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🔗 Television 🔗 Star Trek

Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after several failed attempts to create a feature film based on the property, coupled with plans for a Paramount Television Service (PTS) as a fourth broadcast television network in the United States.

Both PTS and the Star Trek revival were announced in early June 1977, with PTS to debut as one evening of programming each Saturday night and to gradually expand to other nights; a strategy successfully employed by the Fox Broadcasting Company a decade later. Star Trek: Phase II was to be the flagship show, and be broadcast at 8pm EST, followed by a movie of the week starting at 9pm. The initial order was for a two-hour pilot, followed by 13 hour-long episodes.

With the exception of Leonard Nimoy as Mr. Spock, who had ongoing disputes with Roddenberry and Paramount, the entire regular and recurring cast of The Original Series were contracted to return, notably William Shatner as Captain Kirk. Three new and younger regular characters were created, science officer Lt. Xon, navigator Lt. Ilia, and ship's executive officer Willard Decker. Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation, and two of the scripts written for Phase II would be re-developed for use in that series.

Behind the cameras, Roddenberry recruited Trek-novices Harold Livingston and Robert Goodwin as producers. Veterans of The Original Series were few, and included costume designer William Ware Theiss and illustrator Mike Minor. Art director Matt Jefferies was otherwise employed and brought in as a "technical advisor" and to update the design of the starship USS Enterprise. Special effects (on set) were to be by Jim Rugg. Science fiction novelist Alan Dean Foster received the assignment to write the story outline for the two-hour pilot, but, with a looming production deadline and unable to find a suitable writer to develop this story into a teleplay, Harold Livingston took on the writing job himself. Of the remaining 12 script assignments handed out, about half were to veterans of The Original Series.

Pre-production began in earnest, with the emphasis on what would be the standing sets of the Enterprise, which differed radically in layout, design and detailing from those for The Original Series. Many costumes and props, too, were designed. Ultimately, Paramount's plans for its network and Star Trek's TV return faltered, as the low anticipated advertising revenues for the Paramount Television Service indicated that it was not viable, and the Paramount Pictures parent company Gulf and Western's chairman, Charles Bluhdorn, refused to back the plan, resulting in the eventual exit of Paramount chief executive officer Barry Diller. In August 1977 Paramount president Michael Eisner announced—internally—that the two-hour pilot script was to be the long sought-after feature film story. However, In order to prevent negative publicity, the "cancellation" of the series and network was not immediately disclosed and development of the series and its scripts continued for a further five months, during which time tests were filmed on the incomplete Enterprise sets in widescreen format - a clear indication that whatever Star Trek would be, it would not be a TV movie.

On March 28, 1978, any illusions that Star Trek would be returning to television were ended when Paramount announced that instead of a series it would be producing what became the big budget film titled Star Trek: The Motion Picture (1979), which was itself a massive reworking of the "In Thy Image" two-hour pilot script.

Preproduction work on the series did not entirely go to waste. The standing Enterprise sets would be extensively reworked for the film (and its eventual sequels), and an unfinished admiral's office set's walls became part of the Enterprise cargo deck. However, the visual effects people hired for the feature film decided that the miniatures under construction were not up to the standards of a post-Star Wars feature, and all were scrapped. Director Robert Collins, who had been hired to direct the pilot, and promised he was to direct the feature, was replaced by Robert Wise.

The concept of a "Paramount Network" led by a flagship Star Trek series finally came to fruition in January 1995 when Paramount launched the United Paramount Network (UPN) and the Star Trek: Voyager series.

🔗 Computing 🔗 Africa 🔗 Ancient Egypt 🔗 Novels 🔗 Novels/Science fiction 🔗 Science Fiction 🔗 Women writers 🔗 Egypt

The Mummy! A Tale of the Twenty-Second Century is an 1827 three-volume novel written by Jane Webb (later Jane C. Loudon). It concerns the Egyptian mummy of Cheops, who is brought back to life in the year 2126. The novel describes a future filled with advanced technology, and was the first English-language story to feature a reanimated mummy.

After her father's death, making her an orphan at the age of 17, Webb found that:

on the winding up of his affairs that it would be necessary to do something for my support. I had written a strange, wild novel, called the Mummy, in which I had laid the scene in the twenty-second century, and attempted to predict the state of improvement to which this country might possibly arrive.

She may have drawn inspiration from the general fashion for anything pharaonic, inspired by the French researches during the Napoleonic invasion of Egypt; the 1821 public unwrappings of Egyptian mummies in a theatre near Piccadilly, which she may have attended as a girl; and, very likely, the 1818 novel by Mary Shelley, Frankenstein; or, The Modern Prometheus. As Shelley had written of Frankenstein's creation, "A mummy again endued with animation could not be so hideous as that wretch," which may have triggered her later concept. In any case, at many points she deals in greater clarity with elements from the earlier book such as the loathing for the much-desired object and the immediate arrest for crime and attempt to lie one's way out of it. However, unlike the Frankenstein monster, the hideous revived Cheops is not shuffling around dealing out horror and death, but giving canny advice on politics and life to those who befriend him. In some ways The Mummy! may be seen as her reaction to themes in Frankenstein: her mummy specifically says he is allowed life only by divine favour, rather than being indisputably vivified only by mortal science, and so on, as Hopkins' 2003 essay covers in detail.

Unlike many early science fiction works (Shelley's The Last Man, and The Reign of King George VI, 1900–1925, written anonymously in 1763), Loudon did not portray the future as her own day with only political changes. She filled her world with foreseeable changes in technology, society, and even fashion. The hero, Edric Montague, lived in a peaceful and Catholic England under the rule of Queen Claudia. Her court ladies wear trousers and hair ornaments of controlled flame. Surgeons and lawyers may be steam-powered automatons. Air travel, by balloon, is commonplace. A kind of Internet is predicted in it. Besides trying to account for the revivification of the mummy in scientific terms—galvanic shock rather than incantations—"she embodied ideas of scientific progress and discovery, that now read like prophecies" to those later in the 19th century. Many of the incidents in the book can be seen as satirical or humorous. Her social attitudes have resulted in this book being ranked among feminist novels.

The Mummy!: Or a Tale of the Twenty-Second Century was published anonymously in 1827 by Henry Colburn in three volumes, as was usual in that day so that each small volume could be easily carried around. It drew many favourable reviews, including one in 1829 in The Gardener's Magazine on the inventions proposed in it. In 1830, the 46-year-old reviewer, John Claudius Loudon, sought out the 22-year-old Webb, and they married the next year.

🔗 Television

Slow television, or slow TV (Norwegian: Sakte-TV), is a term used for a genre of "marathon" television coverage of an ordinary event in its complete length. Its name is derived both from the long endurance of the broadcast as well as from the natural slow pace of the television program's progress. It was popularised in the 2000s by the Norwegian Broadcasting Corporation (NRK), beginning with the broadcast of a 7-hour train journey in 2009.

🔗 Professional sound production

An audio format is a medium for sound recording and reproduction. The term is applied to both the physical recording media and the recording formats of the audio content—in computer science it is often limited to the audio file format, but its wider use usually refers to the physical method used to store the data.

Music is recorded and distributed using a variety of audio formats, some of which store additional information.

🔗 History 🔗 Germany 🔗 Greece 🔗 Austria 🔗 Netherlands 🔗 Christianity 🔗 European history 🔗 Greece/Byzantine world 🔗 Christianity/Catholicism 🔗 Former countries 🔗 Czech Republic 🔗 Frisia 🔗 Former countries/Holy Roman Empire 🔗 Silesia 🔗 Christianity/Lutheranism 🔗 Christianity/Reformed Christianity

The Holy Roman Empire was dissolved on 6 August 1806, when the last Holy Roman Emperor, Francis II of the House of Habsburg-Lorraine, abdicated his title and released all Imperial states and officials from their oaths and obligations to the empire. Since the Middle Ages, the Holy Roman Empire had been recognized by Western Europeans as the legitimate continuation of the ancient Roman Empire due to its emperors having been proclaimed as Roman emperors by the papacy. Through this Roman legacy, the Holy Roman Emperors claimed to be universal monarchs whose jurisdiction extended beyond their empire's formal borders to all of Christian Europe and beyond. The decline of the Holy Roman Empire was a long and drawn-out process lasting centuries. The formation of the first modern sovereign territorial states in the 16th and 17th centuries, which brought with it the idea that jurisdiction corresponded to actual territory governed, threatened the ostensibly universal nature of the Holy Roman Empire.

The Holy Roman Empire by the time of the 18th century was widely regarded by contemporaries, both inside and outside the empire, as a highly "irregular" monarchy and "sick," having an "unusual" form of government. The empire lacked both a central standing army and a central treasury and its monarchs, formally elective rather than hereditary, could not exercise effective central control. Even then, most contemporaries believed that the empire could be revived and modernized. For example, the Reichstag passed the Imperial Recess as late as 1803.

The Holy Roman Empire finally began its true terminal decline during and after its involvement in the French Revolutionary Wars and the Napoleonic Wars. Although the empire defended itself quite well initially, war with France and Napoleon proved catastrophic. In 1804, Napoleon proclaimed himself as the Emperor of the French, which Francis II responded to by proclaiming himself the Emperor of Austria, in addition to already being the Holy Roman Emperor, an attempt at maintaining parity between France and Austria while also illustrating that the Holy Roman title outranked them both. Austria's defeat at the Battle of Austerlitz in December 1805 and the secession of a large number of Francis II's German vassals in July 1806 to form the Confederation of the Rhine, a French satellite state, effectively meant the end of the Holy Roman Empire. The abdication in August 1806, combined with a dissolution of the entire Imperial hierarchy and its institutions, was seen as necessary to prevent the possibility of Napoleon proclaiming himself Holy Roman Emperor, something which would have reduced Francis II to Napoleon's vassal.

Reactions to the empire's dissolution ranged from indifference to despair. The populace of Vienna, capital of the Habsburg monarchy, were horrified at the loss of the empire. Many of Francis II's former subjects questioned the legality of his actions; though his abdication was agreed to be perfectly legal, the dissolution of the empire and the release of all its vassals were seen as beyond the emperor's authority. As such, many of the empire's princes and subjects refused to accept that the empire was gone, with some commoners going so far as to believe that news of its dissolution was a plot by their local authorities. In Germany, the dissolution was widely compared to the ancient and legendary Fall of Troy and some associated the end of the Holy Roman Empire with the end times and the apocalypse.

🔗 Companies 🔗 Lists 🔗 Disney

The following is a list of assets owned and operated by The Walt Disney Company, unless otherwise indicated.

🔗 Biography 🔗 Aviation 🔗 Soviet Union 🔗 Russia 🔗 Russia/technology and engineering in Russia 🔗 Spaceflight 🔗 Military history 🔗 Military history/Military aviation 🔗 Biography/science and academia 🔗 Military history/Military biography 🔗 Biography/military biography 🔗 Aviation/aerospace biography 🔗 Military history/Cold War 🔗 Biography/sports and games 🔗 Russia/Russian, Soviet, and CIS military history 🔗 Military history/Russian, Soviet and CIS military history 🔗 Russia/history of Russia

Yuri Alekseyevich Gagarin  (9 March 1934 – 27 March 1968) was a Soviet Air Forces pilot and cosmonaut who became the first human to journey into outer space, achieving a major milestone in the Space Race; his capsule Vostok 1 completed one orbit of Earth on 12 April 1961. Gagarin became an international celebrity and was awarded many medals and titles, including Hero of the Soviet Union, his nation's highest honour.

Born in the village of Klushino near Gzhatsk (a town later renamed after him), in his youth Gagarin was a foundryman at a steel plant in Lyubertsy. He later joined the Soviet Air Forces as a pilot and was stationed at the Luostari Air Base, near the Norwegian border, before his selection for the Soviet space programme with five other cosmonauts. Following his spaceflight, Gagarin became deputy training director of the Cosmonaut Training Centre, which was later named after him. He was also elected as a deputy of the Soviet of the Union in 1962 and then to the Soviet of Nationalities, respectively the lower and upper chambers of the Supreme Soviet.

Vostok 1 was Gagarin's only spaceflight but he served as the backup crew to the Soyuz 1 mission, which ended in a fatal crash, killing his friend and fellow cosmonaut Vladimir Komarov. Fearing for his life, Soviet officials permanently banned Gagarin from further spaceflights. After completing training at the Zhukovsky Air Force Engineering Academy on 17 February 1968, he was allowed to fly regular aircraft. Gagarin died five weeks later when the MiG-15 training jet he was piloting with his flight instructor Vladimir Seryogin crashed near the town of Kirzhach.

🔗 Ancient Egypt 🔗 Color 🔗 Archaeology 🔗 Visual arts

Mummy brown, also known as Egyptian brown or Caput Mortuum,^: 254 is a rich brown bituminous pigment with good transparency, sitting between burnt umber and raw umber in tint. The pigment was made from the flesh of mummies mixed with white pitch and myrrh. Mummy brown was extremely popular from the mid-eighteenth to the nineteenth centuries. However, fresh supplies of mummies diminished, and artists were less satisfied with the pigment's permanency and finish. By 1915, demand had significantly declined. Suppliers ceased to offer it by the middle of the twentieth century.^: 82

Mummy brown was one of the favourite colours of the Pre-Raphaelites. It was used by many artists, including Eugene Delacroix, William Beechey, Edward Burne-Jones, Lawrence Alma-Tadema, and Martin Drolling.

🔗 Physics 🔗 Astronomy 🔗 Time 🔗 Holidays 🔗 Festivals

A solstice is an event occurring when the Sun appears to reach its most northerly or southerly excursion relative to the celestial equator on the celestial sphere. Two solstices occur annually, around June 21 and December 21. In many countries, the seasons of the year are determined by reference to the solstices and the equinoxes.

The term solstice can also be used in a broader sense, as the day when this occurs. The day of a solstice in either hemisphere has either the most sunlight of the year (summer solstice) or the least sunlight of the year (winter solstice) for any place other than the Equator. Alternative terms, with no ambiguity as to which hemisphere is the context, are "June solstice" and "December solstice", referring to the months in which they take place every year.

The word solstice is derived from the Latin sol ("sun") and sistere ("to stand still"), because at the solstices, the Sun's declination appears to "stand still"; that is, the seasonal movement of the Sun's daily path (as seen from Earth) pauses at a northern or southern limit before reversing direction.

🔗 Electronics

In signal processing, the Nyquist frequency (or folding frequency), named after Harry Nyquist, is a characteristic of a sampler, which converts a continuous function or signal into a discrete sequence. For a given sampling rate (samples per second), the Nyquist frequency (cycles per second) is the frequency whose cycle-length (or period) is twice the interval between samples, thus 0.5 cycle/sample. For example, audio CDs have a sampling rate of 44100 samples/second. At 0.5 cycle/sample, the corresponding Nyquist frequency is 22050 cycles/second (Hz). Conversely, the Nyquist rate for sampling a 22050 Hz signal is 44100 samples/second.

When the highest frequency (bandwidth) of a signal is less than the Nyquist frequency of the sampler, the resulting discrete-time sequence is said to be free of the distortion known as aliasing, and the corresponding sample rate is said to be above the Nyquist rate for that particular signal.

In a typical application of sampling, one first chooses the highest frequency to be preserved and recreated, based on the expected content (voice, music, etc.) and desired fidelity. Then one inserts an anti-aliasing filter ahead of the sampler. Its job is to attenuate the frequencies above that limit. Finally, based on the characteristics of the filter, one chooses a sample rate (and corresponding Nyquist frequency) that will provide an acceptably small amount of aliasing. In applications where the sample rate is pre-determined (such as the CD rate), the filter is chosen based on the Nyquist frequency, rather than vice versa.