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7645700 | "Michael Eakin"
Joel & The Law."" In 2015, racist and misogynist emails Eakin received have been released by Kathleen Kane in her dispute with the judicial system. Only four emails were forwarded by Eakin. They were examined by the Judicial Conduct Board. Justice Eakin resigned on March 15, 2016. Michael Eakin J. Michael Eakin was a Justice of the Supreme Court of the Commonwealth of Pennsylvania. He was elected to the State's Supreme Court in 2001 as a Republican. In November 2011, Justice Eakin won judicial retention in a statewide election for his second 10-year term with 73.6% of the popular vote. |
7645701 | "Intellectual property brokering"
Intellectual property brokering An intellectual property broker mediates between the buyer and seller of intellectual property (IP) and may manage the many steps in the process of creating a deal with regard to the purchase, sale, license, or marketing of intellectual property assets. This may include: patents, trademarks, or inventions (prototypes). Inventors are faced with several alternatives to making their invention a commercial success. They can build their own start up company from scratch using their own resources. In the United States, they can seek government grants; SBIR (Small Business Innovative Research) and (TTR) Technology Transfer Research to fund the |
7645702 | "Intellectual property brokering"
early stage development of their technology. They can contract with third parties such as: venture capital or angel investors to finance a startup or they can sell or license their products to an existing and established company. Often inventors are interested in expanding their own intellectual property assets through licensing and acquisitions. Because there is not a well defined market around the buying and selling of patents or other IP assets, if an inventor or patent owner wants to monetize their asset, an intellectual property broker can help by serving to connect the inventor or patent owner with one or |
7645703 | "Intellectual property brokering"
more interested buyers. The broker should have a network of connections in various market segments which can be used to help market the patent being sold. Potential buyers may include industry peers, competitors, entrepreneurs looking to commercialize the technology, but also defensive patent aggregators, and patent licensing companies. A competent broker should be able to explain to the inventor or patent owner the spectrum of values that may be assessed to a patent depending on the situation or motivation of the buyer in the market. In addition, in bringing buyers and sellers together, an intellectual property broker may provide any |
7645704 | "Intellectual property brokering"
or all of the following services: The estimated number of patent brokers varies greatly. For example, a 1999 World Intellectual Property Organization WIPO paper estimated 500 ""patent brokers"" in the United States in. However, an October 2015 listing of patent brokerage companies includes only about 57 businesses worldwide. As none of these firms have a large number of employees, the 1999 estimates are either wrong as the number of businesses operating as patent brokers does not match the 1999 patent brokers estimates, or there has been a significant decline in the market for patent brokerage. Further research is required to |
7645705 | "Intellectual property brokering"
estimate the number of patent brokers. The estimated size of the brokered patent market was $165 million in 2016, down from $233 million in 2015. It was estimated that of all the brokered patent packages brought to market only 21% of them sell. Average asking price per patent asset was $197K in 2016. 137 people were estimated to be employed in the brokered patent market. Intellectual property brokering An intellectual property broker mediates between the buyer and seller of intellectual property (IP) and may manage the many steps in the process of creating a deal with regard to the purchase, |
7645706 | "International Red Cross Wound Classification System"
International Red Cross Wound Classification System The International Red Cross wound classification system is a system whereby certain features of a wound are scored: the size of the skin wound(s); whether there is a cavity, fracture or vital structure injured; the presence or absence of metallic foreign bodies. A numerical value is given to each feature (E, X, C, F, V, and M). The scores can later be graded according to severity and typed according to the structures injured. This scoring system is intended for quick and easy use in the field. Wounds are scored after surgery or initial assessment. |
7645707 | "International Red Cross Wound Classification System"
The wound classification system has been criticised on the basis that ""it fails to account for the synergistic effect of combined arms employment on the battlefield. It erroneously assumes that each soldier will be injured or killed by only one type of weapon."" The classification is typically found on hospital Trauma History and Examination Record forms and is used for classification of penetrating injuries on presenting patients. International Red Cross Wound Classification System The International Red Cross wound classification system is a system whereby certain features of a wound are scored: the size of the skin wound(s); whether there is |
7645708 | "Paul van Somer I"
Paul van Somer I Paul van Somer (c. 1577 – 1621), also known as Paulus van Somer, was a Flemish artist who arrived in England from Antwerp during the reign of King James I of England and became one of the leading painters of the royal court. He painted a number of portraits both of James and his consort, Queen Anne of Denmark, and of nobles such as Ludovic Stuart, earl of Lennox, Elizabeth Stanley, Countess of Huntingdon, and Lady Anne Clifford. He is sometimes designated as ""Paul van Somer I"" to distinguish him from the engraver of the same |
7645709 | "Paul van Somer I"
name who was active in England between 1670 and 1694. Paul van Somer is in some ways an elusive figure: not much is known about him, and his art is rarely written about;. According to Karel van Mander he was the brother of Barend van Someren, who married and brought back the daughter of Aert Mijtens after he returned from Italy. Van Mander did not mention whether Paul had accompanied his brother to Italy or not, and only remarked that Paul was still a bachelor. According to the RKD Paul lived during the years 1612–1614 in the house of Steven |
7645710 | "Paul van Somer I"
de Gheyn in Leiden, during 1616 in Brussels, and after that moved to London, where he became court painter. He occupied an important position as one of James and Anne's favourite painters and can be seen as a forerunner of the more famous Flemish and Dutch artists, in particular Daniel Mytens and Anthony van Dyck, who followed in his footsteps as leading court painters. (In fact, one of van Dyck's first tasks was to copy the royal portraits of Paul van Somer, a duty he did not enjoy.) Van Somer arrived in England as a mature artist, having travelled widely |
7645711 | "Paul van Somer I"
in northern Europe: Booth Tarkington names the year of his arrival as 1606, but H.L.Meakin notes that he did not settle permanently in the country until after 1616. Van Somer's achievement is described in the gallery notes at the Royal Collection as follows: ""Like Daniel Mytens, who had settled in London from the Netherlands by 1618 and was Van Somer’s neighbour in St Martin’s Lane, Van Somer brought a new grandeur, fluency and naturalism to British court portraiture."" Opinion of van Somer's work has, however, been divided: Horace Walpole thought one of Somers's portraits as fine as a Van Dyck, |
7645712 | "Paul van Somer I"
and Booth Tarkington, in his psychological study ""King James in Faded Paint"" suggested that ""Paulus van Somer had gifts and one of them was for the perception of character""; on the other hand, art critic Sir John Rothenstein condemned van Somer's work as dull and heavy. Copies of van Somer's royal portraits were often commissioned, particularly as James disliked sitting for painters, to be sent as gifts overseas. Many variants also exist in printed form. Van Somer is said to have introduced regalia into royal portraiture, for example that of the Order of the garter. Van Somer received additional commissions |
7645713 | Buraco
remaining thirty-eight cards, placed face-down in the center of the table, make the Stock. Each team has its own collection of Runs (in Portuguese ""table"") that are shared by both players; that is, both players build on each other’s Runs in turn. A player from one team may not play on the other team’s Runs. Runs can be made in one of two ways: Runs of seven or more cards earn extra points for the team, and are classified in one of two ways: The first team to accumulate three-thousand or more points wins the Match. There are multiple Games |
7645714 | Buraco
during a Match. Points are earned by making Runs of three or more cards face-up on the table, and each card played in a Run earns a point value for the team that played the card. When the Game is over, players with cards in their Hand that were not melded count negatively against their team’s total score for the Match. Additionally, if a team did not take a Hand from the Pot, then they must subtract one-hundred points from their team’s total score for the Match. If the Game ends before any cards are played from a new Hand |
7645715 | Buraco
picked-up from the Pot, then the player with that new Hand will either: If a team ends the game (If a player plays all the cards in their Hand and the team has taken a Hand from the Pot and the team has at least one Clean Run), then that team adds one-hundred points to their team’s total score for the Match. The first draw of the game varies from subsequent draws in every Game as there is no Discard Pile at the beginning of the Game. The first play is made by the person sitting to the left of |
7645716 | Buraco
the dealer. The top card is drawn from the Stock and if the player likes that card, then it is placed into the first player’s Hand. If the first player does not want the first card of the game, then that card is immediately turned face-up to the side of the Stock to begin the Discard Pile, and the first player draws another card from the Stock. If the first player accepts the first card of the game then another card may not be drawn by that player on that turn. Melding is the act of displaying your cards face-up |
7645717 | Buraco
on the table to earn points. A team may only begin to place Runs onto the table if they meld a minimum number of initial points. This minimum initial meld number varies based upon the total number of points already earned by that team in the Match. A team with less than fifteen-hundred points in the Match must initially meld a minimum of fifty points. A team with fifteen-hundred or more points in the Match must initially meld a minimum of seventy-five points. If a team fails to meld the minimum initial number of points, then all the Runs are |
7645718 | Buraco
placed back into the Hand of the player and fifteen more points are added to the initial number to meld for that team during that Game. The sum of the values of the cards played in the player's turn must equal or exceed the minimum initial meld requirement according to the player/team's total score: Play always proceeds clockwise. Each player begins their turn by Drawing. Except for the first draw of the Game, Drawing can be either: After a player draws, the player can meld for more points by putting any new Runs onto the table and adding cards onto |
7645719 | Buraco
their own team’s Runs already on the table. A player may only meld during their turn. Once a card is melded into a Run, it may not be moved into a different Run or picked up and placed into a Player’s Hand. However, Wildcards may be moved within a Run. Aces may rank high or low, and more than one Ace may be played in a Run. A player’s turn ends when a card is discarded by that player from their Hand. A discard is complete when the discarded card is no longer touched by the discarding player. After throwing |
7645720 | Buraco
away a card to the Discard Pile, no other move (e.g., putting down more cards, substituting cards, changing the discarded card) is permitted until the player’s next turn. If a player plays all the cards in their hand and their team has not yet taken a Hand from the Pot, then the player picks-up the next Hand from the Pot. The player who has melded all their cards takes a Hand from the Pot and if the player: If a team has picked up a Hand from the Pot, and they do not have a Clean Run, then that team |
7645721 | Buraco
may not play all the cards in either of their Hands. If a player plays all the cards in their Hand and the team has taken a hand from the Pot and the team has at least one Clean Run, then the Game ends. If the Stock is empty and there are cards in the Pot, then the next Hand from the Pot will be moved into the Stock. In this case, it is certain at least one team will need to subtract points from their total number earned for the Match. If the Stock is empty and there are |
7645722 | Buraco
not any cards in the Pot, then the Game is over without either team earning additional points for ending that Game. Buraco Buraco is a Rummy-type card game in the Canasta family for four players in fixed partnerships in which the aim is to lay down combinations in groups of cards of equal rank and suit sequences, there being a bonus for combinations of seven cards or more. Buraco is a variation of Canasta which allows both standard melds (groups of cards of the same value) as well as sequences (cards in numerical order in the same suit). It originated |
7645723 | Scale-A-Ton
Scale-A-Ton Scale-a-Ton (pronounced ""Skeleton"") is the second solo album by Three 6 Mafia member DJ Paul. It was released May 5, 2009. The album debuted at number 157 on the ""Billboard"" charts, selling 4,000 copies in its first week of sales. As of September 2011, the sales are 200,000. On his official YouTube channel, (which was later reported on AllHipHop), Paul stated that his brother, original Three 6 member Lord Infamous, will be contributing to the upcoming album. He helped build Three 6 Mafia, and create Three 6 Mafia...Lord was just going through some things, and he had to get |
7645724 | "String (music)"
pitch or one of its overtones. The string is connected to this similar sound wave through the air, which picks up the vibrations of the sound waves at the same frequency, and in turn causes the string to vibrate on its own. When an outside source applies forced vibration that matches a string's natural frequency, the string vibrates. Resonance can cause audio feedback. For example, in a setup with an acoustic guitar and a PA system, the speaker vibrates at the same natural frequency of a string on the guitar and can force it into vibrational motion. Audio feedback is |
7645725 | "String (music)"
often seen as an undesirable phenomenon with an acoustic guitar that is plugged into the PA system, because it causes a loud howling sound. However, with electric guitar, some guitarists in heavy metal music and psychedelic rock purposely create feedback by holding an electric guitar close to a powerful, loud guitar amplifier speaker cabinet, with the distortion turned up loud, creating unique high-pitched, sustained sounds. Jimi Hendrix and Brian May were notable users of electric guitar feedback. For a typical high-E nylon string, the maximum transverse force is roughly 40 times greater than the maximum longitudinal force amplitude. However the |
7645726 | "Full body scanner"
of 2012 required that all full-body scanners operated in airports by the Transportation Security Administration use ""Automated Target Recognition"" software, which replaces the picture of a nude body with the cartoon-like representation. As a result of this law, all backscatter X-ray machines formerly in use by the Transportation Security Administration were removed from airports by May 2013, since the agency said the vendor (Rapiscan) did not meet their contractual deadline to implement the software. In the European Union, backscatter X-ray screening of airline passengers was banned in 2012 to protect passenger safety, and the deployment at Manchester Airport was removed. |
7645727 | "Full body scanner"
Several radiation safety authorities including the National Council on Radiation Protection and Measurements, The Health Physics Society, and the American College of Radiology, have stated that they are ""not aware of any evidence"" that full-body scans are unsafe. However, other radiation authorities, including the International Atomic Energy Agency and Nuclear Energy Agency recommend against using ionizing radiation on certain populations like pregnant women and children, and opponents of the devices say that no long-term studies have been done on the health effects of either backscatter x-ray or millimeter wave scanners: ""I don't think the right questions have been asked. We |
7645728 | "Full body scanner"
don't have enough information to make a decision on whether there's going to be a biological effect or not"". (Douglas Boreham, professor in Medical Physics and Applied Radiation Sciences at McMaster University in Hamilton, Ont.) Richard Morin, a medical physicist at the Mayo Clinic has said that he is not concerned about health effects from backscatter x-ray scanners: ""From a radiation standpoint there has been no evidence that there is really any untoward effect from the use of this device [backscatter scanner], so I would not be concerned about it from a radiation dose standpoint – the issues of personal |
7645729 | "Full body scanner"
privacy are a different thing"". The health effects of the more common millimeter wave scanner are largely unknown, and at least one expert believes a safety study is warranted. ""I am very interested in performing a National Council on Radiation Protection and Measurements study on the use of millimeter-wave security screening systems,"" said Thomas S. Tenforde, council president. However, no long-term studies have been done on the health effects of millimeter wave scanners. Perhaps the most notable and debated professional opinion in regard to the safety of scanners is the so-called ""Holdren Letter"" from a number of world-renowned biochemists and |
7645730 | "Full body scanner"
biophysics researchers from the University of California to the Assistant to the US President for Science and Technology, Dr. John P. Holdren (Co-author of EcoSolutions). The opening paragraph of their letter of concern reads: ""We, a number of University of California, San Francisco faculty, are writing—see attached memo—to call your attention to our concerns about the potential serious health risks of the recently adopted whole body back scatter X-ray airport security scanners. This is an urgent situation as these X-ray scanners are rapidly being implemented as a primary screening step for all air travel passengers."" Critics of backscatter x-ray scanners, |
7645731 | "Full body scanner"
including the head of the Center for Radiological Research at Columbia University, say that the radiation emitted by some full-body scanners is as much as 20 times stronger than officially reported and is not safe to use on large numbers of persons because of an increased risk of cancer to children and at-risk populations. Researchers at the University of California, San Francisco, (UCSF) have argued that the amount of radiation is higher than claimed by the TSA and body scanner manufacturers because the doses were calculated as if distributed throughout the whole body, but the radiation from backscatter x-ray scanners |
7645732 | "Full body scanner"
is focused on just the skin and surrounding tissues: The majority of [the scanners'] energy is delivered to the skin and the underlying tissue. Thus, while the dose would be safe if it were distributed throughout the volume of the entire body, the dose to the skin may be dangerously high. The X-ray dose from these devices has often been compared in the media to the cosmic ray exposure inherent to airplane travel or that of a chest X-ray. However, this comparison is very misleading: both the air travel cosmic ray exposure and chest X- rays have much higher X-ray |
7645733 | "String (music)"
elastic region is where elastic deformation is occurring, or deformation from where the string can recover. The linear (i.e. elastic) region is where musicians want to play their instrument. String (music) A string is the vibrating element that produces sound in string instruments such as the guitar, harp, piano (piano wire), and members of the violin family. Strings are lengths of a flexible material that a musical instrument holds under tension so that they can vibrate freely, but controllably. Strings may be ""plain"", consisting only of a single material, like steel, nylon, or gut, or wound, having a ""core"" of |
7645734 | "Dative construction"
Dative construction The dative construction is a grammatical way of constructing a sentence, using the dative case. A sentence is also said to be in dative construction if the subject and the object (direct or indirect) can switch their places for a given verb, without altering the verb's structure (subject becoming the new object, and the object becoming the new subject). The latter case is not to be confused with the passive voice, where only the ""direct"" object of a sentence becomes the subject of the passive-voiced sentence, and the verb's structure also changes to convey the meaning of the |
7645735 | "Full body scanner"
conclusions, I think, were off-base. They don't understand how radiation translates to an actual dose in the human body"". Dr. Steve Smith, inventor of the body scanner in 1991, and president of Tek84, one of the companies that produces the machines, has stated that the concerns of Dr. Brenner and UCSF Scientists regarding the skin dose of backscatter scanners are incorrect. He states the values used for X-ray penetration were incorrectly based on the description of the imaging depth which describes what the instrument sees and is a few mm into the skin and the dosage depth which is deeper. |
7645736 | "Dative construction"
object. The use of the nominative form equivalent to ""I"" is only possible with a different meaning: ""Ich bin kalt""='I am cold (in personality)'. ""Mir"" behaves like a subject and can control infinitives: ""Mir war zu kalt um zur Kirche zu gehen"" me.DAT was too cold for to.the.Fem.D church to go.INFIN 'I was too cold to go to church' (""I"" go, not ""cold"") Dative constructions are extremely common in Icelandic. Their use is similar to that of German, although perhaps somewhat more widespread. The following example is exactly the same as the German one given above: The implication of the |
7645737 | "Full body scanner"
questions about comparisons to background radiation. The FDA report states: Since general-use x-ray systems emit ionizing radiation, the societal benefit of reliably detecting threats must be sufficient to outweigh the potential radiation risk, if any, to the individual screened. The dose from one screening with a general-use x-ray security screening system is so low that it presents an extremely small risk to any individual. To put the radiation dose received into perspective: The U.S. TSA has also made public various independent safety assessments of the Secure 1000 Backscatter X-ray Scanner. Dr. David Brenner, head of Columbia University's center for radiological |
7645738 | "Dative construction"
the subject to be in the dative if the verb in question governs the dative, e.g. ""tímaáætluninni var breytt"" (""the timetable was changed""), ""skjölunum var eytt"" (""the documents were deleted"") and ""framkvæmdum var frestað um tvær vikur"" (""works were delayed by two weeks""). Compare to passive constructions where the verb governs the accusative: ""búðin var opnuð á föstudaginn"" (""the shop was opened on Friday"") and ""bréfið var sent fyrir hádegi"" (""the letter was sent before noon""). Verbs that govern the genitive behave in the same way as verbs governing the dative, e.g. ""þín verður saknað"" (""you will be missed""). Finally, |
7645739 | "Dative construction"
certain verbs require the subject to be in the dative. This is particularly common with verbs of emotion or opinion. For example: This phenomenon is not only restricted to the dative case, some verbs require their subject to be in the accusative: In all of the above instances, the verbs used in these constructions are in the third-person singular form. A number of verbs in Spanish employ a dative construction. Many of these verbs express psychological states; the most common one is ""gustar"", which is equivalent to English ""like"" (but syntactically functions like ""be pleasant to""). The verb agrees with |
7645740 | "Dative construction"
the formal/morphological subject, but the subject is usually placed after the verb instead of before, as usual. The dative construction requires a clitic pronoun; if the dative argument is a full noun phrase or needs to be explicitly stated, it is shown by a phrase with the preposition ""a"". Other verbs which show this pattern are ""apasionar"" (""to be passionate about""), ""antojarse"" (""to have a feeling for""), ""encantar"" (""to adore""), ""faltar"" (""to be lacking""), ""quedar"" (""to fall"") and ""sobrar"" (""to be left""). In Serbo-Croatian (as in other Slavic languages), the dative construction is often used, mostly in the same manner |
7645741 | "Dative construction"
as in German: literally ""I am cold"", meaning ""I am a cold person"". literally ""It is cold to me"", meaning ""I am (feeling) cold"". Some verbs, like ""nedostajati"" (""lack"") use dative constructions: literally ""Teeth to him lack"". The dative construction is very common in Georgian. The dative construction of Georgian differs somewhat from German, in that the dative case agrees with a certain person marking on the verb. The dative construction occurs in the perfect (not perfective) tense of transitive verbs and in all the tenses of some verbs, such as ""to want"", ""to have"", ""to forget"" and ""to remember"". |
7645742 | "Dative construction"
These verbs are also called ""indirect verbs"" by some generativists. Compare: In Georgian, the -s suffix is the dative case marker. In the first sentence, ""bavshvebi"" (""children"") is the subject and in the nominative case. ""Tsqals"" (""water"") is the object and in the dative case (with the suffix -""s"" attached). In the second sentence, however, the subject (children) is in the dative case (with -""s""), and the object (water) is in the nominative case. The verb in the imperfective and perfective sentences are conjugated in accordance with the subject of the sentence (regardless of the case of the subject); they |
7645743 | "Dative construction"
are both third person plural. Perfect verbs also agree in part with their dative case subjects (in this case the -u- between da- and -leviat), but only have third person verb endings (singular form for all singular persons and ALSO first person plural; plural form for 2nd/3rd person plural). Therefore, ""I have drunk water"" would be: The dative construction is also a separate class of verbs (Class IV) which have the semantics of experience, cognitive processes, and possession (all common DAT-construction predicates in languages which have them). An example of this can be given with the possessive verb ""kona"" (""to |
7645744 | "Dative construction"
have""): In all the tenses, the subject ""kals"" (""woman"") is in the dative case, and the object ""tsigni"" (""book"") is in the nominative case. Etymologically, the root is also found in the future forms of the copula 'be', making it very much like the Latin dative possession construction 'mihi est X'. Again, all singular persons have an agreeing proclitic pronoun on the verb, but a third person singular verb ending (-a or -s). The genitive case is used in dative constructions. The ""dative genitive"" (""datiivigenetiivi"") is no longer productive in Finnish language, and it is often replaced with other cases, |
7645745 | "Dative construction"
except in frozen expressions, e.g. ""luojan kiitos"" (thanks to god). The dative genitive is often used with verb infinitives. Latin uses a dative construction for indirect objects (""dativus possessivus""). Hungarian uses a similar construction to Latin for rendering possession without the verb ""to have"" which is missing from Hungarian. Dative construction The dative construction is a grammatical way of constructing a sentence, using the dative case. A sentence is also said to be in dative construction if the subject and the object (direct or indirect) can switch their places for a given verb, without altering the verb's structure (subject becoming |
7645746 | "Link budget"
Link budget A link budget is an accounting of all of the gains and losses from the transmitter, through the medium (free space, cable, waveguide, fiber, etc.) to the receiver in a telecommunication system. It accounts for the attenuation of the transmitted signal due to propagation, as well as the antenna gains and feedline and other losses. Randomly varying channel gains such as fading are taken into account by adding some margin depending on the anticipated severity of its effects. The amount of margin required can be reduced by the use of mitigating techniques such as antenna diversity or frequency |
7645747 | "Link budget"
hopping. A simple link budget equation looks like this: Note that decibels are logarithmic measurements, so adding decibels is equivalent to multiplying the actual numeric ratios. For a line-of-sight radio system, the primary source of loss is the decrease of the signal power due to uniform propagation, proportional to the inverse square of the distance (geometric spreading). Often link budget equations are messy and complex, so standard practices have evolved to simplify the Friis transmission equation into the link budget equation. It includes the transmit and receive antenna gain, the free space path loss and additional losses and gains, assuming |
7645748 | "Link budget"
line of sight between the transmitter and receiver. In practical situations (Deep Space Telecommunications, Weak signal DXing etc. ...) other sources of signal loss must also be accounted for If the estimated received power is sufficiently large (typically relative to the receiver sensitivity), which may be dependent on the communications protocol in use, the link will be useful for sending data. The amount by which the received power exceeds receiver sensitivity is called the link margin. A link budget equation including all these effects, expressed logarithmically, might look like this: where: The loss due to propagation between the transmitting and |
7645749 | "Link budget"
receiving antennas, often called the path loss, can be written in dimensionless form by normalizing the distance to the wavelength: When substituted into the link budget equation above, the result is the logarithmic form of the Friis transmission equation. In some cases, it is convenient to consider the loss due to distance and wavelength separately, but in that case, it is important to keep track of which units are being used, as each choice involves a differing constant offset. Some examples are provided below. These alternative forms can be derived by substituting wavelength with the ratio of propagation velocity (c, |
7645750 | "Link budget"
approximately 3×10^8 m/s) divided by frequency, and by inserting the proper conversion factors between km or miles and meters, and between MHz and (1/sec). Because of building obstructions such as walls and ceilings, propagation losses indoors can be significantly higher. This occurs because of a combination of attenuation by walls and ceilings, and blockage due to equipment, furniture, and even people. Experience has shown that line-of-sight propagation holds only for about the first 3 meters. Beyond 3 meters propagation losses indoors can increase at up to 30 dB per 30 meters in dense office environments. This is a good “rule-of-thumb”, |
7645751 | "Link budget"
in that it is conservative (it overstates path loss in most cases). Actual propagation losses may vary significantly depending on building construction and layout. The attenuation of the signal is highly dependent on the frequency of the signal. Guided media such as coaxial and twisted pair electrical cable, radio frequency waveguide and optical fiber have losses that are exponential with distance. The path loss will be in terms of dB per unit distance. This means that there is always a crossover distance beyond which the loss in a guided medium will exceed that of a line-of-sight path of the same |
7645752 | "Link budget"
length. Long distance fiber-optic communication became practical only with the development of ultra-transparent glass fibers. A typical path loss for single mode fiber is 0.2 dB/km, far lower than any other guided medium. Link budgets are important in Earth–Moon–Earth communications. As the albedo of the Moon is very low (maximally 12% but usually closer to 7%), and the path loss over the 770,000 kilometre return distance is extreme (around 250 to 310 dB depending on VHF-UHF band used, modulation format and Doppler shift effects), high power (more than 100 watts) and high-gain antennas (more than 20 dB) must be used. |
7645753 | "Link budget"
The Voyager Program spacecraft have the highest known path loss (-308 dB as of 2002) and lowest link budgets of any telecommunications circuit. The Deep Space Network has been able to maintain the link at a higher than expected bitrate through a series of improvements, such as increasing the antenna size from 64m to 70m for a 1.2 dB gain, and upgrading to low noise electronics for a 0.5 dB gain in 2000/2001. During the Neptune flyby, in addition to the 70-m antenna, two 34-m antennas and twenty-seven 25-m antennas were used to increase the gain by 5.6 dB, providing |
7645754 | "Link budget"
additional link margin to be used for a 4x increase in bitrate. Link budget A link budget is an accounting of all of the gains and losses from the transmitter, through the medium (free space, cable, waveguide, fiber, etc.) to the receiver in a telecommunication system. It accounts for the attenuation of the transmitted signal due to propagation, as well as the antenna gains and feedline and other losses. Randomly varying channel gains such as fading are taken into account by adding some margin depending on the anticipated severity of its effects. The amount of margin required can be reduced |
7645755 | "Final Destination 3"
Final Destination 3 Final Destination 3 is a 2006 American supernatural horror film directed by James Wong; it is the third installment in the ""Final Destination"" film series. Wong and Glen Morgan, who worked on the franchise's first film, wrote the screenplay. ""Final Destination 3"" stars Mary Elizabeth Winstead and Ryan Merriman, and takes place five years after the first film. Winstead plays Wendy Christensen, a teenager who has a premonition that a roller-coaster she and her classmates are riding will derail. Although she saves some of them, Death begins hunting the survivors. Wendy realizes photographs she took at the |
7645756 | "Full body scanner"
should replace full body scanners and patdowns. A Gallup poll given just after the 2009 Christmas Day bombing attempt suggested that 78% of American airline travelers approved of body scanners while 20% disapproved. 51% indicated that they would have some level of discomfort with full-body scans, while 48% said they would not be uncomfortable with the idea. The poll was given in the context of the 2009 Christmas Day bombing attempt, and some opponents of full body scanners say that the explosives used in that bombing attempt would not have been detected by full-body scanners. An ABC/Washington Post poll conducted |
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saw control as a major theme in the film. Casting began in March 2005 and concluded in April. Like the previous two installments, it was filmed in Vancouver, Canada. The first two weeks of the three-month shoot were spent filming the roller-coaster's derailment. Following its premiere at Grauman's Chinese Theatre on February 2, 2006, the film was released in cinemas in the United States on February 10, 2006. The DVD, released on July 25, 2006, includes commentaries, documentaries, a deleted scene and an animated video. A special-edition DVD called ""Thrill Ride Edition"" includes a feature called ""Choose Their Fate"", which |
7645758 | "Full body scanner"
not increase travel safety. According to a CBS telephone poll of 1,137 people published in November 2010, 81% (+/- 5%) percent of those polled approved TSA's use of full-body scans. There has been some debate about the safety of the scanners, however, the TSA argue that mmw scanners used emit no ionizing radiation. Former Homeland Security secretary Michael Chertoff has been criticized for heavily promoting full-body scanners while not always fully disclosing that he is a lobbyist for one of the companies that makes the machines. Other full-body scanner lobbyists with Government connections include: Forbes magazine reported, in March 2011, |
7645759 | "Final Destination 3"
the time. High-school student Wendy Christensen visits an amusement park for a senior-class field trip, along with her boyfriend Jason Wise, her best friend Carrie Dreyer, and Carrie's boyfriend Kevin Fischer. As they board the Devil's Flight roller-coaster, Wendy has a premonition that the hydraulics securing the seat belts and coaster cars will fail during the ride, killing everyone on board. She panics and a fight breaks out, and several people leave or are forced off the ride including Kevin, best friends Ashley Freund and Ashlyn Halperin, alumnus Frankie Cheeks, athlete Lewis Romero and goth couple - Ian McKinley and |
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Erin Ulmer. Moments later the roller-coaster derails and kills the remaining passengers, leaving Wendy devastated. Several weeks later, Kevin tells Wendy about the explosion of Flight 180 and the subsequent deaths of the survivors, believing they may be in a similar situation. Thinking Kevin is mocking her, Wendy dismisses his theory. Later, Ashley and Ashlyn are burned to death after being trapped in malfunctioning tanning beds. Now convinced that Death is stalking them, Wendy and Kevin set out to save the remaining survivors using omens hidden in photographs Wendy took the night of the roller-coaster crash. Frankie dies when a |
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runaway truck hits a car behind him, causing the motor to fly out of the vehicle and slice the back of his head. The next day, they try to save Lewis at the gym, but he says he doesn't believe them shortly before his head is crushed by two weights. They find Ian and Erin working at a hardware store, and Wendy saves Ian from being impaled by falling wooden stakes, but Erin falls on a nail gun and is shot repeatedly through the head. Wendy and Kevin are questioned by the police then released. Assuming whoever was next must |
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already be dead, they decide to ensure their own safety. As she leaves the station, Wendy is stalked by a grief-stricken Ian. Wendy learns that her sister Julie and a friend also escaped the roller-coaster crash, and She and Kevin rush to save them. They prevent Julie from being impaled on a harrow, but Julie's friend Perry Malinowski is impaled by a flagpole moments later. Wendy saves Kevin from an exploding propane canister, and is confronted by a deranged Ian, who blames her for Erin's death. The unstable firework cannons fire at Wendy but she ducks and they hit a |
7645763 | "Final Destination 3"
pole behind Ian, which falls and crushes him in half. Five months later, Wendy experiences more omens while riding on a subway with her roommate Laura and her friend Sean. As Wendy is about to disembark, she sees Julie entering the sub and decides to stay. She later notices Kevin sitting at the back. As the two of them are talking, the train derails and everyone on board is killed, except Wendy. Soon after, Wendy is hit by another train. It turns out this is another premonition and Wendy, Kevin, and Julie try to stop the train in vain. The |
7645764 | "Final Destination 3"
screen then cuts to black followed by the sound of screeching metal. Three critical theories about the ""Final Destination"" franchise have been discussed in scholarly works. It has been framed as a postmodern horror franchise that, like the ""Scream"" franchise, self-consciously refers to the history of horror cinema and rewards viewers for their knowledge. Second, the films—particularly ""The Final Destination"" (2009) and ""Final Destination 5"" (2011)—have been examined for their visual effects. Third, the franchise has been criticized for being cynical and reductive. For example, film studies scholar Reynold Humphries dismisses the franchise as ""obscurantist nonsense whose only 'idea' is |
7645765 | "Final Destination 3"
that death is an agency that has a 'plan' for each of us"". According to media studies scholar Eugenie Brinkema, ""Final Destination"" films are characterized by their move away from the typical horror antagonist and toward the certainty and inevitability of death. This makes them inconsistent with most other horror films, which require a monster. ""Final Destination"" films depart further from other horror films, even those aimed at teenagers, in that a family narrative is lacking, and there are no hauntings of any kind. As well, there is no sexuality—""neither the pursuit of pleasure in the slasher convention of easy |
7645766 | "Final Destination 3"
bodily access nor the monstrosity of sexual difference"". Brinkema argues the films are not about seeking pleasure like typical slasher films. Instead they are about the avoidance of pain and death; they are fundamentally ""bitter ... paranoid, and sad"" and display the inability of characters to feel pleasure. In these films, death becomes its own cause. The premonition of the roller-coaster derailment in ""Final Destination 3"" is without context or cause. The avoidance of death by some characters grounds the necessity of their deaths, specifically the order in which they would have died on the roller-coaster. Thus, ""Death's list"" or |
7645767 | "Final Destination 3"
""Death's design"" is realized. ""Final Destination 3"" spends as much time interpreting deaths as displaying them. Wendy's close analysis of photographs allows her to understand the deaths, but this is inevitably too late to save her friends. In the franchise's films, Brinkema says, ""one must closely read to survive (for a spell), and yet reading changes absolutely nothing at all"". Thus, the characters ""might as well"" have stayed on the roller-coaster. Ian Conrich, a film studies scholar, argues the series marks a key departure from slasher norms in that death itself becomes the villain. ""Final Destination"" films draw influences from |
7645768 | "Final Destination 3"
slasher cinema but the franchise's action sequences, including ""Final Destination 3"" roller-coaster derailment, draw from action and disaster cinema. For Conrich, the franchise marks a new slasher-film sub-genre. Because the deaths are extremely violent and excessive, any number can happen at once, and all of them are inevitable, he calls the films ""grand slashers"". Other grand slashers include the films in the ""Saw"" and ""Cube"" franchises. A notable feature of the ""Final Destination"" films is the threshold or tipping-point logic of characters' deaths. Conrich frames the complex death sequences in ""Final Destination"" films as ""death games, contraptions or puzzles in |
7645769 | "Final Destination 3"
which there are only losers"". He compares the sequences to Rube Goldberg machines, the Grand Guignol, and the ""Mouse Trap"" board game. Brinkema selects the deaths of Ashley and Ashlyn from ""Final Destination 3"" as epitomizing the series' death sequences. The characters' deaths are brought about by ""a series of neutral gestures, a set of constraints that will ultimately lead to their conflagratory ends""; these include the placing of a drink, a rifling-through of CDs, and an ill-chosen doorstop. The scene uses logics of temperature, color, and light to realize the characters' deaths, and to allow Wendy to recognize the |
7645770 | "Final Destination 3"
threat they face. An example of the ""literal tipping point"" at which the characters can no longer escape occurs when a coat rack is knocked onto the sunbeds; it is blown by an air-conditioning unit that is activated by the increasing heat. Conrich identifies the roller-coaster derailment as an example of the franchise's focus on mobility in death sequences. He argues that theme-park rides and horror cinema are mutually influential; the former draw from the frightening aspects of the latter, while the latter draw from the ""theatrics and kinetics"" of the former. ""Final Destination 3"" was originally the last part |
7645771 | "Final Destination 3"
of a trilogy and had been in development since the release of ""Final Destination 2"". Franchise creator Jeffrey Reddick and one of the co-writers of the first two films did not return for the third installment. Director James Wong said that unlike the second film, which was closely tied to the first and continued its story, the producers always envisioned ""Final Destination 3"" as a stand-alone sequel featuring new characters. He said:[W]e really felt that the idea of ""Final Destination"", or the fact that Death can visit you and you can cheat death ... could happen to anyone."" By not |
7645772 | "Final Destination 3"
using characters from the first film the producers could use a new plot, with new characters who would be unaware what was happening to them and react accordingly. The film's original title, ""Cheating Death: Final Destination 3"", changed during development. Craig Perry and Warren Zide's Zide/Perry Productions, and Wong and Morgan's own Hard Eight Pictures that co-produced ""Final Destination"" returned to produce ""Final Destination 3"" with Practical Pictures and Manitee Pictures. Initially, the film was to be filmed in 3D, but this was abandoned. Morgan said it was for financial reasons and because he believed fire and blood effects would |
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not be shown properly through the red filters of anaglyph 3D systems. The idea of using a roller-coaster derailment as the opening-scene disaster came from New Line Cinema executive Richard Bryant and was not inspired by the Big Thunder Mountain Railroad incident from 2003 when a derailment occurred that crushed a rider. ""The Omen"" (1976) was the inspiration to depict death omens in photographs. Morgan said he searched the aisles of a store on Sunset Boulevard for days for inspiration for Erin's hardware-store death. Loss of control is a major theme he and Wong had envisioned for the film from |
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the very beginning; both Wendy, who is afraid of losing control, and the roller-coaster exemplify this. He said psychologists have confirmed one reason some people are afraid of riding a roller-coaster is because they have no control over it and what happens to them. During the casting process, Wong sought actors who could portray the main characters as heroic individuals with realistic qualities. Perry echoed this sentiment, saying that for the Wendy and Kevin characters they looked for actors who ""had the charisma of movie stars, but weren't so ridiculously rarefied that you couldn't feel like you might know them"". |
7645775 | "Final Destination 3"
They took great care casting the supporting characters who were considered as important to the film as the main characters. On March 21, 2005, Mary Elizabeth Winstead and Ryan Merriman—co-stars of ""The Ring Two"" (2005)—were cast as Wendy Christensen and Kevin Fischer. Winstead, who had auditioned for the second ""Final Destination"" film, won the role because her portrayal of the character's emotion impressed Wong and Morgan. Wong said he had originally intended Wendy to be a ""perky blonde"" and reworked the character slightly after Winstead was selected. Wong believed the actors were right for their roles. He felt Winstead ""[brought] |
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a kind of soulfulness to her role as Wendy"" and though her character ""is deeply affected by the accident"", her strength allows her to remain in control. Wong said when Merriman arrived to audition he was sure he was ""the right guy to play Kevin"". He described the character as ""the kind of guy you want to hang out with, your goofy best buddy, but also someone who could rise to the occasion and become a hero"". On April 9, 2005, Kris Lemche and Alexz Johnson were cast as the goth couple Ian McKinley and Erin Ulmer. Johnson, who was |
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starring in the Canadian television series ""Instant Star"" (2004–2008), had auditioned to play Wendy's sister Julie; that role later went to Amanda Crew, who originally auditioned to play Erin. Johnson said she wore a rocker jacket during her second reading and was in a bad mood. As she was leaving, the filmmakers called her back to read some of Erin's sarcastic dialogue in a scene. Johnson thought her dry sense of humor, which the filmmakers caught, helped her land the part. Of his role, Lemche said Ian ""spouts some interesting facts that seem to be just right there on the |
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tips of his fingers"". He researched most of Ian's information and during read-throughs often asked Morgan about Ian's facts. Morgan wrote Lemche notes and gave him URLs to research the information Ian gives out. Jesse Moss was cast as Wendy's boyfriend Jason Wise. Texas Battle played athlete Lewis Romero. Chelan Simmons took the role of Ashley Freund. Sam Easton portrayed school alumnus Frankie Cheeks. Gina Holden played Kevin's girlfriend and Wendy's best friend, Carrie Dreyer. Crystal Lowe joined the cast as student Ashlyn Halperin. Tony Todd, who appeared in the first two films, did not return as the mortician Bludworth |
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but voiced the devil statue at the roller-coaster and a subway conductor. Maggie Ma and Ecstasia Sanders played Julie's friends Perry Malinowski and Amber Regan, respectively. Like the first two installments of the franchise, ""Final Destination 3"" was filmed in Vancouver, Canada. The Corkscrew roller-coaster at Vancouver's Playland was the Devil's Flight coaster depicted in the film. Winstead and Merriman said the filming took three months with the first two weeks were spent shooting the roller-coaster's derailment. The rest of the filming was done out of sequence. Filming wrapped in July, but viewers at early screenings reacted negatively to the |
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ending. This led to the filming of a new ending sequence featuring a subway train derailment in November 2005. The death scenes required varying degrees of 2D and 3D graphic enhancement. The roller-coaster scene necessitated 144 visual-effect shots. Custom-designed coaster cars were built and modified for the script; most of the model was hand-built and computer-designed MEL scripts added specific elements. For the coaster-crash scenes, the actors were filmed performing in front of a green screen, to which a CGI background was added. Several of the roller-coaster's cars were suspended with bungee cords to film the crash; the deaths required |
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the use of CGI onscreen effects and each actor had a corresponding CGI double. Meteor Studios produced the roller-coaster and subway crashes while Digital Dimension handled the post-premonition death scenes. The death of Ian McKinley, who is bisected by a cherry picker, proved especially challenging. A clean plate of the cherry picker falling was originally shot with a plate of Lemche acting crushed and falling to the ground with his bottom half in a partial green-screen suit. After combining those plates, Wong said ""he wanted more of a gruesome punch for the shot"". A standard CGI body of Lemche's height |
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was used; several animation simulations of the body being crushed with a CGI object were filmed. The director chose the version he liked most. A new plate was then filmed with Lemche imitating the chosen animation and positioning his body at the end. Soho VFX created the scene where Ashley and Ashlyn are killed on tanning beds. It consisted of about 35 shots of CG skin, glass, fire, and smoke mixed with real fire and smoke. The subway crash in the film's epilogue used a CG environment reproducing the main aspects of the set. The score for ""Final Destination 3"" |
7645783 | "Final Destination 3"
was composed by Shirley Walker, who wrote the soundtracks of the series' previous installments. Score mixer Bobby Fernandez created a ""gore-o-meter"", measuring the violence of each death to ensure the score would match the scenes. ""Final Destination 3"" is the only film in the series without a commercially released soundtrack. Greek-American musician Tommy Lee provided a cover of The O'Jays 1972 song ""Love Train"", which was used in the film's closing credits. Lee enjoyed ""put[ting his] own darker spin on it for the movie"". Several months before the film's release, New Line Cinema set up a promotional website, which linked |
7645784 | "Law enforcement in Hungary"
Law enforcement in Hungary Law enforcement in Hungary is split among the Police and Border Guards, and the Customs and Excise Authority. Since 2006, the Police has been subject to the Ministry of Justice, when the Ministry of Interior was re-structured to deal with Municipalities and Regional Development. Due to Hungary's accession to the Schengen Treaty, the Police and Border Guards were merged into a single national corps, with the Border Guards becoming Police Officers. This merger took place in January 2008. The Customs and Excise Authority remained to be subject to the Ministry of Finance. The national police headquarters |
7645785 | "Law enforcement in Hungary"
is located in Budapest, 13th District. It is nicknamed as Police Palace. In February, 2007, the headquarters was the target of small arms fire, with multiple bullet holes being found in the building, but there were no injuries. The Hungarian Police is the main and largest governmental law enforcement agency in Hungary. It reports to the Ministry of the Interior and headed by the National Commissioner of the Police ""(országos rendőrfőkapitány)"". It carries out general policing, patrolling, traffic policing, border control and criminal investigations. It is divided into twenty regional units one for the capital city Budapest and nineteen for |
7645786 | "Law enforcement in Hungary"
the nineteen counties of Hungary. Among the capital and county departments there are two other units with nationwide jurisdiction: the National Bureau of Investigation ""(Nemzeti Nyomozó Iroda)"" for fighting serious crimes, and the highly militarized Riot Police ""(Készenléti Rendőrség)"" for strengthening local police forces and perform SWAT operations. The Counter Terrorism Centre is a special police force with nationwide jurisdiction under the direct control of the Minister of the Interior of Hungary, founded by prime minister Viktor Orbán in 2011. It mainly deals with counter-terrorist activities, the majority of the police officers serving in the body are trained as SWAT |
7645787 | "Law enforcement in Hungary"
officers to fight against armed criminals. They interfere when necessary in any case if asked for by the National Police or other authorities. Besides, the Counter Terrorism Centre is also responsible for the protection of the Hungarian prime minister, the Hungarian president, other high-ranking government, state officials and the security of several government buildings, and also serves as a secret service-like organisation, collecting and analysing information about potentially dangerous groups and persons. It is often criticised by the political opposition as ""the private army of the prime minister"", since its first and current director, police brigadier general János Hajdú was |
7645788 | "Law enforcement in Hungary"
earlier the personal bodyguard of prime minister Viktor Orbán after retiring from his police career. Nevertheless, it is a fact that the officers employed and the functions carried out by the service existed earlier mainly within the frameworks of the National Police under the name of ""Terrorelhárító Szolgálat"" (Counter Terrorism Service), they were only centralised into an autonomous police force under the direct control of the Ministry of the Interior, not causing essential changes in the structure and operation of Hungarian law enforcement, only the organisational frameworks changed to some extent. The National Protective Service is a special police force |
7645789 | "Law enforcement in Hungary"
under the direct control of the Minister of the Interior, with nationwide jurisdiction, mainly dealing with anti-corruption activities within the government sphere. The service can collect information about any government officials, including their private life or law enforcement officers in Hungary, even testing their reliability by making a false attempt to bribe them. Although the force is also often criticised by the media of the political opposition as ""resembling the secret police services of the era of the communistic dictatorship"", it should be mentioned that similar anti-corruption organisation exist in nearly all member states of the European Union, and its |
7645790 | "Law enforcement in Hungary"
preceding agency the Rendészeti Szervek Védelmi Szolgálata (Protective Service of Law Enforcement Agencies) had nearly the same jurisdiction over the uniformed officers employed by the government, its jurisdiction was only extended to the civilian officials employed by ministries and other government organs, and considering the high rates of corruption in Hungary, the existence operation of the service seems to be necessary. Since the service was established, the corruption within the public sphere in Hungary including law enforcement agencies decreased to some exttent. Up to now it has not been proven that the National Protective Service would have abused its powers |
7645791 | "Law enforcement in Hungary"
granted by law in any way. The National Protection Service has established its own code of conduct, and regulations concerning the declaration of property that apply to the police also apply to the National Protective Service. The National Security Service is one of the civilian secret services of Hungary under the direct control of the Minister of the Interior. It is a background organisation that provides the technical equipment to collect information about or to intercept someone if ordered by the Police, a court judge, the Public Prosecutor's Office or other authorities. The service rather fights against organised crime than |
7645792 | "Law enforcement in Hungary"
dealing with counter-espionage nowadays, and its jurisdictions are strictly regulated by law. The Constitution Protection Agency is the main internal civilian secret service of Hungary under the control of the Minister of the Interior. Although originally it is a domestic intelligence and counter-intelligence agency, since espionage activity is rare in Hungary and in the region, as a law enforcement agency it rather focuses on organised crime and potentially dangerous, political extremist persons and groups, strongly co-operating with the Police and other law enforcement agencies. The officers of the agency are allowed to carry firearms, but can use it only for |
7645793 | "Law enforcement in Hungary"
self-defence or for the defence of others, and can perform arrests or other police measures only in the presence of uniformed police officers, their activity is in essence limited to the collection of information. In Hungary there are also municipal / local police forces with very limited jurisdictions. Its officers are employed by the local government, but their jurisdiction and activities are defined and controlled by the Minister of the Interior and the local state police forces, strictly co-operating with them. The most widespread form of local police organisations is the ""Közterület-felügyelet"" (usually translated as Public Space Supervision Authority) which |
7645794 | "Law enforcement in Hungary"
can be found in the capital and larger towns in the country. Public Space Supervision officers usually wear blue uniforms similar to that of the National Police, and by law they are qualified as police officers and in principle they can perform arrests and other police measures, but practically they are unarmed, and their activity is usually limited to crime prevention and fining the perpetrators of minor offences. If they recognise some serious crime, they are to call the National Police. According to the new regulation of 2013, local governments in Hungary can also establish so-called ""Önkormányzati Rendészet"" (Local Government |
7645795 | "Law enforcement in Hungary"
Police) with a more extended jurisdiction than Public Space Supervision Authorities, and potentially the police officers of such services can be armed, but can wear and use their firearms only under very strict regulations. Many local government also employs so-called ""Mezőőrség"" (Rural Police, Ranger Service) in order to defend rural areas and infields. Local government rural police officers are usually armed with shotguns as qualified hunters, but can use their firearms only for self-defence and if they recognise any serious crimes are to call the National Police, but can levy fines and impede perpetrators until the arrival of the National |
7645796 | "Law enforcement in Hungary"
Police. Law enforcement in Hungary Law enforcement in Hungary is split among the Police and Border Guards, and the Customs and Excise Authority. Since 2006, the Police has been subject to the Ministry of Justice, when the Ministry of Interior was re-structured to deal with Municipalities and Regional Development. Due to Hungary's accession to the Schengen Treaty, the Police and Border Guards were merged into a single national corps, with the Border Guards becoming Police Officers. This merger took place in January 2008. The Customs and Excise Authority remained to be subject to the Ministry of Finance. The national police |
7645797 | "Holy Cross High School (Covington, Kentucky)"
Holy Cross High School (Covington, Kentucky) Holy Cross High School is a private, Roman Catholic high school in Covington, Kentucky. It is located in the Roman Catholic Diocese of Covington. The mascot is a representation of a Native American. The current principal is Mr. Mike Holtz, and the Dean of Discipline is Mr. Scott Reed. Holy Cross High School was established in 1891. It has two buildings: the first, the ""Old Building"", was built in 1891, while the other, the ""New Building"", was built in 1961. The school is known for its academic enhancement program which features courses focused on |
7645798 | "Holy Cross High School (Covington, Kentucky)"
assisting students who have difficulty in core subjects. The school also offers a variety of programs to assist families requiring financial assistance Holy Cross High School offers a wider range of activities for students. Among the most popular are art, football, soccer, basketball, volleyball, golf, bowling, softball, track and field, cross country, swimming, intramural basketball, tennis, academic team, school paper, drama club, choir, Students Against Destructive Decisions (SADD), rosary club, and baseball. Among the major sports, soccer, basketball and volleyball have won the Kentucky ""All-A Tournament"" in recent years. The school has won two state sanctioned State Championships by the |
7645799 | "Holy Cross High School (Covington, Kentucky)"
football team in 2011, and in 2015 the girls' basketball team won State and the All ""A"" Classic ending the year #25 in the US. Holy Cross High School (Covington, Kentucky) Holy Cross High School is a private, Roman Catholic high school in Covington, Kentucky. It is located in the Roman Catholic Diocese of Covington. The mascot is a representation of a Native American. The current principal is Mr. Mike Holtz, and the Dean of Discipline is Mr. Scott Reed. Holy Cross High School was established in 1891. It has two buildings: the first, the ""Old Building"", was built in |
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