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Ski conditions are already getting worse in more and more areas of Norway.
(Photo: Shutterstock / NTB Scanpix)
Shorter winters and much less snow in 30 years
There will most likely be only half as many days with good conditions for skiing in Norway in 30 years compared to today, researchers at the Norwegian Meteorological Institute predict.
Marte Dæhlen journalist
Nancy Bazilchuk english version
monday 13. January 2020 - 10:03
It's not possible to know exactly what will happen to the weather in the future. But Norwegian meteorologists have done some calculations.
For example, climate scientists have predicted a mild winter in Norway this year.
"If greenhouse gas emissions continue as they do today, we expect significantly shorter winters ahead," said climate researcher Reidun Gangstø Skaland at an event organized by the Norwegian Meteorological Institute in early January.
Researchers summed up the status of the climate in 2020 and presented new maps showing how much snow, and how many days of snow, Norway is likely to get in the future.
You can see the maps here.
Shorter winters
"Winter has already become shorter in the last 30 years and its length will continue to shrink," Skaland said.
Several Norwegian cities have already lost almost a whole month of winter. Oslo has lost 21 winter days, Tromsø has lost 17, Bergen 7 and Trondheim has lost 15 days.
Climate scientist Reidun Gangstø Skaland talked about the winters of the future at a breakfast meeting on in early January.
(Photo: Norwegian Meteorological Institute)
Winter days are defined as days with temperatures below zero degrees Celsius.
In 2050, winter will be even shorter. Then, more than a million Norwegians (or roughly one-fifth of today's population) will live in areas with less than one month of winter.
In Bergen, for example, people will get an average of 10 to 15 winter days, compared to today's 25. Tromsø will get about 80 days versus 120 today. Other coastal and populous cities such as Larvik, Tønsberg, Moss and Fredrikstad will also have significantly fewer days of snow and cold.
"In fact, for a good number of years there won't be any winter at all," Skaland said.
Fewer days of skiing
Shorter winters also mean fewer days of skiing. For a country that is passionate about cross-country skiing, this is extremely unhappy news.
Nordmarka, the public forest on the outskirts of Oslo, has had about 80 days with conditions for skiing in recent years.
The researchers predict this will drop to 50 days in 2050 and only 30 days in 2100. They define good conditions for skiing as a day when the snow depth exceeds 30 centimetres.
environment climate change skiing winter sports

redpajama_set_name: RedPajamaCommonCrawl


The Scots wasted several opportunities in attack as they crashed to a first home loss in the Six Nations since 2016.
Johnny Sexton suffered a head injury leaving Joey Carbery to run the game for nearly an hour: the Munster star threw an intercept pass for Sam Johnson's try for Scotland, but conjured the winning score for Earls.
Ireland led 12-10 at half-time despite spending much of the first half in their 22.
"I'll be fine if I have to go back to Racing and play during the Championship's week off".
Ireland, however, showed grit and superb game management to just about keep themselves ahead on the scoreboard and then edged out of touch as Scotland's performance disintegrated in the second half.
Scotland's captain Laidlaw expressed frustration with referee Romain Poite in a pitchside interview after the final whistle. They restricted Scotland to an interception try and conjured two of their own, the second coming from Schmidt's set-piece playbook that saw Jonathan Sexton, in virtually the fly-half's final act before leaving the field with ankle and head injuries, committing the defence and freeing the wing Jacob Stockdale on halfway. I thought with the pressure we put on Ireland's kicks, we won those battles.
'We'd ideally like to play better and with more fluidity, and probably get on the front foot more, ' said Best.
"We'll take a lot of confidence in how we defended (against Ireland), the effort we put into the game, how we attacked against an excellent defence, but we have to be accurate and that will be the big focus for us over the next two weeks".
Scotland captain Greig Laidlaw admitted their second-half errors cost them the game, saying, "We released the pressure valve". 'There was one in particular.
But Scotland, who have been revitalized nearly beyond recognition in recent years, had the world No. 2 side on the back foot for much of the first half, especially when their exciting backs got on the ball and unleashed their renowned passing game.
Ireland would always punish such sloppiness more ruthlessly and Japan's coaching team will have noticed how decisively they capitalized on Scotland's lack of discipline and accuracy in the second half. It should have been play-on. We asked for a reaction and by and large we got that. We should be able to fix those in France. The talismanic full-back trudged off in the first half of Saturday's match nursing a shoulder injury.
"He's very sore", said Scotland coach Gregor Townsend. 'He wanted to stay on but his shoulder was not right. We'll see what will happen over the next couple of days.
The Toronto Maple Leafs and the New York Rangers meet in National Hockey League action from Madison Square Garden on Sunday night. Mike Richter has the record with 59 on January 31, 1991. "(Georgiev) made some huge saves", Leafs forward Mitch Marner said.
The judges - and viewers at home - agreed her time on the competition was over. 'I just want to bow out gracefully now. A usually chipper McFadden looked very subdued as he kept apologising to his partner and hugging her.
As the award was announced, Cardi's face said it all. "Nah, serious, because he was like, 'You gonna do this album, girl. She went onto thank daughter Kulture and touched on her fears surrounding giving birth shortly after dropping the album.


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A Fine Night Of Music
Posted by Keith Waits | Feb 17, 2015 | Music, Performing Arts | 0
Cellist Julian Schwartz. photo-Louisville Orchestra
Enigma Variations
Louisville Orchestra: Shostakovich, Elgar and Schuman
Jorge Mester, conductor
Julian Schwartz, cello
Review by Katherine Dalton
Entire contents copyright © 2015 by Katherine Dalton. All rights reserved.
By the time the curtain rose for the Louisville Orchestra's seventh Classics Series concert of the year, Saturday's warmer temperatures had made driving around town a little easier. But the bank of snow that remained between Broadway and the entrance to the Brown Theatre made getting inside a little tricky, and no doubt the weather kept several patrons away, as it was a relatively light audience. Too bad. It was a fine night of music.
The featured soloist of the night was Julian Schwartz, who played Shostakovich's Cello Concerto No. 1. That is not a piece I enjoy very much, and I was amused to see in the program that Stalin initially criticized the composer's work for its "formalist perversions, dissonance, contempt for melody, and the use of chaotic and neuropathic discords—all of which are alien to the artistic tastes of the Soviet people." I have to admit that on this subject, at least, I am somewhat of the Soviet people's opinion.
But any prejudice I have against the piece itself did not keep me from taking great pleasure in hearing Julian Schwartz perform it, and to watch him play is to be reminded why recorded music can never elicit the same joy you can experience hearing good music played live. It is not just the aural complexity and color of hearing the sounds of sixty different instruments coming at your ear from sixty slightly different directions, but the connection between player and audience, and the emphasis that a strong musical personality will give to the piece he plays.
Schwartz played with intensity and very good intonation and rhythm, and he handled the difficult cadenza well, getting a great deal of emotion out of a piece that is, at times, dissonant and abstract. My companion noticed that the first chair of the orchestra's cello section was listening with even greater enjoyment than we were.
Excellence is always remarkable, but it is all the more remarkable given that Mr. Schwartz was graduated from The Julliard School just last year, which makes him about 23 years old. He looks and plays as if he were a decade older–but he isn't. (Also notable in this piece was Jon Gustely on the French horn.)
The Shostakovich fell between two very different works. The evening began with William Schuman's New England Triptych, a short, three-movement symphony piece based on the hymns and anthems of early American composer Williams Billings. The work has a patriotic and almost pops-concert feel in its first and third movements (the third, Chester, is in fact based on a tune the Continental Army used as a marching song), and is more poignant and hymn-like in its second.
As for the final work of the night, it was the crowd-pleasing Enigma Variations by Edward Elgar, and here, as with the soloist, we got all the benefit of the tactile quality live music has. This is a lush piece in parts, and the orchestra was up to the task, filling the Brown with sound that a times swept from one side of the players' chairs around to the other. One of the virtues of this work is that it gives every part of the orchestra a chance to shine, including the oboeists, the first cellist, and the orchestra's all-too-often-forgotten red-haired stepchild, the first violist (LO veteran Jack Griffin). The performance ended the evening triumphantly, and left the audience congratulating themselves that they had braved the snow.
During the Enigma Variations, far to stage left, at the end of the cello section, there was an extra chair—and in it sat Julian Schwartz, playing the Elgar with obvious delight. I have never seen a soloist cap his evening by joining the orchestra for the subsequent piece. It was fun to see, and a compliment to the orchestra. It was also a testament to the lack of pretentiousness of this young man, who seems to be making a musical career for himself because—more than anything else–he loves to play.
February 21, 2015 @ 8 p.m.
The Louisville Orchestra
The Brown Theatre
Louisvilleorchestra.org
[box_light]Katherine Dalton began working in journalism at The Yale Literary Magazine, during its brief period as a national magazine based at Yale. She has also worked at Harper's Magazine and Chronicles, where she remains a contributing editor. She has written for publications ranging from the Wall Street Journal and the Baltimore Sun to the University Bookman and Harper's Bazaar. Ms. Dalton is a contributor to Wendell Berry: Life and Work (edited by Jason Peters), Morris Grubb's volume Conservations with Wendell Berry, and is currently at work on a book about farming. She lives in Kentucky.[/box_light]
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Theatre Review by Todd Zeigler: Krapp's Last Tape & Happy Days presented by Savage Rose Classical Theatre Company and Masterworks Theatre
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A Teacher To The Last


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Number 22 Hillside LLC/Corp was a subsidiary of Academy Bus Lines that operated numerous bus routes in Hudson County, New Jersey.

Formation

Number 22 Hillside LLC/Corp was formed after Red and Tan in Hudson County (A brand of Olympia Trails which in turn is a Coach USA Subsidiary) shut down their operations in 2011. NJ Transit gave Academy a dedicated fleet of buses for the operation.

Routes

The following routes operated by Number 22 Hillside LLC/Corp were the, 2, 10, 22 (As well as the 22X variant), 23, 88, and 119. Most of these routes mirrored most of the former routes of Red and Tan in Hudson County.

Fleet
Before the dissolution of Number 22 Hillside LLC/Corp, the following model of buses was operated:
 NABI 40-SFW/416.15
Model of buses retired before the dissolution were:
 Nova Bus RTS

Dissolution
In June 2021 it was announced that Coach USA, under their Olympia Trails subsidiary would assume operations of the routes that were currently being operated by Number 22 Hillside LLC/Corp, this time under the ONE/Independent Bus Co brand, by the end of the month. This comes after NJ Transit suing Academy Bus Lines (Parent company of Number 22 Hillside LLC/Corp) for defrauding them and missing bus trips. The last day for Number 22 Hillside LLC/Corp and its operations was June 25th, 2021.

See also
NJ Transit
Academy Bus Lines
Coach USA
Olympia Trails

References

Bus transportation in New Jersey

redpajama_set_name: RedPajamaWikipedia


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Exoplanets as Sites of Rebellion
LSFRC 2021 Papers
Emma Johanna Puranen
Humans leaving Earth to live on an exoplanet, or a planet outside our solar system, is a common storyline in science fiction. Establishing a new society on an unfamiliar world, which might present unknown dangers to human biology or have a small margin of error to maintain human habitability, brings up fundamental questions of governance and forces characters to undergo a radical change. Pre-existing divisions among settlers can be exacerbated, and new ones can be created between the exoplanet settlers and the people back on Earth—either can lead to rebellion and revolt. In this paper, I discuss examples of how distance and harsh conditions on newly settled exoplanets in the novel Aurora by Kim Stanley Robinson, the video game The Outer Worlds, and season four of the television series The Expanse all exacerbate human rights issues and lead to conflict between settlers and people on Earth, or representatives of Earth in the form of governments or private companies. I investigate the tension inherent in the juxtaposition of these fictional revolutions to gain rights for the downtrodden with portrayals of humans moving to exoplanets that are often reminiscent of or re-enacting settler-colonialism. This paper is also inspired by the June 2021 Edinburgh Futures Institute conference The Institutions of Extra-terrestrial Liberty, which delved into many of these questions of governance and rights for space-faring humans. I draw on my position as an interdisciplinary scholar working between astronomy and literature at the St Andrews Centre for Exoplanet Science—itself an interdisciplinary organisation tackling ethical questions about potential human interaction with other worlds and lifeforms —to uplift science fiction as an underutilised source of scholarly thought on these matters. Lessons from science fiction regarding the potential future of humanity in space are especially crucial given recent interest in colonising Mars—after all, as Lucas Mix states, "we don't do things until we imagine them."
I will summarise three case studies of fictional revolts on exoplanets and then compare themes that emerge from the three cases. First, Kim Stanley Robinson's novel Aurora (2015) takes place on a generation ship en route to the Tau Ceti system, a real star system about twelve light-years from Earth. The massive generation ship hosts a population of about 2000 people, living spread across twenty-four different Earth biomes (Robinson 45-46, 51). The voyage takes about 170 years at 10 percent the speed of light, spanning the initial generation who left Earth, several caretaker generations who only know life on the ship, and finally the generation that arrives at their destination, an Earth-like moon of the exoplanet Tau Ceti e, which the settlers dub "Aurora" (46, 48). When they arrive at their new exoplanet home, only to find it uninhabitable due to deadly disease-causing prions in the otherwise breathable atmosphere, a conflict emerges among the passengers. One group of settlers from Aurora attempts to return to the ship, but they are killed by those onboard to maintain quarantine. Disagreement over this action leads to brawls among the remaining people on the ship until the ship's AI itself takes over, physically separating dissidents and referring to itself as "the rule of law" (229). With the Aurora settlement unviable, people are divided under the AI's arbitration into one group that stays and attempts to terraform another world in the Tau Ceti system, and one that goes against their mission and returns to Earth.
In Aurora, the survivors, called the "returners," eventually return to Earth, resorting to novel cryosleep technology after their onboard ecosystems collapse and they run out of food. It is also revealed that the mission to Tau Ceti began with not one generation ship, but two—the other ship was destroyed in a conflict among its passengers, and the memory of this was buried so as not to provoke such a conflict in the remaining ship (232-233). Arriving back at Earth, they find that the reason for their mission was expansionism alone, and that people on Earth are still sending out generation ship after generation ship, with no indication of success from any of the missions. One space advocate argues:
It's an evolutionary urge, a biological imperative, something like reproduction itself. Possibly it may resemble something like a dandelion or a thistle releasing its seeds to the winds, so that most of the seeds will float away and die. But a certain percentage will take hold and grow. Even if it's only one percent, that's success! (429)
This did not prove justification enough for the returners. When they made their decision at Aurora, they rebelled against an Earth they had never known, which had generations ago taken away their agency without their consent. As Aram, one of the returners, puts it, the engineering challenges of settling space might be overcome, but the biological ones are insurmountable: "Life is a planetary expression, and can only survive on its own planet" (428). Aurora argues that humans evolved on Earth, and living anywhere else, particularly the bottle of a generation ship, will lead to ecological collapse.
The Outer Worlds and The Expanse both feature class-based revolts with workers rising up against private companies from Earth that have used the harsh conditions of space to exert more control over their employees. The Outer Worlds, a 2019 video game from Obsidian, takes place in an alternate future in which space is ruled and settled by megacorporations. Workers and corporate elite alike have come to the fictional Halcyon system in faster-than-light ship journeys which include a ten-year cryosleep. The Halcyon system colony, ostensibly ruled by the Halcyon Holdings Corporate Board, is in disarray and features several examples of revolts on exoplanets. When colonists first arrived in Halcyon, before the events of the game, they created a colony on the world Terra-1. Terraforming Terra-1 provoked rapid mutations of the local flora and fauna that made them deadly to humans. This resulted in colonists rebelling against the Board, which then abandoned the colony and attempted to erase its existence via propaganda. By the time of the video game, a violent schism has occurred on Terra-1, now renamed Monarch, splitting the people there into two groups: one a corporate entity separate from the Board, and the other an anarchist group ("Radio Free Monarch"). The second colony attempt in the Halcyon system, on a planet called Terra-2, has gone better for the Board, but is dealing with a plague caused by malnutrition. This plague has caused a group of deserters to leave corporate towns against the will of the Board ("Comes Now the Power"). Ultimately, the Board claims to use a "Lifetime Employment Program" to put most workers in stasis to save resources, though in reality the plan is to kill them to reduce the population so the elites may live in comfort ("The City and the Stars"). The future of the Halcyon system in the story, and the extent to which the Board's control will be weakened or strengthened, depends on the player's actions in the video game. The combination of authoritative rule by the Board, and the biological challenges of attempting to live within alien biospheres, leads to multiple situations where human rights are abused and people rise up violently.
The Expanse is unique among the media properties I investigate here in that, in its story, many of the human settlers on the exoplanet come not from Earth but from colonies throughout our own solar system. In the world of The Expanse, which is based on a novel series by James S. A. Corey, Earth is united under the United Nations, Mars is an independent power, and a group called the "Belters" live in the asteroid belt and the outer solar system under the control of various Earth and Mars governmental and corporate powers. The Belters have lived in space for generations, and due to the change in environment and the distance between populations have developed some biological differences from the rest of humanity. They live in cramped conditions under constant resource scarcity and cannot withstand Earth gravity without a painful and expensive course of drugs to strengthen their bodies ("New Terra").
Season 4 features a big societal change in the form of the opening of a Ring Gate built by an ancient, unknown alien civilisation that can transport people light-years away in an instant. This opens up a plethora of habitable exoplanets to humanity, and a land grab that destabilises the solar system's already precarious political situation ensues. Our protagonists are called in to mediate in a struggle between Belter settlers on an Earthlike planet, and an Earth corporation called Royal Charter Energy (RCE) that has been granted an exploration charter by the U.N. for the same planet. The conflict is reflected in the two groups' different names for the planet—the Belters call it Ilus; the RCE scientists call it New Terra. The Belters, who arrived first, destroy a landing pad just as the RCE ship is landing, causing many deaths ("New Terra"). The remaining RCE scientists try and exert control in the name of their U.N. charter, but this causes tension with the Belters, who have been under Earth's control for a long time and do not wish to see that re-enacted on this new exoplanet. At the end of the season, the groups are forced to work together against an outside threat, and the name Ilus gains favour, but ultimately the conflict between Belters and Earthers is ongoing.
Although these stories are fictional, they engage with several real-life challenges that would occur if humans were to travel to exoplanets for the purpose of settlement. Chief among these is that exoplanets are isolated. Distances just in our solar system are vast—a hypothetical Mars colony, or even a lunar one, would already be the most isolated group of humans in existence. Exoplanets are orders of magnitude farther away. For humans to reach them in real life would either require a method of propulsion that can speed a craft faster than light, which is currently far outside humanity's technological capabilities, or else a generation ship, as described in the Aurora section above. A generation ship is still well outside current technology, though certainly much more feasible than faster-than-light travel within the next few hundred years. Many SF stories solve these problems for their narratives by using some form of stasis or cryosleep, as in Aurora and Outer Worlds, or a wormhole or portal, as in The Expanse. Either way, once the exoplanet is reached, the Earth becomes both physically and emotionally distant, and often the settlers either cannot communicate with Earth or can only do so with a substantial delay. This distance necessitates the creation of new forms of government, and makes it very difficult for representatives of Earth power to maintain control in those newly established governments (The Institutions of Extra-terrestrial Liberty). Though The Expanse's Ring Gate does allow for communication, in Aurora and The Outer Worlds Earth is effectively non-existent for the settlers, who rely on the ship's council and eventually the AI's "rule of law," or the Board, respectively. These nearer bodies govern instead of Earth because it is difficult to enforce laws on people who are that far away.
A second challenge that all three stories contend with is the environments of space and the exoplanet itself. Humans living in space face a closed and fragile ecosystem that can leave them physically weaker. If they reach a planet and find it has life, they, as representatives of Earth's biosphere, must then interact with a wholly alien biosphere, and this interaction may be dangerous to one or both parties. Lucas Mix, an evolutionary biologist and theologist who presented at The Institutions of Extra-terrestrial Liberty, stresses that evolutionary biology shows there is a link between the distance between populations and their genetic differences, and that the mutation load would be very high in space (Mix). Aurora sees settlers die of prion disease upon breathing an exoplanet's air; The Outer Worlds sees a botched terraforming attempt render an exoplanet less human-hospitable, as well as a slow starvation of many colonists due to lack of suitable food resources. The Belters of The Expanse, adapted to a harsh life in space, have trouble adjusting to the gravity of Ilus, and some die after bad interactions with the drugs they need to withstand the planetary gravity. These challenges necessitate group cooperation to have a chance at survival. In a society with a low margin of error, authority and strong social norms are likely methods to achieve this cohesion—yet these can breed authoritarianism (Mix). The authorities can then craft a survivalist human-versus-nature narrative, as the Board does in The Outer Worlds: "Please be reminded that acting against the interests of the corporations is acting against the interests of humanity" (outerworlds.obsidian.net/en). Therefore, the environments of space and exoplanets can directly influence governments to restrict human rights.
A specific type of space environment often used to get to exoplanets is the aforementioned generation ship, presented in Aurora, which itself comes with a slew of ethical considerations. SF author Stephen Baxter outlined three ethical dilemmas of such worldships in his Institutions of Extra-Terrestrial Liberty presentation. The caretaker generations of Aurora somewhat successfully grapple with these dilemmas before they arrive at Tau Ceti. The first is the closure—that is, both the lack of possibility of leaving and the biological fragility and instability of a small, closed ecosystem. Second are vocational limitations, in which caretakers have limited choice in their occupation. Third is reproductive control, in which to maintain population and diversity people are told how many children they can or cannot have, and with whom (Baxter). Common among these dilemmas is the lack of agency for the caretakers as well as the generation that arrives at the destination—none of them chose to embark on this voyage. Only the first generation made the decision to leave Earth. The Belters of The Expanse have, to some extent, also been living on a worldship. Generations ago, their ancestors made the decision to move to space, and now forces of employment and biology keep them there. For the first time, with Ilus, they have the opportunity to live on a planet where there isn't a constant danger of a depressurisation event killing everyone. Generation ships and exoplanets both present extremely challenging settings for any ethical system of governance.
Each of these three SF examples includes violence sparked by conditions in which human rights have been deprioritised and taken away. The exoplanet then presents a tantalising opportunity for escape, if only to a new prison—for many of those who chose to stay and terraform in Aurora, for example, they make their decision not out of duty to the mission bestowed by Earth, but because they cannot bear to stay on the ship any longer: "It's one zoo or another, as far as I can tell," says one proponent of staying in Tau Ceti (Robinson 263). In order to understand why all of these fictional situations led to violence, we need to examine the reasons for going to exoplanets in these stories in the first place. In each example, there are two distinct classes of people: a privileged group who go for corporate interests/expansionism (the first generation in Aurora, the Board in Outer Worlds, RCE in The Expanse), and an underprivileged group who had little to no choice in the matter and go in hopes of new opportunities or a better life (the caretaker and arrival generations in Aurora, the workers in Outer Worlds, the Belters in The Expanse). In aiming to make exoplanets their home, both groups are endorsing and practising the colonisation of these other worlds. Baxter notes the approval of colonialism as another ethical dilemma of worldships—there is no other reason to have a worldship than to build a colony somewhere. The privileged group is making the rules, and even though the underprivileged group may be going for reasons more likely to be considered morally just, their going is really a symptom of or a reaction to the privileged group's actions. The impetus for going is still a colonisation effort that places little value on human lives, or, indeed, exoplanetary environments.
These three stories, all published within the last decade, must be considered in light of concurrent and ongoing discussions on space colonisation, privatisation, and exploration. In real life, several private companies, including Elon Musk's SpaceX, are currently proposing Martian colonies. These companies do not discount that the task would be arduous—in fact, Musk himself has said, quite bluntly, and quite similarly to the space advocate from Aurora quoted above, "Honestly, a bunch of people probably will die in the beginning" ("Elon Musk"). I argue that before humanity sends anyone to space, we must seriously consider why we are going, and we must establish human rights as a non-negotiable priority. Jim Schwartz, a philosopher focusing on the ethics of space exploration, argued similarly in his Institutions of Extra-terrestrial Liberty talk: "No one has any business creating novel conditions of extreme hardship, and then forcing people (especially future generations) to live under those conditions with no hope of progress or escape." It is imperative that those in the area of human spaceflight question why they are going, and indeed where they are going. Exoplanets, as seen in these three stories, might already have their own biospheres—how do mission proposers aim to have humanity interact with a pre-existing biosphere? The time to be asking these questions is now, not after we have the technology for such interplanetary and interstellar missions.
Science fiction is often reflective of current discussions within science. SF authors imagine possible futures, and to do so they extrapolate from the world they see around them. These three recent SF stories about the dangers of taking to space without prioritising human rights, and with only expansion and greed as goals, can be read as a warning in response to the current conversation. An alternative to using SF is often to reach for historical analogies on Earth. This happens even within SF—Murtry, an RCE security guard in The Expanse Season 4, and the space advocate in Aurora both employ verbiage supporting the frontier mentality and manifest destiny of the Wild West ("Saeculum"; Robinson 429). Philosopher and anthropologist Kathryn Denning believes that there are places and uses for such historical analogies, but also that they can be messy, and writes that "instead of using past social conditions to make guesses about what would happen if a detection occurred, we might use our knowledge of present social conditions to help ensure that the science can continue to be done" (311). Denning is writing about extra-terrestrial intelligence detections, but I argue her thesis is applicable to the area of humans on exoplanets as well. I add that SF can often provide a better place to look than history when considering the human element in scientific advances like space travel.
Exoplanets often become sites of rebellion in SF because factors including isolation and severe environments create conditions where tyrannical governance can occur. But the exoplanets themselves are only the catalysts for the more deeply rooted issue of travelling to them with expansionist justifications that do not include the guarantee of human rights. It is this lack of care that leads to revolt by the abused parties. Given current popular interest in sending humans to Mars and beyond, conferences like The Institutions of Extra-Terrestrial Liberty are essential for examining the ethical considerations of such proposals. SF provides a vital bridge, accessible to all from academia and industry and the general public, that explores the social ramifications of human settlements on exoplanets. If we listen, we hear that SF is telling us that we need a good reason to go to exoplanets in the first place—and that we ignore human rights in space at our own peril.
Baxter, Stephen. "The Voyage of Six Hundred Years: The Ethical Governance of a Worldship." The Institutions of Extra-terrestrial Liberty, Edinburgh Futures Institute, 8-11 June 2021. Online. Conference Presentation.
Denning, Kathryn. "Impossible Predictions of the Unprecedented: Analogy, History, and the Work of Prognostication." Astrobiology, History, and Society: Life Beyond Earth and the Impact of Discovery, edited by Douglas A. Vakoch, Springer,2013, pp. 301-312.
"Elon Musk and Peter Diamandis LIVE on $100M XPRIZE Carbon Removal." YouTube, uploaded by XPRIZE, 22 April 2021, www.youtube.com/watch? v=BN88HPUm6j0.
The Institutions of Extra-terrestrial Liberty. Edinburgh Futures Institute, 8-11 June 2021. Online Conference.
Mix, Lucas. "To Infinity and Beyond: Biology, Ethics, and Endless Expansion." The Institutions of Extra-terrestrial Liberty, Edinburgh Futures Institute, 8-11 June 2021. Online. Conference Presentation.
"New Terra." The Expanse, season 4, episode 1, Alcon Entertainment, Just So, Hivemind, and Amazon Studios, 2019.
The Outer Worlds. Obsidian Entertainment, 2019.
The Outer Worlds. outerworlds.obsidian.net/en. Accessed 10 Jan. 2022.
Robinson, Kim Stanley. Aurora. Orbit, 2015.
Schwartz, Jim. "Lunar Settlement and the Right to Return to Earth." The Institutions of Extra-terrestrial Liberty, Edinburgh Futures Institute, 8-11 June 2021. Online. Conference Presentation.
"Saeculum." The Expanse, season 4, episode 9, Alcon Entertainment, Just So, Hivemind, and Amazon Studios, 2019.
Shankar, Naren, executive producer. The Expanse: Season 4. Alcon Entertainment, Just So, Hivemind, and Amazon Studios, 2019.
Emma Johanna Puranen is a postgraduate researcher at the Centre for Exoplanet Science at the University of St Andrews in Scotland. A recipient of a St Leonard's World-Leading Doctoral Scholarship, she works between the Schools of Modern Languages, Physics & Astronomy, and Biology. She is an interdisciplinary scholar using digital humanities techniques to study the portrayal of exoplanets, or planets outside our solar system, in SF. She is also a science communicator especially interested in dialogues between scientists and SF creators. Emma also writes SF, and you can find her work in Around Distant Suns: Nine Stories Inspired by Research from the St Andrews Centre for Exoplanet Science, as well as in the audio drama ROGUEMAKER, available wherever you get your podcasts.
Posted on January 18, 2022 February 4, 2022 Author sfrarevCategories 52.1, LSFRC 2021
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Флаг Магаданской области является символом Магаданской области Российской Федерации.

Описание
«Флаг Магаданской области представляет собой четырёхугольное алое полотнище с отношением ширины к длине 2:3, несущее изображение областного герба в левой верхней части над синей (голубой, лазоревой) полосой, расположенной v-образно по нижнему краю полотнища, шириной 1/4 от общей высоты полотнища, равномерно разделённой двумя чешуйчато-изогнутыми полосами белого (серебряного) цвета».

Гербовый щит разделён на три части, Y-образно. В верхней красной части герба изображены слитки (серебряный и два золотых), на фоне золотых геологического молотка и кирки. Во второй голубой части герба изображены гидростанция и самолёт. В третьей синей части — три рыбы. Эти символы символизируют главные отрасли промышленности Магаданской области: горнодобывающую, рыбную, энергетику и транспорт.

Примечания

См. также
 Герб Магаданской области
 Флаги Магаданской области

Флаг


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Post Impressionism – Paul Gauguin
April 20, 2016 September 13, 2017 kiamaartgallery
Paul Gauguin, Tahitian Women on the Beach, 1891
Post Impressionist Paul Gauguin is highly recognised for his focus on colour, two dimensional forms, and the symbolic meaning of his art.
Primarily known for his paintings, he was also a printmaker and creator of ceramic sculptures and woodcarvings.
He was a financially successful stockbroker and self-taught amateur artist, influenced by the avant-garde art of the 19th Century through his legal guardian's collection of works by Camille Corot, Gustave Courbet, Eugene Delacroix, Honore Daumier, Theodore Rousseau and early works by Camille Pissarro, amongst many others.
His earliest recorded major painting to survive is Working the Land, painted in 1873. The brilliant blue of its sky and the brightness and of the greens and yellows in the field were reminiscent of landscapes of the four seasons that Pissarro had recently completed.
Camille Pissarro, The Four Seasons, Spring, 1872
Paul Gauguin, Working the Land, 1873
It is probable that his intimate knowledge of Pissarro's landscapes was a key factor in his interest in the Impressionists, and the 1870s he began collecting their artworks, and then adopting some of their techniques (under Pissarro's tutelage). He was also influenced by Paul Cezanne's parallel, constructive brushstrokes.
Paul Gauguin, Banks of the Oise, 1881
Paul Gaugin, Still Life with Fruit Plate, 1880
Encouraged by both Pissarro and Edgar Degas, Gauguin contributed to five of the eight Impressionist exhibitions between 1880 – 1882. He also contributed to the debates and discussions that took place between the artists gathering in Montmartre, questioning the nature and role of art in modern society.
Manet, Au Café Guerbois, 1869
1887 Melanotype showing Emile Bernard, 2nd left, Vincent van Gogh, 3rd left, André Antione, standing at centre and Paul Gauguin, far right.
In 1882, after a stock market crash and recession left him unemployed and financially ruined, Gauguin abandoned the business world to pursue life as a full-time artist.
When working in Brittany and Martinique, the year after the final Impressionist exhibition, he began the artistic transformation to Post Impressionism with which we are more familiar today, and the creator of "primitive" and exotic images overlayed with symbolic meaning.
In 1886, he first visited Pont-Aven in Brittany, a rugged land of fervently religious people. Gauguin had received a seminary education in his youth and his religious beliefs never deserted him – although he increasingly questioned the strictures of the traditional Catholic church. In Pont-Aven he hoped to tap into the expressive potential he believed he would find in a more rural, even "primitive" culture.
Over the next several years he often travelled between Paris and Brittany, and also spent time in Panama and Martinique.
In 1888, he worked with Émile Bernard, Louis Anquetin, Paul Sérusier and others in Pont-Aven, developing new theories of painting. They adopted a style of painting known as Synthetism. Synthetism referred to the synthesis of simplified forms and colour schemes with the main idea or feeling of the subject, in order to produce a bolder artistic statement. Essentially the Pont-Aven artists reduced three-dimensional figures and shapes to flatter two dimensional forms with heavy dark outlines (also known as Cloisonnism).
For Gauguin, painting also had a symbolic focus, with a brighter palette designed to express human emotion. The new style was, in part, inspired by Gothic art (particularly stained-glass and enamel work) and Japanese ukiyo-e woodblock prints (Japonisme), which were in vogue amongst many artists of the Pont-Aven school. A key painting from this period was Vision After the Sermon which became an important Symbolist work statement.
Suzuki Harunobu, Jewel River at Ide, c 1768
Paul Gauguin, Woman Washing Clothes, 1880
Paul Gauguin, The Vision after the Sermon, 1888
Gauguin also worked alongside Vincent van Gogh (whom he probably met in Paris during the previous year) in Arles in the south of France in the summer of 1888, at the time that van Gogh was attempting to set up an artists' colony.
Both artists continued to experiment with compositional techniques derived from Japanese art, as well as the symbolic 'language' of colour, seeking to emphasise subjective feelings and ideas over naturalistic representation. However, Gauguin and van Gogh argued badly (it was at this time that Van Gogh reportedly cut off part of his left ear) and Gauguin returned to Paris.
Vincent van Gogh, Portrait of Gauguin, 1888
Paul Gauguin, Self-portrait with portrait of Bernard, 'Les Misérables', 1888
In 1891 he moved to Tahiti, where he expected to find an unspoiled culture which was exotic and sensual. Instead, he was confronted with a world already transformed by western missionaries and colonial rule. He had to re-imagine or ' invent' the world he sought, not only in paintings but with woodcarvings, graphics, and written works which generally present an image of an intoxicating earthly paradise where the painter lived as a native among the natives.
Paul Gauguin, L'Esprit Moderne et le Catholicisme, 1902
Paul Gauguin, The Siesta c1892 – 1894
Paul Gauguin, Parahi te maras, 1892
However, he also struggled with ways to express the questions of life and death, knowledge and evil that preoccupied him, and he interwove the images and mythology of island life with those of the west and other cultures.
He painted such works as Where Do We Come From? What Are We? Where Are We Going To? in 1898. This work was an enormous contemplation of life and death told through a series of figures, beginning with a baby and ending with an old woman, and is surrounded by a dreamlike, poetic aura.
Paul Gauguin, Where do we come from, Who are we, Where are we going, 1897
After a trip to France from 1893 to 1895, Gauguin returned to the South Seas. However, by this time he was suffering from illness and depression. In 1901 he moved to the Marquesan island of Hiva Oa, still searching for a lost paradise. "I think the savage element there, together with complete solitude, will revive the fire of my enthusiasm before I die, give new life to my imagination and bring my talents to a fitting conclusion." He died there in 1903.
In this blog I have focused on Gauguin's artistic achievements, but commentaries on his personal life are not so complimentary. A key question you may wish to consider is whether your knowledge of an artist's personal life influences how you feel about their art.
If you'd like to see some of the Australian artwork you'll find in my gallery, scroll down to the bottom of the page. You'll also find many French works on paper and beautiful fashion plates from the early 1900s by visiting the gallery.
Art Appreciation, Art History, e-course, Modern Art, Paul Gauguin, Post ImpressionismAndrea Hope, Art Appreciation, Art History, Breton Women, Impressionism, Kiama Art Gallery, Paul Gauguin, Paul Gauguin Working the Land 1873, Post Impressionism, symbolism
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Art Experts April 20, 2016 / 11:32 pm
kiamaartgallery April 21, 2016 / 6:00 pm
Thanks for your comment, I take time with my blogs/on-line program to provide information and images that are not be so easy to find with a general web/hardcopy search, and that I hope others will enjoy.
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Hazlemere Commercial's wide product range is mostly fabricated to specific client requirements in their own unencumbered factory. This, together with their specialised in-house CAD software, enables them to offer a highly competitive solution to everything from basic window refurbishment to highly complex design projects.
In particular, they are proud of their in-house expertise that enables them to meet client specifications involving complex performance requirements covering wind loading, thermal efficiency, ventilation and solar gain.


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March 18, 2015 / 9:54 AM
Russia-South Ossetia treaty draws U.S., EU criticism
Russia regards South Ossetia as an independent nation.
South Ossetia leader Leonid Tibilov, L, and Russian President Vladimir Putin, pictured in 2012. Photo courtesy Russian Presidential Press and Information Office
MOSCOW, March 18 (UPI) -- The United States and the European Union were critical of a treaty between Russia and South Ossetia, a breakaway region of Russia's neighbor, Georgia. A treaty of "alliance and integration," but not formal territorial unification by Russia, was signed in Moscow Wednesday by Russian President Vladimir Putin and South Ossetia separatist leader Leonid Tibilov.
Federica Mogherini, EU foreign policy chief, said Tuesday the treaty "clearly violates Georgia's sovereignty and territorial integrity," adding the agreement slows "ongoing efforts to strengthen security and stability in the region."
U.S. State Dept. spokeswoman Jen Psaki said the United States would not recognize the treaty and continues to support Georgia's claim on the region.
Russia recognized the Georgian states of South Ossetia and Abkhazia as independent nations, following a five-day war in 2008 against Georgia. Russia maintains a large contingent of military troops in the area.
Kremlin spokesman Dmitry Peskov fired back Wednesday, saying, "The presidents of Russia and South Ossetia put their signatures under the document. They require no third-party comments."
Kremlin denies stories of Putin's ill health Official: Russia has right to deploy nuclear weapons in Crimea
Jen Psaki


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Q: How to slice middle three element from list in python3 how we can find the middle three element in the list?
players = ["micheal", "eli", "john", "watson", "messi"]

A: Not sure if this is what you're asking:
players = ["micheal", "eli", "john", "watson", "messi"]
players[1:-1]

#['eli', 'john', 'watson']

A: It is not the prettiest solution but u can try using the len() function.
new_list = players[int(len(players)/2-1) : int(len(players)/2+2)]

A: players = ["micheal", "eli", "john", "watson", "messi1", "messi","messi"]
if len(players)//2:
    #for even number in list
    ref = int(len(players)/2)
    players = players[ref-2:ref+1]

else:
    #odd number in list
     ref = int((len(players)-1)/2)
    players = players[ref-1:ref+2]

redpajama_set_name: RedPajamaStackExchange


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Q: Option to hide columns completely on an extnet GridPanel I was using this based on a condition
GridPanelName.ColumnModel.SetHidden([ColumnIndex], true)

while I was working on something else, I noticed that when I click on the sorting menu arrow on a column header, under the columns I can put a tick next to the "hidden" column and it becomes visible again.
Is there a way for not showing columns except hidden, someway a curious user can not walk around ?

A: Try this on client side:
<ext:Column ID="ColumnID" runat="server" Text="ID" DataIndex="ID" Width="100" Visible="false" />


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Wesley Krusher
Condemned To Be Free
Available Friday, September 13th
Pre-order the album today and download the track Ankara.
"Condemned To Be Free observes the paradox of our reality. The cacophony of corruption, violence, and corporate decadence threatens to overwhelm the nuances of social forces. Still, there is a purpose that compels us to channel our desires to create; merely to intensify the celebration of the cosmic dance called life. Behind the poignancy there is something beautifully ephemeral. There is hope."
- WK
"Man is condemned to be free; because once thrown into the world, he is responsible for everything he does."
— Jean-Paul Sartre
Wes Sumrall, aka Wesley Krusher, was born in Houston, TX and raised in Memphis, TN. His fascination with painting and music came at an early age. After attending art school, he relocated to Richmond, VA, where he continues to paint and record experimental electronic and ambient music.
Condemned To Be Free is Sumrall's first musical release with Articulated Works, and his second appearance with us as a painter, having created the artwork from Krishna's ambient EP Loss. As an interdisciplinary artist, Sumrall brings a painter's approach to making music, pushing and pulling audio like colorful textures on a canvas. By merging disperate elements, from ambient soundscapes that sound plucked from a not-too-distant future distopian sci-fi, to the four-on-the-floor pulse of house and techno inspired percussion, the listener is left torn between existential reflection and Diyonesian celebration.
Wesley Krusher's links:
photo credit: Krishna Pandit
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EVE Online: 2 Plex Card | Official Website | Opium Pulses - Cheap Prices, Great Service.
PLEX is used for a wide range of features and services both in-game and out. The two most popular are selling PLEX for a big stack of in-game ISK and buying PLEX with your character's ISK to pay for game time.
PLEX can be used in Account Management and in-game. By using the Account Management website, pilots can apply PLEX to reactivate a disabled account or spend it on a variety of game and account related services.
When purchasing Character and Account Services with PLEX simply select PLEX as payment method.
If you want to use your PLEX in-game, you will need to claim it from the Redeem Items system before you can use it.
2. On the character selection screen, at the bottom, you will see a "Redeem Items" section.
3. Click the up arrow and the redeeming panel will pop-up displaying the items in the redeeming system.
4. Drag the PLEX to the character of your choice.
Selling a PLEX is a great way to get 'seed money' to start your character's career in manufacturing, trading or playing the market. Many players buy and trade in PLEX exclusively.
It's common in MMOs for some players to end up with more cash on their characters than they know what to do with. In EVE Online, you can turn that extra ISK into 30 days of game time by purchasing PLEX from other players on the EVE market. PLEX can be found in the market's "Trade Goods" section.
To convert your PLEX into game time, right click the PLEX while it is in your hangar, and select "Activate PLEX" from the pop up menu. A window will show where you can choose between either adding it your account's subscription or to the Multiple Character Training queue.
PLEX can be used to pay for services such as training multiple characters, transferring characters between accounts and resculpting your character's physical appearance. Visit Account Services for the full list of character and account options available for purchase with PLEX.
[Aurum] Rare character accessories and unique attire can be purchased in the Noble Exchange, an in-game shop that uses Aurum as its currency. PLEX can be converted to Aurum, and the items purchased can be used, traded or sold on the regular EVE market.


I am trying to build a recovery disk using winpe 3.0 /2.0 as the boot agent that automatically formats a disk partition (diskpart) and then populates the partition with a wim image that has been previously stored in a recovery partition (imagex) on the hd. I know the concept works manually, but I'd like to automate all the steps. Any suggestions?
btw.... tried winre, but it would only work if the wim was stored on an external storage device or cd/dvd. If someone knows how to modify winre to restore from a partition on the hd, that would work great.
See tutorial #1 on my site. There is an example for an XP restore in section 4. For Vista/7/8 you don't need the bootsect command.
To sort out any boot issues I would suggest BCDBoot as a first step. Instead of the WinPE being on a boot stick, just put it on the first partition with the OS on the 2nd partition.
You can use a boot manager like grub4dos to present the user with a menu to boot to the OS or the WinPE partition (with a timeout if you like). You can even password protect the 'restore' menu option to prevent misuse. If the PE partition is type 27 then it won't be seen by the OS but you can still boot from it.
Thanks for the reply steve6375, but.... I know how to do it "manually", what I need is to be able to do it "unattened" - at least after the initial boot from winpe.
The rest of the story.... these systems are ones that are built from donated parts and given to needy families (most of which have never had a computer before). They are not generally computer literate, so we are trying to simplify any restores that occur ... and I have to tell you, we have had to rebuild a bunch of them.
But it tells you how to script it into a .cmd file. ????
Just call the .cmd file from windowssystem32startnet.cmd to make it autorun when PE boots and just format the C: drive instead of wiping it and creating new partitions.
You should have a simple grub4dos password too to prevent accidents (if a young kid presses '1' accidentally they will lose all their data!).
If yiu like I can write a Tutorial on how to set this up.
P.S. are these Win7 systems? What is the partition arrangement?
Then make a .cmd file (restore.cmd) which formats the OS drive, runs Imagex /apply. As grub4dos is the boot loader you don't need to bother with bootsect or bcdboot. When it is working as you want, edit the boot.wim file in the WinPE partition and add the call restore.cmd line to windowssystem32startnet.cmd.
Edited by Uvais, 01 July 2012 - 01:47 PM.
I have written up an example here www.rmprepusb.com/tutorials/auto_restore - is this what you were looking for?
It restores an XP basic system in about 2 minutes.
Conceptually, the user would simply put the CD in, boot the system and indicate that a restore was necessary and the system would do the rest. No boot menu as such, just a Y or N answer to begin the process. Since the CD was seperate, I didn't see a problem of some small kid trying to run it.
I'm a little nervous with grub4dos only because we try to keep the systems pretty simple. Speaking of which: currently we are doing mostly XP refurbs, but Microsoft is forcing all of the refurb'ers to go to win 7 in the next year, so we as starting to experiment with it.
I see a lot of good ideas in your example and will try them to see if I can get it to work....if so, I'll make a pitch with the leader of our group to see if he buys it.
Well there is no reason why it cannot be on a DVD as well as on the HDD itself. Then if the whole HDD contents is lost they can use the DVD to restore it.
The DVD will also need a 'wipe hdd and partition and format HDD' option. The DVD could also look for the backup image on the D: drive and use that instead of the one on the DVD itself.
What I do is develop the DVD solution using a large (8GB+) USB Flash drive until I am happy with it and then make it into a bootable DVD. There are tutorials on my site to tell you how to make a DVD from a flash drive.
Not sure how to "close" a thread.... but I have taken the advice of the members here and built a successful solution to the question. So, steve6375 or one of the members will give me a hand, this one is a wrap.
steve6375..... without your help I could have never figured out how to do this .... thanks a lot. If I was on that side of the "pond" I'd buy ya' a beer. Built both your solution and a modified one with my approach, not it is just an issue of clean up and getting acceptance from the leaders. Great website by the way. I got in there the other day to look at your tutorials and spent more time looking at them than your example.
No problem. I found a typo in my menu.lst by the way which is now corrected in version 3 of AUTO_RESTORE.ZIP on my site. Hope it did not cause you a problem!
Since you already appear to be abiding by Microsoft policy, I'm going to have to kill your idea of creating a recovery disk for your customers.
2. Only authorised replicators are allowed to create recovery media.
The only recovery you are allowed to make for the end-user/customer is hard disk based and not using imagex. So you can use WinRE for Windows 7, or use a third party tool like Acronis or SoftThinks for XP.
So how does the hard disk recovery work? I thought system builders were allowed to use ImageX and WinPE as long as it is for a hard disk based recovery solution and is not for general use?
So you could use the standard MS Windows System Builder Recovery DVD to boot to WinPE and then kickstart the Recovery by running an app which launches the WinRE utility/script (assuming the Recovery partition is still there).
You could even provide a USB Flash drive which contains an AutoUnattend.xml file and a program or script. The xml file will automatically run when the Install DVD boots and direct WinPE to run a script on the USB flash drive which will attempt to locate Imagex and the backup wim on the hard drive and, if found, carry out a format and /apply?
Steve, the process works with winpe and imagex with very minor tweaking of the sample scripts you created for me. One problem is getting winpe to use a real disk letter (not x:), but I have written a small "How to for the users" to show them how to change the drive letter.
WinRE will only work with external drives .... this would be the best solution because it fits into the MS model of recovery. Keep in mind that we are currently only using this for XP systems .... if it is turned on.
Trip.... you have raised a flag that I was not aware of. I can't find any information that says that we can't use imagex the way that is described. I will look again and deeper. We do not sell our systems, they are given to needy families that are directed to us by charitable organizations. Can you explain why you think this would not be legal.
%systemdrive% will be the winpe system drive letter. Can you explain the problem as there should be a simple solution to make it automatic?
When WinPE boots in RAM, the X: drive is the system drive.
P.S. How are these systems licensed and activated? If they are OEM systems (Dell, HP, etc.) then you should only use the original recovery media. If they are XP systems then the COA lable should be XP Pro, Vista Biz or Ult, or Win7 Pro or Ult to have rights to use XP Pro. If XP Home then they must have an XP Home COA.
ok... in a nut shell. creating a recovery partition is no problem, creating the winpe disk with your scripts embedded is no problem, but when the winpe disk is booted it opens up as x:. I have thought that it would be easiest to create the recovery partition as say r:, that didn't work in systems that had multiple driver letters already in use.
What I would like is the winpe disk boots and then changes the drive letter to the area that the imagex and your scripts are in so that all you have to do is type: recovery and the scripts will run. As it is now the winpe disk boots to x: then I have to do a change drive letter to say g: (or what every the cd drive is) and then execute the scripts.
As for the systems, they are all built with the coa from the box. Since most of our systems are donated the people that donate them want to be sure that there data is removed from the system so we DBAN the hard drives. This removes all data.....then the systems are rebuilt. Once they are rebuilt (much the same as if a hard drive were to crash), we need a way to allow the end user to rebuild the system if there is a problem.
Again, keep in mind .... none of this has been done yet. It is still in the testing stages and trying to make sure we are legal with what we are doing.
for help. You have to use the original OEM Recovery CD/DVD and you cannot make your own Recovery media.
If you have the original Recovery DVDs then why do you need to make your own?
So I suggest you go with the on-disk Recovery and supply each system with the original OEM Recovery DVD.
When you say 'creating a WinPE disk' do you mean a WinPE Bootable CD or DVD?
Will the restore image still be on the hard disk or will it be on the DVD?
If the restore image is on the hard disk, then what good is the WinPE CD if they have wiped their hard disk or the hard disk is replaced?
You cannot replicate a WinPE CD/DVD or a full image Recovery CD/DVD.
You may be able to use the method I suggested to automate a restore from an image on the hard disk (i.e. use the original OEM DVD + a USB Flash drive with an AutoUnattend.xml if it is a Vista/Win7 Recovery DVD) - but I don't think it is worth it. You would have to supply the USB Flash drive and by the time they needed to restore the system, they would have lost it or wiped it!
So I would suggest a restore partition and a hard disk boot menu (as in my Tutorial #81 ) and the original OEM Recovery Media.
Dism.exe from Windows 8 now does everything imagex.exe does, at about the same speed, including capture and apply wim images.
Of course it is contained within the Windows 8 PE as well as Windows 8.
I am not sure about the status of distributing this file though.
I thought system builders were allowed to use ImageX and WinPE as long as it is for a hard disk based recovery solution and is not for general use?
Yes, it used to be this way. The ability to redist Imagex (in any form) was removed via a policy update sometime last year... I want to say April. I haven't seen anything relating to DISM yet, but I doubt it will be restricted since it already comes with the OS.