text:
import json
import logging
import re
from urllib.parse import unquote_plus

from streamlink.plugin import Plugin, PluginError, pluginmatcher
from streamlink.plugin.api import validate
from streamlink.stream import HLSStream

log = logging.getLogger(__name__)

QUALITY_WEIGHTS = {
    "src": 1080,
}

@pluginmatcher(re.compile(r"""
    https?://(?:www\.)?dlive\.tv/
    (?:
        p/(?P<video>[^/]+)
        |
        (?P<channel>[^/]+)
    )
""", re.VERBOSE))
class DLive(Plugin):
    _re_videoPlaybackUrl = re.compile(r'"playbackUrl"\s*:\s*"([^"]+\.m3u8)"')

    _schema_userByDisplayName = validate.Schema({
        "data": {
            "userByDisplayName": {
                "livestream": validate.any(None, {
                    "title": validate.text
                }),
                "username": validate.text
            }
        }},
        validate.get("data"),
        validate.get("userByDisplayName")
    )
    _schema_videoPlaybackUrl = validate.Schema(
        validate.transform(_re_videoPlaybackUrl.search),
        validate.any(None, validate.all(
            validate.get(1),
            validate.transform(unquote_plus),
            validate.transform(lambda url: bytes(url, "utf-8").decode("unicode_escape")),
            validate.url()
        ))
    )

    @classmethod
    def stream_weight(cls, key):
        weight = QUALITY_WEIGHTS.get(key)
        if weight:
            return weight, "dlive"

        return Plugin.stream_weight(key)

    def __init__(self, *args, **kwargs):
        super().__init__(*args, **kwargs)

        self.video = self.match.group("video")
        self.channel = self.match.group("channel")

    def _get_streams_video(self):
        log.debug("Getting video HLS streams for {0}".format(self.video))
        try:
            hls_url = self.session.http.get(self.url, schema=self._schema_videoPlaybackUrl)
            if hls_url is None:
                return
        except PluginError:
            return

        return HLSStream.parse_variant_playlist(self.session, hls_url)

    def _get_streams_live(self):
        log.debug("Getting live HLS streams for {0}".format(self.channel))
        try:
            data = json.dumps({"query": """query {{
                userByDisplayName(displayname:"{displayname}") {{
                    livestream {{
                        title
                    }}
                    username
                }}
            }}""".format(displayname=self.channel)})
            res = self.session.http.post("https://graphigo.prd.dlive.tv/", data=data)
            res = self.session.http.json(res, schema=self._schema_userByDisplayName)
            if res["livestream"] is None:
                return
        except PluginError:
            return

        self.author = self.channel
        self.title = res["livestream"]["title"]

        hls_url = "https://live.prd.dlive.tv/hls/live/{0}.m3u8".format(res["username"])

        return HLSStream.parse_variant_playlist(self.session, hls_url)

    def _get_streams(self):
        if self.video:
            return self._get_streams_video()
        elif self.channel:
            return self._get_streams_live()

__plugin__ = DLive


I see a surprising number of client crises that bridge my marketing and legal careers. Where one fails to provide a solution, I can often rely on the other to find a way forward. Some problems, however, remain without either a technical or legal fix. Losing control of your business' domain name is just such a problem.
While some businesses have lost control of their domain names through elaborate hacks or security breaches, the more common problem is rather mundane; the owner simply fails to renew the registration.
Registration of a domain name is a relatively low priority for your average business owner, irrespective of the fact that the firm's web presence, e-mail, and any number of internal network settings hinge on this registration. Part of the problem is simply that registering a domain remains so cheap. It is too easy to forget about something that costs less than a coffee on an annual basis. Registering for multiple years at a time or enabling an auto-renewal on your credit card further marginalize the registration and renewal process.
When your domain eventually does come up for renewal, your credit card may be expired. If the many renewal notices end up in your spam folder or get sent to someone no longer with the company, you may not receive notice that your domain is about to expire. Some domain registrars will go so far as to call to confirm your expiration intentions, but there is no guarantee that they will connect.
Upon expiry, there is a grace period that will vary between registrars (see e.g. Webnames.ca) and top-level domains (e.g. .ca, .com, .lawyer). This is followed by a redemption period where the domain may cease functioning. If you have missed the renewal notices, this is your last chance to fix the problem. If you notice the expiry during this time, contact your domain registrar immediately and request a renewal. If this falls in the redemption period, you will likely need to pay a penalty to renew the domain. This is well worth the cost if the domain is in active use with your business.
Now comes the malicious part. There is an active grey market of people dedicated to buying your domain upon expiry and selling it back to you at inflated prices. This is relatively easy to accomplish because domain registrars post lists of expiring domains. All they need to do is cross reference this list against active business websites.
The cybersquatter will simply buy your domain through the standard process. When you contact them to request that they sell you your old domain, the cost will likely include a markup of several thousand percent. It is not unusual to see a $5 domain with a new price tag of $7,000.
Don't let your domain expire. Ensure that your credit card details are up to date with your registrar and that your contact information remains accurate. In addition, be sure to use a strong password for your domain registration account.
Change domains. This is going to be unpleasant, but it may be the only financially viable option. You will want to get IT support for changing your email as well as assistance from marketing professionals who can help you transfer your website's domain while minimizing losses in your search engine rankings.
Pay the ransom. For some businesses, this will be the cost of continuity. While it certainly encourages the cybersquatters to continue their efforts, I suspect it is unlikely that you will lose control of your domain again.
In summary, please ensure that your business' primary domain names get renewed. We can't help you if you don't.


The D-Link Certified Specialist (DCS) program covers networking theories and configuration lab modules. The purpose of the DCS training is to help participants better understand network standards, protocols, functions, and how to manage network devices. Lab modules cover simple and practical hands-on-scenarios. Lab practice will help to familiarize participants with D-Link products and solutions.
SGT University has set up the state of the art INTEL Intelligent Systems Laboratory, in association with INTEL-FICE. INTEL intelligent system Laboratory is equipped with Intel Galileo board and the necessary peripherals. This laboratory will train the students on Embedded systems and Internet of Things (IOT). Students can utilize the facilities in the laboratory for their academic project work and to develop innovative solutions for the real world problems.


text:
Ihr 106. Geburtstag (alternativ: Der Stolz der Familie) ist ein deutscher Film von 1958 des Regisseurs Günther Lüders. Er ist eine Adaption des Bühnenstücks Mamouret von Jean Sarment.

Handlung
Die Witwe Cäcilie (Margarete Haagen) ist das Oberhaupt der Familien-Dynastie Burger. Sie steht kurz vor ihrem 106. Geburtstag, der im großen Stil und in Anwesenheit des Kultusministers und der Presse begangen werden soll. Die Feier soll eine Einheit der Großfamilie vor der Öffentlichkeit demonstrieren, doch eigentlich hasst jeder jeden und alle sind nur am Geld interessiert, das seit Jahren in der Familie ist, weil nur untereinander geheiratet wird. Der jungen Josefine Burger, die sich in einen Zirkusdirektor verliebt, steht folglich die Enterbung bevor. Um letzteres zu verhindern und Josefine glücklich zu sehen, droht Cäcilie ihrer Familie damit, der anwesenden Presse von ihren Affären mit diversen Männern und den daraus resultierenden unehelichen Kindern zu erzählen.

Kritiken

Weblinks

Nachweise

Filmtitel 1958
Deutscher Film
Filmkomödie
Literaturverfilmung
Curth Flatow

redpajama_set_name: RedPajamaWikipedia


text:
A zenei kriptogram a nyugati zenében olyan hangsorozatot jelent, mely extra szövegtartalomhoz kapcsolható. Leggyakrabban a zeneszerző, vagy más személy nevének betűit hangjegyekkel helyettesítő alakzat, azaz egy zeneszerzőnek vagy más személynek zenei névjegyét jelentheti, vagy esetleg egy szót reprezentáló zenei motívum. Talán a legismertebb zenei névjegymotívum a BACH-motívum, melyet J. S. Bach A fúga művészete XIV. utolsó, lezáratlan fúgájában szólaltat meg.

A zenei kriptogramok alapja a nyugati zene kottaírása, amely nemcsak grafikusan ábrázolja a hangokat, hanem a hangjegyek betűkkel való azonosítását is lehetővé teszi. A zenei hangoknak alapvetően többféle elnevezése is ismert. Az egyik az Arezzói Guidó által kialakított szolmizációs elnevezés (ut = do, re, mi, fá, sol, la, ti, azaz u, r, m, f, s, l, t, vagy másként d, r, m, f, s, l, t). A hangjegyek másik általánosan ismert elnevezése a (C, D, E, F, G, A, H,) elnevezés. A hangjegyek meghatározásának ezek a módszerei lehetőséget adnak zenei motívumokon keresztül nevek vagy akár szavak kódolására. A kottaírásban használt módosító jelek (, , ) a zenei hangok elnevezését is módosítják, melyek a zenei kriptogramok eszköztárát tovább bővítették. Így többek között az E hang félhanggal leszállított neve Esz (E), ami egyúttal több nyelvben az S betű elnevezése is, ezt a szerzők számtalan zenei névjegyben fel is használták.

A kompozíciók művészi alkotások és természetesen nem titkosírások, csak ritka eset, hogy egy zenei motívum kódolt algoritmusa a szteganográfia tárgykörébe sorolható.

Története

Középkor
Attól kezdődően, hogy a kialakulóban levő nyugati kottaírás a hangjegyeket már a 10. századtól betűkhöz kapcsolta, lehetővé vált volna a folyamat megfordítása, azaz betűket is kódolhatott volna egy-egy hangjegy. Azonban a középkorban a zeneszerzők nem fedezték fel ezt a lehetőséget.

Reneszánsz
A reneszánszban született meg a kezdeti zenei kriptogramként felfogható módszer, a soggetto cavato, mely a szolmizációs nevekre épült. Az első, aki élt ezzel a módszerrel, azaz a szótag-szolmizációs név párosítás lehetőségével, Josquin des Prez volt. Josquin a ferrarai hercegnek ajánlott Missa Hercules dux Ferrariae című miséjében a dedikált latin nevét – Hercules Dux Ferrariae – használta fel. A Her-cu-les-Dux Fer-ra-ri-ae szöveg szótagjait szolmizációs nevekhez rendelte, ezzel határozva meg azok hangmagasságát, majd az így kapott témát a mű cantus firmusaként használta. Josquin des Prez szisztémája a név szótagjainak magánhangzói és a szolmizációs elnevezések magánhangzóinak azonosságán alapult. Így a ferrarai herceg nevéből, "Her-cu-les-Dux Fer-ra-ri-ae", azaz "Her-cu-les-Dux Fer-ra-ri-ae" névből szolmizációs sor lett, a "re-ut-re-ut-re-fa-mi-re", azaz "re-do-re-do-re-fa-mi-re" hangsorozat született, mai notációban D-C-D-C-D-F-E-D. Számos reneszánsz zeneszerző is élt a soggetto cavato módszerével, köztük Adrian Willaert és Costanzo Festa.

Barokk kor
A zeneszerzők saját nevük kódolásának lehetőségével elsőként a barokk korban éltek. A leghíresebb példája ennek J. S. Bach A fúga művészete XIV. utolsó, befejezetlen fúgájában megszólaló BACH-motívum, melyet saját családnevének betűiből maga Bach formált. Bach a német nyelvterületeken – és nálunk is alkalmazott – notációs rendszerre építette saját zenei névjegyét, később a motívum a zenetörténetben számos műben is szerepelt. Nem sokkal később egyik fia, C. Ph. E. Bach is élt a lehetőséggel, ő már nem csak családnevét, hanem keresztneve kezdőbetűit is beleépítette saját névjegymotívumába, a C. F. E. BACH-motívumba. De más kortársaik is alkalmazták ezt a módszert.

19. század

A romantikus korban még több zeneszerző élt a betű-hangjegy párosítással. Robert Schumann majdhogynem megszállottan komponált műveibe névjegymotívumokat. Az 1834-ben született Karnevál (op. 9) szinte minden szakasza tartalmaz zenei kriptogramot. A darabban első szerelme, Ernestine von Fricken szülővárosa nevét, Asch, az A-Esz-C-H motívummal, valamint saját magát családnevének betűivel, Scha, azaz az Esz-C-H-A motívummal szólaltatja meg. Az utolsó szakaszban (Marche des "Davidsbündler" contre les Philistins) megszólaló B-E-S-E-D-H motívum a bibliai város, Bezeth fonetikusan megjelenített zenei megszólaltatása. Johannes Brahms is, Schumannhoz hasonlóan négy hangjeggyel jelölte nevét, B-A-H-S, azaz a B-A-H-Esz motívummal az a-moll orgona fúgájában, valamint más zenei kriptogram is hallható Brahms művekben, a német írónő, Gisela von Arnim nevét háromhangjegyes motívummal szólaltatja meg, azaz a Gis-E-La (Gisz-E-A) motívummal.

Az angol zeneszerzők körében a zenei kriptogramok kevésbé voltak népszerűek, kivétel volt viszont Edward Elgar, akit mind a rejtjelezés, mind a rejtvények rendkívül érdekelték. Egy korai Allegretto című, tanítványai, a Gedge nővérek számára komponált darabban nevüket a G-E-D-G-E motívummal szólaltatja meg. Másik jelentős műve, az 1898 és 1899 között keletkezett Enigma variációk számos kriptogramot tartalmaz.

20. század
Haydn halálának 100. évfordulójára, 1909-ben a nemzetközi zenei szervezet, a S.I.M. (Société Internationale de Musique) lapjának szerkesztője, Jules Écorcheville kezdeményezésére hat francia zeneszerző komponált Haydn nevéből képzett motívumra darabokat. A zeneszerzők Maurice Ravel, Claude Debussy, Vincent d'Indy, Paul Dukas, Reynaldo Hahn és Charles-Marie Widor voltak. A Francia módszert alkalmazva Haydn nevéből a H-A-D-D-G motívum született. Mindez a zenei kriptogramokat tartalmazó művek franciaországi elterjedéséhez vezetett. Egy másik ünnepség során, 1922-ben Gabriel Fauré tiszteletére a szerző nevéből kialakított G-A-B-D-B-E-E-F-A-G-D-E motívumra épült művek születtek, a zeneszerzők Maurice Ravel, Florent Schmitt és Charles Koechlin voltak. 1929-ben egy további francia zeneszerző, Albert Roussel tiszteletére íródtak nevének névjegymotívumára komponált darabok, a szerzők többek között Francis Poulenc, Arthur Honegger és Darius Milhaud voltak, viszont eltérő rendszereket használtak. Honegger szisztémájában a H-t követő hangok félhanggal leszállított ill. felemelt változatai is szerepeltek, így a 20. századi enkriptálási módszerekbe már a kromatikát is beemelte.

A 20. században egy ritka eset egy vélt zenei kriptorgrammal volt kapcsolatos. Az I. világháború alatt az Egyesült Államokban kitört németellenes hangulat miatt Bostonban Karl Muckot, a Bostoni Szimfonikus Zenekar német származású vezető karmesterét letartóztatták, sőt a nyomozók J. S. Bach Máté-passiójának partitúrájába írt bejegyzéseit rejtjelezett szövegnek vélték.

Az orosz zeneszerzők közül Dmitrij Sosztakovics a német notációra épülve a D-Esz-C-H motívumot használta több jelentős művében saját zenei mottójaként, nevét németül írva – D.SCH – reprezentálta.

Az amerikai zeneszerző, Elliott Carter, Pierre Boulez nevéből kialakított motívumot használta fel a 2004-ben született Réflexions című művében.

Rendszerek
A reneszánsz kortól többféle módszer is keletkezett, melyeket idővel egymást átfedve is alkalmazták. A legtöbb zeneszerző nevét hangjegyekbe nem szedhette, így "zenei névjegykártyát" nem alkothatott. Más zeneszerzők nevének nem minden egyes betűje volt egy-egy hangjegyhez köthető, ezért különböző módszerekkel jelenítették meg nevüket zenei motívumokban. Egyik lehetőség szerint, a motívumból egyszerűen kihagyták a nem "muzikális" betűt, mint Robert Schumann, akinek nevében csak négy betű volt hangjegyhez kapcsolható (S-C-H-A). Egy további szisztéma, mely a francia módszer volt, egy táblázat segítségével vált alkalmazhatóvá.

Szótag – szolmizációs név párosítás
A reneszánszban kialakult módszer szerint szótagokat kapcsoltak szolmizációs nevekhez. A rendszer a szótagok magánhangzóinak és a szolmizációs nevek magánhangzóinak azonosságán alapul. A módszert a reneszánsz jelentős zenetudósa, Gioseffo Zarlino nevezte el, így soggetto cavato néven vált ismertté.

Betű – hangjegy párosítás
Az abc betűire épülő hangjegyelnevezést használták fel zenei névjegyeikben a német zeneszerzők. A módszerrel nem lehetett minden betűt egy adott hangjegyhez rendelni, de A-tól H-ig minden betű képviselve volt. A német nyelvterületeken – valamint nálunk is – az előjegyzés nélküli, (angolul B-natural) B elnevezése H-ra módosult, így a félhanggal leszállított H neve maradt a B. Ez jelenik meg az első legismertebb zenei névjegyben a B-A-C-H motívumban. Ezen kívül alkalmazták az abszolút szolmizációs neveket is, a francia és az olasz hangjegyelnevezést alapul véve (Do-Re-Mi-Fa-Sol-La-Si-Do), de már azoknak nem a magánhangzóit, hanem a kezdőbetűit, vagy a teljes szolmizációs nevet is felhasználva. Így lett a D (re) az R betűt jelölő hang, az A (la) az L betűt jelölő, vagy esetleg egy egész szótagot képviselő. A módosított hangjegyek elnevezése is bővítette a megszólaltatható betűket. A kezdetben az egy az egyben egymáshoz rendelhető betű-hang párosítás egyre többféle hozzárendelést biztosított.

Francia módszer
A zenei kriptogramok egy újabb módszere, az úgynevezett francia módszer, a 19. század vége felé jelent meg. A kvázi zenei sifrírozó rendszer szerint egy táblázat felső sorába helyezték el a diatonikus skála hét hangját képviselő betűket, és egyszerűen a skála hangjai alatti három sorba rendezték el az abc további betűit. Így a betűk A-tól G-ig – a diatonikus skála hangjai – a legfelső sorba kerültek, az első sor alatt pedig a következő három sorban a H-N, az O-U és a V-Z közötti betűk szerepeltek. A zenei motívumban pedig a skálán kívüli betűket az adott betű feletti legfelső sorban levő, a diatonikus skála megfelelő hangja helyettesítette. Mivel ebben a rendszerben egy zenei hang több betűt is reprezentálhat, így a motívumokba rejtett kriptogramok felismerése is nehezebbé vált.
{| bgcolor="white" cellpadding="5" cellspacing="1" border="1" style="font-size: 100%; border: #cccccc solid 1px; border-collapse: collapse;"
|- bgcolor="#F0E0A0"
! A
! B
! C
! D
! E
! F
! G
|-
| H
| I
| J
| K
| L
| M
| N
|-
| O
| P
| Q
| R
| S
| T
| U
|-
| V
| W
| X
| Y
| Z
|
|
|}

Ezt a táblázatot alkalmazták a francia zeneszerzők Haydn halálának 100. évfordulója alkalmából a Haydn nevére komponált műveikben, az Y-t a D hanghoz, az N betűt a G hanghoz rendelték, viszont Haydn neve első betűjét nem a táblázat szerint választották, hanem meghagyták a "H" hangjegyet, ezáltal a túl sok hangismétlést elkerülték. Így keletkezett a H-A-D-D-G motívum.

A motívumok listája

Az alábbi lista az ismertebb zeneművekben megjelenő és a zeneszerző vagy a mű dedikáltja vagy akár más személy nevének betűiből kialakított zenei motívumokat tartalmazza.
 A, B , E, B , A (= A, B, E, B, A)
 a motívumot Aubrey Brain angol kürtös nevének betűiből Gordon Jacob angol zeneszerző komponálta a szerző Fúvós-zongora szextettjében, melyet Aubrey Brain emlékére írt.

 A, B , H , F (= A, B, H, F)
Alban Berg saját nevének, azaz Alban Berg valamint Hanna Fuchs-Robettin monogramját felhasználva (A. B. és H. F.) szólaltatja meg a motívumot a Lírikus szvitjében.

A, B , E, G, G (= A, B, E, G, G)
azaz Meta Abegg, egy kitalált női név, ami Robert Schumann ABEGG-variációk (op. 1) című művének elképzelt ihletője nevéből kialakított zenei motívum.

A, D, A, A, F (= A, L, A, I, N)
 Jehan Alain (Jehan Alain) zenei névjegye, melyet Maurice Duruflé a Prélude et Fuge sur le nom d'Alainban (op. 7) szólaltat meg, a zenei kriptogram a Francia rendszeren alapul, viszont a táblázat második sorát az 'I' betűvel kezdi a francia hangjegyelnevezést követve.

A, D, E , C, H, F, E (= A, D, S, C, H, F, E)
 Alfred Schnittke (Alfred Schnittke) és Vladimir Feltzmann (Vladimir Feltzmann) nevéből képzett motívum, mely Alfred Schnittke Szonátájában (no. 1.) szólal meg.

A, E , C, H (= A, S, C, H) és A , C, H (= As, C, H)
 Robert Schumann op. 9-es zongoraciklusában, a Karneválban felbukkanó motívum. A zenei motívum Schumann romantikus kapcsolatát reprezentálja az Ašból – németül "Asch" – származó Ernestine von Frickennel. A motívum a betűk sorrendjének felcserélésével egyúttal Schumann nevéből is képezhető – Schumann. Meg is jeleníti a ciklus Szfinx tételében augmentálva, egészhangokként: E , C, H, A (= S, C, H, A). Mind a két motívum, azaz az ASCH és az SCHA felbukkan még Schumann Bécsi farsang című művében is (op. 26).

[A], E , C, H , B , E , G (= [A], S, C, H, B, E, G)
 Arnold Schönberg (A. Schönberg) zenei névjegye, azaz a Schönberg-hexachord, mely a szerző Seraphita c. dalában (op. 22 no. 1) és A szerencsés kéz (op.18) című színpadi művében szólal meg.

B , A, C, H  (= B, A, C, H)
 az ominózus BACH-motívum, a legismertebb zenei kriptogram, melyet Johann Sebastian Bach, (J. S. Bach) saját családnevének betűiből formált.

B , A, H, E , (= B, r, A, H, m, Es)
 Brahms névjegymotívuma, melyet Alfred Schnittke a Quasi Una Sonata című művében szólaltat meg, a darabban megjelennek egyéb zenei utalások, többek között a B-A-C-H-motívum is.
B , A, F (= B, La, F)
 Mitrofan Beljajev családnevéből alkotott motívum, melyet Rimszkij-Korszakov, Borogyin, Anatolij Ljadov és Alexander Glazunov is megszólaltat vonósnégyeseikben.

B , D, G , A, C, F (= B, Re, Gis, La, Do, Fa)
az orosz kifejezést alapul véve, берегись Лядова (beregisz Ljadova, azaz óvakodj Ljadovtól), melyet Nyikolaj Mjaskovszkij szólaltat meg vonósnégyesében (no. 3).
 B , E, B , A vagy B , A, B , E (=B, E, B, A vagy B, A, B, E)
 Bartók Béla (Béla Bartók) névjegymotívuma, attól függően, hogy magyar vagy nem magyar sorrendben írjuk nevét.

C, A, G, E (= C, A, G, E)
 John Cage (John Cage) névjegye, mely megszólal Pauline Oliveros művében és a Penguin Cafe Orchestra vezetője által írt CAGE DEAD c. darabban.

C, F, E, B , A, C, H  (= C, F, E, B, A, C, H)
 Carl Philipp Emanuel Bach nevéből kialakított motívum, melyet nemcsak a családnevéből, hanem az olaszul írt keresztneve betűiből – C. Filippo. E Bach. – formálta C. Ph. E. Bach. A motívumot a Brüsszeli Konzervatórium könyvtárában fellelt Fughetta témájaként szólaltatja meg J. S. Bach második legidősebb fia.

D, E , C, H (= D, S, C, H)
 Dmitrij Sosztakovics zenei névjegye, (D. Schostakowitsch), mely Sosztakovics több művében is megszólaló téma, az op. 93-as 10. szimfóniában, az 1. csellóversenyben (op. 107), és az 1960-ban keletkezett 8. vonósnégyesben (op. 110) is.

E, A, E, D, A (= E, La, Mi, Re, A)
az Elmira Nazirova (Elmira Nazirova) motívum, melyet Dmitrij Sosztakovics tanítványa nevéből alkotott, a motívumot Sosztakovics a 10. szimfóniájában rejtette el.

E , A, C, H, E, D (= Es, A, C, H, E, Re)
a Paul Sacher (Paul Sacher) motívum, mely Sacher-hexachord-ként is ismert.

E, C, H, A (= S, C, H, A)
 R. Schumann zenei névjegymotívuma, Schumann az op. 9-es zongoraciklusában, a Karneválban bukkan fel, valamint Bécsi farsang című művében is (op. 26).

F, A, E és F, A, F
 azaz Frei aber einsam és Frei aber froh, magyarul "Szabad de magányos" és "Szabad de boldog"; az előző Joachim József személyes mottója volt, a téma a számára komponált F-A-E Szonátában hallható (Robert Schumann, Johannes Brahms és Albert Dietrich közös kompozíciója), az utóbbi Brahms mottója volt, mely a 3. szimfóniájában (op. 90.) szólal meg.

F, E , C, H (= F, S, C, H)
 Franz Schubert (F. Schubert) zenei névjegye.

G, A, B , D, H , E, E, F, A, G, D, E (= G, A, B, Re, H, E, Le – F, A, Ug, Re, E)
Gabriel Fauré zenei névjegye, mely Henri Prunières által a La revue musicale 1922. októberi számában Fauré tiszteletére felkért művek témája volt. Egy másik motívum, az F–A–G-D szintén Fauré névjegyeként jelenik meg egy több szerző által komponált vonósnégyesben 20 évvel később.

G, A, D, E
 Niels Gade zenei névjegye, melyet Schumann a Jugendalbumban (op. 68.) a "Skandináv dal" (no. 41) motívumaként használ fel, a darab alcíme "Üdvözlet G-nek". A motívum szerepel Niels Gade saját zongoradarabjában is, Drei kleine Clavierstücke, (op. 2a, no. 3), Alla marcia.

G, E , A, H (= G, Es, A, H)
 Gustav Holst (Gustav Holst) névjegymotívuma.

H, A, D, D, G (= H, A, Y, D, N)
 Joseph Haydn zenei névjegye, többek között Maurice Ravel a Menuet sur le nom d'Haydn című művében szólaltatja meg, melyet Joseph Haydn halálának 100. évfordulójára komponált – több más felkért zeneszerzővel együtt -, a motívum a Francia módszeren alapul.

Kapcsolódó szócikkek
 BACH-motívum
 C. F. E. BACH-motívum
 Sacher-hexachord
 Schönberg-hexachord
 DSCH-motívum

Jegyzetek

További információk
Ondine Tobin Young (1996). Frei aber einsam, frei aber froh: cyphered motives and performance practice. University of California, Santa Cruz.

Zeneelmélet
Kriptográfia


text:
17 LISTSA Day at the Amusement ParkWhat more amusing than a day at the fun park?
The Greatest Roller Coaster Pics Ever Taken
Employee Code Words and Lingo
The Worst Ever Amusement Park Accidents
Rides You'd Hate to Get Stuck On
Amusement Parks That Are Actually Haunted
Insanely Reckless Theme Park Rides
The Best Parks for Roller Coaster Junkies
Creepy Pics of Abandoned Parks
Celebs Who Acted Like Jerks at Theme Parks
The Best Theme Parks in America
The World's Must-Ride Coasters
Celebs Who Worked at Disney
Absurd Parks in Other Countries
Things to Know About SeaWorld
Lines That Are Actually Fun
Theme Park Guides Won't Tell You These Secrets
The Best Rides at Hersheypark
Updated August 19, 2021 5.6k votes 1.7k voters 47.6k views
List RulesVote up your favorite rides at Hersheypark.
Before you head out to find a roller coaster, check out this list of the best rides at Hersheypark, including videos, types of rides, and more information. This list of the best Hersheypark attractions includes roller coasters, kids rides, indoor/dark rides, and water rides, as well as parades, live shows, and Hersheypark tours - all ranked so you can decide which ones to hit up first!
The rides on this list have been voted on by amusement park fans and Hersheypark enthusiasts. From the newest rides at Hersheypark to the classics that have been around forever, this is a list of all the most famous attractions at Hersheypark. Don't like Storm Runner or Skyrush? Vote them down so they don't win.
What are the best rides at Hersheypark? Great Bear and Lightning Racer are a great starting point for your to rank your favorites on this list. Maybe you prefer spinning twisters over basic roller coasters, or maybe you'd rather spend your time on the ground. Whatever the case, this list is how we will finally decide which are the best rides at Hersheypark!
Tidal Force
Video: YouTube
Tidal Force is a high-thrill water ride located at Hersheypark.
Park: Hersheypark
Opened In: 1994
Ride Type: Water ride
Good ride?
Trailblazer is a family roller coaster at Hersheypark amusement park in Hershey, Pennsylvania. It is located in the Pioneer Frontier section of Hersheypark, just below Storm Runner. The ride is notable for being the second-oldest operating coaster in the park, after the Comet, and for its family-friendly height requirement of 36 inches and above with an adult. ...more
Max Speed (km/h): 72.42048
Wild Mouse is a steel roller coaster located in Hersheypark designed by MACK Rides, Germany, in 1999. It is located in the Midway America section of Hersheypark, right across from the Wildcat. Riders are placed in single carts on a thin track. The ride frequently makes sharp turns, giving riders the illusion they are about to fall off the track. When this occurs the riders are jerked as they turn. In October, when Hersheypark is decorated in a Halloween theme, the Wild Mouse is dubbed Mouse Stew. Hersheypark usually runs their Wild Mouse with very little braking on the upper level, loading slow-moving cars in the station, and allows four adults per car. By comparison, Dorney Park & ...more
Opened In: 1999-05-08
Height (m): 13.716
Max Speed (km/h): 45.061632
Wildcat is a wooden roller coaster located at Hersheypark in Hershey, Pennsylvania. The coaster opened on May 26, 1996, as the anchor attraction of the Midway America section of the park. Wildcat was the first coaster built by Great Coasters International, and initially ran with trains built by the Philadelphia Toboggan Company until 2007 when they were replaced with GCI's Millennium Flyer trains. ...more
Max Speed (km/h): 80.4672

redpajama_set_name: RedPajamaCommonCrawl


Whenever I finish any piece of jewelry, I'm always happy and amazed at the sheer beauty! The colours, the feel, the design and the over all look makes me smile and fulfilled. Sometimes, they look so beautiful, I wonder how to transfer this from reality to pictures for my website and social network page.
This was a big challenge for me sometimes ago. This is why I have decided to share my journey of photography...transferring beauty from reality to pictures. Still improving and learning, but have also improved quite well considering the fact that I didn't train or attend any photography class.
The first camera I really ever used for my jewelries was a Nikon D 60 digital camera. My husband bought it on one of his numerous trips. It is an expensive camera and a bit big for me to handle.
Another thing, there were so many features to learn and understand. I'm not a photographer! I just want to get good pictures of my jewelries for upload! The early pictures I took with is camera were terrible! They were blurry, dark and ugly no thanks to the many features I had to learn and adjust.
Lesson 1: Get a camera that is portable with high mega pixel, with simple features/setting and more importantly affordable. You don't have to break the bank because of a camera. I came to know from experience, that I don't really need a professional or expensive camera to get excellent results.
When I finish any piece of jewelry, I always take the photograph before delivery. However, I noticed any picture I took in the evening do not really capture the piece as it is. The colours, the brilliance and the entire beauty of the jewelry is understated and sometimes even ugly!
Lesson 2: Take your pictures during the day when the sun is out. Anytime I finish a piece of jewelry in the evening or night, I wait till morning to take the pictures. And do you know the result? Stunning beautiful pictures!
After capturing your jewelries, you need to prepare for upload. You need a computer or laptop to transfer these pictures. So what next? You edit them. How? I use Picasa to edit my pictures.
It's free and the quality is perfect.
Lesson 3: If you have to edit your pictures for free, then use Picasa. Just download into your computer or laptop for free and you are ready to go!
Finally, know that "Rome wasn't built in a day".So you need to learn and get better at doing this. You have to be patient with yourself and your camera.
Lesson 4: Be patient, practice and you would get better and get it right.
It's been a wonderful journey because, I can get to capture the same beauty of my jewelries into pictures without feeling less happy with the result.
I can't ask for more!
Let me know the outcome of your experience and possibly, share any new tips.
The BeadStyle Magazine Competition 2015: ROYALTY Won!
Copyright © 2007-2011 Fulfill Jewelry. Picture Window theme. Theme images by carlosalvarez. Powered by Blogger.


After working weeks, months, or even years to build an audience on Instagram, losing followers can feel like a huge defeat. And for those of us who post great content, receive high engagement (likes and comments), and feel as though we've found our niche, losing followers feels completely unsubstantiated. So what's exactly is going on? We have a few theories.


First look at Prey filming... behind the scenes photos!
The second series of hit ITV drama 'Prey' began filming this week in Manchester and yesterday Philip was on set in Eccles, first at the Old Bull's Head pub and then in the local shopping precinct.
Thanks to Anthony Mills (@ecclesman) we can bring you some great behind the scenes shots of Philip.


text:
← A Message for Today and Tomorrow in 2015-and-Thereafter
Yal Devi is generating more than Smoke →
The Sirima Shastri Pact of 1964 in Retrospect Today: An Indian Origin Tamil Viewpoint
PK Balachandran, courtesy of the New Indian Express, where the title reads: "Indo-Lanka pact on Indian Origin Tamils looks good in retrospect"
Fifty years after the signing of the controversial India-Sri Lanka Agreement on the citizenship of nearly one million Indian Origin Tamils (IOT) in Sri Lanka, the community is seeing it as a blessing in disguise and not as a tragedy. The pact, signed by Prime Ministers Lal Bahadur Shastri and Sirimavo Bandaranaike in 1964, unjustly apportioned the IOT (mostly ill-paid workers in the island's tea and rubber plantations) between the two countries without consulting them.
"They were apportioned as if they were a sack of potatoes. Nevertheless, the pact gave Lankan citizenship to 300,000 IOT, something which had been denied to them immediately after Lanka became independent in 1948," pointed out R.Yogarajan, an IOT leader and opposition MP. "By 1987, this nucleus had yielded a voting population of 250,000, with which the leaders of the IOT assiduously bargained with the mainstream Sinhalese parties to secure, by 2003, Lankan citizenship for all, including those who had been forced to opt for Indian citizenship under the 1964 pact," he said.
The first breakthrough came in the run up to the 1988 Presidential election. The United National Party (UNP) candidate, R.Premadasa, was fighting with his back to the wall. Eager to secure the votes of the IOT, he pledged to give citizenship to all those who had not applied for Indian citizenship. The opposition Sri Lanka Freedom Party did not oppose the move as it did not want to lose IOT votes to the UNP forever.
But there still remained 168,141 who had applied for, or had got Indian citizenship but who were either not repatriated to India, or did not want to be repatriated. In 2003, thanks to Yogarajan, these too got Lankan citizenship. His backroom diplomacy had led to an all party consensus on the issue.
R Yogarajan
Lanka had indeed come a long way from the 1930s and 40s when mainstream Sinhalese parties were hell bent on sending the IOT packing to India as they were seen as a political threat (being the country's largest minority) and a pawn in India's hands.
Filed under accountability, communal relations, constitutional amendments, discrimination, historical interpretation, Indian Ocean politics, life stories, politIcal discourse, reconciliation, self-reflexivity, Sinhala-Tamil Relations, sri lankan society, Tamil migration, working class conditions
One response to "The Sirima Shastri Pact of 1964 in Retrospect Today: An Indian Origin Tamil Viewpoint"
Pingback: Non-existing ethnic problem in Sri Lanka | SRI LANKA


When this card is Normal Summoned: Target 1 monster on the field; destroy it, and if you do, your opponent takes damage equal to half the original DEF of the destroyed monster. When this card destroys an opponent's monster by battle, inflict 1000 damage to your opponent.
ATK increased to 2500, banishment effect changed to affect ANY monster with a Level, damage halved from taking out a Level 4 and under.
Increased damage from burn to 800.
Banish changed to destroy; can target any monster. Second burn effect hits for 1000 now.
Edited by Sakura Haruno, 31 March 2014 - 04:16 AM.
Looks quite weak for today's standards. The removal effect is more situational than Zaborg's, and burning for 500 only when it kills a monster by battle (not an easy feat to fulfill anymore with all the removal effects around) is not really impressive.
In my opinion, at least you could raise the ATK to 2500 so it will be stronger than Monarchs and increase its chances of killing monsters. But allowing it to banish any monster would be much better, while reducing the damage inflicted through this effect to half the DEF to prevent it from inflicting high amounts of damage (2000+). If you want to further nerf the effect, you could limit the targets to monsters with a Level so Xyzs would be safe from it.
Another idea is that the burning part of the first effect could apply only when a Level 4 or lower monster is banished.
It affects stuff with a Level now and damage from burning is halved.
As you suggested, its ATK has been raised to 2500 so it can destroy Monarchs and some other stuff.
I was originally making the burn effect 800 on this review, but I decided to increase it to 600.
Hm. The only relevant reason to run this over a Monarch is Mausoleum of the Emperor. But even then I'm not sure it warrants such a limited application. The first burn effect will not be relevant often and when it does, it's hurting you as much as the opponent, which isn't something you even want if you're running this with Mausoleum. The second burn effect is cute, but it will only get a max one use, unless you're using some convoluted combo or your opponent has no outs to this... and if your opponent has no outs to this, they'll die whether you burn them or not. Add to that that the banish effect requires your opponent to not Xyz, or for you to run some convoluted combo that makes him keep some levelled monsters on the field (and if you're running that, why aren't you blanket-removing monsters outright with the same or less amount of cards?) and this is really just... something I might run in Hazy Flame if it was worth running Mausoleum in it, which it isn't.
Plus, I don't feel like the effect fits thematically. Banishing your opponent's monsters is more of a Light/Dark theme, Fire should be more about destroying. If you replaced Banishing with destroying, you could safely beef the rest of the card and make it a better option - people aren't gonna run a subpar Banish card just in case they run into some destruction-resilient effect, but people are gonna run a destruction card that's actually good. Then you could scrap the Levels-only part, and increase the second burn effect to like 1000.
I scrapped the entire Level thing, made it destroy (because that's what they're known for doing) and the destruction burn hits for 1k now.
I'm admitting that it's a lot of damage for just killing a monster in battle.
Anyway, thanks for the CnC.
When this card is Normal Summoned: Target 1 monster on the field; destroy it, and if you do, both players take damage equal to half the original DEF of the destroyed monster. When this card destroys an opponent's monster by battle, inflict 1000 damage to your opponent.
Only OCG error (not actually error) I could found, it shares the same effect of Pyrorex the Elemental Lord so you could use that lore. Aside from that, I dont think I have more to say than was already stated. It fits the original theme of FIRE monsters, that is to burn and destroy things. In a meta like nowdays, this card would never see play, it is more for casual, because even some of the Monarchs are more powerful than this one, Caius and Raiza here, bounce to top deck and banishment is always better, even if destroying a monster for its effect causes burn. You could just let your opponent have the damage, to equalize the power of this card with the monarchs.
You could just let your opponent have the damage, to equalize the power of this card with the monarchs.
You forgot to mention the fact this card's 2500 > Monarch's 2400.
Not that it's all that relevant, but still. Also because DEF stats are typically lower, unless it's like a boss monster or something, full DEF damage wouldn't really be all THAT intimidating.
At the moment, only thing Monarchs don't have over this card is a power boost.
If it were killing smaller monsters, then I'd probably consider full damage but since this could in theory kill F.G.D or something (but that's rare nowadays since Future Fusion is banned). The most you'd have to worry about is 3000-something damage.
But I'll just burn the opponent instead of both players take it (only reason you'd keep it at this point is some random Prime Material Dragon effect or something to eat the damage).


The solution for the Contested Garment Problem proposed in the Babylonic Talmud, one of the most important sources of inspiration for solving situations where demand overcomes supply of some resources, suggests that each agent should receive at least some part of the available amount when facing these situations. This idea has underlied the theoretical analysis of bankruptcy problems from its beginning (O Neill, 1982) to present day (Dominguez and Thomson, 2006). In this context, starting from the fact that a society establishes its own set of Commonly Accepted Equity Principles , we propose a new lower bound on awards de ned, for each agent, as the minimum amount she gets according to all the admissible rules for such a society. Moreover, we analyze the recursive application of this new bound, since it will not exhaust the resources, in general.


text: In the history of music, it's likely that no other performer has been as inexhaustible as the Godfather of Soul. Before he was The Hardest Working Man in Show Business, James Brown was a poor boy from South Carolina, born in 1933 in a wooden shack. Convicted of robbery at 16, Brown started a gospel quartet behind bars, and singer Bobby Byrd's family helped him get out early. Released under the name James Brown & The Famous Flames, 1956's gospel-inflected "Please, Please, Please" gave Brown his first taste of chart success, but it took nearly a decade of relentless touring to make good on it. With 1963's blazing Live at the Apollo, listeners got a proper taste of Brown's explosive talents, and from the mid-'60s to the mid-'70s, he burned up the R&B charts. It's this era that defined Brown's musical legend, and during those years he evolved from upbeat soul (1965's "Papa's Got a Brand New Bag, Pt. 1") to funk marathons (1970's "Get Up I Feel Like Being a Sex Machine," which features his all-star band, The J.B.'s), and amplified a message of Black empowerment with 1968's "Say It Loud (I'm Black and I'm Proud), Pts. 1 & 2." In the '80s, artists who sampled his music, like Afrika Bambaataa, with whom Brown collaborated on 1984's hopeful "Unity, Pt. 1: The Third Coming," placed him at the vanguard of rap. The relationship was fruitful; Brown's music lives on in a wider sense than he might have dreamed—as the most sampled artist of all time.


Josh Duggar pictured with his wife, Anna.
The 19 Kids and Counting family have been under intense public scrutiny since the year 2015 started. With the media exposure of the teenage indiscretions committed by Jim Bob Duggar and Michelle Duggar's eldest son, Josh Duggar, the entire brood suffered. The revelation of Josh's troubled past, which also affected younger sisters Jill Duggar Dillard and Jessa Duggar Seewald, brought forth the cancellation of the reality series 19 Kids and Counting.
Throughout the issues, the support of Josh's wife, Anna Duggar, remained unwavering. The mother-of-four stood by her husband despite the unbearable criticisms their family faced. However, the revelation of Josh's extramarital affairs put a stop to Anna's bravery. Further adding insult to injury was the fact that Josh committed these affairs by signing up to the Ashley Madison site - an online service that offers discreet and confidential arrangements for committed men who are searching for lovers outside of their marriage.
Since the news of Josh's infidelity broke out, Anna and her children withdrew from the spotlight. Even after her husband announced his plan of committing himself to a treatment facility, Sources claim that she and her children are still processing the betrayal. Divorce rumors also continue to be rife following the decision of Anna to move out from the family home.
So, how does one find courage and understanding to deal with this kind of situation? Where does one gather the strength to forgive and move on from these events? Here are verses from the Bible to help those in need of inspiration at a time of sadness and betrayal.


text:
The Same Incompetents as Before Are Nominated for Top EU Posts
July 3, 2109 (EIRNS)—The EU establishment shows no intent to go for any constructive change of policies: the wheeling and dealing of the EU Council July 1-3 summit over the nominations for the replacement at the top posts of the EU has not generated any sign of reflection about the changing realities. The nominations are: Christine Lagarde for the ECB; Ursula von der Leyen for the EU Commission; Charles Michel (Belgium) for Council President; Josep Borrell Torelles (Spain) for High Representative for Foreign Affairs; a socialist (name not agreed on yet) for European Parliament President.
It is particularly noteworthy that the German business daily Handelsblatt welcomed the nomination of IMF Managing Director Lagarde as European Central Bank president, on the condition that the bank's chief economist Philip Lane play a leading role in shaping its future orientation. Lane, who is Irish, is a vocal advocate of the ECB promoting climate-related financial markets, which are thorough boondoggle, and of the so-called European Safe Bonds, another hyperinflationary boondoggle.
All of the new EU leader candidates stand for the disorientation and degeneracy that is so characteristic for "Europe." It is like plundering Madame Tussaud's salon, not for the prominents in wax but only for their costumes. Von der Leyen's two vice presidents will be Frans Timmermans (Dutch) and Margarete Vestager (Danish).
Whether these candidates are approved by the European Parliament in its session July 15 or 16, however, is up in the air, because the fact that neither the results of the European Parliament elections nor the views of the different groups in the newly-elected Parliament have played a role—instead the nominations have been decreed by the EU leaders—is causing discontent among MEPs. From the side of the German Greens and the German Social Democrats, Von der Leyen is already rejected.


text:
Delta Air warns of loss in current quarter after stronger than expected Q4 profit
By Rajesh Kumar Singh CHICAGO (Reuters) - Delta Air Lines Inc (NYSE:DAL) on Thursday reported higher quarterly earnings on the back of strong holiday travel demand, but warned of...
© Reuters. FILE PHOTO: Delta Air Lines 737 passenger planes are seen lined up on a runway where they are parked due to flight reductions made to slow the spread of coronavirus disease (COVID-19), at Atlanta Hartsfield-Jackson International Airport in Atlanta, Georgi
By Rajesh Kumar Singh
CHICAGO (Reuters) - Delta Air Lines Inc (NYSE:DAL) on Thursday reported higher quarterly earnings on the back of strong holiday travel demand, but warned of a loss in the current quarter through March due to turbulence caused by the Omicron coronavirus variant.
The Atlanta-based carrier's adjusted profit for the fourth quarter came in at 22 cents a share, beating analysts' average estimate of 14 cents per share, according to IBES data from Refinitiv, marking the second profitable quarter in a row.
Delta said the Omicron variant will likely delay the recovery in travel demand by 60 days, but it expects the recovery to resume around the Presidents Day holiday in February.
"Despite expectations for a loss in the March quarter, we remain positioned to generate a healthy profit in the June, September and December quarters, resulting in a meaningful profit in 2022," Dan Janki, Delta's chief financial officer, said in a statement.
Chief Executive Ed Bastian said the company was "confident in a strong spring and summer travel season with significant pent-up demand for consumer and business travel."
A surge in COVID-19 cases, driven by the Omicron variant, has caused havoc for the airline industry. An increase in daily employee sick calls as well as a series of winter storms have led to mass cancellations of flights.
For example, in one day alone nearly one-third of United Airlines' workforce at Newark Liberty International Airport called in sick.
Since Christmas Eve, U.S. airlines have canceled more than 31,300 flights, or about 7% of the scheduled total, according to flight-tracking service FlightAware.
Delta had to cancel more than 2,000 flights. The airline, however, said its operation has stabilized over the past week, with cancellations declining to less than 20 flights a day.
Operational disruptions are projected to add to its cost pressures in the current quarter.
The company estimates revenue in the quarter through March would recover to 72% to 76% of 2019 levels. It expects to restore 83% to 85% of the pre-pandemic capacity in the current quarter.


text:
Scandinavian Mid Century Modern Design - Nordlings Antik
Side & nesting tables
Our jewelry has
its own space!
Continue shopping on
nordlingsjewelry.com
BENGT BERGLUND
Berndt Friberg
Carl-Harry Stålhane
Gunnar Nylund
Fred Leyman Collection
We work here
Happening at Nordlings
Karl Gustav Hansen (1914-2002)
Karl Gustav Hansen was one of Denmark's most distinguished silversmiths of the Scandinavian Modern period. He created modernist designs of superb quality that influenced the direction of modernist silver in Denmark and the rest of Scandinavia. Under his leadership, the Hans Hansen firm employed some of Denmark's best known silversmiths, including Bent Knudsen, Allan Scharff and Bent Gabrielsen. Throughout his 60 year long career, he stayed with the traditional, hand driven way of creating hollowware, even though the industry turned to new automated techniques. He did not want to become a subordinate to the limitations of machines and always strived to grown and excel as an artisan.
Karl Gustav Hansen was son of the renowned silversmith Hans Hansen (1884-1940), who had established his silversmithy in the town of Kolding in 1920. Karl Gustav Hansen started as an apprentice in his father's workshop in 1930, for Einar Olsen, who had been recruited from Georg Jensen the same year. His career began in an exciting time, when concrete forms had to make way for abstract ones with the emergence of functionalism. His hollowware was met with acclaim and proved commercially successful. During this early period he created the church silver for Nørre Bjert Kirke in Kolding.
During Karl Gustav Hansen's apprentice's years, Hans Hansen launched the firm's jewelry branch for the first time. Karl Gustav Hansen's early jewelry designs broke new ground with their pure geometric forms, where strict lines were balanced with unexpected angles, turns and compositions with semi-precious stones. In 1932, Hans Hansen commissioned his son to create a new line of jewelry and Karl Gustav Hansen subsequently proposed more than 50 new designs. All were intended to be hand produced, although the father's plan had been for the jewelry to be made by machine. The "Future" series was born – a line of avantgarde, geometric and balanced designs that also launched Karl Gustav Hansen as a jewelry designer of major influence.
Following his apprenticeship, Karl Gustav Hansen studied for Einar Utzon-Frank at Kunstakademiets Billedhuggerskole from 1935 to 1938. Simultaneously, he worked in the Hans Hansen workshop, which had then moved to Copenhagen. Hans Hansen died unexpectedly in 1940 and Karl Gustav had to take on the role as CEO and creative leader at an early age. It was a rough start in a difficult time of war and German occupation, but the company made it through. After the war, the business grew under Karl Gustav Hansen's leadership. He also served as guest professor at the University of Indiana in 1959, while simultaneously opening more shops, some in collaboration with Anton Michelsen.
In 1953, Bent Gabrielsen was recruited just out of Guldsmedehøjskolen (The Goldsmith's College), where Karl Gustav Hansen was one of the examiners. He became lead designer for the jewelry line, and eventually executive manager, remaining at Hans Hansen until 1969. While Bent Gabrielsen was at the firm, Karl Gustav Hansen almost did not design any jewelry, but returned to this area after 1969. The jewelry from the late 1960s and 1970s is expressive, geometric and sculptural, as well as functionally excellently made and easy to wear.
Through turbulent years and collaborations with sculptors such as Henry Moore and Lynn Chadwick in the 1970s, Karl Gustav Hansen remained as CEO and designer at Hans Hansen until 1987. Hans Hansen eventually merged with Georg Jensen in 1992.
Karl Gustav Hansen participated at the World Exhibitions in Brussels 1935, Paris in 1937, New York in 1939 and 1964, among other exhibitions. He is represented at Kunstindustrimuseum in Copenhagen, Nationalmuseum in Stockholm, The Metropolitan Museum of Art in New York and Victoria & Albert Museum in London, among others.
Literature: Karl Gustav Hansen. Sølv/Silber 1930–1994. Poul Dedenroth-Schou. © Museet på Koldinghus, Kolding, 1994
Posted on October 18, 2019 by Cecilia Nordling
Designers, H - K
Olle Ohlsson (1928-)
Olle Ohlsson is a Swedish silversmith with a unique artistic expression that pushes limits. Trained as an artisan before studying to become an artist, he developed his own style at an early stage and was less influenced by the aesthetic ideals of the time. His work includes jewelry, corpus, sculpture and imaginative utilitarian items, such as bejeweled gold handles for canes.
Olle Ohlsson was born in Stockholm and grew up with his parents and sister in a creative home. His father was a musician and an innovative stay-at-home father. His mother, who was the family bread winner, was a cutter. She had been an artist's model as a young woman and had been model to Carl Milles during the creation of the "Orfeus" sculpture in Stockholm. The unconventional way of life had a big part in shaping Ohlsson into an artist who formed his own path.
He worked as an apprentice at C. G. Hallberg jewelers firm from 1944 to 1949, getting a sterling craftsman's eduction. He proceeded to work for other firms including Atelier Borgila, Erik Fleming, W. A. Bohlin and Claës Giertta. Working for Giertta was particularly influential, since freedom in creativity was boosted there. He also began taking evening classes at Konstfack, which marked the start of his transition from artisan to artist. As a way of liberating his creativity, Olle Ohlsson started drawing in an abstract, seeking way that is reminiscent of cave paintings. This suggestive way of drawing can be seen rendered in the decor of many of his creations.
Olle Ohlsson started work as a designer at Ge-Kå jewelry firm in 1960. In his free time he experimented with silver, heating it up and making it shrink. He balanced on the edge of being a designer and an artist, which was met with some confusion from critics who expected to be able to place creators in one of the categories. However, at his debut in NK in 1965 he was applauded as being a brilliant renewer of his trade. He went on to work with silver and gold in unconventional ways, including precious stones as well as natural ones into his designs. Among his works are a set of gold cases, made from gold donated by the camera maker Victor Hasselblad, a golden anthill, silver teapots and hat sculptures. He has also created several public works, such as doors, wall reliefs, gates and prizes, including a gold potato for the Nobel Prize winner Isaac Bashevis Singer. He is represented at, among others, Nationalmuseum in Stockholm, Goldsmiths' Hall in London and Oslo Museum.
Literature: Silver & Guld. Olle Ohlsson. Gunnar Brusewitz & Anne-Marie Ericsson. Förlags AB Wiken, 1991
Posted on July 6, 2019 by Cecilia Nordling
Designers, L - O
Berndt Friberg (1899-1981)
Berndt Friberg was a Swedish ceramicist, renowned for his stoneware vases and vessels for Gustavsberg. His pure, composed designs with satiny, compelling glazes continue to fascinate and have given him a dedicated following of collectors all over the world. He was the designer, master thrower as well as glaze maker, a rare combination.
Friberg came from a long family line of potters. He started as a handyman at Höganäs at the age of 13, leaving the factory five years later as a certified thrower. At Höganäs, he had worked with the serial production of the company's trademark jugs, throwing a hundred or more of them every day during the years that he worked there. The craftsmanship, standard of quality and work ethic that he learned at Höganäs was the base for his development into one of the world's foremost throwers. In his youth, he also went to technical school and studied drawing and modeling, however he did not partake in any art studies. Neither did he move in artistic circles, but seeing an exhibition of Gunnar Nylund's stoneware in Helsingborg in the early 1930s made a deep impact.
Before his employment at Gustavsberg in 1934, Friberg worked for other ceramics' companies in Sweden and Denmark that broadened his experience. However getting the job as Wilhelm Kåge's thrower at Gustavsberg was a major turning point in his career. Working with Kåge and subsequently Stig Lindberg brought new dimensions to Friberg's work and life, moving away from the creation of utilitarian items to the aesthetic. He was revered by Kåge for his craftsmanship. During his first years at Gustavsberg he also developed his work with glazes. In 1941 he had is first exhibition in Stockholm, an event that marked his transition into an artist.
Through Wilhelm Kåge, Berndt Friberg got in touch with a circle of ceramicists, connoisseurs, collectors and museum workers that influenced his artistic development. Chinese ceramics from the Sung period and the contemporary Nordic stoneware were held in particularly high regard. Friberg's work came to be seen as the embodiment of the pure, balanced core of Nordic design.
During his life long career, Friberg became deeply appreciated both by the broad public as well as connoisseurs and critics. The Swedish king Gustav VI Adolf was a major collector of his work and many of Friberg's best pieces are part of the royal collection. He was awarded a gold medal at the Milano Triennale in 1947, 1951 and 1954 and won first prize at the Faenza International Ceramic Exhibition in 1965. He had 19 separate exhibitions and is represented at, among others, Nationalmuseum in Stockholm, Det Danske Kunstindustrimuseum in Copenhagen, Victoria and Albert Museum in London, MoMa in New York and the Museum of Applied Arts and Sciences in Sydney.
Literature: Berndt Friberg, Stengods Gustavsberg. Arthur Hald & Marianne Landqvist. Keramiskt Centrum, AB Gustavsberg, 1979
Pale blue stoneware vase by Berndt Friberg
18.000,00 kr Add to cart
Small stoneware egg vase by Berndt Friberg
9.500,00 kr Add to cart
D - G, Designers
Erik Höglund (1932-1998)
Erik Höglund was one of Sweden's foremost glass artists, whose innovative designs and glass making techniques revolutionized the scene of both art glass and serve ware in the 1950s. His bold and personal designs gave him and the glassworks Boda worldwide acclaim. Erik Höglund is considered the most influential Swedish glass artist of the 1950s and 1960s, alongside Ingeborg Lundin.
Höglund was admitted to the prestigious school Konstfack at the age of 16, first studying to become an art teacher, but later changing to the sculptor's line. He rebelled against many of what he considered to be conventional ideas at the school, and was almost expelled. His nonconformism would follow him through his career, aiding him in following his own path and repeatedly breaking new ground.
Erik Höglund started working at Boda glassworks in 1953. At the time, Boda focused on producing high-quality serve ware in ethereal, cut-glass designs under the direction of Fritz Kallenberg. Höglund brought new perspectives and ideas, experimenting with the glass mass to give it a bubbly look and introducing colored glass and irregular finishes. These ideas were in direct opposition to the traditional ideas of what quality glass is, and Höglund was initially met with skepticism. He created rustic designs that allowed for everyday, multiple uses of glass, allowing it to be both functional and aesthetic. This down-to-earth idea appealed to both critics and collectors, although it took some years into the 1950s to win over the general public. In 1955, Erik Höglund's glass was presented at the H55 Exhibition and one of his vases, whilst considered scandalous due to its suggestive decor, was purchased by the Swedish king. In 1957 he was awarded the Lunning Prize, its until then youngest awardee. Following that, his glass was exhibited in the Georg Jensen store on 5th Avenue in New York, making Erik Höglund and Boda world renowned.
Erik Höglund was a master of all artistic trades. His glass murals were an important part of his artistic deed, leading to many assignments of public decorations, around Sweden in churches, schools, banks and other public places, as well as in the United States and Australia. In the early 1960s he also started working with wrought iron, making chandeliers and candelabras, combined with glass or unadorned, that became hugely popular. Boda opened its own smithy, Boda Smide, to satisfy the demand. Höglund also worked with wood, creating rustic and playful children's furniture, candle holders and beds.
Höglund left Boda in 1973 and worked with public assignments, often in collaboration with architects and his wife Ingrid Höglund. He continued to work with glass throughout the years for Pukeberg, Lindshammar and Strömbergshyttan glass works. He was was an incredibly productive artist, creating 150 public works from 1956 into the 1990s. Life cycles, sports and acrobatics, everyday life and family relationships were recurring sources of inspiration. Among his most notable work is the decoration of Johannelund Church in Linköping, which consisted of murals, glass sections, furnishing and the church silver. His work is represented by a permanent exhibition at Blekinge Länsmuseum and, among others, at Nationalmuseum in Stockholm, Röhsska museet in Gothenburg, Bellerive Kunstgewerbemuseum in Zürich and Cooper-Hewitt Design Museum in New York.
Literature: Från Boda till New York, konstnären Erik Höglund. Gunnel Holmér. Carlssons Bokförlag, 1986
Set of three glass vases by Erik Höglund
Anna Petrus (1886-1949)
Anna Petrus was a Swedish sculptor, industrial designer and dancer with a unique, powerful artistic expression, renowned for her designs for Svenskt Tenn. She came from a wealthy family in Uppsala and got her education at Chelsea School of Art in London, Althins målarskola and Kungliga Konsthögskolan (Royal Institute of Art) in Stockholm. Following her studies she worked with materials such as granite, marble and iron, inspired by by Greek mythology in her creations. She developed a distinct style, where women from the myths were rendered strong and assertive rather than passive and weak. She was part of a group of female artists, among them Siri Derkert, who fought for space in the conservative and male dominated art world.
She debuted with a set of linoleum prints at the Baltic Exhibition in Malmö in 1914 and again in Stockholm in 1916 with sculptures with her characteristic expression. In 1920 a fire in her studio destroyed most of her works, and became a turning point in her artistic career. Recuperating from the blow, she travelled to Italy and North Africa, looking for new inspiration. When she returned to Stockholm, she started working with pewter, a material that at the time was looked upon as an old-fashioned and base material. She made trays and table tops inspired by North African smoking tables, and soon started collaborating with the influential architect Uno Åhrén around the designs.
Anna Petrus was one of the earliest and most prominent revivers of using pewter in industrial design and her contribution made a big mark. She worked with the firms Herman Bergman's Konsgjuteri and Svenskt Tenn during the 1920s, creating her iconic sculptural lion designs, many of which are produced by Svenskt Tenn to this day. During this period she was also commissioned several prestigious decorating assignments in collaboration with the architect Carl Bergsten, among others. She withdrew from the design scene in 1930, perhaps due to the emergence of functionalism, that had less room for her dynamic style. However, her artistry has prevailed and is now as highly acclaimed as ever.
Litterature: Anna Petrus. Skulptör och industrikonstnär. Marie Rehnberg. Signum, 2009
Posted on January 27, 2019 by Cecilia Nordling
Designers, P - S
Gunnar Nylund (1904-1997)
Gunnar Nylund was one of the most influential ceramicists and designers of the Swedish mid-century period. He was Rörstrand's creative leader from 1931 until 1949 and as such propelled the artistic work at the factory and served as mentor to younger artists, among them Carl-Harry Stålhane and Hertha Bengtsson.
Nylund was a dedicated functionalist, who brought ideas of democratizing stoneware and creating beautiful, qualitative and affordable everyday items for the people to Rörstand in the mid-1920s. The factory had at the time lost its former leading market position, but Nylund's efforts gave it a great reboot. He designed ceramic kitchenware inspired by the ideas of Le Corbusier and Bauhaus, for use in homes, restaurants and inside refrigerators (a progressive idea in the early 1940s when it was launched). He is best known for his exquisite decorative stoneware items which include an abundance of vases, wall reliefs, sculptures and animal figurines. The materials range from velvety smooth stoneware to rough and chunky chamotte.
Danish born, Gunnar Nylund started his career in Denmark following art studies, a year of architecture studies and years of private lesson from his sculptor father, the artist Felix Nylund. He worked for Bing & Grøndahl early in his professional life and started the ceramic studio Nylund & Krebs, later Saxbo, with his colleague Nathalie Krebs in 1929. He returned to Bing & Grøndahl throughout the years as a freelance designer. He also worked for the ceramic studio Nymølle from 1957 to 1961.
Gunnar Nylund had a long and active career that except for stoneware included bathroom furnishing designs for Ifö, glass vases for Strömbergshyttan, a dinosaur sculpture for Bromölla kommun and several public works. He was an inventor who explored ideas for energy production and many other areas. He was active as a ceramicist into the late years of his long life.
Nylund is held in high esteem today for his beautiful stoneware and exquisite glazes that continue to awe and satisfy the senses.
Literature: Gunnar Nylund: konstnär och industriformgivare. Petter Eklund. Historiska Media, 2017
"Pavina" shell sculpture by Gunnar Nylund
Posted on September 26, 2018 by Cecilia Nordling
Carl-Harry Stålhane (1920-1990)
Carl-Harry Stålhane was one of the stars among Swedish ceramic artists during the 1950s, 1960s and 1970s, whose designs are just as highly regarded and sought-after by collectors today. He was born in Mariestad, close to Lidköping where the Rörstrand stoneware factory was located. He early expressed artistic aptitude as an amateur actor and illustrator, and in spite of lack of support from his father, he looked for work at Rörstrand which was the area's creative hub. Stålhane began work at Rörstrand as an eighteen year old, decorating stoneware vases. His remarkable talent was noticed by Isaac Grünewald who was at Rörstrand as a guest artist, and who made Stålhane his assistant. Stålhane subsequently went on to study painting at Grünewald's school in Stockholm and sculpture at Academie Colarossi in Paris.
At Rörstrand, where he was employed from 1939 to 1973, Stålhane designed unique stoneware, serially produced decorative items and tableware, large public decorations and sculptures. He was an innovator who drove forward the evolvement of ceramic artistry and design, from the slender, graphic vases of the 1950s to the brutal, expressive style of the 1960s, deeply influencing his contemporaries. He was instrumental to Rörstrand as a creative leader and brand representative, and his work and magnetic personality were fundamental in maintaining the company's status. From 1963 to 1971 he was head teacher in ceramics and glass at Konstindustriskolan in Gothenburg, making his mark in a new generation of ceramicists and artists. In 1973 he ended his employment at Rörstrand due to the changing landscape in the industry where artistic freedom had to give increasing way to market forces. He then founded the ceramic studio Designhuset, where he and a team of other artists and throwers designed and produced stoneware in a smaller scale compared to Rörstrand but with greater freedom. Stålhane worked at Designhuset until his death in 1990.
Carl-Harry Stålhane had 37 separate exhibitions of his work during his career between the years 1948 and 1990 and he received many prestigious awards, among them a Gold Medal at the Milano Triennial in 1955. His work is represented in many museums, among them Nationalmuseum, Röhsska muséet, MoMA and Victoria & Albert Museum. Aside from his work with ceramics, he also worked as an interior designer and creative lead for VARA-bolagen, a company that owned and administered a chain of hotels and restaurants in the southwestern part of Sweden.
Literature: Stålhane. Petter Eklund. Carlsson, 2006
Unique stoneware vase by Carl-Harry Stålhane
Posted on May 16, 2018 by Cecilia Nordling
Sylvia Stave (1908-1994)
Sylvia Stave was a prominent contributor to Swedish Modern design with her immaculate, sober designs in pewter. She became lead designer of the firm C. G. Hallberg as a 23 year old in 1931. She worked for C. G. Hallberg for ten years before suddenly quitting her trade completely and settling down as a house wife in Paris.
Literature: Kvinnliga pionjärer – Svensk form under mellankrigstiden. Magnus Olausson & Micael Ernstell. Nationalmuseum, 2015
Posted on February 25, 2018 by Cecilia Nordling
Ingeborg Lundin (1921-1992)
Ingeborg Lundin was a Swedish glass artist, whose 1950s and 1960s designs are among the most influential of that era. Lundin got her education at Konstfack in Stockholm and started working at Orrefors directly after her graduation in 1947. She stayed at Orrefors until 1971, redefining the art of glass design with her pure, gracious, sometimes ethereal creations. Ingeborg Lundin received the Lunning prize in 1954 and a gold medal at the Milano Triennale in 1957.
Literature: Svenskt glas. Åke Huldt. Wahlström & Widstrand, 1991
Ariel vase by Ingeborg Lundin
Ibe Dahlquist (1924-1996)
Inga-Britt "Ibe" Dahlquist is one of Sweden's most interesting modernist silversmiths, originally from the island of Gotland. She had her breakthrough in the 1950s with her characteristic organic silver jewelry combined with local natural elements such as fossils and stones. Dahlquist also worked for Georg Jensen from 1965 and onwards, creating pieces that were more strictly modernist, however with organic expressions that resonated with her work in her own studio.
Ibe Dahlquist shared a studio in Visby with fellow silversmith Olof Barve for several decades. Barve executed the jewelry while Dahlquist more often focused on the designs.
Alexander (+46) 73 762 28 40
Nordlings Antik
Danderydsgatan 26,
Thursdays 12 to 18 / 12 p.m. to 6 p.m.
cecilia@nordlingsantik.se
Copyright © 2021 · All Rights Reserved · Beautiful Vintage Midcentury Modern Design
Developed by Eriksen Graphics
We had to...


text:
Zombie Survival Crew
Keeping You Safe from the Shambling Hordes
Fearless Leaders
Brigade Map
Twitter Like Us on
ZSC on Pinterest
Water Keepers: Review for Z Nation 909
Heartland: Review for Z Nation 508
Evolution: Review for The Walking Dead 908
Fearless Leaders Command Center
Members Only Brigade Central
Merchandise Gallery
The Walking Dead Zombie Lit
Zombie Art
You Can Run, but . . .
Post written by RC Murphy at December 4, 2014 7:03 am
Categories: apocalypse, Reviews, Zombies, Zombified
Tags: AMC, Coda, R.C. Murphy, RC Murphy, reviews, The Walking Dead, the ZSC, TWD review, Walking Dead, zombie, zombie survival crew, zombiepocalypse, zombies, zombiesurvivalcrew, ZSC
Here we are! Weeks of slow build up brought us to an unforgettable mid-season finale. Was it the perfect way to tide viewers over until episodes resume in February? Not in the way previous seasons have kept us chomping at the bit to find out what's happening next. They set a high standard after the season four mid-season finale and its fiery blood bath. The show's producers would've had to set no limits to hit that high a note again.
Review of "The Walking Dead" 508 – "Coda"
By RC Murphy
Warning! Episode spoilers a plenty are waiting below.
The episode starts right after the last left off, with Bob Lamson handcuffed and running away from Rick and his rescue team. Taking matters into his own hands, Rick chases down Lamson in a police cruiser, rams into him, and doesn't calm down until the barrel of his gun is aimed at the fallen officer. Lamson attempts to sweet talk Rick, say they can go back and make the plan work. Rick's response, "Can't go back, Bob," says a lot about the mentality of everyone in this season. They've all crossed lines they can't come back from. The people they once were are long gone. Lamson may have been a decent guy, but after the walkers came, his moral code was dropped in the mud. But his moral code is still cleaner than Rick's. And splattered on the pavement after Rick was done pulling information from the injured officer.
Lamson may have been able to maintain a sense of civility within the hospital—and its backward rules when it comes to the wards the cops order around like slaves. Dawn walks right on by as her officers physically and emotionally abuse their wards, never batting an eyelash so long as they leave her alone. Yet we're supposed to believe her when she says the things she does are for the greater good, that she's doing it to help people who've ended up in situations like Beth. Her definition of help differs greatly from what's in the dictionary. Dawn helped by telling her to risk her safety and steal medicine to maybe-save Carol, covering up Gorman's murder to use as blackmail, making Beth act as her maid, and lastly, ordering a young woman to push a police officer down an elevator shaft. At every turn, Dawn put Beth at risk, all in the name of paying off some debt for health care or covering up a justified murder. Nothing Dawn says can be trusted. She got where she is by manipulation and cold-hearted calculation. Two skills she puts to work during the climax for the episode.
At last, Gabriel may understand why his fellow survivors are so efficient at killing when a threat comes their way. After his escape, he made his way to the school where the Terminus folks made camp the night they enjoyed a little Bob-B-Q. Too bad for him, they aren't very good housekeepers and left their leftovers on the grill. After seeing first-hand what the Terminus people did, he heads back to the church . . . with a gang of walkers in tow. Carl and Michonne take care of the mess, trapping the walkers inside. Gabriel is ready to pull his weight, telling Michonne, "I can't run anymore." He could've also been talking about the hole in his foot, but I like to believe the good Father will be a solid part of the crew from here on out.
G.R.E.A.T.M. pull up to the church just in time to help. Everyone piles into the fire truck, taking Maggie to Atlanta to help save Beth. Unfortunately, even with the wheels, they're too late to do any good.
The climax for the episode plays out like an old western—two forces meeting on a road, one leader doing the talking for each side while everyone else is twitchy from nerves. The trade-offs go smoothly. Daryl rushes forward to claim Carol and her go bag. Rick walks the remaining officer forward to trade for Beth. The moment Beth is back with the crew, things go south. Dawn has another stipulation—Noah must return to the hospital. Beth had taken his place in their system. Without either Dawn would have to do her own chores. We can't have that. Fed up with the manipulation and lies, Beth takes matters into her own hands. Or rather, her own cast, where she'd hidden a pair of scissors before the trade-off. It was the one time Beth didn't hem and haw about taking action. She saw an opportunity and took it, cutting one head off the hydra working within the hospital. Dawn didn't go down without a fight. She manages to fire off a single round from her gun. Beth's bravest act is her final one. A single shot to the head will ensure she doesn't come back as a walker. It's a small mercy at the end of a painful few weeks for the young woman.
The reactions to Beth's death have a bigger impact than the moment Dawn pulled the trigger. Daryl is absolutely broken and takes the kill shot to take out Dawn. Carol carefully pulls him back before the tentative peace the deaths brought is broken. The Greene family have always functioned as part of the heart for the group. Beth's light kept many of them going during the prison days, her gentle songs and the way she cared for the young ones in their group giving them hope for a future led by the kids she aided. Now it's just Maggie. She really is alone this time. No big what-if hanging over Beth's fate. Can she recover from this loss? Can any of them? Losing the innocent members of their strange family takes a toll, chips away a little more of their civility. Another loss like this and they may end up more walker than man.
Don't skip the final scene! Yes, there is a short bit after the credits. Does this mean we'll see much more of Morgan in the future? I hope so. It's time to shake things up and bring back some energy to the story now that we're not mired in the hospital drama anymore.
Commander Mondays: Jim Parrack »
« Chewed Up and Spit Out
Breaking Up with a Show
Something They Need: Review for The Walking Dead 715
Walking Dead Stars to Visit PaleyFest NY
Into The Unknown: Vol. 4
Thank You: Review for The Walking Dead 603 By R.C. Murphy
The Walking Dead: Rise of the Governor audio clip - LISTEN NOW
Sushi Girl
Check out the trailer for Tony Todd's latest film: Sushi Girl
The Zombie Survival Crew supports the following organizations:


text:
João Braz de Aviz (24 de abril de 1947, Mafra), es un cardenal brasileño, arzobispo emérito de Brasilia y actual Prefecto del Dicasterio para los Institutos de Vida Consagrada y las Sociedades de Vida Apostólica. Pertenece al movimiento de los Focolares.

Biografía

Formación
Estudió teología en Roma, donde obtuvo la licenciatura en la Pontificia Universidad Gregoriana y el doctorado en la Pontificia Universidad Lateranense.

Sacerdote
Recibió la ordenación sacerdotal el 27 de noviembre de 1972, incardinado en la diócesis de Apucarana.

Episcopado

Obispo Auxiliar de Vitória
Juan Pablo II lo nombró obispo titular de Flenucleta y auxiliar de la Archidiócesis de Vitória el 6 de abril de 1994; recibió la ordenación episcopal el 31 de mayo del mismo año.

Obispo de Ponta Grossa
El Santo Padre lo nombró obispo de Ponta Grossa el 12 de agosto de 1998.

Arzobispo de Maringá
Fue nombrado arzobispo de Maringá el 17 de julio de 2002.

Arzobispo de Brasilia
Fue traslado a la sede de Brasilia el 28 de enero de 2004.

Cardenalato
Benedicto XVI lo nombró Prefecto de la Congregación para los Institutos de Vida Consagrada y las Sociedades de Vida Apostólica el 4 de enero de 2011.

Benedicto XVI lo proclamó cardenal en el Consistorio del 18 de febrero de 2012 bajo la Diaconía de Sant'Elena fuori Porta Prenestina.

Participó en el cónclave de 2013 en el que fue elegido el papa Francisco.

El 4 de enero de 2016 fue confirmado como prefecto de la Congregación para los Institutos de Vida Consagrada y las Sociedades de Vida Apostólica donec aliter provideatur.

El 7 de febrero de 2017 fue confirmado como miembro del Pontificio Comité para los Congresos Eucarísticos Internacionales  in aliud quinquennium.

El 23 de mayo de 2017 fue confirmado como miembro de la Congregación para el Clero in aliud quinquennium.

El 28 de agosto de 2018 fue nombrado miembro del Dicasterio para los Laicos, la Familia y la Vida ad quinquennium.

El 16 de diciembre de 2018 fue confirmado como miembro de la Congregación para los Obispos in aliud quinquennium.

El 4 de marzo de 2022, durante un Consistorio presidido por el papa Francisco, es promovido a la Orden de los Presbíteros manteniendo la Diaconía elevada pro hac vice a título cardenalicio.

Tras la entrada en vigor de la constitución apostólica Praedicate evangelium el 5 de junio de 2022 pasó a ser Prefecto del Prefecto del Dicasterio para los Institutos de Vida Consagrada y las Sociedades de Vida Apostólica.

Sucesión

Enlaces externos
 Cardenal Joao Braz de Aviz, el candidato que sobrevivió a un tiroteo en Brasil Romereports.com 2013-02-25
 Holy See Press Office. Cardinal João Braz de Aviz (en inglés)
 Sala Stampa della Santa Sede. Cardinale João Braz de Aviz

Arzobispos de Brasil
Prefectos de la Sagrada Congregación para los Institutos de Vida Consagrada y las Sociedades de Vida Apostólica
Cardenales creados por Benedicto XVI
Cardenales de Brasil
Alumnado de la Pontificia Universidad Lateranense
Alumnado de la Pontificia Universidad Gregoriana


The new Woodpicker is a drumstick finding tool built to help usera quickly compare technical and playing characteristics of all drumsticks used for drumkit playing sold on Thomann.de. This blog post will give a quick overview into some problems drummers face when shopping online for drumsticks and how the Woodpicker attempts to solve these issues.
This tool is primarily developed for drummers to use. Because of this, there are a few components (and jokes) that might not be immediately obvious to a non-drummer/non-musician but are really appriciated by the target audience.
The Woodpicker sets out to optimize a drummers experience while looking for a new stick. In addition to the standard search criteria musicians look for when buying products online such as price and availability, drummers often look for additional musician specific criteria which is often unavailble online. However, we've succeeded in quantizing these specifications with the use of good old fashion prototype inheritance and photo analysis.
This lack of standards creates a practical problem for beginner drummers whom have been instructed to "buy a 5A stick" from a teacher who grew up playing music when these standards were set. "Traditions in music need to be followed!" chides the seasoned music teacher. We tend to agree, but what stick should a starting student buy from Thomann that are '5A'? We believe the customers should have freedom of choice in brands while still following music traditions.
In the Woodpicker, we solve this by taking the features of a prototypical "standard size" stick and generalizing it accross all of our manufacturers. In this way, we allow for more options when a user desires a '5A' stick.
As you can see from the results, despite there being no search criteria based on title of the drumstick, 33-50% of first page results have the "standard" size in their title. More interesting are the results that do not have the name in the title such as the Dave Weckel Signature stick. It seems his stick is not so different from the default 5A stick!
Punch is one of those qualities you can instantly feel and hear in a drumstick. Put another way, it is the forcefulness with which a stick will naturally fall during a drumstroke. For hard rock and metal, you want a stick with a high punch, but for jazz you probably want a lower punch. Unfortunitely, there is no standard recognized unit for punch (maybe Pascals?) and there is certainly not one provided by the manufacturer. This makes it relatively difficult to compare the punch of one stick to another on an online shop.
But what is punch? At first glance, we may be inclined to say that it is simple the weight of the stick, but it is not as simple as that. To answer this question and explain the solution applied to the Woodpicker, we first need to go over some terms.
A drummer will tell you, there is this sweet spot on a stick where the weight is evenly distributed and you get a nice rebound and overall feel from your drum strokes. This point is commonly known as the Fulcrum point (to find it on a stick, try this video or try finding the point where you can balance your stick on one finger). This point varies from stick to stick and there are many factors that determine where the Fulcrum point is and even once found, it may not be 100% correlated to how much punch a stick has depending on where the drummers chooses to grip the stick.
From a physics standpoint, a perfectly cylindrical stick (without a tip) would have a Fulcrum point directly in the center and the weight on both sides of the Folcrum point would be equal. As the distance of the shoulder from the tip increases, the overall weight of the stick would decrease (fun fact: the volume of a cone is actually 1/3 the volume of a cyclinder...Math). Put another way, the farther the shoulder is from the tip, the lower the overall weight of the stick is and therefore the lower the punch is for that stick compared to a stick of the same weight.
10% Punch: Great stick to use for playing fast, but you will not get that forcefulness that Metal drummers look for. Notice how far the shoulder is from the tip? and Shoulder Angle is also pretty gradual.
100% Punch: Notice how close the shoulder is to the tip? The Shoulder Angle is pretty steep too.
So now that we have determined visual way to locate a sticks punch, we are one step closer to calculating this unitless, subjective characteristic.
One thing that Thomann has that many other companies do not have is an awesome team of photographers who have assembled a large corpus of product images in nearly identical positions. This gives us the unique ability to perform reliable photo analysis of one product to another based soley on their photo.
Using a custom photo analysis tool built in Visual Studio, we took tiny horizontal slices of every picture to determine where the shoulder starts, the shoulder angle, and the tip volume of each stick. The weight, tip material and length are given by the manufacturer already, so we didn't have to calculate this. We then took this data along with the overall weight of the stick (given by the manufacturer) to assign each stick a "punch".
Now that we have a punch for each stick, we can rank each stick based on the punch of other sticks and get its percentile from 10 to 100 (cause nobody wants a stick with 0 punch...). Now we have a way to compare a unitless subject term between drumsticks!
It's a constant challenge to enable a user to discover similar products on your site to the one they are currently looking at. What is it about the product that they would want in another product? The Woodpicker was built to address this issue by retreiving drumsticks that we match user settings or a "reference stick". However, we don't want to keep the customer in the dark about WHY these results were retrieved.
The target audience of this tool are highly specialized users (insert drummer joke here) and they want more information than the average eCommerce user. They are trying to purchase something that will literally be an extension of themselves when expressing their emotions through music. It's not something we take lightly.
Now we are faced with the classic web developer problem: how to convey extra information about something to a user at easily as possible. We could just write out a bunch of numbers and text in a really small font in each result, but from a UX perspective that would be just aweful. This looks like a job for a graphic!
To compare key qualities of drumsticks sold on Thomann.de relative to other drumsticks, we dynamically generate SVGs based on the 6 characteristics listed above. We rank each quality (10% - 100%) when compared to other drumsticks sold on thomann.de. For example, the "Rohema Start Sticks" have a diameter of 13.5mm and rank 25% in the diameter field. Chances are, a drummer doesn't care about getting a stick with a 13.5mm diameter, but just wants a stick with a diameter like the "Rohema Start Sticks" or just wants a stick as similar to that stick as possible.
When comparing a product with the purpose of buying a similar product, it helps a user more to know how relevant characterstics compare to other similar products than actual mesaurable qualities.
In addition to UX reasons, by limiting scaling and clipping various qualities to percentiles from 10% to 100%, it is significantly easier to make more consistent and instantly understandable graphics than with vastly varying data types. How does a length of 365mm compare to a diameter of 13.50mm? It doesn't really....but comparing a length of 10% and a diameter of 25% is waaaay easier (25 - 10 = 15 | right?). This is a much more consistent way to compare characteristics that would otherwise be nearly impossible to compare.
Short teaser for my next blog post where we take a look at how components were built for this tool in React to be highly customized while also maximizing reusability. We'll look at the application layer of the Woodpicker to see how React components are nested in order to localize relavant parts of the global state.


text:
General elections were held in Mozambique on 15 October 2019. During the leadup to the elections, assassinations and significant intimidation of prominent leaders of opposition parties and election observers were alleged. In addition, State resources, media, and aid for cyclone victims were also alleged to be used in favour of the ruling party (FRELIMO) and its candidates. Local elections observers, civil society organizations, the Commonwealth Observer Group, the European Union Election Observation Mission, and several national and international entities classified the elections as rigged. Nevertheless, the incumbent president Filipe Nyusi of FRELIMO was declared re-elected with 73% of the vote. The main opposition party RENAMO as well as the other oppositions parties involved in the elections contested the results, claiming there were numerous irregularities, and accusing FRELIMO of "massive electoral fraud", including hundreds of thousands of "ghost voters". As evidence for the international community, Ossufo Momade, the president of the main opposition party RENAMO,  transported to Europe a box filled with vote ballots that had been marked in favor of the incumbent president Filipe Nyusi of FRELIMO before the commencement of voting. Despite these occurrences, the international community largely ignored any concerns of fraud, and gradually countries started recognizing the incumbent president Filipe Nyusi of FRELIMO as the winner of the elections.

Electoral system
The President of Mozambique was elected using the two-round system. The 250 members of the Assembly of the Republic were elected by proportional representation in eleven multi-member constituencies based on the country's provinces and on a first-past-the-post basis from two single-member constituencies representing Mozambican citizens in Africa and Europe. Seats in the multi-member constituencies were allocated using the D'Hondt method.

Candidates
On 16 January 2019, the main opposition party RENAMO held a congress at which Ossufo Momade was elected as the party's new leader and presidential candidate. Momade had been the party's interim president following the death of Afonso Dhlakama in May 2018 and was seen as a "unifying leader" that could bring the political and military sector of RENAMO closer.

The ruling FRELIMO held its congress on 6 May, at which it confirmed its decision to support the re-election of President Filipe Nyussi for a second and final term.

On 9 May and following a three-day congress, the Democratic Movement of Mozambique confirmed that its presidential candidate would be Daviz Simango, mayor of Beira since 2003. Simango was a presidential candidate in the two previous general elections.

On 31 July the Constitutional Council approved four candidates; Nyussi, Momade, Simango and Mário Albino. Two candidates were disqualified; Hélder Mendoça and Alice Mabota. Mabota would have been the first woman to run for president, but failed to collect enough signatures.

FRELIMO nominated Mércia Viriato Licá as one of their candidates. She was elected and became the youngest MP in the country's history.

Results

President

Assembly

Provincial elections

References

Presidential elections in Mozambique
Mozambique
General
Elections in Mozambique
Mozambique


Get The Perfect Electric Plan in Leming, Texas!
We work hard for more than four million home and business customers across the United States and Canada, and we strive to earn their business day after day. Don't worry about our size. We may be one of the largest residential energy retailers in North America, but we provide big-business know-how without sacrificing the commitment you'd expect from a neighborhood energy provider. See how we provide best in class solutions for our residential and business customers!
We offer you simple solutions to follow, understand and manage the electricity you use. Understanding your energy usage has never been simpler. Our insights will help you make smarter decisions, be more efficient, and save money.
In the Lone Star State, there are so many things to do besides thinking about your electricity, like enjoying a crawfish boil with friends! Follow the crowd and get all the perks of being a Direct Energy customer, along with reliable service and competitive electricity rates! During the sweltering and muggy Leming summers, you shouldn't have to worry about your electricity bill. With the products and prices that are right for your home and your budget, Direct Energy offers you peace of mind. There is a wide range of plans available to you, from the Echo Dot plan to a fixed rate, where you can lock in a stable price for the contract length that you choose.
The perks that come with all of our plans extend beyond competitive electricity rates and unmatched customer service. Once you've picked out your perfect plan, you can use our Online Account Manager to view your payment history, refer a friend, and more. It's that easy! You can even do it right from your computer or smartphone! Check out our Learning Center to learn about energy in Texas and get energy efficiency tips to help you save. No matter what your energy needs are, we provide the knowledge and tools to help you become more energy-savvy and spend less on your electricity bill.
Our mission is to provide our customers in the AEP Central area with the resources and tools they need to Live Brighter™. Direct Your Energy, our easy-to-navigate usage insights resource, inspects your energy usage, helping you make expert decisions and use less. Usage Anomaly Alerts, an alert message feature for abnormal usage patterns, are triggered when your actual usage is considerably different than what would have been predicted given weather conditions and your historical usage patterns.
Considerable resources are at your disposal! Just head to our Learning Center or blog. Take care of your home and understand and manage your energy use. From energy savings and home improvement tips to safety tips, Direct Energy is committed to helping you.
Are you trying to decide between Direct Energy and Green Mountain Energy? Learn more about the perks of being a Direct Energy customer. Trust us to make the process simple, whether you're switching Leming electricity providers or you need new service. It doesn't matter if you want the freedom of a connected home bundle or the stability of a fixed rate, we have the electricity plan that fits your needs. We even offer you a way to simplify the process of paying your bill. Sign up for Auto Pay and Paperless Billing by logging into the Online Account Manager!
The same electricity plan is not the best for everyone, but all customers have a few things they can count on - like auto pay and fixed rates! Take advantage of Direct Your Energy, our insightful usage tool that analyzes your energy use and helps you use less and save more. Unlike other electricity companies, we are committed to helping you save money on your electric bill. In fact, with Reduce Your Use Rewards, Direct Energy is rewarding customers for using less electricity on the days we request! Live smarter by signing up for Direct Energy today.


Shop floor tips: The finer points of the Phillips head screwdriver.
We continue our look at mold steel with Bohler Uddeholm.
Checking out the latest technology at Toronto's Conference on Biocomposites.
The CPIA's Mark Badger breaks down the most recent industry statistics.
Industry associations CAMM and FEPAC announce their new partnership.


text:
#ifndef SFRAME_UNITY_SERVER_HPP
#define SFRAME_UNITY_SERVER_HPP

#include <parallel/pthread_tools.hpp>
#include <util/blocking_queue.hpp>
#include "unity_server_options.hpp"
#include "unity_server_init.hpp"

namespace cppipc {
class comm_server;
}

namespace graphlab {
// Forward declaration of classes
class toolkit_function_registry;
class toolkit_class_registry;

class unity_server {
 public:
  typedef void(*progress_callback_type)(const std::string&);

  /**
   * Constructor
   */
  unity_server(unity_server_options options);

  /**
   * Start the server object
   */
  void start(const unity_server_initializer& server_initializer);

  /**
   * Stop the server and cleanup state
   */
  void stop();

  /**
   * Enable or disable log progress stream.
   */
  void set_log_progress(bool enable);

  void set_log_progress_callback(progress_callback_type callback);

  inline cppipc::comm_server* get_comm_server() { return server; }

  inline std::string get_comm_server_address() { return options.server_address; }

 protected:
  /**
   * Parse the server_address and return the parsed address.
   *
   * \param server_address can begin with different protocols: ipc, tcp or inproc
   */
  std::string parse_server_address(std::string server_address);

 protected:
  unity_server_options options;
  cppipc::comm_server* server;
  toolkit_function_registry* toolkit_functions;
  toolkit_class_registry* toolkit_classes;

 private:
  volatile progress_callback_type log_progress_callback = nullptr;
  graphlab::thread log_thread;
  blocking_queue<std::string> log_queue;

}; // end of class usenity_server
} // end of namespace graphlab

#endif

redpajama_set_name: RedPajamaGithub