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Apollo 14

Apollo 14 was the eighth crewed mission in the United States Apollo program, the third to land on the Moon, the first to land in the lunar highlands. It was the last of the "H missions," targeted landings with two-day stays on the Moon with two lunar EVAs, or moonwalks. Commander Alan Shepard, Command Module Pilot Stuart Roosa, Lunar Module Pilot Edgar Mitchell launched on their nine-day mission on Sunday, January 31, 1971, at 4:03:02 p.m. EST. Liftoff was delayed forty minutes and two seconds, due to launch site weather restrictions, the first such delay in the Apollo program. Shepard and Mitchell made their lunar landing on February 5 in the Fra Mauro highlands – the target of the aborted Apollo 13 mission. During the two lunar EVAs, 94.35 pounds of Moon rocks were collected, several scientific experiments were performed. Shepard hit two golf balls on the lunar surface with a makeshift club he had brought with him. Shepard and Mitchell spent 33​1⁄2 hours on the Moon, with 9​1⁄2 hours of EVA.

In the aftermath of Apollo 13, several modifications had been made to the service module electrical power system to prevent a repeat of that accident, including a redesign of the oxygen tanks and the addition of a third tank. The launch had been scheduled for October 1, 1970, was delayed about four months. While Shepard and Mitchell were on the surface, Roosa remained in lunar orbit aboard the command and service module Kittyhawk, performing scientific experiments and photographing the Moon, including the landing site of the future Apollo 16 mission, he took several hundred seeds on the mission, many of which were germinated on return, resulting in the so-called Moon trees. Shepard and Mitchell lifted Antares off the Moon to dock with the command module and, after a total of 34 lunar orbits, the ship was flown back to Earth where the three astronauts landed in the Pacific Ocean on February 9. Shepard was the oldest U. S. astronaut when he made his trip aboard Apollo 14. He is the only astronaut from Project Mercury to reach the Moon.

Another of the original seven, Gordon Cooper, had tentatively been scheduled to command the mission, but according to author Andrew Chaikin, his casual attitude toward training, along with problems with NASA hierarchy, resulted in his removal. The mission was a personal triumph for Shepard, who had battled back from Ménière's disease which grounded him from 1964 to 1968, he and his crew were scheduled to fly on Apollo 13, but in 1969 NASA officials switched the scheduled crews for Apollos 13 and 14. This was done to allow Shepard more time to train for his flight, as he had been grounded for four years. During projects Mercury and Gemini, each mission had a backup crew. Apollo 9 commander James McDivitt believed meetings that required a member of the flight crew were being missed, so for Apollo a third crew of astronauts was added, known as the support crew. Low in seniority, support crew members assembled the mission's rules, flight plan, checklists, kept them updated. For Apollo 14, flight directors were: Pete Orange team.

Geocentric: Mass: CSM 64,463 pounds. NASA's long-range cameras, based 60 miles south in Vero Beach, had a clear shot of the remainder of the launch. Following the launch, the Launch Control Center at Kennedy Space Center was visited by U. S. Vice President Spiro T. Agnew, Prince Juan Carlos of Spain, his wife, Princess Sofía. At the beginning of the mission, the Apollo CSM Kittyhawk had difficulty achieving capture and docking with the LM Antares. Repeated attempts to dock went on for 1 hour and 42 minutes, until it was suggested that Roosa hold Kittyhawk against Antares using its thrusters the docking probe would be retracted out of the way triggering the docking latches; the sixth attempt was successful, no further docking problems were encountered during the mission. After separating from the command module in lunar orbit, the LM Antares had two serious problems. First, the LM computer began getting an ABORT signal from a faulty switch. NASA believed the computer might be getting erroneous readings like this if a tiny ball of solder had shaken loose and was floating between the switch and the contact, closing the circuit.

The immediate solution – tapping on the panel next to the switch – did work but the circuit soon closed again. If the problem recurred after the descent engine fired, the computer would think the signal was real and would initiate an auto-abort, causing the ascent stage

East Nanjing Road station

East Nanjing Road is an interchange station between Lines 2 and 10 on the Shanghai Metro. It is located in Huangpu District, under the intersection of Nanjing Road and Henan Road in the city center of Shanghai. Before October 2006, it was known as Middle Henan Road station; the name was changed according to the new convention to name metro stations after famous streets or sights nearby rather than the vertical street neighbouring the station, making it easier for visitors to find these places. This station is part of the initial section of Line 2 that opened from Zhongshan Park to Longyang Road that opened on 20 September 1999; the interchange with the main branch of Line 10 section of the station opened on 10 April 2010. Nanjing Road - a pedestrian-only shopping street Fuzhou Road with many bookstores The Bund - overlooking the Huangpu River Renji Hospital Holy Trinity Cathedral, Shanghai Three Metro station names will be changed

Catacomb 3-D

Catacomb 3-D is the third in the Catacomb series of video games, the first of these games to feature 3D computer graphics. The game was published by Softdisk under the Gamer's Edge label, is a first-person shooter with a dark fantasy setting; the player takes control of the high wizard Petton Everhail, descending into the catacombs of the Towne Cemetery to defeat the evil lich Nemesis and rescue his friend Grelminar. Catacomb 3-D is a landmark title in terms of first-person graphics; the game was released in November 1991 and is arguably the first example of the modern, character-based first-person shooter genre, or at least it was a direct ancestor to the games that popularized the genre. It was released for MS-DOS with EGA graphics; the game introduced the concept of showing the player's hand in the three-dimensional viewpoint, an enhanced version of its technology was used for the more successful and well-known Wolfenstein 3D. The game's more primitive technological predecessor was Hovertank 3D.

The origin of the games is Catacomb by John Carmack for the PC and Apple II. This was a two-dimensional game utilizing a third-person view from above, released in 1989-1990, it was followed up with Catacomb II. The first release of Catacomb 3-D was called Catacomb 3-D: A New Dimension, but it was re-released as Catacomb 3-D: The Descent, as well as Catacombs 3 for a re-release as commercially packaged software; the game creators were John Carmack, John Romero, Jason Blochowiak, Tom Hall, Adrian Carmack, Robert Prince. The game was programmed using the Borland C++ programming language. Id Software's use of texture mapping in Catacomb 3-D was influenced by Ultima Underworld. Conflicting accounts exist regarding the extent of this influence, however. In the book Masters of Doom, author David Kushner asserts that the concept was discussed only during a 1991 telephone conversation between Underworld developer Paul Neurath and John Romero. However, Paul Neurath has stated multiple times that John Carmack and John Romero had seen the game's 1990 CES demo, recalled a comment from Carmack that he could write a faster texture mapper.

Catacomb 3-D was followed in the so-called Catacomb Adventure Series. They were not developed by id Software but internally by Softdisk with a new staff for Gamer's Edge, who made the Dangerous Dave sequels. All of the games, including the original Catacomb titles, are now distributed by Flat Rock Software through their own web store and via Flat Rock have released the source code for the games under the GNU General Public License in June 2014 in a manner similar those done by id and partners; this has led to the creation of the source port Reflection Catacomb called Reflection Keen due to shared support for Keen Dreams, ports all of the 3D Catacomb games to modern systems. The credits for the series are Mike Maynard, James Row, Nolan Martin, Steven Maines, Carol Ludden, Jerry Jones, Adrian Carmack, James Weiler, Judi Mangham, id Software; the series' development head, Greg Malone became creative director for Duke Nukem 3D and worked on Shadow Warrior for 3D Realms. Department heads Mike Maynard and Jim Row, would co-found JAM Productions, the creators of Blake Stone using an enhanced Wolfenstein 3D engine.

The series introduced an item called crystal hourglasses, which would temporarily freeze time and allow the player to stage shots to destroy enemies upon the resumption of normal time, pre-dating bullet time features in games such as Requiem: Avenging Angel and Max Payne. Catacomb Abyss is the sequel to Catacomb 3-D, featured the same main character in a new adventure: since his defeat, some of Nemesis' minions have built a mausoleum in his honour. Fearful of the dark mage's return, the townspeople hire Everhail to end the evil; the environments are more varied than in Catacomb 3D, featuring crypts, mines, volcanic regions and various other locales. It was the only game in the series, distributed as shareware, released by Softdisk in 1992. Catacomb Armageddon is the sequel to Catacomb Abyss; the levels featured, among others, forests, torture chambers, an ant colony, a crystal maze. It was developed by Softdisk and was republished by Froggman under the title Curse of the Catacombs. Catacomb Apocalypse is the final game in the Catacomb Adventure Series.

It was set in the distant future, accessible via time portals, mixed fantasy and science fiction elements, pitting players against robotic necromancers and the like. It is the only game in the trilogy to have a hub system, though it was present in the original Catacomb 3D, it was developed by Softdisk and republished by Froggman under the title Terror of the Catacombs. According to John Romero, the team felt it lacked the coolness and fun of Commander Keen, although the 3D technology was interesting to work with. Computer Gaming World in May 1993 called The Catacomb Abyss "very enjoyable" despite the "minimal" EGA graphics and sound; the magazine stated in February 1994 that Terror of the Catacombs's "Playability is good addictive, offers bang for the buck in spite of its lackluster" EGA graphics. Transend Services Ltd. sold over 1,000 copies of the game in the f

St. Mary's Church, Gulberg

St. Mary’s Church is a Roman Catholic church in Gulberg, Pakistan, it was founded in 1961 in the Roman Catholic Archdiocese of Lahore. The parish priest from 2000 to 2002 was Fr. Francis Nadeem, O. F. M. Cap; the current arish priest is Rev. Fr. William Basharat, O. F. M. Cap; the parish hosts five youth groups whose activities are Prayer, Bible Sharing, Promoting Awareness of Catechism, Education and Social Harmony. The Parish is home to the Family Fellowship Forum; the forum is attended by about 100 couples. It meets every two months to discuss issues such as tolerance in the family, children's formation and education. Father Morris Jalal started the forum after parishioners sought counselling from him about their family problems; the priest stressed the need to implement such programs in city parishes, where people do not know their neighbours. St. Mary's Parish has about 2,200 families, 40 percent of which moved tere from areas outside Lahore; the parish has a college scholarship fund. St. Mary's Church held its fourth annual fund-raising event, titled Deep Say Deep Jalao, during the evening of June 10, 2006.

That year, the parish raised 344,000 rupees. The program helped three young parishioners to get nursing training at hospitals and four others who went to study at the Don Bosco Technical Institute, Lahore. Another accomplishment was the opening of the Tarbiyat Centre in the Parish in 2007, which had the aim of empowering parishioners through knowledge of their own and other religions; the centre's main resource base is its collection of 2,000 books in English and Urdu on Christianity, Hinduism and Taoism. The library contains books on culture and sociology, as well as 200 compact discs. In addition, the centre has a computer with Internet access. Capuchin Father Eubert Pollentier served in the archdiocese for 48 years

Robert Houle

Robert Houle is a Saulteaux First Nations Canadian artist, curator and educator. Houle has had an active artistic practice since the mid-1970s, he played an important role in bridging the gap between contemporary First Nations artists and the broader Canadian art scene through his writing and involvement in early important high-profile exhibitions such as Land, Power: First Nations at the National Gallery of Canada. As an artist, Houle has shown both nationally and internationally, he is predominantly a painter working in the tradition of Abstraction, yet he has embraced a pop sensibility by incorporating everyday images and text into his works. His work addresses their effects on First Nation peoples. Houle appropriates historical photographs and texts and combining them with Anishnaabe language and traditionally used materials such as porcupine quills within his works. Houle was born in Manitoba on 9 March 1947 to parents Gladys and Solomon Houle, he was the eldest of fifteen children, all of whom were raised Roman Saulteaux.

From grades one through eight he attended the The Oblates of Mary Immaculate and Sisters of St. Joseph of St. Hyacinth School Residential Schools in Sandy Bay. Houle earned his Bachelor of Arts in Art History from the University of Manitoba in 1972. After graduating, he augmented his art training by attending the Salzburg International Summer Academy focusing on painting and drawing. In 1975 he earned his Bachelor of Education degree in Art Education at McGill University in Montreal, Quebec. While studying at McGill he taught art classes at the Indian Way School in Kahnawake. In 1991 Houle took a position as the first professor of Indigenous Studies at The Ontario College of Art, where he taught for fifteen years, mentoring artists including Shelley Niro, Bonnie Devine, Michael Belmore Houle's paintings have been exhibited at the National Gallery of Canada, the Art Gallery of Ontario, Museum of Contemporary Art, the Canadian Cultural Centre in Paris, the Stedelijk Museum. In Canada, he has shown work at the Mendel Art Gallery, the Museum of Contemporary Canadian Art, the Carleton University Art Gallery, the Agnes Etherington Art Centre, Tom Thomson Memorial Art Gallery, the Art Gallery of Ontario, La Biennale de Montreal, the Art Gallery of Peterborough and the Winnipeg Art Gallery.

His artwork has been collected in parts of the United States and Australia. From 1977 to 1981 Houle was the first Indigenous curator of contemporary Indigneous Art at the Canadian Museum of Civilisation in Ottawa, his work at the CMC consisted of researching and writing about the pre-existing collection, as well as advocating for new acquisitions and developing his own practice. He travelled in pursuit of this work, becoming close with Abraham Anghik Ruben, Robert Davidson, Norval Morrisseau, Carl Beam, Daphne Odjig, Alex Janvier, Robert Boyer in the process. However, the inhospitable irresponsible culture at museum began to take its toll, after three years, Houle resigned stating: I realized that artistically and aesthetically I was in hostile territory. There was no place to exhibit the contemporary works I bought for the museum, I just could not accept that, as a practising artist, what I made had to be relegated to the realm of anthropology, he has curated and co-curated ground-breaking exhibitions such as New Work By a New Generation, at the Norman Mackenzie Art Gallery in Regina in 1982, Land Spirit Power: First Nations at the National Gallery of Canada in 1992.

He has been a visiting artist at Hood College, Gettysburg College, the Heard Museum, the McMichael Canadian Art Collection and the Winnipeg Art Gallery. For years, he taught as an instructor at the Ontario College of Art and Design, from which he is now retired, he was made a member of the Royal Canadian Academy of Arts. Houle's considerable influence as an artist, curator and writer have led to his being awarded the Janet Braide Memorial Award for Excellence in Canadian art History in 2003. Ds, In 2015 he was awarded the Governor General's Award for Visual Arts. Houle's work is in public collections including the Art Gallery of Ontario, Heard Museum, Laurentian University Museum and Arts Centre, McGill University, National Gallery of Canada. Madill, Shirley. Robert Houle: Life & Work. Toronto: Art Canada Institute, 2018. ISBN 978-1-4871-0171-8 Madill, Shirley J. R. Robert Houle: Sovereignty over Subjectivity. Winnipeg, MB: Winnipeg Art Gallery, 1992. ISBN 978-0-88915-190-1. Robert Houle, Brave Art World Kinsman Robinson Galleries - Robert Houle


Harikela was a kingdom in ancient Bengal encompassing much of the eastern regions of the Indian Subcontinent. There are numerous references to the kingdom in historical texts as well as archeological artifacts including silver coinage; the kingdom was ruled by the Chandra dynasty during the 10th century CE. They were overthrown by the Varman dynasty. In the 17th century the Mughal Empire brought Harikela under the province of Bengal. For a time its capital was near Chittagong before being moved to Munshiganj by the Candras. Arab traders recognised Harikela as the coastal regions of Bengal in the early period and included Sylhet in the period reaching as far as the ancient Sundarbans. Majumdar, Ramesh Chandra; the History of Bengal. Dacca: B. R. Publishing. Pp. 16–18, 134–135. ISBN 81-7646-237-3. Singh, Nagendra Kr.. Encyclopaedia of Bangladesh. Anmol Publications Pvt Ltd. ISBN 81-261-1390-1. Rashid, M Harunar. "Harikela". In Islam, Sirajul. Banglapedia: National Encyclopedia of Bangladesh. Asiatic Society of Bangladesh