text:
The so-called Camembert Cliffs south of Sydney, Australia
NANO STERN INTERVIEWED AT WOMAD (2018): His machine kills ignorance
Graham Reid | Mar 27, 2018 | 11 min read
Carnavalito del Ciempies/Dance of the Centipedes
Towards the end of his sometimes incendiary, frequently danceable and always enjoyable afternoon set at Womad, the Chilean singer/guitarist – and mean fiddler – Nano Stern took time out to tell a story to the huge crowd before him.
He spoke of his architect father asking him when he was a teenager what he wanted to do in life, and he replying that he wanted to be a singer. His father was dismissive of this as not being real job (not like being a stage hand or in the sound crew, Stern quipped) but then later in life when his father was very ill they spoke again.
His father said he should do exactly what he wanted to do so that every morning when he looked in the mirror he would be happy.
And that, said Stern -- his waist-length unbraided from previously being tied back and hanging to his waist -- is what he wanted for us.
He hoped that his music would make us all a bit happier than we were before they started playing so tomorrow when we looked in the mirror . . .
In that regard, as the massive cheer from the crowd attested, it was mission accomplished.
The personable, funny and yet also serious Stern continued into the closing overs of his set with his small band – neatly dropping in "Don't it always seem to go, you don't know what you got till it's gone" in English – then closed with a foot-stomper.
He was one of the least known but best received acts of the Womad weekend, and that was confirmed when there was a capacity crowd for him doing his Taste the World session where international guests prepare favourite dishes ("Garlic is to cooking as madness is to art" he said quoting the American sculptor Augusts Saint-Gaudens) with celebrity chef Jax Hamilton.
Nano Stern was further proof that music is an international language because, aside from rare moments, all his songs were in Spanish but he somehow sold the passion and wit in the lyrics to a crowd where few would have understood him.
Sitting in the media area the day before he proves to be funny and passionate, personable and honest.
Of course we get a soundcheck at fast turnaround festivals like this, he says: "1 2 3 and go, as short as possible to keep the energy" he laughs.
The somewhat surprising thing about this seemingly itinerant, very politicised musician-cum-poet who travels with an acoustic guitar and not much else is that he spent time studying contemporary classical music and composition in a conservatory.
"Yes, I did that for just one year and then I quit, but I learned a great deal. I would have to separate that from me now because it was just one year. But when you are 18 one year is so long and I was just out of school. It was a crash into the world of contemporary music and possibilities that I never would have thought of.
"I got to study Bartok and Stravinsky from my knowledge of music in school but then got further into more freaky stuff like Ligeti and Pierre Boulez, then music that really appealed to me very much like minimalism. Minimalism in a modern context like Arvo Part from Estonia. This music really spoke to me.
"It is only later that I understood why this music spoke to me. Arvo Part for instance, it appealed because it has a much stronger association with his culture and roots and to a spirituality . . . as well as a political stance which was very clear. He was censored to by the Soviet regime and he had to go and live in Berlin to go into this spiritual and pure thing he wanted to do. I find that very inspiring."
Coming from Chile with its volatile history n the 20th century – the socialist president Salvadore Allende deposed in '73 by a CIA-backed coup led by General Augusto Pinochet who lead a military-backed dictatorship as president until '88 – meant Stern grew up with politics as a backdrop. His parents grew up in a very different Chile under the oppressive regime.
"Absolutely, and my grandparents grew up in Europe [the family name is Britzmann] and had to leave and were forced into exile and had to escape for their lives. So those of my family then who didn't escape were killed. Politics was a very real thing."
A dinner table conversation?
"Not really because there were clashing views but it was not taboo. My father was very open that we talked about things, but I am the youngest of four, quite a bit younger than my older sister, and she would very much clash with my parents. As I assume my parents would have clashed with my grandparents.
"I think that taught me to be humble about things, you are never completely right or completely wrong."
And of course – being born in '85 – he was very much of the post-punk generation.
"Oh yes, I was like every sensitive 14-year old, I was into music but I was very, very lucky because I went straight into proper professional bands with people 10 and 20 years older than me. Because I could play.
"At three I started to play violin but also my grandfather was a musician, an accordionist and pianist and he was a semi-professional musician. Also my sister was a songwriter, so I had music coming at me from all sides."
The Chilean style he plays today derived from folk didn't come until a little later however.
"It was sort of there but at 14 or 15 it was not something I was aware of but it was happening all around me so you absorb it, no?
"But then I started playing with two rock bands [Matorral and Mecanica Popular] which were quite unique back then because they were the only bands in Chilean scene who were having something to do with folk music with the traditions and putting it into a rock context. It was very strange back then and had not been done since the Seventies really.
"Those two bands in which I was by far the youngest, one became quite famous and the other sort of like one of the dark things that people really follow, like a cult band.
"But then I left them to travel but when I came back to Chile 10 years later my thing it had became an established reality, that folk music had everything to do with rock and electronic music."
And Chilean folk a vehicle for poetry and political comment?
Absolutely, it has been so at least since the second half of the 20th century and a little in the first half as well. But before that it has more of a rural context where it is more traditional singing about farmer and cows and horses and Chilean topics," he laughs.
"But within the tradition there are very contingent things and if you listen carefully many of the old songs have deeper meanings which is a very beautiful way to learn how to be sarcastic and be smart about it!"
For the past decade Stern has been one of the most significant Chilean musicians with acclaimed albums and a considerable international reputation, most among Hispanic communities.
"I am very much within my generation of musicians who are now in our early Thirties. And yes, I am . . . I cannot answer this without sounding arrogant . . . but within that I am among the best known. And being here and touring internationally as a young musician from the arse of the world, Chile, it is not so likely.
"We have made seven tours in three years in the US and we are going there in April again to play Chicago, New York, San Francisco and Boston. And then I am going to Mexico."
There is a big Hispanic community in Boston?
"Oh yes, everywhere [in the US] . . . except New England! But everywhere else you go there is a big population, people get surprised when I mention some of these places but there are five times more native Spanish speakers there than in the total population of Chile.
"But anyway music transcends the language barrier and Womad is perfect evidence of that. All around there is this wonderful music.
"For me I try to go beyond the world music cliché where I dress in some traditional costume and people go, "Oh wonderful" and they dance. I try to deliver a strong and clear message and that I do in English or whatever language I am faced with. I speak a number of languages and when not there is always one language in common that people have . . . although I have never been to the far east of Asia ,but I imagine you can always connect somehow."
I mention that political comment at Womad is of the most benign or bland cliches like "We are all one" or "one love". Such crowd-pleasing announcements, even if sincere, come off to often as mere platitudes but Stern – who spoke about the role of women and dedicated a song to their patience, power and suffering, drills down deeper than the blandishments.
"I agree [about the cliches]. It does get a bit trickier here where you are not much in touch with the local contingencies. But for example in Australia at the first Womad [Womadelaide] I said what I wanted to say and then someone approached me and he was a refuge who had been imprisoned on Manus Island and he had been tortured.
"He had been sent to Adelaide for treatment because he had been so badly tortured and he escaped the hospital. So I invited him to go on stage with me the next day to give his testimony which he couldn't do because he was illegal and clandestine.
"But he wrote a letter and I ended up reading this letter to Australians, a letter from a prisoner of their own government who had been tortured by their taxpayer money.
"It was a very full-on moment and I didn't see any other things like in the festival where issues were approached in that way. Sometimes I think, 'Am I going too far?' and 'Is it the role of a Chilean folk musician to come to Australia and do that?'
"But it is a global situation and we are a global people and we have to approach these things. I always comment, especially the context of a Womad festival, because it is very much coming like that 'think globally and act locally' thing people say.
"I think that too, but it is also now important to think locally and act globally, it is important to keep in mind the dynamics of our communities and to think of the world as one thing.
"We need to act in the world because the problems that are urgent now can only be addressed by acting globally."
Reading a letter from a Manus Island prisoner to a Womad audience of well disposed liberals is one thing, taking the message wider is the question though.
"True, but we have toured in the Mid West of America and I do tend to moderate a little bit because for simple reason, it is not cool to shit in people's living room.
"You have to be aware of their reality, that it is not their fault, but it can be a little bit scary for us, a bit creepy.
"You know all these people probably have guns at home and if I speak about immigrants they are probably going to boo me. But of course I do it. You don't preach to the coverts, you must do it to the others . . . and that is much more challenging.
"And much more fun," he laughs.
"But dangerous. We have played in venues which have a sign which says 'Guns not allowed' but other have the sign 'Guns allowed'. That is okay. I let my guitar be my weapon in the good tradition of Woody Guthrie."
[Note: Woody Guthrie had written on his guitar "this machine kills fascists"]
We speak about the politics of Chile and a digression into how in the Irish tradition – among others – singers keep the names of the martyrs, disappeared and murder alive in song. He says there is something similar in Chile but not to the extent as in Ireland. He cites songs by the writer, poet, activist and singer Victor Jara who was murdered by Pinochet regime after the coup of '73.
"So yes, there is that tradition and very much with Jara because he was murdered for political reasons. He was the most well known person, after Allende the president of course, to be murdered, the most well known civilian, non-government person to be murdered.
[Note: the nature of Allende's death is disputed but most say he took his own life.]
"Jara became an icon and his death has not been brought to justice even now and that has kept him alive because we are seeing, all of us, demanding justice. His killer is known and he is living in Florida and not being extradited because the CIA probably made a deal with him. I don't know.
"It is important to remind yourself of these icons and many, many, many times I play Victor Jara songs in our shows. It is a good reminder of how far things can go when you let things go wrong.
"The [Pinochet] coup and dictatorship was a traumatic spot in our history and will remain so for many generations to come. [Jara] alongside Salvador Allende are perhaps the most iconic victims then with a specific Chilean tradition of singing to people about martyrs."
The week before our conversation a new government took power in Chile lead by President Sebastian Pinera and Stern sees no reason to be cheerful at all.
"We are in the first week of a right wing government by the same guy who was president four years ago and it is kind of depressing to see the same people who were the civilian accomplices of the dictatorship are now running the country.
"Chile is sort of running a dictatorship within a democracy which is the creation of a dictatorship, our constitution is a not a legitimate democratic constitution but it runs underneath that so it is handcuffed completely.
"It is an illusion and [this new government] runs in the direction of maintaining an extreme and quite hardcore free-market, neo-liberal society in which citizens are seen as consumers."
And the chances of Chile slipping back into the dark days of the past?
"That couldn't happen again because it is not the Seventies and the world has changed so much. If there would be any such thing as a socialist approach in the 21st century it would have to be very different, with different ways and answers.
"And also a very different aesthetic, because artists and thinkers and musicians who are creating thoughts and new ideas need to know our traditions and respect them, not just our folk traditions but also our political history . . . and also to realise the worst possible position is to be nostalgic about [the Allende socialist era] constantly.
"It has to speak to us in a different way without cutting us off from our history.
"I hope to be able to give back from my position as a musician . . . and also just as a citizen."
All live photos copyright Megan Stunzner. Used with permission.
For other interviews with artists at Womad 2018 start here. For a review of the festival go here.
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You are locked in a room for 60 minutes and you need to find a way to escape. There are a lot of objects, codes and hidden hints that can help you get out. You have to be smart and think outside of the box to solve the puzzles you find. In a team you have to think together, work together and most importantly laugh together. The game is for teams of 2 to 8 people of all ages. Persons under 12 must be accompanied by an adult. If you get stuck during the game a game master will offer additional clues to guide you through. Escape House Waterville offers 2 different game rooms.
One of the greatest magicians that ever lived is the Great Mysto. His magic tricks are still very good, although he disappeared a very long time ago. Players can do real magic tricks inside the room. These tricks are in fact the puzzle pieces that they have to reveal in order to escape the room in 60 minutes. If you want to experience some REAL MAGIC, gather your team and start exploring this live escape room.
A hurricane is coming your way. Your team only has 60 minutes to find a shelter where you can be safe. To open the shelter you and your team need to find all the clues and puzzles, and you need to find out the details about the hurricane. If you succeed, you will be safe at last. You can't avoid the catastrophe, you can only hide away from it. So hurry up!


text:
/*
 * Normative references:
 *  - ETSI EN 300 468 V1.11.1 (2010-04) (SI in DVB systems)
 */

#ifndef __BITSTREAM_DVB_DESC_40_H__
#define __BITSTREAM_DVB_DESC_40_H__

#include <bitstream/common.h>
#include <bitstream/mpeg/psi/descriptors.h>
#include <bitstream/dvb/si/strings.h>

#ifdef __cplusplus
extern "C"
{
#endif

/*****************************************************************************
 * Descriptor 0x40: Network name descriptor
 *****************************************************************************/
#define DESC40_HEADER_SIZE      DESC_HEADER_SIZE

static inline void desc40_init(uint8_t *p_desc)
{
    desc_set_tag(p_desc, 0x40);
}

static inline void desc40_set_networkname(uint8_t *p_desc,
                                          const uint8_t *p_network_name,
                                          uint8_t i_length)
{
    desc_set_length(p_desc, i_length);
    memcpy(p_desc + 2, p_network_name, i_length);
}

static inline const uint8_t *desc40_get_networkname(const uint8_t *p_desc,
                                                    uint8_t *pi_length)
{
    *pi_length = desc_get_length(p_desc);
    return p_desc + 2;
}

static inline bool desc40_validate(const uint8_t *p_desc)
{
    return true;
}

static inline void desc40_print(const uint8_t *p_desc,
                                f_print pf_print, void *print_opaque,
                                f_iconv pf_iconv, void *iconv_opaque,
                                print_type_t i_print_type)
{
    uint8_t i_network_name_length;
    bool b_bouquet_name = desc_get_tag(p_desc) == 0x47;
    const uint8_t *p_network_name = desc40_get_networkname(p_desc,
                                                     &i_network_name_length);
    char *psz_network_name = dvb_string_get(p_network_name,
                                            i_network_name_length,
                                            pf_iconv, iconv_opaque);

    switch (i_print_type) {
    case PRINT_XML:
        psz_network_name = dvb_string_xml_escape(psz_network_name);
        if ( !b_bouquet_name )
            pf_print(print_opaque, "<NETWORK_NAME_DESC networkname=\"%s\"/>",
                     psz_network_name);
        else
            pf_print(print_opaque, "<BOUQUET_NAME_DESC bouquetname=\"%s\"/>",
                     psz_network_name);
        break;
    default:
        if ( !b_bouquet_name )
            pf_print(print_opaque, "    - desc 40 networkname=\"%s\"",
                     psz_network_name);
        else
            pf_print(print_opaque, "    - desc 47 bouquetname=\"%s\"",
                     psz_network_name);
    }
    free(psz_network_name);
}

#ifdef __cplusplus
}
#endif

#endif

redpajama_set_name: RedPajamaGithub


The enormous and solemn church building towering above the Danube curve is one of the most important symbols of Hungary. It has always played an important role both in Hungarian history and the people's hearts. Let us take a look at what is hiding behind its walls. Here is Világjáró Magazin's article about the church.
Seven churches were built on the castle hill of Esztergom. According to the surviving documents, it was the Saint Adalbert Cathedral that stood in the place of today's basilica, which was built around 1010. To the north lied the Saint Stephen church, which was the first one in this area. The third church was the circular chapel, which was excavated in the Árpád dynasty's royal palace, and the fourth one was the Saint Vid Chapel that was standing on the top of the castle of Esztergom. The fifth was a medieval Árpád dynasty royal church, Béla III's castle chapel. The sixth was a jewel of the Hungarian Renaissance architecture, the Bakócz Chapel, which was built during the 16th century.
Only one new church was built on Mount Vár in the New Age, the Nagyboldogasszony and Saint Adalbert Great Cathedral, which was larger than all the churches mentioned.
The construction of the Basilica of Esztergom can be divided into four eras. Sándor Rudnay prince archbishop (1819-1831) began to look for an architect in 1820 who might create plans for the new cathedral. Finally, Pál Kühnel's plan was chosen from the court of Vienna. The architect made plans for an enormous complex on the top of the castle hill resembling to the Vatican. Unfortunately, only the cathedral and the canon houses were actually built. The groundbreaking ceremony took place on 23rd April in 1822, on the day of Saint Adalbert.
The question, how the Bakóczi Chapel, the only remaining Hungarian Renaissance relic was replaced to the area of the basilica, still remains. It was the work of Pál Kühnel's nephew, János Packh. He broke it down to 1600 pieces in 1823 and rebuilt it at the cathedral, changing its orientation. The construction works were in progress until the death of Rudnay. The main walls were already standing then, and the building of the four giant pillars and the arches, as well as the establishment of the sanctuary were in progress.
The construction was paused for 8 years, and continued again only after the declaration of József Kopácsy as the archbishop of Esztergom in 1839. Then a tragedy happened: János Packh was murdered in his home, so the work lost its host. Prince archbishop Kopácsy hired József Hild for the job. "Hild built the dome with iron structure, which was a novelty in Hungary at the time, and he also raised the tambour and surrounded it with pillars. His aim was to enhance the monumentality of the church and to have a deep impact on the spectators even from far away. The construction continued until prince archbishop Kopácsy's death in 1847. The building already had its arches and the cross was already placed on the top of the cupola." (bazilika-esztergom.hu).
Two years of pause. The process continued after the appearance of the new prince archbishop János Scitovszky in 1849. Thought the church was not ready yet, Franz Joseph visited the castle hill on 31st August in 1856, and Franz Liszt composed "Missa Solennis" for this occasion.
The main facade's hallway was missing then, and the southern tower was also unfinished. The establishment of the inner structure encroached into the last third of the 19th century. Scitovszky died in 1866. As the coronation after the Compromise of 1867 was at hand, János Simor was declared as the new prince archbishop. Simor finished the basilica in two years with the help of architect József Lippert. The placement of the keystone took place on 1st November in 1869.
The cathedral of Esztergom is a simple, gorgeous, harmonic and well-built building, a true classical masterpiece. Each year on 15th August, the memorial day of the Blessed Virgin Mary is celebrated there, and the tradition of Saint Stephen also lives on in the form of the mass of Saint Adalbert on 23rd April.


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Restored gathered these makers to create an original, warm and elegant collection to be thankful for. Dutch photographers Eva Roovers and Debbie Trouerbach created concept-based images in different settings.


text:
Home DESTINATIONS ASIA PACIFIC Page 4
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: NET::ERR_CERT_INVALID python using selenium on macOS the program should work like this: when I execute it, it opens a Chrome page and it keeps listening to detect till I press 'q'. After I press 'q' it should click on a button in the page.
The problem is that it doesn't open the page because I get the error NET::ERR_CERT_INVALID.
This is the code:
    from selenium import webdriver
    import keyboard

    if __name__ == '__main__':
        # load chrome
        driver = webdriver.Chrome('./chromedriver')
        # get product url
        driver.get('url')
        #wait command
        while True:
            if keyboard.is_pressed('q'):
                driver.find_element_by_xpath('path').click()
                break

redpajama_set_name: RedPajamaStackExchange


text:
Home Universal Studios Hollywood Universal Studios Hollywood is developing a nighttime show for The Wizarding World...
Universal Studios Hollywood is developing a nighttime show for The Wizarding World of Harry Potter
Universal Studios Hollywood is currently developing a nighttime show for The Wizarding World of Harry Potter, Inside Universal has learned.
Using a combination of projections and intelligent lighting, this nighttime show is currently slated to debut this summer. Pyrotechnics have also been discussed internally, but its inclusion in the show may be scrapped depending on the eventual size and scope of the show. As with any tentative project, this project may be delayed or canceled, though recent lighting tests inside the park indicate that the project is still moving ahead. USHForums.com originally broke the news that Universal was conducting lighting tests in December 2016.
While we haven't learned about specific creative elements surrounding the show, Universal's new nighttime spectacular may resemble Wizarding World's opening ceremony held on April 7.
Please stay tuned to Inside Universal for more on this and other stories originating from Universal Studios Hollywood.
Wow! Spotlights are coming from Hogwarts Castle! Is a new nighttime show coming? #WizardingWorldHollywood pic.twitter.com/ZIHq2u3fFu
— Inside Universal (@insideuniversal) January 12, 2017
nighttime show
Previous articleRace Through New York's "The Tonight Shop" Opens at Universal Studios Florida
Next articleUniversal Announces Volcano Bay Water Theme Park Grand Opening for May 25th, 2017


text:
Gale Maimane on her new short film, starring Zoe Modiga, called Me
"We wanted to make a piece that encapsulates fashion and music in a skilful way. A tender way. A femme way."
Posted 15 Aug 18 By Taahirah Martin Art & Photography • Fashion & Jewellery Design • Music & Sound Design Creative Work / Design News Comments
A short film by Design Indaba Emerging Creatives programme 2016 participant, Gale Maimane, merges vibrant fashion with dreamy music to create a euphoric audio-visual experience.
The short film, titled Me, is a collaboration between Maimane, fashion designer Nao Serati and musician Zoe Modiga. The trio came together to combine their skill sets and produce a powerful yet delicate retrospective production. Me is a song off Modiga's debut album, Yellow: The Novel.
"We wanted to make a piece of content we could share and be proud of, [where we are] controlling our narrative," says Maimane.
It was important for the artists to make the film unashamedly soft, gentle and strong all at once.
"We wanted to make a piece that encapsulates fashion and music in a skilful way. A tender way. A femme way. Much like the song."
For Serati, who worked on the creative direction and styling of the film, the inspiration came from wanting to speak directly to the man or woman in modern-day Africa.
And then it was up to Modiga, who not only stars in the film but carries it with moving vocals, to seal the deal. The combination of the songs soulful beat and Modiga's soothing voice was a perfect backdrop to the underlying emotions the film held.
"The song evokes a deep seated sense of care. The song sort of cradles you and like the album you feel a very relatable connection to Zoë," explains Maimane on why the song was chosen.
Maimane says it was important for her as a director to capture the essence of what Serati and Modiga envisioned. "Me is an exploration of choice through the small and simple-seeming decisions we make to cloth ourselves. We wanted to create a succinct and beautiful representation of the sometimes downplayed effort it takes to gird yourself to the outside. [The film is] a light and tender lamentation on how the process of clothing yourself is firstly to please yourself," she says.
This film is a collaboration. NAO SERATI X ZOË MODIGA. Fashion and performance.
The way it was shot was also of importance. The film consisted of different edits and mixing with slowed down parts and sped up bits, creating a balance between different emotions Modiga experienced.
"We decide to create her world. [nicknamed: Nao's playroom] with captivating light, textured elements and props that create an iridescent quality to be a way to put the clothes on display," she explained.
This is not Maimane's first time directing a film having previously worked another film called Totamma.
She says that her experience as part of the Design Indaba Emerging Creatives programme in 2016 was a valuable way of meeting other creatives: "[It was] truly unforgettable and very valuable in the long run," she added.
Applications for Design Indaba Emerging Creatives 2019 close on September 10. APPLY NOW.
Applications for the 2019 Design Indaba Emerging Creatives programme are now open and will close 30 October 2019.
If you are interested in showcasing your portfolio or know anyone whom you think deserves a place, please apply here: APPLY NOW
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Nhlanhla Mahlangu
Chanting biography| Nhlanhla Mahlangu's rich theatricality comes to #DI2020


text:
General Carneiro is a Brazilian municipality located in the extreme south of the state of Paraná. According to the census carried out by the IBGE in 2010, its population is 13,667 inhabitants.

History
The historical origins of the municipality of General Carneiro are linked to the discovery of Campos de Palmas. The Poles and Ukrainians caused great development in the region. João Humhevicz, Thomas Gaiovicz, Simão Gaiovicz, Simão Nicolen, Onofre Gaiovicz and José Dralrtk, with their respective families, were pioneers who left their names engraved in regional history.

By Decree No. 281, of August 13, 1901, the Police District in Colonia General Carneiro was created. The colony's name was a tribute paid to General Antônio Ernesto Gomes Carneiro, who died on the front of the battle, on February 10, 1894, as commander of the legal forces, besieged in the city of Lapa (January 15 to 11 February 1894), State of Paraná, during the Federalist Revolution.

State Law No. 2,466, of April 2, 1927, transferred the seat of the District of General Carneiro to the place called "Iratim". Thus flourished the District of Iratim. In 1958, the District of São José de Palmas was created, headquartered in Passo da Galinha. This town had a strong growth. On January 25, 1961, by Law No. 4,339, São José de Palmas was elevated to the category of municipality, but with the name changed to General Carneiro, dismembering from the territory of the municipality of Palmas.

Geography

Weather
Being in a valley relief, favorable to the accumulation of cold air, General Carneiro is one of the coldest municipalities in Paraná, and since April 30, 2008, when the INMET meteorological station was installed, it has been recording the lowest temperatures in that state. The climate is subtropical temperate Cfb type, according to the Köppen-Geiger climate classification. It has a rainfall in the wettest quarter of approximately 173.9 mm and in the period when there is less rain of 102.7 mm quarterly. The annual average can reach 1,700 mm.

According to the National Institute of Meteorology (INMET), the lowest temperature recorded in General Carneiro was −7.9 °C on July 20, 2021, and the highest reached 35.1 °C on October 2, 2020, during a strong heat wave.

The city was, at times, the coldest in the state. Having the occurrence of snow in a few years.

Geology
The municipality of General Carneiro is located geomorphologically in the Third Plateau of Paraná, this represents the slope that forms the slope of the Serra Geral do Paraná escarpment, being called Serra da Boa Esperança, or Mesozoic escarpment. This scarp is made up of strata of São Bento Sandstone or Botucatu Sandstones, with thick flows of very compact basaltic lavas from the Paraná trap, which on the slope of the scarp only show thicknesses from 50 to 200 m, reaching however further to the West, 1,100 m to 1,750 m .

Hidrography
The city has two main rivers that are part of the Middle Iguaçu Basin, they are the Jangada River and the Iratim River. The Jangada River is almost 100 km long and its main tributaries are the Faria, São Manoel and Pouso Bonito/Tourino rivers, the latter being almost entirely within the urban perimeter. The 57 km long River Iratim has as its main tributaries the River Lajeado Grande and the River Goiabeira.

Localization
It is located in the extreme south of Paraná, the third plateau in Paraná. It is at 26º25'39" south latitude and 51º18'56" west longitude, being at an altitude of 983 meters. The nearest urban centers are União da Vitória at 52 km, Porto Vitória at 47 km, Bituruna at 66 km, Palmas at 100 km and Caçador at 106 km. The distance to the capital Curitiba is 274 km.

The municipality of General Carneiro belongs to the Association of Municipalities of Southern Paraná (AMSULPAR), together with the cities of Antônio Olinto, Bituruna, Cruz Machado, Mallet, Paula Freitas, Paulo Frontin, Porto Vitória and União da Vitória.

Relief
With a very rugged relief, undulating to mountainous, as in approximately 80% of the municipality, the area serves almost only for the cultivation of pine.

Soils
In general, the soils in the municipality are good, deep and with accentuated acidity and medium fertility, of difficult mechanization due to a typical topography of the beginning of the Third Plateau of Paraná, which is characterized by its rugged aspect.

Vegetation
The average altitude of the headquarters is around 981 m, reaching almost 1,300 m in the locality of Iratim, which favors the vegetation predominantly of Araucaria in its original formation. The rest is due to the existence of exotic trees such as pine. It also features forest areas in the urban perimeter.

References

Municipalities in Paraná

redpajama_set_name: RedPajamaWikipedia


This year we've thrown out all the stops. We have a big brilliant Christmas Tree sparkling in the middle of Althea as well as a few familiar Festive Faces!
That's right, Santa Claus is back and so are the antics of the mischievous Antonios Gang! Help Santa Claus on his journey and he might have a few presents of his own!
Part 2 will follow with a brand new event!


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Movie Interview
[INTERVIEW] Quick wit, wine & wisdom are at the forefront of co-writer Liz Cackowski's 'WINE COUNTRY'
Amy Poehler and Liz Cackowski on the set of WINE COUNTRY. Courtesy of Netflix.
Courtney Howard // Film Critic
Director Amy Poehler's WINE COUNTRY spotlights what it's like when a bunch of longtime friends get together to celebrate each other and air some difficulties. But for co-writer Liz Cackowski, writing the film took on deeper meaning as she was able to blend a few of her real-life experiences in while bringing out the vibrancy of this ensemble's comedic strengths.
At the film's recent press day, I spoke with the quick-witted writer about everything from how her SNL background informs her writing techniques, if the cast was ever taken off-guard by the filmed shenanigans, and what personal touches she brought into the fold.
With everyone having a background in improv, are you less precious about sticking every word of the script?
The script was pretty tight and shot what was scripted. Because we knew everybody's voices so well, I take it as a compliment when people ask if it's improv. I hope it does come across as the camera just happened to pick up a real conversation between people.
I don't know if we did any "fun run," when you completely improvise, but we really didn't do it much. If anything, we had alt jokes. I was on set every day to do any rewrites, or if something was wonky in a scene, we could fix it. We're all writers as well so we do like to craft the scene and make sure what's written is good. SNL teaches you that. Writing and re-writing is like trying to beat that joke. The style of writing we do is an improv style of writing where you riff for a while before you figure out what you would do. Emily and I would talk about the scene for a while before we'd actual write it.
Let's talk about the scene where the ladies are given the choice to do MDMA and instead they take a vote to listen to the podcast about it.
There are so many films where people go on a trip and things get crazy – they go wild. The way we would pitch this movie is, "So this is the movie where all these ladies go on a trip and they don't do drugs." The people would stare at us and wouldn't get it. We'd have to explain it's because these women were in their 40's and wanted to make sure they could sleep and not feel crappy tomorrow.
The realization they have that they aren't really drug people, but are on a shitload of prescription drugs. That day on set, we said, "If anyone wants to say the drugs they are on, let me know and we'll create a list. If not, you can say the ones I'm on, because I'm on so freaking many." Hearing all the drug names cracked me up.
Rachel Dratch, Ana Gasteyer, Amy Poehler, Maya Rudolph, Paula Pell, Emily Spivey in WINE COUNTRY. Courtesy of Netflix.
Did the ladies know which dildo Paula ("Val") would give them in advance?
That I love so much. Emily and I love writing characters. We could talk characters all day. It almost was like an improv scene where Paula was going to hand out those dildos to everyone. The props department were like, "What kind of dildos?" We were like, "Oooh. What if every dildo represents a character? It's like a character study." Instead of "What's this character's job? What's this character like to wear?" it was "What's this character's favorite dildo?" (laughs)
There's a scene that revolves around Fran Drescher's THE NANNY. Did you have to clear it with legal to use her name or likeness?
I don't know. I didn't ever look into that. It was always going to be Fran Drescher. That's all Emily Spivey's brilliant idea. We knew we wanted to do a scene with different generations – specifically millennials. Emily was like, "They love THE NANNY." I was like, "They do?! What?!" She wrote the first draft of that scene. She's exactly Jenny in the movie.
One of my favorite scenes is when Maya's in the winery fields talking about getting her bikini line lasered and she does the Billy Bob Thorton in SLING BLADE impression.
Oh my gosh. So that's my story. I'm the one who did the laser hair removal. I was like, "I kinda want to put this in the movie because it's something I'm thinking about right now." I asked Maya, "Would you feel comfortable talking about your bikini area because that's what happened to me." She said, "Oh my god, yes." That one is not her truth, but she delivered it so well. She represented my shameful truth. It's a warning to the younger generation about lasering their hair.
Are exercises like "Path not taken" or inside jokes like "The Things we say now" something that came from you and your friends?
"Things we say now" is from my life. It started just by talking about how early we wanted to eat dinner. I was out with my friends and I was kind of embarrassed to [ask for an early dinner]. Back in New York, you ate at 8 o'clock if not later. Now we all have kids and I said, "Would it be okay to do an early dinner?" My friends were like, "Yes! 6:30 would be great! Boy times have changed. Things we say now!" We would riff back and forth. "Let's find a restaurant that doesn't have loud music because I want to talk to you. I can't hear if the music's loud." Any medical talk, that's me on the phone. Things we say now.W
WINE COUNTRY'sexclusive theatrical engagements begin on May 8th. It streams globally on Netflix starting on May 10.
Amy Poehler4 Emily Spivey2 Fran Drescher1 Liz Cackowski2 Maya Rudolph8 Paula Pell3 WINE COUNTRY2
[INTERVIEW] How a heartfelt moment in 'WINE COUNTRY' heralds a hopeful industry change
Oak Cliff Film Festival announces lineup including Danny Boyle's 'YESTERDAY' and A24's 'THE FAREWELL'
Courtney Howard
Courtney Howard is a LAFCA, CCA, OFCS and AWFJ member, as well as a Rotten Tomatometer-approved film critic. Her work has been published on Variety, She Knows and Awards Circuit.


text:
Simone Biles: a kidney stone, a pair of miscues and a fourth world title
Sports // Olympics
David Barron , Houston Chronicle Nov. 1, 2018 Updated: Nov. 1, 2018 7:09 p.m.
Simone Biles: a kidney stone, a pair of miscues and a...
1of5DOHA, QATAR - NOVEMBER 01: Simone Biles of the United States celebrates after winning Women's All-Around Final during Day Eight of 2018 FIG Artistic Gymnastics Championships at Aspire Dome on November 1, 2018 in Doha, Qatar. (Photo by Francois Nel/Getty Images)Photo: Francois Nel, Staff / Getty Images
2of5US' Simone Biles competes in the women's all-around final of the 2018 FIG Artistic Gymnastics Championships at the Aspire Dome on November 1, 2018 in Doha. (Photo by KARIM JAAFAR / AFP)KARIM JAAFAR/AFP/Getty ImagesPhoto: KARIM JAAFAR, Contributor / AFP/Getty Images
4of5Gold medallist and four-times All-Around world champion Simone Biles of the U.S., and bronze medallist Morgan Hurd of the U.S., right, celebrate with the national flag after the Women's All-Around Final of the Gymnastics World Chamionships at the Aspire Dome in Doha, Qatar, Thursday, Nov. 1, 2018. (AP Photo/Vadim Ghirda)Photo: Vadim Ghirda, STF / Associated Press
5of5Simone Biles of the U.S. misses her landing after her jump on the vault during the Women's All-Around Final of the Gymnastics World Chamionships at the Aspire Dome in Doha, Qatar, Thursday, Nov. 1, 2018. (AP Photo/Vadim Ghirda)Photo: Vadim Ghirda, STF / Associated Press
Even after experiencing what was her most challenging performance in five years as the world's greatest gymnast, Simone Biles remains the best there is — still a record-breaker, still a champion, still determined to meet and exceed her own lofty standards.
Biles, 21, the four-time Olympic gold medalist from Spring, fell on two of four events Thursday at the world gymnastics championships in Doha, Qatar, and still won her fourth all-around title, the first woman to accomplish that feat, with room to spare.
It was good enough for gold, but not good enough for Biles.
"You have to earn it," she said. "And I'm not so sure that I earned it tonight. It was so bad."
Biles' four-event score of 57.491 points was well clear of runner-up Mai Murakami of Japan at 55.798 and defending champion Morgan Hurd of Middletown, Del., at 55.732. But it was almost 3.5 points less than her opening-night performance in Doha last weekend and arguably her worst all-around in her five-year run as the standard-bearer for her sport.
She had a built-in excuse — literally. Biles continues to compete against the world's best while coping with a kidney stone that refuses to pass. She spent several hours in an emergency room last Friday, and she has acknowledged that the pain, although bearable, hasn't gone away.
Biles, however, isn't big on excuses.
"If it were a challenge for me, I wouldn't have competed at all," she said in a post-event interview provided by USA Gymnastics. "Some people might blame it (on the kidney stone), but I think it was just a matter of concentration.
"I'm definitely more upset with myself than happy," she added. "It's not the gymnast that I am to go out there and kind of bomb in a meet like this. I won, but I wish it were a little bit different."
The difficult nature of Biles' win Thursday was in keeping with what has been a challenging year for the sport and its greatest champion.
USA Gymnastics continues to be roiled by controversy and turmoil in the wake of the sexual abuse scandal centered on disgraced sports doctor Larry Nassar, who abused hundreds of gymnasts, including Biles herself, under the guise of medical care.
The federation faces civil suits from coast to coast and has been unable to replace sponsors that fled in the wake of the Nassar case. It is in search of its fourth CEO in the last year, and some of its most prominent athletes — including Biles herself — continue to cope with the aftermath of the Nassar case as competitors or as survivors.
Biles, in fact, has been one of the few bright points of 2018 for USA Gymnastics. Less than a year into her return to training following a yearlong layoff following the 2016 Olympics, she continues to challenge herself and advance the art of the sport as she works her way toward a second Olympics in Tokyo in 2020.
Thursday in Doha, however, Biles was off her game. She began with vault, where last week she debuted a combination that bears her name as the first woman to successfully perform it in international competition.
The "Biles" vault is a roundoff — similar to a cartwheel — approach to the vaulting table, followed by a half-turn and, after hitting the table with her hands, two full twists in the air before a blind landing facing away from the table.
This time, Biles said her hands slipped as she slapped them onto the table, depriving her of some of the power needed to launch herself into two aerial twists. She landed with knees bent, mere inches from landing seat first, and toppled backward into the mat.
She followed up with a solid performance on uneven bars — second-best among the 24 competitors on what has always been her weakest event — before coming a cropper again on balance beam, the four-inch-wide bane of every gymnast's existence.
After sailing through a Wolf turn — three 360-degree pirouettes on her right foot with her left leg outstretched — Biles came off the beam after failing to land properly on a front flip with a half-turn. Later on, she had to fight to save the landing on a front pike somersault that also caused her problems during the team competition on Tuesday.
The key to Biles' success, though, is the unmatched difficulty of the skills she combines into routines of unparalleled complexity. To that, she adds an element of determination that makes her unwilling, even on an off day, to compromise her standards by settling for easier skills.
"Even on a bad day, I don't want to water it down just because I had some of those falls," she said. "I would still rather go out there and show who I am as a competitor.
"But it was a thought. I was sitting on the side and it was, like. 'Maybe let's water this down,' but I didn't. I wouldn't do that."
Closing on floor exercise, she bounded out of bounds on her first tumbling pass but stayed on her feet (and in the air) throughout. Her performance score on the event was the best in the field and, coupled a one-point edge in difficulty score, made her the clear winner.
In fact, Biles' margin of victory was the largest of her four world championships. Thursday's win enabled her to break a tie with Russian champion Svletlana Khorkina, the only other woman to win three world all-around titles.
Biles now has 16 world championship medals, including 12 gold medals, and has a chance at four more event gold medals as competition in Doha continues into the weekend. She is among the eight finalists in all four events, the first time she has qualified for each event final.
Event finals, she said, "will definitely cheer me up a little bit more. I kind of get to redeem myself, and I'm excited about that part, to show them who I really am. … For finals, hopefully, this Simone goes away."
While Biles is her own harshest critic, she also has a sense of humor about the difficulty of her routines. She admitted being too cautious on the newly named Biles vault that left her flat on the mat Thursday, and she promises to throw caution to the wind in the vault final.
"I was holding back because I didn't want to overpower it," she said. "Now, if I run off the podium, who cares? I'm going to overpower that thing. I'm going to try. Better over than under."
Biles will compete Friday on vault and uneven bars and Saturday on balance beam and floor exercise. In a message to her Twitter followers after competing Thursday, she said she would attempt to spare them additional drama during her final events.
"Didn't mean to give everyone a heart attack," she wrote. "I apologize. I won't do that again."
david.barron@chron.com
Twitter.com/dfbarron
Follow David on:
dfbarron/
David Barron reports on sports media, college football and Olympic sports for the Houston Chronicle. He joined the Houston Chronicle in 1990 after stints at the Dallas bureau of United Press International (1984-90), the Waco Tribune-Herald (1978-84) and the Tyler Morning Telegraph (1975-78). He has been a contributor to Dave Campbell's Texas Football since 1980, serving as high school editor from 1984 through 2000 and as Managing Editor from 1990 through 2004. A native of Tyler, he is a graduate of John Tyler High School, Tyler Junior College and The University of Texas at Austin.
Rockets' Bill Worrell fondly recalls 'delightful' Kobe Bryant
On TV/Radio: TNT's Dwyane Wade puts onus on Rockets' Mike D'Antoni, urges patience
Patrick Mahomes' Super Bowl journey started in East Texas
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Feed to young and adult birds daily year round. Sprinkle ½ teaspoon of TRACE MINERALS POWDER over one cup of fruits, vegetables, soaked seed or softfood OR offer as a free choice in a treat cup.
Aluminum, Arsenic, Barium, Beryllium, Bismuth, Boron, Bromine, Cadmium, Calcium, Carbon, Cerium, Cesium, Chlorine, Chromium, Cobalt, Copper, Dysprosium, Erbium, Europium, Fluorine, Gadolinium, Gallium, Gold, Hafnium, Holmium, Iodine, Iron, Lanthanum, Lead, Lithium, Lutetium, Magnesium, Manganese, Molybdenum, Neodymium, Nickel, Niobium, Nitrogen, Phosphorus, Potassium, Praseodymium, Rubidium, Samarium, Scandium, Selenium, Silicon, Silver, Sodium, Strontium, Sulfur, Tantalum, Terbium, Thallium, Thorium, Thulium, Tin, Titanium, Tungsten , Uranium, Vanadium, Ytterbium, Yttrium Zinc, Zirconium.


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    <fail if="tests.failed">At least one test failed!</fail>

  </target>

  <!-- run one cactus test -->
  <target name="manual-inttest" depends="init">
    <cactus earfile="${target.modules.ear.dir}/${name}.ear"
            printsummary="yes" failureproperty="tests.failed">
      <classpath>
        <path refid="cactus.runtime.classpath"/>
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      <containerset>
        <generic name="My Container" port="8080">
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      <formatter type="xml"/>
      <formatter type="plain" />
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    <fail if="tests.failed">At least one test failed!</fail>

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  <!-- manual jboss deploy target -->
  <target name="jboss-deploy" depends="init" if="cactus.home.jboss3x"
  		description="copy the app to the jboss server">
    <property name="jboss.deploy.dir" value="${cactus.home.jboss3x}/server/default/deploy"/>
	<echo>jboss.deploy.dir=${jboss.deploy.dir}</echo>
  	<copy file="${target.modules.dir}/ear/${name}.ear" todir="${jboss.deploy.dir}"/>

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text:
The Museum School of Avondale Estates
An Exhibition of Excellence
A Message from the Executive Director
State of the School 2022
TMS Charter
Museum Model Curriculum
Curricular Partners
Exhibit Nights
Exploratories & Electives
Museum in a Box
2023-2024 Open Houses
Why Choose The Museum School?
Important Information for Students Selected from the 2022-2023 WAITLIST
2022-2023 Enrollment or Re-Enrollment Instructions for ALL Students
Extracurricular Programs
2022 Summer Packets
TMS PTO
High School Transition to DHHS
Requesting Transcripts/Records
COVID-19 Policies and Resources
TMS Blog
TMS Foundation
TMS Heroes
Contact The Museum School
Directions to The Museum School
The Museum School of Avondale Estates is a public charter school which opened its doors to students in 2010. It is the product of a grassroots effort on the part of dedicated parents to bring an innovative educational opportunity to DeKalb County.
The museum-school concept is a proven model founded on research about how children learn best: through personal exploration and hands-on experience fostering exploration, discovery and creativity.
At The Museum School, we have partnered with established learning and cultural institutions such as the Atlanta Botanical Garden, Atlanta History Center, Fernbank Museum of Natural History, the High Museum, the Michael C. Carlos Museum at Emory University, Zoo Atlanta and others to inform a curriculum integrated with a robust program of expeditions outside of the school.
The Museum School can claim an outstanding level of success. The educational community has recognized The Museum School as a model for elementary education, and the school is proud to support student teachers and pre-service teachers from the University of Georgia, Georgia State University, Agnes Scott College, Clayton State University and Oglethorpe University. The school achieved this level of academic success while at the same time operating within budget.
It has successfully operated on the per-student allotment from DeKalb County, with additional private support to cover facility costs — costs not covered for charter schools. The Museum School enjoys an excellent relationship with the DeKalb County School System, resulting in a full, five-year charter and a historic, long-term agreement for the use of a former school building for The Museum School's permanent home. While DeKalb County has offered this facility rent-free, the building requires significant renovations to make it safe for students and to bring it up to code.
With your help, we can restore an empty building to once again be the beating heart of the community, provide the outstanding level of education our students deserve, and use our education model to elevate learning and teaching across the state.
923 Forrest Blvd., Decatur, GA 30030
Mission: The mission of The Museum School of Avondale Estates is to inspire students, teachers and the community to collaborate to develop strong critical thinking, interpersonal and academic skills in our students, which will prepare them for real-world success.


Sophomore Jared Lutz sees no point in social media. Lutz said he spent most of his time on videogames and not of worrying about what people would post. Photo by Kate Boles.
Social media is a big part of a lot of people's daily lives, from work, to entertainment, to just plain boredom. But some people here at West don't participate in what most people would consider a daily, even hourly activity.
When thinking of daily life many people would include posting or checking Instagram, Twitter, Snapchat, etc., but Junior Caleb McKinney doesn't include any of it, instead decides to spend his time on something he feels passionate about.
"I spend a lot of time on music, I play several instruments and I'd rather be doing that than sitting on social media," said McKinney.
Now music isn't for everyone and spending time on more important things isn't the only reason to cut out social media all together. Some people just don't see the point in sharing every detail of their lives.
Sophomore Jared Lutz spoke about his views on social media.
"I see social media as pointless, I don't really see a purpose in social media. It's better to go out and actually talk to people. You can text message or you can call a person or facetime. There's a lot of better things than social media," said Lutz.
Chemistry teacher Mark Lutman shares similar views on the topic.
"I've never used it since day one and I've never really had a need for it so I've just never gotten it, I'm pretty simple so why complicate your life with other things," said Lutman.
However social media has it's perks, some being the ability to communicate with people around the world, and also newsrooms like CNN and KMBC being able to get out breaking news with a simple tweet.
Although these are great things there are also some downfalls to these platforms.
"The negatives are you don't communicate with the person; I like that communication the actual voice talking to a person. I think we're not becoming robotic but we're losing a sense of communication or how to speak to people I believe," said Lutman.
Now you would think that cutting out social media would make you more productive, and although this sometimes may be the case it isn't always that way.
Mckinney believes social media may not be the only thing you can get lost in.
Whether your thing is social media, music, or something else it's always good to create a happy medium. You don't have to go cold turkey and cut out the thing you spend your time doing but it might be interesting to see what happens if you put the phone down.
You never know what could happen, a new hobby may even present itself.


text:
These Fish Look Like They're Casting Spells
By Andrew Liszewski on at
When you think about mechanisms that animals use to avoid becoming dinner, clever adaptations like poisons or pointy spikes come to mind. But the Ostracod, a type of zooplankton, uses something a little more magical.
To avoid being eaten by a Cardinal fish, they excrete a sudden blast of luminescent chemicals that act almost like a personal safety alarm. The Cardinal fish has predators of its own its trying to avoid, so when an Ostracod its trying to eat suddenly bursts into light, it immediately spits it out and backs away so as to remain hidden in the dark murky depths. It's like the Ostracod is screaming for help, but relying on the knowledge that whatever comes to see what's going on, will be more interested in eating its attacker. [BBC via Notcot]
ostracods


Im giving this a 3 because Pradeep s constant correcting of Marco, while usually endearing, is a real distraction from the whole thing and is doing a disservice to us on the other side of the screen here. I think it matters more that we are given proper instruction than for Pradeep to correct a model. When you are in the middle of the practice, in the middle of the pose, doing things correctly but you cant see the screen because of the pose and Pradeep is repeating the same instruction 10 times in order for Marco to get it .... it basically kills the flow - either youre stuck in a weird position waiting for whats next or you stop to look at the screen. This happens in every class with Marco ... maybe not have him as your yoga model?
What a fun, quick class!
I really liked this class. It s quite accessible yet still a challenge at times.
Fun class with lots of twists! I love that they didn t edit out all of the imperfections; it feels more like a live class. Thanks for your positive energy, Pradeep!


If you live in a small apartment, then you probably like interior items that don't take much space and they have to be multifunctional. Well, this cool convertible sofa is all that! Designer is Julia Kononenko from Ukraine and she created this awesome piece of furniture for a living room.
– In our apartments we are always in the confrontation with furniture for the living space. It is so important that the interior items possess little space, are multifunctional and small in size – wrote Julia Kononenko on her Behance page.
This sofa can easily be transformed into a dining table with six padded stools. It also looks really comfortable! So, from one small sofa, you can get a dining table with seating for six persons – isn't this a perfect piece of furniture for a tiny apartment? Convertible sofa is an ideal furniture for limited spaces and we have to admit that it also looks pretty good!


text:
Ein Quader ist ein geometrischer Körper, der von 6 Rechtecken begrenzt wird.

Ein Quader besitzt
 6 rechteckige Seitenflächen, die im rechten Winkel aufeinander stehen,
 8 rechtwinklige Ecken und
 12 Kanten, von denen jeweils vier gleiche Längen besitzen und zueinander parallel sind.
Gegenüberliegende Flächen eines Quaders sind parallel und kongruent (deckungsgleich). Der Quader ist ein rechtwinkliges dreidimensionales Parallelepiped.

Im Sonderfall gleicher Kantenlängen , bei dem alle Flächen des Quaders Quadrate sind, ergibt sich ein Würfel. Im Fall, dass genau zwei Kantenlängen gleich sind, zum Beispiel , ergibt sich ein quadratisches gerades Prisma, man spricht gelegentlich von einer quadratischen Platte () bzw. einer quadratischen Säule ().

Symmetrie
Quader haben abhängig von der Anzahl gleicher Kantenlängen mehrere Symmetrieeigenschaften.

Quader mit drei verschiedenen Kantenlängen haben

 3 zweizählige Drehachsen (durch die Mittelpunkte zweier gegenüberliegender Flächen),
 3 Spiegelebenen (3 Ebenen durch je vier Kantenmittelpunkte),
 3 Drehspiegelungen (um 180° mit den Ebenen durch je vier Kantenmittelpunkte)

Quader mit zwei verschiedenen Kantenlängen (quadratische gerade Prismen) haben

 1 vierzählige Drehachse (durch die Mittelpunkte zweier gegenüberliegender Quadrate),

 2 zweizählige Drehachsen (durch die Mittelpunkte zweier gegenüberliegender Rechtecke),
 3 Drehspiegelungen (um 180° mit den Ebenen durch je vier Kantenmittelpunkte)
Quader mit nur einer Kantenlänge, die Würfel, haben mehr Symmetrien (siehe Würfel - Symmetrie).

Jeder Quader ist
 punktsymmetrisch zum Mittelpunkt M.

Formeln

Optimierungsprobleme und der Würfel
Es gibt verschiedene Optimierungsprobleme für Quader. Sucht man einen Quader, der bei

 gegebener Länge der Diagonale oder gegebenem Umkugelvolumen den maximalen Oberflächeninhalt
 gegebener Länge der Diagonale oder gegebenem Umkugelvolumen das maximale Volumen
 gegebenem Oberflächeninhalt die minimale Länge der Diagonale oder das minimale Umkugelvolumen
 gegebenem Oberflächeninhalt das maximale Volumen
 gegebenem Volumen die minimale Länge der Diagonale oder das minimale Umkugelvolumen
 gegebenem Volumen den minimalen Oberflächeninhalt

hat, dann ergibt sich als Lösung jeweils der Würfel.

Jeweils zwei der sechs Optimierungsprobleme sind im Prinzip dieselbe Fragestellung mit anderen gegebenen Größen, sodass es eigentlich nur drei verschiedene Optimierungsprobleme sind. Für die genannten Optimierungsprobleme ist der Würfel der gesuchte Quader. Das gilt selbstverständlich nicht für alle Optimierungsprobleme.

Dass die Optimierungsprobleme für die Länge der Diagonale  und das Umkugelvolumen  jeweils dieselbe Lösung haben, ist offensichtlich, weil das Umkugelvolumen  eine stetige und streng monoton steigende Funktion mit der Funktionsvariablen  ist.

Ist zum Beispiel bei gegebenem Umkugelradius der Quader mit dem größten Volumen gesucht, dann lassen sich die Kantenlängen , ,  des Quaders mithilfe der partiellen Ableitungen der Volumenfunktion  berechnen oder mit Beweis durch Widerspruch:

Angenommen, ein beliebiger Quader mit mindestens zwei verschiedenen Kantenlängen, zum Beispiel  und , hätte das größte Volumen. Sein Umkugelradius ist  und sein Volumen . Dann hat ein anderer Quader, nämlich der Quader mit den Kantenlängen ,  und  den gleichen Umkugelradius  und das Volumen . Wegen der Ungleichung vom arithmetischen und geometrischen Mittel , wegen  und  gilt  und .

Also hat der beliebiger Quader mit mindestens zwei verschiedenen Kantenlängen Quader ein kleineres Volumen als der andere Quader. Daraus folgt, dass ein Quader mit mindestens zwei verschiedenen Kantenlängen nicht das größte Volumen haben kann und schließlich, dass der Quader mit nur einer Kantenlänge, also der Würfel mit 12 gleich langen Kanten, das größte Volumen aller Quader mit gegebenem Umkugelradius hat.

Entscheidend für diesen Beweis durch Widerspruch ist hier, dass das Volumen der Quader endlich sein muss, denn es ist offensichtlich kleiner als das Volumen der Umkugel, und dass die Volumenfunktion stetig ist.

Netze von Quadern
Allgemeine Quader mit drei verschiedenen Kantenlängen haben 54 Netze, welche nicht durch Kongruenzabbildungen aufeinander abbildbar sind. Diese sind verallgemeinerte Hexominos, die nicht aus Quadraten, sondern aus Rechtecken bestehen. Das heißt, es gibt 54 Möglichkeiten, einen hohlen Quader durch Aufschneiden von 7 Kanten aufzuklappen und in der Ebene auszubreiten. Die anderen 5 Kanten verbinden jeweils die 6 Rechtecke des Netzes.

Quader mit zwei verschiedenen Kantenlängen, nämlich quadratische gerade Prismen, haben 30 Netze. Quader mit nur einer Kantenlänge, nämlich Würfel mit 12 gleich langen Kanten, haben 11 Netze.

Um einen Quader so zu färben, dass keine benachbarten Flächen dieselbe Farbe haben, braucht man mindestens 3 Farben.

Verallgemeinerung
Die Verallgemeinerungen der Quader in beliebiger Dimension  werden als -dimensionale Quader oder Hyperrechtecke oder Hyperquader bezeichnet. Der -dimensionale Quader hat  begrenzende Seiten der Dimension k. Spezialfälle:

 Der nulldimensionale Quader (Punkt) hat 1 Ecke.
 Der eindimensionale Quader (Strecke) hat 2 Ecken.
 Der zweidimensionale Quader (Rechteck) hat 4 Ecken und 4 Kanten
 Der vierdimensionale Quader hat 16 Ecken, 32 Kanten, 24 Rechtecke als Seitenflächen und 8 dreidimensionale Quader als Facetten.
 Der -dimensionale Quader hat
  Ecken ()
  Kanten ()
  Rechtecke als Flächen ()
  Quader als Volumen ()
  Quader der Dimension  als Facetten ().

Quadergitter

Das Quadergitter ist eine Anordnung von unendlich vielen Punkten im dreidimensionalen euklidischen Raum. Diese Punktmenge kann formal als die Menge

geschrieben werden, wobei die positiven reellen Zahlen , ,  die Abstände zwischen benachbarten Punkten sind. Das Quadergitter entsteht durch 3 Parallelstreckungen (siehe Affine Abbildung) aus dem Würfelgitter.

Dieses Würfelgitter ist achsensymmetrisch, drehsymmetrisch und punktsymmetrisch. Außerdem ist es translationsymmetrisch für alle Vektoren mit bestimmten Längen, die parallel zu den 3 Koordinatenachsen verlaufen, nämlich die unendlich vielen Vektoren , , , wobei , ,  ganze Zahlen sind und , ,  die 3 Einheitsvektoren im dreidimensionalen eudklidischen Vektorraum.

Werden unendlich viele parallele Ebenen, die jeweils den Abstand ,  bzw.  haben, orthogonal zu den 3 Koordinatenachsen durch dieses Punktgitter gelegt, dann entsteht ein Flächengitter (siehe Abbildung), das quaderförmige Hohlräume enthält. Diese Ebenen können formal als die Menge

geschrieben werden.

Wird zusätzlich der dreidimensionale Raum vollständig ausgefüllt, dann entsteht eine dreidimensionale Parkettierung (Raumfüllung) aus kongruenten Quadern.

Wird ein geometrischer Körper im dreidimensionalen Raum in einem Würfelgitter platziert und dann durch Parallelstreckungen modifiziert, sodass ein Quadergitter entsteht, dann entstehen abhängig von der Art und Ausrichtung dieser geometrischen Körper andere geometrische Körper:

Euler-Ziegel

Ein Euler-Ziegel ist ein Quader, bei dem die Längen der Kanten und Flächendiagonalen ganzzahlige Werte haben. Er ist nach Leonhard Euler benannt. Er wird von 3 Dreiecken aufgespannt, deren Kantenlängen pythagoreische Tripel sind, und deren rechte Winkel an einer Ecke zusammenstoßen.

Ein Euler-Ziegel ist primitiv, wenn die drei Kantenlängen keinen gemeinsamen Teiler haben. Die geometrische Definition des Euler-Ziegels ist äquivalent zu einer Lösung des folgenden Systems von diophantischen Gleichungen:

wobei a, b, c die Kanten und d, e, f die Flächendiagonalen sind.

Ein Euler-Ziegel heißt perfekt, wenn zusätzlich auch die Raumdiagonale eine ganzzahlige Länge hat, das heißt, wenn zusätzlich gilt:

wobei g die Raumdiagonale ist.

Perfekte Euler-Ziegel sind ein ungelöstes Problem der Mathematik. Es wurde bisher noch kein Beispiel für einen perfekten Euler-Ziegel gefunden, und es wurde auch nicht bewiesen, dass keiner existiert. Mithilfe vom Computern konnte gezeigt werden, dass bei einem perfekten Euler-Ziegel eine der Kanten größer als 3 · 1012 sein müsste.

Ganzzahlige Raumdiagonalen
Es gibt Quader, bei denen sowohl die Seitenlängen a, b und c, als auch die Raumdiagonale g ganzzahlig sind. Diese Längen bilden dann ein pythagoreisches Quadrupel.

Anwendungsbeispiele

Domino
Domino ist ein Legespiel mit Spielsteinen und enthält jede Kombination aus 2 Augenzahlen von 0 bis 6 genau einmal, wobei auch Steine mit gleichen Augenzahlen vorkommen. Dabei wird die Reihenfolge der Augenzahlen nicht unterschieden. Die Abmessungen und die mittlere Dichte der quaderförmigen Steine sind

 Länge: 9 Zentimeter
 Breite: 4,5 Zentimeter
 Höhe: 1 Zentimeter
 Mittlere Dichte: 670 kg/m³

Es sind also 7 Steine mit 2 gleichen Augenzahlen,  Steine mit 2 verschiedenen Augenzahlen und insgesamt 7 + 21 = 28 Steine. Daraus ergeben sich mithilfe der oben genannten Formeln das Volumen, der Oberflächeninhalt und die Masse der Dominosteine:

 Volumen von einem Stein:
 Gesamtvolumen:
 Oberflächeninhalt von einem Stein:
 Gesamter Oberflächeninhalt:
 Masse von einem Stein:
 Gesamtmasse:

Lift
Die offene Kabine eines Lifts ist 1,40 Meter breit, 2,00 Meter lang und 2,20 Meter hoch. Die Luft in der Kabine hat die Temperatur −10 Grad Celsius und die Dichte 1,3413 kg/m³. Durch Heizwärme erwärmt sich die Luft auf 20 Grad Celsius und die Dichte sinkt auf 1,2041 kg/m³. Der Luftdruck vorher und nachher beträgt 101325 Pascal (siehe Standardbedingungen). Aus diesen Angaben kann man die Masse der Luft in der Kabine des Lifts bei −10 Grad Celsius, bei 20 Grad Celsius und den Anteil der aus der Kabine des Lifts entweichten Luft berechnen:

 Masse der Luft bei −10 °C:
 Masse der Luft bei 20 °C:
 Anteil der entweichten Luft:
Es entweicht also etwa 10,2 Prozent der Luft.

Schwimmbecken
Ein Schwimmbecken ist 25 Meter breit, 50 Meter lang, 2,5 Meter tief und zu 96 Prozent gefüllt. Das Wasser im Schwimmbecken hat die Temperatur 0 Grad Celsius und hat die Dichte 1,000 kg/m³. Durch Sonneneinstrahlung erwärmt sich das Wasser auf 40 Grad Celsius und 60 Prozent des Wassers verdunstet. Gleichzeitig sinkt die Dichte auf 0,996 kg/m³. Stillschweigend können wir annehmen, dass der Boden des quaderförmigen Schwimmbeckens orthogonal zum Erdmittelpunkt ist, also überall fast dieselbe Höhe über dem Meeresspiegel hat, und dass der Wasserstand des Schwimmbeckens überall gleich hoch ist.

Daraus ergeben sich:

 Wasserstand (vorher):
 Volumen des Wassers (vorher):
 Masse des Wassers (vorher):
 Masse des Wassers (nachher):
 Volumen des Wassers (nachher):
 Wasserstand (nachher):

Der Wasserstand des Schwimmbeckens sinkt also von 2,5 Meter auf 0,964 Meter.

Siehe auch

 Würfel
 Prisma (Geometrie)
 Parallelepiped
 Euler-Ziegel
 Polyeder
 Rechtkant

Weblinks

Einzelnachweise

Raumgeometrie
Polyeder


Jews call it the Temple Mount; Muslims refer to it as Haram al-Sharif ("Noble Sanctuary"). Whatever the name, the 35 acres contained within the Old City of Jerusalem is one of the most sacred and contentious pieces of land in the world. Some blame the recent uptick in violence in the region on the escalation of claims to this site.
Jews consider it holy because they believe God gathered dust from this site to create Adam. Later it was where both the first and second temples were built. For Sunni Muslims, it is the third most holy site in the world (after Mecca and Medina) and is believed to be the site from which Muhammad ascended into heaven.
For many centuries, Jews could not come near the Temple Mount or the Western Wall. It was controlled by the Ottoman Empire and then Jordan. During the 1967 War, Israeli troops advanced past the 1949 Armistice Line and reclaimed the Western Wall and the entire Temple Mount. The decision was made by the government of Israel to keep the Western Wall as a sacred place for Jews to worship but to return the Temple Mount to the control of the Jerusalem Islamic Waqf. In 1994 custodianship was given to Jordan as part of the peace treaty.
The Dome of the Rock, considered the most recognizable landmark in Jerusalem, is also one of the oldest examples of Islamic architecture, having been completed in 692. The dome itself is covered in 80 kilos of gold donated by the late King Hussein of Jordan in the 1990s. It is not a mosque but covers the Foundation Stone, which is holy to Jews and Muslims. Some Jews believe it is the site of the Holy of Holies where the Ark of the Covenant was kept. But because the exact location is not known, the Chief Rabbi of Israel has declared that Jews shouldn't walk on the Temple Mount for fear of stepping on this holiest of all places. Jews are allowed to enter the Temple Mount during certain hours, but they are not allowed to pray or read scripture there, for fear of inciting violence.
The site is also the home of the Al Aqsa Mosque, which sits on the southern end of the site and faces Mecca. Muslims from all over the world make pilgrimages to the site and worship there every Friday. Israel claims that especially on Fridays, rocks are thrown from the vicinity of the mosque at Jewish worshipers at the Western Wall and that is why Israeli police and soldiers sometimes enter the grounds and even the mosque during Friday prayers. But such incursions create enormous tension with the worshipers. Israel also controls access to the site and often restricts young Muslim men from visiting what they consider a holy site.
Other issues arise relate to what is sometimes called the Third Temple Movement. This movement of primarily Israeli Jews, but also some Zionist Christians, aims to rid the Temple Mount of all Islamic structures and prepare it for the building of the Third Temple, which they believe is necessary to complete in order for the Messiah to appear. Rumors have been fueled on social media that there is an effort underway to destroy Muslim holy sites, creating even more tension.
Although this is not the only reason for rising violence and unrest, most experts agree that the increased tension over this holy site is an underlying cause of the recent conflicts.
This sign appears near the entrances to the Temple Mount in Jerusalem.


text:
The Linley Sisters re-imagined: our partnership with the Baytree Centre
This International Women's Day, we wanted to shine a light on the amazing work of one of our Community Partners, the Baytree Centre in Brixton, who empower women and girls through education and skills development programmes.
In late 2018 we worked with girls from Baytree's Into School programme, which helps young migrant and refugee girls to obtain school places. The girls joined us at the Gallery for a series of creative workshops that culminated in a final performance at the Baytree Centre; a modern-day reimagining of The Linley Sisters' story, after Thomas Gainsborough's portrait in our Collection.
The girls in costume as the Linley sisters and family
Final performance at the Baytree Centre
We spoke to Caley Holmboe, Baytree's Into School Manager, about the programme and how working with arts organisations like Dulwich Picture Gallery is so important.
What barriers do girls on the Into School project face?
Recently arrived migrant and refugee children face many challenges upon entering the UK. With many arriving with little or no English, the language barrier can isolate young women and girls. It is extremely hard to apply to school, register with a GP; all these basic things we can take for granted. So, often these girls fall through the cracks – they could be waiting several months or even a year before they engage in mainstream education, which has a serious impact on their future.
Meanwhile there is not much interim provision on offer – which is why Into School exists; in order to provide these vulnerable young people with education, structure, community and safety while they wait to get a place in school or college. We also help them through the school/college application process as filling out forms and follow-up emails and calls can be very hard, if not impossible, with limited English.
Integration into a completely new country and new culture is traumatic in itself, and especially hard on some of our Into School girls who are escaping severe trauma in their home countries or have complicated lives; often separated from their families and support networks. The resources for young newly arrived migrants are limited and they often lose out on their right to education. I have found the Into School girls to be the most grateful and pleasurable group to teach; they do not take the provision we offer for granted and are extremely eager to learn. The resilience that the Into School girls demonstrate at Baytree never ceases to amaze me. It is evidence of our human capacity for strength and hope in the face of adversity.
How has working with Dulwich Picture Gallery helped the girls on the Into School programme to develop their skills?
In the past two projects with Dulwich Picture Gallery, the girls have learned lots of new skills, from photo-editing on a computer and making stop-motion videos, to portrait photography and creating props for a play! For many girls, this the first time they have tried these creative techniques and it is fantastic that these talented professionals and facilitators come together at the workshops to share their skills. It could plant a seed for a future career pathway for an Into School girl, or help inspire a new hobby. The interaction with new people – be it the wonderful cohort of older women we worked with on Reframing the Muse or the group of volunteers and professionals that have assisted or lead the workshops on the most recent project, it is great for them to build their confidence in speaking to new people – and they get to practise their English!
Is it important for Baytree to partner with cultural institutions like Dulwich Picture Gallery?
Yes, definitely! Baytree is a social inclusion charity; and cultural institutions haven't always been inclusive. So it's great that we can access Art, Artists and Workshops at Dulwich Picture Gallery that might be less accessible to our girls. It is significant because it shows that cultural institutions are striving to change and to prioritise working with local surrounding communities and charities. Into School is an integration project for young migrants, and connecting to cultural landmarks like Dulwich Picture Gallery boosts their sense of belonging to their new communities. Working with Dulwich Picture Gallery exposes our young women and girls to the breadth of arts and culture on offer, available just around the corner from the Baytree Centre.
What was your highlight of this year's project?
The highlight of this year's project was the play that was performed at the Baytree Centre! It was so lovely to see the fruits of our girls and the facilitator's hard work! The props and improvised costumes looked fabulous and I was impressed with the girls using their English on stage, very brave! The story they created was inspired by the Linley sisters (from Thomas Gainsborough's painting in Dulwich Picture Gallery's Collection) and was really current and relatable. The other Baytree beneficiaries and staff were a participatory audience and the performance was a hit!
"I really like the stop-motion videos and I want to make more stop-motion videos!" Doris
"I love to make some props in cardboard like computer and paint them." Antonya
"I like see the pictures and know the history about these pictures." Johanna
We will be continuing our work with the Baytree Centre exploring stories of women in our Collection as part of our Unlocking Paintings initiative.
The Linley Sisters re-imagined: our partnership with Brixton's Baytree Centre
Help us build The Colour Palace
Explore our Sohlberg range this spring
Jan Steen's The Wandering Musicians comes to Dulwich