HILLGROVE, NS – Roof Hound Brewing is asking for assistance from the local community following a break-in over the weekend.
Thieves drove behind the building damaging septic and possibly getting stuck. Broke the back window and stole our safe, till with cash and a few bottles of beer and funny enough stole three growlers full of water from the fridge. They left behind an axe, pocket knife, lighter and blood and finger prints.
Barr went on to request that anyone with information about the crime contact the RCMP, and also asked locals "show your support by coming in for a pint and or meal".
For more details, see Barr's Facebook post, and coverage of the story by StarMetro Halifax.


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The Edinburgh Revue Sketch Show (PBH'S Free Fringe)
By Christopher Rumbles | Published on Monday 20 August 2012
This show was cringe-worthy in a way that makes you almost want to utilise the old cliché "so bad, it's good". Like an eccentric dad attempting to tell a ridiculously unfunny joke, more laughter came from the awkward tension than from the show's actual content. More often than not this group of Edinburgh University students subjected us to a series of hackneyed sketches with conventional character types. I'm the sweary one, I'm the loud one, I'm the weird one…yeah, yeah. The show did show glimpses of genuine humour, with a sketch on a new French fragrance known as 'Incest' being one of the few that was as well-executed as it was written. Much like the recurring 'Real Life Catwoman' gag, this quickly grew tiresome.
The Banshee Labyrinth, 3-25 Aug, 4.45pm.
tw rating 2/5 | [Christopher Rumbles]
READ MORE ABOUT: PBH's Free Fringe

redpajama_set_name: RedPajamaCommonCrawl


Roy Engelbrecht Composed collection //A 19th-century Savonnerie rug anchors the spacious drawing room in Louis Talotta's home. A French Empire gueridon is in the foreground and the 19th-century marble mantel came from a local estate. The 1850 chandelier with ruby glass bowl is attributed to Hooper & Co., Boston, and the antique terra cotta statues are signed Cossin. The silk taffeta upholstered walls and all other fabrics are Scalamandre.
In 1872, when the residence of interior designer Louis Talotta was built, it was a grand place on a grand street in Oakland. But by the end of World War II, it had been carved up, much like the map of Europe, into many smaller pieces. The tall ceilings were lowered with acoustic tile so ineptly installed it hid the tops of the windows. The staircase was moved to the other side of the house and many original parts disappeared. The flow of the rooms was interrupted by doors and partitions that turned it into many apartments. In short, it looked nothing like the great beauty it once was, and has become again.
As one of Pittsburgh's premier designers for more than 50 years, and the principal of Parke Interiors Inc., Talotta is known for his exquisite use of color and knowledge of period details. His client list includes Hillmans and Mellons, but he is just as happy imbuing a simple residence with character and charm. And so it was with his home. He bought the building in 1960, and it evolved over time into what it is today — an office on the first floor, a residence on the second, guest quarters on the third and workrooms in the basement where custom lampshades are stored and faux finishes are applied.
Given the building's age and ramshackle history, Talotta had little choice but to gut much of the structure and replace all the mechanics — electric, plumbing and HVAC — before he could even address the aesthetics of the space.
Light is one of the most important design elements to Talotta, and it was abundant on the first floor, which boasted tall windows to match the 12-foot ceilings. But upstairs the windows were tiny, so he replaced them with French doors that open onto small terraces. The effect was immediate.
With the bones restored, Talotta began the process of decorating as he always does — with the backgrounds that would set the stage for a furniture collection he had been amassing since he was 15 or 16. But furniture is not all he collects. His home is filled with paintings and objets d'art and "d'whimsy," numerous photos of family and friends, decorative pillows, porcelain, antique fireplaces and lighting fixtures, and anything ever made that features a Boston terrier, the beloved breed of his two dogs, Max and Nicky.
Typical of the way he collects is a wall of black and terra cotta reproduction Etruscan ware in the den. Talotta bought the first set of plates for $12 on the street in New York when he was 17 because "I'd always been interested in archaeology and anything Italian and Greek, and that started me collecting all things classical." He has similar stories for just about everything, evidence of a well-trained eye and the great curiosity that drives him. Placing it all with some semblance of order was the challenge — especially with himself as the client.
"It's more complicated. With a client I can get far enough away, knowing what a client's needs are, the best coloration primarily for the lady. It takes me forever to do it for myself. I can never decide on the background. I vacillate back and forth and drive myself to distraction making a decision for me.
A centerpiece of the building is Talotta's office, a warm and welcoming room covered in pine that looks old but is new except for the antique fireplace and carved pine conch shells. He designed the room to hold and hide his samples, with large doors that open to become presentation boards on which to display paint chips, fabric swatches, trim and anything else needed to show a client how a room will look. A long table serves as his desk so he can look at plans or sketch while Max and Nicky keep him company on their favorite seats.
The room is done to perfection, like the rest of the house. Luxurious fabrics, faux finishes, marble and slate, walls upholstered in silk and antique wallpapers, needlepoint rugs — everywhere there is the unique, the eclectic and the beautiful.
"If the people who lived here when it was built had money, it would have looked like this — if they were really, really rich," Talotta adds with a grin.
The Talotta residence is for sale through Cindy Ingram at Coldwell Banker.


We are super excited to have Lagoon Day Spa, Twin Waters on board with us! Anja - the owner - thought our rings were a brilliant idea to offer the many brides that get married at the beach in front of the resort. Brides and bridal parties use the Spa prior to their big day and what better keepsake than a ring filled with the sand you marry on.
Also guests that come in for some pampering LOVE the idea of taking a little piece of paradise home with them.


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New York City to House Inmates Based on Gender Identity
Image via Getty/Andrew Burton
New York City will begin housing inmates according to their gender identity instead of their sex, according to a report from the Observer.
A statement from the mayor's office announced that transgender and gender non-conforming individuals will be given "safe and gender-affirming housing options" beginning in October. "It's the city's responsibility to protect the rights and safety of all New Yorkers and that means protecting transgender individuals in city jails as well," Mayor Bill de Blasio said in the statement.
New York City is one of the first major cities to begin recognizing inmates' gender. San Francisco became the first city in the country to "permit individuals who identify as transgender, gender variant, or non-binary to pick their preferred housing," according to the Observer.
Research shows that transgender and gender non-conforming inmates forced into housing based on their assigned gender often face more physical and sexual violence in lock-up. As Jezebel points out, a 2009 California study showed that transgender individuals are 13 times more likely to be sexually assaulted than other inmates.
"With today's announcement, New York City takes another important step to protect the rights, dignity and safety of transgender and gender non-conforming individuals, and it is our hope that cities across the country will follow our lead," First Lady of NYC Chirlane McCray said in a statement. "Keeping transgender and gender non-conforming New Yorkers safe, wherever they are, is the city's responsibility—whether they are in city custody or walking through their own neighborhoods."
The Department of Correction has six months to comply with the new requirements, set by the New York City Human Rights Commission, which mandate that people can access the city's single-sex facilities according to their gender identity without medical documentation.
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Home » Tennis » Kyle Edmund 'thankful' to be back at Melbourne Park after chronic knee injury
Kyle Edmund 'thankful' to be back at Melbourne Park after chronic knee injury
01/13/2023 Comments Off on Kyle Edmund 'thankful' to be back at Melbourne Park after chronic knee injury
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Kyle Edmund returns to the scene of his greatest moment hoping the Australian Open can be the start of a path back to the top of the game.
The 28-year-old is at Melbourne Park for the first time in three years having missed most of the last two seasons because of a chronic left knee problem that has required three operations.
His ranking is now way down at 583, a far cry from the days in 2018 when, after a brilliant run to the semi-finals here, he cracked the top 20.
Edmund's ambitions this time are much more modest, with the Yorkshireman grateful simply to be back on court and feeling healthy enough to compete.
He said of the knee issue: "It's something I'm always going to have to manage. But having the time out was really long so to be able to play again is something I'm very thankful for.
"I know I have the game to play at the highest level and hopefully the work I've done in my rehab and strength will allow me to stay fit to be able to compete."
Edmund dipped his toe back in the water last summer, playing mixed doubles at Wimbledon in his first match since October 2020 and then entering five events in North America, including the US Open.
Being here has allowed me to practice with the best guys in the rankings. It's a good leveller to see where I'm at.
He then stepped away again to do more training, saying: "I was able to play but not really at the standard or physically the level I wanted to."
Edmund returned to the tour last week, playing the two ATP events in Adelaide, and, although he lost in the first round both times, he pushed 28th-ranked Miomir Kecmanovic in two close sets in the second one.
The first saw him lose 6-3 6-2 to leading young Italian Jannik Sinner, who he will lock horns with again in the first round of the Australian Open on Monday.
"When you haven't played a lot of tennis, you're always searching for rhythm," said Edmund. "In the end, I felt the (Sinner) match just went really quickly and was over before I knew it, but the second one was a lot better.
https://www.instagram.com/p/BeYQfeXFN4E
"Being here has allowed me to practice with the best guys in the rankings. It's a good leveller to see where I'm at. Just putting myself out there is all sort of money in the bank."
Edmund stepped into the spotlight left empty by Andy Murray's hip troubles here five years ago, his sledgehammer forehand carrying him to victories over Kevin Anderson and Grigor Dimitrov and heralding what appeared to be a very bright future.
But his knee began to niggle later the same season and his two visits since both ended in first-round defeats.
"When I think back to 2018 it's always good memories, walking around the grounds, or in the player area, or on the court," he said. "But it just feels so long ago because so much has happened since then. I know I can play well on these courts because I did."
Sinner represents a very tough opener but, while he is of course chasing victories, Edmund will settle for now for feeling like he is heading in the right direction.
"I feel like if I played someone who was 90 or 80, or a qualifier that was at the lower end, is a tough match for me right now because I don't have loads of wins," he said.
"You're like 'Oh, I want to get back now and I want to play better now'. But I know inside it does take time. To get to where I was before, it took years of training and experience in matches. So, when you go right down, you don't just suddenly get it back again."
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As unlikely as it may seem in 2009, this Father's Day you can still give Dad his favorite smoke. As long his favorite smoke is from coastal live oak and was used to slow cook suckling pig.
This week is the Father's Day edition of Smokehouse Sunday at the Linkery. We're celebrating by putting a couple suckling pigs on the rotisserie, along with the usual selection of hot links and other goodies.
Also, you can also buy Dad some bacon.


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Home»National & World News»True faith means loving others to the extreme, pope tells Egypt's Catholics
True faith means loving others to the extreme, pope tells Egypt's Catholics
/ April 29, 2017 / 1.3k
IMAGE: CNS/Paul Haring
By Carol Glatz
CAIRO (CNS) — The only kind of fanaticism that is acceptable to God is being fanatical about loving and helping others, Pope Francis said on his final day in Egypt.
"True faith," he told Catholics, "makes us more charitable, more merciful, more honest and more humane. It moves our hearts to love everyone without counting the cost."
The pope celebrated an open-air Mass April 29 in Cairo's Air Defense Stadium, built by the anti-aircraft branch of the Egyptian armed forces. The pope concelebrated with Coptic Catholic Patriarch Ibrahim Isaac Sedrak of Alexandria and leaders of the other Catholic rites in Egypt.
After spending the first day of his visit in meetings with Muslim leaders, government officials, diplomats and members of the Coptic Orthodox Church, the pope dedicated the second day of his trip to Egypt's minority Catholic community.
Arriving at the stadium in a blue Fiat, the pope was slowly driven around the stadium's red running track in a small and low golf cart, far from the thousands seated in the stands high above. Yellow balloons and a long chain of blue balloons tied together like a rosary were released into the sky as a military helicopter circled high above the venue.
Surrounded by security, the pope managed to personally greet only one small group of children who were dressed as pharaohs and other traditional figures. They hugged the pope affectionately as security tightly closed in on the group.
In his homily, the pope used the day's Gospel reading of the two disciples' journey to Emmaus to highlight how easy it is to feel disappointment, despair and defeat when one is trapped by a false notion of who God really is.
The disciples could not believe that the one who could raise others from the dead and heal the sick could "end up on hanging on the cross of shame," the pope said. Believing Jesus was dead, all their dreams died with him on the cross and were buried in the tomb.
"How often do we paralyze ourselves by refusing to transcend our own ideas about God, a god created in the image and likeness of man," he said. "How often do we despair by refusing to believe that God's omnipotence is not one of power and authority, but rather of love, forgiveness and life."
Like the disciples, he said, Christians will never recognize the true face of God until they let their mistaken ideas die on the cross, rise up from the tomb of their limited understanding and shatter their hardened hearts like the "breaking of the bread" in the Eucharist.
"We cannot encounter God without first crucifying our narrow notions of a god who reflects only our own understanding of omnipotence and power," the pope said.
True faith "makes us see the other not as an enemy to be overcome, but a brother or sister to be loved, served and helped," he said, and it leads to dialogue and respect and the courage to defend the rights and dignity of everyone, not just oneself.
"God is pleased only by a faith that is proclaimed by our lives, for the only fanaticism believers can have is that of charity. Any other fanaticism does not come from God and is not pleasing to him," he said.
Follow Glatz on Twitter: @CarolGlatz
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De Fossbrekkur (ook wel Fossabrekkur genoemd) is een cascade van kleine watervalletjes in het zuiden van IJsland. Ten westen van een van de meest actieve vulkanen van IJsland, de Hekla, ligt een uitgebreid, droog, verlaten en vrijwel onbegroeid lavaveld. In dit lavaveld ligt de oorsprong van wat uiteindelijk de Ytri-Rangá rivier zal worden. Te midden van het desolate gebied liggen als een oase de watervalletjes van de Fossbrekkur in het riviertje, omgeven door een rijke vegetatie.

Waterval in IJsland

redpajama_set_name: RedPajamaWikipedia


Allan Bakke applied to the UC Davis Medical program in 1973 and 1974. Despite a high rating in both years, he was rejected for admission. During the same time period, UC Davis administered an admissions program for economically and racially disadvantaged students. In both years, students were admitted to the UC Davis program with GPAs, MCT scores and benchmark scores significantly lower than Bakke. Bakke sued alleging that he was being discriminated based on his race in violation of the Equal Protection Clause of the Fourteenth Amendment, the California State constitution and Title VI of the Civil Rights Act of 1964. The trial court found that the program violated Bakke's civil rights but did not order him admitted. On appeal, the California Supreme Court ordered Bakke admitted and upheld the unconstitutionality of the program. UC Davis appealed to the United States Supreme Court.
Whether the UC Davis program violated the Fourteenth Amendment's equal protection clause by practicing race-based admissions resulting in Bakke's rejection for admission to medical school.
8-1 for Bakke and 5-4 for Bakke.
Any racial or ethnic classifications call for strict judicial scrutiny. While a diverse student body is a compelling interest to consider race in admissions decisions, any admissions program which is limited by race is a violation of the constitution. In this case, the UC Davis program was reserved for, and set aside admissions slots, for certain races. This construct is an unconstitutional construct violating the Equal Protection Clause of the Fourteenth Amendment, as well as Title VI of the Civil Rights Act of 1964. This reasoning was agreed to by 8 of the justices in multiple separate opinions.
The consensus of the court – with all justices but Justice White at least concurring in part, was that exclusion of a student from a program based solely on their race was a violation of both the Fourteenth Amendment and the Civil Rights Act of 1964. The justices split, however, on whether race could be used at all in the admissions process – and the case generated five separate opinions resulting in four separate decisions.
By a vote of 8-1, with Justice White dissenting, the court found that Bakke's had the ability to bring an action to preserve his rights under the Civil Rights Act of 1964. However, by a vote of 5-4, the court ruled that UC Davis' use of race in admissions was not a prima facie violation of the Civil Rights Act of 1964 or the Fourteenth Amendment. However, by a vote of 5-4 the Court found that the construct of UC Davis' admissions program did, in fact, violate the Fourteenth Amendment in that it was solely race based.


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La ceramica (dal greco antico, kéramos, che significa "argilla", "terra da vasaio") è un materiale inorganico, non metallico, molto duttile allo stato naturale, rigido dopo la fase di cottura.

Con la ceramica si producono diversi oggetti, quali stoviglie, oggetti decorativi, materiali edili (mattoni, piastrelle e tegole), rivestimenti per muri e pavimenti di abitazioni. Specifiche ceramiche inoltre, trovano impiego nei rivestimenti ad alta resistenza al calore per il loro alto punto di fusione. Il colore del materiale ceramico varia a seconda degli ossidi cromofori contenuti nelle argille (ossidi di ferro, da giallo, arancio, rosso a bruno; ossidi di titanio, da bianco a giallo). Può venire smaltata e decorata.

La ceramica è usualmente composta da diversi materiali: argille, feldspati, (di sodio, di potassio o entrambi), sabbia silicea, ossidi di ferro, allumina e quarzo. Una composizione così articolata determina la presenza di strutture molecolari appiattite dette fillosilicati. La forma di questi, in presenza di acqua, conferisce all'argilla una certa plasticità e ne rende la lavorazione più facile e proficua. Un manufatto in terracotta o argilla è detto fittile.

Lo studio delle tecniche di fabbricazione (formatura, trattamento delle superfici, cottura), delle loro forme, e quello dei motivi decorativi, che possono essere stampati, incisi, impressi, applicati o dipinti sugli artefatti, si chiama ceramologia.

Tipi di ceramiche
La ceramica è una lavorazione antica e molto diffusa in aree anche molto distanti tra loro. Esistono tipi diversi di ceramiche:
 ceramiche a pasta compatta: rientrano nel gruppo i gres e le porcellane. Hanno una bassissima porosità e buone doti di impermeabilità ai gas e ai liquidi. Non si lasciano scalfire neanche da una punta d'acciaio.
 ceramiche a pasta porosa: sono tipicamente le terraglie, le maioliche e le terrecotte. Hanno pasta tenera e assorbente, più facilmente scalfibile.

I tipi principali di ceramiche sono: la terracotta o coccio, la terraglia, la maiolica, il gres e la porcellana che può essere a pasta tenera o dura.

Le terrecotte

Sono ceramiche che, dopo il processo di cottura, presentano una colorazione che varia dal giallo al rosso mattone, grazie alla presenza di sali o ossidi di ferro. La cottura si effettua a 980-990 °C. La presenza di ossido di ferro, oltre a dare il colore tipico, migliora anche la resistenza meccanica della ceramica cotta, contribuendo alla vetrificazione e quindi riducendo la porosità del manufatto.

Grazie alla sua stabilità, alla resistenza all'invecchiamento, e alla leggerezza che deve alla sua porosità, la terracotta è il più diffuso materiale da costruzione, chiamato con il nome di laterizio. Le terracotte (più comunemente intese come manufatti ad uso alimentare o artistico) si distinguono generalmente dai laterizi per una "più accurata depurazione delle argille".

Sono utilizzate sia senza rivestimento superficiale che con rivestimento. Le prime come ceramica strutturale e ornamentale: laterizi, vasi, brocche, ecc. Le seconde anche come vasellame da cucina: tazze, piatti.

Il grès

Il grès è utilizzato soprattutto per produrre mattonelle per i bagni e le cucine. Si ottiene per mescolanze argillose naturali che producono ceramiche dette, appunto, greificate. È necessaria una temperatura tra 1200 °C e 1350 °C. I colori variano a seconda dei composti ferrosi presenti. Per ottenere grès bianchi si utilizzano impasti artificiali a base di argille cuocenti bianche e rocce quarzoso-feldspatiche che inducono la greificazione della massa. Possono venire smaltate: come per tutte le altre ceramiche, dopo la cottura vengono colorate allo stesso livello dell'impasto, che contiene, di solito, un 33% circa di argille caolinitiche (bianche), un 50% di fondenti (principalmente feldspato) e la percentuale restante di materiali inerti (sabbie o quarzo).

La porcellana

È considerata il più "alto" livello di produzione ceramica per gli orientali. Principale componente ne è una particolare argilla bianca: il caolino idrosilicato di alluminio - Al2O3·2 SiO2·2 H2O. È stata inventata in Cina attorno all'VIII secolo ed è realizzata appunto con caolino, silice (o sabbia quarzosa) e feldspato.

Il caolino conferisce, ma non sempre, le proprietà plastiche e il colore bianco della porcellana; il quarzo è il componente inerte e svolge la funzione di sgrassante (inoltre consente la vetrificazione); infine il feldspato che viene definito fondente, perché, fondendo a temperature più basse del caolino, abbassa notevolmente la cottura dell'impasto ceramico (1280 °C). Esistono tipi anche molto diversi di porcellana, tipici delle diverse tradizioni di produzione.

L'argilla

La temperatura di cottura dell'argilla è in funzione del tenore di allumina in essa contenuta. L'argilla è naturalmente molto malleabile, in quanto la presenza di acqua nella sua struttura ne migliora le caratteristiche plastiche ed è quindi molto facile da lavorare anche con le mani. Quando è asciutta, ma non ha ancora subito il processo di cottura, diventa rigida e fragile. Se sottoposta a un intenso riscaldamento, diventa permanentemente solida.

Prodotti in ceramica
Con la ceramica non si intende solo il materiale, ma per estensione anche il prodotto che di quel materiale risulta composto.

I prodotti in questione possono essere moltissimi. Tra i più frequenti merita ricordare:
 ceramici tradizionali: sono utilizzati nell'industria edilizia;
 da rivestimento e da copertura: sono le tegole e le piastrelle;
 strutturale: sono i laterizi;
 sanitari;
 meccanici e aeronautici, soprattutto nei motori e turbine;
 elettronici, in numerosi componenti e nei superconduttori.

Le piastrelle, inoltre, possono venire suddivise in:
 non smaltate: cotto, grès rosso, clinker e, in alcuni casi, gres porcellanato;
 monocottura: può essere rossa, bianca e clinker.

Questi due tipi danno luogo a ceramiche tecniche, con assorbimento di acqua da scarso a nullo:
 in bicottura: prevalentemente la maiolica;
 in cotto forte e terraglia: entrambe caratterizzate da un forte assorbimento di acqua.

Esistono anche padelle con rivestimento interno in ceramica (smalti bassofondenti per lamiera), che laddove applicato con tecnologie appropriate conferisce caratteristiche di antiaderenza e non presenta il rischio del Teflon di rilasciare tetrafluoroetilene ad alte temperature.

Storia
La ceramica è conosciuta fin dai periodi preistorici e si suppone che la sua invenzione sia avvenuta solo due volte nella storia dell'umanità: tra le popolazioni sahariane e in Giappone. Da questi luoghi d'origine si è poi diffusa in tutto il mondo.

I resti di ceramica più antichi al mondo si trovano nei siti della grotta di Yuchanyan (Hunan, Cina), dove sono datati col metodo del carbonio-14 16100-14500 a.C. e a Miaoyan (Guangxi, sempre in Cina), qua invece datati 17100-15400 a.C. L'antichità di tali siti è pari, se non superiore d'alcuni millenni, ai siti corrispondenti in Giappone del principio del periodo Jōmon, i siti di Simomouchi e di Odai Yamamoto datati 17000 e 15000 a.C.

Successivamente l'arte vide l'introduzione del tornio, che consentì di ottenere facilmente oggetti aggraziati e di perfetta simmetria rispetto all'asse di rotazione. La ceramica dipinta venne esportata dall'Anatolia e dai territori siriaci verso l'Europa intorno al III millennio a.C., dove però prevalse l'interesse per le forme e per le anse.
L'introduzione della verniciatura vetrosa, in uso a partire dal II millennio a.C. in Mesopotamia, migliorò ulteriormente la resistenza all'usura e le caratteristiche estetiche. Una vera rivoluzione si ebbe con la scoperta della lavorazione della porcellana, che si fa risalire all'VIII secolo d.C. in Cina.
Altri centri antichi di notevole importanza risultarono quelli iraniani, come ad esempio Tepe e indiani, come Daro e Harappa.

L'antica Grecia ereditò la tecnica della ceramica dalla civiltà minoico-micenea. Dal VI al V secolo a.C. Atene dominò i mercati con la sua produzione di vasi, ma nel IV secolo a.C. questa decadde. Sorsero altre fabbriche locali in Beozia, Etruria, Magna Grecia e Sicilia. La produzione di queste lasciò un segno tanto profondo che, molti secoli, dopo, Josiah Wedgwood chiamò Etruria la sua manifattura di porcellane, destinata a diventare una delle più famose del mondo.

In età augustea si diffuse la ceramica aretina, con decorazione a rilievo. A questa seguì in tutto l'Occidente romano la ceramica a rilievo detta "terra sigillata", che rimase in uso fino al termine dell'impero.

Intorno all'anno mille sorse in Europa, nel tentativo di imitare i prodotti orientali, la maiolica.
Nel tardo Medioevo le ceramiche venivano realizzate con il tornio, cotte al forno e impermeabilizzate con una vernice vetrosa. Dopo il XIII secolo si incominciano ad usare anche altri colori e decorazioni più sofisticate. In questo periodo l'Italia peninsulare sviluppò i maggiori centri di produzione: Forlì, poi superata dalla vicina Faenza, Pisa, Siena e Orvieto, mentre più a sud si affermò Ariano; la produzione siciliana si concentrò invece a Caltagirone. Nel XV secolo si elaborarono varie forme decorative, sia per la coloristica sia per le cosiddette storie o racconti descritti e raffigurati. La produzione di questo periodo è ben rappresentata, ad esempio, dal celebre servizio realizzato da Nicola d'Urbino per Isabella d'Este e per la corte dei Gonzaga. Il secolo XVII fu al centro di una grande importazione di prodotti cinesi che influenzò il gusto europeo. Solamente agli inizi del Settecento l'alchimista tedesco Böttger a Meissen riuscì a produrre una ceramica dura, almeno quanto quella cinese, la porcellana, grazie alla scoperta del caolino.

Verso la fine dell'Ottocento la produzione di ceramica prende corpo, grazie all'introduzione di alcune tecniche industrializzate. In Italia, nel modenese, si mette a punto una tecnica che permette di aumentare la produzione di piastrelle, all'epoca in uso quasi solo in cucina e bagno.
Negli anni cinquanta del Novecento si introducono altre consistenti migliorie, quali la pressa automatica e il forno a tunnel. Con queste varianti alla produzione si riesce infine a raggiungere una produzione su scala medio-larga, necessaria per sostenere un mercato in forte espansione. Ma è negli anni sessanta e settanta che il mercato della ceramica in Italia vede una vera impennata. La produzione viene completamente automatizzata in tutte le sue fasi e viene introdotto un nuovo macchinario: l'atomizzatore.

Questo consentì di sostituire i filtri pressa usati nella preparazione ad umido degli impasti. Dagli anni ottanta in poi, infine, ci si è concentrati soprattutto sulle tecniche di cottura veloce (cottura rapida monostrato) e sulla riduzione dell'impatto ambientale della produzione. Da pochi anni vengono utilizzati anche per la costruzione di dischi per impianti frenanti, mescole di carbonio e ceramica, in grado di diminuire l'effetto del fading; e poi anche per il suo peso contenuto; ancora in fase di progetto viene montato solo su vetture di alto livello, come Ferrari, Porsche e Lamborghini.

Da sottolineare oggi la valenza che la modellazione ceramica ha assunto in campo educativo sia per lo sviluppo delle attività manuali e creative sia nel settore del recupero cognitivo.

Il ciclo produttivo

Il ciclo produttivo prevede vari passaggi, a seconda del risultato che si desidera ottenere e a seconda che la produzione sia artigianale o industriale.

Selezione e preparazione dell'argilla
L'argilla viene anzitutto selezionata per la lavorazione che si intende portare avanti. I tre tipi di argilla usata sono:
 Caolino. Presenta bassa plasticità, colore bianco, scarso potere essiccante ed è refrattario. È usato nelle porcellane cinesi.
 Argilla sabbiosa. Presenta alta plasticità e grana fine.
 Argille refrattarie. Sono specialmente resistenti al fuoco.

Quale che sia l'argilla che si utilizzerà, essa non è direttamente utilizzabile per il processo se si trova ancora al suo stato naturale. Deve venire ripulita dalle impurità e per ottenere questo si procede alla fase della stagionatura. Successivamente viene sciolta in acqua per la lavatura, che causa la dispersione dei sali solubili. Infine subisce un'ulteriore depurazione per eliminare le residue impurità e soprattutto per affinarla, togliendo le particelle a granulometria più grossolana.

Lavorazione dell'argilla
Selezionata e ripulita, si procede a impastare l'argilla. Questa fase tende a eliminare eventuali bolle d'aria e a renderla compatta, per prevenire il formarsi di crepe nel prodotto finito. All'impasto si aggiunge, talvolta, della "chamotte", ovvero polvere ottenuta dalla macinazione della ceramica precedentemente cotta, con lo scopo soprattutto di rendere il prodotto resistente agli sbalzi repentini di calore. L'aggiunta della chamotte è, ad esempio, quasi indispensabile nel Raku Giapponese e nel Raku Americano a Fumo.

Modellazione
Un'arte tanto antica ha accumulato nei secoli varie tecniche di modellazione. Tra di esse ricordiamo:

 modellazione a mano libera;
 modellazione a colombino;
 a lastre;
 al tornio;
 allo stampo.

Modellazione a mano libera
È la più antica ed è simile a quanto fanno i bambini quando giocano con la plastilina: si prende una porzione di argilla e, con il solo uso delle mani, si modella la forma desiderata. È possibile avvalersi dell'ausilio di alcuni strumenti, come le stecche o gli occhielli per le rifiniture dell'oggetto modellato.

Modellazione a colombino
Questo tipo di modellazione, chiamata anche a lucignolo, prevede l'uso e l'assemblaggio dei colombini di argilla. Si dividono blocchi di argilla delle dimensioni di un sigaro e si stendono con i palmi delle mani, ottenendo dei lunghi cilindri simili a lunghi grissini. Si arrotolano questi colombini gli uni sopra gli altri, si uniscono fra di loro e si lisciano per ottenere una superficie compatta. Con questa lavorazione, ugualmente antica, si modellano soprattutto vasi e ciotole.

Modellazione a lastre
Si prende un pane d'argilla e se ne tagliano lastre di spessore omogeneo usando un filo o stendendole con un matterello. Successivamente le lastre vengono tagliate a stampo oppure giuntate tra loro con l'aiuto di incisioni spalmate con barbottina.

Modellazione al tornio (tornitura)

È usato soprattutto per la produzione di vasellame in cui vi sia una simmetria rispetto all'asse di rotazione. Il tornio è formato da un supporto girevole, simile ad un piatto la cui velocità viene stabilita tramite un pedale, come nel tornio antico, o tramite motorino regolato da reostato, ai giorni nostri.

Si pone una data massa di argilla al centro del piatto girevole, avendo cura di posizionarla perfettamente in centro. Quindi si modella con uso delle mani o di altri strumenti mentre si regola la rotazione del tornio stesso. La massa di argilla che si è deciso di usare all'inizio deve essere sufficiente a formare tutto l'oggetto, dal momento che non è possibile aggiungerne in corso d'opera senza pregiudicare la forma data con la modellazione. Questo non è vero in termini assoluti, per vasi di grandi dimensioni, con altezze e diametri superiori agli 80 cm è comune nei tornianti professionisti la pratica di aggiungere colombini di terra all'oggetto in formatura e proseguire nella lavorazione per raggiungere dimensioni notevoli.

Modellazione a stampo (colatura)
In questa modellazione si prepara, anzitutto, uno stampo in gesso, che replica l'oggetto che si intende riprodurre. Quindi vi si cola dentro argilla liquida chiamata anche colaggio e dopo un tempo adeguato in cui il gesso fornisce all'oggetto sufficiente spessore, assorbendo l'acqua del colo, il colaggio superfluo viene versato e si attende pazientemente che l'oggetto asciughi. Viene quindi estratta dallo stampo e rifinita a mano. Dopo un tempo utile all'asciugatura, il pezzo verrà poi messo in forno per la prima cottura (biscotto).
Vi sono altri tipi di formatura con stampo in gesso a calco, si forma una lastra di argilla di circa 10/15 mm di spessore a seconda della grandezza del pezzo, si procede fornendo una pressione omogenea all'impasto argilloso per non variare gli spessori dell'oggetto da riprodurre sino a coprire tutta la superficie dello stampo.
Un altro procedimento è chiamato a pressatura (o procedimento RAM). Viene usata argilla più dura e vengono usate due matrici di stampo, una maschio e una femmina, e una che si incastra sull'altra lasciando all'interno il vuoto che viene occupato dall'argilla. Gli stampi si montano su una macchina che si chiama pressa, ponendoli uno di fronte all'altro, con una dose di argilla sufficiente per foggiare l'oggetto quando la macchina inizia il suo ciclo. Le due superfici si avvicinano e foggiano l'argilla all'interno dello stampo.

Essiccazione
Qualunque sia la tecnica che si è adottata, è necessario che i manufatti in argilla essicchino completamente all'aria. A questa fase va dedicata una particolare cura. Una essiccazione omogenea e uniforme è garanzia di durevolezza dell'oggetto finito e soprattutto della coerenza della sua forma: un'essiccazione non uniforme può generare deformazioni. Solo dopo questa fase si può procedere alla cottura. L'essiccazione, infatti, consente all'oggetto di perdere l'umidità residua e la sua plasticità. Viene così fissata la forma che si è inteso dargli.

Dopo un certo periodo di essiccazione, che dipende da diversi fattori; il tipo di argilla usata, la grandezza e spessore dell'oggetto e la temperatura ambientale,  l'argilla raggiunge lo stadio adatto ad essere incisa e decorata. Tale stadio è detto stadio della durezza del cuoio: l'argilla è infatti già indurita, ma mantiene ancora una certa residua plasticità.

Cottura

Terminata la delicata fase dell'essiccazione si procede con quella della cottura. Questa avviene in forni appositi, che raggiungono temperature comprese tra 800 °C e 2000 °C. Il processo può durare anche molte ore. È infatti necessario che la temperatura segua curve di crescita e decrescita graduali e prestabilite, e che tutte le varie fasi abbiano una durata prestabilita. In seguito alla cottura il prodotto subisce un'ulteriore riduzione di volume.

Poiché la cottura modifica la struttura del prodotto finale, modulandola si possono ottenere risultati diversi:
 Terracotta - si ottiene mantenendosi tra 960 e 1030 °C
 Terraglia tenera - si ha tra 960 e 1070 °C
 Terraglia dura - si ha tra 1050 e 1150 °C
 Gres - si ottiene tra 1200 e 1300 °C. Il Gres è un prodotto fortemente vetrificato, impermeabile e poco poroso. Prodotti quali il klinker, il ball clay, e il fireclay appartengono a questa famiglia
 Porcellana tenera - si ha tra 1200 e 1300 °C, previo utilizzo di caolino. A questo stadio otteniamo sia la vetrificazione, sia la traslucidità, sia l'impermeabilità.
 Porcellana dura - si ha tra 1300 e 1400 °C. È di solito di uso industriale.
 Ceramica High-Tech - si ottiene tra 1400 e 1700 °C, previo utilizzo di sostanze aggiuntive, quali caolino e allumina.

Nelle diverse fasi della cottura, inoltre, avvengono varie trasformazioni:
 tra la T ambiente e 200 °C - si elimina l'acqua igroscopica residua nell'impasto e quella contenuta da alcuni sali, come ad esempio il gesso
 tra i 250 °C e i 350 °C - le materie organiche vanno in combustione. Viene liberata l'acqua zeolitica chimicamente combinata
 tra i 450 °C e i 850 °C - si decompongono i minerali delle argille, liberando l'acqua reticolare
 850 °C - si decompongono i carbonati (decarbonatazione) e si ossidano i solfuri
 tra i 1100 e 1200 °C - fondono i feldspati, e si ottiene la vetrificazione

Va ricordato, infine, che la presenza di ossigeno in camera di combustione determina il degrado delle sostanze organiche presenti, nonché l'ossidazione delle sostanze minerali. Come risultato si ottiene un prodotto di color rosso ruggine per azione dell'ossigeno (ossidante) sul ferro. Si otterrà, invece, un colore nero scuro per azione del vapore e monossido di carbonio (riducente).

Smaltatura e decorazione

Ci sono molti modi di decorare e colorare la ceramica, anche in relazione al tipo di risultato che si desidera ottenere e alla cottura cui si sottoporrà il pezzo. I colori da ceramica sono essenzialmente di tre tipi:
 Ingobbio - sono specifici colori per la decorazione della ceramica composti da argille già cotte e finissimamente triturate, caolino, sostanze minerali e ossidi. Sono, di fatto, smalti adatti a poter venire applicati sull'oggetto essiccato, ma ancora crudo e da cuocere. Questo permette di saltare un passaggio e cuocere l'oggetto una sola volta, dal momento che questi colori particolari tollerano l'alta temperatura cui si sottopone la ceramica. Gli ingobbi non sono tanto largamente diffusi, essendo costosi e dalle tinte tenui. Perché raggiungano la vetrificazione, inoltre, è necessario portare l'oggetto alla medesima temperatura dell'argilla che si ritrova nella composizione dell'ingobbio. Molti ceramisti che apprezzano la tecnica preparano da sé gli ingobbi che desiderano usare.
 Cristalline, dette anche Vetrine. Sono rivestimenti di tipo vetroso, impermeabili e lucidi. Usualmente trasparenti, solo occasionalmente sono colorate. Lasciano intravedere l'argilla sottostante. Alle cristalline si aggiungono fondenti, quali il germanio (che sostituisce il tossico ossido di piombo), gli alcali o i borati. Questo allo scopo di abbassare il punto di fusione.
 Smalti - anch'essi di tipo vetroso. A differenza delle cristalline non sono trasparenti, ma coprenti. Ciò è determinato dalla presenza di componenti quali il feldspato potassico o sodico, diossido di stagno, titanio diossido, alluminio ossido (allumina), zirconio ossido o silicato e altri ancora. Possono avere aspetto lucido o satinato: nel secondo caso la presenza di ossido di calcio e/o zinco nello smalto, provvedono, in fase di raffreddamento, ad una cristallizzazione sulla superficie dello smalto devetrificandolo, ossia togliendo brillantezza.

La smaltatura di un pezzo in ceramica ha lo scopo di proteggere il pezzo dall'usura, di facilitarne la pulitura e la manutenzione e di decorarlo.
Se il pezzo viene smaltato e non colorato all'ingobbio la smaltatura avviene dopo la cottura e si utilizzano appositi smalti composti da una miscela in vari rapporti di vetro, opacizzanti, fondenti e terre. La smaltatura classica, pertanto è detta applicata al biscotto, ovvero all'oggetto già passato in cottura.
Anche per la smaltatura vi sono svariate tecniche, tra le quali ricordiamo:
 smaltatura ad aerografo
 smaltatura per immersione
 pittura a smalto
 smaltatura a campana
 smaltatura elettrostatica

Dopo che si sia provveduto a smaltare la superficie dell'oggetto, si passa alla decorazione pittorica che è usualmente fatta a mano con pennello e colori ceramici. Questi colori ceramici sono ottenuti da ossidi minerali oppure da ossidi metallici addizionati di fondenti o indurenti. Dopo la smaltatura e la decorazione si procede con una seconda cottura, il cui scopo è quello di fissare lo smalto all'oggetto.

Come si è detto, gli oggetti sottoposti a smaltatura classica devono subire una seconda cottura per fissare i colori. Tale cottura si attua in forno ad una temperatura compresa tra i 850 e i 970 °C, a seconda dei fondenti utilizzati nello smalto e sempre al di sotto della temperatura utilizzata per la prima cottura.

Questa seconda cottura porterà lo smalto a vetrificare, rendendolo lucido e impermeabile. Poiché l'umidità dello smalto è scarsa e i pericoli di rottura sono conseguentemente bassi, la curva della temperatura può essere innalzata più velocemente.

Produzione industriale di piastrelle ceramiche
I processi fondamentali sono due:
 monocottura - la materia prima viene generalmente approntata con processo a processo ad umido e l'essiccazione è a spruzzo. Vi è una sola fase di cottura, dopo che il pezzo è stato essiccato e smaltato. Durante questa cottura singola avvengono anche i processi di sinterizzazione e stabilizzazione dello smalto.
 bicottura - in questo caso la preparazione della materia prima segue quasi sempre un processo a secco. Vi sono due fasi di cottura. Nella prima avviene la sinterizzazione del supporto. Segue la cottura dello smalto.

Il ciclo produttivo industriale è composto da varie fasi. Tra queste ricordiamo: preparazione delle materie prime, formatura, essiccamento, smaltatura, cottura e scelta. I due terzi della produzione industriale italiana attuale sono occupati dal Grés porcellanato, di cui la metà viene smaltata.

Preparazione delle materie prime, essiccazione, cottura
Lo scopo della preparazione delle materie prime è ottenere un impasto di composizione omogenea, con una distribuzione granulometrica e forma dei grani appropriata. La granulometria fine permette una giusta velocità di essiccamento e una corretta reattività in fase di cottura. La forma dei grani e l'umidità dell'impasto influenzano l'uniformità del pressato.
Infine l'impasto deve presentare un contenuto d'acqua adatto al sistema di formatura che si è scelto. I sistemi di formatura sono:
 pressatura - interessa soprattutto il settore delle piastrelle e comporta un 5-6% di acqua.
 estrusione - è in uso soprattutto per i laterizi e comporta un 20 % di acqua
 colaggio - è il sistema adottato per i sanitari e presenta un contenuto di acqua del 40%
Dopo la formatura ha luogo il processo di essiccazione e successivamente quello di cottura. I materiali ceramici possono essere ottenuti da polveri tramite un processo detto di sinterizzazione. Questo processo chimico-meccanico avviene in forni ad altissime temperature dove le polveri si fondono dando origine ai materiali ceramici. In particolare il feldspato, portato ad alte temperature, forma un eutettico, assieme al quarzo della sabbia e ai prodotti di decomposizione dell'argilla, che fondendo avvolge le rimanenti parti.
Dopo l'essiccazione normalmente i prodotti modellati subiscono il processo di cottura, che conferisce maggiore resistenza meccanica ai manufatti ed elimina l'acqua residua rimasta dopo l'essiccamento.

Smaltatura e ricottura
La smaltatura può avvenire tra la prima cottura e la seconda o prima della cottura unica. Lo scopo è duplice: da un lato estetico, dall'altro pratico. Che lo smalto sia vetrina trasparente o smalto colorato il risultato finale è l'impermeabilizzazione e l'isolamento termico. Nelle ceramiche si aggiungono ossidi di piombo agli smalti (da qualche anno il piombo è illegale nella produzione di ceramiche che possano avere una funzione contenitiva, per evitarne un uso alimentare, che questo sia previsto o no da chi la produce), per abbassarne il punto di cottura e risparmiare sui costi. Le porcellane, usano la vetrina senza piombo e la ricottura a 1500 °C.

Produzione di ceramica in Italia
L'Italia è leader nel commercio internazionale della ceramica con una quota del 35% in termini di volumi e di valori. Numerosi sono i centri di affermata tradizione ceramica riconosciuti dal Consiglio nazionale ceramico, distribuiti in 15 delle 20 regioni italiane; tra le produzioni tradizionali più rilevanti si citano:

 ceramica di Albissola (Liguria), secoli XVI-XVIII;
 ceramica di Ariano Irpino (Campania), nota anche come maiolica, attestata fin dal XIII secolo;
 ceramica di Caltagirone (Sicilia), secoli XVI-XVIII;
 ceramica di Capodimonte (Campania), meglio nota come porcellana;
 ceramica di Castelli (Abruzzo), nota anche come maiolica;
 ceramica di Cerreto Sannita e di San Lorenzello (Campania), XVIII secolo;
 ceramica di Impruneta (Toscana), meglio nota come cotto;
 ceramica di Lodi (Lombardia), raggiunse il suo apice nel secolo XVIII con le fabbriche Coppellotti, Rossetti e Ferretti
 ceramica di Montelupo (Toscana), nota anche come maiolica;
 ceramica di Sciacca (Sicilia);
 ceramica di Vietri sul Mare (Costiera Amalfitana) Antico Comune di Tradizione Ceramica.

Produzione di ceramica in Giappone
 Raku. Il termine giapponese Raku significa letteralmente comodo, rilassato, piacevole, gioia di vivere, deriva dal sobborgo di Kyōto da cui veniva estratta l'argilla nel sedicesimo secolo. Questa tecnica nasce in sintonia con lo spirito zen che esalta l'armonia presente nelle piccole cose e la bellezza nella semplicità e naturalezza delle forme. L'origine del Raku è legata alla cerimonia del tè: un rito, realizzato con oggetti poveri tra i quali il più importante era la tazza, che gli ospiti si scambiavano l'un l'altro. Le sue dimensioni erano tali da poter essere contenuta nel palmo della mano.
 Porcellana di Imari
 Porcellana Kakiemon

Note

Bibliografia

 T. Emiliani, E. Emiliani, Tecnologia dei Processi Ceramici, Società Editrice Ceramurgia s.r.l., Faenza, novembre 1982
 Daniela Di Castro e Roberto Valeriani, Il valore delle porcellane europee, Umberto Allemandi Editore, 1985
 Enciclopedia Italiana Grolier, Grolier Hachette International, 1994
 La porcellana di Venezia nel '700, Marsilio Editore, 1998
 G.P. Emiliani, F. Corbara, Tecnologia Ceramica "Le Materie Prime", vol.1, Faenza, Gruppo Editoriale Faenza Editrice S.p.A., gennaio 1999
 G.P. Emiliani, F.Corbara, Tecnologia Ceramica "Le Lavorazioni", vol.2, Faenza, Gruppo Editoriale Faenza Editrice S.p.A., settembre 1999
 G.P. Emiliani, F. Corbara, Tecnologia Ceramica "Le Tipologie", vol.3, Faenza, Gruppo Editoriale Faenza Editrice S.p.A., aprile 2001

 Amedeo Benedetti, "Vetro, terracotta e ceramica", in Bibliografia Artigianato. La manualistica artigiana del Novecento: pubblicazioni su arti e mestieri in Italia dall'Unità ad oggi, Genova, Erga, 2004, pp. 350–367. ISBN 88-8163-358-2
 Andrea Ciaroni, Maioliche del Quattrocento a Pesaro. Frammenti di Storia dell'arte ceramica dalla bottega dei Fedeli, Firenze, edizioni Centro Di, 2004. ISBN 88-7038-404-7 Maioliche del Quattrocento a Pesaro: frammenti di storia dell'arte ceramica... - Andrea Ciaroni - Google Libri
 La ceramica in Italia quando l'Italia non c'era, Edipuglia 2006
 Le classi ceramiche. situazione degli studi. Atti della 10ª Giornata di Archeometria della Ceramica, Edipuglia 2009

 R. Viganò, Per uso della sua professione di lavorar faenze. Storia delle manifatture tra la seconda metà del XVI e gli inizi del XIX secolo, Monteroni di Lecce, 2013.  ISBN 978-88-97895-10-7
 R. Viganò, "Bianco neretino. Un Prodotto di Donato Antonio Bonsegna sulla tavola degli osservanti di Nardò", in «Spicilegia Sallentina. Rivista del caffè letterario di Nardò», n. 11 (2016), pp. 17-22.
 R. Viganò, Alla Mensa degli Angeli. Storia di ceramiche botteghe e vasai a Nardò tra i secoli XVI e XIX secolo, Monteroni di Lecce 2016. ISBN 978-88-97895 - 90-9

Voci correlate
 Argilla
 Avventurina (vetro)
 Bellarmine
 Cavillatura
 Ceramica greca
 Ceramica almagra
 Maiolica
 Materiale ceramico
 Nero fratta
 Paper clay
 Pietra lavica ceramizzata
 Terracotta invetriata
 Terzo fuoco

Altri progetti

Collegamenti esterni

 http://www.archivioceramica.com Archivio della Ceramica Italiana del '900


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text:
CAAT Box, Eukaryotic Transcription, Fact, GC-rich Box, Gene, Genes, Octamer Box, Preinitiation Complex, Protein, Proteins, Small Nuclear RNA
Genes and Proteins
Eukaryotic Transcription
The Genetic Code
Prokaryotic Transcription
RNA Processing in Eukaryotes
Ribosomes and Protein Synthesis
List the steps in eukaryotic transcription
Discuss the role of RNA polymerases in transcription
Compare and contrast the three RNA polymerases
Explain the significance of transcription factors
Prokaryotes and eukaryotes perform fundamentally the same process of transcription, with a few key differences. The most important difference between prokaryote and eukaryote transcription is due to the latter's membrane-bound nucleus and organelles. With the genes bound in a nucleus, the eukaryotic cell must be able to transport its mRNA to the cytoplasm and must protect its mRNA from degrading before it is translated. Eukaryotes also employ three different polymerases that each transcribe a different subset of genes. Eukaryotic mRNAs are usually monogenic, meaning that they specify a single protein.
Initiation of Transcription in Eukaryotes
Unlike the prokaryotic polymerase that can bind to a DNA template on its own, eukaryotes require several other proteins, called transcription factors, to first bind to the promoter region and then to help recruit the appropriate polymerase.
The Three Eukaryotic RNA Polymerases
The features of eukaryotic mRNA synthesis are markedly more complex than those of prokaryotes. Instead of a single polymerase comprising five subunits, the eukaryotes have three polymerases that are each made up of 10 subunits or more. Each eukaryotic polymerase also requires a distinct set of transcription factors to bring it to the DNA template.
RNA polymerase I is located in the nucleolus, a specialized nuclear substructure in which ribosomal RNA (rRNA) is transcribed, processed, and assembled into ribosomes (Table). The rRNA molecules are considered structural RNAs because they have a cellular role but are not translated into protein. The rRNAs are components of the ribosome and are essential to the process of translation. RNA polymerase I synthesizes all of the rRNAs from the tandemly duplicated set of 18S, 5.8S, and 28S ribosomal genes. (Note that the "S" designation applies to "Svedberg" units, a nonadditive value that characterizes the speed at which a particle sediments during centrifugation.)
Locations, Products, and Sensitivities of the Three Eukaryotic RNA Polymerases
Cellular Compartment
Product of Transcription
α-Amanitin Sensitivity
I Nucleolus All rRNAs except 5S rRNA Insensitive
II Nucleus All protein-coding nuclear pre-mRNAs Extremely sensitive
III Nucleus 5S rRNA, tRNAs, and small nuclear RNAs Moderately sensitive
RNA polymerase II is located in the nucleus and synthesizes all protein-coding nuclear pre-mRNAs. Eukaryotic pre-mRNAs undergo extensive processing after transcription but before translation. For clarity, this module's discussion of transcription and translation in eukaryotes will use the term "mRNAs" to describe only the mature, processed molecules that are ready to be translated. RNA polymerase II is responsible for transcribing the overwhelming majority of eukaryotic genes.
RNA polymerase III is also located in the nucleus. This polymerase transcribes a variety of structural RNAs that includes the 5S pre-rRNA, transfer pre-RNAs (pre-tRNAs), and small nuclear pre-RNAs. The tRNAs have a critical role in translation; they serve as the "adaptor molecules" between the mRNA template and the growing polypeptide chain. Small nuclear RNAs have a variety of functions, including "splicing" pre-mRNAs and regulating transcription factors.
A scientist characterizing a new gene can determine which polymerase transcribes it by testing whether the gene is expressed in the presence of α-amanitin, an oligopeptide toxin produced by the fly agaric toadstool mushroom and other species of Amanita. Interestingly, the α-amanitin affects the three polymerases very differently (Table). RNA polymerase I is completely insensitive to α-amanitin, meaning that the polymerase can transcribe DNA in vitro in the presence of this poison. RNA polymerase III is moderately sensitive to the toxin. In contrast, RNA polymerase II is extremely sensitive to α-amanitin. The toxin prevents the enzyme from progressing down the DNA, and thus inhibits transcription. Knowing the transcribing polymerase can provide clues as to the general function of the gene being studied. Because RNA polymerase II transcribes the vast majority of genes, we will focus on this polymerase in our subsequent discussions about eukaryotic transcription factors and promoters.
RNA Polymerase II Promoters and Transcription Factors
Eukaryotic promoters are much larger and more intricate than prokaryotic promoters. However, both have a sequence similar to the -10 sequence of prokaryotes. In eukaryotes, this sequence is called the TATA box, and has the consensus sequence TATAAA on the coding strand. It is located at -25 to -35 bases relative to the initiation (+1) site (Figure). This sequence is not identical to the E. coli -10 box, but it conserves the A–T rich element. The thermostability of A–T bonds is low and this helps the DNA template to locally unwind in preparation for transcription.
Instead of the simple σ factor that helps bind the prokaryotic RNA polymerase to its promoter, eukaryotes assemble a complex of transcription factors required to recruit RNA polymerase II to a protein coding gene. Transcription factors that bind to the promoter are called basal transcription factors. These basal factors are all called TFII (for Transcription Factor/polymerase II) plus an additional letter (A-J). The core complex is TFIID, which includes a TATA-binding protein (TBP). The other transcription factors systematically fall into place on the DNA template, with each one further stabilizing the pre-initiation complex and contributing to the recruitment of RNA polymerase II.
Art Connection
A generalized promoter of a gene transcribed by RNA polymerase II is shown. Transcription factors recognize the promoter. RNA polymerase II then binds and forms the transcription initiation complex. A scientist splices a eukaryotic promoter in front of a bacterial gene and inserts the gene in a bacterial chromosome. Would you expect the bacteria to transcribe the gene?
Some eukaryotic promoters also have a conserved CAAT box (GGCCAATCT) at approximately -80. Further upstream of the TATA box, eukaryotic promoters may also contain one or more GC-rich boxes (GGCG) or octamer boxes (ATTTGCAT). These elements bind cellular factors that increase the efficiency of transcription initiation and are often identified in more "active" genes that are constantly being expressed by the cell.
Basal transcription factors are crucial in the formation of a preinitiation complex on the DNA template that subsequently recruits RNA polymerase II for transcription initiation. The complexity of eukaryotic transcription does not end with the polymerases and promoters. An army of other transcription factors, which bind to upstream enhancers and silencers, also help to regulate the frequency with which pre-mRNA is synthesized from a gene. Enhancers and silencers affect the efficiency of transcription but are not necessary for transcription to proceed.
Promoter Structures for RNA Polymerases I and III
The processes of bringing RNA polymerases I and III to the DNA template involve slightly less complex collections of transcription factors, but the general theme is the same.
The conserved promoter elements for genes transcribed by polymerases I and III differ from those transcribed by RNA polymerase II. RNA polymerase I transcribes genes that have two GC-rich promoter sequences in the -45 to +20 region. These sequences alone are sufficient for transcription initiation to occur, but promoters with additional sequences in the region from -180 to -105 upstream of the initiation site will further enhance initiation. Genes that are transcribed by RNA polymerase III have upstream promoters or promoters that occur within the genes themselves.
Eukaryotic transcription is a tightly regulated process that requires a variety of proteins to interact with each other and with the DNA strand. Although the process of transcription in eukaryotes involves a greater metabolic investment than in prokaryotes, it ensures that the cell transcribes precisely the pre-mRNAs that it needs for protein synthesis.
Evolution Connection
The Evolution of Promoters
The evolution of genes may be a familiar concept. Mutations can occur in genes during DNA replication, and the result may or may not be beneficial to the cell. By altering an enzyme, structural protein, or some other factor, the process of mutation can transform functions or physical features. However, eukaryotic promoters and other gene regulatory sequences may evolve as well. For instance, consider a gene that, over many generations, becomes more valuable to the cell. Maybe the gene encodes a structural protein that the cell needs to synthesize in abundance for a certain function. If this is the case, it would be beneficial to the cell for that gene's promoter to recruit transcription factors more efficiently and increase gene expression.
Scientists examining the evolution of promoter sequences have reported varying results. In part, this is because it is difficult to infer exactly where a eukaryotic promoter begins and ends. Some promoters occur within genes; others are located very far upstream, or even downstream, of the genes they are regulating. However, when researchers limited their examination to human core promoter sequences that were defined experimentally as sequences that bind the preinitiation complex, they found that promoters evolve even faster than protein-coding genes.
It is still unclear how promoter evolution might correspond to the evolution of humans or other complex organisms. However, the evolution of a promoter to effectively make more or less of a given gene product is an intriguing alternative to the evolution of the genes themselves.H Liang et al., "Fast evolution of core promoters in primate genomes," Molecular Biology and Evolution 25 (2008): 1239–44.
Eukaryotic Elongation and Termination
Following the formation of the preinitiation complex, the polymerase is released from the other transcription factors, and elongation is allowed to proceed as it does in prokaryotes with the polymerase synthesizing pre-mRNA in the 5' to 3' direction. As discussed previously, RNA polymerase II transcribes the major share of eukaryotic genes, so in this section we will focus on how this polymerase accomplishes elongation and termination.
Although the enzymatic process of elongation is essentially the same in eukaryotes and prokaryotes, the DNA template is considerably more complex. When eukaryotic cells are not dividing, their genes exist as a diffuse mass of DNA and proteins called chromatin. The DNA is tightly packaged around charged histone proteins at repeated intervals. These DNA–histone complexes, collectively called nucleosomes, are regularly spaced and include 146 nucleotides of DNA wound around eight histones like thread around a spool.
For polynucleotide synthesis to occur, the transcription machinery needs to move histones out of the way every time it encounters a nucleosome. This is accomplished by a special protein complex called FACT, which stands for "facilitates chromatin transcription." This complex pulls histones away from the DNA template as the polymerase moves along it. Once the pre-mRNA is synthesized, the FACT complex replaces the histones to recreate the nucleosomes.
The termination of transcription is different for the different polymerases. Unlike in prokaryotes, elongation by RNA polymerase II in eukaryotes takes place 1,000 to 2,000 nucleotides beyond the end of the gene being transcribed. This pre-mRNA tail is subsequently removed by cleavage during mRNA processing. On the other hand, RNA polymerases I and III require termination signals. Genes transcribed by RNA polymerase I contain a specific 18-nucleotide sequence that is recognized by a termination protein. The process of termination in RNA polymerase III involves an mRNA hairpin similar to rho-independent termination of transcription in prokaryotes.
Transcription in eukaryotes involves one of three types of polymerases, depending on the gene being transcribed. RNA polymerase II transcribes all of the protein-coding genes, whereas RNA polymerase I transcribes the tandemly duplicated rRNA genes, and RNA polymerase III transcribes various small RNAs, like the 5S rRNA, tRNA, and small nuclear RNA genes. The initiation of transcription in eukaryotes involves the binding of several transcription factors to complex promoter sequences that are usually located upstream of the gene being copied. The mRNA is synthesized in the 5' to 3' direction, and the FACT complex moves and reassembles nucleosomes as the polymerase passes by. Whereas RNA polymerases I and III terminate transcription by protein- or RNA hairpin-dependent methods, RNA polymerase II transcribes for 1,000 or more nucleotides beyond the gene template and cleaves the excess during pre-mRNA processing.
Art Connections
A scientist splices a eukaryotic promoter in front of a bacterial gene and inserts the gene in a bacterial chromosome. Would you expect the bacteria to transcribe the gene?
No. Prokaryotes use different promoters than eukaryotes.
Which feature of promoters can be found in both prokaryotes and eukaryotes?
GC box
TATA box
octamer box
-10 and -35 sequences
What transcripts will be most affected by low levels of α-amanitin?
18S and 28S rRNAs
pre-mRNAs
5S rRNAs and tRNAs
other small nuclear RNAs
How do enhancers and promoters differ?
Enhancers bind transcription factors to silence gene expression, while promoters activate transcription.
Enhancers increase the efficiency of gene expression, but are not essential for transcription. Promoter recognition is essential to transcription initiation.
Promoters bind transcription factors to increase the efficiency of transcription. Enhancers bind RNA polymerases to initiate transcription.
There is no difference. Both are transcription factor-binding sequences in DNA.
A scientist observes that a cell has an RNA polymerase deficiency that prevents it from making proteins. Describe three additional observations that would together support the conclusion that a defect in RNA polymerase I activity, and not problems with the other polymerases, causes the defect.
To determine that a RNA polymerase I mutation or deficiency is causing the defect in protein production, the scientist would need to make observations that provide evidence that RNA polymerases II and III are working in the cell. The observations eliminating RNA polymerase II as the defect could include:
Transcription of mRNAs in the nucleus;
Presence of processed mRNAs in the cytoplasm
The observations eliminating RNA polymerase III could include:
Isolation of small nuclear RNAs from the cell;
Isolation of microRNAs from the cell;
Transcription of 5S rRNA in the nucleus;
Presence of tRNAs in the cytoplasm
The observations implicating RNA polymerase I could include:
A lack of functional ribosomes in the cytoplasm (RNA polymerase I or III);
A lack of RNA polymerase I protein;
RNA polymerase I protein is non-functional


text:
The Women's War
Queen of the Unwanted
Sweet, Bitter Poison
Mother of All
Amazon Barnes & Noble Books-A-Million
Coming July 20, 2021
An evil new magic threatens to undo all the progress women have made in the third and final book in Jenna Glass's riveting feminist fantasy, following The Women's War and Queen of the Unwanted.
In the once male-dominated world of Seven Wells, women now control their own reproduction, but the battle for equality is far from over. Even with two thrones held by women, there are still those who cling to the old ways and are determined to return the world to the way it was.
Now into this struggle comes a darker power. Delnamal, the former King of Aalwell, may have lost his battle to undo the spell that gave women reproductive control, but he has gained a terrible and deadly magic, and he uses these new abilities to raise an army the likes of which the world has never seen. Delnamal and his allies seem like an unstoppable force, destined to crush the fragile new balance between men and women.
Yet sometimes it is possible for determined individuals to stem the tide, and it comes down to a unique triad of women–maiden, mother, and crone–to risk everything…not only to preserve the advances they have won but to change the world one final time.
© 2023 Jenna Glass.


In 2009, Started working at the sports apparel and equipment company, GOLDWIN INC.
Takayuki Suzuki started swimming at the age of six and competing when he was 15.
In 2004, during his third year of high school, he participated for the first time in the Paralympic Games in Athens and won the silver medal in the 4x50m Medley Relay.
In 2008 he served as the captain of the Japanese Para-Swimming Team at the Beijing Paralympic Games and won the gold medal in the 50m Breaststroke SB3 and the bronze medal in the 150m Individual Medley SM4.
He also set the world record in a heat of the 50m Breaststroke. At the London Paralympic Games in 2012 he was the captain of the team and brought home two bronze medals in the 50m Breaststroke SB3 and 150m Individual Medley SM4. At the Rio Paralympic Games in 2016 he came fourth in the favourite evens.
Off the field of play he served as an ambassador for the 2020 Tokyo Olympic and Paralympic invitation committee and submitted an invitation file to the IOC (International Olympic Committee) and the IPC (International Paralympic Committee) in 2013.
He moved to Newcastle in the UK in 2013 and is currently studying Sport Management at Northumbria University as well as being an athlete.


Does Jesus care about my health?
How can I share the good news about Jesus?
Revealing the true character of Jesus & the confident future He wants to give us, with Australian presenters Sven, Maryellen, and "Ray Ray".


Heat the butter in a large skillet or sauté pan over medium heat.
Add the onion and garlic and cook for 5 minute or until softened.
Add the artichokes, spinach, chilies, mayonnaise, cream cheese, and lemon juice.
Cook, stirring often, for 5 minutes or until hot. Season with salt and pepper.
Zest two limes. In a large saucepan, combine water, Splenda and lime zest and heat until Splenda is completely dissolved.
Remove from heat and allow to cool at room temperature.
Stir in lime juice and freeze your limeade concentrate until ready to use.
In a pitcher, combine frozen limeade, 2 beers and ½ cup of tequila. Place pitcher in the freezer overnight until frozen through, then mix so that it is in slushy form and serve.


If the Holy Spirit works through the Church, then we do not have to choose between "church authority" and "the authority of the Holy Spirit". We can follow the Holy Spirit precisely by following the Church. Otherwise, no pastor (not even any Protestant pastor) could have any authority, because that authority would be in competition with the authority of the Holy Spirit.
No less problematic is granting "church authority" as having authority when it agrees with one's own interpretation, but then seeing "a divide between church authority and the authority of the Holy Spirit" when it doesn't. How is such an approach anything other, in principle, than "the authority of private judgment" which Phillips claims to reject? Those who simply and explicitly embrace "the authority of private judgment" are seeing clearly what they are doing. But those who claim to reject both "the authority of private judgment" and "the authority of the Church" seem to be playing a game involving self-deception, not seeing that their whole ecclesial activity is a charade, 'play church' — something to prop up the illusion and make it seem as though they're not doing what they really are doing, i.e. accumulating for themselves teachers in accordance with their own desires. (2 Timothy 4:4-3-4) St. Paul wrote that the time would come when this would occur. Has anyone stopped to consider what the results of such accumulation would look like, and how exactly, it would look different from the plethora of contemporary denominations? . . .


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There's nary a dull moment at the Stanley Hotel, the iconic lodging in Estes Park that was the inspiration for Stephen King's The Shining. Under owner John Cullen, the Stanley is trying to become the epicenter of the worldwide horror-film industry by constructing a $24 million film center — even if there have been a few bumps along the way, such as delays in funding from the state and this year's cancellation of the Stanley Film Festival.
In October, we explored the hotel's colorful history and its ambitious steward, Cullen, in the cover story "Shine On." Since then, Cullen has continued to add new buildings to the property and expand its cultural offerings, in more areas than just horror.
To find out what's in store, we interviewed Reed Rowley, vice president of Cullen's management company. He shared a number of upcoming events, as well as providing an update on the planned film center.
Westword: This coming weekend, April 28 and 29, the Stanley is hosting the Comedy Weekend With an Edge event, featuring comedians Josh Blue and Dana Gold. What was the inspiration for starting to offer comedy shows, and how long has the idea been in the hopper?
Reed Rowley: It's been in the hopper for almost a year. We were really trying to find the right comedians and partner company, and we've accomplished that; we're working with Comedy Works Entertainment, and they're producing the event while we're in the hosting role, which is terrific. They've lined up Josh Blue and Dana Gould as the headliners, and then we've got about five opening acts, including ones from Colorado and well-known names in the comedy world.
Tell us about some of the Colorado comedians.
Josh Blue is probably Colorado's number-one comedian right now. He's really funny in his own way but has an inspirational story behind it as well. He has cerebral palsy, and he's really overcome his disability and finds a way to make light of it while also drawing attention to it.
Will this comedy show be the beginning of a regular series at the Stanley Hotel?
We're hoping that this event is a smash success and that comedy is something we can offer a few times a year. We want to have these kinds of overnight comedy weekends that are mini-festivals in themselves and where people can get away from the city and forget their problems up in Estes Park with some laughs.
The Stanley just announced that it's hosting the 5Point Adventure Film Festival on the weekend of May 19 to 21, which features outdoors films and was founded in 2008 by Julie Kennedy, former owner of Climbing Magazine, and Yvon Chouinard of the outdoor brand Patagonia. What is the idea behind, and aim of, the film festival?
We're clearly trying to embrace the whole outdoor-adventure brand up here. The back yard is so incredible here in Estes Park. I think people take Rocky Mountain National Park for granted. And even Estes Park and the area around it doesn't, I think, get the love that it should, because we tend to think of recreation as being tied to places where there are ski resorts. But in reality, thirty minutes from Boulder and an hour and a half from Denver are some of the best outdoor recreating areas in the entire country.
5Point 2017 Trailer from 5Point Film Festival on Vimeo.
Part of this adventure festival is to highlight how incredible northern Colorado is. The idea actually started with a buddy of mine, Chuck Sullivan, who runs Something Independent, which has been involved with bringing more outdoor recreation business to Colorado.... We looked at doing different kinds of events like climbing festivals, and [Sullivan] said we should look into the 5point Adventure Film Festival, which is really the premier adventure-film festival in the country, if not the world.
So we reached out to them about doing an event up here and tying it to National Public Lands Day — making that an element so it's not only hanging out and watching films and celebrating filmmakers, but also getting people to partake in volunteer activities during the festival like going out and doing trail improvements or at least going out and playing in Rocky Mountain National Park. So you'll not only watch athletes on screen, but also participate.
Is the Adventure Film Festival in any way to make up for the loss of the horror film festival?
No, I think that we still embrace that part of our history and heritage. We still look to produce something that's part of the horror-film genre. We're just waiting for the right opportunity and the right angle to bring that back. So I don't think the [Adventure Festival] replaces it; it's that we're adding something new.
So you're saying that the horror film festival could come back?
Absolutely. We're still really excited about the horror film center and the horror film festival. It's just that while we're trying to determine the best path to reintroduce that, we're also pursuing some other opportunities to make the Stanley a one-of-a-kind venue.
What are some of those other opportunities?
We're working with Kent Mountain Adventure Center, and one of the cool programs that we'll be promoting is called the Bucket Lister. You'll spend one night on a portaledge, basically suspended 300 feet above the ground, where you have your meal served to you by a guide that repels down to you; they'll bring you a glass of wine, dinner, breakfast in the morning. And then the next night you get a bottle of champagne and sit in the Stanley. I don't think there's anything else like it in the country.
If you're a decent rock climber, you can climb up to [the portaledge]. Or if not, [guides will] lower you down. Either way, you get that amazing Tommy Caldwell, Patagonia-esqe photo of you sitting at the top of the world drinking a glass of wine. But you do it with a lot more security and a little bit more ease.
Two people suspended on a portaledge.
When does that program start?
We're selling it right now, but we've got to wait for the weather to get nicer, because it's overnight and there are winds and safety to consider. Right now we're looking at end of May, when we'll take people up on the cliff to sleep.We're envisioning it being great for anniversaries or wedding proposals — those really one-of-a-kind, spectacular once-in-a-lifetime kind of experiences.
How is the horror film center coming along? Have there been any more hiccups with the $11.5 million in Regional Tourism Act money you're supposed to get from the state of Colorado's Economic Development Commission?
There's a new executive director at the Colorado Office of Economic Development, so we're in conversations with her right now and working together with our Go NoCo partners and the city of Estes Park to bring the film center to fruition.
At this point, is there a tentative breaking-ground date that you could give?
No. I think we have a couple different avenues to bring that to fruition, but until we finalize what that looks like, I don't think I could give a date yet.
What about the Pavilion Auditorium you're building? How's that coming along?
We're targeting for the end of July [for it to be finished]. It's going to be such an incredible venue, with probably the best views on the entire property. We're calling it an indoor-outdoor auditorium with 250 seats. It's got 180 degrees of open air, and the area directly behind the stage is a pond with some granite features that will have lighting and waterfalls that run down them. I think it's going to be one of the most spectacular venues in Colorado to see a concert.
Any other events we should know about?
Yes. The first is that we're working with the Colorado State University to host a barbecue showdown on Memorial Day weekend. It will be a big party on the front lawn of the Stanley Hotel, with beer, bluegrass music and barbecue competitors from all around the country that basically do a 24-hour, overnight cooking and smoking program. All of the proceeds benefit Colorado State University's animal-science program.
We're also announcing a bunch of concerts shortly. The one concert that we can announce now is Yo Yo Ma's group, called the Silk Road Ensemble, in which Yo Yo Ma brings in musicians from all around the world that have different musical backgrounds and philosophies, and they all play together. It has a message of overcoming geographic or ethnic differences and all sharing this common theme of music.... For this particular event [on June 23], Yo Yo Ma will not be there, but we have a couple of guest musicians coming in to join them, including Zach Brock, who is a Grammy award-winning violinist. [The Silk Road Ensemble] has played the Hollywood Bowl and Carnegie Hall, so to see them in a 340-person concert hall [at the Stanley] is going to be pretty extraordinary.
What would you say is the guiding philosophy for the events that the Stanley offers?
Films, outdoor recreation, comedy. I think for us, it's still all about one common goal and one common objective, which is: Bring people to Estes Park and give them a way to interact with art, culture and entertainment in a venue that's unlike anything else. And I think that same principle applies to horror, it applies to comedy, it applies to culinary food and wine events, and eventually we'd like to start hosting more outdoors recreation stuff throughout the year to coincide with each season.
What's fun about the Stanley is that we're willing to try everything, and we're willing to put our necks out there to push the limits and boundaries of how people think about a hotel and how they think of Estes Park. Some things are more challenging to roll out and some things are slam dunks, but we're continuing to explore every avenue and really let the fans and the guests of the hotel determine what they like and what they want to come back for year after year.
For more information on the events listed above, visit stanleylive.com.


In our Philadelphia Medical Weight Loss Program most patients tell us that they aren't really hungry because the weight loss pills, appetite suppressant medications and diet pills do a great job of controlling hunger and cravings. But you still need to eat if you want to lose weight safely. So here are 4 great recipes that have helped our Philadelphia Medical Weight Loss patients lose weight fast without being hungry. If you would like more information on our weight loss system call and schedule your free consultation with one of our Doctors or Physician Assistants. Call 215-821-7336 and schedule your free consultation now.
Let's start by a pouring your noodles into a strainer and rinse them thoroughly. Next drain them and put them in a bowl that is microwavable safe and microwave them for approximately 2 minutes. After that drain them one more time and then microwave than for 1 – 2 minutes. After that place all of the ingredients into the bowl and blend it all nicely together.
Start by a mixing the heavy cream and cream cheese until it's nice and smooth and then add the remaining of the ingredients. Take greased ramekins and pour the batter into them and place them on a cooking pan and let them bake at 350°F for approximately the 30 – 40 minutes. Just cook them for as long as it takes until you can place a toothpick into the cake and when you remove it it is clean. After that just set them aside and let them cool down. Just make sure that you refrigerate them before serving them.
This recipe makes one serving and it's so simple to make. All that you have to do is place all of the ingredients into a ball and stir until everything is mixed together nicely.
This recipe makes one awesome cup of coffee. Just make your coffee like you normally would and stir in the sugar free caramel syrup and heavy cream. Just be sure to mix in everything nicely.
Stir together the eggs and the heavy cream. Place a pan over medium heat and melt the butter to grease the pan. Next pour in the eggs and heavy cream mixture and cook like you normally would scrambled eggs.
If you need help losing weight call us now at 215-821-7336 and schedule your free weight loss consultation now.
This entry was posted in Diet Doctors in Philadelphia, Medical Weight Loss, Medical Weight Loss in Philadelphia PA, Medical Weight Loss Philadelphia, Weight Loss, weight loss philadelphia and tagged medical weight loss in philadelphia, philly diet dr, physician supervised weight loss in philadelphia, weigh tloss doctors in philadelphia, weight loss programs Philadelphia on March 27, 2017 by Dr. Michael Kenny.