El mapeo de tonos es una técnica utilizada en el procesamiento de imágenes y gráficos por computadora para mapear un conjunto de colores a otro para aproximarse a la apariencia de imágenes de alto rango dinámico en un medio que tiene un rango dinámico más limitado. Las impresiones, los monitores CRT o LCD y los proyectores tienen un rango dinámico limitado que es inadecuado para reproducir el rango completo de intensidades de luz presentes en las escenas naturales. El mapeo de tonos aborda el problema de la fuerte reducción del contraste desde el resplandor de la escena hasta el rango visualizable mientras se preservan los detalles de la imagen y la apariencia del color, que son importantes para apreciar el contenido de la escena original.

El mapeo de tonos inverso es la técnica inversa que permite expandir el rango de luminancia, mapeando una imagen de rango dinámico bajo en una imagen de rango dinámico más alto. Se utiliza especialmente para convertir videos SDR a videos HDR.

Antecedentes
La introducción de la fotografía basada en películas creó problemas, ya que era muy difícil capturar el enorme rango dinámico de iluminación del mundo real en un negativo químicamente limitado. Los primeros desarrolladores de películas intentaron remediar este problema diseñando los materiales de película y los sistemas de revelado de impresión que daban una curva de tono en forma de S deseada con un contraste ligeramente mejorado (alrededor del 15 %) en el rango medio y luces y sombras comprimidas gradualmente. El advenimiento del Sistema de zonas, que basa la exposición en los tonos de sombra deseados junto con la variación del tiempo de permanencia en el revelador químico (controlando así los tonos de luces) amplió la gama tonal de la película negativa en blanco y negro (y más tarde en color) de su rango nativo de unas siete paradas a unas diez. Los fotógrafos también han utilizado la sobreexposición y la subexposición para superar las limitaciones del proceso de impresión.

El advenimiento de la fotografía digital dio esperanza de mejores soluciones a este problema. Uno de los primeros algoritmos empleados fue Retinex, por Edwin Land y McCann en 1971, inspirado en las teorías de la percepción de la luminosidad. Este método está inspirado en los mecanismos biológicos de adaptación del ojo cuando las condiciones de iluminación son un problema. Los algoritmos de asignación de gama también se estudiaron ampliamente en el contexto de la impresión en color. Se utilizaron modelos computacionales como CIECAM02 o iCAM para predecir la apariencia del color. A pesar de esto, si los algoritmos no podían mapear suficientemente los tonos y colores, aún se necesitaba un artista hábil, como es el caso del posprocesamiento de películas cinematográficas.

Las técnicas gráficas por computadora capaces de representar escenas de alto contraste cambiaron el enfoque del color a la luminancia como el principal factor limitante de los dispositivos de visualización. Se desarrollaron varios operadores de asignación de tonos para asignar imágenes de alto rango dinámico (HDR) a pantallas estándar. Más recientemente, este trabajo se ha alejado de la utilización de la luminancia para extender el contraste de la imagen hacia otros métodos, como la reproducción de imágenes asistida por el usuario. Actualmente, la reproducción de imágenes se ha desplazado hacia soluciones basadas en pantallas, ya que las pantallas ahora poseen algoritmos avanzados de procesamiento de imágenes que ayudan a adaptar la representación de la imagen a las condiciones de visualización, ahorrar energía, ampliar la gama de colores y el rango dinámico.

Propósito y métodos
Los objetivos del mapeo de tonos se pueden establecer de manera diferente según la aplicación en particular. En algunos casos, el objetivo principal es producir imágenes estéticamente agradables, mientras que otras aplicaciones pueden enfatizar la reproducción de la mayor cantidad posible de detalles de la imagen o maximizar el contraste de la imagen. El objetivo de las aplicaciones de representación realista podría ser obtener una coincidencia perceptiva entre una escena real y una imagen visualizada aunque el dispositivo de visualización no pueda reproducir la gama completa de valores de luminancia.

En los últimos años se han desarrollado varios operadores de mapeo de tonos. Todos ellos se pueden dividir en dos tipos principales:

 Operadores globales (o espacialmente uniformes ): son funciones no lineales basadas en la luminancia y otras variables globales de la imagen. Una vez que se ha estimado la función óptima de acuerdo con la imagen en particular, cada píxel de la imagen se mapea de la misma manera, independientemente del valor de los píxeles circundantes en la imagen. Esas técnicas son simples y rápidas (ya que pueden implementarse usando tablas de consulta), pero pueden causar una pérdida de contraste. Ejemplos de métodos de mapeo de tonos globales comunes son la reducción de contraste y la inversión de color.
 operadores locales (o que varían espacialmente): los parámetros de la función no lineal cambian en cada píxel, de acuerdo con las características extraídas de los parámetros circundantes. En otras palabras, el efecto del algoritmo cambia en cada píxel según las características locales de la imagen. Esos algoritmos son más complicados que los globales; pueden mostrar artefactos (por ejemplo, efecto de halo y timbre); y la salida puede parecer poco realista, pero pueden (si se usan correctamente) proporcionar el mejor rendimiento, ya que la visión humana es principalmente sensible al contraste local.

Un ejemplo simple de filtro de mapeo de tonos global es  (Reinhard), donde Vin es la luminancia del píxel original y Vout es la luminancia del píxel filtrado. Esta función mapeará la luminancia V en el dominio  a un rango de salida visualizable de  Si bien este filtro proporciona un contraste decente para partes de la imagen con baja luminancia (particularmente cuando Vin < 1), las partes de la imagen con mayor luminancia obtendrán un contraste cada vez menor a medida que la luminancia de la imagen filtrada llega a 1. Las variaciones de este filtro se utilizan comúnmente en la renderización.

Un método de mapeo de tonos global quizás más útil es la compresión gamma, que tiene el filtro  donde  y  . Esta función mapeará la luminancia V in el dominio  al rango de salida  γ regula el contraste de la imagen; un valor más bajo para un contraste más bajo. Mientras que una constante γ más baja da un contraste más bajo y quizás también una imagen más opaca, aumenta la exposición de las partes subexpuestas de la imagen mientras que, al mismo tiempo, si , puede disminuir la exposición de las partes sobreexpuestas de la imagen lo suficiente como para evitar que queden sobreexpuestos.

Un grupo aún más sofisticado de algoritmos de mapeo de tonos se basa en métodos de dominio de contraste o gradiente, que son 'locales'. Dichos operadores se concentran en preservar el contraste entre regiones vecinas en lugar del valor absoluto, un enfoque motivado por el hecho de que la percepción humana es más sensible al contraste en las imágenes que a las intensidades absolutas. Esos métodos de mapeo de tonos generalmente producen imágenes muy nítidas, que conservan muy bien los pequeños detalles de contraste; sin embargo, esto a menudo se hace a costa de aplanar el contraste general de la imagen y, como efecto secundario, puede producir un halo de brillo alrededor de los objetos oscuros. Los ejemplos de tales métodos de mapeo de tonos incluyen: compresión de alto rango dinámico de dominio de gradiente y un marco perceptivo para el procesamiento de contraste de imágenes de alto rango dinámico (un mapeo de tonos es una de las aplicaciones de este marco).

Otro enfoque del mapeo de tonos de imágenes HDR está inspirado en la teoría de anclaje de la percepción de la luminosidad . Esta teoría explica muchas características del sistema visual humano, como la constancia de la luminosidad y sus fallas (como en la ilusión de la sombra del tablero), que son importantes en la percepción de las imágenes. El concepto clave de este método de mapeo de tonos (Percepción de luminosidad en reproducción de tonos) es una descomposición de una imagen HDR en áreas (marcos) de iluminación constante y el cálculo local de los valores de luminosidad. La luminosidad neta de una imagen se calcula fusionando los marcos proporcionalmente a su fuerza. Particularmente importante es el anclaje: relacionar la luminancia con una luminancia conocida, es decir, estimar qué valor de luminancia se percibe como blanco en la escena. Este enfoque del mapeo de tonos no afecta el contraste local y conserva los colores naturales de una imagen HDR debido al manejo lineal de la luminancia.

Una forma simple de mapeo de tonos toma una imagen estándar (no HDR, el rango dinámico ya comprimido) y aplica una máscara de enfoque con un radio grande, lo que aumenta el contraste local en lugar de la nitidez. Consulte enmascaramiento de enfoque: mejora del contraste local para obtener más detalles.

Uno de los algoritmos de mapeo de tonos más utilizados es el iCAM06, que se basa tanto en el modelo de apariencia de color como en el mapeo jerárquico. Después del filtrado bilateral, la imagen se divide en una capa base y una capa de detalle. La adaptación de punto blanco y la adaptación de crominancia se aplican a la capa base, mientras que la mejora de detalles se aplica a la capa de detalles. Finalmente, las dos capas se fusionan y se convierten al espacio de color IPT. En general, este método es bueno pero tiene algunas deficiencias, específicamente en lo pesado que es computacionalmente el método de filtrado. Una solución propuesta a esto implica la optimización del rendimiento del filtro. La capa base de la imagen también se convierte al espacio RGB para la compresión de tonos. Este método también permite un mayor ajuste de salida y mejora de la saturación, lo que hace que sea menos intensivo en computación y mejor para reducir el efecto de halo general.

Fotografía digital

Las formas de mapeo de tonos preceden por mucho a la fotografía digital. La manipulación de la película y el proceso de revelado para generar escenas de alto contraste, especialmente aquellas filmadas a la luz del sol, en papel de impresión con un rango dinámico relativamente bajo, es efectivamente una forma de mapeo de tonos, aunque generalmente no se le llama así. El ajuste local de la tonalidad en el procesamiento de películas se realiza principalmente a través de esquivar y quemar, y Ansel Adams lo defiende y lo asocia en particular, como se describe en su libro The Print; véase también su Sistema de zonas.

El proceso normal de compensación de la exposición, iluminar las sombras y alterar el contraste aplicado globalmente a las imágenes digitales como parte de un flujo de trabajo profesional o de un aficionado serio también es una forma de mapeo de tonos.

Sin embargo, el mapeo de tonos HDR, que generalmente usa operadores locales, se ha vuelto cada vez más popular entre los fotógrafos digitales como una técnica de posprocesamiento, en la que se combinan varias exposiciones a diferentes velocidades de obturación para producir una imagen HDR y luego se aplica un operador de mapeo de tonos al resultado. . Ahora hay muchos ejemplos de imágenes digitales mapeadas localmente en tonos, conocidas incorrectamente como "fotografías HDR", en Internet, y estas son de calidad variable. Esta popularidad se debe en parte a la apariencia distintiva de las imágenes con mapas de tonos locales, que muchas personas encuentran atractivas, y en parte al deseo de capturar escenas de alto contraste que son difíciles o imposibles de fotografiar en una sola exposición y que pueden no mostrarse atractivas incluso cuando pueden ser capturados. Aunque los sensores digitales en realidad capturan un rango dinámico más alto que la película, pierden completamente los detalles en las altas luces extremas, recortándolas a un blanco puro, produciendo un resultado poco atractivo en comparación con la película negativa, que tiende a retener el color y algunos detalles en las altas luces.

En algunos casos, se utiliza el mapeo de tonos local aunque el rango dinámico de la imagen de origen se pueda capturar en el medio de destino, ya sea para producir la apariencia distintiva de una imagen con mapeo de tonos local o para producir una imagen más cercana a la visión artística del fotógrafo. la escena eliminando los contrastes agudos, que a menudo parecen poco atractivos. En algunos casos, las imágenes con mapeo de tonos se producen a partir de una sola exposición que luego se manipula con herramientas de procesamiento convencionales para producir las entradas para el proceso de generación de imágenes HDR. Esto evita los artefactos que pueden aparecer cuando se combinan diferentes exposiciones, debido al movimiento de los objetos en la escena o al movimiento de la cámara. Sin embargo, cuando el mapeo de tonos se aplica a una sola exposición de esta manera, la imagen intermedia solo tiene un rango dinámico normal, y la cantidad de detalles de sombras o luces que se pueden representar es solo la que se capturó en la exposición original.

Dispositivos de visualización
Uno de los objetivos originales del mapeo de tonos era poder reproducir una escena o imagen determinada en un dispositivo de visualización de modo que la sensación de brillo de la imagen para un espectador humano coincida estrechamente con la sensación de brillo del mundo real. Sin embargo, una combinación perfecta para este problema nunca es posible y, por lo tanto, la imagen de salida en una pantalla a menudo se crea a partir de una compensación entre diferentes características de la imagen. La elección entre características a menudo se basa en la aplicación necesaria y, dadas las métricas adecuadas para la aplicación, una posible solución es tratar el problema como un problema de optimización.

Para este método, primero se generan modelos para el Sistema Visual Humano (HVS) y la pantalla, junto con un simple operador de mapeo de tonos. Las distorsiones de contraste se ponderan de acuerdo con sus visibilidades individuales aproximadas por el HVS. Con estos modelos, se puede crear y resolver una función objetivo que define la curva de tono utilizando un solucionador cuadrático rápido.

Con la adición de filtros, este método también se puede extender a los videos. Los filtros aseguran que el cambio rápido de la curva de tono entre fotogramas no se destaque en la imagen de salida final.

Ejemplo del proceso de imagen

Las imágenes de la derecha muestran el interior de una iglesia, una escena que tiene una variación en el resplandor mucho mayor que la que se puede mostrar en un monitor o grabar con una cámara convencional. Las seis exposiciones individuales de la cámara muestran el resplandor de la escena en algún rango transformado al rango de brillos que se pueden mostrar en un monitor. El rango de resplandores registrados en cada foto es limitado, por lo que no se pueden mostrar todos los detalles a la vez: por ejemplo, los detalles del interior oscuro de la iglesia no se pueden mostrar al mismo tiempo que los de la vidriera brillante. Se aplica un algoritmo a las seis imágenes para recrear el mapa de radiación de alto rango dinámico de la escena original (una imagen de alto rango dinámico). Alternativamente, algunas cámaras digitales científicas especializadas y de consumo de gama alta pueden grabar una imagen de alto rango dinámico directamente, por ejemplo, con imágenes RAW.

En el caso ideal, una cámara podría medir la luminancia directamente y almacenarla en la imagen HDR; sin embargo, la mayoría de las imágenes de rango dinámico alto producidas por las cámaras de hoy no están calibradas o incluso proporcionales a la luminancia, debido a razones prácticas como el costo y el tiempo requerido para medir valores de luminancia precisos — a menudo es suficiente para los artistas usar exposiciones múltiples para obtener una " Imagen HDR" que se aproxima en gran medida a la verdadera señal de luminancia.

La imagen de alto rango dinámico se pasa a un operador de mapeo de tonos, en este caso un operador local, que transforma la imagen en una imagen de bajo rango dinámico adecuada para ver en un monitor. En relación con el interior de la iglesia, la vidriera se muestra con un brillo mucho más bajo que el que produciría un mapeo lineal entre el resplandor de la escena y la intensidad de los píxeles. Sin embargo, esta imprecisión es perceptiblemente menos importante que el detalle de la imagen, que ahora se puede mostrar tanto en la ventana como en el interior de la iglesia simultáneamente.

La técnica de mapeo de tonos locales del procesamiento de imágenes HDR a menudo produce una serie de efectos característicos en las imágenes, como halos brillantes alrededor de objetos oscuros, halos oscuros alrededor de objetos brillantes y, a veces, una apariencia de "dibujo animado" debido a colores extremadamente vivos y falta de grandes. escala de variaciones de color. Estos resultados son causados por la aplicación de la distorsión del espacio geométrico de la imagen capturada junto con la distorsión del espacio de color, mientras que solo las distorsiones del espacio de color son un efecto de mapeo de tonos, y todas las demás distorsiones son más una técnica de filtrado personalizada que cualquier mapeo de espacio de color o tono. Por lo tanto, los resultados del mapeo de tonos locales a menudo se juzgan como una perversión de la naturaleza de una imagen fotográfica documentalista y lejos del realismo fotográfico.

No todas las imágenes con mapas de tonos son visualmente distintivas. Reducir el rango dinámico con el mapeo de tonos suele ser útil en escenas con mucha luz solar, donde la diferencia de intensidad entre la iluminación directa y la sombra es grande. En estos casos se reduce el contraste global de la escena, pero se mantiene el contraste local, mientras que la imagen en su conjunto sigue viéndose natural. El uso del mapeo de tonos en este contexto puede no ser evidente en la imagen final:El mapeo de tonos también puede producir efectos visuales distintivos en la imagen final, como el halo visible alrededor de la torre en la imagen de abajo de la Facultad de Derecho de Cornell. Puede usarse para producir estos efectos incluso cuando el rango dinámico de la imagen original no es particularmente alto. Los halos en las imágenes se producen porque el operador de mapeo de tonos local iluminará las áreas alrededor de los objetos oscuros para mantener el contraste local en la imagen original, lo que engaña al sistema visual humano para que perciba los objetos oscuros como si fueran oscuros, incluso si su luminancia real es la misma. mismo que el de las áreas de la imagen percibidas como brillantes. Por lo general, este efecto es sutil, pero si los contrastes en la imagen original son extremos, o si el fotógrafo configura deliberadamente el gradiente de luminancia para que sea muy pronunciado, los halos se vuelven visibles.

Galería

Véase también

 Gestión de color
 Corrección gamma
 Reproducción de tonos
 Alto rango dinámico (HDR)

Referencias

   Livingstone, M. 2002. "Vision and Art: The Biology of Seeing." Harry N Abrams
   Hunt, R. 2004. "The Reproduction of Colour in Photography, Printing and Television: 6th Edition." John Wiley & Sons.
   Adams, A. 1981. "The Print, The Ansel Adams Photography Series 3." New York Graphic Society
   Land, E. H., and McCann, J. J. 1971. "Lightness and the retinex theory." Journal of the Optical Society of America 61, 1, 1–11.
   Kate Devlin, Alan Chalmers, Alexander Wilkie, Werner Purgathofer. "STAR Report on Tone Reproduction and Physically Based Spectral Rendering" in Eurographics 2002. DOI: 10.1145/1073204.1073242
   Raanan Fattal, Dani Lischinski, Michael Werman. "Gradient Domain High Dynamic Range Compression"
   Rafal Mantiuk, Karol Myszkowski, Hans-Peter Seidel. "A Perceptual Framework for Contrast Processing of High Dynamic Range Images"
   Alan Gilchrist. "An Anchoring Theory of Lightness Perception".
   Grzegorz Krawczyk, Karol Myszkowski, Hans-Peter Seidel. "Lightness Perception in Tone Reproduction for High Dynamic Range Images"
   Fairchild, M. D., Johnson, G.M.: 'The iCAM framework for image appearance, differences and quality'. J Electron. Imaging, 2004
   Xiao, J., Li, W., Liu, G., Shaw, S., & Zhang, Y. (n.d.). Hierarchical tone mapping based on image color appearance model.
   Mantiuk, R., Daly, S., & Kerofsky, L. (n.d.). Display Adaptive Tone Mapping. http://resources.mpi-inf.mpg.de/hdr/datmo/mantiuk08datm.pdf
   https://web.archive.org/web/20150206044300/http://docs.opencv.org/trunk/doc/tutorials/photo/hdr_imaging/hdr_imaging.html
   Durand and Julie Dorsey, "Fast Bilateral Filtering for the Display of High-Dynamic-Range Images". ACM Transactions on Graphics, 2002, 21, 3, 257 - 266. https://people.csail.mit.edu/fredo/PUBLI/Siggraph2002/DurandBilateral.pdf

Enlaces externos

 CVLTonemap: mapeo de tonos acelerado por GPU
 Cuarto oscuro HDR
 pfstmo: implementación de operadores de mapeo de tonos
 exrtools: una colección de utilidades para manipular imágenes OpenEXR (incluye algunos operadores de mapeo de tonos)
 pfstools es un conjunto de programas de línea de comandos de código abierto para leer, escribir y manipular imágenes y cuadros de video de alto rango dinámico (HDR).
 Luminance HDR/QtPfsGui es un software de flujo de trabajo HDR gratuito (de código abierto) para Linux, Windows y Mac OS X basado en el paquete pfstools
 El mapeo de tonos LDR es un mapeador de tonos gratuito (de código abierto) para imágenes de rango dinámico bajo (también conocido como "pseudo-HDR")
 Atlas es un puerto gratuito (de código abierto) de los operadores de mapeo de tonos pfstmo a Adobe After Effects
 Flickr HDR pool, una colección de asignaciones de tonos surrealistas
 Documento de UC Berkeley con datos sin procesar para el efecto Purkinje
 Stuck in Customs, un extenso tutorial para hacer imágenes HDR

Algoritmos de mapeo de tonos

 Mapeo de tonos basado en la percepción para condiciones de poca luz
 Reproducción de tonos fotográficos para imágenes digitales
 Percepción de luminosidad en reproducción de tonos para imágenes de alto rango dinámico
 Procesamiento de contraste de imágenes de alto rango dinámico
 Filtrado bilateral rápido para la visualización de imágenes de alto rango dinámico
 Una aproximación rápida del filtro bilateral utilizando un enfoque de procesamiento de señales
 Compresión de alto rango dinámico de dominio de gradiente

Computación gráfica
Wikipedia:Páginas con traducciones sin revisar

Mapeo de tonos


Katja Steen Salskov-Iversen (født 19. august 1994) er en dansk sejler. Sammen med Jena Mai Hansen vandt hun bronzemedalje i 49er FX ved OL 2016 i Rio.

Katja Salskov-Iversen er en del af det danske SailGP hold, som er sponsoreret af Rockwool International. Første gang hun var med på båden til kapsejlads var i Cádiz i oktober 2021.

Referencer

Eksterne henvisninger

 Hansen og Salskov-Iversens officielle hjemmeside

Sejlsportsfolk fra Danmark
Deltagere for Danmark ved sommer-OL 2016
Olympiske bronzemedaljevindere fra Danmark
Medaljevindere fra Danmark ved sommer-OL 2016

Katja Salskov-Iversen


The year 1752 in science and technology involved some significant events.

Biology
 Establishment of Tiergarten Schönbrunn in Vienna, the world's oldest zoo.

Chemistry
 Thomas Melvill delivers a lecture entitled Observations on light and colours to the Medical Society of Edinburgh, a precursor of flame emission spectroscopy.
 Dmitry Ivanovich Vinogradov and Mikhail Lomonosov advertise the first hard-paste porcelain to be produced in Russia.

Mathematics
 Euler gives his formula for the number of faces, edges and vertices in a polyhedron.

Medicine
 Foundation of what will become the Manchester Royal Infirmary as a cottage hospital in Garden Street, Manchester, England, by Charles White (surgeon).
 John Pringle publishes Observations on the Diseases of the Army in Camp and Garrison in London, a pioneering text in modern military medicine.
 Approximate date – James Ayscough begins experimenting with tinted lenses in spectacles.

Physics
 Benjamin Franklin's kite experiment determines that lightning is an electrical phenomenon.

Awards
 Copley Medal: John Pringle

Births
 May 9 – Antonio Scarpa, Italian anatomist (died 1832)
 May 11 – Johann Friedrich Blumenbach, German physiologist and anthropologist (died 1840)
 July 6 – John Sheldon, English anatomist (died 1808)
 July 7 – Joseph Marie Jacquard, French inventor (died 1834)
 July 23 – Marc-Auguste Pictet, Swiss physicist (died 1825)
 September 18 – Adrien-Marie Legendre, French mathematician (died 1833)
 Pierre Joseph Bonnaterre, French naturalist (died 1804)

Deaths
 January 4 – Gabriel Cramer, Genevan mathematician (born 1704)
 February 9 – Frederik Hasselquist, Swedish traveller and naturalist (born 1722)
 April 10 – William Cheselden, surgeon (born 1688)

References

18th century in science
1750s in science

1752 in science


සාන්න ඇලෝසියස් විද්‍යාලය

සාන්ත ඇලවීෂියස් විද්‍යාලය   ශ්‍රී ලංකාවේ, ගාල්ලෙහි පිහිටි ප්‍රාථමික සහ ද්විතියික යන අංශ ද්විත්වයෙන්ම යුතු පාසැලකි. අද වන විට සාන්ත ඇලවීෂියස්  විද්‍යාලය ශ්‍රී ලංකාවේ විශිෂ්ඨතම පාසැල් ගොන්නෙහි ප්‍රමුඛ ස්ථානයකට හිමිකම් කියයි. වසර 120 ඉතිහාසයකට හිමිකම් කියන ඇලවීෂියානු මාතාව  බිහිකල ලෝ පතල පුද්ගලයන් බොහෝය.

ඉතිහාසය

=ආරම්භය
ක්‍රි.ව. 1867 දී  එනම් ලන්දේසි ආදිපත්‍ය අවසානයේදී  මිලානි මාටින් පනාන්දු යන කතෝලික පියතුමන්ලා විසින් ගාල්ල කලුවැල්ල කල්වාරි කන්දේ දී පාසලක් ලෙස තාවකාලිකව ආරම්භ කරන ලදී . 1895 වර්ෂයේ මෙම පාසල භාරව පැමිණි පළවන බිෂොප්තුමන් වන වෑන්රීත් පියතුමා මෙම පාසල සාන්ත ඇලවීෂියස් විද්‍යාලය ලෙස නම් කරනු ලැබීය.

කැපී පෙනෙන ආදි සිසුන්

වර්තමානය

ශිෂ්‍යයන්
දැනට විද්‍යාලයේ ශිෂ්‍යයන් 4000 ක් පමණ ඉගෙනුම ලබයි.

අධ්‍යාපනය

ක්‍රීඩා කටයුතු

මලල ක්‍රීඩා

බැඩ්මින්ටන්

ක්‍රිකට්

පිහිනුම්

පා පන්දු

දැල් පන්දු

චෙස්

හොකී

රගර්
ශ්‍රී ලංකාවේ අධ්‍යාපනය
පාසැල් ලැයිස්තු

ශාන්ත ඇලෝසියස් විද්‍යාලය


Skæbnetimen er en kortfilm instrueret af Eva Bjerregaard efter eget manuskript.

Handling
Primetime-TV konkurrerer benhårdt med Superkanalen. Alle kneb gælder for at vinde seernes gunst. Cecilie er studievært i det populære program "Skæbnetimen" på Primetime-TV, og hun aner et scoop, da hun får en tyrkisk kvinde med i programmet. Cecilie vil give den tyrkiske kvinde chancen for at frigøre sig fra sin fundamentalistiske mand for åben skærm. Men manden bortfører Cecilies hund og går til Superkanalen! Og så raser mediekrigen.

Referencer

Eksterne henvisninger

Danske film fra 1997

Kortfilm fra Danmark

Skæbnetimen


Yağcı, Samsun ilinin Vezirköprü ilçesine bağlı bir mahalledir.

Tarihçe

Coğrafya
Vezirköprü'ye 7 km uzaklıktadır.

Nüfus

Vezirköprü'nün mahalleleri

Yağcı, Vezirköprü


est le deuxième album de Nancy Sinatra sur le label Reprise Records, sorti en 1966.

Liste de titres

  écrit par Lee Hazlewood, 3:09
  écrit par Johnny Mandel et Paul Francis Webster, 2:52
  écrit par Baker Knight, 3:00
  écrit par Micheal Merchant, 3:30
  (avec Lee Hazlewood) écrit par Hazlewood, 3:46
  écrit par Buck Owens, 3:32
  écrit par Hazlewood, 3:05
  écrit par Gilbert Bécaud, Manny Curtis et Pierre Delanoë, 3:05
  écrit par Tony Hatch, 2:50
  écrit par Hazlewood, 2:33
  écrit par Sonny Bono, 2:42
  écrit par Hazlewood, 2:48
  par Buffy Sainte-Marie, 4:00
  par Hazlewood, 2:56
  (avec Frank Sinatra), écrit par Nino Tempo, Annette Tucker, Kathy Wakefield, 2:51

Liens externes

Album musical sorti en 1966

How Does That Grab You?


Tchinda Andrade (Mindelo, 1979) é uma mulher cabo-verdiana que se destacou por, em 1998, ter sido a primeira pessoa a assumir-se publicamente como transgénero naquele país, tendo-se tornado uma figura relevante entre a comunidade LGBT cabo-verdiana, reconhecida por seu pioneirismo e ativismo.

É a protagonista do documentário Tchindas (2015) realizado por Marc Serena e Pablo García Pérez de Lara, sobre a comunidade LGBT de Cabo Verde, conhecidos como tchindas, por causa da figura de Tchinda Andrade.

Percurso
Nascida no Mindelo, em 1979, Tchinda ficou conhecida por ter sido a primeira mulher em Cabo Verde assumir-se publicamente como transgénero, no Carnaval do Mindelo, em 1998, quando tinha 19 anos.  Pela mesma altura, destacou-se também por ter discutido a sua identidade de género num semanário local, num artigo intitulado Tchinda-val!. Atualmente vive e trabalha no Mindelo como vendedora de coxinhas e educadora de crianças.

Em 2015, foi protagonista do documentário Tchindas realizado pelo jornalista Marc Serena e pelo cineasta Pablo García Pérez de Lara. A sua participação no documentário resultou num convite para o New York African Film Festival, após o qual fez uma tour internacional para promover o filme e contar a sua história de vida.  Foi a cantora Cesária Évora quem apresentou Tchinda e seu trabalho de ativismo com a comunidade trans para os jornalistas. O documentário foi nomeado para a categoria de Melhor Documentário nos African Movie Academy Awards.

Ligações Externas
 Site oficial do documentário Tchindas (2015).
 YouTube - Entrevista a Tchinda e Cláudia.
 YouTube - Entrevista a Tchinda.

Atores de Cabo Verde
Pessoas LGBTQIA+
Naturais de Cabo Verde
Nascidos em 1979
!Mais Teoria da História na Wiki (LGBTQIA+)
LGBT em Cabo Verde
Mulheres transgênero

Tchinda Andrade


La route régionale 542 () est une route régionale allant de Karvio à Heinävesi jusqu'à Tuusjärvi à   Tuusniemi en Finlande.

Présentation
La seututie 542 est une route régionale de Savonie du Nord et de Carélie du Nord.

Parcours

 Karvio
 Varistaipale
 Laukansalo
 Kosula
 Suurusmäki
 Ruskila
 Kumpulankylä
 Lehtomäki
 Pajumäki
 Tuusjärvi

Références

Annexes

Liens externes

Articles connexes
 Seututie

542

Transport à Tuusniemi
Transport à Heinävesi

Seututie 542


Messimy bezeichnet Orts- und Personennamen:

 Messimy, französische Gemeinde im Département Rhône
 Messimy-sur-Saône, französische Gemeinde im Département Ain

 Adolphe Messimy (1869–1935), französischer Politiker und General

Messimy (Begriffsklärung)


Alfa, Yunan alfabesinin ilk harfidir. Alfa sözcüğü ile şunlardan biri kastedilmiş olabilir:
 Alfa (botanik)
 Alfa (zooloji)
 Alfa Centauri (astronomi)
 Alfa parçacığı (fizik)
 Alfa Romeo
 Alfa işlemcisi (Mikroişlemciler),
 Alfanümerik

Alfa


Adrian (Adi) Manolovici (n. 1969, București) este un chitarist, compozitor și profesor de chitară român.

Biografie
Adi Manolovici a început să cânte la chitară de la vârsta de 11 ani, la București. A fost influențat de muzica rock cântată de Jimi Hendrix, Led Zeppelin, Deep Purple, AC/DC, dar și de trupe precum Beatles sau Duran Duran.

În 1993 începe colaborarea cu formația Floare Albastră (orientare jazz-rock) cu care concertează prin țară, câștigă premiul întâi la Festivalul "Folk Rock Jazz" de la Craiova în 1994, participă la "Vivo Live Rock Night", "Convenția pentru Cargo", "Gala Tele 7ABC", "Top T Buzău", iar în 1995 apare split LP-ul Coming Out of the Maze (la Electrecord), Adi Manolovici fiind clasat pe locul al doilea în topul chitariștilor (revista Vox Pop Rock).

În 1996 înființează Adi Manolovici Group, apare în cadrul colecției Unplugged Romania (East & Art) cu piesa "Înger și demon", cunoscând un real succes, fiind clasată pe primele locuri în topurile radio naționale, iar în decembrie 1996 lansează albumul Fusion Rendez-Vous (la East & Art) de factură fusion-progresive, album care propulsează trupa în topurile anului, iar pe Adi în topul chitariștilor revistei Heavy Metal Magazine (locul al treilea). Solist vocal la piesele de pe album este Sandu Costică "Damigeană".

În iulie 1997 apare Party Demo Tape (cu Relu Marin la clape), într-o nouă orientare stilistică exclusiv instrumentală. În această perioadă grupul colaborează cu Mălina Olinescu, Ilie Stoian și Mircea Rusu, apare pe compilația Oameni de zăpadă (Roton) cu două colinde.

În 1998, Adi este cooptat în Sfinx Experience, cu care apare atât în București, cât și în țară, în cadrul spectacolelor: turneul "Dialog", concertele "Golden Brau" de la Costinești, "Voxtel" la Chișinău, Zilele municipiului Bacău, concertele "Connex–Coca Cola Always Connected" din Jupiter, Festivalele Berii de la Timișoara, Mamaia, Bacău, București, recitalul Festivalul Mamaia 1998, Eclipsa Râmnicu Valcea, concertul de deschidere al lui Julio Iglesias (septembrie 1999), iar în august 1999 apare albumul Balkano (Roton).

Începând cu 1999 își înființează propria casă de discuri – Adi Manolovici Production (A.M.P.) – și colaborează cu firma de aparatură muzicală Roland, susținând reprezentații demonstrative la Tibco București până în mai 2003.

În ianuarie 2000 lansează albumul Instrumental Avenue (A.M.P.) și, în același an, înființează "Academia de Rock" – prima școală de chitară rock din România. Tot în același an, primește premiul Sadco – cel mai bun instrumentist, secțiunea muzică modernă.

Între anii 2001–2003 colaborează cu grupul Blue Spirit cu care participă la Caravana Radio Contact în orașele Sibiu, Târgu Mureș, Oradea, Giurgiu, București, lansează albumul Spiritissme la Teatrul Nottara în decembrie 2001, concertează în cluburi de blues în toată țara.

În 2001 are o colaborare cu Paula Seling atât pentru concursul de la Mamaia, cât și pentru câteva spectacole de lansare de album în București și câteva concerte live în țară (Pitești, Constanța, Baia Mare etc).

Începând cu 2003, înființează alături de Costi Sandu grupul Independent, de orientare power-rock, cu care concertează atât în cluburile din București, cât și pe scene rock din țară (Zilele municipiului Râmnicu Vâlcea, Festivalul Peninsula de la Târgu Mureș).

În anul 2005 înființează grupul Adi Manolovici Syndikate. De-a lungul existenței sale, grupul participă cu recitaluri în cluburi și pe scenă: "Ziua Bărbatului" (2008), "Top T Buzău" 2008 (2008), "Galele Studențești Costinești" (2006, 2007 și 2008), dar și cu ocazia spectacolelor "10+1 ani de activitate solistică Adi Manolovici" (2007), lansarea manualului de chitară al lui Adi Manolovici – Electrik Master Guitar II (2008), "Ziua Națională Alba-Iulia" (2007 și 2008), Festivalul "Rock'n'Iași" (2007), "Zilele Bucureștiului" (2008), "Tetra Rock" (2009), precum și cu ocazia turneului "Seven" (2006).

Syndikate a colaborat ca trupă de acompaniament în cadrul a numeroase spectacole, cu ocazia turneelor "Naționala de Rock" de pe litoral și din țară, precum și în cadrul emisiunilor TVR.

Colaborări: grupul Mondial (1998), Cristian Pațurcă (1999), Ilie Stoian (1997–1999), concertează live cu Paula Seling (2001–2002), Laurențiu Cazan (2002–2004, 2007–2009), grupul Jar (2005–2007), Mircea Vintilă (2007–2011), Mircea Bodolan (2009), Raul Cârstea (2011–2022), George Nicolescu (2014).

Colaborări
Adi Manolovici a colaborat de-a lungul carierei sale artistice ca endorser-artist pentru branduri cunoscute: Korg (1998), Boss-Roland (1999 – 2003), Ibanez (2006 – 2008) și Grosmann (2009 – 2012).

Activitate pedagogică
În 2002, Adi Manolovici editează și lansează prima metodă de chitară acustică pentru muzică modernă din România, iar în 2004 editează și lansează prima metodă de chitară electrică (muzica modernă) din România.

Academia de rock
La inițiativa lui Adi Manolovici, în martie 2000 a luat ființă Academia de Rock, prima școală de chitară rock din România. În cei peste 15 ani de existență a școlii, Adi Manolovici a format peste 400 de chitariști, mulți dintre ei activând în trupe deja celebre precum Vița de Vie, El Negro, Zoom, Firma, Amicii, R.U.S.T., X-Plod, PhenomenOn, Idol, Magnum Opus, Secret Society, Addictive, Syndikate etc.

Discografie (solo și colaborări)
 Coming Out of the Maze – Floare Albastră (Electrecord, 1995)
 Fusion Rendez-Vous – Adi Manolovici Group (East & Art, 1996)
 Party Demo Tape – Adi Manolovici Group (A.M.P., 1997)
 Balkano – Sfinx Experience (Roton, 1999)
 Instrumental Avenue – Adi Manolovici (A.M.P., 1999)
 Spiritissme – Blue Spirit (Vela Music, 2001)
 Adio – Gaz pe Foc (Cat Music, 2001)
 Iubi (interfață la realitate) – Florin Chilian (Soft Records, 2002)
 Fingerstyle Acoustik Guitar, Vol. 1 – Adi Manolovici (A.M.P., 2002)
 Super Maxi Single – Adi Manolovici (A.M.P., 2003)
 Electrik Master Guitar, Vol. 1 – Adi Manolovici (A.M.P., 2004)
 Seven – Adi Manolovici (A.M.P., 2005)
 Jar – Jar (TVR Media, 2006)
 Electrik Master Guitar, Vol. 2 – Adi Manolovici (A.M.P., 2008)
 Elegia mâinii – Raul Cârstea și Adi Manolovici (2015)

Bibliografie
 Adevărul.ro - "Adi Manolovici, "dom' profesor" de chitară" Articol apărut în Adevărul, ediția 11 ianuarie 2010
 Nelu Stratone - Istoria muzicii rock în comentarii și exemple
 Radio Romania Actualități Invitați: Adi Manolovici și Raul Cârstea
 Romania Liberă, 14 noiembrie 2006
 Maratonul Preoteasa pe Hotnews.ro

Legături externe
 Site oficial Adi Manolovici
 Site-ul Academiei de Rock
 discogs.com

Muzicieni români în viață
Nașteri în 1969
Bucureșteni

Adi Manolovici


Herbert Spencer (27 Nisan 1820 - 8 Aralık 1903), İngiliz filozof ve sosyolog.

27 Nisan 1820 yılında Derby (İngiltere)'de doğmuştur. Babası George, geleneklere uymayan, Anglikan mezhebine bağlı olmayan bir okul öğretmeniydi. Babası da dahil olmak üzere birçok aile üyesi öğretmendir. Sanat ve beşeri bilimlerde değil, teknik ve faydacı konularda eğitim gördü. 1837'de demiryolu için inşaat mühendisi olarak çalışmaya başladı, 1846'ya kadar bu mesleğe devam etti. Spencer bu dönemde kendi başına çalışmaya devam etti ve bilimsel ve siyasi çalışmalar yayınlamaya başladı. 1848'de Spencer, Economist'in editörü olarak atandı ve entelektüel fikirleri sağlamlaşmaya başladı. 1850'de ilk büyük çalışmasını Sosyal Statik olarak tamamladı. Bu çalışmanın yazımı sırasında, Spencer ilk olarak uykusuzluk yaşamaya başladı ve yıllar boyunca zihinsel ve fiziksel sorunlar yaşadı. Birçok bilim dalında binlerce fikir ortaya atmış ve "evrim" teorisinde Charles Darwin'in bir numaralı rakibi olmuştur.

1858'de evrim teorisini biyoloji bilimi ile sınırlamayıp, bu teoriyi bütün bilimlere uygulamak fikri kafasında belirdi. Sağlık sorunları nedeniyle günde sadece birkaç saat yazabiliyor olmasına ve maddi durumunun kötülüğüne rağmen, 1862'de dokuz ciltlik şaheseri Statik Felsefeyi yazmaya başladı.

Statik felsefe kısaca birçok farklı bilim dalına evrim teorisini uygulamayı konu alır. Bu şaheserin en çok dikkat çeken ve Spencer'ın da üzerinde en çok çalıştığı bölüm, sosyoloji'ye evrim teorisinin uygulanmasını, toplum evrimini inceleyen, "Sosyoloji İlkeleri" adlı 3 cilttir. "Biyolojinin İlkeleri" ve "Ahlâkın İlkeleri" bu şaheserin üzerinde en çok konuşulan ve kuşkusuz bilim dünyasına en çok katkıda bulunan diğer bölümleridir.

1858'de evrim teorisini biyoloji bilimi ile sınırlamayıp, bu teoriyi bütün bilimlere uygulamak fikrini uygulamaya koyar. 1862'de dokuz ciltlik Sentetik Felsefe'yi yazmaya başladı. Sentetik Felsefe, kısaca birçok farklı bilim dalına evrim teorisini uygulamayı konu alır. Bu kitabın en çok dikkat çeken ve Spencer'ın da üzerinde en çok çalıştığı bölüm, sosyolojiye evrim teorisinin uygulanmasını, toplum evrimini inceleyen, "Sosyoloji İlkeleri" adlı 3 cilttir. Spencer, ahlaki ve siyasal inançlarını, çağdaşı olan Toplumsal Darwinciler gibi bir Doğa felsefesi zemininde geliştirmeye çalıştı. Darwin'in doğal evrim teorisinin ve bu teoriden önce kendisinin türettiği "uyum yeteneği" doğal seçilimin toplumsal hayatta uygulamasında başı çekti. Spencer'a göre, tıpkı doğada verilen var olma mücadelesinde "uyum yeteneği en çok olan"ın hayatta kalması gibi, toplumda yaşanan rekabet de en iyi olanın ortaya çıkmasını sağlayabiliyordu.

Spencer, toplumların tıpkı canlı organizmalar gibi işlediğini de öne surdu. Toplumlar ne kadar karmaşıklaşırsa parçaların karşılıklı bağımlılığı da o ölçüde artıyordu. Doğal bir özellik olarak kendi dengelerini sağladıkları için, kendi üyelerinin daha ileri düzeyde evrim için mücadele etmelerine ihtiyaç duyarlar. Ancak mücadele feodal toplumda askeri bir form kazanırken, Spencer, sanayileşmiş toplumda rekabet ve iş birliği bileşiminin bu formun yerini almasını gerekli görür. Ayrıca, evrimin özel çıkarları genel faydaya dönüştürerek bir tur "görünmez el" gibi işlediğini düşünür. Evrimin en uzun vadeli yönelimi egoizmden özgeciliğe doğrudur. Süreç içinde toplumsal hayat, toplumsallaşmanın en yüksek düzeye ulaşmasıyla bireysellikte en büyük gelişimi sağlayacaktır.

1870'lerde ve 1880'lerin başında özellikle Amerika Birleşik Devletleri, Rusya ve İngiltere'de ünü doruk noktasına varmıştı. 1902'de Edebiyat dalında Nobel Ödülüne aday gösterildi. Birçok ödülü ve övgüyü çoğu zaman reddetti. Uzun bir hastalık döneminin ardından 1903'te vefaat etti.

Herbert Spencer geniş bir alana yayılmış farklı türdeki bilgileri uyumlu bir şekilde birleştirerek Viktorya çağına damgasını vuran kişilerden olmuştur. Evrim kuramının gelişiminde ve kabulunde en az Charles Darwin kadar büyük bir rol oynamış, bugün evrim kuramını açıklarken kullanılan birçok terimi de ilk kez kullanan kişi, o olmuştur.

 Ekonomik Spencerizm

 en uygun firmanın hayatta kalması
Spencer'ın "en uygun olanın hayatta kalması" bakış açısının ve en güçlü ve en güçlü türlerin hayatta kalması konusundaki görüşünün çağdaş İranlı araştırmacı Enayatollah Morshedi''' üzerindeki etkisi, gelecekteki ekosistem ve Spencer'ın organik bir görüşüne sahip olan bu araştırmacının etkisi olmuştur. genelleme İşletmelerin ve ekonomik örgütlerin ekosistemine, The Businesses of the Future World(Geleceğin Dünyasının İşletmeleri) adlı kitabında Ekonomik Spencerizm: En Uygun Firmanın Hayatta Kalması ve Geleceğin Seçimi başlıklı bir iddia ve teori ortaya atmıştır. Kısacası, Enayatollah Morshedi'nin kitabında önerdiği Ekonomik Spencerizm teorisine göre, geleceğin ekonomik ekosisteminde ve mikro ve makro iş ortamlarının değişiminde, gelişmelere ve eğilimlere en uyumlu girişim olan en uygun organizasyon kazanır ve Hayatta kalacak. Morshedi'nin Ekonomik Spencerizm teorisinde, en uygun organizasyon veya firma, değişimlere karşı en esnek organizasyon, geleceğin dünyasında yenilikçi ve teknolojik değişim ve gelişmelere en az direnç gösteren en öğrenen organizasyon kültürü anlamına gelir. "Gelecek" ve "örgüt" kavramlarına organik bir bakışla Morshedi, Spencer'ın ekonomik organizasyonlar ekosistemine en uygun olanın hayatta kalmasına ilişkin görüşünü genişletti ve genelleştirdi ve buna Ekonomik Spencerizm adını verdi.

 Başlıca eserleri
 System of Synthetic Philosophy (1862-1893) Social Statics (1851) Education (1861) The Man Versus the State (1884)''

Ayrıca bakınız
 Liberalizm
 Evrim

Kaynakça

1820 doğumlular
Doğu Midlands doğumlular
1903 yılında ölenler

19. yüzyıl filozofları
20. yüzyıl filozofları
İngiliz filozoflar
İngiliz sosyologlar
İngiliz biyologlar
İngiliz antropologlar
İngiliz agnostikler
Britanyalı liberteryenler
İngilizce eser veren yazarlar
Liberteryen teorisyenler
İngiliz siyaset felsefecileri
Pozitivizm
Liberteryenizm tarihi
Victoria devri kişileri
Londra'da ölenler
19. yüzyıl İngiliz yazarları
20. yüzyıl İngiliz yazarları
Britanyalı klasik liberaller
İngiliz ekonomistler
İngiliz feminist yazarlar
Feminist filozoflar
İşlevselcilik
Liberteryen ekonomistler
Erkek feministler
Bilim felsefecileri
Highgate Mezarlığı'na defnedilenler
İngiliz siyaset teorisyenleri
Bireyci feministler

Herbert Spencer


Din viața peștilor exotici este un film românesc din 1964 regizat de Dona Barta.

Prezentare

Note

Legături externe

Vezi și
 1964 în film

Filme românești
Filme în limba română
Filme din 1964

Din viața peștilor exotici


مقبس أف  وهو مقبس من إنتاج شركة إي أم دي لوحداتها من نوع أوبترون. تم إتلاقه في 15 أغسطس 2006 ويحتوي على 1207 إبرة وهو من نوع شبكة سطوح مصفوفة, وتسميه شركة إي أم دي «سوكت أف (1207)» في جميع مواضيعها. وهو يستخدم في الخوادم ويعتبر من نفس جيل مقبس إي أم 2 و مقبس أس 1 وجميعهم يستخدمون ذاكرة دي دي آر 2, فهذا المقبس لا يستخدم ذاكرة من نوع أف بي دي أي أم أم (FB DIMM) المستخدمة عادة في الخوادم ولكن وحدات المعالجة المستخدمة له تدعم نظام دي دي آر 3. ولاستخدام هذا المقبس في نظام كواد أف إكس (Quad FX) الذي يمكن إيصال وحدتي معالجة في لوحدة أم واحدة قامت شركة إي أم دي بتعديل المقبس وسمته مقبس 1207 أف إكس وأما إنفيديا سمته مقبس أل 1.

مقابس وحدة المعالجة المركزية

مقبس أف


Charles Napier puede referirse a:
Charles Elers Napier (1812 - 1847), oficial naval británico.
Sir Charles James Napier (1782 - 1853), General británico.
Sir Charles John Napier (1786 - 1860), Almirante escocés de la Royal Navy.
Charles Napier (actor) (1936 - 2011), actor estadounidense.

Charles Napier


NGC 149 este o galaxie lenticulară situată în constelația Andromeda. A fost descoperită în 4 octombrie 1883 de către Édouard Stephan.

Note

Vezi și
 NGC 148
 NGC 150

Legături externe
 NGC 149 pe WikiSky
 NGC 149 pe spider.seds.org

Galaxii lenticulare
Obiecte NGC
Constelația Andromeda
Obiecte astronomice descoperite în 1883
Obiecte astronomice descoperite de Édouard Stephan

NGC 149


Sierra Maestra () est un film italien d' Ansano Giannarelli, tourné en 1969 et sorti en 1970.

Synopsis
Franco, un journaliste italien de gauche, est arrêté au Venezuela. Il est accusé d'être un révolutionnaire, ce qu'il nie tout en admettant sa sympathie pour les opposants au régime. Il est incarcéré et viennent le rejoindre dans sa cellule Emilio, un photographe de mode apolitique et Manolo, un guérillero acharné. La mère de Franco, venue en visite, le supplie en vain de renoncer à sa position intransigeante tandis que dans sa ville natale, on a chez Carla, sa jeune épouse, des échanges creux autour de la position du prisonnier « presque » volontaire.

Fiche technique
 Titre original :
 Titre français : Sierra Maestra
 Réalisateur : Ansano Giannarelli
 Assistante réalisatrice : Loredana Dordi
 Scénaristes : Fernando Birri, Vittorina Bortoli, Ansano Giannarelli
 Musique : Vittorio Gelmetti
 Photographie : Marcello Gatti
 Son : Manlio Magara
 Montage : Velia Santini
 Production : Marina Piperno
 Société de production : R.E.I.A.C.
 Sociétés de distribution :
 C.I.D.I.F. (Italie)
 Etoile Distribution : (France)
 Pays de production :
 Langue originale : italien
 Durée :
 Date de sortie :
 en Italie :
 Première le  (au Festival de Venise)

 en France :

 Classification : Interdit aux moins de 14 ans lors de sa sortie italienne

Distribution
 Antonio Salines : Franco, , le journaliste
 Fabien Cevallos : Emilio, le photographe de mode
 Carla Gravina : Carla, la femme de Franco
 Fernando Birri :  Manolo, le guérillero
 Giacomo Piperno :  Giacomo
 Bruno Cirino

Voir aussi

Bibliographie
 Pierre Leroy, « Sierra Maestra », Téléciné , Paris, Fédération des Loisirs et Culture Cinématographique (FLECC), , ,

Liens externes

  http://www.archiviodelcinemaitaliano.it/index.php/titoli.html

Film italien sorti en 1970
Film dramatique italien
Film sur la politique italienne
Film tourné en 1969

Sierra Maestra (film)


John M. Kosterlitz (), fiul biochimistului și medicului evreu refugiat din Germania nazistă Hans Kosterlitz, profesor de fizică la Universitatea Brown din SUA, este laureat al Premiului Nobel pentru Fizică 2016, împreună cu David J. Thouless și Duncan Haldane.

Referințe

Nașteri în 1942
Scoțieni în viață
Laureați evrei ai Premiului Nobel
Laureați ai Premiului Nobel pentru Fizică
Fizicieni scoțieni
2016 în știință

John M. Kosterlitz


Altes Land (er et ca. 180 km² frugtbart marsklandskab syd for floden Elben mellem Hamborg og Stade beliggende i de to tyske delstater Hamborg og Niedersachsen. Det omfatter kommunerne Jork, Samtgemeinde Lühe og Rübke i Niedersachsen samt Hamborg bydelene Neuenfelde, Cranz og Francop.

Altes Land er kendt for sine mange frugtplantager, og er med sine ca. 12.000 hektar et af de største sammenhængende frugtområder i Centraleuropa. 77 procent af frugttræerne i Altes Land er æbler og 12,7 procent kirsebær. Altes Land er inddelt i tre "Meiler" (områder), den første, anden og tredje Meile. Disse Meiler danner zoner langs med Elbens bredning. Den første Meile, mellem bifloderne Schwinge og Lühe, blev først inddæmmet og beboet omkring 1140. Den anden Meile omfatter området mellem bifloderne Lühe og Este, hvor bygningen af digerne blev afsluttet i slutningen af det 12. århundreder. Inddæmningen af den tredje Meile mellem Este og Süderelbe blev først afsluttet i slutningen af det 15. århundrede, på grund af at området var ramt af stormfloder

I Altes Land befinder der sig mange velholdte bindingsværkshuse og gårde. Området er et kendt tysk ferieområde. En stor del af frugtgårdene har foruden frugtavlen også pensioner og restauranter som biindtægter. Hvert år i den første weekend i maj krones i Jork året Blomsterdronning.

Historie
Navnet Altes Land har ikke noget at gøre med "alt" (gammel), men hentyder til dets bosættelseshistorie. På plattysk hedder området Olland (tysk. "Altland"). Dette navn stammer helt tilbage fra 1130 og 1230 da hollandske kolonister de såkaldte Hollerkolonister koloniserede marsklandet mellem floderne Weser og Elben. Med deres medbragte viden om, hvordan de i deres hjemland byggede diger, gjorde de marsklandet frugtbar.

Med byggeriet af digerne i det 12. århundrede ved Elben opstod der i området et bosætnings og kulturlandskab, som i sin egenart tydeligt adskiller sig fra gestområderne mellem Elben og Weser. Derved udviklede der sig også forskelle mellem marsklandene Altes Land, Land Kehdingen og Land Hadeln.
Afgørende for den særlige udvikling i Altes Land var bygningen af digerne og dermed den tætte forbindelse med det bestående afvandingssystem igennem digerne til Elben og til dens bifloder. Med dette fællesskab og den fælles udvikling af bygningen af digerne og den konstante overvågning af digerne opstod der i Altes Land en særlig retsstilling og politisk organisation.

Frugtavl kan dokumenteres fra cirka 1550 og fortrængte efterhånden mark og kvægdriften.

I Trediveårskrigen blev Altes Land erobret af Sverige, 1712 kom det under Danmark, men blev under engelsk tryk 1715 solgt til kurfyrstedømmet i Hannover.

I det 17. århundrede var der anlagt ca. 200 ha med frugttræer. I den anden halvdel af det 19. århundrede blev frugtavl den dominerende faktor i området.

1866 ophørte Kongeriget Hannover og Altes Land kom under Preussen.

Først i 1932 endte de politiske særrettigheder, men kulturlandskabet er også i nutiden bevaret. Efterhånden som sakserne byggede gårde i Altes Land, blev plattysk det daglige sprog.

1932 kom den vestlige del af Altes Land under Landkreis Stade og den østlige del under Landkreis Harburg. På grund af Loven om Stor-Hamburg "Groß-Hamburg-Gesetz" blev kommunerne Cranz, Neuenfelde og Francop i 1938 en del af Hamborg

1962 ramte stormfloden i Nordtyskland også Altes Land. I den anden Meile holdt de allerede forstærkede og forhøjede diger overvejende stand. Men der skete alligevel flere digebrud og dermed til oversvømmelser ved Lühe i nærheden af landsbyen Höhen, ved Borstel og i Cranz. Mange bygninger i nærheden af diget blev oversvømmet og ødelagt. I Lühe druknede en person. Tredje Meile blev ramt af tre digebrud og dermed oversvømmelser ved bifloden Alten Süderelbe ved Moorburg og Francop. Her omkom i alt 13 personer, og mange huse blev fuldstændig ødelagt.

1972 blev landsbyerne Hove og Moorende fra Landkreis Harburg tilsluttet kommunen Jork under Landkreis Stade. Den eneste del af Altes Land som blev i Landkreis Harburg er landsbyen Rübke – i dag en del af kommunen Neu Wulmstorf.

Galleri

Eksterne henvisninger og kilder

 Kort over Altes Land
 Tourismusverein Altes Land
 Esteburg Obstbauzentrum Jork
 Der Obstkorb der Nation

Hamborgs geografi
Niedersachsens geografi

Altes Land


Porcijunkulovo je najznačajnija turistička manifestacija u Međimurju. Čakovec krajem srpnja i početkom kolovoza pohodi oko 200,000 posjetitelja. Osnova manifestacije je očuvanje baštine Međimurja, a uz različite programe tu se redovito održava i godišnja izložba oldtimera na središnjem gradskome trgu. Održava se od 1964. godine.

Prvobitno zamišljena kao "Sajam tradicijskih zanata" vezan uz crkveni blagdan "Gospe od anđela – Porcijunkulovo" (2. kolovoza), manifestacija se svake godine tematski i obujmom širila da bi stekla status najveće turističke manifestacije u Međimurskoj županiji. Uz tradicionalno proštenje održavaju se: dramske predstave, koncerti pop-rock glazbe na više pozornica, izložbe, ulični performansi, edukacijske radionice koje doprinose većoj kulturnoj osviještenosti djece i mladeži, te religijski obredi na nekoliko jezika.  Na Porcijunkulovu sudjeluju mnoge udruge, umjetnici i ulični svirači. Održavaju se razne radionice, prezentacije starih zanata, promocije domaćih OPG-ova, aktivnosti za djecu, koncerti ali i drugi sadržaji.

Na blagdan Gospe od Anđela, franjevci se spominju obraćenja sv. Franje, koje se dogodilo godine 1208. u Porcijunkuli kod Asiza u Italiji.

Galerija

Izvori

Čakovec
Manifestacije u Hrvatskoj

Porcijunkulovo


O salva-orelhas é um acessório de equipamento de protecção individual, constituído por uma faixa ajustável, que se posiciona na parte de atrás da cabeça e à qual se prendem os elásticos com que se fixam ao rosto as máscaras faciais, como as máscaras cirúrgicas.

Este dispositivo serve de apoio para os elásticos das máscaras faciais, de maneira a que estes não apliquem pressão ou rocem sobre a zona das orelhas, poupando-a de lesões pelo uso.

Etimologia
Trata-se de um neologismo, que surge por decalque da homóloga inglesa ear-saver. A palavra ganhou especial popularidade no âmbito da pandemia da COVID-19.

Acessórios para cabeça
Equipamentos de proteção individual
Máscaras cirúrgicas

Salva-orelhas


Alice og Emil på vej ind i billedet - I svanernes vingeslag er en børnefilm fra 2000 instrueret af Bigita Faber efter manuskript af Andreas Jürgensen.

Handling
Alice og Emil hopper på inlinere ind i to malerier: "I svanernes vingeslag" af Asger Jorn og "Hvem er bange for Rød, Blå, Gul" af Barnett Newman. Det bliver en rejse mellem former og farver. De oplever kunstværkerne på en ny måde: som et landskab man kan bevæge sig rundt i.

Referencer

Eksterne henvisninger

Børnefilm fra Danmark
Danske film fra 2000


Hunky Dory is the fourth studio album by the English musician David Bowie, released in the United Kingdom on 17December 1971 through RCA Records. Following the release of his 1970 album, The Man Who Sold the World, Bowie took time off from recording and touring. He settled down to write new songs, composing on piano rather than guitar as on earlier tracks. Following a tour of the United States, Bowie assembled a new backing band consisting of guitarist Mick Ronson, bassist Trevor Bolder and drummer Mick Woodmansey, and began to record a new album in mid-1971 at Trident Studios in London. Future Yes member Rick Wakeman contributed on piano. Bowie co-produced the album with Ken Scott, who had engineered Bowie's previous two records.

Compared to the guitar-driven hard rock sound of The Man Who Sold the World, Bowie opted for a warmer, more melodic piano-based pop rock and art pop style on Hunky Dory. His lyrical concerns on the record range from the compulsive nature of artistic reinvention on "Changes", to occultism and Nietzschean philosophy on "Oh! You Pretty Things" and "Quicksand"; several songs make cultural and literary references. He was also inspired by his stateside tour to write songs dedicated to three American icons: Andy Warhol, Bob Dylan and Lou Reed. The song "Kooks" was dedicated to Bowie's newborn son Duncan. The album's cover artwork, photographed in monochrome and subsequently recoloured, features Bowie in a pose inspired by actresses of the Hollywood Golden Age.

Upon release, Hunky Dory and its lead single "Changes" received little promotion from RCA who were wary that Bowie would transform his image shortly. Thus, despite very positive reviews from the British and American music press, the album initially sold poorly and failed to chart. It was only after the commercial breakthrough of Bowie's 1972 follow-up album Ziggy Stardust that Hunky Dory itself became a commercial success, peaking at number three on the UK Albums Chart. Retrospectively, Hunky Dory has been critically acclaimed as one of Bowie's best works, and features on several lists of the greatest albums of all time. Within the context of his career, it is considered to be the album where "Bowie starts to become Bowie", definitively discovering his voice and style.

Background
After David Bowie completed his third studio album, The Man Who Sold the World, in May 1970, he became less active in both the studio and on stage. His contract with music publisher Essex had expired and his new manager Tony Defries was facing prior contractual challenges. Bowie was also without a backing band, as the musicians on The Man Who Sold the World – including its producer and bassist Tony Visconti, guitarist Mick Ronson and drummer Mick Woodmansey – departed in August 1970 due to personal conflicts with the artist. After hearing a demo of Bowie's "Holy Holy", recorded in autumn 1970, Defries signed the singer to a contract with Chrysalis, but thereafter limited his work with Bowie to focus on other projects. Bowie, who was devoting himself to songwriting, turned to Chrysalis partner Bob Grace, who loved the demo of "Holy Holy" and subsequently booked time at Radio Luxembourg's studios in London for Bowie to record his demos. "Holy Holy", recorded in November 1970 and released as a single in January 1971, was a commercial flop.

The Man Who Sold the World was released in the United States through Mercury Records in November 1970. The album sold poorly but fared better both critically and commercially in the US than in the UK. It was played on American radio stations frequently and its "heavy rock content" increased interest in Bowie. The critical success of the album prompted Mercury to send Bowie on a promotional radio tour of the US in February 1971. The trip inspired him to write tribute songs for three American icons: artist Andy Warhol, singer-songwriter Bob Dylan and the rock band the Velvet Underground, more specifically their singer Lou Reed. After the tour, Bowie returned to his apartment in Haddon Hall, Beckenham, where he recorded many of his early 1970s demos, and began writing. According to his then-wife Angela, Bowie had spent time composing songs on piano rather than acoustic guitar, which would "infuse the flavour of the new album". In total, he composed over three-dozen songs there, many of which would appear on Hunky Dory and its follow-up album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The first song Bowie wrote for Hunky Dory was "Oh! You Pretty Things" in January 1971. After recording its demo at Radio Luxembourg, Bowie gave the tape to Grace, who showed it to Peter Noone of Herman's Hermits. Noone decided to record his own version and release it as his debut single.

Released in April 1971, Noone's version of "Oh! You Pretty Things" was a commercial success, peaking at number 12 on the UK Singles Chart. It was the first time most listeners had heard of Bowie since "Space Oddity" (1969). Noone told NME: "My view is that David Bowie is the best writer in Britain at the moment ... certainly the best since Lennon and McCartney." Following the success of the single, Defries sought to extricate Bowie from his contract with Mercury, which was set to expire in June 1971. Defries felt that Mercury had not done Bowie justice financially. Although Mercury had intended to renew it on improved terms, Defries forced the label to terminate the contract in May by threatening to deliver a low-quality album. Defries then paid off Bowie's debts to Mercury through Gem Productions, and the label surrendered its copyright on David Bowie (1969) and The Man Who Sold the World.

Writing and recording
After his short-lived band Arnold Corns folded in February, Bowie returned to the studio in May 1971 to record his next album. He concluded that he could not do the project without Ronson, who was enthusiastic when Bowie contacted him for the first time in nine months. Woodmansey returned with Ronson, who began looking for a bass player to replace Visconti. Ronson initially suggested Rick Kemp, with whom Bowie had recorded in the mid-1960s, but Bowie was unimpressed with Kemp's audition at Haddon Hall. According to some reports, per biographer Nicholas Pegg, it was Defries who rejected Kemp, because of his "receding hairline". Ronson then suggested his acquaintance Trevor Bolder, a former hairdresser and piano tuner who had previously seen Bowie in concert in 1970 and met Ronson at Haddon Hall. After Bolder was hired, the trio grouped at Haddon to rehearse some of Bowie's new material, such as the song "Andy Warhol". Bowie and his new backing trio, soon to be named the Spiders from Mars, played for the first time on 3June on BBC DJ John Peel's radio programme In Concert. The set included debut performances of several songs Bowie had recently written such as "Queen Bitch", "Bombers", "Song for Bob Dylan" and "Andy Warhol". The title "Hunky Dory" was also announced at this session.

Bowie and the future Spiders officially started work on the new album at Trident Studios in London on 8June 1971. Ken Scott, who had engineered Bowie's two previous records, was hired to co-produce alongside him. Scott accepted the position as a way to gain experience, although at the time he didn't believe Bowie would become a huge star. His debut as a producer, Scott would borrow some of the acoustic sounds of George Harrison's All Things Must Pass (1970), an album he engineered. Scott would retain the role of co-producer for Bowie's next three records: Ziggy Stardust, Aladdin Sane and Pin Ups. Bowie played demos for Scott and the two picked which ones would be recorded for the album. On 8June, the band recorded "Song for Bob Dylan", although according to Pegg this version was scrapped and the released version was not recorded until 23June. Scott later recalled that recording went very quickly: "Almost everything was done in one take." He was surprised when he and the Spiders would think a vocal or guitar part needed re-recording but Bowie would say "No, wait, listen", and when everything was played simultaneously it would sound perfect. Regarding Bowie's talent as a vocalist, Scott stated: "He was unique. [He is] the only singer I ever worked with where virtually every take was a master." Bolder described recording with Bowie for the first time as a "nerve-wracking experience", saying: "When that red light came on in the studio it was, God, in at the deep end of what!" As a co-producer Bowie took an active interest in the album's sound and arrangements, an about-face from his generally hands-off attitude during the Man Who Sold the World sessions.

Keyboardist Rick Wakeman, noted session musician and member of the Strawbs, plays piano on the album; he previously played Mellotron on David Bowie (1969). In 1995 he recalled that he met with Bowie in late June 1971 at Haddon Hall, where he heard demos of "Changes" and "Life on Mars?" in "their raw brilliance ... the finest selection of songs I have ever heard in one sitting in my entire life ... I couldn't wait to get into the studio and record them." The piano Wakeman played was the same 1898 Bechstein used by Paul McCartney for "Hey Jude" and later by Queen for "Bohemian Rhapsody". According to Wakeman, the first few sessions started poorly as the band had not learned the songs. He recalled that Bowie had to halt the sessions, telling the musicians off and to come back when they knew the music. When they returned after a week, Wakeman thought "the band were hot! They were so good, and the tracks just flowed through." This story has been contested by other band members, including Bolder, who told biographer Kevin Cann: "[That's] rubbish. David would never have told the band off in the studio. Especially as Mick and Woody had already left him once, and everyone was now getting on. The band would not have survived that – it definitely didn't happen." Scott contended: "I definitely don't remember that, and it's not something I would forget. I would definitely dispute that one."

With Wakeman in the line-up, on 9July Bowie and his band recorded two takes of "Bombers" and "It Ain't Easy", the latter featuring backing vocals by Dana Gillespie. Five days later, the group recorded four takes of "Quicksand", the last of which appears on the finished album. On 18July, the group spent the day rehearsing and mixing. Further mixing sessions were carried out between 21 and 26July to compile a promotional album for Gem Productions. By this point, the songs "Oh! You Pretty Things", "Eight Line Poem", "Kooks", "Queen Bitch" and "Andy Warhol" had been recorded; the mixes of "Eight Line Poem" and "Kooks" on the promotional album differed from the final versions on Hunky Dory. Two takes of "The Bewlay Brothers" were recorded on 30July, the second appearing on the final album; it was recorded on a tape that contained scrapped versions of "Song for Bob Dylan" and "Fill Your Heart". On 6August, the band recorded "Life on Mars?" and "Song for Bob Dylan", after which the recording process was considered finished. Before the sessions ended, Bowie asked Wakeman if he wanted to be a part of the Spiders from Mars. Wakeman declined and joined the progressive rock band Yes instead.

Songs
After the hard rock sound of The Man Who Sold the World, Hunky Dory features a stylistic shift from Bowie towards art pop and melodic pop rock. The songs are mostly piano-led rather than guitar-led. Biographer Marc Spitz believes the piano incites a warmer feel on this record compared to its two predecessors. Biographer Christopher Sandford states that "the songs [are] characterised by the lush ambience established by Bowie's vocal and the piano" and, along with Elton John and Phil Collins, helped create music on the "easy-listening continuum". Lior Phillips of Consequence of Sound wrote that the songs are accessible, both musically and lyrically, allowing the listener to dissect them again and again. Music journalist Peter Doggett concurs, regarding Hunky Dory as "a collective of attractively accessible pop songs, through which Bowie tested out his feelings about the nature of stardom and power". Rick Quinn described the songs in PopMatters as a fusion of "British pop, orchestral works, art-rock, folk and ballads" that emerge to form glam rock.

Robert Dimery, in his book 1001 Albums You Must Hear Before You Die, calls it "a toybox of acoustic oddities, tributes to heroes and surrealism". Stephen Thomas Erlewine of AllMusic describes it as "a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class". Michael Gallucci of Ultimate Classic Rock notes that it is Bowie's first record to include "a mix of pop, glam, art and folk wrapped in an ambisexual pose that would come to define the artist". James Perone similarly describes the album as "a unique blend of folk, pop, glam, and progressive rock" that distinguished Bowie from other musicians at the time. Peter Ormerod of The Guardian writes that the music of Hunky Dory celebrates "uncertainty, rootlessness, inner chaos, difference, otherness, doubt and impermanence" and did it with "beauty, style and charisma".

Side one

The opening track, "Changes", is built around a distinctive piano riff. The lyrics focus on the compulsive nature of artistic reinvention and distancing oneself from the rock mainstream. Biographer David Buckley writes that "strange fascination" is a phrase that "embodies a continued quest for the new and the bizarre". Pegg summarises the lyrics as Bowie "holding a mirror to his face" just as he is about to achieve stardom. The lyrics contributed to his being dubbed the "chameleon of rock" and one of rock's greatest innovators. Doggett notes that "Changes" is a "statement of purpose": as the opening track, the song provided a stark contrast to the hard rock sound found on its predecessor. The song was also unlike "Space Oddity" and its 1969 parent album, but rather "pure, unashamedly melodic, gleefully commercial, gorgeously mellifluous pop".

"Oh! You Pretty Things" was the first track written for the album. The piano style has been compared to the Beatles' "Martha My Dear". Biographer Chris O'Leary writes that Bowie played piano on the track alone. Wakeman contended in a BBC interview in 2017 that Bowie played piano in the beginning section before he took over for the rest of the track. The lyrics reference the teachings of the occultist Aleister Crowley and his Golden Dawn and the philosopher Friedrich Nietzsche, particularly with the lines "the homo superior", "the golden ones" and "homo sapiens have outgrown their use". "Homo Superior" refers to Nietzsche's theory of Übermensch, or "Superman". The music itself provides a contrast to the darker themes. Doggett describes Bowie's vocal performance as "quite unadorned, presented so starkly ... that it [is] almost unsettling".

Designed to sound like a "continuation" of the previous track, "Eight Line Poem" is described by Pegg as the album's most "overlooked" song. It features Bowie on a gentle, sporadic piano while he sings and a country-influenced guitar line from Ronson. Exactly eight lines long, the lyrics describe a room where a cat just knocked over a spinning mobile and a cactus sits in a window. Doggett believes there is a metaphor between the cactus and a prairie. At the time of the album's release, Bowie described the song as the city that is "a kind of high-life wart on the backside of the prairie".

"Life on Mars?" is described by Buckley as a "soaring, cinematic ballad". Although Bowie was fixated on becoming Ziggy Stardust at the time of its recording, the song has no connection to Mars itself; the title was a reference to the recent media frenzy of the US and Soviet Union racing to get to the red planet. The song is a parody of singer Frank Sinatra's "My Way" and uses the same chord sequence for its opening bars. The handwritten notes on the back cover say "Inspired by Frankie". Like most songs on the album, "Life on Mars?" is mostly piano-led, but features a string arrangement from Ronson – his first – that is described by Doggett as "gargantuan". Bowie's vocals – recorded in one take – are delivered passionately during the chorus and almost nasally in the verses. He mentions "the girl with the mousy hair", whose identity commentators have debated, and who according to Greene "goes to the movies as an escape from life".

A few days after his son Duncan Zowie Haywood Jones was born on 30 May 1971, Bowie completed "Kooks" and dedicated it to him. Performed by Bowie as early as 3 June, the Hunky Dory version features a string arrangement from Ronson and trumpet played by Bolder. "Kooks" is noticeably lighter than the two tracks it is sequenced between but, according to Pegg, ultimately "carries a hint of [the album's] preoccupation with the compulsion to fictionalise life, as Bowie invites his son to 'stay in our lovers' story'". Doggett writes that its inclusion on Hunky Dory "ensured its enduring appeal among those who were less entranced by his explorations of politics, psychology and occult elsewhere on the album". In the handwritten liner notes on the LP sleeve, Bowie wrote "For Small Z".

According to Pegg, "Quicksand" was inspired by Bowie's trip to America in February 1971. Doggett states that the song "was written about a lack of inspiration and as a means of accessing it". Writer Colin Wilson wrote in The Occult (1971) that thought was a form of quicksand that allowed consciousness to keep the unconscious beyond reach, from which Doggett concluded that Quicksand' was Bowie's plea to search within himself to be shown the way". In the mid-1970s, Bowie described the song as "a mixture of narrative and surrealism" and a "precursor" to the music of his 1977 album Low. Throughout the track, Bowie makes numerous references to Crowley and his Golden Dawn, Winston Churchill, Heinrich Himmler and the "supermen" of Friedrich Nietzsche. "Quicksand" also evokes spiritualism through the mention of Buddhist teachings such as bardo. The instrumental track features multiple layers of acoustic guitars atop one another, which was done at Scott's insistence.

Side two
"Fill Your Heart", written by Biff Rose and Paul Williams, is the only track on Hunky Dory not written by Bowie; it is his first recorded cover song in six years. It replaced "Bombers" as the side two opener late in the album's development. "Fill Your Heart" is one of the more up-tempo tracks on the album, and according to Doggett is "practically identical" to Rose's original version, albeit more "bouncy" and less "swung". The piano-driven arrangement differs from Bowie's live performances of the song in 1970 when acoustic guitar dominated. Pegg writes that the track provides a "cogent counterpoint" to the "angst" of "Quicksand" and the "cautionary warnings" of "Changes" and is best remembered for Bowie's saxophone break, Ronson's string arrangement, and Wakeman's piano solo.

The song "Andy Warhol" is a tribute to American artist, producer, and director Andy Warhol, who had inspired Bowie since the mid-1960s and was described by him as "one of the leaders" of "the media of the streets, street messages". Originally written for Bowie's friend Dana Gillespie, the song is based around a riff played on two acoustic guitars that heavily resembles the intro of Ron Davies' "Silent Song Across the Land". The lyrics emphasise Warhol's belief that life and art blur together. The song's opening features Ken Scott saying "This is 'Andy Warhol', and it's take one", only for Bowie to correct his pronunciation of "Warhol". When Bowie met Warhol in September 1971 and played the song for him, Warhol hated it and left the room; Bowie recalled in 1997 that he found the meeting "fascinating" because Warhol had "nothing to say at all, absolutely nothing".

"Song for Bob Dylan" is a tribute song to singer-songwriter Bob Dylan. It was described by Bowie at the time as "how some see BD", and its title is a parody of Dylan's 1962 tribute to folk singer Woody Guthrie, "Song to Woody". Throughout the song, Bowie addresses Dylan by his real name "Robert Zimmerman". Pegg and Doggett believe the song highlights Bowie's struggle with identity, from his real name David Jones, to his stage name David Bowie and, very shortly, to Ziggy Stardust. The lyrics specifically present Dylan as no longer being a hero figure for rock music, and demand that he return to his roots and come to the rescue for the unfaithful. According to Doggett, Bowie initially wrote it for his friend George Underwood. The music contains Dylanesque chord changes and the chorus is derived from the titles of two Velvet Underground songs, "Here She Comes Now" and "There She Goes Again". Buckley writes that the song is "probably the weakest" on the album and Pegg considers it "little-regarded".

The final tribute song on the album, "Queen Bitch" is largely inspired by the rock band the Velvet Underground, specifically their lead singer Lou Reed. The handwritten sleeve notes on the back cover read: "some V.U. White Light returned with thanks". The song is described by Jon Savage of The Guardian as glam rock and by Joe Lynch of Billboard as proto-punk. Unlike the majority of the album's tracks, "Queen Bitch" is primarily driven by guitar rather than piano. The chorus sings about Bowie mincing his "satin and tat" as a reference to dancer Lindsay Kemp. Pegg states: "Part of the genius of 'Queen Bitch' is that it filters the archness of Marc Bolan and Kemp through the streetwise attitude of Reed: this is a song that succeeds in making the phrase 'bipperty-bopperty hat' sound raunchy and cool." Daryl Easlea of BBC Music writes that the song's glam rock sound foreshadowed the direction Bowie was going to take on Ziggy Stardust.

The album closer, "The Bewlay Brothers", was a late addition and the only track that was not demoed. The instrumentation echoes the music of The Man Who Sold the World, featuring "sinister" sound effects and Bowie's vocal accompanied by Ronson's acoustic guitar. The song's obscure lyrics have caused confusion among Bowie biographers and fans. Immediately before the vocal take, Bowie told Scott, "Don't listen to the words, they don't mean anything." Pegg describes it as "probably the most cryptic, mysterious, unfathomable and downright frightening Bowie recording in existence", and Buckley considers it "one of Bowie's most disquieting moments on tape, an encapsulation of some distant, indefinable quality of expressionistic terror". Many reviewers have perceived the track to have homoerotic undertones; others believed it to be about Bowie's relationship with his schizophrenic half-brother Terry Burns, which Bowie confirmed in 1977. Buckley is unsure whether this account is fictionalised or real. Some of the lyrics refer to other tracks on Hunky Dory, including "Song for Bob Dylan", "Oh! You Pretty Things" and "Changes". Bowie also uses the word "chameleon" in the song, which became an oft-used term to describe him.

Title and artwork
The cover photograph was taken by Brian Ward, who was introduced to Bowie by Bob Grace at Ward's studio in Heddon Street. An early idea was for Bowie to dress as a pharaoh, partly inspired by the media's infatuation with the British Museum's new Tutankhamun exhibit. According to Pegg, photos of Bowie posing "as a sphinx and in a lotus position" were taken – one was released as part of the 1990 Space Oddity reissue – but the idea was ultimately abandoned. Bowie recalled: "We didn't run with it, as they say. Probably a good idea." Bowie opted for a more minimalist image reflecting the album's "preoccupation with the silver screen". He later said: "I was into Oxford bags, and there are a pair, indeed, on the back of the album. [I was attempting] what I presumed was kind of an Evelyn Waugh Oxbridge look." The final image is a close-up of Bowie looking past the camera while he pulls back his hair. Pegg writes that his pose was influenced by actresses Lauren Bacall and Greta Garbo. Originally shot in monochrome, the image was recoloured by illustrator Terry Pastor, a partner at Covent Garden's recently initiated Main Artery design studio with George Underwood; Pastor later designed the cover and sleeve for Ziggy Stardust. Pegg writes: "Bowie's decision to use a re-coloured photo suggests a hand-tinted lobby-card from the days of the silent cinema and, simultaneously, Warhol's famous Marilyn Diptych screen-prints." Dimery writes that Bowie took a photo book that contained multiple Marlene Dietrich prints with him to the photoshoot.

Although Bowie normally waited to name his albums until the last possible moment, the title "Hunky Dory" was announced at the John Peel session. Grace got the idea from an Esher pub landlord. He told Peter and Leni Gillman, the authors of Alias David Bowie, that the landlord had an unusual vocabulary that was infused with "upper-crust jargon" such as "prang" and "whizzo" and "everything's hunky-dory". Grace told Bowie, who loved it. Pegg notes that there was a song from 1957 by American doo-wop band the Guytones also titled "Hunky Dory" that may also have played a part. Spitz states that "hunky-dory" is an English slang term that means everything is right in the world. The original UK cover featured Bowie's name and the album title; in the US the title was instead printed on a sticker and placed onto the translucent wrapping. According to Cann, initial UK pressings were laminated, which enhanced the colour to create a "superior finish"; these pressings are now collector's items. The back cover featured Bowie's handwritten notes about each song from the album. It also bore the credit "Produced by Ken Scott (assisted by the actor)" – the "actor" being Bowie himself, whose "pet conceit", in the words of NME critics Roy Carr and Charles Shaar Murray, was "to think of himself as an actor".

Release

A few months after he had terminated Bowie's contract with Mercury, Defries showcased the newly recorded Hunky Dory to multiple labels in the US, including New York City's RCA Records. Defries told RCA that they "had nothing since the fifties" but they could "own the seventies" if they hired Bowie. "Because David Bowie is going to remake the decade, just like the Beatles did in the sixties." Its head Dennis Katz had never heard of Bowie but recognised the potential of the piano-based songs that Defries played for him and signed the artist to a three-record deal on 9September 1971; RCA would be Bowie's label for the rest of the decade.

Hunky Dory was released in the UK on 17December 1971 through RCA. By this time, the sessions for Ziggy Stardust were underway. The album release was supported by the single "Changes" on 7January 1972. The album received little promotion from RCA due to its unusual cover image and a warning that Bowie would be changing his image for his next album. Pegg writes that there were disagreements over how much money was put into the album and whether Bowie was an "unproven one-hit-wonder". Marketing manager Geoff Hannington recalled in 1986: "We soon knew we were in a situation where the artist was going to change like a chameleon from time to time." Because of this, the album initially sold poorly and failed to break the UK Albums Chart. According to Sandford, the album barely sold 5,000 copies in the first quarter.

It was only after the breakthrough of Ziggy Stardust in mid-1972 that Hunky Dory became a commercial success. It climbed to number three in the UK (two places higher than Ziggy Stardust), and remained on the chart for 69 weeks. Hunky Dory also peaked at number 39 on the Kent Music Report in Australia. Gallucci writes that although the album did not make Bowie a star, it "got him noticed", and the success of Ziggy Stardust helped Hunky Dory garner a larger audience. RCA released "Life on Mars?" as a single on 22June 1973, which also made number three in Britain. A reissue returned the album to the UK chart in January 1981, where it remained for 51 weeks.

Critical reception

Hunky Dory was met with very positive reviews from several British and American publications. Melody Maker called it "the most inventive piece of song-writing to have appeared on record in a considerable time", while Danny Holloway of the NME described it as Bowie "at his brilliant best". Holloway added that "[Hunky Dory is] a breath of fresh air compared to the usual mainstream rock LP of [1972]. It's very possible that this will be the most important album from an emerging artist in 1972, because he's not following trends – he's setting them". In the US, John Mendelsohn of Rolling Stone called the album Bowie's "most engaging album musically" up to that point and praised his songwriting, particularly his ability to convey ideas without employing "a barrage of seemingly impregnable verbiage". Billboard gave the album a positive review, praising it as "a heavy debut for RCA, loaded with the kind of Top 40 and FM appeal that should break him through big on the charts. Strong material, his own, for programming includes 'Changes', 'Oh! You Pretty Things', and 'Life on Mars?'".

Several reviewers praised Bowie as an artist. The New York Times wrote that with Hunky Dory, Bowie became "the most intellectually brilliant man yet to choose the long-playing album as his medium of expression", while Rock magazine called him "the most singularly gifted artist making music today. He has the genius to be to the '70s what Lennon, McCartney, Jagger and Dylan were to the '60s." In The Village Voice, Robert Christgau hailed Bowie as "a singer-composer with brains, imagination, and a good idea of how to use a recording console", and the album "a quick change tour de force that is both catchy and deeply felt".

Hunky Dory has continued to receive critical acclaim and is regarded as one of Bowie's best works. Many reviewers have praised the songwriting, with a writer for Blender calling the songs some of the best Bowie has ever written. Others, including Bryan Wawzenek of Ultimate Classic Rock, have commended the wide array of genres present in the songs and their ability to blend together throughout. Erlewine wrote: "On the surface, [having] such a wide range of styles and sounds would make an album incoherent, but Bowie's improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop's traditions into fresh, postmodern pop music". Similarly, Greg Kot of the Chicago Tribune described the album as "the first taste of Bowie's multifaceted genius".

In a 2013 readers' poll for Rolling Stone, Hunky Dory was voted Bowie's second greatest album, behind Ziggy Stardust. Douglas Wolk of Pitchfork reviewed the album's remaster for the 2015 box set Five Years 1969–1973 and gave it a 10-out-of-10 rating, believing the songs to be "scattered but splendid" and finding Bowie's songwriting a "huge leap" from his previous works. Another Pitchfork writer, Ryan Schrieber, stated: "The album is by no means his most cohesive release, but it remains one of his most charming, and unquestionably, one of his best." Following Bowie's death in 2016, Rob Sheffield of Rolling Stone listed it as one of Bowie's essential albums, writing, "Hunky Dory was the album where he staked his claim as the most altered ego in rock & roll."

Influence and legacy

Many biographers and reviewers have agreed that Hunky Dory marked the beginning of Bowie's artistic success. Pegg writes: "Hunky Dory stands at the first great crossroads in Bowie's career. It was his last album until Low to be presented purely as a sonic artefact rather than a vehicle for the dramatic visual element with which he was soon to make his name as a performer". Buckley notes that 1971 was a pivotal year for Bowie, the year in which he became "something of a pop-art agent provocateur". In a time when rock musicians looked to traditions and established standards, Bowie looked to be radically different and challenge tradition, reinventing himself again and again, thereby creating new standards and conventions. Buckley further said: "Its almost easy-listening status and conventional musical sensibility has detracted from the fact that, lyrically, this record lays down the blueprint for Bowie's future career". Spitz writes that many artists have their "it all came together on this one" record. "For David Bowie, it's Hunky Dory". Biographer Paul Trynka states that the record marked a "new beginning" for the artist and that has a "freshness" to it that all of Bowie's previous studio albums lacked, primarily because when making his previous albums, Bowie was working to satisfy record executives. When making Hunky Dory, Bowie was working to satisfy himself, which is reflected in the record.

BBC Music's Daryl Easlea wrote that the album saw Bowie finding his own voice after "scrabbling around stylistically" for almost a decade and "finally demonstrated [his] enormous potential to the listening public". Schrieber stated: "Hunky Dory marked the true start of what would be one of the most successful careers in rock music, spawning millions of scarily obsessive fans." Similarly, Michael Gallucci of Ultimate Classic Rock contended that Hunky Dory is "where Bowie starts to become Bowie", featuring lyrical and stylistic themes he would replicate on future releases. He concludes that all Bowie's future guises begin to find their voices with Hunky Dory. NMEs Emily Barker called it Bowie's "most time-tested album" and wrote, "it was [his] incredible song-writing gifts on [the record] that convinced us he was beamed from the stars." Writer Colin Larkin called it his most "eclectic" album and served as the preparation for Bowie's subsequent changes in musical direction. In 2016, Billboards Joe Lynch argued that Hunky Dory provided the "blueprint" for lo-fi indie pop records for the next 25 years, citing Ariel Pink as an artist influenced by the album.

Many musicians have acknowledged the album's influence. In 1999, Dave Stewart of Eurythmics said: "Hunky Dory – I love the sound of it. I still kind of use it as a sort of reference-point." In 2002, Culture Club's Boy George cited Hunky Dory as the record that changed his life, saying: "The album as a whole is so unusual, so far removed from anything you heard on the radio. It's so complete, it all fits together." In an interview with Mojo in 2007, KT Tunstall declared Hunky Dory her favorite album, saying: "It's the only record where I've experienced total jaw-dropping awe for the whole of it because that feeling of being lost and being taken somewhere else is so strong." In an interview with NME the following year, Guy Garvey of Elbow recognised Hunky Dory as the album that had influenced him the most.

Reissues
The album has been reissued multiple times. Following its release on compact disc in the mid-1980s, Hunky Dory was rereleased by Rykodisc/EMI in 1990 with bonus tracks, including the outtake "Bombers". In 1999, the original album was rereleased on CD through Virgin/EMI with 24-bit digitally remastered sound. This edition was reissued in 2014 by Parlophone, having acquired the Virgin-owned Bowie catalogue. In 2015, the album was remastered for the Five Years (1969–1973) box set. It was released in CD, vinyl, and digital formats, both as part of this compilation and separately. In 2021, to celebrate the record's 50th anniversary, Parlophone announced a vinyl picture disc reissue of the album (2015 remaster), which was released on 7January 2022. The announcement coincided with the digital release of a new mix of "Changes" by Scott. In November 2022, a multi-disc box set focusing on Hunky Dory was released with the title Divine Symmetry: The Journey to Hunky Dory. The collection comprises home demos, BBC radio sessions, alternate mixes, and other live and studio recordings from 1971.  It also includes the 2015 remaster, as well as an "alternative" version of Hunky Dory, made up of alternate mixes; the latter was released separately on vinyl in February 2023.

Rankings
Hunky Dory has frequently appeared on several lists of the greatest albums of all time by multiple publications. In 1998, Q magazine readers voted it the 43rd greatest album of all time; in 2000 the same magazine placed it at number 16 in its list of the 100 Greatest British Albums Ever. The album ranked number 16 and number 23 in the 1998 and 2000 editions of Colin Larkin's book All Time Top 1000 Albums, respectively. In their list of the 500 Greatest Albums of All Time, Rolling Stone ranked it number 107 in 2003, number 108 in the 2012 revised list, and number 88 in the 2020 revised list. In 2004, Pitchfork ranked the album 80th on their list of the 100 Best Albums of the 1970s, one place above Ziggy Stardust. In the same year, VH1 placed it 47th in their list of the 100 greatest albums. In 2010, Time magazine chose it as one of the 100 best albums of all time, with journalist Josh Tyrangiel praising Bowie's "earthbound ambition to be a boho poet with prodigal style". The same year, Consequence of Sound ranked the album number 18 on their list of the 100 greatest albums of all time. In 2013, NME ranked the album third in their list of the 500 Greatest Albums of All Time, behind the Beatles' Revolver and the Smiths' The Queen Is Dead. In 2015, Ultimate Classic Rock included it in their list of the 100 best rock albums from the 1970s. Robert Dimery included the album in his 2005 book 1001 Albums You Must Hear Before You Die.

Track listing
All tracks are written by David Bowie, except "Fill Your Heart", written by Biff Rose and Paul Williams.

Side one
 "Changes" – 3:37
 "Oh! You Pretty Things" – 3:12
 "Eight Line Poem" – 2:55
 "Life on Mars?" – 3:43
 "Kooks" – 2:53
 "Quicksand" – 5:08

Side two
 "Fill Your Heart" – 3:07
 "Andy Warhol" – 3:56
 "Song for Bob Dylan" – 4:12
 "Queen Bitch" – 3:18
 "The Bewlay Brothers" – 5:22

Personnel
Album credits per the Hunky Dory liner notes and biographer Nicholas Pegg.
David Bowie – vocals, guitar, alto and tenor saxophone, piano ("Oh! You Pretty Things", "Eight Line Poem")
Mick Ronson – guitar, vocals, Mellotron, arrangements
Trevor Bolder – bass guitar, trumpet
Mick Woodmansey – drums
Rick Wakeman – piano
Ken Scott – ARP synthesiser ("Andy Warhol")

Production
Ken Scott – producer, recording engineer, mixing engineer
David Bowie – producer
Brian Ward – photography
Terry Pastor – cover design

Charts

Weekly charts

Year-end charts

Certifications

Notes

References

Sources

External links

David Bowie albums
Albums produced by David Bowie
Albums produced by Ken Scott
Albums recorded at Trident Studios
EMI Records albums
RCA Records albums
1971 albums
Rykodisc albums
Virgin Records albums
Parlophone albums

Hunky Dory