In 1966 he published an article in Psychological Monographs which summarized over a decade of research (by Rotter and his students), much of it previously unpublished. It is an example of a problem-solving generalized expectancy, a broad strategy for addressing a wide range of situations. Rotter's (1954) social learning theory of personality. Locus of control as a theoretical construct derives from Julian B. (2002) argued that locus of control, neuroticism, self-efficacy, and self-esteem factors may have a common core. The concept of core self-evaluations was first examined by Judge, Locke, and Durham (1997), and since has proven to have the ability to predict several work outcomes, specifically, job satisfaction and job performance. Locus of control is one of the four dimensions of core self-evaluations – one's fundamental appraisal of oneself – along with neuroticism, self-efficacy, and self-esteem. Careful distinctions should also be made between locus of control (a personality variable linked with generalized expectancies about the future) and attributional style (a concept concerning explanations for past outcomes), or between locus of control and concepts such as self-efficacy. Debate continues whether domain-specific or more global measures of locus of control will prove to be more useful in practical application. The construct is applicable to such fields as educational psychology, health psychology, industrial and organizational psychology, and clinical psychology. Locus of control has generated much research in a variety of areas in psychology. People with a strong external locus of control tend to praise or blame external factors such as the teacher or the difficulty of the exam. Individuals with a strong internal locus of control believe events in their life are primarily a result of their own actions: for example, when receiving exam results, people with an internal locus of control tend to praise or blame themselves and their abilities. A person's " locus" (plural "loci", Latin for "place" or "location") is conceptualized as internal (a belief that one can control one's own life) or external (a belief that life is controlled by outside factors which the person cannot influence, or that chance or fate controls their lives). Rotter in 1954, and has since become an aspect of personality psychology. Locus of control is the degree to which people believe that they, as opposed to external forces (beyond their influence), have control over the outcome of events in their lives. They also struggle more with procrastination and difficult tasks. A person with an external locus of control attributes academic success or failure to luck or chance, a higher power or the influence of another person, rather than their own actions.
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The Faceless also reveal that they are working on a permanent cure, and promise that in exchange for his help, they will give Crane the cure to take back to Harran.Ĭrane is then tasked with assisting a man named Atilla, who is working on an important project for the Mother. Eventually, one of the Faceless, the high-ranking members of the cult, approaches Crane and privately admits that their immunity is gained through a special elixir they had discovered, but like Antizin, it only suppresses the infection and does not fully cure it. In order to earn the cult's trust and learn more about the immunity, Crane decides to assist the survivors. He heads out to the countryside, where he discovers that many of the survivors out there have converted to a religious cult called the Children of the Sun, who worship the Mother which is apparently the source of their immunity to the virus. With the Tower running short on Antizin and Camden's efforts to produce a cure still unsuccessful, Crane decides to go investigate this supposed immunity. Protagonist Kyle Crane learns from a survivor near death about a supposed cure to the virus. The asymmetrical multiplayer mode from the first game, Be The Zombie, also returns in The Following. Similar to the first game, the game supports a four-player cooperative multiplayer mode. Players do not have to complete the base game before starting the expansion however, the character progression players earned in The Following will be carried to the base game. Every action made in this mode drains stamina from the player's character. The game also features a new difficulty mode named "Nightmare Mode", which extends the duration of nighttime, and increases the strength and health of enemies. The missions and objectives included in this mode change every day, and players gain experience points by completing them. A new "bounty" mode, which split missions into three different categories: "Basic", "Dailies", and "Community", is introduced. The game features several new weapons, such as a crossbow and a variety of new firearms such as submachine guns and revolvers. Players can also choose from 40 different paintjobs to customize their car, and must collect fuel in order to drive the buggy. The buggy's performance and efficiency are affected by factors including the power of its suspension, engine, and brakes. It has its own separate skill tree, and weapons, including spikes, flamethrowers, UV lights, electrical cages and other upgrades can be added to the buggy to increase its combat abilities. Players can use them to travel across the game's world quickly and mow down enemies. One of the new features introduced is a drivable dune buggy. Players can use parkour movements, such as climbing ledges, leaping, sliding, jumping and zip-lining, to move between places and kill enemies. 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The I Ching presents a clear outline of a rational and well-ordered universe, offering sixty-four transformative principles as a pathway to empowerment. The variation of eight trigrams generate sixty-four possible hexagrams. The creation of the eight Pa Kua or trigrams at the root of the sixty-four principles, are ascribed to the legendary Fu-hsi, who ruled during the third millennium BC. It is based on the ancient idea of Yin and Yang and is appreciated by the Confucians and Taoists alike. The Book of Changes, called the I Ching, is one of the world's oldest works of literature. They cannot be confined within a rule it is only change that is at work here." Flowing through the six empty places rising and sinking without fixed law, Firm and yielding transform each other. Its tao is forever changing alteration, movement without rest. The I Ching Watch: Introduction to the I Ching "Changes is a book from which one may not hold aloof. Living Icon, Bruce Irons and future Icon, Jack Robinson are also Pocket Rocket riders. Most of Mason Ho’s magicaL Indonesian and Hawaiian antics have been performed on board a Pocket Rocket. Almost our entire team, from the legendary Taj Burrow to San Clemente’s exciting and explosive Griffin Colapinto, regularly ride Pocket Rockets since its inception just two years ago. Young phenom, Yago Dora, has been on a tear this year…winning the Newcastle Pro and famously taking down 3 World Champs en route to a semi final finish in The Oi Rio Pro, as a wildcard, on a board quiver of round tail Pocket Rockets. In 2016, Joan Duru rode a quiver of Pocket Rockets to qualification on the WCT. It also became popular with the Bros, when we introduced the “EDD” (Every Day Dims) for average surfers wanting to ride HP designs. The Pocket Rocket was quickly adopted under the feet of most of our team and various traveling Pros. With plenty of tail curve, the “Pocket Rocket” turns tight and whippy off the tail, but with a relaxed enough curve forward to still project and connect. It’s built around a smooth, continuous rocker, to fit in the “pocket”, with enough concave cutting through it to “rocket” down the line and across flats. He then went on to solid runs in the France and Portugal WCT events. Out of the gate he netted a QF finish (Azores) and a Win (Cascias) in back to back 10k WQS events. We made a few and I scribbled “PocketRocket” on them. After years of mostly riding only Drivers and Sub Drivers, he requested a board with a new rocker that “fits more in the pocket, and lets me push hard, but still fast in the flats”. The Pocket Rocket was first developed for Kolohe Andino, for the varied beach breaks of Europe, in 2015. Updates include a slightly wider/more forgiving forward outline, a more relaxed central rocker, defined edge and square rail in the tail, refined concave and bottom curves, as well as slight adjustments to the size scaling. The “ Bro” sizes really benefit from the updates ( making a more user friendly contemporary HP-Shortboard ) and also feature a lower, blended rail, without reducing overall volume. UPDATED FOR 2018: The 2018 PocketRocket now features refinements and improvements based off of continued positive feedback from the PocketRockets used by Griffin Cola, Yago Dora and Joan Duru. Here are just a few of the offerings you may find on display. Larger pet stores keep tanks stocked with fascinating goldfish with unique features. Other Varieties of Goldfish You May See in the Pet Store They must be fed neither too much nor too little.Įxcept for the Fantails, Egg-Shaped Goldfish cannot stand water temperatures below 68 degrees Fahrenheit (20 degrees Celsius) and they demand excellent water quality.Įvery Egg-Shaped Goldfish needs an aquarium that contains at least 20 gallons (about 80 liters) of clean water, with another 10 gallons (38 liters) for each additional fish. It can interfere with digestion, so you will need to pay special attention to their diet. The compressed physique of Egg-Shaped Goldfish can force them at a downward angle. The shorter swim bladder in Egg-Shaped Goldfish makes them slower and less agile, and puts them at a severe disadvantage at feeding time if they are housed with larger, sleeker goldfish. This group of goldfish includes Bubble-Eye Goldfish, Celestial Goldfish, and Golden-Eye Goldfish. Goggle-Eye Goldfish have big, protruding eyes that look more than a little like goggles. Trying to keep any of these fancy goldfish with any of the goldfish we have already mentioned will not end well for them. There is no reason a beginner to keep goldfish can’t keep, as long as these fancy goldfish are kept indoors in their own tank. The fancy goldfish include Goggle-Eyed Goldfish (goldfish that seem to be wearing eyeglasses), Fancy-Finned Goldfish, and Egg-Shaped Goldfish. These slim, fast-swimming, graceful fish can easily compete with Common Goldfish and Comet Goldfish for food.īut you should never put them in the same enclosure as any of the fancy goldfish we will discuss in the next section. Shubunkins are often beautifully “striped” goldfish. They will have slim bodies, and they will grow long and strong enough to compete with Common and Comet Goldfish for food.īeloved pets in Japan, these goldfish are known as Shibunkins. Calico GoldfishĬalico Goldfish have a mixture of matte and reflective scales. Goldfish that have metallic scales all over their bodies are highly prized. Some metallic goldfish have just small patches of metallic scales. This is due to a layer of guanine just beneath their scales that reflect light like a prism. Goldfish that have metallic scales seem to shimmer in their aquarium lighting. They can have scales of a single color, red, orange, yellow, blue, or black, or they can have scales of a single color mixed with streaks of silver. Metallic Goldfish come from three gene pools, Blue Belly, Metallic, and Mock Metallic. Here are some of the most common kinds of fancy goldfish you can keep in a home aquarium. Goldfish may come with metallic scales or scales in calico colors.Įxtreme coloration would make goldfish easy targets for predators in the wild or in your backyard pond, but they are harmless, interesting adaptations for goldfish kept in captivity. There are goldfish that not only sport dazzling colors but also interesting domed or dented (convex) scales. You can now find matte (non-reflective) black, blue, speckled orange, silver, and chocolate brown goldfish. Most of the goldfish you can find ready for sale in pet shops aren’t golden, or any color close to golden. There are so many colors of goldfish that the term “goldfish” has become misleading. They can injure the gentler, slower bespectacled, fancy-finned, and egg-shaped varieties of goldfish we will discuss a little later in this article. Slim-bodied Common Goldfish and Comet Goldfish are fast swimmers with aggressive features. While Common Goldfish and Comet Goldfish make good neighbors, most goldfish with unusual anatomical features need to be kept in their own tank. However, they don’t make good neighbors for other kinds of goldfish that stay small. They can survive cooler temperatures and poor water quality, while still growing up to a foot (30 cm) long. Protected from cats and birds, both kinds of goldfish do well in outdoor ponds. Their caudal (tail) fin, however, is deeply forked and maybe almost as long as the Comet Goldfish’s entire body.Ĭomet Goldfish are friendly tank mates with Common Goldfish. Like Common Goldfish, Comet Goldfish come in many colors. 1995–97 - Frede Ewert’s DR Pop Orchestra, Danish Song Contest.1994 - Nils Landgren, “Live in Stockholm” album, with Maceo Parker, et al.1994 - Fini Høstrup’s orchestra “Grease Nørrebro teater” album + performance.Piano/keyboards/vocals, composer/arranger. 1994–97 - Lis Sørensen, with Jonas Krag, Emil de Vaal, Moussa Diallo, et al.1993 - Jan Glæsel’s orchestra, “Linie 3, Hvor er de to andre” album.Piano/keyboards/vocals, composer/arranger, producer. 1993–94 - News, with Peter Biker, Jette Schandorf, Berit Fridahl, et al.1992 - Nils Landgren “Red Horn” album, Michael Ruff, et al.1992–99 - Jan Glæsel’s orchestra, sundry TV shows and tours.1992 - Sanne Salomonsen Band, with Assi Roar, Michael Elo, et al.1992–93 - DR Entertainment Orchestra, Danish Song Contest.1992 - Mikkel Nordsø, the “Guitar Me” album.1992–94 - Beleza Brazil, with Klaus Menzer, Rune Olesen, et al.1991 - Aske Jacoby, “Not Only For The Royalties” album.1991–93 - Danser Med Drenge, with Philippa Bulgin, Klaus Kellerup, et al.1991 - Metropolis, Norman Fearrington, Ray Pedersen, et al.1991 - Thomas Helmig, with Aske Jakobi, Lars Danielson, Claes Anthonsen, et al.1990–96 - Nils Landgren Unit, with Per Lindvall, Lars Danielson, Henrik Jansson, et al.1990–92 - Danse Orkestret, with Jakob Andersen, Jørgen Klubien, Kasper Marott, et al.1990–92 - Two Many, with Nils Harrit, Inger Nyberg.1989 - One Two, “Hvide Løgne” album with Jan Lysdahl, Jesper Mattson, et al.1988–92 - Roupé Band, with Bjarne Roupe, Niels Ratzer, Ole Skipper Mosgaard, et.1986–87 - OneTwo, with Cecilie Nordby and Nina Forsberg, et al.1984–85 - Horn I/S, with Ivan Horn, Ole Prehn, Peter Andersen, René Cambony, et al.1983 - Ghetto Blaster, with Thomas Hass, Cecilie Nordby, et al.1982–83 - Avenue, with Thomas Blachman, Niels Lan Doky, et al.1980–82 - Lobster, with Thomas Poulsen, Henrik Belmark, Flemming Toft, et al.1978–80 - Barock, with Thomas Poulsen, Henrik Belmark, et al. Attended the Berklee College of Music, Boston, Massachusetts, USA, Music for Film & TV MajorĬomposed my first piece of music at the age of 10 and started my first band in sixth grade. Attended the Rhythmic Music Conservatory, Copenhagen Attended Berklee College of Music Boston, Massachusetts, USA, Performance Major Graduated from Holte Upper Secondary School, majoring in Music and Languages. Started down my musical path in life at an early age with singing, flute and piano lessons in the first grade. My passion is music, nothing is more important – it’s that simple. Music can be an angel or a demon, light or dark, soft and hard, or beautiful, horrifying, shrill, or warm – so a composer’s job is to select the sound that best describes the state of mind or emotion he or she wants a work to impart. Nothing can warm a cold heart or make us forget our loneliness like music can. Music does something to us and touches us, regardless of whether we are aware of it. In my world, there is no language more powerful than music and there is no better way to communicate an emotion. I try to unlock that door – and keep it ajar. Whenever I compose music, I strive to express in my works just a fraction of the feeling from that experience. It was like a door had opened up to a brand-new universe, revealing an infinitely deep and colourful world which could encompass everything – joy, pain, grief, euphoria – at one and the same time. I had not yet learned to play the piano at the time, so I didn’t know what I was doing, but I was utterly fascinated and absorbed by the sound emanating from the instrument. I was about six years old and I cautiously laid my hands on the keys for the very first time – and a wonderful sound suddenly flowed through my ears. The piano tuner had just finished tuning it and the instrument was now standing all by itself in the living room, disassembled with all the piano strings visible. I remember a watershed moment from my childhood. Composer for film and television and a music producer |