دولة إسرائيل
 نشيد إسرائيل الوطني
 شعار إسرائيل

مصادر

وصلات خارجية
 تأريخ علم إسرائيل الكامل

أعلام استحدثت في 1897
أعلام استحدثت في 1948
أعلام إسرائيل
إسرائيل
أعلام دينية
أعلام عرقية
أعلام وطنية
جدالات متعلقة بالعلم
رموز إسرائيل الوطنية

علم إسرائيل


Serdarova kuća, kuća u gradu Vrgorcu, zaštićeno kulturno dobro.

Opis dobra
Nalazi se iza stambeno-obrambenog sklopa sklopa Elezovih kuća. Od Serdarove kuće ostali su samo ostatci. Predstavljaju spoj fortifikacijske arhitekture s obilježjima pučke arhitekture, a potječu iz bogate građevinsko-fortifikacijske aktivnosti iz druge polovice 17. stoljeća.

Zaštita
Zajedno s Elezovim kućama čini cjelinu koja je pod oznakom Z-3822 zavedena kao nepokretno kulturno dobro - pojedinačno, pravna statusa zaštićena kulturnog dobra, klasificirano kao "stambene građevine".

Izvori

Zaštićene stambene građevine u Splitsko-dalmatinskoj županiji
Građevine u Vrgorcu

Serdarova kuća u Vrgorcu


Ruprecht 3. af Pfalz, også kendt som Rupert af Rhinen (født 5. maj 1352 i Amberg, Oberpfalz, død 18. maj 1410 på Burg Landskron (Reichsburg Oppenheim) nær byerne Oppenheim og Ingelheim am Rhein i Pfalz) var Tysklands konge fra 1400 til 1410.

Kurfyrste og Pfalzgreve
Ruprecht 3. blev kurfyrste af Pfalz og regererende greve af Pfalz-Zweibrücken i 1398.

Tysk konge
De tyske kurfyrster var utilfredse med Wenzel 4., og de beluttede at afsætte ham i 1400. Selv om Wenzel 4. levede helt til 1419, fik han ikke mulighed for at vende tilbage til den tyske trone.

I stedet valgte kurfyrsterne Ruprecht 3. som konge. Ruprecht 3. var én af de tyske grevekonger, og han havde kun en begræset indflydelse udenfor sit eget grevskab.

Tysk-romerske kejsere
Kurfyrster af Pfalz

Tyskere i 1300-tallet
Tyskere i 1400-tallet

Ruprecht 3. af Pfalz (Tysk-romerske rige)


Mandrake Linux tabanlı işletim sistemi
Mandrake (karakter), çizgi roman karakteri
Mandrake (sihirbaz), illüzyonist.

Mandrake


Monastir (sardinski: Muristèni) je grad i općina (comune) u pokrajini Južnoj Sardiniji u regiji Sardiniji, Italija. Nalazi se na nadmorskoj visini od 81 metar i ima 4 567 stanovnika. Prostire se na 31,79 km². Gustoća naseljenosti je 144 st/km².Susjedne općine su: Nuraminis, San Sperate, Serdiana, Sestu, Ussana i Villasor.

Izvori

Gradovi na Sardiniji

Monastir


The American alligator (Alligator mississippiensis), sometimes referred to colloquially as a gator or common alligator, is a large crocodilian reptile native to the Southeastern United States. It is one of the two extant species in the genus Alligator, and is larger than the only other living alligator species, the Chinese alligator.

Adult male American alligators measure  in length, and can weigh up to , with unverified sizes of up to  and weights of  making it the second largest member of the family Alligatoridae, after the black caiman. Females are smaller, measuring  in length. The American alligator inhabits subtropical and tropical freshwater wetlands, such as marshes and cypress swamps, from southern Texas to North Carolina. It is distinguished from the sympatric American crocodile by its broader snout, with overlapping jaws and darker coloration, and is less tolerant of saltwater but more tolerant of cooler climates than the American crocodile, which is found only in tropical and warm subtropical climates.

American alligators are apex predators and consume fish, amphibians, reptiles, birds, and mammals. Hatchlings feed mostly on invertebrates. They play an important role as ecosystem engineers in wetland ecosystems through the creation of alligator holes, which provide both wet and dry habitats for other organisms. Throughout the year (in particular during the breeding season), American alligators bellow to declare territory, and locate suitable mates. Male American alligators use infrasound to attract females. Eggs are laid in a nest of vegetation, sticks, leaves, and mud in a sheltered spot in or near the water. Young are born with yellow bands around their bodies and are protected by their mother for up to one year.

The conservation status of the American alligator is listed as Least Concern by the International Union for Conservation of Nature. Historically, hunting had decimated their population, and the American alligator was listed as an endangered species by the Endangered Species Act of 1973. Subsequent conservation efforts have allowed their numbers to increase and the species was removed from endangered status in 1987. The species is the official state reptile of three states: Florida, Louisiana, and Mississippi.

Taxonomy

The American alligator was first classified by French zoologist François Marie Daudin as Crocodilus mississipiensis in 1801. In 1807, Georges Cuvier created the genus Alligator; the American alligator and the Chinese alligator are the only extant species in the genus. They are grouped in the family Alligatoridae with the caimans. The superfamily Alligatoroidea includes all crocodilians (fossil and extant) that are more closely related to the American alligator than to either the Nile crocodile (Crocodylus niloticus) or the gharial (Gavialis gangeticus).

Phylogeny
Members of this superfamily first arose in the late Cretaceous, about 100–65 million years ago (Mya). Leidyosuchus of Alberta is the earliest known fossil, from the Campanian era 83 to 72 Mya.  Fossil alligatoroids have been found throughout Eurasia, because bridges across both the North Atlantic and the Bering Strait connected North America to Eurasia about 66 to 23 Mya.

Alligators and caimans split in North America during the late Cretaceous, and the caimans reached South America by the Paleogene, before the closure of the Isthmus of Panama during the Neogene period, from about 23 to 2.58 Mya. The Chinese alligator likely descended from a lineage that crossed the Bering land bridge during the Neogene. Fossils identical to the existing American alligator are found throughout the Pleistocene, from 2.5 million to 11.7 thousand years ago. In 2016, a Miocene (about 23 to 5.3 Mya) fossil skull of an alligator was found at Marion County, Florida. Unlike the other extinct alligator species of the same genus, the fossil skull was virtually indistinguishable from that of the modern American alligator. This alligator and the American alligator are now considered to be sister taxa, meaning that the A. mississippiensis lineage has existed in North America for over 8 million years.

The alligator's full mitochondrial genome was sequenced in the 1990s, and it suggests the animal evolved at a rate similar to mammals and greater than birds and most cold-blooded vertebrates. However, the full genome, published in 2014, suggests that the alligator evolved much more slowly than mammals and birds.

Characteristics

Domestic American alligators range from long and slender to short and robust, possibly in response to variations in factors such as growth rate, diet, and climate.

Size
The American alligator is a relatively large species of crocodilian. On average, it is the largest species in the family Alligatoridae, with only the black caiman being possibly larger. Weight varies considerably depending on length, age, health, season, and available food sources. Similar to many other reptiles that range expansively into temperate zones, American alligators from the northern end of their range, such as southern Arkansas, Alabama, and northern North Carolina, tend to reach smaller sizes. Large adult American alligators tend to be relatively robust and bulky compared to other similar-length crocodilians; for example, captive males measuring  were found to weigh , although captive specimens may outweigh wild specimens due to lack of hunting behavior and other stressors.

Large male American alligators reach an expected maximum size up to  in length and weighing up to , while females reach an expected maximum of . However, the largest free-ranging female had a total length of  and weighed . On rare occasions, a large, old male may grow to an even greater length.

Largest
During the 19th and 20th centuries, larger males reaching  were reported. The largest reported individual size was a male killed in 1890 on Marsh Island, Louisiana, and reportedly measured at  in length, but no voucher specimen was available, since the American alligator was left on a muddy bank after having been measured due to having been too massive to relocate. If the size of this animal was correct, it would have weighed about . In Arkansas, a man killed an American alligator that was  and . The largest American alligator ever killed in Florida was , as reported by the Everglades National Park, although this record is unverified. The largest American alligator scientifically verified in Florida for the period from 1977 to 1993 was reportedly  and weighed , although another specimen (size estimated from skull) may have measured . A specimen that was  long and weighed  is the largest American alligator killed in Alabama and has been declared the SCI world record in 2014.

Reported sizes

Average
American alligators do not normally reach such extreme sizes. In mature males, most specimens grow up to about  in length, and weigh up to , while in females, the mature size is normally around , with a body weight up to . In Newnans Lake, Florida, adult males averaged  in weight and  in length, while adult females averaged  and measured . In Lake Griffin State Park, Florida, adults weighed on average . Weight at sexual maturity per one study was stated as averaging  while adult weight was claimed as .

Relation to age
There is a common belief stated throughout reptilian literature that crocodilians, including the American alligator, exhibit indeterminate growth, meaning the animal continues to grow for the duration of its life. However, these claims are largely based on assumptions and observations of juvenile and young adult crocodilians, and recent studies are beginning to contradict this claim. For example, one long-term mark-recapture study (1979–2015) done at the Tom Yawkey Wildlife Center in South Carolina found evidence to support patterns of determinate growth, with growth ceasing upon reaching a certain age (43 years for males and 31 years for females).

Sexual dimorphism
While noticeable in very mature specimens, the sexual dimorphism in size of the American alligator is relatively modest among crocodilians. For contrast, the sexual dimorphism of saltwater crocodiles is much more extreme, with mature males nearly twice as long as and at least four times as heavy as female saltwater crocodiles. Given that female American alligators have relatively higher survival rates at an early age and a large percentage of given populations consists of immature or young breeding American alligators, relatively few large mature males of the expected mature length of  or more are typically seen.

Color
Dorsally, adult American alligators may be olive, brown, gray, or black. However, they are on average one of the most darkly colored modern crocodilians (although other alligatorid family members are also fairly dark), and can be reliably be distinguished by color via their more blackish dorsal scales against crocodiles. Meanwhile, their undersides are cream-colored. Some American alligators are missing or have an inhibited gene for melanin, which makes them albino. These American alligators are extremely rare and almost impossible to find in the wild. They could only survive in captivity, as they are very vulnerable to the sun and predators.

Jaws, teeth, and snout

American alligators have 74–80 teeth. As they grow and develop, the morphology of their teeth and jaws change significantly. Juveniles have small, needle-like teeth that become much more robust and narrow snouts that become broader as the individuals develop. These morphological changes correspond to shifts in the American alligators' diets, from smaller prey items such as fish and insects to larger prey items such as turtles, birds, and other large vertebrates. American alligators have broad snouts, especially in captive individuals. When the jaws are closed, the edges of the upper jaws cover the lower teeth, which fit into the jaws' hollows. Like the spectacled caiman, this species has a bony nasal ridge, though it is less prominent. American alligators are often mistaken for a similar animal: the American crocodile. An easy characteristic to distinguish the two is the fourth tooth. Whenever an American alligator's mouth is closed, the fourth tooth is no longer visible. It is enclosed in a pocket in the upper jaw.

Bite
Adult American alligators held the record as having the strongest laboratory-measured bite of any living animal, measured at up to . This experiment had not been, at the time of the paper published, replicated in any other crocodilians, and the same laboratory was able to measure a greater bite force of  in saltwater crocodiles; notwithstanding this very high biting force, the muscles opening the American alligator's jaw are quite weak, and the jaws can be held closed by hand or tape when an American alligator is captured. No significant difference is noted between the bite forces of male and female American alligators of equal size. Another study noted that as the American alligator increases in size, the force of its bite also increases.

Movement

When on land, an American alligator moves either by sprawling or walking, the latter involving the reptile lifting its belly off the ground. The sprawling of American alligators and other crocodylians is not similar to that of salamanders and lizards, being similar to walking. Therefore, the two forms of land locomotion can be termed the "low walk" and the "high walk". Unlike most other land vertebrates, American alligators increase their speed through the distal rather than proximal ends of their limbs. In the water, American alligators swim like fish, moving their pelvic regions and tails from side to side. During respiration, air flow is unidirectional, looping through the lungs during inhalation and exhalation; the American alligator's abdominal muscles can alter the position of the lungs within the torso, thus shifting the center of buoyancy, which allows the American alligator to dive, rise, and roll within the water.

Distribution

American alligators, being native both to the Nearctic and Neotropical realms, are found in the wild in the Southeastern United States, from the Lowcountry in South Carolina, south to Everglades National Park in Florida, and west to the southeastern region of Texas. They are found in parts of North Carolina, South Carolina, Georgia, Florida, Louisiana, Alabama, Mississippi, Arkansas, Oklahoma and Texas. Some of these locations appear to be relatively recent introductions, with often small but reproductive populations. Louisiana has the largest American alligator population of any U.S. state. In the future, possible American alligator populations may be found in areas of Mexico adjacent to the Texas border. American alligators have been naturally expanding their range into Tennessee, and have established a small population in the southwestern part of that state via inland waterways, according to the state's wildlife agency. They have been extirpated from Virginia, and occasional vagrants from North Carolina wander into the Great Dismal Swamp.

Conservation status

American alligators are currently listed as least concern by the IUCN Red List, even though from the 1800s to the mid-1900s, they were being hunted and poached by humans unsustainably. In 1987, the U.S. Fish and Wildlife Service pronounced the American alligator fully recovered.

Historically, hunting and habitat loss have severely affected American alligator populations throughout their range, and whether the species would survive was in doubt. In 1967, the American alligator was listed as an endangered species (under a law that was the precursor Endangered Species Act of 1973), since it was believed to be in danger of extinction throughout all or a significant portion of its range.

Both the United States Fish and Wildlife Service (USFWS) and state wildlife agencies in the South contributed to the American alligator's recovery. Protection under the Endangered Species Act allowed the species to recuperate in many areas where it had been depleted. States began monitoring their American alligator populations to ensure that they would continue to grow. In 1987, the USFWS removed the animal from the endangered species list, as it was considered to be fully recovered. The USFWS still regulates the legal trade in American alligators and their products to protect still endangered crocodilians that may be passed off as American alligators during trafficking.

American alligators are listed under Appendix II of the Convention on International Trade in Endangered Species (CITES) meaning that international trade in the species (including parts and derivatives) is regulated.

Habitat
They inhabit swamps, streams, rivers, ponds, and lakes.  A lone American alligator was spotted for over 10 years living in a river north of Atlanta, Georgia. Females and juveniles are also found in Carolina Bays and other seasonal wetlands. While they prefer fresh water, American alligators may sometimes wander into brackish water, but are less tolerant of salt water than American crocodiles, as the salt glands on their tongues do not function. One study of American alligators in north-central Florida found the males preferred open lake water during the spring, while females used both swampy and open-water areas. During summer, males still preferred open water, while females remained in the swamps to construct their nests and lay their eggs. Both sexes may den underneath banks or clumps of trees during the winter.

In some areas of their range, American alligators are an unusual example of urban wildlife; golf courses are often favoured by the species due to an abundance of water and a frequent supply of prey animals such as fish and birds.

Cold tolerance
American alligators are less vulnerable to cold than American crocodiles. Unlike an American crocodile, which would immediately succumb to the cold and drown in water at  or less, an American alligator can survive in such temperatures for some time without displaying any signs of discomfort. This adaptiveness is thought to be why American alligators are widespread further north than the American crocodile. In fact, the American alligator is found farther from the equator and is more equipped to handle cooler conditions than any other crocodilian. When the water begins to freeze, American alligators go into a period of brumation; they stick their snouts through the surface, which allows them to breathe above the ice, and they can remain in this state for several days.

Ecology and behavior

Basking

American alligators primarily bask on shore, but also climb into and perch on tree limbs to bask if no shoreline is available. This is not often seen, since if disturbed, they quickly retreat back into the water by jumping from their perch.

Holes
American alligators modify wetland habitats, most dramatically in flat areas such as the Everglades, by constructing small ponds known as alligator holes. This behavior has qualified the American alligator to be considered a keystone species. Alligator holes retain water during the dry season and provide a refuge for aquatic organisms, which survive the dry season by seeking refuge in alligator holes, so are a source of future populations. The construction of nests along the periphery of alligator holes, as well as a buildup of soils during the excavation process, provides drier areas for other reptiles to nest and a place for plants that are intolerant of inundation to colonize. Alligator holes are an oasis during the Everglades dry season, so are consequently important foraging sites for other organisms. In the limestone depressions of cypress swamps, alligator holes tend to be large and deep, while those in marl prairies and rocky glades are usually small and shallow, and those in peat depressions of ridge and slough wetlands are more variable.

Prey

Bite and mastication
The teeth of the American alligator are designed to grip prey, but cannot rip or chew flesh like teeth of some other predators (such as canids and felids), and depend on their gizzard, instead, to masticate their food. The American alligator is capable of biting through a turtle's shell or a moderately sized mammal bone.

Tool use
American alligators have been documented using lures to hunt prey such as birds. This means they are among the first reptiles recorded to use tools. By balancing sticks and branches on their heads, American alligators are able to lure birds looking for suitable nesting material to kill and consume. This strategy, which is shared by the mugger crocodile, is particularly effective during the nesting season, in which birds are more likely to gather appropriate nesting materials. This strategy has been documented in two Florida zoos occurring multiple times a day in peak nesting season and in some parks in Louisiana. The use of tools was documented primarily during the peak rookery season when birds were primarily looking for sticks.

Aquatic vs terrestrial

Fish and other aquatic prey taken in the water or at the water's edge form the major part of American alligator's diet and may be eaten at any time of the day or night. Adult American alligators also spend considerable time hunting on land, up to  from water, ambushing terrestrial animals on trailsides and road shoulders. Usually, terrestrial hunting occurs on nights with warm temperatures. When hunting terrestrial prey, American alligators may also ambush them from the edge of the water by grabbing them and pulling the prey into the water, the preferred method of predation of larger crocodiles.
.
Additionally, American alligators have recently been filmed and documented killing and eating sharks and rays; four incidents documented indicated that bonnetheads, lemon sharks, Atlantic stingrays, and nurse sharks are components of the animal's diet. Sharks are also known to prey on American alligators, in turn, indicating that encounters between the two predators are common.

Common
American alligators are considered an apex predator throughout their range. They are opportunists and their diet is determined largely by both their size and age and the size and availability of prey. Most American alligators eat a wide variety of animals, including invertebrates, fish, birds, turtles, snakes, amphibians, and mammals. Hatchlings mostly feed on invertebrates such as insects, insect larvae, snails, spiders, and worms, as well as small fish and frogs. As they grow, American alligators gradually expand to larger prey. Once an American alligator reaches full size and power in adulthood, any animal living in the water or coming to the water to drink is potential prey. Most animals captured by American alligators are considerably smaller than itself. A few examples of animals consumed are largemouth bass, spotted gar, freshwater pearl mussels, American green tree frogs, yellow mud turtles, cottonmouths, common moorhens, and feral wild boars. Stomach contents show, among native mammals, muskrats and raccoons are some of the most commonly eaten species. In Louisiana, where introduced nutria are common, they are perhaps the most regular prey for adult American alligators, although only larger adults commonly eat this species. It has also been reported that large American alligators prey on medium-sized American alligators, which had preyed on hatchlings and smaller juveniles.

If an American alligator's primary food resource is not available, it will sometimes feed on carrion and non-prey items such as rocks and artificial objects, like bottle caps. These items help the American alligator in the process of digestion by crushing up the meat and bones of animals, especially animals with shells.

Large animals
Other animals may occasionally be eaten, even large deer or feral wild boars, but these are not normally part of the diet. American alligators occasionally prey on large mammals, such as deer, but usually do so when fish and smaller prey levels go down. Rarely, American alligators have been observed killing and eating bobcats, but such events are not common and have little effect on bobcat populations. Although American alligators have been listed as predators of the Nilgai and the West Indian manatees, very little evidence exists of such predation. In the 2000s, when invasive Burmese pythons first occupied the Everglades, American alligators have been recorded preying on sizable snakes, possibly controlling populations and preventing the invasive species from spreading northwards. However, the python is also known to occasionally prey on alligators, a form of both competition and predation.
American alligator predation on Florida panthers is rare, but has been documented. Such incidents usually involve a panther trying to cross a waterway or coming down to a swamp or river to get a drink. American alligator predation on American black bears has also been recorded.

Domestic animals
Occasionally, domestic animals, including dogs, cats, and calves, are taken as available, but are secondary to wild and feral prey. Other prey, including snakes, lizards, and various invertebrates, are eaten occasionally by adults.

Birds
Water birds, such as herons, egrets, storks, waterfowl and large dabbling rails such as gallinules or coots, are taken when possible. Occasionally, unwary adult birds are grabbed and eaten by American alligators, but most predation on bird species occurs with unsteady fledgling birds in late summer, as fledgling birds attempt to make their first flights near the water's edge.

Fruit
In 2013, American alligators and other crocodilians were reported to also eat fruit.
Such behavior has been witnessed, as well as documented from stomach contents, with the American alligators eating such fruit as wild grapes, elderberries, and citrus fruits directly from the trees. Thirty-four families and 46 genera of plants were represented among seeds and fruits found in the stomach contents of alligators. The discovery of this unexpected part of the American alligator diet further reveals that they may be responsible for spreading seeds from the fruit they consume across their habitat.

Cooperative hunting
Additionally, American alligators engage in what seems to be cooperative hunting. One observation of cooperative hunting techniques was where there are pushing American alligators and catching American alligators and they were observed taking turns in each position. Another observation said that about 60 American alligators gathered in an area and would form a semicircle with about half of them and would push the fish closer to the bank. Once one of the American alligators caught a fish another one would enter into its spot, and it would take the fish to the resting area. This was reported to have occurred two days in a row.

In Florida and East Texas
The diet of adult American alligators from central Florida lakes is dominated by fish, but the species is highly opportunistically based upon local availability. In Lake Griffin, fish made up 54% of the diet by weight, with catfish being most commonly consumed, while in Lake Apopka, fish made up 90% of the food and mostly shad were taken; in Lake Woodruff, the diet was 84% fish and largely consists of bass and sunfish. Unusually in these regions, reptiles and amphibians were the most important nonpiscivore prey, mostly turtles and water snakes. In southern Louisiana, crustaceans (largely crawfish and crabs) were found to be present in the southeastern American alligators, but largely absent in southwestern American alligators, which consumed a relatively high proportion of reptiles, although fish were the most recorded prey for adults, and adult males consumed a large portion of mammals.

In East Texas, diets were diverse and adult American alligators took mammals, reptiles, amphibians, and invertebrates (e.g. snails) in often equal measure as they did fish.

Vocalizations

Mechanism
An American alligator is able to abduct and adduct the vocal folds of its larynx, but not to elongate or shorten them; yet in spite of this, it can modulate fundamental frequency very well. Their vocal folds consists of epithelium, lamina propria and muscle. Sounds ranged from 50 to 1200 Hz. In one experiment conducted on the larynx, the fundamental frequency depended on both the glottal gap and stiffness of the larynx tissues. As the frequency increases, there's high tension and large strains. The fundamental frequency has been influenced by the glottal gap size and subglottal pressure and when the phonation threshold pressure has been exceeded, there will be vocal fold vibration.

Calls
Crocodilians are the most vocal of all non-avian reptiles and have a variety of different calls depending on the age, size, and sex of the animal. The American alligator can perform specific vocalizations to declare territory, signal distress, threaten competitors, and locate suitable mates. Juveniles can perform a high-pitched hatchling call (a "yelping" trait common to many crocodilian species' hatchling young) to alert their mothers when they are ready to emerge from the nest. Juveniles also make a distress call to alert their mothers if they are being threatened. Adult American alligators can growl, hiss, or cough to threaten others and declare territory.

Bellowing
Both males and females bellow loudly by sucking air into their lungs and blowing it out in intermittent, deep-toned roars to attract mates and declare territory. Males are known to use infrasound during mating bellows. Bellowing is performed in a "head oblique, tail arched" posture. Infrasonic waves from a bellowing male can cause the surface of the water directly over and to either side of his back to literally "sprinkle", in what is commonly called the "water dance". Large bellowing "choruses" of American alligators during the breeding season are commonly initiated by females and perpetuated by males. Observers of large bellowing choruses have noted they are often felt more than they are heard due to the intense infrasound emitted by males. American alligators bellow in B flat (specifically "B♭1", defined as an audio frequency of 58.27 Hz), and bellowing choruses can be induced by tuba players, sonic booms, and large aircraft.

Lifespan
American alligators typically live to the age of 50, and possibly over 70 years old. Males reach sexual maturity at around 11.6 years, and females at around 15.8 years. Although it was originally thought that American alligators never stop growing, studies have now found that males stop growing at around the age of 43 years, and females stop growing at around the age of 31 years.

Reproduction

Breeding season
The breeding season begins in the spring. On spring nights, American alligators gather in large numbers for group courtship, in the aforementioned "water dances". The female builds a nest of vegetation, sticks, leaves, and mud in a sheltered spot in or near the water.

Eggs
After the female lays her 20 to 50 white eggs, about the size of a goose egg, she covers them with more vegetation, which heats as it decays, helping to keep the eggs warm. This differs from Nile crocodiles, which lay their eggs in pits. The temperature at which American alligator eggs develop determines their sex (see temperature-dependent sex determination). Studies have found that eggs hatched at a temperature below 88.7 °F or a temperature above 94.1 °F will produce female offspring, while those at a temperature between 90.5 °F to 92.3 °F will produce male offspring. The nests built on levees are warmer, thus produce males, while the cooler nests of wet marsh produce females. The female remains near the nest throughout the 65-day incubation period, protecting it from intruders. When the young begin to hatch — their "yelping" calls can sometimes even be heard just before hatching commences — the mother quickly digs them out and carries them to the water in her mouth, as some other crocodilian species are known to do.

Young
The young are tiny replicas of adults, with a series of yellow bands around their bodies that serve as camouflage. Hatchlings gather into pods and are guarded by their mother and keep in contact with her through their "yelping" vocalizations. Young American alligators eat small fish, frogs, crayfish, and insects. They are preyed on by large fish, birds, raccoons, Florida panthers, and adult American alligators. Mother American alligators eventually become more aggressive towards their young, which encourages them to disperse. Young American alligators grow  a year and reach adulthood at .

Parasites
American alligators are commonly infected with parasites. In a 2016 Texas study, 100% of the specimens collected were infected with parasites, and by at least 20 different species of parasites, including lung pentastomids, gastric nematodes, intestinal helminths. When compared to American alligators from different states there was no significant difference in prevalence.

Interactions with exotic species
Nutria were introduced into coastal marshes from South America in the mid-20th century, and their population has since exploded into the millions. They cause serious damage to coastal marshes and may dig burrows in levees. Hence, Louisiana has had a bounty to try to reduce nutria numbers. Large American alligators feed heavily on nutria, so American alligators may not only control nutria populations in Louisiana, but also prevent them spreading east into the Everglades. Since hunting and trapping preferentially take the large American alligators that are the most important in eating nutria, some changes in harvesting may be needed to capitalize on their ability to control nutria.

Recently, a population of Burmese pythons became established in Everglades National Park. Substantial American alligator populations in the Everglades might be a contributing factor, as a competitor, in keeping the python populations low, preventing the spread of the species north. While events of predation by Burmese pythons on any sizable American alligators have been observed, no evidence of a net negative effect has been seen on overall American alligator populations.

Indicators of environmental restoration

American alligators play an important role in the restoration of the Everglades as biological indicators of restoration success. American alligators are highly sensitive to changes in the hydrology, salinity, and productivity of their ecosystems; all are factors that are expected to change with Everglades restoration. American alligators also may control the long-term vegetation dynamics in wetlands by reducing the population of small mammals, particularly nutria, which may otherwise overgraze marsh vegetation.  In this way, the vital ecological service they provide may be important in reducing rates of coastal wetland losses in Louisiana. They may provide a protection service for water birds nesting on islands in freshwater wetlands. American alligators prevent predatory mammals from reaching island-based rookeries and in return eat spilled food and birds that fall from their nests. Wading birds appear to be attracted to areas with American alligators and have been known to nest at heavily trafficked tourist attractions with large numbers of American alligators, such as the St. Augustine Alligator Farm in St. Augustine, Florida.

Relationship with humans

Attacks on humans

American alligators are capable of killing humans, but fatal attacks are rare. Mistaken identity leading to an attack is always possible, especially in or near cloudy waters. American alligators are often less aggressive towards humans than larger crocodile species, a few of which (mainly the Nile and saltwater crocodiles) may prey on humans with some regularity. Alligator bites are serious injuries, due to the reptile's sheer bite force and risk of infection. Even with medical treatment, an American alligator bite may still result in a fatal infection.

As human populations increase, and as they build houses in low-lying areas, or fish or hunt near water, incidents are inevitable where humans intrude on American alligators and their habitats. Since 1948, 257 documented attacks on humans in Florida (about five incidents per year) have been reported, of which an estimated 23 resulted in death. Only nine fatal attacks occurred in the United States throughout the 1970s–1990s, but American alligators killed 12 people between 2001 and 2007. An additional report of alligator attacks showed a total of 376 injuries and 15 deaths recorded all from 1948 to 2004, leading this to an increase of the alligator population. In May 2006, American alligators killed three Floridians in less than a week. At least 28 fatal attacks by American alligators have occurred in the United States since 1970.

Wrestling

Since the late 1880s, alligator wrestling has been a source of entertainment for some. Created by the Miccosukee and Seminole tribes prior to the arrival of Europeans, this tourism tradition remains popular despite criticism from animal-rights activists.

Farming

Today, alligator farming is a large, growing industry in Georgia, Florida, Texas, and Louisiana. These states produce a combined annual total of some 45,000 alligator hides. Alligator hides bring good prices and hides in the 6- to 7-ft range have sold for $300 each. The market for alligator meat is growing, and about  of meat are produced annually. According to the Florida Department of Agriculture and Consumer Services, raw alligator meat contains roughly 200 Calories (840 kJ) per 3-oz (85-g) portion, of which 27 Calories (130 kJ) come from fat.

Culture and film
The American alligator is the official state reptile of Florida, Louisiana, and Mississippi. Several organizations and products from Florida have been named after the animal.

"Gators" has been the nickname of the University of Florida's sports teams since 1911. In 1908, a printer made a spur-of-the-moment decision to print an alligator emblem on a shipment of the school's football pennants. The mascot stuck, and was made official in 1911, perhaps because the team captain's nickname was Gator. Allegheny College and San Francisco State University both have Gators as their mascots, as well.

The Gator Bowl is a college football game held in Jacksonville annually since 1946, with Gator Bowl Stadium hosting the event until the 1993 edition. The Gatornationals is a NHRA drag race held at the Gainesville Raceway in Gainesville since 1970.

See also
 Chinese alligator, the other living species of alligator
 Muja, the oldest living alligator in captivity, lived in Belgrade Zoo, Serbia
 Saturn, an alligator that survived the destruction of the Berlin Zoological Garden during World War II
 The Alligator People
 Gatorland
 Brazos Bend State Park
 Sewer alligator

References

External links

 Crocodilian Online
 Photo exhibit on alligators in Florida from State Archives of Florida
 Why the Gulf Coast needs more big alligators
 Alligator bellows and hisses  – sound clips from the U.S. Fish and Wildlife Service

Further reading
 Boulenger GA (1889). Catalogue of the Chelonians, Rhynchocephalians, and Crocodiles in the British Museum (Natural History). New Edition. London: Trustees of the British Museum (Natural History). (Taylor and Francis, printers). x + 311 pp. + Plates I-VI. (Alligator mississippiensis, p. 290).
 Daudin FM (1802). Histoire Naturelle, Générale et Particulière des Reptiles; Ouvrage faisant suite à l'Histoire Naturelle générale et particulière, composée par Leclerc de Buffon; et rédigée par C.S. Sonnini, membre de plusieurs sociétés savantes. Tome Second [Volume 2]. 432 pp. Paris: F. Dufart. ("Crocodilus mississipiensis [sic]", new species, pp. 412–416). (in French and Latin).
 Powell R, Conant R, Collins JT (2016). Peterson Field Guide to Reptiles and Amphibians of Eastern and Central North America, Fourth Edition. Boston and New York: Houghton Mifflin Harcourt. xiv + 494 pp., 47 Plates, 207 Figures. . (Alligator mississippiensis, p. 170 + Plate 13 + photographs on pp. 166–167, 465).
 Smith, Hobart M.; Brodie, Edmund D., Jr. (1982). Reptiles of North America: A Guide to Field Identification. New York: Golden Press. 240 pp. . (Alligator mississippiensis, pp. 208–209).

Alligatoridae
Apex predators
Articles containing video clips
Crocodilians of North America
Cuisine of the Southern United States
Extant Miocene first appearances
Fauna of the Southeastern United States
Miocene reptiles of North America
Native American cuisine of the Southeastern Woodlands
Quaternary reptiles of North America
Reptiles described in 1802
Reptiles of the United States
Symbols of Florida
Symbols of Louisiana
Symbols of Mississippi
Tool-using animals

American alligator


1. HMNL 2020./21. je 30. sezona prvog ranga hrvatskog malonogometnog prvenstva, a u ligi sudjeluje 10 momčadi.

Sudionici

 Alumnus - Sesvete
 Crnica - Šibenik
 Futsal Dinamo - Zagreb
 Novo Vrijeme Apfel - Makarska
 Olmissum - Omiš
 Osijek Kelme - Osijek
 Square - Dubrovnik
 Universitas - Split
 Uspinjača Gimka - Zagreb
 Vrgorac - Vrgorac

Ligaški dio sezone

Ljestvica

Rezultatska križaljka

Liga za popunu

Izvori

2020-21

1. HMNL 2020./21.


Bajo el mismo cielo es una película del año 2008. Creada por la periodista Inés Romero y dirigida por Sílvia Munt.

Sinopsis
Una pareja de inmigrantes marroquíes en España se separa. Él vuelve a Marruecos porque aquí sólo encuentra trabajos precarios e inferiores a su formación y su mujer decide quedarse. La hija de ambos tiene 11 años y comparte con el profesor el gusto por la escritura. Decide seguir al padre. La madre de la pequeña intenta recuperarla. Para ello es fundamental la mediación del profesor que busca en Marruecos lo que aquí no tiene. Armonía, comprensión e incluso el amor.

Premios
 Festival Amal, Santiago de Compostela, Premio Mejor Actriz para Elvira de Armiñán. 2008
 Festival de Cine Español de Tánger. Cierre del Festival, Cierre del Festival
 Festival de Cine de Alicante. Mejor película. 2009
 Festival de Cine de Islantilla. Mejor película 2009
 Festival de Cine de Valladolid. Cierre del Festival. Homenaje a Sílvia Munt. (2009)
 Premio Civis de la Unión Europea. Berlín 2010
 Festival de Cine Africano de Tarifa. 2010

Referencias
. www.arrayas.com

Bajo el mismo cielo


Steven John Wilson (Kingston upon Thames, Greater London, 3. studenoga 1967.) britanski je glazbenik, pjevač, kantautor i glazbeni producent koji je najpoznatiji po radu u žanru progresivnog rocka. Iako je trenutačno samostalni glazbenik, stekao je popularnost kao osnivač, glavni gitarist, pjevač i autor pjesama sastava Porcupine Tree, a bio je član i drugih skupina.

Samouk je skladatelj, producent, inženjer zvuka, gitarist i klavijaturist, a po potrebi svira i ostala glazbala, među kojima su bas-gitara, autoharfa, dulcimer i flauta. Iako ga se uglavnom povezuje s progresivnim rockom, njegovi utjecaji i rad pripadaju širokom rasponu žanrova, a među njima su psihodelija, pop, ekstremni metal, elektronička glazba i jazz. Na koncertima se služi kvadrofonskim zvukom, kao i detaljnim slikama, videozapisima i svjetlosnim efektima. Surađivao je s izvođačima kao što su Opeth, King Crimson, Pendulum, Jethro Tull, Andy Partridge, Yes, Fish, Marillion, Tears for Fears, Roxy Music i Anathema. Remiksao je nekoliko klasičnih albuma progresivnog rocka, uključujući In the Court of the Crimson King King Crimsona, Aqualung Jethro Tulla i Yesov Close to the Edge.

U višegodišnjoj je karijeri Wilson objavio mnogo albuma i dobio je pozitivne kritike. Četiri je puta nominiran za nagradu Grammy – dvaput kao član Porcupine Treeja, jednom za rad u grupi Storm Corrosion i jednom kao samostalni izvođač. Godine 2015. u Londonu je na dodjeli nagrada časopisa Prog osvojio tri nagrade za doprinos žanru i ondje je proglašen "kraljem prog-rocka". Ipak, njegov rad uglavnom nije ušao u glavnu glazbenu struju, zbog čega su ga publikacije poput The Daily Telegrapha nazvale "najuspješnijim britanskim umjetnikom za kojeg nikad niste čuli".

Životopis

Rane godine
Rođen je 1967. u Kingston upon Thamesu u Londonu, a od šeste godine živio je u Hemel Hempsteadu, u kojem se dvije godine kasnije počeo zanimati za glazbu. Prema njegovim riječima život mu se promijenio kad su za Božić njegovi roditelji jedno drugom poklonili gramofonske ploče. Njegov je otac dobio The Dark Side of the Moon Pink Floyda, a njegova majka Love to Love You Baby Donne Summer. Wilson je zavolio oba albuma i pod njihovim utjecajem počeo je svirati gitaru i pisati pjesme.

Obje su ploče utjecale na njegove buduće pjesme. Izjavio je: "Kad pogledam unatrag, vidim da su gotovo jedini krivci za glazbeni stil kojim se bavim". Zbog zanimanja za Pink Floyd okušao se u eksperimentalnom, psihodeličnom i konceptualnom progresivnom rocku (oprimjerenom u skupinama Porcupine Tree i Blackfield), dok su hipnotički ritmovi u pjesmama Donne Summer nadahnuli glazbeni stil No-Mana (Wilsonova dugogodišnjeg suradničkog projekta s glazbenikom i pjevačem Timom Bownessom), premda je stil te grupe kasnije postao više meditacijski i eksperimentalan (nalik onom Talk Talka).

Wilson je kao dijete bio prisiljen naučiti svirati gitaru, no nije uživao u tome; na koncu su mu roditelji prestali plaćati instrukcije. Međutim, kad mu je bilo jedanaest godina, na tavanu je pronašao klasičnu gitaru s najlonskim žicama i počeo eksperimentirati s njom. Komentirao je da je "vukao mikrofone preko žica, nakon čega bi zvuk koji bi nastao snimio na preopterećene kasetofone i stvarao rudimentaran oblik višekanalnih snimki služeći se dvama kasetofonima". Godinu dana kasnije njegov mu je otac, po zanimanju inženjer elektrotehnike, izradio prvi višekanalni magnetofon i vokoder kako bi mogao eksperimentirati uz mogućnosti studijske opreme.

Prvi sastavi
Wilson tvrdi da se njegov glazbeni ukus razlikovao od ukusa njegovih vršnjaka tijekom 1980-ih: Odrastao sam tijekom 1980-ih i bilo je to prilično loše desetljeće za glazbu. Događale su se i neke zanimljive stvari, ali svi oko mene željeli su biti u skupinama kao što su Level 42, Simple Minds i U2. Ništa od toga nije me privlačilo, pa sam se posvetio glazbi iz 1960-ih i 1970-ih koju su slušali moji roditelji. Tad sam otkrio tu predivnu eru, eru značajnih albuma koja je trajala od 1967. do 1977., od Sgt Peppera do punka.

Jedan od Wilsonovih najranijih glazbenih projekata bio je psihodelični duo Altamont (u kojem je Wilson kao petnaestogodišnjak radio sa Simonom Vockingsom, zaduženim za elektroniku i sviranje sintesajzera). Na njihovu jedinom albumu, Prayer for the Soulu, objavljenom na kaseti, nalaze se tekstovi Alana Duffyja, engleskog člana psihodelične scene čijim se radom Wilson kasnije poslužio na prvim dvama albumima Porcupine Treeja. Dok je bio član Altamonta Wilson je bio i u progresivnom rock sastavu Karma, koji je nastupao u okolici Hertfordshirea i snimio dva albuma na kaseti: The Joke's On You (iz 1983.) i The Last Man to Laugh (iz 1985.). Na tim su se albumima pojavile rane inačice pjesama "Small Fish", "Nine Cats" i "The Joke's On You", koje su naknadno objavljene kao pjesme Porcupine Treeja.

Wilson se potom pridružio novovalnoj/AOR grupi Pride of Passion kao klavijaturist i u njoj je zamijenio bivšeg Marillionovog klavijaturista Briana Jellimana (još je jedan nekadašnji član Marilliona, Diz Minnitt, također svirao u toj skupini). Pride of Passion kasnije je promijenio ime u Blazing Apostles, kao i postavu i glazbeni stil, a razišao se 1987.

Prijelomno razdoblje
Do tog su vremena Wilsonovi raznoliki glazbeni eksperimenti sadržavali elemente avangardne i industrijalne glazbe, psihodelije i progresivnog rocka. Međutim, ubrzo se počeo zanimati i za pop-glazbu, kojom se počeo baviti u kasnijim projektima.

Godine 1986. počeo se baviti dvama projektima po kojima je stekao popularnost. Prvi se izvorno zvao "No Man Is an Island (Except The Isle of Man)", a kasnije je preimenovan u No-Man. Prvotno je to bio Wilsonov samostalan instrumentalni projekt u kojem je spajao progresivni rock sa synthpopom, no kasnije se okrenuo art popu kad mu se iduće godine pridružio pjevač i tekstopisac Tim Bowness. Drugi je projekt bio Porcupine Tree, u kojem se namjeravao baviti psihodeličnim rockom (na to ga je nadahnuo sličan projekt The Dukes of Stratosphear skupine XTC), a služio je samo da bi zabavio Wilsona i Malcolma Stocksa, njegova prijatelja iz djetinjstva.

Tijekom iduće tri godine ti su se projekti različito razvili. No Man Is an Island (Except The Isle of Man) prvi je objavio komercijalni singl ("The Girl from Missouri", 1989., pod licencijom Plastic Head Records), a Porcupine Tree privukao je pozornost u glazbenom podzemlju objavom nekoliko uradaka na kaseti pod licencijom The Freak Emporium (podružnice britanske diskografske kuće Delerium Records, specijalizirane za psihodeličnu glazbu).

Do 1990. No Man Is an Island (Except The Isle of Man) posve se promijenio u No-Man i činio ga je trio (pjevač, violinist i multiinstrumentalist) koji je u svoj art pop uvrstio i ritmove iz žanra dancea. Drugi singl No-Mana – obrada Donovanove pjesme "Colours" aranžirana s glazbenim petljama na način nalik kasnijem trip hopu – osvojio je nagradu za singl tjedna Melody Makera i skupini je priuštio ugovor s nezavisnom diskografskom kućom One Little Indian (koja je objavljivala i uratke izvođača kao što su The Shamen i Björk). Debitantski singl za One Little Indian, "Days in the Trees", iduće je godine također osvojio nagradu za singl tjedna. Singl se nakratko pojavio na glazbenim ljestvicama i, premda nije prodan poveći broj primjeraka, Wilson je imao dovoljan izvor financija da u kućni studio dovede opremu potrebnu za daljnje snimanje glazbe.

Godine 1992. Wilson je objavio i službeni debitantski album Porcupine Treeja, On the Sunday of Life..., koji je zapravo kompilacija najuspjelijeg materijala s neslužbenih kaseta. No-Manov debitantski uradak – kompilacija pjesama s više EP-a pod imenom Lovesighs – An Entertainment – također je objavljena 1992. K tome, iste je godine objavljen i Porcupine Treejev maksi singl "Voyage 34" utemeljen na iskustvima koje donosi LSD; pojavio se na NME-jevoj indie ljestvici i na njoj je ostao šest tjedana. No-Man je također otišao na englesku turneju kao sekstet – u njemu su nastupala i tri bivša člana art pop grupe Japan: Mick Karn, Steve Jansen i klavijaturist Richard Barbieri. Godine 1993. Wilson je objavio još jedan album Porcupine Treeja (Up the Downstair) i No-Mana (Loveblows And Lovecries – A Confession).

Porcupine Tree kasnije je često išao na turneje i počeo se baviti različitim glazbenim stilovima (među kojima su psihodelija, progresivni rock, moderni rock i heavy metal), iako je glavni autor pjesama i dalje bio Wilson. Sredinom 2000-ih Porcupine Tree postao je poznat sastav čije su albume objavljivale veći izdavači (kao što su Atlantic i Roadrunner). Za to je vrijeme Wilson postao vrlo tražen producent i različiti izvođači izjavili su da je utjecao na njih.

Različiti stilovi i suradnje
Krajem 1990-ih Wilson je zbog ljubavi prema droneu, kao i eksperimentalnoj i ambijentalnoj glazbi, započeo nekoliko novih projekata, među kojima su Bass Communion i Incredible Expanding Mindfuck (poznat i kao IEM). Također je pod svojim imenom počeo objavljivati nekoliko singlova.

Nakon što je stekao reputaciju kao producent, drugi su ga glazbenici počeli tražiti da im bude producent; među njima su norveška glazbenica Anja Garbarek i švedski progresivni metal sastav Opeth. Iako tvrdi da mu je produkcijski rad najdraži, zbog zahtjevnosti vlastitih projekata uglavnom se posvetio miksanju uradaka drugih izvođača.

Wilson je pisao recenzije za meksičku inačicu časopisa Rolling Stone. Sve su prevedene na španjolski jezik. Dosad su objavljene dvije: jedna za Radioheadov album In Rainbows i jedna za Murcofov album Cosmos. Također je u nekoliko navrata pisao recenzije za britanski časopis Classic Rock i američki časopis Electronic Musician. Napisao je i predgovor za knjigu Mean Deviation (iz 2010.)

Bio je producent, prateći vokalist, gitarist i klavijaturist na Opethovim albumima Blackwater Park, Deliverance i Damnation; na potonjem je uratku suautor teksta pjesme "Death Whispered a Lullaby". Na mnogim je radovima surađivao s belgijskim eksperimentalnim glazbenikom Dirkom Serriesom iz projekata Vidna Obmana i Fear Falls Burning, uglavnom na projektu Continuum, koji je objavio dva albuma. Wilson je svirao i bas-gitaru na EP-u Allure Fovea Hexa.

Surađivao je i s izvođačima među kojima su OSI, JBK, Orphaned Land, Paatos, Theo Travis, Yoko Ono, Fish, Cipher i Anja Garbarek. Pojavio se i kao pjevač na pjesmi "The Fountain" grupe Pendulum na njezinu albumu Immersion. Gostovao je na pjesmi "Repentance" Dream Theatera na albumu Systematic Chaos, u kojoj je bio jedan od nekoliko gosta glazbenika koji su se javno ispričali za pogreške iz prošlosti.

Wilson se također bavi miksanjem uradaka u prostornom zvuku 5.1; album Porcupine Treeja Fear of a Blank Planet iz 2007. bio je nominiran za nagradu Grammy u kategoriji "najboljeg miksa u prostornom zvuku". Taj se album pojavio i na trećem mjestu popisa albuma godine časopisa Sound and Vision. Wilson je radio na nekoliko projekata u kojima se bavio prostornim zvukom; remiksao je albume Jethro Tulla i King Crimsona, kao i Marillionov album Misplaced Childhood iz 1985. Miksao je album We're Here Because We're Here sastava Anathema, a naknadno je miksao i dvije pjesme na idućem albumu Distant Satellites. Remiksao je i album In the Land of Grey and Pink skupine Caravan i Nonsuch sastava XTC, ali i albume The Power and the Glory i Octopus Gentle Giant. Godine 2018. objavio je zbirku Yes: The Steven Wilson Remixes, koja se sastoji od Yesovih albuma The Yes Album (1971.), Fragile (1971.), Close to the Edge (1972.), dvostrukog albuma Tales from Topographic Oceans (1973.) i Relayer (1974.).

Glazbeni projekti

Porcupine Tree

Porcupine Tree nastao je kao duo koji su činili Wilson i njegov školski prijatelj Malcolm Stocks (Wilson je mahom bio zaslužan za instrumentaciju, a Stocks je uglavnom doprinosio idejama, dodatnim vokalima i eksperimentalnim zvukovima gitare). Wilson je eksperimentirao s glazbom u svojoj kući dok nije stekao dojam da bi je na neki način mogao objaviti službeno. Sakupljen materijal na koncu je podijeljen na tri demo-kasete (Tarquin's Seaweed Farm, Love, Death & Mussolini i The Nostalgia Factory). Za prvu je kasetu napisao i priču o opskurnom (ali izmišljenom) sastavu pod imenom "The Porcupine Tree", u kojoj je izjavio da su se članovi upoznali početkom 1970-ih na festivalu rock glazbe i da su nekoliko puta završili u zatvoru. Knjižica navodi i informacije o članovima s imenima poput Sir Tarquin Underspoon i Timothy Tadpole-Jones, a jedan se pomoćnik u njoj zvao Linton Samuel Dawson (čiji inicijali daju pokratu LSD). Wilson je izjavio: "Zabavljali smo se. Ipak, dogodilo se ono što se uvijek dogodi: započelo je kao šala, a ljudi su je počeli shvaćati ozbiljno!". Kad je Wilson potpisao ugovor s Deleriumom, izabrao je pjesme koje je smatrao najboljima s tih ranih kaseta, dao ih je masterirati i na koncu ih je objavio na prvom službenom studijskom albumu Porcupine Treeja pod imenom On the Sunday of Life.

Ubrzo nakon toga Wilson je objavio singl "Voyage 34", tridesetominutnu skladbu koja je u žanrovskom smislu mješavina ambijentalne glazbe, trancea i psihodelije. Jedan od razloga za objavu bila je objava singla s najduljom pjesmom dotad, makar je singl "Blue Room" grupe The Orb zapravo oborio taj rekord. Iako nije reproduciran na radijskim postajama, "Voyage 34" ipak je šest tjedana bio na NME-ovoj ljestvici indie glazbe.

Drugi studijski album, Up the Downstair (premda ga Wilson smatra pravim "pravim" albumom PT-a jer je snimljen kao takav, a nije nastao kompiliranjem), objavljen je 1993. i dobio je pozitivne kritike, a Melody Maker prozvao ga je "psihodeličnim remek-djelom... jedan je od albuma godine". Prvi je album na kojem je sudjelovao klavijaturist Richard Barbieri, bivši član Japana, i australski basist Colin Edwin. Do kraja godine Porcupine Tree postao je punopravni sastav kad mu se na bubnjevima pridružio Chris Maitland.

Wilson se nastavio baviti ambijentalnom glazbom i tranceom i objavio je The Sky Moves Sideways. Album se pojavio na ljestvicama NME-ja, Melody Makera i Music Weeka, a mnogi obožavatelji počeli su skupinu nazivati Pink Floydom devedesetih, titulom koju je Wilson odbacio: "Ne mogu reagirati drugačije. Istina je da sam u vrijeme 'The Sky Moves Sidewaysa' malo previše pokušavao zadovoljiti obožavatelje Pink Floyda koji su nas slušali jer ta skupina više nije snimala albume. Požalio sam takvu odluku."

Na četvrtom albumu grupe, Signify, pojavile su se prve skladbe koje su članovi zajedno napisali i izveli, zbog čega se manje služila bubnjarskim strojevima. Na određen je način označio odmak od prijašnjih uradaka jer su pjesme konciznije i uobičajenije strukture. Nakon objave koncertnog albuma Coma Divine 1997. zaključen je ugovor s Deleriumom i Porcupine Tree potpisao je ugovor sa Snapperom, koji je objavio dva dodatna albuma: Stupid Dream (1999.) i Lightbulb Sun (2000.). U žanrovskom smislu ta dva uratka uključuju elemente pop-glazbe.

Nakon objave tih dvaju albuma grupa je ponovno promijenila izdavača; potpisala je ugovor s velikom diskografskom kućom Lava Records. Maitlanda je zamijenio Gavin Harrison. In Absentia objavljen je 2002. i pjesme na tom albumu žešćeg su zvuka od svih prijašnjih uradaka skupine. Pojavio se na glazbenim ljestvicama u brojnim europskim državama i do dan-danas jedan je od najprodavanijih albuma sastava općenito. Posebna inačica iz 2004. također je prvi album sastava u prostornom zvuku 5.1, a iste je godine osvojio i nagradu "najbolji naslov snimljen za prostorni zvuk" na dodjeli nagrada Surround Music Awards.

Godine 2005. Porcupine Tree objavio je Deadwing, album nadahnut scenarijem za film koji su napisali Steven Wilson i njegov prijatelj Mike Bennion. Prvi je album grupe koji se pojavio na ljestvici Billboard 200, na kojoj je zauzeo 132. mjesto. Osvojio je nagradu "albuma godine" časopisa Classic Rock, a inačica uratka u prostornom zvuku također je osvojila nagradu "najboljeg naslova snimljenog za prostorni zvuk".

Wilson je počeo skladati pjesme za idući album Porcupine Treeja početkom 2006. u Tel Avivu u Izraelu, a u to je vrijeme radio i na drugom albumu za sporedni projekt Blackfield. Završio je sa skladanjem pjesama u Londonu u lipnju 2006. U kolovozu iste godine sastav je objavio prvi koncertni DVD, Arriving Somewhere..., i podržao ga turnejom koja je trajala od rujna do studenoga; tijekom prve polovice svakog nastupa svirao je samo nov materijal. Kad je turneja završila, skupina je otišla u studio i snimila album. Početkom siječnja 2007. otkrila je da će ime albuma biti Fear of a Blank Planet (u pitanju je namjerno aludiranje na uradak Fear of a Black Planet Public Enemyja) i da je koncept nadahnuo roman Lunar Park Breta Eastona Ellisa. Objavljen je 16. travnja 2007. u Europi i 24. travnja u SAD-u. Tekstovi pjesama odnose se na probleme 21. stoljeća kao što su otuđivanje zbog tehnologije, nasilje među tinejdžerima, propisani lijekovi, poremećaj hiperaktivnosti i deficita pažnje i bipolarni poremećaj.

Fear of a Blank Planet postao je najuspješniji album grupe u pogledu prodaje i pozitivnih recenzija. Pojavio se na 59. mjestu ljestvice Billboard 200 i na gotovo svim europskim glazbenim ljestvicama; u Ujedinjenom Kraljevstvu našao se na 31. mjestu. U SAD-u je nominiran za nagradu Grammy, a i u nekoliko anketa proglašen je najboljim albumom godine (npr. u časopisu Classic Rock i nizozemskom Aardschoku). U srpnju 2007. objavljen je EP Nil Recurring; na njemu su se pojavile pjesme koje su snimljene za album, ali koje na koncu ipak nisu bile uvrštene na nj.

Na europskom koncertu u kolovozu 2008. Wilson je izjavio da je Porcupine Tree počeo raditi na materijalu za idući album i da ga planira objaviti 2009. Kasnije je najavljeno da će ime albuma biti The Incident. Sastoji se od dvaju CD-a; na prvom se nalazi istoimeni "ciklus pjesama" koji traje 55 minuta, a na drugom se nalaze četiri kraće skladbe. Sastavu je priuštio najviša mjesta na ljestvicama do danas – pojavio se na petom mjestu u Nizozemskoj, devetom mjestu u Njemačkoj, 23. mjestu u Ujedinjenom Kraljevstvu i 25. mjestu ljestvice Billboard 200 u SAD-u. Tijekom naknadne američke i europske turneje mnogi su koncerti bili rasprodani. Singl s The Incidenta, "Time Flies", moglo se tijekom jednog tjedna u listopadu 2009. besplatno preuzeti s iTunesa.

No-Man
No-Man je Wilsonov dugogodišnji suradnički projekt s pjevačem Timom Bownessom. Nadahnut je širokim spektrom žanrova – od ambijentalne glazbe do hip-hopa – a raniji su singlovi i albumi mješavine ritmova dancea i orkestracije. Međutim, nakon nekoliko godina taj je duo počeo stvarati eksperimentalnu glazbu. Od Flowermoutha iz 1994. u glazbu je počeo uvrštavati različite zvukove (i akustičke i elektroničke), ali je i počeo surađivati s gostujućim glazbenicima. To je prvi projekt kojim je Wilson postigao određen uspjeh – potpisao je ugovor s britanskim nezavisnim izdavačem One Little Indian (izdavačem albuma glazbenika kao što su Björk, The Shamen i Skunk Anansie).

Dana 22. studenog 2019. grupa je objavila sedmi studijski album, Love You to Bits, prvi uradak koji se sastojao od originalnih pjesama u 11 godina.

I.E.M.
Godine 1996. objavljen je prvi album projekta I.E.M. (Incredible Expanding Mindfuck, što je bilo jedno od imena koje je Wilson u početku planirao dati Porcupine Treeju). Projekt je posvećen krautrocku i eksperimentalnom rocku. U početku je želio da projekt bude anoniman, no tadašnji je izdavač Delerium Records objavio jednu od pjesama na svojoj kompilaciji Pick N Mix i autorstvo skladbe pripisala Wilsonu, zbog čega je koncept anonimnosti odbačen. Projekt je 2001. objavio još dva albuma: Arcadia Son i IEM Have Come for Your Children. Box set koji se sastoji od četiri CD-a, odnosno svega što je Wilson snimio pod tim imenom, objavljen je u lipnju 2010. "u počast I.E.M.-u i oproštaj od njega".

Bass Communion
Godine 1998. Wilson je osnovao Bass Communion, projekt posvećen industrijalnoj, ambijentalnoj, elektroničkoj glazbi i droneu. Do danas je objavljeno nekoliko studijskih albuma i singlova, a mnogi od njih objavljeni su u ograničenom broju primjeraka.

Blackfield
Godine 2001. Wilson je upoznao izraelskog rock glazbenika Aviva Geffena i počeo je surađivati s njim na projektu Blackfield, a spomenuli su da je posvećen "melodičnom i melankoličnom rocku". Prvi je album Blackfield objavljen 2004., a drugi, Blackfield II, objavljen 2007. S albuma je objavljeno nekoliko singlova, među kojima su "Blackfield," "Pain" i "Once". Koncertni DVD snimljen u New Yorku objavljen je 2007. Treći album, Welcome to My DNA, objavljen je u ožujku 2011. Kasnije te godine Wilson je odlučio smanjiti doprinose skupini jer je smatrao da je primoran posvetiti dosta vremena i pozornosti samostalnoj karijeri i da jednostavno ne može primjereno voditi Blackfield uz Geffena. Međutim, ipak je doprinio četvrtom albumu skupine 2013. kao pjevač i producent. Napustio je sastav nakon kraće europske turneje (koja se održala u veljači 2014.) i posljednjeg koncerta u New Yorku (koji se održao 1. svibnja 2014.) jer se želio posvetiti samostalnoj karijeri i nadolazećim projektima. Međutim, u lipnju 2015. i lipnju 2016. Wilson je ipak sudjelovao u snimanju s Geffenom i Alanom Parsonsom. U kolovozu 2016. Blackfield je najavio da novi album Blackfield V označava povratak Wilsona u skupinu "kao pravog suautora".

Dana 13. svibnja 2019. Geffen je na svojem službenom profilu na Instagramu objavio sliku uz koju je napisao da oba glazbenika rade na šestom albumu.

Storm Corrosion
U ožujku 2010. Wilson i Mikael Åkerfeldt, frontmen skupine Opeth, odlučili su raditi na novom projektu pod imenom Storm Corrosion. Istoimeni je album u svibnju 2012. objavio Roadrunner Records. Opisan je kao "posljednji dio čudne trilogije albuma koju čine (Opethov) Heritage i Wilsonov samostalni album Grace for Drowning." Åkerfeldt i Wilson nisu podržali album koncertima i premda su izjavili da bi voljeli ponovno raditi zajedno, komentirali su da zasad ne planiraju novi album za Storm Corrosion.

Samostalna karijera

Obrade
Od 2003. do 2010. Wilson je pod svojim imenom objavio šest CD-a, a svaki od njih sastoji se od dvije pjesme – jedne obrade i jedne originalne Wilsonove pjesme (premda je u jednom slučaju riječ o njegovom aranžmanu tradicionalne pjesme). Među obradama pojavile su se pjesme kanadske pjevačice Alanis Morissette, švedske pop-grupe ABBA, britanskog rock sastava The Cure, Princea i škotskih glazbenika Momusa i Donovana.

Izvan tog serijala CD-a Wilson je obradio i pjesmu "Stoneage Dinosaurs" skupine Cardiacs. Pojavila se na uratku Leader of the Starry Skies: A Tribute to Tim Smith, Songbook 1; riječ je o kompilaciji objavljenoj u prosincu 2010., a prikupljen novac išao je Timu Smithu, vođi Cardiacsa, koji se nalazio u bolnici. Wilson je izjavio da mu možda nije glavni uzor u stilskom, ali da mu jest u duhovnom smislu.

Cjelokupna zbirka obrada 2014. je objavljena kao album.

Insurgentes
U studenom 2008. Wilson je objavio prvi samostalni studijski album, Insurgentes, koji je snimao od siječnja do kolovoza 2008. Prvo je objavljen u dvjema inačicama ograničene naklade, a uz obje nalazila se knjižica tvrdih korica sa slikama danskog fotografa Lassea Hoilea, dugogodišnjeg Wilsonovog suradnika. Standardna inačica za prodavaonice albuma objavljena je 9. ožujka 2009.

Hoileov film utemeljen na snimanju albuma premijerno je prikazan u studenom 2009. na međunarodnom filmskom festivalu CPH:DOX u Kopenhagenu. Također je prikazan na filmskim festivalima u Kanadi, Njemačkoj, Meksiku, Švedskoj i Sjedinjenim Državama. Opisan je kao spoj dokumentarnog filma i nadrealističkog filma ceste. Hoile je i režirao spot za pjesmu "Harmony Korine" s tog albuma. Spotom se odala počast europskim art filmovima i na festivalu Camerimage bio je nominiran za nagrade za najbolju kinematografiju i najbolji glazbeni spot.

Remiksana inačica albuma objavljena je u lipnju 2009., a na njoj su pjesme s albuma remiksali David A. Sitek, Dälek, Engineers, Pat Mastelotto i Fear Falls Burning.

Grace for Drowning
Wilsonov drugi samostalni album, Grace for Drowning, objavljen je u rujnu 2011. na CD-u, gramofonskoj ploči i Blu-rayu. Dvostruki je album; prvi dio zove se Deform to Form a Star, a drugi Like Dust I Have Cleared from My Eye. Wilson je također najavio i prvu samostalnu turneju u Europi i Sjevernoj Americi kojom je odlučio podržati taj album. Ta je turneja trajala od listopada do studenog 2011. i tijekom nje izvođene su pjesme s albuma Insurgentes i Grace for Drowning. Koncertni DVD snimljen u Meksiku pod imenom Get All You Deserve objavljen je 25. rujna 2012.

Wilson je 16. prosinca 2011. najavio još nekoliko koncerata u Europi i drugi dio turneje Grace for Drowning, koja je trajala od travnja do svibnja 2012. Naknadno su dodani i datumi nastupa u Južnoj Americi. Na dodjeli nagrada Progressive Music Awards 2012. je godine osvojio naslov "vrlo utjecajne osobe".

The Raven That Refused to Sing (And Other Stories)
Wilsonov treći samostalni album, The Raven That Refused to Sing (And Other Stories), koji je snimio s većinom članova koncertne postave tijekom turneje za Grace for Drowning, objavljen je 25. veljače 2013. Snimanjem albuma u Los Angelesu rukovodio je Alan Parsons. Uradak je ušao u 30 najviših mjesta glazbene ljestvice u Ujedinjenom Kraljevstvu i pojavio se na trećem mjestu u Njemačkoj. U listopadu 2012. Wilson je najavio prvi dio popratne turneje – sastojala se od 18 nastupa u Europi i 17 nastupa u Sjevernoj Americi, a trajala je od ožujka do svibnja 2013. Na tim je koncertima Chad Wackerman (najpoznatiji po radu s Frankom Zappom) zamijenio Marca Minnemanna na bubnjevima zbog problema s rasporedom. Drugi dio turneje trajao je od listopada do studenog 2013. i održavao se u Australiji i Europi, a u to vrijeme održan je i rasprodani koncert u londonskom Royal Albert Hallu. Pjesma "The Raven That Refused to Sing" pojavila se u najavi za film Pompeji. Uradak se pojavio na vrhu nekoliko popisa albuma recenzenata i čitatelja u časopisima kao što su britanski Prog i njemački Eclipsed. Izabran je za album godine na dodjeli nagrada Progressive Music Awards 2013. Dana 13. srpnja 2015. The Prog Report postavio ga je na drugo mjesto popisa najboljih progresivnih albuma u proteklih 25 godina.

Hand. Cannot. Erase.

Wilsonov četvrti samostalni album, Hand. Cannot. Erase., objavljen je 27. veljače 2015. Nadahnut je dokumentarnim filmom Dreams of a Life o Joyce Carol Vincent, mladoj Britanki koja je gotovo tri godine ležala mrtva u svojem stanu prije nego što je otkriveno njezino tijelo. Hand. Cannot. Erase. dobio je pozitivne kritike. Novine The Guardian dodijelile su mu pet zvjezdica i nazvale ga "pametnim, duševnim i dojmljivim umjetničkim djelom". Časopis Eclipsed nazvao ga je "još jednim sjajnim draguljem u diskografiji Stevena Wilsona", dok mu je Metal Hammer dao šest od sedam bodova i imenovao ga "još jednim remek-djelom". Američko mrežno-mjesto FDRMX dalo mu je 4,8 boda od njih 5 i izjavilo: "Hand. Cannot. Erase. potpuno zaokuplja Vašu pažnju od početka do posljednje note, što simbolizira odličan album". Popratna turneja trajala je od ožujka do lipnja 2015., a sastojala se od 31 nastupa u Europi i 34 nastupa u Sjevernoj i Južnoj Americi. U rujnu su održana dva posebna koncerta u londonskom Royal Albert Hallu. Zbog turneje skupine The Aristocrats na američkoj su turneji Guthrieja Govana i Marca Minnemanna poimence zamijenili Dave Kilminster i Craig Blundell.

To the Bone

Wilson je 12. prosinca 2016. počeo snimati peti samostalni studijski album u Londonu s inženjerom zvuka Paulom Staceyjem. Budući da u snimanju nije sudjelovala većina članova koji su činili njegov sastav na prethodnom albumu, Wilson je uglavnom sam svirao gitaru na albumu, a bubnjeve su svirali Craig Blundell i Jeremy Stacey. Ninet Tayeb bila je gostujuća pjevačica, no njezina je uloga na albumu bila veća nego na uratku Hand. Cannot. Erase. Andy Partridge iz XTC-ja izjavio je da je suautor dviju pjesama na albumu. Dana 5. siječnja 2017. Wilson je objavio kraći videozapis u kojem je prikazano kako on i Tayeb snimaju pjesmu "Pariah". U travnju 2017. Wilson je izjavio da će album objaviti novi izdavač – Caroline International. Također je spomenuo da na uratku usnu harmoniku svira Mark Feltham i objavio je snimku na kojoj Feltham svira na pjesmi "To the Bone". Slovački glazbenik David Kollar pojavio se na trima pjesmama na albumu.

Dana 9. svibnja 2017. službeno je najavljeno da će ime novog albuma biti To the Bone; uradak je objavljen 18. kolovoza 2017. Wilson je potom otišao na turneje u Ujedinjenom Kraljevstvu, Europi i Sjevernu Ameriku, a trajale su od 2018. do 2019. Na turnejama je Davea Kilminstera zamijenio Alex Hutchings.

Dana 12. rujna 2018. najavljen je koncertni album Home Invasion: In Concert at the Royal Albert Hall, a objavljen je 2. studenog 2018.

The Future Bites
Wilson je na svojem službenom profilu na Instagramu 26. svibnja 2019. izjavio da radi na pjesmama za šesti studijski album. Prema izvornim planovima trebao je biti objavljen 2020. Producent albuma je David Kosten, također poznat kao Faultline, zbog čega je taj uradak drugi čiji Wilson nije jedini producent. Dana 21. listopada 2019. najavio je turneju 'The Future Bites Tour'. Koncerti su se trebali održati u većim arenama u Ujedinjenom Kraljevstvu, Francuskoj, Njemačkoj, Nizozemskoj i Poljskoj u rujnu 2020. Dana 24. prosinca 2019. Wilson je najavio da je skoro gotov sa snimanjem albuma.

Wilson je 5. ožujka 2020. pokrenuo promidžbu albuma na raznim mrežnim mjestima, a usredotočio se na motive konzumerizma, robnih marki i manipulativnih društvenih mreža. Dana 12. ožujka 2020. Wilson je izjavio da će njegov šesti studijski album, The Future Bites, biti objavljen 12. lipnja 2020. Prvi singl s albuma, "Personal Shopper", objavljen je istog dana.

Dana 22. travnja 2020. Wilson je izjavio da će The Future Bites ipak biti objavljen 29. siječnja 2021. zbog logističkih i kreativnih problema u glazbenoj industriji zbog pandemije koronavirusa.

U svibnju 2020. pokrenuo je podcast The Album Years s Timom Bownessom, kolegom iz No-Mana. Bio je uspješan i pojavio se na visokim mjestima ljestvica Apple Podcastsa.

Wilson je 22. rujna 2020. otkrio drugačiji popis pjesama na albumu i objavio novi singl, "Eminent Sleaze", kao i glazbeni spot za nj koji je režirao Crystal Spotlight.

Dana 29. listopada 2020. objavio je glazbeni spot za "King Ghost", treći singl s The Future Bitesa. Režirala ga je dugogodišnja Wilsonova suradnica Jess Cope.

Dana 24. studenog 2020. objavio je "12 Things I Forgot", četvrti singl s albuma. Objavu tog singla popratila je najava da će jedinstvena inačica albuma biti prodana 27. studenog 2020. za 10.000 funti i da će sva zarada biti donirana organizaciji Music Venue Trust kako bi se pomoglo britanskim koncertnim dvoranama u vrijeme pandemije koronavirusa. Ta je inačica albuma prodana odmah nakon što je započela prodaja.

Stil izvedbe
Na koncertima Wilson nastupa bosih nogu. Tu naviku stekao je još u djetinjstvu; izjavio je: "Uvijek sam imao problem s nošenjem cipelama i uvijek sam hodao uokolo bosih nogu". Dodao je da se bosim nogama i lakše služi velikim brojem pedala za gitaru. Zbog toga je više puta ozlijedio pete: na jednom od ranijih nastupa u petu mu se zabola injekcija i morao se cijepiti za tetanus. Komentirao je: "Stao sam na čavle, vijke i pribadače, nožnim sam prstima udario u nešto, silazio sam s pozornice i samo je krv tekla... Sve mi se dogodilo, ali da budem iskren, ništa me neće spriječiti." Kasnije se počeo služiti tepihom, što je smanjilo učestalost takvih problema.

Utjecaj
Osim što je na glazbenike utjecao i kao član Porcupine Treeja, neki su ga izravno nazvali utjecajnim; među njima su Steffen Kummerer iz Obscure, Caligula's Horse, Tor Oddmund Suhrke iz Leprousa, Jonathan Carpenter iz The Contortionista, Bilocate, Alex Vynogradoff iz Kauana i Kenneth Wilson iz Abigail's Ghosta.

K tome, ostali su glazbenici pohvalili njegov samostalni rad, a među njima su Alex Lifeson, Steve Howe, Robert Trujillo, Adrian Belew, Jordan Rudess, Mike Portnoy, Rob Swire, Seven Lions, Demians (Nicolas Chapel), Jem Godfrey, Jim Matheos, Dan Briggs, Eraldo Bernocchi i Chantel McGregor.

Privatni život
Wilson uglavnom ne otkriva mnogo o svom privatnom životu i u tom smislu slijedi primjer skupina kao što su Radiohead, Pink Floyd i Tool.

Međutim, na svojem službenom profilu na Instagramu ipak objavljuje određene trenutke iz svojeg života. U rujnu 2019. objavio je da se oženio svojom djevojkom Rotem i na Instagramu je objavio sliku s vjenčanja. Njegova supruga ima dvije kćeri koje je Wilson posvojio.

Wilson je vegetarijanac i ateist; fascinira ga koncept religije i kritizira organiziranu religiju. Međutim, izjavio je da ne želi nametati svoje stavove, nego ih izraziti korištenjem likova i priča. Komentirao je: "Mislim da je to sve što možete učiniti kao umjetnik. Ne smijete propovijedati svojoj publici, nego trebate odraziti svijet sa svim svojim manama i vrlinama." Ne puši i ne drogira se.

Diskografija
Studijski albumi
Insurgentes (2008.)
Grace for Drowning (2011.)
The Raven That Refused to Sing (And Other Stories) (2013.)
Hand. Cannot. Erase. (2015.)
To the Bone (2017.)
The Future Bites (2021.)
The Harmony Codex (2023.)

Nagrade i počasti
Godine 2016. Wilsona je časopis Guitar World proglasio jednim od 15 najboljih gitarista progresivnog rocka. U anketi čitatelja MusicRadara iz 2016. izabran je za sedmog najboljeg prog gitarista 2016. Na dodjeli nagrada Progessive Music Award 2018. osvojio je nagradu u kategoriji britanskog sastava odnosno glazbenika godine.

Izvori

Vanjske poveznice

Sestrinski projekti

Mrežna mjesta
Službeno mrežno mjesto
Potpuna diskografija Stevena Wilsona

Britanski tekstopisci
Britanski rock-glazbenici
Britanski rock-pjevači
Britanski gitaristi

Steven Wilson