text:
Making dreams come true
Full Sail University offers education in entertainment, media, arts and tech
By J.M. Simpson on February 21, 2019
Full Sail University offers on-line and campus programs. Photo credit: Full Sail University
As the world of entertainment, media, arts and technology continues to grow, it creates exciting opportunities for those who seek the challenge of creative problem solving.
Full Sail University, located in Winter Park, Florida, offers students the classes and experiences to be successful in this field.
"If you have a dream, we'll take that dream seriously," said the university's military relations director, Aaron Hall, an Air Force veteran.
For transitioning servicemembers interested in this job market, Full Sail University offers intensive on-line and campus undergraduate and graduate programs. The school's degree programs are offered at an accelerated pace, which allows students to graduate in approximately half the time of a traditional bachelor's program.
"Courses are designed in a specific 'building block' order ... helping our students to prepare for the 24/7 nature of their chosen industry. Whether students attend Full Sail on campus ... or from across the country, our students get the same access to industry experts," explained Hall.
Founded in 1979, Full Sail University is an award-winning educational leader for those intent on a career in rapidly evolving interface of entertainment (sports, media, arts) and technology.
The university has been noticed by the educational and entertainment industries.
In 2016, The Hollywood Reporter reported that the school was one of the "Top 25 Music Schools." In 2018, The Princeton Review selected Full Sail as one of the "Top Graduate & Undergraduate Schools to Study Game Design," and The Wrap Magazine placed the university as one of the "Top Film Schools" in the country.
"We aim to be a presence, be known and, if needed, provide resources," continued Hall, "and if a veteran is looking to make a career in the entertainment and media industries, we want to be the place that supports them on the journey."
He explained that Full Sail University students are typically past the discovery mode and know they have a passion for a career in areas including music, art and design, technology, filmmaking, gaming, or the business behind entertainment.
"Successful students are committed, dedicated, driven and ambitious," Hall said.
The university places a special interest on veterans.
"Our Military Outreach Department is a specialized team that understands the unique circumstances of military and veteran life," he explained. "We have a significant amount of veteran interest, and the better Full Sail University can be there to show our support, the better we can serve veterans."
Hall pointed out that veterans have the experience and talents that make them successful in the course work.
"In many cases, their military service has helped them decide what they want and do not want in life, so they have a drive and ambition that can't be matched," he added.
With a degree from Full Sail University, graduates have found rewarding work on albums, movies, world tours, and blockbuster games.
"With over 65,000-plus graduates worldwide, our alumni have worked on award-winning projects to include Oscar, Emmy, Grammy, Addy, MTV Video Music and Video Game awards," Hall concluded.
For more information about Full Sail University, visit: fullsail.edu.
Looking at soldiers as pro athletes
Gary Sheftick on February 21st, 2019
C-17 reaches 20-year milestone
CID, K-9 units begin partnership
By J.M. Simpson on July 3rd, 2019


text:
Intervju s Lucreciom Dalt uoči nastupa na ZEZ Festivalu 2019.
U ožujku 2019. godine, Dijana Grubor intervjuirala je kolumbijsku avangardnu glazbenicu Lucreciu Dalt uoči njenog nastupa u KSET-u na ZEZ Festivalu. Tekst je trebao biti objavljen u webzineu Lake Note koji na kraju ipak nije izašao. Zbog toga vam sada na našim stranicama donosimo intervju u cijelosti.
Avant-garde artist Lucrecia Dalt was one of the most anticipated acts of the 2019 edition of ZEZ festival. Since her early days making music akin to dark kaleidoscopic pop, Dalt has been floating between raw sensual improvisation and meticulously studied conceptual frames that infuse each sonic thread of her releases. Back in 2019, she was touring with Anticlines, an immersive, at times unfathomable record inspired by notions of time, physicality, and extreme love that marked a profound yet logical turn towards more abstract modes of expression. Her subtle, almost aloof performance at ZEZ reinvented Anticlines as a living matter, a work of art continuously baring its layers until each overlooked element becomes a new means of exploring concrete, fleeting spaces beyond words. This visceral and intricate displacement of the self is what draws Dijana to Dalt's work to this day, so a few months before her performance, Dijana took the opportunity to ask her some questions.
Besides being a great artist and performer, Lucrecia Dalt is an intriguing speaker, generous with her words, poetic in her descriptions. We talked about the themes and processes behind Anticlines, the complex role of voice and language in her work, multifaceted live performances, and film soundtracks, all laced with vivid anecdotes that defined her crucial artistic shifts. Sometime later, the interview may serve as a reminder of a better time and provide insight into her dynamic views on life and art, which morphed once again through her otherworldly 2020 record No era sólida.
You were on an American tour for the most part of February and will continue to perform until May. What was it like so far?
It's been very nice, actually. I was touring the US for the very first time, going from East to West. I also performed in Canada, and I had a chance to go to Mexico. It was just amazing. I was very fortunate to share very different contexts and situations with so many musicians on the road and I got really charged.
What was your favorite show from the tour?
I had so many, they were so different. I really liked the show in New York because of the space where I was performing, and the audience was so attentive. In general, that was the main surprise for me, to see that even from the smaller pub in a small town to a bigger venue, the audience was listening and being super quiet, which is something that I really appreciated because then I can play a little bit more with what the space has to offer, the dynamics, the silence, I can be a bit more spontaneous with the improvisation. I really liked the show in Toronto, where I was playing with Aaron Dillovay, it was one of my favorites. In LA, I was very lucky to play in a church with William Basinski. That was also very nice, the sound in that church and how visuals were laid out. It was a wide open space, and there wasn't so much reverb as you would usually get. For music that I'm making, which is spoken word, it's difficult when there is a lot of reverb because it becomes more like a sermon instead of intimate poetry. It was a beautiful concert to close the tour.
You've mentioned in interviews that you're constantly experimenting with ways of being a more active performer – postures, looks, even voices. What does your live performance look like right now? Do you focus more on improvisation in the moment or you have a specific purpose you're testing with the audience?
There is a big element of improvisation in it, it has to do with the space and how I react to the acoustics of the space, what kind of sounds I feel, and hence the experience of the space. When I do soundcheck, I try to play for a while to get used to it. I don't ever play exactly the same show – there is a structure and you more or less recognize the themes or songs, but it's always quite elastic. There could be sections that are more improvised, and then suddenly from that something more recognizable comes to the surface. I like to keep it that way, the songs are never the same length. It depends on how I feel and react to the situation.
You've also mentioned that you're playing with this idea of your shows as lectures.
Reading interviews from the very first shows that I did, I was trying to understand a format of how I wanted to perform. It's kind of a metaphor just to create an image for people to understand or bring more possibility to the live show. My main focus is to try to find a way of performing in which the body is more active and present. There is the music and the awareness of the space, the interaction with an audience and how they respond to it, but for me, it's really important to add performativity to it – that I'm not just changing knobs – to try to find a way for the body to convey something as well. The lecture was kind of a joke with a friend, who hasn't seen me perform for a long time, and he thought I was some kind of professor, explaining something that he couldn't understand.
I understood that shows as lectures metaphor also in terms of recontextualization, that movement, pronunciation, words, and the specific way in which they are conveyed in that particular moment add another layer of meaning, a new context to the whole piece.
It could be that, but it has also become kind of inevitable for me. Even when I watch back performances that I did, I'm quite surprised by how much I'm moving the legs, how much I'm doing with the body. I totally lose myself to the performance now. It's a gesture to be generous with the audience as well. It's difficult to find a balance, because for some people perhaps what's important is the music and they don't need any performativity at all, but it's an important part of what I do, I feel comfortable doing it and I think it relates to the record.
How do you see the audience reacting to this new way in which you perform your music?
It depends if I can see them as separate beings or just as a mass, it depends on the light and stuff like that. If I have the chance to even look at people in the eyes, I love doing it, and this is something I've never done in the past. I would just be looking at the table and my machines and that's it, but now, also because of the lyrics, when I'm saying them, I impersonate something that comes more from that state. I consider myself someone quite shy. When I'm in a context with 3-4 people I become really shy, but when I'm in a context of the performance, it's completely the opposite. I could do things I would never do in a social context – look at everybody in the eyes to the point that it's a little bit intense sometimes. I become more confrontational and I feel like I can make impersonations a little bit better. But this is something that I've learned, it comes from doing it, the need and wanting to develop strategies, so I've been taking lessons with a friend of mine who is a performer, in which she has given me techniques to do this.
Your 2018 album Anticlines is very much informed by your previous career as a civil engineer. What was that initially drew you to geotechnical engineering as a career?
In school I loved physics and mathematics, so I had some kind of ability to do that, even though it was not something I was most passionate about. I decided with my parents and with the guidance from school to study civil engineering, because the spectrum of what you can do afterward is so big.
How did this idea of using geological motifs and concepts as metaphors in your work develop over time – was it more of an intuitive thing, like juggling different influences and let them grow over time, or a kind of technique similar to the way you used inspiration from cinema on your previous albums?
I think it's both. For me, it has become a need to have something extra that is not a pure musical epiphany – that you sit with your machines and then suddenly something happens. I really love creating a kind of atmosphere, an environment for myself to start working. It comes from things that I've read that relate to either philosophy or critical theory that I started to see a link between the things I was interested in simulation theory, to the themes of geology. Specifically, just talking about time and scale is something that always interested me, even as a kid, and I started to find links between some of the memories that I have as an engineer, especially by working in teams with geologists, and the things I was thinking about. For example, geology for me represents exactly what I think about time – it is not something linear that you can put the events exactly in the past, present and future. For me, everything is kind of intertwined as geology is. Sometimes something that is buried in the past could come back to you, a situation that could be physical or chemical. I really started to make sense from that, and the fact that Medellín, where I was living, is constructed atop this thing that is called batholith, which is like a giant mushroom, a formation of magma that comes between two clags and for millions of years forms this thing where the city where I was living was on top. And you could see parts of those things in different parts of the city or near a lake that surrounds the city. That is the first time I started to think metaphorically, at least about this formation, to think about reality itself. Then I made a song called "Batholith", in which I talk about love as something from this very ground, that could appear from the earth and completely change your landscape, and what can you do about it.
I think it connects to the metaphor of love as a relentless force of nature or a natural disaster that exists in linguistics.
Yeah, I guess. On this record it's not specifically about that, it has a lot of themes. Sometimes when you try to communicate an album with words, you end up using language or ways of explaining it that detaches it from what it really was. Sometimes it's just a thought, for example, "I want to talk about bubbles", and just by the thought of bubbles a lot of themes start to appear. When I was writing the lyrics with my friend Henry Andersen, we were just brainstorming, and I mentioned bubbles and it triggered something in him. He showed me this architect who was working with balloons, which reminded me of this song I was obsessed with. So I decided to make an answer to that song, in which this person is claiming love from the other by saying that the only way she could show him love is by literally pulling the skin out and kind of loving the muscle of this person. I started to think that was very interesting, I would love to possess the other from the inside. Then I found this myth of El Boraro in Colombia, and I thought it was a really nice way to explore a very extreme form of love. Then Henry and I wrote the lyrics together, and once I have the lyrics, this is really setting up a mood for me to work the music out. Coming back to what we were talking about before, I need all this to create an atmosphere, and with that information, I feel like I have more to work with, because I'm not working in the void, just with my synth and whatever comes is valid. In this case, it's more like asking what makes sense without being too literal.
This is a different approach than the process you had with your previous records.
Yes, totally.
You've talked in interviews how your relationship to voice and singing changed over time, from conventional singing you were trying to fit in with the music to interest in different ways of speaking and using voice in your work. You have also mentioned in an interview for Air that collaboration with visual artist Regina de Miguel affected this new relationship with words. Can you describe in what way did it affect your personal relation to storytelling?
She invited me to make some music for an exhibition that she was presenting in Madrid. She had already written four poems and told me I would have to make the music for each poem and look for a way to use a voice for the poems. Specifically for the exhibition, I used voiceovers because the general theme was about life in extreme conditions, and it was also related to artificial intelligence somehow, so I thought it would make a lot of sense to just use voiceovers. One day I was asked to do a special performance in Freiburg, and I decided to do something with these texts of Regina, do it live and see what happens. One of the lyrics is about bacteria extremophile, but it's from the point of view of the bacteria, describing how her life is. Another one is talking about necropolitics, another about the state of resilience, so when I was performing those, for each piece I felt like something suddenly arose in that performance and that totally makes sense to me. I became empowered by the content of the lyrics, by words, and then I could give a very specific texture to the voice or an intention to the performance. I loved that, and I thought this is really something I could explore. After that, I realized I really need to work with poetry. At that time I have done something with Henry and we really enjoyed the experience so I proposed to him that he write something with me.
In what way is working as a sound artist different than making music?
I honestly don't place myself as one or the other. It's a tricky classification, maybe for some people the difference is really clear, but for me it isn't. This is also tricky for me when I introduce myself, especially to a stranger who has nothing to do with what I do. Sometimes I surprise myself by saying I am a composer and then I think to myself am I a composer?, or "I'm a musician", but it feels weird as well, because I don't fit in the straightforward convention of that. Saying I'm a sound artist sounds also kind of pretentious. So it's really difficult to know what you are when I feel that what I do is mixing everything that makes sense to me.
I wanted to ask you more about your relationship with language, it's very interesting to me. In an interview you did with Julia Holter for Electronic Beats in 2015, she talked about her relationship to words and how they don't have a communicational purpose in her work. What is your relationship to language and words in that sense? I feel like you're interested in the meaning of words as much as their rhythm, but where does communication fit into that, if it does at all?
It's something that I'm still puzzled about, and it changes through time as I work and perform more, like what is the need even for words when you're working in a sonic realm, to the point that, for example, I'm starting to work on my new album and there is already a few pieces that have voice but have no words, like with the piece "Eclipsed Subject". I was already trying to be super fluid with something that feels like a language but it's not a language at all. And it was so nice to make it because it was very spontaneous, and I was very sincere, whereas when you have words then you have meaning and then you have questions. A lot of people ask me why do I sing in English and not in Spanish or German. In this case, it was specifically in English because I was working with Henry and I was already very attached to the way lyrics were written. I even tried to translate them, but then they lost something, there is always a loss or a variation when you translate something.
Every language has its specific reality.
Yes, exactly. This week I'm in Paris, I'm doing a residency at GRM, and I've been working a lot on music. I thought maybe for a change I should just try to improvise something that feels like Spanish, but then I got puzzled again. I feel a strange relationship with my own language right now because I've been living in Europe for twelve years and my accent is totally hybrid. I can recognize that I don't speak so much as a Colombian anymore. I use words and expressions from all over Latin America, especially from Spain. So I was trying to say something and asked myself "how would I say this, would I say this in a more Colombian way, or Spanish would use another form". I started to get really puzzled with language again...it's an ongoing problem for me.
Can you tell me more about the role of voice on the "Eclipsed Subject"? I feel like you are focusing more on the expression itself.
It's like glossolalia and it feels even like country music in a way. Someone told me it's like Dolly Parton meets I don't know who, and it's true, but I don't know why this came to me, I have no obsession with country music whatsoever. I was trying to be honest with whatever comes out of your mouth.
When you were talking earlier about language with all the meanings and questions, I also remembered manipulation, so I can understand how using voice without the conceptual weight of language can be more sincere, perhaps even more intimate.
In a way, yes. It's just that you carry a different responsibility when you use words. Even if not everybody is going to go check them, the meaning is there anyway. For me, it's also a very difficult task because I'm not a writer, and even though I sometimes have sparkles of writing inspiration, they don't last for very long. Working with language is a part of the process I fear the most in composition, to the point that I chose to work with somebody. And it was great, we wrote those lyrics together in a weekend and I've never been able to achieve that alone. I think in the future, if I'm gonna use a specific language, it will be because it comes in a very fluid process in myself, or because I have collaborations with people that I like. Maybe I'll invite a poet to do something with me, it would make way more sense. Now I would just like to free myself in a pure vocal improvisation that has no meaning, not in a sense of language.
I am very curious to hear how it's going to sound.
I'll be working this year on that, I'm excited.
I wanted to ask you about Pli as well. You were hosting a radio show from Jully 2016 to December 2018. Why did you decide to cancel it?
The contract ended and I would have loved to continue. As I had to stop it, I also realized that I needed a bit of time to focus on other things, and not this monthly commitment because it was a lot of work.
Your interviews were really amazing, the show with Felix Kubin, for example.
Felix is the best and it's really nice to interview people who have clearly been thinking about things for a long time. When I invited Felix to the show, he got completely into it, he was calling me weeks before with thoughts and ideas. I loved doing that because I learned so much from the people I was interviewing. It was also intense work because I was doing everything myself – preparation, the interview, recording, editing, choosing the music, putting the music together, mastering, but it was so worth it.
You've also mentioned before that music is something that accompanies the story on the album and you used the phrase "If I'm talking about rocks, I will not try to make the music sound like rocks", which reminded me of Felix Kubin's talk about film soundtracks on your show.
What I was trying to say there is that I feel that sometimes it happens a lot in art, and especially music, that people need to be super literal, even in soundtracks and contemporary filmmaking. This is actually something that Felix Kubin talks about in his show, that you have to be forced to feel or have everything super straightforward. The fact that I'm talking about something that feels rocky doesn't mean that I'm going to do a field recording of a volcano. This is too redundant for me. The fact that I originate all these layers of meaning doesn't mean that it has to correspond to musical parts – for me, it's two separate realms that feed one another. I just sit and start to make sounds and then music feels right to a certain lyric, but it's not something that I'm explicitly trying to convey into sound, and I don't think I want to do that because then you lose your freedom working with sound and recording. It's too much of a forced experience to me.
Music is also easier to ignore sometimes, especially in terms of contemporary soundtracks for example, which function as an integral part of the film, but not in any noticeable way.
Yes, exactly. And it's so disastrous, because sometimes when you see movies, you really don't remember the soundtrack at all, not even a leitmotiv and this is so suspicious to me.
Sometimes with older movies, you can remember a scene simply by remembering the music because you couldn't ignore it.
Totally. I was walking by the theatre just now and they had the film "Eyes Wide Shut". The main melody is so intense, you instantly think about him walking through this giant spaces and it's a wonderful feeling. It's such a pity it's kind of lost nowadays, it's very rare.
How are you treating the music now when you're working on the new album, what is the method like?
I don't know, it depends. For example, for the last record I got a bit obsessed with the sound of this specific synthesizer, Clavia Nord Modular, because I could also program it and tweak it in a way that I could adapt to what I do. It has a lot of vocoders, and then I thought about how can I do something with vocoders which is not a typical vocoder. It was a challenge for me to do something with that and this is how I did it. For this one, I'm still trying to figure it out, especially now that I just had this residency in which I was working with classic synthesizers, like the Serge or the Coupigny, that I've never worked with before. This already gives me ideas, but I don't know what I will be using for the next one.
Do you sometimes take an unfinished piece you're working on and perform it live in order to get new ideas on how to develop it?
I don't have a very defined methodology, it's all very spontaneous in regards to sound and what I do. Sometimes while playing live I develop new methods of working as well, because I'm not so afraid to test stuff and then I start to realize things I could do, or just by meeting other musicians and seeing their own process. Recently I was touring with Aaron Dillovay and he only works with tapes and loops, it was very inspiring to see that. It varies all the time.
Do you plan on performing some of this new stuff in the upcoming live performances?
Right now I'm performing a one-year-old Anticlines, which has been transforming live just by playing it, but it still has the essence of Anticlines and the same instrumentation. Maybe I do variations to the voice, to the rhythm, or maybe I play the version slower, it depends.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: PostgreSQL: Prevent SQL injection for like query with % input We are allowing the user to post the contents on our application, in a case user entered the % in the title of the post and we are running like query to fetch the data from the database.
Here is the snippet from the post table
id |         title           | short_description |   long_description
 1   how many % amounts you       ----------          --------------
     should save                --------------       -----------------

Query we are running:
SELECT id, title from post where post.title LIKE '%string entered by user%'

Now if the user enters amounts then query works fine and returns something like.
SELECT id, title from post where post.title LIKE '%amounts%'

and returning the desired result.
But, when a user enters how many % amounts in the search field, it is returning all the rows which are starting from how many and contains amounts in the upcoming words, which is wrong because the generated query is.
SELECT id, title from post where post.title LIKE '%how many % amounts%'

And another thing is if the user enters only % the query returns all the results.
If we try escaping the % or other special characters and the result is way more different than it should be.
Please suggest a solution if you have any.

A: Quoting the like expression
The percent or underscore characters in the user-supplied string must be quoted as documented:

To match a literal underscore or percent sign without matching other
  characters, the respective character in pattern must be preceded by
  the escape character. The default escape character is the backslash
  but a different one can be selected by using the ESCAPE clause. To
  match the escape character itself, write two escape characters.

For instance:
If the user submits ab%, the code must do:
where title like '%ab#%%' escape '#';

Be aware that the user might submit a string with your escape character in it.
For this reason it has to be escaped itself. If for instance the user submits abc%def#, the code must do:
where title like '%abc#%def##%' escape '#';

Using strpos
Another solution is to check the result of strpos instead of using LIKE to find if a substring is in a larger string. strpos does not have wildcards characters and returns a non-zero number if the substring is found.
select strpos('abcdef', 'cd') > 0 ;
 ?column?
----------
 t

strpos also uses the Boyer Moore Horspool  algorithm which be faster in some cases, especially since PostgresQL 12 where it applies it directly to UTF-8 contents without converting them first to wide chars internally.

redpajama_set_name: RedPajamaStackExchange


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Late March to mid April is cherry blossom season or 'sakura' as it's known locally. Some amazing images online and if you're a Japan fan, check out our homage in type.
Where does our wallpaper come from?
Our wallpapers are printed in Lancashire an area with a proud wallpaper printing heritage. In 1990 there were over twenty five wallpaper manufacturers in the Accrington area but now Surface Print is one of the UK's last surviving mills.
It's Climate Week. Great to see 'The Blue Trees' art installation by Konstantin Dimopoulos and Trees for Cities in the running for the Climate Awards.


text:
Alumni News Spring 2014
Mr. Hoffman is Teacher of the Year—'He Totally Deserves It'
Posted On April 10, 2014	 Linda Loomis 0
Among those announcing the news that Jay Hoffman '81 was 2013 Vermont Teacher of the Year were his media students at F. H. Tuttle Middle School.
They grasped the magnitude of his honor, declaring, "He totally deserves it."
Hoffman came late to teaching. "I'm a hands-on guy," he explains. "I studied industrial arts education at Oswego to learn building skills." He ran his own construction company until 1992, when the Wappinger Falls school superintendent stopped by the Hoffman's garage sale and, after brief conversation, encouraged the carpenter to become a teacher. Hoffman took his advice.
"I walked into that middle school classroom, and I knew it was where I was meant to be," he says.
Hoffman's entry into teaching coincided with the shift from a tool-based to a technology-rich classroom. Grasping the potential of teaching skills for the future, he secured a $20,000 grant—the first of many totaling more than $500,000—that launched a network to give students remote access to homework assignments.
"I'm never comfortable with the status quo," Hoffman says. "I'm a visionary."
In addition to technical skills, he also teaches civic responsibility and community awareness. His students create informational videos for nonprofits and promotional videos for local agencies.
As a teacher of the year, Hoffman met President Barack Obama, had his profile in American Teachers: Heroes in the Classroom, was appointed to the Vermont State Education Policy Board and saw positive outcomes for his students. He says he appreciates it all.
Hoffman credits Oswego for molding the precepts he implements every day. His philosophy, displayed with his photo on a Teacher of the Year poster, helps explain why he's a top educator. "Be a student of your students," it says.
—Linda Loomis '90 M'97
#alumni#Jay Hoffman#Teacher of the Year
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Fall/Winter 2015 Online Extras
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text:
\section{
KI und Philosophie - Beispiel Normalfall und Deontische Logik
}
\subsection{
Ein Beispiel aus der KI (= K\"unstliche Intelligenz)
}

V\"ogel fliegen - gemeint ist: k\"onnen fliegen.

Nicht alle V\"ogel k\"onnen fliegen, Pinguine k\"onnen nicht fliegen,
Brath\"ahnchen
auch nicht  \Xl. Aber wenn wir an einen Vogel denken, denken wir daran,
dass er
wohl fliegen kann.

Wir k\"onnen das so ausdr\"ucken: ``Normale'' V\"ogel k\"onnen fliegen.

Wenn man einen K\"afig f\"ur V\"ogel bauen will, wird man an ``normale''
V\"ogel denken, und ein Dach planen. Wenn man aber weiss, dass es sich
um einen K\"afig f\"ur Pinguine handelt, wird man auf das Dach verzichten.

Da es oft sehr viele Ausnahmen gibt, an die man nicht unbedingt alle
denkt (und die man nicht alle programmieren will),
fasst man die \"ublichen F\"alle eben mit dem Wort ``normal''
zusammen, und die Ausnahmen sind dann ``nicht normal''.
Erst wenn man Gr\"unde hat, anzunehmen, dass ein Vogel kein ``normaler''
Vogel ist, wird man an die Ausnahmen denken. Das muss aber explizit
angegeben sein.

Es ist einfacher,
Regeln f\"ur die ``normalen'' F\"alle zu programmieren, und Ausnahmen explizit
anzugeben, als von vornherein an alle Ausnahmen zu denken, und sie
zu programmieren.

Daher kommt das Interesse der KI f\"ur die Beschreibung der ``normalen''
F\"alle, die in Regeln mit Ausnahmen resultiert.

Man kann die F\"alle jetzt nach ihrer ``Normalit\"at'' oder aus historischen
Gr\"unden umgekehrt ``Abnormalit\"at'' ordnen, $Fall_{1}<Fall_{2}$ dr\"uckt
aus,
dass $Fall_{1}$ weniger abnormal ist, als $Fall_{2},$ oder, dass
$Fall_{1}$ normaler ist als $Fall_{2}.$

Ein Fall minimaler Abnormalit\"at oder maximaler Normalit\"at
ist also minimal bez\"uglich $<,$ das heisst, es gibt keinen Fall,
der bez\"uglich $<$ kleiner ist.

Man interessiert sich f\"ur diese minimalen Punkte - genauer: Modelle,
siehe Section \ref{Section Mini} (page \pageref{Section Mini})
\subsection{
Philosophische Logiken
}

Philosophische Logiken besch\"aftigen sich z. B. mit Begriffen wie
``m\"oglich'',
(moralisch) ``geboten'', etc., und versuchen, diese Begriffe zu analysieren,
darum nennt man diesen (und \"ahnliche) Bereich der Philosophie auch
``analytische Philosphie''.

Die Logik, die sich mit dem besch\"aftigt, was (moralisch) geboten ist,
nennt man
``deontische Logik'' (das Wort kommt aus dem Griechischen).

Die moralisch besten Situationen sind dann die, in denen alle
Gebote befolgt sind, also zB niemand ermordet wird, keine Sachen
gestohlen werden, etc.

Man kann wieder die Situationen ordnen, zB bedeutet
$Situation_{1}<Situation_{2}$
dass in $Situation_{1}$ weniger Gebote verletzt werden als in
$Situation_{2},$
und eine perfekte Situation ist dann minimal bez\"uglich $<.$

Hier ist dann eine Parallele zwischen KI und Philosophie: man
interessiert sich f\"ur die F\"alle, die bez\"uglich einer
gewissen, abstrakten, Ordnung $<,$ minimal sind - die ``F\"alle''
sind dann wieder Modelle, die in der Philosophie oft
``m\"ogliche Welten'' genannt werden.

(Der grosse amerikanische Philosoph David Lewis hat geglaubt, dass alle
m\"oglichen Welten wirklich existieren - was ich f\"ur Unsinn halte  \Xl.)
\section{
Logik - Grundbegriffe
}
\subsection{
Herleitung und Axiome
}
\subsubsection{
Ziel der Logik
}

Das urspr\"ungliche Ziel der Logik ist, absolut gesicherte Erkenntnisse
zu erreichen.

Da sich das Ziel als zu ehrgeizig herausgestellt hat, hat man es im Laufe
der Jahrtausende relativiert:
 \xEh
 \xDH
Von absolut sicheren Erkenntnissen ist man zu sicheren Erkenntnissen
unter genau beschriebenen, expliziten Voraussetzungen (Axiomen)
\"ubergegangen.
 \xDH
W\"ahrend die Axiome urspr\"unglich als ``selbverst\"andlich'',
``unmittelbar einsichtig'' etc. angenommen wurden, ist man zu
irgendwelchen Annahmen \"ubergegangen, deren G\"ultigkeit nicht weiter
hinterfragt wird, man nimmt sie halt an.
 \xDH
Man pr\"azisiert jetzt die Logik, mit deren Hilfe man etwas schliesst,
verschiedene Bereiche haben ihre verschiedenen Logiken, mit denen man
\"uber Eigenschaften in diesen Bereichen schliessen kann, zB \"uber
``m\"oglich'', ``geboten'', ``normalerweise'', etc.
 \xEj
\subsubsection{
Sprache
}

Allen diesen Logiken ist gemeinsam, dass man erst die Sprache, in der die
Aussagen formuliert werden, pr\"azisiert. Das sind (meist sehr einfache)
Kunstsprachen, da sich die nat\"urlichen Sprachen als zu komplex
und vage herausgestellt haben.

Zum Beispiel gibt man sich ein Alphabet wie $p,q,r, \Xl.$ vor, und
Operatoren
wie ``nicht'', ``und'', ``oder'', mit denen man aus dem Alphabet komplexere
Ausdr\"ucke formen kann, wie ``nicht $p$'', ``q oder $r$'', ``nicht(p und
q)'',
``nicht(nicht r)'' etc. (Dies ist die sehr einfache ``Aussagenlogik''.)

Intuitiv: man beschreibt ein festes Objekt, wobei zB ``p'' f\"ur ``rot''
steht, ``q'' f\"ur ``rund'', etc. In der Regel achtet man darauf, dass
die Eigenschaften unabh\"angig voneinander sind, zB ist die Unabh\"angigkeit
mit
``p'' $=$ ``quadratisch'', ``q'' $=$ ``rechteckig'' verletzt, da aus
``quadratisch'' ``rechteckig'' folgt.
\subsubsection{
Herleitung (= Folgerung)
}

Mit Hilfe von Regeln kann man jetzt aus einer Menge von Aussagen
neue Aussagen folgern, zB aus $A=\{p,$ $q$ und $r\}$ kann ich ``q und $r$''
folgern.

Das k\"urzt man ab durch $A \xcl q$ und $r,$ wobei $ \xcl $ das Zeichen
f\"ur ``folgt''
in klassischer Logik ist. Also:
Aus der Menge A folgt in klassischer Logik ``q und $r$''.

Wenn man Folgerungen in anderen Logiken untersucht, benutzt man oft
statt $ \xcl $ das Zeichen $ \xcn.$ $A \xcn q$ und $r$ bedeutet dann:
Aus der Menge A folgt in meiner anderen (mich jetzt interessierenden)
Logik ``q
und $r$''.

Die Regeln und Voraussetzungen werden genau pr\"azisiert, ihnen wird aber
kein besonderer Status wie ``unmittelbar einsichtig'' oder so
zugeschrieben.
\paragraph{
Bemerkungen
}

 \xEh
 \xDH
In vielen Logiken gilt die Regel ``EFQ'' $(=$ ex falso quodlibet), das
heisst,
aus einer widerspr\"uchlichen Aussagenmenge kann man alles Beliebige
folgern,
z. B. auch, dass der Mond aus K\"ase ist. Das ist nichts Tiefsinniges, und
l\"asst sich relativ leicht zeigen, w\"urde hier aber nur verwirren.
 \xDH
Klassische Logiken sind ``monoton'' in dem Sinne, dass, wenn ich die
Menge der Voraussetzungen vergr\"ossere, ich keine m\"oglichen Folgerungen
verliere, kurz, wenn $A \xcc A',$ und $A \xcl a,$ dann auch $A' \xcl a.$
 \xDH
Die obigen Logiken (\"uber Normalf\"alle und das moralisch gebotene) sind
``nicht-monoton'', weil ich durch Vergr\"osserung der Menge der
Voraussetzungen
unter Umst\"anden Folgerungen verliere. Beispiel: Wenn meine einzige
Voraussetzung ``Vogel'' ist, schliesse ich auf ``fliegen'', wenn ich
``Pinguin'' zu den Voraussetzungen hinzunehme, kann ich nicht mehr auf
``fliegen'' schliessen (sondern sogar auf das Gegenteil: ``nicht fliegen'').
Daher findet man das Wort ``nonmonotonic'' im Titel
von z. B.  \cite{Sch18}.
 \xEj
\subsection{
Modelle (= Semantik)
}

Eine Sprache und Logik zu haben, bedeutet noch nicht, zu wissen,
wor\"uber man spricht und schliesst.

Das wird durch den Begriff der Modelle gekl\"art.

In obiger Sprache aus dem Alphabet $p,q,r$ hat man die 8 Modelle, die alle
M\"oglichkeiten beschreiben:
 \xEh
 \xDH $p,q,r$
 \xDH $p,q,$ nicht $r$
 \xDH $p,$ nicht $q,$ $r$
 \xDH $p,$ nicht $q,$ nicht $r$
 \xDH nicht $p,$ $q,r$
 \xDH nicht $p,$ $q,$ nicht $r$
 \xDH nicht $p,$ nicht $q,$ $r$
 \xDH nicht $p,$ nicht $q,$ nicht $r$
 \xEj
das sind die 8 M\"oglichkeiten.

Ein Gegenstand kann rot, rund, zB aus Holz sein, oder eben nicht, alle
8 Varianten sind m\"oglich.

Man kann dann definieren, wann eine Aussage in einem Modell gilt,
und weiter

$A \xcm a$ wenn:
in allen Modellen, in denen alle Aussagen in A gelten, auch die Aussage a
gilt.

Wenn man \"uber andere als klassische Logiken spricht, verwendet man
verwandte Zeichen, z. B. $ \xcm' $ statt $ \xcm.$
\subsubsection{
\"Aquivalenz
}

Ziel logischer Arbeiten ist oft, die \"Aquivalenz von

$ \xcl $ und $ \xcm $ zu zeigen

(f\"ur klassische Logik wurde das nat\"urlich schon
vor langer Zeit gezeigt),

resp. f\"ur eine andere Logik $ \xcn $ die \"Aquivalenz von

$ \xcn $ und einer anders definierten Semantik, $ \xcm'.$

Wenn man das zeigen kann, hat man bewiesen, dass f\"ur diese neue
Logik $ \xcn $ der Herleitungsbegriff dem Modellbegriff
entspricht.

In meinem Buch finden sich viele solche Beweise.

Zusammenfassungen: in Tabellen 1.2 bis 1.6, $S.$ 45-53,
Tabellen 4.1 - 4.5, $S.$ 348-350, aber auch Abschnitt 3.3.2.4, $S.$ 322
ff, etc.
Manchmal kann man aber auch negative Ergebnisse zeigen, z. B., dass
endliche Axiomatisierungen unm\"oglich sind, z. B.
Abschnitt 4.3.2.4, $S.$ 367 ff.

(Alle Angaben beziehen sich auf  \cite{Sch18}.)
\subsection{
Pr\"aferentielle Modelle f\"ur
``Normalit\"at'' und ``Moralit\"at''
}

\label{Section Mini}

(Dieser Absatz ist etwas ``h\"arter''.)

Wenn wir eine Menge von Modellen $M$ haben, und
eine (Pr\"af\"arenz-) Relation $<$ auf $M,$ d.h. f\"ur
einige Modelle $m,m' $ in $M$ gilt $m' <m,$ interessieren wir uns f\"ur die
in $M$
minimalen Modelle, d.h. die $m$ in $M,$ f\"ur die es kein $m' $ in $M$
gibt, mit
$m' <m.$
(Das sind die normalsten oder moralisch besten Modelle in obigen
Interpretationen von $<.)$
 \xEh
 \xDH
Wenn $ \xbm (M)$ die Menge der minimalen Modelle in $M$ ist, gilt
offensichtlich
$ \xbm (M) \xcc M,$ d.h. alle minimalen Modelle in $M$ sind Modelle in
$M.$
 \xDH
Wenn $M' $ eine Teilmenge von $M$ ist, $M' \xcc M,$ und $m$ ist in $M' $
und in $ \xbm (M),$
$m \xbe M' \xcs \xbm (M),$ dann ist $m$ auch in $ \xbm (M').$

Das sieht man am besten so:

Nimm an, $m$ ist in $M' $ und in $ \xbm (M),$ aber nicht in $ \xbm (M'),$
dann muss es
mindestens ein $m' $ in $M' $ geben mit $m' <m.$ Da aber $M' $ eine
Teilmenge von $M$ ist,
ist dieses $m' $ auch in $M,$ also ist $m$ nicht minimal in $M,$
Widerspruch.
Folglich ist (mindestens) eine Annahme falsch, und wenn, wie
vorausgesetzt,
$m$ in $M' $ und in $ \xbm (M)$ ist, muss $m$ in $ \xbm (M')$ sein.
 \xEj

Wir haben also die Eigenschaften
\xEn
 \xDH $(\xbm \xcc)$
$ \xbm (M) \xcc M$
 \xDH $(\xbm PR)$
Wenn $M' \xcc M$ und $m \xbe \xbm (M),$ und $m \xbe M',$ dann auch $m
\xbe \xbm (M'),$ kurz:

Wenn $M' \xcc M,$ dann $ \xbm (M) \xcs M' \xcc \xbm (M')$
\xEp

(Die Namen der Eigenschaften, $(\xbm \xcc)$ und $(\xbm PR),$ erkl\"aren
sich aus
dem Zusammenhang.)

Das Interessante ist, dass diese Eigenschaft (im Wesentlichen)
pr\"aferentielle
Strukturen charakterisiert, d.h. es gilt auch umgekehrt, wenn eine
Auswahlfunktion $ \xbm $ die Eigenschaften
$(\xbm \xcc)$ und $(\xbm PR)$
erf\"ullt, dann gibt es eine Relation $<,$ die genau dieser Auswahlfunktion
entspricht, d.h. f\"ur alle $M$ gilt:

$ \xbm (M)$ $=$ $\{m:$ $m$ ist $<$-minimal in $M\}$

(Siehe Proposition 1.3.1, $S.$ 56.)

Der Autor nennt diesen Teil, d.h. die
Eigenschaften $(\xbm \xcc)$ und $(\xbm PR)$ ``algebraische Semantik'',
weil sie
algebraische Eigenschaften ausdr\"uckt, und die entsprechende Relation $<$
die strukturelle Semantik, weil es eine Struktur ist.

Schliesslich gibt es eine dem entsprechende logische Axiomatik, siehe
Proposition 1.3.20, $S.$ 70. Die entscheidende Eigenschaft ist (PR),
die obigem $(\xbm PR)$ entspricht.

Dies zu erl\"autern w\"urde zu lang werden, und wohl nicht so viel
zus\"atzliche Erkenntnis bringen. Trotzdem ein Beispiel der Eigenschaften
dort:

(LLE) $ \ol{T}= \ol{T' }$ $ \xcp $ $ \ol{ \ol{T} }= \ol{ \ol{T' } }$

bedeutet (in meiner Notation): wenn die klassischen Folgerungen von $T$
und $T' $
gleich sind, dann auch die Folgerungen in der Logik $ \xcn.$ (Dies ist
trivial,
wenn die Logik \"uber Modellmengen definiert ist.)

Wir haben also die \"Aquivalenzen:

Axiomatik $ \xcj $ Algebraische Semantik $ \xcj $ Strukturelle Semantik

(Diese Aufteilung charakterisiert auch viele meiner Arbeiten, sie hat sich
als
sehr fruchtbar herausgestellt, statt direkt

Axiomatik $ \xcj $ Strukturelle Semantik

zu zeigen, da man die verschiedenen Probleme so besser trennen kann.)
\section{
Maschinelles Lernen, neuronale Netze
}

Maschinelles Lernen, wor\"uber heute viel gesprochen wird,
basiert auf einer
Selbst-Organisation von ``neuronalen Netzen''. Der Autor weiss dar\"uber fast
nichts, nur dass das
menschliche Gehirn wohl st\"arker strukturiert ist als neuronale Netze,
aufgeteilt in verschiedene Gehirn-Regionen mit zum Teil unterschiedlicher
interner Struktur und komplexen Verbindungen untereinander.
\section{
R\"uckblick
}

Der oben skizzierte
logische Ansatz hat sicher zu Kl\"arung von philosophischen und
mathematischen Aspekten gef\"uhrt, vielleicht weniger zur KI beigetragen,
ich habe ihn immer auch als ``experimentelle Philosophie'' betrachtet.
\clearpage
\section{
Beitr\"age des Autors
}

Ich habe meist versucht,
 \xEh
 \xDH neue Konzepte zu entwickeln,
 \xDH neue Beweismethoden zu entwickeln,
 \xDH etwas schwierigere Beweise zu f\"uhren.
 \xEj

``Kap.'' bezieht sich - wenn nicht anders explizit gesagt - auf die Kapitel
der
beiden B\"ande  \cite{Sch18}.
\subsection{
Konzepte
}

An mehr oder weniger neuen Konzepten habe ich untersucht:
 \xEh
 \xDH algebraische vs. strukturelle Semantik (Kap. 1.2),
 \xDH abstrakte Gr\"osse als algebraische Semantik f\"ur nicht-montone
Logiken,
in Aussagen- und Pr\"adikatenlogik,
sowie additive und multiplikative Eigenschaften davon, sowie ihre
Verbindung zu logischen Eigenschaften, u.a. auch zu (logischer)
Interpolation.
 \xDH abstrakte Distanz als algebraische Semantik f\"ur Theorie Revision,
Update, Deontische Logik (Kap. 4.3),
 \xDH Definierbarkeits-Erhaltung (definability preservation), d.h.,
ob Operatoren definierbare Modellmengen wieder in definierbare
Modellmengen \"uberf\"uhren, und was passiert, wenn nicht (Kap. 1.7),
 \xDH Abgeschlossenheit der Modellmengen unter $ \xcs $ und $ \xcv $ (Kap.
1.5),
 \xDH Homogenit\"at - das Problem wurde in
 \cite{Sch97-2}, Kapitel 1.3.11, angesprochen, aber erst
in  \cite{GS16}, Kapitel 11, bearbeitet, siehe hier
Kap. 5.7.
Merkw\"urdigerweise wird das Problem in der KI allgemein kaum beachtet, was
daran
liegen mag, dass es auch ein Problem der Erkenntnistheorie ist.
 \xEj
\subsection{
Methoden
}

 \xEh
 \xDH
Meine wichtigste, und fast immer angewandte Methode, ist,
Vollst\"andigkeitsbeweise in zwei Unterbeweise zu trennen, einmal zwischen
Axiomatik und algebraischer Semantik, und dann zwischen algebraischer und
struktureller Semantik. Das trennt die Probleme viel klarer, als Beweise
in einem Schritt zu f\"uhren, und zeigt gemeinsame Probleme (zum Beispiel
mit Definierbarkeit) in teils sehr verschiedenen Beweisen auf.

Z. B. hat die Existenz von interpolierenden Formeln zum Teil mit der
Aussdrucksst\"arke der jeweiligen Sprache zu tun, dass interpolierence
Modellmengen zwar existieren, aber nicht beschrieben werden k\"onnen. Das,
und der Zusammenhang zwischen multiplikativen Eigenschaften der abstrakten
Semantik und Existenz von interpolierenden Modellmengen war zB unerwartet
(Kap. 6).
 \xDH
Mehr im Detail ist meine Methode, Modelle in pr\"aferentiellen
Strukturen mit geeigneten Auswahlfunktionen, oder, in komplizierteren,
transitiven, F\"allen, mit geeigneten B\"aumen, zu indizieren, sehr
erfolgreich,
sie hat auch erlaubt, Beweismethoden auf neue Bereiche zu \"ubertragen,
zB auf Mengen von Folgen (Kap. 1.3).
 \xDH
Zum Beweis der Unm\"oglichkeit von Axiomatisierungen gewisser Gr\"osse
(endlich, oder unendlich, aber von fester unendlicher Gr\"osse)
habe ich, wie \"ublich, Diagonalmethoden benutzt, sie dem jeweiligen
Fall angepasst (u.a. ``Hamsterrad'' in der Theorie-Revision, und die weit
komplizierteren Beweise f\"ur pr\"aferentielle Strukturen ohne
Definierbarkeits-Erhaltung resp. die $ \xbl $-Variante hiervon.)
(Kap. 1.7, 4.3.2)
 \xEj
\subsection{
Resultate
}

Meine wichtigsten Resultate sind wohl
 \xEh
 \xDH eine Reihe von Repr\"asentationss\"atze f\"ur
pr\"aferentielle Logiken,
auch die Trivialisierung resp. Unl\"osbarkeit im \"ublichen Sinne
der $ \xbl $-Variante (Kap. 1.3-1.7),
 \xDH die generelle Bedeutung von Definierbarkeits-Erhalt, sowie von
Abschlusseigenschaften der Definitionsmenge (Kap. 1.7),
 \xDH Repr\"asentation von ``normalerweise'' in der Pr\"adikatenlogik (Kap.
3.3),
 \xDH Distanz-Semantik f\"ur Theorie Revision (mit Lehmann und Magidor),
Unm\"oglichkeit endlicher Axiomatisierung (Kap. 4.3),
 \xDH Interpolation und Verbindung zu multiplikativen Eigenschaften
abstrakter Semantik (Kap. 6.5),
 \xDH abstrakte Unabh\"angigkeit von Funktionenprodukten (Kap. 8).
 \xEj
\clearpage

redpajama_set_name: RedPajamaArXiv


text:
Az 1929–1930-as magyar kupa a sorozat 12. kiírása volt, melyen a
Bocskai FC csapata vidéki egyesületként első alkalommal diadalmaskodott.

Az 1928–1929 évekre nem írták ki a tornát.

Döntő

Külső hivatkozások

Magyarlabdarugokupa
Magyarlabdarugokupa
Magyar labdarúgókupa

redpajama_set_name: RedPajamaWikipedia


Samples from fruit juice vesicle tissue from three lemon genotypes (Frost Lisbon, Faris "sour" and Faris "sweet") differing in fruit acidity were compared at two developmental timepoints (immature, mature). Faris lemon appears to be a graft chimera with the L2 layer derived from normal acid lemon and layer L1 from Millsweet limetta or a closely related genotype. Fruit of Faris sour and Faris sweet grew on different branches of the same tree, with sour fruit developing on branches with L1 and L2 from acid lemon. genotype: Faris sweet lemon - developmental stage: PO:0007009 FF.01 fruit size 30%,(3-replications); genotype: Faris sweet lemon - developmental stage: PO:0007050 FR.03 late stage of fruit ripening,(3-replications); genotype: Faris acid lemon - developmental stage: PO:0007009 FF.01 fruit size 30%,(3-replications); genotype: Faris acid lemon - developmental stage: PO:0007050 FR.03 late stage of fruit ripening,(3-replications); genotype: Frost Lisbon lemon - developmental stage: PO:0007009 FF.01 fruit size 30%,(3-replications); genotype: Frost Lisbon lemon - developmental stage: PO:0007050 FR.03 late stage of fruit ripening,(3-replications) PLEXdb () has submitted this series at GEO on behalf of the original contributor, Mikeal L. Roose. The equivalent experiment is CT1 at PLEXdb.


text:
Home » Football » Analysis » Columns » 5 Things I Liked / Didn't Like
5 Things I Liked: Notre Dame – Navy '12
Frank Vitovitch Follow on Twitter September 2, 2012
Dublin, Ireland. Notre Dame Fighting Irish defensive end Stephon Tuitt #7 recovers a fumble during the American Football game between Notre Dame and Navy from the Aviva Stadium. (Photo - Paul Walsh/Actionplus/Icon SMI)
There was a lot to like in Notre Dame's 40 point win over Navy yesterday from the play of the running backs to the dominant performances along both lines of scrimmage. Here's a recap of the things I liked seeing the most as I watched the Irish open the season at the crack of dawn yesterday.
1. A dominant offensive line.
Remember the days when Notre Dame would line up offensive linemen that towered over the Navy defensive front and would just run, run, run because the Middies couldn't stop them? It has been a while since we've seen it consistently, but we've seen it two years in a row now. Notre Dame ran the ball at will on Saturday to the tune of 296 yards on 46 carries.
With a rookie quarterback, Brian Kelly and Chuck Martin relied on their ground attack to lead them to an easy win over a team that has given Notre Dame much more trouble than they ever should over the last several years. Their plan worked nearly to perfection with Everett Golson easing into his new role. He'll be asked to do more in the coming weeks, but on Saturday he stood behind his stout offensive line and let them lead the way.
2. George Atkinson
Last year I really pumped up Theo Riddick in the pre-season and he didn't quite live up to the hype I created. This summer George Atkinson was the object of my hypification and after one week he is making me look much smarter (no small task) than Riddick a year a go.. The sophomore running back picked up 99 yards on just 9 carries highlighted by a career long 56 yard touchdown.
Atkinson is going to be a dynamic playmaker in this offense. I have no doubt about that at this point and Saturday was the first time in which he started to show why. Even when Cierre Wood returns from suspension, I expect to see Atkinson getting plenty of carries and making the most of them when he does, just as he did on Saturday. It wouldn't surprise me in the least to see Atkinson ascend to the #2 running back on the Irish depth chart by seeason's end as well.
3. Back to back 40 point wins over Navy
When was the last time Notre Dame won back to back games over Navy let alone back to back 40 point wins? You have to go back to 2005-2006 for the last time the Irish won back to back games over the Middies and all the way back to 1993-94 for the last time Notre Dame did so by 40 points or more.
Ten years ago wins over Navy were, for the most part a given, but after 3 losses to the Midshipmen from 2007-2010, a win over Navy had became anything but automatic.
In fact, I still remember sitting in the Meadowlands in 2010 and for the first time having the slightest bit of doubt that Brian Kelly wasn't the man for the job. He still has a long way to go, but after Saturday Kelly has now done something that none of Bob Davie, Tyrone Willingham, or Charlie Weis ever did – beat Navy by 40 or more points in back to back seasons.
By the way, the last time and only other time Notre Dame beat Navy by 40 or more in back to back seasons before '93-94 was 1969-70 under Ara Parseghian meaning Kelly has now joined Lou and Ara as the only Notre Dame coaches to post back to back 40 point wins over Navy. Not bad company.
4. Stephon Tuitt and the defensive line
Notre Dame may have lost pass rushing star Aaron Lynch to transfer in the off-season, but the Irish still have impressive depth up front and a bonafide rising star in Stephon Tuitt. I have watched his fumble return for a touchdown several times now and still can't believe how fast he made it 77 yards for a 300+ lineman. I just can't remember Notre Dame ever having a defensive lineman that big that could move like that in the 13+ years UHND has existed or the 25 or so years that I remember watching Notre Dame football.
Aside from Tuitt, who was really impressive, Kapron Lewis-Moore was all over the field, Kona Schwenke showed great pass rushing skills from the interior line, and Louis Nix was a nightmare to handle in the middle of the defense. Right now, the defensive line for Notre Dame is easily the strength of the defense. How nice is it to be able to say that?
5. The emergence of Ishaq Williams
Tuitt wasn't the only sophomore defender to raise some eyebrows with his performance on Saturday. Outside linebacker Ishaq Williams started to flash all of the skills that made him a 5-star recruit two years ago. Williams forced two fumbles and just stood out every time he was on the field.
A year after adjusting to the college game coming out of a relatively uncompetitive level of high school football, Williams looks ready to emerge as a legit star defender for the Irish. Bob Diaco is going to have a great problem to have getting him and Prince Shembo on the field at the same time very soon.
Other things I liked in Notre Dame's win over Navy
Notre Dame's new pants. For all of the consternation over the uniforms for the Shamrock Series, the uniforms on Saturday honestly looked better than I can ever remember. Notre Dame got their pants to match the color of the new helmets and the result looked great. Good job Adidas.
Cam McDaniel looked more than capable of playing running back in this offense. Based on the need in the secondary he may end up back there, but I really liked what I saw from him yesterday.
TJ Jones on wide receiver screens. Jones only had two catches, but I was impressed with both. Neither looked like they had much blocking but the junior turned both into 10 yard gains.
Notre Dame continuing to be aggressive until the end. I loved seeing Notre Dam scoring a late touchdown with the backups in instead of taking the foot off the gas.
Troy Niklas as a receiving threat looks like a potential replacement in the event Tyler Eifert leaves after this year (which appears more than likely). Niklas looked good on his only catch and will continue to see more plays called his way if backup Ben Koyack doesn't know more consistent hands.
In the brief glimpse we got of him, I liked the burst we saw from Davonte Neal. Kelly and Martin showed just enough to give Purdue something to worry about for next week. I would expect we'll see him a little more next week but that we won't see him fully unleashed until the Irish travel to East Lansing to take on the Spartans of Michigan State in two weeks.
Notre Dame vs Navy 2012 Things I Liked
Brunch with Brian - Reviewing Navy '12
Notre Dame Football Notebook - Navy '12
Rockett55 says:
Front seven looked good keep it up boys. Te'o is a beast loved the way Nix, Lewis-Moore and Tuitt looked up front and Williams really flashed tough schedule this year 1 game at a time.
NDfaninmontereyca says:
I agree with your likes. It was wonderful to see those things happen!
Read this and it made me think of D. Greenbury who left us on signing day.
HOUSTON, WE HAVE A PROBLEM: After going 13-1 last season behind record-setting QB Case Keenum and former coach Kevin Sumlin, Houston came crashing down to earth Saturday with a 30-13 loss to Texas State. Yes, the same Texas State that was playing its first game as an FBS school. Things could get much uglier in the next two weeks with games vs. Louisiana Tech and at UCLA.
Wonder what he's thinking now?
spiceyirish says:
This seems like this is a close-knit squad. Back to having fun.
I would really like to see Cam get more carries with they first team. Send riddick to slot and running back rotation with Wood, Atkinson and McDaniel…Cam was the best RB coming out of Texas…huge upside!
chi-town copper says:
Exactly. No one believed in Peyton Hillis either. He was like 4th string on the depth chart in Denver and look what happened when they gave him a chance. I feel the same about Toby Gerhart, if he wasnt behind Adrian Peterson i think he would be a great back. Run Cam Run!
I love your photo selection on this one. I don't think anyone is going to take the football out of Tuitt's hands after scoring on a fumble. EVER!
HERE COME THE IRISH!
Scav,
I like Kelly being a player's coach this year. You can tell he has confidence in his players now. Not to mention, impressed with no red-faced events! I also like how he immediately went over to Tuitt after his 77 yard run! I think he definately has better rapport with his players as opposed to last year with the CEO approach. So our head coach deserves credit when credit is do! I see some serious team chemistry on the horizon if this mojo continues. What you say?
Here comes the Irish!
JC,
I agree with you, there is a different vibe this year and Kelly has a lot to do with it.
I get the sense that he was trying to fit the mold of what he thought the ND coach should be the first couple of years and now he is going back to what he wants the ND coach to be.
I also think having Martin as his OC is allowing him to evolve into this kind of coach. I don't think he trusted or had the same rapport with Molnar as he does with Martin.
He seems to be a hands on coach with the QB and he is going to take Golson under his wing and turn him into something special.
That's what I say.
TJ says:
Yes- Steph Tuitt's "Shredder Mask" is pretty awesome…especially when he is returning a fumble 70+ yards for a TD.
Just listened to Kelly's teleconference and he was asked about where Tommy fits in this week. Kelly said he will be allowed to compete for the back-up job. So, it seems that Golson is the man going forward.
I'm not following the line about Niklas being a replacement for someone leaving at this year. Is he leaving or someone else?
Tyler has one year left, but is probably going pro this year.
I think you missed Theo Riddick's performance – one of our only players who could start for any team in the country. JP
Joeyknuklehead says:
Bonus Like: Tuitt's face mask.
Justin Tuck special
5 Things I Liked: Notre Dame's Offense Had UNC Defense on Its Heels
5 Things Liked: Notre Dame Pass Rush Awakens, and Chris Tyree Gets the Ball in Win Over Cal
5 Things I Liked: Struggling to Find Positives in An Inexplicable Notre Dame Loss
5 Things I Liked: Notre Dame Does A lot Right In Loss to Ohio State


Random House presents the audiobook edition of The Secretary by Renée Knight, read by Victoria Hamilton.
"A cool, contemporary, whip-smart thriller."
"A black diamond of a thriller - gleaming, sharp, deeply dark - but so much more: a cool, elegant novel with a heartbeat, a pulse, and a sting in its tail."
"Clever, clever, clever. At the black heart of this story is a personal assistant - the colleague in your office who hears and knows everything about everyone - and Renée leads us on a deeply unsettling exploration of the limits of loyalty. Believe me, chats by the photocopier will never be the same…"
"A scintillating double psychological portrait . . . an arresting ending reminiscent of Rendell at her flintiest."
"An explosive tale of revenge that had me completely hooked."
Renée Knight worked as a documentary-maker for the BBC before turning to writing. She is a graduate of the Faber Academy 'Writing a Novel' course, and lives in London with her husband and two children. Her widely acclaimed debut novel, Disclaimer, was a Sunday Times No.1 bestseller. The Secretary is her second novel.


text:
Die Woodward L'Orange GmbH ist eine deutsche Maschinenbaufirma mit Sitz in Stuttgart und zählt zu den weltweit führenden Herstellern von Einspritzsystemen für Großdieselmotoren. Sie hat das erste Serien-Common-Rail-System für große Dieselmotoren entwickelt und produziert. Woodward L'Orange ist Zulieferer der Motorenbauer und seit 2018 Teil von Woodward. Zuvor gehörte die L'Orange GmbH zur Rolls-Royce Power Systems AG.

Geschichte

Am 9. September 1933 gründete Rudolf L'Orange, Sohn von Prosper L'Orange, zusammen mit seinem Bruder Harro die Gebrüder L'Orange Motorzubehör GmbH in Stuttgart. Zunächst fertigten sie Stempel, Zylinder, Nadeln und Nadelführungen für Einspritzpumpen an Flug- und Schiffsmotoren. Zur Firmengründung kam es, da der Vater des Gründers seine Erfindungen und die Herstellungsrechte daran an die Robert Bosch AG verkauft hatte.

In Hamburg gründete L'Orange die Zweigfirma Norddeutsche L'Orange GmbH Hamburg, um die Marine mit seinen Produkten beliefern zu können. Mit dem Aufkommen neuer Antriebstechniken entwickelte und erfand Rudolf L'Orange neue Einspritzsysteme, zum Beispiel die Zweimengendüse für eine kontinuierliche Zerstäubung. Durch die gute Resonanz auf seine Produkte konnte er daraufhin drei weitere Betriebe eröffnen: in Dresden, Niederschöneweide bei Berlin und Neudamm in Pommern. Um der Zerstörung im Zweiten Weltkrieg zu entgehen, wurde der Berliner Betrieb nach Glatten im Schwarzwald verlegt.

1947 wurde nach Kriegsende ein Neubeginn für das junge Unternehmen angestrebt. Zusammen mit Karl Maybach, der L'Oranges Gleichstromsystem für seine schnelllaufenden, leichten Großdieselmotoren für Lokomotiven und Schiffe nutzte, wurde das Unternehmen wieder erfolgreich.
L'Orange entwickelte zusammen mit Maybach um 1950 das Pumpe-Düse-System, das aufgrund verschiedener Vorteile bald darauf für Großdieselmotoren unentbehrlich wurde. Diese Neuerfindung brachte L'Orange so viel Erfolg, dass von Glatten aus bald wieder Zweigbetriebe in München, Hamburg und Stuttgart-Zuffenhausen eröffneten.

Nach dem Tod von Rudolf L'Orange im Jahr 1958 führte seine Witwe das Unternehmen bis 1978 weiter.

ITT Automotive übernahm im Jahr 1979 sämtliche Geschäftsanteile der Familie L'Orange, verkaufte diese aber bereits 1985 weiter an die MTU München. Kurz darauf konnte dann im Jahr 1989 das zweite Produktionswerk in Wolfratshausen eingeweiht werden.
Im Jahre 1995 wurde L'Orange an MTU Friedrichshafen verkauft und schließlich 2006 in den Tognum-Konzern eingegliedert (seit 2014 Rolls-Royce Power Systems).
Im Jahr 2009 wurde dann das Tochterunternehmen L'Orange Fuel Injection Trading (Suzhou) Co., Ltd. in China gegründet. 2014 gründete L'Orange seinen dritten Produktionsstandort in Ningbo (China), der zugleich das erste Werk außerhalb Deutschlands war. Im April 2018 verkaufte Rolls-Royce Power Systems die Firma an den Mitbewerber Woodward in den USA.

Standorte

Woodward L'Orange hat derzeit vier Standorte in Deutschland sowie zwei Tochterunternehmen in China – die L'Orange Fuel Injection Trading Suzhou und die L'Orange Fuel Injection (Ningbo) Co. Ltd.
In Stuttgart-Zuffenhausen befinden sich Geschäftsführung, Entwicklung und Vertrieb. Die Produktion befindet sich einerseits in Glatten bei Freudenstadt, wo das gesamte Produktportfolio gefertigt wird. Am zweiten Produktionsstandort in Wolfratshausen werden Einspritzdüsen fertiggestellt. In Rellingen bei Hamburg und in Suzhou in China befinden sich die Service-Center der L'Orange. Außerdem existierte von 2014 bis 2020 ein dritter Produktionsstandort in Ningbo (China).

Literatur
 Hans-Jürgen Reuß: 75 Jahre L'Orange. In: Hansa. International Maritime Journal. Heft 11/2008, S. 31–32.

Weblinks
 www.lorange.com
 Homepage des Konzerns auf http://www.woodward.com/default.aspx

Einzelnachweise

Produzierendes Unternehmen (Stuttgart)
Einspritztechnik
Gegründet 1933


text:
Le Premier congrès sioniste () est le nom donné au premier des congrès sionistes qui s'est tenu à Bâle, en Suisse, du 29 août au . Ce fut le premier congrès de lOrganisation sioniste (qui deviendra l'Organisation sioniste mondiale en 1960). Il fut réuni et présidé par Theodor Herzl, le fondateur du sionisme moderne. Les conséquences les plus importantes de ce congrès furent : la formulation de la plateforme sioniste, plus connue sous le nom de programme de Bâle ; la fondation de l'Organisation sioniste mondiale ; et l'adoption de l'Hatikvah comme hymne (qui était déjà alors l'hymne des Amants de Sion et qui deviendra plus tard l'hymne national de l'État d'Israël).

 Les origines

Le premier congrès sioniste fut créé par Theodor Herzl en tant que parlement symbolique pour tous ceux qui soutenaient la mise en œuvre des objectifs du sionisme. Initialement, le congrès aurait dû avoir lieu à Munich, en Allemagne. Cependant, en raison de l'opposition des responsables locaux des juifs orthodoxes et des juifs réformés, M. Herzl décida de transférer le rassemblement dans la ville de Bâle. Outre Theodor Herzl, les personnalités les plus connues sont Nordau et Zangwill ; Zadoc Kahn a refusé de s'y rendre, mais a envoyé un message de sympathie ; les dirigeants des Amants de Sion Lilienblum, Ussishkin, Ahad Ha'Am sont présents. Le congrès s'est tenu dans la salle de concert du Casino municipal de Bâle le .

 Le congrès

Theodor Herzl fut le président de ce congrès auquel assistèrent quelque 200 participants, venant de 17 pays, dont 69 étaient des délégués de différentes sociétés sionistes et le reste étaient des personnes présentes à titre personnel. Dix non juifs étaient également dans l'assistance (dont le pasteur William Hechler qui apporta une aide considérable à Theodor Herzl), et ils étaient censés s'abstenir de voter. Dix-sept femmes participèrent au congrès, certaines à titre individuel et les autres accompagnant des représentants, et bien qu'elles participassent, elle n'eurent toutefois pas le droit de voter. Les femmes devinrent membres de plein droit l'année suivante, lors du deuxième congrès sioniste.

Après une cérémonie d'ouverture pendant laquelle les représentants arrivèrent en tenue de soirée, queue-de-pie et cravate blanche, le congrès passa à l'ordre du jour dont les principaux points étaient :
 la présentation des plans de Theodor Herzl ;
 la fondation de lOrganisation sioniste ;
 la déclaration des objectifs du sionisme, le programme de Bâle.

Durant ce congrès, Theodor Herzl fut élu président de lOrganisation sioniste et Max Nordau l'un des trois vice-présidents élus. En outre, un Comité d'actions internes  et un Comité des grandes œuvres furent composés pour s'occuper des affaires du mouvement entre les congrès.

 Le programme de Bâle

Le second jour des délibérations, le 30 août, un texte fut proposé au congrès, issu du travail d'un comité sous la présidence de Max Nordau, et qui stipulait que :
Le sionisme vise à établir pour le Peuple juif une patrie en Palestine qui soit garantie par le droit public.
Cela exprimait clairement le Sionisme politique de Herzl, par opposition aux activités orientées vers l'implantation des Amants de Sion, mouvement moins bien organisé. Pour faire un geste en faveur de la demande de nombreux délégués, dont le principal représentant était Léo Motzkin, qui souhaitaient inclure l'expression « par le droit international », une formule de compromis proposée par Herzl fut finalement adoptée.
Ainsi le programme politique, qui sera ensuite connu sous le nom de Programme de Bâle, énonce les objectifs du sionisme. Il fut adopté dans ces termes :

Le sionisme vise à établir pour le Peuple juif une patrie reconnue publiquement et légalement en Palestine. Pour atteindre cet objectif, le congrès considère que les moyens suivants peuvent être utilisés :
 La promotion de l'établissement en Palestine d'agriculteurs, artisans et marchands juifs ;
 La fédération de tous les juifs, en groupes locaux ou nationaux en fonction des lois de leurs différents pays ;
 Le renforcement du sentiment juif, et de la conscience juive ;
 Toute mesure préparatoire à l'obtention des accords gouvernementaux qui sont nécessaires à la réalisation de l'objectif sioniste.

 Les conséquences
Le premier congrès sioniste est crédité des réalisations suivantes :

 la formulation de la plate-forme sioniste (le programme de Bâle) ;
 la fondation de l'''Organisation sioniste mondiale ;
 l'adoption de l'Hatikvah pour hymne ;
 l'absorption de la plupart des sociétés des Amants de Sion ;
 la suggestion de la constitution d'une banque du peuple ;
 l'élection de Theodor Herzl comme président de cette Organisation sioniste et de Max Nordau comme étant l'un des trois vice-présidents.

Theodor Herzl a écrit dans son journal () :
Si je devais résumer le congrès de Bâle en une seule phrase — que je me garderai de prononcer publiquement — je dirais : à Bâle, j'ai fondé lÉtat juif. Si je disais cela à haute voix aujourd'hui, je serais accueilli par un fou rire général. Peut-être dans cinq ans et certainement dans cinquante ans, tout le monde s'en rendra compte.

 Par la suite…

Les congrès suivants fondèrent différentes institutions pour la promotion de ce programme, notamment une banque du peuple connu sous le nom de Jewish Colonial Trust (devenue depuis la Bank Leumi), qui a été l'instrument financier du sionisme politique. Sa création a été suggérée lors du premier congrès sioniste en 1897 ; le premier pas véritable pour cette institution a eu lieu lors du deuxième congrès sioniste à Cologne, en Allemagne, en mai, 1898. Lors du cinquième congrès sioniste, le Fonds national juif est fondé pour l'achat de terres et, plus tard, la Commission sioniste (qui deviendra lAgence juive) est fondée avec plusieurs filiales pour l'étude et l'amélioration des conditions sociales et économiques pour les Juifs en Palestine.

Le congrès sioniste s'est réuni chaque année de 1897 à 1901, puis, à l'exception des années de guerre, tous les 2 ans entre 1903 et 1913 puis 1921 et 1939. En 1942, une Conférence extraordinaire sioniste a été organisée et a annoncé changement d'orientation fondamental de la politique sioniste traditionnelle, avec la demande que :
la Palestine soit créée comme un Commonwealth juif.Cela devint la position officielle du sionisme sur l'objectif ultime du mouvement..
Depuis la fin de la seconde guerre mondiale, les réunions ont eu lieu environ tous les quatre ans, et depuis la création de lÉtat d'Israël'', le Congrès a lieu à Jérusalem.

Références

Voir aussi

 Organisation sioniste mondiale
 Sionisme
 Histoire du sionisme

Histoire du sionisme
Bâle


Susan Chaityn Lebovitz of the Boston Globe recently wrote a story about me and my buddy Karen Day (author of Tall Tales and No Cream Puffs, both from Wendy Lamb Books). And today, the paper's Jan Gardner included the First Daughter books and sparrowblog in her weekly Shelf Life column. The hometown rag's been good to me.


In a new study, SMU researchers are using a transcranial Doppler ultrasound to help in the diagnosis of concussions.
Diagnosing a concussion can be a subjective endeavor, but Southern Methodist University researchers are investigating college athletes' brains to find more objective signs of a concussion.
"We know this is an understudied area. With other health problems, when the doctor suspects diabetes or hypertension, they don't guess, they run objective tests to confirm the diagnosis. But that's not the case with concussion — yet," said Sushmita Purkayastha, an assistant professor in the Department of Applied Physiology and Wellness at SMU, in a release.
In a new study funded by the Texas Institute for Brain Injury and Repair at UT Southwestern Medical Center, researchers are working to better diagnose concussions by using a transcranial Doppler ultrasound to measure blood vessel function and examine brain blood flow.
"And this method of monitoring blood flow in the brain with ultrasound is noninvasive, inexpensive, and there's no radiation," Purkayastha said.
The study will research 200 male and female college athletes within the next two years. Testing began in August, and researchers plan to have study results by fall 2017.
"The pilot studies so far look promising and our goal is to better understand the mechanism behind injury and design objective markers detecting concussion," Purkayastha said.


text:
La Auto Union AG è stato un gruppo industriale automobilistico, nato dall'unione delle quattro case automobilistiche tedesche DKW, Audi, Horch e Wanderer. Tale gruppo fu fondato nel 1932 a Chemnitz, Sassonia per fare fronte alla Grande depressione. Lo stemma della casa era una figura costituita da quattro cerchi interconnessi allineati orizzontalmente stanti a significare l'unione delle quattro case, anche se in realtà Audi era già stata acquisita da DKW nel 1928.

Storia

Le premesse e la nascita del gruppo

Negli anni venti del secolo scorso, i quattro marchi che in seguito si sarebbero riuniti sotto l'egida dell'Auto Union, tentarono affannosamente di tornare alla produzione di regime dopo il periodo della iperinflazione che colpì gran parte dell'Europa, ed in particolare la Germania, tra il 1920 ed il 1923. La DKW che avviò la sua ripresa sulla base della produzione motociclistica (di cui nel giro di pochi anni sarebbe divenuta la massima esponente mondiale), tentò di espandere la produzione al settore automobilistico, dapprima producendo le vetture Slaby-Beringer, spostandosi poi su vetture elettriche ed infine su vere e proprie autovetture con motore a due tempi, e dai successi alterni. Se alla DKW andò il merito di aver introdotto la trazione anteriore in Europa sui modelli Front, lo stesso non si poté dire dei modelli a trazione posteriore, equipaggiati con un altro propulsore, quest'ultimo soggetto a frequenti guasti. Gli investimenti per tentare di migliorarlo furono tanti e tali (e di talmente scarso successo) da mettere la Casa di Zschopau in serie difficoltà.
Nello stesso decennio, un'altra Casa della Sassonia, l'Audi di Zwickau si trovò alle prese con grandi difficoltà economiche: dei vari modelli proposti nell'arco degli anni venti, solo quelli dei primi anni del decennio, basati su vecchi progetti d'anteguerra, si rivelarono decisivi per dare una possibilità all'Audi di arrivare al 1928, anno in cui, nonostante tutto, dovette essere rilevata dalla
DKW.
A poche centinaia di metri di distanza, sempre a Zwickau, un'altra Casa automobilistica, la Horch, stava fronteggiando gli anni venti nel miglior modo possibile. Dopo ingenti investimenti volti a rinnovare la gamma, la Horch lanciò sul mercato la vettura che avrebbe dovuto riposizionare la Casa al vertice dei costruttori tedeschi, ossia la 670, equipaggiata con un motore V12 da 6 litri. Purtroppo, la vettura non si rivelò all'altezza delle aspettative e ciò, unito alle forti oscillazioni del mercato delle auto di lusso, portò la Horch in una posizione decisamente precaria, anche se a conti fatti, delle quattro Case coinvolte nella storia dell'Auto Union, la Horch fu quella che si presentò all'appuntamento con la crisi economica del 1929 nelle migliori condizioni.
A Chemnitz, circa 45 km ad est di Zwickau, la Wanderer, già forte del successo della sua produzione motociclistica, dei suoi accessori per ufficio (note erano la macchine per scrivere Continental, prodotte dalla stessa Wanderer) e della Puppchen, si apprestò ad ampliare il ventaglio della gamma automobilistica. Per far fronte alle superiori esigenze produttive, nel 1927 trasferì la produzione nel nuovo e più ampio stabilimento di Siegmar. L'investimento per l'acquisto del nuovo stabilimento, però, ebbe l'effetto di un boomerang nel momento in cui esplose la crisi conseguente al martedì nero di New York. Per fronteggiare l'evento, inizialmente la Wanderer si appoggiò su altre aziende, come la Carrozzeria Gläser, la Daimler-Benz e persino Ferdinand Porsche, che da pochissimo aveva aperto il suo studio di progettazioni. Anzi, fu proprio la Wanderer ad essere la prima cliente dell'estroso ingegnere boemo trapiantato a Stoccarda. L'allora direttore commerciale della Casa di Chemnitz, Klaus-Detlof von Oertzen, intrecciò via via dei rapporti sempre più stretti con Ferdinand Porsche, rapporti che avrebbero avuto dei riscontri negli anni a venire.
A quelle che furono le vicissitudini di ognuna delle quattro Case, vanno aggiunti anche altri risvolti più generali. Innanzitutto non va trascurato l'arrivo in Europa di molti modelli americani, molto concorrenziali perché già da tempo utilizzavano il principio della catena di montaggio che riduceva notevolmente i costi di produzione. Dal canto loro, molte delle principali Case europee, per fronteggiare l'iperinflazione d'inizio anni venti, cercarono soluzioni volte all'abbattimento dei costi di produzione e nel contempo alla massificazione della produzione. Il più tangibile contributo in tal senso venne proprio dalla catena di montaggio e dai principi del taylorismo, che molte Case europee, sia pur in ritardo rispetto ai colleghi d'oltreoceano, adottarono. Ma con il crack della Borsa di New York, tali soluzioni si rivelarono controproducenti, poiché molte Case si ritrovarono ad un regime di sovrapproduzione e moltissime vetture rimasero giacenti nei magazzini.
Furono proprio uomini come von Oertzen, già ai vertici della Wanderer, Richard Bruhn, inviato dalla Staatsbank per risanare i conti della DKW, e Moritz Straus, già detentore del pacchetto di maggioranza della Horch, a traghettare il destino delle quattro aziende verso l'unione sotto il marchio della Auto Union, unione che avvenne il 29 giugno del 1932, data di nascita della Auto Union AG, con sede a Zschopau. Al tavolo del Consiglio di Amministrazione del neonato gruppo tedesco sedettero anche J.S. Rasmussen ed August Horch, storico fondatore sia della Horch che dell'Audi.

Gli anni pre-bellici

La produzione di serie

Il programma dell'Auto Union prevedeva di lasciare in vita tutti i quattro marchi che hanno contribuito alla sua nascita, ed ognuno avrebbe ricoperto una certa fascia di mercato. Così, mentre la DKW si sarebbe occupata di moto ed autovetture di fascia bassa, la Wanderer si sarebbe posizionata un gradino più in alto, occupandosi della produzione di vetture di fascia medio-bassa. Ancora più in alto, l'Audi avrebbe condiviso le basi meccaniche con la Wanderer, ma per produrre modelli di fascia medio-alta, con allestimenti più ricchi e motori più potenti. Al vertice si sarebbe trovata la Horch, ancora una volta incaricata di produrre modelli di lusso.
Durante i primi due anni di esistenza, l'Auto Union non sembrò funzionare così bene come prospettato, ma solo perché si trattava di dare un assetto razionale ed efficiente alla produzione automobilistica. La produzione di motocicli, invece, non sembrò conoscere momenti particolarmente critici: la DKW fu ancora la massima produttrice mondiale di moto al momento della nascita dell'Auto Union e la sua reputazione in quel campo era solidissima, anche se la Wanderer non poté più fornire alla DKW alcun appoggio in tal senso (la produzione motociclistica fu fatta cessare già nel 1925).
Un primo grosso guadagnò di notorietà e reputazione si ebbe nel 1934 con l'ingresso dell'Auto Union nel mondo delle competizioni, ma a quella che fu la vera svolta si arrivò solo nel 1936, dopo che i vertici Auto Union si adoperarono per razionalizzare la produzione automobilistica, secondo canoni che all'epoca erano piuttosto innovativi, e che alla fine del secolo sarebbero divenuti la norma, anzi, una necessità per la sopravvivenza di un costruttore automobilistico. In pratica, i quattro marchi dell'Auto Union avrebbero dovuto condividere parti meccaniche, motoristiche e di telaio, laddove possibile, in maniera da contenere i costi di produzione. Per questo motivo, furono in particolare l'Audi e la Wanderer a scambiarsi componenti, ma anche la Horch attinse ampiamente dal calderone dei marchi inferiori. Non vennero però in alcun modo stravolte le singole identità dei marchi, perciò una DKW sarebbe rimasta tale così come per la Horch e per gli altri due marchi. Mentre la Wanderer avrebbe prodotto nel suo stabilimento e la DKW avrebbe utilizzato l'impianto di Zschopau per le moto, l'Audi avrebbe dovuto sfruttare in parte le strutture della Horch, perché il vecchio stabilimento Audi di Zwickau fu utilizzato per la costruzione delle vetture DKW a trazione anteriore.
Nel 1936, la sede dell'Auto Union fu trasferita da Zschopau a Chemnitz, dove vennero create delle suddivisioni per quanto riguarda i settori operativi. Nacquero così lo ZKEB (Zentrales Konstruktions- und Entwicklungsbüro = Ufficio centrale per progettazioni e costruzioni), lo ZVA (Zentrales Versuchsanstalt = Reparto centrale ricerche) ed il KEKB (Karosserie Entwicklungs- und Konstruktionsbüro = Ufficio per lo sviluppo e la costruzione di carrozzerie).
Fu solo dopo tale organizzazione che le cifre di produzione salirono ad alti livelli: nel 1938 la produzione dell'Auto Union rappresentò il 23.4% dell'intera produzione tedesca, posizionando il colosso sassone al secondo posto dopo la Opel, quest'ultima forte della sua fetta di mercato pari al 41%.

Le vetture da competizione

Negli anni trenta, il marchio Auto Union fu utilizzato esclusivamente per la costruzione di automobili da competizione, limitandosi ad apporre il proprio logo sulle vetture Audi, DKW, Wanderer e Horch che continuarono ad essere commercializzate con i marchi d'origine. Le vetture da gara, progettate da tecnici del calibro di Ferdinand Porsche e Rudolf Hruschka, conquistarono numerosi Gran Premi negli anni che precedettero la seconda guerra mondiale.
L'ingresso dell'Auto Union nel mondo delle competizioni si ebbe grazie agli stretti rapporti della Wanderer, ed in particolare di Klaus-Detlof von Oertzen con Ferdinand Porsche. Questi, dopo aver fondato il suo ufficio di progettazioni, trovò proprio nella Wanderer il suo primo cliente. Da lì i rapporti si intensificarono rapidamente: dopo le prime commesse a Porsche, vide come passo successivo quello di entrare nel mondo delle competizioni, perciò già nel 1931 propose a Porsche la progettazione di una vettura da gara. il progetto fu avviato, ma giunse ad una fase ben definita solo alla fine del 1932. Nel frattempo, nacque l'Auto Union e tutti i progetti della Wanderer furono rilevati dal nuovo gruppo automobilistico, compreso quello relativo alla vettura da competizione. Ma inizialmente non fu facile: le ripercussioni della crisi economica tagliarono i fondi anche all'Auto Union, che lasciò tutto quanto in sospeso. Solo con l'ascesa al potere di Adolf Hitler fu possibile tornare sul progetto. Hitler, infatti, era desideroso di promuovere un'immagine sportiva della Germania nazista e tra le varie discipline da lui previste, un posto particolare spettava all'automobilismo. Pertanto il cancelliere tedesco avrebbe fornito a tale scopo dei fondi alle Case costruttrici interessate, allo scopo di investire in tal senso. Fu in quel momento che Porsche ed Auto Union poterono tornare al progetto della vettura da competizione.
Fu così che nel 1934 nacque la Auto Union Type A, la prima della serie di vetture da competizione utilizzate durante gli anni trenta dall'Auto Union. Contemporaneamente, ad un membro dell'Auto Union, August Momberger, fu affidato il nuovo reparto corse Auto Union di Chemnitz, anche se l'assemblaggio fu affidato allo stabilimento di Zwickau. Con il tempo, le Auto Union da competizione si rivelarono via via sempre più agguerrite: schierando l'Auto Union Type C, il costruttore tedesco vinse nel 1936 con il pilota Bernd Rosemeyer il Campionato Europeo Grand Prix, antesignano dell'attuale Campionato di Formula 1.
Tra i piloti spicca il nome del grande Tazio Nuvolari che, al volante di un'Auto Union D, conquistò il Gran Premio d'Italia del 1938. Nuvolari inflisse alla casa tedesca anche una delle più cocenti sconfitte, imponendosi alla guida di un'Alfa Romeo della Scuderia Ferrari, nel Gran Premio di Germania del 1935 sulla pista del Nürburgring, di fronte ai gerarchi nazisti venuti per assistere al trionfo dell'industria tedesca. Tra i vari altri piloti che in quegli anni si alternarono alla guida delle Auto Union, vanno senz'altro ricordati: Hans Stuck, Achille Varzi, Ernst von Delius e Paul Pietsch.

Guerra, dopoguerra ed età moderna

Nella Germania che si preparava allo sforzo bellico, le industrie automobilistiche furono coinvolte nello sviluppo di veicoli militari durante gli anni trenta e l'Auto Union divenne un importante fornitore per le forze armate tedesche. Allo scoppiare della seconda guerra mondiale la produzione civile fu interrotta nel maggio 1940, convertendo tutta la capacità produttiva alle commesse militari.

In quel periodo l'Auto Union produsse, oltre a varie vetture fuoristrada del tipo Einheits-PKW, anche l'autoblindo Sd.Kfz. 222, spinto da un Motore V8 Horch/Auto Union da 81 CV, mentre la Kraftfahrzeug 11 (KFZ 11), conosciuta anche come Horch Typ 830, venne usata per gli spostamenti degli ufficiali tedeschi.

Gli impianti furono bombardati pesantemente e danneggiati in modo grave durante gli ultimi due anni del conflitto e il 17 aprile 1945 la città di Zwickau fu occupata dall'esercito statunitense, ma con il ritiro avvenuto il successivo 30 giugno la città e gli stabilimenti sassoni dell'azienda (gli impianti della Horch - che producevano anche le Auto Union da competizione - e gli impianti Audi) furono occupati dall'Armata rossa.

Nel dopoguerra gli stabilimenti Auto Union in Sassonia furono espropriati dal governo della Repubblica Democratica Tedesca e nazionalizzati. Il gruppo si ricostituì nella Germania Ovest il 3 settembre 1949 come AUTO UNION GmbH, usando altri impianti sopravvissuti e studiando nuovi piani di produzione. Nello stesso anno venne posta la prima pietra per la costruzione del nuovo stabilimento ad Ingolstadt in Baviera. Riprese quindi sia la produzione automobilistica che quella motociclistica, entrambe con marchio DKW. Gli altri tre marchi appartenenti all'Auto Union non vennero utilizzati, anche se la Casa tedesca ne fu ancora la detentrice dei diritti. Tra le produzioni di questo periodo vi furono il modello F89 e le sue evoluzioni successive tra cui le 1000 e 1000 SP (unico caso di utilizzo diretto del marchio Auto Union nel secondo dopoguerra), F89, ma soprattutto i modelli DKW Junior, F11 ed F12  che furono i modelli più popolari nella prima metà degli anni '60. Ci fu anche un veicolo ad uso principalmente militare (per quanto ne sia stata prodotta anche una versione civile), la Munga.

Nel 1958 la società venne acquisita dalla Daimler-Benz, interessata ad ampliare verso il basso la sua gamma, costituita essenzialmente dai modelli Mercedes-Benz (e dagli autocarri-fuoristrada della Unimog). Ma nel giro di breve tempo, la Daimler-Benz rinunciò al suo programma e, nel 1964, cedette l'intera Auto Union alla Volkswagen, con qualche eccezione (i diritti del marchio Horch, per esempio, rimasero alla Daimler-Benz). Nei primi anni furono prodotte autovetture DKW e Audi con il logo a quattro anelli dell'Auto Union, seguendo la tradizione d'anteguerra. In particolare, il primo modello della gestione Volkswagen fu la DKW F102, ultima vettura recante il marchio DKW, e destinata ad essere sostituita dalla Audi 72, prima esponente della famiglia F103 e prima Audi del dopoguerra, capostipite di tutta una serie di generazioni di vetture che sarebbero arrivate fino ai giorni nostri, ritrovando il prestigio perduto nel corso dei decenni passati. Con la cessata produzione automobilistica della DKW, nel 1968, rimasero solamente le Auto Union Audi, pertanto il nome Auto Union continuò ad essere utilizzato. La Volkswagen, proprietaria anche della NSU Motorenwerke AG, decise la fusione delle aziende a partire dal 10 marzo 1969, dando vita alla Audi NSU Auto Union AG. Nel 1985, otto anni dopo la cessazione della produzione della NSU Ro80 avvenuta nel 1977 (ultima automobile commercializzata con quel marchio), il presidente del gruppo Volkswagen Ferdinand Piëch decise di semplificare il marchio dell'azienda, eliminando lo storico Auto Union per sostituirlo con il più semplice Audi.

Note

Bibliografia
 Le leggendarie Auto Union, Gianni Cancellieri e Cesare De Agostini, Edizioni Grafiche Zanini, 1979, 1998, 2014
 Audi, M. Braun - A.F. Storz, Motorbuch Verlag, ISBN 978-3-613-02914-9
 La signora degli anelli, Peter Vann, Giorgio Nada Editore

Voci correlate
 Auto Union Type C
 Frecce d'argento

Altri progetti

Collegamenti esterni


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