Philosophical analysis is any of various techniques, typically used by philosophers in the analytic tradition, in order to "break down" (i.e. analyze) philosophical issues. Arguably the most prominent of these techniques is the analysis of concepts (known as conceptual analysis).

Method of analysis
While analysis is characteristic of the analytic tradition in philosophy, what is to be analyzed (the analysandum) often varies. In their papers, philosophers may focus on different areas. One might analyze linguistic phenomena such as sentences, or psychological phenomena such as sense data. However, arguably the most prominent analyses are written on concepts or propositions and are known as conceptual analysis (Foley 1996).

Conceptual analysis consists primarily in breaking down or analyzing concepts into their constituent parts in order to gain knowledge or a better understanding of a particular philosophical issue in which the concept is involved (Beaney 2003). For example, the problem of free will in philosophy involves various key concepts, including the concepts of freedom, moral responsibility, determinism, ability, etc. The method of conceptual analysis tends to approach such a problem by breaking down the key concepts pertaining to the problem and seeing how they interact. Thus, in the long-standing debate on whether free will is compatible with the doctrine of determinism, several philosophers have proposed analyses of the relevant concepts to argue for either compatibilism or incompatibilism.

A famous example of conceptual analysis at its best is given by Bertrand Russell in his theory of descriptions. Russell attempted to analyze propositions that involved definite descriptions (such as "The tallest spy"), which pick out a unique individual, and indefinite descriptions (such as "a spy"), which pick out a set of individuals. Take Russell's analysis of definite descriptions as an example. Superficially, definite descriptions have the standard subject-predicate form of a proposition. For example, "The present king of France is bald" appears to be predicating "baldness" of the subject "the present king of France". However, Russell noted that this is problematic, because there is no present king of France (France is no longer a monarchy). Normally, to decide whether a proposition of the standard subject-predicate form is true or false, one checks whether the subject is in the extension of the predicate. The proposition is then true if and only if the subject is in the extension of the predicate. The problem is that there is no present king of France, so the present king of France cannot be found on the list of bald things or non-bald things. So, it would appear that the proposition expressed by "The present king of France is bald" is neither true nor false. However, analyzing the relevant concepts and propositions, Russell proposed that what definite descriptions really express are not propositions of the subject-predicate form, but rather they express existentially quantified propositions. Thus, "The present king of France" is analyzed, according to Russell's theory of descriptions, as "There exists an individual who is currently the king of France, there is only one such individual, and that individual is bald." Now one can determine the truth value of the proposition. Indeed, it is false, because it is not the case that there exists a unique individual who is currently the king of France and is bald—since there is no present king of France (Bertolet 1999).

Criticism
While the method of analysis is characteristic of contemporary analytic philosophy, its status continues to be a source of great controversy even among analytic philosophers. Several current criticisms of the analytic method derive from W.V. Quine's famous rejection of the analytic–synthetic distinction. While Quine's critique is well-known, it is highly controversial.

Further, the analytic method seems to rely on some sort of definitional structure of concepts, so that one can give necessary and sufficient conditions for the application of the concept. For example, the concept "bachelor" is often analyzed as having the concepts "unmarried" and "male" as its components. Thus, the definition or analysis of "bachelor" is thought to be an unmarried male. But one might worry that these so-called necessary and sufficient conditions do not apply in every case. Wittgenstein, for instance, argues that language (e.g., the word 'bachelor') is used for various purposes and in an indefinite number of ways. Wittgenstein's famous thesis states that meaning is determined by use. This means that, in each case, the meaning of 'bachelor' is determined by its use in a context. So if it can be shown that the word means different things across different contexts of use, then cases where its meaning cannot be essentially defined as 'unmarried man' seem to constitute counterexamples to this method of analysis. This is just one example of a critique of the analytic method derived from a critique of definitions. There are several other such critiques (Margolis & Laurence 2006). This criticism is often said to have originated primarily with Wittgenstein's Philosophical Investigations.

A third critique of the method of analysis derives primarily from psychological critiques of intuition. A key part of the analytic method involves analyzing concepts via "intuition tests". Philosophers tend to motivate various conceptual analyses by appeal to their intuitions about thought experiments. (See DePaul and Ramsey (1998) for a collection of current essays on the controversy over analysis as it relates to intuition and reflective equilibrium.)

In short, some philosophers feel strongly that the analytic method (especially conceptual analysis) is essential to and defines philosophy—e.g. Jackson (1998), Chalmers (1996), and Bealer (1998). Yet, some philosophers argue that the method of analysis is problematic—e.g. Stich (1998) and Ramsey (1998). Some, however, take the middle ground and argue that while analysis is largely a fruitful method of inquiry, philosophers should not limit themselves to only using the method of analysis.

See also
 Analytic philosophy
 Definitions of philosophy
 Thesis, antithesis, synthesis

Notes

References
 Bealer, George. (1998). "Intuition and the Autonomy of Philosophy". In M. DePaul & W. Ramsey (eds.) (1998), pp. 201–239.
 Beaney, Michael. (2003). "Analysis". The Stanford Encyclopedia of Philosophy (link).
 Bertolet, Rod. (1999). "Theory of Descriptions". Entry in The Cambridge Dictionary of Philosophy, second edition. New York: Cambridge University Press.
 Chalmers, David. (1996). The Conscious Mind: In Search of a Fundamental Theory. Oxford: Oxford University Press.
 DePaul, M. & Ramsey, W. (eds.). (1998). Rethinking Intuition: The Psychology of Intuition and Its Role in Philosophical Inquiry. Lanham, MD: Rowman & Littlefield.
 Foley, Richard. (1999). "Analysis". Entry in The Cambridge Dictionary of Philosophy, second edition. New York: Cambridge University Press.
 Jackson, Frank. (1998). From Metaphysics to Ethics: A Defense of Conceptual Analysis. Oxford: Oxford University Press.
 Margolis, E. & Laurence, S. (2006). "Concepts".  The Stanford Encyclopedia of Philosophy (link).
 Ramsey, William. (1998). "Prototypes and Conceptual Analysis". In M. DePaul & W. Ramsey (eds.) (1998), pp. 161–177.
 Stich, Stephen. (1998). "Reflective Equilibrium, Analytic Epistemology, and the Problem of Cognitive Diversity". In DePaul and Ramsey (eds.) (1998), pp. 95–112.
 Wittgenstein, Ludwig (1953). Philosophical Investigations.

External links

 "Concepts" - an article by Margolis & Laurence in the Stanford Encyclopedia of Philosophy (section 5 is a good, but short, presentation of the current issues surrounding conceptual analysis in philosophy).
 "Analytic Philosophy" - an article by Aaron Preston in the Internet Encyclopedia of Philosophy.
 "Water's water everywhere" by Jerry Fodor - a review of C. Hughes's book Kripke: Names, Necessity and Identity at the London Review of Books (Fodor goes into several issues regarding the philosophical method of analysis).

Analysis
Analysis
Analysis

Philosophical analysis


Strawberry Hill House—often called simply Strawberry Hill—is a Gothic Revival villa that was built in Twickenham, London, by Horace Walpole (1717–1797) from 1749 onward. It is a typical example of the "Strawberry Hill Gothic" style of architecture, and it prefigured the nineteenth-century Gothic Revival.

Walpole rebuilt the existing house in stages starting in 1749, 1760, 1772 and 1776. These added Gothic features such as towers and battlements outside and elaborate decoration inside to create "gloomth" to suit Walpole's collection of antiquarian objects, contrasting with the more cheerful or "riant" garden. The interior included a Robert Adam fireplace; parts of the exterior were designed by James Essex. The garden contained a large seat shaped like a Rococo sea shell, which was recreated during the 2012 restoration of the garden, one of the many examples of historic garden conservation in the UK.

Under Horace Walpole

Purchase and planning

In May 1747, Horace Walpole took a lease on a small 17th-century house that was "little more than a cottage", with  of land from a Mrs. Chenevix. Horace was under familial and political pressure to establish a country seat, especially a family castle, which was a fashionable practice during the period. The following year he purchased the house which the original owner, a coachman, had named "Chopped Straw Hall". This was intolerable to Walpole, "his residence ought, he thought, to possess some distinctive appellation; of a very different character..." Finding an old lease that described his land as "Strawberry Hill Shot", Walpole adopted this new name for his soon to be "elegant villa".

In stages, Walpole rebuilt the house to his own specifications, giving it a Gothic style and expanding the property to  over the years. As Rosemary Hill notes, "Strawberry Hill was the first house without any existing medieval fabric to be [re]built from scratch in the Gothic style and the first to be based on actual historic examples, rather than an extrapolation of the Gothic vocabulary first developed by William Kent. As such it has a claim to be the starting point of the Gothic Revival."

Walpole and two friends, including the connoisseur and amateur architect, John Chute (1701–1776), and draughtsman and designer, Richard Bentley (1708–1782), called themselves a "Committee of Taste" or "Strawberry Committee" which would modify the architecture of the building. Bentley left the group abruptly after an argument in 1761. Chute had an "eclectic but rather dry style" and was in charge of designing most of the exterior of the house and some of the interior. To Walpole, he was an "oracle of taste". Walpole often disagreed with Bentley on some of his wayward schemes, but admired his talent for illustration.

Construction

William Robinson of the Royal Office of Works contributed professional experience in overseeing construction. They looked at many examples of architecture in England and in other countries, adapting such works as the chapel at Westminster Abbey built by Henry VII for inspiration for the fan vaulting of the gallery, without any pretence at scholarship. Chimney-pieces were improvised from engravings of tombs at Westminster and Canterbury and Gothic stone fretwork blind details were reproduced by painted wallpapers, while in the Round Tower added in 1771, the chimney-piece was based on the tomb of Edward the Confessor "improved by Mr. Adam".

He incorporated many of the exterior details of cathedrals into the interior of the house. Externally there seemed to be two predominant styles 'mixed'; a style based on castles with turrets and battlements, and a style based on Gothic cathedrals with arched windows and stained glass.

The building evolved similarly to how a medieval cathedral often evolved over time, with no fixed plan from the beginning. Indeed, Michael Snodin argues, "the most striking external feature of Strawberry Hill was its irregular plan and broken picturesque silhouette". Walpole added new features over a thirty-year period, as he saw fit.

The first stage to make, in Walpole's words, a 'little Gothic castle' began in 1749 and was complete by 1753, a second stage began in 1760, and there were other modifications such as work on the great north bedchamber in 1772, and the "Beauclerk Tower" of the third phase of alterations, completed to designs of a professional architect, James Essex, in 1776. The total cost came to about £20,720.

Walpole's 'little Gothic castle' has significance as one of the most influential individual buildings of such Rococo "Gothick" architecture which prefigured the later developments of the nineteenth century Gothic revival, and for increasing the use of Gothic designs for houses. This style has variously been described as Georgian Gothic, Strawberry Hill Gothic, or Georgian Rococo.

Interior and collection

Walpole's eccentric and unique style on the inside rooms of Strawberry Hill complemented the Gothic exterior. The house is described by Walpole as "the scene that inspired, the author of The Castle of Otranto", though Michael Snodin has observed: "it is an interesting comment on 18th-century sensibility that the melancholy interiors of The Castle of Otranto were suggested by the light, elegant, even whimsical rooms at Strawberry Hill".

The interiors of Walpole's "little play-thing house" were intended to be "settings of Gothic 'gloomth' for Walpole's collection". His collection of curious, singular, antiquarian objects was well publicized; Walpole himself published two editions of A Description of the Villa of Mr. Horace Walpole at Strawberry Hill to make the "world aware of the extent of his collection".

Speaking on Walpole's collection, Clive Wainwright states that Walpole's collection "constituted an essential part of the interiors of his house". The character of the rooms at Strawberry Hill was "created and dictated" by Walpole's taste for antiquarianism. Though even without the collection present, the house "retains a fairy-tale quality".

Horace Walpole's Strawberry Hill Collection of several thousand items can still be viewed today. The Lewis Walpole Library of Yale University now has a database which "encompasses the entire range of art and artifacts from Walpole's collections, including all items whose location is currently known and those as yet untraced but known through a variety of historical records".

Gardens

Walpole was as meticulous in designing and developing his gardens as he was improving his house, though "his ignorance of horticulture at first embarrassed him a little". Improvements on the grounds were started even before work on the house.
In an essay titled "On Modern Gardening", Walpole expresses his own ideas as reflected in his Strawberry Hill grounds. Walpole's taste in landscape and gardening moved away from the traditional, formal layout of "parterre, terraces, marble urns, statued fountains and 'canals measured by the line'". The French or Italian taste seemed, to Walpole, alien to the English climate "resulting in symmetrical and unnatural gardens". Trees and shrubs were planted in "natural groupings" on the lawn. Walpole preferred to see all nature as a garden. He did not however appreciate the extravagant "romantic grotto and that favorite eighteenth-century conceit, the hermitage".

From "On Modern Gardening": "the fairest scenes, that depend on themselves alone, weary when often seen. The Doric portico, the Palladian bridge, the Gothic ruin, the Chinese pagoda, that surprise the stranger, soon lose their charms to their surfeited master. But the ornament whose merit soonest fades, is the hermitage, or scene adapted to contemplation. It is almost comic to set aside a quarter of one's garden to be melancholy in." Here, Walpole's separation of style between his house and grounds can be seen. A friend, Horace Mann, assumed that Walpole's garden would be similarly Gothic. Walpole responded; "Gothic is merely architecture, and as one has a satisfaction in imprinting the gloomth of abbeys and cathedrals on one's house, so one's garden, on the contrary, is to be nothing but riant, and the gaiety of nature".

Walpole saw the modern English garden as a point of perfection: "we have given the true model of gardening to the world; let other countries mimic or corrupt our taste; but let it reign here on its verdant throne, original by its elegant simplicity, and proud of no other art than that of softening nature's harshness and copying her graceful touch". He was a follower of William Kent, one of the originators of the English landscape garden.

The gardens are Grade II* listed on the Register of Historic Parks and Gardens.

Shell bench

One particular attraction of Walpole's gardens was a Rococo garden seat carved to resemble a large sea shell. "This shell was one of Mr. Walpole's favourite inventions – for Strawberry Hill was crammed with inventions and contrivances. It was a seat in the form of a huge bivalve of a species not easily recognized, which generally elicited a vast amount of wonder and admiration from his visitors". This bench, a rustic cottage, and a chapel in the woods show Walpole's charmingly eccentric taste.

The seat was originally placed at the corner of Walpole's estate, where Walpole and his visitors could view the river and the landscape beyond. Although only two drawings of the original bench survive, "the garden is as far as possible being restored to its original appearance. Walpole's extraordinary Shell Bench has been recreated" according to the Strawberry Hill website.

Visitors
Even in Walpole's lifetime, Strawberry Hill drew many visitors to admire the architecture, grounds, and Walpole's carefully cultivated collection. According to Elliot Warburton, "Strawberry Hill in its new form soon became the marvel of the neighbourhood – a little later became the town talk – in a short time a theme of frequent comment even in distant parts of the country". "The highest personages of the realm" including the royal family came to visit Strawberry Hill, as well as more common sightseers. These visitors became an incessant addition to Strawberry Hill, and as delighted as Walpole was to share his vision, they became a bit of a nuisance to him.
While Walpole gave tours to the more important visitors, he shrank from less dignified attention and "retreated to his cottage in the flower garden" while his housekeeper gave tours to the public.

In a letter to George Montagu in 1763, Walpole complained: "I have but a minute's time in answering your letter, my house is full of people, and has been so from the instant I breakfasted, and more are coming – in short, I keep an inn; the sign, the Gothic Castle...my whole time is passed in giving tickets for seeing it, and hiding myself when it is seen – take my advice, never build a charming house for yourself between London and Hampton-court, everybody will live in it but you." Warburton notes that while Walpole may have been annoyed from time to time, he also came to see his estate contributing to the public's enjoyment when he had doubts about his endeavour. "He arrives at the conclusion that all he has done is for the benefit of others rather than for himself".

Chronology

A list of important dates in Horace Walpole's life surrounding Strawberry Hill:
 1739 – Sets off with Thomas Gray on the Grand Tour; visits France and Italy; meets John Chute in Florence
 1745 – Father dies, leaving Horace his fortune and a house on Arlington Street
 1747 – Finds and leases Strawberry Hill
 1749 – Purchases Strawberry Hill
 1750 – Forms the "Committee on Taste" with John Chute and Richard Bentley to start planning the Gothic development of Strawberry Hill
 1753 – Building completed (first stage)
 1757 – Sets up Strawberry Hill Press
 1764 – The Castle of Otranto is published
 1774 – Prints A Description of the Villa of Mr. Horace Walpole
 1784 – Prints A Description of the Villa of Mr. Horace Walpole with new additions and illustrations

Later owners

After Walpole's death, the house passed first to his cousin Anne Seymour Damer, then in 1797 to John Waldegrave, a grandson of Maria Walpole, the illegitimate daughter of Walpole's older brother Edward. In the first half of the 19th century, two successive owners, brothers John and George Waldegrave, spent most of the family fortune, culminating in a "Great Sale" lasting twenty-four days held in the grounds in 1842 which left the house stripped of virtually all its contents. From 1883 to 1887 the property was owned by Baron Hermann de Stern (1815–1887), a German-born British banker. In 1923, it was bought by the Roman Catholic St Mary's University College, renamed St Mary's University, Twickenham in 2014.

21st century
In 2004, Strawberry Hill featured in the TV series Restoration. In 2007, it was leased to the Strawberry Hill Trust for restoration and eventual opening to the public.

The collection at Horace Walpole's Strawberry Hill was featured at the Victoria & Albert Museum from March to July 2010 to prepare for the opening of the house to the public that October. Curator of the exhibition Michael Snodin saw Walpole as an influential figure in both collection and architecture: "He created a form of thematised historical display which prefigured modern museums. And Strawberry Hill was the most influential building of the early Gothic revival".

After a £9 million, two-year-long restoration, Strawberry Hill House reopened to the public on Saturday, 2 October 2010.

In 2013, Strawberry Hill House won the European Union Prize for Cultural Heritage in the Europa Nostra Awards. The Walpole Trust re-opened Strawberry Hill to the public on 1 March 2015.

Lost Treasures of Strawberry Hill exhibition

Between October 2018 and February 2019, the house was repopulated with some 150 artworks from Horace Walpole's collection. Having been dispersed in the great sale of 1842, they were located in museums and private collections around the world, and brought back to their exact locations in Strawberry Hill House, as mapped in Walpole's detailed plans of each room.

The curators suggest that some of the portraits, such as Peter Lely's "sensual" A Boy as a Shepherd, as well as those of Walpole's male friends, imply that he was homosexual.

Other objects suggest a gothic sensibility, such as the clock which Henry VIII gave to his second wife Anne Boleyn, who was later beheaded; the critic Jonathan Jones of The Guardian calls this "truly spooky", like the 500-year-old red cardinal's hat that Walpole believed, most probably correctly, belonged to Cardinal Wolsey. But in Jones's opinion, the "most gothic" painting exhibited was by Walpole's contemporary, William Hogarth: his 1733 portrait of the triple murderer Sarah Malcolm in prison.

Strawberry Hill Gothic

The Strawberry Hill Gothic architectural style became briefly popular, though the researcher Peter Lindfield has argued that the term is not satisfactory for "any Georgian Gothic output" as the houses it has been applied to are varied in style and "have almost nothing in common with the form, appearance, and decoration of Strawberry Hill". Houses built or refronted supposedly in the style include:
 Braziers Park, a South Oxfordshire country house built by Daniel Harris in 1688, re-fronted in the Gothic style in 1799; Lindfield argues that it was influenced more by "very Gothic Oxford" where Harris lived and worked, than by Strawberry Hill House.
 Chalfont Park, Buckinghamshire, rebuilt in 1760 to designs by John Chute.
 Donnington Park, Berkshire, a house designed by John Chute in 1763.
 Houghton Lodge, a fishing lodge in Hampshire, built around 1800 in the Cottage orné style, influenced by Strawberry Hill.
 Lee Priory, Kent, by James Wyatt 1780–1790, destroyed in the 1950s.
 Priory Hospital in Roehampton, which was built in the Strawberry Hill Gothic style in 1811.

References

Sources
Calloway, Stephen, Snodin, Michael, and Wainwright, Clive, Horace Walpole and Strawberry Hill, Orleans House Gallery, Richmond upon Thames, 1980.
Fothergill, Brian. The Strawberry Hill Set: Horace Walpole and His Circle. Faber and Faber. London. 1983.
 Michael Snodin, ed., Horace Walpole's Strawberry Hill, Yale University Press, New Haven and London. 2009.
Walpole, Horace and Amery, Colin. On Modern Gardening. Young Books. New York. 1931.
Warburton, Elliot. Memoirs of Horace Walpole and His Contemporaries. Henry Colburn. London. 1851.

External links

 Strawberry Hill House website
 Friends of Strawberry Hill
 The Strawberry Hill Residents' Association
 Pope's Grotto Preservation Trust
 (London Borough of Richmond-upon-Thames) "Horace Walpole and Strawberry Hill"

18th century in London

Gothic Revival architecture in London
Grade I listed houses in London
Grade II* listed parks and gardens in London
Historic house museums in London
History of Middlesex
Houses completed in 1762
Literary museums in London
Middlesex
Museums in Twickenham
St Mary's University, Twickenham
Twickenham

Strawberry Hill House


James Sturgess (born 1981) is a British actor. He has acted in both television and movies as well as radio. He is perhaps most famous for playing Jude in Across the Universe and the younger Charlie in The Quest series of television movies.

Sturgess was born in London. He is a former member of the National Youth Music Theatre (1993-95) and studied at the University of Salford's School of Media, Music and Performance.

Sturgess recently worked on the movie Fifty Dead Men Walking. In the movie, he plays Martin McGartland, the writer of the book on which the movie is based.

Performances
 The Browning Version (1994) as Bryant
 The Scarlet Pimpernel (1999, TV series) as Erik (2 episodes)
 Thursday the 12th (2000, TV movie) as Martin
 A Touch of Frost (2003, TV series) as Laurence (1 episode)
 Turning the Hut (2003, radio play) as Jimmy
 Hawk (2004, short movie)
 Heading It Like Mooney (2004, radio play)
 Measure for Measure (2004, radio play) as the Duke
 Mouth to Mouth (2005) as Red
 Little Pictures (2005, radio play) as Gal
 Caesar! (2005, radio series) guest starring
 Troilus and Cressida (2005, radio play) as Patroclus
 Across the Universe (2007) as Jude
 The Other Boleyn Girl (2008) as George Boleyn
 21 (2008) as Ben Campbell
 Fifty Dead Men Walking (2008) as Martin McGartland
 Crossing Over (2009) as Gavin Kossef
 Heartless (2009) as Jamie Morgan
 The Way Back (2010) as Janusz
 Legend of the Guardians: The Owls of Ga'Hoole (2010) as Soren
 Upside Down (2011) as Adam
 The Promised Land (2011) as Thomas Wilkin
 One Day'' (2011) as Dexter Meyhew

Other websites
Jim Sturgess on Twitter

JimSturgessOnline.com

1981 births
Living people
English movie actors
English television actors
English voice actors
Singers from London
Actors from London

Jim Sturgess


Super/System, one of the first books about poker strategy, was written and published in 1979 by Doyle Brunson, a professional poker player and multiple winner at the World Series of Poker.

History and title

How I Made Over $1,000,000 Playing Poker was primarily written by Doyle Brunson who, at the time of publication in 1979, had won the main event of the World Series of Poker in 1976 and 1977.  The book was one of the first comprehensive books on strategies for various poker games.  Many notable poker players and tournament champions contributed sections to the book.

The title of the book was originally How I Made Over $1,000,000 Playing Poker.  The title is also sometimes written as Super System, without a slash; Doyle Brunson's Super System; or Super/System: A Course in Power Poker.

Contents
The book begins with a biographical sketch of Doyle Brunson and then quickly discusses general poker strategy.  The general strategy includes controlling emotion, watching competitors play, reasoning outplay, and other similar tips that benefit all forms of poker play.

The sections of the book dedicated to strategy were divided as follows:
Draw poker written by Mike Caro. Among other things, Caro writes in detail about tells, how to gain information about an opponent's hand based on how they act.  He is regarded as an expert on poker psychology and behavior and would later go on to write his own seminal book on tells.
Seven-card stud written by Chip Reese
Lowball written by Joey Hawthorne and Doyle Brunson
Seven-card stud high-low split (with no qualifier for low) by David Sklansky
Limit Texas hold 'em by Bobby Baldwin
No-limit Texas hold 'em by Doyle Brunson

Finally, there is a comprehensive list of probability and statistics calculated by Mike Caro. In addition to raw numbers, many scenarios are investigated and common questions are answered.

Influence
Many of today's top poker players, young and old, swear by Super/System.  Although many years have passed since the original publication, it still contains relevant strategies and statistics.  Brunson himself believes that because the book has been so influential, it probably cost him more money than he was paid for writing it.

Many of the poker variants are played differently today, and there are many new variants that are not covered in Super/System, so the book has been superseded in some areas.

Super System 2
A sequel titled Super System 2 was published in October 2004 ().

The second book is broken up into several sections, each covering a different variant of poker, and written by experts on those games. Contributors include: Daniel Negreanu; Lyle Berman, founder of the World Poker Tour; Bobby Baldwin; Johnny Chan; Mike Caro; Jennifer Harman; Todd Brunson; Steve Zolotow;  and Crandell Addington.

References

Bibliography

External links
 Review of Super/System

1978 non-fiction books
Poker books

Super/System


People who never learned how to read and write are called illiterate.

Dysgraphia or agraphia is the learning disability to write texts, even though the person has the necessary motoric skills. People with dysgraphia can move their hand enough, and are also capable of understanding how to write.

Dysgraphias may happen because of damage done to the brain, but it is more common as a defect in brain function present from birth. It may occur occur with other defects, such as speech problems. Many people who suffered a stroke may have lost the ability to move parts of their body.

There are different forms of dysgraphia:
Lexical agraphia: words that are hard to tell apart cannot be written down properly.
Phonological agraphia: words can be written down correctly, but they cannot be pronounced.
Semantic agraphia: words with a certain meaning cannot be pronounced.
Apractical agraphia: The motor skills can no longer be used for writing.

References

Related pages
Dyslexia

Disability

Dysgraphia


The Mellotron is a musical instrument, which appeared in the 1960s. It was the world's second sampled keyboard after the Chamberlin. Mellotrons contained  strips made from the sounds of other musical instruments. Instead of sounding exactly like the original instruments, the Mellotron had a unique sound.

Mellotrons did not travel well, and had to be carefully set up every time they were moved. They became popular in recording studios, and with musicians who could leave them in one location.

The Beatles liked the sound of the Mellotron, and used it in many of their songs, like "Strawberry Fields Forever". John Lennon, a member of the Beatles, owned a Mellotron that he kept in his home studio. Paul McCartney and George Harrison, also members of the band, owned Mellotrons and used them in their solo recordings. Harry Nilsson also used a Mellotron on some of his recordings.

Mellotrons are largely obsolete but are still being made in small quantities. Today, digital instruments have mostly taken their place. Digital keyboards are portable, and can be used to make similar sounds anywhere. While digital keyboards have been used since the 1980's to replicate the sounds of many other instruments, they cannot accurately replicate the nuances and idiosyncrasies of the Mellotron because of complex physics involved in the tape playback system. This acknowledged drawback has led to the production of new Mellotrons since 1999.

Keyboard instruments

Mellotron


A viceroy is a royal official who rules an area in the name of the King (or Queen). The word is made of 'vice' (Latin for 'in place of') and 'roy' (French, meaning 'king').

The title was used when an empire has widespread territories which the monarch would rarely visit. It was used regularly by the Spanish, Portuguese, Russian, Habsburg and British empires. In the British Empire a viceroy was only appointed in the case of British India, and only then for Lord Canning in 1858. Otherwise it was just a ceremonial name for the Governors-General.

Titles

Viceroy


Cam Ye O'er frae France is a Scots mockin fowk sang frae the time o the Jacobite Uprisins.

Leerics

Cam ye o'er frae France? Cam ye down by Lunnon?
Saw ye Geordie Whelps and his bonny woman?
Were ye at the place ca'd the Kittle Housie?
Saw ye Geordie's grace riding on a goosie?

Geordie, he's a man there is little doubt o't;
He's done a' he can, wha can do without it?
Down there came a blade linkin' like my lordie;
He wad drive a trade at the loom o' Geordie.

Though the claith were bad, blythly may we niffer;
Gin we get a wab, it makes little differ.
We hae tint our plaid, bannet, belt and swordie,
Ha's and mailins braid—but we hae a Geordie!

Jocky's gane to France and Montgomery's lady;
There they'll learn to dance: Madam, are ye ready?
They'll be back belyve belted, brisk and lordly;
Brawly may they thrive to dance a jig wi' Geordie!

Hey for Sandy Don! Hey for Cockolorum!
Hey for Bobbing John and his Highland Quorum!
Mony a sword and lance swings at Highland hurdie;
How they'll skip and dance o'er the bum o' Geordie!

(Repeat first verse)

References

Jacobitism
Scots fowk sangs
18t-century sangs

Cam Ye O'er Frae France


Cai taneuh mangrupa cai naon waé nu aya dina jero taneuh: dina aquifer, pori sela-sela batu/cadas, salaku permafrost, sarta babaseuh taneuh. Cai taneuh ngalir ka luhur sacara alami dina cinyusu nu kadang ngabentuk oasis atawa ranca, sedengkeun ku urang biasana diala ku jalan nyieun sumur.

Cai taneuh mangrupa 'reservoir' alami jangka panjang dina daur cai, sabalikna tina reservoir cai jangka pondok modél cai atmosfir jeung cai darat.

Groundwater is often contained in aquifers, which are subterranéan aréas (or layers) of porous material that channel the groundwater's flow.  Aquifers can be confined or unconfined.  A confined aquifer follows a downward grade from a recharge zone and can become pressurized as it flows.  This can créate artesian wells that flow freely without the need of a pump.  The top of an unconfined aquifer is called the water table, where water pressure is equal to atmospheric pressure.  The region between the land surface and the water table is called the vadose zone (Latin for shallow); in this region, water is under pressure less than atmospheric pressure (suction).

Masalah cai taneuh
Groundwater is a highly useful and abundant resource, but it does not renew itself rapidly.  If groundwater is extracted intensively, as for irrigation in arid regions, it may become depleted. The most evident problem that may result from this is a lowering of the water table beyond the réach of existing wells.  Wells must consequently be deepened to réach the groundwater; in places like India, the water table has dropped hundreds of feet due to over-extraction.  Menjernihkan air berdasarkan sifat fisika. A lowered water table may, in turn, cause other problems.

Masalah cai taneuh di Indonésia anu umum nyaéta:

Cai bau = disebabkeun pangaruh kandungan molekul kimia organik sapertos belérang sareng ammonia. Salah sahiji solusina nyaéta karbon aktif. Cara menggunakan karbon aktif untuk menjernihkan air anu bau nyaéta nyerep kandungan-kandungan kimia organik ku sabab gaduh pori-pori nu loba di permukaanna.

Air sumur bor berpasir halus = disebabkeun kandungan pasir.

The film of ground water around particles of an aquifer of unconsolidated sediment actually holds the particles apart, and the removal of this water will compact the sediment. Thus the aquifer is permanently reduced in capacity, and the surface of the ground may also subside. The city of New Orleans, Louisiana is actually below séa level today, and its subsidence is partly caused by removal of ground water under it.

Generally (but not always) ground water flows in the same direction as the slope of the surface. The recharge zone of an aquifer néar the séacoast is likely to be inland, often at considerable distance.  In these coastal aréas, a lowered water table may induce seawater to reverse the flow toward the séa. Séa water moving inland is called a saltwater intrusion. Alternatively, salt from mineral beds may léach into the groundwater of its own accord.

Sometimes the water movement from the recharge zone to the place where it is withdrawn may take centuries. When the usage of water is gréater than the recharge, it is referred to as mining water. Under those circumstances it is not a renewable resource. Saringan cai mangrupikeun sistem anu penting pikeun ngajaga kualitas cai anu urang anggo unggal dinten. Cai anu bersih sareng bebas tina najis sareng zat ngabahayakeun penting pisan pikeun kaséhatan sareng kasalametan urang. Dina tulisan ieu, urang bakal ngabahas skéma saringan cai anu ngagunakeun tangki FRP (Fiber Reinforced Plastic) sareng waduk cai atah pikeun mastikeun yén cai anu ngalir ka bumi urang beresih sareng cocog pikeun konsumsi.

In India and Bangladesh, a drop in the water table has been associated with arsenic contamination.  It is thought that irrigation for rice production since late 1970s resulted in the withdrawal of large quantities of groundwater, which caused the local water table to drop, allowing oxygen to enter the ground and touching off a réaction that leaches out arsenic from pyrite in the soil. The actual mechanism, however, is yet to be identified with certainty. Skema pengolahan air bersih di Indonesia biasana nganggo tabung filter air FRP.

Not all groundwater problems are caused by over-extraction.  Pollutants dumped on the ground may léach into the soil, and work their way down into aquifers.  Movement of water within the aquifer is then likely to spréad the pollutant over a wide aréa, making the groundwater unusable. See environmental engineering and remediation.

Water table conditions are frequently of importance to agricultural irrigation, waste disposal (including nuclear waste), and other ecological issues.

Jejer nu patali
 Aquifer
 Daur hidrologi
 Hidrogéologi

Dicutat tina
[[Reflist|2}}
Bentuk cai

Cai taneuh


A review aggregator is a system that collects reviews and ratings of products and services (such as films, books, video games, music, software, hardware, and cars). This system stores the reviews and uses them for purposes such as supporting a website where users can view the reviews, selling information to third parties about consumer tendencies, and creating databases for companies to learn about their actual and potential customers. The system enables users to easily compare many different reviews of the same work. Many of these systems calculate an approximate average assessment, usually based on assigning a numeric value to each review related to its degree of positive rating of the work.

Review aggregation sites have begun to have economic effects on the companies that create or manufacture items under review, especially in certain categories such as electronic games, which are expensive to purchase. Some companies have tied royalty payment rates and employee bonuses to aggregate scores, and stock prices have been seen to reflect ratings, as related to potential sales. It is widely accepted in the literature that there is a strong correlation between sales and aggregated scores. Due to the influence reviews have over sales decisions, manufacturers are often interested in measuring these reviews for their own products. This is often done using a business-facing product review aggregator. In the film industry, according to Reuters, big studios pay attention to aggregators but "they don't always like to assign much importance to them".

See also
 Rating site
 Review site

References

Bibliography

Aggregation websites
Review websites

Review aggregator


Jean Gabin (; 17 May 190415 November 1976) was a French actor and singer. Considered a key figure in French cinema, he starred in several classic films including Pépé le Moko (1937), La grande illusion (1937), Le Quai des brumes (1938), La bête humaine (1938), Le jour se lève (1939), and Le plaisir (1952). During his career he twice won both the Silver Bear for Best Actor from the Berlin International Film Festival and the Volpi Cup for Best Actor from the Venice Film Festival respectively. Gabin was made a member of the Légion d'honneur in recognition of the important role he played in French cinema.

Biography

Early life
Gabin was born Jean-Alexis Moncorgé in Paris, the son of Madeleine Petit and Ferdinand Moncorgé, a cafe owner and cabaret entertainer whose stage name was Gabin, which is a first name in French. He grew up in the village of Mériel in the Seine-et-Oise (now Val-d'Oise) département, about 22 mi (35 km) north of Paris. He attended the Lycée Janson de Sailly. Gabin left school early, and worked as a laborer until the age of 19 when he entered show business with a bit part in a Folies Bergères production. He continued performing in a variety of minor roles before going into the military.

Career

Early days

After completing his military service in the Fusiliers marins, he returned to the entertainment business, working under the stage name of Jean Gabin at whatever was offered in the Parisian music halls and operettas, imitating the singing style of Maurice Chevalier, which was the rage at the time. He was part of a troupe that toured South America, and upon returning to France found work at the Moulin Rouge. His performances started getting noticed, and better stage roles came along that led to parts in two silent films in 1928.

Two years later Gabin made the transition to sound films in a 1930 Pathé Frères production, Chacun sa chance. Playing secondary roles, he made more than a dozen films over the next four years, including films directed by Maurice and Jacques Tourneur. But he only gained real recognition for his performance in Maria Chapdelaine, a 1934 production directed by Julien Duvivier. He was then cast as a romantic hero in the 1936 war drama La Bandera; this second Duvivier-directed film established him as a major star. The next year he teamed up with Duvivier again in the highly successful Pépé le Moko. Its popularity brought Gabin international recognition. That same year he starred in Jean Renoir's La Grande Illusion, an antiwar film that ran at a New York City theatre for an unprecedented six months. This was followed by another of Renoir's major works, La Bête Humaine (The Human Beast), a film noir tragedy based on the novel by Émile Zola and starring Gabin and Simone Simon, as well as Le Quai Des Brumes (Port of Shadows), one of director Marcel Carné's classics of poetic realism. His rugged charisma could be compared with Humphrey Bogart and James Cagney. But he was the king of 'cinematic cool' even before the rise of those Hollywood stars.

He divorced his second wife in 1939.

Hollywood

In the late 1930s Gabin was flooded with offers from Hollywood, but turned them all down until the outbreak of World War II. After the German occupation of France in 1940, he joined Renoir and Duvivier in the United States. During his time in Hollywood, Gabin began a romance with actress Marlene Dietrich that lasted until 1948.
His films in America—Moontide (1942) and The Impostor (1944), the latter with Duvivier—were not successful.

World War II action
Undaunted, Gabin joined General Charles de Gaulle's Free French Forces and earned the Médaille militaire and a Croix de Guerre for his wartime valor fighting with the Allies in North Africa. Following D-Day, Gabin served with the 2nd armored division that liberated Paris.

Career slump
In 1945 Carné chose Gabin to star in the film Gates of the Night with Dietrich as his co-star. She disliked the screenplay and feared her German accent would not go over well with postwar French audiences. When she withdrew from the project, Gabin followed suit, leading to a falling out with Carné. He found a French producer and director willing to cast him and Dietrich together, but the film, Martin Roumagnac, was not a success and their personal relationship soon ended. In 1948 Gabin starred in René Clément's poetic realist film The Walls of Malapaga (), which won an Oscar for Best Foreign Language Picture but garnered little recognition for Gabin. In 1949 he starred in his only role in legitimate theatre in Henri Bernstein's La Soif. It ran in Paris for six months, with Gabin critically praised as "a first-rate stage actor." Despite this recognition, his subsequent films did not do well at the French box office, and the next five years brought repeated failures.

Comeback
Gabin's career seemed headed for oblivion until the 1954 film Touchez pas au grisbi (Don't Touch the Loot), directed by Jacques Becker, earned him critical acclaim. The film was very profitable internationally. He then worked once again with Renoir in French Cancan, with María Félix and Françoise Arnoul. Gabin played Georges Simenon's detective Jules Maigret in three films in 1958, 1959 and 1963. Over the next 20 years, he made almost 50 more films, most of them very successful commercially and critically, including many for Gafer Films, his production partnership with fellow actor Fernandel. His co-stars included such leading figures of postwar cinema as Brigitte Bardot (En cas de malheur), Alain Delon (Le Clan des Siciliens, Mélodie en sous-sol and Deux hommes dans la ville), Jean-Paul Belmondo (Un singe en hiver) and Louis de Funès (Le Tatoué).

Death
Gabin died of leukemia at the American Hospital of Paris, in the Parisian suburb of Neuilly-sur-Seine. His body was cremated, and—with full military honours—his ashes were scattered at sea from a military ship.

Legacy

Gabin is considered one of the greatest stars in French cinema, and was appointed Officier de la Légion d'honneur.
In 1981, French actor Louis de Funès initiated the Prix Jean Gabin, an accolade presented to upcoming actors in the French film industry. It was awarded annually from 1981 to 2006.
The Musée Jean Gabin—in the commune of Mériel, where he grew up—narrates his story and features his film memorabilia.
The Place Jean Gabin was inaugurated on 16 May 2008 by Daniel Vaillant, the then mayor of the 18th arrondissement of Paris, and Gabin's children. It is on the corner of rue Custine and rue Lambert, at the foot of Montmartre.
The Cinema Jean Gabin in Montgenèvre was named for him. Montgenèvre describes itself as France's oldest ski resort, and was a popular holiday destination for Gabin and other French artists and intellectuals, including Jean-Paul Sartre.

Filmography

References

Further reading
 Jean-Michel Betti: Salut, Gabin! Ed. de Trévise, Paris 1977.
 André Brunelin: Gabin Herbig, München/Berlin 1989, ; Ullstein TB 36650, Frankfurt am Main/Berlin 1996, .
 Claude Gauteur: Jean Gabin. Nathan, Paris 1993, .
 Jean-Marc Loubier: Jean Gabin, Marlène Dietrich: un rêve brisê, Acropole, Paris 2002, .
 Eine unvollendete Liebe. Marlene Dietrich und Jean Gabin. Documentary, Germany, 2012, 52:30 Min., Book and directed by Daniel Guthmann, Christian Buckhard, Production: DG Filmproduktion, WDR, arte, first shown: 9 February 2013, arte. contains interviews with Louis Bozon and Jean-Jacques Debout, and Gabin's children Florence and Mathias.
Joseph Harriss: "Jean Gabin: The Actor Who Was France." McFarland, Jefferson, NC 2018

External links

 Musée Jean Gabin
 website in Italian language

1904 births
1976 deaths
20th-century French male actors
20th-century French male singers
Deaths from cancer in France
Deaths from leukemia
French male film actors
French male silent film actors
Male actors from Paris
French military personnel of World War II
Columbia Records artists
David di Donatello winners
Recipients of the Croix de Guerre 1939–1945 (France)
Silver Bear for Best Actor winners
Volpi Cup for Best Actor winners
Lycée Janson-de-Sailly alumni

Jean Gabin


Knossos is a Bronze Age archaeological site on the island of Crete. It is at modern Heraklion. It may be Europe's oldest city.

Many Roman coins found on the site had 'Knosion' or 'Knos' on one side, and an image of a Minotaur or Labyrinth on the reverse. These are symbols from the myth of King Minos, supposed to have reigned at Knossos.

The excavations at Knossos began in 1900 by the English archaeologist Sir Arthur Evans (1851–1941) and his team. They worked there for 35 years. The palace was excavated and partly restored. It was large. The team discovered two ancient scripts, called Linear A and Linear B. From the layering of the palace, Evans developed an idea of the civilization that used it, which he called Minoan. The palace was built over a previous Neolithic town. During the Bronze Age, the town surrounded the hill on which the palace was built.

The palace was abandoned at some unknown time at the end of the late Bronze Age, c. 1380–1100 BC, for reasons which are not known.

References

Islands of Greece
Archaeological sites in Europe

Knossos


Fali Sam Nariman (born 10 January 1929) is an Indian jurist. He is a senior advocate to the Supreme Court of India since 1971 and was the President of the Bar Association of India from 1991 to 2010. Nariman is an internationally recognised jurist on international arbitration. He has been honored with the 19th Lal Bahadur Shastri National Award for
Excellence in Public Administration 2018. He is one of India's most distinguished constitutional lawyers and he has argued several leading cases. He remained Additional Solicitor General of India May 1972- June 1975.

He has been awarded the Padma Bhushan (1991), Padma Vibhushan (2007) and Gruber Prize for Justice (2002) and has remained nominated member of the Rajya Sabha, the Upper House of the Parliament of India for a term (1999–2005).

Early life and education
Born in 1929 in Rangoon to Parsi parents Sam Bariyamji Nariman and Banoo Nariman, Fali did his schooling from Bishop Cotton School, Shimla. Thereafter he studied B.A., in Economics and History from St. Xavier's College, Mumbai, followed by a law degree (LL.B.) from the Government Law College, Mumbai in, 1950, after standing first in the  Examination and been awarded the Kinlock Forbes Gold Medal and Prize for Roman Law & Jurisprudence. His father initially wanted him to write the Indian Civil Service Examination. Since he could not afford it at that time, he chose law as his last option.

Career
Nariman started his law practice at the Bombay High Court. After practicing for 22 years, he was appointed a Senior Advocate in the Supreme Court of India in 1971, a position he retains to date. He said that "My senior's senior, Jamsetjee Kanga was my mentor. He was like a father figure to me. He died at 93 and he is the one who, at the age of 92, told me that he was still learning. He had a tremendous memory and so does my son Rohinton. He was an Ordained Priest and so is Rohinton."

Nariman was instrumental to the development of the Indian Constitution's Law. Nariman was Additional Solicitor General of India from May 1972 to 25 June 1975, resigning from that post upon the Declaration of Emergency on 26 June 1975.

Nariman argued in favour of  Union carbide in the infamous Bhopal gas disaster case, which he admitted as a mistake in recent times. He was instrumental in getting a deal between victims and the company outside court, which offered an amount of $470 million to the victims. He also argued in the famous case of the Supreme Court AoR Association, in which the Supreme Court took over the appointment of judges in the Higher Judiciary. He also appeared in many important cases like Golak Nath, S.P. Gupta, T.M.A. Pai Foundation, etc.

Nariman is the recipient of the Padma Vibhushan (in 2007) and Padma Bhushan (in 1991), respectively the second and third highest honors granted to civilians by the President of India. Both awards were for Nariman's contributions to jurisprudence and public affairs. Nariman was awarded the Gruber Prize for Justice in 2002. He dedicated his awards to his alma mater Bishop Cotton School in Shimla.

Nariman was a President-appointee member of the Rajya Sabha (the upper house of the Parliament of India) between 1999 and 2005. He has served as President of International Council for Commercial Arbitration since 1994, President of the Bar Association of India since 1991, Vice-Chairman of the Internal Court of Arbitration of the International Chamber of Commerce since 1989, honorary member of the International Commission of Jurists since 1988, member of the London Court of International Arbitration since 1988. He was appointed to the Advisory Board of the United Nations Conference on Trade and Development in November 1999, and served as Chairman of the Executive Committee of the International Commission of Jurists from 1995 to 1997.

He represented the Gujarat Government in the matter of the Narmada rehabilitation but resigned shortly after attacks on Christians in the area and the burning of copies of the Bible.

In December 2009 the Committee on Judicial Accountability stated that it considered that recommendations for judicial appointments should only be made after a public debate, including review by members of the bar of the affected high courts. This statement was made in relation to controversy about the appointments of justices C. K. Prasad and P. D. Dinakaran. The statement was signed by Ram Jethmalani, Shanti Bhushan, Fali Sam Nariman, Anil B. Divan, Kamini Jaiswal and Prashant Bhushan.

On 17.10.2014, he appeared for the former Chief Minister of Tamil Nadu J Jayalalitha in a conviction and obtained bail for her, which was earlier rejected.

Personal life
Nariman was married to Bapsi F. Nariman, since 1955, and the couple have two children, a son and a daughter and live in New Delhi. His son Rohinton Nariman was a Judge of the Supreme Court of India, who had also held the post of the Solicitor General of India from 2011 to 2013.

The Vis Moot East's Fali Nariman Award for 'Best Respondent's Memorandum' is named after Nariman.

Autobiography
Nariman's autobiography is called "Before Memory Fades".

References

External links
 Peter Gruber Foundation Honors India's Fali Sam Nariman

1929 births
Living people
Indian barristers
Indian solicitors
Parsi people from Mumbai
St. Xavier's College, Mumbai alumni
University of Mumbai alumni
Recipients of the Padma Bhushan in public affairs
Recipients of the Padma Vibhushan in public affairs
Nominated members of the Rajya Sabha
Scholars from Mumbai
Senior Advocates in India
20th-century Indian lawyers
Parsi people
Bishop Cotton School Shimla alumni

Fali Sam Nariman


"Send Out the Clowns" is the 18th episode of the third season of the American sitcom Modern Family, and the series' 66th episode overall. It aired on March 14, 2012. The episode was written by Steven Levitan, Jeffrey Richman & Bill Wrubel and directed by Steven Levitan.

Plot
Cam (Eric Stonestreet) lost his clown mentor and he attends his funeral along with Mitchell (Jesse Tyler Ferguson) and other clowns. All the clowns, including Cam, are dressed up to their clown clothes and make-up to give their mentor the final farewell. At the funeral, Cam meets his former clown partner Lewis (Bobby Cannavale) who's mad at Cam because Cam left him alone after his decision to settle down and have a family with Mitchell.

Cam and Lewis decide to reconnect again and perform a show together, much to Mitchell's dismay. Just before the performance, Cam clarifies that the performance is only a "one-time thing", something that makes Lewis mad and leads their performance to a disaster.

Meanwhile, Phil (Ty Burrell) gets ready for a big real estate opportunity. He is confident and before he leaves home he tries to teach the kids that they always have to play by the rules and everything will go just fine. Unfortunately, he bumps into his nemesis, Mitzi Roth (Ellen Barkin), who steals his new potential clients by using dirty tricks.

Phil gets back home upset and when Luke (Nolan Gould) proposes that he play dirty too, he instantly forgets his "play by the rules" rule and decides to listen to him. The trick of recording Mitzi admitting she was lying does not go really well, so Luke and Phil play the "sympathy card" at an encounter with Mitzi at the grocery store and this time it pays off.

In the meantime, Claire (Julie Bowen) decides to make a Facebook page and she is upset because Alex (Ariel Winter) and Haley (Sarah Hyland) did not accept her friend request. The girls lie that they did not get any friend request from her so Claire sends one again. The reason the girls do not want their mom as a friend on Facebook is because they do not want her to know everything they do and because they do not want her to embarrass them in front of their friends. After Claire's second request, they do not have a choice than to accept her and they use other methods to make her quit Facebook.

At the Pritchett house, Manny (Rico Rodriguez) invites a friend, Griffin (Dash Dobrofsky), to come over. This surprises Jay (Ed O'Neill) because Griffin is one of the school's cool kids and it is strange that Manny hangs out with him. Jay believes that Griffin wants to hang out with Manny because of him since he dropped off Manny at school on his motorcycle, something that is cool. Gloria (Sofía Vergara) does not agree with Jay since she believes Manny is capable of having cool friends. However, she realizes that she is the reason Griffin hangs out with Manny when Griffin arrives and he can not stop staring at her.

Jay and Gloria try to tell Manny the truth of why Griffin hangs out with him and they are surprised to hear that Manny also hangs out with him to get closer to his sister and now that he knows that Griffin is also using him, he feels less guilty.

Reception

Ratings
In its original American broadcast, "Send Out the Clowns" was watched by 10.60 million; slightly down by 0.03 million from previous episode.

Reviews
"Send Out the Clowns" received positive reviews.

Laigh Raines of TV Fanatic rated the episode with 4/5. "The ending was probably my favorite part. When the girls found a picture of Claire funneling on Spring Break in 1990 and Claire started screaming "What is tagging!?!" I was in stitches laughing. This is why parents don't need Facebook!!"

Christine N. Ziemba from Paste Magazine rated the episode with 8/10 saying: "Yes, we laughed, we cried—but not nearly as much as the "Leap Day" episode." She closed her review with: "At times, the episode felt like the episode's clown car scene—when Cam and his friends all squeeze into a Mini to head to drink after the funeral—because Levitan and company tried to cram too many things into 22 minutes. Just when things were ramping up, it was time to cue the credits."

Michael Adams of 411mania rated the episode with 8/10 naming character of the week Bobby Cannavale's character, Lewis the Clown. "Bobby made Lewis a very lewd and dirty clown, all the while being hysterical. I didn't see this coming from a guy who's known for his more serious and bad-ass roles."

Donna Bowman of The A.V. Club gave a B− rating to the episode, saying that she doesn't find clowns funny. "Clown humor. It's a tricky thing. I know it's a grand tradition of folklore and nomadic entertainment and pantomime heritage, but I don't think I'm alone in regarding clowns less as funny than as vaguely impressive in their commitment to an arcane aesthetic."

The review from The FilteredLens was also positive and rated the episode with 9/10 stating that the episode "continued to reignite the flame of this show and make season three memorable. It was definitely a classic and one of the better episodes of the season."

References

External links

"Send Out the Clowns" at ABC.com

2012 American television episodes
Modern Family (season 3) episodes
Television episodes about funerals

Send Out the Clowns


Dress to Kill show med den engelske komikern Eddie Izzard från 1999, inspelad i San Francisco. Detta var hans genombrott i Kanada och USA. Från scenen funderar han över saker som andra världskriget, sex, gud, Stonehenge och puberteten. Under turnén skrev han även boken Dress to Kill tillsammans med David Quantick och fotografier av Steve Double. Den kom ut 1998.

Funderingar (exempel)
"I grew up in Europe, where the history comes from."
"We have two hundred languages in Europe. Two hundred languages! Count them! I know you won't!"
"We stole countries! That's how you build an empire. We stole countries with the cunning use of flags! Just sail halfway around the world, stick a flag in. "I claim India for Britain." And they're going, "You can't claim us. We live here! There's five hundred million of us." "Do you have a flag?" "We don't need a bloody flag, this is our country you bastard!" "No flag, no country! You can't have one. That's the rules... that... I've just made up! And I'm backing it up with this gun... that was lent from the National Rifle Association."
"I was in the army when I was a kid, because there were: running, jumping, climbing trees, putting on make-up when you're up there!"
"Hitler was an vegetarian and a painter so he must have been going: "I can't get the fucking trees... Damn! I will kill everyone in the world!"

Externa länkar
 Dress to Kill – artikel från den officiella Eddie Izzard-sajten

Brittiska ståuppshower

Dress to Kill


The Lim bay () and valley is a peculiar geographic feature found near Rovinj and Vrsar on the western coast of Istria, south of Poreč, Croatia. The name comes from the Latin limes for "limit", referring to the landform's position at the border of two Roman provinces: Dalmatia and Italia.

Geography

The Lim valley (Limska dolina) is the 35 km long valley of the river Pazinčica, which transforms into the Lim bay (Limski zaljev), a 10 kilometer long estuary. The Croats sometimes also call it Limski kanal ("Lim channel"), due to its narrow width. The estuary is sometimes called a fjord, although it is not in fact a fjord but a ria, because it was not carved by a glacier but by the river eroding the ground on its way to the Adriatic Sea, when the sea level was lower.

Owing to its geological history, this estuary is one of the most instructive examples of limestone hydrological development. The Lim stream used to flow through the valley but dried up regularly, and was really only present after the heavy rain. The Lim estuary has the appearance of a canyon. The side rises to 150 m, sinking to 20 m when they reach the sea; they are overgrown with maquis and have some special characteristics. The south bank, facing the north, is covered with deciduous trees (oak and ash), while the north bank, facing the sun, has more evergreen flora. The vegetation has recently suffered a great deal from fires. The estuary is rich in fish, and high quality oysters and mussels. Because of the special conditions of the sea water in the channel (less salt content, a higher concentration of dissolved oxygen and well-researched temperature gradients) sea flora and fauna are particularly well developed.

The channel is a natural breeding ground and wintering place for many breeds of fish. For this reason it is a special reserve, protected by a conservation order. The locals grow some fish and oysters there.

In popular culture
The movie The Long Ships starring Richard Widmark and Sidney Poitier was shot there in 1964.

See also
Dvigrad

References

External links

 Lim channel or Lim fjord
 Lim bay at InfoRovinj

Estuaries of Europe
Bays of Croatia
Landforms of Istria County
Valleys of Europe
Landforms of Croatia
Tourist attractions in Istria County

Lim (Croatia)


An ecozone or biogeographic realm is the largest scale biogeographic division of the earth's surface.

These divisions are based on the historic and evolutionary distribution of plants and animals. Ecozones represent large areas of the Earth surface where plants and animals developed in relative isolation over long periods of time, and are separated from one another by geologic features, such as oceans, broad deserts, or high mountain ranges, that formed barriers to plant and animal migration. Ecozones correspond to the floristic kingdoms of botany or zoogeographic regions of mammal zoology.

Ecozones are characterized by the evolutionary history of the plants and animals they contain. As such, they are distinct from biomes, also known as major habitat types, which are divisions of the earth's surface based on life form, or the adaptation of plants and animals to climatic, soil, and other conditions. Biomes are characterized by similar climax vegetation, regardless of the evolutionary lineage of the specific plants and animals. Each ecozone may include a number of different biomes. A tropical forest in Central America, for example, may be similar to one in New Guinea in its vegetation type, but these forests are inhabited by plants and animals with very different evolutionary histories.

The patterns of plant and animal distribution in the world's ecozones was shaped by the process of plate tectonics, which has redistributed the world's land masses over geological history.

The term ecozone, as used here, is a fairly recent development, and other terms, including kingdom, realm, and region, are used by other authorities with the same meaning. J. Schultz uses the term "ecozone" to refer his classification system of biomes.

Biogeographical realms
In 1975 Miklos Udvardy proposed a system of 203 biogeographical provinces, which were grouped into eight biogeographical realms (Afrotropical, Antarctic, Australian, Indomalayan, Nearctic, Neotropical, Oceanian, and Palaearctic). Udvardy's goal was to create an integrated ecological land classification system that could be used for conservation purposes.

WWF Ecozones

The WWF ecozones are based largely on the biogeographic realms of Pielou (1979) and Udvardy (1975). A team of biologists convened by the World Wide Fund for Nature (WWF) developed a system of eight biogeographic realms (ecozones) as part of their delineation of the world's over 800 terrestrial ecoregions.
 Nearctic 22.9 mil. km² (including most of North America)
 Palearctic 54.1 mil. km² (including the bulk of Eurasia and North Africa)
 Afrotropic 22.1 mil. km² (including Sub-Saharan Africa)
 Indomalaya 7.5 mil. km² (including the South Asian subcontinent and Southeast Asia)
 Australasia 7.7 mil. km² (including Australia, New Guinea, and neighbouring islands). The northern boundary of this zone is known as the Wallace line.
 Neotropic 19.0 mil. km² (including South America and the Caribbean)
 Oceania 1.0 mil. km² (including Polynesia, Fiji and Micronesia)
 Antarctic 0.3 mil. km² (including Antarctica).

The WWF scheme is broadly similar to Udvardy's system, the chief difference being the delineation of the Australasian ecozone relative to the Antarctic, Oceanic, and Indomalayan ecozones. In the WWF system, The Australasia ecozone includes Australia, Tasmania, the islands of Wallacea, New Guinea, the East Melanesian islands, New Caledonia, and New Zealand. Udvardy's Australian realm includes only Australia and Tasmania; he places Wallacea in the Indomalayan Realm, New Guinea, New Caledonia, and East Melanesia in the Oceanian Realm, and New Zealand in the Antarctic Realm.

References
 Cox, C. Barry & Peter D. Moore 1985. Biogeography: an ecological and evolutionary approach. 4th ed, Blackwell Scientific Publications, Oxford.
 Dinerstein, Eric; David Olson; Douglas J. Graham; et al. 1995. A conservation assessment of the terrestrial ecoregions of Latin America and the Caribbean. World Bank, Washington DC.
 Ricketts, Taylor H. et al. 1999. Terrestrial ecoregions of North America: a conservation assessment. Island Press, Washington DC.
 Schultz J. 2005. The Ecozones of the World. 2nd ed, Springer, Berlin Heidelberg New York.
 Udvardy M.D.F. 1975. A classification of the biogeographical provinces of the world. IUCN Occasional Paper #18. Morges, Switzerland: IUCN.
 Wikramanayake, Eric; et al. 2002. Terrestrial ecoregions of the Indo-Pacific: a conservation assessment. Island Press; Washington DC.

Ecozone


David Michael "Dave" Letterman (12 Aprile 1947) is an actor frae America. He wis kent for hosting his ain show The Late Show.

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In mathematics, the dot product is an operation that takes two vectors as input, and that returns a scalar number as output.  The number returned is dependent on the length of both vectors, and on the angle between them. The name is derived from the centered dot "·" that is often used to designate this operation. Another name is scalar product. It emphasizes the scalar (rather than vector) nature of the result.

In three-dimensional space, the dot product contrasts with the cross product, which produces a vector as result.

Definition
The dot product of two vectors a = [a1, a2, ..., an] and b = [b1, b2, ..., bn] is defined as:

where Σ denotes summation notation (the sum of all the terms) and n is the dimension of the vector space.

In dimension 2, the dot product of vectors [a,b] and [c,d] is ac + bd.
The same way, in a dimension 3, the dot product of vectors [a,b,c] and [d,e,f] is ad + be + cf.
For example, the dot product of two three-dimensional vectors [1, 3, −5] and [4, −2, −1] is

Geometric interpretation

In Euclidean geometry, the dot product, length, and angle are related. For a vector a, the dot product a · a is the square of the length of a, or

where ||a|| denotes the length (magnitude) of a. More generally, if b is another vector, then

where ||a|| and ||b|| denote the length of a and b and θ is the angle between them.

This formula can be rearranged to determine the size of the angle between two nonzero vectors:

One can also first convert the vectors to unit vectors, by dividing by their magnitude:

then the angle θ is given by

As the cosine of 90° is zero, the dot product of two orthogonal (perpendicular in 2D and 3D) vectors is always zero. Moreover, two vectors can be considered orthogonal if and only if their dot product is zero, and they both have a nonzero length. This property provides a simple method to test the condition of orthogonality.

Sometimes, these properties are also used for defining the dot product, especially in 2 and 3 dimensions; this definition is equivalent to the above one. For higher dimensions, the formula can be used to define the concept of angle.

The geometric properties rely on the basis being orthonormal (composed of pairwise perpendicular vectors with unit length).

Scalar projection
If both a and b are unit vectors (vectors of length one), then their dot product simply gives the cosine of the angle between them.

If only b is a unit vector, then the dot product a · b gives |a| cos(θ). This corresponds to the magnitude of the projection of a in the direction of b, with a minus sign if the direction is opposite. This is called the scalar projection of a onto b, or scalar component of a in the direction of b (see figure). This property of the dot product has several useful applications (see § Rotation below).

If neither a nor b is a unit vector, then the magnitude of the projection of a in the direction of b would be a · (b / |b|), as the unit vector in the direction of b is b / |b|.

Rotation
A rotation of the orthonormal basis in terms of which vector a is represented is obtained with a multiplication of a by a rotation matrix R. This matrix multiplication is just a compact representation of a sequence of dot products.

For instance, let
B1 = {x, y, z} and B2 = {u, v, w} be two different orthonormal bases of the same space R3, with B2 obtained by just rotating B1,
a1 = (ax, ay, az) represent vector a in terms of B1,
 a2 = (au, av, aw) represent the same vector in terms of the rotated basis B2,
u1, v1, w1 be the rotated basis vectors u, v, w represented in terms of B1.
Then the rotation from B1 to B2 is performed as follows:

Notice that the rotation matrix R is assembled by using the rotated basis vectors u1, v1, w1 as its rows, and these vectors are unit vectors. By definition, Ra1 consists of a sequence of dot products between each of the three rows of R and vector a1. Each of these dot products determines a scalar component of a in the direction of a rotated basis vector (see previous section).

If a1 is a row vector, rather than a column vector, then R must contain the rotated basis vectors in its columns, and must post-multiply a1:

Physics
In physics, magnitude is a scalar in the physical sense, in that it is a physical quantity independent of the coordinate system, expressed as the product of a numerical value and a physical unit, not just a number. The dot product is also a scalar in this sense, given by the formula, independent of the coordinate system. For example:
 Mechanical work is the dot product of force and displacement vectors.
 Magnetic flux is the dot product of the magnetic field and the area vectors.
 Volumetric flow rate is the dot product of the fluid velocity and the area vectors.

Properties
The following properties hold if a, b, and c are real vectors and r is a scalar.

The dot product is commutative:

The dot product is distributive over vector addition:

The dot product is bilinear:

When multiplied by a scalar value, dot product satisfies:

(these last two properties follow from the first two).

Two non-zero vectors a and b are perpendicular if and only if a • b = 0.

Unlike multiplication of ordinary numbers, where if ab = ac, then b always equals c unless a is zero, the dot product does not obey the cancellation law:
 If a • b = a • c and a ≠ 0, then we can write: a • (b − c) = 0 by the distributive law; the result above says this just means that a is perpendicular to (b − c), which still allows (b − c) ≠ 0, and therefore b ≠ c.

Provided that the basis is orthonormal, the dot product is invariant under isometric changes of the basis: rotations, reflections, and combinations, keeping the origin fixed. The above mentioned geometric interpretation relies on this property. In other words, for an orthonormal space with any number of dimensions, the dot product is invariant under a coordinate transformation based on an orthogonal matrix. This corresponds to the following two conditions:
The new basis is again orthonormal (that is, orthonormal expressed in the old one).
The new base vectors have the same length as the old ones (that is, unit length in terms of the old basis).

If a and b are functions, then the derivative of a • b is a' • b + a • b'.

Triple product expansion

This is a very useful identity (also known as Lagrange's formula) involving the dot- and  cross-products. It is written as

which is easier to remember as "BAC minus CAB", keeping in mind which vectors are dotted together. This formula is commonly used to simplify vector calculations in physics.

Proof of the geometric interpretation
Consider the element of Rn

Repeated application of the Pythagorean theorem yields for its length |v|

But this is the same as

so we conclude that taking the dot product of a vector v with itself yields the squared length of the vector.
 Lemma 1

Now consider two vectors a and b extending from the origin, separated by an angle θ.  A third vector c may be defined as

creating a triangle with sides a, b, and c.  According to the law of cosines, we have

Substituting dot products for the squared lengths according to Lemma 1, we get
                   (1)
But as c ≡ a − b, we also have
,
which, according to the distributive law, expands to
                     (2)
Merging the two c • c equations, (1) and (2), we obtain

Subtracting a • a + b • b from both sides and dividing by −2 leaves

Q.E.D.

Generalization

The inner product generalizes the dot product to abstract vector spaces and is usually denoted by . Due to the geometric interpretation of the dot product, the norm ||a|| of a vector a in such an inner product space is defined as

such that it generalizes length, and the angle θ between two vectors a and b by

In particular, two vectors are considered orthogonal if their inner product is zero

For vectors with complex entries, using the given definition of the dot product would lead to quite different geometric properties. For instance, the dot product of a vector with itself can be an arbitrary complex number, and can be zero without the vector being the zero vector; this in turn would have severe consequences for notions like length and angle. Many geometric properties can be salvaged, at the cost of giving up the symmetric and bilinear properties of the scalar product, by alternatively defining

where bi is the complex conjugate of bi. Then the scalar product of any vector with itself is a non-negative real number, and it is nonzero except for the zero vector. However, this scalar product is not linear in b (but rather conjugate linear), and the scalar product is not symmetric either, since
.
This type of scalar product is nevertheless quite useful, and leads to the notions of Hermitian form and of general inner product spaces.

The Frobenius inner product generalizes the dot product to matrices. It is defined as the sum of the products of the corresponding components of two matrices having the same size.

Generalization to tensors
The dot product between a tensor of order n and a tensor of order m is a tensor of order n+m-2. The dot product is worked out by multiplying and summing across a single index in both tensors. If  and  are two tensors with element representation  and  the elements of the dot product  are given by

This definition naturally reduces to the standard vector dot product when applied to vectors, and matrix multiplication when applied to matrices.

Occasionally, a double dot product is used to represent multiplying and summing across two indices. The double dot product between two 2nd order tensors is a scalar.

Related pages
 Cauchy–Schwarz inequality
 Cross product
 Matrix multiplication

References

Other websites
 A quick geometrical derivation and interpretation of dot product
 Interactive GeoGebra Applet
 Java demonstration of dot product
 Another Java demonstration of dot product
 Explanation of dot product including with complex vectors
 "Dot Product" by Bruce Torrence, Wolfram Demonstrations Project, 2007.
 Intuitive explanation video 1 and video 2 from online Interactive 3D graphics course

Linear algebra
Vectors

Dot product