Keť is a village and municipality in the Levice District in the Nitra Region of Slovakia. In historical records the village was first mentioned in 1308; the village lies at an altitude of 150 metres and covers an area of 19.65 km². It has a population of about 680 people; the village is 94% Magyar and 6% Slovak. The village has its own birth registry; the village has a public library a soccer pitch. Https://web.archive.org/web/20080111223415/http://www.statistics.sk/mosmis/eng/run.html
Kentucky Educational Television
Kentucky Educational Television is a state network of PBS member television stations serving the U. S. Commonwealth of Kentucky, it is owned and operated by the Kentucky Authority for Educational Television, which holds the licenses for all of the PBS member stations licensed in the state with the exception of WKYU-TV in Bowling Green. KET is the largest PBS state network in the United States; the network's offices, network center and primary studio facilities are located at the O. Leonard Press Telecommunications Center on Cooper Drive in Lexington, adjacent to the campus of the University of Kentucky. KET has production centers in Louisville as well as at the Kentucky State Capitol Annex in Frankfort. KET carries national programming from PBS and American Public Television along with a wide range of local programming, basic skills and workplace education. KET was founded by O. Leonard Press, a member of the University of Kentucky faculty, a pioneer in educational broadcasting. Before coming to the university, Press had developed the weekly broadcast from the National Press Club, which has aired for over half a century.
In the mid-1950s, he taped a popular anthropology course, the response to the telecourses was positive enough for Press and two of his colleagues to consider founding an educational television station at UK. This was a natural choice given UK's history in educational broadcasting. UK had been involved in broadcasting in one form or another since 1921, operated WBKY, the nation's oldest educational radio station on the FM dial; this drive failed, but Press and his colleagues decided to set their sights higher and make a bid for a statewide educational television network along the lines of Alabama Educational Television. At the time, the only educational station in Kentucky was WFPK-TV in Louisville, which signed on the air on September 8, 1958. Before KET signed on, the only other areas of Kentucky that received a clear signal from an educational television station were Northern Kentucky, the Jackson Purchase, certain areas of South Central Kentucky near the Tennessee state line; the idea gained little momentum until 1959, when Press addressed the local Rotary Club in the state capital of Frankfort and a story about it appeared in The Courier-Journal newspaper.
After landing support from UK officials, what was supposed to be a short meeting with Governor Bert T. Combs turned into a proposal to start the state network; the Kentucky Authority for Educational Television was created in 1962 with Press serving as its executive director. The project made little progress until 1965 when Ashland Oil founder Paul G. Blazer acquired the first thirteen transmitter sites and gifted the sites to the authority. Ownership of the sites led to KET's expanded inclusion in the state budget and eligibility for HEW and Appalachian Regional Commission grants. KET went on the air for the first time at 3:00 PM Eastern time; the first broadcast started with Governor Louie B. Nunn speaking at the network's dedication ceremony that marked the network's first day on the air. Nunn himself pressed the button to put the network on the air; the ten charter stations of the network were flagship station WKLE/Lexington, along with WKAS/Ashland, WKGB-TV/Bowling Green, WKZT-TV/Elizabethtown, WKHA/Hazard, WKMA-TV/Madisonville, WKMR/Morehead, WKON/Owenton, WKPI-TV/Pikeville, WKSO-TV/Somerset.
Over the next 13 years after the network's sign-on, five more full-power stations were added to the network: WKMU in Murray joined the network 16 days after the network's inception. WCVN-TV of Covington was signed on to be part of the network in September 1969 to serve the Cincinnati, Ohio area and Kentucky's northernmost counties.. In Louisville, KET signed on WKMJ-TV on September 2, 1970 to provide the Louisville area its second educational television station alongside its then-standalone WFPK-TV. In 1978, WKPD of Paducah was converted to a KET station after seven years of broadcasting as commercial independent station WDXR-TV; this was done so KET can reach areas of the Jackson Purchase area that Murray's WKMU could not reach. Until that time, WSIU-TV in Carbondale, Illinois was the default PBS station. In the Owensboro/Henderson area, WNIN-TV/Evansville, Indiana was the default educational television station from its 1970 inception until March 1, 1979, when KET signed on WKOH to expand the network's reach into that area, due to WKMA's signal not being strong enough to cover the Owensboro area.
This brings a second educational station to become available to the Evansville media market. Before joining PBS in 1970, KET was a member of its predecessor, National Educational Television, for its first two years of operation, broadcasting some of that network's programs; the first instructional television program produced by KET was Kentucky is My Land, which premiered in 1969. Operating only during school hours, within a year it had acquired enough support to begin broadcasting its programming during the evening as well. By 1975, it was showing programming seven days a week; the network began nightly coverage of the Kentucky General Assembly in 1978. The KET Fund for Excellence, one of the network's sources of funding is established in 1981. Other sources of funding outside of grants include those r
The Discworld gods are the fictional deities from Terry Pratchett's Discworld series of fantasy novels. The Discworld, being a flat disc supported on the backs of four elephants on top of a giant flying turtle, exists in a region of the universe where reality is somewhat less consistent than it appears in our own, more mundane corner of existence; because reality on the Disc is so fragile and malleable, belief has a tendency to take on a life of its own, gods are far more obvious to the people of the Disc than they appear to us. Gods are everywhere on the Discworld, a crucial element of the world's peculiar ecology that gives power to belief and demands resolution to any and all narratives. Gods exist in potentia in numbers uncountable, but the moment an event of any note occurs – say, two snails happening to cross at a single point – a god becomes tied to it and begins to manifest in the physical world. Most gods remain small and unknown, but a few come to the notice of humanity, whose belief shapes and strengthens them until they gather enough power to join the Disc's vast, unwieldy pantheon.
Gods on the Discworld exist as long as people believe in them and their power grows as their followers increase. This is a philosophy echoing the real-world politics of the power of religion and is most detailed in the novel Small Gods. If people should cease believing in a particular god the god begins to fade and will "die", becoming little more than a faded wispy echo. Another category of godlike being on the disc is the "anthropomorphic personification". Beings such as The Old High Ones, the creatures from the Dungeon Dimensions and the Auditors of Reality appear to exist without, in some cases, the power of human belief. On the Disc, the power of belief blurs the line between mortality. Many human characters, such as Mort, Susan Sto Helit, Lobsang Ludd, Jeremy Clockson, Tiffany Aching, Pteppic have permanently or momentarily assumed the roles of gods, or at least of anthropomorphic personifications. Tooth Fairies and the History Monks are groups of humans; the total number of gods on the Disc is infinite.
Of those, the number powerful enough to manifest is about 3000, according to The Folklore of Discworld. Here is a list of most of the gods mentioned in the series to date, describing their roles in the stories; the major gods live in an Olympus-like mountain-top kingdom in the centre of the Discworld called Dunmanifestin. Most of the major gods tend to stay at home limiting their presence in the rest of Discworld to the occasional lightning bolt. Cori Celesti, the mountain upon which Dunmanifestin stands, can be seen from anywhere on the Disc on a clear day, has made lasting impressions on most of the original myth-creators; those gods known to reside in Dunmanifestin are: The lightning goddess of the beTrobi people. Mentioned in The Colour of Magic. Aniger is a minor goddess of squashed animals, she is a recent addition to the Discworld pantheon, appearing only after some developments relating to the speed of carts and quality of roads. Since she is witnessed by thinking "Oh God, what was that I hit?", she may be an Oh God, much like Bilious is.
She is mentioned in The Last Hero. Her name is "Regina"; the minor goddess of Things That Stick in Drawers, Anoia is praised by rattling a drawer and crying "How can it close on the damned thing but not open with it? Who bought this? Do we use it?" As she says, sooner or every curse is a prayer. She eats corkscrews and is responsible for Things Down The Backs of Sofas, is considering moving into stuck zips; the Maccalariat family of Ankh-Morpork have been Anoians for five generations. She is not part of the number of gods praised at the Temple of Small Gods, but instead has a freelance priestess who serves for various other minor deities. Thud! Refers to a painting of Anoia Rising From The Cutlery, she was a volcano goddess under the name Lela. Anoia are first mentioned in Going Postal, she appears in Wintersmith as a tired, skinny woman wearing a bedsheet and smoking a cigarette that sparks like a volcano. On a whim, Moist von Lipwig named her as one of the gods responsible for his "miraculous" recovery of a large sum of buried money that he had in fact himself buried: Since belief is what empowers Discworld gods, she benefited tremendously from the resulting surge of believers.
As of Making Money her religion has seen something of a revival, now she is making a move into becoming the Goddess of Lost Causes. The Ephebian Goddess of Love, held in low regard by the god Om and sister to the goddess Patina, she bribed Rhome of Ephebe to steal and hide the Golden Falchion, in return she gave Elenor of Tsort to Rhome. Mentioned in Small Gods and Discworld Noir; the God of Wine and Things on Sticks. He appears as a overly-merry man in a toga. In Tsort he is known as Smimto, Tuvelpit in Ephebe, he never gets a hangover, but he does get the unpleasant side-effects when Bilious takes a hangover cure. The effects of this link, should either drink time-reversed alcohol such as vul-nut wine, is undiscovered, his name means "one who drinks". He is based on Bacchus, the Greco-Roman god of win
Ceridwen was an enchantress in Welsh medieval legend. She was the mother of a hideous son, a beautiful daughter, Creirwy, her husband was Tegid Foel, they lived near Bala Lake in north Wales. Medieval Welsh poetry refers to her as possessing the cauldron of poetic inspiration and the Tale of Taliesin recounts her swallowing her servant Gwion Bach, reborn through her as the poet Taliesin. Ceridwen is regarded by many modern Pagans as the Celtic goddess of rebirth and inspiration; the earliest documented spelling of the name Kerdwin is Cyrridven, which occurs in the Black Book of Carmarthen. Sir Ifor Williams translates this name as "crooked woman", although the precise meaning of the stems cyrrid and cwrr is uncertain. Ben/ven means "woman" or "female". If wen is not a corruption of either of these it may derive from the adjective gwyn, meaning "fair", "beloved", "blessed", or "sacred". Wen is sometimes suffixed to the names of female saints. In 19th century literature and etymology the name Ket and variants were assumed to relate to the goddess Ceridwen.
According to the late medieval Tale of Taliesin, included in some modern editions of the Mabinogion, Ceridwen's son, was hideously ugly - compared with his beautiful sister Creirwy - so Ceridwen sought to make him wise in compensation. She made a potion in her magical cauldron to grant the gift of wisdom and poetic inspiration called Awen; the mixture had to be boiled for a day. She set Morda, a blind man, to tend the fire beneath the cauldron, while Gwion Bach, a young boy, stirred the concoction; the first three drops of liquid from this potion gave wisdom. Three hot drops spilled onto Gwion's thumb, he instinctively put his thumb in his mouth, gained the wisdom and knowledge Ceridwen had intended for her son. Realising that Ceridwen would be angry, Gwion fled. Ceridwen chased him. Using the powers of the potion he turned himself into a hare, she became a greyhound. He jumped into a river, she transformed into an otter. He turned into a bird, he turned into a single grain of corn. She became a hen and, being a goddess, she found and ate him without trouble.
But because of the potion he was not destroyed. When Ceridwen became pregnant, she knew it was Gwion and resolved to kill the child when he was born. However, when he was born, he was so beautiful, she threw him in the ocean instead. The child did not die, but was rescued on a Welsh shore – near Aberdyfi according to most versions of the tale – by a prince named Elffin ap Gwyddno, it has been suggested that Ceridwen first appeared as a simple sorceress character in the Tale of Taliesin. Its earliest surviving text dates from the mid-16th century, but it appears from its language to be a 9th-century composition, according to Hutton. References to Ceridwen and her cauldron found in the work of the 12th century Gogynfeirdd or Poets of the Princes he thus considers derivative works. In them, according to Hutton, Ceridwen is transformed from a sorceress into a goddess of poetry. Citing this and a couple of other examples, Hutton proposes that the Gogynfeirdd created a new mythology not reflective of earlier paganism.
Nonetheless, references to Ceridwen's cauldron are to be found in some of the early mythological poems attributed to the legendary Taliesin in the Book of Taliesin. The Victorian poet Thomas Love Peacock wrote a poem entitled the Cauldron of Ceridwen. Writers identified her as having been a pagan goddess, speculating on her role in a supposed Celtic pantheon. John Rhys in 1878 referred to the Solar Myth theory of Max Müller according to which "Gwenhwyfar and Ceridwen are dawn goddesses." Charles Isaac Elton in 1882 referred to her as a "white fairy". Robert Graves fitted her into his concept of the Threefold Goddess, in which she was interpreted as a form of the destructive side of the goddess. In Wicca, Ceridwen is a goddess of change and rebirth and transformation, her cauldron symbolises knowledge and inspiration. Finn MacCool and the legend of the Salmon of Knowledge
Kettering railway station
Kettering railway station serves the town of Kettering in Northamptonshire, England. It lies south-west of the town centre, on the Midland Main Line, 71 miles north of London St. Pancras; the station was opened in May 1857 by the Midland Railway on a line linking the Midland to the Great Northern Railway at Hitchin. The Midland gained its own London terminus at St Pancras railway station. In 1857 the leather trade being in recession, over half its population was on poor relief; the railway enabled the town to sell its products over a much wider area and restored it to prosperity. The original station with a single platform was designed by Charles Henry Driver, with fine "pierced grill" cast ironwork on the platform. From 1866 the station was the terminus of the Midland cross country branch line from Cambridge via St Ives and Huntingdon until closure in June 1959. In 1879 the line was quadrupled. New fast lines were built to the west of the original slow lines. Three new platforms were built: numbers 2 and 3 on an island between the fast and slow lines, number 4, to the west of the fast lines.
The Midland Railway commissioned single-storey weather-boarded waiting rooms and canopies with cast-iron columns and spandrels for the island platforms 2 and 3 and platform 4 to match those designed in 1857 by Charles Henry Driver. From 1879 and 1880 Kettering was a junction for the direct line from Kettering to Nottingham via Oakham and Melton Mowbray; this closed to passengers in 1966 but was left as a through route for freight For services on this line see "Corby Services" below. Other additions included a two-bay engine shed, erected by C. Deacon & Company for the Midland Railway at the north end of the forecourt around 1875, a goods shed with offices, built at the south end around 1894; the Midland Railway replaced the main station buildings on platform 1 between 1895 and 1898 with a new booking hall, booking office, parcels office and refreshment room. These current buildings may be by Charles Trubshaw, it is regarded as one of the best remaining examples of Midland architecture. In the 1970s the glass canopies became a maintenance headache for British Rail, who proposed to remove the tops of the cast iron columns and replace the glass canopies with plastic sheeting.
Kettering Civic Society objected to the plans and the canopies and columns were reprieved to be sympathetically restored by Railtrack in 2000. Until the line through Buxton was closed in the Beeching era, the'main lines' were those from London to Manchester, carrying named expresses such as The Palatine. Express trains to Leeds and Scotland such as the Thames-Clyde Express used the Erewash Valley Line on to the Settle and Carlisle Line. Expresses to Edinburgh, such as The Waverley, travelled through Nottingham. There is a half-hourly service to London St. Pancras and hourly services to either Nottingham via Leicester or to Corby, both operated by Meridian trains. During peak, one Nottingham services is extended to start and finish at Lincoln via Newark and one Corby service goes to and from Melton Mowbray. Faster East Midlands Trains services to/from Leeds, Sheffield and Derby run through Kettering at high speed, but do not call. Interchange with faster services can be made at St Pancras. At the weekend there is one train per day to York, in the summer months the York service on a Saturday is extended to and from Scarborough.
Just north of Kettering on Engineers Line Reference SPC2 is Glendon junction for the Oakham to Kettering Line, which leads through Corby to Manton Junction, where it joins the Leicester to Peterborough Line. This provided an alternative route for expresses to Nottingham via Old Dalby. CrossCountry trains use the line via Leicester to Peterborough for their Birmingham to Stansted airport service. Passenger services were withdrawn from this line in the 1960s. In 1987 Network SouthEast experimentally introduced a shuttle service between Kettering and a new station in the nearby town of Corby; the service was however withdrawn a few years later. Corby was regarded as being the largest town in western Europe with no rail station. East Midlands Trains, Midland Mainline before it, was committed through its franchise to run a shuttle bus from Corby to Kettering station; the line is used as a diversionary route when the route between Kettering and Leicester is closed. The new station at Corby was planned to open in December 2008, but this was delayed until extra trains were acquired.
It opened on 23 February 2009 served by one return train to London St Pancras per day, operated by East Midlands Trains. Full service, with 13 daily returns to London, started on 27 April 2009; the service provides one train each hour calling at Corby, Wellingborough, Luton and St Pancras, with a minimum journey time from Corby to London of 1 hour and 14 minutes. One of the train pairs is extended north of Corby to Oakham. Kettering is staffed during operational hours, is locked and inaccessible during non operational times; the station is monitored via CCTV cameras which are monitored locally and at the town council offices. From 2009 Kettering became a Penalty fare station: a valid ticket or Permit to travel must be shown on request. Lifts to all platforms. Two display car parks. Waiting rooms on all platforms. Platform 4 has a painting of a girl looking into artist unknown. Pumpkin Cafe. Accessible toilet and Baby change. Stagecoach X1 bus to Corby FastTicket machine
Ket is an open source algebra editor. It is distinct from other editors which focus on automated computation such as integration or equation solving or on the presentation quality of the resulting document; the focus of Ket is to enable the user to perform algebra and efficiently. It is therefore closer to the back of an envelope. However, it does provide a range of tools to automate the individual steps of algebra. Ket breaks equation editing into a series of small edits performed by mouse gestures; this is because equations contain a wide assortment of symbols and notations, but contain a great deal of repetition. As a result, it is faster to reuse existing expressions; this becomes more pronounced when performing algebra which consists of modifying and combining existing expressions adding further repetition. Commands are built around abstract transformations of the structure of the equation; some commands delete and combine existing expressions and some add new content. Commands are all responsive enough to provide instantaneous updates.
The user can therefore view an equation in conventional mathematical notation while interacting with a series of small fragments. Ket maintains three distinct representations of an equation. Equations are displayed to the user and may be exported in images in conventional mathematical notation. Internally it is most efficient to represent the equation as a Tree structure which standardizes direction commands, but when writing equation fragments or saving them to file, a custom markdown language is used which merges markdown, LaTeX and plain text mathematical notations as applicable. Conventional mathematical notation is represented by a series of boxes within boxes each containing letters and lines to denote what function, variable or value they represent. After each edit, equations are rendered. However, edit commands represent the equation differently and keyboard direction commands reflect this. Analogous to a filesystem hierarchy of files and folders within folders, each equation is represented as a Tree structure.
Each equation in Ket is a tree of variables and values. The file format consists of its non-standard markdown language; when editing, any equation fragments are typed in plain text and converted to the tree. The equation is represented in memory and converted to a tree map in order to display it to the user; the file format is plain text, converted to and from a tree when files are loaded and saved. Various forms of interaction are possible; these include performing simple algebraic operations. Mouse drags allow the user to change the order of arguments to a function, they can add and remove fragments of an expression into another equation including substituting for a variable. While a plain text representation of pages of equations can become unwieldy, working with small fragments of plain text are a quick way to replace, identify or update an existing selection. If good writing is rewriting good algebra is reorganizing existing expressions; the quickest form of editing is by mouse gestures to substitute one equation into another.
Additionally, either through the right click menu or right-dragging in the menu items direction, arguments may be deleted, copied or added. Ket is a modal editor which means that it changes how it displays information and how the user interacts with it depending on the mode it's in. By default, keyboard commands perform specific selection or transformation commands such as to delete the current selection,'x'; some commands must be followed with a direction, for example paste,'p'. Other commands require a block of text such as to replace the selection with an equation fragment,'r'. Editing lines of text The editor displays a list of lines of either text, images or plots. In order to edit text, <Ctrl-r> starts editing text while <Ctrl-c> stops. Here <Enter> continues editing text. All editing takes place relative to the current selection so a variety of commands to change the selection are provided. In order to move around, it is possible to use arrow keys, however it is quicker to keep your hands in the touch typing position so various keys signify directions.
In addition to moving up,'k', down,'j', between equations, it is possible to move in and out of each equation. That is, to select different parts of the tree.'h' and'l' select the previous and next expression while'i' and'o' select the left and right arguments of the tree. Lastly, <Space> moves back out. After pressing a command that requires an equation fragment, the program changes mode. Here a plain text representation of an equation fragment may be typed; this mode allows Readline commands familiar to Bash and Emacs users. This is converted to an equation fragment by pressing <Enter>. Transformation commands Editing can take place at different levels of meaning. Editing need not preserve the original meaning of an expression. So for example, a polynomial pattern could be reused by copying it and replacing all of the variables with new ones. Various syntactic and semantic transformations are possible; some are trivial such as replacing the current selection,'r', with a new fragment. Others may be cycled through such as the Distributive property a = a b + a c using <Ctrl-n> and <Ctrl-p>.
Commands such as replace require fragments of an equation to be represented in pl
Ket and Wig
Ket and Wig appear in the Gesta Danorum as the sons of Frowin, the governor of Schleswig. Wig appears in the Anglo-Saxon Chronicle as the son of Freawine and father of Gewis, eponymous ancestor of the kingdom of Wessex and their kings, but this is thought to be a late manipulation, inserting these heroes into a pedigree borrowed from a rival royal house, in which the Bernician eponym Bernic was replaced by the Wessex Gewis, their father Frowin/Freawine was challenged to combat by the Swedish king Athisl, killed. King Wermund, who liked their father, subsequently raised Wig as his own, they avenged their father, but they fought against Athisl two against one, a national disgrace, redeemed by their brother-in-law, King Wermund's son Offa, when he killed two Saxons at the same time, in "single combat". This event is referred to in Widsith as a duel against Myrgings