In Greek mythology, Pheme known as Ossa, was the personification of fame and renown, her favour being notability, her wrath being scandalous rumors. She was a daughter either of Gaia or of Elpis, was described as "she who initiates and furthers communication" and had an altar at Athens. A tremendous gossip, Pheme was said to have pried into the affairs of mortals and gods repeated what she learned, starting off at first with just a dull whisper, but repeating it louder each time, until everyone knew. In art, she was depicted with wings and a trumpet. In Roman mythology, Fama was described as having multiple tongues, eyes and feathers by Virgil and other authors. Virgil wrote that she "had her feet on the ground, her head in the clouds, making the small seem great and the great seem greater". In Homer Pheme is called the messenger of Zeus. In English Renaissance theatre, Rumour was a stock personification, best known from William Shakespeare's Henry IV, Part 2. James C. Bulman's Arden Shakespeare edition notes numerous lesser known theatrical examples.
The Greek word pheme is related to ϕάναι "to speak" and can mean "fame", "report", or "rumor". The Latin word fama, with the same range of meanings, is related to the Latin fari, is, through French, the etymon of the English "fame". Polychronion Iris Gná Smith, William. "Ossa" Gianni Guastella, "La Fama degli antichi e le sue trasformazioni tra Medioevo e Rinascimento," in Sergio Audano, Giovanni Cipriani, Aspetti della Fortuna dell'Antico nella Cultura Europea: atti della settima giornata di studi, Sestri Levante, 19 marzo 2010, 35-74. Theoi Greek Mythology -- Pheme "Fama". Encyclopædia Britannica. 1911
A rogue access point is a wireless access point, installed on a secure network without explicit authorization from a local network administrator, whether added by a well-meaning employee or by a malicious attacker. Although it is technically easy for a well-meaning employee to install a "soft access point" or an inexpensive wireless router—perhaps to make access from mobile devices easier—it is that they will configure this as "open", or with poor security, allow access to unauthorized parties. If an attacker installs an access point they are able to run various types of vulnerability scanners, rather than having to be physically inside the organization, can attack remotely—perhaps from a reception area, adjacent building, car park, or with a high gain antenna from several miles away. To prevent the installation of rogue access points, organizations can install wireless intrusion prevention systems to monitor the radio spectrum for unauthorized access points. Presence of a large number of wireless access points can be sensed in airspace of a typical enterprise facility.
These include managed access points in the secure network plus access points in the neighborhood. A wireless intrusion prevention system facilitates the job of auditing these access points on a continuous basis to learn whether there are any rogue access points among them. In order to detect rogue access points, two conditions need to be tested: whether or not the access point is in the managed access point list whether or not it is connected to the secure networkThe first of the above two conditions is easy to test—compare wireless MAC address of the access point against the managed access point BSSID list. However, automated testing of the second condition can become challenging in the light of following factors: a) Need to cover different types of access point devices such as bridging, NAT, unencrypted wireless links, encrypted wireless links, different types of relations between wired and wireless MAC addresses of access points, soft access points, b) necessity to determine access point connectivity with acceptable response time in large networks, c) requirement to avoid both false positives and negatives which are described below.
False positives occur when the wireless intrusion prevention system detects an access point not connected to the secure network as wired rogue. Frequent false positives result in wastage of administrative bandwidth spent in chasing them. Possibility of false positives creates hindrance to enabling automated blocking of wired rogues due to the fear of blocking friendly neighborhood access point. False negatives occur when the wireless intrusion prevention system fails to detect an access point connected to the secure network as wired rogue. False negatives result in security holes. If an unauthorized access point is found connected to the secure network, it is the rogue access point of the first kind. On the other hand, if the unauthorized access point is found not connected to the secure network, it is an external access point. Among the external access points, if any is found to be mischievous or a potential risk, it is tagged as a rogue access point of the second kind, called an "evil twin".
A "soft access point" can be set up on a Wi-Fi adapter using for example Windows' virtual Wi-Fi or Intel's My WiFi. This makes it possible, without the need of a physical Wi-Fi router, to share the wired network access of one computer with wireless clients connected to that soft AP. If an employee sets up such a soft AP on their machine without coordinating with the IT department and shares the corporate network through it this soft AP becomes a rogue AP. Man-in-the-middle attack Wireless intrusion prevention system MAC spoofing Wireless LAN Wireless security Legality of piggybacking Roguescanner - Open source network based rogue access point detection Wireless security at Curlie
The Potros de Tijuana were a Triple A baseball club that played in the Mexican League. The Potros were based in Tijuana, Baja California, played their home games at Estadio Nacional de Tijuana from 2005 through 2008 before being relocated by the League. An earlier incarnation of the Potros de Tijuana played in the short-lived Sunset League from 1949–1950, moved to the Southwest International League from 1951–1952. After three years of absence, they became a member of the Arizona–Mexico League during the 1956 season, before joining the Mexican League from 2005–2008. Another Potros de Tijuana club played in the Mexican Pacific League, taking championship titles in the 1987–1988 and 1990–1991 seasons to advance to the Caribbean Series in both times; the franchise was a descendant of the Triple-A Toros de Tijuana before the Mexican League to have stripped the Toros owner of his franchise and gave it to new owners, who renamed the team as the Potros de Tijuana. The new Toros ownership kept the same team name, logo and history, as a result of the alleged political wrangling that went on in that league.
Cédric Permal is a Mauritian footballer who plays for AS de Vacoas-Phoenix in the Mauritian League as a defender and midfielder. Permal started his professional career with AS de Vacoas-Phoenix after signing with them in 2011 before the 2011 season. Permal has been called up various times to represent Mauritius at the youth level. In 2011, he received his first cap for the Mauritian national team in a 2012 AFCON qualifying game against DR Congo. In the year, he was called up to represent Mauritius in the 2011 Indian Ocean Island Games, he appeared in one game, against Mayotte
The Piano Sonata in B minor, S.178, is a sonata for solo piano by Franz Liszt. It was published in 1854 with a dedication to Robert Schumann. Liszt noted on the sonata's manuscript that it was completed on February 2, 1853, but he had composed an earlier version by 1849. At this point in his life, Liszt's career as a traveling virtuoso had entirely subsided, as he had been influenced towards leading the life of a composer rather than a performer by Carolyne zu Sayn-Wittgenstein five years earlier. Liszt's life was established in Weimar and he was living a comfortable lifestyle and performing by choice rather than necessity; the Sonata was dedicated to Robert Schumann, in return for Schumann's dedication of his Fantasie in C major, Op. 17 to Liszt. A copy of the work arrived at Schumann's house in May 1854, after he had entered Endenich sanatorium. Schumann's wife Clara, an accomplished concert pianist and composer in her own right, did not perform the Sonata; the Sonata was published by Breitkopf & Härtel in 1854 and first performed on January 27, 1857 in Berlin by Hans von Bülow.
It was attacked by Eduard Hanslick who said "anyone who has heard it and finds it beautiful is beyond help". Johannes Brahms reputedly fell asleep when Liszt performed the work in 1853, it was criticized by the pianist and composer Anton Rubinstein. However, the Sonata drew enthusiasm from Richard Wagner following a private performance of the piece by Karl Klindworth on April 5, 1855. Otto Gumprecht of the German newspaper Nationalzeitung referred to it as "an invitation to hissing and stomping", it took a long time for the Sonata to become commonplace in concert repertoire, because of its technical difficulty and negative initial reception due to its status as "new" music. However by the early stages of the twentieth century, the piece had become established as a pinnacle of Liszt's repertoire and has been a popularly performed and extensively analyzed piece since. No other work of Liszt's has attracted anywhere near the amount of scholarly attention paid to the Sonata in B minor, it has provoked a wide range of divergent theories from those of its admirers who feel compelled to search for hidden meanings.
The Sonata is a musical portrait of the Faust legend, with "Faust," "Gretchen," and "Mephistopheles" themes symbolizing the main characters. The Sonata is autobiographical; the Sonata is about the diabolical. The Sonata is an allegory set in the Garden of Eden; the Sonata has no programmatic allusions. Walker claims; the Sonata unfolds in 30 minutes of unbroken music. While its distinct movements are rolled into one, the entire work is encompassed within an overarching sonata form — exposition and recapitulation. Liszt composed a sonata within a sonata, part of the work's uniqueness, he was quite economical with his thematic material; the first page contains three motive ideas that provide the basis for nearly all that follows, with the ideas being transformed throughout. Some analyses suggest. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections have long been a topic of debate.
Others claim a three-movement form, a one-movement structure, a rotational three-movement work with a double exposition and recapitulation. The first theme is a descending scale marked sotto voce, it reappears at crucial points in the work's structure. This leads to a jagged, forceful motif in octaves; this is followed by a hammering marcato motif in the left hand. A dialogue ensues, until reaching the noble Grandioso material in D major. Liszt transforms the "marcato" motif into a lyrical melody later; the slow movement, an Andante sostenuto, is the centerpiece of the Sonata. This fully-fledged movement, in compound ternary form, features, in quick succession, a number of themes heard earlier in the Sonata in a tour de force of thematic economy; the final recapitulatory section is launched by a driving fugato of contrapuntal skill which leads to the compressed return of the opening material. Calling upon every intellectual resource and exploiting the pianist's technical arsenal, it is at this point where a performer's concentration might wane.
But this final section has just begun, a pianist needs to have reserved fuel in their tank if he is to turn in a successful performance of the Sonata. Each of the sections are examples of Classical forms, which means that this piece is one of the first instances of Double-function form, a musical piece which has two classical forms happening at the same time. In 1851 Liszt experimented with a non-programmatic "four-movements-in-one" form in an extended work for piano solo called Grosses Concert-Solo; this piece, which in 1865 was published as a two-piano version under the title Concerto pathétique, show
The coat of arms of Vancouver was granted by the College of Arms on 31 March 1969. The city of Vancouver assumed its first municipal seal upon incorporation in 1886. Designed by City Alderman Lauchlan Hamilton, it was pictorial in nature depicting a tree, a sailing ship and a train, did not conform to any rules of heraldry; the seal was in use until 1903. Designed by James Blomfield, it contains many of the elements used in the current coat of arms: the pile, the logger and the fisherman as supporters, the wavy bars alluding to the ocean, it retains the motto from the previous emblem, By Sea and Land We Prosper. The development of the current coat of arms started in 1928, when the city council attempted to register the arms designed by Blomfield with the College of Arms; the College rejected the registration. Between 1928 and 1932, a committee sat before shelving the issue. In 1962, the matter was reopened. Members of city staff visited the College to go over the design of the arms, assisted by the Chester Herald, Walter Verco.
The grant of arms, as well as a badge derived from the arms, was approved on 31 March 1969 and presented to Vancouver City Council the following January. Crest: A Ship signifying Vancouver's importance as a seaport, upon a mural crown, the traditional heraldic emblem for a city. Shield: The dogwood flowers in the chief are a symbol of the province; the main charge is a Kwakiutl totem pole, symbol of the area's native heritage, surmounting wavy ribbons of blue and silver. Supporters: A logger and a fisherman, standing for the traditional industries of the area. Motto: By Sea Land and Air We Prosper; the mural crown from the crest forms the basis for the city badge. Inside the crown is an axe and an oar placed in saltire, alluding to the same two industries represented by the supporters of the arms; the city badge is featured on the flag of Vancouver. The shield of arms serves as the central feature of the Vancouver Police Department's badge. Canadian heraldry National symbols of Canada List of Canadian provincial and territorial symbols Vancouver City symbols – City of Vancouver