Severe Tropical Storm Linda, also known as Typhoon Linda, Cyclonic Storm Linda (BOB 08), or in the Philippines as Tropical Depression Openg, was the worst typhoon in southern Vietnam in at least 100 years, killing thousands of people and leaving extensive damage. It formed on October 31, 1997, in the South China Sea, between Indochina and the Philippines. Strengthening as it moved westward, Linda struck extreme southern Vietnam on November 2 with winds of , dropping heavy rainfall. Once in the Gulf of Thailand it strengthened further to minimal typhoon status, but weakened to tropical storm strength before crossing the Malay Peninsula into the Bay of Bengal, the first storm to do so in five years. It restrengthened in the Indian Ocean to typhoon status, but increasing wind shear and weakened steering currents caused Linda to dissipate on November 9.

The worst of Linda's impact was in Vietnam, where 3,111 people were killed, and damage totaled $385 million (USD). Heavy rainfall caused flooding, which damaged or destroyed about 200,000 houses and left about 383,000 people homeless. Widespread crop and transportation damage also occurred, the latter which impeded relief efforts. Several countries around the world sent relief aid, including medical teams, food, and clothing. However, the food supply and health status of the storm victims proved not as bad as originally feared. Linda later struck Thailand, causing flash flooding and at least 164 deaths. The storm also affected Burma (Myanmar), Indonesia, Malaysia, and Cambodia to a lesser degree.

Meteorological history

The origins of Typhoon Linda were from an area of convection that were first noted east of the Philippines on October 26. A subtropical ridge persisted to the north, which caused the disturbance to move generally westward. On October 29, the system crossed the Philippines and entered the South China Sea. It subsequently began to organize, and late on October 31, the Joint Typhoon Warning Center (JTWC) initiated advisories on Tropical Depression 30W. At that time, the system was located off the northwest coast of Borneo. The PAGASA organization named it "Openg".

Shortly after developing, the depression intensified into a tropical storm, and was named "Linda" by the JTWC. It continued to intensify, reaching winds of  as it approached southern Vietnam. At 0900 UTC on November 2, Linda made landfall in the Vietnamese province of Cà Mau. It maintained its strength over land, and the storm quickly reached typhoon status after entering the Gulf of Thailand; a typhoon is a tropical cyclone with winds of at least , although Linda did not intensify beyond minimal typhoon status. Turning northwestward, Linda deteriorated to tropical storm strength, and struck Thailand late on November 3 with winds of .

Linda weakened further over the mountainous terrain of the Malay Peninsula, and the storm emerged into the Andaman Sea with winds of . This made Linda the first tropical cyclone since Tropical Storm Forrest in 1992 to cross from the western Pacific Ocean into the Indian Ocean. Additionally, upon reaching the Indian Ocean, the India Meteorological Department (IMD) classified the storm as Cyclonic Storm BOB 08, with winds of . With warm waters, Tropical Storm Linda gradually re-intensified as it slowed down, due to a weakness in the subtropical ridge. On November 6, it again attained typhoon status while located off the southwest coast of Burma (Myanmar). Initially, it was expected to cross the Bay of Bengal and make landfall near the India/Bangladesh border. The cyclone only maintained peak strength for 18 hours, due to an increase in wind shear from a mid-latitude trough. Linda's motion became nearly stationary, and it gradually weakened for several days. On November 9, Linda dissipated about  southwest of Yangon, Burma. That day, the IMD also terminated advisories.

Impact and aftermath

Prior to the arrival of the storm, officials in Vietnam issued warnings to the residents, although its approach was faster than expected, and the region rarely experiences tropical cyclones. Tropical Storm Linda dropped heavy rainfall across southern Vietnam, peaking at  in Cần Thơ. The storm caused heavy damage in the country, particularly in the southernmost province of Cà Mau where it struck, but also in Bạc Liêu, Sóc Trăng, and Kiên Giang. The most severely affected regions were poor fishing communities. Overall, the storm damaged 139,445 houses and wrecked 76,609 more, which left 383,045 people homeless. Thousands of schools were damaged, and 130,815 dykes were breached. Additionally, the storm destroyed at least 3,122 boats. The rainfall also flooded  of rice paddy crop, about half of which in Cà Mau. A preliminary damage total was estimated at 7.18 trillion dongs (US$385 million).

Typhoon Linda caused considerable deaths in Vietnam. Many fishermen and sailors were caught at sea in the path of the storm, unable to escape its path. Within three days, the death toll in Vietnam was set at over 150, with thousands missing, many of them fishermen. By the fourth day after the storm, the toll reached 390, and on November 14, eight days after the storm, the death toll reached 464. Ultimately, the death toll was set at 3,111. Eight days after Linda's passage, a United Nations Department of Humanitarian Affairs (DHA) report indicated 857 people were injured by the storm. The government quickly established search and rescue teams, particularly for missing fishermen, and a total of 3,513 people were rescued after the storm. In the weeks after the storm, hundreds of dead bodies washed ashore in Vietnam and Thailand.

The Vietnamese government identified basic supplies that it needed in response to the storm; those included various foods, clothing, medicine, shelter supplies, and sanitation equipment. The country made a formal request for international assistance, noting that the storm was the worst in 100 years, and officials had limited resources due to the unexpected destruction. Prior to the request, the government of Switzerland sent about 500,000 Swiss francs (US$360,000) for immediate relief assistance. Subsequently, ten other countries sent cash or relief supplies worth $2.6 million, including medical shelters from the United States, clothing from the United Kingdom, tents from Russia, and transport goods from Japan. Red Cross workers had to travel by riverboat to bring aid to the most affected communities, due to the poor state of the roads. After two months, the Red Cross distributed 65,401 roofing sheets, 390 metric tons of rice, 11,990 mosquito nets, 6,871 blankets, 3,664 medical kits, and abundant clothing supplies to about 150,000 affected people; the supplies were purchased in Ho Chi Minh City. Eventually, the food supply and health status of the storm victims proved not as bad as originally feared. After the assistance was distributed, the Red Cross shifted focus toward reconstruction. Reconstruction was slow, partly due to a slowdown in economic activity from the Vietnamese New Year. Additionally, the two primary factories responsible for making iron and construction frames were only intermittently open, due to machines failing.

Elsewhere, moderate damage was also reported in Thailand, where at least 12 casualties were reported on land, and at least 152 fishermen were killed at sea. Flash flooding occurred in six districts, which damaged about  of croplands and destroyed 12 houses. Land transportation was affected, with 184 roads and 14 bridges damaged. The government of Thailand sent 20 medical teams to the most affected areas. Following the storm, about 10,600 people became sick from flood related diseases. Heavy rains fell in Tanintharyi Division in southeastern Burma (Myanmar), although because the winds were not strong, there was little damage. The typhoon increased smog and haze in Indonesia and Malaysia, which had been occurring for weeks. In Indonesia, the typhoon also removed atmospheric moisture, which lowered the chance for rain in areas affected by wildfires. Cambodia was also affected by the outskirts of the storm.

See also

 Typhoon Durian
 Tropical Depression Wilma (2013)
 Typhoon Muifa (2004)
 Typhoon Tembin (2017)

References

External links

JMA General Information of Severe Tropical Storm Linda (9726) from Digital Typhoon
JMA Best Track Data (Graphics) of Severe Tropical Storm Linda (9726)
JMA Best Track Data (Text)
JTWC Best Track Data of Typhoon 30W (Linda)
30W.LINDA from the U.S. Naval Research Laboratory

1997 in Vietnam
1997 Pacific typhoon season
Typhoons in the Philippines
Typhoons in Thailand
Typhoons in Vietnam
Western Pacific severe tropical storms
History of Cần Thơ
History of Cà Mau Province
History of Bạc Liêu Province
History of Sóc Trăng Province
History of Kiên Giang Province

Tropical Storm Linda (1997)


A virtual globe is a three-dimensional (3D) software model or representation of Earth or another world. A virtual globe provides the user with the ability to freely move around in the virtual environment by changing the viewing angle and position. Compared to a conventional globe, virtual globes have the additional capability of representing many different views of the surface of Earth. These views may be of geographical features, man-made features such as roads and buildings, or abstract representations of demographic quantities such as population.

On November 20, 1997, Microsoft released an offline virtual globe in the form of Encarta Virtual Globe 98, followed by Cosmi's 3D World Atlas in 1999. The first widely publicized online virtual globes were NASA WorldWind (released in mid-2004) and Google Earth (mid-2005).

Types
Virtual globes may be used for study or navigation (by connecting to a GPS device) and their design varies considerably according to their purpose. Those wishing to portray a visually accurate representation of the Earth often use satellite image servers and are capable not only of rotation but also zooming and sometimes horizon tilting. Very often such virtual globes aim to provide as true a representation of the world as is possible, with worldwide coverage up to a very detailed level. When this is the case, the interface often has the option of providing simplified graphical overlays to highlight man-made features, since these are not necessarily obvious from a photographic aerial view. The other issue raised by such detail available is that of security, with some governments having raised concerns about the ease of access to detailed views of sensitive locations such as airports and military bases.

Another type of virtual globe exists whose aim is not the accurate representation of the planet, but instead a simplified graphical depiction. Most early computerized atlases were of this type and, while displaying less detail, these simplified interfaces are still widespread since they are faster to use because of the reduced graphics content and the speed with which the user can understand the display.

List of virtual globe software

As more and more high-resolution satellite imagery and aerial photography become accessible for free, many of the latest online virtual globes are built to fetch and display these images. They include:

 ArcGIS Explorer, a lightweight client for ArcGIS Server, supports WMS and many other GIS file formats.
 Bing Maps, 3D interface runs inside Internet Explorer and Firefox, and uses NASA Blue Marble: Next Generation.
 Bhuvan is an India-specific virtual globe.
 Earth3D, a program that visualizes the Earth in a real-time 3D view. It uses data from NASA, USGS, the CIA and the city of Osnabrück. Earth3D is free software (GPL).
 EarthBrowser, an Adobe Flash/AIR-based virtual globe with real-time weather forecasts, earthquakes, volcanoes, and webcams.
 Google Earth, satellite and aerial photos dataset (including commercial DigitalGlobe images) with international road dataset, the first popular virtual globe along with NASA World Wind.
 MapJack is a flash based map covering areas in Canada, France, Latvia, Macau, Malaysia, Puerto Rico, Singapore, Sweden, Thailand, and the United States.
 Marble, part of KDE, with data provided by OpenStreetMap, as well as NASA Blue Marble: Next Generation and others. Marble is free and open-source software (LGPL).
 NASA World Wind, USGS topographic maps and several satellite and aerial image datasets, the first popular virtual globe along with Google Earth. World Wind is open-source software (NOSA).
 NORC is a street view web service for Central and Eastern Europe.
 OpenWebGlobe, a virtual globe SDK written in JavaScript using WebGL. OpenWebGlobe is free and open-source software (MIT).
 WorldWide Telescope features an Earth mode with emphasis on data import/export, time-series support and a powerful tour authoring environment.

As well as the availability of satellite imagery, online public domain factual databases such as the CIA World Factbook have been incorporated into virtual globes.

History

In 1993 the German company ART+COM developed a first interactive Virtual globe, the project Terravision; supported by the Deutsche Post as a "networked virtual representation of the Earth based on satellite images, aerial shots, altitude data and architectural data".

The use of virtual globe software was widely popularized by (and may have been first described in) Neal Stephenson's famous science fiction novel Snow Crash. In the metaverse in Snow Crash, there is a piece of software called Earth made by the Central Intelligence Corporation (CIC). The CIC uses their virtual globe as a user interface for keeping track of all their geospatial data, including maps, architectural plans, weather data, and data from real-time satellite surveillance.

Virtual globes (along with all hypermedia and virtual reality software) are distant descendants of the Aspen Movie Map project, which pioneered the concept of using computers to simulate distant physical environments (though the Movie Map's scope was limited to the city of Aspen, Colorado).

Many of the functions of virtual globes were envisioned by Buckminster Fuller who in 1962 envisioned the creation of a Geoscope that would be a giant globe connected by computers to various databases. This would be used as an educational tool to display large scale global patterns related to topics such as economics, geology, natural resource use, etc.

See also
 Digital Earth
 Geovisualization
 Geoweb
 Macroscope (science concept)
 Orbiter
 Planetarium software
 Science On a Sphere
 Terravision (computer program)
 Terragen

References

External links
 VirtualGlobes@Benneten – screenshots of many virtual globes

Atlases
Map types

Virtual reality
Geodesy

Virtual globe


Clarkridge, Arkansas (formerly Clark Ridge) is an unincorporated community in Baxter County, Arkansas, United States. The community is located near the end of Arkansas Highway 201 near the Missouri state line. Clarkridge has one post office, three churches, one gas station/quik stop store, and one resort on Norfork Lake. Clarkridge has a Volunteer Fire Department consisting of four fire stations and over 30 volunteer firefighters.  The community is very active in helping the extended community and has won the Arkansas Volunteer Community of the Year award for 13 of the past 14 years.

References

Unincorporated communities in Baxter County, Arkansas
Unincorporated communities in Arkansas

Clarkridge, Arkansas


Human-centered design (HCD, also human-centred design, as used in ISO standards) is an approach to problem-solving commonly used in  process, product, service and system design, management, and engineering frameworks that develops solutions to problems by involving the human perspective in all steps of the problem-solving process. Human involvement typically takes place in initially observing the problem within context, brainstorming, conceptualizing, developing of concepts and implementing the solution.

Human-centered design is an approach to interactive systems development that aims to make systems usable and useful by focusing on the users, their needs and requirements, and by applying human factors/ergonomics, and usability knowledge and techniques. This approach enhances effectiveness and efficiency, improves human well-being, user satisfaction, accessibility and sustainability; and counteracts possible adverse effects of use on human health, safety and performance. ISO 9241-210:2019(E)

Human-centered design builds upon participatory action research by moving beyond participants'  involvement and producing solutions to problems rather than solely documenting them. Initial stages usually revolve around immersion, observing, and contextual framing in which- innovators immerse themselves in the problem and community. Subsequent stages may then focus on community brainstorming, modeling and prototyping and implementation in community spaces.

Development
Human-centered design has its origins at the intersection of numerous fields including engineering, psychology, anthropology and the arts. As an approach to creative problem-solving in technical and business fields its origins are often traced to the founding of the Stanford University design program in 1958 by Professor John E. Arnold who first proposed the idea that engineering design should be human-centered. This work coincided with the rise of creativity techniques and the subsequent design methods movement in the 1960s. Since then, as creative design processes and methods have been increasingly popularized for business purposes, the standardized and defined human-centered design  is mistakenly equated with the vaguely outlined "design thinking".

In Architect or Bee?,  Mike Cooley coined the term "human-centered systems" in the context of the transition in his profession from traditional drafting at a drawing board to computer-aided design. Human-centered systems, as used in economics, computing and design, aim to preserve or enhance human skills, in both manual and office work, in environments in which technology tends to undermine the skills that people use in their work.

See in particular; Human-centered systems by Mike Cooley; Chapter 10; Designing Human-centered Technology: A Cross-disciplinary Project in Computer-aided Manufacturing; Springer-Verlag London 1989; Editor: Howard Rosenbrock;

In the 2008 paper "On Human-Machine Symbiosis" Cooley asserts "Human centeredness asserts firstly, that we must always put people before machines, however complex or elegant that machine might be, and, secondly, it marvels and delights at the ability and ingenuity of human beings. The Human Centered Systems movement looks sensitively at these forms of science and technology which meet our cultural, historical and societal requirements, and seeks to develop more appropriate forms of technology to meet our long-term aspirations. In the Human Centered System, there exists a symbiotic relation between the human and the machine, in which the human being would handle the qualitative subjective judgements and the machine the quantitative elements. It involves a radical redesign of the interface technologies and at a philosophical level, the objective is to provide tools (in the Heidegger sense) which would support human skill and ingenuity rather than machines which would objectivise that knowledge".

User participation

The user-oriented framework relies heavily on user participation and user feedback in the planning process. Users are able to provide new perspective and ideas, which can be considered in a new round of improvements and changes. It is said that increased user participation in the design process can garner a more comprehensive understanding of the design issues, due to more contextual and emotional transparency between researcher and participant. A key element of human centered design is applied ethnography, which is a research method adopted from cultural anthropology. This research method requires researchers to be fully immersed in the observation so that implicit details are also recorded.

Rationale for adoption

Even after decades of thought on "Human Centered Design", management and finance systems still believe that 'another's liability is one's asset' could be true of porous human bodies, embedded in nature and inseparable from each other. On the contrary, our biological and ecological interconnections ensure that 'another's liability is our liability'. Sustainable business systems can only emerge if these biological and ecological interconnections are accepted and accounted for.

Using a human-centered approach to design and development has substantial economic and social benefits for users, employers and suppliers. Highly usable systems and products tend to be more successful both
technically and commercially. In some areas, such as consumer products, purchasers will pay a premium for well-designed products and systems. Support and help-desk costs are reduced when users can understand
and use products without additional assistance. In most countries, employers and suppliers have legal obligations to protect users from risks to their health, and safety and human-centered methods can reduce these risks (e.g. musculoskeletal risks). Systems designed using human-centered methods improve quality, for example, by:

 increasing the productivity of users and the operational efficiency of organizations
 being easier to understand and use, thus reducing training and support costs
 increasing usability for people with a wider range of capabilities and thus increasing accessibility
 improving user experience
 reducing discomfort and stress
 providing a competitive advantage, for example by improving brand image
 contributing towards sustainability objectives

Human-centered design may be utilized in multiple fields, including sociological sciences and technology. It has been noted for its ability to consider human dignity, access, and ability roles when developing solutions. Because of this, human-centered design may more fully incorporate culturally sound, human-informed, and appropriate solutions to problems in a variety of fields rather than solely product and technology-based fields. Because human-centered design focuses on the human experience, researchers and designers can address "issues of social justice and inclusion and encourage ethical, reflexive design."

Human-centered design arises from underlying principles of human factors. When it comes to those two concepts, they are quite interconnected; human factors is about discovering the attributes of human cognition and behavior that are important for making technology work for people. It is what allows us as a species to innovate over time. For example we used human-centered design to discover that blackberries have less human usability than an iPhone and that important controls on a panel that look too similar will be easily confused and may cause an increased risk of human error.

Which brings up an important distinction between human-centered design and any other form of design. It's not just about aesthetics, and it's not always designing for interfaces. It could be designing for controls in the world, tasks in the world, hardware, decision-making, and cognition. For instance, if a nurse is too tired from a long shift, he might confuse the pumps through which he might administer a bag of penicillin to a patient. So you can see in this case, the human-centered design case would encompass a task redesign, a possible institute policy redesign, and an equipment redesign.

Typically, human-centered design is more focused on  "methodologies and techniques for interacting with people in such a manner as to facilitate the detection of meanings, desires and needs, either by verbal or non-verbal means." In contrast, user-centered design is another approach and framework of processes which considers the human role in product use, but focuses largely on the production of interactive technology designed around the user's physical attributes rather than social problem-solving.

Human-centered design approach in Health
In the context of health-seeking behaviors, Human Centered Design can be used to understand why people do or do not seek out health services, even when those services are available and affordable. Human centered design is a powerful tool for improving health-seeking behaviors.This understanding can then be used to develop interventions to address the barriers and promote desired behaviors. By working directly with users to understand their needs and perspectives, we can address demand-related challenges associated with the acceptability, responsiveness, and quality of services. HCD can help us design interventions that are more likely to be effective.

Critiques

Human-centered design has been both lauded and criticised for its ability to actively solve problems with affected communities. Criticisms include the inability of human-centered design to push the boundaries of available technology by solely tailoring to the demands of present-day solutions, rather than focus on possible future solutions. In addition, human-centered design often considers context, but does not offer tailored approaches for very specific groups of people. New research on innovative approaches include youth-centered health design, which focuses on youth as the central aspect with particular needs and limitations not always addressed by human-centered design approaches. Nevertheless, human-centered design that doesn't reflect very specific groups of users and their needs is human-centered design poorly executed, since the principles of human-system interaction require the reflection of those specified needs.

Whilst users are very important for some types of innovation (namely incremental innovation), focusing too much on the user may result in producing an outdated or no longer necessary product or service. This is because the insights that you achieve from studying the user today are insights that are related to the users of today and the environment she or he lives in today. If your solution will be available only two or three years from now, your user may have developed new preferences, wants and needs by then.

International Standard
 ISO 13407:1999 Human-centred design processes for interactive systems - Now Withdrawn
 ISO 9241-210:2010 Ergonomics of human-system interaction -- Part 210: Human-centred design for interactive systems - Now Withdrawn
 ISO 9241-210:2019 Ergonomics of human-system interaction -- Part 210: Human-centred design for interactive systems - UPDATED 2019

See also
 User-centered design
 Design thinking
 Human-Centered Artificial Intelligence
 Humanistic economics

References

Design
Humanism

Human-centered design


The Ministry of Science and Higher Education of the Russian Federation () is a ministry established in May 2018 as a result of splitting the Ministry of Education and Science, which existed from March 2004, into two separate agencies. The second simultaneously emerged agency is the Ministry of Education sometimes called "of General Education" or "of Enlightenment". The Ministry of Science and Higher Education is responsible for a state control over the scientific institutions and the university-level education in the Russian Federation. Particularly, all institutes of the Russian Academy of Sciences are now under jurisdiction of this Ministry. It is headquartered in Moscow. Mikhail Kotyukov was appointed as the first Minister. Since January 21, 2020, the Ministry is headed by Valery Falkov.

References

Education in Russia
Science and Higher Education
Russia
Russia, Education

Ministry of Science and Higher Education (Russia)


Xuxa em Sonho de Menina () is a 2007 Brazilian fantasy children's film, written by  and directed by Rudi Lagemann. It was the first film with the actress Xuxa (Xuxa Meneghel) to be directed by Conspiração Filmes, and was distributed by Warner Bros. and Globo Filmes. The film starred Xuxa Meneghel and Letícia Botelho, with the participation of Carlos Casagrande, Alice Borges, Betty Lago, Dirce Migliaccio, and Marcelo Adnet.

In the film, Xuxa plays a teacher, Kika, whose dream is to be an actress. Encouraged by her childhood best friend, Lara, Kika decides to go to Rio de Janeiro for an audition. However, a misunderstanding separates the two friends. Kika, alone in a bus station, finds a group of children who are going on a bus to Rio for an important math test. Kika ends up getting on the bus and the trip is the backdrop to many adventures and discoveries. A spell makes Kika go back to being a child - and she ends up dealing with the children's antics at a roadside hotel.

The film debuted on December 21, 2007, in 232 rooms in Brazil. It performed poorly at the box office, grossing R$6 million reais with more than 1,814,152 million box offices. Sonho de Menina received widespread criticism from critics and audiences.

Plot
Kika (Xuxa Meneghel) is a math teacher in a quiet inner-city who cherishes her dream of being an actress. Encouraged by her childhood friend, Lara (Alice Borges), she decides to participate in a casting test in Rio de Janeiro. After losing her wallet and quarrelling with Lara, Kika finds herself at the bus station alone and without a penny in her pocket. The young teacher is then approached by a sweet grandmother, Vozinha (Dirce Migliaccio), who kindly invites her to board the Stromboli, a bus that is taking her own granddaughter (Raquel Bonfante) and six other children to do a math test in Rio. Kika becomes friends with the two while waiting for the departure of the bus.

Beginning with a TV report in which Lara and Pandora (Betty Lago) appear, a news reporter is seen asking for information regarding their whereabouts. Frightened, and fearing the police presence at the bus station, Kika accepts a magic cookie offered by Vozinha, the effect of which makes her a child again. So it is that as Kikinha (Letícia Botelho) joins the group of Stromboli.

The pilot Olavo (Luan Assimos), MP9 (Gabriel Lepsch) and Batata (Victor Andrade) are also on the bus, along with the patrons Glorinha (Maria Clara David), Thayane (Gabrielly Nunes) and Vanessa (Isabela Cunha). But the engine pifa and the troupe are forced to spend a night in a roadside hotel - run by the hard-nosed Elói (Marcelo Adnet). It is there where the characters will live out their most entertaining adventures and learn a little more about themselves.

The story unfolds amid positive messages regarding ecological issues, the background of the novel between Kika and the environmentalist Ricardo (Carlos Casagrande). On a symbolic journey that does not always need to tread real roads, Kika learns that, rather than focusing on the destination, one must be aware of the paths one chooses to arrive at it. It is important to believe in the signs that life offers us, so that the true dream of each person can be realized.

Cast
 Xuxa Meneghel as Kika
 Letícia Botelho as Kikinha (kika children)
 Carlos Casagrande as Ricardo
 Alice Borges as Lara
 Raquel Bonfante as Juju
 Dirce Migliaccio as Deolinda
 Betty Lago as Pandora Raquel
 Marcelo Adnet as Elói
 Sergio Loroza as Jeandro
 Isabella Cunha as Vanessa
 Maria Clara David as Glorinha
 Gabrielly Nunes as Thayane
 Luan Assimos as Olavo
 Victor Andrade as Batata
 Milton Gonçalves as school principal
 Letícia Spiller as mother of Kikinha
 Ilana Kaplan as tia Memélia
 Gabriel Lepsch as Maicon Pereira (MP9)
 Gilberto Torres as dad of Glória

Production

Background and conception
Xuxa Meneghel, who is the owner of the highest average audience in the resumption of Brazilian cinema (2.5 million per film) and accumulated box office, created her new feature film Xuxa en Sonho de Menina, the 17th of her career.  grossing R$6 million reais. This is the first cinematographic partnership of Xuxa Produções with Conspiração Filmes in the making of feature films (the producer has already signed the DVD Xuxa Só Para Baixinhos 7 (2007). The co-production is from Globo Filmes and Warner Bros. The actress and host already have more than 35 million viewers since 1983, the year of her film debut. In 1988, the host starred in her first feature (Super Xuxa contra Baixo Astral). Its biggest box office is Lua de Cristal (1990): with 5 million viewers. The idea of producing a film with this content came from the very personal experience of Xuxa. When she was 10 years old, Xuxa dreamed of having a bluebird. Although she had heard from her mother that, unfortunately, that was not possible, she did not give up on the dream and continued to believe, until one day, a real bluebird came through her window and became part of the family. The event - a landmark in the life of the host - is used as a starting point for Sonho de Menina, which deals precisely with one of Xuxa's greatest convictions: the importance of believing in dreams for them to come true. Xuxa explained the concept of the film.

The screenplay by Flavio de Souza, responsible for the plot of other films of the hosts, such as Xuxinha e Guto contra os Monstros do Espaço (2005), Xuxa e o Tesouro da Cidade Perdida (2004) and Xuxa Abracadabra (2003). His text came to life through the eyes of director Rudi Lagemann, the "Foguinho", invited by Conspiração Filmes, especially for the project. He explained the concept of the film.

Cast
The role of Kikinha, the children's version of the protagonist, was Leticia Botelho, who had already participated in the feature films Ouro Negro (2006) and Fica Comigo Essa Noite (2006), as well as presenting the program Janela Janelinha on TVE Brasil. To accomplish the scenes, Leticia had an intense preparation with the director and Xuxa, who had to observe to capture both the gestural and the way of speaking of the hosts. "Staying with Xuxa, playing with the little rocker and the kids was a lot of fun," says the young eight-year-old actress. I find it harder in the scene where you do not speak, but you have to record the expressions because you can not open your mouth to speak. You have to speak with your face," he continues.

The cast also includes Betty Lago (in the role of Pandora Raquel, a powerful TV producer), Ilana Kaplan (Aunt Memelia, who takes care of the children on the trip), Alice Borges (Lika, Kika's best friend), Sérgio Loroza the driver Jeandro) and Marcelo Adnet (Elói, the hotel's doer). And with special guest appearances by Dirce Migliaccio (the grandmother of one of the girls on the tour), Letícia Spiller (mother of Kika as a child), Milton Gonçalves (director of the school where she works) and Alexandra Richter (a casting producer).

In the children's cast, the film star Maria Clara David, who previously had participated in commercials and TV shows, such as Zorra Total, Sob Nova Direção and Linha Direta, by Globo TV, stand out. She plays Glorinha, a girl who is pressured by her parents to pursue a future that is not exactly what she dreams for herself. "The movie talks about it too. You have to think about whether you're running after the right dream, or if that's not just the dream your father or mother wants for you, "says Xuxa.

Carlos Casagrande lives with Ricardo, the romantic couple of Xuxa, and leads the environmental message of the film. He plays a biologist and environmental secretary for Quimera, a fictional city where people are ecologically conscious and take care of everything not to attack the planet. "Xuxa is a very calm person. It's very nice to work with her" says Casagrande. For the actor, the director Foguinho has a lot of patience and tranquility to deal with children. "His sensitivity is very great. He passes everything he wants from the actor in a very clear way. First, it makes you feel comfortable doing what you have in your head, and then it shapes."

Filming
Most of the scenes from "Xuxa en Sonho de Menina" were filmed on location in the capital and the interior of the state of Rio de Janeiro, in only two days. Places known to Cariocas, such as the Glauce Rocha Theater in the Center, and the Lage Park, in addition to the Hotel Le Canton in Teresópolis, were redecorated and served as a setting for history. The Jockey Club, located in the South Zone of Rio, was transformed into a bus station and, to look like a small town terminal, only a small part of the central hall in which the betting bag occurs was used. It is at this point in the film that the transition from reality to the dream happens and vice versa. In this way, the space had to be decorated in two different ways, to distinguish both universes. "We created two versions for every road sign, real-world signs were more facetious, square, and dreamy," says Art Director Daniel Flaksman. It was a mansion in Alto da Boa Vista that received the main scenes of the film, to generate the "cartunesca" atmosphere of Hotel Paratodos. "The hotel is the greatest setting in terms of concepts because we had to change the facade, the reception, the dining room, the staircase, the corridors and the rooms," says Flaksman.

Each of the rooms was ornamented with strange objects ordered improbably. The idea was to bring in "visual jokes" so that the environment would indeed look like a dream. "We put a picture upside down, a giant log book... it has a wall with several clocks, the pointers do not walk and each one sets a different time. Why don't they walk? Because time stands still, "he explains. One day after the filming began, director Rudi Lagemann already felt the usual apprehension that precedes the beginning of the production of a feature film. "We are anxious, in a hallucinatory rhythm of preparation, an immense team of artists and technicians rehearsing, designing choreographies, making costumes, constructing scenarios to arrive at this magic hour that is to enter the set, and we can say the blessed word: 'Action!' "Said the director, at the time, noting that filming is, in all its aspects, a moment of great pleasure. "I feel privileged. I love filming, solving typical shooting problems, exchanging ideas, directing actors, and choosing camera angles. It's very enjoyable to get along with good-humored and intelligent people, and the movies provide that."

Preparing the cast during pre-production helped to ensure that everyone was tuned in to shoot the scenes. Xuxa participated actively in the trials. "I really like essays because we exchange ideas with them and consistently build the dramatic tempo of a cinematic narrative. Adults and children rehearsed with Xuxa. These rehearsals were marked by fun and professionalism and all contributed to characterize their characters and give internal rhythm to the scenes" says Foguinho. The Xuxa em Sonho de Menina set was marked by the daily presence of many children. In addition to the children cast, on many occasions, the children of team members were invited to watch the footage. This made the environment a relaxed place, which eventually infected the adults. "We have become a little brat, having fun as they have fun," confirms actor Serjão Loroza. "I really like being in touch with the kids because they bring new energy to the set," adds Dirce Migliaccio. At the time of the scenes, however, the work was taken very seriously. "We used to play every day and rehearsal was messy all the time, but at the time of the scene it was full concentration," says Maria Clara David, who plays Glorinha. After four weeks on the set, he was sure that the work was well done, despite the short time to meet the schedule. For the director, the professionalism of his team and the serenity of Xuxa were determining factors for the good environment of filming. "The great difficulty was the meager time for preparation and filming. The team was able to transform, with creativity and talent, such difficulty in quality differential ", praises. "What could become a tense process has become something pleasurable. And much of this is due to the playful and peaceful spirit of Xuxa", he adds.

Special effects
The visual effects were developed and executed by the post-production team of Conspiração Filmes, in partnership with Megacolor, under the supervision of Cláudio Peralta and Adenilson Muri Cunha, two specialists in the area. "We have already begun the process knowing what scenes we would play in the story. Our main job was to print a magical and fanciful character at specific points in the film. They are subtle and beautiful effects, pleasant for both adults and children", says Peralta.

Music Production
Ary Sperling is the author of the musical production and soundtrack of the film, whose theme "Sonho de Menina (Eu Acredito)" is a collaboration between him and Vanessa Alves, who has participated in other projects of the presenter, such as the DVD Xuxa Só Para Baixinhos 7. "The song was based on the script and the elements that Xuxa asked were: talking about imagination, the power to believe in things and run after your dreams, and paying attention to the signs. It seems like an obvious thing, but a lot of people do not realize the circumstances of life" summarizes Ary.

Release
The press conference of presentation of the film occurred on December 14, 2007, The premiere took place on December 11, 2007, in São Paulo and December 19, 2007, in Rio de Janeiro. The site teaser was developed by the agency RMG Connect, the site allows Internet users to check the teaser trailer, some photos, the synopsis and the technical file of the film. The film was released on December 21, 2007.

Reception

Critical response
The site Cine Dica gave an average score of 34 points to the movie. The audience surveyed by Filmow gave the film an average of 2.1 votes. The Adorocinema audience gave the film four and a half stars out of five, and an average of 3.5 points. In a poll conducted by The Enemy, the film was voted worst of the year, with more than 52% of the audience vote.

Diego Benevides writing for Cinema com Rapadura, gave the film only a 1 note, defined Xuxa em Sonho de Menina, as one more unsuccessful onslaught from the children's film presenter, writing that "The story of Flávio de Souza has more quality than the lousy Xuxa Gêmeas, but still makes a point of highlighting the TV hots as a child. There is always the moment when Xuxa equals the public, whether in the way of dressing or telepathy with a teddy bear named Bebeto. Xuxa is already in her forties and the main reason for the failure in its televising or cinematographic attacks is to remain in the usual." He praised the adult cast of the film, however, considered them to be "in a story that no character is deepened, other than Xuxa herself or her miniature, the nice Leticia Botelho." To the critic "all the technical aspects are regrettable, but the soundtrack and the sound can be shameful. In addition to the invariable songs that accompany the heroes in the story, the audience has yet to witness the constant use of 'toin' BGs and such 'grace-making' stuff in the story. It even seems that the technical team is doing one of those pictures of the children's program of Xuxa, without the slightest responsibility of having a cinematic posture." A critic of Cineclick, compared Sonho de Menina, with the previous film of Xuxa, Lua de Cristal (1989), for having as an intention to transmit to the viewers "messages of realizing the dreams, but now the presenter wants to give a new learning to the" little ones: to want, power and achieve. It is the formula of success." He defined the film's script as "autobiographical, with stories from Xuxa's past, seasoned with fiction." He praised the performance of Letícia Botelho, writing that she has a "sweet and sweet way that enchants." But she criticized the script for the film, stating that "What could signal a change of style in a production starring Xuxa is not happening, as Xuxa em Sonho de Menina retains the characteristics of her previous films that is not found in this production, the pattern of the previous ones is followed: adventure, a light novel, children and a hideous villain." The Cine Gospel site criticized the film's performances, writing that "they are all pretty bad, taking away from the always excellent veteran Dirce Migliaccio." The actress children are not good enough and Xuxa plays, as always, Xuxa. He praised the production for representing a breakthrough in Xuxa's film career, writing that unlike his predecessors, "it does not bring fashionable singers as pseudo-actors, and the audience is largely spared from traditional musical numbers." The site defined the story as puerile by writing that it can even reveal its superficiality if we think it is aimed at children. But according to him, the children deserved more. Luiz Joaquim writing for the Cinema Escrito said that there is something nice in "Sonho de Menina", unlike his recent work for the movies. "The fact that it is an urban story with a few fantastic elements has made it closer, and therefore easier, in a good way." For the author, the ecologically correct galan interpreted by Carlos Casagrande, "has no narrative function, only to be beautiful." but he praised the performance of Sergio Loroza, as the driver of the Stromboli bus. Writing that "Despite the weight, Segio transits light through the entire film." Writing for the Omelette, Marcelo Forlani wrote that "In the movie, Xuxa dreams of being an actress, but in real life, she has given up." Mariane Morisawa from Terra gave the film three stars. She wrote that the film "is funny and reminds us in some moments of the presenter's trajectory, but misses mixing ecological messages with messages about dreams".

Box office
Xuxa em Sonho de Menina was a box office failure, conquering a smaller audience than all the films starring the TV hots since Xuxa Requebra (1999), accounting for meager 309,174 box offices. The bad performance of the films of TV hots recorded in recent years is the result of the separation between Xuxa and Diler & Associados. Xuxinha e Guto contra os Monstros do Espaço (2005), an animated film that had the special participation of the presenter in flesh and blood, was until then the lowest income of the brand, with 596,218 spectators. The latter, Xuxa Gêmeas (2006), garnered just over a million box offices. The film was withdrawn from display in theaters in Rio de Janeiro, and just 2 months after its launch, due to the weak box office, continuing in only 16 other rooms in Brazil. The film grossed only 1,814,152 million reais, the lowest gross of a film starring Xuxa, of all time.

See also
 List of Brazilian films of 2007

References

External links

2000s adventure films
Warner Bros. films
Brazilian fantasy adventure films
Brazilian children's films
2000s children's fantasy films
Films shot in Rio de Janeiro (state)

Xuxa em Sonho de Menina


Firuzabad may refer to:

Castle

 Firuzabad castle, a castle in Sarbaz County, Sistan and Baluchestan Province, Iran

Azerbaijan
Firuzabad, Azerbaijan, a village in Azerbaijan

India
Firozabad, a city in Uttar Pradesh, India

Iran

Alborz Province
Firuzabad, Alborz, a village in Nazarabad County, Alborz Province, Iran

Ardabil Province
Firuzabad, Ardabil, a village in Ardabil County
Firuzabad, Kowsar, a village in Kowsar County
Firuzabad, Parsabad, a village in Parsabad County

Chaharmahal and Bakhtiari Province
Firuzabad, Chaharmahal and Bakhtiari, a village in Kiar County

Fars Province
Firuzabad, Fars, a city in Fars Province, Iran
Firuzabad County, an administrative subdivision of Fars Province, Iran

Hamadan Province
Firuzabad, Asadabad, a village in Asadabad County
Firuzabad, Hamadan, a village in Hamadan County
Firuzabad, Malayer, a village in Malayer County
Firuzabad-e Sofla, a village in Nahavand County
Firuzabad-e Tayemeh, a village in Nahavand County

Isfahan Province
Firuzabad, Isfahan, a village in Isfahan County

Kerman Province
Firuzabad, Fahraj, a village in Fahraj County
Firuzabad, Kerman, a village in Kerman County
Firuzabad, Rudbar-e Jonubi, a village in Rudbar-e Jonubi County
Firuzabad, Pariz, a village in Sirjan County
Firuzabad, Zarand, a village in Zarand County

Kermanshah Province
Firuzabad, Eslamabad-e Gharb, a village in Eslamabad-e Gharb County
Firuzabad District (Kermanshah Province), an administrative subdivision of Kermanshah Province, Iran
Firuzabad-e Kuchak, a village in Kangavar County
Firuzabad-e Tappeh, a village in Kangavar County
Firuzabad-e Pacheqa, a village in Kermanshah County
Firuzabad, Sonqor, a village in Sonqor County

Khuzestan Province
Firuzabad, Dasht-e Azadegan, a village in Dasht-e Azadegan County
Firuzabad, Dezful, a village in Dezful County
Firuzabad, Hendijan, a village in Hendijan County

Kurdistan Province
Firuzabad, Kurdistan, a village in Qorveh County

Lorestan Province
Firuzabad, Lorestan, a city in Lorestan province, Iran
Firuzabad, Zaz va Mahru, a village in Zaz va Mahru District, Aligudarz County
Firuzabad District (Selseleh County), an administrative subdivision of Lorestan province, Iran
Firuzabad Rural District, an administrative division of Lorestan province, Iran

Mazandaran Province
Firuzabad, Bandpey-ye Gharbi, a village in Babol County
Firuzabad, Bandpey-ye Sharqi, a village in Babol County
Firuzabad, Nowshahr, a village in Nowshahr County

North Khorasan Province
Firuzabad, North Khorasan, a village in North Khorasan Province, Iran

Razavi Khorasan Province
Firuzabad, Bardaskan, a village in Bardaskan County
Firuzabad, Mashhad, a village in Mashhad County
Firuzabad, Quchan, a village in Quchan County
Firuzabad, Zaveh, a village in Zaveh County

Semnan Province
Firuzabad, Damghan, a village in Damghan County
Firuzabad, Amirabad, a village in Damghan County
Firuzabad-e Bala, a village in Shahrud County
Firuzabad-e Pain, a village in Shahrud County

Sistan and Baluchestan Province
Firuzabad, Bampur-e Gharbi, a village in Bampur County
Firuzabad, Bampur-e Sharqi, a village in Bampur County

South Khorasan Province
Firuzabad, Nehbandan, a village in Nehbandan County
Firuzabad, Qaen, a village in Qaen County
Firuzabad, Tabas, a village in Tabas County

Tehran Province
Firuzabad, Tehran, a village in Rey County

West Azerbaijan Province
Firuzabad, West Azerbaijan, a village in Miandoab County
Firuzabad District (Chaharborj County)

Yazd Province
Firuzabad, Abarkuh, a village in Abarkuh County
Firuzabad, Sabzdasht, a village in Bafq County

Firuzabad


Sir Richard Fitz-Simon KG, of Pensthorpe, Bawsey, and Glosthorpe (in Bawsey), Norfolk, Letheringham, Suffolk, etc. was a founder member and 15th Knight of the Order of the Garter in 1348.

Career

Richard Fitz-Simon is recorded as having taken part in a tournament at Dunstable in 1334.  He later served in Flanders.  In 1344, he was part of a diplomatic mission to Castile and in 1345-6 he served with Henry of Grosmont in Aquitaine.  In 1346, he served as the standard bearer of Edward, the Black Prince at the Battle of Crecy.  In 1348, he was appointed to the Order of the Garter.

Marriage

He married before Hilary term 1345 (date of lawsuit) Ada Botetourt, widow of Sir John de Saint Philibert. They had no issue.
Richard's wife Ada Botetourt was the daughter of Sir John Botetourt, 1st Lord Botetourt, by his wife, Maud, daughter of Sir Thomas Fitz Otes and great-granddaughter of William Longespée, 3rd Earl of Salisbury the son of Henry II of England

Death

Sir Richard Fitz Simon died in 1348 or 1349, but the actual date is unknown.

References

Further reading
Elias Ashmole: Institution, Laws and Ceremonies of the Most Noble Order of the Garter. 1672.

Garter Knights appointed by Edward III
1348 deaths

Richard Fitz-Simon


Royal Talens is a Dutch company located in Apeldoorn that specializes in art materials. The company produces and markets its own products, apart from commercializing other licensed brands such as Van Gogh, Rembrandt, Bruynzeel. Products commercialised include acrylic paints, oil paints, watercolor paintings, brushes, markers, inks, pastels, pencils, pens, gouache, canvas, papers.

In the past Talens has also produced fountain pen ink, typewriter ribbon, carbon paper and other office supplies.

History
The company was founded in 1899 by former banker Marten Talens, as "Talens & Co.", a Dutch factory that produced paint, varnish and ink. Whilst this initially involved only office supplies, in 1899 it started to produce Rembrandt oil colours as well. In 1904 the company name was changed to "Talens & Zoon", when son Hildebrand Talens became a partner in the business. Exports to the United States and Russia commenced in 1905. In 1912 a sales office opened up in the United States. The factory, too, expanded, and in 1920 it switched to steam power. A local ink factory was also taken over and the company put into operation its own tin factory. In 1927 a new head office was built. The building's architect was P.W. van den Belt, and it now enjoys the status of an industrial monument.

As of 1932 the typewriter became increasingly popular in offices, and the mimeograph became all the rage. Talens started to supply carbon paper, typewriter ribbon, stencils and stencil ink. The brand Gluton, the glue in the famous pot-and-brush, became a household name. During World War II there was a shortage of raw materials, and the factory sustained a great deal of damage by a stray bomb. After the country's liberation the factory started operations once more. In 1949 Talens received the designation 'Koninklijke' ('Royal') and changed its name to "Koninklijke Fabrieken Talens & Zoon" (Royal Works Talens & Son). The subsequent years were characterized by enormous growth for the company, and branches were set up in more than 50 countries.

In 1963 Talens joined the Sikkens Group, which was eventually taken over by AkzoNobel. Royal Talens continued as a subsidiary within this group. In 1970 acrylic paints were launched, and since 1974 Royal Talens has been putting together an art collection. In the years that followed new brands were introduced, and in 1989 a modern new plant was opened.

In 1991 Royal Talens became part of the Sakura Color Products Corporation, a privately owned firm based in Osaka. In 1996 a factory for easels and stretched canvases was set up in the Polish city of Lesko. In 1999 a new distribution hall was built in Apeldoorn. Several new brands and products have since been added to the range.

Brands
Royal Talens is as manufacturer active in the fine art segment with the following brands:
 Talens (oil paint, acrylic paint, watercolor, gouache, brushes, Indian ink, crayons, oil pastels, easels, papers, canvas)
 Amsterdam (acrylic paint, markers, spray paint, accessories)
 Bruynzeel (writing pencils, coloured pencils, felt tips)
 Cobra (water mixable oil colour)
 Rembrandt (oil paint, acrylic paint, pastels, water colour)
 Sakura (gel pens, crayons, pencils, markers, drawing pads)
 Schjerning (hobby paint, textile paint, glass paint)
 Strathmore (sketchbooks, drawing paper)
 Van Gogh (oil paint, acrylic paint, pastels, water colour)

References

External links

Art materials brands
Retail companies of the Netherlands
Dutch brands

Royal Talens


Terra Amata (Italian for "Beloved Land") is an archaeological site in open air located on the slopes of Mount Boron in Nice, at a level  above the current sea level of the Mediterranean. It was discovered and excavated in 1966 by Henry de Lumley. The site, originally on a prehistoric beach, contained tools of the Lower Paleolithic period, dated to about 400,000 BCE, as well as traces of some of the earliest domestication of fire in Europe. The site now lies beneath an apartment building and a museum of prehistoric Nice, where some of the objects discovered are on display.

Principal discoveries
The site was discovered during the construction of a terrace near the port of Nice in 1966. After negotiating with the owner of the site, DeLumley was given permission to work on the site from January 28 until July 5, 1966. He and his team worked seven days a week, and, at the end, twenty-four hours a day, to complete their work.

According to de Lumley, the site contained a settlement with several layers of habitation located on a fossil beach. The habitations dated to 380,000 BC, and included vestiges which suggested that the inhabitants lived in huts on the beach. In the center of each hut was a fireplace, with ashes showing that the inhabitants had domesticated fire. These signs of fire, along with those at Menez Dregan in the Finistère in France, at Beeches Pit in Suffolk, England, and at Vertesszollos in Hungary, are the earliest evidence of the domestication of fire known in Europe. These vestiges included low walls of stones and beach pebbles, placed to the northwest of the fireplaces, which would have sheltered the fire from the strong Mistral wind. De Lumley believed the inhabitants built the huts of animal skins supported by poles, with a hole in the center for the smoke to escape. Twenty to forty people could gather in such a shelter. If his theory is correct, Terra Amata is one of the first discoveries of man-made human habitations in Europe.

The site also included evidence that the inhabitants had manufactured tools out of the beach stones, including tools with two cutting faces and a particular kind of stone pick which was given the name '"Pics de Terra Amata." They also discovered a large number of stone tools and scrapers in the dunes above the beach.

Controversy
A very different interpretation of the site was given later by another archeologist, Paola Villa, who dedicated part of her doctoral thesis to the same site. She argued that the conclusions reached by De Lumley were more conjectural than compelling. She said it was equally likely that the stones were naturally deposited through stream flow, soil creep or some other natural process.

Villa also argued that stone artifacts from the different proposed living floors can be fitted together, showing that artifacts have moved up and down through the sediment column. Thus, the supposed living floor assemblages are most likely mixtures of artifacts from different time periods that have come to rest at particular levels. There was, she said, therefore compelling evidence that the site was subjected to relatively invasive post-depositional processes, which may also be responsible for the stone 'arrangements'.

Villa argued that de Lumley had greatly overestimated the state of preservation of the original site, and that it was impossible to accurately date the objects because the layers could not be considered independent of each other. She also said that the site should be dated later than 380,000 BCE to approximately 230,000 BCE.

References

Bibliography

External links
 The Terra Amata Museum

Prehistoric sites in France
Pleistocene
History of Nice
Buildings and structures in Nice
Former populated places in France
Museums in Nice
Archaeological museums in France

Terra Amata (archaeological site)


Carolina Herrera (born María Carolina Josefina Pacanins y Niño; 8 January 1939) is a Venezuelan fashion designer known for her personal style, and for dressing various First Ladies, including Jacqueline Onassis, Laura Bush, Michelle Obama, and Melania Trump.

Early life
María Carolina Josefina Pacanins y Niño was born  on 8 January 1939, in Caracas, Venezuela, to Guillermo Pacanins Acevedo, an air force officer and former governor of Caracas, and María Cristina Niño Passios. Her socialite grandmother introduced her to the world of fashion, taking young Carolina to shows by Balenciaga and buying her outfits at Lanvin and Dior. She has said, "My eye was accustomed to seeing pretty things."

Career and brand

In 1965, Herrera began her career working as a publicist for Emilio Pucci, a Florentine Marquis himself and a close family friend. She began working at Pucci's Caracas boutique, and moved to New York in 1980. Frequently associating with Mick and Bianca Jagger and Andy Warhol, at Studio 54, she became well known for her dramatic style. She first appeared on the International Best Dressed List in 1972, then was elected to its Hall of Fame in 1980. In 1981, her friend Diana Vreeland, then Editor-in-Chief of Vogue suggested that Carolina design a clothing line. She did so, having samples made in Caracas, and debuted her collection at Manhattan's Metropolitan Club to critical acclaim. A well known Park Avenue boutique, Martha's, agreed to showcase her clothing in their prominent windows. Upon this initial success, she returned to Caracas and raised capital to fund a more formal launch. Her first runway show in 1980 included future supermodel Iman. Carolina Herrera presents her Ready-to-Wear Collection semiannually at Mercedes-Benz Fashion Week in New York.

The company has been based in New York City since 1980, and in 1981 the brand received recognition from several key publications, including Women's Wear Daily and Tatler, with particular early attention to her well designed sleeves. A few of her most notable clients have included Jacqueline Kennedy Onassis, who asked her to design the dress for her daughter Caroline's wedding, Diana, Duchess of Cadaval, who asked her to design the dress for her marriage with Prince Charles-Philippe of Orléans, Duke of Anjou, and actress Renée Zellweger.

In the late 1980s, Spanish fragrance company Puig licensed the Carolina Herrera name to develop and market a line of perfumes. In 1995, the firm acquired the Carolina Herrera fashion business, retaining her as Creative Director. In 2008, they launched a ready-to-wear brand called CH Carolina Herrera; as of 2012, there were 18 Carolina Herrera and CH Carolina Herrera boutiques in the world, and her lines were carried in 280 stores in 104 countries. As of 2011, her daughters Carolina Jr. and Patricia Lansing participated in the creative direction and design. In February 2016, it was reported by WWD that the fragrance side of the business had more than 25,000 points of sale across the globe while the CH brand included 129 freestanding stores.

In 2015, the first advert for the brand was released, featuring models Elisabeth Erm and Joséphine Le Tutour.

In July 2016, Herrera announced the release of her new women's fragrance to be available for purchase in September, her biggest fragrance launch in 14 years. The scent is called 'Good Girl' and Karlie Kloss is the face of the fragrance.

In 2018, Herrera showed her last line for her eponymous brand and handed creative directorship of the brand over to Wes Gordon.

Awards and achievements
In 2008, Herrera was awarded the Geoffrey Beene Lifetime Achievement Award  from the Council of Fashion Designers of America, and "Womenswear Designer of the Year" in 2004. Herrera is a recipient of The International Center in New York's Award of Excellence as well as Spain's Gold Medal for Merit in the Fine Arts, which was presented to her in 2002 by King Juan Carlos I. She was awarded the Gold Medal of the Queen Sofía Spanish Institute in 1997.

She received the Fashion Group International Superstar Award, the Style Awards Designer of the Year in 2012 and the "Mercedes-Benz Presents" title for her 2011 collection. She has been on the cover of Vogue seven times.

Since 2004, she has been a member of the board of directors of jewelry designer Mimi So, and since 1999 on the board of the CFDA.

In 2005, she received the Golden Plate Award of the American Academy of Achievement during the International Achievement Summit in New York City.

In 2014, she earned the 2014 Couture Council Award for Artistry of Fashion.

Personal life
In 1957, at the age of 18, Herrera married Guillermo Behrens Tello, a Venezuelan landowner. Before their eventual divorce in 1964, they became the parents of two daughters:

 Mercedes Behrens-Pacanins
 Ana Luisa Behrens-Pacanins, who married developer Luis Paraud-Carpena, the son of Maj. Gen. Fernando Paraud of Madrid, in 1989.
In 1968, in Caracas, she married Reinaldo Herrera Guevara, who had inherited the Spanish title The 5th Marquis of Torre Casa in 1962 upon his father's death. Reinaldo was the host of Buenos Días, a Venezuelan morning-television news program and the elder son of Don Reinaldo Herrera Uslar, 4th Marquis of Torre Casa, a prominent Venezuelan sugarcane plantation owner, aristocrat and art collector. Therefore, by marriage, Carolina held the title The Marquise consort of Torre Casa, until it was retracted in 1992, as Reinaldo had issued no son. Her husband is a special-projects editor of Vanity Fair magazine. Together, they have two daughters, and six grandchildren, including:
 Carolina Adriana Herrera-Pacanins (b. 1969), who married Miguel Baez. She is currently dating Pedro de Noronha.
 Patricia Cristina Herrera-Pacanins, who married Gerrit Livingston Lansing Jr., a son of Suydam Rosengarten Lansing and Gerrit Livingston Lansing Sr. (a descendant of Robert Livingston), in 2002.
In 2009, Herrera became a naturalized United States citizen.

References

External links

 Carolina Herrera

1939 births
Living people
American fashion designers
American women fashion designers
Venezuelan fashion designers
Venezuelan women fashion designers
American fashion businesspeople
Venezuelan women in business
Venezuelan emigrants to the United States
Wedding dress designers
American women company founders
Venezuelan women company founders
People with acquired American citizenship
21st-century American businesswomen
High fashion brands
Puig
People from Caracas

Carolina Herrera


Harvill Secker is a British publishing company formed in 2005 from the merger of Secker & Warburg and the Harvill Press.

History

Secker & Warburg
Secker & Warburg was formed in 1935 from a takeover of Martin Secker, which was in receivership, by Fredric Warburg and Roger Senhouse. The firm became renowned for its political stance, being both anti-fascist and anti-communist, a position that put them at loggerheads with the ethos of many intellectuals of the time.

When George Orwell parted company with Communist Party sympathizer Victor Gollancz over his editing of The Road to Wigan Pier (1937), he took his next book Homage to Catalonia to Secker & Warburg, who published it in 1938. They also published, after 18 months of rejections and setbacks, Animal Farm (1945), and Orwell's subsequent books. Orwell and Warburg later became intimate friends.

Secker & Warburg published other books by key figures of the anti-Stalinist left, such as Minty Alley, World Revolution, and The Black Jacobins by C. L. R. James, Rudolf Rocker and Boris Souvarine, as well as works by Lewis Mumford.

In February 1941, the company launched a series of "long pamphlets" or "short books" called Searchlight Books, edited by George Orwell and T. R. Fyvel. The series was originally planned to include 17 books, but was discontinued after the publication of 10 when bombing destroyed paper stocks.

With its financial position devastated by paper shortages during and after the war, Secker & Warburg were forced to join the Heinemann group of publishers in 1951. During the 1950s and 1960s, Secker & Warburg published the works of, among others, Simone de Beauvoir, Colette, J. M. Coetzee, Alberto Moravia, Günter Grass, Angus Wilson, Michael Moorcock, Melvyn Bragg and Julian Gloag, as well as the British Buddhist Lobsang Rampa.

Heinemann was purchased by the Octopus Publishing Group in 1985; Octopus was purchased by Reed International (now Reed Elsevier) in 1987. Random House bought the adult trade division of Reed Books in February 1997.

Tom Rosenthal (1935–2014), chairman of the Institute of Contemporary Arts, was head of Secker & Warburg from 1971 to 1984.

Harvill Press
The Harvill Press was founded in 1946 by Manya Harari and Marjorie Villiers.  The imprint was later acquired by the Glasgow-based publishing firm William Collins and Sons, which in 1989, merged with the American publishers Harper & Row to form HarperCollins.

In 1996, Harvill Press became independent following a management buyout.  The firm was bought by Random House in 2002, and was merged with
Secker & Warburg in 2005 to become Harvill Secker.

, Harvill Secker is an imprint of Vintage Publishing UK.

References

Bertelsmann subsidiaries
Book publishing companies of the United Kingdom
Publishing companies established in 1935
George Orwell
Random House
1935 establishments in England

Harvill Secker


The Illinois Institute of Technology (IIT) is a private university in Chicago, Illinois, United States. It is one of the best universities in the United States as U.S. News & World Report, a magazine, puts it at number 108. Most students of this university focus on science or technology as their major, or subject they study most. IIT was created in 1940 by the merger of the Armour Institute of Technology and Lewis Institute.

Architecture

The campus, roughly bounded between 31st and 35th streets, Michigan Avenue and the Dan Ryan Expressway, was designed by modernist architect Ludwig Mies van der Rohe, "one of the great figures of 20th-century architecture", who chaired the IIT School of Architecture from 1938 to 1958. Van der Rohe's master plan for the IIT campus was one of the most ambitious projects he ever conceived. The campus has twenty of his works. It is the greatest concentration of his buildings in the world. The layout of the campus departs radically from "traditional college quadrangles and limestone buildings". The materials are inspired by the factories and warehouses of Chicago's South Side and "embod[y] 20th century methods and materials: steel and concrete frames with curtain walls of brick and glass."

Alfred Caldwell designed the campus landscape. Caldwall was van der Rohe's close colleague at IIT and was called  "the last representative of the Prairie School of landscape architects." Known as "the nature poet", Caldwell's plan reinforced van der Rohe's design with "landscaping planted in a free-flowing manner, which in its interaction with the pristine qualities of the architecture, introduce[d] a poetic aspect."

On the west side of Main Campus are three red brick buildings that were original to Armour Institute, built between 1891 and 1901. In 1938, Ludwig Mies van der Rohe began his 20-year tenure as director of IIT's School of Architecture (1938–1959). The university was on the verge of building a brand new campus, to be one of the nation's first federally funded urban renewal projects. Mies was given great freedom in the large project. The university grew fast enough during and after World War II to allow much of the new plan to be realized. From 1943 to 1957, several new Mies buildings rose across campus, including the S.R. Crown Hall, which houses the architecture school, and was designated a National Historic Landmark in 2001.

Though Mies had emphasized his wish to complete the campus he had begun, commissions from the late 50s onward were given to Skidmore, Owings, and Merrill (SOM), prompting Mies to never return to the campus that had changed architecture the world over. SOM architect Walter Netsch designed a few buildings, including the new library that Mies had wished to create, all of them similar to Mies's style. By the late 1960s, campus addition projects were given to SOM's Myron Goldsmith, who had worked with Mies during his education at IIT and thus was able to design several new buildings to harmonize well with the original campus. In 1976, the American Institute of Architects recognized the campus as one of the 200 most significant works of architecture in the United States. The new campus center, designed by Rem Koolhaas, and a new state-of-the-art residence hall designed by Helmut Jahn, State Street Village, opened in 2003. These were the first new buildings built on the Main Campus in 32 years.

In 1976, American Institute of Architects named the IIT campus one of the 200 most significant works of architecture in the United States. The IIT Main Campus was added to the National Register of Historic Places in 2005.

References

Colleges and universities in Chicago
1940 establishments in Illinois

Illinois Institute of Technology


The antinomies, from the Critique of Pure Reason, are contradictions which Immanuel Kant argued follow necessarily from our attempts to cognize the nature of transcendent reality by means of pure reason.

Kant thought that some certain antinomies of his (God and Freedom) could be resolved as "Postulates of Practical Reason". He used them to describe the equally rational-but-contradictory results of applying the universe of pure thought to the categories or criteria, i.e. applying reason proper to the universe of sensible perception or experience (phenomena). Empirical reason cannot here play the role of establishing rational truths because it goes beyond possible experience and is applied to the sphere of that which transcends it.

Overview
Kant's antinomies are four: two "mathematical" and two "dynamical". They are connected with (1) the limitation of the universe in respect of space and time, (2) the theory that the whole consists of indivisible atoms (whereas, in fact, none such exist), (3) the problem of free will in relation to universal causality, and (4) the existence of a necessary being.

The first two antinomies are dubbed "mathematical" antinomies, presumably because in each case we are concerned with the relation between what are alleged to be sensible objects (either the world itself, or objects in it) and space and time. The second two are dubbed "dynamical" antinomies, presumably because the proponents of the thesis are not committing themselves solely to claims about spatio-temporal objects.

The mathematical antinomies

The first antinomy (of space and time)
Thesis:
The world has a beginning in time, and is also limited as regards space.
Anti-thesis:
The world has no beginning, and no limits in space; it is infinite as regards both time and space.

The second antinomy (of atomism)
Thesis:
Every composite substance in the world is made up of simple parts, and nothing anywhere exists save the simple or what is composed of the simple.
Anti-thesis:
No composite thing in the world is made up of simple parts, and there nowhere exists in the world anything simple.

The dynamical antinomies

The third antinomy (of spontaneity and causal determinism)
Thesis:
Causality in accordance with laws of nature is not the only causality from which the appearances of the world can one and all be derived. To explain these appearances it is necessary to assume that there is also another causality, that of Spontaneity.
Anti-thesis:
There is no Spontaneity; everything in the world takes place solely in accordance with laws of nature.

The fourth antinomy (of necessary being or not)
Thesis:
There belongs to the world, either as its part or as its cause, a being that is absolutely necessary.
Anti-thesis:
An absolutely necessary being nowhere exists in the world, nor does it exist outside the world as its cause.

References

Philosophy of religion
Kantianism
Paradoxes
Causality
Concepts in metaphysics

Kant's antinomies


Stinky tofu () is a Chinese form of fermented tofu that has a strong odor. It is usually sold at night markets or roadside stands as a snack, or in lunch bars as a side dish, rather than in restaurants. Traditionally the dish is fermented in a brine with vegetables and meat, sometimes for months. Modern factory-produced stinky tofu is marinated in brine for one or two days to add odor.

Production
Unlike cheese, stinky tofu fermentation does not have a fixed formula for starter bacteria; wide regional and individual variations exist in manufacturing and preparation.

The traditional method of producing stinky tofu is to prepare a brine made from fermented milk, vegetables, and meat; the brine can also include dried shrimp, amaranth greens, mustard greens, bamboo shoots, and Chinese herbs. The brine fermentation can take as long as several months.

Modern factories often use quicker methods to mass-produce stinky tofu. Fresh tofu is marinated in prepared brine for only a day or two, especially for fried or boiled cooking purposes. The process only adds odor to the marinated tofu instead of letting it ferment completely.

Preparation

Stinky tofu can be eaten cold, steamed, stewed, or, most commonly, deep-fried, and it is often accompanied by chili sauce or soy sauce. The color varies from the golden, fried Zhejiang-style to the black, typical of Hunan-style stinky tofu.

From a distance, the odor of stinky tofu is said to resemble that of rotten garbage or smelly feet. Some people have compared it to the taste of blue cheese, while others have compared it to rotten meat. It is said that the more it smells, the better its flavor.

History

According to a Chinese legend, a scholar named Wang Zhihe () hailing from Huang Shan in Anhui Province invented stinky tofu during the Qing dynasty. After failing the imperial examination, Wang stayed in Beijing and relied on selling tofu to make a living. One day, having a huge quantity of unsold tofu on his hands, he cut the tofu into small cubes and put them into an earthen jar.

The stinky tofu that Wang Zhihe invented gained popularity and was later served at the imperial Qing Dynasty palace. The dish has now become extremely popular in Taiwan.

Chemical analysis
A 2012 chemical analysis found 39 volatile organic compounds that contributed to the unique smell and taste of fermented stinky tofu. The main volatile compound was indole, which has an intense fecal odor, followed by dimethyl trisulfide, phenol, dimethyl disulfide and dimethyl tetrasulfide.

Around the world

Hong Kong
In Hong Kong, stinky tofu is a street food. It is deep-fried fresh at hawkers' stalls and at dai pai dongs and sold by the bag. Stinky tofu in Hong Kong is typically served deep-fried and eaten with hoisin sauce.

China
Stinky tofu is made and consumed in different ways in various areas of China. For example, the types of dried stinky tofu made in Changsha and Shaoxing are made using different methods, and the resulting flavors are very different. Huo Gong Dian (a stinky tofu shop in Changsha) makes the tofu with yellow soybeans marinated in seasoning. The stinky tofu sold in Tianjin is made mostly in the Nanjing style, with a mild aroma. In Shanghai, stinky tofu is fried and sold on the street, typically served with a spicy or sweet sauce much like the Shaoxing variety. It is also served as a condiment to congee, often as a part of a regular breakfast meal. In Chongqing, stinky tofu on the street is usually fried and dipped in a mixture of, typically, coriander (cilantro) leaves, scallions, chili powder, Sichuan pepper and oil. Stinky tofu is also sometimes dipped in Sichuan spicy hot pot. In Beijing, there is a form that is sold in jar as a curd.

In Anhui, the perceived deliciousness of stinky tofu depends mainly on its spiciness: the spicier it is, the more it suits the local favor. Chinese legend says that stinky tofu was invented by a man from Anhui province, and indeed it is common to attribute the creation of tofu dishes in general to Anhui cuisine, as Anhui is seen as the birthplace of tofu.

Changsha, Hunan
Stinky tofu is a symbol of Changsha street snack, also called chou ganzi (smelly jerky) by local people. Changsha stinky tofu is famous of its spicy flavor. Different than Sichuan stinky tofu, Changsha-style has black crackling. Changsha stinky tofu is made from brine composed of winter bamboo shoot, koji, and shiitake mushrooms. After the surface grows white hair-like filaments, and once it turns grey, the stinky tofu is ready to be fried. Chopped mustard, chili, and shallot are regular toppings on Changsha stinky tofu. Along with Xiangtan lotus seeds and Yongfeng chili sauce, Changsha stinky tofu is known as "Hunan Sanbao" or one of Hunan's three treasures.

Nanjing, Jiangsu
There is one famous kind of stinky tofu in Nanjing, called "Gaochun stinky tofu". It has different kinds of brine than Changsha style stinky tofu. The brine needs to be made of rotten pickles and its stinky smell will be very natural. Similar to Changsha-style stinky tofu, it also has black crackling.

Sichuan
In Sichuan, stinky tofu is often flavored with mala, a spicy and numbing seasoning made from chilli and Sichuan peppercorns. Sichuan-style stinky tofu does not need to be deep fried in the oil, so it does not have black cracklings. It needs to be stirred fried and boiled with different kinds of spices.

Taiwan
In Taiwan, stinky tofu is commonly found at stalls in night markets. Taiwanese stinky tofu is cooked with many methods including frying, steaming, cooking in soup, and barbecuing, but is most commonly found in its fried form. The Shenkeng Old Street in New Taipei's Shenkeng District is known for having an entire boulevard dedicated to eateries serving Taiwanese varieties of stinky tofu.

Fried stinky tofu
Fried stinky tofu is the most common variety found in Taiwanese night markets and is considered to be less pungent than other varieties. It is almost always served with pickled cabbage and garlic sauce.

Steamed stinky tofu
Steamed stinky tofu in Taiwan is considered to be the most pungent variety of stinky tofu available. It is typically served with pickled cabbage, chili sauce, and garlic sauce.

Stewed stinky tofu
Stewed stinky tofu is served in a thick soup. A Sichuan mala base is often used, but can vary. The spicy broth of a mala base is said to be able to mask the smell and taste of the tofu.

Barbecued stinky tofu
Barbecued stinky tofu is a popular stinky tofu variety believed to have originated in Taipei's Shenkeng District, and is served in many of Taiwan's night markets. It is often described as have a nutty, smooth center and a spongy outer skin. Cubes of stinky tofu are speared on a bamboo skewer are roasted over charcoal with roasted meat sauce. Because of the huge amount of seasonings, the unpleasant odor of barbecued stinky tofu is comparatively weaker. Therefore, barbecued stinky tofu is always recommended for people trying stinky tofu for the first time.

United States
Stinky tofu can also be found in specialty restaurants in some parts of the United States (with preparation methods altered where needed to comply with U.S. food safety laws).

See also
 Fermented bean curd
 List of fermented soy products
 List of tofu dishes
 Specialty foods

References

External links

Tofu dishes
Chinese condiments
Chinese inventions
Deep fried foods
Fermented soy-based foods
Hong Kong cuisine
Hunan cuisine
Indonesian Chinese cuisine
Qing dynasty
Shanghai cuisine
Taiwanese cuisine

Stinky tofu


The Horn of Mortal Danger is a 1980 novel by British musician Lawrence Leonard.  It relates the adventures of a brother and sister as they discover a secret civilisation buried beneath the streets of London. It is a 'classical' children's fantasy.

Plot summary

Simon ("Widgie") and Jen Widgeon are innocently exploring the abandoned Highgate rail tunnel near their home when they discover a hidden gateway halfway along it. Through this they find their way to a little old-fashioned railway station.

At first the tunnels seem deserted.  However, as Jen wanders down the tunnel to explore, the Railwaymen emerge and capture Widgie.  Jen, in her turn, discovers an underground canal, complete with a little steamboat, which the railway crosses by means of a retractable bridge. Men emerge from the boat and take her captive.

It quickly becomes apparent that Widgie and Jen have become caught up in an entire underground civilisation, the North London System, kept secret for centuries from the world above. Two civilisations, in fact, seemingly perpetually at war.  The siblings' arrival is the catalyst for a climactic battle between the Railwaymen and the Canallers.

Widgie manages to escape and rescues Jen, and the realisation of the threat they pose should they escape aboveground and expose the System forces the Railwaymen and the Canallers to set aside their differences for the time being, to collaborate in an effort to recapture them. In the course of the battle giant rats, kept imprisoned in a blocked-up tunnel, are released and proceed to spread through the whole system.  As Widgie and Jen escape into the Post Office Railway, it appears that the entire civilisation is on the verge of disintegration under the assault from the rats.

Structure

It is worth noting that, seemingly in imitation of The Lord of the Rings (1937 and 1949), Leonard includes appendices relating the aftermath of the story underground, in which the Railwaymen and Canal Folk discuss the joint threats of the children and the rats, and giving a short history of the North London System (and suggesting that similar societies exist beneath many major cities, at least in England).  It also includes two short "Interludes", set aboveground, concerning the search for the missing children.

Allusions/references to actual history, geography and current science

Leonard's secondary world is unusual in that it overlaps with the primary one and is separated from it, it seems, through nothing stronger than blind luck.  Uniquely among such fantasies, Leonard never employs magic, and indeed seems at pains to explain how his underground System works.  There are no women seen underground, nor any apparent means to produce food to support the Undergrounders, but rather than hoping his readers will not notice this (as the children do), he explains very concisely the why and how of this in a throwaway manner near the beginning.

The technology of railways and canals is borrowed from observation of the Aboveground world, but the System is conservative and usually does not adopt new things very quickly.  They have no electricity, though the Railway is reportedly looking into the matter. The children finally make their escape through an Observation Shaft, similar to the one they entered through, which leads into the Post Office Railway, and is used to study the operation of electric trains.

In the story, the System had existed for centuries before the Tube, and it is mentioned in the second Appendix that the beginning of construction of the Tube caused the Undergrounders considerable alarm, although tempered by pride that the Abovegrounders were (seemingly) imitating them for a change.

The key clue to the location of the System is the River Fleet, diverted underground in the eighteenth century. It serves as the spine of the canal network and the setting for one of the most dramatic scenes in the book, as both the train (with Widgie on board) and the boat (with Jen) race against time to reach and pass a bridge over it as the river becomes swollen and flooded.

Several locations (King's Cross, Paddington, Camden Lock) are named after real-world locations, and it appears from the map in the book that these are intended to be very near their real-world locations: the System incorporates the area roughly bounded on the surface by Muswell Hill to the north, Tottenham and Islington to the east, Paddington and Oxford Street to the south and Finchley Road to the west.  The southern part of this area includes the River Fleet, which drains southwards into the Thames.

References

1980 British novels
Children's fantasy novels
Steampunk novels
Novels set on the London Underground
Children's books set in London

The Horn of Mortal Danger


ITESO, Universidad Jesuita de Guadalajara — distinct from the University of Guadalajara — also known as Instituto Tecnológico y de Estudios Superiores de Occidente, ITESO, is a Jesuit university in the Western Mexican state of Jalisco, located in the municipality of Tlaquepaque in the Guadalajara Metropolitan Area.

The university has approximately 10,000 students. Its academic options include Civil Engineering and Architecture, Food Engineering, Education, Electronic Engineering, International Business, International Relations, Chemical Engineering, Philosophy, Psychology and Social Studies, and Networks and Telecommunications Engineering. The university is affiliated to the Jesuit University System, which includes the Iberoamerican Universities in Acapulco, Mexico City, Jaltepec, León, Torreón, Puebla and Tijuana. According to the vision of Jesuits, local businesspeople, and others who planned the university, it would combine professional training with a firm sense of social responsibility.

Business projects

ITESO has a close relationship with businesses in the region through two types of extension activities:

 Business extension, which fosters ongoing strategic alliances among independent businesses.
 Academic extension, which sets up internships in the productive sector.

ITESO also has an enterprise incubation program that provides consulting for new business start-ups.

The Institutional Program for Managing Innovation and Technology (Programa Institucional para la Gestión de la Innovación y la Tecnología, PROGINNT), in conjunction with industry and different support organizations such as the Avance Program of the CONACYT, the Fund for Small and Medium-Sized Businesses (PYME) of the Ministry of the Economy, and the State Council for Science and Technology (COECYTJAL), helps regional organizations to increase their competitiveness through proper technological management. A three-phase model is used: technological diagnosis, strategic and technological planning, and administration of technological innovation projects. This program coordinates the Certificate Program in Innovation and Technology Management, which seeks to foment change in the local business culture, and also offers the services of a technology-based enterprise incubator for generating high-tech business initiatives. The model provides consulting services for the new businesses, and focuses on such sectors as food processing, pharmaceuticals, software development and electronic design – all identified as priority areas for the Jalisco economy.

ITESO also offers the services of its Center for Business Consulting to help businesses implement mechanisms for managing technology, and a Center for Competitive Intelligence, which does technology and market research including trend studies, forecasts, strategic, market and patent studies, corporate and sectorial profiles, and other services.

Educational partnerships

Regis University and ITESO have a joint MBA program to prepare Latin American and U.S. Latino executives/entrepreneurs for the opportunities in emerging economies around the world. This was the first graduate business program in Latin America designed to develop successful entrepreneurial and business skills for emerging markets such as China, Brazil, Russia, and India. It also covers innovative strategies to enter and expand operations in developed markets.

Social service projects
Some of the over 200 social projects in which the university participates are: "Southern Region", sustainable development in southern Jalisco
"Sierra Wixárika", protection of the Huichol Indians' territory and environment, improvement of productive systems, education, and health and "Alternative Rural Financing System" which offers poor families from rural areas of Jalisco organizational, administrative, and financial tools for raising their standard of living

See also
 List of Jesuit sites
 Universidad Iberoamericana
 Universidad Iberoamericana Puebla
 List of rectors of the ITESO

References

External links
ITESO

ITESO, Universidad Jesuita de Guadalajara
Jesuit universities and colleges in Mexico
Universities and colleges established in 1958
1957 establishments in Mexico


Pinyin alphabetical order, or Pinyin order in short, is a sound-based Chinese character sorting method which has been used for arrangement of entries in Xinhua Dictionary, Xiandai Hanyu Cidian, Oxford Chinese Dictionary and many other modern dictionaries.
In this method, Chinese characters are arranged according to the order of the Latin alphabet  adopted in "Chinese Pinyin Scheme".

Pinyin alphabetical order is applicable to the ordering of both Chinese characters and words. It is primarily of alphabetical order and thus more simple and internationally acceptable than the traditional Radical-and-stroke sorting. The serious disadvantage of pinyin order lies in its disability to support lookup of words without knowing their pronunciations.

Sorting single Chinese characters
The rules for sorting two Chinese characters into pinyin order are as follows:

Rule of basic alphabet
To arrange two Chinese characters into basic alphabetical order, first compare the first letters of the pinyin letter strings of the two characters. If they are different, arrange the characters according to the letters' order in the alphabet (for example, "李(lǐ)" comes before "张(zhāng)", because the initial letter "l" is before initial letter "z" in the alphabet); if the first letters are the same, compare the second letters of both sides, and so on, until a pair of letters that are not the same is found and the Chinese characters are ordered accordingly (for example, "长(cháng)" comes before "陈 (chén)" because the third letter "a" precedes "e"). If the last letter of one of the strings is compared and the letters on both sides are still the same, then the shorter string comes first (for example, "陈 (chén)" comes before "程(chéng)").

Rule of ê and ü
For two Chinese characters with the same pinyin basic letters, if there is a difference of basic letter "e" and modified letter "ê", or of basic letter "u" and modified letter "ü", then the pinyin with a modified letter comes after the pinyin without a modified letter. For example, "額 (è)欸(ê̄)","路(lù)驢(lǘ)","努(nǔ)女(nǚ)".

According to the "Index of Chinese Pinyin Syllables" in Xinhua Dictionary, this rule only involves three pairs of syllables: "e" comes before "ê", "nu" before "nü", and "lu" before "lü".

Rule of tones
Characters of the same pinyin letters (including modified letters ê and ü.) are arranged according to their tones in the order of "first tone (i.e., "flat tone"), second tone (rising tone), third tone (falling-rising tone), fourth tone (falling tone), fifth tone (neutral tone)", such as "媽(mā)麻(má)馬(mǎ)罵(mà)嗎(ma)".

For a complete list of Chinese syllables sorted in pinyin order, please refer to the "Index of Chinese Pinyin Syllables" (without marks of tones) of "Xinhua Dictionary" or the "Table of Syllables" (with tones) in "Xiandai Hanyu Cidian"
.

Chinese characters with exactly the same pinyin expressions, i.e. completely homonymous characters with the same initials, finals and tones, are usually sorted by means of stroke-based sorting.

Sorting words of multiple characters
Words with multiple characters can be sorted in two different ways, character by character or word by word.

Character-by-character sorting
First, sort the words alphabetically by their first characters. If the first characters are the same, sort by the second characters, and so on. For example,  "底層(dǐcéng), 地標(dìbiāo), 地表( dìbiǎo), 地租(dìzū ), 電燈(diàndēng)".  "Xiandai Hanyu Cidian" and "Oxford Chinese Dictionary" use this method.

Word-by-word sorting
The words are sorted by the pinyin letter strings of the whole words, and then sorted by tone when the letters are the same. And the words in the previous example would then be ordered into  "電燈(diàndēng),地標(dìbiāo),地表( dìbiǎo),底層(dǐcéng),地租(dìzū )".  This method is applied to ABC Chinese-English Dictionary.

Comments
The Chinese character pinyin sorting method adopts the internationally accepted Latin alphabetical order. It is simple and scientific, and represents an ideal method for Chinese information look up. However, it has not yet reached the level of convenience of English alphabetical order. The biggest disadvantage lies in its disability to support look up of characters without knowing their pronunciations (therefore, dictionaries arranged in pinyin order usually have indexes of other sorting methods). In addition, the large number of homophones in Chinese also need to be processed by other sorting methods.

Notes

References

See also
 Chinese dictionary

External links
 :zh:漢字檢索
 https://zh.wikipedia.org/wiki/汉语拼音

Pinyin
Chinese character collation
Chinese dictionaries

Pinyin alphabetical order