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Anti-Personnel Mines Convention Implementation Act 2000

The Anti-Personnel Mines Convention Implementation Act 2000, is a Malaysian laws which enacted to implement the Convention on the Prohibition of the Use, Stockpiling and Transfer of Anti-Personnel Mines and on their Destruction. WHEREAS according to Article 17 of the Convention on the Prohibition of the Use, Stockpiling and Transfer of Anti-Personnel Mines and on their Destruction --- "1; this Convention shall enter into force on the first day of the sixth month after the month in which the 40th Instrument of ratification, approval or accession has been deposited. 2. For any State which deposits its instrument of ratification, approval or accession after the date of the deposit of the 40th instrument of ratification, approval or accession, this Convention shall enter into force on the first day of the sixth month after the date on which that State has deposited its instrument of ratification, approval or accession.": AND WHEREAS the said 40th instrument of ratification was so deposited by Burkina Faso on the sixteenth day of September 1998 and the Convention therefore entered into force on the first day of March 1999: AND WHEREAS Malaysia deposited her instrument of accession on the twenty-second day of April 1999 and therefore in accordance with the said Article 17 the Convention entered into force as far as Malaysia is concerned on the first day of October 1999.

Anti-Personnel Mines Convention Implementation Act 2000 This article incorporates text from this source, in the public domain

Philippe Solari

Philippe Solari was a provencal sculptor, of Italian origin, a contemporary and friend of Paul Cézanne and Émile Zola. He acquired French nationality in 1870. Born into a poor family with six sisters, Philippe Solari was educated at the boarding school of Notre-Dame, where he got to know Émile Zola; the two became close friends. Between 1860 and 1865, Solari would attend the regular Thursday soirées at Zola's home in Paris for discussions on art. Drawn towards art, sculpture in particular, Solari went on to attend the School of Fine Arts in Aix. After winning the Prix Granet in Aix, he attended the Academy of Charles Suisse in Paris; this artist's studio, situated on the quai des Orfèvres on the Île de la Cité counted Édouard Manet, Claude Monet, Camille Pissarro and Paul Cézanne among its students. Solari, found it hard to make ends meet as an artist; the painter Achille Emperaire, trained at the same Academy, commented, "Everybody had support, only poor Solari was forced to worry about his next crust."

He made his debut in Paris at the 1867 Salon. At the 1868 Salon, speaking about Solari's "Sleeping negro", Zola declared, "I find in Philippe Solari one of our two or three modern sculptors, he has ceased to dream about absolute beauty. Beauty for him has become the living expression of nature, the interpretation of the human body." When his sculpture of Johan Barthold Jongkind was unveiled in the Cemetery of Montmartre in 1904, Solari preferred not to step forward to be acknowledged. This characteristic reserve was doubtless responsible for the many closed doors that he encountered in the course of his career. A first cast of the sculpture of Jongkind is on display in rue Ganay in Aix. At the end of his life he produced two sculptures of Cézanne, one from memory, the other sculpted from life in Cézanne's studio in Aix; the journalist Jules Bernex told an anecdote about the last sitting. When adding the final touches, the sculptor took a pince-nez out of his pocket and placed it on his nose. Cézanne objected, exclaiming that never again would he sit for someone who could not see him with the naked eye.

He married Thérèse Strempel, the daughter of a German industrialist, in 1867. Although she was to die not long afterwards, she bore him two children: a daughter in 1867 and six years a son, Émile, whose godparents would be Émile Zola and his wife. Solari had in turn been a witness at the Zola's marriage. While working on one of the floats for the carnival of Aix, Solari developed pneumonia; as he was being taken by carriage to hospital, he murmured, "What a pity about the weather." Solari died in the same year as Cézanne. The painter Joseph Ravaisou commented, "The year, ending has seen two artists pass away who, despite having different fortunes in life, were both singled out by a detachment from worldly matters and the same propensity for pure naive emotion. One was the other a painter. Prosperity for Cézanne and Poverty for Solari brought comparable joys, side by side throughout the lives of the two artists, hand in hand with the approach of death: both artists were struck down in the same circumstances by the same illness."

Les petits maîtres d'Aix à la belle époque, F. Baille, 1981. Biography of Solari from Zola archive in University of Toronto Translated from French version


KLEW-TV, virtual channel 3, is a CBS-affiliated television station licensed to Lewiston, United States, serving north-central Idaho and southeastern Washington, including nearby Pullman, as well as Wallowa County, Oregon. The station is owned by the Sinclair Broadcast Group. KLEW's studios are located on 17th Street in Lewiston, its transmitter is located near Clarkston, Washington. Though identifying as a station in its own right, KLEW-TV is considered a semi-satellite of KIMA-TV in Yakima, which operates another semi-satellite, KEPR-TV in Tri-Cities, Washington. KLEW and KEPR simulcast all network and syndicated programming as provided through KIMA, but air separate commercial inserts, legal identifications and weeknight newscasts, have their own websites. Master control and some internal operations are based at KOMO Plaza in Seattle. KLEW is carried alongside KREM on Dish DirecTV throughout the Spokane television market. KLEW-TV signed on the air December 1955 under the ownership of Cascade Broadcasting.

It has always been a CBS affiliate. The station's original studio facilities were located on Idaho Street in Lewiston. Filmways agreed to purchase Cascade Broadcasting for $3 million in 1968. Filmways sold KLEW-TV, KIMA-TV, KEPR-TV to NWG Broadcasting for $1 million in 1972. In 1977, KLEW moved from its original studios on Idaho Street to its current location on 17th Street. Retlaw Enterprises acquired the NWG stations, including KLEW-TV, for $17 million in 1986. Fisher Companies agreed to purchase the Retlaw stations for $215 million on November 19, 1998, a deal, completed in July 1999. On April 11, 2013, Fisher announced that it would sell its properties to the Sinclair Broadcast Group; the station's digital signal is multiplexed: KLEW-TV airs local newscasts weeknights at 5:00, 6:00 and 11:00 p.m. local news cut-ins during the weekday edition of CBS This Morning from 7:00 to 9:00 a.m. that includes a short 5-minute interview segment called Northwest Morning, simulcasts sister station KIMA-TV's 5:00 and 6:30 a.m. newscasts, as KLEW does not have morning, midday or weekend newscasts.

Official website Query the FCC's TV station database for KLEW Query TV Fool's coverage map for KLEW BIAfn's Media Web Database -- Information on KLEW-TV

Anthony Boucher

Anthony Boucher was an American author and editor, who wrote several classic mystery novels, short stories, science fiction, radio dramas. Between 1942 and 1947 he acted as reviewer of mystery fiction for the San Francisco Chronicle. In addition to "Anthony Boucher", White employed the pseudonym "H. H. Holmes", the pseudonym of a late-19th-century American serial killer. In a 1981 poll of 17 detective story writers and reviewers, his novel Nine Times Nine was voted as the ninth best locked room mystery of all time. White was born in Oakland and went to college at the University of Southern California, he received a master's degree from the University of California, Berkeley. After a friend told him that "William White" was too common a name, he used "H. H. Holmes" to write and review mysteries and "Anthony Boucher" for science fiction, he pronounced Boucher phonetically, "to rhyme with voucher". Boucher wrote mystery, science fiction, horror, he was an editor, including science fiction anthologies, wrote mystery reviews for many years in The New York Times.

He was one of the first English translators of Jorge Luis Borges, translating "The Garden of Forking Paths" for Ellery Queen's Mystery Magazine. He helped found the Mystery Writers of America in 1946 and, in the same year, was one of the first winners of the MWA's Edgar Award for his mystery reviews in the San Francisco Chronicle, he was a founding editor of The Magazine of Fantasy & Science Fiction from 1949 to 1958, attempted to make literary quality an important aspect of science fiction. He won the Hugo Award for Best Professional Magazine in 1957 and 1958. Boucher edited the long-running Best from Fantasy and Science Fiction anthology series, from 1952 to 1959. Among Boucher's critical writing was contributing annual summaries of the state of speculative fiction for Judith Merril's The Year's Best SF series. Boucher's first short story saw print when he was fifteen years old in the January, 1927 issue of Weird Tales. Titled "Ye Goode Olde Ghoste Storie," it was the only story to appear under his real name, William A. P. White.

Boucher went on to write short stories for many pulp fiction magazines in America, including Adventure, Black Mask, Ed McBain's Mystery Book, Ellery Queen's Mystery Magazine, Galaxy Science Fiction, The Master Detective, Unknown Worlds and Weird Tales. His short story "The Quest for Saint Aquin" was among the stories selected in 1970 by the Science Fiction Writers of America as one of the best science fiction short stories of all time; as such, it was published in The Science Fiction Hall of Fame, Volume One, 1929–1964. Boucher was the mentor of science-fiction writer Philip K. Dick and others, his 1942 novel Rocket to the Morgue, in addition to being a classic locked room mystery, is something of a roman à clef about the Southern California science fiction culture of the time, featuring thinly veiled versions of personalities such as Robert A. Heinlein, L. Ron Hubbard and rocket scientist/occultist/fan Jack Parsons. Boucher scripted for radio and was involved in many other activities, as described by William F. Nolan in his essay "Who Was Anthony Boucher?": The 1940s proved to be a busy and productive decade for Boucher.

In 1945 he launched into a spectacular three-year radio career, plotting more than 100 episodes for The Adventures of Ellery Queen, while providing plots for the bulk of the Sherlock Holmes radio dramas. By the summer of 1946 he had created his own mystery series for the airwaves, The Casebook of Gregory Hood. With respect to his scripting of the Sherlock Holmes radio dramas, Nigel Bruce, who played Dr. Watson, said that Boucher "had a sound knowledge of Conan Doyle and a great affection for the two characters of Holmes and Watson." Boucher left dramatic radio in 1948, "mainly because I was putting in a lot of hours working with J. Francis McComas in creating what soon became The Magazine of Fantasy and Science Fiction. We got it off the ground in 1949 and saw it take hold solidly by 1950; this was a major creative challenge and although I was involved in a lot of other projects, I stayed with F&SF into 1958." Throughout his years with the magazine, Boucher was involved in many other projects.

He wrote fiction for mystery markets. He taught an informal writing class from his home in Berkeley, he continued his Sunday mystery columns for the New York Times Book Review, while writing crime-fiction reviews for The New York Herald Tribune as Holmes and functioning as chief critic for Ellery Queen's Mystery Magazine. He edited True Crime Detective, supervised the Mercury Mystery Line and the Dell Great Mystery Library; as part of his reviews of mystery novels, he published a list of Best Crime Fiction of the Year from 1949 to 1967, listing from 12 to 15 titles each year. He published his list as Anthony Boucher. Boucher was a devoted poker player, a political activist, a rabid sport fan, an

List of tallest structures in Tokyo

Tokyo is the most populated of Japan's 47 prefectures. In Tokyo, there are 49 structures that stand taller than 187 metres; the tallest structure in the prefecture is Tokyo Skytree, a lattice tower that rises 634 metres, completed in 2012. It stands as the tallest structure in Japan, the tallest tower in the world and the 2nd-tallest freestanding structure in the world; the tallest building and third-tallest overall structure in Tokyo is the 256-metre-tall Toranomon Hills, completed in 2014. The prefecture's second tallest building is Midtown Tower, which rises 54 stories and 248 metres in height. Overall, of the 25 tallest buildings and structures in Japan, 16 are in Tokyo. Skyscrapers are a recent phenomenon in Japan. Due to aesthetic and engineering concerns, Japan's Building Standard Law set an absolute height limit of 31 metres until 1963, when the limit was abolished in favor of a Floor Area Ratio limit. Following these changes in building regulations, the Kasumigaseki Building was constructed and completed in 1968.

Double the height of Japan's previous tallest building—the 17-story Hotel New Otani Tokyo—the Kasumigaseki Building is regarded as Japan's first modern high-rise building, rising 36 stories and 156 metres in height. A booming post-war Japanese economy and the hosting of the 1964 Summer Olympics helped lead to a building boom in Tokyo during the 1960s and 1970s. Construction continued through the 1990s as the Japanese asset price bubble rose and fell. Mainland Tokyo is divided into the special wards of Tokyo. All of the prefecture's tallest buildings are within the 23 special wards, which comprise the area incorporated as Tokyo City. Nishi-Shinjuku, a district within Shinjuku, was the prefecture's first major skyscraper development area. Starting with the construction of the Keio Plaza Hotel in the 1971, the district is now home to 12 of Tokyo's 44 tallest skyscrapers. Tokyo has been the site of many skyscraper construction projects in recent years. Since 2013, seven buildings rising higher than 187 metres have been completed.

As of January 2018, seven such buildings are under construction in the prefecture. Several other construction projects planned to exceed the height of 187 metres are proposed for the near future; this list ranks Tokyo skyscrapers that stand at least 187 metres tall, based on standard height measurement. This height does not include antenna masts. An equal sign following a rank indicates the same height between two or more buildings; the "Year" column indicates the year. Freestanding towers, guyed masts and other not habitable structures are included for comparison purposes. * Indicates buildings that are still under construction but have been topped out. = Indicates buildings that have the same rank. This list ranks Tokyo structures that stand at least 187 metres tall, excluding buildings, based on standard height measurement; this height includes architectural details and antenna masts. This lists buildings and free-standing structures that are under construction in Tokyo and are planned to rise at least 187 metres.

Any buildings that have been topped out but are not completed are included. * Indicates buildings that are still under construction but have been topped out. This is a list of buildings. Since its completion in 2012, Tokyo Skytree has been the tallest structure in Tokyo as well as in Japan, overtaking Tokyo Tower. A. ^ This structure is included in this list for comparative purposes. Per a ruling by the Council on Tall Buildings and Urban Habitat, freestanding observation towers, chimneys or masts are not considered to be buildings, as they are not habitable structures. B. ^ Marcus Island is not within the special wards of Tokyo. Administratively, the island is part of Tokyo. C. ^ Nishitōkyō is not within the special wards of Tokyo. It is one of the 30 cities and villages included in Western Tokyo. D. ^ Iwo Jima is not within the special wards of Tokyo. Administratively, the island is part of Tokyo. GeneralTokyo, Diagram of Tokyo skyscrapers, Tokyo, The Skyscraper CenterSpecific