Ozone therapy is an alternative medical treatment that introduces ozone or ozonides to the body. The United States Food and Drug Administration (FDA) prohibits all medical uses of ozone "in any medical condition for which there is no proof of safety and effectiveness", stating "ozone is a toxic gas with no known useful medical application in specific, adjunctive, or preventive therapy. In order for ozone to be effective as a germicide, it must be present in a concentration far greater than that which can be safely tolerated by man and animals."

Ozone therapy has been sold as an unproven treatment for various illnesses, including cancer, a practice which has been characterized as "pure quackery". The therapy can cause serious adverse effects, including death.

Proposed uses

Ozone therapy consists of the introduction of ozone into the body via various methods, usually involving its mixture with various gases and liquids before injection, with potential routes including the vagina, rectum, intramuscular (in a muscle), subcutaneously (under the skin), or intravenously (directly into veins).  Ozone can also be introduced via autohemotherapy, in which blood is drawn from the patient, exposed to ozone and re-injected into the patient.

This therapy has been proposed as a primary or adjunct therapy for various diseases, including osteoarthritis, herniated disk, chronic wounds, hepatitis B and C, herpes zoster, HIV-AIDS, multiple sclerosis, cancer, heart disease, Alzheimer's dementia, and Lyme disease, though supportive evidence for some of these applications is limited. The American Cancer Society warned in 2010 that evidence for the efficacy of ozone therapy against cancer is inconclusive, and the therapy may be dangerous.  For treatment of HIV/AIDS, although ozone deactivates the viral particles outside the body, well-designed studies have shown there is no benefit for living patients.

The United States Food and Drug Administration initially stated in 1976, and reiterated its position in 2006, that when inhaled, ozone is a toxic gas which has no demonstrated safe medical application, though their position statements primarily deal with its potential for causing inflammation and pulmonary edema in the lungs. They also emphasize that for ozone to be effective as a germicide, it must be present at concentrations far greater than can be safely tolerated by humans or other animals. More recent reviews have highlighted that different routes of administration may result in different therapeutic and side-effect profiles, though a statistically robust meta-analysis of available research has not been performed to date.

Some reviews have suggested ozone as a potential treatment for herniated discs and diabetic neuropathy.

There is some controversy about its use by athletes to increase performance despite numerous adverse side effects within the pulmonary and/or skeletal muscle systems. Although its use is not disallowed in and of itself, it can be mixed with banned substances for administration prior to injection.

Safety

Ozone therapy has potentially serious adverse effects, and  at least five deaths had been reported due to the therapy's use on people with cancer. From 1975 to 1983 in Germany, research revealed six deaths, four cases of visual disturbance, three cases of paraplegias, four gas embolisms in the pulmonary circuit, two heart attacks, four pulmonary embolisms, two cases of apoplectic paralysis, and two cases of abnormal heart rhythm following ozone therapy. More commonly, pulmonary edema is the most prevalent adverse effect of ozone treatment. In the muscular system, many cases of tendon rupture, osteoarthritis, myositis, synovitis, joint infections, and muscle tears have been documented as results of ozone therapy. In the integumentary system, benign skin discoloration is most common. These all occurred following direct injection of O2/O3 gas: a method now regarded as malpractice by most ozone practitioners. In each case, the clinical picture corresponded either to gas embolism, or allergic shock. The fact that one case of apparent allergic shock followed injection of a very small quantity of gas raises the unknown possibility that other methods of administration might also carry the risk of allergic shock.

Much of the concern related to ozone therapy revolves around the safety of blood ozonation. When inhaled by mammals in high levels, ozone reacts with compounds in tissues lining the lungs and triggers a cascade of pathological effects, including pulmonary edema, however, ozone therapy does not usually involve inhalation of ozone gas. It has been argued that while peroxides (a product of ozone) are naturally generated inside phagocyte cells to kill bacteria, outside the cell they can damage tissue. Proponents suggest that its effects are tissue dependent, though the subject is still debated.

Other serious incidents reported include transmission of hepatitis C, and one case of a heart attack following some hours after autohemotherapy.

Ozone-based treatments can be associated with central nervous system toxicity, termed Ozone Induced Encephalopathy (OIE). OIE may include cortical visual impairment, altered mental status, headache, focal neurological deficits, seizures, dizziness, nausea, and vomiting, regardless of the route of administration. OIE should be considered in patients presenting with neurological symptoms in close relation to Ozone Therapy.

Regulation and ethics

The FDA prohibits the medical use of ozone "in any medical condition for which there is no proof of safety and effectiveness", stating that "ozone is a toxic gas with no known useful medical application in specific, adjunctive, or preventive therapy. In order for ozone to be effective as a germicide, it must be present in a concentration far greater than that which can be safely tolerated by man and animals."

Beginning in 1991 the FDA has prosecuted and sent to jail several people presenting themselves as medical doctors and selling ozone therapy products as a medical cure or operating medical clinics using ozone therapy for healing human illness.  Arrests following similar activity have been made in other countries as well, including Uganda and Thailand.

Ozone therapy is sold as an expensive alternative cancer treatment in Germany. David Gorski has described the practice as "pure quackery". Proponents of the therapy falsely claim it is a recognized therapy there, but ozone therapy is not approved by the German medical establishment.

On 7 August 2023, the Brazilian government legalized ozone therapy as a complementary therapy, ignoring a request for veto due to lack of scientific evidence made in an open letter from the Brazilian National Academy of Medicine.

History

In 1856, just 16 years after its discovery, ozone was first used in a health care setting to disinfect operating rooms and sterilize surgical instruments.  By the end of the 19th century the use of ozone to disinfect drinking water of bacteria and viruses was well established in mainland Europe.

In 1892 The Lancet published an article describing the administration of ozone for treatment of tuberculosis.
During World War I, ozone was tested at Queen Alexandra Military Hospital in London as a possible disinfectant for wounds.  The gas was applied directly to wounds for as long as 15 minutes. This resulted in damage to both bacterial cells and human tissue. Other sanitizing techniques, such as irrigation with antiseptics, were found preferable.

Psychoanalyst Wilhelm Reich was a proponent of ozone therapy, which was supposed to enhance an imaginary life force he called orgone. In his work on bioenergetic analysis, Reich developed a device utilizing ozonides which "one inserted [in] their testiculars".

See also

 Ozone health effects
 Air ioniser
 List of unproven and disproven cancer treatments

References

External links

 Ozone Generators that are Sold as Air Cleaners - factsheet at US EPA

Doping in sport
Alternative medicine
Pseudoscience
Health fraud

Ozone therapy


Judita Bavarska (fra. Judith de Bavière, eng. Judith of Bavaria) (797./805. – 19. travnja 843.) bila je carica Svetog Rimskog Carstva te kraljica Franaka u 9. stoljeću kao druga supruga kralja Ljudevita Pobožnoga, za kojeg se udala 819. god. u Aachenu. Bila je smatrana osobom velike ljepote i inteligencije.

Bila je kći Hwelfa i njegove žene, saksonske gospe Hedvige. Brat joj je bio Rudolf od Ponthieua.

Judita i njezin muž imali su kćer Gizelu Francusku i sina Karla, koji je postao kralj Karlo Ćelavi od Zapadne Franačke te je jednu svoju kćer nazvao po njoj.

Kraljica Judita je u nekim djelima opisana kao "druga Judita", "druga Mirjam" i "druga Sapfa". Ipak, kraljica je imala mnogo neprijatelja na visokim pozicijama. Bila je optužena za preljub te su ju neki smatrali vješticom jer se zanimala za tumačenje snova.

Judita je postala kraljicom majkom kad je njezin sin došao na tron. Međutim, nakon što je Karlo oženio gospu Ermentrudu, kćer Oda I., Juditina moć je pala. Kraljica Judita je umrla 19. travnja godine 843. u Toursu.

Izvori

Burgundske kraljice
Franačke kraljice

Judita Bavarska (umrla 843.)


Cultural Village of Europe er et europæisk samarbejde, som går ud på, at mindre byer i fællesskab sætter fokus på, at de små samfund skal bevares, og ikke behandles som små sovebyer til de større byer.

Det startede i 1999 da den hollandske by Wijk aan Zee fremlagde forslaget "Cultural Village", som svar på "Europæisk Kulturby", fremlagt af den tyske by Weimar. Det viste sig at Tommerup Stationsby allerede havde forsøgt sig med et lignende projekt som Cultural Village 3 år tidligere, dog uden held. Et samarbejde blev nu født, hvilket skabte et 12 byer stort netværk i hele Europa:

  Aldeburgh (Storbritannien)
  Bystré (Tjekkiet)
  Killingi Nōmme (Estland)
  Kirchheim (Østrig)
  Mellionec (Frankrig)
  Palkonya (Ungarn)
  Paxos (Grækenland)
  Pergine Valdarno (Italien)
  Porrúa (Spanien)
 Ströbeck (Tyskland)
  Tommerup Stationsby (Danmark)
  Wijk aan Zee (Holland)

Eksterne kilder og henvisninger

 Organisationens websted

Internationale organisationer

Cultural Village of Europe


L'érable de Freeman (Acer × freemanii) est un érable hybride d'origine naturelle qui est le résultat d'un croisement entre l'érable rouge (Acer rubrum) et l'érable argenté (Acer saccharinum). Les spécimens sauvages sont présents dans l'est de l'Amérique du Nord là où les espèces parentales se chevauchent. Cet hybride tire son nom d'Oliver M. Freeman de l'Arboretum national des États-Unis, qui a hybridé A. rubrum avec A. saccharinum en 1933. Le feuillage d'automne est d'un rouge orangé flamboyant. Il existe de nombreux cultivars dans le commerce. L'érable de Freeman est fréquemment utilisé comme arbre de rue.

Description
Même des analyses morphométriques très poussées de la forme des feuilles ne permettent pas toujours de distinguer facilement les spécimens d'Acer × freemanii de l'espèce parentale. Tout ce que l'on peut affirmer, c'est que les traits de l'érable de Freeman se situent généralement à un niveau intermédiaire entre ceux de ses parents.

Variétés horticoles
Les cultivars de l'érable de Freeman sont généralement issus d'hybridations délibérées et sélectionnés dans des pépinières et non pas issus de spécimens sauvages. Généralement infertiles (une caractéristique recherchée des érables cultivés), ils ont des branches plus solides que les érables argentés et poussent plus rapidement que les érables rouges. En voici quelques-uns :

 'Armstrong', qui arbore un feuillage d'automne plus jaune;
 'Autumn Fantasy';
 'Celzam', dont le nom commercial est Celebration;
 'Firefall';
 'Jeffersred', dont le nom commercial est Autumn Blaze, récipiendaire du prix Award of Garden Merit de la RHS;
 'Marmo', qui ne produit pas de graines;
 'Morgan', dont le nom commercial est Indian Summer;
 'Scarsen', dont le nom commercial est Scarlet Sentinel;
 'Sienna Glen'.

Notes et références

Liens externes

Sapindaceae

Érable de Freeman


An Aechmea seideliana in uska species han Liliopsida nga ginhulagway ni Wilhelm Weber. An Aechmea seideliana in nahilalakip ha genus nga Aechmea, ngan familia nga Bromeliaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Aechmea

Aechmea seideliana


Stråhalset ibis () er en storkefugl, der lever i Australien.

Noter
 Avibase - the world bird database

Eksterne henvisninger

Fugle fra Australien
Ibisser

Stråhalset ibis


Zoot may refer to:

 Zoot Comics, a 1946–1948 Fox Features Syndicate comic book featuring Rulah, Jungle Goddess
 Zoot (band), an Australian pop group active 1965–1971
 Zoot!, a 1956 album by saxophonist Zoot Sims
 Zoot suit, a style of clothing first popular in the 1930s and 1940s
 Zoot, a game on the MSX platform, released by Bug Byte software in 1986

 Zoot , a cannabis cigarette

People
 Zoot Sims (born John Haley Sims; 1925–1985), American jazz saxophonist
 Zoot Money (born George Bruno Money, 1942), British vocalist, keyboardist and actor

Characters
 Zoot, a balding saxophone player character in the fictional Muppet band Dr. Teeth and The Electric Mayhem
 Zoot, a character in the film Monty Python and the Holy Grail
 Zoot, a synthetic suit in My Favorite Martian
 Zoot, a character in the webcomic Loxie & Zoot
 Zoot, a character in the series The Tribe

See also
 Zoot Suit (disambiguation)

Zoot


The Chauvet-Pont-d'Arc Cave (, ) in the Ardèche department of southeastern France is a cave that contains some of the best-preserved figurative cave paintings in the world, as well as other evidence of Upper Paleolithic life. It is located near the commune of Vallon-Pont-d'Arc on a limestone cliff above the former bed of the river Ardèche, in the Gorges de l'Ardèche.

Discovered on December 18, 1994, it is considered one of the most significant prehistoric art sites and the UN's cultural agency UNESCO granted it World Heritage status on June 22, 2014.
The cave was first explored by a group of three speleologists: Eliette Brunel-Deschamps, Christian Hillaire, and Jean-Marie Chauvet for whom it was named six months after an aperture now known as "Le Trou de Baba" ("Baba's Hole") was discovered by Michel Rosa (Baba). At a later date the group returned to the cave. Another member of this group, Michel Chabaud, along with two others, travelled further into the cave and discovered the Gallery of the Lions, the End Chamber. Chauvet has his own detailed account of the discovery. In addition to the paintings and other human evidence, they also discovered fossilized remains, prints, and markings from a variety of animals, some of which are now extinct.

Further study by French archaeologist Jean Clottes has revealed much about the site. The dates have been a matter of dispute but a study published in 2012 supports placing the art in the Aurignacian period, approximately 32,000–30,000 years ago. A study published in 2016 using additional 88 radiocarbon dates showed two periods of habitation, one 37,000 to 33,500 years ago and the second from 31,000 to 28,000 years ago, with most of the black drawings dating to the earlier period.

Features
The cave is situated above the previous course of the Ardèche before the Pont d'Arc opened up. The gorges of the Ardèche region are the site of numerous caves, many of them having some geological or archaeological importance.

Based on radiocarbon dating, the cave appears to have been used by humans during two distinct periods: the Aurignacian and the Gravettian. Most of the artwork dates to the earlier, Aurignacian, era (32,000 to 30,000 years ago). The later Gravettian occupation, which occurred 27,000 to 25,000 years ago, left little but a child's footprints, the charred remains of ancient hearths, and carbon smoke stains from torches that lit the caves. The footprints may be the oldest human footprints that can be dated accurately. After the child's visit to the cave, evidence suggests that due to a landslide which covered its historical entrance, the cave remained untouched until it was discovered in 1994.

The soft, clay-like floor of the cave retains the paw prints of cave bears along with large, rounded depressions that are believed to be the "nests" where the bears slept. Fossilized bones are abundant and include the skulls of cave bears and the horned skull of an ibex. Paw-prints dated to 26,000 YBP are suggested as being those of a dog; however, these have been challenged as being left by a wolf.

Paintings

Hundreds of animal paintings have been catalogued, depicting at least 13 different species, including some rarely or never found in other ice age paintings. Rather than depicting only the familiar herbivores that predominate in Paleolithic cave art, i.e. horses, aurochs, mammoths, etc., the walls of the Chauvet Cave feature many predatory animals, e.g., cave lions, leopards, bears, and cave hyenas.  There are also paintings of rhinoceroses.

Typical of most cave art, there are no paintings of complete human figures, although there are two partial "Venus" figures: one within a niche or vestibule of the End Chamber, and the other on a roughly conical or dental-shaped pendant several meters away; both are composed of what appears to be a vulva attached to an incomplete pair of legs. Above the Venus, and in contact with it, is a bison head, which has led some to describe the composite drawing as a Minotaur. There are a few panels of red ochre hand prints and hand stencils made by blowing pigment over hands pressed against the cave surface.  Abstract markings—lines and dots—are found throughout the cave. There are also two unidentifiable images that have a vaguely butterfly or avian shape to them. This combination of subjects has led some students of prehistoric art and cultures to believe that there was a ritual, shamanic, or magical aspect to these paintings.

One drawing, later overlaid with a sketch of a deer, is reminiscent of a volcano spewing lava, similar to the regional volcanoes that were active at the time. If confirmed, this would represent the earliest known drawing of a volcanic eruption.

The artists who produced these paintings used techniques rarely found in other cave art. Many of the paintings appear to have been made only after the walls were scraped clear of debris and concretions, leaving a smoother and noticeably lighter area upon which the artists worked. Similarly, a three-dimensional quality and the suggestion of movement are achieved by incising or etching around the outlines of certain figures. The art is also exceptional for its time for including "scenes", e.g., animals interacting with each other; a pair of woolly rhinoceroses, for example, are seen butting horns in an apparent contest for territory or mating rights.

Dating
The cave contains some of the oldest known cave paintings, based on radiocarbon dating of "black from drawings, from torch marks and from the floors", according to Jean Clottes. Clottes concludes that the "dates fall into two groups, one centred around 27,000–26,000 BP and the other around 32,000–30,000 BP." As of 1999, the dates of 31 samples from the cave had been reported. The earliest, sample Gifa 99776 from "zone 10", dates to 32,900 ± 490 BP.

Some archaeologists have questioned these dates. Christian Züchner, relying on stylistic comparisons with similar paintings at other well-dated sites, expressed the opinion that the red paintings are from the Gravettian period (c. 28,000–23,000 BP) and the black paintings are from the Early Magdalenian period (early part of c. 18,00010,000 BP). Pettitt and Bahn also contended that the dating is inconsistent with the traditional stylistic sequence and that there is uncertainty about the source of the charcoal used in the drawings and the extent of surface contamination on the exposed rock surfaces. Stylistic studies showed that some Gravettian engravings are superimposed on black paintings proving the paintings' older origins.

By 2011, more than 80 radiocarbon dates had been taken, with samples from torch marks and from the paintings themselves, as well as from animal bones and charcoal found on the cave floor. The radiocarbon dates from these samples suggest that there were two periods of creation in Chauvet: 35,000 years ago and 30,000 years ago. This would place the occupation and painting of the cave within the Aurignacian period.

A research article published in Proceedings of the National Academy of Sciences in May 2012 by scientists from the University of Savoy, Aix-Marseille University and the Centre National de Prehistoire confirmed that the paintings were created by people in the Aurignacian era, between 30,000 and 32,000 years ago. The researchers' findings are based on the analysis using geomorphological and  dating of the rock slide surfaces around what is believed to be the cave's only entrance. Their analysis showed that the entrance was sealed by a collapsing cliff some 29,000 years ago. Their findings put the date of human presence in the cave and the paintings in line with that deduced from radiocarbon dating, i.e., between 32,000–30,000 years BP.

A 2016 study in the same journal examining 259 radiocarbon dates, some unpublished before, concluded that there were two phases of human occupation, one running from 37,000 to 33,500 years ago and the second from 31,000 to 28,000 years ago. All but two of the dates for the black drawings were from the earlier phase. The authors believe that the first phase ended with a rockfall that sealed the cave, with two more rockfalls at the end of the second occupation phase after which no humans or large animals entered the cave until it was rediscovered. In an email to the Los Angeles Times two of the authors explained,

In 2020, researchers used the new IntCal20 radiocarbon calibration curve to estimate that the oldest painting in the cave was created 36,500 years ago.

In parallel with the dating carried out in Chauvet cave itself, from 2008 onwards, several members of the scientific team in charge of studying the cave undertook chronological research in other rock art sites along the Ardèche river gorges under the direction of Julien Monney. It took place at Points cave (Aiguèze; Gard; France), which presents flagrant iconographic similarities with Chauvet cave, but also at Deux-Ouvertures cave. Under the name of "Datation Grottes Ornées" (or DGO) project, this research is intended to determine the context in which the rock art caves of the region were visited. The DGO project proposes to discuss the apparent chronological and iconographic exceptionality of Chauvet cave "from the outside" by placing it within a regional ensemble. This research is still in progress (2020). However, it has already produced many results indirectly concerning the chronology of Chauvet cave.

Preservation
The cave has been sealed off to the public since 1994. Access is severely restricted owing to the experience with decorated caves such as Altamira and Lascaux found in the 19th and 20th century, where the admission of visitors on a large scale led to the growth of mold on the walls that damaged the art in places. In 2000 the archaeologist and expert on cave paintings Dominique Baffier was appointed to oversee conservation and management of the cave. She was followed in 2014 by Marie Bardisa.

Caverne du Pont-d'Arc, (Grotte Chauvet 2), a facsimile of Chauvet Cave on the model of the so-called "Faux Lascaux", was opened to the general public on 25 April 2015. It is the largest cave replica ever built worldwide, ten times bigger than the Lascaux facsimile. The art is reproduced full-size in a condensed replica of the underground environment, in a circular building above ground, a few kilometres from the actual cave. Visitors' senses are stimulated by the same sensations of silence, darkness, temperature, humidity, and acoustics, carefully reproduced.

See also

 Art of the Upper Paleolithic
 Cave of Forgotten Dreams, a 2010 documentary film about Chauvet Cave by Werner Herzog
 Coliboaia Cave in Romania, where 35–32,000-year-old figures were drawn using a similar technique
 List of Stone Age art

References

Bibliography
  English translation by Paul G. Bahn from the French edition La Grotte Chauvet

  Translation of La Grotte Chauvet, l'art des origins, Éditions du Seuil, 2001.

  (article includes many photographs)

External links

 The Cave of Chauvet-Pont-d'Arc  French Ministry of Culture information site; includes an interactive map with photos.
 Google Arts & Culture Chauvet Cave  Chauvet Cave accessible through virtual reality.
Virtual Tour of the cave
 Ancient Grand Masters: Chauvet Cave, France  A brief article by Jean Clottes of the French Ministry of Culture, responsible for overseeing the authentication of the contents and art of the cave
  With responses by Paul Bahn, Steven Mithen, et al.
 Chauvet Cave (ca. 30,000 b.c.) on the Metropolitan Museum of Art's Timeline of Art History
 Doubt Cast on Age of Oldest Human Art  abstract of April 18, 2003 New Scientist article by Jenny Hogan
 Chauvet Cave The cave paintings and rock art of Chauvet, with contributions by Jean Clottes
 The Grotte Chauvet : a completely homogeneous art?
 Chauvet cave An enthusiast site with photographs and articles.
 Cave of Forgotten Dreams a film by Werner Herzog using 3D technology

Prehistoric sites in France
Landforms of Ardèche
History of Ardèche
Caves of Auvergne-Rhône-Alpes
Caves containing pictograms in France
Tourist attractions in Ardèche
World Heritage Sites in France
1994 archaeological discoveries
Rock shelters

Chauvet Cave


Das Fachkräftevisum  für Australien ist ein Visum für Australien zur Behebung eines Fachkräftemangels.

Visaarten

Australien bietet verschiedene Arbeitsvisa und Visa für Fachkräfte für Personen, die eine Qualifikation in einem fachlichen Bereich haben, für den in Australien erhöhter Bedarf besteht und der damit durch Einwanderung gedeckt werden muss. Für diese Fachkräfte bietet das  Department of Home Affairs Zugang zu verschiedenen Visaklassen (subclasses) im Rahmen von verschiedenen Programmen. Personen, deren Beruf auf der "Skilled occupation list" für die jeweilige subclass geführt ist, können sich für ein entsprechendes Visum bewerben.

General Skilled Migration (GSM) Program

Das GSM Programm ist ein Visum, welches unabhängig von einem konkreten Arbeitgeber oder Jobangebot beantragt werden kann. Darunter fallen das Skilled Independent (subclass 189) visa sowie das Skilled Nominated (subclass 190) visa. Befindet sich der Beruf auf der relevanten "Skilled occupation list", so kann entweder das Skilled Independent Visum beantragt werden. Hat man eine Nominierung durch einen australischen Bundesstaat erhalten, so kann auch das Skilled Nominated Visum angestrebt werden.

Employer Nomination Scheme (ENS)

Das ENS ermöglicht über das unbefristete Employer Nominated (subclass 186) Visa ein dauerhaftes Arbeitsvisum. Um für ein derartiges Visum in Frage zu kommen, ist dem Antragsteller eine Vollzeit-Stelle durch einen australischen Arbeitgeber angeboten werden und der Arbeitgeber sich bereit erklären, den Antragsteller für diese Position zu sponsern (employer sponsorship). Auch hier muss der zu besetzende Arbeitsplatz auf der relevanten Liste der gesuchten Berufe enthalten sein.

Regional Migration Scheme

Um den ländlichen Raum Australiens zu stärken und damit die Zuwanderung von qualifizierten Arbeitskräften auch außerhalb der großen Metropolen Melbourne, Sydney und Brisbane anzuregen, gibt es diverse Regional Visa.  Das Arbeitgeber unabhängige Skilled Work Regional (Provisional) (subclass 491) Visum erfordert die Nominierung durch einen australischen Bundesstaat. Des Weiteren gibt es verschiedene andere Visa, die ein konkretes Arbeitsplatzangebot für eine Position in "Regional Australia" durch einen australischen Arbeitgebers erfordern. Eines davon ist das Skilled Employer Sponsored Regional (Provisional) (subclass 494) Visum.

Eine andere Möglichkeit bieten die Arbeitgeber gesponserten Visa für Arbeitgeber ansässig in Regionen mit einem Designated Area Migration Agreement (DAMA) Eine Auflistung der Regionen mit DAMA findet man auf der Homepage des Department of Home Affairs.

Temporary Skill Shortage (TSS)

Das TSS (subclass 482) Visum ersetzt seit April 2017 das Temporary Work (Skilled) (subclass 457) Visum. Dieses Visum ermöglicht Unternehmen Fachkräfte aus dem Ausland nach Australien zu holen. Die Berufserfahrung des zu sponsernden Arbeitnehmers muss eine Besetzung der freien Stelle zulassen. Der Gültigkeitszeitraum dieses Visums richtet sich danach, auf welcher Skilled occupation list der entsprechende Beruf geführt ist. Befindet sich dieser auf der short-term skilled occupations list, sind bis zu 2 Jahre Gültigkeit möglich. Befindet sich der Beruf auf der Medium and Long-term Strategic Skills List (MLTSSL) geführt ist, sind bis zu 4 Jahre Gültigkeit möglich.

Einzelnachweise

Arbeitsmigration
Einwanderung und Recht
Migrationspolitik (Australien)
Recht (Australien)
Wirtschaft (Australien)

Fachkräftevisum (Australien)


بلدية زازوار , هي إحدى بلديات مقاطعة برغش, التي تقع في منطقة قشتالة وليون, والتي تقع في شمال غرب إسبانيا.

يبلغ عدد سكانها 267 نسمة وفقاً لإحصائية سنة (2004).

مراجع

أماكن مأهولة في مقاطعة برغش
بلديات برغش

زازوار


Alicia Asconeguy (* 19. November 1949 in Montevideo, Uruguay; † 22. Juni 2020) war eine uruguayische Malerin und Grafikerin.

Ausbildung
Asconeguy absolvierte erfolgreich eine Ausbildung in visueller Kommunikation am Instituto de Profesores Artigas (IPA), die sie 1975 abschloss. Sie studierte überdies von 1969 bis 1971 an der Escuela Nacional de Bellas Artes (ENBA) sowie bei Francisco Musetti, Fernando García Esteban und Miguel Battegazzore.

Berufliche Tätigkeit
Asconeguy, die an der Schule des Club de Grabado und an der Escuela del Taller Americano de Tapicería lehrte, war als Dozentin für visuelle Kommunikation und Farbtheorie am IPA tätig.

Künstlerischer Werdegang
Ab 1978 führte sie sowohl national als auch international Einzelausstellungen durch. Auch an mehreren Gemeinschaftsausstellunge nahm sie teil. Für ihre Arbeiten wurde sie vielfach ausgezeichnet. So erhielt sie 1980 den Botschaftspreis Spaniens (Premio Embajada de España) der mit einer Reise dorthin verbunden war. Sechs Jahre später erhielt sie eine lobende Erwähnung beim XXXIV. Salón Municipal de Montevideo. Ebenfalls 1986 wurde sie mit dem Ersten Preis des Mal- und Zeichenwettbewerbes 70 Aniversario de la Comunidad Israelita del Uruguay und dem Premio Bienarte del Alianza Cultural Uruguay-EEUU ausgezeichnet.

Ausstellungen (Auszug)

Einzelausstellungen
 1985: in der Galería Fabjbasaglia, Bologna, Italien
 1991: Flashbacks im Museu da Imagem e do Som de São Paulo, São Paulo, Brasilien

Gemeinschaftsausstellungen
 1983: Premio Cristóbal Colón de Pintura de la Unión de Ciudades Capitales Iberoamericanas, Madrid, Spanien
 1983: Salón para jóvenes, Bogotá, Kolumbien
 1985: Feria Internacional de Arte-Arco 85, Madrid
 1985: XXXIII. Salón Municipal de Montevideo
 1986: V. Bienal Iberoamericana de Arte des Instituto Cultural Domecq de México

Auszeichnungen
 1980: Botschaftspreis Spaniens (Premio Embajada de España)
 1985: Premio Pintura beim II. Salón der Banco de la República Oriental del Uruguay
 1986: Lobende Erwähnung beim XXXIV. Salón Municipal de Montevideo
 1986: Erster Preis des Mal- und Zeichenwettbewerbes 70 Aniversario de la Comunidad Israelita del Uruguay
 1986: Premio Bienarte del Alianza Cultural Uruguay-EEUU

Literatur
 Nuevo Diccionario de la Cultura Uruguaya von Miguel Ángel Campodónico, Librería Linardi y Risso, 2003, S. 32f

Einzelnachweise

Maler (Uruguay)
Grafiker (Uruguay)
Uruguayer
Geboren 1949
Gestorben 2020
Frau

Alicia Asconeguy


The woolly lemurs, also known as avahis or woolly indris, are nine species of strepsirrhine primates in the genus Avahi. Like all other lemurs, they live only on the island of Madagascar.

With a body size of  and a weight of , the woolly lemurs are the smallest indriids. Their fur is short and woolly. The body can be grey brown to reddish, with white on the back of the thighs, with a long, orange tail. The head is round with a short muzzle and ears hidden in the fur.

Woolly lemurs can be found in both humid and dry forests, spending most of their time in the leafy copse. Like many leafeaters, they need long naps to digest their food. Woolly lemurs live together in groups of two to five animals, which often consist of parents and several generations of their offspring.

Like all indriids, the woolly lemurs are strictly herbivorous, eating predominantly leaves, but also buds and, rarely, flowers.

Males and females live in pairs. Although likely, the presence of extrapair copulations (which exist in other pair-living nocturnal lemurs, e.g. the Masoala fork-marked lemur (Phaner furcifer) and the fat-tailed dwarf lemur (Cheirogaleus medius)) has never been demonstrated in Avahi species. The gestation period is four to five months, with births usually coming in September. In the first few months, the young rides on the back of its mother. After about six months, it is weaned, and can live independently after a year, although it will typically live for another year in proximity to its mother. Overall life expectancy is not known.

On November 11, 2005, a research team that discovered a new species of woolly lemur in 1990 in western Madagascar named the species, Bemaraha woolly lemur (Avahi cleesei), after actor John Cleese, in recognition of Cleese's work to save lemurs in the wild. In 2006, a taxonomic revision of eastern avahis based on genetic and morphological analyses led to the identification of two additional species: A. meridionalis and A. peyrierasi. Further taxonomic revision increased the number of species, by adding A. ramanantsoavana and A. betsileo. Finally a new species was discovered in the Masoala peninsula, Moore's woolly lemur (A. mooreorum).

Classification
Nine species are currently recognized:

 Eastern woolly lemur, Avahi laniger
 Western woolly lemur, Avahi occidentalis
 Sambirano woolly lemur, Avahi unicolor
 Bemaraha woolly lemur, Avahi cleesei
 Peyrieras's woolly lemur, Avahi peyrierasi
 Southern woolly lemur, Avahi meridionalis
 Ramanantsoavana's woolly lemur, Avahi ramanantsoavani
 Betsileo woolly lemur, Avahi betsileo
 Moore's woolly lemur, Avahi mooreorum

References

External links

Image of female and young
Primate Info Net Avahi Factsheets

Woolly lemurs

Woolly lemur


Mamadou Lamarana Diallo né le  à Dakar au Sénégal, est un footballeur  international guinéen qui joue au poste d'attaquant.

Biographie

Carrière en club
Né de parents guinéens, Mamadou Lamarana Diallo est un jeune produit de Dakar Sacré-Cœur au Sénégal, avant d'être repéré et recruté par Sochaux. Diallo réalise ses débuts professionnels avec Sochaux lors d'un match nul 1-1 en Ligue 1 contre le SC Bastia, le .

Après son passage à Sochaux, Diallo effectue un essai, non probant, à Créteil, club de Ligue 2. Il continue alors sa carrière dans les divisions amateurs du football français. En  il effectue un essai, non concluant, au Stade Lavallois.

Le 7 mai 2020, Diallo signe en faveur de Grenoble, club de Ligue 2. En mars 2022 il se fracture le péroné. En fin de contrat en juin 2022, il refuse la proposition de prolongation grenobloise et quitte le club. Il est mis à l'essai par le Stade lavallois en décembre 2022, avant de signer à l'UD Vilafranquense en janvier.

Carrière en sélection
Le , il est sur le banc de l'équipe nationale du Sénégal lors d'un match amical en Colombie, mais n'entre pas en jeu.

Le , la fédération guinéenne de football annonce que Diallo a décidé de représenter son équipe nationale et qu'il est inclus dans l'équipe élargie de la Guinée pour la Coupe d'Afrique des nations 2021. En , il est retenu par le sélectionneur Kaba Diawara afin de participer à la Coupe d'Afrique des nations 2021 organisée au Cameroun. Il honore sa première sélection le , contre le Malawi, lors de la CAN, où il joue  (victoire 1-0).

Références

Liens externes

Footballeur international guinéen
Footballeur sénégalais
Joueur du FC Sochaux-Montbéliard
Joueur de l'US Créteil-Lusitanos
Joueur du Grenoble Foot 38
Naissance en septembre 1994
Naissance à Dakar

Mamadou Diallo (football, 1994)


WOW air war eine isländische Billigfluggesellschaft mit Sitz in Reykjavík und Basis auf dem Flughafen Keflavík. Sie stellte den Flugbetrieb insolvenzbedingt am 28. März 2019 ein.

Geschichte
Der Isländer Skúli Mogensen war Gründer, Inhaber und Geschäftsführer der WOW air. Die Aktiengesellschaft WOW air hf. wurde am 29. September 2011 gegründet und die Fluggesellschaft nahm am 1. Juni 2012 ihren Betrieb zunächst als virtuelle Gesellschaft ohne eigenes Air Operator Certificate auf. Am 23. Oktober 2012 übernahm sie den ebenfalls virtuellen Konkurrenten Iceland Express und integrierte ihn.

Im November 2013 erhielt WOW air von der isländischen Aufsichtsbehörde ihr eigenes Air Operator Certificate; damit war das Unternehmen nicht mehr auf Wet-Lease-Verträge mit anderen Fluggesellschaften zur Durchführung ihrer Flüge angewiesen. Dafür leaste sie ihre Flugzeuge meist bei Leasinggesellschaften wie ALC oder CIT Aerospace. Zeitgleich wurde die Aufnahme von Flügen in die USA angekündigt.

Am 5. November 2018 kündigte Konkurrent Icelandair an, alle Anteile von WOW Air zu übernehmen. Die beiden Fluggesellschaften sollten ihre eigenen Marktauftritte beibehalten. Am 29. November 2018 teilte Icelandair mit, dass WOW Air doch nicht übernommen werde. Dafür beteiligte sich Indigo Partners, darauf folgte eine Flottenreduktion und Personalabbau: Die Langstreckenflugzeuge werden an die Leasingfirmen zurückgegeben, die Airbus A330-900neo gar nicht erst übernommen und 111 Festangestellten sowie rund 250 Zeitarbeitern wurde gekündigt. Die Flotte sollte neu aus zehn A321 und einem A320 bestehen, und es sollten noch rund 1000 Mitarbeiter beschäftigt bleiben.

Im März 2019 führte WOW air erneut Gespräche mit Icelandair, nachdem Verhandlungen mit dem Risikokapitalgeber Indigo Partners nicht zu einem Ergebnis geführt hatten. Am 28. März 2019 gab WOW air auf ihrer Webseite bekannt, dass der Flugbetrieb eingestellt wurde, und meldete Insolvenz an. Nachdem das amerikanische Luftfahrtunternehmens US Aerospace Associates die WOW-Vermögenswerte aus der Konkursmasse aufgekauft hatte, wurde mehrfach eine Wiederaufnahme des Flugbetriebs angekündigt (zuletzt für Anfang 2020), ohne dass es tatsächlich dazu kam.

Im Januar 2020 teilten die Liquidatoren der – mittlerweile rechtlich unabhängigen – alten Gesellschaft der WOW Air mit, dass es zu finanziellen Ungereimtheiten gekommen sei. Unter anderem seien Anleihen des Unternehmens mit Krediten aufgekauft worden, um ein hohes Interesse an diesen vorzutäuschen und eine als Mitarbeiterwohnung deklarierte Immobilie in London sei privat von Gründer Mogensen genutzt worden.

Flugziele
WOW air flog von Keflavík zahlreiche Ziele in Europa und in Israel sowie mehrere Städte in Nordamerika an.

Im deutschsprachigen Raum wurden in der Vergangenheit Basel, Berlin-Schönefeld, Düsseldorf, Frankfurt, Salzburg und Zürich angeflogen.

Flotte

Im März 2019 bestand die Flotte der WOW air aus 11 Flugzeugen mit einem Durchschnittsalter von 1,8 Jahren:

Siehe auch
 Liste ehemaliger Fluggesellschaften (Europa)

Weblinks

Einzelnachweise

Ehemalige Fluggesellschaft (Island)
Gegründet 2012
Unternehmen (Reykjavík)
Aufgelöst 2019

WOW air


Werbach es un municipio del Distrito de Main-Tauber, en el estado federado de Baden-Wurtemberg, Alemania. En 2010 la ciudad tenía una población de 3.478 habitantes.

Distritos del municipio
El municipio consta de los siguientes distritos: Brunntal, Gamburg, Niklashausen, Wenkheim, Werbach y Werbachhausen.

Monumentos y sitios de interés

Referencias

Enlaces externos

Localidades de Baden-Wurtemberg

Werbach


Çavuş dişli bir dişli türüdür. İsmini üzerinde bulunan dişlerin helis yönlerinin çavuş armasını andırmasından almaktadır. Genellikle iki helis dişlinin sırt sırta getirilmesiyle oluşturulur. Dişlere gelen eksenel yükler birbirlerini karşılıklı olarak dengeler ve bu nedenle milde eksenel yük yaratmaz. Büyük radyal yüklerin aktarılmasında kullanılır.

Makine elemanları

Çavuş dişli


Them were a Northern Irish rock band formed in Belfast, Northern Ireland, in April 1964, most prominently known for the rock standard "Gloria" and launching singer Van Morrison's musical career. The original five-member band consisted of Morrison, Alan Henderson, Ronnie Milling, Billy Harrison, and Eric Wrixon.

Them scored two UK hits in 1965 with "Baby, Please Don't Go" (UK No. 10) and "Here Comes the Night" (UK No. 2; Ireland No. 2). The latter song and "Mystic Eyes" were top 40 hits in the US.

Morrison quit the band in 1966 and went on to a successful career as a solo artist. Although they had relatively few hit singles, the group had considerable influence on other bands, such as the Doors.

The band's 1964 recording of "Gloria" was inducted into the Grammy Hall of Fame in 1999. It was ranked No.69 in Dave Marsh's 1989 book, The Heart of Rock and Soul, The 1001 Greatest Singles Ever and "Mystic Eyes" was ranked No.458. "Gloria" was listed at No.208 on the 2004 Rolling Stone magazine's feature The 500 Greatest Songs of All Time.

Origins

Formation
In April 1964, Van Morrison responded to an advert for musicians to play at a new R&B club at the Maritime Hotel–an old dance hall frequented by sailors. The new R&B club needed a band for its opening night; however Morrison had left the Golden Eagles (the group with which he had been performing at the time), so he created a new band out of the Gamblers, an East Belfast group formed by Ronnie Millings, Billy Harrison, and Alan Henderson in 1962. Eric Wrixon, still a schoolboy, was the piano player and keyboardist. Morrison played saxophone and harmonica and shared vocals with Billy Harrison. They followed Eric Wrixon's suggestion for a new name, and the Gamblers morphed into Them, their name taken from the Fifties horror movie Them!

The band's strong R&B performances at the Maritime attracted attention. Them performed without a routine and Morrison ad libbed, creating his songs live as he performed. While the band did covers, they also played some of Morrison's early songs, such as "Could You Would You", which he had written in Camden Town while touring with the Manhattan Showband. The debut of Morrison's "Gloria" happened on stage here. Sometimes, depending on his mood, the song could last up to twenty minutes. Morrison has said, "Them lived and died on the stage at the Maritime Hotel," believing the band did not manage to capture the spontaneity and energy of their live performances on their records. The statement also reflected the instability of the Them line-up, with numerous members passing through the ranks after the definitive Maritime period. Morrison and Henderson remained the only constants, and a less successful version of Them soldiered on after Morrison's departure.

Dick Rowe of Decca Records became aware of the band's performances, and signed Them to a standard two-year contract. In that period, they released two albums and ten singles, with two more singles released after Morrison departed the band. They had three chart hits, "Baby, Please Don't Go" (1964), "Here Comes the Night" (1965), and "Mystic Eyes" (1965), but it was the B-side of "Baby, Please Don't Go", the garage band classic "Gloria", which went on to become a rock standard covered by Patti Smith, the Doors, the Shadows of Knight, Jimi Hendrix, and many others.

Maritime Hotel
On 14 April 1964, an advertisement in a Belfast newspaper asked: "Who Are? What Are? THEM". Similarly curious advertisements followed until the Friday before the gig (17 April 1964) announced that Them would be performing that evening at Club Rado at the Maritime Hotel. Attendance at the two hundred capacity venue quickly grew with a packed house by the third week.

Them performed without a routine, fired by the crowd's energy. Morrison later commented that while the band was "out of our element" making records... "The way we did the numbers at the Maritime was more spontaneous, more energetic, more everything, because we were feeding off the crowd." Morrison ad libbed songs as he performed and "Gloria", the classic song he had written at eighteen years old, took shape here and could last up to twenty minutes. According to Morrison, "Them lived and died on the stage at the Maritime Hotel" but only very rudimentary recordings survive. One fan's recording of "Turn On Your Love Light" made its way to Mervyn and Phil Solomon, who contacted Decca Records' Dick Rowe, who then travelled to Belfast to hear Them perform. Rowe and Phil Solomon agreed on a two-year contract with the members of the band then signed with Solomon. Morrison being eighteen, had to have his father sign for him. Within a few weeks, the group was taken to England and into Decca's recording studio in West Hampstead for their first recording session.

Peak years

With Decca

Them's first recording session took place in London on 5 July 1964. "Turn on Your Love Light" and "Gloria" were recorded during this session as were both sides of their first single, "Don't Start Crying Now" and "One Two Brown Eyes" as well as "Groovin'", "Philosophy" and Bo Diddley's "You Can't Judge a Book by Its Cover". The session was remarkable in its employment of two drums tracks, which can be clearly heard in the stereo mixes of "Gloria" and "One Two Brown Eyes". Rowe used session musicians Arthur Greenslade on organ and Bobby Graham on second drum kit. At this late stage it became clear that the parents of Eric Wrixon, a minor in law, would not sign the contract on his behalf so he was replaced by Pat John McAuley. The single, released in August, did not prove to be successful.

Their next single, Big Joe Williams's "Baby, Please Don't Go" substituted Andy White on drums, Phil Coulter on second keyboard, and added Jimmy Page on rhythm guitar. The lead guitar track was the work of Billy Harrison. It was released in November with "Gloria" as its B-side. In December 1964, Them made their television debut, joining The Rolling Stones, on Ready Steady Go! Their manager, Phil Solomon got the track used as the show's signature tune and within two weeks it was at No. 19 on the UK Singles Chart, eventually peaking at No. 10.

In January 1965, Them toured England for a second time, staying at the Royal Hotel, which disc jockey Jimmy Savile used as his London base. Savile helped promote the band in his column for The People but Them earned a reputation for bad manners and sarcasm in their interviews. Billy Harrison said the attitude problem may have been caused by anti-Irish sentiments on the continent at the time. But, when they were interviewed by a reporter from the Irish Independent, the reporter remarked, "They were the most boorish bunch of youngsters I'd come across in my short career." Phil Coulter recalled the band's interview with a female reporter: "They would just sit and mutter monosyllabic grunts to themselves and give her off-the-wall answers". (Morrison as a solo artist raised such interviews to a "negative art form"). Their management promoted Them by scheduling appearances on Ready Steady Go! and on Top of the Pops where, rather than performing live, they were expected to mime and lip sync. Morrison said of this appearance, "It was ridiculous. We were totally anti that type of thing... and we had to get into suits and have make-up put on and all that". He also revealed how the band had, until that time, considered the programme a complete joke.

Their next release was Them's biggest hit in the UK, "Here Comes the Night". The producer was also the writer of the song, Bert Berns, an American, who had also co-written "Twist and Shout". Backed with "All for Myself" it charted in the UK at No. 2 on 22 April 1965, five weeks after entering the charts, and went to No. 24 in the U.S. in May. Both tracks originate from the same session in October 1964 that yielded "Baby Please Don't Go" but were temporarily shelved by Decca in favour of Lulu's version of "Here Comes the Night" which reached only No. 50 on the British charts.

On 11 April 1965, Them made a guest appearance at the NME Pollwinners Concert at Wembley Empire Pool: Jimmy Savile was MC for this event, which also included The Beatles, The Rolling Stones, The Kinks, The Animals, The Searchers, The Moody Blues and Dusty Springfield. The bands had been expected to keep to their current hits, but Them audaciously segued from "Here Comes the Night" into a seven-minute version of "Turn on Your Lovelight". After the performances, NMEs Derek Johnson commented that Morrison had "more genuine soul than any of his British contemporaries".

The band released their first album, The Angry Young Them, in June 1965 (UK) and it appeared in the USA on Parrot Records in July. But Them's next single, "One More Time", chosen by Phil Solomon, failed–according to Billy Harrison because it never constituted single material. In July 1965, the band added English drummer Terry Noon and Scottish lead guitarist Joe Baldi (born Joseph Baldi, 10 March 1943, in La Spezia, Italy) but they left in September. Their second album, Them Again, was released in January 1966 in the UK and in April 1966 in the USA.

Success in North America and departure of Morrison

The group was marketed in the United States as part of the British Invasion. After the success of "Here Comes the Night", the band scored a chart hit again later in 1965 with "Mystic Eyes", which reached No.33. Them Again, released in April 1966 in the US, also charted and the band began a US tour in May 1966. From 30 May to 18 June, Them had a residency at the famous Whisky a Go Go in Los Angeles. For the final week The Doors opened for Them and on the last night the two bands and Morrisons jammed a twenty-minute version of "Gloria" and a twenty-five-minute version of "In the Midnight Hour". Next Them headlined at The Fillmore in San Francisco and then to Hawaii, where disputes erupted among band members and management over money. The band broke apart, Morrison and Henderson returning to Belfast while Ray Elliott (born Raymond Elliott, 23 January 1939, in Belfast) and David Harvey (born David Tufney, 29 July 1943, in Bude, Cornwall) decided to stay in America.

Van Morrison has placed the break-up of Them in context: "There was no motive behind anything you did [back then]. You just did it because you wanted to do it and you enjoyed doing it. That's the way the thing started, but it got twisted somewhere along the way and everybody involved in it got twisted as well, including me."(1967) "You can't take something like that, put it in a box and place a neat little name on it, then try to sell it. That's what they tried to do. That's what killed Them." (1973)

Van Morrison went on to great success and fame as a solo artist, but Them's combination of garage rock and blues proved a major influence on the next generations of rock musicians, and the group's best-known singles have become staples of rock and roll.

Post-Morrison

Belfast Gypsies
In late August 1965, Billy Harrison and Pat McAuley formed a rival Them, competing with the Morrison/Henderson line-up and leading to legal action. In March 1966, the latter won the rights to the name while the former, now without Harrison but with Pat's brother Jackie McAuley (born John James McAuley, 14 December 1946, in Coleraine, County Londonderry, Northern Ireland; ex-Them, ex-Kult), were only allowed to call themselves 'Other Them' in the UK. The McAuley brothers unofficially became Them Belfast Gypsies (or Gipsies), though they were never actually billed as such, and recorded two singles on Island Records (one released under the name Freaks of Nature) and one Swedish-only album, all produced by Kim Fowley. They toured Europe billed as Them and released a French EP under that name but broke up in November 1966. Not long after that the Morrison line-up also split. In March 1967 Morrison did a short tour of the Netherlands backed by Cuby & the Blizzards, actually only the Blizzards without lead singer Cuby, and then left for New York to start his solo career. The rest regrouped in Belfast, recruited Kenny McDowell (born Kenneth McDowell, 21 December 1944, in Belfast, County Antrim, Northern Ireland) (ex–Mad Lads) as lead singer and continued touring and recording steadily after relocating to the US in early 1967 at the invitation of producer Ray Ruff.

1968 until dissolution
Two albums, Now and Them and Time Out! Time In for Them, found the band experimenting with psychedelia. Then Jim Armstrong and Kenny McDowell returned to Belfast to perform as Sk'boo (Armstrong, McDowell and Ray Elliot reunited in Chicago in 1969 as Truth and recorded a number of demos and soundtrack songs later released as Of Them and Other Tales).

Henderson hired session musicians for two more records for Ray Ruff's Happy Tiger Records, in a hard rock vein with country and folk elements; Them (1969) features Jerry Cole as guitarist while Them in Reality (1970) features lead guitarist Jim Parker and drummer John Stark (both ex–Kitchen Cinq). Henderson also co-wrote a rock opera, Truth of Truths, produced by Ray Ruff in 1971. These efforts were met with consumer indifference and in 1972 Them dissolved. Alan Henderson, Billy Harrison and Eric Wrixon reunited in 1979, without Morrison, recording another album, Shut Your Mouth, and undertaking a tour of Germany using Billy Bell on drums, and Mel Austin as vocalist. Since the 1990s, Wrixon had toured under the moniker of Them the Belfast Blues Band, at one point including ex-Them guitarists Jim Armstrong and Billy Harrison.

Alan Henderson died on 9 April 2017 in Big Lake, Minnesota, at the age of 72.

Discography

Albums

Singles

EPs

Compilation albums

The World of Them – (1970) (UK Decca- PA/SPA-86)
Them Featuring Van Morrison – (1972) – A double LP consisting of 20 cuts from first two US albums
Backtrackin''' – (1974), London (US), Decca (NZ)Rock Roots – (1976), DeccaThe Story of Them – (1977)Them Featuring Van Morrison – (1985)The Story of Them Featuring Van Morrison – (1997), DeramGold – (2005), Deram; 2006 release Universal International; 2008 release Universal Japan. Contains 49 tracks, all from the Van Morrison period.The Complete Them 1964–1967 – (2015), Legacy; contains 69 tracks over 3 discs featuring Van Morrison

 Personnel

 Van Morrison –  lead vocals, saxophone, harmonica (1964–1966)
 Alan Henderson – bass (1964–1966, 1966–1971, 1979; died 2017)
 Billy Harrison – guitar, vocals (1964–1966)
 Ronnie Milling – drums (1964)
 Eric Wrixon – keyboards (1964, 1965, 1979; died 2015)
 Pat McAuley – keyboards (1964), drums (1964–1965; died 1984)
 Jackie McAuley – keyboards (1965)
 Peter Bardens – keyboards (1965; died 2002)
 Joe Baldi – guitar (1965)
 Terry Noon – drums (1965)
 Jim Armstrong – guitar (1965–1966, 1966–1969, 1979)
 John Wilson – drums (1965-1966)
 Ray Elliot – keyboards, saxophone, flute (1965–1967)
 Dave Harvey – drums (1965–1966)
 Steve Reush – drums (1966)
 Sammy Stitt – drums (1966)
 Eric Bell – guitar (1966)
 Mike Brown – bass (1966)
 Joe Hanratty – drums (1966)
 Kenny McDowell – lead vocals (1966–1969)
 Ray Harvey – drums (1966–1969)
 Jerry Cole – vocals, guitar, percussion (1969–1970; died 2008)
 Jim Parker – guitar, vocals (1970–1971)
 John Stark – drums, vocals (1970–1971)
 Mel Austin – lead vocals (1979; died 2017)
 Billy Bell – drums (1979)
 Brian Scott – keyboards, flute (1979)

Other Them / Belfast Gypsies
 Pat McAuley – organ (1965–1966), drums (1966)
 Mark Scott (a.k.a. Peter Cutchey) – bass (1965–1966)
 Nick Wymer – lead vocals (1965–1966)
 Skip Alan – drums (1965)
 Billy Harrison – guitar (1965)
 'Don' – guitar (1965–1966)
 Viv Prince – drums (1965)
 Ken McLeod – drums (1965–1966), guitar (1966)
 Jackie McAuley – lead vocals, organ, harmonica (1966)
 Peter Bardens – keyboards (1966)

Truth
 Jim Armstrong – guitar (1969–1971)
 Curtis Bachman – bass (1969–1971)
 Kenny McDowell – lead vocals (1969–1971)
 Reno Smith – drums (1969–1971)
 Ray Elliot – keyboards, flute (1970)
 Buddy Clark – drums (1971)

Them – The Belfast Blues Band
 Eric Wrixon – keyboards, lead vocals (1993–2015)
 Jim Armstrong – guitar (1993–2003)
 John Wilson – drums (1993–?)
 Billy Bell – drums
 Ally MacKenzie – bass
 Siggi Heilek – drums
 Billy McCoy – guitar (?–2015)
 Luca Nardi – bass (?–2015)
 Tom Wagener – drums (?–2015)

 References

Sources
Heylin, Clinton (2003). Can You Feel the Silence? Van Morrison: A New Biography, Chicago Review Press
Hinton, Brian (1997). Celtic Crossroads: The Art of Van Morrison, Sanctuary,
Rogan, Johnny (2006). Van Morrison: No Surrender, London:Vintage Books
Turner, Steve (1993). Van Morrison: Too Late to Stop Now'', Viking Penguin,

External links
The Music Collector's Guide – full chronology of Them/Van Morrison
[ Allmusic.com Biography: Them]
Them the Band tripod.com
Detailed biography Them and band member's later careers by John Berg
Month-by-month biography of Them at Garagehangover.com

Mark Scott Biography by Richie Unterberger

British blues musical groups
British blues rock musical groups
British Invasion artists
Garage rock groups from Northern Ireland
British rhythm and blues musical groups
British rhythm and blues boom musicians
Rock music groups from Northern Ireland
Musical groups from Belfast
Van Morrison
Musical groups established in 1964
Musical groups disestablished in 1972
Decca Records artists
Parrot Records artists
Protopunk groups
Deram Records artists
Sonet Records artists

Them (band)


Philipp Schobesberger (n. 10 decembrie 1994, Viena, Austria) este un fotbalist austriac, care în prezent joacă la Rapid Viena în Bundesliga Austriacă pe postul de mijlocaș.

Cariera de jucător
Schobesberger a câștigat Cupa Austriei cu FC Pasching în sezonul 2012-2013. El s-a transferat în vara anului 2014 la Rapid Viena.  Contractul pe care l-a semnat inițial a fost până în 2018, dar pe 28 august 2015 s-a prelungit cu an.

Palmares
FC Pasching
 Cupa Austriei: 2012-2013

Statistici

Referințe

Legături externe
 Profil pe worldfootball.net
 Profil pe UEFA.com

Nașteri în 1993
Fotbaliști austrieci

Philipp Schobesberger


Farul din Șabla (în ) este un far situat la 5 km est de orașul Șabla, regiunea Dobrici; în Bulgaria.

Caracteristici

Este cel mai vechi și cel mai înalt far din Bulgaria , situat în punctul cel mai estic al Bulgariei . A fost construit în 1856 și a fost inaugurat un an mai târziu. Este o clădire de calcar cu o înălțime de 36 m, care constă dintr-un turn octogonal cu balcoane. Lanternul cu trei etaje este pictat în dungi roșii și albe. Acesta luminează alb, situat la 32 m deasupra nivelului mării, iar raza luminii este de 16 mile maritime.

Note

Faruri din Bulgaria

Farul din Șabla


Compania Payot este o editură din Elveția, fondată în 1875, cu sediul în Lausanne. Ea face parte în prezent din grupul Lagardère, prin care ea a fost asociată cu editura Rivages pentru a forma compania Payot & Rivages.

Istoric
Editura își are originea într-o librărie din Lausanne, Librairie Imer, începând din momentul în care un tânăr profesor elvețian Fritz Payot a devenit asociat și i-a schimbat numele în Librairie A. Imer et Fritz Payot. În 1886 Fritz Payot a devenit proprietar, iar librăria a fost redenumită Librairie F. Payot & Cie.

Când a murit în 1900, librăria a fost preluată de către fiii lui, Samuel și Gustave, sub numele de Payot & Cie. Primul s-a ocupat de activitatea companiei în Elveția, în timp ce al doilea a dezvoltat activitatea editurii la Paris, creând în special colecțiile «Bibliothèque historique» et «Bibliothèque scientifique».

Compania a devenit societate pe acțiuni în anul 1923, dar majoritatea acțiunilor au rămas în cadrul familiei; au fost înființate mai multe filiale în Elveția franceză și trei librării franceze în Elveția germană.

După moartea lui Samuel Payot în 1938, fiii lui, Marc și Jean-Pierre, i-au continuat activitățile de editare și de vânzare de carte. În 1965 Jean-Marc Payot a pus capăt monopolului familiei în conducerea companiei.

Compania a fost vândută de familie în anul 1986 către grupul Edipresse (deținut de familia Lamunière), care a decis fuziunea ei cu editura Naville sub numele de Librairie Payot Naville.

În 1992 compania Hachette Distribution Service din cadrul grupului Lagardère Media a obținut majoritatea acțiunilor din capitalul social al societății și a preluat controlul. Activitățile de librărie (Librairie Payot) și de editare (regrupate cu editura Rivages sub numele Payot & Rivages) sunt separate.

Colecții
 Bibliothèque miniature: fondată în 1918 sau anterior, "o colecție de bibelouri tipografice executate cu gust pentru cititorii rafinați; o colecție de perle literare care îi vor plăcea mai ales publicului feminin. Fiecare volum 7 x 10 cm. Legat în piele: 1fr80."
Listă parțială:
1, Alfred de Musset, Les Nuits.
2, Gérard de Nerval, Sylvie.
3, Molière, L'Avare etc.
 «Bibliothèque historique» : fondată în 1923
 «Bibliothèque scientifique»  : fondată în 1925
 «Critique de la politique» : fondată în 1974 (director al colecției a fost Miguel Abensour)
 «Petite bibliothèque Payot» : fondată în 1962, colecție de buzunar specializată în lucrări de nivel universitar, cum ar fi operele majore ale lui Sigmund Freud, La Relativité a lui Albert Einstein etc.)

Note

Payot

Editura Payot


සැහැල්ලුතම මූල ද්‍රව්‍ය වනුයේ හයිඩ්‍රජන් හා හීලියම්ය. මේවා විශ්වයේ මහා පිපුරුමේ (Big Bang nucleosynthesis) මුල් විනාඩි 20 තුළ නිපදවූ අතර එය ස්කන්ධ අතර අනුපාතයෙන් 3 : 1 වේ. (ආසන්න වශයෙන් පරමාණු සංඛ්‍යා අතර අනුපාතය ගත් විට 12 : 1 වේ) හයිඩ්‍රජන් හා හීලියම් ඇතිවුණු පසු අනෙක් මූල ද්‍රව්‍ය ස්වාභාවිකව ඇති වූ අතර එය ස්වාභාවික සහ කෘත්‍රීමව කරන ලද න්‍යෂ්ටික සංස්ලේෂණ ක්‍රම, හා න්‍යෂ්ටික විඛන්ඩණය වැනි ක්‍රම මගින් ඇති විණි.

වසර 2006 වන විට මූල ද්‍රව්‍ය 117 තේරුම් ගෙන ඇති අතර (මෙහි  තේරුම් ගත් යනු අනෙක් මූලද්‍රව්‍යවලින් පැහැදිලිව වෙන් කොට ගත් කාලයක් පවතී යන්න වේ.) මෙයින් 94 ස්වාභාවික පෘතුවියේ පවතී. මෙයින් 6 ක් අංශු මාත්‍රීය ප්‍රමාණ වලින් පවතී. ඒවා නම් ටෙක්නීටියම් පරමාණුක ක්‍රමාංකය 43, ප්‍රොමේතියම් පරමාණුක ක්‍රමාංකය 61, ඇස්ටටීන් පරමාණුක ක්‍රමාංකය 94 වේ. මීට අමතරව (සමහර විට) පරමාණුක ක්‍රමාංකය 98 වූ කැලිෆෝනියම් ඇතැම් වේලාවට අණාවරණය කරගෙන ඇති අතර එය තාරකා සහ අද්බූත තාරකාවල වර්ණාවලි මගින් සොයා ගත නොහැකි අතර ඒවා කෘත්‍රීමව ව්‍යුත්පන්න කළ යුතු වේ. මෙම මූල ද්‍රව්‍ය කෘත්‍රීම ක්‍රම මගින් ව්‍යුත්පන්න කරන ඉතා කෙටි අර්ධ ආයු කාලයක් සහිත විකිරණශීලී මූලද්‍රව්‍ය නිසා තැනෙන්නකි.

ඉතිරි මූල ද්‍රව්‍ය 22 පොළෝවේ හෝ කක්ෂ වර්ණාවලි මගින් සොයා ගත නොහැකි අතර ඒවා කෘත්‍රීමව ව්‍යුත්පන්න කළ යුතු වේ. මෙලෙස කෘත්‍රීමව ව්‍යුත්පන්න කරන ලද මූලද්‍රව්‍යයන් සියල්ලම විකිරණශීලී වන අතර ඉතා කුඩා අර්ධ ජීවිත කාලයක් ඇත. මෙම මූලද්‍රව්‍ය පොලොවේ තිබුණහොත් ඒවා බොහෝ දුරට දිරාපත් වේ. යම් හෙයකින් පොළොවේ හෝ නව තරුවක පැවතුණහොත් ඒ හදුනා ගැනීම පවා හැකි නොවන ඉතා කුඩා ප්‍රමාණ වලිනි. පළමුව කෘතීමව නිර්මාණය කරන ලද මූල ද්‍රව්‍ය වනුයේ ටෙක්නීටියම්ය. (ඒ 1937 දීය. ඒ  අංශු මාත්‍රීය ලෙස ටෙක්නීටියම් පවතින බව 1925 දී සොයා ගත්තද, එතෙක් මූල ද්‍රව්‍ය හඳුනාගත නොහැකි වුනි. නැතහොත් එය 1925 සොයා ගත  හැකිව තිබුණි.) මෙම ක්‍රියාවලිය කිහිපවරක් ස්වාභාවිකව අංශු මාත්‍රීයව පවතින මූලද්‍රව්‍ය සඳහා සිදු කෙරුණි.

මූල ද්‍රව්‍ය ලැයිතුවක්, නමෙන් , ලකුණෙන් , පරමාණුක ක්‍රමාංකයෙන් , ද්‍රවාංකයෙන්, තාපාංකයෙන් සහ පරමාණුවල අයනීකරණ ශක්තිය ලබා ගත හැක. හොදම මූලද්‍රව්‍යවල වර්ගීකරණ ආවර්ථිතා වගුවේ වන අතර සමාන ගුණැති මුලද්‍රව්‍ය එකට ගෙන එහි දක්වා ඇත.

References
http://en.wikipedia.org/wiki/Chemical_element#description

රසායනික පදාර්ථය (සටහන)රසායනික පදාර්ථය (සටහන)


اسمه وكنيته ونسبه
الشيخ أبو عزّ الدين، محي الدين بن الشيخ عبد الله بن الشيخ محمّد حسن المامقاني، ومامقان إحدى مدن تبريز الإيرانية.

ولادته
ولد الشيخ المامقاني في صفر 1341 هـ بمدينة النجف.

دراسته وتدريسه
بدأ دراسته الحوزوية في حوزة النجف، حتّى أنهى دراساته العالية، هذا وقد تمحّض في تدريس المكاسب والرسائل والكفاية وشرح التجريد سنين. بعد انتقاله إلى طهران عام 1391 هـ بدأ بإلقاء محاضرات في خارج الفقه والأُصول، وبعد فترة قصيرة انتقل إلى مدينة قم، فانصرف إلى عمله في التعليق على كتاب والده (تنقيح المقال) وترك التدريس نهائياً .

أساتذته
 الشيخ محمد علي المدرس الأفغاني .
 السيّد محسن الطباطبائي الحكيم .
 الشيخ صادق التنكابني النجفي .
 الشيخ باقر الزنجاني النجفي.
 السيّد عبد الهادي الشيرازي.
 الشيخ عبد الحسين الرشتي.
 الشيخ صدر البادكوبي.

تلامذته
 السيّد فخر الدين أبو الحسن العاملي .
 ابنه، الشيخ محمد رضا المامقاني .
 السيّد كاظم حكيم زاده.
 السيّد علي العلوي.

أقوال العلماء فيه
1ـ قال الشيخ جعفر محبوبة في ماضي النجف وحاضرها : ( وهو من أهل العلم والفضل ، مجد في التحصيل ، مكب على طلب العلم ، حفظ شؤون بيته ، وسار بسيرة أبيه ، محافظاً على كيانه وسمعة بيته ، يمتاز بسيره الحسن وهديه الجيد ، مع وقار ورزانة حلم ) .

2ـ قال الشيخ محمّد هادي الأميني في معجم رجال الفكر والأدب : ( عالم جليل ، مجتهد محقّق ، من أساتذة الفقه والأُصول ، حفظ شؤون بيته ، وسار بسيرة والده ، ويمتاز بسيرة حسنة ، وخُلقه الرفيع إلى جانب وقار ورزانة وتواضع وورع وحلم ) .

مؤلّفاته
 تحقيق مرآة الرشاد لوالده .
 تحقيق مرآة الكمال لوالده .
 حاشية فرائد الأُصول .
 مستدرك تنقيح المقال .
 حاشية شرح التجريد .
 حاشية المكاسب .

وفاته
مات فجر الثلاثاء الموافق 6 جمادي الثاني 1429 هـ

علماء دين شيعة إيرانيون
مواليد 1341 هـ
وفيات 1429 هـ

محيي الدين المامقاني


Spectroscopia de rezonanță magnetică nucleară (spectroscopia RMN) este o tehnică spectroscopică bazată pe fenomenul de rezonanță magnetică nucleară des folosită în chimie, chimie fizică, medicină nucleară, biofizică și inginerie nucleară pentru determinarea structurii diverșilor compuși chimici. În biochimie, folosește la determinarea structurii proteinelor, fiind singura tehnică destinată determinării structurii proteinelor în soluție (condiții mult mai apropiate de cele native) sau în imagini diagnostice medicale sau radiologice pentru determinarea caracteristicilor fizico-anatomice a unor organe sau țesuturi, caz în care tehnica se numește imagistică prin rezonanță magnetică (IRM).

Vezi și
 Imagistică prin rezonanță magnetică
 Rezonanță magnetică nucleară
 Spectroscopie

Referințe

Rezonanță

Spectroscopie de rezonanță magnetică nucleară


The greater flameback (Chrysocolaptes guttacristatus) also known as greater goldenback, large golden-backed woodpecker is a woodpecker species. It occurs widely in the northern Indian subcontinent, eastwards to southern China, the Malay Peninsula, Sumatra, western and central Java and northeast Borneo.

Taxonomy
It has been suggested to split the greater flameback into the following species:

Greater flameback, (C. guttacristatus) (C. lucidus if taken as a group and not split)
Crimson-backed flameback, (C. stricklandi) of Sri Lanka
Javan flameback (C. strictus) of eastern Java, Bali, and Kangean Islands
Luzon flameback (C. haematribon) of Luzon, Polillo, Catanduanes and Marinduque in the northern Philippines
Yellow-faced flameback (C. xanthocephalus) of Negros, Guimaras, Panay, Masbate and Ticao,  Philippine Islands
Buff-spotted flameback (C. lucidus) of Bohol, Leyte, Samar, Biliran, Panaon, Mindando, Basilan, and Samal, Philippine Islands
Red-headed flameback (C. erythrocephalus) of Balabac, Palawan, Busuanga, and Calamian, Philippine Islands
Malabar flameback (C. socialis) of southwestern India

Description

The greater flameback is a large woodpecker, at 33 cm in length. It is of typical woodpecker shape, and has an erect crest and a long neck. Coloration is highly variable between subspecies; it always has unmarked golden-yellow to dark brown back and wings. The rump is red and the tail is black. The underparts are white with dark markings (chevrons, stripes, or bands), or light brown. The head is whitish with a black pattern, or it is yellow, brown, or red. The straight-pointed bill is longer than the head, and the legs have four-toed zygodactyl feet (two toes pointing forward, two backward) and are lead-grey in color. The eyes' irises are whitish to yellow.

The adult male greater flameback always has a red crown. Females have a crown color varying between subspecies, such as black spotted with white, yellow, or brown with lighter dots. Young birds are like the females, but duller, with brown irises.

Similar species
White-and-black-headed greater flameback subspecies resemble some of the three-toed Dinopium flamebacks, but are not particularly closely related. Unlike the black-rumped flameback (D. benghalense) and the common flameback (D. javanense), the greater flameback's dark moustache stripes are divided by white (making them inconspicuous at a distance); except in C. stricklandi, their hindneck is white (not black), and even in the Sri Lankan birds, the dark colour does not extend to between the shoulders as it does in Dinopium; consequently, when seen from behind, the black-and-white-headed greater flamebacks outside Sri Lanka show a white neck bordered with black on the sides, while the Dinopium species have a black neck and upper back, with thin, white borders to the neck. Those flamebacks are also smaller (though this is only reliable in direct comparison), have a bill that is shorter than the head, and dark irises.

Behaviour and ecology

This flameback is a species associated with a diversity of rather open forest habitat, such as found in the foothills of the Himalayas or in the Western Ghats; it also inhabits mangrove forest. It seems to be well-adapted to particular forest types, while the similar-looking common flameback (Dinopium javanense) is more of a generalist; thus, depending on what forests predominate in a region, C. lucidus may be more (e.g. in Thailand) or less common (e.g. in peninsular Malaysia) than D. javanense. In Malaysian mangrove forest, for example, the greater flameback has been found to prefer tall Avicennia alba for foraging, while the common flameback rather indiscriminately uses that species, as well as Bruguiera parviflora and Sonneratia alba.

Like other woodpeckers, the greater flameback uses its bill to dig out food from trees, and its zygodactyl feet and stiff tail to provide support against tree trunks. The long tongue can be darted forward to extract wood-boring arthropod prey; while mainly feeding on small invertebrates, greater flamebacks also drink nectar. They nest in tree holes, laying three or four white eggs.

Conservation
Widely distributed and common in parts of its range, the greater flameback is classified as least concern on the IUCN Red List.

Evolution
Convergent evolution in plumage between a larger and a smaller species is found among other woodpeckers, such as the North American downy woodpecker ("Picoides" pubescens) and hairy woodpecker ("P." villosus), the tropical American smoky-brown woodpecker ("P." fumigatus) and certain Veniliornis species, or the striped woodpecker (V. lignarius) and checkered woodpecker (V. mixtus), and some South American Piculus and "Picoides". In all of these cases, these birds are neither gregarious nor known to be bad-tasting, and due to their size difference and habitat preferences, do not compete much; hence the usual reasons for mimicry do not seem to apply. While the similar plumage may be due to sheer chance, perhaps as an atavism of plesiomorphic pattern, the facts that such cases are commonplace in the Picinae and that the species involved are usually sympatric suggests that some as yet undiscovered may benefit  either some or all of the taxa involved.

References

 Rasmussen, Pamela C. & Anderton, John C. (2005): Birds of South Asia – The Ripley Guide. Lynx Edicions, Barcelona.

External links

greater flameback
Birds of Bangladesh
Birds of South Asia
Birds of Southeast Asia
greater flameback

Greater flameback


Olaylar
 Baekje krallığı yıkıldı (kuruluşu MÖ 18).

Doğumlar
 23 Nisan - İmparatoriçe Gemmei, Japonya'nın geleneksel veraset düzenine göre 43. hükümdarı (ö. 721)

Ölümler
 9 Temmuz - Gye baek, Baekje generali
 tarihi bilinmeyen
 Lebid bin Rebia, sahabe, şair

660


විදේශ කටයුතු අමාත්‍ය යනු ශ්‍රී ලංකාවේ කැබිනට් මණ්ඩලයේ පත්විමක් අතර එය දරන අමාත්‍ය ශ්‍රී ලංකා රජයේ විදේශ කටයුතු පාලනය පිළිබදව වගකීම දරනු ලබයි. විදේශ කටයුතු අමාත්‍ය තනතුර වර්ෂ 1947 දි පළමුව ආරක්ෂක සහ බාහිර කටයුතු අමාත්‍යා ලෙස පත් කල අතර වර්ෂ 1978 දි එය විදේශ කටයුතු අමාත්‍ය සහ ආරක්ෂක අමාත්‍ය ලෙස වෙන්කරන ලදි.
 ශ්‍රී ලංකාවේ වර්ථමාන විදේශ කටයුතු අමාත්‍ය වන්නේ මහාචාර්ය ජි.එල්.පීරිස්ය.( 2010 අප්‍රේල් 23 න් වෙනිදා සිට )

ශ්‍රී ලංකාවේ විදේශ අමාත්‍යවරු ලැයිස්තුව
 පක්ෂ

ආශ්‍රිත ලිපි
  ශ්‍රී ලංකාවේ පාර්ලිමේන්තුව
  ශ්‍රී ලංකාවේ ජනාධිපතිවරු
  ශ්‍රී ලංකාවේ අග්‍රාමාත්‍ය ලයිස්තුව
  ශ්‍රී ලංකාවේ පාර්ලිමේන්තු කතානායකවරු
  ශ්‍රී ලංකාවේ කැබිනට් මණ්ඩල

මූලාශ්‍ර

බාහිර සබැදි
Ministry of Foreign Affairs
Sri Lanka 54th Independence Anniversary, Colonial rule to independence, by Aryadasa Ratnasinghe
 Sri Lankan Foreign Ministers

විදේශ අමාත්‍යවරු - ශ්‍රී ලංකා

ශ්‍රී ලංකාවේ විදේශ අමාත්‍යවරු


Ralph George Macchio Jr. (  ; born November 4, 1961) is an American actor. He is best known for playing Daniel LaRusso in three Karate Kid films and in Cobra Kai, a sequel television series. He also played Johnny Cade in The Outsiders, Jeremy Andretti in Eight Is Enough, Bill Gambini in My Cousin Vinny, Eugene Martone in Crossroads, and Archie Rodriguez in Ugly Betty, and had a recurring role as Officer Haddix in The Deuce.

Early life
Macchio was born in Huntington, New York. He is the son of Rosalie (née DeSantis) and Ralph George Macchio Sr., who owned a few laundromats and a wastewater disposal company. Ralph has a younger brother Steven. His father is of half Italian and half Greek descent, and his mother is of Italian ancestry. In a 1980 screen test, Macchio said his family was from Naples. In 1979, Macchio graduated from Half Hollow Hills Central School District in Dix Hills, New York.

Macchio began tap dancing lessons at the age of three and was discovered by a talent agent when he was 16 years old.

Career

Early roles
Macchio was cast as Jeremy Andretti for a season in the television series Eight Is Enough. He next won the role of Johnny Cade in the 1983 film The Outsiders.

Karate Kid films
His work on The Outsiders helped him to win the role of Daniel LaRusso in the blockbuster 1984 film The Karate Kid. He continued to portray the character in two of its sequels, The Karate Kid Part II (1986) and The Karate Kid Part III (1989). In The Karate Kid, Macchio portrayed a "high school weakling turned bullybuster" who learns karate from his friend and mentor, Mr. Miyagi (portrayed by Pat Morita). Macchio's work in the Karate Kid series made him "stratospherically famous".

Later roles
Macchio appeared in the 1986 film Crossroads, portraying music student Eugene Martone. Also in 1986, Macchio starred in Cuba and His Teddy Bear on Broadway, alongside Robert DeNiro. In 1992, he starred opposite Joe Pesci and Marisa Tomei in the hit comedy My Cousin Vinny, playing Billy Gambini, who was wrongfully accused of murder while passing through a small Alabama town. In 1996, Macchio performed the lead role of J. Pierrepont Finch in the U.S. tour revival of the 1962 Tony Award-winning musical How to Succeed in Business Without Really Trying, and received positive reviews. Referring to his performance as a chorister in a high school production of the same musical, Macchio said, "I was known as the 'Dancing Kid,' not that I was all that great. But I had been dancing since the age of three, taking lessons at the June Claire School of Dance in Babylon, Long Island."

In 2005, Macchio played himself in the HBO series Entourage. Beginning in October 2008, he appeared in several episodes of the ABC Network television series Ugly Betty as Archie Rodriguez, a local politician who is Hilda's love interest. As of November 2008, Macchio was ranked No. 80 among VH1's 100 Greatest Teen Stars.

On September 20, 2010, Macchio played the adult Carl Morelli in a staged reading of the Charles Messina play A Room of My Own presented by the Bleecker Street Theater Company. In February 2011, it was announced that Macchio would compete on ABC's Dancing with the Stars. He was eliminated during the semi-finals, placing fourth in the overall competition. Macchio appeared in Canadian band Danko Jones' music videos for "Had Enough" and "I Think Bad Thoughts".

In April 2012, Macchio was cast in the film Hitchcock, based on the non-fiction book Alfred Hitchcock and the Making of Psycho. Macchio portrayed Psycho screenwriter Joseph Stefano.

Post-Karate Kid and Cobra Kai
Macchio appeared in the 2007 music video for the song "Sweep the Leg" by No More Kings as a caricature of himself and Daniel from The Karate Kid.

In June 2010, Macchio appeared in Funny or Die's online short, "Wax On, F*ck Off", in which his loved ones stage an intervention to turn the former child star from a well-adjusted family man into an addict besieged with tabloid scandal in order to help his career, with frequent references to The Karate Kid. A recurring joke in the sketch is that Macchio is confused for an adolescent. The short was lauded by TV Guide'''s Bruce Fretts, who referred to the video as "sidesplitting" and "comic gold".

In 2013, he appeared in How I Met Your Mother. One of the main characters, Barney Stinson, asserts that Macchio's character, Daniel LaRusso, in The Karate Kid is not the real karate kid; instead, it's Johnny Lawrence, Daniel's nemesis in the film.

At a celebration of the 30th anniversary of The Karate Kid at the Japanese American National Museum in 2014, Macchio said that the yellow 1947 Ford convertible his character Daniel receives from Miyagi in the first film was sitting in his garage.

Beginning in 2018, Macchio reprised his role as Daniel LaRusso in Cobra Kai, an action comedy-drama series that began on YouTube Red and later moved to Netflix. Cobra Kai begins in the fall of 2017, and re-examines the "Miyagi-Verse" narrative from Johnny's point of view, beginning with his decision to reopen the Cobra Kai karate dojo, and the rekindling of his old rivalry with Daniel. Along with William Zabka, he is also a co-executive producer of the series.

Memoir
In 2022, Macchio published the memoir Waxing On: The Karate Kid and Me (Dutton), in which he reflects upon the legacy of the Karate Kid films and Cobra Kai.

Macchio has written a book called "Waxing On" about auditioning and getting the role of "Daniel Larusso".

Personal life
Macchio was introduced to his future wife, Phyllis Fierro, by his grandmother when he was 15. They married on April 5, 1987, and have two children. Fierro is a nurse practitioner.

Macchio is a fan of the New York Islanders hockey team and was featured as the team's celebrity captain in the 1991 Pro Set Platinum trading card series. A 2016 bobblehead promotion saw his likeness in the team's uniform donning the iconic 'crane kick' pose from The Karate Kid''.

Filmography

Film

Television

Theatre

Music videos

Video game

Book

References

External links

Ralph Macchio & Yuji Okumoto Present Best Fighting Game at The Game Awards 2020 – The Game Awards, December 2020.
Ralph Macchio of "Cobra Kai" on Memoir "Waxing On: The Karate Kid and Me"– The View, October 18, 2022.

1961 births
20th-century American male actors
21st-century American male actors
American male film actors
American male television actors
American people of Italian descent
American people of Greek descent
Living people
Male actors from New York (state)
People from Huntington, New York
People of Neapolitan descent

Ralph Macchio


Ulises I es un proyecto de arte, ciencia y tecnología, desarrollado por el Colectivo Espacial Mexicano, que consiste en la construcción y el lanzamiento al espacio de un satélite artificial. Inició en enero de 2011, bajo la dirección de Juan José Díaz Infante Casasús está diseñado como una pieza de arte (una ópera contemporánea) que se mantendrá en órbita polar alrededor de la Tierra durante 4 meses y transmitirá su señal por banda civil/amateur 433 MHz.

Ulises I, fue ensamblado en México con circuitos de origen estadounidense (TubeSat), y el armado estuvo a cargo del Centro Multimedia, del Centro Nacional de las Artes y el Instituto Nacional de Astrofísica, Óptica y Electrónica (INAOE).
Se tiene previsto su lanzamiento en 2019.

Historia de una misión espacial

Enero de 2011
 Inicia el proyecto "Ulises I" como parte de un programa de residencias de la Fonoteca Nacional, mismo que se incluyó en el Festival PLAY 2011.

 Fue conformado el Colectivo Espacial Mexicano

12-16 abril de 2011
 Manizales, Colombia. Presentación de Ulises I durante el marco del festival Internacional de la Imagen.

Mayo de 2011
 México, DF. Adquisición del nano satélite "Tubesat" en los Estados Unidos y envío a México.
 Cambridge, Massachusetts, EU. Presentación del proyecto Ulises I en el Massachusetts Institute of Technology (MIT), ante la comunidad de científicos y astronautas.

Junio de 2011
 Primeras pruebas de programación del chip que irá dentro del satélite, a cargo del Centro Multimedia, del Centro Nacional de las Artes.

23 de junio de 2011
 México, DF. Inauguración de la exposición "Ulises I", en la Fonoteca Nacional. Festival Play 2011.

Septiembre de 2011
 México, DF. Exposición Ulises I, Galería EPSON
 Juan José Díaz Infante, como representante del Colectivo Espacial Mexicano, es invitado a unirse al comité cultural de la Federación Internacional de Astronáutica: ITACUS (ITA Committee on Underground Space)

14-21 septiembre de 2011
 Estambul, Turquía. Presentación del proyecto Ulises I en ISEA 2011 (International Symposium on Electronic Art)

6 de octubre de 2011
 Londres, Inglaterra. Presentación dentro del evento Kosmika de octubre, organizado por The Arts Catalyst
 The Arts Catalyst se une a la promoción del proyecto, como representante en Europa, y apoya su participación en ISEA 2012.

Noviembre de 2011
 La Fonoteca Nacional promueve nuevos patrocinadores para hacer que el proyecto tenga una duración mayor al 2012: creación de nuevas misiones y la construcción de más de un satélite.
 Se establece como nuevo eslogan del proyecto "Fallar no es una opción".

Diciembre de 2011
 Visita Albuquerque, Nuevo México, EU. Preparativos para ISEA 2012 (19-24 de septiembre de 2012).

Enero de 2012
 Presentación de Ulises I en el Instituto Politécnico Nacional Confirmación para participar en el marco del International Simposium of Electronic Arts 2012 (Albuquerque, Nuevo México, EU)

Febrero de 2012
 En acuerdo con expertos de la UNAM, se establece la base terrestre de Ulises I desde donde será monitoreada la transmisión y trayectoria del satélite

Marzo de 2012
 París, Francia. Presentación en Kosmica Paris: une réunion galactique pour les esprits à la curiosité cosmique
 Diseño de un posible programa de constelaciones para ser presentado a la Agencia Espacial Mexicana
 Armado de PCBs

Abril de 2012
 Primer prototipo armado
 Programación de las obras

Mayo-julio, 2012
 Pruebas de vibración
 Pruebas de temperatura

Agosto de 2012
 Comienzan los trabajos de soldadura de Ulises I en el Centro Multimedia

Septiembre de 2012
 Exposición en el Balloon Museum, Albuquerque, EU
 Participación del Colectivo Espacial Mexicano en ISEA 2012
 2.º Congreso Nacional y  Congreso Latinoamericano de Ciencia y Tecnología Aeroespacial (17-21 de sep. San Luis Potosí, México)

Febrero de 2013
 Arizona, EUA. Conferencia de Ulises I, ante la comunidad de académicos y estudiantes de Arizona State University. Área de Artes, medios e ingeniería y el Institite for Science and Imagination
Se establece la edición del libro tipo diario, de Ulises I con Edward Finn
 México DF. Se establece, en alianza con la UNAM, el inicio del proyecto Ulises 2.0, con apoyo semilla de la REDCyTE (Conacyt)

Abril de 2013
 Ulises 1, recibe la constancia de inscripción como miembro de la Sociedad Mexicana de Ciencia y Tecnología Aeroespacial (México, DF)

12 de abril de 2013
 Ulises I participa en la UAM en el festejo internacional de la Noche de Yuri
 Inicia el montaje de la exposición en el Museo de Tecnología, CFE en México DF.

18 de abril de 2013
 México, DF. Inauguran la exposición temporal de Ulises I, nanosatélite mexicano, en el MUTEC, con autoridades de la AEM, el Congreso y la CFE.

2-5 de septiembre de 2013
 Taller de pequeños satélites, CEM, CCD, Gerard Auvray, INAOE, IPN y Centro Multimedia. (Escuela de Satélites de México ESAT MX)

15 de septiembre
 Inauguración en la Casa de la Poesía, Amay, Bélgica

Octubre de 2013
 Inauguración exposición colectiva, CENTROCENTRO, Madrid, España
 Quo+Discovery Channel, otorgan reconocimiento a Ulises I

11 de diciembre de 2013
 Presentación al Lic. Tovar y de Teresa, definición de proyecto de Escuela de Satélites en el Centro de Cultura Digital

12 de diciembre de 2013
 Se termina la integración de Ulises I en el INAOE, Puebla

Enero de 2013
 Reunión con Secretario de Educación de Puebla, embajador José Alberto Lozoya, presentación de proyecto para generar interés a que Puebla participe como un elemento activo en el lanzamiento de Ulises I

29 de enero de 2014
Visita Universidad Arizona: Centro de la Ciencia y la Imaginación. Avances del Libro de Ulises I, con Edward Finn

5 de febrero de 2014
 Conferencia de Prensa INAOE, Tonantzintla, Puebla

10 de febrero de 2014
 Presentación de Ulises I terminado con el apoyo del INAOE, Puebla

20 de marzo de 2014
 ITACCUS, presentación de la Escuela de Satélites de México ESAT MX, durante la junta de primavera, en París.

Mayo de 2014
 Presentación en la Universidad de las Américas, Puebla
 Presentación en la Feria del Libro Universitario, Xalapa

Junio de 2014
 Conferencia en el Planetario de Colombia
 Conferencia en el Instituto Politécnico Nacional
 Presentación de la Escuela de Satélites de México en el Centro de Cultura Digital

Lanzamiento en proceso
 Finales del 2014 pruebas de vibración en Brasilia y envío a la Agencia Espacial Japonesa
 Lanzamiento del Ulises I desde Tokio, a la Estación Espacial Internacional, Módulo Japonés

2 meses después
 Lanzamiento al espacio

Una ópera del espacio
Ulises I pondrá en órbita una ópera conceptual. El término ópera se utiliza en este proyecto en su definición original: un híbrido. Según explica Díaz Infante: "en el siglo XVI, la ópera comienza cuando se agrega música al teatro griego para hacerlo compresible para la realeza italiana. En el  el término ópera es un nuevo híbrido, con los nuevos elementos y materiales de nuestro tiempo. El Ulises y la ópera tienen que ver con su proceso, la ópera es la historia completa, una historia desde el principio hasta su final. Una obra en varios niveles de lectura. Todo comienza con una idea de construir una realidad de alta tecnología desde un país en vías de desarrollo. Revisitando a Duchamp, el objeto del arte no es el objeto del arte, el objeto es el centro de la discusión".

Ulises I y Julio Verne
En el XIX el imaginario del futuro fue creado por la obra de Julio Verne. En este proyecto, Ulises I es un dispositivo que pretende ser un disparador de la imaginación en este nuevo siglo que busca desesperadamente su imaginario posible: sobra tecnología, falta imaginación.
Ulises I es una referencia a la necesidad de la creación de ese imaginario, y se vuelve doblemente significativo al ser un imaginario propuesto por un país del tercer mundo (México). El momento coyuntural que vive el mundo y el país representa una crisis (el ideograma chino de "crisis" se compone de dos signos, "pánico" y "oportunidad") en este sentido, Ulises busca ser un referente de una nueva posibilidad de futuro, donde los proyectos espaciales no sólo estén relacionados con la ciencia y las instituciones, sino al arte.
El lanzamiento de Ulises I se convierte en una acción poética y pretende indicar que hay momentos donde hay que abandonar las progresiones lógicas o históricas, sobre todo cuando las lógicas no están funcionando. Todo es un acto de consciencia: Ulises I es ese primer paso hacia un nuevo lugar.

Colectivo Espacial Mexicano
El Colectivo Espacial Mexicano (CEM) es la firma grupal que incluye a todos aquellos involucrados en la generación de ideas, diseño, definición de la misión, gestión, ingeniería, producción, lanzamiento y operación exitosa de las distintas misiones espaciales "Ulises".
En el caso de Ulises I, el CEM está conformado por artistas contemporáneos (compositores, músicos y artistas electrónicos), ingenieros e instituciones que se unieron bajo la dirección de Juan José Díaz Infante, para desarrollar la misión y la tecnología del satélite.
La primera presentación de la obra del CEM fue el 23 de junio de 2011, inauguración de la exposición de Ulises I dentro del marco del Festival Play 2011, organizado por la Fonoteca Nacional (CONACULTA).
Actualmente está activo el proyecto Ulises 2.0, una iniciativa de la UNAM y Juan José Díaz Infante Casasús.

"Cualquiera con cierta intención puede llegar al espacio"
La relevancia de Ulises I, como proyecto científico, radica principalmente en el desarrollo de la célula mínima necesaria para la concepción de un satélite artificial. Esta metodología original establece un procedimiento que puede duplicarse y adaptarse, para ser usado en terrenos de educación, experimentación, arte y ciencia, colocando a México en un alto nivel competitivo en el contexto internacional.

Instituciones participantes
 Fonoteca Nacional
 PLAY Festival
 Fundación BBVA
 EPSON
 Laboratorio Arte Alameda
 Estudio Jamaica
 IQH
 Sunflower
 Mexpost
 Anderson Abruzzo Balloon Museum, Albuquerque
 Centro Multimedia, Centro Nacional de las Artes
 Secretaría de Relaciones Exteriores
 Instituto de Astrofísica, Óptica y Electrónica

Referencias

Enlaces externos

 Inauguración Play 2011.
 Ulises I, Mission to space.
 The Arts Catalyst "Kosmika".
 ISEA 2011.

Sitios relacionados
 Página oficial del Cenart.
 Página oficial de la Fonoteca Nacional.

Artículos y publicaciones
 Saldrá desde México el primer satélite lleno de obras de arte
 Ulises 1, un proyecto para maridar arte y tecnología.
 Proyecto Ulises I, viaja arte sonoro desde el espacio.
 Lanzarán satélite artificial para transmitir inusitado concierto operístico por el mundo
 Ulises I, un satélite mexicano va al espacio
 Festival PLAY! 2011 @ Fonoteca Nacional
 Ulises I: el primer satélite artificial creado para difundir el arte contemporáneo
 Ulises I será el primer satélite artificial musical
 Ulises I, difundiendo el arte contemporáneo a través de la tecnología

Naves y artefactos espaciales de México

Ulises I