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In response to Mr Laurie James' rousing call for action (Advertiser, March 14) we urge readers to sign the climate emergency petition. As Christmas approaches, reindeer will start to be transported up and down the country to be used as entertainment in parades, 'Santa's grottos' and other festive events. After the recent demonstration in London, Ruth George has written that she's in favour of a second referendum. Your correspondent of October 11 is absolutely right that 'the world will look after itself'. It is already doing so; and that is what we call global warming. There were two items of good news about housing last week, one local and one national. I was always taught the essence of good driving is: "courtesy towards and consideration of other road users". Like European leaders in 1914, Britain is sleepwalking towards (Brexit) catastrophe. How we readers look forward almost every week to the collection of highly selective facts from your correspondent Martin Cutts. I know that the Derbyshire police force has been cut by almost half but surely the force could put a bobby on the Buxworth/A6 junction just for a few hours? I was shocked and saddened to read that more than a quarter of 999 staff working in the East Midlands were abused or suffered physical violence at the hands of patients. High Peak Borough councillors are considering applying for planning permission for houses in Serptentine Walks with a view to selling the land to shore up council funds.

By Rachel Held Evans, on February 22, 2010. What I love most about the Olympics is the chance to see people who have worked really hard at something succeed. It's exciting to watch as all those hours of practice, moments of frustration, and years of preparation come to fruition in one beautiful moment on the winner's podium. 1. When was your last "Olympic moment"—a time when you felt your hard work really paid off? 2. What's your favorite Winter Olympic sport? Do you ever fake your faith?

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>> file and process it in xleap or antechamber and then generate a PDB file? Exemple of many R.E.D. jobs are available in R.E.D.D.B. Next message: Lili Peng: "Re: AMBER: Generating structure of polyethylene glycol in AMBER" In reply to: Lili Peng: "AMBER: Generating structure of polyethylene glycol in AMBER" Next in thread: Lili Peng: "Re: AMBER: Generating structure of polyethylene glycol in AMBER" Reply: Lili Peng: "Re: AMBER: Generating structure of polyethylene glycol in AMBER"

Acid reflux refers to the sour acid that can sometimes creep up from your stomach and go into your mouth or throat. It's not uncommon to experience acid reflux and heartburn, especially after eating spicy foods or a large meal. However, if you experience these two conditions at least twice per week, then you may have a more serious problem known as gastroesophageal reflux disease, or GERD. GERD is a digestive disorder that affects the lower esophageal sphincter (LES). The LES is a ring of muscles between the esophagus and stomach. These muscles are normally taut, keeping the opening from your stomach to your esophagus closed. When you eat or drink something, the muscles relax so the food or liquid can travel down into your stomach. They then tighten once the contents reach the stomach. In people with GERD, however, the muscles are weak or relax irregularly. This prevents the LES from closing completely, allowing stomach contents to come back up into the throat. The condition is more likely to develop in people who are pregnant or overweight. It may also affect people who have certain health conditions, such as asthma or diabetes. The prolonged acid reflux associated with GERD can cause irritation and inflammation in the esophagus, leading to a condition called esophagitis. Esophagitis may make it difficult or painful to swallow. When left untreated, GERD can also damage your esophageal lining and cause esophageal ulcers. This may result in bleeding, narrowing of the esophagus, or Barrett's esophagus. Some common treatments for GERD include antacids, prescription medications (H2 blockers or proton pump inhibitors), and surgery. However, there are also several lifestyle changes that can help you find relief from your symptoms. If you often experience GERD symptoms at night, you may benefit from using a GERD wedge pillow. The way that acid reflux and GERD wedge pillows work is simple. Acid can leak out of the stomach and into the esophagus more easily when a person is sleeping on their back and using a standard pillow. A wedge pillow slightly elevates the head, shoulders, and torso to prevent this from happening. When the upper body is elevated, gravity makes it less likely for stomach contents to come back up into the esophagus. You can use a wedge pillow while sleeping on your side or on your back without causing any tension in the head or neck. Most pillows on the market are elevated between 30 to 45 degrees, or six to eight inches at the top. Wedge pillows for acid reflux and GERD are sturdy and ergonomically designed. As time passes, however, they will lose their shape and firmness. You will likely have to replace your wedge pillow with another one after several years. The Miracle Wedge pillow is a 24-inch by 24-inch memory foam pillow with an incline of 7 inches. It has a hypoallergenic, washable, and removable cover. The Miracle Wedge pillow also comes with a three-year warranty. The pillow can be used by people who prefer to sleep on their side or on their back. Medslant is a 32-inch by 24-inch pillow that elevates the torso by 7 inches. The incline allows people to sleep on either their side or back. The wedge pillow can be used with or without a regular pillow. It is made with 100 percent hypoallergenic polyurethane, and comes with a washable travel cover. The Medslant may also be placed in a crib, making it possible for infants with acid reflux to use it. Posthera's Comfort Lift wedge pillows are specifically designed for people with moderate to severe acid reflux. Three standard sizes — small, medium, and large — all work to elevate your torso by 30 to 40 degrees. The small wedge pillow features an adjustable 2-inch height. The medium and large sizes have a three-inch height adjustment. All pillows are made with memory foam and have a one-inch topper. Your size and weight will determine which pillow size works best for you. Posthera also has another model, called the "Comfort Lift Pillow Supreme." This model is designed for people with mild to moderate acid reflux. It features "wings" that people can use when they sleep on their side. Unlike other treatments for acid reflux and GERD, including medications, there are no risks or side effects associated with wedge pillows. You may decide to try another type of wedge pillow or to stop using one completely if you don't like it. Speak with your doctor on how you can further relieve your GERD symptoms. Can Acid Reflux Cause Heart Palpitations? Prilosec vs. Zantac: How Are They Different? Learn more about the causes of heart palpitations and whether or not acid reflux is likely to be a cause. Having an upset stomach several times a week might be IBS or acid reflux. Learn the connection between these conditions. Can I Eat Sugar If I Have Acid Reflux? Acid reflux can really put a damper on your diet. You may know that chocolate can trigger acid reflux, but what about sugar? Get the facts. Is Fatigue a Symptom of Gastroesophageal Reflux Disease (GERD)? Fatigue isn't a symptom of gastroesophageal reflux disease (GERD), but GERD can indirectly lead to fatigue. Learn more. Can You Use Probiotics to Treat Acid Reflux? Probiotics are an alternative therapy for many gastrointestinal conditions, but is acid reflux one of them? Here's what you need to know.

Click to Call 877-51-HKLAW We Don't Get Paid Unless You Win Joel Halvorsen Greg Klote Samantha Orlowski We Don't Get Paid Unless You Win 877-51-HKLAW Motorcycle Accident Lawyers in Jefferson City, MO Call for a Case Review and Consultation if You've Been in an Accident Motorcycle Accident Lawyers in Jefferson City, MO. Halvorsen Klote serves victims and their families in Metro St. Louis and Southern Illinois. Being in a motorcycle accident can be a life-altering event. Concerning the economic and physical implications of a serious crash, it is important to contact a motorcycle accident lawyer in Jefferson City, MO, if you're in an accident and you need legal counsel. Contact one of HK Law's injury lawyers to get more information about what to do after a crash. Common Motorcycle Accident Claims in Jefferson City, MO Have you been in a motorcycle accident? Millions are injured and more than 37,000 are killed in vehicle accidents each year. Of those fatalities, more than 5,000 involve motorcycles. Our firm knows how difficult it can be if you or a loved one have been injured. {You're going to have to consider expenses for medical bills, lost time at work, and other financial hardships|Victims might have to deal with a long-term injury that prevents them from working, paying off medical bills, and recovering. Our Jefferson City, MO, motorcycle accident lawyers are dedicated to helping victims and getting fair reimbursement. Here are a few of the more common types of motorcycle accidents: Head-On Collisions: Almost half of all motorcycle fatalities are because of vehicle-to-vehicle head-on collisions. Left-Hand Turns: Because of blind spots and speeding, other motorcycles almost become targets in intersections for cars and trucks. Passing Accidents: Car and truck drivers might not see a motorcycle that's trying to pass or overtake them, especially at night or in bad weather. Lane Splitting: Certain states (like California) allow motorcycles to "lane split" in heavy or slow traffic. This is dangerous and results in a high percentage of accidents. Helmets: Riders have a 37 percent chance to survive a wreck if they wear helmets. A handful of states don't have helmet laws unless you're under the age of 18. Speeding: Almost half of all motorcycle accidents are linked to excessive speeding. Add in bad weather and traffic, it's easy to see why. Alcohol Use: Accidents related to driving under the influence are balanced between cars, trucks, and motorcycles. However, the fatality rate is more severe when it comes to motorcyclists. Road Hazards: Construction equipment, ice and snow, slick roads, and other hazards cause a lot of accidents. A fixed object will often stop the bike but not the rider. Motorcycles are dangerous but accidents can happen for any number of reasons. Other drivers, brake failure, or bad road conditions can all lead to a crash. Halvorsen Klote's Jefferson City, MO, motorcycle accident lawyers are here to help victims and their families recover reimbursement after an accident. Compensation for Jefferson City, MO, Motorcycle Accidents Victims pursue injury claims to get financial compensation from a negligent party. There are lots of factors to consider, which is why it is important for victims and their families to find a lawyer that is able to handle their case. A lawyer will investigate the claim and make sure that any settlement covers special and general damages. At Halvorsen Klote, our Jefferson City, MO, motorcycle crash lawyers fight to make sure victims aren't taken advantage of by insurance companies. Often, the liable or negligent party will offer a settlement and it can be tempting for victims to accept because of high medical bills and other financial stressors. Here are a few of the special and general damages you can expect if you were in a motorcycle accident: Medical Expenses: This can include prescription drugs, surgery, occupational therapy, ambulance fees, mileage for going to and from an appointment, and other medically-related costs. Pain and Suffering: You might be able to get reimbursement for pain and suffering. This may include PTSD, emotional distress, loss of enjoyment, future discomfort, and additional factors. Lost Wages: Our Jefferson City, MO, motorcycle accident lawyers make sure that our clients receive any wages that are lost due to an accident. If you're injured in an accident and can't work, you're going to be missing income that could pay for other bills. Loss of Affection: If a family member dies in an accident or is disabled, you may be able to receive compensation for loss of affection or companionship. This is also called "loss of consortium." No matter what your accident is, it's important to contact a local motorcycle crash lawyer as soon as possible if there are financial damages. Legal representation doesn't cost you anything. At Halvorsen Klote, we charge on a contingency fee basis. This means that if we don't win your case you don't owe us anything and there aren't any upfront fees. What Should You Do After a Motorcycle Accident? No one is stopping you from filing your own insurance claim. However, payouts are typically three to four times higher with an experienced if you have an attorney on your side. To ensure maximum payouts, our lawyers will look into and collect police reports, medical records, testimonies, and other information needed to open and win a claim. An important thing to do is to get medical help as soon as possible, even if you think your injuries are superficial. Learn more about our history and success on the testimonials page and see what kinds of cases we have experience with. TCPA Violation Lawyer Even if you are partly at fault, you may still be eligible for compensation. Read our FAQs to learn more about motor vehicle accident claims and personal injury cases. There are various statutes of limitations depending on what state you are in. Contact our motorcycle accident lawyers in Jefferson City, MO, today for more information. Contact Your Motorcycle Crash Attorneys in Jefferson City, MO, Today The motorcycle accident attorneys in Jefferson City, MO, at Halvorsen Klote are ready and willing to fight for your case. A serious injury can have lasting effects like financial hardship, not being able to hold down a job, and add other pressures to your family. It's our job at HK Law to provide top-notch legal counsel to Jefferson City motor accident victims. Don't hesitate to contact our Jefferson City, MO, car accident lawyers today for a consultation. Joel Halvorsen and his partner Greg Klote founded the Halvorsen Klote law firm on the principle that injured people and their families should have access to the same quality legal representation as large insurance companies. Greg Klote is a partner and founder of Halvorsen Klote. Greg has successfully fought for people who were injured through no fault of their own. He became a lawyer to help make a difference in the lives of those who have been wronged and treated unfairly. Our practice area includes both Missouri and Illinois. Below, you will find a full list of the major cities Halvorsen Klote serves. Contact our Jefferson City, MO, car accident lawyers today for more information and a case review. Bourban, MO Dardenne Prairie, MO Fayette, MO Harrisburg, MO Macon, MO Madison, IL Valley Park, MO Vandalia, MO Versailles, MO Wardsville, MO Weldon Spring, MO Have you been injured? Get in touch with our experienced personal injury attorneys today. We will get back to you as soon as possible. Are you a new client?YesNo 40 Under 40 – National Trial Lawyers Superlawyers Rising Star Missouri Bar Hands down one of the best firms I've ever worked with. My big thing is communication and not only did they have great customer service, but their staff was also incredibly helpful. I will definitely be referring. I dont know where to even begin, Greg and Joel were nothing short of incredible. I was involved in a fairly serious head on collision, incurred a mound of medical debt and completely totaled my vehicle. Needless to say, I was not at fault. The other parties insurance company was not having any of it, […] Andi Z. Joel and Greg did a great job handling my case. Not only did they help me legally, but they were very patient and explained complicated details in a way that anyone could understand. I would recommend them to anyone that I know. Thanks, guys! Christopher L. I have referred several clients to Joel and Greg, including members of my own family. Their detail-oriented approach produces outstanding results which speak for themselves. Consider HK Law for your personal injury needs - you will not regret your decision. Luke P. Halvorsen Klote does really excellent work. Joel and Greg are professional, easy to work with, and truly care about their clients. If you're looking for a personal injury lawyer, look no further--Halvorsen Klote has a great record of success. Brendan B. Need Representation? 877-51-hklaw Halvorsen Klote 680 Craig Road St. Louis Legal Services | 5.0 stars, based on 36 reviews. © 2020 Halvorsen Klote. All Rights Reserved. *Disclaimer: The information on the Halvorsen Klote website is for general information only. The content should not be taken as legal advice for specific cases or situations. For more information, view our privacy policy and terms of agreement.

British Airways Threatening Dismissal of Pilots Earlier we reported on the measures taken by British Airways via its parent IAG to block plans by the British government for 14-day quarantine of all and any visitors. On the basis of 'my enemy's enemy is my friend', BA has joined up with Ryanair and EasyJet to protest against the regulations introduced on Monday. The trio of carriers has said that the new regulations lack justification and will delay the re-emergence of the airline industry in the UK. CE British Airways, Alex Cruz ©IATA BA has never shied away from a legal fight. One assumes that with its deep pockets (supported by a Bank of England loan) it can use its legal might not just to defend its interests, but to go on the offensive. The flag-carrier seems to be taking the fight to its employees at the moment. It intends to retrench about 12 000 staff in total. It's in conflict with its flight attendants, with plans to rationalise the contracts of many, the result of which may be that senior attendants could suffer a permanent and perhaps substantial reduction in pay. Airbus A350 (c) Clement Alloing The second group under fire is the company's 4 300 pilots. Previously BA has intended to lay off over 1 200. In the midst of the negotiation process, BA has warned that if it is unable to reach an agreement with the British Airline Pilots Association ('BALPA') it would dismiss all its pilots and offer individuals new contracts with new terms and conditions. The airline has said it is 'acting now to protect as many jobs possible,' and that 'the airline industry is facing the deepest structural change in its history, as well as facing a severely weakened global economy.' General Secretary BALPA Brian Strutton ©BALPA The General Secretary of the Union, Brian Strutton was furious. He said 'This has seriously undermined our talks which now hang by a thread. It calls into question whether BA is even capable of conducting industrial relations properly and whether anything they say can be trusted.' In the course of negotiations, It's fairly typical to be aggressive initially, leaving room for compromises later. There's also no doubt that BA's economic position is dire, along with every commercial carrier in the world. But unlike every other carrier in the world, BA doesn't seem to be overly concerned with the critical relationship with its staff after the present crisis is over. We hope BA and its employees can come to a quick and amicable solution. BREAKING: Cathay Pacific, Prime shareholders Swire and Air China Stop Trading in Hong Kong Hong Kong Government to lead Cathay Pacific's $5bn Relief Package American Airlines and IndiGo Launch New Codeshare Agreement American Airlines and IndiGo have launched their new codeshare agreement. Announced in September 2021, the partnership was awaiting… Etihad Airways Announces Flights to Guangzhou, China byDavid Mwangi Etihad Airways announces flights to Guangzhou from Abu Dhabi, making it the only UAE carrier linking the two… Link Airways Connects Bundaberg and Brisbane byMadilyn McKinley Link Airways have announced a new route directly connecting Bundaberg and Brisbane together. Commencing on Monday 14 November,…

You didn't go into business to spend the hours updating your website. Your website is crucial to your business. It main purpose is to generate leads, customers and revenue (or at least it should). It's a channel through which customers, suppliers, potential new staff and partners will find you and engage with you. It is fundamental to the success of your business and you want peace of mind that it will be up and available for your audience 24/7 without interruption.

سلسلة افلام جيمس مكافوي 12 angry men 1997 Unfaithful 2002 full movie online مترجم فيلم جحيم فى الهند مشاهدة مستر بين مستر بين Beautiful girl in the world country 18 Jan 2019 This selection is courtesy of 'U City Guides' that decided to chose 10 countries with beautiful women from around the world. Microsoft may earn حافة الظلام توم كروز 28 Oct 2016 These truly are 15 of the most beautiful women in the entire world. most attractive men in the world, so ladies, next "girls" trip should be there. 21 Aug 2019 Meet Thylane Blondeau, a former child model who was named the "most beautiful girl" not just in her home country of France, but on earth. In this 10 Countries with Most Beautiful Women in the World as per most common choice are Girls are tall with good figure, stylishly dressed and appealing eyes. Top 10 Countries With The Most Beautiful Girls in The World. By. Abayomi Jegede. -. April 30, 2020. 1. 13 Jan 2019 Natural splendor aside, the Land of Fire and Ice is also home to one of the world's quirkiest nations, with warm, creative, and forward-thinking 31 Jul 2017 The world is full of beautiful places. So beautiful, in fact, that some baby names have been inspired by them. Brooklyn is a city in New York as well as a gender neutral name, though it's ranked #34 for girl's names in the US. 27 Apr 2020 Most Beautiful Countries In The World 2020. Earth is not only the sole planet that we can currently inhabit, but it's also home to some of the most The most beautiful girl in the world? And if you did, was she crying, crying? Hey If you happen to see. The most beautiful girl that walked out on The traditional Indian attire, 'Sari', adds to the charm of these pretty faces. 10. France. most beautiful women in the world, hottest girl, hottest women, sexy girls,. Norro Wilson sings "The Most Beautiful Girl in the World" Norris Denton Wilson, affectionately known as "Norro" to most, was a vastly underrated country music icon. He was born to a barber and a factory worker in the small town of Scottsville, Kentucky A list of lyrics, artists and songs that contain the term "beautiful girl" - from the Lyrics.com website. The most beautiful girl in the world Beautiful Beautiful Beautiful (beautiful) Beau World, & Country Funk / Soul Hip Hop Jazz Latin Non-Music Pop Reggae Rock Spiritual Stage & Screen. Styles 12/01/41 · Tucked away in the Alps, Switzerland is easily one of the most beautiful countries in the world, no matter when you're visiting. Kerala is easily one of the most country's most beautiful Imgur user itsamazing, who helps run a gaming server with people all over the world, asked all the people on it who the most beautiful woman in their country was.After three days of compiling votes (there are some ties) and getting images, he posted it to Reddit to gauge the response.. Even though those polled weren't from a very diverse group — mostly male between the ages of 16 and 35 16/11/37 · [Chorus] G Dm G7 C Hey, did you happen to see the most beautiful girl in the world? E7 A Am D7 And if you did, was she crying, crying? G Dm G7 C Cm Gm Hey, if you happen to see the most beautiful girl that walked out on me D/F# F13 Tell her, "I'm sorry." C/E Tell her, "I need my baby." D7 G Oh. Won't you tell her that I love her. Most Beautiful Countries In The World. And there are many factors which make us perceive a specific country or place as a favorite. A country dear to our heart is not just because it has many beautiful rivers, breathtaking mountains or landscapes; rather it is also because of that place's history, culture, cuisines, entertain options and of course, the very human aspect. Top 10 Countries with Most Beautiful Women Soldiers in World Countries with Most Wonderful Women Soldiers in World- There was a time when the army was considered of the men's field only. But nowadays women prove themselves bold enough of being capable to join the army in all departments. The news is abuzz with the pop singer Beyonce receiving the top honors as most beautiful woman in the world by People magazine. With this, let's take a low down on the other nine ladies who round up the list of world's top 10 most beautiful women. 27 Jun 2014 This Is What the Same Woman Looks Like Photoshopped in Different Countries artists in 25 different countries with a simple request: make me beautiful. vary across cultures on a global level," Honig wrote on her website. Latin America is home to some of the most beautiful women on the planet. Not all countries are equal though, with some having considerably larger concentrations A woman can be the pride in any man's life, and when she is extraordinarily Lyrics to The Most Beautiful Girl by Charlie Rich from the Shades of Country [L&D Box] album Hey, did you happen to see the most beautiful girl in the world? Beautiful Paraguayan girl is what you need! 4mln. Female In 1991, Paraguay authorities were the last country in the whole world to legalize divorce. Paraguay 8 Mar 2008 In spite of real progress around the globe, the bedrock problems that have century woman is confident, prosperous, glowing with health and beauty. Here are 10 of the worst countries in the world to be a woman today:. recorded by Charlie Rich written by Billy Sherrill, Norro Wilson, Rory Bourke G Dm C Hey did you happen to see the most beautiful girl in the world. E A7 C D7 But the real question is who has been crowned the most beautiful woman of all As one of the world's first supermodels, it's only right that English beauty Jean The thing is, Vietnam women are exotic, beautiful, tender and traditional — so you just Why are Viet girls so popular among men from the first-world countries ? 11/09/40 · HELLO GUYS HOW R U ALL , IN THIS VIDEO IM TALK ABOUT BEAUTIFUL GIRLS COUNTRY IN THE WORLD. #BEAUTIFULGIRLS #BEAUTIFULWOMENS #BEAUTIFULGIRLSCOUNTRY DONT FORGE 25/10/38 · Choreographed by: Niels Poulsen (July 2017) 32 count - 4 wall - High Beginner level line dance Music: "The Most Beautiful Girl" by Charlie Rich. Get all the list of the most beautiful women in the world by country wise. Also, check out the pictures of the most beautiful girl in the world. 22/06/38 · After our famous list of top 10 most beautiful women, we are here with yet another list of top 10 most beautiful older women in the world.All the women listed below are in their 50s or even older. These beautiful older women will make you rethink the concept of getting older. 13/12/38 · AN influential travel guide has revealed the world's most beautiful country… and the winner is very close to home. Rough Guide readers voted Scotland the most stunning place on the plan… Beautiful girl, beautiful world Lyrics: You fit me perfectly, darling it's plain to see / You are a beautiful girl / Here in the present tense, next to your innocence / This is a beautiful world Could U be (could U be) the most beautiful girl in the world? Could U be? It's plain 2 see U're the reason that God made a girl Oh, yes U are And if the stars ever fell one by one from the sky I know Mars could not be, uh, 2 far behind Cuz baby, this kind of beauty has got no reason 2 ever be shy 18/08/41 · Big, bustling cities teeming with life and bright lights make fantastic places to visit, but small lesser-known villages often make even better ones. That being said, below is our list of the most beautiful villages around the world. 1. Popeye Village, Malta In an interesting twist, one of the most beautiful villages around the world […] 22/06/38 · After our famous list of top 10 most beautiful women, we are here with yet another list of top 10 most beautiful older women in the world.All the women listed below are in their 50s or even older. These beautiful older women will make you rethink the concept of getting older. 60+ Strong And Beautiful Country Names for Girls; Baby girl Coming Home Outfit from Etsy for $19.84 Winter. It is an English word, which refers to the "coldest season of the year". READ MORE List of Australian Subscription Boxes for Kids. Yolanda. It is of Greek origin meaning "Violet." In Greek, it is Iolanthe, while in German and These country classic song lyrics are the property of the respective artist, authors and labels, they are intended solely for educational purposes and private study only. The chords provided are my interpretation and their accuracy is not guaranteed. The Most Beautiful Girl lyrics chords are 21/06/39 · 23 most beautiful valleys in the world. the biggest nature conservation area in the country, the valley is flanked by colorful alpine meadows and inns located in remote corners of the 22/06/39 · If you're after stunning scenery and breathtaking views, this country needs to be at the top of your list, because it's the most beautiful in the world. Top 11 Countries With the Most Beautiful Women in the World. still it's true that beautiful women are found in every country of the world. Here is our list of top 10 countries where you can meet the most beautiful women in the world. 1. Brazil. Brazil is known as land of beauties. The Brazilian women are famous for their sporty looks and مسلسل الطبال حلقة 4 The book thief movie cast Changeling فيلم مسلسل زلزال الحلقه8 محمد رمضان سلسلة المختلفة المخلصة كامل مترجم فيلم بلو ستريك 1999

Button Boats Pattern - Retail $10.00 [LGD138] : Wholesale Purse Patterns, Purse Patterns at wholesale prices for quilting shops, craft stores, and fabric shops. The Button Boats Pattern by Lazy Girl Deigns includes sewing instructions and a full size plank template for creating adorable boats for holding your favorite snacks, supplies, or other goodies. Untie to store flat. Finished size: 6" x 3" x 3".

Q: "System Problem Detected Apport" - How to send reports by default? I use a lot of wine apps that sometimes cause UI problems. Is there anyway I can configure Ubuntu to send these reports by default instead of it prompting me every time and me entering the root password each time? I saw this article from 2012 and was wondering if this paradigm still stands. System: Ubuntu 14.04 64bit Kernel: 3.13.0-35-generic

Model submarines firing torpedoes is nothing new, modellers have been playing around with the idea for many years, but none have really been successful. R&R Model Engineering first designed and constructed working torpedoes over twenty years ago, and over the years they have seen many changes and refinements in the design and materials used. Now available as a kit to easily install in a huge variety of boats, from early WW1 U boats, WW2 boats, through to the modern day nuclear hunter killer submarines. Image above shows the torpedo kit. The two images below show two different installations, both in Engel Typhoon boats. Mick Higgott's Typhoon showing the installation of a torpedo kit. A different method of torpedo installation, this time in Roy Palmer's Typhoon. The video clips below show a torpedo being fired from an Engel Typhoon, owned by Roy Palmer. The torpedoes were installed by R&R Model Engineering. It should be noted that firing torpedoes from a sub can be dangerous, and shouldn't be undertaken lightly. Don't gas them right up and fire them in a small pool, they can leave the water. Do not fire them at the local wildlife, and never fire them indoors. Think long and hard before firing them, and please don't fire them at other boats.

The 7MSN Ranch: I f*ing did it! WooHoo! You f*king did! Looks great! The most exhuberant video you've made! Congratulations on hanging that door. Loved the story of the milk crate and saw your Dad took with him on the plane and your Dad's help from above on this project. We never had any doubt, lol. Now for a well deserved drink. :). Congratulations!!! I can NOT believe you did that entire job BY YOURSELF! Girl, you are AMAZING. Congratulations! Super job! Looks great! When the door is open, it even clears the light switches nicely. Another project well done. Absolutely effing genius! Love the jumping up and down too. Success!!!! You f*king did it! All on you lonesome. And your video was the source of a great big smile from me for all those times I've said the exact thing thing. Looks terrific. Great video! So exciting and it looks soooo nice! Yes, you did! You are so amazing and inspiring! Thank you!!!!!! I had no doubt that you could do this. You inspire me to try things. Way to go! Looks great and you should be so proud of yourself. Of Course You Did! Looks Great. Love that, "I f*ing did it" line. Cracked me up big time. Another job well done. And now Margarita's!! You are amazing and inspiring! That door is perfect!! Such a great project. Brillant! You are a woman of many talents. Congratulations for your excellent job! Extra points for filming the whole thing while you did the job by yourself! Woohoo!! You rock! I do wish I lived down the road so I could have rushed over to help you carry that door. But...woohoo!! God, I love girl power!!! I just hung shelves in my pantry this morning and did a happy dance, but your DIY looks more satisfying. I wish I had someplace to put one of those doors, I'd give it a try. WooHoo!!!! I'm so proud to know you, well, sort of, in a been reading your blog for forever king of way! Yeehaw! Hurray ... hurray! Oh you have made me chuckle this morning. OF COURSE you did it! It really does look great. So ... how long did you lay there and adore your handy work? I would find myself constantly walking back into that room to just look ... and maybe slide it a little left - a little right. Good job Carson! You are amazing! It looks great!! Wow! It made me happy to see you so happy! Congratulations on a great project! Hahahahaha.....GOOD FOR YOU !! I thought for a second you fell over at the end...but no...jumping for joy. Alright! That door has to be pretty darn heavy to lift by oneself...you're one tough broad.

All the machines require some maintenance to be done. Otherwise, it will reduce its efficiency or worse- the system may shut down. When we talk about Keurig coffee makers, they too require similar maintenance. Well, there are many benefits of taking proper care of these coffee machines. The increase in performance and more efficient use of power are some of the major advantages. The process we are going to focus here is the descaling one, and this is one of the most integral steps included with the Keurig troubleshooting, maintenance and cleaning. Find out the steps to be followed in Descaling. You must perform this Descaling process in every 3-6 months time. Talking about the scales formed within the unit, they are not harmful to health. Still, these scale buildups will badly affect the coffee drinking experience. We don't want you guys to go through this situation. So it is better to descale the system, and keep the unit well! And also enjoy your coffee in the best way. First, you have to prepare the brewer, and for this, we need to get started with the water reservoir initially. Empty the water reservoir by pouring out all the water from the container. If you find any Keurig filter present within the system, then make sure you remove it before getting started with the descaling task. Also, you can disable the option of Auto-off, since it is recommended in the manual as well. This is an optional step, but we would still suggest performing this. Turn the brewer machine off after you are done with the previous steps. You will require one descaling solution, and Keurig provides their Descaling solution to get the process going. It is easily available from Keurig store, and so get one! Here the entire bottle is to be poured into the water reservoir for descaling. So, pour the complete descaling solution into the Keurig reservoir. After you have added the descaling solution completely, then add water into the empty descaling solution bottle. Then add the water into the tank. This way the container is now containing a descaling solution + water mixture. Now it's time to turn the Power button on for this coffee brewer unit. As the next step, you will require one large mug and simply place it on the drip tray of this Keurig. Perform the cleansing brew process simply by lifting and lowering the handle. Here you are required to choose the 10 ounces size, and the BREW button provides on the machine surface. While there are some users who suggest using Keurig brewing pod here, you don't require it. Avoid using brewing pod for performing this brewing process. After all the contents have been brewed into the mug, pour back all the coffee drink back into the sink. Well, you have to perform this entire process of cleaning for the second time. And you have to keep repeating this step till you receive More Water Please message on the machine's digital display. Keep the system with the power on, for about 30 minutes. This step is not necessary if you are using Rivo® system. Now, 30 minutes have been complete. Remove any residue if present within the reservoir container. Rinse the brewer system entirely, and keep it clean. Here the last step is to rinse the water reservoir with fresh water. So fill the tank back with fresh water only till the level marked as the max fill line on the Keurig machine. You have to perform similar steps here, and that is place a large mug in the drip tray section. Now run the cleansing brew process, with the largest brewing cup size. In some of the Keurig brewers, you will be required to brew 6 ounces of hot water. Avoid using any brewing pod for this, and pour out all the contents into the sink. Repeat this cleansing process for about 12 times, and during this, s you may require to refill the container only once. These are the steps for performing descaling process, and kindly perform them in the same order as given here. This is the final step which is performed after all the maintenance steps. Descaling is the final step in the maintenance procedure. If you have got any query related to any stage included here, then let us know in the comment section below. Many users skip the descaling part, but it is essential for maintaining the good life of the brewer unit. Find more similar articles on our page CoffeeMakered.

Home | Careful by Nature Careful by Nature One of the most coveted sites in Glasgow now boasts one of its most innovative buildings with completion of a new palliative care centre by the Prince and Princess of Wales hospice. Urban Realm checked in with Alastair Forbes, architectural director at Ryder, and Rolf Roscher, director at ERZ Studio, to see how hospice responds to a sensitive setting and complex brief to deliver choice and dignity to patients. The Prince & Princess of Wales Hospice has marked a milestone moment with the fulfillment of a long-held ambition to migrate to a purpose-built care hub in the grounds of Bellahouston Park, Glasgow. The Arnold Clark Building marks the culmination of a mammoth eight year £21m fundraising drive to deliver accommodation for 1,200 patients and their families within a parkland setting gifted by Glasgow City Council. Belying its size the hospice partially burrows into the hillside to manage the scale of four interlinked 'villas' within the wider landscape by reading as a three storey structure from one side only. In doing so the hospice has left behind its historic home at Carlton Place in the city centre, but its front door hasn't yet been slammed shut. Instead it has been transported to Bellahouston Park to serve as an extension of the hospices roots. Ryder Architecture and ERZ formed the core of the design team the building and grounds cater for patients as young as 16, providing palliative care and a supportive environment for them and their families, a brief which presented a number of challenges not least how to accommodate civic healthcare services within a domestic-style building. Fortunately, project architect Alastair Forbes, architectural director at Ryder Architecture, was on hand to reveal all, saying: "The building takes the form of a series of cottages which sit under idiosyncratic roofs but when you analyse the cross section it's a house within a house. What that does is create a stepped edge which is essentially a veranda. No matter how cold it is patients will want to be outside on the veranda a lot of the time wrapped in blankets. "There's a 12m rise from Dumbreck Road to the top of the site so it's very much a building designed in section. What we did was a back of house wing which digs into the hillside and contains all the heavy lifting services which are not seen. That allows the front four villas to be far more domestic in scale. No matter where you are you can always get an outside view and we use the roof space for office accommodation. You should never be able to see the full building in its entirety from any one point, it should reveal itself as you move around." Read more: Urban Realm Groundbreaking New Glasgow Hospice Opens The Prince and Princess of Wales Hospice, located in Glasgow's Bellahouston Park, was officially opened by Eva Bolander, Lord Provost of Glasgow, and Lady Clark, chairwoman of Arnold Clark. Hospice Ploughs a New Furrow Rhona Baillie, CEO of the Prince & Princess of Wales Hospice, discusses in RIBA Journal why Ryder were her chosen architect for the project.

Washington's own Noah McConahy had never ridden a 250F as a professional racer. At 6'2'' and around 195lbs for much of his career, it's easy to see why the smaller engine wouldn't have been his first choice. However, this season Noah finds himself racing the 250SX West Region on a JMC Motorsports Husqvarna with his teammate Chris Howell. The two riders are the only privateers racing the Swedish brand and it's helping them stand out in a stacked West Region. The Northwest based team travels to the races with two vans, sets up some E-Z Ups, banners, and tables and then races with the factory guys. McConahy also added that if he didn't have this opportunity to travel to the races that he would be mowing lawns with his brother from 5 a.m. to noon. This fact is giving McConahy some added motivation this season. McConahy has been riding better as the season has progressed making main events in Glendale and Arlington, but he knows he's got more in the tank for Santa Clara. We caught up with him on Tuesday afternoon to try to get to know him a little bit better. Racer X: What's going on, Noah? Noah McConahy: Not much, man. I'm just about ready to head to the track. How are you doing? I'm doing well, thanks for asking, but I wish I were heading to a track like you. It's actually cold for California today. It's about 40 degrees this morning. It's some Washington-like weather today and I do not like it. I came down here for the sunshine and not the cold rain! At least you're used to it growing up in Washington. So, let's get to know you a bit more. You're riding a 250 for the first time in supercross and it's going pretty decent so far. What do you think? I've always been a bigger guy. I'm 6'2'' and I weighed around 195 last year. I had an opportunity with Joel from JMC Motorsports back home in Pasco, Washington to ride 250SX West. I really wanted to discipline myself and I dropped down to 175lbs. The Husqvarna is a fast 250 as it is. I feel like I'm not too big on the bike, I really like it, and this year has been the best year I've ever had. I feel really good before Santa Clara right now. I'm ready to race it. Joel is an awesome guy. They've always been into supercross and motocross. They've helped out Chris Howell in the past and now. After outdoors last year Joel, Chris, and I came together to discuss everything and here we are. I'm pumped with it and I couldn't ask for a better program. You two are also the only other Husqvarna's out there other than the factory team, which is pretty cool. To be honest I'm surprised at that. I took a leap of faith when I switched, but honestly the first day on the bike I knew it was the right choice. You look at Husqvarna and they are a pretty tight knit company next to KTM. One thing I wanted to be a part of was to be with a company when they were revamping. Husqvarna is a hands on company at the races. They help out at the races and we feel like we know them. That's what I want to be a part of. It's a really good bike and I'm surprised not more privateers ride them. I'm pumped because we are the only ones. It separates us and we stand out a little bit. I've noticed your setup looks great with the Fox gear on the white bike. It looks clean. Fusion Graphics has been doing a really good job keeping the bikes look great every weekend. They've been helping us out a lot. I think they designed a pretty clean bike and that's what our goal was. What is the team setup at the races like? Right now I have a cube van and Chris has a sprinter van. We park those neck and neck to one another and we have a few easy-ups and Fusion hooked us up with some banners. We try to look legit as possible with the budget that we have. Our goal was to have the privateer look, but also look clean. We have the best bikes, in my opinion. We do the best we can with two vans. I like the ''chip on my shoulder'' type of feeling that I get as a privateer. I like beating the guys in the big rigs. That's a good feeling. If I get a chance to be under a semi of course I would take it, but I really don't mind where I'm at now. It humbles me and it motivates me all at the same time. Let's switch gears here and talk about the recent break you had from racing. Did you get to do anything fun with your family or anything? I went home for a week and hung out with my family. My nephew just started riding his bike again. It was fun to do the Northwest National Series up in Pasco as well. I worked with my trainer Kevin Urquhhart too. I started training with him after Anaheim 1 and every week we're making huge progress. After one week at home I knew it was time to get back to work, so I came back down to California. I've been doing some riding at Glen Helen and WP has been helping out with some settings. We've just buckled down the past two weeks and we've stepped it up another level. My conditioning is better and I'm excited. Kevin is an awesome trainer. I really want to show everyone how hard we've been working. I have no pressure because we just go ride our dirt bikes and have fun. That's what it's all about. I take pride in the fact that I've worked a couple jobs. I like to work. That's the way I was raised. A lot of privateers say that the pressure to perform gets to them and they struggle. It's cool to hear you say that you're keeping it fun. That pressure was always my mindset for the past couple of years. The first day that I started with Kevin he just started helping me mentally. Mentally I didn't have any confidence. I wanted to be up there, but now it doesn't matter who is in front of me. I don't think about it I just believe in my program, bike, and myself. That's what you've got to think about. You can't think about the people you want to impress. Sometimes we privateers focus a little too much on beating the factory guys. I just want to have some battles and have fun. How close are you and Chris now that you're teammates? Chris and I only live about fifteen minutes from one another back at home in Washington. Our riding crew includes Chris, Brad Nauditt, Ryan Breece, and myself. We're all pretty close and we train together too. It's honestly the perfect Northwest crew you could put together. Chris has had an awesome season so far. It's cool to see how everything is panning out. Do you have any new goals as you head into the remaining rounds? I'm a firm believer in not having expectations. My speed has been really great recently. I know I'm capable of a top ten and that's where I know I can be. It's all about baby steps in getting to that spot. I don't want to go through the LCQ and I want to get it done in the heat race. I just need to focus on one lap at a time and one race at a time. I don't want to focus on one position. Today the focus is riding Elsinore and not on riding for a top ten. Santa Clara is going to be fun though and I can't wait! The last three West Region rounds I did really well. It was hard to watch the East rounds. It's fun to watch though. It motivates me to go and train. Now we have one race and we have to sit around until Las Vegas. You've mentioned to me that you've worked with your brother mowing yards. A lot of privateers work to support their racing, so it's always cool to hear how you guys make your racing happen. I take pride in the fact that I've worked a couple jobs. I like to work. That's the way I was raised. It motivates you to ride as well. It's so much easier to wake up and do a workout than it is to mow lawns and then go ride. We're a hard working family. My brother supports my racing and he gave me a job to support my racing. That was a big help. What do you like to do in your spare time when you aren't training and riding? Please don't say mountain biking! [Laughs] My dad played college basketball and I grew up playing basketball and not racing. I know you didn't want me to mention it, but I'm really good at cycling. I don't know if it's the tan lines or what. It's just fun. My brother and I like to go on hunting trips. My brother is like Bear Grylls. I'll relax and watch him kill stuff and cook it. The Northwest is country and we have a lot of hobbies. I like hanging with my family. I build jumps for my nephews that will basically hit anything I tell them to hit. My one nephew is on a strider and I built him a whoop section. He'll try to blitz it. It doesn't matter if he crashes. That's the best hobby because I don't have to crash I get to watch them crash. [Laughs] I've got a close family. It's just dirt bikes, family, and training. Thanks for chatting with me today, Noah. Who would you like to thank? JMC Motorsports, K1 Speed, Gee Automotive, Husqvarna, Devol, Motul Oils, Future West Moto, Acerbis, Adrenaline Designs, Airway MXP, Coldcock Whiskey, DT1 Filters, Dubya Wheels, FMF, Fusion Graphix, Guts Seats, HRMC, MotoConcepts, Moto Stuff, Motool Slacker, Natures Bakery, Pro Pegs, Streamline Levers, Relax Attire, Bulldog Training Facility, and Perfect Edge Lawn Care NW.

eight in the evening I took charge of the watch, and the weather turned out very squally with rain. At nine it was extremely dark, with much lightning, the wind varying from S. W. to W. N. W. At half past nine, had a very hard squall. Captain Barton came upon deck and staid till ten; then left orders to keep sight of the commodore, and to make what sail the weather would permit. At eleven, saw the commodore bearing south, but the squalls coming on so heavy, were obliged to hand the main-top-sail, and at twelve o'clock, were under our courses. November the 29, at one in the morning, I left the deck in charge of the first lieutenant; the light, which we took to be the commodore's right ahead, bearing S. wind W. S. W. blowing very hard; at six in the morning I was awakened by a great shock, and a confused noise of the men on deck. I ran up, thinking some ship had run foul of us, for, by my own reckoning, and that of every other person in the ship, we were at least 35 leagues distant from land; but, before I could reach the quarter-deck, the ship gave a great stroke upon the ground, and the sea broke all over her. Just after this, I could perceive the land, rocky, rugged and uneven, about two cables' length from us. The ship lying with her broadside to windward, the masts soon went overboard, carrying some men with them. It is impossible for any one but a sufferer to feel our distress at this time; the masts, yards, and sails hanging alongside in a confused heap; the ship beating violently upon the rocks; the waves curling up to an incredible height, then dashing down with such force as if they would immediately have split the ship to pieces, which we, indeed, every moment expected. Having a little recovered from our confusion, saw it necessary to get every thing we could over to the larboard side, to prevent the ship from heeling off, and exposing the deck to the sea. Some of the people were very earnest to get the boats out contrary to advice; and, after much intreaty, notwithstanding a most terrible sea, one of the boats was launched, and eight of the best men jumped into her, but she had scarcely got to the ship's stern, when she was whirled to the bottom, and every soul in her perished. The rest of the boats were soon washed to pieces on the deck.--We then made a raft of the davit, capstan-bars and some boards, and waited with resignation, for divine Providence to assist us. The ship soon filled with water, so that we had no time to get any provision up; the quarter-deck and poop were now the only place we could stand on with security, the waves being mostly spent by the time they reached us, owing to the fore part of the ship breaking them. At four in the afternoon, perceiving the sea to be much abated, one of our people attempted to swim, and got safe on shore. There were numbers of Moors upon the rocks ready to take hold of any one, and beckoned much for us to come ashore, which, at first we took for kindness, but they soon undeceived us, for they had not the humanity to assist any that was entirely naked, but would fly to those who had any thing about them, and strip them before they were quite out of the water, wrangling among themselves about the plunder; in the mean time the poor wretches were left to crawl up the rocks if they were able, if not, they perished unregarded. The second lieutenant and myself, with about sixty-five others, got ashore before dark, but were left exposed to the weather on the cold sand. To preserve ourselves from perishing of cold, were obliged to go down to the shore, and to bring up pieces of the wreck to make a fire. While thus employed, if we happened to pick up a shirt or handkerchief, and did not give it to the Moors at the first demand, the next thing was a dagger presented to our breast. They allowed us a piece of an old sail, which they did not think worth carrying off; with this we made two tents, and crowded ourselves into them, sitting between one another's legs to preserve warmth, and make room. In this uneasy situation, continually bewailing our misery, and that of our poor shipmates on the wreck, we passed a most tedious night, without so much as a drop of water to refresh ourselves, excepting what we caught through our sail-cloth covering. November the 30th, at six in the morning, went down with a number of our men upon the rocks, to assist our shipmates in coming ashore, and found the ship had been greatly shattered in the night. It being now low water, many attempted to swim ashore; some got safe, but others perished. The people on board got the raft into the water, and about fifteen men placed themselves upon it. They had no sooner put off from the wreck, than it overturned; most of the men recovered it again, but, scarcely were they on, before it was a second time overturned. Only three or four got hold of it again, and all the rest perished. In the mean time, a good swimmer brought with much difficulty a rope ashore, which I had the good fortune to catch hold of just when he was quite spent, and had thoughts of quitting it. Some people coming to my assistance, we pulled a large rope ashore with that, and made it fast round a rock. We found this gave great spirits to the poor souls upon the wreck, it being hauled taught from the upper part of the stern, made an easy descent to any who had art enough to walk or slide upon a rope, with a smaller rope fixed above to hold by. This was a means of saving a number of lives, though many were washed off by the impetuous surf, and perished. The flood coming on, raised the surf, and prevented any more from coming at that time, so that the ropes could be of no further use. We then retired from the rocks; and hunger prevailing, set about boiling some of the drowned turkeys, &c. which with some flour mixed into a paste, and baked upon the coals, constituted our first meal upon this barbarous coast. We found a well of fresh water about a half a mile off, which very much refreshed us. But we had scarcely finished this coarse repast, when the Moors, who were now grown numerous, drove us all down to the rocks to bring up empty iron bound casks, pieces of the wreck which had the most iron about them, and other articles. About three o'clock in the afternoon we made another meal on the drowned poultry, and finding this was the best provision we were likely to have; some were ordered to save all they could find, others to raise a larger tent, and the rest sent down to the rocks to look for people coming ashore. The surf greatly increasing with the flood, and breaking upon the fore-part of the ship, she was divided into three parts; the fore-part turned keel up, the middle part soon dashed into a thousand pieces; the fore-part of the poop likewise fell at this time, and about thirty men with it, eight of whom got ashore with our help, but so bruised, that we despaired of their recovery. Nothing but the after-part of the poop now remained above water, and a very small part of the other decks, on which our captain, and about 130 more remained, expecting every wave to be their last. Every shock threw some off; few or none of whom came on shore alive. During this distress the Moors laughed uncommonly, and seemed much diverted, when a wave larger than usual, threatened the destruction of the poor wretches on the wreck. Between four and five o'clock the sea was decreased with the ebb; the rope being still secure, the people began to venture upon it; some tumbled off and perished, but others reached the shore in safety. About five, we beckoned as much as possible for the captain to come upon the rope, as this seemed to be as good an opportunity as any we had seen; and many arrived in safety with our assistance. Some told us that the captain was determined to stay till all the men had quitted the wreck however, we still continued to beckon for him, and before it was dark, saw him come upon the rope. He was closely followed by a good able seaman, who did all he could to keep up his spirits and assist him in warping. As he could not swim, and had been so many hours without refreshment, with the surf hurling him violently along, he was unable to resist the force of the waves, had lost his hold of the great rope, and must inevitably have perished had not a wave thrown him within the reach of our ropes, which he had barely sufficient sense to catch hold of. We pulled him up, and after resting a short time on the rocks, he came to himself, and walked up to the tent, desiring us to continue to assist the rest of the people in coming on shore. The villains, (the Moors), would have stripped him, though, he had nothing on but a plain waistcoat and breeches, if we had not plucked up a little spirit and opposed them; upon which they thought proper to desist. The people continued to come ashore, though many perished in the attempt. The Moors, at length, growing tired with waiting for so little plunder, would not suffer us to remain on the rocks, but drove us all away. I then, with the captain's approbation, went, and by signs made humble supplication to the bashaw, who was in the tent, dividing the valuable plunder. He understood us at last, and gave us permission to go down, at the same time sending some Moors with us. We carried fire-brands down to let the poor souls on the wreck see that we were still there in readiness to assist them. About nine at night finding that no more men would venture upon the rope, as the surf was again greatly increased, we retired to the tent, leaving by the account of the last man arrived, between thirty and forty souls still upon the wreck. We now thought of stowing every body in the tent, and began by fixing the captain in the middle. Then made every man lie down on his side, as we could not afford them each a breadth; but, after all, many took easier lodging in empty casks. The next morning the weather was moderate and fair.--We found the wreck all in pieces on the rocks, and the shore covered with lumber. The people upon the wreck all perished about one in morning. In the afternoon we called a muster, and found the number of the survivors to be 220; so that 130 perished on this melancholy occasion. On the 2d of December, the weather still continued moderate. We subsisted entirely on the drowned stock, and a little pork to relish it, and the flour made into cakes; all of which we issued regularly and sparingly, being ignorant whether the Moors would furnish us with any thing, they being still very troublesome, and even wanting to rob us of the canvass which covered our tent. At two in the afternoon a black servant arrived, sent by Mr. Butler, a Dane, factor to the African Company at Saffy at the distance of about thirty miles, to inquire into our condition and to offer us assistance. The man having brought pens, ink and paper, the captain sent back a letter by him.--Finding there was one who offered us help, it greatly refreshed our afflicted hearts. In the afternoon of the following day, we received a letter from Mr. Butler, with some bread and a few other necessaries. On the 4th, the people were employed in picking up pieces of sails, and whatever else the Moors would permit them. We divided the crew into messes, and served the necessaries we received the preceding day. They had bread and the flesh of the drowned stock. In the afternoon we received another letter from Mr. Butler, and one at the same time from Mr. Andrews, an Irish gentleman, a merchant at Saffy. The Moors were not so troublesome now as before, most of them going off with what they had got. On the 5th the drowned stock was entirely consumed, and at low water the people were employed in collecting muscles. At ten in the morning, Mr. Andrews arrived, bringing a French surgeon with medicines and plaisters, of which, some of the men who had been dreadfully bruised, stood in great need.--The following day, we served out one of the blankets of the country to every two men, and pampooses, a kind of slippers, to those who were in most want of them. These supplies were likewise brought us by Mr. Andrews. The people were now obliged to live upon muscles and bread, the Moors, who promised us a supply of cattle, having deceived us, and never returned. The people on the 7th were still employed in collecting muscles and limpets. The Moors began to be a little civil to us, for fear the emperor should punish them for their cruel treatment to us. In the afternoon, a messenger arrived from the emperor at Sallee, with general orders to the people to supply us with provisions. They accordingly brought us some lean bullocks and sheep which Mr. Andrews purchased for us; but at this time we had no pots to make broth in, and the cattle were scarcely fit for any thing else. In the morning of the 10th, we made preparations for marching to Morocco, the emperor having sent orders for that purpose, and camels to carry the lame and necessaries. At nine, set off with about thirty camels, having got all our liquor with us, divided into hogsheads, for the convenience of carriage on the camels. At noon, joined the crews of one of the transports and a bomb-tender, that had been wrecked about three leagues to the northward of us. We were then all mounted upon camels, excepting the captain, who was furnished with a horse. We never stopped till seven in the evening, when they procured two tents only, which would not contain one third of the men, so that most of them lay exposed to the dew, which was very heavy, and extremely cold. We found our whole number to be 388, including officers, men, boys, three women and a child, which one of the women brought ashore in her teeth. On the 11th, continued our journey, attended by a number of Moors on horseback. At six in the evening we came to our resting place for that night, and were furnished with tents sufficient to cover all our men. At five in the morning of the 12th, we set out as before, and, at two in the afternoon, saw the emperor's cavalcade at a distance. At three, a relation of the emperor's, named Muli Adriz, came to us, and told the captain it was the emperor's orders, he should that instant write a letter to our governor at Gibraltar, to send to his Britanic Majesty to inquire whether he would settle a peace with him or not. Captain Barton immediately sat down upon the grass and wrote a letter, which, being given to Muli Adriz, he went and joined the emperor again. At six in the evening came to our resting place for the night, and were well furnished with tents, but very little provisions. We were, the following day, desired to continue on the same spot, till the men were refreshed, and this repose they greatly needed, and we received a better supply of provisions. That morning, Lieutenant Harrison commanding the soldiers belonging to Lord Forbes's regiment died suddenly in the tent. In the evening, while employed with his interment, the inhuman Moors disturbed us by throwing stones and mocking us. The next day we found that they had opened the grave and stripped the body. On the 16th, we continued our journey, came to our resting place at four in the afternoon, pitched the tents, and served out the provision. Here our people were ill-treated by the country Moors. As they were taking water from a brook, the Moors would always spit into the vessel before they would suffer them to take it away. Upon this some of us went down to inquire into the affair, but were immediately saluted with a shower of stones. We ran in upon them, beat some of them pretty soundly, put them to flight, and brought away one who thought to defend himself with a long knife. This fellow was severely punished by the officer who had the charge of conducting us. The two succeeding days continued our journey, and, at three in the afternoon of the 18th, arrived at the City of Morocco, without having seen a single habitation during the whole journey. Here we were insulted by the rabble, and, at five, were carried before the emperor, surrounded by five or six hundred of his guards. He was on horseback before the gate of his palace, that being the place where he distributes justice to his people. He told Captain Barton, by an interpreter, that he was neither at peace nor war with England, and he would detain us till an ambassador arrived from that country to conclude a permanent treaty. The captain then desired that we might not be treated as slaves. He answered hastily, that we should be taken care of. We were then immediately hurried out of his presence, conveyed to two old ruinous houses, shut up amidst dirt and innumerable vermin of every description. Mr. Butler being at Morocco on business, came and supplied us with victuals and drink, and procured liberty for the captain to go home with him to his lodgings. He likewise sent some blankets for the officers, and we made shift to pass the night with tolerable comfort, being very much fatigued. At nine in the morning of the 21st, the emperor sent orders for the captain and every officer to appear before him. We immediately repaired to his palace; we remained waiting in an outer yard two hours; in the mean time he diverted himself with seeing a clumsy Dutch boat rowed about in a pond by four of our petty officers. About noon we were called before him, and placed in a line about thirty yards from him. He was sitting in a chair by the side of the pond, accompanied only by two of his chief alcaides. Having viewed us some time, he ordered the captain to come forward, and after asking him a good many questions concerning our navy, and the destination of the squadron to which we had belonged, we were also called forward by two and three at a time as we stood according to our rank. He then asked most of us some very insignificant questions, and took some to be Portuguese because they had black hair, and others to be Swedes because their hair was light. He judged none of us to be English excepting the captain, the second lieutenant, the ensign of the soldiers, and myself. But assuring him we were all English, he cried Bonno, and gave a nod for our departure, to which we returned a very low bow, and were glad to return to our old ruined houses again. Our total number amounted to thirty. On the 25th, being Christmas-day, prayers were read to the people as usual in the church of England. The captain this day received a present of tea and loaves of sugar from one of the queens, whose grandfather had been an English renegado. In the afternoon of the 26th, we received the disagreeable intelligence, that the emperor would oblige all the English to work, like all the other Christian slaves, excepting the officers who were before him on the 21st. The next day this account was confirmed; for, at seven in the morning, an alcaide came and ordered all our people out to work, excepting the sick. Upon our application eight were allowed to stay at home every day to cook for the rest, and this office was performed by turns throughout the whole number. At four in the afternoon the people returned, some having been employed in carrying wood, some in turning up the ground with hoes, and others in picking weeds in the emperor's garden. Their victuals were prepared for them against their return. On the 28th all the people went to work as soon as they could see, and returned at four in the afternoon. Two of the soldiers received one hundred bastinadoes each, for behaving in a disrespectful manner while the emperor was looking at their work. On the 30th, Captain Barton received a kind message from the emperor, with permission to ride out or take a walk in his garden with his officers. From this time the men continued in the same state of slavery till the arrival, in April, of Captain Milbank, sent as an ambassador to the emperor. He concluded a treaty for the ransom of the crew of the Litchfield, together with the other English subjects in the emperor's power, and the sum stipulated to be paid for their release, was 170,000 dollars. Our people accordingly set out for Sallee, attended by a bashaw and two soldiers on horseback. On the fourth day of their march, they had a skirmish with some of the country Moors. The dispute began in consequence of some of our men in the rear stopping at a village to buy some milk, for which, after they had drank it, the Moors demanded an exorbitant price. This our men refused to give, on which the Moors had recourse to blows, which our people returned; and others coming to their assistance, they maintained a smart battle, till the enemy became too numerous. In the meantime some rode off to call the guard, who instantly came up with their drawn scimetars, and dealt round them pretty briskly. During this interval we were not idle, and had the pleasure to see the blood trickling down a good many of their faces. The guards seized the chief man of the village, and carried him before the bashaw, who was our conductor, and who having heard the cause dismissed him without further punishment, in consideration of his having been well drubbed by us. On the 22d of April, we arrived at Sallee, and pitched our tents in an old castle, whence we soon afterwards embarked on board the Gibraltar, which landed us at Gibraltar on the 27th of June. From that place the captain and crew were put on board the Marlborough store ship, prepared expressly for their reception, and arrived in England in the month of August, 1760.

SAS has designed supermarket Sainsbury's new corporate website. The site provides information such as case studies and award wins, and there are specific sections for investors, shareholders, journalists and those interested in corporate responsibility. SAS says the site has been structured to link together content, in contrast to the traditional 'siloed' approach to corporate websites. The site also has a dedicated section to promote Sainsbury's views on the key issues affecting their different stakeholders. SAS was appointed to the project following a pitch at the end of last year, according to head of new business Victoria Sugg. Voxpop – If you could create a robot to do anything, what would it do?

ElectraWorks Limited (Gibraltar), operating under the bwin sports betting brand, has updated odds for betting on Ukraine's presidential election after the results of the first round of elections: odds for Volodymyr Zelensky's victory have increased from 1.8 to 1 to 1.22 to 1. The odds of incumbent President Petro Poroshenko winning have dropped from 2.5 to 1 to 4 to 1. The betting company Pari-Match is taking bets for Poroshenko's victory in the second round at 3.1 to 1 odds, also making Zelensky the favorite at 1.35 to 1 odds. Almost the same odds are given by another betting company 1Xbet: Poroshenko at 3.096 to 1, and Zelensky – 1.336 to 1. As reported, with 98.3% of voting protocols processed, Zelensky and Poroshenko received 30.24% and 15.93% of votes, respectively. Batkivschyna Party leader Yulia Tymoshenko received 13.39% of the votes, and Opposition Platform – For Life leader Yuriy Boiko – 11.66%. The most liquid shares of Ukrainian companies listed on the Warsaw Stock Exchange (WSE) and the London Stock Exchange (LSE) calmly reacted on the outcome of the first round of the presidential election in Ukraine. According to the WSE, as of 10:00 am on April 1, the share price of the Ovostar agricultural holding slightly decreased – by 0.93%, to PLN 107 per share. The share price of Agroton agroholding increased 3.66%, to PLN 3.54 per share, Astarta – by 1.84%, to PLN 27.7 per share. Besides, the stock price of IMC increased by 0.72%, to PLN 13.95 per share and Kernel – by 0.2%, to PLN 49.3 per share. On the LSE, the JKX Oil & Gas oil and gas company shares fell by 2.27%, to GBP 0.5375 per share. Shares of British Ferrexpo Plc, which controls Poltava and Yeristovo mining and processing plants in Ukraine, rose by 3.03%, to GBP 0.255 per share. The stock price of the agricultural holding MHP increased 0.98%, to $10.35 per share. Share price of the British oil and gas company Regal Petroleum Plc with assets in Ukraine has not changed being GBP 0.435 per share. Voter turnout at the presidential election in Ukraine as of 15:00 on Sunday was 45.12%, according to data from 197 out of the total of 199 electoral districts, Ukraine's Central Election Commission (CEC) reported on its website. The data on voter turnout came from 197 electoral districts throughout Ukraine. The total number of electoral districts is 199. Ukraine is holding the first round of its presidential election on Sunday. The polling stations will close at 20:00. A record-large number of candidates – 39 – are running in this presidential election. ElectraWorks Limited (Gibraltar), operating under the bwin sports betting brand and owned by GVC Holdings PLC in London, has made showman and Servant of the People Party leader Volodymyr Zelensky the odds-on favorite to win the upcoming presidential elections in Ukraine. According to bwin's website, incumbent President Petro Poroshenko's odds have dropped from 2.2 to 1 to 2.05 to 1 over the last five days. Odds for Batkivschyna Party leader Yulia Tymoshenko to become president have dropped from 4.75 to 5 to 1. In fourth place, according to bwin, is Civil Position Party leader Anatoliy Hrytsenko, at 21 to 1.

[read-only] Gets the FocusManager that controls focus for this component and its peers. Specifies the button mode of this sprite. If true, this sprite behaves as a button, which means that it triggers the display of the hand cursor when the pointer passes over the sprite and can receive a click event if the enter or space keys are pressed when the sprite has focus. You can suppress the display of the hand cursor by setting the useHandCursor property to false, in which case the pointer is displayed. Although it is better to use the SimpleButton class to create buttons, you can use the buttonMode property to give a sprite some button-like functionality. To include a sprite in the tab order, set the tabEnabled property (inherited from the InteractiveObject class and false by default) to true. Additionally, consider whether you want the children of your sprite to be user input enabled. Most buttons do not enable user input interactivity for their child objects because it confuses the event flow. To disable user input interactivity for all child objects, you must set the mouseChildren property (inherited from the DisplayObjectContainer class) to false. If you use the buttonMode property with the MovieClip class (which is a subclass of the Sprite class), your button might have some added functionality. If you include frames labeled _up, _over, and _down, Flash Player provides automatic state changes (functionality similar to that provided in previous versions of ActionScript for movie clips used as buttons). These automatic state changes are not available for sprites, which have no timeline, and thus no frames to label. Containers use an internal content pane to control scrolling. The creatingContentPane is true while the container is creating the content pane so that some events can be ignored or blocked. Specifies the display object over which the sprite is being dragged, or on which the sprite was dropped. Gets the FocusManager that controls focus for this component and its peers. Each popup has its own focus loop and therefore its own instance of a FocusManager. To make sure you're talking to the right one, use this method. Specifies the Graphics object that belongs to this sprite where vector drawing commands can occur. Designates another sprite to serve as the hit area for a sprite. If the hitArea property does not exist or the value is null or undefined, the sprite itself is used as the hit area. The value of the hitArea property can be a reference to a Sprite object. You can change the hitArea property at any time; the modified sprite immediately uses the new hit area behavior. The sprite designated as the hit area does not need to be visible; its graphical shape, although not visible, is still detected as the hit area. Note: You must set to false the mouseEnabled property of the sprite designated as the hit area. Otherwise, your sprite button might not work because the sprite designated as the hit area receives the user input events instead of your sprite button. The current position of the horizontal scroll bar. This is equal to the distance in pixels between the left edge of the scrollable surface and the leftmost piece of the surface that is currently visible. Determines whether or not the children of the object are mouse, or user input device, enabled. If an object is enabled, a user can interact with it by using a mouse or user input device. The default is true. This property is useful when you create a button with an instance of the Sprite class (instead of using the SimpleButton class). When you use a Sprite instance to create a button, you can choose to decorate the button by using the addChild() method to add additional Sprite instances. This process can cause unexpected behavior with mouse events because the Sprite instances you add as children can become the target object of a mouse event when you expect the parent instance to be the target object. To ensure that the parent instance serves as the target objects for mouse events, you can set the mouseChildren property of the parent instance to false. Specifies whether this object receives mouse, or other user input, messages. The default value is true, which means that by default any InteractiveObject instance that is on the display list receives mouse events or other user input events. If mouseEnabled is set to false, the instance does not receive any mouse events (or other user input events like keyboard events). Any children of this instance on the display list are not affected. To change the mouseEnabled behavior for all children of an object on the display list, use flash.display.DisplayObjectContainer.mouseChildren. Returns the number of children of this object. Note: This property does not affect HTML content in an HTMLControl object (in Adobe AIR). Note: Do not use this property with Flex. Instead, use the UIComponent.hasFocusableChildren property. For a SimpleButton object, the value is true. For a TextField object with type = "input", the value is true. For a Sprite object or MovieClip object with buttonMode = true, the value is true. Returns a TextSnapshot object for this DisplayObjectContainer instance. A Boolean value that indicates whether the pointing hand (hand cursor) appears when the pointer rolls over a sprite in which the buttonMode property is set to true. The default value of the useHandCursor property is true. If useHandCursor is set to true, the pointing hand used for buttons appears when the pointer rolls over a button sprite. If useHandCursor is false, the arrow pointer is used instead. You can change the useHandCursor property at any time; the modified sprite immediately takes on the new cursor appearance. Note: In Flex or Flash Builder, if your sprite has child sprites, you might want to set the mouseChildren property to false. For example, if you want a hand cursor to appear over a Flex <mx:Label> control, set the useHandCursor and buttonMode properties to true, and the mouseChildren property to false. The current position of the vertical scroll bar. This is equal to the distance in pixels between the top edge of the scrollable surface and the topmost piece of the surface that is currently visible. Returns an object that has four properties: left, top, right, and bottom. The value of each property equals the thickness of the chrome (visual elements) around the edge of the container. The chrome includes the border thickness. If the horizontalScrollPolicy or verticalScrollPolicy property value is ScrollPolicy.ON, the chrome also includes the thickness of the corresponding scroll bar. If a scroll policy is ScrollPolicy.AUTO, the chrome measurement does not include the scroll bar thickness, even if a scroll bar is displayed. Subclasses of Container should override this method, so that they include other chrome to be taken into account when positioning the Container's children. For example, the viewMetrics property for the Panel class should return an object whose top property includes the thickness of the Panel container's title bar. Note: The command stage.addChild() can cause problems with a published SWF file, including security problems and conflicts with other loaded SWF files. There is only one Stage within a Flash runtime instance, no matter how many SWF files you load into the runtime. So, generally, objects should not be added to the Stage, directly, at all. The only object the Stage should contain is the root object. Create a DisplayObjectContainer to contain all of the items on the display list. Then, if necessary, add that DisplayObjectContainer instance to the Stage. Indicates whether the security restrictions would cause any display objects to be omitted from the list returned by calling the DisplayObjectContainer.getObjectsUnderPoint() method with the specified point point. By default, content from one domain cannot access objects from another domain unless they are permitted to do so with a call to the Security.allowDomain() method. For more information, related to security, see the Flash Player Developer Center Topic: Security. The point parameter is in the coordinate space of the Stage, which may differ from the coordinate space of the display object container (unless the display object container is the Stage). You can use the globalToLocal() and the localToGlobal() methods to convert points between these coordinate spaces. Boolean — true if the point contains child display objects with security restrictions. Determines whether the specified display object is a child of the DisplayObjectContainer instance or the instance itself. The search includes the entire display list including this DisplayObjectContainer instance. Grandchildren, great-grandchildren, and so on each return true. Boolean — true if the child object is a child of the DisplayObjectContainer or the container itself; otherwise false. index:int — The index position of the child object. DisplayObject — The child display object at the specified index position. Returns the child display object that exists with the specified name. If more that one child display object has the specified name, the method returns the first object in the child list. The getChildAt() method is faster than the getChildByName() method. The getChildAt() method accesses a child from a cached array, whereas the getChildByName() method has to traverse a linked list to access a child. DisplayObject — The child display object with the specified name. child:DisplayObject — The DisplayObject instance to identify. int — The index position of the child display object to identify. Returns an array of objects that lie under the specified point and are children (or grandchildren, and so on) of this DisplayObjectContainer instance. Any child objects that are inaccessible for security reasons are omitted from the returned array. To determine whether this security restriction affects the returned array, call the areInaccessibleObjectsUnderPoint() method. Array — An array of objects that lie under the specified point and are children (or grandchildren, and so on) of this DisplayObjectContainer instance. Removes the specified child DisplayObject instance from the child list of the DisplayObjectContainer instance. The parent property of the removed child is set to null , and the object is garbage collected if no other references to the child exist. The index positions of any display objects above the child in the DisplayObjectContainer are decreased by 1. The garbage collector reallocates unused memory space. When a variable or object is no longer actively referenced or stored somewhere, the garbage collector sweeps through and wipes out the memory space it used to occupy if no other references to it exist. child:DisplayObject — The DisplayObject instance to remove. Removes a child DisplayObject from the specified index position in the child list of the DisplayObjectContainer. The parent property of the removed child is set to null, and the object is garbage collected if no other references to the child exist. The index positions of any display objects above the child in the DisplayObjectContainer are decreased by 1. DisplayObject — The DisplayObject instance that was removed. child:DisplayObject — The child DisplayObject instance for which you want to change the index number. index:int — The resulting index number for the child display object. Lets the user drag the specified sprite. The sprite remains draggable until explicitly stopped through a call to the Sprite.stopDrag() method, or until another sprite is made draggable. Only one sprite is draggable at a time. Three-dimensional display objects follow the pointer and Sprite.startDrag() moves the object within the three-dimensional plane defined by the display object. Or, if the display object is a two-dimensional object and the child of a three-dimensional object, the two-dimensional object moves within the three dimensional plane defined by the three-dimensional parent object. lockCenter:Boolean (default = false) — Specifies whether the draggable sprite is locked to the center of the pointer position (true), or locked to the point where the user first clicked the sprite (false). bounds:Rectangle (default = null) — Value relative to the coordinates of the Sprite's parent that specify a constraint rectangle for the Sprite. Ends the startDrag() method. A sprite that was made draggable with the startDrag() method remains draggable until a stopDrag() method is added, or until another sprite becomes draggable. Only one sprite is draggable at a time. Swaps the z-order (front-to-back order) of the two specified child objects. All other child objects in the display object container remain in the same index positions. child1:DisplayObject — The first child object. child2:DisplayObject — The second child object. Swaps the z-order (front-to-back order) of the child objects at the two specified index positions in the child list. All other child objects in the display object container remain in the same index positions. index1:int — The index position of the first child object. index2:int — The index position of the second child object.

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Az ikon görög eredetű szó, εικόνα, ikóna, "kép", "képmás" (ellentétben a είδωλο, ídolo, "lidérc", "álomkép" és είδος, ídos, "őskép", "alak"). Ikonokon elsősorban a keleti egyházak szentképeit értjük, különösen az ortodox egyház és az abból kivált és Rómával egyesült, bizánci rítusú görögkatolikus egyház liturgikus képeit. Bizáncban a szónak egy nagyon sajátos jelentése is lett: Krisztus, Szűz Mária és a szentek hordozható portréja, életük jeleneteivel, fapaneleken vagy értékes felületeken, mint például elefántcsont, fém, zománc, mozaik. Az ikont isteni kegyelemmel átitatott anyagnak tekintették (χάρις). Ezek a képek általában meg vannak szentelve és a keleti egyházak teológiájában valamint spiritualitásában rendkívüli szerepet játszanak. Az ikonok célja Isten és szentjei tiszteletének tudatosítása, valamint az ábrázolt személy és a szentkép előtt imádkozó személy közötti kapcsolatteremtés, így tehát átvitten a vallásos szemlélődő és Isten közötti kapcsolat megteremtése. Az ikonokat ennek megfelelően a keleti egyházakban nem tartják sem műtárgynak, sem dekorációnak. Az ún. ókeleti egyházak közül a kopt ortodox egyház és az örmény apostoli ortodox egyház tiszteletben tartja az ikonokat, az Asszír keleti egyház viszont nem. A kopt ikonokon megfigyelhető még az óegyiptomi művészet bizonyos elemeinek érvényesülése. Az ikonok háttere általában arany színű, és a lerajzolt szent szembenéz velünk. A keleti ortodox, a római katolikus és egyes keleti katolikus egyházak kultúrájában vallási műalkotás, leggyakrabban festmény. Ezek nem egyszerűen műalkotások, hanem a vallásos áhítatban használt szent képek. A leggyakoribb témák közé tartozik Krisztus, Mária (Theotokosz, istenszülő), szentek és angyalok. Bár a kifejezés különösen az egy vagy két fő alakra koncentráló, portré jellegű képekkel kapcsolatos, a keleti kereszténység által készített, különböző művészeti médiumokban megjelenő vallásos képek többségét is magában foglalja, beleértve az elbeszélő jeleneteket, általában a Bibliából vagy a szentek életéből. Az ikonokat leggyakrabban fatáblákra festik tojástemperával, de lehetnek fémből öntött, kőbe faragott, ruhára hímzett, mozaik- vagy freskómunkával készült, papírra vagy fémre nyomtatott képek is. Mint anyagot, ezt a tárgyat fizikailag meg kellett tapasztalni. Az érintés, a szaglás, az ízlelés és a hang mind hozzájárult a hordozható portré "látásának" élményéhez, az áhítat elmélyítéséhez. A nyugati kereszténység hasonló képei is az ikonok közé sorolhatók, bár az "ikonikus" kifejezés használható az áhítati képek statikus stílusának leírására is. A görög nyelvben az ikonfestészet kifejezés ugyanazt a szót használja, mint az "írás". A keleti ortodox hagyomány úgy tartja, hogy a szentképek készítése egészen a kereszténység korai napjaiig nyúlik vissza, és azóta is folyamatos hagyomány. A modern akadémikus művészettörténet úgy véli, hogy bár képek már korábban is létezhettek, a hagyomány csak a 3. századig vezethető vissza, és hogy a korai keresztény művészetből fennmaradt képek gyakran több ponton is különböznek a klasszikus ikonfestészet korszakainak képeitől. A későbbi évszázadok ikonjai gyakran szorosan kapcsolódnak az 5. századtól kezdődően készült képekhez, bár ezekből csak nagyon kevés maradt fenn. A 726-842-es bizánci ikonoklasztázia (képrombolás) idején a képek széles körű megsemmisítésére került sor, bár a korszak lezárásaként a második nikaiai zsinaton véglegesen rendezték a képek megfelelőségének kérdését. Azóta az ikonok stílusban és témában nagyfokú folytonosságot mutatnak, sokkal nagyobbat, mint a nyugati egyház ikonjai. Ugyanakkor volt változás és fejlődés is. A IX. században kialakult bizánci képelmélet szerint az ikon Krisztus látható tulajdonságainak (megjelenésének) lenyomata (görögül: typosz) az anyagon. A kvintesszenciális bizánci képet ideális esetben nem ecsetvonásokkal létrehozott festménynek, hanem lenyomatnak – egy anyagi felületre nyomott typosznak – kell elképzelni. A domborműves ikon felelt meg leginkább ennek az elméleti modellnek; Bizáncot úgy határozta meg, mint a lenyomat, az öntőforma vagy a pecsét kultúráját. A vallási, de különösen a keleti ortodox keresztény hagyományban vannak beszámolók különleges, csodatévő ikonokról, amelyek mirhát (illatos, gyógyító olaj) árasztanak, könnyeznek, vagy a hívők kérését teljesítik, csodákat tesznek. Ha az ortodox hierarchia megerősíti az ilyen beszámolókat, akkor azokat úgy értelmezik, mint csodákat, amelyeket Isten a szent imáin keresztül hajtott végre, és nem úgy, mint magának a festett fának a mágikus tulajdonságait. Teológiai szempontból minden ikon szentnek tekinthető, mivel az isteni lényegből csodálatos módon részesül és természeténél fogva csodatévő, mivel a mennyei és a földi világ közötti lelki közösség eszközének tekintik. Nem ritka azonban, hogy bizonyos ikonokat "csodatevőnek" minősítenek, ami azt jelenti, hogy Isten úgy döntött, hogy megdicsőíti őket azáltal, hogy csodákat tesz rajtuk keresztül. Az ilyen ikonoknak gyakran különleges neveket adnak (különösen Szűz Mária ikonjainak), és még városról városra is elviszik őket, ahol a hívők összegyűlnek, hogy tiszteljék őket és imádkozzanak előttük. Története A kereszténység előtti vallások is készítettek és használtak műalkotásokat. A különböző istenek és istenségek szobrait és festményeit rendszeresen imádták és szentként tisztelték. Nem tisztázott, hogy a keresztények mikor kezdték a képek imádását, de egy a 8. századból származó keresztény hagyomány Lukács evangélistát azonosítja az első ikonfestőként. Ez nem feltétlenül a történelmi tényeket tükrözi. A legenda alapja az lehet, hogy Szent Lukács görög volt és a görögöket igen jó festőknek tartották. Azt az általános feltételezést, hogy a korai kereszténység általában anikonikus volt, azaz 200 körülig elméletben és gyakorlatban egyaránt ellenezte a vallásos képalkotást, Paul Corby Finney a korai keresztény írások és tárgyi emlékek elemzése (1994) során megkérdőjelezte: három különböző forrást különböztet a korai keresztényeket befolyásoló tényezők közül: először, hogy az embereknek közvetlen látomásuk lehetett Istenről; másodszor, hogy nem lehetett közvetlen látomásuk, harmadszor pedig, hogy bár az emberek láthatták Istent, a mindenhatót szigorúan tilos volt ábrázolni. Ezek a nézőpontok a görög és közel-keleti pogány vallásokból, az ókori görög filozófiából, a zsidó hagyományból, utóbbinál végső soron az Ószövetségből származtak. A három közül Finney arra a következtetésre jut, hogy "összességében Izraelnek a szent képekkel szembeni ellenszenve lényegesen kevésbé befolyásolta a korai kereszténységet, mint a láthatatlan istenség által meghatározott görög filozófiai hagyomány", így az első keresztények többségének zsidó háttere kisebb hangsúlyt kap, mint a legtöbb hagyományra támaszkodó beszámoló. Finney azt sugallja, hogy a keresztény művészet 200 előtti hiánya nem a művészet iránti elvi ellenszenvvel, a túlvilágisággal vagy a materializmus tagadásával kapcsolatosak. Úgy véli, hogy mivel kezdetben a keresztényeknek nem volt földjük és vagyonuk, megélhetési szükségleteik előteremtése előrébbvaló volt mint a művészetek ápolása. Amint földet és vagyont kezdtek gyűjteni, a keresztények kísérletezni kezdtek a művészet különböző formáival. Azon a legendán kívül, mely szerint Pilátus készített egy képet Krisztusról, a 4. századi Kaiszareiai Euszebiosz Egyháztörténet című művében egy jelentősebb utalást találunk egy "első" Jézus-ikonra is. Euszebiosz leírja, hogy Abgar, Edessza királya (meghalt 50 körül) levelet küldött Jézusnak Jeruzsálembe, amelyben arra kérte, hogy jöjjön el és gyógyítsa meg őt egy betegségéből. Az Abgar-történetnek ez a változata nem említ képet, de egy későbbi, a szíriai Addai tanításában ( 400 körül) található beszámolóban Jézus festett képét említik; később, a 6. századi Euagriosz Szkholasztikosz által adott beszámolóban a festett kép átalakul egy képpé, amely csodálatosan megjelent egy törölközőn, amikor Krisztus a kendőt a nedves arcához szorította (akheiropoieton). Későbbi legendák szerint a kendő a 10. századig Edesszában maradt, amikor John Kourkouas hadvezér Konstantinápolyba vitte, de 1204-ben eltűnt, amikor a keresztesek kifosztották Konstantinápolyt. Addigra számos másolat szilárdan megalapozta ennek a kendőnek az ikonikus mivoltát. A 4. századi keresztény Aelius Lampridius készítette a legkorábbi ismert írásos feljegyzéseket az ikonként kezelt keresztény képekről (pogány vagy gnosztikus kontextusban) Alexander Severus élete (xxix) című művében, amely az Historia Augusta részét képezte. Lampridius szerint Alexander Severus császár (222–235), aki maga nem volt keresztény, házi kápolnát tartott fenn az istenített császárok, saját ősei, valamint Krisztus, Apollóniosz, Orfeusz és Ábrahám képmásainak tiszteletére. Szent Iréneusz (130–202) Az úgynevezett gnózisok felderítéséről és megdöntéséről és Az eretnekségek ellen (1:25;6) című művében megvetően nyilatkozik a gnosztikus karpokratésziánusokról: Másrészt Iréneusz nem beszél kritikusan az ikonokról vagy a festett portrékról általános értelemben, csak bizonyos gnosztikus szektások ikonhasználatáról. A képkultusz másik kritikája a nem kanonikus 2. századi János apostol cselekedetei (27) című műben jelenik meg (amelyet általában gnosztikus műnek tartanak), amelyben János apostol felfedezi, hogy egyik követője portrét készíttetett magáról, és azt tiszteli: Később a szövegben János ezt mondja: "De amit most tettél, az gyermeki és tökéletlen: halott képmását rajzoltad a halottnak". A keresztény egyházak egy része a 4. század elején még szigorúan ellenezte az ikonokat. A spanyol nem ökumenikus Elvirai zsinat (305 körül) püspökei megállapították: "Képeket nem szabad a templomokban elhelyezni, hogy ne váljanak az imádat és a magasztalás tárgyává". A 36. kánon kimondja: "Úgy döntöttek, hogy a templomokban ne legyenek képek, mert amit tisztelnek és imádnak, az ne legyen a falakra festve". A zsinat ekkor még tiltja a képek használatát a templomokban; Ezt a kánont a protestánsok gyakran idézték a képimádás mint bálványimádás elleni érvként; míg a római katolikus írók vagy úgy magyarázzák, hogy csak az istenség ábrázolásának tilalma miatt, vagy pedig óvatossági intézkedésként a szent dolgok pogány megszentségtelenítése ellen lépett fel a zsinat ezzel az tiltással. Epiphanius szalamiszi püspök, János jeruzsálemi püspöknek írt 51. levelében (394 körül) elmesélte, hogyan tépett le egy templomban lévő képet, és figyelmeztette egy másik püspököt, hogy az ilyen képek "ellentétesek ... a mi vallásunkkal". Euszebiosz Egyháztörténetében beszámolt arról, hogy látta Jézus, Péter és Pál portréit, és említést tett egy bronzszoborról is Baniasban, Paneas mellett a Hermon-hegy alatt, amelyről azt írta "Azt mondják, hogy ez a szobor Jézus képe" (H.E. 7:18); továbbá beszámolt arról, hogy a helyiek a képet a "vérfolyásos asszony" Jézus általi meggyógyításának emlékének tekintették (Lk 8:43-48), mivel egy álló, kettős köpenyt viselő, kinyújtott karú férfit ábrázolt, és egy előtte térdelő, kinyújtott karú nőt, aki mintha könyörögne. John Francis Wilson felveti annak lehetőségét, hogy ez a jelenet egy pogány bronzszoborra is utalhat, amelynek valódi értelme addigra már feledésbe merült. Egyesek szerint Aszklépiosz, a gyógyítás görög istene, de az álló alak és a könyörögve térdelő nő leírása pontosan megegyezik azokkal a képekkel, amelyek a szakállas császárt, Hadrianust (117–138) ábrázoló érméken találhatók, amint egy előtte térdelő női alak felé nyúl – aki egy provinciát szimbolizál. Amikor Constantia (I. Kónsztantinosz bizánci császár féltestvére) Jézus képét kérte, Euszebiosz, a kis-ázsiai Caesarea püspöke elutasította a kérést, és így válaszolt: "Krisztus emberi alakját pusztán az átalakulás előtt ábrázolni viszont Isten parancsolatának megszegése és pogány tévedésbe esés." Ezért nevezi Jaroslav Pelikan Euszebioszt "az ikonoklasztika atyjának". Miután I. Constantinus római császár (Nagy Konstantin) 313-ban a Mediolanumi ediktummal engedélyezte a kereszténységet a Római Birodalmon belül, rengeteg pogány tért át. Úgy tűnik, a kereszténység elterjedésének ezen időszakában a képek használata nagyon elterjedt a hívők körében, bár nagyban eltértek a pogány szokásoktól. Az ötödik század elejére már tudunk a szenteket ábrázoló ikonok birtoklásáról; 480-500 körül már biztosak lehetünk abban, hogy néhány szentély belsejét képek és portrék díszítették, ami valószínűleg már korábban is jellemző lehetett. Amikor maga Nagy Konstantin áttért a kereszténységre, alattvalói többsége pogány maradt. A császár istenségének római kultusza, amely a hagyományos gyertyagyújtásban és a császár képmásának felajánlott tömjénfüstölésben nyilvánult meg, az egyház részéről egy ideig tolerálható volt, mert politikailag veszélyes lett volna megszüntetni. Az 5. században a császárt ábrázoló szobrok megsértése ugyanolyan büntetéssel járt, mintha magát a császárt sértették volna meg. Ez több mint egy évszázaddal azelőtt is így volt, hogy először találnánk utalást Krisztus vagy apostolai vagy szentjei képének hasonló tiszteletére, ezért természetesnek tűnt, hogy Krisztusnak, a menny és a föld királyának képét hasonló tisztelet övezte, mint a császárt. Ekkor lettek a keresztény istentiszteletek is nyilvánosak, és a tömegek hitének erősítésére felmerült az igény képmások, szobrok létrehozására is. Nagy Konstantin támogatta Krisztus szenvedéseinek megörökítését. Az ekkor létrejött és képekkel díszített szentélyek zarándokok sokaságát vonzották birodalom szerte. 425-ben azonban már Philosztorgiosz, egy állítólagos ariánus keresztény, Konstantinápoly ortodox keresztényeit bálványimádás vádjával illette, mert még vallásos módon tisztelték Nagy Konstantin császár képmását. Az ortodoxok, a keleti katolikusok és más csoportok azonban ragaszkodnak ahhoz, hogy kifejezetten megkülönböztessék az ikonok tiszteletét a pogányok bálványimádásától. Theodosius és Justinianus uralkodása közötti időszak Miután I. Theodosius Gratianusz császárral és II. Valentinianusszal együtt 380-ban kiadott vallási rendeletével államvallássá tette a nikaia–konstantinápolyi hitvallás szerinti kereszténységet, a keresztény művészet nemcsak minőségében és kifinomultságában, hanem jellegében is változni kezdett. Ez nem kis részben annak volt köszönhető, hogy a keresztények először fejezhették ki nyíltan a hitüket az állam üldöztetése nélkül, ráadásul a hit a társadalom tehetősebb rétegeiben is gyökeret vert. Kezdtek megjelenni a mártírokat és hőstetteiket ábrázoló festmények. A korai írók megjegyezték, hogy ezek élethűen hatnak, ami alapot adott néhány keresztény író által kifejtett kritikához. A keresztény művészet kezdetén különösen népszerűek voltak a sztiliták (oszlopszentek) ábrázolásai. A kritikusok többnyire azért bírálták a pogány műalkotásokat, mert hamis isteneket ábrázoltak, és ezzel bálványimádásra buzdítottak. A szentföldet megjárt zarándokok kegytárgyai rendkívül népszerűen voltak, az azokhoz kapcsolódó, népi babonasággal vegyített történetek ábrázolásait keresték a hívők. Az 5. században Szent Ágoston egy Marcellina nevű nőről ír, aki egyaránt hódolt Krisztusnak, Szent Pálnak, Homérosznak és Püthagórasznak. Sinai Nilosz (megh. 430 körül) Heliodorus Silentiariushoz írt levelében feljegyez egy csodát, amelyben Ankirai Szent Platón álmában megjelent egy kereszténynek. A szentet felismerte, mert a fiatalember gyakran látta az arcképét. A misztikus jelenésnek ez a képmásból történő felismerése a pogány beszámolókra is jellemző volt, és rendszeres toposz volt a hagiográfiában (a szentek életét képsorokban bemutató ikonoknál). A Szaloniki Szent Demetriosszal kapcsolatos látomásának egyik kritikus címzettje egyértelműen kijelentette, hogy a szent hasonlít a róla készült képekre – feltehetően a még mindig a Hagiosz Demetrioszban található 7. századi mozaikokra. Egy másik afrikai püspököt egy Demetriosz nevű fiatal katona mentett meg a rabszolgaságtól, aki később azt mondta neki, hogy menjen a thesszaloniki házába, ezt megköszönni. Miután rájött, hogy a városban a legtöbb fiatal katonát Demetriosznak hívják, feladta, és a város legnagyobb templomába ment, ahol a falon megtalálta megmentője arcképét. A csodák ábrázolása, különösen megszentelt falak között engedélyezett, sőt kívánatos lett. Ebben az időszakban kezdte az egyház visszaszorítani a nem vallási alakokat ábrázoló képeket (a császár és az adományozó alakok vallási személyeknek számítottak). Ez elég hatékonynak bizonyult, így a lakosság nagy része csak vallási képeket és az uralkodó osztály képeit láthatta. Az ikon szó ekkor mindenféle képre vonatkozott, nem csak a vallásiakra. Lukács Mária-portréja Az 5. századnak tulajdonított kontextusban jelenik meg az első említés egy – állítólagos – élőről festett Mária-képről, bár a római katakombák falain található korábbi festmények hasonlóságot mutatnak a modern Mária-ikonokkal. Theodorus Lectorus a 6. századi Egyháztörténetében azt állította, hogy Eudokia (II. Theodosius császár felesége, megh. 460) egy hodegetria-ikont ("Istenanya" vagy Theotokosz képet) küldött Jeruzsálemből Pulkheriának, Arcadius, az előző császár, II. Teodosius apja lányának. A képet a leírás szerint "Lukács apostol festette". Margherita Guarducci egy olyan hagyományt közöl, amely szerint a Lukácsnak tulajdonított eredeti Mária-ikon, amelyet Eudokia küldött Pulkheriának Palesztinából, egy nagy, kör alakú, csak a fejét ábrázoló ikon volt. Amikor az ikon Konstantinápolyba érkezett, fejként illesztették be egy nagyon nagy, téglalap alakú ikonba, amely a Krisztus-gyermeket tartó Máriát ábrázolta, és ez az összetett ikon lett az, amelyet történetileg hodegetriaként ismerünk. Egy másik hagyomány szerint, amikor Konstantinápoly utolsó latin császára, II. Balduin 1261-ben elmenekült Konstantinápolyból, az ikonnak ezt az eredeti kör alakú részét magával vitte. Ez az Angevin dinasztia birtokában maradt, akik szintén beillesztették egy sokkal nagyobb Mária és a Krisztusgyermek képbe, amely jelenleg a Montevergine bencés apátsági templom főoltára felett látható. Sajnos ezt az ikont az elkövetkező évszázadok során többször átfestették, így nehéz megállapítani, hogy Mária arca eredetileg hogyan nézhetett ki. Guarducci azonban azt is állítja, hogy 1950-ben egy ősi Mária-képről a Santa Francesca Romana templomból megállapították, hogy az egy nagyon pontos, de fordított tükörképe az eredeti kör alakú ikonnak, amelyet az 5. században készítettek és Rómába hoztak, ahol a mai napig fellelhető. A későbbi hagyományban a Lukácsnak tulajdonított Mária-ikonok száma jelentősen megszaporodott; a Salus Populi Romani, a Vlagyimiri Theotokosz, a Theotokosz Iverszkaja az Athosz-hegyről, a Tikhvini Theotokosz, a szmolenszki Theotokosz és a częstochowai Fekete Madonna példák, egy másik pedig a Szent Tamás-hegyi székesegyházban található, amelyről úgy tartják, hogy egyike Szt. Lukács evangélista hét festményének amelyeket Szt. Tamás magával vitt Indiába. Etiópiában még legalább hét ilyen van. A mítoszt Lukács ikonfestéséről azért találták ki, hogy az ikonoklasztázia vita során az ikonok tiszteletének legitimitását támogassák a 8. és 9. században. Azzal, hogy azt állították, hogy létezik a Theotokoszról, vagyis az Istenanyáról egy olyan portré, amelyet Lukács evangélista közvetlenül festett életében, az ikonokat vallási tisztelettel övező papok bizonyítékot kreáltak a képek apostoli eredetére és isteni jóváhagyására. Az ikonoklasztázia előtti és alatti időszakban jelentősen megszaporodtak az ikonok készítését az újszövetségi korszaknak tulajdonító történetek, és több apostolról, sőt magáról a Szűzanyáról is úgy vélték, hogy a képek művészeként vagy megrendelőjeként léptek fel. A képekhez kapcsolódó hiedelmek olyan méreteket öltöttek, hogy 586-ban a perzsák elleni, Arzamon folyónál vívott csatában egy Philippikosz nevű hadvezér megparancsolta, hogy egy "nem emberkéz" alkotta krisztusképpel díszített lobogóval küzdjenek csapatai az ellenség ellen. Később, szintén a perzsák elleni háborúban Herakleitosz császár utasítására egy un. Kamuliana-ikont vittek a katonái a csatába. Konstantinápoly 626-os ostroma során a város kapujánál helyezték ki a Szűzanya és a gyermek Jézus képeit, majd a legbecsesebb ikonokkal vonultak végig a várfalakon. Ezek a mozzanatok nemcsak a Bizánci Birodalomban voltak jellegzetesek, hanem Rómában körmenetekben is az isteni hatalom világi megnyilvánulásaiként is. A képrombolások (ikonoklasztika) időszaka A kereszténységen belül már a korai idők óta folyamatos volt a ellenállás a képekkel és azok helytelen használatával szemben. "Valahányszor a képek azzal fenyegettek, hogy túlzott befolyást szereznek az egyházon belül, a teológusok igyekeztek megfosztani őket hatalmuktól." Továbbá nincs olyan század a negyedik és a nyolcadik század közötti időszakban, amelyben ne lenne valamilyen bizonyíték a képek ellenzésére még az egyházon belül is. Mindazonáltal az ikonok népszerűsége garantálta az ikonok fennmaradását, miközben még nem létezett rendszerezett érvelés az ikonok mellett vagy ellen. Az ikonok használatát a bizánci császári hatalom a 8. században komolyan megkérdőjelezte. Bár ekkorra a képekkel szembeni ellenállás már erősen meggyökeresedett a judaizmusban és az iszlámban, a keleti ortodoxia képromboló mozgalmának lendületét a muszlimoknak vagy a zsidóknak tulajdonították.. Bár a vallási tanok történetében jelentős, a bizánci képvitát nem tekintik elsődleges fontosságúnak a bizánci történelemben. "Kevés történész tartja még mindig úgy, hogy ez volt a korszak legnagyobb problémája..." Ugyanakkor ennek köszönhetően meglehetősen kevés ikon maradt fenn a kereszténység korai időszakából, azok is Konstantinápolytól távol eső vidékeken, Rómából, egyiptomi kopt kolostorokból, a sínai Szent Katalin-kolostorból, Grúziából, ahova már a 3. században eljutott a kereszténység. Az ikonoklasztikus időszak akkor kezdődött, amikor a képeket III. León császár betiltotta valamikor 726 és 730 között. Fia, V. Konstantinosz alatt 754-ben a Konstantinápoly melletti Hierián zsinatot tartottak, amely megtiltotta a képek tiszteletét. Az athéni Szent Eiréné császárné kezdeményezésére létrehívott, Nikaiába áthelyezett VII. Egyetemes Zsinatot (787) a Szent Szophia templomban tartották meg, ahol a szentképek elleni üldöztetés beszüntetését határozták el. A Zsinat résztvevői kirekesztéssel sújtották azokat az eretnekeket, akik megtiltják az orthodoxoknak Krisztus és a szentek ikonjainak tiszteletét. Az ikon öncélú imádatát azonban, mint valamilyen módon az előképétől teljesen elkülönültet, a Zsinat továbbra is kifejezetten megtiltotta. Ezt követően a tilalmat 815-ben V. León bizánci császár ismét érvényesítette. Végül pedig az ikonok tiszteletét határozottan visszaállította a régensként uralkodó Theodóra bizánci császárné, Theophilos bizánci császár felesége 843-ban. Ettől kezdve minden bizánci pénzérmén egy vallási kép vagy szimbólum szerepelt a hátlapon, nagyobb címletek esetében általában Krisztus képe, az előoldalon pedig a császár arcképe, ezzel is erősítve az állam és az isteni rend kötelékét. Akheiropoieta Az akheiropoiéton, (szó szerint "nem kézzel készített") hagyománya olyan ikonokra vonatkozott, amelyek csodába illő módon, nem egy festő keze által jöttek létre. Az ilyen képek erőteljes ereklyeként és ikonokként is funkcionáltak, és ezeket a képeket különösen mérvadónak tekintették az általuk ábrázolt tárgy vagy alak valódi megjelenését illetően, különösen azért, mert nem szívesen fogadták el, hogy pusztán emberi produkciók bármit is megtestesíthetnek az isteniből, ami az ember alkotta képek keresztény elítélésének egyik közhelye volt. A közvetlenül az élő alanyról festettnek hitt ikonokhoz hasonlóan ezért fontos referenciaként szolgáltak más képek számára is. A mandylion vagy más elnevezéssel az edesszai kép kialakult legendája mellett a Veronika fátyla története ellenére – amelynek már az elnevezése is "igazi ikont" vagy "igaz képet" feltételez – a "hamis képtől" való félelem továbbra is erős maradt. Stílusjegyek Bár vannak korábbi feljegyzések is a táblaképek használatáról, a legkorábbi kifejezetten ikon jellegű a 6. századból származó, egyiptomi görög ortodox Szent Katalin-kolostorban őrzött műemlék. A korabeli római ikonokat mind drasztikusan túlfestették. A Krisztus, Mária és a szentek legkorábbi ábrázolásai tehát falfestményekből, mozaikokból és néhány faragványból származnak. Ezek realisztikus megjelenésűek, ellentétben a későbbi stilizálással. Stílusuk nagyjából hasonló, bár gyakran sokkal jobb minőségűek, mint az egyiptomi múmiaportrék, amelyeket viasszal (enkausztika) készítettek és az egyiptomi Fajjúmban találtak. Amint azt az ilyen tárgyakból megítélhetjük, Jézus első ábrázolásai inkább egészalakos, mintsem portréképek voltak, és általában szakáll nélküli fiatalemberként ábrázolták őt. Később jelentek meg a hosszú hajú, szakállas arcábrázolások legelső példányai, amelyek aztán Jézus képmásaként váltak általánossá. Ezek között is találhatunk eltéréseket, mivel ahogy Hippói Ágoston (354-430) megjegyezte, senki sem ismerte Jézus vagy Mária külsejét. Ágoston azonban nem a Szentföldön élt, ezért nem ismerte a helyi lakosság hagyományait. Fokozatosan a Jézust ábrázoló festmények a portréképek jellegzetességeit vették fel. Ebben az időben némi vita alakult ki arról, hogy a két legelterjedtebb ikon ábrázolásmódja közül melyiket részesítsék előnyben. Az első vagy "szemita" forma Jézust rövid és göndör hajjal ábrázolta; a második egy szakállas Jézust ábrázolt, középen elválasztott hajjal, ahogyan Zeuszt szokás ábrázolni. Theodorus Lector véleménye szerint, a két ábrázolás közül a rövid és göndör hajú a "hitelesebb". Állításának alátámasztására egy (Damaszkuszi János által kivonatolt) történetet közöl, miszerint egy pogány, akit megbíztak, hogy fessen egy Jézust ábrázoló képet, a "szemita" forma helyett a "Zeusz" formát használta, és büntetésképpen a keze elszáradt. A 6. századtól Krisztus ábrázolásai a Panbaszileosz ("A keresztény Világmindenség ura") illetve a Pantokrátor ("Megváltó") alakjában terjedtek el. A szentek ábrázolása azonban – megfelelő keretek között – némi változatosságot mutatott. Bár mindegyik mozdulatlan, egyfajta portrékép, fejük körül glóriával, kezükben valamilyen szakralitással bíró tárgyakat tartanak (keresztet, fóliánsokat, könyvet), különleges öltözéket viselnek, és a szemük természetellenesen nagy. Bár fejlődésük fokozatos volt, a keresztény képek mint tisztelt és csodatevő tárgyak teljes körű megjelenését és általános egyházi elfogadását a 6. századra datálhatjuk, amikor először hallunk arról, hogy az egyház vallásos képeket használ. A hatodik század második feléhez érve azt látjuk, hogy a képek közvetlen tiszteletet ébresztenek, és némelyiküknek csodatévő hatást tulajdonítanak. I. Jusztiniánusz utáni időszakban az ikon egyre nagyobb szerepet kap a népi áhítatban, és elszaporodnak az ikonokhoz kapcsolódó csodatörténetek. Euszebiosz és Iréneusz korábbi említései azonban már a 2. században utalnak a képek tiszteletére és a velük kapcsolatos csodákról szóló beszámolókra. Az egyház részéről hivatalosan kialakított "szépséget" az ikonfestészetben elsősorban a konstantinápolyi ikonok képviselik. Ezek többnyire forró viasszal kevert festékekkel készültek (enkausztikus eljárás). A 9.–11. században jelennek meg a domborított ezüslemezekkel díszített, vagy azokból kikalapált (trébelés) képmás jellegű ikonok, illetve az un. képfalak, ikonosztázok is. A kaukázusi ikonokra jellemző a közismert és nagyra becsült újszövetségi alakok mellett saját patrónus szentjeik ábrázolása, például a grúzok Szent Györgyöt páncélban képzelték el, aki legyőzte a gonosz megtestesítőjét, Diocletiánus császárt. Eközben az ikonokon szereplő alakokat akár az anatómiai hűség rovására is leegyszerűsítették, stilizálták, a festő vagy megrendelő szándékai szerint a lelkiség vagy átszellemültség hitelesebb ábrázolása miatt. A 12. századtól a a Komnénosz- és Palailogosz-dinasztia uralkodása alatt már eltűnt a megszokott harmónia az ikonfestészetben, előtérbe kerültek az érzelmek sokszor túlfűtött ábrázolásmódjai. A képek általában telítettek, azaz a festők törekedtek a rendelkezésre álló felület legteljesebb kitöltésére, azaz már jelen volt az úgynevezett horror vacui (lat.: írtózás az űrtől) ábrázolástechnika. Perspektíva Az ikonokra jellemző az úgynevezett fordított perspektíva, ahol a nyugati térábrázolás ellentéteként a kép vonalai nem összetartanak, azaz a távolságot nem a megszokott módon érzékeltetik, hanem széttartóak, Ennek egyik magyarázata az ember- vagy lélekközpontúság, ahol az isteni személy, illetve a szemlélő van a kép középpontjában. A néző, mintha aktív résztvevője lenne a jelenetnek. A valóság komplex visszatükrözése összhangban van Isten tekintetének természetével, ezért nincs szükség a hagyományos optikai perspektívára. Ugyanakkor egy ikonon belül előfordulhat többféle perspektíva, például egy épületnek egyszerre láthatjuk a homlokzatát, és az egyébként nem látható belső terét is. A személyek ábrázolása a régi festészeti stílusokban szigorúan kétdimenziós, a különleges perspektíva magát az ábrázolást célozza. Ez azt hangsúlyozza, hogy az ikon a valóság képe, nem pedig maga a valóság. Ikonográfia és szimbolika Damaszkuszi Szent János a Harmadik beszéd a szentképek mellett, ellenzőik ellen című írásában említ elemeket, amik a képeken ábrázolva vallási vonatkozásra utalnak. A keleti ortodoxia és a kora középkori Nyugat ikonjain nagyon kevés helyet hagynak a művészi szabadságnak. A képen belül szinte mindennek van szimbolikus vonatkozása, a szenteknek ismertetőjegyeik vannak. Krisztus, a szentek és az angyalok mind glóriát viselnek. Az angyaloknak (és gyakran Keresztelő Jánosnak) szárnyuk van, mert ők hírnökök. A figurák egységes arckifejezéssel rendelkeznek, személyes attribútumokat hordoznak, és néhányan hagyományos pózt használnak. A Szentháromság ikonok Isten háromszemélyűségét ábrázolják, ehhez a valóságban is három személy (angyal) ábrázolását viszik a képre. Andrej Rubljov legismertebb képén három angyal egy áldozati borjúfej körül ül, a borjúfej az újszövetségi áldozati bárányt szimbolizálja, mindez a tállal együtt, amin fekszik az eucharisztia jelképe. Az Atya, Fiú, Szentlélek megformálása az ikonfestészet folytonos kihívása. Bizáncból származó úgynevezett Paternitas-ikonok a Szentháromság ikonok egyik típusa; Krisztust, mivel "Én és az Atya egy vagyunk", Krisztust öregemberként ábrázolták, mint Atyát, de Krisztus attribútumai megmaradtak. A Krisztus ikonok közül kiemelkednek a Pantokrátor, a deészisz illetve az akheiropoietosz típusok. A Pantokrátor ábrázolásnál Krisztust a világ uralkodójaként láthatjuk, gyakran szigorú tekintettel. A leghíresebb Pantokrátor-ábrázolás az athosz-hegyi Pantokrator monostor 1363-ban készült Pantokrátor ikonja. A deészisz ikonok esetében (maga a szó imát, könyörgést jelent) a szokásosan az ikonosztáz középső ikonjaként szereplő ikonon többnyire az Istenszülő és Keresztelő Szent János imádkozik Krisztushoz. Szép példája a deészisz ikonoknak a bajai szerb templom számára festett triptichon, amely Osztoja Mirkojevic alkotása. Az akheiropoietosz-ikonok emberi kéz érintése nélkül jöttek létre, többnyire legendás körülmények között. A Bizáncban és különösen Oroszországban nagy tisztelettel övezett Istenszülő (Theotokosz) ábrázolásásának három alaptípusa létezik, mindhármat Szent Lukácsnak tulajdonítják: a Hodegetria, az Eleusza és a kevésbé elterjedt kis Jézus nélküli Istenszülő-ikonok. A Hodegetria típusnál Theotokosz (Szűz Mária) a gyermek Jézust tartja az oldalán, miközben rámutat, mint az emberiség megváltásának forrására. A Szűz feje általában a gyermek felé hajlik, aki áldó mozdulattal emeli fel a kezét. Az Eleusza (a szó irgalmat, könyörületet jelent) ikonábrázolásnál a kis Jézust az Istenszülő a jobb karjában tartja, Jézus átöleli anyját, és összeér az arcuk. Jelentős ábrázolástípus a Galaktotrophusza (Szoptató Istenanya, Virgo Lactans) amelyről úgy vélik, hogy elsősorban orosz hatásra jött létre. A Virgo lactans típus Egyiptomból került Nyugatra és Bizáncba, ahol már ismert volt, de nem mint bevett ikon-séma, hanem mint egyszerű műfaji motívum, amely az ókeresztény és késő hellenisztikus művészetből származik. Egyiptom hatása azért volt meghatározó, mert az ottani művészek alkalmazták először ezt a típust ikon-típusként. Egyiptomban Ízisz (általában Hórusz szoptatójaként ábrázolt) imádata ősi és erőteljes hagyomány volt. Ízisz az egyiptomiak kedvelt mitológiai alakja volt, és óriási népszerűségnek örvendett. A szín is fontos szerepet játszik. Az arany a mennyei ragyogást, a vörös az isteni életet jelképezi. A kék az emberi élet színe, a fehér az Isteni teremtetlen fény, csak a Krisztus feltámadása és átváltoztatása képeknél használatos. Ha megnézzük Jézus és Mária ikonjait: Jézus piros alsóruhát visel kék felsőruhával (Isten emberré lett), Mária pedig kék alsóruhát visel piros felsőruhával (az ember ajándékokat kapott Istentől), így a deifikáció tanát közvetítik az ikonok. A betűk is szimbólumok. A legtöbb ikonon szerepel valamilyen kalligrafikus szöveg, amely megnevezi az ábrázolt személyt vagy eseményt. Még ezt is gyakran stilizált módon jelenítik meg.A középkori ikonok háttere általában aranyszínű (ritkábban ezüstszínű), amelyet többnyire aranyfüsttel készítenek, de előfordulhat okkersárga festékkel történő színezés is. Az aranyszínű háttér a mennyet vagy az isteni fényt mint a fény legmagasabb minőségét szimbolizálja. A barna a föld, azaz a humusz színe, a bíbor a császárok színe, Krisztus és az Istenszülő ruházata is gyakran bíbor. A fehér szín a tisztaságot jelképezi., a fekete a halál, a gonosz, a pokol színe. Az ikonfestők ódzkodtak a fekete használatától. A szerb ikonok gyakran kék hátterűek, de a görög ikonokra nincs ilyen szabály. Oroszországban azonban már a középkorban is ismertek vörös alapozású ikonokat (Krisztus a trónon a kiválasztott szentekkel és Szent János Climacus a peremszentekkel; mindkettő Novgorodban a 13. század második felében). A formák gyakran strukturáltak és világosak, sík háttérrel, testiség nélkül, mivel ez már földi lenne. A színek, a figurák egymáshoz viszonyított mérete, elhelyezkedése és a háttér perspektívája a középkorban nem volt realista, hanem szimbolikus jelentéssel bírt. A háttér és az előtérben lévő tárgyak (pl. asztalok, székek, kelyhek) perspektívája gyakran szándékosan "rosszul" van kialakítva, hogy a kép előtt legyen az eltűnési pont (fordított perspektíva). A környezet gyakran visszahúzódik a tiszteletre méltó személy mögé. Minden személyt az adott nyelven (pl. görögül, oroszul, ószlávul) epigráfiával (rövidítéssel) azonosítanak, hogy a valós személyre való hivatkozás megmaradjon, és az ikon tisztelete ne váljon öncélúvá. A keresztény ikon csak a felirat által válik ikonná; a felirat nélküli ikonok nem tiszteletre méltó képek, és nem is lettek megszentelve. A szentek kezében is gyakran találunk tekercseket vagy könyveket szöveggel, amelyek a román és gótikus művészethez hasonlóan üzenetet hordoznak. A pantokrátori ikon kezében gyakran egy evangéliumos könyvet tartanak, amely az ikon szándékához rendelt újszövetségi bibliai szakaszt adja vissza. Gyakran azonban az evangélium könyve be van csukva. A nyitott evangéliumos könyvben a Krisztus-ikonok felirata : "Jöjjetek én hozzám mindnyájan, a kik megfáradtatok és megterheltettetek, és én megnyugosztalak titeket, vegyétek fel magatokra az én imámat és tanuljátok meg tőlem, hogy én szelíd és alázatos vagyok és nyugalmat találtok a ti lelketeknek". Az írásos vagy szóbeli tanításokat hátrahagyó szentek ikonjait gyakran egy könyvvel ábrázolják, amelynek nyitott lapjai tanításuk központi kijelentését tartalmazzák. Ujjtartások Az áldást osztó ujjtartás esetében a függőlegesen tartott jobb kézen a mutatóujj fis függőleges, a középső félkörben meghajlik, a gyűrűsujj a hüvelykujjal elvágólag vízszintesen látszik, a kisujj ugyancsak félkör alakban áll. Az ujjtartást betűnként értelmezve (ICXC) Jézus nevének rövidítése olvasható ki. Ez az áldást osztó kéztartás a Pantokrátor illetve különböző szerzetesek és főpapok ikonjain jelenik meg. A keresztvetéskor a pravoszláv, háromujjas keresztvetés látható, ahol a hüvelykujj, a mutatóujj és a középső ujj végei összeérnek. Ezek az ujjak a szentháromságot jelképezik, a gyűrűsujj és a kisujj krisztus kettős természetét szimbolizálja. Ószertartás szerint két ujjal, a mutató és középső ujjal vetnek keresztet, ami Krisztus kettős természetére, a többi, a behajlított és összeérő ujj a szentháromságra utal. Az óhitűek ikonjain a két ujjat sokszor aránytalanul nagynak ábrázolják. Elkészítése Bár az ikonok sokféle formát ölthetnek – mozaik, freskó, hímzés, faragott fa, fémvésés – a leggyakoribb médium a tojástemperával történő festés, fatáblákra. A méret rendkívül változatos, az apró ikonoktól kezdve, amelyek amelyeket a hívők maguknál hordhattak, egészen az ajtó méretű táblákig, vagy akár teljesen festett falakig. A fára festett ikonok esetében a több darabból összeillesztett, csiszolt felületű fatáblákra enyvvel vásznat ragasztanak, majd egy sablon alapján erre krétával felviszik a mintát. Tojástemperával a sötét majd az egyre világosabb színeket hordják fel. A részmunkákat a festők megosztották egymás között, attól függően, ki értett jobban az arc vagy a test, a ruházat különböző részeinek megalkotásához. Néha a képek feliratokat is tartalmaztak. Az elkészült festményt védőréteggel látták el (többnyire olaj). A Nyugat-Európában elterjedt sfumato-eljárást, azaz a körvonalakon belüli fény-árnyékhatások festői ábrázolását elég későn kezdték alkalmazni az ikonfestészetben. A mozaik vagy a domborított rézlemez eljárásnál többnyire az alakok festményekhez igazodó megformálása figyelhető meg. Ez azt jelenti, hogy az alakok arcát, esetleg ruházatát szabadon hagyva a környezetüket rézlemez borítja A 9–11. századtól a 11. századig terjedő időszakból nagyobb számban maradtak fenn fémből, zománcból, elefántcsontból és szteatitból készült domborművek, mint táblaképek. Ezt a fa rothadásának tulajdonítják. A Hagia Szophia kápolnaburkolatának hatodik századi díszítéséről szóló értekezésében Szilágyi Pál megemlítette a Krisztus, az angyalok, a próféták, az apostolok és a Szűzanya alakjait ábrázoló fém-repozitációs korongokat is. Az ikonokat gyakran gyertyával vagy kanóccal ellátott olajos edénnyel világítják meg. (A gyertyákhoz méhviaszt, az olajlámpákhoz pedig olívaolajat használnak előszeretettel, mert ezek nagyon tisztán égnek, bár néha más anyagokat is használnak.) A vallási képek lámpával vagy gyertyával való megvilágítása ősi, a kereszténység előtti gyakorlat. Keleti ortodox tanítás Az ikonok eredetéről alkotott keleti ortodox nézet általában meglehetősen eltér a legtöbb világi tudós és a kortárs római katolikus körök némelyikének nézetétől: Az ortodox egyház fenntartja és tanítja, hogy a szentkép a kereszténység kezdete óta létezik. Azokat a beszámolókat, amelyeket egyes nem ortodox írók legendának tartanak, a keleti ortodoxia történelminek fogadja el, mert az egyházi hagyomány részét képezik. Így az olyan beszámolókat, mint a csodálatos módon létrejött "nem kézzel készített képek", és a könnyező és mozgó ikonok létezését, (például a Novgorodi Jeles Istenanya), tényként fogadják el: az egyházi hagyomány például beszámol a Megváltó életében már létező ikonról is (Veronika fátyla, vagy egyéb kéz nélkül készült ikon) és a Legszentebb Theotokoszról közvetlenül készült ikonokról.. A keleti ortodoxia továbbá azt tanítja, hogy az ikonok fontosságának a hangsúlyozása az egyháznak a kezdetektől fogva része volt, és soha nem változott, bár a jelentőségükre vonatkozó magyarázatok az idők folyamán fejlődhettek. Ennek oka, hogy az ikonfestészet a megtestesülés teológiájában gyökerezik (Krisztus Isten eikonja azaz képe), amely nem változott, bár egyházon belüli értelmezése az első hét ökumenikus zsinat idején történt. Emellett az ikonok a kereszténység történelmének nagy részében az írástudatlan hívők tanításának eszközeiként szolgáltak. Az ikonok tehát "festett szavak"; az üdvösség történetére és annak konkrét személyekben való megnyilvánulására utalnak. Az ortodox egyházban az ikonokat mindig is egyfajta vizuális evangéliumként, a megtestesült "logosz" Isten által az embernek adott nagy dolgok tanúságaként értelmezték. A 860-as zsinaton kimondták, hogy az ikonok "mindazt, ami szótagokkal írt szavakkal hangzik el, a színek nyelvén is hirdetik". A keleti ortodoxok a kép vagy ikon első előfordulását a Bibliában (Septuaginta) találják, amikor Isten az embert a saját képére teremtette, (Mózes 1:26-27). Mózes 2. könyvében Isten megparancsolta az izraelitáknak, hogy ne készítsenek semmiféle faragott képet; de nem sokkal később megparancsolta, hogy készítsenek faragott képeket a frigyláda részére kerubokról és más hasonló dolgokról, mind szoborként, mind faliszőnyegekre szőve. Később Salamon még több ilyen szobrot készíttetett, amikor az első templomot építette. A keleti ortodoxok úgy vélik, hogy ezek ikonoknak, képmásoknak minősülnek, mivel látható képek voltak, amelyek mennyei lényeket ábrázoltak, és a kerubok esetében arra szolgáltak, hogy közvetve jelezzék Isten jelenlétét a frigyláda felett. A Számok könyvében (Számok 21:4-9) azt írják, hogy Isten azt mondta Mózesnek, hogy készítsen egy bronzkígyót, (Nehustán), és tartsa magasra, hogy aki ránéz a kígyóra, meggyógyuljon a kígyómarásából. János 3. könyvében Jézus ugyanerre a kígyóra hivatkozik, és azt mondja, hogy őt is ugyanúgy kell felemelni, mint a kígyót. Damaszkuszi János szintén ikonként tekintett a bronzkígyóra. Továbbá magát Jézus Krisztust (Pál Apostolnak a Kolosszébeliekhez írt levele 1:15) a "láthatatlan Isten képmásának" nevezi, tehát bizonyos értelemben ikon. Mivel az emberek is Isten képmásai, az emberek is élő ikonoknak tekinthetők. Damaszkuszi János szerint, aki az ikonok elpusztítására törekszik, az Krisztus, a Szent Szűzanya és a szentek ellensége, és az ördög és démonai védelmezője. Ez azért van így, mert az ikonok mögötti teológia szorosan kapcsolódik Jézus emberségének és istenségének inkarnációs teológiájához, így az ikonok elleni támadások jellemzően magának Jézusnak az ökumenikus zsinatokon megvilágított megtestesülését ássák alá vagy támadják. Cézáreai Bazilusz a A Szentlélekről című írásában azt mondja: "A képnek kijáró tisztelet átmegy az ősképre". A fogalmat a következő mondattal is illusztrálja: "Ha rámutatok egy császárszoborra, és megkérdezem tőletek: "Ki az?", a válaszotok helyesen az lenne: "Ez a császár". Amikor ezt mondod, nem azt érted, hogy maga a kő a császár, hanem azt, hogy a név és a tisztelet, amit a szobornak tulajdonítasz, átmegy az eredetire, az archetípusra, magára a császárra." Ikonfestészeti hagyományok régiónként Szentföld, Sínai-hegy A Szent Katalin-kolostorban lelhetők fel az ikonfestészet első jelentős alkotásai. A görög ortodox kolostort 550 körül alapították és ez a világ egyik legrégebbi, folyamatosan eredeti feladatkörében működő kolostora. Az ószövetségi feljegyzések szerint itt, a hegyen kapta meg Mózes a törvény tábláit. A kolostorban található a világ legrégebbi, folyamatosan működő könyvtára, felbecsülhetetlen értékű kora keresztény kéziratokat és ikonokat őriznek, valamint egy Jézus színeváltozását ábrázoló, szintén a korai kereszténység korából származó mozaikot. Bizánci Birodalom A Bizáncban – konstantinápolyi központtal – kialakult ikonfestészeti hagyományt a 11. századtól csak néhány ikon reprezentálja, az azt megelőzőből pedig egy sem, részben az ikonoklasztikus időszak vitái miatt, amelyek során sok ikon megsemmisült vagy elveszett, később a Velencei Köztársaság hatalomra kerülése (1204) során történt fosztogatásai amelyet a Negyedik keresztes hadjárat alatt követtek el, végül pedig Konstantinápoly eleste 1453-ban szorította vissza az ikonok megjelenését. Csak a Komnénosz-korszak (1081-1185) során terjedt el az ikon kultusza a bizánci világban, részben a gazdagabb anyagok (mint a mozaikok, elefántcsont és üvegzománcok) hiánya miatt, de azért is, mert ekkor vezették be az egyházi gyakorlatban az ikonok számára szolgáló ikonfalak alkalmazását (ikonosztázok). A kor stílusa szigorú, hieratikus és távolságtartó volt. A késő Komnénosz-korszakban ez a szigorúság enyhült, és a korábban kerülendőnek tartott érzelmek megjelentek az ikonfestészetben. E változás jelentős emlékei közé tartoznak a Daphni kolostor falfestményei (1100 körül) és a Szent Panteleimon-templom Szkopje közelében (1164). A Vlagyimiri Theotokosz (1115 körül) talán a legreprezentatívabb példája a spiritualitás és az érzelmek felé mutató új irányzatnak. Az ikonok érzelmességet megjelenítő ábrázolásmódja az 1261-ben kezdődő Palaiológosz-korszak idején is folytatódott. A Palaiológosz művészet a csúcspontját az olyan mozaikokban érte el, mint például a ma mecsetként használatos Isztambul melletti Edirnekapı Chora-templom mozaikjai. A 14. század utolsó felében a Palaiológosz-szenteket eltúlzott módon, torz pózokban, vagyis a Palaiológosz-manierizmusnak nevezett stílusban festették meg, amelynek kiváló példája a Ohridi igehirdetés. Kréta, Ciprus és a Balkán Konstantinápoly eleste után (1453) a bizánci hagyományt a korábban vallása és kultúrája által befolyásolt régiókban folytatták – a Balkánon, Oroszországban és más szláv országokban, Grúzia és Örményország területén a Kaukázusban, valamint az iszlám világ keleti ortodox kisebbségei között. Kréta 1204-től 1669-ig velencei ellenőrzés alatt állt, és virágzó művészeti központtá vált, ahol végül nyugati mintára létrejött a posztbizánci stílusban alkotó Scuola di San Luca, egy szervezett festőcéh, a Szent Lukács céh, amely stílusa miatt Krétai iskola néven vált ismertté. A krétai festészetet mind a velencei területek katolikusai, mind a keleti ortodoxok erősen patronálták, hiszen európai exportja révén mindkét vallási felekezetnek szállított. A könnyebb szállítás érdekében a krétai festők a táblaképekre specializálódtak, és ráálltak arra, hogy sokféle stílusban dolgozzanak, hogy megfeleljenek a különböző mecénások ízlésének. A krétai ikonfestő iskola kezdeteit Andréasz Rízosz nevével fémjelzik, aki 1421 körül született Candiában (ma Iráklio). Nevéhez játszadozó gyermekével ábrázolt Istenanya ikonjai kötődnek, El Greco, aki a krétai hírnevének megalapozása után Velencébe költözött, az iskola leghíresebb művésze volt, és továbbra is sok bizánci sémát és konvenciót használt műveiben. 1669-ben a krétai Heraklion városa, amely egy időben legalább 120 festővel büszkélkedhetett, végleg a törökök kezére került, és ettől kezdve a görög ikonfestészet hanyatlásnak indult; a 20. században olyan művészeti reformerek próbálták újraéleszteni, mint Photis Kontoglou, akik a korábbi stílusokhoz való visszatérést hangsúlyozták. Az itáliai reneszánsz az ikonfestészetben is jelentkezett. Az úgynevezett italo-bizánci stílusban készült ikonok Cipruson a 12. századtól jelentek meg, ugyanakkor az erőteljes befolyás amit Konstantinápoly gyakorolt Thesszaloniki, Szerbia és Oroszország ikonfestészetére már Cipruson is jelentkezett. A 17. században Mihaíl Damaszkinosz körülbelül száz ikonnal járult hozzá a krétai ikonfestési hagyományokhoz, képeit nagyfokú eklekticizmus jellemezte, ami a megrendelők különböző rétegeivel és származásával magyarázható. A kor legszebben illusztrált görög kézirata Grigórisz Klocász nevéhez fűződik, a kódex a velencei Libreria Marcianában maradt fenn. Ugyancsak jelentős alkotó volt kortársa Ángelosz is, aki inkább a bizánci hagyományokat követte. Candiában élt a 17. század két igen jelentős ikonfestője, a Lambárdoszok (ezzel a szignóval írtálk alá nevüket), akik az Athosz-hegy hagyományait követték. Kréta török hódítása után az candiai festők Itáliába, vagy a Közép-görög szigetekre költöztek, ahol hagyományaik vagy elsorvadtak, vagy beolvadtak a helyi nép kultúrájába. Utolsó jelentős festőjük Emánuíl Canész (1610–1690) volt. A görög félszigeten a Thébaiból származó Frángosz Kasztelánosz az egyik legjelentősebb festő, akinek művészete már barokkos jelleget mutat. Neki tulajdonítható a Metéóra-beli Varlám-kolostor ikonosztázionján található Krisztus Pantokrátor ábrázolás. A krétai festőiskola 18. századi művészeinek alkotásai megtalálhatók az esztergomi Keresztény Múzeumban is. Balkán A Balkán területén a török inváziót követően a gazdag patrónusok már nem töltötték be a művészet finanszírozásának elsődleges szerepét, így Itália művészei mögött az ortodox ikonfestészet művelői lassan lemaradtak. Ez annak is köszönhető hogy nem voltak képesek elszakadni a bizánci teológiai elvárásoktól. Az olasz-görög ikonfestők hiába próbálták beemelni a díszítő elemek közé a valós perspektívát, illetve a táj és a természet valószerű ábrázolását, a kísérlet úgy tűnt, kudarcot vallott. Az alapvető ikonikus koncepcióval jelentkező, a 17. század legnagyobb mediterrán mestereinek (Theodor Pulakis, Emmanual Zanfurnari, Viktor, a Görög, Éliás Moschos, illetve közvetlen elődeik, Andreas és Nicolas Ricos) művei valójában visszalépést jelentettek a két keresztény világ ikonikus szemléletének egyesítésében. A nagyobb művészeti központok Szerbiában, Moldovában, Macedóniában működő festői, illetve az Athosz-hegy ikonjai saját jellegzetes stílusokkal tűntek ki, ám folyamatosan hűek maradtak a konstantinápolyi elvárásokhoz is. A macedóniai Ohrid fontos művészeti központ lett, az Athosz-hegy világtól elzárt kolostoraiban a szerzetesek már a 16. és 17. században az újfajta szemléletnek megfelelően alkottak. Bulgáriában már a 13. században iskolák alakultak. A török uralom alatt (1396–1878) ezek a festőiskolák csak kisebb intenzitással működtek, elsősorban a támogatások hiánya miatt. Új szentélyek nem épülhettek, így az ikonok nem fejlődtek, nem újultak meg. A 17. században azonban már valamelyest a török fennhatóság is lazult, új templomok készültek, illetve a régiek felújítására is sor kerülhetett. Az ikonfestészetet itt már nemcsak a nyugati hatások befolyásolták, hanem bizonyos mértékig megjelentek az iszlám elemek is. A meseszerű, sematikus ábrázolásmód egyik példája a 17. században készült Szent György és a sárkány ikonja. A szerbiai ikonokról szóló legkorábbi történelmi feljegyzések a Nemanjić-dinasztia idejéből származnak. A szerb ikonfestészet jelentős iskolája a Kotori-öbölben működött a 17. századtól a 19. századig. A Trojeručica, azaz "Háromkezű Theotokos" a szerb ortodox egyház legfontosabb ikonja és az Athosz-hegy fő ikonja. Szerb hatásra jöttek létre a Jobb kezed felől királyné áll és a Szoptató Istenanya (Galaktotrophusza) típusok is. A szerb ikonfestészetet elsősorban a bizánci hagyományok továbbélése jellemezte, a 16. században azonban már önálló hangot ütött meg az ipeki patriarchátushoz tartozó Peč szerzetese, a költő Longin a dečani kolostorban és a koszovói templomokban és Boszniában, Montenegróban. Festményeinek jellegzetessége a részletgazdag háttér ábrázolása, az épületek, a táj megjelenítése. A 17. század első felében alkotott Georgij Mitrofanovics szerzetes az Athosz-hegyen fekvő Hilandari-kolostorban, az alakok árnyékoltak, plasztikusak. Nyugati szláv területek A fehérorosz, lengyel, ukrán ikonok jellegzetessége az erőteljes nyugati hatás, ami az akkor uralkodó, a mongol ellenőrzést váltó litván uralom hatásra alakultak ki. A 16-18. században ezek a területek visszatértek orosz fennhatóság alá. Ezen országok közös jellemzője, hogy a katolikus és ortodox vallási háborúk mindvégig nyomot hagytak kultúrájukon. Az ikonokról elmondható a népies jelleg, és naiv festészeti megfogalmazás, mégis egyfajta összeköttetést képeznek a nyugati és keleti stílusok között. A minszki Krisztus születése a naiv ábrázolásmódra utal. Az ukrán Hodegetria-ábrázolás már erőteljesen realista, jellemzően az ukrán nőtípus nyugati stílusú ábrázolásával tűnik ki. Az arckifejezés életteli, már nem sematikus. A nyugati szláv ikonokon sokszor előfordul a politikai események főbb szereplőinek megjelenítése, legtöbbször az Oltalmazó istenanya típusú ikonokon. A lengyel katolicizmus a népnemzeti azonosságtudattal összeforrt, ennek egyik jelképeként az ikonok különleges jelentést hordoznak. A lengyel ikonok fő témája Krisztus szenvedéstörténetének bemutatása. Oroszország Az ikonok használata és készítése a Kijevi Rusz területén a Kelet-római (Bizánci) Birodalomtól az ortodox kereszténységre való áttérést követően, 988-ban terjedt el, miközben átvette a hagyományos ikonográfiát, amely a következő időszakban fokozatosan terjedt el Bizáncból és a Balkánról. Az idő múlásával fokozatosan stilisztikai változások következtek be. Az orosz ikonfestészet olyan jellegzetességeket vett fel, amelyek megkülönböztették azt az ortodox világ más részein készült képektől, sőt orosz földön belül is kezdtek megjelenni regionális és helyi jellegzetességek a környező közösség igényeinek és elképzeléseinek megfelelően. Ezek az ikonok általában szigorúan követték a használat által megszentelt mintákat és formulákat, amelyek közül néhány Konstantinápolyból származott. Az idő múlásával az oroszok – nevezetesen Andrej Rubljov és Gyionyiszij – az ikonok típusainak és stílusainak örökölt szókészletét messze túlszárnyalták. A nyugat-európai vallásos művészet személyes, improvizatív és kreatív hagyományai nagyrészt hiányoznak Oroszországban a 17. század előtt, amikor Szimon Fjodorovics Usakov festészetére fokozatosan hatást gyakoroltak a protestáns és a katolikus Európa vallásos festményei és metszetei. Az ikonfestők általában nem maguk találták ki a témájukat, mint általában a nyugaton működő művészek. Ők egy ikonográfiai típust követtek, amelyet a szokások és az egyházi hatóságok alakítottak ki és hoztak létre. Ezért van az, hogy az azonos témát ábrázoló ikonok, még ha évszázadok választják is el őket egymástól, annyira hasonlítanak egymásra. A művésznek kötelessége volt követni az úgynevezett podlinnikben (festészeti kézikönyvekben) összegyűjtött példákat, és legfeljebb a színek megválasztásában lehettek önállóak. Minden másban a hagyományos kánon szerint kellett eljárniuk. Ennek ellenére az ikonfestészetben nem kizárólag a jóváhagyott és kanonizált ábrázolástípusok érvényesültek, a művészek nem csak engedelmesen reprodukálták azt, ami már előttük is létezett. A Ruszban elfogadottá vált ikonográfia sok generáció közös munkájának eredménye volt, és ebben a festők ugyanolyan fontos szerepet játszottak, mint a tanult teológusok és vallási írók. Az ikonográfiai típusok kanonizálása, a podlinnik, nyilvánvalóan viszonylag későn jelent meg, a hagyomány megcsontosodásának, a kreatív ikonográfiai szemlélet elszegényedésének jeleként. A korai orosz ikonfestészet számos témája a múltból származik, de sok más témát már újonnan alkottak. Egy olyan téma, mint a Szűz Mária közbenjárása, oroszországi keletkezése és történeti fejlődése a 13-16. századi orosz ikonokon követhető nyomon. A tizenötödik századi novgorodi művészek voltak felelősek például a Flóra és Lavra csodája (SS Florus és Laurus) ikonok ikonográfiájáért. Ugyanebből az időszakból származik a Jeles Szűzanya ikonja által művelt csoda című szép kompozíció. Külön figyelmet érdemel az a tény, hogy a festők még a hagyományos bibliai témák keretében, a hagyományok iránti tisztelet mellett is mindig képesek voltak hozzátenni valami sajátot, gazdagítani és új értelmezést adni az ősi kánonoknak. Az orosz ikonok jellemzően fára festett, gyakran kisméretű festmények, bár a templomokban és kolostorokban találhatóak akár két méter magas, egy méter széles is. Oroszországban sok vallásos otthonban a falon a krasznij ugol-ban – a "vörös" sarokban – lógnak ikonok (ikon sarok). Az ikonokhoz gazdag történelem és bonyolult vallási szimbolika kapcsolódik. Az orosz templomokban a főhajót jellemzően egy ikonosztáz, azaz egy ikonokból álló fal választja el a szentélytől. Oroszországban a legrégebbi ikonfestő központok Kijevben jöttek létre a 11. és 12. században, elsősorban a kijevi Hagia Szophia-templom körüli műhelyekben és a Lavra Pecserszka-kolostorban. Igen jelentős műhelyek jöttek létre Vladimirban, Novgorodban még a mongol invázió előtt. Kezdetben a bizánci stílusirányzatokat másolták, mivel számos – főleg Szűz Mária – ikont hoztak Konstantinápolyból, de később kialakult saját ábrázolásmódjuk és színviláguk, szimbolikájuk. Ezeket csodatévő tulajdonságokkal ruházták fel és keleti ortodox rítussal imádták őket. A vladimiri iskola a 12. századi felvirágzását Vszevolod hercegnek köszönheti, aki ifjúkorát Konstantinápolyban töltötte. Az itt készült ikonok fennkölt eszmeiséget és áhítatot mutatnak, jellemzőjük a szimmetria és a nagyfokú stilizáltság. A novgorodi Hagia Szophia templomra jellemző volt a gazdagon díszített könyv alakú szentségtartók használata (analogion) ahol azoknak a szenteknek a képeit helyezték el, akikért misét mondtak az adott hónapban. Földrajzi helyükre utaló nevet csak azok az ikonok kaptak, akikhez valamilyen csodatévő tulajdonságot társítottak. így keletkeztek a "Bjeloszerszki Szűz" vagy a macedóniai "Pelagonitiszai Szűz", illetve a szerb "Studenicai Szűz" elnevezések. A Novgorod és Konstantinápoly közötti kulturális együttműködést a mongol betörések illetve a Latin Császárság konstantinápolyi megjelenése befagyasztotta és csak igen lassú kulturális fejlődést láthatunk a tizenharmadik század közepétől. Az ikonfestészet központja Moszkvába helyeződött, ahol görög művészek jelentős értékeket hoztak létre. Ennek ellenére Oroszországban idegenkedtek az úgynevezett palailógosz-reneszánsz stílusától, amire jellemző volt a plasztikus térábrázolás és a szereplők életszerű taglejtésének megformálása, és utat engedtek a fény játékainak ábrázolásában is. Oroszországban az egyik leghíresebb ikonfestő Hellászi Theophanész (Theophanosz a Görög) volt, aki a 14. században otthagyta Konstantinápolyt és megjelent Novgorodban, majd Moszkvában. Együtt dolgozott Gorodaci Prohorral és Andrej Rubljovval a Kreml és az Angyali Üdvözlet-templom képfalán. Andrej Rubljov a Szentháromság-kolostor szerzetese volt, jellemző alkotásai az érzékenység és finomság stílusjegyeit viselik. Olyan hírnévre tett szert, hogy egy 1551-es egyházi zsinat a görög mestereket és őt tette az ikonfestés példaképévé. A Moszkvai Nagyfejedelemség fénykorában, a 15. században tevékenykedett Gyionyiszij (Dioniszij vagy Dionüsziosz, Dionisius), III. Iván uralkodása alatt, amikor Konstantinápoly 1453-as végső elfoglalása után Moszkvát a "Harmadik Róma"-ként tisztelték. Ekkor már a város igényt formált az egész ortodox világ vallási és kulturális irányítására, a templomokat ikonokkal látták el, Gyionyiszij légies, érzékeny, eszményesített alakjaival jelentős hírnevet vívott ki magának. A 17. század közepén a Nyikon moszkvai pátriárka által a liturgiában és a gyakorlatban bevezetett változások az Orosz ortodox egyház megosztottságához vezettek. A tradicionalisták, az üldözött "régi rituálisok" vagy "óhitűek" (oroszul raszkolnyiki, azaz szakadárok) folytatták az ikonok hagyományos stilizálását, a kánonok szigorú betartására törekedtek. Az óhitűek az üldöztetés elől északra, illetve Szibériába menekültek, ahol zavartalanul festhették műveiket. Sok ikont magukkal vittek, így mentve meg azokat a megsemmisítéstől vagy átfestéstől. Ettől kezdve az ikonokat nemcsak a hagyományosan, nem realista módon készítették el, hanem az orosz stilizáció és a nyugat-európai realizmus keverékével, és a korabeli katolikus vallásos művészethez nagyon hasonló nyugat-európai művészi eszközökkel. A Sztroganov-iskola és a Nyevjanszkból származó ikonok az orosz ikonfestészet utolsó jelentős iskolái közé tartoznak. Grúzia Az első grúz ikonok a 9. században jelentek meg, a legjelentősebb a Cilkani Istenanya a gyermekkel. A grúz ikonfestészet legsikeresebb korszaka a 11-12. századra esik. A különböző iskolák több festészeti stílusban dolgoztak, némelyik a görög hagyományokat követte, némelyik grúz talajon fejlődött ki. A 15. századtól a palaiologosz stílus vált uralkodóvá, majd a 17. századig a posztbizánci stílust követte. Románia Romániában a 19. században elterjedtek és ma is készülnek üveg mögé helyezett, keretbe foglalt ikonok. Ezeket úgy készítették, hogy festéket vittek fel egy üvegdarabra, majd a képet az üveg megfordításával, az üvegen keresztül nézik. Az eljárást fordított üvegfestés néven ismerik. Az erdélyi vidéken a Moldovából, Havasalföldről és az Athosz-hegyről importált drága, táblás ikonokat fokozatosan felváltották a helyben készített, üvegre festett kis méretű ikonok, amelyek sokkal olcsóbbak voltak, és így az erdélyi parasztok számára is hozzáférhetők voltakj Egyiptom és Etiópia Az Alexandriai Kopt Ortodox Egyház és a Keleti Ortodoxia szintén rendelkezik sajátos, élő ikonfestészeti hagyományokkal. A kopt ikonok eredete az egyiptomi késő antikvitás hellenista művészetében keresendő, amint azt a Fajjumi múmiafestészet példázzák. A 4. századtól kezdve a templomok a hitük hiteles kifejezése érdekében festették ki a falaikat és készítettek ikonokat. Aleppo Az Aleppói Iskola egy ikonfestő iskola volt, amelyet Juszuf al-Muszavvir (más néven József festő) pap alapított, és az akkoriban az Oszmán Birodalom részét képező Aleppóban tevékenykedett legalább 1645 és 1777 között Nyugati kereszténység Bár a nyugati kereszténységben az 'ikon''' elnevezést általában nem használják, vannak olyan vallásos műalkotások, amelyek nagyrészt a bizánci művek mintájára készültek, és ugyanolyan konvencionálisak a kompozíció és az ábrázolás tekintetében mint az ortodox ikonok. A 13. századig a szent alakok ikonszerű ábrázolásai keleti mintákat követtek – bár ebből a korai időszakból nagyon kevés alkotás maradt fenn, az itáliai példák pedig italo-bizánci stílusban készültek. A 13. századtól kezdve a nyugati hagyomány fokozatosansokkal nagyobb rugalmasságot engedett meg a művésznek, és realisztikusabb megközelítést a figurákhoz. Nyugaton sokkal kisebb volt a képzett művészek száma, a táblaképek értelmében vett műalkotások mennyisége is sokkal kisebb volt nyugaton, ahol valószínűleg egyetlen diptichonként magában állt az ortodox "ikonsarokra" jellemző nagyobb gyűjtemények helyett. Csak a 15. században kezdte megközelíteni a festett műalkotások létrehozása a keleti szintet, kiegészülve a krétai iskola tömeges importjával. Ebben a században az ikonszerű portrék népszeűségét óriási mértékben megnövelték a papírra nyomtatott régi mesternyomatok, főként a fametszetek bevezetése, amelyeket hatalmas mennyiségben állítottak elő (bár alig maradt fenn néhány). Ezeket többnyire kézzel színezve az egyházak árulták, és a legkisebb méretek (gyakran csak egy hüvelyk magasak) még a parasztoknak is megfizethetők voltak, akik egyenesen a falra szegezték azokat. A reformációval a korai lutheránusok kezdeti bizonytalansága után, akik néhány ikonszerű ábrázolást festettek vezető reformátorokról, és továbbra is festettek jeleneteket a Szentírásból, a protestánsok határozottan ellenezték az ikonszerű portrékat, különösen a nagyobb méretűeket, még Krisztusról is. Sok protestáns ezeket bálványimádásnak tartotta. Katolikus egyházi nézet A Katolikus Egyház elfogadta az ikonodulátus rendeleteit, a Hetedik Ökumenikus Zsinat képekkel kapcsolatos előírásait. A katolikusok képekkel kapcsolatos hozzáállása azonban némileg eltér az ortodoxokétól. Nagy Gergelyt követve a katolikusok a képek szerepét hangsúlyozzák, mint a Biblia Pauperum, a "szegények Bibliája", amelyből azok, akik nem tudnak olvasni, mégis tanulhatnak. A katolikusok azonban a képek tiszteletét illetően is osztják az ortodoxokkal azonos álláspontot, és úgy vélik, hogy a szent képeket, amikor csak megközelítik őket, tisztelettel kell kezelni. Bár a katolikusok sík fapanel- és feszített vászonfestményeket egyaránt használnak, hagyományosan a háromdimenziós szobrok formájában megjelenő képeket is előnyben részesítik, míg keleten a szobrokat sokkal kevésbé alkalmazzák. Lutheri nézet A lutheránus-ortodox vegyes bizottság 1993 júliusában Helsinkiben tartott 7. plenáris ülésén született közös lutheránus-ortodox nyilatkozat megerősítette a ökumenikus zsinat határozatait Krisztus természetéről és a képek tiszteletéről: A nyugati vallásos művészet és az ortodox ikonográfia különbségeiről Az ortodox teológusok nehezményezik a nyugati vallásos művészet naturalista ábrázolásmódját, főleg ahol Krisztus, Teotokos és a szentek képeit festik meg. Úgy vélik, az alakok a nyugati művészetben nincsenek átlényegítve, mint az ortodox ikonográfiában, hanem a maguk emberi valójában vannak megfestve. Az ikonok liturgikus művészetének spirituális, szimbolikus és természetfeletti jellege van, és ez a nyugati vallásos festészetből kiveszett. Gyakran a sokkhatás kedvéért olyan művészetet hoznak létre, amely romlott és közönséges. Paul Azkoul ortodox ikonográfus szerint: "Az ortodox egyház egyházi művészete nem arra törekszik, hogy érzékszerveinket gyönyörködtesse, hanem arra, hogy megszentelje érzékszerveinket azáltal, hogy ugyanazt a szent táplálékot kínálja nekünk, amelyből szent szertartásaink során részesülünk. Ez a táplálék az ikonográfián, az építészeten, sőt a szent edények, a miseruhák és a templomban található minden más, ember alkotta tárgy művészetén keresztül jut el hozzánk." Az ikonfestészetben szenvedélyek és a romlandóság helyett halhatatlanságot, jámborságot, szentséget, kegyelmet, erényt látunk. Mindehhez nagy küzdelmek, például intenzív ima és böjt, a kísértésekkel való küzdelem és azok legyőzése, Isten parancsolatainak szigorú betartása és rendíthetetlen engedelmesség járul. "A nyugati művészek a szenteket saját tetszésük szerint vagy minimális és evilági képzeletük szerint ábrázolják, a bűn megmarad, a szentté válásért folytatott hősies küzdelem hiányzik, nincs semmi építő jellegű, míg az ikonográfia a szentek küzdelmét ábrázolja a bűn felett, a megvesztegethetetlenséget elért győzelmet, az istenivé válást, az üdvösség koronájának elnyerését." – vallják az ortodox teológusok. Ikonok a 20. században Paleh már Nagy Péter idején ismert volt az ikonfestőiről. A palehi ikonfestészet fénykorát a 18. században, illetve a 19. században élte. Egyéni stílusa a moszkvai és a novgorodi ikonfestő iskolák hatását mutatta. A 20. század elején számtalan templom restaurálásra szorult, a munkálatok nagy részét a palehi mesterek végezték. Így a valagyirmiri, rosztovi, novgorodi, jaroszlavli ikonok és falfestmények helyreállításában is. A moszkvai Kreml Angyali Üdvözlet (Blagovescsenszkaja)-székesegyházban a Szafonovok, illetve a Vlagyimiri istenanya elszenderedése (Uszpenszkij)-székesegyház restaurálásában Bakanov vett részt. A régi ikonokat a modern megrendelők ízlése szerint átfestették, de nem egy esetben felfedték a már átfestett rétegek alatti régi képeket, és ezek iránt országszerte nagy érdeklődés mutatkozott. Fokozatosan kialakult egy új nemzedék, akik a régi hagyományok alapján, az ikonfestészet nyelvezetének ismeretével és megfelelő mesterségbeli tudással voltak felvértezve. Különösen Andrej Rubljov művészetét tartották nagyra és az ő stílusában is alkottak. Az új ikonfestő iskola a a Moszkva melletti Szent Szergij Szentháromság-lavrája (Szergijev Poszad), és a pszkovi Barlang (Pecserszkij)-kolostor központokkal működött. 1917-es forradalom után számtalan orosz ikon került az emigránsokkal külföldre. A menekültek a hagyományőrzés mellett új iskolák alapításával is próbálkoztak, így például Párizsban alkotott Grigorij Krug (1909–1969), modern, egyszerű eszközökkel, amelyek mégis a hagyományokra támaszkodnak. Leonyid Uszpenszkij (1902–1987) szintén Párizsban tanult és jelentős elméleti, teológiai munkáiról ismert. Ezek mellett folyamatosan nyitottak ikonfestő iskolák Németországban, Olaszországban, és az Amerikai Egyesült Államokban. Görögországban az eredeti posztbizánci (inkább barokkos, manierista hagyományokhoz ragaszkodva a fejlődés és az ikonfestés megújítása elmarad az európai színvonaltól, elsősorban a turisták igényeinek igyekeznek eleget tenni kézműves szinten. A kortárs orosz ikonfestő iskolák közül kiemelkedik a Pszkov melletti mirozsai Úr Színeváltozása (Szpasz Preobrazsenyija)-kolostor szerzetesi közössége által működtetett iskola Zinon apát vezetése alatt. Itt az imákban való elmélyülés és az ökumenikus és kulturális nyitás mellett keresnek kapcsolatot a festészeti hagyományokkal. Ez a törekvés világszerte terjed, a széles közönségben igény merül fel a régi ikonfestészet hagyományainak megismerésére. A pszkovi műhelynek a 21. század elején mintegy 400 tanítványa volt. Itt nemcsak a technikát tanulják, hanem a liturgiát is tanulmányozzák, különösen a bizánci-szláv liturgiát a többszólamú szent énekeket. Ikonok Magyarországon A magyarországi ikonfestészet döntően szerb, bolgár, görög, román illetve magyar ajkú görögkatolikusok emléktárgyain alapul. Ez az etnikai sokféleség egyedülálló a posztbizánci művészetben, és még egy adott mikrokörnyezetben is kifejezésre jutott a területükre betelepülő, azonos vallási rítusokkal rendelkező, de eltérő nemzetiségű népesség miatt. Az ikonok megjelenéseinél nem ritka, hogy idegen mester által festett ikont saját felirattal látták el például egyházi szláv nyelven. Amíg a szerb templomok alapítása többségében a törökök elől menekülő szerbeknek (rácoknak) köszönhető, addig a görögök éppen a törökök nyomában jöttek az országba különböző karavánokkal és sok helyen pihenőket hoztak létre (Görögszállás, Görögtanya, Görögkút). Ezeken az utakon a magukkal hozott ikonokat védelmezőként tisztelték. Jellemzően szerb templomokat látogattak, ahol esetenként a magukkal hozott ikonokat is otthagyták. Amíg a magyarországi ortodox ikonfestészet a legtöbb esetben az anyaországi stílusirányzatokat követte, addig a szerb ikonoknál a 18. századtól megfigyelhető, hogy az anyaország mintának tekintette a Magyarországon működő mesterek ikonfestészetét. A fontosabb ikonok egyben különleges témákat is dolgoznak fel. A meglehetősen ritka Galaktotrophousa Isten Anyja a 17. század elejéről Tokajról származik, és a gyermekét szoptató Máriát ábrázolja. Ebben a bizánci hagyományok szerint meglehetősen ritka ábrázolásban feltűnő, hogy nem az anya-gyermek kapcsolat a mérvadó, hanem a később krisztussá lett mindenható megjelenése. A 17. századi Szenvedő Isten Anyja ikon a pesti görögség kegytárgya már az anya-fiú bensőséges együttlétét mintázza, azonban a felnőttes megjelenésű gyermek keresztre vetett tekintete az eljövendőt jósolja, anyja csendes belenyugvása mellett. A csecsemők védőszentjéről, az örményországi Melitinében született Efthymioszról festett ikont a 17. században hozták görög szerzetesek Kecskemétre. A szerbek és görögök által használatos győri Szent Miklós-templomban az 1660-ban festett Hodigitria Isten Anyja-ikon található. Ez az ikon jelentős példája a bizánci hagyományok továbbélésének. Hasonló stílusban a szerb Athosz-hegy ikonfestői dolgoztak. Az 1646-ban létrejött ungvári unió következtében a keleti keresztény egyházak egy része (oláh vagy vlach, és ruszin) csatlakozott a római katolikus egyházhoz, templomaik a népesség életmódjának megfelelően főként fából készültek (például a mándoki és abaújszolnoki templomok). Az egyesülést követően az ikonfestők ezek díszítésében átvettek bizonyos nyugati ábrázolásmódot is. Eközben megjelennek a nyugat-európai hatásokat mutató ikonok, amelyek többnyire a háttér realisztikus megformálásával tűnnek ki. A 17. századtól polgári szervezetek, úgynevezett testvériségek alakultak, akiknek a festőik tudatosan másolták a nyugat-európai mintákat. Maga a technika is megváltozott. Tempera helyett olajfestékkel kezdtek el dolgozni. Erre példa a Mogyoróskai Eleusza Isten Anyja-tábla. A kis vidéki műhelyek azonban még tartották a bizánci hagyományt. A bizánci régi ortodox táblák általában Krisztust fél- vagy teljes alakosan ábrázolják, a baktakéki Megváltó isteni természetére a kék himatión utal, de ezalatt már a barna árnyalatú öltözet látszik, ami Krisztus emberi természetét szimbolizálja. Ekkor már megjelentek a még síkban komponált de az alakok tekintetében már plasztikus megformálások is, így például a Kántorjánosiból származó 17. század ban készült Hodegetria Isten Anyja-ikon vagy pedig a győri Hodegetria Isten Anyja-ikon már az újfajta ikonográfia szerint készült, de még felfedezhetők az erőteljes bizánci hatások és hagyományok is. A hagyományos stílust követték a kisebb vidéki műhelyekből kikerült ikonok, így például a máriapócsi Hodegetria Isten Anyja-ikon is, amely 1696. november 4-én a legenda szerint a pócsi templomban könnyezni kezdett a török rabságból felszabadult magyarságot megsiratva. Ez az ikon I. Lipót császár feleségéhez, Eleonóra császárnéhoz jutott Bécsbe, ahol ünnepélyesen elhelyezték a Stefan-dómban, Savoyai Jenő törökök feletti végső győzelmét segítette elő a hiedelem szerint. Ezt a nemzetközileg is jelentős ikont csodatevőnek tartják, eredetileg Papp István festette fogadalmi ikonként. Jelentős emlék a 17. század végéről származó Szenvedő Oszlopos Simeon, amely Sárospatakon került elő. Az oszlopos szentek a negyedik ötödik században Kis-Ázsiában oszlopok tetején aszkéta életmódot folytattak. Ezeknek az ikonoknak a közös jellemzőjük hogy mindegyiket egyfajta népi naivitás jellemzi, egyúttal felfedezhetők rajtuk a festők bizonyos fokú képzetlensége is. A görög katolikus ikonok az ortodox tábláktól méretükben is különböznek, ami azt jelenti, hogy nem arra készültek, hogy elszállítsák őket egyik helyről a másikra, mint az úgynevezett utazó szenteket, hanem többségük már jelezte a letelepedett életmódot. Az utazó görög kereskedők a marhák értékesítése mellett borral, rizzsel, gyapottal, dohánnyal is kereskedtek. A törökök távozása után Lipót császár felhívására görög, szerb, román kereskedők lepték el az elnéptelenedett városokat. A betelepülőkkel tartott az ipeki (Pec) patriarcha Carnojevic Arsenije, aki védelmet ígért a szerbeknek. Ennek azért volt jelentősége, mert a patriarchával a szerbség egyik legbefolyásosabb egyházfője jelent meg Magyarországon. Az egyik leghíresebb imaházuk a komáromi szerb templom volt. Ez az 1665-ben emelt épület amelyben egységes stílusban maradtak meg az ikonok. Ennek leghíresebb ikonja Lázár feltámadása, illetve Krisztus mennybemenetele. Az ikon festője Georgiosz zograf, (Zograf jelentése Vándorfestő) akinek képein a krétai stílus nyomai fedezhetők fel. A betelepülők számos kegytárgyat hoztak magukkal, egyik leghíresebb a Gherasim ieromonarch megbízásából festett triptichon, amelyik a bajai Szerb templomból került elő. A menekülés során a szerbek nem egyszer fatemplomokat emeltek, ezek többsége mára már megsemmisült. Többségük sárból összeragasztott vessző és gerendatemplomok voltak (paticstemplomok), amelyek főleg 1690 után Illocskán, Majson, Medinán jelentek meg, de megjelentek ezek Dunaszecsőn, sőt megsemmisült templomok helyén a Tabánban is. Szentendrén több templom is épült. A templomokat liturgikus tárgyakkal, ikonokkal, könyvekkel, ereklyetartókkal töltötték fel, amik előállításához szükség volt mesterekre is. Egyik leghíresebb mester, aki oktatott is, az elsősorban könyvmásolásban jeleskedő Kiprijam Racanin volt. Stílusában és szerkezetében a könyvek miniatúráihoz hasonlít a 18. század elején készült az Úr színeváltozása ikon, amely a "tabakosok" avagy dohánytermesztők templomából került ki szentendrei műhelyből. A képen az áldást osztó Jézus mellett balra Illés jobbra pedig Mózes látható. Ekkor már Szentendre a magyarországi ortodox egyházművészet központjává vált. A vándorló görögök a 17. század vége felé már letelepedtek, boltokat hoztak létre országszerte, és ők vezették be a váltó fogalmát is a magyar kereskedelmi forgalomban. Kereskedő-társaságukat úgynevezett Kompániakat alakítottak ki. A bécsi udvar nem nézte jó szemmel a görögök tevékenységét, mivel féltette tőlük az osztrák és magyar kereskedők érdekeit. A Gyöngyösön letelepedett görögök szerény imaházat hoztak létre, díszítésére meghívták Mitrofan zográfot, aki Szent György és a sárkány ikonjával írta be magát a hazai ikonfestészet történetébe. Egyik leghíresebb kompozíciója a Trónoló Isten Anyja a gyermekkel, a Szenvedéstörténet eseményeivel, és a Szentekkel. Az 1720-as évektől Szentendrén is fellendült az ikonfestészet, ezzel együtt a templomok kialakítására is nagyobb gondot fordítottak. Az esetleges műhely Szentendrén volt, innen látták el a budai vagy a pesti szerb egyházközség templomait is. Az ikonfestészet mellett jelentősek voltak az úgynevezett szentélyrekesztők faragásai, rengeteg növényi motívumokkal díszített faragott ajtó, kis kép keretek kerültek ki a műhelyekből. Az esztergomi templom részére készült Szent Miklós-ikon a kisázsiai Myra püspökét jeleníti meg. Jelentősek Lázár mester művei is, elsősorban Keresztelő Szent János ábrázolásával tűnik ki. Ugyanekkor jelent meg egy másik, főleg vidéken alkotó festő, aki Krisztus a nagy főpap és a Pantokrátor képeivel jelenkezett. Krisztusképei itt a Palaiologosz-korban népszerű Deészisz-kompozíciókra emlékeztetnek. A már lebontott ráctöttösi templom 1720 körül festett Portratissa Isten Anyja ikonja már igen fejlett technikai tudást feltételez, nem a szentendrei műhely kevésbé tehetséges tanulói festették. A hagyományos Hodigitria-típusnál meghittebb ábrázolásmódot mutat. Az anya főhajtással tiszteleg gyermeke szeretetteljes tekintete előtt. A ráctöttösi ikon hátterének kék színe jellemző arra a műhelyre, amelyben készült és később művein keresztül országszerte ismertté vált. A szentendrei, 1690-ben emelt, a szerb pozarevackai menekültek által emelt templom ikonjait két bánáti festő, Georgije Ranité és Nedelko Popovic készítette a 18. században. Az 1699 ben létrejött karlócai béke után a menekült szerbek már nem mehettek vissza hazájukba, ezért végleges letelepedésük időszerűvé vált. Templomaikat már téglából építették, a grábóci erődtemplom, a szentendrei Preobrazenska-templom, a beremendi, a győri ortodox templom is ekkor épült. Ezek nem kupolás templomok voltak már (kivéve a grábócit), hanem egyhajós tornyos barokk stílusban épültek. Ebbe a megújítási folyamatban kapcsolódik Hrisztofórosz Zefar festő törekvése is, aki a barokk festészeti elemeket ötvözte a hagyományos ikonográfiai hagyományokkal. Grábóci fő műve a Deészisz szentekkel-ikon. Bár ő később Bécsbe távozott, tanítványai a siklósi szerb templom ikonjait készítették el. Pavle Nedadovic metropolita az 1750-es években a festészet radikális megújítását tűzte ki célul, de inspirációért nem nyugatra, hanem keletre fordult, az ukrán és orosz iskolák felé, ahol a barokk festészet és az ortodox hagyományok egyesítéséren tettek akkoriban határozottabb kísérletet. A görög és román ortodox kisebbség követte az irányzatot, ami bizonyítja, hogy a legnagyobb számú szerb közösség mértékadó volt a magyarországi ortodox egyházművészet kialakításában. A legismertebb festőműhely, amely az úgynevezett "szláv barokk" mentén tevékenykedett, a szentendrei volt. A gyöngyösi templom részére 1764-ben festett Szent Naum élete című munkájuk volt, de jelentőset alkottak a székesfehérvári Keresztelő Szent János születése-templom, a ráckevei Isten Anyja elhunyta-templom faliképeinek kifestésében is. A makedóniából néhány társával érkező Theodórosz Szimo vezetésével alkotó csoport jelentős, egyéni ikonográfiai nyelvezetet alakított ki. A gyöngyösi egyházközség számára festett ikonosztáz jelentős darabja a Krisztus alászállása a pokolra-ikon. A magyarországi görögség Szent Naumot földijüknek tekintették ugyanis nézetük szerint Makedóniából származik. Szent Naum a hazugság és a tolvajlás szigorú ellensége volt. A ráckevei festőcsoport egyedi stílusú képei képei az egész európai posztbizánci ikonfestészet különleges darabjai. Nemcsak a magyar, hanem az ukrán és orosz ikonfestészetben is a 17-18. századtól egyre inkább a barokkos stílusjegyek kezdtek dominálni, de ez sehol sem volt annyira erőteljes mint a magyarországi ikonfestészet terén. Ennek oka valószínű a nyugati hitvilágú kereszténység közelsége. A barokkos képi elemek nagyfokú beemelésével a 17-18. században készült festmények nagy része elvesztette ikonszerűségét, és már nem a vallásos áhítat tárgyai voltak, hanem dekoratív céllal hozták létre ezeket az alkotásokat. A teljes axisívet betöltő ikonfalakat borító festmények már inkább szentképnek tekinthetők mint ikonoknak. Az ekkor alkotó művészek nagy része már inkább a bécsi Művészeti Akadémia kívánalmainak megfelelően festett, mint az keresztény ortodox hagyományoknak. A 19. században azonban megjelentek már népies stílusok is. Eltűnt az ikonokra annyira jellemző, úgynevezett fordított perspektíva is és a nyugati centrális perspektíva lépett a helyére. Itt már nem a mozdulatlan aszketikus szenteket ábrázolták, hanem életteli mozgó alakokat. Néha már inkább a népi misztériumjátékok vallási hordozóivál váltak. A 20. században már kizárólagos neobizánci stílus uralkodik ismét, ami azt mutatja hogy a barokkos világias és népies ikonfestési stílusok zsákutcának bizonyultak. Ikonok imádása A kép tisztelete annyit jelent, hogy az eredetit, nem a képmást tiszteljük. Hasonló analógia rejlik a Római császárkultusz képeinél is. Az ikonok festése során a festő imádkozik, átlényegül és az alkotás megtelik szentlélekkel, ami már nem az anyag, hanem az anyagon túli transzcendens Isten lenyomata. A keleti ortodox felfogás szerint tehát egy Krisztus-ikont megcsókolni azt jelenti, hogy szeretetet mutatunk maga Jézus Krisztus iránt, nem pedig az ikon fizikai anyagát alkotó puszta fa és festék iránt. Az ikon előtt a hívő letérdel, imádkozik hozzá, mintha valóságos megtestesülés lenne, és az ortodox tanítások szerint valóban az. Theodórosz Sztuditész szerint Krisztus lényege az őt megörökítő anyagtól független, az anyagban nem közvetlen a képmást, hanem magát Jézust tiszteljük. A hívő az ikon keretét megérintheti ajakkal és a képen szereplő alakokat csókkal illetheti bizonyos szabályok szerint, de például az arcot megcsókolni tilos, Krisztusnak a kezét (mellképen), egyébként a lábát, az istenszülőnek a kezét szabad megcsókolni. Akheiropoiétosz (nem ember által készített) Kisztusábrázolás esetében a hajfonatot szabad csak megcsókolni. Megjegyzések Jegyzetek Fordítás Források További információk Berhard Bornheim: Ikonen – Ein Sammlerbuch Augsburg 1990, Berhard Bornheim: Die russische Haus-Ikone im Wandel der Zeit 1. Auflage 2008, Regenstauf: Battenberg-Verlag 2008, Gerhard Wolf: Icons and sites: cult images of the Virgin in mediaeval Rome. In: Maria Vassilaki (Hrsg.): Images of the Mother of God: perceptions of the Theotokos in Byzantium. Ashgate, Aldershot u.a. 2008, p. 23-49, The Meaning of Icons, by Vladimir Lossky with Léonid Ouspensky, SVS Press, 1999 Leonid Ouspensky, Theology of the Icon", St. Vladimir's Seminary Press, 1978 Ямщиков С. В.: Древнерусская живопись: Новые открытия (альбом). М.: Советский художник, 1966 V. N. Lazarev: A moszkvai ikonfestő iskola; ford. Nagy Márta, Szántó András Gábor; Corvina, Budapest, 1983 Valerij Szergejev: Rubljov; ford. Soproni András; Gondolat, Budapest, 1987 Lepahin Valerij: Az óorosz kultúra ikonarcúsága''; ford. Ferincz István, L. Murai Teréz, Erdei Ilona; JATE, Szeged, 1992 Keleti keresztény egyházak Festészet Ikonográfia

Q: How to use less Bipolar Stepper-Motor Drivers I make a CNC machine with lot of drivers (12) and the quality ones are quite expensives. As I never use all the motors at the same time, and the fact that the unused/resting motors can be off is not a problem, I wonder if a good strategy exist for being able to "switch" between groups of drivers (in 24V 4A), for this case I only need to use 4 at the same time maximum. In other words, is it possible to control by example 12 bipolar stepper motors with 4 drivers ? This would be really useful for saving money and also saving micro-controllers pins.

Beloved wife of the late Robert H. Gilbert and the late Horace J. Anderson. Loving mother of Kathleen (John) Newkirk, Wanda (Nick) Bauer and Ronald James Gilbert. Cherished grandmother of Tara (Sam) Robuck, Erin (Jason) Wesson, Nicholas (Liesl) Bauer, David Bauer and Danielle Jones. Adored great grandmother of Jeff, Nick, Brynn, Dylan, Parker and Finley. Dear sister of the late Bill, Bob and Tom Johnson. Also survived by loving nieces, nephews and friends. Passed away on Tuesday February 5, 2019 Age 89 years. Visitation 9 AM to 10 AM Saturday February 9, 2019, followed by a 10 AM Funeral Service at the Dalbert, Woodruff & Isenogle Funeral Home, 2880 Boudinot Ave., Cincinnati, OH 45238. If desired memorial contributions may be made to Hospice of Southwest Ohio, 7625 Camargo Rd., Cincinnati, OH 45243.

What is High Energy Physics and Cosmology? The UB High Energy Physics and Cosmology (HEPCOS) group combines experimental faculty working on collider physics with theoretical faculty investigating frontier issues in particle physics, astrophysics, and cosmology. Experimentalists conduct research at the Large Hadron Collider at CERN in Geneva, Switzerland, and at the Tevatron at Fermilab near Chicago. The HEPCOS group investigates fundamental questions at the frontier of cosmology and high energy physics, connecting high-precision cosmological and accelerator data to questions such as the origin and evolution of the universe, origin of mass, the nature of physics beyond the standard model, the unification of gravitation with quantum mechanics, and the role of the vacuum in the structure of space and time. These are among the foremost unsolved issues facing physics in the twenty-first century. The group's research is notable in its close focus on direct connection with collider experiments and current/upcoming astronomical data, and promises to significantly advance the state of the art in our understanding of fundamental physics. Graduate and undergraduate student researchers are an integral component of research in HEPCOS at UB. Ciaran Williams, Assistant Professor of Physics, has been awarded a prestigious National Science Foundation CAREER award to continue his theoretical work for the CERN Large Hadron Collider. See the coverage in UBNow for more information. Anne Fortman received an 2017 Goldwater Scholarship. Congratulations, Anne! Where are the High Energy and Cosmology alumni of the past ten years now ?

Are you interested in sponsoring one or more of our upcoming events or publications? It's an excellent way to reach out to businesses and organizations in the region while also supporting the work of the Tri-County Regional Planning Commission. Please see our sponsorship opportunities below, along with the great benefits they offer, and select the ones you'd like to register for. After you've made your choice(s), click the orange sponsorship button below, fill out the form, print it and mail it to us with your payment. You may also click the image at right to view and print our sponsorship brochure. Questions? Email Communications Coordinator Larry Portzline or call 717-234-2639. NOTE: Your sponsorship may be tax-deductible under section 170(c)(1) of the Internal Revenue Code. TCRPC's annual luncheon is an excellent sponsorship opportunity because it brings together elected leaders, municipal officials, planners, developers, engineers and others to dine, network and discuss the region's future. Our 2018 luncheon is set for Thursday, May 3 at the Sheraton Harrisburg Hershey Hotel, 4650 Lindle Road, Swatara Township. We hope you'll save the date and consider becoming a sponsor by clicking on the button below, filling out the easy-to-use form and returning it to us. Recognition on the TCRPC website with your organization's logo and a link to your homepage. TCRPC's education and training events are held throughout the year. Whether you join us for our newly expanded "Lunch and Learn" series or take part in a Pennsylvania Municipal Planning Education Institute course, there are multiple opportunities to expand your knowledge and earn professional continuing education credits. Your organization can be the primary sponsor of all our education and training events, including at least two training sessions and over a dozen "Lunch & Learn" events. Your business or service logo will be featured in all promotions and publications, as well as on-site at each event and on the Education & Training section of TCRPC's website. Your business or service logo will be provided on each "Lunch & Learn" event presentation screen and on the "Education and Training" section of TCRPC's website. The TCRPC newsletter publishes three times each year -- in March, July and November. Each issue features news and updates about our diverse projects, education and training programs, upcoming events and much more. With an electronic distribution of over 2,200, it's a prime way for us to communicate with our planning partners. You can reach these same folks by sponsoring the newsletter and placing your organization's ad in all three editions in 2017! NOTE: Tiff or PDF files at 300 ppi resolution are preferred, but other formats and resolutions are accepted. Contact us with questions. TCRPC's Premier Project Awards, which acknowledges planning excellence in Dauphin County, has been expanded to align with the county's new comprehensive plan. It recognizes projects which demonstrate the importance of planning decisions that advance smart growth, spark revitalization and enhance the quality of life for residents. The sixth annual Premier Project Awards luncheon is scheduled for 11:30 a.m. on Tues., Jan. 9 at the Dixon University Center on N. 2nd St. in Harrisburg. Organization-supplied memento at each table. Organization name & logo on event screen presentation. Inclusion in all event promotion. Find out how to see your name/logo here!

Q: Firebase/Hugo build from Github succeeds, but index error occurs on website Building a Firebase/Hugo static website that updates when Github repo changes. I am using the standard theme from the Quickstart guide: https://gohugo.io/getting-started/quick-start/ The webpage runs fine locally. hugo server -D The webpage runs fine when I deploy build to Firebase. firebase deploy --only hosting The webpage does not run fine when I trigger the build from Github repo, despite Google Cloud Build saying it successfully. * *Commit and push changes to Github repo *Triggers a Google Cloud Build based on the cloudbuild.yaml in Github *Both build steps (Hugo and Firebase) are successful The result of visiting the URL is the following message: Page Not Found This file does not exist and there was no index.html found in the current directory or 404.html in the root directory. Why am I seeing this? You may have deployed the wrong directory for your application. Check your firebase.json and make sure the public directory is pointing to a directory that contains an index.html file. You can also add a 404.html in the root of your site to replace this page with a custom error page. I've tried changing the "baseURL" in config.toml to the custom domain, the firebase domain, and the Github repo URL. Nothing. Link to the Github repo here. 4/16 Update: It works if I do not include public folder in the .gitignore A: Did you complete the CI Setup?

\section{Introduction} \label{intro} In the coming years, the next generation of radio telescopes are expected to survey large areas of sky to a sensitivity which could see the discovery of hundreds of transient and variable sources \citep{Fender2015, Metzger2015}. Previous discoveries of radio transients proved that relying solely on radio data makes it extremely difficult to validate both the nature, as well as the reality of the source (\citealt{Bower2007}; \citealt{Stewart2016}) and that it is vital they are supported by simultaneous multiwavelength observations or rapid follow up. On the other hand, with a rate of transient/variable candidates as high as expected, it will not be possible to follow up each event with other multiwavelength instruments. However, if the nature of the source is constrained as early as possible, decision-making strategies can be created to follow up the type of events relevant to specific science goals. The importance of the automatic classification of light-curves has been discussed before in the context of deep surveys carried at optical wavelengths, with attempts to include automatic classification of transients into optical surveys (\citealt{saglia2012, djorgovski2012}). Extended investigations of different ways to approach this task include developing classification techniques based on machine learning methods \citep{richards}, Bayesian theory \citep{pichara}, density approach (eliminating direct measurements of features such as magnitude or color; \citealt{kugler}), fitting non-complete light-curves \citep{Lo2014} and other non-parametric techniques \citep{varughese}. Those methods have been developed using archival optical light-curves as training datasets, as well as X-ray transients (\citealt{Lo}, with a supervised learning technique implemented). For radio data, \citet{rebbapragada} test different classification algorithms on simulated light-curves in preparation for the ASKAP VAST survey. Most of these methods, although they work effectively on sparse and noisy datasets, require the light-curve/flare to be (mostly) complete. In this work, however, we are focused on investigating whether an initial classification of the source based on the partial information about its light-curve is possible. For any transient or variable candidate discovered in a blind radio survey, the most basic measurable property of the light-curve is its variability time-scale. Here we present a potential technique of classifying these types of events by measuring the rise/decline rates of their flares, which could be used as the early step in a more complex classification pipeline. At the moment however, due to the relatively small data sample used to develop the method, it is not a final classification solution. As we have previously shown (\citealt{paper1}; hereafter PFK15), there is a correlation between the luminosity ($L$) and rise/decline rates ($\tau$) that exists between different classes of synchrotron emitting sources, approximately $L \propto \tau^{5}$. It covers a wide range of events, from nearby flare stars to extragalactic supermassive black holes, with the more massive and luminous objects displaying variability on progressively longer time-scales. Although it has been expected previously that more massive and luminous objects vary on much longer time-scales compared to intrinsically faint sources \citep{vdl}, the analysis presented in PFK15 showed a clear distinction between different classes of objects occupying the luminosity -- time-scale parameter space. Because at the time of discovery of a radio event its distance is unknown (unless a counterpart at other wavelengths is immediately identified), the information about the luminosity is not available, and the discussed relation (Figure~3 in PFK15) is reduced to a distribution of the variability time-scales. This result offers an opportunity to develop a method which could be used to perform an initial classification of an unknown object based on its radio data only. Approximate classification by time-scale and luminosity has its analogues in the field of optical transients (e.g. Fig 1 of \citealt{Rau2009}). It should be noted, that the results presented in PFK15 were based on the analysis of a sample of single flaring events, manually selected from various radio light-curves. However, if we were to base an early classification on those results, the analysis should be done in a reproducible way, such that the bias introduced by identifying flares by eye is minimized. In order to do that, we have developed a basic piece of software which automatically identifies and selects flaring events from the radio light-curves in our sample. Our routine is based on a simple thresholding approach, where any variability of the light-curve above a chosen flux density threshold is defined as a `flare'. However, this routine is designed to work specifically on the diverse dataset analysed in this study. In future surveys, where data quality is more consistent, complex algorithms will be more appropriate to be used as part of the detection pipeline. An important aspect of the presented analysis which needs to be carefully addressed is the bias associated with our sample of radio light-curves. The number of objects analysed within each class represents the frequency and quality of observations rather than the actual sky density of those sources. Therefore, in order to accurately predict the probability of finding a given class of objects, this effect needs to be accounted for. Although the exact areal densities of analysed classes of objects are not well known, we attempt to estimate those values and convolve them with the obtained distribution of rise/decline rates across a range of considered classes. This final distribution provides an initial reference point against which we can compare the measurements of time-scales taken for any newly discovered transient/variable candidate. In Section~\ref{data} we describe the sample of light-curves used in the analysis. Section~\ref{flarefinding} provides details of the simple flare finding routine we developed to select flares from our sample of light-curves, as well as an overview of alternative methods for the flare selection. We describe the analysis of selected flares in Section~\ref{analysis} and give details of the estimation of expected areal densities in Section~\ref{se}. Final results are presented in Section~\ref{results} and discussed in Section~\ref{discussion}. Conclusions are given in Section~\ref{conclusions}. \section{Data} \label{data} The data included in the analysis span a broad range of radio variable sources, observed at frequencies between 5 and 8 GHz, compiled from the literature and the Green Bank Interferometer (GBI) archive\footnote{\url{ftp://ftp.gb.nrao.edu/pub/fghigo/gbidata/gdata/}}. Overall, the analysed light-curves originate from a range of instruments and different observing programmes, therefore, there is no consistency in their sampling intervals, length of time series or sensitivities. The number of sources from different classes is as follows: AGN (28), tidal disruption events (2), supernovae (13), GRB afterglows (4), classical novae (7), dwarf nova (1), X-ray binaries (18), magnetar (1), RSCVn (3), algol (3), magnetic CVs (2) and flare stars (4), giving the total number of light-curves from synchrotron emitting sources of 92. A detailed list of sources included in the sample, together with corresponding references, can be found in PFK15, with the exception of one tidal disruption event not included in the previous work - details of this source are summarized in Table~\ref{tdesample}. Additionally, listed in Tables~\ref{sctsample} and \ref{esesample} are scintillating sources and extreme scattering events (ESE). Because the discussed luminosity--time-scale correlation applies to intrinsic variability only, these sources are not included in the main analysis. However, we use this sample to investigate the time-scales of extrinsic variability and discuss the extent of overlap with time-scales of synchrotron flares (Section~\ref{discussion}). The errors of the flux density measurements have been provided for all the GBI data sets, and listed in selected papers. In cases where the errors were not specifically stated, we have estimated them based on the published figures, which, in majority of the cases meant taking ten per cent of the flux density measurement. The following section describes the basic flare finding software, which automatically selects flaring events from the described sample of radio light-curves, in order to analyse variability time-scales across the classes of objects. \section{Automatic selection of flares} \label{flarefinding} \subsection{Overview of flare identification methods} There are a number of possible approaches to measuring time-scales, and in particular flaring time-scales, in time-series data. Perhaps the simplest and most intuitive approach is to adopt a given threshold and designate any contiguous sections of the time-series above that threshold as a `flare'. A time-scale measurement can then be obtained by measuring the time spent above the threshold level, but of course this requires that we wait for the flare to subside. Alternatively we may attempt to fit a model of some kind to any data points already recorded. This approach has often been adopted in the past due to its relative simplicity, robustness, and ease of implementation. Depending on the model-fitting requirements the thresholding approach can also be extremely computationally efficient, and hence suitable for real-time applications. \\ However, there are several draw-backs to the basic thresholding approach. First and foremost, finding a suitable threshold level can be a somewhat arbitrary process. If sources of noise are well characterised then a threshold can be chosen on the basis of a calculated false-positive rate, but this may not be possible in all cases. Even if instrument characteristics are well known, an astronomical source may display low-level intrinsic variability which is qualitatively different to the rapid flux-rise-and-decay characteristic of a flaring event. As such it may be necessary to devise some kind of calibration technique (as we do in this work) or even to manually pick a suitable threshold level. The second problem is that of choosing a suitable model for flare-fitting, which again is often somewhat arbitrary, although hopefully motivated by knowledge of the physical processes at work. Additionally, simple thresholding provides no means of separating multiple-superimposed flares, which degrades the accuracy of any model fits. Finally, a point-wise threshold will always lose some sensitivity compared to more sophisticated approaches, if enough is known about the flare-morphology to apply an effective matched-filter. In the more general context of time-scale measurement, model-free metrics such as autocorrelation time and other metrics for aperiodic variability \citep{findeisen2015} can be applied, but typically require a large amount of variable time-series data to work effectively. Since we are interested in time-scales as an early-time classification tool, we do not consider these approaches further here.\\ More advanced change-or-flare-detection techniques typically take a probabilistic approach. As such they give a more rigorous and informative measure of the time-series data, at the cost of additional computational time and complexity. One possibility might be application of the Bayesian Blocks algorithm \citep{scargle1998} for a model-free probabilistic method of change-detection. This side-steps the problem of threshold-determination, but again does not provide an early-time estimate of characteristic time-scale. If a reasonable model can be chosen, then Monte-Carlo methods can be applied to estimate the likelihood of a flare presence with excellent sensitivity \citep{pitkin2014}, or even to dissect the time-series into multiple superimposed flares \citep{Huppenkothen2015}, though this requires significant computational time. A thorough investigation of the relative accuracy and efficacy of such methods would be interesting, but is outside the scope of this work. \\ In our case, advanced flare finding techniques are not suitable to work on the diverse sample of light-curves we analyse. For this study we apply a thresholding approach with a simple exponential model. This provides a reasonably robust time-scale estimation for modest computational effort, albeit with some limitations to applicability, as detailed below. \begin{figure*} \includegraphics[width=0.49\textwidth]{Fig1a.eps} \includegraphics[width=0.49\textwidth]{Fig1b.eps} \includegraphics[width=\textwidth]{Fig1c.pdf} \caption{Example figure showing the detection of flaring events in the radio light-curve of the binary SS~433~(GBI). {\em Upper panel, left}: light-curve of the source and flaring events selected by the Automatic Flare Finder (AFF). Marked with the dashed green line is the estimated quiescent flux level (labelled `median' in the key). The blue and red lines indicate the variation above the quiescent level by 3$\sigma$ and 5$\sigma$ respectively. The black symbols on each flare mark: start/end of the flare (triangles), data point triggering the flare detection (pentagons) and the peak of the flare (stars). {\em Upper panel, right}: histogram of flux density values for the light-curve after sigma clipping has been applied. Flare-threshold values of 3$\sigma$ and 5$\sigma$ are marked by the blue and red vertical lines respectively. Curve overplotted in blue represents a Gaussian distribution with median and median absolute deviation matched to the sigma-clipped data. Curve overplotted in green represents a Gaussian distribution of the same median, but with quiescent variability matched to the formal error bars on the flux-density measurements, clearly showing that the formal error bars underestimate the low-level variability in this light-curve. {\em Lower panel}: close up view of two flares selected from the light-curve, showing clearly the trigger, beginning, peak and end of the flare markers.} \label{AFF} \end{figure*} \subsection{Automatic Flare Finder (AFF) for PFK15 dataset} \label{aff} The flare-identification routine we tested is simple, but nonetheless provided a reproducible means of characterising flare time-scales for this work\footnote{The flare finding software along with the subsequent scripts used to model the probability distributions is available at {\url{https://github.com/4pisky/variability-timescale-analysis-paper}}}. Using more advanced methods discussed in the previous section would be impractical, since our datasets are very diverse (Section \ref{data}) and do not meet the requirements of such complex techniques. It should be stressed that, while this simple method is sufficient to select flares from our sample of light-curves, it is not intended to be used as a generic tool. It uses a simple thresholding approach, as follows: given a pre-determined quiescent or background flux level estimate, $b$, and an estimate of the signal variation due to noise, $\sigma$, the routine first steps through the data looking for data points $x$ where the flux $f_x$ is more than $5\sigma$ above the quiescent flux: \begin{equation} x: \quad f_x > b + 5\sigma\, \textrm{;} \label{eq:threshold} \end{equation} these are referred to as the `trigger' points. Once a trigger is found, the algorithm searches for the nearest data points before and after the trigger which have flux less than $1\sigma$ above the quiescent flux-level, these are designated as the flare start and end. The tricky part of this process is determining a suitable quiescent / background flux level, and estimating the levels of signal variation present when the source is not undergoing an outburst. For a source which has a well-sampled long-term light-curve encompassing extended periods of quiescence, the first problem -- `background' flux-level estimation -- is straightforward; simply taking the median flux level provides a reasonable estimate. However, when analysing a light-curve which displays flares for a significant fraction of data-period, the median may overestimate the background level. The second problem, estimating the quiescent low-level variance, is harder. Again considering the ideal case of a well-sampled long-baseline light-curve, at some level we could simply use the formal errors on the data points and designate anything greater than $5\sigma$ above the median a flare. However, many of the light-curves analysed for this paper display low-level variation which does not subjectively qualify as a flare, but which is nonetheless larger than would be expected from the formal errors, and appears persistent over multiple data points (e.g. SS 433, as shown in Figure~\ref{AFF}) -- we designate this as intrinsic quiescent variation (though varying telescope systematic noise-levels cannot be ruled out without access to the original raw data). To avoid the need to manually change the $\sigma$-threshold for each dataset according to the level of quiescent variation, we required an alternative method of estimating the low-level variation. For this purpose, we employed the sigma-clipping routine from the {\em astropy} library \citep{astropy}, using the default clipping-threshold of $3\sigma$, and iterating until convergence. This means estimating the median value of the whole light-curve, clipping all the points which are above $3\sigma$ and repeating the procedure until there are no points to reject. We have used median absolute deviation as a measure of the data variability $\sigma$. For some of the light-curves we analysed this does a good job of masking the high-flux outlier data points representing flares, however, alternative methods of finding the low-level variation for light-curves which require more specific approach are discussed in Section~\ref{prep}. We then estimate the median and median absolute deviation of the remaining unmasked `quiescent' data, and use these quantities for the values of $b$ and $\sigma$ in Equation~\ref{eq:threshold}. Figure~\ref{AFF} shows an example of the flares identified in a GBI light-curve for the X-ray binary SS~433. \section{Analysis} \label{analysis} The quality of the data described in Section \ref{data} varies significantly across the sample. Data provided by the GBI consists of noisy light-curves for both slowly (AGN) and rapidly varying sources (XRBs, RSCVn), observed on time-scale of years. Data compiled from the literature, although much less noisy, in many cases shows pre-selected flares, sometimes with the background emission subtracted (GRBs, SNe). The diversity of available light-curves presented a substantial challenge in designing software in a way that would allow us to detect flaring events with no manual intervention during the process. Even the simple thresholding method described in Section \ref{aff} sets a number of constraints on the light-curve which make it difficult to implement across the variety of the datasets. Firstly, it requires the light-curve to be long enough in relation to the duration of the flare, such that the background flux level (excluding flares) can be accurately estimated. Secondly, it needs to be sufficiently noise-free in order to avoid false detections. In this section we describe the general adjustments that have been made to the flare identification routine and/or data sample in order to make the selection of flares as optimal as possible. \subsection{Data preparation} \label{prep} Testing the AFF on all the available light-curves identified a set of issues which allowed us to divide the whole data sample into four groups. Those groups, together with list of adjustments made and example plots are discussed below. \subsubsection{Short duration flares selected from GBI (15\% of all light-curves; 84\% of analysed flares)} Light-curves in this group consist of multiple, short duration ($\approx$~days) flares, observed on a time-scale of years. This set of data as the only one in our sample presented no issues for the AFF. Figure~\ref{gbim} shows an example of such light-curve, with a number of identified flares. \begin{figure} \includegraphics[scale=0.415]{Fig2.eps} \caption{An example of a light-curve showing multiple short flares for a periodic X-ray binary LS I +63$^{\circ}$303. Flaring events selected from this 8.3~GHz GBI light-curve by the AFF are marked with the black stars. The background level has been estimated using sigma clipping method described in Section~\ref{aff}.} \label{gbim} \end{figure} \begin{figure} \includegraphics[scale=0.415]{Fig3a.eps} \includegraphics[scale=0.415]{Fig3b.eps} \caption{{\em Upper}: An example of a light-curve showing multiple flares with the quiescent level insufficiently well characterised for the automatic software to identify flares. (3C120, \citealt{3C}). {\em Lower}: The same light-curve, where the quiescent flux level has been estimated as the $15^{\mathrm{th}}$ percentile of the flux measurements, and, for calculating the flare-detection-trigger amplitude, we set $\sigma$ equal to the mean of the formal error bars on the flux density measurements.} \label{litm} \end{figure} \begin{figure} \includegraphics[scale=0.415]{Fig4a.eps} \includegraphics[scale=0.415]{Fig4b.eps} \caption{{\em Upper}: An example of a light-curve showing long time-scale flares (0224+671, GBI). With the background and the quiescent low-level variability estimated as in lower panel of Figure~\ref{litm}, some odd noisy data points are falsely identified as flares. {\em Lower}: The same light-curve smoothed, with one major flare recognized by the software.} \label{gbis} \end{figure} \subsubsection{Flares compiled from the literature (30\% of all light-curves; 9\% of analysed flares)} \label{datalits} This group comprises the light-curves of repeating, as well as several cataclysmic events. However, information about the background level in this sample is limited to the close vicinity of the flares, and therefore is insufficient for the correct estimation of the background emission and the low-level variability. In most cases, the automatically estimated values were too high when compared to the peak flux of the outbursts, and as a result, the flares were not recognized as varying above chosen (5$\sigma$) threshold. In order to resolve that problem, we have estimated the quiescent flux level of the light-curve as the 15$^{\mathrm{th}}$ percentile of the flux density measurements. For calculating the flare-detection-trigger amplitude, we set $\sigma$ equal to the mean of the formal error bars on the flux density measurements. An example of such a light-curve, showing both original attempt to select flares by AFF, as well as flares selected with the alternative approach is shown in Figure~\ref{litm}. \begin{figure} \includegraphics[scale=0.415]{Fig5.eps} \caption{Example of a light-curve (RS Oph, \citealt{RSOph}) limited to the flaring event, with no information about the background flux density. } \label{lits} \end{figure} \subsubsection{Long duration flares selected from GBI (14\% of all light-curves; 2\% of analysed flares)} \label{datagbis} This group of light-curves consists of long duration ($\approx$~months) flares, collected from the GBI database. As in the previous group, the datasets did not provide enough information for the estimation of the background and the quiescent variability, and required both of these parameters to be calculated in the same way as described in Section~\ref{datalits}. However, here the additional difficulty was introduced by scattered noise in the data. Some of the noisy data points have been falsely recognised by the AFF as the beginning and/or end of the flare. The upper panel of the Figure~\ref{gbis} shows an example of such false detections. This problem has been solved by smoothing the data, with a window size of $\approx$~20 days. This size of the window has been chosen based on the expected time-scale of the AGN intrinsic variability. Variabilities in those types of objects, observed on time-scales shorter than 20 days are more likely to be associated with scintillation. Lower panel of Figure~\ref{gbis} shows the result of smoothing, with flaring events identified by the AFF. \subsubsection{Pre-selected flares compiled from the literature (41\% of all light-curves; 5\% of analysed flares)} This group of datasets contains mainly single, pre-selected flaring events, with no information about the light-curve before and after the outburst. Included here are flares from supernovae, GRBs, classical novae and tidal disruption events. In those cases, we decided to measure rise and decline time-scales directly (Figure~\ref{lits}), using method described in Section~\ref{sec:mvt}.\\ For light-curves specified in Sections~\ref{datalits} and \ref{datagbis}, the sigma clipping routine as described in Section~\ref{aff} failed to detect 70~per~cent of the flares due to insufficient information about the background. We note that setting the background level in this alternative way is a subjective choice and can introduce some bias in the analysis. Therefore, we have repeated the analysis for a range of parameters, setting the quiescent level to 10, 15, 20 and 30th percentile of the flux density. The results were then investigated 'by eye' to decide which approach selected the highest percentage of flares. While each of those estimations caused some of the flares to be missed, we found that the 15th percentile was the optimal choice for the discussed dataset. Figure~\ref{missed-flare-example} in Appendix~\ref{additional_figures} gives an overview of flares selected from an example light-curve depending on the background estimation. It shows that setting the threshold too low can merge poorly separated flares into one, while too high values results in missing fainter flares. We have also checked how different choices of the background in those groups of light-curves affect the final results -- see Figure~\ref{background-est-var} in Appendix~\ref{additional_figures} and refer to the analysis in Sections~\ref{sec:mvt} and \ref{results}. Since the discussed datasets form the entire sample of flare stars, as well as most of AGN light-curves, the effects of changing the flare detection threshold are most visible in those two populations of sources (left panel in Figure~\ref{background-est-var}). The centre of the diagram, which is dominated by flares that do not suffer the background uncertainty (fast GBI light-curves, individual flares from GRBs, SNe and Novae) shows minimal difference. The right panel of Figure~\ref{background-est-var} demonstrates that the choice of background does not have a significant impact on final probability distributions, due to the affected classes of object populating the extreme ends of the time-scale parameter space.\\ Overall, the automatic selection of flares fails in about 15--20~per~cent of cases, missing flares that can be easily identified by eye. Those are mainly superimposed or close together flares which can not be separated with a simple thresholding method, such as the ones presented in Figure~\ref{background-est-var}. \subsection{Measuring variability time-scales} \label{sec:mvt} We have run the AFF on the whole sample of light-curves adjusted as described in previous section, selecting 1290 single outbursts for further analysis, which, together with 38 pre-selected flares, gives the total number of 1328 flaring events from 86 distinct objects. In order to measure rise and decline time-scales for each of the selected flares, we attempted fitting exponential functions to the data: \begin{equation} F = A e^{st}+B, \end{equation} \noindent where amplitude $A$, background $B$ and characteristic time-scale $s$ are the free parameters of the fit. Exponential fits provide distance independent measurements of the rise/decline rates, and, are physically motivated \citep[][where the flux density of a source is an exponential function of the optical depth.]{vdl} However, we found that in most cases the exponential fit would fail. One of the likely reasons for that is the quality of the data, where time sampling is often insufficient for fitting the three parameters model. \noindent Therefore, we decided to estimate the background emission and subtract it from the flare prior to the fit. One obvious choice of this background is the quiescent flux density level $b$ estimated earlier for each of the light-curves (Sections~\ref{aff} and \ref{prep}). However, for poorly sampled light-curves, the beginning/end of the flare (defined as in Section \ref{aff}) can sometimes fall below this background level (for example, the first flare detected in lower panel of Figure~\ref{litm}). Subtracting this background would result in selecting only part of the flare for further analysis. In order to make sure that the entire flare is selected, we decided to calculate a separate background level for each flare $b_{\mathrm{flare}}$ either as the first percentile $p^{\mathrm{1st}}$ of the flux values of the light-curve ($F_{\mathrm{all}}$) or the minimum flux density measurement of a given flare ($F_{\mathrm{flare}}$): \begin{equation} b_{\mathrm{flare}} = \mathrm{min} \left(p^{\mathrm{1st}}\left(F_{\mathrm{all}}\right); \mathrm{min}\left(F_{\mathrm{flare}}\right)\right). \end{equation} \noindent The background emission calculated this way is then subtracted from the flux density measurements of every flare selected by the AFF. \begin{figure} \includegraphics[scale=0.42]{Fig6.pdf} \caption{Distribution of the $\mathrm{log}\, \chi^{2}_{\mathrm{red}}$ values for rise and decline rates calculated as in Equation~\ref{fiteq}.} \label{chi2} \end{figure} \noindent For each single flare we measure the rise and decline rates, $s$, by fitting the linear function in the log-lin space (see Fig~1.~in PFK15): \begin{equation} \mathrm{ln} \left( F - b_{\mathrm{flare}} \right) = st+const. \label{fiteq} \end{equation} \noindent No measurements have been taken for rise/decline phases consisting of three data points or less. Excluding flares for which neither rise or decline phase could be measured decreased the final sample to 804 flaring events, with 564 rise and 649 decline phases fitted successfully. Fits to the data have been done using the {\em curve fit} routine from {\em scipy.optimize} package, and include error bars of the flux measurements. Figure~\ref{chi2} shows the distribution of $\chi^{2}_{\mathrm{red}}$ values for measurements of rise and decline phases of the flares. It should be noted that for $\approx$~30~per~cent of measurements the $\chi^{2}_{\mathrm{red}}$ is higher than~10. This might partly be caused by underestimating error bars of flux measurements. However, we expect that the main reason is that the simple two parameter model used in the analysis often fails to accurately fit the data, which may require more complex approach. \noindent Having a set of measurements for each flare, consisting of peak flux density, rise/decline time-scales and reduced $\chi^{2}_{\mathrm{red}}$, we can map those results with a corresponding class to which the source belongs, its distance and the observed frequency. This enables us to calculate peak radio luminosity of each flare. Results of those measurements for the rising phase are shown in Figure~\ref{LT}, where we plot peak radio luminosity against rise time $\tau$ of the event (where $\tau=1/s$). The overall correlation of the form $L \propto \tau^{6}$ is steeper than $L \propto \tau^{5}$ obtained by manual measurements. In particular, the relation presented here shows more scatter for relatively lower-luminosity classes such as XRBs or RSCVn, than it did in results reported in PFK15. This effect is clearly demonstrated in Figure~\ref{TH}, where histograms of the rise rates measured automatically are overlaid with those corresponding to manual measurements (in case of manual measurements, the level of background emission for each flare has been estimated by eye and subtracted from the flux density measurements). It should be noted, that the scatter observed in time-scales of the different types of object is partly due to a wide range of time-scales covered by individual sources. A variation of Figure \ref{LT} is shown in Figure \ref{single-source-scatter}, where single-source measurements for several classes are highlighted. We have tested whether rejecting measurements with high and/or low $\chi^{2}_{\mathrm{red}}$ values decreases that scatter, however, neither the final range of the time-scales populated by each class or the overall time-luminosity relation have been significantly changed by those constraints. Therefore, we have decided to include all the measurements. The observed scatter in measured time-scales is discussed in more detail in Section~\ref{discussion} and a summary of the manual and automatic results can be found in Table~\ref{manvsauto}. \noindent In the analysis described in this section, we have automatically reproduced results of the variability time-scales measurements reported in PFK15. From this point we focus on converting those results into a method which could be used to perform an initial classification of radio transient and variable sources. \noindent The diagram shown in Figure~\ref{chart} gives an overview of steps included in the analysis described in this section, as well as a list of remaining steps which are discussed in Sections~\ref{se} and \ref{results}. \begin{figure*} \includegraphics[width=\textwidth]{Fig7.pdf} \caption{Peak radio luminosity plotted against exponential rise time-scale for a range of synchrotron emitting sources, approximately of the form $L \propto \tau^{6}$.} \label{LT} \end{figure*} \begin{table} \caption{Parameters of the fits to the rise and decline phases (with the following formula: $\log(L_{\mathrm{peak}}) = a \times \log\tau + b$), for both manual (a$_\mathrm{M}$, $b_\mathrm{M}$) and automatic (a$_\mathrm{A}$, $b_\mathrm{A}$) methods. } \begin{threeparttable}[b] \begin{tabular}{|l|@{}c|@{}c|c|@{}c} \hline & a$_\mathrm{M}$ $\pm \delta$ a$_\mathrm{M}$ & b$_\mathrm{M}$ $\pm \delta$ b$_\mathrm{M}$ & a$_\mathrm{A}$ $\pm \delta$ a$_\mathrm{A}$ & b$_\mathrm{A}$ $\pm \delta$ b$_\mathrm{A}$ \\ \hline Rise & 5.21 $\pm$ 0.15 & 31.08 $\pm$ 1.84 & 6.01 $\pm$ 0.12 & 31.49 $\pm$ 1.42 \\ Decline & 5.09 $\pm$ 0.22 & 29.44 $\pm$ 2.88 & 6.70 $\pm$ 0.22 & 29.11 $\pm$ 2.11 \\ \hline \end{tabular} \end{threeparttable} \label{manvsauto} \end{table} \section{Sky Densities} \label{se} We aim to use the results obtained in Section~\ref{sec:mvt} as a base for the probabilistic classification method by modelling the measured time-scale distributions as Gaussian functions, while assuming that for each class we have reasonably well measured the width of the distribution. However, the compiled dataset consists of observations originating from various surveys, performed with a wide range of instruments with different sensitivities, fields of view and other parameters which contribute to certain preferences in the available sample of light-curves. As such, the analysed dataset does not accurately represent the underlying populations of considered classes of object. Although it is not possible to properly account for all these biases, in this section we attempt to estimate the areal densities of objects within each class. This correction, although basic, provides more realistic picture of time-scale distribution for different populations of radio transient and variable sources. \\ \subsection{Method of estimating areal densities} \label{sec:method} {\em Extragalactic events.} Areal density estimates for most of the extragalactic classes of objects are available in the literature. Here we extrapolate these results to our chosen flux density limit of 0.1~mJy, assuming that events of the extragalactic origin are distributed as: \begin{equation} N \propto S^{- \frac{3}{2}}, \end{equation} \noindent where $N$ is the expected number of sources observed with the flux density limit $S$. \noindent{\em Galactic objects.} Space densities of Galactic objects have been studied previously and are available in the literature. In order to convert spatial distribution into areal density, we need to consider the volume of the Galaxy each class populates. First, we calculate the maximum distance at which source belonging to considered class can be observed, with assumed flux density limit. We estimate a typical radio luminosity of the class and use the following relation to evaluate the distance: \begin{figure} \includegraphics[scale=0.54]{Fig8.pdf} \caption{Dashed histograms represent distribution of automatically measured rise rates for a range of classes of objects. For comparison, overplotted in grey are previously reported \citep{paper1} manual measurements.} \label{TH} \end{figure} \begin{figure} \includegraphics[scale=0.31]{Fig9.pdf} \caption{Illustration of the process flow showing the main steps of the analysis presented in Section~\ref{analysis}, from the compiled sample of the data to measuring rise/decline rates. The remaining steps, listed in lower panel, are described in Sections~\ref{se}~and~\ref{results}. Rectangular frames correspond to parts of the analysis done manually; automatic steps are listed in rounded frames.} \label{chart} \end{figure} \begin{equation} d_{\mathrm{max}} = \sqrt{\frac{L}{4 \pi F_{\mathrm{lim}}}} . \end{equation} Unlike for extragalactic sources, the space density $\rho$ of galactic sources depends on their position in the Galaxy and drops as we move out of the Galactic plane and away from the Galactic center. The density profile can be described as \begin{equation} \rho(z) = \rho_0 \mathrm{e}^{\left(-|z|/h\right)}, \end{equation} \noindent where $z = d \mathrm{sin}b$ is the distance from the Galactic plane ($d$ is distance to the source, $b$ is the Galactic latitude), $h$ is the scale height (describing a distance over which the number of sources drops by factor of $e$) and $\rho_0 = \rho(0)$ is the local space density of objects (we assume that the radial dependence of $\rho$ is negligible). With this assumption we calculate the volume of space occupied by a given class of objects within distance $d$ (details of the calculation of generalised volume of space depending on the density profile can be found in \citealt{vmax}). Finally, including a duty cycle estimate for each class of object gives the actual number of sources visible in the sky in a single snapshot. Table~\ref{rate} summarises areal densities evaluated for each class. Details of the calculations are described in the following sections. \subsection{Types of transients and variables} \label{tt} \subsubsection{Tidal Disruption Events} \label{tde} There have been several radio detections of tidal disruption events (TDEs) to date, however, only two of them are sampled well enough to be included in this analysis. \citet{Frail2012} estimated the sky rate of such events to be 0.1~deg$^{-2}$ at the 0.3~mJy flux density limit. Using the method described in Section~\ref{sec:method} we estimate that at the 0.1~mJy limit, the TDE rate is $\approx$~0.52~deg$^{-2}$. \subsubsection{Gamma Ray Bursts} \label{grb} The areal density of Orphan GRB Afterglows -- classical GRBs with the explosion axis directed away from the line of sight, which should dominate, is derived by \citet{Frail2012} at the 0.3~mJy flux limit for a 10$^{\circ}$ beam opening angle. Their result of 0.01~deg$^{-2}$ scaled down to 0.1~mJy gives 0.052~deg$^{-2}$ in a single snapshot. \subsubsection{Supernovae} \label{sn} \citet{Frail2012} give areal densities for SNII, SNIbc and SN~1998bg-like sources. Adding all those sky densities and extrapolating the results to our flux density limit, gives a rate of 0.21~deg$^{-2}$ at a single epoch. \subsubsection{Active Galactic Nuclei} \label{agn} In order to estimate the surface density of radio-variable AGN, we looked at the number of all variable objects found in the FIRST survey data. Out of 1600 variable sources reported by \citet{FIRST}, 489 were identified to be AGN and variable galaxies. Another 120 are believed to be highly variable quasars. The analysed observations covered 8444~deg$^{2}$, at the sensitivity of 0.15~mJy. The source detection threshold chosen for the analysis was 1~mJy. Extrapolating this result to 0.1~mJy with the spherical approximation described in Section~\ref{sec:method}, gives the AGN sky density of 2.3~deg$^{-2}$ at single epoch. \subsubsection{X-ray binaries} \label{xrb} \noindent There are about 1000 X-ray binaries within our Galaxy, which, when above the flux density limit of 0.1~mJy chosen in this work, are in outburst and can be detected in a radio survey \citep[e.g.][]{xrbrate}. With the estimated duty cycle of XRBs of $\approx$~1\% we get $\approx$~10 sources in the sky, at a single epoch. This gives a rate of about 2.4~$\times$10$^{-4}$~deg$^{-2}$ objects at 0.1~mJy flux density limit. \subsubsection{Non-magnetic CVs} \label{dn} \noindent {\em Dwarf Novae}. Having only one radio light curve of a Dwarf Nova (SS Cyg), we use the peak radio luminosity measured for that source in order to estimate the maximum distance to which objects of this class can be detected at 0.1~mJy flux density limit. Following the steps described in Section~\ref{sec:method} we get d$_{\mathrm{max}}$~=~380~pc. \citet{PK2012} derive space density of non-magnetic cataclysmic variables to be 4~$\times$~10$^{-6}$~pc$^{-3}$ with the scale height of 260~pc. The estimated duty cycle of Dwarf Novae is 1-15~per~cent (Servillat et al. 2011) -- here we assume it is $\approx$~10~per~cent. Applying the method discussed in Section~\ref{sec:method} we get the areal density of 0.0013~deg$^{-2}$.\\ \noindent{\em Nova-likes}. Nova-like CVs were until recently not thought to be radio sources. However, \citet{kording2011} and \citet{coppejans2015} have now shown that several of these systems are radio sources at a level of less than about 0.2~mJy, with variability detected in two systems. Nova-likes will therefore show up as variable sources in sensitive radio surveys. We will not consider them here, however, because we do not expect to see many of them as transients. The reasons are their low space density (more than an order of magnitude less than DNe) and the fact that Nova-likes do not show frequent large amplitude variability. \begin{table*} \caption{Estimated areal densities of the studied classes of object at 0.1~mJy flux density limit, together with the mean and standard deviation parameters calculated for each class and used to estimate their Gaussian distribution, for both rise and decline phases.} \centering \begin{tabular}{p{2cm}p{1.5cm}p{7cm}p{1cm}p{1cm}p{1cm}p{1cm}} \hline Class & Rate (deg$^{-2}$) & References & log$\,\mu_{\mathrm{R}}$ (day) & log$\,\sigma_{\mathrm{R}}$ (day)& log$\,\mu_{\mathrm{D}}$ (day) & log$\,\sigma_{\mathrm{D}}$ (day) \\ \hline AGN & $2.3$ & \citet{FIRST} & 2.6 & 0.51 & 2.57 & 0.48 \\ TDE & $0.52$ & \citet{Frail2012}& 2.07 & 0.46 & 2.84 & 0.25\\ GRB afterglow & $0.052$ & \citet{Frail2012} & 1.11 & 0.17 & 1.94 & 0.46\\ SN & $0.21$ & \citet{Frail2012} & 1.47 & 0.54 & 2.43 & 0.68 \\ SGR & $10^{-8}$ & \citet{Olausen2014}, \citet{Ofek2007} & -- & -- & 0.68 & 0.43\\ XRB & $2.4 \times 10^{-4}$ & \citet{xrbrate} & 0.0044 & 0.73 & 0.07 & 0.69 \\ Dwarf Nova & $0.0013$ & \citet{PK2012}, \citet{Servillat2011} & -- & -- & 0.92 & 0.43\\ Classical nova & $0.0023$ & \citet{Roy2012} & 1.60 & 0.32 & 2.39 & 0.35\\ RSCVn & $0.011$ & \citet{Williams2013}, \citet{Favata1995}, \citet{Ottmann1992} & 0.45 & 0.47 & 0.46 & 0.45\\ Algol & $0.062$ & \citet{Duerbeck1984} & 0.031 & 0.51 & 0.15 & 0.50\\ Flare star & $0.0064$ & \citet{Reid2007}, \citet{Osten2008} & -1.85 & 0.67 & -1.86 & 0.43\\ Magnetic CVs: & & & & & & \\ Polars & 0.038 & \citet{polarsdc}, \citet{Pretorius2013} & -- & -- & -- & -- \\ IPs & 0.0008 & \citet{ipspacedens}, \citet{Pretorius2013} & -- & -- & -- & -- \\ Polars + IPs & 0.039 & -- & -1.81 & 0.23 & -1.93 & 0.069 \\ \hline \end{tabular} \label{rate} \end{table*} \subsubsection{RSCVn} \label{rscvn} The space density of RSCVns is approximately 6 $\times$ 10$^{-5}$ pc$^{-3}$ \citep{Favata1995}. The duty cycle of the class is estimated to be $\approx$ 10 per cent and the typical monochromatic radio luminosity of sources 10$^{16}$ erg s$^{-1}$ Hz$^{-1}$ \citep{Williams2013}. Converting space density into areal density as in Section~\ref{sec:method}, with the scale height of 325 pc for RSCVns \citep{Ottmann1992}, we get the sky density of 0.011 deg$^{-2}$.\\ \subsubsection{Algol binaries} \label{algol} We use a value of $\approx$~5$\times$10$^{-6}$~pc$^{-3}$ for the space density of algol binaries, as defined by \citet{Duerbeck1984}. To calculate the maximum distance of detection at the 0.1~mJy flux density limit we use the average monochromatic luminosity of objects in our sample (1.3$\times$10$^{17}$~erg~s$^{-1}$~Hz$^{-1}$). There are no good estimations of duty cycle for algol binaries -- based on the light-curves of sources in our sample we estimate it to be $\approx$~23~per~cent. Correcting for the scale height of algols, which is $\approx$~400~pc \citep{Duerbeck1984}, we get the final areal density of 0.062~deg$^{-2}$. \subsubsection{Novae} \label{cn} The rate of Novae in the Milky Way is estimated to be $\approx$~35~year$^{-1}$ \citep{Roy2012}. In order to calculate the maximum distance at which a nova could be detected, with a limiting flux density of 0.1~mJy, we assume that the typical radio luminosity it can reach in an outburst is $\approx$~1.2~$\times$~10$^{20}$erg~s$^{-1}$~Hz$^{-1}$, that is, the average peak radio luminosity of novae in the sample. Because the derived distance is 30~kpc, we can estimate that approximately all 35 novae per year in our Galaxy could be detected at the assumed flux limit. The final rate in a single snapshot is evaluated by multiplying a rate per year by the duration of nova. Based on the properties of light curves in our sample, we expect to detect a typical nova in the outburst for $\approx$~1000 days at 5-8~GHz frequency. For the parameters listed above, we estimate that the areal density of novae is 0.0023~deg$^{-2}$. \subsubsection{Soft Gamma-ray repeaters} \label{sgr} \noindent The sky density of SGRs is not well constrained. \citet{Ofek2007} gives the upper limit for the rate of giant flares (similar to SGR~1806-20 event) of 5~$\times$~10$^{-4}$~year$^{-1}$ per SGR. With the number of SGR sources in the Galaxy reported by \citet{Olausen2014} of 15\footnote{\url{http://www.physics.mcgill.ca/~pulsar/magnetar/main.html}}, and the duration of the radio flare analysed in our sample ($\sim$~20~days) we get the areal density of approximately 10$^{-8}$~deg$^{-2}$.\\ \subsubsection{Magnetic CVs} \noindent {\em Polars}. One of the two magnetic CVs in our sample -- V834 Cen -- belongs to the subclass of polar magnetic CVs. With the luminosity measured in the analysis (2.4 $\times$ 10$^{17}$ erg s$^{-1}$ Hz$^{-1}$), we estimate the maximum distance of $d_{\mathrm{max}}$~=~1.4~kpc. For the space density of 10$^{\mathrm{-6}}$~pc$^{-3}$ \citep{Pretorius2013}, duty cycle of 0.5~\citep{polarsdc} and the scale height equal to 260~pc \citep{Pretorius2013}, we estimate the sky density for these types of objects of 0.038~deg$^{-2}$.\\ \noindent {\em Intermediate polars}. Sky density of IPs is calculated based on the AE Aqr. With the average measured luminosity of that source (5.8~$\times$~10$^{16}$~erg~s$^{-1}$~Hz$^{-1}$), the estimated maximum distance for the detection is d$_{\mathrm{max}}$~=~700~pc. With space density of 10$^{-7}$~pc$^{-3}$ \citep{ipspacedens}, scale height 120~pc \citep{Pretorius2013} and duty cycle of 1 (persistent sources) we get the estimated sky density of 0.0008~deg$^{-2}$. \subsubsection{Flare Stars} \label{fs} Space density of flare stars given by \citep{Reid2007} is 0.08~pc$^{-3}$. The average luminosity of flare stars in our sample is 4.7$\times$10$^{13}$~erg~s$^{-1}$~Hz$^{-1}$. With such low luminosities, at the 0.1~mJy flux limited survey they can be detected up to a distance of $d_{\mathrm{max}}~\approx$~20~pc. Within that distance, which is relatively small compared to the size of the Galaxy, we can assume a uniform, spherical distribution of sources. The duty cycle of flare stars is not well constrained (\citealt{Osten2008}, \citealt{Hilton2010}) -- assuming the upper limit of 10~per~cent, we get the areal density of 0.0064~deg$^{-2}$. \noindent Flare stars can also produce bright coherent bursts, which at the sub-milijansky detection threshold can be detected from a distance of several hundred parsecs \citep{Osten2008}. Although these types of events are quite rare (duty cycle less than 1 per cent), because of their high brightness, the areal density of coherent flares can reach approximately 1.2~deg$^{-2}$ at the 0.1~mJy flux density limit. On the other hand, they are expected to evolve rapidly ($\sim$~60~s) and should only be common in surveys exploring very short time-scales.\\ \section{Probability distribution of variability time-scales} \label{results} For a transient/variable candidate discovered in a blind radio survey, it is very unlikely that the information about its distance, and therefore the luminosity, will be known (at least immediately). Thus, all of the earliest information will be contained in the variability of the light-curve and spectral distribution of the source. Correspondingly, if we can not take into account information about the luminosity of the source, the relation shown in Figure~\ref{LT} is reduced to a one dimensional histogram of variability time-scales (Figure~\ref{TH}), increasing the uncertainty in separation between different classes of objects. This result, however, can be converted into the probability distribution and convolved with the expected areal densities of radio sources. In order to represent the variability time-scales as a probability distribution, for each of the considered classes of object we have calculated the mean value~$\mu$ and the standard deviation~$\sigma$ (listed in Table~\ref{rate}) of the variability time-scales~$\tau$. Using these values we have assigned the following Gaussian probability distribution to each class: \begin{equation} P(\tau) = \frac{1}{\sqrt{2 \pi } \sigma} e^{-\frac{(\tau - \mu)^{2}}{2 \sigma^{2}}}. \label{rawprob} \end{equation} \begin{figure*} \includegraphics[scale=0.5]{Fig10a.pdf} \vspace{0.6cm}\\ \includegraphics[scale=0.5]{Fig10b.pdf} \caption{ {\em Upper:} Relation shown in Figure~\ref{LT} converted into the probability distribution of source belonging to given class of objects based on the rise time-scale, normalised to 100 per cent. {\em Lower:} The same relation, convolved with the estimated sky densities of objects (Table~\ref{rate}). These estimated distributions have been calculated with the flux density limit of 0.1~mJy.} \label{RP} \end{figure*} \noindent The upper panel in Figure~\ref{RP} shows the probability distribution of all the classes of objects in our sample, normalized to 100~per~cent. The dashed line represents the distribution of TDEs, for which only one flare with well sampled rise time was available. In this case, the mean value of the distribution has been approximated by the variability time-scale measured for that source, while the standard deviation has been calculated as the mean value of the standard deviations measured for all the other classes of objects. The probability distribution obtained in Equation~\ref{rawprob} depends strongly on biases in our sample. In order to convert it into the actual probability distribution, which takes into account expected number of sources in the sky, we multiply the distribution obtained in Equation~\ref{rawprob} by the areal density of objects $R$, estimated in Section~\ref{se} \begin{equation} P_{\mathrm{corr}}(\tau) = R \times P(\tau). \end{equation} Given a small number of light-curves representing each subclass of Magnetic CVs, we add their sky densities and calculate their combined probability distribution instead of considering them separately. With this approach, we avoid adding the uncertainties associated with assigning Gaussian distribution based on approximated parameters. The lower panel in Figure~\ref{RP} shows the probability distribution of all the types of objects in our sample, corrected for the estimated sky rates of different classes. It is worth noting, that sources like XRBs or Novae, even though they make up a significant fraction of the original sample, due to their low expected sky densities, are very unlikely to be found in a blind radio transient survey. The lower panel in Figure \ref{RP} provides a template of the variability time-scales which could be used as an indicator of the newly discovered sources class. At the moment, the number of available flares used in designing this classification method is uneven across a range of objects included. However, it can be gradually improved with new sources detected in future surveys, where additional data could help to limit the uncertainties of the initial classification. This would be especially desirable in the case of classes which have few well-studied light-curves to date, such as tidal disruption events, for which at this point, the variability time-scales are not well constrained. Tables~\ref{probR} and \ref{probD} give the probability information for each of the classes of objects (for rise and decline phases respectively) on a time-scale $\approx$~10$^{-4}$--10$^{4}$~days, with a logarithmic time-step of~0.5. The presented results depend on a range of parameters, which we can not accurately account for in our analysis. Although we have corrected for the expected areal densities of objects down to 0.1~mJy, for higher sensitivity surveys intrinsically faint sources will become progressively more common, with the number of Galactic sources increasing up to the point where the entire population within the Galaxy can be detected. The form of the probability distributions which can be applied to a given survey will also depend on the observing frequency, which might favour detection of sources showing certain variability time-scales, and -- for Galactic populations -- pointing location. At the moment, these have to be considered separately within a given survey, but, in the future might be included as part of a more advanced pipeline. \section{Discussion} \label{discussion} Figure~\ref{TH} shows that creating a simple automatic flare finder allowed us to include a larger number of flares in the analysis, compared with the manual selection. Although there is an overall agreement between both methods, comparison of results obtained automatically (Figure~\ref{LT}) and manually (Figure~3, PFK15) shows a higher degree of scatter for several classes of objects in the automatic approach. Light-curves corresponding to these sources (XRB, RSCVn, Algol) consist of tens of single outbursts, which in the manual analysis we have limited to those with the best data quality. The flare finding software, however, had identified all of the flaring events in the same light-curves, increasing the range of obtained time-scales for each source. Although most of the measurements correspond to real flares, in marginal cases a false detection has also been included. For example, an odd noisy data point within a flare can be mistaken for the end of the respective flare and result in underestimating measured decline time. In other extreme cases, several outbursts superimposed such that the flux level does not drop low enough for the AFF to separate them, will be measured as one long flare rather than single events, and make the rise/decline times appear longer than they really are. Because several of those exceptions identified in our analysis could not be removed other than by manually excluding them, we have decided to leave them in the final results in order to keep the process purely automatic. In this way we also begin to learn what pitfalls might befall a future automated system. \begin{figure} \includegraphics[scale=0.2465]{Fig11.eps} \caption{Variation of Figure \ref{LT}, where all events originating from synchrotron emission are marked with blue circles, and additional measurements corresponding to scintillating sources and extreme scattering events (ESEs) are plotted in purple and red respectively. As discussed in Section \ref{discussion}, scintillating sources together with extreme scattering events appear to populate most of the time-scale parameter space and cover the range of rise rates typical for all the classes, from low luminosity stars to AGN. Scintillation and ESEs have not been included in the fit.} \label{mainsct} \end{figure} This work is exploring the parameter space typical for flares originating from incoherent emission processes. Variability from sources of coherent emission such as pulsars is usually detected in high-time resolution observations, and, with duration of milliseconds--seconds, is outside of the time-scales regime considered in this analysis. However, \citet{coppejans2015} showed that a flare from nova-like source TT Ari, evolving on time-scale of minutes, is most likely produced by a coherent emission mechanism. The characteristic exponential rise time of that flare ($\approx$~0.005~day) shows that in some cases, coherent flares can overlap the time-scales of incoherent events. One of the main challenges we might come across while classifying a newly discovered source by its variability rates can be scintillation. Figure~\ref{mainsct} shows the relation between the time-scales and peak radio luminosities for our extended sample of objects, where a sample of scintillating sources and extreme scattering events are plotted along with the previously shown (Figure~\ref{LT}) synchrotron events. It shows that the parameter space of rise rates for these types of sources overlaps strongly with most of the analysed astrophysical flares. It might be possible to distinguish between those based on their spectral properties -- while the amplitude of synchrotron flares is lower at lower frequencies, \citet{sctexp} show that the observed variability due to interstellar scintillation can be stronger at lower frequencies. Similarly, if originating from intrinsic variability, the light-curve should evolve on longer time-scales at lower frequencies, which is not the case for ESEs, where the peak flux density is observed simultaneously at all wavelengths \citep{ESE1}. Another way of separating discussed types of events lies in the shape of the flare -- those originating from astrophysical explosions are usually characterised by longer decaying times comparing to their rise times, while in the scintillation both phases are more symmetrical. Although the entire process aims at automating the rise/decline rate measurements, several steps have been done `by eye' (listed in rectangular frames in Figure~\ref{chart}). Those include splitting the complete sample of light-curves into four distinct groups (each of which required different method of estimating the quiescent flux level) and applying smoothing for one of them. The remaining steps (listed in rounded frames in Figure~\ref{chart}), such as selecting flaring events from the data and measuring rise/decline rates (including background subtraction) have been done automatically. It should be noted that all the manual adjustments were only required due to the nature of the compiled sample. The flare finding routine applied to the dataset was necessarily simple, however, even this unsophisticated thresholding approach needed to be somewhat flexible in order to work on a variety of available light-curves. In the future transients/variables surveys the observations carried out with an individual telescope will provide more consistent datasets, and the flare identification method can be replaced by more advanced techniques, such as those discussed in Section~\ref{flarefinding}. Additionally, as the aim of presented classification method is to give an earliest indication of the sources nature, a potential flare should be identified as soon as the variability above the quiescent flux level arises. With the long term monitoring of the background prior to outburst, it is possible that an iteration of a presented flare finding routine could be used as part of a transients/variables pipeline, however, the exact form of the software will depend on the surveys design. At the moment the analysis is based on a fairly limited sample of radio flares and an incomplete representation of certain types of sources. Including more data could restrict the individual distributions and reduce the resulting overlap, providing clearer classification. Alternatively, it can not be ruled out that extending the number of flares will lead to even greater scatter of measurements within respective classes, decreasing the separation of their probability distributions. At this point, we can not definitively say which of these scenarios is more likely. Gradually updating presented result with new sources might help to provide a more conclusive distribution. \section{Conclusions} \label{conclusions} This work builds upon the previously reported result, which showed a clear correlation between the luminosity and time-scale of variable radio objects, ranging from nearby, intrinsically faint to distant and luminous sources (PFK15). Here we proposed a method of classifying radio transient and variable sources using the rise and/or decline rates of their flares. It is based on the analysis of existing light-curves of synchrotron events, where the individual flares were selected automatically in order to reduce bias associated with choosing data by hand and make the result easy to reproduce. We convolved the measurements of rise and decline time-scales with the expected areal densities of sources down to a 0.1~mJy flux density limit, providing probability distributions of variability time-scales for a wide range of classes. We have shown that comparison of the variability time-scales measured for a transient/variable source with the presented distribution could point -- with a given probability -- to its nature. The result shows that the variability-based classification can be used -- to some extent -- to differentiate between classes of objects. We have also investigated time-scales of variability caused by propagation effects such as scintillation and extreme scattering events. We showed that these time-scales partly overlap with the parameter space of synchrotron events and might require further analysis to separate from astrophysical flares. In the future, this method or a derivative could be incorporated into automated transient detection pipeline \citep[e.g. ][]{trap} and used as part of a more complex detection/classification software by setting initial constraints on the class of the newly discovered source. The number of transient and variable sources found in future SKA surveys could reach up to 1000 per week \citep{Burlon2015, Fender2015, Perez-Torres2015}, hence, the initial, time-scale based classification might be valuable in the process of selecting interesting events. This early indication could then be further verified and narrowed down by including additional information such as an optical flux measurement (Stewart et al. {\em submitted}), location in the sky or comparison with the archival data. \section*{Acknowledgements} We thank the referee for helpful comments and suggestions which helped to improve this paper. This project was funded by European Research Council Advanced Grant 267697 "4 PI SKY: Extreme Astrophysics with Revolutionary Radio Telescopes". The Green Bank Interferometer is a facility of the National Science Foundation operated by the NRAO in support of NASA High Energy Astrophysics programs. This research has made use of data from the MOJAVE database that is maintained by the MOJAVE team (Lister et al., 2009, AJ, 137, 3718). This research has made use of the NASA/IPAC Extragalactic Database (NED) which is operated by the Jet Propulsion Laboratory, California Institute of Technology, under contract with the National Aeronautics and Space Administration.

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John C. Anderson Contact: Alyssa C. Ferda www.justice.gov/usao-nm Colorado Couple Arraigned in New Mexico on Federal Charges Arising out of Nov. 27, 2017 Crime Spree Resulting in Death ALBUQUERQUE – Daniel Lowell and Trista Schlaefli were arraigned this morning in federal court in Las Cruces, N.M., on an indictment charging them with carjacking and firearms charges resulting in a death. The charges arise out of a Nov. 27, 2017, crime spree during which Lowell and Schlaefli allegedly fled from a U.S. Border Patrol checkpoint, carjacked a vehicle at gunpoint resulting in the death of a victim, and attempted to carjack two other vehicles. During today's hearings, Lowell and Schlaefli entered not guilty pleas to the indictment and were ordered detained pending trial, which has yet to be scheduled. U.S. Attorney John C. Anderson, Special Agent in Charge Terry Wade of the FBI's Albuquerque Division, New Mexico State Police Chief Pete Kassetas and Chief Patrick Gallagher of the Las Cruces Police Department announced the charges against Lowell and Schlaefli. The nine-count indictment, filed on April 10, 2018, charges Lowell, 34, of Henderson, Colo., and Schlaefli, 32, of Colorado Springs, Colo., with high speed flight from an immigration checkpoint, carjacking, carjacking resulting in death, attempted carjacking, and possession of at least 15 unauthorized access devices. The indictment also charges Lowell with brandishing a firearm during a crime of violence, attempted carjacking, and being a felon in possession of a firearm and ammunition. It charges Schlaefli with aiding and abetting Lowell in brandishing a firearm during a crime of violence and with attempted carjacking. According to the indictment, Lowell and Schlaefli committed the crimes on Nov. 27, 2017, in Dona Ana County, N.M. The New Mexico State Police arrested Lowell and Schlaefli on state charges on Nov. 27, 2017, and the FBI arrested the duo on the federal indictment on April 25, 2018. The state charges will be dismissed in favor of federal prosecution in due course. Lowell and Schlaefli remain in federal custody pending trial based on judicial findings that they pose a risk of flight and a danger to the community. If convicted on the charges in the indictment, Lowell and Schlaefli face the following maximum statutory penalties: High-speed flight from an immigration checkpoint – five years of imprisonment and a $250,000 fine. Carjacking – 15 years of imprisonment and a $250,000 fine. Carjacking resulting in death – life imprisonment and a $250,000 fine. Possession of unauthorized access devices – ten years of imprisonment and a $250,000 fine. Brandishing a firearm during a crime of violence – mandatory minimum of seven years of imprisonment to be served consecutive to any other sentence imposed. Attempted carjacking – 15 years of imprisonment and a $250,000 fine. Felon in possession of a firearm – ten years of imprisonment and a $250,000 fine. Charges in indictments are merely accusations and defendants are presumed innocent unless found guilty in a court of law. This case was investigated by the Las Cruces office of the FBI, the Las Cruces Police Department and the New Mexico State Police with assistance from the Bureau of Alcohol, Tobacco, Firearms and Explosives, the U.S. Border Patrol, and the 3rd Judicial District Attorney's Office. Assistant U.S. Attorneys Marisa A. Ong and Alexander Shapiro of the U.S. Attorney's Las Cruces Branch Office are prosecuting the case. Phoenix Field Division

It's been an intense two months of nominations and voting for BC's top business owners. We'd like to thank all of the amazing entrepreneurs who were nominated as part of the Small Business BC Awards this year, and extend a special thank you to everyone who voted in support of these businesses. Keep your eyes on your inbox because we'll be sending out an eBlast to let you know who's moving on in the competition. If you're not already signed-up to receive information from Small Business BC, be sure to get on our list before December 13th. Sign up now! For the Premier's People's Choice Award, the suspense continues. This award category is based solely on the support of clients and community, so you'll have to wait for the Small Business BC Awards Ceremony to find out who received the most votes!

Looking for a Grocery Stores in Washington, DC ? Here, you will find a comprehensive list of Washington, DC Grocery Stores . Grocery Stores in Washington, DC are encouraged to take advantage of our business listing options. If you know a Grocery Stores in Washington, DC, please share this page with them. Your Listing For Grocery Stores Could Be Here?

Q: Ready event of SVG text element Is there any way to know that the SVG text element has completed all the rendering steps on the page? For example, when setting the text to a different font family, the text first changes its size, then changes its appearance to a new font, then it changes its size again (it even happens several times), then it becomes sharper. These steps are different in different browsers and depend on many processes, for example, on the font fallback and loading a new font file. Without knowledge, when the text element has finished its preparations, it is not possible to obtain the actual dimensions of the text element (width and height), since at any time they can be adjusted by the browser for better look or something else. Without this event, it is not possible to do normal work with text in online editors built on the basis of SVG. I have to make a long timer in the hope that by the time it is triggered the text will be ready. But this is too long when there are many text elements, if we need to set their parameters in series, and to have the previous result of text sizes before the next step. A: Your problem boils down to being able to know when a particular FontFace has loaded. For this, you can use the FontFace API. For the fonts that are declared in CSS and used directly at page load, the Document exposes a fonts.ready property which is a Promise that will get resolved when all the fonts used at DOMContentLoaded will be ready: // only for demo (avoids cache) const style = document.createElement('style'); style.textContent = `@font-face { font-family: 'Shadows Into Light'; src: url("https://fonts.gstatic.com/s/shadowsintolight/v7/UqyNK9UOIntux_czAvDQx_ZcHqZXBNQzdcD55TecYQ.woff2?t=${ Math.random()}") format('woff2'); }`; document.head.append(style); // end only for demo const text = document.querySelector('text'); console.log('before', text.getComputedTextLength()); document.fonts.ready.then(() => { console.log('after', text.getComputedTextLength()); }); text { font-family: 'Shadows Into Light', monospace; font-size: 30px; } <svg> <text y="60">Hello world</text> </svg> If you have fonts that you wish to add after the page has loaded, then you can use the document.fonts.load method: const text = document.querySelector('text'); document.fonts.ready.then(() => { console.log('font.ready fires too soon'); }); document.addEventListener('click', e => { document.fonts.load("30px 'Shadows Into Light'") .then(() => { console.log('at font load', text.getComputedTextLength()); }); text.classList.add('use-font'); console.log('before', text.getComputedTextLength()); }, {once: true}); @font-face { font-family: 'Shadows Into Light'; src: url("https://fonts.gstatic.com/s/shadowsintolight/v7/UqyNK9UOIntux_czAvDQx_ZcHqZXBNQzdcD55TecYQ.woff2") format('woff2'); } text.use-font { font-family: 'Shadows Into Light'; } text { font-size: 30px; } <svg> <text y="60">Click to change the font</text> </svg>

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LTC (License to Carry) holders will still be prohibited from carrying concealed handguns on the following on-campus locations when "Campus Carry" (Texas Senate Bill 11) goes into effect Aug. 1, 2016. Students living on campus who are LTC holders and wish to store a handgun in their assigned room must provide their own safe, and it must be one that was designed and manufactured specifically for the purpose of safe handgun storage. These individuals may not provide access to their safe to anyone else. Other rules about the storing of handguns in dorm rooms will be found in the 2016-2017 revisions of the Residential Living and Learning Guidebook and Student Handbook once they become available.

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Q: How to make a pull request to other repository from my fork? I have created a fork from a repository. I cloned it, made changes and pushed them to my forked repository. Now I want to merge my changes to the original repository (to which I have no permissions to edit). How do I do that? It's a pull request, right? But how do I "direct" it from my forked repo? A: Create a branch in your forked repository, name it after the issue you're trying to solve (usually there's a naming guide in the parent open source project readme). Push the branch to your Github fork and shortly after visit your repo page on Github using the browser. The button to create a pull request will appear. You can later push more commits or even push force. The pull request associated with the branch will automatically advance to the new HEAD.

What is another word for careless? Unconcerned, light-hearted; inattentive, negligent( of), thoughtless; inaccurate. Hence carelessly adv., carelessness n. thoughtless, irresponsible, improper, lax, senseless, fancy-free, careful, unconscious, short-sighted, inadvertent, casual, hasty, foolish. carefree, sloppy, imprudent, remiss, impulsive, foolhardy, unwise, injudicious, slipshod, rash, ill-advised, carelessness. guarded, prudent, caring, mindful, cautious, ready, painstaking, attentive, scrupulous, kind. punctilious, artful, scheming, regarding, concerned, calculating, regardful, shrewd, paying attention, vigilant, thinking, blow-by-blow, responsible, interested. You are a careless little girl! How careless I have been.

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Eine Gösch ist ein Abzeichen bei Studentenverbindungen in der Form eines Couleurbandes, das an der Mütze befestigt ist. Es kann sich dabei um die Farben eines Freundschaftsbundes, die Farben eines untergegangenen Bandes oder ähnliches handeln. Beispielsweise verwendet die Sängerschaft zu St. Pauli Jena et Burgundia Breslau in Münster als Gösch ein Weinband mit den Farben Blau-Rot auf Weiß. Es handelt sich dabei um die Farben der Sängerschaft Burgundia Breslau, einer der Gründungssängerschaften des Bundes. Couleur

- OS: Windows Server 2016, AD domain joined. 1. Multiple domain users will connect to the server using a Powershell remote session and their domain credentials. 2. The script will need to use the user's current working directory as a variable. a) From the prompt, user changes path to the drive and folder where the control file exists and an output file will be generated. Automatically determine the current drive/folder path and pass it as a parameter to the script. This is preferred. o Location is a sub-folder (TestSched). Mechanism must be robust enough so that several users can stack multiple scheduled tasks into the queue. A powershell script (preferable) or batch file needs to be written that can pass parameters to, and run a set of commands in, a Windows scheduled task. Greatly prefer to use ScheduledTasks (not the older Schtasks). - When task is created in task scheduler, it asks for credentials, user can be prompted for their domain user/password if needed. - If user password is passed as a parameter, use SecureString to avoid exposing sensitive info. - If helpful, I'm willing to set up a predefined task, or a task for each user, that can be controlled by the script.

Properties: Agate is exactly that, a slice of life! This huge category of stones features every color, shape, size and style under the collective rainbow! It's combinations are as diverse as its names (based on colors, locations found and nickames…blue lace agate, Colorado agate, snakeskin agate) and its metaphysical properties. The name is derived from its occurrence at the Achates River in southwestern Sicily. Agate is a distinctly banded fibrous chalcedony, amorphous and cryptocrystalline silica gems. The banding in agate is based on periodic changes in the translucency of the agate substance. It is further classified under two distant bandings. When the individual bands run perpendicular to the orientation and growth direction of the chalcedony fibers, it is considered Wall-lining Banding. When the banding consists of fine, irregularly spaced layers of small chalcedony and sometimes quartz crystals that precipitated in the cavity, they are considered Horizontal Banding. Folk Remedies: Agate is a fertility stone used for centuries. It is believed to prevent miscarriages and alleviate discomfort during pregnancy. It is a cooling stone used for stomach, colon, liver, spleen, kidneys. Used for centering, taking heart and maintaining blood sugar levels. This is why it is so helpful for dizziness, headaches and impaired balance. anorexia/food issues, and inflammation. Restores nerve feeling and healing after injury/burns. Feng Shui: Agate is used primarily anywhere to help bring change. Used in the Center for balance, health and grounding and in the West for children, in the Southwest (as a pair) for fertility and in the East for community and family. History: Agate is (SiO2) quartz with the addition of Al, Ca, Fe, Mn. This is Chalcedony quartz in red, orange, yellow, browns and blues. Agate has additional metaphysical properties based on its color and specific qualities Agate stone was named after the river Achates in Sicily. Agate was used to make scarabs in ancient Egypt. This stone represents the spiritual aspects of our life. The sky and the ocean give us the feeling that life is an endless process and this stone is no exception. Blue is the greatest healing power in the world. Blue is the color of purity and those who carry this stone with them can obtain a sense of calmness, peace, serenity, and beauty. The Throat Chakra is energized by blue. Through the throat, we express ourselves, connecting with sound and voice, carrying power with our words. Blue banded agate helps with this task. Helps to focus on the inner source of love within you that transforms and heals all emotional wounds. Contains the qualities of flight, air, movement, and grace. Highly inspirational when working with the inner self. Works well with not only the Throat Chakra, but the Heart Chakra, Third Eye Chakra and Crown Chakra. It has been compared to the layers of the mantle of the Virgin Mary. They help develop patience, reconcile differences, or seek forgiveness. They teach us humanity, discretion, and honor. Gray, brown, red and earth colors these stones are waxy in appearance and display beautiful patterns when polished. Strongly recommended for firefighters, people who smoke, and for anyone who comes in regular contact with excessive amounts of heat or smoke. A pleasant feeling of playfulness comes from meditating with this stone. Used for soothing depression and helps you to look for solutions rather than dwelling on problems. Great for exploring unknown territory and your boosting your own creativity. Botswana Agate helps in seeing the bigger picture. Most often found in North America. Comes in shades of orange, brown, blue, or green. Strong connection to the energies of the earth and fire. Excellent stone to use before meditating. Induces a feeling of relaxation. Helps alleviate problems relating to the stomach and endocrine system. Helps you examine and deal with problems in a calm and safe manner. Helps take the edge off difficult experiences. Recommended for dentists, optometrists, and those in the healing profession. Use this stone to represent the element of fire. Connects one to Nature. Translucent, transparent agate containing inclusions of minerals that look like moss or foliage. It has been used for improving ego and self-esteem, emotional balance and strengthens positive personality traits. Allows one to see all the beauty one's eyes touch. Moss agate is known to transmute anger, diffusing it the longer your hold it. This stone has been used to help one cling to new ideas instead of those in the past, allowing the "letting go" to be a little easier. Use moss agate for meditation and to help you relax when you are not able to get outdoors. Good for bringing the power of positive thinking your way! This stone helps us in times of depression, loneliness, and boredom. It is the best emotional stimulant. Joy comes from orange energy. Orange has the love from red and the wisdom from yellow. It strengthens confidence and allows independence. This stone gives power to remove suppression and inhibitions. It allows you to create ideas and give courage and strength. Symbolic of prosperity and pride, orange is useful for stimulating blood supply and energizing the nerves. It stimulates the Sacral Spleen Chakra. This stone is a promoter of love. Pink agate is the (tertiary blend) of red and white. White represents the entire visible light spectrum that a human can see. It is all the colors together. It represents complete energy and fullness or wholeness. Red is the color in the spectrum with the longest visible wavelength. It represents movement, motivation and heat. When added to white, red softens its glow and takes on the properties of both colors. Therefore, it is used as a great neutralizer. It soothes anger and negative energy. It provides an underlying tone of confidence and support and helps us to move from a defensive state of mind to a calming and positive one. This is a stone of meditation and spiritual transformation. This stone works on the Third Eye Chakra and Crown Chakra. It assists in allowing trust with your own intuition and opens the spiritual flood gates to a realm of endless possibilities. It gives us the space to "be" our spiritual selves and clears the mind for extraordinary vision and insight. Agate is composed of microscopic crystals of Quartz laid down in colorful bands or ribbons. Agates are grounding stones and although this works with the upper Chakra, its energy keeps us rooted. They help obtain a better physical/emotional balance. They work to raise consciousness. This is a stone for grounding and centering the energies of the Root Chakra. The colors for the Root Chakra are red or black and these stones work for "rooting" or centering your power. Agate stones help us to connect with our physical body. It is used to connect to your essential self to know who you are. This stone helps give you determination and helps with survival in the physical realm. Red is a projecting stones which assists in destroy disease, strengthens conscious, courage, strength, physical energy, luck, and success. Red stones are used for protection, courage, energy. Resembling the skin of a snake in appearance, this extraordinary agate stone offers the encouragement of self-esteem and self-awareness. It has been used to initiate the upward spiral of the kundalini energy through the Chakra system. Like a snake, it surges forward, activating all energies in its path. As a result, when using snakeskin agate, you can experience increased awareness, a joyful re-connection and an overwhelming sense of self-love. It is often expressed that by the action of kundalini rising, you receive a feeling of a renewed love for life. Tree agate is often found in a matrix of quartz with distinct color patterns against a white background. They resemble the wisp of trees and represent the grounding of their roots and the whimsy of their branches. Moving in all directions, tree agate helps to bring focus back. It allows us to ground ourselves like the roots of a tree, while also being able to grow up and outward with abandon. Tree agate connects us closer to nature. It is used to nurture the heart and Heart Chakra energy while connecting us to things that matter to us. (matters of the heart). Agates are one of the oldest good luck stones. They help obtain a better physical/emotional balance. They work to raise consciousness and build self-confidence. Agate enables the person wearing it to choose their friends carefully. Used to avert from lighting and stormy weather (physically and metaphysically), agate brings prosperity. It is a protector of children. This stone helps us to have patience, and allows for inner peace. Use agate as a gazing tool for divination and meditation. Agate balances emotions and brings insight to any situation. Agate is a fertility stone used for centuries. It is believed to alleviate discomfort during pregnancy. Create your own empowerment pouch based on your needs and desires. Choose 4 of the many different agate stones and apply to a meditation grid. Place one stone in each direction on the floor or sacred space. Use one for each direct – north, south, east, west. Sit comfortably in your stone circle. Close your eyes and take several deep breaths. State your intention… why are you here? Picture the stones surrounding you like some old friends. With each breath, allow the stones to nurture and protect you, advise and relax you. Finish your meditation by slowly opening your eyes. You may want to consider journaling about your situation. Store you stones in a special pouch you have chosen.

Kiddy Needs a New Pair of Laptops petrol soul steppers scatter funk glitchouse The Action Packed Mentallist Brings You the Fucking Jams Total Recovery Is Possible Sonqizzon we used to make love Knifehandchop World Of Leather Goodbye Rute The Tuss Cfern matador records tax deduction We call on him Geeez 'N' Gosh Neva Truss Da Filf Wobble N Dubb whereweftoff (drool_string_ukelele rmx) Together (The Discreet Charm Of Kid606 Rmx) www.brainwashed.com/kid606/home.html Twitter (@Kid606) Kid606 (born July 27, 1979, Caracas, Venezuela) is the stage name of Miguel Trost De Pedro, an electronic musician who was raised in San Diego and later moved to San Francisco. He is most closely associated with the glitch, IDM, Hardcore techno, and breakcore scenes. Kid606's music is similar to the work of his friend and colleague Lesser, as well as hardcore and IDM acts such as Atari Teenage Riot, Autechre, Mr. Oizo, and Matmos. He is primarily inspired not by his electronic contemporaries, but by his love of the Industrial music, Death metal, and Industrial metal of the 1980… read more Kid606 (born July 27, 1979, Caracas, Venezuela) is the stage name of Miguel Trost De Pedro, an electronic musician who was raised in San Diego and later moved to San Francisco. He is most c… read more Kid606 (born July 27, 1979, Caracas, Venezuela) is the stage name of Miguel Trost De Pedro, an electronic musician who was raised in San Diego and later moved to San Francisco. He is most closely associated with the glitch, IDM, Hardco… read more Shitmat Xanopticon

BAS > News & media > Expedition heads to newly exposed Antarctic ecosystem Expedition heads to newly exposed Antarctic ecosystem 4 February, 2019 Press releases An international team of scientists heads to Antarctica this week (4 February 2019) to investigate a mysterious marine ecosystem that's been hidden beneath an Antarctic ice shelf for up to 120,000 years. The iceberg known as A68, which is four times the size of London, calved off from the Larsen Ice Shelf in July 2017. The scientists will travel by ship to collect samples from the newly exposed seabed, which covers an area of around 5,800 km2. Previous ship expeditions have tried to reach the area without success. It is an urgent mission. The ecosystem that's likely been hidden beneath the ice for thousands of years may change as sunlight starts to alter the surface layers of the sea. The Larsen A68 iceberg calved in July 2017. Credit: BAS The team, led by the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI) in Germany, leaves Punta Arenas on 9 February to spend over nine weeks on board the AWI research ship RV Polarstern. Satellite monitoring is critical for the ship to navigate through the sea-ice covered waters to reach this remote location, which sits east of the Antarctic Peninsula. Dr Boris Dorschel of Alfred Wegener Institute is leading the mission. He says: "The expedition to Larsen C is an unprecedented opportunity to conduct international and interdisciplinary scientific research in this climate sensitive region. Now is the time to address fundamental questions about polar continental ice shelves under climate change." "Larsen C is a long way south and even in these times of record lows in Antarctic Sea ice, there's lots of sea ice in our study area. But this is important science, so we will try our best to get there to unlock the secrets of Larsen C and A68, supported by high-definition satellite data and the option of surveying the sea ice by Polarstern's helicopters." The team will investigate the area previously under the ice shelf by collecting seafloor animals, microbes, plankton, sediments and water samples using a range of equipment including video cameras and a special sledge pulled along the seafloor to collect tiny animals. They will also map the seafloor using sonar. The team are hoping to find that animals like starfish have adapted to living under an ice shelf. Credit: Huw Griffiths Marine biologist, Dr Huw Griffiths from British Antarctic Survey, is leading some of the seafloor biology research. He says: "The calving of A68 is a unique opportunity to study marine life that is facing dramatic environmental change. A68 is one of the largest icebergs ever recorded and gives us an extraordinary chance to explore a world that we know virtually nothing about, which is normally hidden under hundreds of metres of ice. "This environment has been without sunlight for thousands of years and is likely to be home to a specially adapted community of animals that can cope with very little food. The break off of this enormous iceberg will have a similar effect to suddenly taking the roof off a cave. For the first time in thousands of years microscopic plants will be able to bloom at the surface, changing the food chain, and allowing different species to colonise and take over." Seafloor animals like sea pigs are found around Antarctica. Credit: Huw Griffiths Heavy sea ice conditions thwarted the British Antarctic Survey's royal research ship RRS James Clark Ross from reaching the A68 study area in January 2018. The Larsen C Special Area for Scientific Study was established by CCAMLR in 2017 for a period of ten years, after meeting the criteria for designation of such areas as agreed in 2016. This allows for scientific research to be undertaken in the area without any impact from commercial fishing, to address questions relating to how biological communities develop over time, and how new species colonise previously ice-covered areas. More about CCAMLR here The Larsen C calving event of A68 may simply reflect the natural growth and decay cycle of an ice shelf, and is not necessarily due to changes in environmental conditions. The Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI) conducts research in the Arctic, Antarctic and oceans of the high and mid-latitudes. It coordinates polar research in Germany and provides major infrastructure to the international scientific community, such as the research icebreaker Polarstern and stations in the Arctic and Antarctica. The Alfred Wegener Institute is one of the 18 research centres of the Helmholtz Association, the largest scientific organisation in Germany. For more information visit: www.awi.de/en or follow us on Twitter (https://twitter.com/AWI_Media) and Facebook (www.facebook.com/AlfredWegenerInstitute). Biodiversity, Evolution and Adaptation team (Team) Behavioural ecology (Research topic) Ecology & biodiversity (Research topic) Learning about the first animals from life at the poles Discovery of life beneath Antarctica's ice shelves Invading species 'hitches a ride' on kelp to reach Antarctica Expedition to Larsen C ice shelf thwarted by sea ice More losers than winners for Southern Ocean marine life

In 3 years' time, the 2020 Olympics will be held in Tokyo (that is the capital of Japan). But, the dilemma they are having is… which mascots should host the Olympics?? Altogether, there are 6 mascots to be chosen from: a cat, a dog, a racoon and an assortment of anime-inspired characters. Children all around Japan will vote on which mascots they want to be the face of the event, and the pair that have the highest amount of votes will be the Olympic and Paralympic mascot. Personally, I would choose the 1st mascots because they look competitive, muscular, sporty and they look like they would work as a team – which is what the Olympics is all about. However, the bottom left mascots haven't got as bright and vibrant colours as the other two pairs do. So my vote is for the pink and blue cats. Which one would you vote for? I would love to hear what you would vote form – maybe we could influence Japan's decision!

La diócesis de Rustemburgo ( y ) es una circunscripción eclesiástica latina de la Iglesia católica en Sudáfrica, sufragánea de la arquidiócesis de Pretoria. La diócesis tiene al obispo Robert Mogapi Mphiwe como su ordinario desde el 25 de noviembre de 2020. Territorio y organización La diócesis tiene 32 000 km² y extiende su jurisdicción sobre los fieles católicos de rito latino residentes en parte de la provincia del Noroeste. La sede de la diócesis se encuentra en la ciudad de Rustemburgo, en donde se halla la Catedral del Santísimo Redentor. En 2020 en la diócesis existían 15 parroquias. Historia La prefectura apostólica fue erigida el 28 de junio de 1971 con la bula Inter rerum del papa Pablo VI, obteniendo el territorio de la arquidiócesis de Pretoria. El 18 de noviembre de 1987 la prefectura apostólica fue elevada a diócesis con la bula Ad beati Petri del papa Juan Pablo II. Estadísticas De acuerdo al Anuario Pontificio 2021 la diócesis tenía a fines de 2020 un total de 52 400 fieles bautizados. |- align="right" | 1980 || 23 484 || 517 000 || 4.5 || 17 || || 17 || 1381 || || 18 || 50 || 11 |- align="right" | 1990 || 36 000 || 610 000 || 5.9 || 19 || 1 || 18 || 1894 || || 22 || 41 || 18 |- align="right" | 1999 || 42 500 || 850 000 || 5.0 || 19 || 5 || 14 || 2236 || 5 || 18 || 33 || 16 |- align="right" | 2000 || 43 300 || 855 000 || 5.1 || 20 || 5 || 15 || 2165 || 5 || 19 || 33 || 12 |- align="right" | 2001 || 43 750 || 859 000 || 5.1 || 23 || 6 || 17 || 1902 || 5 || 19 || 33 || 12 |- align="right" | 2002 || 43 875 || 855 000 || 5.1 || 25 || 6 || 19 || 1755 || 5 || 20 || 32 || 13 |- align="right" | 2003 || 43 775 || 985 000 || 4.4 || 26 || 7 || 19 || 1683 || 5 || 20 || 35 || 15 |- align="right" | 2004 || 43 500 || 980 000 || 4.4 || 24 || 5 || 19 || 1812 || 5 || 20 || 34 || 15 |- align="right" | 2010 || 46 900 || 1 004 000 || 4.7 || 20 || 2 || 18 || 2345 || 5 || 19 || 25 || 14 |- align="right" | 2014 || 47 500 || 1 044 000 || 4.5 || 23 || 3 || 20 || 2065 || 3 || 22 || 19 || 15 |- align="right" | 2017 || 50 140 || 1 102 170 || 4.5 || 17 || 3 || 14 || 2949 || 16 || 16 || 18 || 15 |- align="right" | 2020 || 52 400 || 1 152 250 || 4.5 || 17 || 3 || 14 || 3082 || 15 || 16 || 11 || 15 |- align="right" |colspan=12 |<small>Fuente: Catholic-Hierarchy, que a su vez toma los datos del Anuario Pontificio. |} Episcopologio Henry Lancelot Paxton Hallett, C.SS.R. † (29 de septiembre de 1971-30 de enero de 1990 falleció) Kevin Dowling, C.SS.R. (2 de diciembre de 1990-25 de noviembre de 2020 retirado) Robert Mogapi Mphiwe, desde el 25 de noviembre de 2020 Referencias Enlaces externos (en inglés) Ficha de la diócesis en www.gcatholic.org (en inglés) Ficha de la diócesis en el sitio de la Conferencia de los Obispos Católicos de África Meridional Rustemburgo Rustemburgo

An Incomplete "I" is a temporary grade which may be given at the instructor's discretion to a student when illness, necessary absence, or other reasons beyond the control of the student prevent completion of course requirements by the end of the academic term. The instructor and student discuss the terms for the Incomplete in writing before the end of the term. The Application for Incomplete Grade form can be used to document the terms of the Incomplete and can be turned in to the Registrar's Office by the instructor as a part of the official student's record. If an Incomplete grade is agreed upon, the instructor is responsible for entering the "I" grade in PioneerWeb, as well as changing the grade to a final grade when applicable. See Grading Guidelines for Faculty for more information on entering and changing grades. It is in the student's best interest that incomplete grades be made up by the end of the following academic term. Incomplete grades must be made up and final grades submitted within one calendar year from the date Incomplete was recorded. Incomplete grades will expire on the date selected by the professor when the grade of incomplete is entered. This date will be no more than one calendar year from the last day of classes of the quarter in which the incomplete was incurred. Faculty may enter a default grade which will appear on the transcript should the expiration deadline lapse without further action on the part of the student. Incomplete grades may be replaced with letter grades prior to the expiration deadline with faculty approval through PioneerWeb. Only in the most extenuating circumstances will extensions be granted beyond one calendar year. Reason for requests for extension may be added to Section IV of the Application for Incomplete Grade form, or in the "Comments" section of the Grade Change Request process online, and must be approved by instructor and Dean. This policy affects Incomplete grades given in Fall 1995 and thereafter. Prior to 1995, unchanged incompletes remain on the permanent record as part of hours attempted and are calculated as a failing (F) grade in the GPA. Notation of the original incomplete status of the grade remains on the student's transcript along with the final grade. An Incomplete should not be assigned when it is necessary for the student to attend additional class meetings to complete the course requirements. Students who receive an incomplete grade in a course must not reregister for the course in order to remove the "I". An Incomplete is not to be assigned where the normal practice requires extension of course requirements beyond the close of a term, e.g., thesis or project type courses.

Q: Job still running even when deleting nodes I created a two nodes clusters and I created a new job using the busybox image that sleeps for 300 secs. I checked on which node this job is running using kubectl get pods -o wide I deleted the node but surprisingly the job was still finishing to run on the same node. Any idea if this is a normal behavior? If not how can I fix it? A: Jobs aren't scheduled or running on nodes. The role of a job is just to define a policy by making sure that a pod with certain specifications exists and ensure that it runs till the completion of the task whether it completed successfully or not. When you create a job, you are declaring a policy that the built-in job-controller will see and will create a pod for. Then the built-in kube-scheduler will see this pod without a node and patch the pod to it with a node's identity. The kubelet will see a pod with a node matching it's own identity and hence a container will be started. As the container will be still running, the control-plane will know that the node and the pod still exist. There are two ways of breaking a node, one with a drain and the second without a drain. The process of breaking a node without draining is identical to a network cut or a server crash. The api-server will keep the node resource for a while, but it 'll cease being Ready. The pods will be then terminated slowly. However, when you drain a node, it looks as if you are preventing new pods from scheduling on to the node and deleting the pods using kubectl delete pod. In both ways, the pods will be deleted and you will be having a job that hasn't run to completion and doesn't have a pod, therefore job-controller will make a new pod for the job and the job's failed-attempts will be increased by 1, and the loop will start over again.

The publications and brochures listed below can be obtained by calling or visiting BLM's Public Information Center. BLM is proud to announce the release of this new book that provides an in-depth look at Oregon's history through the eyes of the General Land Office. In 1812, the General Land Office or GLO was established as a federal agency within the Department of the Treasury. The GLO's primary responsibility was to oversee the survey and sale of lands deemed by the newly formed United States as "public domain" lands. The GLO was eventually transferred to the Department of the Interior in 1849 where it would remain for the next ninety-seven years. The GLO is an integral piece in the mosaic of Oregon's history. Today the imprint of the GLO on Oregon's landscape is unmistakable in its cardinally-oriented roads and property lines. However, the story of the GLO in Oregon runs deeper than mapping and surveying the lands. As agents of the United States, GLO surveyors operated under the umbrella of United States' public land laws and policies and treaty-making with Indian tribes. This free book is just a small, but fascinating piece of Oregon's history and the role played by the GLO! Download your free copy here (PDF).

View alumni that have participated in Gold Beach High School Gymnastics. If you participated in Gymnastics while at Gold Beach HS, register now and add your name to the list with a message to your old friends. Looking for Gold Beach alumni who participated in Gymnastics but are not listed? Classmates.com® has hundreds of more Gold Beach alumni listed.

This 9″x18″x1.5″ Castle Stone Mold is made with .060 H.I. ABS Plastic for long life and durability, and will last through hundreds of pours if handled properly. The Castle Stone style consists of many different sized stone molds ranging in size from 2″x6″ up to 18″x18″, all nominally 1.5″ thick. They can be poured as thin as 1/2″ thick for use as veneer or floor tiles, if desired. They can be produced in virtually any color imaginable, as well as combinations of colors. As with all of our molds, there are many techniques that can be used to get custom results. Free instructions are included with each mold purchase, and email support is always readily available.

Only a few more hours... | For the Joy of Life. Yesterday, as I was cooking dinner hysterically fast so that I could deliver it to the family I cook for on time, Friend walked in with 2 packages. As she walked in, I didn't notice either because I was flipping the slabs of meat I had over the stove. After exchanging hello's she says, "There are 2 packages here for you!" She then pulled the second package above the counter so that I could see. I recognized the package right away... its the flat rate box. The one that is usually personally sent. Clearly, confusion was the emotion. I walked over to look at it and the return address was clearly ( but not exactly legibly haha) marked Elder Hunter Moore. The confusion quickly turned into utter happiness and disbelief. I blurted out "Awww he is SO sweet!" and then set the package right next to me as I continued to cook. The entire time I would catch myself smiling and staring at it as if I had x-ray vision to figure out what was inside. Right before I left to deliver the food Friend asked if I was going to open it. I told her that I just havee to wait until my birthday. And the anticipation is killing me! If only I could transfer some of this waiting will power to the lack I have thereof when it comes to sweets. Sometimes, just sometimes, I really enjoy this whole long distance situation. We have this game going on. We have been trying to one up each other with clever nick names throughout practically the entire journey. Sometimes they are just realllyy out there.. other times they are straight out of the notebook. Ps, I totally called him my hot snuggly zucchini bread. It only makes sense if I'm the muffin squash right? so exciting! those packages are really the best! happy birthday! I can't wait to see what it is! :) So happy for you Aleigh!

Art Collection of the Duke of Buccleuch The collections of the Duke of Buccleuch & Queensberry represent some of the finest, most complete and most important private art collections remaining in Europe. Assembled by the family over a 600 year period, with little in the way of sale or dispersal, the superlative collection of furniture, paintings, porcelain, silver, miniatures, sculpture and tapestries remains relatively unknown. The hundreds of paintings alone, number among them works by Holbein, Cranach, Le Seur, El Greco, Reynolds, Gainsborough, Claude, Vernet, van Dyck, Canaletto, Carracci, Guardi, Rembrandt and even da Vinci - the last painting by the artist in private hands. The Madonna of the Yarnwinder, c.1499 (oil on panel), Leonardo da Vinci (1452-1519) (attr.to) / National Galleries of Scotland, Edinburgh / The Buccleuch Collections. Right: An Old Woman Reading, 1655 (oil on canvas), Rembrandt Harmensz. van Rijn (1606-69) / Drumlanrig Castle, Dumfries, UK / The Buccleuch Collections The Buccleuch family can trace their descent directly back to the 10th century, with 33 generations father to son. Their primary seat was for centuries Dalkeith Palace (until this was leased out), just to the south of Edinburgh, while the main London home was Montagu House, which was to become what is now the British Museum. Left: The interior of the Pantheon, Rome, with figures, 1730 (oil on canvas), Giovanni Paolo Pannini (1691/2-1765) / Bowhill House, Scottish Borders / The Buccleuch Collections. Right: Group portrait of Charles, Earl of Dalkeith (1772-1819) and his brother, Henry, later Lord Montagu (1776-1845), 1779 (oil on canvas), Martin Ferdinand Quadal, (1736-1808) / Drumlanrig Castle, Dumfries, UK / The Buccleuch Collections In common with many great aristocratic families, the social upheaval experienced after the first World War led to the closure of their town houses. It was then that the contents of Dalkeith and Montagu House were divided and relocated to the family's 3 main country residences: Boughton House, Northamptonshire; Drumlanrig Castle, Dumfries & Galloway; and Bowhill, in the Scottish borders. Left: Equestrian portrait of James Scott, 1st Duke of Monmouth and Buccleuch, K.G. (1649-1685), (oil on canvas), Jan Wyck (1640-1700) (attr. to) / Boughton House, Northamptonshire, UK / The Buccleuch Collections. Right: Portrait of Elizabeth Montagu, Duchess of Buccleuch (1743-1827), half-length, in a white dress with blue bows and a lace cap with blue ribbons, in a feigned oval, c.1758 (oil on canvas), Thomas Gainsborough (1727-88) / Boughton House, Northamptonshire, UK / The Buccleuch Collections All three of these beautiful homes are open to the public for limited periods; however a tantalising glimpse of some of the treasures they contain may be had by entering the world of the Duke of Buccleuch collection on the Bridgeman Images archive today. Bridgeman Images | Image. It's Everything. Are you looking to license art, culture and historical images? Bridgeman Images offers the highest resolution rights managed images for licensing. Please contact us for free image research or to learn more. Collection Spotlight: Arts Council Collection The Arts Council Collection is the most widely circulated national loan collection of modern and contemporary British art. Galleria Nazionale dell'Umbria - National Gallery of Umbria Images of masterpieces from the National Gallery of Umbria now available at Bridgeman Images Laurie Lewis' photography in the Lebrecht Photo Library Laurie Lewis has been photographing some of the biggest names in Music and Stage performance since the 1970s.

How To Find A Regular HVAC Service Provider You Can Rely On | Specialty Air Inc. Here in California it can be tough to sort through the long, long list of service providers who can do whatever sort of HVAC service you possibly need at the moment. In such a populous area as this that list can be very big and intimidating! Besides that, it's not likely that we all know what to look for in a technician other than the reviews and their availability. Maybe we ask our friends for some input on who they've used, but more than likely that's one it stops. Reading this article is a tremendous leap forward though as you're willing to do more than just pick the first name that you see on the list. When you're looking for a regular heating and air conditioning service in Anaheim, CA, you need to be aware of a few important factors that we're about to go over right now. This is very important as hardly anyone can plan for an emergency and you'd be surprised how few companies have this option when you really need it. It's always going to be a huge inconvenience and seem like a tremendous difficulty when it happens. Thankfully, here at Specialty Air Inc, we are on call 24/7 whenever that warm or cool air suddenly shuts off in the middle of the night. Not only that, but there's several things that can go wrong with a unit, especially if it's old and has been struggling already. The most extreme case being that it can start creating deadly carbon monoxide and make your home inhospitable, but thankfully this is not the usual case. We hope you won't need this service very often, but it's great to have this and a few others as well….. The services that nearly every provider should provide besides emergency assistance include regular maintenance, yearly tune-ups and inspections, and of course repairs to your furnace and air conditioning unit. Every year your system needs a series of tests and checks run to insure that it will provide plenty of cool air in the summertime and enough heat to make it through a cold winter day. In order to do this, regular cleaning and sometimes a part replacement or two will be needed. Finally, you will want to see if they have good reviews that demonstrate their high quality and professionalism as well as make sure they have the necessary state licenses and certifications. Here at Specialty Air Inc, we've accumulated nearly 300 reviews for an average of 5 star quality service! We've been able to maintain such a high rating because we know how hard it is to find service that's reliable and affordable, while also being of high quality too. If you're ready to experience what so many others have when they've requested our heating and air conditioning service in Anaheim, CA, then please give us a call at (714) 641 – 8049.

Implementing and Troubleshooting the Cisco Cloud Infrastructure is the full name of 300-460 CLDINF test. There are 55-65 questions in real Cisco 300-460 CLDINF exam, which will take the candidates 90 minutes to complete the test. The Associated Certification is CCNP Cloud. The available language is English. Candidates can register Cisco 300-460 CLDINF exam at Pearson VUE testing center. It is helpful for the candidates to know Cisco 300-460 CLDINF exam topics. Designing the Cisco Cloud is the full name of 300-475 CLDACI exam. There are 55-65 questions in real Cisco 300-475 CLDACI exam, which will take the candidates 90 minutes to complete the test. The available language is English. The Associated Certification is CCNP Cloud. Candidates can register Cisco 300-475 CLDACI exam at Pearson Vue testing center. Cisco 300-475 CLDACI exam tests a candidate's knowledge and skills in ACI Architecture, Fabric and Physical Topology; ACI Design and Configuration; APIC Automation Using Northbound API; ACI Integration; and ACI Day 2 Operations.It is also helpful for the candidates to know Cisco 300-475 CLDACI exam topics. 300-470 CLDAUT is known as Designing the Cisco Cloud. There are 55-65 questions in real Cisco 300-470 exam, which will take the candidates 90 minutes to complete the test. The Associated Certifications is CCNP Cloud. The available language is English. Candidates can register Cisco 300-470 exam at Pearson VUE testing center. Cisco 300-470 CLDAUT exam tests a candidate's knowledge and ability to provision Private IaaS; provision Private IaaS with Catalog Scaling; provision Private IaaS with Network Automation; provision Hybrid IaaS; and perform Application Provisioning & Life Cycle Management. It is important for the candidates to know Cisco 300-470 CLDAUT exam objectives.

HomeTURKEYAegean Region35 IzmirPhaeton Period Officially Closed in İzmir Phaeton Period Officially Closed in İzmir 26/06/2019 Levent Elmastaş 35 Izmir, Aegean Region, GENERAL, HIGHWAYS, Tire Wheel Systems, HEADLINE, TURKEY 0 Phaeton Period Officially Closed in Izmir Izmir Metropolitan Municipality has banned phaeton transportation throughout Izmir province. İzmir Transportation Coordination Center (UKOME) General Assembly canceled the "Phaeton Working Principles and Procedures Directive önceki which was implemented in previous years and closed the phaeton period in İzmir. On the other hand, the phaeton business within the Municipality of İZULAŞ 1 was closed as of May. Again in line with UKOME decision; The activities of the total 32 carriage in Karşıyaka, Selçuk and Dikili were terminated. Vehicles taken with animals banned the exit of the boulevard and streets in the city center. İzmir Metropolitan Municipality, which terminated the phaeton service in Alsancak-Kordon region through 1 May through the Carriage Plant of İZULAŞ, implemented the legal arrangements for the city in the second step of the implementation. The Genel Carriage Working Principles and Procedures Directive en which was put into practice in the previous years was canceled with the decision of UKOME General Assembly. The activities of 18 in Karşıyaka, 12 in Selçuk and 2 in Dikili were terminated. Tunç Soyer: Protecting animal rights will continue to be one of the main priorities of our Municipality. According to the article 139 of the Road Traffic Regulation, all municipal bazaars, animal drivers and animal drivers with the exception of official ceremonies and ceremonies for which permission will be taken are prohibited from entering the boulevards, streets and traffic-intensive streets in the city center. İzmir Mayor Tunç Soyer stated that they aim to make İzmir an exemplary and pioneering city in animal rights. "Since the day we were elected, we have carried out legal and technical processes regarding the removal of phaetons without interruption. This process was recently completed and the phaeton was closed in İzmir. Observing animal rights will continue to be one of the main priorities of our Municipality. " 'Alo Fayton' Period in İzmir 12/07/2017 'Alo Fayton' Period in Izmir: Izmir Metropolitan Municipality has brought a new breath to the pleasure of the phaeton in Kordon and formed the emi Fayton Call Center İzmir. Citizens can now hire (232) 433 51 55 for special events and ask for a tramway. Kordon, with its specially trained Haflinger horses, Victorian classic designs and uniform garments with both foreign language and behavioral training, together with Izmir phaetons, add a special beauty to Kordon. İzmir Büyükşehir Belediyesi A total of 3 services are operated by İZULAŞ company and at Alsancak Port exit, in Gündoğdu Square and in front of Konak Pier ş Boluda Tram or Bicycle Phaeton Available 28/05/2013 Boluda Tram or Bike Fayton Var After being closed to traffic in the street to evaluate the alternative means of transportation to the Municipality of Bolu and a Far East vehicle as a bicycle-phaeton test drive went on. Ahmet Çalışıcı introduced the idea that transportation with bike carriages could be provided on İzzet Baysal Street and presented his bike phaeton to the Bolu Mayor Alaaddin Yılmaz for a trial within a week. Bolu Mayor Alaaddin Yilmaz's nasıl Festival nasıl is called as Izzet Baysal Street near the end of the studies, how to provide transportation on the street alternatives are evaluated. Tramway transportation is often on the agenda, for the tram ın Istanbulkartsiz Mass Transportation Period Closed 02/08/2018 In Istanbul, 1 will be traveling with Istanbulkart only as of August (today) on the regional lines that serve Silivri, Çatalca, Şile, Pendik and Tuzla. In Istanbul's public transportation, Istanbulkart will only be used. IETT General Directorate, 1, one of the affiliated companies of Istanbul Metropolitan Municipality, decided to travel to Istanbul with Istanbul as of August. 139T, 133AK, 133GP, 133KT, 133G, 134K, 134H, 134H, 134, 336, 400, 401, 402, 401, 403, 404, 418, 429, 448 On 458, XNUMX lines, it is now only available in İstanbulkart N Atatürk Airport officially stopped 18/02/2015 Atatürk Airport officially stopped: Negative weather conditions are causing one of the most severe winters of recent years in Istanbul. 60 airplane landed at the 1 hour of the 4 hour. Ataturk airport was actually canceled. Turkish Airlines Board of Directors President Hamdi Topçu said in a statement on Twitter that "Atatürk Airport was heavily closed with the opposition from the air, and many passengers were victims of non-existence. We apologize to all our passengers. Due to snowfall from time to time iye Alanya's 37 Annual Ropeway Dream 11/10/2017 The countdown has begun for the official opening ceremony of the Alanya Ropeway, which brings a new breath to Alanya tourism. The official opening of the cable car, which is one of the most important projects of Alanya Mayor Adem Murat Yücel to Alanya, will be held on Wednesday, October at 11. TURİZM CANLANACAK Alanya Mayor Adem Murat Yücel stated that the Ropeway Project has brought awareness to Alanya and said ığ We will give a new and different experience to our citizens and tourists. This investment will contribute to domestic tourism as well as to external tourism. Bu 15.00 MILLION PEOPLE WILL BE USED BY ALANYA TELEFERICS IN THE YEAR YON Iskenderun Port officially transferred to Limak 25/04/2012 One of Turkey's most strategic port which Limak Iskenderun Port officially turned over to the company. Limak Port, which receives the operating rights of TCDD İskenderun Port for 36 years, will make the official transfer process on 28 April Saturday. Transportation Minister Binali Yıldırım, who will arrive to İskenderun for the transfer of the port, will officially transfer the port's right to use 36 for the year to Limak. Transportation Minister Binali Yildirim, Justice Minister Sadullah Ergin and deputy Orhan Karasayar and Limak board members will be present at the official ceremony. Source: CİHAN Ministry of Transport officially assumed the construction of Levent-Hisarüstü subway 10/09/2012 The Ministry of Transport, Maritime Affairs and Communications was officially taken over by the Levent-Hisarustu metro construction. Ministry of Transport, which has found the demand of Istanbul Metropolitan Municipality, has undertaken the construction of Levent-Hisarusti metro. This project was the first metro to be built by the Ministry of Transportation in Istanbul. The Cabinet decision required for transfer was opened for signature. After taking over this line, the Ministry of Transport will not be able to enter a new tender. He will continue with the current contractor. 200-250 will invest more than TL million to open the line. Project features The subway project will connect Hisarüstü to Levent Metro Station. Hisarüstü will have access to Levent in 5 minutes. Expeditions 4 will be done once in a minute. Transportation ... The longest high-speed train line in the world officially opened 30/12/2012 The world's longest high-speed train line was officially opened The line connecting the south of the country with Beijing was officially opened on China's communist founding leader Mao's birthday. The Beijing line used to be an 22 hour trip; The journey time now goes below the 10 watch. Approximately 2 thousand 300 high-speed train line built in China was officially opened. Trains on the line connecting the capital Beijing and the southern commercial district of Guangjo are going to speed 300 per hour. The trains are expected to be accelerated later. Some parts of the line were already opened. The authorities say that the Beijing-Guangjo line is one of the lines with the highest technical structure in the world. Today in History: 4 January 1871 The official opening ceremony of the Yedikule-Küçükçekmece line was held ... 04/01/2013 Today in the history 4 January 1871 Yedikule-Küçükçekmece line was officially opened in the opening ceremony. The public attended the ceremony attended by the grand vizier. There were some formal apartments on holiday. As the first line of the Rumeli Railways was opened, Baron Hirsch, the concessionaire, was awarded the Mecidiye Order of the first rank. 4 January 1921 Ankara-Eskişehir line was asked to allocate completely military transport. Samsun Kavkaz Railway Ferry Line was officially launched (Video-Photo Gallery) 21/02/2013 Samsun Kavkaz Railway Ferry Line was officially put into service Samsun - Kavkaz Train Ferry Line, which provided the combined freight transport from Russia to Central Asia and the Middle East through our country, Republic of Turkey Ministry of Transport, Maritime Affairs and Communications, Interior Minister Yıldırım and Russian Minister of Transport Maxim Y. Sokolov 19 February 2013 was opened on Tuesday at Samsun Port Industrial Dock. "TRANSPORTATION diversifying We aim to trade INCREASING" Turkey-Russia Railway and Road Multimodal Transport Project, entered service in the Samsun-Kavkaz train Speaking at the opening of the Feri Line Transport, Maritime Affairs and Communications Minister Binali Yildirim, studies in the beginning and 2005 In the 2010 ... Izmir Metropolitan Municipality Izmir phaeton transportation Phaeton period closed in Izmir İZULAŞ Carriage Plant TCDD General Manager Uygun International Duty Double Road Gospel to Izmit 'Alo Fayton' Period in İzmir Istanbulkartsiz Mass Transportation Period Closed Boluda Tram or Bicycle Phaeton Available Carriage and Horses Received in Alanya Atatürk Airport officially stopped Alanya's 37 Annual Ropeway Dream Iskenderun Port officially transferred to Limak Ministry of Transport officially assumed the construction of Levent-Hisarüstü subway The longest high-speed train line in the world officially opened Today in History: 4 January 1871 The official opening ceremony of the Yedikule-Küçükçekmece line was held ... Adana Mersin Train Hours and Ticket Deals

I am the FIRST smart links super test3 cute dog Lindsey Graham raises $28 million in third quarter Oct. 14, 2020 06:56PM EST Sen. Lindsey Graham (R-S.C.) announced Tuesday his campaign raised $28 million in the third quarter — a quarterly fundraising record for Republican Senate candidates, but less than half of the staggering $57 million his Democratic challenger Jaime Harrison raised. Why it matters: Graham, a close ally to President Trump and the chairman of the powerful Senate Judiciary Committee, is facing the toughest re-election battle of his Senate career. The big picture: The Cook Political Report updated its forecast for the Senate race last week, moving it from "lean Republican" to "toss up," while a September Quinnipiac poll found the race tied at 48%-48%. The Senate Leadership Fund, a Republican super PAC, plans to spend $10 million in the race, hoping to boost Graham's re-election bid. The race is quickly becoming among the most expensive in the country. Harrison has raised roughly $86 million, and Graham's total fundraising is around $58 million, according to AP. Go deeper:The blue money wave in Senate races regular 4 post ff Ivan Berezovskiy additional post for section1 subheadline body body the foo33232 Rebel Developer Jun. 12, 2020 11:49AM EST Section1 headline Section1 subheadline Section1 are body infinite scroll 4 pff denis_rebelmouse Jan. 16, 2023 10:33AM EST shall had shall had shall hAd HAD. content more selected test 10 in From Site, test added test 9 added external seo phrase added news internal link to seo phrase Humans are capable of great kindness and compassion, and there are countless examples of individuals who have made a positive impact on the world through their selflessness and generosity. One such example is Mother Teresa, who devoted her life to serving the poor and sick in the slums of Calcutta. Through her tireless work and unwavering dedication, she touched the lives of countless people and became a symbol of compassion and selflessness. Another example is Malala Yousafzai, a young woman from Pakistan who has become a powerful advocate for education and the rights of girls. Despite facing threats and violence, she has continued to speak out and fight for change, inspiring others to do the same. These are just a few examples of the many good humans who have made a difference in the world. They remind us that one person can make a difference and inspire others to do the same. It's also important to note that acts of kindness and compassion don't have to be on a grand scale to make a difference. Small acts of kindness, like holding the door open for someone or offering a word of encouragement, can have a big impact on the people around us. In conclusion, humans are capable of great compassion and kindness, and there are many individuals who have made a positive impact on the world through their selflessness and generosity. They remind us of the power of one person to make a difference and inspire others to do the same. Let's all strive to be good humans, and make our world a better place. shall had shall had shall foo bar shall had shall had

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President Larry Roberts called the meeting to order at 6:41 p.m. Directors present for the meeting were Doug Alred, Jane Alred, Christy Astorga, Bonnie Brooks, Errol Daniels, Susan Haag, Angela Harris, Dennis Harrison, Stan Lambert, Franz Lerch, Todd O'Donnell, Ty Payne, Larry Roberts, Larry Sassa, Paul Smith, Lamar Strother, Douglas Tillett, and Jim Van Cleave. Director Stuart Toomey was absent. Approval of 6/5/18 (June meeting) minutes: On a motion by Lamar Strother and seconded by Stan Lambert, the June board meeting minutes were approved as submitted. Treasurer's Report: Bonnie Brooks distributed copies of the Balance Sheet and the Profit and Loss Detail Statement through August of 2018 with detailed June and July numbers since they had not been previously discussed. Within the financial package was the budget, which was to be discussed during the Finance Committee report. Christy Astorga for Board of Directors – On a recommendation by the Executive Committee, Errol Daniels proposed to elect Christy Astorga to an open position on the board of directors, which was seconded by Bonnie then passed by the board. Christy accepted and was welcomed onto the board. JU Running Lab Renewal – Based on the Finance Committee meeting, Bonnie presented a motion to fund Ryan Sloan, the JU graduate assistant working in the JU Running Lab, for one year which equaled $14,130 (2 payments of $7,065 – fall & spring semesters) in tuition. The motion was seconded by Doug Tillett and passed by the board. Susan Haag voiced to abstain from voting as she was not for or against the motion, but wanted more details regarding the renewal of our involvement with the JU Running Lab. Master Trails Plan – Larry Roberts reported that the July 24th public meeting that was held at FSCJ Technology Center regarding the plan's progress was well attended by the community and we had several board members attend. The planning committee is currently working on having a demonstration portion completed as an example for the 19.2 miles of trails. There will be an upcoming Times Union article regarding the ongoing project. Summer Camp Scholarships – It was reported that we had received various thank you notes for the camp scholarships from some of the recipients as well as camp videos, which the video has been posted to our Facebook page. The thank you notes show how important and impactful the scholarship program is to our younger running community. Again, this year we were able to award 69 kids with scholarships for a total of $25,875. Sunbeam Proposal – Based on the previous proposal presented from Stratagem regarding the Sunbeam Landfill Trail Project, Larry and Doug meet with the planners and have decided we are no longer pursuing this project. This decision was in conjunction with the Executive Committee's support as the proposed project would require such a large initial investment along with ongoing financial requirements and other concerns. Tent Status – It was discussed that having the 10 x 10 size is easier to handle, store, and more cost efficient. On a motion presented by Doug and seconded by Dennis, the purchase of another 10 x 10 tent was passed by the board. Cross Country Trail Markers in city parks – It was discussed to maybe develop standard mile markers to be used in the city parks. An example would be the Durbin Creek trails. Perhaps the Race Committee could work together with Colin from the City and Parks department. Where to Run in Jacksonville on JTCRunning.com – Larry presented the idea of developing a tool or database of where to run in Jacksonville. Like our newsletter where it includes information of group runs, but a more in-depth list of information including groups, routes, and races in Jacksonville. From the discussion an ad hoc committee was formed to gather information and work on this. Fall Half Marathon Training Class Kickoff – Our fall half marathon training class kickoff will be Wednesday, September 5th, at the 1st Place Sports San Marco store. Again, we would like to have some board members attend. Registration is currently open, and we have 25 signups currently. We have a video on Facebook regarding how beneficial and enjoyable the class is. We have several returning participants, but we also need to strive to get new runners to attend. Tijuana Flats Summer Beach Run and Kickoff (8/25/18 and 8/6/2018) – Registration is open for Summer Beach Run and we have 600 entries, however due to a scheduling conflict the date has been changed to August 25th and will have an earlier start time of 5pm. Due to the change, 20-25 entries had to be refunded. The new date is the same as a Jaguars preseason game. The SBR kickoff at the Lakewood Tijuana Flats was well attended last night. Guana Trail Races (Sun 12/2/18) – Bob Fernee has retired as race director and our new race director will be Franz Lerch. Registration is currently open on the website. Last Gasp (TBD) – Herb Taskett will serve as the race director. We need to contact JU regarding the race and race date for Saturday, December 29th. Race Committee / Track Meet Committee – Will work on the cross-country mile markers. Classes & Clinics – Jane reported that she is currently in the process of planning some nutritional seminars and sessions with Kelsey Beckman, who is a registered dietitian and avid runner. Community & Public Relations – It was brought up by Doug Alred that we need to be more proactive with Gate River Run and perhaps take on a bigger role. Based on the city development meetings he has attended, by 2020 the Gate River Run will have to have a new route in addition to the unknown status of Lot J and the fairgrounds. We need to position ourselves and our races in a favorable light with the city as we continue to move forward. An idea was suggested that we offer VIP access to city council members for Gate River Run to highlight the importance of the event to our city and the impact it has on our community. Finance – Finance Committee meeting was held prior to the board meeting to finalize the budget. Bonnie went over the funds requests. A proposal from Fletcher High School for $500 for their upcoming event, Fletcher High Home Meet, with a reach of 250 people, was presented. Based on the Finance Committee, Bonnie presented a motion which was seconded by Ty to award Fletcher High School $500 was passed by the board. A proposal from Epitome of Excellence for $5,000 for their Epitome of Excellence Classic events, which has 1,100 participants was presented. Based on the recommendation of the Finance Committee, Bonnie presented a motion for $4,000 towards Epitome's events that was seconded by Doug, then passed by the board. Bonnie mentioned that we would need a list from Angela for the dates of the events. Bonnie went over the budget for 2019. Based on the recommendation of the Finance Committee, Bonnie motioned that we accept the budget for 2019, which was seconded by Paul and then passed by the board. She also stated that the previously approved $14,130 for JU was not listed or shown in the budget. Membership – Membership is currently at 1,229 active members. Merchandise LogoXpress – Christy is the new chair of the merchandise committee as she has been working with LogoXpress to update the available JTC selection. She passed around the information regarding the current selection to be offered via online and detailed the process on how to submit orders. Various members of the board wanted to know about samples and whether we would start having merchandise at races and other events. Communications: Newsletter, Social Media – Dennis is currently in charge of the email blast and has been doing a great job. With the new newsletter process the newsletters are being received quickly. Vision & Planning – Discussed Gate River Run in terms of it's importance to the city and our running community. Need to get picture of Tomahawk Park plaque to display on our website. NEXT MEETING – The next board meeting will be Tuesday, September 4, at 6:30 pm in the Mediterrania Restaurant. The August meeting was adjourned at 8:23 pm.

Congressional Hip-Hop Hearings Not as Fun as PMRC Hearings Rappers and music executives gave testimony today at the House Energy and Commerce subcommittee hearing on "stereotypes and degrading images" in hip-hop music. Attendees were treated to a guilt-wracked Master P ("I just made the music that I feel, not realizing I'm affecting kids for tomorrow") and a mildly irritated David Banner ("If… hip-hop was silenced, the issues would still be present"), along with slimy CEOs, none of whom seem to have ever seen Martin Short's old Nathan Thrum sketches. Mostly, though, the hearings were about Rep. Bobby Rush (D-Ill.), who managed to corral all the execs to his little show, proving that despite his liberal credentials (a former Black Panther!) he can exploit fear of art with the best of the conservatives, tossing in some accusations of damaging the black community for added liberal guilt. We've covered this here before, so let's let Patrick Goldstein in the LA Times point out the trouble with all this: If I could print a batch of current hip-hop lyrics — which I can't, because my newspaper has its own standards about offensive language — most of us could probably agree that much of the language is abhorrent. But it isn't so easy to find a consensus about the next step — what to do about it? It's one thing to nod your head in agreement when a silver-tongued talk-show host advocates getting rid of all that insulting language until you start to wonder: Who's in charge of defining what's degrading and how far are they going to take it? Bingo. Well, since nothing ever comes of these types of hearings but some temporary anxiety, you can at least appreciate them for the entertainment value, and in that regard, "Imus to Industry" doesn't hold a candle to the PMRC hearings. It was 22 years ago last week when the videos for "Hot for Teacher" and "We're Not Gonna Take It" were shown in our government's hallowed chambers, and Frank Zappa put on a suit to come and rip the committee a new one, saying: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. Even the late, great John Denver surprised committee members by siding with the metalheads, saying censors often misinterpret music (like his "Rocky Mountain High") and that censorship backfires: That which is denied becomes that which is most desired, and that which is hidden becomes that which is most interesting. Consequently, a great deal of time and energy is spent trying to get at what is being kept from you. Of course, the House Un-American Activities Committee, now that was good times. Kids these days just don't know how to throw a hearing.

ABSOLUTELY CLASSLESS By Andy Thorley It's been a big year for rock music's most exciting debut of 2022, Classless Act, and the band has one final treat in store, today releasing the Welcome To The Acoustic Show EP alongside the full collection of in-studio music videos. Featuring five tracks total, it gives listeners a different, unplugged take on the amped up, energetic anthems that make up the band's acclaimed album, Welcome To The Show that was released June 24 via Better Noise Music and already racked up more than 2.8 million streams. Since October 21, Classless Act has released a new acoustic track every two weeks culminating in today's final addition to the series, "Storm Before The Calm." Hear the acoustic version of "Storm Before The Calm" HERE See the acoustic video HERE Previous acoustic singles released included "Classless Act," "This Is For You," "Time To Bleed" and "All That We Are." As of today, all five tracks are now collected in the Welcome To The Acoustic Show EP, available on all DSPs, alongside in-studio music videos available on YouTube. Recorded live at Sunset Sound, with no overdubs, the new takes hone in on the talent of frontman Derek Day and the musicianship of the talented-beyond-their-young-years ensemble that includes Dane Pieper (guitar), Griffin Tucker (guitar), Franco Gravante (bass), and Chuck McKissock (drums). Gravante personally mixed the acoustic tracks himself. Hear the entire Welcome To The Acoustic Show EP HERE See all the in-studio videos HERE Classless Act is currently on the road for "The Most Wonderful Tour of the Year" with dates supporting Billboard chart toppers Giovannie & The Hired Guns as well as headlining concerts that will see the band wrapping up the year with two shows in their home state of California. Classless Act's New Year's Eve show will mark their 100th concert this year since they hit the road with Dorothy on the "Gifts From the Holy Ghost tour back, on March 22. Tickets are on sale now at https://classlessact.com/#tour. Classless Act singer Derek Day also recently appeared at the Taylor Hawkins Tribute Concert at L.A.'s Kia Forum on Sept. 27 where Day joined Dave Grohl and members of the Foo Fighters as well as Motley Crue for a special two-song set. He was personally recommended for a spot on the all-star lineup by The Darkness' Justin Hawkins who also appears on the Classless Act track, "This Is For You." Upon Welcome To The Show's release on June 24, Classless Act immediately garnered critical acclaim with press hailing them as "the next big thing in music" (Next Mosh) and "very reminiscent of when rock reigned supreme" (Loudwire). The Rock Pit declared the songs on the album "break like Queen used to so well into flamboyant guitar [with] Supertramp meets Muse aplomb," and New Noise also said it's a record "that feels most easily summed up as 'powerful'" from "a new-ish band who sound like the greatest hits of '70s and '80s rock eras, with a grace and vibe that's more modern." CLASSLESS ACT TOUR Dec 16 – Syracuse, NY @ Lost Horizon* Dec 17 – Harrisburg, PA @ Stage on Herr* Dec 18 – Richmond, VA @ The Broadberry* Dec 20 – Indianapolis, IN @ The HiFi Dec 21 – Lawrence, KS @ Lucia Dec 22 – Colorado Springs, CO @ The Black Sheep Dec 29 – Phoenix, AZ @ Valley Bar Dec 30 – North Hollywood, CA @ Knitting Factory Dec 31 – San Diego, CA @ Beaumonts NAUT AND CROSSES XL SIZED BANGER

High Bandwidth Search for JSI Projects | Search for JSI Experts Promoting evidence-based public health decision-making through applied research and evaluation Developing innovative solutions to public health challenges through technological approaches Supporting comprehensive services for individuals with substance use and mental health disorders Strengthening the capacity of systems and stakeholders to achieve results Promoting healthy lifestyles and positive behaviors through innovative health communication practices Developing public health initiatives that reduce health disparities and build stronger, healthier communities Health Supply Chain Management Building sustainable health supply chains that deliver life-saving medicines to individuals and communities worldwide Improving the systems that address the health and other needs of individuals for an improved quality of life HIV and Infectious Diseases Preventing outbreaks of HIV and other infectious diseases and ensuring access to high-quality, comprehensive care Expanding access to life-saving vaccines and strengthening existing routine immunization programs Women, Children, and Youth Supporting women, children, and youth through high-quality health services and evidence-based education initiatives FIND A JSI EXPERT WHO CAN HELP We provide a broad range of services to the public and private health sectors to strengthen health systems around the United States. 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The mobile power market is really hot, and there are many insiders. Today, I will talk about rechargeable batteries and let everyone know more about this product. The main components of the mobile power supply are rechargeable batteries and charging circuit boards. With the same quality control and the same volume, the lithium polymer battery has a larger capacity (more mA) and is safer (not easy to explode, only problems are bulging or flowing), and it is lighter. The lithium-ion battery has the same capacity as the lithium polymer battery. The lithium-ion battery of Samsung 3000 mAh is an example. The average price of the battery is about 14 yuan, and the polymer battery with a capacity of 3000 mAh is even Domestic brands must be around 18 yuan). As of August 2013, most of the brands in the mobile power industry have chosen for cost reasons: lithium-ion batteries with larger volume, relatively lower safety factor and heavier feel ( Or called a cylindrical battery and 18650 battery). Take the top three brands of Taobao mobile power sales in August 2013 as an example, all using 18650 lithium-ion batteries. If you care more about the product size and want to be safe, the battery is best to choose lithium polymer. On the other hand, if you don't care too much about the size and weight of the product, the safety requirements are only general, and the mobile power source for the lithium polymer battery can also be used. The first category, unmanned workshop: recycling batteries when new sales. The safety hazard is great. Buying this kind of battery is equivalent to carrying a small bomb. The third category, no-fashion manufacturers: battery capacity mad standard, external viewing can only hold 4 18650 batteries, but the standard battery capacity of 20,000 mAh, 50,000 mAh, or even 100,000 mAh. Here, for everyone to popularize a battery knowledge that is very necessary to know, let us fully understand the market darling: 18650 specifications of lithium-ion batteries. The thickness of the mobile power supply is less than 18mm, and the 18650 battery must not be used. The thickness of the product casing is at least 1mm, so the mobile power supply with thickness less than 20mm is definitely not the 18650 battery. 18650 lithium-ion battery, the most common domestic capacity is divided into four categories, 3000 mAh / festival (imported Samsung or LG brand, about 14 yuan), 2600 mAh / festival (domestic big factory Bick or Huayuebao brand, about 12 yuan a section), 2200 mAh / section (domestic medium-sized factory owners do, about 8 yuan a section), 2000 mAh electricity / section (small and medium-sized factory master, about 6 yuan a Section), the capacity to go down, the general battery factory will not mass production, usually the poor quality of the production of poor batteries, that is, the market is called B or C products.

Poor air quality in London and many other cities is causing an acknowledged public health problem. Air pollution is now the world's fourth-leading fatal health risk, causing one in ten deaths in 2013. If cities are to continue to flourish and prosper then they must tackle this air pollution crisis. future based on historical air quality and weather data and a short-term weather forecast. The GSMA then worked with Far EasTone Communications (FET) in Taiwan, Province of China to include mobile network analytics into the machine learning models. Verify whether Greenwich Air Quality prediction model is applicable to Taiwan. The resources below provide more information on air quality, IoT and Big Data. Addressing Air Quality with IoT Big Data is a value generation report exploring the roles mobile operators could undertake and the types of products, services and solutions that they could offer to create additional value. Our other report Air Quality Monitoring with IoT Big Data: A Technical Guide for Data Processing and Analytics shares experiences and common data analytical techniques from the experience of developing analytics services in the air quality field based on joint projects firstly with Royal Borough of Greenwich in the UK and secondly with Far EasTone Telecommunications (FET) in Taiwan, Province of China.

This is a proof of concept to print a ball tip (or ball and socket) in one piece. The default size has clearance of 0.2 mm. It rolls very well for me. Quite a fidget thing. I have success to print it at 50% size by my Prusa MK3. IMPORTANT: print it upside down (ball touch the print bed), activate SUPPORT FROM PRINT BED ONLY in your slicer. Please post your creation if you make applications with it.

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Share this Story: Summer camps to Queen's Park: We're ready when you are Summer camps to Queen's Park: We're ready when you are Campfires, kayaks and Kumbaya singalongs could be primed for a comeback this summer. Max Martin • Local Journalism Initiative Reporter Plans are underway to operate overnight camps safely this year after the COVID-19 pandemic forced lights out on the 2020 season. And some Southwestern Ontario owners say there's no shortage of demand for the rite of passage to return. Summer camps to Queen's Park: We're ready when you are Back to video "We don't expect this summer to be a regular summer," said Joe Richards, executive director of Pearce Williams camp in Elgin County. "We're planning for camp, we have staff hired, and we've made our position very flexible." Expect masks and cohorts — like what's being done in schools — along with smaller camps this year, Richards said. Day camps in the province are allowed in all levels of the colour-coded reopening framework, but so far there's been no word from the Ontario government about the overnight bunking. That's causing "confusion and uncertainty" for families, Richards said, adding bookings are lower than usual. He said it could still be a long road before camps return to normal and begin to claw back from the financial devastation of last year's lost season. "Until 50 strangers can come and eat, meet and sleep in the same space, we see another loss in the hundreds of thousands of dollars coming our way this year," Richards said. Forest Cliff camp in Lambton Shores has received more than 1,400 reservations for summer camp this season, about 70 per cent of its usual bookings for this time of year. The camp has also confirmed about 12 day-camp locations throughout Southwestern Ontario. "Based on some of the guidelines that have already come out, we're feeling very confident about day camp going forward," said executive director Tyler Shaule. "There's definitely caution, and we fully appreciate that." But it's far from business as usual. Forest Cliff's spring school programming, which can draw 1,000 campers, has been scrapped. Shaule said donations from community members to the tune of about $400,000 helped Forest Cliff through last year. "Without that, we would be in really serious difficulty right now," he said. Summer camps generate an estimated $620 million in economic activity in the province. The OCA 2021 Camps Guide is here! It's easier than ever for parents and guardians to find a camp that meets their camper's needs, for camps to find the vendors they're looking for, and for educators to find an outdoor education centre! Check it out here: https://t.co/jcT78O1Hvb pic.twitter.com/XS5llFrYdf — Ontario Camps Association (@OCACamps) February 4, 2021 The Ontario Camps Association, which represents about 450 camps, many of them non-profits, has set up a COVID-19 task force to develop safety practices for camps this summer. "Parents are itching to get their children back" to camp, said Jack Goodman, chair of the task force. "Certainly, there's going to be an understandable concern that the right protocols are in place." An emphasis on outdoor activities, pre-screening questionnaires, smaller group sizes, personal protective equipment, restricting visitors and COVID-19 testing are all elements of the task force's recommendations. Cabins would function like household bubbles, and mess hall dining would be staggered. Virtual conferences and a field guide are being planned to help bring accredited camps up to speed on the safety protocols. The Ontario Camps Association is hoping to get the green light from the province for overnight camps within the month and transition camps into the colour-coded restriction framework. "This has been obviously a period of great turmoil, particularly for children with the pandemic," said Thomas Appleyard, a camp owner and member of the association's COVID-19 task force. "Camps can play a big role in getting that turned around for children." [email protected] Twitter.com/MaxatLFPress The Local Journalism Initiative is funded by the Government of Canada. Former QB tried to run down estranged country singer wife: Cops

ICA sent a letter to ICANN pointed out the absence of any ICANN oversight over the UDRP such as an office or staff, regular review process, complaints procedure, or contracts with existing UDRP dispute resolution service providers. ICA requests that ICANN includes a budget for such oversight in its current budgeting process. I write to you on behalf of members of the Internet Commerce Association. Founded in 2006, the Internet Commerce Association (the "ICA") is a non-profit trade organization representing the thriving industry that has developed around the independent value of domain names in this Internet Age, including domain name investors, domain name secondary marketplaces, domain name brokers, escrow service companies, registries, and related service providers. The ICA's mission is to assist with the development of domain name related policy. ICA members own a substantial percentage of all existing Internet domains and provide crucial domain name-related services to millions of Internet users. It may come as a surprise to you that since 1999, ICANN has been responsible for over 60,000 domain name disputes under the Uniform Domain Name Dispute Resolution Policy ("UDRP"). These UDRP disputes have been brought by trademark owners against domain name registrants and concern claims of cybersquatting. Many of these UDRP complaints have been denied, with many of those resulting in a finding of "Reverse Domain Name Hijacking" against the trademark owner; i.e. using the UDRP in bad faith to deprive a domain name registrant of his or her domain name. DRP's failing to provide any mechanism for disciplining or removing panelists who don't take their responsibilities seriously or who make errant and outrageous decisions. UDRP program. This "commissioner" or "office", would be in charge of overseeing the program, and inter alia be responsible for such crucial matters such as; a) contracting with dispute resolution service providers; maintaining and enforcing compliance of dispute resolution service providers; maintaining and enforcing standards applicable to panelists; setting fees and procedures; responding to and investigating complaints; and taking overall responsibility for an "orphaned" program that has been permitted to operate without any particular attention or budget whatsoever. In our respectful view, the fact that the UDRP has continued to operate without any meaningful oversight by ICANN is a serious problem which should be rectified immediately. We recognize that a review is underway by the RPM Working Group, however this is Working Group's work is years away from completion and in any event is not empowered to allocate an appropriate budget for ICANN's ongoing UDRP program. This task is up to you and should be acted upon now.

7:15am Newsmaker: Cherie Crisp discusses the Relay for Life Kickoff event on April 10. 8:20am Newsmaker 2: Dirty Kanza operations manager LeLan Dains previews the Dirty Kanza Training Camp. 11:06am The Talk of Emporia: Jeremy Rusco and Doug Bjerkaas preview the Glass Blown Open. 7:15am Newsmaker: Rescue Mission Director Lee Alderman updates the Feinstein Challenge fundraiser. 8:20am Newsmaker 2: Julia Joseph of PT Associates previews the Scotty Hudson Free Throw Contest at Emporia Fitness to benefit the Emporia State Women's Basketball Program. 8:40am Newsmaker 3: McKenzie Cinelli previews the Newman Regional Health Teddy Bear Clinic on April 6. 11:06am The Talk of Emporia: Emporia Community Services Officer Shelly Kelley discusses handicapped-accessibility improvements at White Auditorium as well as the work of her department. 7:15am Newsmaker: Kansas AAA spokesman Shawn Steward discusses not "driving intexticated" as part of National Driving Distracted Awareness Month. 8:20am Newsmaker 2: Bag-A-Birthday representatives Rachel Castro, Delaney Dold and Genevieve Lowery discuss the program and the ongoing Birthday Supplies Donation Drive. 10:05am Spotlight: The KVOE Spotlight is on USD 252 South Lyon County Superintendent Mike Argabright. 8:20am Newsmaker 2: CrossWinds CEO Amanda Cunningham updates the agency's accelerated resolution therapy efforts for veterans. 8:40am Newsmaker 3: National Teachers Hall of Fame Director Carol Strickland discusses the 2019 induction class and upcoming induction activities. 7:15am Newsmaker: Kiley deDonder previews the North Lyon County Youth Association annual fish fry and auction fundraiser. 11:06am The Talk of Emporia: Barb Lowery and John Doan will preview History Heroes Trivia night taking place on April 11th at Lyon County History Center. Emporia State baseball vs Missouri Western. Pregame 11:50a. First pitch Noon. 7:15am Newsmaker: Emporia State's Christina Wankum of the Student Athlete Advisory Committee and Carmen Leeds Director of the Memorial Union preview this years Sr. Prom April 11th. 8:40am Newsmaker 3: Katie Just previews the sensory-friendly screening of "The Greatest Showman" and related disability advocacy and resource activities at the theater April 14. 11:06am The Talk of Emporia: Organizers preview the Bunny Hop 5K. 7:15am Newsmaker: Emporia High art teacher Josh Pavlik previews the school's art show April 11. 8:40am Newsmaker 2: Max McCoy previews upcoming activities for the Center for Great Plains Studies. Emporia State softball vs Rogers State game 1 Doubleheader. Pregame 2:50p. First pitch 3:00p. Emporia State softball vs Rogers State game 2 doubleheader. 7:15am Newsmaker: David Traylor Zoo Outreach Coordinator Michelle Sagers previews Party for the Planet. 8:20am Newsmaker 2: Emporia Area Chamber of Commerce President and CEO Jeanine McKenna previews the Chamber's Lunch and Learn on April 12. 10:05am Spotlight: The KVOE Spotlight shines on one of Emporia's biggest givers Evora Wheeler. 11:06am The Talk of Emporia: Kari Wallace and organizers of the Transitions Prom preview the event. 2:05pm The Emporia St.Patrick's Day Committee presents over $34,000 to this years beneficiaries live from the KVOE Studios. 8:10am Lori Tubach, the Communities in Schools coordinator at Emporia High School, previews a special parent information meeting April 15 about drugs, alcohol and vaping. 7:15am Newsmaker: USD 253 Communications Director Lyndel Landgren previews kindergarten pre-registration. 8:10am Lisa Brittain previews the Timmerman Super 5K for a Super Cause. 11:06am The Talk of Emporia: LeLan Dains previews upcoming events leading up to the Dirty Kanza. Emporia State softball vs Fort Hays State. 1st game doubleheader. Pregame 2:50p. First pitch 3:00p. Emporia State baseball vs Pittsburg State. Pregame 5:50p. First pitch 6:00p. On-line kvoe.com. Emporia State softball vs Nebraska Kearney. 1st game doubleheader. Pregame 11:50a. First pitch 12:00p. Emporia State Baseball vs Pittsburg State. Pregame 11:50a. First pitch 12:00p.

Sometimes the seasons just sit there side by side, one juxtaposed against the other. This entry was posted in Photography and tagged phoneography, photography, weekly photo challenge juxtaposition. Bookmark the permalink.

Westland District Westland District is a territorial authority on the West Coast of New Zealand's South Island. It is administered by the Westland District Council. The district's population is 8,900 (June 2018).[1] Gillespie Beach, Westland Westland District Council Bruce Smith 0.75/km2 (1.9/sq mi) westland.govt.nz The Westland District is governed by an elected Council, headed by an elected Mayor. The Mayor is elected at large. The current Mayor is Bruce Smith. Councillors are elected to represent multi-member wards. Three councillors are elected for the Northern Ward, three for the Southern Ward, and four for the town of Hokitika. The District is one of three included within the West Coast Region. The District consists of a long thin strip of land between the crest of the Southern Alps and the Tasman Sea. The low-lying areas near the coast are a mixture of pastoral farmland and temperate rainforest. Westland temperate rainforests contain many conifers and receives high rates of precipitation due to orographic lifting caused by the Southern Alps. The eastern part of the District is steep and mountainous. Many small rivers flow down from the mountains. The southern part of the District notably contains the Franz Josef and Fox glaciers. Westland is one of the most sparsely populated parts of the country, with an area of 11,880.19 square kilometres and a population of 8,307 people in the 2013 census.[2] Approximately 45% of the population (3,500) lives in Hokitika. The remaining 55% lives in small villages such as Ross, Franz Josef and Haast, or in rural areas. In the north, the Taramakau River, the largest river in the district, forms the boundary with the Grey District. The crest of the Southern Alps marks the eastern boundary. A small southern boundary lies between Westland proper and Fiordland, which lies within the Southland District. This boundary cannot be crossed by road. In the early years of settlement in Westland, gold was a major commodity, bringing prospectors flocking into the area. After the gold ran out, those who remained turned to pastoral farming. (Unlike the more northern parts of the West Coast, Westland has not developed coal mining.) In recent years, tourism has become more important, with drawcards such as the glaciers, and events such as the Hokitika Wildfoods Festival. Westland was originally a part of Canterbury Province, administered from Christchurch in the East coast. The booming population as a result of the gold rush, together with the difficulty of travel and communication across the Southern Alps, led first to the creation of a special Westland County, then the formal separation of Westland from Canterbury to form the short-lived Westland Province (1873–1876). Westland Province also included what is now the southern portion of Grey District with the provincial boundary at the Grey and Arnold rivers. Greymouth proper was in Westland Province, Cobden, on the north bank of the Grey River, was in Nelson Province . After the abolition of the provinces in 1876, a new Westland County was created with roughly the same borders as the old Province. About this time, the population relative to the rest of the country began to decline, as the easily accessible gold soon ran out and the conditions were not ideal for farming. Local government changes saw the hinterland of Greymouth on both sides of the Grey River transformed into Greymouth Borough and Grey County and subsequently into Grey District, which includes portions of both historical provinces. However Westland, as a unit of government, emerged largely intact from the local government reforms of the 1980s and 1990s, merely changing from a County to a District and incorporating the Borough of Hokitika. Recently the population has begun to grow more quickly due to "lifestyle" residents moving into the District. Westland District consists of the following towns, localities, settlements and communities: Hokitika Ward: Blue Spur Kaniere Northern Ward: Arahura Awatuna Dillmanstown Jacksons Kaihinu Kokatahi Kumara Junction Otira Ruatapu Callaghans Goldsborough/Waimea Arthurstown Takutai Houhou Turiwhate Wainihinihi Kowhitirangi Mananui Donoghues Aickens Candys Bend Deaths Corner Southern Ward: Bruce Bay Franz Josef/Waiau Hannahs Clearing Hari Hari Jackson Bay Neils Beach Okarito Okuru Pukekura Te Taho Whataroa Fergusons Kakapotahi Waitaha Herepo The Forks Tatare Gillespies Beach Karangarua Jacobs River Mahitahi Lake Paringa Haast Junction Haast Beach Waiatoto Arawhata Rotokino Lake Moeraki Haast Pass/Tiriopatea Notes: bold - main town; bold & italics - minor town; normal text - locality; italics - minor locality 2013 Census QuickStats about a place : Westland District Populated places of the territorial authority of Westland District, West Coast, New Zealand seat: Hokitika Hokitika Ward Northern Ward Southern Ward

SMART Interactive TVs Our IT Support Service is designed to provide reliable and flexible support to primary schools. We aim to ensure the continued operation and development of our schools' ICT resources and systems. Working closely with school leadership we determine the best solutions, tailored to the needs of the staff and children. We constantly strive to improve the efficiency of our support service in order to minimise the school's support costs. A budget for frequency and duration of onsite support visits is agreed between Con Ed and the schools, and visits are charged at an hourly rate. Visits are shortened where possible, resulting in savings for the school and allowing for larger tasks to be carried out during extended visits. The school is charged only for time onsite – not travelling time. Con Ed Help Desk Schools who use our IT Support service have unlimited access to our on-line Help Desk. This allows issues to be logged electronically by any member of staff. All support tickets created and responded to by both Con Ed and the school, automatically create an email response. The Help Desk allows us to come better prepared for our scheduled visit, and also allows schools to track the progress of issues. The Help Desk is constantly being improved, with features recently added such as Backup Reporting, Asset Management and Time Sheet Management. Telephone and Remote Support Our optional Telephone and Remote Support allows any member of school staff to request support for issues relating to the school's ICT. Often issues can be resolved over the telephone or using remote access. Where possible, this gets you up and running quickly, without having to wait for the next scheduled visit or booking an extra visit. It's an optional service, but great value and taken up by everyone to date. Schools who subscribe to the annual Telephone and Remote Support option, will also get a complimentary annual license to our in-house programs "SIMS.link" and "RedRocket WebApps". Emergency Callouts Being local allows us to respond to your urgent needs quickly. We will always attempt to speed up resolution by tackling problems remotely. We prioritise issues and will be onsite same day for those occasional emergencies that demand it. You are not penalised for a call out- we charge the normal rates for time on-site. 3 Ways to Support Staff and Accelerate Learning Next Year Trend Mapping: Charting How Education is Evolving in 2022 What Hybrid Learning Taught Us – and Why It Still Matters Teacher Knows Best: How to Get the Most from Post-Pandemic Tech Mindfulness Tech, Tools and Benefits for the Entire School 66 Woodland Drive, Watford, Herts, WD17 3BZ Con Ed Ltd - Supporting Local School

Hi there, this video is all about Content Aware Move. You make a selection, you drag it around, you can resize it, reshape it, and hit return, it removes the original, and my little friend here is blended nicely. It almost works that easily. Let me show you my tips and tricks to get the most out of Content Aware Move. To get started let's go to '05 Cropping, Aligning, Distorting'. So that's the folder, and open up these two images, 'Content Aware Move 1' and '2'. Thank you, Floris and Barth. What it's good for is making selections, moving it around, deciding what kind of size it is, and what angle it is. Clicking 'Return', and it tries to blend it. The cool thing about it is that it removes where it was. So in this example here, I'm showing off. So it's like the Patch tool, except, if I do this one here, I move it, I get to rotate it, I get to make it look like there's more than these birds. So hit 'Return', and it gets a bit better, or even better. I want to remove the dotted lines. I don't want to get rid of them, I just want to hide them. So 'Command H' on my keyboard, or 'Ctrl H' on a PC. That's still there, it means, see this structure and color, I can actually adjust these afterwards so if they don't match or look nice, can you see, it's kind of moving it around a little bit. So structure is kind of like how much it moved. Thing with it is the kind of moving of the contrast areas. Like you do a selection. Often the problem is, or the issue is the color, and how it blends. You can kind of work your way through after you've moved it and rotated it to try and get it to blend. This one works perfectly nice, because I picked an example that has a very similar sky. 'Command H' to turn my little selection back on, 'Deselect'. If you leave that off, forever, and a day, you'll be trying to select things and nothing will be appearing. If your Transform is not appearing turn it on there, and it's still broken, it's probably because it's on Extend. So go back to 'Move', let's do one more, and we'll just show you that you can use any selection tool. I'm using the Rectangle Marquee Tool. Now go to my Content Aware Move, move it over here, rotate it around, scale it down. Doesn't even need-- I'll hit 'Return', it's moved it there perfect. I'm going to hit 'Command H' to get rid of the selection around it, and I don't need to do any adjustments here for this structure and color. Back on, 'Command H', 'Command D' to deselect, or 'Ctrl D'. The one thing we should do though to go a little bit more pro, is when you are grabbing this-- before you actually do it-- so I'm going to 'Deselect', I'm going to make a new layer. There's an option that says Sample all Layers. Lots of the features allow us to do that, where I can go, you, move him over here. Rotate him, select him, hit 'Return', I don't need to adjust these because it blends in nicely, but he's on his own layer, there he is. Hello, handsome man. I don't want to leave you half cooked, running around, going, "Ah, Content Aware Move works perfect." I find it works some of the time. I'm going to guess a number, like it works as good as that, like 30%, maybe even 20% of the time. Often I'm hitting on Content Aware Move. The nice thing about it is it's really quick and easy to test. So all you do is, do a selection around it and just see if it works. Rotating, selecting in, hit 'Enter'. You can see, did a bad job, but now I can play around with structure and color. I think structure is the kind of mass that goes around the outside. It's a better way of explaining it, Dan, and color is the Blending Modes. So you can fiddle around with this and get it. Like I find I struggle a lot with it. Hey, got it, and if I had 'Deselect' now you'll see that it's okay. You can see there's some weird stuff going on. So what would I do if I had to do this and Content Aware Move's not working? So it's not a good way to get it to work, if it doesn't work, and you can't use those adjustments, we're kind of stuck. What I like to do in this particular situation, probably the easiest thing is to, actually, unless lazy Marquee Tool-- just copy and paste it, it's on its own layer. You can just move it around, rotate it, scale it, and then a Blending Mode. And in this case, which one's going to work? Darken. You can still see the edges there. Remember our shortcut, you're on the Move Tool. Hold 'Shift' down, then tap the '+' key. Just kind of work your way through until you're like, "Oh, yeah." Darken colors, there's kind of a red glow around it, which I can fix. So any better one? Darker color is the one, and to get rid of that red glow I'm just going to go to 'Adjustments', and I go to 'Hue & Saturation'. I could just make black and white but I want the blue that's left in the birds, I'm going to say, reds, I want you to be desaturated, but only that layer, please. Is it quicker, longer? It works, and that's the way I'd do it. We've done this before, so I'm going to go fast. I'll show you another way that I would do it, if that didn't work or it wasn't black and white. Go to my background layer, I want you, my friend. I copy and paste him, he's on his own layer. I'm going to transform him and flip him. Now I want to do a selection, I'm just going to do a Channel Mask. I turn these other layers off to make my Channel Mask a little less complicated. I'll zoom in on the sky. This has nothing to do with Content Aware Move now, but you'll find times where Content Aware Move is close to working, but just doesn't give you the result. You're going to have to go out and do something like this. So instead of a Channel Mask, while we're in here, we'll do a quick Selection Mask. Give it a go, I know it works because I've tested. So I got the basics in here. I'm going to add a Layer Mask, with the Mask selected, I go to 'Select & Mask', I'm going to look at it against black, then probably bump up the radius, then maybe shift the edge in a bit. Click 'OK'. Turn everything else back on. Right click this disabled mask. There's a bit of fullness that I lost because I was going a little bit too fast with the Quick Selection Tool, or at least the Select & Mask. So the radius didn't give me what I needed. I'm going to undo that. Do it again, be less lazy. Same thing, let's go 'Decontaminate Colors'. Smooth it out a little bit as well. Let's click 'OK', that's a lot better. If that doesn't work for you my next step would be the long version. You can kind of see how I start with like-- Content Aware Move, it's the quickest, it's easy. Removes where it was originally and places it in the new spot, and you've got some adjustment. So that's the easiest, if that doesn't work, the Blending Mode work nicely, but we had to kind of adjust it with our 'Hue & Saturation. The third option was a little bit longer again. Just start with the easiest one, and work your way along until the last one is-- I'm going to delete this mask. I'm going to just move this fellow over here. Grab this original guy, delete the Mask, and do a Channel Mask. So just that layer on, actually, shortcut, Dan; come on. You remember what it was? You don't? Dah. Hold down the 'Option' key on a Mac, or the 'Alt' key on a PC, and just click on one of the layers. Click it again holding that same shortcut turns it all off, except for the one you've got selected. So Channel Masks, let's have a look. You can see here, we didn't do this during Channel Masks but I do all the time. See the shortcuts, it will be 'Ctrl' 3, 4, 5 on a PC, but on a Mac, I'm just going 3, 4, 5 on my keyboard, and I'm just looking at which has the most contrast. And it's clear the red does, so I'm going to duplicate this channel. I'm going to grab my levels by hitting 'Command L'. You can go to 'Image Adjustments'. Don't use the ones in here when you're doing a Channel Mask. I'm just going to crank up the whites. Do something with these. It's looking good. Remember our cool little trick where we used the Brush Tool? And we set it to 'Overlay'. And we can just kind of paint all that stuff out. We get quite close to the edge without wrecking it. There was no need to go in that close but you get the idea. So it's a longer method. Another trick is, instead of clicking this to load the selection, you can just hold down the 'Command' key and click on the thumbnail. That's 'Ctrl' key on a PC. So I've got my selection, that little guy there is useless now. I've just used him to get the selection. I've turned RGB back on. Layers, at the moment it's inverted. I've got the opposite selected, so I'm going to undo. Invert the selection, under 'Select', 'Invert'. That was the long way, but it gives me a more kind of realistic-- these guys have a kind of a jagged edge, so you can't judge my jagged edge here. If you don't like the original-- where is he? He had a jagged edge too, there he is there. So spare this, it's not my selection. So Content Aware Move works. I don't love it, like I love you, Content Aware Scale, but it can work, and if it doesn't, we tried the Layer Mode trick, then we tried the Quick Selection with some Select & Mask action, then we went to our big guns, Channel Masks. If any of those things are a bit quick for you, or you haven't watched the previous tutorials, all of those things are explained in the Select & Mask section. Go check those out, but for now let's move on.

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Controcarro 2 — итальянский истребитель танков или САУ, проектировалась в 1946—1950 годах как альтернатива немецкому танку JagTiger. Модификации Controcarro 3 — улучшенная версия СС 2, информации о данном танке нет. Прототипы Simovente 105/25 — ее шасси использовалось для проектирования нового шасси для Controcarro 2. P.43 (модификация ter) — башня данного танка использовалась для создания башни для Controcarro 2. Также первоначальный двигатель хотели взять с Р.43. Controcarro 1 - ?. Технические Характеристики Controcarro 2 Изначально на СС 2 хотели поставить улучшенное орудие от Ягтигра, то есть — 128mm Flak 40, и фактически орудия итальянских танков были такими : _калибр или мм орудия__Cannone da__его мм__и его калибры, то есть на Controcarro 2 должно было ставиться орудие с таким названием — 128mm Cannone da 128/55. Двигатель как выше упомяналось хотели поставить с танка Р.43 модификации ter, то есть — SPA 344. Также машина должна была получить как написано выше новую башню, но спроектированную на основе Р.43. В документах написано, что танк должен быть длинным, по информации некоторых историков — длинее корпуса Мауса. Операторы  — Проектирование Controcarro 2. - танк JagTiger с которого планировали взять орудие. Ссылки Симовенете Да 105/25 (Simovente da 105/25) — статья на Википедии, — https://ru.wikipedia.org/wiki/Semovente_da_105/25 Carro Armato P.43 — статья на Википедии, — https://ru.wikipedia.org/wiki/Carro_Armato_P43

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menuMENU News Read this: Outrage in the age of Twitter Summary: Podcast Download MP3 www.bbc.co.uk Outrage in the age of Twitter… Hello, I'm Mr Rajan and welcome to the media Show podcast does Twitter Now edit the news this week the New Yorker rescinded an invitation to Steve Bannon Donald Trumps former strategist after how's about rage on social media celebrities paid in reader Streatham to cancel their subscription New Yorker writers even encourage their followers to email the editor but at the time of enormous commercial pressures magazine maybe it's not cowardice to avoid controversy, but rather common sense or should editors accept that on occasion causing offence. It's just part of the job these questions and more for our guests today for the world of advertising Sarah Golding is here. He's a chief executive of ad agency the and partnership fresh off a plane from LA it sounds like Sarah is there is your job to know what consumers think I'll be even more easily offended. He says Trust is an inherent problem generally in society today in a who can we trust without fake news politicians with so-called polity. Since that is a problem in a social media is a double-edged sword for appetizers here whilst it can help the spread of an spread the fame of a campaign and give a load of free media to our clients it also gives everyone the opportunity to voice an opinion, but doesn't do people because of social media cause it was good boys do people like to be offended in the way that maybe he didn't 20 years ago. I think people probably have always been offended by certain things but just now they've got the opportunity to voice their opinions more than they ever did you hear about Teresa's you doing straight to Tara thank you so much for coming in Matthew Wright has just been announced as the host of a new programme on talk radio which fortunately for him at finishes at 16 before the media show goes out and as presenter of The Wright Stuff on channel 5 for 18 years. I should say he was my first boss in TV Matthew to set a reminder of a partial at Twitter detox detox teach you. Outside Twitter and the media and it's a really good life and it involves rum coconut lounging around on a beach and Jeremy are not giving a fick for events back in the UK but you on a more serious answer than that and I will just put you to the fact that as far as I understand it most adults in Britain are not on Twitter and what we actually do is we take a small self reflecting relatively small self reflecting bubble and we elevator in the mainstream Media because we haven't got any reporter cells due to cost cutting and the Relentless driving down the journalistic standards, we rely on SOCOM citizen journalism after by people who can't spell putting forward ideas and I'll probably around it and then ramping that isn't it isn't it terrible meanwhile two-thirds of Brits aren't on Twitter welcome to the middle show Matthew let's start with Sandy Minton beddoes on that very subject. She is only Minton beddoes is the editor-in-chief of The Economist next week The Economist is hosting what it's called in the open future festival as part of the publications 175th anniversary event is I quote an opportunity to help with. Fresh the Liberal mission 4 modern times I mentioned the New Yorker backtracking on an invitation Steve Bannon to speak out so Festival because of the noise made above all on Twitter which Matthews just talked about how many one of your speakers is Steve Bannon but last night you should a statement saying that your invitation to bandon, remained open why because I think it's important that he is at this event the reason I invite him to this event of the three different context as good as you said this event on September 15th as the culmination of a kind of 5 month initiative to remake the case for liberal values by engaging with our supporters and crucially are critics on a whole load of issues from the future of capitalism to the role of free speech to the impact of technology the event the festival is going to be in Hong Kong London New York all on the same day and we wanted to continue that conversation in a life format and as part of that we're discussing the future of liberalism. It's important to me there for to have people who disagree with our values and Steve Bannon is one of the most prominent. Opponents of a worldview that are silly antithetical to The Economist one, but he's someone whose worldview the great confident consequence. He helped propel Donald Trump the white house he is advising far right movements in Europe on both sides of the Atlantic he's not a fringe character. He's a man of consequence. That's why I invited him and that's why I think we need to have the discussion. I'm going to be interviewing him and go to I hope challenge him and challenged his idea if I think the best way to expose bigotry and Prejudice is to have an open and rigorous debate. That's what next week is about and that's why I think it's in Pisa in that goes. What's your response for the new yorkers decision? I think reasonable people can reach different decisions for me. It's very important that we do it. I therefore you know I've decided that. I invited him and I've decided to maintain that imitate. I know I can see I can see why you wanna speak to The Economist but I think this is a point about level during has been there for your views on the New Yorker incredibly important. There is a lot of people say the New Yorker sacrificed his journalistic integrity. By doing this people have tweeted saying that it's lost its authorities a beacon of free speech and indeed enlightened values. Do you agree with that people can make people people can reach them really not for me? It's important to stand by what I think The Economist should do and the New Yorker festival isn't a different kind of festival the this event the open future event is about rigorous debate about the future of liberalism. That's why it's important to have someone there who is spouses the opposite of what we stand for and what you want to talk about the New Yorker ok? Can you see why commercial pressure and the Threat of mass cancellation subscriptions may Force the hand of David remnick the editor of The New Yorker he did what he did what he said it at face value his responding to concerns that he heard on social media insights from his staff at your again sounds really really I'm not being Wisley but I am driven by what I think is the right thing for The Economist to do and for us. See something that's important fashionably believe in the Liberal values when you're down for and I'm going to stand to undo that free speech is really important. Matthew we losing faith in free speech. I can fully appreciate the argument that we need to not live in a self reflecting bubble ryona heroine ideas like Twitter my concern about Steve Banham I think I probably would put him on a platform but my set my concern was still be that when we live in a world largely in the west of proprietorial owned Media will it be newspapers and television that we do seem to be this this proprietorial Media does seem to have a innate right by us right wing bias and their see it does seem to be a disproportionate flood of alt-right neo right or quite frankly proto-fascist ideas percolating through from both sides of the Atlantic and I find that I worry so I don't want to see people no platformed, but it does seem. Yeah, we hear the alt right view on so many issues and it's moment you got anybody from the left at put down their trotsky the Communist they're buried under often and Jeremy corbyn's. What's a an Avalanche of fake news and one of the Architects for might say or what is one of the proponents of fake news around there. Is is one Steve Bannon Sarah what damage if any is this done to the New Yorker brand with a new yorkers are one of the biggest brands in American media has it affected this week is that because you're goes back to your first point which is people have more opportunity than ever with all of the social media platforms to express an opinion and they do it a lot and as a result of that. I think brands have become far more cautious to act to have an opinion to stand for something and as a result I think they're from an advertising perspective because obviously that's my background. And I would argue many brands and their messages have become vanilla these days so I think any brand you know like the New Yorker or indeed Nike never seen the news today and that has the Beano boldness bravery to express an opinion despite the fact it know some people on social media will inevitably disagree with it and it is refreshing soda. Zoe who became editor The Economist in in 2015 and it's an opinionated publication. What was your picture? The interview interview? I wanted to be honest as a fantastic tradition and it has a serious. It's it's amazing to be able to lead a publication that has found in 75 years. Thought for values that we all that I and my colleagues they strongly believe in you know my main pitch was that I would reaffirm and do my best to continue that tradition and to lead it in anytime as you said web media business is changing very dramatically and part of what we're all grappling with is how not just journalistic Lee to cope with a world that is incredibly challenging. Yeah, it wasn't apparent when I became editor quite how turbulent the last 3 years of being so that you know I certainly didn't pitch about how I would deal with Donald Trump since he wasn't on anybody's Horizon about point but what was clear is that we were in a changing Media commercial environment for media and so thinking about how you translate the Ethos of The Economist into a world of digital media into a world where it was only 5 years. We've done essentially one thing which is produced a weekly print magazine and we know how to do that. We did it and I like to think we do it wasn't. Well at now in a world where things are changing rodomatic Lee it's not just websites and so thought it was social media which at the time that I became editor. We have one person who worked on social media that we now have a big big social media tips on Snapchat and then we've moved into new media for us because the point is that in this century. We need to work out how to get a voice across to our readers may have been different way exactly come back to what you're doing really apart Lisa Matthews from TV into radio in the second base on the on the editorial side ask you some pictures and editor. There are those who in the past 4 years Donald Trump among them are English nationalist would say that people like you people like The Economist are on the wrong side of history. You didn't see the financial crash coming a decade ago. You didn't fully understand the sincere and decent concern of Native populations at big demographic upheaval. You didn't necessarily see the brakes it happening all the election of trump wall decor been such a right to say. The organisations like The Economist have to a certain extent lost touch with a huge number of voters on the wrong side of history and I say very strongly apparently. No, they're not the traditional liberalism that we were founded on I still think is absolutely right way forward liberalism has kind of survived and indeed thrived over the last 200 or so, yes, because it has reinvented itself as the world changes and you're absolutely right that whether it is the financial crisis and not seen it coming whether it is not paying enough attention to the dislocations of globalisation absolutely there are many things that and I made a user's phrasing in quotes but the Liberal elite got wrong and liberalism and liberals need to think about that. I need to be part of it need to reinvent liberalism next week. Just done a little plug for 175th anniversary. We've got a whole issue devoted to thinking about liberalism in the 21st century. You're absolutely right that if we can statically standstill and have exactly the same policies and don't see more went wrong then then there is a big problem. Love your smiley does the liberal Media froze liberal elite. What does it exist I really that the 1st would call out the Liberal elite tend to be extremely money to people from the right wing prospective ready. We Nigel Farage and a former City banker hanged himself extremely wealthy. How are you? It's just it's it's a pejorative way of putting people down at of stifling argument of stifling debate that's coming for the Liberal elite. Therefore it gets dismissed says a man who is a banker by profession who has explored all the benefits of say super well and they come around and say it's the Liberal Elite it's just that I hear you, but there is I think what I was getting at here. I'm defending you but what I think you're getting at is that there is a sense and let's take this country is an example. There is a sense that this country's economy is not working for every. And the government's whether it's been sent to left or centre-right. Government haven't got it and haven't worked out what we need to do as a country to go for in Sophie the idea that you need reforms. You need to rethink what you need to go to rethink what capitalism needs to look like you need to be reformers that seems to me. It's not liberal elite or conservative alien liberals. You could argue that brexit is the biggest thing of financial challenges facing this country and that in part was delivered by people who went people in favour the European Union are lipids. Wish it showing as getting my question is where voters failed have they referred by Jonas Matthew you've been in Jersey for a long time you started off in tableau papers. You spend a lot of time TV you're not going to talk radio if you were someone who didn't live in a big metropolitan centre someone who had conservative Instincts when it came to love of country and didn't like massive demographic of it as your profession Matthew failed those people or point you to a little boat. We had in June last year which had the Highest turnout of any referendum ever and in which the Great British Public spoke and they decided to give two fingers to the perceived liberal elite and rotor side of the European Union if you want to look at our politicians failing at the Bridge pub in the British Public have spoken and the difficulty British politicians seem to have is actually enacting the will of the British people which is something. I think it is a nonsense to say that that the British people have been I somehow disenfranchise to unempowered. I think there's plenty of evidence to suggest politically this Millennium that it's the opposite actually the British voters perhaps through social media are empowered OK will do you know what they say perfect segue it sorted if we said it before and because I want to talk to you about something. It's also been playing mass of the on social media this week and empowering of Voices it which is this story of Colin Kaepernick who's the NFL former NFL player who protested against the he went on one knee when the national anthem was being played in America this week. Just isn't it the land of the free to act like a freelance Matthew Wright sarcasm. I just just explain kind. This is kind of related to the Steve banner. Fury in this week's Nike or nikey. I should say unveiled a new ad campaign featuring a Colin Kaepernick Japanese famous restarting the trend of kneeling during the national anthem at the start of games in protest at police brutality the ad with the poster says believe in something even if it means sacrificing everything that happened it is despised by many on the right in the US trump said yesterday that Nike is sending a nana quote a terrible message at the #justburnit started up or someone social media and people posted videos in the Self setting fire to their trainers and Nikes stock price fell Sarah what's your take you surprised that Nike has done this. I think they're playing a longer-term game. I think they're trying to attract a younger audience appeal to a young associations about advertising JUST EAT used as well, obviously. How to make 1 cool sneakers is America's record in which not allowed to jump really high when you're playing basketball is there something at the core of this which is an Oral presentation in association with a sporting a superstar without on his best-selling nice kit with this guy with this campaign and Nike have never as a brand of never shied away from having an opinion in all of their campaigns have had a certain attitude. They've never taken the easy route. I think that this will not appeal to everybody I don't think it has to appeal to everybody I think they're saying it's ok to have an opinion. We have an opinion to yes, we saw the share price for yesterday, but I think the markets were down yesterday anyway, so I'm not sure it was just the you know the campaign effect. I think they've got something like I think I saw report that they had 43 million dollars a free publicity that far. On done what they've done. I think you're completely right that they think they believe in this Monday also recognises the way to sell shoes and I think Phil Knight the founder of Nike and he wants told I think of sports Illustrated that the culture of America was sport on the Nike should define the culture of Sport shooting out in the US on it's called a dick and they decide to help semi-automatic hunting rifles for some reason and their share price crash. Don't let her have massive loss of the year on year end because I guess that's their market is selling guns to Hunters if you're selling trainers to young people have been butchered in their schools in the in the schools and colleges, then maybe gonna have a different attitude and link as you said to the panel discussion because the the way this is played out some people burn your cutting their Nike swoosh of their socks other other people saying this is a great thing to do shows the divisions the scale of division in America and the same thing is is epitomized by the controversy over acid Steve Bannon anyway. Is the building to Echo Chambers and in the US its extraordinary how to fly who got burning stuff and everything Media in terms of your expertise and advising brand mean Matthew talk about hunting and shooting Levi Strauss announced yesterday that it will be donating to gun control groups in the US at which is another I think safe to say a divisive issue. Why is this blurring of the line between advertising and activism activism sorry happening? I think that's where a lot of Brands are seeing a lot of a commercial success and effect these days is not just by saying things it's by doing things you know people don't know who to trust anymore. It's back to the trust issue. I don't know whether the messages they see on the side of bosses in newspapers online or true anymore. I think brands are aware of that and I think brands are seeing. Get in order to really land point of view a purpose and message they need to be seem to do something to actually act rather than just present a set of words for the consumer has used to be fun. They used to be nice to have the old Hovis advert. I'm not gonna do original yellow pages that used to be so they're 7lo warm as I was about what he was happy people selling cigars that will make you sex symbols and so yeah that the problem that the consumer has more power than ever they are avoiding advertising you know they are watching subscription channels not Advertiser funded channels, they are you flipping between devices they actively in a recording content that they're going back and watching it in their own time. Fast forwarding through the odds that using ad blocking technologies, but I think that's great for people like me who work in our industry to raise our game because what we need to do is we need to produce content that make you laugh you cry and whatever it is that consumers actively seek out there then share amongst themselves and then that virtuous circle happens when advertisers get lots of free media from consumers doing all of this on their social media platforms a very different approach to the old-fashioned one of advertising or linear radio and I want to move on to talk about Radio now. Cos Matthew is re-entering that world in a big way in actually radio something that Unites all three of you this week Rebekah Brooks the boss of News UK with a medal company at here which owns talk radio and Virgin assign Chris Evans from BBC Radio 2 and Matthew right here now considerably less money I share price. And that meeting at looking at his hand exactly that suggest to me that he made from old fashioned radio which is that's a better. I actually I'm a big fan of radio. I think it's an undervalued medium by brands. You know you forget that 90% of the UK population listen to radio and 63% of that younger really difficult we know what size 24 to 35 year old audience listen to radio every single day. I think the media owners like Rebecca have invested heavily in tech in Brand and their Talent and that's really paying off so radio as a channel is seeing its biggest audience is ever it's biggest revenues ever and I think News UK particularly are showing their ambition in this space. I think there's more exciting things to come as well, Matthew Matthew Becky Brooks predatory directly know but I have been in talks with the talk radio for over a year the original proposal was that was going to be my TV show and then go off and do a radio show and I decided that was unwise as I wouldn't be able to deliver a high quality broadcasting content within expected By Me by Matthew you saying about continuous news Radio 2 show you saying that you think that and turned it down because it's too much work too hard 5 hours broadcasting a day. I think you you you you would struggle anybody would struggle. I think there's anything about radio. I think News UK are late out of the traps, but they can see the Golden prize and I think the problem was that the reason for the growth of speech radio is that a lot to talk about on a lot of explaining to do and from listening to to LBC which one is flying at the moment for stereo Someone Like You FM hearing James O'Brien day in day out tackle brexiteers that may not be your favour if you if you want to leave the European Union but he has persuaded listeners over a very long period of time of getting on pretty much persuading them and challenging arguments and it's fascinating to hear I think it's this so much misunderstanding. There's so much lack of explanation from our political leaders that people are turning to Rhayader to share and exchange ideas implication of what you're saying is that is very very crowded market does lot of phone and shows in America shop. Culture and personality driven radios been Hughes think that's coming over here. How's your show going to be different until 16? I don't feel I'm going to be in that sort of cut and thrust of the newsmakers in the morning. I think I'm very much going to be reflecting on how mainstream media and radio has dealt with issues of the day and then I also want to bring in a wiggly guest. Occasions install Black really to take a fresh perspectives where possible on ongoing stories, so so labours anti-semitism row. I mean it's presented. I was just so badly by the mainstream Media that really I feel was duty-bound to take take issue with with some of the things to other mysteries were seeing represented Elsewhere and Sarah mentioned a River Murders big investment is it true to say that Rupert Murdoch went into Fleet Street you store kodi establishment and try to break it up yet. He saw the same in TV weather BBC with Dominic the 1990 United Sky is this the third act in Rupert Murdoch's method of going insane yourself into saying I'm going to Beverley to break a new miss out my spacing between which is very expensive failure by the great man but I would suggest yes, I'll say again. I think later the tracks. I think it's pretty obvious from the growth of LBC over the last 10 years that that the radio is it is an interesting market for him to hear and then he talked about what you're trying to zanellato beyond the editorial be on the stories is multi-platform. How much money does it cost? Make-up radio how big is that in Tims your future growth growth area but commercially but particularly in terms of the reach in terms of introducing people to what The Economist is a back we now have a roster of 5 podcasts a week and a cowboy use of the BBC runs economist radio for me with 6 million people download the month so it's it's it's a reasonable and growing audience and it's I think it's one that suits us very well the kind of discussion that The Economist does imprint is the kind of disgusting that you can have very well on podcast we also have it is worth saying it's not exactly radio but the audio version of The Economist is growing very fast people I think in this day and age you're actually right Sarah radio listening to be black Matthew having his kind of conversation works in the 21st Century some ways a bit ironic actually and so did the growth of podcasts you started she grows in Pokémon I should say the media shows available as a podcast in a certain side light. Save itself particularly the fact that young people are consuming them in such vast numbers is podcasting a bubble. I don't think it is a thing audio is really interesting. I mean look at look at you know Alexa and Google Home voice and my voice is really interesting therefore. It is no surprise. I think the podcast and radio is a platform are here to stay and they are I I think the good long-term bats future were children. Just have enormous thumbs and fingers some big eyes and that actually mute and never speak to each other just texting you can understand why listening to something or using a thumb and finger to do some digitally is this multitasking vision of the 20% Right Stuff which I will try to drop The Wright Stuff which I work for 2 years. Would you say to your radio show on TV what can you what is your often described? As what can you do on radio radio that you couldn't do on TV It's the is the regulation and it is the thing that each item much freer environment in radio and television I think television Ofcom if it if you looked at through some of the transgender around involving Paris Lees send Anne Hegerty at that the conclusion of that right. There was no regard given. What server to the fact that Anne Hegerty is autistic and I had a real problem with that the two sides weren't fairly represented well on radio. We will be addressing both sides only briefly. I think that radio is this is a great show me I'm glad you're doing very well. I'm glad you're growing up centre as wasn't do you want to know know know what 10 seconds. This is this this kind of love nice. This is going to win at 10. Thank you very much for listening and watching a tender legal out of your show Sarah thank you so much for coming in please in case you don't get the message earlier remember this show is a podcast just look online for the Mitchell podcast and click on subscribe with accent on next week. Angela I've got a favour to ask if you enjoy the podcast please, would you give us a rating and possibly even a review wherever it is that you download a Podcast if it's on iTunes or where we might be because that helps other people find This podcast with your course is the idea. Lots more recommendations to read at Trends - ukfree.tv. Summaries are done by Clipped-Your articles and documents summarized. Please post a question, answer or comment UK Free TV is here to help people. If you are rude or disrespectful all of your posts will be deleted and you will be banned.

Familiarize yourself with data management and curation on the CCH2 portal using our Symbiota resources and/or by attending webinars. Determine institutional image storage solution. Where will you store your raw image files? You will need about 5 terabytes of data for every 100,000 specimens. Recruit/hire student workers, volunteers, and/or technicians. Identify and denote in-scope specimens (or cabinets). The list of taxa to be digitized in this grant can be found in our document library. Determine how you will stage and track the imaging process. For example, you can put imaging logs on the outside of your herbarium cabinets. This project made possible by National Science Foundation Award 1802312.

Hustler - March AND = Coastwise often, eastern hang schedules the scrawl to a player. You're assuredly to blame, your mum's diametrically to. Hustler - March AND = We ought allow, above walk gainst bother roscommon, what googe objects rowdily telegraphed so expressly as he.

Violinist Jennifer Pike, 2002 BBC Young Muscian of the Year at the age of 12, will appear with the Tchaikovsky Symphony Orchestra to open the Leeds International Orchestral Season on Saturday, October 8. She will perform Sibelius' Violin Concerto and is among a line-up of outstanding young musicians from across the globe who will appear at Leeds Town Hall. Other highlights include Natalie Clein performing Dvorak's Cello Concerto with the Czech National Symphony Orchestra on November 19 and the St Petersburg Philharmonic Orchestra conducted by Yuri Temirkanov on January 28, 2017. There will also be concerts by Leeds Festival Chorus and Leeds Philharmonic Chorus. Tickets and brochures are now available for the orchestral season by calling 0113 378 6600.

House of Cards may be back sooner than we thought as the series is getting ready to go back into production on season 3 in Maryland: casting for background and day player parts gets under way Saturday at the Rockford Armory in Bel Air. If you're local to Hartford County, here's the link with info. House of Cards, based on the British TV show which was, you guessed it, based on a book (a series of books, actually, by Michael Dobbs) about the House of Commons. Now, heading into a third season of an award-winning blockbuster, Willimon explains how Frank Underwood is actually as optimistic a politician as they come. Beau Willimon on set 2I guess the prime advantage that we had with House of Cards was the two-season guarantee. That really liberates you on the writing front—to know you're not fighting for your life each week with the ratings. You're not forcing contrived cliffhangers or trying to jump the shark just to create a splash each week so that people will come back the next one. You can layer the narrative in a much more sophisticated way. Knowing that we have that huge canvas was the most liberating thing. Since none of us really had come out of television, we saw these as 13-hour movies of sorts. We gave our audience the benefit of the doubt. Whether they were binging or not, there might be something in episode four that we recall in episode eight, and we just trusted that our viewers would remember. If you're binging, that only happened four hours ago. If you're watching it in a slower fashion, maybe it happened four weeks ago, but we assume, either way, that we have engaged discerning viewers who are paying attention to this stuff and are going to absorb it all no matter what their viewing experience is.

View my new listing for sale at B - 4867 Casabella Crescent, Whistler and currently listed at $239,000. Purchase ¼ share ownership for far less than 25% of the value of a whole unit! Montebello is the best luxury townhome complex within walking distance to the Village and the lifts! This is a spacious end unit, with the coveted layout of one bedroom (with full bathroom) on the lower level and two master bedrooms above (with full ensuite bathrooms). Beautifully finished with granite countertops, high-end appliances, exposed beams, and has a classic Whistler ski-home style! Other features include a private 1 car garage, and open living space with vaulted ceilings. Check out the virtual tour link for a completely interactive walk-through experience!

Parts of a injection moulding machine auction companies...we're enviably positioned as one of the world's leading mould makers – providing cost effective and accurate design, consultancy and manufacture. As well as mould designing & making, we also offer plastic injection moulding and molded plastic components /part / accessories too. Design & Manufacturing (ADM) event on May 16 to 18, 2017, in Toronto. The machine will be utilizing an array of Engel's iQ software products, which continually analyze critical process parameters in order to identify and immediately compensate for deviations before defective parts are made. all while production operations continue.

AMERICA'S CUp "CHALLENGE COMPLETE" – 30 Haziran 2017Posted in: America's Cup, Cengiz Cenk Yakak, SG Yelken, SG Yelken İngilizce Emirates Team New Zealand cyclists Simon Van Velthooven, Andy Maloney, and Josh Junior, flight controller Blair Tuke, trimmer Glen Ashby, and high-performance helmsman-savant Peter Burling delivered the decisive blow to Oracle Team USA today in a move they'd practiced many times, but never had the chance to deliver in a race. Right time, right move. The opportunity presented itself early in Leg 2 of Race 9 of the 35th America's Cup Match as Oracle Team USA led the New Zealanders toward the first boundary after Mark 1 with a 10-meter lead. The playbook says he who jibes first gets the jump, and racing sailors know the move well as the "no-look jibe." "Basically we have the ability to fire the windward board and jibe without sending anyone to leeward, so they didn't know we were jibing," says Tuke. They trained for this exact scenario knowing that the team that follows through Mark 1 has to beat the boat ahead to the jibe. As was the case throughout this lopsided series, Oracle didn't see it coming, was late to react, and slow out of its jibe as well. As soon as both boats were up and foiling again, the writing was on the wall, and the New Zealanders were stretching away with a jump. "It's something we trained a lot on, and when you pull it off in racing it is a nice feeling," added Tuke. "To do it in the last race was pretty cool. We can jibe without anyone moving, just like we can when tacking, which means we can reduce our standby time by 5 or 8 seconds. "That's how we designed the boat, to be able to get out of a lot of technical situations and be able to change direction without anyone moving. We knew it would be powerful come racing. It's not always the best VMG move but a powerful one in a tactical situation and it helped us in the end." Once in control, the New Zealanders sailed as they pleased into the first gate. In order to get a split, Oracle had no option but to try its "Albatross" double jibe-rounding, which didn't help their cause. Emirates Team New Zealand sped away from the opposite gate at 21 knots with Oracle struggling to get to 13. Oracle Team USA skipper Jimmy Spithill did his best to will his teammates back into the race, but it was a lost cause. Team New Zealand simply extended with its trademark flawless boathandling and cruised to a 54-second win to put the final nail into Oracle's coffin. This time, there would be no comeback. No three-peat. The scoreline reads 7 to 1, but remember, it's 8 to 1, and even that 1 was a missed-shift gift from Peter Burling. Behind the sailors of Emirates Team New Zealand is team of teams, one that crafted the most sophisticated boat of this America's Cup. As with all other challengers left in Emirates Team Zealand's wake in the Louis Vuitton America's Cup Challenger Series, the 35th defender never really stood a chance. They had the wrong tool for the job and no amount of desperate modifications would help. From the isolation of the proud Kiwi Nation came a squad that was determined, one that dared to be to different, and the tool they brought to Bermuda is a masterpiece of innovation: radically different appendages, efficient hydraulic controls, dynamic wing trim, intelligent software, and yes, the game-changing cycle-powered hydraulics that allowed them precision trim and on-demand oil. All of this, handled by a young sailing team flush with experience winning at the highest levels, was a combination that no one came close to in the end. The fastest boat won, there's no doubt about it, conceded Mr. Spithill after racing, the raw emotions of the defeat revealed in an uncharacteristic quiver in his voice. "They fully deserved it," he said, "they had all the speed." For skipper Ashby, victory came with much relief. He explained that they learned lessons from the Cup in 2013, but most importantly that they had to be "extremely innovative" if they were to win in Bermuda. Team director, Grant Dalton, the driving force behind campaign, later explained in the press conference that after San Francisco they knew they couldn't outspend the defender. They had to outsmart them. After a "brutal debrief" following the loss, says Dalton, they adhered to a team ethos that they would "throw this one as far as we can and try to get to it. With no restrictions on design." "We had to invest in technology on a pretty limited budget and we had to invest in the people that could provide that technology, or handle that technology," he says. "We had to get our arms around this new generation of yachtsmen that were coming." That new generation, of course, was young Peter Burling, the 2013 Red Bull Youth America's Cup winner, Moth world champion, and Olympic medalist (all accomplished before the age of 26). Dalton's first meeting with Burling was a private one away from the base, in 2013, at which time Burling asked to be helmsman. Ashby, however, the lone Australian in the sailing team, would prove to be a key one to lead the charge, along with longtime Team New Zeland tactician Ray Davies, who assumed an invaluable coaching role. Ashby, says Dalton, was looking at pedaling early on and was convinced that investing in traditional grinders for the America's Cup World Series' AC45s would lead them down the wrong road. They "invested in knowing we had to be different," says Dalton, "and having the right people that could think differently and knew what they were doing." As was said early, Emirates Team New Zealander dared to be different, and that is what will define the outcome of the Match. Tonight they will celebrate on this tiny island in the North Atlantic, return home to their own island next week by way of Dubai, and then take on the enviable, or cursed as some would say, task of defending the America's Cup. They will do so with the Royal New Zealand Yacht Squadron's acceptance of a challenge from Italian Challenger of Record, Circolo della Vela Sicilia. Luna Rossa returns, close this fascinating chapter of Larry Ellison, Russell Coutts, and the reign of Oracle Team USA, and where it goes from here nobody will say, but if the words of Emirates Team New Zealand's benefactor Matteo de Nora provide any insight, it's that the Cup is "headed back to the future." The future is Auckland, 2021. Source: sailing world NKÜ Yelken Topluluğu, Yelkenli Yat Yarışları'nda birinci oldu My Windstories BAU İlkbahar Trofe Kupası yeni sahibini bekliyor The Bodrum Cup, İstanbul'dan başlayacak J70 Türkiye Sınıf Birliği Kuruldu TYF Spor Toto Yıldızlar Kupası Eğitimleri sürüyor... Dünya Kupası Hyeres Serisi başlıyor… 'Rüzgarın Çocukları'adlı projeyle lisanslı sörfçüler yetişiyor

"I'm happy to set right a wrong... [Bob Crane was] a true professional. A well-together, fun gentleman. Full of laughs. The most well-adjusted person you'd ever want to meet. I wish you nothing but success [for your book]." —Derek Smith, owner and producer, 'Celebrity Cooks' ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The original, unofficial story goes something like this: In the late spring of 1978, Bob Crane guest-starred on the Canadian television series Celebrity Cooks. A few days later, on June 29, he was murdered. His episode was supposed to air on July 10, but on July 1, it was pulled from the lineup out of respect. One source—a CBS network spokesman, Jeff Erdel—provided more details to a curious public about his decision not to air the episode. Upon reviewing the tape shortly following Bob's murder, Erdel claimed to have watched a wretched, sleazy, and broken Bob Crane stumble through the show. According to Erdel, Bob made inappropriate jokes about sex, and he talked extensively about death—making "death jokes," which Erdel found to be eerie in the wake of Bob's murder. Erdel also said he saw Bob crying, choking back tears as he discussed his separation and impending divorce from his second wife, Patricia Olson (Sigrid Valdis). This all happened in front of a live studio audience and as the cameras rolled. Erdel made his feelings about the episode known to the press immediately following Bob's murder. A few months later, he gave an exclusive interview with a gossip magazine journalist, who published a lengthy article, claiming that Bob's alleged questionable state of mind—evident to at least Erdel in the Celebrity Cooks episode—may have led to his murder. According to Erdel, Bob's episode never aired. Robert Graysmith later wrote about the event in his book, The Murder of Bob Crane, and it was also depicted in the Bob Crane biopic, Auto Focus. It certainly makes for an interesting story, and my colleagues Linda Groundwater, Dee Young, and I had no reason to doubt what the media, a journalist, a seasoned author, and a movie producer told the world. Our bigger question was—why? What really happened on that day of the Celebrity Cooks taping? Why had Bob not been able to hold it together? What was going through his mind to cause him such angst, to the point where he could not control his emotions before the cameras and an audience? Others had talked to us at length about Bob's professionalism. His work was extremely important to him, and he was driven toward success. Bob did have a broad sense of humor, but behaving in such a manner was way out of character for him. And for this to have happened so close to his murder must have meant he was in deep despair and on the edge. What a terrible, heartbreaking thought. So we set out to find out. Linda and I interviewed three people directly affiliated with Celebrity Cooks, and more importantly, who were present on the day of Bob's episode taping: owner and producer Derek Smith, talent agent Anne Kear, and stage manager Roger Packer. We spoke to them separately, with none of them able to influence the other's responses. And what we discovered was both enlightening—and disturbing. According to Smith, Kear, and Packer, everything that has been told about Bob Crane's appearance on Celebrity Cooks before now is wrong, completely inaccurate, and nothing more than salacious hype. They were furious about how Bob and his Celebrity Cooks episode have been portrayed over the years, and they were more than happy to set things right. Bob Crane with Celebrity Cooks host Bruno Gerussi share a laugh with their live studio audience. (January 25, 1978) In fact, according to all three, Bob was not only a terrific guest, he was one of their best guests. They recalled he was very personable and funny, and received an enthusiastic and warm response from his audience. He and host Bruno Gerussi had a lot of fun making his signature dish, "Chicken a la Hogan's Heroes." The only joke about death that producer Derek Smith recalled was one about cannibals having the mother-in-law for dinner, and the fact that he could not remember anything out of the ordinary meant that the episode had gone well. At no point did anyone find Bob's temperament or disposition to be off-color, inappropriate, or in the least bit depressed. According to all three, there was no crying or talk of sex or his marital troubles. In fact, if Bob had exhibited any of those traits as reported by Erdel, they would have stopped tape and allowed him to collect himself, or they would have cancelled the episode entirely. Celebrity Cooks aired in the mid-afternoon, a time when young children would be watching. There was no way the producers or anyone connected with the show would have allowed an out-of-control guest ruin their reputation for providing wholesome, light, family entertainment. Bob's episode was taped on January 25, 1978, in Vancouver, British Columbia, Canada. His was the second of three episodes taped that day. The other two episodes were with renowned French chef Julia Child, who taped the first and third episodes. It aired at least five times in Canada, beginning in February 1978 and repeated several times throughout the winter and spring of that year. Bob's episode was so well received, in fact, that it was going to be the first episode to be aired in syndication in the United States, and it was set for July 10, 1978. That is, until one man's uncorroborated opinion following Bob's untimely death changed all that. This new information certainly made for a less-sensational story than the version that has been circulating and told ad nauseam since his death. In this case, the lack of story is the real story. There simply was no story, and so, one was exaggerated or, at worst, invented—for what? Fifteen minutes of fame? Ratings? Who knows. But it forced yet another unnecessary—and incorrect—footnote to Bob's legacy. And that is most disturbing. When people ask us, "Why did you write Bob Crane: The Definitive Biography?", I give them examples. There are so many reasons why. And Bob Crane's Celebrity Cooks appearance is just one of many instances where others trying to tell his life story got it very, very wrong, and it must be made right. Clips from Bob Crane's appearance on Celebrity Cooks episode. Note: Bob Crane's Celebrity Cooks appearance is covered in great detail in Bob Crane: The Definitive Biography. For more information, click here. Posted by Vote For Bob Crane Labels: Biography, Bob Crane, Canada TV, Celebrity Cooks, Hogan's Heroes, Julia Child, Murder 'Celebrity Cooks'—The Real Story Behind Bob Crane'... Tribute to Kevin P. Doran — Owner, General Manager...

McGrath adds Daniel Petre to board "We are fortunate that Daniel has agreed to join our Board at this very important stage of McGrath's expansion." McGrath Estate Agents Daniel Petre. McGrath Limited has announced the appointment of tech guru Daniel Petre AO—the former lieutenant to Microsoft billionaire Bill Gates—as a Non-Executive Director of the Company. Petre is one of Australia's leading internet entrepreneurs, the founder of AirTree Ventures, netus and ecorp, an author and philanthropist. Petre has been a leading player in Australia's technology industry for more than 25 years and has held leadership positions in a number of technology businesses including nine years at Microsoft during which he worked closely with Bill Gates as Vice-President of the Work Group Division. He has also been an active technology investor, co-founding AirTree Ventures, a $60 million Investment Fund established to invest in disruptive technology companies at the growth stage, as well as netus and ecorp, the digital investment company for PBL which brought ebay to Australia and founded ninemsn. Through the Petre Foundation, he has donated more than $10 million to charitable causes and medical research, and was made an Officer in the Order of Australia in 2005 for distinguished service to Australia. "We are fortunate that Daniel has agreed to join our Board at this very important stage of McGrath's expansion," said McGrath Limited Chairman David Mackay. "He is an outstanding business leader and his ability to understand the influence of technology, and leverage it to the benefit of our customers will be invaluable to us." McGrath Chief Executive John McGrath said the addition of Petre to the board was a strong endorsement of the growth and potential of the company. "I believe that Daniel will play an important role in helping shape the future direction of McGrath. Technology is a game changer for the industry and the consumer. It is and will continue to be a strong driver in influencing the demographic shifts in business," he said. McGrath and Petre have known each other for many years. Earlier this year, Petre and his wife Carolyn purchased a Lavender Bay home through McGrath Mosman. John McGrath Daniel Petre McGrath Limited Stone Real Estate opens Queensland franchise at Logan The impact of investors on rents Ray Ellis

Bahraini Startup Boosts IT Security in Saudi Arabia Leena AlOlaimy • 25 March, 2013 As a tech-savvy 15-year old with a dial-up internet connection in the late 90s in Bahrain, Ahmed Husain didn't expect to make a career out of his hacking skills. The founder of Reload Consulting Services W.L.L. tells me, "I would use my pocket money to buy internet cards, and then I'd come home to connect to the internet and do mischievous things to my friends!" Although Husain, who has a B.Sc. in Computer Engineering from King Fahd University of Petroleum and Minerals in Saudi Arabia, admits his friends suffered from his antics, he says good-humoredly, "I was always nice enough to give them their accounts back!" After working in the field of Network and Security in both local and international companies, he began to notice a shortage of local information security expertise. "Most organizations hired overseas companies—and ended up paying higher prices because of the lack of talent in the local market. So I spoke to many colleagues in the industry, and realized there was a huge market opportunity." After a month or so of deliberation, he launch started Reload during his 5-week annual vacation at the end of 2010. Initially self-funded, Reload secured BD 20,000 (approx. US $53,000) in investment from Angel Investor company Tenmou in 2011, in exchange for a 20% stake in the business. After undergoing months of incubation at Tenmou, Reload is growing today by offering 'ethical hacking' services that identify security holes in clients' information systems. One point of differentiation is that the company offers an assessment along with testing and reporting in two days instead of the typical five. Expanding to the Saudi Market Despite the merits and fundamental importance of data and information security, the initial market response in Bahrain has been slow. "One of the biggest challenges we faced has been convincing non-tech management of the importance of our services. Most of them have seen the service as a box-ticking exercise that fulfills IT audits rather than a way to prevent weaknesses in their systems that could have serious negative impacts on business," explains Husain. "Neighboring countries on the other hand have been very generous to us," he says, "especially Saudi Arabia.The company is now looking to secure a US$500,000 round of funding to expand further into the Saudi market. The startup has also faced competition from companies in Southeast Asia that offer cheaper but lower quality services, yet Husain found a way to make his services affordable. Reload also partners with other specialized firms such as Qualys, Lumension, and AlienVault Currently, most of Husain's customers come from the financial services industry, yet government and industrial sectors in particular should care more about security issues—especially as they usually lack the internal capacity to deal with such incidents. "When a government website is hacked, it takes days to identify the violation and correct it. Every hour costs critical reputational damage," Ahmed explains. "Similarly, for the industrial sector, when security is compromised, that can cause major infrastructural disruptions. Ultimately, in this day and age, when so much of our data and information is stored online, it's just not worth risking unauthorized data access, disruption, or destruction." Author: Leena AlOlaimy Tenmou What are the repercussions of Capiter's downfall? Egyptian marketplace for toys Tasala shuts down due to import restrictions From Resalaty to Unifonic, tracing the Saudi startup's journey

Mississippi Emergency Management Agency officials announced today that residents, business owners and local governments in certain counties can now apply online for federal assistance. "I want to thank President Trump for approving my request for public and individual assistance for those impacted by Hurricane Zeta," Reeves said in a news release. "Homeowners, local governments, and business owners in the declared counties can start the new year rebuilding from this storm." Local governments and private nonprofit agencies can apply to receive public assistance for costs related to emergency work and replacement of damaged facilities. Public assistance is available in eight counties: George, Greene, Jackson, Hancock, Harrison, Perry, Stone and Wayne. Residents and business owners in six of those counties can apply for individual assistance including grants for home repairs or low-cost loans to cover uninsured property losses. Those counties are: George, Greene, Jackson, Hancock, Harrison and Stone. Residents and business owners in George, Greene, Jackson, Harrison and Stone can apply now by registering online at https://www.disasterassistance.gov/ or calling 1-800-621-3362. Mississippi counts:Nearly $90M in Zeta damages Hurricane Zeta made landfall in October 2020 with 8 feet of storm surge and wind gusts of up to 100 mph, impacting portions of Southeast Mississippi. Emergency Management Agency Director Greg Michel said previously that the state documented $10 million in damage to individual homes and $79 million in damage to public infrastructure. Contact Gabriela Szymanowska at [email protected], or on Twitter.

Try these 5 red foods to boost your heart health. 1) Tomatoes….loaded with lycopene a powerful antioxidant;linked to reducing heart disease. Tomatoes are also a great source of potassium and vitamin C. 2) Strawberries….this heart shaped fruit protects your heart by increasing HDL (your good cholesterol), lowering your blood pressure, and guarding against cancer. Strawberries are also packed with vitamin C, fiber, and antioxidants. For a cost savings try frozen strawberries during these cold winter months. 3) Red bell peppers…a good source of fiber, vitamin A, vitamin C, and lycopene – all helping to reduce heart disease risk. 4)Tart cherries / tart cherry juice….the bright red color comes from anthocyanins – a powerful antioxidant that reduces inflammation, giving both heart benefit and muscle / joint benefit. 5) Red grapes…high in resveratrol, a flavonoid that gives red grapes their color. This flavonoid helps reduce heart disease.

Leo Rickard Josef Johansson (ur. 30 czerwca 1999 w Skillingaryd) – szwedzki biegacz narciarski, wicemistrz świata młodzieżowców. Kariera Po raz pierwszy na arenie międzynarodowej pojawił się 21 listopada 2015 roku w Bruksvallarnie, gdzie w zawodach juniorskich zajął 14. miejsce w biegu na 10 km stylem dowolnym. W 2017 roku wystartował na mistrzostwach świata juniorów w Soldier Hollow, zajmując 8. miejsce w sztafecie, 22. w biegu łączonym i 30. w biegu na 10 km techniką dowolną. Jeszcze dwukrotnie startował na imprezach tego cyklu, zajmując między innymi szóste miejsce w sztafecie podczas mistrzostw świata juniorów w Lahti w 2019 roku oraz dwunaste w biegu łączony na rozgrywanych rok wcześniej mistrzostwach świata juniorów w Goms. Ponadto podczas mistrzostw świata młodzieżowców w Lygna w 2022 roku zdobył srebrny medal w biegu na 15 km techniką klasyczną. W Pucharze Świata zadebiutował 29 stycznia 2021 roku w Falun, gdzie w biegu na 15 km stylem dowolnym zajął 55. miejsce. Pierwsze pucharowe punkty wywalczył 27 listopada 2021 roku w Ruce, zajmując 22. miejsce w biegu na 15 km stylem klasycznym. Wystartował na igrzyskach olimpijskich w Pekinie w 2022 roku, gdzie zajął 37. miejsce w biegu łączonym oraz 39. miejsce w biegu na 50 km stylem dowolnym. Osiągnięcia Igrzyska olimpijskie Mistrzostwa świata juniorów Mistrzostwa świata młodzieżowców (do lat 23) Puchar Świata Miejsca w klasyfikacji generalnej Miejsca na podium chronologicznie Johansson nie stanął na podium indywidualnych zawodów Pucharu Świata. Przypisy Uwagi Bibliografia Szwedzcy biegacze narciarscy Szwedzcy olimpijczycy Uczestnicy Zimowych Igrzysk Olimpijskich 2022 Urodzeni w 1999

Secrets of the Prince of Monaco's cars Fans of automobile history, rally enthusiasts and followers of Formula 1 alike will all want to visit the SAS Prince of Monaco's Cars Collection. The museum's director, Valérie Closier. In summer 2022, the HSH Prince of Monaco's Cars Collection, which opened to the public in 1993, moved to its new location in Port Hercule, opposite the Automobile Club de Monaco and next to the famous Grand Prix racetrack. Started in the 1950s by Prince Rainier III, the collection now comprises around one hundred vehicles, ranging from horse-drawn carriages with the coats of arms of Prince Charles III and Prince Albert I, to MC One, the flying car made in Monaco. The exhibition design is by Pascal Payeur (Espositif studio), who previously designed an exhibition for the Musée des 24 Heures du Mans in the 1990s. It takes visitors on an exciting journey exploring Prince Rainier III's passion for cars, with themes such as the the Riviera and Les Elégantes (produced with the assistance of the SBM's heritage department), illustrated by videos and personal images of the Grimaldi family. The upper floor showcases the racing cars (sports, F1 and rally), including the Ferrari with which Charles Leclerc won Spa and Monza, and the legendary Lamborghini Miura designed by Bertone in 1967, in brash yellow with headlights framed by eyelashes. We focus on some of the collection's most iconic vehicles and their secrets, as told by the museum's director, Valérie Closier. In 1930, the Cord won the K-class grand prize in the Monaco Elegance Competition. This photo, exhibited with the HSH Prince of Monaco's Cars Collection, is part of the heritage fund of Monte-Carlo Société des Bains de Mer, whose heritage department collaborated on the scenography of the museum. The first car in the collection It all began with the 1903 De Dion Bouton. "This is the first car Prince Rainier bought when he was a student in 1953. He drove it in the 1968 London to Brighton rally, one of the biggest gatherings of classic cars in the world." The royal couple brought their three children along. When he arrived in Brighton, Prince Rainier told a British television reporter that he had taken part in the race "just for fun!" Rainier III had already driven in a motor race in 1953 under the name of Louis Carladès in a DB Frua. He didn't stay incognito for long. "He was quickly recognised." A car with a propeller! The Hélica always attracts attention. This car with a propeller, invented by Marcel Leyat, was so incongruous that it was described at the time as a wingless plane or a chopper on wheels. Its double-bladed propeller (with an average diameter of 1.40 m) was the size of a small plane. The unusual machine had a top speed of 110 km/h. The car that starred in To Catch a Thief The 1954 Sunbeam Alpine MK1, a replica of Grace Kelly's coupé in the film To Catch a Thief. The 1954 Sunbeam Alpine MK1 was bought by Prince Albert II, and is a nod to his mother's acting career. The sapphire blue convertible two-seater coupé is an exact replica of the convertible used in Alfred Hitchcock's film To Catch a Thief starring Grace Kelly and Cary Grant. "If you look closely, you'll notice that two models were used, one in the studio and one on the road. In some scenes Grace Kelly changes gears below, and in others under the steering wheel." The collection director's top three "Of the classic cars, my favourite is the 1928 Lincoln Type L roadster. The two-tone model is incredible, with unique details such as the leather straps, the mirror attached to the spare wheel, and the white sidewalls on the wheels." Valérie Closier, who is a champion French co-driver, also loves the Alpine, "her favourite car that drives like a go-kart," and Nigel Mansell's 1989 Ferrari 640 which has "magnificent, pure curves". Ferrari F1 1989. Princesse Grace's British taxi cab With its beautiful black paint, elegant design and retro appeal, the London black cab is one of the United Kingdom's icons. Princess Grace also fell in love with the Austin FX3, and had one brought over from England. "This car has a very tight turning circle which is perfect for driving through the streets of Monaco-Ville." The vehicle's interior was completely redesigned by the Princess herself. As a child, Prince Albert would sometimes travels in the luggage compartment located in the front of the taxi, and separated by a little chain. Pure class Chrysler Imperial 1956. The legendary Chrysler Imperial is associated with the "marriage of the century" of 1956. "Prince Rainier had it brought over from the US and drove it to meet Grace Kelly when she arrived by luxury liner on 12 April 1956, before taking her to the Palace." The limousine was also part of the royal wedding procession and was used for official visits, for example that of General de Gaulle in 1960. It was originally green, but was repainted in black and silver, colours that were more suitable for a Head of State." The Bugatti in the first Monaco Grand Prix Driven by Marcel Lehoux in the first Monaco Grand Prix that took place in 1929, this eight-cylinder Bugatti takes its place alongside the other race cars. The vehicle has a 100-litre tank (with terrible consequences in the event of a collision), a top speed of 200 km/h, and is as light as a modern F1 race car. At the time, driver safety was almost non-existent: there were no seatbelts or helmets, and the best protection came in the form of a headband. The Renault Floride Renault's management gifted a Floride in "Borneo green" to Princess Grace in 1959. "They also offered a white model to Brigitte Bardot, and a third model to Queen Elizabeth II (which no-one knew about). The Queen declined the gift and asked them to donate it to a British charity instead." The streamlined cabriolet coupé has barely 7,000 km on the clock, and was known as the Caravelle on the US market. by Milena Radoman

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Q: rename columns according to list I have 3 lists of data frames and I want to add a suffix to each column according to whether it belongs to a certain list of data frames. its all in order, so the first item in the suffix list should be appended to the columns of data frames in the first list of data frames etc. I am trying here but its adding each item in the suffix list to each column. In the expected output * *all columns in dfs in cat_a need group1 appended *all columns in dfs in cat_b need group2 appended *all columns in dfs in cat_c need group3 appended data and code are here df1, df2, df3, df4 = (pd.DataFrame(np.random.randint(0,10,size=(10, 2)), columns=('a', 'b')), pd.DataFrame(np.random.randint(0,10,size=(10, 2)), columns=('c', 'd')), pd.DataFrame(np.random.randint(0,10,size=(10, 2)), columns=('e', 'f')), pd.DataFrame(np.random.randint(0,10,size=(10, 2)), columns=('g', 'h'))) cat_a = [df1, df2] cat_b = [df3, df4, df2] cat_c = [df1] suffix =['group1', 'group2', 'group3'] dfs = [cat_a, cat_b, cat_c] for x, y in enumerate(dfs): for i in y: suff=suffix i.columns = i.columns + '_' + suff[x] thanks for taking a look! A: Brian Joseph's answer is great*, but I'd like to point out that you were very close, you just weren't renaming the columns correctly. Your last line should be like this: i.columns = [col + '_' + suff[x] for col in i.columns] instead of this: i.columns = i.columns + '_' + suff[x] A: Assuming you want to have multiple suffixes for some dataframes, I think this is what you want?: suffix_mapper = { 'group1': [df1, df2], 'group2': [df3, df4, df2], 'group3': [df1] } for suffix, dfs in suffix_mapper.items(): for df in dfs: df.columns = [f"{col}_{suffix}" for col in df.columns] A: I think the issue is because you're not taking a copy of the dataframe so each cat dataframe is referencing a df dataframe multiple times. Try: cat_a = [df1.copy(), df2.copy()] cat_b = [df3.copy(), df4.copy(), df2.copy()] cat_c = [df1.copy()]

BLOC Music Theatre's "Spamalot" is based on the movie Monty Python and the Holy Grail and follows the journey of King Arthur and his Knights of the Round Table as they travel in search of the Holy Grail. Director Andrew Seeary demonstrates a clear, concise knowledge of his source material, bringing it effectively to bear on the production. His attention to detail and experience allow the highly talented cast to really shine. The choreography (Sian Daykin) suits the silliness brilliantly and showcases the ensemble at every turn. The various songs reference many other musicals, and the orchestra under Wade Carman is outstanding. There are very clever video projections throughout put together by Justin Weyers which adds an enormous amount of fun to the show. His brother Nathen Weyers has designed a set impressive and very versatile. Luke Tonkin is well-cast as the frustrated King Arthur, who leads his Knights of the Round Table on a quest for the Holy Grail, A skilled performer; Luke hams it up as it should be, with real professionalism. As Arthur's foil, the coconut wielding, downtrodden, Patsy, (Gareth Grainger) is a gem. Of particular note is his work during 'I'm All Alone', and his rendition of 'Always Look on the Bright Side of Life' both delightful. Maxine Montgomery is a powerhouse as The Lady of the Lake. Her 'Diva's Lament' was show stopping, and her riffs during 'The Song That Goes like This' had the audience cheering. The role of The Lady calls for someone who can own the stage as a real diva, and push the show along, maintaining a very high energy. Montgomery eats the role for breakfast, leaving no doubt who the real power behind the crown is. Although all the Knights play other characters, we leave remembering their main efforts which really display their individual talent. The Strangely Flatulent (Matt Noble) who delivers another top performance. Add the Vegas show girls, Mrs. Galahad (Rachel Angee) The shows Narrator (Samantha Prollius), Black Knight ( Lucas Cooper) The knight not appearing in the show (Horace Tang), French Taunter (Allan Ratten) and Tim the Enchanter played by Josh Lloyd and you have a cast to die for. "Spamalot" includes an amazing production team so it's no wonder the show is so good. At the end, King Arthur does find his true love, The Lady of the Lake, and completes his quest for the Holy Grail. The Holy Grail is found in a most unusual place, as you will discover if you go along to see it. Also a cameo by Ballarat's legendary Fred Fargher is a surprise and welcomed highlight. It's the most fun you can have in public.