Dino Risi () a fost un regizor și scenarist italian, considerat unul dintre cei mai mari exponenți ai comediei italiene împreună cu Mario Monicelli și Luigi Comencini.

Biografie

Filmografie selectivă

Regizor

 1953 Ulița speranței (Il viale della speranza)
 1954 O vacanză cu un gangster (Vacanze col gangster)
 1955 Sub semnul lui Venus (Il segno di Venere)
 1955 Pâine, dragoste și... (Pane, amore e...)
 1957 Săraci dar frumoși (Poveri ma belli)
 1957 Bunica Sabella (La nonna Sabella)
 1958 Veneția, luna și tu (Venezia, la luna e tu)
 1959 Poveri milionari
 1959 Văduvul (Il vedovo)
 1960 Il mattatore
 1960 Un amore a Roma
 1961 A porte chiuse
 1961 Viață dificilă (Una vita difficile)
 1962 Depășirea (Il sorpasso)
 1962 Marșul asupra Romei  (La marcia su Roma)
 1963 Monștrii (I mostri)
 1964 Il giovedì
 1964 Il gaucho
 1965 Umbrela de plajă (L'ombrellone)
 1966 Operațiunea San Gennaro (Operazione San Gennaro)
 1967 Tigrul (Il tigre)
 1968 Il profeta
 1968 Creola, ochii-ți ard ca flacăra (Straziami, ma di baci saziami)
 1969 Un tânăr normal (Il giovane normale)
 1970 Nevasta preotului (La moglie del prete)
 1971 În numele poporului italian (In nome del popolo italiano)
 1973 Sex nebun (Sessomatto)
 1973 Mușcă și fugi (Mordi e fuggi)
 1974 Parfum de femeie (Profumo di donna)
 1976 Telefoane albe (Telefoni bianchi)
 1977 Suflet rătăcit (Anima persa)
 1977 Camera episcopului (La stanza del vescovo)
 1978 Ultima romanță de dragoste (Primo amore)
 1979 Dragă tată (Caro papà)
 1980 Sunt fotogenic (Sono fotogenico)
 1981 Fantasma iubirii (Fantasma d'amore)
 1984 Dagobert
 1985 Imbecil de război (Scemo di guerra)
 1986 Comisarul Lo Gatto (Il commissario Lo Gatto)
 1987 Teresa
 1990 Un bunic scrântit (Tolgo il disturbo)
 1996 Tineri și frumoși (Giovani e belli)
 2002 Le ragazze di Miss Italia (film TV)

Scenarist

 Tigullio minore - scurtmetraj documentaristic (1947)
 Vince il sistema - scurtmetraj documentaristic (1949)
 Terra ladina - scurtmetraj documentaristic (1949)
 Caccia in Brughiera - scurtmetraj documentaristic (1950)
 Buio in sala - scurtmetraj (1950)
 Canzoni per le strade (1950)
 L'isola bianca - scurtmetraj documentaristic (1950)
 Anna (1951)
 Fuga dalla città - scurtmetraj (1952)
 Totò e i re di Roma (1952)
 Gli eroi della domenica (1952)
 Il viale della speranza (1953)
 Amore che si paga e Paradiso per 3 ore, episoade din documentarul L'amore in città (1953)
 Vacanze col gangster (1954)
 Il segno di Venere (1955)
 Pane, amore e... (1955)
 Montecarlo (1956)
 Poveri ma belli (1957)
 Belle ma povere (1957)
 La nonna Sabella (1957)
 Anna di Brooklyn (1958)
 Venezia, la luna e tu (1958)
 Poveri milionari (1959)
 Il vedovo (1959)
 Un amore a Roma (1960) (neacreditat)
 A porte chiuse (1961)
 Il sorpasso (1962)
 I mostri (1963)
 Il giovedì (1964)
 Il gaucho (1964)
 I complessi - episodio Una giornata decisiva (1965)
 L'ombrellone (1965)
 Operazione San Gennaro (1966)
 Il tigre (1967)
 Il profeta (1968)
 Straziami, ma di baci saziami (1968)
 Vedo nudo (1969)
 Il giovane normale (1969)
 La moglie del prete (1970)
 Noi donne siamo fatte così - episoadele Annunziata la mamma, Laura l'allumeuse, Teresa, schiava d'Amore și Una giornata lavorativa (1971)
 Mordi e fuggi (1973)
 Sessomatto (1973)
 Profumo di donna (1974)
 Telefoni bianchi (1976)
 Anima persa (1977)
 La stanza del vescovo (1977)
 Primo amore (1978)
 Caro papà (1979)
 Sono fotogenico (1980)
 Fantasma d'amore (1981)
 Sesso e volentieri (1982)
 ...e la vita continua (1984) miniserie TV
 Dagobert (1984)
 Il commissario Lo Gatto (1986)
 Teresa (1987)
 Il vizio di vivere (1988) film TV
 La ciociara (1989) film TV
 Tolgo il disturbo (1990)
 Vita coi figli (1990) film TV
 Scent of a Woman - Profumo di donna (Scent of a Woman) (1992) - personajele din scenariul original din Profumo di donna
 Missione d'amore (1993) miniserie TV în trei episoade
 Giovani e belli (1996)
 Le ragazze di Miss Italia (2002) film TV
 Ensemble, nous allons vivre une très, très grande histoire d'amour... - episodul Arte di vivere (2010)

Premii și nominalizări
 Festivalul de film din Veneția
 1987: Premiul Pietro Bianchi
 2002: Leul de aur pentru întreaga sa carieră
 David di Donatello
 1975: cel mai bun regizor pentru Parfum de femeie
 2005: David special
 Premiile Oscar
 1976: nominalizare cel mai bun film străin pentru Parfum de femeie
 1976: nominalizare cel mai bun scenariu adaptat pentru Parfum de femeie
 1979: nominalizare cel mai bun film străin pentru I nuovi mostri de  Mario Monicelli, Dino Risi și Ettore Scola

Referințe

Legături externe

Nașteri în 1916
Decese în 2008
Regizori italieni
Scenariști italieni
Câștigători ai Premiului César
Câștigătorii premiilor David di Donatello
Oameni din Milano
Decese cauzate de boli

Dino Risi


Ocimeae, tribus biljaka iz porodice usnatica, dio potporodice Nepetoideae. Sastoji se od najmanje pet podtribusa, kojima su pridodana još dva.

Opisao ga je Dumort.

Podtribusi
 Hanceolinae A.J. Paton
 Hyptidinae Endl.
 Isodoninae J.-S. Zhong, J. Li, & H.-W. Li in J.-S. Zhong et al.
 Lavandulinae Endl.
 Ociminae J.A.Schmidt in Mart. (ed.)
 Plectranthinae Endl.
 Siphocranioninae J.-S. Zhong, J. Li, & H.-W. Li in J.-S. Zhong et al.

Izvori

Nepetoideae

Ocimeae


A Supercopa Francesa de Voleibol Masculino de 2015 foi a 7ª edição deste torneio organizado pela Federação Francesa de Voleibol. Ocorreu na cidade de Paris e participaram do torneio a equipe campeã e vice-campeã do Campeonato Francês de 2014-15. O Tours Volley-Ball conquistou seu quarto título da competição ao derrotar o Paris Volley na partida única.

Regulamento
O torneio foi disputado em partida única.

Equipes participantes

Resultado
|}

Premiação

Ver também
 Campeonato Francês de Voleibol Masculino
 Copa da França de Voleibol Masculino

Ligações externas

Supercopa Francesa de Voleibol Masculino
Voleibol da França
2015 no voleibol


Le Tumulte des sentiments () est un film dramatique mexicain réalisé par Roberto Gavaldón et sorti en 1959.

Le film a été présenté au  Festival international du film de Berlin.

Synopsis

Fiche technique

 Titre : Le Tumulte des sentiments
 Titre original :
 Réalisation : Roberto Gavaldón
 Scénario : Libertad Blasco Ibáñez,  Edwin Blum, d'après un roman de Vicente Blasco Ibáñez
 Photographie : Gabriel Figueroa
 Montage : Gloria Schoemann
 Musique : Gustavo César Carrión
 Pays d'origine : Mexique
 Langue originale : espagnol

 Genre : drame
 Durée :
 Dates de sortie :
 Allemagne de l'Ouest :  (Berlin International Film Festival)
 Mexique :

Distribution

 María Félix : Magdalena Gamboa
 Jack Palance : Jim Gatsby
 Pedro Armendáriz : Pepe Gamboa
 Juan Múzquiz : Pepito (comme Juanito Múzquiz)
 Carlos Montalbán : Nacho
 Paul Stewart : Pendergrest
 Jorge Martínez de Hoyos : Rafael Ortega
 Emma Roldán : Carmela
 Domingo Soler : Sacerdote
 Humberto Almazán :
 Agustín Fernández :
 Enrique Lucero :
 Pedro Galván :
 Alberto Pedret :
 José Torvay :
 Lupe Carriles : femme à la veillée funèbre (non créditée)

Notes et références

Liens externes

Film mexicain sorti en 1959
Film dramatique mexicain
Film réalisé par Roberto Gavaldón
Film en espagnol
Film sur la pêche

Le Tumulte des sentiments (film, 1959)


Castroviejoa, biljni rod iz porodice glavočika opisan 2004. i smješten u tribus Gnaphalieae. Postoje dvije vrste, obje sa Mediterana, jedna je endem sa Korzike i druga sa Sardinije.

Vrste
 Castroviejoa frigida (Labill.) Galbany et al.
 Castroviejoa montelinasana (Em.Schmid) Galbany et al.

Izvori

Loricariinae

Castroviejoa


Derlis Florentín (født 9. januar 1984, død 28. marts 2010) var en paraguayansk fodboldspiller.

Eksterne henvisninger

Fodboldspillere fra Paraguay

Derlis Florentín


The World of the Married (Kóreska: 부부의 세계; Bubuui segye)  er suður-kóreskur sjónvarpsþáttur.

Suður-kóreskir sjónvarpsþættir

The World of the Married


Língua crioula de Granada pode referir-se a:

Língua crioula francesa de Granada
Língua crioula inglesa de Granada

Língua crioula de Granada


Bad Schussenried (; Swabian: Schussariad) is a spa town in Upper Swabia in the district of Biberach, Baden-Württemberg, Germany.

It lies on the Upper Swabian Baroque Route and the Swabian Spa Route.
Schussenried Abbey, a former monastery founded in 1183, is located in Bad Schussenried. Its church and Baroque library feature impressive architecture and artwork, including intricate ceiling frescoes.

The town is also home to a beer stein museum, the Schussenrieder Bierkrug Museum.

Bad Schussenried had a population of 8,537 at the end of 2015.

Geography
Bad Schussenried is located between Ulm and Lake Constance on the river Schussen. The 48th parallel north runs through Bad Schussenried.

History
Archaeological finds provided evidence of a prehistoric settlement in the region. In 1866, a Paleolithic campsite of hunters and gatherers was discovered. These were the first Paleolithic finds in Central Europe.

World Heritage Site
At Aichbühl, about 1.5 km north of the Schussen source, excavations at the end of the 19th century in the bog of Federsee discovered Neolithic pile-dwelling (or stilt house) settlements that are part of the Prehistoric Pile dwellings around the Alps UNESCO World Heritage Site.

Middle Ages
Shuozenried was first mentioned in records in 1153. The history of the city is closely linked to that of Schussenried Abbey. In 1183, the local lords Konrad and Beringer founded the Premonstratensians monastery. The abbey received many privileges, for example in 1521 the High Jurisdiction (blood court), allowing it to depict the sword next to the crozier in the coat of arms. Until the secularization, the canons governed the monastic community.

Culture and attractions

Museums
 Bierkrugmuseum is a museum about beer steins
 Oberschwäbisches Museumsdorf Kürnbach is an Upper Swabian village with 31 buildings and furnishings from six centuries
 Pilgrimage museum Alte Schmiede at Steinhausen
 Ailinger Erlebnismühle with an over 400 years old tradition in the district Reichenbach
 Museum of coaches
 Zentrales württembergisches Mundartarchiv und Museum
 Monastery museum Klostermuseum Bad Schussenried

Buildings

 Schussenried Abbey
 , 1728–1731
 Church St. Oswald at district Otterswang, 1770
 Church Kirche zu den Heiligen Sebastian at district Reichenbach, 1460
 Castles: Burg Hervetsweiler, Burg Kürnbach, Ruine Otterswang, Burg Reichenbach, Burg Rudersberg, Burg Schussenried

Economy and Infrastructure
Until the middle of the 20th century, peat extraction was an important industry in Schussenried. Today major local employers are a psychiatric hospital for general psychiatry and psychotherapy (ZfP Südwürttemberg), the Schwäbische Hüttenwerke (SHW), an automotive supplier, and the concrete mixer division of the Liebherr Group.

Transport
The station Bad Schussenried is located on the Southern Railway (Württemberg). Trains run every hour to Ulm and Friedrichshafen.

Education
Bad Schussenried has a primary school, a Werkrealschule, a Realschule and a Progymnasium. In addition, the Humboldt-Institut for German as a foreign language runs a boarding school for international students.

Personality
Oswald Metzger, a former Green party, now Christian democratic politician and cyclist Rolf Gölz, who won a silver medal in the 1984 Summer Olympics, are from Bad Schussenried. The world champion women trick cyclists are also from Bad Schussenried.

Sons and daughters of the town

 Johann Baptist Allgaier (1763–1823), chess player
 Rolf Gölz (born 1962), professional cyclist and, sporting director of racing team Gerolsteiner

Personalities who have worked locally

 Conradin Kreutzer (1780–1849), composer and band leader, visited the monastery school in Schussenried

References

External links

Zentren für Psychiatrie (Centers for psychiatry)

Biberach (district)
Spa towns in Germany
Württemberg

Bad Schussenried


Raimundo Sarriegui Echeberría (su nombre actualmente se puede escribir también con la moderna grafía vasca como Raimundo Sarriegi Etxeberria) (San Sebastián, País Vasco, 15 de marzo de 1838 -ibid., 23 de abril de 1913) fue un músico popular español conocido principalmente como autor de la Marcha de San Sebastián, del resto de composiciones musicales que se interpretan en la Tamborrada de San Sebastián y en sus carnavales tradicionales.

Biografía

Nació en un caserío (llamado "Etxeberri" o "Kojaenea") del barrio de Egia de San Sebastián, a finales de la primera guerra carlista en el seno de una familia de labradores, aunque durante muchos años se creyó que era natural de la calle Puyuelo (actual Fermín Calbetón) de la Parte Vieja.

Desde pequeño estuvo relacionado con la música. Comenzó siendo tiple en la iglesia de Santa María y posteriormente fue reconocido tenor en la Parroquia de San Vicente. Fue discípulo del maestro José Juan Santesteban el "maisuba" y su alumno preferido. Creó y dirigió su propia charanga, "La Cítara", y colaboró con el movimiento musical donostiarra de aquella época, "La Euterpe". Compuso música para el Carnaval Donostiarra, como la Comparsa del Dios Momo, Comparsa de los Caldereros de la Hungría, Comparsa de Iñudes y Artzaias, Caballería de Gallos, Caballería de viejas, Entierro de la Sardina… Sus obras más conocidas son, por supuesto, los Tatiago, Iriyarena… que forman la Comparsa de la Tamborrada. En 1861, sin cumplir todavía 23 años, compuso la Marcha de San Sebastián.

También escribió otro tipo de obras musicales como la zarzuela "Pasayan" o "Petra Chardiñ saltzallia". Asimismo compuso obras para voces, como "Beti maite" ó "Illunabarra", esta con letra del poeta tolosarra Ramón Artola. Igualmente escribió para txistu un "Contrapás" dedicado a su ahijado Eusebio Basurko, un "Minueto", o el conocido "Alkate soñua" que hoy en día interpreta la Banda Municipal de Txistularis cuando acompaña al Ayuntamiento donostiarra en corporación.

Fue el compositor de la música popular donostiarra, música que el pueblo escuchaba, cantaba y bailaba con alegría y sencillez. Tiene una plaza y un monumento en su honor en la Parte Vieja de San Sebastián.

Véase también

 Tamborrada de San Sebastián

Referencias

Enlaces externos

 Página web Raimundo Sarriegui

Sarriegui
Compositores de zarzuela de España
Nacidos en San Sebastián
Fallecidos en San Sebastián

Raimundo Sarriegui


Mühlhäuser steht für:

 Mühlhäuser (Unternehmen), deutsches Unternehmen
 Mühlhäuser (Gemeinde Sankt Michael), Ortsteil von Sankt Michael im Burgenland, Bezirk Güssing, Burgenland

Mühlhäuser ist der Familienname folgender Personen:
 Eberhard Mühlhäuser (1869–1943), deutscher Kolonialoffizier und Sammler
 Hubertus Mühlhäuser (* 1969), deutscher Wirtschaftsmanager
 Johannes Mühlhäuser (1834–1914), deutscher Weinbaufachmann und Politiker
 Kurt Mühlhäuser (1943–2020), deutscher Kommunalpolitiker (SPD)
 Max Mühlhäuser (* 1957), deutscher Informatiker und Hochschullehrer
 Regina Mühlhäuser (* 1971), deutsche Historikerin

Siehe auch:

 Mühlenhäuser
 Mühlhausen (Begriffsklärung)
 Mühlhäusler

Mühlhäuser


Adelonychia est un genre d'araignées mygalomorphes de la famille des Barychelidae.

Distribution
Les espèces de ce genre se rencontrent en Inde et au Sri Lanka.

Liste des espèces
Selon  :
 Adelonychia gravelyi (Siliwal, Molur & Raven, 2009)
 Adelonychia halyi (Simon, 1892)
 Adelonychia nigrostriata Walsh, 1890
 Adelonychia tenebrosa (Siliwal, Molur & Raven, 2009)

Systématique et taxinomie
Ce genre a été décrit par Walsh en 1890 dans les Mygalidae.

Diplothele a été placée en synonymie par Blick en 2022.

Publication originale
 Walsh, 1890 : « A new trap-door spider from Orissa. » Journal of the Asiatic Society of Bengal, part II (Natural Science), , ,  (texte intégral).

Liens externes

Notes et références

Barychelidae
Genre d'araignées (nom scientifique)

Adelonychia


Metagoniolithoideae, potporodica crvenih algi, dio porodice Porolithaceae. Sastoji se od dva priznata roda s 12 vrsta.

Potporodica je opisana 1969.

Rodovi
 Harveylithon A.Rösler, Perfectti, V.Peña & J.C.Braga
 Metagoniolithon Weber Bosse

Izvori

Porolithaceae

Metagoniolithoideae


Macieira da Maia Portekiz'de Vila do Conde belediyesine bağlı olan, 5,26 km2 yüzölçümüne sahip, 1.898 nüfuslu (2001) bir bucaktır (Portekizce: freguesia).

Vila do Conde'nin bucakları

Macieira da Maia


Die Villa Morillon ist eine Campagne im Ortsteil Wabern der Gemeinde Köniz im Kanton Bern.

1736 kaufte Rudolf Emanuel Frisching das Grundstück und liess darauf die erste Campagne Morillon erbauen. Sophie von Wattenwyl erhielt das Morillon-Gut 1829 von ihrem Vater Johann Rudolf von Frisching. Gemeinsam mit ihrem Ehemann  Friedrich Ludwig von Wattenwyl (1786–1872) liess sie durch Ludwig Friedrich Osterrieth (1807–1888) in den Jahren 1832 bis 1834 das Gebäude neu aufführen. Das Anwesen vererbte sich in die Familie von Tscharner, die es 2021 an den Investor Hans Widmer (* 1940) verkaufte. Ein Teil der Villa soll für kulturelle Anlässe zur Verfügung gestellt, die Parkanlage einer breiteren Nutzung zugeführt werden.

Quellen

 Streubestände in der Burgerbibliothek Bern

Literatur
 Wolf Maync: Bernische Campagnen. Ihre Besitzergeschichte, Bern 1980, S. 74–78.
 Michael Stettler: Bernerlob. Versuche zur heimischen Überlieferung, Bern 1968.
 Heinrich Türler und Emanuel Jirka Propper: Das Bürgerhaus im Kanton Bern, II. Teil, Zürich 1922, S. 79–80 und Taf. 141–142.

Weblinks

 Bestände in der Burgerbibliothek Bern.

Einzelnachweise

Frisching (Patrizierfamilie)
Wattenwyl (Patrizierfamilie)
Tscharner (Patrizierfamilie)
Morillon
Morillon
Bauwerk im Kanton Bern
Köniz

Villa Morillon


අංගම් ශාස්ත්‍රය නොහොත් අංගම්පොර නම් සිංහල සටන් ශාස්ත්‍රයේ මූලික සිද්ධාන්ත වන අංගම්, ඉලංගම් හා මායා අංගම් යන මූලිකාංග වලින් මායා අංගම් යනු මන්ත්‍ර ශාස්ත්‍රය වැනි ගුප්ත ශාස්ත්‍රීය සටන් ක්‍රමවේදයන්ය. මෙම මායා අංගම් යන කොටස නැවත අංගම් පිඹීම, කාලං, පිල්ලි යනුවෙන් කොටස් තුනකට බෙදී යයි.මෙය මෙම සටන්ක්‍රමයේ තිබෙන භයානකම සටන් ක්‍රමවේදයයි.මෙයින් අඩපණ කිරීමේ සිට මරණය තෙක් ඉතා දැඩි ලෙස සතුරාට හානි සිදුකළ හැක. ඈතක සිට මන්ත්‍ර ජපකොට සතුරා මුළාවට පත්කර බිමවැටෙන්න සැලැස්වීමට පවා දක්ෂ මායා අංගම් සටන් ශිල්පියෙකුට හැකියාවක් ඇත.එමෙන්ම තමාගේ සිරුරට සමාන සිරුරක් මවා පෙන්වීම ආදී බොහෝ දෑ පවතී. එසේම සෑම අංගම් ශිල්පියෙක්ම කුණ්ඩාලිනී යෝගය තෙක් භාවනා හා යෝග අභ්‍යාස හරහා තම මානසික ශක්තිය වැඩිදියුණු කළයුතුය. මෙහිදී මනසින් යම් යම් විස්මිත ක්‍රියාකාරම් කිරීමේ හැකියාවද පවතී. කුණ්ඩාලිනී යෝගය හරහා අතීතය, වර්තමානය හා අනාගතය යන තුන් කල් දැකීමේ හැකියාව පැවතීම විශේෂත්වයකි. අතීතයේදී එක සමාන සටන් හැකියාවන් ඇති සටන් ශිල්පීන් ඌරා ළිඳෙහි අංගම්  කොටන විටදීත් මෙම මානසික ශක්තිය භාවිතා කොට ඇත. සාමන්‍ය සටන් සඳහා වුවද මානසික ශක්තිය ශාරීරික ශක්තිය සමඟ මුසුකොට සටන් සඳහා භාවිතා කිරීමේ හැකියාවක් දක්ෂ  අංගම් සටන් ශිල්පියෙකුට පවතී. එමෙන්ම වෙඩිවැදීමෙන් වැළකීමට තෙල් වර්ග මතුරා භාවිතා කිරීම ආදී විස්මිත ක්‍රියාකාරකම් රාශියක් ඇත. .

මෙම මන්ත්‍ර සාත්‍ර බොහෝ ලෙස ප්‍රගුණ කරඇත්තේ පත්තිනිගේ දොන් පරම්පරාවයි.ඔව්න්ට ඉතා පහසුවෙන් කුණ්ඩාලිනී ශක්තිය ලබා ගත හැක.

බාහිර සබැඳුම්

සාම්පදායික සිංහල දැණුම
අංගම්පොර
සටන් ශිල්ප

මායා අංගම්


Le musée d'Histoire de Toulon et de sa région, anciennement musée du vieux Toulon, est un musée d'art et d'histoire situé à Toulon (Var).

Historique
Créé en 1949 à l'initiative de la Société des amis du vieux Toulon, association qui comptait entre autres l'écrivain Jean Aicard et le sculpteur André Allar, le musée du vieux Toulon est d'abord implanté au 69, cours Lafayette, dans les locaux de l'ancien évêché de Toulon. Il a pour but de recueillir et conserver les œuvres d'art et documents relatifs à l'histoire de Toulon et de sa région.

Il devient le musée d'Histoire de Toulon et de sa région lorsqu'il est transféré au 10, rue Saint-Andrieu.

Collections
Le rez-de-chaussée présente des plans-reliefs, carnets de croquis, peintures et aquarelles, documents et bustes. On y trouve notamment des œuvres des sculpteurs Pierre Puget et James Pradier, et du peintre Henri Olive-Tamari.

Le  accueille la bibliothèque.

le  abrite les réserves du musée.

Notes et références

Liens externes
 Site de la Société des amis du vieux Toulon et de sa région.

Art
Toulon
Toulon
Art Toulon
Art à Toulon

Musée d'Histoire de Toulon et de sa région


The Royal Crescent is a row of 30 terraced houses laid out in a sweeping crescent in the city of Bath, England. Designed by the architect John Wood, the Younger, and built between 1767 and 1774, it is among the greatest examples of Georgian architecture to be found in the United Kingdom and is a Grade I listed building. Although some changes have been made to the various interiors over the years, the Georgian stone facade remains much as it was when first built.

The  crescent has 114 Ionic columns on the first floor with an entablature in a Palladian style above. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.

Many notable people have either lived or stayed in the Royal Crescent since it was built over 240 years ago, and some are commemorated on special plaques attached to the relevant buildings. Of the crescent's 30 townhouses, 10 are still full-size townhouses; 18 have been split into flats of various sizes; One is the No. 1 Royal Crescent museum, and The Royal Crescent Hotel & Spa, at the centre of the crescent, is made up of No. 16 and No.15.

Design and construction

The street that is known today as "the Royal Crescent" was originally named "The Crescent." It is claimed that the adjective "Royal" was added at the end of the 18th century after Prince Frederick, Duke of York and Albany had stayed there. He initially rented number one and later bought number 16. The Royal Crescent is close to Victoria Park and linked via Brock Street to The Circus which had been designed by John Wood, the Elder.

The land on which the Royal Crescent stands was bought from Sir Benet Garrard of the Garrard baronets, who were the landlords, in December 1766. Between 1767 and 1775 John Wood designed the great curved facade with Ionic columns on a rusticated ground floor. Each original purchaser bought a length of the façade, and then employed their own architect to build a house behind the facade to their own specifications; hence what can appear to be two houses is occasionally just one. This system of town planning is betrayed at the rear and can be seen from the road behind the Crescent: while the front is uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. This architecture, described as "Queen Anne fronts and Mary-Anne backs", occurs repeatedly in Bath. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.

In front of the Royal Crescent is a ha-ha, a ditch on which the inner side is vertical and faced with stone, with the outer face sloped and turfed, making an effective but invisible partition between the lower and upper lawns.  The ha-ha is designed so as not to interrupt the view from Royal Victoria Park, and to be invisible until seen from close by. It is not known whether it was contemporary with the building of the Royal Crescent, however it is known that when it was first created it was deeper than it is at present. The railings between the crescent and the lawn were included in the Heritage at Risk Register produced by English Heritage but have been restored and removed from the register.

In 2003, the archaeological television programme Time Team dug the Royal Crescent in search of a Roman cemetery and the Fosse Way. The remains of a Roman wall were found behind the crescent and evidence of possible Iron and Bronze Age settlement on the lawn in front.

History

In the late 19th century five cast iron lamp columns with decorative scrollwork were added. In 1921, architect Robert Tor Russell used the Crescent as a source of inspiration to design the central business district of Connaught Place, New Delhi, India.

During the Bath Blitz of World War II, known as the Baedecker Raids or Baedeker Blitz, some bomb damage occurred, the most serious being the gutting of numbers 2 and 17 by incendiaries. After World War II, during a period of redevelopment which is described as the Sack of Bath, the City Council considered plans that would have seen the Crescent transformed into Council offices.  These were unsuccessful.

During the 20th century many of the houses which had formerly been the residences of single families with maids or other staff were divided into flats and offices.  However, the tradition of distinguished gentlefolk retiring to the crescent continued.  The whole crescent was designated as a Grade I listed building in 1950. Number 16 became a guest house in 1950. In 1971 it was combined with number 15 to become the Royal Crescent Hotel occupying the central properties of the Crescent, which were renovated and additional rooms in pavilions and coach houses within the gardens included in the accommodation. It was sold in 1978 to John Tham, the chairman of the London Sloane Club, and restored. It was later purchased by Von Essen Hotels, which became insolvent in 2011. In September 2011 it was expected that London & Regional Properties would purchase the hotel, but negotiations ended in January 2012 without a deal. On 2 April 2012, investment company the Topland Group announced that it had purchased the Royal Crescent Hotel.

In the 1970s the resident of No 22, Miss Amabel Wellesley-Colley, painted her front door yellow instead of the traditional white. Bath City Council issued a notice insisting it should be repainted. A court case ensued which resulted in the Secretary of State for the Environment declaring that the door could remain yellow. Other proposals for alteration and development including floodlighting and a swimming pool have been defeated.

Notable residents

The first resident of Number 1 was Thomas Brock, Town Clerk of Chester, for whom Brock Street was named.  His sister Elizabeth had married the architect of the Crescent, John Wood, the Younger.  Brock's first tenant at No. 1 was Henry Sandford, a retired Irish MP who rented the house from 1776 until his death in Bath in 1796. Sandford was described as a 'gentleman of the most benevolent disposition'. William Wilberforce stayed at Number 2 in 1798. Christopher Anstey, a well-known writer of the time, was resident in number 4 from 1770 until 1805, although the plaque to him is placed on number 5. Jean Baptiste, Vicomte du Barre took over number 8 in 1778 and hosted parties and gambling. He died in a duel on Claverton Down and is buried in the churchyard at the Church of St Nicholas in Bathampton. From 1768 to 1774 number 9 was home to Philip Thicknesse, a soldier of fortune. Number 11 was home to the family of Thomas Linley, a singing-master and conductor of the concerts from 1771. His eldest daughter Elizabeth Ann Linley, a singer in her own right, eloped with the playwright and poet Richard Brinsley Sheridan. The centre house of the crescent (#16) was used as a residence and to host blue stocking events by Elizabeth Montagu.

In the nineteenth century the popularity of the Crescent and 'taking the waters' at the Roman Baths diminished somewhat.  Amongst the residents of Royal Crescent during this time were the electoral reformer Francis Burdett who lived at number 16 from 1814 to 1822 and his daughter Angela Burdett-Coutts, 1st Baroness Burdett-Coutts. The retired Admiral William Hargood lived at number 9 from 1834 until 1839 and in 1866 the same house was home to Edward Bulwer-Lytton. The jurist and explorer Thomas Falconer briefly lived at number 18 before his death in 1882. A few years later the house next door at number 17 became home to Isaac Pitman who developed the most widely used system of shorthand, now known as Pitman shorthand.  English professor George Saintsbury took up residence at number 1A in 1916.

Current use
The houses and flats in the Crescent are a mixture of tenures. After World War II when there was a shortage of housing and the city council bought up older properties, including some in Royal Crescent, as public housing to rent out. The Housing Act 1985 changed the succession of Council Houses and facilitated the transfer of council housing to not-for-profit housing associations. Several were subsequently sold into private ownership, however one remains in council ownership.

No. 1 Royal Crescent is a historic house museum, owned and maintained by the Bath Preservation Trust through its membership to illustrate how wealthy owners of the late 18th century might have furnished and occupied such a house. It was purchased in 1967 by Major Bernard Cayzer, a member of the family that made its fortune through the Clan shipping line. He donated it to the Trust with an amount of money for its restoration and furnishing. The restoration was led by Philip Jebb. The Bath Preservation Trust was working during 2012–13 to re-unite Number One with its original servants' wing at Number 1A Royal Crescent, which has been in use as a separate dwelling for many years. No. 1 serves as the Trust's headquarters. Number 15 and 16 are still used as a hotel.

Bath and North East Somerset council made an order banning coaches and buses from the crescent, after many years of complaints by residents that the tours given to tourists were disruptive, particularly because of the amplified commentary given by tour guides on open top buses.

Architecture

The crescent is  long and each building is almost  high, including small rooms with dormer windows in the attic. The ground floor is plain emphasising the  columns and windows of the first floor. The 114 columns are  in diameter reaching , each with an entablature  deep in a Palladian style. The central house (now the Royal Crescent Hotel) boasts two sets of coupled columns with a single window between them which is the middle of the crescent.

They are built of Bath stone. They have slate roofs but were originally stone tiled. The appearance of each house is very similar with only minor variations between them for example some have small balconettes on the first floor. Many of the windows have been restored to their original style with glazing bars rather than the horned plate glass sash windows which had been installed in the 19th or early 20th centuries. Some of the window sills had also been lowered. This has been reversed at Number 1 but policy has since changed with a decision to keep the alterations which were made in the 19th century. In front of the houses are cast iron railings which are mirrored by those on the opposite side of the road at the top of Victoria Park. The road is surfaced with pennant stone laid when the crescent was constructed.

Film and television
In 1965, the black comedy The Wrong Box (1966) used the Crescent extensively as a location, standing in for London.

The 1965 film Catch Us If You Can had a sequence filmed outside the Crescent, and in one of its houses.

In 2007, a TV edition of Jane Austen's Persuasion included many scenes shot at the Crescent, where the Elliot family was supposedly living while in Bath.

The Crescent featured in the 2008 film The Duchess, starring Keira Knightley.

The fictional heroine of 2008 BBC1 archaeology thriller Bonekickers was depicted as living in the Crescent.

In 2014, the hotel in the Crescent was a location for BBC1 series Our Girl.

In 2020, the Crescent was first used in the Netflix series Bridgerton and continued to be used in later seasons.

Panorama

See also
 List of Grade I listed buildings in Bath and North East Somerset
 Buxton Crescent

References

Bibliography

External links

The Bath Preservation Trust
Royal Crescent Hotel & Spa.

Georgian architecture in England
Streets in Bath, Somerset
Parks and open spaces in Bath, Somerset
Grade I listed buildings in Bath, Somerset
Grade I listed residential buildings
Houses completed in 1774
Crescents (architecture)
Structures on the Heritage at Risk register in Somerset

Royal Crescent


The San Diego Chicken, also known as The Famous Chicken, the KGB Chicken or just The Chicken, is a sports mascot played by Ted Giannoulas.

History

Origin
The character originated in 1974 in an animated TV commercial for KGB-FM Radio in San Diego.  Writer, cartoonist, and actor Brian Narelle was working for Odyssey Productions and offered to animate an acrobatic chicken as part of a commercial contract bid.  Narelle went on to direct and animate the commercial as well as create cartoon art for the campaign.

In March 1974, Giannoulas was hired to wear the first chicken suit; at the time he was a 20-year-old journalism major at San Diego State University. He was originally from Canada but had attended Hoover High School in San Diego. The Chicken's first appearance was a KGB promotion to distribute Easter eggs to children at the San Diego Zoo. After his first appearance, Giannoulas, a lifetime baseball fan, approached the San Diego Padres front office. "I'll bet I could get into games free in this get up," he thought. He was allowed to wander throughout the stands at Padres games, and if someone said "lay one on me," The Chicken would "lay" an egg containing a prize via his leggings. He soon took to the field and, he recalled, "discovered a side of my personality I did not know existed, almost a Jekyll and Hyde thing." Once on the field, he demonstrated a remarkable ability to mime, joke with players and umpires, and connect with fans.  Padres' attendance, which had been the lowest in the league, doubled that summer.

The Chicken, whose antics entertained steadily larger crowds, began to add appearances at concerts and sporting events, while continuing to perform at more than 520 San Diego Padres games in a row. The Chicken also appeared at many San Diego Clippers basketball games before the team moved to Los Angeles. San Diego sports reporter Jack Murphy described him as an "embryonic Charlie Chaplin in chicken feathers".

Firing and afterwards
Conflict emerged between KGB Radio and Giannoulas, and he was fired on May 3, 1979. Another unnamed employee was hired to don a chicken outfit at a Padres game. Fans, many of whom were aware that Giannoulas was not in the outfit, booed the chicken loudly, forcing him off the field. After a lawsuit was decided in Giannoulas's favor in June 1979 by Judge Raul Rosado, Giannoulas was allowed to continue to perform in a chicken costume, although not the same one as the original. His new persona, the self-styled "Famous Chicken", emerged from an egg at a "Grand Hatching" seen by 47,000 people at a Padres game at Jack Murphy Stadium on Friday,  as the sound system played the introduction to "Also sprach Zarathustra", the theme notably used in 2001: A Space Odyssey.

Beginning in 1981, Giannoulas co-starred on the Saturday morning children's television series The Baseball Bunch, alongside noted Cincinnati Reds catcher Johnny Bench and Los Angeles Dodgers manager Tommy Lasorda.  The local Emmy Award–winning series ran for five seasons and featured The Famous Chicken as the comic foil to Bench as he attempted to mentor a fictional baseball team of Little League-aged children.  In his 1984 review of the show, Miami Herald sports writer Bob Rubin praised Giannoulas' contribution to the series, writing, "The Chicken may be the most gifted physical comic since Curly, Larry, and Moe."

Five years after a halftime incident at a Chicago Bulls' NBA game in January 1991, a Chicago jury ordered Giannoulas to pay $300,000 to a Bulls cheerleader injured when The Chicken tackled her on the basketball court.

In 1998, the owners of the Barney & Friends children's television show on PBS sued Giannoulas for copyright and trademark infringement, over a sketch in which The Chicken engages in a slapstick dance contest against a Barney-like character.  Giannoulas prevailed in the suit and recovered his attorneys' fees, based on the court's determination that his sketch was a legitimate parody, and therefore protected speech.

The success of the Famous Chicken helped lead to mascots becoming widespread throughout professional sports, particularly Major League Baseball. The Chicken was named one of the 100 most powerful people in sports for the 20th century by The Sporting News.  The pop culture publication Spy referred to Giannoulas as the Laurence Olivier of sports mascots, and The New York Times called him "perhaps the most influential mascot in sports history."

Giannoulas was inducted in the Baseball Reliquary Shrine of the Eternals in 2011.

Later activities
By 2015, The Chicken was reported to have made 5,100 appearances in 917 different facilities, 50 states, and eight countries, wearing out more than 100 chicken suits.

As of August 2016, after 42 years of playing The Chicken, Giannoulas was still making appearances across the United States, albeit at a slower pace, performing at 11 ballparks in July and August of that year. He expressed uncertainty about how long he would continue, or whether he would appoint a successor.  "It's not the end," he was quoted as saying, "but I can see it from here."

Notable appearances

In 1975, The KGB Chicken made a promotional appearance at the first ComicCon convention. Convention organizers gave him the grand prize in their costume contest, then asked for it to be returned when they realized he was "a professional".
Early in the first Holiday Bowl on December 22, 1978, security guards attempted to eject The Chicken from the field. He refused to leave the game, sitting on the sidelines as the issue was ironed out. Meanwhile, as Brigham Young University was working their way through the "red zone" for a touchdown, the crowd was chanting, "We want The Chicken."
 The Chicken was on hand at Jack Murphy Stadium in , when the Oakland Raiders beat the San Diego Chargers on the infamous "Holy Roller Play" on September 10. After the Raiders recovered the winning touchdown in the end zone, The Chicken fell on the ground and lay motionless as though he had a heart attack.
The Chicken appeared at WrestleMania XV and WrestleMania 2000, although the costume was worn by Pete Rose at WrestleMania XV, during which he was Tombstoned by Kane.
The Chicken made a cameo appearance in the cult movie Attack of the Killer Tomatoes as one of the citizens stomping the remaining killer tomatoes in a parking lot.
In 1979, The Chicken recorded a cover of Rod Stewart's disco hit "Da Ya Think I'm Sexy?"
In the 1980s, The Chicken would appear in McDonald's commercials with Ronald McDonald. McDonald's CEO Ray Kroc was also the owner of the Padres, at whose games The Chicken appeared frequently.
From 1982-1984 Donruss sports cards sets included a card for The Chicken, with an offer on the back allowing purchasers to send the card to The Chicken himself to autograph it.
The Chicken is featured in the educational economics video Chickenomics.
In 1986, he appear in Zoobilee Zoo Laughland where he gives a good laugh with Talkatoo Cockatoo and Lookout Bear and helps Bravo Fox find new good jokes.
In 1991, he appeared in a Captain D's commercial with his real-life mother, Helen Giannoulas
In 1994, The Chicken was featured in Boys' Life magazine in a piece about mascots. Unlike other interviewed mascots who asked the magazine not to reveal their human names, Giannoulas was fine with his true name not being secret.  The article says that Giannoulas' antics helped set a new standard compared to earlier dull mascots.
In 2008, The Chicken was featured in a Sony commercial along with Dale Earnhardt Jr., James Brown and Peyton Manning. In the commercial, The Chicken gets angry and tries to beat a customer when the customer says he does not like sports. The Chicken was held back by Manning.
In 2013, a caricature of The Chicken was featured in a New Yorker cartoon by Paul Noth; Giannoulas commented "This means I've finally arrived!"
In 2015, The Chicken was invited to appear as an Honored Guest at Anthrocon on the weekend of July 9-12, 2015, which was their 19th Furry Convention held annually at the  David L. Lawrence Convention Center in Pittsburgh PA
In 2021, The Chicken was invited by umpire Joe West to attend the game where West broke the record for most games umpired by a single person.
In 2022, The Chicken appeared in the Peacock documentary I Love You, You Hate Me to comment on the Barney sketch.

See also
 List of Major League Baseball mascots
 Mascot Hall of Fame
 Hatching Pete

References

Further reading

External links

Mascots introduced in 1974
Bird mascots
Fictional chickens
Major League Baseball team mascots
San Diego Padres
Culture of San Diego

San Diego Chicken


An Drymoanthus minutus in uska species han Liliopsida nga ginhulagway ni William Henry Nicholls. An Drymoanthus minutus in nahilalakip ha genus nga Drymoanthus, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Mga sumpay ha gawas

Drymoanthus

Drymoanthus minutus


Hans Egedes Afrejse er en dansk dokumentarisk optagelse fra 1921.

Handling
Grønlandsskibet Hans Egede afsejler fra København i cirka 1921 med kurs mod Grønland. Afsked på kajen. Skibet sejler ud lige over for Nyhavn.

Referencer

Eksterne henvisninger

Danske film fra 1921
Dokumentariske optagelser
Stumfilm fra Danmark

Hans Egedes Afrejse


Die Cherry Grove-Shannon Township ist eine von 12 Townships im Carroll County im Nordwesten des US-amerikanischen Bundesstaates Illinois.

Geografie
Die Cherry Grove-Shannon Township liegt im Nordwesten von Illinois rund 30 km östlich des Mississippi, der die Grenze zu Iowa bildet. Die Grenze zu Wisconsin befindet sich rund 40 km nördlich.

Die Cherry Grove-Shannon Township liegt auf 42°09′30″ nördlicher Breite und 89°46′30″ westlicher Länge und erstreckt sich über 138,5 km².

Die Cherry Grove-Shannon Township grenzt innerhalb des Carroll County im Süden an die Rock Creek-Lima Township, im Südwesten an die Salem Township und im Westen an die Freedom Township. Im Norden grenzt die Township an das Stephenson County und im Osten an das Ogle County.

Verkehr
In der Cherry Grove-Shannon Township befindet sich an der Einmündung in die Illinois State Route 73 der östliche Endpunkt der Illinois State Route 72. Alle weiteren Straßen innerhalb der Township sind meist befestigte County Roads und weiter untergeordnete unbefestigte Fahrwege.

Durch die Cherry Grove-Shannon Township führt eine Bahnlinie, die von Chicago nach Westen führt und von der BNSF Railway und der Union Pacific betrieben wird.

Die nächstgelegenen Flugplätze sind der rund 60 km nordwestlich gelegene Albertus Airport im rund 30 km nordöstlich gelegenen Freeport im Stephenson County und der rund 40 km westlich gelegene Tri-Township Airport südlich von Savanna in der Washington Township.

Bevölkerung
Bei der Volkszählung im Jahr 2010 hatte die Township 1485 Einwohner. Neben Streubesiedlung leben existieren in der Cherry Grove-Shannon Township folgende Siedlungen:

Village
 Shannon

Unincorporated Communities
 Georgetown
 Kittredge
 Zier Cors

Einzelnachweise

Weblinks
 - Cherry Grove-Shannon Township
 Histopolis - Cherry Grove-Shannon Township

Cherry Grove-Shannon Township


Permeable paving surfaces are made of either a porous material that enables stormwater to flow through it or nonporous blocks spaced so that water can flow between the gaps. Permeable paving can also include a variety of surfacing techniques for roads, parking lots, and pedestrian walkways. Permeable pavement surfaces may be composed of; pervious concrete, porous asphalt, paving stones, or interlocking pavers. Unlike traditional impervious paving materials such as concrete and asphalt, permeable paving systems allow stormwater to percolate and infiltrate through the pavement and into the aggregate layers and/or soil below. In addition to reducing surface runoff, permeable paving systems can trap suspended solids, thereby filtering pollutants from stormwater.

Permeable pavement is commonly used on roads, paths and parking lots subject to light vehicular traffic, such as cycle-paths, service or emergency access lanes, road and airport shoulders, and residential sidewalks and driveways.

Description and applications

Permeable solutions can be based on porous asphalt and concrete surfaces, concrete pavers (permeable interlocking concrete paving systems – PICP), or polymer-based grass pavers, grids and geocells. Porous pavements such as pervious concrete and pervious asphalt are better suited for urbanized areas that see more frequent vehicular traffic, while concrete pavers, grids, and geocells are better suited for light vehicular traffic, pedestrian and cycling pathways, and overflow parking lots. Pervious concrete pavers allow water to percolate and infiltrate through the pavers and into the aggregate layers and/or soil below. Impervious concrete pavers installed with ample void space between each paver function in the same way as pervious concrete pavers as they enable stormwater to drain into the voids between each paver, either filled with coarse aggregate or vegetation, to a stone and/or soil base layer for on-site infiltration and filtering. Polymer based grass grid or cellular paver systems provide load bearing reinforcement for unpaved surfaces of gravel or turf.

Grass pavers, plastic turf reinforcing grids (PTRG), and geocells (cellular confinement systems) are honeycombed 3D grid-cellular systems, made of thin-walled HDPE plastic or other polymer alloys. These provide grass reinforcement, ground stabilization and gravel retention. The 3D structure reinforces infill and transfers vertical loads from the surface, distributing them over a wider area. Selection of the type of cellular grid depends to an extent on the surface material, traffic and loads. The cellular grids are installed on a prepared base layer of open-graded stone (higher void spacing) or engineered stone (stronger). The surface layer may be compacted gravel or topsoil seeded with grass and fertilizer. In addition to load support, the cellular grid reduces compaction of the soil to maintain permeability, while the roots improve permeability due to their root channels.

In new suburban growth, porous pavements protect watersheds by delaying and filtering the surge flow. In existing built-up areas and towns, redevelopment and reconstruction are opportunities to implement stormwater water management practices. Permeable paving is an important component in Low Impact Development (LID), a process for land development in the United States that attempts to minimize impacts on water quality and the similar concept of sustainable drainage systems (SuDS) in the United Kingdom.

The infiltration capacity of the native soil is a key design consideration for determining the depth of base rock for stormwater storage or for whether an underdrain system is needed.

Advantages

Managing runoff

Permeable paving surfaces have been demonstrated as effective in managing runoff from paved surfaces and recharging groundwater aquifers. Large volumes of urban runoff causes serious erosion and siltation in surface water bodies. Permeable pavers provide a solid ground surface, strong enough to take heavy loads, like large vehicles, while at the same time they allow water to filter through the surface and reach the underlying soils, mimicking natural ground absorption. They can reduce downstream flooding and stream bank erosion, and maintain base flows in rivers to keep ecosystems self-sustaining. Permeable pavers also combat erosion that occurs when grass is dry or dead, by replacing grassed areas in suburban and residential environments. The goal is to control stormwater at the source, reduce runoff and improve water quality by filtering pollutants in the subsurface layers.

Controlling pollutants
To control pollutants found in surface runoff, permeable paving surfaces capture the stormwater in the soil or aggregate base below the road or pathway, and subsequently treat the runoff via percolation, which allows water to infiltrate, supporting groundwater recharge or contain the stormwater to be released back into municipal stormwater management systems after a storm. Permeable paving systems have shown effective in reducing suspended solids, Biochemical Oxygen Demand (BOD), chemical oxygen demand, and ammonium concentrations within groundwater.  In areas where infiltration is not possible due to unsuitable soil conditions, permeable pavements are used in the attenuation mode where water is retained in the pavement and slowly released to surface water systems between storm events.

Trees
Permeable pavements may give urban trees the rooting space they need to grow to full size. A "structural-soil" pavement base combines structural aggregate with soil; a porous surface admits vital air and water to the rooting zone. This integrates healthy ecology and thriving cities, with the living tree canopy above, the city's traffic on the ground, and living tree roots below. The benefits of permeables on urban tree growth have not been conclusively demonstrated and many researchers have observed tree growth is not increased if construction practices compact materials before permeable pavements are installed.

Reducing heat island effect
Permeable pavements enable greater retention of water in city environments, which are at greater risk for high temperatures due to the heat island effect. Similar to green roofs, permeable paving keeps water within the local microecosystem, which in turn keeps temperatures cooler when compared to a non-permeable paving system.

Disadvantages

Runoff volumes
Permeable pavements are designed to replace Effective Impervious Areas (EIAs), but can be used, in some cases, to manage stormwater from other impervious surfaces on site. Use of this technique must be part of an overall on site management system for stormwater, and is not a replacement for other techniques.

During large storm events, the water table below the porous pavement can rise to a higher level, preventing the precipitation from being absorbed into the ground. Some additional water is stored in the open graded or crushed drain rock base, and remains until the subgrade can absorb the water. For clay-based soils, or other low to 'non'-draining soils, it is important to increase the depth of the crushed drain rock base to allow additional capacity for the water as it waits to be infiltrated.

Pollutant load
Runoff across some land uses may become contaminated, where pollutant concentrations exceed those typically found in stormwater. These "hot spots" include commercial plant nurseries, recycling facilities, fueling stations, industrial storage, marinas, some outdoor loading facilities, public works yards, hazardous materials generators (if containers are exposed to rainfall), vehicle service, washing, and maintenance areas, and steam cleaning facilities. Since porous pavement is an infiltration practice, it should not be applied at stormwater hot spots due to the potential for groundwater contamination. All contaminated runoff should be prevented from entering municipal storm drain systems by using best management practices (BMPs) for the specific industry or activity.

Weight and traffic volumes
Reference sources differ on whether low or medium traffic volumes and weights are appropriate for porous pavements due to the variety of physical properties of each system. For example, around truck loading docks and areas of high commercial traffic, porous pavement is sometimes cited as being inappropriate. However, given the variability of products available, the growing number of existing installations in North America and targeted research by both manufacturers and user agencies, the range of accepted applications seems to be expanding. Some concrete paver companies have developed products specifically for industrial applications. Working examples exist at fire halls, busy retail complex parking lots, and on public and private roads, including intersections in parts of North America with quite severe winter conditions.

Siting
Permeable pavements may not be appropriate when land surrounding or draining into the pavement exceeds a 20 percent slope, where pavement is down slope from buildings or where foundations have piped drainage at their footers. The key is to ensure that drainage from other parts of a site is intercepted and dealt with separately rather than being directed onto permeable surfaces.

Climate
Cold climates may present special challenges. Road salt contains chlorides that could migrate through the porous pavement into groundwater. Snow plow blades could catch block edges of concrete pavers or other block installations, damaging surfaces and creating potholes. Sand cannot be used for snow and ice control on porous surfaces because it will plug the pores and reduce permeability. Although there are design modifications to reduce the risks, infiltrating runoff may freeze below the pavement, causing frost heave. Another issue is spalling damage, which exclusively occurs on porous concrete pavement from salt application during the winter season. Thus porous paving is suggested for warmer climates. However, other materials have proven to be effective, even lowering winter maintenance costs by preserving salt in the pavement itself. This also reduces the amount of storm water runoff that is contaminated with salt chlorides. Pervious concrete and asphalt designed to reduce frost heave and spalling damage has been used successfully in Norway and New Hampshire. Furthermore, experience suggests that preventive measures with rapid drainage below porous surfaces be taken in order to increase the rate of snow melt above ground.

Cost
It can be difficult to compare cost impacts between conventional impervious surfaces and permeable surfaces given the variables such as lifespan, geographic location, type of permeable paving system and site specific factors. Some estimates put the cost of permeable paving at about one third more expensive than that of conventional impervious paving. Using permeable paving, however, can reduce the cost of providing larger or more stormwater BMPs on site, and these savings should be factored into any cost analysis. In addition, the off-site environmental impact costs of not reducing on-site stormwater volumes and pollution have historically been ignored or assigned to other groups (local government parks, public works and environmental restoration budgets, fisheries losses, etc.). Permeable paving systems, specifically pervious concrete pavers, have shown significant cost benefits after a Life Cycle Assessment was performed, as the reduction in total weight of material needed for each unit is reduced by nature of the porous design.

Longevity and maintenance
Permeable paving systems, especially those with porous surfaces, require maintenance in order to keep the pores clear of fine aggregates as to not hinder the systems ability to infiltrate stormwater. The frequency of cleaning is again dependent on many site specific factors, such as runoff volume, neighboring sites and climate. Often, cleaning of permeable paving systems is done by suction excavators, which are alternatively used for excavation in sensitive areas and therefore are becoming increasingly common. If maintenance is not carried out on a regular basis, the porous pavements can begin to function more like impervious surfaces. With more advanced paving systems the levels of maintenance needed can be greatly decreased, elastomerically bound glass pavements requires less maintenance than regular concrete paving as the glass bound pavement has 50% more void space.

Plastic grid systems, if selected and installed correctly, are becoming more and more popular with local government maintenance personnel owing to the reduction in maintenance efforts: reduced gravel migration and weed suppression in public park settings.

Some permeable paving products are prone to damage from misuse, such as drivers who tear up patches of plastic & gravel grid systems by "joy riding" on remote parking lots at night. The damage is not difficult to repair but can look unsightly in the meantime. Grass pavers require supplemental watering in the first year to establish the vegetation, otherwise they may need to be re-seeded. Regional climate also means that most grass applications will go dormant during the dry season. While brown vegetation is only a matter of aesthetics, it can influence public support for this type of permeable paving.

Traditional permeable concrete paving bricks tend to lose their color in relatively short time which can be costly to replace or clean and is mainly due to the problem of efflorescence.

Types of permeable pavement
Installation of porous pavements is no more difficult than that of dense pavements, but has different specifications and procedures which must be strictly adhered to. Nine different families of porous paving materials present distinctive advantages and disadvantages for specific applications. Here are examples:

Pervious concrete

Pervious concrete is widely available, can bear frequent traffic, and is universally accessible. Pervious concrete quality depends on the installer's knowledge and experience.

Plastic grids
Plastic grids allow for a 100% porous system using structural grid systems for containing and stabilizing either gravel or turf. These grids come in a variety of shapes and sizes depending on use; from pathways to commercial parking lots. These systems have been used readily in Europe for over a decade, but are gaining popularity in North America due to requirements by government for many projects to meet LEED environmental building standards. Plastic grid system are also popular with homeowners due to their lower cost to install, ease of installation, and versatility. The ideal design for this type of grid system is a closed cell system, which prevents gravel/sand/turf from migrating laterally.

Porous asphalt

Porous asphalt is produced and placed using the same methods as conventional asphalt concrete; it differs in that fine (small) aggregates are omitted from the asphalt mixture. The remaining large, single-sized aggregate particles leave open voids that give the material its porosity and permeability. To ensure pavement strength, fiber may be added to the mix or a polymer-modified asphalt binder may be used. Generally, porous asphalt pavements are designed with a subsurface reservoir that holds water that passes through the pavement, allowing it to evaporate and/or percolate slowly into the surround soils.

Open-graded friction courses (OGFC) are a porous asphalt surface course used on highways to improve driving safety by removing water from the surface. These use an open-graded mix design for the top layer of asphalt. Unlike a full-depth porous asphalt pavement, OGFCs do not drain water to the base of a pavement. Instead, they allow water to infiltrate the top 3/4 to 1.5 inch of the pavement and then drain out to the side of the roadway. This can improve the friction characteristics of the road and reduce road spray.

Single-sized aggregate
Single-sized aggregate without any binder, e.g. loose gravel, stone-chippings, is another alternative. Although it can only be safely used in walkways and very low-speed, low-traffic settings, e.g. car-parks and drives, its potential cumulative area is great.

Porous turf

Porous turf, if properly constructed, can be used for occasional parking like that at churches and stadia. Plastic turf reinforcing grids can be used to support the increased load. Living turf transpires water, actively counteracting the "heat island" with what appears to be a green open lawn.

Permeable interlocking concrete pavements

Permeable interlocking concrete pavements are concrete units with open, permeable spaces between the units. They give an architectural appearance, and can bear both light and heavy traffic, particularly interlocking concrete pavers, excepting high-volume or high-speed roads. Some products are polymer-coated and have an entirely porous face.

Permeable clay brick pavements
Permeable clay brick pavements are fired clay brick units with open, permeable spaces between the units. Clay pavers provide a durable surface that allows stormwater runoff to permeate through the joints.

Resin-bound paving

Resin bound paving is a mixture of resin binder and aggregate. Clear resin is used to fully coat each aggregate particle before laying. Enough resin is used to allow each aggregate particle to adhere to one another and to the base yet leave voids for water to permeate through. Resin bound paving provides a strong and durable surface that is suitable for pedestrian and vehicular traffic in applications such as pathways, driveways, car parks and access roads.

Stabilized decomposed granite
Stabilized decomposed granite is a mixture of a non-resin binder and aggregate (decomposed granite). The binder, which may include color, is mixed with the decomposed granite and the mixture is moistened either before it is put in place or after. Stabilized decomposed granite provides a strong and durable surface that is suitable for pedestrian and vehicular traffic in applications such as pathways, driveways, car parks and access roads. The surface is ADA compliant and can be painted on..

Bound recycled glass porous pavement
Elastomerically bound recycled glass porous pavement consisting of bonding processed post-consumer glass with a mixture of resins, pigments, granite and binding agents. Approximately 75 percent of glass in the U.S. is disposed in landfills.

Wood permeable pavement

Wood permeable pavement is a natural and sustainable building material. Architects and landscape designers turning towards permeable pavers will find that some types of highly durable hardwoods (e.g. Black Locust) are an effective permeable pavers material. Wood paver blocks made of Black Locust provide a highly permeable, durable surface that will last for decades because of the characteristics of the wood. Black Locust Lumber wood pavers exceed 10.180 PSI (pounds per square inch) and have a Janka Hardness 1,700 lbf. They are suitable for pedestrian and vehicular traffic in the form of pathways and driveways and are placed upon permeable foundations.

See also
Stormwater management practices related to roadways:
 Bioretention
 Bioswale
 Hoggin

Other related pages
 Blue roof

Notes

References

 National Conference on Sustainable Drainage (UK)
 NOVATECH – International Conference On Sustainable Techniques And Strategies In Urban Water Management
 U.S. Federal Highway Administration. Turner-Fairbank Highway Research Center. McLean, VA. "Waste Glass." Recycled Materials in the Highway Environment. Accessed 2010-07-05.

External links
 Sustainable Drainage: A Review of Published Material on the Performance of Various SUDS Components – Construction Industry Research & Information Assn. (UK)
 Permeable Paving & SuDS - Interpave, The Precast Concrete Paving and Kerb Association (UK)
 Technical Note 14D – Permeable Clay Brick Pavements – Brick Industry Association (US)
 Sustainable Technologies Evaluation Program Low Impact Development Planning and Design Guide (Ontario, Canada)
 Permeable Stabilised Gravel Surfaces. SuDS Compliant. - Nidagravel UK | Gravel Stabilisers UK Ltd (UK)

Pavements
Building materials
Environmental engineering
Hydrology and urban planning
Water conservation
Sustainable products
Paving
Paving

Permeable paving


Turnul de apă din Fabric este un monument industrial din Timișoara, pe strada Samuil Micu nr. 16. El făcea parte din sistemul de alimentare cu apă al Timișoarei de la începutul secolului al XX-lea.

Istoric
Prima mențiune cu privire la un puț săpat în incinta Castelul Huniade datează din 1551. Mult timp însă Timișoara s-a aprovizionat cu apă din râul Bega, cum descria Evliya Çelebi, fapt confirmat de Henrik Ottendorf, care au vizitat Timișoara în 1660, respectiv în 1663.

După cucerirea în 1716 a Timișoarei de către habsburgi, în 1729 s-a început construirea unui apeduct care să aducă apa de la Giarmata, însă s-a renunțat. În 1732 s-a construit pe locul actualei piețe Mitropolit Alexandru Sterca-Suluțiu o instalație de pompare a apei din Bega și filtrare a ei prin straturi de rumeguș de lemn. În 1774 inginerul Alexander Steinlein concepe și construiește în acel loc un turn de apă pentru aprovizionarea orașului. Acest turn a fost distrus în timpul asediului de la 1849, în continuare aprovizionarea cu apă făcându-se numai din fântâni.

În 1891, după defortificarea Timișoarei, s-a pus din nou problema realizării unui sistem de aprovizionare cu apă și de canalizare asemănător cu cel din orașele europene. S-au realizat mai multe proiecte, dintre care unele, între 1904–1907, de către Stan Vidrighin. În urma documentării privind sistemele din Dresda, Berlin, Hamburg , Köln, Strasbourg, Karlsruhe și Londra s-a realizat un proiect de către inginerii János Lenarduzzi (1865–1916) și Richárd Sabathiel (n. 28 ianuarie 1875, Budapesta – d. 14 iunie 1942, Budapesta), contrasemnat de Stan Vidrighin, care făcuse studiul necesităților și posibilităților și întocmise caietul de sarcini.

După ce au fost terminate lucrările de canalizare a orașului și s-a pus în funcțiune Uzina de apă nr. 1, la capetele rețelei de distribuție au fost construite între 1912–1914 două turnuri, care au servit pentru compensarea consumului maxim din cursul zilei. Turnurile, cu înălțimea de 52 m, se află pe lista monumentelor istorice ale Timișoarei, sub . Turnul de apă din Fabric era prevăzut cu un rezervor de 500 mc pentru apă potabilă.

După al Doilea Război Mondial s-au pus în funcțiune și alte uzine de apă, iar turnurile nu au mai fost necesare pentru scopul lor inițial, iar apa potabilă este furnizată de peste 100 de fântâni forate, care extrag apa de la adâncimi de 100–250 m.

Actual, la începutul secolului al XXI-lea, turnul din Fabric aparține de fabrica de textile "1 Iunie" (în anul 2017 în insolvență). Ambele turnuri de apă sunt dezafectate, existând propuneri ca spațiul din ele să fie amenajat ca restaurant, cafenea, cofetărie, muzeu, spațiu expozițional etc.

Note

Bibliografie
 Ilie Vlaicu, Ioan Hațegan, Alimentarea cu apă a Timișoarei: istorie, prezent și perspective , Timișoara: Ed. Brumar, 2012, ISBN 978-973-602-813-7

Vezi și
 Turnul de apă din Iosefin

Legături externe

  la Gazeta de Vest
 Galerie de imagini cu proiecte

Timișoara
Fondări în 1914
Monumente istorice din Timișoara
Gospodărirea apelor în România

Turnul de apă din Fabric


Stend Station (Stend stasjon) var en jernbanestation på Nesttun–Osbanen, der lå i boligområdet Stend i Bergen kommune i Norge.

Stationen åbnede 1. juli 1894, da banen blev taget i brug, og blev nedlagt sammen med den 2. september 1935. Stationsbygningen var en banevogterbolig med ekspedition, der blev opført i 1894.

Der er i dag indrettet et jernbanemuseum i stationsbygningen, der er den eneste fra banen, der stadig fremstår i den oprindelige stil. I 1980'erne var bygningen i forfald, men i 1987 begyndte Osbanens Venner at renovere den. Museet har en lille samling med genstande fra jernbanen, herunder gamle billeder, film og værktøj fra værkstedet. Der er desuden anlagt et 70 meter langt jernbanespor på den gamle tracé ud for stationsbygningen. På sporet står der en skinnecykel fra 1925 og en kombineret tredje klasses og postvogn fra 1894. Vognkassen var blevet delt i to men blev samlet igen og forsynet med brugte bogier fra Polen. Vognen er den mindste bogievogn i Norge. Stationen har også en vandpost til damplokomotiver. Museet har desuden et diesellokomotiv fra 1967, der blev benyttet af Fana og senere Bergen kommuner i kloaktunneler, og som blev givet til museet i 1995. Den har en sporvidde på 750 mm ligesom Nesttun–Osbanen havde i sin tid, men derudover har den ingen lighed med det materiel, der blev benyttet på banen.

Litteratur

Eksterne henvisninger

Noter

Stationer på Nesttun–Osbanen
Nedlagte jernbanestationer i Norge
Jernbanestationer i Hordaland
Etableret i 1894
Ophørt i 1935

Stend Station


Shosuke Katayama (født 8. september 1983) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Roasso Kumamoto.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Shosuke Katayama


Ana de Palacio y del Valle Lersundi, (Madrid, 22. kolovoza 1948.), španjolska je političarka i član konzervativne stranke Partido Popular.
Palacio je bila zastupnik u Europskom parlamentu u periodu 1994. – 2002. gdje je između ostalog bila predsjednik Odbora za pravna pitanja i unutarnje tržište 1999-2002. Postala je prvi ženski španjolski Ministar vanjskih poslova, dužnost koju je obnašala 2002. – 2004. u vladi Joséa Maríe Aznara.

Poslije španjolskih parlamentarnih izbora 2004., prestaje obnašati tu dužnost jer je socijalistička stranka pobijedila, no izabrana je u Cortes Generales. U periodu 2006. – 2008.
ulazi u predsjedništvo Svjetske banke kao Senior Vice President & World Bank Group General Counsel.

Palacio ima sveučilišnu diplomu iz prava, političkih znanosti i sociologije, a radila je više godina i kao pravnica. Sestra je Loyola de Palacia.

Vanjske poveznice
Službena stranica Europarlamenta

Španjolski političari
Životopisi, Madrid

Ana Palacio


Ernst Friedrich Gilg (1867-1933), botaniste allemand
  (1922-2006), historien, politologue et journaliste suisse
 Youri Gilg (1970), skieur acrobatique français
 Candice Gilg (1972), skieuse acrobatique française

Gilg


ෂුඟ් ජැ-ගි(හංගුල් 성재기;成在基,  උපත 1967 ජූලි 26. විපත 2013 අගෝස්තු 22) දකුණු කොරියාව මානව දයාව මලල ක්රීඩකයා, ජනතාව හිමිකම් මලල ක්රීඩකයා, නිදහස් දර්ශනය, දේශපාලන. 2008 ජූනි 24, ඔහු සාදන්න භාෂාව සැමියා සමාජය(남성연대 男性連帶).

මූලාශ්‍ර

සටහන්
 Han River rescue team struggles with increased suicide attempts Hangyorye 2013.08.01 (ඉංග්‍රීසි භාෂාව)
 '예고투신' 성재기 남성연대 대표 시신 발견 The Korea Herald 2013.07.29 (හංගුල්)
 Activist missing for 3rd day Koreatimes 2013.07.29 (ඉංග්‍රීසි භාෂාව)
 Body of male rights activist discovered Koreatimes 2013.07.29 (ඉංග්‍රීසි භාෂාව)

දේශපාලනය
ආර්ථික විද්‍යාව
දකුණු කොරියාව

ෂුඟ් ජැ-ගි


Sveriges statsminister er Kongeriget Sveriges regeringsleder. Statsministeren leder regeringen, hvis ministre () han udpeger. Sveriges statsminister vælges af Sveriges Riksdag, siden 1975 efter forslag fra Sveriges riksdags talman.

Embedet som Sveriges statsminister blev oprettet den 20. marts 1876, hvor det tidligere embede justitiestatsminister blev delt op i de to embeder statsminister og justitsminister. Samtidig blev embedet som udenrigsstatsminister erstattet af embedet som udenrigsminister.

Siden 1995 har Sveriges statsminister haft sin officielle residens i det Sagerske hus, som ligger i det centrale Stockholm. Statsministeren har desuden adgang til at bruge herregården Harpsund i Södermanland, der fungerer som rekreationsbolig, siden den blev doneret til riksdagen til dette formål i 1953.

Sveriges nuværende statsminister er Ulf Kristersson fra Moderaterna.

Liste over Sveriges statsministre

Nulevende tidligere statsministre

Se også
 Statsministerens stedfortræder (Sverige)
 Sveriges regering
 Danmarks statsminister
 Finlands statsminister
 Islands statsminister
 Norges statsminister

Sverige
statsminister
Etableret i 1876

Sveriges statsminister


Jean Brouchin, né le  à Dax (Landes) et mort le  à Travexin (Vosges), est un joueur français de football, ayant évolué à la JAB de Pau.

Après des études à Gelos et au Lycée Louis-Barthou, Brouchin se destinait à devenir vétérinaire. Le stade de la Jeanne d'Arc Le Béarn est nommé en son honneur depuis 1944.

Le stade est rebaptisé Stade Jean Larqué en juin 2023, à l'occasion des 120 ans du club.

Biographie
Dacquois de naissance, Jean Brouchin effectue l'intégralité de sa carrière à la JAB de Pau. Brouchin évolue notamment aux côtés de Jean Larqué, futur père de Jean-Michel Larqué.

Jean Brouchin est décédé le  âgé de 24 ans, et trouva une mort glorieuse au front à Travexin.

Postérité
Le stade est renommé en hommage à ce jabiste tombé au champ d'honneur. Brouchin fut un attaquant de classe à la JAB au début des années 1940.

Les obsèques de Jean Brouchin, jabiste mort pour la France, sont célébrées à Bizanos le . À cette occasion, tous les membres de la J.A.B. se sont réunis pour honorer sa mémoire, lui qui fut un dirigeant dévoué et infatigable. Un de ses amis intimes, Jean Larqué, père de Jean-Michel Larqué, lui rendit un hommage émouvant et demanda que son nom soit gravé sur la plaque commémorative des morts de la guerre, juste avant le match J.A.B. - Pardies-Monein. Au nom des , patronage à l'origine de l'Avenir de Bizanos, M. l'abbé Teurnerie demande à M. l'abbé Lajus, représentant le patronage Saint-Martin, propriétaire du , que ce stade prenne alors le nom de .

Références

Liens externes

Footballeur français
Naissance à Dax au XXe siècle
Naissance en juin 1920
Décès en novembre 1944
Décès à 24 ans
Décès dans le département des Vosges
Militaire français mort lors de la Seconde Guerre mondiale
Personnalité liée à Pau

Jean Brouchin


Audio description, (AD) also referred to as a video description, described video, or more precisely visual description, is a form of narration used to provide information surrounding key visual elements in a media work (such as a film or television program, or theatrical performance) for the benefit of blind and visually impaired consumers. These narrations are typically placed during natural pauses in the audio, and sometimes overlap dialogue if deemed necessary. Occasionally when a film briefly has subtitled dialogue in a different language, such as Greedo's confrontation with Han Solo in the 1977 film Star Wars: A New Hope, the narrator will read out the dialogue in character.

In museums or visual art exhibitions, audio described tours (or universally designed tours that include description or the augmentation of existing recorded programs on audio- or videotape), are used to provide access to visitors who are blind or have low vision. Docents or tour guides can be trained to employ audio description in their presentations.

In film and television, description is typically delivered via a secondary audio track. In North America, Second audio program (SAP) is typically used to deliver audio description by television broadcasters. To promote accessibility, some countries (such as Canada and the United States) have implemented requirements for broadcasters to air specific quotas of programming containing audio description.

History

The transition to "talkies" in the late 1920s resulted in a push to make the cinema accessible to the visually impaired. The New York Times documented the "first talking picture ever shown especially for the blind"—a 1929 screening of Bulldog Drummond attended by members of the New York Association for the Blind and New York League for the Hard of Hearing, which offered a live description for the visually-impaired portion of the audience. In the 1940s and 1950s, Radio Nacional de España aired live audio simulcasts of films from cinemas with descriptions, framing these as a form of radio drama before the advent of television.

In the 1980s, the Media Access Group of U.S. public television station WGBH-TV (which had already gained notability for their involvement in developing closed captioning) developed an implementation of audio description for television programming via second audio program (SAP), which it branded as "Descriptive Video Service" (DVS). It was developed in consultation with Dr. Margaret Pfanstiehl of Washington, D.C., who had performed descriptions at theatrical performances and had run a radio reading service known as the Washington Ear. After four years of development and on-air trials (which included a proof of concept that aired the descriptions on a radio station in simulcast with the television airing), WGBH officially launched audio description via 32 participating PBS member stations, beginning with the new season of American Playhouse on January 24, 1990.

In the 1990s at cinemas in California, RP International began to offer audio descriptions for theatrical films under the brand TheatreVision, relayed via earpieces to those who request it. A clip from Schindler's List was used to pitch the concept to the film's producers Gerald Molen and Branko Lustig, and one of the first films to be presented in this format was Forrest Gump (1994). TheatreVision sought notable personalities and celebrities to volunteer in providing these narrations, such as sportscaster Vin Scully, William Shatner, Monty Hall, and former U.S. president George H. W. Bush (for It's a Wonderful Life). Sometimes the narrator had ties to the film or was part of its cast; Irene Bedard described Pocahontas—a film where she had voiced the title character, and for the 1994 remake of Little Women, stars from previous versions of the film volunteered, including June Allyson, Margaret O'Brien, and Janet Leigh (whose grandmother was blind) from the 1949 version of the film, as well as Katharine Hepburn—star of the 1933 version. Other companies emerged in providing descriptions for programming in the U.S., including the National Captioning Institute, Narrative Television Network, and others.

In the UK Audio Description services were made available on the BBC and ITV after a collaborative project with industry partners. In 2000, the BBC voluntarily committed to providing descriptions for at least 20% of its programming annually. In practice, the BBC has often exceeded these targets. In 2009, BBC iPlayer became the first streaming video on-demand service in the world to support AD where every programme that was broadcast with AD also had AD on BBC iPlayer. On January 29, 2009, The Accessible Channel was launched in Canada, which broadcasts "open" audio descriptions on all programming via the primary audio track. Audio description has also been extended to live events, including sporting events, the ceremonies of the Olympic and Paralympic Games, and the royal wedding of Prince William and Catherine Middleton, among others.

In April 2015, the subscription streaming service Netflix announced that it had added support for audio description, beginning with Daredevil—a series based on a comic book character who himself is blind, and would add descriptions to current and past original series on the platform over time. The following year, as part of a settlement with the American Council of the Blind, Netflix agreed to provide descriptions for its original series within 30 days of their premiere, and add screen reader support and the ability to browse content by availability of descriptions.

On June 17, 2016, Pornhub announced that it would launch a collection of pornographic videos with audio descriptions. The initiative is sponsored by the website's philanthropic arm Pornhub Cares.

In the late-2010s, Procter & Gamble began to add descriptions to some of its television commercials, first in the United Kingdom, and later Spain and the United States.

Legal mandates in television broadcasting

Canada

Under Canadian Radio-television and Telecommunications Commission (CRTC) rules, broadcast television stations and former Category A services that dedicated more than half of their programming to comedy, drama, or long-form documentary programs, were required to broadcast at least four hours of programming with audio descriptions (known in Canadian English as described video) per-week, with two hours of this "original" to the channel per-week. These programs must have been drawn from children's, comedy, drama, long-form documentaries, general entertainment and human interest, reality, or variety genres. Broadcasters must also promote the availability of DV programming, including airing a standard audiovisual bumper and logo at the beginning of all programs offering description (the CRTC officially recommends that this announcement be repeated after the conclusion of each commercial break, but this is not typically practiced). All television providers are also required to carry AMI-tv (formerly The Accessible Channel), a specialty channel that broadcasts all programming with descriptions on the primary audio track.

On March 26, 2015, the CRTC announced that beginning September 1, 2019, most broadcast and specialty networks owned by vertically integrated conglomerates, as well as any channel previously subject to license conditions specifying minimums for DV, are required to supply described video for any prime-time programming (7:00 p.m. to 11:00 p.m.) that falls within the aforementioned genres. The requirement that a quota of DV programming be "original" to the network was also dropped. Citing the possibility that not enough imported U.S. programming may be supplied with descriptions for their first airing, and the burden this may place on their ability to carry these programs, the CRTC granted an exception to Bell Media, Corus Entertainment, and Rogers Media, along with minor companies DHX Media, CBC, Blue Ant Media, V, and TVA Group, for foreign programming that is received within 24 hours of its scheduled airing—provided that any future airings of the same program in prime-time contain descriptions. In addition, other licensed discretionary services would be expected to air at least four hours of DV programming per-week by the fourth year of their next license term.

United Kingdom
The Ofcom code on television access services requires broadcasters that have been on the air for at least five years to broadcast at least 10% of their programming with descriptions. Scrutiny has applied even to ESPN UK—a sports channel—which was fined £120,000 by Ofcom for not meeting an AD quota in 2012. The regulator rejected an argument by ESPN that AD was redundant to commentary, as it is "not provided with the needs of the visually impaired in mind".

United States

Initially, audio description was provided as a public service. However, in 2000, the Federal Communications Commission would enact a policy effective April 1, 2002, requiring the affiliates of the four major television networks in the top 25 markets, and television providers with more than 50,000 subscribers via the top 5 cable networks as determined by Nielsen ratings, to offer 50 hours of programming with descriptions during primetime or children's programming per-quarter. However, the order faced a court challenge led by the MPAA, who questioned the FCC's jurisdiction on the matter. In November 2002, the Court of Appeals for the District of Columbia Circuit ruled that the FCC had no statutory jurisdiction to enforce such a rule.

This was rectified in 2010 with the passing of the Twenty-First Century Communications and Video Accessibility Act, which gave the FCC jurisdiction to enforce video description requirements. The previously intended quotas were reinstated on July 1, 2012, and have been gradually increased to require more programming and wider participation since their implementation.

Operation
Broadcast audio description is typically delivered via an alternate audio track, either as a separate language track containing the narration only (which, if the playback device is capable of doing so, is mixed with the primary audio track automatically, and can have separate volume settings), or on a secondary audio track pre-mixed with the primary track, such as a secondary audio program (SAP).

Many video on demand (VOD) and streaming platforms host separate assets for the audio-described media, with the soundtrack pre-mixed. Despite AD typically being presented as something that can be enabled, as with subtitles, users can encounter problems when trying to turn AD on or off because the underlying media version they require is unavailable.

In movie theaters, audio description can be heard using DVS Theatrical and similar systems (including DTS-CSS and Dolby Screentalk). Users listen to the description on a wireless headset.

In live theaters, patrons also receive the description via a wireless device, a discreet monaural receiver. However, the description is provided live by describers located in a booth acoustically insulated from the audience, but from where they have a good view of the performance. They make their description which is fed to a small radio transmitter.

Audio description in Football (Soccer) stadiums
In 2006, on the occasion of the 2006 FIFA World Cup in Germany, a project was launched with the aim of making the live commentary of a match available to blind and visually impaired football fans in the stadium. The project was very well received and had great success.
In 2008, audio description in football was also adopted in Switzerland. The radio of FC Basel 1893 was the first club in Switzerland to take up this topic. First, FC Basel installed an antenna in St. Jakob Park, which was used to broadcast the radio's live commentary. The visually impaired and blind fans could then listen to the commentary via a VHF frequency. More and more clubs in the Swiss Super League adopted this concept and today the matches can be heard via audio description in every stadium in Switzerland. At St. Jakob-Park in Basel, even without delay via the Internet. In the meantime, the outdated technology of FM transmission has been abolished. Today, the games are broadcast via cell phone apps. In Germany, too, almost every stadium is equipped with this technology.

Descriptive Video Service
The Descriptive Video Service (DVS) is a major United States producer of audio description. DVS often is used to describe the product itself.

In 1985, PBS member television station WGBH-TV in Boston, Massachusetts, began investigating uses for the new technology of stereophonic television broadcasting, particularly multichannel television sound (MTS), which allowed for a third audio channel, called the Secondary Audio Program (SAP). With a history of developing closed captioning of programs for hearing-impaired viewers, WGBH considered the viability of using the new audio channel for narrated descriptions of key visual elements, much like those being done for live theatre in Washington, D.C., by Margaret Pfanstiehl, who had been experimenting with television description as part of her Washington Ear radio reading service.

After reviewing and conducting various studies, which found that blind and visually impaired people were consuming more television than ever but finding the activity problematic (often relying on sighted family and friends to describe for them), WGBH consulted more closely with Pfanstiehl and her husband, Cody, and then conducted its first tests of DVS in Boston in 1986. These tests (broadcasting to local groups of people of various ages and visual impairments) and further study were successful enough to merit a grant from the Corporation for Public Broadcasting to complete plans to establish the DVS organization permanently in 1988. After national testing, more feedback, more development of description technique, and additional grants, DVS became a regular feature of selected PBS programming in 1990. Later, DVS became an available feature in some films and home videos, including DVDs.

Technique
DVS describers watch a program and write a script describing visual elements which are important in understanding what is occurring at the time and the plot as a whole. For example, in the opening credit sequence of the children's series Arthur on PBS, the description has been performed as follows:

The length of descriptions and their placement by a producer into the program are largely dictated by what can fit in natural pauses in dialogue (other producers of description may have other priorities, such as synchronization with the timing of a described element's appearance, which differ from DVS's priority for detail). Once recorded, placed and mixed with a copy of the original soundtrack, the DVS track is then "laid back" to the master tape on a separate audio track (for broadcast on the SAP) or to its own DVS master (for home video). For feature films, the descriptions are not mixed with the soundtrack, but kept separate as part of a DTS soundtrack.

FCC involvement
When the Federal Communications Commission (FCC) started establishing various requirements for broadcasters in larger markets to improve their accessibility to audiences with hearing and vision impairments, DVS branched out to non-PBS programming, and soon description could be heard on the SAP for shows such as CSI: Crime Scene Investigation and The Simpsons. However, a federal court ruled in 2002 that the Federal Communications Commission had exceeded its jurisdiction by requiring broadcasters in the top 25 markets to carry video description.

Since that time, the amount of new DVS television programming in the United States declined, as did access to information regarding upcoming described programming, while broadcasters like ABC and Fox instead decided to devote their SAP channels to Spanish language dubbing tracks of their shows rather than DVS due to the technical limitations of the analog NTSC standard. Description by DVS and other producers was still available in a limited form on television (the greatest percentage of DVS programming is still on PBS). WGBH's Media Access Group continues supporting description of feature films (known as DVS Theatrical) and DVS home videos/DVDs are available from WGBH as well as other vendors and libraries. Commercial caption providers the National Captioning Institute and CaptionMax have also begun to describe programs. Benefit Media, Inc., a subsidiary of DuArt Film and Video in New York City provides DVS services to USA Network. For the 2016 Summer Olympics, NBC is providing description of events during the network's primetime block.

The 21st Century Communications and Video Accessibility Act of 2010 reinstates the FCC's involvement in providing rules for video description. Under the rules, affiliates in the top 25 markets and the top five-rated cable networks will have to provide at least 50 hours of video described programming per quarter; the rules took effect on July 1, 2012. However, this provision currently does not apply to syndicated programming; notably, many programs which have audio description in their network runs, such as those produced by Twentieth Century Fox Television, remove the DVS track for syndication, substituting in the Spanish dubbing track on SAP to reach more viewers, though as many stations affiliated with "netlets" like The CW and MyNetworkTV are not under the video description provision, do not have SAP channels and thus, neither an audio description or Spanish dub track can be heard. In some markets where SAP is activated on affiliate stations though, The CW had provided a Spanish SAP dub for Jane the Virgin through the series' entire run, and audio description is available and passed through for their Saturday morning One Magnificent Morning E/I block, which is done for all of the blocks produced for the major broadcast networks by Litton Entertainment. In 2019, the first primetime series with DVS for the network, In the Dark (which has a blind protagonist), was launched (the series' description propagated to its Netflix run several weeks after it was placed on that service after the first-season finale). MyNetworkTV has no provisions for audio description or language dub tracks, despite many of its scripted series having DVS tracks.

Online streaming services such as Hulu and the services of television networks themselves such as CBS All Access have yet to carry descriptive video service audio in most cases as they instead are currently focused on adding closed captioning to their libraries (the network app for ABC began to carry existing audio described shows in the fall of 2017). Netflix committed in April 2015 to begin audio description of their original series, starting with Daredevil (which features a blind protagonist with other heightened senses) and the remainder of their original programming in the next few months, making their goal in that timeframe, along with providing the DVS tracks of existing series in their library; however some platforms (mainly older versions for devices that are now unsupported) do not provide the alternate audio.

ABC, along with sister network Disney Channel has since added audio description to some of their programming (with a commensurate decline in Spanish-dubbed programming, though the ATSC standard allows more audio channels), but does not contract any of their shows to be described by the Media Access Group, instead going with commercial providers CaptionMax and Audio Eyes. Some special programming such as Toy Story of Terror! and Toy Story That Time Forgot is described by the Media Access Group under existing contracts with Walt Disney Pictures. NBC and their associated cable networks, along with outside productions by Universal Television such as Brooklyn Nine-Nine and The Mindy Project, solely use CaptionMax for description services; Netflix also utilizes CaptionMax for their original series, while going per studio for acquired programming. Most scripted programming on Fox, except for the shows of Gordon Ramsay (Hell's Kitchen, Hotel Hell and Kitchen Nightmares) is described by the Media Access Group; Ramsay's programs are contracted by his producing studio to have audio description done by Scottish-born voiceover artist Mhairi Morrison with Descriptive Video Works. Unique to most described shows, Fox's Empire uses actress Adrienne Barbeau for their description. CBS's described shows all use the Media Access Group.

Some shows have lost their DVS during their original network runs due to outside factors or complications. For instance, American Dad! had a two-season interregnum in part of season 12 and all of season 13 without any DVS service during its move from Fox to TBS in late 2014, before it returned in November 2016 for its fourteenth season. The Mindy Project lost DVS at the start of their fourth season upon the move to Hulu, which does not yet provide DVS service. Cartoon Network and their time-share partner Adult Swim began to pass-through DVS for their syndicated content in the last quarter of 2018.

See also
 Novelization
 Radio drama
 TheatreVision

Citations

General and cited references
 Cronin, Barry J. Ph.D. and Robertson King, Sharon, MA. "The Development of the Descriptive Video Service", Report for the National Center to Improve Practice. Retrieved on July 30, 2007.
 "The ABC's of DVS", WGBH - Media Access Group. Retrieved on July 30, 2007.
 "Our Inclusive Approach ", AudioVision. Retrieved on July 30, 2007.
 DVS FAQ, WGBH - Media Access Group. Retrieved on July 30, 2007.
 "Media Access Guide Volume 3", WGBH - Media Access Group. Retrieved on July 30, 2007.
 "ACB Statement on Video Description" American Council for the Blind Legislative Seminar 2006, February 1, 2006. Retrieved from Audio Description International on July 30, 2007.
 List of PBS series with DVS, August 2007, WGBH - Media Access Group. Retrieved on July 30, 2007.
 Homepage, MoPix. Retrieved on July 30, 2007.
 "DVS Home Video" WGBH - Media Access Group. Retrieved on July 30, 2007.

Further reading
 Hirvonen, Maija: Multimodal Representation and Intermodal Similarity: Cues of Space in the Audio Description of Film. (Ph.D. thesis.) University of Helsinki, 2014. . On-line version.

External links

General
 "Description Key for Educational Media" by The Described and Captioned Media Program
 ACB's Audio Description Project
 Audio Description Associates
 Audio Description for Blind and Visually Impaired
 "Who's Watching? A Profile of the Blind and Visually Impaired Audience for Television and Video"
 List of UK audio described programmes on TV
 List of UK audio described DVDs
 Joe Clark on audio description
 E-Inclusion Research Network
 Media Access Australia: Audio Description
 VocalEyes, UK audio description charity, providing access to the arts for blind and partially sighted people
 Audiodescription-france.org
 Audio Description Association (Hong Kong)
In the US:
WGBH - Media Access Group - DVS Services
The Audio Description Project
Schedule of USA Audio Described TV Programs, Produced by the American Council of the Blind's Audio Description Project
Metropolitan Washington Ear
Audio tracks of DVS version of Masterpiece Theatre's "Wind In the Willows" (regional restrictions may apply)
Poems written from a transcribed DVS version of Basic Instinct via Triple Canopy (online magazine)

Examples of audio description
 adp.acb.org/samples.html
 www.audiodescribe.com/samples/
 www.artbeyondsight.org/handbook/acs-verbalsamples.shtml
 Description of Neighbours and The Motorman from the National Film Board of Canada (QuickTime)

Assistive technology
Television technology

Audio description