Public and private sector representatives from Pakistan came together at The University of Queensland (UQ) from 19 November to 7 December 2018 to learn about practical ideas, tools and approaches to initiate and maintain dialogue between the two sectors.
The Australia Awards Role of Government in Private Sector Development Pakistan Short Course was delivered by UQ's International Development (ID) unit and led by Course Leaders The Honourable Paul Lucas and Mr John McEvoy.
"This course is about working with government officials to encourage them to look at better policy, and with private sector operators to see how they might align to the offerings of their country," said Hon. Paul Lucas.
The group comprised of government officials, civil servants and entrepreneurs who were keen to learn about the relationship between the Federal, State and Local governments and the private sector, in particular small to medium enterprises focussed on the agricultural sector. They were introduced to a number of policies, regulations and initiatives which have been implemented in Australia, looking at both successful and unsuccessful case studies. These learnings will assist them in working in partnership on key economic development objectives for Pakistan.
The participants met with stakeholders from peak industry bodies, farmers, financiers, local and state government officials and representative organisations to understand the different perspectives and the roles they play in public and private partnerships. Site visits were also conducted to regional areas including the Lockyer Valley, Toowoomba and Scenic Rim.
The twenty Australia Award participants will utilise the knowledge and skills gained from the course to develop and implement a Return to Work Plan appropriate to their work context in Pakistan.
The third and final component of the course will be delivered in February 2019 in Islamabad, Pakistan.
The Australian Government supports the Government of Pakistan to promote private sector development through a number of programs including the Market Development Facility (MDF) in Punjab; Australian Assistance with Agricultural Development in Balochistan Border Areas (AusABBA); and the Australian Centre for International Agricultural Research's Australia Pakistan Agriculture Sector Linkages in Punjab and Sindh.


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Three Films by Luis Buñuel The Discreet Charm of the Bourgeoisie The Phantom of Liberty That Obscure Object of Desire
Part of a multi-title set
Blu-ray edition reviewed by Chris Galloway
More than four decades after he took a razorblade to an eyeball and shocked the world with Un chien andalou, arch-iconoclast Luis Buñuel capped his astonishing career with three final provocations—The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire—in which his renegade, free-associating surrealism reached its audacious, self-detonating endgame. Working with such key collaborators as screenwriter Jean-Claude Carrière and his own frequent on-screen alter ego Fernando Rey, Buñuel laced his scathing attacks on religion, class pretension, and moral hypocrisy with savage violence to create a trio of subversive, brutally funny masterpieces that explore the absurd randomness of existence. Among the director's most radical works as well as some of his greatest international triumphs, these films cemented his legacy as cinema's most incendiary revolutionary.
Having lost the rights to them many years ago, The Criterion Collection has reacquired Luis Buñuel's last three films and are presenting them on Blu-ray: The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire. All three are available exclusively in the box set 3 Films by Luis Buñuel, each film appearing in the aspect ratio of 1.66:1 on their own individual dual-layer discs.
Though That Obscure Object of Desire did receive its own Blu-ray edition from Lionsgate in North America, the others didn't so it's wonderful to be finally getting them here. Sadly, Criterion appears to be simply reusing older high-definition masters, more than likely the same ones used for their previous DVD editions. The Phantom of Liberty and That Obscure Object of Desire actually don't come out looking too bad, but Discreet Charm has a number of more obvious problems. While compression is improved upon over Criterion's original DVD there are still a number of artifacts that hamper the image, from mild noise to edge-enhancement and little digital jumps in the frame (which were also present on the DVD). Film grain is also a bit of a mixed affair: though never great, it is present most of the time, helping deliver details, while there are other moments where some form of management looks to have gone on, creating a mushy image that has more of a digitized look (the screen grabs for this film are presented full-size in the gallery below).
The other two fare much better. Though grain still never looks as good as it can in either presentation, the films at least have a more consistent film-like look. Details are also better and the images are far more stable. Compression is better for both in comparison to their DVD counterparts.
Colours can look a little washed in all three films, Phantom also featuring a bit of a sickly green tint, but they're fine on the whole if nothing special. Black levels are iffy, looking okay sometimes, murky in other instances, but still better than the DVD presentations. Further restoration work has been done on all three, Discreet Charm probably receiving the most work: Criterion's DVD was still laced with a lot of damage.
Altogether the films do look better than Criterion's older DVDs, and the upgrade is noticeable, but these films are screaming for new restorations and I hope they can get a revisit of some sort in the future.
All three films present French monaural audio tracks in lossless 1.0 PCM. That Obscure Object of Desire also features an English dub presented in 1.0 Dolby Digital.
The French tracks are all fine, though nothing exceptional. Dialogue lacks much in the way of range through all three films, though more action-oriented scenes push things a wee bit. All of the tracks are clean, with no severe signs of damage.
The English dub on Obscure sounds really flat and tinny, and I assume it was included more as a curiosity.
All three films present a number of features, porting over most of the content from Criterion's original DVDs while adding on some new material.
Disc one, which features The Discreet Charm of the Bourgeoisie, starts things off with the 99-minute Speaking of Buñuel, the 2000 documentary about the filmmaker directed by José Luis López-Linares and carried over from Criterion's original DVD. The film gathers many that knew the director (from longtime friends to those that worked with him) along with academics to discuss the director's life and work, from childhood to his last film, That Obscure Object of Desire. The format of the documentary is familiar, stepping through Buñuel's life story step-by-step through interviews and archival footage (even archival interviews with the filmmaker himself), but it is nicely edited and moves at a good beat. It's issue is that it does speed through everything, only focusing a small amount of time on a handful of films, Bourgeoisie only getting a brief mention (the short Simon of the Desert ends up receiving more time, though charmingly the documentary presents "new" interviews with the locals that appeared in that film).
The documentary is also available on other releases for Buñuel's films (BFI's L'age d'or has it) so chances are most Buñuel fans have seen it, but if one hasn't by this point it's still worth watching.
Also carried over from the DVD is the 24-minute documentary The Castaway of Providence Street, which has been made up of footage of Buñuel at his home in Mexico City filmed by Arturo Ripstein through the 60's and 70's, mixed in with discussions with those that knew him. It ends up being a profile of the man himself and his ability to mix martinis (though Buñuel does talk about his work to a certain degree) that, while entertaining to an extent, does feel a little shallow on the surface. It's worth watching just for the footage of the director. This is also a shorter edit (the same as how it was shown on the DVD) that drops footage from his films.
This edition also adds on a couple of new features. The best one is a 52-minute episode around the film from a program called Once Upon a Time, a program Criterion has used for other releases (most recently for La dolce vita in their Fellini set). While the episodes usually provide thorough details about the making of the film through new and archival interviews along with behind-the-scenes footage, their key draw is that they also place a film in the context of the time in which it was made. The Discreet Charm of the Bourgeoisie, though still relevant today, is very much a product of its time and the documentary does pick out the various situations and characters found in the film, relating them to the political and social scene of the late 60's/early 70's, from the basis of the fictional Republic of Miranda to the terrorists and the significance of the central meal that never happens. The May 68 protests also play into things. I think anyone coming out of the film for the first time feeling a bit lost will more than benefit from this.
To accompany that Criterion also includes a 14-minute segment from a 1972 episode of the French television program Pour le cinema, which visits the set of Discreet Charm. Buñuel does appear (though agreed to appear as long as he didn't have to talk on-camera) while the television crew also gets interviews with the key members of the cast, Fernando Rey getting a lot in. The disc then closes with the film's theatrical trailer.
Disc two sports The Phantom of Liberty. Criterion's original DVD for the film was an enormous disappointment, only containing one substantial supplement outside of the film's trailer (also found here), which has been ported over: an interview with writer Jean-Claude Carriere that didn't even run 5-minutes, with a minute of it devoted to clips from the film.
Taken from a longer interview (the bulk of which showed up on Criterion's release for That Obscure Object of Desire) Carriere simply goes over the basic premise of the film and his (and Buñuel's) favourite section: the "missing" girl. While an okay introduction the film itself really screamed for more and Criterion thankfully remedies this, to a degree anyway. The one notable academic inclusion is a 20-minute discussion with Peter William Evans, recorded in 2017, around the film, its structure, the influences for the various segments, and how the title of the film and "liberty" play into them. It will help newcomers to the film (especially newcomers to Buñuel) but it's disappointingly dry. A visual essay would have probably been more desirable.
Criterion also digs up a couple of archival interviews: a 5-minute excerpt from the television program Pour le cinema featuring Michel Piccoli and Jean-Claude Brialy, and another 7-minute excerpt featuring just Brialy for the program Le dernier des cinq. For the first excerpt the two actors (filmed separately) talk about the script (Piccoli saying it read like it was written by a young man) and working with Buñuel, while the second has Brialy expand a bit on his character, working with Monica Vitti (much to his delight) and how the filmmaker pushed the two of them to play their sex-crazed characters straight. They're both short but manage to offer some insight into Buñuel's working method and his sense of humour.
To represent producer Serge Silberman (who produced the three films in the box set) Criterion then includes the 31-minute profile on the man, The Producers: Serge Silberman, made around the time he was working on Akira Kurosawa's Ran. The profile looks at his early beginnings, which included working with Jean-Pierre Melville and Jacques Becker, before he was able to land Buñuel, whom he was thrilled to be working with (Silberman recalls thinking Buñuel would laugh at the idea of working with a "nobody" like him). It's a great little profile that also includes a fascinating conversation between him and Carriere around how to properly distribute arthouse films, doing a slower rollout to build up the film's reputation, a technique still done today.
The third and final disc presents That Obscure Object of Desire. Along with the film's theatrical trailer, Criterion ports over the 19-minute interview featuring screenwriter Jean-Claude Carriere from their previous DVD edition. Carriere talks extensively about how he and Buñuel worked together, which usually involved them living together for weeks or months. The writer then gets into how Buñuel came up with the idea of casting two actors in the same role, which was born out of frustration (Buñuel had initially cast Maria Schneider and he found it difficult to work with her).
Also included here are three scenes from Jacques de Baroncelli's 1929 silent film, Le femme et le pantin, an adaptation of the same novel That Obscure Object of Desire is based on. The notes indicate that Buñuel had seen the film several times and based on the scenes here it's easy to see that it did inspire him, at least in small ways. The scenes featured include: Conchita's dance, the scene where Conchita humiliates Mateo/Mathieu, and the beating scene. Though Buñuel's film takes each scene a little further (Buñuel's beating scene is far more graphic, nudity and sex are more explicit in the other two), you can see how elements from this film make their way into his. I would have loved to get the whole film, but I'm not sure how prohibitive that would have been. Unfortunately, the footage is ported directly from the DVD, and is presented in interlaced standard-definition. The notes, like with the DVD, provide the chapter index for the matching scene in the main feature.
Criterion also ports over a couple of features from the StudioCanal edition, including a 16-minute piece featuring director of photography Edmond Richard and assistant director Pierre Lary, called Portait of an Impatient Filmmaker. The two talk about making the film, offering further explanation around the dual-casting for the role of Conchita (that idea bringing his spirits up after fearing he'd have to abandon the film) before each getting into how Buñuel directed and what he would put all his focus into; it's explained he hated being a "prisoner of technical issues."
Much better is the 37-minute Lady Doubles, featuring interviews with the two Conchitas, Carole Bouquet and Angela Molina. Hearing the casting process is a bit amusing as it was not explained at first to either that there were two being cast for the same role, and Bouquet had actually tried out initially before the role went to Schneider, so her confusion was doubled since she thought the role had already be cast. The two actors talk about their performances as well as the other's, Bouquet admitting to feeling more out of her element, which may have been enhanced because she felt Buñuel and Molina had more of a rapport, which Molina confirms. Scenes were also randomly assigned to each actress (it's explained elsewhere that Buñuel was trying to avoid audiences assuming each actor represented a different side of the character) and Bouquet feels Molina may have been more suited for a few of the scenes she appeared in. It's a really fascinating feature, the two explaining their approach to the role and how they worked with Buñuel, both of which differed greatly from the other. One of the best inclusions in the set as a whole. (Criterion's notes indicate this feature was created in 2017, though it did appear in the 2012/2013 StudioCanal Blu-ray edition from StudioCanal).
Criterion then digs up a couple archival television segments. There is a 15-minute excerpt from a 1977 episode of Le monde du cinéma, featuring Carriere, actor Fernando Rey, and producer Serge Silberman talking about Buñuel and his latest film. There is also an extensive 31-minute episode made for a program called Allons au cinema, which gathers a number of people who had worked with the director—including Carriere, Rey, Muni, Julien Bertheau, Michel Picolli (coming in late), producer Claude Jaeger, and others—around a table sharing stories about the man and his work. I'm sure it was done more as a promotion for the release of the film but it's a great reflection on Buñuel and I liked the loose nature of it.
Finally, the set includes a 56-page booklet first featuring two excellent essays by Adrian Martin, who covers both The Discreet Charm of the Bourgeoisie and That Obscure Object of Desire, replacing, respectively, the essays written by Carlos Fuentes and William Rothman for Criterion's DVD editions. The booklet carries over Gary Indiana's essay from the DVD edition for The Phantom of Liberty. The booklet also reprints interviews the filmmaker participated in around each film, which were conducted by José de la Colina and Tomás Pérez Turrent. The interview portions also appeared in the booklets for the DVD editions of Phantom and Obscure Object.
Altogether Criterion's set has compiled a solid set of material that anybody, whether already familiar with Buñuel's work or coming to it for the first time, should be happy to go through.
It's a handsomely put together set with some wonderful supplementary material, improving over Criterion's skimpy DVD editions. Sadly, none of the films have received new scans or restorations, delivering, at best, average looking presentations.
Featuring: Fernando Rey, Carole Bouquet, Jean-Claude Brialy, Adolfo Celi, Delphine Seyrig, Angela Molina, Paul Frankeur, Bulle Ogier, Julien Bertheau, Michel Lonsdale, André Weber, Stephane Audran, Maria Asquerino, Jean-Pierre Cassel, Ellen Bahl, Muni, David Rocha, Francois Maistre, Marai Gabriella Maione, Claude Pieplu, Monica Vitti, Michel Piccoli, Milena Vukotic, August Carrière, Bernard Musson, Valérie Blanco, Pierre Maguelon, Pierre Pieral, Georges Douking, Jacques Debary, Gerald Robard, Robert Le Beal
Year: 1972 | 1974 | 1977
Time: 101 | 104 | 104 min.
3 Discs | BD-50
English 1.0 Dolby Digital Mono
Regions A
The Castaway of Providence Street (El náufrago de la calle Providencia), a 1971 homage to Luis Buñuel made by his longtime friends and fellow filmmakers Arturo Ripstein and Rafael Castanedo Speaking of Buñuel (A propósito de Buñuel), a documentary from 2000 on Buñuel's life and work Trailer Interview from 2000 with screenwriter Jean-Claude Carriere Excerpts from Jacques de Baroncelli's 1929 silent film La femme et le pantin, an adaptation of Pierre Louÿs's 1898 novel of the same name, on which That Obscure Object of Desire is also based Trailer Interview from 2000 with screenwriter Jean-Claude Carriere Trailer Once Upon a Time: "The Discreet Charm of the Bourgeoisie," a 2011 television program about the making of the film Documentary from 1985 about producer Serge Silberman, who worked with Buñuel on five of his final seven films Analysis of The Phantom of Liberty from 2017 by film scholar Peter William Evans Lady Doubles, a 2017 documentary featuring actors Carole Bouquet and Angela Molina, who share the role of Conchita in That Obscure Object of Desire Essays by critic Adrian Martin and novelist and critic Gary Indiana, along with interviews with Luis Buñuel by critics José de la Colina and Tomás Pérez Turrent Portrait of an Impatient Filmmaker, Luis Buñuel, a 2012 short documentary featuring director of photography Edmond Richard and assistant director Pierre Lary Episode of the French television program Pour le cinéma from 1972 that features behind-the-scenes footage of Luis Buñuel on set, along with interviews with the director and actors Stephane Audran, Jean-Pierre Cassel, Bulle Ogier, Fernando Rey, and Delphine Seyrig Episode of the French television program Pour le cinéma from 1974 featuring actors Michel Piccoli and Jean-Claude Brialy Episode of the French television program Le dernier des cinq from 1974 featuring Jean-Claude Brialy Episode of the Belgian television program Le monde du cinéma from 1977, featuring Jean-Claude Carriere, actor Fernando Rey, and producer Serge Silberman Conversation from 1977 among many of Buñuel's collaborators, including Jean-Claude Carriere, Fernando Rey, and actors Julien Bertheau, Muni, and Michel Piccoli

redpajama_set_name: RedPajamaCommonCrawl


text:
By Mark Smith
13th Oct, 2020 | 4:00pm
Reliable journalist: Leeds star set to return v Wolves, could feature for U23s on Friday
Leeds United playmaker Pablo Hernandez is expected to return from injury for the Premier League clash v Wolves on Monday.
Hernandez has been missing since the game against Fulham after picking up a groin problem in the warm-up of the 4-3 victory.
However, he could now be seen again as soon as Friday.
Leeds Live journalist Beren Cross has reported that Hernandez should return against Wolves on Monday, but could come back earlier.
Cross claimed that the 35-year-old could feature for the under-23s to regain his fitness before running out at Elland Road next week.
Mark Jackson's side are set to travel to Reading on Friday, as they look to continue their impressive form in the Premier League 2.
It would be a massive boost for both the under-23s and Hernandez himself if he was made available from his groin injury.
Bielsa has utilised both Tyler Roberts and Rodrigo in the playmaker role since Hernandez has been missing, and one of those has definitely stood out.
Club-record signing Rodrigo has certainly impressed in his cameos against both Sheffield United and Manchester City, scoring his first goal against the latter.
Even if Hernandez is back, it is unlikely that he will start – that isn't how Bielsa works. We expect the Spaniard to be benched against Wolves, with Rodrigo handed the chance to start.
The 29-year-old needs to continue the superb form that he has shown against City, and during the international break with Spain.
In other Leeds United news, Whites launch a number of enquiries for this midfielder
Be sure to follow MOT Leeds News on Facebook for 24/7 updates on the Whites and more exclusive content with Paul Robinson.
'He's on his way' – Phil Hay claims first-teamer set for exit after news of last Leeds PL squad
Valencia legend claims Leeds were not the 'best choice of club' for Rodrigo


text:
A fénytörés (refrakció) egy optikai jelenség. Ha a fény két eltérő optikai sűrűségű közeg határára érkezik, akkor egy része visszaverődik, másik része pedig belép az új közegbe. Az új közegben haladó fénysugár általában megtörik. A jobb oldali képen megfigyelhető a levegőből a plexi felületére érkező fénysugár visszaverődése és törése is.

A fénytörés törvényei

Állítsunk merőlegest a két közeg határára abban a pontban, ahova a fénysugár érkezik! Ez az egyenes a beesési merőleges. A felületre érkező fénysugár és a beesési merőleges által bezárt szög a beesési szög (α), a megtört fénysugár és a beesési merőleges közti szög a törési szög (β).

A fénytörés törvényei a következők:
 A beeső fénysugár, a beesési merőleges és a megtört fénysugár egy síkban van.
 A merőlegesen beeső fénysugár nem törik meg.
 A beesési szög szinuszának és a törési szög szinuszának hányadosa a két közegre jellemző állandó. (Snellius–Descartes-törvény, 1621 és 1629) A Snellius–Descartes-törvény képlettel felírva:

A fénytörésre vonatkozó egyéb tudnivalók:

 A beeső és a megtört fénysugár a beesési merőleges különböző oldalain halad.
 A fénysugár útja megfordítható, vagyis (az ábra jelöléseit használva) a második közegből β szöggel a határfelületre érkező fény az első közegben α szöggel halad tovább.
 Ha a fény optikailag ritkább anyagból sűrűbb anyagba lép, akkor a beesési merőlegeshez törik (β < α).
 Ha a fény optikailag sűrűbb anyagból ritkább anyagba lép, akkor a beesési merőlegestől törik (β > α).
 Ugyanolyan körülmények között az eltérő színű (=hullámhosszúságú) fénysugarak kissé különböző szögben törnek meg. Ezt a jelenséget színszóródásnak (diszperziónak) nevezzük.

A törésmutató
A Snellius-Descartes-törvényben szereplő állandót a második közegnek az első közegre vonatkozó törésmutatójának nevezzük. és n21-gyel jelöljük. (Egyértelmű esetekben gyakran csak a törésmutató kifejezést használjuk.) Képlettel felírva:

Egy anyag vákuumra vonatkozó törésmutatóját az adott anyag abszolút törésmutatójának nevezzük, és n-nel jelöljük.

A fénytörés magyarázata

A fénytörés oka az, hogy a két közegben eltérő a fény terjedési sebessége. Mérésekkel és a jobb oldali rajz alapján elméleti úton is igazolható, hogy a törésmutató ugyanakkora, mint a két közegben mérhető terjedési sebességek hányadosa, illetve a két közegben mérhető hullámhosszak hányadosa. Képlettel:

Ha a fény vákuumbeli sebességét c0, az adott anyagban mérhető fénysebességet c jelöli, akkor egy anyag abszolút törésmutatója az előbbiek alapján:

Mindezeket felhasználva igazolható, hogy ha a fény az n1 abszolút törésmutatójú anyagból jut át az n2 abszolút törésmutatójú anyagba, akkor az n21 törésmutató megegyezik az abszolút törésmutatók hányadosával. Képlettel:

A fénysugarak megfordíthatóságának elve alapján igazolható, hogy

Analógia: a fuldokló megmentése

A parton álló úszómester észreveszi, hogy valaki fuldoklik a vízben. A lehető legrövidebb idő alatt szeretne odaérni a bajba jutott emberhez. A parton futva, a vízben úszva tud haladni, a két "közegben" eltérő a haladási sebessége, ezért nem akkor ér oda a leghamarabb, ha egyenes mentén halad.

A jobb oldali képen a futók a fényhullám hullámfrontját jelképezik. (Hasonlítsuk össze az előző rajzzal!) A vizet elérve a futók frontja megtörik, mert a vízben a sebesség kisebb. A két közeg közti "törésmutatót" a futás és az úszás sebességének arányából számolhatjuk ki.

Határszög, a teljes fényvisszaverődés

Vizsgáljuk meg azt az esetet, amikor a fény optikailag sűrűbb közegből ritkább közegbe lép! Ekkor a törési szög nagyobb, mint a beesési szög (β > α). Ha növeljük a beesési szöget, a törési szög is nő, mígnem eléri a 90°-ot. Ekkor a fény nem lép be a második közegbe, hanem annak felülete mentén halad tovább. Azt a beesési szöget, amelynél a törési szög β = 90°, határszögnek nevezzük. Jelölése: αh.

A határszög értéke a két közeg törésmutatójából kiszámítható:

A beesési szög nagyságától függően három eset lehetséges:
 Ha α < αh, a fény belép a második közegbe, megtörik, és a beesési merőlegessel β szöget bezárva halad tovább.
 Ha α = αh, a fény a két közeg határfelülete mentén halad tovább.
 Ha α > αh, a fény nem törik meg, hanem teljes egészében visszaverődik. Ezt a jelenséget teljes fényvisszaverődésnek vagy totálreflexiónak nevezzük.

Mivel a legjobb minőségű tükrök is csak a fény 95 százalékát verik vissza, egyes optikai eszközökben a tükrök helyett a teljes fényvisszaverődést használják a fény irányának megváltoztatására.

A fénytörés néhány következménye
 Ha egy ceruzát félig vízbe mártunk: felülről nézve úgy tűnik, mintha a ceruza a levegő és a víz határán megtört volna. A tárgyak egy-egy pontját ott látjuk, ahol a róluk kiinduló, és a szemünkbe jutó fénysugarak visszafelé történő meghosszabbításai metszik egymást. Amikor a ceruzát vízbe mártjuk, a róla kiinduló fénysugarak a víz és a levegő határán megtörnek. Emiatt úgy látjuk, mintha a ceruza vége máshol lenne, mint amikor még üres volt a pohár.

 Szigonnyal halászáskor figyelembe kell venni a fény törését: a hal nem pont ott van, mint ahol látjuk, ahogy a ceruza sem görbült meg attól, hogy vízbe mártottuk.
 Ha egy vastag üveglapon át nézzük környezetünk tárgyait, nem eredeti helyén látjuk őket, hanem mintha el lennének tolva. A levegőnél fénytanilag sűrűbb üveg eltéríti a fénysugarakat. A párhuzamos falú üveglemezre ferdén érkező fénysugár kétszer törik meg. Egyszer az üvegbe lépéskor, másodszor az üvegből történő kilépéskor. Ilyenkor a fény eredeti irányához képest párhuzamosan eltolódva halad tovább. A megfigyelő ilyenkor a tárgyat a kétszeresen megtört fénysugár irányában látja.
 A derékig vízben álló ember lába rövidebbnek látszik, és a vízzel teli medence kevésbé tűnik mélynek a partról nézve, mint az üres.
 Egyes halak a víz felett repülő rovarokra vadásznak úgy, hogy kis "víznyilakat" lőnek ki rájuk a szájukkal. Ezek a halak a célzáskor gyakorlati tapasztalat alapján számolnak a fény törésével.
 Az optikai szálak használatánál a teljes visszaverődés jelenségét használjuk ki.

Kapcsolódó szócikkek
 Fermat-elv
 Fénysebesség
 Fényvisszaverődés
 Geometriai optika
 Optika
 Optikai lencse
 Optikai szál
 Prizma
 Törésmutató

Források

További információk

 A fény terjedése
 A fénysugár törése plánparalel lemezen
 Fénytörés
 Fénytörés kísérleti vizsgálata
 Fénytörést és visszaverődést szemléltető alkalmazás
 Sulinet: Fénytörés
 FizKapu/Animátor: Fénytörés 1.
 FizKapu/Animátor: Fénytörés 2. (és teljes fényvisszaverődés)
 Letölthető interaktív Java szimuláció a fénytörésről és fényvisszaverődésről a PhET-től magyarul

Geometriai optika

redpajama_set_name: RedPajamaWikipedia


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After doing nothing but absolutely tear the Reds apart all offseason and regular season, Steve Phillips now picks the Reds to win the Central.
If the Reds tank during this road trip, he'll be the first one to say "I told you so."
Has he been drug tested lately? Who's making that call now after this Giants series?
Oh no, Steve Phillips thinks we're going to the playoffs. For the first time all year, I've given up on the season!
I would like to see Harold back too. He was a cool guy. I think he got framed.


1. Preheat oven to 350°. Cook lasagna noodles as label directs.
2. Meanwhile, in large skillet, heat oil over medium heat. Add onion and cook 3 minutes. Add garlic, bell pepper and zucchini, and cook 3 minutes. Stir in chili powder, oregano, cumin, salt and pepper, and cook 1 minute. Stir in black beans, corn, pasta sauce, salsa, olives and cilantro. Heat to a simmer and cook 3 minutes; remove from heat. In medium bowl, combine egg, 1-1/4 cups Jack cheese blend and remaining cheeses.
3. In bottom of 13 x 9-inch baking dish, spread 1 cup bean mixture, and 1/3 cheese mixture. Repeat layers, ending with bean mixture on top. Sprinkle with remaining 3/4 cup Jack cheese blend.
4. Cover dish with foil. Bake 45 minutes. Let stand 10 minutes before cutting. Serve topped with sour cream, if desired.


Is the world really changing rapidly or does it just appear that way? There's been a dizzying transformation in media and communications over the last ten years and one its biggest effects is to make everything else seem to be spinning fast, too.
When a meteorite crashed into Russia injuring 1200 people it was captured on dashboard video cameras that drivers keep rolling to avoid being blamed in an accident. The astounding images they recorded were then instantly spread around the world by ordinary citizens using social networks like Twitter or Facebook. Yet, those companies and the technology they use didn't even exist ten years ago.
When the Syrian rebels first picked up their AK47s and RPGs to oppose President Assad they also reached for their smartphones. The footage of the innocent victims of the conflict was beamed direct to the world through YouTube and was picked up by mainstream western media. The rebels also uploaded footage of their own military efforts to encourage funding from supporters elsewhere in the Middle East. And when Israel and Hesbollah clashed in the same region, both forces took to Twitter to argue their cases in front of the world.
It is not just on the global stage that media has been transformed. Have a look at your own life. When did you last call anyone on a home landline? Does your five year old niece try to swipe the TV screen? Did you get in the car or on to the iPad for your last shop? And if you did get in the car recently, did you find the route on an App?
The key shift in this decade has been from an Internet that had lots of websites but not much interactivity between them. In the last ten years we have moved from Web 1.0 to Web 2.0 and beyond. Put simply, hyperlinks allow us all to connect through the Internet in collaborative, connected ways. The Internet has become social.
A university like the LSE is not immune to the decade of media change. We now have a Department of Media and Com-munications, created on 1st September 2003 by Professor Roger Silverstone, with a faculty of eight ready to receive 118 students. Today we have doubled our faculty numbers and 230 students are following our MSc and PhD programmes; a further 340 have attended our Summer Schools. Over 1,600 students from more than 100 countries have graduated, 40 with PhDs.
In 2006, the Department inaugurated POLIS, LSE's journalism and society think-tank: a hub of people and ideas where journalists and the wider world can examine and discuss the media and its impact on society.
Both were responses to the growing importance of media in the world.
New media has also been a fantastic tool for the LSE's teaching with lectures recorded online, seminar debates extended through online forums and a world of information just a click away. The LSE is now itself a media company with people downloading hundreds of thousands of its podcasts, reading its expert blogs and following both staff and students on Twitter or through Facebook. At the same time the development of new learning platforms such as MOOCs (Massive Open Online Courses) in the USA, which provide very cheap distance learning, might herald a threat to existing educational institutions.
Of course, it's not just about the Internet. We consume as much TV, radio and movies as before, it's just that we often do it with a second screen running at the same time. Increasingly we will watch and listen on mobiles – both phones and 'tablets' like the iPad. And in this last decade thanks to 'time-shifting' devices like the iPlayer or TiVo we will do it when we want.
In some regions 'Old Media' is still growing with global newspapers sales actually on the rise last year. Television viewing is still soaring as developing economies switch on. But even in poorer parts of the world, it has still been the digital decade.
Take Africa. Look at how SMS is revolutionising banking with villagers using mobile phones to trade. Go to an African slum and you can see people wearing English football shirts because they can watch Premier League games featuring African footballers via satellite links. They can use the same mobile text systems to bet on the game or to decide how to vote in an election and where to get medicine.
The digital decade has not been all good news. Do you trust Mark Zuckerberg with your Facebook photos from your wild teenage years? Why are governments spending so much tracking our lives? Will a hacker bring down the banks or a terrorist bring down a fly-by-wire aircraft? More generally, is the Internet making us stupid? Have we forgotten how to read and to research? Have your Facebook friends replaced your real community?
The next decade promises even more change. New companies and gadgets will emerge. I have no idea what they will be. In the last ten years Facebook went from a garage to a $100 billion business. Who would have guessed that a microblog that limits your posts to 140 characters would become a platform for Presidents and Popes?
For those of us who think that media matters the real task is not prediction but understanding. We need to distinguish between all the hype around the flashy product launches and the reality of how people use and abuse the technology in their lives. Media matters because it is a big business and a pervasive part of people's home and working lives. It also matters because it is how we know about the world. This was the decade in which media was at the heart of democracy, war, economics, sport and culture. Digital has become the catalyst for many of the forces for change.
We don't know what the next ten years will bring, but if it's anything like the last decade it is going to be fascinating finding out.
Prof Charlie Beckett is Head of the Department of Media and Communications which celebrates its tenth anniversary on 16th June 2013 with a conference on "New Trajectories In Media and Communications Research", open to all.


Wise management of natural resources on and around Millwood Lake is necessary and important to maintain the quality environment we enjoy. The public land that surrounds the lake provides a buffer that ensures high quality water, as well as habitat for the abundant wildlife and plants found here. Our goal for managing this land is to restore it to natural conditions and enhance native plant and animal populations. Comprehensive natural resource plans are developed to guide our efforts toward accomplishing this goal. The Corps of Engineers, Arkansas Game and Fish Commission, and volunteer groups play important roles in the cooperative management of hunting and non-hunting areas.
Millwood Lake has a variety of aquatic vegetation species, some being non-native invasive species that have been introduced to the lake during the past 15 years. These species include Hydrilla and Alligator Weed among many others. Another known invasive plant that has not been found in Millwood Lake but has been found in bordering states such as Texas and Louisiana, is Giant Salvinia. The US Army Corps of Engineers at Millwood Lake has been researching the best methods to manage the spread of these invasive plants, which include techniques such as water level deviations and biological control. We need your help to prevent the spread of these plants to other areas of Millwood Lake or to other bodies of water. Please clean any vegetation from your boats and trailers upon arriving and departing Millwood Lake.


Greenway Senior High is located in Coleraine, Minnesota. Scholarships for students attending Greenway Senior High can be found in our scholarship database. If you are searching for scholarships for students attending a different high school in Coleraine, visit the Coleraine directory.


Four consecutive days of beach, water, wind, sun, sport and fun in the awesome setting of La Cinta Beach in San Teodoro , Sardinia.
Brands, Intenational athletes, Amateurs, pros, interested public will be able to mingle in a dedicated expo village where the latest gear will be on display.
A perfect occasion for all water sports lovers to try out the latest gear and learn and share their passion with like-minded people and professionals.


The Marche countryside is very picturesque, a mosaic of hills perfectly manicured, dotted with fields of young sunflowers, wheat and bright red poppies. As we leave the Adriatic coast and near Umbria, the Apennines surround us and deep green valleys follow us. The tall cypresses, symbol of the Umbrian and Tuscan landscape intermingle with deep woods of evergreens and deciduous trees. The silver olive trees cover the rocky hillsides while linear vineyards the other. The roadside and mountainsides are brightened by ginestre, the yellow, scented blossoms of the "broom" bushes. Coloured wildflowers intermingle with grasses. It feels good to be home! We decide to stop for lunch in Trevi, the olive oil capital, and enjoy traditional bruschetta , spezzatino di cinghiale (wild boar stew), and truffled strangozzi (homemade long pasta with black truffe). All the genuine flavors and aromas confirm that Umbria's foods are among my very favourites! Try Something Extraordinary! Bruschetta with black truffle is a tasty, typical appetizer from Umbria. The preparation is quick and will satisfy the discerning palate.
All available at MY MOTHER'S PLACE- open Tuesday to Saturday from 11:00 to 6:00, Sunday from 11:00 to 3:00.
Until then – Buon Appetito, Arrivederci A Presto!


The Access Regulations and Low Emission Zones in Bolzano are given below.
To the right of this text is a map of all schemes. Below this text is a map of all schemes. Click for a larger map. All Bolzano (also known as Bozen or Südtirol) Province cities with schemes are listed below by scheme main type. Scroll to find all cities. Click to find full information on schemes for that page.