text:
Independent 8458
I was slightly disingenuous when only mentioning Verdi and Wagner as operatic anniversaries this year. 2013 is also the centenary of the birth of Benjamin Britten, and, of the three, this is one I most appreciate. (I have no. 663 of the 3,000 copies of Decca's Complete Works next to my chair as I write. There's no way I'm going to get through it by year end, but I have at least worked through the operas. Even Lucretia.)
So I had to something special for it, what with the anniversary obligingly falling on a Friday as well. The usual question arises: how to put something in for fans to spot that doesn't render the puzzle unsolvable for everyone else. Britten helpfully has a seven letter surname, so he could appear across the top of a 15×15 grid with the blocks in the odd-numbered rows and columns.
What else? Some years ago I did a Nina where I split six zodiac signs, putting the first segment on the left of a row, and the second on the right (e.g. CANticle and merCER would fill a row). Britten's operas offered suitable material for a similar ploy. An added treat – but you didn't need to know them to fill the grid. Nonetheless, if you'd seen BRITTEN across the top, you might be persuaded to look harder.
Still, it wouldn't harm to provide a pointer, so I flung in an acrostic in the clues. I suspect even fewer people will have spotted that, but it's there. Meanwhile, the grid fill had thrown up SEES _O_ across the bottom row (the O even coming from another Verdi reference). TON was attractive, but it gave me some qualms about the word in the bottom right hand corner, so I settled on 100. DECANI's a bit rare, but not insuperably so.
So, there we were…n't, as it occurred to me that 22/11 had a few other associations, particularly from 1963. So the clues also contain a single reference each to the three deaths that day (yes, C S Lewis' shrift is rather short). I couldn't possibly speculate about the worldwide hoo-hah associated with 23/11, of course, though I'll be checking the puzzle websites to see…


text:
Q: Error cross-compiling to ARM-linux using openMP I'm trying to cross-compile a program using OpenMP for ARM Linux.
When I add the -fopenmp flag to the compiling chain, I get the following error:
arm-xilinx-linux-gnueabi-gcc: error: libgomp.spec: No such file or directory

I'm not sure where is the compiler supposed to look for this file. Using locate on libgomp.spec shows:
locate libgomp.spec
/home/Xilinx/Vivado_HLS/2014.4/lnx32/tools/gcc/lib/libgomp.spec
/usr/lib/gcc/i686-linux-gnu/4.7/libgomp.spec
/usr/lib/gcc/i686-linux-gnu/4.8/libgomp.spec
/usr/lib/gcc-cross/arm-linux-gnueabi/4.7/libgomp.spec

Should I move this file to some other path where is it expeced? Where should it be?

A: I'm also looking into this. Looking into the configuration options of arm-xilinx-linux-gnueabi-gcc itself, it seems that libgomp was disabled using --disable-libgomp:
$ arm-xilinx-linux-gnueabi-gcc -v
- Using built-in specs.
- COLLECT_GCC=arm-xilinx-linux-gnueabi-gcc
- COLLECT_LTO_WRAPPER=/opt/Xilinx/SDK/2015.2/gnu/arm/lin/bin/../libexec/gcc/arm-xilinx-linux-gnueabi/4.9.1/lto-wrapper
- Target: arm-xilinx-linux-gnueabi
- Configured with:
  /scratch/cltang/xilinx/linux/src/gcc-4.9-2014.11/configure
  --build=i686-pc-linux-gnu --host=i686-pc-linux-gnu
  --target=arm-xilinx-linux-gnueabi --enable-threads
  ...
  --disable-libgomp --disable-libitm --enable-libatomic
  --disable-libssp --enable-poison-system-directories
- Thread model: posix
- gcc version 4.9.1 (Sourcery CodeBench Lite 2014.11-30)

We need to get an arm-linux-gnueabi compiler with this configuration enabled, or cross-compile it ourselves.
[EDIT]
Install arm-linux-gnueabi-gcc from your distro repositories. In my case XUbuntu 14.04:
sudo apt-get install gcc-arm-linux-gnueabi

libgomp is not shown disabled when looking at its specs (arm-linux-gnueabi-gcc -v).
The following changes needed in the Makefile used from PetaLinux to generate a sample hello.c application. Notice the use of -static to avoid dynamic linkage with libgopt shared objects, only available in your host machine.
# <petalinux_project>/components/apps/hello/Makefile

ifndef PETALINUX
$(error "Error: PETALINUX environment variable not set.  Change to the root of your PetaLinux install, and source the settings.sh file")
endif

include apps.common.mk

APP = hello

# Add any other object files to this list below
APP_OBJS = hello.o

all: build install

build: $(APP)

## -> + Replaced: $(CC) with arm-linux-gnueabi-gcc
## -> + Added: -fopenmp -static
$(APP): $(APP_OBJS)
    arm-linux-gnueabi-gcc $(LDFLAGS) -fopenmp -static -o $@ $(APP_OBJS) $(LDLIBS)

clean:
    -rm -f $(APP) *.elf *.gdb *.o

.PHONY: install image

install: $(APP)
    $(TARGETINST) -d $(APP) /bin/$(APP)

## -> + Replaced: $(CC) with arm-linux-gnueabi-gcc
## -> + Added: -fopenmp
%.o: %.c
    arm-linux-gnueabi-gcc -c $(CFLAGS)  -fopenmp -o $@ $<

help:
    @echo ""
    @echo "Quick reference for various supported build targets for $(INSTANCE)."
    @echo "----------------------------------------------------"
    @echo "  clean                  clean out build objects"
    @echo "  all                    build $(INSTANCE) and install to rootfs host copy"
    @echo "  build                  build subsystem"
    @echo "  install                install built objects to rootfs host copy"

For completeness, the following is the hello.c sample code:
/*
 * Placeholder PetaLinux user application.
 *
 * Replace this with your application code
 */
#include <stdio.h>
#include <omp.h>
#include <stdio.h>

int main(int argc, char *argv[])
{
    printf("Hello, PetaLinux World!\n");
    printf("cmdline args:\n");
    while(argc--)
        printf("%s\n",*argv++);

#pragma omp parallel
        printf("Hello from thread %d, nthreads %d\n",
               omp_get_thread_num(),
               omp_get_num_threads());
    return 0;
}

And finally, build and jtag transfer, from PetaLinux framework:
<petalinux_project>$ petalinux-build -v -c rootfs/hello
<petalinux_project>$ petalinux-build -x package
<petalinux_project>$ petalinux-boot --jtag --fpga --bitstream pre-built/linux/implementation/download.bit --u-boot --kernel

redpajama_set_name: RedPajamaStackExchange


In the United States today, prescription drug abuse represents one of the most commonly treated conditions at the best drug rehabilitation centers in the country.
Due to high availability and a considerably high potential for addiction, prescription drugs stand among the most frequently abused substances.
In particular, prescription opioids such as oxycodone, morphine, and hydrocodone rank among the most addictive and potentially dangerous substances available today.
Contin in a variety of situations, such as recovery from surgery or a serious injury. Opioids are typically taken in pill form, with prescribed doses typically falling between 5 and 10 mg every 4 to 6 hours.
Over time, however, the body tends to develop a tolerance to opioids and requires more and more to feel the same effects.
Once an opioid enters the bloodstream, it binds to specific receptors in the brain and other organs in the body, which significantly reduces the intensity of both physical and emotional pain stimuli.
In some people, opioid receptors can interfere with the natural function of the brain's reward circuit, which produces feelings of euphoria and causes intense cravings for more opioids.
At low doses, opioids reduce pain sensations and produces feelings of relaxation and "fuzziness." Side effects of medicinal opioid use include nausea, drowsiness, constipation, and a slight decrease in mental acuity.
At high doses, opioid use can result in a depressed respiration rate, lowered heartbeat, confusion, slurred speech, and significant cognitive impairments. In extremely large doses, opioids can result in coma or even death.
Opioids can produce potentially serious symptoms in the short term, and they have become known in many of the best drug rehabilitation centers in the U.S. for their high potential for addiction.
Because opioids act directly on opioid receptors in the brain, long-term use dulls these receptors and causes the individual to develop a physical dependence.
Even individuals who are prescribed opioids and take them as directed may develop a slight physical dependence if they use them for longer than a week or two.
While these types of dependencies usually disappear with a brief dosage decrease, they can nevertheless evolve into full-blown addictions if left unchecked.
To treat prescription opioid addiction, the best drug rehabilitation centers in the U.S. begin with a medically supervised detoxification. Prescription opioid dependence can produce dangerous withdrawal symptoms such as tremors, vomiting, and seizures.
As such, many of the best drug rehabilitation centers prescribe opioid substitutes such as methadone or buprenorphine, which bind to opioid receptors but produce far less intense physiological effects.
After the patient completes the detoxification process, he or she may enter a residential treatment program in order to learn healthy coping mechanisms and address the underlying causes of his or her addiction.


text:
Construction / Horticulture / Landscaping
Construction sector to benefit as big contracts move out of the capital
by News team · July 19, 2017
A shift in construction contracts out of London and into the Midlands will help support a sector experiencing uncertainty amid a prolonged Brexit negotiation in the region.
That's the view from Crown Group boss Gareth Emberton on a new report which shows major regeneration and infrastructure project work is moving from the capital to the rest of the UK.
Analysts for Barbour ABI and the Construction Products Association says investment in housebuilding, infrastructure and commercial property in Scotland and the West Midlands had the highest growth.
The total value of contracts awarded in London was £13.1bn last year, down 14.6 per cent on 2015.
Gareth is the managing director of the commercial landscaping specialist Crown Group which works with construction giants including Bowmer & Kirkland and Galliford Try, on projects across the UK.
"There's no doubt that construction firms are facing numerous challenges currently – such as finding enough people with the right skills and the fact that may are reliant on workers from overseas.
"But one of the biggest issues they may face in the coming months is the effect uncertainty over Brexit will have on decision-making in terms of big project development.
"We saw the slowdown ahead of the referendum and when the economy slows, the construction sector is one of the first hit," added Gareth, who is also Chairman of a regional organisation championing the sector, Shropshire Constructing Excellence.
However the shift to investment in the central part of the country is a good sign, he said.
"I think it isn't just down to HS2, but could also be as a result of the Government's drive to grow the Midlands economy through the Midlands Engine and the £392m is has invested in the region to do just that.
"There was also some good news in the Queen's Speech for the sector, which perhaps missed out on bigger headlines due to the Brexit focus.
"As well as the expected HS2 bill which will the construction of the Birmingham to Crewe connection fast-tracked, the Queen also confirmed moves to support more technical training which will undoubtedly benefit our industry. "
Crown Group is experiencing significant growth in its facilities management and environmental management divisions as well as its core business of delivering integrated design, building and maintenance services for construction and landscaping projects.
The firm has doubled in size in the last year and now employs more than 60 people across the country.
For more information about opportunities available with the Crown Group, visit www.crownlandscapes.com or call 01743 709411.
Tags: brexitCrown GroupCrown LandscapesShrewsbury
Next story Increase in employment tribunals claims predicted after Supreme Court decision
Previous story Summer fair at Shrewsbury care home

redpajama_set_name: RedPajamaCommonCrawl


The port of Hong Kong has closed 2018 recording a decrease of the -5,4% of the containerized trade that is piled to 19,64 million teu regarding 20,77 million teu enlivened in 2017, bending that involves an ulterior regression of Hong Kong in the ranking of the first ports container of the world. In 2017 it classifies it placed it to the fifth place while that of 2018 sees it climbed over from the South Korean port of Busan - than last year it has enlivened 20,67 million teu( on 2 January 2019) - but probably - in attended that they are profitable you last year notice the statistical data on the traffic enlivened from the Chinese ports - also from the port of Qingdao as well as from Guangzhou that has already sopravanzato Hong Kong in the course of 2018.
In the single month of December of the 2018 port of Hong Kong it has enlivened 1,67 million teu, with a decrease of the -6,1% on December 2017.


text:
Eclipse Global Entertainment
Eclipse Global Entertainment Team
Brian Berg
John Sachs
Andrew Berg
Kimberley Sachs
Charles Low
Martyn Berg
Eclipse Films
Finding Your Feet
Urban Hymn
The Corrupted
Walking on Thorns
Freddie Mills
Terabytes
Sons of Neptune
Ride a White Swan
Eclipse TV
Eclipse Music
Eclipse Live
Brian Berg is Chairman of Eclipse.
He also holds senior media and music consultancy roles for various major companies and is Executive Producer on the smash hit musical Dreamboats and Petticoats Additionally he has interests in other entertainment-based business ventures, creating musical concepts and merchandising projects. Recently Brian became a non- executive director of the public company One Media IP which owns and streams over 250,000 music tracks and has developed the leading music industry anti-piracy streaming device called TCAT.
Prior to this Brian was the President of Universal Music Enterprises (UME) and a director of Universal Music, which is the biggest record company in the World.
As well as being involved with many of the artists signed to Universal Music, before becoming President of UME, he was Managing Director of Universal Music TV (UMTV), the label responsible for the compilation album business where UMTV is market leader. Here he came up with the original compilation idea for Dreamboats and Petticoats and the series has sold over 4.5 million copies in the UK since the launch. After the huge success of the first album, Brian extended the Dreamboats brand from a compilation album to a musical, the first time it has ever happened, partnering with Bill Kenwright and Laurie Mansfield. The show ran for 10 years in three West End theatres and several regional tours having grossed over £60 million at the UK box office. The first branded concert tour has also been capitalised and ready for the market.
As MD of UMTV, Brian was also responsible for bringing the highly successful independent label All Around The World, into Universal. This brought access to and revenue from brand new digital TV stations Clubland and Massive R&B, which again spawned from multi-platinum compilation series, as well as introducing groundbreaking artists like N-Dubz to Universal. At UMTV, he was also responsible for one of the biggest singles of this century, Tony Christie and Peter Kay's Amarillo.
Brian has been involved with Universal Music (formerly Polygram) since 1981 and was also Managing Director of direct marketing pioneer Tellydisc. Prior to this he worked for EMI Records and developed the famous Golden Greats collections. Brian has overseen the sales of 250 million record sales in his music career, after following a stint in advertising.
Brian is former Chairman of Fundraising and board member for the leading music industry charity Nordoff Robbins Music Therapy, as well as being Governor of the school.
Brian has recently set up a new label called Xploded Music TV with some ex colleagues to exploit the void in the physical compilation market recently largely vacated by the majors with the successful launch of the Rock Down series'.
Eclipse Global Entertainment is an award-winning group of companies that span across
Film production, Television production, Live Events and Music production.
14 David Mews
W1U 6EQ
Copyright © 2022 Eclipse Global Entertainment


text:
Independence Day: Alleged Killer Frees Self From Abusive Ex?
Kenosha---Under the camouflage of blasts from the nearby 4th of July fireworks display and with crowds of onlookers gathered a short distance away, 50 year-old Donna Matthews snuck into her ex-boyfriend's home near Eichelman Park. As he was sitting in a leather chair, Matthews opened fire, sending two shots into his chest and one into his arm. Two other bullets missed their mark. When Michael Gayan responded by saying "something" and making "a noise," Matthews clunked him over the head with the butt of her revolver then fled.
That version of events was provided to investigators by one of Matthews' brothers, Derrick, who admits to being in on the plan but not present for the shooting, according to the criminal complaint that was filed Thursday.
Both siblings have been charged with Party to the Crime of 1st Degree Intentional Homicide.
Derrick Matthews was in court Thursday while his sister awaits extradition in Seattle where she was arrested earlier this week.
According to the complaint, Derrick Matthews knew that his sister had been involved in an abusive relationship with Gayan and knew for weeks that her sister had wanted to kill him, fearing for her life.
The plan was put into motion when Donna Matthews flew in from out of town on the 4th. Derrick Matthews sold his sister his gun and then gave her a ride to Gayan's house. Derrick said he returned after the conclusion of the fireworks display to find Donna 'trembling." After purportedly relaying the story of what happened, Donna walked with Derrick around the lakefront before throwing the empty shell casings from the shooting into the water. Derrick Matthews later gave the gun to his ex-wife, which was eventually recovered by police.
The complaint quotes a neighbor of Derrick Matthews as saying that Matthews told him earlier in the day that he planned to test his gun during that evening's fireworks display because "no one would know the difference."
A restraining order, Facebook posts and statements made Thursday by another Matthews sibling indicate that Donna Matthews had been in a tumultuous relationship with Gayan for years, and had struggled to get away. "Michael was a puppet master and he pulled the strings of my sister," said Damon Matthews following Thursday's court appearance for brother Derrick.
Damon Matthews said Gayan had followed her to New Orleans, Colorado and Hawaii in an attempt to rekindle the romance.
Before securing a restraining order last year, Donna Matthews said in an affidavit that she was afraid of Gayan.
In recent months, Gayan had posted unflattering photos of Donna on his web site. In addition, Gayan made a series of threats, according to Damon Matthews. "He told my sister that if she didn't come back to him he would burn her family members' houses down because he knew where we lived," according to Damon. "He said don't bother going to the police because he has friends on the police,"
"We're all in shock," Damon said Thursday.
Gayan's background remains a mystery. The source of his money that enabled him to travel extensively without working a regular job isn't known.
Gayan's decomposed body was found about a month after he was killed. A construction crew working in the area smelled an odor and called for help.
To contact the writer email coled@gtc.edu
http://wgtd.org
Tolefree in Court; Foxconn Partnerships; Carthage Award; Weather Advisory
Jan. 27, 2020 3:40p
(NWS)---A Winter Weather Advisory... Read More
Weeknight and Overnight Program Changes From WPR on WGTD
From Wisconsin Public Radio:
Beginning Monday... Read More
Winter Weather Advisory For Southeast Wisconsin
...WINTER WEATHER TO BRING TRAVEL IMPACTS...
A low pressure... Read More


Recently few cities in the state of California have decided to hoist People's Republic of China's flag on China's National day. As a result, four Tibet support groups launched a relentless campaign against hoisting PRC flag in the American cities. Table Talk invites Kunchok Tashi, President of Tibetan Association of Northern California and Tsering Dolkar, General Secretary of Regional Tibetan Youth Congress and discusses the methods of their campaign and its significance.


text:
Celeste Ng Tackles Race in the Rust Belt in Little Fires Everywhere
Kevin Day Photography
By Sarah Begley
In many ways, Celeste Ng's hometown of Shaker Heights, Ohio, was all about conformity. When the best-selling author of Everything I Never Told You was growing up there, she says the affluent town's rules included mandatory lawn mowing (infractions were penalized with a $100 fine) and a regulation putting only one mailbox and one street number on two-family homes, to disguise them as single-family homes.
On the other hand, it was relatively diverse — at least in terms of black and white–and racial prejudice was frequently discussed and dissected. But when the 37-year-old Ng was growing up, there were few Asian families like hers, and slights were not uncommon. "If there was an Asian boy, the other kids would be like, 'Oh, you two are going to have an arranged marriage,'" she tells TIME. For her parents, immigrants from Hong Kong who came to America for graduate school and moved to Lafayette, Ind.; Chicago; and Pittsburgh before settling outside of Cleveland, racially charged incidents in the Rust Belt could be more serious. In Pittsburgh neighborhood kids would put cherry bombs in their mailbox, and in Shaker Heights prank calls happened regularly. "At the time I thought, Oh, they're just playing around," Ng says. "Now that I'm older, I don't think it was an accident that they called our house."
The surface tranquility and the tension just beneath make Shaker Heights in the '90s a ripe setting for Ng's new novel Little Fires Everywhere. The arrival of a single mother and her teenage daughter upends the picture-perfect life of their landlord and her family of six; meanwhile, a white couple find themselves in court after they adopt a Chinese baby. The poor, immigrant mother was having a postpartum episode when she left her daughter outside of a fire station, and now she wants her back. A judge must decide whether the baby is better off with her affluent adoptive parents, who know nothing about Chinese culture, or with her birth mother.
"I didn't want there to be a villain or a hero — I just wanted to sort of show how incredibly complicated the situation was," Ng says. "I do feel like it's important to allow adoptees to have access to their birth cultures to the extent that they want to. For most people we are very much shaped by where we came from, either because of what we know or because of what we don't know. I think this is part of why people of all cultures are interested in questions of genealogy and heritage."
Ng's first novel focused on a multiracial family in the '70s struggling to understand their relationships to one another. She used her own experience as a touch point–her husband is white, and she feels grateful to live in a time when marriages like hers are more accepted. "One generation ago I think that it would have been a lot harder for us to have gotten our families' approval, and it would have been a lot harder for our kids," she says. The lawyer making the case for the Chinese mother in Little Fires argues that the white family will have a hard time exposing the baby to her culture, since there are hardly any books or dolls representing Chinese boys and girls.
That has changed somewhat since the '90s. When American Girl introduced its first Asian doll, in 1995, Ng's mother bought one for her, "even though I was 15 and I was kind of too old for dolls," she says. "But it felt really important to both of us to get me a doll that looked kind of like me." When Ng's son was a toddler, he gravitated toward an Asian boy doll in a toy store, and she made sure to buy it for him. He's now about to turn 7, and she makes a point of getting him books that feature Chinese characters (they especially like Grace Lin's books) as well as other underrepresented groups.
The representation in Ng's work has proved deeply meaningful for her readers. During her paperback book tour for Everything, she says, "It was interesting to hear teens, a lot of them mixed teens, say, 'I haven't read a book about somebody who looks like me, and this is the first time I've gotten to do that.' I feel really honored by that."
For more Voices, visit time.com/AmericanVoices
This appears in the September 25, 2017 issue of TIME.
TIME Ideas hosts the world's leading voices, providing commentary on events in news, society, and culture. We welcome outside contributions. Opinions expressed do not necessarily reflect the views of TIME editors.


text:
Bronwyn Lea
Australian Poetry Journal
APJ Forewords
The Best Australian Poetry
BAP Forewords
University of Queensland Press
Reviews of Bronwyn Lea
Essays and book chapters
Forewords
Tag: Arnold Zable
May 17: alan marshall short story award
Australian writers are invited to enter the Alan Marshall Short Story Award, which celebrates the art of writing and honours the life and work of Alan Marshall. 2013 Judge: Arnold Zable. Open first prize: $3000, Local first prize: $2000, Youth first prize: $400 (14 to 18 years of age). An award ceremony will be held at 4pm on 24 August 2013. Entries close 17 May 2013.
Australian writers are invited to enter the Alan Marshall Short Story Award, which celebrates the art of writing and honours the life and work of Alan Marshall. Judge: Arnold Zable. Open first prize: $3000, Local first prize: $2000, Youth first prize: $400 (14 to 18 years of age). An award ceremony will be held at 4pm on 24 August 2013, at Eltham Library Community Gallery with a reading of the winning stories by Dennis Coard and Debra Lawrence. Entries close 17 May 2013.
Author bronwynleaPosted on March 1, 2013 April 29, 2013 Format AsideCategories News & eventsTags Alan Marshall Short Story Competition, Arnold Zable, Upcoming literary competitionsLeave a comment on May 17: alan marshall short story award
Bronwyn Lea is the author of four books of poems: Flight Animals; The Wooden Cat and Other Poems; The Other Way Out; and most recently The Deep North: A Selection of Poems published by George Braziller Inc. in 2013. Her poems are widely anthologised, appearing most recently in Thirty Australian Poets, Australian Poetry Since 1788, Sixty Classic Australian Poems, and The Penguin Anthology of Australian Poetry.
As Poetry Editor at the University of Queensland Press her list included award-winning titles by Australia's most distinguished poets – David Malouf, John Tranter, Laurie Duggan, John Kinsella, and many others.
Bronwyn reviews poetry, fiction and non-fiction for a number of literary pages, and she is a Politics and Society columnist at The Conversation.
She lives in Brisbane and teaches literature and writing at the University of Queensland.
Reviews about Bronwyn
Bronwyn Lea reviews Collected Poems by Les Murray
Australian Poetry Now
A gift adrift: what the loss of RN's Poetica means to poets
Bronwyn Lea reviews The Doll's House directed by Lally Katz
The blood became sick: luke davies' interferon psalms
The cambridge companion to creative writing: so much depends upon the line
Ambiguous agnes: hannah kent's burial rites
Bronwyn Lea Blog at WordPress.com.


text:
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Home >  src > visualizeTrackDist.m

visualizeTrackDist

PURPOSE

visualize the gaze data

SYNOPSIS

function visualizeTrackDist(  leftEyePos, leftOri, imgFile, varParams, stimSize )

DESCRIPTION

 visualize the gaze data

 Syntax:  visualizeTrackSingle(  leftEyePos, leftOri, imgFile, varParams, stimSize)

 Inputs:
        leftEyePos: vector of complex eye tracks in [0,1] range
        leftOri: optional unfiltered tracks( if leftEyePos filtered),
           leave [] to not plot
        imgFile: a string specifying the image stimulus file, like 'image.bmp',
        varParams: struct which specifies the parameters for detecting
           fixations (using IDT algorithm) and saccades. See lines 20-24
           for the possible parameters

CROSS-REFERENCE INFORMATION

This function calls:

codeFixationsDist	June 22, 2011

codeSaccadesDist	identify saccades

scaleEyeTrack	scale eye track from [0 1] to image size

This function is called by:

SOURCE CODE

0001 % visualize the gaze data
0002 %
0003 % Syntax:  visualizeTrackSingle(  leftEyePos, leftOri, imgFile, varParams, stimSize)
0004 %
0005 % Inputs:
0006 %        leftEyePos: vector of complex eye tracks in [0,1] range
0007 %        leftOri: optional unfiltered tracks( if leftEyePos filtered),
0008 %           leave [] to not plot
0009 %        imgFile: a string specifying the image stimulus file, like 'image.bmp',
0010 %        varParams: struct which specifies the parameters for detecting
0011 %           fixations (using IDT algorithm) and saccades. See lines 20-24
0012 %           for the possible parameters
0013
0014 function visualizeTrackDist(  leftEyePos, leftOri, imgFile, varParams, stimSize )
0015
0016
0017 % default fixation paramters
0018 if ~isfield( 'varParams', 'fixMinNumSamples'); varParams.fixMinNumSamples = 6;  end  % in number neighboring samples, 6 scamples correspond to 100ms at 60Hz
0019 if ~isfield( 'varParams', 'fixMaxCircleRadius'); varParams.fixMaxCircleRadius = 15;  end % in pixels, half diameter
0020 % identify saccades as exceeding a certain velocity, then slow down
0021 if ~isfield( 'varParams', 'velThreshold'); varParams.velThreshold = 20; end
0022 if ~isfield( 'varParams', 'stopThreshold'); varParams.stopThreshold = 8; end
0023
0024 fixMinNumSamples = varParams.fixMinNumSamples;
0025 fixMaxCircleRadius = varParams.fixMaxCircleRadius;
0026 velThreshold = varParams.velThreshold;
0027 stopThreshold = varParams.stopThreshold;
0028
0029
0030 % load stimulus image
0031 if isempty(imgFile)
0032     A = zeros( stimSize(1), stimSize(2), 3);
0033 else
0034     A = imread( imgFile );
0035 end
0036
0037 % setup figure
0038 % close all
0039 hFig=figure(2);
0040 set( hFig, 'renderer', 'opengl')
0041 axis off;
0042 set(hFig,'renderermode','auto');
0043
0044
0045 % scale acoording to image size (if it is within the [0 1] range)
0046 if max(real(leftEyePos)) <= 1
0047     leftEyePos = scaleEyeTrack( leftEyePos, size(A(:,:,1)) );
0048     if ~isempty( leftOri )
0049         leftOri = scaleEyeTrack(leftOri, size(A(:,:,1)) );
0050     end
0051 end
0052 numSamples = length( leftEyePos );
0053
0054 % extract fixation information
0055 fprintf( 'Finding fixations and saccades... ');
0056 fixStruct = codeFixationsDist( leftEyePos, fixMinNumSamples, fixMaxCircleRadius );
0057 leftFixation = fixStruct.fixationVector;
0058 sacStruct = codeSaccadesDist( leftEyePos, velThreshold, stopThreshold);
0059 leftSaccade =  sacStruct.saccadeVec;
0060 fprintf( 'done!\n');
0061
0062 % now plot the eye tracks
0063 secCount = 0;
0064 for i1 = 2:1:numSamples  % for (near) real time, step by 2
0065     % show appropriate image
0066     imshow( A );  % imagesc faster than imshow
0067     %show fixations and saccades
0068     if  leftFixation(i1)~=0
0069         % left fixations
0070         text(100,60, ['F' int2str(leftFixation(i1))], 'fontsize', 30, 'color', 'b' );
0071     end
0072     if  leftSaccade(i1)~=0
0073         %left Saccade
0074         text(100,100, ['S' int2str(leftSaccade(i1))], 'fontsize', 30, 'color', 'b' );
0075     end
0076     % plot the eye tracks
0077     hold on;
0078     plot( leftEyePos(i1), 'b*' );
0079     if ~isempty( leftOri )
0080         plot( leftOri(i1), 'w.' );
0081     end
0082     pause(.02);
0083     % update time, assuming sampling at 60Hz
0084     if mod( i1, 60 ) == 0
0085         secCount = secCount+1;
0086     end
0087
0088     hold off;
0089 end

<address>Generated on Wed 20-Jan-2016 11:50:43 by m2html © 2005</address>

redpajama_set_name: RedPajamaGithub


text:
Q: Two way binding is not working in angular js I have a form to submit data to a database, first time when page is loaded, it is working fine but after first submit ,When we click submit for second value then console shows bad request, this is because of all the values are null in $scope.
When I debuging js step by step then again its working.
How to fix this issue.
$scope.Save = function () {
    var MainMenuRecord =
        {
            MainMenuId: $scope.Form.MainMenuId,
            MainMenu: $scope.Form.MainMenu,
            PageTitle: $scope.Form.PageTitle,
            PageUrl: $scope.Form.PageUrl,
            MainMenuOrder: $scope.Form.MainMenuOrder,
            UpperText: $scope.Form.UpperText,
            LowerText: $scope.Form.LowerText,
            UpperStatus: $scope.Form.UpperStatus,
            LowerStatus: $scope.Form.LowerStatus,
            HomePanelStatus: $scope.Form.HomePanelStatus,
            PageId: $scope.Form.PageId
        };
    var promisePost = MainMenuService.post(MainMenuRecord);
    promisePost.then(function (pl) {
        alert('Mainmenu ' + pl.statusText + ' Successfully.');
        Clear();
        $scope.Form.pageNumber = 1;
        LoadRecord();
        console.log(pl.data);

    }, function (err) {
        console.log("Err" + err.Message);
    });

}

and service is
app.service('MainMenuService', function ($http) {

    //create new record
    this.post = function (tblmainmenu) {
        var request = $http({
            method: "post",
            url: "/api/MainMenuAPI",
            data: tblmainmenu
        });
        return request;
    }
}

A:
this is because all the value are null in $scope.

Answered your own question. Whatever is populating your scope is working. Check your controller or service or factory or whatever it is that's populating the scope, and determine why it's not working on the second request.


text:
POLYNESIAN CULTURAL CENTER'S NEW HUKILAU MARKETPLACE BRINGS BACK THE SPIRIT OF OLD LAIE
Polynesian Cultural Center's Hukilau Marketplace Brings Back The Spirit of Old Laie
– More than 40 shops, eateries and attractions open on Oahu's North Shore –
Laie, Hawaii – February 23, 2015 – The Polynesian Cultural Center (PCC) officially marked the opening of the new Hukilau Marketplace with a public ceremony and celebration held February 20 on Oahu's North Shore.
Open six days a week, Monday through Saturday from 10:00 a.m. to 10:00 p.m. with free admission and parking, the Hukilau Marketplace encompasses 119,000 square feet of the PCC's 42-acre campus and features more than 40 retail, dining and activity providers.
"This is the beginning of a new era in the history of the Polynesian Cultural Center," said Alfred Grace, President & CEO of the PCC. "The Hukilau Marketplace allows us to diversify the offerings for PCC guests while also serving residents and visitors who are enjoying the North Shore and want to take a bit of time to dine, shop, and stretch their legs."
Many of the stores at the Hukilau Marketplace have longstanding ties to Laie, the North Shore, and Polynesia and offer distinctive items not available at any other major tourist attraction or shopping center in Hawaii.
Grace added, "It's always been important to us that we remember the legacy on which the Polynesian Cultural Center was built. The Marketplace relives a golden era from Laie's storied past, something I am sure both locals and visitors will appreciate."
The monumental milestone brings the PCC's history full circle to the days of the Laie Hukilau, which provided the inspiration for the opening of the North Shore attraction in 1963. Now, in the same spirit as the early hukilau days, the Hukilau Marketplace will reestablish Laie as a gathering place for old-fashioned, family fun.
Featured at the Hukilau Marketplace are an impressive variety of foods, products and goods available, free Wi-Fi, and public access to spacious, clean restrooms. In the Hukilau Plaza Gazebo, live entertainment by PCC musicians or visiting groups will be scheduled on a weekly basis.
Hukilau Marketplace guests wanting to get a brief tour of the interior of the neighboring PCC can purchase a ticket at $10 per person for a relaxing 15-minute canoe ride down the winding, freshwater lagoon. Guests who later decide to purchase admission to the Center's island villages, Ali'i Luau, or Ha: Breath of Life, can use the $10 fare as a credit towards their total.
Carrying the Laie Legacy
Anchoring the Hukilau Marketplace are signature stores and attractions named and designed in tribute to several significant Laie landmarks and community members. These include:
Pounders Restaurant – Named after Pounders Beach, a popular Laie bodysurfing location, the full-service restaurant is open from 11 a.m. – 10 p.m. from Monday through Saturday, offering island-inspired entrees for lunch and dinner created by Chef de Cuisine Sean Priester. Priester, who brings more than 30 years of experience to Pounders Restaurant, takes a refined yet rustic approach to the menu featuring local, fresh produce and ingredients whenever possible. Items will include familiar dishes like fried rice and saimin with a twist, and fresh pizzas baked in Pounders' own kiawe-wood-burning brick oven, the centerpiece of the open kitchen. Diners can enjoy air-conditioned dining inside, or relax on the covered, open-air lanai. The menu will eventually be expanded and the restaurant hours extended to offer breakfast service.
Laie General Store – Paying homage to the legacies of three beloved neighborhood businesses, Goo's Old Plantation Store, Laie Credit & Carry, and Laie Curios, the signage, decor and memorabilia are reminiscent of Laie's plantation era when these family-run community stores were formed. Products include Hawaii and Polynesian-inspired souvenirs and gifts, convenience items, and local favorite cracked seed snacks.
Hamana Kalili Statue – A descendant of Hawaiian ali'i (chiefs), skilled waterman, and beloved community leader, the late Hamana Kalili of Laie (1882–1958) is considered to be the "father" of the shaka. Kalili lost the middle, index and ring fingers of his right hand in an accident while working at the Kahuku Sugar Mill. After being reassigned to security at the sugar cane railroad, he would wave his right hand with the middle three fingers missing to signal that the train was ready to roll. Local kids began copying Kalili's distinctive wave, which ultimately became known as the shaka. Later, Kalili would shaka to visitors when playing King Kamehameha in the Laie Hukilau. The statue was created by Leroy Transfelt, a Maori native who worked at the PCC as a student at BYU-Hawaii.
Joseph Kekuku Statue – At a young age, Laie boy Joseph Kekuku, who was born in 1874, invented the Hawaiian steel guitar. As he got older he would share his beautiful guitar sounds on the U.S. mainland, helping to popularize Hawaiian music around the world. In the early 1930s, electrification made the distinctive, gliding sounds of his Hawaiian steel guitar even more popular. Kekuku was inducted into the Steel Guitar Hall of Fame in 1993. The statue will be completed and installed this spring.
Following is a complete listing with short descriptions of the food and retail offerings that will be or are soon-to-be available at the Hukilau Marketplace.
Aunty Emily's Bakery – Polynesian baked favorites like meat pies, malasadas (Portuguese fried donut), and panipopo (Samoan dessert featuring bread smothered in coconut milk)
Tutu's Sweet Shop – Hawaiian King Candies offers its made-in-Hawaii confections, including freshly dipped chocolate macadamia nuts, fruits and cookies. Other sweets and snacks available include roasted macadamias and praline nuts, caramels, honey, popcorns and cotton candy.
Roulotte Court – A collection of food trucks inspired by the street eats scene on the marina in Pape'ete, Tahiti.
Baguette Shack – Caprese, turkey, ham or pork belly filled baguette sandwiches.
Seven Brothers Surf – The Hannemann family, which operates several restaurants on the North Shore, will serve up seafood dishes like coconut macadamia or garlic-lovers Kahuku shrimp, and a fresh-fish catch-of-the-day plate.
Tita's Grill – The popular Kahuku eatery run by the local Ah You ohana (family), will offer a handful of their most popular items at the Hukilau Marketplace's Roulotte Court, including generous plate lunches, loco moco, several varieties of burgers, stir-fry, kalbi ribs, and Tahitian steak frit. (Opening Date: TBD)
Kawika's Koolers – Refreshing iced or blended treats including fruit smoothies, mixed tropical fruit juices, and acai bowls blended with fruits and apple juice, and topped with French vanilla/almond granola, sliced ripe banana and strawberries, and drizzled honey.
Ono-Yo – Frozen yogurt stand featuring nine tropical flavors, including soursop, jackfruit, lilikoi (passion fruit), star fruit and papaya with your choice of toppings.
Delice Crepes – Sweet or savory? Choose from a selection of creative crepes, such as the S'More with marshmallow, chocolate, and graham crackers, the Tahiti with coconut, the Butter Cup with peanut butter, chocolate and banana, or customize your own from a choice of 14 crepes or waffles and 20 toppings.
Poi Boy Dogs – Regular and spicy Polish hot dogs, and cold beverages.
Snack Wagon – Local-style candies and munchies, including macadamia nuts, mochi treats, Maui potato chips, and cookies.
Other carts – Island Breeze with shaved ice; Grilled corn cart; and Aunty's Bests with bakery favorites.
Retail, Activities, and Services
Hapa Home – Island inspired home furnishings and lifestyle products, including throw pillows, wall coverings, island and hula-style ceramics, art pieces, Hawaiian style quilts, wicker baskets, and more.
Nona's Tropical Threads – Named after Aunty Nona Warner, the PCC's recently retired seamstress, the store offers island-style fashions for men, women and children in the best tradition of Aunty Nona. Purchases can be shipped anywhere in the world.
Basin – The Hukilau Marketplace will be one of two Hawaii locations for the customize-your-own bath and beauty product retailer. Noted Big Island designer Sig Zane is working with Basin to design a space with a beautiful Hawaiian presentation. Basin has stores at Walt Disney World's Downtown Disney Marketplace and the Miracle Mile Shops in Las Vegas. (Opening Date: TBD)
Jaseboards – A North Shore based longboard-streetboard company, started by Jase Bennett while attending BYU-Hawaii. The Hukilau Marketplace location will become the flagship store for Jaseboards.
Kahuku.org – Kahuku High t-shirts, shorts, license plate frames, hats, bags, umbrellas and kiddie-wear for fans wanting the Red Raiders logo items.
Mana o Polynesia – Carved Polynesian-style wood creations, museum-quality weapon reproductions, imported South Pacific handicrafts, such as lauhala or pandanus purses and baskets, and shell accessories, like rice shell and puka shell necklaces, earrings, shark's teeth pendants, and mother-of-pearl carvings.
Polynesian Art Stand – Offering made-in-Hawaii fine art, ceramics, pottery and spectacular Big Island volcano photos by Bruce Omori and Tom Kualii that are permanently printed on metal. Also, hula-themed prints by Hau'ula-based photographer Kim Taylor Reece. Purchases can be shipped anywhere in the world.
Male's Finest – Polynesian style bone carvings and accessories.
Pukana La Creations – Polynesian style costume jewelry.
Island Yumi/Hello Kitty – Hawaii brand of clothing, stationery, gift items and accessories featuring cute, fun, and loveable characters for girls of all ages.
Na Hoku Jewelry – Operating out of Hapa Home, Na Hoku features Hawaii and island-style fine jewelry selections including exquisite Tahitian black pearls and mother of pearl creations. Plus, an impressive selection of diamond and gem creations as necklaces, pendants, chokers, earrings, and more.
Amusement Ink – Amusement Ink quickly applies airbrushed tattoos with non-toxic paint that dry instantly, are waterproof and long lasting. Also offered is face painting, and beautiful leather and stamped brass bracelets.
Lei-Away – Plumeria and other fresh flower lei, including fragrant maile, ginger, tuberose are available for purchase after watching them being made. The stand also carries kukui nut leis and bracelets.
Laie Activities Center – Activity and equipment rentals swimming gear and other equipment so guests can explore Laie and the nearby beaches. He will also support guests of the new Laie Marriott Courtyard hotel when it opens this summer. (Opening Date: TBD)
Scooterville – Scooter rentals offered at PCC's guest services desk.
Polynesian Football Hall of Fame – Official home of Polynesia's greatest football players, coaches and contributors. The exhibit showcases the achievements of the 13 inductees from the first two (2014 & 2015) Hall of Fame classes with plaques, photos, mementos, an interactive display and wall of honor.
Shaka Shoots – Professionally finished photos are on display and available for purchase, that members of our photography team take of guests at various PCC locations, posing with employees, or wearing Polynesian costumes.
Guest Services – PCC's customer service representatives can help with information, gate handouts, renting of lockers, strollers and regular wheelchairs (a limited number of motorized wheelchairs can also be rented); and lost-and-found. Open until 9:30 p.m. (call 808-293-3009).
PCC Ticketing Office – The PCC's main box office for ticket purchases, pick-ups, and making modifications to existing reservations.
For more information about the Hukilau Marketplace, please visit HukilauMarketplace.com. For more information about the Polynesian Cultural Center, visit Polynesia.com or call toll-free at (800) 367-7060. On Oahu, call (808) 293-3333.


text:
200 Meters: A Palestinian father separated from his family by a wall
Joanne Laurier
200 Meters is the first (and an impressive) feature written and directed by Palestinian-Jordanian Ameen Nayfeh (born 1988). The fiction film, which depicts the relentless cruelty of the Israeli government's policies toward the Palestinians, had its world premiere at the Venice Film Festival.
Mustafa (Ali Suliman, Paradise Now), a Palestinian construction worker, lives in a West Bank home 200 meters (219 yards) away from his wife Salwa (Lana Zreik) and three children on the other side of the Israeli border wall. They're separated by a bulldozed field and a barrier topped with barbed wire. Though eligible for an Israeli ID, Mustafa resists the unjust laws enforced by the occupying Israeli government. Instead, his tenuous work permit is all that allows him to visit his family.
Ali Suliman in 200 Meters
In the evenings, Mustafa stands on his mother's balcony to chat with his children by phone across the wall. Both parties use lights to see each other and convey their messages. These are very endearing sequences.
By day, Mustafa joins a stream of hundreds of men herded like cattle through a border checkpoint. It is a demeaning process, designed to insure maximum tension and intimidation. It involves a series of fingerprint ID checks and similar measures. Nothing is stable and entry into Israeli territory is not guaranteed.
This is the "routine" existence for Mustafa and others like him, whose families are torn apart by the striving for better employment and educational opportunities. Salwa works two jobs on one side of the wall, while Mustafa breaks his back constructing Israeli homes on the other.
The couple have disagreements over what might under different circumstances be inconsequential issues. "You want Madj [their son] to play with Israeli kids?" There are dangers inherent in a Palestinian boy attending an Israeli school, Israeli soccer camps and so forth. A minor altercation could put the family at risk. Further, the expiration of Mustafa's work permit is another obstacle, one that could disrupt the fragile family dynamic.
That's precisely what happens at a time when his son has been hospitalized, and Mustafa, denied entry into Israel, must embark on a perilous odyssey in which 200 meters now becomes 200 kilometers. He must employ the services of an expensive "coyote," and commence a journey that involves threatening Israeli settlers, enduring a Netanyahu/Trump billboard and being crammed into a car trunk at the risk of suffocation.
To make matters more precarious, two passengers—a German woman, Anne (Anna Underberger), and her militant Palestinian friend, Kifah (Motaz Malhees)—are naively oblivious to potentially life-threatening situations. We later learn that the woman has hidden her Israeli background, which in the end has an impact on the outcome of the smuggling operation.
The film is based in director Nayfeh's hometown Tulkarm, through which a giant wall runs. The Israelis call it a "separation wall." The Arabs call it a "wall of apartheid."
In his director's statement, Nayfeh explained that the focus in his film was not so much on the physical wall, but "on what such a separation does to us as human beings. And to shed more light on the invisible barriers and walls that are created as a result of the physical barrier."
In an interview, Nayfeh observed that "maybe 99 percent of Palestinians have to go through a similar journey in overcoming such absurd obstacles in their daily life. You fight your way to small victories in order to achieve simple, basic tasks." The director went on to point out that he had experienced his "share of separation" as his mother "is originally from a Palestinian village on the other side of the wall. The village was my 'Neverland' growing up. But after the wall was built, we were cut off from the rest of our family, grandparents, uncles, aunts, and childhood friends."
In another interview, Nayfeh stated the biggest challenge was to shoot the film in 22 days, the most the production could afford. "Can you imagine shooting a road film in more than 35 locations in just 22 days!"
Ali Suliman is a prominent Palestinian actor, born in Nazareth in 1977. He explains that he had encountered so many people who claimed that the drama of 200 Meters was their exact story.
"I've heard so many stories from real people who have been separated by the wall. Even while we were shooting, normal people were in the streets," Suliman said. "'This is my story.' I heard that from many people who live like that."
A majority of the compelling film's supporting cast are Palestinians appearing for the first time.
B'Tselem, the Israeli Information Center for Human Rights in the Occupied Territories, has characterized the "Separation Barrier," which the Israeli government decided to construct in 2002, in these terms: "The declared objective was preventing Palestinians without permits from entering Israel from the West Bank … A key factor in determining the barrier's route was the location of settlements, thereby laying the groundwork for the de facto annexation of most of the settlements and much land for their future expansion."
The human rights organization comments that the barrier "thus became a major political instrument for furthering Israeli annexationist goals. It serves for Israeli takeover of almost 10 percent of the West Bank, to minimize the number of Palestinians living in the confines of the area between the barrier and the Green Line [the boundary between Israel's sovereign territory and the West Bank], and also inflicts collateral damage on Palestinian communities living east of the barrier which, in effect, cuts them off from their land."
B'Tselem goes on to add that about 85 percent "of the barrier's meandering route winds through the West Bank. In other words, it runs through the occupied territory, and is not located along the Green Line or in Israel proper (i.e., west of the Green line)." It is 712 kilometers long.
There are some 11,000 Palestinians living in 32 communities who are now trapped between the barrier and the Green Line. This number does not include Palestinians living in areas annexed to the municipal boundaries of Jerusalem.
B'Tselem insists that, among other things, the "Separation Barrier" curtails freedom of movement, consequently impinging upon the rights "to work, education, medical care, family life" and earn "a living and an adequate standard of living. The Palestinians' collective right to self-determination is also violated, as the winding route of the barrier cuts into Palestinian space and breaks up the population living there."
200 Meters is Jordan's official submission into the Best International Feature for this year's Academy Awards.
Farha: Film about Israeli atrocities in 1948 comes under attack
Tantura: Documentary about Israeli destruction of a Palestinian village in 1948
Ahed's Knee from Israel, made "with a sense of urgency"
Three short films–including The Present, about the brutality of Israeli checkpoints
Arts and CultureIsraelPalestineFilm Reviews


text:
Biosecurity: Protect Your Horse From Disease
How can you keep your horse healthy when going to horse shows, trail rides, or events? And what about bringing new horses into a boarding stable? Learn about practical biosecurity measures to protect your horses.
Posted by The Horse Staff | Sep 18, 2018 | Ask TheHorse, Basic Care, Biosecurity, Boarding, Diseases and Conditions, Farm and Barn, Horse Care, Infectious Diseases, Media, Other Infectious Diseases, Podcasts, Vaccinations, Welfare and Industry, Working With a Veterinarian
https://thehorse.com/wp-content/uploads/2018/09/ATHL_091318_Biosecurity.mp3
For additional biosecurity information, check out these 10 free resources available on TheHorse.com.
About the Experts:
Roberta Dwyer
DVM, MS, Dipl. ACVPM
Roberta Dwyer, DVM, MS, Dipl. ACVPM, is an equine extension veterinarian and professor at the University of Kentucky, in Lexington, where she also serves as director of the preveterinary advising program. She specializes in veterinary preventative medicine.
Joe Lyman
DVM, MS
Joseph Lyman, DVM, MS, joined Neogen in 2014 after practicing equine medicine in Lexington, Kentucky, for 12 years. His practice evolved from his start as a resident veterinarian on a prominent Standardbred farm to a private ambulatory practice with a focus on assisted reproduction and herd health. While running his practice, Lyman also served as an adjunct professor at a local college. As Neogen's director of professional services and product development, Lyman takes an active role in product development, service, and support for the global animal health company. He also serves as an invited speaker around the world on many subjects, including equine health and biosecurity. Lyman earned his veterinary degree from the University of Illinois at Urbana-Champaign.
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MARTINA: Bay Mustang Mare – Ready for Training/Project Horse


text:
La Ópera de Sídney, situada en la ciudad de Sídney, estado de Nueva Gales del Sur, Australia, es uno de los edificios más famosos y distintivos del . Declarado en 2007 Patrimonio de la Humanidad, fue diseñado por el arquitecto danés Jørn Utzon en 1957 e inaugurado el 20 de octubre de 1973.

En el edificio se realizan obras de teatro, ballet, ópera o producciones musicales. Es sede de la compañía de Ópera de Australia, la Compañía de Teatro de Sídney y la Orquesta Sinfónica de Sídney. Está administrada por la Opera House Trust, un organismo público del gobierno estatal de Nueva Gales del Sur.

Descripción

La Casa de la Ópera de Sídney es una construcción expresionista y con un diseño radicalmente innovador, conformado por una serie de grandes conchas prefabricadas, cada una tomada de la misma semiesfera, que forman los tejados de la estructura. El Teatro de la Ópera cubre 1,8 hectárea (4,5 acres de tierra). Tiene 185 metros (605 pies) de largo y alrededor de 120 metros (388 pies) de anchura máxima. Se apoya en 580 pilares hundidos hasta una profundidad de 25 metros bajo el nivel del mar. Su fuente de alimentación tiene una capacidad equivalente al consumo eléctrico de una ciudad de 25000 personas. La energía es distribuida por 645 kilómetros de cable.

Aunque a las estructuras de los tejados de la Casa de Ópera de Sídney se las denomina comúnmente como cáscaras (como en este artículo), éstas de hecho no lo son en el sentido arquitectónico de la palabra, ya que están formadas por paneles prefabricados de hormigón que se apoyan en costillas prefabricadas del mismo material.

Las cáscaras están recubiertas con 1.056.006 azulejos de colores blanco brillante y crema mate, formando un tenue patrón en "V" invertida (chevrón); aunque vistas desde la distancia parecen de color blanco uniforme. Los azulejos fueron fabricados por la empresa sueca Höganäs AB y aunque están diseñados para que se limpien solos, se realiza un mantenimiento periódico de limpieza. Para mantener la uniformidad del color del cascarón y evitar que luzca parchado, se reutilizan y reparan los mismos azulejos que se han desprendido con el paso de los años. Durante 2015 cayeron apenas 40 azulejos, por lo que el promedio de reparación es muy bajo.

Los dos grupos mayores de bóvedas que conforman el techo del teatro pertenecen cada uno al Salón de Conciertos (Concert Hall) y al del Teatro de la Ópera (Opera Theater). Los otros salones tienen como techo las agrupaciones más pequeñas de bóvedas. La escala de las cáscaras fue elegida para reflejar las necesidades de altura en el interior, con espacios bajos en la entrada que se elevan sobre las zonas de asientos hasta llegar a las altas torres de escena.

Un grupo mucho más pequeño del sistema de cáscaras se encuentra a un lado de las entradas y de la escalinata monumental y del restaurante de Bennelong.

El interior del edificio está construido en granito rosa extraído de la región de Tarana, madera y contrachapado proveniente de Nueva Gales del Sur.

La estación de acceso más cercana es Circular Quay Station. Otros accesos son la terminal del ferry y la terminal de autobús. Dentro de la ciudad está situado en el distrito de Central Business District (CBD).

Lugares e instalaciones de funcionamiento

La Casa de la Ópera de Sídney contiene cinco teatros, cinco estudios de ensayos, dos salas principales, cuatro restaurantes, seis bares y numerosas tiendas de recuerdos.

Los cinco teatros son los siguientes:

 El Concert Hall o Sala de Conciertos, con 2.679 asientos, contiene el magnífico órgano de la Ópera de Sídney, el órgano mecánico más grande del mundo, con unos 10000 tubos.
 El Opera Theatre o Teatro de Ópera, con 1.547 asientos, es el espacio principal de la compañía Ópera de Australia; también es utilizado por la Compañía Australiana de Ballet.
 El Drama Theatre o Teatro para Drama, con 544 asientos.
 La Sala de Música, con 398 asientos.
 El Studio Theatre, con 364 asientos.

Además de producciones de teatro, las instalaciones de la Casa de la Ópera de Sídney también se utilizan para otro tipo de funciones, tales como bodas, fiestas y conferencias.

Para este tipo de acontecimientos el teatro posee las siguientes salas menores:
 Sala de grabaciones
 Sala de exposiciones
 Hall de recepción

++ Cinco salas de ensayo
 42 camerinos
 2 restaurantes
 6 bares para el teatro
 6 vestíbulos, salas de estar
 Oficinas para la administración
 Librería y archivos
 "Sala verde" para los artistas y el personal (bar, comedor, sala de estar)
 Planta y áreas de operación para instalaciones eléctricas, aire acondicionado...
 Paseo de granito alrededor de toda la "Opera House"

En total hay alrededor de 800 ambientes diferentes o salas en todo el complejo. El edificio cuenta con más de 2200 puertas.

Historia

Orígenes
La idea de construir un teatro de ópera en Sídney comenzó a concretarse en los últimos años de la década de los 40 cuando Eugene Goossens, director del Conservatorio de Música de Sídney del estado de Nueva Gales del Sur sostuvo que la ciudad necesitaba contar con un lugar conveniente para las grandes producciones de teatro.

En esa época las producciones teatrales se efectuaban en el edificio del Ayuntamiento de Sídney, un espacio considerado insuficiente para este tipo de producciones. En 1954, Goossens tuvo un gran éxito al obtener el apoyo del primer ministro del estado, Joseph Cahill, quien solicitó diseños para la construcción de un nuevo edificio dedicado expresamente para albergar el teatro de la ópera.

Goossens también insistió en que el edificio se construyera en la península de Bennelong Point, sobre la bahía de Sídney, contra la opinión del primer ministro Cahill, que opinaba que era mejor instalarlo en las cercanías de la estación de ferrocarril de Wynyard, en el noroeste de la ciudad, facilitando así de esta forma su acceso. Bennelong es una pequeña península denominada de esta forma en honor a un aborigen llamado Bennelong (1764-1813) que hacía de intermediario entre el asentamiento aborigen y el Comandante de la Flota y primer Gobernador de Nueva Gales, Arthur Philip.

El concurso se inició el 13 de septiembre de 1955 y recibió un total de 233 proyectos provenientes de 32 países diferentes en busca de un premio consistente en 100.000 dólares. Los criterios mínimos especificados que debían de contener los proyectos eran una gran sala con capacidad para 3000 butacas y una sala de menor tamaño para unas 1200 butacas, cada uno de los diseños debían de contener además espacios para grandes óperas, conciertos de orquestas, coros, conferencias, reuniones, representaciones de diferentes tipos.

El diseño ganador fue anunciado en 1957, resultando vencedor el proyecto de Jørn Utzon, un arquitecto danés. Eero Saarinen, arquitecto y diseñador estadounidense de origen finlandés, que integraba el jurado de la Comisión del Teatro de la Ópera de Sídney, resultó crucial para la selección del diseño de Jørn Utzon. Utzon llegó a Sídney en 1957 para ayudar a supervisar el proyecto y la construcción del edificio.

Diseño y construcción
En el terreno escogido para la construcción del complejo, se encontraba el antiguo Fuerte Macquarie, convertido entonces en depósito de tranvías, que debió ser demolido en 1958. Al año siguiente comenzó formalmente la construcción El proyecto fue ejecutado en tres etapas:
 La etapa I (1959–1963) consistió en  construir el podio superior;
 La etapa II (1963–1967) consistió en la construcción de las bóvedas externas;
 La etapa III (1967–1973) consistió en el diseño interior y la construcción.

Primera etapa: El podio (1959-1963)

La primera fase de las obras comenzó el 5 de diciembre de 1958, por la empresa constructora con sede en Sídney Lend Lease Corporation. El gobierno decidió iniciar las obras inmediatamente, temiendo que el financiamiento o la opinión pública, pudiera revertir y retrasar o incluso cancelar la obra. Pero esa decisión se encontró con el problema que los diseños estructurales más importantes todavía no estaban realizados (lo más notable las velas, que seguían siendo parabólicas en ese momento). Para el 23 de enero de 1961, sólo se habían empleado 47 semanas de trabajo, este retraso en la obra se debía principalmente debido a las dificultades inesperadas (inclemencias meteorológicas, construcción que comienza antes de que los dibujos apropiados de la construcción hubieran sido preparados, cambios de los documentos originales del contrato). Finalmente, el 31 de agosto de 1962 se terminó el podio

El comienzo prematuro y forzado de la obra condujo a problemas finales muy significativos, el mayor de los cuales fue la construcción de las columnas del podio que debían sustentar el techo, con una resistencia menor que la necesaria para poder sustentar la estructura proyectada de la azotea. Este error llevó a que la cubierta tuviera que ser redefinida por lo que su diseño sufrió una variación respecto al diseño original

Segunda etapa: Las bóvedas externas (1963-1967)

La estructura aligerada en forma de bóveda estaba inicialmente indefinida geométricamente, pero casi desde el principio del proceso de diseño del edificio, las bóvedas fueron proyectadas como una serie de parábolas apoyadas por una estructura prefabricada de costillas. Este planteamiento tuvo la oposición de la firma inglesa Ove Arup y socios, cuyos ingenieros no podían encontrar una solución aceptable para construirlas.

Tuvieron que encontrar una manera por la cual construir de forma económica las bóvedas de forma prefabricada, porque usar encofrado "in-situ" hubiera acarreado un costo desmesurado. La repetición de esta técnica en la azotea también hubiera sido demasiado costosa.

Desde 1957 hasta 1963 el equipo de diseño barajó por lo menos doce diferentes interacciones en la forma de las bóvedas (esquemas incluyendo parábolas, costillas circulares y las elipsoides) antes de hallar que una solución realizable.

El trabajo de diseño sobre las cáscaras implicó una de las aplicaciones más tempranas de las computadoras en el análisis estructural para entender el complejo sistema de fuerzas que recibirían las bóvedas. En la mitad del año 1961 el equipo de diseño encontró una solución al problema: todas las bóvedas son creadas como secciones de una esfera.

Existe una gran controversia sobre a quién atribuir esta solución original. Inicialmente fue atribuida a Utzon. Una carta a de Ove Arup a Ashworth, un miembro del comité ejecutivo de la Sídney ópera house, dice:

Peter Jones, autor de la biografía de Ove Arup, indica que «...el arquitecto y sus partidarios igualmente dijeron recordar el preciso momento eureka...; los ingenieros y algunos de sus asociados, con igual convicción, recuerdan la discusión tanto en el centro de Londres como en la casa de Ove;». Jones concluye que "la evidencia existente muestra que Arup examinó varias posibilidades para la geometría de las bóvedas (shells), desde parábolas a elipsoides y esferas". Por su parte, Yuzo Mikami, un miembro del equipo de diseño, presentó una visión completamente opuesta en su libro sobre proyecto titulado Utzon's Sphere.

Es poco probable que la verdad definitiva sea conocida en algún momento, pero hay un claro consenso sobre el hecho de que el trabajo realizado por el equipo de diseño es de una gran calidad. De hecho para la primera parte del proyecto, tanto Utzon como Arup y Ronald Jenkins (socio de Ove Arup) jugaron un papel significativo en el desarrollo del proyecto.

Como Peter Murray estableció en The Saga of the Sydney Opera House:

De esta manera la forma esférica fue la finalmente usada en el diseño final. La esfera, al ser la superficie curva tridimensional más sencilla, abría un gran abanico de posibilidades en el diseño, y se convertía así en la forma geométrica más simple y fácil de controlar. En una esfera el grado de curvatura es igual en todos los puntos de la misma.

Las bóvedas fueron construidas por Hornibrook Group Pty Ltd, quienes eran también responsables de la construcción en la tercera etapa. Hornibrook fabricó las 2400 costillas prefabricadas y 4000 paneles de la azotea en una fábrica en el mismo sitio, y también desarrolló los procesos de la construcción.

Esta técnica evitó la necesidad de construir un costoso encofrado, recurriendo al uso de unidades prefabricadas (también permitió que los azulejos de la azotea fueran prefabricados en láminas a nivel del suelo, en lugar de ser pegados individualmente sobre la bóveda en altura). Ingenieros de Ove Arup & Asociados supervisaron personalmente la construcción y colocación de las piezas de la bóveda, en la cual se utilizó un innovador sistema de sujeción de acero, denominado arco de construcción, para apoyar las diversas azoteas antes de la terminación. Así para la forma de la estructura de las vigas se usó un sistema de abanico. Las vigas partían de un punto abriéndose como un abanico siendo su trazado el de los meridianos de la esfera haciendo que la línea que las define tuviera para todas las vigas el mismo radio: 460 pies.

Con la fabricación en el mismo lugar de la obra, la construcción se simplificó considerablemente, sobre todo porque las cáscaras son fragmentos de una misma esfera de un radio de alrededor de 75 metros (246 pies). Al trabajar con una esfera no sólo se simplificó la construcción, sino también los cálculos.

 En el cálculo, toda la casuística de los detalles, se podía aplicar a todas las bóvedas;
 La construcción se facilitaba, puesto que todas las vigas podrían ser porciones de mayor o menor tamaño de una misma viga y los moldes para la prefabricación de piezas se podía reutilizar varias veces. Así con doce encofrados se construyeron las 1498 vigas que forman el esqueleto de las bóvedas con el ahorro de tiempo y dinero que acarreó (véase imagen más abajo).

El 6 de abril de 1962 se estimó que el edificio de la Ópera podría estar finalizado entre los meses de agosto de 1964 y marzo de 1965. Sin embargo el tiempo estimado fue superado y para finales de 1965, se estimaba que la segunda fase recién estaría completada en 1967.

En 1965 hubo un cambio de gobierno en el estado de Nueva Gales, asumiendo como premier Robert Askin. El nuevo gobierno cambió los equipos a cargo del proyecto, transfiriéndolo al Ministerio de Obras Públicas. Esto condujo en última instancia a la dimisión de Utzon en 1965 (véase abajo).

Tercera etapa: interior (1967-1973)

La tercera etapa de construcción estuvo destinada a los interiores. Comenzó en febrero de 1963, cuando Utzon trasladó su oficina entera a Sídney. En 1965 Utzon fue despedido y su cargo fue asumido principalmente por Peter Hall quien tomó el control de las obras, y se hizo en gran parte responsable del diseño del interior. Otras personas designadas ese año para substituir a Utzon fueron E.H. Farmer como arquitecto del gobierno, D.S. Littlemore y Lionel Todd.

Hasta ese momento (octubre de 1965) el proyecto había gastado solamente 22.9 millones de dólares, menos de un cuarto del coste final. Sin embargo los costes proyectados para el diseño en esta etapa eran mucho más significativos.

En 1966 el consejero acústico, Lothar Cremer, confirmó a SOHEC que el diseño acústico original de Utzon permitía solamente 2000 asientos en la sala principal e indicó que el incremento en el número de asientos hasta 3000 como estaba especificado en el diseño sería desastroso para la acústica del recinto.

Según Peter Jones, el diseñador de la etapa, Martin Carr, criticó la «configuración, altura y anchura del escenario, las instalaciones físicas para los artistas, la localización de los camerinos, las anchuras de puertas y sus elevaciones, y la localización del tablero de iluminación».

Los cuatro cambios más significativos al diseño después de la salida de Utzon del proyecto fueron:

 El revestimiento del podio y el pavimento: el podio no debía ser originalmente una llanura abierta al mar, pero se hizo abierta.
 La construcción de las cristaleras: Utzon había planificado usar un sistema de parteluces contrachapados pero diseñando un sistema diferente para tratar el cristal.
 Uso de las salas: la sala principal, que había sido diseñada como sala polivalente para óperas y conciertos, se destinó finalmente a sala exclusiva de conciertos. La sala menor, diseñada inicialmente sólo para producciones teatrales, en el proyecto final quedó destinada tanto para la representación de ópera como de teatro. También fueron agregados dos teatros más. Estos cambios eran sobre todo debido a las insuficiencias en el diseño original que fue presentado a concurso, en el que no estaba claro cómo debía ser utilizada el teatro de la ópera. La disposición de los interiores fue cambiada y la maquinaria del escenario, diseñada inicialmente para estar dentro de la sala principal, fue sacada y gran parte traslada a otra zona.

 El diseño del interior: El pasillo que diseñó Utzon, su acústica y el diseño de los asientos para el interior de los pasillos principales, fueron desechados totalmente. Su diseño para el salón de conciertos también fue desechado debido a que solamente daba cabida a 2000 butacas, lo que se consideró insuficiente. Utzon empleó al consultor acústico Lothar Cremer, y sus diseños para los pasillos principales fueron modelados y revelándose más adelante de gran calidad. Las versiones posteriores de Todd, Hall y Littlemore de las dos salas principales tienen algunos problemas de acústica, particularmente para los músicos de ejecución. El foso de la orquesta en el Teatro de la Ópera es estrecho y peligroso para los músicos.

El Teatro de la Ópera fue terminado formalmente en 1973, alcanzando un coste de 102 millones de dólares. Sam Hoare, el director de Hornibrook a cargo del proyecto, indicó los costes aproximados por cada proyecto en 1973:

Etapa I: El podio construido por Civil & Civic P/L aproximadamente 5.5 millones de dólares
Etapa II: Las bóvedas construidas por M.R. Hornibrook (NSW) P/L aproximadamente 12.5 millones de dólares.
Etapa III: Interiores construidos por Hornibrook 56.5 millones de dólares.
Contratos separados: Equipo del escenario, iluminación y órgano 9.0 millones de dólares.
Accesos y otros costes 16.5 millones de dólares.

El coste original estimado en 1957 era de 3,500,000 de £ (7 millones de dólares) siendo la fecha original de terminación fijada por el gobierno el 26 de enero de 1963.

Utzon y su dimisión

Antes del concurso internacional para el diseño de la Ópera, Utzon había ganado siete de los dieciocho concursos en los que se había presentado, pero nunca había visto ninguno de sus diseños construidos. El concepto de Utzon para la Ópera de Sídney es considerado casi universalmente como un diseño único. El informe de los asesores en enero de 1957, indicaba:

Para la primera etapa del proyecto Utzon trabajó codo a codo con éxito con el resto del equipo de diseño y el cliente, pero con el progreso del proyecto, él llegó a tener claro (con el uso revisado de las salas a petición de los clientes) que los requisitos del concurso habían sido inadecuados en lo que respecta a la acústica, las especificaciones de los espacios de funcionamiento y otras áreas, y que el cliente no había apreciado los costes o el trabajo implicados en el diseño y construcción. Las relaciones entre el cliente y el equipo de diseño se complicaron más cuando se dio la orden de iniciar la construcción prematuramente, a exigencia de los promotores estatales, a pesar de que el diseño aún se hallaba incompleto.

La relación entre el cliente, el arquitecto, los ingenieros y los contratistas se convirtió en un punto de aumento de la tensión, entre Utzon y los clientes, y también entre Utzon y Arups. Utzon creyó que los clientes deberían recibir toda la información sobre todos los aspectos del diseño y de la construcción a través de él, mientras que los clientes deseaban un sistema (dibujado en forma de bosquejo hecho por Davis Hughes) donde arquitecto, contratistas, y los ingenieros, cada uno, mostraban al cliente el trabajo directamente. Esta diferencia tenía grandes implicaciones para los métodos de consecución y control del coste, con Utzon deseando negociar contratos con los proveedores elegidos (tales como Ralph Symonds para los interiores del chapeado) y el gobierno australiano que insistía en que los contratos fueran puestos en oferta pública.

Sin embargo, las razones por las que Arups necesitaba entrar en contacto directamente con los clientes estaban igualmente claras. Peter Murray explica eso:

Utzon era muy reticente en responder a las preguntas o críticas de su cliente, la "Sydney Opera House Executive Committee" (SOHEC). Pese a ello fue apoyado permanentemente por el profesor Harry Ingham Ashworth, un miembro del comité y uno de los jueces originales de la competición. No obstante la relación no fue facilitada por la postura de Utzon, que era poco dispuesto a subordinar sus diseños, en algunos aspectos, a los deseos de cambio de los clientes. Como él le comentó a Jack Zunz, miembro del equipo de diseño, en 1961:

Utzon sostenía constantemente que había solucionado todos los problemas en su cabeza, pero era reacio a elaborar dibujos o documentación para demostrar el coste o la visión de su diseño posterior. Peter Murray declaró:

Durante el concepto inicial y las etapas tempranas del diseño este no era ningún problema, pero más adelante durante el proceso comenzaron unas considerables tensiones entra las partes. La capacidad de Utzon nunca se puso en duda y Ove Arup de hecho indicó que Utzon era:

Durante los años siguientes la relación empeoró, con Utzon rechazando el acceso a los dibujos y a los documentos al representante del ministerio de obras públicas.

Al mismo tiempo, había discusiones sobre trabajo que Utzon había realizado y cuyo pago no había quedado satisfecho. Arups fue actuando cada vez más a menudo como un mediador con la misión de reconciliar a ambas partes. Jack Zunz, miembro del equipo de diseño de Arup, indicaba tras una reunión con Utzon en Londres en 1964:

En mayo de 1965, Davis Hughes se convirtió en ministro de obras públicas. Ese mismo año, en octubre, Utzon dio a Hughes un horario precisando las fechas de terminación de partes de su trabajo para la tercera etapa. Hughes, por su parte, retuvo el permiso para la construcción de los prototipos del chapeado para los interiores. Utzon estaba trabajando el chapeado con Ralph Symonds, un fabricante con base en Sídney y altamente valorado por muchos, pero sobre el cual había recibido advertencias de Arup en marzo de 1964, en el sentido de que su "conocimiento de las tensiones del diseño del chapeado, eran extremadamente superficiales" y que el consejo técnico era "elementalmente podemos decir como mínimo que era completamente innecesario para nuestros propósitos". Ese mismo año la empresa de Ralph Symonds quebró.

La relación entre Utzon y el promotor de la obra nunca se recuperó, quedando reflejadas en los expedientes del gobierno las amenazas de dimisión de Utzon. La ruptura definitiva se concretó mediante el siguiente diálogo:

Utzon abandonó el proyecto el 28 de febrero de 1966 sosteniendo que Hughes rehusó pagar sus honorarios y así causó su dimisión. Más adelante describió la situación con una expresión que se volvió famosa, "Malice in Blunderland", juego de palabras traducible como "Malicia en el País de los Disparates". En marzo de 1966, Hughes le ofreció un papel reducido como "arquitecto diseñador", subordinado a los arquitectos ejecutivos, sin ningún poder de decisión sobre la ejecución del edificio pero Utzon rechazó el ofrecimiento.

Después de la dimisión se generó una gran controversia sobre quién tenía razón y quien estaba equivocado. The Sydney Morning Herald divulgó inicialmente:

Sin embargo el mismo periódico sostuvo poco después, el 17 de marzo de 1966:

A pesar del paso de los años las opiniones continuaron divididas y depende de la versión de cada una de las partes del proyecto.

Consecuencias para Utzon, la arquitectura y la ingeniería

En un artículo del Harvard Design Magazine en 2005, el profesor Bent Flyvbjerg sostuvo que el despido de Utzon fue un despido político debido al sobrecoste de la construcción, que excedió finalmente el presupuesto inicial en un 1400 por ciento. El sobrecoste y el escándalo creado le impidieron a Utzon construir otras obras maestras. Según Flyvbjerg, ese es el verdadero coste del teatro de la ópera de Sídney.

Este edificio abrió el camino para la construcción de edificios de formas geométricas de gran complejidad dentro de la arquitectura moderna. Fue uno de los primeros ejemplos en el uso de análisis computacional en el diseño de formas complejas. Las técnicas de diseño ideadas por Utzon y Arup para la Ópera de Sídney se han desarrollado ampliamente y ahora se usan para trabajos como los de Frank Gehry o la arquitectura blob.

El diseño de la Ópera de Sídney fue también uno de los primeros en el mundo en contemplar el uso de araldite como pegamento de los elementos estructurales prefabricados y probando a la vez el concepto para su uso futuro.

Inauguración

La Ópera de Sídney fue inaugurada de manera oficial por la Reina Isabel II, en su condición de Reina de Australia el 20 de octubre de 1973 junto con el Duque de Edimburgo con la presencia de miles de personas. La ceremonia de inauguración estuvo compuesta por fuegos artificiales y una representación de la Sinfonía N.º 9 de Beethoven. En la velada inaugural participó la Orquesta Sinfónica de Sídney bajo la dirección de Willem van Otterloo, el "Sydney Philarmonia Choir" y el "Sydney Philarmonía Motet Choor", interpretando "Jubugalee" (de John Antil). Al día siguiente la Reina y el Duque de Edimburgo realizaron una visita protocolaria a las instalaciones y a todo el complejo.

Antes de la ceremonia de inauguración oficial ya se habían realizado varias representaciones dramáticas y musicales en el edificio.

Durante la construcción del edificio se realizaron numerosas representaciones a la hora de la comida siendo la primera la del actor y cantante afroamericano Paul Robeson, realizada en 1960 desde los andamios para los trabajadores que construían el edificio. Ya finalizado, la primera interpretación artística en el complejo fue un concierto de prueba realizado el 31 de octubre de 1972 en la Sala de Música, presentado por Música Viva Australia, integrado por el Cuarteto de Cuerdas Fidelio, Lauris Elms y Donald Westlake. El 17 de diciembre de ese mismo año se realizó el primer concierto de prueba en el Concert Hall, con la Orquesta Sinfónica de Sídney dirigida por Sir Bernard Heinze. El 21 de enero de 1973 se concretó el primer concierto de prueba en el Teatro de la Ópera, con interpretaciones de Donald Smith, Elizabeth Fretwell y miembros de la ABC National Training Orchestra, dirigida por Robert Miller. El 10 de abril de 1973 se llevó a cabo el primer recital en el complejo, ante un público de invitados, a cargo de la pianista Rómola Constantino quien realizó la interpretación en el Concert Hall (Sala de Conciertos).

La primera representación pública se realizó el 28 de septiembre de 1973, con la presentación de la ópera La Guerra y la Paz de Serguéi Prokófiev en el Teatro de la Ópera. Al día siguiente, el 29 de septiembre, se realizó el primer concierto público en la Sala de Conciertos, realizado por la Orquesta Sinfónica de Sídney, dirigida por Charles Mackerras y la soprano sueca Birgit Nilsson, como solista.

Acontecimientos en el exterior del complejo

El sitio de la Ópera de Sídney se ha transformado en un punto de referencia y encuentro de gran importancia. El 24 de noviembre de 1996, el destacado grupo de rock australiano/neozelandés Crowded House, realizó su último concierto en las escaleras del teatro ante una multitud de gente que alcanzaba casi las cien mil personas. En 1997, el escalador urbano francés Alain Robert apodado "Spiderman", usando solamente sus manos y pies desnudos y sin dispositivos de seguridad, escaló la pared exterior del edificio.

Durante los Juegos Olímpicos de Sídney 2000 el edificio fue incluido dentro de la ruta olímpica que seguiría la antorcha por las calles de la ciudad en su camino hacia el estadio olímpico, siendo la nadadora australiana Samantha Riley quien se paró en la cima de la casa de ópera para agitar la antorcha olímpica. También fue sede de algunos acontecimientos de los juegos olímpicos, como el triatlón que tenía su salida en el edificio o las regatas del puerto de Sídney.

La seguridad en la ópera ha aumentado como resultado de la probabilidad de atraer atentados tras los atentados del 11 de septiembre de 2001. Esta seguridad no impidió que dos activistas pacifistas en marzo de 2003 escalaran a la cima de la bóveda más alta y dibujaran «NO WAR» (GUERRA NO) en letras gigantes rojas, para oponerse a la participación de Australia en la guerra de Irak. Estos dos pacifistas fueron arrestados y condenados en enero de 2004 a nueve meses de detención periódica por daño malicioso y desorden público además de tener que abonar $151.000 por la limpieza de la bóveda.

Reconciliación con Utzon y nuevos trabajos
A fines de la década de los 90, el Patronato de la Casa de Ópera de Sídney inició un acercamiento a Jorn Utzon con el fin de producir una reconciliación y asegurar su implicación en una futura remodelación del edificio. Poco después, en 1999, el Patronato lo designó como consultor del diseño para el futuro trabajo.

En 2004, se abrió el primer espacio interior reconstruido para restablecer el diseño original de Utzon, rebautizándose como "Sala Utzon" en su honor. En abril de 2007, Utzon propuso una importante remodelación del edificio de la Ópera.

Patrimonio de la Humanidad

Patrimonio cultural en Australia
El 12 de julio de 2005 el gobierno australiano declaró a la Ópera de Sídney patrimonio nacional, paso previo necesario para que el edificio pudiera ser declarado Patrimonio de la Humanidad por la Unesco. A principios de 2006, el gobierno del Estado de Nueva Gales del Sur y el gobierno federal australiano presentaron su candidatura, sumándose al Centro de Exposiciones Real de Melbourne, la Gran Barrera de coral de Queensland y las Montañas Azules, de Nueva Gales del Sur. Finalmente, el 28 de junio de 2007, la Unesco declaró la Ópera de Sídney como Patrimonio de la Humanidad, abarcando un área protegida de 5,8 ha y 438,1 ha de zona de protección. Acabado en 1973, se trata del edificio más moderno del mundo que ha recibido el título de patrimonio de la humanidad. El edificio recibe cerca de cuatro millones de turistas anuales.

Patrimonio cultural de Dinamarca

El ministerio danés de cultura en 2006 ha designado doce iconos culturales que definen cada una de los nueve campos. Este edificio está elegido como uno de los objetos incluidos en el apartado de arquitectura el cual fue así incluido en el apartado cultural.(→ :da:Kulturkanonen)

Nominación para las nuevas siete maravillas

La Ópera de Sídney fue una de las 21 construcciones finalistas para determinar las nuevas siete maravillas del mundo. En el día que fue nominada, se realizó un té de la mañana, cuyo anfitrión fue el primer ministro de Nueva Gales del Sur, Morris Iemma, fuera de la casa de la ópera. Finalmente el complejo no resultó elegido.

Simbolismo

El edificio de la ópera de Sídney ha sido usado como la base del logotipo oficial de los juegos olímpicos de Sídney 2000 tanto en el logotipo como en las medallas. El edificio aparece como parte del logotipo de los Sydney Swans Football Club, Australian Football League, Sydney Roosters, National Rugby League team, Sydney Kings National Basketball League (Australia) team, Sydney Football Club A-League, Sydney Gay and Lesbian Mardi Gras, la AMSA (Australian Medical Student Association) convención del año 2005, y la XXIII Jornada Mundial de la Juventud 2008 (WYD SYD 08).

Edificios similares

Algunos edificios modernos del mundo se han inspirado en la Ópera de Sídney, entre ellos:

Véase también

 Órgano de la Ópera de Sídney
 Auditorio de Tenerife

Referencias

Bibliografía en inglés
 Hubble, Ava, The Strange Case of Eugene Goossens and Other Tales from The Opera House, Collins Publishers, Australia, 1988. (Ava Hubble fue jefe de prensa de SOH (Ópera de Sídney) durante quince años).
 Duek-Cohen, Elias, Utzon and the Sydney Opera House, Morgan Publications, Sydney, 1967-1998.
 Stuber, Fritz, Sydney's Opera House - Not a World Heritage Item? - Carta abierta a Hon. John W. Howard, Primer Ministro, in: Australian Planner (Sydney), Vol. 35, No. 3, 1998 (p. 116); Architecture + Design (New Dehli), Vol. XV, No. 5, 1998 (pp.12-14); collage (Berne), No. 3, 1998, (pp.33-34, 1 ill.).
 [https://web.archive.org/web/20050507062852/http://www.abc.net.au/news/newsitems/200504/s1355304.htm "Opera House an architectural 'tragedy"''', ABC News Online, 28 April 2005.]
 Flyvbjerg, Bent, "Design by Deception: The Politics of Megaproject Approval", Harvard Design Magazine, Volume 22, 2005.
 Watson, Anne (editor): "Building a Masterpiece: The Sydney Opera House"'', 2006, Lund Humphries, ISBN 0-85331-941-3, ISBN 978-0-85331-941-2

Enlaces externos

 Coordenadas:
 The Sydney Opera House mapygon
 Sitio oficial de la Ópera de Sídney
 Sitio web de arquitectura en Sídney
 Artículo de www.chiefengineer.org que repasa la historia del proyecto
 Fotografías de la construcción

 Webcam en directo desde la Ópera de Sídney

Arquitectura moderna en Australia
Arquitectura metafórica
Patrimonio de la Humanidad en Australia
Edificios y estructuras de Sídney
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Obras de Jørn Utzon
Salas de conciertos de Australia
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The area in which Crown and Pumpkin takes place is filled with rich heritage and to enhance your wonderful experience we have created an interactive map that highlights points of historical interests along the tour. Learn about the rich heritage of Mississippi Mills as you drive from stop to stop. Click on the image below for an interactive map.
In addition, you can view walking tours of both Almonte and Clayton by clicking the images below.


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JBL E65BTNC over-ear wireless headphones review
Urbanears Alby true wireless headphones review
Christian de Looper October 9, 2020 In-Ear
Very compact and portableComfortableInexpensive
Lackluster battery life
Design8.5
Every headphone company under the sun has launched a new pair of true wireless headphones over the past year or so, and the latest to do so is Urbanears, with the new Urbanears Alby headphones. The headphones offer an AirPod-like design, with their stem, and a very pocketable charging case.
But they also have a very un-AirPod-like price tag, coming in at only $70. But do they cut too many corners to achieve that low price? We put the Urbanears Alby headphones to the test to find out.
The first thing you'll notice about the Urbanears Alby headphones is their design. They're good-looking headphones — and while they take obvious design cues from AirPods, they're also a little different, with their own unique twist.
Perhaps the main difference between these headphones and your average AirPods is that the stem is a little longer. But while some don't love the stem, I actually don't mind it, and I don't think they look bad by any means. The stems also have touch controls built into them, allowing you easily control playback and volume. The controls are pretty easy to use, but it may take a few days to commit the commands to memory.
The charging case is very small and pocketable, and while that may play into battery life down the road, the result is that it's very portable. It measures in at around two inches by two inches, and around an inch thick. That's not bad at all. On the right side of the charging case is a USB-C port. We're really glad Urbanears went for USB-C here, even on a budget product.
In the box, apart from the headphones and the charging case, you'll also get a total of three pairs of ear tips, and a charging cable.
In-ear headphones usually aren't as comfortable as on-ear and over-ear headphones, but the Urbanears Alby headphones aren't bad at all. In fact, we were easily able to wear the headphones for a number of hours without experiencing any discomfort at all.
And, the headphones are good at remaining in your ears. Now, they're probably not the best headphones for sports, and they may fall out if you take them running. But for day-to-day use, they'll remain nice and firmly in your ears, even if you're out and about.
The Urbanears Alby true wireless headphones are pretty inexpensive, and as a result you might assume that they'll sound bad. Thankfully, however, they sound pretty good — even for a pair of headphones much more expensive.
The bass on these headphones is probably the weakest frequency range, and while there's enough for most, it simply doesn't punch through a mix the way it could. Part of that is owed to the lack of bass extension.
The low mids are pretty laid back, while the high mids have gotten a bit of a boost here. The result is that vocals and guitars easily stand out in the mix, which some might like and others won't.
The highs on these earbuds are actually pretty good, which is nice to hear from a pair of budget headphones. Cymbals shine well and percussion is easy to hear. Now, don't expect a ton of detail here — these aren't for audiophiles. But average listeners will appreciate the high-end on offer.
Generally, these are pretty well-rounded buds, especially for a pair of headphones in this price range.
The headphones don't cost much, but the trade-off is that the battery life isn't great. At three hours of use on a charge, these headphones are definitely at the low end of true wireless headphones. The charging case will get you an additional four charges, but it doesn't change the fact that we would have liked to see a longer battery life in the buds themselves.
The Urbanears Alby true wireless headphones connect to your listening device through Bluetooth 5.0, and we found that they generally retained a good connection throughout testing.
The Urbanear Alby headphones really aren't bad at all, especially for a pair of headphones in this price range. They're pretty well-designed and comfortable, plus they sound good for a pair of headphones this cheap. The battery life is pretty lackluster, but that's an issue most will be able to manage, unless you regularly listen to music for more than three hours at a time.
But if you're looking for budget true wireless headphones, there are other options. JLab Audio has long built some of the best budget true wireless buds, and it's worth looking into JLab's selection for better battery life.
That said, if you like the style of the Alby headphones, they're a great option — and because of their excellent value, we're awarding the headphones the Headphone Review Silver Medal.
Urbanears $69
Frequency response 20Hz – 20kHz Active noise cancellation No
Driver type Dynamic On-ear controls Yes
Design Closed Microphone Yes
Sensitivity Unknown Ear tip material Silicon
Rated impedance Unknown Magnet material Unknown
Total harmonic distortion Unknown Water resistance IPX4
Rated input power Unknown Battery life 3 Hours (+12 Hours)
Maximum input power Unknown Wireless distance 10m (33ft)
Wireless connection Bluetooth 5.0 Cable length Unknown
Wired connection No Case type Charging case
Detachable cable N/A In-the-box
Ear tips (x3 pairs)
Weight Unknown Colors Charcoal Black, Ultra Violet, Dusty White, Teal Green, True Maroon
AlbyBluetoothBluetooth 5.0ClosedDynamicSilverTrue WirelessUrbanearsUSB-CWireless
Previous ArticleEPOS Adapt 460T neckband headphones review
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I thought of posting a breakfast menu today and skipped posting lunch menu yesterday, but today morning went out for shopping for my trip and had no time making and clicking for breakfast menu. So after I came back from shopping, thought will make lunch and post lunch menu itself. So I am late . I have a breakfast menu to post next week, but after that, I am not sure how much I can post in the lunch menu series regularly. So kindly bear with me. But I have posts for all the weeks when I am in India and I will schedule it and go, so stay tuned for some interesting summer recipes and others.
Todays lunch menu has Yellow pumpkin gravy, which we call as parangikkai chutney. Though its a gravy, its called chutney only. Its very easy and too good. So if you have not tried this yet, try this different and delicious gravy for rice and you will be surprised with the great taste. I want to empty my fridge so I am making all the possible things I can make and utilize the veggies without wasting before I go. Here is how I prepared this menu after I came back from shopping.
Soak channa (Chickpeas/ kondaikadalai) overnight. I had some soaked and frozen, so I used it up here.
I kept rice in electric rice cooker. Soak tamarind in hot water. Peel and roughly chop the yellow pumpkin to chunks. In pressure cooker, two separate containers, pressure cook pumpkin and channa.
Mean while everything is getting cooked, extract tamarind juice first, keep aside. Cut chow chow, chop onions for gravy and curry.Peel and finely chop garlic. Grate coconut for sundal and keep the other things like chilli and curry leaves ready.
Once the pressure cooker is done, grind the pumpkin and prepare the gravy first and let it boil. Next, finish sundal and lastly curry.
Pumpkin gravy, chow chow curry, sundal, rice, curd and pickle for lunch!
You can prepare the same gravy with ridge gourd too. Check out the other kuzhambu recipes.
Hi Friend, Today I could not prevent myself from commenting; this is not regarding the menu but about u. Whenever I go through ur lunch menu posts, I always feel how u manage multitasking, I mean the preparation you do for all the items simultaneously, and then even click photos in the midst of it. Really, you are awesome. I always go one recipe at a time, may be thats why my cooking is time consuming, but after reading through ur posts, even I am motivating to do like you. I have improved, but still a long way to go.. Thank you for inspiring. I salute you awesome lady..


– Pesticide residues: methomyl (0.32 mg/kg – ppm) in grapes from Egypt, via the Netherlands, following an official control on the market. notified by Denmark.
– Residues of medicinal veterinary products: prohibited substance nitrofuran (metabolite) furazolidone (AOZ) (4.9 µg/kg – ppb) in frozen king prawns from Vietnam, following an official control on the market. Notified by Germany.
– Pesticide residues: ethylene oxide (2.5 mg/kg – ppm) in black pepper from Vietnam, following company's own check. Notified by Netherlands, distributed also to Belgium, Brazil, Finland, France, Germany, Mexico, Poland, Singapore, Switzerland, and United States.
In Italy we had a seizure for aflatoxins (B1 = 19 µg/kg – ppb) in pistachios from Iran, via Germany, following an official control on the market.


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