The Bridge, first published in 1930 by the Black Sun Press, is Hart Crane's first, and only, attempt at a long poem. (Its primary status as either an epic or a series of lyrical poems remains contested; recent criticism tends to read it as a hybrid, perhaps indicative of a new genre, the "modernist epic.")

The Bridge was inspired by New York City's "poetry landmark", the Brooklyn Bridge. Crane lived for some time at 110 Columbia Heights in Brooklyn, where he had an excellent view of the bridge; only after The Bridge was finished did Crane learn that one of its key builders, Washington Roebling, had once lived at the same address.

The first edition of the book features photographs by Crane's friend the photographer Walker Evans.

Contents

The Bridge comprises 15 lyric poems of varying length and scope. In style, it mixes near-Pindaric declamatory metre, free verse, sprung metre, Elizabethan diction and demotic language at various points between alternating stanzas and often in the same stanzas. In terms of its acoustical coherence, it requires its reader, novelly, to follow both end-paused and non end-paused enjambments in a style Crane intended to be redolent of the flow of the Jazz or Classical music he tended to listen to when he wrote. Though the poem follows a thematic progress, it freely juggles various points in time. The University of Illinois' Modern American Poetry website analyzes the symbolic meaning of "the bridge" as central image throughout the book: When Crane positions himself under the shadows of the bridge, he is, in one sense, simply the poet of the romantic tradition, the observer who stands aside the better to see; but he is, in another sense, the gay male cruising in an area notorious for its casual sex. Even the bridge itself, the Brooklyn Bridge that is the central object of the poem, was strongly identified in Crane's own mind with [Crane's lover] Emil Opffer, to whom Voyages was dedicated. The appearance of the bridge secretly encrypts a highly personal memory and a specific presence in the text. Crane's "epic of America" gets underway as a personal quest, as a poem divided against itself, in devotion to an urban setting that encourages social diversity, with secret inscriptions that retain their meanings to which only a privileged few are accessible.

"Proem: To Brooklyn Bridge" is the short lyrical ode to the Brooklyn Bridge and New York City which opens the sequence and serves as an introduction (and New York City's urban landscape remains a dominant presence throughout the book). After beginning with this ode, "Ave Maria" begins the first longer sequence labeled Roman numeral I which describes Columbus' eastward return from his accidental voyage to the Americas. The title of the piece is based upon the fact that Columbus attributed his crew's survival across the Atlantic Ocean to "the intercession of the Virgin Mary." The second major section of the poem, "Powhatan's Daughter," is divided into five parts, and one well-known part, entitled "The River," follows a group of vagabonds, in the 20th century, who are traveling west through America via train. In "The River," Crane incorporates advertisements and references minstrel shows. He claimed in a letter that "the rhythm [in this section] is jazz." The section also includes the story of Pocahontas (who was "Powhatan's Daughter") and a section on the fictional character Rip Van Winkle. The fourth section of "Powhatan's Daughter," entitled "The Dance," contains the line "O Appalachian Spring!" from which dancer and choreographer Martha Graham took the title of her ballet Appalachian Spring, scored by composer Aaron Copland.

Other major sections of the poem include "Cape Hatteras" (the longest individual section of the poem), "Quaker Hill," "The Tunnel," and "Atlantis," the rapturous final section that returns the poem's focus back to the Brooklyn Bridge, and which was actually the first part of the overall poem finished despite its reservation for the end.

Critical reception

Upon its publication, The Bridge received mostly negative reviews. Yvor Winters, a contemporary and friend of Crane's who had praised Crane's previous book, White Buildings, wrote one such review, in which he associated Crane's book with Modernist works by James Joyce and William Carlos Williams. Due to his disparaging views toward Modernism as a whole, Winters viewed such an association negatively. In Winters's own words, The Bridge "has no narrative framework and so lacks the formal unity of an epic."

In a slightly more mixed review, "Metaphor in Contemporary Poetry," Cudworth Flint wrote, "This poem seems to me indubitably the work of a man of genius, and it contains passages of compact imagination and compelling rhythms. But its central intention, to give to America a myth embodying a creed which may sustain us somewhat as Christianity has done in the past, the poem fails."

Critical consensus on The Bridge (and on Crane's status in the Modernist canon more broadly) still remains deeply divided. Some critics believe that The Bridge was Crane's crowning achievement, and that it is a masterpiece of American modernism. For instance, Gregory Woods writes that "Hart Crane's place in the Modernist pantheon is established by The Bridge," and when the literary critic Harold Bloom placed Crane in his pantheon of the best Modernist American poets of the 20th century, Bloom focused on The Bridge as Crane's most significant achievement, putting it on the same level as T. S. Eliot's The Waste Land, though Bloom regarded Crane as the superior poet, as evidenced in this section from his introduction to Crane's complete poems: "But after a lifetime of disliking Eliot's literary and "cultural" criticism, I have to yield to The Waste Land, because Hart Crane did, though he went down fighting the poem. The glory of The Bridge (1930) is its ambivalent warfare with The Waste Land, without which Crane would not have been the miracle he was". Still, the poet/critic Randall Jarrell had much more mixed feelings about the lack of overall consistency in the epic, writing, "Hart Crane's The Bridge does not succeed as a unified work of art, partly because some of its poems are bad or mediocre;" nevertheless, Jarrell goes on to write, "how wonderful parts of The Bridge are! 'Van Winkle' is one of the clearest and freshest and most truly American poems ever written." Allen Ginsberg called "Atlantis" the greatest work in Western metrical rhetoric since Shelley's "Adonais".

More recently, Jarrell and Flint's criticisms of the poem have been echoed, and even been amplified, by more conservative contemporary poetry critics like Adam Kirsch and William Logan who both wrote highly critical reviews of Crane's work following the publication of Hart Crane: Complete Poems and Selected Letters by the Library of America in 2006. In an article for The New Yorker, Kirsch called The Bridge "an impressive failure. . .[that] varies wildly in quality, containing some of Crane's best writing and some of his worst." Then Kirsch goes on to call parts of the "Atlantis" section of the poem "exhilarating" while he criticizes the "Indiana" section for being "rankly sentimental."

From a more positive critical perspective, The Bridge was recently singled out by the Academy of American Poets as one of the 20th century's "Groundbreaking Books". The organization writes, "Physically removed from the city [since he began the piece while living in the Caribbean], Crane relied on his memory and imagination to render the numerous awesome and grotesque nuances of New York, evident in poems such as 'The Tunnel' and 'Cutty Sark.' The book's opening, 'Proem: To Brooklyn Bridge,' is indicative of Crane's ecstatic, symbolic vision of the modern city. . . However, [because of his suicide in April 1932,] Crane would never again complete anything as complex or compelling as The Bridge."

Composition

According to the 1988 Voices and Visions PBS documentary on Crane, when Crane first began to write The Bridge, he "felt. . .stuck and was incapable of writing more than a few lines." Around this time Crane wrote, "Emotionally I should like to write The Bridge. Intellectually the whole theme seems more and more absurd. The very idea of a bridge is an act of faith. The form of my poem rises out of a past that so overwhelms the present with its worth and vision that I'm at a loss to explain my delusion that there exists any real links between that past and a future destiny worthy of it. If only America were half as worthy today to be spoken of as Whitman spoke of it fifty years ago, there might be something for me to say." As the poem began to take shape and showed promise, Crane wrote, "The Bridge is symphonic in including all the strands: Columbus, conquest of water, land, Pocahontas, subways, offices. The Bridge, in becoming a ship, a world, a woman, a tremendous harp as it does finally, seems to really have a career."

Notes

External links
 Text of 'To Brooklyn Bridge' (the opening poem in The Bridge) at Poets.org
 Video Interpretation of 'The River' (opening lines)

1930 poems
American poems
1930 poetry books
Epic poems in English
American poetry books
Poems set in New York City
Hart Crane
Poems about bridges

The Bridge (poem)


Dyma restr o'r 75 rhanbarth gweinyddol sy'n cael eu hadnabod wrth yr enw County yn Nhalaith Alabama yn yr Unol Daleithiau yn nhrefn yr wyddor

Arkansas County
Ashley County
Baxter County
Benton County
Boone County
Bradley County
Calhoun County
Carroll County
Chicot County
Clark County
Clay County
Cleburne County
Cleveland County
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Cross County
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Sharp County
Stone County
Union County
Van Buren County
Washington County
White County
Woodruff County
Yell County

Arkansas

Rhestr o Siroedd Arkansas


Cumulonimbus (Cb) is a type of cloud that is tall, dense, and involved in thunderstorms and other intense weather. When seen in a storm, it may be called "thunderhead". The clouds can form alone, in clusters, or along a cold front in a squall line, a line of strong winds. Cumulonimbus clouds form from cumulus clouds (namely from cumulus congestus cloud) and can further develop to a supercell, a severe thunderstorm with special features. Cumulonimbus clouds are the source of most tornadoes.

Clouds

Cumulonimbus cloud


Guernica (pronounce: "GHER-nee-kah") is a town in Spain. It is in the province of Biscay, in the Basque Country. The town of Guernica belongs to the same municipality as the near town of Luno ("Lumo" in Basque), Gernika-Lumo. The population of the whole municipality is 15,571 (2004).

Guernica is known internationally because it was bombed by the Nazis in 1937 during the Spanish Civil War. Pablo Picasso painted a huge anti-war painting called Guernica which is world-famous.

Other websites
 Official site

Towns in Spain
Municipalities in Biscay

Guernica (town)


Lianne Audrey Dalziel (born 7 Juin 1960) is a New Zealand politeecian, an umwhile member o the kintra's pairlament in Wellington, representin the Labour Pairty.  She wis a consteetuency member unner the proportional representation seestem, representin East Christchurch.

1960 births
Livin fowk
New Zealand Labour Pairty MPs
Members o the Cabinet o New Zealand
Varsity o Canterbury alumni
New Zealand lawers
Weemen govrenment meenisters o New Zealand
New Zealand leet MPs
New Zealand MPs for Christchurch electorates
Members o the New Zealand Hoose o Representatives
Fowk associatit wi the 2011 Christchurch yirdquauk
Mayors o Christchurch
21st-century New Zealand politeecians
21st-century weemen politeecians
Weemen members o the New Zealand Hoose o Representatives

Lianne Dalziel


An optical gain medium (also called an active laser medium) can make light stronger. In general, gain media must be powered by another energy source in order to have energy to provide as light. Some gain media can be powered using electricity, but many others need light energy from bright flash lamps or a laser.  Optical gain media are used in lasers. The first lasers used artificial ruby as their optical gain medium.

Light

Optical gain medium


Pluto is the god of the underworld in Roman mythology. Pluto was also the god of wealth because diamonds and other jewels come from underground.

A myth about Pluto is that he took Proserpina, who was the daughter of Ceres, to the underworld to be his wife. Ceres cried and did not let plants grow on the Earth. People needed the plants so much that the god Jupiter made Pluto give her up. The deal they worked out was that for six months, Pluto got Proserpina. While Proserpina was in the underworld, no plants could grow on Earth and it was winter. When Proserpina went back to her mother, it was summer. This was how the Romans explained the seasons. Pluto also had a three-headed dog named Cerberus that guarded the gates to the underworld.

The dwarf planet Pluto was named after this god.

Related pages

 Hades - Greek mythology version of Pluto

Roman gods and goddesses
Gods and goddesses of the underworld

Pluto (mythology)


GEMS Girls' Clubs is a non-denominational, non-profit, Christian organization that seeks to equip women and girls to live radically faithful lives for Christ. Clubs are established in churches and other Christian organizations and allow women to mentor girls as they develop a living, dynamic relationship with Jesus. GEMS, which stands for "Girls Everywhere Meeting the Savior", was founded in 1958 in Grand Rapids, Michigan, by Barbara Vredevoogd and has since grown to become an international ministry with 5,200 women serving over 23,000 girls in more than 800 clubs in the United States, Canada, Zambia, Kenya, Spain, Australia, New Zealand, Uganda, China, South Africa, Zimbabwe, and The Bahamas.

History
In 1957, the Young Calvinist Federation decided there was a mounting need to design a ministry specifically for young girls. Barb Vredevoogd, a member of Beverly Christian Reformed Church in Wyoming, Michigan, was invited to expand the club program she had designed for local girls, in order to offer the curriculum to other churches as well. Vredevoogd then became the first acting director, and the program – originally known as Calvinettes – began to flourish.

In 1966, GEMS (formerly "Calvinettes"), the Calvinist Cadet Corps, and ThereforeGo (then the Young Calvinist Federation) merged to form Dynamic Youth Ministries (then known as United Calvinist Youth).

In 2006, GEMS expanded its global vision to reach girls everywhere by organizing clubs in Africa. Since then, girls in clubs across North America have been active in assisting the efforts. New curriculum has been developed, a micro-financing program has started, and construction has started the Esther School for orphans and under-resourced children in Zambia.

GEMS Girls' Clubs is governed by an executive board that oversees general policies, finances, and the overall effectiveness of the ministry.

Program levels
Most local churches divide their GEMS programs into three age levels. GEMS produces a variety of age-appropriate curriculum for each level. GEMS also partners with Cadets to produce a curriculum for 4- and 5-year-olds, and offers a leadership-development position for high school-aged girls who wish to remain in the program.

 Kingdom Kids (4 & 5 year olds)
 Awareness Level (grades 1-3)
 Discovery Level (grades 4-6)
 Advanced Level (grades 7-8)
 Counselor-in-Training/CIT (grades 9-12)

Magazines
GEMS Girls' Clubs produced two magazines that help girls recognize and embrace their potential to be world changers. No new magazines have been published since December 2021.

SHINE brightly
Published monthly from September through May, SHINE brightly is for girls ages nine to fourteen. Each issue contains three Bible lessons as well as articles and stories that inspire girls to be activists for Christ. The magazine is designed to help girls see how God is at work in their lives and in the world around them.

Sparkle
Produced monthly from October through March, Sparkle is designed for girls in grades 1-3. Through Bible lessons, articles, stories, and games, it seeks to show girls how they can make a difference in the world.

Leadership training
A crucial aspect of the GEMS ministry is giving women the tools they need to effectively reach out to the girls in their local clubs. Volunteer leaders (counselors) are offered training opportunities in which they learn how to use the GEMS curricula as well as gain important insights into the development stages of the age group they are teaching. These training events are all designed to equip and encourage counselors in their work with girls.

Each summer, GEMS hosts its Annual Counselors' Leadership Conference for women. This is a major event for the ministry and is held in different locations around North America. Volunteer leaders are also appointed to various areas of the United States and Canada, and these women offer training and support to the counselors in their geographic region.

Accountability
GEMS Girls' Clubs is a member of the Evangelical Council for Financial Accountability. Members of the ECFA must adhere to standards of responsible stewardship including high standards of accountability in fundraising, financial disclosure, confidentiality of donor information, and the use of resources. The ministry submits to an annual independent audit.

References

External links
 GEMS Girls' Clubs
 ThereforeGo Ministries
 Cadets
 CSB Ministries

Christian non-aligned Scouting organizations
1958 establishments in Michigan
Christian organizations established in 1958
Christian organizations based in the United States

GEMS Girls' Clubs


Keynesian economics (also called Keynesianism) describes the economics theories of John Maynard Keynes. Keynes wrote about his theories in his book The General Theory of Employment, Interest and Money. The book was published in 1936.

Keynes said capitalism is a good economic system. In a capitalist system, people earn money from their work. Businesses employ and pay people to work. Then people can spend their money on things they want. Other people work and make things to buy. Sometimes the capitalist system has problems. People lose their work. Businesses close. People cannot work and cannot spend money. Keynes said the government should step in and help people who do not have work.

This idea is called "demand-side policy". If people are working, the economy is good. If people are not working, the economy is bad.

Keynes said when the economy is bad, people want to save their money. That is, they do not spend their money on, or invest in, things they want. As a result, there is less economic activity.

Keynes said the government should spend more money when people do not have work. The government can borrow money and give people jobs (work). Then people can spend money again and buy things. This helps other people find work.

Some people, such as conservatives, libertarians, and people who believe in Austrian economics, do not agree with Keynes' ideas. They say government work does not help capitalism. They say when the government borrows money, it takes money away from businesses. They do not like Keynesian economics because they say the economy can get better without government help.

During the late 1970s, Keynesian economics became less popular because inflation was high at the same time that unemployment was high. This is because many people interpreted Keynesian theory to say that it was impossible for there to be both high inflation and high unemployment.

When a big recession happened in 2007, Keynesian economics became more popular. Leaders around the world (including Barack Obama) created stimulus packages which would allow their government to spend a lot of money to create jobs. Conservatives and Libertarians would say that the stimulus package rewards the bad behavior that lead to the recession. It tells big banks that they can misbehave and the government will step in and get them out of trouble.

Basic ideas
Keynes had the following ideas:
 The market for goods controls employment and production. The market for work does not.
 It is possible that people become unemployed even if they want to work.
 An increase in savings will not lead to an increase in investment of the same amount. People have the choice between investing their money or saving it.
 An economic system based on money is different from one that is based on the exchange of goods.
 The quantity theory of money is only valid if there is no unemployment.
 In a market economy, investor behavior is governed by what Keynes called the animal spirits of investors.
Economic theories

Keynesian economics


The  R-bar pitch maneuver (RPM), popularly called the  rendezvous pitch maneuver or backflip, was a maneuver performed by the Space Shuttle as it rendezvoused with the International Space Station (ISS) prior to docking. The Shuttle performed a backflip that exposed its heat-shield to the crew of the ISS that made photographs of it. Based on the information gathered during the rendezvous pitch maneuver, the mission team could decide that the orbiter was not safe for re-entry. They may have then decided either to wait on the ISS for a rescue mission or attempt extra-vehicular activity to repair the heat shield and secure the safe re-entry of the orbiter. This was a standard procedure recommended by CAIB for all space shuttles docking to the International Space Station after a damaged heat shield caused the Columbia disaster.

Maneuver description

The name of the maneuver was based on the R-bar and V-bar lines that are used in the approach of the space station. R-bar or Earth Radius Vector is an imaginary line connecting the space station to the center of the Earth. V-bar would be the velocity vector of the space station.
The shuttle approached the station along the R-bar line and at a small distance from the ISS, usually around , the shuttle performed a slow 360° pitch, during which it exposed its underside, the heat shield, to the ISS. The crew inside the ISS visually inspected and photographed the heat shield to determine whether or not it had been damaged during liftoff and ascent. This maneuver required skilled piloting, as the Shuttle commander must fly very close to the ISS without the station always in full view. After the maneuver is complete the shuttle flew from the R-bar to the V-bar, a 90 degree angle change as seen from ISS and then continued along the V-bar line to close in on the space station and eventually complete the docking.

The rendezvous pitch maneuver was developed by NASA engineers Steve Walker, Mark Schrock and Jessica LoPresti after the Space Shuttle Columbia disaster. Columbia had sustained damage to its heat shield due to insulating foam breaking off the external tank and hitting the shield at liftoff. The damage was too great for the heat shield to protect the shuttle from the heat and structural strain of atmospheric reentry, causing it to break apart. For this reason, the integrity of the heat shield had been a critical concern of NASA ever since. The maneuver was first performed by Mission Commander Eileen Collins on STS-114, which was one of Space Shuttle Discoverys two "Return To Flight" missions after the Columbia STS-107 disaster.

Photographers and photographic equipment used during RPMs

STS-114
During STS-114, the rendezvous pitch maneuver was performed by Commander Eileen Collins shortly before docking with the ISS at 11:18 UTC on July 28, 2005, when Space Shuttle Discovery was photographed by Commander Sergei Krikalev and Flight Engineer John L. Phillips, of the ISS Expedition 11, using handheld Kodak 760 DCS digital cameras. On this occasion, astronaut Stephen Robinson undertook a precautionary spacewalk to remove protruding gap fillers prior to re-entry.

STS-115
During STS-115, Atlantis' belly was photographed by the ISS Expedition 13.

STS-116
During STS-116, Discovery, commanded by Mark L. Polansky, performed the RPM and was photographed by the ISS Expedition 14.

STS-117
During the RPM of STS-117 performed by mission commander Rick Sturckow, Sunita Williams and another member of Expedition 15 used 400mm and 800mm lenses for taking photos out of two windows of the ISS.

STS-118
During STS-118 the RPM of Endeavour was photographed by Expedition 15. The maneuver was videotaped by Clay Anderson and photographed by Fyodor Yurchikhin and Oleg Kotov with 800mm and 400mm lenses. A Focused Inspection of a damaged portion of Endeavours heat shield was performed by the STS-118 crew later in the mission after ground engineers reviewed the RPM photographs.

STS-120
Expedition 16 crewmembers Clay Anderson and Yuri Malenchenko photographed and videotaped the RPM of Discovery during STS-120.

STS-121
During STS-121, the rendezvous pitch maneuver was performed at 14:02 UTC on July 6, 2006, when Discovery was photographed by Commander Pavel Vinogradov and Flight Engineer Jeffrey Williams of the ISS Expedition 13, using 400mm and 800mm lenses.

STS-122
The STS-122 RPM occurred on February 9, 2008. From 16:24 to 16:31 UTC, Atlantis pilot Alan G. Poindexter performed the RPM. The RPM was photographed by Expedition 16 crew members Peggy Whitson and Yuri Malenchenko with 400mm and 800mm lenses, respectively, from the Zvezda service module. Malenchenko had been directed to take extra images of the starboard OMS pod, so an "area of interest" on the thermal blanket could be evaluated. Some 300 images were expected to be captured.

See also
 Space rendezvous

References

External links
 NASA offers the video of the STS-121 backflip streamed in WMV and Real ; and for download in mp4

 STS-135 performs the final RVM in Space Shuttle history, Flash and mp4 from NASA

Space Shuttle program
Orbital maneuvers
Articles containing video clips

Rendezvous pitch maneuver


A white coat, also known as a laboratory coat or lab coat, is a knee-length overcoat or smock worn by professionals in the medical field or by those involved in laboratory work. The coat protects their street clothes and also serves as a simple uniform. The garment is made from white or light-colored cotton, linen, or cotton polyester blend, allowing it to be washed at high temperature and making it easy to see if it is clean.

Similar coats are a symbol of learning in Argentina and Uruguay, where they are worn by both students and teachers in state schools. In Tunisia and Mozambique, teachers wear white coats to protect their street clothes from chalk.

Like the word "suit", the phrase "white coat" is sometimes used as a metonym to denote the wearer, such as a scientist working in a high-tech company.

Medicine
White coats are sometimes seen as the distinctive dress of both physicians and surgeons, who have worn them for over 100 years. In the nineteenth century, respect for the certainty of science was in stark contrast to the quackery and mysticism of nineteenth-century medicine. To emphasize the transition to the more scientific approach of modern medicine, physicians began to represent themselves as scientists, donning the most recognizable symbol of the scientist, the white laboratory coat.

Recently, white coat ceremonies have become popular amongst those starting medical school.

The modern white coat was introduced to medicine in the late 1800s as a symbol of cleanliness.

Patient perceptions
A study conducted in the United Kingdom found that the majority of patients prefer their doctors to wear white coats, but the majority of doctors prefer other clothing, such as scrubs. The study found that psychiatrists were among the least likely to wear white coats and when they are worn, they are typically worn over the scrubs. Some medical doctors view the coats as hot and uncomfortable, and many feel that they spread infection.

White coat hypertension

Some patients who have their blood pressure measured in a clinical setting have higher readings than they do when measured in a home setting. This is apparently a result of patients feeling more relaxed when they are at home. The phenomenon is sometimes called white coat hypertension, in reference to the traditional white coats worn in a clinical setting, though the coats themselves may have nothing to do with the elevated readings.

Psychiatry
The term is also used as verbal shorthand for psychiatric orderlies or other personnel and may be used, in a usually jocular manner, to imply someone's lunacy or paranoia.

White versus black
Until the mid-1920s, students who were examining cadavers would wear black lab coats to show respect for the dead. Black lab coats were used in early biomedical and microbiology laboratories. The "whiteness" and "pureness" concepts that were established in medicine pervaded that environment at the end of the 19th and beginning of the 20th centuries and physicians changed the black for the white coat. Black coats were worn by surgeons as opposed to white until general anaesthesia became widespread in the early 1900s. Anaesthesia allowed surgeries to be performed more slowly and precisely, reducing mess and bloodiness; white coats then developed a symbolic association with a bloodless field.

White coat ceremony

A white coat ceremony is a relatively new ritual that marks one's entrance into medical school and, more recently, into a number of health-related schools and professions. It originated at University of Chicago's Pritzker School of Medicine in 1989  and involves a formal "robing" or "cloaking" in white lab coats.

Controversy
Studies have shown that doctor's coats worn in hospitals can harbor contagions including MRSA.

In 2007, the UK National Health Service started banning long-sleeved coats.

In 2009, the American Medical Association investigated banning coats with long sleeves to protect patients, but did not institute a ban.

A study published in 2011 investigating the effectiveness of the NHS ban showed no statistical difference in contamination levels over an 8-hour period between residents wearing long-sleeved coats and those wearing short-sleeved scrubs.

In an effort to reduce the contamination of healthcare uniforms, ASTM International is developing standards to specifically address liquid penetration resistance, liquid repellency, bacterial decontamination, and antimicrobial properties of such uniforms. The spread of white coat infection has been rampant and talked about in the scientific community.

In laboratory work
When used in the laboratory, lab coats protect against accidental spills, e.g., acids. In this case, they usually have long sleeves and are made of absorbent material, such as cotton, so that the user can be protected from the chemical. Some lab coats have buttons or elastic at the end of the sleeves, to secure them around the wrist so that they do not hang into containers of chemicals or tip over lab equipment. Higher quality coats use snap-on buttons instead of traditional buttons as these are easier to quickly undo (they allow pulling the coat off directly instead of fumbling with the buttons to unhook each one). This renders taking off the coat in an emergency much faster, so these are the preferred type for laboratory work as opposed to clinical work. Short-sleeved lab coats also exist where protection from substances such as acid is not necessary, and are favored by certain scientists, such as microbiologists, avoiding the problem of hanging sleeves altogether, combined with the ease of washing the forearms (an important consideration in microbiology).

Howie coats

For added safety, a variant of the lab coat called a "Howie" style lab coat is often adopted. It is called such after a 1978 report commissioned by the UK Department of Health and Social Security to codify standard clinical laboratory practices, chaired by James Howie. Among the codified standards was protective clothing; the type of wrap-around full coverage lab coat that had been in use in the UK for over a hundred years was nicknamed the "Howie-Style" coat to indicate its compliance with the provisions of this report. It has the buttons on the left flank, elasticated wrists and a mandarin collar, and is quite similar to a chef's uniform.  It is designed to minimize pathogen contact with street clothes.

Use as a school uniform

White coats which resemble lab coats are worn by students and teachers of most public primary schools as a daily uniform in countries like Argentina, Uruguay, Spain, Bolivia and Morocco, and in private schools in Colombia. It also was formerly worn during past decades in Paraguay and Chile.

See also
Scrubs

References

External links
 White coats and the medical profession

Academic dress
Jackets
Coats (clothing)
Laboratory equipment
Protective gear

White coat


The Secret of NIMH is an animated movie directed by Don Bluth and released by his studio United Artists in 1982. The movie was based on Robert C. O'Brien's children's book Mrs. Frisby and the Rats of NIMH. (The main character's name was changed to "Brisby", so that its audiences would not take its sound for the Frisbee toy.) Bluth began the idea of creating this movie after disagreement with Disney over The Fox and the Hound. Before that he worked with the previous Disney animated movie which was also about mice: The Rescuers. Later he made another animated movie about mice called An American Tail, which came out in 1986.

The story
A widow mouse lives with her children (Martin, Teresa, Cynthia and Timothy). On her journey, she meets a comic, love-seeking crow, a group of rats and the National Institute of Mental Health. After the deaths of the enemy leader and magician, a magical amulet manipulates and restores a house shaped stone block from drowning in the mud. Bluth and Goldman's next film, All Dogs Go to Heaven, also used digital coloring via CAPS.

Cast
 Elizabeth Hartman as Mrs. Brisby*
 John Carradine as Great Owl
 Dom DeLuise as Jeremy
 Derek Jacobi as Nicodemus
 Arthur Malet as Mr. Ages
 Hermione Baddeley as Auntie Shrew
 Peter Strauss as Justin
 Paul Shenar as Jenner
 Aldo Ray as Sullivan
 Shannen Doherty as Teresa Brisby
 Danica McKellar as Cynthia Brisby
 Wil Wheaton as Martin Brisby
 Ian Fried as Timothy "Timmy" Brisby
 Tom Hatten as Farmer Paul Fitzgibbons
 Lucille Bliss as Mrs. Beth Fitzgibbons
 Joey Lawrence as Billy Fitzgibbons
 Edie McClurg as Miss Right
 Nipsey Russell as Councilman 1
 Dick Kleiner as Councilman 2
 Charles Champlin as Councilman 3

* It was Hartman's final movie.

Reception
In spite of its critical success, this movie had a mediocre run at the box office, mostly because of a much bigger rival, Steven Spielberg's E. T. (Ironically, Spielberg saw the Bluth movie and asked its director to work on An American Tail.)

Many fans and critics have called NIMH Don Bluth's most important work and magnum opus and masterpiece. Even though this movie was not a big box office success, An American Tail and 1997's Anastasia became his most successful works in later years. The next day, however, Bluth approved of the idea for possible development, along with Rock-a-Doodle.

Sequel

In 1998, MGM released a direct-to-video sequel called The Secret of NIMH 2: Timmy to the Rescue. In the sequel, Timothy goes to a place called Thorn Valley because he wants to become a hero like his father. His brother Martin has turned evil (although he does not want to), and Timothy must fight him in order to save the Rats of NIMH. At Thorn Valley Timothy learns from a young girl mouse that the mice who were thought to have been killed during the escape from NIMH are still alive, so he and the rats try to rescue them.

The sequel was hated by the fans of the first movie and the movie critics because of its clichéd and familiar storyline, and because many people thought that the magic of Don Bluth's dark and original NIHM was destroyed by the sequel, because MGM toned down the darkness of the story.

Other websites

 The Secret of NIMH Archive

1982 movies
1980s animated movies
American animated movies
English-language movies
American family movies
Movies based on books
Movies about animals
Movies about mice
Movies about birds
Movies directed by Don Bluth
American independent movies

The Secret of NIMH


In photography, a shutter is a device that allows light to pass for a determined period, exposing photographic film or a photosensitive digital sensor to light in order to capture a permanent image of a scene. A shutter can also be used to allow pulses of light to pass outwards, as seen in a movie projector or a signal lamp. A shutter of variable speed is used to control exposure time of the film. The shutter is constructed so that it automatically closes after a certain required time interval. The speed of the shutter is controlled either automatically by the camera based on the overall settings of the camera, manually through digital settings, or manually by a ring outside the camera on which various timings are marked.

Camera shutter

Camera shutters can be fitted in several positions:

Leaf shutters are usually fitted within a lens assembly (central shutter), or more rarely immediately behind (behind-the-lens shutter) or, even more rarely, in front of a lens, and shut off the beam of light where it is narrow.
Focal-plane shutters are mounted near the focal plane and move to uncover the film or sensor.

Behind-the-lens shutters were used in some cameras with limited lens interchangeability. Shutters in front of the lens, sometimes simply a lens cap that is removed and replaced for the long exposures required, were used in the early days of photography. Other mechanisms than the dilating aperture and the sliding curtains have been used; anything which exposes the film to light for a specified time will suffice.

The time for which a shutter remains open (exposure time, often called "shutter speed") is determined by a timing mechanism. These were originally pneumatic (Compound shutter) or clockwork, but since the late twentieth century are mostly electronic. Mechanical shutters typically had a Time setting, where the shutter opened when the button was pressed and remained open until it was pressed again, Bulb where the shutter remained open as long as the button was pressed (originally actuated by squeezing an actual rubber bulb), and Instantaneous exposure, with settings ranging from 30" to 1/4000" for the best leaf shutters, faster for focal-plane shutters, and more restricted for basic types. The reciprocal of exposure time in seconds is often used for engraving shutter settings. For example, a marking of "250" denotes 1/250". This does not cause confusion in practice.

The exposure time and the effective aperture of the lens must together be such as to allow the right amount of light to reach the film or sensor. Additionally, the exposure time must be suitable to handle any motion of the subject. Usually it must be fast enough to "freeze" rapid motion, unless a controlled degree of motion blur is desired, for example to give a sensation of movement.

Most shutters have a flash synchronization switch to trigger a flash, if connected. This was quite a complicated matter with mechanical shutters and flashbulbs which took an appreciable time to reach full brightness, focal-plane shutters making this even more difficult. Special flashbulbs were designed which had a prolonged burn, illuminating the scene for the whole time taken by a focal plane shutter slit to move across the film. These problems were essentially solved for non-focal-plane shutters with the advent of electronic flash units which fire virtually instantaneously and emit a very short flash.

When using a focal-plane shutter with a flash, if the shutter is set at its X-sync speed or slower the whole frame will be exposed when the flash fires (otherwise only a band of the film will be exposed).
Some electronic flashes can produce a longer pulse compatible with a focal-plane shutter operated at much higher shutter speeds. The focal-plane shutter will still impart focal-plane shutter distortions to a rapidly moving subject.

Cinematography uses a rotary disc shutter in movie cameras, a continuously spinning disc which conceals the image with a reflex mirror during the intermittent motion between frame exposure. The disc then spins to an open section that exposes the next frame of film while it is held by the registration pin.

Focal-plane shutter

A focal-plane shutter is positioned just in front of the film, in the focal plane, and moves an aperture across the film until the full frame has been exposed.
Focal-plane shutters are usually implemented as a pair of light-tight cloth, metal, or plastic curtains. For shutter speeds slower than a certain point (known as the X-sync speed of the shutter), which depends on the camera, one curtain of the shutter opens, and the other closes after the correct exposure time. At shutter speeds faster than the X-sync speed, the top curtain of the shutter travels across the focal plane, with the second curtain following behind, effectively moving a slit across the focal plane until each part of the film or sensor has been exposed for the correct time.  The effective exposure time can be much shorter than for central shutters, at the cost of some distortion of fast-moving subjects.

Focal plane shutters have the advantage over central leaf shutters of allowing the use of interchangeable lenses without requiring a separate shutter for each lens. (Leaf shutters behind the lens also allow interchanging the lens using a single shutter.)

They have several disadvantages as well:

  Distortion of fast-moving subjects: although no part of the film is exposed for longer than the time set on the dial, one edge of the film is exposed an appreciable time after the other, so that a horizontally moving shutter will, for example, elongate or shorten the image of a car speeding in the same or the opposite direction to the shutter movement.
 They are noisier, which is a detriment to candid and nature photography.
 Their more complex mechanical structure causes a shorter life-span than other shutter designs.
 If a focal-plane shutter camera is left with sunlight falling on the lens (and the mirror up for an SLR), it is possible to burn a hole in the closed curtain of a non-metal shutter.
 Camera shake due to the impact of the larger curtains starting and stopping rapidly. Camera designers have learned to overcome SLR mirror-slap by including a mirror lock-up feature in some cameras. This removes the camera-shake from the large slapping mirror inside the camera, but does not prevent camera-shake caused by the shutter mechanism itself. Mirror-lock-up introduces yet another problem: with the mirror locked-up out of the way the optical viewfinder cannot be used for focussing, framing, or exposure metering. Newer DSLR cameras include a "live preview" where the image from the main imaging sensor is displayed directly on an LCD display, so it is still possible to focus (manually or in newer models by contrast detection) and frame. This prevents most camera shake from the focal-plane shutter, as instead of a first curtain an electronic shutter is used.

Simple leaf shutter

A simple leaf shutter is a type of camera shutter consisting of a mechanism with one or more pivoting metal leaves which normally does not allow light through the lens onto the film, but which when triggered opens the shutter by moving the leaves to uncover the lens for the required time to make an exposure, then shuts.

Simple leaf shutters have a single leaf, or two leaves, which pivot so as to allow light through to the lens when triggered. If two leaves are used they have curved edges to create a roughly circular aperture. They typically have only one shutter speed and are commonly found in basic cameras, including disposable cameras.  Some have more than one speed.

Guillotine shutter
In the simplest version of Guillotine shutter a plate with an aperture slides across the lens opening. Simple versions from the 1880s and 1890s were often known as Drop shutters. They worked vertically and were usually powered by a rubber band, a spring or just gravity. Later they were fitted to run horizontally in hand cameras where they were spring powered with spring tension or pneumatic regulation.

Rotating shutter

Hemispheric
The shutter plate consisted of a part of a sphere integrated to rotate behind the lens. It was a type of shutter found on the Photosphere and other cameras.

Diaphragm shutter

A diaphragm or leaf shutter (as distinct from the simple leaf shutter above) consists of a number of thin blades which briefly uncover the camera aperture to make the exposure. The blades slide over each other in a way which creates a circular aperture which enlarges as quickly as possible to uncover the whole lens, stays open for the required time, then closes in the same way. The larger the number of blades, the more accurately circular is the aperture. Flash synchronization is easily achieved with a pair of contacts that close when the shutter is fully open.

Ideally the shutter opens instantaneously, remains open as long as required, and closes instantaneously. This is essentially the case at slower speeds, but as speeds approach their maximum the shutter is far from fully open for a significant part of the exposure time. Effectively the shutter acts as an additional aperture, and may cause an increased depth of field, undesirable if shallow focus is being used creatively. Or it may cause mechanical vignetting if the diaphragm is outside of the lens (like a focal plane shutter or apodization filter).

The term diaphragm shutter has also been used to describe an optical stop with a slit, near the focal plane of a moving-film high-speed camera.

A few types and makers of leaf shutters became very well known. The early Compound shutter had a pneumatic mechanism, with a piston sliding against air resistance in a cylinder. They were quieter at slow speeds than clockwork, but potentially very inaccurate. More accurate clockwork mechanisms then replaced the airbrake, and the German Compur, and the later Synchro-Compur, became virtually the standard quality shutter. Later the Japanese Copal shutter was widely adopted in quality equipment. The German Prontor and Japanese Seikosha shutters were also widely used. Up and Down with Compur: The development and photo-historical meaning of leaf shutters, by Klaus-Eckard Riess, translated by Robert "The Professor" Stoddard gives a detailed history and technical description of leaf shutters. The company Compur Monitor was still in business , but made only gas detection systems. Leaf shutters under the Compur, Copal, and Seiko names are no longer manufactured.

Central shutter

A central shutter is not a type of shutter as such, but describes the position of the shutter: it is typically a leaf shutter (or simple leaf shutter), and located within the lens assembly where a relatively small opening allows light to cover the entire image. Leaf shutters can also be located behind, but near, the lens, allowing lens interchangeability. The alternative to a central or behind-the-lens shutter is a focal-plane shutter.

Interchangeable-lens cameras with a central shutter within the lens body require that each lens has a shutter built into it. In practice most cameras with interchangeable lenses use a single focal plane shutter in the camera body for all lenses, while cameras with a fixed lens use a central shutter. Many medium-format and most large-format cameras, however, have interchangeable lenses each fitted with a central shutter. A few interchangeable-lens cameras have a behind-the-lens leaf shutter. Large-format press cameras often had a focal-plane shutter. Some had both a focal-plane shutter (for lens interchangeability) and a lens with central shutter (for flash synchronisation); one shutter would be locked open.

Film cameras, but not digital cameras, with a central shutter and interchangeable lenses often have a secondary shutter or darkslide to cover the film and allow changing lens in mid-roll without fogging the film.

The main advantages of central and behind-the-lens leaf shutters compared to a focal-plane shutter are:
 Flash synchronization is possible at all speeds because the shutter opens fully, unlike a focal-plane shutter sliding a slit relatively slowly across the film for a short effective exposure.
 Small size is possible as the shutter is placed where the bundle of rays is narrow, either inside or just behind the lens.
 Many versions have no connection between the cocking mechanism and the film advance mechanism, making multiple exposures possible (this can be a disadvantage, as multiple exposures can be produced accidentally if the photographer forgets to advance the film).
 Usually much quieter.
 More realistic photographs in high speed panning—lateral focal plane shutters compress or elongate the image in such cases.
 Longer shutter life.

Some disadvantages of the central shutter are:
 For an interchangeable lens system, each lens has to have a shutter built into it.
 All leaf shutter speeds are limited by the speed at which the leaves can move: typically 1/500th of a second for a high-specification diaphragm shutter and 1/125th of a second for a simple leaf shutter.
 Some versions may have no connection between the cocking mechanism and the film advance mechanism, making accidental multiple exposures a common problem, although this is a feature of camera manufacture rather than the shutter itself.

Electronic shutter
Digital image sensors (both CMOS and CCD image sensors) can be constructed to give a shutter equivalent function by transferring many pixel cell charges at one time to a paired shaded double called frame transfer shutter. If the full-frame is transferred at one time, it is a global shutter. Often the shaded cells can independently be read, while the others are again collecting light. Extremely fast shutter operation is possible as there are no moving parts or any serialized data transfers. Global shutter can also be used for videos as a replacement for rotary disc shutters.

Image sensors without a shaded full-frame double must use serialized data transfer of illuminated pixels called rolling shutter. A rolling shutter scans the image in a line-by-line fashion, so that different lines are exposed at different instants, as in a mechanical focal-plane shutter, so that motion of either camera or subject will cause geometric distortions, such as skew or wobble.

Today, most digital cameras use combination of mechanical shutter and electronic shutter or mechanical shutter solely. Mechanical shutter can accommodate up to 1/16000 seconds (for example the Minolta Dynax/Maxxum/α-9 film camera had a maximum of 1/12000, a record in its era, and the later digital Nikon D1 series were capable of 1/16000), while electronic shutter can accommodate at least 1/32000 seconds, used for many superzoom cameras and currently many Fujifilm APS-C cameras (X-Pro2, X-T1, X100T and others).

Stacked CMOS sensors combine the image sensor itself with ADCs and digital memory in the same package. The readout of these sensors is faster than traditional sensors, because the digitized image is transferred into the digital memory in the sensor itself during readout and only afterwards transferred out of the sensor. This results in an electronic shutter which is as fast as a mechanical focal-plane shutter. Some cameras using stacked sensors, like the Nikon Z 9, completely removed the mechanical shutter. Dynamic range and noise performance are not compromised, because these sensors do not utilize a global shutter.

Shutter lag

Shutter lag is the time between the shutter release being pressed and the exposure starting. While this delay was insignificant on most film and some digital cameras, many digital cameras have significant delay, which can be a problem with fast-moving subjects as in sports and other action photography. Release lag of a bridge camera such as the 2010 Pentax X90 is a relatively short 1/50 s, or 21 milliseconds (ms). The Canon 50d dSLR is specified at 131 ms lag.

In many cases, autofocus (AF) lag is the root cause of shutter lag. Lower-cost cameras and low-light or low-contrast situations will make the effect more pronounced and it is in these cases that AF lag is more noticed. Most AF systems use contrast to determine focus; in situations where contrast is low, the speed at which the camera can determine the best focus can be quite noticeable. Since most modern cameras will not activate the shutter until autofocus is complete, the result is shutter lag. In these cases, the photographer can switch to manual focus to avoid the delay that is attributable to the AF function.

Shutter cycle

A shutter cycle is the process of the shutter opening, closing, and resetting to where it is ready to open again. The life-expectancy of a mechanical shutter is often expressed as a number of shutter cycles. Most digital cameras save the shutter cycle information along with the photos, which contains valuable information such as shutter speed, aperture, and shutter count. There are multiple websites and applications to access the EXIF data.

Projector shutter

In movie projection, the shutter admits light from the lamphouse to illuminate the film across to the projection screen. To avoid brightness flicker, a double-bladed rotary disc shutter admits light two times per frame of film in 24 fps projection, resulting in 24 * 2 = 48 Hz, which is the lower brightness flicker fusion threshold. For 16fps (most silent films and Regular 8mm) and 18fps (Super 8), a triple-bladed shutter is used instead, as 16 * 3 = 48 Hz and 18 * 3 = 54 Hz.

Shutters are also used simply to regulate pulses of light, with no film being used, as in a signal lamp.

See also

Photographic lens
Kerr cell shutter
Active shutter 3D system

References

Weblinks

Shutter (photography)


Financial distress is a term in corporate finance used to indicate a condition when promises to creditors of a company are broken or honored with difficulty. If financial distress cannot be relieved, it can lead to bankruptcy. Financial distress is usually associated with some costs to the company; these are known as costs of financial distress.

Cost
A common example of a cost of financial distress is bankruptcy costs. These direct costs include auditors' fees, legal fees, management fees and other payments. Cost of financial distress can occur even if bankruptcy is avoided (indirect costs).

Financial distress in companies requires management attention and might lead to reduced attention on the operations of the company.

Another source of indirect costs of financial distress are higher costs of capital as usually banks increase the interest rates if a state of financial distress occurs.

Options for relieving financial distress
If high debt burden is the cause of financial distress, the company can undergo a debt restructuring.
If operational issues are the reason for the distress, the company can negotiate a payment holiday with its creditors, while improving operational efficiency so as to be able to service its debt.
If the latter improvements are insufficient, the company may engage in the more extensive turnaround management.
See  for discussion.

External links
 Indicators and Sources of Financial Distress
 Predicting Financial Distress of Companies: Revisiting the Z-Score and Zeta Models by Edward Altman
 Financial Distress, Bankruptcy Law, and the Business Cycle by Javier Suarez and Oren Sussman
 Insolvency Service website
 Probability of bankruptcy screener for public companies based on Altman Z Score

Corporate finance
Bankruptcy
Insolvency

Financial distress


Trajan's Column is a Roman triumphal column in Rome, Italy. It was built to remember Roman emperor Trajan's victory in the Dacian Wars. It was probably built by the architect Apollodorus of Damascus at the order of the Roman Senate. It is in Trajan's Forum, near the Quirinal Hill, north of the Roman Forum. It was completed in AD 113. It has a spiral bas relief, which shows the wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern.

The column is about 30 metres (98 ft) in height, 35 metres (125 ft) including its large pedestal. It is made from a series of 20 hollow Carrara marble pieces. Each one weighs about 32 tons, with a diameter of 3.7 metres (11 ft). The 190-metre (625 ft) frieze winds around the column 23 times. Inside the column, a spiral staircase of 185 steps gives access to a viewing platform at the top. The capital block of Trajan's Column weighs 53.3 tons, which had to be lifted to a height of c. 34 m.

Ancient coins show plans to put a statue of an eagle on top of the column. However it was built with a statue of Trajan. This statue disappeared in the Middle Ages. On December 4, 1587, the top was crowned by Pope Sixtus V with a bronze figure of St. Peter. When it was built the column was next to two libraries, which perhaps held the soldier-emperor's account of the Roman-Dacian Wars.

References

Buildings and structures in Ancient Rome

Trajan's Column


Thomas Roseingrave (1690 or 1691 – 23 June 1766), like his father Daniel Roseingrave, was an English-born Irish composer and organist.

Early years
He was born at Winchester, where his father Daniel Roseingrave was the Cathedral organist, but spent his early years in Dublin, studying music with his father (who, by then, was organist of both St Patrick's Cathedral, Dublin and Christ Church Cathedral, Dublin). In 1707 he entered Trinity College but failed to complete his degree. In 1710 he was sent to Italy with the financial assistance of St Patrick's Cathedral, Dublin (awarded in 1709) in order "to improve himself in the art of music". In Venice he met Domenico Scarlatti and was greatly impressed by his harpsichord playing. He followed Scarlatti to Naples and Rome and, later in life, he published an edition of Scarlatti's sonatas for harpsichord which led to a "Scarlatti cult" in England.

Roseingrave composed several works in Italy including an anthem and a cantata. He returned to England in 1717 (having left Italy for Dublin in 1713). In 1720 he produced Scarlatti's opera Amor d'un'ombra e gelosia d'un'aura under the title Narciso at the Haymarket Theatre, to which he added two arias and two duets of his own. He was appointed organist of St George's, Hanover Square, in 1725. He became known as an accomplished improviser, especially of fugues. He had a great admiration for the music of Palestrina and was highly skilled at contrapuntal writing. According to Charles Burney he could sightread the most difficult music.

Later years
In the 1730s he was at the height of his technique and skill. However, his successful career came to an end when he was denied permission to marry a young lady with whom he had become infatuated. Her father would not allow her to marry a musician. The disappointment affected Roseingrave psychologically; his behaviour reportedly became irrational at times, and he neglected his duties. Eventually he retired to Dublin in 1747 where he lived with his nephew William in Dún Laoghaire. In Ireland, he mainly seems to have spent his retirement, a remarkable exception being the first and only performance of his opera Phaedra and Hippolitus on 6 March 1753 in Dublin. He died at Dún Laoghaire in 1766 and was buried in his family's grave in the churchyard of St Patrick's Cathedral, Dublin.

Evaluation
Roseingrave's best compositions are his keyboard works which show surprisingly little influence of continental composers. His harpsichord works occasionally reflect the influence of Scarlatti, but the organ works are closer to the English style of Purcell and Blow. They are at times highly chromatic, reflecting the dissonant approach of English music such as Purcell's viol fantasies. They show irregular phrasing and form, suggesting that they may have arisen from freely extemporised performances for which he had been so famous. He also wrote solos for flute, and Italian cantatas. His contemporaries often criticised him for his "harsh, ungrateful harmony, and extravagant and licentious modulations". Most English composers in the 18th century had adopted the Italianate style in the Handelian manner, and the ears of English music lovers were becoming accustomed to the easier harmony and form of the galant style. Thus Roseingrave's music would have appeared to many to be too intellectual and old-fashioned.

One factor which led to increased esteem for Roseingrave in the 20th century (though even now his music is seldom heard in concert, as opposed to being included on recordings) was the enthusiasm demonstrated for his output by Constant Lambert. Indeed, Lambert actually oversaw the first modern editions of several Roseingrave pieces.

Recordings
Selectively cited from Klein (2001)
 From: Eight Suits of Lessons for the Harpsichord or Spinnet (1728): Suite No. 1 in E flat major; Suite No. 5 in F minor; Suite No. 6 in E minor; Suite No. 7 in G major. Recorded by Paul Nicholson on Hyperion CDA 66564 (CD, 1992).
 [From same] Suite No. 8 in G major. Recorded by Douglas Gunn on Melrose Music MM CD-101 (CD, 1996).
 From Voluntarys and Fugues made on Purpose for the Organ or Harpsichord (1728): Voluntary No. 2 in G minor. Recorded by Jennifer Bate (org) on Unicorn-Kanchana DKP 9096 (CD, 1990).
 [From same] Fugue No. 13 in E minor. Recorded by Jennifer Bate (org) on Unicorn-Kanchana DKP 9104 (CD, 1991).
 [From same] Voluntary No. 4 in G minor; Voluntary No. 7 in G minor; Voluntary No. 8 in G minor; Fugue No. 6 in F major; Fugue No. 10 in G major. Recorded by Paul Nicholson on Hyperion CDA 66564 (CD, 1992).
 From: Twelve Solos for flute and basso continuo (1730): Sonata No. 2 in D major; Sonata No. 3 in G major; Sonata No. 9 in D major. Recorded by Douglas Gunn (fl), Carol O'Connor (vc), Brian McKay (hpd) on Melrose Music MM CD-101 (CD, 1996).
 Introduction in G minor (1739). Recorded by Douglas Gunn on Melrose Music MM CD-101 (CD, 1996)
 Keyboard Concerto in D major (c.1740). Reconstruction from harpsichord solo score. Recorded by Paul Nicholson (org) with Parley of Instruments Baroque Orchestra cond. by Peter Holman on Hyperion CDA 66700 (CD, 1994); re-issued as CDH 55341 (CD, 2009).
 [same], original harpsichord solo score. Recorded by Paul Nicholson (hpd) on Hyperion CDA 66564 (CD, 1992).
 From: Six Double Fugues for the Organ or Harpsichord (1750): Double Fugue No. 3 in F major; Double Fugue no. 4 in E minor. Recorded by Paul Nicholson on Hyperion CDA 66564 (CD, 1992).

Media

Bibliography
 Constant Lambert: "Thomas Roseingrave", in: Proceedings of the Musical Association, volume 58 no. 1 (1931), pp. 67–83.
 Stanley Sadie (ed.)The New Grove Dictionary of Music & Musicians (London: Macmillan, 1980).
 William H. Grindle: Irish Cathedral Music (Belfast: Institute of Irish Studies, 1989).
 Peter Holman: "Purcell and Roseingrave: A New Autograph", in: Curtis Price (ed.): Purcell Studies (Cambridge: C.U.P., 1995).
 Barra Boydell: Music at Christ Church before 1800. Documents and Selected Anthems (Dublin: Four Courts Press, 1999).
 Barra Boydell: A History of Music at Christ Church Cathedral, Dublin (Woodbridge, Surrey: Boydell Press, 2004).
 Kerry Houston: "Roseingrave family", in: H. White & B. Boydell: The Encyclopaedia of Music in Ireland (Dublin: UCD Press, 2013).

References

External links

1690s births
1766 deaths
18th-century classical composers
18th-century Irish composers
18th-century keyboardists
18th-century British male musicians
British male organists
English Baroque composers
English classical composers
English classical organists
English male classical composers
Irish Baroque composers
Irish classical composers
Irish classical organists
Irish male classical composers
Irish opera composers
Male classical organists
Male opera composers
Musicians from Dublin (city)
Organ improvisers

Thomas Roseingrave


An audiophile is a person who cares about how good music sounds on a stereo or other high fidelity sound system. An audiophile is interested in how to improve the sound quality of sound recordings, such as vinyl records and Compact Discs, as well as the equipment used to listen to recordings such as CD players, amplifiers and loudspeakers.

Audiophiles are always looking for ways to improve their sound system. There are discussion forums, magazines and clubs for audiophiles to share their ideas.

Some audiophiles believe that differences should be able to be measured in a scientific way. This type of audiophile is called an "objectivist".

Other audiophiles believe that "what sounds better" or "more musical" may not be measurable. They rely mostly on their own ears and preferences. This type of audiophile is called a "subjectivist".

Audiophile is also used as an adjective in descriptions of audio equipment and recorded music, where it is intended to imply high quality.

References

Other websites
 The Audio Critic - Thirty-year publication, now online only, with in-depth independent verification of vendors' claims.
  The Audio Press - Criticism of industry, magazines, and reviewers.
  Audiophilia - Online magazine featuring high-end audio equipment and music reviews.
  Enjoy the Music.com - High-end audio equipment, music reviews, show reports, and information.
  Positive Feedback Online - Print magazine that merged with audioMUSINGS and morphed into an online forum for the audio arts.
  Science and Subjectivism in Audio   Technically-detailed article by Douglas Self.
 6Moons.com - Online magazine.
 StereoTimes  - Equipment reviews and articles of general interest to audiophiles.
 TNT-Audio - Non-profit, Internet high-fidelity review.

Music

Audiophile


Arthur Hendrick Vandenberg (March 22, 1884 – April 18, 1951) was an American politician. Vandenberg was known for being part of the creation of the United Nations with Franklin D. Roosevelt.

Vandenberg was born in Grand Rapids, Michigan. He studied at the University of Michigan.

In 1906, Vandenberg was married to Elizabeth Watson. Watson died in 1917. They had three children. Vandenberg married Hazel Whittaker in 1918. Their marriage lasted until his death in 1951. They had no children.

He was the United States senator of Michigan. He served as senator from 1928 until his death in 1951. He was also the President pro tempore of the United States Senate from 1947 to 1949.

Vandenberg was a member of the Republican Party. He ran for President of the United States in 1948, but lost the primary to Thomas E. Dewey.

Vandenberg died in Grand Rapids, Michigan from cancer, aged 67.

References

Other websites

1884 births
1951 deaths
Cancer deaths in Michigan
Politicians from Grand Rapids, Michigan
Presidents pro tempore of the United States Senate
United States senators from Michigan
Republican Party (United States) politicians

Arthur H. Vandenberg


A ninja is a kind of spy or assassin who lived in Japan beginning in the 14th century.

History

Ninja (or shinobi) were a mystery in the History of Japan. The correct Japanese word for these warriors was shinobi-no-mono, which literally means "people who survive/endure". Ninja is easier to say; this is why it is more widely used. Shinobi-no-mono is the native Japanese word for ninja, while ninja is the Sino-Japanese word. Ninja warriors created secret associations and took part in many political killings. Their mystery comes from two ideas: 1) they always participated in secret spy operations and political killings; 2) ninja were hired by heads of armies as paid warriors (mercenaries). The art of fighting which was used by ninja was called ninjitsu, which was a combination of shinobi-no-jitsu and shinobi-jitsu.

Many people thought ninja were not normal people. People believed they could fly and had supernatural skills. Ninja existed during the entire history of Japan, but ninja only became specially trained people at the beginning of the 15th century. They mainly trained in the regions of Iga and Koga.

Ninja were involved in samurai wars and were hired by samurai for different missions, but at the same time samurai did not accept them as noble warriors because most of the ninja came from lower social classes. They were dangerous and could not be controlled. Their methods of fighting did not fit the samurai code. The samurai code was a code of honor. For example, the samurai warrior would show his rank and would only fight a samurai of equal or higher rank. Japanese land lords (daimyo) widely used the services of the Iga and Koga ninja in the period of 1485-1581. But in 1581, one of the three daimyo who united Japan – Oda Nobunaga attacked ninja from Iga province. The ninja remained alive and ran to the provinces Kii and Mikawa, where Tokugawa Ieyasu protected them. Later, Oda Nobunaga was killed by a samurai named Akechi Mitsuhide, who later became an enemy to Tokugawa Ieyasu.

The art of ninja fighting was passed down from father to son, or from master (sensei) to their best students. But in the middle of 17th century, Nakagawa Sosuntzin created a ninja school in the Mutsu Province. It was called Nakagawa-ryu and taught the ninjitsu method of fighting. Nakagawa Sosuntzin himself trained a group of 10 men, which he called Hayamiti-no-mono (men of the short hit). Ninja were taught many more things than a samurai. They had to be skilled at handling swords, spears, bows and many other weapons; but also they had to know about explosive and poisonous substances, to be a good path finder and to survive in different situations. Usually they were trained from young age and had to keep a very specific physical shape. Ninja were not allowed to be too light or too heavy. A ninja who could read and write was very appreciated.

Ninja clothing and equipment

It tends to be thought that a ninja usually wore black clothes which helped him to hide in the dark, however, they wore dark blue, red, or brown clothes, which are more quiet than black at night. In usual days, a ninja never wore showy dress and pretended to be another job, for example, a merchant, a traveling monk, a monkey showman and so on. If they had to fight on the battlefield, they put on a light armor, which protected them, but also allowed easy movement. On their feet they wore Japanese socks which separated the big toe (the socks were called tabi). The ninja outfit had many pockets for helpful gear. Chain armor was normally beneath their cloak in-case danger came their way like an ambush.

The diversity of ninja weapons and attributes is much wider than that of the samurai. The main weapon of ninja was the sword. Ninja swords were usually shorter than samurai katana and had a straight blade. When they climbed, the sword was put on the left shoulder, putting the handle of the sword was close to the left ear. Ninja also used different types of throwing knives, and a weapon for their fists called tagaki. They used metallic claws on their feet which helped them to climb and made their kicks more dangerous.

They are also very close to the other form of Japanese killer, a samurai.

As with Robin Hood or King Arthur, the ongoing presence of ninja in pop culture movies and manga often differs widely from their true origins.

Related pages
Samurai

References

Other websites
Methods of Fighting and Ninja Wearing Apparel
Hanami Web - Ninja

Samurai
Spies

Ninja


The JavaStation was a Network Computer (NC) developed by Sun Microsystems between 1996 and 2000, intended to run only Java applications.

The hardware is based on the design of the Sun SPARCstation series, a very successful line of UNIX workstations.
The JavaStation, as an NC, lacks a hard drive, floppy  or CD-ROM drive. It also differs from other Sun systems in having PS/2 keyboard and mouse interfaces and a VGA monitor connector.

Models
There were several models of the JavaStation produced, some being pre-production variants produced in very small numbers.

Production models comprised:
 JavaStation-1 (part number JJ-xx), codenamed Mr. Coffee: based on a 110 MHz MicroSPARC IIe CPU, this was housed in a cuboidal Sun "unidisk" enclosure.
 JavaStation-NC or JavaStation-10 (part number JK-xx) codenamed Krups: a redesigned Mr. Coffee with a 100 MHz MicroSPARC IIep CPU and enhanced video resolution and color capabilities. Krups was housed in a striking curved vertically oriented enclosure.

Models produced only as prototypes or in limited numbers included:
 JavaStation/Fox: a prototype of the Mr Coffee: essentially a repackaged SPARCstation 4 Model 110.
 JavaStation-E (part number JE-xx) codenamed Espresso: a Krups with PCI slots and a non-functional ATA interface in a restyled enclosure.
 Dover: a JavaStation based on PC compatible hardware, with a Cyrix MediaGXm CPU.
 JavaEngine-1: an ATX form-factor version of Krups for embedded systems.
 A 68030-based system designed by Diba, Inc. (later acquired by Sun) circa 1996, which could be considered a very early JavaStation-like system.

In addition, Sun envisioned a third-generation "Super JavaStation" after Krups, with a JavaChip co-processor for native Java bytecode execution. This doesn't appear to have been produced.

The JavaStation concept was superseded by the Sun Ray series of thin client terminals.

Operating systems
The JavaStation comes with JavaOS in the flash memory, but it is also possible to install Linux or NetBSD on the JavaStation.

References
 JavaStation Linux HOWTO
 NetBSD/sparc JavaStation information

Sun workstations
Network computer (brand)
SPARC microprocessor products
Computer-related introductions in 1996

JavaStation


Safinaz Kazem, also written Safynaz Kazem (Egyptian Arabic: صفيناز كاظم, born 17 August 1937 in Alexandria), is an Egyptian author and literary critic.

After obtaining her Bachelor of Arts degree in journalism from Cairo University in 1959, she wrote many articles.

Safinaz Kazem began her training as a journalist at Akhbar El Yom newspaper in November 1955, while still a student at the Faculty of Arts, Cairo University. Later she worked at the magazines Akher Saa and Al-Geel Al-Gadeed, then she moved to Al-Helal Publishing House as a writer and theatrical critic for the magazines Al-Musawar, Al-Helal, and Al-Kawakeb.

Currently, she contributes to the Egyptian Almasry Alyoum. and the Saudi Asharq Al-Awsat daily newspapers.

On 24 August 1972, Safinaz Kazem married the renowned Egyptian vernacular poet Ahmed Fouad Negm and their only daughter, Nawara, was born in October 1973, during the October War. Kazem and Negm divorced in July 1976.

Her experience in Iraq
After suffering harassment by the Sadat regime, which she used to criticise, Safinaz Kazem went to Iraq and joined the staff of the Al-Mustansiriya University Faculty of Arts in Baghdad as a drama lecturer (1975–1980). She later documented her experiences under the Saddam regime and its 'atrocities' against the Iraqi people in a controversial book that she published in London under the title of The Bagdad Diary (Arabic: يوميات بغداد) in 1982.

Her writings
 Romantikeyyat ('Romantics'; Arabic: رومانتيكيات), Al-Helal Publishing House, 1970.
 Yawmeyyat Bagdad ('The Bagdad Diary'; Arabic: يوميات بغداد).
 Talabeeb Al-Ketaba (Arabic: تلابيب الكتابة).
  Al-Khade'aa An-Nassereyya ('The Nasserist Trick'; Arabic: الخديعة الناصرية).
 Fi Mas'alat As-Sofour wal-Hijab ('On Sofour and Hijab; Arabic: في مسألة السفور والحجاب).
 Ro'aa wa Zaat (Arabic: رؤى وذات).
 Al-Hakika wa Ghaseel Al-Mokh ('Facts and Brainwashing'; Arabic: الحقيقة وغسيل المخ).
 Men Malaff Masrah As-Setteeneyyat (Arabic: من ملف مسرح الستينيات).
 Masrah Al-Masraheyyeen (Arabic: مسرح المسرحيين).
 Men Daftar Al-Molahazaat (Arabic: من دفتر الملاحظات).
 An Al-Hobb wal-Horreyya ('On Love and Liberty; Arabic: عن الحب والحرية).
 Taxi El-Kalam (Arabic: تاكسي الكلام).
 San'et Latafa (Arabic: صنعة لطافة).
 Soorat Saddam (Arabic: صورة صدام).
 Resaleyyat fi Al-Bayt An-Nabawy (Arabic: رساليات في البيت النبوي).

References

1937 births
Living people
Egyptian journalists
Egyptian writers
Egyptian Muslims
Writers from Alexandria
Cairo University alumni
Academic staff of Al-Mustansiriya University

Safinaz Kazem


Blue Barron (November 19, 1913 – July 16, 2005), born Harry Freidman, was an American orchestra leader in the 1940s and early 1950s during the Big Band  era. His band's more subdued tone was referred to as "Sweet" music to distinguish it from the "Swing" bands of the era.  Barron's orchestra began in the New York City area but later toured the U.S. and performed at popular venues in Los Angeles where they also appeared in several motion pictures and recorded a number of LPs.

Early years
Born in Cleveland, Ohio, United States, Freidman studied at Ohio State University before going into show business. He adopted the stage name Blue Barron and by 1940 had created his own orchestra.

Career
His first group played on the Floating Palace showboat at Troy, New York, in October 1936. A newspaper report said the group "made an over night hit at the Floating Palace and remained there for 22 weeks."

National Service and honors
During World War II, Barron served with the United States Army and at war's end resumed his musical career. He was able to work in the industry for another ten years until the Big Band era gave way to new musical forms. For his contribution to the recording industry, he has a star on the Hollywood Walk of Fame at 1724 Vine Street. Barron hit number 1 for two weeks in 1949 with "Cruising Down The River". The record sold over one million copies, gaining gold disc status.

Death
Blue Barron died in 2005, at the age of 91, in Baltimore, Maryland, and is interred in Baltimore.

References

External links

 Christopher Popa on Blue Barron (February 2005)

1913 births
2005 deaths
United States Army personnel of World War II
American bandleaders
Big band bandleaders
Jewish American musicians
Musicians from Cleveland
Ohio State University alumni
20th-century American musicians
United States Army soldiers
20th-century American Jews
21st-century American Jews
Bluebird Records artists
MGM Records artists

Blue Barron


The Price is Right is a USA game show on  CBS. The current version started in 1972, and was hosted by Bob Barker for a long time. However, in 2006, Bob Barker announced that he would leave the show. His last episode aired in June 2007. Comedian Drew Carey is now the host; his first episode aired in October 2007.

In this game, a person uses his shopping skills to correctly guess the price of different products, like in a market. Some products are simple household items, like toothpaste and vitamins. Other items are more expensive products, like furniture and cars. After the third and sixth games, the "Showcase Showdown" is played. The three players who got on stage in both halves of the show spin a wheel. They get two spins of the wheel. They have to be closest to $1.00 without going over. The person with the highest total moves on to the Showcase at the end of the show. If a player gets $1.00, they win $1,000 and get another spin. If they hit the $1.00 space on that spin, they win another $25,000. If they hit the 5¢ or 15¢ space, they win another $10,000. In the Showcase, the winners of the two Showcase Showdown games are shown prize packages. They make a bid on them, and whoever comes closest to the price of their showcase without going over wins it. If they are $250 or less from the price of their showcase, they win both showcases. If someone's bid was higher than the price of the real price, that person went over, and was disqualified from winning in that round.

From 1956 - 1963, the show aired on NBC and was hosted by Bill Cullen. From 1963 - 1965, the show aired on ABC and was also hosted by Bill Cullen.

Three nighttime syndicated versions of the show aired. The first one aired from 1972 to 1980. Until 1977, it was hosted by Dennis James. For the rest of its run, it was hosted by Bob Barker. From 1985 - 1986, another nighttime version of the show, named The Nighttime Price Is Right, was made and was hosted by Tom Kennedy. A third nighttime version, The New Price Is Right, was made from 1994 - 1995 and was hosted by Doug Davidson. Also special million dollar prime-time episodes where people could play different versions of games for $1,000,000 were made due to CBS shows being canceled.

Television game shows
CBS network shows
NBC network shows
First run syndicated television programs

The Price is Right


Jaume Bartumeu Cassany, GCIH (; born 10 November 1954) is an Andorran lawyer and politician, who served as the prime minister of Andorra from 2009 to 2011. He was a founding member of the Social Democratic Party (PS) in June 2000, in which he held the position of first secretary between 2000 and 2004. He was the leader of the opposition at the General Council between 2005 and 2009.

Political career
In May 2008, he was designated candidate for head of government at the 2009 General election by his party.

Prime Minister
In the parliamentary election held on 26 April 2009, Bartumeu's party was the clear winner with a 45,03% of the national list vote and the majority in 4 of the 7 parishes, giving to the Social Democratic Party a relative majority of 14 seats out of 28. He was therefore the only candidate that could achieve the necessary majority to be invested head of the government of Andorra during the parliamentary vote held on May 29, 2009. Following the ApC's decision to abstain, however, he failed to be elected in that session (he received 14 votes and Joan Gabriel of the Reformist Coalition 11; 15 were required); another vote was set for 3 June 2009. He was confirmed on 3 June 2009 with a simple majority of 14 votes, and took office on 5 June 2009.

His party was heavily defeated in the 2011 parliamentary election.

Offices held

 2001–2009 : Member of the General Council, head of the Social-Democrat parliamentary group. Member of the Andorran delegation to the Council of Europe from 2004 to 2008.
 1993–2001 : Member of the General Council, head of the Nova Democracia parliamentary group. Member of the Andorran delegation to the Council of Europe from 1995 to 2001.
 1992–1993 : Member of the General Council elected by Andorra-la-Vella. Member of the legislative commission in charge of the constituent process.
 1990–1992 : Minister of Finance, Commerce and Industry.

Other positions
 Founder of the Culture and Human rights commission of the Andorran Bar Association in 1983.
 Member of the Andorran Bar Council between 1986 and 1989.
 Member of the Executive Committee of the International Association of Young Lawyers (A.I.J.A.) from 1987 to 1990.
 Vice-president of the Human Rights sub-commission of the Parliamentary Assembly of the Council of Europe in 2004.
 President of the Council of Europe sub-commission about criminal problems and fight against terrorism in 2005. Re-elected at this position in April 2006 and January 2007.
 Representative of the members of parliament of the Council of Europe at the Group of States Against Corruption (GRECO)
 Since January 2007, he is, in addition, member of the bureau for the socialist group at the Parliamentary Assembly of the Council of Europe.

Honours
 Grand-Cross of the Order of Prince Henry, Portugal (5 March 2010)

Notes and references

External links

govern.ad Andorra Government website
Jaume Bartumeu official website

1954 births
Andorran lawyers
Heads of Government of Andorra
Finance Ministers of Andorra
People from Andorra la Vella
Toulouse 1 University Capitole alumni
University of Barcelona alumni
Grand Crosses of the Order of Prince Henry
Living people
Members of the General Council (Andorra)
Social Democratic Party (Andorra) politicians

Jaume Bartumeu


Marina Sylvie Foïs (born 21 January 1970) is a French actress.

Life and career

Born in Boulogne-Billancourt in the department of Hauts-de-Seine in a family from Russian, Jewish Egyptian, German and Italian ancestry, Marina Foïs was discovered in 1986 for her comedy work in The School for Wives, at the age of 16.  She decided to take classes by correspondence and obtained her high school final exam two years later. She then joined The Royal Imperial Green Rabbit Company, which later became Les Robins des Bois, composed of students from the Cours Florent taught by Isabelle Nanty.

The troupe caught the attention of Dominique Farrugia in 1996 and went on to act and direct in the Comédie+ show La Grosse Émission for two years. During that period, Foïs co-wrote sketches with Pierre-François Martin-Laval, playing a number of various characters, like the dim-witted Sophie Pétoncule and the pedantic director Marie-Mûre. The show continued the next year on Canal+ and had a bigger audience. In June 2001, Foïs and the troupe parted ways to focus on their individual film careers. Marina Foïs became a prolific actress, with two to five films released every year.

On 25 November 2020, it was announced that she will be the host for the 46th César Awards.

Personal life
Marina Foïs has two sisters.  Giulia Foïs is a journalist at Libération and a former columnist in the program Arrêt sur images presented by Daniel Schneidermann on France 5, and a current news anchor on I-Télé.  Her second sister Elena is a doctor.  Their brother, Fabio, died of an airplane crash while participating in an aerobatic demonstration.

Marina was in a partnership with fellow "Robins des Bois" actor Maurice Barthélemy. She also dated Maxime Lefrançois, Mister Univers 2010.

She started dating the director Éric Lartigau in 1999. On 3 December 2004 she gave birth to a boy, Lazare, at the Hôpital Saint-Antoine in Paris. They had a second son, Georges, born on 25 September 2008.

Filmography

Dubbing

Theater

Awards and nominations

César Award

Etoile d'Or

Globes de Cristal Awards

Lumières Award

Feroz Awards

Goya Awards

References

External links

1970 births
Living people
French stage actresses
French television actresses
French film actresses
Cours Florent alumni
Actors from Boulogne-Billancourt
20th-century French actresses
21st-century French actresses
French people of Egyptian-Jewish descent
French people of Russian descent
French people of German descent
French people of Italian descent
French people of Sardinian descent

Marina Foïs


A wetsuit is a garment used by scuba divers, snorkelers, windsurfers, and surfers to keep themselves warm when they are in cold ocean water. Wetsuits act as insulation invented by Jack O'Neill, and help the body to retain its heat. Wetsuits are made of plastic or rubber materials such as neoprene. Wetsuits include torso coverings, leggings, head coverings, and hand and feet coverings.

Partial wetsuits
When people are doing diving or water sports in areas where the water is not very cold, they may only wear some parts of a wetsuit, such as a torso covering or leggings.

Wet suits are garments that oceangoers wear!
It's very vital when going to the ocean and dive because it serves as a life and system protector.

Full wetsuits
Deepwater divers often wear full wetsuits that include torso coverings, leggings, head coverings, and hand and feet coverings. In very cold water, a scuba diver may need to wear a dry suit.
 Dry suit - a type of protective clothing for scuba divers that keeps the diver dry. Dry suits do not allow water to touch the diver's body. This means that dry suits can be worn for scuba diving in very cold ocean water, such as the Arctic Ocean.

Swimwear

Wetsuit


Daegu (대구, also spelled Taegu, officially called Daegu Metropolitan City) is a city in South Korea. It is between Seoul and Busan, but is closer to Busan. Daegu is the fourth largest city in South Korea. About 2.4 million people live in Daegu. Of South Korea's 16 cities and provinces, Daegu is the poorest in terms of GDP per capita 2010 at $18,887 according to the IMF. However, Suseong district , is one of the wealthiest districts in the nation. It is also renowned for ultracompetitive and mostly gender-segregated public high schools, following closely the School District Eight in Gangnam and Seocho  with their performance. Therefore, the wealth disparity within the city is wider than many other cities in Korea. For example, even though Daegu has the lowest GDP per capita, Daegu has the third largest  percentage of residents who has the net asset higher than 1 Billion KRW, following Seoul and Busan and followed by Gyeonggi Province. Suseong district topped all other districts in metropolitan areas, minus Seoul.

Daegu residents are also regarded by all other South Koreans as the widely ultraconservative.

History
In 1995, 101 people were killed by gas explosions. In 2003, 192 people were killed in a subway fire.

Climate
Daegu has a humid subtropical climate (Cwb in the Koeppen climate classification). Summer is hot, with very high rainfall. Daegu is one of the hottest cities in Korea. Winters are dry and cool.

Popular places
Palgong Mountain is north of Daegu. It is famous for Donghwa Temple and Gatbawi. Gatbawi is a statue of Buddha.
Apsan(Ap Mountain), also called Daedeok Mountain has many well known restaurants. It is a good place to hike. Many hikers visit the Apsan Mountain. The downtown area of Daegu is Dongseongro. There is a festival every year in June. It also is the shopping center of Daegu. Woobang Tower Land is an amusement park with many rides and roller coasters. Daegu is also famous for having Daegu Stadium where the World Cup tournament was held in 2002.

Culture
Daegu was the known for apples in Korea before 1990. Daegu has a herbal medicine market located in a street 1 kilometre long. The textile (cloth) industry was the primary industry from the 1960s but has seen drastic decline to the present day.. People in Daegu enjoy food. One example is ddeokbokki. Ddeokboki is a Korean rice cake with spicy red pepper sauce and vegetables. Foods in Daegu are usually more spicy and salty than in other cities.

Daegu is widely regard by majority of Koreans and its own residents as the most conservative in its approach to values and life. A fact that is widely broad up and which all of Daegu people are proud of. Every district within the city shares a similar theme in its collection of business- Phone Retails Shops, Ghim-bab cheap food shops, plant shops, Paris Bagguette or Tour Les Jours chain bakeries, Karaoke dens which sometimes double as "good-time" business clubs, family owned and operated pharmacies, Korean Barbecue eateries.

Non-Korean citizens do not open businesses of any size within the city because city legislation dictates that two or more Koreans are required be partnered to the businesses. The effect is every functioning business is owned and envisioned solely by a South Korean national.

Unlike more famous cities such as Seoul or Busan, there is a single, homogeneous dominant culture in Daegu - Right-wing orthodox South Korean ultra-conservatives.

Foreign nationals form only three classes of long-term residents:
In descending numbers:
(1) US Army personnel and their families garrisoned within three giant military bases located in Daegu.
(2) Immigrant workers typically from Uzbekistan and Philippines hired to labour cheaply in Seo-Gu factories (all of West Daegu).
(3) Foreign English teachers from the USA or UK clustering together. The white-skinned is held by local Daegu beliefs in improved teaching quality derived, and also a point of bragging to others -  a popular Daegu boast, "My son has a white-skinned English teacher.".

Short-term residents:
(1) Japanese & Chinese National exchange or language students (closest neighbours) who will find the racial climate: emotional & touchy. Japanese: averages 3 to 4 months before permanent departure. Chinese: 7–9 months before permanent departure, or VISA expiration and deportation.
(2) Adventurous backpackers passing through for two days as they tour the Korean Peninsula.

References

Cities in South Korea

Daegu


A Personal Navigation Assistant (PNA) also known as Personal Navigation Device or Portable Navigation Device (PND) is a portable electronic product which combines a positioning capability (such as GPS) and navigation functions.

Some PNA devices are PDAs with limited features and can be unlocked.

History
The earliest PNAs were hand-held GPS units (circa mid-1980s) which were capable of displaying the user's location on an electronic map. These units included simple navigation functions such as course-to-steer and course-made-good. This first generation of PNAs were used by the US military.

Market developments

According to the analyst firm Berg Insight, there were more than 150 million turn-by-turn navigation systems worldwide in mid-2009, including about 35 million factory installed and aftermarket in-dash navigation systems, over 90 million Personal Navigation Devices (PNDs) and an estimated 28 million navigation-enabled mobile handsets with GPS.

The term PNA has come into widespread use with the growing popularity of automobile navigation systems. The latest generation of PNA have sophisticated navigation functions and feature a variety of user interfaces including maps, turn-by-turn guidance and voice instructions. To reduce total cost of ownership and time to market, most modern PNA devices such as those made by Garmin Ltd., Mio Technology Ltd. or TomTom International BV. are running an off-the-shelf embedded operating system such as Windows CE or Embedded Linux on commodity hardware with OEM versions of popular PDA Navigation software packages such as TomTom Navigator, I-GO 2006, Netropa IntelliNav iGuidance, or Destinator.

Other manufacturers like Garmin and Magellan prefer to bundle their own software developed in-house. Because many of these devices use an embedded OS, many technically inclined users find it easy to modify PNAs to run third party software and use them for things other than navigation, such as a low-cost audio-video player or PDA replacement.

Meantime, Nokia, Samsung Electronics, Motorola and other handset makers will sell 162 million GPS equipped phones in 2007, dwarfing the 20 million units Garmin and TomTom have forecast they will sell combined, according to iSuppli, a leading market researcher in California.

The inclusion of Google Maps Navigation in Android devices such as Motorola Droid and Nokia's announcement of free Ovi Maps lead to many people using their smartphones instead of having a separate PNA for trip navigation.

संदर्भ

See also
 GPS navigation device
 PDA
 Car navigation
 Traffic Message Channel

Consumer electronics
GPS navigation devices

नाम प्राधिकरण फाइल


Guido Tallone (Bergamo, 1894 – Alpignano, 1967) was an Italian painter.

Biography
Son of the painter Cesare Tallone, he took his father's courses at the Brera Academy. He fought in World War I and, after returning to Milan, continued to study painting, focusing on portraits and landscapes. The latter were frequently set in the environs of Alpignano where he and his family often used to stay in the house he inherited from his mother Eleonora Tango. He exhibited his works for the first time in the 1923 Esposizione Annuale della Società per le Belle Arti ed Esposizione Permanente in Milan. In the 1920s the artist made several productive trips to Berlin, Paris, Madrid and North Africa; he also stayed frequently in Switzerland, where he was highly rated as a portraitist. In 1930 he took part in his first Venice Biennale, where he displayed his works fairly regularly until 1948. That same year he organized a solo exhibition at the Galleria Pesaro in Milan, with the help of his gallerist brother Ermanno and the painter Aldo Carpi. After taking refuge in Venice in 1943, after the war and during the 1950s he worked in his studios in Milan and on Burano and Torcello, also travelling widely in Europe and to the United States.

Bibliography
 Laura Casone, Guido Tallone , online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA (source for the first revision of this article).

Other projects

20th-century Italian painters
Italian male painters
Italian landscape painters
1894 births
1967 deaths
20th-century Italian male artists

Guido Tallone