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Similar domes house most of the Earth's population. Blake is approached by a group of political dissidents who take him outside the city to meet their leader, Bran Foster. According to Foster, Blake was once the leader of an influential group of political activists opposed to the Federation's Earth Administration. Blake was arrested, brainwashed and coerced into making a confession denouncing the rebellion. His memory of those years was then blocked. Foster wants Blake to rejoin the dissidents. Suddenly, the meeting is interrupted by the arrival of Federation security forces, who shoot and kill the crowd of rebels. Blake, the only survivor, returns to the city, where he begins to remember his past.
He is arrested, tried on false charges of child molestation and sentenced to deportation to the prison planet Cygnus Alpha. Whilst awaiting deportation from Planet Earth, Blake meets thief Vila Restal and smuggler Jenna Stannis. On board the prison ship London, Blake meets convicted murderer Olag Gan and computer engineer and embezzler Kerr Avon. The London encounters a battle between two alien space fleets and the Londons crew plot a course to avoid the combat zone and continue their voyage. They encounter a strange alien craft, board it and attempt to salvage it but are thwarted by the alien ship's defence mechanism.
The commander of the London sends the expendable Blake, Avon, and Jenna across to the ship. Blake defeats the defence system when it tries to use memories he recently discovered were false. With Jenna as pilot, the three convicts escape in the alien craft. Blake and his crew follow the London to Cygnus Alpha in their captured ship, which they have named Liberator. They retrieve Vila and Gan, while Blake leaves the other prisoners. Blake wants to use Liberator and its new crew to attack the Federation with the others, especially Avon, as reluctant followers. Blake's first target is a communications station on the planet Saurian Major.
Blake infiltrates the station and is assisted by Cally, a telepathic guerrilla soldier from the planet Auron. Blake invites Cally to join the crew. With this new arrival, and including Liberators computer, Zen, Liberator has a crew of seven. As Blake's attacks against the Federation become bolder, he has less success. Political pressure grows on the Administration with planetary commanders threatening to leave the Federation because of its inability to protect them from Blake's attacks. Rumours abound about Blake's heroism and other rebel groups use his name for their actions. Supreme Commander Servalan appoints Space Commander Travis, who has a vendetta against Blake, to eliminate Blake and capture Liberator.
Servalan often co-opts Travis for her personal projects and uses Blake as a cover for her own activities. When Travis repeatedly fails to eliminate Blake, Servalan does not assign the task to another officer and does not use more resources to eliminate him. Blake meets a man named Ensor and discovers a plot by Servalan and Travis to seize a powerful computer named Orac, which is capable of communicating with any computer that uses a component called a Tariel Cell. Blake's crew suffers from radiation sickness but capture the device before Servalan arrives. Blake offers to perform the operation to save Ensor's life aboard the Liberator but Ensor dies when the power cells for his artificial heart are depleted before they are able to reach Liberator.
Aboard the ship, Orac predicts the craft's destruction in the near future. Series Two The Liberator is recaptured by the people that built it and Orac's prophecy is fulfilled when it destroys an identical space vehicle. Blake wants to attack the heart of the Federation and he targets the main computer control facility on Earth. Avon agrees to help on condition that Blake gives him Liberator when the Federation has been destroyed. Blake, Avon, Vila and Gan reach the control facility and find an empty room. Travis reveals that the computer facility was secretly relocated years before and the old location was left as a decoy.
Blake and his crew escape but Travis throws a grenade in the confined area and Gan is killed by falling rubble. After Gan's death, Blake considers the future of the rebellion, and Travis is convicted of war crimes by a Federation court martial at Space Command Headquarters aboard a space station. Blake decides to restore his group's reputation and attacks the space station but Travis escapes and continues his vendetta against Blake. Blake seeks the new location of the computer control facility. He learns that it is named Star One. When Star One begins to malfunction, Servalan also becomes desperate to find its location.
The facility's failure causes many problems in the Federation. Star One controls a large defensive barrier that has prevented extra-galactic incursions. Blake discovers Star Ones location and finds that, with help from Travis, aliens from the Andromeda Galaxy have infiltrated it. Vila discovers a fleet of alien spacecraft beyond the barrier. Travis partially disables the barrier. Blake and his crew overcome the aliens at Star One and kill Travis but the gap in the barrier allows the aliens to invade. Jenna calls for help from the Federation, where Servalan has conducted a military coup, imposed martial law and declared herself President.
Servalan dispatches the Federation's battle fleets to repel the invaders, who begin to breach the barrier. With Blake badly wounded, Liberator by Avon's direction, alone until Servalan's battle fleets arrive, fights against the aliens. Series Three Liberator is severely damaged during the battle with the Andromedans, forcing the crew to abandon ship whilst Zen carries out repairs. The Federation defeats the alien invaders but the cost considerably reduces its influence in the galaxy. Blake and Jenna go missing and Avon becomes the new leader. Two new additions, weapons expert Dayna Mellanby and mercenary Del Tarrant, join the crew. Avon is less inclined than Blake to attack the Federation but Servalan realises that if she captures Liberator, the Federation will quickly restore its former power.
Servalan attempts to create clones of herself, but is thwarted when the embryos are destroyed. Avon decides to find the Federation agent who killed Anna Grant, his former lover. The group interrupts an attempt to eliminate Servalan and Avon discovers that Anna is alive and was previously a Federation agent named Bartolemew. Anna tries to shoot Avon in the back but Avon kills her and frees Servalan. Servalan lures Avon into a trap using a faked message from Blake. Servalan finally captures Liberator and maroons the crew on an artificial planet named Terminal but does not know that Liberator has been irreparably damaged after flying through a cloud of corrosive fluid particles.
As Servalan leaves Terminal, the ship explodes and Servalan is apparently killed as she attempts to escape by teleporting away. Series Four Booby traps, set by Servalan in her underground complex on Terminal, explode and Cally is killed. Avon, Tarrant, Vila and Dayna escape with Orac and are rescued by Dorian, a salvage operator. Dorian takes the crew in his spacecraft, Scorpio, to his base on the planet Xenon, where they meet his partner, Soolin. Dorian plans to drain the crew's life-force and take Orac but is foiled by Vila. Avon completes a new teleport system for Scorpio using the technology left behind by Dorian.
Soolin joins the crew and they commandeer Scorpio and occupy the Xenon base. Avon gains control of Slave, Scorpios main computer. The crew acquires an experimental new stardrive that vastly increases Scorpios speed, making it even faster than Liberator. The Scorpio crew become concerned about the speed at which the Federation is reclaiming its former territory and discover that Servalan survived the destruction of Liberator. Deposed as President of the Federation, she is using the pseudonym Commissioner Sleer and is enacting a pacification programme using a drug named Pylene-50. The Scorpio crew gain the formula for an antidote to Pylene-50 but this cannot reverse the drug's effects.
Avon finds a way to synthesise the antidote and the crew attempt to create an alliance between independent worlds to resist the Federation and get the resources and manpower to mass produce the Pylene 50 antidote. One of the alliance members, Zukan, betrays the alliance to Servalan and detonates explosives on Xenon base, which is damaged and the Scorpio crew are forced to abandon it. Avon tells the rest of the group that Orac has traced Blake to Gauda Prime, an agricultural planet. Blake is masquerading as a bounty hunter; his latest quarry is Arlen, whom he hopes to recruit for his rebellion.
Scorpio approaches Gauda Prime and is attacked. The crew, except Tarrant, use the teleport to abandon the damaged craft. Slave is damaged, Tarrant remains aboard to pilot Scorpio and is injured during a crash landing. Blake arrives, rescues and takes Tarrant to his base and purportedly captures Tarrant as bounty. Tarrant thinks that Blake has betrayed the group and Blake lets Tarrant escape. Tarrant is nearly killed by Blake's colleagues when Avon and his crew save him, giving credence to Tarrant's accusation that Blake has betrayed them to the Federation. Becoming very suspicious of Blake, Avon kills him. Arlen reveals that she is a Federation officer and Federation guards arrive.
Tarrant, Soolin, Vila, and Dayna are shot by Federation troops, who slowly surround Avon. Avon steps over Blake's body, raises his gun and smiles. Shots are heard. Production history Terry Nation had the idea for Blake's 7 in a moment of inspiration during a pitch meeting with Ronnie Marsh, a BBC drama executive. Marsh was intrigued and immediately commissioned a pilot script. When he had seen the draft, Marsh approved Blake's 7 for full development. David Maloney, an experienced BBC director, was assigned to produce the series and Chris Boucher was engaged as script editor. Nation was commissioned to write the thirteen episodes.
Boucher's task was to expand and develop Nation's first drafts into workable scripts, but this became increasingly difficult as Nation started running out of ideas. Meanwhile, Maloney was struggling with the limited budget available given the need for action and special effects. Despite these challenges Blake's 7 was very popular, with some episodes exceeding ten million viewers. A second series was quickly commissioned. The BBC engaged new writers for the subsequent series. It was decided that one of the regular characters should die, to demonstrate that Blake and his crew were not invincible. Gan, played by David Jackson, was chosen because Gan had been under-used and was the least popular character.
Although ratings declined compared to the first series, the BBC commissioned a third. When Gareth Thomas and Sally Knyvette decided not to return, new characters were required so that the story could continue without its titular character. Suggestions for a replacement actor for Blake were rejected and Avon became more prominent in the story. New characters Del Tarrant, portrayed by Steven Pacey and Dayna Mellanby, portrayed by Josette Simon, were introduced. Blake's 7 was not expected to be recommissioned after the third series and there was surprise when during 1980 a further series was announced as the third series ended.
Bill Cotton, BBC Head of Television, had watched Terminal and enjoyed it greatly. He telephoned the presentation department and ordered them to make the announcement. As David Maloney was unavailable, Vere Lorrimer became the producer. He introduced new characters, a new spacecraft Scorpio and its computer Slave. Jan Chappell (who played Cally) decided that she did not want to return, and was replaced by Glynis Barber as Soolin. Gareth Thomas made a final appearance as Blake and insisted that his character be killed in a definitive manner. Although the fourth series performed satisfactorily in the ratings, Blake's 7 was not renewed again and the final episode had an ambiguous finale.
Except for Blake, whose death was contractual, the characters were shown being attacked in such a way that their survival would have been possible had a fifth series been commissioned. The final episode, titled "Blake", was broadcast on 21 December 1981. Although Blake's 7 never crossed over with Doctor Who during its initial run, Gareth Thomas was open to the idea as he was close friends with Doctor Who alumnus Tom Baker, and the two wanted to be 'briefly crossing paths' with one another before going their ways. Ultimately, the idea was scrapped. Filming locations Interior spaceship sets and other indoor scenes were filmed at the BBC Television Centre, Shepherd's Bush in London.
For indoor complexes, such as bases or command center bunkers, filming often took place in local power plants and water turbine stations. Location shooting was also extensive with shooting occurring mostly in southern England. Notable location shots include episode eleven, of the first season, "Bounty", where the production was filmed at Quex Park in Kent. The Waterloo Tower in Quex Park was ex-president Sarkoff's residence in exile. The series also used Betchworth Quarry as the surface of an alien planet and Wookey Hole Caves as the site of an alien mine. Additional location shooting took place at Black Park, New Forest, South Bank, Camden Town and the now demolished Wembley Conference Centre.
Music and sound effects Blake's 7s theme music was written by Australian composer Dudley Simpson, who had composed music for Doctor Who for more than ten years. The same recording of Simpson's theme was used for the beginning titles of all four series of the programme. For the fourth series, a new recording was made for the closing credits that used an easy listening-style arrangement. Simpson also provided the incidental music for all of the episodes except for the Series One episode "Duel" and the Series Two episode "Gambit". "Duel" was directed by Douglas Camfield, who had a grudge against Simpson and refused to work with him, and so Camfield used library music.
Elizabeth Parker provided the music and sound effects for "Gambit". Blake's 7 made considerable use of audio effects that are described in the credits as "special sound". Many electronically generated sound effects were used, ranging from foley-style effects for props including handguns, teleport sounds, spacecraft engines, flight console buttons and background atmospheres. The special sounds for Blake's 7 were provided by the BBC Radiophonic Workshop composers Richard Yeoman-Clark and Elizabeth Parker. Critical reception Blake's 7 received both positive and negative reviews. The fourth episode Time Squad review by Stanley Reynolds of The Times stated, " ... nice to hear the youngsters holding their breath in anticipation of a little terror."
Reynolds elaborated, "Television science fiction has got too self-consciously jokey lately. It is also nice to have each episode complete within itself, while still carrying on the saga of Blake's struggle against the 1984-ish Federation. But is that dark-haired telepathic alien girl, the latest addition to Blake's outer-space merry men, going to spell love trouble for blonde Jenna? Maid Marian never had that trouble in Sherwood Forest." During January 1998 Robert Hanks of The Independent compared the series' ethos to that of Star Trek.
He wrote "If you wanted to sum up the relative position of Britain and America in this century — the ebbing away of the pink areas of the map, the fading of national self-confidence as Uncle Sam proceeded to colonise the globe with fizzy drinks and Hollywood — you could do it like this: they had Star Trek, we had Blake's 7 ... No 'boldly going' here: instead, we got the boot stamping on a human face which George Orwell offered as a vision of humanity's future in Nineteen Eighty-Four." Hanks concluded that "Blake's 7 has acquired a credibility and popularity Terry Nation can never have expected ...
I think it's to do with the sheer crappiness of the series and the crappiness it attributes to the universe: it is science-fiction for the disillusioned and ironic — and that is what makes it so very British." Gavin Collinson of the British Film Institute's Web site Screenonline wrote "The premise of Blake's 7 held nothing remotely original. The outlaw group resisting a powerful and corrupt regime is an idea familiar from Robin Hood and beyond. He added "Blake's 7s triumph lay in its vivid characters, its tight, pacey plots and its satisfying realism...For arguably the first time since the 1950s Quatermass serials, the BBC had created a popular sci-fi/fantasy show along adult lines."
His review concludes "Ultimately, the one force the rebels could not overcome proved to be the BBC's long-standing apathy towards science fiction. However, the bloody finale, in which Avon murders Blake, exemplified the programme's strengths — fearless narratives, credible but surprising character development and an enormous sense of fun." The Australian broadcaster and critic Clive James gave a negative appraisal of the series. He called it " ... classically awful British television SF ... no apostrophe in the title, no sense in the plot." James continued "The depraved space queen Servalan ... could never quite bring herself to volatilize the dimly heroic Blake even when she had him square in the sights of her plasmatic spasm guns.
The secret of Blake's appeal, or Blakes appeal, for the otherwise infallibly fatale Servalan remained a mystery, like the actual wattage of light bulb on which the design of Blake's spaceship, or Blakes spaceship, was plainly based." Screenwriter Nigel Kneale, whose work included The Quatermass Experiment and other science fiction, was also critical. He described "the very few bits I've seen" as "paralytically awful", claiming that "the dialogue/characterisation seemed to consist of a kind of childish squabbling." Legacy Blake's 7 deviates from the good-versus-evil dualism in Star Wars; Star Trek′s 'feel-good' future; and the episodic structure of Doctor Who. Blake's 7 also influenced Hyperdrive and Aeon Flux.
Television playwright Dennis Potter's final work Cold Lazarus was inspired by the show. Blake's 7 remains fairly well regarded. A poll of United States science-fiction writers, fans and critics for John Javna's 1987 book The Best of Science Fiction placed the series 25th in popularity, despite then only having recently begun to be broadcast in the US. A similar poll in Britain conducted for SFX magazine during 1999 put Blake's 7 at 16th place, with the magazine commenting that "twenty years on, TV SF is still mapping the paths first explored by Terry Nation's baby". During 2005 SFX surveyed readers' top 50 British telefantasy shows of all time, and Blake's 7 was placed at number four behind The Hitchhiker's Guide to the Galaxy, Red Dwarf and Doctor Who.
A similar poll conducted by TV Zone magazine during 2003 for the top 100 cult television programmes scored Blake's 7 11th. Dutch musician Arjen Anthony Lucassen was inspired by Blake's 7 in naming his side-project Star One. In 2004 a 15-minute comedy short entitled "Blake's Junction 7" debuted at several film festivals around the world. It was directed by Ben Gregor, written by Tim Plester, and featured Mackenzie Crook, Martin Freeman, Johnny Vegas, Mark Heap and Peter Tuddenham. This parody depicted the characters taking a break at the Newport Pagnell motorway service area. During 2006 the BBC produced a 30-minute documentary The Cult of... Blake's 7 that was first broadcast on 12 December on BBC Four, as part of a Science Fiction Britannia series.
Revivals The revival of Blake's 7 has been mooted for some years. Terry Nation raised the possibility on a number of occasions and proposed that a new series would be set some years after the existing one. Avon, living in exile like Napoleon on Elba, would be persuaded by a new group of rebels to resume the fight against the Federation. Radio and audio During 1998 Blake's 7 was broadcast again by the BBC by radio. The Sevenfold Crown was broadcast by BBC Radio 4 on 17 January 1998 as part of its Playhouse strand. The play was produced by Brian Lighthill and written by Barry Letts.
Paul Darrow, Michael Keating, Steven Pacey, Peter Tuddenham and Jacqueline Pearce reprised their television roles, but Josette Simon and Glynis Barber were replaced by Angela Bruce as Dayna and Paula Wilcox as Soolin. The story was set during the fourth series between the episodes Stardrive and Animals. This was followed by The Syndeton Experiment, which featured the same cast, producer and writer and was broadcast as The Saturday Play on 10 April 1999 by BBC Radio 4. BBC Audiobooks released a CD of readings of Trevor Hoyle's novelisations of episodes The Way Back read by Gareth Thomas and Cygnus Alpha read by Paul Darrow.
On 11 December 2006 B7 Productions announced that it had recorded a series of 36 five-minute Blake's 7 audio adventures, written by Ben Aaronovitch, Marc Platt and James Swallow. This featured Derek Riddell as Blake, Colin Salmon as Avon, Daniela Nardini as Servalan, Craig Kelly as Travis, Carrie Dobro as Jenna, Dean Harris as Vila, Owen Aaronovitch as Gan, Michael Praed, Doug Bradley and India Fisher. The new series was broadcast by BBC Radio 7 and repeated during mid-2010 as three hour-long episodes: Rebel (written by Ben Aaronovitch), Traitor (Marc Platt) and Liberator (James Swallow). B7 Productions also produced series of 30-minute prequel audio episodes named Blake's 7: The Early Years, which explored the earlier histories of the central characters.
During 2011 Big Finish Productions, under licence from B7 Productions, announced that it would be producing a series of audio dramas named Blake's 7: The Liberator Chronicles, which would be " ... a series of exciting, character-driven tales that remain true to the original TV series. We're aiming for authenticity — recreating the wonder of 1978 all over again!" The company also said it would publish a series of Blake's 7 novels at a rate of two per year. During January 2013 Big Finish released an initial full cast audio production, Warship. This was followed during January 2014 with a series of six full cast single disc original stories, with a second series starting in November 2014.
Several individuals and companies have produced unofficial material based upon Blake's 7. Alan Stevens, later of Magic Bullet Productions, produced three unofficial audio cassettes between 1991 and 1998: Travis: The Final Act, The Mark of Kane and The Logic of Empire. Stevens also produced a series of audio dramas named Kaldor City, created by Chris Boucher, which link the Blake's 7 universe into Boucher's Doctor Who serial The Robots of Death through the character Carnell (Scott Fredericks), whom Boucher created for the Blake's 7 episode Weapon. Television During April 2000 producer Andrew Mark Sewell announced that he had bought the rights to Blake's 7 from the estate of Terry Nation, and was planning to produce a TV movie set 20 years after the finale of the original series.
During July 2003, Sewell announced that he, Paul Darrow and Simon Moorhead had formed a consortium called 'B7 Enterprises' that had acquired the rights and was planning a television miniseries budgeted at between five and six million U.S. dollars. Darrow would play Avon and the series was to be televised during early 2005, depending on " ... many factors, not least financing". Paul Darrow subsequently left the project during December 2003, citing "artistic differences". B7 Enterprises announced on 31 October 2005 that it had appointed Drew Kaza as non-executive chairman, and that it was working on two Blake's 7 projects.
Blake's 7: Legacy was to be a two-part, three-hour mini-series, which would be written by Ben Aaronovitch and D. Dominic Devine. Blake's 7: The Animated Adventures was to be a 26-part children's animated adventure series written by Aaronovitch, Andrew Cartmel, Marc Platt and James Swallow. In an interview with Doctor Who Magazine, writer and producer Matthew Graham said that he had been involved in discussions to revive Blake's 7. Graham's concept was that a group of young rebels would rescue Avon, who had been kept cryogenically frozen by Servalan, and then roam the galaxy in a new ship named Liberator.
On 24 April 2008, television station Sky1 announced that it had commissioned two 60-minute scripts for a potential series, working alongside B7 Productions. On 4 August 2010, the station said it had decided not to commission the series. B7 Productions said the decision was " ... obviously disappointing", but that the development process has resulted in the " ... dynamic reinvention of this branded series". It said it was confident it would find another partner to develop a new version of Blake's 7 for television. During July 2012, Deadline reported that a remake for US television networks was being developed by the independent studio Georgeville Television.
The Syfy network announced on 22 August that Joe Pokaski would develop the script and Martin Campbell would direct the new remake. On 9 April 2013, the BBC reported that a new series of Blake's 7 would be broadcast by SyFy. Other media reported that a full-series order of thirteen episodes had been placed. During 2015, the Nation Estate ended relations with Andrew Mark Sewell and the Blake's 7 licence was awarded to Big Finish Productions. On 4 April 2016, it announced The Liberator Chronicles Volume 12, due to be released later the same month, which would be the final entry in Big Finish's long-running collection of audio box-sets based on Blake's 7 With B7 Media's involvement.
All future releases on their Blake's 7 ranges would be produced in-house at Big Finish under full licence. Merchandise Terry Nation had done well financially from commercial exploitation of the Doctor Who Daleks, and recognised the potential for merchandise related to Blake's 7. Nation and his agent Roger Hancock discussed this with Ray Williams of BBC Merchandising in December 1976. By May 1977, twenty-seven items of merchandise had been proposed for release by companies including Palitoy, Letraset and Airfix. However, only a small quantity of these was ever made available. A small number of toys and models were produced. During 1978, Corgi Toys produced a two inch long die-cast model of Liberator with a transparent rear globe.
This was re-released the following year in silver with a model space shuttle, and in blue on its own. Also during 1979, Blue Box Toys produced three space vehicle toys that featured the series logo; however, these had never appeared in the television programme. Comet Miniatures produced a nine-inch long injection-moulded model kit of Liberator in 1989, which contained many parts. They also produced a white metallic two-inch Liberator model, and a three-inch Federation trooper figure. A Scorpio clip gun, and Liberator and Scorpio teleport bracelets, were also produced. The children's programme Blue Peter offered a cheaper home-made alternative to fans who wanted merchandise.
In its 23 February 1978 show, presenter Lesley Judd demonstrated how to create a replica Liberator teleport bracelet from common household objects. This was followed on 6 June 1983, when presenter Janet Ellis demonstrated a similar method of making a replica Scorpio bracelet. Music The sheet music of the Blake's 7 theme was published by Chappell & Co. Ltd during 1978 with a photograph of Liberator on the front cover. A stereo re-recording of Dudley Simpson's theme music, in a markedly different arrangement to the original, was also released as a single, with The Federation March (a piece of incidental music from the episode Redemption) on the B-side.
The Blake's 7 theme was also released on an album BBC Space Themes, and Liberator was featured on the album sleeve. Another version of the theme, 'Blake's 7 Disco', was recorded by Federation and released during 1979 on Beeb Records with a B-side unconnected with the series. Many of the sound effects from the series were released during 1981 as an album BBC Sound Effects No. 26 – Sci-Fi Sound Effects, and re-released later on CD as Essential Science Fiction Sound Effects Vol. 1. Books and magazines Blake's 7 books were produced by various authors and publishers. The first was entitled Blake's 7, written by Trevor Hoyle and Terry Nation, and published during 1978 (novelising the first-season episodes The Way Back, Space Fall, Cygnus Alpha and Time Squad).
Its US title was Blake's 7 — Their First Adventure. Hoyle wrote two more books of the series: Blake's 7: Project Avalon (1979, novelising the episodes Seek–Locate–Destroy, Duel, Project Avalon, Deliverance and Orac from the first season) and Blake's 7: Scorpio Attack (1981, novelising the episodes Rescue, Traitor and Stardrive from the fourth season). Publications continued to be issued after the series had ended. Tony Attwood's Blake's 7: The Programme Guide, published by Target during 1982, is a factual overview of the series with a detailed episode guide, an encyclopedia, and interviews with the cast and writers. It was re-issued by Virgin Books during 1994.
Attwood also wrote an original novel named Afterlife, which is set after the final episode and was published by Target during 1984. Another original novel, Avon: A Terrible Aspect by Paul Darrow, told the story of Avon's early years before he met Blake, and was published during 1989. World Distributors produced Blake's 7 Annuals for 1979, 1980 and 1981. These featured stories, games, artwork and articles about space. During October 1981 Marvel UK began publishing the monthly Blake's 7 magazine, which included a comic strip by Ian Kennedy as well as text stories, features and photographs. Twenty-five issues including two 'specials' were published, until the magazine closed during August 1983.
Marvel produced two 'special' magazines during 1994 and 1995, with much of the content written by television historian Andrew Pixley and about how the series was made. Seven issues of Blake's 7 Poster Magazine were published between December 1994 and May 1995. Several books offering insight and background information to Blake's 7 were produced, including Blake's 7: The Complete Guide by Adrian Rigelsford (Boxtree, 1995), Blake's 7: The Inside Story by Joe Nazzaro and Sheelagh Wells (Virgin, 1997), A History and Critical Analysis of Blake's 7 by John Kenneth Muir (McFarland and Company, 1999), and Liberation. The Unofficial and Unauthorised Guide to Blake's 7 by Alan Stevens and Fiona Moore (Telos, 2003).
Video and DVD releases During 1985 BBC Video issued four compilation videocassettes containing highlights from the first three series edited into 2 hour features. The first released was The Beginning, containing excerpts from The Way Back, Spacefall, Cygnus Alpha and Time Squad. Duel was released in 1986 with highlights of Seek–Locate–Destroy, Duel and Project Avalon. During the same year Orac was released, containing excerpts from Deliverance, Orac and Redemption. The first three tapes were available in both VHS and Betamax format. The final tape, The Aftermath, was released in Australia during 1986, with extracts from Aftermath, Powerplay and Sarcophagus. During 1990 all four tapes were re-released in the UK on VHS.
From 1991 BBC Video released Blake's 7 in episodic order on 26 VHS cassettes with two episodes per tape. Canadian company BFS also released these in North America. During 1997 Fabulous Films company re-released these tapes in different packaging. The BBC and Fabulous Films planned to issue the series as four DVD box sets, but this was disrupted by conflicts with rights-holders B7 Enterprises. These issues were resolved and one series per year was released on Region 2 DVD between 2003 and 2006. During 2007 Amazon sold a four-series box set, but a casualty of the difficulties with Blake's 7 Enterprises was The Making of Blake's 7, a four-part documentary directed by Kevin Davies, intended originally as an extra feature with each DVD release.
B7 Enterprises said they " ... did not feel [the documentary] provided a proper tribute or fresh retrospective of the show". The discs contained extra features including bloopers, out-takes, alternative scenes, voiceover commentaries, interviews and behind the scenes footage. See also History of Blake's 7 List of Blake's 7 episodes Characters of Blake's 7 Notes and references External links Category:1970s British science fiction television series Category:1978 British television series debuts Category:1980s British science fiction television series Category:1981 British television series endings Category:BBC television dramas Category:BBC Television programmes Category:British science fiction television programmes Category:Dystopian television series Category:English-language television programs Category:Space adventure television series Category:Space Western television series Category:Television series created by Terry Nation
Class 321 may refer to: British Rail Class 321, British rail unit FS Class E.321, Italian shunting locomotive
The Book of Samuel, or 1 Samuel and 2 Samuel, form part of the narrative history of Israel in the Nevi'im or "prophets" section of the Hebrew Bible/Old Testament, called the Deuteronomistic history, a series of books (Joshua, Judges, Samuel and Kings) that constitute a theological history of the Israelites and aim to explain God's law for Israel under the guidance of the prophets. According to Jewish tradition, the book was written by Samuel, with additions by the prophets Gad and Nathan. Modern scholarly thinking is that the entire Deuteronomistic history was composed in the period c. 630–540 BC by combining a number of independent texts of various ages.
Samuel begins with the prophet Samuel's birth and God's call to him as a boy. The story of the Ark of the Covenant that follows tells of Israel's oppression by the Philistines, which brought about Samuel's anointing of Saul as Israel's first king. But Saul proved unworthy and God's choice turned to David, who defeated Israel's enemies, purchased the threshing floor (), where his son, Solomon built the Temple and brought the Ark to Jerusalem. God then promised David and his successors an everlasting dynasty. Summary The childless Hannah vows to Yahweh of hosts that if she has a son, he will be dedicated to him.
Eli, the priest of Shiloh (where the Ark of the Covenant is located), blesses her, and a child named Samuel is born. Samuel is dedicated to the Lord as a Nazirite – the only one besides Samson to be identified in the Bible. Eli's sons, Hophni and Phinehas, sin against God's laws and the people, which cause them to die in the battle of Aphek, but the child Samuel grows up "in the presence of the Lord." The Philistines capture the Ark of the Covenant from Shiloh and take it to the temple of their god Dagon, who recognizes the supremacy of Yahweh.
The Philistines are afflicted with plagues and return the ark to the Israelites, but to the territory of the tribe of Benjamin rather than to Shiloh. The Philistines attack the Israelites gathered at Mizpah in Benjamin. Samuel appeals to Yahweh, the Philistines are decisively beaten, and the Israelites reclaim their lost territory. In Samuel's old age, he appoints his sons Joel and Abijah as judges, but because of their corruption the people ask for a king to rule over them. God directs Samuel to grant them a king despite his concerns, and gives them Saul from the tribe of Benjamin.
Shortly after Saul leads Israel to victory over Nahash of Ammon. Despite his numerous military victories, Saul disobeys Yahweh's instruction of destroying Amalek by sparing the Amalekite ruler and the best portion of their flocks to present them as sacrifices. Samuel rebukes Saul and tells him that God has chosen another man to be king of Israel. God tells Samuel to anoint David of Bethlehem as king, and David enters Saul's court as his armor-bearer and harpist. Saul's son and heir Jonathan befriends David and recognizes him as the rightful king. Saul plots David's death, but David flees into the wilderness, where he becomes a champion of the Hebrews.
David joins the Philistines but continues secretly to champion his own people, until Saul and Jonathan are killed in battle at Mount Gilboa. At this point, David offers a majestic eulogy, where he praises the bravery and magnificence of both his friend Jonathan and King Saul. The elders of Judah anoint David as king, but in the north Saul's son Ish-bosheth, or Ishbaal, rules over the northern tribes. After a long war, Ishbaal is murdered by Rechab and Baanah, two of his captains who hope for a reward from David; but David has them killed for killing God's anointed. David is then anointed King of all Israel.
David captures Jerusalem and brings the Ark there. David wishes to build a temple, but Nathan tells him that one of his sons will be the one to build the temple. David defeats the enemies of Israel, slaughtering Philistines, Moabites, Edomites, Syrians and Arameans. David commits adultery with Bathsheba, who becomes pregnant. When her husband, Uriah the Hittite returns from battle, David encourages him to go home and see his wife but Uriah declines in case David might need him. David thus deliberately sends Uriah on a suicide mission; and for this, Yahweh sends disasters against his house. Nathan tells David that the sword shall never depart from his house.
For the remainder of his reign there are problems. Amnon (one of David's sons) rapes his half-sister Tamar (one of David's daughters). Absalom (another son of David) kills Amnon, rebels against his father, and David flees from Jerusalem. Absalom is killed following the Battle of the Wood of Ephraim, David is restored as king, and he returns to his palace. Finally only two contenders for the succession remain, Adonijah, son of David and Haggith, and Solomon, son of David and Bathsheba. The Second Book of Samuel concludes with four chapters (chapters 21 to 24) which lie outside the chronological narrative of Saul and David.
The narrative is resumed with the first Book of Kings, which relates how, as David lies dying, Bathsheba and Nathan ensure Solomon's elevation to the throne. The four supplementary chapters cover a great famine during David's reign, the execution of seven of Saul's remaining descendants, only Mephibosheth being saved, David's song of thanksgiving, which is almost identical to Psalm 18, his last words, a list of David's "mighty warriors", an offering made by David using water from the well of Bethlehem, David's sinful census, a plague over Israel which David opted for as preferable to either famine or oppression, and the construction of an altar on land he purchased from Araunah the Jebusite.
Composition Versions What it is now commonly known as 1 Samuel and 2 Samuel are called by the Vulgate, in imitation of the Septuagint, 1 Kings and 2 Kings respectively. Then, what it is now commonly known as 1 Kings and 2 Kings would be 3 Kings and 4 Kings in old Bibles before the year 1516. It was in 1517 that use of the division we know now today used by Protestant Bibles and adopted by Catholics began. Some Bibles still preserve the old denomination, for example, the Douay-Rheims Bible.
1 and 2 Samuel were originally (and, in most Jewish bibles, still are) a single book, but the first Greek translation, called Septuagint and produced around the second century BC, divided it into two; this was adopted by the Latin translations used in the early Christian church of the West, and finally introduced into Jewish bibles around the early 16th century. The Hebrew text, that is used by Jews today, called the Masoretic text, differs considerably from the Hebrew text that was the basis of the first Greek translation, and scholars are still working at finding the best solutions to the many problems this presents.
Authorship and date of composition According to passages 14b and 15a of the Bava Basra tractate of the Talmud, the book was written by Samuel up until 1 Samuel 25, which notes the death of Samuel, and the remainder by the prophets Gad and Nathan. Critical scholars from the 19th century onward have rejected this idea. Martin Noth in 1943 theorized that Samuel was composed by a single author as part of a history of Israel: the Deuteronomistic history (made up of Deuteronomy, Joshua, Judges, Samuel and Kings). Although Noth's belief that the entire history was composed by a single individual has been largely abandoned, his theory in its broad outline has been adopted by most scholars.
The Deuteronomistic view is that an early version of the history was composed in the time of king Hezekiah (8th century BC); the bulk of the first edition dates from his grandson Josiah at the end of the 7th BC, with further sections added during the Babylonian exile (6th century BC) and the work was substantially complete by about 550 BC. Further editing was apparently done even after then. For example, A. Graeme Auld, Professor of Hebrew Bible at the University of Edinburgh, contends that the silver quarter-shekel which Saul's servant offers to Samuel in 1 Samuel 9 "almost certainly fixes the date of this story in the Persian or Hellenistic period" because a quarter-shekel was known to exist in Hasmonean times.
The 6th century BC authors and editors responsible for the bulk of the history drew on many earlier sources, including (but not limited to) an "ark narrative" (1 Samuel 4:1–7:1 and perhaps part of 2 Samuel 6), a "Saul cycle" (parts of 1 Samuel 9–11 and 13–14), the "history of David's rise" (1 Samuel 16:14–2 Samuel 5:10), and the "succession narrative" (2 Samuel 9–20 and 1 Kings 1–2). The oldest of these, the "ark narrative," may even predate the Davidic era. This view of late compilation for Samuel has faced serious scholarly opposition on the basis that evidence for the Deuteronimistic history is scant, and that Deuteronimistic advocates are not in consensus as to the origin and extent of the History.
Secondly, the basic theological concerns identified with the Deuteronimistic school are tenets central to Hebrew theology in texts that are widely regarded as predating Josiah. Thirdly, there are notable differences in style and thematic emphasis between Deuteronomy and Samuel. Finally, there are widely acknowledged structural parallels between the Hittite suzerain treaty of the second millennium BC and the Book of Deuteronomy itself, far before the time of Josiah. The alternative view is that it is difficult to determine when the events of Samuel were recorded: "There are no particularly persuasive reasons to date the sources used by the compiler later than the early tenth century events themselves, and good reason to believe that contemporary records were kept (cf.
2 Sam. 20:24–25)." Sources The sources used to construct 1 and 2 Samuel are believed to include the following: Call of Samuel or Youth of Samuel (1 Samuel 1–7): From Samuel's birth his career as Judge and prophet over Israel. This source includes the Eli narrative and part of the ark narrative. Ark narrative (1 Samuel 4:1b–7:1 and 2 Samuel 6:1–20): the ark's capture by the Philistines in the time of Eli and its transfer to Jerusalem by David – opinion is divided over whether this is actually an independent unit. Jerusalem source: a fairly brief source discussing David conquering Jerusalem from the Jebusites.
Republican source: a source with an anti-monarchial bias. This source first describes Samuel as decisively ridding the people of the Philistines, and begrudgingly appointing an individual chosen by God to be king, namely Saul. David is described as someone renowned for his skill at playing the harp, and consequently summoned to Saul's court to calm his moods. Saul's son Jonathan becomes friends with David, which some commentators view as romantic, and later acts as his protector against Saul's more violent intentions. At a later point, having been deserted by God on the eve of battle, Saul consults a medium at Endor, only to be condemned for doing so by Samuel's ghost, and told he and his sons will be killed.
David is heartbroken on discovering the death of Jonathan, tearing his clothes as a gesture of grief. Monarchial source: a source with a pro-monarchial bias and covering many of the same details as the republican source. This source begins with the divinely appointed birth of Samuel. It then describes Saul as leading a war against the Ammonites, being chosen by the people to be king, and leading them against the Philistines. David is described as a shepherd boy arriving at the battlefield to aid his brothers, and is overheard by Saul, leading to David challenging Goliath and defeating the Philistines.
David's warrior credentials lead to women falling in love with him, including Michal, Saul's daughter, who later acts to protect David against Saul. David eventually gains two new wives as a result of threatening to raid a village, and Michal is redistributed to another husband. At a later point, David finds himself seeking sanctuary amongst the Philistine army and facing the Israelites as an enemy. David is incensed that anyone should have killed Saul, even as an act of mercy, since Saul was anointed by Samuel, and has the individual responsible, an Amalekite, killed. Court History of David or Succession narrative (2 Samuel 9–20 and 1 Kings 1–2): a "historical novel", in Alberto Soggin's phrase, telling the story of David's reign from his affair with Bathsheba to his death.
The theme is of retribution: David's sin against Uriah the Hittite is punished by God through the destruction of his own family, and its purpose is to serve as an apology for the coronation of Bathsheba's son Solomon instead of his older brother Adonijah. Some textual critics have posited that given the intimacy and precision of certain narrative details, the Court Historian may have been an eyewitness to some of the events he describes, or at the very least enjoyed access to the archives and battle reports of the royal house of David. Redactions: additions by the redactor to harmonize the sources together; many of the uncertain passages may be part of this editing.
Various: several short sources, none of which have much connection to each other, and are fairly independent of the rest of the text. Many are poems or pure lists. Themes The Book of Samuel is a theological evaluation of kingship in general and of dynastic kingship and David in particular. The main themes of the book are introduced in the opening poem (the "Song of Hannah"): (1) the sovereignty of Yahweh, God of Israel; (2) the reversal of human fortunes; and (3) kingship. These themes are played out in the stories of the three main characters, Samuel, Saul and David.
Samuel Samuel answers the description of the "prophet like Moses" predicted in Deuteronomy 18:15–22: like Moses, he has direct contact with Yahweh, acts as a judge, and is a perfect leader who never makes mistakes. Samuel's successful defense of the Israelites against their enemies demonstrates that they have no need for a king (who will, moreover, introduce inequality), yet despite this the people demand a king. But the king they are given is Yahweh's gift, and Samuel explains that kingship can be a blessing rather than a curse if they remain faithful to their God. On the other hand, total destruction of both king and people will result if they turn to wickedness.
Saul Saul is the chosen one, tall, handsome and "goodly", a king appointed by Yahweh, and anointed by Samuel, Yahweh's prophet, and yet he is ultimately rejected. Saul has two faults which make him unfit for the office of king: carrying out a sacrifice in place of Samuel (1 Samuel 13:8–14), and failing to exterminate the Amalekites, in accordance to God's commands, and trying to compensate by claiming that he reserved the surviving Amalekite livestock for sacrifice (1 Samuel 15). David One of the main units within Samuel is the "History of David's Rise", the purpose of which is to justify David as the legitimate successor to Saul.
The narrative stresses that he gained the throne lawfully, always respecting "the Lord's anointed" (i.e. Saul) and never taking any of his numerous chances to seize the throne by violence. As God's chosen king over Israel, David is also the son of God ("I will be a father to him, and he shall be a son to me..." – 2 Samuel 7:14). God enters into an eternal covenant (treaty) with David and his line, promising divine protection of the dynasty and of Jerusalem through all time. 2 Samuel 23 contains a prophetic statement described as the "last words of David" (verses 1–7) and details of the 37 "mighty men" who were David's chief warriors (verses 8–39).
The Jerusalem Bible states that last words were attributed to David in the style of Jacob (see Jacob's Blessing, ) and Moses (see Blessing of Moses, ). Its editors note that "the text has suffered considerably and reconstructions are conjectural". contains David's final words to Solomon, his son and successor as king. See also Biblical judges Midrash Shmuel (aggadah) The Bible and history History of ancient Israel and Judah Kingdom of Israel (Samaria) Kingdom of Judah Notes References Bibliography Commentaries on Samuel Coogan, Michael D. (2009) A Brief Introduction to the Old Testament: The Hebrew Bible in its Context Oxford University Press McCarter Jr., P. Kyle (1984).
II Samuel: A New Translation With Introduction and Commentary By. Anchor Bible. . External links Masoretic Text שמואל א Shmuel Aleph – Samuel A (Hebrew – English at Mechon-Mamre.org) שמואל ב Shmuel Bet – Samuel B (Hebrew – English at Mechon-Mamre.org) Jewish translations 1 Samuel at Mechon-Mamre (Jewish Publication Society translation) 2 Samuel at Mechon-Mamre (Jewish Publication Society translation) Christian translations Related articles Introduction to the book of 1 Samuel from the NIV Study Bible Introduction to the book of 2 Samuel from the NIV Study Bible Introduction to the book of 2 Samuel from Forward Movement Category:8th-century BC books Category:7th-century BC books Category:6th-century BC books Category:Works set in the 11th century BC Category:Works set in the 10th century BC Category:Nevi'im Category:Kingdom of Israel (united monarchy)
Oliver Glasner (born 28 August 1974) is an Austrian professional football manager for VfL Wolfsburg. He was former player who played as a defender for Austrian Football Bundesliga side SV Ried. Coaching career In 2012, he became part of the managing staff of Red Bull Salzburg. In July 2012, he became assistant coach of Roger Schmidt in the first squad. After a successful stint at Salzburg, he was appointed head coach of his former team SV Ried. Glasner won his first match as head coach 3–2 against SC/ESV Parndorf in the first round of the Austrian Cup and won his first league match 3–1 against Wiener Neustadt.
Starting with 2019–20 Bundesliga season, he is managing VfL Wolfsburg. Managerial statistics References External links Category:1974 births Category:Living people Category:Austrian footballers Category:Association football defenders Category:Austrian Football Bundesliga players Category:SV Ried players Category:SV Ried managers Category:LASK Linz players Category:LASK Linz managers Category:VfL Wolfsburg managers Category:Bundesliga managers Category:Sportspeople from Salzburg Category:Expatriate football managers in Germany Category:Austrian expatriate football managers Category:Austrian expatriate sportspeople in Germany
A carbon print is a photographic print with an image consisting of pigmented gelatin, rather than of silver or other metallic particles suspended in a uniform layer of gelatin, as in typical black-and-white prints, or of chromogenic dyes, as in typical photographic color prints. In the original version of the printing process, carbon tissue (a temporary support sheet coated with a layer of gelatin mixed with a pigment—originally carbon black, from which the name derives) is bathed in a potassium dichromate sensitizing solution, dried, then exposed to strong ultraviolet light through a photographic negative, hardening the gelatin in proportion to the amount of light reaching it.
The tissue is then developed by treatment with warm water, which dissolves the unhardened gelatin. The resulting pigment image is physically transferred to a final support surface, either directly or indirectly. In an important early 20th century variation of the process, known as carbro (carbon-bromide) printing, contact with a conventional silver bromide paper print, rather than exposure to light, was used to selectively harden the gelatin. A wide variety of colored pigments can be used instead of carbon black. The process can produce images of very high quality which are exceptionally resistant to fading and other deterioration. It was developed in the mid-19th century in response to concerns about the fading of early types of silver-based black-and-white prints, which was already becoming apparent within a relatively few years of their introduction.
The most recent development in the process was made by the American photographer Charles Berger in 1993 with the introduction of a non-toxic sensitizer that presented none of the health and safety hazards of the toxic (now EU-restricted) dichromate sensitizer. Carbon tissue Carbon tissue, a layer of unsensitized pigmented gelatin on a thin paper support sheet, was introduced by British physicist and chemist Joseph Swan in 1864. Marketing began in 1866. Initially, his ready-made tissues were sold in only three colors: black, sepia and purple-brown. Eventually, a wide array of hues became available. Carbon tissue was a stock item in Europe and the US well into the 20th century, but by the 1950s carbon printing was very rare and supplies for it became an exotic specialty item.
Some companies produced small quantities of carbon tissue and transfer papers for monochrome and three-color work until around 1990. Overview and history of carbon printing The carbon process, initially a black-and-white process using lampblack (carbon black), was invented by Alphonse Poitevin in 1855. The process was later adapted to color, through the use of pigments, by Louis Ducos du Hauron in 1868. Carbon printing remained commercially popular through the first half of the 20th century. It was replaced over time by the dye-transfer process, chromogenic, dye-bleach (or dye destruction, i.e. Cibachrome) and, now, digital printing processes. The efficiencies gained through these more modern automated processes relegated carbon printing to the commercial backwaters in the latter half of the 20th century.
It is now only found in the darkrooms of the rare enthusiast and a few exotic labs. Carbon printing is based on the fact that gelatin, when sensitized to light by a dichromate, is hardened and made insoluble in water when exposed to ultraviolet light. Because of the comparative insensitivity of the material, sunlight or another strong source of UV light is normally used to minimize the required exposure time. To make a full-color print, three negatives photographed through red, green and blue filters are printed on dichromate-sensitized sheets of pigmented gelatin (traditionally called "carbon tissue" regardless of the pigment incorporated) containing, respectively, cyan, magenta and yellow pigments.
They are developed in warm water, which dissolves the unhardened gelatin, leaving a colored relief image that is thickest where it received the strongest exposure. The three images are then transferred, one at a time, onto a final support such as a heavy sheet of smooth gelatin-sized paper. Usually, the yellow image is transferred first, then the magenta image is applied on top of it, great care being taken to superimpose it in exact register, and then the cyan image is similarly applied. A fourth black pigment "key" layer is sometimes added, as in mechanical printing processes, to improve edge definition and mask any spurious color cast in the dark areas of the image, but it is not a traditional component.
The resulting finished print, whether composed of several layers and in full color or having only a single monochrome layer, exhibits a very slight bas-relief effect and a variation of texture on its surface, both distinctive characteristics of a carbon print. The process is time-consuming and labor-intensive. Each color carbon print requires three, or four, round trips in the darkroom to create the finished print. An individual, using existing pigmented sheets and separations, can prepare, print and process enough material, 60 sheets including the support, to produce about twelve 20" x 24" four-color prints in a 40-hour work week. However, this investment of time and effort can create prints of outstanding visual quality and proven archival permanence.
The carbon process can be used to produce: Monochrome prints, usually black-and-white, but they may be sepia, cyan or any other preferred color. Duochrome (duotone) prints, an effect many printers are familiar with, using complementary or associated colors to their best effect. Trichrome prints, traditional full-color prints made by layering YMC (yellow, magenta and cyan) pigment sheets. Quadrachrome prints, essentially full-color trichrome prints with an added black K (key) layer to increase density and mask any spurious color in dark areas. Any combination of layers, in any color, is possible to achieve whatever ends the printer desires. There are two primary techniques used in carbon printing: single transfer and double transfer.
This has to do with the negatives (separations) being right- or wrong-reading and the image "flopping" during the transfer process. Because the carbon printing process uses pigments instead of dyes, it is capable of producing a far more archivally stable (permanent) print than any of the other color processes. Good examples of the color stability of pigments can be found in the paintings of the great masters, the true colors of which, in many cases, have survived all these centuries. A more contemporary example of the color stability of pigments is found in the paints used on automobiles today, which must survive intense daily exposure to very harsh lighting, under extreme conditions.
The useful life of many (but not all) pigment formulations has been projected out to be several centuries and beyond (perhaps millennia, if cave paintings of Lascaux, the wall paintings in the tombs of the Valley of the Kings and the frescoes of Pompeii are relevant examples), often being limited only to the useful life of the particular support used. Additionally, the use of pigment also produces a wider color gamut than any of the other color processes, allowing for a greater range and subtlety of color reproduction. Though carbon printing always has been, and remains, a labor-intensive, time-consuming and technologically demanding process, there are still those that prefer the high aesthetic of its remarkable beauty and longevity over all other processes.
Chronological History of Carbon (Pigment) Printing Artists known for carbon prints Julia Margaret Cameron Rudolf Koppitz Nickolas Muray (carbro process) Rene Pauli See also Woodburytype, a variation of the carbon process Oil print process, another process based on hardened gelatin References External links Carbon. Report on the carbon process from the Getty Conservation Institute Description of the carbon process Carbon process methods and materials Description of the charcoal process Theory of the carbon process, including discussion of the carbro (carbon-bromine) process Making a Carbon Transfer Print, a video showing a modern workflow Category:Photographic processes dating from the 19th century Category:Non-impact printing
{{DISPLAYTITLE:Technetium (99mTc) exametazime}} Technetium (99mTc) exametazime is a radiopharmaceutical sold under the trade name Ceretec, and is used by nuclear medicine physicians for the detection of altered regional cerebral perfusion in stroke and other cerebrovascular diseases. It can also be used for the labelling of leukocytes to localise intra-abdominal infections and inflammatory bowel disease. Exametazime (the part without technetium) is sometimes referred to by its chemical name of hexamethylpropyleneamine oxime or HMPAO. Chemistry The drug consists of exametazime as a chelating agent for the radioisotope technetium-99m. Both enantiomeric forms of exametazime are used—the drug is racemic. The third stereoisomer of this structure, the meso form, is not included.
References External links European Association of Nuclear Medicine: Ceretec GE Healthcare: Ceretec Exametazime ligand: Category:Radiopharmaceuticals Category:Ketoximes Category:Technetium-99m Category:Amines
Speculoscopy is a procedure in which a special blue-white light (Speculite) is used to examine the cervix for cancerous or pre-cancerous lesions. Acetic acid is applied to the cervix, it is let sit for 60 seconds, then the cervix is examined with 4-6x magnification. The light is generated by a chemiluminescent light stick, which is attached to the inner side of the upper blade of the vaginal speculum by an adhesive strip. The test can be used to complement a pap smear in screening of cervical cancer. A negative speculoscopy, along with a negative pap smear provides greater assurance of absence of disease.
It was developed in 1988. It was FDA approved as an add-on to Pap smear screening in 1995. At this time there is no CPT/HCPCS code for this and most medical insurance companies do not cover this procedure. Light strip provides light for 15–20 minutes. References External links Speculoscopy Speculite Category:Female genital procedures
Umbra is a graphics software technology company founded 2007 in Helsinki, Finland. Umbra specializes in occlusion culling, visibility solution technology and provides middleware for video games running on Windows, Linux, PlayStation 4, Xbox One, PlayStation 3, Xbox 360, handheld consoles, iOS, Wii U and other platforms. Umbra provides the occlusion culling system for Unity game engine since Unity 3 release. Umbra is also available as a plug-in for Unreal Engine 3 and 4. Umbra's technology is being used in many major video games such as Batman: Arkham Knight, Call of Duty: Ghosts, The Witcher 3: Wild Hunt, Destiny, Until Dawn, Killzone Shadow Fall, Mass Effect 2, Mass Effect 3, Guild Wars 2, RaiderZ, The Secret World, Lord of the Rings Online, Planetside 2, Alan Wake, Age of Conan: Hyborian Adventures, Grandia Online, EVE Online, Free Realms, Dragon Age Origins, Dragon Age II, Deus Ex: Mankind Divided, and DOOM.
Umbra's technology has been licensed for use in video games by Rocksteady, Bungie, Guerrilla Games, CD Projekt, Microsoft Studios, Team Dakota, Neversoft, Infinity Ward, Shanda, Vicarious Visions, Specular Interactive, Remedy, Red Duck Inc., Splash Damage, Softmax and several others. History Umbra was spun off from Hybrid Graphics in 2005. Umbra acquired Hybrid Graphics' dPVS and continued its development. The next generation of this technology, named Umbra, was a hardware accelerated occlusion culling middleware. Umbra was released in September 2007. In 2009, Umbra Occlusion Booster was released, and it was optimized for multi-core systems such as Xbox 360, PlayStation 3 and PCs.
In 2011 Umbra mostly concentrated on developing Umbra 3. The solution offers performance optimization by optimizing critical parts of a game such as rendering and by providing tools to help with content streaming and game logic. Umbra 3 builds an internal representation of a game scene and uses this data at runtime to perform efficient queries that can be used to e.g. determine the set of visible objects for the player or determine the set of objects that are within a given distance from a point. The difference from past versions is that Umbra 3 has a pre-process stage where it compiles the visibility data which is then used at runtime to perform visibility-related queries.
A new feature in 2012 is the streaming functionality allowing building of visibility data at runtime. In March 2010, Unity Technologies announced that the next release of Unity would feature built-in occlusion culling preprocessing powered by Umbra. It first appeared in Unity 3. Prior Unity 5's release Umbra's occlusion culling solution was available only with paid Pro licenses. Edge Magazine's website next-generation.biz reported on December 15, 2011 that Umbra's technology is an integral part of Bungie's new 3D engine and game. ArenaNet's Guild Wars 2 was released on August 28 and the game uses Umbra 3. On August 14, 2012, Umbra announced its partnership with Nintendo which allows the licensing of the Umbra 3 middleware for Wii U developers.
At the Game Developers Conference 2014 Umbra announced Umbra for Cloud and Umbra VR. The latter is based on Umbra's Stereo Camera feature which the company explains allows “both eyes can use the results of a single occlusion culling operation – effectively halving the required processing time.” On April 3, 2014, Umbra announced that its latest technology was licensed by Wargaming to be used as part of the graphical upgrade being made to World of Tanks. The deal also allows other Wargaming studios to use Umbra's Visibility Technology. Products Umbra has developed two products: Umbra Occlusion Booster and Umbra 3.
Umbra Occlusion Booster is GPU accelerated occlusion culling middleware for PC, Xbox 360 and PlayStation 3. This product was released in 2009. Umbra 3.2, was released on February 1, 2013. The "next-generation" update has several important new features such as streaming which enables streaming open worlds, shadow and light culling as well as hierarchical occluder data which also helps open world performance. Umbra 3.3 was released on August 11, 2013. In February 2015, Umbra announced Umbra Cloud and rebranded both the product and the company as simply Umbra. dPVS dPVS is an advanced computer graphics visibility optimization tool. Designed for developing games with large and dynamic [3D] worlds, dPVS computes visibility databases in real time.
dPVS also reduces the time required for static PVS computation. Originally started at Hybrid Graphics, under the name SurRender Umbra, it was the topic of Timo Aila's Master's Thesis, with the collaboration of Ville Miettinen (who was one of the developers of their SurRender engine.) Because of its continuing development, and also to help distinguish that it was not dependent on the SurRender engine, it was renamed dPVS. The technology was eventually spun off into its own company, Umbra Software Ltd.. References Category:Finnish brands Category:Finnish companies established in 2007 Category:Software companies of Finland Category:Software companies established in 2007 Category:Companies based in Helsinki
The Tetraodontiformes are an order of highly derived ray-finned fish, also called the Plectognathi. Sometimes these are classified as a suborder of the order Perciformes. The Tetraodontiformes are represented by 10 extant families and at least 349 species overall; most are marine and dwell in and around tropical coral reefs, but a few species are found in freshwater streams and estuaries. They have no close relatives, and descend from a line of coral-dwelling species that emerged around 80 million years ago. Description Various bizarre forms are included here, all radical departures from the streamlined body plan typical of most fishes.