davidanugraha/M4-RAG huggingface dataset:
Ravensword: Shadowlands

Ravensword: Shadowlands es un videojuego de rol desarrollado por el estudio independiente americano Crescent Moon Games. Es el sucesor de Ravensword: The Fallen King. Fue lanzado originalmente para iOS y Android únicamente, pero luego fue lanzado para Windows al ser aceptado en Steam.​
El juego ha sido comparado en varias ocasiones con juegos de rol de mundo abierto de la serie Elder Scrolls, como The Elder Scrolls V: Skyrim.​​​
El combate tiene tres tipos principales, con excepciones. Dos de ellos, cuerpo a cuerpo y a distancia, utilizan equipamientos. Existen varios estilos de combate de cerca y a distancia. Cada estilo posee habilidades y equipamientos distintos que son entrenados individualmente. La magia también tiene hechizos diferentes, pero todos se entrenan de forma similar utilizando equipamiento parecido y las mismas habilidades.
En 2022, el juego tuvo notoriedad al ser presentado en el evento de speedrunning de caridad en vivo ESA 2022. El cuarto speedrunner más rápido es TharBeFungus con un tiempo de 41 minutos y 21 segundos.
Ravensword: Shadowlands ha sido bien recibido por los críticos. Obtuvo una calificación de 76 de 100 del sitio web agregador de reseñas Metacritic, basada en 12 reseñas.​ TouchArcade elogió fuertemente al juego, dándole un puntaje perfecto de 5 de 5 estrellas, declarando que «es difícil creer que estoy jugando un juego de este calibre en iOS... Salvo por unos glitches menores, Ravensword: Shadowlands es lo máximo, y es un excelente RPG de mundo abierto con una historia decente, amplio contenido, personalización de personaje profunda, y gráficos hermosos».​ Slide to Play le otorgó al juego una calificación de 3 de 4, diciendo que el juego fue «...un juego hermoso que se tropieza a menudo, pero solo por llegar muy alto», y concluyó que, en definitiva, «no es un juego tan pulido como Skyrim, pero hay mucho aquí para ser adorado por un fan de los RPG de acción».​ Gamezebo también lo comparó favorablemente con The Elder Scrolls V: Skyrim y The Elder Scrolls: Oblivion, declarando que «si vas a tomar prestado, bien podrías tomar prestado del mejor...El aspecto de mundo abierto de Ravensword: Shadowlands es uno de sus puntos fuertes, y es divertido explorar algunas aventuras no lineales en tu dispositivo iOS. Pero tiene algunas limitaciones, ya que existen algunas barreras físicas en el mundo que evitan que llegues a ciertos puntos del mapa tan libremente como crees».​ Pocket Gamer lo describió como «...un RPG tan grande y abierto como podrás tener en iOS», pero mencionó el combate desigual como una debilidad importante del juego, describiéndolo como «frustrantemente punitivo y ridículamente fácil» en ciertos puntos.​
AppSpy fue más negativo hacia el juego, declarando que la dificultad y los glitches eclipsaron las hazañas técnicas del juego.​
Equator-S

Equator-S es un satélite artificial que forma parte del programa ISTP (International Solar-Terrestrial Physics). Fue construido por el Instituto Max Planck de Física Extraterrestre y lanzado el 2 de diciembre de 1997 como carga secundaria mediante un cohete Ariane 4 desde el puerto espacial de Kourou, en la Guayana Francesa. El proyecto fue financiado por DARA (Deutsche Agentur fur Raumfahrt Angelegenheiten), agencia alemana fusionada en 1996 con el Centro Alemán de Aviación y Vuelos Espaciales. Contó con la colaboración de la ESA y la NASA.
Los objetivos de Equator-S eran proporcionar mediciones de alta resolución (gracias a su rápida velocidad de giro sobre sí mismo, de 60 rpm) sobre el plasma y los campos magnético y eléctrico terrestres en regiones no estudiadas por otras misiones pertenecientes al ISTP, en particular el lado diurno de la magnetopausa a bajas latitudes y su capa límite, la región del anillo de corriente ecuatorial y la capa de plasma ecuatorial en su lado cercano a la Tierra.
La órbita de Equator-S es casi ecuatorial, con un perigeo de 500 km y un apogeo de 11 radios terrestres. La carga útil consiste en siete instrumentos científicos proporcionados por grupos internacionales para estudiar el viento solar y las partículas cargadas atrapadas en la magnetosfera terrestre. Por cuestiones de coste y agenda, los instrumentos son en su mayor parte instrumentos de reserva o de pruebas de ingeniería de otras misiones pertenecientes a ISTP. La nave portaba subsistemas innovadores relativos a energía solar y medidas orbitales para realizar pruebas con las que mejorar diseños de naves futuras. También llevaba experimentos tecnológicos para sacar partido del entorno de alta radiación a la que la nave estaría expuesta, lo que incluiría una célula solar de arseniuro de galio para estudiar su comportamiento ante la alta radiación y un receptor GPS. Disponía de una memoria de 192 Mbytes para almacenar datos de manera temporal.
Equator-S dejó de transmitir datos el 1 de mayo de 1998, probablemente por el fallo del procesador redundante, que a su vez había entrado en funcionamiento debido al fallo del procesador principal el 17 de diciembre de 1997. A pesar de su corto periodo de vida la misión produjo resultados valiosos, con 16 artículos​ remitidos a la revista Annales Geophysicae en 1999.
Im Jung-eun

Im Jung-eun (임정은 (); 31 de marzo de 1981) es una actriz surcoreana. Conocida por sus papeles en Joseon X-Files (también conocida como Secreto de sumario) y Man from the Equator.​
En marzo del 2020 se unió al elenco recurrente de la serie I've Returned After One Marriage (también conocida como "I’ve Been There Once") donde interpretó a Sung Hyun-kyung, la exesposa de Song Joon-sun (Oh Dae-hwan), de quien se divorcia debido a una deuda que adquirió por lealtad, hasta el final de la serie el 13 de septiembre del mismo año.​
Früchtchen - Am Äquator ist alles möglich

Früchtchen - Am Äquator ist alles möglich que también fue exhibida con los títulos de Little Fruit from the Equator –en inglés- y A Frutinha do Equador -en portugués-, es una película de coproducción de Alemania, Austria y Santo Tomé y Príncipe filmada en colores dirigida por Herbert Brödl sobre su propio guion que se estrenó el 6 de noviembre de 1998 en Alemania y tuvo como actores principales a Jacinto Alfonso, Simão de Sousa, Maria Neto y José Manuel Noronha.​​​​​
En la pequeña isla Santo Tomé, ubicada en el ecuador frente a la costa oeste de África el grito con el que una anciana que está próxima a morir llama a su hijo distante hace que una fruta de pan de la altura de un hombre caiga frente a la cabaña del llamado, que interpreta el mensaje y bautiza al ente como Pequeña Fruta. Comienza el viaje acompañado y ayudado por el ente, una travesía durante la cual correrá peligro, afrontará desafíos y encontrará hechizos y contrahechizos hasta llegar a su madre. Un cuento de hadas africano, una suerte de docu-ficción que sirve para mostrar el maravilloso mundo isleño.​
La película es el único largometraje rodado íntegramente en la isla con actores locales,​ que fueron elegidos después de una extensa investigación. Por ejemplo, la idea de la historia que cuenta la película le fue inspirada al director por su «horror» de lo que vio en una visita a una «casa de retiro» y justamente a allí conoció a la anciana que posteriormente interpretó el personaje de Ma.​
Esta es la tercera película que Brödl rueda en zonas ubicadas sobre la línea del ecuador y con Jaguar and Rain (1994), Goldland (1996), Bad Boy (2000), Eclipse (2002) y Flyers (2008) integra lo que el director denomina su «Ciclo ecuatoriano». Fue exhibida en el Festival de Cine Nórdico de Lübeck el 6 de noviembre de 1998.
Intervinieron en la película los siguientes intérpretes:
Para el sitio del Festival Internacional de Cine de Róterdam (IFFR) la película «es un cuento de hadas africano burlesco, una road movie humorística y, como muchas películas de Brödl, un docudrama»,​ y Arenas dice que el filme «funciona primariamente a un nivel alegórico, combinando elementos de cuento de hadas, documental, road-movie y comedia».​
El sitio Cinema.de dice que el filme es «la mezcla bien fotografiada pero débil de Los dioses deben estar locos y El ataque de los tomates asesinos».​ Por su parte, Paulo Santos opina que el filme «no abandona el manejo de la cámara de tono documental, en un registro que raya en el periodista, pero mezcla fábula y documental sobre una fruta de pan gigante que contrasta con la miseria de los habitantes. Un aldeano ve su contacto con su madre muerta. Él no lo vende ni deja que la toque, y la crítica social del cineasta parte de eso».​
KML

KML (de la sigla en inglés Keyhole Markup Language) es un lenguaje de marcado basado en XML para representar datos geográficos en tres dimensiones. Fue desarrollado para ser manejado con Keyhole LT, precursor de Google Earth (Google adquirió Keyhole LT en octubre de 2004 tras lanzar su versión LT 2). Su gramática contiene muchas similitudes con la de GML.
Los ficheros KML a menudo suelen distribuirse comprimidos como ficheros KMZ, los cuales pueden además incluir archivos de imágenes y otros recursos asociados al mapa.
Un fichero KML especifica una característica (marcas de lugares, imágenes, polígonos, modelos 3D, descripciones textuales, etc.) para Google Earth o cualquier otro software que implemente KML. Contiene título, una descripción básica del lugar, sus coordenadas primero (longitud), segundo (latitud) y opcionalmente la altitud.
Un documento KML de ejemplo podría ser:
Las especificaciones KML 2.2 fueron presentadas ante el Open Geospatial Consortium (OGC) con el fin de alcanzar un estatus de estándar abierto como formato de intercambio de información geográfica. En noviembre de 2007 la OGC crea un nuevo grupo de trabajo sobre KML 2.2 y se solicitan alegaciones hasta el 4 de enero de 2008. El 14 de abril de 2008 se convirtió definitivamente en nuevo estándar de la industria.
Siding Spring Survey

Siding Spring Survey, o SSS, es un proyecto de búsqueda y seguimiento sistemáticos de Objetos próximos a la Tierra, conocidos por su acrónimo en inglés: NEOs, y más específicamente los denominados asteroides potencialmente peligrosos, o PHAs, de nuevo por su acrónimo en inglés, que puedan tener órbitas tales que puedan colisionar con la Tierra.
El proyecto se desarrolla en el Observatorio de Siding Spring, cercano a la localidad de Coonabarabran, Nueva Gales del Sur, Australia y situado a 1.150 metros sobre el nivel del mar. Está afiliado al proyecto homólogo estadounidense Catalina Sky Survey, (CSS), con el fin de cubrir el hemisferio sur. Ambos proyectos están gestionados conjuntamente por la Universidad de Arizona, de Estados Unidos, y la Universidad Nacional Australiana, de Australia, y cuentan con financiación de la NASA.
Para el proyecto se utiliza el Telescopio Schmidt Uppsala, un telescopio reflector con un espejo de 0,5 metros de diámetro y disposición newtoniana reformado y modernizado para el proyecto en 2003. Los astrónomos Robert H. McNaught y Gordon J. Garradd son los encargados de este proyecto.
Figura en la Lista de Códigos de Observatorios del Minor Planet Center con el código E12.​
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Coordenadas de Jacobi

En la teoría de sistemas de muchas partículas, las coordenadas de Jacobi se usan con frecuencia para simplificar las fórmulas matemáticas. Estas coordenadas son especialmente comunes en el tratamiento de moléculas poliatómicas y reacciones químicas,​ y en mecánica celeste.​
Un algoritmo para generar coordenadas de Jacobi para N cuerpos puede basarse en árboles binarios.​ Literalmente el algoritmo se describe como sigue:​
Sean mj y mk las masas de dos cuerpos que son reemplazados por un nuevo cuerpo de masa virtual M = mj + mk.
Las coordenadas x j y x k se reemplazan por sus posiciones relativas rjk =xj − xk y por el vector al centro de sus masas Rjk = (mj qj + mkqk)/(mj + mk).
El nodo en el árbol binario correspondiente al cuerpo virtual tiene mj como rama derecha y mk como rama izquierda. El orden de las ramas indica el punto de coordenadas relativas desde x'k a xj.
Repita esta secuencia para N − 1 cuerpos, o sea los N − 2 cuerpos originales más el nuevo cuerpo virtual.
Para el problema de cuatro cuerpos el resultado es:​
con
El vector R es el centro de gravedad de todos los cuerpos:
Living in the Plastic Age

«Living in the Plastic Age» es el segundo sencillo del grupo británico The Buggles,​ publicado el 14 de enero de 1980 e incluido en su primer álbum de estudio, The Age of Plastic.
A pesar de ser la primera pista en el disco ya mencionado, fue publicada después de «Video Killed the Radio Star» (7 de septiembre de 1979, segunda pista del álbum). La canción llegó al puesto número 16 de las listas del Reino Unido.
La canción alude a la cirugía plástica y al estrés de la cultura moderna.​ The Buggles también creó un vídeo musical bastante futurista e inusual, el cual salió en pantallas el mismo año. Sin embargo, este vídeo raramente ha aparecido en canales de música.
La cara B del sencillo, que apareció solo en el Reino Unido, incluye la canción Island.
El vídeo musical empleó colores brillantes y motivos bastante provocativos (como mujeres con pintura corporal representando objetos inanimados).
El vídeo tiene lugar en algún momento del futuro, con 3 jóvenes vestidos como demonios, usando gafas coloridas (como parte de una vestimenta futurista) en un espacio oscuro. Uno de ellos apunta a un edificio en una pequeña ciudad que parece una maqueta. En una sala Trevor Horn se despierta de una cama movediza vistiendo guantes de goma amarillos y un traje gris. Horn abre una puerta y ve a una mujer con maquillaje blanco, casi semi-desnuda, que lanza una misteriosa chispa (esta chispa reaparece después en el vídeo).
Premio Nacional de Artes Plásticas (España)

El Premio Nacional de Artes Plásticas de España es uno de los "Premios Nacionales de Cultura a las Bellas Artes",​ concedido anualmente por el Ministerio de Educación, Cultura y Deporte e instaurado en 1980 con el fin de reconocer la labor meritoria de los artistas plásticos contemporáneos. Con el mismo se reconoce la obra o actuación publicada en el año anterior a su concesión y que contribuye al enriquecimiento del patrimonio cultural de España. A pesar de desarrollarse en las competencias de un organismo administrativo, se busca que la elección de los galardonados sea un fiel reflejo de las valoraciones y los sentimientos de la sociedad. El premio está dotado con 30.000 euros.
Los candidatos al galardón se presentan por los miembros del jurado o por las entidades relacionadas con las actividades artísticas o culturales objeto del premio, mediante propuestas razonadas dirigidas al Ministro de Cultura o a los propios jurados, una vez constituidos.
The Plastic People of the Universe

The Plastic People of the Universe (PPU) fue una banda de rock formada en Praga (República Checa) en 1968.​ Fueron los principales representantes del rock checo durante la Primavera de Praga. El grupo fue un ejemplo de avant garde durante el régimen de Alexander Dubček y su anticonformismo les ocasionó conflictos que incluyeron el arresto de varios de sus miembros en 1976. El grupo continúa actuando a pesar de la muerte de su fundador, principal compositor y bajista, Milan «Mejla» Hlavsa en 2001.​ Muchas de sus letras fueron escritas por el poeta Egon Bondy.​
Miembros actuales
Miembros anteriores (lista parcial)
Cultura de América Latina

La cultura de América Latina comprende las expresiones formales e informales de los pueblos de América Latina, e incluye todo tipo de expresiones culturales, literarias, artísticas, y también los elementos de la cultura moderna y popular como la música, el arte local, la danza (baile latino), los elementos religiosos y sus costumbres.
Las definiciones que constituyen a América Latina son variadas. Desde un punto de vista cultural, América Latina comprende aquellas partes del continente americano en las que prevalecen las influencias españolas, portuguesas o francesas: las Antillas.
La riqueza de la cultura latinoamericana es el producto de numerosas influencias, incluidas:
Roberto Diago

Juan Roberto Diago Querol (La Habana, Cuba el 13 de agosto de 1920 — Madrid, España el 20 de febrero de 1955) fue un pintor y profesor cubano.
Hijo de Carmen y Virgilio Diago. Entre los años de 1934 y 1942, realiza sus estudios relacionado con las artes plásticas. En el curso 1941-1942 obtiene con todos los estudios exigidos el diploma de Profesor de Dibujo y Pintura de la Academia Nacional de Bellas Artes San Alejandro de La Habana, Cuba.
En septiembre de 1945 comienza a trabajar como profesor auxiliar de Paisaje y Colorido, en la Escuela de Artes Plásticas Tarascó de Matanzas,​​ estableciendo a partir de esta fecha su residencia en la ciudad. Durante todo el tiempo de trabajo en dicho centro, Roberto Diago pasó por diversas escalas docentes; además se desempeñó como secretario del centro junto a Rafael Soriano quien ejerció como director
Tras obtener una licencia sabática en el año de 1954, Roberto Diago realiza el 4 de octubre de ese mismo año, lo que sería su último viaje en barco hacia Europa, con intenciones inicialmente de permanecer en España y trasladarse después a Francia.
En Madrid, días después de un tragedia ocurrida en circunstancias no normales y poco aclarado en lo judicial;​ falleció el 20 de febrero de 1955. Entre los museos que contienen en sus colecciones obras suyas están el Museo de Arte Moderno de Nueva York (MoMA)​ y el Museo Nacional de Bellas Artes de Cuba
Entre los principales premios que ha obtenido se encuentran:
América Invertida

América Invertida is a 1943 pen and ink drawing by the Uruguayan artist Joaquín Torres García.
The image features a depiction of South America that has been turned from its standard depiction and is instead oriented with the south at the top.
Torres García's creation of the image was connected to his efforts to form a theory of "constructive universalism", meaning contemporary art that was influenced by the traditions of the indigenous Americans.
With his depiction of South America, Torres García is proposing the creation of an autonomous Latin American art movement. That is closely related to his manifesto "The School of the South" in which he stated, "I have called this 'The School of the South' because in reality, our north is the south. There must not be north for us, except in opposition to our south. Therefore we now turn the map upside down, and then we have a true idea of our position, and not as the rest of the world wishes. The point of America, from now on, forever, insistently points to the South, our north."
Critics have interpreted the image as a sociopolitical artistic work that was intended to counter US cultural imperialism and other cartographic and cultural norms rooted in the European colonization of the Americas.
The work has become an icon in Uruguayan popular culture.
Augusto Torres

Augusto Torres (Terrassa, Barcelona, 19 June 1913 – Barcelona, 13 March 1992) was a Uruguayan painter and muralist of Spanish origin. He was the second son of the painter Joaquín Torres García and Manolita Piña.
His childhood was spent in various cities. In 1919, the family moved to New York, where they lived until 1922. They then returned to Europe and settled in Fiesole, Italy, where they stayed until 1926. During these years, Augusto became familiar with the frescoes of Tuscany and the city of Florence.
Later, the family relocated to France, settling in Paris in the home of Jean Hélion. This environment sparked Augusto's interest in African sculpture and anthropology. In 1928, at just 15 years old, he was hired by the Musée de Trocadéro (now the Museum of Mankind) to illustrate and catalog its collection of Inca and Nazca vessels, igniting his fascination with pre-Columbian culture. He also began studying art history, customs, and the metaphysics of Indigenous American peoples. In 1930, he worked in the studio of Julio González, assisting in the creation of a replica of Picasso's Hommage à Apollinaire. Picasso often visited the workshop, exposing Augusto to an influential artistic environment.
In 1934, the family relocated to Montevideo, Uruguay, where Joaquín Torres Garcia founded the Taller Torres-García. Augusto became one of its most prominent members, contributing significantly to the dissemination of Constructivist principles in Latin America.
In the Taller Torres-García, Augusto developed his craft under his father’s guidance, focusing on the Constructive Universalism philosophy, which emphasized geometric forms and universal symbols. Over time, Augusto’s style evolved, incorporating more expressive and introspective elements.
Augusto Torres’s early work was deeply influenced by the teachings of his father and the collective efforts of the Taller Torres-García. He specialized in creating balanced compositions using geometric abstraction. Over time, he moved beyond strict Constructivism, exploring themes of identity, nature, and cultural heritage.
In his later years, Augusto continued to produce art that bridged modernist principles with his own experimental forms. His work was celebrated for its blend of universal geometric language and personal expression, earning him recognition as one of Uruguay’s foremost modernist artists.
Augusto Torres’s contributions to modern art in Uruguay and abroad have cemented his place as a key figure in 20th-century Latin American art. His works remain part of significant public and private collections, continuing to inspire new generations of artists. Galleries such as Artsper and Sala Dalmau continue to feature his art.
Olimpia Torres

Olimpia Torres (1911 – 2007) was an Uruguayan painter, influenced by the artistic legacy of her father, Joaquín Torres García. Her work and life were interwoven with the cultural and artistic movements of Uruguay and Europe, making her a notable figure in 20th-century visual arts.
Torres was born in Uruguay in 1911. She was the daughter of Joaquín Torres García, one of Uruguay's most celebrated artists, and Manolita Piña. Torres grew up in a creative environment, which shaped her artistic inclinations.
Her early years were spent accompanying her father during his travels across Europe. These journeys exposed her to various artistic styles and avant-garde movements that would influence her own artistic vision later in life. Despite her father’s prominence, Torres developed a unique voice within the artistic community.
Torres was inspired by her father’s theories of Constructivism, but she also explored other artistic avenues. Her paintings often reflected a strong sense of geometry, balance, and abstraction, hallmarks of her father’s teachings. However, she maintained a distinctive approach, blending these elements with personal and emotive expressions.
Torres's work was well-regarded in Uruguay and internationally. She participated in exhibitions that celebrated the Torres García family’s contribution to the arts and was recognized as a talented artist in her own right. Her dedication to preserving her father’s legacy also earned her widespread respect.
In her later years, Torres focused on documenting and preserving the works and philosophies of her father. She played a significant role in ensuring that the legacy of Joaquín Torres García remained vibrant and influential. Through her efforts, many of his teachings and works were archived and exhibited, inspiring generations of artists.
Torres died in 2007 at the age of 96.
Carlos Páez Rodríguez

Carlos "Carlitos" Miguel Páez Rodríguez (born October 31, 1953) is a Uruguayan entrepreneur and former rugby player. He is one of the 16 survivors of the Uruguayan Air Force Flight 571, which crashed in the Andes mountains on 13 October 1972.
He is the son of Uruguayan artist Carlos Páez Vilaró and was a rugby player for the Old Christians Club.
Paez said he was utterly unprepared for the tragedy. “I was an 18-year-old boy, the son of a famous painter who gave us everything. I still had a nanny – she packed my suitcase for the trip. I had never been cold. I had never been hungry. I had never done anything useful. And I lived the most incredible survival story of all time.”
He graduated from Universidad del Trabajo del Uruguay and worked as an agricultural technician for 10 years. In 1992 he started a career in advertising as a member of Nivel-Publicis creative team. He founded his own agency, Rating Publicidad, and was director of Bates Uruguay Publicidad. In the present day, apart from his activities as a lecturer, he manages his own communication consultancy and public relations firm. He has two children, Maria Elena de los Andes "Gochi" and Carlos Diego; and three granddaughters, Mía, Justina and Violeta. In 2003, Páez published the book After The Tenth Day which became a best seller and has gone through 14 printings.
Rodriguiez was portrayed by Bruce Ramsay and John Malkovich (as the older Carlos, the narrator at the start of the movie, uncredited) in the 1993 feature film Alive, and by Felipe González Otaño in the 2023 feature film, Society of the Snow. He also portrayed his own father, the artist Carlos Páez Vilaró, in Society of the Snow.
Orthochromasia

In chemistry, orthochromasia is the property of a dye or stain to not change color on binding to a target, as opposed to metachromatic stains, which do change color. The word is derived from the Greek orthos (correct, upright), and chromatic (color). Toluidine blue is an example of a partially orthochromatic dye, as it stains nucleic acids by its orthochromatic color (blue), but stains mast cell granules in its metachromatic color (red).
In spectral terms, orthochromasia refers to maintaining the position of spectral peaks, while metachromasia refers to a shift in wavelength, becoming either shorter or longer.
In photography, an orthochromatic light spectrum is one devoid of red light.
Orthochromatic photography refers to a photographic emulsion that is sensitive to blue and green light but not red light. This type of emulsion was a significant advancement in early photography, as it allowed for the production of images with more accurate tonal reproduction than the earlier emulsions that were sensitive only to blue (and ultraviolet) light, e.g., the wet plate collodion emulsions.
The development of orthochromatic films can be traced back to the work of Hermann Wilhelm Vogel in 1873. Vogel experimented with adding small amounts of certain aniline-based dyes to photographic emulsions to extend their sensitivity beyond blue light. This breakthrough allowed for the production of emulsions that could capture a broader spectrum of colors and tones including Josef Maria Eder, who introduced the use of the red dye erythrosine in 1884.
In addition to their use in still photography, orthochromatic films also played a significant role in the early days of motion pictures. The improved tonal range provided by orthochromatic emulsions allowed filmmakers to create more visually compelling and realistic moving images.
Because orthochromatic emulsions are not sensitive to red light, they can be processed with a red safelight.
Most modern black-and-white films are panchromatic, which add sensitivity to red light, unlike orthochromatic emulsions, which are sensitive to only blue and green. Panchromatic films have a reduced sensitivity to blue light, compared to orthochromatic films.
The increased blue sensitivity of orthochromatic photography causes blue objects to appear lighter, and red ones darker than panchromatic emulsions. A cyan photographic filter, which blocks red light but allows blue and green to pass, can be used with standard panchromatic film to produce a similar effect. This technique allowed photographers to manipulate the tonal range of their images without relying on specialized orthochromatic films.
Despite the advancements in photographic technology that have occurred since the introduction of orthochromatic films, they continue to be appreciated by some photographers for their unique tonal qualities and artistic potential.
1999 All-Africa Games

The 7th All-Africa Games (Zulu: imiDlalo yesi-7 yase-Afrika; Afrikaans: 7de Afrika-Spele), also known as Johannesburg 1999 (Zulu: eGoli 1999), was a sport event held from 10 to 19 September 1999, in Greater Johannesburg, South Africa. 53 countries participated in eighteen sports. Netball was included as a demonstration sport.
The South Africans hosted about 25,000 visitors including 6,000 athletes and 3,000 officials from throughout the continent. The opening ceremony included dancing, African parables and Zulu warriors. Due to the size of the used props, the ceremony was staged in an arena with less than 15,000 spectators
South Africa, which had lost its bid to Greece for the 2004 Olympic Games, was hoping to impress FIFA in the hope of landing the 2006 World Cup. It eventually got the 2010 edition. Overall the games were a success, with hosts South Africa outdistancing Nigeria and Egypt in the medals race.
Typical problems at the games included 600 children contracting food poisoning after being fed boxed lunches at the practice session for the Opening Ceremonies, striking laborers demonstrating outside games venues, displaying placards which read "No Wages, No All Africa Games." Women's field hockey was demoted to a non-medal event after the Nigerian team dropped out of the tournament. A melee at the finish of the basketball game between Angola and Egypt forced police to escort the Egyptian team from the court. Haile Gebrselassie, the world record holder in the 5,000 and 10,000 meter runs opted out of the games for health reasons, depriving the games organizers of one of the biggest drawing cards of the games.
Despite the difficulties experienced, IOC President Juan Antonio Samaranch, praised South Africa's organization of the Games, saying "this shows that you can organize big events."
Olympic stars Maria de Lurdes Mutola (athletics-800 m), Penny Heyns (swimming), Gete Wami (athletics, 10000 m) all starred in the women's events. South African pole vaulter Okkert Brits won his second African Games gold medal. Assefa Mezgebu of Ethiopia won the men's 10000 m.
Cameroon beat Zambia 4-3 on penalty kicks to win the football finale.
* Host nation (South Africa)
See Athletics at the 1999 All-Africa Games
Maria de Lurdes Mutola of Mozambique won her third 800 metres title in a row. Nigeria won all four relay races; 4x100 metres and 4x400 metres for men and women. South African athletes won all four throwing events for men.
Some new women's events were added: pole vault, hammer throw and 10 kilometres road walk.
The soccer tournament was won by Cameroon, who became the second team to win this tournament twice.
World map

A world map is a map of most or all of the surface of Earth. World maps, because of their scale, must deal with the problem of projection. Maps rendered in two dimensions by necessity distort the display of the three-dimensional surface of the Earth. While this is true of any map, these distortions reach extremes in a world map. Many techniques have been developed to present world maps that address diverse technical and aesthetic goals.
Charting a world map requires global knowledge of the Earth, its oceans, and its continents. From prehistory through the Middle Ages, creating an accurate world map would have been impossible because less than half of Earth's coastlines and only a small fraction of its continental interiors were known to any culture. With exploration that began during the European Renaissance, knowledge of the Earth's surface accumulated rapidly, such that most of the world's coastlines had been mapped, at least roughly, by the mid-1700s and the continental interiors by the twentieth century.
Maps of the world generally focus either on political features or on physical features. Political maps emphasize territorial boundaries and human settlement. Physical maps show geographical features such as mountains, soil type, or land use. Geological maps show not only the surface, but characteristics of the underlying rock, fault lines, and subsurface structures. Choropleth maps use color hue and intensity to contrast differences between regions, such as demographic or economic statistics.
All world maps are based on one of several map projections, or methods of representing a globe on a plane. All projections distort geographic features, distances, and directions in some way. The various map projections that have been developed provide different ways of balancing accuracy and the unavoidable distortion inherent in making world maps.
Perhaps the best-known projection is the Mercator Projection, originally designed as a nautical chart.
A thematic map shows geographical information about one or a few focused subjects. These maps "can portray physical, social, political, cultural, economic, sociological, agricultural, or any other aspects of a city, state, region, nation, or continent".
Early world maps cover depictions of the world from the Iron Age to the Age of Discovery and the emergence of modern geography during the early modern period. Old maps provide information about places that were known in past times, as well as the philosophical and cultural basis of the map, which were often much different from modern cartography. Maps are one means by which scientists distribute their ideas and pass them on to future generations.
Prague underground (culture)

The Czechoslovak underground or Prague underground was a dissident underground culture that developed in Communist Czechoslovakia, centred on Prague, especially around the 1970s during the normalization period. The movement was characterized by resistance to the political conformity and cultural consumerism encouraged by the mainstream, and was the target of repression by the communist regime which considered it political opposition.
The movement was mainly fuelled by counter-cultural artists such as the art rock bands DG 307 and The Plastic People of the Universe (including the art historian and poet Ivan Martin Jirous) and by samizdat literati such as Egon Bondy, living an alcohol-fuelled Bohemian lifestyle and inspired also by banned US artists such as Andy Warhol and The Velvet Underground. Significantly, however, when the imprisonment trial of the Plastic People sparked the creation of Charter 77, the movement was also joined by academics, Christians, and even former high-ranking Communist officials involved in the Prague spring, who had all also been suppressed by the normalization regime in the wake of the Warsaw Pact invasion.
Despite the systematic imprisonment and repression of those involved with Charter 77, the movement eventually made a major contribution to the Velvet Revolution that completely ended the regime, in which formerly imprisonment underground writer Václav Havel became President.
Museo Torres García

The Museo Torres García is located in the historic Ciudad Vieja (Old Town) of Montevideo where unusual portraits of historical icons and cubist paintings akin to Picasso's paintings, painted by Joaquín Torres García are exhibited. The museum was established by Manolita Piña Torres, the widow of Torres Garcia after his death in 1949 who also set up the García Torres Foundation, a private non-profit organization which organizes the paintings, drawings, original writings, archives, objects and furniture designed by the painter as well as the photographs, magazines and publications related to him.
The museum attracts over 85,000 visitors a year, not only for its exhibits but also because it functions as a temporary library (on the ground floor) and as a theatre (in the basement) and attracts a significant number of art students, school children, and tourists with guided tours and educational workshops. The museum has seven floors, with the first three floors used as exhibition space and the upper floors for educational activities and art workshops.
In 2009, a retrospective of the work of the ceramicist Eva Díaz Torres' was held at the museum.
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Taller Torres Garcia

Taller Torres Garcia (sometimes abbreviated TTG) was an organization founded by Joaquín Torres-García in Montevideo, Uruguay in 1943. It was also known as "La Escuela del Sur" ("School of the South"). He intended it to serve as a form of art education that would support young artists. The group organized exhibitions and published its own magazine. Its members included many prominent artists, such as Torres-García’s sons Augusto Torres and Horacio Torres, Julio Alpuy, José Gurvich, and Gonzalo Fonseca. The group built on the ideas of Torres-Garcia, including Universal Constructivism, and were influential in advancing modern art in Uruguay. The group later dissolved in 1963.
El Panecillo

El Panecillo (from Spanish panecillo small piece of bread, diminutive of pan bread) is a 200-metre-high hill of volcanic-origin, with loess soil, located between southern and central Quito. Its peak is at an elevation of 3,016 metres (9,895 ft) above sea level. The original name used by the aboriginal inhabitants of Quito was Yavirac. According to Juan de Velasco, a Jesuit historian, there was a temple on top of Yavirac where the Indians worshiped the sun until it was destroyed by the Spanish conquistadores. The street that leads up to El Panecillo is named after Melchor Aymerich.
In 1975, the Spanish artist Agustín de la Herrán Matorras was commissioned by the religious order of the Oblates to build a 45-meter-tall stone monument of a madonna which was assembled on a high pedestal on the top of Panecillo. Called "Virgin of El Panecillo", it is made of seven thousand pieces of aluminium. The monument was inaugurated on March 28, 1975, by the 11th archbishop of Quito, Pablo Muñoz Vega. The statue was engineered and erected by Anibal Lopez of Quito.
The virgin stands on top of a globe and is stepping on a snake, which is a classic madonna iconography. Less traditional are the wings. Locals claim that she is the only one in the world with wings like an angel. The monument was inspired by the famous "Virgen de Quito" (Quito's Madonna) also known as "the dancer" sculpted by Bernardo de Legarda in 1734, which now decorates the main altar at the Church of St. Francis. This madonna represents a turning point of the Quito School of Art (one of the most renowned of the Americas) because it shows a virgin in movement that is practically dancing in contrast with the traditional static Madonnas that were produced during the 18th century.
According to a bronze placard affixed to the monument, the woman represented by the statue is the Woman of the Apocalypse, as described in the Book of Revelation (12:1–17).
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Cool S

The Cool S (), also known as the Universal S, the Stüssy S, the Super S, the Pointy S, and the Graffiti S, is a graffiti sign in popular culture and childlore that is typically doodled on children's notebooks or graffitied on walls. The exact origin of the Cool S is unknown, but it became prevalent around the early 1970s as a part of graffiti culture.
The Cool S consists of 14 line segments, forming a stylized, pointed S-shape. It has also been compared to the infinity symbol. The S appears to have depth, where the overlap in the center of the S and the appearance of a potential altitude change at the top and bottom of the S make it look like the S connects back to itself in the same way as the infinity symbol does. The Cool S has no reflection symmetry, but has 2-fold rotational symmetry.
The exact origin of the symbol is unclear; however, it is generally considered to be an artifact of childlore, meaning that it is taught by children to children over the course of generations.
Jon Naar's photographs of graffiti in New York City, which were taken in 1973 and published in The Faith of Graffiti in 1974, frequently contain the symbol. Jean-Michel Basquiat's artworks also occasionally feature it, such as in Charles the First, and in Untitled (Olive Oyl) it is labelled "CLASSIC S OF GRAFF".
In July 2020, the S was trademarked in the United States as "The S Thing" by a man who had no involvement in its creation. However, he claimed that he does not intend to sue people for drawing it.
Several unverified claims have been made about the origin of the Cool S. The name "Superman S" comes from a belief that it was a symbol for Superman, whose costume features a stylized S in a diamond shape, but that shape is different. It has been suggested to originate with the band Sacred Reich, but a member of the band denied this. A marketing manager at Suzuki, whose logo was another purported origin of the symbol, denied that its logo ever contained the symbol. It has also been suggested to be associated with the Sureños. According to a prominent former detective, southern Californian gangs usually use "S-13" or "SUR" and "S" would likely not be associated with the Sureños.
Emmy Coats (who has worked alongside Shawn Stussy since 1985) has stated that it was never a symbol of Stussy's Californian surf company.
Fridtjof Nansen-klassen

Fridtjof Nansen-klassen er det norske Sjøforsvarets fregattklasse, og ble bygget på det spanske verftet Navantia (tidligere Bazan). Totalkostnaden på hele prosjektet som inkluderte fem fregatter og seks NH90-helikoptre var 21 milliarder kroner. Fregattprosjektet var det største investeringsprosjektet i Forsvaret noensinne. Fregattene dekker pennantnumrene F 310 til 314, og er oppkalt etter kjente norske figurer: Fridtjof Nansen, Roald Amundsen, Otto Sverdrup, Helge Ingstad og Thor Heyerdahl.
Den første fregatten KNM «Fridtjof Nansen» ble sjøtestet og gikk for egen maskin 27. juni 2005. Det spanske verftet som bygde fregattene var i dype økonomiske problemer, og etter flere forsinkelser ble fartøyet overlevert 5. april 2006 og seilte inn Oslofjorden 1. juni 2006.
Fregatt nummer to, KNM «Roald Amundsen» ble sjøsatt og døpt 25. mai 2005 og overlevert til Sjøforsvaret 21. mai 2007. Kutting av det første stålet til den femte fregatten KNM «Thor Heyerdahl» startet 19. april 2005.
«Helge Ingstad» kolliderte 8. november 2018 med tankskipet MT "Sola TS" i Øygarden i hva som senere ble kjent som «Helge Ingstad»-ulykken, og ble liggende delvis sunket med store skader. Dette fartøyet ble senere hugget opp.
Fridtjof Nansen-klassen skiller seg fra den førti år gamle Oslo-klassen på en rekke måter. Fartøyene er langt større og tyngre, og har i tillegg langt flere elektroniske og automatiserte systemer. Fartøyenes angulerte flater har til oppgave å redusere fartøyenes radarsignatur, det vil si å gjøre fartøyet vanskeligere å oppdage på radar, samt vanskeligere å lede radarstyrte våpen mot. Nansen-klassen er 38 meter lengre enn Oslo-klassen, og har to meter dypere dypgang.
Fregattene har mulighet til å bære med helikoptre, som kan deployere dyppesonar og egne lettvektstorpedoer. Sammen med nytt sonarutstyr gjør dette fregattene effektive til antiubåtkrigføring (ASW).
I juni 2023 publiserte Forsvarsdepartementet Forsvarssjefens fagmilitære råd 2023, der forsvarssjef Eirik Kristoffersen anbefalte å erstatte Fridtjof Nansen-klasse fregattene og øke flåten til seks skip. Å levere en nye fregatt vil sannsynligvis være sentralt i regjeringens langsiktige plan om å bygge en ny overflatestyrkestruktur innenfor en bredere flåteplan.
Regjeringen uttalte at de fremtidige fregattene skal anskaffes, driftes og vedlikeholdes i et strategisk partnerskap med en nær alliert som har sammenfallende strategiske interesser i Norges nærområder.
I Regjerings langtidsplan for forsvarssektoren fra april 2024 er det foreslått å erstatte klassen med fem nye fregatter + 1 i opsjon med samme fokus (antiubåtkrigføring) som Nansen-klassen.
KNM «Fridtjof Nansen» (F310)

KNM «Fridtjof Nansen» er en norsk fregatt av Fridtjof Nansen-klassen, bygget ved det spanske verftet Navantia og overlevert til det norske Sjøforsvaret 5. april 2006, seks måneder forsinket. Overleveringen skjedde i den spanske byen Ferrol. Forsvaret hadde planlagt å overta fem fregatter i denne klassen, samt seks NH90-helikoptre til bruk på fregattene, i perioden 2006–2009. Fregattprosjektet har en totalkostnad på 21 milliarder kroner, noe som gjør prosjektet til det største i Forsvaret noensinne. «Fridtjof Nansen» var den første båten som ble overlevert. Den siste fregatten, KNM «Thor Heyerdahl» skulle etter planen overleveres høsten 2009, men ble først levert januar 2011.
I februar 2009 bestemte regjeringen at KNM «Fridtjof Nansen» fra og med 1. august 2009 skulle settes inn i oppdrag i Adenbukta ved Afrikas horn som del av EU-styrke Task Force Atalanta, i kampen mot somaliske pirater som herjet dette sjøområdet.
«Fridtjof Nansen» var i området i seks måneder, i en operasjon som kostet ca. 200 millioner kroner. I forkant av oppdraget ble skipet utstyrt med ekstra våpen og annen utrustning. Et eget fengsel for potensielle fangete pirater ble også bygget om bord. Norske marinejegere fra Forsvarets marinejegerkommando ble med skipet sydover, og bemannet to hurtiggående båter som opererte ut ifra skipet.
Natt til 14. august seilte fregatten gjennom Suezkanalen, og sluttet seg dermed til EUs anti-piratoperasjon «Atalanta».
Allerede om morgenen 22. august fanget mannskapet syv mistenkte pirater da de bordet et mistenkelig fartøy og fant bl.a våpen og leidere om bord. De syv mistenkte ble i forvaring av de norske spesialstyrkene. Den norske fregatten brukte sine hurtiggående båter i samarbeide med et helikopter fra den nederlandske fregatten Evertsen og et japansk overvåkingsfly. Episoden skjedde ca. 42 nautiske mil, 70 kilometer fra kysten av Jemen, og 115 nautiske mil, omtrent 200 kilometer fra kysten av Somalia. Etter en diskusjon med den nederlandske lederen av styrkene i området, ble de syv satt fri igjen grunnet «mangel på bevis for piratvirksomhet».
«Fridtjof Nansen» deltok for annen gang i patruljering av havområdene utenfor Somalia i perioden juni 2013 til desember 2013. Fartøyet var da en del av NATOs flernasjonale flåteoperasjon Operasjon Ocean Shield. «Fridtjof Nansen» var under dette oppdraget operasjonens flaggskip, noe som innebar at den norske skipssjefen var sjef for NATO-operasjonen. Dette var første gang Norge hadde ansvaret for en av NATOs flåtestyrker.
Århundrets nordmann

Århundrets nordmann er en norsk kåring som ble ledet av NRK i 2005. Kåringen var SMS-basert, og over 400 000 nordmenn stemte i løpet av året på den personen de mente var «århundrets nordmann». De nominerte måtte ha hatt sin levetid innen tidsrommet 1905 – 2005. Alle nordmenn kunne bli nominert, og det ble til slutt 600 personer på listen. En komité plukket så ut 50 personer, og resten av avstemningen, her igjen SMS-basert folkeavstemning gikk på direktesendt TV på NRK1 17. desember 2005 med Claus Wiese som programleder. Vinneren av stemmegivningen ble Norges tidligere konge Olav 5 som fikk 41 % av stemmene. På andreplass kom Einar Gerhardsen og like etter fikk Erik Bye en tredjeplass.
Nedenfor er en liste over de 50 etter plassering fra TV-avstemningen.
Liste over mottakere av Nobels fredspris

Liste over mottakere av Nobels fredspris er en oversikt over mottakere av Nobels fredspris fra etableringen av prisen i 1901 og frem til i dag. Nobels fredspris anses for å være en av verdens mest prestisjetunge priser.
Nobels fredspris deles ut hvert år av Den Norske Nobelkomite «til den person som har arbeidet mest eller best for brorskap mellom nasjoner, for avskaffing eller minsking av armeer samt for arbeid og fremming av fredskongresser». Fredsprisen er én av fem nobelpriser og deles ut av Den Norske Nobelkomite, som består av fem personer valgt av Stortinget.
Per 2023 har fredsprisen blitt delt ut 104 ganger. Av de 104 prisene har 70 blitt tildelt én mottaker, 31 priser har blitt delt mellom to mottakere og tre priser (1994, 2011 og 2022) har blitt delt mellom tre mottakere. Totalt har det vært 140 mottakere av Nobels fredspris, hvorav 110 enkeltpersoner og 27 organisasjoner (Røde Kors og FNs høykommissær for flyktninger har blitt tildelt prisen henholdsvis tre og to ganger). I noen tilfeller har organsiasjonen og dens leder delt prisen. Av enkeltpersonene som har mottatt prisen er det 18 kvinner, den første var Bertha von Suttner i 1905. Den yngste mottakeren til nå er Malala Yousafzai, 17 år da hun mottok prisen i 2014, mens den eldste til nå er Józef Rotblat, 87 år da han mottok prisen i 1995. Til år 2000 var gjennomsnittsalderen 62 år for 87 individuell mottakere og av disse var 10 kvinner (andelen kvinner økte i løpet av de første 100 år). De første 75 årene dominerte Vest-Europa og Nord-Amerika blant mottakerne; og det var bare fire prismottakere fra Latin-Amerika, Afrika og Asia til og med 1975.