VIVAnews -Twitter account belonging to a terrorist Norway, Anders Behring Breivik, hijacked hacker or hackers. Anonymous hacker group, thought to be those who hijacked the account belongs to the Breivik.

As quoted from Time, the page was originally, in the account @ AndersBBreivik, written a number of the message. One of them: "this account has been taken by # NORIA. @ AnonymousNorway. "

After that, a number of tweet ever owned pembantai Norway was abolished, after hacker writes: "this account will be immediately deleted. Forget Anders # NORIA ".

But later, the hijackers leave the last message in a tweet: "Please download (download) the latest version of the Manifest 2083-Declaration of independence in Europe". In a tweet that includes downloadable material link.

Then what the contents of the Manifest 2083-Declaration of independence in Europe?

It turns out, by Anonymous message extreme hacktivist Breivik was parodied in a collection of pictures of cats are adorable, and unique words.

Before it was hijacked, Breivik make political messages in his Twitter account. Breivik is using Twitter to spread awareness of the right-wing extremist, fundamentalist Christian anti-Muslim, anti-Marxism, anti-immigrant, and anti-multiculturalism.

Not only propaganda, Breivik even then do action bombing in the Centre of Government in Oslo. In fact, two hours after the explosion, which killed Breivik did massacre of at least 76 people on the island of Utoya

Whereas, as quoted from the blog The Village Voice, hacker group called Anonymous "Operation UnManifest", to destroy the racist manifesto Breivik message written in 1500 pages. Through this movement, Anonymous hoped no more people tercuci the brain by the familiar, such as belonging to the Breivik.

During this time, a group of Anonymous is a known reliable hacktivist groups in a number of action peretasan. A number of official agencies in the United States, such as the Pentagon, even used to be a victim of Anonymous. (umi)

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Hacker Terrorist Norway Pirates Twitter Account

However, example C is different. It only has reflections in horizontal and vertical directions, not across diagonal axes. If we flip across a diagonal line, we do not get the same pattern back; what we do get is the original pattern shifted across by a certain distance. This is part of the reason that the wallpaper group of A and B is different from the wallpaper group of C.

The types of transformations that are relevant here are called Euclidean plane isometries. For example: Sometimes two categorizations are meaningful, one based on shapes alone and one also including colors. When colors are ignored there may be more symmetry. In black and white there are also 17 wallpaper groups; e.g., a colored tiling is equivalent with one in black and white with the colors coded radially in a circularly symmetric "bar code" in the centre of mass of each tile.

A symmetry of a pattern is, loosely speaking, a way of transforming the pattern so that the pattern looks exactly the same after the transformation. For example, translational symmetry is present when the pattern can be translated (shifted) some finite distance and appear unchanged. Think of shifting a set of vertical stripes horizontally by one stripe. The pattern is unchanged. Strictly speaking, a true symmetry only exists in patterns that repeat exactly and continue indefinitely. A set of only, say, five stripes does not have translational symmetry — when shifted, the stripe on one end "disappears" and a new stripe is "added" at the other end. In practice, however, classification is applied to finite patterns, and small imperfections may be ignored.

Wallpaper groups are two-dimensional symmetry groups, intermediate in complexity between the simpler frieze groups and the three-dimensional crystallographic groups (also called space groups).

A wallpaper group (or plane symmetry group or plane crystallographic group) is a mathematical classification of a two-dimensional repetitive pattern, based on the symmetries in the pattern. Such patterns occur frequently in architecture and decorative art. There are 17 possible distinct groups.

All 17 groups were used by Egyptian craftsmen[citation needed], and used extensively in the Muslim world. A proof that there were only 17 possible patterns was first carried out by Evgraf Fedorov in 1891 and then derived independently by George Pólya in 1924.

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On the other hand Owen Jones, in The Grammar of Ornament, describes a method whereby this type of interlace ornament is, instead, designed based on a foundation of geometric grids, with the same foundational grids re-drawn to the size of the object. E. H. Hankin, in his book The Drawing of Geometric Patterns in Saracenic Art, takes the view that the artists who created these designs used a method based on the use of the compass and the straight edge. This view is supported by the majority of contemporary authorities on the subject, such as Keith Critchlow in his book, Islamic Patterns: An Analytical and Cosmological Approach. This explains how ornamented objects as varied in size as a book or a mosque, were treated by artists using the same geometric methods adopted to the size and nature of the object being ornamented.

The grace and refinement of Greek ornament is here surpassed. Possessing, equally with the Greeks, an appreciation of pure form, the Moors exceeded them in variety and imagination.

....the intricate interlacings common in later medieval Islamic art, are already prefigured in Umayyad architecture revetments: in floor mosaics, window grilles, stone and stucco carvings and wall paintings(Khirbat al-Mafjar, Qusayr'Amra, Qasr al-Hayr al-Gharbi etc.), and in the decoration of a whole group of early east Iranian, eighth- to tenth-century metal objects.

Geometric interlacing patterns are a subcategory of Islamic pattern and ornament. They can be considered a particular type of arabesque which developed from the rich interlace patterning of the Byzantine Empire, and Coptic art. One of the first Western studies of the subject was E. H. Hankin's "The Drawing of Geometric Patterns in Saracenic Art", published in Memoirs of the Archaeological Societry of India in 1925.

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The Art Gallery of New South Wales (Australia), Historic Deerfield (Deerfield, Massachusetts), the Honolulu Academy of Arts and the Fine Arts Museums of San Francisco usually have Sauvages de la Mer Pacifique on display.

The panels show many historical events loosely based on the reports of James Cook and La Pérouse and drawings made by members of their crews. Some of the figures of Pacific Islanders were based upon frescoes from ancient Pompei, which had been rediscovered in 1748, and others upon well-known Greek and Roman sculptures. Machine-made continuous paper, just invented, was not yet commercially available when Dufour undertook his project. Instead, small rectangular handmade sheets were joined at the edges to form long rolls, which were later cut to the desired length (approximately 24 by 98 inches or 61 × 249 cm). A toned, water-based ground layer was then applied by brush to the entire panel to act as an undercoat for subsequent printing. This light blue layer also served as the sky tone in unprinted areas. Designs for each color were carved on separate blocks, and as many as sixty were required to print a single panel. The design was then enhanced with stenciled hand-painted gouache.

In 1806 the French entrepreneur and wallpaper manufacturer Joseph Dufour et Cie, in collaboration with a designer Jean-Gabriel Charvet, produced a twenty-panel set of scenic wallpaper entitled Sauvages de la Mer du Pacifique (Savages of the Pacific). The wallpaper was printed in color from multiple woodblocks. It was the largest panoramic wallpaper of its time, and marked the burgeoning of a French industry in panoramic wallpapers. Dufour realized almost immediate success from the sale of these papers and enjoyed a lively trade with America. The Neoclassic spirit currently in favor was accented handsomely in houses of the Federal period by the exaggerated elegance of Charvet's scenes.

Charvet's reputation rests on twenty-panels of scenic wallpaper titled Sauvages de la Mer Pacifique (The Savages of the South Pacific) which combine to form a neoclassical depiction of the explorations of Captain James Cook. The wallpaper was shown in Paris at the Exposition des produits de I'industrie francaise in 1806. Charvet died in Tournon-sur-Rhône, France in 1829.

Jean-Gabriel Charvet (1750–1829), also known as Jean Gabriel Charvet, was a French painter, designer and draftsman who was born in Serrières, Ardèche, France. He studied at the École de Dessin in Lyon under the French artist Donat Nonotte (1708-1785) and worked as a designer for the French wallpaper manufacturer Joseph Dufour et Cie (1752-1827) of Mâcon, France. In 1773, Charvet travelled to Guadeloupe in the Caribbean on business for his uncle, and stayed for four years producing many studies of native flora and fauna, as well as landscapes. By 1785, he had established a drawing school in Annonay, south of Lyon. Annonay had been a papermaking region since the Sixteenth Century.

William Bligh of Mutiny on the Bounty fame was sailing master on HMS Resolution (depicted in panel 8), and explorer George Vancouver was a 21 year old midshipman on HMS Discovery.

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