#niklas johansson

[hockeytown-gifs]

Learning from Legends! - Detroit Red Wings - July 2024

[astralbondpro]

Dark Tranquillity // Hedon

[thesearenotphotographs]

The (International) Noise Conspiracy and The Hives at Knitting Factory

Full gallery available on my website here.

On Saturday, November 17, 2001, I photographed two bands from Sweden: The (International) Noise Conspiracy and The Hives in the main room of Knitting Factory. I believe this was The Hives’ first ever tour of the US and I would document two of their shows in New York City again 22 years later in support of their first new record in over a decade. T(I)NC performed at Bowery Ballroom with Rocket From the Crypt earlier in 2001 and a gallery from that show is available on my website here.

I previously discussed photographing The Hives with Jeanette D. Moses on DP Review and that interview is available on that website here.

[r--c]

Hugo Jackson aka: ''Solvent''

Hugo Ahlfors Jackson (born 12 May 2006) was identified as the attacker and a student of Källeberg by police officers at the scene. - According to police Jackson had an interest in white supremacy, national socialism, school shootings and instances of right-wing terrorism. - The perpetrator had been reported to, questioned and visited by police several times in the year leading up to the attack. In almost every instance the police forwarded the case to social services. Teachers at school expressed frustration at the inaction of social services to the police, having voiced concerns about the perpetrator bringing knives to school and believing he could harm someone at school. - Among the officers these concerns were expressed to included an officer who had previously witnessed the perpetrator wearing a swastika arm band and knew the perpetrator had pictures of school shooters and Nazi imagery in his possession.

At around 8:06 am, Jackson arrived at Källeberg, at the school's football pitch, carrying a gym bag that contained four knives, two airsoft pistols, black clothing, a protective vest and combat helmet both adorned with patches of the Swedish flag. After using one of the school's changing rooms to put on his clothing, Jackson began a livestream on Twitch under the alias ''spectatorsolvent'' and using his mobile phone, propping it up to broadcast.

Upon starting the livestream, Jackson begins playing Serbia Strong and says "Remember lads, Subscribe to PewDiePie", referencing a quote originating from the perpetrator of the Christchurch mosque shootings.

Three to four minutes into the livestream, Jackson walks in circles and then squats down in front of the camera and gives a double thumbs-up to the camera and then attaches the phone to the GoPro mount on his helmet and proceeds approaching Källeberg.

Eight minutes and eleven seconds into the livestream, Jackson enters Källeberg. He approaches Niklas Videsson, a 45-year-old teacher who did not recognise him despite being his student. Videsson asks, "You aren't wearing the correct uniform here." Jackson stabs the teacher in the stomach, making him collapse onto the ground and shout in pain.

Fifteen minutes and forty-eight seconds into the livestream, the music has changed to "Don't Stop Me Now" by Queen, and Jackson begins walking back to the football pitch before being detained by police officer, Mikael Johansson, who orders him to lie down. Jackson aims his airsoft pistol at officer Johansson reminiscent of an attempt at suicide by cop. Johansson fires warning shots at Jackson, the weapon is dropped, he put into handcuffs and arrested whilst music continues playing.

For the remaining four minutes and thirty-three seconds of the livestream, the video stream cuts off but audio can still be heard that Jackson tells the officer that he has had enough of life and wants to be shot, the livestream then ends; 25 minutes and 36 seconds in duration.

On 22 December 2021, the Lund District Court sentenced Hugo to two and a half years in a youth detention center after being found guilty of attempted murder and nine counts of grossly unlawful threats. He was ordered to pay at least SEK 480,000 ($52,582) to victims.

On 16 March 2022, Hugo was convicted for a further four charges of grossly unlawful threats. His sentence remained the same, though he was ordered to pay additional damages.

[eregar]

5 & 12 for Maze; 1 & 17 for Warnulf!

< answering these character asks for my ocs :) >

> MAZE

5. How did you choose their name and why? Was it simply based on vibes or is there any specific meaning behind the name? Are the reasons behind their name different in- and out of universe?

he's name 'maze' because he's 'the structure which houses the minotaur', which, back when he was just a baldur's gate oc, was the part of his soul that was from bhaal. his full name, 'mazeldarin', is just purely based on vibes. i wanted it to sound distinctly drowic (despite him not having drow heritage) as his name was given to him not by a parent but by ranaste, the half-drow knight that he squired under. the in-universe justification for this name though is 'mazeldarin' is a more naming-friendly homophone of the phrase 'm'zild aren'. it doesn't have a direct translation in the common tongue (and it's an interjection, not an adjective) but has somewhat the same meaning as 'bullheaded'.

12. Do you have a playlist for the character? What songs do you associate with them and why?

i don't have a playlist for him anymore, but his defining song will always be the instrumental, 'i am unbreakable' by niklas johansson

> WARNULF

What was the original thought that led to the creation of this character?

i knew nothing about the warhammer universe going into rogue trader but i always like to start a character by picking one value they hold that contrasts with their environment and then one aspect about them, as an individual, that serves as a barrier to achieving that value. there's a huge focus on body modification in the warhammer universe, a normalization of death and violence, as well as an obvious fascistic disdain for anything seen as weak. and so, i wanted to make a character who once represented his society's ideal but now would be seen as weak. he's dying, he's terrified of dying, and yet refuses body modifications that would lengthen his life due to his absolutely titanic ego acquired from when he was the ideal. too, his ego can't accept that others may see him as weak, which causes him to do things that worsen his health and hasten his eventual demise.

17. Are there any motifs or symbols associated with the character? How are they represented, in their design, personality or in some other way?

nothing yet! i haven't written enough with warnulf to have the symbolism come out naturally, but i'm sure some will develop as i spend more time with him :)

[anirudhjust]

Electrolux — Break the pattern from Natanael Ericsson on Vimeo.

Director: Natanael Ericsson Executive Producer: Petra Johansson Producer: Joi Persson DOP: Niklas Johansson, XO MGMT 1st AD: Alessandro Trovo Production Designer: Curru Garabal Stylist: Lucía López Editor: Andreas Arvidsson Grade: Oskar Larsson, Tint VFX: Naive VFX Supervisor: Linus Kullman Online: Evelina Åström, Tint Sound: Calle Buddee Roos, Ponytail Vocals: Hannes Music Producer: Marcus White Music Supervisor: Jonas Holst

Service Production Madrid: Tickle Film Producer: Robert Diment & Romina Tedoldi

Service Production Chile: Oriental Film Producer: Manolo Farachio 2nd unit Director: Felix Scheynius 2nd unit DOP: Hugo Otto-Vallin 2nd unit Producer: Mårten Melinder

Agency: Forsman & Bodenfors Art Director: Johan Eghammer Art Director: Joakim Blondell Copywriter: Nicholas Dufke Agency Producer: Åsa Hammar Account Executive: Jessica Sjölin

[l0ganes]

i just need to keep track of the team

Blake Conklin - F - C

Mike Matthews aka Matty - G

Matt Parizeau - D

Alex Proulx - D 

Nate MacKinnon - F - C

Ryan McNamara - F - C

Dylan Pearson - F - RW

Cam Turner - F - LW

Zach Nielsen - F - LW

Niklas Holm - D 

Aiden O’Day - F - RW

Logan O’Connor - F - RW

Charlie Lapage - D

Cale Makar - D 

Anders Johansson - D

first three lines: Dylan - McNamara - Turner O’Connor - MacKinnon - Nielsen O’Day - Conklin - someone

i'm missing a few but w h a t e v e r

[theart2rock]

Tungsten - The Grand Inferno

Die Symphonic Metaller Tungsten, das Quartett bestehend aus Ex-HammerFall-Schlagzeuger Anders Johannson, seinen Söhnen Karl (Bass, Keyboards) und Niklas (Gitarren) sowie Sänger Mike Andersson, sorgten mit ihrer aktuellen Single „Walborg“ für Aufsehen: Unzählige Streams, aber auch mehr als eine halbe Million YouTube-Views für das dazugehörige Musikvideo zementieren die Erhabenheit des Stücks. Da die Fans immer neugieriger wurden, was die Band sonst noch in der Mache hat, freuen sich Wolfram, etwas mehr Licht ins Dunkel zu bringen: die besagte Single war der allererste Appetizer ihres kommenden Studioalbums „The Grand Inferno“, das am 18. Oktober 2024 über Reigning Phoenix Music (RPM) erscheinen soll.01. Anger 02. Blood of the Kings 03. Lullaby 04. The Grand Inferno 05. Falling Apart 06. Walborg 07. Vantablack 08. Me, Myself, My Enemy 09. Chaos 10. Sound of a Violin 11. Angel EyesMike Andersson – Vocals Niklas “Nick” Johansson – Guitars, backing vocals Karl “Kalle” Johansson – Bass, keyboards, screams Anders Johansson – Drums Lesen Sie den ganzen Artikel

[hlekani-666]

Hardstyle Session 12: Future of Euphoric Hardstylez August 2013

Future of Euphoric Hardstylez August 2013 Favourites.1. 00:00 Cappella - Move On Baby (Heavy Energizer 2013 Bootleg) 2. 02:30 Nowadayz - Tearz 3. 07:06 HVDW - Waves 4. 11:02 Teyo & Deeperz - Out Of Control 5. 14:57 Outrageouz - Hardshore 6. 18:57 DJ Cyber - With You 7. 22:32 Henrik B & Niklas Gustavsson & Peter Johansson - Echoes (Atlantis Bootleg) 8. 26:34 Re-Pulse - The End Of The World 9. 30:12 Modul8 - Creation 10. 34:10 Butterfly Effectz - Dare to Dream 11. 38:30 Transeuterz - Break Away

Added to playlist Finality. 1. 38:30 Transeuterz - Break Away

<038>

[mamaflorblog]

PhotoWall papel pintado En este post del Blog de Mamá os voy a ... mamaflorblog

[xtruss]

What Is The World’s Loveliest Language? Johnson, The Economist Language Columnist, Reviews The Attractiveness of Speech

— January 11th 2024 | Graphic Detail | Pleasantness Scores

Linguists tend to say that all languages are valuable, expressive and complex. They usually attribute negative attitudes to prejudice and politics. That is probably why no one has carefully studied the touchy question of which ones are seen as beautiful or ugly.

That is until three scholars—Andrey Anikin, Nikolay Aseyev and Niklas Erben Johansson—published their study of 228 languages last year*. They hit upon the idea of using an online film about the life of Jesus, which its promoters have recorded in hundreds of languages. Crucially, most recordings had at least five different speakers, as the film has both exposition and dialogue. The team recruited 820 people from three different language groups—Chinese, English and Semitic (Arabic, Hebrew and Maltese speakers)—to listen to clips and rate the languages’ attractiveness.

What they found was that nearly all the 228 languages were rated strikingly similarly—when certain factors were controlled for (of which more below). On a scale of 1 to 100, all fell between 37 and 43, and most in a bulge between 39 and 42 (see chart 1). The highest-rated? Despite the supposed allure (at least among Anglophones) of French and Italian, it was Tok Pisin, an English creole spoken in Papua New Guinea. The lowest? Chechen. The three language groups broadly coincided in their preferences. But the differences between the best and worst-rated languages were so slight—and the variation among individual raters so great—that no one should be tempted to crown Tok Pisin the world’s prettiest language with any authority.

A few factors did make the raters say they quite liked the languages they heard. But those seem unrelated to intrinsic qualities. First, being familiar with a language—or even thinking they were familiar with it—made raters give a language a 12% prettiness boost on average. And there seemed to be some regional prejudices. If a rater said that a language was familiar, he or she was asked to say what region it came from. Chinese raters, for example, clearly preferred languages they thought to be from the Americas or Europe, and rated those they thought from sub-Saharan Africa lower. (When raters said they were unfamiliar with the languages, such preferences disappeared.)

The other extrinsic factors that influenced ratings were a strong preference for female voices and a weaker preference for deeper and breathier ones (see chart 2). But try as they might, the investigators could not find an inherent phonetic feature—such as the presence of nasal vowels (as in French bon vin blanc) or fricative consonants (like the sh and zh sounds common in Polish)—that was consistently rated as beautiful. Only a slight dislike for tonal languages was statistically significant. Tonal languages are those that use pitch to distinguish otherwise homophonous words. Even Chinese subjects slightly disliked such languages, though Chinese itself is tonal.

Dr Johansson highlights some unanswered questions. His team had no information about which sounds tend to appear together (English strings along consonants—as in “strings”—in a way that many other languages do not.) Such a feature was beyond their ability to measure. So was prosody—roughly, the rhythm of a language. And with just five speakers per language, the presence of a couple of attractive or unattractive individual speakers could easily move a language’s rating this way or that.

Finally, the audio materials were scripted. This was a good thing in one way, because the raters heard the same part of the film (with the same meanings) in each language. But spontaneous, natural speech could make quite a different impression. Perhaps people like and dislike not the sound inventory of a language, but the way its speakers tend to speak it. If that is so, the attractiveness of a language might be better attributed to its speakers’ culture—not to the language itself.

Negative results in experiments usually do not make waves, but this one is both interesting—since it goes so strongly against people’s instincts—and cheering. The world is divided enough. As the researchers conclude, “We have emphasised the fundamental phonetic and aesthetic unity of world languages.”■

[agrpress-blog]

Sabato 21 ottobre 2023 uscirà su YouTube la docuserie Northwards (Verso Nord), dedicata al tema del cambiamento climatico, alle sue evidenze nell’Artico, ed alla ricerca scientifica portata avanti da INTERACT, progetto di ricerca e cooperazione internazionale creato nel 2011 dal Premio Nobel Prof. Terry Callaghan e finanziato dalla Comunità Europea. La serie, in sette brevi episodi, è dedicata agli scienziati che lavorano in circa ottanta stazioni di ricerca (sparse in tutto l’Artico e Sub-Artico) e al supporto fondamentale che ad essi fornisce il progetto. Sono previste due premières cinematografiche (ad ingresso libero) di Northwards: venerdì 13 ottobre alle ore 20.00 al Cinema Troisi di Roma (via Girolamo Induno, 1), nella versione originale (sottotitolata in italiano) sabato 14 alle ore 16.00 al Palazzo Coelli di Orvieto (TR) - piazza Febei, 3 -, nella versione doppiata in italiano. A Orvieto seguirà un dibattito, moderato dalla giornalista Roberta Ammendola, ed in cui interverranno Terry Callaghan, Margareta Johansson, Giorgio Lupano, Luisella Bianco e Fabio Catena. Northwards è una docuserie avvincente - che vede come protagonista Giorgio Lupano - per la cui realizzazione sono occorsi due anni. Ha l’obiettivo di raccontare l’attività di INTERACT, il più grande network di stazioni di ricerca terrestri nell’Artico, che coinvolge università e istituti di ricerca e sedici Stati europei e rende possibile il lavoro di migliaia di ricercatori nei luoghi più sperduti dell’emisfero boreale. L’attività divulgativa viene fatta con un approccio “popular” ed un volto conosciuto del mondo dello spettacolo come quello di Giorgio Lupano. Lupano si presenta sul campo di lavoro degli scienziati per parlare con loro come farebbe l’uomo comune, estraneo all’ambiente artico ed alla ricerca; pone loro le domande, anche le più banali, che una persona digiuna di ricerca scientifica farebbe; tocca con mano cosa significhi vivere e lavorare nel freddo territorio del circolo polare artico. Il tutto mediato dalla necessaria ironia che occorre per coinvolgere una platea di “non addetti ai lavori” - ai quali la docuserie è rivolta - su argomenti molto importanti per il futuro del Pianeta. Il viaggio “verso Nord” parte da Stoccolma, dove Giorgio Lupano incontra il Premio Nobel Prof. Terry Callaghan alla Swedish Royal Academy of Science (dove vengono assegnati i premi Nobel per le materie scientifiche) e da qui prosegue verso la stazione di ricerca di Abisko, nel nord della Svezia, dove incontra la coordinatrice del progetto INTERACT, la Dott.ssa Margareta Johansson, la quale lo introduce agli studi sul permafrost. La docuserie propone poi immagini suggestive girate nella tundra svedese, in Lapponia, dove G. Lupano incontra il Sami Niklas Labba che, insieme alla Dott.ssa Kirsi Latola, parla del delicato rapporto fra la comunità scientifica e le popolazioni indigene dell’Artico. Nelle successive puntate, Lupano visita alcune remote stazioni di ricerca di INTERACT: in Finlandia, a Kilpisjarvi, per incontrare esperti di nuove tecnologie; in Groenlandia (non raggiungerà mai l’Artic Station, sperimentando in prima persona le difficoltà della vita in un ambiente così estremo) per farsi spiegare da Morten Rasch ed Elmer Topp-Jørgensen il complicato lavoro di uno Station Manager; e poi ancora in Islanda ed alle isole Faroe per incontrare Hannele Savela e parlare del programma di Transnational Access, che permette a migliaia di scienziati provenienti da tutte le regioni del mondo di accedere alle stazioni di ricerca per condurre i propri studi sul cambiamento climatico. Il viaggio si conclude in Gran Bretagna, a Glossop (vicino a Manchester), a casa del Prof. Terry Callaghan, per un riassunto sulle esperienze vissute e sulle cose apprese e per gettare uno sguardo sulle sfide che ci aspettano per salvaguardare il futuro del pianeta. La serie sarà trasmessa anche sui canali web (www.eu-interact.org) e social di INTERACT. Trailer https://youtu.

[placerdiario]

Electrolux — Break the pattern from Natanael Ericsson on Vimeo.

Director: Natanael Ericsson Executive Producer: Petra Johansson Producer: Joi Persson DOP: Niklas Johansson, XO MGMT 1st AD: Alessandro Trovo Production Designer: Curru Garabal Stylist: Lucía López Editor: Andreas Arvidsson Grade: Oskar Larsson, Tint VFX: Naive VFX Supervisor: Linus Kullman Online: Evelina Åström, Tint Sound: Calle Buddee Roos, Ponytail Vocals: Hannes Music Producer: Marcus White Music Supervisor: Jonas Holst

Service Production Madrid: Tickle Film Producer: Robert Diment & Romina Tedoldi

Service Production Chile: Oriental Film Producer: Manolo Farachio 2nd unit Director: Felix Scheynius 2nd unit DOP: Hugo Otto-Vallin 2nd unit Producer: Mårten Melinder

Agency: Forsman & Bodenfors Art Director: Johan Eghammer Art Director: Joakim Blondell Copywriter: Nicholas Dufke Agency Producer: Åsa Hammar Account Executive: Jessica Sjölin

[waitongutbildning]

SISTA CHANSEN! Vill du veta mer om lösningsfokus? Känner du någon som är intresserad? Har du kollegor som borde veta mer om LF? SFLK, Waitong Utbildning och tre erfarna socionomer; Gunnar Lindfeldt, Magnus Johansson och Niklas Waitong, erbjuder en gratis streamad lösningsfokuserad nybörjarinfo på den lösningsfokuserade världsdagen 3/5 13.00-14.30. Mer info på sflk.se Anmälan till niklas@waitong.se #SFworldday #SFLK #EBTA #SFBT #LiP #LF #SF #Lösningsfokus #LösningsinriktadPedagogik #Solutionfocused #fråganskraft #WaitongUtbildning #WU #Waitong #lösningsfokuseradevärldsdagen (på/i Malmö, Sweden) https://www.instagram.com/p/CruyxYIMon0/?igshid=NGJjMDIxMWI=

[goalhofer]

Niklas Johansson retires.

[soylazaro]

Electrolux — Break the pattern from Natanael Ericsson on Vimeo.

Director: Natanael Ericsson Executive Producer: Petra Johansson Producer: Joi Persson DOP: Niklas Johansson, XO MGMT 1st AD: Alessandro Trovo Production Designer: Curru Garabal Stylist: Lucía López Editor: Andreas Arvidsson Grade: Oskar Larsson, Tint VFX: Naive VFX Supervisor: Linus Kullman Online: Evelina Åström, Tint Sound: Calle Buddee Roos, Ponytail Vocals: Hannes Music Producer: Marcus White Music Supervisor: Jonas Holst

Service Production Madrid: Tickle Film Producer: Robert Diment & Romina Tedoldi

Service Production Chile: Oriental Film Producer: Manolo Farachio 2nd unit Director: Felix Scheynius 2nd unit DOP: Hugo Otto-Vallin 2nd unit Producer: Mårten Melinder

Agency: Forsman & Bodenfors Art Director: Johan Eghammer Art Director: Joakim Blondell Copywriter: Nicholas Dufke Agency Producer: Åsa Hammar Account Executive: Jessica Sjölin