text:
COMMUNIC – Vocalist/Guitarist Oddleif S.
March 21, 2007 Arto Lehtinen2007
COMMUNIC – Vocalist / Guitarist Oddleif S.
By Arto Lehtinen
Norway is mostly known for extreme black metal bands. Although black metal has a dominating grip in Norway, so called traditional metal bands presenting different styles have piece by piece gotten their names spread through the metal genre. For example, Communic, who definitely came from out of the blue with two incredible albums have managed to show that the Norwegians can create amazing, powerful, and above all, catchy, progessive metal. For obvious reasons, it was about time to get in touch with Communic vocalist/guitarist Oddleif to talk more about the band's success and albums.
Good day to Norway, how is it going in the Communic camp at the moment ?
Hey! Everything is fine. The snow is disappearing, and we are in the writing mode at the moment
HOW IT STARTED OUT
Oddleif, you used to sing in a couple of bands before Communic, namely Scariot, Clairvoya and Ingermanland. But as for Scariot consisting of a lot of talented as well well-known musicians like Steve Digiorgio, Asgeir Mickelson. Why did you decide to pull out of those bands ? Did you feel you were not able to express yourself as a musician enough or did you view the timing to form a new band with a little bit different approach was a better choice ?
To take Clairvoya and Ingermanland, they where both bands that I formed, so those are more like "my" project bands, while in Scariot, I was "only" the vocalist. I had a great time in Scariot, but as time passed and we started to work on new material I didn't felt that it tuched me as the earlier material did. The music turned into more aggressive passages, and I didn't find much room for my kind of vocals or come up with good and catchy vocal lines, so I decided to go my own way and do the music the way that I liked it. Im not playing in a metal band just to be able to play with most talented guys, or be in a band with some guys with famous faces, Im doing this for the love of the music that I like, and to have fun with it. For me the timing to drop out of Scariot was done at the right time, because it was early in the process of the new Scariot album, and it would not be fair to the other guys to continnue half hearted from my side, so it was better to leave and do my own stuff. That they broke down the whole band was their decition, but I am glad that they managed to get the album out.
The whole trio of Communic aren't teens anymore as all of you have strong band backgrounds before forming Communic. What have you learned from old bands when playing with them before forming Communic? I mean by that, if you had faced mistakes or how to create catchy songs, being wiser with the business issues…
I don't think that I have learned that much. I still try to make the music the way I like it and don't think to much about what everybody else is saying about it. I've never done this because I wanted to earn money on it. Of course it would be nice to get something back sometime, but that has never been the drive for what I am doing. The time we spend in the rehearshal room is the most presious time, hanging out with friends and creating some interesting music together, that is what pays of. Even dough we have been around for over 10 years playing in bands, I think its good that it all needed time to mature, and when I decided to go back and start from scratch everyhting fell to place for some reason.
When, or how, did Communic get started? How was Ingermanland, being your old band, a part of the forming of Communic ?!
I see Communic as more or less the same as Ingermanland, but with another drummer that has become an important piece in the lineup. It is the same bass player in Communic that also played in Clairvoya and Ingermanland, and in both bands I played guitar and did vocals, while also writing the music, the same way as we do today. I had put Ingermanland on ice while I was playing in Scariot, but felt the urge to go back and play guitar again, so I started to jam with Tor Atle, who also played in Scariot at that time, and everything felt so perfect. It was just a short call to Erik and he was ready with his bass at once, and then the ball was rolling again. At this time we had started to work on the new Scariot album, and when we got the offer from Nuclear Blast, I dropped out of Scariot to focus 100% on Communic, and the rest is history. Now we have two albums out and loads of cool festivals lined up for the summer, so for me, looking back, it feels like I took the right turn at the right time.
As far as I know you did only one demo tape, but I unfortunately never managed to get a hold of it to check out. How did you manage to capture such a great sound and quality on the demo waking up the interest of record labels, especially Nuclear Blast who signed you?!
Actually we did two demos, but only one official one. The first one was done in a local studio that we used for one weekend, recording four songs by our selves, to check what we had going, it was acutally after this first "un-official" demo that I called Erik and we started to work on the Conspiracy in Mind demo. Only one song made it from that first "un-official" demo and that was the song "Ocean Bed". Then we booked a pro studio locally and was ready to record the best songs that we had, and the idea was to get it to sound as professional as possible, so we use a lot of money on the production, to show the potential in the band. Then we bought a cool artwork for the front cover, something to catch the eye, and then we printed only 100 copies. It was sent out to some selected magazines in the first stage, and after several "demo of the month" we had a few record companies that wanted to work with us and the final decition ended on Nuclear, and so far everything has been perfect with the co-operation.
Even though Communic is doing tremendously well right now, have you thought about doing or teaming up with the members of Scariot to work on music or even some releases?
No, that havent crossed my mind. Scariot is doing their stuff at the moment, and every one else from Scariot has new bands and projects that are doing fine by them selves. For myself I believe in focusing on one band and not to be involved in to many projects at the same time.
The last two years have been a successful period for Communic. Has the immense speed and velocity to quick success made your head spin? Is keeping control becoming more and more a harder task?!
Everything has happened quite fast, but we still have our feet solidly planted on the ground. I think it is important to keep the pace, especially when you are a new band, you need to be there all the time, if you don't want to be forgotten.
ALBUM COVER ART
The frontcovers of both the albums in my opinion present a little bit avantgard art style in a way and another, they definitely look tremendous and the artist must have put in a lot of effort and ideas to create such marvellous covers. How do you actually work with the artist creating the covers, do you usually throw some ideas and show song titles for him to get some ideas for covers and then you double check them how they look ?
I like to give the artist the album title and the lyrics, and also a short description of what we would like to see to get a head start, and then have to create something out of it. Regarding the "Conspiracy In Mind" it almost went wrong. We had an artwork made that was not good enough, and it was one week ahead of the deadline but we was saved by Matthias Noren that had this perfect artwork lying on hold, that was just waiting for our album to come and pick it up. For the "waves…" album, it worked better, even dough the first scetches was also denied and had to be worked over, but in the end everything has been perfect match. We have learned that we need to start early on this matter to get this part of the album correct.
Do you have to ponder and think twice about the connection between the front art cover and a title of the album that these both and different factors would fit together like a glove to a hand?
I like when the artwork gives you some clues, and that can mean a lot of things. I think that everyone can find different meanings to our album covers.
Well could you shed some light on the meaning of covers of the both albums ?!
To take CONSPIRACY IN MIND first, the artwork shows a little girl sitting in a room surrounded by sawblades all around her. This is how I think that we are as humans in the world today, surrounded by danger everwhere we look, take one wrong step and you are gone. And nobody will ever notice or care…
The WAVES OF VISUAL DECAY album shows a man screaming into a television and in the background we see a flash wave and on one side a city, that on the other side is falling apart. The way I see this is that the media today feeds us with information and what we see is the decay. And what we see is what we believe.
WORKING IN THE STUDIO WITH JACOB HANSEN
Communic definitely came out of the blue. What made this both surprising and shocking with that you had such a mature high quality style and the sound and the playing are extremely amazing. Although you have long and impressive backgrounds, but putting the band on the metal map with strong albums had to be determined decision to make an impact on the metal fans, or how do you view this?
It's difficult to look back at your own progress, and to know what it actually means for other people. For me its more like a long process of creativity that lets loose, and are lucky that we are able to release our music so people gets a chanse to grab it if they like what we do. In the end there are so many talented bands out there that if you want to get noticed. We have alvays tried to hold a high standard in the music, making sure that we don't try to make it easy for our selves, that way it also feels interesting to keep on and create new music, and we have never chosen the easiest way to go, even dough it may looks like the two albums that we put out came like a shock to some.
Both the albums have been recorded from the beginning to the end at the Hansen studios in Denmark, run by Jacob Hansen. He has gained more and more attention as one of the important metal producers nowadays. Choosing the Hansen studios must have been an obvious choice for Communic to gain the best result. Presumably working with Jacob Hansen was quite easy?
I have learned to know Jacob as one of the best producers around. We didn't pick him because of his name or fame to gain something extra – if that was the option we would probably gone for somone else, but we was searching for a place to record, and his name come up, and it was perfect because of its location in Denmark, just far enough from home to get everything else at a distance, and also the fact that Jacob really wanted to work with us. In the end the result has been just as positive that we was hoping for. Jacob is easy to work with, even dough we was a bit nervous while recording the debut album he made us relax, and working with the "Waves…" album we felt even more at home and dared to try out even more stuff, and take it to the next level.
As you have experience about working in the Norwegian studios and producers, what is the biggest difference between Norwegian and Danish working methods and mentality when recording and producing ?
I don't think that the quality differs that much, but for us it was important to get focus on the recording process so we wanted to travel away for the time, leaving work and family thoughts at home. We only used like 20 days for recording and mixing, so all the songs was ready with a pre-production before we entered the studio so most details was already penned so we didn't use the studio to jam out new ideas of finalizing the songs.
Well were you aware of his thrash metal background in the Danish thrash combo Invocator??!
I was aware that most of his earlier productions was with more aggressive bands, but we believed that he could manage the Communic sound as well. I knew that he was the head of Invocator, but didn't know any music of that band. While in studio we went through his catalog of pure interest and he is a real talented guy.
Presumably the new material is being worked on and composed, written.. Will the new stuff for the third album follow the same traditional path that Communic has done on the last two albums? OR, are you going to explore new musical influences and ideas to the new stuff?
We are working on new material, and in my head most of the things are planned and "ready" but we have a long way to go arranging everything. It will be another slab of Communic material, as we don't feel that we have to change whatever style we are doing. We will continnue to make the music the way we like it, but we are always trying to be creative, getting new inspiration and taking some challenging turns along the way to make it interesting for us to play and listen to.
RESPONDS AND MANDATORY COMPARISONS
I am pretty much sure you have to be utterly blown away about the huge overwhelming respond and all the raving positive reviews in several magazines. But I assume you were kind of prepared in the first place to receive such magnificent, or…?
The feedback after our debut was totally amazing. We were for sure hoping for good press and results but we know that it is dofficult being a debuting band these days. I don't think that you can be prepared for what to come after a release. We knew that we had good songs, good productions, but we also knew that we was a far away from "generally releases" with the long songs and progressive structures in the songs, so we didn't know what to expect.
But don't you view all the praises and so on would bring and cause a little bit more pressure over the band when working on for example the new material for upcoming outputs cos people out there are expecting it to be as great as the older stuff of the first two albums, or do you just put the whole pressure issues aside and just concentrate on the working and composing ?
We have belief in what we do, and take it as it comes. Sure there are some pressure out there but I think you need to put it aside when working on it. There was the same kind of pressure last time around but I think we managed to focus on creating something that we liked and could stand for, and in the end we was just dying to get it ready to present so people could hear it, and then get out and play the songs live.
Does it bug you that Communic is so often compared to Nevermore? And personally, do you find some essential similarities between Nevermore and Communic ?
As a new band you will be compared to other bands, no matter how unique you are, and to be compared with Nevermore is more like a quality mark then something that I would be buged about. I think that we have managed to create our own sound and style, but I can understand that people can find similarities in my vocal style, but that is the way my vocal cords sounds like and I cant just buy new ones to get a new voice. Im singing with the voice that I have and if people want to compare it with Nevermore I take that as a compliment.
Even though the name of Nevermore usually pops up, you have developed your own recognizable style where the band's music can be identified. You have melodic, even ballad oriented parts, as well as a plenty of aggressive thrashing elements and of course these progressive elements which all have been tied together. Of course your personal vocals added creates its own touch. But creating recognizable Communic material wasn't developed in the first rehearsal, instead in the long process of composing and rehearsing, or how do you view this?!
It a long proscess. It's a part of the mix that we three fellow musicans create together. Of course it can feels like magic at the first rehearshal, and crap on the next one so everything has to grow in time and develop. We are a strange mix, everyone listening to different music and when we stirs our influences together we have come up with the Communic brew. The dynamics are really important, and the groove, so incorperating different moods going from slow to aggressive and then back again is something that we like to experiment with.
As stated earlier Communic has been described as a mix of progressive metal with the technical thrash metal elements. But Communic's style isn't limited as you can expand the musical influences by picking up various influences and add some ballad feelings to songs?
Its cool to have different moods through an album, and different tempo, some ballad sounding parts combinded with more aggressive parts makes the journey through a Communic album flow quite fast. At least that is what I hpoe it does. We have never made a ballad all the way through but uses it to build up a song to a high point before we crack it down again at some point. Its also challenging and fun to play live, and you can see people in the audience closing their eyes diving into the mood and then crush them into a brutal headturning part.
BEING ON THE ROAD AND THE STAGE…
As Communic is a three piece outfit, do you have to recruite the second guitarist for gigs and festival dates to for a stronger and more balanced guitar sound? I would think that playing complex styles demands another guitar, are you able to handle the playing perfectly even though signing at the same time?
We play all the gigs and festivals as a trio. We have never used a 2nd guitar live. We used a keyboard player live on our first tour, because we thought that we needed it but it felt better as a trio. More raw and the way it sounds when we are creating the songs and rehearshing. I like to believe that I can play it just as well when Im singing at the same time, but we have been focusing on being a tight band so it works pretty well. Sure I cant play two guitars at the same time, but we have been working with the live sound to fit our concept and I believe that it makes us sound even more massive and tight then we would have done if two guitars. Sure if you play something wrong then everyone will hear it bacause you don't have that 2nd guitar to hide behind, but again we have never tried to make it easy. It makes my work on stage a bit complicated, and I have seen that some have slammed us for not running aroound more on the stage, making circus acts, but it comes down to performing the music and I try to play and sing as good as I can all the time, and when there is room for it I try to move and get the audience move with me.
According to your gig/tour dates you will have, and have had, plenty of festival dates across Europe. Do you view Communic as a more club or festival band?
We like to do both. Clubs are good for getting closer to the audience and it gets more intense, while festivals has bigger promotion potential and you reach out to many people at the same time, but then again more hectic and difficut to get a good stage sound as everything has to happen real fast.
In the club environment, the sounds aren't definitely always on the balance and more or less are to be honest…horrible. Does it bother you if the sounds are not on the balance and razorsharp?!
The sound should always be as good as possible, but as you say at clubs its difficult and it is almost impossible if you don't have your own soundguy that know how you should sound and that works to get the best possible balanced sound out. I hate to hear that people had difficult hearing the vocals, and you know that you have been on stage screaming your loungs out, haha…
If I calculated right, Communic have toured across Europe twice. The first one was with Ensiferum and GraveWorm. The second was with Scar Symmetry. What kind of places have you played and how about the reaction of the audience and have you gotten along perfectly with other bands?
We have as you said crossed Europe twice, and both times has been really good and we have learned a lot from these trips. The reactions from the audience in Europe is so much better then we are known with from Norway so every gig that we have done has been a joy from that wiev. One of the best venues I can remember is the Z7 in Switzerland. Great place and nice people working there, and great audience. Germany is also a good audience to play for. The relationships with other touring bands has also worked out perfectly and easy to hang out with over a longer period of time.
You are about to head to ProgPower to the States, which is of course your first visit to North America. Do you expect to open more doors to the North American market with this first visit?
Don't actually know what to expect. First of all I think that we will play for an audience that are open for this kind of music, at least on the ProgPower festival. We played PP in Europe earlyer this year that was amazing, and will also play the UK edition, so the we are hoping for a cool stop in the states as well.
…AND LYRICS OF COMMUNIC
The lyrical side definitely plays an important role as well (as referred to the lyrics and covers in other questions.). Most lyrics penned by you seem to deal with the everyday and above all its cruelty, are the main source of inspiration for penning the lyrics coming from the newspapers, documents or what you see everyday ?
I like to create music more than I like to write the lyrics. Most times I think that lyrics are just words that you scream out to have something to sing, but then when I sit down to get the actual words down on paper I tend to dwell deeper into it, but it usually takes some time before I feel it statros to get interesting. For main inspiration it differs, but untill now I have been inspired by things going on around us that we, the people tends to close our eyes and don't think to much about. We like to live in our own sphere and forget about whats going on outside.
How much do you try to deal with topics and ideas from your personal life and experienc for lyrics? Do you reflect your standpoints and opinion on the lyrics?
I try to write lyrics looking like its coming from 1st person view, but I dot leave it to open, as I want it to be more than one solution to whatever it is all about. I guess people with different views on things will find different things in the stories.
Do you ever find the writing process of the lyrics could become a hard task after all when they should match to the music perfectly giving its own feeling as well as atmosphere ?!
Yes, that is the most difficult part of creating interesting music. At first listen the lyrics are just words to the melody, but when you sit down, diving deeper into an album, you are digging to find something. To me it is important with my own music, but listening to other bands I like, I don't care to much about the lyrics as long as the song rocks.
NORWEGIAN METAL AND FAMOUS FINAL WORDS
Well I can't help put in this one, the Norwegian metal scene is mostly known for several black metal commanders. Of course we can't forget killer rock bands like TurboNegro. In this case I could dare to say Communic is a little bit exceptional on the Norwegian metal map compared to these known genres. There is however room enough for a different kind of metal in Norway?
Ah, Norway isn't easy when it comes to metal. Extreme metal is quite big and everybody expects aggressive and extreme metal when you say that you come from Norway. It seems like there are more thrash and progressive metal coming strong now, so hopefully we get more of the "melodic" metal from Norway out as well.
Personally speaking, how much do you enjoy digging Norske Svart Metal ?!
Im not that much into Black metal. Looking forward to hear the new Dimmu Borgir album and a new Immortal album, but other that that its only newer Emperor that I think have had interesting stuff appealing to me.
Are there more bands playing more technical and even traditional metal nowadays in Norway (Ok TNT is not calculated now!), does the extreme black metal appeal more to the kids?!
A great Norwegian band that I like is Tömmermenn. Real heavy stuff ans they are singing in Norwegian. It seems like more seems to manage to dig their way out of Norway these days.
All right Oddleif, I thank you for your time and interest to answer the interview and of course if you have something to say as last words, go ahead !!
Thanks for reading, Support your local metal scene and stay true to the music You like. Hopefully we will see ya all on a summer festival 2007.
The official COMMUNIC homepage : www.communic.org
The CONSPIRACY IN MIND video
Communic
Lacuna Coil – Andrea Ferro
Mortal Sin – Mat Maurer
Motorhead – Phil Campbell
DESTRUCTOR – Dave Overkill
INCANTATION – John McEntee
Dark Funeral – Lord Ahriman
Henrik Ohlsson of Scar Symmetry
NAIL – Rainer and Cindy


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Extinguishment of rights over...
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Housing Act 1988, Section 4 is up to date with all changes known to be in force on or before 18 July 2019. There are changes that may be brought into force at a future date. Changes that have been made appear in the content and are referenced with annotations.
Changes and effects yet to be applied to Schedule 10 Paragraph 4:
4(1)Subject to this paragraph, on an order under section 76 of this Act coming into force or the completion by a housing action trust of a compulsory acquisition of land under Part III of this Act, all private rights of way and rights of laying down, erecting, continuing or maintaining any apparatus on, under or over the land shall be extinguished, and any such apparatus shall vest in the trust.E+W
(2)Sub-paragraph (1) above does not apply—
(a)to any right vested in, or apparatus belonging to, statutory undertakers for the purpose of carrying on their undertaking; or
(b)to any right conferred by or in accordance with [F1the electronic communications code] on the operator of [F2an electronic communications code network] system or to any [F3electronic communications apparatus] kept installed for the purposes of any [F4such network] .
(3)In respect of any right or apparatus not falling within sub-paragraph (2) above, sub-paragraph (1) above shall have effect subject—
(a)to any direction given by the Secretary of State before the coming into force of the order (or, as the case may be, by the trust before the completion of the acquisition) that sub-paragraph (1) above shall not apply to any right or apparatus specified in the direction, and
(b)to any agreement which may be made (whether before or after the coming into force of the order or completion of the acquisition) between the Secretary of State (or trust) and the person in or to whom the right or apparatus in question is vested or belongs.
(4)Any person who suffers loss by the extinguishment of a right or the vesting of any apparatus under this paragraph shall be entitled to compensation from the trust.
(5)Any compensation payable under this paragraph shall be determined in accordance with the M1Land Compensation Act 1961.
F1Words in Sch. 10 Pt. 2 para. 4 substituted (25.7.2003 for specified purposes, 29.12.2003 for further specified purposes) by Communications Act 2003 (c. 21), ss. 406, 411, Sch. 17 para. 94(2)(a) (with transitional provisions in Sch. 18); S.I. 2003/1900, art. 1(2), 2(1), 3(1), Sch. 1 (with art. 3(2) (as amended (8.12.2003) by S.I. 2003/3142, art. 1(3))); S.I. 2003/3142, art. 3(2) (with art. 11)
F2Words in Sch. 10 Pt. 2 para. 4 substituted (25.7.2003 for specified purposes, 29.12.2003 for further specified purposes) by Communications Act 2003 (c. 21), ss. 406, 411, Sch. 17 para. 94(2)(b) (with transitional provisions in Sch. 18); S.I. 2003/1900, art. 1(2), 2(1), 3(1), Sch. 1 (with art. 3(2) (as amended (8.12.2003) by S.I. 2003/3142, art. 1(3))); S.I. 2003/3142, art. 3(2) (with art. 11)
F3Words in Sch. 10 Pt. 2 para. 4 substituted (25.7.2003 for specified purposes, 29.12.2003 for further specified purposes) by Communications Act 2003 (c. 21), ss. 406, 411, Sch. 17 para. 94(2)(c) (with transitional provisions in Sch. 18); S.I. 2003/1900, art. 1(2), 2(1), 3(1), Sch. 1 (with art. 3(2) (as amended (8.12.2003) by S.I. 2003/3142, art. 1(3))); S.I. 2003/3142, art. 3(2) (with art. 11)
F4Words in Sch. 10 Pt. 2 para. 4 substituted (25.7.2003 for specified purposes, 29.12.2003 for further specified purposes) by Communications Act 2003 (c. 21), ss. 406, 411, Sch. 17 para. 94(2)(d) (with transitional provisions in Sch. 18); S.I. 2003/1900, art. 1(2), 2(1), 3(1), Sch. 1 (with art. 3(2) (as amended (8.12.2003) by S.I. 2003/3142, art. 1(3))); S.I. 2003/3142, art. 3(2) (with art. 11)
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redpajama_set_name: RedPajamaCommonCrawl


text:
function MMAP = mamap22_fit_gamma_fs(M1, M2, M3, GAMMA, P, F, S)
% Performs approximate fitting of a MMAP given the underlying MAP,
% the class probabilities (always fitted exactly), the forward moments,
% and the one-step class transition probabilities.
% Input
% - M1,M2,M3: moments of the inter-arrival times
% - GAMMA: auto-correlation decay rate of the inter-arrival times
% - P: class probabilities
% - F: first-order forward moments
% - S: one-step class transition probabilities
% Output
% - mmap: fitted MAMAP[2]

if size(F,1) == 1
    F = F';
end

% fit underlying AMAP(2)
[~,MAPS] = amap2_fit_gamma(M1, M2, M3, GAMMA);

% TODO: if it is a Poisson process then use second-order Poisson process
% with (h2 - h1 r2 = 0)

% fit marked Poisson process
if length(MAPS) == 1 && size(MAPS{1}{1},1) == 1
    MAP = MAPS{1};
    % number of classes
    m = length(P);
    % fit class probabilities
    MMAP = cell(1,2+m);
    MMAP{1} = MAP{1};
    MMAP{2} = MAP{2};
    for c = 1:m
        MMAP{2+c} = MMAP{2} .* P(c);
    end
    return;
end

% fit the MAMAP(2,m) using the underlying AMAP(2) form which produces the
% least error
MMAPS = cell(1,length(MAPS));
ERRORS = zeros(1,length(MAPS));
for j = 1:length(MAPS)
    [MMAPS{j},fF,fS] = mamap22_fit_fs_multiclass(MAPS{j}, P, F, S);
    ERRORS(j) = sum((fF(1)./F(1) - 1).^2) + sum((fS(1,1)./S(1,1) - 1).^2);
end
[~,BEST] = min(ERRORS);

MMAP = MMAPS{BEST};

end

redpajama_set_name: RedPajamaGithub


text:
Q: Calculating the mean of a list with NaN values list={1,2,3,NaN,2}

I'd like to calculate the mean of this list, ignoring the NaN.
Answer should be 2 if the NaN is ignored.
Seems like this should be crazy simple, but I haven't seen anything reasonable.
Thanks in advance.

A: Well, it is a bit more nuanced in my opinion. It seems like the right functionality is to actually do keep track of the illegal entries in the system, similar to keeping missing variables for the statistical analysis in other packages. If that's the case, the more appropriate way is to actually code them with Missing. Then the computation can be done ignoring such entries, but the list would still retain the structure of the original data and can always be used for any analysis that do care about missing observations.
list = {1, 2, 3, 0, 2, 3, 5};
listnothing = list /. {0 -> Nothing};
listmissing = list /. {0 -> Missing["Not A Number"]};
Mean[listnothing]
Mean[DeleteMissing[listmissing]]

8/3
8/3

So far so good, but compare what happens if you want to plot the lists:
Row[MapThread[
  ListLinePlot[#, PlotLabel -> Style[#2, Bold, 15],
    ImageSize -> Medium] &,
    {{list, listnothing, listmissing},
    {"Original List", "List with Nothing", "List with Missing"}}]]

Not only the shape is wrong (it show the connection between points that doesn't exist), but also the number of observations is wrong in the case of Nothing, so the more appropriate way for the data processing is to use Missing.

A: If your NaN comes from an external program and is just some symbol, then
Mean @ Select[list, # =!= NaN &]

or
list /. NaN -> Nothing // Mean

2

A: Mean@Cases[{1, 2, 3, NaN, 2}, Except[NaN]]
(* 2 *)

Mean@DeleteCases[{1, 2, 3, NaN, 2}, NaN]
(* 2 *)

A: Solve[Mean[{2, nan, 1, 4}] == nan]

Or
Solve[Mean[list] == nan]

redpajama_set_name: RedPajamaStackExchange


text:
THE IMMEDIATE TASKS OF THE PARTY
IN THE NATIONAL QUESTION
Theses for the Tenth Congress of the R.C.P.(B.)
Endorsed by the Central Committee of the Party
Pravda, No. 298,
From J. V. Stalin, Works
Prepared © for the Internet by David J. Romagnolo, [email protected] (April 2001)
THE FORMATION OF THE UNION
OF SOVIET SOCIALIST REPUBLICS
Report Delivered at the First Congress
of Soviets of the U.S.S.R. [49]
Comrades, this day marks a turning point in the history of the Soviet power. It places a landmark between the old period, now past, when the Soviet republics, although they acted in common, yet each followed its own path and was concerned primarily with its own preservation, and the new period, already begun, when an end is being put to the isolated existence of the Soviet republics, when the republics are being united into a single union state for a successful struggle against economic ruin, and when the Soviet power is concerned not only with its preservation, but with developing into an important international force, capable of influencing the international situation and of modifying it in the interests of the working people.
What was the Soviet state five years ago? A small, scarcely noticeable entity, which evoked the derision of all its enemies and the pity of many of its friends. That was the period of wartime ruin, when the Soviet power relied not so much upon its own strength as upon the impotence of its opponents; when the enemies of the Soviet power, split into two coalitions, the Austro-German coalition and the Anglo-French coalition, were
engaged in mutual warfare and were not in a position to turn their weapons against the Soviet power. In the history of the Soviet power that was the period of war time ruin. In the struggle against Kolchak and Denikin, however, the Soviet power created the Red Army and successfully emerged from the period of wartime ruin.
Later, the second period in the history of the Soviet power began, the period of struggle against economic ruin. This period is by no means over yet, but it has already borne fruit, for during this period the Soviet power has successfully coped with the famine which afflicted the country last year. During this period we have witnessed a considerable advance in agriculture and a considerable revival of the light industries. Cadres of industrial leaders have already come to the fore and are the object of our hope and trust. But that is far from enough for the purpose of overcoming economic ruin. To vanquish and eliminate that ruin the forces of all the Soviet republics must be pooled; all the financial and economic potentialities of the republics must be concentrated on the task of restoring our basic industries. Hence the necessity for uniting the Soviet republics into a single union state. Today is the day of the union of our republics into a single state for the purpose of pooling all our forces for the restoration of our economy.
The period of combating wartime ruin gave us the Red Army, one of the foundations of the existence of the Soviet power. The next period, the period of struggle against economic ruin, is giving us a new framework of state existence -- the Union of Soviet Socialist Republics,
which will undoubtedly promote the work of restoring Soviet economy. What is the Soviet power now? A great state of the working people which evokes among our enemies not derision but the gnashing of teeth.
Such are the results of the development of the Soviet power during the five years of its existence.
But, comrades, today is not only a day for summing up, it is at the same time the day of triumph of the new Russia over the old Russia, the Russia that was the gendarme of Europe, the Russia that was the hangman of Asia. Today is the day of triumph of the new Russia, which has smashed the chains of national oppression, organised victory over capital, created the dictatorship of the proletariat, awakened the peoples of the East, inspires the workers of the West, transformed the Red Flag from a Party banner into a State banner, and rallied around that banner the peoples of the Soviet republics in order to unite them into a single state, the Union of Soviet Socialist Republics, the prototype of the future World Soviet Socialist Republic.
We Communists are often abused and accused of being unable to build. Let the history of the Soviet power during these five years of its existence serve as proof that Communists are also able to build. Let today's Congress of Soviets, whose function it is to ratify the Declaration and Treaty of Union of the Republics that were adopted at the Conference of Plenipotentiary Delegations yesterday, let this Union Congress demonstrate to all who have not yet lost the ability to understand, that Communists are as well able to build the new as they are to destroy the old.
Here, comrades, is the Declaration that was adopted yesterday, at the Conference of Plenipotentiary Delegations.[50] I shall read it (see appendix No. 1).
And here is the text of the Treaty that was adopted at the same conference. I shall read it (see appendix No. 2).
Comrades, on the instructions of the Conference of Plenipotentiary Delegations of the Soviet Republics I move that you ratify the texts I have just read of the Declaration and Treaty on the Formation of the Union of Soviet Socialist Republics.
Comrades, I propose that you adopt them with the unanimity characteristic of Communists, and thereby add a new chapter to the history of mankind. (Applause.)
ON THE FORMATION OF THE UNION
Since the Soviet republics were formed, the states of the world have split into two camps: the camp of capitalism and the camp of socialism. There, in the camp of capitalism, we have national animosity and inequality, colonial slavery and chauvinism, national oppression and pogroms, imperialist brutalities and wars.
Here, in the camp of socialism, we have mutual confidence and peace, national freedom and equality, the peaceful co-existence and fraternal co-operation of peoples.
The attempts made by the capitalist world during the course of decades to solve the problem of nationalities by combining the free development of peoples with the system of exploitation of man by man have proved fruitless. On the contrary, the skein of national contradictions is becoming more and more entangled and is threatening the very existence of capitalism. The bourgeoisie has proved to be incapable of bringing about the co-operation of peoples.
Only in the camp of the Soviets, only in the conditions of the dictatorship of the proletariat, which has rallied the majority of the population around itself, has it been possible to eradicate national oppression, to create an atmosphere of mutual confidence, and to lay the foundation for the fraternal co-operation of peoples.
It was these circumstances alone that enabled the Soviet republics to repel the attacks of the imperialists of the whole world, home and foreign.
It was these circumstances alone that enabled them to bring the Civil War to a successful conclusion, to preserve their existence and begin peaceful economic construction.
But the years of war have left their traces. Ruined fields, idle factories, shattered productive forces and exhausted economic resources left as a heritage by the war render inadequate the individual efforts of the individual republics to build up their economy. The restoration of the national economy has proved to be impossible while the republics continue to exist separately.
On the other hand, the instability of the international situation and the danger of new attacks render inevitable the creation of a united front of the Soviet republics in face of the capitalist encirclement.
Lastly, the very structure of Soviet power, which is international in its class nature, impels the toiling masses of the Soviet republics to unite into a single socialist family.
All these circumstances imperatively demand the union of the Soviet republics into a single union state, capable of ensuring external security, internal economic progress and the unhampered national development of the peoples.
The will of the peoples of the Soviet republics, who recently assembled at their Congresses of Soviets and unanimously resolved to form a "Union of Soviet Socialist Republics," is a reliable guarantee that this Union is a voluntary association of peoples enjoying equal rights, that each republic is guaranteed the right of freely seceding from the Union, that admission to the Union is open to all Socialist Soviet Republics, whether now existing or hereafter to arise, that the new union state will prove to be a worthy crown to the foundation for the peaceful co-existence and fraternal co-operation of the peoples that was laid in October 1917, and that it will serve as a sure bulwark against world capitalism and as a new and decisive step towards the union of the working people of all countries into a World Socialist Soviet Republic.
Declaring all this before the whole world, and solemnly proclaiming the firmness of the foundations of Soviet power as expressed in the Constitutions of the Socialist Soviet Republics by whom we have been empowered, we, the delegates of these republics, acting in accordance with our mandates, have resolved to sign a treaty on the formation of a "Union of Soviet Socialist Republics."
The Russian Socialist Federative Soviet Republic (R.S.F.S.R.), the Ukrainian Socialist Soviet Republic (Ukr.S.S.R.), the Byelorussian Socialist Soviet Republic (B.S.S.R.) and the Transcaucasian Socialist Federative Soviet Republic (T.S.F.S.R. -- Georgia, Azerbaijan and Armenia) conclude the present treaty of union providing for uniting into a single union state -- "the Union of Soviet Socialist Republics" -- on the following principles:
1. Within the jurisdiction of the Union of Soviet Socialist Republics, as represented by its supreme organs, are the following:
a) representation of the Union in foreign relations;
b) modification of the external boundaries of the Union;
c) conclusion of treaties providing for the admission of new republics into the Union;
d) declaration of war and conclusion of peace;
e) obtaining state loans abroad;
f) ratification of international treaties;
g) establishment of systems of foreign and home trade;
h) establishment of the principles and the general plan of the national economy of the Union as a whole and conclusion of concession agreements;
i) regulation of transport, posts and telegraphs;
j) establishment of the principles of organisation of the armed forces of the Union of Soviet Socialist Republics;
k) ratification of the single state budget of the Union of Soviet Socialist Republics, establishment of a monetary, currency and credit system and a system of All-Union, Republican and local taxes;
l) establishment of the general principles of land settlement and tenure as well as of the exploitation of mineral wealth, forests and waters throughout the territory of the Union;
m) enactment of All-Union legislation on resettlement;
n) establishment of the principles of court structure and court procedure, as well as civil and criminal legislation for the Union;
o) enactment of basic labour laws;
p) establishment of general principles of public education;
q) establishment of general measures for the protection of public health;
r) establishment of a system of weights and measures;
s) organisation of statistics for the whole Union;
t) enactment of fundamental laws relating to the rights of foreigners in respect to citizenship of the Union;
u) the right of general amnesty;
v) annulment of decisions violating the Treaty of Union on the part of Congresses of Soviets, Central Executive Committees and Councils of People's Commissars of the Union Republics.
2. The supreme organ of power in the Union of Soviet Socialist Republics is the Congress of Soviets of the Union of Soviet Socialist Republics and, in the intervals between congresses, the Central Executive Committee of the Union of Soviet Socialist Republics.
3. The Congress of Soviets of the Union of Soviet Socialist Republics consists of representatives of town Soviets on the basis of one deputy for every 25,000 voters, and of representatives from Gubernia Congresses of Soviets on the basis of one deputy for every 125,000 inhabitants.
4. Delegates to the Congress of Soviets of the Union of Soviet Socialist Republics are elected at Gubernia Congresses of Soviets.
5. Ordinary Congresses of Soviets of the Union of Soviet Socialist Republics are convened by the Central Executive Committee of the Union of Soviet Socialist Republics once a year; extraordinary Congresses are convened by the Central Executive Committee of the Union of Soviet Socialist Republics at its own discretion, or upon the demand of not less than two Union Republics.
6. The Congress of Soviets of the Union of Soviet Socialist Republics elects a Central Executive Committee consisting of representatives of the Union Republics in proportion to the population of each and to a total number of 371 members.
7. The ordinary sessions of the Central Executive Committee of the Union of Soviet Socialist Republics are convened three times a year. Extraordinary sessions are convened by decision of the Presidium of the Central Executive Committee of the Union, or upon the demand of the Council of People's Commissars of the Union of Soviet Socialist Republics, or of the Central Executive Committee of a Union Republic.
8. Congresses of Soviets and sessions of the Central Executive Committee of the Union of Soviet Socialist Republics are convened in the capitals of the Union Republics in accordance with the procedure established by the Presidium of the Central Executive Committee of the Union of Soviet Socialist Republics.
9. The Central Executive Committee of the Union of Soviet Socialist Republics elects a Presidium, which is the supreme organ of power of the Union in the intervals between the sessions of the Central Executive Committee of the Union.
10. The Presidium of the Central Executive Committee of the Union of Soviet Socialist Republics is elected to the number of 19 members, from among whom the Central Executive Committee of the Union elects four chairmen of the Central Executive Committee of the Union, corresponding to the number of Union Republics.
11. The executive organ of the Central Executive Committee of the Union is the Council of People's Commissars of the Union of Soviet Socialist Republics (the C.P.C. of the Union), elected by the Central Executive Committee of the Union for the period of the mandate of the latter, and consists of:
The Chairman of the Council of People's Commissars of the Union;
The Vice-Chairmen;
The People's Commissar of Foreign Affairs;
The People's: Commissar of Military and Naval Affairs;
The People's Commissar. of Foreign Trade;
The People's Commissar of Transport;
The People's Commissar of Posts and Telegraphs;
The People's Commissar of the Workers' and Peasants' Inspection;
The Chairman of the Supreme Council of National Economy;
The People's Commissar of Labour;
The People's Commissar of Food;
The People's Commissar of Finance.
12. In order to uphold revolutionary law within the territory of the Union of Soviet Socialist Republics and to unite the efforts of the Union Republics in combating counter-revolution, a Supreme Court is set up under the Central Executive Committee of the Union of Soviet Socialist Republics with the functions of supreme judicial control, and under the Council of People's Commissars of the Union a joint organ of State Political Administration is set up, the Chairman of which is a member of the Council of People's Commissars of the Union with voice but no vote.
13. The decrees and decisions of the Council of People's Commissars of the Union of Soviet Socialist Republics are binding on all the Union Republics and have immediate effect throughout the territory of the Union.
14. The decrees and decisions of the Central Executive Committee and of the Council of People's Commissars of the Union are published in the languages in common use in the Union Republics (Russian, Ukrainian, Byelorussian, Georgian, Armenian and Tyurk).
15. The Central Executive Committees of the Union Republics may appeal against the decrees and decisions of the Council of People's Commissars of the Union to the Presidium of the Central Executive Committee of the Union of Soviet Socialist Republics, without, however, suspending their operation.
16. Decisions and orders of the Council of People's Commissars of the Union of Soviet Socialist Republics may be annulled only by the Central Executive Committee of the Union of Soviet Socialist Republics and its Presidium; orders of the various People's Commissars of the Union of Soviet Socialist Republics may be annulled by the Central Executive Committee of the Union of Soviet Socialist Republics, by its Presidium, or by the Council of People's Commissars of the Union.
17. Orders of the People's Commissars of the Union of Soviet Socialist Republics may be suspended by the Central Executive Committees, or by the Presidiums of the Central Executive Committees of the Union Republics, only in exceptional cases, if the said orders are obviously at variance with the decisions of the Council of People's Commissars or the Central Executive Committee of the Union of Soviet Socialist Republics. When suspending an order, the Central Executive Committee, or the Presidium of the Central Executive Committee, of the Union Republic concerned shall immediately notify the Council of People's Commissars of the Union of Soviet Socialist Republics and the competent People's Commissar of the Union of Soviet Socialist Republics.
18. The Council of People's Commissars of a Union Republic consists of:
The Chairman of the Council of People's Commissars;
The People's Commissar of Agriculture;
The People's Commissar of Finance;
The People's Commissar of Internal Affairs;
The People's Commissar of Justice;
The People's Commissar of Education;
The People's Commissar of Public Health;
The People's Commissar of Social Maintenance;
The People's Commissar for the Affairs of Nationalities; and also, with voice but no vote, representatives of the Union People's Commissariats of Foreign Affairs, Military and Naval Affairs, Foreign Trade, Transport, and Posts and Telegraphs.
19. The Supreme Council of National Economy and the People's Commissariats of Food, Finance, Labour and the Workers' and Peasants' Inspection of each of the Union Republics, while being directly subordinate to the Central Executive Committees and the Councils of People's Commissars of the respective
Union Republics, are guided in their activities by the orders of the corresponding People's Commissars of the Union of Soviet Socialist Republics.
20. Each of the republics constituting the Union has its own budget, as an integral part of the general budget of the Union endorsed by the Central Executive Committee of the Union. The budgets of the republics, both revenue and expenditure sides, are fixed by the Central Executive Committee of the Union. The items of revenue, and the size of allocations from revenue which go to make up the budgets of the Union Republics, are determined by the Central Executive Committee of the Union.
21. A common Union citizenship is established for all citizens of the Union Republics.
22. The Union of Soviet Socialist Republics has its flag, arms and state seal.
23. The capital of the Union of Soviet Socialist Republics is the City of Moscow.
24. The Union Republics will amend their Constitutions in conformity with the present treaty.
25. Ratification, alteration and supplementation of the Treaty of Union is within the exclusive jurisdiction of the Congress of Soviets of the Union of Soviet Socialist Republics.
26. Every Union Republic retains the right freely to secede from the Union.
[49] The First Congress of Soviets of the U.S.S.R. took place in Moscow on December 30, 1922. There were present 1,727 delegates from the R.S.F.S.R., 364 from the Ukrainian S.S.R., 91 from the Transcaucasian Federation and 33 from the Byelorussian S.S.R. The congress discussed J. V. Stalin's report on the formation of the Union of Soviet Socialist Republics, it ratified the Declaration and the Treaty of Union on the Formation of the U.S.S.R., and elected the Central Executive Committee of the U.S.S.R. [p. 159]
[50] The Conference of Plenipotentiary Delegations of the R.S.F.S.R., the Ukrainian S.S.R., the Byelorussian S.S.R. and of the Transcaucasian S.F.S.R. took place on December 29, 1922. The conference examined and adopted the Declaration and the Treaty on the Formation of the Union of Soviet Socialist Republics. J. V. Stalin made a report to the conference on the order of proceedings at the First Congress of Soviets of the U.S.S.R. The conference instructed J. V. Stalin to deliver at the congress the report on the formation of the U.S.S.R. In the morning of December 30, the plenipotentiary delegations signed the Declaration and the Treaty on the Formation of the U.S.S.R. [p. 162]


text:
The Fokker S.IX was a military trainer aircraft produced in the Netherlands in the mid-1930s, designed at a Royal Netherlands Navy request for a machine to replace the obsolete Fokker S.IIIs then in service. It was a conventional, single-bay biplane with staggered wings of unequal span braced with N-struts. The pilot and instructor sat in tandem, open cockpits and the undercarriage was of fixed, tailskid type with divided main units. The wing had a wooden structure, the fuselage one of welded steel tube, and the entire aircraft was fabric-covered.

The Navy approved the design and ordered 27 aircraft, later reducing this to 15. The Royal Netherlands Army Aviation Group ordered 20 examples with a different engine, following this with an order for a second batch of 20. None of these latter aircraft were delivered by the time of the German invasion of the Netherlands in 1940. On 14 May that year, a few surviving Army S.IXs escaped to France alongside some S.IVs, but never flew again.

Following the war, air charter company Frits Diepen Vliegtuigen ordered three more aircraft, which were used to train pilots into the 1950s.

Variants
 S.IX/1 - version with Armstrong Siddeley Genet Major engine for Army
 S.IX/2 - version with Menasco Buccaneer engine for Navy

Operators

Royal Netherlands Air Force
Royal Netherlands Navy

Specifications (S.IX/1)

References

1930s Dutch military trainer aircraft
S.IX
Aircraft first flown in 1937
Single-engined tractor aircraft
Biplanes

redpajama_set_name: RedPajamaWikipedia


text:
Gemini 12 (GT-12) fu l'ultima missione a volare nello spazio con equipaggio nel corso del programma Gemini degli Stati Uniti d'America.

L'equipaggio

Poco dopo l'atterraggio di Gemini 9, il 17 giugno 1966 la NASA annunciò che l'equipaggio di riserva per questa missione sarebbe volato con il prossimo volo disponibile: la missione conclusiva del programma Gemini Gemini 12.

Comandante della missione venne nominato James A. Lovell, che con Gemini 7 aveva raggiunto il record di permanenza durante un volo nello spazio. Gli venne affiancato Edwin Aldrin, astronauta alla sua prima esperienza nello spazio.

L'equipaggio di riserva era composto da Gordon Cooper, astronauta del programma Mercury ed Eugene Cernan, entrambi già volati nello spazio rispettivamente con Mercury-Atlas 9 e Gemini 5 il primo e Gemini 9 il secondo.

L'astronauta Stuart Roosa operò durante la fase di lancio come radiofonista di contatto con la capsula (Capcom) svolgendo il suo lavoro direttamente da Cape Kennedy. Pete Conrad e William Anders assunsero tale ruolo operando dal centro di controllo di Houston, Texas.

Preparazione

Come per le precedenti missioni Gemini venne previsto che Gemini 12 si agganciasse ad un satellite precedentemente lanciato nello spazio nonché venissero eseguite diverse operazioni extraveicolari.

La capsula Gemini venne consegnata a Cape Kennedy il 6 settembre, mentre il razzo vettore del tipo Titan venne assemblato sulla rampa di lancio il 19 settembre. Infine, il 23 settembre, l'assemblaggio venne concluso con il montaggio della capsula in punta al razzo vettore.

Missione

Il satellite GATV-12, al quale Gemini 12 doveva agganciarsi, venne lanciato mediante un razzo vettore del tipo Atlas un'ora e mezza prima del lancio della capsula Gemini. Lovell ed Aldrin agganciarono i due veicoli spaziali durante la loro terza orbita intorno alla Terra. Tale manovra venne pilotata usando un sestante a sostegno della navigazione e dirigendo la capsula verso il satellite pilotando a vista. Infatti l'apparecchio radar di bordo non funzionava correttamente.

Come per Gemini 11 le riserve di carburante furono sufficienti per ripetere più volte la manovra d'aggancio. Siccome durante il lancio del satellite del tipo Agena erano sorti dei problemi, si rinunciò a riaccendere il razzo propulsore del GATV-12, per eseguire una manovra di cambio di traiettoria, cioè lanciare i due veicoli agganciati in un'orbita più alta.

Invece di eseguire tale manovra, venne assunto nel programma di volo l'osservazione di un'eclissi solare in corso sopra i paesi del sudamerica.

Poco dopo, l'astronauta Aldrin iniziò a prepararsi per la sua prima attività extraveicolare. Al contrario di precedenti missioni Gemini, fu programmato di eseguire come prima di queste attività una Stand-Up-EVA durante la quale l'astronauta in pratica rimane in piedi nella navicella spaziale con l'apposito abbaino aperto. Aldrin esegui volutamente tutti i movimenti in maniera particolarmente lenta onde poter osservare tutte le sue reazioni relative e così poterle confrontare con l'attività extraveicolare vera e propria, cioè quando avrebbe lasciato completamente l'astronave rimanendovi agganciato mediante l'apposita corda di sicurezza. Questa prima EVA ebbe una durata di 2 ore e 20 minuti.

Il giorno successivo, Aldrin lasciò la capsula completamente ed eseguì diversi lavori, sia al satellite GATV-12 come pure alla capsula Gemini direttamente. Fu addirittura in grado di pulire dall'esterno i vetri della capsula, dato che vetri sporchi avevano causato diversi inconvenienti durante precedenti missioni del programma.

Un'ulteriore Stand-up EVA, della durata di un'ora, venne eseguita il giorno successivo.

Dopo 59 orbite intorno alla Terra vennero accesi i retrorazzi frenanti di Gemini 12 onde iniziare con la fase di rientro nell'atmosfera terrestre. Proprio durante questa fase, addirittura negli attimi di maggior forza di attrito, una borsa contenente diversi utensili si staccò dalla parete della capsula Gemini, alla quale era stata attaccata mediante un nastro a strappo del tipo Klett, finendo direttamente sul grembo di Lovell, che non ebbe il coraggio di afferrare tale borsa e di muoversi, in quanto aveva osservato che la borsa si era incastrata direttamente vicino alla leva che azionava il congegno di catapultazione dei sedili degli astronauti, fatto che ovviamente in tale scenario della fase di rientro sarebbe stato fatale per l'equipaggio.

Grazie ai nervi saldi di Lovell, Gemini 12 atterrò senza problemi a 4,8 chilometri dal punto di atterraggio calcolato. Gli astronauti vennero recuperati da un elicottero e portati a bordo della portaerei USS Wasp - già nave di recupero delle missioni Gemini 4, Gemini 6, Gemini 7 e Gemini 9.

Importanza per il programma Gemini

Nonostante piccoli inconvenienti di volo, la missione di Gemini 12 poté essere considerata la conclusione con successo del programma Gemini. Infatti si riuscì più volte ad agganciare due veicoli spaziali in orbita. Le tre attività extraveicolari eseguite dall'astronauta Aldrin inoltre, avevano fornito importantissime conoscenze per il futuro lavoro nello spazio.

Dato che questa era l'ultima missione del programma Gemini ed era stata conclusa con successo, la NASA poté iniziare a concentrarsi esclusivamente al programma Apollo che aveva lo scopo dichiarato di portare l'uomo sulla Luna. Infatti, già da diversi mesi gli astronauti Gus Grissom, Edward H.White e Roger B.Chaffee si stavano preparando per volare quale primo equipaggio in una missione dello spazio del programma Apollo. Tre lanci privi di equipaggio del programma erano già stati svolti con successo e la prima missione con equipaggio era dunque in programma per la primavera del 1967. La tragedia dell'Apollo 1 del 27 gennaio 1967 impedì tale programma.

Altri progetti

Programma Gemini


Its low-key plus controlled, marginally space chanel replica sale, might without restraint transport around not one but two tactics, stuffed with identity plus massive circular stainless steel string website cohesion, exudes a feeling with chanel replica bronze stainless steel make-up. pring departs people today mad applause, the fresh chanel replica may be the popular themes with design. Chanel keep to the same old design and style, for their private technique to manage their prominence while in the deluxe area.
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text:
#ifndef TESTS_MOCK_MOCKPUBLICATIONSENDER_H
#define TESTS_MOCK_MOCKPUBLICATIONSENDER_H

#include "tests/utils/Gmock.h"

#include "joynr/IPublicationSender.h"

class MockPublicationSender : public joynr::IPublicationSender
{
public:
    MOCK_METHOD4(sendSubscriptionPublicationMock,
                 void(const std::string& senderParticipantId,
                      const std::string& receiverParticipantId,
                      const joynr::MessagingQos& qos,
                      const joynr::SubscriptionPublication& subscriptionPublication));

    MOCK_METHOD4(sendSubscriptionReply,
                 void(const std::string& senderParticipantId,
                      const std::string& receiverParticipantId,
                      const joynr::MessagingQos& qos,
                      const joynr::SubscriptionReply& subscriptionReply));

    void sendSubscriptionPublication(const std::string& senderParticipantId,
                                     const std::string& receiverParticipantId,
                                     const joynr::MessagingQos& qos,
                                     joynr::SubscriptionPublication&& subscriptionPublication)
    {
        sendSubscriptionPublicationMock(
                senderParticipantId, receiverParticipantId, qos, subscriptionPublication);
    }
};

#endif // TESTS_MOCK_MOCKPUBLICATIONSENDER_H


Grab your winter gear, bundle up your children and join us for the Connecticut Department of Energy and Environmental Protection's (DEEP) No Child Left Inside® 11th annual FREE Winter Festival at Burr Pond State Park, 384 Burr Mountain Road, Torrington. A full range of fun, outdoor winter activities for the entire family will be happening on Saturday, February 4, 2017, 10 a.m. to 3 p.m.
The Festival is FREE and there is no registration required. Everyone is welcome to attend. Come out and enjoy a day full of outdoor adventure. Activities may include ice fishing, fish fry, snowshoeing, family discovery/fun area, wildlife activities, visits from Resources in Search and Rescue volunteers with their dogs, winter games, and a marshmallow roast and bonfire.
**Weather and Ice permitting** --- Ice fishing equipment and instruction will be provided by DEEP's Connecticut Aquatic Resources Education (CARE) instructors. Dress for the cold weather.
The American Academy of Pediatrics (AAP) www.healthychildren.org has some valuable tips on how to keep your children safe and warm on a cold winter day.
Visit No Child Left Inside® at www.NoChildLeftInside.org to learn more and visit Burr Pond State Park at www.ct.gov/deep/BurrPond for directions.


Fast, durable, and versatile, the OM-D E-M1 Mark IIfrom Olympus is a workhorse Micro Four Thirds mirrorless camera, offering a broad range of stills and video-minded functionality. Revolving around a high-resolution 20.4MP Live MOS sensor and TruePic VIII image processor, the E-M1 Mark II sports a truly fast 60 fps continuous shooting rate with an electronic shutter, 18 fps with continuous autofocus, and 15 fps with a mechanical shutter. For video shooters, both DCI and UHD 4K recording modes can be used, along with a Time-lapse Movie mode for producing in-camera 4K time-lapse sequences. The sensor and processor also avail a top expanded sensitivity of ISO 25600 to support shooting in difficult lighting conditions, and sensor-shift-type 5-axis image stabilization also helps to minimize the appearance of camera shake for sharper handheld shooting. Additionally, the sensor's design also incorporates 121 on-chip phase-detection points, all of which are cross-type, along with 121 contrast-detection areas for fast and precise focusing and subject tracking performance.
Helping to ensure you don't miss the shot, Pro Capture Mode is a unique setting that starts recording and buffering full-resolution JPEG or raw images prior to fully depressing the shutter. As soon as you press the shutter button halfway, frames will begin to be recorded, and once you fully press the shutter, the image will be saved in addition to the previous 35 frames. Additionally, you can hold the shutter button in this mode to keep shooting continuously using the silent electronic shutter function.


text:
ASA explains why Semenya is in the Olympic team despite IAAF ban
30 January 2020, 9:01 PM |
SABC Sport Info Hub | @SABCNews
ASA announced a preliminary squad of 63 athletes in November, which includes Semenya and the injured Wayde Van Niekerk.
Athletics South Africa (ASA) President Aleck Skhosana has explained why the Olympic champion Caster Semenya is in the 2020 Tokyo Olympic preliminary squad.
ASA announced a preliminary squad of 63 athletes in November that includes Semenya and the injured Wayde Van Niekerk. Semenya is still banned from competing by the World Athletics Governing Body IAAF.
The final team will be announced by the South African Sports Confederation and Olympic Committee (SASCOC) closer to the games.
ASA intends to provide athletes with multiple opportunities to achieve the qualifying criteria on home soil.
These will include a series of Grand Prix meetings set for March and April, along with the ASA Senior Track and Field and Combined Events Championships, to be held in Tshwane in April. Skhosana met with the preparation squad and their personal coaches about the preparations last week.
SA's Track and Field team disappointed at last year's IAAF World Championships in Doha, Qatar.
The team failed to bag medals, after having clinched three gold, one silver and two bronze medals at the London Champs in 2017. Skhosana is confident they will perform well at the Olympics. – Report by Vincent Sitsula
Tags: Athletics South AfricaCaster SemenyaAleck SkhosanaTokyo OlympicSascocWayde Van NiekerkIAAF World Championships
Political parties differ on Mkhwebane's proposed removal
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SA men's hockey team wins first World Cup play-off match
UEFA Nations League to have new knockout round after 2024
SA finishes fourth in the Netball Quad Series
PODCAST: South Africa readies for its first FootGolf World Cup
Last dance awaits India's Mirza as she reaches mixed doubles final
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There is never a dull moment in Paris! I'm sad to say good bye to the city of lights. While we were on our way to Cap-Ferret, we had a small stop of 2 days in Paris. The reason I love Paris? Because the streets are always bustling with activity, the amazing shops are filled with the best new musthaves with a french vibe to it. I wanted to share my new fav destination to have coffee and some outfit inspiration!
We started our day with a nice cup of coffee at Le Voltigeur. This cosy restaurant is absolutely buzzing with French People, it is right next to one of the best shopping districts in Paris, with the beauty and perfume shop of Chanel across the street. What I loved about Le Voltigeur was that they wrote Hello Paris in our coffee. I love to sit outside at a cute French bistro and enjoy the lovely weather and see all the people passing by, that gives me so much inspiration, the way people dress and how they combine clothes.
Stay tuned for my upcoming blogs about my collabs with Solitude is Bliss and Polette eyewear!


You love French clothing because it is so adventurous, different, and incredibly stylish. That's okay because we love it too. In fact, we love it enough that we've set up an online shop alongside our physical store in the heart of London where you can find one of your favourite French fashion brands at affordable prices.
We're able to offer better value because unlike some French clothing brands; we want you to have beautiful, affordable clothes, from French slogan t shirts to slogan jackets. That means better savings for you on the clothes you love, and a great way to shop too. We've made everything totally convenient so you can search our entire collection easily. When you're ready to buy, checking out is a breeze.
You'll find great deals in our store in London too, but our online shop has more to see since we're not limited by physical constraints.
French Fashion Brands That Are Hot, Hip, & Totally Chic!
Absolutely the best reason to buy your clothes from être cécile is that we create authentic French designs with genuine street cred. Whatever you are doing, you should do it with style, and clothes from Être Cécile are as stylish as they come.
When your clothes are bought in our shop, you will turn heads for the right reasons. These are clothes that simply ooze style, with a modern look that will suit many different environments you can find yourself in.
Fashion is important because when you look good, it gives you the confidence to achieve more. The psychological benefits of finding your style and wearing it are well documented and irrefutable.
It is only natural that when you feel confident about your appearance, you will project a stronger positive energy around you, which others will notice either consciously or subconsciously. This, in turn, will often cause them to respond to you more positively. What you wear really can influence how successful you are likely to be in life.
The world's main fashion centres are Paris and Milan, followed to a lesser extent by New York and London. The world looks to these four giants for guidance and inspiration.
France, especially through Paris, has been successful in leading the fashion world largely due to key elements of design philosophy which are drawn from French culture and reflected in the fashion designs that emerge.
Throughout history, France has historically led the way. The outrageous wigs of Louis XIV, for example, influenced high society on two continents for over three centuries. Yes, they looked a bit silly, they were uncomfortable, and they could even cause disease, but they were fashionable, and fashion was taken very seriously in those days.
Today, France continues to be at the forefront of the fashion world, though fortunately, the fashions are a lot more sensible than they were olden days.
Whereas in many other places fashion is dictated by whim, in contemporary France the emphasis in on practical considerations. It is a movement largely pioneered by Yves Saint Laurent, and continued by Paco Rabanne, Pierre Cardin, and many other well-known names which today are almost synonymous with style.
French clothing works so well because it is comfortable, practical, and elegant. Even casual clothing retains that sense of elegance.
We invite you to experience the joy of French clothing through être cécile, one of London's finest suppliers of French-inspired fashions.


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Instagram recently announced it will be adding product tagging to its stories feature. This comes shortly after its release of shoppable Instagram posts in partnerships with major e-commerce platforms like Shopify and BigCommerce. With its latest release, Instagram continues to prove that social media is the biggest up-and-coming sales channel in online retail. Let's identify some key statistics that confirm this.
In 2005, 8% of men and 6% of women used social media.
Online retail and e-commerce were not at the forefront of retail, especially in the realm of social media.
Today, the number of social media users worldwide in 2018 is 3.196 billion, up 13 percent year-on-year, according to Smart Insights.
That's roughly 42% penetration of the global population.
For Facebook, Twitter, and Instagram users, each platform reports over 30% of their users visiting the platforms several times a day.
Not only has social media penetrated a large portion of the population, but the major platforms remain a part of their users' daily routine.
40% of all social media users report that it would be hard to give up social media, according to a Pew Research Center survey.
An annual survey conducted by analytics firm comScore found that 51% of shoppers make their purchases online.
As mentioned at the beginning of this post, social media is becoming the most versatile sales channel for online retailers. The traditional methods of driving conversions are becoming outdated. Generating website traffic is either expensive with paid advertising, or a long-term play with SEO and search ranking. Influencer marketing is hit or miss, with no real solution to identifying real engagement, real followers, or real opportunity.
Developing your own social media channels and leveraging them as sales channels makes the most sense for small to mid-level online retailers. Marketers and independent e-commerce retailers alike must shift focus from bringing prospects to them, to placing themselves where their prospects are. Expect to see more integrations between e-commerce platforms and social media. Tagging products in Instagram stories is only the beginning. Facebook has made their dedication to native e-commerce abundantly clear, so expect others to follow.
Social media is engrained in the daily routines of most consumers, so it is only natural that retailers establish themselves in these spaces. Diversify your sales channels, and try testing out new product releases on social media. It could potentially be the most cost-effective product placement.


Each month SANS publishes a very down to Earth security video.
UPDATE: This post has been edited. The SANS video on Targeted Attacks has since expired. However, they still publish monthly videos and offer valuable training! It's worth checking out.


Mixed vegetable cooked in massala sauce.
Mixed vegetable cooked in balti sauce.
Chopped spinach with sweet pumpkin.
Aubergines fried in spices & mustard seeds, made into savoury curry.
Chick-peas and aubergine in a lightly spiced sauce.
Chick-peas cooked with lentils, sweet and sour.
Stir-fried vegetables, dry with green chillies and spices.


Rising worldwide rates of noncommunicable diseases (NCDs) in the Middle East, principally Saudi Arabia, have put an increasing load on the health system and employers. Middle Eastern organizations have been slow to develop targeted health programs, which include an emphasis on employee productivity. The purpose of this study was to determine the relationship, if any, between employee lifestyle and workplace productivity. Productivity is the amount of work produced based on the time and cost required to do so. The underlying theoretical foundations of this research were the socioecological health model and the human capital model. The quantitative, ex post facto design relied on secondary data from Saudi Aramco. Lifestyle data were collected from a health risk assessment including the Stanford Presenteeism Scale. Data analysis consisted of both a correlational and multiple regression analysis. Correlational results indicated that exercise, tobacco use, body mass index (BMI), and nutrition were significantly related to workplace productivity. Exercise and nutrition had a significant positive correlation with workplace productivity, while tobacco use and increasing BMI were negatively correlated with workplace productivity. Multiple regression analysis results explained 21% of the variance in the dependent variable, a sizable percentage with such a large sample. Overall, these results suggest a strong influence of health choices on productivity. Since this research was the first to explore the unique cultural context and draw attention to the increasing NCD burden, the results are notable. Implications of this research should resonate with organizational leaders in the Middle East, and provide a clear opportunity to improve organization and human performance.


SANTA FE, N.M. — A former state representative who was convicted of drunken driving last year will appear in court this morning for a probation violation hearing.
A spokeswoman for Metropolitan Court said Monica Youngblood, a former Republican lawmaker, had two suspicious tests that were required as a condition of her probation.
Youngblood was arrested in May 2018 on suspicion of drunken driving when she refused to take a Breathalyzer at a sobriety checkpoint in northwest Albuquerque. She was convicted during a bench trial and sentenced to a day in jail and one year of probation.
As a condition of her probation, she is prohibited from using alcohol and drugs.
Youngblood has taken two "EtG tests," Camille Baca, a spokeswoman for Metro Court, said in an email. An ethyl glucuronide test can check to see if a person has used alcohol in two or three days. Baca said that though the tests were negative, the tests were not valid because the sample was too diluted.
Paul Kennedy, Youngblood's attorney, couldn't be reached for comment Tuesday.
Youngblood, who represented northwest Albuquerque in the Legislature, lost her re-election bid last November. Democrat Karen Bash, a retired minister, now represents House District 68.


This exhibition, co-curated by Dr Angela Griffith, introduces audiences to the work of early modern painter-etchers of Irish birth or heritage. The exhibition runs 2 March – 30 June at the National Gallery of Ireland.
The Department of History of Art and Architecture is pleased to announce the creation of this new funded PhD Fellowship..


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The World's First Offshore Wind Power Project Has Been Dismantled
- Sep 15, 2017-
China Energy storage net news: the world's first offshore wind project Vindeby has been a huge success, but after more than 25 years of operation, the project unit gradually aging, DONG Energy decided to retire Vindeby offshore wind farms.In March 2017, the contractor began to dismantle the project's 11 typhoon power unit, and now DONG Energy has completed the demolition work of the project.
The Danish Vindeby sea wind farm is located in the low-water area of Vindeby near Lolland, with 11 450KW wind turbines, which were connected to the grid in 1991.DONG Energy, head of the offshore wind farm Leif Winther said that although the wind is retired, but in today's standards, it's only a very small project, but it for offshore wind power industry is "critical".He said: "compared with the northern large offshore wind projects now, Vindeby wind farm is almost miniature version, however, if you don't get experience from the world's first offshore wind farm, offshore wind there would be no today.To be fair, the Vindeby wind farm is the birthplace and cradle of offshore wind power.Over the course of the operation, the Vindeby sea wind farm generated about 250 million kilowatt-hours of electricity, while seven of the largest offshore wind turbines could produce the same amount within a year.The 11 units of Vindeby are supplied by Bonus Energi (currently Siemens wind).
In addition, the Vindeby wind farm's unit is about 1.5 kilometers to 3 kilometers offshore, and the current offshore wind turbine unit is far more than that.When installing the wind turbines in 1991, is the integral lifting scheme, and in the process of the retirement, blade, engine room and will move through the leg the ship's crane tower drum was demolished and removed.The concrete foundation will be removed by hydraulic dismantling scissors and collected.
Previous: The State Grid Has Donated 236 Rural Pv Poverty-alleviation Power Stations To Hubei Province
Next: Improving The Ratio Of Nickel To Battery Will Help Boost The Single Range Of Electric Vehicles


Last week I finally got the chance to go hands-on with the Playstation Vita and a randomly selected game which was determined by choosing a card. Luckily for me, the game I was issued with was Uncharted: Golden Abyss, which just so happened to be the Vita game I was most eager to play. Developed by Sony's Bend Studios (the folks behind the Syphon Filter series and Resistance Retribution), Golden Abyss is by far the most technically advanced game that I've ever seen on a handheld device.
Although the events in the game take place before Nathan embarks on his monumental voyage to discover Drake's Fortune, Bend insists that Golden Abyss is not a prequel but rather an original, standalone title.
As expected Nolan North is back to reprise his role as Nathan Drake, providing both voice and motion caption work. Unfortunately the brief 10 minute demo was free of any dialog but trailers suggest that the game will retain the cinematic qualities that the series is known for. Bend have yet to confirm whether other characters such as Sully and Elena will be making a return but Drake certainly won't be travelling alone for this adventure. Drake's somewhat "apprentice" Jason Dante will be filling in Sully's role as a trusty sidekick (who will inevitable prove to be untrustworthy), with the recently revealed Marissa Chase serving as Drake's much-needed female companion. Not much is known about the story at this point but the usual "Drake searches for treasure, uncovers more than he bargained for" premise is still in place.
Aesthetically Uncharted: Golden Abyss looks very similar to Drake's Fortune, by which I mean it's very 'green'. Once again Drake will be exploring temples and ancient ruins buried inside vibrant woodland environments, complete with scalable cliff faces and crystal clear waterfalls. As I alluded to earlier, the game looks absolutely stunning, making it the perfect show piece for Sony's new hardware. On the Playstation Vita's 5" OLED Screen, Golden Abyss looks just as good as many current generation games. Somewhere, a Nintendo 3DS is sitting in a corner crying 3D tears.
Golden Abyss also utilizes most of the Vita's new hardware features including the touch screen, rear touch panel and six axis motion controls. I was initially worried that Sony would force Bend to shoehorn these new controls methods in to the game regardless of whether or not they add to experience but after playing the game my fears were quickly alleviated. During climbing sections you can now slide your finger across the screen to pre-select a series of ledges for Drake to navigate, then sit back and watch as he automatically traces your path. Motion controls are most predominantly used when sniping enemies. With a sniper rifle equipped, holding down the left shoulder button locks your sights in the general direction of your closest target and from there you can use tilt controls to aim for a specific part of his body . These new features may sound gimmicky but I actually enjoyed playing this way. Of course if you're a traditionalist you could instead opt to use standard controls but I'd like to think you're more open-minded than that, aren't you?
Gameplay-wise Uncharted: Golden Abyss is just like every other Uncharted game. You shoot sh*t, climb sh*t, punch dudes in faces and maliciously murder hired thugs who are probably just working to put their kids through college. Eventually you'll encounter elaborate puzzles which need to be solved (I didn't) and if I had to guess, later on in the game enemies will be replaced by genetically modified apes or something equally stupid.
With Uncharted 3 just four weeks away it's understandable why Golden Abyss isn't at the forefront of every gamer's mind but I'm extremely confident in Bend's ability to produce a handheld masterpiece.


text:
Q: Storing SQL Queries in a simple log file We're trying to log some queries to see if a few performance issues of our app can be resolved. The problem is a basic one, how do we store the queries in a file that we can then be read in a fashion which allows us to parse each query without restricting new lines and special character and without wrapping the queries themselves in characters.
We cant restrict new lines, spaces etc. or wrap the query with some combination of characters (we actually tried the latter and although unlikely, one user ended up inserting that exact combination) because since its a db query, it really can contain anything.

A: You can try to use XML format, e.g.
<query timestamp="2014-03-23 11:12:00">
    SELECT * FROM MYTABLE
</query>

This can be built manually by doing simple string concatenation/manipulation, or using any XML API like JAXB, XStream, etc. If you construct the XML manually, don't forget to escape the XML character in the SQL (you can use StringEscapeUtils from Apache commons library to do this).
Alternatively, you can use Apache Log4J, defining the output as XML.
This is pretty decent tutorial about it: http://howtodoinjava.com/2013/04/08/how-to-create-logs-in-xml-format-using-log4j/
Javadoc is here: http://logging.apache.org/log4j/1.2/apidocs/org/apache/log4j/xml/XMLLayout.html


text:
Home | About | Why BMI? | Why Me? | Programs | Committees | Webinars | Classes | Founding | Login
Jay McClelland | Mriganka Sur
Jay McClelland
Emergence in Cognitive Science: Semantic Cognition
James L. McClelland
Lucie Stern Professor
Chair of Department of Psychology and Director of Center for Mind, Brain, and Computation
http://waldron.stanford.edu/~jlm/
Room 145 CAS, 5:15 – 6:45 PM, October 24, 2011
Refreshments will be served outside the lecture hall 5:00 - 5:30 PM
To view the live webnar or off-line digital video, log in first.
The study of human intelligence was once dominated by symbolic approaches, but over the last 30 years an alternative approach has arisen. Symbols and processes that operate on them are often seen today as approximate characterizations of the emergent consequences of sub- or nonsymbolic processes, and a wide range of constructs in cognitive science can be understood as emergents. These include constructs such as concepts, mental hierarchies, rules of language, declarative memory, and putative neurocognitive modules, as well as processes such as decision making and learning -- processes that exhibit non-linear transitions as they occur over different time scales. The greatest achievements of human cognition may be largely emergent phenomena. It remains a challenge for the future to learn more about how these greatest achievements arise and to emulate them in artificial systems.
In this talk, I will consider a case in point from the study of human semantic cognition -- the process by which we make inferences about objects and their properties. I will explore the nature of mental representations of semantic knowledge, the development of these representations, their neural basis, and the degradation of these representations in neurological degenerative diseases.
Jay McClelland received his Ph.D. in Cognitive Psychology from the University of Pennsylvania in 1975. He served on the faculty of the University of California, San Diego, before moving to Carnegie Mellon in 1984, where he became a University Professor and held the Walter Van Dyke Bingham Chair in Psychology and Cognitive Neuroscience. He was a founding Co-Director of the Center for the Neural Basis of Cognition, a joint project of Carnegie Mellon and the University of Pittsburgh. In 2006 McClelland moved to Stanford University, where he is now Lucie Stern Professor in the Social Sciences, Chair of the Department of Psychology, and founding Director of the Center for Mind, Brain and Computation.
Over his career, McClelland has contributed to both the experimental and theoretical literatures in a number of areas, most notably in the application of connectionist/parallel distributed processing models to problems in perception, cognitive development, language learning, and the neurobiology of memory. He was a co-founder with David E. Rumelhart of the Parallel Distributed Processing (PDP) research group, and together with Rumelhart he led the effort leading to the publication in 1986 of the two-volume book, Parallel Distributed Processing, in which the parallel distributed processing framework was laid out and applied to a wide range of topics in cognitive psychology and cognitive neuroscience. McClelland and Rumelhart jointly received the 1993 Howard Crosby Warren Medal from the Society of Experimental Psychologists, the 1996 Distinguished Scientific Contribution Award from the American Psychological Association, the 2001 Grawemeyer Prize in Psychology, and the 2002 IEEE Neural Networks Pioneer Award for this work. McClelland has served as Senior Editor of Cognitive Science, as President of the Cognitive Science Society, and as a member of the National Advisory Mental Health Council, and he is currently President of the Federation of Associations in Behavioral and Brain Sciences (FABBS). He is a member of the National Academy of Sciences, and he has received the APS William James Fellow Award for lifetime contributions to the basic science of psychology.
McClelland currently teaches on the PDP approach to cognition and its neural basis in the Psychology Department and in the Symbolic Systems Program at Stanford and conducts research on learning, memory, conceptual development, decision making, and semantic cognition.


text:
washingtonpost.com > Sports
Home | Athlete Biographies | Schedules | Medals | Teams | Results
Select Event:
Olympics Home Archery Badminton Basketball Beach Volleyball Boxing Canoe/Kayak Cycling Diving Equestrian Fencing Field Hockey Gymnastics Handball Judo Pentathlon Rowing Sailing Shooting Soccer Swimming Synchronized Swimming Table Tennis Taekwondo Tennis Track and Field Triathlon Volleyball Water Polo Weightlifting Wrestling
Country All Countries Sport All Sports Name Choose a Player
Height: 6'3" / 1.91m
Weight: 209 lbs / 94.8 kg
Born: 6/26/1984
Hometown: The Colony, TX, USA
Career Highlights: Serious injuries to Derrick Rose and Chauncey Billups may have cemented Williams making the U.S. team, considering fellow point guards Chris Paul and Russell Westbrook also are on board. While Rose and Billups started for the gold medal-winning U.S. squad at the 2010 world championships, Williams wasn't on the roster due to an elbow injury and might not have played even if healthy being no player from the 2008 Olympic title team took part. Regardless of depth, however, Williams is certainly no slouch. He averaged 8.0 points and 2.8 assists coming off the bench in Beijing, and scored a career-high 21.0 points this past season for the New Jersey Nets. His 8.7 assists per game was his lowest in five years, yet was still good for fifth in the league. Last season marked Williams' first full one with New Jersey, but it may have been his last, as he is now one of the NBA's most coveted free agents. He's ranked among the league's top five in assists each of the last five seasons. A two-time All-NBA second teamer, Williams was drafted third overall in 2005 after leading Illinois to the NCAA championship game. He spent his first 5 1/2 seasons with the Utah Jazz before being traded to the Nets. He won four playoff series during his time in Utah - he's averaged 21.1 points and 9.6 assists in 44 postseason games - but has never been to the NBA finals and the Nets haven't come close to qualifying for the postseason since acquiring him.
Previous Olympics: 2008