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On January 20, 2016, Brown and Konstantin Batygin published an article corroborating Trujillo and Sheppard's initial findings; proposing a super-Earth (dubbed Planet Nine) based on a statistical clustering of the arguments of perihelia (noted before) near zero and also ascending nodes near 113°of six distant trans-Neptunian objects. They estimated it to be ten times the mass of Earth (about 60 % the mass of Neptune) with a semimajor axis of approximately 400 – 1500 AU.
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Additionally, speculation of a possible trans-Neptunian planet has revolved around the so-called "Kuiper cliff". The Kuiper belt terminates suddenly at a distance of 48 AU from the Sun. Brunini and Melita have speculated that this sudden drop-off may be attributed to the presence of an object with a mass between that of Mars and Earth located beyond 48 AU. The presence of an object with a mass similar to that of Mars in a circular orbit at 60 AU leads to a trans-Neptunian object population incompatible with observations. For instance, it would severely deplete the plutino population. Astronomers have not excluded the possibility of an object with a mass similar to that of Earth located further than 100 AU with an eccentric and inclined orbit. Computer simulations by Patryk Lykawka of Kobe University have suggested that an object with a mass between 0.3 and 0.7 Earth masses, ejected outward by Neptune early in the Solar System's formation and currently in an elongated orbit between 101 and 200 AU from the Sun, could explain the Kuiper cliff and the peculiar detached objects such as Sedna and 2012 VP113. Although some astronomers, such as Renu Malhotra and David Jewitt, have cautiously supported these claims, others, such as Alessandro Morbidelli, have dismissed them as "contrived".
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== Constraints on additional planets ==
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In physics, redshift happens when light or other electromagnetic radiation from an object is increased in wavelength, or shifted to the red end of the spectrum. In general, whether or not the radiation is within the visible spectrum, "redder" means an increase in wavelength – equivalent to a lower frequency and a lower photon energy, in accordance with, respectively, the wave and quantum theories of light.
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The first Doppler redshift was described by French physicist Hippolyte Fizeau in 1848, who pointed to the shift in spectral lines seen in stars as being due to the Doppler effect. The effect is sometimes called the "Doppler – Fizeau effect". In 1868, British astronomer William Huggins was the first to determine the velocity of a star moving away from the Earth by this method. In 1871, optical redshift was confirmed when the phenomenon was observed in Fraunhofer lines using solar rotation, about 0.1 Å in the red. In 1887, Vogel and Scheiner discovered the annual Doppler effect, the yearly change in the Doppler shift of stars located near the ecliptic due to the orbital velocity of the Earth. In 1901, Aristarkh Belopolsky verified optical redshift in the laboratory using a system of rotating mirrors.
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After z is measured, the distinction between redshift and blueshift is simply a matter of whether z is positive or negative. See the formula section below for some basic interpretations that follow when either a redshift or blueshift is observed. For example, Doppler effect blueshifts (z < 0) are associated with objects approaching (moving closer to) the observer with the light shifting to greater energies. Conversely, Doppler effect redshifts (z > 0) are associated with objects receding (moving away) from the observer with the light shifting to lower energies. Likewise, gravitational blueshifts are associated with light emitted from a source residing within a weaker gravitational field as observed from within a stronger gravitational field, while gravitational redshifting implies the opposite conditions.
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If a source of the light is moving away from an observer, then redshift (z > 0) occurs; if the source moves towards the observer, then blueshift (z < 0) occurs. This is true for all electromagnetic waves and is explained by the Doppler effect. Consequently, this type of redshift is called the Doppler redshift. If the source moves away from the observer with velocity v, which is much less than the speed of light (v ≪ c), the redshift is given by
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and for motion solely in the line of sight ( θ
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=== Expansion of space ===
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To derive the redshift effect, use the geodesic equation for a light wave, which is
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k is the curvature per unit area.
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<formula>
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<formula>
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<formula>
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with ρcrit the critical density demarcating a universe that eventually crunches from one that simply expands. This density is about three hydrogen atoms per thousand liters of space. At large redshifts one finds:
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Popular literature often uses the expression "Doppler redshift" instead of "cosmological redshift" to describe the redshift of galaxies dominated by the expansion of spacetime, but the cosmological redshift is not found using the relativistic Doppler equation which is instead characterized by special relativity; thus v > c is impossible while, in contrast, v > c is possible for cosmological redshifts because the space which separates the objects (for example, a quasar from the Earth) can expand faster than the speed of light. More mathematically, the viewpoint that "distant galaxies are receding" and the viewpoint that "the space between galaxies is expanding" are related by changing coordinate systems. Expressing this precisely requires working with the mathematics of the Friedmann-Robertson-Walker metric.
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G is the gravitational constant,
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In nearby objects (within our Milky Way galaxy) observed redshifts are almost always related to the line-of-sight velocities associated with the objects being observed. Observations of such redshifts and blueshifts have enabled astronomers to measure velocities and parametrize the masses of the orbiting stars in spectroscopic binaries, a method first employed in 1868 by British astronomer William Huggins. Similarly, small redshifts and blueshifts detected in the spectroscopic measurements of individual stars are one way astronomers have been able to diagnose and measure the presence and characteristics of planetary systems around other stars and have even made very detailed differential measurements of redshifts during planetary transits to determine precise orbital parameters. Finely detailed measurements of redshifts are used in helioseismology to determine the precise movements of the photosphere of the Sun. Redshifts have also been used to make the first measurements of the rotation rates of planets, velocities of interstellar clouds, the rotation of galaxies, and the dynamics of accretion onto neutron stars and black holes which exhibit both Doppler and gravitational redshifts. Additionally, the temperatures of various emitting and absorbing objects can be obtained by measuring Doppler broadening – effectively redshifts and blueshifts over a single emission or absorption line. By measuring the broadening and shifts of the 21-centimeter hydrogen line in different directions, astronomers have been able to measure the recessional velocities of interstellar gas, which in turn reveals the rotation curve of our Milky Way. Similar measurements have been performed on other galaxies, such as Andromeda. As a diagnostic tool, redshift measurements are one of the most important spectroscopic measurements made in astronomy.
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For galaxies more distant than the Local Group and the nearby Virgo Cluster, but within a thousand megaparsecs or so, the redshift is approximately proportional to the galaxy's distance. This correlation was first observed by Edwin Hubble and has come to be known as Hubble's law. Vesto Slipher was the first to discover galactic redshifts, in about the year 1912, while Hubble correlated Slipher's measurements with distances he measured by other means to formulate his Law. In the widely accepted cosmological model based on general relativity, redshift is mainly a result of the expansion of space: this means that the farther away a galaxy is from us, the more the space has expanded in the time since the light left that galaxy, so the more the light has been stretched, the more redshifted the light is, and so the faster it appears to be moving away from us. Hubble's law follows in part from the Copernican principle. Because it is usually not known how luminous objects are, measuring the redshift is easier than more direct distance measurements, so redshift is sometimes in practice converted to a crude distance measurement using Hubble's law.
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= 11.1, corresponding to 400 million years after the Big Bang. The previous record was held by UDFy-38135539 at a redshift of z =
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Extremely red objects (EROs) are astronomical sources of radiation that radiate energy in the red and near infrared part of the electromagnetic spectrum. These may be starburst galaxies that have a high redshift accompanied by reddening from intervening dust, or they could be highly redshifted elliptical galaxies with an older (and therefore redder) stellar population. Objects that are even redder than EROs are termed hyper extremely red objects (HEROs).
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With advent of automated telescopes and improvements in spectroscopes, a number of collaborations have been made to map the Universe in redshift space. By combining redshift with angular position data, a redshift survey maps the 3D distribution of matter within a field of the sky. These observations are used to measure properties of the large-scale structure of the Universe. The Great Wall, a vast supercluster of galaxies over 500 million light-years wide, provides a dramatic example of a large-scale structure that redshift surveys can detect.
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For a list of scattering processes, see Scattering.
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Peebles, P. J. E. (1993). Principles of Physical Cosmology. Princeton University Press. ISBN 0-691-01933-9.
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Trans-Europe Express (German: Trans Europa Express) is the sixth studio album by German electronic music band Kraftwerk. Recorded in mid-1976 in Düsseldorf, Germany, the album was released in March 1977 on Kling Klang Records. The album's themes were influenced by friends who suggested writing songs about the Trans Europ Express to reflect Kraftwerk's electronic music style. Critics have described the album as having two specific themes: celebration of Europe and the disparities between reality and image. Musically, the songs on this album differ from the group's earlier Krautrock style with a focus on electronic mechanized rhythms, minimalism, and occasional manipulated vocals.
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== Recording ==
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Wolfgang Flür has stated Kraftwerk were influenced by music of the Weimar Germany era: "we were children who were born straight after World War Two ... we had no musical or pop culture of our own ... there was the war, and before the war we had only the German folk music. In the 1920s or 1930s melodies were developed and these became culture that we worked from". Karl Bartos also spoke of post-war influence as the group thought that they "had this development in the 1920s which was very, very strong and was audio visual. We had the Bauhaus school before the war and then after the war we had tremendous people like Karlheinz Stockhausen and the development of the classical and the electronic classical. This was very strong and it all happened very close to Düsseldorf in Cologne and all the great composers at that time came there." Paul Alessandrini is credited for helping contribute to the album's concept. Alessandrini told Hütter and Schneider that "with the kind of music you do, which is kind of like an electronic blues, railway stations and trains are very important in your universe, you should do a song about the Trans Europe Express". Kraftwerk believed critics in the United Kingdom and United States associated them with Nazi Germany, with tracks such as "Autobahn" inextricably linked with the Nazis who built the high-speed roads in the 1930s and 1940s. At the same time the band were keen to move away from their German heritage towards a new sense of European identity and felt that the Trans Europ Express could be used to symbolize this. Allmusic referred to Trans-Europe Express as a concept album with two different themes. The first being the disparities between reality and image, represented by the songs "Hall of Mirrors" and "Showroom Dummies", and the others about the glorification of Europe. Slant Magazine described the album as "a sonic poem to Europe".
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== Commercial performance ==
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Trans-Europe Express has also appeared on top album lists from a variety of sources. In 2001, TV network VH1 placed Trans-Europe Express at number 56 on their list of "100 Greatest Albums (of Rock & Roll) of All Time". In 2002, Slant Magazine placed the album at number one on their list of the greatest electronic albums of the 20th century. In 2003, Rolling Stone placed the album at number 253 on their list of The 500 Greatest Albums of All Time. Channel 4 placed the album at number 71 on their list of top 100 Greatest albums. In 2004, the online music website Pitchfork Media listed Trans-Europe Express as 6th best album of the 1970s, stating that "the day will soon come, if it hasn 't already, that Trans-Europe Express joins the ranks of Sgt. Pepper's Lonely Hearts Club Band and Exile on Main Street as a record that simply cannot be written about".
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== Personnel ==
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= Gabriel García Márquez =
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Ending in controversy, his last domestically written editorial for El Espectador was a series of fourteen news articles in which he revealed the hidden story of how a Colombian Navy vessel's shipwreck "occurred because the boat contained a badly stowed cargo of contraband goods that broke loose on the deck." García Márquez compiled this story through interviews with a young sailor who survived the shipwreck. The publication of the articles resulted in public controversy, as they discredited the official account of the events, which had blamed a storm for the shipwreck, and glorified the surviving sailor.
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=== Chronicle of a Death Foretold ===
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Love in the Time of Cholera (El amor en los tiempos del cólera) was first published in 1985. It is considered a non-traditional love story as "lovers find love in their 'golden years' — in their seventies, when death is all around them".
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British director Mike Newell (Four Weddings and a Funeral) filmed Love in the Time of Cholera in Cartagena, Colombia, with the screenplay written by Ronald Harwood (The Pianist). The film was released in the U.S. on 16 November 2007.
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In 1999, García Márquez was diagnosed with lymphatic cancer. Chemotherapy provided by a hospital in Los Angeles proved to be successful, and the illness went into remission. This event prompted García Márquez to begin writing his memoirs: "I reduced relations with my friends to a minimum, disconnected the telephone, canceled the trips and all sorts of current and future plans", he told El Tiempo, the Colombian newspaper, "... and locked myself in to write every day without interruption." In 2002, three years later, he published Living to Tell the Tale (Vivir para Contarla), the first volume in a projected trilogy of memoirs.
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==== Death and funeral ====
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While there are certain aspects readers can almost always expect in García Márquez's writing, like instances of humour, he did not stick to any clear and predetermined style template. In an interview with Marlise Simons, García Márquez noted:
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"The way you treat reality in your books ... has been called magical realism. I have the feeling your European readers are usually aware of the magic of your stories but fail to see the reality behind it ...." "This is surely because their rationalism prevents them seeing that reality isn 't limited to the price of tomatoes and eggs."
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In response to Plinio Apuleyo Mendoza's question, "If solitude is the theme of all your books, where should we look for the roots of this over-riding emotion? In your childhood perhaps?" García Márquez replied, "I think it's a problem everybody has. Everyone has his own way and means of expressing it. The feeling pervades the work of so many writers, although some of them may express it unconsciously."
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García Márquez's work is an important part of the Latin American Boom of literature. His work has challenged critics of Colombian literature to step out of the conservative criticism that had been dominant before the success of One Hundred Years of Solitude. In a review of literary criticism Robert Sims notes,
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The General in His Labyrinth (1989)
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Memories of My Melancholy Whores (2004)
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Collected Stories (1984)
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Clandestine in Chile (1986)
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=== Adaptations based on his works ===
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Time to Die (1984, Jorge Alí Triana)
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Love in the Time of Cholera (2007, Mike Newell)
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In John Green's famous novel "Looking for Alaska", Gabriel García Márquez is mentioned several times.
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Drummer Mick Avory has offered an alternate explanation for the song's lyrics, claiming that "Lola" was partially inspired by Avory's frequenting of transgender bars in west London. Avory said, "We used to know this character called Michael McGrath. He used to hound the group a bit, because being called The Kinks did attract these sorts of people. He used to come down to Top of the Pops, and he was publicist for John Stephen's shop in Carnaby Street. He used to have this place in Earl's Court, and he used to invite me to all these drag queen acts and transsexual pubs. They were like secret clubs. And that's where Ray [Davies] got the idea for' Lola. ' When he was invited too, he wrote it while I was getting drunk."
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The guitar opening on the song was produced as a result of combining the sound of a Martin guitar and a vintage Dobro resonating guitar. Ray Davies cited this blend of guitar sounds for the song's unique guitar sound.
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=== Censorship ===
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The song was also well-liked by the band. Mick Avory, who noted the song as one of the songs he was most proud to be associated with, said "I always liked 'Lola', I liked the subject. It's not like anything else. I liked it for that. We'd always take a different path." In a 1983 interview, Ray Davies said, "I 'm just very pleased I recorded it and more pleased I wrote it." The band revisited the "Lola" character in the lyrics of their 1981 song, "Destroyer", a minor chart hit in America.
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John Gosling – piano
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The Drain was navigable until 1971, when improvements to the pumping station led to the entrance lock being removed. It is currently being upgraded to navigable status by the Environment Agency, as part of the Fens Waterways Link, with a new entrance lock being completed in December 2008, giving access to the first 12 miles (19 km) of the drain, and the upgrading of the southern section, including a link to the River Glen to allow navigation to Spalding forming phase 2 of the project.
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=== Second Sluice ===
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Reports on improvements to the system were produced in 1843 by the surveyor Mr W Lewin and in 1845 by Sir John Rennie. Rennie's scheme involved the provision of a catchwater drain to collect water draining from the higher ground to the west before it entered the fenlands, but an Act of Parliament to authorise its construction was defeated, and so in 1846 a report by Mr W Cubit which proposed improvements to the existing infrastructure was accepted by the Commissioners. A new Black Sluice, including a 20-foot (6.1 m) wide navigation lock, was constructed to the south of the original one, with the cill level 6 feet (1.8 m) lower, which enabled the gradient of the South Forty-Foot Drain to be increased to 3 inches per mile (5 cm / km). Many of the tributary drains were also improved. 1846 also marked the beginning of the use of steam engines for pumping. Ten years later, a map covering 18,000 acres (73 km2) of the Black Sluice area showed nine steam-powered and eight wind-powered drainage engines in use.
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== Functions ==
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Prior to 1971, the Drain had been navigable, but this privilege was removed at that time. It is unclear whether there was ever a right of navigation, or whether the Black Sluice Commissioners simply allowed it. The entrance lock was 72 by 20 feet (21.9 by 6.1 m), and most trade was between Boston and Donnington Bridge, with pleasure boating not being allowed prior to 1962. The lock was closed and removed in 1971, with little protest being made. More recently, the East Anglian Waterways Association promoted the idea that the Drain could again be made navigable as part of a larger scheme to improve leisure facilities. The local authorities which were part of the Fens Tourism consortium conducted a feasibility study, and this report was formally adopted as the Fens Waterways Link by the Environment Agency in 2004, with the support of the local authorities, the East Anglian Waterways Association and the Inland Waterways Association.
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By late 2011, there were ten different routes under consideration, and an assessment of them was expected to be delivered in spring 2012. Halcrow Group, the engineering consultancy, were responsible for carrying out the assessment, which looked at the benefits that each route might provide, not only for navigation but also for water quality, water resources and habitat for wildlife. The study was expected to provide a short-list of routes, which would then be the subject of further consultation. By mid-2012, the merits of the ten routes had been considered, including the economic, environmental and technical issues involved, and a broad outline of the corridor for the link was scheduled to be published in September. After that, consultation with landowners and stakeholders took place, to establish the final route, for which design of the channel and the associated locks, bridges, moorings and pumping stations could then begin. By the end of the assessment process for the ten routes, two remained. One was route 1, the original suggestion which used the existing course of the South Forty-Foot Drain for most of its length, while the second was a new route, designated as route 11. Route 11 had become the preferred route by the summer of 2014. It involves widening the South Forty-Foot Drain from Donington to Surfleet, to a point near to the Black Hole Drove pumping station. A new lock would be needed at this location, but would connect to a new channel, rather than to the rest of the drain. It would pass under a new bridge on the A151, and the connection to the River Glen would involve another new lock. An environmental survey of other watercourses near to the route revealed that several provide habitat for nationally important plants and invertebrates.
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While the band was touring with Avenged Sevenfold, the guitarist Synyster Gates spoke about "S.C.A.V.A." stating "Holy shit, that's the craziest verse I've ever heard! The lyrics are insane."
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Upon learning of the album's first-week sales, Jordan Terrel, also known to fans of the band as "Charlie Scene." jokingly remarked, "I gotta be honest with everyone: I was really looking forward to the opportunity to be on top of Britney this week, but being right behind her and Adele is a memory we ’ ll relish forever." The album also debuted at number one on the US Hard Rock charts, number two on the US Rock, Digital, and Alternative charts, and number 11 on the Tastemaker Albums charts. Outside of the US, American Tragedy charted number five in Canadian albums charts and number 43 in the UK albums charts.
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=== Production ===
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Karlsruhe and Rostock were armed identically to the previous Magdeburg-class cruisers. They carried twelve 10.5 cm SK L / 45 guns in single pedestal mounts. Two were placed side by side forward on the forecastle, eight were located amidships, four on either side, and two were side by side aft. The guns had a maximum elevation of 30 degrees, which allowed them to engage targets out to 12,700 m (41,700 ft). They were supplied with 1,800 rounds of ammunition, for 150 shells per gun. The ships were also equipped with a pair of 50 cm (19.7 in) torpedo tubes with five torpedoes submerged in the hull on the broadside. They could also carry 120 mines.
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After her commissioning, Karlsruhe was assigned to overseas duties in the Caribbean, where she was to relieve the cruiser Dresden. She arrived in the area in July 1914, days before the outbreak of World War I. Once the war began, she armed the passenger liner SS Kronprinz Wilhelm so it could operate as a commerce raider, but while the ships were transferring equipment, British cruisers located them and pursued Karlsruhe. Her superior speed allowed her to escape, after which she operated off the northeastern coast of Brazil.
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In an interview to publicise the final episode of Voyager, "Endgame", Beltran said, "We all had a great relationship with each other and we 've all said how much we enjoy our crew. We have a terrific crew. But at the same time, I'm looking forward to what's next. It's exciting to know that something unknown is next." The final episode introduced a romance between Seven of Nine and Chakotay. Ryan found this confusing for the characters, as although it had been suggested in the episode "Human Error", the producers told the pair to forget about the relationship in the in-between episodes until the finale.
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He was assigned as an instructor in Starfleet's Advanced Tactical Training and achieved the rank of lieutenant commander. Following the death of his father in 2368 while defending his colony from the Cardassians, Chakotay resigned his Starfleet commission and joined the Maquis. At the time of his resignation, one of his students was Ro Laren. After he joined the Maquis, he became captain of a vessel named the Val Jean, with a crew which among others included his lover Seska (Martha Hackett), B'Elanna Torres (Roxann Dawson), and Tuvok (Tim Russ).
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The Kazon continue to be a hindrance during Voyager's initial period in the Delta Quadrant, with Chakotay dismayed in "State of Flux" when Seska is revealed as a Cardassian spy who has been providing technology to the Kazon to seek an alliance. She escapes Voyager and sides with the Kazon-Nistrim, one of the factions within that species. Chakotay is rendered brain dead, but is made into a disembodied spirit able to possess other crewmembers in "Cathexis". The incident occurs while Tuvok and he were investigating a dark matter nebula, and he sought to prevent the ship from returning there, as an alien species wants to feed on the crew's neural energy. After Voyager enters the nebula, Chakotay possesses Neelix (Ethan Phillips) and guides the ship out using a medicine wheel as a map. Shortly afterwards, The Doctor (Robert Picardo) is able to restore Chakotay's mind into his body. At the end of the first season, Chakotay supported Tuvok's aim of helping the former Maquis crew adapt better to life on Voyager in "Learning Curve", by showing them the enforcement techniques of the Maquis.
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During the "Year of Hell", Chakotay is captured by the Krenim scientist Annorax (Kurtwood Smith) on a Time Ship. The two first attempt to work together as Annorax agrees to restore the now damaged Voyager if Chakotay complies with his demands. After Annorax wipes out a species, though, he helps to disable the ship, allowing Captain Janeway to destroy it by ramming Voyager into it. This results in the timeline being reset, and the events of the episode were undone. In "Unforgettable", he falls in love with Kellin (Virginia Madsen), a member of a xenophobic race who have developed a technology to prevent others from forming long-term memories of them. As such, he is informed that they were previously in love when she was on Voyager a month earlier, and rekindle their relationship despite Chakotay not remembering the earlier encounter. Another member of her race removes Kellin's memories of Chakotay and installs a virus to remove all records of their race. Chakotay takes to writing out his memories of Kellin on paper so that he will not forget them.
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== Reception ==
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The placement of a character of indigenous peoples descent in science fiction was highlighted in the media. Drew Hayden Taylor said that Chakotay was "[p] erhaps the most well-known". Of Chakotay's origin, he said, "They never actually say what nation he is, but I do believe it's some Central American tribe." Hayden Taylor wrote in a later article in 2012 describing the rise of Native American characters in the Twilight film series that Chakotay was still the sole popular example of a Native American character in science fiction. Chakotay was also described as "the only First Nations role model around in a futuristic setting" in the 2005 book, "Indian" Stereotypes in TV Science Fiction: First Nations' Voices Speak Out, but was also referred to as the "quintessential Tonto in outer space". A similar criticism was highlighted of the character in Medicine Bags and Dog Tags: American Indian Veterans from Colonial Times to the Second Iraq War (2008), which called Chakotay "a creature of white fantasies" and suggested that he was "far more stereotypical than Tonto" as "at least Tonto was heroic and saved the Lone Ranger once in awhile".
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Bell was selected to play in the opening match of the 1904 – 05 season, a 1 – 4 home defeat to West Bromwich Albion. Bell kept his place in the side for the following match against Chesterfield, but was dropped for the trip to Bolton Wanderers in favour of youngster William Hutchinson, a summer signing from non-League club Alston. He was recalled for the visit of Liverpool on 22 October 1904, deputising for the unavailable Doug MacFarlane, but then spent more than two months out of the team. Bell made two further appearances for Burnley that season, playing in consecutive defeats to Bolton Wanderers and Blackpool in January 1905. He found himself more involved in the first-team during the 1905 – 06 campaign, making 19 league appearances. On 13 January 1906, he played in the first FA Cup game of his career as Burnley were eliminated by Southern League side Tottenham Hotspur in the first round. Bell scored his first goal of the season on 10 February 1906, netting the opening goal in the 2 – 2 draw against Burslem Port Vale. During March 1906, he scored in the home wins over Leeds City and Chelsea.
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Historically, especially aggressive rams were sometimes blindfolded or hobbled. Today, those who keep rams typically prefer softer preventative measures, such as moving within a clear line to an exit, never turning their back on a ram, and possibly dousing with water or a diluted solution of bleach or vinegar to dissuade charges.
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== Lambing ==
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In normal situations, lambs nurse after standing, receiving vital colostrum milk. Lambs that either fail to nurse or are prevented from doing so by the ewe require aid in order to live. If coaxing the pair to accept nursing does not work, one of several steps may then be taken. Ewes may be held or tied to force them to accept a nursing lamb. If a lamb is not eating, a stomach tube may also be used to force feed the lamb in order to save its life. In the case of a permanently rejected lamb, a shepherd may then attempt to foster an orphaned lamb onto another ewe. Lambs are also sometimes fostered after the death of their mother, either from the birth or other event.
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=== Inbreeding depression ===
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== New research ==
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=== "Mortal Folly" ===
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After Princess Bubblegum falls into the Lich's well of power, she is rushed to the Candy Kingdom hospital and saved. However, the Ice King feels that something is awry and tries to warn Finn, but Finn angrily scolds him and tells him to leave the kingdom. Finn and Jake then focus their energy on taking care of Princess Bubblegum, whose behavior seems off. At first, she claims that she needs some rest, but soon she begins acting strangely, such as convulsing in her bed. Finn leaves to acquire items that Bubblegum requests — which includes weapons-grade plutonium, ammonium, and gasoline among other items — and Jake tries to cheer Bubblegum up with a song.
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In the original storyboard, the Lich's lair was not specifically designed to be a subway. This was added later by the background designers. The undead skeletons that attack Finn and Jake were originally supposed to be "specific undead from [Dungeons & Dragons]". However, Ward changed his mind and tasked Andy Ristaino, a character designer for the series, with designing the corpses. Ristaino sough to make them look as if they were "east coast commuters [all] bundled up for winter." He strove to make them look "specific" so that they would appear as people you might see on a subway, such as a bike messenger, a couple, man in a "goofy hat", and a man wearing a suit. Originally, when the Lich set off his bomb, the storyboard featured a simple mushroom cloud. Ian Jones-Quartey, one of the series' storyboard revisionists, however, added a face to the blast. Ristaino then added skulls to the smoke. The series staff liked this version so much that they later included it on the title card.
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== Connected fields ==
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==== Renaissance ====
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==== Nineteenth century ====
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Le Corbusier proposed an anthropometric scale of proportions in architecture, the Modulor, based on the supposed height of a man. Le Corbusier's 1955 Chapelle Notre Dame du Haut uses free-form curves not describable in mathematical formulae. The shapes are said to be evocative of natural forms such as the prow of a ship or praying hands. The design is only at the largest scale: there is no hierarchy of detail at smaller scales, and thus no fractal dimension; the same applies to other famous twentieth-century buildings such as the Sydney Opera House, Denver International Airport, and the Guggenheim Museum, Bilbao.
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Pythagoras (c. 569 – c. 475 B.C.) and his followers, the Pythagoreans, held that "all things are numbers". They observed the harmonies produced by notes with specific small-integer ratios of frequency, and argued that buildings too should be designed with such ratios. The Greek word symmetria originally denoted the harmony of architectural shapes in precise ratios from a building's smallest details right up to its entire design.
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The Selimiye Mosque in Edirne, Turkey, was built by Mimar Sinan to provide a space where the mihrab could be see from anywhere inside the building. The very large central space is accordingly arranged as an octagon, formed by 8 enormous pillars, and capped by a circular dome of 31.25 metres (102.5 ft) diameter and 43 metres (141 ft) high. The octagon is formed into a square with four semidomes, and externally by four exceptionally tall minarets, 83 metres (272 ft) tall. The building's plan is thus a circle inside an octagon inside a square.
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==== Christian architecture ====
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== Mathematical decoration ==
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== Environmental goals ==
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Thomas George "Tom" Hooper (born 5 October 1972) is a British film and television director of English and Australian background. Hooper began making short films as a teenager, and had his first professional short, Painted Faces, broadcast on Channel 4 in 1992. At Oxford University Hooper directed plays and television commercials. After graduating, he directed episodes of Quayside, Byker Grove, EastEnders and Cold Feet.
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When Hooper was 14, his film Bomber Jacket came runner-up in a BBC younger filmmakers'competition. The short starred Hooper's brother as a boy who discovers a bomber jacket and a photograph hidden in a cupboard and learns his grandfather died in World War II. Another of Hooper's short films, entitled Countryside, depicts a nuclear holocaust.
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He was offered the chance to direct Iron Man 3 for Marvel Studios but declined and instead signed on to direct Les Misérables for Working Title Films, which he had first heard about while discussing a different project with screenwriter William Nicholson in 2010. Hooper had not seen the musical, so watched a performance of it in London's West End. Adapted from the musical, the film starred Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Helena Bonham Carter, Sacha Baron Cohen, and Eddie Redmayne. As the film required the actors to sing and dance, they were auditioned in front of Hooper, producers and composers. The role of Fantine was hugely contested; Hooper said, "It was like half a dozen of the biggest female movie stars on the planet wanted to play the role".
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Another frequently used technique is Hooper's tendency to use a variety of focal length camera lenses to distort the resulting picture. In The Damned United he used a 10mm lens, notably in the scene where Clough stays inside during the Derby – Leeds match. Hooper operated the camera in this scene himself. In The King's Speech, Hooper used "typically 14mm, 18mm, 21mm, 25mm and 27mm" lenses and put the camera close to the actors'faces. Hooper said the use of this method in the first consulting room scene served to "suggest the awkardness and tension of Logue and Bertie's first meeting".
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=== Feature films ===
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Ernest, Hereditary Prince of Saxe-Coburg-Saalfeld, was born at Ehrenburg Palace in Coburg on 21 June 1818. He was the elder son of Ernest III, Duke of Saxe-Coburg-Saalfeld and his first wife Princess Louise of Saxe-Gotha-Altenburg. He was soon joined by a brother, Prince Albert, who would later become the husband of Queen Victoria. Though Duke Ernest fathered numerous children in various affairs, the two boys would have no other legitimate siblings. In 1826, their father succeeded as Ernest I, Duke of Saxe-Coburg and Gotha through an exchange of territories after the death of the duke's uncle, Frederick IV, Duke of Saxe-Gotha-Altenburg.
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Various candidates were put forward as a possible wife for Ernest. His own father wanted him to look high-up for a wife, such as a Russian grand duchess. One possibility was Princess Clémentine of Orléans, a daughter of Louis Philippe I, whom he met while visiting the court at the Tuileries. Such a marriage would have required his conversion from Lutheranism to Roman Catholicism however, and consequently nothing came of it. She later married his cousin Prince August of Saxe-Coburg and Gotha. Ernest was also considered by Dowager Queen Maria Christina as a possible husband for her young daughter Isabella II of Spain, and by Queen Victoria for her cousin Princess Augusta of Cambridge.
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From 1848 to 1864, Denmark and the German Confederation fought over control of the two duchies of Schleswig and Holstein. Historically, the duchies had been ruled by Denmark since medieval times, but there remained a large German majority. This majority was sparked to rebellion after Frederick VII of Denmark announced on 27 March 1848 the duchies would become an integral part of Denmark under his new liberal constitution. Prussia soon became involved, supporting the uprising and beginning the First Schleswig War. Ernest sent 8,000 men initially, adding to the army sent by the German Confederation. He also desired to be given a military job during the war, but was refused, as it was "extremely difficult to offer me a position in the army of Schleswig-Holstein corresponding to my rank", according to his memoirs. He agreed to a smaller command, coming to lead a Thuringian contingent; he commented in a letter to his brother that "I should have declined any other command of the kind, but I could not refuse this one, as, in the present condition of our States, it is important to keep the executive power in our hands". As commander of a German corps, Ernest was instrumental in winning the 5 April 1849 battle of Eckernförde against Danish forces.
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There were problems to the nomination; Ernest had no children, and thus would have had to adopt one of the princes of his house to succeed him as King of Greece. To solve this problem, Ernest suggested to Palmerston that he simply take the title regent of Greece and hold the kingdom in trust for his chosen heir. He also stipulated that if he accepted the throne, it should be subject to certain guarantees by the other powers. The apparent deal-breaker however was the fact that Ernest wanted to acquire the Greek throne and still maintain control of his "safer" duchies. In the end, the British cabinet thought the proposed conditions unacceptable. His proposals turned down, Ernest in turn refused. In 1863, the Greek throne was accepted by another member of a royal family: the Princess of Wales' younger brother Prince William of Denmark. Ernest would later comment, "That this cup was spared me, I always regarded as a piece of good fortune".
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United Kingdom
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=== Primary ===
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