A motte-and-bailey is a kind of castle, or fortification. Many of them were built in the 11th and 12th century around Europe.

These structures consist of a hill (the motte) and a courtyard (the bailey). The motte was often artificial and on top, a wooden or stone tower was built. The bailey was surrounded by a protective ditch and wall of wooden fence (a palisade). They were relatively easy to build compared to stone buildings. All the same, they were significant and difficult to overcome.

If they were built of wood, this meant they could be burnt down. Also wood rots when it gets wet so the structure needed regular repair. As time went by castles were made of stone, which is much stronger. Palisades were replaced by stone walls, and wooden tower were replaced in stone.

Motte and bailey castles appeared in England after the Norman Conquest of 1066. They were a common feature in England by the death of William the Conqueror in 1087. Their construction was the start of what was to become a massive castle building programme in England and Wales.

Fortification

Motte-and-bailey


Hitchhiking is a way to end travel from place to place in someone else's car or lorry. Usually, a hitchhiker (a person who hitchhikes) will stand at the side of a road and hold his or her thumb in the air waiting for a passerby to come and pick her or him up. This is a sign that he or she wants to go somewhere else.

It was a very common way of traveling in Europe in the 1970s until people started to go missing. It is common for people to encounter rapists or lunatics while hitchiking, it is not always clear when being picked up if a person is dangerous, and this make it very dangerous and has made it less popular.

Because of this, hitchhiking is illegal or restricted in many country's and states of America.

Other websites

 The Hitchhiker's Guide to Hitchhiking - a wiki project to collect information about hitchhiking
 Anhalterfreunde - Information all about hitchhiking (English and German language)
 Liftershalte.info  - a worldmap with hitching places.
 hitchbase.com - Database with hitchhing places
 Abgefahren e.V. - the first German Autostop Society; ideas, tips, projects,..

Transport

Hitchhiking


Embezzlement is the theft or misappropriating of funds or assets belonging to a company or government. It is the misusing of property lawfully entrusted to a person who then converts it for his or her own use. Accounting embezzlement is hiding the theft of funds by the manipulation of accounting records. Embezzlement is most commonly a corporate crime.

There are many different ways to embezzle funds. "Skimming off the top" is when a person continually takes a small amount over a period of time. Someone may disappear after taking a large amount of funds. Managers may steal money by under-reporting income and keeping the unreported funds.

The US Internal Revenue Service requires the reporting of all income when a person files their income tax forms. Failure to include embezzled funds in their gross income can bring charges of tax evasion by the IRS. This is in addition to any other jurisdictions criminal charges of embezzlement.

References

Financial crimes

Embezzlement


原子筆又叫圓珠筆,係一種筆,係相當近代嘅發明。原子筆嘅「原子」就係嗰啲𠹳澾澾,黐𥹉𥹉嘅「墨」,筆嘴最尖係一粒直徑0.28-1.2mm嘅金屬珠,啱啱卡住響支收窄嘅管嘅尾尾,卡得唔係太實而可以畀粒珠自由噉轉,當識轉嘅金屬珠掂倒紙嘅表面嗰陣,氹氹轉嘅珠令喺支窄嘅管裏面嘅墨留低喺紙上面,一落倒紙嘅墨差唔多立即乾。今時今日,又平、又靠得住、重唔使點理嘅原子筆,已經取代咗墨水筆,變成好多人日日用嚟寫嘢嘅筆。

原子筆響1940年代尾發明,當時美國用原子彈贏咗二戰無幾耐,「原子」就做咗「高科技」嘅代名詞,商人就好興將新產品加「原子」兩個字,譬如原子褲、原子褸、原子腰帶、原子粒收音機噉,所以當時呢種新發明嘅筆就叫「原子筆」。

歷史

製造經濟可靠嘅原子筆,係嚟自實驗、現代化學、同埋20世紀精密製造科技嘅結合。好多國際專利見證咗一啲失敗嘅嘗試,想令原子筆可以賺錢同廣泛噉用。甚至有人認為一個出自Galileo Galilei喺17世紀嘅設計,其實就係原子筆嚟。

第一個原子筆嘅專利係喺1888年10月30號發行畀John J Loud。嗰枝筆有一粒旋轉嘅小鋼珠,由一個插座固定喺適當嘅位置。呢枝筆用嚟寫字母就太粗,但可以寫喺粗糙嘅表面(尤其係皮革),佢始終冇喺市場上發售。

喺1900年至1940年之間,好多人都好想改進寫字嘅工具,尤其係改進鋼筆或者搵一啲代替嘅工具。Slavoljub Eduard Penkala喺1907年發明咗固體墨水嘅鋼筆,德國一位叫 鮑姆掏 (Baum) 嘅發明家喺1910年出咗原子筆嘅專利,同埋另一種原子筆設備嘅專利就喺1916年俾Van Vechten Riesburg得到。喺呢啲發明度,墨水係放喺幼管入面,而管嘅最尾就有一粒細珠阻住,粒細珠會保持喺個位度,唔會滑咗入去幼管入面或者跌咗出嚟。  The ink clung to the ball, which spun as the pen was drawn across the paper. These proto-ballpoints did not deliver the ink evenly. If the ball socket was too tight, the ink did not reach the paper. If it was too loose, ink flowed past the tip, leaking or making smears. Many inventors applied their minds and skills to remedying these faults, but without commercial success. (http://www.herend.com/herald/012/eng/eletmod.htm)

László Bíró, a newspaper editor, was frustrated by the amount of time that he wasted in filling up fountain pens and cleaning up smudged pages, and the sharp tip of his fountain pen often tore his pages of newsprint. Bíró had noticed that the type of ink used in newspaper printing dried quickly, leaving the paper dry and smudge free. He decided to create a pen using the same type of ink. Since, when tried, this viscous ink would not flow into a regular fountain pen nib, Bíró, with the help of his brother George, a chemist, began to work on designing new types of pens. Bíró fitted this pen with a tiny ball in its tip that was free to turn in a socket. As the pen moved along the paper, the ball rotated, picking up ink from the ink cartridge and leaving it on the paper.  Bíró filed a British patent on 15 June, 1938.

Earlier pens leaked or clogged due to improper viscosity of the ink and depended on gravity to deliver the ink to the ball.  Depending on gravity caused difficulties with the flow and required that the pen be held nearly vertically.  The Biro pen both pressurized the ink column and used capillary action for ink delivery, solving the flow problems.

In 1940 the Bíró brothers and a friend, Juan Jorge Meyne, moved to Argentina fleeing Nazi Germany and on June 10, filed another patent, and formed Bíró Pens of Argentina.

The pen was sold in Argentina under the Birome brand (acronym of Biro and Meyne), which is how ballpoint pens are still known in that country. Laszlo was known in Argentina as Ladislao José Bíró. This new design was licensed by the British, who produced ball point pens for RAF aircrew, who found they worked much better than fountain pens at high altitude.

Eversharp, a maker of mechanical pencils teamed up with Eberhard-Faber in May 1945 to license the design for sales in the United States. At about the same time a U.S. businessman saw a Biro pen in a store in Buenos Aires. He purchased several samples and returned to the U.S. to found the Reynolds International Pen Company, producing the Biro design without license as the Reynolds Rocket. He managed to beat Eversharp to market in late 1945; the first ballpoint pens went on sale at Gimbels department store in New York City on 29 October 1945 for US$12.50 each (about US$130 of today's money). This pen was widely known as the rocket in the U.S. into the late 1950s.

Similar pens went on sale before the end of the year in England, and by the next year in most of Europe. Cheap disposable instruments were produced by the BIC Corporation with "Bic" as the tradename; as with 'Hoover' and 'Xerox', the tradename has subsequently passed into general use. With BIC's expanding product range, the original Bic pen design is now termed the Bic Cristal.

1990年開始,Biro嘅生日(9月29號)成為阿根廷嘅發明家日。

描述

原子筆有兩種基本類型:一次性同埋可換筆芯。

一次性嘅筆主要係由塑膠整嘅,啲墨用嗮就成枝筆唔用得,可更換筆芯嘅筆係金屬或塑膠整,但佢質量同成本會比一次性嘅筆高。The refill replaces the entire internal ink reservoir and ball point unit rather than actually refilling it with ink, as it takes special high-speed centrifugation to properly fill a ball point resevoir with the viscous ink.

The simplest types of ball point pens have a cap to cover the tip when the pen is not in use, while others have a mechanism for retracting the tip. This mechanism is usually controlled by a button at the top and powered by a spring within the pen apparatus, but other possibilities include a pair of buttons, a screw, or a slide.
 Rollerball pens, which combine the ballpoint design with the use of liquid ink and flow systems from fountain pens;
 "Space Pens", developed by Fisher in the United States, which combine a more viscous than normal ballpoint pen ink with a gas pressurized piston which forces the ink toward the point. This design allows the pen to write even upside down or in zero gravity environments.

標準
The International Organization for Standardization has published standards for ball point and roller ball pens:

 ISO 12756:1998      Drawing and writing instruments -- Ball point pens and roller ball pens -- Vocabulary
 ISO 12757-1:1998     Ball point pens and refills -- Part 1: General use
 ISO 12757-2:1998     Ball point pens and refills -- Part 2: Documentary use (DOC)
 ISO 14145-1:1998     Roller ball pens and refills -- Part 1: General use
 ISO 14145-2:1998     Roller ball pens and refills -- Part 2: Documentary use (DOC)

(http://www.iso.org/)

日常生活中嘅原子筆

原子筆喺現代文化之中無處不在。While other forms of pen are available, ballpoint pens are certainly the most common and almost every household is likely to have several. The fact that they are so cheaply available (costing from just a few cents/pence to produce) and so convenient to use means they are often to be found on desks and also in pockets, handbags, purses, bags and in cars — almost anywhere where one could conceivably need to use a pen. Ballpoint pens are often provided free by businesses as a form of advertising — printed with a company's name, a ballpoint pen is a relatively low cost advertisement that is highly effective (customers will use, and therefore see, a pen on a daily basis). Businesses and charities may also include ballpoint pens in direct mail mailings in order to increase a customer's interest in the mailing.

In recent years, the ballpoint pen has become a popular art medium, as demonstrated by such websites as biro-art.com.  Many people also create art on themselves with the pens; this is sometimes known as a ballpoint tattoo. Due to this, and to its wide-spread use by schoolchildren, all ballpoint ink formulas are non-toxic, and the manufacturing and content of the ink is regulated in most countries.

手揸同埋感覺

Ballpoint pens have three characteristics that distinguish them from rollerball systems. First, the ink flow increases with pressure. A rollerball will typically lay down its line without pressure.

Second, they write with the greatest ink flow when perpendicular to the paper, but as the angle is increased the line width gradually decreases; at some angle, when the edge of the ball socket brushes against the surface of the paper, the line width is reduced to zero and the pen ceases to write. By contrast, a rollerball pen has a thin line when perpendicular to the paper, but the line width increases suddenly as the angle is increased and a blob forms between the tip of the ball and the edge of the socket.

Third, a ballpoint pen's ink is typically not as bright on paper as its liquid or gel ink counterparts.

These characteristics have consequences for the grip with which the pen is held. First, one tends to bear down on a ballpoint to get a stronger line, and this increases tension in the hand. One way of getting a stronger line, comparable in intensity to a rollerball line, is to use a broad line ballpoint, with a 1.2mm diameter, or greater, ball size. Most ballpoints have a thin or medium ball.

Second, one has to hold the pen sufficiently vertically for it to roll across the paper and not to scratch. Most people nowadays are so accustomed to writing nearly perpendicularly that they do not realize that there are other ways to hold a pen.

There are two kinds of pens that can write at greater angles than ballpoint pens: fountain pens and felt-tipped pens. Both of these types of pen also write with less pressure and therefore with less tension in the hand.

Trivia
 The Al Faisalia skyscraper in Riyadh, Saudi Arabia, takes the shape of a ballpoint pen.
 The ballpoint pen drawing 'Inhuman Pyramid' is two meters tall, one and a half meters wide, used up six ballpoint pens and took seven months to complete.
 On average, 100 people choke to death on ballpoint pens every year.

原子筆嘅限制
 原子筆係唔可以反轉嚟寫。睇睇原子筆係點樣運作。
 唔可以寫喺塑膠同埋光滑嘅表面。
 唔可以寫喺濕或油膩嘅表面。
 上到太空就唔出墨寫唔到。

修理原子筆
如果你有一支原子筆已經用唔到(雖然重有一啲墨剩番喺度),係有方法可令佢用得番嘅:
 Scribble circles on cardboard found covering notepads. Normal 80g/sq.m paper doesn't seem to restore ink flow as quickly.
 喺玻璃表面上畫幾個圓圈(the closest window works well)
 Heat the ball point for a few seconds over a small flame (eg. cig. lighter)
 Insert inside the opening of your ink cartridge a piece of mechanical pencil graphite (best to be 0.7mm)

參考

出面網頁
 Biro Art - Doodles with a ball point pen.
 Rare photo-realist drawings done in ball-point (birodrawing.co.uk)
 A history of the ballpoint pen.
 Dennis Carlisle, Ball point pen artist.
 Information about pens of various types; pen help for beginners.
 Eric Bostrom's gallery (has come up with some blending techniques, as well)
 Did Biros really revolutionise writing? - BBC News - October 24, 2006
 Writing Instrument Manufacturers Association
 Duct Tape Ballpoint Pen

匈牙利文化
筆

原子筆


An antiseptic is a substance that is applied to lesions or wounds of the skin to kill germs. This helps prevent the wound becoming infected.

Commonly used antiseptics include alcohol, iodine and mercury compounds. Antiseptics are different from antibiotics. Antiseptics can only be used on the skin, antibiotics can also be used internally, through the blood and lymphatic systems. They are also different from disinfectants: Disinfectants are used on non-living objects only, because they are dangerous to the living.

Drugs

Antiseptic


A discharge tube, or a gas-filled tube is an arrangement of electrodes in an insulated container, containing a gas. Very often, glass or ceramics are used as insulation. When there is enough charge on these electrodes, there will be an electric discharge, which will produce light. In the 19th century, Heinrich Geißler developed the Geissler tube,and Philipp Lenard did experiments that led to the development of the vacuum pump. Both technologies were used to develop the discharge tube. The most common kind of discharge tube is the gas discharge lamp.

Technology

Gas-filled tube


Gary Alan Fine (born May 11, 1950, in New York City) is an American sociologist and author.

Life and career

The son of Bernard David Fine and Bernice Estelle Tanz, Fine grew up in Manhattan and went to the Horace Mann School. He studied psychology at the University of Pennsylvania (Phi Beta Kappa). He attended graduate school at Harvard University from 1972 to 1976 and received his PhD from Harvard in social psychology. His dissertation advisor was the eminent small group theorist Robert F. Bales.

In 1976, he became an assistant professor in the sociology department at the University of Minnesota. At various times, he was a visiting professor at Indiana University (1980), the University of Chicago (1985), the University of Bremen (1986), and the University of Iceland (1988). In 1988, he received the American Folklore Society's Opie Award for the Best Scholarly Book in the field of Children's Folklore and Culture for his work With The Boys, an ethnographic study of Little League baseball teams.

In 1990, he became the department head of the Department of Sociology at the University of Georgia, a position he held until 1993, after which he remained a professor. In 1990 he was also the President of the Society for the Study of Symbolic Interactionism. During the term of 1994 to 1995, he was a fellow at the Center for Advanced Study in the Behavioral Sciences, affiliated with Stanford University. He continued at the University of Georgia but accepted a position at Northwestern University in Evanston, Illinois beginning in 1997, where in 2005 he was named John Evans Professor. In 2002, he was the President of the Midwest Sociological Society, and in 2005 he was President of the Society for the Study of Social Problems. He remains at Northwestern and in 2003 was a fellow at the Swedish Collegium for Advanced Study in the Social Sciences at Uppsala University in Sweden. In 2005 and 2006, he was a visiting scholar at the Russell Sage Foundation in New York City. He is a former editor of Social Psychology Quarterly, an official journal of the American Sociological Association. He is married to Susan Hirsig Fine and has two children.

Academic focus

Fine has written ethnographies of a number of diverse small group activities from analyses of Dungeons & Dragons players and mushroom hunters to high school policy debaters and restaurant workers. Fine maintains that these different groups and distinct areas connect:

His work on rumor has made a substantial contribution to the understanding of urban legends and the transmission of rumors. In 2001, he co-authored a book with University of California-Davis Professor Patricia Turner on rumors in the African-American community and rumors and urban legends held by whites about blacks in the United States. He is currently researching rumors related to the September 11 attacks and terrorism. A recently published manuscript deals with the social production and communication of scientific work at the National Weather Service.

Another area of research includes the complicated historical and social reputations of figures such as Thorstein Veblen, Benedict Arnold, Fatty Arbuckle, Herman Melville, Vladimir Nabokov, Warren Harding, Sinclair Lewis, and Henry Ford. On August 4, 2004, several months before the 2004 Presidential Election, he set off a minor storm, especially in the political blogger community, with his op-ed piece in The Washington Post "Ire to the Chief" that argued that the commonly expressed hatreds of presidents George W. Bush, Bill Clinton, and Richard Nixon reflected their behavior and activities in youth more than their specific policies as President.

Fine is also a major figure in the study of the work of Erving Goffman and the theory of symbolic interactionism. He co-edited with Gregory W. H. Smith a major compilation of Goffman's work and of criticism and analysis of his contribution to the social sciences. Together with Kent Sandstrom and Dan Martin, he has produced a forthcoming textbook on symbolic interactionism entitled Symbols, Selves, and Social Reality: A Symbolic Interactionist Approach to Sociology and Social Psychology.

Specific areas

Restaurants

In addition to his analysis of restaurant establishment culture in his 1996 book Kitchens: The Culture of Restaurant Work, Fine considers himself a sort of amateur restaurant critic. Through 2015, he maintained a blog, called Veal Cheeks, describing his restaurant visits while living in New York City. His writing style, punchy and wry, can also be seen in his review of Eric Schlosser's book, Fast Food Nation, for Reason magazine.

Art

Another subject in which Fine has combined his personal and academic interests is art. While researching his book about outsider art Everyday Genius, he became well-acquainted with many of the major figures and artists in that segment of the art world. He studied the cases of major outsider (self-taught) artists like Henry Darger, Bill Traylor, Edgar Tolson, Thornton Dial, Lonnie Holley, Martin Ramirez, Sam Doyle, and Howard Finster. He is also an avid collector of outsider art himself. While researching the book and living in Georgia, he was a member of the Nexus Center for Contemporary Art and a board member at the High Museum of Art in Atlanta. He is also currently a board member of the Intuit: Center for Intuitive and Outsider Art in Chicago.

Policy Debate
During his research for Gifted Tongues: High School Debate and Adolescent Culture, he followed and observed several high school policy debate teams in Minnesota. The book depicts an activity, although popular in United States, that is often seen as esoteric and confusing. His son, Todd David Fine, as described in the dedication to the book, first saw a video of the activity as a young child while Fine was researching the book. Apparently inspired, in high school, Todd, along with his partners Adam Goldstein and Julie Bashkin, went on to capture the national-circuit debate championship the Tournament of Champions and the Barkley Forum at Emory University, another major championship in the activity.

Works

 (With Ralph Rosnow) Rumor and Gossip: The Social Psychology of Hearsay, Elsevier-North Holland (New York, NY), 1976.
 Shared Fantasy: Role Playing Games As Social Worlds, University of Chicago Press (Chicago, IL), 1983.
 Talking Sociology, Allyn and Bacon (Boston, MA), 1985.
 With the Boys: Little League Baseball and Preadolescent Culture, University of Chicago Press (Chicago, IL), 1987.
 (Editor) Meaningful Play, Playful Meaning, Human Kinetics Publishers (Champaign, IL), 1987.
 (With Kent L. Sandstrom) Knowing Children: Participant Observation with Minors, Sage (Newberry Park, CA), 1988.
 (Editor, with John Johnson and Harvey A. Farberman) Sociological Slices: Introductory Readings from the Interactionist Perspective, JAI Press (Greenwich, CT), 1992.
 Manufacturing Tales: Sex and Money in Contemporary Legends, University of Tennessee Press (Knoxville, TN), 1992.
 (Editor, with Karen Cook and James S. House) Sociological Perspectives on Social Psychology, Allyn and Bacon (Boston, MA), 1994.
 (Editor) A Second Chicago School?: The Development of a Postwar American Sociology, University of Chicago (Chicago, IL), 1995.
 Kitchens: The Culture of Restaurant Work, University of California (Berkeley, CA), 1996.
 Morel Tales: The Culture of Mushrooming, Harvard University Press (Cambridge, MA), 1998.
 (Editor, with Gregory W. H. Smith) Erving Goffman, Sage (Thousand Oaks, CA), 2000.
 Difficult Reputations: Collective Memories of the Evil, Inept, and Controversial, University of Chicago Press (Chicago, IL), 2001.
 Gifted Tongues: High School Debate and Adolescent Culture, Princeton University Press (Princeton, NJ), 2001.
 (With Patricia A. Turner) Whispers on the Color Line: Rumor and Race in America, University of California (Berkeley, CA), 2001.
 (With Daniel D. Martin and Kent L. Sandstrom) Symbols, Selves, and Social Life: A Symbolic Interactionist Approach, Roxbury (Los Angeles, CA), 2002.
 (With David Shulman) Talking Sociology, Fifth Edition. Allyn and Bacon (Boston, MA), 2003.
 Everyday Genius: Self-Taught Art and the Culture of Authenticity, University of Chicago Press (Chicago, IL), 2004.
 (With Kent Sandstrom and Daniel D. Martin) Symbols, Selves and Social Life: A Symbolic Interactionist Approach to Sociology and Social Psychology. Roxbury (Los Angeles, CA), In press.
  Players and Pawns: How Chess Builds Community and Culture, University of Chicago Press (Chicago, IL), 2015.
 Talking Art: The Culture of Practice and the Practice of Culture in MFA Education, University of Chicago Press (Chicago, IL), 2018.

References

Contemporary Authors Online, Gale, 2005. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2005.

1950 births
American sociologists
Living people
University of Pennsylvania alumni
University of Michigan College of Literature, Science, and the Arts alumni
Northwestern University faculty
University of Minnesota faculty
Indiana University faculty
University of Chicago faculty
University of Georgia faculty
Horace Mann School alumni
American restaurant critics
American male non-fiction writers
Social Psychology Quarterly editors
Harvard University alumni

Gary Alan Fine


Jan Matulka (7 November 1890 – 25 June 1972) was a Czech-American modern artist originally from Bohemia. Matulka's style ranged from Abstract expressionism to landscapes, sometimes in the same day.  He has directly influenced artists like Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, and David Smith.

Early life
Matulka was born on 7 November 1890 in Vlachovo Březí, Bohemia, then part of Austria-Hungary and now part of the Czech Republic. In 1907 Jan, his parents Maria and John, and his five younger sisters moved to the Bronx. Soon after John separated from Jan's mother and left the family alone and with little money.

In 1908 Jan Matulka began studying at the National Academy of Design in New York City. Upon graduation in 1917 Matulka met Ludmila "Lída" Jiroušková who would on 1 May 1918 become his wife. Lída Matulka worked for the New York Public Library as the head of the Czechoslovak literature section and helped connect her husband to the larger cultural community.

Between 1917 and 1918 Matulka traveled around the United States and the Caribbean as the first recipient of the Joseph Pulitzer National Traveling Scholarship, painting as he went. While in the Southwest he became one of the first modern artists to portray the Hopi snake rain dance.

Work

  In 1919 Matulka illustrated Czechoslovak Fairy Tales with writer Parker Fillmore and published by Hippocrene Books. In 1920 the pair compiled a second book, The Shoemaker's Apron, published by Harcourt Brace & Company

The next few years Jan and Lida traveled to Czechoslovakia to visit the old family farm, as well as to Germany and France. Matulka found inspiration in the scenery of Tŭri Pôle village, a place that fueled many more paintings over the years. Jan established a studio in Paris and would over-winter there while Lida returned to New York City each October. In Paris he was acquaintances with Gertrude Stein, André Lhote, Jean Lurçat, Josef Šíma, Václav Vytlačil, and Albert Gleizes.

In the 1920s Matulka maintained both his studios, frequently traveling to and fro from Paris to New York City. Around the middle of the decade Matulka began painting stark and jazzy cityscapes. This by no means meant he limited himself to that style, as he was also painting landscapes in Cape Ann, as well as Abstract pieces.

Katherine Sophie Dreier became his patron briefly from 1925 to 1926, which came to a premature end mainly due to petty disagreements and Matulka's general lack of social grace, ranging from tardiness to tantrums. In November 1926 he started to contribute illustrations to The New Masses.

In 1927, Matulka began an association with the Frank K. M. Rehn Gallery. The clientele of the gallery wanted more conservative and representational works so Matulka complied because he needed the income. Again, this did not prevent him from painting in other styles for other outlets. In 1928 he began drawing from the model when he started meeting with the Society of Independent Artists, while contributing illustrations to the socialist Dělník Kalendar.

  With help from Max Weber and Václav Vytlačil Matulka landed a teaching job at the Art Students League of New York, his first salaried position.  Being the only modernist faculty member, his classes were quite popular.  His students include Dorothy Dehner, Francis Criss, Burgoyne Diller, I. Rice Pereira, David Smith, Jacob Burck, and Esther Shemitz. The lattermost would later state that Matulka was the greatest influence on his work. Matulka was pushed out of his position at the Art Students League by conservative factions in 1931, but with encouragement from students he continued teaching a private class, which later disbanded in 1932. Matulka continued teaching one-on-one classes for a time after that.

Personal and global financial woes soon prevented Matulka from traveling annually to Paris. In 1928 he sublet his studio there to jazz painter Stuart Davis. Later Josef Šíma sublet it, taking it over completely from Matulka in 1934. Šíma stored all Matulka's paintings and other works left in the studio, eventually transporting them to his own house in Fontainebleau, where unfortunately these things did not survive World War II.

From 1934 until it ended in 1935 Matulka became one of the few abstract painters to join the Public Works of Art Project, giving him a taste for murals and public art.  Immediately afterward he joined the Federal Art Project and also worked on the Williamsburg Houses, eventually completing two murals, both of which were eventually destroyed or painted over.

Isolation and death
In 1936 Matulka helped found the American Abstract Artists, but refused to join the group. His emotional state continued to decline, even more so when his sister Barbara killed herself on 5 July.  By the time his association with the Federal Art Project ended in 1939 he had become even more socially and emotionally isolated. He continued painting more and more experimental works.

Over the next few decades Matulka received much acclaim from his exhibitions, but remained relatively withdrawn from society. As age caught up with him, he suffered from many health issues, including deafness. Matulka died 25 June 1972 in New York City.

Exhibitions
 June 1920:  Société Anonyme, New Jersey (group show with Patrick Henry Bruce, James Daugherty, and Van Everen)
 1924:  Salon des Indépendants, Paris
 1924:  Exhibition of American Art, Paris
 1924:  Neue Galerie, New York City (two-person show with James Ormsbee Chapin)
 1925:  Artist's Gallery cooperative, New York City (solo)
 1926:  Art Center, New York City (solo)
 1926:  Brooklyn Museum, Brooklyn, New York (group show)
 1927:  Frank K. M. Rehn Gallery, New York City (two-person show with Hayley Lever)
 1929:  Columbia University, New York City (solo)
 1929:  Frank K. M. Rehn Gallery, New York City (solo)
 1930:  Frank K. M. Rehn Gallery, New York City (solo)
 1931 or 1932:  Art Students League of New York, New York City (group show with Stuart Davis, John D. Graham, and Arshile Gorky)
 Spring 1932:  Montclair Art Museum, Montclair, New Jersey
 1933:  Frank K. M. Rehn Gallery, New York City (solo)
 1936:  Museum of Modern Art, New York City (group)
 1942:  Macy's, New York City (group show with Adolph Gottlieb, Mark Rothko, Carl Holty, John D. Graham, and Arshile Gorky)
 1944:  ACA Galleries, New York City (solo)
 1965:  Zabriske Gallery, New York City (solo)
 1979:  Whitney Museum of American Art, New York City (solo)
 21 November 1980 – 8 February 1981:  Smithsonian American Art Museum, Washington, D.C. (solo)
 21 September – 14 November 1982:  Solomon R. Guggenheim Museum, New York City (solo)
 1989:  Robert Schoelkopf Gallery, New York City (solo)
 1992:  James Graham & Sons, New York City (two-person show with Václav Vytlačil)
 1995:  Thomas McCormick Gallery, Chicago (solo)
 1999:  Richard York Gallery, New York City
 - 7 April 2002:  National Academy Museum and School, New York City (group show with Stuart Davis, Arthur Dove, Georgia O'Keeffe, Robert Motherwell, Ellsworth Kelly, Ilya Bolotowsky, Carl Holty, Willem de Kooning, Robert Rauschenberg, and others)
 18 September 2004 – 16 January 2005:  Montclair Art Museum, Montclair, New Jersey
 1 March – 1 May 2005:   Greenville County Museum of Art, Greenville, South Carolina
 18 June – 24 July 2005:  Lowe Art Museum, Coral Gables, Florida
 9 July – 27 August 2005:  Thomas McCormick Gallery, Chicago
 27 August – 27 November 2005:  Georgia Museum of Art, Athens, Georgia
 14 January – 19 March 2006:  Avampato Discovery Museum, Charleston, West Virginia
 9 April – 11 June 2006:  Butler Institute of American Art, Youngstown, Ohio
 10 June – 9 September 2006:  Cape Ann Historical Museum, Gloucester, Massachusetts
 6 July – 19 August 2007:  Arkansas Arts Center, Little Rock, Arkansas
 15 December 2007 – 3 February 2008:  Lowe Art Museum, Coral Gables, Florida (group show with many artists from Art Students League of New York)
 10 April – 7 September 2008:  British Museum, London (group show, The American Scene: Prints from Hopper to Pollock)
 28 February – 19 April 2009:  Djanogly Art Gallery, Nottingham (group show, The American Scene: Prints from Hopper to Pollock)
 2 May – 31 August 2009:  Brighton Museum & Art Gallery, Brighton (group show, The American Scene: Prints from Hopper to Pollock)
 19 September – 13 December 2009:  Whitworth Art Gallery, Manchester (group show, The American Scene: Prints from Hopper to Pollock)
 19 March – 22 August 2009:  Jersey City Museum, Jersey City, New Jersey (group show with Louis Lozowick, Riva Helfond, Elsie Driggs, and Victoria Hutson Huntley)
 12 August -–18 October 2009:  Centre de Cultura Contemporània de Barcelona, Barcelona (group show with Man Ray, Miguel Covarrubias, and many others)
 29 July – 16 October 2011:  Academy Art Museum, Easton, Maryland (Modernist Inclinations: The Art of Jan Matulka)

Selected bibliography as illustrator

References

External links

 Global Modernist exhibition
 Thomas McCormick Gallery
 Looking Again at a Painter Who Roamed Genres
 Comrades in Art:  Jan Matulka
 Jan Matulka at the Whitney Museum

1890 births
1972 deaths
People from Prachatice District
Modern painters
Landscape artists
Cubist artists
Cityscape artists
Emigrants from Austria-Hungary to the United States
American people of Bohemian descent
Public Works of Art Project artists
Burials at Flushing Cemetery
Federal Art Project artists
National Academy of Design alumni
Pulitzer Traveling Scholarship winners

Jan Matulka


Chris Gueffroy (21 June 1968 in Pasewalk – 6 February 1989 in Berlin) was the last person to be killed by border troops while trying to escape across the Berlin Wall.

Gueffroy and his friend Christian Gaudian tried to escape from East Berlin to West Berlin on the night of 5 to 6 February 1989. They tried to cross near the Britz district canal.

Gueffroy and Gaudian thought that the Schießbefehl, the order to shoot anyone who attempted to cross the wall, had been stopped. Climbing the last metal fence, the two were seen and shot at by the National People's Army (NVA) border troops. Gueffroy was hit in the chest by ten shots and died in the border strip.

Gaudian was badly injured, and was arrested and was sentenced on 24 May 1989 to imprisonment for three years by the Pankow district court for trying illegally to cross the border ("versuchten ungesetzlichen Grenzübertritts im schweren Fall").

In September 1989 Gaudian was freed on bail by the East German government and on 17 October 1989 he was transferred to West Berlin.

The four border guards at first got an award (Leistungsabzeichen der Grenztruppen) from the chief of the local border guards, Erich Wöllner, and a prize of 150 East German Marks each. After the reunification of East and West Germany, they were prosecuted by Berlin regional court. Two of them were released in January 1992. Ingo Heinrich, who fired the shot that killed Gueffroey was sentenced to three and a half years in jail. The Bundesgerichtshof reduced the penalty to a suspended sentence of two years in 1994.

In 2000, two SED officials, Siegfried Lorenz and Hans-Joachim Böhme, were tried for the death of Gueffroy and two other young men, but acquitted as the judge could find no evidence that they might have been able to lift the shoot-to-kill order. The case was retried on 7 August 2004, and the two men were found guilty and given suspended sentences of 15 months each. The judge explained that the short sentences were due to the length of time since the events. This was the last case concerning deaths on the inner German border.

On 21 June 2003, which would have been his 35th birthday, a monument to Gueffroy was built on the banks of the Britz district canal. The monument was designed by Berlin artist Karl Biedermann.

Other websites

1968 births
1989 deaths
Berlin Wall
Deaths by firearm in Germany
East German people
People from Mecklenburg-Vorpommern

Chris Gueffroy


The Three Laws of Robotics are three rules which Isaac Asimov thought should be programmed into robots. The rules assume that robots will be human-type machines, able to walk about and do things. Asimov called these robots positronic robots. The laws are presented in his 'Robot' series of short stories and novels.

The first mention of the laws is in Asimov's short story Runaround (written in 1942).
 A robot may not injure a human being or, by failing to act, allow a human being to come to harm.
 A robot must obey orders given to it by human beings, except where carrying out those orders would break the First Law.
 A robot must protect its own existence, as long as the things it does to protect itself do not break the First or Second Law.

Later, Asimov added the Zeroth Law: "A robot may not harm humanity, or, by inaction, allow humanity to come to harm"; the rest of the laws are changed one by one so that there can be no reason for a robot to break the Zeroth Law. .

According to the Oxford English Dictionary, the passage in Asimov's short story "Liar!" (1941) that mentions the First Law is the earliest recorded use of the word robotics. Asimov was not aware of this at the time; he assumed the word already existed by analogy with mechanics, hydraulics, and other similar terms denoting branches of applied knowledge.

The Three Laws form a theme in his Robot series and the other stories linked to it, as well as his Lucky Starr series of science fiction for children.  Other authors working in Asimov's fictional universe have adopted them, and references (often parodic) appear in science fiction and other genres. Technologists in the field of artificial intelligence have speculated upon the role the Laws might have in the future.

References

Other websites
 Worley, Gordon.  "Robot Oppression: Unethicality of the Three Laws".
 "Frequently Asked Questions about Isaac Asimov", AsimovOnline 27 September 2004.
 Ethical Considerations for Humanoid Robots: Why Asimov's Three Laws are not enough.

Science fiction
Isaac Asimov

Three Laws of Robotics


A cold cathode is a cathode (a type of electrode) that is not heated directly by a filament or element, although a cold cathode can heat up during use as a side effect of normal current flow. The term cold cathode is often used to refer to cold cathode fluorescent lamps (CCFLs), which are often used where a long life is needed. Applications for cold cathode lamps include general lighting, backlights for LCD TVs and computer monitors, and artistic lighting such as computer case mods and automotive customization.

Electronics

tl:Agapito Flores

Cold cathode


Wolf Koenig (October 17, 1927 – June 26, 2014) was a Canadian film director, producer, animator, cinematographer, and a pioneer in Direct Cinema at the National Film Board of Canada.

Early life
Born in Dresden, Germany, Koenig emigrated to Canada with his family in 1937, when they fled Nazi Germany. They settled in  farm along the Grand River, outside what is now known as Cambridge, Ontario. In 1948, a local representative for the Canadian department of agriculture needed the family's tractor to demonstrate a new tree-planting machine. As the young Koenig pulled the machine across a field, he noticed a small film crew from the NFB's former agricultural film unit, recording the demonstration. After filming was complete, he approached the men, who included director Raymond Garceau, and told them he loved films, especially animation, and hoped to work in filmmaking. They suggested he send in a job application and approximately six weeks later he received a letter offering him the position of a junior splicer for $100 per month.

His younger brother Joe Koenig was also a filmmaker.

NFB career
Koenig quickly established himself as a multi-talented artist, filming Norman McLaren's Neighbours (1952), animating Colin Low's The Romance of Transportation in Canada (1953) and serving as cinematographer on Low's Corral (1954). Koenig co-directed several historically significant NFB documentaries during, including City of Gold (with Low, 1957), The Days Before Christmas (1958), Lonely Boy (with Kroitor, 1962) and Stravinsky (1965). Along with Terence Macartney-Filgate, Roman Kroitor and Tom Daly, he was also one of the principal contributors to the NFB's Candid Eye series, which was influential in the development of direct cinema.

Koenig made major contributions to a range of notable projects. He was also the cinematographer for Arthur Lipsett's Experimental Film (1963) and N-Zone (1970), both admired by George Lucas.

Koenig served as executive producer of the NFB's English animation unit from 1962 to 1967 and again from 1972 to 1975. His credits as an animation producer included the Academy Award nominees The Drag (1966), What on Earth! (1966) and The House That Jack Built (1967). Koenig also produced Alanis Obomsawin's documentary Kanehsatake: 270 Years of Resistance, named Best Canadian Feature Film at the 1993 Festival of Festivals (now Toronto International Film Festival).

Legacy
Koenig retired from the NFB in 1995 to Westport, Ontario, where he made furniture and remained sporadically active in film.

He received numerous honours awards during his career, including a 1984 Genie Award for Best Theatrical Short as producer of Ted Baryluk's Grocery and six Canadian Film Awards: Film of the Year and Best Arts and Experimental Film for City of Gold, Film of the Year and Best General Information Film for Lonely Boy, Best TV Information Film for Stravinsky and Best Documentary Short Film for The Hottest Show on Earth (1977).

Koenig died June 26, 2014, in Toronto at the age of 86.

References

External links

Wolf Koenig, Canadian Film Encyclopedia, Film Reference Library, Toronto International Film Festival
Watch films by Wolf Koenig at NFB.ca

1927 births
2014 deaths
Canadian documentary film directors
Canadian cinematographers
Canadian animated film producers
Film producers from Ontario
Canadian animators
Jewish emigrants from Nazi Germany to Canada
Canadian documentary film producers
National Film Board of Canada people
People from Leeds and Grenville United Counties
People from Cambridge, Ontario
Producers of Best Picture Genie and Canadian Screen Award winners
Canadian cinema pioneers
Film people from Dresden

Wolf Koenig


The Mandate of Heaven (天命) was a Chinese political and religious doctrine used to justify the rule of the emperor of China. According to this belief, heaven  (天, Tian) stands  for the natural order and will of the universe. Heaven will give a mandate to a just ruler, the Son of Heaven. If a ruler was overthrown, this was interpreted as an indication that the ruler was unworthy, and had lost the mandate. It was also a common belief that natural disasters such as famine and flood were signs of heaven's displeasure with the ruler, so there would often be revolts after major disasters as citizens saw these as signs that the Mandate of Heaven had been withdrawn.

The Mandate of Heaven does not require a legitimate ruler to be of noble birth, and dynasties such as the Han and Ming dynasties were founded by men of common origins. The Mandate of Heaven had no time limitations, depending instead on the just and able performance of the rulers and their heirs. The concept is in some ways similar to the European concept of the divine right of kings; however, unlike the European concept, it does not confer an unconditional right to rule. The concept of Mandate of Heaven also included the right of rebellion against an unjust ruler. Chinese historians interpreted a successful revolt as evidence that Heaven had withdrawn its mandate from the ruler. Throughout Chinese history, times of poverty and natural disasters were often taken as signs that heaven considered the current ruler unjust and in need of replacement. The Mandate of Heaven was often invoked by philosophers and scholars in China as a way to curtail the abuse of power by the ruler.

The concept of the Mandate of Heaven was first used to support the rule of the kings of the Zhou dynasty (1046–256 BCE), and legitimize their overthrow of the earlier Shang dynasty (1600–1046 BCE). It was used throughout the history of China to support the rule of emperors, including non-Han ethnic monarchs such as the Qing dynasty. This concept was also used by monarchs in neighboring countries like Korea and Vietnam. A similar situation prevailed since the establishment of Ahom rule in the Kingdom of Assam of Southeast Asia.

References

Related pages
Mencius

History of China

Mandate of Heaven


John Burroughs Hopkins (July 25, 1742 – December 5, 1796) was a captain of the Continental Navy during the American Revolutionary War.

Biography

Hopkins was born in Newport, Rhode Island, the son of Continental navy commander-in-chief Esek Hopkins. John Hopkins was one of seven commanders involved in the Gaspée Affair, in which a British ship was destroyed. This was one of the leading causes of the Revolutionary War. John B. Hopkins was made one of five captains under his father according to in, December 1775, the United States Congress Marine Committee's meeting to discuss ranking the officers. He served in distinction during the war, the Providence Gazette, on March 12, 1796, called him an "eminent nautical commander".

References

External links
  – cenotaph
 Gaspee Info

1742 births
1796 deaths
Continental Navy officers
Military personnel from Newport, Rhode Island
Burials at North Burying Ground (Providence)
People of colonial Rhode Island
People of Rhode Island in the American Revolution

John Burroughs Hopkins


Thargelia  () was one of the chief Athenian festivals in honour of the Delian Apollo and Artemis, held on their birthdays, the 6th and 7th of the month Thargelion (about May 24 and May 25).

Essentially an agricultural festival, the Thargelia included a purifying and expiatory ceremony. While the people offered the first-fruits of the earth to the god in token of thankfulness, it was at the same time necessary to propitiate him, lest he might ruin the harvest by excessive heat, possibly accompanied by pestilence. The purificatory preceded the thanksgiving service. On the 6th a sheep was sacrificed to Demeter Chloe on the Acropolis, and perhaps a swine to the Fates, but the most important ritual was the following. Two men, the ugliest that could be found (the Pharmakoi) were chosen to die, one for the men, the other (according to some, a woman) for the women. Hipponax of Colophon claims that on the day of the sacrifice they were led round with strings of figs on their necks, and whipped on the genitals with rods of figwood and squills. When they reached the place of sacrifice on the shore, they were stoned to death, their bodies burnt, and the ashes thrown into the sea (or over the land, to act as a fertilizing influence).  However, it is unclear how accurate Hipponax's sixth-century, poetical account of the ceremony is, and there is much scholarly debate as to its reliability.

The Athenians, having taken the festival from the Delians, brought to it the gods of summer heat, that is the Horae, goddesses of the seasons, and Helios, the sun god, to whom they offered the first fruits of the summer crops, and cereal all dependent on Helios and the Horae for ripening; a surviving inscription mentions offerings to "Helios, Horae and Apollo". They were honored with a procession of which no details survive.

It is supposed that an actual human sacrifice took place on this occasion, replaced in later times by a milder form of expiation. Thus, at Leucas a criminal was annually thrown from a rock into the sea as a scapegoat, but his fall was checked by live birds and feathers attached to his person, and men watched below in small boats, who caught him and escorted him beyond the boundary of the city. Nevertheless, many modern scholars reject this, arguing that the earliest source for the pharmakos (the iambic satirist Hipponax) shows the pharmakos being beaten and stoned, but not executed. A more plausible explanation would be that sometimes they were executed and sometimes they weren't depending on the attitude of the victim. For instance a deliberate unrepentant murderer would most likely be put to death.
Similarly, at Massilia, on the occasion of some heavy calamity (plague or famine), one of the poorest inhabitants volunteered as a scapegoat. For a year he was fed up at the public expense, then clothed in sacred garments, led through the city amidst execrations, and cast out beyond the boundaries.

The ceremony on the 7th was of a cheerful character. All kinds of first-fruits were carried in procession and offered to the god, and, as at the Pyanepsia (or Pyanopsia), branches of olive bound with wool, borne by children, were affixed by them to the doors of the houses. These branches, originally intended as a charm to avert failure of the crops, were afterwards regarded as forming part of a supplicatory service. On the second day choruses of men and boys took part in musical contests, the prize for which was a tripod. Further, on this day adopted persons were solemnly received into the genos and phratria of their adoptive parents.

See also
Eiresione

Notes

References

 Jan Bremmer, "Scapegoat Rituals in Ancient Greece," Harvard Studies in Classical Philology 87 (1983): 299-320.

 Gardner, Percy; Jevons, Frank Byron, A Manual of Greek Antiquities, University of Wisconsin, 1895, Charles Scribner's Sons.
 Parker, Robert, Polytheism and Society at Athens, Oxford University Press, 2005. .

Cited in Chisholm 1911:
 Preller-Robert, Griechische Mythologie, i. (1894);
 Georg Friedrich Schömann, Griechische Alterthümer (4th ed. by J. H. Lipsius, 1897–1902);
 P. Stengel, Die griechischen Kultusalterthümer (1890);
 article in Smith's Dictionary of Greek and Roman Antiquities, revised by L. C. Purser (3rd ed., 1891);
 August Mommsen, Feste der Stadt Athen (1898);
 L. R. Farnell, Cults of the Greek States, iv. (1906), pp. 268–283;
 J. G. Frazer, Golden Bough (2nd ed., 1900), ii. appendix C, "Offerings of First-Fruits," and iii. p. 93, 15, "On Scapegoats";
 W. Mannhardt, Antike Wald- und Feldkulte (2nd ed. by W. Heuschkel, 1904–5).

May observances
Festivals in ancient Athens
Festivals of Apollo
Festivals of Artemis
Horae
Helios

Thargelia


Foolishness is when someone acts without wisdom or sense. A foolish decision is one made without careful reasoning or judgement. An act of foolishness is called folly. A person who shows foolishness may be called a fool. It is different to stupidity, which is the lack of intelligence.

A fool's errand is a useless piece of work.

A fool's paradise a happy state for which there is no good reason.

The wise fool is a common literary character, a person who appears at first to be unintelligent but then reveals him or herself to possess a grest deal of wisdom. An example of this is Sancho Panza in Cervantes' Don Quixote. Sancho is an uneducated peasant who at first seems to have little sense or experience. However, as the tale unfolds, he reveals himself to possess a wealth of common sense, first expressed through endless proverbs, but then through his own skill. In this sense he provides a comic juxtaposition to Quixote himself, who is highly educated but insane; both of them supply what the other lacks.

References

Related pages

 Silliness

Knowledge
Basic English 850 words

Foolishness


Core generally is the heart or inner part of a thing, as of a column, wall, rope, of a boil, etc.; especially, the central part of fruit, containing the kernels or seeds; as, the core of an apple or quince.

Core could mean:

In media:
 Core (album), an album by Stone Temple Pilots
 Core (Persefone album)
 Core (radio station), a digital radio station in the United Kingdom
 The Core, a 2003 science fiction film
 Core Design, a videogame developer best known for the Tomb Raider series
 C.O.R.E., a computer animation studio

In science and academics:
 Core (group), in mathematics, an object in group theory
 Core (functional analysis), in mathematics, a subset of the domain of a closable operator
 core (graph theory), in mathematics, the homomorphically minimal subgraph of a graph
 core of a triangulated category in mathematics.
 Core (economics), the collection of stable allocations that no coalition can improve upon
 Planetary core, in planetary science, the center of a planet
 Earth's core
 Solar core, the region of the Sun where nuclear fusion takes place
 Lithic core, in archaeology, a stone artifact left over from toolmaking
 Core curriculum, in education, an essential part of the curriculum
 Core sample, in Earth science, a sample obtained by coring
 Core countries, in dependency theory, an industrialized country on which peripheral countries depend
 Core (anatomy), in anatomy is everything except the appendages.

In computers and technology:
Semiconductor intellectual property core, part of a CPU design
Multi-core (computing), a type of microprocessor design in which multiple processors coexist on the same chip
 Intel Core, in processors, a brand of computer processor
 Magnetic core memory, in computing, the primary memory
 Core dump, in computing, a record of the core memory
 Nuclear reactor core, a portion containing the fuel components
 Magnetic core, in electricity and electronics, ferromagnetic material around which wires are wound
 the signal-carrying portion of an optical fiber

Acronyms:
 Central Organization For Railway Electrification, an organization in India
 Congress of Racial Equality, United States civil rights organization
 Coordinated Online Register of Electors, central database in the United Kingdom
 Challenge of Reverse Engineering, a warez group
 Comment on Reproductive Ethics, a Christian pressure group in the United Kingdom

Core


Amy Lou Adams (born August 20, 1974) is a American actress. She is a five-time Academy Awaird nominee.

Born in Vicenza, Italy, an raised in Castle Rock, Colorado, Adams is the fowert o seiven siblins. She trained tae be a ballerina, but at age 18, she foond muisical theatre a better fit, an frae 1994 tae 1998, she wirked in dinner theatre. She made her featur film debut wi a supportin part in the 1999 satire Drop Dead Gorgeous. Efter muivin tae Los Angeles, she made guest appearances in telly an teuk on "mean girl" pairts in smaw-scale featurs. Her first major role cam in Steven Spielberg's 2002 biopic Catch Me If You Can, opposite Leonardo DiCaprio, but she wis unemployed for a year efterwart. Her breakthrou came in the pairt o a loquacious pregnant wumman in the 2005 independent film Junebug.

The 2007 muisical Enchanted, in that Adams played a cheerfu princess, wis her first major success as a leadin leddy. She follaed it bi playin naïve, optimistic weemen in a series o films sic as the 2008 drama Doubt. She subsequently played stranger pairts tae positive reviews in the sports film The Fighter (2010) an the psychological drama The Master (2012). In 2013, she begoud portrayin Lois Lane in superhero films set in the DC Extended Universe. She wan two consecutive Gowden Globe Awairds for Best Actress for playin a seductive con airtist in the crime film American Hustle (2013) an the tribbled penter Margaret Keane in the biopic Big Eyes (2014). Faur acclaim cam for playin a linguist in the science feection film Arrival (2016), a sel-hairmin reporter in the HBO miniseries Sharp Objects (2018), an Lynne Cheney in the satirical film Vice (2018).

Adams's stage roles include the Public Theater's revival o Into the Woods in 2012, in that she played the Baker's Wife. In 2014, she wis named ane o the 100 most influential fowk in the warld bi Time an featurt in the Forbes Celebrity 100 leet. She is mairied tae actor an airtist Darren Le Gallo, wi that she haes a dochter.

References

1974 births
20t-century American actresses
21st-century American actresses
American female sangsters
American film actresses
American stage actresses
American televeesion actresses
American vyce actresses
Best Muisical or Comedy Actress Gowden Globe (film) winners
Independent Spirit Awaird winners
Livin fowk
Ootstaundin Performance bi a Cast in a Motion Pictur Screen Actors Guild Awaird winners

Amy Adams


In sport, a championship is a competition to determine which individual or team is the champion. Different forms of competition can be called a championship. It is usually the final competition in a tournament (a series of competitions). For example, the FIFA World Cup is a tournament held every four years. The winner of the final competition of each tournament becomes that tournament's champion. In a league system, the championship is the final competition of a regular season. In some league systems, a series of playoffs is used to determine the champion of a season. There is one champion for each season. In combat sports, such as wrestling and boxing, a competitor must challenge the current champion to win the championship.

Sports competitions

Championship


The Cartagena Protocol on Biosafety to the Convention on Biological Diversity is an international agreement on biosafety as a supplement to the Convention on Biological Diversity (CBD) effective since 2003. The Biosafety Protocol seeks to protect biological diversity from the potential risks posed by genetically modified organisms resulting from modern biotechnology.

The Biosafety Protocol makes clear that products from new technologies must be based on the precautionary principle and allow developing nations to balance public health against economic benefits. It will for example let countries ban imports of genetically modified organisms if they feel there is not enough scientific evidence that the product is safe and requires exporters to label shipments containing genetically altered commodities such as corn or cotton.

The required number of 50 instruments of ratification/accession/approval/acceptance by countries was reached in May 2003. In accordance with the provisions of its Article 37, the Protocol entered into force on 11 September 2003. As of July 2020, the Protocol had 173 parties, which includes 170 United Nations member states, the State of Palestine, Niue, and the European Union.

Background
The Cartagena Protocol on Biosafety, also known as the Biosafety Protocol, was adopted in January 2000, after a CBD Open-ended Ad Hoc Working Group on Biosafety had met six times between July 1996 and February 1999. The Working Group submitted a draft text of the Protocol, for consideration by Conference of the Parties at its first extraordinary meeting, which was convened for the express purpose of adopting a protocol on biosafety to the CBD. After a few delays, the Cartagena Protocol was eventually adopted on 29 January 2000 The Biosafety Protocol seeks to protect biological diversity from the potential risks posed by living modified organisms resulting from modern biotechnology.

Objective
In accordance with the precautionary approach, contained in Principle 15 of the Rio Declaration on Environment and Development, the objective of the Protocol is to contribute to ensuring an adequate level of protection in the field of the safe transfer, handling and use of 'living modified organisms resulting from modern biotechnology' that may have adverse effects on the conservation and sustainable use of biological diversity, taking also into account risks to human health, and specifically focusing on transboundary movements (Article 1 of the Protocol, SCBD 2000).

Living modified organisms (LMOs)
The protocol defines a 'living modified organism' as any living organism that possesses a novel combination of genetic material obtained through the use of modern biotechnology, and 'living organism' means any biological entity capable of transferring or replicating genetic material, including sterile organisms, viruses and viroids. 'Modern biotechnology' is defined in the Protocol to mean the application of in vitro nucleic acid techniques, or fusion of cells beyond the taxonomic family, that overcome natural physiological reproductive or recombination barriers and are not techniques used in traditional breeding and selection. 'Living modified organism (LMO) Products' are defined as processed material that are of living modified organism origin, containing detectable novel combinations of replicable genetic material obtained through the use of modern biotechnology. Common LMOs include agricultural crops that have been genetically modified for greater productivity or for resistance to pests or diseases. Examples of modified crops include tomatoes, cassava, corn, cotton and soybeans. 'Living modified organism intended for direct use as food or feed, or for processing (LMO-FFP)' are agricultural commodities from GM crops. Overall the term 'living modified organisms' is equivalent to genetically modified organism – the Protocol did not make any distinction between these terms and did not use the term 'genetically modified organism.'

Precautionary approach
One of the outcomes of the United Nations Conference on Environment and Development (also known as the Earth Summit) held in Rio de Janeiro, Brazil, in June 1992, was the adoption of the Rio Declaration on Environment and Development, which contains 27 principles to underpin sustainable development. Commonly known as the precautionary principle, Principle 15 states that "In order to protect the environment, the precautionary approach shall be widely applied by States according to their capabilities. Where there are threats of serious or irreversible damage, lack of full scientific certainty shall not be used as a reason for postponing cost-effective measures to prevent environmental degradation."

Elements of the precautionary approach are reflected in a number of the provisions of the Protocol, such as:
 The preamble, reaffirming "the precautionary approach contained in Principle 15 of the Rio Declaration on environment and Development";
 Article 1, indicating that the objective of the Protocol is "in accordance with the precautionary approach contained in Principle 15 of the Rio Declaration on Environment and Development";
 Article 10.6 and 11.8, which states "Lack of scientific certainty due to insufficient relevant scientific information and knowledge regarding the extent of the potential adverse effects of an LMO on biodiversity, taking into account risks to human health, shall not prevent a Party of import from taking a decision, as appropriate, with regard to the import of the LMO in question, in order to avoid or minimize such potential adverse effects."; and
 Annex III on risk assessment, which notes that "Lack of scientific knowledge or scientific consensus should not necessarily be interpreted as indicating a particular level of risk, an absence of risk, or an acceptable risk."

Application
The Protocol applies to the transboundary movement, transit, handling and use of all living modified organisms that may have adverse effects on the conservation and sustainable use of biological diversity, taking also into account risks to human health (Article 4 of the Protocol, SCBD 2000).

Parties and non-parties
The governing body of the Protocol is called the Conference of the Parties to the Convention serving as the meeting of the Parties to the Protocol (also the COP-MOP). The main function of this body is to review the implementation of the Protocol and make decisions necessary to promote its effective operation. Decisions under the Protocol can only be taken by Parties to the Protocol. Parties to the Convention that are not Parties to the Protocol may only participate as observers in the proceedings of meetings of the COP-MOP.

The Protocol addresses the obligations of Parties in relation to the transboundary movements of LMOs to and from non-Parties to the Protocol. The transboundary movements between Parties and non-Parties must be carried out in a manner that is consistent with the objective of the Protocol. Parties are required to encourage non-Parties to adhere to the Protocol and to contribute information to the Biosafety Clearing-House.

Relationship with the WTO
A number of agreements under the World Trade Organization (WTO), such as the Agreement on the Application of Sanitary and Phytosanitary Measures (SPS Agreement) and the Agreement on Technical Barriers to Trade (TBT Agreement), and the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPs), contain provisions that are relevant to the Protocol. This Protocol states in its preamble that parties:
 Recognize that trade and environment agreements should be mutually supportive;
 Emphasize that the Protocol is not interpreted as implying a change in the rights and obligations under any existing agreements; and
 Understand that the above recital is not intended to subordinate the Protocol to other international agreements.

Main features

Overview of features
The Protocol promotes biosafety by establishing rules and procedures for the safe transfer, handling, and use of LMOs, with specific focus on transboundary movements of LMOs. It features a set of procedures including one for LMOs that are to be intentionally introduced into the environment called the advance informed agreement procedure, and one for LMOs that are intended to be used directly as food or feed or for processing. Parties to the Protocol must ensure that LMOs are handled, packaged and transported under conditions of safety. Furthermore, the shipment of LMOs subject to transboundary movement must be accompanied by appropriate documentation specifying, among other things, identity of LMOs and contact point for further information. These procedures and requirements are designed to provide importing Parties with the necessary information needed for making informed decisions about whether or not to accept LMO imports and for handling them in a safe manner.

The Party of import makes its decisions in accordance with scientifically sound risk assessments. The Protocol sets out principles and methodologies on how to conduct a risk assessment. In case of insufficient relevant scientific information and knowledge, the Party of import may use precaution in making their decisions on import. Parties may also take into account, consistent with their international obligations, socio-economic considerations in reaching decisions on import of LMOs.

Parties must also adopt measures for managing any risks identified by the risk assessment, and they must take necessary steps in the event of accidental release of LMOs.

To facilitate its implementation, the Protocol establishes a Biosafety Clearing-House for Parties to exchange information, and contains a number of important provisions, including capacity-building, a financial mechanism, compliance procedures, and requirements for public awareness and participation.

Procedures for moving LMOs across borders

Advance Informed Agreement
The "Advance Informed Agreement" (AIA) procedure applies to the first intentional transboundary movement of LMOs for intentional introduction into the environment of the Party of import. It includes four components: notification by the Party of export or the exporter, acknowledgment of receipt of notification by the Party of import, the decision procedure, and opportunity for review of decisions. The purpose of this procedure is to ensure that importing countries have both the opportunity and the capacity to assess risks that may be associated with the LMO before agreeing to its import. The Party of import must indicate the reasons on which its decisions are based (unless consent is unconditional). A Party of import may, at any time, in light of new scientific information, review and change a decision. A Party of export or a notifier may also request the Party of import to review its decisions.

However, the Protocol's AIA procedure does not apply to certain categories of LMOs:
 LMOs in transit;
 LMOs destined for contained use;
 LMOs intended for direct use as food or feed or for processing

While the Protocol's AIA procedure does not apply to certain categories of LMOs, Parties have the right to regulate the importation on the basis of domestic legislation. There are also allowances in the Protocol to declare certain LMOs exempt from application of the AIA procedure.

LMOs intended for food or feed, or for processing
LMOs intended for direct use as food or feed, or processing (LMOs-FFP) represent a large category of agricultural commodities. The Protocol, instead of using the AIA procedure, establishes a more simplified procedure for the transboundary movement of LMOs-FFP. Under this procedure, A Party must inform other Parties through the Biosafety Clearing-House, within 15 days, of its decision regarding domestic use of LMOs that may be subject to transboundary movement.

Decisions by the Party of import on whether or not to accept the import of LMOs-FFP are taken under its domestic regulatory framework that is consistent with the objective of the Protocol. A developing country Party or a Party with an economy in transition may, in the absence of a domestic regulatory framework, declare through the Biosafety Clearing-House that its decisions on the first import of LMOs-FFP will be taken in accordance with risk assessment as set out in the Protocol and time frame for decision-making.

Handling, transport, packaging and identification
The Protocol provides for practical requirements that are deemed to contribute to the safe movement of LMOs. Parties are required to take measures for the safe handling, packaging and transportation of LMOs that are subject to transboundary movement. The Protocol specifies requirements on identification by setting out what information must be provided in documentation that should accompany transboundary shipments of LMOs. It also leaves room for possible future development of standards for handling, packaging, transport and identification of LMOs by the meeting of the Parties to the Protocol.

Each Party is required to take measures ensuring that LMOs subject to intentional transboundary movement are accompanied by documentation identifying the LMOs and providing contact details of persons responsible for such movement. The details of these requirements vary according to the intended use of the LMOs, and, in the case of LMOs for food, feed or for processing, they should be further addressed by the governing body of the Protocol. (Article 18 of the Protocol, SCBD 2000).

The first meeting of the Parties adopted decisions outlining identification requirements for different categories of LMOs (Decision BS-I/6, SCBD 2004). However, the second meeting of the Parties failed to reach agreement on the detailed requirements to identify LMOs intended for direct use as food, feed or for processing and will need to reconsider this issue at its third meeting in March 2006.

Biosafety Clearing-House
The Protocol established a Biosafety Clearing-House (BCH), in order to facilitate the exchange of scientific, technical, environmental and legal information on, and experience with, living modified organisms; and to assist Parties to implement the Protocol (Article 20 of the Protocol, SCBD 2000). It was established in a phased manner, and the first meeting of the Parties approved the transition from the pilot phase to the fully operational phase, and adopted modalities for its operations (Decision BS-I/3, SCBD 2004).

See also
 Biosafety Clearing-House
 Substantial equivalence
 Nagoya Protocol, another supplementary protocol adopted by the CBD

References

 Secretariat of the Convention on Biological Diversity (2000) Cartagena Protocol on Biosafety to the Convention on Biological Diversity: text and annexes. Montreal, Quebec, Canada.
 Secretariat of the Convention on Biological Diversity (2004) Global Biosafety – From concepts to action: Decisions adopted by the first meeting of the Conference of the Parties to the Convention on Biological Diversity serving as the meeting of the Parties to the Cartagena Protocol on Biosafety. Montreal, Quebec, Canada.

External links

 Biosafety Protocol Homepage
 Ratifications at depositary
 Biosafety Clearing-House Central Portal
 Text of the Protocol
 Map showing the state of the ratification of the Cartagena Protocol on Biosafety.
 Introductory note by Laurence Boisson de Chazournes, procedural history note and audiovisual material on the Cartagena Protocol on Biosafety to the Convention on Biological Diversity  in the Historic Archives of the United Nations Audiovisual Library of International Law

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Edward Hargraves (October 7, 1816 – October 29, 1891) was famous for starting the Australian gold rush. He found gold in Sydney in 1851. He was a shopkeeper, sailor and adventurer. He first started looking for gold in California, but was not successful.

When he arrived in Sydney, he didn't even visit his family. He went straight to the Blue Mountains to look for gold. After his first discovery, Australia became more popular due to the goldfield. Although Hargraves        was very famous and rich, he lived so lavishly that he became broke by 1862.

Early life

Hargraves' mother (Elizabeth Nee Whitcombe) and father (John Edward Hargraves) sent Hargraves to Brighton Grammar School in England. When he was 14, he travelled over water to Sydney, Australia. He arrived in Sydney in 1832. He worked on a property at Bathurst, collecting tortoise shells. Before Hargraves became famous, he left his wife (Elizabeth Hargraves) and bought his own piece of land on Manning River. He took over a shop near his property.

Achievements

Hargraves' main achievement was discovering a large amount of gold, starting the gold rush of Australia. He believed that the geography of Bathurst was the same as California, so he began his search for gold there. John Lister, who had already found gold in California, helped Hargraves to find gold in Australia.

The two of them travelled to Summerhill Creek, where Hargraves first discovered gold. After the government found out about Hargraves' discovery, they appointed him 'Commissioner of Land'. They rewarded him with 10,000 pounds and a life pension, in exchange for the gold he discovered. The government of New South Wales made the announcement that gold was discovered on May 22, 1851.  Hargraves was also responsible for conducting the gold mining in Ballarat, when the gold rush became more popular.

Between the years of 1853-1854, Hargraves travelled back to England, rich from his findings. When he was in England he met Queen Victoria and wrote a book (published in 1855) called Australia and its Gold Fields. Hargraves lived such a luxurious life that he was soon very poor. Hargraves travelled back to Australia, seeking the help of the government to help with his financial situation, but no one he asked would give him money.

Hargraves had two sons and three daughters. He died in Sydney in 1999.

Bibliography
http://adb.anu.edu.au/biography/hargraves-edward-hammond-3719
http://www.skwirk.com/p-c_s-1_u-103_t-265_c-877/edward-hargraves/nsw/hsie/gold-/discovering-gold
http://www.sl.nsw.gov.au/discover_collections/history_nation/gold/rumours/hargraves.html

References

1816 births
1891 deaths
Australian businesspeople

Edward Hargraves


Adonais: An Elegy on the Death of John Keats, Author of Endymion, Hyperion, etc. () is a pastoral elegy written by Percy Bysshe Shelley for John Keats in 1821, and widely regarded as one of Shelley's best and best-known works. The poem, which is in 495 lines in 55 Spenserian stanzas, was composed in the spring of 1821 immediately after 11 April, when Shelley heard of Keats' death (seven weeks earlier). It is a pastoral elegy, in the English tradition of John Milton's Lycidas. Shelley had studied and translated classical elegies. The title of the poem is modelled on ancient works, such as Achilleis (a poem about Achilles), an epic poem by the 1st-century AD Roman poet Statius, and refers to the untimely death of the Greek Adonis, a god of fertility. Some critics suggest that Shelley used Virgil's tenth Eclogue, in praise of Cornelius Gallus, as a model.

It was published by Charles Ollier in July 1821 (see 1821 in poetry) with a preface in which Shelley made the mistaken assertion that Keats had died from a rupture of the lung induced by rage at the unfairly harsh reviews of his verse in the Quarterly Review and other journals. He also thanked Joseph Severn for caring for Keats in Rome. This praise increased literary interest in Severn's works.

Background
Shelley was introduced to Keats in Hampstead towards the end of 1816 by their mutual friend, Leigh Hunt, who was to transfer his enthusiasm from Keats to Shelley. Shelley's initial admiration of Keats was ambiguous: his reception to Keats' Endymion was largely unfavorable, while he found his later work, Hyperion, to be the highest example of contemporary poetry. Keats found some of Shelley's advice patronising (the suggestion, for example, that Keats should not publish his early work). It is also possible that Keats resented Hunt's transferred allegiance. Despite this, the two poets exchanged letters after Shelley and his wife moved to Italy. When Keats fell ill, the Shelleys invited him to stay with them in Pisa, but Keats only made it as far as Rome, accompanied by the painter Severn. Shelley's concern for Keats's health remained undimmed, until he learned months after the fact that Keats had died in Rome, prompting the composition of Adonais. Shelley said of Keats, after inviting him to stay with him in Pisa after the latter fell ill: "I am aware indeed that I am nourishing a rival who will far surpass me and this is an additional motive & will be an added pleasure."

Shelley regarded Adonais as the "least imperfect" of his works. In a 5 June 1821 letter to John and Maria Gisborne, Shelley wrote about the work: "It is a highly wrought piece of art, perhaps better in point of composition than anything I have written."

Summary

The poet weeps for John Keats, who is dead and who will be long mourned. He calls on Urania to mourn for Keats who died in Rome (sts. I–VII). The poet summons the subject matter of Keats' poetry to weep for him. It comes and mourns at his bidding (sts. VIII–XV). Nature, celebrated by Keats in his poetry, mourns him. Spring, which brings nature to new life, cannot restore him (sts. XVI–XXI). Urania rises, goes to Keats' death chamber and laments that she cannot join him in death (sts. XXII–XXIX). Fellow poets mourn the death of Keats: Byron, Thomas Moore, Shelley, and Leigh Hunt (sts. XXX–XXXV). The anonymous Quarterly Review critic is blamed for Keats' death and chastised (sts. XXXVI–XXXVII).

The poet urges the mourners not to weep any longer. Keats has become a portion of the eternal and is free from the attacks of reviewers. He is not dead; it is the living who are dead. He has gone where "envy and calumny and hate and pain" cannot reach him. He is "made one with Nature." His being has been withdrawn into the one Spirit which is responsible for all beauty. In eternity, other poets, among them Thomas Chatterton, Sir Philip Sidney, and the Roman poet Lucan, come to greet him (sts. XXXVIII–XLVI). Let anyone who still mourns Keats send his "spirit's light" beyond space and be filled with hope, or let him go to Rome where Keats is buried. Let him "Seek shelter in the shadow of the tomb. / What Adonais is, why fear we to become?" He is with the unchanging Spirit, Intellectual Beauty, or Love in heaven. By comparison with the clear light of eternity, life is a stain (sts. XLVII–LII).

The poet tells himself he should now depart from life, which has nothing left to offer. The One, which is Light, Beauty, Benediction, and Love, now shines on him. He feels carried "darkly, fearfully, afar" to where the soul of Keats glows like a star, in the dwelling where those who will live forever are (sts. LIII–LV).

Synopsis

Stanzas 1–35

Adonais begins with the announcement of his death and the mourning that followed: "I weep for Adonais—he is dead!" In Stanzas 2 through 35 a series of mourners lament the death of Adonais. The mother of Adonais, Urania, is invoked to arise to conduct the ceremony at his bier. The allusion is to Urania, the goddess of astronomy, and to the goddess Venus, who is also known as Venus Urania.

The over-riding theme is one of despair. Mourners are implored to "weep for Adonais—he is dead!" In Stanza 9 the "flocks" of the deceased appear, representing his dreams and inspirations. In Stanza 13, the personifications of the thoughts, emotions, attitudes, and skills of the deceased appear. In Stanza 22, Urania is awakened by the grief of Misery and the poet. The lament is invoked: "He will awake no more, oh, never more!" Urania pleads in vain for Adonais to awake and to arise.

In Stanzas 30 through 34, a series of human mourners appears. The "Pilgrim of Eternity" is Lord Byron, George Gordon, who had met and was a friend of Shelley's but who had never met Keats. The Irish poet Thomas Moore then appears who laments the sadness and loss that time causes. Shelley himself and Leigh Hunt are also part of the "procession of mourners". In Stanzas 31 through 34 the mourner is described as "one frail Form" who has "fled astray", "his branded and ensanguined brow" a brow "like Cain's or Christ's".

Stanzas 36–55

The sense of despair and hopelessness continues. In Stanza 37 the poet muses over a just punishment for the "nameless worm" and "noteless blot" who is the anonymous (now known to be John Wilson Croker, not the editor, William Gifford) and highly critical reviewer of Keats's Endymion (1818), who, in Shelley's opinion, traumatised John Keats, worsening his condition. The worst punishment that Shelley can contrive is that such a scoundrel should live: "Live thou, whose infamy is not thy fame!/ Live!" Faced with the contradiction that he would wish a long life upon the miscreant who took his hero's life, in stanza 38 the poet bursts open the gates of consolation that are required of the pastoral elegy: "Nor let us weep that our delight is fled/ Far from these carrion kites." In stanza 39, he uses the imagery of worms as symbolic of death: "And cold hopes swarm like worms within our living clay." In stanzas 45 and 46, Shelley laments that—like Thomas Chatterton, Sir Philip Sidney, and Lucan—Keats died young and did not live to develop as a poet . Keats transcends human life and has been unified with the immortal: "He has outsoared the shadow of our night;/Envy and calumny and hate and pain,/ ... Can touch him not and torture not again.... He is made one with Nature." Keats is as one with Nature, the Power, the One, and the one Spirit.

Adonais "is not dead, he doth not sleep, he hath awaken'd from the dream of life." "Who mourns for Adonais?" he asks in stanza 47. Shelley turns his grief from Adonais to "we" who must live on and "decay/ Like corpses in a charnel," and after a series of stanzas (39–49) in which he celebrates the richer and fuller life that Adonais must now be experiencing, the poet becomes mindful that he is in Rome, itself a city rife with visible records of loss and decay. Moreover, he is in the Protestant cemetery there, where Shelley's three-year-old son is buried as well; and yet, as if mocking all despair, a "light of laughing flowers along the grass is spread." Nature does not abhor death and decay, he sees; it is humans, who fear and hate in the midst of life, who do.
"What Adonais is, why fear we to become?" he asks in stanza 51.

It is life's worldly cares—that obscuring and distracting "dome of many-coloured glass"—not Death that is the enemy and the source of human despair. "Follow where all is fled," he urges, and he goads his own heart into having the courage to face not extinction but "that Light whose smile kindles the Universe." The poem concludes by imagining Adonais to be a part of "the white radiance of Eternity." At the end of the elegy, "like a star," the soul of the dead poet "Beacons from the abode where the Eternal are."

The section on Rome (stanzas 48–52) is significant in the poem not only because Keats and Shelley's son are buried in the Protestant cemetery there but also because the section offers an alternative way of understanding themes already expressed in the poem. Beginning with a statement of alternativeness ("Or go to Rome"), the section provides an alternative way for the continuing mourner to imagine Adonais as part of the World Soul and so cease mourning. To imagine this by means of the conceptual exercise prescribed in stanza 47 may be too difficult for the mourner, who may not be able to imagine omnipresence—presence at the same time throughout the whole of space as well as at each individual point in space—but who would be able to imagine eternality—presence in the same place throughout the whole of time or of history. This latter concept is embodied in the idea of Rome as the "Eternal" city. Since both Rome and the particular cemetery symbolise (through the imagery used) the dominance of eternity, the mourner can doubly conceive of Keats as part of eternity—as absorbed into it and diffused throughout it—and thus conceive of him as part of the World Soul, among whose aspects is eternity as well as omnipresence.

In addition, the description of Keats's spirit as part of "Eternal" Rome shows parallels with the earlier description, in stanzas 44–46, of his spirit becoming part of the "firmament" of eternal stars which are the immortal spirits of great poets. And in stanza 52, as "The One" is to the "many" and "heaven's light" is to "Earth's shadows" and the "white radiance of Eternity" is to multicolored Life, so "The glory" of the World Soul is to aspects of Rome that represent death but symbolise eternity. By means of these parallels, the Rome section becomes fully integrated into the poem.

Notable performances

Mick Jagger of the Rolling Stones read a part of Adonais at the Brian Jones memorial concert at London's Hyde Park on 5 July 1969. Jones, founder and guitarist of the Stones, had drowned 3 July 1969 in his swimming pool. Before an audience estimated at 250,000 to 300,000, Jagger read the following verses from Adonais:

Peace, peace! he is not dead, he doth not sleep
He hath awakened from the dream of life
'Tis we, who lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance, strike with our spirit's knife
Invulnerable nothings. — We decay
Like corpses in a charnel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.

The One remains, the many change and pass;
Heaven's light forever shines, Earth's shadows fly;
Life, like a dome of many-coloured glass,
Stains the white radiance of Eternity,
Until Death tramples it to fragments. — Die,
If thou wouldst be with that which thou dost seek!
Follow where all is fled!

Actor Vincent Price read Adonais on a Caedmon Records recording which was released, originally in 1956, as an LP record and a cassette recording, Caedmon CPN 1059 and TC 1059. The recording was re-released in 1996.

The English rock band The Cure has recorded a song entitled "Adonais" based on the Shelley elegy as a B-side single and on the collection Join the Dots: B-Sides and Rarities, 1978–2001 (2004). "Adonais" was originally the B-side to "The 13th", released in 1996.

Star Trek episode

The title of the Star Trek: The Original Series episode "Who Mourns for Adonais?" (1967) is an allusion to the Shelley elegy, Stanza 47, line 415. A 2013 fan-produced sequel, "Pilgrim of Eternity", continued the allusion, by using the title given to Byron in the poem.

References

Sources
 "Percy Shelley: Adonais", John Keats (12 February 2004). Retrieved 30 June 2005.
 Sandy, Mark. 'Adonais (1821)', The Literary Encyclopaedia (20 September 2002). Retrieved 30 June 2005.
 Beatty, Bernard. "The Transformation of Discourse: Epipsychidion, Adonais, and some lyrics". In: Essays on Shelley, ed. Miriam Allott. Liverpool University Press, 1982.
 Becht, Ronald E. "Shelley's Adonais: Formal Design and the Lyric Speaker's Crisis of Imagination". Studies in Philology, Vol. 78, No. 2 (Spring, 1981), pp. 194–210.
 Bertoneche, Caroline. "From Poet to Poet or Shelley's Inconsistencies in Keats's Panegyric: Adonais as an Autobiographical Work of Art", 15 June 2007. Retrieved 7 May 2009.
 Brigham, Linda C. (1999). "Disciplinary Hybridity in Shelley's Adonais." Mosaic (Winnipeg), Vol. 32.
 Epstein, Andrew. (1999). "'Flowers that Mock the Corse Beneath': Shelley's Adonais, Keats, and Poetic Influence." KSJ, 48, pp. 90–128.
 Everest, Kelvin. (2007). "Shelley's Adonais and John Keats." Essays in Criticism, 57(3), pp. 237–264.
 Heffernan, James A. W. "Adonais: Shelley's Consumption of Keats." Studies in Romanticism, Vol. 23, No. 3, Percy Bysshe Shelley (Fall, 1984), pp. 295–315.
 MacEachen, Dougald B. CliffsNotes on Shelley's Poems. 18 July 2011.
 Mahony, Patrick. J. (1964). "An Analysis of Shelley's Craftsmanship in Adonais." SEL: Studies in English Literature 1500–1900, 4. pp. 555–68.
 Meirelles, Alexandre. Adonais. Book Review. 26 August 2007.
 O'Leary, Joseph S. "Plotinus in 'Mont Blanc' and 'Adonais'." Essays on Literary and Theological Themes.
 Roberts, Charles G.D. Shelley's Adonais and Alastor. NY: Silver, Burdett, 1902.
 Sacks, Peter. "Last Clouds: A Reading of Adonais." Studies in Romanticism, Vol. 23, No. 3, Percy Bysshe Shelley (Fall, 1984), pp. 379–400.
 Sharp, Michele Turner. (Summer, 2000). "Mirroring the Future: Adonais, Elegy, and the Life in Letters." Criticism, 42, 3.
 Silverman, Edwin B. Poetic Synthesis in Shelley's Adonais. The Hague and Paris: Mouton, 1972.
 Ulmer, William A. "Adonais and the Death of Poetry." Studies in Romanticism, Vol. 32, No. 3, Romantic Historicism (Fall, 1993), pp. 425–451.
 Ward, J.V. (2003). "The Constant Theme of Death in the Works of Keats and Shelley."
 Weeks, Jerome. "O, weep for Adonais — for he is being adapted by Hollywood." book/daddy, Jerome Weeks on books.

External links
 LibriVox audiorecording of Adonais, selections 49–50, by Leonard Wilson.
 Audiorecording of extracts from Adonais by the BBC.
 Text of the poem

British poems
Poetry by Percy Bysshe Shelley
1821 poems
Works by Percy Bysshe Shelley

Adonais


Hurricane Fico of the 1978 Pacific hurricane season was a tropical cyclone that caused damage in Hawaii.

Storm history

A tropical depression formed on July 7 and organized into the sixth tropical storm of the season the next day. Initially heading west-northwest, it changed direction to almost due west shortly after reaching Category 4 intensity on July 11. After spending over a day at that intensity, Fico decayed and fell back down to a mid-range Category 1 on July 14. Fico then reintensified back to Category 4 strength the next day.

The hurricane's strength fluctuated, but Fico stayed a major hurricane until July 17, when it entered the central Pacific as a Category 1. It slowly intensified and became a major hurricane yet again on the 21st. At this point, Fico turned to the northwest and slowly lost strength. The storm dropped to a tropical storm early on July 28, and went extratropical later that day. At a later date, the remnants were enmeshed in a frontal system which headed towards the Aleutian Islands.

Fico was a tropical cyclone for 20 days, and travelled a distance of roughly 5500 mi (9000 km), both of which were records. It was also a hurricane for 17 consecutive days. Both of Fico's records have been broken. Hurricane Tina and then Hurricane John outlasted Fico. John also outran its distance record.

Impact
Fico never made landfall. Despite this, it pounded the Big Island with 15-30 foot waves doing "considerable damage"  to roads and buildings along the coast. Smaller waves also broke on the southern shores of Maui with minimal effects. Six people aboard a sloop were washed overboard and rescued, while a tugboat was driven aground on a reef at Kukuiula. A weakening Fico also caused a sharp wind gradient, producing gusty gale-force winds that blew across the islands, knocking over trees and causing power outages. Fico's extratropical remnants caused heavy rains and gales south of Cold Bay in the Aleutians.

The name Fico was retired after this storm and replaced with Fabio in the 1982 season.

Other websites
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1970s in weather

Hurricane Fico


In computer programming, a subroutine is a code that is comprised of more codes — just like everything in programming — its purpose is the same: execute an instruction/command. Because subroutines are shorter, they can be typed faster and therefore be used more by programmers, hence saving time by being able to code faster.

Subroutines are commonly paired with parameter, a type of variable.

Computer programming

Subroutine


64 Studio is a free Linux distribution based on Debian made for creative users on x86-64 and legacy 32-bit hardware architectures.  It is made to serve as an all-in-one solution for audio and video recording, editing, and other forms of media production.

Since 64 Studio is distributed with a free software license, anyone with a 64-bit computer can install it on their computer (in place of or alongside the well-known Windows operating system). An alternative installer is available for systems with 32-bit processors.

Differences with Debian
The major differences between this distribution and basic Debian is a custom kernel with realtime patches applied, some pre-configuration and a custom package selection designed to meet the needs of creative desktop users. Other packages may also be modified to some extent, as are the basic GNOME desktop themes.

Releases
The project released the first beta of 64 Studio, version 0.9.0 code-named 'Toe Rag', on the August 1, 2006. The release was named in honour of the all-analogue Toe Rag Studios in London, England.

After eighteen months of development, the project made its first stable release available for free download on 2006-11-29. It is named Olympic in recognition of the work of Glyn Johns and Eddie Kramer at
Olympic Studios in London.

The second stable release, version 2.0 codename 'Electric', was announced on 27th July 2007. This latest release is named after Electrical Audio, the studio founded by sound engineer Steve Albini in Chicago, USA.

Related pages
 Ubuntu Studio - a multimedia production-oriented distribution based on Ubuntu
 List of Linux distributions
 GNU/Linux
 Debian
 Ubuntu

References

Other websites
Official website
64 studio summary
X86-64 Linux distributions
Free software
Debian-based Linux distributions

64 Studio