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This is an activity of the Commission on Thermal Physiology of the International Union of Physiological Sciences (IUPS), the organization that groups the national physiological societies of all the countries in the world. Each commission of the IUPS is porno charged with representing a specific subject area within the broad field of physiology, e.g., cardiovascular, respiratory, renal, etc. The principal responsibilities of the commissions are to survey the entire field of its specialty and to foster all its activities (including those outside of the purely medical sphere), world-wide. This includes organizing and coordinating scientific meetings, providing encouragement and support to those physiologists in the world whose resources may keep them somewhat at the margins, and promoting graduate and postgraduate education through the preparation and/or sponsorship of appropriate texts, reviews, etc.
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Portugal is located at South-West extreme of Europe and consists of the mainland and the islands: the Azores (Açores) and Madeira islands. It is 91,905 sq. km in area and has the population of almost 9.928 million people (1998). 36 per cent of the population is urban. Homogeneous Mediterranean people make up the majority population. A small African ethnic minority reminds of the Portugal's colonial history. 97 per cent of the population belong to the Roman Catholic religion and the official language is Portuguese.
The polarity between a few major cities (Lisbon and Oporto in the first place) with abundant cultural facilities on one side and rural areas which remain peripheral and fairly isolated on the other, still marks the environment for cultural policy in Portugal. Formerly strictly centralized, the cultural field in Portugal is undergoing profound changes, not merely from the administrative point of view, but also in terms of global restructuring. The approach of the state is changing and more and more effort is being put into shaping a balanced and more decentralized system. The demand for a more even distribution of cultural initiatives and funding is influencing the development of a new model of regional division of the country.
1. GENERAL DIRECTIONS OF CULTURAL POLICY
The management of cultural affairs in Portugal is divided between central governmental institutions affiliated to the ministries, directly involved in the field and local executive bodies charged with applying the global national policy, but also enjoying a degree of independence in matters of finance and decision-making. The importance of local executive powers is reinforced by the relative vagueness of the structural model for public institutions dealing with culture, so that many decisions depend on the initiative of the actual personnel involved. The restructuring of the administrative model has been followed by a constant growth in public expenditure during the last decade, but also by a stronger presence of private sponsors, who are gaining considerable control over some sectors, notably in the field of cultural industries. Such growth is due to Portugal's entry to the EEC in 1986, which changed life in all levels in the country, while culture was particularly affected. In the last few years Portugal has been present at many important cultural meetings or has been a host of many cultural events, such as the most recent one of the international importance, EXPO 1998.
These initiatives have caused a great promotion of cultural resources, as well as increased professionalization of cultural life.
2. ADMINISTRATIVE AND INSTITUTIONAL STRUCTURES
2.1 Public and semi-public bodies
The highest public body in charge of cultural affairs in Portugal is the State Secretariat for Culture. It consists of the four following main branches:
· Administration and Organization;
· Promotion of Culture and Supervision of Copyrights;
· Support for Events in all disciplines;
· International Cultural Relations.
The State Secretariat for Culture also installed four regional self-governing institutions for culture outside Lisbon, in the north, in the central area, in Alentejo and the Algarve.
There are also other government agencies and institutions involved in cultural activities:
· General Directorate for Buildings and National Monuments (Direcção Geral dos Edifícios e Monumentos Nacionais) is attached to the Ministry of Public Works. Together with the Ministry of Culture, it is in charge of planning and managing the restoration and preservation of historic monuments;
· State Secretariat for Tourism (Secretaria de Estado do Turismo), attached to the Ministry of Trade and Tourism;
· Ministry of National Defence (Ministério da Defesa Nacional), responsible for military and similar museums and collections;
· Ministry of Internal Administration (Ministério da Administração Interna) is in charge of coordinating the activities of local administrative bodies.
Regional and local governments
The support for culture on the regional level and its incorporation in the general technical and financial framework of regional development is assured by a network of local commissions covering the mainland territory. There are five commissions corresponding to the following regions:
· Algarve,
· Alentejo,
· Centre,
· North,
· Lisbon and Tegus Valley.
Continental Portugal is divided into 335 municipalities (30 more are spread over Madeira and the Açores Islands) which are grouped in 18 districts. The local authorities exercise their mandates in the preservation of municipal culture and heritage. The district assemblies are authorized to establish and maintain local museums and to manage the research, conservation and presentation of archaeological, historical, folklore and artistic values.
Cultural affairs in the autonomous regions of Madeira and the Azores are managed by their local departments for culture, whose competencies correspond to those of the central government. The organizational model in these regions is roughly the following:
· Regional Government of the Azores (Governo Regional dos Açores)
a) Regional Secretariat for Education and Culture (Secretaria Regional de Educação e Cultura)
b) Regional Directorate for Cultural Affairs (Direcção Regional dos Assuntos Culturais)
· Regional Government of Madeira (Governo Regional da Madeira)
a) Regional Secretariat for Tourism and Culture (Secretaria Regional do Turismo e Cultura)
b) Regional Directorate for Culture (Direcção Regional da Cultura).
2.2 Facilities and institutions
The Ministry of Culture also manages the activities of several other public bodies for coordination, national funds and councils:
· Cultural Promotion Fund (Fundo de Fomento Cultural), in charge of financial subsidies for the development of different sectors of culture, providing scholarships and prizes for the arts,
· Portuguese National Library and National Book Institute (Instituto da Biblioteca Nacional e do Livro),
· Portuguese Institute for Cinematography and the Audiovisual Arts (Instituto Português da Arte Cinematográfica e do Audiovisual),
· Portuguese Cinemateca (Cinemateca Portuguesa – Museu do Cinema),
· Portuguese Institute for Architectural and Archaeological Heritage (Instituto Português do Patrimonio Arquitectónico e Arqueológico),
· Portuguese Symphony Orchestra (Orquestra Sinfónica Potuguesa),
· Oporto Classical Orchestra (Orquestra Clássica do Porto),
· Portuguese Institute of Museums (Instituto Português de Museus),
· Drama Institute (Instituto das Artes Cénicas),
· National Dance Company (Companhia Nacional de Bailado e da Dança),
· International Academy of Portuguese Culture (Academia Internacional de Cultura Portuguesa),
· National Academy of Fine Arts (Academia Nacional de Belas-Artes),
· Portuguese Academy of History (Academia Portuguesa de História),
· National Archives Torre de Tombo (Arquivo Nacional Torre de Tombo).
Five regional delegations for culture covering the Portuguese mainland and belonging directly to the administrative structure of the State Secretariat for Culture are the main factor in the decentralization of culture. The Regional Delegations of North, Centre, Lisbon, Alentejo and Algarve (Delegação Regional do Norte, Delegação Regional do Centro, Delegação Regional de Lisboa, Delegação Regional do Alentejo, Delegação Regional do Algarve) coordinate development on the regional level and supervise projects outside the scope of the national cultural programme.
Non-governmental and mixed institutions
The Calouste Gulbenkian Foundation is a privately financed organization supporting a wide range of cultural institutions and programmes in all sectors. It coordinates a major network of libraries in the country, runs two museums, a symphony orchestra and a dance troupe. It manages the activities of research institutes and publishes a series of periodical reviews of art and literature. It also provides support for independent bodies and individuals, as well as scholarships for research in Portuguese culture. Internationally, it runs several cultural centres located in the main world capitals, dedicated exclusively to the promotion of the Portuguese language and culture.
The National Centre for Culture (Centro Nacional de Cultura) is a private association founded in 1945 and dedicated to the public promotion of cultural issues and safeguarding of cultural heritage. It aims to be a connecting link between those whose paths do not normally cross: old and young people, artists and businessmen, public and private sector.
The Serralves Foundation (Fundação da Serralves) in Oporto is a mixed institution dedicated to promoting cultural events.
The Discoveries Foundation (Fundação das Descobertas) in Lisbon is an official institution for the administration and support of cultural activities of the Belem Cultural Centre (Centro Cultural de Belem).
The Fundação Oriente is a private institution supporting and carrying out activities of a cultural, artistic and philathropic nature, having Portugal and Macao as privileged areas.
INSTRUMENTS OF CULTURAL POLICY
3.1 Financing of cultural activities
Financial resources to subsidize culture in Portugal are provided both on the central and local levels. Although still rather marginal in the total amounts spent on culture, the private sector continuously increases its share.
The Sponsorship Law has been adopted; sponsorship payments are tax deductible and are treated as normal business expenditure, provided the level of expenditure is reasonable in relation to the company's activities. According to the Law, maximum corporate relief for donations is 0.2 per cent of turnover, plus 50 per cent relief for donations in excess of this.
The three most important foundations are the Fundação Calouste Gulbenkian, the Fundação Oriente and the Fundação Luso-Americana para o desenvolvimento.
For example, the most important of the mentioned foundations, the Fundação Calouste Gulbenkian ensures some 25 per cent of all the funding of the arts and culture in Portugal.
As far as it concerns the share of government cultural expenditure in 1995, it was as follows:
per cent
Instituto Português de Museus 12.9
Fundação das Descobertas 12.3
Instituto das Artes Cénicas (The Drama Institute) 11.4
Fundação Nacional de S. Carlos 9.1
Archives and Libraries 8.6
Library and Book Institute 7.4 Culture Promotion Fund 7
Architecture and Archaeology 5.4
General Directorate for Cultural Events 5.3
General Directorate for Services of Administration Organization 3.5
The Dance Institute, Art Academies, Cabinet for International Relations, Film and Audiovisual Art, regional delegations and Cabinet of the Secretary of State and Under-secretary of state all shared the expenditure from 0.4 to 2.7 per cent.
It is notable that most of the funds allocated to culture are spent on cultural heritage and the promotion of Portuguese discoveries.
3.2 Legislation
According to the Sponsorship Law, sponsorship payments are tax deductible and are treated as normal business expenditure.
4. SECTORIAL POLICIES
4.1 Cultural heritage
The Portuguese Institute for Architectural and Archaeologial Heritage (Instituto Português do Património Arquitectónico e Arqueológico) is the main coordinating body dedicated to the safeguarding of cultural property.
The Portuguese Institute of Museums (Instituto Português de Museus) coordinates most public museums and cultural properties.
The Torre do Tombo National Archives is an institution in charge of most Portuguese archives and the Torre do Tombo Archives in Lisbon.
4.2 Cultural education and training
4.3 Performing arts
Two national theatres (Teatro Nacional de S. Carlos and Teatro Nacional D. Maria II) and the national ballet company (Companhia Nacional de Bailado e da Dança) are supervised by the State Secretariat for Culture. There are also a number of professional theatre companies and international theatre festivals, for instance, the International Festival of Iberic Expression Theatre held in Oporto.
4.4 Visual and fine arts
Besides the National Academy of Fine Arts and the National Fine Arts Society, there are also several regular events like the Biennale of Design and the Biennale in Vila Nova de Cerveira.
4.5 Literature and literary production
The Portuguese Institute for the National Library and Books (Instituto Português da Biblioteca Nacional e do Livro) supervises the work of the National Library and promotes books, publishing and translation activities.
The other most important organizations involved in literature and literary production are: Associação Portuguesa de Escritores, Sociedade de Língua Portuguesa, Associação de Jornalistas e Homens de Letras do Porto, Associação Portuguesa de Editores e Livreiros and Associação Portuguesa dos Bibliotecários, Arquivistas e Documentalistas.
Two big Book Fairs are held annually (in Lisbon and in Oporto), organized by the Associação Portuguesa de Editores e Livreiros. 23 regional and local fairs are organized over the whole country.
The governmental responsibility for music lies within the Direcção-Geral dos Espetáculos and the Teatro Nacional de S. Carlos.
Opera and music also benefit from special services of some private foundations.
There are also a number of musical groups, 20 associations, 10 academies and some 15 conservatories and music schools that offer various music degrees. Also, a number of music festivals are run all over the country.
5. CULTURAL INDUSTRIES
5.1 Book publishing
The Portuguese Institute for the National Library and Books (Instituto Português da Biblioteca Nacional e do Livro) is in charge of planning and implementing the measures to support publishing (its frame of reference does not include schoolbooks).
The Institute provides subsidies for the publication of quality titles in Portugal and for foreign translation and publication of Portuguese literature. The Institute also helps the literary associations with their programmes. Together with the Portuguese Publishers and Booksellers Association, it supports thirteen national book fairs and Portuguese participation in international book fairs.
A number of municipal libraries receive subsidies to enlarge their holdings and rebuild the facilities. The Institute awards grants to scholars studying the Portuguese language/literature/culture, and together with various other institutions, it supervises and finances several literary prizes.
5.2 Press
The main body responsible for managing subsidies for the information media is the Presidency of the Government. It also handles the distribution of official information, governmental publicity, documentation, and relations with journalists.
Upon the recommendation of a committee consisting of professionals and representatives of the Directorate, projects of technological modernization are chosen for subsidies. A similar procedure is followed in the selection of general information newspapers that receive subsidies. A reduction of telecommunication rates and ground travel expenses for journalists are also provided, and training programmes for journalists are supported.
5.3 Broadcasting and sound recording industry
In 1995, there were three transmission/broadcasting organizations in Portugal: Radiotelevisão Portuguesa (RTP), Sociedade Indipendente de Comunicação (SIC) and Televisão Indipendente (TVI). RTP covers four channels: Canal 1, TV-2, RTP-Madeira and RTP-Açores. Canal 1 covers 98 per cent of the population, TV-2 80 per cent, RTP-Madeira 96,9 per cent and RTP-Açores 89,5 per cent. Canal 1 had 117 programming hours a week in 1995 and TV-2 94.
RTP also broadcasts at the international level.
Commercial revenues of the RTP amounted to 69 per cent and grants to 31 per cent in 1995.
Cultural share in programming is as follows: music accounts for 3,4 per cent of the RTP programme and arts/humanities/sciences for 3,7 per cent.
At the beginning of 1996, Portugal had four cable operator companies.
There were 3,134.000 TV households in Portugal in 1995 and 1,434.000 VCR households. 6 per cent of the population possessed double equipment of VCRs in the same year.
5.4 Cinema and film industry
The Institute for Cinematography and the Audiovisual Arts (Instituto Português da Arte Cinematográfica e Audiovisual) coordinates cultural initiatives in support of the national film production and distribution. The funds for its activities come from tax levies on the distribution of full-length films (with the exception of those classified as quality titles) and advertising films on TV and in the cinema. No other assigned government subsidies are allocated.
Limited subsidies are provided automatically for all national producers of full-length films, as additional aid to cover production costs. A national committee of appointed experts selects full-length films for state subsidies and loans. Dissemination of national films is also supported, as well as the rebuilding and construction of new cinemas and the Portuguese Cinemateca.
In 1995, there were 8 film production companies in Portugal.
6. CULTURAL DEVELOPMENT
The participation in cultural life, according to most recent surveys, shows that marked differences between urban and rural areas of the country still persist. Modern cultural life is more easily practised in cities, especially big ones, while the participation of the population in rural areas falls behind. However, the ever growing presence of the media is generally shaping a more home-based model of cultural consumption, making the same goods equally accessible for all the inhabitants, regardless of their environment and distance from, or proximity to, cultural facilities.
Public measures to stimulate participation and creativity have increased in the most recent period. This is particularly true with regard to young people, where the Institute for Youth and some other bodies have introduced significant incentives, such as ticket price reductions for a wide range of cultural events, stronger media-oriented marketing of cultural projects, etc.
INTERNATIONAL CULTURAL COOPERATION
The Ministry of Foreign Affairs (Ministério dos Negócios Estrangeiros), acting through its General Directorate for Bilateral Cultural Relations (Direcção Geral das Relações Culturais Bilaterais) coordinates Portuguese cultural activities abroad. It manages the representation of Portugal in international bodies and makes arrangements for bilateral cultural agreements. It also supervises the granting of scholarships in accordance with these agreements. All international cultural activities are performed in close cooperation with the Cabinet for International Cultural Relations (Gabinete das Relações Culturais Internacionais) attached to the State Secretariat for Culture.
The international activities of the Ministry of Education (Ministério da Educação) are aimed at promoting the study of the Portuguese language abroad. It has two bodies engaged in international cultural activities: Foreign Relations Office (Gabinete de Relaçoes Internacionais) and the Camões Institute (Instituto Camões).
8. ADDRESSES
8.1 Ministries, authorities and academies
Comissão Nacional da UNESCO
Direcção-Geral dos Espectáculos e das Artes, Praça dos Restauradores Gabinete de Relações Internacionais
Ministério da Educação Direcção-Geral das Relações Culturais Bilaterais
Presidencia do Conselho de Ministros Rua Prof. Gomes Teixeira
8.2 Central cultural institutions Arquivos Nacionais
Torre do Tombo Alameda da Universidade
Cinemateca Portuguesa Instituto Português da Biblioteca Nacional e do Livro Rua Ocidental ao Campo Grande 83
Instituto Portugues da Arte Cinematográfica e do Audiovisual
Rua de S. Pedro de Alcântara, 45, 1o
Instituto Portugues do Património Arquitectónico e Arqueológico
8.3 Associations
Federação Portuguesa das Colectividades de Cultura e Recreio
Conde, Idalina. Participation in Cultural Life: Portugal. Papers presented at the European Round Table on Cultural Research, Moscow, April 1991. Zentrum für Kulturforschung in cooperation with C.I.R.C.L.E., Bonn, ARCult, 1991, pp. 237-247.
Cultural Policy and Cultural Administration in Europe: 42 outlines. Vienna, Österreichische Kulturdokumentation, Internationales Archiv für Kulturanalysen, 1996, pp. 143-147.
Cultural Policy in Europe – European Cultural Policy? Nation-State and Transnational Concepts. Vienna, Österreichische Kulturdokumentation, Internationales Archiv für Kulturanalysen, 1998.
Découvertes/Discoveries. Centro Lisbon, Nacional de Cultura.
Fisher, Rod. Briefing Notes on the Organization of Culture in EEC Countries: Portugal. London, Arts Council of Great Britain, 1990.
Fundação Oriente: Annual report 1993. Lisbon, Fundação Oriente, 1994.
Handbook of Cultural Affairs in Europe. Baden-Baden, Nomos Verlagsgesellschaft, 1995, pp. 457-473.
Katunarić Vjeran. Centar, periferija i regionalizam. Drustvena istrazivanja 1(1) 1992, pp. 5-12.
Rouet, François & Xavier Dupin. Le soutien public aux industries culturelles. Paris, La Documentation Française, 1991, pp. 153-161.
Statistical Yearbook 97: cinema, television, video and new media in Europe. Strasbourg, European Audiovisual Observatory, 1996.
The Public Administration and Funding of Culture in the European Community: Portugal. Antonio Ca'Zorzi, ed., Brussels-Luxembourg, Commission of the European Communities, 1989, pp. 71-78; 157-161.
The World Almanac and Book of Facts 1999. Mahwah, New Jersey, Worl Almanac Books, 1998.
* This monograph is based on a selection of data from the Cultural Policies Data Bank and on the documents collected by the Documentation Centre for Cultural Development and Cooperation, Culturelink. The original draft, written by Borko Augustin, has been revised by the Cabinet for International Cultural Relations, State Secretariat for Culture, Portugal. It has also been revised by Daniela Angelina Jelincic, Culturelink, IMO in 1999.


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Q: Relation between the numbers of units, square roots of unity and divisors for the rings $\mathbb{Z}/n\mathbb{Z}$ For the non-prime numbers $n$ up to $20$ I listed the number of units of $\mathbb{Z}/n\mathbb{Z}$, the number of square roots of unity of $\mathbb{Z}/n\mathbb{Z}$ and the number of divisors of $n$.
\begin{array}{c|c|c}
\# & \text{units} & \text{square roots of unity} & \text{divisors}  \\ \hline
4 & 2 & 2&3\\ \hline
6 & 2 & 2&4\\ \hline
8 & 4 &4 &4\\ \hline
9 & 6 & 2&3\\ \hline
10 & 4 & 2&4\\ \hline
12 & 4 & 4&6\\ \hline
14 & 6 & 2&4\\ \hline
15 & 8 & 4&4\\ \hline
16 & 8 & 4&5\\ \hline
18 & 6 & 2&6\\ \hline
20 & 8 & 4&6\\ \hline
\end{array}
The number of units is just $\varphi(n)$ (Euler's totient function), i.e. the number of numbers $m < n$ that are relatively prime to $n$.
But I don't see the correlation pattern between the numbers: How do the numbers of units, square roots of unity and divisors relate for general $n$?
Or more generally: Are there expressions for the number of square roots of unity and for the number of divisors (like for the number of units =  $\varphi(n)$)?

A: The number of divisors of $n$ is usually considered to be a primitive function in number theory, so there is most likely not a formula in terms of something simpler.  However, if $n$ has prime factorization $\prod_i p_i^{a_i}$, we can write $d(n) = \prod_i (a_i + 1)$.
The total number of roots of unity in $\mathbb{Z}/n\mathbb{Z}$ is just $\varphi(n)$, since every unit is a root of unity of some order.
If $n$ is $2$, $4$, a power of an odd prime, or twice a power of an odd prime, then the units of $\mathbb{Z}/n\mathbb{Z}$ are a cyclic group of order $\varphi(n)$, so the number of generators is $\varphi(\varphi(n))$, which counts the number of primitive roots of unity.  For all other $n$, the group of units is not cyclic and there are no primitive roots of unity.
EDIT: The question has changed to ask about square roots of unity.
In general, the structure of the group of units is known, as a decomposition into cyclic groups.  See, for example, Wikipedia.  From this, you can see how many square roots of unity there are.
I'll summarize the result.  Write $n=2^a m$, where $m$ is an odd integer.  Then, the number of square roots of unity in $\mathbb{Z}/n\mathbb{Z}$ is $2^{k+l}$, where $k$ is the number of prime factors of $m$, and $l$ is $0$ if $a\leq 1$, $1$ if $a=2$, and $2$ if $a\geq 3$.

A: In ${\Bbb Z}_n$, $n\geq 2$, the number of units plus the number of zero divisors is $n-1$, where $0$ is not considered as a zero divisor.
The reason is that for each $0\ne a\in{\Bbb Z}_n$, if $\gcd(a,n)=1$, then $a$ is a unit; otherwise, $a$ is a zero divisor.

A: These functions are quite complicated due to being combinatorial in nature. Part of the Wikipedia page
https://en.m.wikipedia.org/wiki/Root_of_unity_modulo_n
on roots of unity  modulo $n$ which is a good place to start
is reproduced below.

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text: ===Constructivists=== * Painters, sculptors, poets. * [[Władysław Strzemiński]] (Warsaw/Lodz), [[Katarzyna Kobro]] (Warsaw/Lodz), [[Mieczyslaw Szczuka]] (Warsaw), [[Henryk Stażewski]] (Warsaw), [[Karol Hiller]] (Lodz), [[Henryk Berlewi]] (Warsaw/Berlin/Paris), [[Teresa Żarnowerówna]] (Warsaw).<br> * Bauhaus students: [[Max Sinowjewitsch Krajewski]], [[Arieh Sharon]], [[Munio Weinreb (Gitai)]], [[Edgar Hecht (Hed)]], [[Isaac Weinfeld]], [[Shlomo Bernstein]], [[Schmuel Mestechkin]]. ; Groups * [[Blok]] (Grupa Kubistów, Konstruktywistów i Suprematystów Blok), Warsaw, 1924-1926. * [[Praesens]], Warsaw, 1926-1930, avant-garde abstract art group. * [[a.r.]], Lodz, 1929-1936. ; Events * December 1921, an exhibition of three young graduates of the Warsaw Academy of Fine Arts, Szczuka, Stażewski and Miller, was held at Polski Klub Artystyczny. It is considered one of the first displays of constructivism in Polish art. Szczuka presented compositions made out of iron, stone, glass and wires, Stażewski showed Cubist still nature and Miller made posters, where the typography was based on building compositions out of words and letters in such a way to visually emphasize the most important parts of the text. Even though this exposition already rather diverged from the previous events, the word 'constructivism' was not yet used. * {{:The New Art Exhibition}} * a one-man show organised by Henryk Berlewi from his own work Mechanofaktura in the Austro-Daimler Automobile Salon, 1924. * 15 March 1924, Blok's inaugural exhibition opened in the showroom of the automobile firm Lauren-Clement. * March 1927, Warsaw. Visit of Kazimir Malevich, who shows a selection of his works in the Polish Art Club and lectures on new trends in art. [http://modernistarchitecture.wordpress.com/2010/10/22/tadeusz-peiper%e2%80%99s-%e2%80%9cmalevich-in-poland%e2%80%9d-1927/] * May 1927, New York. Strzemiński as a representative of Praesens co-organised the [[Machine Age Exposition]] * March 1928, [[Modernists' Salon]] [Salon Modernistów] exhibition at Warsaw's Związek Zawodowy Artystów Plastyków [Trade Unions of the Artists] * May 1929, To commemorate the tenth anniversary of Poland's independence, the Universal exhibition of Art opens in Poznań (the largest show of Polish visual art in the interwar period; it includes works by avant-garde artists). The Praesens group breaks up after the exhibition. * {{:a.r.#a.r. International Collection of Modern Art}} * July 1932, 'New Generation' exhibition in Lvov. The second show after the Modernists' Salon which continued the tradition of presenting a wide spectrum of modern art, while also declaring interest in a different direction of experiments. The Constructivists were dominated here by the Colourists. * March 1933, exhibition of [[a.r.]] group together with [[Krakow Group]] and [[L'Art Contemporain]] as [[Group of Modern Visual Artists]] [Grupa Plastykow Nowoczesnych], opened in Instytut Propagandy Sztuki [Institute for the Propaganda of Art] Warsaw and in autumn moves to Łódź. * Constructivism in Poland 1923-1936, The Museum of Modern Art, New York, 1976. [http://www.moma.org/docs/press_archives/5347/releases/MOMA_1976_0006_6.pdf] ; Journals * [[Blok]], *3/1924-1926, 11 issues, Warsaw. The last issue of the magazine is devoted to the International Exhibition of Architecture held in Warsaw. * [[Praesens|Praesens: Kwartalnik modernistów]], 1926-?, Warsaw * {{:Dźwignia}} * [[L'Art contemporain]], a periodical published in Paris by [[Jan Brzękowski]] * [[Europa]], 9/1929-1930, 13 issues. * [[Linja]], Kraków. *5/1931, literary avant-garde journal, published and edited by Jalu Kurek ; Writings and manifestos {{:Media_art_in_Central_and_Eastern_Europe_Bibliography|transcludesection=avantgarde-pl-constr-writings}} ; Misc * Belewi font, by Artur Frankowski, 2006. [http://fontarte.com/fonts/fa-berlewi/] ; Literature {{:Media_art_in_Central_and_Eastern_Europe_Bibliography|transcludesection=avantgarde-pl-constr}}

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@end

redpajama_set_name: RedPajamaGithub


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Afternoon shift available! Enjoy a 3 day weekend and work afternoon shift which is 4 - 10 hour shifts!!!!!
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It's Time for Golden Tide Baseball!
By Chris February 25, 2022 12:30pm
Tide on road Saturday at UBC, return home March 5-6 for spring openers
Victoria, BC – The Victoria Golden Tide, the latest entry in the Canadian College Baseball Conference (CCBC), kick off their inaugural spring season Saturday when they head to Vancouver for a pair of games with the UBC Thunderbirds.
They then return home to Wilson's Group Stadium the following weekend for pairs of games against the BC Premier Baseball League (BCPBL) 2021 Champion Langley Blaze on Saturday and the BCPBL 2021 runner-up Victoria Eagles on Sunday. Both double-headers are 1:00 pm starts.
The four home games on March 5-6 mark the first of 16 spring exhibition games that the Tide will play in March, all but two at home, with each weekend in the month seeing baseball scheduled at the Stadium.
The team will then begin their first formal CCBC season with a road double-header in Nanaimo at Vancouver Island University on April 2nd, followed by a home double-header against VIU on April 3.
The Tide will then play 16 more league home games, through to May 14th, before wrapping the season with another trip to VIU on May 15th (see full schedule below).
Tickets to all Victoria Golden Tide home games are just $5.00 for general admission and $10.00 for seating in the covered Grandstand (Section 10) behind home plate and are available at the gate one hour before game time. They can also be purchased in advance at the HarbourCats office at 101-1814 Vancouver Street. Tickets are good for both games of all scheduled double-headers.
Golden Tide Booster Club Memberships are also available for the 2022 Spring Season. For $200.00, fans receive admission to all 17 home dates (32 games), plus a Golden Tide hat and t-shirt. Fans also receive priority seating in our Diamond Club or Campbell Club seating areas if they choose. To purchase a Booster Club Membership, stop into the HarbourCats office, or call Christian at 778-265-0327.
NOTE: All fans who purchased Booster Club Memberships in the fall do not need to re-purchase for the spring. Your pass is still valid for all spring games.
GOLDEN TIDE TV
For fans who can't get to the park, but still want to enjoy Golden Tide baseball, all home games will be streamed on-line. Fans who wish to subscribe to all 17 dates, 32 games, may do so for just $75.00. For fans who just wish to subscribe to single dates, these are available for $7.50. All links may be purchased on-line at https://victoria-harbourcats-official.myshopify.com/collections/golden-tide-tv-spring-2022-streaming-options
'Cats sign four, bring back Seward and Luchies
You're Invited! – Christmas Open House
In 2023, HarbourCats celebrating 10th Anniversary – and counting
HarbourCats unveil 2023 season schedule
Three returnees highlight first HarbourCats players signed for 2023 season


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Tired of not being able to find plays for older actors?
HELP HAS FINALLY ARRIVED!
Playstage Senior plays have plenty of lead roles for actors aged 40 – 70+.
Playstage Senior was formed in the UK in 2008 by playwright Lynn Brittney and friends and now our plays have been performed by English-speaking drama groups all over the world.
Unlike other companies that offer play scripts, Playstage Senior is committed to offering new plays that contain good parts for older actors, because we understand the needs of most amateur dramatic groups! The plays contain some younger parts but the majority of the roles are for actors aged forty and beyond (sometimes way beyond) – and not a Zimmer frame in sight!
We have comedies, dramas, murder mysteries, period costume plays – all in one act and full length formats – and we are adding new plays to our catalogue all the time.
And not only that but we have some of the cheapest licence fees in the business. Performing one of our plays is not going to break the bank, no matter how small your venue.
Where you can find our plays
New for 2020 – our plays on KINDLE
Most of our full-length plays are now available to purchase and download on to KINDLE via the Amazon websites worldwide. This is particularly useful if you just want to assess the suitability of a play for your group and do not have ready access to a drama library in the UK or are one of our overseas customers. If you look on the Full-Length Plays page and the One Act Plays page on this website it will tell you which plays are available on KINDLE and give you a link to purchase. Space limits us to giving Amazon links for the UK and USA only. The Kindle versions are available worldwide but you will have to look up the play on the Amazon site in your country. At the time of writing we are beginning to convert our one act plays into Kindle format. Please be patient. We will announce when this process is completed.
In the UK and Europe
All of our plays are available in reading sets at local drama libraries in the UK. If they are not, then please let us know and we will endeavour to make sure that the library in question is fully supplied as soon as possible. Alternatively, you can buy a copy from this website. It's cheap, it's quick, and, if you live in most parts of the UK, we don't charge you any postage. If you live in Europe we ask for a small contribution to postage.
Australia, New Zealand and South East Asia
If you live in this part of the world then our agents are:
ORiGiN™ Theatrical
PO Box Q1235, QVB Post Office, Sydney
Ph: +61 2 8514 5211 and +61 2 8514 5201. Fx: +61 2 9299 2920
www.origintheatrical.com.au
They can supply you with scripts and licences. Under our agreement with ORiGiN™, we will no longer be supplying scripts and licences to that region from the UK.
Everywhere else in the world
You can buy print-ready PDFs of Playstage Senior plays, which can be downloaded to your computer, providing you FIRST download, sign and return, as an email attachment, this Copyright Form. Once we have received this form, you can then order in the regular way, on the website, as though you were ordering the printed books. We will then match up your order with the signed Copyright Form and send you the relevant pdf/s as an email attachment. If you are not in a hurry, then just order the books in the regular way.
How to apply for a licence
Click apply for a licence to go to the application form. Fill in our application form online and submit it to us electronically. Your application will be checked against other applications, to ensure that you are not clashing with a nearby drama group, and if there is no conflict, you will receive an invoice from us requesting payment of the licence fee 30 days before your first performance date. We also give you options for methods of payment.
Professional performances and foreign translation rights
Any company or publisher interested in the above should contact Playstage Senior by using the contact form on this website. All fees and sales of rights are subject to negotiation.
Featured Plays
A STROKE OF LUCK A black comedy by Will Butters
ABSOLUTE DISCRETION A comedy by Stewart Auty


The game has been a part of most cultures through civilization.
The game artifacts have been found in Egyptian tombs as well as in archaeological discoveries in Nevada. These discoveries indicate old cultures, and many Native Americans were involved in the various forms of thousands of gambling years ago.
There is a certain speculation that games and games were invented as a hobby. It was discovered, however, that some of the participants invariably cheated.
The deception aspect of the game has haunted its reputation to the present.
When the European settlers arrived on the North American continent, they met the Native American playing many chance games. The Europeans also brought them some of their own games.
Many of the gambling games that are played today in the United States came with settlers during the last sixteenth century.
Several of these games originated from games of chance, and from tournaments held in Europe. When these games of chance changed to the game, England puritan, the church and other moralists did not support it.
To a degree, this "something for nothing" point of view has continued to the present — the game is still not accepted in many sectors of society. During the last fifteen years, there has been a huge proliferation of casino gambling within the United States of America and the world.
Within the United States, after the legalization of casinos in Atlantic City, the casinos have been separated in the boats and in the Indian reservations.
The opening of the gambling border has meant that a greater number of Americans, and other nationals, have increased access to the game.
Puritan values ??support the point of view that a person should work hard, and that hard work is good. The whole concept of the game undermines this philosophy. Historically, we noticed that people not only played to win, but they became so obsessed with winning that they cheated.
This observation also tarnishes the practice of the game.
A typical game generalization leads one to imagine that all the people who play are actuators and, therefore, dishonest.
One of the concerns about the game has always been the environment in which it occurs. Historically, in the United States of America, gambling occurred usually in smoke-filled saloons, bars, back rooms, or compartments.
There they drank, music and women. There he also cheated in games. Although the weather has changed, there is still drinking, smoking, and women. Currently, the hindquarters have replaced with glitzy, Over the years, the game has proven to be a profitable effort for most people. Playing in casinos has provided an avenue for the source of additional income. The prospect of becoming a winner and making money in the process has been the biggest attraction of the casino that plays.
Nothing can end the fun and excitement of the casino they play. One would exercise effort to travel to some distant place just to have a taste of the game in casinos. We provide the best gaming list to suit your casino gaming needs. If you are looking for the best gaming games, our best gaming list can fit your requirements.
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Quickest and most cost effective way to that full Motorbike licence.We do everything for you and guide you all the way.
The courses we run at 2wheelskool and are designed to get you a full Motorcycle licence as quickly, cheaply and easily as possible. Our philosophy is train hard, pass easy my child.
There will then be a 1/2 week gap whilst you go attend your theory and pass it. See the test page for more info on the theory test. During this period we will also be training you for Module 1. The Theory has to be taken before Module 1 and once you have passed both the theory and Mod 1 you return to do the remainder of your course 1/2 days etc.. to train and pass your Module 2 test. If you already have a theory then on your first day we will be booking and planning the Module 1 test for you, also the course prices are reduced to reflect you are not paying for a theory test.
From start to finish it is about 3/5 weeks dependent on bookings and the time of year. The reason for it is this length is awaiting bookings and time delays between completing a stage and naming your details for the next one. All these tests have a lead in system which they must be named by or cancelled. So the organising of your individual tests has to stick to the rules.
As a Training school we have Theory tests and both parts of the Practical test pre booked weeks and months in advance. We also are one of the few schools with a large Module 1 training site. Believe us it is size that matters. Visit the Prices page and you will see how competitive we are. You pay as you go so you don't have to bring all the money on day 1.
Neither we or yourself know exactly how many days and hours training you need to get to test standard. (1 Day is 6hrs) Everyone is different in their level of experience and how quickly they pick things up and respond to the training. We usually ask you to bring enough to cover Day 1 and your test fees then pay each subsequent day as you attend. You pay up the balance on test day. So the prices page gives you a fairly accurate idea of what it could cost, the exact amount depends on the individual. Parts of days are charged at the hourly rates.
As a general guide 3 days would suit people with CBT and a full car licence (i.e. they have taken a driving test of some description before) and quite a bit of road riding experience. 3.5 to 5 days is our general course span for people who can ride a bike or are returning to biking and have a full car licence. 4 to 6 days + is more likely for novices with very little or no riding experience. To gain experience and riding practice 2Wheelskool can rent out 125cc bikes to students who are on courses with us. The rates are very competitive and we find it generally reduces the the overall length of your course, plus it prepares you to convert onto bigger bikes quicker.


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US threatens escalation with Iran at IAEA next month
Classified documents found at former US Vice President Pence's home
US reiterates support for Finland, Sweden joining NATO
US, Germany poised to send tanks to Ukraine, answering Kyiv's pleas
Biden nominates North Korea human rights envoy, first since 2017
Tehran is locked in several standoffs with the IAEA, whose 35-nation Board of Governors is holding a quarterly meeting this week
The Iranian flag waves in front of the International Atomic Energy Agency (IAEA) headquarters, before the beginning of a board of governors meeting, in Vienna, Austria, March 1, 2021. REUTERS/Lisi Niesner
The United States threatened on Thursday to confront Iran at the International Atomic Energy Agency next month if it does not cooperate more with the watchdog - an escalation that could undermine talks on reviving a 2015 big-power deal with Iran.
Tehran is locked in several standoffs with the IAEA, whose 35-nation Board of Governors is holding a quarterly meeting this week.
Then-president Donald Trump pulled Washington out of the 2015 agreement that lifted sanctions in return for restrictions on Iran's atomic activities. He re-imposed debilitating sanctions, after which Tehran progressively expanded its nuclear work and reduced cooperation with the IAEA.
Iran is denying the IAEA access to re-install surveillance cameras at a workshop at the TESA Karaj complex. The IAEA also wants answers on the origin of uranium particles found at apparently old but undeclared sites, and says Iran keeps subjecting its inspectors to "excessively invasive physical searches".
"If Iran's non-cooperation is not immediately remedied ... the Board will have no choice but to reconvene in extraordinary session before the end of this year in order to address the crisis," a US statement to the Board of Governors said.
It said it was referring "especially" to re-installing IAEA cameras at the Karaj workshop, which makes parts for advanced centrifuges that enrich uranium.
That workshop was struck by apparent sabotage in June, which Iran says was an attack by its arch-enemy Israel.
One of four IAEA cameras installed there was destroyed and its footage is missing. Iran removed all the cameras after the incident. Israel has not commented on the incident.
IAEA chief Rafael Grossi said on Wednesday that he did not know if the workshop was operating again, and that time was running out to reach an agreement.
An extraordinary Board meeting would most likely be aimed at passing a resolution against Iran, a diplomatic escalation likely to antagonise Tehran.
That could jeopardise indirect talks between Iran and the United States on reviving the 2015 deal, which are due to resume on Monday.
Middle East / USA
International Atomic Energy Agency (IAEA) / Iran Nuclear Programme / USA / Iran
'Intransigence': India notifies Pakistan of plans to amend Indus Waters Treaty
Greek government wins no-confidence vote over wiretapping scandal
Major flare-ups between Israel and Palestinians in Gaza
Reactions to Adani's $48 billion stock rout
54m | TBS SPORTS


Which usability changes make the biggest difference?
Invited by LoanBright to review their forms, we were surprised by some of the results. Among the changes we tested – layout, wording of questions, addition of extra pages – the only one to make a significant difference was re-working the introduction to the form. In this case study, first delivered to the Usability Professionals' Association Conference in Minneapolis, US, LoanBright's Christopher Minott and I describe the process and results.
LoanBright is a web business that finds customers for mortgage providers and offers a range of tools to help mortgage providers manage their sales process.
– the mortgage rate quote finder selects the best four providers and displays them to the user.
The business is funded by the fees paid by the mortgage providers for the leads that they receive.
The marketplace is especially competitive. Respectable web businesses are fighting it out with traditional financial institutions that are moving to the web, and there is also a nasty presence of spammers.
A key business measurement is the 'conversion rate': the percentage of users who complete a form (to the 'submit' or 'send' button) compared to those who arrive at it. It is the inverse of 'drop out rate'.
Loanbright's form, shown in Figure 1 below, had done good service for several years but the feeling within Loanbright was that it was looking old-fashioned and might be inefficient. (They have a variety of forms with minor variations, but this one is representative).
Also, some competitors used photos of people and/or property and they wondered whether these might create a more attractive or engaging appearance, resulting in a higher conversion rate.
Because there were some differences of opinion about which changes would have the greatest effect, Loanbright decided to start with an expert inspection from Caroline Jarrett of Effortmark Ltd.
She reviewed their form, and those of seven competitors. This was feasible because all of these forms are fairly short, typically three or four screenfuls of questions. Figure 2 shows a typical competitor's form.
This was an ordinary expert review, and is included here as background for the second phase.
For example, Figure 3 points out a few of the faults of one of the competitive forms.
2. nothing to indicate that the organisation behind the form is a respectable business (no 'about us' or 'contact us').
5. some other minor changes to wording.
Loanbright decided to address point 4 immediately, so we have no data on whether they are significant changes or merely minor good ideas. Point 6 was left aside for the future.
variants on the live service.
As we had complete control over how forms were served to users, we elected to create many different versions of the form with a variety of changes made in each version. These forms were served to a randomised, balanced stream of traffic so that each version was seen by directly comparable audiences.
There was no observation of users or indeed any contact with them other than their interaction with whatever form was served. We therefore have no qualitative data about why one variant worked better, or worse, than another variant.
Figure 4 shows three of the variants tested.
to include some forms with a photo and the old preamble.
As the testing had already started, we decided to continue with the variants we had already prepared rather than adding any extra variants.
A preliminary test with a very poor stream of traffic (typical conversion rate around 1%) showed that the variants were comparable or better than the original form. LoanBright therefore decided to expose the variants to a better stream of traffic, this time with anticipated conversion rate around 5%.
During the month of October 2003, the average conversion rate of all the variants was 7.3%, adding 2.5% to the conversion rates and therefore 33% better. This was encouraging and in itself justified the work of producing the variants.
However, as Table 2 shows, we had difficulty working out which changes gave the best results. Three of the new variants were actually slightly worse than the original. It was also hard to map rank in Table 2 to any of the groups of changes.
As the average improvement was good, LoanBright decided to try the variants on a better stream of traffic (typical conversion rates around 10%) during November to see whether the improvement was maintained.
We were pleased that the average conversion rate again improved by 2.5%. Table 3 was also difficult to interpret, as forms that had previously done well dropped in the rankings and others rose.
We decided that the next step needed to be some statistical analysis. We used Michael Hughes's Usability Data Analyzer (1) to compare forms with a specific change to the others without that change.
The first analysis was to compare variants with the original preamble (references 19 and 28) with variants with the new preamble (all the others). Again, in hindsight it was a pity that we only had two of one type and 18 of the others. Both tests, October and November, showed a significant difference (p= 0.047 October, p=0.006 November) between the conversion rates for the variants with the original preamble and with the new preamble.
4. Adding a blue background to the window.
tinkering with a design that is reasonably tidy and organised in the first place is unlikely to make a major difference to the success of a form.
We also speculate that offering variants of the same form with minor visual changes may in itself increase conversion rates, simply because potential users are being presented with something a little different each time.
1. Michael Hughes "The Usability Data Analyzer" available for download at http://www.mindspring.com/~mikehughes.


Fire Note Says: Crystal Stilts show off some new sounds to go along with their own signature psychedelic haze.
Album Review: Do you guys remember when eMusic used to rule? I sure do, I discovered a ton of great music there from 2004-2010. Sometime in 2007, they started doing something called eMusic Selects, where monthly, they would highlight an unsigned band and it would come out on the eMusic digital label. One of the best bands to be an eMusic select artist, was New York's Crystal Stilts, who released their first ep in 2008 thru emusic. They generated a bit of buzz for their lo-fi mix of detached NYC cool, and Velvet Underground Meets Jesus and Mary Chain sound. Fast forward to 2013, and Crystal Stilts are releasing their third album, and while they have certainly upgraded their fidelity, they still have that same coolness about their music, though admittedly not as much buzz as they once had, and that's a shame, because their new album, Nature Noir is pretty solid!
The strengths of the band have not changed a bit. The guitars are still hazy and psychedelic and droney, and the vocals are so detached that they almost sound like they are being delivered from a ghost. The whole sound is awash in reverb and seems to pulse with the beat, it's a very woozy feeling that is created from listening to the album. "Star Crawl" is a perfect example of the band's sound; it's heavy, slow and dreamlike. "Future Folklore" finds the band kicking the beat into high gear, and it's a welcome change of pace. The guitars on "Sticks and Stones" practically jangle, it's a different feel for the band, and a path that they will hopefully go down more in the future. Elsewhere, on "Memory Room", the band takes a more acoustic route, and they actually come off sounding great, this is a very Jack Logan sounding track. It could have been on his Bulk album.
This album shows some real growth from the band. On Nature Noir, they take their sound to new places, and it makes Nature Noir all that more enjoyable. I'm looking forward to hearing what the band comes up with next!


Spanish America has produced numerous "folk saints" -- venerated figures regarded as miraculous but not officially recognized by the Catholic Church. Some of these have huge national cults with hundreds -- perhaps millions -- of devotees. In this book Frank Graziano provides the first overview in any language of these saints, offering in-depth studies of the beliefs, rituals, and devotions surrounding seven representative figures. These case studies are illuminated by comparisons to some hundred additional saints from contemporary Spanish America. Among the six primary cases are Difunta Correa, at whose shrines devotees offer bottles of water and used auto parts in commemoration of her tragic death in the Argentinean desert. Gaucho Gil is only one of many gaucho saints, whose characteristic narrative involves political injustice and Robin-Hood crimes on behalf of the exploited people. The widespread cult of the Mexican saint Nino Fidencio is based on faith healing performed by devotees who channel his powers. Nino Compadrito is an elegantly dressed skeleton of a child, whose miraculous powers are derived in part from an Andean belief in the power of the skull of one who has suffered a tragic death. Graziano draws upon site visits and extensive interviews with devotees, archival material, media reports, and documentaries to produce vivid portraits of these fascinating popular movements. In the process he sheds new light on the often fraught relationship between orthodox Catholicism and folk beliefs and on an important and little-studied facet of the dynamic culture of contemporary Spanish America.


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15-year-old midfielders, 14-year-old forwards – they may be good enough, but are they really old enough?
By Jack Lang
"If they're good enough, they're old enough."
It is a hoary, dog-eared phrase, but like many cliches, it contains a nugget of truth. Football has always had meritocratic foundations; when it comes to team selection, ability should be the only currency that really counts. Age? Age is just a number, friend.
This kind of thinking has paid off on countless occasions over the years, often to joyous effect. Who can forget Michael Owen's first teenage rampages, or Wayne Rooney biffing up Arsenal five days before he turned 17? To watch an emerging player thrive among grizzled professionals is to be reminded of the vivacity of youth, and its fearlessness.
The last few months have provided countless examples along similar lines. There was Harvey Elliott becoming the Premier League's youngest-ever player when he took to the field for Fulham in May. There was college student Luke Matheson, scoring for Rochdale at Old Trafford and then confirming that, yes, he did indeed have an exam the following day. In Spain, Ansu Fati has been making waves, rewarding Barcelona manager Ernesto Valverde for throwing him in at the deep end.
These are feelgood stories. Elliott, Matheson and Ansu have made promising starts to their careers. But two other recent cases point towards a series of important questions over the limits and legitimacy of the "old enough, good enough" maxim. They provide a reminder that playing youngsters in senior football is a delicate business.
The first was Rochdale naming Peter Thomas, a 15-year-old, on their bench for that Carabao Cup tie against Manchester United. He did not get onto the pitch but one detail of his inclusion in the match day squad caught the eye. Owing to safeguarding rules, Thomas had to get changed in a separate dressing room. He is, of course, still a child.
The second example came in the League of Ireland, where Bohemians handed a senior debut to Evan Ferguson (pictured above). This, understandably, raised a few eyebrows. At the time, Ferguson was just 14 (he has since turned 15).
Derek Pender, the Bohemians captain, felt compelled to defend the decision to play the forward. "People that are [complaining] about it probably don't know the size of him," Pender said. "Evan's a man, for a 14-year-old. He thought it was great. There was never any chance of him getting hurt."
Pender's words, and the assumptions that underpin them, neatly tease out a number of the most pressing questions when it comes to the use of teenagers in senior football.
To what extent does a player's physicality determine considerations about his readiness? Can and should a 14-year-old ever be described as a man? Does a player's own desire to make the step up hold any bearing in the decision? And how would the attitudes of those involved change if — heaven forbid — a player of that age picked up a serious injury?
To the list, we can add important issues regarding the mental side of the game, which seem particularly pertinent in the Ansu case. Could we ever be certain that a player in his or her mid-teens will cope with the hype and pressure that comes with playing at very the highest level? Even if we could, should we submit them to that burden?
These questions do not all have obvious answers but they are questions that managers, youth coaches and families must engage with.
"There's definitely a big step up physically," says Nick Levett. During his time as the FA's talent identification manager, he was charged with overseeing the progress of England players through the youth categories. Today, he is the head of talent and performance for UK Coaching.
"It's a bigger pitch, bigger people, a faster game. You're probably looking at a lot more distance covered, a lot more high-intensity sprints, which then means recovery. Academy football at under-16 level is a very different experience to senior football, where people's mortgages are on the line. There has to be a level of robustness because the game is harder."
Yet once that base threshold of physicality is met, Levett says, other factors come into play. "I think the biggest thing is the psychological side," he continues. "Do they feel they can cope with it? Have they got the resilience to deal with knock-backs? Have they got the confidence, the drive to push on and keep getting better? All of those things are crucial.
"There's the social part, too. Can they cope with being in a changing room with senior pros, where you might get pinned against the wall at half-time if you don't do your job? It's a very different environment. It can be quite harsh, quite cutting. Socially, you have to be able to cope with that."
Many players can. Levett cites the example of Nathan Redmond, who broke through at Birmingham City at 16. The winger was still growing into his body but was judged to have the mental structure to take the transition in his stride.
"He was a late physical developer but he had everything else," Levett says. "Technically and tactically, he was solid, and they felt he could deal with it psychologically. It's a combination of all of those things, not just the physical part. That's just one component of it. You encourage coaches to take a holistic view of the kid."
When all of the boxes are ticked, the results can be spectacular. Ray Hall, who was the director of Everton's academy for over two decades, fondly recalls the compelling case Rooney made for inclusion in the first team at the start of the 2002-03 season.
"It was quite an easy decision with Wayne," he says. "Physically, he could cope, and his quality and confidence were such that there was no hesitation from the manager when it came to playing him in the senior team. In fact, he wanted to play him sooner.
"When the manager (David Moyes) first came and asked me to tell him about Rooney, I told him that he might be the best player at the club already. He said, 'What? He's only 16!' But when he made his debut, the manager understood. By 18, Wayne was one of the best players in the league."
Rooney's career path in the years that followed more than justified the decision to play him at 16. The forward clearly had the physical strength and self-belief required to compete with seasoned pros. More importantly, he had the focus and fortitude to deal with explosion of hype that his early performances triggered. He may not have always relished the attention, in the way that, say, Cristiano Ronaldo always appeared to, but it did not sway him.
Others find it more difficult. Take Bojan Krcic, who was earmarked as a superstar in waiting during his time in Barcelona youth ranks but found the pressure associated with performing at the highest level to be suffocating. He suffered anxiety attacks before big matches.
"It was a dizziness, feeling sick, constant, 24 hours a day," he said in an emotive interview with the Guardian last year. "Those of us who have feeling, who are sensitive, who can be affected, need a good shield. Footballers are very young and they're exposed."
Those words ought to have have shamed those responsible for Bojan's wellbeing, and serve as a pointed reminder that surface confidence does not always tell the whole story. For every bullish character like Rooney, there will be a player who requires greater support — and for whom a first-team debut before voting age actually isn't remotely beneficial.
Then there is another, more prosaic pitfall: young players, by being fast-tracked, may miss out on vital coaching. Being around more experienced colleagues will be a useful experience, of course, but those who stop training with their own age group can find that a certain rawness in their game lingers longer than it otherwise might.
"There's an irony to it," says Hall. "I think it was Ivan Lendl who said that becoming the best tennis player in the world was hard, but he had to practise twice as hard to stay there. But football, in my time, was almost the inverse of that. When a player gets into the first team, there's far more emphasis placed on recuperation, recovery and peaking for games. There's less emphasis placed on individual technique."
Levett echoes those fears. "I always get nervous that a player who goes into the first team young then misses out on learning," he says." I know one player who played in the Premier League all last year as an 18-year-old. He joined the first team at a young age and thus never had any one-to-ones with [academy] managers, no direct support or performance analysis. His development probably didn't continue in the same way it might have done if he was working with an under-18 or under-21 coach."
At least at the highest level, the decision to play a teenager should be the result of careful deliberation. Managers who are doing their jobs properly, suggests Levett, will be working closely with youth coaches, welfare officers and data analysts to get as a complete a picture as they can of each individual. A sensible, case-by-case approach should reduce the risks involved.
There is, nonetheless, a hard cut-off when it comes to age, at least in the top levels of English football. Players have to be 16 to play in the Premier League. The rules are slightly looser in the Football League: a player has to be at least 15 on September 1 of the season in question. Hence those in the final year of secondary school, like Rochdale's Thomas, being eligible.
Some will doubtless turn their noses up at such provisions, view them as overly fussy. If a 16-year-old can play in the highest level, why shouldn't a 15-year-old if he has the relevant physical and psychological tools? Why should a capable 14-year-old not play in the League of Ireland?
That stance is based on slippery logic that quickly unravels. If 15 and 14 really amounts to much of the same, what about a 13-year-old? And do we really want to be getting into territory occupied by Mauricio Baldivieso, who played for Club Aurora in the Bolivian top flight at the age of 12? Surely not.
Baldivieso was reportedly enthusiastic about that opportunity. But we owe it to youngsters, especially those who might not have a full grasp of all of the possible consequences of making the step up, to take that decision out of their hands.
"Look at somebody like Jude Bellingham, who is playing in Birmingham's first team at 16," says Hall. "Jude would have told you three years ago that he was ready because he has a level of confidence that makes him an outstanding player. Whether he was ready from the manager's perspective, in terms of dealing with the game, the physical part… well no, he wasn't, because he was a 13-year-old."
Hall, despite his success with Rooney and countless other young stars at Everton, also advises caution when it comes to the possibility of blooding players before the age of 16.
"I would consider it to be dangerous to play a 14-year-old," he concludes. "Physically, mentally, the whole shebang."
(Photo: Charles McQuillan/Getty Images)
Jack Lang is a staff writer for The Athletic, covering football. Follow Jack on Twitter @jacklang


Cite as: Donahue, David; US DOC/NOAA > National Environmental Satellite Data and Information Service (2017). Satellite Ocean Heat Content Suite from 2017-06-01 to 2017-06-30 (NCEI Accession 0163899). [indicate subset used]. NOAA National Centers for Environmental Information. Dataset. https://accession.nodc.noaa.gov/0163899. Accessed [date].


Three hours of the best new and cutting edge music, including your daily dose of dubstep with resident J:Kenzo.
A$AP Rocky's new track 'Goldie' is the Jam Hot record of the week. Plus the man himself talks about his influences and his method of making music.
Plus J:Kenzo delivers your Daily Dose of Dubstep, deep, dark and siiiiiick!
A$AP Rocky's track 'Goldie' is the Jam Hot record this week.
J:Kenzo delivers your Daily Dose of Dubstep.


Here at Premier ship models, we have an extensive selection of model ship, yacht, and boat models, as well as unique vessels. The autonomous submarine is a robotic unmanned underwater vehicle. It is used in military, commercial, and research applications.. If you love military vessels or just want to add something completely unique to your collection, this may be the perfect choice for you.
An autonomous submarine is navigated via remote control by an operator on the surface of the water. This type of ship was first used in the late 1950s and modern designs originated in the 1970s for military use. Advances in technology has improved processing capabilities and enabled these underwater vehicles to be used for a wider range of tasks and improvements to the design are constantly being made as new technologies become available.
The features and equipment on an autonomous submarine depend on how it will be used. For example, vehicles for military use are often outfitted for mine countermeasures, commercial vehicles have equipment and features for use in the gas and oil industries, and vehicles used for research by universities or other agencies are equipped for the specific scientific research being performed.
Since autonomous submarines were first introduced in the late 1950s, there have been hundreds of designs to be built. Eventually, the number of vehicles diminished and certain companies emerged as leaders. Our autonomous submarine has a sleek modern design, bright yellow coloring and details that are exactly like the full size version of this vehicle.
The autonomous submarine, like every model ship, boat and yacht for sale in our collection is designed to the highest standard of quality workmanship. We source the best quality materials and recreate each vessel in our collection in painstaking detail to create a finished product that will be a stunning addition to any collection and fit for display everywhere from private homes to museums.
There are images from all angles that show the quality and beauty of our models. We offer delivery to locations around the world, careful packaging, and efficient shipping. Our online store is designed to provide a secure and convenient shopping experience with the best quality products at the best prices.
Please browse our website or contact us to find an autonomous submarine, model ship, boat and yacht for sale to add to your collection.
Just to say that the models arrived today, safe and sound, and that I am very pleased with them - many thanks.


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Q: Can't ping the default gateway I recently formatted a mini laptop (Acer aspire one ZG5) and installed Windows XP pro. The PC its working ok but the wifi its not.
The thing is that the WLAN adapter sucessfully negotiate dhcp with the wireless router (ip, gateway and DNS) but is unable to ping the default gateway :S. I checked the router, up and down and nothing seems to be blocking the mini. Turn off both firewalls (windows and the router) and still nothing. The other laptops/devices connected to the router work fine. The mini's LAN card works fine, could connect to internet through it. Finally uninstalled WLAN driver and reinstalled and same thing: no ping. So any clue about whats wrong?


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Home/Entertainment/'Don't Look Up': Leo DiCaprio and Jennifer Lawrence in the opening scenes of the film with the star cast
'Don't Look Up': Leo DiCaprio and Jennifer Lawrence in the opening scenes of the film with the star cast
dwadminJanuary 12, 2021
Netflix's new sci-fi satire 'Don't Look Up' directed by Adam McKay, has released its first scenes.
In the video below, Leo DiCaprio and Jennifer Lawrence can be seen in action at 2:12 am:
The cast also includes Chris Evans, Cate Blanchett, Timothée Chalamet, Ariana Grande, Kid Cudi, Matthew Perry, Himesh Patel, Tomer Sisley and Rob Morgan.
Recently, Meryl Streep revealed which character will play: the President of the United States and, as if that wasn't enough, the already confirmed Jonah Hill will bring her son and team leader to life.
The film is described as a sci-fi satire that revolves around two astronomers who embark on a media tour to warn humans that an asteroid is approaching and will destroy the planet.
The narrative will also explore topics such as systemic idiocy, inefficiency, and corruption.
McKay is no stranger to large-scale productions, having directed the incredible 'The Big Bet' (winning five Oscar nominations, including Best Picture) and 'Vice', which brought home the statuette of the best makeup and hair at home.
McKay enters as a producer alongside Kevin Messick.
Make sure you watch:


Here is a no-nonsense guide to how you, the average American, can easily make clean energy and energy efficiency part of your daily life, saving money, making money, and weaning your community off fossil fuels in the process. Energy guru Brian F. Keane walks you through the cost-benefit trade-offs of the exciting new technologies and introduces you to revolutionary clean-energy products on the horizon, making the ins and outs of renewable energy easily accessible. Featuring compelling, real-life stories that bring clean-energy problems and solutions from 30,000 feet to street level, Green Is Good walks you that last mile from awareness to adoption. It demonstrates how all of us can seize the opportunity and profit from it. Keane also discusses the challenges that clean energy faces, laying out time-tested strategies to overcome them. A renewable energy future isn't just good for the environment; it's good for the economy, and Green Is Good will show you how—before it's too late.
"If 'Greed is good' is a catchphrase for unbridled capitalism, then 'Green is good' should be its flipside: There are amazing economic opportunities for those who act with environmental responsibility. Brian F. Keane educates us that green is not only the color of a healthy planet, it is also the color of money."
"Green is good—and Keane is green!"
"A no-nonsense and easy-to-read approach to going green. Keane shows how to leverage the power of community to have the most cost-effective programs."
"There are countless opportunities to implement clean energy effectively. Through insightful examples drawn from his experience, Keane makes the powerful case that crisp communication and compelling marketing are critical for the industry's success."
"Green Is Good is a critical book for our age. Environmental degradation is the most important strategic challenge we face, but, unless people understand the issues and the opportunities at a personal level, we can't achieve the cultural shift necessary to create major change. Brian Keane expertly does this."


Daimler AG, the world's second- largest maker of luxury vehicles, told the U.S. it's recalling more than 85,000 Mercedes-Benz models over a steering flaw that may make the cars difficult to control.
The voluntary recall affects 2010 C-Class Model 204 and E- Class Model 212, and 2010-11 E-Class Coupe/Cabriolet Model 207, the German carmaker said in a report sent to the National Highway Traffic Safety Administration.
Daimler spokesmen Joerg Howe, Marc Binder and Florian Martens didn't respond to telephone calls seeking comment.


I have been a Sony shooter for the past two years. I mostly do trips & street photography around the UAE. I am starting from Sony a6000 to Sony a6300. I have done a lot of photos with it. I love the images & videos produced from it. Sony cameras are fantastic.
But I think there is a feeling I am looking for a camera. Something that will make my shooting enjoyable.
The Sony a7iii was on my wishlist because of the features it offers and one of the best hybrid mirrorless cameras to date. But man, the lenses are way too expensive for me.
Sony's firmware updates are once in a blue moon. If they want to add new feature and improvements, they'll release a new camera.
In Fujifilm, they continually update their systems. They don't just dump their previous system, they make new systems, and they also improve the old ones.
Jun Watanabe, the Fujifilm product planner, said on the Fujifilm X Summit 2019 in Dubai "The firmware update concept is clear.", "Firmware never stops improving, and the technology is advancing day by day.".
I love the philosophy of Fujifilm, and that is one thing that I liked about the brand.
Though Sony has an extensive set of lenses for their Sony APS-C cameras, most of their best lenses are for the full-frame, and it costs a lot, like really a lot.
Fujifilm has kept their lens choices for the most useful focal lengths, and that is a good thing because we don't need to buy and buy more lenses. Ohhh… and the prices cost less for its quality.
Reddit user ITechTonicI, added the Fujifilm lens roadmap where we can see the lens lineup and even future lens they are making. This will help us decided whether to buy the previous lens or wait for the new one. You can check the Fujifilm X mount lens roadmap.
During the Fujifilm X Summit 2019 in Dubai, they are talking about how they make their lenses smaller without sacrificing quality and speed. They even are developing smaller medium format camera and lenses.
I don't know who doesn't like the looks of Fujifilm cameras but man, they look classy. The build quality of their cameras is robust especially the Fujifilm X lineup.
Since this is my first time to own a Fujifilm system, my first impression was the build quality is superb compared to my previous Sony cameras. Having the Fujifilm X-T3 in my hands feels premium.
Though I was already familiar using the Sony, switching to Fuji wasn't that hard to learn, and the menu system is more comfortable to navigate compared to Sony.
Having dedicated dials for ISO, shutter speed and aperture makes a different feel while using a camera. I did not experience using any vintage film SLR cameras before which shares the same style, but the use of this dials brings much joy shooting with the X-T3.
Just need a bit of practice and customisation to be confident using the system.
The different colour profiles on this camera are very flexible and have their look and characteristics straight out of the camera.
When comparing to my previous Sony system, which outputs very basic colours and has limited colour adjustments, Fujifilm gives you a lot more control with highlights, shadows, grain adjustments, and the colour chrome adjustments.
This will probably lessen the post-processing time for me as Fujifilm has the colours I am looking for.
Fujifilm focuses on making APS-C & Medium format cameras which are a good point in my opinion. They skip making a full-frame system because they know that there will be a small improvement from the APS-C. This will also keep consumers out of the urge to get and switch to expensive full-frame cameras and lenses.
Fujifilm focuses on photography and imaging systems v.s. Sony is a consumer electronics brand though Sony makes the sensor for various camera brands.
Looking at the past, Sony did make A-mount cameras and sadly were discontinued. How upsetting is that if I bought and built a set for the a-mount system before? That is one factor which pushes me to switch to Fujifilm because we don't know if it will happen again to Sony.
Either of the two camera brands makes great cameras; it just depends on your choice and what suits your personality and style.
Fujifilm was the brand of my choice since before I started taking photos. But instead of getting a Fuji system two years ago, I decided to go with the Sony a6000. That time, I want to try taking photos and learn photography.
For me, the Fujifilm is a considerable upgrade from my Sony. I don't mean the upgrade of the system but of the brand because I think that Fujifilm gives more value to their products.


Issue 103 Scrapbook Creations is out now and wow Ellen Harvey (Editor) has done an amazing job. She puts so much love and time into putting the magazine together and it really shows. The photography is amazing as there are full pages just showing all those wonderful details we love to see.
Sonia Thomason's work is on the cover and it looks fabulous. Well done Sonia...(have a look at her blog to see more of her amazing talent).
I was lucky enough to have a LO published in this edition. Here is a sneak peek....I can show you the full reveal after three months...so in the mean time treat yourself and buy the magazine. Nothing beats chocolate, a cup of tea and a leisurely read of the mag!!


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Art, Guns and Culture
Ask the Marshall
Features & Gunfights
Inside History
Travel & Preservation
True Westerners
Was Tom Horn really guilty of the murder for which he was hanged?
by Marshall Trimble | May 20, 2014 | Uncategorized
Scott Duvall
Appleton, Minnesota
Tom Horn was hanged in Cheyenne, Wyoming, on November 20, 1903, for the ambush killing of 14-year-old Willie Nickell. The debate on his guilt or innocence is still going on.
Dean F. Krakel, author of The Saga of Tom Horn, believed Horn did shoot Nickell in a case of mistaken identity. In Tom Horn: Blood on the Moon, Chip Carlson argued that Horn most likely didn't kill the boy.
Horn "confessed" to the killing when lawman Joe LeFors got him drunk—and had a stenographer hidden to take down Horn's statement. Such evidence wouldn't be allowed in today's courts. In fact, in a mock trial held in 1993, the jury acquitted Horn.
Marshall Trimble is Arizona's official historian. His latest book is Wyatt Earp: Showdown at Tombstone.
If you have a question, write: Ask the Marshall, P.O. Box 8008, Cave Creek, AZ 85327 or e-mail him at marshall.trimble@scottsdalecc.edu
Tom Horn was famed as a gunman. But gun ignorance did him in. He was…
Cowboy Tom Horn of Pleasant Valley, Arizona, won the steer tying competition at the Globe…
The popular image of convicted assassin Tom Horn is of a man who met his…
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Ultra-Thin Gallium Oxide Transistor Manages More Than 8,000 Volts
Young Fashion Photographer Mohammad Shahbaaz Shakeel Is Creating Buzz In The Fashion World
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Chhattisgarh government announces Action Plan for protection of human rights in Bastar
The India Saga > Politics & Governance > Can Rahul Gandhi Change The Electoral Fortunes Of The Congress Party In 2019?
Can Rahul Gandhi Change The Electoral Fortunes Of The Congress Party In 2019?
posted on Oct. 15, 2017 at 6:59 pm June 26, 2020
Rahul Gandhi expected to take over the mantle of Congress president soon from his mother Sonia Gandhi.
The acid test for the Nehru-Gandhi scion Rahul Gandhi following his elevation as the president of the Congress party by December or earlier is turning around its electoral fortunes. Can the 47-year-old leader galvanise the "Old Lady of Bori Bunder" which is in a shambles.
Having ruled the country for more than five decades and been in the forefront of the struggle for Independence, the Congress has inexplicably steadily lost its sheen with the masses.
On the other hand Prime Minister Narendra Modi is in the vanguard of the BJP bashing on regardless in winning major assembly elections including Uttar Pradesh with a stunning three-fourths majority. A cursory look at the India map shows large parts of the country swathed in the saffron colour. The BJP's two failures initially were Delhi and Bihar, a battleground state in the Hindi heartland.
However, the BJP is back in power in Patna having worked out a coalition arrangement with chief minister Nitish Kumar of the JD (U) bidding adieu to the "mahagatbandhan" and parting ways with Lalu Prasad Yadav's RJD. After losing the 2014 Lok Sabha elections with its lowest ever tally of 44 seats, the Congress failed to garner even one-tenth of the seats in the 543-member lok Sabha facing the ignominy of not being entitled to becoming the leader of the opposition.
Nevertheless, the Congress remains the largest party in the opposition. At the same time Modi's efforts in striving for a "Congress mukt Bharat" is nowhere near fruition.
With the organisational elections in the Congress party expected to be completed by October 31, the schedule for the election of party President is being finalised. The state units of the Congress forming part of the electoral college have begun adopting resolutions favouring Rahul Gandhi as the party president.
The heir apparent had steered clear of becoming a minister in Prime Minister Manmohan Singh's Congress led UPA government preferring managing the party organisation for an extended period before his long awaited elevation as its numero uno. His mother Sonia Gandhi has been the longest serving Congress president for nearly 19 years.
The Congress has been squeezed out politically with its government in only five states compared to the 14 ruled by the BJP. It may be recalled that former Congress chief Sitaram Kesri was ousted by the Congress Working Committee, the highest decision making body in the 132-year-old party and replaced by Sonia Gandhi.
The abject decline of the Congress over the last three-and-a-half years and more has been sharp having failed to blunt the challenge posed by Modi.
The party's bane is not having mass leaders in the states because of the overbearing attitude of the Congress High Command over the years.
The question is whether Rahul Gandhi as the new Congress president has it in him to infuse confidence among the rank and file of the party leading to a desperate turnaround in the next general elections two years hence in 2019. Assembly elections in Himachal Pradesh and Modi's home state of Gujarat are round the corner. It is apparent Modi cannot afford to lose Gujarat which will be a major setback.
Rahul Gandhi will have to activate the party organisation which is no mean task as becoming Congress president is not going to bring about a instant transformation. The party needs radical, innovative changes for infusing confidence among the people at large.
Even as the detractors of Rahul Gandhi at the AICC headquarters in the national capital believe making him Congress president will be disastrous, others exude confidence that he will emerge as a formidable leader.
Senior party leaders maintain "the widespread opinion in the party is that Rahul Gandhi should be made the president at the earliest. This will afford him direly needed space and time to prepare for the next general elections".
This might well be the last chance for Rahul Gandhi who has been targeted for attack by the BJP leaders. The Congress desperately needs to enlarge its space which has become highly constricted over the last 42 months since the Modi government assumed power in May 2014.
Can Rahul Gandhi prove the shenanigans of doom wrong and live up to the challenge staring him in the face! There is no denying the task is a formidable one. Also, can he get a Congress led opposition ready in time for the big battle with the BJP in 2019.
By TIS Staffer October 15, 2017
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