Convex mirrors.

A convex mirror or diverging mirror is a curved mirror in which the reflective surface bulges towards the light source. Convex mirrors reflect light outwards, therefore they are not used to focus light. Such mirrors always form a virtual image, since the focal point ("F") and the centre of curvature ("2F") are both imaginary points "inside" the mirror, that cannot be reached. As a result, images formed by these mirrors cannot be projected on a screen, since the image is inside the mirror. The image is smaller than the object, but gets larger as the object approaches the mirror.  A collimated (parallel) beam of light diverges (spreads out) after reflection from a convex mirror, since the normal to the surface differs at each spot on the mirror.

Uses of convex mirrors.

The passenger-side mirror on a car is typically a convex mirror. In some countries, these are labeled with the safety warning "Objects in mirror are closer than they appear", to warn the driver of the convex mirror's distorting effects on distance perception. Convex mirrors are preferred in vehicles because they give an upright (not inverted), though diminished (smaller), image and because they provide a wider field of view as they are curved outwards.  These mirrors are often found in the hallways of various buildings (commonly known as "hallway safety mirrors"), including hospitals, hotels, schools, stores, and apartment buildings. They are usually mounted on a wall or ceiling where hallways intersect each other, or where they make sharp turns. They are useful for people to look at any obstruction they will face on the next hallway or after the next turn. They are also used on roads, driveways, and alleys to provide safety for motorists where there is a lack of visibility, especially at curves and turns.  Convex mirrors are used in some automated teller machines as a simple and handy security feature, allowing the users to see what is happening behind them. Similar devices are sold to be attached to ordinary computer monitors. Convex mirrors make everything seem smaller but cover a larger area of surveillance.  Round convex mirrors called "Oeil de Sorcière" (French for "sorcerer's eye") were a popular luxury item from the 15th century onwards, shown in many depictions of interiors from that time. With 15th century technology, it was easier to make a regular curved mirror (from blown glass) than a perfectly flat one. They were also known as "bankers' eyes" due to the fact that their wide field of vision was useful for security. Famous examples in art include the "Arnolfini Portrait" by Jan van Eyck and the left wing of the "Werl Altarpiece" by Robert Campin.

Convex mirror image.

The image on a convex mirror is always "virtual" (rays haven't actually passed through the image; their extensions do, like in a regular mirror), "diminished" (smaller), and "upright" (not inverted). As the object gets closer to the mirror, the image gets larger, until reaching approximately the size of the object, when it touches the mirror. As the object moves away, the image diminishes in size and gets gradually closer to the focus, until it is reduced to a point in the focus when the object is at an infinite distance. These features make convex mirrors very useful: since everything appears smaller in the mirror, they cover a wider field of view than a normal plane mirror, so useful for looking at cars behind a driver's car on a road, watching a wider area for surveillance, and etc.

Concave mirrors.

A concave mirror, or converging mirror, has a reflecting surface that is recessed inward (away from the incident light). Concave mirrors reflect light inward to one focal point. They are used to focus light. Unlike convex mirrors, concave mirrors show different image types depending on the distance between the object and the mirror.  These mirrors are called "converging mirrors" because they tend to collect light that falls on them, refocusing parallel incoming rays toward a focus. This is because the light is reflected at different angles at different spots on the mirror as the normal to the mirror surface differs at each spot.

Uses of concave mirrors.

Concave mirrors are used in reflecting telescopes. They are also used to provide a magnified image of the face for applying make-up or shaving. In illumination applications, concave mirrors are used to gather light from a small source and direct it outward in a beam as in torches, headlamps and spotlights, or to collect light from a large area and focus it into a small spot, as in concentrated solar power. Concave mirrors are used to form optical cavities, which are important in laser construction. Some dental mirrors use a concave surface to provide a magnified image. The mirror landing aid system of modern aircraft carriers also uses a concave mirror.

Mirror shape.

Most curved mirrors have a spherical profile. These are the simplest to make, and it is the best shape for general-purpose use. Spherical mirrors, however, suffer from spherical aberration—parallel rays reflected from such mirrors do not focus to a single point. For parallel rays, such as those coming from a very distant object, a parabolic reflector can do a better job. Such a mirror can focus incoming parallel rays to a much smaller spot than a spherical mirror can. A toroidal reflector is a form of parabolic reflector which has a different focal distance depending on the angle of the mirror.

Analysis.

Mirror equation, magnification, and focal length.

The Gaussian mirror equation, also known as the mirror and lens equation, relates the object distance formula_1 and image distance formula_2 to the focal length formula_3:  The sign convention used here is that the focal length is positive for concave mirrors and negative for convex ones, and formula_1 and formula_2 are positive when the object and image are in front of the mirror, respectively. (They are positive when the object or image is real.)  For convex mirrors, if one moves the formula_7 term to the right side of the equation to solve for formula_8, then the result is always a negative number, meaning that the image distance is negative—the image is virtual, located "behind" the mirror. This is consistent with the behavior described above.  For concave mirrors, whether the image is virtual or real depends on how large the object distance is compared to the focal length. If the formula_9 term is larger than the formula_7 term, then formula_8 is positive and the image is real. Otherwise, the term is negative and the image is virtual. Again, this validates the behavior described above.  The magnification of a mirror is defined as the height of the image divided by the height of the object:  By convention, if the resulting magnification is positive, the image is upright. If the magnification is negative, the image is inverted (upside down).

Ray tracing.

The image location and size can also be found by graphical ray tracing, as illustrated in the figures above. A ray drawn from the top of the object to the mirror surface vertex (where the optical axis meets the mirror) will form an angle with the optical axis. The reflected ray has the same angle to the axis, but on the opposite side (See Specular reflection).  A second ray can be drawn from the top of the object, parallel to the optical axis. This ray is reflected by the mirror and passes through its focal point. The point at which these two rays meet is the image point corresponding to the top of the object. Its distance from the optical axis defines the height of the image, and its location along the axis is the image location. The mirror equation and magnification equation can be derived geometrically by considering these two rays. A ray that goes from the top of the object through the focal point can be considered instead. Such a ray reflects parallel to the optical axis and also passes through the image point corresponding to the top of the object.

Ray transfer matrix of spherical mirrors.

The mathematical treatment is done under the paraxial approximation, meaning that under the first approximation a spherical mirror is a parabolic reflector. The ray matrix of a concave spherical mirror is shown here. The formula_13 element of the matrix is formula_14, where formula_3 is the focal point of the optical device.  Boxes 1 and 3 feature summing the angles of a triangle and comparing to π radians (or 180°). Box 2 shows the Maclaurin series of formula_16 up to order 1. The derivations of the ray matrices of a convex spherical mirror and a thin lens are very similar.

A curved mirror is a mirror with a curved reflecting surface. The surface may be either "convex" (bulging outward) or "concave" (recessed inward). Most curved mirrors have surfaces that are shaped like part of a sphere, but other shapes are sometimes used in optical devices. The most common non-spherical type are parabolic reflectors, found in optical devices such as reflecting telescopes that need to image distant objects, since spherical mirror systems, like spherical lenses, suffer from spherical aberration. Distorting mirrors are used for entertainment. They have convex and concave regions that produce deliberately distorted images. They also provide highly magnified or highly diminished (smaller) images when the object is placed at certain distances.

Ein Kugelspiegel ist ein sphärisch geschliffener Reflektor aus Glas, Keramik, Metall oder ähnlichen Werkstoffen. Als Keramik- oder Glasspiegel ist er relativ leicht herzustellen – siehe Spiegelschleifen – und wird in Form des Hohlspiegels beispielsweise für kleine Spiegelfernrohre oder für Rasierspiegel verwendet. Als verkleinernden Konvexspiegel findet man ihn als Verkehrsspiegel oder als Rückspiegel von Autos.


Hosts.

Singapore and Vietnam were declared as co-hosts at the AFF Council on 3 April 2013. Initially the Philippines and Indonesia were also considered as possible co-hosts.

Qualification.

Qualification was to have been scrapped for this edition of the tournament, but at the AFF Council Meeting in Naypyidaw, Myanmar in December 2013, it was decided that the qualifying round would be retained, and Laos were awarded the hosting rights. It was to involve the five lower ranked teams in the region, with games taking place between the dates of 12–20 October 2014.  In August 2013, Football Federation Australia became a full member of the AFF, thus making them eligible to compete in the ASEAN Football Championship starting with this edition of the tournament. However, Australia had no plans to compete against lower-ranked teams in AFF Championship and that they would continue to play in future editions of the EAFF East Asian Cup.

Qualified teams.

The following eight teams qualified for the tournament.

Draw.

The draw for the tournament was held on 5 August 2014 in Hanoi, Vietnam.

Final tournament.

Group Stage.

Tie-breaking criteria.

Ranking in each group shall be determine as follows: If two or more teams are equal on the basis on the above three criteria, the place shall be determined as follows:  Due to problems with the pitch at the National Stadium, the Asean Football Federation have decided for two venues for the Group B matches.

Knockout stage.

Semi-finals.

"Thailand won 3–0 on aggregate." "Malaysia won 5–4 on aggregate."

Finals.

"Thailand won 4–3 on aggregate."

Statistics.

Discipline.

In the final tournament, a player was suspended for the subsequent match in the competition for either getting a red card, or accumulating two yellow cards in two different matches.

Incidents and controversies.

During a group match between Singapore and Malaysia at the Singapore National Stadium, irate Singaporean fans began throwing bottles of water and toilet rolls on the pitch and players gate tunnel at the end of the match due to what was seen as awful decision-making by Oman referee Ahmed Al-Kaf, who awarded the Malaysian side a penalty kick resulting in an advantage for them.  Other incidents occurred soon during the first semi-final between Malaysia and Vietnam in Shah Alam Stadium, where some of the Malaysian fans were seen pointing green laser lights on the field, as recorded on the match video in television camera. The laser incident is a continuation from Malaysian hooligans, as it also happened during the previous edition of AFF Championship semi-final against Vietnam and in the final against Indonesia in 2010.  At the end of Malaysia 1–2 loss to Vietnam, some Malaysian hooligan fans began attacking Vietnamese fans, resulting in injuries. The hooligans rushed to assault Vietnamese fans, who tried to flee and had no intention of fighting back. Bottles, smoke bombs and other dangerous objects continued to get thrown even after the Royal Malaysia Police arrived at the scene to quell the scuffles. This was heavily criticised by the Vietnamese side for the rioting shown by some of the Malaysian supporters. As a result, the website of the Football Association of Malaysia (FAM) had been hacked in a denial of service attack, perhaps from Vietnam. Other Malaysian supporters together with the Malaysia Minister of Youth and Sports, Khairy Jamaluddin condemn the hooligan fans attitude and has offer their apologies to all Vietnamese fans, adding that five of the perpetrators had been arrested. Another nine people's was arrested for the same offence between 11–12 December.  The Philippines team received a death threat before their 2nd semi-final match against Thailand. Sources say the threat has something to do with the scuffle during 1st leg between Filipino defender Amani Aguinaldo and Thai striker Adisak Kraisorn, which led to Adisak being red-carded and suspended for the 2nd leg.  In the semi-final between Malaysia and Vietnam, the Vietnam had won the first-leg in Malaysia with a 2–1 score. However, in the second-leg played in Hanoi, Vietnam lost 2–4, thus losing 4–5 on aggregate with Malaysia advancing to the finals. After that defeat, the Vietnam Football Federation (VFF) launched a probe into the defeat, citing potential match-fixing due to the seemingly apathetic performance of the players compared to the first-leg. However, the AFF said that the match was not fixed and went on to say that through Swiss-based sports integrity specialist Sportradar, no unusual betting had taken place during the match.

The 2014 AFF Championship, sponsored by Suzuki and officially known as the 2014 AFF Suzuki Cup, was the 10th edition of the AFF Championship, an international football competition consisting of national teams of member nations of the ASEAN Football Federation (AFF).

Der AFF Suzuki Cup 2014 war die 10. Auflage der Fußball-Südostasienmeisterschaft. Das Turnier fand vom 22. November bis zum 20. Dezember 2014 statt.


Early life.

Gobin was born in Sunbury, Pennsylvania on January 21, 1837, the oldest of four children of Samuel and Susanna Gobin Shindel. He was educated locally and became an apprentice at the "Sunbury American" newspaper, where he was trained as a printer. He then read law with M. L. Shindel and John K. Clement, the father of Charles M. Clement, with whom Gobin later served in the National Guard. Gobin was admitted to the bar in 1858, and began to practice in Sunbury.

Civil War.

In 1861 Gobin enlisted for the American Civil War and was commissioned a first lieutenant in Company F of the 11th Pennsylvania Infantry. After the unit's three-month term of service expired Gobin organized Company C of the 47th Pennsylvania Infantry, which he commanded as a captain.  The 47th Pennsylvania served throughout the rest of the war, primarily in Florida, South Carolina and Virginia, and Gobin rose through the ranks to become the regiment's colonel and commander. Major General Philip H. Sheridan rewarded Gobin for his performance at the Battle of Pocotaligo in South Carolina by recommending him for the brevet rank of brigadier general. On July 6, 1866, President Andrew Johnson nominated Gobin for appointment to the grade of brevet brigadier general of volunteers, to rank from March 13, 1865, and the United States Senate confirmed the appointment on July 23, 1866. Near the end of the war he commanded 2nd Brigade, 1st Division, XIX Corps. After the surrender of the Confederacy, Gobin served as a Provost Marshal in South Carolina and Georgia until he was mustered out of the service on January 9, 1866.

Post-Civil War.

After the war Gobin moved to Lebanon, Pennsylvania and resumed the practice of law. He was also active in the Grand Army of the Republic and the Military Order of the Loyal Legion of the United States. From 1897 to 1898 he was the G.A.R.'s national commander.  In addition to practicing law, Gobin was active in several businesses, including the local gas lighting company, the First National Bank of Lebanon, the City Mutual Fire Insurance Company and the Cornwall & Lebanon Railroad.  Gobin also carried out several civic responsibilities, including member of the board of trustees of Pennsylvania's Soldiers' and Sailors' Home, member of the board of commissioners of the Soldiers' Orphans Home, and member of the board of commissioners of the Gettysburg Monument Association.

Political career.

A Republican, Gobin was elected to the Pennsylvania State Senate for the 17th district in 1884 and served from 1885 to 1899. He was the body's President pro tempore from 1891 through 1893.  In 1898 Gobin was elected lieutenant governor, and he served from 1899 to 1903.

Continued military service.

In 1870 Gobin returned to military service as a member of the Pennsylvania Army National Guard, commanding a company in Lebanon called the Coleman Guards with the rank of captain. In 1874 he was named commander of the 8th Regiment with the rank of colonel. In 1885 he was promoted to brigadier general as commander of the 3rd Brigade.  In 1898 Gobin was appointed to command his brigade when it was federalized for the Spanish–American War. He led his brigade during mobilization and training near Augusta, Georgia, but resigned in order to run for lieutenant governor, and returned to National Guard service in Pennsylvania.  In 1906 he was promoted to major general as commander of the Pennsylvania National Guard Division, succeeding Charles Miller. He commanded the division until he retired in 1907, and was succeeded by John A. Wiley.

Additional activities.

Gobin was also a member of the Freemasons, Knights Templar, and Odd Fellows. He served as Grand Master of the Grand Encampment of Knights Templar in North America from 1889 to 1892.

Death and burial.

Gobin died in Lebanon on May 1, 1910. He was interred at Mt. Lebanon Cemetery in Lebanon, Pennsylvania.

John Peter Shindel Gobin (January 21, 1837 – May 1, 1910) was an American politician from Pennsylvania who served as an officer in the Union Army during the Civil War, as a member of the Pennsylvania State Senate for the 17th district from 1885 to 1898 and as the seventh Lieutenant Governor of Pennsylvania.

John Peter Shindel Gobin (* 21. Januar 1837 in Sunbury, Northumberland County, Pennsylvania; † 1. Mai 1910 in Lebanon, Pennsylvania) war ein US-amerikanischer Politiker. Zwischen 1899 und 1903 war er Vizegouverneur des Bundesstaates Pennsylvania.


Production and composition.

The song was mixed by Serban Ghenea at MixStar Studios. "Roar" was recorded in four other studios: Luke's in the Boo, Playback Recording Studio and Secret Garden Studios, all located in the state of California, as well as MXM Studios in Stockholm, Sweden Perry co-wrote the song with Bonnie McKee and its producers Dr. Luke, Max Martin, and Cirkut. All its development took place in March 2013. McKee told MTV that "Roar" is "kind of a 'pick yourself up and dust yourself off and keep going', female-empowerment song" and "kind of an epiphany song." Perry said she wrote the song after undergoing therapy, saying she was "sick of keeping all these feelings inside and not speaking up for myself".  Musically, "Roar" is a pop song that features elements of arena rock. Throughout the song, Perry "flexes diva-like vocals", singing the lyric "Hey!" several times in a way resemblant of The Lumineers. The song's instrumentation is composed of "pounding" pianos and "booming" bass drums. According to the sheet music published by Alfred Music. on Musicnotes.com, "Roar" is composed in the key of B major and set in a time signature at a moderate tempo of 90 beats per minute. Perry's vocal range spans from the low note B to the high note E, while the music follows the chord progression of B–Cm–Gm–E. The song shares the theme of empowerment with Perry's single "Firework". Perry described the track as a song speaking about standing up for oneself.

Release.

Perry announced "Roar" would be the first single from "Prism" with the release of a video teaser featuring the singer burning a blue wig. More video teasers were released onto YouTube, showing Perry at a funeral with a coffin decorated with the singer's famous pink and white pinwheels dress, and entering a recording booth while dressed with a "throwback" jacket featured in the single's cover art, which was revealed on August 8, 2013. It features a tiger print border around Perry, who wears a blue Japanese silk sukajan jacket, with the image of a tiger printed on its back. On the same day of the song's digital release, a lyric video for it, produced by Joe Humpay, Aya Tanimura, Tim Zimmer, and Tuan Le, was released onto YouTube. It primarily shows Perry doing daily activities such as eating breakfast, going to the bathroom, and taking a bath, while texting the lyrics of "Roar" to friends. Some words are substituted with various Emoji characters. It was target of plagiarism accusations by music producer Dillon Francis, who felt it copied the concept of instant messaging from his video entitled "Messages".  The first video teaser for "Roar" was released on August 2, 2013 along with an announcement that the American release was scheduled for August 12 with a subsequent release to mainstream radio on August 13. However, the song debuted two days earlier than expected by leaking on August 10. The UK release was originally scheduled for September 8, but on August 30 Perry announced the release date would be moved up to September 1.

Critical reception.

Miriam Coleman from "Rolling Stone" appreciated the songs's "easy poppy beat" and its "repeated refrains", factors she believed contributed to make the song a "determined note for the new album". James Montgomery of MTV described it as "one of the more perfect pop songs to come down the pipeline in quite a while". Gerrick D. Kennedy from "Los Angeles Times" also gave a positive review, classifying "Roar" as a "sweet, poppy confection with a bit of bite". Melinda Newman from HitFix saw the song as a "change of pace" for Perry, whilst Andrew Hampp from "Billboard" believed it to be a return to the style of her album "One of the Boys", but criticized its tempo and its lyrics that "rarely rise above easy clichés and rhymes". Sal Cinquemani from "Slant Magazine" described the song as "more of a yelp than a roar".

Controversy.

Upon the release of "Roar", many accused Perry of copying Sara Bareilles' "Brave". When Bareilles herself was asked about the controversy between the two songs, she responded: "Katy's a friend of mine and we've known each other a really long time", and was upset that there was a "negative spin on two artists that are choosing to share positive messages." She also mentioned she had known about "Roar" before its release and stated "If I'm not mad I don't know why anybody else is upset". In response to the accusations, Dr. Luke tweeted on August 14, 2013: "Roar was written and recorded before Brave came out." In direct response to the attention "Brave" received as a result of the plagiarism accusations, Bareilles' record label, Epic Records, decided to promote "Brave" to the mainstream pop radio format.

Commercial performance.

North America.

On the "Billboard" Hot 100, the song debuted at number 85 on the week-ending August 24, 2013 due to radio airplay. The following week, during its first week on sale, "Roar" sold 557,000 digital copies, earning Perry the highest first-week sales numbers of 2013 and also her biggest digital song sales week ever, breaking her previous record held by "Firework", which sold 509,000 digital copies for the week ending January 8, 2011. The song soared eighty-three positions to number two in its second week, kept from the top spot by only Robin Thicke's "Blurred Lines", while becoming Perry's twelfth top-ten entry in the United States, and her ninth consecutive single to reach the top three on the Hot 100. After another week at number two, "Roar" reached number one for the chart dated September 4, 2013, becoming Perry's eighth number one on the Hot 100 and her ninth digital number-one single, after selling 448,000 copies. "Roar" spent a total two weeks at number one before it was surpassed by Miley Cyrus' "Wrecking Ball". On its seventh frame, the song moved 2-1 (peak audience impressions of 159 million) and became Perry's sixth number one on the "Billboard" Hot 100 Airplay, as well as becoming her fastest climb to the top position.  "Roar" also reached number one on both the US Mainstream Top 40 and Adult Pop Songs. The number-one position on the "Pop Songs" chart gave Perry her tenth number one, tying her with Rihanna for the most number ones on the airplay-based chart. The number-one position on the "Adult Pop Songs" chart also gave Perry multiple milestones; it became her eighth chart topper, tying her with Maroon 5 and Pink as the act with the most number-ones there. It also made the fastest ascension to the top spot; a record previously held by Perry's own single "California Gurls" (2010). It also set airplay records in both of the charts, by becoming the most weekly-played song in history, with 16,065 and 5,309 plays per week, respectively.  The song has also reached the top spot on both the Adult contemporary chart and Hot Dance Club Songs. In addition to this, the track also reached number one on both the On Demand and Streaming charts, with a weekly peak of 2.1 million and 12 million, respectively. "Roar" surpassed digital sales of four million in its seventeenth week, faster than any other song in digital history. Its sales reached 4.41 million by the end of 2013, becoming the sixth best-seller of the year. Perry has eight of her songs with sales more than four million, including "Firework" (7.3 million), "Roar (6.4 million), "Dark Horse" (6.3 million), "E.T." (5.9 million), "California Gurls" (5.8 million), "Hot n Cold" (5.7 million), "Teenage Dream" (4.9 million), and "I Kissed A Girl" (4.7 million), the most for any artist. As of February 2017, the single has sold 6,400,000 copies in the US, and been certified Diamond by the Recording Industry Association of America (RIAA), making Perry the first artist to have 3 singles with a Diamond certification in the country.  On August 31, 2013, "Roar" debuted at number one on the Canadian Hot 100 on the strength of digital downloads. In doing so, it became only the eleventh song to debut at number one on the chart, and it also became Perry's third number-one debut, making her the artist with most number-one debuts at the time. It also became Perry's ninth Canadian Hot 100 number one, breaking the tie she shared with Rihanna for the most chart toppers. It has so far spent five non-consecutive weeks atop the chart. "Roar" was also in the top of the Canadian Digital Chart for three non-consecutive weeks; there, it was Perry's sixth number-one single. In Mexico, it reached number one on the Monitor Latino English-language airplay chart.

Europe, Oceania and Asia.

In the United Kingdom, "Roar" entered at number one on the UK Singles Chart on September 8, 2013, selling 179,500 copies in its first week and ending the prolonged number-one run of Ellie Goulding's "Burn". The song became Perry's fourth UK number-one single. The single spent two weeks atop the chart before being succeeded by "Talk Dirty" by Jason Derulo ft. 2 Chainz. The song also debuted atop the adjacent UK chart of Scotland and the Irish Singles Chart. "Roar" was the 6th best-selling song of 2013 in the United Kingdom where it became her second single after "Firework" to sell over a million copies in January 2015, thus making Katy Perry one of only 18 artists ever to achieve more than one million sales in the nation. It has sold 1,112,787 copies in the United Kingdom as of September 2017, and has been certified 2x Platinum by the British Phonographic Industry (BPI). The song reached number four on the Italian Singles Chart, where it was eventually certified Platinum by the Federation of the Italian Music Industry, for sales of over 15,000 digital copies. In Spain, the single peaked at number five on the sales chart, according to PROMUSICAE. In Austria, it became a number-one on the Ö3 Austria Top 40, while in Germany and Switzerland it reached numbers two and three, respectively. In the Belgian Ultratop 50, "Roar" peaked at number five in Flanders and number seven in Wallonia. In France the song peaked at number six. The single also reached the top five in Norway. "Roar" found placings among the top-ten of the airplay charts in Czech Republic, Hungary, and Slovakia. Within the unofficial digital charts of Greece, Luxembourg and Portugal, compiled outside of the respective countries by "Billboard", "Roar" peaked at number two in both the Greece and Luxembourg charts and at number eight in the Portuguese chart.  "Roar" entered at the top of the New Zealand Singles Chart after just four days on sale, becoming Perry's ninth number-one single, second top debut and her eleventh top ten. After less than five weeks, the Recording Industry Association of New Zealand certified the single quadruple-platinum, denoting sales exceeding 60,000 units. The song is listed as the 48th best-selling single of all time in New Zealand, making Perry the only singer to have the most entries, which including "California Gurls", "Firework" and "E.T.". In Australia, the song became Perry's third song to top the ARIA Singles Chart after "I Kissed a Girl" and "California Gurls". It was the country's highest performing song of the year, topping the charts for 9 weeks and selling 560,000 copies by the end of 2013. "Roar" has since been certified 11× Platinum by the Australian Recording Industry Association (ARIA). "Roar" peaked at number two in the Venezuelan Pop Rock Chart. On the Gaon Chart of South Korea, it reached number one on the international chart. In Japan, the song entered the Japan Hot 100 at number seven. The reached number one in both the Media Forest airplay chart in Israel, and the Lebanese Singles Chart. Similarly, in South Africa, the song peaked at number two on the EMA airplay chart.  In Russia, on the Tophit Weekly General Airplay chart the song debuted at number 395 on August 25, 2013 and it has climbed the chart, peaking so far at number five on November 17, 2013. On the Top Hit Weekly Audience Choice chart, it peaked at number three on the issue dated October 27, 2013. According to the International Federation of the Phonographic Industry (IFPI), "Roar" sold 9.9 million units (combined sales and track-equivalent streams) globally throughout 2013 and was the fifth best-selling single of the year.

Music video.

Filming of the music video for "Roar" began on August 7, 2013 and ended on August 9, 2013. The video was released on September 5, 2013, directed by Grady Hall and Mark Kudsi, and filmed at the Los Angeles County Arboretum and Botanic Garden. A 21-second teaser of the video had previously been uploaded on August 25, 2013. Nokia posted a two-minute behind the scenes video on September 4, 2013. On November 14, 2013, an extended 17-minute behind-the-scenes video was uploaded to Vevo. Roar music video reached 3 billion views on February 6, 2020, making Katy Perry the first female artist to reach 3 billion views on the platform.

Synopsis.

At the beginning of the video, Perry and her boyfriend (played by actor and model Brian Nagel) have crashed their plane in the middle of the jungle. Perry shows signs of worry, while her boyfriend takes pictures of himself and dumps his bags on her to explore. As it turns to night, they wander through the jungle as he throws things back at her. Suddenly, he is attacked by a tiger and Perry dumps her bags and runs off screaming. She approaches a lake and is almost bitten by a crocodile when she tries to take a drink. She sits on a rock and ends up with a tarantula crawling on her. As she looks into the lake while singing the chorus, she sees a reflection of a tiger instead of herself. Behind her in the darkness there are dozens of pairs of blinking eyes, but they are revealed to be fireflies which fly around her before forming an image of a roaring tiger in the sky. Presumably a few days later, Perry has since made friends with a monkey and uses her stiletto heel to form a spear. She uses it to shoot a banana, which she gives to the monkey. In another scene, she bathes in the lake, with the help of an elephant who sprays her with water from the lake using its trunk. Perry helps a crocodile by brushing its teeth using a toothbrush she has salvaged, and tries to reach her clothes which have been taken by the elephant. At night, she holds a torch and explores a cave. Inside, she watches an animated drawing on the wall in which humans try to kill a tiger with fire; attempting to burn it as it grows stronger and shooting spears which it sends firing back towards them with its roar. The next morning, Perry emerges from the cave, wearing a leopard-print bikini top, a grass skirt, laced up legs and bare feet, displaying a boost of confidence and holding the spear she made earlier. She stands on top of a waterfall, overlooking the jungle, and then swings across the sky on a vine.  With the help of the monkey, Perry builds a cat toy that she uses to distract the tiger who killed her boyfriend earlier in the video. The two of them roar at each other until her roar tames the tiger as it sits in front of her submissively. Afterwards, she is shown sitting on a giant grass throne, wearing a flower crown as the rest of the jungle animals sit around her, including the tiger, monkey and elephant. The tiger is shown wearing a collar that says "Kitty Purry", a reference to her real-life cat of the same name. Perry takes selfies with the monkey on her boyfriend's phone, applies lipstick made from berry juice, and gives the elephant a pedicure. She then awakens from sleeping in the plane, leading the viewer to think all the previous events have just been a dream, but walks out of the plane still in the jungle, stretching her arms and yawning with the animals sitting around her.

Reception.

Upon its release, the music video received mixed reviews from critics. Idolator contributors Robbie Daw, Sam Lansky, and Carl Willott gave it mostly lackluster reviews. Daw considered that the release of such a "safe" video was a disappointment for Perry and expressed eagerness to her next single; while Lansky likened its "edg[iness]" to that of a "woman's antiperspirant commercial"; and the latter divided the video in what he considered to be of "good cheesy" and "bad cheesy": he highlighted the fake set, Perry's acting and the ending, but criticized the CGI, which he deemed "dopey", the product placement and Perry's "overly literal roar-off with a tiger". The only writer for the website that gave the visual a favorable review was Mike Wass, who appreciated the "campy element[s]" in it, while noting that it drew inspiration from the music video for "Doctor Jones" by the dance-pop group Aqua. In total, the reviews had an average score of approximately 6 out of 10.  James Montgomery from MTV believed that the video drew inspiration from "Sheena, Queen of the Jungle" and stated the video did not take itself too seriously, describing it as "camp". "Slant Magazine" writer Sal Cinquemani was neutral about the video, noting that although "Prism" was being billed as a departure for Perry, both "Roar" and its video were not. Perry was criticized by PETA for using exotic animals in the video for "Roar". Merrilee Burke from PETA stated: "Animals used for entertainment endure horrific cruelty and suffer from extreme confinement and violent training methods." Burke also declared that the animals involved in the music video were allegedly provided by a company who was criticized by US officials. Perry responded by obtaining a letter from the American Humane Association, which had representatives present at the three-day shoot. It stated that "After reviewing the reports, we believe that the Guidelines for the Safe Use of Animals in Filmed Media were followed and that no animal was harmed in the making of this music video".  On July 7, 2015, the music video for "Roar" became the fourth video to reach 1 billion views on Vevo, making Perry the first artist in history to have two music videos with 1 billion views. The music video for "Roar" is the 12th most viewed YouTube video of all time, and has received over 3.0 billion views as of April 2020, making her the first female artist in history to do so.

Promotion and live performances.

On September 16, 2013, the song was unexpectedly used during player introductions by the Cincinnati Bengals in their home opener against the rival Pittsburgh Steelers on "Monday Night Football", to tie in the song's jungle theme with the team's nickname. Throughout the game, the song was also played sporadically during game breaks. Although the Bengals won the game 20-10, the song drew much criticism by Bengals fans and even some of the team's players. One Bengals fan even told the "Wall Street Journal" that Steeler fans sitting near him were laughing at the Bengals fans throughout the game; the Steelers themselves have used the Styx song "Renegade" frequently at Heinz Field since 2001. Four days after the game, the team publicly apologized, announcing that while the song would not be nixed from Paul Brown Stadium's playlist completely, the team would use a hard rock or classic rock song for player introductions moving forward.  "Roar" was also used as the theme song of world number 1 tennis player Serena Williams during the 2014 US Open Championships. Williams, dressed in a matching leopard-themed dress, won the championship.

Live performances.

Perry first performed "Roar" at the 2013 MTV Video Music Awards, in a specially-made boxing ring under the Brooklyn Bridge, at the end of the ceremony. She performed the song on "Saturday Night Live" on October 12, 2013. While hosting "We Can Survive: Music for Life" on October 23, 2013, she performed the song with Sara Bareilles, Bonnie McKee, Ellie Goulding, Kacey Musgraves, and duo Tegan and Sara. She also performed the song on the Australian version of "The X Factor" on October 28, 2013. Perry then performed the song the following day at the Sydney Opera House. She performed the song on German TV show "Schlag den Raab" on November 16, 2013. On December 14, 2013, Perry performed "Roar" at the NRJ Music Awards, but suffered technical difficulties which resulted in her performance being stopped by the host halfway through who asked for it to be restarted. This led many to believe that Perry had initially been lip-syncing the performance. NRJ later released an apology to Perry, stating that she had been singing live but that the wrong mix of the song was played over her live vocals, which resulted in her being visually out of sync with the backing track.  On February 1, 2015, Perry performed the song during the Super Bowl XLIX halftime show.  On July 28, 2016, she performed it at the 2016 Democratic National Convention.  On May 27, 2017, Perry performed the song as her finale at BBC radio one's big weekend in Hull.  On June 4, 2017, Perry performed "Roar" at the One Love Manchester benefit concert for the victims of the Manchester Arena bombing.

Cover versions and usage in media.

In 2013, the song was covered on the episode "A Katy or a Gaga" of the TV series "Glee". The song is also featured in the films "Horrible Bosses 2" and "Baywatch." It has become the new entrance music for Amanda Nunes.  The song was featured in the August 5th 2014 episode of British soap opera EastEnders during an uplifting scene that saw Mick Carter (Danny Dyer) overcome his fear of swimming, while being cheered on by his wife Linda (Kellie Bright).  It is prominently featured in the pilot episode of the American television sitcom Imaginary Mary starring Jenna Elfman and broadcast on the ABC television network.  Rick Springfield has been performing the song on tour since 2014. It is also Brisbane Roar's theme song (go Roar).  The song is featured as free downloadable content on the dance rhythm game, "Just Dance 2014".  The song was featured on seventh season of reality television show "RuPaul's Drag Race", when contestants Kennedy Davenport and Katya had to lip-sync to "Roar" in order to avoid elimination. Davenport survived the lip-sync battle, and Katya was controversially eliminated.

Credits and personnel.

Credits adapted from "Prism" album liner notes.

Certifications.

!scope="row"| France (SNEP)

"Roar" is a song by American singer Katy Perry for her fourth studio album, "Prism" (2013). It was released as the lead single from the record on August 10, 2013. Perry co-wrote the song with Bonnie McKee and its producers Dr. Luke, Max Martin, and Cirkut. It is a pop song containing elements of arena rock and lyrics centering on standing up for oneself and self-empowerment.

Roar ist ein Lied der US-amerikanischen Sängerin Katy Perry aus ihrem vierten Album "Prism". Es wurde am 12. August 2013 als erste Single des Albums durch Capitol Records veröffentlicht. Das Lied wurde von Perry, Bonnie McKee, Dr. Luke, Max Martin und Cirkut geschrieben und durch die drei letztgenannten produziert. Der Text soll die Zuhörer dazu ermutigen, Stärke zu beweisen und für sich selbst einzustehen.


Life.

Vignelli studied architecture at the Politecnico di Milano and later at the Università Iuav di Venezia.  From 1957 to 1960, he visited America on a fellowship, and returned to New York in 1966 to start the New York branch of a new company, Unimark International, which quickly became, in scope and personnel, one of the largest design firms in the world. The firm went on to design many of the world's most recognizable corporate identities, including that of American Airlines (which forced him to incorporate the eagle, Massimo was always quick to point out). Vignelli designed the iconic signage for the New York City Subway system during this period, and the 1970s–80s map of the system. Contrary to news reports, Vignelli did not design the Washington Metro Map, which was designed by Lance Wyman and Bill Cannan. Vignelli created the signage and wayfinding system for the DC Metro and suggested it be named "Metro" like many other capital city subways. Its original name was a mishmash of various states and transportation groups.  In 1971, Vignelli resigned from Unimark, in part because the design vision which he supported became diluted as the company diversified and increasingly stressed marketing, rather than design. Soon after, Massimo and Lella Vignelli founded Vignelli Associates.  Vignelli worked with filmmaker Gary Hustwit on the documentary "Helvetica", about the typeface of the same name. Vignelli also updated his 1972 New York City Subway map for an online-only version implemented in 2011 and described as a "diagram", not a map, to reflect its abstract design without surface-level features such as streets and parks.  Vignelli equipped his own home with tables, chairs, lamps and other items that he designed himself.  Vignelli died on May 27, 2014 in New York City.

Work.

Vignelli worked in a wide variety of areas, including interior design, environmental design, package design, graphic design, furniture design, and product design. His clients at Vignelli Associates included high-profile companies such as IBM, Knoll, Bloomingdale's and American Airlines. His former employee Michael Bierut wrote that "it seemed to me that the whole city of New York was a permanent Vignelli exhibition [around 1981]. To get to the office, I rode in a subway with Vignelli-designed signage, shared the sidewalk with people holding Vignelli-designed Bloomingdale’s shopping bags, walked by St. Peter’s Church with its Vignelli-designed pipe organ visible through the window. At Vignelli Associates, at 23 years old, I felt I was at the center of the universe."  Vignelli participated in the Stock Exchange of Visions project in 2007, as well as publishing the book, "", containing a series of essays describing the principles and concepts behind "all good design". It is alphabetically organized by topic, roughly approximating a similar course he taught at Harvard's School of Design and Architecture.  Vignelli's designs were famous for following a minimal aesthetic and a narrow range of typefaces that Vignelli considered to be perfect in their genre, including Akzidenz-Grotesk, Bodoni, Helvetica, Garamond No. 3 and Century Expanded. He wrote that, "In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest."  In January 2009, Vignelli released "The Vignelli Canon" as a free e-book; an expanded version was printed in September 2010, but the original remains available for download on the Vignelli Associates website. In the introduction Vignelli wrote, "I thought that it might be useful to pass some of my professional knowledge around, with the hope of improving [young designers'] design skills. Creativity needs the support of knowledge to be able to perform at its best."  Vignelli worked with the National Park Service and the design staff at the Harpers Ferry Center in creation of the "Unigrid System." The system has been used since 1977 in creation of park brochures in all national parks locations.

New York City Subway map.

In August 1972, Vignelli's design for the New York City Subway map appeared on the walls of subway stations and became a landmark in Modernist information design. Vignelli regarded the map as one of his finest creations.

Origin of the map.

The origins of the map lie in the problems of the previous decade. In the mid-1960s New York City Transit Authority was facing unprecedented difficulties in delivering information to its riders:  To deal with this, the TA created the role of Director of Public Information and Community Relations, and hired former newspaper reporter Len Ingalls. In his later years, Vignelli often said that the most important factor in the success of a design project was having a good client, and he praised Ingalls for being a very good one. Ingalls began an overhaul of both signage and the subway map. When Unimark International opened an office in New York in 1965, Mildred Constantine, curator of design at the Museum of Modern Art (MoMA) put Ingalls in touch with Vignelli, who headed up the New York office from the end of 1965. In the Spring of 1966, the TA engaged Unimark to redesign the subway signage and review the ongoing changes to the map. Robert Noorda and Massimo Vignelli created a system of signage that the TA adopted and which still pervades every station in the subway today. But the TA did not follow up Vignelli's preliminary study of the map as they were already at the testing stage of their own new map.

The 1970s Vignelli map.

The TA's new map, released in 1967, used Raleigh D'Adamo's principle of color-coding for the first time, but it suffered from what Vignelli called "fragmentation" and was not well received. The following year, the parent body Metropolitan Transportation Authority (MTA) was formed over the TA, chaired by Dr William J. Ronan, who wanted to create a modern brand image for this new body. While the Unimark signage project was still being finished off up with the creation of the New York City Transit Authority Graphics Standards Manual, Vignelli went to Ronan with a mock-up of part of the map for lower Manhattan. Ronan approved it, and in July 1970 the TA awarded Unimark a contract to design a new system map.  The map was put together in the Unimark Office by Joan Charysyn under Vignelli's design direction. In April 1971, Vignelli left Unimark to set up Vignelli Associates. By this time, the map was almost complete, but was subject to corrections and modifications requested by Raleigh D'Adamo, who was now Head of the Office of Inspection and Review at the MTA. These changes were carried out by Charysyn, who also oversaw the printing of the map. Unimark's liaison with the MTA during this project was handled by Norbert Oehler. The map was unveiled by Ronan on August 4, 1972 at a ceremony in the station at 57th Street and Sixth Avenue.  After the mechanical for the map was handed over in 1972, Vignelli had no further control over the map. Six further editions were produced from 1973 to 1978, with extensive changes. In 1974, William Ronan was replaced by David Yunich as chairman of the MTA. Yunich was formerly an executive at Macy's department store, and brought an explicit intention to'sell' the subway to riders. He recruited Fred Wilkinson from Macy's who formed the Subway Map Committee in 1975 to design a new map to replace Vignelli's. The next year John Tauranac was made chair of the committee, which concluded in June 1979 with a geographic map using a trunk-based color scheme designed by Michael Herz Associates. The Vignelli map was replaced by a newer design, which is still used.

The 2000s Vignelli map.

At the end of 2007, Mark Rozzo, an editor at "Men's Vogue" magazine, invited Vignelli to submit a commemorative edition of his map for inclusion in a 'design classics' edition of the magazine. This invitation precipitated the thinking of the team at Vignelli Associates, who had for some time been considering how they would do the map differently. Massimo Vignelli, Yoshiki Waterhouse, and Beatriz Cifuentes worked together to build a new, up-to-date map from scratch. Besides the general principle of a systematic and minimalist design, they added the specific requirement that the map should preserve spatial relations between stations. For example if one station is east of another station in real life, then it must be so on the map. This defused one of the most persistent criticisms of the 1972 map. Their wholly new map was released through the May 2008 edition of "Men's Vogue": within hours, all 500 signed prints were sold for charity at US $299 each.  In 2011, the MTA began to look at ways of displaying service disruptions due to weekend engineering works in a visual format. They invited Vignelli to develop a digital version of the 2008 map. This was released on the MTA's Weekender web site on September 16, 2011. Since then it has undergone several revisions and is still in use today, with weekly updates of service changes.

Super Bowl map.

The last map in which Vignelli was involved was a special transit map, designed by Yoshiki Waterhouse at Vignelli Associates, for Super Bowl XLVIII. The game was played on February 2, 2014, at MetLife Stadium at the Meadowlands Sports Complex in East Rutherford, New Jersey, the first Super Bowl played outdoors in a cold-weather city.  Private cars were not allowed to park at the stadium, so the use of public transportation was correspondingly increased. With 400,000 visitors expected to the area and 80,000 attendees expected at the game itself, the MTA decided to work with New Jersey Transit (NJT), Amtrak, and NY Waterway to produce a special-purpose Regional Transit Map. The map brought in several innovations:

SuperWarmRed.

The Vignelli discipline of mapmaking is continued by Waterhouse and Cifuentes through the new design firm SuperWarmRed Designs, formed in December 2014. Prints of the 2012 edition of the subway map as used in the MTA Weekender site can be obtained through SuperWarmRed.

Vignelli Center for Design Studies.

In 2008, Massimo and Lella Vignelli agreed to donate the entire archive of their design work to Rochester Institute of Technology. The archive is housed in a new building designed by Lella and Massimo Vignelli, The Vignelli Center For Design Studies. The building, which opened in September 2010, includes among its many offerings exhibition spaces, classrooms, and offices. Vignelli said of it:  The Vignelli Center for Design Studies will house our comprehensive archive of graphic design, furniture and objects, under the direction of R. Roger Remington, the Vignelli Distinguished Professor of Design at RIT, the center will foster studies related to Modernist design with programs and exhibitions on our work as well as other related subjects. The first one of its kind and size, The Vignelli Center will position RIT on the international forefront of design studies. Lella and I are delighted to see our dream taking shape.

Awards.

Vignelli was given the following awards and honorary doctorates:

Massimo Vignelli (; January 10, 1931 – May 27, 2014) was an Italian designer who worked in a number of areas ranging from package design through houseware design and furniture design to public signage and showroom design. He was the co-founder of Vignelli Associates, with his wife, Lella. His ethos was, "If you can design one thing, you can design everything," and this was reflected in the broad range of his work.

Massimo Vignelli (* 10. Januar 1931 in Mailand; † 27. Mai 2014 in New York City) war ein italienischer Grafik- und Industriedesigner sowie Architekt.


Early life and career.

Mamikins was born in Leningrad then in the Russian SFSR, and moved to Riga, Latvian SSR with his parents shortly after birth.  Prior to his election, Mamikins was a journalist working for several Latvian Russian-language newspapers, radio stations and television channels. He presented programs on Viasat's TV5 Latvia and on REN TV's Baltic Channel. He studied Russian language and literature and is a graduate of the Faculty of Humanities at the University of Latvia. In 2010 he completed a master's degree in philology from the same institution.

Member of the European Parliament.

Mamikins was elected to the European Parliament at the 2014 European Parliament election for the Harmony party. Although he was placed 4th on the Harmony list (Boris Tsilevitch was placed 1st), he was preferenced first on the list by Latvian voters and took the party's single seat in the Parliament. He sits with the Progressive Alliance of Socialists and Democrats group.  Mamikins worked on the delegation for relations with Belarus, as well as a substitute member on the delegation for relations with EU-Kazakhstan, EU-Kyrgyzstan and EU-Uzbekistan Parliamentary Cooperation Committees, and for relations with Tajikistan, Turkmenistan and Mongolia.  He has since been a member of the Committee on Foreign Affairs. In this capacity, he served as the parliament’s rapporteur on the Association Agreement between the EU and Georgia.  In December 2017, according to the ranking website MEPRanking.eu, Mamikins was ranked as the 4th most effective Latvian MEP (out of 8) and 365th most effective member of the European Parliament (out of 751).  In 2018 Mamikins left the Harmony party after disagreements with Nils Ušakovs and joined the Latvian Russian Union. He was nominated as that party's candidate for Prime Minister in the 2018 national election.

Controversy.

In mid-2014 Mamikins filed his declaration of financial interests in the European Parliament in Russian, which was promptly refused on the grounds that Russian is not an official language of the European Union. Mamikins publicized the incident on social media, making waves in Latvian Russian community.  In November 2016 the Baltic Centre for Investigative Journalism reported that Mamikins and another Latvian MEP Iveta Grigule were circumventing the 2014 ban of hiring close relatives as assistants, with Mamikins employing Grigule's daughter Anete and Grigule employing Mamikins' wife Natalija. All four of them declined to comment, whether it was as a result of a mutual agreement.  In December 2016 Mamikins met with President of Syria Bashar al-Assad and parliamentary speaker Hadiey Abbas and visited a Russian airbase at Hyeymim alongside with five other MEPs and representatives of Russian Federation's Federal Council of the Federal Assembly. The visit was condemned by Minister of Foreign Affairs of Latvia Edgars Rinkēvičs and Security Police head Normunds Mežviets.

Andrejs Mamikins (, "Andrey Vladimirovich Mamykin"; born 11 March 1976) is a Latvian Russian politician, journalist and a Member of the European Parliament.

Andrejs Mamikins (* 11. März 1976 in Leningrad, Sowjetunion) ist ein lettischer Journalist und Politiker in der Partei Saskaņa. Bei den Europawahlen 2014 wurde er ins Europäische Parlament gewählt.


History.

Before the advent of on-screen displays, the only interface available for programming a home video recorder was a small VFD, LED or LCD panel and a small number of buttons. Correctly setting up a recording for a specific program was therefore a somewhat complex operation for many people. G-Code, VideoPlus+ and ShowView were introduced in the late 1980s to remove this difficulty.

Concept.

The central concept of the system is a unique number, a PlusCode, assigned to each program, and published in television listings in newspapers and magazines (such as "TV Guide"). To record a program, the code number is taken from the newspaper and input into the video recorder, which would then record on the correct channel at the correct time. The number is generated by an algorithm from the date, time and channel of the program; as a result, it does not rely on an over-the-air channel to serve as a conduit to ensure the recording is properly timed. This means it will not compensate for a disrupted schedule due to live sporting events or bulletins for breaking news events, however many video recorders with these systems also incorporate Programme Delivery Control (PDC) and use that to alter times if possible.

Branding.

The system has been licensed to television and VCR manufacturers in about 40 countries, but is branded under different names depending on the country. It is known as VCR Plus+, VCR Plus+ Silver and VCR Plus+ Gold in the United States and Canada; G-Code in Japan, China, New Zealand and Australia; VideoPlus+ in Ireland and the United Kingdom; and ShowView in the rest of Europe as well as in South Africa. The system is branded as VideoPlus+/ShowView in Europe due to an existing trademark registration for "VCR" by Philips in that continent, and as G-Code (the "G" standing for the system's developer Gemstar) in Japan because VCR is not a common abbreviation there ("VTR," for videotape recorder, is used instead). Because television programming schedules are different, the coding has to be adjusted in each of the regions and recording equipment is not interchangeable.

Algorithms.

The actual algorithms used to encode and decode the television guide values from and to their time representations were published in 1992, but only for six-digit codes or less.  Source code for seven and eight digit codes was written in C and Perl and posted anonymously in 2003.

VCR Plus+, G-Code, VideoPlus+ and ShowView are different names for the same scheduling system for programming video recorders. These names are all registered trademarks of Macrovision, whose corporate predecessor, Gemstar, developed these algorithms for use in integrated endecs.

Robert Carl Jubelirer (* 9. Februar 1937 in Altoona, Pennsylvania) ist ein US-amerikanischer Politiker. Zwischen 2001 und 2003 war er Vizegouverneur des Bundesstaates Pennsylvania.


Examples in research.

Experimental paradigms typically involve solving problems in novel situations in which the subject has the use of a familiar object in an unfamiliar context. The object may be familiar from the subject's past experience or from previous tasks within an experiment.

Candle box.

In a classic experiment demonstrating functional fixedness, Duncker (1945) gave participants a candle, a box of thumbtacks, and a book of matches, and asked them to attach the candle to the wall so that it did not drip onto the table below. Duncker found that participants tried to attach the candle directly to the wall with the tacks, or to glue it to the wall by melting it. Very few of them thought of using the inside of the box as a candle-holder and tacking this to the wall. In Duncker's terms, the participants were "fixated" on the box's normal function of holding thumbtacks and could not re-conceptualize it in a manner that allowed them to solve the problem. For instance, participants presented with an empty tack box were two times more likely to solve the problem than those presented with the tack box used as a container  More recently, Frank and Ramscar (2003) gave a written version of the candle problem to undergraduates at Stanford University. When the problem was given with identical instructions to those in the original experiment, only 23% of the students were able to solve the problem. For another group of students, the noun phrases such as "box of matches" were underlined, and for a third group, the nouns (e.g., "box") were underlined. For these two groups, 55% and 47% were able to solve the problem effectively. In a follow-up experiment, all the nouns except "box" were underlined and similar results were produced. The authors concluded that students' performance was contingent on their representation of the lexical concept "box" rather than instructional manipulations. The ability to overcome functional fixedness was contingent on having a flexible representation of the word box which allows students to see that the box can be used when attaching a candle to a wall.  When Adamson (1952) replicated Duncker's box experiment, Adamson split participants into 2 experimental groups: preutilization and no preutilization. In this experiment, when there is preutilization, meaning when objects are presented to participants in a traditional manner (materials are in the box, thus using the box as a container), participants are less likely to consider the box for any other use, whereas with no preutilization (when boxes are presented empty), participants are more likely to think of other uses for the box.

Two-cord problem.

Birch and Rabinowitz (1951) adapted the two-cord problem from Norman Maier (1930, 1931), where subjects would be given 2 cords hanging from the ceiling, and 2 heavy objects in the room. They are told they must connect the cords, but they are just far enough apart that one cannot reach the other easily. The solution was to tie one of the heavy objects to a cord and be a weight, and swing the cord as a pendulum, catch the rope as it swings while holding on to the other rope, and then tie them together. The participants are split into 3 groups: Group R, which completes a pretask of completing an electrical circuit by using a relay, Group S, which completes the circuit with a switch, and Group C which is the control group given no pretest experience. Group R participants were more likely to use the switch as the weight, and Group S were more likely to use the relay. Both groups did so because their previous experience led them to use the objects a certain way, and functional fixedness did not allow them to see the objects as being used for another purpose.

Barometer question.

The barometer question is an example of an incorrectly designed examination question demonstrating functional fixedness that causes a moral dilemma for the examinator. In its classic form, popularized by American test designer professor Alexander Calandra (1911–2006), the question asked the student to "show how it is possible to determine the height of a tall building with the aid of a barometer?" The examinator was confident that there was one, and only one, correct answer. Contrary to the examinator's expectations, the student responded with a series of completely different answers. These answers were also correct, yet none of them proved the student's competence in the specific academic field being tested.  Calandra presented the incident as a real-life, first-person experience that occurred during the Sputnik crisis. Calandra's essay, "Angels on a Pin", was published in 1959 in "Pride", a magazine of the American College Public Relations Association. It was reprinted in "Current Science" in 1964, reprinted again in "Saturday Review" in 1968, and included in the 1969 edition of Calandra's "The Teaching of Elementary Science and Mathematics". In the same year (1969), Calandra's essay became a subject of an academic discussion. The essay has been referenced frequently since, making its way into books on subjects ranging from teaching, writing skills, workplace counseling, and investment in real estate to chemical industry, computer programming, and integrated circuit design.

Current conceptual relevance.

Is functional fixedness universal?

Researchers have investigated whether functional fixedness is affected by culture. In a recent study, preliminary evidence supporting the universality of functional fixedness was found. The study's purpose was to test if individuals from non-industrialized societies, specifically with low exposure to "high-tech" artifacts, demonstrated functional fixedness. The study tested the Shuar, hunter-horticulturalists of the Amazon region of Ecuador, and compared them to a control group from an industrial culture.  The Shuar community had only been exposed to a limited amount of industrialized artifacts, such as machete, axes, cooking pots, nails, shotguns, and fishhooks, all considered "low-tech". Two tasks were assessed to participants for the study: the box task, where participants had to build a tower to help a character from a fictional storyline to reach another character with a limited set of varied materials; the spoon task, where participants were also given a problem to solve based on a fictional story of a rabbit that had to cross a river (materials were used to represent settings) and they were given varied materials including a spoon. In the box-task, participants were slower to select the materials than participants in control conditions, but no difference in time to solve the problem was seen. In the spoon task, participants were slower in selection and completion of task. Results showed that Individuals from non-industrial ("technologically sparse cultures") were susceptible to functional fixedness. They were faster to use artifacts without priming than when design function was explained to them. This occurred even though participants were less exposed to industrialized manufactured artifacts, and that the few artifacts they currently use were used in multiple ways regardless of their design.

"Following the Wrong Footsteps: Fixation Effects of Pictorial Examples in a Design Problem-Solving Task".

Investigators examined in two experiments "whether the inclusion of examples with inappropriate elements, in addition to the instructions for a design problem, would produce fixation effects in students naive to design tasks". They examined the inclusion of examples of inappropriate elements, by explicitly depicting problematic aspects of the problem presented to the students through example designs. They tested non-expert participants on three problem conditions: with standard instruction, fixated (with inclusion of problematic design), and defixated (inclusion of problematic design accompanied with helpful methods). They were able to support their hypothesis by finding that a) problematic design examples produce significant fixation effects, and b) fixation effects can be diminished with the use of defixating instructions.  In "The Disposable Spill-Proof Coffee Cup Problem", adapted from Janson & Smith, 1991, participants were asked to construct as many designs as possible for an inexpensive, disposable, spill-proof coffee cup. Standard condition participants were presented only with instructions. In the fixated condition, participants were presented with instructions, a design, and problems they should be aware of. Finally, in the defixated condition, participants were presented the same as other conditions in addition to suggestions of design elements they should avoid using. The other two problems included building a bike rack, and designing a container for cream cheese.

Techniques to avoid functional fixedness.

Overcoming functional fixedness in science classrooms with analogical transfer.

Based on the assumption that students are functionally fixed, a study on analogical transfer in the science classroom shed light on significant data that could provide an overcoming technique for functional fixedness. The findings support the fact that students show positive transfer (performance) on problem solving after being presented with analogies of certain structure and format. The present study expanded Duncker's experiments from 1945 by trying to demonstrate that when students were "presented with a single analogy formatted as a problem, rather than as a story narrative, they would orient the task of problem-solving and facilitate positive transfer".  A total of 266 freshmen students from a high school science class participated in the study. The experiment was a 2x2 design where conditions: "task contexts" (type and format) vs. "prior knowledge" (specific vs. general) were attested. Students were classified into 5 different groups, where 4 were according to their prior science knowledge (ranging from specific to general), and 1 served as a control group (no analog presentation). The 4 different groups were then classified into "analog type and analog format" conditions, structural or surface types and problem or surface formats.  Inconclusive evidence was found for positive analogical transfer based on prior knowledge; however, groups did demonstrate variability. The problem format and the structural type of analog presentation showed the highest positive transference to problem solving. The researcher suggested that a well-thought and planned analogy relevant in format and type to the problem-solving task to be completed can be helpful for students to overcome functional fixedness. This study not only brought new knowledge about the human mind at work but also provides important tools for educational purposes and possible changes that teachers can apply as aids to lesson plans.

Uncommitting.

One study suggests that functional fixedness can be combated by design decisions from functionally fixed designs so that the essence of the design is kept (Latour, 1994). This helps the subjects who have created functionally fixed designs understand how to go about solving general problems of this type, rather than using the fixed solution for a specific problem. Latour performed an experiment researching this by having software engineers analyze a fairly standard bit of code—the quicksort algorithm—and use it to create a partitioning function. Part of the quicksort algorithm involves partitioning a list into subsets so that it can be sorted; the experimenters wanted to use the code from within the algorithm to just do the partitioning. To do this, they abstracted each block of code in the function, discerning the purpose of it, and deciding if it is needed for the partitioning algorithm. This abstracting allowed them to reuse the code from the quicksort algorithm to create a working partition algorithm without having to design it from scratch.

Overcoming prototypes.

A comprehensive study exploring several classical functional fixedness experiments showed an overlying theme of overcoming prototypes. Those that were successful at completing the tasks had the ability to look beyond the prototype, or the original intention for the item in use. Conversely, those that could not create a successful finished product could not move beyond the original use of the item. This seemed to be the case for functional fixedness categorization studies as well. Reorganization into categories of seemingly unrelated items was easier for those that could look beyond intended function. Therefore, there is a need to overcome the prototype in order to avoid functional fixedness. Carnevale (1998) suggests analyzing the object and mentally breaking it down into its components. After that is completed, it is essential to explore the possible functions of those parts. In doing so, an individual may familiarize themselves with new ways to use the items that are available to them at the givens. Individuals are therefore thinking creatively and overcoming the prototypes that limit their ability to successfully complete the functional fixedness problem.

The generic parts technique.

For each object, you need to decouple its function from its form. McCaffrey (2012) shows a highly effective technique for doing so. As you break an object into its parts, ask yourself two questions. "Can I subdivide the current part further?" If yes, do so. "Does my current description imply a use?" If yes, create a more generic description involving its shape and material. For example, initially I divide a candle into its parts: wick and wax. The word "wick" implies a use: burning to emit light. So, describe it more generically as a string. Since "string" implies a use, I describe it more generically: interwoven fibrous strands. This brings to mind that I could use the wick to make a wig for my hamster. Since "interwoven fibrous strands" does not imply a use, I can stop working on wick and start working on wax. People trained in this technique solved 67% more problems that suffered from functional fixedness than a control group. This technique systematically strips away all the layers of associated uses from an object and its parts.

Functional fixedness is a cognitive bias that limits a person to use an object only in the way it is traditionally used. The concept of functional fixedness originated in Gestalt psychology, a movement in psychology that emphasizes holistic processing. Karl Duncker defined functional fixedness as being a "mental block against using an object in a new way that is required to solve a problem". This "block" limits the ability of an individual to use components given to them to complete a task, as they cannot move past the original purpose of those components. For example, if someone needs a paperweight, but they only have a hammer, they may not see how the hammer can be used as a paperweight. Functional fixedness is this inability to see a hammer's use as anything other than for pounding nails; the person couldn't think to use the hammer in a way other than in its conventional function.

Funktionale Fixierung bezeichnet in der Psychologie die Beschränkung von Überlegungen und Handlungen auf die gewohnheitsmäßige Verwendung von Strategien und Objekten. Diese hindert uns daran, alternative Einsatzmöglichkeiten von Objekten und andere Strategien in Überlegungen miteinzubeziehen.


History.

Vert.x was started by Tim Fox in 2011 while he was employed by VMware.  Fox initially named the project "Node.x", a play on the naming of Node.js, with the "x" representing the fact that the new project was polyglot in nature, and didn't simply support JavaScript. The project was later renamed to "Vert.x" to avoid any potential legal issues as "Node" was a trademark owned by Joyent Inc. The new name was also a play on the name node, as a vertex is a synonym for a node in mathematics.  In December 2012, after he left their employment, VMware served legal papers on Tim Fox to take control of the Vert.x trademark, domain name, blog, Github account, and Google Group from the Vert.x community  After much discussion with other parties, in January 2013, VMware was persuaded that it would be in the best interests of the Vert.x community to move the project and associated IP to the Eclipse Foundation, a neutral legal entity.  In August 2013, the core Vert.x project completed its move to the Eclipse Foundation. The other projects that make up the Vert.x stack did not migrate to Eclipse but continued to use the "Vert.x" trademark with tacit approval of the Eclipse Foundation.  In May 2014, Vert.x won the award for "Most Innovative Java Technology" at the JAX Innovation awards.  On January 12, 2016, Tim Fox stepped down as the lead of the Vert.x project. and Julien Viet, a long-time contributor, took his place.

Architecture.

Vert.x uses low level IO library Netty.  The application framework includes these features:

Examples.

A web server serving "Hello from Vert.x!" could be written in Java:  import io.vertx.core.AbstractVerticle;  public class Server extends AbstractVerticle {  And in JavaScript:  vertx.createHttpServer() }).listen(8080);  Both cases will result in a web server serving content in a highly scalable manner.

Eclipse Vert.x is a polyglot event-driven application framework that runs on the Java Virtual Machine. Similar environments written in other programming languages include Node.js for JavaScript, Twisted for Python, Perl Object Environment for Perl, libevent for C, reactPHP and amphp for PHP and EventMachine for Ruby.

Vert.x ist ein ereignisorientiertes Framework für einfache Nebenläufigkeit, das in der Java Virtual Machine läuft und in den Programmiersprachen Java, JavaScript, Groovy, Ruby, Ceylon, Kotlin und Scala mit Apache-Lizenz verfügbar ist.


Background.

As part of the 1659 Treaty of the Pyrenees, which ended the Franco-Spanish War, Louis XIV married Maria Theresa, the eldest daughter of Philip IV of Spain. Despite being weakened by nearly a century of conflict, the Spanish Empire remained a huge global confederation. To prevent its acquisition by France, Maria Theresa renounced her inheritance rights. In return, Louis was promised a dowry of 500,000 gold écus, a huge sum that was never paid.  In 1661, Louis took control of the state and initiated an expansionist policy. Finance Minister Jean-Baptiste Colbert argued French economic growth required the Spanish Netherlands. That implied conflict with Emperor Spain, Leopold and even the Dutch Republic, a long-term French ally. The 1648 Peace of Münster, which confirmed Dutch independence, also gave Amsterdam control of trade through Northwestern Europe, by permanently closing the Scheldt estuary. Keeping it shut was a Dutch priority.  By 1663, Louis concluded thet the States General would never voluntarily agree to his demands and began planning to seize the Spanish Netherlands. As required by the 1662 Franco-Dutch Treaty of Paris, France entered the Second Anglo-Dutch War in July 1665, providing an excuse for its military build up. Louis also calculated that to make it harder for the Dutch to oppose him. In September, Philip died, leaving his four-year-old son Charles as king, and his widow, Mariana of Austria, as regent.  Louis argued since her dowry remained unpaid, Maria Theresa's renunciation was invalid and so her rights "devolved" to him under the "Jus Devolutionis", an obscure law restricting inheritance to children from a first marriage. He used it to claim much of the Spanish Netherlands. In April 1666, Mariana's daughter Margaret Theresa married Mariana's brother Leopold. If Charles died, Leopold would inherit the Spanish Empire.  Talks on ending the Anglo-Dutch War opened in Breda in May 1667. Louis launched the War of Devolution on 24 May, and by September, his troops had occupied much of the Spanish Netherlands. On 27 May, the Treaty of Madrid ended the 1654-1660 Anglo-Spanish War, and England agreed to mediate an end to the Portuguese Restoration War in return for commercial concessions. The Dutch Medway Raid in June forced England to conclude the war. The Treaty of Breda was signed on 31 July, and negotiations began for a common front against France.

Negotiations.

For De Witt, the French alliance secured his position against the Orangist opposition and ensured Dutch economic supremacy. For the same reasons, England, Spain and Leopold sought to break it. By 1667, the prospect of France replacing Spain as a neighbour meant that most of the States General and the Dutch populace saw an English alliance as essential for mutual survival.  Although Charles preferred France, he viewed Breda as a personal humiliation and blamed Louis, who failed to deliver on a promise to ensure that the Dutch accepted English terms. This perspective was widely shared by his advisors, including chief minister Lord Arlington, many of whom also viewed Spain as a better partner than France. Losses from war and the Great Fire of London meant that the Parliament and the City of London Corporation wanted peace, which seemed to be best achieved by partnership with the Dutch seemed.  Negotiations were led by SirWilliam Temple, the English ambassador in The Hague and Brussels, for whom French expansion was a bigger threat than Dutch economic strength. He was supported by François-Paul de Lisola; born in Besançon, capital of Franche-Comté, he served as Imperial ambassador in London from 1667 to 1668 and The Hague from 1669 to 1673. The gistorian and political theorist Mark Goldie viewed the 1667 work 'The Buckler of State and Justice' as a key document in establishing France as England's enemy, rather than Spain.  In September, De Witt asked Louis his conditions for withdrawing from the Spanish Netherlands and offered to mediate with Spain to ensure their acceptance. Louis agreed, but only if the Dutch enforced them on both parties; this meant when Spain rejected his terms, the States of Holland passed resolutions on 10 December and 14 January 1668, approving military support for France. On 20 January 1668, Louis and Leopold agreed a secret Partition Treaty, dividing the Spanish Empire if Charles died.  The French ambassador, Godefroi, Comte d'Estrades, was well-informed on negotiations for the Alliance and assured Louis that he could delay approval by bribes. However, Temple persuaded the States General to approve it before asking the provincial bodies although normal practice was the other way around. Once the States General announced their decision, public enthusiasm was so great thag no one dared take d'Estrades' money. On 23 January 1668, the Alliance was signed by England and the Republic.  Seeking to widen the coalition, Temple invited Sweden to join; it had signed a treaty with the Dutch in July 1667 and controlled the Baltic trade in vital naval supplies, including pitch and timber for shipbuilding.

Terms.

The Alliance contained three separate elements; a defensive alliance, a guarantee of terms for ending the War of Devolution and secret clauses. Spain was held partially responsible for the war by arranging the 1666 marriage between Leopold and Margaret Theresa and so had to bear some of the cost. As agreed in September, France would withdraw from the Spanish Netherlands but retain Lille, Armentières, Bergues, Douai Tournai, Oudenarde, Courtrai, Veurne, Binche, Charleroi and Ath.  The Alliance guaranteed to enforce compliance by Spain by a secret clause requiring it to end the war with Portugal. With Louis clearly preparing action, another clause committed to forcing France back to its 1659 boundaries if it continued the war. The English Parliament approved £300,000 if needed, and the States General activated 48 warships, and the recruitment of 18,000 additional troops.  As a condition of signing, Sweden demanded reimbursement of 480,000 rixdollars, costs incurred for an attempt to capture Bremen in 1666, which it claimed was for the benefit of Spain. The Dutch and the English refused to pay and passed the obligation onto Spain; after protracted debate, Sweden signed on 5 May (NS), bringing together the three major powers in the Baltic and the North Seas.

Aftermath.

French troops entered Franche-Comté on 5 February. Its conquest was complete on 19 February, and Louis decided to make peace. Key factors included the cost of the war, which was far higher than expected, and reports of being close to death. If so, the agreement with Leopold meant that Louis could achieve his objectives peacefully, and France was not yet ready for a war with Spain, England, the Dutch and the Holy Roman Empire.  The April 1668 Treaty of Saint Germain between England, the Dutch and France set out the terms used at Aix-la-Chapelle in May. In Article 6, the Dutch and English undertook to enforce them if Spain did not comply, mirroring the'secret' clause of the alliance against France. In reality, there was no English support for war with Spain on behalf of France or the Dutch, especially given the commercial terms of the 1667 Treaty of Madrid; besides, the Royal Navy was in no state to fight a war.  In the short term, the partnership was undermined by diverging interests. De Witt and Charles saw it as a way to improve their bargaining position with Louis, a perspective at odds with most of their domestic support. The chief driver in England was a desire for peace, rather than a preference for the Dutch, and the failure to resolve commercial disputes resulted in the Third Anglo-Dutch War. For Sweden, it provided an opportunity to end the Dutch treaty with its regional rival, Denmark-Norway, and to remove concessions imposed by the 1656 Treaty of Elbing.  However, it marked the end of the longstanding Franco-Dutch alliance and the first step in creating the anti-French coalition that continued until the end of the War of the Spanish Succession in 1714. The balance of power concept advocated by Temple had two important implications for English policy: the ability to enforce it and a network of allies. From 1668 to 1674, Parliament voted large sums to strengthen the Royal Navy, and English diplomacy began to focus on powers like Sweden, Brandenburg and Denmark, instead of only Spain, the Dutch, France or the Holy Roman Empire.  De Witt hoped to make Louis moderate his demands; in the end, it fuelled Louis's resentment at 'Dutch ingratitude' and highlighted the limits of De Witt's control of the States General. Louis decided that acquiring the Spanish Netherlands was best achieved by first defeating the Dutch and do began preparations for the 1672-1678 Franco-Dutch War. The Treaties of Breda and the Alliance were viewed as Dutch diplomatic triumphs and although De Witt was well aware of the dangers, he failed to convince his colleagues.  Although Charles' personal preference led to the 1670 Secret Treaty of Dover, the long-term trend was against him. Commercial tensions provided limited backing for the Third Anglo-Dutch War, but an alliance with Catholic France was deeply unpopular, and both countries made peace in the February 1674 Treaty of Westminster.

The 1668 Triple Alliance (Swedish: "Trippelalliansen") was signed by the Kingdom of England, the Swedish Empire and the Dutch Republic in May 1668. It was created in response to the occupation of the Spanish Netherlands and Franche-Comté by France. Although Spain and Emperor Leopold were not signatories, they were closely involved in the negotiations.

Als Triple-Allianz oder Tripel-Allianz (dt. Dreibund) wird u. a. eine am 23. Januar 1668 gegründete Allianz zwischen den Vereinigten Niederlanden, England und Schweden bezeichnet. Vorausgegangen war der Devolutionskrieg zwischen Frankreich und Spanien, dessen Ende die Triple Allianz herbeizwingen wollte. Frankreich war zu diesem Zeitpunkt bereits zur Hegemonialmacht in Europa avanciert, dessen Machtbegrenzung das öffentliche Ziel der Allianz war.


History.

The Great Wall Haval M4 was renamed to simply Haval H1 after Great Wall launched Haval into an individual sub-brand in 2013.

First Generation.

Based on the Great Wall Florid & Toyota Ist, the Great Wall Haval M4 has been launched on the Chinese car market in 2012. Price ranges from 63,900 to 71,900 yuan.

Malaysia.

The Great Wall Haval M4 was launched in Malaysia in July 2014 as the Great Wall M4 with three variants available: Standard, Comfort and Premium. All three variants could be had with either a manual or automatic gearbox. Early models were fully imported from China. Local assembly in Malaysia started in December 2014. The locally assembled models were officially available as of January 2015. In November 2015, the "Elite" add-on kit became available for the Premium variant. Differences included a new design for the halogen projector headlights with LED positioning lamps, a front grille with a hexagonal mesh design, 16-inch alloy wheels with different multi-spoke design, matte black vinyl wrap for the roof and red-black colour combo finish for the leather seats. As of early 2016, the Standard variant was dropped and it was rebranded into the Haval M4. As of early 2017, the manual transmission option was no longer available and the vehicle was again rebranded now into the Haval H1.

Second Generation.

The second generation Haval H1 was launched on the Chinese car market. Price ranges from 68.900 yuan to 82.900 yuan. Debuting during the 2014 Chengdu Auto Show in China, the subcompact crossover is essentially a rebadged Great Wall Voleex C20R.

The Haval H1 or formerly the Great Wall Haval M4 is a subcompact SUV produced by the Chinese manufacturer Great Wall. It was essentially a rebadged and lifted Great Wall Florid, until the second generation which is a rebadged Great Wall Voleex C20R.

Der Haval H1 (früher auch Great Wall Haval M4 oder Great Wall M4) ist ein PKW der zu Great Wall gehörenden Marke Haval. Es handelt sich dabei um ein kleines SUV, das der Hersteller zwischen den Modellen Haval M1 und Haval M2 einordnet. Im Gegensatz zu diesen wurde es aber bis 2013 nicht vollständig der Haval-Submarke zugerechnet, wo diese Bezeichnung samt Logo "Great Wall" ersetzt; stattdessen war hier Haval nur als Zusatz zur Modellbezeichnung zu sehen.


Botschaft der Vereinigten Staaten in Kiew

History.

The United States recognized the independence of Ukraine on December 26, 1991, and opened an embassy in its capital, Kiev, on January 22, 1992. This first embassy was located in the former office of the Communist Party of Ukraine for the Shevchenkivskyi District that was confiscated from the Communists soon after the 1991 August putsch in Moscow. That building was erected sometime in the 1950s on territory that previously belonged to the Ukrainian Greek Catholic Church that was destroyed by the Soviets in 1935.  In 2012, the embassy moved to its current 4.5 hectare location, acquired for $247 million. The embassy is on Igor Sikorsky Street, close to Kiev’s western outskirts, and 15 minutes walk from Beresteiska station. Previously known as Tankova Street, the street was renamed by the City Council after Ukrainian-born aircraft design engineer Igor Sikorsky, due to a request from the embassy.  On June 8, 2017, a blast occurred outside the embassy.

Picketing.

Since 2004, the embassy has been picketed annually on April 8 by the "Institute Republic" group of human rights activist Volodymyr Chemerys, due to the refusal of the US government to pay compensation for the death of Ukrainian journalist Taras Protsyuk, who perished in 2003 during the Iraq War.

Staff.

The U.S. Embassy in Kiev is staffed by approximately 181 Americans and more than 560 Ukrainians.  The current Chief of Mission, as Chargé d'Affaires "ad interim", is Kristina Kvien.  Key U.S. Embassy officials include:

The Embassy of the United States in Kiev is the diplomatic mission of the United States of America to Ukraine.

Die Botschaft der Vereinigten Staaten von Amerika in Kiew ist der Sitz der diplomatischen Vertretung der Vereinigten Staaten von Amerika (USA) in der Ukraine. Die Vereinigten Staaten erkannten die Unabhängigkeit der Ukraine am 26. Dezember 1991 an. Die US-Botschaft in Kiew wurde am 23. Januar 1992 eröffnet und zunächst von Jon Gundersen als Geschäftsträger geleitet. Im Mai desselben Jahres nahm der erste offizielle Botschafter seine Arbeit auf.


Host selection.

On 5 December 2013, the Russian news agency AmurMedia (which quoted Russian Internet site Sportbox.ru) reported that the decision on host city was made, after a decision by the working committee of FIB.  The candidates were:  Minsk withdrew its candidacy in August 2013. Khabarovsk won over Helsinki because there is an indoor arena in the city.

Participating teams.

Division B.

Latvia won Division B in 2014 and was thus promoted to Division A for 2015. However, the Latvians made an application to play in Division B this year too, and this was approved by the Federation of International Bandy. Latvia was therefore playing in both divisions this year. This was made possible by the divisions not being played at the same time, Division B was being played in early February while Division A was being played in late March/early April.

Division A.

After drawn games in the group stage, a penalty shootout is held to determine final placings in the event of teams finishing on equal points

Preliminary round.

Group A.

"All times are local (UTC+10)."  Source:

Division B.

Preliminary round.

Group B.

Matches in Group B are 60 minutes in duration rather than the standard 90 minutes.

Knockout stage.

7th place game.

The match was 60 minutes rather than standard 90 minutes.

5th place game.

8th place game.

2015 Bandy World Championship 2015 was the XXXVth Bandy World Championship. At the FIB congress held during the XXXIVth World Championship in 2014, it was announced that Khabarovsk in Russia had been elected as host city. It was also decided the Group A tournament would be played around the end of March/beginning of April, which means it would take place when the national bandy leagues in the major bandy playing countries, Finland, Norway, Russia and Sweden, would be finished for the season. Group B was played between February 1 and 6 and hit a new record attendance, already before the match for the bronze and the final.

Die 35. Bandy-Weltmeisterschaft fand vom 1. Februar 2015 bis zum 6. Februar 2015, für die Mannschaften der Gruppe B in Chabarowsk, Russland statt. Die Mannschaften der Gruppe A spielten vom 29. März 2015 bis zum 4. April 2015.


No. 1 Air Division RCAF 1952–1967.

The division traces its origins to the activation of Headquarters No. 1 Air Division, Royal Canadian Air Force in Paris, France, on 1 October 1952. Air Division headquarters relocated to Metz, France in April 1953. No. 1 Air Division was established to meet Canada's NATO air defence commitments in Europe. It consisted of four wings of twelve fighter squadrons located at four bases. Two bases were located in France (RCAF Station Marville (No. 1 Wing) and RCAF Station Grostenquin (No. 2 Wing)) and two were located in West Germany (RCAF Station Zweibrücken (No. 3 Wing) and RCAF Station Baden-Soellingen (No. 4 Wing)). ( No. 1 Wing was first located at RCAF North Luffenham, England and was moved to Marville some time after October, 1954). These wings were part of a group of bases which also included U.S. and French installations, all of which came under the jurisdiction of NATO's Fourth Allied Tactical Air Force (4 ATAF) which, in turn, was commanded by Allied Air Forces Central Europe (AAFCE). Components located in Metz included Air Division Headquarters, an air traffic control centre, a telecommunications centre, a combat operations centre, and a support unit. From 1952 to 1963 the RCAF operated the 30 Air Materiel Base, at RCAF Langar (RAF Langar) in Nottinghamshire. RCAF Langar was Canada's last base in the U.K. and served as a primary supply station for No. 1 Air Division RCAF in Europe.  Canadian squadrons were originally equipped with Canadair Sabre day fighters. One squadron of each wing, however, would be replaced by the all-weather CF-100 in 1956. The Sabre squadrons were replaced by (nuclear) strike/reconnaissance CF-104 Starfighters in 1962.  After the RCAF left France in 1967 and after the RCAF was reorganized and consolidated with Canada's other two services, No. 1 Air Division was replaced by No. 1 Canadian Air Group (1 CAG) with headquarters at CFB Lahr, West Germany.  As an austerity measure, in 1968, No. 3 Wing Zweibrücken was closed and its two squadrons were moved to Nos. 1 and 4 Wing. 1969 brought the announcement that the amalgamation of the Canadian Forces in Europe to one command and two bases, and that the Canadian army in northern Germany (Soest area) would be moving south to Nos. 1 and 4 Wings. This meant that No. 1 Wing Lahr would close its doors and the air force in Europe would be reduced in strength (from 6 to 3 squadrons) and concentrated at Baden-Soellingen; the new name would be 1 Canadian Air Group (CAG). The close out parade was held at Baden in the arena on June 29, 1970. This was the change date from 4 Wing to 1 CAG. It was also the disbanding date for two of the squadrons.  The Group remained until 1988 when Canada increased its commitment to NATO (three squadrons in theatre and two squadrons in Canada) and No. 1 Canadian Air Division stood-up again. However, shortly after this, relations with the east started to warm and Canada made another announcement: Canada would withdraw its forces stationed in Europe and close the doors on its two bases by 1994. The Air Division, reduced to three squadrons then to two and finally one, ceased flying operations 1 January 1993. This ended a major era of Canada's Air Force.

Recreation from 1997.

In the summer of 1997, the functional groups (Air Transport Group, Fighter Group, Maritime Air Group, Air Reserve Group, and 10 Tactical Air Group) were dissolved, and 14 Training Group was absorbed within Air Command Headquarters. 1 Canadian Air Division was stood up in Winnipeg to exercise operational command of all CF air assets.  Today based in Winnipeg, Manitoba, the division is also the headquarters for the Canadian NORAD Region (CANR), commands 11 of the RCAF's 13 wings, and oversees the monitoring of Canada's airspace in support of the nation's commitments to the North American Aerospace Defence Command (NORAD). The division is staffed by 600 regular and reserve force members. In addition to military personnel the headquarters is also assisted by civilian personnel in the Operational Research and Analysis Directorate (ORAD).

1 Canadian Air Division (1 Cdn Air Div) (French: "1 Division aérienne du Canada") is the operational-level command and control formation of the Royal Canadian Air Force (RCAF). Prior to 2006 the official abbreviation for the division was 1 CAD. It is commanded by an air force major-general.<ref name="New Commander of 1 Canadian Air Division/Canadian NORAD Region, July 9, 2009">

Die 1 Canadian Air Division, auch 1re Division aérienne du Canada (dt.: "1. Kanadische Luftdivision") ist das Einsatzkommando der kanadischen Luftstreitkräfte. Sie ist heute auf der Canadian Forces Bases (CFB) Winnipeg beheimatet.