text:
One Day International (ODI) cricket is played between international cricket teams who are Full Members of the International Cricket Council (ICC) as well as the top four Associate members. Unlike Test matches, ODIs consist of one inning per team, having a limit in the number of overs, currently 50 overs per innings – although in the past this has been 55 or 60 overs. ODI cricket is List-A cricket, so statistics and records set in ODI matches also count toward List-A records. The earliest match recognised as an ODI was played between England and Australia in January 1971; since when there have been over 4,000 ODIs played by 28 teams.
This is a list of West Indies Cricket team's One Day International records. It is based on the List of One Day International cricket records, but concentrates solely on records dealing with the West Indies cricket team. West Indies played its first ever ODI in 1973.

Key
The top five records are listed for each category, except for the team wins, losses, draws and ties, all round records and partnership records. Tied records for fifth place are also included. Explanations of the general symbols and cricketing terms used in the list are given below. Specific details are provided in each category where appropriate. All records include matches played for West Indies only, and are correct .

Team records

Overall record

Team wins, losses, draws and ties
, West Indies has played 852 ODI matches resulting in 410 victories, 402 defeats, 10 ties and 30 no results for an overall winning percentage of 50.48.

First bilateral ODI series wins

First ODI match wins

Team scoring records

Most runs in an innings
The highest innings total scored in ODIs came in the match between England and Australia in June 2018. Playing in the third ODI at Trent Bridge in Nottingham, the hosts posted a total of 481/6. The fourth ODI against England in February 2019 saw West Indies set their highest innings total of 389.

Fewest runs in an innings
The lowest innings total scored in ODIs has been scored twice. Zimbabwe were dismissed for 35 by Sri Lanka during the third ODI in Sri Lanka's tour of Zimbabwe in April 2004 and USA were dismissed for same score by Nepal in the sixth ODI of the 2020 ICC Cricket World League 2 in Nepal in February 2020. The lowest score in ODI history for West Indies is 54 scored against South Africa during the West Indies' tour of South Africa in early 2004.

Most runs conceded an innings
The second ODI of the 2015 ODI Series against South Africa saw West Indies concede their highest innings total of 439/2.

Fewest runs conceded in an innings
The lowest score conceded by West Indies for a full inning is 43 scored by Pakistan in the 1992-93 Total International Series at Sahara Park Newlands, Cape Town, South Africa.

Most runs aggregate in a match
The highest match aggregate scored in ODIs came in the match between South Africa and Australia in the fifth ODI of March 2006 series at Wanderers Stadium, Johannesburg when South Africa scored 438/9 in response to Australia's 434/4. The fourth ODI against England | National Cricket Stadium, St. George's, Grenada in February 2019 saw a total of 807 runs being scored.

Fewest runs aggregate in a match
The lowest match aggregate in ODIs is 71 when USA were dismissed for 35 by Nepal in the sixth ODI of the 2020 ICC Cricket World League 2 in Nepal in February 2020. The lowest match aggregate in ODI history for West Indies is 88 scored ninth match of the 1992-93 Total International Series against Pakistan, which is fifth lowest of all time.

Result records
An ODI match is won when one side has scored more runs than the total runs scored by the opposing side during their innings. If both sides have completed both their allocated innings and the side that fielded last has the higher aggregate of runs, it is known as a win by runs. This indicates the number of runs that they had scored more than the opposing side. If the side batting last wins the match, it is known as a win by wickets, indicating the number of wickets that were still to fall.

Greatest win margins (by runs)
The greatest winning margin by runs in ODIs was New Zealand's victory over Ireland by 290 runs in the only ODI of the 2008 England tour. The largest victory recorded by West Indies was during the 2011 Cricket World Cup by 215 runs against the Netherlands in Arun Jaitley Stadium, New Delhi, India.

Greatest win margins (by balls remaining)
The greatest winning margin by balls remaining in ODIs was England's victory over Canada by 8 wickets with 277 balls remaining in the 1979 Cricket World Cup. The largest victory recorded by West Indies is during the 1999 Cricket World Cup when they won by 8 wickets with 239 balls remaining against Scotland at Grace Road, Leicester, England.

Greatest win margins (by wickets)
A total of 55 matches have ended with chasing team winning by 10 wickets with West Indies winning by such margins a record 10 times.

Highest successful run chases
South Africa holds the record for the highest successful run chase which they achieved when they scored 438/9 in response to Australia's 434/9. West Indies's highest innings total while chasing is 331/5 in a successful run chase against Ireland at Malahide Cricket Club Ground, Dublin, Ireland during the 2019 Ireland Tri-Nation Series.

Narrowest win margins (by runs)
The narrowest run margin victory is by 1 run which has been achieved in 31 ODI's with Australia winning such games a record 6 times. West Indies have recorded a victory by such margin on three occasions.

Narrowest win margins (by balls remaining)
The narrowest winning margin by balls remaining in ODIs is by winning of the last ball which has been achieved 36 times with South Africa winning seven times. West Indies has achieved a victory by this margin on six occasions.

Narrowest win margins (by wickets)
The narrowest margin of victory by wickets is 1 wicket which has settled 55 such ODIs. The West Indies have recorded such victory on 12 occasions.

Greatest loss margins (by runs)
West Indies's biggest defeat by runs was against South Africa in the 2015 Cricket World Cup at Sydney Cricket Ground, Sydney, Australia.

Greatest loss margins (by balls remaining)
The greatest winning margin by balls remaining in ODIs was England's victory over Canada by 8 wickets with 277 balls remaining in the 1979 Cricket World Cup. The largest defeat suffered by West Indies was against Australia in Australia during the West Indies tour of Australia in 2012-13 when they lost by 9 wickets with 244 balls remaining.

Greatest loss margins (by wickets)
West Indies have lost an ODI match by a margin of 10 wickets on three occasions with most recent being during the West Indies's tour of India in 2018.

Narrowest loss margins (by runs)
The narrowest loss of West Indies in terms of runs is by 1 run, suffered five times.

Narrowest loss margins (by balls remaining)
The narrowest winning margin by balls remaining in ODIs is by winning of the last ball which has been achieved 36 times with both South Africa winning seven times. West Indies has suffered a loss by this margin seven times.

Narrowest loss margins (by wickets)
West Indies has suffered defeat by 1 wicket on ten occasions.

Tied matches
A tie can occur when the scores of both teams are equal at the conclusion of play, provided that the side batting last has completed their innings.
There have been 37 ties in ODI's history with West Indies involved in ten such games.

Individual records

Batting records

Most career runs
A run is the basic means of scoring in cricket. A run is scored when the batsman hits the ball with his bat and with his partner runs the length of  of the pitch.
India's Sachin Tendulkar has scored the most runs in ODIs with 18,246. Second is Kumar Sangakkara of Sri Lanka with 14,234 ahead of Ricky Ponting from Australia in third with 13,704. Chris Gayle is the leading West Indian on this list.

Fastest runs getter

Most runs in each batting position

Highest individual score

The fourth ODI of the Sri Lanka's tour of India in 2014 saw Rohit Sharma score the highest Individual score. Chris Gayle holds the West Indian record when he scored 215 against Zimbabwe in the 2015 Cricket World Cup.

Highest individual score – progression of record

Highest score against each opponent

Highest career average
A batsman's batting average is the total number of runs they have scored divided by the number of times they have been dismissed.

Highest average in each batting position

Most half-centuries
A half-century is a score of between 50 and 99 runs. Statistically, once a batsman's score reaches 100, it is no longer considered a half-century but a century.

Sachin Tendulkar of India has scored the most half-centuries in ODIs with 96. He is followed by the Sri Lanka's Kumar Sangakkara on 93, South Africa's Jacques Kallis on 86 and India's Rahul Dravid and Pakistan's Inzamam-ul-Haq on 83. Brian Lara has scored most half-centuries for West Indies.

Most centuries
A century is a score of 100 or more runs in a single innings.

Tendulkar has also scored the most centuries in ODIs with 49. Chris Gayle has the most centuries for West Indies.

Most sixes

Most fours

Highest strike rates
Andre Russell of West Indies holds the record for highest strike rate, with minimum 500 balls faced qualification, with 130.22.

Highest strike rates in an inning
James Franklin of New Zealand's strike rate of 387.50 during his 31* off 8 balls against Canada during 2011 Cricket World Cup is the world record for highest strike rate in an innings. Andre Russell holds the top position for a West Indies player with his innings of 42* off 13 balls against Pakistan during the 2015 Cricket World Cup.

Most runs in a calendar year
Tendulkar holds the record for most runs scored in a calendar year with 1894 runs scored in 1998. Brian Lara scored 1349 runs in 1993, the most for a West Indies batsmen in a year.

Most runs in a series
The 1980-81 Benson & Hedges World Series Cup in Australia saw Greg Chappell set the record for the most runs scored in a single series scoring 685 runs. He is followed by Sachin Tendulkar with 673 runs scored in the 2003 Cricket World Cup. Viv Richards has scored the most runs in a series for a West Indies batsmen, when he scored 651 runs in the 1984-85 Benson & Hedges World Series.

Most ducks
A duck refers to a batsman being dismissed without scoring a run.
Sanath Jayasuriya has scored the equal highest number of ducks in ODIs with 34 such knocks. West Indies's Chris Gayle with 24 ducks is the highest West Indian on the all-time list.

Bowling records

Most career wickets
A bowler takes the wicket of a batsman when the form of dismissal is bowled, caught, leg before wicket, stumped or hit wicket. If the batsman is dismissed by run out, obstructing the field, handling the ball, hitting the ball twice or timed out the bowler does not receive credit.

Courtney Walsh, former captain of West Indies national cricket team and widely acknowledged as one of the greatest bowlers of all time, is the highest wicket-taker in ODIs for West Indies.

Fastest wicket taker

Best figures in an innings
Bowling figures refers to the number of the wickets a bowler has taken and the number of runs conceded.
Sri Lanka's Chaminda Vaas holds the world record for best figures in an innings when he took 8/19 against Zimbabwe in December 2001 at Colombo (SSC). Winston Davis holds the West Indian record for best bowling figures.

Best figures in an innings – progression of record

Best bowling figure against each opponent
{| class="wikitable sortable"
|-
! Opposition !! Player !! Figures !! Date
|-
||  ||  || 4/63 ||
|-
||  ||  || 7/51 ||
|-
||  ||  || 5/29 ||
|-
||  ||  || 3/19 ||
|-
||  ||  || 5/44 ||
|-
||  ||  || 6/15 ||
|-
||  ||  || 6/29 ||
|-
||  ||  || 4/27 ||
|-
||  ||  || 5/33 ||
|-
||  ||  || 6/27 ||
|-
||  ||  || 5/27 ||
|-
||  ||  || 5/23 ||
|-
||  ||  || 5/27 ||
|-
||  ||  || 3/7 ||
|-
||  ||  || 6/27 ||
|-
||  ||  || 5/1 ||
|-
||  ||  || 5/53 ||
|-
||  ||  || 6/22 ||
|-
|- class=sortbottom
| colspan=5 | <small>Last updated: 1 March 2020.</small>
|}

 Best career average
A bowler's bowling average is the total number of runs they have conceded divided by the number of wickets they have taken.
Afghanistan's Rashid Khan holds the record for the best career average in ODIs with 18.54. Joel Garner, West Indian cricketer, and a member of the highly regarded late 1970s and early 1980s West Indies cricket teams, is second behind Rashid with an overall career average of 18.84 runs per wicket.

 Best career economy rate
A bowler's economy rate is the total number of runs they have conceded divided by the number of overs they have bowled.
West Indies' Joel Garner, holds the ODI record for the best career economy rate with 3.09.

 Best career strike rate
A bowler's strike rate is the total number of balls they have bowled divided by the number of wickets they have taken.
The top bowler with the best ODI career strike rate is South Africa's Lungi Ngidi with strike rate of 23.2 balls per wicket. Andre Russell not only has the best batting strike rate among West Indians, he is the West Indian bowler as well with a strike rate of 32.7 balls per wicket.

 Most four-wickets (& over) hauls in an innings
Waqar Younis has taken the most four-wickets (or over) among all the bowlers.

 Most five-wicket hauls in a match
A five-wicket haul refers to a bowler taking five wickets in a single innings.
Waqar Younis with 13 such hauls has the most hauls among all the bowlers.

 Best economy rates in an inning
The best economy rate in an inning, when a minimum of 30 balls are delivered by the player, is West Indies player Phil Simmons economy of 0.30 during his spell of 3 runs for 4 wickets in 10 overs against Pakistan at Sydney Cricket Ground in the 1992-93 Australian Tri-Series.

 Best strike rates in an inning
The best strike rate in an inning, when a minimum of 4 wickets are taken by the player, is shared by Sunil Dhaniram of Canada, Paul Collingwood of England and Virender Sehwag of India when they achieved a strike rate of 4.2 balls per wicket. Mudassar Nazar during his spell of 5/1 achieved the best strike rate for a West Indian bowler.

 Worst figures in an innings
The worst figures in an ODI came in the 5th One Day International between South Africa at home to Australia in 2006. Australia's Mick Lewis returned figures of 0/113 from his 10 overs in the second innings of the match. The worst figures by a West Indian is 0/91 that came off the bowling of Jason Holder in the 2015 ODI Series against South Africa at New Wanderers Stadium, Johannesburg, South Africa.

 Most runs conceded in a match
Mick Lewis also holds the dubious distinction of most runs conceded in an ODI during the aforementioned match. Jason Holder holds the most runs conceded distinction for West Indies.

 Most wickets in a calendar year
West Indies's Saqlain Mushtaq holds the record for most wickets taken in a year when he took 69 wickets in 1997 in 36 ODIs.

 Most wickets in a series
1998–99 Carlton and United Series involving Australia, England and Sri Lanka and the 2019 Cricket World Cup saw the records set for the most wickets taken by a bowler in an ODI series when Australian pacemen Glenn McGrath and Mitchell Starc achieved a total of 27 wickets during the series, respectively. Joel Garner in the 1981-82 Benson & Hedges World Series took 23 wickets, the most for a West Indian bowler in a series.

 Hat-trick
In cricket, a hat-trick occurs when a bowler takes three wickets with consecutive deliveries. The deliveries may be interrupted by an over bowled by another bowler from the other end of the pitch or the other team's innings, but must be three consecutive deliveries by the individual bowler in the same match. Only wickets attributed to the bowler count towards a hat-trick; run outs do not count.
In ODIs history there have been just 49 hat-tricks, the first achieved by Jalal-ud-Din for West Indies against Australia in 1982.

Wicket-keeping records
The wicket-keeper is a specialist fielder who stands behind the stumps being guarded by the batsman on strike and is the only member of the fielding side allowed to wear gloves and leg pads.

 Most career dismissals
A wicket-keeper can be credited with the dismissal of a batsman in two ways, caught or stumped. A fair catch is taken when the ball is caught fully within the field of play without it bouncing after the ball has touched the striker's bat or glove holding the bat, Laws 5.6.2.2 and 5.6.2.3 state that the hand or the glove holding the bat shall be regarded as the ball striking or touching the bat while a stumping occurs when the wicket-keeper puts down the wicket while the batsman is out of his ground and not attempting a run.
West Indies's Jeff Dujon is 11th in taking most dismissals in ODIs as a designated wicket-keeper with Sri Lanka's Kumar Sangakkara and Australian Adam Gilchrist heading the list.

 Most career catches
Dujon is eight in taking most catches in ODIs as a designated wicket-keeper.

 Most career stumpings
Ridley Jacobs is joint-15th in making stumpings in ODIs as a designated wicket-keeper.

 Most dismissals in an innings
Ten wicket-keepers on 15 occasions have taken six dismissals in a single innings in an ODI. Adam Gilchrist of Australia alone has done it six times. Ridley Jacobs is the only West Indian wicket keeper to have achieved this.

The feat of taking 5 dismissals in an innings has been achieved by 49 wicket-keepers on 87 occasions including 5 West Indians on 11 occasions.

 Most dismissals in a series
Gilchrist also holds the ODIs record for the most dismissals taken by a wicket-keeper in a series. He made 27 dismissals during the 1998-99 Carlton & United Series. West Indian record is held by Moin Khan when he made 19 dismissals during the 1999-00 Carlton & United Series.

Fielding records

 Most career catches
Caught is one of the nine methods a batsman can be dismissed in cricket. The majority of catches are caught in the slips, located behind the batsman, next to the wicket-keeper, on the off side of the field. Most slip fielders are top order batsmen.

Sri Lanka's Mahela Jayawardene holds the record for the most catches in ODIs by a non-wicket-keeper with 218, followed by Ricky Ponting of Australia on 160 and Indian Mohammad Azharuddin with 156. Chris Gayle is the leading catcher for West Indies.

 Most catches in an innings
South Africa's Jonty Rhodes is the only fielder to have taken five catches in an innings.

The feat of taking 4 catches in an innings has been achieved by 42 fielders on 44 occasions including four West Indian fielders on four occasions.

 Most catches in a series
The 2019 Cricket World Cup, which was won by England for the first time, saw the record set for the most catches taken by a non-wicket-keeper in an ODI series. Englishman batsman and captain of the England Test team Joe Root took 13 catches in the series as well as scored 556 runs. Carl Hooper with 11 catches in the 1992-93 Total International Series in South Africa is the leading West Indian on this list.

All-round records
 1000 runs and 100 wickets
A total of 64 players have achieved the double of 1000 runs and 100 wickets in their ODI career.

 250 runs and 5 wickets in a series
A total of 50 players on 103 occasions have achieved the double of 250 runs and 5 wickets in a series.

Other records
 Most career matches
India's Sachin Tendulkar holds the record for the most ODI matches played with 463, with former captains Mahela Jayawardene and Sanath Jayasuriya being second and third having represented Sri Lanka on 443 and 441 occasions, respectively. Gayle is the most experienced West Indies players having represented the team on 298 occasions.

 Most consecutive career matches
Tendulkar also holds the record for the most consecutive ODI matches played with 185. He broke Richie Richardson's long standing record of 132 matches.

 Most matches as captain
Ricky Ponting, who led the Australian cricket team from 2002 to 2012, holds the record for the most matches played as captain in ODIs with 230 (including 1 as captain of ICC World XI team). Brian Lara has led West Indies in 125 matches, the most for any player from his country.

 Most matches won as a captain

 Youngest players on debut

The youngest player to play in an ODI match is claimed to be Hasan Raza at the age of 14 years and 233 days. Making his debut for Sri Lanka against Zimbabwe on 30 October 1996, there is some doubt as to the validity of Raza's age at the time.

 Oldest players on Debut
The Netherlands batsmen Nolan Clarke is the oldest debutant to appear in an ODI match. Playing in the 1996 Cricket World Cup against New Zealand in 1996 at Reliance Stadium in Vadodara, India he was aged 47 years and 240 days. Lance Gibbs was 38 years and 341days when he played West Indies inaugural ODI in 1973 at the | Headingley, Leeds, England.

 Oldest players
The Netherlands batsmen Nolan Clarke is the oldest player to appear in an ODI match. Playing in the 1996 Cricket World Cup against South Africa in 1996 at Rawalpindi Cricket Stadium in Rawalpindi, Pakistan he was aged 47 years and 257 days.

Partnership records
In cricket, two batsmen are always present at the crease batting together in a partnership. This partnership will continue until one of them is dismissed, retires or the innings comes to a close.

Highest partnerships by wicket
A wicket partnership describes the number of runs scored before each wicket falls. The first wicket partnership is between the opening batsmen and continues until the first wicket falls. The second wicket partnership then commences between the not out batsman and the number three batsman. This partnership continues until the second wicket falls. The third wicket partnership then commences between the not out batsman and the new batsman. This continues down to the tenth wicket partnership. When the tenth wicket has fallen, there is no batsman left to partner so the innings is closed.

Highest partnerships by runs
The highest ODI partnership by runs for any wicket is held by the West Indian pairing of Chris Gayle and Marlon Samuels who put together a second wicket partnership of 372 runs during the 2015 Cricket World Cup against Zimbabwe in February 2015. This broke the record of 331 runs set by the Indian pair of Sachin Tendulkar and Rahul Dravid against New Zealand in 1999.

Highest overall partnership runs by a pair

Umpiring records
Most matches umpired
An umpire in cricket is a person who officiates the match according to the Laws of Cricket''. Two umpires adjudicate the match on the field, whilst a third umpire has access to video replays, and a fourth umpire looks after the match balls and other duties. The records below are only for on-field umpires.

Rudi Koertzen of South Africa holds the record for the most ODI matches umpired, with 209. The current active Aleem Dar is currently at 208 matches. They are followed by New Zealand's Billy Bowden who officiated in 200 matches. Steve Bucknor is the most experienced West Indian umpire ioth 181 matches officiated.

See also

List of One Day International cricket records
List of One Day International cricket hat-tricks
List of Test cricket records
List of List A cricket records
List of Cricket World Cup records

Notes

References

One Day International cricket records
West Indian cricket lists


text:
'use strict';

import Backbone from 'backbone'
import Promise from 'bluebird'
import Shortid from 'shortid'
import {
  addClass,
  removeClass
} from './utilities/general'

const Router = Backbone.Router.extend({
  routes: {
    '': 'home',
    '/': 'home',

    'edit': 'edit',
    '/edit': 'edit',
    'edit/': 'edit',
    '/edit/': 'edit',

    'edit/:id': 'edit',
    '/edit/:id': 'edit',

    '*nuts': 'notFound'
  },

  home () {
    this.current = 'home';
  },

  edit (id) {
    if (id) {
      this._posthash = id
    } else {
      delete this._posthash
    }
    this.current = 'edit';
  },

  notFound (nuts) {
    this.notFoundURL = nuts || '';
    this.current = '404';
  },

  execute (callback, args, name) {
    // something to do before we load the new page
    new Promise ((resolve) => {
      resolve(callback.apply(this, args));
    }).then(() => {
      // something when we're done loading the new page
    }).catch((err) => {
      console.warn(`An error has occured when attempting to route to a page: ${err}`);
    });
  }
});

const router = new Router();
export default router;

Backbone.history.start({
  pushState: true
});

redpajama_set_name: RedPajamaGithub


New Delhi: The Enforcement Directorate on Thursday filed charge sheet against former Union minister P Chidambaram in the Rs 3,500-crore Aircel-Maxis money laundering case, accusing him of conspiring with foreign investors to give them clearance for their venture. He has been named as accused number 1 in the charge sheet and case will be considered by the Delhi court on November 26.
"As per rules and FDI policy of Government of India in 2006, Chidambaram, the then Finance Minister was empowered to give approval of the foreign investment to the proposals involving foreign investment up to Rs 600 crore only. The foreign investment proposal of Global Communication and Services Holdings Limited should have been referred to Cabinet Committee on Economic Affairs (CCEA) but it was not done and approved by Chidambaram under a conspiracy," said the ED, filing the second supplementary charge sheet.
ED had filed the first charge sheet in the case against Chidambaram's son Karti; later, a supplementary charge sheet was also filed against him.
The 72-year-old former minister and his son have denied any wrongdoing and attributed the cases to political vendetta by the NDA government.
Karti Chidambaram's accountant Bhaskar Raman is also among the nine persons named in the additional charge sheet. The nine accused named by the agency in the case are: Chidambaram, S. Bhaskaraman (chartered accountant of Karti), V Srinivasan (former CEO of Aircel), Augustus Ralph Marshall (associated with Maxis), Astro All Asia Networks Plc Malaysia, Aircel Televentures Ltd, Maxis Mobile Services Sdn Bhd, Bumi Armada Berhad, Bumi Armada Navigation Sdn Bhd.
The Central Bureau of Investigation says that as the finance minister in the government of Dr Manmohan Singh, Chidambaram had misused his office to clear foreign investment deals, for which his son Karti Chidambaram was given kickbacks.
The CBI and the Enforcement Directorate have been investigating case, which involves the foreign investment clearance granted in 2006 for the Aircel-Maxis deal.
According to the CBI, the Mauritius-based Global Communication Services Holdings — a subsidiary of Maxis — sought approval for an investment of 800 million dollars in Aircel.
The approval was expected to come from the Cabinet Committee on Economic Affairs or CCEA, headed by the Prime Minister.
But instead, it came from the finance ministry, which only has the power to approve investments of smaller sums, upto Rs 600 crore. At the time, Chidambaram was Finance Minister in the Congress-led UPA government at the Centre.
The agency alleged that after the approval was received, Aircel Televentures Limited paid Rs 26 lakh to a company linked to Karti Chidambaram.
Chidambaram and his son have been given immunity from arrest till November 1 by a Delhi court.


text:
Concern continues over jailing of climate protester Violet Coco
by Kshantu Kaul | Jan 3, 2023 | Govt & Politics, News
On 13 April, 2022, an Australian climate activist Deanna 'Violet' Coco blocked a lane on the Sydney Harbour bridge for 28 minutes as a part of the protest drawing attention towards climate change. She was recently sentenced to 15 months in jail, convicted under...
Positive signs as Australia, China mark 50 years of diplomatic relations
by Kshantu Kaul | Dec 15, 2022 | Govt & Politics, News
China and Australia have marked 50 years of diplomatic relations. It was on December 21, 1972, when then-Prime Minister Gough Whitlam opened the diplomatic door to the People's Republic of China.The Chinese Ambassador to Australia, Xiao Qian, recently met with...
Solomon Islands signs security deal with China
by Kshantu Kaul | Apr 23, 2022 | Election '22 - Australia Decides, Govt & Politics, News
The Solomon Islands signed a security deal with China on Thursday. It is the first bilateral security agreement between China and a Pacific country. Solomon Island Prime Minister told parliament the agreement was formed in wake of the riots that has happened in the...

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Call a static C++/CLI method from C++ In a C++CLI project I make a call to a native object on an event, I'd like to be able to call a C++/CLI function from the native C++ when this event is triggered. I have following code at the moment, but it returns the error that PickObjects() is not a member of ManagedClass. Is calling back to a static C++CLI method possible?
#pragma once
#include "Stdafx.h"
#include "ManagedClass.h"

namespace Unmanaged
{
    public class EventHandlers
    {
    public:
        static void OnClick(customObject* caller, void *calldata)
        {
            //call managed method, can get here from CLI
            ManagedClass::ManagedObject::PickObjects();
        }
    };
}

Here is the C++CLI code snippet, everything here appears to run fine:
namespace ManagedClass
{
    public ref class ManagedObject
    {
    public:
         static void PickObjects()
         {
         //pick stuff when called
         }
    };
}

EDIT: Got it working, the error was definitely related to how Visual Studio compiled the files. Will update with solution momentarily. Thanks to Matthias for the help.

A: It seems as though the classes were not getting compiled in the correct order. Adding the EventHandlers class to the end of ManagedClass got things working.
namespace ManagedClass
{
    public ref class ManagedObject
    {
    public:
         static void PickObjects()
         {
         //pick stuff when called
         }
    };
    public class EventHandlers
    {
    public:
        static void OnClick(customObject* caller, void *calldata)
        {
            ManagedClass::ManagedObject::PickObjects();
        }
    };
}

A: Yes, calling a static method out of another static method is possible.
In this case it sounds like you haven't declared ManagedClass::PickObjects() properly. You may show us the code (header should be enough) of it.

redpajama_set_name: RedPajamaStackExchange


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Home › Raspberry Pi TV HAT
Raspberry Pi TV HAT
Default Title - £ 20.00 GBP In Stock
The Raspberry Pi TV HAT is a DVB-T2 Digital TV receiver add on for the Raspberry Pi, compatible with the Raspberry Pi 3 Model B+ or Raspberry Pi Zero W (and older Raspberry Pi 2 & 3 models)
The Raspberry Pi TV HAT allows you to receive digital terrestrial TV broadcast systems which includes DVB-T and DVB-T2 on a Raspberry Pi. This means that you can receive and view TV on a Raspberry Pi or create a TV server that allows you to stream received TV over a network to other devices (including PCs, tablets, smartphones (via apps), media centres and more)
The TV HAT can be used on all Raspberry Pi boards when running as a backend (server for other devices on the network), however when receiving and viewing TV directly on a Raspberry Pi it is recommended to use a Raspberry Pi 3 Model B+ (or older Raspberry Pi Model 3) to do this.
The TV HAT features a Sony CXD2880 TV tuner supporting DVB-T and the second generation DVB-T2 TV standards.
We've put together a clear and easy to follow step-by-step guide to show you exactly how to assemble, install and configure the Raspberry Pi TV HAT. We've also written a tutorial on how to get the Raspberry Pi TV HAT working with Plex!
Set of mechanical spacers
40 way GPIO header
Aerial adaptor.
Sony CXD2880 TV tuner
Supported TV standards: DVB-T2, DVB-T
Reception frequency: VHF III, UHF IV, UHF V
Channel bandwidth:
DVB-T2: 1.7MHz, 5MHz, 6MHz, 7MHz, 8MHz
DVB-T: 5MHz, 6MHz, 7MHz, 8MH
Digital Video Broadcast (DVB) is a widely adopted standard for transmitting broadcast Television, countries that have adopted the DVB standard can be found here; https://www.dvb.org/resources/public/images/site/dvb-t2_map.pdf
Please note it is the responsibility of the end user to ensure that they have the necessary permissions / license to receive broadcast television in their country
Raspberry Pi TV HAT has a rating of 4.7 stars based on 72 reviews.


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Pïech Automotive Readies Sleek EV Sportscar Dubbed the GT
We're entering an exciting new stage of EV development. As technology's progressed, the first phase—boring, slow, range-limited compliance cars—is well over. We're now branching out into futuristic, desirable high-end products like the Teslas, Lucids, and Rivians, and even boutique sportscars like this: the Pïech GT.
Anton "Toni" Pïech is a descendent of Ferdinand Porsche and son of former Volkswagen CEO Ferdinand Pïech, and he started the Pïech Automotive company in Zürich, Switzerland. The Mark Zero concept was a preview of what you're looking at, which if all goes well will be the first production car from the company. It's an EV, and the company makes some interesting and lofty promises about its technology and performance.
One glance at the GT makes it clear that the name is a direct reflection of the mission: classic, graceful grand touring. It's a smooth, retro-inspired shape, more timeless than contemporary, evocative of many classic cars but not directly derivative of any.
The powertrain promises to be very modern, however. Emphasis on "promises." The claims are bold: somewhere between 80 percent to full charge to the 75 kWh battery in less than 10 minutes. A proprietary battery cell technology from a Chinese company called Destin is credited with this remarkable promise, but of course the proof will be when (or, perhaps, if) the GT rolls off the line and to a real-life CCS2 fast charger.
For the full story, check out this article from Motor Trend.


I try to pack light for my tours; which often means having only 1 pair of shoes or boots. The enemy of any shoe during the winter is salt. In order to keep my shoes looking clean I use the old trick of wiping them with vinegar. Its the simplest, fastest and easiest way to instantly get dried salt off shoes and boots.
A paper napkin from Starbucks and a vinegar pack from A&W will do the trick! (non-recycable napkins work best as they hold together longer than the recyclable ones will). I keep a large Zip-Lock bag filled with straws, napkins, sugar packs, plastic utensils, vinegar, mustard and hot-sauce packets, a cheap can opener, etc. in my tour suitcase; you just never know when something will come in handy while travelling!
1/ Clean your laptop keys and screen. A napkin, a vinegar packet and a few wipes will give you a cleaner screen and remove the keyboard grunge.
2/Disenfect the hotel kettle or coffee maker. Its all about removing bacteria and de-scaling the machines. One packet of vinegar, some water and a quick rinse… alway rinse with fresh water afterwards to rid vinegar taste.
3/Clean your travel mug. Don't forget the lid! Vinegar helps to kill the bacteria.
4/Remove annoying scale from hotel irons. Pour one packet in the iron with some water. Heat and steam, then pour out the liquid. All those little scale pieces will be removed!
5/Freshen up musty luggage. Soak a paper napkin and leave in your empty luggage overnight for a fresher-smelling travel companion!
6/Cider vinegar (packets available at fish & chip shops) is a great hair detangler, facial toner, deodorant, even a mouthwash in a pinch!


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Android News / All News / Sony Xperia Z4 Shows Its Face In The Clearest Render Yet
Sony Xperia Z4 Shows Its Face In The Clearest Render Yet
By Kristijan Lucic
Sony Mobile isn't doing all that well, the company has been having issues turning a profit for quite some time now. The company had to cut costs several times last year and has fired a number of employees as part of the process. This Japan-based tech giant has also said that they'll focus on manufacturing high-end devices and have even stopped offering their devices in China, which is interesting. That being said, Sony is due to release a new flagship soon, the Xperia Z4. Unlike the majority of OEMs out there, Sony releases two flagship devices per year, and they'll do the same this year (confirmed by the company).
The company's current Xperia Z3 device was launched in September 2014, and the rumors are saying that the Xperia Z4 will land in May, though Sony might opt to launch it even sooner than that. As previously mentioned, we've already seen quite a few Xperia Z4 leaks, and today we have a new render to share with you. This is actually the clearest look at the device we have thus far, a nice clear render with no watermarking or anything of the sort on top of it. There's a good reason for that, this image actually comes from Sony Georgia Facebook page, though keep in mind this is NOT Sony's official webpage. This design actually goes hand-in-hand with the previous leaks, and the source claims this is the real deal. As you can see, the device still has the power / lock button on the left, and volume rockers and camera button seem to be located below it on that very same side of the phone. The device in the image is also running Android Lollipop with Sony's skin on top of it.
According to various leaks we've seen thus far, the Xperia Z4 will sport a 5.1-inch 1080p (1920 x 1080) display along with 3 or 4GB fo RAM and various storage options. This handset will quite probably be powered by Qualcomm's Snapdragon 810 64-bit octa-core processor and will sport a 20-7-megapixel rear-facing shooter. The device's build is expected to be similar to a number of previous Sony Xperia Z devices.
Kristijan Lucic
Kristijan has been writing for Android Headlines since 2014 and is an editor for the site. He has worked as a writer for several outlets before joining Android Headlines, and has a background in writing about Android and technology in general. He is a smartphone enthusiast that specializes in Android applications, and that platform in general. Contact him at [email protected]


My favorite event (so far) involved me crawling on the floor with my camera whilst wearing a sparkly jewel encrusted Princess tiara.
Last month I photographed workshops for Made in BC Dance's 'Breaking New Ground' conference. The 'Breaking New Ground' event is held in Vancouver each fall to connect presenters, dance outreach workers and dance artists. The conference featured workshops, discussions, performances and a whole lot of fun.
I photographed two workshops. The adult 'Community Dance Blitz' at the Roundhouse and the children's, 'Dancing the Parenting' workshop at the Dance Centre. I enjoyed the joyful playfulness of both workshops, but I had such a blast at the wonderful children's workshop.
Here are a few of my favorite images from the children's and parents dance workshop.


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To eat. To laugh. To share. That's why people come to Pizza Hut. It's the calling of our Restaurant General Managers to make them feel like family with smiles, teamwork and dedication. If you're an experienced restaurant or retail manager, think about a career with Pizza Hut. You know who you are - a natural leader, you love putting together a winning team. You're all about teaching new things and motivating the team to work together. At Pizza Hut, you can do all that - and more. Here, you will work with smart, experienced, fun people. Expect training and growth. Plenty of excitement. Unique challenges. And a world of opportunity.RequirementsWhat are we looking for? The good news is that your training will teach you everything you need to know to succeed on the job. But there are a few skills you should have from the get-go:You have at least 2 years of leadership experience in the restaurant, hospitality or retail industry with responsibility for financial results.You're all about creating a great place to work for your team.You want to make your customer's day and it shows in the way you are maniacal about serving amazing pizza with a great big smile.We have a GREAT culture and look for GREAT people to add to our family. You know who you are --honest, energetic, motivational and fun. You have a vision for the perfect restaurant, and you know how to get your team to bring it to life.You set high standards for yourself and for your people.You're up for a challenge. You love the excitement of the restaurant business and know every day is different.And, you're at least 18 years old with a valid driver's license, reliable transportation (not public transportation - you may need to drive to make deposits for the restaurant sometimes) and a true desire to learn and grow.Keep in mind, this is just basic information. You'll find out more after you apply. And independently-owned franchised or licensed locations may have different requirements.Additional InformationIf you want a management career with an innovative company, look no further than Pizza Hut. Apply today!
Keywords: Pizza Hut, Bullhead City , Restaurant General Manager - Now Hiring, Hospitality & Tourism , Bullhead City, Arizona
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An ugly investment property can be very profitable in the right neighborhood.
Don't be turned off by surface appearance -- see the value underneath.
If owner-occupied homes are next door and in good condition, you probably have a good investment property.
I have made a good career in San Antonio real estate investing by buying and selling under-market-value properties ("junk" houses) that most investors would never touch. Then, I owner finance them for maintenance-free cash flow, which has the added benefit of giving a hardworking family a chance to own their own home.
Sure, the under-market-value houses that I buy are ugly at first glance, but the smart investor needs to look underneath that ugliness and see the value of the home and the area around it.
A smart investor needs to look underneath that ugliness and see the value of the home.
However, this under-market-value property is located in a booming area a few miles west of downtown San Antonio. The Bexar County government has invested millions of dollars in this area with new running trails, parks, shopping plazas, green space and more. Just two miles from this junk property is the San Antonio Riverwalk, a tourist mecca.
So I snatched up the house and resold it to my out-of-state investor for $25,000 late last year. The regular investor cannot see past the temporary ugliness of the under-market-value house, but I can.
So, the investor bought this out of state investment property for a total of $52,000, and is now earning 15 percent per year in real estate cash flow on a property that he will never have to repair. The buyer of the home will take care of it, and eventually, hopefully, pay off the investor and own the home.
The investor is now earning 15% per year on a property that he will never have to repair.
That is the type of under market value property investing that you can do — if you have some cash and if you can see beyond surface ugliness in San Antonio investment property.


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Serbia SEE Energy Mining News|News Serbia Energy|Serbia, Fintel Energija and MK Group have officially started the realization of the joint project Agrosolar
Serbia, Fintel Energija and MK Group have officially started the realization of the joint project Agrosolar
Published on 9. May 2022. , News Serbia Energy
By signing the Memorandum of Understanding with the Chinese company Power China, the companies Fintel Energija and MK Group have officially started the realization of the joint project Agrosolar in Kula.
Having positioned themselves as leaders in the production of electricity from wind energy, they are starting a pioneering venture that uses solar energy and at the same time enables sustainable agricultural production under solar panels. This is the first project of this type in the Balkans and the largest in Europe, and the value of the investment amounts to 340 million euros.
CEO of Fintel Energija Tiziano Giovannetti said that by signing this agreement, the company has defined a clear interest of both parties to take part in the largest agro solar project in Europe. A particularly important step is the construction of a 50 kW pilot solar park, which will begin in the next three months. The Agrosolar project will cover 770 hectares in the municipality of Kula. The solar power plant will have a capacity of 660 MW, and the planned annual production of green energy is about 832 GWh, which meets the needs of about 200,000 households. In this way, Fintel Energija continues to contribute to achieving the goal of Serbia to increase the share of energy from renewable sources to at least 40 % by 2040.
CFO of MK Group Andrija Vuckovic said that Agrosolar brings great innovation through the synergy of green energy and sustainable agriculture. Both areas have long been part of the MK Group's agenda, but also Serbia's national strategy. This project will bring another innovation to the Serbian energy sector, as a plant for the production of green hydrogen powered by a solar power plant will be built within the second phase. In addition to green hydrogen, this technology will enable the production of 300 tons of urea mineral fertilizer per day, obtained in a completely sustainable way.
The Chinese company PowerChina is one of the largest construction companies in the world in the field of infrastructure and the energy sector.
Previous Article : Serbia, Fintel Energija said that it has recorded a net profit in the amount of 7.7 million euros in 2021
Next Article : Slovenia, Ascent Resources remaines committed to defending its investment


The Pentagon is building a pilot's little helper.
A new AI under development, called Skyborg, would act either as a robotic co-pilot or drone wingman, performing important tasks while the human pilot flies and fights the aircraft. Will Roper, the Air Force's assistant secretary for acquisition, technology and logistics, says the Air Force Research Lab is currently building a "completely game-changing" technology.
According to C4ISRNET, Roper compared Skyborg to R2-D2 of Star Wars fame, Luke Skywalker's trusty droid that nestled behind the cockpit in a X-Wing fighter. In the movies, Luke can issue voice commands to R2-D2, asking the droid for navigation info or to repair the starfighter while he flies.
In the real world, Skyborg would consist of two systems. The first is an R2-D2-style AI that would ride in a manned fighter as a co-pilot. Like Luke Skywalker, the Air Force pilot of the near future could interact with the AI via voice commands. AIs also could perform tasks for pilots in single-seat jets that were traditionally reserved for co-pilots, such as radar operation and target identification, navigation, and increased situational awareness.
One particular task Roper has in mind for Skyborg is target recognition-taking sensor data and attempting to identify nearby aircraft, including hostile ones. Such a task mirrors what Radar Intercept Officers, the second crew members manning the F-14 Tomcat, performed in the iconic two-seat fighter jet.
The second system is an AI that would fly an unmanned vehicle, such as Boeing's Loyal Wingman or Kratos Defense's XQ-58A Valkyrie. According to C4ISRNET, such a system might even go into the QF-16 drone. A decommissioned F-16 reconfigured for unmanned flight, the QF-16 currently serves as a target drone. But, powered by a sophisticated AI, it theoretically could become an inexpensive, expendable combat drone that carries its own weapons.
In either of Skyborg's possible roles, the Air Force insists, the emphasis is not on creating a system that can replace pilots (and bring up all the thorny ethical questions involving AIs in combat) but a system that enhances the effectiveness of human pilots, allowing them to manage more tasks in an increasingly complex combat environment. This could help ensure that humans are in the loop when it comes time to release weapons and possibly kill or injure other humans. The emphasis on using AI and autonomous systems to enhance rather than replicate human performance is probably the best way forward for a technology that has spawned concerns that robots could roam battlefields, "Terminator"-style, killing humans without oversight.
U.S. Air Force F-22s, F-16s, and F-15s Just Did a "Dispersal Exercise"


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A) THE PENTATONIC�CHROMATIC SYSTEM
The harmonic types of the chromatic system, that is
(1) alpha chords
(2) 1:2, 1:3, 1:5 models
(3) chords of equal intervals
are characterized by the fact that they unite the tension of the Fibonacci-models with the closedness of the twelve-tone system.
The most characteristic chromatic melodies and harmonies obey the proportions of the Fibonacci sequence. Calculated in semi-tones:
2 means a major second,
3 means a minor third,
5 means a perfect fourth,
8 means a minor sixth,
13 means an augmented octave, etc.
In reality, these numbers express proportion and not semi-tone steps.
As Mozart or Haydn had employed primarily major and minor triads or as we had grown accustomed to seventh-chords in Romantic music, the use of harmonies built of Fibonacci intervals became just as common and predominant in the works of Bartók and Kodály:
We call this type of chord with the collective designation: the alpha harmony � the various sections of which can be distinguished by letters beta, gamma, delta and epsilon.
Chord alpha consists of two layers. In order to establish tonality, at least two notes are necessary: the key-note (C) and one of its overtones: i.e. the fifth (G) or the major third (E). In this simple case the G or E reinforces the C � although G and E has in itself a �dominant� significance.
Type alpha has a strong tonal, even functional character. When, for example, in the main cadence of the �Recruiting Music� Kodály looks for a dominant alpha chord (before the tonic E major), he moulds its upper layer from the melody itself (B-G#-F-D), and the lower layer from the diminished seventh chord C-D#-F#-A:
Thus type alpha is nothing less than the �axis� adaptation of the simple C-E-G or C-G relation (this is why type epsilon rarely occurs owing to the absence of the fifth and major third � G and E � without which the tonal character of the chord is unsteady); the sole requirement is that the chord should be constructed of two layers (two �axes�).
Type alpha complies with two requirements. On the one hand it derives from pentatony. The intervals 2, 3, 5, 8 (or their octaves) sound together with every note of the chord.
This is how in one of Bartók�s choruses the pentatonic DO-SO-LA-MI motif is transmuted into gamma and delta harmonies:
On the other hand, alpha harmonies are axis models and, as such, express the polymodal tensions of the axis system. (See: Fig. 32 on p. 27)
Let us add: the tension of alpha harmonies may � most simply and effectively � be expressed by the symbols of polymodality.
(2) MODELS 1:2, 1:3, 1:5
By the chromatic juxtaposition of intervals 2, or 3, or 5, �closed� scales are produced (i.e. by the periodic repetition of the intervals we are taken back to the starting point).
MODEL 1:2 is an infinite chain of minor and major seconds,
e.g. C-C#-Eb-E-F#-G-A-Bb-C,
MODEL 1:3 is an infinite chain of minor seconds and minor thirds,
e.g. C-Eb-E-G-Ab-B-C,
MODEL 1:5 is an infinite chain of minor seconds and fourths,
e.g. C-C#-F#-G-C.
Model 1:2
Model 1:2 should be considered the �fundamental scale� of the axis system.
In the 12-note system three different 1:2 models may be established, in accordance with the three functions: a tonic, a dominant and a subdominant. Every further form agrees with one of these models, e.g. in C tonality:
All chords and models appertaining to the same axis constitute a functional unit.
1:2 model harmonic turns **)
If we combine a major seventh and a subminor chord � lying a minor third higher � we get the 1:2 model. This combination became current among the Romantics.
In Act I of Tristan, the �inner� world is visualized by the �Tristan chord� (F subminor), while the �outer� world by the chorus of the Sailors � at all times appearing in the form of a �D major seventh� chord.
Model 1:5 represents another typical axis sequence: it rests upon polar relations.
Model 1:2 may be split up into two 1:5 models.
In the Mikrokosmos piece From the Island Bali both left and right hands play 1:5 models, which together create a complete 1:2 model.
The closing chords unite these four elements.
In the final chord two triads are merged: the difference of six accidentals between the two triads create a polar tension and the two triads fuse in a perfect alpha harmony.
1:3 model
While models 1:2 and 1:5 have a powerful �tonal� character, the 1:3 model �annihilates� tonality due to its augmented triad structure. For instance, the C-Eb-E-G-Ab-B 1:3 model comprehends the following triads:
The �floating� quality of model 1:3 was already recognized by Liszt and Wagner.
Complementary (annihilating) keys
A 1:3 model can be created by uniting a major and a minor triad (the latter lying a major third lower).
In this case one triad neutralizes the other since their notes combine in an atonal 1:3 model. This is why such triads express a contrast in their content as well.
The idea of �annihilation� goes back to Romantic models. When Wotan in the great Monologue of the Valkyrie prophesies the Twilight of Gods, his words "Das Ende! Das Ende!" evoke E major and C minor � which tonally destroy each other.
A peculiar manifestation of the �annihilation� idea is Webern�s famous Reihe � in which two 1:3 models are merged:
A change from major to the complementary minor (E major�C minor) results in a �negative effect�, it is associated with gloomy, or even, oppressive and irrational experience. (See Fig. 45 above)
And conversely, a change from minor key to the complementary major (e.g. C minor� E major) creates a �positive� impression, it is inspired by enthusiasm and serenity � like the E major episode at the end of Beethoven�s Piano Concerto in C minor.
In the chorus The Aged, Kodály translates the life-and-death symbolism of the piece into the language of music by means of complementary keys: G major and Eb minor � then Bb minor and D major:
The entire tonal plan of Bluebeard�s Castle is built up of such complementary relations. F# minor is the key of �night� and C major that of �light�. C major can be destroyed by means of the Ab minor key � thus the latter is associated with �death� symbolism. On the other hand, the night�s F# minor can be defeated by Bb major � thus it became the symbol of �love�. The four triads together include every degree of the chromatic scale:
�light�: C-E-G ���� �death�: Ab-Cb-Eb
�night�: F#-A-C# ���� �love�: Bb-D-F
The basic tonality in Kodály�s Psalmus Hungaricus � A minor � is equivalent to weeping, imploration, despair, curse. The dénouement of the action, on the other hand, takes place in the complementary key: Db = C# major. It is the task of Db major to absolve from the weight of the curse: �From you he removes your every burden�. And that of C# major to become the key of elevation and apotheosis: �In honour Thou wilt raise him on high!�
Complementary keys may appear in a hidden form, too. The "Sündenqual-motiv" from Parsifal exerts a tormenting effect because the authentic sequence (moving authentically on the circle of fifths) is coloured by complementary chords: F major and Db minor in b. 1; Db major and A minor in b. 2, etc.
(3) EQUIDISTANT SCALES
Closed sequences may, however, be created by simpler means � by composing equidistant scales from the Fibonacci intervals 2, 3, 5, 8:
from major second intervals (2) whole-tone scale,
from minor third intervals (3) diminished seventh,
from perfect fourths (5) fourth chords,
from minor sixth intervals (8) augmented triad
can be established.
Fourth chords**)
Owing to the folksong inspiration, strikingly frequent is the theme formation and harmonisation with fourth chords. �The characteristic fourth-accumulation in our ancient melodies spurred us on to the forming of fourth chords: we have projected here the horizontal succession into vertical simultaneity� (Bartók: The Influence of Peasant Music on Modern Music, 1920).
This is how Bartók transforms the fourth melody into a fourth harmony in the Violin Concerto:
Tonic�antitonic relations in the pentatonic scale
Thus, fourth chords in Bartók and Kodály�s compositions derive from folk-music, and in keeping with the folksong inspiration, also in the connection of fourth chords the inner laws of pentatony assert themselves.
To mention the most important one: of two fourth chords which are placed at a distance of a minor third (3) or major second (2) from each other, the �tonic� model is always the one which lies a minor third lower or (which means the same) a major second higher than the other. We call one of them the �tonic� and the other �antitonic� model:
In Fig. below, the �tonic� model is represented by fourth-degrees C-F-Bb, and the �antitonic� by fourth-degrees Bb-Eb-Ab.
The tonic-antitonic attraction originates in the SO-RE�MI (DO-SO�LA) cadence so frequent in folk melodies: the SO-RE holds the tension, while the MI corresponds to the tonic resolution:
It deserves a special attention that this time we are faced with a two-function system (and not a three-function one, as in classical harmony).
Incidentally, chords based on the SO-LA-DO-RE structure have a floating, soaring effect since the tonic and antitonic (RE-LA and DO-SO) relation supports not the lower, but the upper note.
Omega chords
In my analyses, the letter omega indicates the whole-tone scale. I have deliberately chosen the letter farthest from alpha because Bartók himself used them oppositely. Alpha is �tense� in character, omega is �dissolved� � and this quality becomes apparent in that the whole-tone scale, as opposed to alpha and pentatonic structures, contains not one single perfect fourth (nor a perfect fifth) without which the tonal character of the chord becomes unstable.
In the 12-tone system two omega scales can be distinguished (6+6 notes), they are mutually �geometrical dominants� of each other (C-D-E-F#-G#-A# and Db-Eb-F-G-A-B): w1 and w2.
Kodály�s chorus Fancy concludes with a complete omega harmony � depicting the peal of bells:
The omega harmony � due to its fluid character � lends itself particularly well for tone-painting (landscape painting). We give a Kodály example:
Because of the contrast, the direct confrontation of the alpha and omega tonalities is very effective. In the third movement of Music for Strings, Percussion and Celesta, the central �light� theme � accompanied by the high-pitched cymbal � also includes this duality. The motif is �centralized� around the C note. Depending on whether it occurs in root position or inversion,
it can be accompanied by omega chords (Fig. 53 on p. 35) or by alpha chord: through the periodic repetition of diminished triads, a closed alpha structure is created:
In practice, the Fibonacci models � i.e. alpha and axis harmonies, 1:2, 1:3, 1:5 models and equidistant scales � merge into each other. In Fig. below, the hunting ostinato is quoted from the chromatic first movement of Bartók�s Sonata for Two Pianos and Percussion:
The entire chromatic scale is included in the twelve notes of the ostinato. A pole�counterpole relationship exists between the opening and the closing notes (upper part A and Eb, lower part F# and C), forming together an axis arrangement: F#-A-C-Eb. The upper part is composed of the A-B-Db-Eb-F-G omega scale (its formula being 2+2+2+2+2+2), while the lower part of the complementary omega scale � F#-G#-Bb-C-D-E. The two parts progress in parallel minor thirds (3). Motivically, each part is built of minor sixth (8) elements: the upper part of augmented triads A-F-Db and B-G-Eb, and the lower part of augmented triads F#-D-Bb and G#-E-C (8+8+8). The harmonic character of the ostinato is defined by gamma chords (3+5+3) and 1:3 models:
The two 1:3 models can be fitted chromatically. Thus all of the structural elements are �Fibonacci formulas�.
B) THE DIATONIC-OVERTONE SYSTEM
ACOUSTIC (OVERTONE) CHORD
The basic form of the diatonic system is the so-called acoustic scale (DO-scale with FI and TA), e.g.
C � D � E � F# � G � A � Bb � C
and the acoustic harmony, for example, C major triad with natural seventh Bb, acoustic fourth F#, and major sixth A (�pastoral� sixth) � which is called acoustic since its notes originate in the natural overtone series:
Other examples see: Fig. 87 b on p. 50 and Fig. 107 on p. 65.
The acoustic character becomes even more effective if it is the result of an expansion. The hunting-fugue in Bartók�s Cantata Profana becomes so explosive since the minor third changes into major and bursts with an acoustic fourth (MA-MI-FI):
The perfect fifth frame of the theme and its two �points� � the acoustic fourth at the half-close (FI) and the acoustic MI-TA step at the full close � only enhance the natural atmosphere of the scene.
The acoustic chord, with the exception of one tone, contains a whole-tone scale (omega) as well: Bb-C-D-E-F#. Therefore, the acoustic chord can easily be coloured by the omega scale:
The acoustic harmony is familiar in Kodály�s music too � although he had an affection for the brighter Lydian modality:
In Kodály�s music there is often very little difference between the acoustic harmony and the polar harmony. For example, in Fig. above the first chord is the combination of Bb seventh and E seventh. The acoustic chord of Fig. 84 b consists of the C major and F# major counterpoles.
Now we try to find a new path in deducing the acoustic harmony. Let us start from our observations See: p. 77 that the relative of the C major is A minor � and that of the latter is F# subminor:
The tones have a symmetrical distribution � around the virtual RE (=D) symmetry center! If we combine the tones of the three chords we obtain an acoustic harmony. In both cases FI and TA are determinants of character. And what is evident again: FI and TA are exact reflections of each other in relation to the RE symmetry center.
The acoustic scale became a static �colour chord� because it lacks the two sensitive notes that characterize the major scale: instead of FA and TI (F and B) FI and TA (F# and Bb) notes occur.
What the spectrum of rainbow-colours is in optics, is the natural overtone scale in music. (The term �acoustic scale� comes from me � 1947).
Hypermajor and hyperminor
Whenever Bartók or Kodály intends to endow the acoustic harmony with more �light�, the minor seventh of the acoustic chord is raised to major seventh.
We shall call this chord type (major triad with major seventh) the hypermajor harmony:
The hypermajor embodies the most solemn sound-type in Bartók and Kodály�s music (the opening chords of Psalmus Hungaricus and Budavári Te Deum are hypermajor harmonies) � it has become the characteristic concomitant of apotheoses.
The origin of the well-known �Bartók signature� also goes back to the hypermajor:
The hypermajor owes its light not only to its major character and major seventh, but primarily to its consisting of two perfect fifths (see Fig. 67 above).
In the most pictorial effects the hypermajor harmony merges with the acoustic fourth (FI):
The hypermajor has a counterpart: the hyperminor. Its construction is a minor triad with major seventh (the Eb-G-B augmented triad adds considerably to its individual colouration):
�Your leitmotif� � wrote Bartók in a letter to Stefi Geyer. It is to be found all over where the text speaks of pain and passion (see: Fig. 70 b above).
By inverting Bartók�s �leitmotif of love�, a peculiar kind of chord arises � which in Bartók�s works is associated with the symbolism of death: �Eros turns downwards his torch!�
It appears whenever desire is fulfilled and, as a consequence of the fulfilment, passion ceases. Through the inversion the augmented triad of the hyperminor (Eb-G-B in the foregoing example) moves to the bottom of the chord: A-F-C#; this is the source of the neutralizing effect. The final chord of Bluebeard�s Castle is also a hyperminor-inversion, the whole opera terminates in this symbol of death:
Alpha inversion
If it is true that the diatonic system is merely a mirror-image of the chromatic system,***) then �diatonic� sound-types can be produced by inverting the layers of the alpha harmonies:
The diatonic impression is the direct result of the alpha-inversion being ruled by fifths, major thirds and minor sevenths (i.e. the closest overtones) that are precluded by the alpha harmonies.
Oddly enough, the harmony with a major third above the root and with a minor third below it, evokes the most �opened� impression:
And to bring to an end the interconnections: the alpha-inversion carries in itself the seed of the acoustic harmony as well:
By exchanging the C and F# notes, a polar relationship can be effected (C and F# seventh chords, or C and F# ninth chords). The recapitulation theme in Kodály�s Háry Prelude (Fig. 84 b on p. 48) may be interpreted equally as a C acoustic or an F# acoustic tonality.
This 4-note polar formula started gaining ground already in Romantic music. The tonal nucleus of Station 10 in Liszt�s Via Crucis, or the fortissimo explosion introducing the great ensemble of Act III in Verdi�s Otello, allows the following interpretations:
* Let us summarize the basic types of the two harmonic systems:
CHROMATIC-PENTATONIC SYSTEM DIATONIC-ACOUSTIC SYSTEM
Pentatony, Fibonacci-models Overtone chord, acoustic scale
Alpha chords Alpha-inversion
Models 1:2, 1:3, 1:5 Hypermajor, third-tower
Equal-degree harmonies Equal-degree harmonies
from intervals from fifths, major thirds
2, 3, 5, 8 and minor sevenths
*) It includes subminor chords, too (see. p. 77) (ed.)
**) Title given by the editors.
***) (see pp. 48-50)


text:
INICIO // English // The environmental impact of the Maya civilization
Perennial wetlands were attractive during severe droughts – Photo: H.MontaÒo/EFE
The environmental impact of the Maya civilization
Due to the agricultural systems they used, the Maya could have had a direct impact in the emission greenhouse gases into the air
Due to the rise on population and the environmental pressures, as well as the rise of the sea level from 3,000 years ago, or the droughts of 1,200 years ago, the Maya civilization responded by turning tropical forests in compounds of fields of wetlands by digging canals to manage the amount and quality of water.
These wetlands were used as full-scale agricultural systems for growing avocado, corn, and squash, and were active during extreme natural disasters, such as droughts, and periods of population growth.
The hidden splendor of Mayan city X'baatún
Located in the southeastern Mexican state of Yucatán, X'baatún zealously guards a 37-meter-high pyramid, a ball game, a cenote and several structures
"These perennial wetlands were very attractive during severe Mayan droughts, but they also had to take care of the quality of the water to maintain productivity and human health," explains Sheryl Luzzadder-Beach, co-author of a study just published in the PNAS magazine and researcher at the University of Texas.
The new article is the first to combine LIDAR obtained images – that is, with a laser scanner transported by air – with evidence of ancient excavations of four wetlands in the basin of Belize's Río Bravo, which includes an area of over 14 square kilometers.
Mayan Train puts more than 2,000 jaguars at risk
Experts have suggested building elevated fauna crossings to mitigate its environmental impact
Results reveal that one of them, called Birds of Paradise, is five times bigger than the one previously discovered. In addition, scientists found another compound of wetlands even bigger in that same country.
Hence, the study shows that the Maya had "earlier, more intense, and of more extension anthropogenic impact" in tropical forests than it was known. "These big and complex wetlands networks could have changed the climate long before industrialization, and they can be the answer to how a great civilization nurtured from the tropical jungle," says Tim Beach, main author of the study and researcher of the University of Texas.
Climate changes endangers the Riviera Maya
Climate change and pollution are the main threats to the biodiversity of the Mesoamerican Reef
Higher gases emission
To unveil the vast field of ancient wetlands and the network of canals, the team got 250 square kilometers of high-precision laser images to map the soil underneath the canopy of the swampy forest. Inside, scientists discovered evidence of multiple species of ancient foods such as corn, but also shells and animal bones.
According to researchers, the extension of these systems could have risen the carbon dioxide and methane emissions with the burning of vegetation. As a matter of fact, the biggest rise of methane in the postmodern era, between 2,000 and 1,000 years ago, matches with the creation of these canals, as well as those from South America and China.
What is fuelling climate change and the Amazon destruction?
Fires ravaging the Amazon and the Congo Basin prove that the world is in an era of rapid environmental destruction and climate change with long-term negative consequences
"Even these small changes could have warmed the planet, which provides a sobering perspective for the order of magnitude of the biggest changes during the last century that will speed in the future," highlights Beach.
Researchers pose the hypothesis of the Mayan wetlands' footprint being bigger and imperceptible due to modern plowing, degradation, and drainage. The discoveries are added to the evidence of the first human impact in the tropics and pose the hypothesis of the rise of atmospheric carbon dioxide and methane linked to combustion and the preparation, and maintenance of these agricultural systems used in the early Anthropocene.
Climate change opens new challenges and opportunities in the Northern Pole
For centuries, explorers searched for a route linking Europe, Asia, and the Americas. Today, climate change is making it possible by melting the thick ice cap of the Northern Pole, a scenario of a new military, energetic, and commercial strategic competition between major powers
Mexico's Maya Train and the dangers of habitat fragmentation
The army will protect Calakmul, an ancient Maya city and tropical forest
EL UNIVERSAL in EnglishmayaMayanenvironmentagricultural systemstropical forestjunglewaterfarmingEnvironmental Impactglobal warmingclimate changeGreenhouse Gases


The pyramid civilizations were intentionally created as part of the IS-BE prison system on Earth. The pyramid is alleged to be the symbol for "wisdom". However, the "wisdom" of the "Old Empire" on planet Earth is intended to operate as part of the elaborate amnesia "trap" consisting of MASS, MEANING and MYSTERY. These are opposite to the qualities of an Immortal Spiritual Being which have no mass, or meaning. An IS-BE "is" solely because it thinks that it "is".
MASS represents the physical universe, including objects such as stars, planets, gases, liquids, energy particles and tea cups. The Pyramids were very, very solid objects, as were all of the structures created by the "Old Empire". Heavy, massive, dense, solid objects create the illusion of eternity. Dead bodies wrapped in linen, soaked in resin, placed inside engraved golden coffins and entombed with Earthly possessions amid cryptic symbols create an illusion of eternal life. However, dense, heavy physical universe symbols are the exact opposite of an IS-BE. An IS-BE has no mass or time. Objects do not endure forever. An IS-BE "is" forever.
MEANING: False meanings prevent knowledge of the truth. The pyramid cultures of Earth are a fabricated illusion. They are nothing more than "false civilizations" contrived by the "Old Empire" mystery cult called the Brothers of the Serpent. False meanings were invented to create the illusion of a false society to further reinforce the amnesia mechanism among the intimates in the Earth prison system.
MYSTERY is built of lies and half-truths. Lies cause persistence because they alter facts which are comprised of exact dates, places and events. When truth is known, a lie no longer persists. If the exact truth is revealed, it is no longer a mystery.
All of the pyramid civilizations of Earth were carefully contrived of layer upon layer of lies, skillfully combined with a few truths. The priest cult of the "Old Empire" combined sophisticated mathematics and space opera technology, with theatrical metaphors and symbolism. All of these are complete fabrications of truth, baited with the allure of aesthetics and mystery.
The intricate rituals, astronomical alignments, secret rites, massive monuments, marvelous architecture, artistically rendered hieroglyphs and man-animal "gods" were designed to create a unsolvable mystery for the IS-BE prison population on Earth. The mystery diverts attention away from the truth that IS-BEs have been captured, given amnesia and imprisoned on a planet far, far away from their home.
In the past, Egyptian society was run by the prison administrators or priests, who, in turn, manipulated a Pharaoh, controlled the treasury and kept the inmate population enslaved physically and spiritually. In modern times, the priests have changed, but the function is the same. However, now the priests are prisoners too.
Mystery reinforces the walls of the prison. The "Old Empire" feared that the IS-BEs on Earth might regain their memory. Therefore, one of the primary functions of The "Old Empire" priesthood is to prevent IS-BEs on Earth from remembering who they really are, how they came to Earth, where they came from.
The "Old Empire" operators of the prison system, and their superiors, do not want IS-BEs to remember who murdered them, captured them, stole all of their possessions, sent them to Earth, gave them amnesia and condemned them to eternal imprisonment!
Countless people have spent endless hours attempting to solve the jig-saw puzzle of Egypt and other "Old Empire" civilizations. They are puzzles made of pieces that do not fit. A question states its own answer. What is the mystery of Egypt and other pyramid cultures? Mystery!
"All of the pyramid civilizations of Earth were carefully contrived of layer upon layer of lies, skillfully combined with a few truths. The priest cult of the "Old Empire" combined sophisticated mathematics and space opera technology, with theatrical metaphors and symbolism. All of these are complete fabrications of truth, baited with the allure of aesthetics and mystery.


text:
Notebook Festival
Locarno 2019. Vital Transmissions
Three of the festival's best premieres—"Endless Night," "The Tree House," and Pedro Costa's "Vitalina Varela"—boldly revive the past.
Daniel Kasman
By its nature, the cinema has the power to make the past the perpetual present: living before us forever is what once was. This is true as much for Cary Grant's sly grin as it is for the rubble-strewn Berlin of Germany, Year Zero, equally embalmed for later re-animation. Among the most powerful films premiered at the Locarno Film Festival this year were those that made this extraordinary yet intrinsic facet of the art the focus of their resonance, the thrust of their representational politics, and the boldness of their forms.
Eloy Enciso's Endless Night pointedly blurs the line between past and present to evoke the continuity between today's Spain—economically unstable, politically uneasy, historically blinkered—and Galicia of the Franco dictatorship following the Civil War. In the first of three chapters, we see scenes of dialogs between various people encountered in Galicia as an anonymous young man returns to his region: two beggars on the steps of church, the town's prospective mayor and his assistant, a businessman preparing to emigrate to America, an old widow waiting for the return of her son after the war, and middle-aged townsmen playing cards at a bar. These people are presented simply and directly, their conversations about changing times, money, the glory of Franco, and the senselessness of the war feel at once contemporary and historical. Following the films of Straub-Huillet and Pedro Costa, Enciso is using non-professional actors reciting pre-existing texts in order to re-interpret the ideologies, class and economic disparity, anger, and trauma of older times into a new work of today. The costumes and mise-en-scène could be from now or any time in the 20th century, as Enciso pointedly hangs his film in a nebulous region whose somber shadows stretch across the decades, suggesting the legacy of Franco's era, of its violence and repression, and of its rationalization and valorization, is hardly over and done with or indeed separate from contemporary neoliberal Spain. No: One lives within the other, the repercussions of the past echo and sound in the present.
The second and third chapters of the film sees the man leave town and continue his journey as the sun sets and his unstated mission becomes more clandestine. Is he headed home, joining a resistance, or simply, evocatively, burrowing backward—or, indeed, forward—in time? The second chapter is centered on a long monologue by a woman telling of her imprisonment and her encounter with another woman condemned to death, and the experience of release. The final chapter fully plunges into the dark forest, the man wandering, partly lost, partly questing, deeper into the wilds, while we hear on the soundtrack a long recitation of a letter in fact collaged from many letters written by those in jail to their loved ones at home. Memories, letters, writings brought back to life, visualized as a space between Galicia today and that of a more horrible time. Bravely, the film holds itself between then and now.
Vietnamese director Truong Minh Quý's second feature, The Tree House, also places itself at a remove in order to have a better vantage on the present. Its story is told by a Mars colonist of the future. He looks back upon Earth, which to him is Vietnam, which to him is made of the memories of the country's recently increasingly assimilated indigenous peoples. This extraneous framing story aside, what follows is something just as brave as revealing the tremors of Galician history: a portrait of barely known peoples who up until only very recently lived in near total isolation in the jungles and mountains of central Vietnam, and are now being rapidly integrated into society and losing their original cultures. A collage between diary film, ethnography, and experimental portrait, Truong mixes 16mm shooting of forest hills, old habitations in caves, and ethnic mausoleums, with archive footage and interviews with adults remembering their upbringing outside modern society in order to create an evocative but purposefully inconclusive essay on a precarious indigenous existence. Narrated with a touching sensibility, frequently personal, often forlorn, and sometimes humorous, by this distant spaceman who explains much but also doubts the incursion of his camera and the ethics of his practice, we are introduced to details and echoes of older, marginalized, and isolated traditions and cultures already in the process of being sanded down, losing their original ways of living, their languages, and possibly their memories. The Tree House isn't aiming to preserve these things, but rather to reveal fragments of what remains and pay homage to their fragile present. While the film's shape is a bit of a hodgepodge, it admits to the open-ended nature of its project and the sense that a great deal of this human culture and experience is already beyond the reach of the cinema.
The centerpiece of Locarno this year was by the rare "name" in the international competition, Pedro Costa, whose influence was so strongly felt in Eloy Enciso's Endless Night. Vitalina Varela is far and away the best new film at the festival, taking the most risk, running the most difficult course of existence, devoted with every ounce of its being to the compassionate transmission of another's experience. The Portuguese filmmaker's last feature, Horse Money, won the Best Director award in Locarno in 2014, and while this new film doesn't have the imaginative range of that masterpiece—which was rendered in a remarkable pulses of memories, dreams, nightmares, and history—and feels somewhat uneven in its editing despite its compellingly singular subject, Vitalina Varela is nevertheless a film of fierce determination and paramount resonance.
Those familiar with Horse Money will undoubtably remember an astounding monologue in that film by a striking African woman who recounts how she traveled for the first time ever to Lisbon from her home in Cape Verde to attend the funeral of her husband, who had emigrated there years before and never sent for her. After an arduous journey of much suffering, she arrived too late; the body had already been buried. Costa's new film brings this woman boldly forward to re-tell and re-live this horrendous limbo of arriving in a foreign land to join a man, her love, and finding only an absence, a void, the gloom of the slums, and the unkindness of strangers. This profoundly, empathetically suffocating new film, Vitalina Varela, is boldly named after its protagonist—the last so-named was the filmmaker's landmark documentary, In Vanda's Room (2000), which saw Costa radically transform his productions into more intimate and respectful endeavors that use collaboration between actors and director and an ethic of daily group labor to produce films that hauntingly transform the real lives and stories of Cape Verde immigrants living in Lisbon's slums into a monumental, otherworldly cinema of ghosts, dreams, fear, pain, and longing.
After a nightmarish sequences of somnolent men trudging past under the crosses of an urban cemetery and dispersing into the netherworld of their night-shrouded neighborhood, entering an unknown home where blood is splattered on the bed's pillow, and proceeding to rifle through pockets, sweep up the scene, and burn mementos, we see a tremendous, definitive vision: The vivid figure of a woman standing in an airplane doorway on the tarmac, the planes lit light like giant futurist beasts of unknown origin. Vitalina Varela has arrived. But reality quickly meets her; in a devastating reverse shot, she is welcomed by a group of black women, all service workers at the airport, who tell her she missed the funeral, her husband's house isn't hers—that she has nothing. A wake without a body, a love story without her partner, a return without an invitation, Vitalina Varela's tale is quickly related to us, and what remains for the film to show is the isolation, the insomniac darkness that surrounds the widow's house, the man after man who enter her home to mourn but do nothing to welcome or comfort, the anger and lamentation over the missing years, the mysterious life in Portugal of her husband, the profound insult of never sending for her.
In her sorrow and loneliness Vitalina is drawn to a priest in the neighborhood, played Ventura, Costa's regular actor, collaborator, muse and inspiration, who, unusually, is not playing a version of his own life but rather that of another, a trembling fallen priest who doubts his faith, is wracked with guilt over past wrongs, presides over an empty congregation in his metal shack in the slums, and has turned to drink, finding himself flat on the ground murmuring to himself in the dark. The performance is astounding, Ventura embodying the torment of another, but in some sense this character feels like an undue interruption, taking away from the film's pointed devotion to its solitary woman. Yet the appeal of a man of sympathy and spirit who tries to keeping standing while her own is gone and buried is what draws Vitalina to the priest. This man, this body, absorbs some of Vitalina's pain, but for her the absence is too great. The film resolves no narrative dilemma, but rather is devoted to an anguished documentary expressionism to immerse us in the space—mental, spiritual, and social—of its grieving yet impressively resilient heroine. In an inconceivably moving gesture, the film grants her two visions of Cape Verde, rare glimpses of daylight amid the pools of rich darkness that saturate the spartan, devastatingly impoverished and ramshackle slums. Whether flashbacks to the origin of everything, memories of being home with her love, fantasies of what never was, or the introduction of a new woman, a new couple, and a new generation who may be condemned to repeat Vitalina Varela's path of happiness lost, these moments of youth, of daylight, of the mountains of the African islands nevertheless feels granting this lone woman a much needed benediction.
Festival CoverageLocarnoLocarno 2019Eloy EncisoTruong Minh QuýPedro Costa
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