Modes of transport in Mozambique include rail, road and air. There are rail links serving principal cities and connecting the country with Malawi and South Africa. There are over 30,000 km of roads. On the Indian Ocean coast are several large seaports, including Nacala and Maputo, with further ports being developed. There are 3,750km of navigable inland waterways. There is an international airport at Maputo, 21 other paved airports, over 100 with unpaved runways; the Mozambican railway system developed over more than a century from three different ports on the Indian Ocean that serve as terminals for separate lines to the hinterland. The railroads were major targets during the Mozambican Civil War, were sabotaged by RENAMO, are being rehabilitated. A parastatal authority, Portos e Caminhos de Ferro de Moçambique, oversees the railway system of Mozambique and its connected ports, but management has been outsourced; each line has its own development corridor. As of 2005 there are 3,123 km of railway track, consisting of 2,983 km of 1,067 mm gauge, compatible with neighboring rail systems, a 140 km line of 762 mm gauge, the Gaza Railway.
The central Beira Railroad Corporation route links the port of Beira to the landlocked countries of Malawi and Zimbabwe. To the north of this the port of Nacala is linked by rail to Malawi via the Northern Development Corridor, to the south Maputo is linked to Zimbabwe and South Africa; these networks interconnect only via neighbouring countries. A new route for coal haulage between Tete and Beira was planned to come into service by 2010, in August 2010, Mozambique and Botswana signed a memorandum of understanding to develop a 1,100 km railway through Zimbabwe, to carry coal from Serule in Botswana to a deepwater port at Techobanine Point in Mozambique. Newer rolling stock has been supplied by the Indian Golden Rock workshop using Centre Buffer Couplers and air brakes; as of 1996 there was estimated to be a total of 30,400 km of highways. There are 3,750 km of navigable waterways. Seaports on the Indian Ocean coast include: Beira - railhead for Zimbabwe via the Beira Railroad Corporation Inhambane Maputo - railhead for South Africa Nacala - a deepwater port and a railhead for Malawi.
Pemba Quelimane Matutuine, a new coal port in the far south, approved October 2009. As of 2002 the merchant marine fleet consisted of three cargo ships of 1,000 gt or over, totaling 4,125 gt/7,024 tonnes deadweight. Two of these were Belgian-owned ships registered in Mozambique as a flag of convenience; as of 2006 there were 158 airports in total, 22 of them having paved runways. The main airport in the country is Maputo International Airport, the hub of Mozambique's flag carrier, LAM Mozambique Airlines. UN Map Map Port Nacala railhead Southern Africa Sena Railway This article incorporates public domain material from the CIA World Factbook website https://www.cia.gov/library/publications/the-world-factbook/index.html
Ann-Sofi Sidén is a contemporary Swedish artist. She started out as a painter, she expanded into other mediums, including video, film and sculpture. Sidén's styles and themes do not fit easy categorization. Sidén's early works center around a fictional character of her own creation, the "Queen of Mud", or QM; the creature is played by Sidén herself, is the subject of numerous videos and films made in the late 1980s and early 1990s. The most notable aspects of the character are that she is naked, covered in mud. In 1989, she walked into an exclusive department store in central Stockholm; the character went to the perfume counter and tested a Chanel perfume before being escorted out of the building by security guards. The visit made headlines in the Stockholm evening press, led to an appearance by Sidén on a Swedish TV talk show, Ikväll, hosted by Robert Aschberg. QM's public appearances continued in 1992. Under the guise of looking for art to take with her on her imminent space travel, she engaged several gallerists in conversation, one of whom assisted in reapplying mud on her body.
The QM character played a lead-role in Sidén's 1997 film, QM, I Think I Call Her QM. The QM character has The QM Museum, Sidén's 17-channel mixed media installation; the digital archive, part of the museum contains over 4,000 articles, consisting of drawings, videos and sculptures that Sidén made about QM during her career. In 1994, Sidén participated in a group show in New York City called, "Who has enlarged this hole?" It took place on West 9th Street, in the brownstone where a retired psychiatrist named Alice E. Fabian had died some years before. Sidén deals with Fabian's remnants, including written journals, audio journals, books and strange markings on the walls. Fabian lived the last 20 years of her life alone, she was convinced that she was the subject of surveillance, she used the tools of her trade to prove her case, collecting exhibits and evidence labeled and explained by Dr. Fabian, that built up her own case against purported FBI agents who "zap" her with electricity and bug her house.
Sidén's participation in the group show was her work entitled, It's by Confining One's Neighbor that One is Convinced of One's Own Sanity, Part I. The title is a play on a Dostoyevsky quote, "It is not by confining one's neighbor that one is convinced of one's own sanity."Sidén continued working with the raw material collected from West 9th street for a number of years, focusing on madness as a creative power. The site-specific piece in New York was transformed into It's by Confining One's Neighbor that One is Convinced of One's Own Sanity, Part II; the American psychiatric journals that were part of Fabian's library were used in, Would a Course of Deprol Have Saved van Gogh's Ear?, where the pharmaceutical advertisements from the journal were put on display. Sidén explains her own reaction to the advertisements that she found in the journal: Glancing through some of the magazines it struck me that here was one of the most blatant forms of subliminal marketing. Flashy advertisements for psychiatric pharmaceutical products were mixed with serious scientific articles.
The images in the advertisements showed depressed women in their own homes, carrying such captions such as:'She's too anxious to talk to you! For severe anxiety, SERAX may well prove beneficial.' It occurred to me that like religion, the psychiatric science--in spite of its brief history--had its fair share of structurally implicated madness and violence connected to it. In 1997, Sidén made a 35-mm short film, QM, I Think I Call Her QM, directed by Sidén and Tony Gerber; the film merges the QM character with Alice Fabian. The film showed at the Carnegie International in 1999; the film depicts a retired psychiatrist living alone, one day finding a creature, QM, under her bed. She investigates QM, subjecting her to tests and examinations. There are several possible readings of the relationship between the two characters, including mother/daughter, alter-ego. In Sidén's own words: If QM is a creation of Ruth she is created by Ruth's words, her notes and studies, she is a physical manifestation of what is going on in Ruth's head or a sum of the dirt piled up in her apartment after years of confusion.
What interests me in the Golem myth is belief as the key to any vision, theory. And for us QM exists only if we believe in her. Between 1997 and 2001, Sidén developed a series of video installations focused on surveillance and infrastructure. Day's Inn and Who Told The Chambermaid? show the inner-workings of a hotel on surveillance monitors mounted on a shelving system that includes towels, new toilet paper rolls, other backroom items, suggesting that a hotel employee is spying on its guests. The camera views include the front desk and storage closets, they go into the rooms, revealing dozens of guests involved in activities such as reading a newspaper, going to the bathroom, masturbating or having sex. Station 10 and Back Again uses a fire station instead of a hotel; the shelving system contains hoses and helmets, the surveillance monitors show firemen eating, sleeping and responding to an alarm. All three of these pieces are silent. Who Told The Chambermaid? showed at the 1999 Venice Biennale.
Nikolay Selivesterovich Khlibko was a Soviet and Russian theatre, cinema actor and artistic director. Honored Artist of the RSFSR. Veteran of Eastern Front. Nikolay Khlibko was born on November 1919 in Tashkent. 1938 – 1946 years - student of Leningrad Theatrical Institute of A. Ostrovsky. During his studies at the Institute The Great Patriotic War began. On the 3rd year of his study at the Institute Nikolay Khlibko went to fight as a volunteer in the division of the National Army. Fascist bullet pierced through his right lung, Nikolay miraculously survived. With the end of the War he graduated interrupted studies. Nikolay received an invitation from Arkady Raikin to work with him, he worked under his leadership 3 years in Variety Theatre in Leningrad.1956 – 1958 years - actor of Tashkent Russian Drama Theatre.1962 – 1990 years - actor of Nizhny Novgorod Drama Theatre. Nikolay Khlibko was an Artistic Director of the Tashkent Polytechnic Institute. Nikolay Khlibko в конце 50-х годов by the theater group returned to the stage play of Mayakovsky "The Bedbug" and "Mystery-Bouffe".
Student premiere of "The Bedbug" the entire staff of Tashkent Russian Drama Theatre attended, which took the play to the repertoire with Nikolay Khlibko in a role of Prisipkin, after was "The Bedbug" in Moscow Satire Theatre and in many other theatres of USSR. So, with a creative hand of Nicholay Khlibko "The Bedbug" after years of prohibition and oblivion started a " victory march " on the theatres' stages. In 1957 after 30-year break Nikolay Khlibklo returned to the stage "Mystery-Bouffe". In this play with great praise reacted union magazine "Theatrical Life". Nikolay Khlibko was an Artistic Director of Gorky Theatre School. Students blandly called him "uncle Kolya". Among the students of Nicholay Khlibko such well-known Russian actors as Alexander Pankratov-Chyorny, Igor Ledogorov, Julian Kalisher, Irina Mazurkevich and others. Most of his life Nikolay Khlibko dedicated to theatre, but appeared in films. Nikolay Khlibko died on November 1993 in Nizhny Novgorod because of the heart attack. Wife: Aelita Khlibko, Veteran of Eastern Front, a Lecturer of the German language in the past, 25.08.1925 - 05.02.2015 Sons: Vladimir Khlibko, Sergey Khlibko Grandsons: Elena Khlibko, Vladislav Khlibko Honored Artist of the RSFSR Medal "For Courage" Memory Gallery of Nizhny Novgorod Drama Theatre Nikolay Khlibko on IMDb Students of the theatre about Nikolay Khlibko Nikolay Khlibko on KinoPoisk All-Russia State Television and Radio Broadcasting Company, Nizhny Novgorod calls Nikolay Khlibko one of the favourite actors of Nizhniy Novgorod public Radio program 15 of All-Russia State Television and Radio Broadcasting Company, Nizhny Novgorod from the "Nizhny Novgorod Theater Seasons" radio-series Nizhny Novgorod Drama Theatre, 1954 год
MiR-101 microRNA precursor is a small non-coding RNA that regulates gene expression. Expression of miR-101 has been validated in both human and mouse; this microRNA appears to be specific to the vertebrates and has now been predicted or confirmed in a wide range of vertebrate species. The precursor microRNA is a stem-loop structure of about 70 nucleotides in length, processed by the Dicer enzyme to form the 21-24 nucleotide mature microRNA. In this case the mature sequence is excised from the 3' arm of the hairpin. Survival analysis shows that hsa-miR-101 is associated with survival in multiple breast cancer datasets, he XP, Shao Y, Li XL, Xu W, Chen GS, Sun HH, Xu HC, Xu X, Tang D, Zheng XF, Xue YP, Huang GC, Sun WH. "Downregulation of miR-101 in gastric cancer correlates with cyclooxygenase-2 overexpression and tumor growth". The FEBS Journal. 279: 4201–12. Doi:10.1111/febs.12013. PMID 23013439. Page for mir-101 microRNA precursor family at Rfam miRBase family MIPF0000046
The Angelic Conversation is a CD soundtrack released by Coil for the film The Angelic Conversation. "Enochian Calling", "Angelic Stations" and a few other tracks use samples from Coil's debut EP, How to Destroy Angels. "Never" was released in a shorter form on Unnatural History and the mysterious compilation Less Than Angels. This album was recorded by John Balance, Peter Christopherson, Stephen Thrower. Judi Dench provides the vocals; this album is the soundtrack to the Derek Jarman film bearing the same name. This album is available for download in FLAC, AAC, MP3 formats on the official Coil website, Thresholdhouse.com. "Ascension" – 2:18 "Enochian Calling" – 7:30 "Angelic Stations" – 4:59 "Finite Bees" – 2:14 "Cave Of Roses" – 7:58 "Sun Ascension" – 4:07 "Madriiax" – 7:17 "Escalation" – 15:07 "Never" – 6:02 "Enochian Calling II" – 7:16 "Montecute" – 5:07 The Angelic Conversation at Discogs
Otechestvennye Zapiski was a Russian literary magazine published in Saint Petersburg on a monthly basis between 1818 and 1884. The journal served liberal-minded readers, known as the intelligentsia; such major novels as Ivan Goncharov's Oblomov and Fyodor Dostoyevsky's The Adolescent made their first appearance in Otechestvennye Zapiski. Founded by Pavel Svinyin in 1818, the journal was published irregularly until 1820, it was closed down in 1830 but resurfaced several years with Andrey Krayevsky as its publisher. The renovated magazine published articles by Vissarion Belinsky and Alexander Herzen, catering to well-educated liberals. Other notable contributors included: Mikhail Bakunin Timofey Granovsky Nikolay Nekrasov Ivan Turgenev Vladimir Dahl Vladimir Odoyevsky Aleksey Pisemsky Afanasy FetIn 1846 Nekrasov persuaded Belinsky and other contributors to leave Otechestvennye Zapiski for his own Sovremennik; as a result, the former declined in influence. It was overshadowed by the more radical Sovremennik for 20 years, until the latter was banned in 1866.
In 1868 Nekrasov acquired Otechestvennye Zapiski from Krayevsky and started editing it jointly with Saltykov-Shchedrin. After Nekrasov's death Saltykov-Schedrin was its sole editor-in-chief, radicalizing the journal further. In the 1870s it was transformed into a mouthpiece of the Narodnik movement. Despite Saltykov's mastery of "Aesopian" language, the tsarist authorities closed Otechestvennye zapiski in 1884 as "an organ of the press which not only opens its pages to the spread of dangerous ideas, but has as its closest collaborators people who belong to secret societies". Online version