carbon fixation or the Hatch–Slack pathway is one of three known photosynthetic processes of carbon fixation in plants. It owes the names to the 1960s discovery by Marshall Davidson Hatch and Charles Roger Slack that some plants, when supplied with 14, incorporate the 14C label into four-carbon molecules first.

 fixation is an addition to the ancestral and more common  carbon fixation. The main carboxylating enzyme in  photosynthesis is called RuBisCO, which catalyses two distinct reactions using either  (carboxylation) or oxygen (oxygenation) as a substrate. RuBisCO oxygenation gives rise to phosphoglycolate, which is toxic and requires the expenditure of energy to recycle through photorespiration.  photosynthesis reduces photorespiration by concentrating  around RuBisCO.

To enable RuBisCO to work in an environment where there is a lot of carbon dioxide and very little oxygen,  leaves generally contain two partially isolated compartments called mesophyll cells and bundle-sheath cells.  is initially fixed in the mesophyll cells in a reaction catalysed by the enzyme PEP carboxylase in which the three-carbon phosphoenolpyruvate (PEP) reacts with  to form the four-carbon oxaloacetic acid (OAA). OAA can then be reduced to malate or transaminated to aspartate. These intermediates diffuse to the bundle sheath cells, where they are decarboxylated, creating a -rich environment around RuBisCO and thereby suppressing photorespiration. The resulting pyruvate (PYR), together with about half of the phosphoglycerate (PGA) produced by RuBisCO, diffuses back to the mesophyll. PGA is then chemically reduced and diffuses back to the bundle sheath to complete the reductive pentose phosphate cycle (RPP). This exchange of metabolites is essential for  photosynthesis to work.

Additional biochemical steps require more energy in the form of ATP to regenerate PEP, but concentrating  allows high rates of photosynthesis at higher temperatures. Higher CO2 concentration overcomes the reduction of gas solubility with temperature (Henry's law). The  concentrating mechanism also maintains high gradients of  concentration across the stomatal pores. This means that  plants have generally lower stomatal conductance, reduced water losses and have generally higher water-use efficiency.  plants are also more efficient in using nitrogen, since PEP carboxylase is cheaper to make than RuBisCO. However, since the  pathway does not require extra energy for the regeneration of PEP, it is more efficient in conditions where photorespiration is limited, typically at low temperatures and in the shade.

Discovery
The first experiments indicating that some plants do not use  carbon fixation but instead produce malate and aspartate in the first step of carbon fixation were done in the 1950s and early 1960s by Hugo Peter Kortschak and Yuri Karpilov. The  pathway was elucidated by Marshall Davidson Hatch and Charles Roger Slack, in Australia, in 1966. While Hatch and Slack originally referred to the pathway as the "C4 dicarboxylic acid pathway", it is sometimes called the Hatch–Slack pathway.

Anatomy

 plants often possess a characteristic leaf anatomy called kranz anatomy, from the German word for wreath. Their vascular bundles are surrounded by two rings of cells; the inner ring, called bundle sheath cells, contains starch-rich chloroplasts lacking grana, which differ from those in mesophyll cells present as the outer ring. Hence, the chloroplasts are called dimorphic. The primary function of kranz anatomy is to provide a site in which  can be concentrated around RuBisCO, thereby avoiding photorespiration. Mesophyll and bundle sheath cells are connected through numerous cytoplasmic sleeves called plasmodesmata whose permeability at leaf level is called bundle sheath conductance. A layer of suberin is often deposed at the level of the middle lamella (tangential interface between mesophyll and bundle sheath) in order to reduce the apoplastic diffusion of  (called leakage). The carbon concentration mechanism in  plants distinguishes their isotopic signature from other photosynthetic organisms.

Although most  plants exhibit kranz anatomy, there are, however, a few species that operate a limited  cycle without any distinct bundle sheath tissue. Suaeda aralocaspica, Bienertia cycloptera, Bienertia sinuspersici and Bienertia kavirense (all chenopods) are terrestrial plants that inhabit dry, salty depressions in the deserts of the Middle East. These plants have been shown to operate single-cell  -concentrating mechanisms, which are unique among the known  mechanisms. Although the cytology of both genera differs slightly, the basic principle is that fluid-filled vacuoles are employed to divide the cell into two separate areas. Carboxylation enzymes in the cytosol are separated from decarboxylase enzymes and RuBisCO in the chloroplasts.  A diffusive barrier is between the chloroplasts (which contain RuBisCO) and the cytosol. This enables a bundle-sheath-type area and a mesophyll-type area to be established within a single cell. Although this does allow a limited  cycle to operate, it is relatively inefficient. Much leakage of  from around RuBisCO occurs.

There is also evidence of inducible  photosynthesis by non-kranz aquatic macrophyte Hydrilla verticillata under warm conditions, although the mechanism by which  leakage from around RuBisCO is minimised is currently uncertain.

Biochemistry
In  plants, the first step in the light-independent reactions of photosynthesis is the fixation of  by the enzyme RuBisCO to form 3-phosphoglycerate. However, RuBisCo has a dual carboxylase and oxygenase activity. Oxygenation results in part of the substrate being oxidized rather than carboxylated, resulting in loss of substrate and consumption of energy, in what is known as photorespiration. Oxygenation and carboxylation are competitive, meaning that the rate of the reactions depends on the relative concentration of oxygen and .

In order to reduce the rate of photorespiration,  plants increase the concentration of  around RuBisCO. To do so two partially isolated compartments differentiate within leaves, the mesophyll and the bundle sheath. Instead of direct fixation by RuBisCO,  is initially incorporated into a four-carbon organic acid (either malate or aspartate) in the mesophyll. The organic acids then diffuse through plasmodesmata into the bundle sheath cells.  There, they are decarboxylated creating a -rich environment. The chloroplasts of the bundle sheath cells convert this  into carbohydrates by the conventional  pathway.

There is large variability in the biochemical features of C4 assimilation, and it is generally grouped in three subtypes, differentiated by the main enzyme used for decarboxylation ( NADP-malic enzyme, NADP-ME; NAD-malic enzyme, NAD-ME; and PEP carboxykinase, PEPCK). Since PEPCK is often recruited atop NADP-ME or NAD-ME it was proposed to classify the biochemical variability in two subtypes. For instance, maize and sugarcane use a combination of NADP-ME and PEPCK, millet uses preferentially NAD-ME and Megathyrsus maximus, uses preferentially PEPCK.

NADP-ME
The first step in the NADP-ME type  pathway is the conversion of pyruvate (Pyr) to phosphoenolpyruvate (PEP), by the enzyme Pyruvate phosphate dikinase (PPDK). This reaction requires inorganic phosphate and ATP plus pyruvate, producing PEP, AMP, and inorganic pyrophosphate (PPi). The next step is the carboxylation of PEP by the PEP carboxylase enzyme (PEPC) producing oxaloacetate. Both of these steps occur in the mesophyll cells:

pyruvate + Pi + ATP → PEP + AMP + PPi
PEP +  → oxaloacetate

PEPC has a low KM for  — and, hence, high affinity, and is not confounded by O2 thus it will work even at low concentrations of .

The product is usually converted to malate (M), which diffuses to the bundle-sheath cells surrounding a nearby vein. Here, it is decarboxylated by the NADP-malic enzyme (NADP-ME) to produce  and pyruvate. The  is fixed by RuBisCo to produce phosphoglycerate (PGA) while the pyruvate is transported back to the mesophyll cell, together with about half of the phosphoglycerate (PGA). This PGA is chemically reduced in the mesophyll and diffuses back to the bundle sheath where it enters the conversion phase of the Calvin cycle. For each  molecule exported to the bundle sheath the malate shuttle transfers two electrons, and therefore reduces the demand of reducing power in the bundle sheath.

NAD-ME

Here, the OAA produced by PEPC is transaminated by aspartate aminotransferase to aspartate (ASP) which is the metabolite diffusing to the bundle sheath. In the bundle sheath ASP is transaminated again to OAA and then undergoes a futile reduction and oxidative decarboxylation to release . The resulting Pyruvate is transaminated to alanine, diffusing to the mesophyll. Alanine is finally transaminated to pyruvate (PYR) which can be regenerated to PEP by PPDK in the mesophyll chloroplasts. This cycle bypasses the reaction of malate dehydrogenase in the mesophyll and therefore does not transfer reducing equivalents to the bundle sheath.

PEPCK

In this variant the OAA produced by aspartate aminotransferase in the bundle sheath is decarboxylated to PEP by PEPCK. The fate of PEP is still debated. The simplest explanation is that PEP would diffuse back to the mesophyll to serve as a substrate for PEPC. Because PEPCK uses only one ATP molecule, the regeneration of PEP through PEPCK would theoretically increase photosynthetic efficiency of this subtype, however this has never been measured. An increase in relative expression of PEPCK has been observed under low light, and it has been proposed to play a role in facilitating balancing energy requirements between mesophyll and bundle sheath.

Metabolite exchange
While in  photosynthesis each chloroplast is capable of completing light reactions and dark reactions,  chloroplasts differentiate in two populations, contained in the mesophyll and bundle sheath cells. The division of the photosynthetic work between two types of chloroplasts results inevitably in a prolific exchange of intermediates between them. The fluxes are large and can be up to ten times the rate of gross assimilation. The type of metabolite exchanged and the overall rate will depend on the subtype. To reduce product inhibition of photosynthetic enzymes (for instance PECP) concentration gradients need to be as low as possible. This requires increasing the conductance of metabolites between mesophyll and bundle sheath, but this would also increase the retro-diffusion of  out of the bundle sheath, resulting in an inherent and inevitable trade off in the optimisation of the  concentrating mechanism.

Light harvesting and light reactions
To meet the NADPH and ATP demands in the mesophyll and bundle sheath, light needs to be harvested and shared between two distinct electron transfer chains. ATP may be produced in the bundle sheath mainly through cyclic electron flow around Photosystem I, or in the M mainly through linear electron flow depending on the light available in the bundle sheath or in the mesophyll. The relative requirement of ATP and NADPH in each type of cells will depend on the photosynthetic subtype. The apportioning of excitation energy between the two cell types will influence the availability of ATP and NADPH in the mesophyll and bundle sheath. For instance, green light is not strongly adsorbed by mesophyll cells and can preferentially excite bundle sheath cells, or vice versa for blue light. Because bundle sheaths are surrounded by mesophyll, light harvesting in the mesophyll will reduce the light available to reach BS cells. Also, the bundle sheath size limits the amount of light that can be harvested.

Efficiency
Different formulations of efficiency are possible depending on which outputs and inputs are considered. For instance, average quantum efficiency is the ratio between gross assimilation and either absorbed or incident light intensity. Large variability of measured quantum efficiency is reported in the literature between plants grown in different conditions and classified in different subtypes but the underpinnings are still unclear. One of the components of quantum efficiency is the efficiency of dark reactions, biochemical efficiency, which is generally expressed in reciprocal terms as ATP cost of gross assimilation (ATP/GA).

In  photosynthesis ATP/GA depends mainly on  and O2 concentration at the carboxylating sites of RuBisCO. When  concentration is high and O2 concentration is low photorespiration is suppressed and  assimilation is fast and efficient, with ATP/GA approaching the theoretical minimum of 3.

In  photosynthesis  concentration at the RuBisCO carboxylating sites is mainly the result of the operation of the  concentrating mechanisms, which cost circa an additional 2 ATP/GA but makes efficiency relatively insensitive of external  concentration in a broad range of conditions.

Biochemical efficiency depends mainly on the speed of  delivery to the bundle sheath, and will generally decrease under low light when PEP carboxylation rate decreases, lowering the ratio of /O2 concentration at the carboxylating sites of RuBisCO. The key parameter defining how much efficiency will decrease under low light is bundle sheath conductance. Plants with higher bundle sheath conductance will be facilitated in the exchange of metabolites between the mesophyll and bundle sheath and will be capable of high rates of assimilation under high light. However, they will also have high rates of  retro-diffusion from the bundle sheath (called leakage) which will increase photorespiration and decrease biochemical efficiency under dim light. This represents an inherent and inevitable trade off in the operation of  photosynthesis.  plants have an outstanding capacity to attune bundle sheath conductance. Interestingly, bundle sheath conductance is downregulated in plants grown under low light and in plants grown under high light subsequently transferred to low light as it occurs in crop canopies where older leaves are shaded by new growth.

Evolution and advantages

 plants have a competitive advantage over plants possessing the more common  carbon fixation pathway under conditions of drought, high temperatures, and nitrogen or  limitation. When grown in the same environment, at 30 °C,  grasses lose approximately 833 molecules of water per  molecule that is fixed, whereas  grasses lose only 277. This increased water use efficiency of  grasses means that soil moisture is conserved, allowing them to grow for longer in arid environments.

 carbon fixation has evolved in up to 61 independent occasions in 19 different families of plants, making it a prime example of convergent evolution. This convergence may have been facilitated by the fact that many potential evolutionary pathways to a  phenotype exist, many of which involve initial evolutionary steps not directly related to photosynthesis.  plants arose around  during the Oligocene (precisely when is difficult to determine) and did not become ecologically significant until around , in the Miocene.  metabolism in grasses originated when their habitat migrated from the shady forest undercanopy to more open environments, where the high sunlight gave it an advantage over the  pathway. Drought was not necessary for its innovation; rather, the increased parsimony in water use was a byproduct of the pathway and allowed  plants to more readily colonize arid environments.

Today,  plants represent about 5% of Earth's plant biomass and 3% of its known plant species. Despite this scarcity, they account for about 23% of terrestrial carbon fixation. Increasing the proportion of  plants on earth could assist biosequestration of  and represent an important climate change avoidance strategy. Present-day  plants are concentrated in the tropics and subtropics (below latitudes of 45 degrees) where the high air temperature increases rates of photorespiration in  plants.

Plants that use  carbon fixation

About 8,100 plant species use  carbon fixation, which represents about 3% of all terrestrial species of plants. All these 8,100 species are angiosperms.  carbon fixation is more common in monocots compared with dicots, with 40% of monocots using the  pathway, compared with only 4.5% of dicots. Despite this, only three families of monocots use  carbon fixation compared to 15 dicot families. Of the monocot clades containing  plants, the grass (Poaceae) species use the  photosynthetic pathway most. 46% of grasses are  and together account for 61% of  species.  has arisen independently in the grass family some twenty or more times, in various subfamilies, tribes, and genera, including the Andropogoneae tribe which contains the food crops maize, sugar cane, and sorghum. Various kinds of millet are also . Of the dicot clades containing  species, the order Caryophyllales contains the most species. Of the families in the Caryophyllales, the Chenopodiaceae use  carbon fixation the most, with 550 out of 1,400 species using it. About 250 of the 1,000 species of the related Amaranthaceae also use .

Members of the sedge family Cyperaceae, and members of numerous families of eudicots – including Asteraceae (the daisy family), Brassicaceae (the cabbage family), and Euphorbiaceae (the spurge family) – also use .

No large trees (above 15 m in height) use , however a number of small trees or shrubs smaller than 10 m exist which do: six species of Euphorbiaceae all native to Hawaii and two species of Amaranthaceae growing in deserts of the Middle-East and Asia.

Converting  plants to

Given the advantages of , a group of scientists from institutions around the world are working on the  Rice Project to produce a strain of rice, naturally a  plant, that uses the  pathway by studying the  plants maize and Brachypodium. As rice is the world's most important human food—it is the staple food for more than half the planet—having rice that is more efficient at converting sunlight into grain could have significant global benefits towards improving food security. The team claim  rice could produce up to 50% more grain—and be able to do it with less water and nutrients.

The researchers have already identified genes needed for  photosynthesis in rice and are now looking towards developing a prototype  rice plant. In 2012, the Government of the United Kingdom along with the Bill & Melinda Gates Foundation provided US$14 million over three years towards the  Rice Project at the International Rice Research Institute. In 2019, the Bill & Melinda Gates Foundation granted another US$15 million to the Oxford-University-led C4 Rice Project. The goal of the 5-year project is to have experimental field plots up and running in Taiwan by 2024.

C2 photosynthesis, an intermediate step between  and Kranz , may be preferred over  for rice conversion. The simpler system is less optimized for high light and high temperature conditions than , but has the advantage of requiring fewer steps of genetic engineering and performing better than  under all temperatures and light levels. In 2021, the UK Government provided £1.2 million on studying C2 engineering.

See also
 C2 photosynthesis
 CAM photosynthesis
  photosynthesis

References

External links
 Khan Academy, video lecture

Photosynthesis

C4 carbon fixation


American Society of Mechanical Engineers (Societatea Americană  a Inginerilor Mecanici,  ASME) este o asociație profesională a inginerilor mecanici în Statele Unite. Asociația, care are sediul în New York, a fost fondată în 1880 și cuprinde circa 130.000 de membri (conform evidențelor din anul 2013). În afara SUA, ASME deține birouri în Belgia, China și India (conform evidențelor din anul 2015).

Asociația se concentrează pe:
 Promovarea științei și ingineriei prin organizarea de conferințe și simpozioane,
 Profesionalizare prin organizarea de cursuri și prelegeri,
 Elaborarea de orientări și standarde tehnice,
 Auditarea și certificarea companiilor în conformitate cu reglementările ASME publicate.

ASME este împărțit în 37 de societăți profesionale, de exemplu pentru construcția de aeronave, tehnologia materialelor, nanotehnologie, inginerie de centrale electrice, tehnologie feroviară, tehnologia transferului de căldură, mecanica fluidelor, tehnologia vaselor sub presiune  și tehnologia conductelor.

Note

Legături externe

 asme.org - Website-ul ASME

Vezi și

Organizații profesionale


Assiniboine River 1.070 km lang flod som løber over prærierne i det vestlige Canada i provinserne Saskatchewan og Manitoba. Den er et tilløb til Red River. Assiniboine er en typisk meanderende flod. Dens hovedtilløb er floderne Qu'Appelle, Souris og Whitesand.

Floden har navn efter First Nations-folket Assiniboine.<ref>R. Douglas, Place names of Manitoba, Geographic Board of Canada, Department of Interior, Canada, 1933 Robert Douglas fra Geographical Board of Canada skrev i 1933 flere kommentarer om navnet: "The name commemorates the Assiniboine natives called by La Vérendrye in 1730 'Assiniboils' and by Governor Knight in 1715 of the Hudson's Bay Company 'stone Indians.' Assiniboine is the name of an First nation and is derived from the Ojibwe words 'asin' a stone and 'bwaan' the Sioux, hence Stony Sioux name was possibly given because they used heated stones in cooking their food."</ref>
 Flodens løb

Assiniboine River kommer fra den østlige del af Saskatchewan øst for byen of Kelvington på det øvre prærieniveau ovenfor Manitoba Escarpment (Manitobaskrænten). Assiniboine River løber gennem tre zoner med forskellige karakteristika. Oven for Brandon, løber hovedstammen af floden og dens bifloder i en meget stor dal, som blev skåret af store smeltevandsfloder ved afslutningen af sidste istid. Denne flodslette udgør et et stort reservoirvolumen som muliggjorde oprettelsen af dæmningen Shellmouth Dam i nærheden af byen Russell. Hovedtilløbene på denne strækning er floderne Qu'Appelle, Shell og Little Saskatchewan.
Istidsstrømmende dannede et stort delta øst for Brandon som udvider sig næsten til Portage la Prairie. Floden har eroderet ned gennem sedimenterne i deltaet og skåret en snæver dal, og falder omkring 150 meter til Lake Agassiz – Red River Plain. Souris River er hovedtilløbet på denne strækning.

I nærheden af Portage la Prairie løber floden fra deltaet ud på den relativt Red River Sletten (bunden af den tidligere gletsjersø Lake Agassiz'') og løber til sidst ud i Red River ved "The Forks" i Winnipeg.

Andre tilløb er Whitesand River som løber til ved Kamsack, Souris River, som løber til ved Wawanesa, Birdtail River ved Birdtail Sioux First Nation.

Se også
 Canadas længste floder

Eksterne kilder og henvisninger

Saskatchewan
Manitoba
Vandløb i Canada

Assiniboine River


Driessche ist der Familienname folgender Personen:

 Carlos Van den Driessche (1901–1972), belgischer Eishockeyspieler und Ruderer
 Christiaan Van Driessche (* 1944), belgischer Diplomat
 Femke Van Den Driessche (* 1996), belgische Radsportlerin
 Frédéric van den Driessche (* 1956), französischer Schauspieler, Synchronsprecher und Drehbuchautor
 Pauline van den Driessche (* 1941), britisch-kanadische Mathematikerin

Siehe auch:
 Vandendriessche

Van den Driessche


NBA 1988./89. je bila 43. po redu sezona sjevernoameričke profesionalne košarkaške lige.

U finalnoj seriji doigravanja prvaci Istočne konferencije Detroit Pistonsi su omjerom 4:0 pobijedili prvake Zapadne konferencije Los Angeles Lakerse i tako osvojili prvi naslov prvaka u povijesti. Od ove sezone, u ligu su kao 24. i 25. momčad ušli Miami Heat i Charlotte Hornetsi.

Poredak po divizijama na kraju regularnog dijela sezone

Napomena: (d) - ušli u doigravanje, Pob - pobjede, Por - porazi

Doigravanje

Napomena: u zagradi je plasman unutar konferencije

Finalna serija

Napomena: (I) - pobjednik Istočne konferencije, (Z) - pobjednik Zapadne konferencije

Nagrade za sezonu 1988./89.

Izvori

1988./89.

NBA 1988./89.


The World Club Series was an annual rugby league football competition played between clubs from the NRL (Australia and New Zealand) and the Super League (England and France).

The competition saw a number of RFL vs NRL club matches before culminating with the World Club Challenge, a single match played between the reigning champions of each league. The winner of the competition would be the competition whose clubs had won the most matches.

History

Origin

The World Club Series was created as an expansion to the World Club Challenge competition which has been played sporadically since it began unofficially in 1976. Games were played on a somewhat ad-hoc basis throughout the 1980s and 1990s before returning to a one-off match between the League champions in 1998.

Between 1998 and 2014 the World Club Challenge was played as an annual fixture at the beginning of each Rugby League season.

2014: Creation
In September 2014 it was announced that the World Club Challenge would be expanded, with four extra clubs participating in the World Club Series. The first edition took place between 20 and 22 February 2015 and featured three matches, the first and second essentially being two exhibition games and the final game being for the World Club Challenge match between the two respective premiers as in previous years. The first World Club Series was won outright by the Australians with St. George Illawarra Dragons and Brisbane Broncos narrowly beating Warrington Wolves and Wigan Warriors in the first two games to win the series and South Sydney beating St Helens 39–0 in the World Club Challenge, which was the biggest winning margin in the history of the competition.

2015–2016: Possible Further Expansion

In 2016 a possible expansion to 8 teams was suggested. This would see two games being played in Australia and two games being played in the UK. The World Club Challenge would be played alternatively between the UK and Australia each year and a new points system would be introduced to determine the series winners: one point would be awarded to the winners of the first four games and two points to the winners of the World Club Challenge.

This expansion ultimately did not eventuate and it remained a six team format in 2015 and 2016.

2017: Contraction

In 2017, the format was reduced to 4 teams, with the NRL citing tight schedules, distant travel and long seasons as an impediment to their participation in the Series. After the NRL negotiated with the Brisbane Broncos, it was decided that they would represent the NRL in an exhibition match vs Warrington Wolves prior to the usual Challenge game between the Super League Champions Wigan Warriors and Cronulla Sutherland Sharks, maintaining the overall Series concept. 2017 would be Super League's first victory since the series began, with Warrington winning 27–18 against Brisbane, and Wigan beating Cronulla 22–6.

Following the reluctance of Australian teams to travel to England for the 2017 tournament there were similar issues with the 2018 tournament. This coupled with, the 2017 Rugby League World Cup being played in Australia at the end of 2017 meant that the preseason for Australian teams was going to be unusually short ahead of the 2018 season and therefore they did not want to make the trip to England for the 2018 series. The Melbourne Storm (2017 NRL Premiers) in particular were reluctant to travel, meaning the series was in danger of cancellation for the first time since the 1990s as it was the Storm that was playing in the World Club Challenge.

In addition and as part of this trip to Australia, Wigan and Hull would also play two exhibition games against South Sydney Rabbitohs and St George Illawarra Dragons respectively. These were separately arranged fixtures and not considered part of the World Club Series.

2018–: Return of the World Club Challenge

In November 2017, it was confirmed that the World Club Challenge would return to a one-game format for the first time since 2014 with Super League Champions Leeds Rhinos travelling to Australia to play NRL Champions Melbourne Storm at AAMI Park in Melbourne.  On 16 February 2018, Melbourne Storm were victorious, outscoring Leeds Rhinos by 38 points to 4.

It is not known if and or when an expanded World Club Series will return and the 2019 World Club Challenge will again be a one-game format with NRL Premiership-winners, Sydney Roosters travelling to the UK to play Super League Champions Wigan Warriors at Wigan's DW Stadium on Sunday 17 February 2019 (kick-off 7pm).

Qualification
Qualification rules in the two league competitions mean that, in theory, teams from four different countries could compete in the competition.  English and French teams compete in the Super League and so are eligible to win that competition and qualify for the series.  In the NRL, teams from Australia and one team from New Zealand compete and so could win their league to qualify.

Super League
The two teams from Super League that qualify to play in the World Club Series are:
League Leaders
Grand Final Winners

If a team wins both Grand Final and League Leaders' Shield then the Grand Final runners up will qualify.

NRL
Qualification for the NRL has varied since the World Club series was first instituted in 2015. While the NRL Premiers always play off for the World club Challenge each year, the teams representing the NRL in the other two games have altered from year to year. Normally, the Grand Final Winners, Runners up and Minor Premiers are given first option to play; however, history has shown that it is either invited teams that make up the numbers or teams that are "willing to travel" who take part.

Results
 Each match with a gold background is the World Club Challenge match.

NOTE: No series in 2018, reverted to a single World Club Challenge match

Club statistics

Series wins

Venues

Attendance

Highest

Lowest

Referees

Most matches refereed

Sponsors

Records

See also

References

Sources

 Rugby Super League website
 telegraph.co.uk website

External links
RLIF.ORG – Rugby League International Federation
World Club Challenge Preview
World Club Challenge Review
World Club Challenge at 188-rugby-league.co.uk

Recurring sporting events established in 2015

World Club Series


Henry Ernest Dudeney (10 April 1857 – 23 April 1930) was an English author and mathematician who specialised in logic puzzles and mathematical games. He is known as one of the country's foremost creators of mathematical puzzles.

Early life

Dudeney was born in the village of Mayfield, East Sussex, England, one of six children of Gilbert and Lucy Dudeney. His grandfather, John Dudeney, was well known as a self-taught mathematician and shepherd; his initiative was much admired by his grandson. Dudeney learned to play chess at an early age, and continued to play frequently throughout his life. This led to a marked interest in mathematics and the composition of puzzles. Chess problems in particular fascinated him during his early years.

Career
Although Dudeney spent his career in the Civil Service, he continued to devise various problems and puzzles. Dudeney's first puzzle contributions were submissions to newspapers and magazines, often under the pseudonym of "Sphinx." Much of this earlier work was a collaboration with American puzzlist Sam Loyd; in 1890, they published a series of articles in the English penny weekly Tit-Bits.

Dudeney later contributed puzzles under his real name to publications such as The Weekly Dispatch, The Queen, Blighty, and Cassell's Magazine. For twenty years, he had a successful column, "Perplexities", in The Strand Magazine, edited by the former editor of Tit-Bits, George Newnes. Dudeney continued to exchange puzzles with fellow recreational mathematician Sam Loyd for a while, but broke off the correspondence and accused Loyd of stealing his puzzles and publishing them under his own name.

Some of Dudeney's most famous innovations were his 1903 success at solving the Haberdasher's Puzzle (Cut an equilateral triangle into four pieces that can be rearranged to make a square) and publishing the first known crossnumber puzzle, in 1926. He has also been credited with discovering new applications of digital roots. Dudeney was a leading exponent of verbal arithmetic puzzles; his were always alphametic, where the letters constitute meaningful phrases or associated words.

Previously, it had been claimed (though not by Dudeney himself) that he was the inventor of verbal arithmetic. This was later refuted by the counter example of a verbal arithmetic puzzle published in the US in 1864.

Omission of detailed puzzle rules in the cited farm journal suggests they were already popular in America by 1864, when Dudeney was 7 years old. The popularity of these puzzles guarantees they'd be well known by then to Sam Loyd, an American puzzler and early Dudeney puzzle collaborator.

Both Dudeney and Loyd were featured by Martin Gardner in his Mathematical Games column in Scientific American—Loyd in August 1957 and Dudeney in June 1958.

Personal life

In 1884 Dudeney married Alice Whiffin (1864–1945). She later became a very well known writer who published many novels as well as a number of short stories in Harper's Magazine under the name "Mrs. Henry Dudeney". In her day, she was compared to Thomas Hardy for her portrayals of regional life. The income generated by her books was important to the Dudeney household, and her fame gained them entry to both literary and court circles.

After losing their first child at the age of four months in 1887, the Dudeneys had one daughter, Margery Janet (1890–1977). She married (John) Christopher Fulleylove, son of John Fulleylove and one of an esteemed family of English artists. The Fulleyloves emigrated to North America, first living in Canada and eventually settling first in Oakland, Michigan, and later New York. They had three sons:  John Gabriel (died in infancy), James Shirley, and Julian John ("Barney"); and two daughters: Catherine and Elizabeth Ann ("Nancy").

Alice's personal diaries were edited by Diana Crook and published in 1998 under the title A Lewes Diary: 1916–1944.  They give a lively picture of her attempts to balance her literary career with her marriage to her brilliant but volatile husband.

Death

In April 1930, Dudeney died of throat cancer in Lewes, where he and his wife had moved in 1914 after a period of separation to rekindle their marriage. Alice Dudeney survived him by fourteen years and died on 21 November 1945, after a stroke.

Both are buried in the Lewes town cemetery. Their grave is marked by a copy of an 18th-century Sussex sandstone obelisk, which Alice had copied after Ernest's death to serve as their mutual tombstone.

Publications
The Canterbury Puzzles (1907)
Amusements in Mathematics (1917)
The World's Best Word Puzzles (1925)
Modern Puzzles (1926)
Puzzles and Curious Problems (1931, posthumous)
A Puzzle-Mine (undated, posthumous)

See also
 Dudeney number

References

External links

The Haberdasher Puzzle

Profile

1857 births
1930 deaths
English chess players
Chess composers
English Anglicans
People from Lewes
People from Mayfield, East Sussex
Puzzle designers
Deaths from cancer in England
Deaths from esophageal cancer
Recreational mathematicians
Mathematics popularizers
19th-century English mathematicians
20th-century  English mathematicians
Burials in Sussex

Henry Dudeney


Pentastemona, biljni rod iz porodice Stemonaceae, smješten u vlastitu potporodicu Pentastemonoideae, opisan je 1982.

Rod sa svega dvije vrste endemičan je za Sumatru.

Vrste
 Pentastemona egregia (Schott) C.G.G.J.Steenis
 Pentastemona sumatrana C.G.G.J.Steenis

Izvori

Pandanolike

Pentastemona


Gianina Cărbunariu () este regizoare de teatru română, dramaturg contemporan și directorul Teatrului Tineretului din Piatra Neamț.

Biografie

Educație
Gianina Cărbunariu este  originară din Piatra Neamț. A absolvit Colegiul Național "Petru Rareș" din Piatra Neamț în 1996, după care a urmat cursurile Facultății de Litere  a Universității București (1996–2000) și apoi cursurile Facultății de Teatru la secția regie de teatru (2004) a UNATC Ion Luca Caragiale din București. În 2006 absolvă aceeași instituție cu un masterat în scriere dramatică, pentru ca în 2011 să-și dea doctoratul cu dizertația Regizorul dramaturg, pentru care a fost apreciată cu magna cum laude.

Grupul DramAcum / dramAcum
În 2002, fiind încă studentă, împreună cu alți colegi actori, Valean Andreea, Radu Apostol și Alexandru Berceanu, inițiază proiectul DramAcum (alternativ dramAcum), care avea ca scop revitalizarea și sprijinirea creației teatrale contemporane în România "prin concursuri, traduceri și producții de spectacole". Scopul declarat al grupului este să îmbunătățească semnificativ teatrul românesc prin prezentarea de scrieri contemporane românești pentru a lupta împotriva conservatorismului ideologic și formal al comunității teatrului tradițional românesc. Din septembrie 2005, Gianina Cărbunariu este, de asemenea, asociată cu Teatrul-Studio Alfortville (Théâtre-Studio d'Alfortville).

Activitate ca regizor dramaturg
Prima sa piesă "Stop the Tempo", scrisă în 2003-2004, a avut premiera în 2004 în București. Piesa este remarcată, iar Cărbunariu o va monta de-a lungul anilor în multe teatre europene. Regizoarea-dramaturg a obținut o bursă de rezidență la Royal Court Theatre din Londra pentru care va scrie un nou joc,  mady-baby.edu  (ulterior redenumit Kebab). Piesa s-a jucat, în special, la Royal Court Theatre și Schaubühne (am Lehniner Platz) din Berlin. Primele sale două părți (Stop tempo-ul și Kebab) sunt destinate a fi emblematice pentru teatru său, caracterizat de a fi "crud, fără compromisuri, variind de la energie la revoltă și dezamăgire.

Lucrările sale sunt prezentate în multe teatre din lume, dorind să prezinte o viziune diferită a României contemporane având întotdeauna grijă să conteste privitorului "[clișeele] reprezentărilor occidentale de progres și succes". Întrebările sale cele mai frecvente se referă la acțiunea colectivă, integrarea comunității și retragerea identității.

Din septembrie 2005, Gianina Cărbunariu este asociată cu Teatrul-Studio Alfortville (Théâtre-Studio d'Alfortville).  Din 2017 Cărbunariu este directorul Teatrului Tineretului din Piatra Neamț, post pe care l-a obținut prin concurs. Cărbunariu este, de asemenea, președintă a Asociației Piese Refractare.

Premii

 2014: Premiul Senatului UNITER pentru spectacolul "Tipografie Majuscul", fiind prima femeie din istoria premiilor UNITER care a obținut trofeul pentru "Cel mai bun spectacol".
 2015: Premiul UNITER "Cel mai bun spectacol al anului 2014" pentru "De vânzare / For sale"
 2016: Ordinul Meritul Cultural în grad de Cavaler oferit de Președintele României
 2020: Premiul Radio România Cultural pentru Teatru

Opera

Piese de teatru
Cărbunariu pune în scenă majoritatea piesele pe care le scrie iar realizarea și producția spectacolelor o realizează în colaborări cu teatre din țară și străinătate.
2001: Irealități ale Estului sălbatic,  publicată în antologia "După cenzură". A câștigat premiul pentru cel mai bun text dramatic la concursul Camil Petrescu al Ministerului Culturii.
 2001: Honey, inclusă în emisiunea Ocean Cafe, regizată de Radu Afrim și Gianina Cărbunariu, prezentată la Teatrul Tineretului din Piatra Neamț.

 2002: Cum aș putea fi o pasăre?  scrisă împreună cu Matei Vișniec, prezentată la Centrul cultural Nicolae Bălcescu din București.
 2003: Ostinato, scrisă de Cristi Juncu și prezentată la Studioul UNATC.
 2003: Numele meu Isbjorg, scrisă de Hávar Sigurjónsson prezentată la Studioul Casandra din Bucuresti.
 2004: Stop the Tempo, produsă de Teatrul Unteatru și Teatrul de luni de la Green Hours din București. . Piesa  spune povestea a trei tineri singuri și "pierduți în spațiu", care doresc "să arunce în aer" cluburile de noapte, supermarket-urile și teatrele din orașul lor.
 2005: Mady-baby.edu, Produsă de Teatrul DramAcum și de Teatrul foarte mic, la București.    Mădălina este o tânără născută în București, care aspiră să devină o stea. Naivă, Mădă este gata să creadă tot ceea ce i se spune. Drumul spre viitorul ei statut de star se va intersecta cu cel al lui Voicu, pe care îl va face să-i promită că o va lua cu el în Irlanda, ca să-și realizeze visul. În avionul spre Irlanda, Mădălina se va reîntâlni cu Bogdan, un fost prieten, student la arte vizuale, dar curând eroina va învăța că această căutare pentru glorie și bogăție va avea un preț.
 2005: TRAFIC,  piesă scrisă în colaborare cu asociația OIM
 2005: Toți acești băieți arată ca părinții noștri, text inclus în Broken Voices Project, New Company, London
 2005: Terorism, pusă în scenă cu Oleg și Vladimir Presniakov la Teatrul foarte mic din București
 2005: Opriți Tempo-ul, regizată de Christian Benedetti în 2005 la Teatrul Studio Alfortville
 2006: DJ Pirate, comandată de Marine Bachelot Nguyen (Compagnie Lumière d'août) pentru piese politice scurte
 2007: Kebab, pusă în scenă de Christian Benedetti la Teatrul Studio Alfortville.
 2008: Câteva noutăți din viitor, prezentată la Festivalul Internațional de Film de la Timișoara. Realizată cu Teatrul foarte mic în București.
 2008: Înainte de ieri - După mâine (Știri ale viitorului), spectacol regizat de Christian Benedetti în la Teatrul Studio Alfortville.
 2009: Războiul s-a terminat, ce facem? , spectacol regizat de Christian Benedetti în 2009 la Théâtre Studio Alfortville.
 2010: Vândut/ Sold out, produs de Kammerspiele din München.
2010: asparagus, montat la Volkstheater Viena
2012: 20/20. A fost prima piesă românească interpretată la Festivalul Internațional de Teatru din Londra în anul în care a fost scrisă. Titlul este o referire la data de 20 martie 1990 când au existat lupte de stradă între români și maghiari în Târgu Mureș, respectiv la cei douăzeci de ani care au trecut de atunci. Există, de asemenea, o referire oftalmologică la faptul că având 20/20 de puncte de vedere permite o viziune foarte clară asupra lucrurilor. Spectacolul a fost jucat de cinci români și cinci unguri. Este o producție bilingvă, marcată de umor, care exprimă efectele unui naționalism violent și vorbește despre prejudecăți, pierderea încrederii și înstrăinarea suferită de România post-comunistă, fenomene încă aflate în centrul multor conflicte mondiale ale lumii de azi. Cu acest spectacol, Cărbunariu a câștigat premiul Juriului Festivalului Național de Teatru și Premiul Rivalda al Teatrului Thalia.
 2013: Solitarite, spectacolul a făcut parte din Festivalul d'Avignon pentru proiectul Villes en scènes. Piesa prezentată în limba română, a fost distribuită în franceză și engleză. Spectacolul a fost creat la Teatrul Național din Sibiu, România, ca o piesă în cinci acte. Această piesă prezintă "o evaluare riguroasă a clasei de mijloc românești între funcționarii care doresc să stabilească o linie de împărțire, pentru a separa populațiile din oraș și un cuplu care pune la îndoială beneficiile și faptele [aparent] greșite de a avea un babysitter de origine filipineză (pentru a avea argumente în a-și păstra copilul)."
 2013: Tipografic Majuscul
 2014: The Tigress (Tigroaica), piesă înregistrată la Festivalul "The Summer Monsoon" (Musonul de vară) de la Abbey of Prémontrés din Pont-à-Mousson din Lorena și apoi difuzată pe France Culture.
2014: De vânzare/ For sale, pus în scenă la Centrul Dramatic Național din Madrid.
2016: Artists Talk, prezentat Festivalul de teatru de la Liège, nominalizat la premiile UNITER pentru Cel mai bun spectacol de teatru contemporan, seletat pentru Festivalului Național de Teatru
2016: Oameni obișnuiți  pus în scenă la Teatrul Național Radu Stanca din Sibiu și prezentat în cadrul Festivalului Internațional de Teatru Almada
2017: Vorbiți tăcere? / Sprechen Sie Schweigen? pus în scenă la Teatrul Național "Radu Stanca", Sibiu
2019: FRONTAL, o adaptare după "Povestea unui om leneș" de Ion Creangă, pus în scenă la Teatrul Tineretului din Piatra Neamț
2021: "VA URMA. Pe planeta Oglindă, pus în scenă la Teatrul Tineretului din Piatra Neamț

Regie de teatru (selecție)
Pe lângă propriile piese, Cărbunariu pune în scenă texte ale altor dramaturgi.
2004: Fortuna îl ajută pe îndrăzneț, scrisă de Franz Xaver Kroetz, montată la Teatrul Act din București.
2004: Anathema - pusă în scenă în 2004, scrisă de Carmen Vioreanu.
2007: Sado Maso Blues Bar, scris de Maria Manolescu de la Teatrul foarte mic din București.

Traduceri în franceză
 Stop the tempo et Kebab, éditions actes Sud
 Avant hier, après demain : Nouvelles du futur (2008), traducere din română de Mirella Pătureau, L'Espace d'un instant, Paris, 2011,

Note

Legături externe

 Prezentarea regizorului dramaturg Gianina Cărbunariu
 Lista (incompletă) a pieselor scrise de Gianina Cărbunariu
 Interviu cu Gianina Cărbunariu - directorul Teatrului Tineretului din Piatra Neamț
 Gianina Cărbunariu la emisiunea Nocturne, la TVR1, a realizatoarei Marina Constantinescu
 Gianina Cărbunariu, câștigătoare la cea de-a XX-a ediție a Premiilor Radio România Cultural

Nașteri în 1977
Nașteri pe 9 august
Absolvenți ai Facultății de Litere din București
Absolvenți ai Universității Naționale de Artă Teatrală și Cinematografică "Ion Luca Caragiale" din București
Actori ai Teatrului Tineretului din Piatra Neamț
Actori români în viață
Actrițe de radio române
Actrițe de teatru române
Actrițe de voce române
Actrițe române din secolul al XX-lea
Actrițe române din secolul al XXI-lea
Directori de teatre români
Dramaturgi români
Educatori români
Oameni din Piatra Neamț
Pedagogi români
Regizori de teatru români
Scriitoare române
Scriitori români în viață
Decorați cu Ordinul Meritul Cultural

Gianina Cărbunariu


, né en 1992 à Granges, est un créateur de mode suisse, fondateur de la marque glamour et écoresponsable Germanier.

Biographie

Enfance, famille et formation
Kevin ou Kévin Germanier naît en 1992 à Granges, dans le canton du Valais. Son père est assureur-conseiller financier et lieutenant-colonel à l'armée suisse, tandis que sa mère, secrétaire, s'occupe du foyer familial. Il a une sœur aînée et un frère cadet. Il est passionné de jeux vidéo mais affirme avoir .

Après sa maturité, il commence en 2010 des études au Centre de formation professionnelle arts de Genève, puis suit une année propédeutique à la Haute école d'art et de design Genève avant de rejoindre le Central Saint Martins College of Art and Design à Londres, dont il sort diplômé en 2021. Le coût des études londoniennes lui font demander une bourse à une fondation. Entre-temps, ses créations sont récompensées en 2015 par le prix EcoChic Design Award ; puis il fait un stage de six mois en 2016 chez Louis Vuitton. C'est cette année-là qu'il choisit de lancer prochainement sa marque.

Développement du surcyclage
Un voyage en Chine lui faisant découvrir les travers de la fast fashion et ses moyens limités lors de ses études, même s'il est soutenu, le poussent à développer le surcyclage : il utilise ainsi des chutes de tissus ou des invendus pour créer ses vêtements et une partie d'entre eux sont tricotés par des membres de sa famille ; il y ajoute perles, plumes et strass pour obtenir des créations loin d'être austères, plutôt extraverties.  précise-t-il, donnant avant tout priorité au produit.

Création de sa propre marque
Installé à Paris, au départ dans un tout petit studio, depuis 2018, dans le quartier du Sentier, il y crée sa propre marque, nommée « Germanier ». Il collabore la même année avec Swarovski pour créer une collection. Matchesfashion.com lui propose d'acheter la totalité de sa première collection, mais il refuse et décide de . La maison Germanier est inscrite au calendrier officiel de la Semaine de la mode de Paris depuis 2020.

Une de ses réalisations est portée par Björk sur la couverture de son album Utopia sorti en 2017 puis lors du festival We Love Green en 2018 avec une création futuriste faite à partir de déchets textiles ; il habille également Beyoncé, Lady Gaga, Kristen Stewart et Taylor Swift.

Sa collection 2020, un hommage à son égérie Sailor Moon, est bien reçue par le domaine de la mode. Son second défilé a lieu en  au palais de Tokyo, sur des chaises récupérées dans la rue pour les invités : il y présente des créations à base de crochet, sequins, perles, strass ou paillettes, le manteau en plumes multicolores porté par sa muse la drag queen  étant particulièrement remarqué. Son usage de perles, de plumes ou des couleurs devient sa marque de fabrique :  affirme-t-il.

Prix et récompenses

 2015 : Premier prix de l'EcoChic Design Award à Hong Kong
 2019 : Finaliste du Prix LVMH
 2023 : Prix Rünzi du canton du Valais,

Notes

Références

Source

Liens externes

Naissance en 1992
Naissance dans le canton du Valais
Styliste suisse

Kevin Germanier


الرمثانية هي إحدى القرى التابعة لناحية الخشنية في محافظة القنيطرة في هضبة الجولان بجنوب غرب سوريا.
وتقع القرية جنوب مدينة القنيطرة بمسافة 13 كم وترتفع عن سطح البحر حولي 812 متر
وتقبع القرية على ظهر تل أثري وفي أعلاه قلعة ، أبنيتها قديمة من الحجارة البازلتية والتي يعود بنائها إلى العهد الروماني الثاني ومن هنا جاء اسمها ( الرمثانية )
وقد بلغ عدد سكان القرية قبل العدوان 700 نسمة وكانوا يمتهنون الزراعة وتربية المواشي وتسكنها عشيرة البحاترة التي ترجع بإصولها إلى قبيلة طيء. وفي حرب حزيران عام 1967 م تم طرد سكانها وتهجيرهم وغالبية سكانها يقطنون حالياً في مدينة الحجر الأسود جنوب العاصمة دمشق
وبعد الاحتلال تمّ الإعلان عن القرية كموقع أثريّ يُمْنَع دخوله، وقد نَجَت مبانيها من أسنان البلدوزرات الإسرائيليّة
وتعرضت القرية في العام 1887 إلى محاولة للاستيلاء على قسم من أراضيها من قبل جمعية بنى يهوذا، التي تضم رموزا وشخصيات يهودية . حيث أنجزت إعداد خرائط للجولان وسهل حوران في جنوب سوريا حددت عليها أكثر من مئة موقع من بينها اثنا عشر موقعاً كهدفاً للاستيلاء عليها واستيطانها من قبل اليهود. حيث حاولت تلك الجمعية المذكورة في تلك الآونة امتلاك خمسة عشر ألف دونم من أراضي القرية.

مراجع

قرى الجولان المحتلة
قرى الجولان المدمرة

الرمثانية


Umjetna selekcija (umjetni odabir, selektivni uzgoj, selektivna reprodukcija) je postupak kojim čovjek najčešće namjerno i sustavno, kroz više genracija, mijenja svojstva populacijâ životinja i biljaka kako bi njihova svojstva prilagodio svojim potrebama. To se postiže najčešće odabirom mužjaka i ženki životinja i biljaka koji poželjne karakteristike posjeduju u većoj mjeri od prosjeka populacije nakon čega se njihovim seksualnim razmnožavanjem stvaraju potomci koji imaju još veći udio poželjnih karakteristika. Ostvarene razlike između generacija populacija organizama unutar pasmine u odnosu na prosjek populacije i postavljene selekcijske ciljeve se selekcijski diferecijal.

Populacije životinja i biljaka koje se podvrgavaju selektivnom uzgoju zovu se pasmine, a ako se radi o biljkama još i sorte, kultigeni i kultivari. Križanjem dviju različitih pasmina životinja nastaje križanac, a križane biljke nazivaju se hibridi. Umjetna selekcija provodi se mijenjanjem udjela pojedinih alela unutar pasmine što utječe na promjenu fenotipskih svojstava pasmina i to uvijek sukladno unaprijed određenim selekcijskim ciljevima, a koristeći selekcijske metode.

Namjerno iskorištavanje selektivnog uzgoja za postizanje željenih rezultata postalo je vrlo uobičajeno u poljoprivredi i eksperimentalnoj biologiji, ali selektivni uzgoj može biti i slučajan, na primjer kao posljedica procesa ljudske kulture i može proizvesti poželjne ili neželjene rezultate. Primjerice, kod nekih žitarica, povećanje veličine sjemena može biti rezultat određenih metoda oranja, a ne namjernog odabira većih sjemenki. U takvim slučajevima najvjerojatnije je postojala međuovisnost između prirodnih i umjetnih čimbenika koji su na rezultirali udomaćenom biljkom. Danas je česta metoda koja se koristi u procesu umjetne selekcije gensko inženjerstvo tj. metoda umjetnog prenošenja pojedinih gena iz jedne vrste u drugu stvaranjem transgeničnih životinja i biljaka i sve se više koristi unatoč prilično velikom otporu prema tzv. genetički preinačenoj hrani.

Charles Darwin je u svojoj knjizi "O podrijetlu vrsta" iz 1859. naširoko pisao o uspješnosti selektivnog uzgoja u stvaranju promjena tijekom vremena. Gotovo cijelo prvo poglavlje te knjige raspravlja o selektivnom uzgoju i domestikaciji životinja poput golubova, mačaka, goveda i pasa te vješto koristi umjetni odabir kao uvod i potporu svojoj teoriji prirodnog odabira.

Izvori

evolucija

Umjetna selekcija


Stardust, NASA tarafından 7 Şubat 1999'da fırlatılan 385 kilogram ağırlığındaki bir robotik uzay sondasıydı. Ana görevi, Wild 2 kuyruklu yıldızının saçından toz örnekleri elde edilmesinin yanı sıra, kozmik toz örnekleri toplamak ve bunları analiz için Dünya'ya getirmekti. Bu görev, türünün ilk örnek getirme göreviydi. Wild 2 kuyruklu yıldızına giderken yanından geçti ve asteroit 5535 Annefrank'ı inceledi. Ana görev, 15 Ocak 2006'da örnek getirme kapsülü Dünya'ya döndüğünde başarıyla tamamlandı.

Şubat 2011'de kod adı NExT olan genişletilmiş bir görevle, daha önce Deep Impact tarafından 2005 yılında ziyaret edilen Küçük Güneş Sistemi Cismi  Tempel 1 kuyruklu yıldızıyla karşılaşmasının ardından Stardust görevi sona erdi. Stardust, Mart 2011'de faaliyetlerini durdurdu.

Bilim adamları 14 Ağustos 2014 tarihinde, 2006'da Dünya'ya dönen Stardust kapsülündeki örneklerden olası yıldızlararası toz parçacıklarının tanımlandığını duyurdular.

Kaynakça

Discovery programı
NASA uzay sondaları
Kuyruklu yıldız misyonları
Örnek getirme görevleri
1999'da fırlatılan uzay gemileri

Stardust (uzay aracı)


Skencil, formerly called Sketch, is a free software vector graphics editor, released under the GNU Lesser General Public License. Its first public version, Sketch 0.5.0, was released on October 31, 1998.

As claimed on its website, "Skencil is implemented almost completely in Python, a very high-level, object oriented, interpreted language, with the rest written in C for speed."

Version 0.6.17 of Skencil was released in 2005, and a preview 1.0 alpha was released in 2010 by sK1 project team. It has versions compatible with Linux on the i386, DEC Alpha, m68k, PowerPC and SPARC architectures, with FreeBSD, with Solaris, with IRIX64 6.4, and with AIX.

Future plans had included porting the user interface from Tk to GTK+, a multiple document interface, and multi-font, fully integrated multiline text. Since 2010 the project development is frozen.

sK1 project written in wxWidgets became Skencil successor, improved by color management (including CMYK colorspace support), tabbed multiple document interface, Pango based text engine, Cairo based renderer and importers for CorelDRAW (CDR, CMX, CCX) and many other graphics file formats.

See also

 List of vector graphics editors
 Comparison of vector graphics editors

References

External links

Free graphics software
Free vector graphics editors
Free software programmed in C
Free software programmed in Python
Vector graphics editors for Linux
Graphics software that uses GTK

Skencil


Özalp (, Türkiye'nin Van ilinin ilçesidir. Türkiye ile İran sınır kapısının bulunduğu Saray ilçesi ile Van il merkezi arasında bulunur. demiryolu bu ilçeden geçmektedir.

Coğrafya
İlçe topraklarında Gürpınar sınırına yakın Akgöl bulunur.

Tarihçe
Özalp İlçesi 1869 yılında Mahmudiye adıyla bugünkü Saray ilçe merkezinde kurulmuştur.

İlçe merkezi 1948 yılında bugünkü Özalp merkezine taşınmış ve burası İlçe merkezi hâline dönüştürülmüştür. Kazım Paşa İlçe merkezinin ismi ise Saray olarak değiştirilerek Nahiye teşkilatına dönüştürülmüştür.

Özalp İlçe Merkezinin ismi ise şimdiki mahalle olan Kargalı'nın adı ile anılmaktaydı. Bu mahalle o tarihlerde köy teşkilatı durumundaydı.

Bölgede Urartular Persler, Bizanslılar, Emeviler, Selçuklular,Sökmenler, Moğollar, Karakoyunlular ve Akkoyunlular değişik zamanlarda hakimiyet kurmuşlardır. Özalp ilçe sınırları içinde halk arasında "gort" diye anılan harabelerde yapılacak kazılarla: tarihte bu yörede hüküm sürmüş medeniyetler hakkında daha gerçekçi bilgiler elde edilebilir. Tarihi eser kaçakçılarının define aramak amacı ile yaptıkları kazılarda mezarların gün doğusu yönünde görülmesi, halk arasında burada yaşayanların güneşe taptıkları kanaatini doğurmuştur. 1071 yılında Selçuklu sultanı Alparslan'ın Malazgirt meydan muharebesinden sonra Anadolu'ya girmesi ile birlikte Bizanslılardan kurtulup bir müddet Selçukluların kontrolünde kalan bölge, daha sonra Safevilerin eline geçmiştir. 1555 yılında kanuni sultan Süleyman'ın Safevilerin yenmesi ile bölge Osmanlıların hakimiyetine girmiştir. Eski ismi ``Mahmudiye ``olan sonra ``Saray``olarak adlandırılan Özalp, 1869 yılında Hakkâri sancağına bağlanarak "Kaza" yapıldı.

1948 yılında ilçe merkezi Saray'dan Kargalı ya taşındı ve yeni ilçe merkezine Özalp ismi verildi. İlçe merkezi taşınmadan önce köy hüviyetinde olan Kargalı bugün ilçe merkezinin güneyinde ve küçük Özalp çayının ayırdığı (Eskiden beri bu ad ile anılan) mahalleye isim olmuştur.

Nüfus
İlçe 58 mahalleden oluşmaktadır.

Yerel yönetim

Eylül 2016'da "PKK-KCK'ya yardım ve destek verdiği gerekçesiyle, haklarında yürütülen soruşturma ve kovuşturmalar kapsamında" kanun hükmünde kararname ile görevinden uzaklaştırılan eş belediye başkanları Handan Bağcı ve Şerefettin Özalp'ın yerine kaymakam Serdar Karal atandı.

Ekonomi
Van'ın hayvancılık potansiyeli en yüksek ilçelerden biri olan Özalptır. Özalp'ta en fazla küçükbaş hayvan yetiştirilir.  Akkaraman ve Morkaraman koyun ırkları en fazla yetiştirilmektedir. Van piyasasında en fazla satılan üç peynirden biri Özalp otlu peyniridir.

Özalp mutfağı

En çok tüketilen yemekler çiriş pilavı, tandırda Van balığı, kurut aşı, Kürt köftesi, keledoş, Acem köftesi, ayran aşı çorbasıdır. Tatlı olarak Van pastası, Özalp pastası, kaşık tatlısı, eğdek tatlısı, çatal tatlısı yapılır. Özalp otlu peyniri tüketilen peynir çeşididir. Özalp otlu peyniri hem taze hem de küplerde bekletilmiş olarak tüketilir. Kahvaltılarda Van çöreği yenir. Koyun ve inek yoğurdu yapılmakta ve tüketilmektedir. Koyun yoğurdu taze tüketildiği gibi Van otlu peyniri gibi toprak altına gömülerek ve 5 ay toprak altında bırakılarak tüketilir. Otlu peynir gibi ticari amaçla değil sadece kendi aileleri için yapılır. Yoğurdu toprağın altına bırakılması hem bozulmamasını önler hem de tadının güzel olmasını sağlanır.Köylerde ekmek tandırlarda yapılır. Lavaş ekmeği ve tandır ekmeği yapılan ekmek çeşitlerindendir.Özalp çöreği tandırda yapılır. Bu çörek ekmek hamuruna koyun tereyağı eklenerek, üzerine yumurta akı ile karıştırılmış susam serpilerek tandırda pişirilmesi ile yapılır.

Ayrıca bakınız
 Muğlalı Olayı
 Aşağımollahasan Höyüğü

Kaynakça

Dış bağlantılar

 Özalp Belediyesi
 Özalp Kaymakamlığı

Özalp


Onthophagus rhynchophorus é uma espécie de inseto do género Onthophagus, família Scarabaeidae, ordem Coleoptera.

Foi descrita cientificamente por Péringuey em 1904.

Referências

Ligações externas

rhynchophorus
Coleópteros descritos em 1904

Onthophagus rhynchophorus


Miroslav Ladislav Vitouš (born 6 December 1947) is a Czech jazz bassist.

Biography

Early life and education
Born in Prague, Vitouš began the violin at age six, switching to piano after about three years, and then to bass at age fourteen. As a young man in Europe, Vitouš was a competitive swimmer. One of his early music groups was the Junior Trio with his brother Alan on drums and Jan Hammer on keyboards. He studied music at the Prague Conservatory under František Pošta, and won a music contest in Vienna in 1966 that gave him a scholarship to the Berklee College of Music in Boston, which he attended one year before going to Chicago to play with a group co-led by the classically inclined trombonist Bob Brookmeyer and flugelhorn pioneer Clark Terry.

Early career (1967-1970)
Miles Davis saw Vitouš playing in Chicago with Brookmeyer and Terry in 1967 and invited him to join his own group playing at the Village Gate in New York City. It was with Davis that Vitouš first encountered saxophonist Wayne Shorter, keyboardist Herbie Hancock and the Davis-centric scene that was transforming mainstream jazz from late hard bop into what would be known as jazz fusion.

1968 saw the first of Vitouš's partnerships with several musicians who would be a major part of his soundscape over the course of his career. With vibraphonist Roy Ayers, Vitouš played on flautist Herbie Mann's album Windows Opened. He also split bass duties with Ron Carter on Ayers' Stoned Soul Picnic, produced by Mann. Vitouš played on a prolific run of Mann's albums released through 1971, including The Inspiration I Feel, electric bass on "Hold On, I'm Coming" from Memphis Underground, Live at the Whisky A Go Go, Stone Flute (again splitting the bass chair with Carter), and a cover of the Beatles' "Come Together" on Muscle Shoals Nitty Gritty.

Also in 1968, Vitouš and drummer Roy Haynes joined a Chick Corea-led trio, for what would be the first of several outings featuring Vitouš and one or both of them. At the end of the year they released the highly acclaimed Now He Sings, Now He Sobs. Some of the tracks recorded at this time were later included in Corea's 1975 album Circling In.

Finally, 1968 saw Vitouš join drummer Jack DeJohnette, with whom he would often collaborate over the length of his career, on The DeJohnette Complex, DeJohnette's debut album as bandleader. Vitouš and Eddie Gómez split duties on bass. Haynes, multireedist Bennie Maupin, and pianist Stanley Cowell rounded out the ensemble.

The following year, Vitouš recorded his debut album as a bandleader, Infinite Search for Mann's Embryo label (reissued in 1972 on Atlantic as Mountain In The Clouds and on a German label as The Bass). The album featured Hancock on the electric piano, Joe Henderson on tenor sax, John McLaughlin on electric guitar, and DeJohnette and Joe Chambers splitting duties on drums. In 2016, journalist Paul Rigby looked back at the album, calling it "superb" and "an eye-opening glimpse into [Vitouš]'s glittering past." That year, he recorded his contributions to guitarist Larry Coryell's Spaces with McLaughlin, Corea, and drummer Billy Cobham. Additional tracks from these sessions were later released on Coryell's 1975 album Planet End.

1969 was also the year that Vitouš first stepped into the recording studio with Wayne Shorter, with whom he'd played under Miles Davis' leadership two years prior. He played on Shorter's twelfth album, Super Nova, alongside McLaughlin, DeJohnette, Corea, and Brazilian percussionist Airto Moreira, among others.

1970 saw Vitouš continue as bandleader as he recorded Purple for Columbia, supported by McLaughlin, Cobham and the keyboardist and fellow Davis alum Joe Zawinul. He also split bass duties with Walter Booker on Zawinul's eponymous album, to which Shorter contributed soprano saxophone on one track. The album was released on Atlantic the following year.

Again under Shorter's leadership, he played in the 1970 sessions for what would be released in 1974 as Moto Grosso Feio, splitting bass duties with higher-billed fellow Davis alums Carter and Dave Holland. 1969 and 1970's various collaborations between combinations of Shorter, Vitouš, and Zawinul surrounded by other jazz musicians marked a transition to the next, joint stage of their careers.

Founding member of Weather Report (1970-1973)
In 1970, Shorter, Zawinul, and Vitouš formed the founding core of the jazz group Weather Report. There's some dispute over how the band initially coalesced. According to Zawinul, it began when he and Shorter recruited Vitouš, who had recently played with each of them separately.  According to Vitouš himself, it was he and Shorter who actually founded Weather Report, with Shorter bringing in Zawinul afterwards. Given the fluidity of the scene's jazz lineups at the time, the recollections need not be mutually exclusive, and in any event, it was those three musicians—all composers—who formed the initial core of the project.

Over their 16-year career, Weather Report explored various types of music, predominantly centered on jazz (initially the "free" variety), but also incorporating elements of art music, ethnic music, R&B, funk, and rock. While their work was often called jazz fusion, the band members generally distanced themselves from that term. From the start, the band took the unusual approach of abandoning the traditional "soloist/accompaniment" demarcation of straight-ahead jazz and featured opportunities for continuous improvisation by every member of the band.

Vitouš and Zawinul experimented with electronic effects pedals, which up to that time had primarily been used by rock guitarists. Zawinul used them on electric piano and synthesizers, and Vitouš on his upright bass, which he frequently bowed through distortion to create a second horn-like voice behind or alongside Shorter.

In reviews of Weather Report's first three albums republished in Christgau's Record Guide: Rock Albums of the Seventies, rock critic Robert Christgau situated the band as a keyboards-and-sax-centered development from the sound of Miles Davis' 1969 album In a Silent Way, on which Zawinul and Shorter had played, but Vitouš had not. Christgau also saw the Vitouš composition "Crystal" off I Sing the Body Electric as "a flop." "Crystal" was Vitouš's only solely authored contribution to the album whose sleeve featured a highly stylized illustration of a solitary figure standing before a keyboard, and Christgau found the song to be out of step with the literally and metaphorically "electric" direction of the rest of the record.

Creative differences and departure from Weather Report

Vitouš and Zawinul were finding themselves at creative loggerheads, since the former preferred Weather Report's original lightly structured, improvisational approach and the latter wished to continue to integrate other popular African diaspora and African-American music styles. Retrospectively, Zawinul accused Vitouš of being unable to play funk convincingly (something corroborated by Greg Errico, a former Sly and the Family Stone drummer who briefly toured with the band) and claimed that he had not written enough songs. Vitouš countered that he had in fact brought in compositions, but that Zawinul had been unable to play them. Vitouš has also accused Zawinul of having been "a first-class manipulator" primarily interested in commercial success. When Shorter sided with Zawinul, the original three-man partnership broke down acrimoniously and Vitouš left Weather Report, moving on to an illustrious career leading his own band and winning respect as a composer.

Vitouš co-wrote with Zawinul and recorded his final contribution to Weather Report in 1973. This was "American Tango," which appeared on the band's fourth album Mysterious Traveller the following year. Vitouš was replaced in the subsequent sessions for Mysterious Traveller by electric bassist Alphonso Johnson. The record is the band's first to predominantly use electric bass and incorporate the liberal uses of funk, R&B grooves, and rock in what would develop into the hallmark of the band's signature late-period sound. At the same time, a more restricted compositional format became evident on this album, replacing the broadly open improvisation structures used on the first three albums.

Vitouš later said of his total experience with the band, "I enjoyed the beginning of it very much, but it turned into a little bit of a drag in the end because Joe Zawinul wanted to go in another direction. The band was seeking success and fame and they basically changed their music to go a commercial way into a black funk thing". He also felt aggrieved financially, commenting "I was an equal partner and basically, I didn't get anything. We had a corporation together that was completely ignored. If you have a company and three people own it, and then two people say 'Okay, we don't want to work like this anymore. It's just two of us now', normally, they break down the stock and pay off the third person".

Later career (1974-present)

Collaborations
After leaving Weather Report, Vitouš's default mode was collaboration and work as a sideman with a wide range of partners, from his old bandleader Larry Coryell and the drummer and fellow Weather Report and Corryell alum Alphonse Mouzon to Stan Getz and Flora Purim. He has also worked with Freddie Hubbard and Michel Petrucciani.

Festivals and live performances

In 1981, Vitouš performed at the Woodstock Jazz Festival held in celebration of the tenth anniversary of the Creative Music Studio, and in 1984 he collaborated with fellow bassist Stanley Clarke. In 1988, Vitouš moved back to Europe to concentrate on composing but nonetheless continued to perform in festivals.

Albums on ECM
Vitouš joined the ECM stable of performers in 1978 to play in a trio with guitarist Terje Rypdal and DeJohnette; he had most recently been with Arista Records. ECM, founded in 1969, was developing a reputation for supporting genre-fluid releases that often freely mixed jazz, classical, and world music influences. ECM's stable of artists would trade contributions back and forth on one anothers' often dense and intellectual albums in a fluent manner that attracted both criticism and praise. Vitouš's classical, collaborative, and versatile bass and fluid give-and-take approach to band-leadership fit the sound of his new label and labelmates over the coming decades. The trio of Rypdal, Vitouš, and DeJohnette followed up their eponymous first album three years later with To Be Continued.

In 1979, Vitouš stepped back into the role of bandleader, recording and releasing First Meeting on ECM. 1980's Miroslav Vitous Group was later praised in a five-star review by John Kelman in All About Jazz as "exceptionally good." There followed an occasional run of Vitouš-led albums including Journey's End (1982), Atmos (1992—featuring saxophonist Jan Garbarek), Universal Syncopations (2003, with Garbarek, Corea, McLaughlin, and DeJohnette among others), and Universal Syncopations II (2004-2005). These received largely positive specialist reviews that often discussed them in the context of the ECM house sound: "highly recommended," "gorgeous sounding and toughly played," and "A quintessentially ECM aesthetic is very much at work on this solid effort, which will be enthusiastically welcomed by those who complain that Vitouš hasn't recorded often enough as a leader."

1982 brought Vitouš back with Corea and Haynes for the first time since the late 1960s, as they released Trio Music on ECM, following it up two years later with Trio Music Live in Europe. The three reunited again in 2001 for a concert in a series entitled "Rendezvous in New York" in celebration of Corea's 60th birthday. The album of the same name came out not on ECM but on Corea's Stretch label in 2003 and earned Corea a Grammy Award for Best Improvised Jazz Solo for the composition "Matrix".

Vitouš released the solo bass album Emergence on ECM in 1985. David R. Adler said in Allmusic of the bassist's performance in the solitary format, "Emergence showcases Miroslav Vitouš in a solo bass setting, with no overdubs. It's austere and challenging, but Vitous is never ponderous; he sustains plenty of interest with his passion and staggering technique, dividing his time equally between pizzicato and arco statements."

Vitouš and drummer Peter Erskine joined Garbarek on Garbarek's album StAR in 1991. The bassist later said of his rapport with the Norwegian saxophonist, "I am a Slavic musician and it is deeply inside of me. I consider [Garbarek] to be like my musical brother."

Miroslav Philharmonik
In 2005, Vitouš released Miroslav Philhamonik, an orchestra and choir virtual instrument he recorded at Dvořák Hall inside the Rudolfinum in Prague. The instruments were performed by the Czech Philharmonic.

Discography

As leader

 1969: Infinite Search (Embryo, 1970)
 1970?:  Purple (CBS/Sony, 1970) – in Japan only
 1976?: Magical Shepherd (Warner Bros., 1976)
 1976?: Majesty Music (Arista, 1976)
 1977?: Miroslav (Arista/Freedom, 1977)
 1978: Guardian Angels with George Otsuka, John Scofield, Kenny Kirkland, Mabumi Yamaguchi (Trio, 1979)
 1979: First Meeting (ECM, 1980)
 1980: Miroslav Vitous Group (ECM, 1981)
 1982: Journey's End (ECM, 1983)
 1985: Emergence (ECM, 1986)
 1992: Atmos with Jan Garbarek (ECM, 1993)
 2002: Universal Syncopations (ECM, 2003)
 2004-05: Universal Syncopations II (ECM, 2007)
 2006-07: Remembering Weather Report with Michel Portal (ECM, 2009)
 2010–11: Music of Weather Report (ECM, 2016)
 2016: Live at NOSPR with Adam Pierończyk (Jazz Sound , 2019) – live
 2016: Ziljabu Nights (Intuition, 2016)
 2016: Ad-Lib Orbits with Adam Pierończyk (PAO, 2017)
 2018: Moravian Romance with Emil Viklický (Venus, 2018)

As a member of Weather Report
 Weather Report (Columbia, 1971)
 I Sing the Body Electric (Columbia, 1972) – recorded in 1971–72
 Live in Tokyo (CBS/Sony, 1972)
 Sweetnighter (Columbia, 1973)
 Mysterious Traveller (Columbia, 1974) – recorded in 1973–74

As sideman

With Roy Ayers
 Stoned Soul Picnic  (Atlantic, 1968)
 All Blues (Columbia, 1969)
 Herbie Mann Presents Comin' Home Baby Roy Ayers Quartet 1 (Columbia, 1969)
 Unchain My Heart (Columbia, 1970)

With Chick Corea
 1968: Now He Sings, Now He Sobs (Solid State, 1968)
 1968–70: Circling In (Blue Note, 1975)
 1981: Trio Music (ECM, 1982)
 1984: Trio Music Live in Europe (ECM, 1986)
 2001: Rendezvous in New York (Stretch, 2003)

With Larry Coryell
 Spaces (Vanguard, 1970) - rec. 1969
 Planet End (Vanguard, 1975) - rec. 1969–74
 Dedicated to Bill Evans and Scott LaFaro (Jazzpoint, 1987)

With Herbie Mann
 Windows Opened (Atlantic, 1968)
 The Inspiration I Feel (Atlantic, 1968)
 Memphis Underground (Atlantic, 1969)
 Live at the Whisky a Go Go (Atlantic, 1969)
 Stone Flute (Embryo, 1970) – rec. 1969
 Muscle Shoals Nitty Gritty (Embryo, 1970) – rec. 1969
 Memphis Two-Step (Embryo, 1971) – rec. 1970

With Steve Marcus
 The Lord's Prayer (Vortex, 1969)
 Green Line (Nivico, 1970)

With Adam Pierończyk
 Wings (For Tune, 2015)
 Ad-Lib Orbits (PAO, 2017)
 Live at NOSPR (Jazz Sound, 2019)

With Enrico Rava and Franco D'Andrea
 Quatre (Gala, 1989)
 Earthcake (Label Bleu, 1991)

With Terje Rypdal
 Terje Rypdal / Miroslav Vitous / Jack DeJohnette (ECM, 1979)
 To Be Continued (ECM, 1981)
 Trio/Live in Concert (TDK, 2001)[DVD-Video]

With Wayne Shorter
 1969: Super Nova (Blue Note, 1969)
 1970: Moto Grosso Feio (Blue Note, 1974)

With Joe Zawinul
 Zawinul (Atlantic, 1971) – rec. 1970
 Concerto Retitled (Atlantic, 1976) – compilation

With others
 Alpay, Tango & Latin (Dogan Music, 2001)
 Franco Ambrosetti, Light Breeze (Enja, 1998) – rec. 1997
 Amerie, All I Have (Columbia, 2002) – rec. 2001–02
 Buck-Tick, Symphonic Buck-Tick in Berlin (Invitation, 1990)
 Donald Byrd, The Creeper (Blue Note, 1981) – rec. 1967
 Mariano Deidda, L'Incapacità di Pensare (Sette Ottavi/Warner, 2005)
 Jack DeJohnette, The DeJohnette Complex (Milestone, 1969) – rec. 1968
 Aydin Esen, Vinnie Colaiuta, Living (Universal/EmArcy, 2001)
 Antonio Farao, Daniel Humair, Takes On Pasolini (CAM Jazz, 2005)
 Stan Getz, The Song Is You (Laserlight, 1996) – rec. 1969
 Laszlo Gardony, The Secret (Antilles/Island, 1988) – rec. 1986
 Jan Garbarek, StAR (ECM, 1991)
 Tim Hardin, Bird on a Wire (Columbia, 1971)
 Jon Hassell, Earthquake Island (Tomato, 1978)
 Roy Haynes, A Life in Time (Dreyfus, 2007)[3CD + DVD-Video] – compilation
 Toshiyuki Honda, Dream (Eastworld, 1983)
 Daniel Humair, Edges (Label Bleu, 1991)
 Vic Juris & John Etheridge, Bohemia (Jazzpoint, 1988)
 Fumio Karashima, Hot Islands (Trio, 1979)
 Anders Koppel, Past Present Future (Cowbell Music, 2017)
 Steve Kuhn, Oceans in the Sky (Owl, 1990)
 Biréli Lagrène & Larry Coryell, And Special Guests (In-akustik, 1986)
 Maria Mena, Mellow (Columbia, 2004)
 Alphonse Mouzon, In Search of a Dream (MPS, 1978)
 Michal Pavlicek, Minotaurus (Panton, 1991)
 Flora Purim, Stories to Tell (Milestone, 1974)
 Fredy Studer, Seven Songs (veraBra, 1991)
 Jasper van 't Hof, Live in Montreux (Pausa, 1980)
 Sadao Watanabe, Round Trip (CBS/Sony, 1970)
 Lenny White, Big City (Nemperor, 1977)
 Janci Körössy, Ale Ne Pro Mne (Supraphon, 1965)

References

External links
 Official site
Miroslav Vitous Discography 1964–74
Miroslav Vitous video interview at Allaboutjazz.com
Conversation With Miroslav Vitous, 8/01/2009
 "Agitation", with Stanley Clarke

1947 births
Living people
Musicians from Prague
Avant-garde jazz musicians
Jazz fusion musicians
Berklee College of Music alumni
20th-century double-bassists
21st-century double-bassists
Czech jazz double-bassists
Czech jazz musicians
Male double-bassists
Weather Report members
ECM Records artists
Freedom Records artists
Czechoslovak emigrants to the United States
20th-century Czech male musicians
21st-century Czech male musicians
Male jazz musicians
Prague Conservatory alumni

Miroslav Vitouš


Bernhard van Treeck (born 5 February 1964, Kempen, Niederrhein) is a German psychiatrist and has led a clinic specialised in addictions and drug-dependency. As an author he has written several books on graffiti, street-art, drugs and addiction.

Works
 Piratenkunst (Pirate art 1994)
 Das große Graffiti-Lexikon (The big graffiti lexicon)
 Street-Art Berlin – legale und illegale Kunst im Stadtbild (1999)
 Street-Art Köln – legale und illegale Kunst im Stadtbild (1996)
 Wandzeichnungen (Wall-drawings)
 Writer-Lexikon – American Graffiti (1995)
 Pochoir- die Kunst des Schablonengraffiti (Pochoir -The art of stencil graffiti, 2000, with S. Metze-Prou)
 Graffiti-Art #8 (1998)
 Graffiti Art Deutschland #9 (1998)
 Hall of Fame – Writing in Deutschland (1995, with M. Todt)
 Wholecars – Graffiti auf Zügen (Wholecars – Graffiti on trains, 1996)
 Graffiti-Kalender, edition aragon (editor 1991 – 1997)
 Partydrogen (Party drugs, 1997)
 Der Drogennotfall (The drug case)
 Drogen- und Suchtlexikon (Lexicon of drugs and addictions)
 Das große cannabis-Lexikon (The big cannabis Lexicon, 2000)
 Drogen (Drugs)
 Collaborated on Graffiti-Dortmund and Arbeiten zur Spraybanane 1986 – 1996 (Works on the spray banana).

References

External links
http://www.klvt.de
http://www.schwarzkopf-schwarzkopf.de

1964 births
Living people
German psychiatrists

Bernhard van Treeck


Jaber Al Mahjoub, né le  à M'saken et mort le  à Paris, est un peintre et sculpteur tunisien.

Biographie
Jaber Al Mahjoub naît le  à M'saken. Orphelin de père à trois ans et de mère à six ans, il est élevé par sa sœur Zina. Gardant des moutons, il ne peut fréquenter l'école et ne sait ni lire, ni écrire. En 1948, il quitte la Tunisie.

Après avoir été boulanger, il devient boxeur avant de s'improviser comédien-chanteur.

En 1978 et 1980, il expose au Salon d'hiver. Dans les années 1980, il s'installe à Paris. Découvert par Jean Dubuffet, son travail de peintre et de sculpteur s'apparente à de l'art brut et singulier.

Il est représenté dans des musées d'art brut et dans des collections privées, dont le Lille Métropole Musée d'Art moderne, d'Art contemporain et d'Art brut.

Mort le  à Paris, Jaber Al Mahjoub est inhumé dans sa ville natale.

Pour lui rendre hommage, une exposition de ses œuvres sur les murs extérieurs du Pavillon Carré de Baudouin a lieu de janvier à .

Travail
Ses gouaches, ses acryliques ou ses sculptures en plâtre bandé sont très colorées, les personnages étant généralement entourés de noir.

Références

Annexes

Bibliographie
 .
 .
 .

 .

Vidéographie
 , film d'Alan Govenar et Laurent Danchin tourné en 1998.
 , vidéo extraite d'une émission de FR3 Dijon présentée par Florence Cicolella et diffusée en mars 2011.

Liens externes

Peintre tunisien du XXe siècle
Peintre tunisien du XXIe siècle
Sculpteur tunisien
Naissance en janvier 1938
Naissance à M'saken
Décès en octobre 2021
Décès dans le 11e arrondissement de Paris
Décès à 83 ans

Jaber Al Mahjoub


Pena, Portekiz'de Lizbon belediyesine bağlı olan, 0,49 km2 yüzölçümüne sahip, 6.068 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Lizbon'ın bucakları

Pena (Lizbon)


New Jeans Code in Busan () é um reality de viagem sul-coreano produzido pela Cidade Metropolitana de Busan e pela Organização de Turismo de Busan e distribuído pela SBS. Estrelando o girl group de K-pop NewJeans, a série de três episódios segue o grupo enquanto elas visitam vários marcos de Busan ao longo de uma viagem de dois dias. Foi criado como parte de uma série de conteúdo Hallyu produzido para apoiar a candidatura de Busan para sediar a Expo 2030. O projeto foi anunciado pela primeira vez em setembro de 2022 e estreou na SBS TV em 16 de outubro de 2022, às 12h10 (KST). Definido para ir ao ar por três domingos consecutivos, o episódio final foi adiado para 6 de novembro de 2022.

Produção e lançamento
Em 16 de setembro de 2022, a rede de televisão sul-coreana SBS anunciou a produção do reality show de viagem NewJeans Code in Busan, estrelado pelo girl group de K-pop NewJeans. Produzido pela Cidade Metropolitana de Busan e pela Organização de Turismo de Busan, o documentário faz parte de uma série de conteúdo Hallyu patrocinado pela cidade de Busan, a Organização de Turismo de Busan e a Comissão de Cinema de Busan para mostrar a cidade e apoiar sua candidatura para sediar a Expo 2030. É a segunda colaboração entre Busan e Hybe Corporation, empresa controladora da gravadora ADOR de NewJeans, após o show Yet to Come de BTS realizado na cidade em 15 de outubro de 2022. Filmado nos dias 26 e 27 de setembro de 2022, a série segue NewJeans enquanto eles exploram Busan e aprendem mais sobre ela por meio de códigos QR ao longo de uma viagem de dois dias. O grupo visitou Songdo Sky Park, Bupyeong Kkangtong Market, Taejongdae e Dadaepo Beach, todos marcos de Busan preferidos pela Geração MZ. Outros locais de Busan, como Dadaepo Sunset Fountain of Dreams, Skyline Luge Busan, Jeonpogonggu-gil, Cheongsapo, Gwangalli Beach e Yeongdo Marine Adventure Park, foram apresentados em segundo plano. Em relação ao projeto, o prefeito de Busan, Park Heong-joon, disse:

Uma prévia de vídeo foi lançadq em 7 de outubro de 2022. A série estreou na SBS TV em 16 de outubro de 2022, às 12h10 (KST) e foi programada para ir ao ar por três domingos consecutivos. No entanto, o episódio final foi adiado para respeitar o período de luto nacional anunciado após a tragédia de Halloween em Seul. Foi ao ar em 6 de novembro de 2022.

Episódios

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Impacto
Em 21 de outubro, a Organização de Turismo de Busan anunciou que criaria um itinerário baseado na série. De 21 a 30 de outubro, eles realizaram um "evento de tour de missão", onde cada participante teve que seguir o itinerário e escanear os códigos QR encontrados em cada local para concluir as missões e ganhar um prêmio. Em 26 de outubro, Yoo Ji-hye da Sports Donga relatou que vários locais de filmagem, incluindo Songdo Sky Park, Yeongdo Marine Adventure Park, Jeonpogonggu-gil, Cheongsapo Port, Dadaepo Sunset Fountain of Dreams e várias das lojas onde os membros compraram  comida, estavam lotados de fãs. Três gorros usados pelos membros no set foram doados para o mercado de pulgas de caridade WeAza, que organizou uma loteria de itens de celebridades para arrecadar dinheiro para apoiar famílias de baixa renda.

Ligações externas

 Website oficial

NewJeans
Séries de televisão de viagem da Coreia do Sul
Reality shows da Coreia do Sul
Programas de televisão da Coreia do Sul que estrearam em 2022
Programas de televisão da Coreia do Sul encerrados em 2022
Programas de televisão em língua coreana
Séries de televisão filmadas na Coreia do Sul
Programas da Seoul Broadcasting System

New Jeans Code in Busan


"I Can't Go On" er en sang fremført af Robin Bengtsson som deltog i Eurovision Song Contest 2017 for Sverige. Sangen opnåede en 5. plads.

Eksterne kilder og henvisninger

Singler fra 2017
Sange fra Eurovision Song Contest 2017
Eurovision Song Contest-sange fra Sverige

I Can't Go On


8. Šahovska olimpijada održana je 1939. u Argentini. Grad domaćin bio je Buenos Aires.

Mjesto održavanja
Dvoboji su se odigrali u Kazalištu Politeami (Teatro Politeama) u Buenos Airesu.

Natjecanje
Natjecanje je održano kao šahovski turnir po kružnom sustavu. Igralo se u dvjema skupinama.

Sudionici

Poredak

Poredak osvajača odličja

Literatura
 Justin Corfield: Pawns in a Greater Game. The Buenos Aires Chess Olympiad August - September 1939. Gentext Publications, Lara, Victoria 2015. .
 Ariel Magnus: Die Schachspieler von Buenos Aires. Roman. Deutsch von Silke Kleemann. Kiepenheuer & Witsch, Köln 2018, . (Roman sa stvarnim elementima s olimpijade i ženskog SP 1939-)

Vanjske poveznice
(nje.) Frank Große: Die Geschichte der Schacholympiade. Teil 3: Vor dem Zweiten Weltkrieg (1931–1939), Chessbase.com
(eng.) Olimpbase, informacije o 8. Šahovskoj olimpijadi

1939.
Međunarodna športska natjecanja u Argentini

Šahovska olimpijada 1939.


Sheryl Dayana Rubio Rojas  (n. 28 decembrie 1992) de asemenea cunoscută ca și Sheryl Rubio, este o actriță, model, cântăreață, compozitoare și dansatoare venezuelană care a câștigat popularitate internațională pentru rolul său de debut ca Somos tú y yo în serial original Boomerang.

Viața și cariera

Copilăria și începuturile carierei
Sheryl Rubio sa născut în Caracas, Venezuela. Părinții ei sunt Oscar Rubio și Damaris Rojas, ea a avut o sora mai mare, Damaris Belmonte, care a fost ucis în 1997 de către iubitul ei, actrița avea 5 ani când sa întâmplat acest lucru și a mărturisit că a fost o lovitură dură pentru ea și mama ei , această experiență a dus la participarea la diferite UN Women împotriva violenței de gen și a drepturilor femeilor. Rubio a studiat la Colegio San Jose de Tarbes din Caracas, a declarat că, atunci când a frecventat școala, nu a fost foarte populară și a fost chiar agresată. La vârsta de șapte ani, ea a început să se simtă interesată să devină actriță și și-a început cariera în roluri mici în televiziune.

În 1999, Rubio a început să urmeze o carieră actorică. A început să lucreze și să apară într-o serie de reclame înainte de a trece la televiziune. Rubio a debutat în telenovela, Amantes de Luna Llena în 2000, când avea 8 ani, unde a jucat Angela Rigores.

În 2001, ea a interpretat-o pe Micaela Benavides în telenovela La Soberana.  În 2002, Rubio și-a desfășurat primul rol principal în televiziune, în rolul Renata Antoni Diaz în La niña de mis ojos.

2007–2014: Somos tú y yo
În 2005, la vârsta de 11 ani a început să lucreze la emisiunea TV Atómico. În 2006, au început piesele de turnătorie pentru Somos tú y yo. Principala preocupare a directorilor de casting a fost găsirea protagonistului drept al seriei, actrița a apărut la casting, iar producătorii au fost impresionați de încrederea pe care o avea tânără în ea, actrița a fost aleasă ca protagonistul serialului, în cazul în care caracterul lui Sheryl Sanchez. Seria a fost o coproducție între Boomerang și Venevisión, seria a fost difuzată în America Latină, Europa, Orientul Mijlociu și Asia. Seria a fost premiată pentru prima dată pe 27 iunie 2007 în Venezuela de Venevisión. Seria a avut premiera pe 15 ianuarie 2008 de către Boomerang în America Latină și Europa. Seria sa încheiat la 15 decembrie 2008, iar ultimul său episod a avut o audiență de aproximativ 9,8 milioane. În 2008, distribuția a făcut turnee cu Venezuela, interpretând melodii din serie, iar când spectacolul sa încheiat în 2009, a fost lansat un album de compilație cu zece melodii din serie, intitulat Somos tú y yo, un nuevo día.

În ianuarie 2009, Rubio a jucat în al treilea sezon intitulat Somos tú y yo, un nuevo día, unde a jucat personajele lui Sheryl Sanchez și Candy. Seria sa bazat pe filmul american Grease. Seria a avut premiera pe 17 august 2009 de Boomerang.

În ianuarie 2010, a reluat rolul său ca Sheryl Sanchez în serie, NPS: No puede ser. Seria este al doilea spin-off al lui Somos tú y yo și marchează închiderea seriei. Seria a avut premiera pentru prima dată pe 25 iulie 2010 în Venezuela pentru Venevisión și pe 8 noiembrie 2010 pentru Boomerang. In acelasi an, ea a interpretat Sofia Carlota in telenovela de debut La viuda joven, scrisa de Martin Hahn. Telenovela sa bazat pe spaniolă Carmen Cervera.

În 2011, ea a interpretat Stefany Miller în telenovela Mi ex me tiene ganas, scrisă de Martin Hahn și produsă de Sandra Rioboó. Telenovela a avut premiera pe 16 mai 2012 de Venevisión și sa încheiat la 5 decembrie 2012. Rubio a primit o recepție pozitivă asupra caracterului mass-media din America Latină. Acest personaj marchează creșterea ei acționând într-un caracter mai matur. În același an, Rubio a fost numit judecător la concursul de frumusețe Miss Teen Aruba International 2012.

În 2012, ea a oferit vocale pe piesa "Quiero que vuelvas" cu Lasso. În 2013, Rubio a realizat o pereche de spectacole live în Caracas și Maracaibo, livrând un monolog scris de Amaris Páez intitulat "Confesiunea lui Sheryl".

În ianuarie 2014, ea participă la telenovela Corazón Esmeralda. Personajul lui Rubio este cântăreț-compozitor, iar ea interpretează o serie de melodii în serie. Telenovela a avut premiera la 3 martie 2014 de către Venevisión. În același an, Rubio a colaborat cu compania de îmbrăcăminte Melao pe o linie de haine care urma să fie vândută în toată Venezuela.

În august 2014, Rubio a prezentat-o pe Sheryl Rubio în colaborare cu Melao, pe care au dezvăluit-o în octombrie 2014 la Centro Sambil din Caracas, Venezuela.

2015-prezent: The House of Flowers, și noi proiecte

În 2015, ea a interpretat-o pe Angela Mendori într-un episod din serialul Escandalos, bazat pe răpirile lui Ariel Castro, care au avut loc în Statele Unite între 2002 și 2004. În august 2015, a jucat rolul lui Malibu în seria de televiziune Los Hijos de Don Juan.

În august 2016, ea a jucat în campania de încărcare a proiectului cu StandWithUs și organizația non-profit israeliană, împreună cu Candelaria Molfese, pentru care actrița ca și în orașele Tel Aviv și Ierusalim pentru câteva zile, proiectul urmărește promovarea turismului în Israel, pentru care actrita a călătorit și a avut câteva zile în Tel Aviv și Ierusalim.

În noiembrie 2016, Netflix și Telemundo au anunțat că Rubio va juca în noua lor serie Guerra de ídolos, programată să înceapă în 2017.

În 2018, ea a jucat în seria originală Netflix, The House of Flowers.

Filmografie

Referințe

Legături externe
  Sheryl Rubio la Internet Movie Database
  Sheryl Rubio la Tumblr
  Sheryl Rubio la Instagram

Nașteri în 1992
Nașteri pe 28 decembrie
Actrițe venezuelene
Cântărețe
Venezueleni în viață

Sheryl Rubio


Itaberaba es un municipio del estado de Bahía, en el Brasil. Se localiza en la región de la Chapada Diamantina. Su estimativa poblacional, según el Instituto Brasileño de Geografía y Estadística, es de 70 000 habitantes. Está en los márgenes de la BR-242, una importante carretera federal que une Bahía al Distrito Federal. Posee diversas industrias y un fuerte comercio, el que la torna uno de los mayores centros regionales del estado.

Historia

La región que hoy el municipio de Itaberaba ocupa era habitada por los indios Maracás, del grupo de los Tapuias. Eran indios robustos y guerreros, pero no eran antropófagos.

En 1768, fue fundada la Hacienda São Simão por el capitán Manuel Rodrigues Cajado. Hoy, Itaberaba es considerada mundialmente como la tierra del abacaxi.

Referencias

Enlaces externos

Localidades de Bahía

Itaberaba


إدوارد أنجل  - ولد (1 حزيران 1855 وتوفى 11 آب 1930) هو طبيب الأسنان الأمريكي الرائد في مجال تقوم الأسنان المعوجة يعتبر المؤسس الفعلي والأب الروحي لعلم تقويم الأسنان الحديث.

ولد في الأول من حزيران (يونيو) عام 1855 في ولاية بنسلفانيا في الولايات المتحدة الأمريكية. لقد كرس حياته للعلم والتعليم في مجال التقويم، ولقد اسس مدرسة انجل في سانت لويس.

ولد في بنسلفانيا، درس في كلية طب الاسنان في جامعة بنسلفانيا وأصبح طبيب اسنان في عام 1876 ميلادي.

بين 1887و1892 شغل منصب أستاذ طب الاسنان في جامعة ولاية مينيسوتا.
من 1892-1898 كان أستاذا للتقويم الأسنان في جامعة نورث وسترن،
بين 1886 و 1899 كان أستاذ في كلية طب الاسنان في جامعة سيمز ماريون للطب و1897-1899 في قسم الطب بجامعة واشنطن

اهتم انجل بالجانب الجمالي في التقويم وكذلك بجانب الوظيفي

روابط خارجية

مراجع

أطباء تقويم الأسنان
أطباء أسنان أمريكيون
أطباء أسنان أمريكيون في القرن 19
مواليد 1855
مواليد 1955
مواليد في بنسيلفانيا
وفيات 1930
وفيات في باسادينا (كاليفورنيا)
أطباء أسنان أمريكيون في القرن 20

إدوارد أنجل


Pergel, birbirine üstten eklenmiş iki koldan meydana gelen, çember çizmeye ve küçük mesafeleri ölçmeye yarayan alet. Pergel, geometri şekillerinin çiziminde kullanıldığı gibi çeşitli meslek dallarında da ölçü aleti olarak kullanılmaktadır. Küçük doğru parçaları ve açılar arasındaki mesafeler de pergellerle ölçülür.

Kullanım alanları

Açıların ikiye bölünmesi, bir eşkenar üçgen, düzgün beşgen, on ve on beş kenarlı vb. çokgenlerin çizilmesi cetvel ve pergelle çözülebilen problemlere, herhangi bir açının üçe bölünmesi, çemberin herhangi bir sayıda eşit parçaya bölünmesi, cetvel ve pergelle çözülemeyen geometrik problemlere misaldir.

Matematikte çember veya çember yayları çizmek vasıtasıyla çözülen problemler vardır. Böyle problemlere cetvel ve pergelle çözülebilir problemler denir. Cetvele lüzum kalmadan yalnız pergel yardımıyla çizilen düzlem geometriye de pergel geometrisi denmektedir.

Pergel çeşitleri ve kullanıldığı yerler

Ölçek pergeli Bu pergeller bir kolludur. Genellikle harita çalışmalarında kullanılır.

Elips pergeli Bu pergeller elips çiziminde kullanılır.

Yaylı pergel Buna nokta pergeli de denir. Uçları yay üzerine yerleştirilmiştir.

Şapkacı pergeli Buna eskiden Fes Pergeli denilirdi. Daha sonra şapka pergeli ismini aldı.

Sabit pergel Uçları sabit ve iki kolu vardır. Tomrukların çaplarını ölçmede kullanılır.

Taşçı pergeli Birer uçlarının birbirine eklendiği, diğer uçları ise sivri demirlerle bittiği, iki cetvelden ibarettir. Taş ustaları bu pergeli dik çıkmada ve ayrıntıları çizmede kullanırlar.

Uzunluk pergeli İki basit koldan meydana gelen, daire çiziminde kullanılan pergellerdir.

Nokta pergeli Çok küçük çemberleri çizmede kullanılır. Şehadet ve başparmak arasında tutularak döndürülen bir üst sap yardımıyla kullanılır ve çizimler yapılır.

Oran pergeli Diğer pergellere benzeyen, fakat kollar yerine taksimatlı cetvelleri bulunan ölçü aleti.

Üç kollu pergel Heykeltraşçılıkla uğraşan sanatkarlar, yapmak istedikleri resimlerin ölçüsünü ve uzunluklarını aktarmada kullanır.

Galeri

Kelime Kökeni
Farsça pargār پرگار  "daire çizme aygıtı" sözcüğünden alıntıdır. Farsça sözcük Avesta (Zend) dilinde pairi-kāra- "çevre-eden" sözcüğü ile eş kökenlidir.

Kaynakça
2. Kelime Kökeni Kaynak : https://www.etimolojiturkce.com/kelime/pergel

Ölçü aletleri
Teknik resim aletleri
Farsçadan Türkçeye geçen sözcükler
Kırtasiye aletleri
Matematik araç ve gereçleri
Seyir ekipmanları

Pergel


La saison 2020-2021 devait être la  saison de hockey sur glace de la Ligue de hockey de l'Ontario (LHO). Une saison régulière de 68 matchs devait débuter le 20 septembre 2020, mais le début de la campagne est toutefois remis au 1er décembre 2020 avec un calendrier de 64 rencontres à la suite des restrictions sanitaires et du nombre élevé de cas de COVID-19 en Ontario. En avril 2021, après de multiples reports, la ligue annonce l'annulation complète de la saison.

Notes et références

Articles connexes
 Saison 2020-2021 de la LHJMQ
 Saison 2020-2021 de la LHOu

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