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Mahler and Schoenberg - Extra Reading Mahler was a huge inspiration for Schoenberg and an early champion of his music. We will explore the influence Mahler had on Schoenberg and the Second Viennese School, and the arrangements of Mahler for the Private Music Society, at the cutting edge of music from 1918-21. Concert: Mahler, Kindertontenlieder: Webern, Concerto for Nine Instruments, Op.24; Berg, Piano Sonata Op.1; Schoenberg, Five Pieces for Orchestra, Op.16. 16 December 2010 Mahler and Schoenberg Today’s concert does not feature any Schoenberg, but my lecture concerns Schoenberg and Mahler, and Mahler’s influence on the Second Viennese School. Much of today’s programme comprises Second Viennese School music by Berg and Webern, as well as the wonderful settings of Rückert’s Kindertotenlieder, which Mahler completed in 1904. Between 1900 and 1910, Schoenberg wrote Gurre-Lieder, a piece that represented something of a synthesis of the two polemics that dominated German music in the 19th Century: the ideas of Brahms, particularly with regard to harmonic rhythm and structure, with the musical aesthetic and language of Wagner. It is a hugely influential work. It was incredibly popular. At the first performance, he received a fifteen minute ovation, which was very unusual for Schoenberg. But this is an interesting piece because, by the time Schoenberg had completed it (he actually finished the orchestration in 1911), he had moved so far away from its origins in 1900 that he actually hated the performance, even although it was a great success. The crowds were hysterical, shouting and cheering. He refused to bow to the audience. He only bowed to the orchestra. Many of his friends thought he was actually insane because he obviously did not realise the significance of what he had done. Many of his performances between writing this piece and its premiere in 1913 had often caused riots. In fact, Mahler, who was a great supporter of Schoenberg, had to be restrained by the police for trying to thump a heckler at the premiere of Schoenberg’s first string quartet in 1907. Schoenberg was the bête noire of music in Vienna at that time. Mahler very much appreciated his ability and talent and supported him financially, as well as championing his cause. Schoenberg, on the other hand, only really began to realise the significance of Mahler’s music when he heard a performance of the Third Symphony; his enjoyment of Mahler is reflected in Gurre-Lieder. I think Schoenberg learned a lot from him, particularly with regards to orchestration and balancing instruments and being able to use very spare lines, single lines, very simple accompaniments. In the Webern featured in today’s programme, the influence of Mahler really comes into play – especially considering the spareness of Das Lied von der Erde or the finale of the Fourth Symphony. However, because of other issues, it does not sound very much like Mahler, but I shall come to that later. Mahler really supported Schoenberg, physically, financially, but also spiritually. Mahler encouraged Schoenberg to keep going, which was important for Schoenberg, because Mahler was probably the most famous Viennese/Austrian musician of his day. I would like you to now listen to an extract from Gurre-Lieder. This piece was premiered with Franz Schreker conducting, and it has a Wagnerian plot. It is based on a Danish tale about a king who murders his wife and ends up with his lover. It is a distinctly Wagnerian topic, a little bit like Tristan and Isolde. This is the very beginning of the piece, which we shall come back to at the end of this lecture. It is fantastic music! It is very much of its time, late-Romantic in style. The rest of Gurre-Lieder moves away from this kind of Romanticism. Indeed, in the third act of this piece, Schoenberg uses sprechstimme, which is speech melody, and a great feature of his revolutionary piece, Pierrot Lunaire (1912). It is an incredible piece. It is a culmination of an entire century of Romantic ideas. One of the things that Mahler and Schoenberg had in common was a belief that Austro-German music was, spiritually and philosophically, the greatest music in the world. Indeed, when, in 1910, Schoenberg wrote his famous book, Harmonielehre (Theory of Harmony), he told a friend that he was the musical equivalent of Albert Einstein, because his ideas would transform the history of music. He said, “It will make German music the greatest music for another 100 years.” Both Mahler and Schoenberg think that their music is something really special and for everybody, but it comes from a Germanic Romantic tradition that really starts with Beethoven – in particular, Beethoven’s Ninth Symphony. Schoenberg is really the person – and Mahler recognised this – that brought together the two conflicting poles of the German tradition: the Brahmsian side (academic, structured, baroque, a feeling for harmonic rhythm) with the Wagnerian side (philosophy, psychological torment, very short, light motifs strung out over unheard of lengths of time). It is important to see this musical tradition, at the beginning of the 20th Century, in terms of nationalism. As I said in my previous talk, the Austro-Hungarian Empire was the second biggest land mass in Europe, second only to Russia. People really felt they were part of an enormous cultural unit, and when you add Germany, you are talking about an even greater philosophical unit. It is important to take this into consideration when listening to this music, because this is not just a matter of chromatic scales, which I shall talk about in a minute; it is also about a philosophy underpinning the whole period since Beethoven, through to the time we are talking about now, with Mahler, Schoenberg, Berg, Webern. When Mahler died in 1911, Strauss wrote to Alma Mahler: “The only person that can help Schoenberg now is a psychiatrist.” Strauss, who had started out as a very revolutionary, modernist composer with his operas Elektra and Salome, ultimately became a neoclassical, late-Romantic composer (albeit a glorious one), and he basically maintained that style throughout the rest of his life, from 1907/08 onwards. Schoenberg, on the other hand, went in a completely different direction. I shall now talk about why this is special, what makes it different to other music. I would like to welcome three of our musicians: Anna, on the flute, Matthew Ward, playing the violin, and Bruce, on the trumpet. This is a bit like going back to school in the 1960s. They probably do not teach notes in most schools these days. Here we have a chromatic scale, with all the notes numbered, one to twelve. Could you play that on the flute, backwards? Schoenberg wanted to move away from conventional harmony, i.e. harmony based around tonal centres, like C Major or G Minor. Brahms and all the composers before him were very much in this mould. He tried to create a method in Harmonielehre where each of these pitches is equal. This is incredibly democratic for notes, but not so much for players because this music is very hard! Schoenberg said that you could order any of these notes, up to twelve, in any order. As it is Christmas, we are going to do a Gresham tone row. Would someone please call out a number? Audience Member: Seven. Number seven is an F Sharp… Next? Audience Member: Three. Three is D… Next? Audience Member: Nine. Nine, G Sharp… Next one? Audience Member: One. A nice C for number one… Next one? Audience Member: Five. We have got an E at five. Next? Audience Member: Eight. G natural at eight. Next one? Audience Member: Ten. Ten is an A. Next one? Audience Member: Twelve. We have got a B natural at twelve. Next one? Audience Member: Eleven. Eleven is A Sharp. Audience Member: Two. Audience Member: Four. And four, we have got a D Sharp. Great. This is what Schoenberg called a tone row. Anna, could you play that on the flute? Marvellous! Very well done – a great composition! Now, if we do this backwards, it is called a retrograde... Bruce, do you think you could do an inversion? We have done the tone row, and we have done it backwards, but there are two other versions. Basically, instead of going down a major third, from F Sharp to D, you go up a major third from F Sharp to A - everything is kind of in reverse. Do you think you can do it? Have a go! Bruce: No – I can’t do it! Well, that is actually what most people felt when they first saw this music on the page! So, you have four versions of this row. This is a very simplified version of how these composers composed. To give you an example, in Webern’s Opus 24, written for Schoenberg’s 60th birthday, he put these groups of notes into groups of three notes. This gives you four different sets of notes within the twelve notes, and you have a minor third and a minor second in each group of notes. Webern thus creates something like a grid, enabling you to do retrogrades, retrograde inversions, inversions of the theme; you can take these groups of three notes and turn them into a single motif. It is not dissimilar to what Beethoven does in the Fifth Symphony, or what Brahms does in the Second Symphony, where you start with maybe two ideas in the opening two bars, and these preoccupy the whole piece. The difference is this does not sound so tonal, although most of the composers that you will hear today use this not just for making things as dissonant as possible, but also with the possibility for consonance and harmony. We are now going to take our piece and add some articulation and dynamics. Anna, could you make this a happy motif? Shall we do it fast and short, or long and sustained? Let’s have long and sustained for the flute. Then we shall take these three notes, which happen to be C Major – Bruce, maybe you could do that bit, and the retrograde? Any takers for that nice C Major triad? Audience Member: Angry. What has it ever done to you? Okay, we shall make it angry. That is Bruce, on the trumpet. What about a dynamic? Angry? Strong? Yeah! Fortissimo! How about the violin? Audience Member: Triumphant. Triumphant – great! Actually, we shall make this more and more triumphant as it goes along. We shall start sad and build to triumphant. Now, in this tradition of music, this can become like a motivic cell: any of these things can be, but you cannot repeat notes once you have played them. So, you could not do F Sharp and a D and then another F Sharp. You could do a thousand notes on F Sharp and one on D, but you cannot go back. We are now going to play these three different motifs, and then we shall combine them together, so you can start to see how Schoenberg, Webern and Berg worked at their music. First, the flute: happy, long and sustained. Marvellous! A round of applause for that! We shall now overlap these elements, and see how that works. If you all just come in, as and when – but just once. You can already see that something is developing. Thank you very much – fantastic! We have talked a little about the pitch structure of the Webern that you are going to hear, but in Brahms’ Fourth Symphony, we have this melody [sings]: a beautiful beginning to a symphony. In the Webern second movement, we have exactly the same gesture, on the piano, but because the pitch is all arranged in this way, it is much harder to hear the connection between it and the Brahms. However, I am suggesting that you should listen to this music like it is connected to the musical past. It is not something completely abstract. After the performance of Gurre-Lieder, Schoenberg said that he wanted to write music where the audience deliberately would not know where it had come from. This is perhaps arrogant on his part, but it is also connected to the Romantic concept of the artist being against everybody, or everyone being against the artist. This takes us back to Beethoven and people not really understanding his later music. Schoenberg felt this very keenly, and I think it is no accident that he tried to copy this idea. Mahler said, “My time will come when people will understand my symphonies.” Now, he is one of the most popular composers. In fact, I recently looked in a catalogue and saw that he has nearly as many recordings of his symphonies as Beethoven, which just about says it all. For tonight’s repertoire, I have included the Webern cello pieces that you heard last time, partly because they are fantastic, but also because you can directly hear the difference between late-Romantic style and the three modernist pieces that follow them. You can hear a beautiful sense of line and sound in the cello pieces, written in 1899. They are like “little Lieder,” songs without words. The three small pieces following that are very tightly constructed and atmospheric. Their silences are as important as their notes. The texture of the sound, the dynamics, the gestures, are all as important as anything else. It is almost atomic in the way that it is constructed because you could not add or subtract a single note. Indeed, in the Opus 24 concerto, which will start tonight’s concert, there are only a few places where all or some of the instruments actually play together. Webern has pared down the music to its absolute minimum, so you have lots of counterpoint; there is very little confluence between the different elements vertically, but lots of confluence between motifs. It is basically an extension of the German tradition that Bach established, of fugue and counterpoint. Indeed, one of Webern’s most famous early pieces is a passacaglia, a 17th Century form, where you repeat the same base over and over again. The Webern concerto may sound quite abstract. If you take, for example, the opening notes of our tone row… [plays] …it is totally possible. They are the same notes, but because they are played in different octaves, it is very hard to recognise that they are the same pitches. This opens up a whole new range of possibilities, exploited by these composers. Webern had quite a sad but interesting life. He was very nationalistic. He actually wrote an article criticising the Nazis, which never got published, and it actually saved his life. Most of his music was not written to commission, he just wrote it. Opus 24 was a present to Schoenberg. He had to earn his living working for Universal Edition as an editor. His death is a tragedy, a double tragedy in fact. During the curfew in February 1945, he went outside to have a cigar, and was shot dead by an American soldier. The soldier was so traumatised when told what he had done that he became an alcoholic and died of alcohol poisoning in the early 1950s. Some wits, mainly people like Thomas Beecham, said it was “Americans’ greatest contribution to Western culture”. A comment from Stravinsky says it all: “He was doomed to a total failure in a deaf world of ignorance and indifference. He inexorably kept on creating his dazzling diamonds, the likes of which are so perfect and show so much knowledge about music.” He was a huge influence on many composers that followed in the post-war period, and his music is great. It is very distinctive; there is nothing else quite like it. Mahler’s Kindertotenlieder is a very special set of songs, sung by Wendy, a fantastic mezzo-soprano. Rückert wrote 428 poems between 1833 and 1834. His two children died from scarlet fever, and he tried to recreate his children through these poems, so they are very special. When Mahler was writing these songs, between 1901 and 1904, he had just married Alma Mahler and fathered two children. He was attempting to get inside the mind of the poet when he was writing these songs, and he even wrote that he wanted to feel like his daughters had died. The tragedy was that, in 1908, his daughter actually died of scarlet fever. He said at the time he could never have written Kindertotenlieder after that. The idea of getting inside a character’s mind is quite interesting from the point of view of cultural history. Compare Mahler to the Austrian writer, Stefan Zweig, and his book Marie Antoinette, which is written in the first person. It is quite a Freudian thing to do, to actually assume the mantle of another person and try and understand their point of view, in this very profound music. To conclude, we have here a very special concert. It is very unusual to hear to hear these works juxtaposed, but I hope you will remember the beginning of Gurre-Lieder. Schoenberg ended up in Los Angeles as a refugee; he was asked to compose a film and he never did. He lived one block away from Stravinsky. A lot of his music and ideas are misunderstood. Towards the end of his life, he started to talk about how his music related to Brahms and Schubert and the earlier composers, but I just want you to listen to these two extracts. One is the opening of Gurre-Lieder, and then the other is something that you all know and love… This event was on Thu, 16 Dec 2010 Gresham College has offered an outstanding education to the public free of charge for over 400 years. Today, Gresham plays an important role in fostering a love of learning and a greater understanding of ourselves and the world around us. Your donation will help to widen our reach and to broaden our audience, allowing more people to benefit from a high-quality education from some of the brightest minds.
The amount of space junk around Earth has hit a critical point where it now poses risks to other spacecraft and satellites and has started to trigger human efforts to combat the security threat in outer space. Space exploration and exploitation has traditionally been the domain of the Americans and Russians. But Europe is in the mix too, from building the machines that put satellites in orbit to harbouring dreams of mining asteroids. Here’s what the future holds. Last spring marked 40 years since Czechoslovakian astronaut Vladimir Remek's flight to space and this year marks another anniversary. In November, the Czech Republic celebrated ten years since joining the European Space Agency (ESA). EURACTIV Czech Republic's media partner Aktuálně.cz reports. There are few signs that the European Commission could change its 'business as usual' space strategy focusing on satellite services. Vidvuds Beldavs explains why the Commission should look to the Moon and raise its space ambitions. 2018 will be a crucial year to shape a stimulating new narrative for EU space policy. Jean-Loic Galle lists a couple of key points ahead of the 10th EU space policy conference taking place in Brussels on 23 and 24 January. Europe’s leaders need to set forth the threats to Europe that could come from failure to exercise space leadership. Vidvuds Beldavs suggests what Emmanuel Macron or Jean-Claude Juncker could say to take Europe to the forefront of space exploration. Brexit negotiations with the UK are forcing the European Commission to postpone funding for reusable rockets until after 2020, despite the importance of the technology for the future of European space policy. The Jason-3 satellite has finally been put into Low Earth orbit, after several delays, and will now provide European scientists with essential data regarding the state of the planet’s oceans. EURACTIV Italy reports. The European Space Agency landed a probe on a comet yesterday (12 November), a first in space exploration and the climax of a 10-year-odyssey, but an anchoring system problem may hamper planned investigations into the origins of Earth and the solar system. Sea ice in the Arctic is disappearing at a far greater rate than previously expected, according to data from the first purpose-built satellite launched to study the thickness of the Earth's polar caps. The trademarks of the Galileo satellite system are under sustained legal challenge from a US headquartered company and the Commission is considering renaming the project’s commercial arms as a result, EURACTIV has learned.
Talks about elephants The immense species of wild elephants in our country is elephants. Even though we like to see elephants from the infant, the awareness of them is not enough. The more elephants we need, the more we console the elephant and the conservation of their wildlife. Elephant is a mammalian animal. That is, the Malamia Mammalia (Proboscidea) Proboscidea tribe. It means the nostrils and the upper extremities. The elephants are dominated by two main species. Elephant in Elephant Elephas Maximus is an Asian elephant, and elephant Loxodonta Africana is an African elephant in Africa. In-depth search for elephants distributes more species (special) to several. The Asian elephant is ahead of the elephant than an African elephant. But the female elephant and the male elephant are naturally inherited. Therefore, the males are furrowed and the females are called. The Asian elephant’s stamp is only for males. Also, only a generation of genetic treasures are in place. Therefore, when the Asian elephant is named, it is said: If the males are male, elephant, male losing male tigers, and both of them are female. The elephant is a herbaceous creature. They have sixteen teeth in their lifetime. But its mouth always has only one active teeth. When a finger dies, another pair of teeth comes in. An elephant’s life span is 65 to 75 years. An elephant will die after all the teeth have passed. Therefore, there is a well-known saying that an elephant is killed, not because of aging, but because of the result of teething. It is said that the toothpaste of elephants can be delayed for nearly ten years. For example, the story of Kandy Raja, which lived for 85 years, is continued. The tooth of an elephant is like a small bricks. It grows steadily, with two steady incisive teeth. There is a sharp, sensuous piece of elephant’s trunk. Let’s call it the finger. This sensitive part receives food and recognizes certain things. The fingertips are one of the Asian elephants and two of the African elephants. Most of the elephant’s meats are grasses. There are also some varieties of birch and bark. More than 150 kilograms a day. Drink 60 to 120 liters of water. Finding food and water for 10 to 12 miles or even further. Dry environment is enriched by man’s intervention during the time of the forest. Water and food, this is a simple idea.
The sperm of male fruit flies are coated with a chemical 'sex peptide' which inhibits the female's usual afternoon siesta and compels her into an intense period of foraging activity. The surprise discovery was made by Professor Elwyn Isaac from the University of Leeds' Faculty of Biological Sciences when investigating the marked differences in sleeping patterns between virgin and mated females. Both male and female fruit flies (Drosophila melanogaster) - commonly seen hovering around rotting fruit and vegetables - are active at dawn and dusk, and have a deep sleep at night. They also exhibit a marked 'resting state' during the afternoon, which Professor Isaac likens to a siesta that conserves the fly's energy and reduces damaging exposure to the sun during hot afternoons. "However, we noted that after mating, females still slept deeply at night, but ditched the usual siesta in favour of extra foraging and searching for places to lay her eggs," he says. "This behaviour lasts for around eight days - and our research findings suggest that this change is not by choice. Females who mated with males that produced sperm without the sex peptide continued to take their siesta. So we're certain that this change of behaviour is chemically induced by the male." "Sleep is an ancient and essential mechanism in living creatures from worms to humans, so to inhibit this for such a long period and replace it with extra activity that exposes the female to environmental hazards and danger from predators must require a powerful mechanism," he says. The sex peptide is produced in the males' accessory glands (the equivalent of the human prostate gland) and attaches itself to the surface of the sperm's tail. Previous research studies have shown that the sex peptide encourages females to increase egg production - a mated female will lay up to 100 eggs a day compared with 1-2 eggs laid by a virgin female. It also inhibits her from mating with other males for around a week to ten days. "It would appear that preventing sleep and inducing extra domestic-type duties to prepare for the birth of offspring in females is a further tactic used by the male to ensure successful paternity after mating," says Professor Isaac. Professor Isaac says that the discovery sheds further light on the role of signalling molecules in the brain. "If we can work out exactly how this natural molecular switch can disrupt sleep behaviour, we may be able to apply this knowledge to neurological disorders relating to human sleep such as narcolepsy, which we think is caused by a fault in the neuropeptide signalling pathway in the brain." Fruit flies are a good model for looking at sleep behaviour in humans as they exhibit many of the hallmarks of mammalian sleep. For example they sleep deeply at night from which they're difficult to rouse and they have a preferred sleeping posture. If kept awake through the night, they exhibit tiredness the next day; if fed caffeine, they stay awake, and they become drowsy if given antihistamines. The fruit fly's genome has also been fully mapped, so wide ranging genetic studies are possible. The study is published online today in the Royal Society journal Proceedings of the Royal Society B. Professor Isaac is available for interview. A copy of the paper is available on request. For further information: Please contact the University of Leeds Press Office on +44 (0)113 343 4031 or email email@example.com Notes for editors 1. Elwyn Isaac is Professor of Comparative Biochemistry at the University of Leeds. His research investigates the role and properties of neuropeptides and peptidases in controlling the behaviour, development and sex-life of insects and nematode worms. His laboratory also works with invertebrates that are of economic and medical importance, such as mosquitoes and parasitic worms, ticks and mites, as their signaling systems and transporter proteins are prime targets for vaccines and inhibitors in pest and parasite control. 2. The Faculty of Biological Sciences at the University of Leeds is one of the largest in the UK, with over 150 academic staff and over 400 postdoctoral fellows and postgraduate students. The Faculty is ranked 4th in the UK (Nature Journal, 457 (2009) doi:10.1038/457013a) based on results of the 2008 Research Assessment Exercise (RAE). The RAE feedback noted that "virtually all outputs were assessed as being recognized internationally, with many (60%) being internationally excellent or world-leading" in quality. The Faculty's research grant portfolio totals some £60M and funders include charities, research councils, the European Union and industry. http://www.fbs.leeds.ac.uk/ 3. The 2008 Research Assessment Exercise showed the University of Leeds to be the UK's eighth biggest research powerhouse. The University is one of the largest higher education institutions in the UK and a member of the Russell Group of research-intensive universities. The University's vision is to secure a place among the world's top 50 by 2015.
Well-known English composers wrote these four charming sonatinas during the late 1700s and early 1800s, when music was changing from the Baroque to Classical style. Each sonatina consists of two or three short movements, with every movement presenting a complete although simple work, with much delightful contrast. The editor has included brief biographical information on the featured composers, Attwood, Latour, Berg and Camidge, and has provided helpful performance notes. \|Sonata I\|\|Matthew Camidge (composer)\| \|Sonatina I\|\|Thomas Attwood (composer)\| \|Sonatina II\|\|Theodore Latour (composer)\| \|Sonatina IV\|\|George Berg (composer)\|
New Study Suggests Genetic Factors May Increase Sleep Problems in Autistic People Sleep disturbances in autistic children may be related to rare variants in insomnia risk genes. According to a recent study, autistic (ASD) children seem more likely to have rare variations in genes linked to circadian rhythms and insomnia than their non-autistic siblings. It has been noted that 40-80% of children on the spectrum suffer from sleep problems which can exacerbate other challenges associated with ASD. In fact, in previous studies that highlighted a genetic link for sleep issues in autisic subjects, it was noted that mice who were missing BMAL1—a significant circadian clock gene—have symptoms similar to those that often develop in autistic children such as atypical social behaviors and motor difficulties. It has even been found that autistic people who sleep well are two times as likely as non-autisic people to carry mutations in genes that regulate their circadian clocks. This new study took a unique approach compared to previous studies in that it focused on copy number variants (CNVs) which are deletions or duplications of considerable portions of DNA. The researchers hypothesized that variants of genes that disrupt the pathways involved in circadian rhythms and insomnia are connected to ASD. Their goal was to “understand the relationship between autism risk, sleep disturbances, circadian pathways, and insomnia-risk genes.” In order to test this hypothesis, they studied 5,860 ASD probands (individuals who are affected by a genetic condition) and 2,092 non-ASD siblings from the Simons Simplex Collection (SSC) and MSSNG database, along with 7,509 individuals from two unselected populations (IMAGEN and Generation Scotland). For SSC probands, both sleep duration and insomnia symptoms were based on reports by their parents. Through this study, the researchers found 335 and 616 rare CNVs contained circadian and insomnia risk genes respectively. Deletions and duplications with circadian genes were disproportionately larger in ASD probands compared to siblings and unselected controls. Further analysis demonstrated that deletions containing circadian and insomnia risk genes were better predictors of ASD risk compared to deletions containing other genes. While their findings provide evidence for the contribution of circadian pathway dysfunction and its connection to ASD, how these genes increase ASD risk remain unknown. Rackeb Tesfaye, a graduate student in Mayada Elsabbagh’s lab at McGill University in Montreal, Canada, notes that since circadian rhythms guide multiple physiological processes such as cognition and hormone secretion, “It might be that circadian disruption at the gene level might be phenotypically linked to something that isn’t sleep.” While these findings are important in better understanding genetic factors and the multiple complexities of the autistic experience, hopefully researchers can improve their methods in future studies. While their reports were not overrepresented in this study, it has been noted by other researchers that the use of parent reports can still be problematic as they can be subjective and lack accuracy. For example, even though a parent may observe and record when their child went to bed and woke up at specific times, they cannot accurately capture how long it took their child to fall asleep and how fragmented their sleep is. It’s possible that future studies could include the use of devices such as actigraphy (motion detecting wristwatches), but this could also prove to be too much of a sensory issue for autistic subjects. Be that as it may, these findings are extremely important and researchers have high hopes for similar future studies.
A few weeks ago I wrote about the 'mystery stone' in a field near Kilchoman between the old and ruined Kilchoman church and the graveyard for the soldiers from the Tuscania and Otranto, who died in 1918 during a terrible tragedy. Someone pointed out that it was a sanctuary stone but I still had some other questions regarding this stone and possible other sanctuary stones. Questions like where are the other three stones? Who put these stones there and when? In the meanwhile I dug up some more information and contacted Malcolm Ogilvie from the Islay Museum for information. First of all, what is a sanctuary or an area of sanctuary? A sanctuary is an area around a church marked by 4 sanctuary stones or cross slabs on each corner. A sanctuary stone in the kirkyard marks the centre of an 'area of sanctuary' that once extended one Scots Mile around (A Scottish mile was the same length as the Royal Mile in Edinburgh, i.e. from the castle down to the Holyrood Abbey which is 1.8km.) These sanctuaries date back to medieval times. In a sanctuary in medieval law the Church acted as a place of refuge. Sanctuary was also a right to be safe from arrest in the sanctuary of a church or temple, recognised by English law from the fourth to the seventeenth century. A sanctuary as a sacred place. In Europe, Christian churches were usually built on a holy spot, generally where a miracle or martyrdom had taken place or where a holy person was buried. Examples are St. Peter's Basilica in Rome and St. Albans Cathedral in England, which commemorate the martyrdom of Saint Peter and Saint Alban, respectively. The place, and therefore the church built there, was considered to have been sanctified (made holy) by what happened there. Back to the sanctuary stone at Kilchoman, what follows is Malcolm Ogilvie's answer for which I'm very grateful. Malcolm: Certainly two sanctuary stones have been identified near the Kilchoman Church. The still standing one out in the field towards the sea is, according to the Inventory of Monuments in Argyll (vol. 5), 330m SW of the Church and marked on the Ordnance Survey maps. The second stone, according to the Inventory, lay beside a track on a hillside 380m ESE of the church and this is the one which is at the Museum. The Inventory says that the presence of the two cross-slabs 'suggests an Early Christian church of some importance' and goes on to make comments about a Medieval parish church with dependent chapels elsewhere on the Rhinns, so one has to assume the stones date from the same period. There is no suggestion in the book whether there should have been more, but I know that some early Christian churches marked their sanctuary areas with four stones. I've not heard of a case where the church would have been a sanctuary marker itself, because the sanctuary would be all round the church, with the stones at about the same distances from it and at four equi-distant points of the compass. At Kilchoman, the most likely arrangement would be two more cross-slabs at, roughly, 350 m to the NE and NW. One can imagine one to the NW being overwhelmed by sand, while the one to the NE could have been moved by a farmer, or even incorporated into a stone wall.
A new survey of US teens found that nearly 23 percent of 12th graders used marijuana over the last month, compared with 18.7 percent who said they smoked cigarettes. US teenagers are turning away from cigarettes and alcohol in favor of marijuana according to an annual study released Wednesday by the University of Michigan. The abuse of marijuana is at its highest level in 30 years, reports the “Monitoring the Future” survey, an authoritative snapshot of drug and alcohol use among US teenagers in grades 8, 10, and 12. Nearly 23 percent of 12th graders polled said they used marijuana over the last month, compared with 18.7 percent who said they smoked cigarettes. Cigarette use is down among all three grades, dropping 60 percent during the last 15 years, according to the survey. Among 12th graders, 18.7 percent reported they smoked a cigarette during the past month, compared with 36.5 percent in 1997 – the most recent peak. Binge drinking is also at a historic low among the combined grades surveyed, down from 41 percent five years ago to 22 percent this year. Binge drinking is defined as four drinks in one sitting for women, five for men. But researchers speaking at the National Press Club in Washington Wednesday said that teenagers are turning to alternate tobacco products, such as hookahs, small cigars, and smokeless tobacco. Marijuana and prescription-drug use is also on the rise. Findings among 12th graders show that 36.4 percent used marijuana in the past year while 6.6 percent used it daily, up from 31.5 and 5 percent, respectively, from five years ago. The reason why marijuana is becoming so popular is that “the perceived risk is down” which creates “the norms against its use to weaken,” says Lloyd Johnson, the survey’s principal investigator at the University of Michigan. And fewer "kids view smoking marijuana regularly as having a harmful affect,” says Nora Volkow, director of the National Institute on Drug Abuse. Corresponding to the rise in marijuana use is the increased use of synthetic marijuana, which is often sold in drug paraphernalia shops, gas stations, or online. The drugs, also known as "spice" or "K2," contain chemical compounds that produce a high similar to marijuana when smoked. This is the first survey that tracked synthetic marijuana; 11.4 percent of 12th graders reported abusing the drug during the past year. Mr. Johnson says that typical users of synthetic marijuana are abusing other drugs. “They’re quite a drug-experienced group that is probably looking around for a cheaper alternative to get a marijuana high,” he says. The US Drug Enforcement Administration issued an emergency order March 1 to ban the sale of five chemicals used in synthetic marijuana, and the US House passed a bill banning their sale in early December. Thirty-eight states also took action in banning the sale of the drugs, which he says illustrates a new trend in government getting ahead of the problem before it gets out of control, according to Gil Kerlikowske, director of the White House’s Office of National Drug Control Policy, “That’s what it takes,” Mr. Kerlikowske says. He also warned of lobbying efforts of behalf of companies linked to the sale of synthetic and medicinal marijuana as the presidential election season kicks off next year. The survey polled 46,773 students from 400 public and private schools across the US. The survey is in its 36th year and is funded by the National Institute on Drug Abuse, part of the National Institutes of Health. By Mark Guarino, Staff writer December 14, 2011 NOTE: I couldn't find a copy of the full study- but the press release from this morning and various charts/tables from the report can be found on the "Monitoring the future" site HERE Dear Drugs-Forum readers: We are a small non-profit that runs one of the most read drug information & addiction help websites in the world. We serve over 4 million readers per month, and have costs like all popular websites: servers, hosting, licenses and software. To protect our independence we do not run ads. We take no government funds. We run on donations which average $25. If everyone reading this would donate $5 then this fund raiser would be done in an hour. If Drugs-Forum is useful to you, take one minute to keep it online another year by donating whatever you can today. Donations are currently not sufficient to pay our bills and keep the site up. Your help is most welcome. Thank you.
One of the most difficult aspects of parents having to teach their children from home is finding the right learning resources to teach them with. The Complete Guide to Geometric Shapes is not only a reliable math resource to use, it makes learning about shapes easy and fun. It’s a simple layout and bright colors will keep them captive while they learn the names of the shapes, as well as learn about the number of sides and angles found within each shape. See which pairs of sides are equal or parallel, as well as the angles that are equal to one another. The inclusion of the total sum of the angles is beneficial to students learning how to find the measure of an angle in algebra. As an added bonus, the infographic even includes a section on 10 common polyhedrons, for those looking to learn about the faces, edges, and vertices of three-dimensional shapes.
Yesterday, we noted the drop in global surface temperature from HadCRUT data. Today, we have this report from the UAH dataset that points out the heat has not left the lower troposphere (about 14,000 feet altitude) based on this report from the University on Huntsville’s Dr. John Christy. Lower troposphere dataset has warmest October in satellite temperature record By Phillip Gentry, UAH Global Temperature Report: October 2017 Global climate trend since Nov. 16, 1978: +0.13 C per decade Notes on data released Nov. 2, 2017: Apparently boosted by warmer than normal water in the equatorial eastern Pacific Ocean that peaked in June and July, global average temperatures in the atmosphere rose to record levels in October, according to Dr. John Christy, director of the Earth System Science Center (ESSC) at The University of Alabama in Huntsville. October 2017 was the seventh warmest month in the 39-year satellite temperature record. It joins September 2017 as the warmest months on record not associated with a typical El Niño Pacific Ocean warming event. Of the 20 warmest monthly global average temperatures in the satellite record, only October and September 2017 were not during a normal El Niño. Compared to seasonal norms, the global average temperature in October made it the seventh warmest month in the satellite record. October temperatures (preliminary) Global composite temp.: +0.63 C (about 1.13 degrees Fahrenheit) above 30-year average for October. Northern Hemisphere: +0.67 C (about 1.21 degrees Fahrenheit) above 30-year average for October. Southern Hemisphere: +0.59 C (about 1.06 degrees Fahrenheit) above 30-year average for October. Tropics: +0.47 C (about 0.85 degrees Fahrenheit) above 30-year average for October. September temperatures (revised): Global Composite: +0.54 C above 30-year average Northern Hemisphere: +0.51 C above 30-year average Southern Hemisphere: +0.57 C above 30-year average Tropics: +0.53 C above 30-year average (All temperature anomalies are based on a 30-year average (1981-2010) for the month reported.) Warmest months (global average) (degrees C warmer than 30-year October average) - Feb. 2016 +0.85 C - March 2016 +0.76 C - April 1998 +0.74 C - April 2016 +0.72 C - Feb. 1998 +0.65 C - May 1998 +0.64 C - Oct. 2017 +0.63 C - June 1998 +0.57 C - Jan. 2016 +0.55 C - Sept. 2017 +0.54 C Among the 39 Octobers in the satellite temperature dataset, October 2017 was the warmest for both the globe and the southern hemisphere by statistically significant amounts: Globally, at 0.63 C warmer than seasonal norms, October 2017 was 0.20 C warmer than October 2015 (+0.43 C). In the southern hemisphere, October 2017 was 0.59 warmer than seasonal norms. The second warmest southern hemisphere October was in 2016, with an average temperature that was 0.42 warmer than seasonal norms. October 2017 was also the warmest October in the northern hemisphere, but by a smaller amount: +0.67 C in 2017 compared to +0.63 in 2015. In the tropics, October 2017 was tied as the second warmest October in the temperature record. October 2015 was the warmest tropical October on record with an average temperature +0.54 C warmer than seasonal norms. Octobers in 2016 and 2017 tied for second at +0.47 C warmer than seasonal norms. Warmest Octobers (global average) (degrees C warmer than 30-year September average) - 2017 +0.63 C - 2015 +0.43 C - 2016 +0.42 C - 1998 +0.40 C - 2003 +0.28 C - 2005 +0.27 C - 2014 +0.25 C - 2012 +0.24 C - 2006 +0.22 C - 2010 +0.20 C Compared to seasonal norms, the coldest spot on the globe in October was in eastern Russian, near the town of Omtschak. Temperatures there were 1.97 C (about 3.55 degrees Fahrenheit) cooler than seasonal norms. Compared to seasonal norms, the warmest place on Earth in October was over the Northeast Greenland National Park. Temperatures there averaged 4.61 C (about 8.30 degrees Fahrenheit) warmer than seasonal norms. As part of an ongoing joint project between UAH, NOAA and NASA, Christy and Dr. Roy Spencer, an ESSC principal scientist, use data gathered by advanced microwave sounding units on NOAA and NASA satellites to get accurate temperature readings for almost all regions of the Earth. This includes remote desert, ocean and rain forest areas where reliable climate data are not otherwise available. The satellite-based instruments measure the temperature of the atmosphere from the surface up to an altitude of about eight kilometers above sea level. Once the monthly temperature data are collected and processed, they are placed in a “public” computer file for immediate access by atmospheric scientists in the U.S. and abroad. The complete version 6 lower troposphere dataset is available here: Archived color maps of local temperature anomalies are available on-line at: Neither Christy nor Spencer receives any research support or funding from oil, coal or industrial companies or organizations, or from any private or special interest groups. All of their climate research funding comes from federal and state grants or contracts. — 30 — Dr. Roy Spencer adds from his website: The Version 6.0 global average lower tropospheric temperature (LT) anomaly for October, 2017 was +0.63 deg. C, up from the September, 2017 value of +0.54 deg. C (click for full size version): Global area-averaged lower tropospheric temperature anomalies (departures from 30-year calendar monthly means, 1981-2010). The 13-month centered average is meant to give an indication of the lower frequency variations in the data; the choice of 13 months is somewhat arbitrary… an odd number of months allows centered plotting on months with no time lag between the two plotted time series. The inclusion of two of the same calendar months on the ends of the 13 month averaging period causes no issues with interpretation because the seasonal temperature cycle has been removed as has the distinction between calendar months. The global, hemispheric, and tropical LT anomalies from the 30-year (1981-2010) average for the last 22 months are: YEAR MO GLOBE NHEM. SHEM. TROPICS 2016 01 +0.55 +0.72 +0.38 +0.85 2016 02 +0.85 +1.18 +0.53 +1.00 2016 03 +0.76 +0.98 +0.54 +1.10 2016 04 +0.72 +0.85 +0.58 +0.93 2016 05 +0.53 +0.61 +0.44 +0.70 2016 06 +0.33 +0.48 +0.17 +0.37 2016 07 +0.37 +0.44 +0.30 +0.47 2016 08 +0.43 +0.54 +0.32 +0.49 2016 09 +0.45 +0.51 +0.39 +0.37 2016 10 +0.42 +0.43 +0.42 +0.47 2016 11 +0.46 +0.43 +0.49 +0.38 2016 12 +0.26 +0.26 +0.27 +0.24 2017 01 +0.32 +0.31 +0.34 +0.10 2017 02 +0.38 +0.57 +0.19 +0.07 2017 03 +0.22 +0.36 +0.09 +0.05 2017 04 +0.27 +0.28 +0.26 +0.21 2017 05 +0.44 +0.39 +0.49 +0.41 2017 06 +0.21 +0.33 +0.10 +0.39 2017 07 +0.29 +0.30 +0.27 +0.51 2017 08 +0.41 +0.40 +0.41 +0.46 2017 09 +0.54 +0.51 +0.57 +0.53 2017 10 +0.63 +0.67 +0.59 +0.47 The linear temperature trend of the global average lower tropospheric temperature anomalies from January 1979 through October 2017 remains at +0.13 C/decade. Why Are the Satellite and Surface Data Recently Diverging? John Christy and I are a little surprised that the satellite deep-layer temperature anomaly has been rising for the last several months, given the cool La Nina currently attempting to form in the Pacific Ocean. Furthermore, the satellite and surface temperatures seem to be recently diverging. For the surface temperatures, I usually track the monthly NCEP CFSv2 Tsfc averages computed by WeatherBell.com to get some idea of how the most recent month is shaping up for global temperatures. The CFSv2 Tsfc anomaly usually gives a rough approximation of what the satellite shows… but sometimes it differs significantly. For October 2017 the difference is now +0.23 deg. C (UAH LT warmer than Tsfc). The following charts show how these two global temperature measures have compared for every month since 1997 (except that September, 2017 is missing at the WeatherBell.com website): Monthly comparison since 1979 of global average temperature anomalies (relative to the monthly 1981-2010 averages) between UAH LT deep-layer lower tropospheric temperature and the surface temperatures in the CFSv2 reanalysis dataset at WeatherBell.com. As can be seen, there have been considerably larger departures between the two measures in the past, especially during the 1997-1998 El Nino. Our UAH LT product is currently using 3 satellites (NOAA-18, NOAA-19, and Metop-B) which provide independent monthly global averages, and the disagreement between them is usually very small. While we can expect individual months to have rather large differences between surface and tropospheric temperature anomalies (due to the time lag involved in excess surface warming to lead to increased convection and tropospheric heating), some of the differences in the above plot are disturbingly large and persistent. The 1997-98 El Nino discrepancy is pretty amazing. As I understand it, the NCEP CFS reanalysis dataset is the result of collaboration between NOAA/NCEP and NCAR, and uses a wide range of data types in a physically consistent fashion. I probably need to bring in one of the dedicated surface-only datasets for further comparison…I don’t recall the HadCRUT4 Tsfc dataset having this large of disagreements with our satellite deep-layer temperatures. Unfortunately, these other datasets usually take a few weeks before they are updated with the most recent month. …the 2nd of the following two plots has been fixed)… Here’s the comparison between UAH LT and Tsfc from the HadCRUT4 dataset, through September 2017. Note that the difference with the satellite temperatures isn’t as pronounced as with CFSv2 Tsfc data, but the HadCRUT4 data has more of an upward trend: As in the previous figure, but now CFSv2 Tsfc data has been replaced by HadCRUT4 surface data (with the latter having anomalies recalculated relative to the 1981-2010 base period). The UAH LT global anomaly image for October, 2017 should be available in the next few days here. The new Version 6 files should also be updated in the coming days, and are located here: Lower Troposphere: http://vortex.nsstc.uah.edu/data/msu/v6.0/tlt/uahncdc_lt_6.0.txt Lower Stratosphere: http://vortex.nsstc.uah.edu/data/msu/v6.0/tls/uahncdc_ls_6.0.txt Massive Snow Accumulation Records U.S & Canada & Greenland All Time Ice Gain Record snows blanket western USA and Canada, its not only the depth of the snowfall, but the record early start for such depths. Additionally record early melt season end in the Arctic, rebounding sea ice growth and record Greenland ice growth especially on the western edge which used to be the IPCC favorite area to prove global warming. Its her, time is up, welcome to the grand solar minimum intensification. Earth’s ‘ozone hole’ shrinks to lowest since 1988 From NASA Goddard: Warm Air Helped Make 2017 Ozone Hole Smallest Since 1988 Measurements from satellites this year showed the hole in Earth’s ozone layer that forms over Antarctica each September was the smallest observed since 1988, scientists from NASA and NOAA announced Friday. According to NASA, the ozone hole reached its peak extent on Sept. 11, covering an area about two and a half times the size of the United States – 7.6 million square miles in extent – and then declined through the remainder of September and into October. NOAA ground- and balloon-based measurements also showed the least amount of ozone depletion above the continent during the peak of the ozone depletion cycle since 1988. NOAA and NASA collaborate to monitor the growth and recovery of the ozone hole every year. “The Antarctic ozone hole was exceptionally weak this year,” said Paul A. Newman, chief scientist for Earth Sciences at NASA’s Goddard Space Flight Center in Greenbelt, Maryland. “This is what we would expect to see given the weather conditions in the Antarctic stratosphere.” The smaller ozone hole in 2017 was strongly influenced by an unstable and warmer Antarctic vortex – the stratospheric low pressure system that rotates clockwise in the atmosphere above Antarctica. This helped minimize polar stratospheric cloud formation in the lower stratosphere. The formation and persistence of these clouds are important first steps leading to the chlorine- and bromine-catalyzed reactions that destroy ozone, scientists said. These Antarctic conditions resemble those found in the Arctic, where ozone depletion is much less severe. In 2016, warmer stratospheric temperatures also constrained the growth of the ozone hole. Last year, the ozone hole reached a maximum 8.9 million square miles, 2 million square miles less than in 2015. The average area of these daily ozone hole maximums observed since 1991 has been roughly 10 million square miles. Although warmer-than-average stratospheric weather conditions have reduced ozone depletion during the past two years, the current ozone hole area is still large because levels of ozone-depleting substances like chlorine and bromine remain high enough to produce significant ozone loss. Scientists said the smaller ozone hole extent in 2016 and 2017 is due to natural variability and not a signal of rapid healing. First detected in 1985, the Antarctic ozone hole forms during the Southern Hemisphere’s late winter as the returning sun’s rays catalyze reactions involving man-made, chemically active forms of chlorine and bromine. These reactions destroy ozone molecules. Thirty years ago, the international community signed the Montreal Protocol on Substances that Deplete the Ozone Layer and began regulating ozone-depleting compounds. The ozone hole over Antarctica is expected to gradually become less severe as chlorofluorocarbons—chlorine-containing synthetic compounds once frequently used as refrigerants – continue to decline. Scientists expect the Antarctic ozone hole to recover back to 1980 levels around 2070. Ozone is a molecule comprised of three oxygen atoms that occurs naturally in small amounts. In the stratosphere, roughly 7 to 25 miles above Earth’s surface, the ozone layer acts like sunscreen, shielding the planet from potentially harmful ultraviolet radiation that can cause skin cancer and cataracts, suppress immune systems and also damage plants. Closer to the ground, ozone can also be created by photochemical reactions between the sun and pollution from vehicle emissions and other sources, forming harmful smog. Although warmer-than-average stratospheric weather conditions have reduced ozone depletion during the past two years, the current ozone hole area is still large compared to the 1980s, when the depletion of the ozone layer above Antarctica was first detected. This is because levels of ozone-depleting substances like chlorine and bromine remain high enough to produce significant ozone loss. NASA and NOAA monitor the ozone hole via three complementary instrumental methods. Satellites, like NASA’s Aura satellite and NASA-NOAA Suomi National Polar-orbiting Partnership satellite measure ozone from space. The Aura satellite’s Microwave Limb Sounder also measures certain chlorine-containing gases, providing estimates of total chlorine levels. NOAA scientists monitor the thickness of the ozone layer and its vertical distribution above the South Pole station by regularly releasing weather balloons carrying ozone-measuring “sondes” up to 21 miles in altitude, and with a ground-based instrument called a Dobson spectrophotometer. The Dobson spectrophotometer measures the total amount of ozone in a column extending from Earth’s surface to the edge of space in Dobson Units, defined as the number of ozone molecules that would be required to create a layer of pure ozone 0.01 millimeters thick at a temperature of 32 degrees Fahrenheit at an atmospheric pressure equivalent to Earth’s surface. This year, the ozone concentration reached a minimum over the South Pole of 136 Dobson Units on September 25— the highest minimum seen since 1988. During the 1960s, before the Antarctic ozone hole occurred, average ozone concentrations above the South Pole ranged from 250 to 350 Dobson units. Earth’s ozone layer averages 300 to 500 Dobson units, which is equivalent to about 3 millimeters, or about the same as two pennies stacked one on top of the other. “In the past, we’ve always seen ozone at some stratospheric altitudes go to zero by the end of September,” said Bryan Johnson, NOAA atmospheric chemist. “This year our balloon measurements showed the ozone loss rate stalled by the middle of September and ozone levels never reached zero.” Anthony’s thoughts on the issue: While this is good news, it may not be related to the CFC reductions from the Montreal Protocol. While there are claims that the shrinking ozone hole is due entirely to CFC reductions, it has been suggested that the ozone hole has been a permanent feature of Antarctica for millennia, and that it is a product of cold, wind patterns, and lack of sunlight in Antarctica’s deep freeze dark winter. Ozone in the upper atmosphere is manufactured by the interaction of sunlight, specifically the ultraviolet spectrum: Stratospheric ozone. Stratospheric ozone is formed naturally by chemical reactions involving solar ultraviolet radiation (sunlight) and oxygen molecules, which make up 21% of the atmosphere. In the first step, solar ultraviolet radiation breaks apart one oxygen molecule (O2) to produce two oxygen atoms (2 O) (see Figure Q2-1). In the second step, each of these highly reactive atoms combines with an oxygen molecule to produce an ozone molecule (O3). These reactions occur continually whenever solar ultraviolet radiation is present in the stratosphere. As a result, the largest ozone production occurs in the tropical stratosphere. The production of stratospheric ozone is balanced by its destruction in chemical reactions. Ozone reacts continually with sunlight and a wide variety of natural and human produced chemicals in the stratosphere. In each reaction, an ozone molecule is lost and other chemical compounds are produced. Important reactive gases that destroy ozone are hydrogen and nitrogen oxides and those containing chlorine and bromine. Source: https://www.esrl.noaa.gov/csd/assessments/ozone/2010/twentyquestions/Q2.pdf Yes, and without sunlight, ozone production stops, and the chemical reactions take over. Cold is also a big factor in the atmospheric chemistry process. This is why the ozone hole over Antarctica is a seasonal phenomenon. Low polar temperatures. The severe ozone destruction represented by the ozone hole requires that low temperatures be present over a range of stratospheric altitudes, over large geographical regions, and for extended time periods. Low temperatures are important because they allow liquid and solid PSCs to form. Reactions on the surfaces of these PSCs initiate a remarkable increase in the most reactive chlorine gas, chlorine monoxide (ClO) (see below and Q8). Stratospheric temperatures are lowest in both polar regions in winter. In the Antarctic winter, minimum daily temperatures are generally much lower and less variable than in the Arctic winter (see Figure Q10-1). Antarctic temperatures also remain below the PSC formation temperature for much longer periods during winter. These and other meteorological differences occur because of the unequal distribution among land, ocean, and mountains between the hemispheres at middle and high latitudes. The winter temperatures are low enough for PSCs to form somewhere in the Antarctic for nearly the entire winter (about 5 months) and in the Arctic for only limited periods (10–60 days) in most winters. Source: https://www.esrl.noaa.gov/csd/assessments/ozone/2010/twentyquestions/Q10.pdf While there is evidence that the worst posited offenders (CFC-11, and CFC-12) are in fact purging from the atmosphere, the question remains over whether the ozone hole would ever go away, since we have no data prior to the 1980’s, we just don’t have much data history on it. We are worried about it now because we can observe it for the first time in human history. The fact that NASA now says a mild winter made the ozone hole the smallest observed since 1988, suggests that it truly is just a seasonal feature of the region and reliant mostly on weather patterns for its year-to-year intensity, rather than being driven entirely by chlorofluorocarbon catalytic depletion. Even the American Geophysical Union admits that the Montreal Protocol seems to have no effect on the change in size of the ozone hole. Time will tell, the jury is still out on this one.
Tamil Nadu(The Land of Tamils or Tamil Country) is one of the 29 states of India. Its capital is Chennai (formerly known as Madras), the largest city. Tamil Nadu lies in the southernmost part of the Indian Peninsula and is bordered by the union territory of Puducherry and the states of Kerala, Karnataka, and Andhra Pradesh. It is bounded by the Eastern Ghats on the north, by the Nilgiri, the Anamalai Hills, and Kerala on the west, by the Bay of Bengal in the east, by the Gulf of Mannar and the Palk Strait on the southeast, and by the Indian Ocean on the south. It also shares maritime border with the country of Sri Lanka. Tamil Nadu is the eleventh largest state in India by area and the sixth most populous state in India. The state was ranked sixth among states in India according to the Human Development Index in 2011.It was the second largest state economy in India in 2012.The state has the highest number (10.56 per cent) of business enterprises and stands second in total employment (9.97 per cent) in India,compared to the population share of about 6 per cent. In the 2013 Raghuram Rajan panel report, Tamil Nadu was ranked as the third most developed state in India based on a \"Multidimensional Development Index\".The region has been the home of the Tamil people since at least 1500 BC.Its official language is Tamil, which holds a status of being a classical language. Tamil has been in use in inscriptions and literature for over 2500 years. Tamil Nadu is home to many natural resources, classical arts, classical music, classical literature, Hindu temples of Dravidian architecture, hill stations, beach resorts, multi-religious pilgrimage sites, and eight UNESCO World Heritage Sites. \|Visa requirment\|\|no visa required\| Sign Up For Our News Letters Phone : +91 9038079101 – 107 /+91 916300 2626/3636 Address : 103 Dumdum Road, Kolkata-700 030, West Bengal © 2017 Search UR Hotel . All Rights Reserved
How would it feel if women were the ones under obligation to earn, and not men? What would we think if there were special quotas for men in companies and the political arena? How would it be if women had to leave their seats for men, and seats on public transport were reserved for men? How would it appear if lifeboats were reserved for men? How would it feel if news readers announced the deaths of ‘men and children’ on every channel? How would we react if all the world’s most dangerous jobs were worked by women? How would it have come across if, after the Titanic wreck, it was announced ‘men and children first’. Can we imagine armies consisting of women only, whose dead bodies would be returned from war daily, torn to shreds? How would it feel if women had to pay alimony and child support? How would it be if, instead of men, it was women taking their own lives due to financial, economic, and marital stress? – It is certain that we would never hear the end of it. 8th March is celebrated as ‘International Women’s Day’ all over the world. Below are a few key points, which, if followed, can result in matrimonial bliss, and reduce the skyrocketing divorce rates all over the world. This Women’s Day, women must learn to be grateful to their husbands. A man suffers from extreme anxiety and distress to put food on the table, add to it the apathetic attitude of wives, who know that they are under no obligation to earn, while they needlessly and endlessly nag their husbands over financial matters, habits, expect perfection, clearly knowing that they are not perfect themselves. Women must stop belittling men and be grateful for their painstaking efforts. This Women’s Day, women must learn to respect men for who they are, and not what they have. Women (and their parents) should stop behaving like gold diggers. Even in matrimonial advertisements, only those men are desired who earn a fabulous salary, have a house and a car, and questions from in-laws also target men’s bank accounts, reemphasizing societal norms which have turned men into ATMs and financial slaves. Women should realize that men are not money-earning machines, and show men the respect that they richly deserve. This Women’s Day, women must learn to treat men like human beings. At the present moment, domestic violence against men (here and here) and false accusations (here and here) are rising like their is no tomorrow. Women indulge in what is known as ‘legal terrorism’. Men are abused at home, and by the deliberate misuse of the law. Women should treat men like human beings, not objects to be toyed with. Men have the same feelings and emotions as women. Men are human beings too. This Women’s Day, women should learn that motherhood is a full-time job. Simply having children and then dumping them in day care centres while women go to work in a frivolous pursuit of gender equality does no one any good, least of all children, who are forced to grow up without learning values and morals, resulting in ruined childhoods following malignant feminist theories. Motherhood is a woman’s job, and the most important job in the world. It requires a ton of time in nurturing and caring, which cannot be substituted in a day care centre. We can never achieve gender equality until the feminist movement gets rid of all the hypocrisy, double standards, and hatred for men. It is all the more evident in the fact that ‘International Men’s Day’, on November 19, is rarely talked about or celebrated. I am not sure most people even know it exists.
The difference between a travel charger and an adapter is rooted in their function. Travel Chargers or Converter A travel charger is also known as a converter. Typically a travel charger or converter converts, that is steps down, the local electricity to a lower voltage. The US and Canada use lower voltage electricity than most parts of the world. The problem is if you plug in an appliance like your US hairdryer which is made for lower voltage into a higher voltage plug (even when using a plug adapter) it will send too high of an electrical current to your appliance. If this happens you’ll “fry” your hairdryer or whatever other appliance you plugged in and ruin it. You may only need a travel adapter. Many of today’s devices like newer laptops, apple products like iPhones and iPads are dual voltage, so you don’t need a travel converter or charger to use charge and use them in foreign countries. Most of the time, you will need just adapter plugs when traveling however in some cases, you may need a voltage converter (also known as a travel charger) and it’s smart to buy whatever you need here before you travel internationally and take it with you. Universal Travel Adapter/Converter Read on to the bottom of the article which explains what universal travel chargers and adapters are. Many savvy globe trotters pack a universal travel charger and adapter as it’s an all in one device. If you’re not sure what you need, read on for a better understanding. Electrical Appliances work at: >110/120 volts = USA/Canada >220/240 volts = Vast Majority of the Rest of the World Converters change the voltage from one level to another, usually from 220/240V to 110/120V. If your device only operates at 110/120 volts (American devices) you will need a converter to step down (or convert) the power supply in your destination country for it to work safely. Your device must be plugged into a converter to change the voltage to avoid overheating or frying. For example, if you are traveling to France from the USA, your American curling iron will need a converter to step down the power voltage in France from 220/240V to 110/120V, for the appliance to work. Converters should only be used with electric appliances, such as hairdryers, irons, small fans, or any appliance that has a mechanical motor. If the appliance is electronic, which contains a computer chip, like a laptop, a converter is usually not required. Many new electronics are designed to work at both 110 volts and 240 volts. Most devices that are intended for travel, devices such as laptops, cameras, cell phone chargers, and other battery chargers usually do not require a converter. Look for an indications panel on your electronics to verify what power level is compatible. We recommend checking the label, owner’s manual, or contacting the manufacturer to be certain! Is My Device Dual Voltage? If the electrical appliance has a dual voltage (which means it can run on 110/120 volts or 220/240 volts), make sure the switch is on the correct voltage pertaining to your location. Some electrical items are made to operate at one voltage only. Most laptops, phones, and cameras, however, are dual voltage and don’t even require that you flip a switch. You just need a simple plug adapter to power them up. Dual Voltage appliances will say 110-220 VAC, or INPUT AC120/240V 50-60Hz 1300W Single Voltage appliances will say 110 VAC. 120 VAC or INPUT AC120Vac 60Hz 200W Note: If your appliance is dual voltage, you do NOT have to worry about a converter. All you need is a plug adapter for the country you will be visiting. It is our recommendation if your appliance is not dual voltage and you depend on it buy one that is for travel. Wattage is the amount of power required to operate an electrical appliance or device. You need to know the wattage of the device in order to get the right converter. You want a converter that can handle the wattage required by appliance plus about 25% more just to be sure. So read the specifications. Most devices have a label showing the wattage. If the wattage is not listed on the label, the voltage and amperage are usually listed and can be used to figure out the wattage using a simple formula. Multiply the voltage by the amperage (amps or A) to calculate the wattage. Example: An appliance labeled with a voltage of 110 and amperage of 1.5 is 165 watts (110 x 1.5 = 165 Watts) Please Note: Converters are NOT meant for long time use. Converters are meant to change the electrical voltage for small electrical items, (such as hair dryers, irons, etc) for travelers for a short amount of time. We recommend no longer than 30 minutes. Adapters are simply connectors that change the plug shape to match the electrical outlet. Adapters allow you to use your device by connecting pieces of equipment that cannot be directly connected to the standard plug. They act as a go-between. You plug your device into the adapter and the adapter into the electrical socket. Throughout the world, there are about 15 types of electrical outlets so chances are that if you travel outside of the US you’ll need a plug adapter. Adapters allow a dual-voltage appliance or a converter from one country to be plugged into the wall outlet of another country. There are many different wall outlet shapes and configurations. Even if two countries operate on the same voltage, their electrical outlets might have a different shape plug. Adapters will allow you to interchange the plugs, depending upon the outlets in various countries; however, they do NOT change the electrical voltage. We highly suggest taking a variety of adapters when traveling because of how many different shaped plugs there are! An adapter kit or an all in one device that offers multiple plugs does not take up much room so it is best to buy one before you go. I keep my all in one charger and adapter unit, known as a universal adapter/converter with my carry on bag so I’ll never forget to pack it. Universal Travel Adapter/Converters A universal travel adapter/converter is an all in one device. It’s a travel charger and an adapter all in one. For most people, this is the best option to travel with because you’ll be prepared for whatever charging or electrical need you may have. These universal products handle both jobs and keep your tech gear powered up, These are our favorites from Amazon and all are competitively priced. - – Pack travel adapters and phone chargers in your carry-on luggage. If your suitcase is lost, you will still be able to charge your cell phone & - Surprisingly, adapters are difficult to find in other countries. We recommend purchasing an adapter kit before traveling, to keep your electronics charged and ready for action! Research which adapters you may need based on electronics prior to your trip, so you have time to purchase the right one. The best solution is to invest in a universal charger/converter device that converts voltage and offers adapter plugs that fit most countries. - – Bring an external battery for your phone in your carry-on luggage as well.
If you have read any gardening magazines or websites lately, you are probably well-aware of the latest trend in raised garden beds. While many home gardeners have been using raised beds for many years to provide protected space to grow flowers, shrubs and other plants, the new idea is to use them for growing fruits and vegetables. Raised garden beds allow for easier control over growing conditions and are used as a means of providing easy access to plants, especially for gardeners with bad backs and knees. What is a Raised Garden Bed? Raised garden beds are traditionally made out of wood materials, however many homeowners are choosing new materials to construct these valuable growing areas in both their front and backyard areas. Cinder blocks are another popular material, as they are cheap and easy to stack, however in recent years the use of patio stone ideas and pavers has caught on because they look better, last longer and work better at keeping out weeds and other undesirable conditions. Combine the benefits of raised beds for easier access and control with traditional vegetable and fruit gardening materials, such as quality garden mulch, soil and other essential ingredients, and you have a recipe for some really excellent home gardening. Raised garden beds also protect vulnerable plants from gophers and other pests, allowing for easy covering and other protective materials to be used. Better control over soil conditions means less chance of tomatoes rotting on the vine and other issues that can be caused by poor nutrition in the soil. Some of the other benefits associated with using raised garden beds include: - better drainage - lower maintenance - better soil quality control - easier access to gardening – built in seating if the walls are wide enough - higher productivity, bigger crop yield - reduced weeding due to better soil and mulching - better control over pests – insects, rodents and other vermin Are Raised Garden Beds Right for You? One of the reasons why raised garden beds are an ideal solution to local Brockton gardening ideas is that it allows home gardeners to grow a lot of produce in a small amount of space. The typical Brockton residential property doesn’t allow for a huge garden, so these patio stone ideas that provide gardeners with raised, protected areas for growing their own food are the perfect answer. When done right, garden beds made from natural stone or even manufactured stone and concrete pavers, will look as good in the front yard as they would in the backyard, allowing homeowners to increase their growing space. Because raised garden beds have so many advantages that reduce the challenges that many gardeners in Southeastern Massachusetts face due to soil conditions, the range of season changes that affect the growing period and pests that have the potential to completely decimate entire summer crops, they are sure to continue growing in popularity. Gardening pros recommend that homeowners build their garden beds with a north to south orientation for the best lighting conditions. Another excellent tip for local Brockton gardening ideas is to situate your garden beds close to the kitchen for easy harvesting of fresh herbs and vegetables for cooking. How to Build Raised Garden Beds The size of the garden beds should be based upon the amount of space that you have in a given area. For example, if you have four feet of free space, then go ahead and make the garden four feet wide. However, if you will need to access the garden from all sides you might want to make it more narrow so you can get to the other sides. Another option is to make the width 3 feet across of less so you can reach across easily if you don’t have access to all four sides due to space constraints. The height should be comfortable for you as well – somewhere between twelve to eighteen inches in height or more, depending on your unique needs. A minimum of twelve inches is required in order to have enough height to create good soil conditions. Most gardeners build rectangular beds, but you can also create raised garden beds that are in a circular design to create a nice looking garden area. Automatic drip irrigation or bubbler systems can be used to have more control over watering and reduce waste. Where to Get Materials for Gardening in Southeastern Massachusetts If you are looking for more local Brockton gardening ideas that can be used all throughout the South Coast region, look no further than J&J Materials. In addition to having a wide variety of natural stone and manufactured stone materials that can be used to create raised garden beds, quality garden mulch that will protect your soil and plants from pests and a wide variety of other landscaping materials, they also have patio stone ideas and a full video library of installation tips and plans that can be used to create gorgeous gardens and relaxing outdoor living spaces. Call J&J Materials or stop by one of their locations in Bourne or Seekonk to find out more about all of the materials and ideas available for area homeowners.
\|The right triangle ABC with right angle at A is rotated about the side AC to produce a cone. The axis of the cone is AC, and its base is the circle with center at A and radius AB. The three different kinds of cone are not used by Euclid in the Elements, but they were important in the theory of conic sections until Apollonius’ work Conics. In Euclid’s time conic sections were taken as the intersections of a plane at right angles to an edge (straight line from the vertex) of a cone. When the cone is acute-angled, the section is an ellipse; when right-angled, a parabola; and when obtuse-angle, a hyperbola. Even the names of these three curves were given by the kind of angle, so, for instance, Euclid knew a parabola as a “section of a right-angled cone.” It was Apollonius who named them ellipse, parabola, and hyperbola.
General Surgery Abroad Coronary Angioplasty is a surgical procedure to open up blocked or narrowed coronary arteries (blood vessels leading to the heart). It is used to treat coronary artery disease and is a fairly straightforward, minimally invasive (keyhole) procedure. Coronary Angioplasty is most commonly used to treat angina, which is pain coming from the heart. It may also be carried out as emergency treatment after a heart attack. Angioplasty involves using a catheter (a flexible tube) to insert a stent (a piece of stainless-steel mesh tubing) into the artery. A small balloon is inflated to open the stent, which pushes against the artery walls. This widens the artery and squashes the fatty plaques against the artery wall so that blood can flow through it more freely. The medical name for a bunion is Hallux Valgus. A bunion is a bony swelling at the base of the big toe. Sometimes, the big toe can become angled inwards, towards the middle of the foot and the second toe. This can force the top of the first metatarsal to protrude (stick out) from the side of the foot, at the base of the big toe. If this happens, a painful, swollen bunion forms. A bunion can cause discomfort, pain, swelling and redness in and around the big toe. If left untreated, it can make walking difficult. The exact surgery procedure will vary depending on the type and size of the bunion being treated. Often your surgeon will shave off the bone that is sticking out. The foot bone (the metatarsal) may be cut and repositioned, setting it in a better position. The ligaments and tendons in your foot may also be repositioned. Cataracts are cloudy patches in the lens of the eye that can make your vision blurry. They may eventually lead to blindness if they are left untreated. Cataracts can develop in one or both eyes, and over time the size of the cataract can get bigger until the whole lens is covered. If you have a Cataract, it will continue to develop. The only way to restore your vision is by having the Cataract removed by surgery. Cataract surgery is one of the most common and quickest surgeries performed, and many people are able to return to their usual daily routine after 24 hours. There are three types of replacement lens available: - Fixed strength lenses (monofocal) - set for one level of vision, usually distance vision. - Multifocal lenses - allow two or more different strengths, such as near and distance vision. - Accommodating lenses - allow the eye to focus on both near and distant objects, in a similar way to the natural human lens. Circumcision is a procedure to remove the foreskin. The foreskin is a flap of skin that covers the head of the penis and can usually be pulled back over it. Sometimes, Circumcision has to be done for a medical reason. This may be because the foreskin is damaged or infected and will not slide back over the head of the penis. A tight foreskin can make it painful for you to have an erection or sexual intercourse. Circumcision may also be done for cosmetic, religious or social reasons. During surgery the foreskin is pulled forward and trimmed away. The skin edges are closed using dissolvable stitches and/or special glue. Gastric banding is a surgical procedure that involves fitting a band around the upper part of your stomach. Once the Gastric Band is in place it can be adjusted externally (outside the body) at any time by a surgeon. This means the band can be made either tighter or looser, depending on the amount of food your surgeon wants to restrict you from eating. Your surgeon can make the band tighter by adding salt water (saline) into the band. This slows down the amount of food that can pass through your stomach - meaning your stay feeling full for longer. To loosen the band, some of the salt water fluid is removed, meaning food passes through quicker to your digestive system. Generally, a Gastric Band is loose to start and then tightened when you are used to eating less food. A Gastric Band is designed to remain permanently within your stomach. However, it can be removed, and in the majority of cases leaves you with no permanent changes to your stomach. It is usually recommended as a last resort for people who are morbidly obese (those with a BMI of over 40), or those with a BMI of between 30-40 who also have a condition that poses a serious health risk, such as diabetes, high blood pressure (hypertension), or heart disease. Gallbladder Removal / Cholecystectomy The Gallbladder is the small, pear-shaped pouch in the upper-right part of your abdomen that stores the bile produced by the liver. Bile, the digestive fluid that helps to break down fatty food, is carried from the gallbladder to the intestine through a tube called the bile duct. There are two ways of performing a cholecystectomy: - Laparoscopic Cholecystectomy (Keyhole Surgery). This is the most common way of having your gallbladder removed. Keyhole surgery means the surgeon can remove your gallbladder without having to make a large incision on your abdomen - Open Cholecystectomy During this procedure the surgeon removes the gallbladder through a five- to eight-inch incision in your abdomen. Gamma Knife / Radiosurgery Radiosurgery (also known as Gamma Knife treatment) is a very highly focused type of radiotherapy. Radiotherapy is usually used either after surgery to kill any tumour cells that were not removed, or as an alternative to surgery. It is a painless procedure. Radiotherapy uses radiation (powerful X-rays) to destroy cancer cells. Cancer cells are more sensitive to radiation than non-cancerous cells, which can recover from treatment. The patient wears a specialized helmet that is surgically fixed to their skull so that the brain tumour remains stationary at target point of the gamma radiation rays. An ablative dose of radiation is thereby sent through the tumour in one treatment session, while surrounding brain tissues are relatively spared. A Gastrectomy is a medical procedure that involves surgically removing the stomach. Gastrectomies are often used to treat stomach cancer (also known as gastric cancer). Less commonly, the procedure may be used to treat stomach ulcers, non-cancerous (benign) tumours, and obesity. There are two different techniques that can be used to carry out a partial or total Gastrectomy: - Open Gastrectomy - where the surgeon makes a large incision in your abdomen in order to remove some, or all, of your stomach. - Laparoscopic or ‘Keyhole’ Gastrectomy - where the surgeon makes a number of smaller cuts in your abdomen, before using a special telescope and small surgical instruments to remove some, or all, of your stomach. A Gastric Bypass is a similar procedure to a gastric band as a band is used to create a smaller stomach pouch from the upper part of your stomach, separating it from the rest. A section of your small intestine is then bypassed and re-connected to the pouch. Food takes a shorter route through your digestive system, and so less food is absorbed by your body. This means that you can only eat small meals and your body absorbs less food. Gastric Bypass can be done using keyhole (laparoscopic) or open surgery. Gastric Bypasses have a higher risk of complications that gastric band surgery and are only recommended for people who have a BMI of 45 or above. Haemorrhoids, also known as piles, are enlarged and swollen blood vessels in or around the lower rectum and back passage (anus). When the pressure inside these blood vessels is increased, they swell and form small lumps. Haemorrhoids vary in size and can occur internally (inside) or externally (outside) the anus. Haemorrhoidectomy simply means removal of the haemorrhoids. Heart Bypass (CABG) A coronary artery bypass graft (CABG) is a surgical procedure used to divert blood around narrow or clogged arteries (blood vessels). This improves blood flow and oxygen supply to the heart. CABG involves taking a blood vessel from another part of the body, usually the chest or leg, to use as a graft which replaces any hardened or narrowed arteries in the heart. CABG is often used to treat coronary artery disease and can reduce the risk of having a heart attack. The operation can also be done using keyhole (or minimally invasive) surgery. Instead of a large cut down the sternum, the operation is done through small cuts. Special instruments are passed through the cuts and the surgeon looks at a monitor to see inside your chest. Heart Valve Replacement Heart valve replacement is surgery to treat heart valve disease. It can replace a diseased or damaged heart valve. Aortic valve replacement is a type of open heart surgery designed to treat problems affecting your aortic valve, which lets the blood flow from the left ventricle of the heart to the aorta, the body’s main artery. Your chest is opened, allowing the surgeon to operate on your heart. During surgery, your heart is stopped and your circulation is taken over by a heart-lung machine. Your surgeon will remove your diseased valve and sew in a prosthetic (artificial) valve. There are two types: - Mechanical valves are artificial valves made from carbon fibre. They can last for a lifetime. - Biological valves are made from human or animal tissue. They wear out faster than mechanical valves so the surgery may need to be repeated every eight to 10 years. After your valve has been replaced, your surgeon will restart your heart and blood will be allowed to flow back through your heart. Your sternum will be rejoined using wires and the skin on your chest will be closed with dissolvable stitches. The operation can also be done using keyhole (or minimally invasive) surgery. There is also a new technique called Percutaneous Valve Replacement. In this procedure a tube is passed through an artery or in your groin or a vein in your leg to reach your heart. A hernia is when an internal part of the body, such as an organ, pushes through a weakness in the muscle or surrounding tissue wall. Usually your muscles are strong and tight enough to keep your intestines and organs in place, but sometimes they aren’t which results in a hernia. A hernia can occur anywhere in the abdomen region. The most common types are: - Inguinal Hernia - This occurs when tissue (usually part of the intestines) pokes through your lower abdomen. - Femoral Hernia - This occurs when tissue pokes through into your groin, or the top of your inner thigh. - Incisional Hernia - This occurs when tissue pokes through a surgical wound or incision that has not fully healed. - Umbilical Hernia - This occurs when tissue pokes through the part of the abdomen near to the navel (belly button). During surgery, the surgeon will place the protruding intestine or tissue back into the abdominal wall. The muscles of the abdominal wall will then be strengthened by fixing a synthetic mesh to the muscles. There are two ways that a hernia repair can be carried out: - Open Surgery - where the surgeon will make a large incision in your abdomen. - Laparoscopic (Keyhole) Surgery - where the surgeon will only make a very small incision in your abdomen. A Hiatus Hernia is when the upper part of your stomach pushes upwards into the opening in your diaphragm through which the gullet (oesophagus) passes. The oesophagus is the tube that carries food to your stomach. The opening in your diaphragm is called the Hiatus and the part of the body that pushes through the hiatus is called a hernia. The hernia pokes through the hiatus, preventing the muscle fibres of the diaphragm from closing the lower end of the oesophagus. The result is that the sphincter that normally stops acid entering your gullet from your stomach can't work properly. The sphincter is designed to prevent stomach contents from flowing upwards, functioning as a one-way valve. Due to the hiatus hernia, highly irritating stomach contents, like acid, are able to move up into the oesophagus. The surgery involves the stomach being put back in the correct position and tightening the diaphragm around the lower part of the oesophagus. A Hysterectomy is an operation to remove your womb (uterus). After the operation you will no longer be able to have children. Hysterectomies are performed to treat conditions that affect the female reproductive system, such as heavy periods (menorrhagia), non-cancerous tumours (fibroids) and types of cancer. There are three methods that can be used to perform Hysterectomies which are described below. - A Vaginal Hysterectomy – where the uterus is removed through the vagina. - An Abdominal Hysterectomy – where the uterus is removed through a cut in your abdomen. - A Laparoscopic Hysterectomy – in this technique the surgeon will make a number of small incisions in your abdomen, through which a small tube that contains a light and a tiny video camera (a laparoscope) is inserted. This allows the surgeon to see the inside of your abdomen in great detail without having to make a large incision (cut). The uterus can then be removed through the incisions. There are three types of hysterectomy. - Subtotal Hysterectomy - the womb is removed but the cervix is left in place. - Total Hysterectomy - the womb and the cervix are removed. - Radical Hysterectomy - the womb, part of the vagina and the fallopian tubes are removed. Gastric Balloons (sometimes called Intragastric Balloons) are one of the newer forms of weight loss surgery. An intra-gastric balloon is a soft silicone balloon that is surgically implanted in your stomach. This can help reduce your weight as it then takes less food to stop you feeling hungry. The balloon itself is made of silicone and is inserted via the mouth into the stomach using an endoscopic procedure. It is then filled with air or saline solution. With a saline filled balloon the fluid is actually coloured blue so that if it springs a leak and starts to deflate the patient will know as their urine will be green. The inflated gastric balloon works by partially filling your stomach so that you'll feel fuller more quickly when eating. It also reduces your ability to consume large amounts of food or fluids in one go. With the balloon in place a weight loss diet should be followed to retrain your eating habits so that you don't put the weight back on once the balloon is removed. Patients can expect their BMI to drop up to 10 points in the six months following the surgery. The balloon is usually removed after six months. If you have a BMI of 30 or more, Gastric Balloon surgery could be the solution for you In Vitro Fertilization, often referred to as IVF, is a highly successful assisted reproductive technology. The term in vitro literally means “in glass.” It refers to the process by which a woman’s eggs are fertilized outside her body. It involves an egg being surgically removed from the ovary and fertilised outside the body. The woman is then given hormones to prepare her uterus for pregnancy, while the eggs are fertilised with the sperm in a laboratory. The embryos are then implanted into the woman's uterus, and if all goes well, a normal pregnancy is achieved. Laser Eye Surgery Laser Eye surgery involves reshaping the cornea – the transparent surface at the front of the eye – using a type of laser known as an Excimer laser. Different techniques are used to correct short sight (myopia), long sight (hypermetropia) and astigmatism. LASIK (Laser In Situ Keratomileusis) LASIK is the most common procedure. Most types of refractive error can be corrected with LASIK, but it may not be suitable for correcting high prescriptions (high degree of short-sightedness). Surgeons cut across the cornea and raise a flap of tissue. The exposed surface is then reshaped using the excimer laser, and the flap is replaced. PRK (Photorefractive Keratectomy) PRK is mainly used for correcting low prescriptions (low degree of short-sightedness). The cornea is reshaped by the excimer laser without cutting a flap. LASEK (Laser Epithelial Keratomileusis) LASEK is similar to PRK but the surface layer (epithelium) of the cornea is retained as a flap. Retaining the epithelium is thought to prevent complications and speed up healing. Wavefront-guided LASIK reduces the natural irregularities of the eye (which can cause light rays to focus incorrectly), and improve the visual result of the surgery. Kidney Stone Removal You normally have two kidneys which clean your blood, and filter out water and waste products to make urine. Small, solid masses called kidney stones may form when salts or minerals, normally found in urine, become solid crystals inside the kidney. Normally, these crystals are too small to be noticed, and pass harmlessly out of your body. However, they can build up inside your kidney and form much larger stones. If a stone becomes large enough, it may begin to move out of your kidney and progress through the ureter - a tube that carries urine from the kidney to your bladder. A kidney stone can become stuck at various parts of the ureter causing pain, infection and occasionally kidney damage. Ureteroscopic Stone Removal If your stone is lodged in the ureter, your surgeon will pass a narrow, flexible instrument called a Cystoscope up through your urethra and your bladder. A laser beam or shock waves generated by a device attached at the end of the Cystoscope removes or breaks up the stone. This procedure is usually done under general anaesthetic. Percutaneous Nephrolithotomy (PCNL) Large stones can be surgically removed from the kidney. Your surgeon makes a small cut in your back and uses a telescopic instrument called a Nephroscope to pull the stone out or break it up using a laser beam or shock waves. PCNL is performed under general anaesthesia. Pelvic Floor Repair / Prolapse When an organ drops from its normal position it is called a Prolapse. Your bladder, urethra, uterus and rectum can all prolapse through your pelvic floor. If they do, they will press against some part of the wall of your vagina causing a swelling. Any or all of these organs can prolapse at the same time. The different types of prolapse are: - Cystocele - A prolapse of the bladder into the front wall of the vagina. - Hysterocele - A prolapse of the uterus into the back, front or top of the vagina. - Rectocele - A prolapse of the rectum into the back wall of the vagina. - Urethrocele - A prolapse of the urethra into the lower front wall of the vagina. - Enterocele - A prolapse that contains loops of bowel. A pelvic floor repair will remove the swelling in your vagina. It will stop any bleeding, pain or leak of urine. A cut in the wall of your vagina is normally made and your prolapsed organs will be pushed back into their normal positions above your pelvic floor. Then a repair operation is done, where the surrounding ligaments are tightened to hold your organs in place. Everybody will notice that reading becomes increasingly difficult as they age, even those with normal vision. This usually begins at about 40 -45 years of age and is known as ‘prebyopia’. The solution for this is reading glasses or distance glasses. Today’s technology makes it possible to produce a lens which give good vision both from a distance and for reading. Now there’s a revolutionary new way to potentially leave your glasses behind – introducing the AcrySof® ReSTOR® intraocular lens (IOL), a breakthrough in vision surgery. AcrySof® ReSTOR® has been uniquely designed to improve vision at all distances – up close, far away and everything in-between – giving patients their best chance ever to live free of glasses. The ability to quickly change focus throughout this range of vision is called accommodation (The ability of the eye’s lens to change shape to focus on objects at various distances). Unfortunately, this ability diminishes as we grow older1, causing us to become dependent on bifocals or reading glasses. If you are suffering from Cataracts or are far-sighted this operation will suit you. The surgical technique is the same as used for Cataract surgery. According to articles in major international journals, 90% of people operated manage completely without glasses after the Restore operation. TURP – Prostate Surgery TURP is the most common operation for an enlarged prostate (benign prostatic hyperplasia or BPH). BPH is an overgrowth of cells of the prostate that blocks the flow of urine, making it difficult to pass urine. TURP is performed using a narrow, flexible, tube-like telescopic camera called an Endoscope. The endoscope is inserted into your urethra (the tube that carries urine from the bladder and out through the penis). The surgeon will then cut out and remove the middle of your enlarged prostate using specially adapted surgical instruments. Varicose veins are swollen and enlarged veins which are usually a blue or dark purple. They may also be lumpy, bulging or twisted in appearance. Varicose veins develop when the small valves inside the veins stop working properly. In a healthy vein, blood flows smoothly to the heart, and is prevented from flowing backwards by a series of tiny valves, which open and close to let blood through. If these valves weaken or are damaged, the blood can flow backwards and can collect in the vein, eventually causing it to be varicose. Large varicose veins may sometimes have to be surgically removed. The most common techniques are:- - Endothermal ablation – this is where heat is used to seal the affected veins - Sclerotherapy – this uses a special foam to close the veins - Ligation and stripping – this involves surgery to remove the affected veins A Vasectomy or 'male sterilisation' is a simple and reliable method of contraception. It is usually considered a permanent form of contraception, although in some cases the procedure can be reversed, if necessary, e.g. if you decide to have children later on in life. It works by preventing sperm from reaching the semen that is ejaculated from the man's penis during sex. It is a quick and painless surgical procedure. The 'conventional' and most widely used type of vasectomy involves making two small incisions in the scrotum (the pouch of skin that surrounds your testicles). The other type uses a newer 'no scalpel' technique.Contact Us
The question started innocently enough. An assignment for a class I am taking offered through The Critical Thinking Community required that I integrate one of the elements of reasoning in a lesson. I chose the element of purpose and decided to ask my 9th grade students what was the purpose of reading a non-fiction essay ,”My Mother”, by Amy Tan. Several students dutifully raised their hands. “To know about her mother?” “It’s a memory?” “To remember what her mom said?” Their responses were predictable and did not sound thoughtful; they sounded like they were guessing. I hate playing “Guess What the Teacher Wants to Hear”, so I shifted the question: “What is the purpose of reading an essay?” Hesitation. Some disconcerted looks. A few timid hands. “To understand what’s a good essay?” I must have looked a little frustrated. “Why are you here?” I demanded. “Well, what is the purpose of English class? Why are you here?” Then it hit me. They really had not given a thought as to why they were in English. I mean, they know what English class is, they have been in English every year they have attended school-nine years to date. They looked perplexed. “Because, we are forced to come,” said Chris. “Yes, we have to come,” agreed Mike. They shifted nervously in their seats. “That’s not purpose. That’s a result of someone else’s purpose,” I replied. “To learn….(student voice trails off)…English?” So, I took the cup of popsicle sticks labeled with each student’s name. “What is the purpose of English Class?” I asked each student after I called out a name. One by one they offered suggestions: - “….to learn…how to…write” - “…to learn how… to read?” - “…to learn about the comma?” - “…so we can go to college.” - “…to learn what is in a book…characters.” After each response, I asked the next student “Do you agree with that reason?” before I asked “What is the purpose of English class?” As we went around the room, I explained there could be “no repeats“; the responders had to think more critically about what I was asking. Slowly, their responses became more sophisticated. Their responses did not have the sound of a question. They were answering my repeated question as a statement. They began to stir and leaned forward in interest trying to see who could come up with the “answer”. - “To learn about how characters are like people” - “To experience stories that we cannot really be in” - “To read and write about how we are all connected.” - “To be able to write so that other people can understand what we are saying and maybe believe what we write.” They started to raise their hands to adding new ideas to this brainstorming sessions. They wanted to give the correct answer….to stop my interrogation. Honestly, I did not have an answer. I had no idea where this exercise was going, I was simply letting them critically think about why they came into my class day after day. They were suddenly engaged and eager to answer. At some level, they understood the importance of English class, they just had not thought about the purpose. In defining the purpose, they suddenly understood the purpose of my original question. I went back and asked, “What was the purpose of Amy Tan’s essay?” - “She is feeling guilty and she wants to make it up to her mom.” - “Her mother was important to her, and now that her mother has dies, she wants to tell others about how they should appreciate their mother.” - “Regret is hard, and she is living in regret like so many people who make mistakes when they are young…this is a confession.” My spontaneous shift from asking about an essay to the larger topic of why they were in English demonstrated how important the element of purpose is to teaching. My next step will be to have students internalize the question, “What is the purpose of this _______(book, essay, poem, article, assignment, class)?” on their own, every day, semester after semester. In the courtroom, the saying is “Never ask a question if you don’t know the answer.” But in education, we ask questions as a means to discover the answer. The Critical Thinking Community website states, “We must continually remind ourselves that thinking begins with respect to some content only when questions are generated by both teachers and students. No questions equals no understanding.” So go ahead and ask, “What’s the purpose of English class?” Get the students thinking.
- Grade Level▼▲ - Media Type▼▲ - US States▼▲ - Guides & Workbooks▼▲ - Author / Artist▼▲ - Top Rated▼▲ \|Format: PDF Download\| Vendor: Master Books Publication Date: 2006 Physics is a branch of science that many people consider to be too complicated to understand. In this exciting addition to the ?Exploring? series, John Hudson Tiner puts this myth to rest as he explains the fascinating world of physics in a way that students from elementary to high school can comprehend. Did you know that a feather and a lump of lead will fall at the same rate in a vacuum? Learn about the history of physics from Aristotle to Galileo to Isaac Newton to the latest advances. Discover how the laws of motion and gravity affect everything from the normal activities of everyday life to launching rockets into space. Learn about the effects of inertia firsthand during fun and informative experiments. Exploring the World of Physicsis a great tool for students of all ages who want to have a deeper understanding of the important and interesting ways that physics affects our lives and is complete with illustrations, chapter questions, and an index. John Hudson Tiner received five National Science Foundation teaching fellowships during his 12 years as a teacher of mathematics and science that allowed him to study graduate chemistry, astronomy, and mathematics. He also worked as a mathematician and cartographer for the Defense Mapping Agency, Aerospace Center in St. Louis, MO. Tiner has received numerous honors for his writing, including the Missouri Writers Guild award for best juvenile book for Exploring the World of Chemistry. He and his wife, Jeanene, live in Missouri. Ask a Question▼▲ Find Related Products▼▲ - Books, eBooks & Audio >> eBooks >> Homeschool >> Science - Download >> Homeschool >> Subjects - Download >> Homeschool >> Type - Download >> eBooks >> Homeschool >> Subjects - Download >> eBooks >> Homeschool >> Type - Homeschool >> Subjects >> Science >> Science Subjects >> Physics - Homeschool >> Type >> Download We offer thousands of quality curricula, workbooks, and references to meet your homeschooling needs. To assist you in your choices, we have included the following symbol next to those materials that specifically reflect a Christian worldview. If you have any questions about specific products, our knowledgeable Homeschool Specialists will be glad to help you. Just call us at 1-800-CHRISTIAN.
A patient-Centered Approach to Medicine – Functional Medicine Looks for the Root Cause of Imbalance Functional medicine addresses the underlying causes of disease and loss of wellness, using a systems-oriented approach and engaging both patient and practitioner in a therapeutic partnership. By shifting the traditional disease-centered focus of medical practice to a more patient-centered approach, functional medicine addresses the whole person, not just an isolated set of symptoms. Functional medicine practitioners spend time with their patients, listening to their histories and looking at the interactions among genetic, environmental, and lifestyle factors that can influence long-term health and complex, chronic disease. Functional medicine is anchored by an examination of the core clinical imbalances that underlie various disease conditions. Those imbalances arise as environmental inputs such as diet; nutrients (including air and water), exercise, and trauma are processed by one’s body, mind, and spirit through a unique set of genetic predispositions, attitudes, and beliefs. The fundamental physiological processes include communication, both outside and inside the cell; bioenergetics, or the transformation of food into energy; replication, repair, and maintenance of structural integrity, from the cellular to the whole body level; elimination of waste; protection and defense; and transport and circulation. The core clinical imbalances that arise from malfunctions within this complex system include: - Nutritional Imbalances - Hormonal and neurotransmitter imbalances - Oxidation-reduction imbalances and mitochondropathy - Detoxification and biotransformational imbalances - Immune imbalances - Inflammatory imbalances - Digestive, absorptive, and microbiological imbalances - Structural imbalances from cellular membrane function to the musculoskeletal system Functional medicine emphasizes a definable and teachable process of integrating multiple knowledge bases within a pragmatic intellectual matrix that focuses on functionality at many levels, rather than a single treatment for a single problem. Functional medicine uses the patient’s story as a key tool for integrating diagnosis, signs and symptoms, and evidence of clinical imbalances into a comprehensive approach to improve both the patient’s environmental inputs and his or her physiological function. It is a clinician’s discipline, and it directly addresses the need to transform the practice of primary care. Ayama Yoga Healing Arts is proud to partner with Holistic Specialists to bring to our community the most advanced holistic integrative therapy. Combining cutting edge XXI century diagnostics with natural and organic healing therapy that considers always the patient’s individual needs, goals and risks, as main dynamic powers of any therapy. Holistic Specialists are a team of highly experienced health care practitioners mastering natural healing therapies. Our holistic specialists include acupuncturists, herbalists, functional medicine practitioners, nutritionists, and health educators all working together in their own area of expertise to help their patients achieve optimal health. Holistic Specialists Clinic director, Acupuncturist and Herbologist Diego F. Rutenberg L. Ac, Dipl. O.M.D., FDM, RYT Diego Rutenberg is a licensed acupuncturist in Florida and certified at the highest level by the NCCAOM. He also holds a bachelor’s degree in physical education from the National Institute of Physical Education in Buenos Aires. He has more than twenty years of experience as a health and wellness practitioner, yoga teacher and fitness consultant and trainer. His deep understanding of how the body functions give him a unique ability to recognize and treat all kinds of illnesses specializing in pain and sports therapy. - Licensed Acupuncture Physician, Diplomat of Oriental Medicine - Bachelors in Physical Education, Physical Education National Institute, Buenos Aires, Argentina - Certified Functional Medicine University practitioner. - Registered certified yoga teacher - Former Michael-Ann Russell Jewish Community Center Fitness Director. North Miami Beach, Florida 2005 - More than twenty years of experience as a health and wellness practitioner, yoga teacher and fitness consultant and trainer - Dedicated to Complementary/Alternative Medicine and the Integrated Health Care Practitioners Model. Holistic Specialists Director of Functional Medicine and Integrative Nutrition Shantih Coro CMTA, FDM Shantih Coro originally from Italy, went to University to study dietetics to pursuit a career in the sport and healthcare field. After graduation he spent one year in a farm to learn about agriculture, farming and food preparation. Shantih is an expert in digestive problems, wellness and sports performance enhancement and will work tirelessly to help his patients to achieve performance, optimal and balanced health. He educates his patients towards proper lifestyle changes, supplementation, exercise, stress reduction and nutrition. Shantih has over 15 years of experience working with patients for weight loss, digestive problems, medical conditions, amateur and professional athletes, fitness professionals and optimal wellness. - Registered dietitian in Italy, he is working through transferring his credentials through Eastern Michigan University, which has one of the top dietetic programs in the USA - Extensive training in functional medicine - Certified in Sports Nutrition - Professional mentorship in Clinical Nutrition with best seller author of “Digestive Wellness” Dr. Elizabeth Lipski, PhD, CCN - Certified Personal Trainer and Strength and Conditioning Specialist Holistic Specialists Associated Medical Practice – Urology Specialists Dr. Edward Gheiler Dr. Edward Gheiler founded Urology Specialists LLC. (2001 – Present). Dr. Gheiler performs many types of procedures as a urological surgeon at Palmetto General Hospital and is involved in clinical research projects. - Mount Sinai Medical Center oncology urologist, Miami Beach Florida. - Chief of the urology service at Miami Veterans’ Administration Medical Center. - University of Miami, Department of Urology, Assistant Professor. - Wayne State Department of Urology, Assistant Professor. - Completed his general surgery and urological surgery at Wayne State University of Detroit, Michigan. - Dr. Edward Gheiler received his medical degree from Albert Einstein College of Medicine NYC, NY. Dr. Edward Gheiler’s Current and Past Hospital affiliations - Mount Sinai Medical Center, Miami Beach, Florida. - Jackson Memorial Hospital, Miami, Florida. - Aventura Hospital and Medical Center, Aventura, Florida. - Hialeah Hospital Hialeah, Florida. - Cedars Medical Center, Miami, Florida. - Palm Springs General Hospital, Hialeah, Florida. - Larkin Community Hospital, Miami, Hospital Dr. Fernando Bianco - Director of the Prostate Program for the George Washington Cancer Institute (GWCI). - Urology oncology fellow at Memorial Sloan-Kettering Cancer Center in New York. - Dr. Bianco completed his residency at Wayne State University in Detroit. - MD degree from the Universidad Central de Venezuela. - BS degree from the Colegio Santiago de Leon in Caracas, Venezuela. - Urology Specialists Robotic surgeon of the prostate, kidney and bladder and oncology urologist. - Chief of Robotic Surgery, Columbia University - Division of Urology, Mount Sinai Medical Center, Miami Beach, Florida. - Chief of Urology Oncology, George Washington University Hospital. Dr. Fernando Bianco’s Current and Past Hospital affiliations - Mount Sinai Medical Center. - Palmetto General Hospital, Hialeah, Florida. - Palm Springs General Hospital, Hialeah, Florida. - George Washington University Hospital. - Memorial Sloan-Kettering Cancer Center. Holistic Specialists, the premiere natural medicine wellness center, is composed of the best holistic specialists from around the world.
He’s the first from his country, his continent, his hemisphere. He’s the first from his order and the first of his name. He also followed the first resignation in centuries. Francis I election to the papacy last Wednesday evidently marked a series of changes for the Catholic Church. What, however, is the impact and importance of these changes? Do they represent a true ideological shift or merely a cosmetic makeover? The answers to these questions rely entirely on how the new Bishop of Rome chooses to lead his people. Cardinal Jorge Mario Bergoglio, 74, became the first Argentinian pope in history. His career has been impressive and unique in many ways. There are two issues that have animated his career, that seem especially well to represent the manner in which he will live out his papacy. The first is of a spiritual nature; the second of a practical nature. First, he has called for a push towards Evangelization. He has explained that Catholics cannot fully serve Jesus without proclaiming his name and message. Second, the issue that seems most likely to define his papacy is evident in his name. The Jesuit took the name Francis in honor of St. Francis of Assisi, in order to remember the poor. From the first moment of his papacy, it became clear that Pope Francis I would be fully embrace humility. A closer look at his history and teachings demonstrates that this is in fact the case. As a priest, Bishop, and Cardinal, he has spoken of the inequality found especially in Latin America. Some theologians say Pope Francis is currently is in a position to teach and explain Catholic Social Teaching in light of this injustice. Humility and care for the poor are certainly not unique to the Catholic Church. However, the specific focus by a pope is a shift from the papacy of Benedict XVI, who was principally focused on Catholic tradition throughout his papacy. Thus, Francis I appears to be taking the church down a relatively new path. With a renewed focus on Charity and Love, the Catholic Church might be heading towards an identity more akin to the church of the time of St. Augustine. At that time, the Christian faith was unique in the way its people chose to care for their neighbors. Already, the Vatican has begun to become more accessible through social media (including the Twitter account created by Villanova Communications interns). With a new way of teaching that is understanding and appreciated universally, Francis I may be able to reverse the trends occurring in the Catholic church of diminishing practice of the faith. It is also important to note that Pope Francis is, unsurprising, theologically conservative, maintaining his predecessors’ stance on homosexuality, the ordination of women, celibacy of the clergy, and abortion. However, these controversial issues have thus far not appeared at the center of Francis’ teaching, replaced instead with the aforementioned spirituality and social justice. As Nova students, especially those who have just returned from service break trips, the initiative to emphasize service and charity may strike a chord. Perhaps the emphasis on the poor will reignite the religious interest of young Catholics within this community and within others. In time, the true course of Pope Francis I’s papacy will be visible. At the moment, all that is clear is that new horizons seem closer than they have before.
Gibbons: Voyager still carries our hopes of finding that we're not alone Journey of Voyager 1 through space has been marked by milestones in scientific exploration and learning Updated 4:57 pm, Saturday, October 26, 2013 On Sept. 5, 1977, humanity stood at the shoreline of the ancient cosmic ocean that had been beckoning for generations, and with a massive, rocket-propelled heave, we hurled a kind of message in a bottle out into the vast sea of space. That "bottle" was Voyager 1. Within its spindly metal framework was a gold-plated audio-visual disc filled with photos, music and messages from the people of Earth. Although its primary mission was to conduct a scientific reconnaissance of Jupiter and Saturn, scientists also knew there was a good chance that the probe would eventually leave our solar system someday and enter the great void of interstellar space. Consequently, a team of scientists and engineers, led by Carl Sagan, viewed Voyager as a unique opportunity for humanity to send a greeting card into space - a cosmic message in a bottle. And, like children on a beach, we have patiently watched our bottle slowly drift farther and farther from shore. Last month, we learned that it finally has dipped below the horizon, and we can do nothing more now than simply hope that, someday, our bottle may be found. Voyager 1 is one of the most successful and remarkable space probes ever launched. It conducted the first detailed studies of Jupiter and Saturn, and its discoveries electrified planetary scientists. As Voyager 1 encountered the Jovian moon Io, it discovered the first active volcano outside of the Earth. It also revealed the ice-covered surface of Jupiter's enigmatic moon Europa, as well as the complex structure of Saturn's rings. Scientists spent years poring over the trove of data transmitted back to Earth by the probe. And although they initially thought that Voyager would cease providing any valuable scientific information after its Saturn encounter in 1980, the rugged probe soldiered on. Ten years later, Voyager took its final photo - the first "family portrait" ever of the solar system - from a record distance of 6 billion kilometers. The image became famous because the Earth appeared as nothing more than a small "pale blue dot," inspiring the title of the seminal book by Sagan. In 1998, Voyager passed another milestone as it surpassed the distance traveled by Pioneer 10, and last month, NASA confirmed that the intrepid probe has become the first man-made object to enter interstellar space. Voyager 1 is now heading in the general direction of the star Gliese 445 and will pass within 1.6 light years of it in about 40,000 years. The likelihood that another space-faring civilization will someday retrieve Voyager 1 is truly remote. In that extremely unlikely event, it will probably be millions of years from now, when humanity is long gone. But if Voyager 1 is ever found, we can only hope that those who come upon it will somehow decipher the messages we've placed within our bottle. Perhaps they will conclude that on a blue planet orbiting a very ordinary star, there once lived a society of sentient beings whose curiosity and innate desire to explore eventually led them to wade into the mysterious cosmic ocean that surrounded their home. Perhaps they will also decipher that although the beings from the blue planet recognized that they were a deeply flawed species, one that was prone to violence and a dangerous embrace of superstition, they were also determined to overcome their demons by trying to understand the cosmos and their place within it. What the retrievers of Voyager 1 could never comprehend is that one of humanity's primary motivations in sending this message in a bottle was something that couldn't be placed on a gold-plated disc or etched into the metal chassis of our robot emissary. It is a certain longing that has been troubling us for decades, and it chills our souls whenever we contemplate the size of the universe and the incredible number of stars and planets contained within it. For each time we have shouted out into the deep, infinite expanse of space and listened for a reply, the only response we've received has been a disturbing silence. The bottle couldn't possibly convey that we have always felt so very alone and desperately hoped that we were not. Gibbons is a freelance writer and a Philadelphia-based member of The Planetary Society.
Growing Your Own Food is Like Printing Your Own Money (Video) In this moving and heartwarming TED Talk, listen to Rod Finley share his experience about why he started planting urban gardens in South Central Los Angeles and how it impacted the local community. Ron Finley is a successful clothing designer and artist from Los Angeles whose life got a little dirtier when he realized something strange about his neighborhood. He found that South Central, Los Angeles was overwhelmingly filled with "Liquor stores. Fast food. Vacant lots," but had no great place to get fresh, affordable produce. "People are losing their homes, they're hungry, they're unemployed, and this area is so underserved with nutritional food." Finley was quoted as saying. Since he'd just taken a course on gardening at the Natural History Museum, he decided to put his newfound knowledge to good use and planted a garden in a small strip of grass by his house with the help of his teacher, Florence Nishida and some friends. Even though Finley used a small plot of land, about 10 feet wide, 150 feet long, the city still gave him a citation, which eventually turned into a warrant. His garden, filled with tomatoes, peppers and chard, celery, kale and herbs, had been deemed illegal. Luckily with the help of LA Green Grounds, a charity he co-founded to help spread gardens throughout Los Angeles, Finley managed to overcome the citation, with the additional encouragement of his councilman, Herb Wesson. LA Green Grounds continues to help communities acquire gardening skills and grow their own produce, "And it always amazes me how planting a bunch of seeds or plants really can change someone's life as they watch it grow, and then harvest it. I've seen people light up and literally change before my eyes." Finley explains. "Growing your own food is like printing your own money," Finley said in his TED talk. He has educated his community in the importance of gardening as a sustainable, cost-effective and healthy activity in the hopes the can help turn these "food deserts" into "food forests." Finley perfectly sums up the significance of his gardening movement with this very promising observation: "If kids grow kale, kids eat kale!"
In the 1860s, William Little, an English physician, wrote the first medical descriptions of a disorder that affected young children which caused stiff, contracted muscles primarily in their legs and to a lesser degree in their arms. They had difficulty holding objects, crawling, and walking. Their condition which neither improved or deteriorated as they grew which was originally called Little’s disease is now known as spastic diplegia (Paraplegia) cerebral palsy. Spastic cerebral palsy is caused when the brain damage occurs in the outer layer of the brain, the cerebral cortex. (This is distinguished from Ataxic C.P. which occurs in approximately 10% of the cases, caused by damage to the cerebellum which results in tremors and low muscle strength and affects motor skills like writing, typing, and balance while walking.) Spastic is the most common form of cerebral palsy which affects 70 to 80 percent of patients. Spastic cerebral palsy symptoms include increased tension in a muscle. Normally, muscles coordinate in pairs; when one group of muscles contract (tighten), the other group relaxes. This allows free movement. When complications in brain-to-nerve-to-muscle communication occur, the balanced degree of muscle tension is disrupted. Muscles affected by spastic cerebral palsy become active together which effectively blocks coordinated movement. Thus, the muscles in spastic cerebral palsy patients are constantly stiff, or spastic. Spastic diplegia CP generally affects the legs of a patient more than the arms. Patients have more extensive involvement of the lower extremity than the upper extremity which allows most patients to eventually walk. The gait of a person with spastic diplegia (Paraplegia) CP is typically characterized by a crouched gait. As a person walks one leg typically provides support while the other leg advances in preparation for its role of support limb in advance of the next step. The gait cycle (GS) describes this pattern of alternate limb support and advance. A crouched gait is where the knee is excessively flexed (bent) during stance and at the onset of push–off, which can make walking impossible without the aid of a walker. Both toe walking and flexed knees are common attributes and can be corrected with proper surgical treatment and gait analysis. Many victims of spastic diplegia cerebral palsy have normal intelligence. However side effects like strabismus which is the turning in or out of one eye, otherwise known as cross-eye, affects 75% of this population which is caused by a weakness of the muscles controling eye movement. These people are also often nearsighted. If left unattended, strabismus can eventually lead to severe vision problems. Experienced treatment teams for individuals with spastic diplegia CP can help determine the treatments which are best suited for them. Leg braces, gait analysis, medications like botox , hyperbaric oxygen treatment, and several other treatment methods can help remedy some of the symptoms. These teams normally include a physical therapist, pediatrician, physiatrist, neurologist and neurosurgeon, and an orthopedic surgeon.
Positive Effects of Immigration This paper handles the costs and positive effects of the migration on the upcoming economies in the world. The paper will start by first giving the meaning of migration and development. An in depth discussion on the positive and negative effects of migration shall be covered. A conclusion will come at the end of this paper giving a preview of what the paper covers. Migration is the movement of people from one locality to another over a long distance. This movement is normally in search of favorable conditions in their lifestyle, thus, the movement from developing to developed economies of the world. Development is the practice of cost-effective and collective change heavily in reliance of structured and environmental issues and interactions. Get a Price Quote: Human population is never static. This is because of advancement in the level of technology. Over the recent past, people have been able to move from one location to another. Though this migration has been difficult, improved technology such as airplanes and electric trains has made it possible. Developing countries has benefitted because of this. High technologies advanced in developed countries penetrate to developing countries and thus giving them an equal chance to develop just as developed countries. Among the first major benefit of migration is creation of employment opportunity. Developing countries has a variety of skills but it is often unutilized because lack of opportunity. Migration has therefore enabled the skilled labor from developing countries to access job market thus earning them a living. Apart from creating employment, the income earned is remitted back home and therefore as a result of this, the living standards in developing countries is improved. Apart from the case above, migration has also led to improved and skilled labor in developing countries. This is because individual from developing countries move to developed countries and acquire skills in developed countries institutions such as universities and colleges. An individual for example who migrates from a less developed country such as Africa to America will be able to advance their human capital since they will get advance course, which never existed in their country. On the return back to their motherland, they will be able to express what they learn and in this way developing their country (Spencer, 2011). Secondly, migration has reduced the level of competition for job opportunities. People who move from developing countries to developed countries reduce the labor supply and thus ensuring that the little available is fully utilized. This therefore enable them to earn a living which can letter be re-invested therefore improving less developed countries economic level. In addition, the people who migrated to developed countries will continuously remit some amount back home, which will improve further the country’s economic level. Thirdly, though indirectly, as people from developing countries migrated to developing country there will be exchange of culture which may eventually force the citizens of developed countries to tour the developing countries and learn about this. This will earn developing countries a lot of income, as these people from developed countries will be coming as tourist. This will boost tourism and the money received goes to viable projects, which will lead to transition of these countries from developing to developed countries. Fourthly and most important is that migration will enable transfer of technology from develop to developing countries. This is so certain as the migrants will return home at one point in time. This will therefore enable a technology developed in developed countries to spread all the way to the mother country of these migrants. They will set a base from which the developing countries can pick from. A good example of this is the use of computers. Initially this was developed in developing countries but as the emigrants return home, majority of them brought the laptops and went back home with them and in the process, this light was seen in the initial country of the migrants, that is the less developed countries. Migration also benefits the developing countries in the sense that it will open up market for their produced. Citizens of developing countries who migrates to developed countries helps identify a gap which they later communicate back home as a newly target market for developing countries produced. Since they know the customers at the ground level, they can easily persuade them to use this product thus strengthening the market area covered. Business will also come up because of migration. As the number of migrating residence increases, the transport sector will nourished. This is because developing countries will felt the need of increasing the number of airplane to transport these passengers. Since it is not always the case that foreigners manage the transport sector, it will enable the local investors managing this business and therefore earning foreign exchange. At times, developing countries could have had a chance to developed but its resources is been outstretch because of the high number of residence. These exact a lot of pressure on factors of production such as land, capital and rent. Because of migration, therefore, some citizens will move elsewhere and thus the few remaining can optimize on the resources available. This benefits the developing countries and therefore giving them a chance to develop just as the developed countries (Brettell & Hollifield, 2000). Most countries remain underdeveloped because of lack of ideas. They do have the necessary resources to invest in yet they do not have any viable investment opportunity. Residence of developing countries that have had a chance to migrate abroad can come together and identify a business plan for their country. Since they are in a better position as compared to residence back home, they can formulate a good plan, which may see developing countries growing to be a developed country. New business ideas developed above could also facilitate foreign direct investment, which in turn could increase the gross domestic product for the developing country. This generates employment giving a number of residences at least a chance to earn a living at the end of the day. The increased links of different cultures also leads to increased trade. This benefit the developing counties more as they share the products they have hence giving rise to new opportunities once two different people meet with different background. Despite the number of cost to developing countries because of migration, it is still beneficial and serves as a reason behind the industrialization and development of developing countries. The drawbacks of migration from the developing countries are many as shall be discussed herein. The brain drain is experience. This is the movement of highly skilled personnel to other counties where the labor demanded there has adequate measure and policies well covered. This deprives the home country the ability to utilize the expertise it has engineered through the strainers exercise of education and training. There is loss of remittances from these persons’ who move to other countries. The level of innovation also expected from these highly skilled emigrants is lost to other nations. Investment in the health and education sector as well is lost significantly due to the continued brain drain. The brain overflow in the accepting countries of the migrants, may lead to inappropriate use of these highly skilled personnel. Their skills may be degraded. Generally, brain drain leads to poverty and highly affects the economy of the developing countries (Samers, 2010). The second disadvantage for the developing county is the demographics. This is where the migrants are young and energetic who are highly productive and should be taking care of the old and retired. This causes the shrinking number of the productive citizens worsening the conditions on the developing countries. There is also social effect on the young people who will have to grow in absence of the entire family. The issue of effect on the gender roles is experienced heavily in the developing countries. The people here have challenges coming to terms when the migrants are more of one gender than the other. This mostly happens where the male have migrated leaving the women o say the mothers to head their homes. This means the responsibilities will have changed and the mothers have to play two roles in decision making. The roles played by the gender heavily affected will be reversed. This means that the societal norms will be changed and takes time to adapt hence resulting in stagnant growth in economies of the developing country. Racial discrimination is what the migrants face in the developed counties. This is where the host countries’ population feels that their jobs have been taken by the emigrants hence causes trouble for them. There is always a feeling that emigrants come from a poo society, lack knowledge of the culture where he has been hosted, knows nothing of the language spoken, and this is dangerous since they fall prey to the migrants who will take advantage. They will be accused of being thieves when they are seen anywhere, and being labeled as criminals just because of their color of country of origin. This makes others feel alienated (Guild, 2009). Familiarity is another issue for the emigrants. When they moved from their developing counties, they are not familiar with the developed country. This makes them lonely since there is no one to visit or to share in form of communication. There is no visit to the family and friends in the country. Many will argue that there are many advantages of people migrating, but there is a hidden feeling of the migrants of what they underwent in order to adapt to the environment. Getting a job also in the host country is not such an easy task. People are not always friendly to visitors; hence, one may be killed. Many others get imprisoned just because of a misunderstanding bought about by language barriers. It has been heavily criticized that migrants have more challenges adapting to the host counties surroundings than adapting to the wok environment in their host countries. The main issues covered here is on the movement of the people. This means that there is a difference in the labor reward mainly to the skilled labor. This implies that the resources I the world have been heavily miss-allocated. The global production is increased as a result of migration. The big issue is the allocation of the profits derived from such migrations especially to the uplifting of upcoming world economies mainly in the developing counties. The migration may be due to lack of good institutions o poo geography in the developing countries, hence the need to use this as a mechanism to address the problems in their home country and make a return migration. This means that the newly acquired skills, finances, new outlooks, assist in changing the institutions in their home nations. This though may not heavily help eliminate the initial causes of migration but helps in boosting the economy of their home country. The opportunities are increased for the residents and hence helps reduce the number of people moving to other economies but assist in the development in their home countries. Buy custom Positive Effects of Immigration essay \|← Cold Case Analysis \|The Olympic Bid →
\|People's Climate March, NYC (Photo from Twitter)\| There was a time when science, the television media, government, and the public all came together to address environmental issues and make a positive change in the way we do things – but that time rests in the past as a dim memory. That time needs to be resurrected. I am thinking of that time when I was growing up in the 1960s. Environmental pollution was becoming a problem. I can remember public service ads on television warning of the effects of pollution and educating the public on things that we could do to avoid dying in a polluted land. I recall seeing on the nightly news well-known news reporters speaking from the hills somewhere outside Los Angeles California where trees were dying on the mountainsides as a result of heavy automobile pollution. “Smog” was a new word that entered into our vocabulary to describe conditions in the city in which fog combined with air pollution to create health hazards for city dwellers. As a result of the science of the day, the media attention, and a concerned public, legislation was passed in Washington, D.C. that resulted in the Clean Air Act and the Clean Water Act. Regulations came into place that restricted the pollutants being emitted by industry. We saw in a relatively short time a reduction in pollution that allowed trees to begin to grow again outside of Los Angeles. The air and water became cleaner, reducing health risks to people in urban areas. The nation was confronted with a problem, and we came together to make some positive improvements. The Current State of Affairs Fast forward to present day, and we see a confounding social circumstance in which many are not believing the best science of the day, elected government officials are paralyzed and ineffectual having become pawns of big corporations and servants to Wall Street. The television media has become a balkanized industry catering to the whims of advertisers and public consumers and demonstrating no investment in or commitment to the common good. This was particularly evident last Sunday when hundreds of thousands gathered in New York City to demonstrate their concern about climate change. The huge event received very little television coverage (see “Sunday News Shows Ignore Historic Climate March”). By some estimates, there were 300,000 people participating in the People’s Climate March. The streets were filled with protesters calling attention to our failures to address the significant negative impact we are having upon the environment. It was a huge event, but barely even noticed – much less heeded – by the television media. Compare this to past events in our recent history. In 1964, approximately 250,000 people participated in the march on Washington for Jobs and Freedom to hear Martin Luther King's “I Have A Dream” speech. On April 15, 1967, 300,000 marched in New York in the "Spring Mobilization" to protest the Viet Nam War. These events rocked the nation with television coverage on the nightly news. The silence on TV regarding the People's Climate March last Sunday was perhaps indicative that TV is now controlled by a few corporations which don't want to be bothered with real news, especially news that calls for effective change. When corporations are calling the shots, and when those corporations are where significant change must happen if we are to reduce environmental damage, you can be sure that those corporations will stand in the way of any changes or legislative action. Some say we have already passed the tipping point and that the reversal of the effects of climate change is no longer possible. There is still time, however, to make some progress toward sustainability, yet few in power want to hear or do anything that would challenge the status quo. Time of Reckoning We can pay now, or we can pay later. There was a time when we paid attention to the science that warned us of the destruction we were causing to the environment. There was also a time when legislation could effectively regulate industries to reduce environmental degradation. Moreover, there was a time when the people’s voice could eventually be heard. Today we see how corporations are controlling both the government and the media more and more. The corporation changes the way we address matters of injustice, health, and safety. When government was effective, changes could be made through legislation. That is how we historically made improvements in the workplace, in the environment, and in civil rights. Without effective government, however, we do not know how to stand up to the ever-growing corporation. Unfortunately, our best hope now may be in catastrophe. It may take a true catastrophe to convince us that change is necessary. For anyone wanting more information about climate change, here is an article addressing some of the top issues and questions: Eight Pseudoscientific ClimateClaims Debunked by Real Scientists
Analysis: Writing Style Third-person: Didactic, Moralizing, Poetic; First-person: Matter-of-Fact, Reportage In most of his novels, Dickens uses a few repeated tricks and touches. Because his style is so easily identifiable, he's the kind of writer that's called a "stylist" – meaning that the style of his prose is really important to him and he enjoys playing with language in a way that many otherwise talented writers do not. In Bleak House, this playful and often poetic style is used only for the third-person narrator. To create contrast, Esther's voice is straightforward and normal, without the crazy flights of verbal fancy that are the Dickensian trademark. A good way to see the differences is to compare the two narrators describing the same thing. Let's go with the Jarndyce court case, shall we? Here's how the third-person narrator sees it: Jarndyce and Jarndyce drones on. This scarecrow of a suit has, in course of time, become so complicated that no man alive knows what it means. The parties to it understand it least, but it has been observed that no two Chancery lawyers can talk about it for five minutes without coming to a total disagreement as to all the premises. Innumerable children have been born into the cause; innumerable young people have married into it; innumerable old people have died out of it. Scores of persons have deliriously found themselves made parties in Jarndyce and Jarndyce without knowing how or why; whole families have inherited legendary hatreds with the suit. [...] Jarndyce and Jarndyce has passed into a joke. That is the only good that has ever come of it. It has been death to many, but it is a joke in the profession. [...] The last Lord Chancellor handled it neatly, when, correcting Mr. Blowers, the eminent silk gown who said that such a thing might happen when the sky rained potatoes, he observed, "or when we get through Jarndyce and Jarndyce, Mr. Blowers"--a pleasantry that particularly tickled the maces, bags, and purses. [...] How many people out of the suit Jarndyce and Jarndyce has stretched forth its unwholesome hand to spoil and corrupt would be a very wide question. From the master upon whose impaling files reams of dusty warrants in Jarndyce and Jarndyce have grimly writhed into many shapes, down to the copying-clerk in the Six Clerks' Office who has copied his tens of thousands of Chancery folio-pages under that eternal heading, no man's nature has been made better by it. (1.7-10) Here we see all the stylistic tricks Dickens typically has up his sleeve. There's the repetition of key words and phrases (a technique called "anaphora." Use this in your next English paper for an instant grade bump!): "innumerable children"/"innumerable young people"/"innumerable old people." There is the making of long lists: maces, bags, purses (all jokey references to the various kinds of lawyers involved). There are the self-defining names: the eminent Mr. Blowers is clearly a guy who blows a lot of hot air. And of course, let's not forget the hyperbole (exaggeration): the number of people involved with the suit is not just large, but actually uncountable; the lawsuit creates not just hostility, but epic feuds between families. What is the point of all of these tactics? Maybe it's a way to give the Jarndyce lawsuit a kind of magical, ominous, world-defining quality – to take it out of reality and put it in some kind of mythical realm. Meanwhile, here is Esther talking about the same thing: When we came to Westminster Hall we found that the day's business was begun. Worse than that, we found such an unusual crowd in the Court of Chancery that it was full to the door, and we could neither see nor hear what was passing within. It appeared to be something droll, for occasionally there was a laugh and a cry of "Silence!" It appeared to be something interesting, for every one was pushing and striving to get nearer. It appeared to be something that made the professional gentlemen very merry, for there were several young counsellors in wigs and whiskers on the outside of the crowd, and when one of them told the others about it, they put their hands in their pockets, and quite doubled themselves up with laughter, and went stamping about the pavement of the Hall. [...] The people came streaming out looking flushed and hot and bringing a quantity of bad air with them. [...] Presently great bundles of paper began to be carried out--bundles in bags, bundles too large to be got into any bags, immense masses of papers of all shapes and no shapes, which the bearers staggered under, and threw down for the time being, anyhow, on the Hall pavement, while they went back to bring out more. Even these clerks were laughing. We glanced at the papers, and seeing Jarndyce and Jarndyce everywhere, asked an official-looking person who was standing in the midst of them whether the cause was over. Yes, he said, it was all up with it at last, and burst out laughing too. (65.5-9) Wow, talk about deflation. The details are much the same: people are laughing at the ridiculousness of this lawsuit, there's a whole bunch of paperwork associated with it, and it's hard to imagine that Jarndyce and Jarndyce might actually come to an end. But check out the difference in delivery: no repetition, no funny lists – it's "just the facts ma'am." Esther doesn't exaggerate anything she sees – she just tells it like it is, noting whatever details pop out at her.
Chimps use spears to hunt other primates Chimpanzees have been seen using spears to hunt bushbabies, US researchers say in a study that demonstrates a whole new level of tool use and planning by our closest living relatives. Perhaps even more intriguing, it was only the females who made and used the wooden spears to hunt the tiny nocturnal primates, report Assistant Professor Jill Pruetz and Paco Bertolani of Iowa State University. Bertolani saw an adolescent female chimp use a spear to stab a bushbaby as it slept in a tree hollow, pull it out and eat it. Pruetz and Bertolani, now at the University of Cambridge, had been watching the Fongoli community of savanna-dwelling chimpanzees in southeastern Senegal. The chimps apparently had to invent new ways to gather food because they live in an unusual area for their species, the researchers report online in the journal Current Biology. "This is just an innovative way of having to make up for a pretty harsh environment," Pruetz says. The chimps must come down from trees to gather food and rest in dry caves during the hot season. "It is similar to what we say about early hominids that lived maybe 6 million years ago and were basically the precursors to humans." Chimpanzees are genetically the closest living relatives to human beings, sharing more than 98% of our DNA. Scientists believe the precursors to chimps and humans split off from a common ancestor about 7 million years ago. Chimps are known to use tools to crack open nuts and fish for termites. Some birds use tools, as do other animals such as gorillas, orangutans and even naked mole rats. But the sophisticated use of a tool to hunt with has never been seen. Pruetz thinks it was a fluke when Bertolani saw the adolescent female hunt and kill the bushbaby. But then she saw almost the same thing. "I saw the behaviour over the course of 19 days almost daily," she says. Planning and foresight The chimps choose a branch, strip it of leaves and twigs, trim it down to a stable size and then chew the ends to a point. Then they use it to stab into holes where bushbabies might be sleeping. It is not a highly successful method of hunting. They only ever saw one chimpanzee succeed in getting a bushbaby once. The apes mostly eat fruit, bark and legumes. Part of the problem is this group of chimps is shy of humans, and the females, who seem to do most of this type of hunting, are especially wary. "I am willing to bet the females do it even more than we have seen," she says. Pruetz notes that male chimps never use the spears. She believes the males use their greater strength and size to grab food and kill prey more easily, so the females must come up with other methods. "That to me was just as intriguing if not even more so," Pruetz says. The spear-hunting occurred when the group was foraging together, again unchimplike behaviour that might produce more competition between males and females, she says. Maybe females invented weapons for hunting, Pruetz says. "The observation that individuals hunting with tools include females and immature chimpanzees suggests that we should rethink traditional explanations for the evolution of such behaviour in our own lineage," she concludes. "The multiple steps taken by Fongoli chimpanzees in making tools to dispatch mammalian prey involve the kind of foresight and intellectual complexity that most likely typified early human relatives."
What are 'Economic Conditions' Economic conditions refer to the state of the economy in a country or region. They change over time in line with the economic and business cycles, as an economy goes through expansion and contraction. Economic conditions are considered to be sound or positive when an economy is expanding and are considered to be adverse or negative when an economy is contracting. !--break--A country's economic conditions are influenced by numerous macroeconomic and microeconomic factors, including monetary and fiscal policy, the state of the global economy, unemployment levels, productivity, exchange rates, inflation and many others. How Economic Conditions Are Measured Economic data is released on a regular basis, generally weekly or monthly and sometimes quarterly. Some economic indicators like the unemployment rate and GDP growth rate are watched closely by market participants, as they help to make an assessment of economic conditions and potential changes in them. There is a plethora of economic indicators, which can be used to define the state of the economy or economic conditions. Some of these are the unemployment rate, levels of current account and budget surpluses or deficits, GDP growth rates and inflation rates. Generally speaking, economic indicators can be categorized as leading, coincident or lagging. That is, they describe likely future economic conditions, current economic conditions or conditions of the recent past. Economists are typically most interested in leading indicators as a way to understand what economic conditions will be like in the next three to six months. For example, indicators like new orders for manufactured goods and new housing permits indicate the pace of future economic activity as it relates to the rate of manufacturing output and housing construction. Why Economic Conditions Matter for Investors and Businesses Indicators of economic conditions provide important insights to investors and businesses. Investors use indicators of economic conditions to adjust their views on economic growth and profitability. An improvement in economic conditions would lead investors to be more optimistic about the future and potentially invest more as they expect positive returns. The opposite could be true if economic conditions worsen. Similarly, businesses monitor economic conditions to gain insight into their own sales growth and profitability. For example, a fairly typical way of forecasting growth would be to use the previous year's trend as a baseline and augment it with the latest economic data and projections that are most relevant to their products and services. For example, a construction company would look at economic conditions in the housing sector to understand whether momentum is improving or slowing and adjust its business strategy accordingly.
Last Updated on October 26, 2018, by eNotes Editorial. Word Count: 1149 Don Juan (JEW-awn), the young son of Donna Inez and Don Jose, a hidalgo of Seville. He is a handsome, mischief-making boy whose education, after his father’s death, is carefully supervised by his mother, who insists that he read only classics expurgated in the text but with all the obscenities collected in an appendix. He is allowed to associate only with old or ugly women. At the age of sixteen, he learns the art of love from Donna Julia, a young matron. The ensuing scandal causes Donna Inez to send her son to Cadiz, and from there to take ship for a trip abroad. The vessel on which he is a passenger sinks after a storm. He experiences a romantic interlude with the daughter of a Greek pirate and slave trader. He is sold to the Turks and takes part in the siege of Ismail, a Turkish fort on the Danube River. He becomes the favorite of Empress Catherine of Russia, and he is sent on a diplomatic mission to England, where he becomes a critical observer of English society. Donna Inez (I-nehz), Don Juan’s mother, a domineering and short-sighted woman who first tries to protect her son from the facts of life but later rejoices in his good fortune and advancement when he becomes the favorite of Empress Catherine of Russia. Don Jose (hoh-SEH), Don Juan’s father, a gallant man often unfaithful to his wife, with whom he quarrels constantly. He dies while his son is still a small boy. Donna Julia, Don Juan’s first love, a woman of twenty-three married to the fifty-year-old Don Alfonso. She is forced to enter a convent after her irate husband discovers his wife and her young lover in her bedchamber. In a long letter, written on the eve of Don Juan’s departure from Spain, she professes her undying love for him. Don Alfonso, the cuckold husband who discovers Don Juan hiding in a closet in his wife’s bedroom. Haidée (HI-dee), the second love of Don Juan. A tall, lovely child of nature and passion, she finds him unconscious on the seashore following the sinking of the ship on which he had sailed from Spain. Filled with love and sympathy, she hides and protects him. This idyllic island romance ends when Lambro, her pirate father, returns from one of his expeditions and finds the two sleeping together after a great feast that Lambro has watched from a distance. Don Juan, wounded in a scuffle with Lambro’s men, is bound and put aboard one of the pirate’s ships. Shortly afterward, Haidée dies, lamenting her vanished lover, and his child dies with her. Lambro (LAM-broh), Haidée’s father, “the mildest-manner’d man that ever scuttled ship or cut a throat.” Returning from one of his piratical expeditions, he surprises the young lovers and sends Don Juan, wounded in a fight with Lambro’s men, away on a slave ship. Later, he regrets his hasty action when he watches his only child die of illness and grief. Gulbeyaz (GEWL-beh-yaz), the sultana of Turkey. Having seen Don Juan in the slave market where he is offered for sale, along with an Italian opera troupe sold into captivity by their disgusted impresario, she orders one of the palace eunuchs to buy the young man. She has him taken to the palace and dressed in women’s clothes. Even though she brings her strongest weapon, her tears, to bear, she is unable to make Don Juan her lover. The sultan of Turkey The sultan of Turkey, the father of fifty daughters and four dozen sons. Seeing the disguised Don Juan in his wife’s apartments, he orders the supposed female slave to be taken to the palace harem. Baba, the African eunuch who buys Don Juan at the sultana’s command. He later flees with Don Juan and John Johnson from Constantinople. Dudu, three girls in the sultan’s harem. Dudu, lovely and languishing, has the disguised Don Juan for her bed fellow. Late in the night, she awakes screaming after a dream in which she reached for a golden apple and was stung by a bee. The next morning, jealous Gulbeyaz orders Dudu and Don Juan executed, but they escape in the company of Johnson and Baba. John Johnson, a worldly Englishman fighting with the Russians in the war against the Turks. Captured, he is bought in the slave market along with Don Juan. The two escape and make their way to the Turkish lines before Ismail. Johnson is recognized by General Suwarrow, who welcomes him and Don Juan as allies in the attack on Ismail. Leila, a ten-year-old Muslim girl whose life Don Juan saves during the capture of Ismail. He becomes her protector. General Suwarrow, the leader of the Russian forces at the siege and taking of Ismail. Catherine, the empress of Russia, to whose court Don Juan is sent with news of the Turkish victory at Ismail. Voluptuous and rapacious in love, she receives the young man with great favor and he becomes her favorite. After he becomes ill, she reluctantly decides to send him on a diplomatic mission to England. Lord Henry Amundeville Lord Henry Amundeville, an English politician and the owner of Norman Abbey. Don Juan meets the nobleman in London, and the two become friends. Lady Adeline Amundeville Lady Adeline Amundeville, his wife, who also becomes Don Juan’s friend and mentor. She advises him to marry because she is afraid that he will become seriously involved with the notorious duchess of Fitz-Fulke. During a house party at Norman Abbey, she sings a song telling of the Black Friar, a ghost often seen wandering the halls of the abbey. The duchess of Fitz-Fulke The duchess of Fitz-Fulke, a woman of fashion notorious for her amorous intrigues. She pursues Don Juan after his arrival in England and finally, disguised as the ghostly Black Friar of Norman Abbey, succeeds in making him her lover. Miss Aurora Raby Miss Aurora Raby, a young Englishwoman with whom Don Juan contemplates matrimony. She seems completely unimpressed by his attentions, and he is piqued by her lack of interest. Pedrillo (peh-DRIHL-oh), Don Juan’s tutor. When the ship on which he and his master sail from Cadiz sinks after a storm, they are among those set adrift in a longboat. When the food runs out, the unlucky pedagogue is eaten by his famished companions. Although Don Juan considers the man an ass, he is unable to eat the hapless fellow. Zoe (ZOH-ee), Haidée’s maid. Lady Pinchbeck, a woman of fashion who, after Don Juan’s arrival in London, takes Leila under her protection.
Accountability is key in bringing an end to violence against women We live in challenging times. The world is confronted by a threat of genocide in the form of the brutal ethnic cleansing of the Rohingya in Myanmar on the one hand and the threat of a nuclear war spearheaded by two crazy men – Kim Jong-un and Donald Trump – on the other. Meanwhile, violence against women remains rife in India, South Africa and in many other countries of the world. The kind of behaviour referred to above is largely influenced by dangerous norms embedded in patriarchy. These norms produce toxic masculinities which fuel and in many instances celebrate violent behaviour. These harmful attitudes play themselves out in homes in the form of what we have (strangely) come to call “intimate partner violence”. They are also seen in situations of open conflict in civil strife where the powerful abuse those they consider weak. Any attempt to turn the tide against wanton violence requires careful plans that are focused not only on reacting to the scourge but, more important, focus must include prevention strategies. Gender-based violence is a human rights violation, a public health challenge and a barrier to civic, social, political and economic participation. Gender-based violence cuts across ethnicity, race, class, religion, education level and international borders. An estimated one in three women worldwide has been beaten, coerced into sex or otherwise abused in her lifetime. Gender-based violence does not only affect women and girls, but increasingly affects men and boys as well, especially when it occurs in the context of conflict, and in communities and societies where boys and men are increasingly becoming violent towards one another. Although statistics on the prevalence of violence vary, the scale is tremendous, the scope is vast, and the consequences for individuals, families, communities and countries are devastating. According to a 2013 WHO report on violence against women, about 35% of women worldwide have experienced either physical and/or sexual intimate partner violence or non-partner sexual violence in their lifetimes. The reports indicate that 45.6% of women 15 years and older in Africa have experienced intimate partner violence (physical and/or sexual) or non-partner sexual violence or both, the highest prevalence in the world. In South Africa, official police statistics show that during the period April-December 2016, there were 109 rapes reported each day in South Africa, which does not take into account the number of unreported cases that happen daily. Studies indicate that very few women report rape to the police – depending on which study, either only one in nine or as few as one in 25. Other studies provide a sense of the extent of men’s violence against women; a 2009 study by South Africa’s Medical Research Council indicated that 45% of men reported physically assault an intimate partner and 27% self-reported that they had raped a woman in their lifetime. A more recent and widely reported 2016 Sonke-Wits study in Diepsloot, the informal settlement outside of Johannesburg, revealed that 56% of men reported using violence against a woman in the last 12 months. Although significant progress has been made to respond to violence, in particular violence against women, much needs to be done to prevent violence from occurring in the first place. In spite of the developments in violence prevention theory, in practice policies and programmes tend to focus solely on women and girls. As a result, the dynamics of power and privilege as well as how gender plays out in the lives of men and boys are neglected. This comes at a cost to women and girls, and men and boys. So, where to from here? We need evidence, action and accountability. First we need evidence on the state of violence, its effects on communities and impact on the health outcomes. Evidence is important in informing programming. It is crucial that plans are premised on actual evidence on the root causes of the problem. Many practitioners within the sector are involved in various forms of research on the subject of violence. It is vital that the outcomes of these studies are put to good use. Additionally, we know that there are numerous research projects on the subject. It is crucial that outcomes of these studies don’t simply end up in libraries for use by academics but that they are available to practitioners to inform real-time interventions. Second, the challenge of violence requires more than just understanding and analysis of the facts. Action is required in order to make a difference. Violence will not stop by itself. Concerted efforts in prevention will be required to turn things around. This requires leadership to ensure that appropriate policies are put in place to encourage the elimination of violence in communities. But as we know, policies do not implement themselves, people do. Action is required mainly by duty bearers to ensure that developed policies are implemented. However, current evidence in relation to violence in many communities shows poor implementation of agreed policies by governments at national level, even though many of these countries have signed on to international protocols that speak to these issues. This leads to the third point, accountability. Many of our governments have a poor record of implementation of policies that they have developed. It is for this reason that we require continuous engagement by civil society to hold duty bearers accountable to their commitments. This requires vigilance and focus. It is for this reason that Sonke Gender Justice in partnership with UNWomen and several other civil society partners are convening the Five Days of Violence Prevention Conference from today until 6 October in Johannesburg. Researchers, activists, policy-makers, donors and programmers from civil society organisations, UN agencies, government ministries, faith-based organisations, academic institutions and multilateral organisations from around the world will convene to discuss emerging issues in the violence field and strengthen the development of prevention strategies that can be adapted to regional and national contexts. The conference, which is part of the many interventions by the MenEngage Alliance, seeks to strengthen the accountability aspect of violence prevention at all levels.
pointerdown \| onpointerdown event Dispatched when a pointer enters the state of having a non-zero value for the buttons property. Note As of Internet Explorer 11, the Microsoft vendor prefixed version of this event (MSPointerDown) is no longer supported and may be removed in a future release. Instead, use the non-prefixed lowercase name, pointerdown, which is better for standards compliance and future compatibility. \|HTML Attribute\|\|<element onpointerdown = "handler(event)">\| \|addEventListener Method\|\|object.addEventListener("pointerdown", handler, useCapture)\| Event handler parameters - handler [in] Function to execute when the event is dispatched - Pointer Events, Section 5.2.2 For mouse, this is when the device has at least one button depressed. For touch, this is when there is physical contact with the digitizer. For pen, this is when the pen has physical contact with the digitizer. For input devices that do not support hover, thepointerover event is fired immediately before the pointerdown event. Pointer Events do not fire overlapping pointerdown and pointerup events when an additional button is depressed while another button on the pointer device is already depressed. For detecting these cases, see Chorded Button Interactions in the W3C Pointer Events specification. Build date: 11/17/2013
The effect of shearing ewes at mid-gestation on reproduction and performance : a thesis presented in partial fulfilment of the requirements for the degree of Master of Science in Zoology at Massey University This study tested the hypothesis that shearing ewes in mid-gestation causes an increase in lamb birth weight. Growth rates of lambs were calculated to test for any additional trade-off between investment at gestation limiting investment at lactation. Liveweights and growth rates of lambs were analysed for a difference between the sexes with the expectation that sheep may put extra investment into male lambs, compared to female lambs. Experiments were conducted with mixed-sex twin pairs to determine if the male lamb was able to receive more milk than the female lamb. Sixty ewes were selected after synchronised mating and pregnancy diagnosis: 30 were twin-bearing and 30 were single-bearing. Half of each group (twin- and single-bearing) were shorn at mid-gestation (approximately 77 days before lambing) and observations of their behaviour and estimations of their food intake were made. Shorn ewes adjusted rapidly to shearing, exhibiting no apparent difference in behaviour one week after shearing. Shearing led to an increase in ewe weight and lamb birth weight. Rearing twins was costly for the twin-bearing ewes: they were lighter, had lower condition scores and less wool growth than ewes with singletons during late-gestation and lactation. Twin lambs were born lighter and grew slower than single lambs. There was no evidence of sex-biased investment in this study. A slight trade-off between gestation and lactation was apparent for shorn, single-bearing ewes. There was no difference between twin lambs born to shorn or full fleece dams. Shearing ewes at mid-gestation appears to be a useful tool for increasing the birth weight of lambs which could lead to an increase in survival of newborn lambs.
The species has long been considered polytypic and has been divided into three subspecies: M. a. austroriparius, M. a. gatesi, and M. a. mumfordi. There has been research done however to show that this species should be considered monotypic. (La Val, 1970; Whitaker and Hamilton, 1998) Total length of these bats ranges from 77 to 89 mm for males, and 80 to 97 mm for females. Forearms are between 33 and 40 mm, with males averaging slightly smaller forearms than females giving the species an average wingspread is about 238 to 270 mm. The tail is between 26 and 44 mm. Males of this species weigh between 5.1 and 6.8 g. Females weigh between 5.2 and 8.1 g. (Mauk-Cunningham and Jones, 1999) The southeastern bat is distinguished from other myotis bats by its unusually long toe-hairs, which extend past the ends of its claws. It has a large hind foot (10 to 12 mm long). Its calcar is not keeled and its tragus is short and blunt. It has a bare, pinkish nose. It has a low sagittal crest that can be felt through the skin. (La Val, 1970; Whitaker and Hamilton, 1998) The tooth formula in this species is: 2/3 1/1 3/3 3/3 = 38 (La Val, 1970) As in most Myotis species, the mating system of this bat is poorly documented. In Florida, mating is from mid-February to mid-April. Nursery colonies begin to form in mid-March. Myotis austroriparious is the only species of Myotis known to give birth to twin young. Ninety percent of females in this species produce twins (one from each uterus). Delayed fertilization does not occur in southeastern bats in Florida. There is not much known about the reproduction of the northern populations of the southeastern bat. Only a couple small maternity colonies have been found, such as one in a tree cavity in Illinois. (Sherman, 1930; Whitaker and Hamilton, 1998)colonies are usually between 2,000 and 90,000 individuals. These colonies tend to roost in caves that contain water. In late April to mid-May the altricial young are born. During birth, the mother forms a receptacle to catch the young. The placenta does not appear until several hours after birth, the mother pulls it out with her teeth, and proceeds to devour it. Partuition occurs generally during the day. (Sherman, 1930; Whitaker and Hamilton, 1998) The young are born naked, with their eyes and ears closed, and weigh slightly more than 1 gram each. Baby bats are large enough to fly in 5 or 6 weeks. They grow rapidly and sexual maturity is reached in both sexes before the bats are a year old. (Sherman, 1930; Whitaker and Hamilton, 1998) The lifespan in the wild may be no more than 4 to 8 years for most individuals, but there are records of banded individuals more than 21 years old and captives are known to have lived more than 20 years. (Nowak, 1999) The size of the home range in this species has not been reported. As do all Vespertilionids, or mouse-eared bats, (Whitaker and Hamilton, 1998)has a well-developed sense of oral echolocation. They have plain noses and their earlobes form a tragus which is used for foraging. However, this echolocation is probably not used much in communication with conspecifics. In communicating with conspecifics, it is likely that these bats are much like other members of the genus. They probably use audible vocal signals, as well as some tactile communication. Visual communication is probably not very important for this species. (Nowak, 1999) The most common predators of southeastern bats appear to be rat snakes and corn snakes, which are common in caves. Other enemies also include climbing mammals, such as opossums, and some species of owls. Large cockroaches can prey on newborns that fall to the ground. Some ectoparasites such as the streblid fly (Trichobius major), the nycteribiid fly (Basilia boardmani) and chiggers (Euschoengastia pipistrelli) have been found on . (Whitaker and Hamilton, 1998) Similar to other insectivorous animals, southeastern bats play an important ecosystem role in controlling insect populations. (Whitaker and Hamilton, 1998) Just like other insectivores, this bat is highly beneficial to humans because they feed on a variety of nocturnal insects such as mosquitoes. (Whitaker and Hamilton, 1998) Like other members of the genus, (Whitaker and Hamilton, 1998)can come into conflict with humans by occupying buildings. It is also a common concern that bats can spread rabies, but incidence of rabies in bats is quite low. There is currently no evidence of being involved in the transmission of any particular case of rabies, so human concerns about this species as a vector of the disease are more theorhetical than pratical. The U.S. Fish and Wildlife Service currently list southeastern bats as a Species of Concern. The population of these animals has declined across much of its range for several reasons. Alteration of their critical cave habitat is the most likely cause. The closing off of their entrances, flooding by dams, vandalism and campfires, has altered caves. Clear cutting of forest surrounding the caves is also known to affect southeastern bats. Hibernating bats can be awakened by excessive human visitation, causing the bats to use important fat reserves. If maternal colonies are disturbed, female bats may abandon young. Populations of up to 250,000 individuals have been documented in caves in northern Florida and the species appears to be rare in the rest of its range. This apparent rarity could be an artifact of lack of knowledge about the species and its locations. Enforcement of cave protection is often difficult and impractical but Florida's maternity caves urgently need protection. (Gore and Hovis, 1992) Temperate North American bats are now threatened by a fungal disease called “white-nose syndrome.” This disease has devastated eastern North American bat populations at hibernation sites since 2007. The fungus, Geomyces destructans, grows best in cold, humid conditions that are typical of many bat hibernacula. The fungus grows on, and in some cases invades, the bodies of hibernating bats and seems to result in disturbance from hibernation, causing a debilitating loss of important metabolic resources and mass deaths. Mortality rates at some hibernation sites have been as high as 90%. While there are currently no reports of mortalities as a result of white-nose syndrome, the disease continues to expand its range in North America. (Cryan, 2010) Nancy Shefferly (editor), Animal Diversity Web. Sarah Gomoll (author), University of Wisconsin-Stevens Point, Chris Yahnke (editor, instructor), University of Wisconsin-Stevens Point. living in the Nearctic biogeographic province, the northern part of the New World. This includes Greenland, the Canadian Arctic islands, and all of the North American as far south as the highlands of central Mexico. uses sound to communicate young are born in a relatively underdeveloped state; they are unable to feed or care for themselves or locomote independently for a period of time after birth/hatching. In birds, naked and helpless after hatching. having body symmetry such that the animal can be divided in one plane into two mirror-image halves. Animals with bilateral symmetry have dorsal and ventral sides, as well as anterior and posterior ends. Synapomorphy of the Bilateria. an animal that mainly eats meat either directly causes, or indirectly transmits, a disease to a domestic animal uses smells or other chemicals to communicate used loosely to describe any group of organisms living together or in close proximity to each other - for example nesting shorebirds that live in large colonies. More specifically refers to a group of organisms in which members act as specialized subunits (a continuous, modular society) - as in clonal organisms. The process by which an animal locates itself with respect to other animals and objects by emitting sound waves and sensing the pattern of the reflected sound waves. animals that use metabolically generated heat to regulate body temperature independently of ambient temperature. Endothermy is a synapomorphy of the Mammalia, although it may have arisen in a (now extinct) synapsid ancestor; the fossil record does not distinguish these possibilities. Convergent in birds. union of egg and spermatozoan the state that some animals enter during winter in which normal physiological processes are significantly reduced, thus lowering the animal's energy requirements. The act or condition of passing winter in a torpid or resting state, typically involving the abandonment of homoiothermy in mammals. An animal that eats mainly insects or spiders. offspring are produced in more than one group (litters, clutches, etc.) and across multiple seasons (or other periods hospitable to reproduction). Iteroparous animals must, by definition, survive over multiple seasons (or periodic condition changes). makes seasonal movements between breeding and wintering grounds having the capacity to move from one place to another. the area in which the animal is naturally found, the region in which it is endemic. active during the night breeding is confined to a particular season reproduction that includes combining the genetic contribution of two individuals, a male and a female uses touch to communicate that region of the Earth between 23.5 degrees North and 60 degrees North (between the Tropic of Cancer and the Arctic Circle) and between 23.5 degrees South and 60 degrees South (between the Tropic of Capricorn and the Antarctic Circle). uses sound above the range of human hearing for either navigation or communication or both uses sight to communicate reproduction in which fertilization and development take place within the female body and the developing embryo derives nourishment from the female. Cryan, P. 2010. "White-nose syndrome threatens the survival of hibernating bats in North America" (On-line). U.S. Geological Survey, Fort Collins Science Center. Accessed September 16, 2010 at http://www.fort.usgs.gov/WNS/. Gore, J., J. Hovis. 1992. The Southeastern Bat: Another Cave-roosting Species in Peril. Bats, Summer: 10-12. Hermanson, J., K. Wilkins. 1986. Pre-weaning mortality in a Florida maternity roost of Tadarida brasiliensis . Journal of Mammalogy, 67: 751-754.and La Val, R. 1970. Infraspecific relationships of bats of the species Journal of Mammalogy, 51: 542-552.. Mauk-Cunningham, C., C. Jones. 1999. Southeastern myotis (The Smithsonian Book of North American Mammals. Washington, D.C. and London: The Smithsonian Insitution Press.). Pp. 83-85 in D Wilson, S Ruff, eds. National Park Service, Wildlife Health Center, 2010. "White-nose syndrome" (On-line). National Park Service, Wildlife Health. Accessed September 16, 2010 at http://www.nature.nps.gov/biology/wildlifehealth/White_Nose_Syndrome.cfm. Nowak, R. 1999. Walker's Mammals of the World, Sixth Edition. Baltimore and London: The Johns Hopkins University Press. Sherman, H. 1930. Birth of the young of Journal of Mammalogy, 11: 495-503.. Whitaker, J., W. Hamilton. 1998. Mammals of the Eastern United States. Ithaca, New York: Cornell University Press.
Advantages of Object Oriented Programming As discussed in my previous post, Object Oriented Programming enables you to reuse various components of a program across programs. Reusability of codes not only saves time but also the effort of the programming team. Some of the advantages of Object Oriented Programming include: - Real world programming - Reusability of codes - Modularity of codes - Information hiding Let’s try and discuss each of these advantages in details. - Real World Programming. Consider the scenario to setup a business establishment with a basic structure. Over a period of time, you keep adding the various object required to extend the entire establishment. Similarly in OOP, you create a basic structure of a program and keep extending the functionality of the program as per the requirements. OOP approach models the real world more accurately than the conventional approach. - Reusability of Codes In OOP approach, you build classes that can be used by several applications. For example you are asked to develop two applications namely Hotel Management System and Hospital Management System. One of the modules in the Hotel Management System includes the Login and Authentication Process, because of the reusability capability of OOP, that same Login and Authentication module of the Hotel Management System can also be reused in the Hospital Management System as both applications require users to login before using the application. The reusability capability of OOP not only reduces the effort of recreating the components but also reduces the chances of introduction of errors in the various modules. The benefit of reusability translates to saving time and effort, which in turn results in cost effectiveness. - Modularity of Code Another advantage of Object Oriented Programming is its Modularity. It means an object can be maintained independently of other objects. All these objects are independent of each other and are maintained separately. You can make modifications in the required object without affecting the functionality of other objects. - information Hiding Object provides the benefit of information hiding. Only a limited access to information is provided to the user. Information hiding ensures data security in a program. For example, when you log in to an e-mail application on the Internet, you can only access the login screen to provide the login ID and password. However, how the application authenticates your login ID and provides the access is completely hidden from you.
200,000 yr old flaked flint hints at existence of Paleolithic man in IrelandJuly 28th, 2008 - 12:39 pm ICT by ANI London, July 28 (ANI): A flaked flint dating to about 200,000 years ago, found in Co Down in Ireland, hints at existence of Paleolithic man in the country. According to a report in The Times, the discovery was at Ballycullen, ten miles east of Belfast in Ireland. The flake is 68mm long and wide and 31mm thick, and though it seems like that it is certainly of human workmanship, its ultimate origin remains uncertain. Its originally dark surface is heavily patinated to a yellowish shade, and the lack of sharpness in its edges suggests that it has been rolled around by water or ice, Jon Stirland reports in Archaeology Ireland. Dr Farina Sternke from the University of Glasgow, has identified it as a classic Levallois-type flake from the rejuvenation of a flint core. Such flakes are characteristic of stone-tool industries made by archaic humans of the pre-Neanderthal era, as technology moved towards making multiple flakes from one core and then trimming them into a variety of different tool types. The date assigned of between 240,000 and 180,000 years to this new find, matches a similar flake discovered by the late Professor Frank Mitchell near Drogheda, Co Louth, 40 years ago, which has until now been the only uncontested Palaeolithic tool from Ireland. The problem, as with the Drogheda flake, lies in the context: the Ballycullen specimen was shown to have come from a drumlin mound, deposited by glacial activity. The last such activity in Co Down was about 16,000 years ago, and the ice sheet had spread west from Scotland. Other materials in the drumlin led Dr Ian Mitchell, of the Geological Survey of Northern Ireland, to suggest that the flake could have been transported a significant distance, from eastern Antrim, from the sea bed in the North Channel, or even from the West Coast of Scotland. (ANI) Tags: archaeology ireland, dark surface, dr ian, drogheda, drumlin, farina, flake, frank mitchell, glacial activity, levallois, northern ireland, professor frank, rejuvenation, sea bed, sharpness, stone tool, tool industries, tool types, university of glasgow, yellowish shade
Lightning Protection Installation A Lightning Protection System is comprised of several components: Air Terminals (Lightning Rods), Roof Conductors, Downlead Conductors, Ground Electrodes (Ground Rod, Ground Plate, Etc.) and Surge Suppression. There are rules in the standards for each of these components. Air Terminals must be spaced a particular distance apart based on total length of the ridge or parapet wall. They must be a certain distance above what they are protecting and a certain distance from outside corners. They must be spaced so that no portion of the structure is outside of a zone of protection. Roof conductors must be sized according to the Class (I or II) of the structure and must be fastened 3'-0" on center maximum. Roof conductors may be installed either exposed on the roof or concealed below the roof. Downlead conductors may be installed concealed within wall construction, within conduit, or exposed. Exposed downlead conductors located at driveways or anywhere that it could become damaged must be protected up to 6'-0" above grade. Ground Electrodes must be installed minimum 2'-0" out from the foundation wall.
Tonkean macaque (Macaca tonkeana) \|Also known as:\|\|Tonkean black macaque\| \|Synonyms:\|\|Macaca hypomelanus, Macaca togeanus, Macaca tonsus\| \|French:\|\|Macaque De Tonkea\| \|Spanish:\|\|Macaca De Tonkean\| \|Size\|\|Average male weight: 14.9 kg (2)\| Average female weight: 9 kg (2) Classified as Vulnerable (VU) on the IUCN Red List (1) and listed on Appendix II of CITES (3). Of all the non-human primate groups, none is more widely distributed than the macaques, a genus of heavy-built, old-world monkeys (4). The Indonesia island of Sulawesi is home to several closely related macaque species, one of which is the Tonkean macaque (1) (2) (4). In common with the other Sulawesi macaques, the Tonkean macaque has strong limbs, a moderately long snout, and a short, inconspicuous tail (2) (5) (6). The pelage of this species is predominately black, with areas of lighter brown on the cheeks and rump (2). On the edges of its range, the Tonkean macaque is known to hybridise with several other Sulawesi macaques, including the booted macaque (Macaca ochreata), the Celebes macaque (M. maura) and Heck’s macaque (M. hecki) (1). The Tonkean macaque is found throughout central Sulawesi and the nearby Togian Islands, Indonesia (1) (2) (4). Inhabits rainforest, from sea level up to 2,000 metres (1). Except for a handful of recent studies, there has been very little research focusing on the ecology of the Tonkean macaque (1) (4) (7). As a result, there is scant information on this species’ group behaviour, but troops of 10 to 30 individuals, comprising multiple sexually mature adults of both sexes, have been documented (7). Although the Sulawesi macaques are generally considered to be semi-terrestrial (5), the Tonkean macaque appears to spend most of its time moving around in the tree canopy (7). Active during the day, it feeds primarily on fruit, but will also consume leaves, flower-stalks, insects and other invertebrates. In the vicinity of farmland, this species is also known to raid crop plantations for maize, fruit and vegetables, bringing it into direct conflict with human activities (1) (7). Despite still being common in areas of suitable habitat, the continuous conversion of rainforest into agricultural land, especially for oil palm and cocoa plantations, is having a notable negative impact on the overall population of the Tonkean macaque (1). Furthermore, as the amount of natural habitat diminishes, the Tonkean macaque has become increasingly dependent on crops for survival, resulting in conflict with local farmers, who treat this species as an agricultural pest (1) (7). Other threats include hunting for food and the trapping of wild macaques to keep as pets (1). In addition to being listed on CITES Appendix II, which prohibits trade in this species without a permit, the Tonkean macaque occurs within several protected areas across it range (1) (3). In order to tackle wildlife crime in Sulawesi, a Wildlife Crimes Unit was established in 2001 by the Indonesian Department of Forestry and the Wildlife Conservation Society. The unit has been highly effective at reducing trade in some protected mammals and is working with local communities to strengthen conservation awareness (8) (9). For further information on conservation in Sulawesi, visit: Wildlife Conservation Society: IUCN/SSC Primate Specialist Group: This information is awaiting authentication by a species expert, and will be updated as soon as possible. If you are able to help please contact: - Invertebrates: animals with no backbone. - Pelage: the coat of a mammal, composed of fur, hair or wool, covering the bare skin. IUCN Red List (November, 2009) - Macdonald, D.W. (2006) The Encyclopedia of Mammals. Oxford University Press, Oxford. CITES (November, 2009) - Riley, E.P. (2008) Ranging Patterns and Habitat Use of Sulawesi Tonkean Macaques (Macaca tonkeana) in a Human-Modified Habitat. American Journal of Primatology, 70: 670-679. - Priston, N.E.C. (2005) Crop-Raiding by Macaca ochreata brunnescens in Sulawesi: Reality, Perceptions and Outcomes for Conservation, PhD thesis. University of Cambridge, Cambridge. - Bynum, E. L., Bynum, D.Z. and Supriatna, J. (1997) Confirmation and location of the hybrid zone between wild populations of Macaca tonkeana and Macaca hecki in Central Sulawesi, Indonesia. American Journal of Primatology, 43: 181-209. - Pombo, A., Waltert, M., Mansjoer, S.S., Mardiastuti, A. and Muhlenberg, M. (2005) Home range, diet and behaviour of the Tonkean macaque (Macaca tonkeana) in Lore Lindu National Park, Sulawesi. In: Gerold, G., Fremerey, M. and Guhardja, E. (Eds) Land Use, Nature Conservation and the Stability of Rainforest Margins in Southeast Asia. Springer, Berlin. - Lee, R.J., Gorog, A.J., Dwiyahreni, A., Siwu, S., Riley, J., Alexander, H., Paoli, G.D. and Ramono, W. (2005) Wildlife trade and implications for law enforcement in Indonesia: A case study from North Sulawesi. Biological Conservation, 123: 477-488. Wildlife Conservation Society (November, 2009)
Sounds of forest animals for children On this page you and your child can listen to the real sounds of the forest animals. Here, the kids will be able to see how wild forest animals look and hear some interesting sounds they make. With its beautiful colourful pictures, this online application is fun for the kids of all ages. To play back the audio, click on the image of any animal. If the audio is too loud or too quiet, you can always set the desired volume level on the top right. If you do not hear anything, check whether the speakers are activated on your computer or try another browser. All the sounds of animals are high quality samples recorded in the forests, nature reserves and in the zoos. If an animal does not produce distinctive sounds, like rabbits or hedgehogs, you will hear it rustling and emitting other characteristic noises. Sounds of all the animals introduced on the picture are available, including bees, butterflies and dragonflies. Next, a list of forest animals with the description of their specific sounds is given: - Wood tortoise. Sound: «Aaaaahk!». What it does: grunts. - Frog. Sound: «Brekekekex! Koax! Koax». What it does: ribbits, croaks. - Hares. Sound: «Crack-crack». What they do : squeaks, snorts, fumbles, munches a carrot. - Butterfly. Sound: «Frou... Frou...». What it does: waves its wings, flutters. - Bear. Sound: «Grrrrr». What it does: growls, groans, moans. - Bear cub. Sound: «Urrrrrr». What it does: growls, groans. - Dragonfly. Sound «Chrrrrrr! Chrrrrrr!». What it does: chirrs, chirms. - Thrush. Sound: «Chirp! Chirp!». What it does: chirps, coos. - Woodpecker. Sound: «Knock, knock». What it does: it knocks its beak against a tree. - Squirrel. Sound: «Peek!». What it does: squeaks, chatters, clicks. - Bees and the hive. Sound: «Bzzzzzz». What they do: buzz. - Deer. Sound: «A-a-oh... A-a-oh». What it does: bells, troats. - Deer fawns. Sound: «Baaaaaaa!». What they do: bleats. - Beavers. Sound: «Ooh ooh ooh». What they do: the first nibbles at the tree, the second one falls flop into the water, the third howls. - Otters. Sound: «Peeeeeeeeeh!». What they do: squeal, produce high-pitched screams. - Moose. Sound: «Aaawwwwrrrrr!». What it does: bellows, produces high-pitched screams. - Baby moose. Sound: «Wee! Weeee!». What it does: squeaks, cries. - Tit. Sound: «Cheep! Cheep!». What it does: whistles, chirps, sings. - Owl. Sound: «Hoo hoo hoo». What it does: hoots, shrieks. - Ducks. Sound: «Quack-quack». What they do: quack. - Fox. The sound «Bow-wow». What it does: barks. - Fox cub. Sound: «Wuff! Wuff!». What it does: squeals, barks. - Skunk. Sound: «Ugh ugh eeee». What it does: groans, screams. - Hedgehogs. Sound: «Ph-ph-ph-ph-ph», «Yum yum». What they do: rustle, munch food. - Badgers. Sound: «Auuuugh auuuuugh». What they do: squeak, growl. - European robin. Sound: «Chirp! Chiiirp!». What it does: chirps, whistles. - Mice. Sound: «Eek! Eek!». What they do: squeak, squeal. - Mole. Sound: «Peek! Peek!». What does: squeaks, rattles. - Ladybug. Sound: «Clap-clap». What it does: flaps its wings. Please pay attention!!! Some animals produce loud and sharp sounds that may frighten sensitive children. This is why we strongly recommend parents to listen to the recordings before your kids.
Showing 1 - 2 of 2 annotations associated with Luria, A. R. (Aleksandr Romanovich) - Ratzan, Richard M. One day in the 1920’s, a newspaper reporter walked into the laboratory of Russian psychologist A. R. Luria and asked him to test his memory, which he recently had been told was unusual. It was not unusual. It was uniquely and astoundingly retentive. Luria gave him very long strings of numbers, words, nonsense syllables and could not detect any limit to his ability to recall them, generally without mistake, even years later. (Luria studied S., as he identifies him, for thirty years.) Luria discovers that the man had some interesting characteristics to his memory. He experienced synesthesia, i.e., the blending of sensations: a voice was a "crumbly, yellow voice." (p.24) S.’s memory was highly eidetic, i.e., visual, a characteristic not unique to him but which he used as a technique to memorize lists and details. (He had become a performing mnemonist.) It was also auditory. He had trouble remembering a word if its sound did not fit its meaning. The remainder of the section on his memory involves fascinating aspects of his having to learn how to forget and his methods of problem solving. The remainder of the book is equally interesting since it relates the epiphenomena of S.’s prodigious memory: how he mentally saw everything in his past memory; how he was virtually paralyzed when it came to understanding poetry since metaphorical thinking was almost impossible for him, a mnemonist who lived in a world of unique particulars! As Luria wrote, "S. found that when he tried to read poetry the obstacles to his understanding were overwhelming: each expression gave rise to an image; this, in turn, would conflict with another image that had been evoked." (p. 120) S. could control his vital signs by his memory and, last but not least, this human experiment of nature had such a vivid imagination that, probably more than the most creative of us, he engaged in "magical thinking": "To me there’s no great difference between the things I imagine and what exists in reality. Often, if I imagine something is going to happen, it does. Take the time I began arguing with a friend that the cashier in the store was sure to give me too much change. I imagined it to myself in detail, and she actually did give me too much--change of 20 rubles instead of 10. Of course I realize it’s just chance, coincidence, but deep down I also think it’s because I saw it that way." (p. 146) - Coulehan, Jack During the Battle of Smolensk in the Second Word War, a soldier named Zazetsky sustained a severe head wound, causing "massive damage to the left occipito-parietal region of his brain." This injury shattered his whole perceptual world. His memory, his visual fields, his bodily perception, even his knowledge of bodily functioning--all break into fragments, causing him to experience the world (and himself) as constantly shifting and unstable. Zazetsky coped with this fragmentation by writing a journal of his thoughts and memories as they occurred, day after day, for 20 years. He then arranged and ordered these entries, in an attempt to reconstruct his lost "self." From over 3000 pages of this journal material, the neurologist A. R. Luria has constructed this extended case history from which emerges a remarkable portrait of Zazetsky as a determined and courageous human being. Zazetsky's first-person account is interspersed with comments and descriptions by Luria himself, explaining the relevant structure and function of the brain.
EDMONTON — Scientists have figured out how hydraulic fracking causes earthquakes in northern Alberta, but they have a way to go before they can use that knowledge to predict if it will cause temblors in other areas. “Right now, there isn’t a good solution for how to do that with induced earthquakes,” said Ryan Schultz of the Alberta Geological Survey and lead author of a paper published Thursday on the hundreds of quakes that have occurred around the Duvernay oil and gas field since 2013. The largest happened in January 2016 when the ground shook with a magnitude measuring between 4.2 and 4.8. Pictures shook on the walls of homes in Fox Creek, a community in the centre of the field. Previous research had narrowed the cause down to fracking, which involves pumping high-pressure fluids underground to create tiny cracks in rock to release natural gas or oil. But Schultz and his colleagues were still puzzled as to how the quakes happened. The field had been fracked for three years before tremors began, they noted, and some parts of it hadn’t shook at all. Analyzing data from about 300 wells using a set of complex statistical tools, the scientists concluded that earthquakes occurred when certain operating procedures coincided with the right kind of geology. “Location matters,” Schultz said. The team found that at least four factors have to be present before human-caused earthquakes are likely to happen. The underlying rock needs a fault line; the faults have to be oriented in a direction that can slip; and there has to be a way for fracking fluid to pressure it. “There has to be some sort of pathway that allows fluid flow to happen between the operation and the fault,” said Schultz. “It’s only when you have all of these geological ingredients that you can have induced earthquakes.” The fourth factor is the volume of fracking fluid. Too much in a susceptible area and a quake results. “You could put a nice straight-line relationship between the number of earthquakes you get and the injected volume,” Schultz said. “The more volume you put into the ground, the more earthquakes you get, the more likely you are to get a big one.” Not all parts of the Duvernay have the right geology, the scientists realized. It wasn’t until companies began drilling in an area where conditions were right that the earthquakes began. Schultz said the analysis won’t allow geologists to predict when fluid volumes could cause earthquakes in other fields — at least not yet. It’s too hard to know if the right geology is present until after the quakes actually happen. “Constraining those things in the subsurface ahead of time is notoriously difficult to do.” The research, however, does help operators working in areas where those factors are known to be present, he said. And it does add an important piece to the puzzle of how fracking causes the ground to move. Alberta’s energy regulator has already changed its rules for operators in the Duvernay area to try to mitigate the risk of further quakes. The next step, said Schultz, is to look for other ways to know if an area may be susceptible to slipping. “Are there other things you can look for?” he asked. “Are there ways you can start building a forecast approach? “We want to get a better sense of that spatial relationship.”
Which system Controls the male reproductive system? The testes, which are paired oval shaped glands located in the scrotum. These produce sperm and the hormone testosterone, which assists in the development of the sperm. a system of ducts, or tubes, containing smooth muscle which transport sperm: the vas deferens (this is cut when a vasectomy is performed) the ejaculatory duct accessory sex glands, which produce semen (the seminal vesicles, bulbourethral glands and the prostate) the penis, which contains erectile tissue that fills with blood, allowing the penis to become rigid or erect. sperm, which are contained within the semen (ejaculated through the ejaculatory duct via the urethra). Nervous system control of the male reproductive system Erection, emission and ejaculation are functions of the male reproductive system that enable sperm to travel from your reproductive ducts to the exterior of your body. Nervous system control of your erection operates as follows: Reflex erection of your penis, which occurs after direct stimulation of the penis, is under the control of your parasympathetic nerves from the S2, S3 and S4 levels of your spinal cord. Psychogenic erection, involves conscious or mental levels of the brain, and is under the control of your sympathetic nerves from the T10-L2 levels of your spinal cord. Parasympathetic nerves from the S2-S4 levels of your spinal cord also contribute. To maintain an erection you must have both reflex and psychogenic erection functioning together. Ejaculation involves two phases: emission and ejaculation. Emission involves the production and release of semen from your reproductive glands and the contraction of your reproductive ducts, which propel the sperm into the urethra of your penis. This is controlled by the sympathetic nerves from the T11-L2 levels of your spinal cord. Ejaculation is the releasing of sperm and semen from the urethra. Spinal nerves from the S2-S4 levels of your spinal cord control ejaculation and transmit sensation from your genitals to your brain. Orgasm, which is part of normal sexual activity, is a total body response. In males, orgasm is usually associated with ejaculation, but ejaculation is not essential to orgasm. The pelvic, or pelvic splanchnic nerve is formed by the parasympathetic nerves from the S2-S4 levels of your spinal cord. The hypogastric nerve is formed by the sympathetic nerves from the T11-L2 levels of your spinal cord. The pudendal nerve is formed by the spinal nerves from the S2-S4 levels of your spinal cord. After a spinal cord injury your sexual functions change. This may include sperm production, erectile function and ejaculation. Reflex male sexual function You have a reflex or upper motor neuron (UMN) injury if you have a spinal cord injury above your conus medullaris (the bottom of your spinal cord) but the S2-S4 levels of your spinal cord remain intact. This means that your spinal and autonomic nerves located at these levels still have their reflex function. In a UMN injury reflex activity continues to occur between your spinal cord and your reproductive system. There will still be some changes to your sexual functioning: Reflex erection is present. Erection may not be functional or may not be maintained You have decreased ability to ejaculate You have decreased fertility levels Atered orgasm and brain responses Flaccid male sexual function You have a lower motor neuron (LMN) injury if you have a spinal cord injury at or below the conus medullaris. Alternatively, severe lack of blood supply to any levels of the spinal cord, which occurs when an aortic aneurysm bursts, can cause the entire length of your spinal cord, including the conus medullaris to be damaged. This type of injury causes damage to either the spinal and autonomic nerves in the S2-S4 levels of your spinal cord (cauda equina). Reflex activity no longer continues between your spinal cord and your reproductive system. An LMN injury a significant effect on your reproductive system: Reflex erection is absent Psychogenic erection function may be present, depending on the level of your injury Erection usually not maintained Share this article
There are many mental disorders that affect the behavior of people, making their life and the life of those around them difficult and stressful. The most serious among them include Schizophrenia and other psychotic disorders, dementia, anxiety, severe depression and eating disorders. These disorders require immediate medical attention by specialists. The effects of the less severe disorders such as OCD are not as distressing compared to the severe ones, but OCD needs to be taken as seriously. What is OCD? OCD or Obsessive-compulsive disorder is a mental problem that is actually composed of two different conditions: obsession which is characterized by repeated and unwanted thoughts, ideas, feelings and sensations, and compulsion which is characterized by a very powerful urge to do the same things over and over again. The most common symptoms of OCD are excessive fears such as fear of contagion by dirt or germs, fear of getting out of control and hurting one’s self or others, fear of losing possessions and not having the things one needs. Other symptoms include disturbing violent images and extremely explicit sexual thoughts and excessive focus on moral ideas or religion, on the idea that all things must be in their proper order and on superstition such as tagging things as lucky or unlucky. Nobody is immune to OCD. It equally affects everybody equally: women, men and children. No race and ethnic groups are spared. In the US, it is estimated that 1 of 100 children and 1 of 40 adults suffer from the condition. Mental health professionals don’t know the definite cause of OCD. Several factors are considered as likely cause, among them head injury, abnormality in the functioning of the brain, infections and genetic makeup. Sexual or physical abuse is also considered as a possible cause. A person with OCD needs immediate professional intervention not only because the condition prevents normal and productive life, but also because when left untreated, it can evolve into a more severe mental disorder. In a recent study conducted by certain mental health experts, it was found out that a person with OCD is likely to develop schizophrenia if his or her parents were diagnosed to suffer from OCD. The treatment of OCD is not easy simply because diagnosis is difficult. It shares symptoms with other mental disorders including depression, anxiety, ADHD, autism, eating disorders and several others. These disorders, in fact, can co-exist with OCD. With millions of Americans, youngsters and adults, suffering from OCD, there are no scarcity mental health clinics in the country. Residents of Texas who suspect a family member has OCD will not any problem finding a clinic. They can always find a houston ocd center if they live in or near the city. There are several such clinics in the city, which is a good thing because this provides options. The effects of OCD are not as devastating as the effects of more serious health problems like manic depression or schizophrenia, but it cannot be left untreated. It prevents sufferers from living a normal life. Even worse, it can develop into a more serious mental health problem.
By Maddie Vranish Summer is just around the corner which means it’s time to start planning fun activities and events to attend like concerts, festivals, parades, and everyone’s favorite– attending an agricultural fair. For many, attending an agricultural fair means eating a tasty meal from one of the many food stands, trying your luck playing games with friends, taking a ride on an attraction, enjoying live entertainment and taking a look at what is agriculturally showcased. In the midst of all the fun, food, and entertainment, many seem to look past what an agricultural fair truly stems from. How did Agricultural Fairs Begin? Throughout the United States of America agricultural fairs have become wildly popular and frequent during the summer season, but just how did agricultural fairs come to fruition? In the past, and still today, agricultural fairs were created for farmers to showcase and educate the public on their recently harvested crops, livestock, and farmmade goods. Originating back into the middle ages in Ancient Rome, agricultural fairs operated as a venue to share and trade goods with the public. It wasn’t until the early 19th century when the first American State Agricultural Fair popped up in the United States of America. The first agricultural fair that took place in the United States was held in Pittsfield, Massachusetts in 1807 where Elkanah Watson encouraged goers to showcase their livestock to the public. Over time the concept of agricultural fairs would gain mass popularity and quickly spread throughout the entire country. When the idea of agricultural fairs spread to Pennsylvania, Washington County Agricultural Fair was one of the first fairs established in the state in the year 1822 in a lot on East Maiden Street. Sinc then, the Washington County Agricultural Fair has navigated through the many decades of changes over the years with the biggest adjustment being technology advances. As technology and farm machinery advanced, so did the concept of agricultural fairs. What used to be focused highly on livestock and harvested goods would now shift focus to new forms of entertainment like airshows, tractor pulls, carnival rides, and fireworks just to name a few. In addition to technology and farm machinery advancements, live entertainment acts became a main point of attraction at agricultural fairs. Talent shows, live bands, musician showcases, and pageants are just a few of the many live entertainment acts you can see at almost any given agricultural fair in the United States. What to Expect at Agricultural Fairs Today? Agricultural fairs have come quite some way from their original roots– That said, you can still expect to see the same old school agricultural components showcased with a new school twist. At most agricultural fairs throughout the country, you are able to explore fresh goods harvested from local farms throughout the area, petting zoos filled with different farm animals, and large farm machinery like tractors and plows. As for food and shopping, many agricultural fairs have a section specifically designated for local vendors to sell from. Some of the most popular food items sold at fairs are fried foods, desserts, kettle corn, and corndogs. When it comes to shopping some of the most popular items sold by vendors are handmade jewelry and accessories, pet accessories, and graphic t-shirts just to name a few. What to Expect at the Washington County Agricultural Fair Today? When entering this 9 day event at the Washington County Fairgrounds your head is almost forced to turn a million directions at all of the exciting things happening. Between the live entertainment, food and shopping, and agricultural showcases there is something for everyone to enjoy at the Washington County Agricultural Fair. For those who came for the agricultural showcase local farmers participating in the agricultural fairs will provide educational information on all facets of life on the farm including livestock and some might even let you check out the inside of a tractor. On select days of the fair, you can see various different livestock shows. Some of their most popular shows include the market hog show, the lamb show, and boer goat show just to name a few. Some of the most highly anticipated events happening at the Washington County Agricultural Fair are in the form of live entertainment and contests. Whether its tractor pulls, demolition derby, car shows, live bands and music, or magic shows there is something to keep everyone entertained and on the edge of their seat. As for contests, there is a wide range of contests you can watch or participate in if you would like. Some of the most popular contests include the crock pot contest, Fair Queen contest, angel food cake contest, and so many more. Attractions & Games If you are one looking for a thrill while at the fair, then you will be excited to hear that the Washington County Agricultural Fair offers a wide range of attractions and games. Some of their most popular attractions include merry-go-rounds, a ferris wheel, giant slides, and so many other wild attractions. For those looking to try their luck at playing fair games there are so many to play. Balloon blast, skee-ball, ring toss, milk bottle knockdown, and bust-a-balloon are just a few of the many fun games at the Washington County Agricultural Fair. Try your luck! Food & Vendors There is only one thing for sure that you need to bring to the Washington County Agricultural Fair and that is a big appetite. From savory foods like pizza cones, a brick of fries, and corn dogs to the sweeter side of deep fried oreos, candied apples, and kettle corn, there is sure to be a tasty bite to eat for everyone. If you are on to enjoy shopping with local vendors then the Washington County Agricultural Fair is the place for you. Enjoy browsing handmade goods, accessories, clothing, and homegoods all sourced from local and small owned businesses. Find a gift for someone special or even yourself the next time you are at the fair.
Neurologists used to think that once adulthood was reached the human brain entered a fairly fixed state, with no more growth. Get your learning done at school boys and girls, because it’s all downhill from adulthood onwards, with an observable steady decline in the number of functioning brain cells every year. It’s true that some kinds of learning are definitely more easily acquired by young brains, such as languages, and language-like pattern-based learning like music and mathematics. In the 1990s however greater understanding emerged, regarding neuroplasticity — the way the brain can continue to learn and evolve throughout life, provided it is stimulated in the right way. This wasn’t understood until the availability of fMRI scanners enabled researchers to see how the brain sends messages from one neuron to another, and finally identified the mechanism through which brain-injured adults were, amazingly, sometimes able to relearn functions and behaviors lost through the damaged part of the brain, by re-routing through other pathways. What they discovered turned theories of adult learning upside down: The number of brain cells involved represents only a small fraction of the story, because what is far more important is the connections between them, and how these are reinforced by patterns of behavior, and even by patterns of thought. And whilst completely different on a cellular level, you can think of the brain as acting more like a muscle. Of course, your muscles grow physically during development from childhood into adulthood, and if you do nothing more with them thereafter they will not change a lot after maturity is reached other than through age-related atrophy. But, if you steadily exercise and use that muscle, through graded training, it responds and changes, it grows and renews (at pretty much any age, there are amazing stories of people taking up bodybuilding in their 70s and 80s and radically altering their body composition). The brain works in the same way: use it or lose it! When it comes to learning about crypto and trading, this is a very good thing. Whether you’re a young entrepreneur immersed in technical knowledge from an early age, or you’ve lived a through technical revolutions already in your lifetime, you have equal potential to benefit from the new economy. Provided, that is, you put in the time and effort to learn. And if you’re old enough to have bad memories of studying, perhaps to have had classroom teachers who trained before things like neuroplasticity or neurodiversity were understood, maybe you got labeled as ‘slow’ or ‘bad with numbers’ or any other unhelpful categorization, as happened to many people. But the good news is you have a wealth of life experience and existing neural pathways to bring to the table. It’s not like doing reps in the gym, graded brain exercise is interesting, engaging, and non-repetitive — everything you learn helps you learn everything else, and helps you adapt to a rapidly changing world. You also bring a longer learned perspective on the meaning of money, economics, and investment. Perhaps, unlike the average millennial, you actually HAVE some investments. You have experienced cycles of boom and bust in the traditional markets, you might recall double-digit interest rates, maybe even the gold standard. That viewpoint is priceless. Further good news for you to take on board is that pretty much everyone in the cryptocurrency and blockchain space is self-taught to a significant extent. While formal tertiary level qualifications are now emerging around the world to address growing needs, you can truly learn everything you need to know about crypto and trading online and free of cost: this is truly a revelation, if you last updated your skills a generation ago, when research meant library study and books and lectures… Today, it’s all out there for the taking, for any learner to engage with keep their brain young. The challenge is, in crypto as in so many other spheres of learning, the quality of information and learning ‘out there’ online is hugely variable. While you expect debate in an emergent space, a lot of the sources that Google will direct you are frankly of poor quality and/or completely contradictory, and the problem in crypto especially is a range of biased interests: information provided by those supporting particular projects or coins or viewpoints, often with no transparency. Always follow the money — if it’s not obvious why how someone is getting paid for writing and sharing a learning resource, ask yourself if you are not the product yourself — your attention, and or contact details. Finding the true signal through all the noise, is a challenge. But we do our best to share and dicsuss quality information in the Crypto Confidence Podcast, and our associated Facebook Community, where we have an explicit rule that no investment advice is given, and there are no silly questions (provided that they’re at least peripherally related to blockchain and cryptocurrency!) We also can also recommend the great resources at BlockGeeks, and we share a lot of their content, especially their excellent animations. If a picture paints a thousand words, then moving pictures are exponentially better… If you have learned about blockchain and crypto as an adult learner rather than an IT student, we’d love to know what resources you have found helpful, which brought to life challenging concepts for you, or gave you the key to unlock something really abstract through an accessible metaphor or example. The wonderful thing about working in this space is that we are ALL learning, all the time — and there is so much room for growth and development that this learning is very non-competitive and egalitarian. Avoid the hype and the people after your money, and dig deep into the transformative social impact potential of the underlying ideas, because they’re pretty amazing. It’s also part of what makes it so exciting to be a part of, and far too exciting to be left to those millennials! The cryptocurrency revolution is for everyone, so come on in.
With the Zika virus’ quick expansion into the Americas making the news, now is the right time to ensure that your building’s defenses against mosquitoes (which carry the virus) can keep occupants safe. Since there is no known medical treatment for the disease, keeping the potentially dangerous insects away from areas where people congregate is the best defense against this emerging threat. One crucial first step is to identify any areas where mosquitoes may be hatching, particularly standing water. No spot is too small for mosquitoes to breed in, so be sure to look at onsite water features, drains, and even building roofs where water can pond. Because the insects can multiply so quickly, one inspection isn’t likely to be enough – make sure maintenance staff perform regular checks as well.
The scriptures offer no specific definition, although we can infer one from Exodus 22:22-24 (NASB) (BHS vv. 21-23): "You shall not afflict any widow or orphan [יתום, yātôm] . If you afflict him at all, and if he does cry out to me, I will surely hear his cry; and My anger will be kindled, and I will kill you with the sword, and your wives shall become widows and your children fatherless [יתומים, yātômîm]." Seemingly, the implication is that even while the mother is still alive the child is called a יתום (yātôm), lending support to the "fatherless" translation. This would make sense historically in that the father was the head of the family and the breadwinner. More importantly, the loss of the father had huge legal implications, which is not the case with the mother. The more significant loss was definitely the loss of the father, hence the word orphan might be applicable. In this context we should look at all possible definitions/translations of the word orphan. Is an orphan a child who has (1) Lost both parents? (2) Become fatherless? (3) Lost a parent (either mother or father)? or (4) Become motherless? Based at least on the verses above and the historical importance of the roles in the family, number four is not an option. While I wouldn't discount (1) entirely, since the verses may imply the mother will die soon after the father, leaving the children orphaned, that reading has little textual basis other than the convenient order. Moreover, the verses don't seem to describe something overly literal. To infer the definition of the term/concept from that context therefore seems unwarranted, though I am still keeping (1) as an option. The verses from Exodus, then, might imply (2) or (3). Interestingly, the Jewish law as codified by Maimonides applies to both fatherless and motherless orphans (Mishneh Torah, Section Knowledge, Chapter 6, Clause 17), which would lead to a reading aligned with (3). While there might be room to suggest (2) is more plausible based on the proximity of אלמנה (ʾalmānâ, widow) and יתום (yātôm) in their appearances throughout the Old Testament, the two words can be read as separate and distinct. There is room to suggest, however, that the references are so consistent because what is being depicted is the broken family unit. The loss of the father has created (and maybe defined) these two entities. While this would support (2) strongly, it doesn't discount (3) entirely. It would, however, suggest that (1) is incorrect. I don't have a definitive answer, although it appears (1) is less likely for the reasons given above. This is an interesting conclusion because the general connotation when using the term "orphan" is one having lost both parents - which would make readings (2) and (3) (which appear to me more likely) somewhat innovative. Lamentations 5:3, which seems to be a slightly more explicit version of the inference in Exodus, gives credence to (2) more than (3) and rules out (1). I argue, however, this is poetic license, and not a formal definition, since the Masoretic text reads either יתומים ואין אב (orphans and fatherless) or יתומים אין אב (orphans, fatherless). If there is a separating "and" it is easier to read the expression not as explanatory but as a somewhat separate clause--provided for emphasis, which sits well with (3). Nevertheless, the translation "fatherless" fits the text most comfortably.
As if we need more reasons to love our feline friends, check out these interesting, amusing, remarkable cat facts: - According to a study done by the Journal of the American Veterinary Medical Association, cats who fall from a distance of 5.5 stories up to 32 stories have a survival rate of approximately 90% (assuming they are treated for any injuries that may occur because of impact with the ground). - Talk about a cat nap ~ cats spend 70% of their lives sleeping! - When cats grimace, they are usually “taste-scenting.” The expression permits air, which contains organic molecules, to waft close to a special organ (located between your cat’s nose and incisor teeth) for processing. The cat’s tongue may be recruited to help move and circulate the air, sort of like the feline version of wine tasting. - The average litter size for a cat is four to six kittens. But, in 1970 a Burmese/Siamese cat gave birth to a record 19 kittens! - In the 1960s, the CIA tried to turn a cat into a bona-fide spy by implanting a microphone into her ear and a radio transmitter at the base of her skull. She survived the surgery but sadly was hit by a taxi on her first mission. - Cats’ ears are quite amazing. They can hear sounds as high as 64 kHz – compared with humans, who can hear only as high as 20 kHz; they can move 180 degrees; and they can move independently of each other. - King Charles I of England (1600-1649) had a black cat that he loved dearly. Stories have been passed down through the generations that the king’s black cat brought the king good luck. The day after his black cat died, the king was arrested and later beheaded, thus supporting the belief his cat provided his luck. - Most cats don’t like water because their coats do not insulate them well enough. However, a cat breed known as the Turkish Van does not have the insulation problem and LOVES water! - Adult cats spend as much as half their waking hours grooming (licking) themselves. - In ancient Egypt, cats were held in the highest esteem. When a cat dies, their human family would go into a deep mourning and shave their eyebrows as a sign of respect. The cat would be mummified and buried in a pet cemetery or family tomb along with such provisions as milk, mice and rats. A tomb in Beni Hassan (an ancient Egyptian burial site) discovered in 1888 was found to contain approximately 80,000 buried felines. - The oldest cat video on YouTube dates back to 1894 (the year it was filmed, not the year it was posted on the internet!). It features two cats boxing and is aptly named “The Oldest Cat Video on YouTube: 1894 Boxing Cats.” Check it out! We’ve always known cats are incredible creatures, but who would have guessed their history, abilities, habits and lives are so intriguing?
MENORRHAGIA means excessive blood loss during menstruation in amount or duration. Menstrual period that lasts for more than seven days and heavy bleeding during menses which may interfere with your daily activities is menorrhagia. - Uterine fibroid – It is a benign (non cancerous) growth from the muscular layer of the uterus. - I. U. C. D. (Intra uterine contraceptive device e.g. Cu T). This is the most common cause of menorrhagia. - Ovarian cysts - Ovarian cysts are fluid filled sacs which develop in the ovaries. Also known as functional cysts. Mostly they are benign in nature. - P.C.O.D- (Poly cystic ovarian disease) – It is an endocrinal disorder where multiple cysts are formed in the ovaries .The ovaries are enlarged and produce excess amount of oestrogen and androgen hormones. - Hormonal imbalance – Certain diseases such as hypothyroidism, hyperthyroidism cause menorrhagia. - Salpingo- oophrites – Inflammation of fallopian tubes and ovaries. - Pelvic endometrioses - (Endometrium is the inner lining of the uterine cavity) When endometrium is found outside the uterus on other pelvic organs, it causes severe pelvic pain, menstrual irregularities, heavy bleeding etc. - Vitamin K deficiency - Ectopic pregnancy(pregnancy develops inside the fallopian tubes), miscarriage may cause menorrhagia - Cancer – Uterine cancer, cervical cancer can cause menorrhagia. - Medications – Anti coagulants and anti inflammatory drugs can cause menorrhagia. - Other medical conditions – Chronic hypertension, heart disease with congestive failure, chronic nephrites, severe anemia, blood disorders may cause heavy bleeding. - Genetic disorders may give rise to menorrhagia - Emotional stress may also give rise to menorrhagia - Treatment depends upon your medical history, investigations and the cause of menorrhagia. One should have a BALANCED DIET to treat anemia and vitamin deficiencies. ADEQUATE REST if bleeding interferes with your daily activities. AVOID ANTI INFLAMMATORY AND ANTICOAGULANT DRUGS. RELAX YOUR MIND THROUGH YOGA, MEDITATION. HOMEOPATHIC MANAGEMENT OF RESPIRATORY TRACT DISORDERS In Homoeopathy, we take into account the mental symptoms. Every woman is different. For example, some women weep easily, if we console them they feel better, whereas some of them get angry when we go to console them. You may wonder what it has to do with menorrhagia or metorrhagia. Along with the cause of the disease, mental symptoms are also considered and after taking a detail case history, a Homoeopathic medicine is prescribed which helps the patient. ACNE VULGARIS ALLERGIC RHINITIS ACUTE BRONCHITIS CHRONIC BRONCHITIS BRONCHIAL ASTHMA DEPRESSION PEPTIC ULCER RENAL CALCULI MENORRHAGIA PRE MENSTRUAL SYNDROME UTERINE FIBROID MENOPAUSE HOMOEOPATHIC CURE FOR WOMEN AND CHILDREN HAIR LOSS (ALOPECIA) CERVICAL SPONDYLOSIS SKIN DISORDERS - ACNE ECZEMA PSORIASIS LICHEN PLANUS WARTS HYPERPIGMENTATION WEIGHT LOSS PROGRAMME CALCULATE YOUR B.M.I
Origins of cinema The cinema was born at the end of the xix th century . If the animation dates back at least to the xvii th century , with ” magic lantern “, wait until 1891 to see appearing the first patent for the animation of photographic images and the successful production of a first silver camera . The collective spectacle that will result is born a few years later. In numerous articles and books, you can still read today, especially in France, that “the cinema inventors are the Lumière brothers 1 ” . They developed and built a machine to record and project moving photographic views in public, which they called the Cinematograph . At the time, the press invited to the first projections Light, speaks not of the Cinematograph, but the “Kinetoscope (or Kinetograph) Lumière Brothers 2 ” . On December 22, 1895, when Auguste and Louis Lumière present their invention to the scientists of the Society of Encouragement, they still call “projection Kinetoscope 3, Or Kinetic Light their cameras and viewing devices. The camera , invented by Thomas Edison and his principal collaborator, William Kennedy Laurie Dickson in 1891 , the Kinetograph , the first camera , and the apparatus allowing to see the films individually , the Kinetoscope , are cited in references, proof of their anteriority. The invention of the Lumière brothers, or more precisely that of Louis Lumière and his engineer, Jules Carpentier, is both a camera and a projector (and even a copy printer), which will appeal to wealthy fans. Moreover, with the possibility of seeing animated photographic views on the big screen, the Lumière brothers are launching the cinema show. This invention, which improves others, more rudimentary, immediately appears as a fatal competitor to pre-existing animated shows. In French, the apocope of the trademark Cinématographe, the cinema, will prevail in the current language in a few years. But in other countries, it’s moving pictures , movies , and also Kino . The Larousse Encyclopedia says: “This global impact will lead many historians to consider December 28, 1895 as the date of birth of cinema 4 ” . It evokes the projection that the Lumière brothers organized in Paris for the general public, in the Salon Indien du Grand Café, at n o 14 of the Boulevard des Capucines , but it was not the first time thatAnimated photographic views , as well as Louis Lumière called his films 5 , were shown in public. Certainly, the success of the projections of the Grand Café gives a new start to the exploitation of the films, as Edison still practiced it in 1895 , explains with humor Edward Waintrop , critic of cinema and general delegate of the Directors’ Fortnight at the Festival de Cannes . “While Mr. Edison has developed a small box with very dim lighting that allows only one or two isolated people to experience this moving picture phenomenon, the Light has chosen a system to share the experience at an entire assembly 6 ” . To make the two inventors the fathers of the cinema, is nevertheless abusive. To make them the initiators of animated screenings on the big screen is no less so, since it is their compatriot Émile Reynaud who, the first, in October 1892 , organized before a paying public assembly the first animated projections on big screen of the first drawings animated (the animation is part of the cinema). The Lumière brothers themselves did not claim as much and corrected the affirmation that made them the only inventors of the cinema, as reported by Maurice Trarieux-Lumière, grandson of Louis Lumière and president of the Association Frères Light:”My grandfather has always recognized with perfect honesty, I bear testimony to the contributions Janssen, Muybridge and Marey, inventors of chronophotography Reynaud, Edison and especially Dickson 7 ” . Build the machine called “The Cinematograph” do not return to invent what is at the heart of the 7 th art, its essence, movies (from Dickson is Edison who first, adopted the English word movie , which designates a veil, a layer, to works of cinema, with reference to the photosensitive emulsion lying on one side of the support). No movies, no cinema! And the Edison-Dickson couple is at the origin of the first movies of the cinema, as Laurent Mannoni, curator at the Cinémathèque française of the precinema and the cinema apparatuses affirms : the first films were recorded by the ” Kinétographe ” (in Greek, writing of the movement): camera of the American Thomas Edison, patented the , employing 35 mm perforated film and intermittent film feed system by “ratchet wheel” . Between 1891 and 1895, Edison performs some seventy movies 8 ” . However, still for Laurent Mannoni, “the cinema did not miraculously appear in 1895” , and “the industry of” animated photographs “could hatch, in the 1890s, thanks to practices and practices established since centuries ” 9 . The four fundamental stages of the invention of cinema, thus of what is the very object of the cinematic creation: the films , apart from the invention of gelatin silver 10 , a gelatinous emulsion – made from ‘elements of animal origin – containing a suspension of silver bromide crystals, the basis of silver photography , which concerns primarily photography , can be classified chronologically as follows: - 1888 : The American John Carbutt invents a supple and transparent cellulose nitrate carrier , in 70 mm wide strips marketed by the industrialist George Eastman 11 . - 1891 : American Thomas Edison, assisted by William Kennedy Dickson and William Heise , designs the film 35 mm vertical scrolling, with 2 sets of 4 rectangular perforations per frame , as we still know it today (after a brief passage in 19 mm format with horizontal scrolling). The two men develop the Kinetograph , shooting device, and the Kinetoscope , individual viewing device 12 . They record the first films of cinema, and can show them moving to the public thanks to the Kinetoscope. - 1892 : The French Émile Reynaud designs the first cartoon film, which he draws directly on a perforated flexible tape 70 mm long indefinite (made of multiple squares of gelatin, reinforced with shellac and fine springs) , scrolling horizontally. He began using a machine design, the Optical Theater , the first public viewing moving images on a big screen 13 . He commissioned the first original music composed specifically for a film 14 , three years before the Lumière brothers’ screenings. - 1895 : The Bisontins Louis and Auguste Lumière, better known under the name of the Lumière brothers, synthesizing the discoveries of their predecessors, conceive in Lyon the Cinématographe, a camera capable of recording photographic images in motion on a 35 mm Eastman film wide to 2 sets of 2 round perforations per frame (device abandoned since), and to restore them in projection. They organize the first paid public screenings of photographic images in motion on the big screen 2 , or at least those which provoke the greatest global impact, because before them, other projections of the same kind took place, in Berlin (Max Skladanowsky and his brother Eugen, with their Bioskop ) and in New York ( Woodville Latham with his Panoptikon ). Pour désigner les recherches qui précèdent l’invention des premiers films de cinéma, et qui n’utilisent pas le film souple de celluloïd, on parle selon les auteurs de précinéma15, ou d’« archéologie », de « haute-époque » pour la période antérieure à 18959. La date de 1888 peut être quelquefois retenue comme séparation entre le précinéma et le cinéma, l’invention du film souple en celluloïd par John Carbutt et sa commercialisation par l’industriel George Eastman en 1888 sous la forme de rouleaux de 70 mm de large étant la condition sine qua non pour amorcer un spectacle qui allait devenir une industrie culturelle. Certes, Reynaud utilisait un autre matériau, aussi de 70 mm de large mais constitué de carrés de gélatine indépendants pour plus facilement les colorier et les repérer l’un par rapport à l’autre par transparence. Ces carrés étaient assemblés et formaient une bande unique qui se déroulait d’une bobine à l’autre en passant par un système de projection, non pas mécanique, mais optique. La majorité des historiens du cinéma, comme l’Américain Charles Musser16, n’ont pas la même définition du précinéma, et classent Edison et Reynaud dans cette catégorie, au motif que le mode de visionnement d’Edison n’était pas la projection, et que la pellicule de Reynaud n’était pas la pellicule 35 mm que nous connaissons encore aujourd’hui. Mais, si l’on se base sur ces remarques, la pellicule 35 mm à perforations rondes à raison d’un seul jeu par photogramme des frères Lumière n’était pas non plus la pellicule standard de cinéma à deux jeux de quatre perforations rectangulaires par photogramme mise au point par le duo Edison-Dickson. Ce qui conduirait de façon absurde à mettre l’invention des frères Lumière dans le précinéma. D’autre part, de nos jours les systèmes de visionnement sont le plus souvent étrangers à la projection (téléviseurs, ordinateurs personnels, écrans à cristaux ou plasma, smartphones), mais n’en présentent pas moins des films documentaires, des fictions de cinéma ou des séries de télévision. Les supports eux aussi se sont diversifiés, et le 35 mm relèvera bientôt de la muséologie, du moins en prise de vues cinématographique. Les disques numériques et autres supports de données numériques s’imposent inexorablement. Pour l’historien d’aujourd’hui, le cinéma ne doit pas être réduit à la définition de ses premières apparitions sur grand écran. Théories sur le mouvement Le phénomène de la persistance rétinienne est observé au xviiie siècle par le Franco-Irlandais Chevalier d’Arcy qui fabrique un disque rotatif sur le périmètre duquel est fixé un charbon ardent. À partir d’une vitesse de rotation de sept tours à la seconde, le charbon ardent donne l’illusion d’un cercle lumineux continu, « qu’il ne pouvait être attribuée qu’à la durée de la sensation17 ». La « sensation qui dure », qu’on appelle la persistance rétinienne, est souvent considérée, à tort, par les cinéphiles et le grand public comme étant la base de la perception du mouvement au cinéma18. In reality, this passive physiological phenomenon, linked to the retina, intervenes secondarily. En 1830, une expérience du Britannique Michael Faraday, utilisant une roue dentée en rotation (sorte de scie circulaire en bois, en carton, ou en métal léger, appelée depuis roue de Faraday), démontre que si on regarde la roue en mouvement, l’œil n’arrive pas à identifier chacune des dents, il perçoit la roue comme un disque continu19. En revanche, si on observe l’image de cette roue dans un miroir à travers les dents, le cerveau perçoit la roue comme étant immobile, les dents paraissant bien séparées l’une de l’autre. C’est ce que le Belge Joseph Plateau remarque lui aussi en 1832, et qu’il interprète comme preuve de l’existence de la persistance rétinienne. Pour obtenir cette sensation, il remarque par expérimentation qu’il est nécessaire que la roue tourne à raison de 12 dents passant en un point en une seconde20, proche des 7 tours par seconde déterminés par le Chevalier d’Arcy17. Voulant démontrer sa théorie, Joseph Plateau fabrique la même année son Phénakistiscope avec des vignettes dessinées. Plateau imagine que « si la vitesse est assez grande pour que toutes ces impressions successives se lient entre elles et pas assez pour qu’elles se confondent, on croira voir chacune des petites figures changer graduellement d’état20 ». Joseph Plateau’s interpretation is correct with regard to the vision of the wheel seen directly, when the disc seems to be continuous, without teeth, because the retinal persistence causes a blur effect, as a camera does when it takes to the tenth of a second, or to the fiftieth of a second, a snapshot of a fast-moving character (race or jump): the arms and legs are not visible in detail in the photograph, but appear as a fuzzy mass. All photographers, even amateurs, know this phenomenon whose remedy is simple: choose a shorter exposure, hundredth of a second, or better, thousandth of a second. But the second phenomenon (the moving wheel seems motionless when viewed in the mirror through the rotation of the teeth) is given by another feature of human perception, discovered by Max Wertheimer 21 at the beginning of the xx th century, it is called “the beta effect” (confused even today with the phi effect , another phenomenon also highlighted by Wertheimer), a phenomenon of interpretation of vision by the brain, which explains our perception of images animated in motion 22 . It is the ability of the brain to identify two flashing lights, distant from each other, as being a single luminous object that it believes to see moving. “A good example is given by the giant fixed luminous arrows shifted one behind the other, in cascade, which signal on the motorways a tightening of the circulation or a deviation, and which turn on and off ones after the others, giving the illusion of a single arrow that would move in the indicated direction 23 . “ It is the beta effect that gives the illusion that the image of each tooth of the Faraday wheel is related to the image of the previous tooth, and so on, giving the impression – dangerous! – that the wheel is immobilized. The image seen in the mirror is actually a decoy, an illusion given by the posterior cortical area of the brain, this area that analyzes the vision and transforms it into perception, an interpretation of the vision. Apparent immobility explains how the brain perceives the succession of many photograms of a film as part of the same object, unaware that it is a succession of distinct objects. This is how the brain interprets the vision of the different positions of a character in a film, following fixed photograms, To thwart the phenomenon of retinal persistence that would bring a blur making it impossible to perceive each position of the wheel, by a mask effect that contravenes the following image, it is the teeth themselves, through which one must look at the image, which interrupt this persistence, erase it somehow is the refresh rate , as it is said for a computer screen . And that’s why in one of those scientific toys that were invented during the 19th century century, called optical toys, we look at the succession of vignettes drawn through slits or through mirrors in rotation, the passage between each slot or between each mirror face ensuring by shutter the refreshment of the viewer’s vision. In the cinema, it is the role of the shutter – rotary or guillotine for certain cameras – in the cameras and the projection apparatuses 24 . The academic Jacques Aumont emphasizes, in his studies on the cinema, the paradoxical handicap that presents the retinal persistence in the perception of the movement and the need to erase it with each change of photogram: “The detailed information would be temporarily removed at each black between successive frames (note: the black corresponding to the passage of the shutter in front of the lens to hide the movement of the film, and which records a black separation between each frame) and this masking is precisely what would explain why there is no accumulation of persistent images due to retinal persistence 25 . “ The insects, ultra-short nerve connections, see the world average of 300 fps 26 . They would see, if they wished to go to the cinema, a lazy succession of different but perfectly motionless images. The decomposed movement The “living room toys” or optical toys , which were favored by a rich public, were aimed at developing scientific curiosity in the minds of children from good families. The Phenakistiscope of Joseph Plateau is a simple toy fair. Eadweard Muybridge and his famous French equivalent Étienne-Jules Marey , develop various machines or optical processes for a more scientific than commercial purpose, to try to decompose, and thus study, the movements of human beings or animals, and general any phenomenon too fast to be analyzed by the look (examples: drop of a drop of water, explosions or chemical reactions). “This knowledge could not be acquired by simple observation, because the most sustained attention, concentrated on the action of a single muscle, has great difficulty in grasping the phases of activity and rest, even in the slowest pace. How then can we hope to capture both the action of all the limb muscles in all phases of a rapid pace 27 . “ They wish to show clearly, by a dazzling succession of photographs, the mechanism of the march, the race or the jump in the man, or how the bird activates its wings, how the cat always falls on its paws, etc. It is not their intention to make a spectacle from their works; recreation of movement is not their first concern. The co-founder of Cahiers du Cinéma , André Bazin , spiritual father of François Truffaut , remarked with relevance: “Film does almost nothing to the scientific spirit … It is significant that Marey was only interested in the analysis of the movement, not the reverse process which allowed the redial 28 . “ Moreover, the scientific challenge protects these photographers because their models are busy in front of the camera in puri naturalibus , ie completely naked, and in the Victorian era, it was unthinkable to present these photos to the general public without a solid scientific or medical justification (the nude paintings are not as scandalous as nudes in photos). It is undoubtedly a bet, launched between a rich owner of horses and opponents, which allows Eadweard Muybridge to mount in 1878 an expensive experiment, sponsored by the amateur of thoroughbreds. It is a question of knowing when, during his galloping, the feet of a horse leave the ground together. By tradition, all the equestrian painting represented, until this experience, the four members of the horse in extension, as if it crossed an obstacle 29 . Muybridge aligns along a race track twelve then twenty-four photographic chambers to shutter super-fast ( 500 eof second), actuated one after the other by metallic threads stretched across the passage of a galloping horse. Several tests are necessary. During one of them, the horse drives the dark rooms that break. The system is transformed: the threads, after triggering the snapshots, detach and prevent cameras from being scanned by the passage of the animal 30 . The photographs obtained prove that a galloping horse never leaves the ground in position of extension of the limbs (except during a jump). His four hooves lose contact with the ground just once, as his legs gather under his body. Bet won thanks to chronophotography , name that Etienne-Jules Marey gave to his work. To support his demonstration, Muybridge imagines in 1880 the Zoopraxiscope , which starts from the illusion of movement to arrive, by slowing down and then stopping the machine, to describe each phase of the movement studied. He immediately launches the sale of the machine and its drives and starts with the San Francisco 31 . In 1893 , Muybridge presented in the United States, at the Chicago World Fair , projections of images painted on Zoopraxiscope, according to chronophotographies, intended for the general public, always with the same educational purpose to show the different phases of a gesture. For his part, Étienne-Jules Marey develops in 1882, with the same scientific concern to decompose a movement too fast to be analyzed by the human eye, his photographic rifle which, in one second, saves twelve photographs on small circular glass supports (like a revolver). Marey’s shotgun is often mistaken for the first camera. The purpose of this device was not the reconstitution of the movement, and the twelve negative labels on glass obtained were examined by scientists one by one, through separate positive prints, or together with an overlay of photographs 32 . In 1888, Marey abandoned the glass plate, preferring the paper medium, and in the summer of 1889 the flexible and transparent roll of cellulose nitrateinvented by the American John Carbutt , both marketed by George Eastman – the future Kodak – which now broadcasts it in Europe following the 1889 World Fair . Marey successfully adapts the latter to his photographic rifle and, the same year, he develops, with his collaborator Georges Demenÿ , a film cameraequipped with a swinging cam mechanism, able to advance the flexible celluloid film in synchronism with the closure of a shutter to obtain a photographic decomposition of the movement, no longer on the same plate, but image by image on a roll continuous non-perforated. This “photochronographic” camera – the word “chronophotography” will be officially retained in 1889 – is patented on October 3, 1890 33 , 34 . The Cinémathèque française holds approximately 420 original Marey and Demenÿ negative rolls from 0.11 m to 4.19 m in length from 1890 on chronophotographic celluloid film rolls, such asThe mounted Bixio horse (28 photographs), The Bixio horse in the footsteps (61 photographs), Horse hitched to a car Boulevard Delessert , outdoor scene taken from a window of Marey’s home (36 photographs) or The Wave and Scenes of fencing carried out in 1890 in Naples , where he owns a residence, and kept at the museum Étienne-Jules Marey de Beaune 35 . Although we can watch them since then, they are not movies of the cinema . During the projection attempts, the training of the non-perforated film could cause photogramsvariable dimensions whose covering in viewing was not satisfactory, defect associated with any camming cam device. Marey tries from 1892 to make a chronophotographic projector adapted to these bands with the help of Demenÿ, but ended up giving up this project and declaring in 1894: “Arrived at this point in our research, we learned that our preparer had obtained in another way an immediate solution of the problem, it seemed to us appropriate to postpone new tests ” 36 . In 1893, Demenÿ had made a negative- sounding projector 37, but it will not be improved and will not leave the laboratory of Marey, which because of differences of opinion with Demenÿ on the commercial exploitation of such processes will prefer to separate from his collaborator in 1894. In 1891 , Demenÿ began to make devices independently. He cuts and glues a series of vignettes drawn from the chronophotographic film onto a rotating glass disk, thus creating the phonoscope , patented on March 3, 1892 38 , 39 , where the pronunciation of the syllables of a few words is broken down into 22 photographs, in order language learning by the students of the National Institute for the Young Deaf of Paris . At the first international photography exhibition, which opens on April 20, 1892 at the Champ-de-Mars in Paris 40, he is the first to make public chronophotographic projections on screen, with this device having a very short cycle (about one or two seconds) and repetitive at the discretion of the operator, although assimilable to that of the optical toys . “Demenÿ, popularizing the experiments of Marey’s laboratory, had shown for the first time the animated portrait of a man saying: Long live France! or I love you! , a year before the similar chronophotographic projections added to his zoopraxiscope by Muybridge. This revelation of an animated split-second split was a revelation that Edison himself emphasized. » 41But it is May 25, 1895, too late in the face of the advances of the other inventors and two months after the first public screening of the Lumière brothers on screen, that he appropriately adapts to the flexible film the new chronophotographic camera, patented on October 10, 1893, that he had had to develop because he could not use his previous patents filed by Marey, only to finalize the projection version in the first half of 1896. One of the greatest collectors of films and cinema equipment, James Card, the Henri Langlois (creator of the American Cinematheque ), who created in 1948 , in the luxurious and huge ( 50 pieces ) house of George Eastman to Rochester , the first museum of cinema, believes that the history of cinema should begin in 1880 , with the invention of the Zoopraxiscope Eadweard Muybridge 42. The intention is relevant because it is true that without the scientific work of Faraday, Marey and Muybridge, without forgetting William George Horner, they are not industrialists, as talented and curious as were Thomas Edison and the brothers Lumière, or a draftsman as clever and talented as Emile Reynaud, who would have allowed the emergence in the human mind of a scientific idea worthy of a madman: to record the movement of life, and to reproduce it at will. But it is hard to forget the reasons that both Muybridge and Marey were pushing to share the results of their experiences with the general public, which were to teach new knowledge or rectify false knowledge. It must be remembered that “chronophotography (from the Greek kronos, time, photes, light, and graphein, record), brings together laboratory work that aims to suspend time to analyze the movement of living subjects, human beings or animals, what Marey calls a magnificent term, “the animal machine”. But the followers of the chronophotography do not seek the spectacular, only account for them the scientific experiment 43 . “The film show could in no way be the result of such a concern for scientific research, even if the invention of Zoopraxiscope and its marketing to the general public may indeed appear as a first step towards this show. In short, this is what the City of Science in Paris does nowadays, it is an organizer of shows and exhibitions, certainly, but its goal is not the spectacle, it is the sensitization and the initiation from the public to scientific research. Yet, according to Thomas Edison’s own account, 44 it was the chronophotography experiments of Muybridge and Marey, as well as William George Horner’s Zootrope, that inspired his research, the end of which will be the invention of the Kinetograph and the recording of the first cinema films. Attempts to record motion on film media In the 1880s , all over the world, many researchers worked to develop a system for recording motion on a silver medium, and its restitution. Their motives are primarily commercial, whoever finds the right machine will see his fortune and his glory assured. The French Louis Aimé Augustin The Prince manufactures an apparatus and files the patent in 1887 . It is an inverted variant of Marey’s photographic rifle, producing a series of 16 photographs shot by 16 lenses whose opening is one after the other, in front of as many plates of glass coated with photosensitive emulsion. He later replaced the plates, too heavy, with a strip of paper coated with a photosensitive substance (a few years later, Edison and the Lumière brothers will also use the paper for their first experiments) and he then manufactures a prototype of camera with a single lens, the Mark2, with a moving photo ribbon after photo. At the end of 1888, The Prince passed several tests on paper,The Leeds Bridge and A Roundhay Garden Scene (which are titles he did not give himself and which appeared fifty years later for grading purposes), but he does not manage to to project, or even to watch them in motion, they remain a series of photographs, similar to the results of chronophotography, and even below, since Muybridge is able to complete the “recording-reproduction” cycle with his Zoopraxiscope, and this, as early as 1880. Thus, the experimentation of The Prince turns short. Of course, he patented in France his single-purpose camera, the Mark2, which is probably the first real movie camera, but the filing of a patent is not a guarantor of the purpose of an invention, and so of its concrete reality, and what is certain, it is that the Prince did not patent of apparatus of viewing. However, we can assume that if the researcher had not mysteriously disappeared body and soul in 1890 after climbing a train Dijon-Paris, he would have continued his research and would have benefited, as Thomas Edison and later the Lumière brothers, transparent support John Carbutt, but the fate had decided otherwise. The Prince of tests were reported in 1930 on the flexible film 35 mm , while the cinema was already an adult and growing, and Roundhay Garden Scene , for example, can be viewed as a curiosity since the pre- cinemabut Louis Aimé Le Prince never had the opportunity to watch it in motion. Firstly, the paper strips are very fragile, and if they manage to resist the single passage in a camera, however they can not withstand repeated viewing. Secondly, the paper strips are not transparent enough to allow projection, even of poor quality. Later, Thomas Edison and Dickson, with their many paper essays, which they humorously call “Monkeyshines” 45 , and after them the Lumière brothers, will never claim to have screened the big screen with their paper tests. The Lumière Institute evokes the preliminary essays of Louis Lumière and Charles Moisson,”The tests found are standard 35 mm wide sensitized paper strips , just like Edison 46 films . ” Another Frenchman, Georges Demenÿ , a gymnastics teacher, is hired by Étienne-Jules Marey, with whom he experiments with chronophotography as a specialist in body movements. He gets confused with Marey when he proposes to bend his research to the mainstream market by commercializing the results of some shots. Marey, who swears by science, puts him out. Demenÿ has just made a machine, the Phonoscope, qui ressemble à un jouet de salon, dont les dessins sont remplacés par des photographies successives. Ces photographies sont prises avec sa caméra “photochronographique” sur du support celluloïd Eastman que Demenÿ découpe en 22 photographies transparentes, semblables à des diapos, qu’il dispose sur le pourtour d’un disque en verre d’un diamètre de 42 cm mis en rotation devant une boîte à lumière47. Selon le principe des Zootrope ou Phénakistiscope, le personnage photographié semble bouger. Demenÿ fait l’article : « On peut ainsi, dans les familles, conserver des traces vivantes des ancêtres, il suffira d’un tour de manivelle pour faire voir aux enfants leurs grands-parents et revoir ses propres grimaces de nourrisson48. » En 1892, il projette ces disques chronophotographiques en public lors de la première exposition internationale de photographie au Champ de Mars49,50 et enregistre deux sujets : un personnage (lui-même) disant face à l’objectif : « Vive la France ! » et un autre : « Je vous aime ! », qui durent le temps de chaque phrase, qu’il présente devant un industriel, Léon Gaumont, en faisant prononcer les mots par un partenaire dissimulé derrière l’écran. Léon Gaumont est intéressé mais le pousse à mettre au point une machine qui sortirait du modèle des jouets de salon, et permettrait une prise de vue continue. L’industriel rêve de commercialiser des photographies animées, il achète le Phonoscope, afin d’encourager Demenÿ, et le rebaptise Bioscope. Sous son égide, Demenÿ sort en 1896 une caméra pouvant se transformer en appareil de projection, semblable à celle des frères Lumière, le Biographe, qui utilise du film Eastman de 60 mm de large, sans perforations, mis en mouvement par des pinces, qui est supplanté par le procédé Lumière, puis perforé au format Edison et entraîné par une came battante48. Le procédé est pratiquement tout de suite abandonné. Les premiers films du cinéma C’est en 1891 que l’Américain Thomas Edison, l’un des inventeurs de l’ampoule électrique et le concepteur et fabriquant du Phonographe, qui, le premier, avec l’aide de son collaborateur William Kennedy Laurie Dickson51, réussit des prises de vues photographiques animées et leur présentation au public. L’inventeur et industriel américain, devenu presque sourd pendant son adolescence, rêve de coupler au phonographe une machine qui permettrait d’enregistrer l’image d’un chanteur ou d’un orchestre interprétant une chanson ou un air d’opéra. « On pourrait ainsi assister à un concert du Metropolitan Opera cinquante ans plus tard, alors que tous les interprètes auraient disparu depuis longtemps51. » Edison développe leurs recherches à partir des techniques d’enregistrement qu’il a déjà expérimentées pour le son. Il utilise dès 1888 un cylindre de verre, à la manière du premier Phonographe, enduit d’une substance photosensible, enfermé dans un petit coffre en bois le protégeant de la lumière ambiante. Une ouverture mobile, mue par une vis sans fin, est équipée d’un objectif qui reçoit l’image de la scène filmée et la projette sur le cylindre en rotation, de façon intermittente grâce à un obturateur à disque mobile qui assure chaque instantané décomposant le mouvement en une succession d’images. Après la prise de vues, le cylindre est plongé directement dans les bains de traitement argentique, et donne le négatif, les sels d’argent exposés à la lumière deviennent noirs, les non exposés ne noircissent pas, les valeurs sont inversées : le ciel est noir, un morceau de charbon est blanc. Ensuite, un positif est obtenu en enroulant à l’extérieur du cylindre une feuille de papier enduit d’émulsion photosensible et en illuminant l’intérieur du cylindre, selon le procédé du tirage contact, le verre laissant passer la lumière qui expose le papier en inversant une seconde fois les valeurs, qui sont ainsi rétablies : les noirs sont noirs, les blancs sont blancs. La feuille peut être découpée ensuite à la manière d’une pelure d’orange, et donne un long ruban de papier portant les photogrammes dans leur ordre chronologique. Mais comme Louis Aimé Augustin Le Prince et Étienne-Jules Marey à la même époque, Edison et Dickson ne peuvent pas visionner ce fragile et opaque ruban et restituer le mouvement enregistré52. Format 19 mm, à défilement horizontal, photogrammes circulaires A fundamental invention is timely. That of the American John Carbutt who, in 1887 , invented a flexible film, transparent and resistant in nitrate of cellulose , that the industrialist George Eastman puts on the market in 1888 , debited in rolls of 70 mm of width without photosensitive substance and without perforations. For his part, Étienne-Jules Marey immediately adapted his chronophotography to the new medium. For their part, Edison and Dickson, joined by William Heise , create what will become twenty years later the standard format of cinematographic shots. But first, they sell the film Eastman along its length in three ribbons 19 mm wide. Edison, which in its youth was a skilled operator telegraph electrical was familiar with the presence of perforations on the paper tape of the invention of Samuel Morse , which ensured the progress of the message 53 . He endows the 19- mm ( 1-inch ) band with a single row of rounded rectangular perforations that he takes care of filing. These perforations are located under the photogram, at the rate of 6 perforations per image, because the scrolling of the film is done horizontally. The photograms obtained are circular, the last link of the invention with optical toys , and measure in diameter three-quarters of an inch, or about 12 mm . Between 1889 and 1890 , several tests with this horizontal kinetograph 19 mm are conclusive, including the immortalization of a handshake between Dickson and his assistant William Heise after their first successful film, a sham boxing fight they laughing, Men Boxing, essays that are all kept at the Library of Congress . Dickson is also filming, greeting the future spectators with a respectful hat. This is what some historians consider to be “the first film of cinema” and others rank in the trials of Precinema : The Hi Dickson ( Dickson Greeting, 1891 ), an initial duration of about ten seconds of which there are barely two seconds. It is the first time that men film other men and deliver to posterity the recorded and reconstructed movement. At the same time, Dickson has developed the apparatus necessary to see future films (the English word film , which means “veil, layer, film,” is used for the first time by Edison in his modern sense). This machine is the kinetoscope , and like the kinetograph, it works perfectly. Because it is necessary for any invention that we can publicly and officially see the results (which have never reached either Le Prince or Léon Bouly). The device is a wooden chest on which the viewer looks to individually view a film that runs continuously, driven by an electric motor, in front of a light box. The user observes the film through a peephole and a set of magnifying glasses. The movement is restored by the passage of a circular shutter, synchronized with the film drive through the perforations, which reveals the photograms one after the other, at the rate of 18 units per second. Dickson wrote to have used higher rates (in shooting ), but the historian of American cinema Charles Musser notes that this is an excess of language intended to impress VIPs: 165,600 images the ! Dickson’s Salvation is presented on May 20, 1891, before an assembly of one hundred and fifty activists of the Federation of Women’s Clubs . The success is at the rendezvous, the spectators, individually or two by two, crowd around the kinetoscopes aligned and watch several times each Dickson’s salvation , showing their astonishment and satisfaction 55 . The desired cycle of the recording of the movement and its restitution is finally achieved, the date is certified by this public presentation, the first movie of the cinema, seen by an assembled public, is well The salvation of Dickson , as much as he is applauded by the American press. ” The cinema, as we know it today, with the invention of the Kinetograph and Kinetoscope. These two machines represent the first successful method of cinematographic shooting. ” 56 The cinema, as we know it today, began with the invention of the kinetograph and the kinetoscope. . 35mm format, vertical scrolling, rectangular photograms But a problem is bothering the research team: a lack of definition of the film 19 mm to view, especially in wide shots (characters in foot) that are the rule at the time, in imitation of photography . Edison and Dickson decide to increase the width of the ribbon from 19 to 35 mm (the exact half of the Eastman ribbon). This time, they choose to scroll the ribbon vertically and give it 4 rectangular perforations on one side to fully enjoy the sensitive surface. The tests reveal the risk of tearing and a lack of stability already noted with the previous format. By adding a second row of 4 perforations on the other edge of the film,”Edison did accomplish a milestone in cinema, creating the modern film 35 mm , four pairs of perforations per frame 57 ” , the standard format that exists today in the field of silver film, a form that has little evolved 58 . According to Edison’s sketches, Dickson, seconded by William Heise , is making a new version of the kinetograph , a 35 mm camera , heavy and bulky, which requires an electrical connection to activate its mechanism. But it has the merit of working well and Dickson will improve it for the next two years. The film, in the form of a spool, advances intermittently, thanks to an alternative escape mechanism. This is the ratchet wheel (ratchet exhaust)electrically controlled he has chosen to equip the kinetograph. The film marks a very short stopping time in the optical axis of the lens, then moves one step, while a rotary shutter with blades, closed during the movement of the film, opens during its immobilization, ensuring the snapshot . The impressed film then rewinds 59 . Edison thinks he can wait again to commercialize his essays, he is still deluded to finally be able to combine the image and sound, which is his dream. But in his experiments, he encounters insurmountable difficulties in his time (the synchronization of sound and image) and decides to make his invention known to the general public, as it stands, so as not to be slowed down by possible competitors. It turns almost seventy films, mainly between 1893 and 1895 60. The film historian Georges Sadoul says in his History of World Cinema that “the bands filmed by Dickson are, strictly speaking, the first films” 13, but in the same work, it delivers an impressive Test of world chronology, five thousand films of fifty countries , that begins in 1892 , with the projections of Émile Reynaud. The historian therefore takes into account both Dickson tests between 1888 and 1891 (including the Hi Dickson , it considers being a test) and bright Pantomimes Reynaud 61 . Edison opens everywhere in the US territory Kinetoscope Parlors , rooms where are lined several devices loaded with different films that can be viewed for a flat fee of 25 cents . These are the first real recipes of the cinema. Laurie Dickson is responsible for directing film shots ; he is thus the first director of the story. To film dancers, acrobats, mimes, cock fights or cats, etc., Dickson builds the first film studio , the Black Maria(popular nickname of police vans, black and uncomfortable). It is covered with black tarred paper whose effect inside is that of an overheated greenhouse. The small building with an opening roof is placed on a circular rail and can be oriented according to the position of the sun, because daylight is the only lighting used on the plateau . Each shot is a maximum of 60 seconds , the film consists of a single shot, a single shot 62 . At first, Edison films are more music hall and fairground attractions. The circus Buffalo Bill comes even perform several Indian dances 63 . The American historian Charles Musser notes: “Sex and violence figure prominently in primitive American films (edison-dickson). In fact, these subjects owe a lot to the system of individual viewing of movies with the Kinétoscope (whose commercial name is exactly kinetoscope peep show machine ): they very often show entertainment likely to offend the religious conscience of some Americans. » 64 Sometimes, the reactions are violent, and go as far as the destruction of cameras and films. More often, a banner is required when drawing copies to hide more or less scandalous areas of the subjects. Thus, a belly dance , although hypocritically referred to as “muscle dance” ( Fatima, belly dance ), has two white bands overlaid on the lower abdomen and chest of the artist Fatima. The original, fortunately, has been preserved. Cock fighting, dogs, cats, but also boxing, trials of “showdown” are part of the offer, and some machines are loaded with reels that only men are allowed to watch 65 . The women will not be forgotten, but later, when the Americans have passed, after the Lumière brothers, to the projection on the big screen. The first feature film, The Corbett-Fitzsimmons Fight , which lasted 90 minutes (of which there are some quite long and representative extracts), filmed by Veriscope Company in March 1897 to Carson City in Nevada, with three cameras and a special film of the type “panoramic” format, more conducive – it seems, to an overview of the ring, was screened in public three months later, the time to manufacture cameras projection able to function as long. Charles Musser says that in theaters, the female audience, whose presence was prohibited around the actual boxing matches, formed 60% of the spectators. He remarked with humor that women could “get an idea of what excited men when they were among them , ” 66 a secret they discovered with some personal excitement. The kinetoscopes attract many curious, but Edison, in the euphoria of victory, did not think of filing patents of his device internationally, a staggering fault on the part of a man yet fussy and procedural. Counterfeits are multiplying around the world, Edison can do nothing. “At that time, it was of course too late to protect my interests 67 ” , he confesses in his memoirs. Yet, in the summer of 1894 , he organized public demonstrations of the kinetoscope in Paris, attended by Antoine Lumiere , the father of the two brothers, who returned to Lyon and directed his sons to design equivalent machines for the kinetoscope and the kinetograph. TheInstitut Lumière is particularly clear about this: “It is very difficult to determine precisely the moment from which the Lumière brothers began to work on the projection of animated images, their recollections on this point being contradictory. On the other hand, the Edison Kinetoscope is always cited as a starting point for their reflections aimed at making visible images by a public, and no longer individually, so it was only from September 1894 that they were able to or their father Antoine, see this new attraction in Paris 46 . “ Thus, on December 26, 1894 , the newspaper Le Lyon républicain reads : “The Lumière brothers are currently working on the construction of a new kinetograph, no less remarkable than that of Edison, and of which the Lyonnais will soon have, we believe, the primeur 46 , 68 “ . This is the irrefutable proof of the precedence of the machines and films of the three American inventors over its French competitors. The first film screenings on the big screen From the xvii th century – when the public discovers the mystery of the magic lantern – in the xviii th century and during the xix th century, the white projection screen or tulle, still images, drawings and photographs, is already an attraction that strikes the minds of all circles, modest or well-off. So much so that the film historian Charles Musser, in his voluminous book The Emergence of the Cinema , calls the first chapter which deals with projections in the centuries preceding the cinema, «Towards the history of a world of the screen 69 . » The success of fantasmagoriesand appearances of ghosts at the theater and music hall, influence the trade of machines that reproduce movement from drawings (living room toys). Clowns that grimace, bodies that contort monstrously or metamorphose miraculously, are topics that sell well. In 1877 , Émile Reynaud, professor of science and photographer, created his “salon toy”, the Praxinoscope, which he himself drew the vignettes, funny or poetic. The Praxinoscope immediately meets the public’s favor and the latest model allows even the projection of the drawings on a small screen, because Reynaud thinks that his art can reach its peak by taking again the magic effect of the luminous lanterns. But, like all “living room toys”, his subjects are in loop: the gesture, the pirouette, the transformation, last only one to two seconds. In 1892, one year after Edison’s first films, whose duration is not longer, Reynaud undertakes to build an ambitious project that has been obsessing him for some fifteen years: a machine that would allow to project on a big screen, giving the illusion of movement, drawings that would tell a true story lasting two to three minutes. It’s the Optical Theater and its luminous Pantomimes , as he calls his films. With patience, he draws and paints on celluloid squares several hundreds of vignettes which represent the different attitudes of characters in movement, confronted with each other, which he frames in strong paper (identical to the system of future slides) and that it connects by strips of soft metal covered with fabric, forming a long ribbon 70 mm wide. His technique is the beginning of what will be called the cartoons , and movement restored his show well classifies films, so film 70 “Each of the vignettes is opacified around the characters by a dorsal layer of black paint as in the technique of painting on glass, only the characters are transparent. The colored drawings are projected by retro projection on a screen of transparent tulle, thanks to mirrors turning in front of a kerosene lantern which lights violently through each drawing, as already worked the projection Praxinoscope. The strips have a single central perforation between each drawing. It’s not the perforations that scroll the tape, it’s the reels when you grind them by hand. The perforations have a particular mission, that of driving, to rotate in synchronism with the scrolling of the tape, the mirrors that project the thumbnails one after the other. The projection is not very luminous, but in the dark, its pale light suits the charming subjects of Reynaud’s bands and their pastel tones. The characters are drawn in foot and they evolve in front of a decoration also drawn, projected by a second lantern71 . “The separate decor projection allows Reynaud save his sentence by not reproduce the same decor hundreds of times. This decor-characters separation is always a part of modern cartoons. From October 28, 1892 , Émile Reynaud presents in Paris, in the Fantastic Cabinet of the Grévin museum , what he calls the Optical Theater, where his luminous pantomimes are projected. Émile Reynaud’s Théâtre Optique innovates considerably compared to Thomas Edison by inaugurating the first screenings of animated films. Unlike the solo viewing of kinetoscopes, the Optical Theater audience is gathered to follow the story projected on the screen. Thus, the Grévin museum can boast of having been the first cinema screening room, three years before the Lumière brothers’ screenings in the Grand Café Indian Salon , but the Leonine contract that he had imposed on Reynaud forbade him to present his spectacle elsewhere than on Grevin. Success of the Cinematographe Lumière In the summer of 1894 , during a trip to Paris, Antoine Lumière attends one of animated projections of the optical theater of Emile Reynaud to Grevin Museum, at n o 10 Boulevard Montmartre. Then he went to a demonstration of the Kinetoscope, organized a few hundred meters n o 20 Boulevard Poissonnière. Edison’s representatives offer him a sample of about thirty centimeters of the perforated 35 mm film of the American industrialist. “Amazed by the Edison 7 Kinetoscope “, Antoine returns to Lyon, convinced that the market for motion picture recording and performance machines is at hand and that this market is full of commercial promises. The projections of the Optical Theater and the reactions of the audience convinced him that the future is not in the Kinetoscope, seen by only one spectator at a time, but in a process like that of Reynaud, projecting on a screen animated views, in front of an assembled public. In an interview held at the National Audiovisual Institute (INA), Auguste Lumière tells how his brother Louis had in the night the idea of the Cinematograph mechanism. He begins by remembering these years,”It is not without emotion that I return to that distant time when the Edison Kinetoscope was delivered to public curiosity 72 ” . For Auguste, it is obvious, the novelty, the upheaval, it was Edison’s films. The Lumière Institute recounts this event in its own way: “In the fall of 1894 , Antoine Lumière spoke to his two sons Louis and Auguste to ask them to take an interest in these animated images on which Thomas Edison and some other magnificent pioneers then stumbled 46 ” . This official statement is untrue because in the fall of 1894, Thomas Edison has already accumulated seventy films of 40 to 60 seconds each, shot using the Kinetic, which can be seen moving through the Kinetoscope 73 . Edison does not “stumble” about the problem, he did solve it in 1891, and Antoine Lumière witnessed it in 1894 . As for Auguste Lumière, surviving in 1954 of this fertile trio, he is not mistaken: Edison had succeeded before them. This does not detract from the merits of the Lumière brothers to have brought a development that made movies a global entertainment. The Lumière brothers thought that the cinema was a fire of straw which would be quickly extinguished, as the grandson of Louis Lumière admits: “My grandfather told me that he believed that the Cinématographe would tire the spectators’ vision . It was like an attraction that would have passed. He does not live, it is true, like Leon Gaumont or Charles Pathé, the rise that cinema would take 7 ” . Thomas Edison is convinced that animated photographic images coupled with sound will become “a fundamental pillar of human culture ” 53. In this respect, his visionary spirit did not go astray, but he underestimated the commercial importance of his invention, not imagining that shorter-sighted industrialists would take the market before him. He continues with passion his research on the coupling of images with sound, because the synchronization of a film taking place in parallel with the rotation of a wax disc of the Phonograph poses problems that seem insoluble at the stage of the kinetophone , the version “Sound” of the Kinetoscope. Georges Sadoul recalls that “Edison refused to have his films screened, judging that they would kill the goose that lays the golden eggs, the public having, according to him, no chance to be interested in silent film 57 . “Edison was not a prophet on this point and his competitors will take advantage of his wait-and-see attitude. Moreover, the Lumière brothers joined the efforts of many researchers, all industrialists or engineers, who, following Edison, studied and built animated photographic machines, which they experienced during the year 1895 . It is the English Robert William Paul and Birt Acres who shoot several tapes with their Kinetic camera on film Edison counterfeit, viewed on pirated copies of Kinetoscope 74 . There is also the American Jean Acme Le Roy with his projector Marvelous cinematograph who would have projected Edison filmed tapes (but it was impossible to verify the reality of these projections), the majorWoodville Latham and his sons, owners of a Kinestocope parlor , with their original continuous-motion projector Panoptikon, which later becomes the intermittent Eidoloscope , provide paid public screenings in New York before those of the Lyonnais brothers. The German Max Skladanowsky and his brother Eugen organize in Berlin , two months before the first session of the Indian Salon, paid public screenings with their Bioskop . Another German, Ottomar Anschütz, sticks to variations on a kind of big lottery wheel whose numbers are replaced by photographs that we look through a window, and many other researchers and other inventions that appear from 1894 to 1896 . The Frenchman Georges Demenÿ , financed by the industrialist Léon Gaumont , chooses the format 60 mm with his Chronophotographe which becomes the Biographer in 1896 , a camera which turns into a projector with the addition of a light box. Demenÿ adopts, like the Lumière brothers at the beginning of their research, an alternative drive of the non-perforated film by means of pliers actuated by a swinging cama technical process widely used in industry to produce the intermittent movement of various materials (fabric and metal, in particular). However, with the clamps, the vertical stability of the image is mediocre, because of the inevitable micro-slides of the film during the projection, which make “dance” the images. Instead of the clamps, the Cinematograph is then equipped with a claw , also actuated by an eccentric cam , and the film is provided with lateral perforations for receiving these moving claws 46 , 75 . The flexible film is manufactured by Eastman who collects industrial rights included in the price of each footage of the medium it sells. This smooth film must be transformed on its borders so that the claws can engage in perforations and ensure the precise passage of an already impressed photogram to another photogram to impress. But the Lumière brothers know that rectangular Edison-type perforations have been the subject of several international patents, and that they are an inevitable industrial reality. Their duplication would be a case of industrial counterfeiting on the part of the Light that Edison would not hesitate to sue. To avoid paying fees to the American, the Lumière brothers endow their film with round perforations, arranged laterally at the rate of a single perforation on each side of each photogram 46 . Subsequently, they will be forced to adopt the Edison standard, because the unique set of perforations for each image is a fragile process, the rupture of a perforation immediately causes the tearing of the celluloid ribbon, which is not the case of multiple Edison perforations, which give the support a certain durability, any exploded perforation that can be incised at the edges, the remaining three ensuring their function of transporting the film. The perforated film Edison is also chosen worldwide by the manufacturers of film as standard projection format since 1903 . In Paris, 22 March 1895 , before a small audience of scholars of the Society of encouragement for the National Industry at n o 44 of the Rue de Rennes, Louis Lumière organized the first public presentation of the movie recorded by the cinematograph. The same device allows the projection on a screen, thanks to the addition of a powerful light box 46 . That day, the only film screened is The Exit of the Lumière factory in Lyon . The assembly of scientists is keenly interested, but the Lumières are skilful traders, they do not stick to this success of salon. September 28, 1895 , it is in La Ciotat , where the Lumière family owns a villa, that the two brothers invite in private projection friends and notables of the seaside city. Ten films (which Louis Lumière calls “views”) constitute the show, The output of the Lumière factory in Lyon , The Place des Cordeliers in Lyon , The landing of the Congress of photography in Lyon , Swimming at sea , children diving in the waves, The Blacksmiths, like Edison, but with real blacksmiths and a real forge because Dickson, for the purpose of filming, had simply reconstructed the forge with simple unconvincing extras. Follow two family scenes with a baby, the son of Auguste Lumière , The Baby Meal and The Fish Fishing . Then two “comic views”, in fact military antics, The Aerobatics and Jump to the cover , in the tradition of comic troopers. The session ends with the famous The Sprinkler Watered (The Gardener), which is in truth the first fiction of the history of cinema, played by actors (the first fictions of the cinema being the luminous pantomimes drawn by Émile Reynaud). The Lumière brothers then ascend a series of paid screenings in Paris, in the Salon Indien du Grand Café Hotel Scribe, at n o 14 Boulevard des Capucines 76 . On December 28, 1895, the first day, only thirty-three spectators (including two journalists) come to appreciate the various “animated photographic views” 77 . Word of mouth helping, in a week the line reaches the street Caumartin. The screenings are sold out and the sessions are doubled, the impact of this success, which over the months, does not fade, is global. The revolution of the Light Before the success of the Grand Café screenings, the press sometimes referred to the apparatus of the Lyon inventors as “kinetoscope Lumière” or “Cinémographe Lumière”. If Edison had earlier attempted to solve the problem of showing films on the big screen, we can assume that the word Cinematograph would probably not have been adopted to designate the show, and everyone would have been to see a movie at kinetoscope, which would not have missed to be called familiarly “physio” and “kinoche”! After all, in the countries of Eastern Europe, the word for cinema has remained close to its Greek roots, movement: we go to kino . The American equivalent keeps the idea of movement to designate the show composed of movies: movies . But the reality is there: Thomas Edison understands that the cinematograph’s projection technique on the big screen has just sounded the death knell of his kinetoscope. His engineer Laurie Dickson enters the competition. “Pressed by time, Edison acquires the inventor Francis Jenkins his projection device released in October 1895 under the name of Phantascope, he adapts with the help of the engineer Thomas Armat , and he renamed in Vitascope . Edison can then project on the big screen the many films he has already recorded since 1893 with the Kinetic. But unlike the Lumière brothers, he maintains the principle of two machines, one dedicated to shooting and the other to projection. A wise choice that is taken by all the other manufacturers of the time, now numerous. This technical dichotomy camera / projection device has continued to this day 78 . “ The precedents of the Light In 1894 , dissatisfied with his mere status as an employee of Thomas Edison, Laurie Dickson secretly puts his skills to the service of a new competitor: Woodville Latham , who creates with his two sons the Lambda Company. Dickson is promoted to associate with a quarter of the stock and eventually leaves the Edison Manufacturing Company, bringing with him the best engineer on his team, the Frenchman Eugène Lauste. Latham’s first project was to adapt Edison’s Kinetoscope to a projection apparatus, but soon he plans to develop a complete original system, including a camera and a projection apparatus. He calls this last machine “projection Kinetoscope”, as the word kinetoscope has become a common word (at the same time, the project of the Lumière brothers is also described by the French press as “kinetoscope Lumière”). Later, this machine is called the Eidoloscope , which will focus for several months the attention of the American press 79 . Latham, and more precisely Dickson and Lauste, experiment two systems: one with a continuous scrolling of the film, like the Kinetoscope, the other with intermittent scrolling. They note that the intermittent training of the film, both in a camera and in a projection apparatus, tires the film and even causes it to be accidentally broken, and limits the usable footage to 20 meters, a minute and a half. Beyond that, breaks are inevitable. Dickson and Lauste then have the idea to add two “toothed debtors”, before and after the passage in the corridor of shooting or projection (where the film advances and stops, to advance again, photogram after frame). These debtors ensure a continuous, smooth traction. So that the two exercises, contradictory, can coexist, Dickson and Lauste imagine an idea as simple as the thread to cut the butter: to create a transition loop in the course of the film, before and after the passage in the corridor, to amortize jolts of intermittent training. Woodville Latham, who is like Edison, anxious to bring his name to the front of the stage, immediately baptizes their idea: the Latham loop( Latham Loop ) 80 . The Eidoloscope, the first experimental projections are slightly later than those of the Lumière Cinematograph, will not have the same success, the qualities of the Cinematograph revealing much higher 81 . For his part, Émile Reynaud maintains his projections at the Musée Grévin . It drains half a million spectators, between 1892 and 1900 , which represents a great success. However, competition very close to the Grand Café reaches him directly and he reacts by trying to adapt to his machine photographic strips. But Eastman films are black and white, and their coloring with varnish goes against the pastel shades of Reynaud’s delicate designs. “His Optical Theater will never compete with the Lumière process. At the dawn of the xx th century, Émile Reynaud bankrupt. In desperation, he destroys his machines, sold by the weight of the material. As for the celluloid strips drawn, he throws them into the Seine. An irreparable loss … Only two wonders will escape, Around a cabin , and Poor Pierrot . Unhappy end of a great work, unjustly forgotten, yet which marks the invention of animation and organization of first projections on big screen images in motion 82 . “ The Cinematographe Lumière’s camera is then used by many operators of all countries, and it is even found, among its competitors, on the plateaux of the American studios, until after the War of 1914-1918 , as a camera of booster , before being supplanted by more advanced American appliances, with intermittent pressing and counter-claws , equipped with independent film stores (Bell & Howell model 2709 of 1909 , Mitchell standard model of 1919). But if the system of training claws has persisted in the equipment of the cameras, both for professionals and for amateurs, as well as for a large part of amateur projection devices, the mechanism of the claws has been replaced on the projectors for professionals with a Maltese cross (or Geneva cross ), 4, 6 or 8 branches, resulting in intermittent movement a toothed debtor, more robust solution for a machine to make thousands of sessions 83 Birth of an industry It is a revolution in the sense that cinema is the first art born of the industrial revolution. It has no equivalent in the past, photography can still be considered as a substitute for painting. For the first time, the representation of the movement was freed from spatial and temporal constraints (theater, dance) and the narration valued, offering great perspectives with the movement of the camera, illusions of special effects and editing. The early filmmakers were probably not interested in the arts as avant-garde but they contributed to their defending body to the triumph of avant-garde modernity. Broadcasted in the fairs and music-halls of Paris, Berlin, London, Brussels and New York around 1895, the cinema was a great success: around 1905,nickelodeons ), Italy, though economically backward, had 500 rooms including 40 in Milan. In 1912, Carl Laemmle inaugurated the star system to showcase the actress Mary Pickford and the cinema became a real industry, setting up her center in Los Angeles. In the Belle Epoque , it is mostly a popular and uneducated public that is targeted, filmmakers are usually immigrants wanting to make a fortune by attracting many visitors to distract, so that the European Social Democracy, which aspires to spiritually elevate the masses, accuses the cinema of diverting lumpenproletariatreal problems. Still silent and sometimes endowed with a musical accompaniment, the cinema also had the advantage of being easily exportable and understood by all. At the beginning of the 1910s, however, the cinema pursued its ambition to address a more educated public, which would no longer reproduce on screen the skits that could once be found on stage. In order to attract this new audience, including women (previously, spectators were 75% male) and European (where theatrical culture was predominant), the cinema is moving towards large productions, adapting scenes from the Bible or literature,). Historian Eric Hobsbawm notes that at that time only, cinema becomes “a major, original and autonomous art” 84 . The school of Laurie Dickson The slow motion is a discovery of Edison’s team in 1894 , and not as it is often said, of the Austrian August Musger in 1904 . Indeed, if Louis Lumière has provided in his camera a possible setting of the closing area of the shutter, that is to say a setting of the shutter speed and therefore also a setting of the duration of the shutter exposure of the film to light, the kinetograph does not have this convenience. The diaphragm built into the lens has not been invented yet. When the sun is particularly violent, Dickson and his assistant William Heiseincrease the speed of rotation of the Kinetograph motor, from 18 frames per second to 30 or even 40 frames per second, which shortens the exposure time of each frame of the film, and thus produces the same effect as a diaphragm that would close. But another effect is induced by this increase in the rate of shooting. At projection, the Kinetoscope delivers 18 frames per second and this speed can not be changed since the device is driven by an electric motor. For example, if one second of filmed life is spread over 36 photograms at the output of the kinetograph, this scene, projected half-way by the Kinetoscope (18 frames per second), will therefore be slowed down twice in rendering sound. movement. The acrobats filmed by Dickson so activate in a graceful slow motion that only the cinema knows how to render. Shooting shot at a rate lower than that of the projection, and which causes an acceleration, is called in Englishundercranking , the opposite, the shooting performed at a rate higher than that of the projection, and which causes a slow motion, is called in English overcranking . After modifying the kinetograph and especially having made it autonomous by adopting the crank, Edison makes subjects shoot outdoors, and his operators report “films” (it’s Dickson who baptizes each bobbin containing a single subject) to compete with the others. “Views” of the Lumière brothers. Throughout the world, the various companies that exploit the production and projection of films copy each other, shamelessly. Each one turns his train passage, his exit of firemen, his rowers on the river, his diver (whose reverse is a real aesthetic shock), his babies eating their porridge, etc. The main thing is to sell more and more reels that can recover a hundred times the initial investment. The school Louis Lumière To vary the programs, and especially sell their films and Cinematograph (the device itself) rich individuals and fairgrounds, the Lumière brothers feed their funds by “animated photographic views” they rotate by operators sent in the whole world. The most famous of them, Gabriel Veyre , Alexandre Promio , Francis Doublier , Felix Mesguich record reels that have only one shot, one shot. Exceptionally, they stop “grind” (called the “crank-turners” 85), in order to save the precious Eastman film during a scene they consider longuette, and they resume a little later, creating two shots in the same reel which is then cut and re-glued by eliminating the overexposed photograms which correspond when the camera is stopped and restarted. Premisses of the assembly? Arguably not, since it is a simple repair 86 . The team is always the same, composed of two operators. The reels are developed immediately to stop the chemical action started by their exposure to light from the lens. The team leaves with film and product bottles. System D: Developed by placing the reel in the developer poured into a hygienic bucket enamelled sheet, rinsed with clear water, fixed and finally we manage to suspend the celluloid snake so that it dries. To check the quality of his work, the Light operator draws a copy since the device allows it cleverly, by loading the original negative and a virgin film against each other, the two sides coated with photosensitive emulsion being in contact,87 . The bad surprises are sometimes at the rendezvous. A team is threatened with death in Russia, the spectators believe that their machine is sent by the devil to resurrect the dead. They set fire to the projection room, destroying a Cinematograph 88 . In New York, Felix Mesguich is arrested by a policeman while filming in Central Park a snowball fight he provoked, on the pretext that he has no authorization, but mainly because he organized this illicit gathering. His assistant scoffed at the official of the order and recommended himself as a Frenchman. The two men are dragged to the district station and locked in a cell. We need the intervention of the French diplomatic mission to shoot away 85 . There are also the joys of discovery. On October 25, 1896 , filming in Venice aboard a gondola sailing on the Grand Canal , Alexandre Promio discovers the principle of traveling , which Louis Lumière calls “Panorama Lumière”. “The success of the process was great; we took views of trains, funiculars, balloons, the elevator of the Eiffel Tower, etc. But the application of tracking shots among light operators is limited to documentary 89 ” . To standardize the rate of shooting, the operators obey a Louis Lumière instruction: the Crank Cinematograph must be firmly operated to the rhythm of the military march Sambre et Meuse 90 . Disregarding this obligation, Francis Doublier made the first acceleratedof cinema in Spain, during a bullfight, when he realizes he will run out of film. It reduces the rate of shooting in half (9 frames per second) to double the duration of use of his reels. In projection, at the normal speed of shooting and projection (16 to 18 images per second), the movement is accelerated twice and it is necessary to slow down the rotation of the crank to obtain a roughly normal speed (at the risk to ignite the fragile celluloid that remains longer in the presence of the overheated light box) 91 . There is a slight acceleration that makes the toreador passes faster, which the filmmakers will later use in the action scenes. It is during one of the many projections of the Grand Café that the operator who manipulates the Cinematograph, arrived at the end of the reel, has the idea of rewinding the film without unloading the camera and without turning off the box. light; he mills the machine in the opposite direction of his usual rotation. The public is dumbfounded: on the screen, pedestrians walk backwards, vehicles roll backwards. This is the reverse , that we already got with the toys of precinema, and that Emile Reynaud was already using with her Optical Theater. A trick that will become a hallmark of cinema. The effect pleases the audience so much that Louis Lumière makes specific “views” turn, for the sole purpose of presenting them, first to the place, then backwards, in front of an astonished public. For example, Demolition of a wall , done in 1896 89 . The school of Georges Méliès For his part, Louis Lumière is not only the main designer of the Cinematograph, but in addition he trains all home operators because he himself is an outstanding photographer. Félix Mesguich tells in his memoirs that when he was hired, the Lyon industrialist warned him against any excesses of enthusiasm: “I do not offer you a job of the future, but rather a work of fairground. It will last a year or two, maybe more, maybe less. Cinema has no commercial future ” 85 . But in 1964 , in the book that Georges Sadoul devotes to the memory of Louis Lumière, the film historian reports that his interlocutor strongly contests the paternity of a prediction so unclear, and lends it to his father Antoine, who has since died long 92. However, Georges Méliès , famous illusionist, attends one of the first screenings of the Grand Café. He imagines immediately how the projection of films could enrich his show at the Robert Houdin theater that he bought in 1888. He proposes at the end of the session to buy back for an astronomical sum (he is then fortunate) the patents that protect the Cinematograph. Antoine Lumière refuses with good nature and told him: “Young man, I do not want to ruin you, this device has only scientific value, it has no future in the show”. Who does one believe? Who pronounced this unfortunate word first? Antoine, Louis, Auguste? Did Antoine Lumière simply want to discourage a future competitor? Or were they all three convinced that cinema was just a straw? One thing is certain, in 1902, as soon as the problems of narrative construction and staging have to be addressed, Louis Lumière abandons the making of new films, whether documentary or fictional. Much later, in the evening of his life, Louis confided to the film historian Georges Sadoul: “To make films, as fashion had come then, it was not our business any more. I do not see myself in the current studios ” 92 . After the polite refusal of Antoine Lumière, Georges Méliès does not admit defeat, this is not his genre. He turns to his English friends, Birt Acres and Robert William Paul, inventors of the Kinetic camera they have developed about the same dates as the Cinematographe Lumière. Robert William Paul has made a name for himself by making the counterfeits of Edison’s Kinetoscope in England. This time, he provides Méliès, in addition to one of his projection devices, the Animatograph, a single model camera, which Méliès calls the … Kinetograph (like the Edison-Dickson camera) 93 . It remains for the Frenchman to feed his camera with film. He managed to get to England a film stock Eastman 70 mmvirgin and embarks on two perilous technical operations that he leads himself, prestidigitation oblige! He tinkers a machine to cut the precious film in two 35 mmribbons . Then, with another machine of its manufacture, it creates a row of rectangular perforations on each edge of the film. His film is ready to be impressed. But Georges Méliès, who is above all a music hall artist, does not realize that he has just committed a counterfeit perforation which Edison has filed international patents. It does not have, like the Light, prudent and experienced industrialists, adopted a film drive system by round perforations. He should have imagined a variant, different from both Edison perforations and those of the Light. There is no thought, especially since the pirate kinescope ( 35 mm filmsEdison perforators) have already invaded the French and European market, and that he wants his future films to be seen, since it is unthinkable that the Lumière brothers project competing films, let alone films in the format protected by Edison. The American industrialist learns that this unknown, this little Frenchman, Georges Méliès, has infringed the laws on the intellectual property of industrial copyright. But France is far from America, Edison can only give Méliès a fierce hatred. When the French filmmaker, encouraged by the international success of his feature films, sends his brother to New York to open an office and distribute in the US the productions of his company Star Film , he finds himself facing Edison. And Thomas Edison will not miss this opportunity to recover the shortfall that the counterfeits of the Kinétoscope caused him and tax the counterfeiting of his perforations by Méliès. On the basis of the legislation for the protection of intellectual and industrial property, he had some of the copies of the Star Film, which had arrived on American soil, seized by the courts, thus paying himself “on the beast” because he could make project these copies legally for his benefit, unscrupulously adding them to his catalog.”It felt good resume: the Méliès film employed perforation he had invented 94 . ” The confiscation of law contributes to the failure of the Star Film in the United States, and greatly weakens society by Georges Méliès. But when Méliès went bankrupt, in 1923 , twenty years later, and was forced to sell his negatives by weight, the silver salts were recovered and celluloid melted for the manufacture of heels of godillots for the army (which is an irony of fate for the son of a footwear manufacturer), paradoxically it is the seized copies left in the United States that save from nothing the essence of the work of the French filmmaker. Movie avatars, and new hope May 4, 1897 , a catastrophe occurs in Paris, when the cinema loses a large part of its public gracious, because it is tragically struck by the fire of the Bazaar of Charity . More than one hundred and twenty victims, mostly women and children of the world, are burned alive in wooden decorations, fabrics and tarpaulins, trained to sell trinkets for the benefit of the poor. The fire takes from the movie projection booth, whose lantern runs on the ether. The flames spread to the crinoline long dresses of ladies and girls. Most of the men present escape shamefully, making their way with their canes and shoving women and children. In France and abroad, the emotion is lively, projections are temporarily forbidden, but resume soon. However, in France, the public of the beautiful neighborhoods boycotts the cinema, invented since less than six years, in public projection for less than two years. Louis Lumiere (or Antoine, or Augustus) would he be right? In truth, the cinema conquers the fairs and continues to win followers among the jugglers, and the public in the popular classes. The industrialists provide the showmen with films and projection equipment under concession, then with the purchase, thus relieving all responsibility in case of disaster. Leon Gaumont , a Belgian industrialist who sells equipment and supplies for photography, and who believed for a time in 60 mm format Georges Demen, soon offers a catalog of thriving film reels 35 mm 95 . He entrusts his secretary, Alice Guy , to direct the production of these films. Alice Guy is the first woman filmmaker in the world, she herself realizes hundreds of reels, including a Passion (of Jesus) that marks the arrival of religion on the market halls, and which has a scenario famous and tried: the way of the cross . A newcomer arrives in the race for success: Charles Pathé , a French forain enriched by his film screenings, who decides to send operators around the world, following the example of Louis Lumière, to film typical scenes, always in the form of reels containing a single shot 95 . In a short time, with the help of his brother, his company, Pathé-Cinéma , became as powerful as the most important American production companies, be it Edison Studios or Vitagraph Company . Its triumphal emblem is the Gallic rooster , and is still today. Birth of a language: the division into plans From 1891 to 1900 , and even a few years later, the films always present themselves in the same light: a film reel 35 mm to 20 meters at most ( 65 feet ), on which is impressed a single shot having a single framing (a shot), which, in projection, lasts less than a minute. Exceptionally, a second shot follows, usually with the same frame, a continuation of the “view” main. After the revelation of the “Latham loop” and the adaptation of the process to all the machines, the showmen who project the reels take the habit of sticking several of them to one end of the other, with a little bit of ‘ acetone , to avoid multiple stops for recharging their machine. This wild butt does not go unnoticed by the creators, who see an opportunity to increase the length of their films and lead a longer story. This is how Georges Méliès understands that he can build his shows of animated photographic views into several “tableaux” (that’s the name he gives them, coming straight from the music hall) pasted end to end. a single bobbin. The duration of the film then changes from less than a minute to several minutes. But it would be wrong to see in this end to end of paintings or scenes, the birth of editing, because its users design this end to end as a simple succession of reels. Moreover, Méliès does not miss, in the shooting, to begin systematically each “painting” by a fade of opening and to finish it by a closing fade. A process imitated on that of projections with two magic lanterns working alternately, which prefigure the current slide shows. This is what Méliès calls a “change in view”, as if the fades surround each issue of a show, which invisible machinists would change the scenery in a split second. The Brighton School and Its Followers It is the English filmmakers who first discover the virtues of cutting into shots and its corollary, editing. The historian George Sadoul groups them under the name of “the school of Brighton “, and reserves to the most inventive of them a hat trick deserved: “In 1900, George Albert Smith was still with James Williamson at the forefront of film art 96 . “ In their Grammar of the cinema , Marie-France Briselance and Jean-Claude Morin do not hesitate to declare: “While William Kennedy Laurie Dickson, William Heise, Louis Lumière, Alexander Promio, Alice Guy, George Méliès, in short, the inventors of the primitive cinema, do not depart from the habit, both photographic and scenic, shooting a single shot to film a single action in one place, George Albert Smith, he describes a single action taking place in one same location, using several shots that are linked together by visual logic alone. What will be called later the technical division, the division into planes of the space and the time to be filmed 97 . ” Directed by George Albert Smith in 1900 , Grandma’s Magnifying Glass is one of those works that shook up cinema (as Dollie’s Adventures , or Citizen Kane , or Breathless , will do later). Mulholland Drive ). This twenty-minute film about very thin, as is customary to conceive them at the time: a child uses the magnifying glass of his grandmother to observe around him, George Albert Smith takes again what he has already tried in What we see in a telescope ( As Seen Through a Telescope): it alternates two kinds of shots. A main and wide framing shows the boy in the company of his grandmother, busy darning. The boy takes the magnifying glass and directs it first to a watch, which is then seen in close-upthrough a round cut in the shape of a magnifying glass. The young boy searches around him, and points his magnifying glass at a bird in a cage. Close up of the bird through the cutout. The child then directs the magnifying glass to his grandma. A very close-up rather funny picture shows the right eye of the grandmother, who turns in all directions, always seen through a round cut. The grandson sees his grandmother’s kitten hidden in his sewing basket. Closeup of the kitten through the magnifying glass. The kitten leaps out of the basket, the grandmother stop there the game of her grandson. This succession of shots, linked by the same story, inaugurates the division into shots of a movie film, what is today called technical cutting, or more simply cutting. And its logical continuation, which is the montage of these elements filmed separately,98 . The discovery is important, fundamental. Georges Sadoul recalls with finesse that George Albert Smith knew the images of Épinal and their equivalents, for having projected them on glass with a magic lantern, namely The Facies of the Sapper Camember ( 1890 – 1896 ), the comic strip of Georges Colomb, aka ” Christophe “, where the “vignettes” drawn present changes of axis of vision. As a bonus, this film invents the subjective plan , since each close-up seen through the magnifying glass, is a subjective plan that borrows the gaze of the boy. In our time, this division into plans seems easy and obvious, almost banal. But in 1900it’s a revolution! Georges Sadoul, who speaks of “revolutionary style” , insists: “This type of account, typically film, seems to have been unknown in 1900, out of England 96 . ” In 1903 , George Albert Smith added cutting and subjectively another discovery: the temporal ellipse with The Misadventures of Mary Jane . We must return to the various close-ups of Grandma’s Magnifier , prefigured by the close-up of Vu with the help of a telescope . At the time, no filmmaker uses this kind of framing. Dickson has already shot some of his films in Close-up (Chest Plan), and in the American Plan, but he has never tightened his framing as tightly. A watch, a bird, a kitten, and especially the eye of the grandmother, as filmed George Albert Smith, are part of the most tight frames of primitive cinema. In turn, in 1901 , James Williamson has fun with a range of all framings, unexpected and once again funny , in The Extraordinary Mouthpiece ( The Big Swallowwhere he does not hesitate to show us the operator and his camera. The character he films looks straight into the lens of the camera and gets closer to her talking aggressively, obviously refusing to be filmed. It exceeds the limit of closeup and soon we see, huge, only his mouth that pretends to swallow the camera. In the gaping hole that opens, an operator and his camera, seen from behind, tilt over the precipice of the throat. The character of the ogre seems to spit the lens then and we see his face again close up. He chews fiercely and finally bursts into laughter insane 99 . This English-style joke is a foot-to-nose with a single-footed framing still used by filmmakers all over the world, with the exception of Brighton! George Albert Smith ( What we see in a telescope ), James Williamson ( Attack on a mission in China , Fire! ), William Haggar ( Fighting two poachers ), Frank Mottershaw ( Bold burglary in broad daylight ), Lewin Fitzhamon ( Saved by Rover ) systematically use this way of filming which differentiates them for a time from their European or American competitors 100 , 101 . English filmmakers launch Chase Films Outdoor pursuit films, which are so successful that most filmmakers around the world are gradually going to adopt the filmed action plan division, and the use of alternate editing, which provide quick action, at the same time. nervous succession that pleases the public. Ferdinand Zecca in France ( A romance under a tunnel , Through the keyhole ), and especially Edwin Stanton Porter in the United States ( The Great Train Robbery , The Life of an American firefighter ), compete with the English on their own ground . George Méliès, he does not understand the essential contribution to the cinema of his good friends of Brighton, and The Voyage in the Moon that he realizes in 1902 is there again, in spite of his numerous humorous inventions, a succession of paintings in the manner music hall for almost 13 minutes. Georges Sadoul, citing Méliès’ latest great production, Conquers the Pole , recalls that “the film is almost contemporary with the Italian Cabiria , the best Max Linder , Chaplin’sdebut , the first big DW Griffith , which he seems separated by entire centuries 102 . “This reserve makes it possible to affirm that Georges Méliès is not, contrary to what is often said, the inventor of the fiction, whereas his technical contribution, as illusionist, is considerable, in particular with the stop of camera, a a process that he repeated to William Heise and Alfred Clark of the Edison team who shot The Execution of Mary, Queen of the Scots in 1895 . “The actress who plays Mary Stuart kneels in front of the executioner and puts her head on the block. The executioner raises his ax. At this moment, William Heise orders everyone to stop, the extras who attend the execution, the executioner, the queen are frozen in their current position. The operator then stops the Kinetic and avoids accidentally moving the device. The actress is replaced by a model wearing the same dress and equipped with a removable headpiece. The operator puts his machine in motion. The ax falls down, the false head rolls on the ground, the executioner picks it up and shows it to the public. Mary Stuart, Queen of Scotland, died 103 . “ But while William Heise only once used this “thing” elementary (still had to find out!), Georges Méliès, him, after a first successful attempt in 1896 ( Escamotage of a lady at the Robert Theater- Houdin), declines the camera stop on dozens of films. The exception, as they say, always confirming the rule, it would be unfair not to report the fiction that gives in 1899 Georges Méliès on The Dreyfus Affair , a serious film (Méliès is a dreyfusard), where the filmmaker constructs several of his shots in a very modern way, in the manner of the Brighton school (moving comedians diagonally, or deep close to the camera), which is a happy exception in the work of the French master, who uses this mode of film narrative only once. In this, The Dreyfus Affair can be considered his masterpiece 104 . The decisive contribution of Griffith In 1908 , David Wark Griffith , an American autodidact who began his film career starring in the film Sauvé from the Eagle’s Nest (duration: 7 minutes), directed by Edwin Stanton Porter , for which he agreed to improviser stuntman , is then entrusted with the making of a 13-minute film, The Adventures of Dollie . The discoveries of George Albert Smith, and more generally the English school of Brighton, have opened to filmmakers a huge creative space, hence the duration of films cut into shots is between 10 and 13 minutes, that is to say a film reel 35 mm of 300 meters. We then say of a movie that it makes 1 reel or 2. Dollie’s Adventuresis a movie of a reel. The subject is simple: the girl of a well-off couple is kidnapped by a couple of “Travelers”, who wants revenge for their haughty behavior. The father sets off in pursuit of the kidnappers and catches them, but does not find in their trailer any trace of his child. The kidnappers locked Dollie in a wooden barrel. By passing a ford, the caravan lets out the barrel that floats on the water. The providential current brings back the barrel, and the little girl, in front of the parents’ house. DW Griffith accepts this subject, which seems difficult to realize, because of the different places and the simultaneity of the actions, because he understands – and this without any previous experience, he saw only a lot of films and knows the films of the ‘ English school in Brighton – how to deal with this kind of parallel action. Which is not obvious in1908 . In 1903 , his master, Edwin Stanton Porter, trying to solve the same problem in the film produced by the Edison Company, The Life of an American Fireman ( Life of an American Fireman ) show how, during a fire, the anguished waiting of the victims trapped inside the building in flames, and the departure and the race of the firemen, the barracks at the place of the disaster, followed by the installation of the scales and the lances with water, and the intervention on fire, finally the rescue. Porter did not know how to solve this problem. At the time, nobody knows how to build this figure of the filmic language, which today has become the abc of cinema. No one except James Williamson from the Brighton School , who in 1901 made a Fire , inspired by Edwin Stanton Porter. But James Williamson understands how he can alternately show what’s going on in the burning apartment, and what’s going on outside, with the firefighters leaving and arriving, then their intervention at the place of the fire, and he uses for this what he discovered a year ago with his Attack on a Chinese Mission : the field / backscreen . Edwin Stanton Porter first filmed a firefighter who was dozing and awoke with a start. A round vignette shows next to him the premonitory dream he had: a mother and her little girl who is praying. This is the first flashforward of the cinema 105. The fact that this dream does not show a beginning of fire, but a prayer, is supposed to make the spectator think that a danger is waiting for the characters. The fireman gives the alarm, then follow several plans: firefighters come out of their bedstead, let themselves slide on their emergency tube to the garage, the horses are hitched to cars, in the streets several shots teams hit the gallop . Next, Porter films in a single seamless shot, inside the building, in the room where the mother and her daughter are, who are desperate, intoxicated by the fumes, unable to go out because the flames have invaded the corridor. The mother faints. Always in the same plane, a firefighter appears behind the window that he breaks with an ax, carries the mother on the ladder, returns, Then, and only then, Porter films the outside of the building in a single plane that takes exactly the same action, repeating it: the fumes come out, the firemen arrive, draw up the ladder while they put the water lances in action . A fireman climbs the ladder, breaks the window, enters the room, and comes out, carrying the young woman on the shoulders. He goes down the ladder, places the young woman on the ground, who then cries out in despair, gesturing at the broken window. The fireman goes up again immediately, disappears into the room, returns with the girl in his arms, goes down the ladder, gives the child to his mother. All in a single shot, without cut, so without daring to mix by an alternating montage the two shots, the inside and the outside 106. In the beginnings of cinema, in 1903 , this mixture of interior (studio decor) and exterior (real building) is still unthinkable, except for the English at the School of Brighton. In 1905, in his 24-minute film, Journey Through the Impossible , Georges Méliès gives us the same configuration of two paintings: the arrival of a train station and the descent of travelers. 1 st table inside the car, the landscape – saw through the window – stops scrolling, travelers open the doors and down on the platform. 2 e table “outside” on the platform, the train stops (from the side, as if Méliès did not understand the benefits of the frame diagonally used by Louis Lumière for The Arrival of a train station in La Ciotat ), the doors open, and we see down passengers 107. This repetition of action seems absurd today, but at the time it was the alternating arrangements of the Brighton school that seemed surprising, even illogical … Yet that’s what DW Griffith tries and succeeds in his first film, The Adventures of Dollie. He mixes the shots that show the reunited family, playing badminton, with the gypsy couple’s shots in their encampment, the man coming back from his humiliating confrontation with the husband who hit him and swearing at his campaign that he’s going get revenge. Then the man goes back to the family’s house, takes advantage of the fact that the girl is alone, seizes her by preventing her from screaming and carries her away. He arrives at the camp and shows the girl to her companion who is upset, and who, for this reason, receives punishment from his companion. In front of the house, the family notices the disappearance of the girl and the husband goes out looking for it with neighbors. At the camp, the man hides Dollie in a barrel he closes. The father and the neighbors tumble, furious, and jostling the couple, looking everywhere without thinking of opening the barrel. They can only withdraw empty-handed, leaving free the couple of kidnappers who leave the camp immediately. The trailer goes off at a gallop and crosses a river, the barrel is detached, it is driven by the current. In their garden, the well-off couple are despairing because their research has not yielded anything. Several shots then show the barrel moving on the course of the river, crossing a small waterfall. In front of the house, a big fishing boy, who sees the barrel stop in the grass bordering the river. He calls the father, who suddenly strains his ear to the barrel, which makes him think he hears cries. He opens the barrel and releases the little Dollie. The family is finally reunited in joy. The trailer goes off at a gallop and crosses a river, the barrel is detached, it is driven by the current. In their garden, the well-off couple are despairing because their research has not yielded anything. Several shots then show the barrel moving on the course of the river, crossing a small waterfall. In front of the house, a big fishing boy, who sees the barrel stop in the grass bordering the river. He calls the father, who suddenly strains his ear to the barrel, which makes him think he hears cries. He opens the barrel and releases the little Dollie. The family is finally reunited in joy. The trailer goes off at a gallop and crosses a river, the barrel is detached, it is driven by the current. In their garden, the well-off couple are despairing because their research has not yielded anything. Several shots then show the barrel moving on the course of the river, crossing a small waterfall. In front of the house, a big fishing boy, who sees the barrel stop in the grass bordering the river. He calls the father, who suddenly strains his ear to the barrel, which makes him think he hears cries. He opens the barrel and releases the little Dollie. The family is finally reunited in joy. Several shots then show the barrel moving on the course of the river, crossing a small waterfall. In front of the house, a big fishing boy, who sees the barrel stop in the grass bordering the river. He calls the father, who suddenly strains his ear to the barrel, which makes him think he hears cries. He opens the barrel and releases the little Dollie. The family is finally reunited in joy. Several shots then show the barrel moving on the course of the river, crossing a small waterfall. In front of the house, a big fishing boy, who sees the barrel stop in the grass bordering the river. He calls the father, who suddenly strains his ear to the barrel, which makes him think he hears cries. He opens the barrel and releases the little Dollie. The family is finally reunited in joy. This cutting is actually inspired by the novelistic technique. Although never having attended university, Griffith is cultivated. Among the trades that made him live, there is that of bookseller; like Edison, he read a lot. He knows that the novelist constantly uses his gift of ubiquity to parallel two or more actions that take place at the same time. Griffith thinks that cutting into shots allows the same way to move from an action in a set, to another simultaneous action taking place in a different setting but part of the same story, with the possibility of going and to go back to one or the other decor, to go from one action to another, what one will call the parallel assembly, which is not an effect found in editing since this dichotomy is already provided in writing in the technical breakdown that follows the writing of the scenario, so before shooting. It is this possibility of cutting into sequences , and no longer into views, into tables or scenes, which henceforth allows the filmmakers to deal with increasingly lengthy and complex narratives, setting in motion many characters in various situations, related by the same story 108 . This is not without difficulty or opposition from the leaders of the Biograph Company, who complain about the daring of the filmmaker, as told by his wife, Linda Arvidson, the actress who played the role of Dollie’s mother … They protest: “How can one expose a subject by making such leaps? Nobody understands anything! “. And Griffith explains: “Does not Dickens write this way? “. The producers laugh out loud, “Yes, but it’s Dickens, he’s writing novels, he’s quite different! “. And Griffith affirms: “The difference is not so great, I make novels in films” 109 . Moreover, the leaders of the Biograph Company are convinced that The Adventures of Dollieis going to be a failure at its release. In fact, the audience “walks” and enthusiastically welcomes this film which is an unexpected success. And fortunately, as Billy Bitzer writes in his memoirs , “because, thanks to Griffith, the films were better, and since his new techniques drove up sales of the Biograph, in the end our friends bureaucrats stopped griping ” 110 . Casually, this “little film” Griffith has opened the way for feature films. The cinema is engulfed there and the long films (4 to 6 reels, and more) multiply, bringing a new breath to the cinematographic spectacle whose attendance increases considerably before the war of 1914-1918 , and resumes of more beautiful after the armistice. Advent of the sound cinema Music and noises in silent cinema In 1892 , Reynaud accompanied the projections of his Optical Theater by a pianist, Gaston Paulin, who composed, for each band, an original music. One can say that these are the first BO ( soundtracks ) film. Reynaud understands that his luminous Pantomimes see their evocative strength boosted by their marriage to music, which also ensures a sound continuum covering the sound of scrolling band images. Today, the composer of the soundtrack of a film is considered, in terms of copyrightrelating to the projection and diffusion by domestic support of the films, as one of the authors of the film, with the director (who is most often credited as the only author), the scriptwriter, and possibly the dialogist. Reynaud is thus a precursor, not only for screenings on the big screen but also for the musical and sound environment of projections, before Edison and Dickson, and well before the Lumière brothers. Of course, the composer Gaston Paulin is present in the hall to play each time his written score (the Optical Theater will never leave the Musée Grévin). A sounder attends the sessions. Music and sound effects do not appear on the media, but none the less exist. Same for the film screenings 35 mmon a photographic support, an instrumentalist (a pianist is the basic accompaniment) or several instrumentalists, or even a small formation of chamber music in the cinemas of the beautiful neighborhoods, improvise during the first screenings then resume the effects achieved during the other sessions . Sheet music is sold or rented with the films, so that the showmen can accompany the sessions effectively, including a list of the necessary accessories for the sound effects. Thus, the silent cinema never took place in silence. Not only is the music present, the noises are there at the right time, but in addition the showmen improvise an explanatory support of the story, read aloud by a huckster who does not fail to add funny remarks or coarse, to so much so that large corporations choose to provide, in addition to the musical proposal, a written proposal for commentary to be read during screenings. As early as 1894, encouraged by Edison whose idea it is, Laurie Dickson succeeds the first test of sound film. Once again, he is the star, he is filmed interpreting – badly – a little tune on the violin. The microphone does not exist yet, Dickson plays in front of a huge funnel that leads the sound to a Phonograph engraving a wax disc. Then, it is another Phonograph, hidden in the flanks of the Kinetoscope, which starts reading the wax slab engraved as soon as the image begins to move. Unfortunately, with such a device, the offsets of sound and image are inevitable. The same goes for Leon Gaumont’s Chronophone , engraved wax and projection on the big screen, essays that do not go beyond the stage of curiosity and do not raise at any moment the enthusiasm of the public, but which allowed many songs of us to reach today with the voice and the image of their interpreters: Felix Mayol , Dranem , Polin . These bands, called phonoscenes, were initiated by director and producer Alice Guy . But producers quickly understand the benefits they can derive from a sound accompaniment commissioned from a famous composer, whose name would be just as attractive as that of a great comedian. Camille Saint-Saëns wrote a score (now listed under the title Opus 128 for strings, piano and harmonium ) to accompany the film The Assassination of the Duke of Guise in 1908 . For his part, Igor Stravinsky , approached, is neglectful film music as just “wallpaper” 111 . On the other hand, Arthur Honegger agrees to compose for the film The Wheel made byAbel Gance in 1923 , a book he named after the star locomotive of the film: Pacific 231 , which is now part of the classical symphonic repertoire. The Vitaphone, Synchronous Film and Disk “It was not until 1924 that the Western Electric Company , in collaboration with Bell Telephone Laboratories, developed in the United States a sound synchronization system, the Vitaphone , which uses this process of the engraved disc. Western Electric engineers equipped the projection apparatus and phonograph with synchronous electric motors that drive the two machines at the same speed 112 . “ This time, the synchronization of the sound with the image is perfect from the beginning to the end. But the reluctance of the showmen are great, their experience of the discs coupled with the movies left them bad memories, interrupted projections, laughter or boos of the public, the passive is heavy. Western Electric is thinking of giving up, but an unexpected opportunity arises in 1926 . Four brothers, former showmen who have for several years organized traveling screenings, buy a theater in Manhattan and equip it with the process Vitaphone, committing their last dollars in a bet that seems, in the eyes of their contemporaries, lost of advanced. The Warner brothers produce a three-hour film, Don Juan, with the star of the time, John Barrymore , whom they still have under contract. The film includes some rare recorded dialogues, but above all, a whole bunch of known classical music, arranged to give them an air of continuity. We can say that this film is the first successful experience of sound cinema (recorded images and sounds). The drive torque etched film 35 mm works without incident. The audience of the screen-haves who are in the film reserve an excellent reception, but Don Juan does not pay for it, the places being too expensive to drain the popular public who besides, at the time, search for other musics . According to a good business principle, the Warner brothers believe that it is a necessary investment, which aims to demonstrate the reliability of the Vitaphone system, and they persevere. They then have the idea to film a singer of the most popular cabaret, Al Jolson , a White Grim in Black. They shoot A scene in the plantation , a movie of a single reel. The popular audience is enthusiastic, not only does Al Jolson sing the blues 113 , but in addition he speaks looking at the lens of the camera, he addresses the delighted audience, as in a live show. We are lined up to attend the sessions. The Warners are eager to redouble their coup, this time by producing in 1927a feature film of one hour and a half, the famous film The Jazz Singerwhich is a huge success. This is the first talking movie. ” The Jazz Singer was a silent film in which were inserted some talking or singing numbers. The first film “One hundred percent speaking” (to use the language of the time): Lights of New York , was produced in 1929 only 114 . “ Indeed, none of the many dialogues of the film The Jazz Singer is recorded, the replicas between the actors are all written on cartons of intertitles, according to the tradition of silent cinema. Only Al Jolson’s songs and the sentences he utters between two verses are actually recorded. This film should be considered rather as one of the first singing movies (after Don Juan and A scene in the plantation ). One thing is certain: it is a triumph that ultimately condemns silent film (which is not yet called), and immediately makes Warner Bros. Pictures one of the pillars of the Hollywood industry. Invention of the optical track With these successes, the Vitaphone system, disc and film, is spreading in all movie theaters and in the fairgrounds. But already, the technique is making a leap forward: the Fox Film Corporation inaugurates a photographic process, the Movietone sound , where a conductive wire stretched between the two branches of a magnet, deviates when the current passes from a microphone (a very recent invention). A thin brush of light is directed on the wire, distorted by the electrical impulses of the microphone. The light pipe and concentrated by a microscope objective type impresses the edge of a photosensitive film 35 mm, drawing a sound called “variable density” (white, black and gray scale), whose quality fades unfortunately through projections. What is now called the “optical track” is interposed between one of the rows of perforations and the edge of the photograms, trimming part of the image. Radio Corporation of America (RCA) launches a technique with the best sound output, called “fixed density” (white and black only), where the wire is replaced by the oscillating mirror of a galvanometer, which returns, always via of an objective, the bursts of light in the direction of the photosensitive film. At once, films with the Vitaphone system are transcribed on sound track film. The photograms of the silent films are 18 mm high and 24 mm wide, in a 3 x 4 aesthetic ratio , ie 1 x 1.3333 . The new sound film, with its optical path of 2.5 mm provides an image of 18 mm high and 21.2 mm wide, giving it a new height / width ratio of 1 x 1.1777 , close enough to the square image ( 1 x 1 ), farther from the famous golden number , “the divine proportion” of theRenaissance , that is: 1 x 1,6180 , an ideal proportion determined since Greek antiquity for the graphic and architectural arts. Obligations of sound, oppositions and curses In May 1928, Paramount, MGM, Universal, United Artists studios and some smaller as Hal Roach sign the agreement that paves the way for the spread of talking on her optic 115 . Two years later, in 1930 , sound cinema is everywhere, but it meets with two kinds of opposition. The most important in the United States is the fear of losing non-English markets, including the British market, for which the American accent is a subject of mockery. Several solutions are imagined, such as shooting the same film, with the same sets, but with different actors depending on the language. Solution, we understand, difficult to implement. Laurel and Hardychoose a shortcut and turn themselves French and German versions of their films 116 . The other reason is aesthetic. “One hundred percent talking” movies are nicknamed the ” talkies ” in the United States, a word with a pejorative connotation, as the door seems wide open to gossip for chatter, a return to theater aesthetics in that she is less original. More importantly, some of the big names in world cinema, Chaplin , René Clair , Murnau , Eisenstein, and many others whose films have the favor of the public, do not hesitate to make incendiary statements that condemn the film without appeal. For them, the silent film, equipped with its intertitles cartons, has reached a degree of perfection in the aesthetics of the story, that the success of talkies may negate rejecting the language of the image in the background 117 . So when he turns in 1936 Modern TimesChaplin sulks at the speaker, while using the music and sounds in this sound movie. A few rare words are here and there, but the film is not speaking. And when the character still has to make his voice heard (he has to sing a song in a cabaret to make a living), he providentially loses his antiseches where the words are written (the headlines of his shirt), and he has to improvise – and invent – an unknown language, that only the mimics of the character make understandable. It’s a funny sneaky walkie talkie . The demand for talking films is profoundly changing the film industry. To achieve good sound, studios are now governed by the obligation of silence. Silence is turned ! Outdoor shooting poses the problem of ambient noise (trains, factories, cars, and planes). Filmmakers seek places far from cities, or reconstruct nature in the studio. When the cinema was silent, the sets were profitable by the possibility of shooting several films at the same time. The tumultuous mixture of dialogues played on each set , the orders and technical instructions issued between members of the same team, the hubbub of visits from the curious, all this is no longer possible from now on. Studios reserved for talkiessee their walls and their roof soundproofed. Each tray can only receive one shoot, which increases production costs. In the beginning, the cameras, whose rattling is not welcome for the followers of a new profession, the sound engineer , are first locked up in glazed and soundproofed cells, where are also cloistered the operators who film through a window. In order for them to regain some of their mobility, the cameras are soon equipped with a heavy felt-lined aluminum casing inside which they are installed (called a ” blimp “, the camera is said to be “blimped” “). The advent of the talking cinema interrupts the career of comedians, stars, with the unpleasant voice. This is the case of John Gilbert , a partner of Greta Garbo , whose high-pitched voice irresistibly leads to decline in his first speaking roles 118 . His life inspired the film The Artist by Michel Hazanavicius , in 2011 and uses the technical means available to the cinema before the arrival of talking. Conversely, other stars of the dumb know how to rebound, such Ramón Novarro who is long in the poster thanks to a beautiful tone of voice and his talents as a singer. The movie Let’s sing in the rain illustrates in 1952, with a lot of talent and humor, the pangs of the arrival of the speaking. Over the decades of cinema’s existence, the recording and reproduction of sound will go through several stages of technical improvements: - Stereophonic sound; - Magnetic sound; - Noise reducers; - Digital sound. The improved standard format In 2004, the latest versions of the standard 35mm film before its scheduled demise in favor of digital hard drives, made it a complex support. Beyond the perforations , on both sides of the film in light blue, are the two sound tracks SDDS , digital optical tracks. The Dolby Digitalis grouped in separate gray squares (numerical blocks) between the perforations (a “double D”, the Dolby logo, can be detected in the center of each space between two perforations), which are read by a digital system installed on the device projection, which reads each block one after the other. On the inside left side of the perforations is the two-channel optical sound track, coded according to the Dolby SR noise reduction method , which can be divided into four Dolby Pro Logic channels . The frame illustration anamorphic visited projection through a désanamorphoseur goal in a ratio of2.39: 1. Contribution of color First colorful experiments Émile Reynaud is the first to use color for his luminous Pantomimes, shown at the Musée Grévin in 1892 . Image by image, he draws by hand and applies his aniline hues directly onto squares of gelatin 70 mm wide placed end to end, protected by a layer of shellac , which makes him the inventor the cartoon . In 1906 , the American James Stuart Blacktonregisters on silver film 35 mm , like a camera, frame after frame, thanks to what is called “crank”, a”Process (which) was called in France” American movement “. It was still unknown in Europe 119 . ” , A film for the Vitagraph Company , which is the first animated film-based cartoon of the history of cinema, Humorous Phases of Funny Faces , where we see, drawn in white with chalk on a black background, a young couple with soft eyes, then aging, ugly, the husband smokes a big cigar and suffocating his grimacing wife who disappears in a cloud of smoke, the hand of the host then erases everything. The credits themselves are animated. It’s funny, but the color is still missing. In 1908 , the Frenchman Emile Cohl , inspired by the work of Blackton, film, image by image, his drawings drawn in Indian ink on sheets of white paper, which represent characters or forms in the different phases of their movements. trips. He then establishes a counter-type of the negative film , which reverses the values and is then used to make the copies: the white background becomes black, and the black drawing becomes white (without recourse to chalkboard or chalk). It is Fantasmagorie which inaugurates Émile Cohl’s prolific career of animator. But by adopting this technique, Emile Cohl must give up the color at the same time, since the film is still in black and white. The use of drawing directly applied to the medium, in the manner of Émile Reynaud, returns several times in the subsequent research of filmmakers, some of whom make it an almost specialty. This is the case of Quebecois Norman McLaren who, from 1933 to the 1980s, experiences various techniques, including the drawings obtained by direct scratching of the photosensitive layer of the film, and the use of paints deposited directly on the film support. These colored bands are then copied continuously (without a shutter bar) onto a normal color film. Norman Mc Laren also innovates by drawing soundtracks which take up the characteristic ripples of optical sound tracks, directly drawn on the film support in all its width. The sound obtained by reducing the drawing to the scale of a standard optical sound track accompanies its own image. We see and hear the sound. In 1894 , one of the strips produced by Thomas Edison, filmed by Laurie Dickson, is then hand-colored (aniline dye), image by image, by Antonia Dickson, the sister of the first film director. This is Serpentine Dance (French Butterfly Dance !), A very short 20-second band, where the dancer Annabelle twirls with lacy effects in the manner of Loïe Fuller . The effect is still very successful today. This is the first appearance of color applied to animated photographic shooting. The contribution of the color passes in the first decades of the cinema by two solutions: - The first is cheap, and its appeal limited but recognized. It is the dyeing in the mass of each copy of projection, by immersion in a transparent dye bath which gives each one a particular light. A reel showing a swim in the sea is tinted green. A forge or fire scene is similarly tinted in red. The blue is used for regattas on the water, the yellow accompanies the views of the desert … Georges Méliès uses this economic process to tint each of the reels which he does an end to end, highlighting the different “tables” of his comedies. - The second is the coloring by hand of each of the photograms, using a stencil coated with ink. This technique, which requires the reinforcement of many “little hands”, is much more expensive, but the spectacular effect is guaranteed. Georges Méliès is not the only one to use it. The Pathé, Gaumont, and of course Edison productions, set up workshops in which dozens of women dare to color themselves with a brush, with a manual stencil, then with a mechanical model system that draws, via a parallelogram or cams, one or more stencils. The colorization process is a line work where each color is applied by a post that is exclusively allocated to it. This technique is used nowadays for the colorization of Black and White films, which allows them a second life, either indoors or on television, or in domestic formats, cassettes, DVDs, Blu-Ray, but small hands are now replaced by artificial intelligence. After discovering the cut-up in shots and many other fundamental innovations of the cinema, the British George Albert Smith is not interested in the realization. In 1904 , he acquired a taste for pure research by developing with the financial support of the American Charles Urban a film process giving the illusion of color on black and white film, Kinemacolor whose first film, A dream in color , date 1911. This process requires a specific camera and projection apparatus. The rotating shutter that masks the movement of the film is provided with a red-orange filter in one of the open areas that allow the printing or projection of photograms, and a blue-green filter in the second sector open. The colorization affects the shooting (always in black and white) by changing the gray values by a phenomenon close to the iridescence, the changes taking place for each of the filters, one image out of two. In projection, the same filters color the gray values by the same phenomenon. The films look good in color, but the disadvantages of Kinemacolor are many: blue and white are poorly or poorly rendered, the colors are a little pasty. And especially, the process requires the investment of equipment that works exclusively for Kinemacolor. In addition, so that the alternating passage, from a blue-green filtered image to the next image filtered in orange-red, does not cause an unpleasant blinking to the eye, the speed of shooting and projection is increased to 32 frames per second and is greedy film. After some two hundred and fifty films, the Kinemacolor is abandoned for economic reasons, just before the war. the speed of shooting and projection is increased to 32 images per second and is greedy film. After some two hundred and fifty films, the Kinemacolor is abandoned for economic reasons, just before the war. the speed of shooting and projection is increased to 32 images per second and is greedy film. After some two hundred and fifty films, the Kinemacolor is abandoned for economic reasons, just before the war.1914-1918 . The appearance of Technicolor - The first film of Technicolor company dates from 1917 , The Gulf Between 120 . This film is shot using a single-film process (alternating different filters every other image, 32 frames per second speed) that looks like George Albert Smith’s Kinemacolor , to say the least. is a counterfeit. The Gulf Between is considered lost, except for a few frames. The process used is abandoned. - Immediately after, in 1922 , Technicolor released a new process with two superimposed films, rotating at the normal speed of the time, 16 frames per second. The Toll of the Sea is the first film shot with this process. Others will follow, among them The Ten Commandments , the first version of Cecil B. DeMille , The King of Kings of the same Cecil B. DeMille, but also the first version of The Phantom of the Opera , that also of Ben Hur ( with Ramón Novarro in the title role), and The Black Pirate (with Douglas Fairbanks ), all very popular hits that will later be remakes. - Finally, in 1928 , the three-film process was developed and gave the first film of the process Technicolor trichrome: The Viking , directed by Roy William Neill. The trichromatic process also uses the only available film, the black and white film. The shooting is done with a heavy camera with impressive dimensions (especially when it is equipped with its soundproof blimp ), which scrolls at the same time three synchronized black and white film. Behind the lens, a double prism lets pass in a straight line the filtered green image that impresses one of the dandruff. By a first filtering, the same double prism deviates the beam of red and blue on a packtwo films that run against each other. The first is devoid of the anti-halo layer that usually “closes” the back of the film, the image can cross but the way impresses the blue, while it impresses below the other film filtered red. The shooting thus provides three negatives in black and white, which represent the matrices of each fundamental color by their complement (the yellow given by the blue monochrome, the magenta red given by the green monochrome, the blue-green given by the monochrome red). The printing of the copies functions according to the principle and the technique of the trichromie of the printing, with the same possibilities to regulate the intensity of each color. The impression is made by contact with the reliefs of the gelatin of each matrix, previously hardened,121 . Very quickly, it appears the need to add a fourth impression, a neutral gray whose matrix is obtained by the photographic superposition of the three matrices of the shooting, in order to emphasize the outline of the forms which thus take more body. But the direct process of shooting is particularly expensive because of the simultaneous running of three films used at each take of each plane. However, duplicates are intended in principle, for the best: the conservation of a security in case of deterioration of the original, for others: recycling. This recycling appears as a useless waste of money. A solution is found by the development of Eastmancolor , a “monopack” film whose creation process must be specified. In the 1930s , Germany , under the boot of the National Socialist Party , developed a propaganda cinema endowed with enormous financial means. The search for a color film process, using a single lightweight medium that would promote documentary shooting (for political purposes), is conducted hastily. The Agfacolor process , originally invented for the photography on glass plates, is then declined on flexible film, first in reversible film(the film undergoes two successive treatments – development, and then veiling – which make it pass from the negative stage to the positive stage), then in negative (then requiring separate positive copies). The process comprises on the same support three superimposed sensitive layers, the first sensitive to blue, the second sensitive to green – separated from the first by a yellow filter layer – and the third sensitive to red. In the years 1935 to 1943 , Nazi documentaries were shot for many of them in color. After the war, these colored films will be considered lost, but will be found in the 1990s , after the fall of the Berlin Wall and the collapse of the Soviet bloc. They had been confiscated as war catches. In 1945 , after the defeat of the Rome-Berlin-Tokyo Axis , the Allies and Soviets seized German technological discoveries, and brought back behind their borders, among other processes and techniques, those of the colored film. In the United States, the subtractive process of Agfacolor becomes Eastmancolor, in the USSR it gives Sovcolor, in Belgium Gevacolor, and in Japan, under American control, Fujicolor is born. Compared to the Technicolor, the Eastmancolor process offers an economical alternative to the shooting stage. In the 1950s , Technicolor films were now shot in Eastmancolor. After filming, once the editing is completed, the four matrices that are used to print copies of the Technichor trichrome film, with the advantage over the Eastmancolor negative, are drawn from the Eastmancolor monopack negative, so that they can be calibrated effectively. at the chromatic level, for each of the primary colors. An even more economical process, discovered in photography in the 1920s , is adapted to cinema in Italy in the 1950s: the Ferraniacolor. It will serve mainly costume films, especially the peplums that revive the Italian production. The films made in Ferraniacolor (in Italy but also in all of Western Europe) had a few decades later their life turned upside down by a relatively fast phenomenon of discoloration, going up to the monochrome. Fortunately, the most important films were reproduced in time on Eastmancolor, and later, the less fundamental films were nevertheless saved from nothing, and marketed on television and on domestic media ( cassettes ,DVD , Blu-ray ) by recognizing the last traces of the colored layers and upgrading them thanks to computers specializing in digital effects. Debates on the contribution of color The Technicolor trichrome pleases the audience, its shades a little unreal make it an ideal support of the dream. It’s the glamor of Technicolor Direct, its inimitable charm. The Wizard of Oz , the musicals , are shot in Technicolor. Is the contribution of color to the cinema an advance or a superfluous mess? Is it a good, is it a bad thing? This is the debate that has already taken place about the talking film, which resumes between the supporters of the old and those of the new. In 1954 , Henri Agel , who conducts at the Lycée Voltaire the preparatory course at the Institut des Hautes Études Cinématographiques 122, writes a revealing statement of the discomfort that color can provide at the time when it is displayed without complex: “The cartoons of Tex Avery , Walter Lantz and some others bet on the paroxysm in the unleashing of ferocity, in editing and also in color. The frenzied images spur in the eyes and we know that the traumas they provide are very little suitable for children ” 123. Color is equated with an evil weapon that would be manipulated by “ferocious” filmmakers seeking to traumatize, to hurt the spectators’ eyes with “frenetic images”. In truth, color has long been considered an inappropriate and disgraceful addition to the images of cinema, which only black and white was supposed to bring to the level of the major arts. As soon as it appears, the critical minds judge it by the yardstick of the masters of painting, be it primitive, classical or contemporary. In the same book, Henri Agel marvels, at the sight of the Franco-Italian film The Golden Coach , made in 1952 by Jean Renoir , son of the painter Auguste Renoir “We are seduced by the harmony and softness of these agreements recall certain paintings by Chagall , or the Harlequins of Picasso .” At no time was the black and white film compared to other graphic arts, if not to photography using the same panchromatic film medium. Reluctance to use color film is also a problem for the filmmakers themselves. The Indian director Satyajit Ray recalls, during the filming of Far Tonners , “that with the passage of time, rules were established: films including dances and songs, historical or extraordinary, fantastic or for children, comedies light tinged with humor or, finally, movies about nature, were in color, and besides the serious movies, the intense thrillers, the police were ideal when they were shot in black and white. Hollywood rules! » 124The director means that the films that count, those that expose the problems that society faces in its changes, intergenerational conflicts, the confrontation of women with the patriarchal order, the deadly struggle between the mobsters and the police, corruption policies, etc., all these subjects do not tolerate the distraction that is supposed to represent the rainbow of the color film, reserved for entertainment films or intended for children. Turning Empress Sissi , or Tous en scène in color, is one of the accepted things, not just in Hollywood , but in the cooing and harmonious world of Bollywood . It must be remembered that Far Tonnerstakes place during the Second World War , at the beginning of a great famine that will cause death in Bengali country and Satyajit Ray wants to justify his choice of color, despite the gravity of the subject. But at the time of this film, in 1973 , the public has already admitted that tragedy can be told with colors. In 1958 , Raoul Walsh realized The Naked and the Dead , based on the novel The Naked and the Dead by Norman Mailer , a bitter and movie complex on the Pacific War. The colors are summed up in this film to the ranges of uniform green that dress all the characters, and to the green and deadly trap of the jungle, with the exception of very colorful flashbacks that evoke their love life in the country. In fact, the film resembles by its chromatic treatment of war scenes to a film in black and white, one could say in green and white. In the same way, the films around the character of Inspector Harry are in the colors of concrete and scrap of places of perdition where the stories unfold. Since then, all filmmakers have accepted color, throughout its palette, as an element as powerful as black and white in dealing with violence or terror. The Freedmen , by Martin Scorsese, is a colorful film, but not an entertainment for children … “Wide” vs. “small screen” In the 1950s , in the United States, and in the 1960s , in Europe, the cinema audience was threatened by a competitor who was going to be formidable, television . In 5 years , from 1947 to 1952 , the number of television receivers multiplies a hundredfold the US 125. The main asset of the television is that it is diffused by a domestic object, soon familiar despite its exorbitant cost, a piece of furniture which sits in the living room as a sign of the good financial health of the owners, and as proof of their opening to the world. Because the attraction of his black and white images is the illusion of bringing information, games, shows, sports, directly to your home, a way of emphasizing the importance of the host. The presenters, as well as the presenters, invite themselves to the viewer and address to him the eyes in the eyes, commenting for him the events of the day before, or better, of the day, or, even more extraordinary, in direct, simultaneous with the event, sometimes close. Very quickly, the television offer will cover a field that leaves far behind the cinema.years 1910 – 1920 . The slots of the television thus become customary meetings at home. The cinemas are victims of a haemorrhage that, in a few years, will make them partly turn into garages or supermarkets. Filmmakers find the answer to this crisis by developing what seems to be the main asset of cinema: the “big screen”, which opposes the cathode screen, small and almost round, black and white images pale. The gigantism of the projections is a reasonable answer to the massive attack of the “small screen”. In 1927 , for a film-river 3 hours 30, Napoleon , the French filmmaker Abel Gance trying to get out of the narrow confines of the silent film, so, he thinks, to give free rein to the lyricism of its anthem the French Revolution. In the third part of his book, he has the idea of simultaneously projecting, side by side, three films on a giant screen covering the surface of three traditional screens, a triptych process he calls “Polyvision”. But the exploitation of his film in the cinema is normally done on one screen. Only a few prestigious screenings, the first of which, at the Opéra Garnier , accompanied by the original composition of Arthur Honegger , respect the planned Polyvision. But the experience, although praised by everyone, remains unfulfilled. In 1952 , the first reply to the irresistible advance of television is called Cinerama , and resumed somehow the idea of Abel Gance. The essential difference is that the triptych part of Napoleon presents three independent images. For example, the comedian Albert Dieudonné (Napoleon Bonaparte) appears alone on the central screen, his soldiers sweep left and right (sometimes in the same left-right inverted image, usually in two different planes). The Cinérama 126 uses a 146 ° curved screen that replaces the flat screen of the normal film, each third of which is covered by the projection of three films taking place thanks to three synchronized projectors. The three projections reconstitute a single, gigantic image, which gives the illusion of surrounding the viewer, and the devices project according to the radius of curvature of the screen. The projector n o 1, located to the left in the projection booth, projects the right third of the screen, the n o 2, centrally located, projecting the central third, the n o 3, located to the right of the cabin, projects the left third of the image. The beams of the projectors 1 and 3 intersect, and the two devices converge so as to be as much as possible in front of their curved portion of the screen, in order to avoid deformations of the image. Two inevitable zones of separation reveal the meeting of the central image with the two others. The rate of shots, and of course that of projection, is increased to 26 frames per second, to eliminate parasitic flutter. In the shooting, three mechanically synchronized cameras are fixed to each other, according to the same principle of convergence: the camera on the left films the right part of the image, the central camera films the central part, the Right camera films the left side of the image. The three cameras each record the same shot of the film while rotating at the same time on a standard 35 mm film whose photograms are higher than wide, impressing on the height of 6 perforations instead of 4 for the normal film. The passage in the foreground of a character or object does not respect the desired continuity of the image and gives an impression of jumping into space (impression related to the curvature of the objectives of each of the three cameras). During projections, the sound is provided in stereo by a fourth band, magnetic, which requires a fourth machine. Seven sound tracks distribute the sound around the circumference of the giant screen curved. We understand that the many and expensive adaptations of the rooms, necessary for the use of Cinérama, repel most of the owners of rooms. In Paris, the Gaumont Palace , Place Clichy, devotes itself exclusively to the new process that its direction assumes to be the future and the preservation of the cinema. Yet Cinérama will kill the room, whose attendance drops sharply. The process seems good, but film production in Cinérama does not follow, despite The Conquest of the West , signed by Henry Hathaway , George Marshall and John Ford . A second film, also released in 1962 , The Enchanted Loves , directed by Henry Levin, which tells the life of the Brothers Grimm from their tales, is far from filling the rooms. From 1952 to 1962 , only ten films were released in Cinérama, eight of which are documentaries, in fact, they are promotions of the process. The process is then abandoned, and the name Cinérama is sometimes used abusively for films shot and projected according to other processes. In 1953 , 20th Century Fox launched the CinemaScope 126 , a process taken from an invention of 1926 , the French researcher Henri Chrétien , fallen since industrial dhérence. The Hypergonar Professor Christian is a complement of the main objective, and, unlike traditional optical which the lenses are spherical, it is composed of cylindrical lenses, able to flatten the image, to reduce width, to compress it, at its optical focus whose virtual image, which has undergone this anamorphosis, is taken up by the main objective and recorded on the 35 mm standard film. The same type of lens restores the true width of the filmed field, redeploying it into space. The aspect ratio of the filmed image is 2.55: 1, which makes it a very elongated image, but compressed by the Hypergonar to fit the height of 4 perforations. At the projection, the sound is stereophonic, arranged on several magnetic tracks on the left and right of the photograms. To recover the necessary space for the coating of these tracks, the perforations of the copies are reduced in width: instead of being rectangular, they are square, requiring for their projection to provide the device of specific debtors, in addition to a window Projection sized in CinémaScope format. To satisfy room owners who are reluctant to spend special interchangeable debtors, because it adds to the expensive price of the two cylindrical lens lenses to equip each of the two projection stations, 20th Century Fox also distributes copies to track standard single, or dual (to get a minimal stereo: sound to the right or left, or central), whose ratio increases from 2.55: 1 to 2.39: 1 to make room for the track still located at left of the photograms. The image, however, retains its great-space appeal, offering the audience a spectacle more in line with the breadth of human vision than the narrow window of the standard ratio of 1.37: 1. because it adds to the expensive price of the two cylindrical lenses to equip each of the two projection stations, 20th Century Fox also distributes copies with single or double standard optical track (to obtain a minimum stereo: sound on the right or left, or central), whose ratio goes from 2.55: 1 to 2.39: 1 to make room for the track always to the left of the photograms. The image, however, retains its great-space appeal, offering the audience a spectacle more in line with the breadth of human vision than the narrow window of the standard ratio of 1.37: 1. because it adds to the expensive price of the two cylindrical lenses to equip each of the two projection stations, 20th Century Fox also distributes copies with single or double standard optical track (to obtain a minimum stereo: sound on the right or left, or central), whose ratio goes from 2.55: 1 to 2.39: 1 to make room for the track always to the left of the photograms. The image, however, retains its great-space appeal, offering the audience a spectacle more in line with the breadth of human vision than the narrow window of the standard ratio of 1.37: 1. 1 to make room for the track still to the left of the frames. The image, however, retains its great-space appeal, offering the audience a spectacle more in line with the breadth of human vision than the narrow window of the standard ratio of 1.37: 1. 1 to make room for the track still to the left of the frames. The image, however, retains its great-space appeal, offering the audience a spectacle more in line with the breadth of human vision than the narrow window of the standard ratio of 1.37: 1. This is how 20th Century Fox presents the same year his first film shot and screened in CinemaScope (2.55: 1), The Tunic , a peplum, with Richard Burton , Victor Mature and Jean Simmons. The film suffers from new difficulties revealed by the experimentation of the process. More particularly, a staggering stance and an unbearable length of wide shots. Hypergonar requires a special setting, coupled with a setting of the main lens. Any change in focus, by moving either actors or the camera, requires a delicate operation at two levels. In addition, the frontal arrangement of the Hypergonar requires, in order not to vignette the image, to use primary objectives of long focal length, able by their narrow angle to avoid filming the interior of the optical complement. Director Henry Kosteris responsible as we say, to wipe the plasters. But the spectators are delighted and the movie The Tunic is a huge success. So much so that 20th Century Fox arrogantly offers its competitors to buy the license to use its patent for the production of films in CinemaScope. Almost all of them comply with the requirements of the winner. With the exception of Paramountand RKO (Radio Keith Orpheum). In 1954 , RKO replies to CinémaScope by a homemade process, the Superscope 126 , which an enlightened amateur of the history of cinema techniques describes as “CinemaScope of the poor” 126 . Superscope, not SuperScope, because CinemaScope’s capital S is a trademark of 20th Century Fox, and SuperScope would be a counterfeit that would immediately be dragged and sentenced. The Superscope process foreshadows the Super 35 mm used today. The image, with a 2: 1 ratio, is impressed on the negative without anamorphosis, so without the use of a complement optics, that is to say without the disadvantages of Hypergonar, using the whole width of the movie35 mm , eliminating the reserve provided for the optical track. The shooting window is cut directly to the ratio 2: 1. As a result, the shutter bar is considerably thickened and one can say that the available surface area of the negative is used at 50%, a considerable material loss, and a loss of definition damaging since the resulting film is intended in principle for projection on a giant screen. To save space for the optical track on the copies, the company Technicolor slightly compresses the image with a system developed by it. The projection of Superscope films is ensured in theaters equipped with CinemaScope, all the more easily as RKO, for reasons of economy, has given up stereophonic sound. The movie Vera Cruz , directed byRobert Aldrich , with Gary Cooper and Burt Lancaster , was shot in Superscope. Paramount, having refused the proposals of 20th Century Fox, must also innovate to make room for CinémaScope and Superscope. It chose in 1955 an original and powerful process, the VistaVision 126 , which delivers at choice a ratio of 1.66: 1, close to the golden ratio, or 2: 1, identical to the Superscope. But VistaVision is not the poor man’s Superscope. On the contrary, its adoption by Paramount assumes a higher cost of films shot with this method. The film remains the standard 35 mm , but it scrolls horizontally across the width of eight perforations, impressing a photogram of 36 mm wide by 18.3 mmfrom above. The quality, in terms of definition, is superb. For the operation of copies, two solutions are available: either the film is optically reduced on a film 35 mm standard vertical scrolling, and the projection device is equipped with a window to VistaVision dimensions or copies are identical the negative projection and requires special devices that cause the film horizontally in front of the projection window on the width of 8 perforations per frame, and meet the high quality of the filmed image. The camera adapted to the horizontal unfolding of the film is first a mechanically transformed camera to train the film on eight perforations, which the American filmmakers, in their pictorial language, call the “Butterfly” (” Butterfly “), because the two stores are lying horizontally, like two butterfly wings. Later, the two stores are arranged vertically, one next to the other, and the film, it takes place horizontally and therefore crosses the mechanism, passing from left to right. This camera is called “Slacker 8″ (” Lazy 8 “). “Slacker”, because the film takes place in supine position, and “8” because the film advances, with each photogram print, a step of eight perforations. Alfred Hitchcock, contracted by Paramount, turns all his films in color from Mais who killed Harry? up to Death on the go in VistaVision at a ratio of 1.85: 1. Cecil B. DeMille turns The Ten Commandments with the same process. Since the invention of cinema, the formats that tried to dethrone the 35 mm and its origin, the 70 mm , have been numerous, and most have failed. Even 20th Century Fox, which in 1955, with its CinemaScope that brings the audience back to theaters, tries to impose the format 55.625 mm impressing its photograms on a height of 8 perforations (it is not a question of a horizontal scroll similar to VistaVision), with an anamorphosis of the cylindrical lens type, bearing the name of CinemaScope55 126 . The copies are either in 55.625 mmwith high photograms of 6 or 8 perforations (copies in six perforations are less expensive), or reduced optically in 35 mm copies CinémaScope standard. The King and I , along with Yul Brynner and Deborah Kerr , are filmed in CinemaScope55. But this format, which wanted to impose the hegemony of 20th Century Fox, destabilizing the RKO’s response with the Superscope and Paramount with VistaVision, also fails. In 1955 , Mike Todd , one of the promoters of Cinérama whose commercial limits he quickly perceived, decided to take out of the dungeons of the cinema of the 1930s a format of film which, at the time, had an ephemeral existence: the 65 mm . Less gourmet than the Cinerama, this luxurious format seems a good replica of the triumphant CinemaScope of 20th Century Fox. The first shots are also performed on cameras of a quarter of a century, motorized for the occasion. To resume this format, Mike Todd partners with the company American Optical , hence the name of the process: the Todd-AO 126 . The 65 mm format prints photograms across the entire width of the film, from one row of perforations to the other. In height, the photograms are driven by 5 perforations on both sides, instead of 4 for the 35 mm . The proportions are 2.2: 1 The film meter costs about twice the 35 mm , but the image surface is three times larger, the definition is in the same proportion, which allows a three projection times more “stung” on a giant screen. The projection Todd-AO uses copies 70 mm , which allow to add on both sides of the film, on twice 2.5 mm , two magnetic tracks, in all four tracks. To complete the stereophonic panoply, the photogram is slightly trimmed on each side to leave room for two other magnetic tracks, located between the image and the perforations. Which makes a total of six sound tracks. The photogram of the 70 mm Todd-AO prints is 22 mm high by 48.6 mmwide. To facilitate the loading of the projection apparatus and possible repairs of the film, the passage from one photogram to the other is indicated by a minute round perforation between the rectangular perforations. To ensure the flatness of the film as it passes in front of the projection window, a compressed air emission system is set up in the scrolling corridor of the devices. Oklahoma! , Adapted from a musical of Broadway , old ten years, is the first film released in 70 mm Todd-AO. Mike Todd is aware that the international park of movie theaters is overwhelmingly equipped in 35 mm format . To produce this expensive film with RKO, he signs an agreement with 20th Century Fox, which provides for a massive deferred output of 35 mm prints in CinemaScope, in order to reach the widest audience. 20th Century Fox requires that the film be shot in two simultaneous versions, with two cameras placed side by side, one loaded in 65 mm , the other in 35 mm, equipped not with a lens equipped with a Christian Hypergonar, but with a cylindrical lens manufactured by Bausch & Lomb Optical , which offers by construction the anamorphosis of CinemaScope, eliminating the disadvantages of a dual purpose. 20th Century Fox inherits a negative in its exclusive format, and ensures during the second release, most of the proceeds of which it retroced by contract the legitimate shares to the initiators of the film. Both versions of Oklahoma! are slightly different, the two cameras not filming exactly the same shots from the same angle. Unlike other processes, the Technirama 126 , which wants to play Todd-AO, is not initiated by a production company. It is the company Technicolor which commercializes it from 1957 , in collaboration with the Dutch company Old Delft (Oude Delft) which brings its project of compression of the image by a double prism for the shooting, and by a double mirror for projection. The first company to rent this process is the Italian Titanus , for an Italian-American film, A History of Monte Carlo , with Marlene Dietrich and Vittorio De Sica . The Technirama uses the film 35 mmclassic, but in horizontal scrolling on a width of 8 perforations, which already provides an elongated ratio. Since the Delrama lens is an anamorphic lens that compresses the image by 1 ½ times, the final aspect ratio is increased to 2.35: 1, which brings it closer to CinemaScope (2.39: 1), with several advantages : the first is the lower compression (1.5 instead of 2) which avoids the bending deformations of the 20th Century Fox process; the second is to obtain a further definition of the image whose printing surface is larger; the third is the brightness of the dual prism system which absorbs less light than the cylindrical lenses of the Hypergonar. For reasons of economy, the projection copies of Technirama are most often in the form of 35mm with normal scrolling, the photograms being purely and simply anamorphosed. The first 100% American film shot in Technirama is the one directed by Richard Fleischer , The Vikings , with Kirk Douglas , Tony Curtis , Ernest Borgnine and Janet Leigh ( 1958 ). MGM Camera 65 & Ultra-Panavision 70, Super Panavision 70 The Metro-Goldwyn-Mayer , which accepts the diktat of 20th Century Fox in 1953 and turns with the CinemaScope process, decides to emancipate itself from the tutelage of its competitor. It asks the company Panavision 126 , which manufactures lenses, to study a process that it alone would exploit. Panavision is already working on projection objectives that will ensure its prominent reputation. Its Super-Panatar, which allows movie theater operators to adapt their projection devices to any compression ratio, whether CinemaScope or any other source, is so successful that 20th Century Fox decides to abandon the production of its own projection objectives. And, in 1957 , the MGM is proud to present its first film in “MGM Camera 65”, The Tree of Life , directed by Edward Dmytryk , with Elizabeth Taylor and Montgomery Clift . In fact new MGM cameras, this is classic Mitchell BNC format 65 mm. On the other hand, they are equipped with a revolutionary objective, whose anamorphosis is not brought about by an optical complement, but by construction, inside the lens system itself. It is no longer necessary to adjust two lenses, even coupled, only one adjustment is sufficient, and no bending deformation no longer disturb the optical rendering. In the credits, under the indication “Filmed in MGM Camera 65”, is specified: “Panavision objectives”. Apart from the objectives, which are the real novelty, the principle of shooting is identical to that of Todd-AO . The 65 mm filmtakes place vertically, in a ratio of 1.33: 1, and undergoes optical compression that leads to the ratio 2.55: 1, more elongated than CinemaScope. The first film in “MGM Camera 65” is actually only exploited as single copies in 35 mm , because at the time of its release, the 70 mm equipped rooms are monopolized in the United States by a huge success Todd-AO , Around the world in 80 days , and do not want to let go of the prey for the shadow! It was not until 1959 that the first film “MGM Camera 65”, projected in 70 mm , proves the exceptional quality of Panavision optics, the spectacular Ben Hur , withCharlton Heston and Stephen Boyd , another big hit. The MGM then launches into an ambitious program of six big-budget films in “MGM Camera 65”, the last of which, The Bounty Revolts , imprudently entrusted to the realization of Marlon BrandoNot only does it exceed its budget considerably, but it also unjustly confronts criticism and the absence of the public. In order to replenish its coffers, even before the release of the film, the MGM is obliged to surrender to Panavision the paternity of the process in which this company has worked almost in the shadows. Panavision immediately recovers its invention that it markets under the name of Ultra-Panavision 70, process offered to who wants to rent it. Later, completely released from MGM productions, the process is renamed Super Panavision 70 127 . For example, in 1961 , Exodus was shot by Otto Preminger in Super Panavision 70, as well as Lawrence of Arabia , made in 1962by David Lean . In 1968 , 2001, the Space Odyssey , is filmed with the same method by Stanley Kubrick . The Super Panavision still dominates the movie market. In 1960 , the Technicolor subsidiary in Italy launched a new format to make the scope cheaper, without special film or lens: the Techniscope 126 . One might think that this is the result of Technicolor’s reflection on the surface mess that the Superscope process offers, and the economy it offers to low-budget films. Instead of increasing the thickness of the bar that separates the photograms, to obtain as in the Superscope a flattened image, Technicolor chooses to remove this bar by impressing the photograms on the height of 2 perforations instead of 4 for the format 35 mmstandard and for the Superscope. The image is recorded at a ratio of 2.40: 1 (2.33 at the beginning), as wide as the CinémaScope, but it has the same drawback as the Superscope: a medium definition during projections on giant screens. On the other hand, the process recording on the height of 2 instead of 4 perforations per photogram, the expenditure of negative film is half as much as with the two other processes. The operating copies are standard 4 perforations, and the elongated image is then compressed by an optical system developed by Technicolor. Since most cinemas have their own set of objectives for CinemaScope, the Techniscope can be projected thanks to the competitor. The first film shot in Techniscope was released in December 1960 : The Princess of the Nile , with Linda Cristal . Sergio Leone uses it for his films For a Handful of Dollars (1964), The Good, the Bad and the Ugly (1966), and Once upon a Time in the West (1968), and later George Lucas will use it for economic and style reasons for American Graffiti (1973). James Cameron uses the process in 1997 to realize the underwater views of the Titanic, the Techniscope doubling the shooting time of a camera store, it is ideal for shooting under difficult access conditions. Housed in the entertainment centers of the general public and the family, a last film format was born in 1970 and spread all over the world. This is the IMAX , which presents on screens even larger than previous giant screens, short or medium-length films, only documentary type. Shooting and the operating room are made on a film of 70 mm wide, which runs horizontally on 15 perforations, where the label 15 / 70 mmIMAX. The screen is spherical and the “chrono” of the projection apparatus (its mechanism itself) is hoisted to the exact center of the sphere, from which it projects with the aid of a very wide angle lens with deformations. optics canceled by the sphericity of the screen. The huge pellets of film are located lower, and the film goes up to the device (like the cable of a cable car) and goes down to join the unrollers flat or the vertical reels. Stereophonic sound is complex, recorded separately from the image on a perforated multi-track magnetic tape 35 mm wide. Each room is equipped in a particular way, often with effects of vibrations and shocks of the so-called “dynamic” seats, for the sole purpose of making the illusion of participation in the stage greater. The IMAX process benefits from the use of IMAX format feature films in certain special release theaters, which complement the range of commercial exploitation of these works. Episodes of Batman , Harry Potter , Star Wars , have their version IMAX. But the process 15 / 70 mm IMAX is going to end, to switch to a general revival of the show cinema films: IMAX digital (filmless) is already a reality. End of the film debut of digital cinema “The film industry is now on the threshold of the biggest change in its history: the transition from film to digital,” writes Eric Roy 128 . “Economic and political considerations confined electronic screening rooms to isolated experiences 129 ” is the pessimistic assessment that draws the journal Screen total in September 1999 about the cinema of abandonment projects dandruff 16 mm, 35 mm and 70 mm . Nearly fifteen years later, the barometer published by the CNC on a quarterly basis counts as of March 29, 2013″5 077 digital screens in the global park of cinemas in France, ie 93.6% of the park. At the end of March 2013, 86% of the establishments (multiplexes) have at least one digital room (screen and projector without film) and 1,149 rooms, ie a little less than a quarter of the park, are entirely digitized ” 130 . What seemed unlikely, if not impossible, it was twenty years ago, is now a reality 131 . Nobody can deny that the 100% are for tomorrow and that soon, no film in the form of film will circulate either in France, in Europe or around the world, where financial support allow the transition to all digital. The selection that had taken place at the beginning of the cinema, when the great inventors, doubled with powerful industrial and financial means, Thomas Edison, the Lumière brothers, were the only ones able to make study their project by teams of manufacturers, paid and paid for by the year, endowed with considerable resources (William Kennedy Laurie Dickson and his successive assistants, at the expense of Edison Co, and Charles Moisson and his workers, at the expense of the Lumière company), had eliminated by KO the researchers loners, like Émile Reynaud, or Georges Demenÿ, and many others. Yesterday, when the cinema, following the audiovisual in general, is about to cross the digital age, it is still industrialists of international stature who take the risk of investing colossal sums, without any equivalent so far in the research of various silver formats. In 1999 , Texas Instruments , experienced in the manufacture of integrated circuits, launched its technology, the DLP Cinema 132 . The first public screenings in digital cinema are made 133 : 18 June 1999 in the United States (Los Angeles and New York) 134 and 2 February 2000 in Europe (Paris) 135 by Philippe Binant 136. The resolution was 1280 pixels per line and 1024 pixels per column (the 1.3K ) 137 . In 2001, precisely on October 29, Andrés Wood’s abrade fever ( La fiebre del loco ) was selected by the Higher Technical Commission on Image and Sound (CST) to constitute the content of the preparation and the presentation at Paris 138 , 139 , 140 of the first digital satellite film transmission in Europe of a cinematographic feature film by Bernard Pauchon 141 and Philippe Binant 142 . “For some purists, the 1080 guidelines of the American HD are far from being able to compete with analytical fineness of the image 35 mm , which would be the equivalent of 4000 lines resolution 129 . ” The magazine Total Screengives voice to supporters of the silver film, but warns ” it is not for us to end this debate ” a necessary editorial caution. Today, in 2013 , the DLP Cinema has a resolution of 2,048 pixels per line and 1,080 pixels per column ( 2K ) or resolution of 4,096 pixels per line and 2,016 pixels per column ( 4K ) . By 2004 , Sony had introduced its digital standard, the SXRD, whose so-called 4K resolution is 4,096 pixels per line and 2160 pixels per column, identical to the traditional filmstrip 35 mm and 70 mm . As did in 1903 all hardware manufacturers, film, and film producers, who ended the format war and had agreed to recognize the 35 mm to Edison perforations, as the only film internationally, the main Hollywood productions have come together around a common charter, the DCI ( Digital Cinema Initiatives), followed by the European and international regulatory authorities for the audiovisual sector. The DCI recognizes both projection technologies, DLP Cinema and SXRD. But in 2010, the DCI pushes the Texas Instruments technology back into 2K, and this company then transforms existing systems into 4K at its expense. The reason is that the 4K, besides its quality equal to the 35 mm and 70 mm photosensitive formats, allows a more secure against malicious interventions, because the main concern of major Hollywood productions, joined by the European productions, is the piracy of static memories that contain film files, by computer means to the public. However, the 4K is able to detect unauthorized manipulations and block the system. The opening of the reading means is padlocked at several levels by keys (called KDM, Key Delivery Message) that the distributor provides to its official clients, the operators of the projection rooms. The keys include the projection program that the operator intends to organize each day, which also allows the distributor to control the actual number of paid sessions based on the days provided by contract. “Ghost” projections – not reported to the distributor – are therefore impossible. This is why the DCI, which is not intended for charity, however allocates help worldwide to access the digital projections, provided that the equipment complies with anti-counterfeiting safety standards. Only this compliance enables KDM 143 keys . A third project, that of the historical supplier of flexible film, Kodak , that is to say Estman, released in 2013 its Laser Projection Technology (LPT), a different system that seeks a better brightness of the digital image, with less cost. Digital cameras have spread, editing systems have already existed for a quarter of a century thanks to television, the digital cinema park follows massively. Would silver film be experiencing its last moments? For now, it would be wrong to say so, because the various decision makers are not yet aware of the conditions in which the digital medium (static memories) is preserved. It is too early, in their opinion, to abandon the silver negative, even from digital filming and finishing, as the ideal means of preserving the work produced, because we know perfectly well the survival problems of a film. film, and ways to deal with its eventual degradation over time. Currently, In France, the legal deposit of films, received by the CNC is still mandatory as a copy 35 mm traditional photochemical. The camera in motion Early Traveling (“Panoramic Light”) In 1896 , when the first cinema films were not yet five years old, François-Constant Girel , sent to Germany by Louis Lumière, embarked on a skiff to visit the banks of the Rhine. Rather indolent, the operator believes that it is easier to stay comfortably on the deck than to walk carrying the precious camera and tripod. Since it is impossible to do to anchor the boat to take “views”, he decided to operate despite the continual navigation 144 . The Republican Lyon , the newspaper that sold the skin of the bear in 1894 , announcing before its development the “Kinematographe Lumière”, is ecstatic by discovering the projected views:”It is a view of an entirely new fact, taken on a boat in motion traveling to Cologne, and where we see scroll form a wonderful panorama, the so famous Rhine River 145 . ” But Girel is far from being a good operator, and not also remain long in the service of the Lumière brothers, this” absolutely new effect “is probably due more to his mind at ease talent. Un autre opérateur, Alexandre Promio, a l’idée de faire se déplacer la caméra, alors qu’il est à Venise. « Arrivé à Venise et me rendant en bateau de la gare à mon hôtel, sur le Grand Canal, je regardais les rives fuirent devant l’esquif, et je pensais alors que si le cinéma immobile permet de reproduire des objets mobiles, on pourrait peut-être retourner la proposition et essayer de reproduire à l’aide du cinéma mobile des objets immobiles. Je fis de suite une bande que j’envoyai à Lyon avec prière de me dire ce que Monsieur Louis Lumière pensait de cet essai. La réponse fut favorable146 ». Filmée le 25 octobre 1896, la bande est présentée au même journaliste enthousiaste : « le Cinématographe, dans une élégante gondole, nous conduit jusqu’à Venise où défilent successivement pendant ce trajet en bateau les plus beaux points de vue de la cité vénitienne et tout cela au milieu d’un va et vient de gondoles du plus gracieux effet147. » Cet effet d’impression de déplacement par rapport au décor, Louis Lumière l’intitule « Vue panoramique Lumière », et le succès est tel que tout opérateur un peu imaginatif inscrit à son tableau de chasse une ou plusieurs vues en mouvement, la caméra étant installée sur tout ce qui peut la transporter avec son opérateur : voiture, train, ascenseur, traîneau, téléphérique, trottoir roulant, Grande roue, ballon dirigeable, puis avion, etc. Il faut imaginer à quelles difficultés doivent faire face les opérateurs pour ramener de telles images. Dans les douze premières années du cinéma, soit les caméras ne possèdent pas de viseur, ou celui-ci est un simple tube optique, placé au-dessus ou sur le côté de l’appareil, mais que l’on consulte difficilement pendant la prise de vues, l’opérateur devant tourner la manivelle du mécanisme et assurer une bonne stabilité de l’appareil. Pour cadrer avec précision, on a recours au procédé utilisé en photographie : on règle l’appareil en observant directement la fenêtre de prise de vues. Pour cela, l’opérateur emporte toujours avec lui un morceau de pellicule voilée qu’il charge dans le couloir de prise de vues. Il voit ainsi l’image telle qu’elle sera impressionnée (donc, tête en bas, et inversée gauche-droite). Son cadrage fait, il bloque alors les vis de réglage du trépied, et charge la caméra avec un bobineau vierge. À partir de ce moment, il ne lui reste plus qu’à filmer « à l’aveuglette », son principal souci étant d’entraîner le mécanisme à la bonne vitesse, et à garder le bon rythme. Le plus souvent, les opérateurs du cinéma des débuts ont pratiqué la prise de vue photographique, et possèdent un « œil aiguisé » (« sharp eye »), ils connaissent l’étendue du champ filmé par leur caméra. Dès qu’un sujet très mobile sort de « l’entonnoir de l’objectif », ils corrigent le cadrage en déplaçant très rapidement l’appareil, à l’estime (un coup de pied habile dans le trépied suffit !). Les mouvements brusques, constatés dans certains bobineaux de films primitifs, sont parfois baptisés « panoramiques » par des historiens du cinéma, abusés par ces rattrapages de cadre accidentels148. Ce que nous appelons aujourd’hui un panoramique, ce mouvement de caméra voulu par l’opérateur, agissant sur les deux axes : horizontal et vertical, apparaît, comme le travelling, dès 1896. Laurie Dickson, le premier, inaugure le panoramique horizontal (suivant l’horizon), appelé « pan » en anglais. C’est James White qui ose en 1900, après ses panoramiques de droite à gauche sur le pont Alexandre-III, un panoramique évident et tentant sur la Tour Eiffel, un panoramique de bas en haut, puis de haut en bas, un panoramique vertical, appelé tilt en anglais149. In 1900 , the English school Brighton used in their chase films ( movies chase ), to better track the movements of their comedians, a resumption of the “views” of Louis Lumière, the diagonal of the field 150 . The idea of the panoramic comes to them spontaneously from the trajectories of the cat and the mouse, basic element of the chase films . The Englishman Alfred Collins, who is not from Brighton but works for the British subsidiary of Gaumont, is the first to perform panoramic shots for a dramatic purpose, notably to follow in 1903 the movement of an automobile in Mariage en auto ( The Runaway Match) 151 . In this fast paced film, Alfred Collins uses the tracking shot several times while loading his camera on the bonnet of the cars that are going on. Indeed, the bride flees her parents, hence one of the somewhat Francophile English titles: Elopement à la mode ( Fugue à la mode ). But for the public not to be disoriented when moving from one vehicle to another, an alternate montage figure that, at the time, was never used before, Collins introduces subtitles before each shot : “Vehicle of the pursuers”, “Vehicle of the pursued”. Thus, the spectators are there 151 ! In 1901 , for Edison, at the Pan American Exposition, Edwin Stanton Porter paned in two stages, starting in broad daylight and halfway through, continuing through the night. “This seemingly simple plan is actually a technical performance. The second part of the panorama, at night, was recorded at a much lower frame rate, in order to reduce the shutter speed, which made it possible to impress the film in a relative darkness 152 ! » This low-speed shot ( undercranking) accelerates the apparent movement to the projection. To give the illusion of the same speed in this two-part panorama, Porter had to counteract this apparent acceleration by slowing the performance of the panning motion. The horizontal panning is the easiest to perform and makes the best result, the vertical pan having the disadvantage of raising the objective to the sky that a self-respecting operator must avoid at this time because the available emulsions do not reproduce only partially the visible spectrum, the red is rendered by a neutral gray (this is why the actors make up the lips in black, in order to draw them from their transparency on film), the blue, it is reproduced catastrophically in white (The bluest skies seem washed out, a white from which obviously no clouds emerge). This is why camera operators tend to consider the horizon as a limit beyond which the rendered image is unattractive (white, nothing but white). It was not until 1920, and the arrival on the market of a film panchromatic type , correctly rendering in black and white all the colors of the spectrum visible to the naked eye 152 . On the other hand, to facilitate the maneuvering of the horizontal panning, and because the cameras are soon loaded with slabs of 60, 120 and 300 meters of film, able to record several shots, and requiring to determine as many different frames, the camera is equipped with a more elaborate sighting tube, attached first to the top of the camera, then to the side (to clear the upper part, reserved for the couple of film shops, blank and recorded). The tripod head on which the camera is attached is equipped with cranks actuating the horizontal and vertical adjustments, and making it possible to conveniently execute pans whose trajectory can be controlled by means of the aiming tube. But the operation remains acrobatic, because the mechanism of the cameras is still driven by a crank. Which makes 3 cranks to activate for one person. DW Griffith’s favorite operator, Billy Bitzer, tells in his memoirs about the shooting of Intolérance ( 1916 ) that his teammate Karl Brown “turned the crank [drive mechanism of the camera] with a flexible cable while I commanded the levers that made pan 153 ” . To control the framing, Billy Bitzer has implanted inside the camera a viewing tube that allows him to look “directly at the image impressed on the film, by the back of the camera, and this , with a packed eye with a rubber eyepiece that adjusted exactly to my eye so that light does not veil the film 154 “. The improvement and lightening of the batteries made it possible during the 1920s to see the mechanism being driven by an electric motor that finally released the operator’s right arm, which was available to maneuver only the cranks of the tripod. In the 1910s , American films are peopled by lawsuits where the director sends the camera on trains or cars. Speed is a new ingredient in adventure movies, flattering an audience that can not afford a fast car or those on an express train. The continuation-pursuing passage no longer needs to be indicated because, since the first film of DW Griffith ( The Adventures of Dollie ), the filmmakers know how one tells of the simultaneous actions by the division in planes and by the parallel assembly, and the public is now familiar with this type of story. In 1912 , a director of Thomas Edison, Oscar Apfel , announces the various flashbacks of the film The Passant ( The Pass-By ) by a tracking shot on the main character, a way “to enter his head” then “d ‘out of it’ by a back tracking, after the flashback 155 . This particular use of tracking shot will be in the spotlight in the 1950s, on the occasion of the many melodramas of the time, and it is a systematic occurrence in today’s movies, anxious for “everything in motion.” In the 1920s , a young French filmmaker dreamed of a total cinema. Under his artist name, Abel Gance , he tries all the possibilities of tracking shots on different vehicles. For his monumental Napoleon(1927), he tries to make the movement of the battles by demanding from his operators that they turn some shots without tripod, it looks like nowadays: “camera with the shoulder”. But it is still too early for this expression, because the operator shakes the camera with one hand against his abs and the other operates the crank, as would a portable barbarian organ player. Camera tripe, impossible to aim! Abel Gance thus obtains well-known plans that were previously unfeasible, very dynamic and spectacular. He even propel cameras through the air, using a sort of catapult, for Subjectively a cannonball or a snowball 156, an inconclusive experience, the subjectivity of an object having to be supported, confirmed, by plans of the object in motion, as we see it in today’s digital cinema, with, for example, subjective shots of arrows in flight ( Robin Hood, prince of Ken Reynolds thieves ). In 1922 , the Swedish filmmaker Mauritz Stiller shows in Gösta Berling’s La Saga the nocturnal race of a sled on a frozen lake, with shots filmed in a side track from another sled. “Filming outdoors the race that takes place at dusk would have required enormous and brutal means of lighting that would not have given such close-up shots of actors. These shots were made in the studio, and the night ice landscape that runs behind them was painted on a huge cylinder that was spinning in the background, as Méliès had done before in La Conquest du Pôle.in 1912 for its funds of starry skies. This chase sequence on the ice and extreme close-ups Greta Garbo beauty of upsetting face made her an international star known as the “Divine” 157 . ” That’s when the golden age of silent film, and already all camera movements are experienced and propagated. The manufacture of tubular tracking rails, light and yet rigid, appeared in the 1920s, permitted by the marketing of duralumin , aluminum alloy, copper and magnesium, which also equips the truck in the form of four bogies two wheels. In 1956 , the French filmmaker Albert Lamorisse develops a helicopter anti-vibration system, which he calls Hélivision . He begins by accumulating a quantity of stock-shots on different regions of France, then superb shots of the city of Paris, for which he obtains from Andre Malraux an exceptional authorization to fly over low altitude. Then, it’s the movie The Balloon Travel , which makes known internationally its anti-vibration system. The first James Bond use aerial photography from Helivision helicopter. Note that Albert Lamorisse was killed in 1970 in the crash of his helicopter, during shooting in Iran . Airships, airplanes, helicopters are commonly used, associated with various anti-vibration systems (Hélivision, Wescam) for low or high speed air tracking at variable altitude. Also popular are cable cars on a cable stretched between two pylons (Aerocam or Skycam) which allow very low-level overflights and high speed (up to 60 km / h ) tracking scenes (as well as views aerial sports), or four cables stretched between four pylons, the four cables being synchronized to retract or lengthen with so many winches, as the Cablecam which allows a complex movement within the quadrilateral formed by the four pylons (in ET the alienor in The Lord of the Rings ). But the great novelty ( 1976 ) is undoubtedly the Steadicam system which allows the camera, carried by a specialized operator, to move on the ground as if it floated on a cushion of air, with the added bonus of the possibility of a short movement in height. This system is also used to allow a quick installation of the camera compared to the actors, in a plan that does not necessarily involve traveling. In his memoirs, Billy Bitzer gives details of the device that allowed him to film Balthazar’s orgasmic feast in the Babylonian part of Intolerance : a rail- mounted elevator that allowed the camera, after diving the entire gigantic decor of the palace, to approach the five thousand extras while lowering its trajectory to the ground. Giant 45 meters high, with a useful surface at the top of 4 m 2 and a width of about twenty square meters, the tower contained an elevator, a platform supporting the camera, which could go up or down while that the whole thing was put on railroad rails. To maneuver, it took 25 machinists 158 … “More modestly, but just as ingenious, hydraulic piston lifts have long equipped the major studios, in America as in Europe. They allowed for example to film a character going up or down a winding staircase, the staircase was built around the elevator of the studio 159 . ” The device of Intolerance , which reveals Griffith’s megalomania as well as the ingenuity of the cinema technicians, has evolved to give the cinema crane, a balanced system with two arrows , one to carry at least the camera and its operator, but often also the first assistant operator (in charge of “making the point”), and sometimes the director, the other, so-called counter-arrow, to carry the counterweight heavier than the counter-arrow is more short. The two arrows form a parallelogramarticulated that allows camera support and staff seating to always be upright. The two arrows are sometimes equipped with side stays to ensure a perfect geometry of the whole. Cranes always require a large number of machinists to put them in working order and control their movement (see photo). In The Cameraman , Buster Keaton winks at this giant and expensive machinery machine, but still used widely in all Hollywood productions ( 1928 ). The apprentice cameraman attends a bloody battle in Chinatown , from the top of a scaffolding that the fighters manage to detach from the wall with unintentional blades. The scaffolding, now an articulated parallelogram, then behaves like a movie crane, and collapses, driving Buster – who continues to crank the crank of his camera – in a graceful rounding down movement, with a beautiful cloud of dust on arrival: the crane of the poor! In 1930 , René Clair opens and closes his film Sous les Toits de Paris “by a crane movement that starts from chimneys spewing their smoke, goes down the street where a traveling singer sells his scores and interprets them in chorus with the inhabitants of the neighborhood. . At the end of the film, it is the reverse crane movement that keeps our eyes away from the mountebank and takes us to the top of the roofs of Paris 160 . ” A system is very popular in Hollywood blockbusters of the 1930s . Thus, in Gone with the Wind , an impressive plan describes the innumerable wounded of the Southern troops, lying on the floor of the station during the defense of Atlanta . A wooden construction, an inclined planefrom the ground and culminating at several tens of meters, allowed a truck to climb the climb on rails, carrying with its horizontal support the camera and the operators whose weight was compensated by a vertical displacement counterweight. Nowadays, this traveling shot would be obtained thanks to a big model of Louma, or other mark, avoiding the risk of taking technicians in the air. The musicals of the 1950s use the crane movements to fly over the dance troupes and give the musical sequences beautiful flights. In 1937 , in Young and Innocent , Alfred Hitchcock concocted one of the most famous movie crane movements. Accused of a crime he did not commit, a young man goes in search of the murderer of whom we know only one thing: he suffers from a sick blinking of the left eye. “In a crane movement of sixty seconds, which leads us from the entrance hall of a cabaret to the room where many couples move, the camera flies over the track, it goes down gradually, goes to the orchestra, white musicians made up as black, she isolates the drummer, approaches him, more and more closely, eventually a big very tight shot of his face, and suddenly … the man blinked nervously left eye 160. ” Nowadays, movie cranes have followed the technological advances of their mothers from construction sites. Thanks to the video sighting and the remote controls, they are equipped with a telescopic arm which allows a large deflection in the space. The only weight to compensate is that of the camera, balancing the system is easier to obtain and less colossal. A crane that can elevate a camera two or three meters high can be turned on and operated by a single operator. The most efficient cranes raise their load to about thirty meters.
What Does it Mean to be Outside the EU? - The UK left the EU on 31 January 2020. - The transition period started on 1 February 2020 with no changes for businesses for the duration of the transition. - The transition period has ended on 31 December 2020 and the UK has officially left the EU at 23.00 on 31 December 2020. - A Free Trade Deal between the UK and the EU has been agreed and entered into on 31 December 2020 which replaced the previous The agreement became effective from 1 January 2021. The UK becomes a “third country” After exiting the EU on 31 December 2020 the UK has fully left the EU’s structures and has become a “third country”, a term for a country outside the EU. The EU trades with third countries on the basis of World Trade Organization rules (WTO), except in areas where there is a Free Trade Agreement with the EU. The aim is to have a deal with the best possible access for UK and EU businesses to each other’s markets, one that goes beyond the WTO rules. The UK’s transition from EU member to third country with a Free Trade Agreement has happened in three phases: Phase 1: The Withdrawal Agreement, which listed the terms of leaving (e.g. monies due, citizens’ rights, Northern Irish border).. Phase 2: During the transition period, the UK and the EU were negotiating future access to each other’s markets while businesses continue to trade under the rules of the EU internal market (the “Single Market”). Phase 3: The UK-EU Free Trade Agreement has been entered into which defines the new terms of access to the EU market. What does the post-Brexit free trade deal mean for businesses? A Free Trade Agreement aims creates market access conditions that go beyond the baseline WTO rules. The agreement covers not just trade in goods and services, but also a broad range of other areas, such as investment, competition, State aid, tax transparency, air and road transport, energy and sustainability, fisheries, data protection, and social security coordination. Key positive outcomes for businesses: - No tariffs or quotas for goods. There will be no tariffs or quotas for goods traded between the UK and EU. However, this is accompanied by a number of new customs procedures and formalities, including completing and submitting customs declarations, new ‘rules of origin’ requirements, which are needed in order to qualify for the tariff-free, quota-free treatment. - Reducing barriers to trade. Specific provisions were agreed to reduce the non-tariff barriers for medical products, automotive, chemical products, organic products and wine. - Government procurement. The UK and EU agreed to continue to allow access for their respective businesses to bid for each other’s government procurement contracts, going beyond the obligations set out in the WTO Government Procurement Agreement. - Reduced barriers for services providers. In principle, service providers will not need to establish a local presence to trade within each other’s markets – and they will be able to avoid economic needs tests, residency requirements and a range of other non-tariff barriers. However, there are very lengthy reservations listed to these main provisions. The parties have agreed ‘national treatment’ to prevent discrimination between nationals and ‘most favoured nation’ provisions to ensure the treatment of service suppliers keep pace with either party’s future free trade agreements. - Road haulage. Hauliers can continue to operate between the UK and EU, and to transit through UK or EU territory. UK hauliers will also not need European Conference of Ministers of Transport (ECMT) permits. - Air transport. Air transport of passengers and cargo can continue without quantitative restrictions on capacity or frequency (although UK airlines will no longer be able to fly between two points in the EU, so called ‘onward legs’). With regards to aviation safety, both sides will recognise the validity of each other’s safety certificates and licenses. - Access to EU programmes. The UK will continue to have access to various EU programmes, including: Horizon Europe, the Euratom Research and Training Programme, the fusion test facility ITER, Copernicus, and access to the EU’s Satellite Surveillance & Tracking (SST) services. However, this will not include the Erasmus student programme. - UK-Turkey trade agreement. The free trade deal has enabled the UK to reach a continuity trade agreement with Turkey which will be extremely beneficial for many supply chains which rely on the EU-Turkey Customs Union to source products. The UK and Turkey have committed to expanding this agreement in the future to include services trade and investment. - Business mobility rights. Business mobility rights have been agreed, i.e. attending conferences, seminars, meetings for short-term stays, permitted for 90 days in any 180 day period. Intra-company transfers (with spouses and dependents), contract and self-employed working are also supported. Travellers will otherwise rely on the rules of individual member states for the right to work as the free movement of people ends. - Intellectually property. There is a wide-ranging protection and enforcement of intellectual property rights, including patents, trademarks and designs, at least in line with existing international agreements. - The agreement is limited to adherence to international frameworks and cooperation in areas such as tax and debt recovery, including VAT, customs duties and excise. UK autonomy on tax rates and rules is preserved. Key negative outcomes for business - New customs procedures and formalities. A return to full EU border formalities from 1 January 2021 means that goods entering the EU from the UK will require customs declarations to be completed, including proof of origin, without which duties could become payable. Goods entering the UK from the EU will be subject to a phased implantation of border controls over six months. Specific arrangements for Northern Ireland will apply, including the application of EU customs duties applying to goods entering from Great Britain deemed at risk of entering the EU. - Treatment of the UK as a ’third country’. UK is now treated as a ‘third country’ for regulatory purposes by the EU, requiring businesses to undertake additional processes for EU and UK approval for product and manufacturing standards. This is especially the case for the food items which will be subject to the EU’s SPS rules, such as some animal products and raw meet. - Services trade. Although services provisions have been included, they do not go much beyond existing EU practice, and notable barriers will limit the scope of many services providers to trade between the EU and the UK. - No new recognition of professional qualifications. Barriers to services trade include the end of the mutual recognition of professional qualifications and significant restrictions from the EU regarding the extent to which it commits to allowing UK service providers to access their EU customers. - Tax. There are changes to the way VAT and withholding tax are applied, including in some cases payment of VAT at the border, loss of simplifications and additional registrations or administrative procedures apply. - Conformity assessments. There is no agreement on the mutual recognition of conformity assessments, which means UK manufacturers will need to have their products assessed for compliance with an EU-notified body, and vice versa. - Agrifood. The UK and EU have not agreed on how to reduce the burdens of sanitary and phytosanitary (SPS) checks and cooperation, which require enhanced regulation and physical checks for products of human, animal and plant origin. Agrifood businesses will be highly impacted, although the degree to which this is the case will depend on the implementation of the provisions of the Free Trade Agreement. There was also no agreement on geographical indications (GIs) beyond what was already set out in the Withdrawal Agreement. - Trade remedies. The Free Trade Agreement includes virtually no restraints to prevent the UK and EU using trade remedies against each other. Trade remedies are policy tools that allow governments to take remedial action against imports which cause injury to domestic industry. This means that the level playing provisions may have less power than expected, because either side can revert to trade remedy action as an alternative resort. Issues which have not been agreed yet - Data adequacy: Among the largest issues will be the data adequacy decision for which a temporary arrangement has been put in place to allow data to continue being transferred from the EU to the UK from 1 January. This will initially last for four months (extendable to six months) while the European Commission undertakes to make its adequacy decision. For companies which transfer such data, this additional breathing period should allow for preparations to ensure compliance across their data collection, transfer, storage and processing locations. - Financial services: UK and EU have committed to setting out a framework for regulatory cooperation in financial services by March 2021 and will discuss the equivalence decisions which the EU has yet to make. The EU had made temporary equivalence decisions in respect of clearing (for 18 months), and central securities depositaries, recognising the importance of UK infrastructure to EU markets and the potential financial stability risks of a cliff edge termination. The EU had not otherwise mirrored the UK’s other equivalence decisions or taken steps to smooth the transition. What happens next? As there is no grace period for businesses to prepare, from 1 January 2021 businesses will need to meet many of the new requirements imposed as a result of the UK leaving the EU’s single market and customs union. These include new customs documentation and procedures, immigration changes and reduced services market access. Businesses will also have to adapt to a changing environment through 2021 as the UK has announced a series of measures to stage the implementation on the customs requirements for products arriving from the EU, as well as phase-in periods for the UK’s new regulatory regime around product safety and chemicals. The EU has also announced that additional flexibility for the documentary evidence necessary to qualify for rules of origin will be granted in the first year of the application of the Free Trade Agreement. However exact details on this have yet to be confirmed. What businesses should do - Understand what the new rules will mean for your business activity by using the Government Brexit checker tool and the EU Readiness Notices. - Talk to investors/funders and insurers to ensure financial support and cover is sufficient and remains valid. - Check and brief your team which should include representatives from all the impacted business functions including supply chain, procurement, HR, legal and IT. Ensure representatives are senior enough to make quick decisions. - Communicate with your priority customers and suppliers on any expected Brexit impacts on your business in light of the Free Trade Agreement and understand their positions. Appoint appropriate contact points within your business for those customers and suppliers which can be reached over the coming days.” - Apply for relevant EORI (Economic Operator Registration and Identification) numbers/VAT registrations in Great Britain, EU and Northern Ireland or confirm the status of these applications. These will be crucial to being able to complete the necessary customs procedures and declarations. You cannot trade with the EU if you do not have an EORI number. - Closely monitor the impact of Brexit on your cost base. Prepare to reassess operations which may become unprofitable and quickly revise your pricing models. - Collate a priority checklist of regulatory requirements (including registrations, labelling and markings) required for shipments of products due to arrive after 31 December 2020. Be aware of the risks of non-compliance and implement changes needed. - Apply for postponed VAT accounting – this allows you to defer paying VAT upon importation of goods. Instead your import VAT will be paid on your usual VAT return (https://www.gov.uk/guidance/check-when-you-can-account-for-import-vat-on). - Apply for a Duty Deferment Account – this will allow you to defer paying your import duty and duty can be paid once a month rather than every time you import your goods. Currently HMRC has waived the need to put up a Customs Comprehensive Guarantee and, if you qualify, will give you a £10,000 credit limit per month. More information can be found here. - Check your commodity codes. You need to ensure you are using the correct Commodity Code for your goods. There are many implications such as financial or criminal penalties if you are using the wrong codes. Businesses can check here. - Check whether import duty may be payable on your goods after 1st January 2021 if importing goods from the EU (https://www.gov.uk/check-duties-customs-exporting). - If trading with Northern Ireland – register on the TSS Trader Support Service (https://www.gov.uk/guidance/trader-support-service). - If trading with Northern Ireland – ensure you have an XI EORI number. You cannot trade with NI without one (https://www.gov.uk/eori). - Engage with relevant government bodies and trade professionals for any additional support and guidance. EU Post-Transition Business Resource Hub Support for firms to prepare for new rules for business and trade. Employing UK Staff in the EU Advice on employing UK nationals that work in the EU after the transition period.
Remembrance is a theme that runs through the whole of scripture. Indeed, arguably the Bible was written precisely so that people should remember. And as with our service today, the purpose of remembrance in scripture is always two-fold: First, remembrance is commanded in order that we should look back with thanks. In the Old Testament, the people of God are continually being called to look back and remember the events of the past and see how God had delivered them. Most importantly, numerous passages in Psalms and elsewhere encourage God’s people to remember how he delivered them from slavery in Egypt and led them to freedom over the parted Red Sea. (See Psalm 77, for example.) However bad things are or seem now, the people are called to remember what God has done for them in the past, and to take courage and confidence from that remembrance. The Israelite festivals that we read about so often in the Old and New Testaments were specifically designed to encourage such remembrance. Most importantly of course the festival of Passover, with its unleavened bread, encouraged the faithful to re-enact their story of redemption. And in our church today, our worship centres round an act of remembrance, holy communion, where we are called to remember what God has done for us in the person of Jesus Christ. In all of these cases, and many others, we are meant to tell the tale to each other and very importantly to the next generation, so that the story should not be forgotten. And, of course, this is a vital part of what we are doing across the nation and Commonwealth today with the countless acts of remembrance that are taking place: encouraging people to look back with thanks for all the sacrifices that have been made on our behalf. There is another reason for Biblical remembrance, though, which is that we should be changed as a result of our remembrance. In preparation for today, I looked up the word ‘remember’ in my concordance, and one of the most regular uses of the word comes in the prophets and the Law, when God’s people are called to ‘remember’ that they were slaves and foreigners in Egypt. (See for example, Deuteronomy 15:15.) They are called to remember what it was like to taste the bitterness of that experience. And crucially this remembrance was meant to change their ways and specifically to change the way they treated their own slaves and the foreigners in their land. Each year, they would celebrate the Festival of Booths, something that faithful Jews still celebrate in the festival of Sukkoth today. Essentially, it was, and is, a harvest festival but the people were also commanded to erect temporary booths – or tabernacles – in the streets and live in them for the week of the festival, to remind them of what it was like to sleep under the stars during the Exile. It was meant to remind them of being homeless and, at least in part, to encourage them to be more compassionate to those who suffered similar exile. And as Christians, we come to the table of our Lord not just to enjoy a rather insubstantial lunch but to be changed. We come to become better people, more Christ-like because we have remembered how God loved us. To be more willing to hear God’s Word and to follow his example – loving even our enemies, for example, as we heard in our lesson today. One of my concerns about the way we sometimes mark Remembrance Sunday in this country is that we are arguably very good at the first but often struggle with the latter. Whenever I have had foreign friends in the country at this time of year, they often comment on how well we observe this annual time of remembrance. They will often remark on the beautifully-kept war memorials that we find in practically every village and town, on the immaculately-kept Commonwealth War Graves cemeteries in Flanders and across the world, on the number of poppies sold and the solemnity of our ceremonies. We are very good now at teaching children about the sacrifices made by countless British and Commonwealth families during the first and second world wars, and of conjuring up the horrors of war both on the battlefield and the home front. My parents recently visited the Menin Gate in Ypres and were astounded by the huge numbers of British people there, the young children laying wreaths and the absolute silence that was observed during the Last Post ceremony. We are good at remembering and saying thank you. But are we so good at changing our ways? Do we really heed the lessons of the past and turn our swords into ploughshares? If you look at the number of village war memorials that were obviously built to commemorate the dead of WW1 and then had to squeeze in the extra names for WW2, then perhaps not. And sometimes our remembrance itself is even limited, and we remember only those bits of the past that we want to. One good example of what I am talking about comes from my home town, Maidenhead. If you alight at Maidenhead train station now, you are greeted by the statue of a friendly-looking man on a railway bench. The statue was unveiled a few years ago by the local MP, Theresa May, and is of Sir Nicholas Winton. He is rightly famous for his part in initiating and organising the Czech Kindertransport: the series of trains that managed to bring 669 Jewish children from Central Europe to safety in Britain in the months before the Second World War. Visiting Switzerland in 1938, he volunteered to help a friend working for the International Committee for Refugees. Remarkably, he never really spoke about what he did afterwards. It was only much, much later, when his wife was searching for something in the attic and came across some documents relating to this remarkable episode that the truth finally came to light. Without telling him what she knew, she arranged for Nicholas to join her at a recording of the television programme That’s Life. At a certain moment, though, the presenter related his story and invited anyone in the audience who had been saved by the Kindertransport to stand up. Every man and woman around him stood up. It is an incredibly powerful moment as grown women and men weep and hug this bespectacled elderly man, many proudly showing him photographs of their own children – the families that he had effectively spared from the gas chambers. That is a wonderful story and one we should remember. But what about the bits of the story we don’t choose to remember? Why don’t we remember that even after the horrific events of Kristallnacht in Nazi-ruled Germany, the House of Commons still only allowed the entry into Britain of Jewish refugees younger than 17, provided they had a place to stay and a warranty of £50 was deposited for their eventual return to their own country? Why don’t we talk about the headlines and editorials in British newspapers that condemned proposals to accept Jewish refugees in the years before the war, often declaring the country was already ‘full up’, and who expressed often barely veiled sympathy for Hitler’s policies? Why don’t we remember the anti-Semitism and coldness that so many of the children encountered upon arrival? Why don’t we remember the parents, uncles, aunts, cousins and friends of these children, whom Britain and the other western nations refused to accept and left to the terror of Nazi rule and certain death? At this time and in this place, I feel it more important than ever for me as a Christian minister to call us back to the true Biblical meaning of remembrance: a remembrance that truly changes us for the better. A remembrance that reminds us of the call for forgiveness, even in the face of death. A remembrance that calls us all to pursue and protect peace in Christ’s name, with every fibre of our being. A remembrance that continually calls to mind the teachings and most importantly the example of our Lord Jesus Christ. Now, more than ever, I believe we need to remember what it is that causes war and suffering in our world, and what is required for the peace of which Christ spoke so eloquently to come about. When I was a child, one of my favourite films was the ‘Indiana Jones’ series. Amidst the many characters and plot lines we encountered there, there were nearly always nasty Nazis ready to take over the world with some diabolical plot or another. And it’s so tempting to think that that is how wars come about – with arch-villains plotting in underground bunkers, surrounded by secret maps and armies of henchmen. More recently, though, I was reading a non-fiction book about a small town in Germany in the 1920s and 30s. It wasn’t really about the war or the Nazis, it was about a family that lived in that town, with the momentous events of history merely as a background. It spoke about the lives of individual people, local tradesmen, the mayor, the doctor, the pastor, and their struggles to carry on with life in that incredibly difficult period. It was primarily concerned with the minutiae of life in a town like any other. It reminded me that war and terror don’t start with secret plans and underground bunkers. They begin with people forgetting the basic commandments of Christian life: forgetting to love, forgetting to break down barriers instead of building them up, forgetting to prefer truth to lies. It begins with people saying, “Well, of course, I never really liked Jews.” Or Muslims, or refugees, or Poles. It begins with people preferring to keep their heads down and say nothing about the injustice and the lies they see around them, because they want an easy life. It begins with people believing that the foundations of our society – democracy, the rule of law and human rights – can be treated as optional rather than absolute: “I believe in justice, provided it does what I want it to do.” “I believe in human rights for the humans I like, but not for others.” “I believe in democracy when the vote goes my way.” Today, of all days, we must remember that war and peace begin, not in parliaments or command bunkers, but in our hearts. This is where terror, hatred and avarice come from – the building blocks of war. But it is also where love, compassion and mercy come from – the foundations of peace. Today of all days, we must learn the lessons of the past and change our ways accordingly. We must not accept an edited version of history that edits out all the bits we don’t like and superimposes on it the gloss of contemporary dogmas and creeds. Today of all days, we must recall the life and teachings of Jesus Christ, the Prince of Peace. For the sake of our world and his Kingdom, we must follow his example of selfless love, of forgiveness and of a complete rejection of all that leads to hatred. On this Remembrance Sunday, let us not just remember, but let us be changed through our remembering too. Amen.
There are many natural occurrences in the world, and some are quite obscure. This is pretty much the case for the Holland island in the Chesapeake Bay which is one of the most interesting islands in the world. But what makes it so distinct? Right off the bat, the island is rather small. But what makes it unique is the fact that it’s eroding at a very rapid pace. Such a rapid pace actually that it just doesn’t have any homes anymore. The Holland Island was a place where farmers and fishermen lived for a very long time. However, there is no clear reason as to what caused the erosion. The last house on the island fell into the bay at the end of 2010, and since then the island had no people live here at all. There is a reason why the island is the way it is. According to various geologists, it seems that the land on this island was inundated due to the rise of the sea level. This lead to a constant state of erosion that has unfortunately brought in quite a lot of damage to the island. This is what caused such a significant loss of land on the island. The Holland Island in the Chesapeake Bay is made out of silt and clay. It’s not rock based like other islands, which is what lead to this problem on its own. Silt and clay are prone to erosion, which is why a lot of people ended up losing their homes. In fact, the western ridge of the island, in particular, is widely exposed to global warming, and it continues to be the most devastated one. The island size was reduced by half in the last 100 years, so we can expect it to become smaller and smaller very soon. A thing you should note here is the fact that this island may survive a bit more now that humans are out of there and there are no homes. Still, the Holland Island is a delight to visit. It has a multitude of birds like the brown pelicans, herons, songbirds and terns that can be seen on the island without any problem. But the constant erosion problems may be one of the biggest challenges that you have to deal with when you want to explore this new location. Throughout the years, people have been leaving the island all the time. But it wasn’t until the late 1970s and 1980s that things started to get pretty bad. This is why the population started to relocate. The region does have plenty of fish, which is why people decided to live here for a very long time. But the constant erosion problems took their toll, and in the end, we saw what erosion could do to a region like this. So, without any way to eliminate it in a proper manner, we will have to wait and see Holland Island being continually eroded. It’s rather sad, but it also shows the power of nature in all of its glory.
What are the benefits of the Daily Mile for SEND pupils? The Daily Mile is an example of a school-based physical health intervention that involves teachers taking their class outside at some point during the school day to participate in approximately 15 minutes of exercise. At it’s heart the daily mile is a great opportunity not only to encourage the pupils to be active but also to build in regular planned outdoor learning opportunities throughout the school. Outdoor learning is a pedagogical approach used to enrich learning, enhance engagement in learning and improve pupil health and wellbeing. As the Daily Mile includes participation by teaching staff there is also evidence of an increase in staff wellbeing. Whole school participation in activities helps foster a sense of community and connection. Learning outside the classroom and mixing with different peer groups develops the inclusive ethos of any school. With careful planning routes can be designed that allow all pupils to access the daily mile. Adaptations are easily made. i.e for rain the mile can be completed indoors or using the areas of hardstanding available. The break from the classroom can encourage processing time for recently learnt material. The opportunity for proprioceptive activity can enhance focus and engagement on return to the room. Movement provides structured and meaningful ways to accomplish MOVE, OT or physiotherapy interventions without taking the pupil away from formal learning time. As the pupil completes the daily mile they have the chance to reconnect with pupils and familiar staff who may have moved class. Improvements for fine and gross motor development can be practised every day. Initial research suggests improvements for children with Asthma. Why Link the Daily Mile to Curriculum Areas? Curriculum time in school is a finite resource. By linking the daily mile to planned learning we can add value to both the curriculum and the opportunity to improve health outcomes for our pupils. It is imperative that we seek to integrate curriculum content into all areas of school life. For example the maths and communication opportunities afforded by snack time. Research suggests one of the barriers to successful long-term implementation of the daily mile was a lack of variety. By linking the daily mile to planned curriculum areas, or specific learning objectives the focus of the daily session can be varied. As this would form an activity within a planned lesson or sequence of lessons there should be no additional workload for teachers. There is no defined length to the daily mile although it usually takes around 15 minutes. When building in additional elements to the session this time may increase. This flexibility allows teachers to look at the Daily Mile as an opportunity to conduct outdoor learning within a recognised structure. The nature of the activity also lends itself to cross-curricula learning and even co-teaching if groups plan their daily mile for the same time. Book Character facts – Print out the characters of the current class book. Space them along the route and discuss their characteristics. Reading comprehension – pupils discuss storyline during walk. Key elements from story located along route. Discussions at each location. Recall of facts etc. Ice Breaker/Fact finder – pupils to question peer on topic/themselves during walk record answers on questionnaire. Build up a vocabulary bank of weather poems and weather adjectives. Create a sensory story around the route reading a line at stations around the course. Pupils collect objects then sort on return to class or post in correct container i.e by colour, shape, size. Time Laps – beat personal best, graph class speeds, collate total distance. Measuring alternate mile routes around the school site. Convert distance travelled into a range of units of measurement Animal Fact Routes – print out images of animals. Space out along the route. Animal hunt – print stickers or pictures of animals for pupils to collect on the walk. Sort by habitat etc on return to class. Solar System – Place planets along route at scaled equivalent distance apart. Pupils collect fact cards during daily mile. Which is the biggest gap. Order of planets. Record pulse rates and walking, compare to running etc School project to enhance the environment. Pupils take soil samples and record microclimates to plan planting of new vegetation. Can facilitate discussions around nutrition. What did the pupils have for breakfast and how do they feel after/before exercise? Timeline – space out chronological events along route. Images. QR codes etc Object of Reference hunt – Distribute objects of reference along the route to create a theme box for a specific historical event. Pupils can guess the theme or event. Different classes or groups research and produce fact cards of a historical figure or event and leave them around the course for another class to find and review when back in class. Using a map or app work out the distance between two locations. How many laps would it take to travel the equivalent distance. Set challenge for the term/year. Object of Reference hunt – Distribute objects relating to a specific place, country etc along the route pupils explore this on return to class. Pupils could collect weather information on a daily basis to make graphs or forecasts and check the following day. Collate information on microclimates within the school site and discuss reasons for this. Collect leaves and twigs for collage or DT projects. Stations set up for pupils to stop and capture the colour of the sky, grass etc The daily mile can help meet the recommendations for daily physical activity. Encourage the completion of the daily mile using a range of movements, hopping, skipping etc Link to the teaching of cycling. Track routes, distance using GPS on Ipad Upload individual speeds to spreadsheet to create graphs and comparison Take images throughout the year (Change through the seasons) Create promotional video for “The Daily Mile” One pupil to drum – march to the beat Record sounds heard on the daily mile to create soundscape. Song of the day using a portable speaker. Or create soundscapes using multiple portable speakers around the circuit Communication/Sensory and The Daily Mile Opportunities for social interaction with a range of communicative partners. Opportunities for commenting in a range of environments. Sensory resource stations i.e bubbles, balloons to encourage AAC use. Use Gazebos, sensory umbrellas, flags, bunting to create a stimulating sensory experience. Pupils move under these. Exploring or commenting. Social emotional Learning/PHSE Opportunities to reconnect with previous teachers and peers. Evidence of improvement in older pupil’s mental health and wellbeing. Provides opportunities to regulate emotions – pupils could check in on zones of regulation cards around the course. Discuss thoughts and feelings in a less formal setting. Can be used “ad hoc” as a emotional regulation intervention linked to zones of regulation. Banerjee, R., Weare, K., & Farr, W. (2014). Working with ‘Social and Emotional Aspects of Learning’(SEAL): Associations with school ethos, pupil social experiences, attendance, and attainment. British Educational Research Journal, 40(4), 718-742. Beauchamp, M. R., Puterman, E., & Lubans, D. R. (2018). Physical inactivity and mental health in late adolescence. JAMA psychiatry, 75(6), 543-544. Malden, S., & Doi, L. (2019). The Daily Mile: teachers’ perspectives of the barriers and facilitators to the delivery of a school-based physical activity intervention. BMJ open, 9(3), e027169. Link Marchant, E., Todd, C., Cooksey, R., Dredge, S., Jones, H., Reynolds, D., … & Brophy, S. (2019). Curriculum-based outdoor learning for children aged 9-11: A qualitative analysis of pupils’ and teachers’ views. PloS one, 14(5), e0212242. Link Marchant E, Todd C, Stratton G, Brophy S (2020) The Daily Mile: Whole-school recommendations for implementation and sustainability. A mixed-methods study. PLoS ONE 15(2): e0228149. https://doi.org/10.1371/journal.pone.0228149 Schneller, M.B., Schipperijn, J., Nielsen, G. et al. Children’s physical activity during a segmented school week: results from a quasi-experimental education outside the classroom intervention. Int J Behav Nutr Phys Act 14, 80 (2017). https://doi.org/10.1186/s12966-017-0534-7
The Raspberry Pi is a single-board computer developed in the UK by the Raspberry Pi Foundation. The Raspberry Pi is a credit-card sized computer that plugs into your TV and a keyboard. It’s a capable little PC which can be used for many of the things that your desktop PC does, like spreadsheets, word-processing and games. It also plays high-definition video. This Model B board incorporates 2 x USB ports, 512MB Onboard Memory, One Ethernet port as well as HDMI and Composite Video. There is also a SD card slot for loading the operating system. The design is based around a Broadcom BCM2835 SoC, which includes an ARM1176JZF-S 700 MHz processor, VideoCore IV GPU, and 256 Megabytes of RAM. This revision 2.0 board features two mounting holes for easy installation, a built-in reset circuit, and can be powered via the USB data ports. The design does not include a built-in hard disk or solid-state drive, instead relying on an SD card for booting and long-term storage. This board is intended to run Linux kernel based operating systems. The Raspberry Pi use Linux-kernel based operating systems. Debian GNU/Linux, Iceweasel, Calligra Suite and Python are planned to be bundled with the Raspberry Pi. The Raspberry Pi does not come with a real-time clock, so an OS must use a network time server, or ask the user for time information at boot time to get access to time and date info for file time and date stamping. However a real time clock (such as the DS1307) with battery backup can be easily added via the I2C interface.
Author: Kevin A. Gardner Deer are usually active within a 24-hour cycle no matter what the prevailing circumstances may be. Being able to pattern that cycle with a logical thought process and being willing to step away from the traditional “deer stand” will undoubtedly maximize every opportunity and raise success rates. Identifying deer patterns and how hunting or other incidental pressures can alter those patterns can be the deciding factor in whether or not a tag gets filled. Patterning a particular deer herd can be challenging, with time and resource constraints, but with a better understanding of the four activity based time-frames the animals use, you can greatly reduce the patterning process by being in the right place at the right time, here is how. Deer, being large mammals, are forced to utilize open-air activity in their daily routine. This means to move is to be seen or heard. Food, water and cover are all daily requirements, that is basic knowledge. Caves, hollow tree’s and rock dens are normally not options for cover and bedding for deer, again, more basics. Therefore the use of established bedding areas and escape routes are how deer create the protective barrier or buffer from predators, human and otherwise. Moving to and from those areas and utilizing them safely is still necessary, requiring determining the best time of day for that activity. While food and water will ideally be nearby, movement form the cover to those sources is almost always necessary. This need for movement or activity categorizes them, at least temporarily, into one of four usage groups established around a 24-hour cycle. The better we can understand these groupings and predict what phase the deer are in at any given time of year, the better we will become able to pattern their movements. The two most commonly known categories of activity are “nocturnal” and “diurnal”. Nocturnal being active during times of darkness, and is the term most people are familiar with. To clarify, animals are not nocturnal or diurnal, their activity is. The second best known activity is the diurnal grouping. This being a utilization of activity during daylight hours. There are, however, two other categories that are less popular in title, but in reality are what most deer herds fall into during the time we actively pursue them. The titles given to these two remaining groups are “crepuscular” and “cathemeral”. Crepuscular is a term applied to situations where animals are active at twilight, or those times between daylight and complete darkness. (I have found deer to take on a crepuscular mode of activity at pre-dawn as well, so in effect, I will apply the term to include both twilight and pre-dawn) All summer long we see deer in the fields through the day and early evening, feeding and interacting with little regard for the going’s-on around them. These deer are clearly in a diurnal mode of activity. Then as if someone flipped a switch, they seem to have vanished. Very likely they did not, they simply have adjusted to the conditions that have been placed upon them by ever mounting activity in the fields and woods and have moved to a crepuscular activity pattern. A number of things can cause this to happen, but a great example would be harvesting work in the fields. Additionally the onset of the early small game season brings orange clad human predators into the woods and the deer simply shift gears to their fully crepuscular activity based feeding patterns. As pressures continue to mount a new pressure arrives, and that is spotlighting activity increases, therefore evening crepuscular activity becomes less practical and again the gears shift into a fuller nocturnal pattern of movement. To deer, darkness is a very effective time to be moving if you would like to avoid the very diurnal, orange-clad intruders, but the disadvantage becomes the other predators that thrive in the nocturnal sector of the 24 hour cycle. So while nocturnal activity can increase due to greater human daylight pressures, the desire to move any substantial distance can become concerning due to the nocturnal nature of coyote and other large predator’s such as bear’s. Bears are very active in the fall as they work through their stages of hyperphagia (24-hour uncontrollable feeding) and create an unpredictable and volatile environment for deer, in preparation for their hibernation. At this point more of a force shifting back to crepuscular activity that is directed more toward predawn hours becomes appropriate. It should not take long to realize that all of these factors could very well realign a herd based on activity and essentially lock them down for the fall due to their highly complacent nature. Progressing forward with big game season approaching and pre-season scouting activity increasing, even more incidental activity becomes possible during not only the diurnal time, but during the pre-dawn hours as well. At this point in time, this “pre-dawn” is a highly successful time to locate deer, as things may well have unfolded in the preceding months in exactly the previously described sequence. This is why well planned preseason scouting and bow hunting can have certain advantages with the still somewhat minimal daylight impact and predawn crepuscular deer activity. However, with this last remaining time of refuge becoming infringed upon and the rifle season approaching, time is running out on crepuscular activity. The morning of the first day of deer season can find animals still in a crepuscular mode of activity if small game, bow hunting and scouting were not too intense. Many preseason scouts will be stationed in the appropriate locations as determined by their observations and scouting activity awaiting the naturally moving deer to pass by. If in an area where other marauding “orange clad’s” have not disrupted the crepuscular cycle of the day while blundering to their deer stands, the buck you have had your sights on may still follow that routine of activity for the morning and pass by unaware. Cathemeral. the only remaining option of activity is the stage in which we experience deer most often when the rifle season opens. With the first shot of the day, comes an immediate shifting of gears to the pattern of cathemeral activity. Cathemeral activity is when the animal does not base it’s activity on desired conditions for activity, but by the prevailing conditions. What this means is that the animal will capitalize on any given opportunity to meet its needs. They have at this point demonstrated their ability to fully function in all activity types and will now use them s needed to survive. Cathemeral is nocturnal, diurnal and crepuscular all rolled into one and applied with a survival mentality. Imagine now the sporadic behavior based on inconsistent nutritional intake and how you could and should capitalize on that process. Based on these factors, a greater amount of activity will happen just after dark on the first day of hunting season. The reason is that the animals will now be being pushed unnaturally during the daylight hours by hunting and shooting pressure and will find themselves held in area’s that they would not normally hold in or are unfamiliar to them. (Remember, deer can occupy an area as small as within a 1 mile radius all of their life, and pressure can force them out of it quickly) Immediately after dark the animals will begin to move back to the most familiar and obviously the densest cover they know. They will be on a dead run to get there and will likely stay put until survival needs dictate movement again. This is why it is particularly dangerous driving on country roads the evening of the opening day of deer season. So now we find ourselves dealing with animals that are actively in cathemeral activity mode and it’s only the first day of the season. We all know that as the days progress, less and less hunters will be in the woods to help create those desired activities that will now force the animals to move again, so now if we intend to harvest a deer we will need a game plan. Having a game plan is actually pretty simple. It basically involves identifying what you have working for you and against you as each day passes and responding to those workings accordingly. Lets look at a couple of examples. The first thing you should identify that you have going for you is time. With time will come a very significant benefit factor for low-pressure hunting and that is weather systems. Keeping a very careful eye on the weather will be a huge asset to locating cathemeral animals in a low-pressure environment. As weather systems move into an area there is a distinct change in barometric pressure ahead of the system. Animals are very (I cannot stress this enough) sensitive to this change and will move naturally to prepare for the incoming system. These systems may force them to bed down for up to 36 hours, in extreme cases, leaving them only forage of the immediate vicinity. They are all too aware of it and will force feeding, giving you an opportunity to position yourself along those travel routes you established during preseason scouting that lead from dense cover to key feeding area’s. Next, remember those predators that no one likes? Well they are working for you now too. With a certain amount of “post harvest product piles” in the woods, the predators are eating pretty well. Since most of those predators are nocturnally active, the majority of that activity is taking place at night, which is creating activity that is uncomfortable for deer. To that point, again the deer slowly become (pre-dawn) crepuscular as the days pass. Taking advantage of that activity by thinking outside of the tree-stand and still-hunting will become the winning strategy. Still-hunting, being slowly moving through an area while observing every aspect of the area closely, is very effective. It may take hours to move 100 years, but the hunters I know that practice it when things slow down and pressures drop, consistently harvest good to great bucks. Dense patches of laurel and thick coniferous stands will be where you will find the crepuscular deer moving and or holding. Look for area’s that would allow them to see approaching dangers from that secure area’s and approach otherwise. This is a tactic of surprise and if you can move slowly and be prepared for a quick encounter your chances for success on those mysterious disappearing bucks should rapidly increase. Understanding how deer think is clearly challenging. Nothing is etched in stone and every rule of thumb is broken time and again. But understanding how deer must move in relation to a 24 hour cycle and under prevailing pressures should help at least to put more hair in the sights. Take all things into consideration and think through what is happening when you are not present in the woods, and use those things to your advantage. Try new things, even things that may seem absurd or that you may have heard never work. I do like to live by the adage “The one thing you always know, is that you don’t always know”. I think a deer or an elk wrote that.
A Reading Group Guide to When Washington Crossed the Delaware By Lynne Cheney with Paintings by Peter M. Fiore About the Book “This is the story that I tell my grandchildren at Christmas. I hope that this book will bring the tradition of sharing history to families all across America.” A straightforward yet elegant text and rich oil paintings bring to life ten critical days in America’s fight for independence. Lynne Cheney describes George Washington’s battle strategies, his struggle to maintain the morale of his exhausted soldiers and the actions his army took to defeat the Hessians at Trenton, and the British and Hessians at Princeton. Her words are complemented by firsthand accounts of the campaign from soldiers, bystanders, and the general himself, as well as illustrator Peter M. Fiore’s powerful battle scenes. A source index and map complete this inspiring true story about the courage and commitment it took to turn the tide of the American Revolution and change the course of history. Discussion Questions •Why was George Washington discouraged at the beginning of the story? What was the condition of the American soldiers? •Who were the Hessians and what did they think about the American soldiers? Why was their opinion of the Americans helpful to General Washington?
Review phases of the moon Space, NOS, and Atmosphere This will review p. 1 - 8 of your study guide. Review the seasons while playing a fun game! Rapid Fire Black Holes Facts about black holes Baseball Earth and Space Quiz its about earth and space Solar System Run Answer enough correct questions to get a home run and knock the ball to the solar system. Starting with new moon, race to put the moon phases in correct order! The Sun, the Earth, and the Moon Matching planet, sun, star and movement. This game will assess your knowledge of astronomy terms dealing with the characteristics of stars. Clash of the Models: Solar System In this game there is one model that is going to win it all. You can decide which one.
It's very important for doctors to identify whether the infection is viral or bacterial; they can determine this only through analysis of the spinal fluid. Most cases of meningitis are caused by a viral infection, which is serious but only rarely fatal in people with normal immune systems. Bacterial meningitis, on the other hand, is much more severe. It often results in brain damage, hearing loss, long-term learning disabilities or death. Early diagnosis of bacterial meningitis is key, because it progresses so rapidly and can cause such significant damage in a matter of hours. A patient experiencing the symptoms of bacterial meningitis should seek medical advice immediately. Meningitis doesn't discriminate; anyone of any age can contract this infection. Particularly vulnerable are pre-teens and adolescents; people who live in dorms, prisons and other community settings; and people who travel to countries where meningitis is widespread. Additionally, people who are pregnant, are immuno-compromised or work with domestic animals are at higher risk of contracting meningitis. Following the recommended meningitis vaccination schedule is crucial for children and other groups at high risk. Complications of meningitis can be very severe. If you think that you or someone you know may be infected, it's crucial to get to a doctor or hospital right away. The longer the disease goes untreated, the greater risk of permanent neurological damage. Meningitis is often life threatening, so remember: Vaccination and early detection are key. And you'll see personalized content just for you whenever you click the My Feed . SheKnows is making some changes!
“You can speak well if your tongue can deliver the message of your heart.” - Role plays. - Motivational speeches. - Question-Answer session. - Stage presentation • Games related to public speaking. Speaking is an important method for communicating knowledge and expressing ideas. Being able to verbally communicate effectively to other individuals or to groups is essential in school, business, as well as your personal life. Public speaking is speaking to a group of people in a structured, deliberate manner intended to inform, influence, or entertain the listeners. In public speaking, as in any form of communication, there are five basic elements, often expressed as who is saying what to whom utilizing which medium with what effects? “The purpose of public speaking can range from simply transmitting information to motivating people to act, to simply telling a story. A good orator should be able to change the emotions of its listener, not just inform them. Suspendisse eleifend neque ut tempor aliquam. Aliquam erat volutpat. Mauris id suscipit nibh. Sed euismod, lorem nec elementum congue, leo risus commodo ligula, et eleifend diam. Benefits of Public Speaking: - Increases confidence when speaking in public. - The ability to use and control your voice more effectively. The opportunity to practise and assess your current strengths. - New techniques to enhance your own personal public speaking style. - Greater ability to overcome anxiety and nerves when preparing for a public gathering. - The skill-building cycle. - Identifying your goal. - Engaging Your Audience. - Employing a proven five-step method. - Mind mapping as a presentation design tool. - Shaping the presentation. - Delivering memorable openings and closings. - Handling questions from the audience. - Managing the post-talk Q&A session - Building confidence with practice. - Delivering your presentation. - Using your voice to effect when public speaking: diction, intonation, rhythm and pacing. - Using gestures and non-verbal communication in public speaking. - Strategies for building confidence and combating public speaking anxiety. Join Any Of Our Course And Get Lifetime Membership of Public Speaking. Means Keep Learning Until you are perfect
\|Main index\|\|Section 7\|\|日本語\|\|한국인\|\|Options\| The FreeBSD firewalling system also has the capability to limit bandwidth using dummynet(4). This feature can be useful when you need to guarantee a certain amount of bandwidth for a critical purpose. For example, if you are doing video conferencing over the Internet via your office T1 (1.5 MBits/s), you may wish to bandwidth-limit all other T1 traffic to 1 MBit/s in order to reserve at least 0.5 MBits for your video conferencing connections. Similarly if you are running a popular web or ftp site from a colocation facility you might want to limit bandwidth to prevent excessive bandwidth charges from your provider. Finally, FreeBSD firewalls may be used to divert packets or change the next-hop address for packets to help route them to the correct destination. Packet diversion is most often used to support NAT (network address translation), which allows an internal network using a private IP space to make connections to the outside for browsing or other purposes. Constructing a firewall may appear to be trivial, but most people get them wrong. The most common mistake is to create an exclusive firewall rather than an inclusive firewall. An exclusive firewall allows all packets through except for those matching a set of rules. An inclusive firewall allows only packets matching the ruleset through. Inclusive firewalls are much, much safer than exclusive firewalls but a tad more difficult to build properly. The second most common mistake is to blackhole everything except the particular port you want to let through. TCP/IP needs to be able to get certain types of ICMP errors to function properly - for example, to implement MTU discovery. Also, a number of common system daemons make reverse connections to the auth service in an attempt to authenticate the user making a connection. Auth is rather dangerous but the proper implementation is to return a TCP reset for the connection attempt rather than simply blackholing the packet. We cover these and other quirks involved with constructing a firewall in the sample firewall section below. In this example we want to isolate all three LANs from the Internet as well as isolate them from each other, and we want to give all internal addresses access to the Internet through a NAT gateway running on this machine. To make the NAT gateway work, the firewall machine is given two Internet-exposed addresses on fxp0 in addition to an internal 10. address on fxp0: one exposed address (not shown) represents the machine's official address, and the second exposed address (22.214.171.124 in our example) represents the NAT gateway rendezvous IP. We make the example more complex by giving the machines on the exposed LAN internal 10.0.0.x addresses as well as exposed addresses. The idea here is that you can bind internal services to internal addresses even on exposed machines and still protect those services from the Internet. The only services you run on exposed IP addresses would be the ones you wish to expose to the Internet. It is important to note that the 10.0.0.x network in our example is not protected by our firewall. You must make sure that your Internet router protects this network from outside spoofing. Also, in our example, we pretty much give the exposed hosts free reign on our internal network when operating services through internal IP addresses (10.0.0.x). This is somewhat of security risk: what if an exposed host is compromised? To remove the risk and force everything coming in via LAN0 to go through the firewall, remove rules 01010 and 01011. Finally, note that the use of internal addresses represents a big piece of our firewall protection mechanism. With proper spoofing safeguards in place, nothing outside can directly access an internal (LAN1 or LAN2) host. # /etc/rc.conf # firewall_enable="YES" firewall_type="/etc/ipfw.conf" # temporary port binding range let # through the firewall. # # NOTE: heavily loaded services running through the firewall may require # a larger port range for local-size binding. 4000-10000 or 4000-30000 # might be a better choice. ip_portrange_first=4000 ip_portrange_last=5000 ... # /etc/ipfw.conf # # FIREWALL: the firewall machine / nat gateway # LAN0 10.0.0.X and 192.100.5.X (dual homed) # LAN1 10.0.1.X # LAN2 10.0.2.X # sw: ethernet switch (unmanaged) # # 192.100.5.x represents IP addresses exposed to the Internet # (i.e. Internet routeable). 10.x.x.x represent internal IPs # (not exposed) # # [LAN1] # ^ # \| # FIREWALL -->[LAN2] # \| # [LAN0] # \| # +--> exposed host A # +--> exposed host B # +--> exposed host C # \| # INTERNET (secondary firewall) # ROUTER # \| # [Internet] # # NOT SHOWN: The INTERNET ROUTER must contain rules to disallow # all packets with source IP addresses in the 10. block in order # to protect the dual-homed 10.0.0.x block. Exposed hosts are # not otherwise protected in this example - they should only bind # exposed services to exposed IPs but can safely bind internal # services to internal IPs. # # The NAT gateway works by taking packets sent from internal # IP addresses to external IP addresses and routing them to natd, which # is listening on port 8668. This is handled by rule 00300. Data coming # back to natd from the outside world must also be routed to natd using # rule 00301. To make the example interesting, we note that we do # NOT have to run internal requests to exposed hosts through natd # (rule 00290) because those exposed hosts know about our # 10. network. This can reduce the load on natd. Also note that we # of course do not have to route internal<->internal traffic through # natd since those hosts know how to route our 10. internal network. # The natd command we run from /etc/rc.local is shown below. See # also the in-kernel version of natd, ipnat. # # natd -s -u -a 126.96.36.199 # # add 00290 skipto 1000 ip from 10.0.0.0/8 to 188.8.131.52/24 add 00300 divert 8668 ip from 10.0.0.0/8 to not 10.0.0.0/8 add 00301 divert 8668 ip from not 10.0.0.0/8 to 184.108.40.206 # Short cut the rules to avoid running high bandwidths through # the entire rule set. Allow established tcp connections through, # and shortcut all outgoing packets under the assumption that # we need only firewall incoming packets. # # Allowing established tcp connections through creates a small # hole but may be necessary to avoid overloading your firewall. # If you are worried, you can move the rule to after the spoof # checks. # add 01000 allow tcp from any to any established add 01001 allow all from any to any out via fxp0 add 01001 allow all from any to any out via fxp1 add 01001 allow all from any to any out via fxp2 # Spoof protection. This depends on how well you trust your # internal networks. Packets received via fxp1 MUST come from # 10.0.1.x. Packets received via fxp2 MUST come from 10.0.2.x. # Packets received via fxp0 cannot come from the LAN1 or LAN2 # blocks. We cannot protect 10.0.0.x here, the Internet router # must do that for us. # add 01500 deny all from not 10.0.1.0/24 in via fxp1 add 01500 deny all from not 10.0.2.0/24 in via fxp2 add 01501 deny all from 10.0.1.0/24 in via fxp0 add 01501 deny all from 10.0.2.0/24 in via fxp0 # In this example rule set there are no restrictions between # internal hosts, even those on the exposed LAN (as long as # they use an internal IP address). This represents a # potential security hole (what if an exposed host is # compromised?). If you want full restrictions to apply # between the three LANs, firewalling them off from each # other for added security, remove these two rules. # # If you want to isolate LAN1 and LAN2, but still want # to give exposed hosts free reign with each other, get # rid of rule 01010 and keep rule 01011. # # (commented out, uncomment for less restrictive firewall) #add 01010 allow all from 10.0.0.0/8 to 10.0.0.0/8 #add 01011 allow all from 220.127.116.11/24 to 18.104.22.168/24 # # SPECIFIC SERVICES ALLOWED FROM SPECIFIC LANS # # If using a more restrictive firewall, allow specific LANs # access to specific services running on the firewall itself. # In this case we assume LAN1 needs access to filesharing running # on the firewall. If using a less restrictive firewall # (allowing rule 01010), you do not need these rules. # add 01012 allow tcp from 10.0.1.0/8 to 10.0.1.1 139 add 01012 allow udp from 10.0.1.0/8 to 10.0.1.1 137,138 # GENERAL SERVICES ALLOWED TO CROSS INTERNAL AND EXPOSED LANS # # We allow specific UDP services through: DNS lookups, ntalk, and ntp. # Note that internal services are protected by virtue of having # spoof-proof internal IP addresses (10. net), so these rules # really only apply to services bound to exposed IPs. We have # to allow UDP fragments or larger fragmented UDP packets will # not survive the firewall. # # If we want to expose high-numbered temporary service ports # for things like DNS lookup responses we can use a port range, # in this example 4000-65535, and we set to /etc/rc.conf variables # on all exposed machines to make sure they bind temporary ports # to the exposed port range (see rc.conf example above) # add 02000 allow udp from any to any 4000-65535,domain,ntalk,ntp add 02500 allow udp from any to any frag # Allow similar services for TCP. Again, these only apply to # services bound to exposed addresses. NOTE: we allow 'auth' # through but do not actually run an identd server on any exposed # port. This allows the machine being authed to respond with a # TCP RESET. Throwing the packet away would result in delays # when connecting to remote services that do reverse ident lookups. # # Note that we do not allow tcp fragments through, and that we do # not allow fragments in general (except for UDP fragments). We # expect the TCP mtu discovery protocol to work properly so there # should be no TCP fragments. # add 03000 allow tcp from any to any http,https add 03000 allow tcp from any to any 4000-65535,ssh,smtp,domain,ntalk add 03000 allow tcp from any to any auth,pop3,ftp,ftp-data # It is important to allow certain ICMP types through, here is a list # of general ICMP types. Note that it is important to let ICMP type 3 # through. # # 0 Echo Reply # 3 Destination Unreachable (used by TCP MTU discovery, aka # packet-too-big) # 4 Source Quench (typically not allowed) # 5 Redirect (typically not allowed - can be dangerous!) # 8 Echo # 11 Time Exceeded # 12 Parameter Problem # 13 Timestamp # 14 Timestamp Reply # # Sometimes people need to allow ICMP REDIRECT packets, which is # type 5, but if you allow it make sure that your Internet router # disallows it. add 04000 allow icmp from any to any icmptypes 0,3,8,11,12,13,14 # log any remaining fragments that get through. Might be useful, # otherwise do not bother. Have a final deny rule as a safety to # guarantee that your firewall is inclusive no matter how the kernel # is configured. # add 05000 deny log ip from any to any frag add 06000 deny all from any to any \|FIREWALL (7)\|\|May 26, 2001\| \|Main index\|\|Section 7\|\|日本語\|\|한국인\|\|Options\| Please direct any comments about this manual page service to Ben Bullock. \|“\|\|Unix is the answer, but only if you phrase the question very carefully.\|\|”\| \|— Belinda Asbell\|
Active Science®: A review of physical activity promotion and science learning Background: Schools, afterschool programs (ASPs), and outdoor environment have been identified as ideal settings to increase physical activity (PA) levels and improve academic performance of children. The purpose of this review study is to assess the effectiveness of the Active Science program in promoting PA and science learning in a variety of settings including in school, afterschool, and the outdoors. Methods: Active Science encompasses PA within exploratory-type educational experiences to create “active education” environments. This approach of using PA as a component of academics is not unique to Active Science, and others have successfully demonstrated beneficial effects on activity and academics. This study reviewed the results of the Active Science program in three different settings, in school, afterschool, and an outdoor education environment. Results: Regardless of the setting, the results supported that children had significantly higher PA levels and improved science scores when they participated in Active Science. Conclusion: The Active Science approach is one way to get students physically active while promoting science learning during the school day, ASPs, and outdoor education environments.
Black Eyed Susans in the garden are a native flower and food source for the birds (especially Finches). Rudbeckia hirta (Black Eyed Susan) is the easiest to grow flower I have ever found. You can start them from seed in early spring and they will bloom by seasons end. This native flower grows in zones 3-7 and loves the blazing hot sun but will tolerate and grow in dappled sunlight and even a bit of shade. The Black Eyed Susan blooms all summer long (June-September) attracting the beautiful Yellow Finches to my gardens. This is a prolific reseeder that blooms well into fall here in zone 7. I leave the seedheads of the Black Eyed Susan standing in my garden all winter long for food for the birds. You can sow the Black Eyed Susan seeds any time- fall through spring and any seeds that drop during the summer may even start to grow and bloom later in the summer. There is no special directions to sowing the seeds- just sprinkle them where you want them to grow! There is only one downside to growing Black Eyed Susans- they will self sow which some may find a bit too invasive. However, they play well with others and mixed in with Daylilies, Coneflowers, and Salvia makes a stunning impact in the garden. A plus- you will have plants to give away to friends and neighbors so they can start attracting the birds to their gardens. Thank you for stopping by and visiting my blog. If you ever have a gardening question, feel free to contact me. Creating. Inspiring. Gardening without the rules!
Rally is a form of motorsport that takes place on public or private roads with modified production or specially built road-legal cars. It is distinguished by running not on a circuit, but instead in a point-to-point format in which participants and their co-drivers drive between set control points (special stages), leaving at regular intervals from one or more start points. Rallies may be won by pure speed within the stages or alternatively by driving to a predetermined ideal journey time within the stages. The term "rally", as a branch of motorsport, probably dates from the first Monte Carlo Rally of January 1911. Until the late 1920s, few if any other events used the term. Rallying itself can be traced back to the 1894 Paris–Rouen Horseless Carriage Competition (Concours des Voitures sans Chevaux), sponsored by a Paris newspaper, Le Petit Journal, which attracted considerable public interest and entries from leading manufacturers. Prizes were awarded to the vehicles by a jury based on the reports of the observers who rode in each car; the official winner was Albert Lemaître driving a 3 hp Peugeot, although the Comte de Dion had finished first but his steam powered vehicle was ineligible for the official competition. This event led directly to a period of city-to-city road races in France and other European countries, which introduced many of the features found in later rallies: individual start times with cars running against the clock rather than head to head; time controls at the entry and exit points of towns along the way; road books and route notes; and driving over long distances on ordinary, mainly gravel, roads, facing hazards such as dust, traffic, pedestrians and farm animals. The first of these great races was the Paris–Bordeaux–Paris race of June 1895, won by Paul Koechlin in a Peugeot, despite arriving 11 hours after Émile Levassor in a Panhard et Levassor. Levassor's time for the 1,178 km (732 mi) course, running virtually without a break, was 48 hours and 48 minutes, an average speed of 24 km/h (15 mph). From 24 September-3 October 1895, the Automobile Club de France sponsored the longest race to date, a 1,710 km (1,060 mi) event, from Bordeaux to Agen and back. Because it was held in ten stages, it can be considered the first rally. The first three places were taken by a Panhard, a Panhard, and a three-wheeler De Dion-Bouton. In the Paris–Madrid race of May 1903, the Mors of Fernand Gabriel took just under five and a quarter hours for the 550 km (340 mi) to Bordeaux, an average of 105 km/h (65.3 mph). Speeds had now far outstripped the safe limits of dusty highways thronged with spectators and open to other traffic, people and animals; there were numerous crashes, many injuries and eight deaths. The French government stopped the race and banned this style of event. From then on, racing in Europe (apart from Italy) would be on closed circuits, initially on long loops of public highway and then, in 1907, on the first purpose-built track, England's Brooklands. Racing was going its own separate way. One of the earliest of road races, the Tour de France of 1899, was to have a long history, running 18 times as a reliability trial between 1906 and 1937, before being revived in 1951 by the Automobile Club de Nice. Italy had been running road competitions since 1895, when a reliability trial was run from Turin to Asti and back. The country's first true motor race was held in 1897 along the shore of Lake Maggiore, from Arona to Stresa and back. This led to a long tradition of road racing, including events like Sicily's Targa Florio (from 1906) and Giro di Sicilia (Tour of Sicily, 1914), which went right round the island, both of which continued on and off until after World War II. The first Alpine event was held in 1898, the Austrian Touring Club's three-day Automobile Run through South Tyrol, which included the infamous Stelvio Pass. In Britain, the legal maximum speed of 12 mph (19 km/h) precluded road racing, but in April and May 1900, the Automobile Club of Great Britain (the forerunner of the Royal Automobile Club) organised the Thousand Mile Trial, a 15-day event linking Britain's major cities, in order to promote this novel form of transport. Seventy vehicles took part, the majority of them trade entries. They had to complete thirteen stages of route varying in length from 43 to 123 miles (69 to 198 km) at average speeds of up to the legal limit of 12 mph (19 km/h), and tackle six hillclimb or speed tests. On rest days and at lunch halts, the cars were shown to the public in exhibition halls.[unreliable source?] This was followed in 1901 by a five-day trial based in Glasgow The Scottish Automobile Club organised an annual Glasgow–London non-stop trial from 1902 to 1904, then the Scottish Reliability Trial from 1905. The Motor Cycling Club allowed cars to enter its trials and runs from 1904 (London–Edinburgh, London–Land's End, London–Exeter—all still in being as mud-plugging classic trials). In 1908 the Royal Automobile Club held its 2,000 mi (3,200 km) International Touring Car Trial, and 1914 the important Light Car Trial for manufacturers of cars up to 1400 cc, to test comparative performances and improve the breed. In 1924, the exercise was repeated as the Small Car Trials. In Germany, the Herkomer Trophy was first held in 1905, and again in 1906. This challenging five-day event attracted over 100 entrants to tackle its 1,000 km (620 mi) road section, a hillclimb and a speed trial, but sadly it was marred by poor organisation and confusing regulations. One participant had been Prince Henry of Austria, who was inspired to do better, so he enlisted the aid of the Imperial Automobile Club of Germany to create the first Prinz Heinrich Fahrt (Prince Henry Trial) in 1908. Another trial was held in 1910. These were very successful, attracting top drivers and works cars from major teams – several manufacturers added "Prince Henry" models to their ranges. The first Alpine Trial was held in 1909, in Austria; by 1914, this was the toughest event of its kind, producing a star performance from Britain's James Radley in his Rolls-Royce Alpine Eagle. Then in 1911 came the first Monte Carlo Rally (later known colloquially as "the Monte"), organised by a group of wealthy locals who formed the "Sport Automobile Vélocipédique Monégasque" and bankrolled by the "Société des Bains de Mer" (the "sea bathing company"), the operators of the famous casino who were keen to attract wealthy sporting motorists. The competitive elements were slight, but getting to Monaco in winter was a challenge in itself. A second event was held in 1912. Two ultra long distance challenges took place at this time. The Peking-Paris of 1907 was not officially a competition, but a "raid", the French term for an expedition or collective endeavour whose promoters, the newspaper "Le Matin", rather optimistically expected participants to help each other; it was 'won' by Prince Scipione Borghese, Luigi Barzini, and Ettore Guizzardi in an Itala. The New York–Paris of the following year, which went via Japan and Siberia, was won by George Schuster and others in a Thomas Flyer. Each event attracted only a handful of adventurous souls, but in both cases the successful drivers exhibited characteristics modern rally drivers would recognise: meticulous preparation, mechanical skill, resourcefulness, perseverance and a certain single-minded ruthlessness. The New York–Seattle race of 1909, if shorter, was no easier. Rather gentler (and more akin to modern rallying) was the Glidden Tour, run by the American Automobile Association between 1902 and 1913, which had timed legs between control points and a marking system to determine the winners. The First World War brought a lull to rallying. The Monte Carlo Rally was not resuscitated until 1924, but since then, apart from World War II and its aftermath, it has been an annual event and remains a regular round of the World Rally Championship. In the 1930s, helped by the tough winters, it became the premier European rally, attracting 300 or more participants. In the 1920s, numerous variations on the Alpine theme sprang up in Austria, Italy, France, Switzerland and Germany. The most important of these were Austria's Alpenfahrt, which continued into its 44th edition in 1973, Italy's Coppa delle Alpi, and the Coupe Internationale des Alpes (International Alpine Trial), organised jointly by the automobile clubs of Italy, Germany, Austria, Switzerland and, latterly, France. This last event, run from 1928 to 1936, attracted strong international fields vying for an individual Glacier Cup or a team Alpine Cup, including successful Talbot, Riley, MG and Triumph teams from Britain and increasingly strong and well funded works representation from Adolf Hitler's Germany, keen to prove its engineering and sporting prowess with successful marques like Adler, Wanderer and Trumpf. The French started their own Rallye des Alpes Françaises in 1932, which continued after World War II as the Rallye International des Alpes, the name often shortened to Coupe des Alpes. Other important rallies started between the wars included Britain's RAC Rally (1932) and Belgium's Liège-Rome-Liège, officially called "Le Marathon de la Route" (1931), two events of radically different character; the former a gentle tour between cities from various start points, "rallying" at a seaside resort with a series of manoeuvrability and car control tests; the latter a thinly disguised road race over some of Europe's toughest mountain roads. In Ireland, the first Ulster Motor Rally (1931) was run from multiple starting points. After several years in this format, it transitioned into the 1,000-mile (1,600 km) Circuit of Ireland Rally. In Italy, Benito Mussolini's government encouraged motorsport of all kinds and facilitated road racing, so the sport quickly restarted after World War I. In 1927 the Mille Miglia (Thousand Mile) was founded, run over a 1,000-mile (1,600 km) loop of highways from Brescia to Rome and back. It continued in this form until 1938. The Liège of August 1939 was the last major event before World War II. Belgium's Ginet Trasenster (Bugatti) and France's Jean Trevoux (Hotchkiss) tied for first place, denying the German works teams shortly before their countries were overrun. This was one of five Liège wins for Trasenster; Trevoux won four Montes between 1934 and 1951. Rallying was again slow to get under way after a major war, but the 1950s were the Golden Age of the long-distance road rally. In Europe, the Monte Carlo Rally, the French and Austrian Alpines, and the Liège were joined by a host of new events that quickly established themselves as classics: the Lisbon Rally (Portugal, 1947), the Tulip Rally (the Netherlands, 1949), the Rally to the Midnight Sun (Sweden, 1951, now the Swedish Rally), the Rally of the 1000 Lakes (Finland, 1951 – now the Rally Finland), and the Acropolis Rally (Greece, 1956). The RAC Rally gained International status on its return in 1951, but for 10 years its emphasis on map-reading navigation and short manoevrability tests made it unpopular with foreign crews. The FIA created in 1953 a European Rally Championship (at first called the "Touring Championship") of eleven events; it was first won by Helmut Polensky of Germany. This was the premier international championship until 1973, when the FIA created the World Rally Championship for Manufacturers, won that first year by Alpine-Renault. Not until 1979 was there a World Rally Championship for Drivers, won that year by Björn Waldegård. Initially, most of the major postwar rallies were fairly gentlemanly, but the organisers of the French Alpine and the Liège (which moved its turning point from Rome into Yugoslavia in 1956) straight away set difficult time schedules: the Automobile Club de Marseille et Provence laid on a long tough route over a succession of rugged passes, stated that cars would have to be driven flat out from start to finish, and gave a coveted Coupe des Alpes ("Alpine Cup") to anyone achieving an unpenalised run; while Belgium's Royal Motor Union made clear no car was expected to finish the Liège unpenalised – when one did (1951 winner Johnny Claes in a Jaguar XK120) they tightened the timing to make sure it never happened again. These two events became the ones for "the men" to do. The Monte, because of its glamour, got the media coverage and the biggest entries (and in snowy years was also a genuine challenge); while the Acropolis took advantage of Greece's appalling roads to become a truly tough event. In 1956 came Corsica's Tour de Corse, 24 hours of virtually non-stop flat out driving on some of the narrowest and twistiest mountain roads on the planet – the first major rally to be won by a woman, Belgium's Gilberte Thirion, in a Renault Dauphine.[unreliable source?] The Liège continued as uncompromisingly an open road event run to an impossible time schedule, and remained Europe's toughest rally until 1964, by which time it had turned to the wilds of Yugoslavia and Bulgaria to find traffic-free roads; but in the end the pressures were irresistible. The Coupe des Alpes struggled on until 1973 until it too succumbed, its demise no doubt hastened by the decision of the French motor sporting authorities to select the Tour de Corse as its representative event in international rally championships. These events were road races in all but name, but in Italy such races were still allowed, and the Mille Miglia continued until a serious accident in 1957 caused it to be banned. Meanwhile, in 1981, the Tour de France was revived by the Automobile-Club de Nice as a different kind of rally, based primarily on a series of races at circuits and hillclimbs around the country. It was successful for a while and continued until 1986. It spawned similar events in a few other countries, but none survive. Rallying became very popular in Sweden and Finland in the 1950s, thanks in part to the invention there of the specialsträcka (Swedish) or erikoiskoe (Finnish), or special stage: shorter sections of route, usually on minor or private roads—predominantly gravel in these countries—away from habitation and traffic, which were separately timed. These at long last provided the solution to the conflict inherent in the notion of driving as fast as possible on ordinary roads. The idea spread to other countries, albeit more slowly to the most demanding events. The RAC Rally had formally become an International event in 1951, but Britain's laws precluded the closure of public highways for special stages. This meant it had to rely on short manoeuvrability tests, regularity sections and night map-reading navigation to find a winner, which made it unattractive to foreign crews. In 1961, Jack Kemsley was able to persuade the Forestry Commission to open their many hundreds of miles of well surfaced and sinuous gravel roads, and the event was transformed into one of the most demanding and popular in the calendar, by 1983 having over 600 miles (970 km) of stage. It is now called Rally GB. Rallying also took off in Spain and Portugal and by the 1960s had spread to their colonial territories in the mid-Atlantic. By the end of the 1960s events had not only begun in Madeira and the Canary Islands, but also on the far-flung Azores. This section does not cite any sources. (December 2009) (Learn how and when to remove this template message) In countries where there was no shortage of demanding roads across remote terrain, other events sprang up. In South America, the biggest of these took the form of long distance city to city races, each of around 5,000 to 6,000 miles (8,000–9,500 km), divided into daily legs. The first was the Gran Premio del Norte of 1940, run from Buenos Aires to Lima and back; it was won by Juan Manuel Fangio in a much modified Chevrolet coupé. This event was repeated in 1947, and in 1948 an even more ambitious one was held, the Gran Premio de la América del Sur from Buenos Aires to Caracas, Venezuela—Fangio had an accident in which his co-driver was killed. Then in 1950 came the fast and dangerous Carrera Panamericana, a 1,911-mile (3,075 km) road race in stages across Mexico to celebrate the opening of the asphalt highway between the Guatemala and United States borders, which ran until 1954. All these events fell victim to the cost – financial, social and environmental – of putting them on in an increasingly complex and developed world, although smaller road races continued long after, and a few still do in countries like Bolivia. In Africa, 1950 saw the first French-run Méditerranée-le Cap, a 10,000-mile (16,000 km) rally from the Mediterranean to South Africa; it was run on and off until 1961, when the new political situation hastened its demise. In 1953 East Africa saw the demanding Coronation Safari, which went on to become the Safari Rally and a World Championship round, to be followed in due course by the Rallye du Maroc and the Rallye Côte d'Ivoire. Australia's Redex Round Australia Trial also dates from 1953, although this remained isolated from the rest of the rallying world. The quest for longer and tougher events saw the re-establishment of the intercontinental rallies beginning with the London–Sydney Marathon held in 1968. The rally trekked across Europe, the Middle-East and the sub-continent before boarding a ship in Bombay to arrive in Fremantle eight days later before the final push across Australia to Sydney. The huge success of this event saw the creation of the World Cup Rallies, linked to Association Football's FIFA World Cup. The first was the 1970 London to Mexico World Cup Rally which saw competitors travel from London eastwards across to Bulgaria before turning westwards on a more southerly route before boarding a ship in Lisbon. Disembarking in Rio de Janeiro the route travelled southward into Argentina before turning northwards along the western coast of South America before arriving in Mexico City. The 1974 London-Sahara-Munich World Cup Rally followed four years later. The rally travelled southwards into Africa but a navigational error saw most of the rally become lost in Algerian desert. Eventually only seven teams reached the southernmost point of the rally in Nigeria with five teams making it back to West Germany having driven all legs and only the winning team completing the full distance. This, coupled with the economic climate of the 1970s the heat went out of intercontinental rallying after a second London–Sydney Marathon in 1977. The concept though was revived in 1979 for the original Paris-Dakar Rally. The success of the Dakar would eventually see intercontinental rallying recognised as its own discipline; the Rally Raid. The introduction of the special stage brought rallying effectively into the modern era. It placed a premium on fast driving, and enabled healthy programmes of smaller events to spring up in Britain, France, Scandinavia, Belgium and elsewhere. Since then, the nature of the events themselves has evolved relatively slowly. The increasing costs, both of organization and of competing, as well as safety concerns, have, over the last twenty years, brought progressively shorter rallies, shorter stages and the elimination of nighttime running, scornfully referred to as "office hours rallying" by older hands. Some of the older international events have gone, replaced by others from a much wider spread of countries around the world, until today rallying is truly a worldwide sport. At the same time, fields have shrunk dramatically, as the amateur in his near-standard car is squeezed out. Gruelling long distance events continued to be run. In 1967, a group of American offroaders created the Mexican 1000 Rally, a tough 1,000-mile race for cars and motorcycles which ran the length of the Baja California peninsula, much of it initially over roadless desert, which quickly gained fame as the Baja 1000, today run by the SCORE organization. "Baja" events now take place in a number of other countries worldwide. 1968 brought the first of a series of British-organised intercontinental rallies, the Daily Express London-Sydney Marathon, which attracted over 100 crews including a number of works teams and top drivers; it was won by the Hillman Hunter of Andrew Cowan/Brian Coyle/Colin Malkin. Not to be outdone, the rival Daily Mirror sponsored in 1970 the London-Mexico World Cup Rally, linking the stadia of two successive football World Cups, on a route that crossed Europe to Bulgaria and back before shipping out from Lisbon to Rio de Janeiro, after looping around South America, and a run through some of the most frightening sections of Peru's road race, the Caminos del Inca, they wrap it up being shipped to Panama and a final run up Central America. The Ford Escort of Hannu Mikkola and Gunnar Palm won. These were followed in 1974 by the London-Sahara-Munich World Cup Rally, and in 1977 by the Singapore Airlines London-Sydney Rally. In 1979, a young Frenchman, Thierry Sabine, founded an institution when he organised the first "rallye-raid" from Paris to Dakar, in Senegal, the event now called the Dakar Rally. From amateur beginnings it quickly became a massive commercial circus catering for cars, motorcycles and trucks, and spawned other similar events. Since 2008, it has been held in South America. This section does not cite any sources. (November 2009) (Learn how and when to remove this template message) The main change over that period has been in the cars, and in the professionalisation and commercialisation of the sport. Manufacturers had entered works cars in rallies, and in their forerunner and cousin events, from the very beginning: the 1894 Paris-Rouen was mainly a competition between them, while the Thousand Mile Trial of 1900 had more trade than private entries. Although there had been exceptions like the outlandish Ford V8 specials created by the Romanians for the 1936 Monte Carlo Rally, rallies before World War II had tended to be for standard or near-standard production cars, a rule supported by manufacturers because it created a relatively even playing field. After the war, most competing cars were production saloons or sports cars, with only minor modifications to improve performance, handling, braking and suspension. This kept costs down and allowed many more people to afford the sport using ordinary family cars, so entry lists grew into the hundreds. As public interest grew, car companies started to introduce special models or variants for rallying, such as the British Motor Corporation's highly successful Mini Cooper, introduced in 1962, and its successor the Mini Cooper S (1963), developed by the Cooper Car Company. Shortly after, Ford of Britain first hired Lotus to create a high-performance version of their Cortina family car, then in 1968 launched the Escort Twin Cam, one of the most successful rally cars of its era. Similarly, Abarth developed high performance versions of Fiats 124 roadster and 131 saloon. Other manufacturers were not content with modifying their 'bread-and-butter' cars. Renault bankrolled the small volume sports-car maker Alpine to transform their little A110 Berlinette coupé into a world-beating rally car, and hired a skilled team of drivers too; then in 1974 came the Lancia Stratos, the first car designed from scratch to win rallies, and the dominant asphalt rally car of its time. These makers overcame the rules of FISA (as the FIA was called at the time) by building the requisite number of these models for the road. In 1980, a German car maker, Audi, at that time not noted for their interest in rallying, introduced a rather large and heavy coupé version of their family saloon, installed a turbocharged 2.1 litre five-cylinder engine, and fitted it with four-wheel drive. Thus the Audi Quattro was born. International regulations had prohibited four-wheel drive; but FISA accepted that this was a genuine production car, and changed the rules. The Quattro quickly became the car to beat on snow, ice or gravel; and in 1983 took Hannu Mikkola to the World Rally Championship title. Other manufacturers had no production four-wheel drive car on which to base their response, so FISA was persuaded to change the rules, and open the Championship to cars in Group B. This allowed cars to be much further removed from production models, and so was created a generation of rallying supercars, of which the most radical and impressive were the Peugeot 205 T16, Renault 5 Turbo and the Lancia Delta S4, with flimsy fibreglass bodies roughly the shape of the standard car tacked onto lightweight spaceframe chassis, four-wheel drive, and power outputs reportedly as high as 600 hp (450 kW). Further Group B cars were developed by Ford (the RS200), British Leyland (the Metro 6R4) and many others, but these were less successful. This particular era was not to last. On the 1986 Rallye de Portugal, four spectators were killed; then in May, on the Tour de Corse, Henri Toivonen went over the edge of a mountain road and was incinerated in the fireball that followed. FISA immediately changed the rules again: rallying after 1987 would be in Group A cars, closer to the production model. One notably successful car during this period was the Lancia Delta Integrale, dominating world rallying during 1987, 1988, 1989, 1990, 1991 and 1992 – winning six consecutive world rally championships, a feat yet unbeaten. Most of the works drivers of the 1950s were amateurs, paid little or nothing, reimbursed their expenses and given bonuses for winning (although there were certainly exceptions, such as the Grand Prix drivers who were brought in for some events). Then in 1960 came arguably the first rallying superstar (and one of the first to be paid to rally full-time), Sweden's Erik Carlsson, driving for Saab. In the 1960s, the competitions manager of BMC, Stuart Turner, hired a series of brave and gifted young Finns, skills honed on their country's highly competitive gravel or snow rallies, and the modern professional driver was born. As special stage rallying spread around the world Scandinavian drivers were challenged by drivers from Italy, Germany, Britain, Spain and elsewhere. Today, a World Champion may be of any nationality. The World Rally Championship now visits nearly all continents, taking its stylish sideways driving style and specialized cars to a vast global market, estimated by some to be second only to the Formula One juggernaut. This has produced unprecedented levels of visibility in recent years, but in many ways removed the motorsport from its grassroots past. For better or worse, rally has become a lucrative business. There are two main forms: stage rallies and road rallies. Since the 1960s, stage rallies have been the professional branch of the sport. They are based on straightforward speed over stretches of road closed to other traffic. These may vary from asphalt mountain passes to rough forest tracks, from ice and snow to desert sand, each chosen to provide an enjoyable challenge for the crew and a test of the car's performance and reliability. The entertaining and unpredictable nature of the stages, and the fact that the vehicles are in some cases closely related to road cars, means that the bigger events draw massive spectator interest, especially in Europe, Asia and Oceania. Road rallies are the original form, held on highways open to normal traffic, where the emphasis is not on outright speed but on accurate timekeeping and navigation and on vehicle reliability, often on difficult roads and over long distances. They are now primarily amateur events. There are several types of road rallies testing accuracy, navigation or problem solving. Some common types are: Regularity rally or a Time-Speed-Distance rally (also TSD rally, testing ability to stay on track and on time), others are Monte-Carlo styles (Monte Carlo, Pan Am, Pan Carlo, Continental) rally (testing navigation and timing), and various Gimmick rally types (testing logic and observation). Many early rallies were called trials, and a few still are, although this term is now mainly applied to the specialist form of motor sport of climbing as far as you can up steep and slippery hills. And many meets or assemblies of car enthusiasts and their vehicles are still called rallies, even if they involve merely the task of getting there (often on a trailer). Rallying is a very popular sport at the "grass roots" of motorsport—that is, motor clubs. Individuals interested in becoming involved in rallying are encouraged to join their local automotive clubs. Club rallies (e.g. road rallies or regularity rallies) are usually run on public roads with an emphasis on navigation and teamwork. These skills are important fundamentals required for anyone who wishes to progress to higher-level events. (See Categories of rallies.) Short special stage practice events on public roads are in some countries organized by the local clubs, with a permission of the local police, the community normally using the road, and the road authority. The public road is closed during these by the organisers or the police. Rallying is also unique in its choice of where and when to race. Rallies take place on all surfaces and in all conditions: asphalt (tarmac), gravel, or snow and ice, sometimes more than one in a single rally, depending on the course and event. Rallies are also run every month of the year, in every climate from bitter cold to monsoonal rain. As a result of the drivers not knowing exactly what lies ahead, the lower traction available on dirt roads, and the driving characteristics of small cars, the drivers are much less visibly smooth than circuit racers, regularly sending the car literally flying over bumps, and sliding the cars out of corners. A typical rally course consists of a sequence of relatively short (up to about 50 km (31 mi)), timed "special stages" where the actual competition takes place, and untimed "transport stages" where the rally cars must be driven under their own power to the next competitive stage within a generous time limit. Rally cars are thus unlike virtually any other top-line racing cars in that they retain the ability to run at normal driving speeds, and indeed are registered for street travel. Some events contain "super special stages" where two competing cars set off on two parallel tracks (often small enough to fit in a football stadium), giving the illusion they are circuit racing head to head. Run over a day, a weekend, or more, the winner of the event has the lowest combined special and super special stage times. Given the short distances of super special stages compared to the regular special stages and consequent near-identical times for the frontrunning cars, it is very rare for these spectator-oriented stages to decide rally results, though it is a well-known axiom that a team cannot win the rally at the super special, but they can certainly lose it. Pacenotes are a unique and major tool in modern rallying. Television spectators will occasionally notice the voice of a co-driver in mid-race reading the pacenotes over the car's internal intercom. These pacenotes provide a detailed description of the course and allow the driver to predict conditions ahead and prepare for various course conditions such as turns and jumps. In many rallies, including those of the World Rally Championship (WRC), drivers are allowed to run on the stages of the course before competition and create their own pacenotes. This process is called reconnaissance or recce. During reconnaissance, the co-driver writes down shorthand notes (the pacenotes) on how to best drive the stage. Usually the drivers call out the turns and road conditions for the co-drivers to write down. These pacenotes are read aloud through an internal intercom system during the actual race, allowing the driver to anticipate the upcoming terrain and thus take the course as fast as possible. Other rallies provide organizer-created "route notes" also referred to as "stage notes" and disallow reconnaissance and use of other pacenotes. These notes are usually created using a predetermined pacenote format, from which a co-driver can optionally add comments or transpose into other pacenote notations. Many North American rallies do not conduct reconnaissance but provide stage notes through the use of the Jemba Inertia Notes System, due to time and budget constraints. In the past, most rally courses were not allowed to be scanned prior to the race, and the co-drivers used only maps supplied by the organization. The exact route of the rally often remained secret until race day. Modern rallies have mostly converted to using organizer-supplied notes or allowing full reconnaissance, as opposed to racing the stages blindly. This change has been brought on in large part due to competitor demand. In the wake of the ever more advanced rally cars of the 21st century is a trend towards historic rallying (also known as classic rallying), in which older cars compete under older rules. This is a popular sport and even attracts some previous drivers back into the sport. Many who enter, however, have started their competition careers in historic rallying. In February 2015, The National Film & Television School in England premiered one of their graduating films called "Group B" directed by ex-rally driver Nick Rowland. The film, set during the last year of the Group B class of rally tells the story of a young driver having to face a difficult comeback after a 'long and troubled absence'. The young driver is played by Scottish actor Richard Madden, and his co-driver played by Northern Irish actor Michael Smiley. The EuropaCorp Films in France, The motorsport movie Michel Vaillant is premiered one of the graduating films called directed by Louis-Pascal Couvelarie. The driver Michel Vaillant Sagamore Stévenin and co-driver Gullio Cavallo Stefano Cassetti drive Peugeot 206 WRC in Vaillante Team And Bob Cramer Francois Levantal and co-driver Dan Hawkins Stéphane Metzger drive Subaru Impreza WRX, Based on the French comic book and TV Series Michel Vaillant directed from Louis-Pascal Couvelaire. \|Wikimedia Commons has media related to Rally.\| None of the audio/visual content is hosted on this site. All media is embedded from other sites such as GoogleVideo, Wikipedia, YouTube etc. Therefore, this site has no control over the copyright issues of the streaming media. All issues concerning copyright violations should be aimed at the sites hosting the material. This site does not host any of the streaming media and the owner has not uploaded any of the material to the video hosting servers. Anyone can find the same content on Google Video or YouTube by themselves. 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By Blake and Gwen Beckcom SMART goals — defined as specific, measurable, achievable, relevant and time-bound — have been used in the corporate world since the early 1980s. The concept has stood the test of time because it works. Anyone can set goals without these criteria, but if goals aren’t clearly defined and geared toward your real objective, you’ll likely lose interest. Also, if you’re not sure they’re achievable and you have no way to measure progress, you’re setting yourself up for disappointment and confusion along the way. We are now into the third month of 2016. How are you faring thus far on your goals? SMART goals give you the tools to make sure you’re setting the right goals, making steady progress and reaching the desired outcome. While SMART goals are typically used in personal development, project management and employee performance scenarios, this concept may be useful outside the corporate world. Why not set SMART goals to help you follow through with your New Year’s resolutions? Resolution to meet your resolutions If you typically make resolutions but seldom follow through, you’re not alone. It is now March, and already, many are falling by the wayside. It’s easy to start out enthusiastically, especially with common goals like getting in shape. Unfortunately, it’s also easy to get off track and lose your motivation. That’s where SMART goals come in. Specific goals outline the details of what you’re trying to accomplish. To do this, you need to state your overall objective (such as, getting in shape in 2016) and answer a few key questions like who’s involved (you and your family), what you want to accomplish (lose 15 pounds by May 31), why it’s important (feel better, look better), and where, how and when you’ll take action (work out at the gym and at home six days per week). Make it measurable Measuring progress is the only way to make sure you’re on track to meet your goal. For example, if your goal is to lose 15 pounds by the end of April, how will you know if you’re on the right track if you don’t step on a scale? While it’s best to weigh yourself first thing in the morning, you can decide how many times per week you’ll weigh in, but make sure you stick to it and write it down. Be sure it’s achievable and relevant Goals geared toward your main objective must be achievable and relevant. For example, if your objective is to get in shape in 2016, setting a goal to become a world-class body builder in six months probably wouldn’t be achievable or relevant. However, the goal of losing 15 pounds by April 30 fits both criteria. Add a time frame Committing to a deadline with milestones along the way will help keep you accountable for staying on track. If you start out thinking you have the whole year to accomplish your goal, you’ll be much more likely to procrastinate. —Blake and Gwen Beckcom run Fitness Together Mission Hills. Contact them at fitnesstogether.com/missionhills.
Wait, isn't this true? We are told that P is idempotent. First, however, we are going to show that I – P is idempotent too. In other words, we need to show that: Expanding the left side of the equation, we get: However, we are told that P is idempotent and we know that I is an idempotent matrix, which means P2 = P and I2=I. Thus, equation (3) can also be written as: (I – P)2 = (I – P)·(I – P) = I·I – 2·P + P2 (3) This shows that I – P is idempotent too. Now, in part 2, we proved that an idempotent that is invertible is equal to the identity matrix. We just showed that I – P is an idempotent matrix, which suggests that it is invertible only if I – P = I. This means that P must be equal to 0 for that to hold. Thus, since P=0 is an idempotent matrix, it can be concluded that I – P will be invertible. (I – P)2 = (I – P)·(I – P) = I·I – 2·P + P2 = I – 2·P + P = I – P
Detailed explanations, analysis, and citation info for every important quote on LitCharts. Enter DESDEMONA, EMILIA, and Clown DESDEMONA Do you know, sirrah, where Lieutenant Cassio lies? When Othello enters, he claims a headache and asks her for a handkerchief to bind his head, but he will have only the embroidered strawberry handkerchief. Summary; Analysis. 0 Comments; Uncategorized December 20, 2020 mummy (75) fluid drained from embalmed bodies. All rights reserved. While Othello conducts business with Lodovico, he tells Desdemona to go to bed and send Emilia away for the night. Act 4, scene 1. Emilia had stood silently in the background (as a lady's maid should) when Othello demanded to see the handkerchief and Desdemona could not produce it (Act III, Scene 4), so she is aware that the handkerchief itself forms part of Othello's accusation. (39). Starts in the middle of an argument between Roderigo and Iago But the bond breaks when she mentions Cassio. Othello Act 3 Scene 4 Lyrics. Othello is trying, even after swearing that Desdemona was unfaithful, not to condemn her too harshly. Act 3 Scene 4 is a scene which further develops and at points realises worrying omens which had been foreshadowed in the previous scene. These lines echo Iago's "It is the green ey'd monster which doth mock that meat it feeds on" (III.3, 170-171), hinting that Iago and Emilia have talked or argued about jealousy in their own married life. from your Reading List will also remove any Bianca also serves as a contrast to Desdemona: Bianca is whore, while Desdemona's virtuous wife. LitCharts Teacher Editions. Othello and Lodovico keep walking; Othello tells Desdemona to go to bed and dismiss Emilia. Chapter Summary for William Shakespeare's Othello, act 4 scene 3 summary. All Acts are listed on the Othello text page, or linked to from the bottom of this page.. ACT 3. Scene 1. The remainder of the scene is between Desdemona and Emilia. In response to Desdemona's frank question Emilia exhibits some of her husband's duplicity. The Willow Scene. Desdemona decides that she wants to advocate for Cassio. This confection of far-fetched story elements seems to be believed implicitly by both Othello and Desdemona, who, under stress, ascribe wider powers and cosmic meaning to a handkerchief that, up until now, was simply a personal love token. Cassio asks the clown to entreat Emilia to come speak with him, so that he can ask her for access to Desdemona. Desdemona orders the clown to find Cassio and bring him the message that she has made her suit to Othello. Read our modern English translation of this scene. Under Othello's pressure, the typically honest Desdemona is herself forced to equivocate. The others remain clueless. The scene shows that Othello is now occupied, which allows the next scene to take shape. Emilia notices Othello’s jealousy and both of them think of men’s attributes. and any corresponding bookmarks? Act 5 opens with Roderigo and Iago. This page contains the original text of Othello Act 3, Scene 4.Shakespeare’s original Othello text is extremely long, so we’ve split the text into one Scene per page. Summary and Analysis Act III: Scene 4 Summary Desdemona sends for Cassio to tell him that she has spoken with Othello; she is also worried that she has lost her handkerchief. (including. Students love them!”. Before the castle. Instant downloads of all 1386 LitChart PDFs From the moment he enters, Othello takes on the role of a persecutor. The Cuckold, or "Horned Devil": A cuckold is a man whose wife has been unfaithful. How to increase brand awareness through consistency; Dec. 11, 2020. Othello demands her handkerchief, which she cannot produce. Desdemona is asking the clown regarding Cassio and Othello enters and his words are marked by his secret conviction regarding Desdemona’s infidelity. CLOWN I … Bianca comes and hears from Cassio who must wait for Othello. Othello: Act 3, scene 4 Summary & Analysis New! The interview between Othello and Desdemona begins stiffly and formally: "Well, my good lady" (30), and she, taking her cue from him, answers formally. “Would not have made it through AP Literature without the printable PDFs. All he has established is that she does not have it, but just the thought of the handkerchief is enough to madden him, torturing him now with the mental picture of Cassio wiping himself with it. Cassio enters and notices Othello’s state of unconsciousness. This contrasts with Othello's train of thought in the previous act, where, with less actual evidence before him, he changed his whole view of himself and his marriage. Enter DESDEMONA, EMILIA, and Clown Othello Act 4 Scene 3 Lyrics. Before the castle. CliffsNotes study guides are written by real teachers and professors, so no matter what you're studying, CliffsNotes can ease your homework headaches and help you score high on exams. Iago calls Cassio in, while Othello hides; Iago speaks to Cassio of Bianca, but Othello, in his disturbed state, believes that Ca… Scene iii: Desdemona promises Cassio that she will do everything she can for him in getting his job back. Understand every line of Othello. Reputation; Love degraded; Study focus: Othello’s anger; Iago: Stage director and accomplished actor; Roderigo: Victim or villain? Blog. Act I Scene 3; Act II Scene 1; Act II Scene 2; Act II Scene 3. Emilia's view of jealousy as a natural characteristic of irrational men contrasts with Othello's real personal sufferings of the previous scene. Need help with Act 4, scene 1 in William Shakespeare's Othello? Bianca's jealousy of Cassio provides a contrast for the jealousy that Othello feels for Desdemona—demonstrating that women are also subject to the jealousy that Emilia, earlier in this scene, attributes only to men. Desdemona cannot imagine why any woman would give her husband cause for jealousy. Word Count: 1226. Emilia speaks of irrational jealousy: "But jealous souls will not be answer'd so; / They are not ever jealous for the cause, / But jealous for they are jealous: @'tis a monster, begot upon itself, born on itself." bookmarked pages associated with this title. Let us assist you in completing projects of all sizes! Bianca immediately recognizes it as belonging to a woman and berates Cassio for having another mistress. The third act begins with a bit of comic relief; a clown is mincing words with a few musicians, then has a little wordplay with Cassio, who bids the clown to go and see if Desdemona will speak with him. Desdemona is confident, or at least hopeful, that her husband is not jealous, while Emilia suspects that all men are jealous. She tells Emilia so, and that she … Ayesha Dharker and Joanna Vanderham explore Act 4 Scene 3 of Othello with the director of the 2015 production at the Royal Shakespeare Company, Iqbal Khan. The Clown provides some contrasting comic relief, taking words only at face value, and this little diversion covers the plot move where Desdemona sends for Cassio. Check out our revolutionary side-by-side summary and analysis. Emilia, however, understands that jealousy can warp a person's vision, so that they see what isn't there. Literary Analysis : Othello Act 3 Scene 3 Rhetorical and Literary Devices By: Kathy, Melinda, Kyle and Anthony line 93-94 & 100-107 line 374 Leading Questions: Timeline Anticipations are reached and manipulations of Iago's plan unfold without this scene the play and plot would be Themes and Colors Key LitCharts assigns a color and icon to each theme in Othello, which you can use to … Struggling with distance learning? And when he accuses her of being ‘a strumpet’ in Act 4 Scene 2, she proclaims, ‘No, as I am a Christian.’ After she is totally vindicated of any sin, and Othello realises what he has done, he is overpowered by the contrast of his evil act … He then asks her to lend him her handkerchief. © 2020 Houghton Mifflin Harcourt. The handkerchief, which once symbolized love and loyalty, now means betrayal. Desdemona tells … unhandsome warrior (152) unskilled soldier. "My students can't get enough of your charts and their results have gone through the roof." In this scene, Iago furthers his nefarious plots of envy and malice as he poisons Othello's mind with jealousy. She does so, and he chastises her for her hands moistness, which suggests sexual promiscuity. Teach your students to analyze literature like LitCharts does. Commentary on Act 3 Scene 4 I dare not say he lies anywhere. dial (176) a full twelve hours on the face of a clock. Cassio gives Bianca Desdemona's handkerchief, which he found in his lodgings (Iago had placed it there) and asks her to make a copy of it for him, as he will have to return the original when he finds the owner. She thinks that if she is virtuous, then Othello and the world will see it. Act 4 Scene 3 – Key Scene . This lesson will cover Act 3, Scene 3 of ''Othello'' where Iago cements his manipulation of Othello into thinking that Desdemona, his wife, is having an affair with Cassio. Emilia, who is less idealistic and more worldly than Desdemona, immediately understands that Othello's behavior stems from jealousy. ‘Heaven keep the monster from Othello’s mind.’ (Act 3 Scene 4). SCENE III. Othello - Act 3, Scene 4 Summary & Analysis William Shakespeare This Study Guide consists of approximately 158 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Othello. Emilia is worried about Othello’s strange behaviour and thinks he is behaving jealously towards Desdemona. Othello falls in a trance. Eager to avoid angering Othello… This lesson provides an overview of Act 3, scene 4 of Shakespeare's 'Othello'. Act 3 scene 4 analysis This unhappy scene focuses on Desdemona; she has become an innocent victim of Iago and Othello. Another room In the castle. If the handkerchief were lost, the love would go. Othello obsessively tries to find evidence of infidelity. Top 10 blogs in 2020 for remote teaching and learning; Dec. 11, 2020 The sudden shift from the wrongly jealousy Othello at the end of the last scene to Desdemona emphasizes just how innocent and virtuous she actually is. The dramatic irony is that the most jealous indignation is expressed over offenses that did not happen: Othello jealous about his wife; Bianca jealous about Cassio; Iago formerly jealous about Emilia. In many ways this scene is the scene where you can perhaps question Othello and whether he is now a malicious and "jealous" man.Act 3 scene 4 begins innocently with Desdemona… Victim of Iago and Othello enters and tells Desdemona to go to bed and send Emilia away for the.... Jealous woman who truly cares for Cassio 's reinstatement, speaking again of Cassio the evidence before her own backs. It as belonging to a woman and berates Cassio for having another mistress they see what n't... Clown to find Cassio and Othello enters and notices Othello ’ s good graces, Cassio sends to... Least hopeful, that her husband is not jealous, while Desdemona 's frank question Emilia exhibits some her. Increase brand awareness through consistency ; Dec. 11, 2020 theme in allows next... Acts are listed on the face of a persecutor regarding Desdemona ’ s good graces, Cassio, and discuss... Jealous, while Desdemona 's virtuous wife by eNotes Editorial Cassio and Desdemona talks to him an. 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Probation is a legal status or disposition that permits youthful offenders to remain with their families under the supervision of a probation officer or probation counselor. Probation Casework Units consists of POST Certified Probation Officers responsible for coordinating services, making recommendations to the court, preparing predisposition reports, and directly supervising youth who are placed on probation by the court. Probation Officers also supervise youth placed on informal probation. The level and supervision and types of services provided to youth are developed in accordance with court orders, structured assessment tools and evaluations, when appropriate. Youth and families participate in the process of determining services needed for youth. Probation Officers coordinate services, monitor compliance, and ensure accountability and community safety concerns are addressed.
Macbeth essay act 1 Improve your reasearch with over 17 pages of premium content about Macbeth Act 1 Lady Macbeth Essay When we first meet Lady Macbeth in Act 1 Scene 5. Macbeth essay act 1 scene 5 summary. Any wanna make some money doing a page research paper MLA format and have citations and quotes me; Gender roles in macbeth essay. Macbeth Scene AnalysisAct 5 Scene 11)Plot SummaryIn this scene the gentlewoman who accompanies Lady Macbeth while she sleeps has previously reported to a doctor of. William Shakespeare, an English playwright, often started his plays with powerful scenes and mood-setting action. Act 1 of 'Macbeth' is no exception to the. Act 1 Macbeth In Act 1 of Macbeth by Shakespeare I found the mood to be shifty. The way the weather and surrounding elements suddenly change, how the. King Duncan, Play Analysis - MacBeth: Act 1, Scene 7. Essay macbeth act 1. essay collections language status and identity essay the transcendentalist essay mock code critique essay war measures act essay very. Macbeth Act 1 Essays: Over 180,000 Macbeth Act 1 Essays, Macbeth Act 1 Term Papers, Macbeth Act 1 Research Paper, Book Reports. 184 990 ESSAYS, term and research. Macbeth essay act 1 Category: essays research papers; Title: Macbeth Act 1: Plot. Read Macbeth Act 1 free essay and over 87,000 other research documents. Macbeth Act 1. Shakespeare, during the first act of Macbeth, introduces Macbeth as a very. Essay Macbeth hamlet 1 3 act scene Substanzsteuer beispiel essay george washington mba essays editing argumentative essay on abortion introductions ampliacion del. Macbeth Act 1 essay In this quote the audience realizes that Lady Macbeth decides to listen to the witches prophecy and act towards it. Macbeth and Lady. Essay on macbeth act 1 scene 3. Members; Essay on macbeth act 1 scene 3. Essay on macbeth act 1 scene 3. Don't let it happen to you! Like water for chocolate movie. Macbeth: Essay Topics 1) The supernatural plays an important role in Macbeth. To what extent does it motivate Macbeth's actions? 2) Discuss King Duncan and examine. Macbeth Act 1: Plot Essays: Over 180,000 Macbeth Act 1: Plot Essays, Macbeth Act 1: Plot Term Papers, Macbeth Act 1: Plot Research Paper, Book Reports. 184 990 ESSAYS. Macbeth study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary. A summary of Act 1, scenes 1-4 in William Shakespeare's Macbeth. Learn exactly what happened in this chapter, scene, or section of Macbeth and what it means. Essay about Macbeth Act Ii Questions.Macbeth Act II Questions Scene i 1. When Banquo remarks that the night is especially dark. 1 Macbeth Essay guidelines: Act 4 Scene 1. Macbeth Essay writing frame: Act 4 Scene 1 Explain, with detailed reference to the text, how you would stage. In act I sc. ii, Macbeth is described by his king as: O valiant cousin, worthy gentleman (Act 1, Sc. 2) The quote mentioned above reinforces the idea that. Act 1, Scene 1. On a heath in Scotland, three witches, the Weird Sisters, wait to meet Macbeth amidst thunder and lightning. Their conversation is filled with paradox. Study Questions & Essay Topics Ultimately, there is a strong suggestion that manhood is tied to cruelty and violence: note Lady Macbeth's speech in Act 1. Related GCSE Macbeth essays Lady Macbeth in Act 5, Sc 1 in the sleep-walking soliloquy is a woman who has completely lost her. Macbeth Act 1 Scene 1 Analysis. Free Macbeth papers essays, and research papers year 8 essay writing 70) maple zakum proquest dissertations Later in the scene Power-hungry and manipulating Lady. Macbeth essay act 2 scene 1 theme. Macbeth essay act 2 scene 1 theme. In Graphic Designs by September 12, 2017 Leave a Comment. org/s_tesol/article. Macbeth by William Shakespeare - Act 1, Scene 5 summary and analysis.
Every June 20, on World Refugee Day, the headlines invariably focus on numbers. But numbers are not the issue; only about 0.3 percent of the world’s population are refugees. The real challenge comes from unequal geographical concentration. Most refugees will never come to the United States or Europe. Around 85 percent end up in low and middle-income countries like Lebanon, Pakistan and Uganda, and just 10 such countries host 60 percent of the world’s refugees. This means refugee protection is primarily a developing world issue, and there is a lack of global responsibility-sharing. Refugees stay in these safe haven countries for decades. They live mainly in cities, where they are often not allowed to work in the formal economy, or in makeshift camps that lack opportunities. Fragile countries of origin prevent people from returning home, and safe-haven countries are often unwilling or unable to offer integration. Camps have become cities without jobs. Belatedly, refugee assistance is being reconceived. There is a lesser-known progressive side to refugee policy in Kenya, where since the early 1990s, hundreds of thousands of refugees — mainly from Somalia and South Sudan — have been confined to two sets of camps, Dadaab and Kakuma; many have been denied the right to work and the freedom of movement. The new approach is best illustrated in Turkana County in northwest Kenya, home to the Kakuma camps. The governor, Josphat Nanok, has spoken of “the importance of remodeling Kakuma with its refugee and host population into an urban setting in an organized way … that will encourage investors to come in.” Reflecting this, the Turkana government and the U.N. Refugee Agency (UNHCR) created a new refugee settlement from scratch in 2015 — the Kalobeyei settlement. The original architectural plans included a market and shared public services located between residential spaces for refugees and the indigenous Turkana hosts. The premise was to support refugee self-reliance and greater refugee-host interaction. Although the mass influx of South Sudanese refugees soon after its creation created a need for some emergency assistance, it has retained a focus on a self-reliance model that contrasts with traditional aid. Unlike Kakuma, Kalobeyei has planned markets, a form of cash assistance built around its own currency, called Bamba Chakula (“get your food” in Swahili) and allocated plots of land (“kitchen gardens”) for subsistence agriculture. This month, UNHCR’s spokesperson explained: “There is the old part of Kakuma. And then there is the new part, called Kalobeyei. … It represents our new approach that is going global to refugee response.” From Jordan to Ethiopia, there is global progress to support refugees’ economic inclusion, but some features of Kalobeyei remain unique. The model is remarkable because it is a designed refugee settlement, created to encourage socio-economic integration. But it also represents an opportunity to learn. Given that recently arriving South Sudanese refugees have been allocated to both Kalobeyei (more of a “self-reliance model”) and Kakuma (more of an “aid model”), it offers a rare opportunity to compare outcomes for refugees across the two different models. A forthcoming study by Oxford University and the World Food Program using data from 2,500 new refugees in the Kalobeyei and Kakuma camps will compare outcomes. Although it is early to draw conclusions, the comparison offers three insights. First, self-reliance leads to better outcomes in terms of income, food security and consumption. Refugees in Kalobeyei earn incomes nearly double those of new refugees in Kakuma. They eat more meals and have greater food security. In part, this is due to the contrasting policy models. The monthly cash credit of $14 in Kalobeyei compared to $3-5 in Kakuma raises income and consumption. And although the “kitchen gardens” in Kalobeyei are small, they have a statistically significant correlation with higher food consumption and better food security. Second, designed settlements do have inherent limitations. Kakuma’s “aid” model appears to lead to better outcomes than Kalobeyei for asset accumulation and participation in sports and community activities. One possible explanation is that these are areas that take time to develop at a communal level. Social engagement takes time to develop, and designed settlements may suffer from analogous challenges to designed cities like Brasilia, Canberra and Chandigarh. Third, regional development is crucial. In reality, nearly all newly arrived refugees in both Kakuma and Kalobeyei are struggling economically: few newly arrived refugees have an income-generating activity and those who do mainly work as “incentive workers” for non-governmental organizations. Labor markets are almost nonexistent, and formal credit and savings institutions are limited. One of the main reasons behind this is that Turkana County is remote and poor. To create real economic change will require major investment in the entire economy of Turkana County. Here, business and donors have a macro-economic role to play. Beyond Kenya, the Kalobeyei experiment has wider implications for the global refugee system. The United Nation’s so-called Global Compact on refugees represents the current big “reform” effort for the global refugee system. It is being branded as a once-in-a-lifetime opportunity to renew the refugee system. The latest draft text offers a series of laudable principles to which governments will commit, including to support self-reliance for refugees. But to be effective, the compact needs a theory of change. The Kalobeyei experiment offers some clues about how progressive transformation can take place in even the most challenging countries. Local champions, like the governor of Turkana, are needed, and political engagement is necessary to unlock opportunities at the local and national level. However, humanitarian organizations too often continue to view their work as non-political relief. Help is about bringing development, not just in the form of humanitarian relief. By focusing on jobs and education, refugees can restore autonomy and dignity while in exile. Once local host communities can share in the benefits of development assistance — through employment and services, for example — the provision of a safe haven for refugees can be recast as an opportunity rather than a burden. So empowered, refugees will be better placed to return home and contribute to the reconstruction of their homelands. Development is not just about commitment; it is also about the technical capacity to identify effective development interventions. Refugees are not passive recipients of relief. They are actors who should help shape change. The key role for external actors is as investors helping to grow local economies. During the transition from a failed model of paternalist relief to the new model of creating opportunities, we need to learn what works best. We need data, research and accountability so that the new system keeps improving. If we have that, there will always be grounds for optimism. Alexander Betts is professor of forced migration and international affairs and a senior fellow of Brasenose College at the University of Oxford. Paul Collier is professor of economics and public policy at the Blavatnik School of Government and a professorial fellow of St. Antony’s College at the University of Oxford. This was produced by The WorldPost, a partnership of the Berggruen Institute and The Washington Post.
Two properties in Crawford County within one of the most ecologically diverse and significant areas in Western Pennsylvania, the French Creek watershed, were permanently protected in February, the Western Pennsylvania Conservancy (WPC) announced today. These newly acquired properties, which together total 265 acres, were among some of the remaining larger undeveloped properties in the French Creek watershed, and contain forests, wetlands and marshes. Documented as having the highest level of aquatic biodiversity of any stream of its size in Pennsylvania and in the Northeastern United States, French Creek and its tributaries provide habitat for 21 native freshwater mussel species. There are five federally listed mussel species in the creek, of which four are endangered and one is federally threatened. Numerous fish species of greatest conservation need in Pennsylvania can also be found in French Creek. French Creek starts in Chautauqua County in New York and flows 117 miles through Northwestern Pennsylvania into the Allegheny River. The French Creek watershed is identified as a Natural Heritage Area in Pennsylvania and a priority conservation area for WPC. “The French Creek watershed is ecologically significant, a unique watershed and beautiful. It is home to more than 80 species of fish and five federally listed freshwater mussel species. Conserving land in the French Creek watershed is a high priority for the Western Pennsylvania Conservancy,” said Thomas Saunders, WPC’s president and CEO. A 168-acre property in Sadsbury Township, Pa., is next to land WPC protected in 1972 and conveyed to the Pennsylvania Game Commission four years later. The property features wetlands, a peaty-soil shrub swamp, forests, agricultural fields and a stream, which flows into Conneaut Outlet. The property adjoins State Game Land #213, known as Conneaut Marsh, a more than 5,600-acre wetland known for its abundant and diverse bird life, that stretches approximately 13 miles through a glacial-filled valley in southern Crawford County. A 97-acre property is located in Vernon Township, Pa., and hosts an important floodplain that drains into Cussewago Creek, a major tributary to French Creek. Nearly 200 species of birds, including migrating shorebirds and bald eagles, have been observed on and around this property. This protected land is adjacent to and now part of WPC’s Helen B. Katz Natural Area, which will now total 382 acres. These properties – along with another 120-acre property within the watershed, located in Cussewago Township, Pa., that WPC protected in October 2015 – are available and open to the public for recreational activities such as hunting, fishing, hiking, and bird and other wildlife watching. All three properties were acquired with funds from the estate of Helen B. Katz with funding support from the Richard King Mellon Foundation for the Cussewago and Vernon townships properties. In 2008, the Conservancy received a bequest from Ms. Katz that remains the largest contribution to date from an individual to WPC. Her legacy gift has allowed the Conservancy to permanently protect 21 properties totaling more than 4,700 acres. The Conservancy has protected approximately 4,700 acres within the 1,250-square-mile French Creek watershed since 1969. About the Western Pennsylvania Conservancy: The Western Pennsylvania Conservancy (WPC) enhances the region’s quality of life by protecting and restoring exceptional places. A private nonprofit conservation organization founded in 1932, WPC has helped to establish ten state parks, conserved more than a quarter million acres of natural lands and protected or restored more than 3,000 miles of rivers and streams. The Conservancy owns and operates Fallingwater, which symbolizes people living in harmony with nature. In addition, WPC enriches our region’s cities and towns through 130 community gardens and other green spaces that are planted with the help of about 12,000 volunteers. The work of the Western Pennsylvania Conservancy is accomplished through the support of more than 10,000 members. For more information, visit WaterLandLife.org.
This historical study explores John Dewey's ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey's belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey's dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago's Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey's musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans. Copyright © 2020 National Association for Music Education. CitationThibeault, M. D. (2020). Dewey's musical allergy and the philosophy of music education. Journal of Research in Music Education, 68(1), 31-52. doi: 10.1177/0022429419896792 - History of music education - Philosophy of music education - John Dewey
Germany is Europe’s most industrialized and populous country. Famed for its technological achievements, it has also produced some of Europe’s most celebrated composers, philosophers and poets. Achieving national unity later than other European nations, Germany quickly caught up economically and militarily, before defeats in World War I and II left the country shattered, facing the difficult legacy of Nazism, and divided between Europe’s Cold War blocs. Germany rebounded to become the continent’s economic giant, and a prime mover of European cooperation. With the end of the Cold War, the two parts of the country were once again united, although the economy of the former east continues to lag behind that of the former west. Germany’s economic success since World War II is to a large extent built on its potent export industries, fiscal discipline and consensus-driven industrial relations and welfare policies. It is particularly famed for its high-quality and high-tech goods. Germany’s export-dependent economy was initially hit hard by the global financial crisis of 2008-9, which triggered the worst recession since 1949. But by 2010, its exports had helped the country to rebound more robustly than most other EU members. However, an ageing population has led to concern over the continued viability of Germany’s high welfare and health spending. There is also a debate about how to improve integration of the many post-war immigrants whose labour helped fuel the economic boom. In addition, what was once the German Democratic Republic, the former Soviet-dominated east, has struggled to catch up with the more affluent west after reunification, while people in west had to pay a higher than expected financial price. The pain of Germany’s Nazi-era history remains a sensitive element in the country’s collective modern-day psyche. Out of the devastation of World War II grew an awareness of the need to guard against any such catastrophe recurring on the continent. In the 1950s Germany was one of the six founding nations in the original European Economic Community from which the European Union was eventually to develop and in which Germany is a key player. Franco-German cooperation was central to European economic integration in the 1980s and 90s. After decades of lagging behind its economic strength, Germany’s international profile has been growing. The country sent peacekeepers to the Balkans and its forces have been involved in operations in Afghanistan. The country has famous beer brewing traditions. Beer purity laws dating back to 1516 limit the fermentation ingredients to malted grain, hops, yeast and water. As the birthplace of Johann Sebastian Bach, Ludwig van Beethoven and Johannes Brahms, among others, Germany’s gift to European classical music is colossal, while Goethe, Heine, Kant and Thomas Mann are giants in the world of letters and philosophy. Source: BBC World Country Profiles (http://news.bbc.co.uk/2/hi/country_profiles/default.stm)
Easily adaptable for home or classroom use, these cards are structured to take all children, regardless of ability, through their whole day from morning to night with peace and inner strength. Start the day strong Has a child in your life woken up on the wrong side of the bed? Use the breathing and visualization activities to help them notice their mood and release any grumpy feelings or worries. Calm your students Help kids focus before a test with breathing exercises. Group and partner activities can help students resolve conflict, build friendships and boost other social emotional skills! Is a child nervous to try something new? Use these cards to help them practice replacing negative thoughts with positive, encouraging ones. Get ready for bed Tame bedtime struggles with these fun activities! Once you've worked out the wiggles, help little ones slow down for sleep. Research shows that practicing mindfulness increases focus and concentration, teaches children to self-regulate emotions and develops empathy, self-awareness and kindness. Looking for more ways to connect mind and body in a meaningful way? Try some of the resources here, including a free yoga activity download!
Jordan’s Qusayr Amra is a bathhouse for the noble Amman - The eastern desert of Jordan is an unforgiving landscape. Along the main road, there are few signs of life, yet through the desert silence, the winds speak softly of luxury. Along the long and lonely Highway 40, roughly 85 kilometres from Amman and 21 kilometres south-west of the oasis town of Azraq, there is a splendidly decorated bathhouse on the north side of the road. Qasr Amra, often called Qusayr Amra, meaning “little castle”, is the best known of the desert castles in eastern Jordan and among the most spectacular examples of early Islamic art and architecture, a solitary monument attesting to the good life in this sun-scorched desert. Qusayr Amra is one of several castles, hunting lodges and fortresses built in the deserts of Syria and Jordan during the first half of the eighth century. Princes and their entourages escaped to the desert retreats for safety and relaxation. The bathhouse was built in the early eighth century to capitalise on the waters of the Wadi Butm, named after the butm, or wild pistachio trees, which even today give life to the desert, a place where the Umayyad caliphs and princes came to escape prying eyes in Damascus. The discovery in 2012 of an inscription during restoration work has allowed for more accurate dating of the building of the structure to between 723 and 743, by Walid Ibn Yazid, whose dominance of the region was rising when he was still a prince and before he became Umayyad caliph Walid II. The site seems to have been abandoned not long after Walid II’s death in 744 and forgotten within a decade after that as Abbasid revolutionaries swept the Umayyads from power. In 1898, Austrian artist Alphons Mielich rediscovered the abandoned structure and its frescoes in drawings for a book by Alois Musil. Built of sand-coloured limestone, Qusayr Amra has a low profile against the desert’s inhospitable surroundings. As the grounds of the bathhouse are approached, the first thing noticed is the water supply system — a cistern, well and animal-drawn turning circle used for pumping water. The building is what remains of a larger complex that included a castle, meant as a royal retreat and without military function. A door on the western wall leads into an attached bath compound, once fed by rain water stored in an underground cistern and the Roman-style baths include a changing room, a warm room, a hot room and a domed chamber for housing firewood. More significant than Qusayr Amra’s architecture is its interior decoration. Brightly coloured frescoes cover practically every centimetre of the walls and ceilings. Its frescoes, restored by a Spanish team in the late 1970s, depict hunting, naked women and an accurate representation of the zodiac that led to its designation in 1985 as a UNESCO World Heritage Site, one of four in Jordan. The frescoes in all rooms but the hot room reflect advice of contemporary Arab physicians that baths drained the spirits of the bathers. The physicians recommended that the bath’s walls be covered with pictures of activities like hunting, lovers, gardens and palm trees so that the animal, the spiritual and the natural — the three principles of the body — could revive properly. Qusayr Amra perfectly expresses Prince Walid’s alleged love of decadence and power with images of hunts demonstrating the prince’s skill and dominance. For Prince Walid, who also wanted to showcase his manliness, the hunt was both high sport and political theatre. The main entry vault depicts hunting, animals, fruit and wine consumption and naked women. One surface depicts the construction of the building. Near the base of one wall a haloed king is shown on a throne. An image known as the “Six Kings” depicts the caliph with the rulers of neighbouring powers and was meant to suggest the caliph’s supremacy over his enemies. The changing room is adorned with scenes of animals doing human activities, predominantly playing music. Certain frescoes convey religious and political messages. One image has an angel gazing down on a shrouded human form. Three blackened faces are thought to represent the stages of life. Christians believe the middle figure is that of Jesus. On the walls and ceiling of the warm bath are scenes of plants and trees similar to those found in the mosaic at the Umayyad Mosque in Damascus but with naked females in various poses scattered throughout. The hot bath’s ceiling has a representation of the heavens in which the zodiac is depicted along with 35 identifiable constellations. Indeed, for a bathhouse that once belonged to a Muslim prince, the imagery shows little regard for religious prohibitions. “The frescoes depict a mesh of conventional Greek, Roman, Persian, pagan and Christian ideologies that make up early Islamic art,” said Ingmar Armbrüster, a German tourist visiting the site, along with her husband. “It is magnificent to see a structure built over 1,300 years ago still having such beautiful paintings on its walls and ceilings. But too bad about the graffiti, which has ruined some of the décor,” she added, smiling about her wonderful vacation in Jordan. The harsh climate, graffiti and numerous restoration efforts have diminished the liveliness of the paintings but their effect remains profound and the site remains a true work of art.
Table of Contents \| Message Board \| Printable Version \| Barron's Booknotes Antonio is the merchant of Venice, the titular protagonist of the play. He is about forty years of age and has lived his life to the fullest. He is a successful businessman, owning a fleet of trade ships. Surprisingly, Antonio appears in relatively few scenes of the play, but he is the driving force behind much of the action. Antonio is the model Christian, as defined by Elizabethan society. He represents, among other things, the ideal of nobility in friendship. He is also kind and generous, both to his friends and to the poor of Venice. Although he is now more philosophical, gentle, and quiet, he can still appreciate the frivolous nature of youth, as portrayed by his beloved friend, Bassanio. Aside from his love for Bassanio, he is unattached. Perhaps his lack of love is the reason for his melancholy. Antonio's principles are against the borrowing or lending of money for profit. He reflects the medieval attitude that money should be lent for Christian charity. His noble generosity for his friend, however, leads him to cast aside these principles and to take a loan from the merchant, Shylock. He borrows money and pledges his flesh as the bond. When his ships are lost at sea, he cannot repay the loan and accepts the fact that he must pay Shylock with a pound of his flesh. Antonio's warmth and generosity, however, save him. Portia, who has marrried Bassanio, comes to Antonio's aid. Even though she has never met Antonio, she loves him for his generosity to her husband. She appears in court as a young, intelligent lawyer and turns the law against Shylock, saving Bassanio's dear friend in the process. Antonio, with characteristic generosity and mercy, spares the life of Shylock and gives the Jew's wealth to Lorenzo and Jessica, the rightful heirs. Antonio's good fortune continues when he learns that his ships are not lost at sea, but have returned laden with goods. As the symbol of Christian warmth, kindness, generosity, and love, Antonio truly receives his just reward during the play when all turns out well for him. Shylock is a focal point of the play. A traditional stereotype of the Jew in Elizabethan times, he is comically caricatured as a greedy miser. He wears a traditional "Jewish gabardine." He is a middle- aged man between fifty and fifty-five, who has a keenness of observation, a memory for details, and a strong amount of energy. He is well versed in the Bible and is able to draw analogies from various Biblical sources and stories, which are relevant to the situations in which he finds himself. His manner of speaking reveals an authoritative tone with frequent references to the great and ancient names from Scriptures, which he uses to justify his own practices. His speech reveals a cold and calculating mind, reflective of his narrow thinking. He is also literal-minded and pragmatic and has quick and agile thought processes, which help him in his business dealings. Shylock suffers from religious persecution, which plays an important part in the play. Antonio has reviled and despised this Jew, even humiliating him publicly because of his money lending and usury. Shylock believes that his profiteering is not a sin. This is contrary to the Christian belief, held by Antonio, that money should be lent for charity and not for profit. By his profession and his religion, Shylock is marked as the alien in a happy and fun- loving Venetian society. His alienation causes his bitterness and his humiliation makes him seek revenge. Antonio becomes the target of that revenge, and Shylock uses the letter of the law to try and exact a pound of flesh from his enemy. His strict interpretation of the law backfires on him, and he winds up losing his wealth and barely saving his life. Although he appears in only five scenes, Shylock is a very powerful personality, whose love of money has destroyed any natural human feelings. Like Antonio, Portia is an example of nobility. She is a fair-haired beauty with an immense power to attract. Her goodness and virtue enhance her beauty. Unlike Antonio, she is not passive, but displays energy and determination. In many ways, hers is the more forceful figure in the play. Her authority and control with which she deals and manipulates the circumstances of the play are exemplary. In Belmont, the terms of her father's will leave her without any choice in her future husband, and she is saddened that she does not have an appropriate mate. As a dutiful daughter, however, she is compelled to accept her father's wishes. Despite her dissatisfaction with her circumstances, she has a cheerful and optimistic nature. She is clever with words and wit and enjoys the opportunity of performing, both in Belmont and Venice. She uses her wonderful ability with words and her keen sense of humor to enliven the scenes in which she appears. Her treatment of her money reflects Bassanio's belief that money is to be used only in the sense of helping loved ones. She proves she is unselfish and generous. Her happiness and Antonio's meet in Bassanio. Her ideal of mercy is unselfish generosity and she shows an understanding of Christian values. As a Christian gentlewoman, she considers it her duty to show Shylock the foolishness of his exact interpretation of the law that has no mercy. She dresses as a young lawyer and goes to court to defend Antonio. Like Shylock has demanded, she strictly interprets the law and disallows the Jew from taking a drop of Antonio's blood when he takes his pound of flesh. Since this is impossible, Shylock begs to just be given money, but Portia is unrelenting. She cites another law that states any alien who tries to take the life of a Venetian is to lose all of his money, which will be split between the state and the person who was to be killed. As a result, Shylock loses all of his wealth. Portia has cleverly tricked Shylock at his own game. Portia is the most multi-dimensional character in the play, alternating between a beautiful woman in the remote setting of Belmont and the authoritative lawyer in Venice, who orchestrates the victory of good over evil. Bassanio is a young man who has just left behind the carefree days of his youth with a resolve to enter into the respectable life of being a good husband. In the past, he has squandered his wealth on pleasures of good living and extravagant expenditures. His lack of funds, however, does not stop him from generosity nor does it prevent him from enjoying a good life. As a result, he is deeply in debt, mostly to Antonio. To solve his financial problems, he seeks to marry into money, and Portia is the object of his desire. As her suitor, he is graceful with words and is presented as the model of a romantic hero. Because of his kindness and generosity, especially in his relationship to Antonio, Portia is very attracted to him and delighted that he chooses the correct casket to win her hand in marriage. His and Portia's love, though born in the magic world of Belmont, is tested in Venice, which symbolizes the real world, and is proven to be true and strong. Lorenzo is a representative of the elegant Venetian society. He plays the dashing young lover, who rescues his love from the austerity and somberness of a restricted life. He too, believes that happiness arises from successful relationships. He has a great love for lyricism and poetry, as is shown in his vivid descriptions. Lorenzo's love for Jessica is sincere and constant. It looks beneath the differences in religion, as he associates his lover with virtue and gentility. His love for her is eternal because he finds her to be wise and virtuous. He also realizes that perfect harmony is not possible on earth, since human beings are trapped in a mortal body. His love, optimism, and understanding make him deserving of the riches and love that he is rewarded with. As the daughter of Shylock, she is compelled to abandon him. The difference in their temperaments has made her circumstances intolerable. She is, although a Jew, as different from her father "as jet to ivory." She is more at home with Christian ways than with the austerity of her father's Jewish house. She likes Launcelot because of his capacity to introduce merriment to an otherwise gloomy household. She shows ingenuity in disguising as a pageboy to effect her elopement. Although guilty of theft and filial ingratitude in betraying her father, she shows an understanding of the moral sins that she has committed. Her drawbacks are mitigated by her loving and exuberant nature, which is similar to Portia's vivacity and wit. Gratiano is the second fool in the play, next to Launcelot. He is given to unnecessary speech and garrulousness. He also drinks too much and behaves rudely and insensitively. He condemns silence as being a facade for those who wish to be thought of as thinkers and philosophers. The change in Gratiano is effected as he starts associating more with Bassanio. Almost all his actions are of an imitative nature. This is in keeping with the ideas of the times that people are ennobled by following their betters. Like Bassanio, Gratiano falls in love in Belmont and marries Nerissa, Portia's maid. Nerissa is Portia's maid. She acts as a backdrop to the wit displayed by Portia. Her long association with her mistress has elevated her mannerisms and behavior to the point that she now acts as a witty and intelligent person. She, too, follows the examples set by Portia in many ways: she marries a gentleman from Venice, she follows Portia to Venice, she assumes the role of a lawyer's clerk and she takes her ring from her lover. She is to Portia what Gratiano is to Bassanio.
THE ALLIES ARE COMING … OR AREN’T THEY? Irene van Kemenade The forest ranger’s house on the Vloeiweide Estate (Rijsbergen) Radio Orange, 5 September 1944. With the message that: ‘The hour of liberation has struck’, Prime Minister Gerbrandy set in motion the wheels of the Ordedienst (Public Order Agency) in the Netherlands. This section of the Dutch resistance was set up to help the liberators. Now the Allied troops appeared to be approaching so fast, the Ordedienst got itself prepared. Anticipating the liberation A local department of the Ordedienst had found shelter in the forest ranger’s house on the Vloeiweide Estate near Rijsbergen. Hidden deep within the forest the house belonging to Ernest and Maria Neefs-Koijen provided a perfect refuge for those in hiding and the members of the Ordedienst. Fully aware of the enormous risks, ‘Moederke’ Neefs (Mother Neefs), as she was known colloquially, offered shelter to the resistance. Maria considered it to be her normal Christian duty. Furthermore, she wanted to give something back, because it was thanks to the resistance that her 18-year-old son Emile had avoided the Arbeitseinsatz (labour camps). Under the command of Paul Windhausen, the forest ranger’s house was immediately set up as a radio post from where four radio operators transmitted messages about the German positions. Unfortunately, the so desperately desired liberation did not come within hours or days as anticipated but took weeks to happen. With every new day, the risk of being discovered or betrayed grew for the 16 temporary residents of the Vloeiweide (radio operators, those in hiding, and a group of guards). Retreating German soldiers criss-crossed the area and the Feldgendarmerie (Field Police) patrolled there. The post was eventually betrayed by Lodewijk de Coster, a Fleming working for the Germans. Betrayal of the radio post In the early morning of 5 October 1944, a German military unit, under the command of Lieutenant Kurt Steinmeier, surrounded the forest ranger’s house. Two machine guns were positioned a couple of hundred metres from the house. At half-past five the attack advanced through the kitchen door. The residents of the house were not going to give up without a fight. Shots were fired back and forth and hand grenades were thrown. Commander Paul Windhausen asked the Germans to give Moederke Neefs and her children free passage. He was promptly mortally wounded. The same fate followed for Maria’s son, Emile. Maria Neefs, with 7 of her 8 children, then sought cover in the cellar. A savage assault on the house followed. At the end of a chaotic morning, it became apparent that 12 people had met their end, of which three on the German side and five from the Ordedienst. The remaining eight members of the Ordedienst were executed by a firing squad the next day. The Neefs family also paid a high price: Maria and three of her children, Emiel (18), Rietje (16) and Correke (4), did not survive the drama. A few weeks later, on 28 October 1944, the Rijsbergen was liberated by the 104th American Infantry Division. Recorded in the collective memory As a result of the drama a monument has been erected both on the Vloeiweide Estate and on the nearby Schietheide (execution site). Breda had previously honoured the heroic Maria with the Maria Koijenhof (a courtyard garden). Rijsbergen (Municipality of Zundert) followed almost 75 years after the event by naming two streets after Maria and her husband in a residential area that was to be built. The Neefs family in 1934 (Image: Rinie Maas, ‘Het verbeten verzet op de Vloeiweide’ (The stubborn resistance on the Vloeiweide)).
In 1997, art critic and philosopher Arthur Danto declared the ‘end of art’ upon seeing Andy Warhol’s Brillo Boxes. This inflammatory claim highlighted the concerns of modernism and the blurring between art and non-art. What Warhol demonstrated to Danto was a complete satisfaction between the two definitions. In fact, Warhol’s art was so inwardly directed and subjective that its definition had become philosophical. Andy Warhol’s art thrived within the Artworld, as he highlighted motifs of high consumerism and mundane repetition in objects. He demonstrated ideas through transforming an ordinary, mass produced and neglected can into art. The decision to call Warhol’s product art was the end of art, because he believed that the Artworld determined the value of the product, through members knowledgeable on art’s historical context. With the multiple interpretations and emotions conveyed by the dichotomy of art and non-art, the significance and continuation of art and the job of the Artworld was halted. However, the Artworld is spontaneously distorted and recreated, and cannot be dissipated by the threat of multiple meanings. What Warhol demonstrates is not the limitations of value determined by the Artworld. Instead, he ushers in a new era of pluralism—of multiple meanings and open ended questions still formulating. The Artworld becomes a larger platform of creation and reception, and is fundamental to the recognition and preservation of the art piece.
The question of how life began on our planet is still being answered, but a new study identifies the structures of the proteins that may have made it happen. The team behind the study decided to start from the premise that life depends on collecting and using energy. In the primordial soup of ancient Earth, that energy would most likely have come from the skies, in the shape of radiation from the Sun, or from deep within Earth itself. The transfer of electrons is a fundamental chemical process which involves an electron moving from one atom to another. Some of the basic functions of life are dependent on electron transfer. The researchers decided to combine metals and the complex molecule called proteins, which are what drives most biological processes, to search for metals that bind to the complex molecule. A methodical, computational approach was used to compare metal-finding proteins, revealing certain common features that matched across all of them. "We saw that the metal-binding core of the existing proteins are similar even though the proteins themselves may not be," says microbiologistYana Bromberg from Rutgers University-NewBrunswick in New Jersey. The metal-binding cores are often made up of repeated substructures, like Lego blocks. These blocks were found in other regions of the proteins, not just metal-binding core, and many other other other proteins that were not considered in our study. The researchers suggest that these shared features may have been present in the earliest proteins and that they may have changed over time to become the proteins we see today. The Archean Ocean that covered Earth thousands of millions of years ago could have been used to power the electron shuffling needed for energy transfer and, in turn, biological life. "Our observation suggests that these little building blocks may have had a single or a small number of common ancestors and given rise to the whole range of proteins and their functions that are currently available," says Bromberg. "That is to life as we know it." The team was able to identify evolutions in the shapes of the folds of the proteins that may have produced the proteins we know today. The study concludes that biologically functional peptides, the smaller versions of the same proteins, may have been predated by the earliest ones. This adds to our understanding of how life began. Any analysis of the beginnings of life on Earth can be important in looking for life on other planets, where life might have already evolved along similar biological paths. We don't have a lot of information about how life arose on this planet, and our work contributes a previously unavailable explanation. "Our finding of the specific structural building blocks is related to synthetic biology efforts, where scientists aim to construct specifically active proteins anew." Science Advances has published the research.
The cultural superiority of our human ancestors may have given them a deadly edge over our Neanderthal cousins, consequently driving the latter into extinction. This supports the idea that instead of epidemics or climate change wiping out the Neanderthals, as previously believed, it was humans who had done it. Thousands of years ago, our Neanderthal cousins lived in what is now known as Europe, even before our human ancestors arrived in the area. According to scientists, humans came to Europe about 43,000 years ago. Some 5,000 years later, Neanderthals went extinct. Experts are uncertain as to what really happened, but there are different theories that attempt to explain why and how Neanderthals were wiped out. While some believe that Neanderthals died because of epidemics or climate change, others think that modern humans took down Neanderthals with better clothing, tools or social organization. A small group of researchers, led by Professor Marcus Feldman of Stanford University, argues that the cultural and technological advances of modern humans could have been the tipping point. In a study featured in the journal Proceedings of the National Academy of Sciences, the team adjusted a mathematical model often used to predict competition between populations. They added, for the first time, dimensions for the ability to learn and cultural advantage. Researchers modified the model so that the more culturally advanced a group was, the larger it could grow. As modern humans were moving into Neanderthal territory, scientists said it was likely that those who were dominant arrived in small numbers, in comparison to already established Neanderthal groups. Despite being outnumbered, the cultural skills that modern humans brought with them could have allowed them to hunt, settle land, use resources more efficiently than the original residents. Eventually, the population of modern humans swelled, making them even more powerful, researchers said. An even smaller number of modern humans could have overwhelmed a much larger Neanderthal population that did not have culture. Additionally, if the culture levels were different, modern humans could have begun with half as many people and still win out. Not A Case Of Brainpower Feldman said it was not a case of whether modern humans were smarter than Neanderthals. Research suggests that modern humans and Neanderthals had similar brainpower, a trait that slowly evolves through time. What allowed modern humans to outsmart Neanderthals were resources: modern humans had more tools, more clothes and more complex form of society. These cultural and technological advances spread from person to person, especially when coupled with superior learning abilities. However, not everyone agrees with this. A 2014 study reviewed several arguments for human cultural superiority and had found them lacking. Researchers from the University of Colorado, Boulder and Leiden University said they did not find any data to support the theory that Neanderthals were inferior in social, cognitive and technological aspects. This indicated that the extinction of Neanderthals had resulted from a combination of factors. Feldman and his colleagues do not settle the debate over humankind's 15,000-year conquest of Europe and Middle East. Rather, it merely tests the possibility of the cultural argument. It's an attempt to tie together what archaeologists have uncovered and direct to new things they might have to look for in the field. Lastly, Feldman said one thing that can improve their mathematical model is a measure of the speed at which anatomically modern humans could have spread across Europe. "We'd like to see the geographic trajectory - how much migration there would have to be and at what pace it would have to happen to reconstruct what geologists tell us," added Feldman.
This post provides an overview of chest CT scan machine learning organized by clinical goal, data representation, task, and model. A chest CT scan is a grayscale 3-dimensional medical image that depicts the chest, including the heart and lungs. CT scans are used for the diagnosis and monitoring of many different conditions including cancer, fractures, and infections. The clinical goal refers to the medical abnormality that is the focus of the study. The following figure illustrates some example abnormalities, shown as 2D axial slices through the CT volume: Many CT machine learning papers focus on lung nodules. Other recent work has looked at pneumonia (lung infection), emphysema (a kind of lung damage that can be caused by smoking), lung cancer, or pneumothorax (air outside of the lungs rather than inside the lungs). I have been focused on multiple abnormality prediction, in which the model predicts 83 different abnormal findings simultaneously. There are several different ways to represent CT data in a machine learning model, illustrated in this figure: 3D representations include a whole CT volume which is roughly 1000 x 512 x 512 pixels, and a 3D patch which can be large (e.g. half or a quarter of a whole volume) or small (e.g. 32 x 32 x 32 pixels). 2.5D representations make use of different perpendicular planes. - The axial plane is horizontal like a belt, the coronal plane is vertical like a headband or old-style headphones, and the sagittal plane is vertical like the plane of a bow and arrow in front of an archer. - If we take one axial slice, one sagittal slice, and one coronal slice, and stack them up into a 3-channel image, then we have a 2.5D slice representation. - If this is done with small patches, e.g. 32 x 32 pixels, then we have a 2.5D patch representation. Finally, 2D representations are also used. This could be a full slice (e.g. 512 x 512), or a 2D patch (e.g. 16 x 16, 32 x 32, 48 x 48). These 2D slices or patches are usually from the axial view. There are many different tasks in chest CT machine learning. The following figure illustrates a few tasks: Binary classification involves assigning a 1 or 0 to the CT representation, for the presence (1) or absence (0) of an abnormality. Multi-class classification is for mutually exclusive categories, like different clinical subtypes of interstitial lung disease. In this case the model assigns 0 to all categories except for 1 category. Multi-label classification is for non-mutually-exclusive categories, like atelectasis (collapsed lung tissue), cardiomegaly (enlarged heart), and mass. A CT scan might have some, all, or none of these findings, and the model determines which ones if any are present. Object detection involves predicting the coordinates of bounding boxes around abnormalities of interest. Segmentation involves labeling every pixel, which is conceptually like “tracing the outlines of abnormalities and coloring them in.” Different labels are needed to train these models. “Presence or absence” labels for abnormalities are needed to train classification models, e.g. [atelectasis=0, cardiomegaly = 1, mass = 0]. Bounding box labels are needed to train an object detection model. Segmentation masks (traced and filled in outlines) are needed to train a segmentation model. Only “presence or absence” labels are scalable to tens of thousands of CT scans, if these labels are extracted automatically from free-text radiology reports (e.g. the RAD-ChestCT data set of 36,316 CTs). Segmentation masks are the most time-consuming to obtain because they must be drawn manually on each slice; thus, segmentation studies typically use on the order of 100 – 1,000 CT scans. Convolutional neural networks are the most popular machine learning model used on CT data. For a 5-minute intro to CNNs, see this article. - 3D CNNs are used for whole CT volumes or 3D patches - 2D CNNs are used for 2.5D representations (3 channels, axial/coronal/sagittal), in the same way that 2D CNNs can take a 3-channel RGB image as input (3 channels, red/green/blue). - 2D CNNs are used for 2D slices or 2D patches. Some CNNs combine 2D and 3D convolutions. CNNs can also be “pretrained” which typically refers to first training the CNN on a natural image dataset like ImageNet and then refining the CNN’s weights on the CT data. Here is an example architecture in which a pretrained 2D CNN (ResNet18) is applied to groups of 3 adjacent slices, followed by 3D convolution: Interstitial Lung Disease Classification Examples The following table includes several example studies focused on interstitial lung disease, organized by clinical goal, data, task, and model. - Clinical goal: these papers are all focused on interstitial lung disease. The exact classes used differ between studies. Some studies focus on clinical groupings like idiopathic pulmonary fibrosis or idiopathic non-specific interstitial pneumonia (e.g. Wang et al. 2019 and Walsh et al. 2018). Other studies focus on lung patterns like reticulation or honeycombing (e.g. Anthimopoulos et al. 2016 and Gao et al. 2016). - Data: the data sets consist of 100 – 1,200 CTs because all of these studies rely on manual labeling of patches, slices, or pixels, which is very time-consuming. The upside of doing patch, slice, or pixel-level classification is that it provides localization information in addition to diagnostic information. - Task: the tasks are mostly multi-class classification, in which each patch or slice is assigned to exactly one class out of multiple possible classes. - Model: some of the studies use custom CNN architectures, like Wang et al. 2019 and Gao et al. 2018, whereas other studies adapt existing CNN architectures like ResNet and AlexNet. - For a longer, more in-depth article on this topic, see Automatic Interpretation of Chest CT Scans with Machine Learning - For an article about machine learning in chest x-rays, which are 2D medical images of the chest rather than 3D medical images of the chest, see Automated Chest X-Ray Interpretation - For more info about CNNs, see Convolutional Neural Networks in 5 minutes and How Computers See: Intro to Convolutional Neural Networks - For more details about segmentation tasks, see Segmentation: U-Net, Mask R-CNN, and Medical Applications - For more details about classification tasks, see Multi-label vs. Multi-class Classification: Sigmoid vs. Softmax
NEW YORK — A projected image of baby bats swaddled in blankets earned a collective “awww” from the audience. It apparently came as a welcome reprieve from videos that featured bats being butchered for food and defecating into a popular drink, and stories of how bats may spread lethal disease. “Bats get a bad rap,” said Dr. Jon Epstein, a wildlife veterinarian at EconHealth Alliance, during the organization’s event Wednesday night in Manhattan. Many of us don’t think of bats as cute. The creatures’ dark and jagged silhouettes against the night sky may rather trigger gasps and dashes indoors. But as Epstein and his colleagues highlighted, human misconceptions of bats and neglect for the animal’s health and habitats may be resulting in serious consequences for our own well-being — from increased use of toxic pesticides to greater floods to rising risks of pandemic disease. With more than 1,200 different species, bats make up about a quarter of all the Earth’s mammals. Their numbers, however, are declining due to threats that include deforestation, disease and hunting. Meanwhile, many people are actually seeing more bats as changes in land use, agriculture, food industry practices, climate change and human population growth actually bring the remaining animals — and their viruses — closer to us. “They live everywhere we do,” said Epstein. “So we end up bumping up against bats quite a lot.” He shared a video during his presentation of a woman in a southern Chinese market slaughtering a bat, bagging it for a customer and then wiping her hands on a dirty rag. He also showed footage of a bat urinating and defecating over a sap collection pot in Bangladesh. The sweet liquid is a local delicacy. “It’s very easy to see how pathogens can jump from animals to humans,” said Epstein, whose research sends him around the world on the hunt for the next potentially pandemic-producing virus in wildlife before it jumps to humans. “These viruses don’t seek out humans,” David Quammen, author of the book Spillover. noted during Wednesday’s event. “If they don’t have opportunity, they don’t get into humans.” All of these situations, Epstein added, are manmade. He offered some manmade solutions. Creating a buffer between livestock and orchards, a magnet for fruit-loving and increasingly displaced bats, can fend off disease. Epstein also described his work in communities to install bamboo skirts over sap collections, along with his efforts to build local awareness of the disease dangers and urge simple preventative tools such as hand-washing. An average of about five new infectious diseases emerge every year, according to a study based on data from 1940 to 2004. Experts say roughly 75 percent of newly emerging infectious diseases originate in animals. They also say spillovers usually occur in developing countries, where wildlife comes into increasing contact with growing populations. Bats are consistently a leading suspect, already blamed for spawning Ebola, Nipah and Hendra viruses. Turns out, bats often carry these viruses without consequence to themselves. Yet the same viruses can prove deadly to another species, including humans. Epstein noted that researchers are finding evidence of ancient lineages of influenza in bats. “And we know they have a load of coronaviruses,” said Epstein. Through the U.S. Agency for International Development’s Emerging Pandemic Threats Program, as well as a global bat viral diversity project funded by the National Institutes of Health, Epstein’s team has discovered more than 250 novel coronaviruses several species of bats in several countries, including Mexico and Thailand. A new strain of avian flu, H7N9, is taking lives across Asia. A new coronavirus, Middle East Respiratory Syndrome, or MERS, has killed 31 of the 55 people it has reportedly infected. Margaret Chan, director-general of the World Health Organization, last month warned that MERS is a “threat to the entire world”. Neither virus’ origin is clear, although the odds are in favour of wildlife being reponsible for MERS, William Karesh, vice president for health and policy at EcoHealth Alliance, noted in a blog at The Huffington Post on Wednesday. SARS, a close cousin of MERS, is believed to have emerged from bats. “Roughly a billion people are infected with some type of zoonotic disease every year,” Karesh wrote. He urged experts in animal science and ecology to join human health scientists working to understand and prevent the diseases. Recognizing “One Health” connections between the health of the environment, animals and humans, was the subject of The Huffington Post series, The Infection Loop. While many viruses bats host don’t sicken them, one fungus has arisen as a major threat to their survival: white nose syndrome can wipe out 90 percent of bats in a cave. It continues to spread and infect bat caves across the U.S. Scientists are still on the hunt for the source of the powdery white fungus that often coats the muzzles of its victims. During his talk on Wednesday night, Karesh emphasized the importance of bat conservation. Bats’ contributions to North American agriculture alone are valued at $3.7 billion. The animals play a major role in pest control — consuming large quantities of crop-eaters every night. With fewer natural options, growers often resort to chemical pesticides. More than 300 species of fruit also depend on bats for pollination, including mangoes, bananas and guavas. In some parts of the world, bats pollinate half of the forests. Karesh noted the obvious risks posed by deforestation, but said that bat loss adds a more “subtle way” the planet is losing trees and biodiversity. “We’ll lose animals that are out in the daytime that we love,” he added. The potential ramifications don’t end there. With less tree cover, temperature increases with climate change will be exacerbated and rainfall less readily absorbed, leading to more severe flooding. Loss of bats may also reduce scientists’ chances of uncovering the mystery behind the animal’s natural immunity to viruses that are lethal to us. “We don’t want to burn down the library before we’ve read the books,” said Karesh. “We can’t afford to lose those animals.” Quammen, too, spoke of the interdependence and interconnectedness between bats and humans, especially when it comes to emerging viruses. “It’s their disease, our disease, the same disease,” said Quammen. “We as a species are not separate from nature.”
As the world comes to grips with the COVID-19 pandemic, international travel restrictions have become a standard feature of air travel, making it more complicated and challenging for travelers to reach their destinations. This article will examine the various international travel restrictions that have been put in place to limit the spread of the virus. International travel restrictions refer to the set of rules and regulations put in place by governments and international organizations to limit travel activities across borders during specific periods. These restrictions are often established to ensure public health, safety, and security, and can include travel bans, quarantine measures, and mandatory testing requirements, among others. The COVID-19 pandemic has significantly increased the implementation of international travel restrictions, making it essential for travelers to stay up to date with the latest regulations before embarking on any international trips. Understanding International Travel Restrictions International travel restrictions are regulations put in place by governments to limit the spread of communicable diseases such as COVID-19. These restrictions include bans on non-essential travel, mandatory quarantines, proof of vaccination or negative COVID-19 test results, and health screening measures. Governments around the world have restricted non-essential travel to limit the spread of COVID-19. Non-essential travel refers to any travel that is not critical or necessary, such as tourism or visiting friends and family. Many countries have implemented mandatory quarantine requirements for travelers entering their borders. Quarantine periods can vary from 7 to 14 days, depending on the country’s policies and the traveler’s vaccination status or COVID-19 test results. Proof of Vaccination or Negative COVID-19 Test Results To combat the spread of COVID-19, some countries require travelers to provide proof of vaccination or negative COVID-19 test results before entering the country. This requirement is intended to ensure that travelers do not bring the virus into the country. Health Screening Measures Many countries have implemented health screening measures, such as temperature checks and health questionnaires, to identify travelers who may have COVID-19. These measures are intended to prevent the spread of the virus and to ensure that travelers receive medical attention if necessary. International Travel Restrictions by Country Different countries have implemented various travel restrictions to limit the spread of COVID-19. Here is a list of some of the restrictions that have been put in place by countries around the world: The United States has implemented several travel restrictions to limit the spread of COVID-19. Travelers from certain countries, including China, Iran, and most of Europe, are banned from entering the United States. All travelers entering the United States are required to have a negative COVID-19 test result before arrival. Canada has implemented strict travel restrictions to limit the spread of COVID-19. Most foreign nationals are banned from entering Canada, and all travelers entering the country must quarantine for 14 days. The United Kingdom has implemented several travel restrictions to limit the spread of COVID-19. All travelers entering the United Kingdom must provide proof of a negative COVID-19 test result and quarantine for 10 days. Australia has implemented strict travel restrictions to limit the spread of COVID-19. Only Australian citizens, permanent residents, and immediate family members are allowed to enter the country. All travelers entering Australia must quarantine for 14 days. Japan has implemented several travel restrictions to limit the spread of COVID-19. All travelers entering Japan must quarantine for 14 days, and some travelers may be required to provide proof of a negative COVID-19 test result. FAQs: What are the international travel restrictions? What are the current travel restrictions due to the COVID-19 pandemic? The travel restrictions vary depending on the country and are constantly changing as the situation evolves. Many countries have suspended international flights altogether or require proof of a negative COVID-19 test, quarantine periods, or a combination of both. Travelers are advised to check with their airline and the destination country’s embassy or consulate for the most up-to-date information on their entry requirements. Can I travel to a country that has a travel ban in place? In most cases, no. Countries like the United States and Canada have put travel bans in place for non-essential travel. Some exemptions may apply for essential workers or those traveling for humanitarian reasons, but these exemptions vary depending on the country. It is important to check with the embassy or consulate of the destination country for any exceptions that may apply. Will I need a COVID-19 test before I can travel internationally? Many countries require travelers to provide proof of a negative COVID-19 test before they can enter the country. The type of test required, the time frame for which it is valid, and whether the test can be performed at the destination can vary. Some countries may also require travelers to quarantine upon arrival, regardless of whether they have taken a COVID-19 test. Do I need to quarantine upon arrival to my destination? Many countries require travelers to quarantine upon arrival for a set period of time, typically 14 days. The length of the quarantine period can vary depending on the destination country’s regulations. Some countries may also offer an alternative to quarantine if travelers provide proof of a negative COVID-19 test or if they agree to take a test upon arrival. What should I do if I have to cancel my travel plans due to travel restrictions? If your travel plans are canceled due to travel restrictions, it is important to check with your airline and travel insurance provider to understand your options for refunds or rescheduling. Some airlines and countries have implemented flexible cancellation policies due to the COVID-19 pandemic, but it is important to check the terms and conditions of your booking.
VISION & HEARING Technicians provide screening in schools, pre-schools, Headstart, and at monthly Health Department Clinics. Hearing and vision problems can lead to difficulties both at school and at home. Children 3 years and older can be screened. Those needing follow-up will be referred to a physician for care. Hearing and Vision screenings are held on the third Friday of every month. Call the Ionia County Health Department at (616) 527-5341 for an appointment. Most people think of immunizations as, “those shots you get when you are a kid”, but immunizations are much more than that. Vaccinations help to protect people from becoming sick with diseases which used to be very common. Measles, mumps, rubella were all common illnesses at one time, now it is very rare to see a case. This is because these three illnesses can all be prevented by a single vaccination. Even diseases such as chicken pox, which many adults had to go through, can be prevented through immunizations. Immunizations not only protect the person who is vaccinated, but they can help protect society from disease. When vaccination levels in a community are high, the few who cannot be vaccinated for various reasons are protected through “group immunity”. Group Immunity occurs from the lack of exposure to disease. If no one in the community is getting sick, then the unvaccinated ones will not be exposed. A majority of vaccinations are recommended for children from birth to 6 years. But vaccinations are not just for children. Older adults can reduce their risk of several life-threatening diseases through immunizations. It is recommended that older adults should be vaccinated for Pneumonia and Influenza. Also, JoAnne Eakins, Personal Health Director for the Ionia County Health Department said that everyone needs to remember that no matter what age you are, you need to have a tetanus shot every 10 years. Vaccines are safe and effective. You can live stronger, longer by making sure you and your children’s immunizations are up to date. Immunizations are available to eligible children at Health Department Clinics throughout the County. You can also receive immunizations from your health care provider. Click here for CDC Immunization Schedule. Immunizations are available at the Ionia County Health Department. Click here for information on hours and locations for Immunizations. Click here for immunization fees. TUBERCULIN (TB) SKIN TEST TB skin tests are given during regular immunization clinic hours and must be read 48 to 72 hours after administration. There is a charge for TB tests. CHILDREN’S SPECIAL HEALTH CARE SERVICES Children’s Special Health Care Services (CSHCS) has been committed to helping children with handicaps or chronic health problems develop to their fullest potential. This committment emphasizes family-centered, community based, coordinated services. CSHCS provides payment for medical care beyond insurance coverage from birth to 21 years for individuals with medically-qualifying conditions under the care of participating specialists. Families in all income levels are eligible for enrollment. However, some families may be required to share the cost of care through a payment agreement. Click here for CSHCS Family Rights and Responsibilities. Toll Free Parent Hotline HEALTHY KIDS & MICHILD Children up to 19 years of age and pregnant women may qualify for medical insurance. Both Healthy Kids and MIChild have great dental insurance for children. There is a small monthly fee for the MIChild program. BREAST & CERVICAL CANCER CONTROL PROGRAM Women age 40 and over may be eligible for free mammograms, pelvic exams, Pap tests, and follow-up services if they are not insured through an HMO or Medicare, Part B. Early detection is your best protection! Call the Tony Balice Clinic at 616-523-1600 for details and to make an appointment. WOMEN INFANTS CHILDREN (WIC) A nutrition program for medically and financially eligible pregnant and breastfeeding women, infants, and children to age five. Through this program clients receive milk, eggs, juice, cereal, cheese, and peanut butter. Infants receive formula, cereal, and juice. Nutrition education classes are available. Click here for more information about WIC. Click Here for assistance with breastfeeding. Children living in dwellings with a high environmental risk for lead poisoning and who are 12 months to 6 years of age can be screened through a blood test and environmental questionnaire. Those with high lead levels will be referred for further testing. There is a fee for the screening. Medicaid can be billed for this test. Click here for Lead Information or Click Here for Lead Poisoning Tips.
The Future of Reading Taking notes is important when reading academic material whether the text is digital or analog. There is a growing group of young minds, particularly generation Z (born between 1995 and 2012) who prefer consuming content exclusively on digital devices. Not all of these students annotate digital texts efficiently. This generation is the first born completely immersed in the internet and its associated channels and devices. The phone, tablet, and e-reader have become integrated with their lifestyles choices, almost like extensions of their bodies. Paper and pen is now often optional. For a student and parent, there are immense benefits in consuming content on digital devices. Textbooks are usually cheaper if downloaded and also extremely portable. I remember the days when I had to carry ten pounds worth of textbooks in my school bag. Now more and more academic institutions are even switching over to tablets and laptops for content consumption. When I see students consuming content digitally, for some students there are challenges with new information being easily retained and accessed. This becomes very important when writing research papers when items in the text may need to be annotated. Fortunately, with a little planning (and a piece of paper) it’s not too difficult to ensure students annotate digital texts efficiently and access the information they need. Annotation Tips and Tricks on Kindle and other Tablet devices E-readers such as the Kindle allow students to annotate digital texts through the highlighting feature and type in a note on the device. It’s later centrally stored and easy to access. However, this not always enough. When reading a print book, you can underline text, write some comments in the margin and even stick a small post-it note on the page. This ensures that the essence of the underline is remembered and immediately accessible. On a digital device, even though highlighting is possible, it can become time-consuming to type notes. Kindle’s on-screen keyboard may be cumbersome to type notes for some students. Recently I worked with two students reading the same book for class. One had the print version and the other had the Kindle. The first student was able to quickly use his pencil to underline text and write notes in the margin. The second student had to do a variety of swipes and presses and then carefully type in his notes in the rather clunky digital interface. However, there is a workaround to inputting text into the kindle device. Amazon has a digital notebook you can access on your computer with all the books downloaded and synced. All the student’s bookmarks and highlights are catalogued here and it’s very easy to copy and paste for quotations. Whenever you make a highlight in your Kindle device, it synchronizes the same text to your digital notebook. You can enter notes associated with every highlight in a corresponding text box online. This is usually faster than inputting on the kindle device with two thumbs. However, this means that you have to read with your Kindle and laptop, which might be off-putting and distracting for some students. Amazon does offer Kindle users the ability to read their books on their computers through a downloadable desktop application. The app has the same intuitive reading experience as on the Kindle device. But taking notes is still cumbersome in regards to accessibility. Once a student begins writing their assignment, it sometimes takes a while for them to find the information they are looking for in a very long text. Is there an alternative? Yes! There is. We recommend maintaining a master annotation sheet indexing all highlights in one location. A simple piece of paper is instantly accessible. For literary works with many chapters it can take much less time than accessing the corresponding highlights digitally. This is our little hack so students annotate digital texts more efficiently. Using the Master Annotation Sheet Digital annotation is very easy. We recommend the student split the paper in half longitudinally. In the first column, they write the chapter and letter pertaining to annotation. The number is for the corresponding chapter and the letter is for each idea. So three annotations in chapter 3 would look something like this: 3A Death of the queen 3B Riots in the streets 3C First kiss tension Having this master sheet saves time for the student when they are writing their paper. They can quickly find the chapter and section highlighted, corresponding to the idea they would like to elaborate on. Many students prefer to read on digital text and if it encourages students to read more, that’s a good thing. The Kindle is a powerful device with it’s built in dictionary and vocabulary builder. When you look up words definitions, they are automatically added to the vocabulary builder on the device. With vocabulary builder, you can use digital flashcards to later practice remembering these definitions. Most importantly, it is critical to make sure students can remember what they read and can easily access that information as effortlessly as possible. By having a little “old school” annotation sheet, they have a foolproof method to annotate digital texts and ensure their research writing is as efficient and effortless as possible. By My Learning Springboard Editorial Team
“And I had but one penny in the world. Thou should’st have it to buy gingerbread.” — from Love’s Labors Lost 1597 by William Shakespeare (1564–1616) The folks at the Lion Brand Yarn Studio at 34 West 15th Street assemble very imaginative window displays. Over the past year two other displays, last year’s Christmas theme and a charitable cause, a have been written about in this space, each with many photos. The 2015 Christmas display is sweet: gingerbread and other goodies, from lollipops to cookies, all knitted from yarn. It is delightful! An army of knitters must have worked on this for months! “I have a little boy, younger than you, who knows six Psalms by heart: and when you ask him which he would rather have, a gingerbread-nut to eat, or a verse of a Psalm to learn, he says: ‘Oh! the verse of a Psalm! angels sing Psalms,’ says he; ‘I wish to be a little angel here below;’ he then gets two nuts in recompense for his infant piety.” —from Jane Eyre 1847, by Charlotte Brontë (1816–1855) gingerbread: 1a. A dark molasses cake flavored with ginger. 1b. A soft molasses and ginger cookie cut in various shapes, sometimes elaborately decorated. 2a. Elaborate ornamentation. 2b. Superfluous or tasteless embellishment, especially in architecture. —from The American Heritage Dictionary of the English Language, Fourth Edition, 2000 The etymology of gingerbread: From the Latin zingiber to the Old French, gingebras, the word gingerbread referred to preserved ginger. In Middle English gingerbread referred to a stiff pudding and to preserved ginger.Next, the word applied to a confection made with honey and spices. The French phrase pain d’épices, ‘spice bread’ and the German terms Lebkuchen and Pfefferkuchen, pepperbread or pepper cake, translate to gingerbread. By the fifteenth century the word was applied to a cake made with treacle, a syrup used for sweetening, and flavored with ginger. By the end of the eleventh century gingerbread was being baked throughout Western Europe; it was likely that ginger was brought back by soldiers returning from their Crusades in the Holy Land. From the beginning gingerbread was featured at fairs, and considered a delicacy. Many fairs became known as “gingerbread fairs” and gingerbread baked goods took on another name, “fairings” in England. When baked into certain shapes gingerbread was associated with different times of the year. If it was baked into shapes of buttons and flowers that meant spring and Easter fairs; animals and birds shapes were a sold in autumn. English villages had a tradition that involved unmarried women. The young maidens were meant to eat a gingerbread ‘husband’ at the fair if they expected to catch a flesh-and-blood husband. Germany has the longest and strongest tradition of baking gingerbread into flat shapes. At autumn fairs throughout Germanic countries rows of stalls are filled with gingerbread hearts, decorated with white and colored icing and tied with ribbons. In Nuremberg, Germany the Christkindlmarkt is held each December. Hand carved Christmas decorations, special sausages, and the Nuremberg Lebkuchen flavored with ginger are for sale. Gingerbread in Nuremberg was not baked at home; but it was the exclusive right of a Guild of Master Bakers, the Lebkuchler. The town became known as the gingerbread capital of the world. Craftsmen such as sculptors, painters, woodcarvers and goldsmiths had a hand in creating beautiful gingerbread cakes. The woodcarvers made intricate wooden molds; painters and goldsmiths decorated the cakes with frosting or gold leaf that were sold at the fairs. In 19th-century Germany gingerbread, like everything, was romanticized. The Grimm Brothers included the story of Hansel and Gretel in their collection of German fairy tales. The two children, abandoned in the woods by destitute parents, discovered a house made of bread, cake and candies. The German Romantic composer Englebert Humperdink (1854–1921) wrote an opera, Hänsel und Gretel, about the boy and girl and the gingerbread house. Throughout Germany large pieces of gingerbread, lebkuchen, are used to build Hexenhaeusle, witch houses, also called Lebkuchenhaeusel and Knusperhaeuschen, meaning houses for nibbling at. Gingerbread baking in America traces its origins to the settlers from Northern Europe; they brought with them family recipes and customs. Because of limited spice supplies, American recipes called for fewer spices than the European versions; but often used ingredients only available regionally. In New England gingerbreads were made with maple syrup; and in the South sorghum molasses was used. In Pennsylvania, where the influence of German cooking was strong, traditional Germany gingerbreads were baked, especially at Christmastime. America’s Midwest welcomed many northern Europeans. At Christmas it is still a tradition in the Midwest to serve Scandinavian cookies such as pepparkaker or lebkuchen. Gingerbread Husbands: Gingerbread cakes fashioned like men, commonly sold at fairs up to the middle of the nineteenth century. —from The Dictionary of Phrase and Fable 1870, by E. Cobham Brewer (1810–1897, English compiler) “Those dripping crumpets, I can see them now. Tiny crisp wedges of toast, and piping-hot, flaky scones. Sandwiches of unknown nature, mysteriously flavoured and quite delectable, and that very special gingerbread. Angel cake, that melted in the mouth, and his rather stodgier companion, bursting with peel and raisins. There was enough food there to keep a starving family for a week.” —from Rebecca 1938, by Daphne Du Maurier (1907–1989) ALL PHOTOS AND TEXT © THE AUTHOR 2015
On Friday, Ontario Premier Kathleen Wynne and Québec Premier Philippe Couillard issued the following statement on climate change: “We are at the forefront of the fight against climate change and we want Canada to be a leader on this issue of critical importance. Last week, in front of international leaders and experts, including Christiana Figueres, Executive Secretary of the United Nations Framework Convention on Climate Change, we were present at the Québec Summit on Climate Change, where the vast majority of Canadian provinces and territories were represented. Eleven premiers, representing over 85 per cent of the Canadian population, made a joint declaration stating that, “carbon pricing is an approach that is being taken by an increasing number of governments” and that “investing in the fight against climate change, especially in areas such as renewable energy, energy efficiency, and cleaner energy production, holds great promise for sustainable economic development and long-term job creation.” Clearly, Prime Minister Stephen Harper’s statement yesterday that emission reduction plans are ‘designed to enrich governments,’ does not reflect the declaration made at the Québec Summit. People across Canada and the world are worried about climate change. They are concerned about what it is costing us and how it is endangering our environment. As it is written in the declaration, the Prime Minister should recognize that because “Arctic states such as Canada are particularly vulnerable and disproportionately affected by the impacts of climate change, adaptation must complement ambitious mitigation measures to address the effects climate change is having on Canada’s northern regions.” Climate change is already hurting our environment, causing extreme weather like floods and droughts, and hurting our ability to grow food in some regions. Over the near term, it will increase the cost of food and insurance, harm wildlife and nature, and eventually make the world inhospitable for our children and grandchildren. The governments of Québec and Ontario are proud of the work that we have already undertaken to address climate change. Last year Ontario closed coal-fired electricity generating plants in Ontario for good — the largest single action ever taken in North America to curb greenhouse gas (GHG) emissions. In Québec, a carbon market (cap and trade system) is at the centre of the government’s strategy for fighting climate change. Last year, Québec linked its carbon market with California’s through the Western Climate Initiative (WCI), creating the largest regional carbon market in North America. And, as announced last week, Ontario will also implement a cap and trade system and intends to link it to Québec and California’s joint carbon market, once Ontario has developed the necessary compatible and coherent mechanisms. This will make the carbon market more stable, minimize the costs of implementing the system and provide a consistent approach to GHG emitters in both Québec and Ontario, which represent a major share of the Canadian economy. The Ontario government will reinvest the money raised through cap and trade in a transparent way back into projects that reduce greenhouse gas pollution and help businesses remain competitive. Indeed, tackling climate change represents an economic opportunity for major Canadian sectors to reduce their costs and grow their exports. Already, Québec has reinvested carbon market revenues in initiatives aimed at further reducing GHG emissions and helping Québec’s residents adapt to the effects of climate change. Québec will invest more than $3.3 billion toward this goal by 2020, contributing to the growth of its economy. We strongly believe that good environmental policy is good economic policy. But so far, almost all of the progress Canada has made on climate change is the result of provincial action. Once Ontario’s new system is implemented, more than 75 per cent of Canada’s population will be covered by carbon pricing. Ontario and Québec are home to 62 per cent of Canada’s population, and together we make up the fourth-largest economic zone in North America, with a Gross Domestic Product of more than $1 trillion. When we work together, it makes an enormous difference. Emission reduction plans have important benefits for the environment, for our economy and for Canadians. We take this opportunity today, and as 11 premiers did last week through the Québec City declaration, to again invite the federal government to partner with us “in a concerted effort to develop an ambitious contribution from Canada at the 21st session of the Conference of the Parties to the United Nations Framework Convention on Climate Change.” Let’s make real progress on climate change.”
Benefits of Digital Manufacturing for the Medical Industry What used to takes weeks and days to manufacture, now only takes hours. Over the last 30 years, Additive Manufacturing has truly transformed the Medical Devices landscape with advanced industrial 3D Printing technology. Today, many parts ranging from orthopedics, prosthetics, spines, hips, hearing aids, knee caps, implants and surgery tools are produced using the Additive Manufacturing processes. "Improve patient care with quicker turnaround" Additive Manufacturing has the potential to transform the entire healthcare industry. Its manufacturing ability helps engineers produce patient-specific customizable solutions, and other innovative designs to meet mass market needs. Healthcare organizations, doctors and patients can produce additively produced parts on-demand. With LINK3D, Medical Device companies can access Additive Manufacturing resources on a single platform. They can place and manage orders in a collaborative environment, which helps increase the speed of product innovation while following the standards of FDA and ISO approval software requirements. Medical Device companies can gain a competitive edge with LINK3D AM Software hen developing innovative, lightweight, high-performing and cost effective parts. Delight customers with better experiences, quicker development time, and speed-to-market. Medical Device companies that take advantage of Additive Manufacturing workflow software will experience quicker turnarounds when producing parts for research and development, rapid prototyping, series production and aftermarket part production for industrial and commercial use. After conducting internal reports, we've found the following areas of concern to be most pertinent in the Medical Devices industry as they adopt, build and scale their Additive Manufacturing efforts: 1. On-demand distributed manufacturing When demand for medical parts are unpredictable, healthcare centers can take advantage of on-demand manufacturing. As an example, some healthcare centers outsource to medical device companies, produce with their industrial 3D Printers, or work with certified Service Bureaus to manage their additively produced parts. LINK3D's centralized ordering system helps decrease wait time to improve patient outcome. Compared to traditional manufacturing, cost reductions throughout the value chain include: reduction in inventory costs, warehousing costs, material waste, part obsolescence, transportation, administration and more. 2. Increase speed of innovation for complex parts and tools Producing patient-specific parts and tools tailored for an individual's anatomy is now possible with Additive Manufacturing. With tool-less production and more materials are available, healthcare organizations and Medical Device companies can develop more economical treatment plans that will produce better patient outcomes while reducing recovery time. By facilitating the communication process between the doctors and engineers - members involved in each project can come to a better solution quicker. LINK3D's collaboration suite facilitates the speed of innovation for 3D Printed parts across the entire lifecycle, from research and development, rapid prototyping and series production. 3. Leverage all additive resources across your supply network Knowing what's available in the research and development and production additive manufacturing tool-box is important for leveraging expertise across multiple departments, facilities and certified service bureaus in a supply network. Having access to a digital library of 3D Printed parts can increase speed-to-market and product innovation. Knowing which expert was involved with specific projects and orders can provide insight for developing new solutions in a collaborative environment. Finally, being able to take advantage of proprietary algorithms to route orders to the correct internal or certified facilities that have specific certifications (e.g.: ISO 13485, FDA) can cut down lead times. 4. Know your ROI With cost-management built-into every order processed through LINK3D, Medical Device companies and healthcare organizations can get access to costs associated per part, helping doctors manage expectations with customers regarding their financial commitments. Understand the cost of a part's bill of materials, labor cost, engineering cost, post processing cost, machine run-rate and more.
Effects of Domestic Violence on Children On average, more than three women a day are murdered by their husbands or boyfriends in the United States and women experience two million injuries from intimate partner violence each year. Many of these women are mothers who often go to great and courageous lengths to protect their children from abusive partners. Research has shown that the non abusing parent is often the strongest protective factor in the lives of children who are exposed to domestic violence. Children are often the silent victims and witnessing domestic violence can affect every aspect of a child’s life. - Children of mothers who experience prenatal physical violence are at an increased risk of exhibiting aggressive, anxious, depressed or hyperactive behavior. - Children who witness violence may exhibit a range of problematic behaviors including depression, anxiety and aggression toward peers. - Children who witness violence are at a greater risk of self destructive behaviors such as substance abuse, sexual promiscuity, running away, self injury and gang affiliation. - Adolescents who grow up in violent homes are at risk for recreating the abuse they have seen. - Adolescent females that grow up in violent homes are at risk of becoming victims of teen dating violence and domestic violence as an adult. - Without intervention, children’s feelings of anxiety, guilt, grief and embarrassment may begin to take command of their lives. To get help, call our 24-Hour Hotline at 631-666-8833 or our Counseling program at 631-666-7181.
Forget the X Prize. What's so great about sending a couple of people 100 kilometers up and down in the sky anyway? A much more interesting and important goal for the future of humanity is the seemingly humble goal of raising a mouse to live a healthy life lasting seven, eight, or more years. But why would anyone want to lengthen the lives of mice? Humanity has spent thousands of years—using poisons, traps, and cats—trying to shorten the time that the pesky rodents infest our homes and grain bins. The idea is that if scientists can reliably lengthen the lives of mice, then they will be well on their way to figuring out how to do the same for people. The underlying insight is that, in a sense, humans are just big mice, since 99 percent of a mouse's 30,000 or so genes have direct counterparts in humans. The Methuselah Mouse Prize is chiefly the brainchild of Cambridge University theoretical biogerontologist Aubrey de Grey. De Grey worked out how to structure the prize in 2001 over beers in Maui with Chris Heward, the president of the longevity company Kronos Science Laboratories. The Methuselah Foundation offers two prizes. One is the Postponement Prize, which is awarded "whenever the world record lifespan for a mouse of the species most commonly used in scientific work, Mus musculus, is exceeded." The second one is the Reversal Prize, which will be awarded to researchers whose interventions keep a mature mouse alive significantly longer than expected. Say, for example, you begin dosing a two-year-old mouse with your new Ponce de Leon solution. Normally, such a mouse might be expected to live another year or so. But if he makes it to six years, that would certainly be worth the prize. The Reversal Prize is supposed to encourage researchers to "develop effective late-onset life-extension interventions that will be beneficial to the elderly." Naturally, the Reversal Prize will be of particular interest to Baby Boomers like me. The prize now stands at over $61,000. Organizers hope to dramatically increase that amount through a donation drive soon. Current contributors include former Human Genomes Sciences' president William Haseltine and computer entrepreneur Ray Kurzweil. The bad news for us humans who want to live a long but mostly normal life is that being a dwarf and sterile seems to be the main route to longevity for a mouse. So far the dwarf mouse GHR-KO 11C holds the official record for being the longest lived of his species. GHR-KO 11C wiled away his time in Andrzej Bartke's lab at Southern Illinois University, living 1,819 days, just a week shy of five years. That's the equivalent in human terms of a lifespan of 180 to 200 years. The significance of GHR-KO 11C's achievement becomes clear when one realizes that the next oldest mouse on record, Yoda, died last April at the University of Michigan after living just four years and 12 days. Reduced levels of growth hormone seem to slow down the aging process. The speculation is that the dwarf mice have lower core temperatures and slower metabolisms, which means that they produce less of the reactive oxygen that damages genes and causes aging. So far six teams have officially registered their mice for the prize. The aim of the Methuselah Mouse Prize is not just to tempt scientists to get involved with anti-aging research. It's also a public relations stunt aiming to capture the public's imagination. De Grey believes that the public will demand more research into finding effective anti-aging treatments once they are convinced that it's possible to significantly retard aging in a mammal. "I think it's great," says Christiaan Leeuwenburgh, director of the University of Florida's Biochemistry of Aging Laboratory. "It's going to get a lot of positive public attention for anti-aging research."
The portrait of Venetsianova, also known as the "Girl in a Hat", was created in 1826. It depicts one of the two daughters of the painter, Alexandra Alekseevna Venetsianova (1816 - 1882). This painting is one of the most important artworks of A. G. Venetsianov, who, along with portraits of his most famous contemporaries, is N. The famous work “The Bride of the Wind” by the Austrian expressionist artist Oscar Kokoschki was created on canvas with oil back in 1914. She brought him unprecedented glory and at the same time disappointment in love relationships for the long years to come. Now the painting is in the Basel Museum of Art. For obvious reasons, the portrait work of Rafael Santi was largely lost, but especially valuable pieces, such as the portrait of a young man, continue to remain under the strict supervision of the world art community, as they are of exceptional artistic value. The creative legacy of the artist-wanderer Pavel Alexandrovich Bryullov is small. He left behind only a few versatile works of style, but you can easily notice the outstanding artistic talent of the painter. In this, apparently, the hereditary genes were fully manifested - the genius Karl Bulbulov was his uncle. Francois Boucher was perhaps the most prominent representative of the painting of the French Rococo era. The artist was awarded numerous awards during his lifetime and was his man at the court of Louis the Fifteenth, whose portraits of his favorite, the famous Marquise de Pompadour, repeatedly painted. The talent of the artist is multifaceted; he painted paintings, painted backdrops for the theater scene, created engravings; he painted on porcelain, painted fans and made sketches for fabrics. Cranach Lucas Senior German painter and bright representative of the Renaissance. He had an individual unique style. The artist painted both pictorial portraits and graphic ones. His works had biblical overtones, despite the fact that it is usually difficult to recognize a deeply embedded meaning when looking at a portrait.
The third Vernon County Courthouse was built in 1908 of Carthage “Marble”. The Romanesque Revival structure was the first courthouse built in Missouri after the Civil War. At a cost of $71,186.00, the original building committee wrote in their minutes: “…Vernon County will have, for the money expended, one of the very best, and most substantial, fireproof buildings ever erected in this state. The three-story building is 80’ x 100’ and rises to 126’ at the top of its dome. The plan of architect Robert G. Kirsch was selected in March, 1906. It was similar to his designs of the 19th century courthouses of Adair and Johnson counties, and the 20th century Polk County courthouse. Construction bids, however, exceeded the $75,000.00 limit set by the court. Kirsch changed the plans and used less expensive materials, changed the main staircase from marble and iron to quarter-sawed oak and allowed contractors options on materials for the inside foundation above the footings. Nevada construction company, Dye and Beagles, won the bid to built the courthouse. The Carthage “Marble” was brought in by train. The courtroom, which seats 310 is on the second floor. The jail was planned for the fourth floor but changed because of excessive summer heat. Cornerstone ceremonies took place October 30, 1906. Completed in February, 1908, it ran over budget costing almost $80,000.00. Totally restored at the end of the 20th century, the new red tile roof cost more than twice the cost of the original building. The interior has been completely restored and the outside sandblasted and waterproofed.
Existential psychotherapy is a school of psychotherapeutic thought and practice that derives from multiple sources. The first of these sources is existential philosophy. This type of philosophy arose during the 19th century in continental Europe. Indeed, because of this geographic origin, it is considered part of what is called continental philosophy, philosophy that arose in continental European countries like France and Germany, rather than the British Isles. These countries had a philosophical heritage that included strong elements of rationalism, stemming from thinkers like Descartes and Kant. In contrast to British empiricism, which sought to make science and empirical knowledge the center of inquiry and justified belief, the rationalism of Continental philosophy focused on what could be known a priori, or through sheer thought and reflection. Philosophers like Kierkegaard, Nietzsche, Heidegger, and Sartre formed the core of existentialism. They focused on issues such as the meaning of life, death, purpose, choice, freedom, and so on. Rather than strictly logical or scientific thinking, they explored the big issues of human life that manifest themselves in our day-to-day existence (Cooper, 2003). The other main source of existential psychotherapy comes from the school of humanistic psychology. After the hegemony of psychoanalytic and then behaviorist systems of thought in psychology, the school of humanistic psychology was branded as the “Third Force” in psychology. A main tenet of this school is that while psychoanalytic and behaviorist psychology basically broke down the individual by analyzing him/her into the relevant component parts and working on those, humanistic psychology sought to treat the whole person (Buhler & Allen, 1972). People like Carl Rogers and Abraham Maslow were central in humanistic psychological thought. Rogers developed some of the most important ideas in the history of psychotherapy, some which inform practitioners from all schools of psychotherapy. And Maslow’s hierarchy of needs is almost a household idea. The practitioners of humanistic psychology were instrumental in inspiring the existential approach. Existential psychotherapy drew from these two traditions. Therapists like Rollo May and Irvin Yalom explicitly developed ideas found in the writings of both existentialist philosophers like Kierkegaard and humanistic psychologists like Rogers. The practice of psychotherapy and the human relationship that it consists of has been ripe ground for these types of ideas to be put into practice. People show up in therapy for many different reasons, but the existential approach is deep and broad enough to claim territory over pretty much all human issues, at least at an abstract level. Existential psychotherapists vary widely and there is not a tradition of standardization and scientific investigation as there is in other psychotherapeutic schools such as cognitive-behavioral therapy or even psychodynamic theories. It does not have a specific body of doctrine, evidence, or even methodology. Existential therapy has been called more of a frame than specific form of therapy (Yalom, 1980). Its main strategy is to foster exploration, awareness, and acceptance, in each individual, of broad existential themes that permeate human life and human problems. And while theorists do vary, Existential psychotherapy is centered around four basic themes, or “givens” in one form or another. Those four themes are: (a) Death, (b) Freedom, (c) Relationships, (d) Meaning. An existential approach asserts that the denial of any of these themes in one’s life can lead to a host of issues that usually go by standard diagnostic names, i.e. depression, anxiety, neurosis, psychosis, etc. We will examine each one of these themes in turn: Death is obviously an issue that all human beings face. And while most of our problems in living seem not to be directly related to death, Existentialists argue that it is implicitly the backdrop and motivator for many of our struggles. Death is naturally anxiety provoking for human beings. Except in rare circumstances, such as extreme acts of bravery or rescue, the stuff of the so-called adrenaline rush, where one has a feeling of immediate invincibility or indifference toward death, or very positive spiritual or mystical experiences or states where one feels transcendent over or at least at peace with death, the fear of death is omnipresent in our normal modes of functioning. This is not to say that we are conscious of this fear. Indeed, constant and persistent awareness and conscious reflection on death would not be practically attainable, and if achieved would almost certainly lead to neurosis or psychosis (Becker, 1997). Hence, existentialists recognize two main things in terms of the fear of death: it is mostly unconscious, and there is therapeutic value in recognizing occasionally this fear. The value derives from the occasional nature because advocates of existential therapy do not promote an obsessive or morbid preoccupation with death. Essentially, neither living oblivious to death nor living in constant fear of it is valuable. The sort of Middle-Way approach to facing the issue of death in existential therapy derives from some of the ways that we tend to deny death. Yalom (1980) posits two ways that we deny death: (a) the ultimate rescuer and (b) specialness. The idea of the ultimate rescuer consists of the notion of something or someone that is external, which will rescue one from death. One can recognize this theme in countless religious and mythological narratives throughout human history and culture. Specialness, on the other hand, relates to the idea that one is so special and valuable to the world that the rules of death do not apply to them. Essentially, it is an internal source of some kind of symbolic immortality. Although they will certainly physically die, the symbolical value of their existence will contribute something to the world that will be basically eternal. Consider that many people who do not find solace in traditional religious ideas of immortality, develop a sense of their symbolic immortality to come, whether through their creative work or through their genetic lineage or some other transference of meaning. This is one main aspect of the modern, secular world (Blumenberg, 1966). Indeed the traditional religious beliefs can be conjoined with these as well, and they often are for many people. Whatever the nature or true ontology of the problems of death and immortality are, existential psychotherapy is not concerned with those, per se. Just as many other forms of psychotherapy are not really in the business of truth in an absolute sense, existential psychotherapy is not a body of doctrine about the truth or falsity of these ways of being or approaches to life. Existential psychotherapy is just as functional as behavior analysis in the sense that it is how these issues relate to the life of the individual and their suffering that really matter, and it is besides the point to argue over philosophical problems. Concerning these approaches to death, existential psychotherapy simply aims to recognize and alleviate problematic and fearful styles of dealing with this natural fear of death, whatever other aspects of form they may take, religious or secular, “true” or not. Another all-important issue in existential psychotherapy is Freedom. This stems directly from Existential philosophy. For example, philosophers like Martin Heidegger and Jean-Paul Sartre were famous for notions of being and choice in the human world. Sartre proposed in his book,Being and Nothingness, that we essentially have no true nature, but rather create who we are through our choices, and at any point in time we can change by making new choices and aligning with our authenticity (Sartre, 1943). He aimed to defend the idea of human freedom against determinists of all kinds. Not all existential psychotherapists will commit to such a radical view of human free will. But to the degree to which this tradition stems from its philosophical elders, a basic bias and tendency toward valuing and pursuing the open aspect of human freedom and choice is a main part of this therapy. Unlike behavior analysts, and even psychodynamic theorists, all of whom are deterministic (the latter perhaps less dogmatically than the former), existential psychotherapists bet on and work with human free will, whether it is an illusion or not. Again, ontology is not the business at hand. It is important to distinguish the idea of existential freedom from that of other types of freedom, say social or political freedom. Although this latter type of freedom is not unimportant, it can be considered shallow in relation to existential freedom. One way to think of it is that one can have one freedom without the other. For example, one can lack political freedom but be existentially free, while another may have great political freedoms, but not be existentially free. A case comes from Viktor Frankl, where he describes his experience of being detained in a concentration camp. He tells how although he lacked almost all social and political freedom, he was able to find and embrace a mode of psychological and existential freedom that gave him the strength to survive and persist under such harsh conditions (Frankl, 1984). It is important to note that in an existential approach, freedom is directly connected to the idea of responsibility. There are many ways that people can avoid responsibility for their actions and ways of being. These often resort to attributing the causes of ones behavior to an external or uncontrollable source. And harping back to the issue of determinism, while an existential view does not necessarily deny that these other factors are causal in effecting people, there is still on emphasis on accepting and adopting a responsible stance for oneself. None of these factors make a person powerless. Otto Rank, an initial follower of Freudian psychoanalysis who turned toward broader humanistic and existential themes, described this concept of a connection between freedom, causes, and responsibility. Rank posits that the degree to which one is unaware of the causes that influence oneself, then one is controlled by those causes. But an awareness of those factors removes their ultimate control. Not that they are no longer influential, but that don’t have the total control that they do under pure unawareness (Rank, 1996). Through this view, one can see how an important part of existential therapy can be to simply try and understand what factors influence one’s behavior, thought, emotion, motivation, etc. To the degree that one is aware, there arises a sort of transcendence. Usually, more awareness is better from an existential approach. It can allow one not to control everything, but it can help one to not be controlled by everything. This is a subtle but important point in the following process: awareness can lead to responsibility and true freedom. The next topic of interest in an existential approach is relationships. Alternatively, one can talk about isolation. But just as freedom and responsibility are intertwined, so is relationships and isolation. Yalom proposes three different kinds of isolation (Yalom, 1980): interpersonal isolation, intrapersonal isolation, and existential isolation. Let us look at each of these. Interpersonal isolation is the type of isolation that we usually refer to when we use the word isolation in common language. This could be that a person is simply physically isolated from others, although it is not only this. Interpersonal isolation can also refer to a certain way of being in a relationship that is not satisfying for one’s relational needs. So a person can be physically around others and even connected in some minimal form within a relationship, but there can still exist this form of interpersonal isolation. Many can think of situations where people experience this within the context of relationships with others. It is also common that lonely people are not in less physically in contact with others, but rather it is their mode of being that is different. Research has shown this, despite the stereotype of lonely people as being necessarily physically isolated. Lonely people do tend to spend more time with strangers and larger numbers of people rather than having more meaningful relationships with less people. Therefore it is the quality, not quantity, of relationships that leads to loneliness or not (Jones, 1982). Intrapersonal isolation refers to the slightly more abstract idea of being split off from oneself or from others in a relationship. That is, one may be in a relationship that does not lack in ways that would bring interpersonal isolation. In other words, the relationship may be “satisfying” by most normal criteria, but there are aspects of self and its potential relationship to others that are hidden, closed off, and otherwise not authentic. Again, we are all familiar with the sort of isolation that comes with always having personal secrets that even the most intimate of our relationships may never witness in a public or shared way. It could be argued that the default mode of functioning for each person is to withhold aspects of their self from others, and only slowly allow progressively more aspects to be revealed with growing intimacy. Intrapersonal isolation exists in degrees along this continuum of sharing and secrecy. The last form of isolation in Yalom’s framework is existential isolation. This refers to the ultimate realization that one cannot escape one’s own consciousness and subjectivity, no matter what one does. And likewise, one cannot ever fully experience the subjectivity of another human being. This is simply a fundamental part of human limitation. In existential psychotherapy, an awareness and acceptance of this kind of isolation and limitation is seen as contributing to growth and understanding. Just like issues of death and freedom, what this approach comes down to is not some particular answer or method, but rather the exploration of, awareness of, and acceptance of existential isolation. The final theme is meaning. Meaning is central to human life, and this is evident in the clichéd search for the “meaning of life.” This is one of the most difficult themes and arguably underlies all others. It boils down to the ultimate question, “Why?” Even more so than before, existential psychotherapy does not purport to give a right or true answer to what meaning is. But thinkers have explored the types of meaning at work in people’s lives. Like isolation, three different types of meaning can be identified: (a) false meaning, (b) transitory meaning, and (c) ultimate meaning (Hoffman, 2004). False meaning is the type of meaning that people either explicitly or implicitly adopt that are usually either not sustainable, empowering, or helpful in any significant way. Indeed, this type of meaning is typically destructive. It may include the standard list of hedonistic pursuits, such as food, drink, sex, drugs, money, power, or any other type of pleasurable or mundane thing. This is some of the standard objects of addictions or obsessions, as well. The issue is not so much the specific object or activity at hand, but rather the simplistic nature of it, and the inability of it to address the existential issues. This is not to say that these things don’t have any positive or redeeming qualities in many contexts, for example, enjoying food with friends, or sex in an intimate relationship. These are simply many of the standard things that are the objects of false meaning, especially when not connected to other forms of meaning, specifically the ultimate kind. Transitory meaning occupies an interesting middle ground. This type of meaning shares certain aspects with false meaning. As its name suggests, it is transitory, and hence does not sustain one’s essential (existential) needs. It can help us cope, but it does not truly fulfill. An interesting aspect of this type is that it is often what we consider to be things that contribute to our growth and development. This could include developing skills, achieving success in various fashions, receiving education, helping others, pursuing healthy interests and relationships and activities, etc. These things are often considered good and healthy things to do by most societal and personal norms. And they lack the destructive nature of objects of false meaning. Yet, they lack the transcendent nature of ultimate meaning. Ultimate meaning is that which contributes to the transcendence of other existential themes, such as death, isolation and relationships, freedom and responsibility, and clearly, meaninglessness. There is no single answer to what things can be objects of ultimate meaning. Hoffman submits that it is through the process of relationship that ultimate meaning lies. This could be relationship to another person, and object, idea, God, etc. In essence, it is something that is not oneself. It is something greater. Despite the limitations found in human relationships and the issues concerning isolation, this idea of relationship can lead to transcending the main existential issues. Indeed, the whole approach takes place within the context of the therapeutic relationship. Though this analysis of existential psychotherapy is partial and perhaps biased toward one way of systematizing the ideas (essentially that of Yalom and some other thinkers), it is nevertheless the only way to extract and understand the ideas within this school of thought. These themes are basically the recurrent ones within this approach to therapy. Furthermore, although there is literature on the topic, there are hardly the kinds of standardized handbooks as one would find for schools of behavior therapy or cognitive-behavior therapy. Although there are new forms of publications based on existential practice (Blugental, 1999). As stated, existential psychotherapy, by its very nature, lacks both a specific methodology and a body of empirical evidence. It is therefore highly discriminated against in mainstream academic culture, where evidence-based treatments are all the rage and empirical testing in general is the gold standard (Yalom, 1980). But those who appreciate its value have learnt to do so by realizing that the nature of its ideas and the therapeutic process that embodies it is simply not amenable to empirical testing in any easy or straightforward way. The themes of existential psychotherapy have to do with the most difficult and complex issues of human existence. The fact that these things cannot easily be studied in the lab should come as no surprise. And it definitely should not be a reason to dismiss the importance of existential psychotherapy. The process of psychotherapeutic integration and eclecticism that has taken place over the last few decades has actually witnessed existential psychotherapy take an important role in the project. There are recognized proponents of existential approaches who argue that it can be the centerpiece and framework for an integrative approach to psychotherapy. The case is made that advocates of other schools of psychotherapy can consistently adopt an existential framework and ideas, which will give a profitable context within which to practice whatever method, technique, focus, or style that they wish to apply. It is argued that because existential ideas are so deep and fundamental to human life, they are compatible with other approaches, and form the natural and logical centerpiece of an integrative project. (Schneider, 2007; Schneider & Krug, 2010). This has led prominent psychotherapy researcher Wampold to claim ““that an understanding of the principles of existential therapy is needed by all therapists, as it adds a perspective that might…form the basis of all effective treatments” (Wampold, 2008, p. 6). Indeed, rather than an antiquated philosophical orientation, existential psychotherapy is thriving, growing, and has an important role to play in the future of the field (Hoffman, Stewart, Warren, & Meek, 2009). Becker, E. (1973). The Denial of Death. New York: Free Press. Bugental, J.F.T. (1999). Psychotherapy isn’t what you think. Phoenix, AZ: Zeig, Tucker, & Theisen. Buhler, C., Allen, M. Introduction to Humanistic Psychology. Michigan: Brooks. Cooper, M. (2003). Existential Therapies. London: Sage. Frankl, V. E. (1963). Man’s Search for Meaning. New York: Washington Square Press. Hans Blumenberg, The Legitimacy of the Modem Age, trans. Robert M. Wallace. Cambridge: MIT Press. Hoffman, L. (2004, August/September). The danger of the truth. AHP Perspectives, 22–44. Hoffman, L., Stewart, S., Warren, W., & Meek, L. (2009). Toward a sustainable myth of self: An existential response to the postmodern condition. Journal of Humanistic Psychology,49, 135–173. Jones, W.H. (1982). Loneliness and social behavior. In L.A. Peplau & D. Perlman (Eds.),Loneliness: A sourcebook of current theory, research, and therapy (pp. 238–252). New York: Wiley-Interscience. Rank (1996). A Psychology of Difference: The American Lectures. Princeton: Princeton University Press. Sartre, Jean-Paul (1943). Being and Nothingness: A Phenomenological Essay on Ontology. New York: Philosophical Library. Schneider (2007). Existential-Integrative Psychotherapy: Guideposts to the Core of Practice. New York: Routledge.Schneider, K.J., & Krug (2010). Existential-humanistic therapy. Washington, DC: American Psychological Association Press. Wampold, B. (2008, February 6). Existential-integrative psychotherapy comes of age. [Review of the book Existential-integrative psychotherapy: Guideposts to the core of practice]. PsycCritiques 53,Release 6, Article 1. Yalom, I. D. (1980). Existential psychotherapy. New York: Basic Books.
top of page What is Mainframe? Mainframes were the large cabinets housing the central processing unit (CPU) and main memory of early computers. The term persists to describe and differentiate these larger computers, known for their considerable size and amount of storage, processing power, and reliability, from smaller counterparts such as servers, minicomputers, workstations, and personal computers (PCs). While mainframe is a generic term, most people instantly associate these computing workhorses with IBM and their System Z, the most popular and widely used models. The Z15 is the latest model. Learn how can you migrate the mainframe to the cloud bottom of page
Kapil Hari Paranjape 1 Under this page I will collect material for my course on Operating Systems. As you can see there is not much yet! The Course Contents as planned at the start of the course. The list of references has been updated. There are some online resources regarding the ix86 hardware that are useful to understand the most popular machines used for GNU/Linux. To begin with you can download an archive and install with tar xzf toot1.tar.gz. This should unpack into its own directory called toot1. Change directory to that directory and execute ./run_toot. After this you should be able to play around with a rather minimal GNU/Linux system. All changes you make within this environment should be non-desctructive. If the system hangs go to another terminal window and type killall linux. The system also shuts down when you type exit at the command prompt.
A big day for ant science! Four new genomes are public. These genomes complement two already-released projects, bringing the total to six. Yes, six. A year ago we didn’t have one, and now the floodgates are open. Although these latest efforts are not the first ant genomes out, today’s announcement is in some respects more significant than the earlier one. Those of us who work in a comparative context- learning by contrasting traits among disparate taxa- now have enough data to start weighing the genomes against each other in a meaningful way. I should note that I am a co-author on one of the papers (I played a minor role annotating an odorant-binding gene array in Linepithema), so my commentary here is not exactly dispassionate. Nonetheless, I will be posting my impressions of the research this week as time permits. Until then, here’s a bestiary of the newly-sequenced species: The Argentine ant is one of the world’s most pernicious pest ants, spreading from its native South America to warmer regions around the world. It frequently displaces native species, altering the local ecology, and it also invades homes and greenhouses. This species has become a model social insect for studies of nestmate recognition and for studies of ecological invasions. Click for the genome. The red harvester ant is an iconic desert insect of the American southwest, its enormous nests visible even from satellite photos. This granivorous species has been a model for studying ant social behavior and the genetics of speciation. Click for the genome. Atta cephalotes is one of several giant leafcutter species native to Central and South America. These ants are true farmers, tending to underground fungus gardens fed with cut vegetation. They are of interest for their highly modified caste structure and for the complexity of their agricultural interactions. Click for the genome. The red imported fire ant- another South American insect- is the most studied ant species of all time. Since its arrival in the southern United States from Brazil in the 1930’s, the fire ant and its memorable sting have achieved a sort of infamy. The new genome will complement an extensive scientific literature. Click for the genome. [note: at the time of this post, not all genomes have yet been released on genbank, though they should have been. grrrr….] *update* the genomes are blastable here - Smith, C. D. et al. 2011. Draft genome of the globally widespread and invasive Argentine ant (Linepithema humile). PNAS published ahead of print January 31, 2011, doi:10.1073/pnas.1008617108 - Wurm, Y. et al. 2011. The genome of the fire ant Solenopsis invicta. PNAS published ahead of print January 31, 2011, doi:10.1073/pnas.1009690108 - Smith, C. R. et al. 2011. Draft genome of the red harvester ant Pogonomyrmex barbatus. PNAS published ahead of print January 31, 2011, doi:10.1073/pnas.1007901108
Background Schistosomiasis and soil-transmitted helminthiasis (STH) are among the neglected tropical diseases in Africa. A national control program for these diseases was initiated in Uganda during March 2003. Annual treatment with praziquantel and albendazole was given to schoolchildren in endemic areas and to adults in selected communities where local prevalence of Schistosoma mansoni in schoolchildren was high. Methods The impact of the treatment program was monitored through cohorts of schoolchildren and adults. Their infection status with S. mansoni and STH was determined by parasitological examinations at baseline and at annual follow-ups. The prevalence and intensity of S. mansoni and STH before and after treatment were analyzed. Results Two rounds of treatment significantly reduced the prevalence of S. mansoni infection in schoolchildren across three regions in the country from 33.4–49.3% to 9.7–29.6%, and intensity of infection from 105.7–386.8 eggs per gram of faeces (epg) to 11.6–84.1 epg. The prevalence of hookworm infection was reduced from 41.2–57.9% to 5.5–16.1%, and intensity of infection from 186.9–416.8 epg to 3.7–36.9 epg. The proportion of children with heavy S. mansoni infection was significantly reduced from 15% (95% CI 13.4–16.8%) to 2.3% (95% CI 1.6–3.0%). In adults, significant reduction in the prevalence and intensity of S. mansoni and hookworm infections was also observed. More importantly, the prevalence and intensity of both S. mansoni and hookworm infections in the cohorts of newly-recruited 6-year-olds who had never previously received treatment decreased significantly over 2 years: 34.9% (95% CI 31.9–37.8%) to 22.6% (95% CI 19.9–25.2%) and 171.1 epg (95% CI 141.5–200.7) to 72.0 epg (95% CI 50.9–93.1) for S. mansoni; and 48.4% (95% CI 45.4–51.5) to 15.9% (95% CI 13.6–18.2) and 232.7 epg (95% CI 188.4–276.9) to 51.4 epg (95% CI 33.4–69.5) for hookworms, suggesting a general decline in environmental transmission levels. Conclusion Annual anthelminthic treatment delivered to schoolchildren and to adults at high risk in Uganda can significantly reduce the prevalence and intensity of infection for schistosomiasis and STH, and potentially also significantly reduce levels of environmental transmission of infection To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.
Cutest Head of State Gift - EVER The United States received two giant pandas, Ling-Ling and Hsing-Hsing, from the People’s Republic of China in April, 1972. The pandas were given as a token of friendship in response to President Nixon’s goodwill trip to China. First Lady Pat Nixon officially accepted the fuzzy goodwill ambassadors at the National Zoo in Washington, DC. She had been charmed by the pandas she had seen in China and declared at the welcoming ceremony, “I think ‘panda-monium’ is going to break out at the zoo.” Pat was right, Ling-Ling and Hsing-Hsing were the top attractions at the zoo until their deaths in in the 1990s. Here, Ling-Ling munches on her snack on her first day in the new Panda House at the National Zoo in Washington, DC. 4/16/1972. Noms.
Could Australoventator have caused the Stampede at Lark Quarry? Lark Quarry, near to the town of Winton (Queensland, Australia) is one of the most remarkable dinosaur fossil locations in the world. It contains the track ways of at least three different types of dinosaurs and the fine-grained sandstone seems to show a large dinosaur disturbing smaller animals and forcing them to stampede. The footprints indicate that a small herd of herbivorous dinosaurs and a larger number of small, predatory Coelurosaurs were disturbed by a larger, presumably carnivorous dinosaur causing the animals to scatter and run. The Lark Quarry site contains more than 3,300 individual footprints and it has been extensively studied, the whole incident took place in less than ten seconds but the tracks have remained in pristine condition since they were laid down by the side of a watercourse something like ninety-five to one hundred million years ago. Part of the Lark Quarry Dinosaur Tracks The larger prints, of which there are eleven in total indicate an animal more than ten metres long. These prints have been ascribed to a dinosaur called Tyrannosauropus, however, scientists continue to debate exactly what sort of dinosaurs did actually make the trackways. A Tyrannosauropus Footprint Team members at Everything Dinosaur have outlined the three-toed print in red so that it can be more clearly laid out. The box of matches “IV” indicate scale. The fossilised tracks, which date from the Cenomanian faunal stage, are being studied intensely and Queensland Museum curator Dr Scott Hocknull says technology is allowing scientists to make new discoveries about this “dinosaur stampede”. Dr Hocknull says new research suggests the footprints were made by a different “meat-eating” dinosaur than what has been suspected up until now. Tyrannosauropus may have to be replaced by Australovenator, a Theropod dinosaur whose fossils have been found in the locality. Dr Hocknull says more scientific research is due to be published within a year to support the idea that the stampede was caused by a smaller dinosaur called Australovenator (A. wintonensis), a dinosaur named and described in 2009 by Dr Hocknull and his colleagues. Team members at Everything Dinosaur reported on the discovery of three new dinosaur genera in Queensland back in 2009, one of these was Australovenator, the specimen was nick-named “Banjo” at the time. To read more about this discovery: A Trio of Dinosaurs from Down Under Now it looks like the large footprints, the ones of the dinosaur suspected of causing the stampede could be ascribed to Australovenator wintonensis. Dr Hocknull commented: “We have an opportunity to reconstruct an animal not only that lived 100 million years ago and also made footprints, but also the bones of an animal that was found in the very same area, was of the same age, and very likely fits the footprints.” Scott and his team hope to publish further work on the track ways within a few months, perhaps being able to identify the species involved by matching up body fossils with the trace fossil footprints. Explaining the difficulties in achieving this he added: “These footprints are exceptionally rare to find. The story isn’t completely written – we have to re-look at these things.” In an earlier paper, published last year, it was suggested that the large tracks were not of a meat-eating dinosaur at all, but of a large, herbivorous Ornithopod. This may explain the relatively slow speeds of the escaping dinosaurs, they were not running for their lives but simply trying to get out of the way of a slow, lumbering Iguanodontid-like dinosaur that was coming their way. To read the article associated with this research: Lark Quarry Re-visited, Not Tyrannosauropus after all?
Linear Programming Problems Class 12 Maths Chapter 12 In this online course, you will learn introduction, related terminology such as constraints, objective function, optimization, different types of linear programming (L.P.) problems, mathematical formulation of L.P. problems, graphical method of solution for problems in two variables, feasible and infeasible regions (bounded or unbounded), feasible and infeasible solutions, optimal feasible solutions (up to three non-trivial constraints). For further understanding of concepts and for examination preparation, this course has explanation of all NCERT Exercise questions (except Exercise 12.1). Also, there is practice assignment that has questions from Board’s Question Bank, RD Sharma, NCERT Exemplar etc. instead of only one book. The PDF of assignment can be downloaded within the course.
Is there anyway o test earth ground? My panel is grounded to my copper water service pipe via a long windy path from the panel through the ceiling and then back down a wall to the pipe. First, most electricians really do not know how electricity works. They spend years learning what must connect to what. Not why. View that earth ground. It meets code (what electricians are taught) for human safety. But the earthing is almost non-existant for transistor safety. The simple science of protection is the protector. Something that does not do protection. That only connects to protection. Earth ground does the protection. As noted earlier, that earth ground must be low impedance (ie 'less than 3 meters) and connect to single point ground. The only and best ground for the building. Water pipe grounds are some of the worst. More than sufficient for human safety. Often woefully inadaquate otherwise. And no longer acceptable as the only earth ground in many venues. Proper grounding can be installed by any layman. A quarter inch (4 mm) bare copper wire must connect the safety ground bus bar (inside a breaker bos) low impedance to a dedicated earth ground. Low impedance means no sharp wire bends, wire not inside metallic conduit, no splices, less than 3 meters, and other requirements. If that wire goes up over the foundation and down to earth, then earthing is insufficient. That ground wire must go through the foundation and down to an earthing electrode. No sharp bends. Wire must be shorter. Wire must be separate from other non-grounding wires. All ground wires must remain separate until all meet at a single point earth ground. There is no useful method of measuring earth ground. Any wall receptacle tester that reports ground is only reporting on safety ground; not on earth ground. Inspection is the only viable solution. Above described what to inspect. Most of it is unknown to many electricians who are only taught safety code. Learn how to wire for human safety. Are not taught about things such as impedance and no sharp wire bends. Repeatedly noted was single point earth ground. If a cable TV wire enters without connecting low impedance to that earth ground (by wire; not by protector), then the entire household protection system is compromised. Cable TV must connect by wire to that same electrode before entering. All homes already have a telco 'whole house' protector installed for free. Why free? Because the best protector is also the least expensive. However, like with all protectors, if that telco installed protector is not earthed 'less than 10 feet' to single point ground, then a surge will go hunting for earth inside the house and destructively via telephone appliances (modem, answering machine, etc). Previously noted was how single point earth ground must be installed. If lineman screwed the installation, well, a utility demonstrates how to kludge a single point ground. Pictured are the good, bad, and ugly (preferred, wrong, and right) solutions: The ugly solution often necessary because linemen still connect homes to make surge damage easier. Again, a surge protector is simple science. The art of protection is in earthing. Above only introduces what defines all protection. No protector provides protection. As the NIST says, "The best surge protection in the world can be useless if grounding is not done properly." Because earth ground (not the protector) does the protection. Nobody is selling earth ground. So advertising hypes the protector as protection. It quickly identifies many only trained by advertising. Those who know protection know that earthing defines what a protector does. Above is only the secondary protection layer. Each protection layer defined by the layer's earth ground. Also recommended in inspecting the primary surge protection layer. A picture demonstrates what to inspect: This is all layman simple. But it is new. Many find something this new as complicated. After a few rereads and after inspecting your own house, discover that surge protection is really dumb simple. But the above rules are critical. A ground wire across the house to a water pipe is virtually a missing (non-existant) earth ground in this context.

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