As A Window on Italy – The Corsini Collection exhibition comes to a close on the 18 June, we catch up with Voluntary Guru Guides Stephanie Watson and Louise Gillett to find out which work was their favourite and what they've enjoyed most about the exhibition.
Guiding the Corsini has been an exciting ride. To date, I have conducted 18 public tours with four more to go before the show finishes. Researching and preparing has been hugely interesting and I learn more with each tour as patrons ask questions and provide opinions.
The Botticelli, of course! To witness Botticelli's poignant intention to suggest the Crucifixion in a work depicting Christ as an infant, is very moving. The rendering in tempera with all of the attendant precision and expertise seems to exemplify the artist's deep Christian conviction, a desire to assert belief in the face of rampant humanism. The classical restraint, beauty and symmetry of those faces- breathtaking! It is always rewarding to guide this work; to provide the Christian explanation to patrons who are not aware of it and to witness the knowing nods of those who are familiar with the narrative and symbolism. This sharing of knowledge and experience in front of great art is what drives me as a Guide.
While Botticelli's touching painting "Madonna and Child with Six Angels" is undoubtedly the star of the show, I am also drawn to Giovanni Santi's modest work. For me, its evocation of "Birth of Venus" relates to one of the world's great artistic treasures.
Giovanni Santi's painting of the Muse of History, Clio, shows her not with her traditional scroll, but enveloped in the gorgeous, swirling drapery of her beautiful blue gown. Fittingly, blue was the most expensive of paint pigments. Her hair floats behind her, echoing not only the movement of her dress but also the trees in the background.
A hallmark of the Renaissance is the device of framing; here rocks and vegetation surround the central image. Another was a renewed interest in the classical world, which interestingly, sat comfortably with the deeply religious mood of the time. Clio's almost bare feet reflect the philosophy of humanism and naturalism which was replacing the waning Medieval ethos.
The 'flatness' of the figure and detachment of the Muse are also elements of that earlier style. The traditional medium of egg tempera on wood panel soon to be overtaken by the new material of oil on linen has also been used. Giovanni's far more famous son Raphael began his education in the studio of his father at the Palazzo of the Duke of Urbino. While his soaring talent soon outstretched his father's, this painting can still charm us with its beauty.
A special moment in one of my tours was the texting conversation between one of the visitors to the exhibition and her cousin who was at work in the Palazzo Corsini in Florence at that very moment, bringing extra life to this wonderful exhibition.
With so many stories behind each work, our fantastic guides have captured the imagination of over 30,000 visitors since the opening of the exhibition. We thank them for their amazing work.
It was Tom Moore's meticulous attention to detail and execution of a unique concept that captured the attention and votes of the Tom Malone Prize judges this year. We talk to Tom Moore about his award-winning piece the Pyrotechnic puffer fish and the challenges facing glass artistry.
Tell us how you came to the idea of the Pyrotechnic puffer fish?
I have been researching how the wider cultural context of Renaissance Italy influenced the kinds of glass objects that were produced and the social functions and meanings of these objects.
During the 16th-century, objects displaying the fine network of white glass lines such as in these goblet-bowls were thought to be imbued with miraculous properties and were collected in cabinets of curiosity alongside specimens of unicorn horn and pufferfish. I saw one of these pufferfish in a Museum in Florence and could not get it out of my head. It seemed weirdly aware of its placement in the collection. This species has an extremely satisfying form to translate and inflate as hot glass.
Renaissance glassmakers were closely aligned with alchemists. The transformation of sand and plant-ash into glass through the intense heat of the furnace was regarded as a marvellous demonstration of human ingenuity and virtuous artifice. The burning match is intended as a reminder of the pyrotechnic nature of this material. The absurd drinking vessel in the form of a bent funnel refers to laboratory apparatus and to a rich tradition of trick-glasses that were surprising to look at and intentionally difficult to use. The position of the pufferfish as oversized stems adds to the joke.
It's a very detailed and beautiful piece of work. How long from conception to completion did this project take and were there any challenges along the way?
It is difficult to calculate the amount of time taken to complete complex objects such as these because there are several processes involved over several weeks. Designing the work and preparing all the parts takes many hours. I complete a full-scale drawing that is meticulously planned. Coloured and clear glass is combined and stretched to make patterned rods. These are used to create the fine patterned lines within the blown forms, and all the small parts: eyes, fins, teeth, match and flame. The final forming of the parts requires an assistant. All in all these works took approximately 30 hours including the assistant.
There is a certain amount of risk involved in working on forms for such prolonged periods. The glass must be re-heated every couple of minutes or it will crack, but it must not be over-heated or it will melt. It is attached to metal rods while it is being worked and these must be kept turning.
Bending the funnel is a risky moment. After focussing heat on the long skinny neck it becomes difficult to control and after bending it is off-centred which makes the constant turning awkward. Putting the dentures into the fishes mouths is a fussy step and I only get one shot to stick them in the right place.
You've taken on the challenge of achieving a carbon neutral art practise. Tell us a bit more about this and is it something that glass artists should be using?
As a contemporary artist who has the privilege of continuing to practice a traditional pyrotechnic craft, I feel compelled to address the issues of climate change and environmental degradation.
I know that there is an inherent contradiction in making objects that overtly display their complicity in continuing to create these problems. I also believe that this contradiction adds to the communicative potential of glass artworks. I decided that I could not justify continuing to make objects that seek to navigate my concerns without offsetting 150% of the own carbon impact of making. This is a tricky issue to speak about, I don't feel I can say my colleagues should be minimising and offsetting their carbon impact, however, my own experience has shown that calculating and offsetting an art practice is surprisingly achievable.
This is not the first time you've been awarded the Tom Malone Prize. What do you enjoy about the exhibition and will we see another project from you in the next one!
It is very gratifying to have work shortlisted for this prize so that it can sit amongst its peers. It is a great honour to have my work selected twice for inclusion in the permanent collection at AGWA, this helps the audience to appreciate the breadth of an individual art practice and how it evolves over time. I am pleased that some traditional Venetian decorative techniques and references to the historical forms of the goblet and scientific labware are now part of the growing collection.
The wider collection of winners is a unique record of the Australian glassmaking community. I am very grateful to the sponsors of the Tom Malone Prize for giving this group of specialised makers the impetus to strive toward ambitious works. I am certain that I will continue to participate in this important national survey exhibition.
View the Tom Malone Prize exhibition before it closes 28 May.
To view more of Tom Moore's work visit his official page.
Images courtesy of the artist Tom Moore.
One of Australia's most exciting artists, Khai Liew was in Perth to take part in the judging of this year's Tom Malone Prize – the Gallery's annual event for showcasing the best in Australian glass art.
Khai Liew is an Adelaide-based designer and adjunct professor with expert knowledge of both South Australian and Australian historical decorative arts and colonial history. For many years he has acted as a private consultant to various national and state institutions advising on acquisition and conservation. Liew's championing of nineteenth-century Australian material culture as a conservator, consultant and valuer has led him to contribute to significant private and public furniture collections.
As a highly regarded designer, Liew draws on his cultural heritage and historical knowledge to design and produce work that is informed by the old and the new, the regional and international. The production of small editions and one-off commissions takes place in Liew's Adelaide-based workshop, carried out a select group of highly-skilled craftsmen.
"Much of my work is about telling stories. Communicating a narrative through a visual language while pushing the material in new and exacting ways are characteristic of many visual disciplines and practices," says Khai.
The Tom Malone Prize was awarded to Tom Moore for his work titled Pyrotechnic puffer fish. Arguably the country's most consistently humourous and out-there glass artist, this particular work was unlike anything the judge's had seen before.
This year's judging panel also comprised of Elizabeth Malone (AGWA Foundation Governor), Stefano Carboni (AGWA Director/CEO) and Robert Cook (AGWA Curator of Contemporary Design and International Art).
Now in its sixteenth year, the Tom Malone Prize is a highly respected national event for contemporary Australian glass artists. An acquisitive prize, each year's winning entrant is awarded $15,000 while their work becomes a part of the WA State Art Collection. This year, and for the next four years, the Prize is supported by Art Gallery of Western Australian Foundation Benefactor, Sheryl Grimwood.
The Tom Malone Prize is showing at the Gallery until 28 May.
A behind-the-scenes look at the workshop of Perth-based glass artist and winner of the Tom Malone Prize 2017, Marc Leib.
Monkey bars by Adelina Holil conveys a powerful message about child labour.
It wasn't untilAdelina Holil joined Young Mercies, a school group dedicated to raising awareness on issues associated with ethical trading, that she began to learn the ugly truth behind child labour and sweatshops.
Moved by the stories she heard, Adelina focused her energy on creating a powerful piece of work to make consumers question their decisions when it came to the consumption of items created in these sweatshops.
"Monkey bars reveal the dark secrets of child exploitation behind the production of our clothing. I want to people to think about where their clothing came from and who made them. I constructed a paradox of the children forced to work by placing them in playful poses on a clothes rack depicting what they should be doing: playing," says Adelina.
Its originality, the narrative and technical execution did not go unnoticed by the Gallery with Adelina being awarded the 2017 Year 12 Perspectives Packers' Prize for her work.
Under the guidance of art teacher and mentor Denise Fitzgerald, Monkey bars took eight months to complete.
Denise has taught art at Mercedes College for almost seven years and believes in challenging her students to find meaning in all their work.
"I challenge my students to consider using materials to add meaning to their artwork and to create visually dynamic compositions," says Denise.
Adelina's work is on display at the Year 12 Perspectives exhibition currently showing at the Gallery until 16 July 2018.
We encourage schools who are planning a self-guided visit to Year 12 Perspectives to book in, the information allows us to manage groups and numbers each day and to notify you of anything that might affect your visit.
Study Day: How to be original when nothing is?
Study day is an opportunity for students and their teachers to gain valuable insight into strategies for communicating original ideas in their Year 12 works. The day will include curator insights and tour, expert panel discussion, a practical workshop for students and Professional Development session for teachers, and creative strategies for managing stress. *Morning tea provided, bring your own lunch.
First Nation artist Julie Dowling.
First Nation artist Julie Dowling is an activist, a visionary and an artist. Earlier this week we spoke to Julie about her current exhibition Babanyu – Friends for life showing at the Gallery as part of WA Now and what influences her work.
From the paintings shown in the exhibition, is there one in particular that resonates most with you and if so why?
I think at the moment it's the portrait of my mother Ronnie Dowling: The neurotic. I remember the many stories she told me as I was painting it.
My mother was an artist but was stopped from pursuing a life as one because her family relied on her for financial support. She became a domestic servant from the age of 11 and finished schooling at 14. When my twin sister and I were born, she began her art again but kept it hidden from the world.
My mother is my friend and teacher. She was and still is very influential in the discipline side of my art making. She taught me how to see art as an extension of my own freedom, of it being part of myself and to talk about everything that surrounds me to the world. My Mum taught me to have a social conscience and eye for justice in all things.
Tell us about the Badimaya culture and how this influences your work?
Badimaya culture was always expressed in clandestine ways before the mid-1980s however it was following this period that my family and I began to openly express who we were and what we felt about our culture. The Badimaya culture was kept hidden however I was able to learn many things from my grandmother. I learned how to look after the land, its creatures and about how we are all connected to the land. I also learned a smattering of the Badimaya language from my Grandmother. She did not speak it often because she was taught that the language wasn't legal to speak when she was growing up and feared we would be taken away if we spoke it in public also.
Since the 1980's I've been involved with cultural renewal in my family and within many communities. Culture is an act of empowerment as much as it is a language of being.
What do you hope people will take away from your exhibition and from the stories conveyed through your work?
I hope they see the paintings in terms of documenting a journey or me tracking through everything as a woman, a Badimaya cultural being, someone who is interested in cultural history, decolonisation, First Nation empowerment, ending racism, ending sexism, living my life as a twin and also as a fair-skinned First Nation person. There are many multi-layered contextual meanings in the work and each plays out more in some than in others.
The main objective at present is to end racism. Everything from the cognitive dissonance and white fragility that many white people feel about First Nation people to those that don't know about how systemic racism can rob First Nation people of many things from land, language to identity. Racism impacts every human being in some way.
What are you working on these days and can you tell us a little bit about it?
I'm working on a great number of miniatures for an exhibition at Midland Junction that is about language and the land. I've been contributing to a science called ethnobotany which looks into (with First Nation scientists) how language and the understanding of plants/landscape/environment are all linked. Without an intrinsic interaction with the environment, ethnobotanists have found that humans get depression and a great number of mental disorders over generations.
These miniatures will be mapping the process of moving away from language and land and also the returning to it in the form of de-colonisation and using cultural renewal of my own Badimaya language. I hope it helps people to heal.
Julie Dowling's free exhibition is showing at the Art Gallery of Western Australia until the 13 August 2018.
Visit Julie Dowling's official webpage.


text:
E Layer Dominated Ionosphere Occurrences as a Function of Geophysical and Space Weather Conditions
Kamal, Sumon and Jakowski, Norbert and Hoque, Mohammed Mainul and Wickert, Jens (2020) E Layer Dominated Ionosphere Occurrences as a Function of Geophysical and Space Weather Conditions. Remote Sensing. Multidisciplinary Digital Publishing Institute (MDPI). doi: 10.3390/rs12244109. ISSN 2072-4292.
At some locations, especially in the auroral regions, the ionization of the E layer can dominate over that of the F2 layer, which is called the E layer dominated ionosphere (ELDI). In the present work we investigate the spatiotemporal variation of the ELDI depending on the season, solar activity, geomagnetic activity, interplanetary magnetic field, convection electric field, and solar wind energy. We specify each distribution of ELDI events by the values of four parameters. In this regard, we compute the height, full width at half maximum, and position of a Gaussian function relative to a precomputed reference ellipse as parameters to describe the spatial distribution of ELDI events in geocentric latitude/longitude coordinates. To study the temporal variation of the ELDI events, we estimate the weighted mean local time of the distribution as the fourth parameter. The database used for our investigations contains more than 3.5 million vertical electron density profiles derived from ionospheric GPS radio occultation observations on board the COSMIC/FORMOSAT-3 (Constellation Observing System for Meteorology, Ionosphere, and Climate/Formosa Satellite Mission 3) mission, covering a period of almost 13 years. The analysis of observations representing changing geophysical conditions results in clear trends for all ELDI parameters. In this context, the mean local time varies mostly between 01:00 and 02:00 local time, while the probability of ELDI occurrence is increased in local winter and in the case of low solar activity. Likewise, an increase in the solar wind parameters increases the number of ELDI events and leads to an equatorward shift of their position. The relationships found in our investigations can serve as a basis for future modeling studies addressing ELDI occurrences as a function of selected geophysical quantities.
Kamal, Sumon Sumon.Kamal (at) dlr.de https://orcid.org/0000-0002-6756-9803
Jakowski, Norbert Norbert.Jakowski (at) dlr.de https://orcid.org/0000-0003-3174-2624
Hoque, Mohammed Mainul Mainul.Hoque (at) dlr.de https://orcid.org/0000-0001-5134-4901
Wickert, Jens GeoForschungsZentrum Potsdam https://orcid.org/0000-0002-7379-5276
10.3390/rs12244109
Multidisciplinary Digital Publishing Institute (MDPI)
polar ionosphere; E layer; radio science; GPS radio occultation; space weather; particle precipitation
R EO - Earth Observation
R - Solar-Terrestrial Physics SO, R - Ionosphere
Institute for Solar-Terrestrial Physics > Space Weather Observation
Kamal, Sumon

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: When do I need a base activity and base fragment? In lot of examples I see, all the activities and fragments extends from base activity and base fragments. 2 questions:

*

*When should I use it?

*What kind of code should go in it?

A: Other activities can extend BaseActivity. If you define common elements in BaseActivities and all other activities extend BaseActivities, then all activities will have these common elements, for example: custom menu, custom bar, design layout or some query logic...etc.
Similar with BaseFragment. I usually log onCreate, onAtach, onPause events in BaseFragment. So I see these logs in all other Fragment that extend BaseFragment. Also, you can very easy and in one class turn-off these logs for all fragment. (useful before publishing realise)

A: Usually I use a base Activity/Fragment when I need to do some work in some of life-cycle callbacks of all of my Activitys/Fragments.
For example if you use Butter Knife (very recommended), you need to call Butterknife.bind(Activity a) after calling setContentView. So it's better if you create a base activity and extend the setContentView method in it like this:
@Override
public void setContentView(int layoutResID) {
    super.setContentView(layoutResID);
    ButterKnife.bind(this);
}

In child activities when you call setContentView at the beginning of onCreate (after calling super.onCreate), ButterKnife.bind would be called automatically.

Another use case is when you want to implement some helper methods. For example if you are calling startActivity multiple times in your activities, this would be a real headache:
startActivity(new Intent(this, NextActivity.class));

You can add a start method to your base activity like this:
protected void start(Class<? extends BaseActivity> activity) {
    startActivity(new Intent(this, activity));
}

and start the next activity like:
start(NextActivity.class);

A: When we need Global error handling we can use base activity/fragment.

redpajama_set_name: RedPajamaStackExchange


I am going to guess that you wanted to know how to fix WordPress theme issues after installing or updating? It's a common thing to experience some form of a problem when installing or updating a theme. It also does not matter if you downloaded your theme from a reputable source, it happens.
Everyone gets frustrated when errors show up, or worse, your website breaks! You spent a lot of time building your website so it's only fair that whatever you install works. I can even admit experiences in the past where problems show up and had to fix them.
There are many things that generate theme issues, so let me take you through some examples and how to fix them.
One of the most common theme issues is when you get a "The theme is missing the style.css stylesheet" message.
After installing a theme, WordPress looks for this file because it contains important information that it needs to properly install. If you do not see the style.css file there, then you know it's missing.
If you end up with this theme issue of a missing or corrupt style.css file, the best solution is to contact the theme developer and inform them of the problem. However, if the file is there and the installation of the theme just didn't go right, try installing once again.
This problem is technically not a problem. When you change themes, the sidebars where your widgets once were may not exist in the new theme. When you activate a new theme, you will get a new set of sidebars, although you might get the odd one that is named the same as your other theme.
WordPress does not know where to put your widgets, so it moves them to the Inactive Widgets section.
All you need to do now is drag them into the new sidebar positions you want to publish them too.
Even though this is not a bug or other technical issue, it's more of complicated user experience. It does not matter if you are using a free theme or a premium paid theme, some have confusing features. I will admit that even I have made themes that have confusing features.
This can be frustrating for you because when you find a theme that looks great, using it is a whole other story. I've seen themes that have over 100 options and settings–which is insane! Or a feature where you have to do several things to achieve the end result.
The theme developer will say thanks for letting them know and nothing will come of it.
The theme developer will offer to help you out.
If you paid for your theme and you refuse their help, the developer should issue you a refund.
The last one on the list is going to depend on the theme author because each website may offer different guarantees. However, I do recommend seeking help from the developer first.
It happens with some theme websites where the developer does not offer setup tutorials or they lack sufficient guidance. This could be for a number of reasons, but every theme should have setup documentation (tutorials). If they don't, then this is a theme issue relating to the developer.
Solving this problem is to contact the developer for help and guidance. Explain to them that their tutorials are confusing, missing steps, or that they are hard to follow. I've been told that one of my features was not outlined in the documentation, so I immediately created a tutorial.
If you are using a free theme, be prepared that not all theme authors give support. It's even shocking that some premium theme sites don't as well, or they charge extra for support. Personally, I wouldn't use them.
With Rough Pixels, theme support is just as important as the theme itself, so whether it's a free or paid theme, I give support! If you are using any of our Free Themes from Rough Pixels, we can provide support from the wordpress.org website by going to the theme's own support forum. For paid premium themes, log into our website here and visit the Support Forum.
Every theme is going to manage featured images differently, including thumbnails for galleries, and plugins like recent posts, related posts, etc. Different areas of your website or page may require a few thumbnails that use various dimensions.
Some themes will not do anything with post thumbnails, while others will automatically crop and resize your image uploads. I cannot speak for other theme sites, but Rough Pixels gives you the option to create thumbnails with every upload. This means that if you want to keep the thumbnails you have as-is, you can leave the thumbnail settings disabled.
But what happens if you change themes and you want to correct or adapt your post thumbnails to the new theme? First, check your theme to see if it offers the option to re-crop your images. If not, there is a very popular plugin that regenerates your previously uploaded images based on the new theme's thumbnail dimensions.
Regenerate Thumbnails, By Alex Mills (Viper007Bond) is a very popular plugin with over 1 million active users.
Easy to use, it simply regenerates all your image thumbnails with the new theme's required dimensions.
Most themes have options or settings to help you make custom changes, such as colours. Oddly, when you make changes and see in the preview window of the Customizer, they don't show when you click save. With any changes you make, the front of your site simply doesn't want to show them.
Disable or Clear Cache: The most common theme issue when this happens can be a result of using some sort of caching plugin. It could even be your browser's cache. You will want to disable any caching plugin (or service) and see if that helps. Try clearing your browser cache as well.
WordPress Customizer: When using the theme customizer in WordPress, any changes you make may show in the preview window, but they will not take effect on the front of your site until you click the Save & Publish button.
Browser Webmaster Tools: This is similar to a browser cache, but popular browsers such as Chrome, Firefox, and Edge, have their own webmaster tools. These are using for customizing or troubleshooting issues with a web page from within the browser window. To open these webmaster tools, press the F12 function key on your keyboard. Disable the cache. With the cache tab open in the tools, I would also go to your web page and press the F5 function key on your keyboard to refresh the page. This should then show your new changes.
Theme Issues can happen even if you are simply updating a theme. One very common issue that happens when updating, is that you lose any theme modifications you previously made. This relates to changes you made directly to your theme files. After updating, you discover everything you did is not gone!
Unfortunately, this happens a lot because the individual modified the theme files directly. Whenever you update a theme, your current theme files are completely overwritten, therefore losing everything you've done. This also means that unless you have a backup of your website or theme, your changes are permanently lost.
If you need to change anything to your theme, it's strongly recommended that you create a child theme. The advantage of a child theme is that when your original theme (the parent theme) has an update, you don't lose any modifications you made because they exist in the child theme.
There are always potential theme issues that can happen other than what I've talked about above. If for any reason after installing a new theme or updating one, you discover problems, or simply need help, it's best to contact the theme developer if you are unable to solve the problem(s).


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Elegance is personified in the petite shape of Jojo. Made of supple python leather, its compact dimensions open up to reveal a spacious interior.
Stand out from the crowd with our new and unique colour, Malachite Red python skin made in Italy.


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Founded by a man named Seijiro Nakano in 1892, the Dewazakura Brewing Company is based in the northern region of Japan. Though the sake brewery has not been established for a long time, they are internationally known and highly respected in the sake industry.
Nestled at the bottom of a river valley and surrounded by two mountain ranges, Dewazakura is located in Tendo City in Yamagata Prefecture where the summers are warm, and the winters filled with snow. Yamagata, which means "place of mountain," is known to be one of the best areas to produce rice, fruit, and of course, delicious sake.
"Dewa" is actually the old name of Yamagata, while "Zakura" (or sakura) is cherry blossom which is the signature flower.
Besides its beautiful landscape, Dewazakura Brewing Company boasts its reputation on its traditional yet skillful way of brewing as well as its innovation.
Until 40 years ago, people were still drinking the sweet and lower quality sakes. In 1981, Dewazakura Brewing Company released the "Oka" aka "Cherry Blossom," a Ginjo grade sake polished at 50 percent at an affordable price. It was light with an incredible bouquet of aromas and was to be drunk cold and was simply delectable. It was this sake that created the "Ginjo Boom" and soon other breweries would create their own Ginjo and Daiginjo grade sakes making Dewazakura pioneers in sake history.
By 1991, the brewery had mastered their cold storage techniques and aged fresh sake at 28 degrees Fahrenheit to preserve its aroma and flavors until bottling.
Dewazakura Brewing Company has since created multiple award-winning sakes and still continues to make high quality sake that is now exported to over 30 countries all over the world and is still run by the Nakano family.
Metropolitan is proud to carry a variety of Dewazakura's sakes. Find them on our Ontario and Québec portfolios here.
For more information on the brewery, check out their website.


HARRISBURG, Pa. (AP/KDKA) — Polls are now closed in the special election for a vacant 37th District state Senate seat in politically divided suburban Pittsburgh where the sides are testing some national themes ahead of 2020's presidential election.
Tuesday's contest pits Republican D. Raja against Democrat Pam Iovino for a seat largely controlled by Republicans the past half-century, but the district is viewed as increasingly friendly to Democrats and has a Democratic registration edge.
On Monday, Republicans issued a robocall by Donald Trump Jr., urging listeners to vote for Raja.
He's the chief executive of an information technology consulting firm he helped start. He headed to his polling place around 10 a.m.
"At least its not raining! It's a little chilly, but not raining, so I think it will bring out some voters, but like said, we were anticipating a low turnout and we'll see where this goes," he aid.
Iovino is a Navy veteran who held a top U.S. Department of Veterans Affairs post. She arrived at her polling place in Mount Lebanon around 7:45 a.m. to cast her vote.
She said she feels confident because of her record.
"Because of my record of public service, and my record of being bipartisan, and being able to work across the aisle and across the Capital," she said.
The winner will fill the seat vacated by Republican Guy Reschenthaler, who now serves in Congress.
In recent days, both state parties sent mailers linking Raja to President Donald Trump.
Voters Matt Fleischer and Alyssa Owens are hoping for a good turnout.
"It's a local election, so I think it's actually more important than some of the other the major national elections, cause it actually involves your local community," Fleischer said.
"I think local elections are very important because they make the change from the ground up. This is for us, for the little people, average ordinary Pennsylvania citizens," added Owens.
Trump won the district by 6 percentage points in 2016. But Democratic Gov. Tom Wolf won it by a double-digit margin in 2018.
Republicans control the state Senate, 26-21.
The polls opened at 7 a.m. and closed at 8 p.m. As long as you're in line by the time they close, you should still be allowed to vote.
For much more information on this Special Election, visit Allegheny County's website at this link.


text:
Skleníkový efekt, také zvaný skleníkový jev je proces, kterým záření atmosféry planety ohřívá povrch planety na teplotu vyšší, než by měla bez atmosféry.

Pokud atmosféra planety obsahuje zářivě aktivní plyny (tj. skleníkové plyny), budou vyzařovat energii ve všech směrech. Část tohoto záření míří směrem k povrchu a otepluje ho.
Intenzita záření – tedy síla skleníkového efektu – závisí na teplotě atmosféry a na množství skleníkových plynů, které atmosféra obsahuje.

Přirozený skleníkový efekt Země je rozhodující pro zachování života. Lidská činnost, především spalování fosilních paliv a kácení lesů, zesilují skleníkový efekt a způsobují globální oteplování.

Pojem "skleníkový efekt" vznikl z chybné analogie s účinkem slunečního světla, které prochází sklem a ohřívá skleník. Způsob, jakým skleník zachovává teplo, je však zásadně odlišný, protože skleník pracuje většinou snížením proudu vzduchu tak, aby se zachoval teplý vzduch uvnitř.

Historie
Existenci skleníkového efektu v roce 1824 předpověděl francouzský fyzik a matematik Joseph Fourier. Argument a důkazy byly dále v letech 1827 a 1838 podpořeny francouzským fyzikem Claudem Pouilletem a odůvodněny experimentálními pozorováními irského fyzika Johna Tyndalla v roce 1859, který změřil radiační vlastnosti určitých skleníkových plynů. Účinek byl plně vyčíslen v roce 1896 švédským vědcem Svantem Arrheniusem, který provedl první kvantitativní odhad globálního oteplování následkem hypotetického zdvojnásobení atmosférického oxidu uhličitého. Žádný z těchto vědců však nepoužil termín "skleníkový efekt"; ten byl v tomto významu poprvé použit švédským meteorologem Nilsem Gustafem Ekholmem v 1901.

Mechanismus
Země přijímá energii ze Slunce v podobě ultrafialového, viditelného a blízkého infračerveného záření. Asi 26 % přicházející sluneční energie se atmosférou a mraky odráží zpátky do vesmíru a 19 % energie atmosféra a mraky absorbují. Většina zbývající energie je absorbována na povrchu Země. Vzhledem k tomu, že povrch Země je chladnější než Slunce, vyzařuje na vlnových délkách, které jsou mnohem delší než vlnové délky, které byly absorbovány. Většina tohoto tepelného záření (od Země) je absorbována atmosférou a ohřívá ji. Atmosféra také získává teplo na ohřátí vzduchu a latentní teplo proudící z povrchu. Atmosféra vyzařuje energii jak nahoru, tak dolů; část vyzařovaná dolů je absorbována povrchem Země. To vede k vyšší rovnovážné teplotě, než kdyby atmosféru neměla.

Ideální tepelně vodivé černé těleso ve stejné vzdálenosti od Slunce jako Země by mělo teplotu kolem 5,3 °C. Vzhledem k tomu, že Země odráží přibližně 30 % přicházejícího slunečního světla, tak by tato efektivní teplota ideální planety (teplota černého těla, která by vyzařovala stejné množství záření) byla asi −18 °C. Povrchová teplota této hypotetické planety je o 33 °C nižší než aktuální teplota povrchu Země, která je přibližně 14 °C.

Základní mechanismus může být kvalifikován mnoha způsoby, z nichž žádný neovlivňuje základní proces. Atmosféra v blízkosti povrchu je převážně neprůhledná pro tepelné záření (s důležitými výjimkami pro "průhledné" pásy) a většina tepelných ztrát z povrchu je vlastním teplem a skupenským přenosem tepla. Radiační energetické ztráty jsou v atmosféře stále důležitější, především kvůli klesající koncentraci vodní páry, která je důležitým skleníkovým plynem. Je mnohem realističtější myslet na to, že skleníkový efekt se vztahuje na "povrch" ve střední části troposféry, která je účinně spojena s povrchem teplotním gradientem. Jednoduchý obraz také předpokládá ustálený stav, ale v reálném světě existují odchylky v důsledku denního cyklu, stejně jako sezónního cyklu a povětrnostních poruch. Solární ohřev se uplatňuje pouze během dne. Během noci se atmosféra trochu ochlazuje, ale ne velice, protože její emisivita je nízká. Denní kolísání teploty se snižuje s výškou v atmosféře.

V oblasti, kde jsou důležité radiační účinky, se popis, který je daný idealizovaným skleníkovým modelem, stává realistickým. Zemský povrch, ohřátý na teplotu okolo 255 K (−18 °C), vyzařuje dlouhovlnné, infračervené teplo v rozmezí 4–100 μm. Při těchto vlnových délkách jsou skleníkové plyny, které byly převážně průhledné pro příchozí sluneční záření, více absorpční. Každá vrstva atmosféry se skleníkovými plyny pohlcuje část tepla vyzařované nahoru ze spodních vrstev. Probíhá opakování ve všech směrech, jak nahoru, tak dolů; v rovnováze (podle definice) je to stejné množství, jaké se absorbovalo. To má za následek větší teplotu dole. Zvýšení koncentrace plynů zvyšuje množství absorpce a opětovné záření, čímž dále ohřívá vrstvy a nakonec i povrch pod nimi.

Skleníkové plyny – včetně většiny dvoumolekulových atomů plynů se dvěma různými atomy (jako je oxid uhelnatý, CO) a všechny plyny se třemi nebo více atomy – jsou schopny absorbovat a vyzařovat infračervené záření. Ačkoli více než 99 % suché atmosféry je pro infračervené záření průhledné (protože hlavní složky – N2, O2 a argon – nejsou schopny přímo absorbovat nebo vyzařovat infračervené záření), mezimolekulové srážky způsobují, že energie pohlcovaná a vyzařovaná skleníkovými plyny je sdílena s ostatními plyny, které nejsou aktivní v infračervené oblasti.

V páté hodnotící zprávě Mezivládního panelu pro změnu klimatu se uvádí, že "se zdá, že je velmi pravděpodobné, že lidskou činností nelze vyvolat "nekontrolovatelný skleníkový jev" – analogický s Venuší." K vyvolání změn obdobných těm na Venuší by muselo na Zemi dojít k dlouhodobému tlaku, který pravděpodobně nenastane, pokud intenzita záření Slunce nenaroste o desítky procent, což bude trvat několik miliard let.

Skleníkové plyny

Podle jejich procentního podílu na skleníkovém efektu na Zemi jsou čtyři hlavní plyny:

 vodní pára, 36–70 %
 oxid uhličitý, 9–26 %
 methan, 4–9 %
 ozón, 3–7 %

Každému plynu nelze přiřadit přesné procento, protože absorpční a emisní pásy plynů se překrývají (proto jsou výše uvedeny rozsahy). Mraky také absorbují a vyzařují infračervené záření a tím ovlivňují radiační vlastnosti atmosféry.

Role ve změně klimatu

Zesílení skleníkového efektu prostřednictvím lidské činnosti je známo jako zvýšený (nebo antropogenní) skleníkový efekt. Tento nárůst radiačního působení z lidské činnosti je důsledkem zejména zvýšení úrovně oxidu uhličitého v atmosféře. Podle nejnovější hodnotící zprávy Mezivládního panelu pro změnu klimatu "atmosférické koncentrace oxidu uhličitého, metanu a oxidu dusného jsou za posledních 800 000 letech bezprecedentní. Jejich účinky společně s jinými antropogenními silami byly zjištěny v celém klimatickém systému a je velmi pravděpodobné, že byly dominantní příčinou pozorovaného oteplování od poloviny 20. století."

CO2 vzniká spalováním fosilních paliv a dalšími činnostmi, jako je výroba cementu a odlesňování tropů. Měření CO2 na observatoři Mauna Loa na Havaji ukazuje, že koncentrace se od roku 1960 zvýšily z přibližně hodnoty 313 ppm  na přibližně 389 ppm v roce 2010. Dne 9. května 2013 dosáhly koncentrace milníku 400 ppm. Současné zjištěné množství CO2 překračuje maximální hodnoty geologických záznamů (~ 300 ppm) z údajů ledových vrtných jader (ledové vývrty). Účinek oxidu uhličitého vzniklého spalováním na globální klima, zvláštní případ skleníkového efektu, poprvé popsaný v roce 1896 Svantem Arrheniusem, se také nazývá Callendarův účinek.

Údaje z ledových vrtných jader z uplynulých 800 000 let ukazují, že koncentrace oxidu uhličitého se pohybovala od hodnot od 180 ppm do před industriální úrovně 270 ppm. Paleoklimatologové považují změny v koncentraci oxidu uhličitého za zásadní faktor ovlivňující změny klimatu v tomto časovém měřítku.

Vědecké potvrzení role skleníkových plynů
V rámci vědeckých modelů fungování klimatu byly definovány následující následky zvyšování koncentrací skleníkových plynů, především CO2:

 ztenčování vrchních vrstev atmosféry,
 pokles teploty horních vrstev atmosféry,
 rychlejší vzestup nočních teplot proti denním,
 rychlejší vzestup zimních teplot proti letním,
 nižší vyzařování tepla do vesmíru,
 snižování obsahu kyslíku v ovzduší,
 zvyšování koncentrace CO2 v ovzduší,
 vyšší koncentrace CO2 ze spalovacích procesů ve stromech,
 větší množství infračerveného záření, které se navrací na zemi,
 zvyšování teploty oceánů,
 větší koncentrace CO2 ze spalovacích procesů v oceánech a korálech.

Všechny vyjmenované jevy byla potvrzeny měřením těchto jevů při použití mnoha různých vědeckých metod.

Skutečný skleník

"Skleníkový efekt" atmosféry je pojmenován analogicky k skleníkům, které se za slunečního záření stávají teplejšími. Skleník však primárně neohřívá "skleníkový efekt".
"Skleníkový efekt" je ve skutečnosti nesprávným názvem, jelikož vytápění v běžném skleníku je způsobeno snížením konvekce zatímco "skleníkový efekt" funguje tak, že brání absorbovanému teplu opouštět strukturu radiačním přenosem.

Skleník je vybudován z jakéhokoliv materiálu, kterým prochází sluneční světlo, obvykle ze skla nebo plastu. Slunce ohřívá zem a obsah uvnitř stejně jako venku, které pak ohřívá vzduch. Venku se teplý vzduch v blízkosti povrchu zvedá a mísí se s chladnějším vzduchem, udržuje teplotu nižší než uvnitř, kde se vzduch nadále zahřívá, protože je omezen na skleník. To lze dokázat otevřením malého okna v blízkosti střechy skleníku: teplota začne výrazně klesat. Experimentálně bylo demonstrováno (Robertem Woodem v roce 1909), že (nevyhřívaný) "skleník" pokrytý horninovou solí, halitem, (který je průhledný vůči infračervenému záření) se ohřívá podobně jako jiný, zakrytý sklem. Takto skleníky fungují především tím, že zabraňují konvektivnímu ochlazování.

Vyhřívané skleníky jsou další záležitostí, které mají vnitřní zdroj tepla, které chce uniknout ven, čemuž se musí zabránit. Dává tedy smysl se pokusit zabránit radiačnímu ochlazení pomocí vhodného zasklení.

Související efekty

Protiskleníkový efekt
Protiskleníkový efekt je mechanismus podobný a symetrický vůči skleníkovému efektu: skleníkový efekt se týká atmosféry, která propouští záření, aniž by dovoloval tepelné vyzařování, které ohřívá povrch těla; anti-skleníkový efekt je kolem atmosféry, která neumožňuje záření a zároveň umožňuje tepelné vyzařování, čímž se snižuje rovnovážná povrchová teplota. Takový účinek se uvádí o saturnově měsíci Titanu.

Skrytý skleníkový efekt
Skrytý skleníkový efekt nastane, pokud kladná zpětná vazba vede k vypařování všech skleníkových plynů do atmosféry. O skrytém skleníkovém efektu, který zahrnuje oxid uhličitý a vodní páru, se již dlouho předpokládá, že nastal na Venuši.

Tělesa jiná než Země
Skleníkový efekt na Venuši je zvláště velký, protože jeho hustá atmosféra se skládá především z oxidu uhličitého.
"Venuše v minulosti zažila skleníkový efekt a očekáváme, že na Zemi bude efekt trvat asi 2 miliardy let, jak se zvyšuje sluneční záření."

Titan má protiskleníkový efekt, protože jeho atmosféra pohlcuje sluneční záření, ale je poměrně průhledná pro odchozí infračervené záření.

Trpasličí planeta Pluto je také chladnější, než by se dalo očekávat, protože ho ochlazuje odpařování dusíku.

Odkazy

Reference

Literatura

Související články
 Skleníkové plyny
 Kjótský protokol

Externí odkazy

  Rutgers University: Earth Radiation Budget  (bilance zemského záření)

Ekologie
Meteorologické jevy
Atmosféra
Klimatologie
Klimatické změny

redpajama_set_name: RedPajamaWikipedia


This has been a pretty exciting time for sports fans; the hockey playoffs, basketball playoffs, baseball season, and The World Cup.
You can have the best day of your career, but that doesn't mean the team ends up with a check mark in the win column.
You can have the worst day of your career, but with your team's contributions and support, you can end up with a check mark in the win column.
A good coach can mean all the difference.
You must continually train by learning new skills and keeping up to date on the latest trends in your field.
You can make a living doing what you love. You may not make as much money as a professional athlete, but with some creativity, you can probably figure out a way to pay the bills while pursuing your passion.
Can you think of any more reasons why work is a team sport?


text:
You are here: Home / Parkour stars / Like parkour athletes crossword / Parkour Race Freerun Game on PC
Parkour Race Freerun Game on PC
Parkour Race is an obstacle-course game that tests your reflexes and agility. You will have to jump through obstacles and leave behind dozens of opponents to complete the course as fast as possible. You will also have to execute the riskiest somersaults to gain extra speed. Once you complete a level, you can use your earned money to buy new superhero skins and hats.
The Parkour Race Freerun game is an arcade-style game that revolves around the parkour style. It features a minimalistic interface and colorful characters. To win the Game, players must be fast and maneuver their feelings to the end of the course. However, the player must be careful to stay caught up and may end up losing valuable seconds.
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You can download the Parkour Race – Freerun Game Mod from the official website of HappyModPro. Once downloaded, install the Game from Downloads. If prompted, select Yes to install the mod. You can then play this fantastic Game and earn rewards. It's easy to get started.
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Parkour Race: Freerun Game provides mobile gamers with a simple, intuitive experience. It has an appealing set of Parkour levels and offers clear tutorials. The Game is fun and challenging but manageable, which keeps gamers engaged and motivated to complete new challenges.
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Another exciting feature of this Game is that you can download it for free. You can download it from the HappyModPro website. Just make sure to click on Yes when the installation prompt appears.
You may wonder how to install the parkour race freerun game on PC. You can install this popular Game on your computer using Bluestacks, an Android emulator. The first step is to open the Playstore on your device and find the Game you wish to install. Bluestacks will then automatically install the Game for you. Once the Game is installed, you can use it the same way on your smartphone.
The Game is available for Android, Windows, Mac, and PC devices. You can install it using BlueStacks or another Android emulator, such as Nox. The installation process will take a few minutes, depending on your Internet connection. However, the most crucial step to get this Game on your computer is ensuring an active internet connection.
Next, download the latest version of BlueStacks on your computer. You can use it to install Parkour Race – FreeRun Game on your PC or Mac. If you're running BlueStacks on a Mac, you must install the Microsoft.net Framework. You will also need to install the Google Play store on your PC.
Next, launch the emulator application. This application acts like a virtual Android device on your PC and lets you play the Game on a bigger screen. It also has full critical mapping support to enjoy a better experience. This is also a great way to avoid battery and mobile data limitations.
Parkour Race is a fun, casual game. You'll be challenged by obstacles and earn points by jumping over them. You can also compete with other players around the world.
Parkour Race is an exciting obstacle course game that will test your reflexes. You'll be challenged to perform the most daring somersaults and jumps and to leave dozens of rivals behind. To win, you'll need to earn hundreds of coins while avoiding the obstacles. Once you have collected enough coins, you can invest in new skins and hats for your hero.
Parkour Race is a 3D parkour running game. It requires you to run on walls and leap between buildings to make your way through the city. While the Game may look simple at first glance, it can only be easy to play by knowing your teammates and how to play the Game together.
Parkour Race is a free-to-download game. The Game developer, Maddox, has rated it for users aged twelve and above. The Game has been available since 28th January 2020 and updated on 23rd October 2023. Using an emulator is a great way to play the Game without any lags.
The Game is based on parkour, a discipline involving jumping over obstacles. The obstacles in the Game include running on walls, scaling walls, and overcoming significant gaps. There are different ways to complete these challenges, and the Game allows you to do so at your own pace. Once you have mastered the basics, you can move on to more challenging levels.
Parkour Race is a simulation parkour game where you control the characters and jump and climb on walls. As you complete each obstacle, you will earn coins. As you continue playing, you can use these coins to unlock new skins and hats for your characters. The faster you move through the parkour course, the higher your score will be.
Parkour Race is a free game to play on mobile devices. It features easy-to-learn gameplay and beautiful Parkour scenes. It's also challenging, which will only motivate you to work harder. You can find a tutorial that will teach you the basics of the Game. This tutorial will guide you through the different levels and help you understand the best ways to win.
Bluestacks has the Google play store pre-installed. Double-click the Playstore icon and search for the Parkour Race – Freerun Game. Once you have found the Game, Bluestacks will install it for you. The Game will appear under the list of installed apps. After installation, you can play the Game as if it were on your smartphone.
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Belgium's Possession first attracted international attention and praise for their demo, His Best Deceit, released via Iron Bonehead and Invictus Productions on cd and cassette in November 2013. This was a four track smasher that included a cover of Sepultura's Necromancer during seventeen minutes of primal and harsh death/black/thrash. This was followed in April 2014 by the excellent Anneliese 7" which featured two tracks and despite being only ten minutes long it was enough to show us Possession are no doubt a band in their ascendancy.


text:
layout: post
unique_id: hiking_poles
title: Hiking Poles
categories: []
locations:
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I recently attempted a 40 mile backpacking trip with two friends which included 11 miles on the first day with a 2k ft ascent.  One of our friend's knee was injured during this climb and I believe that proper usage of hiking poles may have prevented the sprain.

There's two things to remember when it comes to adjustments:

1. length
2. grip

### Length

Most hiking poles are adjustable, but which length is proper?  The arm is naturally at rest when the elbow is at 90 degrees, the forearm is parallel to the ground, and the upper arm is hanging loosely.  This is the same arm posture we should use when on a computer!  It doesn't have to be exactly 90 degrees, but it shouldn't be less.  Here's my most comfortable posture:

![Elbow]({{ site.baseurl }}/assets/img/2017-09-26-elbow.jpg){:class="img-responsive"}

It should be almost effortless to use the poles walking on flat ground since you won't have to raise them too high or too low as they swing.

Don't forget to adjust the poles whenever you notice discomfort!  Sometimes, I like to extend them a bit longer when going downhill or keep them shorter when going up.

### Grip

How do we hold hiking poles?  The straps aren't meant to be loose!!!  If you hold a hiking pole without the strap, you'll rely on the clench of your fist to hold onto the pole.  This means that you're relying on the friction between your fingers and the pole to bear your weight.  Hiking pole straps are actually meant to wrap around the wrist so that your weight falls onto the meaty part of your thumb like this:

![Grip]({{ site.baseurl }}/assets/img/2017-09-26-grip.jpg){:class="img-responsive"}

This distributes the weight to:
* the inner edge of your hand (base of your thumb)
* the outer edge of your hand
* wrists

These parts of your hand should be able to bear a lot more weight comfortably.

Make sure to tighten the strap.  If it's loose, it may rub and cause blisters!

Happy hiking!!!

(this post is dedicated to Suse)

redpajama_set_name: RedPajamaGithub


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Tatiana Maslany Has Won The Emmy For Outstanding Lead Acctress In A Drama Series
By Brent McCluskey - September 18, 2016 11:16 pm EDT
(Photo: Twitter / @TelevisionAcad)
Tatiana Maslany has won the Emmy for Outstanding Lead Actress in a Drama Series for her role in Orphan Black.
Considering the actress was up against Viola Davis from How to Get Away With Murder, Robin Wright from House of Cards, Claire Danes from Homeland, Taraji P. Henson from Empire and Keri Russell from The Americans, it was a major win for the actress. This is the actress' first Emmy win and second consecutive nomination.
Porsha Williams' Favorite Valentine's Day 2023 Finds on Amazon: The Best Looks and Gifts
We Are Obsessed With This New 'Friends' Underwear Print From MeUndies
Prince Harry Makes Shocking New Accusations Against William in 'Spare': How to Get His Tell-All Book
Holiday Gift Guides 2022: 10 Things to Get the Person Who Has Everything
Holiday Gift Guides 2022: 8 Perfect Presents Kids Will Love
Social Security Recipients to Get Biggest Benefit Boost in More Than 40 Years
If You've Had a Bud Light Lime-A-Rita, You May Be Owed Money in a New Settlement
'Devil Wears Prada' Musical Is Getting Some Brutal Reviews


a look at what is on my studio table.
a glimpse of recent on-the-side projects.
which just may be my favorite kind.
So cute!! Love those polka dots!
i love the shout one!
they are just gorgeous - i love them!
I think you need to offer the little notecards in your mini mart - love 'em!


going. I love reading them.
There has been days where its felt like a chore. The crappy days 🙂 But I think on those days its even more important to find something positive.
It's a great achievement, why not continue as long as it brings you – and others – benefit?
That is wonderful Jackie. Glad to have inspired you.


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You are here: Home1 / Volume-3 Issue-4, September 20132 / D1154093413
High Security Vehicle Plate (HSVP) – A Combined Approach for RTO, Traffic Police and Insurance Industries Issues Related to Vehicle Security
N. K. Sharma1, S. P. Singh2, Vikash Sharma3, K. P. Yadav4
1Mr. N.K. Sharma, Research Scholar Ph.D, Department of Computer Science & Engineering, Singhania University, (Rajasthan), India.
2Dr. S.P. Singh, Department of Computer Science & Engineering, Babu Banarsi Das Institute of Technology, Ghaziabad (U.P), India.
3Mr. Vikash Sharma, Department of Computer Science & Engineering, Babu Banarsi Das Institute of Technology, Ghaziabad (U.P), India.
4Dr. K.P. Yadav, Research Supervisor Ph.D, Department of Computer Science & Engineering, Singhania University, (Rajasthan), India.
Manuscript received on 10 September 2013 | Revised Manuscript received on 19 September 2013 | Manuscript Published on 30 September 2013 | PP: 118-121 | Volume-3 Issue-4, September 2013 | Retrieval Number: D1154093413/13©BEIESP
Open Access | Editorial and Publishing Policies | Cite | Mendeley | Indexing and Abstracting
Abstract: The system available for the identification of a motor vehicle is the registration number plate which is mounted on the vehicle. This plate helps the different agencies having concern with the vehicle to identify it. Additional to it the different agencies like RTO, Traffic Police and Vehicle Insurance Companies work on the vehicles separately. The system proposed in the paper High Security Vehicle Plate (HSVP) provides a common platform to work all these different agencies by taking the help of a microprocessor chip. Moreover it provides a better security to the vehicles and easier tracking system for the stolen vehicles. The features provided by the HSVP system enhance the efficiency of all these different agencies and automate the working culture of them.
Keywords: HSNP, HSRP, HSVP, SVM, SIM, UID, RTO, Microprocessor.
Scope of the Article: Big Data Security
D1164093413D1218093413


text:
GYC installs bear bins in Idaho campground
As grizzly bears continue to thrive across the Greater Yellowstone Ecosystem, Greater Yellowstone Coalition works towards solutions to keep bears alive and people safe. This includes bear-proofing campgrounds throughout Montana, Wyoming, and Idaho.
(Photo Tom Murphy.)
Tagged: idaho, grizzly bears, keeping bears alive, national forest
Help protect wildlife habitat
The 3.3 million acre Beaverhead-Deerlodge National Forest in southwest Montana is a sprawling wild landscape that is home to wolverines, grizzly bears, bighorn sheep, and elk. The long, harsh winter season in this rugged region challenges the ability of many species to survive. To give animals the best chance to thrive, we are working to reduce human pressure on critical winter range and other important habitats.
Tagged: wildlife, lands, Montana, national forest
Safeguarding Campgrounds for People and Bears
Thanks to our loyal supporters, starting today, U.S. Forest Service crews will begin installation of bear-safe bins at campgrounds throughout the five National Forests spanning Wyoming, Montana and Idaho. The Shoshone National Forest was first to install these bins.
Tagged: wildlife, national forest
America's First National Forest, Protected!
America's first national forest, the Shoshone, covers more than 2.5 million acres on the eastern side of Yellowstone National Park. It has some of the finest wild lands and wildlife habitat in the Greater Yellowstone Ecosystem. The adoption of a new management plan today by the Shoshone National Forest goes a long way in protecting its unique and wild characteristics.
Tagged: lands, national forest, Shoshone
The Wild Eastern Flank of the Yellowstone
The Shoshone National Forest covers more than 2.5 million acres on the eastern flank of Yellowstone in Wyoming. The Shoshone has some of the finest wild lands and wildlife habitat in the Greater Yellowstone Ecosystem. The Forest Service has been working on a new management plan for more than ten years, a process we have been involved in since its onset.
Tagged: lands, Shoshone, national forest


text:
College of Textiles on Centennial Campus
NC State University Centennial Campus (Raleigh, N.C.)
NC State University College of Textiles (Raleigh, N.C.)
Centennial Campus (UA023.028)
Campus and Town
Color slide
College of Textiles, Centennial Campus, North Carolina State
North Carolina State University -- Facilities more info on North Carolina State University -- Facilities
Centennial Campus (UA023.028) held by Special Collections Research Center at NC State University Libraries
Building: North Carolina State University, Centennial Campus (Raleigh, Wake County, North Carolina)
Building: North Carolina State University, College of Textiles (Raleigh, Wake County, North Carolina)
1000 Main Campus Dr
Textile schools
Map: NC State University College of Textiles (Raleigh, N.C.)
Carmichael Gymnasium, swimming pool
Carmichael Gymnasium, NC State University (Raleigh, N.C.)
Memorial Bell Tower
NC State University Memorial Belltower (Raleigh, N.C.)
Zoology Building, North Carolina State College
Syme Residence Hall decorated for football game
Syme Residence Hall, NC State University (Raleigh, N.C.)
Varsity Drive at Centennial Campus
Man standing in front of trailer, Trailwood, North Carolina State College, March 1946.
NC State University Trailwood (Raleigh, N.C.)
View of North Carolina College of Agriculture and Mechanic Arts from the top of the old power plant chimney
Entrance to Riddick Engineering Laboratories
Riddick Hall, NC State University (Raleigh, N.C.)


This section contains some issues and solutions for problems which may affect SR-IOV.
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This error is often caused by a device which is already assigned to another guest or to the host itself.


text:
Action Tae Kwon Do is a 1972 Hong Kong–Korean film. The film is also known by its Chinese title Zhan Bei Guo () and by the Korean title  Hyopgi (, ) during its 1973 South Korean release. It was directed and produced by Yang Man Yi (楊曼怡). The film stars . In his first film appearance, Young-Moon Kwon stars in the film. Kwon is also an action director.

Plot
The film is set in Korea in 1972. Living in the country, Japanese people behave lawlessly and bully the Koreans. Indignant at their behaviour, a group of people collaborate on fighting back. Through koto and sake, a duo of females beguile the Japanese men at the beginning of their scheme. A woman's fiancé, Hon San, begrudgingly participates in the rebellion. A group of male youths who are good at kicking join in on the scheme through Hon San's inadvertent efforts. A fierce fight starts after being triggered by the person who plays the koto.

Reception
Shin Min Daily News said that 's battle performances were "very outstanding".

Notes

References

External links

 Action Tae Kwon Do at Hong Kong Cinemagic

1970s action films
1972 films
1972 martial arts films
Hong Kong martial arts films
Mandarin-language films
Taekwondo films
1970s Hong Kong films