text:
Japonsko se nachází na Ohnivém kruhu, a proto na jeho území často dochází k velmi silným otřesům. Zde je seznam těch nejsilnějších a nejsmrtelnějších zemětřesení v zaznamenané historii Japonska.

17. století a dříve

1611
2. prosince 1611 zasáhlo silné zemětřesení a vyvolaná tsunami region Tóhoku. Síla zemětřesení se odhaduje na 8,1. Při otřesu dohromady zemřelo až 5 000 lidí.

1614
26. listopadu 1614 zasáhlo prefekturu Niigata zemětřesení o síle kolem 7,7. Při otřesu zemřely stovky lidí.

1701 – 1800

1703
31. prosince 1703 zasáhlo oblast Tokia zemětřesení o síle 8 stupňů. Otřes vyvolal velkou tsunami, která zabila mnoho lidí. Celkem zemřelo nejméně 5 000 lidí, možná i 10 tisíc. Zemětřesení také zničilo kolem 20 tisíc budov.

1707
28. října 1707 zasáhlo region Kansai mohutné zemětřesení, které mělo sílu 8,7 a více. Do roku 2011 bylo nejsilnějším zemětřesením v historii Japonska. Při otřesu zemřelo více než 5 000 lidí.

1751
20. května 1751 zasáhlo východ Japonska zemětřesení o síle kolem 6,6. Otřes vyvolal vlnu tsunami, zničil tisíce domů, vážně poškodil kostel Takada v prefektuře Niigata a zabil přes 2 000 lidí.

1766
8. března 1766 zasáhlo severní část regionu Tóhoku zemětřesení o síle k 7 stupňům. Při otřesu zemřelo zhruba 1 300 až 1 700 lidí a byly zničeny tisíce budov.

1771
24. dubna 1771 zasáhlo ostrovy Rjúkjú zemětřesení o síle 7 stupňů, které vyvolalo velkou vlnu tsunami. Otřes a následnou tsunami nepřežilo zhruba 13 tisíc lidí.

1792
21. května 1792 zasáhlo jih Japonska zemětřesení o síle kolem 6,4. Otřes byl vyvolán vulkanickou aktivitou sopky Unzen. Samotné zemětřesení nezpůsobilo velké škody ani ztráty na životech, ale otřes vyvolal obří sesuv půdy, který spadl do moře a vyvolal tsunami, která zabila kolem 15 tisíc lidí. Poté bylo v blízké oblasti vystavěno mnoho monumentů, které katastrofu připomínají.

1801 – 1900

1828
18. prosince 1828 zasáhlo západní Japonsko zemětřesení o síle kolem 6,9. Při otřesu zemřelo více než 1 500 lidí a bylo poškozeno mnoho tisíců budov.

1847
8. května 1847 došlo v dnes zaniklé provincii Šinano k otřesu, který měl sílu kolem 7,3 a vyvolal mnoho sesuvů půdy, které poškodily nebo zničily mnoho domů. Při otřesu zemřely tisíce lidí.

1854
9. července 1854 zasáhlo region Kansai zemětřesení o síle zhruba 7 stupňů. Při otřesu zemřely stovky lidí.

23. prosince 1854 zasáhlo oblast Tókai a několik blízkých prefektur zemětřesení o síle 8 stupňů. Tsunami dosáhla výšky až 16 metrů. Zemětřesení a tsunami zabily nejméně 2 000 lidí.

24. prosince 1854 zasáhlo jih Japonska zemětřesení o síle 8 stupňů. Otřes vyvolal vlnu tsunami, která zabila zhruba 3 000 lidí a zničila až 15 tisíc domů. Samotné zemětřesení zničilo několik tisíc domů.

1855
11. listopadu 1855 zasáhlo východní Japonsko zemětřesení o síle kolem 7,0. Při otřesu bylo zničeno kolem 50 000 domů a zemřelo kolem 7000 lidí.

1858
9. dubna 1858 prefekturu Tojama a prefekturu Gifu zemětřesení o síle kolem 7,1. Při otřesu zahynuly stovky lidí.

1872
V březnu 1872 zasáhlo prefekturu Šimane zemětřesení o síle kolem 7,1. Zničeny nebo poškozeny byly tisíce domů a zabito více než 500 lidí.

1891
28. října 1891 zasáhlo několik provincií na západě Japonska zemětřesení o síle kolem 8,0. Při otřesu zemřelo kolem 7 000 lidí.

1894
22. října 1894 zasáhlo západ regionu Tóhoku zemětřesení o síle kolem 7,0. Při otřesu zemřely stovky lidí a bylo poškozeno nebo zničeno mnoho budov.

1896
15. června 1896 zasáhlo východní Japonsko mohutné zemětřesení o síle 8,5. Tsunami v Japonsku dosáhla výšky až 25 metrů a byla pozorována i v Severní Americe. V důsledku zemětřesení zemřelo zhruba 22 000 až 27 000 lidí.

1901 – 1950

1923
1. září 1923 zasáhlo východ ostrova Honšú doposud nejsmrtelnější zemětřesení v historii Japonska. Síla zemětřesení se odhaduje na 7,9 až 8,3. Různé zdroje uvádějí dobu trvání zemětřesení 4 až 10 minut. Vyvolaná tsunami dosáhla výšky až 13 metrů. Města Jokohama a Tokio byla téměř celá zničena. Jednou z příčin velkého rozsahu škod byly požáry, které oblast zasáhly. Podle většiny zdrojů při otřesu zemřelo 140 000 lidí (a více).

1925
23. května 1925 zasáhlo prefekturu Hjógo zemětřesení o síle kolem 6,8. Při otřesu zemřelo více než 400 lidí.

1927
7. března 1927 zasáhlo region Kansai zemětřesení o síle zhruba 7,0. Otřes zabil kolem 3 000 lidí a vyvolal vysokou tsunami.

1930
26. listopadu 1930 zasáhlo poloostrov Izu zemětřesení o síle kolem 7,3. Při otřesu zemřely stovky lidí.

1933
3. března 1933 zasáhlo oblast Tóhoku zemětřesení o síle 8,4. Vyvolaná tsunami měla výšku až 28 metrů. Při otřesu zemřeli tisíce lidí.

1943
10. září 1943 zasáhlo prefekturu Tottori zemětřesení o síle kolem 7,2 stupňů momentové stupnice. Při otřesu zemřelo více než 1 000 lidí. Přestože zemětřesení proběhlo během druhé světové války, informace o katastrofě byly překvapivě necenzurované.

1944
7. prosince 1944 zasáhlo oblast Tókai zemětřesení o síle 8,1. Při otřesu zemřelo více než 1 200 lidí a tisíce utrpěli zranění. Desetitisíce domů byly zničeny nebo poškozeny, některé z nich vyvolanou vlnou tsunami. Tsunami dosáhla na pobřeží Japonska výšky až 10 metrů. Byla tak vysoká, že byla pozorována i v Severní Americe.

1945
13. ledna 1945 zasáhlo část regionů Čúbu a Kansai zemětřesení o síle 6,8. Při otřesu zemřelo kolem 2 300 lidí.

1946
21. prosince 1946 zasáhlo ostrovy Šikoku a Honšú zemětřesení o síle 8,1. Zemětřesení zabilo kolem 1 400 lidí a zhruba 2 600 zranilo. Vyvolaná tsunami dosáhla až 6 metrů.

1948
28. června 1948 zasáhlo pobřeží prefektury Fukui zemětřesení o síle 6,8. Při otřesu zemřelo několik tisíc lidí a desetitisíce domů byly zničeny. Nejhůře zasaženými prefekturami byly Fukui a Išikawa.

1951 – 2000

1952
V březnu roku 1952 zasáhlo ostrov Hokkaidó zemětřesení, které mělo sílu 8,1. Otřes způsobil zničení více než 2 000 domů a smrt 33 lidí.

1964
16. června 1964 zasáhlo prefekturu Niigata zemětřesení o síle zhruba 7,5. Při otřesu zemřelo více než 30 lidí a více než 300 utrpělo zranění.

1968
16. května 1968 zasáhl ostrov Hokkaidó a prefekturu Aomori mohutný otřes, který měl sílu 8,2 a vyvolal 6 metrovou tsunami. Při otřesu zemřelo kolem 50 lidí a stovky dalších utrpěli zranění.

1978
12. června 1978 zasáhlo prefekturu Mijagi zemětřesení o síle 7,7. Blízko epicentra bylo možno pozorovat asi 60 cm vysokou vlnu tsunami. Otřes zabil zhruba 28 lidí a více než 1 000 zranil.

1983
26. května 1983 zasáhlo prefekturu Akita zemětřesení o síle 7,8. Při otřesu zemřelo více než 100 lidí a stovky dalších utrpěli zranění. Zemětřesení vyvolalo až 14 metrů vysokou tsunami, která zasáhla nejbližší pobřeží už 12 minut poté, co k otřesu došlo.

1993
12. července 1993 zasáhl jih ostrova Hokkaidó otřes o síle 7,7. Zemětřesení způsobilo smrt 230 lidí. Vyvolaná tsunami byla tak vysoká, že poničila i rybářské lodě v Jižní Koreji, která byla od epicentra vzdálená kolem 800 kilometrů.

1994
28. prosince 1994 došlo na východ od Japonska k otřesu o síle 7,7. Zemětřesení vyvolalo více než 50 cm vysokou tsunami. Při otřesu zahynuli 3 lidé.

1995
17. ledna 1995 zasáhlo město Kóbe na jihu Japonska zemětřesení, které mělo sílu 6,9. Při otřesu zemřelo kolem 6 000 lidí.

2001 – současnost

2003
26. září 2003 zasáhlo japonský ostrov Hokkaidó mohutné zemětřesení, které mělo sílu 8,3. Více než 800 lidí utrpělo zranění. Otřes také vyvolal 4 metry vysokou tsunami.

2004
23. října 2004 zasáhl prefekturu Niigata otřes o síle 6,6. Při otřesu zemřelo nejméně 68 lidí a tisíce dalších utrpěli zranění.

2008
14. června 2008 zasáhl oblast Tóhoku otřes o síle 6,9. Při zemětřesení zemřelo 12 lidí a stovky dalších utrpěli zranění.

2011
11. března 2011 zasáhlo největší japonský ostrov Honšú nejsilnější zemětřesení v historii Japonska. Zemřelo při něm více než 15 900 lidí. Otřes vyvolal tsunami o velikosti k 40 metrům, ostrov Honšú posunul o 2 metry a zemskou osu vychýlil přibližně o 16 cm.

7. dubna 2011 zasáhl prefekturu Mijagi otřes o síle 7,1. Byl to dotřes po zemětřesení, které mělo sílu asi 9,0 a došlo k němu o 1 měsíc dříve. Zemětřesení zabilo 4 lidi a 141 zranilo.

2012
7. prosince 2012 zasáhl západ Japonska otřes o síle 7,3. Epicentrum otřesu se nacházelo asi 200 kilometrů od pevniny. Zemětřesení vyvolalo asi 1 metr vysokou tsunami, kterou bylo možno pozorovat v prefektuře Mijagi. Při otřesu zemřeli 3 lidé.

2016
14. a 16. dubna 2016 zasáhly japonský ostrov Kjúšú otřesy o síle 6,2 a 7,0. Při otřesech zemřelo celkem 50 lidí a více než 3 000 dalších utrpělo zranění.

2018
6. září 2018 zasáhl nejsevernější japonský ostrov Hokkaidó otřes o síle 6,6 až 6,7. Za následek měl výpadek elektřiny na celém ostrově a masivní sesuvy půdy. Zemřelo více než 30 lidí a stovky utrpěly zranění.

2021
13. února 2021 zasáhly otřesy prefekturu Fukušima o síle 7,1 a 7,3. Za následek měly výpadek elektřiny, bez níž se ocitlo přes 950 000 domácností.

Reference

Zemětřesení v Japonsku
Zemětřesení
Japonsko

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text:
Sydney's nastiest feud over as Jones comforts Laws in his time of need
Private Sydney
By Andrew Hornery
March 7, 2020 — 12.00am
Alan Jones and John Laws were at the centre of one of Sydney's great feuds in 2004, but it appears even the deepest wounds can heal, especially in grief.
Theirs was a headline-grabbing cat fight, sparked after Jones left his old 2UE stablemate and jumped ship in 2001 to join 2GB in a mega-buck deal orchestrated by then owner John Singleton.
Rapprochement: One of the great feuds of Sydney has ended. John Laws and Alan Jones exchange pleasantries at the funeral of John Fordham in Paddington last November. Credit:James Brickwood
Jones took most of 2UE's listeners and advertisers with him. Laws was furious - with his radio star already waning, Jones had delivered a lethal blow and before long Laws was gone.
Three years after Jones' departure their blue was still raging, though it had descended into school-yard taunting, mostly on Laws' part.
He famously called Jones "a vicious old tart" on air. Jones remained silent, saying he would not comment on "rubbish".
Alan Jones and Kerri-Anne Kennerley attend the funeral service for Caroline Laws at St Mark's Church. Credit:Peter Rae/AAP
Laws added further salt into Jones' already raw wounds by going on Andrew Denton's Enough Rope to say Jones would be a "gold medallist" if "hypocrisy were an Olympic sport".
Laws, who along with Jones had been embroiled in the cash-for-comment saga, also revealed on his radio show that not long after the scandal, Jones had instructed former prime minister John Howard to reinstate David Flint as boss of media watchdog the Australian Broadcasting Authority.
Laws - who to this day remains unrepentant over his "loyalty" to sponsors - labelled Jones, Flint and Howard as "an unpleasant little troika".
By that point it appeared Laws had burnt any remaining pylons still standing under his old, rickety bridge with Jones.
Or so it seemed.
On Tuesday Jones joined a cavalcade of VIPs to support his old foe during the funeral of Laws' wife, Caroline, at Darling Point's St Mark's.
Love of his life: Caroline and John Laws in 2005. Credit:Jenny Evans
Jones magnanimously stood by Laws' side as the radio star, wracked with grief, bade farewell to the love of his life, the woman he endearingly called his "Princess".
Following the funeral, a clearly moved Jones told PS: "The grief endured by the legendary John Laws was both visible and beyond what anyone could be expected to endure."
"I felt it was important to be there so that he knew, at this time, he would not be on his own. It was moving and inspiring that a 44-year relationship could mean so much as to produce such an overwhelming sense of loss at Caroline's passing."
And it appears the rapprochement will endure.
"I have indicated to John that I am here for a cup of tea if it would help," Jones revealed.
Last November, at Laws' former agent John Fordham's funeral in Paddington, PS observed that old rivalries between Laws and Jones were buried, for just a few hours at least, as the radio titans cheekily traded jibes outside the church.
For many years it was Fordham who was the meat in the sandwich between the pair, who for decades waged battles over egos and ratings.
Jones had initially walked right by Laws to say hello to someone else, apparently not seeing the shock of snow white hair as Laws hovered around the crowd, his not inconsequential frame stooped over a walking stick.
But Laws' pride was hardly feeble, and he was having none of it, shouting out to Jones somewhat incredulously: "Alan, you did not say hello to me!"
Jones, looking mortified, turned and shook hands. Smiling at each other the old radio titans spoke of their respective health issues and Jones said: "It's good to see you."
And no doubt it was again for Laws when he clapped eyes on Jones at St Mark's on Tuesday.
Rodney and Lyndi Adler. Credit:Chloe Paul
Revealed: Adler's sweet spot
There are many deals negotiated from the sun beds of West Hollywood's uber hip, celebrity-filled hotel Petit Ermitage, but an Australian accent overheard there recently was not one belonging to a hot new starlet.
Rather it was our very own Rodney Adler, who was talking loudly about his plans for a new business venture, which the businessman confirmed to PS was to launch a chain of chocolate stores across Australia and New Zealand.
Adler, who was famously jailed in 2005 for his role in the collapse of insurance giant HIH, told PS he was part of a syndicate that had acquired the rights to a new franchise of stores under the Blue Stripes brand.
With one standalone store in New York, Blue Stripes is the brainchild of Max Brenner co-founder, Israeli businessman Oded Brenner.
PS remembers one of Adler's previous forays into the food and beverage industry, when he brought the ill-fated Hooters chain to Australia, famous for its huge, ahem, Buffalo wings and tank-top wearing waitresses.
Adler confirmed he had been in the US with his wife Lyndi. The couple have returned to their Vaucluse home of 16 years, which has been on and off the market over the past few months after his plans to build a garage under his tennis court were thwarted by Woollahra Council.
"For now we are happy to just remain where we are, but of course if the right price was offered that could change," Adler said.
Mardi Gras spat leaves bad taste
While the head honchos at Destination NSW were hosting ABC chairman Ita Buttrose and PS in their prime enclosure at Taylor Square to celebrate Saturday night's Sydney Gay and Lesbian Mardi Gras, one of the tourism body's underlings had other ideas.
Gob-smacked: Sydney caterer Savva Savas and his sons Dane and Leo.
Friends of high-profile Sydney caterer Savva Savas were quick to rally around the proud gay father of boys Dane and Leo after Melinda Ayre - a woman he says he does not know personally - wrote a damning post on Facebook after he published a photo of his five-year-olds as they enjoyed the parade around 9pm shortly before heading home.
Ayre wrote: "Why are your babies out late at Mardi Gras?!?! This festival is awesome but not for kids - they should be in bed and while I embrace inclusivity - I abhor parents parading their children to display their beliefs". She ended her missive with a Rainbow emoji.
Ayre's Facebook profile reveals she works for Mardi Gras' key sponsor Destination NSW as a content creator. She soon deleted her post, but not before many of Savas' friends and family leapt to his defence, several of them alerting Destination NSW management, which swiftly launched an investigation.
A spokesman for Destination NSW confirmed Ayre was an employee and added she had been "reprimanded" over the post and had written an apology to Savas, though he had yet to receive it when PS called on Friday.
The offending Facebook post by Melinda Ayre. Credit:Facebook
"I was gobsmacked, I couldn't believe what I was reading ... she knows nothing about my family," Savas told PS. "But I was even more surprised by the amount of support I had from people, some of them strangers. That was pretty reassuring."
Virus, what virus
It would appear the only thing Jaimee Belle Kennedy, wife of jewellery heir James Kennedy, forgot to pack for her European jaunt was a few face masks.
When in Paris: Jaimee Belle Kennedy takes holidays to the next level. Credit:Instragram.
While the rest of Australia's fashion pack were scrambling to get out of Europe following the Milan and Paris shows and the ever increasing spectre of coronavirus, no potential global pandemic was going to stop Kennedy's one-woman fashion extravaganza being played out on Instagram. She appeared to be travelling with her own photographer and hair and make-up artist.
The results speak for themselves, with Kennedy seen splayed across the stairway at Paris's swish Plaza Athenee hotel, and appearing to devour pizza in Italy, though judging by her immaculate lip gloss it is doubtful any solids were actually consumed.
Harpers BAZAAR Australia editor-in-chief Eugenie Kelly declared she was "under house arrest" this week, or more accurately self isolation after returning from Italy.
Slumming it: Jaimee Belle Kennedy takes time out on the stairwell at Paris' swanky Plaza Athenee hotel. Credit:Instagram
Meanwhile word from the shows painted a somewhat grim picture, especially the scene described at Dolce and Gabbana's runway extravaganza, where the fashion pack were spotted using their invitations as makeshift face masks.
Chip time: Jaimee Belle Kennedy "carbing up". Credit:Instagram
Her own champion: respect for new 'boss lady'
Pop star Jessica Mauboy is not wasting any time asserting her new-found independence as her own "boss lady" after parting company with her manager of 14 years David Champion.
Mauboy, who told PS in January she no longer felt "shackled" by the pop music industry and was keen to use her voice to draw attention to the plight of her indigenous community in Australia, has posed for a dramatic new shoot in next week's Harper's BAZAAR Australia.
Boss Lady: Jessica Mauboy. Credit:Georges Anthoni/Harpers Bazaar Australia
"I found a new way to be the boss lady in the room," she says. "I started to put my foot down, and people listened."
Mauboy says she parted company with Champion on "good terms", but admits that from a "business and musical perspective, we see things differently."
"It's a big thing to be able to thank someone for their time and [acknowledge] that I'm different from when I was 16, and be able to leave on good terms," she adds.
Mauboy recently spoke about the Uluru Statement from the Heart, which was signed by 250 Aboriginal and Torres Strait Islander leaders and calls for a First Nations voice in Parliament.
"My mother [a Kuku Yalanji woman] always told me, 'Never forget where you came from,'" she says. "I wanted to stand with my ancestors. If we were to gain that respect, it would mean freedom for anyone born in this country."
John Laws
Rodney Adler
Andrew Hornery is a senior journalist and Private Sydney columnist for The Sydney Morning Herald.Connect via Twitter or email.

redpajama_set_name: RedPajamaCommonCrawl


text:
East Asian Art (10)
Eighteenth-Century Art (2)
[[missing key: search-facet.tree.open-section]] Nineteenth-Century Art (10)
Hudson River School (1)
Twentieth-Century Art (10)
Art Education (2)
Ceramics and Pottery (1)
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1900–2000 (10)
China, People's Republic of (7)
Twentieth-Century Art x
Nineteenth-Century Art x
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Asian American Arts Centre
Matico Josephson
American multi-ethnic arts organization based in New York's Chinatown. The Asian American Arts Centre (AAAC) and its predecessors, the Asian American Dance Theatre (1974–93) and the Asian Arts Institute (1981–8), emerged from the milieu of the Basement Workshop, the first working group of the Asian American Movement on the East Coast, whose mouthpiece was the journal Bridge (1970–81). After the closing of the Basement Workshop in 1987, the Dance Theatre and the Asian Arts Institute were consolidated as the AAAC.
Directed by Eleanor S. Yung, the Dance Theatre was at the core of the organization's activities from the 1970s through the early 1990s, performing traditional dances from several Asian cultures alongside modern and postmodern forms. In the early 1980s, the Asian Arts Institute began to hold exhibitions and collect slides of artists' work and documentation of their activities, working primarily with artists involved in the downtown art scene. Early programs included open studio events for artists working in Chinatown and exhibitions of the work of Arlan Huang (...
Chosŏn dynasty
Junghee Lee
[Yi]
Korean dynasty that ruled the Korean peninsula from 1392 to 1910. The founder of the dynasty, Yi Sŏng-gye, posthumously known as King T'aejo (reg 1392–8), established Neo-Confucianism as the official ideology, encouraging a modest and practical lifestyle. Thus the patronage of extravagant art was discouraged, and the status of the artist was reduced. Buddhism was often zealously suppressed but remained the private religion of the palace women, the common people and even some kings. T'aejo, for example, built Sŏgwang Temple in north-eastern Korea, the area of his origin; King Sejo (reg 1455–68) built the marble pagoda of the Wŏngak Temple in Seoul in 1466; and the Dowager Queen Munjŏng patronized painters (see Korea, §IV, 2, (i), (d)) and supported temple constructions during the reign of King Myŏngjong (reg 1545–67).
With the establishment of the capital at Hanyang (now Seoul), T'aejo built the Kyŏngbok and Ch'angdŏk palaces and city walls in ...
Clarke, Thomas B(enedict)
Lillian B. Miller
(b New York, Dec 11, 1848; d New York, Jan 18, 1931).
American businessman, collector, patron and dealer. He began collecting art in 1869 with paintings by American Hudson River school artists and conventional European works, Chinese porcelain, antique pottery and 17th- and 18th-century English furniture. By 1883 his taste had focused entirely on American works, especially on paintings by George Inness and Winslow Homer. By dealing in such works and by giving frequent exhibitions, Clarke enhanced the popularity of these artists, while also realizing large profits for himself. His founding of Art House, New York, in 1890 confirms the profit motive behind his collecting practices. The most notable sale of his paintings took place in 1899, when he sold at auction 373 contemporary American works at a profit of between 60 and 70%. Four landscapes by Inness—Grey, Lowery Day (c. 1876–7; untraced), Delaware Valley (1865; New York, Met.), Clouded Sun (1891; Pittsburgh, Carnegie Mus. A.) and Wood Gatherers: Autumn Afternoon...
Duanfang
Elizabeth F. Bennett
[Tuan-fang; zi Wuqiao; hao Taozhai] [Tuan-fang; zi Wuqiao; hao Taozhai]
(b Fengrun, Hebei Province, 20 April 1861; d Zizhou [modern Zizhong], Sichuan Province, 27 Nov 1911). Chinese collector and high official. His Chinese ancestors, named Tao, moved to Manchuria in the Ming period (1368–1644), intermarried with the indigenous Manchu, accepted the clan name Tohoro and became part of the Manchu Plain White Banner, one of the four original military and administrative units of Manchuria. Duanfang's family returned to China after the Manchu conquest of China and the establishment of the Qing dynasty (1644–1911). He received his juren degree in 1882 and served in many high posts, including terms as governor and acting governor-general of various provinces. He was interested in education and modernization and was a patron to promising young men. He was killed by his own men in the 1911 uprising while attempting to return to Wuchang, Sichuan, to take up his post as acting governor-general....
Hara, Sankei
Yoshikazu Iwasaki
[Aoki, Tomitarō]
(b Gifu Prefect., Aug 23, 1868; d Yokohama, Aug 16, 1939).
Japanese collector. He changed his name when he was adopted by his father-in-law, a silk merchant in Yokohama, who made him his heir. He began collecting after c. 1897, and his large collection contained a number of National Treasures. To exhibit it, he opened the Sankei'en in a new park in Yokohama. He encouraged and gave financial support to such artists as Yukihiko Yasuda and Gyoshū Hayami, prominent figures in the Japan Art Institute. He was a highly respected tea master in later life....
Munthe, General J(ohan) W(ilhelm) N(ormann)
Monika P. Thowsen
(b Bergen, July 27, 1864; d Beijing, May 13, 1935).
Norwegian officer and collector. After training at the cavalry's non-commissioned officers' school in Kristiania (now Oslo) from 1884 to 1886, he travelled to China in 1886 and was appointed to the Chinese customs and excise service in 1887. Munthe remained in China and took part in various military actions. He was also adjutant to Yuan Shikai, then viceroy of Zhili, Hebei Province (1900–08), and then customs director in Tianjin (1909–11). After the Revolution (1911), Munthe was again adjutant and adviser to Yuan Shikai, first President of the Republic of China (1912–16). Munthe was the head of the protective guard of the legation district in Beijing, adviser to the Ministry of War and a Chinese lieutenant general. During the 1920s he was director of the Sino-Scandinavian Bank. The honours he received included the Russian St George's Cross, the British China Expedition Medal and the Norwegian Cross of the Commander of the Norwegian Order of St Olav. From ...
Carol Michaelson
[Ch'ing]
Last Chinese dynasty, founded by the Manchus, dating to 1644–1911. The Manchu emperors early became sinicized and patronized all forms of Chinese art and culture. Until the 19th century there was relative prosperity and peace under the Qing. Population and trade increased on an unprecedented scale, and expansion of territory made China the richest and largest state in the world. The reign periods of the Kangxi (1662–1722), Yongzheng (1723–1735) and Qianlong (1736–96) emperors represent the height of Qing cultural attainment. In 1683 Kangxi founded the zaobanchu, a department of public artworks within the palace. He also promoted regional crafts and encouraged the latest Western inventions. Qianlong was also a great patron and collector. As enlightened despots, the emperors won over many patriotic Chinese, particularly by means of publishing enterprises that stimulated intellectual life, and by holding special examinations. In art the emperors were essentially conservative, but many merchants in Yangzhou and elsewhere in the south were also great artistic patrons....
Vever, Henri
Milo Cleveland Beach
(b Metz, 1854; d 1942)
French jeweller and collector. Vever directed the family jewellery business, begun in Metz by his grandfather Pierre-Paul Vever (d 1853). After the capture of Metz in the Franco-Prussian War (1871), the family moved to Luxembourg and then Paris, where the Maison Vever became well established on the Rue de la Paix, winning the Grand Prix of the universal expositions in 1889 and 1900 and becoming a leader in the Art Nouveau movement. Vever gave an important group of Art Nouveau works to the Musée des Arts Décoratifs, Paris. His early interest in contemporary French painting led him to assemble a large and important group of works by Corot, Sisley, Renoir and Monet, of which he sold the majority (Paris, Gal. Georges Petit, 1897) to concentrate on Japanese and Islamic art. Vever had begun to collect Japanese prints in the 1880s and in 1892 joined the distinguished private group ...
Yang, Alice
Michelle Yun
[ Huei-Zu ]
(b Taipei, Taiwan, 1961; d New York, NY, Feb 8, 1997).
Taiwanese curator and art historian. Yang immigrated to the United States at age 15. She received a BA in Art History from Yale University in 1984 that included a six-month sabbatical to Jinan University in Guangzhou to study Chinese in 1982. Yang was exposed to art from a young age through her mother, Suhwa Chou Yang, who ran the Hunglin Art Gallery in Taipei in the 1970s. Upon graduation Yang held internships at the Metropolitan Museum of Art and the Museum of Modern Art , both in New York, before accepting a position as Assistant Curator at the New Museum, New York, in 1988. Notable exhibitions she curated during her time at the New Museum include 1+1+1: Works by Alfredo Jaar (1992); Skin Deep (1993); and The Final Frontier (1993). She left the New Museum in 1993 to work as an independent curator and critic while studying to earn a PhD from the Institute of Fine Arts of New York University. In early ...
Luo Zhenyu
[Lo Chen-yü; zi Xuetang; hao Chensuntang]
(b Huaian, Jiangsu Province, Aug 3, 1866; d Lüshun, Liaoning Province, June 19, 1940).
Chinese writer, collector and calligrapher. He is particularly well known for his studies of oracle bone script (jiagu wen), the earliest Chinese writing, so called because it was found on animal bones and shells used for divination (see China, People's Republic of §IV 2., (i), (a)). Luo's friend Wang Yirong (1845–1900) and Liu E (1857–1909) were the first to collect the bones, which they discovered and rescued from pharmacists, who ground them up for medical prescriptions. The importance of oracle bones for early Chinese history was more widely recognized in 1899 after large quantities of them were unearthed at the Yinxu site in Anyang, Henan Province. Sun Yirang (1848–1908), Wang Guowei (1867–1927) and Luo investigated the texts on the oracle bones, and Luo dated them to the latter part of the Shang period (c. 1600–c. 1050...


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Philadelphia Startup Lineswings Seeks To Help Sportsbook Bettors Navigate Live Offerings
Like most great ideas that have been born in Philadelphia, Patrick Dougherty's came at Chickie and Pete's over a few pitchers of beer and some crab fries.
Dougherty, a sports fan in the "average Joe" sense, was hanging out with buddies and was dazzled by the scribbled notes they kept referring to.
"They had pieces of paper with all their bets written on it, and I was fascinated," Dougherty said. "I was like, 'How do you guys know about all these teams to make all these bets?' And of course it turns out that they really didn't, but while we were watching, there was a lot of talk of 'I really should hedge this' or 'I really like the live line here,' and the wheels started spinning."
They spun him to his childhood friend, Mike Rosenello, who works in software development. They also spun him to his college buddy, Dan Abato, who works in the user interface design field. They sat down, hashed out a basic idea, and last September launched a web-based prototype of their app LineSwings. And after a successful soft launch, the app became available a little less than a month ago for both iOS and Android devices.
So what is LineSwings? What do they do?
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When the dogs steal the show
Right now, it's pretty simple: The free app will alert you — based on your specifications — when a live line has, well, swung.
"Hundreds of thousands of people have handicapped the game, and we are working under the theory the opening lines are right," Dougherty said. "Live betting is moments. They're not long-lived. What LineSwings is trying to do is alert you to an anomaly. It's not that we think the price is necessarily wrong — we're just telling you the live spread has changed and the pros think the team that's losing should win this game, or vice versa."
Right now, that's the app.
"We've collected over a million data points on the NBA and college basketball," said Rosenello. "And we're collecting a ton more."
And with this data, the trio will be rolling out — in a matter of weeks — the first iteration of their predictive model.
"We are now at a point where we are collecting enough data to model, to create our own live model of the line, which will probably jibe 99% of the time with what's out there," said Rosenello. "Our goal is to be able to notify users when that 1% happens, when the live line the sportsbooks have is wrong based on our models."
Live betting on the rise
And with live betting being a major part of the sports betting experience — and it's only poised to grow exponentially — a predictive model on what the live lines should be might come in pretty handy.
"We want to bring the fairly simple but usable offering we currently have and bring it into more predictive modeling and algorithms in order to better serve the people who use LineSwings," Dougherty said.
And the plan is to continue to hone the analytics side of the business.
"For the future, we want to start hammering away at modeling with the data and analytics," said Rosenello. "We want to narrow it down, get as granular as we can."
Live betting — especially live basketball betting — moves quick. In personal testing, this reporter found the alerts were sent in tune with the live score, and then it became a race to get the bet in before the line moved again. Obviously, for slower-paced sports like football and baseball, time — while still of the essence — is allowed to be stretched a bit.
"At the crux of what we put together is that we want to allow someone to digest all the games simultaneously and get a little snippet of information so they can maybe dive into a specific game and marry the empirical information LineSwings offers with some of their own subjective information," Dougherty said. "We're not saying sign up for LineSwings and you're going to be the next big winner. We see ourselves more like a compass for a sports bettor who's looking for a little edge."
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Teraco, Africa's largest and only vendor-neutral colocation data centre, today announced the availability of Amazon Web Services (AWS) Direct Connect through Teraco's Johannesburg JB1 and Cape Town CT1 data centres. This will enable customers to directly access AWS services in AWS infrastructure Regions around the world. The benefits of AWS Direct Connect are dedicated connectivity to AWS Regions, consistent network performance, and reduced bandwidth costs.
AWS Direct Connect is a dedicated network connection that brings robust and secure connectivity between on-premises or colocation environments and the cloud. Enabling organisations to transfer data via a private connection, AWS Direct Connect is ideal for organisations with latency- or compliance-sensitive workloads.
AWS Direct Connect is available at Teraco through physical cross connections in both the Johannesburg and Cape Town data centres and via Teraco Cloud Exchange. Lex van Wyk, CEO, Teraco, says that direct connection to AWS is becoming a critical component as digital transformation drives renewed energy into virtualised, on-demand provider-based services: "AWS Direct Connect is an exciting addition to Teraco. Clients looking to build hybrid solutions with their dedicated IT infrastructures now have choice. Teraco offers immediate activation of secure connections from our clients to AWS. The value of these cloud computing options will also be seen in the different types of connections clients require." He says that within Teraco, clients can peer via NAPAfrica or connect via Teraco Cloud Exchange.
The Teraco Cloud Exchange platform now offers another world leading cloud computing platform, offering predictable, high performance, SLA based connections that make Teraco's facilities the ideal location to build cloud and on-premises hybrid architecture solutions: "We have successfully built Africa's largest Internet ecosystem, and we are excited to offer clients access to all levels within this now complete ecosystem, including content and cloud providers."
"Our data centres act as a true cloud hub, enabling interconnection between cloud service providers, their clients and channel partners making it attractive to those building and managing reliable and high-performance hybrid IT solutions. Thanks to our diverse and populated carrier community, our clients are provided with several choices," says Van Wyk.


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New CISO View Report Highlights the Importance of Risk Reduction for Robotic Process Automation
Global 1000 Security Executives Share Strategies for Securely Scaling RPA Initiatives
NEWTON, Mass. and PETACH TIKVA, Israel – February 19, 2020 – CyberArk (NASDAQ: CYBR), the global leader in privileged access management, today announced a new report, "The CISO View: Protecting Privileged Access in Robotic Process Automation." Sharing recommendations from information security executives at Global 1000 enterprises, the report discusses how to securely drive innovation through robotic process automation (RPA).
Less than half of organizations have a privileged access management strategy in place for digital transformation technologies, like RPA. The CISO View examines attack techniques and provides practical advice from early RPA adopters on how organizations can mitigate the risks associated with non-human privileged access, including providing robots with more privileges than required to perform functions and tasks. The report recommends tightening access to RPA tools and mandating secure practices for developing robot scripts and emphasizes integrating RPA and enterprise security technologies in order to automate the management of credentials and detect misuse.
As part of The CISO View industry initiative, sponsored by CyberArk, this report provides practical recommendations from information security executives based on their first-hand experiences. Members of the CISO View research panel include Global 1000 organizations such as Asian Development Bank, GIC Private Limited, Highmark Health, Kellogg Company, Lockheed Martin Corporation, Orange Business Services, Pearson, Rockwell Automation, Royal Bank of Canada, and T-Systems International. These experts share key recommendations for how organizations can securely adopt RPA while mitigating potential risks, including:
Limiting access for reprogramming robots – Reduce the risk that comes with RPA permissions – like the ability to reprogram robots – by securely managing credentials to RPA tools and training RPA teams on secure software development practices.
Automating credential management – Successful RPA deployments require automated credential management, including machine-generated passwords, automatic password rotation, identity verifications and just-in-time or time-limited credential access.
Establishing robust processes for monitoring RPA activity – Rapidly detect and respond to unauthorized or anomalous robot behavior by assigning human managers, enforcing least privilege and making actions traceable.
"From finance and HR to manufacturing, organizations are rapidly adopting RPA to drive new efficiencies for their business and deliver innovative services to customers," said Marianne Budnik, CMO, CyberArk. "This report provides a playbook for organizations to embrace security in a way that enables the business and helps RPA projects move forward as part of key digital transformation initiatives."
The fourth in The CISO View series, this report was developed in conjunction with independent research firm Robinson Insight.
To download "The CISO View: Protecting Privileged Access in Robotic Process Automation" and other reports in the series, visit https://www.cyberark.com/cisoview/.
Visit CyberArk at RSA Conference (North Expo, Booth #6353) to learn more.
Full Report: The CISO View: Protecting Privileged Access in Robotic Process Automation
Webinar: The CISO's Take on Protecting Privileged Access in Robotic Process Automation
About CyberArk
CyberArk (NASDAQ: CYBR) is the global leader in privileged access management, a critical layer of IT security to protect data, infrastructure and assets across cloud and hybrid environments and throughout the DevOps pipeline. CyberArk delivers the industry's most complete solution to reduce risk created by privileged credentials and secrets. The company is trusted by the world's leading organizations, including more than 50 percent of the Fortune 500, to protect against external attackers and malicious insiders. A global company, CyberArk is headquartered in Petach Tikva, Israel, with U.S. headquarters located in Newton, Mass. The company also has offices throughout the Americas, EMEA, Asia Pacific and Japan. To learn more about CyberArk, visit https://www.cyberark.com/, read the CyberArk blogs or follow on Twitter via @CyberArk, LinkedIn or Facebook.
CyberArk Delivers Blueprint for Privileged Access Management Success
Idaptive Announces Adaptive Multi-Factor Authentication for Endpoint Login and Enhanced Support for Passwordless Authentication


Dr. Kwadwo K. Frempong, a Principal Research Assistant at the Department of Parasitology, Noguchi Memorial Institute for Medical Research has received a small grant (junior award category; Ref: SGP II/0114/089) from the African Research Network for Neglected Tropical Disease (ARNTD) supported by the USAID and UK aid. The grant is expected to last for one year. His study is titled "Evaluation of newly developed urine dipstick for onchocerciasis diagnosis"and will evaluate the performance of a newly developed tool for onchocerciasis diagnosis based on urine (by scientists of the Scripps Research Institute, USA) in comparison with existing tools i.e. microscopic examination of skin-snip and Ov-16 RDT tests. His mentors are Dr. Mike Y. Osei-Atweneboana (Director, CSIR-Water Research Institute) and Prof. Daniel A. Boakye (Parasitology Dept., NMIMR).
The Institute wishes to congratulate Dr. Frempong on this achievement.


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О-Валадоуро (, ) — муніципалітет в Іспанії, у складі автономної спільноти Галісія, у провінції Луго. Населення —  осіб (2009).

Муніципалітет розташований на відстані близько 450 км на північний захід від Мадрида, 39 км на північ від Луго.

Муніципалітет складається з таких паррокій: Будіан, О-Кадрамон, Феррейра, Фрешульфе, А-Лаше, Моусіде, Рекаре, Сан-Томе-де-Рекаре, Санта-Крус-до-Валадоуро, Вілакампа.

Демографія

Галерея зображень

Парафії
Муніципалітет складається з таких парафій:

Релігія
О-Валадоуро входить до складу Лугоської діоцезії Католицької церкви.

Примітки

Муніципалітети провінції Луго


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The Uncanny & London Exhibitions January – March 2020
Introduction: Reflections on the Uncanny
"The uncanny" is a bemusing, unsettling, strangely familiar phenomenon characterised by a feeling of disruptive eeriness and unreality piercing through the fabric of the mundane; it generates a particular type of response in one's psyche and evokes an ineffable feeling. The uncanny generally teeters on the blurred lines between reality and illusion, self and other, life and death, the natural and the unnatural. It is a subjective experience, to which some people are more susceptible than others; and ultimately, it's an elusive feeling, which varies from person to person, both in the source that stimulates it and in the particularities of the response it elicits. There is a notable distinction to be made between the cultural view of the uncanny – as represented through pieces of art, film, or other media, and the psychoanalytic one, as introduced by Freud in his influential essay on aesthetics, Das Unheimliche.
Art by Feebrile
In fiction, the uncanny has often been associated with recurrent themes such as the double/doppelgänger figure, reflections, mirroring, strangely familiar apparitions, haunted homes, horror, & the symbolic return of the repressed in the form of ghosts, monsters, or other Gothic figures. In art, objects such as wax masks, automata, and lifelike dolls tend to be described as uncanny. This refers to what is known as the Uncanny Valley, emphasising the unsettling, repulsive effect of things of an ambiguous lifelike nature, objects that appear to be human and alive, but upon closer examination reveal themselves to be flawed human replicas. However, in psychoanalytic terms used to describe real-life phenomena, the uncanny diverges from the cultural perspective.
"[…]According to theological principles, these seemingly natural, living, moving figures are spectral, mere images, uncanny because illusory. Such images or effigies consequently appear to supplant reality or take over from it when no prior referent remains in existence (the Seven Deadly Sins are allegories, Helen is long gone). The uncanny is an effect of reflection without referent, or of creation ex nihilo. In other words, it rises from a false impression that soul, in all its imprecision and mystery, is breathing into something; but these intimations of soul presence begin to stir only to be withheld. Living likenesses strive to guarantee and perpetuate presence, but ultimately underline the vanished and absent subject; creepily, they resemble someone or something who is not there, as in a mirror reflection with no subject." -Marina Warner, Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first Century
Psychoanalytic discourse emphasises the subjectivity of the phenomenon, shifting the focus from the objects themselves (which are not inherently endowed with uncanniness) to how we, the observers, experience certain objects, settings, situations, and, as I would suggest, also art shows and artworks, in a way that perceptually challenges or disrupts our sense of reality, making us aware of the unfamiliar present in the familiar, and resurrecting phantom elements or modes of perception from our past, particularly from early childhood. Within these intimate moments, our being has an inner dialogue whilst a haunting sense of unreality temporarily permeates the fibres of our existence. In this light, the uncanny encompasses experiences such as a human subject unconsciously or seemingly accidentally returning to the same spot several times (as if compelled or pushed by an external force), the feeling of deja-vu, a peculiar sense of being watched, potentially by something supernatural, finding objects that you thought were lost forever, or stepping into an empty place that is normally filled with people. When it comes to the aesthetic experience, Derrida's concept of hauntology applied to art (the extended definition of art) refers to how hauntological aesthetics can induce an otherworldly nostalgia by invoking phantoms of the past that are neither present nor absent, as well as a sense of a lost future.
In one of his inspiring talks held at the Freud Museum, British psychoanalyst Darian Leader linked the uncanny response with elements of anxiety, fear, and shock. Meanwhile, I have previously experienced the uncanny as a dream state, a combination of weightlessness, derealisation, lightheadedness, a sense of a distant, diffuse past merging with the present, of time being suspended or dissipated, of another world permeating current reality. I would describe it as a spiritual occurrence which can be resurrected by a scent, a melody, a film, an atmosphere, or an object, making me see the world through another lens, belonging to a much younger version of myself, who used to process the world in a more mystical way. This impression, this world pouring through another world, this repetition of a way of seeing is ambiguous, as it's filtered through memories, which can morph as time goes by and "re-shape" the past. Such memories can summon echoes of seemingly insignificant, disjointed aspects and sensory moments that our minds may have considered fascinating. They are often distorted, or disguised. Unlocking the meaning behind a childhood memory is like drawing the latent image from the manifest dream. The uncanny response is sensory, emotional, and intellectual at the same time. Darian Leader also mentioned how a change in the subject's self-image can appear in such moments, a self-perception as an object of the gaze of a higher external force, a perception of the self as 'the other', a fleeting sense of alienation from one's own constructed identity, desires, sense of the world, or from reality. Darian Leader also emphasised the dimension of conscious or unconscious desire that is relevant in this context, and how the cancellation of the gap of that desire, so the moment of its fulfilment (i.e. the desire to find something or to recreate an old narrative or scenario) stimulates an uncanny response.
Freud's essay starts with an in-depth analysis of the ambiguous meanings behind 'heimlich' and 'unheimlich', exemplifying the multiple uses of the German words, and how they are not always antonyms. Link to Freud's essay on the uncanny: Das Unheimliche.
London Exhibitions – Last chance to see:
Through The Uncanny exhibition, The Freud Museum celebrates 100 years since Freud defined and explored the concept of the uncanny in his well-known, pioneering essay on aesthetics entitled "Das Unhemliche". The Uncanny programme held at the Freud Museum has included inspiring talks by Freudian psychoanalysts, artists, and academics on the topics of the uncanny in art, the uncanny in film, and the uncanny as a real life experience.
Immerse yourself in the evocative artworks exhibition and the haunting installation inspired by T. A. Hoffmann's The Sandman at the Freud Museum. The exhibition features etchings by German surrealist artist, Hans Bellmer, as well as disturbing recent works by Elizabeth Dearnley, Lili Spain, Martha Todd and Karolina Urbaniak & Martin Bladh. Moreover, you can see Freud's death couch, as well as trying the Sandman App, through which you can have an unsettling audio tour of the museum, with the Sandman installation as the memorable epilogue.
Besides the immersive exhibition, which is open for two more weeks, you can also attend two upcoming uncanny events, which can be found on the official website. One of the events is focused on Freud's essay and links between psychoanalysis and literature, led by literature teacher Forbes Morlock, and the other, "Funerary Masks and Death Masks" is a talk by Nick Reynolds, British sculptor and creator of death masks.
Exhibition at Freud Museum until 9 February 2020.
Surrealist photographs by Dora Maar, influential, nonconformist French photographic artist and one of the few female artists from within the famous group of the 1920s-1930s surrealists.
The uncanny artworks of Dora Maar include double exposures, photograms, and photomontages, often imbued with a sense of melancholy and tenebrosity, depicting scenes ranging from the poetic solitude and ambiguity of Parisian boulevards and urban life, to unconventional representations of fashion, erotica, symbolic self-portraits, and figures and silhouettes viewed from strange perspectives, as well as ghastly creatures. One of her most iconic images, the delicate hand crawling out of the shell on a desolate beach surrounded by an ominous skyscape with apocalyptic clouds, is filled with grace, vulnerable elegance, frailty, doom, nostalgia, as well as a strange erotic quality. The juxtaposition of elements creates a surreal dreamlike narrative. In addition to her surreal art, the artist also approached and represented the world realistically, through natural photographic captures of simple, seemingly unplanned moments, visual vernacular, and candid narratives within the urban space.
Dora Maar has been known as the model, muse, and lover of Picasso, whose dark portrayal of her in his work-particularly in "The Weeping Woman" as a suffering, tortured, yet monstrously threatening figure- she vehemently rejected, declaring that all his depictions of her are deceptions with no link to her character.
Dora Maar photographed by Lee Miller in her Paris home cca 1956. Featuring a Picasso portrait of her on the mantelpiece.
Captivated by her beauteous transfixing appearance and intellectual and artistic brilliance, Picasso developed an obsession with painting her in a multitude of ways, albeit distorted, stylised ways, blending various personal themes with his subject. Dora Maar often painted portraits of Picasso and other members of the surrealist circle. She was also photographed and influenced by renowned surrealist photographer Man Ray. Brassai described her saying that she had "bright eyes and an attentive gaze, a disturbing stare at times", whilst James Lord poetically painted her inner and outer beauty in words, also starting with the windows of the soul: "Her gaze possessed remarkable radiance but could also be very hard. I observed that she was beautiful, with a strong, straight nose, perfect scarlet lips, the chin firm, the jaw a trifle heavy and the more forceful for being so, rich chestnut hair drawn smoothly back, and eyelashes like the furred antennae of moths" (J. Lord, Picasso and Dora, New York, 1993). After parting ways with Picasso, she was treated by French psychoanalyst Lacan and eventually decided to embrace the path of solitude and mysticism, whilst still expressing herself through various forms of art.
The exhibition provides an amazing opportunity to explore the complex, bewitching, enigmatic inner world of the woman whose distinguished work and artistic identity have often been eclipsed by her legendary association with the famous cubist artist.
Dora Maar's work is exhibited at Tate Modern until 15 March 2020.
The Agony in the Garden c.1799-1800 William Blake 1757-1827 Presented by the executors of W. Graham Robertson through the Art Fund 1949 http://www.tate.org.uk/art/work/N05894
Pity c.1795 William Blake 1757-1827 Presented by W. Graham Robertson 1939 http://www.tate.org.uk/art/work/N05062
Mesmerising, mystical, soul-stirring artworks from the allegorical universe of William Blake. Born in Soho, London, Blake was a fascinating artist whose work was misunderstood and deemed to be a sign of madness by his contemporaries, being far ahead of its time due to its expressively dark, sacrilegious nature and the sometimes grotesque creatures depicted. His work received merit and recognition mostly posthumously, as he is now one of the most highly revered English poets and visual artists. The artist's work was fuelled by the otherworldly visions he started experiencing from a young age. His iconic, symbolic imagery features faeries, devils and angels, fictional deities invented by him- embodiments of philosophical concepts governing his universe, other religious and celestial themes, suffering, sexual violence, scenes from Dante's Divine Comedy, as well as Miltonic and Shakespearean characters. As it can be observed in the images above, there is a mixture between the ethereal & the sinister in his depictions of angelic beings and blissful scenes and dark, hellish ones with titles such as "The Number of the Beast is 666" and "The Agony in the Garden".
The Times exhibition review: "Find yourself transported into strange, enraptured realms."
And a Heaven in a Wild Flower,
And Eternity in an hour."– William Blake
William Blake's oeuvre is now on exhibition at Tate Museum until 2 February 2020
Katie Eleanor: "The Sialia Marbles"
Katie Eleanor is a London-based contemporary fine art photographer and Photographic Arts Graduate from the University of Westminster. Inspired by marble sculptures, the sculptural nature of Oscar Gustave Rejlander's artworks, as well as scenes and characters from myths and from the artist's fictional world, artistic memory, or, as she evocatively refers to it, the museum of her mind, "The Sialia Marbles" exhibition features hand-coloured photographic prints depicting ethereal beings frozen in time, marble-like, sometimes angelic-looking, other times ghostly. The uncanny dimension of her artworks stems from the dichotomous interplay between liveliness and death, between the ephemeral and the immortal qualities of her art; the rigidity and physical longevity of marble statues and the fluidity and ephemerality of the human performer; the deathlike stillness and the implication of physical and emotional movement. The beings depicted are also characterised by the archetypal (sentient-inanimate) ambiguity belonging to the Uncanny Valley.
The tableaux of Katie Eleanor allude to religious iconography and mythology art, with some subjects appearing to be solemn, others dramatic, involved in intense narratives. The veiled, white, diaphanous subjects portrayed are reminiscent of spirit photography, which amplifies the uncanny effect. It's as if we are waiting for the motionless inhabitants of these unknown worlds to transcend the parameters of their existence within art; waiting for them to move towards the edge of the frame or fade away, for their veils to slip and reveal a change in expression, for their eyes to meet ours or glow. At the same time, the resemblance with statues (thus with something inanimate) makes this expectation perplexing.
The process behind the images includes the ritual of painting the models, performing a scene, the post-production process of hand colouring and enhancing the texture of the black and white analogue photographs. "Sialia" is the scientific name for bluebird – which Katie mentions is her alter ego, and the choice to include the word 'marbles' in the series title is congruent with her museum without walls parallel- a collection of uncanny human statues from her imaginary museum. The use of analogue photography and old film techniques brings uniqueness to the artworks; the physical, haptic quality of her work makes it more memorable and evocative, taking us on a mental trip through photographic art practices and through history, bringing back cultural artefacts and the sensory, magical properties of photography belonging to the pre-digital age. In more ways than one, Katie Eleanour's photographs transcend temporality, having a hauntological dimension.
"I love tableaux vivants and creating intense, ambiguous scenarios with my performers. Angels are found in so much religious and historical visual culture, so they are familiar. They also symbolise protection, particularly when the series is viewed as a whole. I am not a particularly religious person, but I believe in sanctuary. My brain and my imagination are my sanctuary, and that is something I associate with these solemn spaces. It's all creating a sanctuary for the viewer to inhabit, a sense of stillness and introspection." – Katie Eleanor, Image Journal interview, 2019
Saint Lucy by Katie Eleanor
Among the figures depicted in her work, you can find Saint Lucy and Daphne. After seeing a painting of Saint Lucy by Francesco Del Cossa, displayed at the National Gallery, the artist reveals:
"I was struck by the contrast between the brutality of her story and this ornate, delicate, almost whimsical rendering. In my version, the bandages over her eyes are significant, as I find the eyes of sculptures particularly haunting and vacant. This piece is a kind of homage to an amazing character in history." – Katie Eleanor, Image Journal interview, 2019
"The Sialia Marbles" collection is on show at MMX Gallery until 15 February 2020
Other exhibitions:
Tim Walker – Victoria and Albert Museum until 22 March 2020
Tutankhamun: Treasures of the Golden Pharaoh- Saatchi Gallery until 3 May 2020
Posted byDiana Marin January 27, 2020 May 5, 2020 Posted inPhotography, photography reviews, Uncategorized, updatesTags:art exhibitions london 2020, dora maar exhibition, london exhibitions 2020, Photography, photography exhibitions london 2020, photography reviews, the uncanny freud museum, william blake
Analysis: Meshes of the Afternoon (1943): a spiralling lucid nightmare, Maya Deren, & A dialogue with the Unconscious
A poem: Velvet glove


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UPS "Browns," Company's Iconic Uniform, Get A Makeover
First major redesign in decades to uniforms worn by 125,000 drivers worldwide
Company's greatest brand ambassadors get new look and feel
Polo-style shirt, performance fabrics and reflective logos will improve driver comfort, safety and performance
Old uniform pieces will be recycled
UPS "Browns," one of the world's most iconic and recognizable corporate uniforms, are getting a makeover.
It's the first major redesign since the early 1920s, and the most significant change since the company's drivers began wearing shorts in the early 1990s. The uniform is currently worn by about 125,000 drivers around the globe.
"UPS is in the midst of a company-wide Transformation, and a significant part of that effort involves a cultural and brand shift that embraces innovation, speed and relevance," said Chief Marketing Officer Kevin Warren. "Our new uniforms have a more contemporary look consistent with the company's ongoing Transformation efforts."
The updates are designed to improve driver comfort, safety and performance. UPS drivers are often referred to as industrial athletes, so many of the changes to the uniform include using performance fabrics with improved stretch for better range of motion. Among the changes:
Availability of a new pullover polo-style shirt with a three-button collar, made from a performance micro pique fabric that wicks moisture, improves breathability and enhances employee comfort in warm temperatures. The shirt is available in a short-sleeved version, and for the first time, includes color blocking on the sides.
UPS® brand marks on the front and back of the shirt are embedded with reflective technology to make employees significantly more visible in poor light conditions. In addition, reflective stripes are being added to the shirt sleeves as well as the winter cap.
Pants are now made with stretch twill, with a lower waist and more modern fit.
A baseball-style mesh hat is also made of moisture wicking heat-regulating mesh material, as opposed to plastic. The company also offers a wide-brimmed hat for sun protection.
"Compared to the old uniform, this is a big improvement," said 29-year Hialeah, Florida delivery driver Mark Monroe. Monroe was one of about 100 drivers in 30 locations who participated in months of beta testing of the new uniform options. "I'd give it a ten. Ten plus, plus! It breathes and it's much more comfortable fabric – it makes a huge difference compared to the old uniform."
Another Hialeah-based driver, Juan Constante, who has been with UPS for 31 years, feels the same way about the new Browns. "This is south Florida, so temperatures can be in the 90s with high humidity. It's (the new polo shirt) moisture wicking so it keeps you cooler," said Juan. "And there's nothing wrong with going out there, doing a good job and looking good while you're doing it. Two thumbs up!"
Outfitting UPS's driver workforce is no small task. It takes nearly 4 million yards of brown cloth and 2 million yards of brown thread for the 375,000 hats, 405,000 shirts, 375,000 pairs of trousers and 290,000 pairs of shorts issued to UPS drivers. That's enough cloth to stretch the distance of the Mississippi river.
As the new uniforms are phased in, UPS doesn't plan to let the old ones go to waste. Old uniform pieces will be recycled, keeping old fabric out of landfills.
The new uniforms are being phased in across the country. And the current uniform options – including the most popular current shirt, a "shirt-jack" with a squared off bottom, worn untucked – aren't going away. Drivers are able to choose the option they prefer.
New shirts and hats will continue to include the distinctive Circle of Honor patch, first added to uniforms about a decade ago for drivers who have reached the milestone of 25 years of safe driving.
Infographic 09/18/19
New Look For UPS Drivers
Media 09/18/19
UPS Uniform Makeover Social Video
UPS Uniform Makeover 1
Seattle Drivers and facility 1922
Los Angeles Drivers 1923
Los Angeles fleet in front of facility 1923
Morning Inspection Los Angeles 1929
Los Angeles Fleet & Drivers 1929
San Mateo, CA Drivers 1930
Auxiliary Ambulance New York City 1942
Male in uniform 1954
Male in winter vest and bowtie 1954
Best Buddies 1955
Uniform Standards Mirror 1965
Greenwood Drivers 1973
Dan McMackin
dmcmackin@ups.com
Infographic 09/18/19 New Look For UPS Drivers Download PDF


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redpajama_set_name: RedPajamaGithub


Excellent property with a beautiful villa with three bedrooms, two bathrooms, living room and kitchen. It has three car garage, cellar, terrace, private pool and gardens. The farm itself has an expansion of 11,000 square meters land. The sea and mountain views are incredible.


text:
2001: A Space Odyssey (conocida como 2001: Odisea del espacio en Hispanoamérica y 2001: Una odisea del espacio en España) es una película de culto británico-estadounidense del género ciencia ficción y épica dirigida por Stanley Kubrick y estrenada el 3 de abril de 1968. Marcó un hito por su estilo de comunicación visual, sus revolucionarios efectos especiales, su realismo científico y sus proyecciones vanguardistas.

Fue producida por Kubrick para la Metro-Goldwyn-Mayer y contó con Victor Lyndon como productor asociado. El guion fue escrito por el propio Kubrick y por el novelista Arthur C. Clarke, basándose en un cuento de este último titulado El centinela, escrito en 1948 y publicado originalmente en la revista 10 Historias de Fantasía, en 1951.

Su trama se centra en un equipo de astronautas que trata de seguir las señales de radio emitidas por un extraño monolito hallado en la Luna y que parece ser obra de una civilización extraterrestre. El reparto está integrado por Keir Dullea como Dave Bowman, Gary Lockwood como Frank Poole, Douglas Rain como la voz de HAL 9000 y William Sylvester como el Dr. Heywood Floyd.

Es una película de ciencia ficción multitemática, que aborda temas como la evolución humana, la tecnología, la inteligencia artificial y la vida extraterrestre. Se caracteriza por un notable realismo científico, por sus revolucionarios efectos especiales, por algunas de sus ambiguas; en algunos casos, surrealistas, e, incluso, psicodélicas imágenes. La banda sonora incluye música de Richard Strauss (la introducción de Así habló Zaratustra), Johann Strauss Jr. (El Danubio azul), György Ligeti y Aram Jachaturián. La dirección y diseño de los efectos visuales fueron obra de Kubrick y estuvieron supervisados por Wally Veevers.

La cinta fue estrenada el 6 de abril de 1968 en el Cinerama Theatre Broadway de la ciudad de Nueva York. En un inicio, recibió críticas polarizadas, destacándose sobre todo sus efectos visuales y la abstracción de la trama, lo que los críticos tomaron como uno de los puntos débiles de la película. Pero, en la actualidad, es una de las películas más aclamadas de la cinematografía estadounidense y mundial. Sus avanzados efectos especiales la hicieron acreedora de un premio Óscar en dicha categoría.En 1991, la película fue considerada «cultural, histórica y estéticamente significativa» por la Biblioteca del Congreso de Estados Unidos y seleccionada para su preservación en el National Film Registry.
Forma parte, además, del AFI's 10 Top 10 en la categoría de «ciencia ficción».

Argumento
La secuencia del filme inicia con la imagen de la Tierra ascendiendo sobre la Luna, mientras que el Sol asciende a su vez sobre la Tierra, todos en alineación. En este momento comienza a escucharse la composición musical Así habló Zaratustra, de Richard Strauss, la misma que acompaña, en su mayoría, la primera parte de la película, titulada El amanecer del hombre.

El amanecer del hombre
El segmento presenta la vida cotidiana de un grupo de primates en una árida sabana (todo sugiere, como la ciencia lo comprueba, una sabana casi desértica con casi todas las probabilidades en lo que hoy es África) unos 4 millones de años AP donde se les observa husmeando en busca de alimento y conviviendo aparentemente de forma pacífica. Después, uno de los miembros de esta manada es atacado y muere por un leopardo. Se muestra su disputa con otros grupos de primates muy similares por poder beber el agua de una charca y por el espacio vital, pero sin llegar al contacto físico. Se muestra cómo estos primates temen a la oscuridad nocturna y a sus depredadores, por lo que descansan con sueño nervioso en el fondo de una pequeña cueva.

En un amanecer, despertado por extrañas vibraciones acústicas, uno de los primates encuentra enfrente del refugio el monolito, un ladrillo de Euler o bloque ortoédrico perfecto de color negro de varios metros de altura con proporciones 1x4x9, que provoca la alarma en el grupo y un primer momento de confusión y miedo. Al poco tiempo, se acercan y, confiando prudentemente, llegan incluso a acariciarlo como reverenciándolo. A la postre, uno de los simios se da cuenta de cómo utilizar un hueso como herramienta y arma, al tiempo que se observan flashbacks mentales del monolito, sugiriéndose que este ha motivado ciertos cambios en la conducta de los primates y les ha dado cierto grado de conciencia sobre los recursos disponibles para sobrevivir, debido a que ahora los monos son capaces de matar animales y comer carne. A la mañana siguiente le arrebatan el control de la charca a la otra manada, matando en el proceso al líder de la manada rival, usando el hueso como arma. Exultante con su triunfo, el primate vencedor lanza su hueso al aire, produciéndose una enorme elipsis temporal en la narración: el hueso que asciende en el aire pasa a convertirse en un satélite espacial que surca el espacio entre la Tierra y la Luna en el año 1999.

TMA-1 (Anomalía Magnética de Tycho no. 1)

En 1999 el Dr. Heywood Floyd viaja de la Tierra a la Luna en un avión cohete o una especie de transbordador espacial con aspecto muy aerodinámico que recuerda a los proyectos de aviones de pasajeros supersónicos e hipersónicos diseñados en la segunda mitad de los 1960 (el vehículo lleva la insignia de la entonces importante aerolínea desaparecida en los 1990 Pan Am), que lo eleva hasta una estación espacial en torno al planeta Tierra. Esta estación espacial es enorme y tiene forma de doble rueda que gira en torno a un cilindro, en el cual tienen su hangar las otras astronaves. Debido a la fuerza centrífuga, la zona de la estación que corresponde a la "rueda", al rotar, tiene una simulada (por aceleración) fuerza de gravedad artificial. La maniobra de aproximación es una coreografía espacial con la música de El Danubio azul, de Johann Strauss II. En la estación espacial la vida se hace en los anillos exteriores circulares, que poseen gravedad debido a la fuerza centrífuga de la rotación del conjunto, mientras que en la parte central, donde está el hangar para las naves, esta rotación no provoca gravedad. Durante su estancia, el Dr. Floyd realiza una videoconferencia con su hija en la Tierra, luego tiene una conversación con una científica y un científico soviéticos, y mantiene un encuentro con científicos de otros países (incluida la Unión Soviética), en el que le preguntan sobre la extraña incomunicación con la base estadounidense de Clavius, y si son ciertos los rumores que apuntan a una epidemia en ella. Floyd cortésmente, pero con convicción, declina brindar detalles sobre el asunto a los soviéticos (y por ende, también a los espectadores).

Después el Dr. Floyd continúa, en una gran nave casi esférica, el viaje a la Luna y, de nuevo, el alunizaje se convierte en una coreografía acompañada de El Danubio azul: la gran nave tripulada esférica que aluniza ingresa en un gigantesco hangar subterráneo o mejor dicho excavado bajo la superficie de la Luna, descendiendo hasta la zona de descenso de la tripulación por una especie de gigantesco elevador.

Allí se revela el misterio: el Dr. Floyd ha viajado para hacerse cargo de la investigación del descubrimiento de un monolito negro de perfecta forma ortoédrica (la misma clase de monolito que apareció en la escena inicial) y superficie lisa, que se hallaba enterrado en el cráter Tycho y que se descubrió durante un análisis magnético de la superficie lunar, por lo que fue bautizado como TMA-1 (Tycho Magnetic Anomaly #1 o "Anomalía magnética de Tycho número 1"). Hasta el momento el monolito se había resistido a cualquier tipo de análisis de su estructura o de sus características y tampoco había demostrado ningún tipo de actividad. Lo que quedaba claro es que se trataba de algo fabricado por una civilización extraterrestre avanzada, que había sido enterrado intencionadamente y que era la primera prueba real de la existencia de vida extraterrestre, por lo que se debía mantener en secreto de momento.

Así, viajan hasta la excavación y bajan a pie hasta el nivel del monolito, maravillándose al ver y tocar algo tan perfecto, plano e insondable. En ese momento está amaneciendo en esa parte de la Luna y el monolito, al recibir el primer rayo de sol desde que fue enterrado, emite una potente señal acústica que deja aturdidos a los presentes.

Misión a Júpiter

En el año 2001 la nave espacial Discovery 1 viaja hacia Júpiter con cinco tripulantes, tres en hibernación y dos despiertos, David Bowman y Frank Poole, y un supercomputador de última generación, llamado HAL 9000, heurísticamente programado, de tipo mainframe con «ojos» (cuyas lentes son de tipo ojo de pez con capacidad de percepción IR) y «oídos» en toda la nave, que gobierna la misma utilizando inteligencia artificial, lo que le permite comunicarse con los humanos mediante el habla. La vida a bordo es monótona: los dos tripulantes que no están aparentemente «muertos», hibernados criónicamente o más probablemente en animación suspendida, únicamente comen, duermen, hacen algo de ejercicio, juegan al ajedrez con HAL, comunican regularmente cómo se desenvuelve la misión, mantienen triviales conversaciones personales con sus conocidos de la Tierra (con un delay o retraso de 7 minutos debido a la distancia) y poco más. Nada se dice acerca de la misión, más allá de que se trata una exploración del entorno de Júpiter, y no hay ninguna conversación que mencione a TMA-1 o algo relacionado. La música en esta etapa del film es distinta a las etapas anteriores, el tema es Gayane:IV, Adagio de Gaynes, interpretada por la Filarmónica de Leningrado y Gennady Rozhdestvensky que infunde un ambiente de incertidumbre angustiante y de soledad en el espacio.

Poco antes de llegar al punto de destino, HAL 9000 pregunta a David Bowman si no tiene dudas sobre la misión y su secretismo, pero al responder este negativamente (es decir, al vacilar el humano al responder al superordenador), HAL se autointerrumpe para anunciar un fallo en una unidad de comunicaciones que podría dar lugar a la pérdida de la conexión con la Tierra. David Bowman sale del Discovery en una de las pequeñas naves esféricas con brazos de manipulación y después sale de esta en un paseo espacial para reemplazar la unidad teóricamente averiada: un circuito integrado de la antena de alta ganancia o antena parabólica que de manera sincrónica mantiene comunicada a la nave espacial con los centros en la Tierra. Cuando regresa al interior todos los análisis de la unidad del circuito muestran un funcionamiento correcto y desde el control de la misión, con un computador gemelo a HAL, tampoco encuentran ningún fallo, lo que pone en entredicho la fiabilidad de HAL 9000.

Bowman y Poole se encierran en privado y apagan todos los micrófonos, para analizar —sólo ellos dos— la posibilidad de desconectar las funciones superiores de HAL, pero la supercomputadora consigue enterarse leyéndoles los labios. HAL vuelve a diagnosticar el fallo futuro de la unidad reemplazada, tomándose la decisión de volver a dejar la original para comprobar si acaba fallando o no, pero a la vez confirmando los problemas de fiabilidad de HAL. En este caso, es Poole el que sale a realizar la sustitución, y cuando ha salido de la pequeña nave esférica, HAL toma el control de la misma y la lanza sobre él, asesinándolo al provocar la despresurización de su traje espacial y enviándolo lejos del Discovery.

Bowman no tiene claro qué ha pasado, HAL finge no saberlo y Poole no responde, por lo que Bowman se introduce precipitadamente en otro de los pequeños módulos dotados de brazos y sale a rescatar a su compañero. Con Bowman fuera de la nave principal, HAL simula otra avería y provoca la muerte de los tripulantes hibernados. Bowman consigue llegar hasta Poole, pero ya está muerto, así que lo recoge con los brazos del módulo que comanda y regresa al Discovery. Sin embargo, HAL no obedece su orden de abrir el hangar, imposibilitándole entrar y haciéndole notar que sin el casco de su traje espacial la excursión podría ser mortal para él. Bowman decide entonces intentar una maniobra arriesgada que HAL no cree que pueda conseguir: abandona a Frank Poole en el espacio, abre con los brazos articulados del módulo la puerta exterior de emergencia del Discovery (cuya apertura, al ser manual, escapa al control de HAL) y coloca la escotilla de su nave orientada hacia ella. Tras ello, activa la voladura de emergencia de su escotilla, siendo lanzado hacia el interior del Discovery, donde consigue presurizar la cámara de acceso.

Ya con casco, para evitar la despresurización provocada por HAL, Bowman va a desconectarlo y durante el recorrido HAL parece querer explicar lo sucedido, disculpándose por todo y pidiendo no ser desconectado. David consigue entrar en la sala que contiene las funciones principales de HAL, y conforme va extrayendo sus tarjetas de memoria una a una, poco a poco se van desconectando las funciones de HAL, que suplica compasión, pero cada vez con más problemas de comunicación hasta que parece retornar a sus funciones primordiales y primera programación, que incluye una canción (Daisy, Daisy, de Harry Dacre, 1892) y, por fin, se desactiva. Al quedar desconectado HAL, se pone en marcha una videograbación del Dr. Floyd que pone al corriente a David Bowman de cuál es su verdadera misión: la investigación del origen de la señal recibida por el monolito TMA-1 en 1999, emitida desde un punto cercano a una de las lunas de Júpiter.

Júpiter y más allá del infinito
Unos meses después, David Bowman llega a los alrededores del planeta Júpiter en el Discovery y sale en una de las naves esféricas a investigar un enorme monolito negro que orbita la luna Ío y que fue el origen de la señal similar a la del TMA-1 en 1999. No parece haber interacción alguna, pero de pronto, al acercarse hacia él, el monolito que parecía sólido toma el aspecto de una puerta rectangular y oscura. A través de esta «puerta-monolito», David comienza en el pequeño módulo espacial un viaje extraño y alucinante, por unos paisajes que parecen psicodélicos. Sin embargo lo que se observa como aparentemente psicodélico es posiblemente el conjunto de imágenes que alguien tendría de gran parte del universo si viajara a velocidades cercanas a la velocidad de la luz o incluso a velocidades superlumínicas, percibidas con cambios cromáticos debidos al efecto Doppler y en ocasiones vagamente familiares.

La escena cambia repentinamente y Bowman se encuentra dentro de la pequeña nave pero, a la vez, en el interior de una extraña habitación decorada de un modo sobriamente estilizado al estilo Luis XVI cuyo piso está iluminado por paneles electrofluorescentes a modo de baldosas que brillan con color blanco. Bowman sale de la nave, intentando entender qué es aquello. En la extraña lujosa sala aparece una mesa elegante pero muy sobriamente servida. Finalmente, en una rápida sucesión, se ve a sí mismo en un espejo cada vez más viejo. Pese a ello Bowman, ya sin el traje de astronauta y vistiendo una especie de albornoz, o más precisamente bata de baño verde oliva oscuro, un color similar al tapizado de los muebles de la sala, se sienta a comer tranquila y solitariamente. Luego, debilitado por el acelerado envejecimiento, uno de sus brazos tropieza con una copa de cristal con lo que parece ser agua, que cae al suelo y se rompe. Posteriormente aparece moribundo en una lujosa cama y frente a él reaparece, brillando, el monolito y Bowman, tan envejecido que tiene aspectos corporales casi infantiles, señala con uno de sus dedos índices al monolito. Repentinamente, Bowman toma la forma de un feto dentro de una esfera transparente en la cama de aquella habitación, pasando luego a flotar en el espacio sideral sobre la Tierra en la escena que constituye un apoteósico final que, como al principio, utiliza la música de Así habló Zaratustra, de Richard Strauss.

En palabras del propio director para un medio de comunicación japonés en los años 1980, el final de la película representa la captura de David Bowman por parte de los creadores del monolito, quienes crean un ambiente de confinamiento virtual supuestamente adecuado para él para luego devolverlo con poderes sobrehumanos. Esto pone fin a décadas de incertidumbre sobre las muy diversas interpretaciones que han dado al desconcertante final de la película.

Música
La película cuenta con música de Richard Strauss (la introducción de Así habló Zaratustra), Johann Strauss hijo (El Danubio azul) y György Ligeti, que acompañan las imágenes del espacio. Alex North compuso una obra musical para la película, pero Stanley Kubrick no la incluyó, aunque salió a la luz de la mano de Jerry Goldsmith 25 años después. La dirección y diseño de los efectos visuales fueron obra de Kubrick, siendo supervisados por Wally Veevers.

Stanley Kubrick utilizó la música de Ligeti sin solicitar permiso ni abonar derechos de autor, por lo que el compositor debió presentar una denuncia a pesar de la admiración que mostró por la película. Kubrick incluyó en la banda sonora hasta cuatro obras de Ligeti: Réquiem, Lux Aeterna, Atmosphères y Aventures. Réquiem es la obra que acompaña las apariciones del monolito y también es la micropolifonía de Ligeti la que suena durante el abstracto viaje final de David Bowman: con ello Kubrick hace realmente un recorrido por la música del  que comienza con Zaratustra y culmina con Ligeti, para volver a iniciar el ciclo con los acordes finales de la obra de Richard Strauss.

Cámara y formato de filmación
La cámara usada en 2001: A Space Odyssey fue la Super Panavision 70 de 70 mm, que ofrecía una película dos veces más ancha que el formato habitual de 35 mm y fue rodada con un negativo de 5 perforaciones que ofrecía una relación de aspecto de 2.20:1, bajo el formato Todd-AO, que se inventó y se utilizó sobre todo en la década de los 50.

La película se presentó en cinerama para incrementar el detalle, que consiste en grabar con hasta tres cámaras sincronizadas y mostrarla con tres proyectores de 35 mm. De esta manera se creaba una imagen panorámica sobre una pantalla curvada.

Legado
2001: A Space Odyssey inspiró en su momento a miles de personas a seguir carreras científicas afines con la astronáutica, la astronomía y la tecnología de la informática (Inteligencia artificial). Sus efectos especiales y sus vanguardistas elementos tecnológicos fueron un modelo a seguir para las siguientes películas y novelas del género de la ciencia ficción.

Desde su estreno, inspiró a varias producciones posteriores del género de ciencia ficción, entre ellas: La amenaza de Andrómeda, Star Wars, Blade Runner o Alien. Directores reconocidos como George Lucas o Ridley Scott han declarado que es la película que cambió y definió el género.

Rigor científico
2001: A Space Odyssey está considerada como una de las películas de ciencia ficción más respetuosas con las leyes de la física jamás rodadas. Escenas como la del acoplamiento de la lanzadera con la estación espacial, la ausencia de sonido en el espacio y otros detalles cuidados, como el diseño de la nave Discovery, marcaron un hito en el género que marcó tendencia.

Existen sin embargo varios fallos, aunque la mayoría son debidos a las limitaciones técnicas de la época en la elaboración de efectos especiales, así como a carecer de algunos conocimientos de los que se dispondría solo tras la llegada del hombre a la Luna el 20 de julio de 1969, al año siguiente del estreno del filme.

Los siguientes son algunos fallos que se presentan en la película:

 El bolígrafo del doctor Floyd que recoge la azafata de PANAM (Heather Downham) durante el tránsito a la estación espacial no gira sobre su centro de gravedad (Se hizo el efecto con un vidrio antirreflejo que rotaba y el lápiz pegado a este).
 La estación espacial cambia el sentido de rotación durante la secuencia del acoplamiento. Este es más un error de continuidad que de física.
 El alunizaje de la cápsula en la Luna remueve el polvo causando turbulencias, algo que no debería ocurrir en un lugar sin atmósfera a no ser que las causen los gases emitidos por la cápsula durante el frenado.
 Cuando el doctor Floyd se dirige de la base Clavius a Tycho a ver el monolito, en la pequeña nave espacial de transporte hay gravedad terrestre. Igualmente, cuando los astronautas caminan por la Luna, la gravedad es terrestre, no lunar.
 Asimismo, el relieve de la Luna es exagerado. Pero es necesario recordar que la película se estrenó un año antes de la misión Apolo 11.
 Durante la entrevista realizada a medio camino de Júpiter, el entrevistador señala el hecho del retraso de la señal debido a la velocidad de la luz y explica que la entrevista ha sido montada eliminando los tiempos muertos para conveniencia del espectador. Sin embargo, la entrevista abunda en intercambios de breves fórmulas de cortesía que implicarían esperas enormes.
 En las escenas lunares, el planeta Tierra cambia de fase constantemente en cortos intervalos de tiempo.
 En las primeras escenas de los simios, el Sol aparece al fondo y, sin embargo, las sombras de estos aparecen en sentido contrario.
 Tras desconectar a HAL 9000, aparece un mensaje grabado en el que se indica que «había aparecido un monolito negro en la luna enterrado a 12 m de profundidad en las inmediaciones del cráter Cracovia». Curiosamente, no aparece ningún cráter con este nombre (ni en su grafía latina Cracovia, igual a la española; ni en su grafía polaca Kraków, coincidente con la inglesa) entre la lista de los 1608 cráteres lunares denominados por la UAI. Tal singularidad solo se aprecia en el doblaje para España. Como se menciona a lo largo de esta entrada, el cráter donde se halló el monolito es Tycho, y así se muestra en su versión original en idioma inglés y en el doblaje para América Latina. Curiosamente, el nombre Tycho solo es mencionado en voz alta una única vez en toda la película, esto es en el mensaje grabado antedicho. Previamente, en la escena del autobús lunar que transporta a Floyd desde Clavius a Tycho, este último nombre puede verse en algunas de las fotografías y cartas topográficas que le son mostradas al científico por uno de sus compañeros para orientarlo sobre la ubicación del monolito y sus peculiaridades magnéticas. Las razones que motivaron este cambio de Tycho por Cracovia permanecen siendo un misterio.

Reparto

Doblaje
En español internacional, se han hecho dos doblajes: el primero fue realizado en 1988 y el segundo en 2006 para la versión remasterizada en DVD. El doblaje original es utilizado en la televisión abierta, mientras que el redoblaje es el habitualmente distribuido por DVD. En cuanto al doblaje local de España, fue dirigido por José María Angelat en 1968.

Cómic
 2001: la odisea del espacio (8 números, alejado del argumento de la película), por Jack Kirby. Publicado por Editorial Bruguera en 1978.

Premios y candidaturas

Óscar

Premios BAFTA

Medallas del Círculo de Escritores Cinematográficos

Premios Hugo
Mejor representación dramática.

 También resultó ganadora de otros cuatro premios internacionales.

Véase también
 Las mejores películas de todos los tiempos
 El centinela, cuento de Arthur C. Clarke en el que se basó la película 2001: A Space Odyssey.
 2001: A Space Odyssey, novela de Arthur C. Clarke, escrita para profundizar la película.
 2010: Odisea Dos
 2061: Odisea Tres
 3001: Odisea Final
 Operación Luna
 Interpretaciones de 2001: Una odisea del espacio

Notas

Referencias

Bibliografía

Enlaces externos

 Guion de Clarke y Kubrick fechado el 12 de septiembre de 1965: texto inglés en Internet Movie Database.

Películas en inglés
Películas de aventuras espaciales
Inteligencia artificial en la ficción
Películas de Metro-Goldwyn-Mayer
Películas de la Saga Odisea espacial
Películas ambientadas en el futuro
Películas de ciencia ficción de Reino Unido
Películas sobre tecnología
Películas ganadoras del premio Óscar a los mejores efectos visuales
Películas musicales
Space opera
Películas ambientadas en 1999
Películas ambientadas en los años 2000
Películas sobre inteligencia artificial
Películas con música de Alex North
Películas con música de Aram Jachaturián
Películas psicodélicas


text:
import pytest
import time
from tests.common.custom_cluster_test_suite import CustomClusterTestSuite
from tests.common.impala_cluster import ImpalaCluster
from tests.common.skip import SkipIf, SkipIfBuildType
from tests.verifiers.mem_usage_verifier import MemUsageVerifier

DATA_STREAM_MGR_METRIC = "Data Stream Manager Early RPCs"
DATA_STREAM_SVC_METRIC = "Data Stream Service Queue"
ALL_METRICS = [ DATA_STREAM_MGR_METRIC, DATA_STREAM_SVC_METRIC ]

class TestKrpcMemUsage(CustomClusterTestSuite):
  """Test for memory usage tracking when using KRPC."""
  TEST_QUERY = "select count(c2.string_col) from \
     functional.alltypestiny join functional.alltypessmall c2"

  @classmethod
  def get_workload(self):
    return 'functional-query'

  @classmethod
  def setup_class(cls):
    if cls.exploration_strategy() != 'exhaustive':
      pytest.skip('runs only in exhaustive')
    super(TestKrpcMemUsage, cls).setup_class()

  def execute_query_verify_mem_usage(self, query, non_zero_peak_metrics):
    """Executes 'query' and makes sure that the memory used by KRPC is returned to the
    memtrackers. It also verifies that metrics in 'non_zero_peak_metrics' have a peak
    value > 0.
    """
    self.client.execute(query)
    self.verify_mem_usage(non_zero_peak_metrics)

  def verify_mem_usage(self, non_zero_peak_metrics):
    """Verifies that the memory used by KRPC is returned to the memtrackers and that
    metrics in 'non_zero_peak_metrics' have a peak value > 0.
    """
    verifiers = [ MemUsageVerifier(i.service) for i in ImpalaCluster().impalads ]
    for verifier in verifiers:
      for metric_name in ALL_METRICS:
        usage = verifier.get_mem_usage_values(metric_name)
        assert usage["total"] == 0
        if metric_name in non_zero_peak_metrics:
          assert usage["peak"] > 0, metric_name

  @pytest.mark.execute_serially
  def test_krpc_unqueued_memory_usage(self, vector):
    """Executes a simple query and checks that the data stream service consumed some
    memory.
    """
    # The data stream manager may not need to track memory in any queue if the receivers
    # show up in time.
    self.execute_query_verify_mem_usage(self.TEST_QUERY, [DATA_STREAM_SVC_METRIC])

  @SkipIfBuildType.not_dev_build
  @pytest.mark.execute_serially
  @CustomClusterTestSuite.with_args("--stress_datastream_recvr_delay_ms=1000")
  def test_krpc_early_sender_memory_usage(self, vector):
    """Executes a simple query. The cluster is started with delayed receiver creation to
    trigger RPC queueing.
    """
    self.execute_query_verify_mem_usage(self.TEST_QUERY, ALL_METRICS)

  @SkipIfBuildType.not_dev_build
  @pytest.mark.execute_serially
  @CustomClusterTestSuite.with_args("--stress_datastream_recvr_delay_ms=1000")
  def test_krpc_early_sender_memory_cancellation(self, vector):
    """Executes a query and cancels it while RPCs are still queued up. This exercises the
    code to flush the early sender RPC queue in the receiver.
    """
    query = "select count(*) from tpch_parquet.lineitem l1 join tpch_parquet.lineitem l2 \
            where l1.l_orderkey = l2.l_orderkey"
    # Warm up metadata
    self.client.execute(query)
    # Execute and cancel query
    handle = self.client.execute_async(query)
    self.client.wait_for_admission_control(handle)
    # Sleep to allow RPCs to arrive.
    time.sleep(0.5)
    self.client.cancel(handle)
    self.client.close()
    self.verify_mem_usage(ALL_METRICS)


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