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Tommaso Salvini

Tommaso Salvini was an Italian actor. Salvini was born in Milan, his father and mother were both actors. His father was involved in the Bon and Berlaffa Company and the actor, to play Pasquino fell ill. Instead of closing the theatre for the night his father asked the young Salvini to play the role. In his autobiography, he writes that "when I perceived that some of Pasquino's lines were amusing the audience, I took courage, like a little bird making his first flight, I arrived at the goal, was eager to try again … It is certain that from that time I began to feel that I was somebody."In 1847 Salvini joined the company of Adelaide Ristori, at the beginning of her career. It was with her as Elettra that he won his first success in tragedy, playing the title role in Alfieri's Oreste at the Teatro Valle in Rome. Salvini fought in the First Italian War of Independence in 1849, but otherwise devoted his life to acting. In 1853, however, he took a year off because "he felt adequately prepared for a role".

During this time, he prepared roles in great depth. Salvini's most famous role was Othello, which he played for the first time at Vicenza in June 1856, his other important roles included Conrad in Paolo Giacometti's La Morte civile, Egisto in Alfieri's Merope, Saul in Alfieri's Saul, Paolo in Silvio Pellico's Francesca da Rimini, Oedipus in Niccolini's play of that name and King Lear. The core of his acting method came from his studies. While visiting Gibraltar, for example, he spent time studying the Moors and found one particular man whom he based his Othello on. Instead of relying on a mustache, the traditional way of depicting a Moor, he tried to copy "gestures and carriage" to depict the character. Salvini acted in England, made five visits to the United States, his first in 1873 and his last in 1889. In 1886, he played Othello to the Iago of Edwin Booth, he always delivered his lines in Italian. According to the New York World, "had he spoke Greek or Chocaw, it would have been much the same.

There was that about him, universal, had he remained mute and contented himself with acting alone his audience could scarcely have failed to understand, so faithful was his portraiture of human instincts and their action"Salvini's acting in Othello inspired the young Russian actor Constantin Stanislavski, who saw Salvini perform in Moscow in 1882 and who would, himself, go on to become one of the most important theatre practitioners in the history of theatre. Stanislavski wrote. Salvini retired from the stage in 1890, but in January 1902 took part in the celebration in Rome of Ristori's eightieth birthday. Salvini published a volume entitled aneddoti ed impressioni; some idea of his career may be gathered from Leaves from the Autobiography of Tommaso Salvini. He died, aged 86, in Florence. Salvini was so confident in his talents as an actor that he was once quoted as saying, "I can make an audience weep by reading them a menu." Salvini made at least one recording for Zonofono in 1902 of "Il sogno" from Saul.

Listed in a contemporary Zonofono celebrity catalogue found. His son Alessandro an actor, had several notable successes in America as d'Artagnan in The Three Guardsmen. Another son, Gustavo Salvini, was a stage actor. Gustavo's sons, Tommaso's grandsons, were Guido Salvini. Alessandro acted in movies dating back to silent pictures and Guido directed and wrote for films in the sound era; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Salvini, Tommaso". Encyclopædia Britannica. 24. Cambridge University Press. Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0-413-52520-1. Carlson, Marvin; the Italian Shakespearians. Washington: the Folger Shakespeare Library. 1985. Print. Cole and Helen Crich Chinoy. Actors on Acting. New York: Crown Publishers. 1949. Print. Stanislavski, Constantin. 1938. An Actor's Work: A Student’s Diary. Trans. and ed. Jean Benedetti. London: Routledge, 2008. ISBN 978-0-415-42223-9.

Iles, George, ed. 19th Century Actor Autobiographies – Tommaso Salvini. N.d. Web. 29 January 2013. James, Henry; the Scenic Art. New Brunswick: Rutgers University Press. 1948. Print. Woods, Leigh. On Playing Shakespeare. New York: Greenwood Press. 1924. Print. Media related to Tommaso Salvini at Wikimedia Commons Tommaso Salvini portrait gallery NY Public Library Billy Rose Collection Alexander Salvini photo gallery NY Public Library AlexanderSalivini Tommaso's son portrait Univ of Louisville Ricordi, aneddoti ed impressioni. Milano Fratelli Dumolard editori 1895 Internet Archive University of Toronto authorama.com findagrave.com

List of people from Quetta

This is the list of notable people who were born, lived or grew up in Quetta and Quetta District. List is ordered by the professions of people. Safdar Kiyani Abdul Qadir Baloch Retd Pakistan Army officer Yazdan Khan Musa Khan Chris Keeble George Philip Bradley Roberts Ian Jacob James Cassels Patrick Hore-Ruthven Saira Batool Hazara, Air Force pilot Samad Ali Changezi Sharbat Ali Changezi Retd officer Pakistan Air Force Abid Ali Abid Ali Nazish Amjad Khan Avice Landone Ayub Khoso Actor Dur Mohammad Kassi TV Producer and Director Hameed Sheikh Actor Humaima Malick Jamal Shah Actor Merle Tottenham Nadia Afghan Neil North Suresh Oberoi Veena Zeba Bakhtiar Tarek Fatah Agha Sadiq Ali Baba Taj Alison Plowden Mohsin Changezi Muneer Ahmed Badini Russi Karanjia Saifuddin Bohra Siddiq Baloch Zafar Mairaj Dawood Sarkhosh Faiz Mohammad Faizok Rabi Peerzada Abdul Samad Khan Achakzai Rozi Khan Kakar, Pakistani senator Ali Ahmad Kurd Habib Jalib Baloch Iftikhar Muhammad Chaudhry, chief justice Mir Wali Muhammad Badini, Pakistani senator Jan Ali Changezi Javaid Iqbal, former chief justice Labh Singh Saini M. A. Rasheed, chief justice Mohammad Anwar Khan Durrani Qazi Faez Isa, chief justice Qazi Muhammad Essa Pakistan Movement leader Raja Muhammad Fayyaz Ahmad, former chief justice Sardar Yaqoob Khan Nasar Member Senate of Pakistan/ Politician Shahzada Rehmatullah Khan Saddozai Pakistan Movement Renowned activist and volunteer, Sima Samar Syed Nasir Ali Shah, Pakistani Parliamentarian Tariq Mahmood Younus Changezi Former Army officer /football player and Politician Yousef Pashtun Zeenat Karzai Haji Syed Hussain Hazara, Pakistani Senator sardar Arslan akbar rind advocate Shaal Pir Baba Abdul Wahid Durrani, footballer Abdur Rehman, cricketer Abdur Rehman, cricketer Abrar Hussain Asif Dar, boxer Aslam Bareach, cricket umpire Bashir Shah, cricketer Bill Tancred, former athlete Fariba Rezayee, Judoka Hayatullah Khan Durrani, Legendary Cave explorer and Mountaineer Haider Ali, boxer Jawad Dawood, Canadian cricketer Lovell Wooldridge, cricketer Meena Hazara, karateka Mohammad Abubakar Durrani, Canoeing athlete Mohammad Umar, cricketer Muhammad Waseem, boxer Nahida Khan, cricketer Nargis Hameedullah, karateka Nasim Khan, cricketer Pete Tancred, former athlete Shakeel Abbasi, field-hockey player Zeeshan Ashraf, field-hockey player List of Pakistanis

Control chart

Control charts known as Shewhart charts or process-behavior charts, are a statistical process control tool used to determine if a manufacturing or business process is in a state of control. It is more appropriate to say that the control charts are the graphical device for Statistical Process Monitoring. Traditional control charts are designed to monitor process parameters when underlying form of the process distributions are known. However, more advanced techniques are available in the 21st century where incoming data streaming can-be monitored without any knowledge of the underlying process distributions. Distribution-free control charts are becoming popular. If analysis of the control chart indicates that the process is under control no corrections or changes to process control parameters are needed or desired. In addition, data from the process can be used to predict the future performance of the process. If the chart indicates that the monitored process is not in control, analysis of the chart can help determine the sources of variation, as this will result in degraded process performance.

A process, stable but operating outside desired limits needs to be improved through a deliberate effort to understand the causes of current performance and fundamentally improve the process. The control chart is one of the seven basic tools of quality control. Control charts are used for time-series data, though they can be used for data that have logical comparability; the control chart was invented by Walter A. Shewhart working for Bell Labs in the 1920s; the company's engineers had been seeking to improve the reliability of their telephony transmission systems. Because amplifiers and other equipment had to be buried underground, there was a stronger business need to reduce the frequency of failures and repairs. By 1920, the engineers had realized the importance of reducing variation in a manufacturing process. Moreover, they had realized that continual process-adjustment in reaction to non-conformance increased variation and degraded quality. Shewhart framed the problem in terms of Common- and special-causes of variation and, on May 16, 1924, wrote an internal memo introducing the control chart as a tool for distinguishing between the two.

Shewhart's boss, George Edwards, recalled: "Dr. Shewhart prepared a little memorandum only about a page in length. About a third of that page was given over to a simple diagram which we would all recognize today as a schematic control chart; that diagram, the short text which preceded and followed it set forth all of the essential principles and considerations which are involved in what we know today as process quality control." Shewhart stressed that bringing a production process into a state of statistical control, where there is only common-cause variation, keeping it in control, is necessary to predict future output and to manage a process economically. Shewhart created the basis for the control chart and the concept of a state of statistical control by designed experiments. While Shewhart drew from pure mathematical statistical theories, he understood that data from physical processes produce a "normal distribution curve", he discovered that observed variation in manufacturing data did not always behave the same way as data in nature.

Shewhart concluded that while every process displays variation, some processes display controlled variation, natural to the process, while others display uncontrolled variation, not present in the process causal system at all times. In 1924, or 1925, Shewhart's innovation came to the attention of W. Edwards Deming working at the Hawthorne facility. Deming worked at the United States Department of Agriculture and became the mathematical advisor to the United States Census Bureau. Over the next half a century, Deming became the foremost proponent of Shewhart's work. After the defeat of Japan at the close of World War II, Deming served as statistical consultant to the Supreme Commander for the Allied Powers, his ensuing involvement in Japanese life, long career as an industrial consultant there, spread Shewhart's thinking, the use of the control chart in Japanese manufacturing industry throughout the 1950s and 1960s. A control chart consists of: Points representing a statistic of measurements of a quality characteristic in samples taken from the process at different times The mean of this statistic using all the samples is calculated A center line is drawn at the value of the mean of the statistic The standard deviation of the statistic is calculated using all the samples Upper and lower control limits that indicate the threshold at which the process output is considered statistically'unlikely' and are drawn at 3 standard deviations from the center lineThe chart may have other optional features, including: Upper and lower warning or control limits, drawn as separate lines two standard deviations above and below the center line Division into zones, with the addition of rules governing frequencies of observations in each zone Annotation with events of interes

Ami Kawai

Ami Kawai is a Japanese television and theater actress, best known in Japan for her role as Marsha in Kidou Keiji Jiban and Lami in Kyōryū Sentai Zyuranger. Kawai was born to actress Rie Kawai in Tokyo, she comes from a lineage including her grandmother and great-grandfather. Her older sister is Katsumi Fujita, an environmental planning designer, most contributing to the sign for Park Hyatt in Seoul, Korea, her mother has been managing a small bar in Takadanobaba, an area close to Waseda University in Shinjuku, Tokyo. Kawai attended High School, she majored in English literature at the Department of Literature in Jissen Women's College. While attending elementary school, she belonged to a theater company, her achievements there include television, soap operas, educational programs, radio soap operas, foreign films. She temporarily stopped her activities because her middle school and high school outlawed outside activities relating to the entertainment industry. While attending college, she was scouted by a production company.

Her first drama feature. Her other major achievements as an actress include movies and theaters while serving as reporter and host of various television programs. Kawai is best known for her role as Lamie in the 1992 Super Sentai series Kyōryū Sentai Zyuranger. While some people have distanced themselves from their role in the Super Sentai series, she appears to have fond memories of her role; as she appeared towards the middle of the series, she had a tough learning curve to overcome, but overcame it well. Kawai's official websites mentions several behind-the-scene experiences playing the role; these include confronting her fear of heights when she had to stand from the tip of a tall building the first time she appeared on screen and her embarrassment of turning into a monster when her character became a giant. For the Power Rangers series in the North America, Scorpina was credited as "Ami Kawai" the first time she appeared, but credited to American voice actress, Wendee Lee. Scorpina was immensely popular among public viewers that when the production ran out of her footage, much speculation emerged as to her fate.

Before the Power Rangers popularity she was known in Europe and Latin America for her role in Kidou Keiji Jiban, although her role there was shared with Akemi Furukawa who played a similar secondary character. In recent years, Kawai has undergone a major image change, she does not have long black hair. She is not in the forefront of the entertainment industry in Japan, choosing to focus her time learning and teaching Japanese traditional dance, buyo. In late 2006, for her efforts, she was given the name Aya Fujima. NHK- Hivision de Konnichiwa NTV- Keijikizoku 3 NTV- Kasetsu no Yukue TBS- Kabegiwazoku ni Hanataba wo TBS- Toshiba Sunday Theater: Sentimental Journey TBS- Toshiba Sunday Theater- Moo Itido, Haru TBS- Business Zoomup TBS- Just FNN- Onna mo Otoko mo naze Korinai FNN- Kyoto Misu Eigamura Satsujin Jiken FNN- Ghoster Hunter Saki FNN- Saishu no Sairetsu FNN- Koojyo no Reikyuu FNN- Tsugaru satsujin jiken FNN - Science Channel: Jun-san no Omosiro Testudoo Kenkyuujyo TV Asahi- Mitsushitsu no Yonjyuusoo TV Asahi- Kidookeiji Jiban TV Asahi- Prestage: Jyoohoo Saizenretsu Frontrow TV Asahi- Noto Hantoo Onna no Satsujin Fuukei TV Asahi- Tokyuu Shirei Solbrain 1991-1992 TV Asahi- Kyōryū Sentai Zyuranger TV Asahi- Hotel Doctor TV Asahi- Sasurai Keiji Ryojyoo Hen TV Asahi- Hagure keiji Jyunyjoo Ha TV Asahi- Ninja Sentai Kakuranger TV Asahi- Juukou B-Fighter TV Asahi- Munetani Honsen Satsujin Jiken TV Tokyo- Abunai Syoonen TV Tokyo- Abunai Syoonen 2 TV Tokyo- Abunai Syoonen 3 TV Tokyo- Fureai Deai Tabi TV Tokyo- Doyoo Special: Honobono Ressya no Tabi TV Tokyo- Happy Relay Concert Pasta to Kakesoba, Aoyama Round Theater Maborosi no Mati Kidoo Keiji Jiban Eigahen Funky Monty Teacher 2 Buruburu Tensiteki Kyuujitsu Purogorufa Sikibe Kinjiroo 3 Jinzoo Ningen Hakaida Ami Kawai on IMDb Ami Kawai's Webpage Bar Rope Homepage by Rie Kawai F-Plus, Inc by Katsumi Fujita Jun's Interesting Railroad Research Laboratory downloads in Real Media

Agricultural expansion

Agricultural expansion describes the growth of agricultural land in the 21st century. The agricultural expansion is explained as a direct consequence of the global increase in food and energy requirements due to the human overpopulation, with an estimated expectation of 10 to 11 billion humans on Earth by end of this century, it is foreseen that most of the world's non-agrarian ecosystems will be affected adversely, from habitat loss, land degradation and other problems. The intensified food production will in particular affect the tropical regions. Most modern agriculture relies on intensive methods. Further expansion of the predominant farming types that rest on a small number of productive crops has led to a significant loss of biodiversity on a global scale already. In the light of the occurring and potential massive ecological effects, the need for sustainable practices is more urgent than ever; the FAO predicts that global arable land use will continue to grow from a 1.58 billion hectares in 2014 to 1.66 billion hectares in 2050, with most of this growth projected to result from developing countries.

At the same time, arable land use in developed countries is to continue its decline. A well-known example of ongoing agricultural expansion is the proliferation of palm oil production areas or the land conversion/deforestation for soy bean production in South America. Today's land grabbing activities are a consequence of the strive for agricultural land by growing economies. In the beginning of the 21 century the palm oil industry caused a massive deforestation in Borneo with a heavy consequences. Industrial agriculture Green revolution Environmental impact of agriculture Meat consumption Overexploitation Biodiversity loss Carbon sink Deforestation Land sparing Species extinctions Jevons paradox Social and environmental impact of palm oil Laurance, William F.. "Agricultural expansion and its impacts on tropical nature". Trends in Ecology & Evolution. Elsevier BV. 29: 107–116. Doi:10.1016/j.tree.2013.12.001. ISSN 0169-5347. PMID 24388286; the human population is projected to reach 11 billion this century, with the greatest increases in tropical developing nations.

This growth, in concert with rising per-capita consumption, will require large increases in food and biofuel production. How will these megatrends affect tropical terrestrial and aquatic ecosystems and biodiversity? We foresee major expansion and intensification of tropical agriculture in Sub-Saharan Africa and South America. "Global environmental impacts of agricultural expansion: The need for sustainable and efficient practices". Proceedings of the National Academy of Sciences. Proceedings of the National Academy of Sciences. 96: 5995–6000. Doi:10.1073/pnas.96.11.5995. ISSN 0027-8424. PMC 34218. PMID 10339530; the recent intensification of agriculture, the prospects of future intensification, will have major detrimental impacts on the nonagricultural terrestrial and aquatic ecosystems of the world. The doubling of agricultural food production during the past 35 years was associated with a 6.87-fold increase in nitrogen fertilization, a 3.48-fold increase in phosphorus fertilization, a 1.68-fold increase in the amount of irrigated cropland, a 1.1-fold increase in land in cultivation.

Based on a simple linear extension of past trends, the anticipated next doubling of global food production would be associated with 3-fold increases in nitrogen and phosphorus fertilization rates, a doubling of the irrigated land area, an 18% increase in cropland. "Crop production and natural resource use". World Agriculture: Towards 2015/2030 - FAO. Retrieved 2018-02-19. "Agriculture and Human Population Growth". CK-12

Kāraṇḍavyūha Sūtra

The Kāraṇḍavyūha Sūtra is a Mantrayāna sūtra which extols the virtues and powers of Avalokiteśvara, is notable for introducing the mantra Om mani padme hum into the sūtra tradition. The Karandavyuha Sutra is a Mantrayāna sutra, compiled at the end of the 4th century or beginning of the 5th century CE. According to the Kāraṇḍavyūha Sūtra, the sun and moon are said to be born from Avalokiteśvara's eyes, Shiva from his brow, Brahma from his shoulders, Narayana from his heart, Sarasvati from his teeth, the winds from his mouth, the earth from his feet and the sky from his stomach; the sutra introduces the Buddhist mantra, Om Manipadme Hum, which it states can lead to liberation and eventual Buddhahood. A. Studholme sees this famous mantra as being a declarative aspiration meaning'I in the jewel-lotus', with the jewel-lotus being a reference to birth in the lotus made of jewels in the Buddhist Paradise, Sukhavati, of Buddha Amitabha; the mantra is the heart of Avalokitesvara and can usher in Awakening.

A. Studholme writes:'Om Manipadme Hum is both the paramahrdaya, or'innermost heart', of Avalokitesvara... It is also... a mahavidya, a mantra capable of bringing about the'great knowledge' of enlightenment itself...' Avalokitesvara himself is linked in the versified version of the sutra to the first Buddha, the Adi-Buddha, who is'svayambhu'. Studholme comments:'Avalokitesvara himself, the verse sutra adds, is an emanation of the Adibuddha, or'primordial Buddha', a term, explicitly said to be synonymous with Svayambhu and Adinatha,'primordial lord'.' According to a Tibetan legendary tradition, the text of Kāraṇḍavyūhasūtra arrived in a casket from the sky unto the roof of the palace of the 28th king of Tibet, Lha Thothori Nyantsen who died in 650 C. E. in southern Tibet. This coincides with one version of dating of the Kāraṇḍavyūhasūtra, somewhere in the 4th or early 5th century, however it seems more that the sutra has originated in Kashmir, due to closeness to characteristics to Kasmiri tantric traditions of the time and to Avataṁsakasūtra earlier associated with the Central Asian regions.

The Kāraṇḍavyūha Sūtra was first translated into Tibetan as the Za ma tog bkod pa in the eighth century CE by Jinamitra, Ye shes sdes and others. The text was translated by T'ien-hsi-tsai into Chinese from a Tibetan version around 1000 CE; the Sutra has been translated into English by Peter Alan Roberts with the help of Tulku Yeshi Avalokitesvara God in Buddhism Om mani padme hum Buswell, Robert Jr. Princeton Dictionary of Buddhism. Princeton, NJ: Princeton University Press. Pp. 418–419. ISBN 9780691157863. Roberts, Peter Alan. Translating Translation: An Encounter with the Ninth-Century Tibetan Version of the Kārandavyūha-sūtra, Journal of the Oxford Centre for Buddhist Studies 3, 224-242 The Noble Mahāyāna Sūtra “The Basket’s Display”, translated from Tibetan by Peter Alan Roberts with Tulku Yeshi