Emergency

An emergency is a situation that poses an immediate risk to health, life, property, or environment. Most emergencies require urgent intervention to prevent a worsening of the situation, although in some situations, mitigation may not be possible and agencies may only be able to offer palliative care for the aftermath.

While some emergencies are self-evident (such as a natural disaster that threatens many lives), many smaller incidents require that an observer (or affected party) decide whether it qualifies as an emergency. The precise definition of an emergency, the agencies involved and the procedures used, vary by jurisdiction, and this is usually set by the government, whose agencies (emergency services) are responsible for emergency planning and management.

Defining an emergency

An incident, to be an emergency, conforms to one or more of the following: if it:

Emergency (series)

Emergency is a video game series of rescue simulations by the German developer Sixteen Tons Entertainment and creative director and founder of the series Ralph Stock. Publisher of the first game in 1998 was TopWare Interactive; In 2002 Emergency 2 was published by Take 2 Interactive who went on to publish both Emergency 3 in 2005 and Emergency 4 + Gold Edition in 2006 alongside the publisher Rondomedia. As of 2010 Deep Silver has taken over the publishing operations of the Emergency Series and its Spin-Offs.

In the game, players take control of the emergency services; firefighters, ambulance services, police and, technical services (THW). The central element of the Emergency games is to head up operations of fictional rescues, crimes, medical and catastrophe management, commanding a pool of vehicles and personnel.

Controls and graphics are typical of a Real-Time Strategy game; using the left-mouse button to select your unit(s), the right-mouse button to command movement or an action of the selected unit(s). Camera work takes typical angles of the RTS genre.

Steve Rushton

Steven John Rushton (born 30 October 1987, Chertsey, Surrey, England) is a British solo artist, and formerly co-lead singer bassist for the pop punk band, Son of Dork. Steve contributed two songs to the number 1 box office and billboard movie/soundtrack album, Hannah Montana the movie 'Game Over' and 'Everything I Want' which was the only song on the soundtrack to be written 100% and not a collaboration. The soundtrack has sold 4,000,000+ copies worldwide.

Biography

Rushton was born in Frimley Park Hospital in Surrey, and was introduced to music by his stepfather, an Elvis impersonator, when he used to bring Rushton up on stage with him to perform.

Mr. Cheerful (2003–2004)

From early school years and up to college, Rushton was the writer, guitarist and singer for the band Mr. Cheerful. The band was heavily influenced by artists such as Elvis and Green Day. Their biggest brush with fame was their participation in the UK final for the 2003 Junior Eurovision Song Contest. Rushton was unable to continue with Mr. Cheerful when he was scouted for Son Of Dork.

Mode (computer interface)

In user interface design, a mode is a distinct setting within a computer program or any physical machine interface, in which the same user input will produce perceived different results than it would in other settings. The best-known modal interface components are probably the Caps lock and Insert keys on the standard computer keyboard, both of which put the user's typing into a different mode after being pressed, then return it to the regular mode after being re-pressed.

An interface that uses no modes is known as a modeless interface. Modeless interfaces intend to avoid mode errors by making it impossible for the user to commit them.

Definition

A precise definition is given by Jef Raskin in his book The Humane Interface:

"An human-machine interface is modal with respect to a given gesture when (1) the current state of the interface is not the user's locus of attention and (2) the interface will execute one among several different responses to the gesture, depending on the system's current state." (Page 42).

Mode (literature)

In literature, a mode is an employed method or approach, identifiable within a written work. As descriptive terms, form and genre are often used inaccurately instead of mode; for example, the pastoral mode is often mistakenly identified as a genre. The Writers Web site feature, A List of Important Literary Terms, defines mode thus:

History of mode

In his Poetics, the ancient Greek philosopher Aristotle uses 'mode' in a more specific sense. Kinds of 'poetry' (the term includes drama, flute music, and lyre music for Aristotle), he writes, may be differentiated in three ways: according to their medium of imitation, according to their objects of imitation, and according to their mode or 'manner' of imitation (section I). "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us" (section III). According to this definition, 'narrative' and 'dramatic' are modes of fiction:

Mode (music)

In the theory of Western music, mode (from Latin modus, "measure, standard, manner, way, size, limit of quantity, method") (Powers 2001, Introduction; OED) generally refers to a type of scale, coupled with a set of characteristic melodic behaviours. This use, still the most common in recent years, reflects a tradition dating to the Middle Ages, itself inspired by the theory of ancient Greek music.

Mode as a general concept

Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed mode as a general term but limited for melody types, which were based on the modal interpretation of ancient Greek octave species called tonos (τόνος) or harmonia (ἁρμονία), with "most of the area between ... being in the domain of mode" (Powers 2001, §I,3). This synthesis between tonus as a church tone and the older meaning associated with an octave species was done by medieval theorists for the Western monodic plainchant tradition (see Hucbald and Aurelian). It is generally assumed that Carolingian theorists imported monastic Octoechos propagated in the patriarchates of Jerusalem (Mar Saba) and Constantinople (Stoudios Monastery) which meant the eight echoi they used for the composition of hymns (e.g., Wellesz 1954, 41 ff.), though direct adaptations of Byzantine chants in the survived Gregorian repertoire are extremely rare.