Velkommen til, Doctor.

Jeg vil følge med her.

Hvilket program benytter du dig af?
Welcome.

Velkommen til, funken og andreas7074.

Andreas, jeg benytter mig af back to basics 2 tilpasset til prehab af albue- og skulderleddet, fx. ved at snuppe 20 min. på handbike inden træning og ved at udføre reverse grip bench press, dumbbell flyes, triceps overhead extensions, diverse udstrækninger og cuban press.



Shadows in Zamboula
Next up: Klassisk atomteori og kvantemekanik


"
...
Slightly taller than Conan, and much heavier, Baal-pteor loomed before him, a daunting image of muscular development. His mighty arms were unnaturally long, and his great hands opened and closed, twitching convulsively. Conan released the hilt of his imprisoned sword and fell silent, watching his enemy through slitted lids.

'Your head, Cimmerian!' taunted Baal-pteor. 'I shall take it with my bare hands, twisting it from your shoulders as the head of a fowl is twisted! Thus the sons of Kosala offer sacrifice to Yajur. Barbarian, you look upon a strangler of Yota-pong. I was chosen by the priests of Yajur in my infancy, and throughout childhood, boyhood and youth I trained in the art of slaying with the naked hands—for only thus are the sacrifices enacted. Yajur loves blood, and we waste not a drop from the victim's veins. When I was a child they gave me infants to throttle; when I was a boy I strangled young girls; as a youth, women, old men and young boys. Not until I reached my full manhood was I given a strong man to slay on the altar of Yota-pong.

'For years I offered the sacrifices to Yajur. Hundreds of necks have snapped between these fingers—' he worked them before the Cimmerian's angry eyes. 'Why I fled from Yota-pong to become Totrasmek's servant is no concern of yours. In a moment you will be beyond curiosity. The priests of Kosala, the stranglers of Yajur, are strong beyond the belief of men. And I was stronger than any. With my hands, barbarian, I shall break your neck!'

And like the stroke of twin cobras, the great hands closed on Conan's throat. The Cimmerian made no attempt to dodge or fend them away, but his own hands darted to the Kosalan's bull-neck. Baal-pteor's black eyes widened as he felt the thick cords of muscles that protected the barbarian's throat. With a snarl he exerted his inhuman strength, and knots and lumps and ropes of thews rose along his massive arms. And then a choking gasp burst from him as Conan's fingers locked on his throat. For an instant they stood there like statues, their faces masks of effort, veins beginning to stand out purply on their temples. Conan's thin lips drew back from his teeth in a grinning snarl. Baal-pteor's eyes were distended; in them grew an awful surprize and the glimmer of fear. Both men stood motionless as images, except for the expanding of their muscles on rigid arms and braced legs, but strength beyond common conception was warring there—strength that might have uprooted trees and crushed the skulls of bullocks.

The wind whistled suddenly from between Baal-pteor's parted teeth. His face was growing purple. Fear flooded his eyes. His thews seemed ready to burst from his arms and shoulders, yet the muscles of the Cimmerian's thick neck did not give; they felt like masses of woven iron cords under his desperate fingers. But his own flesh was giving way under the iron fingers of the Cimmerian which ground deeper and deeper into the yielding throat-muscles, crushing them in upon jugular and windpipe.

The statuesque immobility of the group gave way to sudden, frenzied motion, as the Kosalan began to wrench and heave, seeking to throw himself backward. He let go of Conan's throat and grasped his wrists, trying to tear away those inexorable fingers.

With a sudden lunge Conan bore him backward until the small of his back crashed against the table. And still farther over its edge Conan bent him, back and back, until his spine was ready to snap.

Conan's low laugh was merciless as the ring of steel.

'You fool!' he all but whispered. 'I think you never saw a man from the West before. Did you deem yourself strong, because you were able to twist the heads off civilized folk, poor weaklings with muscles like rotten string? Hell! Break the neck of a wild Cimmerian bull before you call yourself strong. I did that, before I was a full-grown man—like this!'

And with a savage wrench he twisted Baal-pteor's head around until the ghastly face leered over the left shoulder, and the vertebrae snapped like a rotten branch.

Conan hurled the flopping corpse to the floor, turned to the sword again and gripped the hilt with both hands, bracing his feet against the floor. Blood trickled down his broad breast from the wounds Baal-pteor's finger nails had torn in the skin of his neck. His black hair was damp, sweat ran down his face, and his chest heaved. For all his vocal scorn of Baal-pteor's strength, he had almost met his match in the inhuman Kosalan. But without pausing to catch his breath, he exerted all his strength in a mighty wrench that tore the sword from the magnet where it clung.

Another instant and he had pushed open the door from behind which the scream had sounded, and was looking down a long straight corridor, lined with ivory doors. The other end was masked by a rich velvet curtain, and from beyond that curtain came the devilish strains of such music as Conan had never heard, not even in nightmares. It made the short hairs bristle on the back of his neck. Mingled with it was the panting, hysterical sobbing of a woman. Grasping his sword firmly, he glided down the corridor."

The Barbarian Keep

Link til hele artiklen: http://www.barbariankeep.com/ctbds.html#note1
Introduction:

As the webmaster of the Barbarian Keep, I was once asked by a admirer of this site, "If you are a fan of the first Conan movie, why don't you have more information about the film at the Barbarian Keep web site?" My answer was simple: because nearly everything that could be imagined or written on the movie has already been done. There have been tens or hundreds of articles written on the film, and currently there are numerous web sites on the internet that focus exclusively on the Conan movie -- so there seemed little need to create yet another Conan movie site. Paradoxically, there also was a complete void of information on the Conan character as it was originally conceived by Robert E. Howard. So, I decided to stake out my own corner of the internet and dedicate this web site primarily to the original Conan (which is still the best). I couldn't resist, however, to pay a little homage to the movie with my pages and interviews about the swords used in the film, and of course the page of sound bites from the movie. Yet, the fact that I didn't have anything at the Barbarian Keep specifically on the film itself began to nag at me. What I needed was a good review of the film. No, not just a good review, an excellent review.

Presented here is one of the most interesting and in-depth articles ever written on the film, Conan the Barbarian. This article is well researched, informative, and best of all... insightful. Using the philosophy of Friedrich Nietzsche as the framework for his exploration, David C. Smith exposes the central, overarching themes that has made Conan the Barbarian an enduring classic and one of the best heroic fantasy films yet made.

David C. Smith was born on August 10, 1952, in Youngstown, Ohio. He is the author or coauthor of 18 adventure-fantasy and horror novels. He has also written Understanding English, an English grammar textbook, and many short stories. He and his wife, Janine, live just outside Chicago, Illinois, where Smith works as a medical editor.

This article originally appeared in slightly different form in Bocere, volume 1, number 3 (August 1995) through volume 2, number 1 (April 1996), as a contribution to the Robert E. Howard United Press Association.

1.

You don’t fret a whole lot about subtext if you’re writing . . . Conan the Barbarian.
William Goldman
Adventures in the Screen Trade

Goldman is, of course, wrong. If any movie this side of The Birth of a Nation has a subtext and was written to promote that subtext plainly and unequivocally, that movie is certainly Conan the Barbarian, renegade writer-director John Milius’s interpretation of Robert E. Howard’s heroic fantasy tales.

Milius very much wanted to make the movie, and he jumped at the chance to direct it when the opportunity presented itself. He rewrote an original screenplay drafted by Oliver Stone [1] (in which the action takes place in a post-nuclear holocaust future) and set the story firmly in Howard’s own Hyborian Age, and meanwhile brought to the reenvisioned movie the nobility of the samurai bushido code of discipline, duty, and honor and an appreciation of German philosopher Friedrich Nietzsche’s late-Romantic era concept of the übermensch or overman. The synthesis works well even though the idea of Conan as fascist strongman is counter to Howard’s own political sensibilities. (Howard was an early critic of the fascism that developed between the wars in Germany and Italy, and he expressed his mistrust of such far-right doctrinism at some length in letters to H. P. Lovecraft, who was initially sympathetic to the national-socialist agenda. A contrary, independent, and intelligent man, Howard understood immediately that an outlier such as himself would not have been particularly welcome in such lockstep, dull-normal, groupthink societies.) So unqualified was Milius’s enthusiasm for the project that he was able to stamp the movie with his persona and create an iconography whose influence still reverberates in our popular culture. The Wind and the Lion, which just as certainly promotes Milius’s pre-Enlightenment values, may be a more polished movie, but the echoes of Conan the Barbarian, its "That which does not kill me makes me stronger" and "Crush your enemies," its lone-gunslinger sympathies and its posturing manliness untouched by irony, have persisted for many more summers than anyone would have thought possible in 1982 when the movie was released. John Milius caught, and continues to influence, the Zeitgeist.

This may not be surprising, given that Conan came from the man who has proffered us such popular lines as "This is a .44 Magnum, the most powerful handgun in the world," "Do you feel lucky, punk?" and "I love the smell of napalm in the morning," and such memorable dialogue as Robert Shaw’s grim recollection in Jaws of the sinking of the USS Indianapolis, which fellow University of Southern California film school chum Steven Spielberg asked Milius to write. He started out, after earning his degree in English, as a screenwriter and script doctor; his work for Francis Ford Coppola, another USC contemporary, on what would become Apocalypse Now is legendary. A portent of things to come in Milius’s career was the reaction to his script for Jeremiah Johnson (1972), the story of the notorious frontiersman Liver-Eating Johnson, who waged a one-man war against the Crow after his family had been massacred. The screenplay was heavily rewritten because director Sidney Pollack was dismayed by the violence in Milius’s original draft. (Pollack was quoted in 1982 as saying, "[In the Milius script,] Johnson’s reaction when his wife dies is to run out and eat a tree. That just isn’t my style.") Milius’s directorial debut, Dillinger (1973), accented his signature motifs: violence, outlaw glory, and a loner’s self-contained code of chivalry and integrity in a world of hypocrisy. The Wind and the Lion (1975) followed, then Big Wednesday (1978), a heartfelt, strongly biographic story of Southern California surfers on the eve of the escalation of the Vietnam war.

Just because Big Wednesday is a touching piece of Americana and so personal a movie, it is atypical of Milius, who in a 1991 interview recalled with pride that the most memorable compliment paid him was by John Huston, who said of him, "He’s not of this time." Milius has used to his advantage the opportunities Hollywood has afforded him to speak his own mind relentlessly on film, and seldom has he compromised. (For writing Dirty Harry, he requested as payment, in addition to his agreed-upon fee, a Purdy shotgun because "I do not consider paper honorable.") He decided as a young man that he faced two paths and chose to be his own person, "be a bit of a rebel and reject materialism," rather than fall into line with a safe career. This says much for him, as does his acknowledgment that the filmmakers who came before him--Ford and Huston, Hawks and Kurosawa--"were the guys who had really done it. We [younger directors] were very derivative." But those esteemed filmmakers, of course, borrowed from and built upon the work of the first generation of moviemakers. Milius has consistently paid homage to those craftsmen he respects. This is as it should be. In the arts, we stand upon the shoulders of those who’ve come before us, the better to see where we might try going next.

[1] = Note 1 Barbarian Keep.

Jeg vil også prøve og se om jeg kan følge med her inde

Tribute til Mark Knopfler


Første smedning efter længere tids pause, det er lækkert, også selvom løftene var kagearmsagtige.

Opvarmning
Handbike: 9 min.
DB bench press: 8 x 24 kg.

BB Benchpress
8x60
8x70
8x70
2x70
8x60
Teknikken var helt perfekt, oplevede god aktivering af brystmuskulaturen og knap så meget aktivering af deltoids.

Reverse Grip Benchpress
8x25
Opgav at udføre øvelsen solo, det er for risikabelt. Man skal helt afgjort bruge en spotter.

Incline BB Benchpress
8x60
8x50
8x50
8x50
Valgte at gå ned i vægt da jeg kunne mærke et teknikskred var på vej. Armene føles ekstra vakkelvorne efter bænkpres, i kraft af længere tids pause.

Overhead press
8x15
8x15
8x10
8x10
Skod vægt, men opnåede dog en god udmattelse af deltoids og mærkede i højere grad deltoids arbejde, end trapezius.

Skullcrushers
12x10
12x12
12x10
12x10
Kørte med lettere vægt i kraft af at triceps allerede var en anelse udmattet efter handbike. Holdte 20 sekunders pause ind i mellem sættene.

Weighted crunches
10x15
10x15
10x15
10x15

Ikke just en voldsom gode resultater i træningspasset, men opnåede dog en væsentlig grad muskeludmattelse. Umiddelbar lader det til at der er nogle muskulær ubalancer, det skal selvfølgelig udbedres.

Doctor Manhattan skrev:Incline BB Benchpress
8x20
8x15
8x15
8x15
Valgte at gå ned i vægt da jeg kunne mærke et teknikskred var på vej. Armene føles ekstra vakkelvorne efter bænkpres, i kraft af længere tids pause.

Medkalkulerer du stangens vægt, eller skulle der have stået DB ?

The Barbarian Keep

Link til hele artiklen: http://www.barbariankeep.com/ctbds.html


1. Side 2
"
...
Conan the Barbarian was John Milius’s chance to manage a large-scale, big-budget (for the time--$17 million), world-class motion picture, and he took charge of the situation with relish, remaining as centered as any of his admired Japanese warriors clacking away at kendo practice (although he did suffer a postproduction heart attack, which gives some idea of the strain Milius and everyone else associated with the movie underwent). Kendo, in fact, has much to do with the attitude of the film. Milius said in an interview at the time of the movie’s release, "The whole idea was that if the actors had a real foundation in kendo, no matter what was thrown at them, they would know how to handle it . . . . They couldn’t make a wrong move; they were always their characters." He deliberately chose Gerry Lopez, a friend and champion surfer, and dancer Sandahl Bergman for their roles because, like Arnold Schwarzenegger, neither was a veteran performer with a movie star-sized ego to be catered to. All were athletic, as well--absolutely an essential requirement.

Milius variously coached, coaxed, cajoled, and bullied the three to get from them the performances he wanted. He drilled them constantly, training them as he had his hunting dogs, so that during filming, "while the camera was running . . . my voice was in the back of their minds." He wanted them to think as Zen warriors. "[Arnold] never lost his self-esteem or his ego," Milius said. "Someone who would have fought me would have lost his ego. But Arnold used the Oriental approach: ‘I am a river being directed; I must flow where I go.’" The three spent rigorous months specifically in preparation for the film--kendo practice, horseback riding, dance. Schwarzenegger, in fact, had been getting ready for the movie off and on since 1978, when he had signed an exclusive contract with producer Ed Pressman that prohibited the bodybuilder from making any other motion picture during the lengthy preproduction period. Schwarzenegger, Bergman, and Lopez also studied Akira Kurosawa’s samurai films; asked in a 1982 interview what had impressed him most about those movies, Schwarzenegger replied, "I learned the expression of serenity in combat."

This is not exactly Robert E. Howard’s Conan. The character created by the young Texan writer is one tough mother, an animal in human form, with the instincts and reflexes of the wild, a shrewd, devious fighting man formed in equal measure by heredity and experience. He is a superman, but one with a paternity reaching straight back to Beowulf and Enkidu, Siegfried and Attila, Alexander and Genseric. John Milius’s Conan is a northland barbarian youth reborn with the soul of a samurai warrior. This works well in the context of Milius’s revision, but it dramatically changes the focus of Conan’s warriorhood as it reshapes the essence of the character himself. Howard’s Conan is a brawler and a brute, lucky to be alive, forged by his adventures into a quasiclassical warrior-king; but Milius’s Conan is of a new order altogether. For the character in Howard’s stories, a sword is a tool; in Milius’s film, a sword is the warrior’s spirit and is richly symbolic of the warrior as a self-actualizing, self-overcoming new man -- the overman. In most of Howard’s Conan stories, women are prizes or wenches; in Milius’s film, Valeria is the woman of women, special and elevated, the new man’s equal, the other half of his soul. The schooling in the art of sword mastery and the rigorous self-discipline Conan attains in the movie are pure Musashi by way of John Milius, as is the reverance for the sword itself, for steel, their importance taking on a spiritual dimension--weapons "as an expression of the will directed towards a certain end," according to Jung (as quoted by Ania Teillard in Cirlot’s study of symbols). Weapons as extensions of the self, mastery of the self, the overcoming of the self--the will to power.

Which brings us to Nietzsche.

Milius’s Conan is a literal translation of Nietzsche’s übermensch, the philosopher’s personification of the will to power, the expression of human existence superior to that of the conventional, sentimental, bourgeois moral majority (to use a contemporary term) whom Nietzsche held in contempt. Nietzsche "attacks man’s moral principles," William Hubben writes in his survey of modern philosophers.

The new "superman," a term borrowed from Goethe’s Faust, is law unto himself. He is autonomous . . . , destined to fulfill our highest dreams. Nietzsche’s vision was that of the new man, the one who . . . will build himself up into a being beyond the "much-too-many," the mob. He will be a higher but, of course, also a lonely man. His secret nobility will be of an aristocratic elevation, for which no pattern exists: He has nobody to follow, and nobody should be asked to follow him.

Or, as Nietzsche himself wrote (in Thus Spake Zarathustra: Second Part): "Hungry, violent, lonely, godless: thus the lion-will wants itself. Free from the happiness of slaves, redeemed from gods and adorations, fearless and fear-inspiring, great and lonely: such is the will of the truthful."

Conan the Barbarian is John Milius’s recipe for creating the übermensch, and he makes very clear in the heading that opens the movie the secret ingredient required for cooking up a super self-overcomer: "That which does not kill us makes us stronger," his paraphrase of maxim 8 from Nietzsche’s Twilight of the Idols (which, in full, in Kaufmann’s translation, is, "Out of life’s school of war: What does not destroy me, makes me stronger"). Thus does John Milius marry Nietzsche’s dream of the self-actualizing, self-creating overman with the means by which to accomplish this overreaching goal, the self-discipline, the mastered ego, the directed will of the samurai warrior. This is not Howard’s Conan, but it is nonetheless a Conan he could have appreciated and understood.
...
"

Buhl88 skrev:Jeg vil også prøve og se om jeg kan følge med her inde

Det synes jeg lyder som en god idé.

Gårsdagens smedning.

Tribute til Niels Bohr

Nobelprismodtager Niels Bohr. ~Sofistikeret~.

Squat
8x40
8x50
8x50
8x50

Leg curls
8x30
8x45
8x45
8x45
Det gav godt!

Bent over BB rows
8x60
8x60
8x70
8x70

Lat pull downs
8x45
8x55
8x55
8x55

Sitting curls
8x14
8x12
8x12
8x12

Doctor Manhattan skrev:

Funken skrev:Medkalkulerer du stangens vægt, eller skulle der have stået DB ?

Der skal stå 8x60, 8x50 etc.

Ah. Jeg syntes også det var et lidt markant drop, at gå ned til 20 og 15 kg med BB.
ALL IS GOOD, ALL IS YONDER.

Lækkert med Jimi på en Fredag <3

Kapitel 2 tekstuddrag fra the Barbarian Keep fortsat

Conan the Barbarian is thoroughly suffused with a pagan spirit. It revels in this paganism, celebrates it with gusto, and explores it with the delighted enthusiasm of--well, of a Conan set free of his chains and able at last to romp and run unfettered by the choking restrictions of authority, manners, politesse, duty--civilization, in a word. It is John Milius who is enthused; it is Milius romping. "Howard," he said in an interview at the time of the movie’s release, "seemed as highly suspicious of civilization as I am. You know, people ask me how I could be interested in pagan, Teutonic cultures, and I tell them I cannot help myself--voices sing to me. I tell them there might be something we can learn from them." The illusion in the movie of a prehistoric era is complete, conveying the satisfying sense of a re-creation of a bygone time rather than the novel creation of an epoch that did not exist. Diverse cultures and customs shouldering one another in frontier towns and cosmopolitan cities, witches and subhumans still alive and kicking on the fringes of slowly expanding civilization--Milius’s Hyborian Age, like Howard’s, is a dramatic character in its own right, not merely a makeshift backdrop. Milius and designer Ron Cobb concocted the Hyborian era from scratch. "We decided to make a picture as though there was a [sic] Hyborian world," Cobb said in an interview in 1982. "Howard didn’t just imagine it. It was real."

The celebration of paganism that so dismayed some critics is precisely the element that is so alluring about the movie. Although its sense of rightness or correctness, of truthfulness, is jarring to refined, modern sensibilities, this paganism sounds deep chords of archetypal resonance, of primitive honesty about the world and us. As Jung wrote:

What psychologists call the psychic identity, or "mystical participation," has been stripped off our world of things. But it is exactly this halo of unconscious associations that gives a colorful and fantastic aspect to the primitive’s world. We have lost it to such a degree that we do not recognize it when we meet it again. With us such things are kept below the threshold; when they occasionally reappear, we even insist that something is wrong.

Every age has its built-in paradigms, its foundation of assumptions, its sacred cows; among the most sacred of cows in our time is the conceit of rationalism, the "culture of abstract intelligence," the presumption that human beings essentially are stable, thinking beings (despite evidence all around that refutes such idealism). "Rationalism," Ortega y Gasset wrote,

is a gigantic attempt to destroy spontaneous life through irony, regarding it from the point of view of pure reason . . . . [But] pure reason cannot supplant life: the culture of abstract intelligence is not, when compared with spontaneity, a further type of life which is self-supporting and can dispense with the first. It is only a tiny island afloat on a sea of primeval vitality. Far from being able to take the place of the latter, it must depend upon and be maintained by it . . . .

It is this primitive spontaneity that Conan the Barbarian celebrates, and John Milius, with unrestrained bravura, even at times with condescension, reminds us every minute that our self-assured reliance on the "tiny island" of abstract reason is a fiction--reminds us every minute that Ortega y Gasset’s perilous "sea of primeval vitality" and Jung’s mystical, natural "halo of unconscious associations" define us far better than our presumptuous rationalism does. Snakes. Swords. Sorcerers. Wolf-witches and life’s school of war, blood and loss and suffering and death and resurrection, friendship and codes of honor, self-discipline and vows of revenge--this is where we live, this is who we are. Our conscious rational life is only a small part of us, perhaps the least part, perhaps no more than an affectation, and certainly no more than an adjunct to the will to power.

Not even the gods count for much in such a vitalistic, willful world; in fact, the gods probably do not exist, or if they do, then they are no better than we are: "Battle pleases you, Crom, so grant me one request. Grant me revenge. And if you do not listen, then to hell with you!" "The old values have lost their force," E. L. Allen has written, discussing Nietzsche.

The supernatural has gone because there was no longer any place for it . . . . To be sure, men continue to bow to it in respect as though there were still something in the place that has been left empty by its departure. They are not yet aware of the frightful hazards to which they are exposed, now that they have been deprived of the old security. What stares us in the face is--just nothing! Nihilism menaces us. The old values have lost their force. But man cannot live without values . . . . He must therefore give them to himself.

Which is precisely what Conan does and what he represents in the movie, new values for a Hyborian world fallen into decadence: Osric the conqueror besotted on his throne, his daughter one with her generation in following a false god. New values embodied by the new man--or at least time-tested values and virtues, as John Milius presents them.

E. L. Allen is referring specifically to the death of God (as announced by Nietzsche) when he writes that "the supernatural has gone," but he could as well be describing Conan’s murdering Thulsa Doom and his freeing Doom’s followers from the monster’s seductive hold on them. "When Doom is undone, it’s almost as though he has to do it," John Milius said in an interview in 1982. "He realizes, just a bit, that he’s helping fulfill his own destiny. That another force must replace him." He elaborated:

Doom says, "I am the spring from which you came. When I am gone, you will never have been." This is direct from New Guinea folk religion, and all pagan religions have that statement. There is always a figure, whether it be Wotan or the sea or the winds or the airplane god, who finally says to man, "If you take me, you will never have been. I am the wellspring from which you come." Doom merely reflects this.

Conan deprives Doom’s cult of its security in their false god and deprives himself, as well, of the enemy who has given him his purpose in life. Now he is staring into the abyss; now he is the rope hanging over the abyss; but now he, the übermensch, facing nihilism, facing the nothingness, the emptiness, that results from his defiance, is free to create himself howsoever he will. He has accomplished that which he as übermensch necessarily had to do: fulfill a transvaluation of values (the phrase is Nietzsche’s). "The currency of moral judgment," Allen writes,

is to be melted down and minted into a fresh set of coins . . . . Man must begin . . . by the acceptance of a rule imposed upon him from without; only so can he become free and reach the stage at which he can defy with his "I will" the dragon that confronts him with "Thou shalt."

And what new values will replace those that have been overthrown? "[T]he final stage," Allen writes, "is not the self-conscious assertion [‘I will’]: it is a new naturalness and spontaneity, to accept and live out one’s life in simplicity and directness."

Simplicity and directness--as concise a description of Conan, Howard’s or Milius’s, as one could ask for.

Doctor Manhattan skrev:

Det er godt, det der. Det er rigtig, rigtig godt.

Vægttab: 4kg

Highwayman - the Highwaymen

Hold op der er stille herinde...

Kulhydrater

Kulhydrater findes i alle levende organismer. Næsten rent kulhydrat findes sukker og stivelse i mad, cellulose i træ, papir og bomuld, imens en modificeret version er at finde i belægningen omkring levende celler. Andre kulhydrater er del af nukleinsyre, og stadig andre har fundet anvendelse som medicin.
Bag ordet kulhydrat, findes en historisk forklaring. Det første kulhydrat man fandt var glukose, og i kraft af at glukose har den kemiske formel C6H12O6, troede man i første omgang at det var et "hydrat af kul"; et kulhydrat. På trods af at man ændrede opfattelse, hang navnet ved. I dag bruges ordet løst til at henvise til et bredt spektre af polyhydroxylerede aldehyder og ketoner, også almindeligvis kaldet "sukkerarter". Af disse er glukose nok den mest almen kendte.

Kilde: The Fundamentals of Organic Chemistry, lærebog til organisk kemi.

Benjamin Reilly skrev:Hvis du nu loggede nogle træninger ville der nok være mindre stille. Det tror jeg faktisk.

Owned. In my own log even...


Versionen her lyder bedre.