Maurice Watkins (born August 29, 1956) is a former boxer from Houston, Texas. Nicknamed Termite, he was born into a family that was in the insect killing business, and he is a professional fumigator.

Professional Boxing Career
Watkins turned professional as a boxer on May 21, 1974, beating Cesar Cortez by knockout in round one at Houston. Through his career, Watkins fought some of the best fighters in the Lightweight and Jr. Welterweight divisions. He beat Marion Thomas by a knockout in round seven, Rocky Ramon by a decision in twelve, Arturo Leon by decision in ten, Bruce Strauss by knockout in three, Bobby Rodriguez by knockout in one, and others. His fight with former United States Lightweight champion Norman Goins resulted in a three-round no contest. He also lost to Olympic gold medalist Howard Davis Jr. and Alfredo Escalera. On October 2 of 1980, at the Caesars Palace hotel in Las Vegas, Nevada, he got his only world title shot, losing to Saoul Mamby by a fifteen-round decision for the WBC's world Jr. Welterweight title. He retired with 61 wins, 5 losses, 2 draws (tie), one no contest and 48 wins by knockout.

Professional boxing record

|-
|align="center" colspan=8|61 Wins (42 knockouts, 19 decisions), 5 Losses (0 knockouts, 5 decisions), 2 Draws, 1 No Contest
|-
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Result
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Record
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Opponent
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Type
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Round
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Date
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Location
| align="center" style="border-style: none none solid solid; background: #e3e3e3"|Notes
|-align=center
|Win
|
|align=left| Yaqui Hernandez
|PTS
|6
|16/03/1990
|align=left| Phoenix, Arizona, United States
|align=left|
|-
|Win
|
|align=left| Robert "The Line" Dixon
|TKO
|2
|17/02/1990
|align=left| Conroe, Texas, United States
|align=left|
|-
|Win
|
|align=left| Joe "Attorney" Garcia
|PTS
|10
|11/12/1989
|align=left| Pasadena Convention Center, Pasadena, Texas, United States
|align=left|
|-
|Win
|
|align=left| Moses "Governor" Robinson
|KO
|2
|05/10/1989
|align=left| Houston, Texas, United States
|align=left|
|-
|Win
|
|align=left| "Candlelight" Virgil Green
|KO
|3
|10/08/1989
|align=left| Billings, Montana, United States
|align=left|
|-
|Win
|
|align=left| Raymundo Lopez
|KO
|2
|20/07/1989
|align=left| Tucson Convention Center, Tucson, Arizona, United States
|align=left|
|-
|Win
|
|align=left|Carlos "Rocky" Gonzalez
|KO
|1
|01/06/1989
|align=left| Phoenix, Arizona, United States
|align=left|
|-
|Win
|
|align=left| Anthony "Two Gun" Williams
|PTS
|6
|30/04/1989
|align=left| Galveston, Texas, United States
|align=left|
|-
|Loss
|
|align=left| Alfredo Escalera
|UD
|10
|12/11/1982
|align=left| Orange Bowl, Miami, United States
|align=left|
|-
|Win
|
|align=left| Paul Gentry
|KO
|4
|22/09/1982
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Jose "J-Rod" Rodriguez
|KO
|10
|27/08/1982
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Bruce Strauss
|KO
|3
|17/08/1982
|align=left| Blackham Coliseum, Lafayette, Louisiana, United States
|align=left|
|-
|Win
|
|align=left| Billy "The Kid" Smith
|KO
|3
|21/07/1982
|align=left| Shreveport, Louisiana, United States
|align=left|
|-
|Loss
|
|align=left| Saoul Mamby
|UD
|15
|02/10/1980
|align=left| Caesars Palace, Las Vegas, United States
|align=left|
|-
|Win
|
|align=left| Larry "Legend" Moore
|KO
|3
|22/05/1980
|align=left| Holland, Michigan, United States
|align=left|
|-
|Win
|
|align=left| Sammy Rookard
|KO
|4
|06/04/1980
|align=left| Astro Arena, Houston, United States
|align=left|
|-
|Win
|
|align=left| Nathan "Famous" Davis
|KO
|3
|22/03/1980
|align=left| Grand Rapids, Michigan, United States
|align=left|
|-
|Win
|
|align=left| Jimmy "Wakeboard" Martinez
|KO
|1
|09/01/1980
|align=left| Holland, Michigan, United States
|align=left|
|-
|Loss
|
|align=left| Howard Davis, Jr.
|UD
|10
|14/09/1979
|align=left| Houston Summit, Houston, Texas, United States
|align=left|
|-
|Win
|
|align=left| Roberto "Baby" Perez
|KO
|7
|15/08/1979
|align=left| Beaumont Civic Center, Beaumont, Texas, United States
|align=left|
|-
|Draw
|
|align=left| Teodoro Osuna
|PTS
|10
|09/03/1979
|align=left| Madison Square Garden, New York City, United States
|align=left|
|-
|Win
|
|align=left| Richie Lee Roberts
|KO
|3
|16/01/1979
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Arthur "Space Odyssey" Clarke
|KO
|7
|09/12/1978
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Gary "Black" Smith
|KO
|5
|02/11/1978
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Rick Craney
|KO
|1
|15/08/1978
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Joe Medrano
|KO
|7
|16/05/1978
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| John "Wolf" Morgan
|KO
|4
|20/04/1978
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Hilbert Stevenson
|PTS
|10
|11/04/1978
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Benny Marquez
|PTS
|10
|19/01/1978
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Steve "Hammer" Homan
|PTS
|10
|01/12/1977
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Freddie "Stepper" Harris
|PTS
|10
|25/10/1977
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Cuyo Mendoza
|TKO
|3
|27/09/1977
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Paulino Garcia
|TKO
|5
|22/09/1977
|align=left| Curtis Hixon Hall, Tampa, Florida, United States
|align=left|
|-
|Win
|
|align=left| Ernesto Ortega
|KO
|7
|26/07/1977
|align=left| Orlando, Florida, United States
|align=left|
|-
|No Contest
|
|align=left| "Stormin" Norman Goins
|ND
|10
|22/03/1977
|align=left| Memorial Coliseum, Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Jose "Speedy" Gonzalez
|PTS
|10
|16/02/1977
|align=left| Orlando, Florida, United States
|align=left|
|-
|Loss
|
|align=left| Augustin Estrada
|UD
|10
|17/11/1976
|align=left| Convention Center Arena, San Antonio, United States
|align=left|
|-
|Win
|
|align=left| Otto Breeding
|KO
|3
|26/10/1976
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Arturo Leon
|UD
|10
|21/09/1976
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Rocky Ramon
|PTS
|12
|31/08/1976
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Agustin Estrada
|TKO
|7
|09/08/1976
|align=left| Municipal Auditorium, New Orleans, United States
|align=left|
|-
|Win
|
|align=left| Richie Puentes
|KO
|6
|24/07/1976
|align=left| Biloxi, Mississippi, United States
|align=left|
|-
|Loss
|
|align=left| Adriano Marrero
|SD
|10
|16/03/1976
|align=left| Miami Beach Convention Center, Miami Beach, Florida, United States
|align=left|
|-
|Win
|
|align=left| Valente Ramos
|KO
|3
|09/03/1976
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Lamar Baskin
|KO
|2
|24/02/1976
|align=left| Albuquerque Civic Auditorium, Albuquerque, New Mexico, United States
|align=left|
|-
|Win
|
|align=left|Chamaco Cuenca
|KO
|5
|10/02/1976
|align=left| Miami Beach Convention Center, Miami Beach, Florida, United States
|align=left|
|-
|Win
|
|align=left| Juan "and Only" Hidalgo
|UD
|10
|20/01/1976
|align=left| Miami Beach Convention Center, Miami Beach, Florida, United States
|align=left|
|-
|Win
|
|align=left| Bobby Flores
|TKO
|6
|18/11/1975
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Larry Peterson
|KO
|5
|19/08/1975
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Gene Prado
|UD
|10
|29/07/1975
|align=left| Circle Star Theater, San Carlos, California, United States
|align=left|
|-
|Win
|
|align=left| Marion "Tiger" Thomas
|KO
|7
|16/07/1975
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Victor de la Cruz
|UD
|10
|17/06/1975
|align=left| San Jose Civic Auditorium, San Jose, California, United States
|align=left|
|-
|Win
|
|align=left| Leroy Walker
|TKO
|8
|21/05/1975
|align=left| Circle Star Theater, San Carlos, California, United States
|align=left|
|-
|Win
|
|align=left| Rudy Gonzalez
|PTS
|10
|06/05/1975
|align=left| San Jose, California, United States
|align=left|
|-
|Win
|
|align=left| Otis Locklear
|KO
|3
|22/04/1975
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Mike Whymms
|PTS
|8
|15/04/1975
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Gilbert "Machete" Galvan
|PTS
|10
|17/02/1975
|align=left| Memorial Coliseum, Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Dave Kibby
|UD
|8
|29/01/1975
|align=left| Cow Palace, San Francisco, United States
|align=left|
|-
|Win
|
|align=left| Vicente Hernandez
|PTS
|10
|17/01/1975
|align=left| San Jose Civic Auditorium, San Jose, California, United States
|align=left|
|-
|Win
|
|align=left| "Sugar" Ray Sears
|PTS
|6
|17/12/1974
|align=left| Orlando, Florida, United States
|align=left|
|-
|Win
|
|align=left| Robert "Baby" Perez
|KO
|1
|10/11/1974
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Bobby Rodriguez
|KO
|1
|13/10/1974
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Ricky Ramos
|KO
|4
|26/08/1974
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Nick Alfaro
|PTS
|8
|18/08/1974
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Arturo Cirillos
|KO
|3
|05/08/1974
|align=left| Corpus Christi, Texas, United States
|align=left|
|-
|Win
|
|align=left| Harvey "Candyman" Wilson
|KO
|6
|16/07/1974
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Arturo Cirillos
|TKO
|4
|02/07/1974
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left| Lupe Cantù
|KO
|3
|04/06/1974
|align=left| Houston, United States
|align=left|
|-
|Win
|
|align=left|Cesar Cortez
|KO
|1
|21/05/1974
|align=left| Houston, United States
|align=left|
|}

After Boxing
After retiring, Watkins went back to Texas to work as a fumigator. He remained in obscurity there for many years.

In 2003, the American military, needing personnel to work rebuilding Iraq's infrastructure, contracted him as a fumigator to work on Iraqi homes that had been decaying and infected with insects during Saddam Hussein's presidency. The military did not know of Watkins' background as a boxer.

In 2008, writer Suzy Pepper, a former neighbor of Maurice Watkins, released "Termite", a biographical book about Watkins. Also in 2008, a movie based on the book was announced.

Termine currently speaks at events as a motivational speaker with emphasis on safety.

Houston television news reports that he was hospitalized in Houston fighting Coronavirus COVID-19 and overcame the illness after 18 days in the hospital. He has since fully recovered and continues to focus on the movie, oil and gas industry, and spending time with his wife and family.

In Iraq
After the IOC announced that Iraq would be allowed to compete in seven sports at the 2004 Olympics in Athens, including boxing, the United States military, overviewing the new Iraqi Olympic committee, set about to find a new boxing coach for the Iraqi national boxing team. With research, they found out about Watkins' background, and invited him to coach a team of young hopefuls in Baghdad. When Watkins arrived there, he saw what he described to a Sports Illustrated columnist as not too much talent, but a lot of heart.

Realizing he needed to train the team in a setting different from Baghdad, he moved his team to a city close to Baghdad, but much quieter than the capital city. He trained nine Iraqi boxers who hoped to reach the Olympics, but, out of those, only Najah Ali was able to qualify for the games.

During the training period of these young prospects, he invented a phrase that has become widely popular in Iraq: Every morning, after arrival to the gym, he would chant Iraq! Iraq! Iraq is back! to help inspire his boxers. The phrase has become so popular in Iraq that the United States military has ordered 1,000 T-shirts to be printed with the phrase, to be handled among Iraqi citizens.

Notes

External links

1956 births
Living people
Boxers from Texas
Place of birth missing (living people)
American male boxers
Boxing in Iraq

Maurice Watkins (boxer)


The multi-angle imaging spectroradiometer (MISR) is a scientific instrument on the Terra satellite launched by NASA on 18 December 1999. This device is designed to measure the intensity of solar radiation reflected by the Earth system (planetary surface and atmosphere) in various directions and spectral bands; it became operational in February 2000. Data generated by this sensor have been proven useful in a variety of applications including atmospheric sciences, climatology and monitoring terrestrial processes.

The MISR instrument consists of an innovative configuration of nine separate digital cameras that gather data in four different spectral bands of the solar spectrum. One camera points toward the nadir, while the others provide forward and aftward view angles at 26.1°, 45.6°, 60.0°, and 70.5°. As the instrument flies overhead, each region of the Earth's surface is successively imaged by all nine cameras in each of four wavelengths (blue, green, red, and near-infrared).

The data gathered by MISR are useful in climatological studies concerning the disposition of the solar radiation flux in the Earth's system. MISR is specifically designed to monitor the monthly, seasonal, and long-term trends of atmospheric aerosol particle concentrations including those formed by natural sources and by human activities, upper air winds and cloud cover, type, height, as well as the characterization of land surface properties, including the structure of vegetation canopies, the distribution of land cover types, or the properties of snow and ice fields, amongst many other biogeophysical variables.

References
 IEEE Transactions on Geoscience and Remote Sensing (July 2002) Special issue on MISR, Volume 40, No. 7.
 Diner, D. J., B. H. Braswell, R. Davies, N. Gobron, J. Hu, Y. Jin, R. A. Kahn, Y. Knyazikhin, N. Loeb, J.-P. Muller, A. W. Nolin, B. Pinty, C. B. Schaaf, G. Seiz, and J. Stroeve (2005) 'The value of multiangle measurements for retrieving structurally and radiatively consistent properties of clouds, aerosols, and surfaces', Remote Sensing of Environment, 97, 495–518.
 Remote Sensing of Environment (March 2007) Multi-angle Imaging SpectroRadiometer (MISR) Special Issue, Volume 107, Issues 1–2.

External links
Official NASA site
Visible Earth: Latest MISR images
JPL MISR homepage
Langley Atmospheric Science Data Center MISR data page

Satellite imaging sensors

Multi-angle imaging spectroradiometer


Aksiyon, 14 Aralık 1994 tarihinde yayın hayatına başlamış haftalık haber dergisidir. Saha çalışmalarına dayalı haberciliği ön plana çıkarmış bir dergidir.

Siyasetten ekonomiye, istihbarattan dış politikaya, kültür sanattan toplumsal haberlere kadar çok geniş yelpazede yayın yapan Aksiyon, aktarmacı gazetecilik yerine saha çalışmalarına dayalı bir haberciliği ön plana çıkarmaktadır. Haberle yorumu harmanlayarak, okurlarına gelişen hadiseler hakkında en kapsamlı analizleri okuma fırsatı sundu. Her hafta ortalama 15 haber dosyası yayınlar.

Aksiyon, Türkiye'de haftalık haber yorum dergisi alanında yayın yapan üç dergiden biriydi. Günümüzde ise diğer haber dergilerinin magazin alanına ağırlık vermeleri, Aksiyonu haftalık yayın yapan tek dergi konumuna getirmiştir.

Yayın kadrosu
Derginin yazı kadrosunda Ahmet Davutoğlu, Taha Kıvanç (Fehmi Koru), Beşir Ayvazoğlu, Tamer Korkmaz, Fatma K. Barbarosoğlu, Yalçın Çetinkaya, Mustafa Kutlu, Mustafa Özel, Cinuçen Tanrıkorur, Kemal Sayar, Hasan Sutay, Erhan Başyurt, Nihal Bengisu Karaca, Abdülhamit Bilici, Ayşe Böhürler, Mahmut Çebi, Dağıstan Çetinkaya, Ahmet Dinç, Mehmet Ali Eren, Ahmet Doğru,Ömer Erturgut, Muammer Gökçin, Cemal A. Kalyoncu, Osman İridağ, Mustafa Sungur, Tuncay Opçin, Mustafa Ünal, Rasih Yılmaz, Celal Kazdağlı, Kemal Kazaz ve Fevzi Yazıcı idi. Yeni yayın kadrosu ise
Cemal A. Kalyoncu Emin Akdağ, Muhsin Öztürk, Behram Kılıç, Haşim Söylemez, Tuba Kabacaoğlu, Ayşe Adlı, Tuba Deniz, Sedat Gülmez, Mesut Çevikalp, Gürhan Savgı, Esin Kaya, Ülkü Özel Akagündüz, Salih Zengin, Murat Tokay, Abdulkerim Bedir, Buket Davulcu, Mine Çaha, Nazif Aydın ve Mehmet Özdemir bulunmaktaydı.

Kapanışı
Dergi, 2016 Türkiye askerî darbe girişimi sonrasında çıkartılan OHAL yasası kapsamında kapatılmıştır.

Aldığı ödüller
 Habercilik dalında TBV Bilişim Medya Ödülü almıştır.
 Röportaj dalında Türkiye Yazarlar Birliği Ödülü almıştır.
 TSYD Ödülü almıştır.
 Kristal İletişim Ödülü almıştır.
 Bir kapağı MediaCat tarafından 2008'in en iyi 10 dergi kapağı arasında gösterilmiştir.

Kaynakça

Dış bağlantılar
 Resmî site (arşiv)

Türk haber dergileri
Türkçe dergiler
Türkiye'de yayımlanan haftalık dergiler
1994'te kurulan dergiler
1994'te Türkiye'de kurulan oluşumlar
Yayımı 2016'da sona eren dergiler

Aksiyon (dergi)


Meizhou Hakka Football Club er en kinesisk fodboldklub som i 2017 spillede i landets næstbedste række, China League One. Klubben blev grundlagt i januar 2013, og har base i Wuhua ved byen Meizhou. Klubben spiller sine hjemmekampe på Wuhua County Stadium med plads til 6.800 tilskuere.

Eksterne henvisninger
 Meizhou Hakkas officielle websted

Fodboldklubber i Kina
Etableret i 2013

Meizhou Hakka F.C.


Budstikken var en dansk kurervirksomhed med primært indenrigs kurerforsendelser. Budstikken var et franchisekoncept, hvor Budstikken Transport A/S var franchisegiver for selvstændige franchisetagere i Danmark. Kurervirksomheden blev grundlagt i 1981 og købt af Post Danmark i 1999. Ved overtagelsen havde Budstikken afdelinger i 12 danske byer og opererede med ca. 100 kurerbiler, mens Post Danmarks kurervirksomhed Jetpost havde ca. 40, hvilket fik avisen Berlingske til at spørge ved overtagelsen, om det var musen, der overtog elefanten. Tilsammen stod den forenede virksomhed for en fjerdedel af det danske bilbaserede kurermarked på overtagelsestidspunktet. I 2013 indgik det i fusionen med TransportGruppen og HIT og gik herefter under navnet PostNord logistics.

Reference

Distributionsvirksomheder i Danmark
Etableret i 1981

Budstikken (kurervirksomhed)


Ženski vaterpolski turnir na MI 2018. održao se u Tarragoni u Španjolskoj. Ovo je prvi ženski vaterpolski turnir u povijesti Mediteranskih igara.

Turnir

Skupina A

Skupina B

Utakmica za peto mjesto

30. lipnja 2018.

  Portugal -  Turska 16:8

Utakmica za broncu

30. lipnja 2018.

  Grčka -  Francuska 4:3

Utakmica za zlato

30. lipnja 2018.

  Španjolska -  Italija 9:8

Mediteranske igre 2018.
Vaterpolo na Mediteranskim igrama

Ženski vaterpolo na Mediteranskim igrama 2018.


Traditional animation (or classical animation, cel animation, or hand-drawn animation) is an animation technique in which each frame is drawn by hand. The technique was the dominant form of animation in cinema until the end of the 20th century, when there was a shift to computer animation in the industry, specifically 3D computer animation.

Process

Writing and storyboarding
Animation production usually begins after a story is converted into an animation film script, from which a storyboard is derived. A storyboard has an appearance somewhat similar to comic book panels, and is a shot by shot breakdown of the staging, acting and any camera moves that will be present in the film.  The images allow the animation team to plan the flow of the plot and the composition of the imagery. Storyboard artists will have regular meetings with the director and may redraw or "re-board" a sequence many times before it meets final approval.

Voice recording
Before animation begins, a preliminary soundtrack or scratch track is recorded so that the animation may be more precisely synchronized to the soundtrack. Given the slow manner in which traditional animation is produced, it is almost always easier to synchronize animation to a preexisting soundtrack than it is to synchronize a soundtrack to pre-existing animation. A completed cartoon soundtrack will feature music, sound effects, and dialogue performed by voice actors. The scratch track used during animation typically contains only the voices, any songs to which characters must sing-along, and temporary musical score tracks; the final score and sound effects are added during post-production.

In the case of Japanese animation and most pre-1930 sound animated cartoons, the sound was post-synched; the soundtrack was recorded after the film elements were finished by watching the film and performing the dialogue, music, and sound effects required. Some studios, most notably Fleischer Studios, continued to post-synch their cartoons through most of the 1930s, which allowed for the presence of the "muttered ad-libs" present in many Popeye the Sailor and Betty Boop cartoons.

Design, timing, and layout
When storyboards are sent to the design departments, character designers prepare model sheets for any characters and props that appear in the film; and these are used to help standardize appearance, poses, and gestures. The model sheets will  often include "turnarounds" which show how a character or object looks in three-dimensions along with standardized special poses and expressions so that the artists have a guide to refer to. Small statues known as maquettes may be produced so that an animator can see what a character looks like in three dimensions. Background stylists will do similar work for any settings and locations present in the storyboard, and the art directors and color stylists will determine the art style and color schemes to be used.

A timing director (who in many cases will be the main director) will take the animatic and analyze exactly what poses, drawings, and lip movements will be needed on what frames. An exposure sheet (or X-sheet) is created; this is a printed table that breaks down the action, dialogue, and sound frame-by-frame as a guide for the animators. If a film is based more strongly in music, a bar sheet may be prepared in addition to or instead of an X-sheet. Bar sheets show the relationship between the on-screen action, the dialogue, and the actual musical notation used in the score.

Layout begins after the designs are completed and approved by the director. It is here that the background layout artists determine the camera angles, camera paths, lighting, and shading of the scene. Character layout artists will determine the major poses for the characters in the scene and will make a drawing to indicate each pose. For short films, character layouts are often the responsibility of the director. The layout drawings and storyboards are then spliced, along with the audio and an animatic is formed (not to be confused with its predecessor, the leica reel).

While the animation is being done, the background artists will paint the sets over which the action of each animated sequence will take place. These backgrounds are generally done in gouache or acrylic paint, although some animated productions have used backgrounds done in watercolor or oil paint. Background artists follow very closely the work of the background layout artists and color stylists (which is usually compiled into a workbook for their use) so that the resulting backgrounds are harmonious in tone with the character designs.

Animatic

Usually, an animatic or story reel is created after the soundtrack is recorded and before full animation begins. The term "animatic" was originally coined by Walt Disney Animation Studios. An animatic typically consists of pictures of the storyboard timed and cut together with the soundtrack. This allows the animators and directors to work out any script and timing issues that may exist with the current storyboard. The storyboard and soundtrack are amended if necessary, and a new animatic may be created and reviewed with the director until the storyboard meets the users' requirements. Editing the film at the animatic stage prevents the animation of scenes that would be edited out of the film. Creating scenes that will eventually be edited out of the completed cartoon is avoided.

Animation

In the traditional animation process, animators will begin by drawing sequences of animation on sheets of transparent paper perforated to fit the peg bars in their desks, often using colored pencils, one picture or "frame" at a time. A peg bar is an animation tool used in traditional animation to keep the drawings in place. A key animator or lead animator will draw the key drawings or key frames in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major poses within a character performance.

While working on a scene, a key animator will usually prepare a pencil test of the scene. A pencil test is a much rougher version of the final animated scene (often devoid of many character details and color); the pencil drawings are quickly photographed or scanned and synced with the necessary soundtracks. This allows the animation to be reviewed and improved upon before passing the work on to their assistant animators, who will add details and some of the missing frames in the scene. The work of the assistant animators is reviewed, pencil-tested, and corrected until the lead animator is ready to meet with the director and have their scene sweatboxed.

Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators' drawings and trace them onto a new sheet of paper, making sure to include all of the details present on the original model sheets, so that the film maintains a cohesiveness and consistency in art style. The inbetweeners will draw in whatever frames are still missing in-between the other animators' drawings. This procedure is called tweening. The resulting drawings are again pencil-tested and sweatboxed until they meet approval.

At each stage during pencil animation, approved artwork is spliced into the Leica reel.

This process is the same for both character animation and special effects animation, which on most high-budget productions are done in separate departments. Often, each major character will have an animator or group of animators solely dedicated to drawing that character. The group will be made up of one supervising animator, a small group of key animators, and a larger group of assistant animators. Effects animators animate anything that moves and are not a character, including props, vehicles, machinery and phenomena such as fire, rain, and explosions. Sometimes, instead of drawings, a number of special processes are used to produce special effects in animated films; rain, for example, has been created in Disney animated films since the late 1930s by filming slow-motion footage of water in front of a black background, with the resulting film superimposed over the animation.

Traditional ink-and-paint and camera
Once the clean-ups and in-between drawings for a sequence are completed, they are prepared for a process known as ink-and-paint. Each drawing is then transferred from paper to a thin, clear sheet of plastic called a cel, a contraction of the material name celluloid (the original flammable cellulose nitrate was later replaced with the more stable cellulose acetate). The outline of the drawing is inked or photocopied onto the cel, and gouache, acrylic or a similar type of paint is used on the reverse sides of the cels to add colors in the appropriate shades. The transparent quality of the cel allows for each character or object in a frame to be animated on different cels, as the cel of one character can be seen underneath the cel of another; and the opaque background will be seen beneath all of the cels.

When an entire sequence has been transferred to cels, the photography process begins. Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. A piece of glass is lowered onto the artwork in order to flatten any irregularities, and the composite image is then photographed by a special animation camera, also called rostrum camera. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. Each cel has registration holes, small holes along the top or bottom edge of the cel, which allow the cel to be placed on corresponding peg bars before the camera to ensure that each cel aligns with the one before it; if the cels are not aligned in such a manner, the animation, when played at full speed, will appear "jittery." Sometimes, frames may need to be photographed more than once, in order to implement superimpositions and other camera effects. Pans are created by either moving the cels or backgrounds 1 step at a time over a succession of frames (the camera does not pan; it only zooms in and out).

Dope sheets are created by the animators and used by the camera operator to transfer each animation drawing into the number of film frames specified by the animators, whether it is 1 (1s, ones) 2 (2s, twos) or 3 (3s, threes).

As the scenes come out of final photography, they are spliced into the Leica reel, taking the place of the pencil animation. Once every sequence in the production has been photographed, the final film is sent for development and processing, while the final music and sound effects are added to the soundtrack.

Modern process

Digital ink and paint
The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed; instead of being transferred to cels, the animators' drawings are either scanned into a computer or drawn directly onto a computer monitor via graphics tablets, where they are colored and processed using one or more of a variety of software packages. The resulting drawings are composited in the computer over their respective backgrounds, which have also been scanned into the computer (if not digitally painted), and the computer outputs the final film by either exporting a digital video file, using a video cassette recorder or printing to film using a high-resolution output device. Use of computers allows for easier exchange of artwork between departments, studios, and even countries and continents (in most low-budget American animated productions, the bulk of the animation is actually done by animators working in other countries, including South Korea, Taiwan, Japan, China, Singapore, Mexico, India, and the Philippines). As the cost of both inking and painting new cels for animated films and TV programs and the repeated usage of older cels for newer animated TV programs and films went up and the cost of doing the same thing digitally went down, eventually, the digital ink-and-paint process became the standard for future animated movies and TV programs.

Implementation
Hanna-Barbera was the first American animation studio to implement a computer animation system for digital ink-and-paint usage. Following a commitment to the technology in 1979, computer scientist Marc Levoy led the Hanna-Barbera Animation Laboratory from 1980 to 1983, developing an ink-and-paint system that was used in roughly a third of Hanna-Barbera's domestic production, starting in 1984 and continuing until replaced with third-party software in 1996. It was first tested in the Pac-Man episodes "Nighty Nightmares" and "The Pac-Mummy". In addition to a cost savings compared to traditional cel painting of 5 to 1, the Hanna-Barbera system also allowed for multiplane camera effects evident in H-B productions such as A Pup Named Scooby-Doo (1988).

Digital ink and paint has been in use at Walt Disney Animation Studios since 1989, where it was used for the final rainbow shot in The Little Mermaid. All subsequent Disney animated features were digitally inked-and-painted (starting with The Rescuers Down Under, which was also the first major feature film to entirely use digital ink and paint), using Disney's proprietary CAPS (Computer Animation Production System) technology, developed primarily by Pixar Animation Studios. The CAPS system allowed the Disney artists to make use of colored ink-line techniques mostly lost during the xerography era, as well as multiplane effects, blended shading, and easier integration with 3D CGI backgrounds (as in the ballroom sequence in the 1991 film Beauty and the Beast), props, and characters.

While Hanna-Barbera and Disney began implementing digital inking and painting, it took the rest of the industry longer to adapt. Many filmmakers and studios did not want to shift to the digital ink-and-paint process because they felt that the digitally colored animation would look too synthetic and would lose the aesthetic appeal of the non-computerized cel for their projects. Many animated television series were still animated in other countries by using the traditionally inked-and-painted cel process as late as 2004, though most of them switched over to the digital process at some point during their run. The last major feature film to use traditional ink and paint was Satoshi Kon's Millennium Actress (2001); the last major animation productions in the west to use the traditional process were Nickelodeon's SpongeBob SquarePants, both Fox's The Simpsons and King of the Hill and both Cartoon Network's The Powerpuff Girls and Ed, Edd n Eddy, which all switched to digital paint between 2000 and 2004, while the last major animated production overall to abandon cel animation was the television adaptation of Sazae-san, which remained stalwart with the technique until September 29, 2013, when it switched to fully digital animation on October 6, 2013. Prior to this, the series adopted digital animation solely for its opening credits in 2009, but retained the use of traditional cels for the main content of each episode. Minor productions, such as Hair High (2004) by Bill Plympton, have used traditional cels long after the introduction of digital techniques. Most studios today use one of a number of other high-end software packages, such as Toon Boom Harmony, Toonz (OpenToonz), Animo, and RETAS, or even consumer-level applications such as Adobe Flash, Toon Boom Technologies and TV Paint.

Techniques

Cels

The cel animation process was invented by Earl Hurd and John Bray in 1915. The cel is an important innovation to traditional animation, as it allows some parts of each frame to be repeated from frame to frame, thus saving labor. A simple example would be a scene with two characters on screen, one of which is talking and the other standing silently. Since the latter character is not moving, it can be displayed in this scene using only one drawing, on one cel, while multiple drawings on multiple cels are used to animate the speaking character.

For a more complex example, consider a sequence in which a person sets a plate upon a table. The table stays still for the entire sequence, so it can be drawn as part of the background. The plate can be drawn along with the character as the character places it on the table. However, after the plate is on the table, the plate no longer moves, although the person continues to move as they draw their arm away from the plate. In this example, after the person puts the plate down, the plate can then be drawn on a separate cel from them. Further frames feature new cels of the person, but the plate does not have to be redrawn as it is not moving; the same cel of the plate can be used in each remaining frame that it is still upon the table. The cel paints were actually manufactured in shaded versions of each color to compensate for the extra layer of cel added between the image and the camera; in this example, the still plate would be painted slightly brighter to compensate for being moved one layer down.

In TV and other low-budget productions, cels were often "cycled" (i.e., a sequence of cels was repeated several times), and even archived and reused in other episodes. After the film was completed, the cels were either thrown out or, especially in the early days of animation, washed clean and reused for the next film.  In some cases, some of the cels were put into the "archive" to be used again and again for future purposes in order to save money. Some studios saved a portion of the cels and either sold them in studio stores or presented them as gifts to visitors.

Cel overlay
A cel overlay is a cel with inanimate objects used to give the impression of a foreground when laid on top of a ready frame. This creates the illusion of depth, but not as much as a multiplane camera would. A special version of cel overlay is called line overlay, made to complete the background instead of making the foreground, and was invented to deal with the sketchy appearance of xeroxed drawings. The background was first painted as shapes and figures in flat colors, containing rather few details. Next, a cel with detailed black lines was laid directly over it, each line is drawn to add more information to the underlying shape or figure and give the background the complexity it needed. In this way, the visual style of the background will match that of the xeroxed character cels. As the xerographic process evolved, line overlay was left behind.

Pre-cel animation

In very early cartoons made before the use of the cel, such as Gertie the Dinosaur (1914), the entire frame, including the background and all characters and items, were drawn on a single sheet of paper, then photographed. Everything had to be redrawn for each frame containing movements. This led to a "jittery" appearance; imagine seeing a sequence of drawings of a mountain, each one slightly different from the one preceding it. The pre-cel animation was later improved by using techniques like the slash and tear system invented by Raoul Barre; the background and the animated objects were drawn on separate papers. A frame was made by removing all the blank parts of the papers where the objects were drawn before being placed on top of the backgrounds and finally photographed.

Limited animation
In lower-budget productions, shortcuts available through the cel technique are used extensively. For example, in a scene in which a person is sitting in a chair and talking, the chair and the body of the person may be the same in every frame; only their head is redrawn, or perhaps even their head stays the same while only their mouth moves. This is known as limited animation. The process was popularized in theatrical cartoons by United Productions of America and used in most television animation, especially that of Hanna-Barbera. The end result does not look very lifelike, but is inexpensive to produce, and therefore allows cartoons to be made on small television budgets.

"Shooting on twos"
Moving characters are often shot "on twos". One drawing is shown for every two frames of film (which usually runs at 24 frames per second), meaning there are only 12 drawings per second. Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick movement, it is usually necessary to revert to animating "on ones", as "twos" are too slow to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production costs.

Academy Award–nominated animator Bill Plympton is noted for his style of animation that uses very few in-betweens and sequences that are done "on threes" or "on fours", holding each drawing on the screen from  to  of a second. While Plympton uses near-constant three-frame holds, sometimes animation that simply averages eight drawings per second is also termed "on threes" and is usually done to meet budget constraints, along with other cost-cutting measures, like holding the same drawing of a character for a prolonged time or panning over a still image, techniques often used in low-budget TV productions. It is also common in anime, where fluidity is sacrificed in lieu of a shift towards complexity in the designs and shading (in contrast with the more functional and optimized designs in the Western tradition); even high-budget theatrical features such as Studio Ghibli's employ the full range: from smooth animation "on ones" in selected shots (usually quick action accents) to common animation "on threes" for regular dialogue and slow-paced shots.

Animation loops

Creating animation loops or animation cycles is a labor-saving technique for animating repetitive motions, such as a character walking or a breeze blowing through the trees. In the case of walking, the character is animated taking a step with its right foot, then a step with its left foot. The loop is created so that, when the sequence repeats, the motion is seamless. In general, they are used only sparingly by productions with moderate or high budgets.

Ryan Larkin's 1969 Academy Award-nominated National Film Board of Canada short Walking makes creative use of loops. In addition, a promotional music video from Cartoon Network's Groovies featuring the Soul Coughing song "Circles" poked fun at animation loops as they are often seen in The Flintstones, in which Fred and Barney (along with various Hanna-Barbera characters that aired on Cartoon Network), supposedly walking in a house, wonder why they keep passing the same table and vase over and over again.

Multiplane process
The multiplane process is a technique primarily used to give a sense of depth or parallax to two-dimensional animated films. To use this technique in traditional animation, the artwork is painted or placed onto separate layers called planes. These planes, typically constructed of planes of transparent glass or plexiglass, are then aligned and placed with specific distances between each plane. The order in which the planes are placed, and the distance between them, is determined by what element of the scene is on the plane as well as the entire scene's intended depth. A camera, mounted above or in front of the planes, moves its focus toward or away from the planes during the capture of the individual animation frames. In some devices, the individual planes can be moved toward or away from the camera. This gives the viewer the impression that they are moving through the separate layers of art as though in a three-dimensional space.

History
Predecessors of this technique and the equipment used to implement it began appearing in the late 19th century. Painted glass panes were often used in matte shots and glass shots, as seen in the work of Norman Dawn. In 1923, Lotte Reiniger and her animation team constructed one of the first multiplane animation structures, a device called a Tricktisch. Its top-down, vertical design allowed for overhead adjusting of individual, stationary planes. The Tricktisch was used in the filming of The Adventures of Prince Achmed, one of Reiniger's most well-known works. Future multiplane animation devices would generally use the same vertical design as Reiniger's device. One notable exception to this trend was the Setback Camera, developed and used by Fleischer Studios. This device used miniature three-dimensional models of sets, with animated cels placed at various positions within the set. This placement gave the appearance of objects moving in front of and behind the animated characters, and was often referred to as the Tabletop Method.

Impact
The spread and development of multiplane animation helped animators tackle problems with motion tracking and scene depth, and reduced production times and costs for animated works. In a 1957 recording, Walt Disney explained why motion tracking was an issue for animators, as well as what multiplane animation could do to solve it. Using a two-dimensional still of an animated farmhouse at night, Disney demonstrated that zooming in on the scene, using traditional animation techniques of the time, increased the size of the moon. In real-life experience, the moon would not increase in size as a viewer approached a farmhouse. Multiplane animation solved this problem by separating the moon, farmhouse, and farmland into separate planes, with the moon being farthest away from the camera. To create the zoom effect, the first two planes were moved closer to the camera during filming, while the plane with the moon remained at its original distance. This provided a depth and fullness to the scene that was closer in resemblance to real life, which was a prominent goal for many animation studios at the time.

Xerography
Applied to animation by Ub Iwerks at the Walt Disney studio during the late 1950s, the electrostatic copying technique called xerography allowed the drawings to be copied directly onto the cels, eliminating much of the "inking" portion of the ink-and-paint process. This saved time and money, and it also made it possible to put in more details and to control the size of the xeroxed objects and characters. At first, it resulted in a more sketchy look, but the technique was improved upon over time.

Disney animator and engineer Bill Justice had patented a forerunner of the Xerox process in 1944, where drawings made with a special pencil would be transferred to a cel by pressure, and then fixing it. It is not known if the process was ever used in animation.

The xerographic method was first tested by Disney in a few scenes of Sleeping Beauty and was first fully used in the short film Goliath II, while the first feature entirely using this process was One Hundred and One Dalmatians (1961). The graphic style of this film was strongly influenced by the process. Some hand inking was still used together with xerography in this and subsequent films when distinct colored lines were needed. Later, colored toners became available, and several distinct line colors could be used, even simultaneously. For instance, in The Rescuers the characters' outlines are gray. White and blue toners were used for special effects, such as snow and water.

The APT process

Invented by Dave Spencer for the 1985 Disney film The Black Cauldron, the APT (Animation Photo Transfer) process was a technique for transferring the animators' art onto cels. Basically, the process was a modification of a repro-photographic process; the artists' work was photographed on high-contrast "litho" film, and the image on the resulting negative was then transferred to a cel covered with a layer of light-sensitive dye. The cel was exposed through the negative. Chemicals were then used to remove the unexposed portion. Small and delicate details were still inked by hand if needed. Spencer received an Academy Award for Technical Achievement for developing this process.

Rotoscoping
Rotoscoping is a method of traditional animation invented by Max Fleischer in 1915, in which animation is "traced" over actual film footage of actors and scenery. Traditionally, the live-action will be printed out frame by frame and registered. Another piece of paper is then placed over the live-action printouts and the action is traced frame by frame using a lightbox. The end result still looks hand-drawn but the motion will be remarkably lifelike. The films Waking Life and American Pop are full-length rotoscoped films. Rotoscoped animation also appears in the music videos for A-ha's song "Take On Me" and Kanye West's "Heartless". In most cases, rotoscoping is mainly used to aid the animation of realistically rendered human beings, as in Snow White and the Seven Dwarfs, Peter Pan, and Sleeping Beauty.

A method related to conventional rotoscoping was later invented for the animation of solid inanimate objects, such as cars, boats, or doors. A small live-action model of the required object was built and painted white, while the edges of the model were painted with thin black lines. The object was then filmed as required for the animated scene by moving the model, the camera, or a combination of both, in real-time or using stop-motion animation. The film frames were then printed on paper, showing a model made up of the painted black lines. After the artists had added details to the object not present in the live-action photography of the model, it was xeroxed onto cels. A notable example is Cruella de Vil's car in Disney's One Hundred and One Dalmatians. The process of transferring 3D objects to cels was greatly improved in the 1980s when computer graphics advanced enough to allow the creation of 3D computer-generated objects that could be manipulated in any way the animators wanted, and then printed as outlines on paper before being copied onto cels using Xerography or the APT process. This technique was used in Disney films such as Oliver and Company (1988) and The Little Mermaid (1989). This process has more or less been superseded by the use of cel-shading.

Related to rotoscoping are the methods of vectorizing live-action footage, in order to achieve a very graphical look, like in Richard Linklater's film A Scanner Darkly.

Live-action hybrids

Similar to the computer animation and traditional animation hybrids described above, occasionally a production will combine both live-action and animated footage. The live-action parts of these productions are usually filmed first, the actors pretending that they are interacting with the animated characters, props, or scenery; animation will then be added into the footage later to make it appear as if it has always been there. Like rotoscoping, this method is rarely used, but when it is, it can be done to terrific effect, immersing the audience in a fantasy world where humans and cartoons co-exist. Early examples include the silent Out of the Inkwell (begun in 1919) cartoons by Max Fleischer and Walt Disney's Alice Comedies (begun in 1923). Live-action and animation were later combined in features such as Song of the South (1946), The Incredible Mr. Limpet, Mary Poppins (both in 1964), Who Framed Roger Rabbit (1988), Cool World (1992), Space Jam (1996), Looney Tunes: Back in Action (2003), The SpongeBob SquarePants Movie (2004), and Enchanted (2007), among many others. The technique has also seen significant use in television commercials, especially for breakfast cereals marketed to children to interest them and boost sales.

Special effects animation

Besides traditionally animated characters, objects, and backgrounds, many other techniques are used to create special elements such as smoke, lightning and "magic", and to give the animation, in general, a distinct visual appearance. Today special effects are mostly done with computers, but earlier they had to be done by hand. To produce these effects, the animators used different techniques, such as drybrush, airbrush, charcoal, grease pencil, backlit animation, diffusing screens, filters, or gels. For instance, the Nutcracker Suite segment in Fantasia has a fairy sequence where stippled cels are used, creating a soft pastel look.

Modern techniques
The methods mentioned above describe the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital paint instead of being transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format.

It is now also possible for animators to draw directly into a computer using a graphics tablet such as a Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The Goofy short How To Hook Up Your Home Theater (2007) represented Disney's first project based on the paperless technology available today. Some of the advantages are the possibility and potential of controlling the size of the drawings while working on them, drawing directly on a multiplane background and eliminating the need for photographing line tests and scanning.

Though traditional animation is now commonly done with computers, it is important to differentiate computer-assisted traditional animation from 3D computer animation, such as Toy Story, Shrek, Jimmy Neutron: Boy Genius, and Ice Age. However, often traditional animation and 3D computer animation will be used together, as in Don Bluth's Titan A.E. and Disney's Hercules, Tarzan, Atlantis: The Lost Empire, and Treasure Planet. Most anime and many western animated series still use traditional animation today, such as Ghost in the Shell, Neon Genesis Evangelion, and Cowboy Bebop. DreamWorks executive Jeffrey Katzenberg coined the term "tradigital animation" to describe animated films produced by his studio which incorporated elements of traditional and computer animation equally, such as The Road to El Dorado, Spirit: Stallion of the Cimarron, and Sinbad: Legend of the Seven Seas.

Many video games such as Viewtiful Joe, The Legend of Zelda: The Wind Waker, Ico, Ōkami, Mirror's Edge, and others use "cel-shading" animation filters or lighting systems to make their full 3D animation appear as though it were drawn in a traditional cel-style. This technique was also used in the animated movie Appleseed, and cel-shaded 3D animation is typically integrated with cel animation in Disney films and in many television shows, such as Fox's Futurama, Family Guy, and American Dad! and both Nickelodeon animated series Invader Zim and The Fairly Oddparents. In one scene of the 2007 Pixar movie Ratatouille, an illustration of Gusteau (in his cookbook), speaks to Remy (who, in that scene, was lost in the sewers of Paris) as a figment of Remy's imagination; this scene is also considered an example of cel-shading in an animated feature. More recently, animated shorts such as Paperman, Feast, and The Dam Keeper have used a more distinctive style of cel-shaded 3D animation, capturing a look and feel similar to a 'moving painting'.

Computers and digital video cameras
Among the most common types of animation rostrum cameras was the Oxberry. Such cameras were always made of black anodized aluminum, and commonly had 2 peg bars, 1 at the top and 1 at the bottom of the lightbox. The Oxberry Master Series had 4 peg bars, 2 above and 2 below, and sometimes used a "floating peg bar" as well. The height of the column on which the camera was mounted determined the amount of zoom achievable on a piece of artwork. Such cameras were massive mechanical affairs that might weigh close to a ton and take hours to break down or set up.

In the later years of the animation rostrum camera, stepper motors controlled by computers were attached to the various axes of movement of the camera, thus saving many hours of hand cranking by human operators. Gradually, motion control techniques were adopted throughout the industry.

Digital ink and paint processes gradually made these traditional animation techniques and equipment obsolete.

Computers and digital video cameras can also be used as tools in traditional cel animation without affecting the film directly, assisting the animators in their work and making the whole process faster and easier. Doing the layouts on a computer is much more effective than doing it by traditional methods. Additionally, video cameras give the opportunity to see a "preview" of the scenes and how they will look when finished, enabling the animators to correct and improve upon them without having to complete them first. This can be considered a digital form of pencil testing.

The most famous device used for multiplane animation was the multiplane camera. This device, originally designed by former Walt Disney Studios animator/director Ub Iwerks, is a vertical, top-down camera crane that shot scenes painted on multiple, individually adjustable glass planes. The movable planes allowed for changeable depth within individual animated scenes. In later years Disney Studios would adopt this technology for their own uses. Designed in 1937 by William Garity, the multiplane camera used for the film Snow White and the Seven Dwarfs utilized artwork painted on up to seven separate, movable planes, as well as a vertical, top-down camera.

The final animated film by Disney that featured the use of their multiplane camera was The Little Mermaid, though the work was outsourced as Disney's equipment was inoperative at the time. Usage of the multiplane camera or similar devices declined due to production costs and the rise of digital animation. Beginning largely with the use of CAPS, digital multiplane cameras would help streamline the process of adding layers and depth to animated scenes.

See also
 History of animation
 Animated cartoon
 Computer generated imagery (CGI)
 Computer animation
 Stop motion
Paint-on-glass animation
 Rubber hose animation
 List of animated feature-length films
 List of animated short series
 List of animated television series
 List of animation studios

References

Citations

Sources

External links

Audiovisual introductions in 1915
Animation techniques
Articles containing video clips

Traditional animation


Chuck Berry Is on Top treći je studijski album rock and roll pionira Chucka Berryja. Album je objavljen u srpnju 1959. godine, a objavila ga je diskografska kuća Chess Records. S iznimkom jedne skladbe, "Blues for Hawaiians," sve pjesme objavljene su kao singlovi na ploči, neke od kojih su bile B-strane zbog čega su se našle na ljestvicama dva puta.

U recenziji za AllMusic, Cub Koda opisao je album kao "skoro najbolji greatest hits album koji to nije" i kao savršeno realiziranu kolekciju Berryjeve karijere. Album je 2008. godine ponovno objavljen.

Popis pjesama

Osoblje
 Chuck Berry – vokali, gitara
 Bo Diddley – gitara
 Johnnie Johnson – glasovir
 Lafayette Leake – glasovir
 Willie Dixon – kontrabas
 George Smith – bas-gitara
 Fred Below – bubnjevi
 Ebbie Hardy – bubnjevi
 Jaspar Thomas – bubnjevi
 Jerome Green – maraca
 The Moonglows – prateći vokali

Izvori

Američki glazbeni albumi

Chuck Berry Is on Top


Paul Callaby (født 14. marts 1952) er en britisk trommeslager, der er kendt for sin medvirken i rockgruppen Shu-Bi-Dua, hvor han var medlem fra 1984-1988.

I 1984 medvirkede han på Shu-bi-dua-kollegaen Michael Hardingers album Hardinger, og igen i 1998 på Hardingers næste soloalbum Nede med øl.

Efter Kasper Winding forlod gruppen i 1984 kom Callaby med. Han havde boet i Danmark siden 1975. Han forlod gruppen igen i 1988. Siden var han medlem i kopibandet Rubberband helt frem til 2007. I 1987 medvirkede han på gruppen Labans to albums Laban 5 og Roulette.

Diskografi
Med Shu-bi-dua

 Shu-bi-dua 11 (1985)
 Shu-bi-dua 12 (1987)

Med Michael Hardinger
 Hardinger' (1984)
 Nede med øl (1998)

Med Laban
 Laban 5 (1987)
 Laban'' (1987)

Reference

Eksterne henvisninger

Trommeslagere fra Storbritannien
Shu-bi-dua

Paul Callaby


NK Redarstvenik je bivši bosanskohercegovački nogometni klub iz Mostara.

Povijest

U sezonama  i  Redarstvenik nastupa u Drugoj ligi Herceg-Bosne skupina Jug, ali oba puta osvaja drugo mjesto i ostaje bez plasmana u Prvu ligu Herceg-Bosne. Taj uspjeh ostvaruju u sezoni  U Prvoj ligi, 1998./99. osvajaju 13. mjesto, a istu poziciju osvajuju i sljedeće sezone.

U sezoni  Redarstvenik igra zajedničku Prvu ligu Federacije BiH, čije je to bilo prvo izdanje. Kao 15. od 18 klubova Redarstvenik ispada iz lige. Ubrzo nakon toga prestaje s radom.

Poznati igrači i treneri

  Franjo Džidić
  Ivan Božić
  Igor Melher

Izvori

Nogometni klubovi u Hercegovačko-neretvanskoj županiji
Hrvatski nogometni klubovi u Bosni i Hercegovini
Nogomet u Mostaru

NK Redarstvenik Mostar


Peter Malcolm de Brissac Dickinson (Livingstone, 16 de dezembro de 1927 - Winchester, 16 de dezembro de 2015) foi um escritor e poeta inglês, mais conhecido por livros infantis e histórias de detetive.

Dickinson ganhou a Medalha Carnegie anual da Library Association por Tulku (1979) e City of Gold (1980), cada um sendo reconhecido como o livro infantil excepcional do ano por um sujeito britânico. Até 2020, ele é um dos oito escritores a ganhar dois Carnegies; ninguém ganhou três. Ele também foi um vice-campeão altamente elogiado para Eva (1988) e quatro vezes um vice-campeão elogiado.

Trabalhos

Romances para crianças e jovens adultos
 Trilogia de alterações
 The Weathermonger (1968)
 Heartsease (1969)
 The Devil's Children (Gollancz, 1970), illus. Robert Hales

 Outros romances
 Emma Tupper's Diary (1970)
 Mandog (BBC, 1972)
 The Dancing Bear (Gollancz, 1972), illus. David Smee
 The Gift (1973)
 The Blue Hawk (Gollancz, 1976), illus. David Smee — vencedor do Prêmio Guardião de 1977
 Annerton Pit (1977), illus. Anne Yvonne Gilbert
 Tulku (1979) — vencedor da Medalha Carnegie de 1979
 The Seventh Raven (1981) — vencedor do Prêmio Phoenix de 2001
 Healer (1983)
 Eva (1988) — altamente elogiada pela Medalha Carnegie e vencedora do Prêmio Phoenix de 2008
 AK (1990)
 A Bone from a Dry Sea (1992)
 Shadow of a Hero (1993)
 Time and the Clock Mice, Etcetera (1993), illus. Jane Chichester Clark
 The Kin (1998)
 Suth's Story
 Noli's Story
 Ko's Story
 Mana's Story
 The Lion Tamer's Daughter (1999)
 The Ropemaker (2001)
 The Tears of the Salamander (2003)
 The Gift Boat (2004); Título norte-americano: Inside Granddad
 Angel Isle (2006); uma continuação de The Ropemaker
 In the Palace of the Khans (2012)

Ficção de mistério para adultos
 Série James Pibble
 Skin Deep (1968); Título norte-americano: The Glass-Sided Ants' Nest
 A Pride of Heroes (1969); Título norte-americano: The Old English Peep-Show
 The Seals (1970); Título norte-americano: The Sinful Stones
 Sleep and His Brother (1971)
 The Lizard in the Cup (1972)
 One Foot in the Grave (1979)

 Outros romances
 The Green Gene (1973)
 The Poison Oracle (1974)
 The Lively Dead (1975)
 King and Joker (1976)
 Walking Dead (1977)
 A Summer in the Twenties (1981)
 The Last Houseparty (1982)
 Hindsight (1983)
 Death of a Unicorn (1984)
 Tefuga (1985)
 Skeleton-in-Waiting (1987)
 Perfect Gallows (1988)
 Play Dead (1991)
 The Yellow Room Conspiracy (1992)
 Some Deaths Before Dying (1999)

Livros infantis
 The Iron Lion (1973), illus. Marc Brown, later Pauline Baynes
 Hepzibah (1978), illustrated by Sue Porter
 Giant Cold (1984), illus. Alan Cober
 A Box of Nothing (1985)
 Mole Hole (1987)
 Chuck and Danielle (1996)

Coleções de contos
 Merlin Dreams (1988)
 The Lion Tamer's Daughter and other stories (Nova York: Delacorte, 1997)
 Touch and Go (1999)
 Water: Tales of Elemental Spirits (2002), de Dickinson e Robin McKinley; mais tarde, Elementais: Água, Elementals: Water
 Fire: Tales of Elemental Spirits (2009), por Dickinson e Robin McKinley
 Earth and Air: Tales of Elemental Creatures (2012), por Dickinson sozinho

Outros livros
 Chance, Luck and Destiny (1975) — sobre probabilidade e coincidência; vencedor do Boston Globe–Horn Book Award, categoria de não ficção
 The Flight of Dragons (Pierrot Publishing, 1979), illus. Wayne Anderson —"história natural especulativa" adaptado por Rankin e Bass em conjunto com outro trabalho como o filme de animação The Flight of Dragons (1982)
 City of Gold and other stories from the Old Testament (1980), recontadas por Dickinson, ilus. Michael Foreman -vencedor da Medalha Carnegie de 1980

Ligações externas

 "Keyword = dickinson, peter"- Kirkus Reviews
 Obituary
 Appreciation of Dickinson's mystery fiction- Ethan Iverson

 The Dickinson (Peter) Archive é mantido na Newcastle University Library Special Collections and Archives.

Poetas do Reino Unido

Peter Dickinson


Sargatera puede referirse a:

 El nombre común de la planta Salix alba.
 El nombre común de la planta Salix fragilis.

Sargatera


Ahmetçe, Kırklareli ilinin Babaeski ilçesine bağlı bir köydür.

Tarihçe
Köy, 1928'den beri aynı adı taşımaktadır.

Coğrafya
Köy, Kırklareli il merkezine 40 km, Babaeski ilçe merkezine 12 km uzaklıktadır.

Nüfus

Kaynakça

Galeri

Dış bağlantılar

Babaeski belde ve köyleri

Müsellim, Babaeski


Haberspoint ist ein Gemeindeteil der Gemeinde Prutting im Landkreis Rosenheim (Oberbayern, Bayern).

Der Weiler befindet sich zwischen Prutting und dem Hofstätter See. Haberspoint ist mit niederrangigen Straßen an diese beiden Orte angebunden. Haberspoint liegt etwa 50 Kilometer südöstlich der Landeshauptstadt München und sechs Kilometer nordöstlich der Kreisstadt Rosenheim. Der Ort setzt sich aus drei Anwesen mit vier Wohngebäuden zusammen. Im Weiler ist eine Imkerei sowie ein Lehrbienenstand ansässig.

Weblinks

Einzelnachweise

Ort im Landkreis Rosenheim
Ort im Chiemgau
Prutting
Weiler in Oberbayern

Haberspoint


Immunoglobulin D (IgD) is an antibody isotype that makes up about 1% of proteins in the plasma membranes of immature B-lymphocytes where it is usually co-expressed with another cell surface antibody called IgM. IgD is also produced in a secreted form that is found in very small amounts in blood serum, representing 0.25% of immunoglobulins in serum. The relative molecular mass and half-life of secreted IgD is 185 kDa and 2.8 days, respectively. Secreted IgD is produced as a monomeric antibody with two heavy chains of the delta (δ) class, and two Ig light chains.

Function
The function of IgD has been a puzzle in immunology since its discovery in 1964. IgD is present in species from cartilaginous fish to humans (with the possible exception of birds). This nearly ubiquitous appearance in species with an adaptive immune system demonstrates that IgD may be as ancient as IgM and suggests that IgD has important immunological functions.

In B cells, the function of IgD is to signal the B cells to be activated. By being activated, B cells are ready to take part in the defense of the body as part of the immune system. During B cell differentiation, IgM is the exclusive isotype expressed by immature B cells. IgD starts to be expressed when the B cell exits the bone marrow to populate peripheral lymphoid tissues. When a B cell reaches its mature state, it co-expresses both IgM and IgD. A 2016 study by Übelhart and colleagues found that IgD signaling is only triggered by repetitive multivalent immunogens, while IgM can be triggered either by soluble monomeric or by multivalent immunogens. Cδ knockout mice (mice that have been genetically altered so that they do not produce IgD) have no major B cell intrinsic defects. IgD may have some role in allergic reactions.

IgD was found to bind to basophils and mast cells and activate these cells to produce antimicrobial factors to participate in respiratory immune defense in humans. It also stimulates basophils to release B cell homeostatic factors. This is consistent with the reduction in the number of peripheral B cells, reduced serum IgE level and defective primary IgG1 response in IgD knockout mice.

Structural diversity
IgD has structural diversity throughout evolution of vertebrates because it is a structurally flexible locus to complement the function of IgM. One of the important features of IgD is that it can substitute for the function of IgM in the case of IgM defects. B cells may express IgD by alternative RNA splicing and class switch recombination. Alternative splicing is promoted in all jawed vertebrates but class switch recombination occurs only in higher vertebrates and increases diversification of IgD.  In jawed fishes, the structure of the constant region is highly diverse with amplifications of Cδ exons. Different splice variants exist due to alternative splicing. In humans and primates, IgD has three Cδ domains and a long H region with an amino-terminal region rich in alanine and threonine residues. C-terminal regions are rich in lysine, glutamate and arginine residues modified with O-glycosylation for binding a putative IgD receptor on the surface of activated T cells. Human IgD with its H region interacts with heparin and heparan sulphate proteglycans expressed in the basophils and mast cells. Mouse IgD has a shorter H region and different amino acid composition modified with N-glycosylation.

Method of coexpression
In the human heavy chain locus, 3' of the V-D-J cassette is a series of C (for constant) genes, each conferring an Ig isotype.
The Cμ (IgM) gene is 3' and closest to the V-D-J cassette, with the Cδ gene appearing 3' to Cμ.

A primary mRNA transcript will contain the transcribed V-D-J cassette, and the Cμ and Cδ genes, with introns in between them.

Alternative splicing can then occur, causing a selection of either Cμ or Cδ to appear on the functional mRNA (μ mRNA and δ mRNA respectively). Alternative splicing is thought to be possible due to two polyadenylation sites, one appearing between the Cμ and Cδ, and the other 3' of Cδ (polyadenylation in the latter site would cause Cμ to be spliced away along with the intron). The precise mechanism of how the polyadenylation site is chosen remains unclear.

The resulting functional mRNA will have the V-D-J and C regions contiguous, and its translation will generate either a μ heavy chain or δ heavy chain. The heavy chains then couple with either κ or λ light chains to create the final IgM or IgD antibody.

Zinc finger protein 318 (ZNF318) has a role in the promotion of IgD expression and controlling the alternative splicing of the long pre-mRNA. In immature B cells that mainly express the μ transcript, there is no ZFP318 expression, but in mature B cells with dual IgM and IgD expression, both δ and μ transcript is made and ZFP318 is expressed. Enders et al. (2014) found in mice that null mutations in ZFP318 resulted in no IgD expression.

Activation of immune system via IgD
Innate and adaptive Immune responses can be activated via membrane-anchored IgD that functions as a part of B-cell receptor (BCR) complexes or secreted IgD that bounds to monocytes, mast cells, and basophil,.  Counter-intuitive to the contemporary dogmas that suggest these activated immune responses via IgD expression can potentiate autoimmune diseases and allergic inflammation, a 2010 study by Nguyen TG et al. has first demonstrated that treatments with a B-cell activating monoclonal anti-IgD antibody can attenuate disease severity in an animal model of collagen-induced arthritis. This novel therapeutic effect by anti-IgD antibody treatment was later confirmed in mouse models of epidermolysis bullosa acquisita and in chronic contact hypersensitivity. Studies have shown that levels of secreted lgD are usually elevated in patients with an autoimmune disease, and recently it has been demonstrated that IgD enhanced the activation of peripheral blood mononuclear cells in Rheumatoid Arthritis (RA) patients leading to the hypothesis that IgD could be an immunotherapeutic target for the management of RA. Activated immune responses via IgD-BCR and secreted IgD may exert suppressive effects on autoimmune diseases and allergic inflammations, suggesting a potential immune regulatory function of IgD.

References

External links

Glycoproteins
Antibodies

Immunoglobulin D


Die Ritterschaftliches Kreditinstitut Stade Aktiengesellschaft (RKI Stade) ist ein Realkreditinstitut mit Sitz in Stade.

Geschichte

König Georg IV. von Großbritannien und Hannover erteilte der Ritterschaft des Herzogtums Bremen am 17. Januar 1826 die Genehmigung zur Gründung eines Kreditvereins. Später wurde diese Verordnung veröffentlicht und bald darauf nahm die erste Direktion unter dem Namen "Kreditkommission" ihre Arbeit auf.

Die heutige Tradition kann insofern auch als außergewöhnlich bezeichnet werden, da es nur noch zwei von Ritterschaften getragene Banken gibt: Neben dem Ritterschaftlichen Kreditinstitut in Stade hat nur der in Hannover ansässige Calenberger Kreditverein eine vergleichbare Tradition.

Der ursprüngliche Zweck des Institutes war es, seinen Mitgliedern eine langfristige Kreditaufnahme zu günstigen Konditionen zu ermöglichen und die Tilgung ihrer Darlehen nach Kräften zu unterstützen. Mitglieder konnten anfänglich ausschließlich Rittergutsbesitzer werden. Dieser Kreis wurde jedoch schon nach kurze Zeit später um freie Bauern erweitert.

Die Refinanzierung der ausgegebenen Darlehen erfolgte schon immer über die Ausgabe von Pfandbriefen. Es galt, deren Gläubiger durch das Angebot äußerst sicherer Schuldbriefe von einer Investition zu überzeugen.

Ab 1970 erweiterte das Ritterschaftliche Kreditinstitut Stade sein Angebot um Baufinanzierungen und Kommunaldarlehen. Dennoch blieb auch in der Folge der traditionelle Ausgabe des Realkredits für das Institut eine vorsichtige, und daher in hohem Maße den Interessen der Kundschaft verpflichtete Geschäftspolitik. Auch die Verwurzelung in der Region kennzeichnet den individuellen "Charakter" der Bank.

Das Kreditinstitut unterliegt den für öffentlich-rechtliche Realkreditinstitute geltenden Bestimmungen.

Im Juni 2022 wurde die Rechtsform der Bank von einer Anstalt öffentlichen Rechts in die einer Aktiengesellschaft umgewandelt. Im Zuge der Umwandlung übernahm die Hannoversche Volksbank eG die Aktienmehrheit der Bank.

Organisationsstruktur
Das RKI ist eine öffentlich-rechtliche Bank in der Form einer Aktiengesellschaft. Hauptaktionär ist seit Juni 2022 die Hannoversche Volksbank eG. Weiterhin ist die Ritterschaft des ehemaligen Herzogtums Bremen, die erste Kurie der Landschaft der Herzogtümer Bremen und Verden an der Bank beteiligt.

Geschäftsmodell
Satzungsgemäß beschränkt sich das RKI Stade auf die Finanzierung der Land- und Forstwirtschaft sowie auf Kommunaldarlehen. Die Finanzierung privaten Wohnungsbau erfolgt gegen grundbuchliche Sicherheiten.

Geschäftsgebiet
Das viele Jahrzehnte dominierende Kerngeschäftsgebiet "Elbe-Weser-Dreieck" wurde auf das gesamte Bundesgebiet erweitert. Der Schwerpunkt der Tätigkeit liegt im nord- und ostdeutschen Raum.

Weblinks
 Website des Ritterschaftlichen Kreditinstituts Stade

Einzelnachweise

Anstalt des öffentlichen Rechts (Deutschland)
Unternehmen (Stade)
Kreditinstitut (Niedersachsen)
Pfandbriefbank (Deutschland)
Gegründet 1826

Ritterschaftliches Kreditinstitut Stade


Jeungsanismo (증산교, Jeungsangyo) é uma palavra com dois usos diferentes: como sinônimo de Jeung San Do (증산도), um novo movimento religioso coreano, ou para designar uma família de mais de 100 novos movimentos religiosos coreanos que reconhecem Kang Jeungsan (Gang Il-sun) como a encarnação do Deus Supremo do Universo, Sangje.

Origens e divisões
Kang Jeungsan, reconhecido por seus discípulos como o Deus Supremo encarnado, morreu em 24 de junho de 1909 na Clínica Donggok que ele havia estabelecido em 1908. Kang não havia designado claramente um sucessor, e tanto seus principais discípulos quanto alguns de seus parentes estabeleceram ramos separados, que por sua vez se separaram em outras organizações rivais, gerando mais de 100 ordens religiosas dentro da família geral do jeungsanismo. Todos reconhecem Kang como Sangje, o Deus Supremo do Universo, e acreditam que ele reorganizou todo o universo através de sua missão e rituais, mas diferem em quem os sucessores de Kang deveriam ter sido. Alguns deles divinizaram e cultuaram como divindades seus próprios fundadores, ou outros líderes do jeungsanismo, além de Kang.

Vários ramos têm suas origens em Goh Pan-Lye (Subu, literalmente "(a) Chefe", 1880-1935, embora no círculo de Kang houvesse duas "Subus" diferentes), uma discípula de Kang Jeungsan. Por volta de setembro de 1911, Goh reuniu em torno dela vários seguidores de Kang. Eventualmente, o primo de Goh, Cha Gyeong-Seok (1880-1936), um discípulo líder de Kang, tornou-se o líder do ramo de Goh. Insatisfeita com esta situação, Goh se separou de Cha em 1919 e uniu forças com Lee Sangho (1888-1967), que, junto com seu irmão Lee Jeongnip (1895-1968), estabeleceu várias organizações e, finalmente, a sede da Jeungsangyo. Os Lee foram o primeiro e o segundo patriarcas, respectivamente, da Sede Jeungsangyo.

Na década de 1920, o ramo de Cha, conhecido como Bocheon-gyo, tornou-se o maior novo movimento religioso coreano e possivelmente a maior religião da Coreia, com cerca de seis milhões de seguidores. Declinou rapidamente após a morte de Cha em 1936 e se fragmentou em vários grupos concorrentes, assim como a organização de Goh. O maior entre os ramos que reivindicam uma linhagem originária de Goh é Jeung San Do, fundado por Ahn Un-san (1922-2012), um ex-discípulo dos irmãos Lee, que estabeleceu sua primeira organização religiosa em 1945. Após novas divisões, Ahn fundou o atual Jeung San Do em 1974 junto com seu filho, Ahn Gyeong-jeon (nascido em 1954). Jeung San Do acredita que, como Kang era Deus Pai, Goh, reverenciada com o título de Tae-mo-nim, era Deusa Mãe e entre 1926 e 1935 realizou sua própria reordenação do universo. Jeung San Do é o movimento dentro do Jeungsanismo com a presença mais visível no exterior, embora não seja o maior ramo na Coreia.

Outro discípulo líder de Kang Jeungsan foi Kim Hyeong-Ryeol (1862-1932). Ele originalmente aceitou a liderança de Cha. Em 1914, no entanto, ele saiu e estabeleceu uma ordem religiosa independente com a viúva de Kang Jeungsan, Jeong (1874-1928). Enquanto o jeungsanismo em geral acredita que Sangje permaneceu por trinta anos na gigante estátua do Buda Maitreya no Templo Geumsansa antes de encarnar como Kang Jeungsan, o ramo de Kim ensina que, depois que ele morreu, Kang passou a residir novamente na estátua. Kim ganhou algum apoio com essa crença entre os monges budistas em Geumsansa, mas em 1922 foi expulso do mosteiro pelo abade, um incidente que levou ao declínio de seu ramo.

Outro ramo importante surgiu na década de 1920 em torno de Jo Cheol-Je, conhecido por seus discípulos como Jo Jeongsan (1895-1958). Jo nunca conheceu Kang pessoalmente, mas afirmou ter recebido uma revelação dele em 1917. Eventualmente, ele foi reconhecido como o misterioso sucessor que Kang havia anunciado em suas profecias pela irmã do falecido Kang (Seondol, ~1881-1942), mãe (Kwon, 1850-1926) e filha (Sun-Im, 1904-1959), embora a filha tenha começado seu próprio ramo separado com o marido Kim Byeong-cheol (1905-1970). A filial de Sun-Im, conhecida como Jeung San Beob Jong Gyo, está sediada na província coreana de Jeolla do Norte e, após prolongado litígio com outras filiais, obteve os restos mortais de Kang, que atualmente estão em sua sede. Jo organizou seu movimento como Mugeukdo em 1925, mas teve que dissolvê-lo em 1941 devido à ocupação japonesa da Coreia e à hostilidade do Japão a novas religiões. Ele o reorganizou em 1948, e em 1950 mudou seu nome para Taegeukdo, com sede em Busan. Jo morreu em 1958. Seus discípulos continuaram como uma única ordem religiosa até 1968, reconhecendo como sucessor de Jo Park Wudang (1918-1996, ou 1917-1995 de acordo com o calendário lunar normalmente usado pelo movimento). Em 1968, no entanto, a autoridade de Park foi contestada por vários executivos seniores e por um dos filhos de Jo, Jo Yongnae, que se opôs às reformas que Park havia introduzido. O grupo oposto a Park manteve a sede perto de Busan e o nome Taegeukdo, enquanto Park mudou-se para Seul e reorganizou sua filial em 1969 como Daesoon Jinrihoe. Embora as estatísticas sejam motivo de controvérsia, Daesoon Jinrihoe parece ser a maior nova religião da família do jeungsanismo e possivelmente a maior nova religião coreana em geral. Com a morte de Park em 1996, surgiram controvérsias dentro do Daesoon Jinrihoe entre aqueles que defendiam e aqueles que negavam a deificação de Park como uma terceira figura divina, juntamente com Kang e Jo. O ramo que rejeitou a deificação manteve o controle da sede em Yeoju e foi seguido por uma grande maioria dos membros, enquanto outros quatro ramos (e possivelmente mais) reconheceram Park como um deus ou o Buda Maitreya e se separaram da organização principal, com a qual dois deles mantêm, no entanto, um diálogo.

Referências

Novos movimentos religiosos
Religião na Coreia
História da Coreia

Jeungsanismo


Pablo Rodríguez, né le  à Las Palmas en Espagne, est un footballeur espagnol qui évolue au poste d'attaquant à l'Ascoli Calcio, en prêt de l'US Lecce.

Biographie

Real Madrid
Né à Las Palmas en Espagne, Pablo Rodríguez grandit à Valsequillo, une petite ville de 10 000 habitants, où il commence le football dans le club local. Il passe ensuite par l'UD Las Palmas avant de rejoindre le centre de formation du Real Madrid CF qu'il rejoint en 2016 après un essai concluant. Lors de la saison 2019-2020, il remporte la Youth League avec les jeunes du Real Madrid alors entraîné par Raúl. Rodríguez se montre d'ailleurs décisif lors de la finale remportée face aux jeunes du Benfica Lisbonne en ouvrant le score (2-3 score final).

US Lecce
Le , il rejoint l'US Lecce, club évoluant alors en Serie B. Il joue son premier match pour Lecce le  face au L.R. Vicence, en championnat. Il entre en jeu à la place de John Björkengren ce jour-là et inscrit son premier but cinq minutes plus tard, donnant la victoire à son équipe alors que les deux équipes se neutralisaient (2-1 score final).

Rodríguez entame la saison 2021-2022 en marquant dès sa première apparition le 18 septembre 2021, lors de la quatrième journée contre l'US Alexandrie 1912. Il entre en jeu et égalise, avant que Massimo Coda ne donne la victoire à son équipe en fin de match (3-2 score final).

Prêts

Le 10 août 2023, après avoir prolongé son contrat avec Lecce jusqu'en juin 2025, Pablo Rodríguez est prêté pour une saison à l'Ascoli Calcio.

Palmarès
 Real Madrid
 UEFA Youth League (1) :
 Vainqueur : 2019-20.

Notes et références

Liens externes

Joueur du Real Madrid Castilla
Joueur de l'US Lecce
Joueur du Brescia Calcio
Joueur de l'Ascoli Calcio 1898
Footballeur espagnol
Naissance en août 2001
Naissance à Las Palmas de Gran Canaria

Pablo Rodríguez (football)


عدد ممركز مسدسي هو عدد ممركز مضلع يمثل شكل مسدس (هندسة) له نقطة مركزية والنقاط الأخرى تتوزع على طبقات حولها مشكلة شكل مضلع مسدس الأضلاع.

تعطى صيغة العدد الممركز المسدس المقابل للعدد n بالعلاقة:

وبالتعبير عن الصيغة بالشكل:

يتضح أن العدد الممركز المسدس للعدد n يزيد بـ 1 عن 6 مرات العدد (n−1) للعدد المثلثي.

تعطى الأعداد الأولى من سلسلة الأعداد الممركزة المسدسة كالتالي:

1 - 7 - 19 -37 - 61 - 91 - 127 - 271 - 331 - 397 - 469 - 547 - 631 - 721 - 817 - 919 - ...

مراجع

انظر أيضا
 عدد مسدسي,
 زهرة الحياة,
 عدد نجمي.

أعداد شكلية
سلاسل عددية

عدد ممركز مسدسي


The Lebrón Brothers sont une famille musicale, formée des frères Pablo, Jose, Angel, Carlos et Frankie qui sont nés à Porto Rico et ont grandi à Brooklyn, New York.
Ils assurent le chant et la section rythmique du groupe.

Historique
Les membres du groupe original étaient Gabe Gil - saxophone alto, Tito Ocasio - Timbales, Hector Lebron - Congas, Eddie DeCupe - Trompette, Elliot Rivera, chant, Felix Rivera, trompette.

Frankie LeBron a ensuite remplacé Frankie Rodriguez qui a remplacé son cousin Hector LeBron aux congas.

Les frères sont nés à Aguadilla, Porto Rico, de Francisco Lebron Feliciano, né à Lares et Julia Lebron Rosa Sosa, née à Aguada, mais qui ont grandi à Brooklyn, New York.

Ils ont grandi dans un environnement musical.

L'aîné, Pablo, faisait partie d'un trio qui s'appelait "Las Tres Monedas".

Leur sœur Maria a chanté dans des émissions de radio à Porto Rico avant que la famille ne déménage aux États-Unis.
Les jeunes frères ont formé leur propre groupe de rhythm and blues dès leur plus jeune âge.
Ils ont joué dans des spectacles à Brooklyn.
En 1966, ils entendirent quelque chose qui leur a plu à la radio, c'était le boogaloo.
Le boogaloo était un mélange de rythmes latins avec des paroles en anglais.
Ils ont été particulièrement influencés par "The Joe Cuba Sextette" - la chanson intitulée "To Be With You" en particulier.
José a abandonné la guitare et a commencé à jouer du piano.
Angel est passé de la guitare basse à la contrebasse {baby bass}.
Carlos est passé de la guitare aux bongos et à la clave.

Au début de 1967, Jose a appelé Cotique Records, a parlé à George Goldner et a demandé une audition.
L'audition était fixée à la semaine suivante.
George a été impressionné par leur audition, mais il y avait un problème : ils n'avaient pas de chansons originales.
George Goldner a dit qu'il reviendrait dans une semaine et leur a demandé de préparer des chansons originales qu'il pourrait écouter.
Les frères se sont réunis pour voir ce qui pouvait être fait.
Même si José n'avait jamais composé de chanson auparavant, il a été choisi pour en faire l'écriture.
Au cours de cette semaine, il a réussi à écrire huit chansons.
Pablo a été invité par ses frères à faire une chanson avec eux, et il a décidé de quitter son propre groupe, La Sonora Arecibena, et de rejoindre ses frères.
Ils ont enregistré une semaine plus tard.
Le premier album des Lebron Brothers, "Psychedelic Goes Latin", a été un énorme succès, et le groupe a fini par enregistrer 16 albums pour le label Cotique.

Les Lebron Brothers ont apporté leur propre style au genre latin, un mélange de soul Motown et de rythmes latins.
Leurs refrains ressemblaient plus à des chœurs de groupes de soul.

En 1970, Jose Lebron a composé « Salsa y Control », une chanson qui a contribué à donner à une large catégorie de musique latine le nom de « salsa ».
Jusqu'alors le mambo, le son montuno, la guaracha, le guaguanco, le cha cha cha etc. n'avaient pas de genre.
"SALSA Y CONTROL" a contribué à donner à cette musique le nom qui est désormais connu et reconnu dans le monde entier, même si, pour être tout à fait correct, le premier groupe à utiliser le nom de salsa était Cheo Marquetti y los salseros,  un groupe cubain de la fin des années 1950, mais le terme salsa a été principalement adopté pour représenter une nouvelle combinaison de sons et instruments à la fin des années 60,
en grande partie en lien avec la Fania et où un terme était nécessaire pour pouvoir commercialiser les nouveaux sons.

En 1982, Pablo Lebron est victime d'un accident vasculaire cérébral et se retrouve ensuite en fauteuil roulant.
Le 13 juillet 2010, Pablo Lebron décède.
le 9 septembre 2020, le cadet, Frankie, décède de complications du diabète à l'âge de 64 ans.

Les Lebron Brothers sont toujours actifs.
Ils font le tour du monde et, ces dernières années, ont enregistré des chansons numéro un telles que SI ME PERMITE, CULEBRA, NO ME CELES et COMPLICADOS.
Les Lebron Brothers ont remporté le prix 2012 du meilleur orchestre international de salsa à Cali, en Colombie .

Discographie
Dernièrement le groupe a sorti plusieurs singles enregistrés à Cali : Si Me Permite (2007); Verdadero Guaguancó (2008); Complicados - Culebra (2009); No Me Celes (2010); Que Haces Aquí (2012).

Membres
Jose Lebron - Piano, Voix, Composition, Arrangement et Chœur
Angel Lebron - Basse, Chant, Composition, Arrangement
Carlos Lebron - Bongo, Percussionniste, Cloche, Chant, Composition
Frank Lebron - Conga, percussionniste
Pablo Lebron - Voix

Liens externes

Groupe de salsa
Groupe américain de salsa
Groupe musical de New York
Groupe musical formé en 1965
Lebron
Lebron
Groupe musical composé de frères et sœurs

The Lebrón Brothers


Potentillinae, podtribus ružovki smješten u tribus Potentilleae, dio potporodice Rosoideae. Sastoji se od 2 roda prisutnih po svim kontinentima.

Rodovi
 Potentilla L. (520 spp.)
 Argentina Hill (70 spp.)

Izvori

Vanjske poveznice

Potentilleae

Potentillinae


Guldbollen er en årlig pris, der uddeles til Sveriges bedste mandelige fodboldspiller. Prisen blev etableret i 1946.

Vindere

1940'-erne
 1946 - Gunnar Gren
 1947 - Gunnar Nordahl
 1948 - Bertil Nordahl
 1949 - Knut Nordahl

1950'-erne
 1950 - Erik Nilsson
 1951 - Olle Åhlund
 1952 - Kalle Svensson
 1953 - Bengt Gustavsson
 1954 - Sven-Ove Svensson
 1955 - Gösta Löfgren
 1956 - Gösta Sandberg
 1957 - Åke "Bajdoff" Johansson
 1958 - Orvar Bergmark
 1959 - Agne Simonsson

1960'-erne
 1960 - Torbjörn Jonsson
 1961 - Bengt Nyholm
 1962 - Prawitz Öberg
 1963 - Harry Bild
 1964 - Hans Mild
 1965 - Bo Larsson
 1966 - Ove Kindvall
 1967 - Ingvar Svahn
 1968 - Björn Nordqvist
 1969 - Tommy Svensson

1970'-erne
 1970 - Jan Olsson
 1971 - Ronnie Hellström
 1972 - Ralf Edström
 1973 - Bo Larsson
 1974 - Ralf Edström
 1975 - Kent Karlsson
 1976 - Anders Linderoth
 1977 - Roy Andersson
 1978 - Ronnie Hellström
 1979 - Jan Möller

1980'-erne
 1980 - Rolf Zetterlund
 1981 - Thomas Ravelli
 1982 - Torbjörn Nilsson
 1983 - Glenn Hysén
 1984 - Sven Dahlkvist
 1985 - Glenn Strömberg
 1986 - Robert Prytz
 1987 - Peter Larsson
 1988 - Glenn Hysén
 1989 - Jonas Thern

1990'-erne
 1990 - Tomas Brolin
 1991 - Anders Limpar
 1992 - Jan Eriksson
 1993 - Martin Dahlin
 1994 - Tomas Brolin
 1995 - Patrik Andersson
 1996 - Roland Nilsson
 1997 - Pär Zetterberg
 1998 - Henrik Larsson
 1999 - Stefan Schwarz

2000'-erne
 2000 - Magnus Hedman
 2001 - Patrik Andersson
 2002 - Fredrik Ljungberg
 2003 - Olof Mellberg
 2004 - Henrik Larsson
 2005 - Zlatan Ibrahimović
 2006 - Fredrik Ljungberg
 2007 - Zlatan Ibrahimović
 2008 - Zlatan Ibrahimović
 2009 - Zlatan Ibrahimović

2010'-erne
 2010 - Zlatan Ibrahimović
 2011 - Zlatan Ibrahimović
 2012 - Zlatan Ibrahimović
 2013 - Zlatan Ibrahimović
 2014 - Zlatan Ibrahimović
 2015 - Zlatan Ibrahimović
 2016 - Zlatan Ibrahimović
 2017 - Andreas Granqvist
 2018 - Victor Lindelöf
 2019 - Victor Lindelöf

2020'-erne
 2020 - Zlatan Ibrahimović
 2021 - Emil Forsberg
 2022 - Dejan Kulusevski

Referencer

Fodbold i Sverige
Fodboldpriser
Etableret i 1946

Guldbollen


Die Shorttrack-Weltmeisterschaften 2012 fanden vom 9. bis 11. März 2012 in Shanghai statt. Austragungsort war die Shanghai Oriental Sport Mansion. Es war die insgesamt dritte Austragung der Titelkämpfe in China und die erste in Shanghai.

Insgesamt wurden zwölf Wettbewerbe ausgetragen. Es gab, jeweils für Frauen und Männer, einen Mehrkampf sowie Einzelrennen über 500 m, 1000 m und 1500 m. Die acht in der Mehrkampfwertung am besten platzierten Läufer nach diesen drei Strecken traten außerdem über 3000 m an. Zusätzlich gab es Staffelwettbewerbe, bei den Frauen über 3000 m und bei den Männern über 5000 m.
In den Mehrkampf flossen die erzielten Ergebnisse über die vier Einzelstrecken ein. Der Erstplatzierte in einem Einzelrennen bekam 34 Punkte, der Zweite 21, der Dritte 13, der Vierte acht, der Fünfte fünf, der Sechste drei, der Siebte zwei und der Achte einen. Allerdings wurden nur Punkte vergeben, wenn der Läufer das Finale erreichte. Bei einer Disqualifikation wurden keine Punkte zuerkannt. Die Addition der erzielten Punkte eines Läufers ergab das Endklassement im Mehrkampf.

Teilnehmende Nationen
Insgesamt nahmen an der Weltmeisterschaft 33 Länder mit insgesamt 143 Athleten, 69 Frauen und 74 Männer, teil.

Zeitplan
Der Zeitplan war parallel für Frauen und Männer wie folgt gestaltet.

Freitag, 9. März 2012
 1500 m: Vorlauf, Halbfinale, Finale
 Staffel: Halbfinale (Frauen)
Samstag, 10. März 2012
 500 m: Vorlauf, Viertelfinale, Halbfinale, Finale
 Staffel: Halbfinale (Männer)
Sonntag, 11. März 2012
 1000 m: Vorlauf, Halbfinale, Finale
 3000 m: Superfinale
 Staffel: Finale

Ergebnisse

Frauen

Mehrkampf
 In den Spalten 1500 m, 500 m, 1000 m und 3000 m ist erst angegeben, welche Platzierung der Athlet erreichte, dahinter in Klammern, wie viele Punkte er dafür erhielt.

Liu Qiuhong bekam fünf Zusatzpunkte.

500 Meter

Datum: 10. März 2012Rang 1–4 im Finale, Rang 5–9 im Halbfinale.

1000 Meter

Datum: 10. März 2012Rang 1–4 im Finale. Rang 5–8 im Halbfinale.

1500 Meter

Datum: 9. März 2012Rang 1–8 im Finale.

3000 Meter Superfinale

Datum: 11. März 2012Superfinale der acht besten Mehrkämpferinnen nach drei Strecken.

3000 Meter-Staffel

Datum: 9. und 11. März 20124 Staffeln im Finale.

Männer

Mehrkampf
 In den Spalten 1500 m, 500 m, 1000 m und 3000 m ist erst angegeben, welche Platzierung der Athlet erreichte, dahinter in Klammern, wie viele Punkte er dafür erhielt.

Olivier Jean bekam fünf Zusatzpunkte.

500 Meter

Datum: 10. März 2012Rang 1–5 im Finale, Rang 6–11 im Halbfinale.

1000 Meter

Datum: 11. März 2012Rang 1–4 im Finale, Rang 5–9 im Halbfinale.

Gong Qiuwen wurde auf Grund einer Behinderung von Noh Jinkyu und Charles Hamelin im Finale disqualifiziert.

1500 Meter

Datum: 9. März 2012Rang 1–7 im Finale.

3000 Meter Superfinale

Datum: 11. März 2012Superfinale der acht besten Mehrkämpfer nach drei Strecken.

Charles Hamelin war startberechtigt, trat aber auf Grund eines Sturzes im 1.000-Meter-Finales nicht an.

5000 Meter-Staffel

Datum: 10. und 11. März 20124 Staffeln im Finale.

Medaillenspiegel

Weblinks
 Abschlussbericht mit allen Ergebnissen und Teilnehmern (englisch; PDF-Datei; 1,38 MB)

Einzelnachweise

2012
Sportveranstaltung 2012
Sportveranstaltung in Shanghai
Weltmeisterschaften 2012

Shorttrack-Weltmeisterschaften 2012


La estación sencilla Las Nieves forma parte del sistema de transporte público de Bogotá (Colombia), TransMilenio, inaugurado en el año 2000.

Ubicación
Está ubicada en el centro de la ciudad, sobre la Avenida Fernando Mazuera entre la calle 17 y la Avenida Ciudad de Lima. Se accede a ella por medio de cruces semaforizados ubicados sobre estas dos vías.

Atiende la demanda de los barrios La Alameda, Las Nieves (al cual debe su nombre), Veracruz, La Capuchina y sus alrededores.

En sus cercanías están la Torre Colseguros (sede de la Contraloría General de la República), la sede principal de Seguros Bolívar y el eje comercial de la Avenida Ciudad de Lima (Calle 19).

Historia
Esta estación hace parte de la Fase III de TransMilenio que empezó a construirse a finales de 2009 y, después de varias demoras relacionadas con casos de corrupción, fue entregada a mediados de 2012.

Durante el Paro nacional de 2021, la estación sufrió diversos ataques que afectaron de forma considerable las puertas de vidrio y demás infraestructura de la estación, razón por la cual se encontró inoperativa.

Servicios de la estación

Servicios troncales

Esquema

Servicios urbanos
Así mismo funcionan las siguientes rutas urbanas del SITP en los costados externos a la estación, circulando por los carriles de tráfico mixto sobre la Carrera Décima, con posibilidad de trasbordo usando la tarjeta TuLlave:

Ubicación geográfica

Referencias

Enlaces externos
TransMilenio

Estaciones de TransMilenio
Santa Fe (Bogotá)

Las Nieves (estación)