Anyway, we have a lot going on with our guild and the national guild so let's get to it.
As a guild, we have a lot of decisions to make in regards to joining the national Modern Quilt Guild (MQG). This is something each member should be thinking about and researching and something we will be discussing more over the next few months.
I can't stress enough how this is the beginning of this discussion and no decisions will be made right away so please do not panic as different ideas are brought up. No decisions need to be made until January 2014.
We will have to pay into the national Modern Quilt Guild in order to use the term Modern Quilt Guild. We would have access to a centralized web site that we could use to contact other guilds more easily (for swaps or meet ups, etc). The MQG has said that any information on this site will not be sold. We would receive discounted entry fees for MQG events, advanced registration on MQG conferences, permission to use the MQG logo, and ability to enter MQG shows. MQG would also help get us insurance for events our local chapter holds for a discounted price. We would also receive a membership cards, a MQG pin, and blog button.
The cost is based on the total number of members. The more members, the higher the cost.
If our guild chooses not to join, individual members can join the MQG as individuals. They would not have access to the data base, but they would get everything else mentioned above.
Con – Some guilds are already set up for being a non profit. This is a lot of work and burn out from members is very high. There would need to be a constant stream of new members to keep the guild going. We would be starting from square one.
Pro – The National Guild would be able to help us get started.
Con – Joining the national guild could result in restrictions on our own autonomy.
Pro – We would be included in all the fabric challenges and have easy access to contact other guilds.
1. Sit back and see what happens. We don't need to do anything until January 2014. It may be wise to see how other guilds are effected before we make the leap.
2. Become our own independent guild. We may have to change our name since MQG may not allow us to use the term MQG. (I like East Bay Contemporary Fabric/Textile Arts Guild).
3. Take the plunge and join the national MQG. A lot of other guilds are really excited about becoming organized.
4. Join East Bay Heritage Quilters. They have invited us to have our own special interests branch of their guild. We could have a members on the board and they would help us pay for speakers and other events.
This is a lot of information and you may be feeling overwhelmed. So we only ask that right now, everyone think about what they want out of our guild. Do you want more social activities? public service projects? swaps? lectures? talks? classes? anything? This is really the best starting place as we begin to navigate this change.
Check out this webinar for more information on the National MQG. You will be required to register, but it is very informative.
Regardless of how we go, we know for sure that we are outgrowing our space. We can't thank Sharona enough for being so gracious with her shop, but we need to find a bigger space! Please contact Stacey for any ideas.
San Jose Museum of Quilts & Textiles made their money!! They were almost forced to close due to lack of funds, but the community rallied and they are now okay. Now time for a field trip.
Our own Kim Anderson not only won the Printed Bolt challenge, but she also won the People's Choice. Congrats!!! The voting for the second challenge just started so go over and check out her new design, Up in the Air!
KIDDING!!!! But seriously, it will be a short meeting followed by margaritas at Picante!!!!
Great notes Lauren! We won't be the same without you. I say group trip to Japan!
Oh.My.Goodness! What are we going to do without you??


text:
The Blind Reviewer
April 13, 2014 herheadacheBudapest, hotel, movie review, Wes Anderson 7 Comments
Friends and family have seen Wes Anderson's latest on-screen masterpiece and they highly recommended I see it too.
I haven't been a huge fan of Wes's films in the past, one or another, here or there maybe. It is undeniable, however, that his style of making movies is different, in our time, from most other modern blockbuster films and their celebrated directors and writers. This one sounded interesting. A hotel in the thirties, I love historical time periods in films. The wide assortment of well-known actors sweetened the deal.
(Beware! Possible spoilers ahead!)
I have had some issues in the past (The Hobbit: The Desolation of Smaug) and so it's never certain the service will be up and working, but it makes it easier for myself and my companion to both be able to concentrate and enjoy the movie.
Not all theatres offer the DVS (descriptive video service) for their movies, so it takes planning to find out where to go. The Grand Budapest Hotel isn't the latest blockbuster and is not in a super wide release.
I placed the headset on as the movie began and it was a good sign when the older woman's voice came through, in my ears.
His movies have an odd and out of place feeling to them, in and amongst most movies of today. The Grand Budapest is no exception. From the very beginning the style is Anderson's own unique feel.
The movie takes place in eastern Europe. From a snowy graveyard to the snowy countryside, on trains and in giant estates and the hotel, the basis for most of the movie.
It took a while to follow the time changes, the three separate stories, through three different generations. This creates a highly effective layering of story lines and also of the lives of the characters.
The film begins with a girl reading a book, the book written by an author about the hotel and this feels like it is speaking directly to me, as a reader, as a writer, and as a movie fan.
One article I saw on the movie was entitled, "Grand Budapest Hotel is more than Fiennes, it's wonderful"; aptly named in my opinion, thanks to the talent of the main character. A favourite of mine, Ralph Fiennes, plays the main starring role and his portrayal in this film is another stellar performance to be sure. He plays Monsieur Gustave, a mysterious hotel manager in a fictional country (a mixture of Russia, Romania, etc) during the thirties. He plays this character with humour and skill. He is witty, flirtatious, and clever. It is hard not too root for him all the way through.
The author is old when the story begins and he is retelling, speaking about the time he stayed at the Grand Budapest and wrote about its history.
The first flashback, soon into the film, is of this writer's experience while staying at the hotel. He meets the elderly owner and manager and learns through this reclusive man the story of how he came to be there.
Once again we are brought back even further, from the eighties to the sixties to the thirties, where most of the movie takes place.
This film has a little bit of everything: luxury and opulence, wartime struggle, mystery and suspense, intrigue and murder. A painting of a boy eating an apple. This particular painting belonged to a very wealthy old woman who Ralph's character has been having a relationship with. When she suddenly ends up dead the fight for the painting begins, between the old lady's family and Fiennes's character, Monsieur Gustave.
Gustave has a new lobby boy working with him who soon becomes his confidant, partner in crime, and best friend. Zero is a memorable name and describes his ranking. However, there is just enough mystery in Monsieur Gustave's past to give hope that Zero could one day be where he now is. Both their pasts are unknown, suggesting a possible orphaned childhood or loss of family, leaving them essentially all alone in the world, until coming across one another.
As Gustave and Zero embark on a journey which begins with the two of them stealing the painting, chaos ensues. Gustave is charged and sent to a harsh prison, where he and some fellow inmates decide to break out, with the help of Zero and the Budapest cake decorator. A romance develops between Zero and this young girl.
Zero soon will do anything to help his protege. From there the old woman's family members chase the painting, which Gustave and Zero have hidden away, all the way to the Budapest. The climactic scene involves the young girl and turns into a shoot-out across the hotel.
This movie ends badly on many levels. It is no happy romantic ending, not in the true movie sense of the term. Zero loses the little family he had, but he has continued to hold on to the hotel that meant so much, where he met the love of his life and family in the most unexpected of ways.
The young writer decides to capture all of this in a book, as he sits down in the lobby of the hotel to write down all that the elderly Zero has retold to him.
Wes Anderson is able to take this movie and turn it into a nostalgic look at a time long gone. He combines artsy with action-packed chase scenes down a ski slope and a bobsled track. He dares to be bold in how he chooses to make his movies, in a time when modern special effects are everywhere.
As a fan of old movies, it is a nice break to see the kind of smart writing style of today mixed with the old vintage feel of the cinematic past.
→ Featured Author Interview with Michael Espinoza
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7 thoughts on "The Grand Budapest Hotel"
tuhinmech says:
Sounds interesting! Nicely narrated!
I have to admit, I have never heard of this movie and I am not sure it would even be one that I would seek out to see, although after reading your review it has intrigued me if the opportunity arises I would give it a chance 🙂
He makes some strange films, but this isn't a bad thing.
Paul Graham says:
Hi Sandy. I have not seen The Grand Budapest Hotel yet but probably will as the trailers and the premise are appealing.
andleeb says:
I have never seen this movie. But the way you have described it to be an old movie in new style so I think it is something wroth watching as always I go for something different as for movies are concerned , I am not a big fan but if I came to know something is different from routine I go for that.
It was a nice review.
It is an unusual movie style by an unusual director. Glad you enjoyed it. Thanks for reading.

redpajama_set_name: RedPajamaCommonCrawl


To add to this I was also suffering from recurring headaches,an overwhelming feeling of lethargy and brain fog in conjunction with an insatiable appetite.
The never ending search for the 'magic pill' has overwhelmed me in ways that you would never imagine, all while having a considerable toll on my wellbeing,time,money and most importantly my health!
After taking part in Tatiana's dietary programe I have lost 32KGs! My blood pressure has stabilised to 120/80 and trust me when I say, I am just so happy because I feel 10 years younger. I can think clearly now and I am just so grateful for meeting Tatiana as she is the very epitome of healthy eating, life values and well-being.


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Incredible. There must have been 3 or 4 whale sharks that we swam with.
For all our Bahía trips, we are working with a local dive company, Ricardo's Diving Tours, to bring our guests the best possible experience as well as support the local ecotourism industry.
The day ended with a whale shark jamboree, with five or six different individuals providing super up close and personal encounters.
Just to have that privilege of diving with the big Pacific mantas and sharks, wow! The last day of diving in the Sea of Cortez, La Reina was so amazing, with nice rock formations, and sea lions swimming around you.


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I love your book reviews, and ending with "You will not be disappointed!!!" (three exclamation points, count 'em 3) is a clear thumbs-up for me. An avid (ferocious!) reader, I've added them to my list. Thank you for the recommendations.
Thank you, Tina, for your warm and kind recommendations of my books. I'm thankful to you for reading them, and for putting a whole post on your blog about them. What an honour!


text:
Die Society for Creative Anachronism (SCA) (dt. Gesellschaft für kreativen Anachronismus) ist eine internationale Organisation von am Mittelalter interessierten Menschen.

Der offizielle deutsche Verbund der SCA ist die 2018 gegründete Gesellschaft für lebendige Geschichte e.V. (GlG).

Eingebettet in eine fiktive Gesellschaftsordnung, die sich in weltweit 20 Königreiche gliedert, widmen sich die Mitglieder der Erforschung und Wiedererschaffung der Künste und Fertigkeiten Europas vor dem 17. Jahrhundert. Das Erleben, zumindest des höfischen Teils, des mittelalterlichen Lebens (sog. Reenactment) steht im Mittelpunkt. Die SCA hat nach eigener Aussage über 30.000 Mitspieler. Die größte SCA-Gruppe Deutschlands ist die Baronie "Knight's Crossing" mit etwa 100 Mitgliedern.

Überblick und Geschichte

Die SCA wurde 1966 als nonprofit corporation SCA, Inc. in den USA von einer Gruppe Mittelalterbegeisterter gegründet. Gründungsmitglieder waren unter anderem die Autorinnen Marion Zimmer Bradley und Diana L. Paxson.
Mit der Gründung der Gesellschaft für lebendige Geschichte e.V. und einem mit der SCA, Inc. abgeschlossenen Affiliierungs-Vertrag existiert seit 2019 eine rechtlich selbstständige SCA-Organisation in Deutschland.

Die Mitglieder der SCA stellen mittelalterliche Kunst, Handwerk und Alltagsaktivitäten nach. Dabei wird alles, vom Nähen, über das Kochen, Schwertkampf bis zur Falknerei, erprobt und umgesetzt. Die behandelte Zeitspanne umfasst über 1000 Jahre europäischer Geschichte. Dadurch entsteht eine anachronistische Mischung aller möglichen Kulturen und Zeitspannen. Beispielsweise können Wikinger mit Personen aus der Zeit Königin Elisabeths interagieren.
Die SCA sieht ihre Tätigkeit als Angewandte oder auch Experimentelle Archäologie, also die Erforschung der Geschichte durch praktisches Anwenden von theoretisch gewonnenem Wissen.
Mitglieder entwerfen, nähen und tragen an das Mittelalter angelehnte Kleidung, bauen Rüstungen, Übungsschwerter ("Streitkolben") und Schilde und bestreiten Turniere.
Des Weiteren produzieren und verkosten die Mitglieder eigenen Wein, Met und Bier.
Die SCA versucht, im Einzelnen historisch korrekte Geschichte darzustellen. Deshalb befasst sie sich nicht mit Magie, Monstern oder ähnlichen Aspekten. Die Ausgestaltung dieses "gegenwärtigen Mittelalters" variiert jedoch von Mitglied zu Mitglied, da der SCA das Miteinander der Mitglieder wichtiger ist als die historische Darstellung nach außen, wie sie zum Beispiel beim Reenactment auf Burgbelebungen und öffentlichen Mittelaltermärkten üblich ist.

Ziel der SCA
Die SCA beschäftigt sich mit dem Studium der Zeit vom 7. bis 17. Jhd. und versucht die Wiederbelebung der positiven Seiten des europäischen Mittelalters, seiner Handwerke, Künste, Traditionen, Literatur, Werte und Errungenschaften zu erreichen. Negative Seiten wie Pest, Armut, Hexenverbrennung und ähnliches werden ausgeschlossen. Sekundärliteratur und primäre Quellen wie Statuen, Gemälde, Manuskripte und Bauwerke werden studiert. Abgeleitet daraus wird versucht ein Objekt, z. B. ein Kleid oder ein Rezept, zu rekonstruieren. Auf diese Art und Weise und je nach Fertigkeit auch in Zusammenarbeit mit Museen werden Erfahrungen über mögliche frühere Fertigkeiten gemacht.
Durch die originalgetreuen Rekonstruktionen sollen moderne Mythen und Vorstellungsweisen über das Mittelalter entkräftet und die theoretische Forschung ergänzt werden.
Dabei ist es jedem Mitglied selbst überlassen, wie stark es diese Forschung betreiben möchte. Ein Teil der SCA-Mitglieder besucht die Treffen und Veranstaltungen hauptsächlich für die Gemeinschaft und das Ambiente, wohingegen andere wissenschaftlich hochwertige Arbeiten in Recherche und experimenteller Archäologie abliefern.

Veranstaltungen

Die SCA besteht aus vielen lokalen Gruppen, die sich teilweise wöchentlich treffen. Bei verschiedenen Veranstaltungen tragen Mitglieder der SCA mittelalterliche Kleidung, tanzen historische Tänze und essen mittelalterliche Gerichte. Bei größeren Veranstaltungen gibt es auch Turniere, Ausstellungen, Wettkämpfe, Vorträge über mittelalterliche Künste, Workshops und oft ein abendliches Festmahl, königliche Hofhaltungen sowie Tänze und Musik. In der Regel sind größere SCA-Veranstaltungen nicht öffentlich zugänglich und bedürfen vorheriger Anmeldung der Teilnehmer.

Struktur
Seit ihren Anfängen 1966 wuchs die Organisation auf über 30.000 Mitglieder in den USA, Kanada, England, Schottland, Irland, Schweden, Finnland, Deutschland, Österreich, Frankreich, Italien, Russland, Polen, Griechenland, Japan, Südafrika, Türkei, Israel, Korea und Australien. Die Mitgliedschaft ist nur für bestimmte Aktivitäten, wie die Ausübung eines Amtes, zwingend.

Die Organisation der SCA lehnt sich an die idealisierte Feudalgesellschaft des Mittelalters an. Die SCA besteht derzeit aus 20 "Königreichen" mit je einem für sechs Monate eingesetzten "Königspaar", einem "Kronprinzenpaar" und einer Anzahl "königlicher Ministerialen", die jeweils die in ihrem Aufgabengebiet anfallende Arbeit koordinieren.

"Drachenwald" ist das Königreich für Europa. Derzeit umfasst Drachenwald die Länder Dänemark, Deutschland, Finnland, Frankreich, Griechenland, Irland, Island, Israel, Italien, Niederlande, Österreich, Schweden, Spanien, Südafrika, Vereinigtes Königreich, sowie kleinere Außenposten in Afghanistan, Kuwait, Irak, Rumänien und der Schweiz (primär durch das US-Militär).
In Drachenwald gibt es auch zwei Fürstentümer (Principalities): "Nordmark" (Schweden) und "Insulae Draconis" (Vereinigtes Königreich, Irland, Island).

Ein Königreich unterteilt sich in die verschiedenen Gruppen vor Ort, je nach Größe und Struktur Shire, Kanton, Baronie, Provinz oder Fürstentum genannt (generell werden hier die englischen Begriffe verwendet). Auch dort sind wieder Ministeriale am Werk und Baronen- und Fürstenpaare als Vertreter der Krone. In Deutschland existieren mehrere Shire und Kantone sowie übergreifend die Baronie Knight's Crossing, die sich seit dem Frühjahr 2018 über ganz Deutschland erstreckt.
Die Ministerialen sind freiwillige Helfer, die ihr jeweiliges Amt für eine Amtszeit übernehmen.

Interessensgebiete innerhalb der SCA

Grundsatz und Persona
Alle Mitglieder der SCA gelten aufgrund des Fokus als höfische Kultur grundsätzlich als niederer Adel. Daher gibt es im SCA-Spiel keine Bauern, Händler, Mägde, Söldner und ähnliche Personen, diese werden aber dennoch dargestellt bzw. deren Leben erforscht. Oft entwickeln Mitglieder eine sogenannte Persona, um die Lebensgeschichte einer Person, die in der fraglichen Zeit hätte existieren können, in die geschichtlichen Abläufe sowie die regional- und lokalpolitischen Gegebenheiten der Zeit einzupassen und so einen Aufhänger für Recherchen über die jeweilige Epoche zu haben.

Mittelalterliche Kampfkünste

Der Schwertkampf der SCA basiert auf dem Fußkampf bewaffneter Ritter, wie er z. B. im mittelalterlichen Kolbenturnier stattfand, und folgt einem eigenen Regelwerk. Es gibt ihn als Duell oder als Gruppenkampf.
Der Kämpfer selbst entscheidet, ob ihn der Schlag, den er erhalten hat, im Ernstfall verwundet oder getötet hätte. Wenn dieser einen Schlag als zu leicht empfunden hat, geht der Kampf weiter.
Um Verletzungen zu vermeiden, wird in richtigen Rüstungen aus Metall, Leder, Stoff und mit Rattanwaffen, gekämpft. Rattan ist ein tropisches Gras, aus dem z. B. Möbel gemacht werden. Es entspricht im Gewicht und Schlagverhalten den mittelalterlichen Waffen. Elastisch wie Bambus, hat es aber keinen hohlen Kern, splittert deswegen weniger leicht und nimmt einen Teil der Wucht aus dem Schlag. Die Oberfläche wird zusätzlich durch eine Schicht Textilklebeband geschützt und von der Farbe her Metall angeglichen.
Die wesentlichen Körperteile wie Kopf, Nacken, Wirbelsäule, Ellbogen, Knie, Nieren, Hände und Genitalien müssen dabei durch genau festgelegte Rüstung geschützt werden. Die meisten Kämpfer entscheiden sich jedoch freiwillig mehr Rüstung zu tragen, um auch den Torso, die Arme und die Beine zu schützen.

Bevor er eigenverantwortlich kämpfen darf, wird ein Anfänger von erfahrenen Kämpfern trainiert. Dieses Training nimmt üblicherweise einige Zeit in Anspruch und soll sicherstellen, dass der Kämpfer im Gefecht weder sich noch andere tatsächlich verletzt. Teil dieses Trainings ist es auch, leichte, nicht verletzende Schläge von schweren zu unterscheiden. Kommt der Getroffene zu dem Schluss, der Schlag hätte ihn durch die Rüstung hindurch verwundet, wird er bei einem Treffer der Gliedmaßen die Benutzung dieses Körperteils einstellen. Wird er an Torso oder Kopf getroffen, ist der Kampf zu Ende. Als Abschluss dieses Trainings findet dann eine Prüfung des Kämpfers durch mehrere Marschälle statt.

Beim gerüsteten Kampf gibt es unterschiedliche Waffenkombinationen, z. B. Schwert und Schild, Zweihänder, Lanze, Streitaxt, Stangenwaffen und Speer

Zu den weiteren Formen des Kampfes zählen auch das Bogenschießen, Fechten mit Stahlschwertern sowie die Verwendung von Wurfwaffen und Belagerungsgeräten.

Kunst und Handwerk
Die Mitglieder der SCA befassen sich mit allen Arten von alten Handwerken und Künsten. Neben der Erforschung unter Zuhilfenahme von Primär- und Sekundärquellen steht häufig vor allem das tatsächliche Ausprobieren und Herstellen im Mittelpunkt. Die Erfahrungen, Erkenntnisse und Techniken werden auf SCA-Veranstaltungen und örtlichen Treffen in sogenannten "Classes" unter den Mitgliedern besprochen bzw. unterrichtet. Neben dem einfachen Wissenstransfer wird hier auch die gegenseitige Zusammenarbeit gefördert, um gemeinsame Projekte zu gestalten. So werden zum Beispiel Urkunden illuminiert, die anschließend von anderen Mitgliedern kalligrafiert werden. Ein besonders aufwändiges Projekt ist das sogenannte "Calf-to-Codex", bei dem SCA-Mitglieder aus über 20 verschiedenen Künsten und Handwerken gemeinsam einen Kodex erschaffen haben.

Viele Mitglieder stellen ihre Ergebnisse in Form von Blogs mit Anleitungen und Mustern der Öffentlichkeit zur Verfügung.

Dienst an der SCA
Viele Mitglieder legen einen starken Fokus auf ein Engagement für die internen Abläufe und Strukturen der SCA. Sie arbeiten auf verschiedenen Ebenen in den Ämtern oder kümmern sich um die Organisation von Veranstaltungen. Dabei steht auch in diesem "Service" die Förderung der Gemeinschaft und der Wissenstransfer, wie man zum Beispiel Projekte angeht, im Vordergrund.

Namen und Wappen in der SCA

Mitglieder und Gruppen der SCA tragen mittelalterlichen Namen. Diese müssen für die jeweils dargestellte Zeit anhand von Quellen nachgewiesen werden.

Wappen müssen den generellen, mittelalterlichen Praktiken der Heraldik entsprechen. Die SCA hat ein eigenes Heraldikkollegium mit einer Datenbank, das die Mitglieder bei der Auswahl ihrer Namen und Wappen unterstützt. Namen und Wappen darf dann nur der Antragsteller innerhalb der SCA verwenden. Weiterhin darf man bei Namens- und Wappenerstellung nicht gegen geltendes Urheberrecht verstoßen. Es ist also beispielsweise nicht erlaubt, ein reales Familienwappen ohne die Zustimmung des Führenden zu verwenden.

Auszeichnungen, Titel und Ränge in der SCA

Die SCA hat ein ausgeprägtes System von Titeln und Ehrungen, die von der Krone für die verschiedensten Leistungen und Verdienste an einzelne Mitglieder verliehen werden. Sie sind nicht selbst ernannt, erblich oder käuflich, sondern persönlich. Alle Auszeichnungen folgen einer genau festgelegten Rangfolge, an dessen Spitze der Hochadel als höchstmögliche Auszeichnung steht.

Die SCA kennt zwei Arten des Hochadels, sog. Peers: den königlichen und den verliehenen Hochadel.
Der königliche Hochadel besteht aus den ehemaligen Fürsten- und Königspaaren. Ex-Fürsten werden zu Landgrafen, Ex-Fürstinnen werden zu Landgräfinnen. Wer einmal ein Königreich regiert hat, wird Graf/Gräfin. Nach dem zweiten Mal wird man Herzog/Herzogin.

Die andere Form des Hochadels sind Mitglieder, die aufgrund von Talent, harter Arbeit und fortwährender Anstrengung Auszeichnungen für ihre Mühe verliehen bekommen.
Es gibt vier verschiedene Formen dieser Auszeichnung, die die gleichen Grundvoraussetzungen haben:
 Ehrenhaftes und höfliches Verhalten
 Vertrautheit mit höfischem Verhalten
 Nachweis des Einsatzes für den Verein und dessen Ideale.
Die vier Orden sind gleichrangig.

Der älteste ist der "Order of Chivalry", der die Ritter beinhaltet. Kämpfer, die herausragende Kampffertigkeiten und beispielhafte Tapferkeit, Ritterlichkeit und Ehrenhaftigkeit gezeigt haben, werden in ihn aufgenommen.
Der nächste ist der "Order of the Laurel", der Künstlern und Handwerkern verliehen wird, die sich durch Forschungen über mittelalterliche Fertigkeiten, ihre Bereitschaft diese Kenntnisse weiterzugeben und ihre künstlerischen Fähigkeiten auszeichnen. Der Lorbeerkranz wurde den Siegern der griechischen Olympiaden, großen Dichtern usw. verliehen und galt als Symbol für Leistung und Erfolg.
Als dritte Gruppierung gibt es den "Order of the Pelican", verliehen für außergewöhnliche Anstrengungen für die SCA. Der Pelikan war im Mittelalter Symbol der Opferbereitschaft. Ihm wurde nachgesagt, er öffne sich in der Not die Brust, um mit seinem Blut seine Jungen zu nähren.
Im fünfzigsten Jahr ihres Bestehens wurde in der SCA ein vierter Hochadelsorden gegründet, der "Order of Defense". In ihn werden die besten Stahlfechter der SCA aufgenommen.

Die Krone verleiht die diversen Titel und Auszeichnungen aufgrund von Vorschlägen aus der Mitgliederschaft.

Siehe auch
 Reenactment
 Schaukampf
 LARP
 Living History

Literatur
 John Clute: The Encyclopedia of Fantasy. Orbit, London 1997, ISBN 1-85723-368-9, s.v. Society for Creative Anachronism.

Weblinks

 Barony of Knight's Crossing (größte SCA-Gruppe in Deutschland)
 Liste der Gruppen des Königreiches Drachenwald
 Dragon's Tale – der Newsletter des Königreiches Drachenwald

Einzelnachweise

Subkultur

redpajama_set_name: RedPajamaWikipedia


Laura Geller Cheek Colors in juicy and sweet shades!
I remember what initially drew me to Laura Geller Beauty. It was her, Laura Geller, and her smile.
I used to watch her when she appeared on QVC. That was years ago– maybe even 15 years! But she hasn't changed a bit. Just this morning I saw an adorable picture of her on Instagram. As for her products, it was the baked beauty collection that beckoned to me, and there is where I was introduced to the quality of her facial powders. That was where I really caught my enthusiasm for her products. To this day Laura Geller's baked "goods" make me feel lighthearted and put me in the mood to have fun.
If you've read my blog you probably noticed that I tend to post a lot on brands that I love. Laura Geller is a brand I have been loving for a long time, and am now getting around to writing more about. One product in particular that I've loved to death and used for years, is her Baked Body Frosting in Tahitian Glow. Talk about a good deal! You get .85 oz of baked bronzer for $45. I finally had to get rid of mine after it literally lasted over 2 years.
In case you aren't familiar with it, Baked Body Frosting is a body bronzer (or highlighter in the lighter colors) that you can apply dry or wet.
"Baked Body Frosting is for whenever you want to show a little skin, and your skin deserves to be polished to perfection. A moisturizing, silky smooth powder that adds the warmth of bronze, or pearly luminosity, to the body.
Sugar Glow is like wrapping yourself in moonbeams – sheer, luminous and totally romantic.
My intention today was not actually to talk about the Body Frosting, but to show you some of my favorite Laura Geller cheek colors, and introduce some shades that are new to me. Note that many of the items mentioned or shown in this post were purchased and used by me on my own, but a few were provided to me as a courtesy for promotional use. I am most thankful to receive them! As always, opinions are real and mine alone.
I would never have thought to buy "Cantaloupe" for myself, because I have this conception (mis-conception actually!) that I can't wear warm colors like peach or orange. I am so happy I received this color though, because I would have walked right past it and picked out Rosewater, but that is so similar to everything other blush I own! Cantaloupe on the other hand, is something totally new to me. When I swatched it on my hand I could see that it is very creamy and buildable. If you like to have control over color payoff you'll get it here. Of course, you can always chose to apply it very lightly for a sheer look.
On me this color just shows up on my facial skin and provides an accent to bronzer. But on lighter skins you would see a pop of color. Even though it's too light for me to wear all alone, I ended up loving this product and this color, Cantaloupe! For reference I am light-to-medium skin toned with pink undertones, and have brown eyes and hair. I do use self-tanner so my complexion is often boosted to medium-to-tan.
I have Blush-N-Brighten in Pink Buttercream, Pink Grapefruit, Dreamsicle, and now Tropic Hues too! Let's look at some swatches of the different colors and products side-by-side.
Interestingly I think that Pink Grapefruit, Pink Buttercream, and Tropic Hues look kind of similar when in these photos. However you can be sure that in person they are obviously different. I would say that Dreamsicle is the coolest of the shades, followed by Pink Buttercream. Tropic Hues is warm and fruity / juicy, to my eyes. It combines the warmth of a bronzer with saturated cheek colors.
The comparison swatches really give you a sense of how bright and beautiful Cantaloupe is. It is a "true" color rather than a mix of shades. It's isn't matte but it's not shimmery like the permanent Blush-N-Brighten colors. You can really see the nuances coming out in the Blush-N-Brighten colors, created from those random swirls of colors.
In my next Laura Geller posts I'm going to show you some side-by-sides of her Baked Balance-N-Brighten foundation shades and Bronze-N-Brighten bronzers and play around and admire her Lip Colors. In the meantime, I'm curious to know whether you've tried the Baked Gelato Vivid Swirl Blushes too? What colors do you wear in Laura Geller's blushes, and what is your skin tone?


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text:
Magnesium nitrate refers to inorganic compounds  with the formula Mg(NO3)2(H2O)x, where x = 6, 2, and 0.  All are white solids.  The anhydrous material is hygroscopic, quickly forming the hexahydrate upon standing in air. All of the salts are very soluble in both water and ethanol.

Occurrence, preparation, structure
Being highly water soluble, magnesium nitrate occurs naturally only in mines and caverns as nitromagnesite (hexahydrate form).

The magnesium nitrate used in commerce is made by the reaction of nitric acid and various magnesium salts.

Use

The principal use is as a dehydrating agent in the preparation of concentrated nitric acid.

Its fertilizer grade has 10.5% nitrogen and 9.4% magnesium, so it is listed as 10.5-0-0 + 9.4% Mg. Fertilizer blends containing magnesium nitrate also have ammonium nitrate, calcium nitrate, potassium nitrate and micronutrients in most cases; these blends are used in the greenhouse and hydroponics trade.

Reactions
Magnesium nitrate reacts with alkali metal hydroxide to form the corresponding nitrate:

 Mg(NO3)2 + 2 NaOH →  Mg(OH)2 + 2 NaNO3.

Since magnesium nitrate has a high affinity for water, heating the hexahydrate does not result in the dehydration of the salt, but rather its decomposition into magnesium oxide, oxygen, and nitrogen oxides:
2 Mg(NO3)2 → 2 MgO + 4 NO2 + O2.
The absorption of these nitrogen oxides in water is one possible route to synthesize nitric acid. Although inefficient, this method does not require the use of any strong acid.

It is also occasionally used as a desiccant.

References

Liquid Chemistry
Nitromagnesite Mineral Data
Magnesium Nitrate MSDS

Magnesium compounds
Nitrates
Oxidizing agents


text:
Q: Finding the third point of an equilateral triangle in three dimensions.
The coordinate of A is (4,-3,5) and the coordinate B is (6,7,8). Find the coordinate of C such that triangle ABC forms equilateral triangle

It is easy to work in two dimension Cartesian coordinates. But I have no clue how to do this in three dimensions.

A: Clearly, there are a lot of points $C$ that satisfy this.
For two points $(x_1, y_1, z_1)$ and $(x_2, y_2, z_2)$ in 3D space, the distance $d$ is given by:
$$d = \sqrt{(x_2 - x_1)² + (y_2 - y_1)² + (z_2 - z_1)²}$$
Now, if we let the unknown point $C = (x,y,z)$ and know that $ABC$ is equilateral, this means each side must have length:
$$AB=\sqrt{(6-4)²+(7--3)²+(8-5)²}=\sqrt{113}$$
Hence we get the two equations
$$AC = \sqrt{(4 - x)² + (-3 - y)² + (5 - z)²} = \sqrt{113}$$
$$BC = \sqrt{(6 - x)² + (7 - y)² + (8 - z)²} = \sqrt{113}$$
Squaring both sides provides us with
$$(4 - x)² + (-3 - y)² + (5 - z)² = (6 - x)² + (7 - y)² + (8 - z)²$$
which simplifies to:
$$4x+20y+26z=99$$
Picking any $x,y,z$ that satisfy this equation (and are not a false root) gives you a valid point $C$.

A: The distance between the points $(4|-3|5)$ and $(6|7|8)$ is $\sqrt{(6-4)^2+(7+3)^2+(8-5)^2}$ or $\sqrt{2^2+10^2+3^2}$ or $\sqrt{4+100+9}$ or $\sqrt{113}$. Since the segment connecting the two points forms one of the sides of an equilateral triangle, the other two sides wil be of the same length. On the circle constituting the intersection of the two spheres $\begin{cases}
(x-4)^2+(y+3)^2+(z-5)^2=113\\
(x-6)^2+(y-7)^2+(z-8)^2=113\\
\end{cases}$, any point will be a candidate for the sought-after third vertex. Here is the parametric form for this circle:
$\begin{cases}
x=f(10,3,-20)\\
y=f(4,0,13)\\
z=f(13,-2,-30)\\
\end{cases}$, where $f(a,b,c)={{a\sqrt{13}+b\sqrt{339}\cos\theta+c\sqrt 3\sin\theta}\over{2\sqrt{13}}}$.
This form, I think, will be the most useful to @user87398.

redpajama_set_name: RedPajamaStackExchange


text:
Nothofagus nuda est une espèce de plantes de la famille des Nothofagaceae.

Publication originale
 Fl. Males. 7(2): 285. 1972.

Notes et références

Liens externes

Nothofagaceae
Espèce d'Angiospermes (nom scientifique)


text:
Русский Путь () — перевал в Восточных Карпатах через Верховинский Вододельный хребет на границе Закарпатской и Львовской областей Украины недалеко от вершины Великий Верх (1309 м). Высота 1190 (1217) м. Через перевал проходит пешеходная тропа, соединяющая сёла Буковец и Либохора.

После Первой мировой войны через перевал прошла чехословацко-польская граница. После аннексии Венгрией территории нынешнего Закарпатья (тогдашней Подкарпатской Руси) здесь прошла венгерско-польская граница. С сентября 1939 года до июня 1941 перевал стал венгерско-советской границей. После присоединения Закарпатья к Советскому Союзу перевал стал снова лишь административной границей Львовской и Закарпатской областей, Воловецкого и Турковского районов.

Перевал в Первую мировую войну использовала русская армия для обхода укреплений противника в ходе Брусиловского прорыва, а в 1944 году во время Великой Отечественной его захват сыграл большую роль для 1-й гвардейской армии в составе 4-го Украинского фронта для обхода линии Арпада, на протяжении восемнадцати дней штурмовавшей этот участок без поддержки артиллерии, поскольку орудийные тракторы и колёсные тягачи не могли одолеть местные скальные подъёмы. Об этих событиях напоминает большой металлический крест, стоящий на перевале.

Примечания

См. также
Список перевалов Украинских Карпат

Топографические карты

  (смотри также перевал Русское-Седло на линии Керзона)

Восточные Карпаты
Перевалы Украинских Карпат


The use of animal serum in cell culture is vital for providing the nutrient factors required to promote proliferation and function. Fetal calf serum has become the preferred choice because of its abundance, reasonable cost, and ability to sustain human cells in vitro. Although a wide variety of serum sources have been tested and used, little is known about the ability of serum obtained from the American black bear (Ursus americanus) to support human cell growth in culture. The American black bear, an animal comparable in size to humans, is unique in that it hibernates for mo at a time but does not experience extensive bone loss normally associated with extended immobility. The aim of this study was to analyze the effect of bear serum on human osteoblast cultures. We discovered that three of the eight bear serum samples induced significantly higher proliferation rates in osteoblasts than did fetal calf serum over a 24-h period. Osteoblasts incubated in bear serum displayed higher messenger ribonucleic acid levels for phenotype markers osteocalcin and type I collagen than did those incubated in fetal calf serum. The mitogenic activity of the bear serum was reduced when heated at 56° C for 30 min before use in culture. The molecular weight of the mitogenic factors was found to be primarily greater than 50 kDa. The present work demonstrates the capability of serum from American black bears to support human osteoblast proliferation in vitro.


text:
\section{Introduction}
Exclusive hadronic reactions which require the production of heavy
quark-antiquark pairs are, to a large extent, cleaner and easier
to handle than those in which only light flavors are involved. On
the one hand, certain elementary reaction mechanisms can already
be ruled out from the beginning due to the small heavy-flavor
content of the quark sea. On the other hand, the mass of the heavy
quark itself can serve as a hard scale so that there is a good
chance that QCD perturbation theory provides a substantial part of
the process amplitude already at moderately large energies.

The simplest elementary reaction mechanism for the process we are
interested in, namely $p \bar{p} \rightarrow \Lambda_c
\bar{\Lambda}_c$, is depicted in Fig.~\ref{Fig:Factorization}.
This is the mechanism which we assume to be dominant in the
forward hemisphere for energies well above production threshold.
We are going to analyze it in terms of generalized parton
distributions~\cite{Radyushkin:1997ki},\cite{Ji:1996nm}.
\begin{center}
\begin{figure}[h]
\begin{center}
\epsfig{file=p_antip.eps,width=6cm,clip=} \caption{Double-handbag
contribution to $p\bar{p} \rightarrow \Lambda_c\bar{\Lambda}_c$.}
\label{Fig:Factorization}
\end{center}
\end{figure}
\end{center}

\section{Kinematics}
We denote particle momenta and helicities as shown in
Fig.~\ref{Fig:Factorization}. For our purposes it is most
convenient to work in a center-of-mass frame, in which the
light-cone (LC) components of the proton and $\Lambda_c$ momenta
are parameterized as
\footnote{We use the following convention for the LC components of
a 4-vector $v$: $v = \left[ v^+ , v^- , \VEC{v}_\perp \right]$
with $v^\pm = 1/\sqrt{2} \left( v^0 \pm v^3 \right)$ and
$\VEC{v}_\perp = \left(v^1 , v^2\right)$.}
\begin{equation}
  p = \left[ \left(1+\xi\right) \bar{p}^{+},
  \frac{m^2+\VEC{\Delta}_\perp^2 / 4}{2\left(1+\xi\right)\bar{p}^{+}},
  -\frac{\VEC{\Delta}_{\perp}}{2} \right]
  \, \quad \hbox{and} \quad  p^{'} = \left[ \left( 1-\xi\right) \bar{p}^{+},
  \frac{M^2 +
  \VEC{\Delta}_{\perp}^2 / 4}{2\left( 1-\xi\right)\bar{p}^{+}},
  \frac{\VEC{\Delta}_{\perp}}{2} \right],
\end{equation}
respectively. $M$ stands for the $\Lambda_c$ mass and m for the
mass of the proton. The corresponding antiparticle momenta are $q
= \left[ p^- , p^+ , \VEC{\Delta}_{\perp}/2 \right]$ and
$q^{\prime} = \left[ p^{\prime -} , p^{\prime +} ,
-\VEC{\Delta}_{\perp}/2 \right]$. The average of proton and
$\Lambda_c$ momenta $\bar{p} = \frac12 \left(p +
p^{\prime}\right)$ defines the longitudinal direction and the
4-momentum transfer is specified by $\Delta = p^{\prime} - p = q -
q^{\prime}$. The relative momentum transfer in longitudinal
direction is given by the \lq\lq skewness parameter\rq\rq
\begin{equation} \xi \equiv \frac{p^+ - p^{\prime +}}{p^+ + p^{\prime +}} = -
\frac{\Delta^+}{2\bar{p}^{+}}.
\end{equation}

\section{Factorization}
If the dynamical mechanism underlying $p  \bar{p} \, \rightarrow
\, \Lambda_c \bar{\Lambda}_c$ scattering is given by
Fig.~\ref{Fig:Factorization}, the corresponding scattering
amplitude can be written as
($k_i^{\mathrm{av}}=(k_i+k_i^\prime)/2$)
\begin{equation}
\begin{split}
& M_{\mu^{'}\nu^{'}, \mu \nu} =
 \int d^4 k_1^{\mathrm{av}} \theta\left(k_1^{\mathrm{av}\, +}\right)
 \int \frac{d^4 z_1}
 {\left(2\pi\right)^4}\,\, e^{i\, k_1^{\mathrm{av}} z_1}
 \int d^4 k_2^{\mathrm{av}} \theta\left(k_2^{\mathrm{av}\,-}\right)
 \int \frac{d^4 z_2}
 {\left(2\pi\right)^4}\,\, e^{i\, k_2^{\mathrm{av}} z_2}
 \, H \left(k_1^\prime , k_2^\prime; k_1 , k_2\right)  \\
& \times \langle \Lambda_c : p^{'}, \mu^{'} |
 T \bar{\Psi}^{c}\left(-\frac{z_1}{2}\right) \Psi^{u}\left(\frac{z_1}{2}\right)
 |  p : p, \mu \rangle
  \langle \bar{\Lambda}_c : q^{'}, \nu^{'} |
 T \bar{\Psi}^{u}\left(\frac{z_2}{2}\right) \Psi^{c}\left(-\frac{z_2}{2}\right)
 | \bar{p} : q, \nu \rangle ,
\end{split}
\label{Eq_ProcessAmplitude}
\end{equation}
with  $H \left(k_1^\prime , k_2^\prime; k_1 , k_2\right)$
representing the scattering amplitude for the elementary
subprocess
\begin{equation} u\left(k_1 , \lambda_1 \right) \, \bar{u}\left(k_2 , \lambda_2
\right) \, \rightarrow
   \, c(k_1^{'} , \lambda_1^{'} ) \, \bar{c}(k_2^{'} , \lambda_2^{'}
   )\, .
\end{equation}
The hadronic matrix elements describe the emission of a light
(anti)quark by the (anti)proton and the absorption of a charm
(anti)quark by the (anti)$\Lambda_c$. For better readability we
have suppressed helicity labels as well as color and spinor
indices (and corresponding sums) for the quarks.

In order to simplify the right-hand-side of
Eq.~(\ref{Eq_ProcessAmplitude}) we make a few plausible
assumptions. In analogy to Compton scattering~\cite{Diehl:1998kh},
\cite{Diehl:1999tr} we assume that the process is dominated by
partons with restricted virtualities and transverse momenta. To be
more precise, we demand for the active (anti)quarks that $k_i^2
\lesssim \Lambda^2$ and $\vert k_i^{\prime\, 2} - m_c^2\vert
\lesssim \Lambda^2$ (cf. Fig.~\ref{Fig:Factorization} for the
assignement of (anti)quark momenta). The relative transverse
momentum components should satisfy
\footnote{The plus-components of parton momentum $k$ and hadron
momentum $p$ are related by $k^+ = x p^+$. For further purposes it
is also convenient to introduce an \lq\lq average\rq\rq\ momentum
fraction of the active quarks, i.e. $\bar{x}_1 =
(k_1^{\mathrm{av}\, +})/(\bar{p}^+)$ (and analogously for the
active antiquarks)}
\begin{equation} \tilde{\VEC{k}}_{\perp i}^2 / x_i \, \lesssim \, \Lambda^2 ,
\quad \hat{\VEC{k}}_{\perp i}^{\prime 2} / x_i^{\, \prime} \,
\lesssim \, \Lambda^2\, ,
\end{equation}
with $\Lambda$ being a hadronic scale of the order of $1$~GeV and
$m_c$ the charm-quark mass. The restrictions  for the transverse
momenta are supposed to hold in the hadron in/out frames
(tilde/hat), in which the corresponding parent hadrons carry no
transverse momenta. Analogous constraints should also hold for
spectator partons. Furthermore, the hadronic matrix elements
represented by the blobs in Fig.~\ref{Fig:Factorization} are
assumed to exhibit a pronounced peak at $x_0 = m_c / M \approx 0.6
- 0.7$. This assumption reflects the expected behavior of
light-cone wave functions for the $\Lambda_c$ and is also
supported by similar observations for heavy-quark fragmentation
functions.

Since the virtuality of the gluon in the subprocess amplitude has
to be at least $4 m_c^2$, it occurs to be natural to take the
charm-quark mass $m_c$ as a hard scale. Under the foregoing
assumptions on the parton momenta it is then a good approximation
to neglect the relative transverse momenta
($\tilde{\VEC{k}}_{\perp i}$  and $\hat{\VEC{k}}_{\perp
i}^{\prime}$) of the (anti)quarks in the subprocess amplitude $H
\left(k_1^\prime , k_2^\prime; k_1 , k_2\right)$ and to replace
the momenta of the active quarks $k_i^{(\prime)}$ by (on-shell)
momenta $\bar{k}_i^{(\prime)}$ which are collinear to those of the
corresponding hadrons. With these approximations in the subprocess
amplitude most of the integrations in
Eq.~(\ref{Eq_ProcessAmplitude}) can be done analytically. The
resulting delta functions enforce a light-like separation of the
fields in the hadronic matrix elements. This allows us to drop the
time ordering of the fields. Due to our assumption on the hadronic
matrix elements it is also justified to apply a \lq\lq peaking
approximation\rq\rq\ to the subprocess amplitude (i.e. replace all
$x_i$ by $x_0$). In this way we are able to write the hadronic
amplitude as a product of integrals over soft hadronic matrix
elements with a hard partonic subprocess amplitude:
\begin{equation}
\begin{split}
M_{\mu^{'}\nu^{'}, \mu\nu}(p^\prime, q^\prime; p, q)  &= H
\left(\bar{k}_1^\prime , \bar{k}_2^\prime; \bar{k}_1 ,
\bar{k}_2\right)\vert_{x_i^{(\prime)}=x_0}\,\\  &\times
  \int d k_1^{\mathrm{av}\, +} \, \theta(k_1^{\mathrm{av}\, +})\,
  \int \frac{d z_1^-}{2\pi} e^{i k_1^{\mathrm{av}\, +} z_1^-}
  \langle \Lambda_c : p^{'}, \mu^{'} |
  \bar{\Psi}^{c} \left(-\frac{z_1^-}{2}\right)
  \Psi^{u} \left(\frac{z_1^-}{2}\right)
 |  p : p, \mu \rangle\\
  &\times  \int d k_2^{\mathrm{av}\, -} \theta(k_2^{\mathrm{av}\, -}) \,
 \int \frac{d z_2^+}{2\pi} e^{i k_2^{\mathrm{av}\, -} z_2^+}
  \langle \bar{\Lambda}_c : q^{'}, \nu^{'} |
  \bar{\Psi}^{u} \left(\frac{z_2^+}{2}\right) \Psi^{c} \left(-\frac{z_2^+}{2}\right)
 |\bar{p} :  q, \nu \rangle .
\end{split}
\label{Eq_ProcessAmplitudeFactorized}
\end{equation}
The subprocess amplitude can be calculated perturbatively, whereas
the hadronic matrix elements describe the non-perturbative
transitions of the (anti-)proton to the (anti-)$\Lambda_c$ by
emission of a (anti)$u$ quark and reabsorption of a (anti)$c$
quark. It are just the hadronic matrix elements which give rise to
generalized parton distribution functions (GPDs) and to form
factors, which are essentially $1/x$ moments of the
GPDs~\cite{Radyushkin:1997ki}, \cite{Ji:1996nm}. Therefore we will
have a closer look on them.

After some algebraic manipulations (insertion of energy- and
helicity-projectors, etc.) the first double integral in
Eq.~(\ref{Eq_ProcessAmplitudeFactorized}) can be split up into
three (independent) terms of the form
\begin{equation}
 \int_\xi^1 \frac{d\bar{x}_1}{\sqrt{\bar{x}_1^2-\xi^2}} \phantom{x} \bar{p}^+
 \int \frac{d z_1^-}{2\pi} e^{i \bar{x}_1 \bar{p}^+ z_1^-}
 \BRA{\Lambda_c : p^{'} \mu^{'}}\,
 \bar{\Psi}^c\, \Gamma \, \Psi^u
 \,\KET{p : p \mu } =:
 \int_\xi^1 \frac{d\bar{x}_1}{\sqrt{\bar{x}_1^2-\xi^2}} \phantom{x}
 \mathcal{H}^{cu}_{\mu^{'}\mu}\left(\Gamma\right),
\label{Eq_HadronicMatrixElements}
\end{equation}
where $\Gamma = \gamma^+ , \gamma^{+} \gamma_5$, or
$i\sigma^{+j}$. $\gamma^+$ and $\gamma^{+} \gamma_5$ demand for
the same helicity of the emitted and absorbed parton, whereas $i
\sigma^{+j}$ is associated with a helicity flip. At this point the
GPDs are introduced by decomposing
$\mathcal{H}^{cu}_{\mu^{'}\mu}\left(\Gamma\right)$ into its
covariant structures:
\begin{equation}
 \mathcal{H}^{cu}_{\mu^{'}\mu}(\gamma^+)
 = \bar{u}\left(p^{'} , \mu^{'}\right) \left[
 H^{cu}\left(\bar{x}, \xi , t\right) \gamma^+ +
 E^{cu}\left(\bar{x}, \xi , t\right) \frac{i\sigma^{+\nu}\Delta_\nu}{M+m}
 \right] u\left(p , \mu\right)\, ,
\label{Eq_MathcalH}
\end{equation}
\begin{equation}
\tilde{\mathcal{H}}^{cu}_{\mu^{'}\mu}(\gamma^+ \gamma_5)
 = \bar{u}\left(p^{'} , \mu^{'}\right) \left[
 \tilde{H}^{cu}\left(\bar{x}, \xi , t\right) \gamma^+ \gamma_5
 + \tilde{E}^{cu} \left(\bar{x}, \xi , t\right) \frac{\gamma_5
 \Delta^+}{M+m} \right] u\left(p , \mu\right)\, ,
\label{Eq_MathcalHTilde}
\end{equation}
\begin{equation}
\begin{split}
 \mathcal{H}^{Tcu}_{j \mu^{'}\mu}(i \sigma^{+j})
 & = \bar{u}\left(p^{'} , \mu^{'}\right) \left[
 H_T^{cu} \left(\bar{x}, \xi , t\right) i \sigma^{+j} +
 \tilde{H}_T^{cu} \left(\bar{x}, \xi , t\right) \frac{\bar{p}^+ \Delta^j
 - \Delta^+ \bar{p}^j}{Mm} + \right. \\
 & \left. E_T^{cu} \left(\bar{x}, \xi , t\right)
 \frac{\gamma^+ \Delta^j - \Delta^+ \gamma^j}{M+m} +
 \tilde{E}_T^{cu} \left(\bar{x}, \xi , t\right)
 \frac{\gamma^+ \bar{p}^j - \bar{p}^+ \gamma^j}{(M+m)/2}
 \right] u\left(p , \mu\right).
\end{split}
\label{Eq_MathcalHT}
\end{equation}
Analogous results hold for the hadronic matrix elements of the
antiparticles.

What enters the scattering amplitude are rather moments of the
GPDs than the GPDs themselves. It is thus convenient to introduce
form factors
\begin{equation} R_i\left( \xi , t \right) = \int_\xi^1 \,
\frac{d\bar{x}_1}{\sqrt{\bar{x}_1^2-\xi^2}} \, F_i\left( \bar{x} ,
\xi , t \right), \label{Eq_FormFactorDef} \end{equation}
where $F_i$ stands for any of the transition GPDs introduced in
Eqs.~(\ref{Eq_MathcalH}) -- (\ref{Eq_MathcalHT}). In our notation
the form factors $R_V ,\, R_T ,\, R_A ,\, R_P ,\, S_T ,\, S_{V1}
,\, S_S ,\, S_{V2}$ correspond to the GPDs $H ,\, E ,\, \Tilde{H}
,\, \Tilde{E} ,\, H_T ,\, E_T ,\, \Tilde{H}_T ,\, \Tilde{E}_T$,
respectively.

Combining Eqs.~(\ref{Eq_HadronicMatrixElements}) --
(\ref{Eq_FormFactorDef}) and inserting them into
Eq.~(\ref{Eq_ProcessAmplitudeFactorized}) allows us to write the
hadronic scattering amplitude in terms of these, a priori unknown,
form factors and the hard subprocess amplitude. The result is a
rather lengthy expression. Fortunately, some of the form factors
can be neglected. By taking different helicity combinations for
the matrix elements in Eqs.~(\ref{Eq_MathcalH}) --
(\ref{Eq_MathcalHT}) we observe that all the form factors apart of
$R_V , R_A$ and $S_T$ (corresponding to the GPDs $H , \Tilde{H}$
and $H_T$) must vanish in forward direction, since they are
connected with orbital angular momentum. Also for large Mandelstam
$t$ these form factors should be suppressed (as compared to $R_V ,
R_A$ and $S_T$) by powers of $\sqrt{-t}$, depending on how many
units of angular momentum are involved. We therefore expect the
following hierarchy of the form factors:
\begin{equation} |R_{V}| \, , |R_{A}| ,\,  |S_{T}| \, >> \, |R_{T}| ,\,
|R_{P}| ,\, |S_{S}| ,\, |S_{V1}| ,\,  |S_{V2}|.
\label{Eq_FFHierarchy} \end{equation}
In $M_{\mu^{'}\nu^{'}, \mu\nu}(p^\prime, q^\prime; p, q)$ a
further suppression of contributions coming from helicity flip
form factors is caused by the corresponding subprocess amplitudes.
We therefore neglect all helicity-flip form factors apart of
$S_T$. This provides us with comparably simple expressions for the
$p \bar{p} \, \rightarrow \, \Lambda_c \bar{\Lambda}_c$ helicity
amplitudes in terms of the form factors $R_V , R_A$ and $S_T$ and
the subprocess amplitudes:
\begin{eqnarray}
M_{+\pm , +\pm} &=& \frac{C_F}{2N_C} \left(1-\xi^2\right) H_{+-,+-} \left( R_V^2 \mp R_A^2 \right), \\
M_{-- , ++} &=& 0, \\
M_{-+ , +-} &=& \frac{C_F}{N_C} \left(1-\xi^2\right) H_{-+,+-} S_T^2 , \\
M_{++ , \pm\mp} &=& \frac{C_F}{2N_C} \left(1-\xi^2\right) H_{++,+-} S_T \left( R_V + R_A \right), \\
M_{\mp\pm , ++} &=& \mp \frac{C_F}{2N_C} \left(1-\xi^2\right) H_{++,+-} S_T \left( R_V - R_A \right),
\label{Eq_HelicityAmplitudes}
\end{eqnarray}
with
\begin{eqnarray}
H_{+-,+-} &=& -8\pi\, \alpha_s (x_0^2 s )\,  \cos^2
(\theta_{\mathrm{cm}} / 2 )\, , \qquad H_{-+,+-} = 8\pi\, \alpha_s
(x_0^2 s )\,  \sin^2 (\theta_{\mathrm{cm}} / 2)\, , \\ H_{++,+-}
&=& -8\pi\, \alpha_s (x_0^2 s )\,  \frac{M}{\sqrt{s}}\,
\sin\theta_{\mathrm{cm}}\, , \qquad\quad\!  H_{++,-+} =
H_{++,+-}\, .
\end{eqnarray}
$C_F=4/3$ denotes the color factor, $N_C=3$ is the
number of colors. The remaining helicity amplitudes are
related by parity invariance,
\begin{equation} M_{-\mu^{\prime}-\nu^{\prime} , -\mu -\nu} =
\left(-1\right)^{\mu^{\prime}-\nu^{\prime}-\mu+\nu} \,
M_{\mu^{'}\nu^{'} , \mu\nu}\, .
\end{equation}
For a more detailed account of these results and their derivation
 we refer to Ref.~\cite{Goritschnig:2008}.

\section{Modelling the GPDs}
The kinematical requirement for the production of a $c\bar{c}$
pair $x \gtrsim 2 x_0 M/\sqrt{s}$ implies that $x >
\xi$.\footnote{This is also the reason why the integral in
Eq.~(\ref{Eq_FormFactorDef}) starts from $\xi$ and not from $0$.}
We are thus in the DGLAP region where GPDs can be modelled as
overlap of light-cone wave functions of the proton and the
$\Lambda_c$~\cite{Diehl:2000xz}. For the $\Lambda_c$ it is
certainly a good approximation to consider only its valence Fock
state. For the proton higher Fock states may be important,
but the required overlap with the $\Lambda_c$ projects out only
appropriate spin-flavor combinations of its valence Fock state.

As a first attempt we consider a simple quark-diquark model for
the baryons. We assume that a baryon consists of an active quark,
which undergoes the hard scattering, and a diquark, which acts as
a spectator. For the $\Lambda_c$ the diquark has to be a
spin-isospin scalar. In Ref.~\cite{Kroll:1988cd} $p \bar{p} \,
\rightarrow \, \Lambda_c \bar{\Lambda}_c$ has already been studied
within a quark-diquark model, but without using the general
framework of GPDs. For our present investigation we will take a
quark-diquark wave function for the $\Lambda_c$  which is similar
to the one used for a calculation of heavy-baryon transition form
factors~\cite{Korner:1992uw}:
\begin{equation} \KET{\Lambda_c^+ : \pm} = \KET{c_{\pm} S_{\left[ud\right]}}
\quad \text{with} \quad \Psi_{\Lambda}(x,k_\perp)  = N_{\Lambda}
\, \left(1-x\right) \,
e^{-\frac{a_{\Lambda}^2}{x\left(1-x\right)}\VEC{k}_{\perp}^2} \,
e^{ - a_{\Lambda}^2 M^2
\frac{\left(x-x_0\right)^2}{x\left(1-x\right)}}.
\label{Eq_LambdaWaveFct} \end{equation}
$x$ denotes the momentum fraction carried by the quark. The
quark-diquark wave function of the proton, on the other hand, is
chosen similar to the one in Ref.~\cite{Kroll:1988cd}:
\begin{equation} \KET{p: \pm}(x,k_\perp) = \KET{u_{\pm} S_{\left[ud\right]}}
\quad \text{with} \quad \Psi_p(x,k_\perp)  = N_p \,
\left(1-x\right) \, e^{-
\frac{a_p^2}{x\left(1-x\right)}\VEC{k}_{\perp}^2}.
\label{Eq_ProtonWaveFct} \end{equation}
These are pure $s$-wave wave functions and hence all GPDs apart of
$H$, $\tilde{H}$ and $H_T$ will vanish. Within this model the
quark should have the same helicity as the baryon, which implies
$\Tilde{H}=H$. Likewise, also $H_T$ is non-zero and we even have
\begin{equation} H_T = \Tilde{H} = H \, ,
\end{equation}
i.e. we are left with a single GPD. For the model wave functions
(\ref{Eq_LambdaWaveFct}) and (\ref{Eq_ProtonWaveFct}) the overlap
integral can be done analytically  with the result
\begin{equation}
\begin{split}
H&(\bar{x},\xi,\Delta_\perp^2)  =  \left(\frac{N_{\Lambda}
N_p}{16\pi^2}\right) \frac{1}{\left(1-\xi\right)^{3/2}}
\frac{\left(1-\bar{x}\right)^3 \left(\bar{x}^2 -
\xi^2\right)}{a_{\Lambda}^2 \left(1-\xi\right)^2
\left(\bar{x}+\xi\right) + a_p^2 \left(1+\xi\right)^2
\left(\bar{x}-\xi\right)} \\
& \times \exp\left[ - a_{\Lambda}^2 M^2 \frac{\left(\bar{x} - \xi
- x_0\left(1-\xi\right)\right)^2} {\left(\bar{x}-\xi\right)
\left(1-\bar{x}\right)}\right]
 \exp\left[- \VEC{\Delta}_{\perp}^2 \frac{a_{\Lambda}^2 a_p^2 \left(1-\bar{x}\right)}
 {a_{\Lambda}^2 \left(1-\xi\right)^2
\left(\bar{x}+\xi\right) + a_p^2
\left(1+\xi\right)^2\left(\bar{x}-\xi\right)}\right].
\end{split}
\label{Eq_GPD}
\end{equation}
With this GPD we can now evaluate the form factor $R \equiv R_V =
R_A = S_T$.

\section{Numerical Results and Conclusions}
For our numerical calculations the transverse size parameters
$a_\Lambda=a_p=1.1$~GeV$^{-1}$ are chosen in such a way that they
provide a value of $\approx 300$~MeV for the mean intrinsic
transverse momentum $<k_\perp^2>^{1/2}$ of a quark inside a
baryon. The wave function normalizations are fixed such that the
probabilities to find the quark-diquark states in a proton or a
$\Lambda_c$ are $0.5$ and $0.9$, respectively. The $x$-dependence
for the resulting transition GPD $H$ at different values of $t$
(i.e. different values of the skewness parameter $\xi$) is shown
in Fig.~\ref{Fig_GPDandFF}. Shown in the same figure is also the
corresponding (scaled) transition form factor $R$ as a function of
$t$. With this form factor the unpolarized differential and
integrated cross sections for  $p \bar{p} \, \rightarrow \,
\Lambda_c \bar{\Lambda}_c$ are easily evaluated. Corresponding
predictions are plotted in Fig.~\ref{Fig_CrossSection}. The
integrated cross section is of the order of nb, i.e. comparable in
magnitude with the result in Ref.~\cite{Kroll:1988cd}. This is
still in the range of high precision experiments. Whether
predictions from more realistic three-quark wave functions will be
comparable to the outcome of this simple quark-diquark model is
presently under investigation~\cite{Goritschnig:2008}.

\begin{figure}[hbt]
   \subfigure{\epsfig{file=gpd_VS_x_s_is_30.eps,height=4.3cm,clip=}}
   \hfill
   \subfigure{\epsfig{file=t_rr_VS_t_s_is_30.eps,height=4.3cm,clip=}}
   \vspace{-0.3cm}\caption{{\em Left:} The transition GPD $H$ in the quark-diquark model versus $\bar{x}$ at
   Mandelstam $s = 30~\text{ GeV}^2$ for $\Delta_{\perp}^2 = 0 \text{ (solid)}, \, 2
   \text{ (dashed)} , \, 4 \text{ (dotted)} \text{ GeV}^2$
   (corresponding to $-t = 1.13 ,\, 3.30 ,\, 5.54 \text{GeV}^2$ or $\xi = 0.11 ,\,
   0.12 ,\, 0.14$).
   {\em Right:} The transition form factor $R$ scaled by $|t|$ in the quark-diquark
   model versus $|t| \, \left[\text{GeV}^2\right]$ for Mandelstam $s=30\text{ GeV}^2$.}
    \label{Fig_GPDandFF}
\end{figure}
\begin{figure}[hbt]
   \subfigure{\epsfig{file=dsdomega_VS_costheta_logplot_s_is_30.eps,
   height=4.4cm,clip=}}
   \hfill
   \subfigure{\epsfig{file=sigma_VS_s.eps,height=4.3cm,clip=}}
   \vspace{-0.3cm}\caption{{\em Left:} The $p  \bar{p} \, \rightarrow
    \, \Lambda_c \bar{\Lambda}_c$ differential cross section $d\sigma
    / d\Omega$
   versus $\cos \theta_{\mathrm{cm}}$ at Mandelstam $s=30\text{ GeV}^2$.
            {\em Right:} The $p  \bar{p} \, \rightarrow
    \, \Lambda_c \bar{\Lambda}_c$ integrated cross section $\sigma$
   versus Mandelstam $s$.}
    \label{Fig_CrossSection}
\end{figure}

\vspace{-0.5cm} \acknowledgments{{\noindent A.T.G. acknowledges
the support of the \lq\lq Fonds zur F\"orderung der
wissenschaftlichen Forschung in \"Osterreich\rq\rq (project DK
W1203-N08).\small}}

redpajama_set_name: RedPajamaArXiv


text:
WVD Edu
Talks and articles
Voice Caring
Warm up exercises
WVD activities in Chongqing General Hospital–Free Clinic and Lecture
By admin China
Description: The doctors of the Department of Otolaryngology Head and Neck Surgery, Chongqing General Hospital held free clinic activities and lecture activities for more than 200 patients on World Voice Day 2019, which was reported Tencent Dayu Network Health Channel.
Date: 2019-4-13
Time: 9:00-12:00
City/place: Chongqing Venue address: 312 Zhongshan Road, Yuzhong District, Chongqing, China
Performer/s: Department of Otolaryngology Head and Neck Surgery, Chongqing General Hospital
Contact: Hongyan Fang, Department of Otolaryngology Head and Neck Surgery, Chongqing General Hospital
The information is provided by the organiser who is responsible for it.
« Free Clinics in Chongqing Iron and Steel General Hospital
WVD activities in Chongqing General Hospital–Free Clinic and Lecture »
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text:
package com.google.cloud.dataproc.templates.databases;

import static com.google.cloud.dataproc.templates.util.TemplateConstants.*;

import com.fasterxml.jackson.annotation.JsonIgnore;
import com.fasterxml.jackson.annotation.JsonProperty;
import com.fasterxml.jackson.databind.DeserializationFeature;
import com.fasterxml.jackson.databind.ObjectMapper;
import jakarta.validation.constraints.NotEmpty;
import jakarta.validation.constraints.Pattern;
import java.util.Properties;
import org.apache.spark.sql.SaveMode;

public class CassandraToGCSConfig {

  static final ObjectMapper mapper =
      new ObjectMapper().configure(DeserializationFeature.FAIL_ON_UNKNOWN_PROPERTIES, false);

  @JsonProperty(value = CASSANDRA_TO_GSC_INPUT_KEYSPACE)
  @NotEmpty
  private String keyspace;

  @JsonProperty(value = CASSANDRA_TO_GSC_INPUT_TABLE)
  @NotEmpty
  private String inputTable;

  @JsonProperty(value = CASSANDRA_TO_GSC_INPUT_HOST)
  @NotEmpty
  private String host;

  @JsonProperty(value = CASSANDRA_TO_GSC_OUTPUT_FORMAT)
  @NotEmpty
  @Pattern(regexp = "avro|parquet|orc|csv|json")
  private String outputFormat;

  @JsonProperty(value = CASSANDRA_TO_GSC_OUTPUT_SAVE_MODE)
  @NotEmpty
  @Pattern(regexp = "Overwrite|ErrorIfExists|Append|Ignore")
  private String saveMode;

  @JsonProperty(value = CASSANDRA_TO_GSC_OUTPUT_PATH)
  @NotEmpty
  @Pattern(regexp = "gs://(.*?)/(.*)")
  private String outputpath;

  @JsonProperty(value = CASSANDRA_TO_GSC_INPUT_CATALOG)
  private String catalog = "casscon";

  @JsonProperty(value = CASSANDRA_TO_GSC_INPUT_QUERY)
  private String query;

  public String getKeyspace() {
    return keyspace;
  }

  public String getOutputFormat() {
    return outputFormat;
  }

  public String getOutputpath() {
    return outputpath;
  }

  public String getHost() {
    return host;
  }

  public String getInputTable() {
    return inputTable;
  }

  public String getSaveModeString() {
    return saveMode;
  }

  public String getQuery() {
    return query;
  }

  public String getCatalog() {
    return catalog;
  }

  @JsonIgnore
  public SaveMode getSaveMode() {
    return SaveMode.valueOf(getSaveModeString());
  }

  @Override
  public String toString() {
    return "{"
        + " inputTable='"
        + getInputTable()
        + "'"
        + ", keyspace='"
        + getKeyspace()
        + "'"
        + ", outputFormat='"
        + getOutputFormat()
        + "'"
        + ", outputPath='"
        + getOutputpath()
        + "'"
        + ", catalog='"
        + getCatalog()
        + "'"
        + ", saveMode='"
        + getSaveModeString()
        + "'"
        + ", inputHost='"
        + getHost()
        + "'"
        + ", inputQuery='"
        + getQuery()
        + "'"
        + "}";
  }

  public static CassandraToGCSConfig fromProperties(Properties properties) {
    return mapper.convertValue(properties, CassandraToGCSConfig.class);
  }
}

redpajama_set_name: RedPajamaGithub


text:
Napolitano Wins Maiden Challenger Title In Ortisei
The 21-year-old Italian cruised past fellow Italian Alessandro Giannessi in the singles final of the ATP Challenger Val Gardena. Kevin Krawietz and Albano Olivetti won back-to-back doubles title.
Final ceremony in Ortisei (photo: Marco Wanker)
ORTISEI, November 13, 2016
Stefano Napolitano is the champion of the €64,000 Sparkassen ATP Challenger Val Gardena, held at the Tennis Club Ortisei. The 21-year-old from Biella won the all-Italian-final against third seed Alessandro Giannessi 6-4, 6-1 on Sunday afternoon.
Napolitano, who appeared in his only second title match on the ATP Challenger Tour, saved all of the four break points he faced, converting four of his own to prevail in only 64 minutes.
"I am feeling problems with my knee," a disappointed Giannessi said. "I wasn't at 100 per cent but Stefano fully deserved to win the tournament."
Stefano Napolitano (photo: Marco Wanker)
Napolitano is the only second Italian to claim the title in Ortisei, following Andreas Seppi, who emerged victorious in 2013 and 2014.
"It has been a tough match right from the beginning. I am sorry for Alessandro, as he wasn't physically at his best in the second set. But I am also happy that he played a great season. Maybe there will be a chance for another final for us here next year," Napolitano told afterwards.
"Nonetheless, I am happy to claim the title. Winning in Italy against a fellow countryman makes it even more special. Thanks to my family and friends!"
By lifting his first Challenger title, Napolitano earns €9,200 in prize money as well as 90 ATP Ranking points. He captured the title in Ortisei without losing his serve and will continue the season at the ATP Challenger in Brescia next week.
Albano Olivetti and Kevin Krawietz (photo: Marco Wanker)
Krawietz And Olivetti With Back-To-Back Titles
Earlier the day, Kevin Krawietz of Germany and Frenchman Albano Olivetti clinched the doubles title, winning the final 6-4, 6-4 over Frank Dancevic from Canada and Marko Tepvac of Serbia. The encounter lasted just under one hour of play. Krawietz and Olivetti lifted their second consecutive Challenger trophies, following their triumph in Eckental last week.
This entry was posted in ATP Challenger Ortisei, ATP Challenger Tour and tagged Albano Olivetti, Alessandro Giannessi, ATP Challenger Tour, Kevin Krawietz, Ortisei, Stefano Napolitano, Val Gardena.