Tower Green is a space within the Tower of London, a royal castle in London, where two English Queens consort and several other British nobles were executed by beheading. It was considered more dignified for nobility to be executed away from spectators, and Queens Anne Boleyn, Catherine Howard, and Lady Jane Grey were among the nobility beheaded here. Queen Victoria asked for information on the exact location where the executions took place and had some granite paving laid to mark the spot. However, it is unclear whether the location is indeed correct because other sources place it on the current parade ground between the White Tower and the entrance to the current Waterloo Barracks.

Location

Tower Green is an open space located south of the Chapel Royal of St. Peter ad Vincula.  Beheading in the privacy of the Tower Green was considered a privilege of rank; the executed were spared insults from jeering crowds, and the monarch was spared bad publicity.  Other prisoners in the tower were executed in public on Tower Hill, just outside the fortress, or at Tyburn on the other side of the city. In the middle of the green is a small square plot paved with granite, which shows the site commonly believed to be the spot on which stood the scaffold on which private executions took place. The granite paving was specially created by order of Queen Victoria.

There is dispute that the memorial site is actually the scaffold site. It appears that there are sources that indicate that the site of the current memorial is merely a spot incorrectly pointed out to Queen Victoria, by an unknowing Yeoman Warder, when she inquired about the scaffold site during a visit to the Tower. Other sources describe Anne Boleyn's final walk to the scaffold, at a location on the current parade ground, between the White Tower and the entrance to the current Waterloo Barracks (not built until 1845).

History

During the Middle Ages, the area was used as a burial ground.  As a result of relaying the 19th century granite sett stones, shallow excavations of the foundations revealed remains of a building that sat on that site. Historic plans of the Tower of London show a building at the site of the Tower Green.  It was demolished in 1684, but was rebuilt in 1685.  It was removed once again soon thereafter.  It appears that the building was used at the time as a guardhouse for the predecessors of the Yeomen Warders. The executions at the Tower Green were done inside this building to maintain the privacy of the nobles.

Executions
The following nobles are known to have been executed by beheading (all by an axe except Anne Boleyn, who was beheaded with a sword) on the Tower Green:

William Hastings, 1st Baron Hastings, by order of Richard, Duke of Gloucester, in 1483.
Queen Anne Boleyn, second wife of King Henry VIII, 19 May 1536.
Margaret, Countess of Salisbury, the last of the Plantagenet dynasty on 27 May 1541.
Queen Catherine Howard, fifth wife of Henry VIII, by a bill of attainder on 13 February 1542.
Jane Boleyn, Viscountess Rochford, by order of Henry VIII on 13 February 1542.
Lady Jane Grey, the "Nine Days Queen", wife of Lord Guildford Dudley, by order of a special commission for High treason, on 12 February 1554.
Robert Devereux, 2nd Earl of Essex for treason on 25 February 1601.

The bodies of all seven were buried in the Chapel of St Peter ad Vincula.

In addition to the seven listed above, there are three additional names listed on the memorial: Malcolm Macpherson, Samuel Macpherson and Farquhar Shaw. These men soldiers of the Black Watch Regiment from the Scottish Highlands who were convicted of mutiny, and were executed on the Tower Green on 19 July 1743 by a twelve-man firing squad composed of their fellow soldiers.

See also
 Tower of London

References

Parks and open spaces in the London Borough of Tower Hamlets
Tower of London
Execution sites in England
Anne Boleyn
Catherine Howard
Lady Jane Grey
Queen Victoria

Tower Green


Deshin Shekpa () (1384–1415), also Deshin Shegpa, Dezhin Shekpa and Dezhin Shegpa, was the fifth Gyalwa Karmapa, head of the Karma Kagyu, a subschool of the Kagyu School of Tibetan Buddhism.

Deshin Shekpa was born in Nyang Dam in the south of Tibet. According to the legend he said after being born: "I am the Karmapa. Om mani padme hum shri." Deshin Shekpa was taken to Tsawa Phu who recognized him as the reincarnation of the Karmapa. Deshin traveled extensively through Tibet and Mongolia and taught people about non-violence.

After having finished his education, he was invited in 1403 by the emperor, because Emperor Zhu Di, the Yongle Emperor, (1402–1424) had a vision of Avalokitesvara. He also required religious ceremonies to be held for his deceased parents.

After a long journey beginning in 1403, he arrived in Nanjing, the then capital on April 10, 1407 on an elephant, at the imperial palace, where tens of thousands of monks greeted him. He convinced the emperor that there were different Buddhist branches for different people and that does not mean that one branch is better than the other.

The Karmapa was very well received during his visit to the capital and a number of miraculous occurrences are reported. He also performed ceremonies for the emperor's family. The emperor presented him with 700 measures of silver objects and bestowed the title of 'Precious Religious King, Great Loving One of the West, Mighty Buddha of Peace'. He also gave him a material representation of the famous and ethereal  'Vajra Crown' which was said to be invisible to all except those of most pure spirit. It was woven in black brocade and studded with jewels.

Aside from religious matters, Emperor Cheng Zu wished to establish an alliance with the Karmapa similar to the one the Yuan (1277–1367 CE) emperors had established with the Sakyapa. The Ming emperor apparently offered to send regular armies to unify Tibet under the Karmapa but Deshin Shekpa declined this rather un-Buddhist offer.

Deshin left Nanjing on 17 May 1408 CE. In 1410 he returned to Tsurphu where he had his monastery rebuilt which had been severely damaged by an earthquake.

References
 Lama Kunsang, Lama Pemo, Marie Aubèle (2012). History of the Karmapas: The Odyssey of the Tibetan Masters with the Black Crown. Snow Lion Publications, Ithaca, New York. .

Footnotes

1384 births
1415 deaths
5
14th-century Tibetan people
15th-century Tibetan people

Deshin Shekpa, 5th Karmapa Lama


Fountains Square () is a public square in downtown Baku, capital of Azerbaijan.
The square was previously called Parapet and is often referenced as the same name now. The name of the fountains square derives from the presence of dozens of fountains throughout the square first constructed during Soviet rule of Azerbaijan.

The square is a public gathering place, especially after business hours and during the weekend. It is an attractive tourist destination with many boutiques, restaurants, shops, hotels and passage. It starts from the Istiglaliyyat Street and walls of the Icheri Sheher and stretches through Nizami Street, also called in popular culture as the Torgovaya street running parallel to Baku Boulevard. The fountains square is a location where the city authorities hold many public festivals, shows and celebrations.

In 2010, the square was renovated by Baku authorities. A "Fountains Square" salad has been named after the square.

Views of the Fountains Square

Notes

Squares in Baku
Architecture in Azerbaijan

Fountains Square, Baku


The Great Sphinx is at Giza near Cairo in Egypt. It sits in a depression to the south of the pyramid of the Pharaoh Khafre (Chephren) at the west bank of the Nile River. The Sphinx is a stone sculpture of a creature with a human head and a lion's body. The greatest monumental sculpture in the ancient world, its body is 200 feet (60m) long and 65 feet (20m) tall. Its face is 13 feet (4m) wide.

It is the oldest known monumental sculpture in Egypt. It is thought to have been built by ancient Egyptians of the Old Kingdom in the reign of the Pharaoh Khafre (c. 2558–2532 BC).

The Great Sphinx does not appear in any known inscription of the Old Kingdom. There are no inscriptions anywhere describing its construction or its original purpose. In the New Kingdom, the Sphinx was called Hor-em-akhet (English: Horus of the Horizon), and the pharaoh Thutmose IV (1401–1391 or 1397–1388 BC) referred to it in his "Dream Stele".

The purpose of the Sphinx is not known. Some archaeologists assume that it was a memorial to a Pharaoh or that it functioned as some sort of talisman or guardian god. Other scholars believe the Sphinx as an astronomical observation device that marked the position of the rising sun on the day of the spring equinox in the time of Leo the Lion.

The statue is eroding today because of wind and humidity and the smog from Cairo. Attempts to restore it have often caused more harm than good. Present attempts at restoration are under the control of the Supreme Council of Antiquities' archaeologists. They are working to drain away underground water.

References

Buildings and structures in Ancient Egypt
Archaeological sites in Egypt
Giza
3rd millennium BC buildings and structures

Great Sphinx


CFU758 is a low-power broadcaster, using the on-air brand 90.7 RAV FM. It is the only licensed high school radio station in Thornhill, Ontario and is owned and operated by Hodan Nalayeh Secondary School. RAV FM is part of the school's radio broadcasting course, and is one of a small number of Canadian radio stations licensed to a high school.

History

RAV FM first signed on in 1999 on 106.3 MHz, utilizing a combination of students and faculty as station operators and program directors.

Rob Basile was the station's original founder, and a teacher at Hodan Nalayeh Secondary School. Under Basile's guidance, the station voluntarily changed to 90.7 MHz to avoid interference with CKAV-FM in 2002. After launching CIRR-FM at the beginning of 2007, he remained that station's program director, the duties of program director were given to Chris "Punch" Andrews, who also continued his on-air duties at CKFM-FM. After the death of Andrews in 2008, Ronald Johnson was named the new program director of the station. To honour the memory of Andrews, the studio was renamed the Punch Andrews Studio. Up until this point it was student-led broadcasting and was still using the original mixer board donated to the station by CHUM FM. In 2009, Matthew Rondina, a media teacher at Hodan Nalayeh Secondary School assumed the program director, removing the elements of student leadership and independence from the station. The original equipment was removed and the studio was completely changed. Under Rondina's changes students were no longer able to run their own shows and the station ceased to exist as a club/ extra curricular activity.

Because RAV FM is no longer student-led, the station continues to run without student support during off times in the scholar year, using a set playlist.

Studio and Equipment
RAV FM provides a low power signal from on top of Hodan Nalayeh Secondary School. The studios are located on the second floor of the school. Additional equipment is placed on the restricted fourth floor. The radio station was originally equipped with  Quickpix and  OpLog automation software. Music scheduling was done using MusicMaster. The radio station also used a Nicom transmitter and Omnia 3 Turbo on air processor. All audio was logged using iMediaLogger. Currently, the station utilizes an Allen & Heath XB–14 radio broadcast mixer, equipped with four microphones, a telephone and a main broadcast computer to transmit music and other audio elements.

Signal
This signal is fairly strong around the school, and travels farthest in a southwest direction from the school toward York University and Jane and Finch. The approximate diameter for reception of RAV-FM under normal weather conditions is as far north as Elgin Mills Road, as far west as Highway 400, as far south as Sheppard Avenue and as far east as Yonge Street. Reception will vary greatly depending on the radio being used.

Broadcasting Course
RAV FM was originally run as an extracurricular activity consisting of student-led shows based on a variety of subjects, such as sports, news and music. During the 2012–2013 scholar year, RAV ceased to exist as an extracurricular activity, and became a course, under the code AWS 201. The course has since been taught by Matthew Rondina and explores radio communication as well as the entertainment industry aspects of broadcasting, including social networking.

Co-operative Education Program
During the 2013–2014 scholar year, RAV FM became a co-operative education work placement. Students would assume the role of studio manager and assume the duties of day–to–day operation of the studio and station. These duties include social media updates, music library/playlist updates and promotions/advertising.

Covid-19
RAV-FM shutdown at the beginning of the Covid-19 pandemic. The station is not currently in operation, but there are plans to revitalize the broadcasting course and subsequently the radio room in the school. This recommencement of the use of the room should begin by late 2023.

References

External links
90.7 RAV FM

High school radio stations in Canada
Vaughan
Radio stations in the Regional Municipality of York
1999 establishments in Ontario
Radio stations established in 1999

CFU758


.Donald Frank Cheadle Jr. (/ˈtʃiːdəl/; born November 29, 1964) is an American actor, author, director, producer and writer. Following early roles in Hamburger Hill (1987), and as the gangster "Rocket" in the film Colors (1988), Cheadle built his career in the 1990s with roles in Devil in a Blue Dress (1995), Rosewood (1997) and Boogie Nights (1997). His collaboration with director Steven Soderbergh resulted in the films Out of Sight (1998), Traffic (2000) and The Ocean's Trilogy (2001–2007).

Cheadle was nominated for an Academy Award for Best Actor for his lead role as Rwandan hotel manager Paul Rusesabagina in the historical genocide drama film Hotel Rwanda (2004). From 2012 to 2016, he starred as Marty Kaan on the Showtime comedy series House of Lies; he won a Golden Globe Award in 2013 for the role.

Cheadle extended his global recognition with his role as the superhero War Machine in the Marvel Cinematic Universe, replacing Terrence Howard. He currently appeared in Iron Man 2 (2010), Iron Man 3 (2013), Avengers: Age of Ultron (2015), Captain America: Civil War (2016), Avengers: Infinity War (2018), Captain Marvel (2019) and Avengers: Endgame (2019) and will appear in the upcoming Disney+ series Iron Heart.

Film and television work
Cheadle became eligible for his Screen Actors Guild (SAG) card when he appeared as a burger joint employee in the 1985 comedy Moving Violations. In 1987 he received a small role in episode 19, season 7 of Hill Street Blues where he played a teenager with learning difficulties. Followed by an appearance in Hamburger Hill the same year; Cheadle secured the role of Jack in the April 1, 1988, "Jung and the Restless" episode of Night Court. Although his character was 16 years old, Cheadle was 23 at the time.

Cheadle then played the role of Rocket in the 1988 movie Colors. In 1989, he appeared in a video for Angela Winbush's No. 2 hit single "It's the Real Thing", performing dance moves in an orange jumpsuit, working at a car wash. In 1990, he appeared in an episode of The Fresh Prince of Bel-Air titled "Homeboy, Sweet Homeboy", playing Will Smith's friend and Hilary's first love interest, Ice Tray. In 1992, he played a supporting role in The Golden Girls spin-off The Golden Palace. Cheadle subsequently played district attorney John Littleton on three seasons of Picket Fences.

Cheadle first received widespread notice for his portrayal of Mouse Alexander in the film Devil in a Blue Dress, for which he won Best Supporting Actor awards from the Los Angeles Film Critics Association and the National Society of Film Critics and was nominated for similar awards from the Screen Actors Guild and the NAACP Image Awards. Following soon thereafter was his performance in the title role of the 1996 HBO TV movie Rebound: The Legend of Earl "The Goat" Manigault. He also starred in the 1997 film Volcano, directed by Mick Jackson.Don Cheadle also starred in Rush Hour 2 (2001), with Jackie Chan and Chris Tucker..

Cheadle's television credits include Emmy-nominated performances in the movies The Rat Pack, A Lesson Before Dying, Things Behind the Sun and in a guest appearance on ER. The last of these spanned four episodes during the show's ninth season, in which he portrayed Paul Nathan, a medical student struggling to cope with Parkinson's disease. He has made appearances in films including Rosewood, The Family Man, Boogie Nights, Out of Sight, Traffic, and Ocean's Eleven. These last three were directed by Steven Soderbergh. He made a cameo appearance in the film Abby Singer. In 2005, Cheadle was nominated for the Academy Award for Best Actor for his portrayal of Paul Rusesabagina in the film Hotel Rwanda. He also starred in and co-produced Crash, which won the 2006 Academy Award for Best Picture. For his performance in Crash, Cheadle was nominated for the BAFTA and Screen Actors Guild Awards for Best Supporting Actor. He played the main character in the movie Traitor.

In March 2007, Cheadle starred with comedian Adam Sandler in Mike Binder's Reign Over Me, a comedy-drama about a man who has slipped away from reality after the death of his wife and three daughters in 9/11. The film was a box office flop, earning a domestic gross of $22.2 million. Cheadle later starred in the 2009 DreamWorks Pictures film Hotel for Dogs. Cheadle was to make his directorial debut with the adaptation of Elmore Leonard's Tishomingo Blues, but in July 2007 he stated, "'Tishomingo' is dead..."

Cheadle appeared in NFL commercials promoting the Super Bowl from 2002 to 2005. He so regularly appeared for the NFL in its Super Bowl advertising that in 2006, in a drive to get fans to submit their own advertising ideas, the NFL sought his permission to reference his previous commercials to portray themselves as having no new ideas: "he quickly signed off on the idea and found it funny." Abe Sutton (along with Etan Bednarsh), one of the finalists in this NFL contest, played on this commercial by proposing an ad where every player on a football team is Don Cheadle.

In 2009, Cheadle and Boondocks creator Aaron McGruder worked on a potential comedy show on NBC. The "project revolve[d] around mismatched brothers who reunite to open a private security company." Cheadle and McGruder were slated to serve as executive producers, while McGruder was expected to write the script.

Also in 2009, Cheadle performed in The People Speak, a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's A People's History of the United States.

In 2010, Cheadle assumed the role of War Machine / James Rhodes in Iron Man 2 (2010), replacing Terrence Howard. Cheadle currently reprised this role in Iron Man 3 (2013), Avengers: Age of Ultron (2015), Captain America: Civil War (2016), Avengers: Infinity War (2018), Avengers: Endgame (2019) and will reprise it in the Disney+ series Iron Heart.

From 2012 to 2016, Cheadle starred in the Showtime TV series House of Lies. In 2013, he won the Golden Globe as Best Actor in a Comedy Series for his role on the show.

Cheadle spent ten years writing and producing the film Miles Ahead (2016) based on the life of jazz musician Miles Davis. Cheadle also directed and starred in the film. Locations for the movie were found in Cincinnati.

In 2018, Cheadle guest-starred in the first-season finale of DuckTales, providing Donald Duck's new voice box.

Some of the movies he was in are:
Boogie Nights
Mission to Mars
Hotel Rwanda
Ocean's Eleven
Ocean's Twelve
Ocean's Thirteen

References

Other websites

Actors from Kansas City, Missouri
African American actors
African American movie producers
American movie actors
American television actors
American television producers
American voice actors
Movie producers from Missouri
1964 births
Living people

Don Cheadle


The Georges Head Battery, also called the Georges Head Military Fortifications is a fort on the Georges Head, in the suburb of Mosman in Sydney, New South Wales, Australia. The Georges Head fort is one of many forts that were built on Sydney Harbour meant to defend the colony of New South Wales, just in case another country tried to invade our country Australia. The fort became the boss of all other forts in the 1890s organizing all of Sydney's harbour forts.

History

The area where the fort is was once home to Aborigines that lived in the area for thousands of years and long before Europeans visited and decided to stay.

Georges Head fort was built in 1871 after the British Army decided to leave Australia in 1870. When they left the responsibility for protecting Sydney and Sydney Harbour was now in the hands of rich colonies like New South Wales and Victoria who now had to organise its own defences.

Georges Head was near the entrance to Sydney Harbour and was meant to defend against enemy ships (foreign ships that are not friendlies) before they could get into the harbour. The fort was on a very good spot and was positioned high above sea level with clear views to the entrance of Port Jackson (Sydney Harbour/Sydney Heads). Other forts were also on Middle Head, South Head, Shark Point and Bradleys Head, but none were ever used for fighting ships or troops from other countries.

Georges Head was armed with four 80 pounder cannons and two 68 pounder cannons. These cannons were 'muzzle-loading', which meant the cannonballs or bullets along with the explosive charge (TNT explosive) were loaded into the front of the cannons barrel. It took three months and 250 soldiers to roll the gun barrels all the way from North Sydney to the forts. They came along a dirt road which later became Military Road. Once they were put in place, the cannons had been placed so close together that it created the risk of one cannon firing upon another. Also, the cannons and the men could be seen from ships in the harbour. In 1877 large mounds of earth were placed between the pits to make sure the guns neither could fire upon each other and to help protect the gun crew from enemy fire. When construction of the fort was finalised, there were a total of 41 gun emplacements around Sydney Harbour.

The planning of defence was planned using telescopes and plotting boards sitting in the middle of the second gun pit. From the telephone exchange, the Port Jackson District Commandant could talk with all the other forts around the harbour. Telephone wires ran through tunnels, down the cliff and under the harbour to forts on the other side.

Georges Head was later chosen as the best place to spy and fire mines which were laid underwater. In 1888 Georges Head battery was upgraded for the latest in harbour defences in the form of submarine bombs. Minefields were laid across the main shipping channels of Port Jackson from 1876 to 1922 and a base was built at Chowder Bay for the submarine miners. From Georges Head, miners watched for ships entering the harbour. Their job was to explode the mine closest to an approaching enemy ship. Each underwater mine was attached to an electric cable that ran up the cliff to the firing post.

The work of the submarine miner was secretive, technical and dangerous. During a demonstration in 1891, a crowd of several thousand watched as a terrible accident killed four miners and injured another eight.

Gallery

References

Other websites
www.harbourtrust.gov.au Middle Head history.
Australian Bunker and Military Museum.

History of Australia
Buildings and structures in Sydney
Military of Australia
Forts in Australia
1871 establishments
1870s establishments in Australia

Georges Head Battery


A leaf is a green above-ground plant organ. Its main functions are photosynthesis and gas exchange. A leaf is flat so it absorbs the most light, and thin, so that the sunlight can get to the chloroplasts in the cells. Most leaves have stomata, which open and close. They regulate carbon dioxide, oxygen, and water vapour exchange with the atmosphere.

Plants with leaves all year round are evergreens, and those that shed their leaves are deciduous. Deciduous trees and shrubs generally lose their leaves in autumn. Before this happens, the leaves change colour. The leaves will grow back in spring. Leaves are normally green in color, which comes from chlorophyll found in the chloroplasts.  Plants that lack chlorophyll cannot photosynthesize.

Leaves come in many shapes and sizes. The biggest undivided leaf is that of a giant edible arum. This lives in marshy parts of the tropical rain forest of Borneo. One of its leaves can be ten feet across and have a surface area of over 30 square feet (~2.8 sq. metres).

However, leaves are always thin so carbon dioxide can diffuse quickly to all cells.

Anatomy
A leaf is a plant organ made up of tissues in a regular organisation. The major tissue systems present are:
 The epidermis that covers the upper and lower surfaces
 The mesophyll (also called chlorenchyma) inside the leaf that is rich in chloroplasts
 The arrangement of veins (the vascular tissue)

Epidermis
The epidermis is the outer layer of cells covering the leaf.  It forms the boundary separating the plant's inner cells from the external environment.

The epidermis is covered with pores called stomata.  Each pore is surrounded on each side by chloroplast-containing guard cells, and two to four subsidiary cells. Opening and closing the stoma complex controls the exchange of gases and water vapor between the outside air and the interior of the leaf. This allows photosynthesis, without letting the leaf dry out.

Mesophyll
Most of the interior of the leaf between the upper and lower layers of epidermis is a tissue called the mesophyll (Greek for "middle leaf"). This tissue is the main place photosynthesis takes place. The products of photosynthesis are sugars, which can be turned into other products in plant cells.

In ferns and most flowering plants, the mesophyll is divided into two layers:
An upper palisade layer of tightly packed, vertical cells, one to two cells thick. Its cells contain many chloroplasts. The chloroplasts move by a process called "cyclosis". The slight separation of the cells provides maximum absorption of carbon dioxide. Leaves in the Sun have a multi-layered palisade layer, while shade leaves closer to the soil are single-layered.
Beneath the palisade layer is the spongy layer. The cells of the spongy layer are more rounded and not so tightly packed. There are large air spaces between the cells. These cells contain fewer chloroplasts than those of the palisade layer. The pores or stomata of the epidermis open into chambers, which are connected to the air spaces between the spongy layer cells.

Plants with leaves all year round are evergreens, and those that shed their leaves are deciduous. Deciduous trees and shrubs generally lose their leaves in autumn. Before this happens, the leaves change colour. The leaves grow back in Spring.

Veins

The 'veins' are a dense network of xylem, which supply water for photosynthesis, and phloem, which remove the sugars produced by photosynthesis. The pattern of the veins is called 'venation'.

In angiosperms the pattern of venation differs in the two main groups. Venation is usually is parallel in monocotyledons, but is an interconnecting network in broad-leaved plants (dicotyledons).

Hairs

Many leaves are covered in trichomes (small hairs) which have a wide range of structures and functions. Some trichomes are prickles, some are scaled, some secrete substances such as oil. Carnivorous plants secrete digestive enzymes from trichomes.

Waxy cuticle
The waxy cuticle is the waterproof, transparent outer surface of the leaf. It is waterproof to reduce water loss (transpiration) and transparent to allow light to enter the palisade cell.

Shape
What leaves look like on the plant varies greatly. Closely related plants have the same kind of leaves because they have all descended from a common ancestor. The terms for describing leaf shape and pattern is shown, in illustrated form, at Wikibooks.

Basic types

 Lycophytes have microphyll leaves.
 Ferns have fronds
 Conifer leaves are typically needle-, awl-, or scale-shaped
 Angiosperm (flowering plant) leaves: the standard form includes stipules, a petiole, and a lamina
 Sheath leaves (type found in most grasses)
 Other specialized leaves (such as those of Nepenthes)

Arrangement on the stem
Different terms are usually used to describe leaf placement (phyllotaxis):

 Alternate — succeessive leaves in alternate direction along the stem.
 Opposite — Two structures, one on each opposite side of the stem, typically leaves, branches, or flower parts.
 Whorled — three or more leaves attach at each point or node on the stem.

Leaves form a helix pattern centered around the stem, with (depending upon the species) the same angle of divergence. There is a regularity in these angles and they follow the numbers in a Fibonacci sequence. This tends to give the best chance for the leaves to catch light.

Divisions of the blade

Two basic forms of leaves can be described considering the way the blade (lamina) is divided.
A simple leaf has an undivided blade. However, the leaf shape may be formed of lobes, but the gaps between lobes do not reach to the main vein.
A compound leaf has a fully subdivided blade, each leaflet of the blade separated along a main or secondary vein. Because each leaflet can appear to be a simple leaf, it is important to recognize where the petiole occurs to identify a compound leaf. Compound leaves are a characteristic of some families of higher plants, such as the Fabaceae. The middle vein of a compound leaf or a frond, when it is present, is called a rachis.

Petioles

Some leaves have a petiole (leaf stem). Sessile leaves do not: the blade attaches directly to the stem. Sometimes the leaf blade surrounds the stem, giving the impression that the shoot grows through the leaf.

In some Acacia species, such as the Koa Tree (Acacia koa), the petioles are expanded or broadened and function like leaf blades; these are called phyllodes. There may or may not be normal pinnate leaves at the tip of the phyllode.

Stipules
A stipule, present on the leaves of many dicotyledons, is an appendage on each side at the base of the petiole resembling a small leaf. Stipules may be shed or not shed.

Leaf adaptations

In the course of evolution, many species have leaves which are adapted to other functions.

 Thorns help protect the plant from being eaten.
 Vines help the plant to attach to surfaces, and helps to climb trees.
 Some leaves are used to store energy in bulbs. An example is the onion.
 Many succulents store water in some of their leaves.
 Some plants (called epiphytes) grow on other plants. They do not have roots in the ground. They capture rainwater.
 Carnivorous plants use leaves adapted  to capture their prey.
 Sliced leaves reduce wind resistance.
 Hairs on the leaf surface trap humidity in dry climates.
 Waxy leaf surfaces reduce water loss.
 Large surface area provides area for sunlight and shade for plant to minimize heating and reduce water loss.
 In more or less opaque or buried in the soil leaves, translucent windows let the light in.
 Succulent leaves store water and organic acids.
 Aromatic oils, poisons or pheromones produced by leaf borne glands deter herbivores (e.g. eucalyptus).
 Crystalline minerals may herbivores (e.g. silica phytoliths in grasses, raphides in Araceae).
 Petals attracts pollinators.
 Tendrils allow the plant to climb (e.g. peas).
 Bracts and 'false flowers' replace normal flower structures when the true flowers are greatly reduced (e.g. Spurges).

References

Basic English 850 words
Plant anatomy

Leaf


The United States Electoral College is a name used to describe the official 538 Presidential electors who come together every four years during the presidential election to give their official votes for President and Vice President of the United States.

The number of electors each state has is determined by the number of representatives a state has, plus its two senators. No state can have fewer than three electors.  There are 435 representatives in total and 100 senators.  The 23rd Amendment to the Constitution awarded Washington, D.C. three electors.  Combined, there is a total of 538 electors.

Electors usually vote for the winner of the popular vote in their state.  In some states, they vote depending on the popular vote in each congressional district.  The Constitution leaves states to decide how electors will vote.  Faithless electors are electors that vote against the popular vote, although there is a fine for this in some states.

The Electoral College was created as the Founding Fathers were afraid the popular vote would be easily swayed.  Because congressional representatives is determined by population, electors are assigned based on representatives.  More populous states have more electors.  Because most states have a winner-take-all system, where the winner of the popular vote in a state gains all of the electors, several presidents have lost the popular vote and won the electoral vote.  A candidate needs to win a majority of electors, or 270, to become the president-elect.

The Electoral College plays a very important role in today's elections. It is the subject of controversy as some people approve of the system, but for various reasons, some don't. The people who approve of the system often argue and say that it give smaller states more power, and that this a good thing, because if it were done by population, someone could win a majority of the votes in certain states but not win the majority of states. The Electoral College favors those who win more states, big and small. Even though it can be won with 11 states, often certain states stay Democratic or Republican ensuring it likely won't happen this way. Those are who against it bring up the latter argument that it can be won with 11 states and often the candidate who wins does not win the popular vote. Third parties can change the outcome of an election, and it is often debated whether they play a role.

References

Other websites
 U.S. Electoral College FAQ (www.archives.gov)
 Historical Documents on the Electoral College
 U. S. Electoral College -Citizendium

United States presidential campaigns
Elections in the United States
Electoral colleges

United States Electoral College


The Florida Keys is an archipelago of about 1700 islands in the southeast United States. They begin at the southeastern tip of the Florida peninsula, about 15 miles south of Miami, and extend in a gentle arc south-southwest and then westward to Key West, the westernmost of the inhabited islands, and on to the uninhabited Dry Tortugas.  The islands lie along the Florida Straits, dividing the Atlantic Ocean to the east from the Gulf of Mexico to the west, and defining one edge of Florida Bay.  At the nearest point, the southern tip of Key West is just 98 miles (157 km) from Cuba. The Florida Keys are between about 23.5 and 25.5 degrees North latitude, in the subtropics. The climate of the Keys however, is defined as tropical according to Köppen climate classification.  More than 95 percent of the land area is in Monroe County, but a small portion extends northeast into Miami-Dade County, primarily in the city of Islandia, Florida. The total land area is 355.6 km² (137.3 sq mi). As of the 2000 census the population was 79,535, with an average density of 223.66/km² (579.27/sq mi), although much of the population is concentrated in a few areas of much higher density, such as the city of Key West, which has 32% of the entire population of the Keys.

The city of Key West is the county seat of Monroe County, which consists of a section on the mainland which is almost entirely in Everglades National Park, and the Keys islands from Key Largo to the Dry Tortugas.

Upper keys
Key Biscayne
Key Largo
Rattlesnake Key

Middle keys
Islamorada
Tavernier
Plantation Key
Matecumbe Key
Craig Key
Fiesta Key
Long Key
Conch Key
Duck Key
Grassy Key
Deer Key
Vaca Key
Marathon
Boot Key

Lower keys
Bahia Honda
West Summer land Key
Ohio Key
No Name Key
Big Pine Key
Torch Key
Ramrod Key
Summerland Key
Cudjoe Key
Sugarloaf Key
Saddlebunch Keys
Big Coppitt Key
Boca Chica
Key West

Other websites

A Gazetteer of the Florida Keys
City of Key West
Historical photographs of the Florida Keys
History of the Conch Republic
National Park Service: Dry Tortugas
NOAA Marine Sanctuary
Crane Point Museum & Nature Center

Media
The Reporter newspaper
The Keynoter newspaper
The Key West Citizen

Islands of Florida
Archipelagos

Florida Keys


Béla Iványi-Grünwald (6 May 1867 – 24 September 1940) was a Hungarian painter, a leading member of the Nagybánya artists' colony and founder of the Kecskemét artists' colony.

Life
Born in Som, Iványi-Grünwald began his artistic studies under Bertalan Székely and Károly Lotz at the Academy of Fine Arts in Budapest (1882–86) and continued them at Munich in 1886-87 and at the Académie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled  with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hadúr kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Iványi-Grünwald painted a large-scale genre painting entitled Nihilisták sorsot húznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting, Béla király visszatérése a tatárjárás után ("King Béla IV's Return following the Invasion Suffered at the Hands of the Tartars").

In 1896, together with Simon Hollósy and his circle (whom he had known at Hollósy's anti-academic painting school in Munich), Iványi-Grünwald arrived at Nagybánya (from 1918 Baia Mare, Romania) in order to concentrate on plein-air landscape painting; there, he became an important member of the Nagybánya artists' colony. Two years later he married Irén Bilcz, the daughter of a Greek Catholic priest, and settled in the city. After Hollósy's departure in 1901 he became one of the professors at the free painting academy there. At the Budapest National Salon in 1909 he won great acclaim for his paintings in a new style (Secessionism), which gained him the support he asked from the mayor of the small town of Kecskemét, who asked him to set up an artists' colony. Thus from 1911-18 he led and worked at the Kecskemét artists' colony. After 1920 he lived in Pest, painting near Lake Balaton in summer. That year he was among the founders of the Szinyei Merse Pál Society. He received a number of important commissions, for instance painting a monumental canvas for the University of Debrecen Library. From 1928 he was president of the Szentendre Painters' Association. Along the years he had regular exhibitions in Budapest and displayed his paintings at the Fränkel Salon a number of times. He died in Budapest in 1940.

Style
Iványi-Grünwald was keenly aware of the various currents of modernism that developed during his career. At first he was influenced by French naturalism (Ave Maria, 1891; Juhász és parasztasszony — "Shepherd and Peasant Woman", 1892). At Nagybánya, undoubtedly the most accomplished phase of his career, he focused on plein air and costume scenes (Holdkelte — "Moonrise", 1897; Bércek között — "Between Crags", 1901; Itatás — "Watering", 1902; Háromkirályok — "The Three Magi", 1903; Ruhaszárítás — "Drying Clothes", 1903). By this time his work had distanced itself from the influence of Bastien-Lepage to concentrate on the changing effects of atmosphere. He emphasized, for example, the mood produced by light at various times of the day and night, as in Evening by the Cattle Pen (1896), and used extremely bright colours, not entirely typical of the Nagybánya school as a whole, as with the brilliant greens of A völgyben ("In the Valley", ca. 1901). His subjects were taken from his immediate surroundings and the human figure is shown as an integral part of the landscape. Iványi-Grünwald also taught in Hollósy's Nagybánya school until he took up an award in 1905 that enabled him to spend a year in Rome. In 1906 he held an exhibition of his works in the Ernst Museum in Budapest, and this event effectively announced the end of his Nagybánya period, although he remained there a few more years.

A gradual change was brought about in Iványi-Grünwald's work by the influence of younger Hungarian painters returning from Paris and working in the style of the Fauves. More direct inspiration was provided by the exhibition of modern French Impressionist and Post-Impressionist painting held in Budapest in 1907; his paintings became more decorative and stylised, his outlines bolder, and his compositions based on flat shapes, as in Nagybányai táj a Gutinnal ("View of Nagybánya with the River Gutin", 1906–08). Decorative principles already dominated in the large panel of 1909 for the Révai Villa in Budapest, Tavasz ("Spring"), and Paul Gauguin in particular exerted an influence on his art (Római villa — "Villa in Rome", 1905; Cigánylányok a Lápos partján  — "Gypsy Girls by the Banks of the Lápos", 1909). The major work of his Kecskemét phase is Kecskeméti piac télen ("Market of Kecskemét in Winter", 1912), of which he painted a number of versions. In style these scenes recalled Gauguin's Brittany paintings, with boldly outlined planes of deep colour.  He was also able to paint monumental frescoes at the time (Fürdés után — "After Bathing", ca. 1914). After the mid-1910s his innovative period came to an end and he executed bucolic scenes and a series of pretty landscapes, for the most part vigorously painted and impressionistic in effect (Oxen on the Shore of Lake Balaton, 1920; the realistic Tájkép gémeskúttal — "Sweep-Pole Well", 1924; Balaton, 1936). In his last years, he painted pictures with movement typical of Baroque, then simple and realistic ones; his still lifes and pictures of Gypsies from this period were less significant.

Notes

External links
 Works by Béla Iványi Grünwald

1867 births
1940 deaths
Hungarian University of Fine Arts alumni
19th-century Hungarian painters
20th-century Hungarian painters
Hungarian male painters
19th-century Hungarian male artists
20th-century Hungarian male artists

Béla Iványi-Grünwald


Theia is a Titan in Greek mythology. She is the titan of sight. Her parents are Gaia and Uranos. With her brother Hyperion her children are Helios, Selene, and Eos. She was also considered the moons eyes because Selene was her daughter and Selene was the titan of the moon.

Titans

Theia


The word safe has more than one meaning.
Safe is the state a person or object is in when they are not in danger.
In the sport of baseball, a player is safe after he gets to a base without being touched by another player with the baseball.
A safe is a place where people put important things to protect them from fire, theft, or both. A safe is usually a box-shaped container with a lock (although safes designed to protect from fire only sometimes don't have a lock). It is usually heavy and made of a strong substance such as steel. It is designed to resist attack from crowbars, hammers, drills, and other tools.

Basic English 850 words
Locks

Safe


Brachiosaurs are a family of sauropod dinosaurs, the Brachiosauridae. They were herbivorous quadrupeds with longer forelegs than hind legs. As a result, there is also some dispute about which animals belong within this family.

The largest mounted skeleton in the world is a brachiosaur, the Giraffatitan brancai (formerly Brachiosaurus brancai) at the Museum für Naturkunde in Berlin, Germany.

Brachiosaurs first evolved in the Middle Jurassic, and died out at the end of the Lower Cretaceous, surviving for about 60 million years. The earliest known brachiosaur may be Lapparentosaurus from the Middle Jurassic of Africa. The giant Sauroposeidon from North America was one of the last brachiosaurs, living just before the end of the Early Cretaceous period.

The name "brachiosaur" means "arm lizard", which may sound like a strange name for a four-legged animal. The family Brachiosauridae was given this name because the dinosaurs in it tended to have longer "arms" (front legs) than back legs.

In popular culture
Brachiosaurs have been featured in many works of popular culture, particularly the type genus, Brachiosaurus. Brachiosaurus was featured in the 1993 film Jurassic Park, as well as the 2000 Disney film Dinosaur. The brachiosaur Astrodon is the state dinosaur of Maryland. It was featured in paleontologist Robert T. Bakker's novel Raptor Red, where it was portrayed as a prey item of the dromaeosaur Utahraptor.

References

Brachiosaur


The universal recycling symbol ( or  in Unicode) is a symbol consisting of three chasing arrows folded in a Möbius strip. It is an internationally recognized symbol for recycling. The symbol originated on the first Earth Day in 1970, created by Gary Anderson, then a 23-year-old student for the Container Corporation of America. The symbol is not trademarked and is in the public domain. Many variations on the logo have been created since its creation.

History
Worldwide attention to environmental issues led to the first Earth Day in 1970. Container Corporation of America, a large producer of recycled paperboard, sponsored a contest for art and design students at high schools and colleges across the country to raise awareness of environmental issues. It was won by Gary Anderson, then a 23-year-old college student at the University of Southern California, whose entry was the image now known as the universal recycling symbol. The public-domain status of the symbol has been challenged, but this challenge was unsuccessful owing to the wide use of the symbol. However, the universal recycling symbol may have been inspired by similar existing symbols at the time, such as one featuring two arrows chasing each other in a circle that Volkswagen stamped in the early 1960s into some automobile parts it remanufactured.

Variants
The recycling symbol is in the public domain and is not a trademark. The Container Corporation of America originally applied for a trademark on the design, but the application was challenged, and the corporation decided to abandon the claim. As such, anyone may use or modify the recycling symbol, royalty-free.

Though use of the symbol is regulated by law in some countries, countless variants of it exist worldwide. Anderson's original proposal had the arrows form a triangle standing on its tip—upside down compared with the versions most commonly seen today—but the CCA, in adopting Anderson's design, rotated it 60° to stand on its base instead.

Both Anderson's proposal and CCA's designs form a Möbius strip with one half-twist by having two of the arrows fold over each other and one fold under, thereby canceling out one of the other folds. However, most variants of the symbol used today have all the arrows folding over themselves, producing a Möbius strip with three half-twists. Existing single half-twist variants of the logo do not generally agree on which of the arrows is the one to fold underneath. The logo is usually displayed with the arrows circulating clockwise, but the underlying Möbius strip exists in two topologically distinct mirror-image forms of opposite handedness.

The American Paper Institute originally promoted four different variants of the recycling symbol for different purposes. The plain Möbius loop, either white with an outline or solid black, was to be used to indicate that a product was recyclable. The other two variants had the Möbius loop inside a circle—either white on black or black on white—and were meant for products made of recycled materials, with the white-on-black version to be used for 100% recycled fiber, and the black-on-white version for products containing both recycled and unrecycled fiber. For example, a paper envelope might have both the first and last of these four symbols to indicate that it was recyclable and made from both recycled and unrecycled fibers.

In addition to the resin identification codes 1–7 in the triangular recycling symbol, Unicode lists the following recycling symbols:

  (indicates product contains recycled paper)
  (indicates product contains partially recycled paper)
  (e.g. for acid-free paper)

An ISO/IEC working group has researched and documented some of the variations of the recycling logo in use during 2001 and has made recommendations for adding some more of them to the Unicode standard.

With the rapid expansion of materials converted to printer filament for 3-D printing using recyclebot technology, a large expansion of resin identification codes has been proposed.

Resin identification code

In 1988, the American Society of the Plastics Industry (SPI) developed the resin identification code that is used to indicate the predominant plastic material used in the manufacture of the product or packaging. Their purpose is to assist recyclers with sorting the collected materials, but they do not necessarily mean that the product/packaging can be recycled either through domestic curbside collection or industrial collections. The SPI symbols are loosely based on the Möbius loop symbol, but feature simpler bent (rather than folded over) arrows that can be embossed on plastic surfaces without loss of detail. The arrows are formed into a flat, two-dimensional triangle rather than the pseudo-three-dimensional triangle used in the original recycling logo.

The different resin identification codes can be represented by Unicode icons ♳ (U+2673), ♴ (U+2674), ♵ (U+2675), ♶ (U+2676), ♷ (U+2677), ♸ (U+2678), ♹ (U+2679), and ♺ (U+267A).

Recycling codes extend these numbers above 7 to include various non-plastic materials, including metals, glass, paper and cardboard, and batteries of various types.

Other variants

♾, an infinity sign (∞) inside a circle, represents the permanent paper symbol, used in packaging and publishing to signify the use of durable acid-free paper. In some ways, this logo expresses the opposite intention from the recycle logo, in that the acid-free paper is intended to last indefinitely, rather than being recycled. Nevertheless, acid-free paper does not usually contain toxic materials (although certain inks do), so it is easily recycled or composted.

A satirical version of the classic recycling logo also exists, in which the three arrows are twisted from a circular pattern to pointing radially outward, thus symbolizing wasteful one-time usage rather than environmentally friendly recycling. This message is reinforced by the circular inscription, "THIS PROJECT WAS ENVIRONMENTALLY UNFRIENDLY", surrounding the modified logo. The satirical logo appears in the 1998 catalog of an installation art work in Bayonne, New Jersey, in which the artist Steven Pippin modified a row of glass-doored washing machines in a laundromat to operate as giant cameras. The cameras were used to take sequential photographs in the manner of pioneering stop motion photographer Eadweard Muybridge. The front-loading washing machines were then used to develop and process the 24 inch (61 cm) diameter circular film negatives.

See also
 Green Dot symbol
 List of international common standards
 Japanese recycling symbols

References

Further reading
 Jones, Penny; Powell, Jerry. "Gary Anderson has been found!". Resource Recycling: North America's Recycling and Composting Journal, May 1999.
 Everson, Michael; Freytag, Asmus (2001-04-02). "Background information on Recycling Symbols" (PDF), ISO/IEC Working Group Document N2342
 44 Recycle Logos and Symbols

External links

Certification marks
Consumer symbols
Recycling
Symbols introduced in 1970

Recycling symbol


Kwäday Dän Ts'ìnchi (), or Canadian Ice Man, is a naturally mummified body found in Tatshenshini-Alsek Provincial Park in British Columbia, Canada, by a group of hunters in 1999. Kwäday Dän Ts'ìnchi means "Long Ago Person Found" in Southern Tutchone, and is pronounced  in that language. Radiocarbon dating of artifacts found with the body placed the age of the body at between 300 and 550 years.

DNA testing of more than 240 volunteers from the local Champagne and Aishihik First Nations revealed 17 persons who are related to the ice man through their direct maternal line.

Discovery
Three sheep hunters, Bill Hanlon, Warren Ward and Mike Roche, discovered a number of artifacts and a human body in a melting glacier while hunting near the Yukon border on July 22, 1999 (). The hunters were walking along a glacier, above the treeline, and noticed some bits of wood, which they thought unusual given their location. They examined the wood, and noticed carvings and notches, possibly indicating the wood formed the frame of a backpack. Searching with binoculars, Ward discovered the body in the ice. On August 16, the party reported their find to Yukon archaeology department staff, and turned in a number of artifacts they collected from the site.

Before making a public announcement, the archaeologists notified representatives of the Champagne and Aishihik First Nations, whose historical territory is here. They visited the site and decided to name the person Kwäday Dän Ts'ìnchi, which means Long Ago Person Found. A team of archeologists was assembled to assess the find, and the First Nations were further consulted about the project. They supported having scientific studies done, including DNA analysis.

Description
The remains had been dismembered after death, probably by shifting ice due to thermal cracking and slumping along the edge of the glacier. The first part found was the torso, with left arm and mummified hand still attached. The lower body was found a few meters away, with the thighs and muscle still attached. The head was missing, as were the right arm and lower right leg, though his hair, attached to some remnants of the scalp, and some small bones from the right hand and foot were recovered. Soft tissue was present primarily in the torso and thighs. The torso was of particular interest, as gastric contents could be analyzed to yield clues to the days leading up to the man's death. The skull was located in 2003, but was not removed from the site for study.

The young man was estimated to be approximately 18–19 years old at his time of death. The cause of death is unknown, but there appears to be no sign of serious injury, and hypothermia is a possibility. He died near the onset of the Little Ice Age. An examination of the food in Kwäday Dän Ts'ìnchi's digestive tract reveals that he had traveled a distance of around  in the three days prior to his death, from the coastal region up into higher elevations where he was found. Based on pollen found in the contents of his colon, he was traveling in the summer.

Kwäday Dän Ts'ìnchi was found with a number of artifacts, including a robe made from 95 pelts of the local arctic ground squirrel (commonly called "gophers") subspecies Spermophilus parryii plesius sewn together with sinew, a woven Tlingit  (root hat) of split spruce root (probably Sitka spruce), a pouch or small bag of beaver fur containing a mass of lichen, mosses and leaves, gaff poles/walking sticks, sticks for carrying salmon, a curved, hooked stick possibly used for setting snares to catch marmots, a "Carved and Painted stick" of unknown purpose, an iron-bladed knife with matching gopher skin sheath, and an atlatl and dart. The use of gopher skins for common household items, robes, and blankets had been important in the past, but the discovery of Kwäday Dän Ts'ìnchi helped revive interest among the Champagne and Aishihik people in teaching and passing on the skills involved, from harvesting the animals to the preparation and the sewing of pelts together. The find also inspired weaving workshops in the Klukwan and Yukon communities for teaching spruce root weaving.

Tissue studies revealed that his long-term diet consisted principally of shellfish and salmon, indicating that he was originally from one of the communities near the Pacific Ocean coast; however, hair samples indicated that his diet over the couple of months before his death had been more strongly meat-based than usual, suggesting that he had spent some time inland. His stomach contents included beach asparagus and he was carrying salmon and shellfish with him, suggesting that he had been back at the coast again and was traveling back inland to the Tatshenshini River at the time of his death.

The tribes allowed samples, including DNA, to be taken for study. They decided to have his remains cremated and scattered over the area where he was discovered. , local clans were considering a memorial potlatch to honour the ancient man.

DNA tests
In 2000, mitochondrial DNA tests of 241 area volunteers of the Champagne and Aishihik First Nations revealed 17 living persons who are related to Kwäday Dän Ts'ìnchi through their direct maternal line. Among them were Sheila Clark and Pearl Callaghan, two of seven sisters. Clark said of finding they were related to Long Ago Man, "It was extremely moving. I couldn't believe it." Fifteen of the 17 individuals identify as Wolf clan, suggesting the man may also have belonged to the Wolf clan. In their matrilineal kinship system, children are considered born into their mother's clan. The individuals were split roughly in half between those who lived in coastal areas and those who lived inland, reflecting historical territories of bands.

A partial mitochondrial DNA sequence of Kwäday Dän Ts'ìnchi, containing information on the hypervariable region HVR2, bases 1 to 360, is available in the National Center for Biotechnology Information's genome sequencing database, GenBank, as accession number AF502945.

Conference
The find and studies generated great interest in Kwäday Dän Ts'ìnchi. In June 2005, the findings were discussed at a science conference on Rapid Landscape Change at Yukon College.

See also

Arlington Springs Man –
Buhl Woman –
Calico Early Man Site –
Cueva de las Manos –
Fort Rock Cave –
Genetic history of Indigenous peoples of the Americas
Kennewick Man –
List of unsolved deaths
Luzia Woman –
Marmes Rockshelter –
Mummy Cave –
Paisley Caves –
Xá:ytem –

References

1999 archaeological discoveries
Archaeology of British Columbia
First Nations history in British Columbia
Mummies
Pre-Columbian archaeology
Pre-Confederation British Columbia people
Southern Tutchone
Tutchone people
Unsolved deaths

Kwäday Dän Ts'ìnchi


Aelita (, ), also known as Aelita: Queen of Mars, is a 1924 Soviet silent science fiction film directed by Yakov Protazanov and produced at the Mezhrabpom-Rus film studio. It was based on Alexei Tolstoy's 1923 novel of the same name. Nikolai Tseretelli and Valentina Kuindzhi were cast in leading roles.

Though the main focus of the story are the daily lives of a small group of people during the post-war Soviet Union, the film's enduring importance comes from its early sci-fi elements. It primarily tells of an engineer Mstislav Sergeyevich Los () traveling to Mars in a rocket ship, where he leads a popular uprising against the ruling group of Elders, with the support of Queen Aelita who has fallen in love with him after watching him through a telescope. In its performances in the cinemas in Leningrad, Dmitri Shostakovich played on the piano the music he provided for the film.

In the United States, Aelita was edited and titled by Benjamin De Casseres for release in 1929 as Aelita: Revolt of the Robots.

Plot
Moscow, 1921. A mysterious wireless message is received by various stations: its text is 'Anta Odeli Uta'. Someone facetiously suggests it has come from Mars, in order to tease Los (Nikolai Tseretelli), an engineer who is obsessed with the idea of going to Mars. This inspires him to daydream about Mars and a strange civilization there. We see Aelita (Yuliya Solntseva), the queen; Tuskub (Konstantin Eggert), the actual ruler; and Ikhoshka (Aleksandra Peregonets), Aelita's mischievous maid. They live in a society where aristocrats rule over slaves who are confined underground and put into cold storage when not required.

Los's wife Natasha (Valentina Kuindzhi) is pestered by Erlikh (Pavel Pol), a bourgeois playboy before the revolution who is now a dishonest minor official. He uses his connections to steal a large amount of sugar with the intention of selling it on the black market. Los, who has seen Erlikh making up to Natasha but has not seen her rejecting him, becomes jealous.

Los continues to daydream: he imagines that Aelita has access to a telescope by which she can see people on Earth and has become attracted to him.

Spiridonov (Nikolai Tseretelli again), an intellectual engineer and friend of Los's, is being quietly swindled by Erlikh. He disappears; a would-be detective, Kratsov (Igor Ilyinsky) (who has been rejected by the police) suspects Spiridonov to be guilty of the theft of the sugar, because of his disappearance.

Los's jealousy gets out of control and he shoots Natasha: disguising himself as Spiridonov with a wig, false beard and glasses, he goes into hiding and makes a plan to escape to Mars in a rocketship he has been constructing. A friend of his, Gusev (Nikolai Batalov), an ex-soldier, agrees to go with him. They take off, not knowing at first that Kratsov has stowed away (thinking he has been following Spiridonov and not realizing he's on a spaceship). Los confuses Kratsov by removing the disguise.

They land on Mars. Tuskub orders them killed, ignoring Aelita's pleas for their safety. Kratsov is taken before Tuskub and demands that the soldiers arrest the other two: he is promptly arrested. The chief astronomer comes to Aelita and tells her where Los's ship has landed; she instructs her maid to kill him. The maid is arrested and sent to the slaves' caves - Gusev, who has taken a fancy to her, follows.

Aelita and Los meet and fall in love, though Los occasionally sees her as Natasha (so do we). They are arrested and sent to the caves.

Gusev tells the slaves of his own country's revolution and foments a revolt, which Aelita takes command of. Tuskub is overthrown and the army sides with Aelita - she commands them to fire on the workers and herd them back to the caves - she intends to rule Mars herself. Disgusted, Los kills Aelita (seeing her as Natasha as he does so).

Suddenly back on Earth, it's clear that all this is a daydream. Erlikh is arrested for theft. A poster on a wall advertises a maker of tires - 'Anta Odeli Uta': the wireless message had been an advertisement. Los had not injured or killed Natasha and they make up: he burns his spaceship plans and promises to stop daydreaming.

Cast
 Yuliya Solntseva as Aelita, Queen of Mars
 Igor Ilyinsky as Kravtsov – amateur sleuth
 Nikolai Tseretelli as Engineer Los / Evgeni Spiridonov
 Nikolay Batalov as Gusev, Red Army Soldier
 Vera Orlova as Nurse Masha, Gusev's Wife
 Valentina Kuindzhi as Natasha, Los' Wife (as Vera Kuindzhi)
 Pavel Pol as Viktor Erlich, Sugar Profiteer
 Konstantin Eggert as Tuskub, Ruler of Mars
 Yuri Zavadsky as Gol, Radiant Energy Tower Guardian
 Aleksandra Peregonets as Ikhoshka, Aelita's Maidservant
 Sofya Levitina as President House Committee

Influences
One of the earliest full-length films about space travel, the most notable segment remains its remarkable constructivist Martian sets by Isaac Rabinovich and Victor Simov and costumes designed by Aleksandra Ekster. Their influence can be seen in a number of later films, including the Flash Gordon serials and probably Fritz Lang's Metropolis and Woman in the Moon and the more recent Liquid Sky.

Parts of the plot were loosely adapted for the 1951 film Flight to Mars.

J. Hoberman of The Village Voice wrote that the 1960 American film Beyond the Time Barrier "suggests an impoverished remake" of Aelita.

While initially very popular, the film later fell out of favor with the Soviet government and was thus very difficult to see until after the Cold War.

Reception
In a retrospective on Soviet science fiction film, British filmmaker Alex Cox remarking on BFI Southbank's celebration of "Eastern Bloc science fiction" called Aelita "Strangest of these [...] in which the human pastime of kissing creates turmoil on the red planet."

Home media
The 2004 Ruscico DVD from runs 104 minutes, and has a musical score based on the music of Scriabin, Stravinsky and Glazunov.

See also

 List of films set on Mars
 List of films featuring surveillance
 1924 in science fiction

References

External links

 "Science Fiction of the Domestic" by Andrew J. Horton

 Multi-language DVD released by RUSCICO

1924 films
Soviet black-and-white films
Films about extraterrestrial life
Films based on science fiction novels
Films directed by Yakov Protazanov
Films set in 1921
Films set in Moscow
Films shot in Moscow
Gorky Film Studio films
Mars in film
Planetary romances
Soviet science fiction films
Soviet silent feature films
Articles containing video clips
1920s science fiction films
Silent horror films
Silent science fiction films

Aelita


A navigational database is a type of database in which records or objects are found primarily by following references from other objects. The term was popularized by the title of Charles Bachman's 1973 Turing Award paper, The Programmer as Navigator. This paper emphasized the fact that the new disk-based database systems allowed the programmer to choose arbitrary navigational routes following relationships from record to record, contrasting this with the constraints of earlier magnetic-tape and punched card systems where data access was strictly sequential.

One of the earliest navigational databases was Integrated Data Store (IDS), which was developed by Bachman for General Electric in the 1960s. IDS became the basis for the CODASYL database model in 1969.

Although Bachman described the concept of navigation in abstract terms, the idea of navigational access came to be associated strongly with the procedural design of the CODASYL Data Manipulation Language. Writing in 1982, for example, Tsichritzis and Lochovsky state that "The notion of currency is central to the concept of navigation." By the notion of currency, they refer to the idea that a program maintains (explicitly or implicitly) a current position in any sequence of records that it is processing, and that operations such as GET NEXT and GET PRIOR retrieve records relative to this current position, while also changing the current position to the record that is retrieved.

Navigational database programming thus came to be seen as intrinsically procedural; and moreover to depend on the maintenance of an implicit set of global variables (currency indicators) holding the current state. As such, the approach was seen as diametrically opposed to the declarative programming style used by the relational model. The declarative nature of relational languages such as SQL offered better programmer productivity and a higher level of data independence (that is, the ability of programs to continue working as the database structure evolves.) Navigational interfaces, as a result, were gradually eclipsed during the 1980s by declarative query languages.

During the 1990s it started becoming clear that for certain applications handling complex data (for example, spatial databases and engineering databases), the relational calculus had limitations. At that time, a reappraisal of the entire database market began, with several companies describing the new systems using the marketing term NoSQL. Many of these systems introduced data manipulation languages which, while far removed from the CODASYL DML with its currency indicators, could be understood as implementing Bachman's "navigational" vision. Some of these languages are procedural; others (such as XPath) are entirely declarative. Offshoots of the navigational concept, such as the graph database, found new uses in modern transaction processing workloads.

Description

Navigational access is traditionally associated with the network model and hierarchical model of database, and conventionally describes data manipulation APIs in which records (or objects) are processed one at a time, iteratively. The essential characteristic as described by Bachman, however, is finding records by virtue of their relationship to other records: so an interface can still be navigational if it has set-oriented features. From this viewpoint, the key difference between navigational data manipulation languages and relational languages is the use of explicit named relationships rather than value-based joins: for department with name="Sales", find all employees in set department-employees versus find employees, departments where employee.department-code = department.code and department.name="Sales".

In practice, however, most navigational APIs have been procedural: the above query would be executed using procedural logic along the lines of the following pseudo-code:

get department with name='Sales'
get first employee in set department-employees
until end-of-set do {
  get next employee in set department-employees
  process employee
}

On this viewpoint, the key difference between navigational APIs and the relational model (implemented in relational databases) is that relational APIs use "declarative" or logic programming techniques that ask the system what to fetch, while navigational APIs instruct the system in a sequence of steps how to reach the required records.

Most criticisms of navigational APIs fall into one of two categories:

 Usability: application code quickly becomes unreadable and difficult to debug
 Data independence: application code needs to change whenever the data structure changes

For many years the primary defence of navigational APIs was performance. Database systems that support navigational APIs often use internal storage structures that contain physical links or pointers from one record to another. While such structures may allow very efficient navigation, they have disadvantages because it becomes difficult to reorganize the physical placement of data. It is quite possible to implement navigational APIs without low-level pointer chasing (Bachman's paper envisaged logical relationships being implemented just as in relational systems, using primary keys and foreign keys), so the two ideas should not be conflated. But without the performance benefits of low-level pointers, navigational APIs become harder to justify.

Hierarchical models often construct primary keys for records by concatenating the keys that appear at each level in the hierarchy. Such composite identifiers are found in computer file names (/usr/david/docs/index.txt), in URIs, in the Dewey decimal system, and for that matter in postal addresses. Such a composite key can be considered as representing a navigational path to a record; but equally, it can be considered as a simple primary key allowing associative access.

As relational systems came to prominence in the 1980s, navigational APIs (and in particular, procedural APIs) were criticized and fell out of favour. The 1990s, however, brought a new wave of object-oriented databases that often provided both declarative and procedural interfaces. One explanation for this is that they were often used to represent graph-structured information (for example spatial data and engineering data) where access is inherently recursive: the mathematics underpinning SQL (specifically, first-order predicate calculus) does not have sufficient power to support recursive queries, even those as simple as a transitive closure.

A current example of a popular navigational API can be found in the Document Object Model (DOM) often used in web browsers and closely associated with JavaScript. The DOM is essentially an in-memory hierarchical database with an API that is both procedural and navigational. By contrast, the same data (XML or HTML) can be accessed using XPath, which can be categorized as declarative and navigational: data is accessed by following relationships, but the calling program does not issue a sequence of instructions to be followed in order. Languages such as SPARQL used to retrieve Linked Data from the Semantic Web are also simultaneously declarative and navigational.

Examples
 IBM Information Management System
 IDMS

See also
 CODASYL
 Graph database
 Network database
 Object database
 Relational database

References

External links
 DB-Engines Ranking of Navigational DBMS by popularity, updated by month

Data management
Types of databases

Navigational database


Aziz (born 1946) is an Indian artist and painter from Hyderabad, Andhra Pradesh. He has pioneered the use of plaster of paris on canvas along with oil paints for a three-dimensional effect. His colour platte includes reds, white to earthy browns giving his art work more natural tones. He is known to be a reclusive artiste and for his unique style and technique. He specializes in a style of relief font murals using Plaster of Paris, and oil painting. His muses are recreating landscapes, forts, temples, and horses, all part of his early life inspirations.

Journey
He started his career in Hyderabad after graduation by painting that suited to rich clients. He used to take his paintings on a cycle or by foot to clients in Banjara Hills. He struggled a lot until his work gained acceptance and recognition.
The Golconda fort, unique granite rock formations of the Deccan plateau, and the famed banyan trees with their aerial prop roots have all been subjects of Aziz's intense exploration.

Aziz's artistic expressions are timely, because his works have helped capture the old horizons of a city whose skyline has morphed into a vertical medly of concrete structures. Whether the granite finds its way into people's kitchens and houses, or banyan trees are felled to make way for road-widening programs, thanks to Aziz's fastidious attention to detail, Hyderabad's rich patrimony is captured, and kept alive and well through remarkable renditions that inspire awe and nurture the conservationist in each of us.

Technique
Aziz has pioneered the use of a unique, masterly technique of creating 'three dimensional reliefs' on canvas. A combination of color, depth and granularity define this particular genre. The masterful blending of paint and oil-explained as a "suitable expression of my inner self" -is not confined to any set pattern, nor does it reside in any particular school of expression. Rather, Aziz's works and media used-watercolors, oils and charcoals-have a unique appeal that evolves of out of the amount of detail in them.
His work is generally executed on canvas. Plaster of Paris mixed with Zinc oxide is brought to required consistency and applied on pretreated canvas. A knife is used to sculpt and work on the texture and consistency of the subject. The finished relief is painted with oil paints to bring about the profundity of a three dimensional effect. This technique is a blend of painting and sculpture which has been developed and mastered by Aziz.

Works and Exhibits
Aziz since the 80s has exhibited in Europe, South Asia and South Africa. His works of art today adorn private collections in Denmark, Germany, Iceland, India, Japan, Pakistan, South Africa, Sweden, Qatar, the United Kingdom and the United States,and his beloved home city of Hyderabad amongst others.Aziz resurfaced in South Africa in 2010 to mark the 150th anniversary of Indians in South Africa.

Series of Horses: Aziz is well known among art connoisseurs and critics alike for giving life to wild horses, on canvas. Under his brush and signature techniques, horses become 3-D wonders that literally gallop off the canvas, leaving the viewer mesmerized. Aziz's horses exude an unmatched equine grace, packed with pulsating energy, raw strength, and fluidity of motion, perhaps tethered only by the length and duration of the viewer's gaze.

Local Landscapes: Aziz has come to symbolize some of the most treasured artistic expressions of the Deccan. For the citizens of Hyderabad and Secunderabad in India, his canvases epitomize their emotive aspirations, covering a diverse range of subjects and objects-granite rocks, banyan trees, Golconda Fort, and other cultural landmarks to name just a few- that fine special resonance among rich and poor, and young and old alike.

Series of Portraits: Aziz has moved towards a new genre in his repertoire. He has used the three dimensional technique to create "Freedom Walk," a narrative rendering of a Mahatama Gandhi followed by Nelson Mandela, Jawarharlal Nehru, Indira Gandhi, and the Frontier Gandhi on the Juhu Beach being led by a young child symbolizing the future. It took him a month to create it but he has given it to the Indian High Commissioner to South Africa, HE Shri Virendra Gupta and it will now occupy a premium place in the High Commissioner's Office in Pretoria. This painting was created to mark "150 years of Indians in South Africa.[1] On 29 December 2010 the idea of making: Freedom Walk a Commemorative Stamp, was shared with the President of India. On 2 October 2011 the Chief Postmaster General of Andhra Pradesh, was requested to work towards making: Freedom Walk a Commemorative Stamp. [2] There is a website especially created for this initiative."
Abstract Painting
Personal life
He is married and his wife is an accomplished carpet weaver. He has seven sons, Aqeel and Khaleel are artists, one son is Polo Player the other is a sitar player and is into software, and one is Advertising & Event Management and other 2 are Photographers.

Aziz's Horses Paintings
Aziz's Abstract Paintings

See also
Faux painting

External links
 Aziz in South Africa
 Aziz's brief profile on Dhoomimal Art Gallery webpage

Artists from Hyderabad, India
Living people
Indian portrait painters
1946 births
Painters from Andhra Pradesh
20th-century Indian painters
Indian male painters
20th-century Indian male artists

Aziz (artist)


OK (okay) is a word in the English language. It is used to mean that something is good or correct. It is the opposite of the word bad.

It can often be used instead of the word Yes.  It is not certain where the word "OK" originally comes from, but some experts say it came from a funny way of writing "Ol Korrect" (All correct).

It is also the two-letter abbreviation for the state of Oklahoma in the United States of America.

You also find the phrase "Ola kala" in Greek, which means "All Correct".

For example:

I think it is 'ok' to present this project in our office.

Background
The term appears to have achieved prominence in the United States in 1840, when supporters of the American Democratic political party claimed during the 1840 United States presidential election that it stood for "Old Kinderhook," a nickname for a Democratic presidential candidate, Martin Van Buren, a native of Kinderhook, New York. "'Vote for OK' was snappier than using his Dutch name."  In response, Whig opponents attributed OK, in the sense of "Oll Korrect," to Andrew Jackson's bad spelling. The country-wide publicity surrounding the election appears to have been a critical event in okay's history, widely and suddenly popularizing it across the United States.

Notes

English words and phrases

OK


The Grant Mills Bridge, officially the Millbrook Bridge, is a wooden covered bridge over Mill Brook in Hardenburgh, New York, United States. It is one of 29 covered bridges in the state.

It was built in 1902 by a pair of local builders in the lattice truss design perfected early in the previous century by Ithiel Town. It was taken out of service in 1964 when Mill Brook Road was relocated a short distance to the south, but remains in excellent condition and is open to foot traffic. In 1999, it was listed on the National Register of Historic Places.

Structure

The bridge is located on the west corner of the junction of Mill Brook and Fred Davis roads a short distance east of the Delaware County line. The area is wooded, just under  in elevation with the ground sloping gently to the northeast. It spans the brook, a tributary of the East Branch of the Delaware River that drains into New York City's Pepacton Reservoir, just to the west of a more modern bridge carrying vehicle traffic.

It is a single span,  in length, supported by rough abutments of dry-laid fieldstone. Its superstructure incorporates the Town lattice truss design. Both chords and the diagonals, connected by wood pins at each intersection, are formed by heavy paired planks. Planks laid on stringers form the deck; alternating timbers protrude to create a series of four buttresses on the sides of the bridge. Vertical board sheathing on horizontal nailers constitutes the bridge's siding; the roof and buttresses are clad in wood shingles.

History

In 1902 the town of Hardenburgh awarded local carpenter Edgar Marks the contract to build a bridge over Mill Brook near the county line, a couple of miles below its headwaters on Balsam Lake Mountain. It would serve the small population of farmers and millers that lived in the remote valley.

With help from his son Orrin, he got to work hauling the stone and cutting the planks. He used the Town lattice truss, a reliable design for building a lasting bridge of this size from local materials. With the help of several other local craftsmen, the bridge was opened late that year.

It took its popular name from a mill two miles (3 km) to the west at the intersection of Mill Brook and what is now Kittle Road. Grant's Mill was often used in giving directions, as at that time the road was not maintained year-round. Marks called it the Lattice Bridge in his reports to the town; officials referred to it by his name.

It would later withstand and serve automobile traffic as well. When Mill Brook Road was realigned in 1964, the bridge was taken out of service. It remained in place despite the neglect. In the early 1990s Marks' descendants restored it. The town board renamed it the Millbrook Bridge in 2002, after it had been listed on the Register, to avoid further confusion.

See also
List of bridges on the National Register of Historic Places in New York
List of covered bridges in New York
National Register of Historic Places listings in Ulster County, New York

References

External links

 Grants Mills Bridge, at New York State Covered Bridge Society
 Mill Brook / Grants Mill Bridge, at Covered Bridges of the Northeast USA

Bridges in Ulster County, New York
Covered bridges on the National Register of Historic Places in New York (state)
National Register of Historic Places in Ulster County, New York
Bridges completed in 1902
Wooden bridges in New York (state)
Catskills
Pedestrian bridges in New York (state)
Former road bridges in the United States
Relocated buildings and structures in New York (state)
Road bridges on the National Register of Historic Places in New York (state)
Lattice truss bridges in the United States

Grants Mills Bridge


Christopher Jarvis Haley Hogwood  (10 September 194124 September 2014) was an English conductor, harpsichordist, writer, and musicologist. Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.

Early life and education
Born in Nottingham, Hogwood went to The Skinners' School, Royal Tunbridge Wells, and then studied Music and Classics at Pembroke College, Cambridge, graduating in 1964. Contemporaries at Cambridge included David Munrow and John Turner. He went on to study performance and conducting under Raymond Leppard, Mary Potts and Thurston Dart, and later with Rafael Puyana and Gustav Leonhardt. He also studied in Prague with Zuzana Ruzickova for a year, under a British Council scholarship.

Career
In 1967, Hogwood co-founded the Early Music Consort with David Munrow. In 1973 he founded the Academy of Ancient Music, which specializes in performances of Baroque and Classical music using period instruments. The Early Music Consort was disbanded following Munrow's death in 1976, but Hogwood continued to perform and record with the Academy of Ancient Music.

Hogwood and the Academy recorded the first cycle, beginning in 1973, of Mozart's symphonies to be played in period instruments. In 1985, Hogwood's recording of Vivaldi's The Four Seasons on L'Oiseau-Lyre, which rubbed shoulders in the pop charts with Prince's Purple Rain; the latter was named best film soundtrack at the Brit awards, while Hogwood's disc was best classical recording.

From 1981, Hogwood conducted regularly in the United States.  He was Artistic Director of Boston's Handel and Haydn Society from 1986 to 2001, and for the remainder of his life held the title of Conductor Laureate. From 1983 to 1985 he was artistic director of the Mostly Mozart Festival in the Barbican Centre in London. From 1988 to 1992, he was musical director of the Saint Paul Chamber Orchestra in Minnesota.

In 1994 he conducted the Handel and Haydn Society in a recreation of the concert that premiered Beethoven's Sixth and Fifth symphonies for the Historic Keyboard Society of Milwaukee.

Hogwood conducted a considerable amount of opera. He made his operatic debut in 1983, conducting Don Giovanni in St. Louis, Missouri. He worked with Berlin State Opera; La Scala, Milan; Royal Opera Stockholm; the Royal Opera House at Covent Garden, Chorégies d'Orange and Houston Grand Opera. With Opera Australia, he performed Idomeneo in 1994 and La Clemenza di Tito in 1997. In 2009, he returned to the Royal Opera House to conduct the Orchestra of the Age of Enlightenment in Purcell's Dido and Aeneas, and Handel's Acis and Galatea. 2009 also saw him conducting Stravinsky's The Rake's Progress at the Teatro Real in Madrid, in a production directed by Robert Lepage. In late 2010 and early 2011, he conducted a series of performances of Mozart's The Marriage of Figaro at Zurich Opera House.

On 1 September 2006, harpsichordist Richard Egarr succeeded Hogwood as Music Director of the Academy of Ancient Music and Hogwood assumed the title of Emeritus Director. Hogwood said he expected to conduct 'at least one major project' with the Academy each year. He conducted the Academy in a series of concert performances of Handel operas which began in 2007 with Amadigi. 2008 saw performances of Flavio, and the series concluded in May 2009, the Handel anniversary, with Arianna in Creta. In 2013 he conducted the Academy in Imeneo.

Although Hogwood was best known for the baroque and classical repertoire, he also performed nineteenth-century and contemporary music, with a particular affinity for the neobaroque and neoclassical schools including many works by Stravinsky, Martinů and Hindemith.

He made many solo recordings of harpsichord works (including Louis Couperin, J. S. Bach, Thomas Arne, William Byrd's My Lady Nevells Booke), and did much to promote the clavichord in the Secret Bach/Handel/Mozart series of recordings, which puts in historical context the most common domestic instrument of that epoch. He owned a collection of historical keyboard instruments.

In July 2010, he was appointed Professor of Music at Gresham College, London, a position originally held by John Bull. In this role he delivered four series of free public lectures on Aspects of Authenticity (2010–11), The Making of a Masterpiece (2011–12), European Capitals of Music (2012–13) and Music in Context (2013–14). He was unable to deliver all of his lectures during his final year of appointment due to illness and it was only seven months after his final lecture at the College that he died.

In 2011, Hogwood was a juror for the Westfield International Fortepiano Competition hosted at Cornell University. This was the first fortepiano competition in the United States and only the second competition of its kind in the world.

In 2012, he was appointed Andrew D. White Professor-at-Large at Cornell University, for a six-year term of office. He was a member of Lowell House Senior Common Room in Harvard University.

Editing
Hogwood's editing work included music by composers as diverse as John Dowland and Felix Mendelssohn. After John Walsh's collection The Harpsichord Master Book I was rediscovered in New Zealand in 1977 (containing two otherwise new/unknown works by Purcell), Hogwood edited the re-issue on Oxford University Press reissue in 1980. He was the chairman of the new edition Carl Philipp Emanuel Bach: The Complete Works, which aimed to publish a complete edition of C.P.E. Bach's music in 2014.

He was involved with The Wranitzky Project, dedicated to the study and publishing of the music of Moravian composer Paul Wranitzky (1756–1808). His last editing project was a complete critical edition of piano sonatas by the Czech composer Leopold Koželuh.

Brahms "discovery"
In 2012 Hogwood's musicological activities came to the attention of a wider public when the BBC and the Guardian newspaper announced his discovery of a "previously unknown" piano piece by Johannes Brahms. However, it emerged that the work in question, Albumblatt, was already known.  The manuscript had been sold at public auction in April 2011, where it was described as "unpublished" and "of great importance," and the manuscript was reproduced in full in the catalogue. The work had been given its premiere by Craig Sheppard on 28 April 2011. Sheppard reportedly described the newspaper claim as "fatuous". Hogwood's edition of the piece was published by Bärenreiter in February 2012 along with the Horn Trio in E-flat major, Op. 40, which is thematically related.

Death
Hogwood died in Cambridge on 24 September 2014, fourteen days after his 73rd birthday, from a brain tumour. Shortly before his death, he had separated from his civil partner, the film director Anthony Fabian.

Honours
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was Honorary Fellow of both Jesus College, Cambridge and Pembroke College, Cambridge.

In 1989 Hogwood was appointed a Commander of the Order of the British Empire (CBE).
He was a recipient of the Halle Handel Prize in 2008. In 2011, he was awarded the IRC Harrison Medal of the Society for Musicology in Ireland.

Awards

 Fellow of the Royal Society of Arts (FRSA) 1982
 Walter Willson Cobbett Medal from the Worshipful Company of Musicians 1986
 Honorary Fellow of Jesus College, Cambridge 1989
 Freeman of the Worshipful Company of Musicians 1989
 Commander of the Most Excellent Order of the British Empire (CBE) 1989
 Honorary Doctor of Music Keele University 1991
 Honorary Fellow of Pembroke College, Cambridge 1992
 Finalist Giovanni Comisso Prize for Biographies 1992
 Hon RAM Royal Academy of Music 1995
 Scotland on Sunday Music Prize Edinburgh International Festival 1996
 Award for Artistic Excellence University of California 1996
 Distinguished Musician Award Incorporated Society of Musicians 1997
 Martinů Medal Bohuslav Martinů Foundation, Prague 1999
 Honorary Doctorate University of Zurich 2007
 Honorary Doctor of Music University of Cambridge 2008
 Handel Prize, Halle 2008
 Irish Research Council Harrison Medal of the Society for Musicology in Ireland 2011
 Honorary Doctor of Music Royal College of Music 2013

Bibliography

References

External links

Christopher Hogwood's website

Christopher Hogwood interview  recorded by Doug Ordunio for usage aboard United Airlines (ca.2000)
 A tribute  by Julian Perkins
Juror for 2011 Westfield Center Fortepiano Competition

English choral conductors
English harpsichordists
Clavichordists
British performers of early music
Founders of early music ensembles
English musicologists
LGBT classical musicians
English writers about music
Academics of King's College London
Academics of the Royal Academy of Music
Professors of Gresham College
Fellows of Jesus College, Cambridge
Fellows of Pembroke College, Cambridge
English gay musicians
Honorary Members of the Royal Academy of Music
Commanders of the Order of the British Empire
Alumni of Pembroke College, Cambridge
People educated at Nottingham High School
People from Nottingham
1941 births
2014 deaths
Handel Prize winners
Members of the University of Cambridge Faculty of Music
English conductors (music)
British male conductors (music)
20th-century British conductors (music)
20th-century British male musicians
20th-century British musicologists
20th-century English musicians
21st-century British conductors (music)
21st-century British male musicians
21st-century musicologists
21st-century English musicians
20th-century English LGBT people
21st-century English LGBT people
Handel scholars

Christopher Hogwood


Corbin Bleu Reivers (born 21 Februar 1989) is an American muisicker, sangster, actor an dancer.

1989 births
American male bairn actors
American male bairn sangsters
American male dance muisickers
American male film actors
American film producers
American male models
American male pop sangsters
American pop sangster-sangwriters
American male stage actors
American male vyce actors
American male televeesion actors
American fowk o Italian strynd
American actors o Jamaican strynd

Hollywood Records airtists
Male actors frae New York Ceety
Muisickers frae Brooklyn
Livin fowk
20t-century American male actors
21st-century American male actors
Pairteecipants in American reality televeesion series
Fowk frae Brooklyn
Fowk frae New York

Corbin Bleu


Shahmukhi is a set of letters used to write the Punjabi language by Punjabi speakers in Pakistan. It is written from right to left.

The Shahmukhi script is based on the Perso-Arabic script which is used to write Urdu. Shahmukhi cannot be called an alphabet; it is really an abjad. An abjad is a script that has letters to represent consonants but not vowels. Of course, Shahmukhi, and other scripts relating to it, are impure abjads. This means that there are ways to represent vowels in the writing but they are used in a very bare method.

There are 38 letters in the Shahmukhi abjad. This may seem like a lot to learn, but the letters are really not too difficult to remember.

Punjabi language
Alphabets

Shahmukhi


A sputum culture is a test to detect and identify bacteria or fungi that infect the lungs or breathing passages. Sputum is a thick fluid produced in the lungs and in the adjacent airways. Normally, fresh morning sample is preferred for the bacteriological examination of sputum. A sample of sputum is collected in a sterile, wide-mouthed, dry, leak-proof and break-resistant plastic-container and sent to the laboratory for testing. Sampling may be performed by sputum being expectorated (produced by coughing), induced (saline is sprayed in the lungs to induce sputum production), or taken via an endotracheal tube with a protected specimen brush (commonly used on patients on respirators) in an intensive care setting. For selected organisms such as Cytomegalovirus or "Pneumocystis jiroveci" in specific clinical settings (immunocompromised patients) a bronchoalveolar lavage might be taken by an experienced pneumologist. If no bacteria or fungi grow, the culture is negative. If organisms that can cause the infection (Pathogenicity organisms) grow, the culture is positive. The type of bacterium or fungus is identified by microscopy, colony morphology and biochemical tests of bacterial growth.

If bacteria or fungi that can cause infection grow in the culture, other tests can determine which antimicrobial agent will most effectively treat the infection. This is called susceptibility or sensitivity testing.

In a hospital setting, a sputum culture is most commonly ordered if a patient has a pneumonia. The Infectious Diseases Society of America recommends that sputum cultures be done in pneumonia requiring hospitalization, while the American College of Chest Physicians does not.  One reason for such a discrepancy is that normal, healthy lungs have bacteria, and sputum cultures collect both normal and pathogenic bacteria.  However, pure cultures of common respiratory pathogens in the absence of upper respiratory flora combined with symptoms of respiratory distress provides strong evidence of the infectious agent, and its significance. Such pathogens include Streptococcus pneumoniae, Haemophilus influenzae and the highly infectious M tuberculosis, which are transmitted by inhaling aerosols. For this reason, laboratory processing of sputum for respiratory pathogens are performed with the aid of a biological safety cabinet.

References

Medical tests
Bacteriology

Sputum culture


Zero-point energy is the energy of the vacuum space, the space between the subatomic particles within atoms. There are a few theories about how much energy there is in that space. There is the theory that there is an incredibly small, very near-zero amount, the theory that there is zero energy there, the theory that the amount of energy is indeterminable, and the theory that a cubic centimetre of vacuum has a few levels of magnitude more energy than would be required to create the Big Bang.

If you look at the way physics is going, there are atoms, then there are subatomic particles making up atoms (e.g. electrons, protons, neutrons), then further subatomic particles making up those subatomic particles (e.g. quarks, gluons), and now there is string theory. String theory says that those smallest subatomic particles are made of vibrating strings of energy, and that those strings have practically no actual width whatsoever. So all the matter of the universe could be compressed into an extremely small space, hence the Big Bang theory. If this is the case, the large energy interpretation of zero-point energy seems likely.

The term "zero-point" comes from the cooling of helium to 0 kelvin. Even at fractions below 1 Kelvin, the helium stays fluid with no signs of freezing.

References
 What's the Energy Density of the Vacuum?

Other websites
 Physics: Superfluid helium HD | experiment and explanation.
 Zero-point energy?  "Ask the Van" popular science FAQ at University of Illinois.

Energy
Physics
Subatomic particles

Zero-point energy