Se realizaron elecciones generales en Puerto Rico el 6 de noviembre de 1956.  Luis Muñoz Marín del Partido Popular Democrático  fue reelecto como Gobernador.

Contexto
Las elecciones del 1956 se caracterizan por ser las segundas realizadas luego del establecimiento de la Constitución de Puerto Rico de 1952, la cual se caracteriza por la institucionalización del Senado de Puerto Rico con 27 miembros y la Cámara de Representantes de Puerto Rico de 51 miembros, además del sistema de acumulación en la elección de los parlamentarios y de representación a minorías.

Referencias

Elecciones de Puerto Rico
Puerto Rico
Puerto Rico en 1956

Elecciones generales de Puerto Rico de 1956


Die Obererft, im letzten Teil Erftkanal genannt, ist ein 8,6 km langer, linksseitiger Zufluss des Rheins in Neuss. Sie ist ein Mündungsarm der Erft, der bereits im 15. Jahrhundert künstlich angelegt wurde und der Versorgung der Neusser Mühlen diente. Man machte sich so einen Höhenunterschied zu Nutze, den der natürliche Mündungsarm der Erft nicht aufwies.

Der Erftkanal wurde in den Jahren 1835–1837 durch die Stadt Neuss mit staatlicher Genehmigung schiffbar gemacht; für dessen Benutzung wurden von der Stadt Gebühren nach einem festgesetzten Tarif erhoben, die sich nach dem Umfang der Ladung richteten,  sowie Krahn- und Hafengelder.

Verlauf
Die Obererft beginnt als Abzweig von der Erft beim Selikumer Park westlich von Schloss Reuschenberg.

Die Staustufe Napoleonswehr wurde in Zeiten Napoleons angelegt, um die Neusser Kanäle mit Wasser zu versorgen. Die Obererft fließt in nördliche Richtung und unterquert die A 57.

Zum Fluss zählt ein Grünzug. Hier finden sich Grünspecht, Kleiber, Dompfaff, Stieglitz, Eisvogel, Eulen und Fledermäuse.  Eine Bürgerinitiative konnte 2011 verhindern, dass die Schillerstraße mit einer Brücke über die Obererft verlängert und durch den Grünzug geführt wird.

Entlang der Obererft führt ein Wallfahrtsweg zur Kapelle St. Cornelius.

Ab Höhe der Stadthalle fließt die Obererft weitgehend verrohrt bis zum Hafenbecken 1 des Neusser Hafens , den sie als Erftkanal durchfließt und danach in den Rhein mündet.

Literatur
  Erftkanal (Erft-Can.) auf einer alten Landkarte der Umgebung von Neuss: Verlauf südlich des Stadtkerns, wo er den  aus Richtung Kaarst  kommenden Nordkanal  (Nord-Can.) kreuzt, und nördlich des Stadtkerns, wo er südlich von Heerdt in den Rhein mündet. In: Meyers Gazetteer, mit Eintrag aus Meyers Orts- und Verkehrslexikon, Ausgabe 1912.

Einzelnachweise

0Obererft
Gewässer im Rhein-Kreis Neuss
Geographie (Neuss)

Obererft


The  is a submarine-launched attack floatplane designed for the Imperial Japanese Navy during World War II. It was intended to operate from I-400 class submarines whose original mission was to conduct aerial attacks against the United States.

Design and development
From the late 1920s, the Imperial Japanese Navy had developed a doctrine of operating floatplanes from submarines to search for targets.
In December 1941, Commander-in-Chief of the Japanese Combined Fleet, Admiral Isoroku Yamamoto, proposed constructing a large fleet of  submarine aircraft carriers (also designated STo or sen-toku — special submarine) whose purpose was to mount aerial attacks against American coastal cities. The submarines would surface to launch their aircraft by catapult, submerge to avoid detection, then surface again to retrieve the aircrews who would ditch their planes nearby.  By June 1942, the plan was to build a fleet of eighteen such submarines. This was later cut to nine, then five and finally just three as Japan's wartime fortunes declined.

To equip the submarine aircraft carriers, the Imperial Japanese Navy Air Service requested that Aichi design a folding attack aircraft with a range of  and a speed of . Aichi was already manufacturing under license, the D4Y1 Suisei (Judy), a relatively small single-engined carrier dive bomber with exceptionally clean lines and high performance. Detailed engineering studies commenced in an effort to modify the Suisei for use aboard the I-400 submarines but the difficulties in doing so were eventually judged insurmountable and a completely new design was initiated.

Aichi's final design, designated AM-24 by Aichi and given the military designation M6A1, was a two-seat, low-winged monoplane powered by a  Aichi AE1P Atsuta 30 engine (a licence-built copy of the Daimler-Benz DB 601 liquid-cooled V12 engine). The original specification dispensed with a traditional undercarriage but it was later decided to fit the aircraft with detachable twin floats to increase its versatility. If conditions permitted, these would allow the aircraft to land next to the submarine, be recovered by crane and then re-used. The floats could be jettisoned in flight to increase performance or left off altogether for one-way missions.
The Seiran's wings rotated 90 degrees and folded hydraulically against the aircraft's fuselage (with the tail also folding down) to allow for storage within the submarine's  diameter cylindrical hangar. Armament was a single  torpedo or an equivalent weight in bombs. One  Type 2 machine gun was mounted on a flexible mounting for use by the observer.

As finalized, each I-400 class submarine had an enlarged watertight hangar capable of accommodating up to three M6A1s. The Seirans were to be launched from a  compressed-air catapult mounted on the forward deck. A well-trained crew of four men could roll a Seiran out of its hangar on a collapsible catapult carriage, attach the plane's pontoons and have it readied for flight in approximately 7 minutes.

In order to shorten the launching process and eliminate the need for time-consuming engine warm-ups, the Seirans were to be catapulted from a cold start. This necessitated heating the engine oil for each plane to approximately  in a separate chamber and pumping it, as well as hot water, through the engine just prior to launch while the planes were still in the hangar. In this way, the aircraft's engine would be at or near normal operating temperature immediately upon getting airborne. The idea was borrowed from the Germans who planned on using a similar launch method for the aircraft of their unfinished carrier Graf Zeppelin.

The first of eight prototype Seirans was completed in October 1943, commencing flight testing in November that year. A problem with overbalance of the auxiliary wings was eventually solved by raising the height of the tail fin. Further testing was sufficiently successful for production to start in early 1944. In order to aid pilot conversion to the Seiran, two examples of a land based trainer version fitted with a retractable undercarriage were built. These were given the designation M6A1-K Nanzan ("Southern Mountain"). Besides the difference in landing gear, the vertical stabilizer's top portion, which was foldable on the Seiran, was removed.

Operational history
The first production examples of the Seiran were completed in October 1944. Deliveries were slowed by an earthquake near Nagoya on 7 December 1944, and by an American air-raid on 12 March 1945. Construction of the STo submarines was stopped in March 1945, after two submarine aircraft carriers had been completed and a third finished as a fuel tanker. These were supplemented by two smaller Type AM submarines, originally designed as command submarines carrying reconnaissance floatplanes, but capable of carrying two Seirans. Owing to the reduced carrier submarine force, production of the Seiran was halted, with a total of 28 completed (including the prototypes and the M6A1-Ks).

The new submarines and aircraft were assigned to the 1st Submarine Flotilla, comprising the two STo submarines, the I-400 and the flagship I-401, each carrying three Seirans together with two type AMs, the I-13 and I-14. The 1st Submarine Flotilla commenced training with the Seirans in January 1945, the crews gradually learning how to handle the submarines and aircraft.  Launching all three Seirans took longer than expected: 30 minutes if floats were fitted, although this could be reduced to 14.5 minutes if the floats were not used.

The first mission of the Seiran squadron, which was named the   was to be a surprise air strike on the Gatun locks of the Panama Canal, to cut the main supply line for US forces in the Pacific. When the force was finally ready to set off on their mission against Panama,  Japan's increasingly desperate situation led to a change in plan, with the target for the attack, called Operation  Hikari (Splendour), being switched to the American base at Ulithi Atoll where forces, including aircraft carriers, were massing in preparation for attacks on the Japanese Home Islands. The flotilla departed Japan on 23 July 1945 and proceeded towards Ulithi. On 16 August, the flagship I-401 received a radio message from headquarters, informing them of Japan's surrender and ordering them to return to Japan. All six Seirans on board the two submarines, having been disguised for the operation as American planes in violation of the laws of war, were catapulted into the sea with their wings and stabilizers folded  (for the I-401) or pushed overboard (for the I-400) to prevent capture.

Variants

M6A1
Prototypes powered by Atsuta 30 or 31 1,044 kW (1,400 hp) engine and removable floats, 8 built.
M6A1 Seiran (Shisei-Seiran)
Special Attack Bomber, 18 built.
M6A1-K Nanzan (南山, "South Mountain")('Shisei-Seiran Kai)
Prototypes of training version, retractable wheeled landing gear, 2 built.
M6A2
Prototype modification, powered by Mitsubishi Kinsei MK8P 62 1,163 kW (1,560 hp) engine, 1 built

Operators

Imperial Japanese Navy Air Service
Naval Air Technical Arsenal / 1st Naval Technical Arsenal
631st Naval Air Group

Surviving aircraft
A single M6A1 has been preserved and resides in the Udvar-Hazy Center of the Smithsonian's National Air and Space Museum. It is located in the Washington, DC suburb of Chantilly, Virginia near Dulles International Airport. The Seiran was surrendered to an American occupation contingent by Lt Kazuo Akatsuka of the Imperial Japanese Navy, who ferried it from Fukuyama to Yokosuka. The US Navy donated it to the Smithsonian Institution in November 1962. Restoration work on the Seiran began in June 1989 and was completed in February 2000.

Specifications (M6A1)

See also

References
Notes

Bibliography
 Burke, Stephen. Without Wings The Story of Hitler's Aircraft Carrier. Trafford Publishing, 2008. .
Francillon, René J. Japanese Aircraft of the Pacific War. London: Putnam & Company Ltd., 1970.  (2nd edition 1979, ).
Geoghegan, John J. Operation Storm: Japan's Top Secret Submarines and Its Plan to Change the Course of World War II. Crown Publishers, NY, 2013. .
Januszewski, Tadeusz. Japanese Submarine Aircraft. Sandomierz, Poland/Redbourn, UK: Mushroom Model Publications, 2002. .
Layman, R.D. and Stephen McLaughlin. The Hybrid Warship. London:Conway Maritime Press, 1991. .
Mikesh, Robert C. Monogram Close-Up 13: Aichi M6A1 Seiran, Japan's Submarine-Launched Panama Canal Bomber. Bolyston, MA: Monogram Aviation Publications, 1975. .
"Nipponese Canal Cracker...Aichi's M6A1 Seiren". Air International, October 1989, Vol.37, No 4. Bromley, UK:Tri-Service Press. ISSN 0306-5634. pp. 182–188, 201.
Ogawa, Toshihiko. Nihon Kōkūki Daizukan, 1910–1945. Tokyo, 1993.

Sakaida, Henry; Gary Nila and Koji Takaki. I-400: Japan's Secret Aircraft-Carrying Strike Submarine''. Hikoki Publications, 2006.

External links

AirToAirCombat.com: Aichi M6A Seiran

M6A
M6A, Aichi
Floatplanes
Submarine-borne aircraft
Low-wing aircraft
World War II Japanese torpedo bombers
World War II Japanese dive bombers
Single-engined tractor aircraft

Aichi M6A


Graball bezeichnet mehrere

Orte in den Vereinigten Staaten:
 Graball (Alabama)
 Graball (Georgia)
 Graball (Tennessee)

Graball


Jeans generacija (radijska emisija), radijska emisija voditelja Dragutina i Davora Matoševića
Jeans generacija (Neki to vole vruće), album i skladba zagrebačkog sastava Neki to vole vruće

Vidi još
Jeans proza
Jeans

Jeans generacija


කොංබොං රාජවංශය (, ) යනු 1752 සිට 1885 දක්වා බුරුමය (මියන්මාරය) පාලනය කල අවසන් රාජවංශය වෙයි.

කොංබොං රාජවංශය


O Campeonato Mundial de Halterofilismo de 1969 foi a 43ª edição do campeonato organizado pela Federação Internacional de Halterofilismo (FIH) em Varsóvia, na Polónia entre 20 a 28 de setembro de 1969. Foram disputadas 9 categorias com a presença de 166 halterofilistas de 37 nacionalidades. Essa edição foi realizada em conjunto com o Campeonato Europeu de Halterofilismo de 1969.

Medalhistas

  — RECORDE MUNDIAL

Quadro de medalhas

Quadro de medalhas no total combinado

Quadro de medalhas nos levantamentos + total combinado

Ligações externas
Site da Federação Internacional de Halterofilismo

1969
Mundial
Halterofilismo
Halterofilismo


An Trisetum drucei in uska species han Liliopsida nga ginhulagway ni Elizabeth Edgar. An Trisetum drucei in nahilalakip ha genus nga Trisetum, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Trisetum

Trisetum drucei


Šejh Edib ef. Kravić (Trebinje, 28. veljače 1954.), bosanskohercegovački je teolog i povjesničar bošnjačkog podrijetla, šejh nakšibendijskog tarikata.

Životopis
Edib Kravić je rođen 1954. godine u Trebinju. U Tuzli je završio osnovnu i srednju školu, te Tehnološki fakultet Sveučilišta u Tuzli. Godine 1994. je dao bejat (zakletvu) šejhu Ahmedu ef. Mešiću, da bi 1996. godine od šejha Beuhauddina ef. Hadžimejlića bio imenovan šejhom nakšibendijskog tarikata. Godine 2009. šejh Husein ef. Hadžimejlić mu je dodijelio još jednu idžazetnamu za šejha nakšibendijskog tarikata. Od 2011. godine Edib Kravić je pročelnik Tekije šejh hadži Ahmed Nuruddin u Tuzli. Od 2019. godine stara se i o Tekiji Hamza-dede Orlovića u Konjević Polju pokraj Bratunca.

Edib Kravić je od 1992. do 1993. bio ravnatelj lista Zmaja od Bosne, a potom od 1996. do 2006. godine ravnatelj RTV Tuzlanskog kantona. Tijekom rata u Bosni i Hercegovini bio je komandant civilne zaštite Bosne i Hercegovine. Od 1996. do 2000. godine je bio poslanik u skupštini Tuzlanske županije.

Kravić je preko 20 godina bio član Izvršnoga odbora Medžlisa Islamske zajednice u Tuzli. Od 2014. do 2018. godine je bio sabornik Islamske zajednice u Bosni i Hercegovini ispred Muftijstva tuzlanskoga.

Djela
 Riječi imama i šejha šehida Mehmed-efendije Hafizovića: (vazovi, dersovi, hutbe) (Zvornik, 2009)
 Mesnevija u stvaranju novog društva: sa posebnim osvrtom na novu ekonomiju i novi menadžment (Tuzla, 2017)

Izvori

Vanjske povezice
 Šejh Edib Kravić: Nedostaju mi mukabele, teracije, iftari i zikrovi

Životopisi, Tuzla
Bošnjački književnici
Bošnjački derviški šejhovi

Edib Kravić


Voštani papir je bezdrvni celulozni papir obrađen s jedne strane ili s obje strane parafinom ili cerezinom kako ne bi propuštao zrak ili vodu. Upotrebljava se za zamatanje kolača, kruha, bombona, britvica i slično.

Papir za pečenje
Papir za pečenje često se koristi pri pečenju zbog svoje visoke otpornosti na toplinu. Premazan je s obje strane tankim slojem voska, stoga sprječava lijepljenje hrane za proizvod. Ne zahtjeva dodatno namaščivanje podloge i gotovo jelo se bez problema odvaja od papira. Možete ga slobodno koristiti na temperaturama do 200 - 250°C, ovisno o papiru. Na višim temperaturama dobije tamniju boju. Papir za pečenje se najčešće spominje vezano za izradu kolača, torti i kruha, ali je odličan i za pripremu povrća i mesa. Papir za pečenje možete također koristiti za hladno skladištenje hrane te možete spriječiti nered u zamrzivaču tako da između proizvoda stavljate komad papira za pečenje koji će spriječiti sljepljivanje.

Izvori

 Biljni proizvodi
 Tiskarstvo

Voštani papir


Dermatoloji, cilt hastalıkları ve tedavisiyle ilgilenen tıp dalı. Deri bilimi olarak da adlandırılmaktadır. Saç dökülmesi hangi nedene bağlı olursa olsun eğer bir kişi böyle bir durumdan yakınıyor ise hiç paniğe kapılmadan bir Deri Hastalıkları (Dermatoloji=Cildiye) uzmanına başvurmalıdır. Dermatolog adı verilen uzmanlar teşhisi rahatlıkla koyar ve hastaya uygun bir çözüm yolu önerirler. Bazen çözümün çok basit olabileceği unutulmamalıdır.

Deri Hastalıkları olarak da bilinen dermatolojik rahatsızlıklardan en yaygın olanları Dermatofaji, Sedef Hastalığı, Akne, Hulusi Behçet'in keşfettiği Behçet hastalığı, alerji, ve sık görülen bir cinsel rahatsızlık olan HPV olarak sıralanabilir. Bunlara ek olarak birçok dermatolojik rahatsızlık gündelik yaşantımızda karşımıza çıkabilir. Bunun için öncelikle bu hastalıklar konusunda az da olsa bilgi sahibi olmalı ve herhangi bir hastalığın belirtilerinden şüphelenildiğinde hemen bir uzmana danışılmalıdır. Unutulmamalıdır ki bir hastalığın tedavisinde en faydalı etkenlerden birisi erken teşhistir.Cilt problemleri olan hastalar Dermotologlar tarafından  uygun ilaçlar reçete edilerek hastalığın tedavisi sağlanır.

Dış bağlantılar
 Türk Dermatoloji Derneği

Tıp bilimleri

Dermatoloji


شبدة مدينة ومنطقة صناعية وفلاحية تونسية، تقع بالضواحي الجنوبية للعاصمة، بين مدينتا نعسان وفوشانة، ترقيمها البريدي 1135. تتبع شبدة إدارياً معتمدية فوشانة من ولاية بن عروس.

مدن ولاية بن عروس

شبدة


Les élections aux conseils d'arrondissement de 1907 ont eu lieu le  et .

Résultats à l'échelle du département

Présidents de conseils d'arrondissement élus

Évolution

Arrondissement d'Amiens

Résultats
*Conseillers d'arrondissement sortants ne se représentant pas

Arrondissement d'Abbeville
*Conseillers d'arrondissement sortants ne se représentant pas

Canton d'Abbeville-Nord
*sortant

Canton d'Ailly-le-Haut-Clocher
*sortant

Canton de Gamaches
*sortant

Canton de Nouvion
*sortant

Canton de Saint-Valery-sur-Somme
*sortant

Arrondissement de Doullens

Résultats
*Conseillers d'arrondissement sortants ne se représentant pas

Arrondissement de Montdidier

Résultats
*Conseillers d'arrondissement sortants ne se représentant pas

Arrondissement de Péronne

Résultats
*Conseillers d'arrondissement sortants ne se représentant pas

Notes

Références

Voir aussi

Articles connexes

 Conseil d'arrondissement
 Arrondissements de la Somme
 Liste des cantons de la Somme
 Liste des communes de la Somme

1907
Arrondissement 1907

Élections aux conseils d'arrondissement de 1907 dans la Somme


Zanderia, biljni rod iz porodice Rhachitheciaceae, dio reda Dicranales. jedina je vrsta mahovina Z. octoblepharis iz Brazila. Prvi puta opisana je kao Pottia octoblepharis A.Jaeger

Sinonimi
 Pottia octoblepharis A. Jaeger
 Anacalypta octoblepharis (A. Jaeger) Ångstr.
 Spadophyllum octoplepharum (A. Jaeger) A. Jaeger
 Spruceella octoblepharis (A. Jaeger) Müll. Hal., nije validno
 Ulea octoblepharis (A. Jaeger) Müll. Hal.
 Uleastrum octoblepharis (A. Jaeger) R.H. Zander

Izvori

Dicranales

Zanderia


La adenilato cinasa 4 (AK1) (número ) es una isoenzima de la adenilato cinasa que cataliza la interconversión de nucleótidos de adenina. El ATP transfiere un grupo fosfato al AMP para formar ADP.

 ATP + AMP  2 ADP

Esta enzima también es activa con el GTP. Se presenta como monómero y su localización celular es la matriz mitocondrial.

Enlaces externos

 Ficha de la base de datos UniProtKB.

Adenilato cinasas

Adenilato cinasa 4


A Revolução de 1383/1385 foi uma série de televisão sobre a Crise dinástica de 1383–1385.

Programas da RTP1
Programas de televisão de Portugal que estrearam em 1983
Programas de televisão de Portugal encerrados em 1984
1983 na televisão em Portugal
1984 na televisão em Portugal
Programas de televisão em língua portuguesa
Séries de televisão documentário histórico de Portugal

A Revolução de 1383/1385 (RTP1)


Giovana Perpétuo dos Santos Floriano (Catanduva, 30 de janeiro de 1987) é uma futebolista brasileira, que atua como lateral-direita. Atualmente joga pelo São Paulo, clube pelo qual completou 100 jogos.

Biografia
Giovana Perpétuo nasceu na cidade de Catanduva, em 30 de janeiro de 1987. Iniciou a carreira na Francana, passou por Rio Preto e também atuou no futebol austríaco. Em 2015, retornou ao país para jogar no São Paulo e, alguns meses depois, pelo Santos, clube pelo qual foi campeã do Campeonato Brasileiro e do Campeonato Paulista.

No ano de 2019, foi anunciada como reforço do São Paulo. Nesta passagem, ganhou a Série A2 do Campeonato Brasileiro de 2019 e a Brasil Ladies Cup de 2021. Em 14 de março de 2022, completou 100 jogos com a camisa do São Paulo, tornando-se a primeira mulher a alcançar o feito na história do clube.

Títulos

Santos
 Campeonato Brasileiro: 2017
 Campeonato Paulista: 2018

São Paulo
 Campeonato Brasileiro - Série A2: 2019
 Brasil Ladies Cup: 2021

Naturais de Catanduva
Futebolistas do estado de São Paulo
Futebolistas do Rio Preto Esporte Clube
Futebolistas do Santos Futebol Clube
Futebolistas do São Paulo Futebol Clube

Giovana Perpétuo


أمينة داود محمد المفتي أو آنيه موشيه بيراد (1939 - 2008) مواطنة أردنية سابقة من أصل شركسي غيرت ديانتها من الإسلام إلى اليهودية، وتزوجت طياراً يهودياً في النمسا، ثم هاجرت إلى إسرائيل واستوطنتها، وعملت في التجسس لصالح الموساد الإسرائيلي ضد الفلسطينيين انتقاماً لفقدان زوجها. قبضت عليها حركة التحرير الوطني الفلسطيني "فتح" عام 1975، حيث مكثت قرابة خمس سنين محتجزة في الجنوب اللبناني، إلى أن تم مبادلتها بأسيرين فلسطينيين في 13 فبراير 1980. توفيت عام 2008 عن عمر يناهز 69 عامًا ودُفنت في الأردن.

النشأة
ولدت أمينة داود المفتي عام 1939 في إحدى ضواحي عمان لأسرة شركسية من شركس الأردن (وقيل 3 يناير 1935) ، وتبوأت مراكز سياسية واجتماعية عالية حيث كان والدها تاجر مجوهرات ثري وعمها حاصل على رتبة لواء في البلاط الملكي أما أمها فهي سيدة مثقفة تجيد أربع لغات وكانت أمينة أصغر إخوانها وأخواتها وعاشت حتى إكمال الثانوية في الأردن ثم بدأت رحلة الاغتراب. في عام 1957 سافرت أمينة إلى فيينا عاصمة النمسا لاستكمال دراستها الجامعية فحصلت على درجة البكالوريوس في علم النفس الطبي من جامعة فيينا.عادت إلى الأردن عام 1961 وغادرتها مرة أخرى إلى النمسا للحصول على شهادة الدكتوراه في علم النفس المرضي لمدة 5 سنوات إلى عام 1966. تزوجت أمينة بعد ذلك من أخ لصديقتها وهو طيار عسكري يهودي برتبة نقيب مقيم في النمسا ساعدها على الحصول على شهادة دكتوراه مزورة في علم النفس المرضي وهو فرع من فروع علم النفس الطبي. كان اسم زوجها موشيه بيراد، والذي تزوجته في معبد شيمودت في فيينا بعد أن أعتنقت اليهودية واستبدلت اسمها بالاسم اليهودي الجديد (آني موشيه بيراد)عام 1967.

أصرت آني أو أمينة على زوجها أن يقوما بالهجرة إلى إسرائيل لأنها كانت تخاف أن يأتي أهلها لقتلها في النمسا لذلك هاجرت هي وزوجها عام 1972 إلى إسرائيل حيث تقلد زوجها رتبة رائد طيار في سلاح الجو الإسرائيلي وفي آخر يناير 1973 أسقطت المدفعية السورية طائرته واعتبر من لحظتها مفقوداً إلى الآن.

التجسس
بعد فقدان زوجها، بدأت أمينة مشوار جاسوسيتها اعتقادٍ منها بأنها تنتقم لفقدان زوجها الذي قُتِل على أيدي السوريين والفلسطينيين. حيث انضمت إلى جهاز "الموساد" الذي بدوره إخضاعها لتدريبات مكثفة، ثم أٌرسِلت إلى لبنان لتعمل متطوعة داخل المخيمات الفلسطينية، وتغلغلت في الفصائل الفلسطينية وتعرفت على القادة الفلسطينيين وتقربت منهم وحصلت على ثقتهم. عاشت في لبنان وتحديداً في بيروت، وأقحمت نفسها في ملاجئ الفلسطينيين بحجة أنها طبيبة متطوعة لشفاء الجرحى ووصلت بدهائها إلى مكتب الرئيس ياسر عرفات وحصلت منه على إذن موقّع على تصريح يمكنها من دخول جميع المواقع الفلسطينية على أنها طبيبة ماهرة تشارك في تأهيل الجرحى، وخدعته بتأثرها الزائف بوضع المشردين الفلسطينين وحماسها للمقاومة وما إلى ذلك. بدأت الجاسوسة ترصد تنقلات القادة الفلسطينيين، وخصوصاً علي حسن سلامة الذي كان يرتاد فندق " كورال بيتش" في بيروت. كما استطاعت بمعلوماتها أن تحبط عدة عمليات للمقاومة حيث تم إلقاء القبض على رجالها قبل تنفذيهم لعملياتهم. وكانت العميلة توجه القوات الإسرائيلية، عبر معلوماتها، لقصف مواقع حركة "فتح" في لبنان. كما ارتبط أسمها بقضية ليلهامر والتي تعتبر من أكبر العمليات الفاشلة للموساد.

اعتقالها ومبادلتها
في سبتمبر من عام 1975 اعتقلت حركة التحرير الوطني الفلسطيني "فتح" أمينة بعدما كشفت عمالتها وأنها كانت ترسل معلومات وتقارير غاية في الأهمية عن العمليات الفدائية وأسماء أفراد المخابرات الفلسطينية مع تفاصيل دقيقة عن تحركات وأماكن وجود أهم شخصيات منظمة التحرير الفلسطينية. طلب أبو الحسن سلامة إعدام أمينة المفتي لكن عرفات رفض، في سعي منه لمبادلتها بأسرى فلسطينيين، وبعد اعترافها الكامل أُبقيت معتقلة لمدة خمس سنوات في مغارة قرب مدينة صيدا بلبنان، حتى مقايضتها بأسيرين فلسطينيين لدى الإسرائيليين وهما " مهدي بسيسو، ووليم نصار" في 13 فبراير 1980، وتمت المبادلة في جزيرة قبرص على أرضية مطار لارنكا الدولي في عملية حبست الأنفاس، وبإشراف اللجنة الدولية لـ "الصليب الأحمر".

العودة إلى إسرائيل
عادت أمينة إلى إسرائيل، حيث أُخضعت لرعاية طبية مُكثفة وأجرت عملية تجميل غيّرت فيها ملامح وجهها، ثم انتقلت للعيش في مستوطنة كريات يام شمالي حيفا تحت حراسة مشددة، وحاولت الاتصال بأهلها في الأردن لكنهم رفضوا التحدث معها وأخبروها أنهم يعدونها ميتة.

في مطلع عام 1984، نشرت مجلة «بمحانية» العسكرية الإسرائيلية خبراً صغيراً يقول إن وزير الدفاع أصدر قراراً بصرف معاش دائم للمقدم آني موشيه بيراد التي تصدرت لوحة الشرف بمدخل بمبنى الموساد، وهي لوحة تضم أسماء أمهر العملاء «ويطلق عليهم الأصدقاء» الذين أخلصوا لإسرائيل. ظلت أمينة وحيدة تعيش بهوية جديدة ووجه جديد، وقيل عن نهاية أمينة المفتي روايات عديدة، واحدة تزعم بأنها حصلت على وثيقة سفر أميركية باسم جديد، وتعيش بولاية تكساس حيث تمتلك مزرعة واسعة، وتزوجت من بحارإسباني ولم تنجب. ورواية ثانية: تزعم بأنها أجرت تعديلات بوجهها بمعرفة الوساد، وتعيش بجنوب أفريقيا منذ عام 1985 تحت اسم مزيف، وتعمل في الاستيراد والتصدير، وأنجبت من ضابط روماني ولدا أسمته موشيه. ورواية ثالثة: تقول إنها انتحرت بحقنة هواء داخل حجرتها بقسم ألامراض العصبية بمستشفى تل هاشومير.

كشف النقاب عن نهايتها
في عام 2023، بُث الفيلم الوثائقي لعنة ليلهامر (The Lillehammer Curse) ، في إسرائيل. ويتتبع الفيلم الأحداث التي أدت إلى اغتيال البوشيخي، حيث كُشِف عن معظم أسماء العملاء للجمهور على مر السنين، باستثناء شخصية واحدة ظلت مجهولة الهوية؛ الشخص الذي قدم المعلومة والتي أدت إلى تفعيل تأثير كرة الثلج هي أمينة المفتي. قال المخرج نعوم تيبر: "الدكتورة أمينة داود المفتي هي المصدر الذي نقل التفاصيل إلى الموساد". والرجل الذي جندها في الموساد هو رافي ساتون.

لدى وصولها إلى إسرائيل، دخلت أمينة المفتي إلى المستشفى وأجريت لها عمليات جراحية لإعادة بناء فكها المكسور، وتم استبدال أسنانها، وتم تركيب باروكة لتغطية شعرها الذي أصبح خفيفا في الأسر، وحصلت على هوية جديدة: الدكتورة روث نيسانوف، بما في ذلك تاريخ ميلاد جديد وهوية إسرائيلية. عملت الدكتورة روث نيسانوف كطبيبة نفسية في قسم التخدير في مركز شيبا الطبي. وكان يرأس القسم آنذاك الدكتور يونا إليان، الذي اشتهر بتخدير أدولف أيخمان خلال عملية الموساد للقبض على أيخمان.

تقول المحققة ميتال شبتاي: "بعد أن ترك الدكتور إليان منصبه، طُردت أمينة روث وذهبت للعمل في أحد فنادق البحر الميت، لعلاج مرضى الصدفية، وبعد ذلك حصلت على منزل في الخضيرة وانتقلت إليه، ولكن يبدو أنها تراكمت لديها حالة من الاستياء تجاه المؤسسات الإسرائيلية. وبعد ذلك انتقلت إلى الناصرة. في التسعينيات، قررت فتح عيادة في الناصرة لعلاج مشاكل الجلد وانتقلت للعيش هناك. وتواصلت مع عائلة مسلمة لمريضه متزوجة من إمام مسجون بتهمة التحريض ضد إسرائيل. وفي عام 1994، بعد توقيع إسرائيل على اتفاقية السلام مع الأردن وفتح الحدود بين البلدين، سافرت أمينة لزيارة عائلتها في عمان، ولم ترحب بها الأسرة بسهولة، ولكن فيما بعد تجددت العلاقة، وقامت بزيارات لاحقة. وفي عام 2008، أوصت بترك جميع أصولها في إسرائيل لعائلة الإمام. وعادت لاحقًا إلى عمان، وفي نهاية عام 2008، توفيت عن عمر يناهز 69 عامًا ودُفنت في الأردن".

وصلات خارجية

 مذكرات أخطر جاسوسة عربية للموساد.. أمينة المفتي - للكاتب فريد الفالوجي (بالعربية)
 مهمة الموساد الفادحة والجاسوس الغامض الذي يقف وراءها (بالصور).
 كتاب بالأنجليزية (1987 Israel Undercover: Secret Warfare and Hidden Diplomacy in the Middle East - Steve Posner) حيث توصف بالأسم الكودي "دينا".

مراجع

أردنيون شركس
أشخاص يحتمل أن يكونوا أحياء
جاسوسات
جواسيس إسرائيليون
سياسيات أردنيات
مسلمون اعتنقوا اليهودية
مواليد 1939
خريجو جامعة فيينا
عملاء إسرائيل
وفيات 2008

أمينة داود المفتي


L'Ouzbékistan participe aux Jeux olympiques d'été de 2004 à Athènes. Il s'agit de sa  aux Jeux d'été. La délégation est composée de 70 athlètes engagés dans 13 sports différents.

Ouzbékistan
2004
Jeux

Ouzbékistan aux Jeux olympiques d'été de 2004


, often known as Alex, is a former professional footballer who played as a midfielder. Born in Brazil, he became a Japanese citizen and made 82 appearances for the Japan national team.

Club career
Santos was born in Maringá in Paraná and moved to Japan in 1994 at the age of sixteen. He enrolled in Meitoku Gijuku High School in Kōchi and played football for the school club. After graduating from the school, he joined the J1 League team Shimizu S-Pulse in 1997. In 1999, the club won the second place and he received the J.League Player of the Year. In Asia, the club won the champions 1999–2000 Asian Cup Winners' Cup and third place 2000–01 Asian Cup Winners' Cup.

In August 2002, Santos agreed to join English Premier League club Charlton Athletic. But he was denied a work permit by the Home Office because he had not made the minimum number of national team appearances required for players from outside the European Union and returned to Shimizu for the remainder of the season. In January 2004, he left Shimizu to join the Urawa Reds. After won the second place at J1 League for two years in a row (2004, 2005), the club won the champions in 2006 J1 League.

In January 2007, Santos was loaned out to Red Bull Salzburg. He went back to Urawa in January 2008. He received a serious injury in a test match and had only one appearance in this season. In July 2009, he agreed to move to Nagoya Grampus. He made 55 appearances for the club, before joining J2 League side Tochigi SC for the 2013 season. He made 25 appearances there, scoring twice. In January 2014, he joined fellow J2 League team FC Gifu.

International career
In 2001, Santos obtained Japanese citizenship. He made his first appearance for Japan national team on 21 March 2002, against Ukraine, and he was part of Philippe Troussier's selection for the 2002 World Cup. He was the second foreign-born person to play for Japan in the World Cup finals after Wagner Lopes, who played in the 1998 World Cup and also the fifth naturalized citizen to play for Japan after Daishiro Yoshimura, George Yonashiro, Ruy Ramos, and Lopes.

After Zico took over as the national team manager, Santos was used on the left side of the Japanese lineup, as a full-back in a 4-4-2 formation or a midfielder in a 3-5-2 formation. At the 2004 Asian Cup, he played in all 6 matches and Japan won. He was selected in Japan's 2006 World Cup squad in May 2006, providing an assist for Keiji Tamada in a group stage match against his former country Brazil. He played 82 games and scored 7 goals for Japan until 2006.

Others

In 2020, Alex founded the Aruko Sports Brasil, a team that currently competes in the Campeonato Paranaense.

Career statistics

Club

International

Scores and results list Japan's goal tally first, score column indicates score after each Santos goal.

Honours
Shimizu S-Pulse
Asian Cup Winners' Cup: 1999–2000
Emperor's Cup: 2001
Japanese Super Cup: 2002

Urawa Red Diamonds
J1 League: 2006
Emperor's Cup: 2005, 2006
Japanese Super Cup: 2002, 2006

Red Bull Salzburg
Austrian Bundesliga: 2006–07

Nagoya Grampus
J1 League: 2010

Japan
AFC Asian Cup: 2004

Individual
J.League MVP: 1999
J1 League Best Eleven: 1999

References

External links

Japan National Football Team Database

No divided loyalties for Alex , FIFAworldcup.com, 22 June 2005

1977 births
Living people
Brazilian emigrants to Japan
Naturalized citizens of Japan
Naturalised association football players
People from Maringá
Brazilian men's footballers
Japanese men's footballers
Men's association football midfielders
Japan men's international footballers
J1 League players
J2 League players
Shimizu S-Pulse players
Urawa Red Diamonds players
Nagoya Grampus players
Tochigi SC players
FC Gifu players
Austrian Football Bundesliga players
FC Red Bull Salzburg players
2002 FIFA World Cup players
2003 FIFA Confederations Cup players
2004 AFC Asian Cup players
2005 FIFA Confederations Cup players
2006 FIFA World Cup players
AFC Asian Cup-winning players
Japanese expatriate men's footballers
Brazilian expatriate sportspeople in Austria
Japanese expatriate sportspeople in Austria
Expatriate men's footballers in Austria
Brazilian expatriate sportspeople in Japan
Expatriate men's footballers in Japan
Expatriate men's footballers in Brazil
Footballers from Paraná (state)

Alessandro Santos


الدنقة هي أحد أنواع التمور التي تنتجها واحات نفزاوة بالجنوب التونسي. شكله مستدير ولونه أصفر في حجم بسر حلو تقريبا. ينضج في أكتوبر ويؤكل رطبا. وهو لا يخزن.

تمور تونسية
نخيل

دنقة


This is the list of the 21 members of the European Parliament for Austria in the 1999 to 2004 session.

List

Notes

Austria
List
1999

List of members of the European Parliament for Austria, 1999–2004


Arthur Veary Treacher (Brighton, 23 de julho de 1894 – Manhasset, 14 de dezembro de 1975) foi um ator britânico de cinema e televisão.

Biografia
Nascido em Brighton, East Sussex (Inglaterra), Treacher era um veterano da Primeira Guerra Mundial. Após a guerra, conseguiu estabelecer-se como ator de teatro e, em 1926, viajou para os Estados Unidos para atuar em uma comédia musical intitulada The Great Temptation. Depois disso, foi escolhido para trabalhar na produção de 1930 de Billy Rose Sweet and Low.

Treacher começou sua carreira cinematográfica na década de 1930, interpretando quatro papéis em filmes de Shirley Temple, entre outros: Curly Top (1935), Stowaway (1936), Heidi (1937) e The Little Princess (1939). Em diferentes cenas, Treacher foi intencionalmente visto em pé ou dançando ao lado da pequena atriz infantil (Treacher era um ator alto).

Treacher tornou-se ideal para os papéis de mordomo, interpretando Jeeves, o manobrista perfeito sonhado por PG Wodehouse, em Thank You, Jeeves! (1936) e Step Lively, Jeeves (1937). (Wodehouse, no entanto, estava descontente com a forma como seu trabalho havia sido adaptado e se recusou a autorizar outros filmes de Jeeves.) Também foi manobrista ou mordomo em vários outros filmes, incluindo Personal Maids, Mister Cinderella e Bordertown.

Em 1964, Treacher interpretou o mordomo inglês Arthur Pinkney em dois episódios de The Beverly Hillbillies. Pinkney erroneamente acreditava que os Highlanders eram os servos da família para a qual ela trabalhava, enquanto pensavam que Pinkney era um convidado em sua mansão em Beverly Hills.

Treacher interpretou Cop Jones em Mary Poppins, fez várias aparições na televisão americana e foi locutor e ajudante de Merv Griffin no The Merv Griffin Show de 1965 a 1970. Quando Griffin mudou de syndication para a CBS em 1969, a administração da rede insistiu que Treacher era muito velho para o show, mas Griffin insistiu que Treacher permanecesse, o que acabou fazendo. No entanto, quando Griffin mudou seu show para Los Angeles no ano seguinte, Treacher renunciou ao cargo.

Em seus últimos dias de fama, Treacher deu seu nome e imagem a empresas como Fish and Chips de Arthur Treacher e Call Arthur Treacher Service System. Fish and Chips de Arthur Treacher foi uma popular rede de restaurantes da década de 1970, com um total de quase 900 locais, embora não esteja claro se o ator tinha alguma participação financeira na empresa.

Arthur Treacher morreu em 1975 em Manhasset (Nova Iorque), Estados Unidos, devido a uma doença cardíaca. Foi enterrado em Beverly Hills, Estados Unidos.

Filmografia selecionada
 Curly Top (1935)
 A Midsummer Night's Dream (Sonho de uma Noite de Verão) (1935)
 Magnificent Obsession (1935)
 Remember Last Night? (1935)
 Anything Goes (1936)
 Hearts Divided (1936)
 Satan Met a Lady (1936)
 Thank You, Jeeves! (1936)
 Stowaway (1936)
 Under Your Spell (1936)
 Thin Ice (1937)
 Heidi (1937)
 Always in Trouble (1938)
 Mad About Music (1938)
 Up the River (1938)
 The Little Princess (A Princesinha) (1939)
 Barricade (1939)
 Irene (1940)
 Forever and a Day (1943)
 The Amazing Mrs. Holliday (1943)
 In Society (1944)
 National Velvet (1944)
 Swing Out, Sister (1945)
 The Countess of Monte Cristo (1948)
 That Midnight Kiss (1949)
 Mary Poppins (1964)

Notas

Naturais de Brighton
Atores de televisão da Inglaterra
Atores de cinema da Inglaterra
Calçada da Fama de Hollywood

Arthur Treacher


Tatsuya Wada (født 21. juni 1994) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Tochigi SC.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Tatsuya Wada


Rapho  may refer to:
 Rapho (agency), a French photo agency
Rapho Township, Lancaster County, Pennsylvania

Rapho


Variations on a Theme of Paganini, Op. 35, is a work for piano composed in 1863 by Johannes Brahms, based on the Caprice No. 24 in A minor by Niccolò Paganini.

Brahms intended the work to be more than simply a set of theme and variations; each variation also has the characteristic of a study.  He published it as Studies for Pianoforte: Variations on a Theme of Paganini. The work was dedicated to the piano virtuoso Carl Tausig.

It is well known for its harmonic depth and extreme physical difficulty. A particular emphasis of the technical challenges lie on hand independence, with the left hand often mirroring the right hand throughout the piece or having its own set of obstacles.

David Dubal describes it as "a legend in the piano literature,"  and "fiendish," "one of the most subtly difficult works in the literature." Clara Schumann called it Hexenvariationen (Witch's Variations) because of its difficulty. Dubal quotes critic James Huneker:
"Brahms and Paganini! Was ever so strange a couple in harness? Caliban and Ariel, Jove and Puck. The stolid German, the vibratile Italian! Yet fantasy wins, even if brewed in a homely Teutonic kettle ... These diabolical variations, the last word in the technical literature of the piano, are also vast spiritual problems. To play them requires fingers of steel, a heart of burning lava and the courage of a lion."

The work consists of two books. Each book opens with the theme, Paganini's Caprice No. 24 in A minor, followed by fourteen variations. The final variation in each section is virtuosic and climactic.

See also
 List of variations on a theme by another composer

References

Bibliography

External links

 Book 1, Book 2 played by Julius Katchen
 Variations on a Theme of Paganini (selected) played by Arturo Benedetti Michelangeli
 Book 1, Book 2 played by Sviatoslav Richter
 Book 1, Book 2 played by Claudio Arrau
 Book 1, Book 2 played by Shura Cherkassky
 Book 1 played by Emil Gilels
 Variations on a Theme of Paganini (selected) played by Wilhelm Backhaus

Compositions by Johannes Brahms
Paganini
Brahms
1863 compositions
Compositions in A minor
Composer tributes (classical music)
Niccolò Paganini

Variations on a Theme of Paganini


The Dark Secret prvi je EP talijanskog power metal sastava Rhapsody of Fire. EP je 29. lipnja 2004. objavila diskografska kuća Magic Circle Music.

Pozadina
Čovjek prikazan na omotu albuma je narator u određenim pjesmama albuma, Christopher Lee.

Popis pjesama

Osoblje
Patrice Guers - bas-gitara
Luca Turilli - gitara
Alex Staropoli	- klavijature, klavir
Fabio Lione - vokali
Alex Holzwarth - bubnjevi
Dodatni glazbenici
Dominique Leurquin - ritam gitara
Christopher Lee - narator
The Brno Academy Choir - zbor
The Bohuslav Martinů Philharmonic - okrestar
Ostalo osoblje
Christopher Lee - model na omotu

Izvori

Albumi iz 2004.
Talijanski glazbeni albumi
EP

The Dark Secret


was a Japanese manufacturer of cameras, camera accessories, photocopiers, fax machines, and laser printers. Minolta Co., Ltd., which is also known simply as Minolta, was founded in Osaka, Japan, in 1928 as . It made the first integrated autofocus 35 mm SLR camera system. In 1931, the company adopted its final name, an acronym for "Mechanism, Instruments, Optics, and Lenses by Tashima".

In 2003, Minolta merged with Konica to form Konica Minolta. On 19 January 2006, Konica Minolta announced that it was leaving the camera and photo business, and that it would sell a portion of its SLR camera business to Sony as part of its move to pull completely out of the business of selling cameras and photographic film.

History

Milestones

1928:  establishes Nichi-Doku Shashinki Shōten ("Japanese-German photo company," the precursor of Minolta Co., Ltd.).
1929: Marketed the company's first camera, the "Nifcarette" (ニフカレッテ).
1937: The Minolta Flex is Japan's second twin-lens reflex camera (after the Prince Flex by Neumann & Heilemann).
1947: Introduction of the long lived 35mm rangefinder camera Minolta-35
1958: The Minolta SR-2 is Minolta's first single-lens reflex camera.
1959: The Minolta SR-1.
1962: John Glenn takes a specially modified Ansco-logoed Minolta Hi-Matic camera into space aboard Friendship 7. The company changes its name to Minolta Camera Co., Ltd.
1966: The Minolta SR-T 101 SLR camera is one of the first with TTL (through-the-lens) full aperture  light metering. The first is Topcon RE Super from 1963.
1972: Minolta signs an agreement to cooperate with Leica in SLR development;
1973: The Minolta CL is the first fruit of this agreement.
1976: The Leica R3 is introduced. Minolta produces the R3, R4, and R5 models in the Leica R series. Subsequent cameras are built in Germany by Leica themselves.
1977: The Minolta XD-11 (N. America only, XD-7 worldwide) is introduced, the world's first 'multi mode' SLR offering M, A, S modes, with a 'Program override' in S mode effected by a computer chip, the world's first Program mode. This same year, Minolta also introduced the Minolta XG series starting with the Minolta XG-7.
1981: Implementation of Minolta's invention and patent of TTL (through-the-lens) OTF (off-the-film) exposure metering: the Minolta CLE is the first 35mm rangefinder camera to feature TTL metering and aperture priority autoexposure. The Minolta X-700 manual-focus SLR is introduced; this model is sold until 1999 and is enormously successful.  The Minolta XD-11 (Model E) is the first Minolta product branded with an updated logo (in caps), which was in use until the 2003 merger with Konica.
1985: The Minolta Maxxum 7000 Alpha Mount Camera becomes the world's first autofocus 35mm SLR with in-camera autofocus motor.
1987: Honeywell files lawsuit against Minolta for patent infringement over autofocus technologies.
1991: Minolta's autofocus design was found to infringe on the patents of Honeywell, a U.S. corporation. After protracted litigation, in 1991 Minolta was ordered to pay Honeywell damages, penalties, trial costs, and other expenses in a final amount of $127.6 million
1992: Minolta settles out of court with Honeywell.
1994: The company changes its name to Minolta Co., Ltd. because it no longer is primarily a camera company.
1995: Introduction of the Minolta RD-175, a 1.75-megapixel digital SLR camera.
1996: The Minolta Vectis camera is a completely new SLR system designed around the Advanced Photo System (APS) film format.
1998: The Minolta Maxxum 9 autofocus SLR is introduced. This system is targeted toward the professional photographer and has many features not duplicated by the competition.
2003: DiMAGE A1 introduced world's first sensor-based anti-shake, and was the final Minolta product branded prior to the Konica Minolta merger.
2004: Minolta and Konica officially merge to become Konica Minolta Holdings, Inc.
2005: The company announces joint venture with Sony on CCD and CMOS technologies.
2006: Konica Minolta announces it is discontinuing all film and digital camera production, ending a 78-year history as a camera manufacturer. Final models released were Dimage X1 and Z6. Konica Minolta Photo Image, Inc.'s (the camera business portion of Konica Minolta) assets regarding digital camera technology are transferred to Sony for continued development started from the joint venture.

Early cameras

Relying heavily on imported German technology, Nichi-Doku turned out their first product, a bellows camera called the Nifcarette, in March 1929. By 1937, the company reorganized as Chiyoda Kogaku Seikō, K.K. (Chiyoda Optics and Fine Engineering, Ltd.) and built the first Japanese-made twin-lens reflex camera, the Minoltaflex, based on the German Rolleiflex.

In 1947, the Minolta-35 was introduced. It is based on the Leica rangefinder camera concept with the 39mm screw lens-mount. It uses the standard 35mm film in cassettes. The standard lens is the Super Rokkor 1:2.8 50mm.

In 1950, Minolta developed a planetarium projector, the first-ever made in Japan, beginning the company's connection to astronomical optics. John Glenn took a Minolta Hi-Matic rangefinder 35 mm camera aboard the spacecraft Friendship 7 in 1962, and in 1968, Apollo 8 orbited the Moon with a Minolta Space Meter aboard.

In the late 1950s and 1960s, Minolta competed in the medium-format roll film camera market with the Autocord series of TLR (twin-lens reflex) cameras.

Single-lens reflex cameras
In 1958, Minolta introduced its SR-2 single lens reflex (SLR) 35mm camera which was equipped with a bayonet mount and instant return mirror. In 1966 Minolta introduced the SR-T line which included TTL metering. Although well-made and widely regarded as some of the most innovative SLR cameras of their time, Minolta cameras were not as robust as competing Nikon models. Minolta SR/SRT design used sleeve bushings instead of bearings on its focal plane spindles and had greater tolerances between working parts. This occasionally caused problems in very cold weather or with extremely high levels of use. Minolta SLRs also lacked important professional features such as a motor drive, removable pentaprism, and removable back. Minolta cameras appealed to amateur photographers with their lower prices and high-quality optics.

From the late 1950s through the 1980s, Minolta was the first Japanese manufacturer to introduce a bayonet lens mount rather than a screw mount; and the first manufacturer to introduce multimode metering. They also introduced the first commercially successful autofocus SLR line with the Maxxum series.

In 1972, Minolta drew up a formal cooperation agreement with Leitz. Leitz needed expertise in camera body electronics, and Minolta felt that they could learn from Leitz's optical expertise. Tangible results of this cooperation were the Leica CL/Minolta CL, an affordable rangefinder camera to supplement the Leica M range. The Leica CL was built by Minolta to Leica specifications. Other results were the Leica R3, which was in fact the Minolta XE-1 with a Leica lens mount, viewfinder, and spot metering system, and the Leica R4 was based on the Minolta XD-11. Additionally, five Minolta lenses were repackaged as Leica R lenses: the Minolta 24/2.8 MC Rokkor-X optics are found in the Leica 24/2.8 Elmarit-R, and similarly for the Minolta 35-70/3.5, 75-200/4.5, 70-210/4, and 16/2.8.

First "program" focal plane shutter 35mm SLR: the XD-11
In 1977, Minolta introduced the XD-11, the first multimode 35 mm compact SLR to include both aperture and shutter priority in a single body. It was also the first camera to employ a computerised chip, which in shutter priority mode overrode the chosen speed if necessary to give a correct exposure, thus offering the first-ever 'programmed mode'. The XD-11 was the last attempt by Minolta to enter the professional and semiprofessional 35 mm SLR market until the Maxxum 9 in 1998. Elements of the XD-11 design (called the XD-7 in Europe) were utilized by Leitz for the Leica R4 camera.

The final manual-focus 35mm SLR cameras: the X-700 series

Minolta continued to offer 35 mm manual focus SLR cameras in its X-370, X-570, and X-700 from 1981, but slowly repositioned its cameras to appeal to a broader market. Minolta decided to abandon the high level of design and parts specifications of its earlier XD/XE line. The new amateur-level X-570, X-700, and related models offered additional program and metering features designed to appeal to newer photographers, at a lower cost. The advanced vertical metal shutter design of the older cameras was rejected in favor of a cheaper horizontal cloth-curtain shutter, reducing flash sync to a slow 1/60th second. Further cost savings were made internally, where some operating components were changed from metal to plastic.

The first version of the X-370, the chrome version that was made in Japan, was a rugged, all-metal camera that sometimes had greater appeal than the "plasticky" X-570, X-700, or later black versions of the X-370 (known as the X-7A) to photographers who place a premium on build quality.

As Minolta's autofocus Maxxums were proving successful, Minolta invested fewer resources in its manual focus line as time progressed.

Compact 35mm film cameras

Minolta entered the highly competitive 35mm compact camera market in the 1980s and transitioned from older rangefinder designs to "point-and-shoot" (P&S) electronic autofocus/autowind cameras. Minolta, like other major manufacturers faced with low-cost competition from elsewhere in Asia, found it difficult to build quality P&S cameras at a cost the consumer was willing to pay, and was forced to offshore production, gradually redesigning successive cameras to reduce cost and maintain profit margins.

Autofocus SLRs

Minolta purchased the patent rights to autofocus lens technology from Leica Camera in the 1970s. In 1985, Minolta introduced a new line of autofocus (AF) SLR cameras. In North America, they used the name Maxxum; in Europe, the cameras were called Dynax; and in Japan, they were named Alpha. They were Minolta's first line of automatic focus SLR cameras, and the first commercially successful autofocus SLRs the world had seen.

Minolta's marketing agency of record, The Manhattan-based William Esty Company branded the Minolta Maxxum, which was named by Creative Director George Morin. The round Minolta logo was developed by Art Director Herbert Clark with internationally renowned designer Saul Bass. The Minolta Freedom line of autofocus compacts were also branded at The William Esty Company, and named by Senior Copywriter Niels Peter Olsen. The Minolta Freedom line also included the Minolta Talker, the first point & shoot camera to incorporate a voice-chip that assisted with autofocus and flash operations. As a result of their innovations, the products that Minolta launched with The William Esty Company increased their camera sales from third, behind Canon & Nikon, to first in the U.S. marketplace.

With the Maxxum line, the heavy duty metal bodies of earlier Minoltas were abandoned in favor of lighter and less expensive plastics. The Maxxum 7000, the most popular of the new Maxxums, introduced the innovation of arrow buttons for setting aperture and shutter speed, rather than a shutter speed dial on the body and an aperture ring on the lens. That way, the only control necessary on the lens is the manual focus ring (plus the zoom ring in the case of zoom lenses).

The Maxxum 7000 had two 8-bit CPUs and six integrated circuits. A circuit on the lens relayed aperture information to the camera body, and the motor for autofocus was contained within the camera body. An LCD showed aperture, shutter speed, and frame count, while an infrared beam counted sprocket holes when advancing the film from frame to frame (this prevents the use of infrared film). The 7000 had TTL phase-detection focusing and metering, autoexposure, and predictive autofocus. All Maxxum cameras use the Minolta A-mount; earlier manual-focus Minolta SR-mount lenses are incompatible with the new AF cameras.

Unfortunately for Minolta, its autofocus design was found to infringe on the patents of Honeywell, a U.S. corporation. After protracted litigation, in 1991 Minolta was ordered to pay Honeywell damages, penalties, trial costs, and other expenses in a final amount of $127.6 million.

After the 4-digit Maxxum i line, which included the 3000i, 5000i, 7000i, and 8000i, came the 1-digit Maxxum xi line; followed by the 3-digit si line; the 1-digit line without letters (Alpha/Dynax/Maxxum 3, 4, 5, 7, 9); and finally, the Maxxum 50  (Dynax 40) and Maxxum 70 (Dynax 60).

APS format cameras
Minolta also invested in APS (Advanced Photo System) film-format cameras, most notably with the Vectis line of SLR cameras beginning in 1996.  APS later proved to be a technological dead end, as the cameras did not sell as hoped. Digital photography was entering the marketplace, and Minolta eventually discontinued all APS camera production.

Other developments

Minolta introduced features that became standard in all brands a few years later. Standardized features that were first introduced on Minolta models included multisensor light metering coupled to multiple AF sensors, automatic flash balance system, wireless TTL flash control, TTL-controlled full-time flash sync, and speedy front and rear wheels for shutter and aperture control. Special features introduced by Minolta are interactive LCD viewfinder display, setup memory, expansion program cards (discontinued), eye-activated startup, and infrared frame counter.

Merger with Konica

In an effort to strengthen market share and acquire additional assets in film, film cameras, and optical equipment, Minolta merged with another long-time Japanese camera manufacturer, Konica Ltd., in 2003. The new corporation was called Konica Minolta Ltd.

Until Konica Minolta announced their withdrawal plan in 2006, they made Maxxum/Dynax digital and film-based cameras (retaining the different names in the different markets), improving the design while maintaining the basic concepts. The Maxxum 4 is a low-priced 35 mm SLR with an A-type bayonet mount, built-in flash, autoexposure, predictive autofocus, electronically controlled vertical-traverse focal plane shutter, and through-the-lens (TTL) phase-detection focusing and metering. In advertising literature, Minolta claimed that the Maxxum 4 was the most compact 35 mm AF SLR, and the second fastest at autofocusing, while the Maxxum 5 was the fastest at autofocusing.  These cameras were, however, intended for the consumer end of the market.

Minolta made one last attempt to enter the amateur and professional market with the Maxxum (Dynax) 9 in 1998, followed by the Maxxum 7 in 2000, which used a full LCD readout on the rear of the camera. Though well received by the photographic press, the 7 and 9 did not sell to expectations or achieve any significant breakthrough with their intended customer base, who had largely gravitated to the Canon or Nikon brands. All of these cameras were eventually discontinued in favor of the less-expensive Maxxum 50 and 70, which were sold under the Minolta name until 2006, when Konica Minolta ceased production of all film cameras.

Digital cameras

Minolta had a line of digital point-and-shoot cameras to compete in the digital photography market. Their DiMAGE line included digital cameras and imaging software as well as film scanners.

Minolta created a new category of "bridge cameras," with the introduction of the DiMAGE 7. Designed for use by people familiar with 35mm single-lens reflex (SLR) cameras but without the added cost or complication of interchangeable lenses or optical reflex viewfinders, the DiMAGE incorporated many of the features of a higher-level film camera with the simplicity of smaller compact digicams. The camera had a traditional zoom ring and focus ring on the lens barrel and was equipped with an electronic viewfinder (EVF) rather than the direct optical reflex view of an SLR. It added other features such as a histogram, and the cameras were compatible with Minolta's flashes for modern film SLRs.

However, the DiMAGE 7 (including the DiMAGE A1, A2, and A200) and similar bridge cameras were not really adequate substitutes for professional SLR cameras, and initially there were many reports of slow autofocus speed and various malfunctions (this surfaced when a Sony-designed CCD chip would malfunction, rendering the camera useless. Minolta, however, issued a CCD alert and fixed faulty units free of charge; after Konica Minolta's withdrawal from the photo business, Sony took over the CCD alert until the warranty repair service was terminated in 2010). Minolta later innovated in this line by being the first manufacturer to integrate a mechanical antishake system (Minolta's antishake is based inside the camera body as opposed to the camera lens, common with Canon EF and Nikon AF lenses).

In January 2002, Minolta again created a new category of camera, introducing the Minolta DiMAGE X, an ultracompact digital with a 3x folded zoom lens. With the folded approach, no moving parts of the lens are external to the camera. Instead, a 45-degree mirror bounces light to a conventional zoom lens safely tucked inside the camera body. Fast startup times are one potential benefit of this design (since nothing needs to extend), but slow focus and shutter lag times marred the advantage of this innovation.

According to a press release by Konica Minolta they "Konica Minolta Photo Imaging Inc. ceased its Camera Business Operations as of 31 March 2006, and ceased the entire customer services for Konica Minolta cameras and related products as of 31 December 2010"

As of January 1, 2017, Minolta digital cameras are exclusively manufactured under license by Elite Brands Inc in the United States.

Digital SLRs

Although Minolta had launched their first digital SLR system as early as 1995, the RD-175 — a 3 sensor (3 x 0.38 megapixel) camera based on the Maxxum 500si — was never successful, and in 1998, it was superseded by the Minolta Dimâge RD 3000, a 3-megapixel DSLR based on the Minolta V-mount of Minolta's APS format SLR camera line, which was equally unsuccessful and short-lived.

While Minolta was the inventor of the modern integrated AF SLR, it took Konica Minolta a long time to enter the digital SLR market, a delay that may have proved fatal. Konica Minolta was the last of the large camera manufacturers to launch a digital SLR camera (Maxxum/Dynax 5D and 7D) using the 35 mm AF mount.  During July 2005, KM and Sony negotiated on a joint development of a new line of DSLR cameras,  where it was believed that Konica Minolta and Sony would market their DSLR line to the masses (much like the joint marketing and development of Pentax and Samsung K10/GX10 DSLRs).

On 19 January 2006, KM announced that all DSLR production would continue under Sony's management; DSLR camera assets were transferred to Sony during the Konica Minolta withdrawal phase until March 31, 2006, where technical support for these cameras (primarily Konica Minolta's other digital cameras) was assumed by Sony, who announced the first Konica Minolta-based Sony SLR — the Alpha A100 — on June 5, 2006. Sony continued the manufacture of DSLRs using Minolta technology until 2010 when the company phased out DSLRs for its SLT system but retained the Minolta A-mount.

Timeline

See also
 Rokkor
 Konica Minolta
 Laboratory equipment
 List of Minolta products
 Sony α Sony Alpha DSLR

References

Bibliography
 Photoxels.com. Brief History of Minolta. Retrieved on 2005-11-29 from https://web.archive.org/web/20060206183204/http://www.photoxels.com/history_minolta.html.
 Sony Corporation announced a new brand for digital Single Lens Reflex (SLR) cameras which Konica Minolta Photo Imaging, Inc. has developed.

External links

Konica Minolta
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Defunct companies of Japan
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Manufacturing companies established in 1928
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Optics manufacturing companies
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Japanese companies established in 1928
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Cameras

Minolta


හරේම්' (පර්සියානු: حرمسرا හරම්සරා,  හරීම්, "පූජනීයත්වය නොබිඳිය හැකි ස්ථානයක්; හරේම්; පවුලේ කාන්තා සාමාජිකයින්")
යනු මුස්ලිම් පවුලක නිවසේ කාන්තාවන් සඳහා වෙන් කර ඇති ගෘහස්ථ අවකාශයන් වෙත යොමු වේ. හරේමයක පුරුෂයෙකුගේ බිරිඳ හෝ භාර්යාවන්, ඔවුන්ගේ පූර්ව යොවුන් වියට පත් පිරිමි දරුවන්, අවිවාහක දියණියන්, ගෘහ සේවිකාවන් සහ අනෙකුත් අවිවාහක කාන්තා ඥාතීන් සිටිය හැක. අතීතයේ අන්තඃපුරවල, වහල්භාවයට පත් කාන්තාවන් වූ උපභාර්යාවන් ද නවාතැන් ගන්නා ලදී. පෙර කාලවලදී සමහර හරේම් ආරක්ෂා කළේ එනුක් වරු විසින් සහ පිරිමින් ලෙස ඔවුන්ට පමනක් ඇතුලට යාමට අවසර දී ඇත. හරේමයේ ව්‍යුහය සහ ඒකාධිකාරයේ හෝ බහු විවාහයේ ප්‍රමාණය පවුලේ පෞරුෂත්වය, සමාජ-ආර්ථික තත්ත්වය සහ ප්‍රාදේශීය සිරිත් විරිත් මත පදනම්ව වෙනස් වේ. අනෙකුත් මධ්‍යධරණී සහ මැද පෙරදිග ශිෂ්ටාචාරවල, විශේෂයෙන්ම රාජකීය සහ ඉහළ පන්තික පවුල් අතර සමාන ආයතන බහුලව දක්නට ලැබෙන අතර, මෙම පදය සමහර විට වෙනත් සන්දර්භයන්හිදී භාවිතා වේ.

කාන්තාවන් සඳහා අධ්‍යාපනය සහ ආර්ථික අවස්ථා ඉහළ යාම මෙන්ම බටහිර බලපෑම් හේතුවෙන් ආයතනය නවීන යුගයේ තියුනු පරිහානියකට මුහුණ දී ඇතත්, ග්‍රාමීය ඇෆ්ගනිස්ථානය සහ ගතානුගතික රාජ්‍යයන් වැනි ලෝකයේ සමහර ප්‍රදේශවල කාන්තාවන් හුදකලා කිරීම තවමත් ක්‍රියාත්මක වේ. බටහිර ලෝකයේ පෙරදිගවාදී මනඃකල්පිත සංකල්ප හරේමයේ ලිංගිකව යටපත් කිරීමේ සැඟවුණු ලෝකයක් වන අතර එහිදී බොහෝ කාන්තාවන් යෝජිත ඉරියව්වලින් සැරිසරන බොහෝ සිතුවම්, වේදිකා නිෂ්පාදන, චිත්‍රපට සහ සාහිත්‍ය කෘතිවලට බලපෑම් කර ඇත.

16 වැනි ශත වර්ෂය දක්වා දිවෙන සමහර පෙර යුරෝපීය පුනරුද සිතුවම් ඔටෝමාන් අන්තඃපුරයේ කාන්තාවන් තත්ත්වය සහ දේශපාලන වැදගත්කමක් ඇති පුද්ගලයන් ලෙස නිරූපණය කරයි. ඉස්ලාමීය ඉතිහාසයේ බොහෝ කාල පරිච්ඡේදවලදී, අන්තරයේ කාන්තාවන් ඔටෝමාන් අධිරාජ්‍යයේ කාන්තා සුල්තාන් රාජ්‍යය වැනි විවිධ දේශපාලන බලයන් ක්‍රියාත්මක කළහ.

මූලාශ්‍ර

හරේම්


Lillesand – Flaksvandbanen (LFB) var en smalsporet jernbane i Aust-Agder (nu Agder) fylke i Norge. Jernbanen gik fra Lillesand til Flaksvatn i Birkenes kommune. Den var i drift fra 1896 til 1953.

Historie
LFB var en smalsporet jernbane uden forbindelse til det nationale jernbanenet. Lokalt blev den kaldt for "Tertitten", og den blev anset for at være en tertiærbane med offentlig støtte og et begrænset trafikgrundlag. Tracéen fulgte stort set en nuværende fylkesvei 402.

Banen var den første til almindelig trafik, der blev åbnet i Agder-fylkerne. De første planer til den kom frem i begyndelsen af 1870'erne, da "Lillesand Jernbanekomité" ønskede at forbedre transporten af tømmer mellem nabobygderne og kysten.

I december 1884 tog amtsmanden i Nedenes spørgsmålet om bygningen af en ny jernbane op med Indredepartementet. Derefter blev "Komitéen for tertiær Jernbaneanlæg Lillesand-Flaksvand" udpeget. Den første undersøgelse af linjeføringen fandt sted i 1886.

Forslaget om anlæggelsen af banen blev fremsat for Stortinget 7. marts 1889 og vedtaget 22. juni 1891. 31. august 1891 fik "Det interkommunale Selskabet Lillesand-Flaksvandsbanen" ved kongelige resolution koncession for 30 år, regnet fra 4. juni 1896. Efterfølgende blev der givet syv yderligere koncessioner af varierende varighed.

Bygningen af banen kostede 537.350 NOK. Finansieringen skete hovedsageligt ved aktietegning og tilskud fra staten, Nedenes amt og forskellige kommuner. Aktiekapitalen var på 417.350 NOK med følgende fordeling: Staten 100.000 NOK, Nedenes amt 20.000 NOK, Lillesand kommune 181.500 NOK, Birkenes kommune 60.000 NOK, Vestre Moland kommune 28.700 NOK, Herefoss kommune 13.300 NOK, Mykland kommune 9.500 NOK, Vegusdal kommune 3.500 NOK og private i Åmli 850 NOK. Desuden gav staten et tilskud på 100.000 NOK og Nedenes amt et tilskud på 20.000 NOK. Efterfølgende gav Lillesand kommune et lån på 55.000 NOK og staten et rente- og afdragsfrit lån på 37.000 NOK.

Bygningen af banen blev foretaget af norske og svenske anlægsarbejder, såkaldte jernbanebørster. Alt arbejde skete med håndkraft med spader, trillebør og forskelligt stenhuggerværktøj. Arbejdet blev ledet af anlægsingeniør Nicolay N. Sontum fra Bergen. Den færdigbyggede bane, stationerne og materiellet blev besigtiget af Arbeidsdepartementet 21. maj 1896. Indvielsen blev foretaget af statsråd Peder Nilsen den 3. juni 1896.

Banen havde 13 ansatte: 1 driftsbestyrer (samtidig stationsforstander i Lillesand), 3 stationsforstanderen, 2 lokomotivførere, 2 fyrbødere, 1 konduktør, 1 remisearbejder og 2 banevogter. Driftsbestyrerne var: Bernt Siegvardt Ruud (1896–1900), Halvdan Holst (1900–1913), Nils Rosenberg (1913–1919), Arent Monrad Knudsen (1919–1948) og Odd Johannessen (1948–1956).

I 1900 blev 38 % (13.000 tylvter) af alt tømmer fra Tovdalselva transporteret med banen til Lillesand. Persontrafikken mindskedes hurtigt og overgik fra 1928 hovedsageligt til banens egne busser.

Selskabet ønskede at afvikle driften fra 1. juli 1953, men da det eneste lokomotiv, der var i drift, nr. 1 "Lillesand", forfaldt til hovedrevision 15. juni, blev dette dagen for det sidste tog. Selskabet havde forberedt overflytningen af tømmertransporten til egne lastbiler og fik af departementet lov til at gennemføre et prøveår, med jernbanens statstilskud, frem til 1. juli 1954. Lastbiltransporten faldt heldigt ud, og på generalforsamlingen 29. december 1954 blev det endeligt vedtaget at nedlægge banen. Derefter blev sporene og det rullende materiel udbudt til salg. Buddet gik til skrothandleren Arne Bakke i Oslo for 105.000 NOK. Sporene blev derefter fjernet og det rullende materiel hugget op.

Efter afviklingen af jernbanedriften fortsatte selskabet bag med rute- og lastbiler indtil 1968. Banens arkiv befinder sig hos Kuben i Arendal. Det omfatter blandt andet mødereferater, kopibøger, korrespondance, tegninger og regnskabsbøger.

Noter

Litteratur

Eksterne henvisninger

 Lillesand–Flaksvandbanens arkiv på Arkivportalen
 Norsk jernbaneklubb, stasjonsdatabasen
 Ekspropriasjonskart for jernbanelinjen, KUBEN avtrykkpå Flickr

Nedlagte jernbanestrækninger i Norge
Aust-Agder
Etableret i 1896
Ophørt i 1953

Lillesand–Flaksvandbanen


Il existe plusieurs routes ayant comme numéro 687 dans le monde.

 Route régionale 687 en Finlande
 Route nationale 687 en France

Route 687


Axonometric projection  is a type of orthographic projection used for creating a pictorial drawing of an object, where the object is rotated around one or more of its axes to reveal multiple sides.

Overview

"Axonometry" means "to measure along the axes". In German literature, axonometry is based on Pohlke's theorem, such that the scope of axonometric projection could encompass every type of parallel projection, including not only orthographic projection (and multiview projection), but also oblique projection. However, outside of German literature, the term "axonometric" is sometimes used only to distinguish between orthographic views where the principal axes of an object are not orthogonal to the projection plane, and orthographic views in which the principal axes of the object are orthogonal to the projection plane. (In multiview projection these would be called auxiliary views and primary views, respectively.) Confusingly, the term "orthographic projection" is also sometimes reserved only for the primary views.

Thus, in German literature, "axonometric projection" might be considered synonymous with "parallel projection", overall; but in English literature, an "axonometric projection" might be considered synonymous with an "auxiliary view" (versus a "primary view") in a "multiview orthographic projection".

With an axonometric projection, the scale of an object does not depend on its location (i.e., an object in the "foreground" has the same scale as an object in the "background"); consequently, such pictures look distorted, as human vision and photography use perspective projection, in which the perceived scale of an object depends on its distance and location from the viewer. This distortion, the direct result of a presence or absence of foreshortening, is especially evident if the object is mostly composed of rectangular features. Despite this limitation, axonometric projection can be useful for purposes of illustration, especially because it allows for simultaneously relaying precise measurements.

Three types

The three types of axonometric projection are isometric projection, dimetric projection, and trimetric projection, depending on the exact angle by which the view deviates from the orthogonal. Typically in axonometric drawing, as in other types of pictorials, one axis of space is shown to be vertical.

In isometric projection, the most commonly used form of axonometric projection in engineering drawing, the direction of viewing is such that the three axes of space appear equally foreshortened, and there is a common angle of 120° between them.  As the distortion caused by foreshortening is uniform, the proportionality between lengths is preserved, and the axes share a common scale; this eases one's ability to take measurements directly from the drawing.  Another advantage is that 120° angles are easily constructed using only a compass and straightedge.

In dimetric projection, the direction of viewing is such that two of the three axes of space appear equally foreshortened, of which the attendant scale and angles of presentation are determined according to the angle of viewing; the scale of the third direction is determined separately. Dimensional approximations are common in dimetric drawings.

In trimetric projection, the direction of viewing is such that all of the three axes of space appear unequally foreshortened. The scale along each of the three axes and the angles among them are determined separately as dictated by the angle of viewing. Dimensional approximations in trimetric drawings are common, and trimetric perspective is seldom used in technical drawings.

History
Axonometry originated in China. Unlike the linear perspective in European art whose perspective was objective, or looking from the outside, Chinese art used parallel projections within the painting that allowed the viewer to consider both the space and the ongoing progression of time in one scroll. The concept of isometry had existed in a rough empirical form for centuries, well before Professor William Farish (1759–1837) of Cambridge University was the first to provide detailed rules for isometric drawing.

Farish published his ideas in the 1822 paper "On Isometric Perspective", in which he recognized the "need for accurate technical working drawings free of optical distortion. This would lead him to formulate isometry. Isometry means "equal measures" because the same scale is used for height, width, and depth".

From the middle of the 19th century, according to Jan Krikke (2006)  isometry became an "invaluable tool for engineers, and soon thereafter axonometry and isometry were incorporated in the curriculum of architectural training courses in Europe and the U.S. The popular acceptance of axonometry came in the 1920s, when modernist architects from the Bauhaus and De Stijl embraced it". De Stijl architects like Theo van Doesburg used axonometry for their architectural designs, which caused a sensation when exhibited in Paris in 1923".

Since the 1920s axonometry, or parallel perspective, has provided an important graphic technique for artists, architects, and engineers. Like linear perspective, axonometry helps depict three-dimensional space on a two-dimensional picture plane. It usually comes as a standard feature of CAD systems and other visual computing tools. According to science author and Medium journalist Jan Krikke, axonometry, and the pictorial grammar that goes with it, has taken on a new significance with the introduction of visual computing and engineering drawing.

Limitations

As with other types of parallel projection, objects drawn with axonometric projection do not appear larger or smaller as they lie closer to or farther away from the viewer. While advantageous for architectural drawings, where measurements must be taken directly from the image, the result is a perceived distortion, since unlike perspective projection, this is not how human vision or photography normally works. It also can easily result in situations where depth and altitude are difficult to gauge, as is shown in the illustration to the right.

This visual ambiguity has been exploited in optical art, as well as "impossible object" drawings. Though not strictly axonometric, M. C. Escher's Waterfall (1961) is a well-known image, in which a channel of water seems to travel unaided along a downward path, only to then paradoxically fall once again as it returns to its source. The water thus appears to disobey the law of conservation of energy.

References

Further reading

 Yve-Alain Bois, "Metamorphosis of Axonometry," Daidalos, no. 1 (1981), pp. 41–58

Graphical projections

Axonometric projection


Back in the USA is the debut studio album (and second album overall, following 1969's live album Kick Out the Jams) by American rock band MC5.

Background

The central focus of the album is the band's movement away from the raw, thrashy sound pioneered and captured on their first release, the live album Kick Out the Jams (1969). This was due in part to producer Jon Landau's distaste for the rough psychedelic rock movement, and his adoration for the straightforward rock and roll of the 1950s.

Landau, who originally wrote for Rolling Stone magazine, was looking to get more involved in actual music production. Becoming close with Atlantic Records executive Jerry Wexler was his chance and led Landau to the politically radical MC5, who had just been picked up by Atlantic after being dropped from Elektra Records in 1969 – the Kinney National Company (later known as Time Warner), parent of Atlantic, acquired Elektra in the same year of this album's release; both labels are now part of the Warner Music Group (now a separate company from TW), through the Atlantic Records Group.

Content

The opening track is a cover of the classic hit "Tutti Frutti" by Little Richard. "Let Me Try" is a ballad. "The American Ruse" attacks what the Detroit quintet saw as the hypocritical idea of freedom espoused by the US government, and "The Human Being Lawnmower" expresses opposition to the US involvement in the Vietnam War. The last song on the album, which is the title track, is a cover of Chuck Berry's 1959 single "Back in the U.S.A."

Release and reception

Reviewing Back in the USA for Rolling Stone in 1970, Greil Marcus admired the album's "attempt to define themes and problems and an offering of political, social, and emotional solutions", but found that "the music, the sound, and in the end the care with which these themes have been shaped drags it down, save for two or three fine numbers that deserve to be played on every jukebox in the land". Though the album was viewed as a flop early on by most fans, and lacked the commercial success of their previous release, it would later be considered highly important due to the album's absolute projection of MC5's core sound and earliest influences.

In his retrospective review, Jason Ankeny of AllMusic wrote, "While lacking the monumental impact of Kick Out the Jams, the MC5's second album is in many regards their best and most influential".

Legacy

In 2012, Back in the USA was ranked number 446 on Rolling Stones list of the 500 greatest albums of all time. The following year, NME placed the album at number 490 on its own similar list.

Jason Ankeny of AllMusic commented that "[the album's] lean, edgy sound anticipat[ed] the emergence of both the punk and power pop movements to follow later in the decade."

Track listing

Personnel
MC5
 Rob Tyner – vocals
 Wayne Kramer – guitar, vocals on first & third chorus of "Back in the USA", guitar solos on "Tutti Frutti", "Teenage Lust" and "Looking at You"
 Fred "Sonic" Smith – guitar, guitar solo on "The American Ruse", lead vocals on "Shakin' Street" and second chorus of "Back in the USA"
 Michael Davis – bass
 Dennis Thompson – drums

 Additional personnel
 Danny Jordan – keyboards

 Technical
 Jon Landau – production
 Jim Bruzzese – engineer
 Stephen Paley – art direction, cover photography
 Joan Marker – design

References

External links

1970 debut albums
MC5 albums
Albums produced by Jon Landau
Atlantic Records albums

Back in the USA (album)


Charles William Bachman (, SAD, 11. prosinca 1924. - , 13. srpnja 2017.) bio je američki informatičar koji je 1973. godine dobio Turingovu nagradu za svoje doprinose razvoju baza podataka.

Cijelu je karijeru proveo kao industrijski istraživač, programer i menadžer, a ne u akademiji. Bio je posebno poznat po svom radu u ranom razvoju sustava upravljanja bazama podataka. Njegove tehnike slojevite arhitekture uključuju njegove Bachmanove dijagrame nazvane po njemu.

Životopis
Charles Bachman rođen je 1924. gradu , gdje je njegov otac Charles Bachman Jr. bio glavni nogometni trener na Kansas State Collegeu. Pohađao je srednju školu u gradu .

U Drugom svjetskom ratu pridružio se vojsci Sjedinjenih Država. Oko 2 godine, od ožujka 1944. do veljače 1946., je proveo na jugozapadnom Pacifiku, služeći u protuzrakoplovnom artiljerijskom korpusu u Novoj Gvineji, Australiji i Filipinskim otocima. Tamo je prvi put koristio računala za upravljanje vatrom za ciljanje topova od 90 mm.

Nakon otpusta 1946. godine pohađao je Michigan State College, gdje je 1948. diplomirao strojarstvo. Bio je član Tau Beta Pi. Sredinom 1949. oženio se Connie Hadley. Potom je pohađao Sveučilište u Pennsylvaniji, gdje je 1950. magistrirao strojarstvo.

Bachman je umro 13. srpnja 2017. u svojoj kući u Lexingtonu, Massachusetts, od Parkinsonove bolesti u dobi od 92 godine.

Izvori

Vanjske poveznice
 Biografija Charlesa Bachmana
 Popis radova Charlesa Bachmana

Američki znanstvenici
Dobitnici Turingove nagrade

Charles Bachman


An Puccinellia glaucescens in uska species han Liliopsida nga syahan ginhulagway ni Rodolfo Amando Philippi, ngan ginhatag han pagkayana nga asya nga ngaran ni Parodi. An Puccinellia glaucescens in nahilalakip ha genus nga Puccinellia, ngan familia nga Poaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Puccinellia

Puccinellia glaucescens


52309 Philnicolai este un asteroid din centura principală de asteroizi.

Descriere
52309 Philnicolai este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Tautenburg de Freimut Börngen. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 2,79 ua, o excentricitate de 0,04 și o înclinație de 18,3° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 52001-53000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1991
Centura de asteroizi

52309 Philnicolai


Kanonen er en film instrueret af Jørgen Vestergaard.

Handling
En reportage fra foråret 2005 om flytningen af den 110 tons tunge kanon fra Tøjhusmuseet i København til Hanstholm.

Referencer

Eksterne henvisninger

Danske film fra 2005
Film instrueret af Jørgen Vestergaard
Dokumentarfilm fra Danmark

Kanonen (film)