Fantastic Beasts is a film series directed by David Yates, and a spin-off prequel to the Harry Potter novel and film series. The series is distributed by Warner Bros. and consists of three fantasy films as of 2022, beginning with Fantastic Beasts and Where to Find Them (2016), and following with Fantastic Beasts: The Crimes of Grindelwald (2018) and Fantastic Beasts: The Secrets of Dumbledore (2022). Following the 2001–11 Harry Potter film series, Fantastic Beasts marks the second film series in the Wizarding World shared universe media franchise.

The series was mainly produced by David Heyman, and stars Eddie Redmayne as the leading character: Newt Scamander, with Jude Law portraying Albus Dumbledore and with Colin Farrell, Johnny Depp and Mads Mikkelsen (replacing Depp in the third film) all portraying the third leading character: main antagonist Gellert Grindelwald. Ezra Miller, Katherine Waterston, Alison Sudol, Dan Fogler, Victoria Yeates, Jessica Williams, Callum Turner, and Richard Coyle also star. Rowling wrote the screenplays for each film, with Steve Kloves returning from the Harry Potter film series to co-write the third film: The Secrets of Dumbledore. Production has taken place over six years, with the main story arc following Dumbledore and his agents' quest to overcome Grindelwald, his lost love, as the First Wizarding War and Second World War approach.

Fantastic Beasts and Where to Find Them was released worldwide in 2016, followed by The Crimes of Grindelwald in 2018, and The Secrets of Dumbledore in 2022. The series has been commercially successful, having collectively grossed $1.8 billion across three films so far. While the first film received positive reviews, the last two films have received mixed reviews, with many critics deeming the series to be inferior to the Harry Potter films.

Origins

In 2010 a film adaptation of the Derek Landy novel series Skulduggery Pleasant starring Johnny Depp as the title character was in development at Warner Bros.; immensely disliking the script, series author Derek Landy bought back the rights by December. In April 2021, elaborating on the original script's content while promoting Until the End, Landy said that it had contained numerous references to the events of Harry Potter in the context of it being set in the same fictional universe, featuring the characters having wands instead of wield magic out-of-hand as in his books. On 12 September 2013, two years following the conclusion of the Harry Potter film series with Harry Potter and the Deathly Hallows – Part 2, Warner Bros. announced a new attempt as expanding the fictional universe of Harry Potter into a "Wizarding World", with J. K. Rowling developing a script for a prequel film, titled after a "textbook" Rowling had written in 2001 to be sold to raise money for the British charity Comic Relief, based on the in-universe textbook of the same name from her Harry Potter novel series. Set seventy years before the adventures of Harry Potter and following the adventures of its fictional author Newt Scamander, the film would mark both Rowling's screenwriting debut and the first intended installment in a new series, tentatively entitled Fantastic Beasts. According to Rowling, after Warner Bros. suggested an adaptation of either Fantastic Beasts or Quidditch Through the Ages, she wrote a rough draft of the script in twelve days. She said, "It wasn't a great draft but it did show the shape of how it might look. So that is how it all started." In March 2014, it was announced that a trilogy was scheduled with the first instalment set in New York, and seeing the return of producer David Heyman, as well as writer Steve Kloves, both veterans of the Potter film series.

Production

In June 2015 Eddie Redmayne was cast in the lead role of Newt Scamander, the Wizarding World's preeminent magizoologist. Other cast members include: Katherine Waterston as Tina Goldstein, Alison Sudol as Queenie Goldstein, Dan Fogler as Jacob Kowalski, Ezra Miller as Credence Barebone, Samantha Morton as Mary Lou, Jenn Murray as Chastity Barebone, Faith Wood-Blagrove as Modesty Barebone, and Colin Farrell as Percival Graves / Gellert Grindelwald. Principal photography began on 17 August 2015, at Warner Bros. Studios, Leavesden. After two months, the production moved to St George's Hall in Liverpool, which was transformed into 1920s New York City. Fantastic Beasts and Where to Find Them was released worldwide on 18 November 2016.

The second film was announced in March 2014. In October 2016, it was revealed that Yates and Rowling would return as director, and screenwriter and co-producer, and Redmayne would be returning to play the lead role of Newt Scamander in  all the series' films. In November 2016, it was confirmed that Johnny Depp will have a starring role in the sequel, reprising his cameo role as Gellert Grindelwald from the first instalment, replacing Farrell. Later that same month it was also announced that Albus Dumbledore would be appearing in future instalments, albeit with a younger actor for the prequel film series, intended to eventually supplant Redmayne's Scamander as protagonist of the series. In April 2017, it was confirmed that Jude Law had been cast as Dumbledore. with the film being short and set in New York City, Britain, and Paris. Principal photography began on 3 July 2017, at Warner Bros. Studios, Leavesden, and wrapped on 20 December 2017, with Fantastic Beasts: The Crimes of Grindelwald releasing on 16 November 2018.

Originally scheduled to begin filming in July 2019, and released in November 2020, production of the third film was pushed back to late 2019 to allow more time polishing the script and re-plan the future of the Fantastic Beasts series. In 2018 on Twitter, Rowling promised that the third film would give answers to the questions left unsolved in the first two. In October 2019, Dan Fogler claimed that principal photography on the third film would begin in February 2020. In November 2019, it was announced that the script had been written by both Rowling and Steve Kloves, the latter of whom returned after being absent as a writer on the first two. On 16 March 2020, the very day that principal photography would begin, the COVID-19 pandemic prompted Warner Bros. to postpone production of its third Fantastic Beasts film. This made the film be postponed again, from a 12 November 2021 to a 15 July 2022 release. On 20 August 2020, filming was confirmed to start in September. On 20 September 2020, Eddie Redmayne confirmed that filming was two weeks underway with safety precautions in place to keep the cast and crew safe from COVID-19. On 6 November 2020, Johnny Depp informed that Warner Bros. asked him to step down as Grindelwald and he accepted to do it. Later, on 25 November 2020, Warner Bros. announced that Mads Mikkelsen would replace Depp in the role of Grindelwald. On 3 February 2021, filming in the UK was shut down after a production member tested positive for COVID-19. Composer James Newton Howard confirmed later that month that production had wrapped filming. In September 2021, the film's release was pushed forward three months to 15 April 2022, alongside the announcement of the full title: Fantastic Beasts: The Secrets of Dumbledore. It premiered one week early in a few European and Asian countries.

Films

Fantastic Beasts and Where to Find Them (2016)

In 1926, Newt Scamander arrives in New York City with his magically expanded briefcase which houses a number of dangerous creatures and their habitats. When some creatures escape from his briefcase, Newt must battle to correct the mistake, and the horrors of the resultant increase in violence, fear, and tension felt between magical and non-magical people (No-Maj).

Fantastic Beasts: The Crimes of Grindelwald (2018)

A few months have passed since the events of Fantastic Beasts and Where to Find Them. Gellert Grindelwald has escaped imprisonment and has begun gathering followers to his causeelevating wizards above all non-magical beings. Dumbledore must seek help from his former student Newt to put a stop to Grindelwald.

Fantastic Beasts: The Secrets of Dumbledore (2022)

Several years after the events of The Crimes of Grindelwald, the story begins in the UK, the US and China, and proceeds to take place partly in Berlin, Germany and partly in Bhutan, Asia, and leads up to the Wizarding World's involvement in World War II, as Newt Scamander and company returning for another adventurous journey through the wizarding world, attempting to defeat the maniacal Gellert Grindelwald despite Albus Dumbledore being unable to fight against him.

Future
In October 2016, Rowling announced that the Fantastic Beasts film series would be composed of five films, later confirming that the story of the series would consist of a sequence of events that occurred between the years of 1926 and 1945. In February 2022, producer David Heyman revealed that work on the script for Fantastic Beasts 4 had not yet begun. In April 2022, Variety reported that Warner Bros. greenlighting the final two installments would be dependent on the critical and commercial performance of The Secrets of Dumbledore. In November 2022, Variety reported that Warner Bros. Discovery had no Wizarding World films in active development and was not in "active discussions" with Rowling regarding the future of the franchise, leaving the future of the Fantastic Beasts series in limbo. In October 2023, director David Yates made comments that the franchise had been "parked" following the third film. He also disclosed that the idea of it being a five film franchise had been a "surprise" after many had only initially committed to doing a single film.

Television
In January 2021, it was reported that Warner Bros. were reviewing pitches for a television series, set in the Wizarding World, to debut on HBO Max. In May 2022, the reports circulated about the announced meeting between Warner Bros. Discovery CEO David Zaslav and J. K. Rowling in their discussion for future HBO Max projects set within the Wizarding World.

Fantastic Beasts: A Natural History
Fantastic Beasts: A Natural History is a documentary film that was broadcast on BBC One on 27 February 2022. Presented by Stephen Fry, the documentary tells magical stories about mythical creatures and beasts from J. K. Rowling's works, and their connection to real-life animals.

Short film
Fantastic Beasts of the TSA aired on The Late Late Show with James Corden, on November 17, 2016. Featuring Eddie Redmayne reprising his Fantastic Beasts role as Newt Scamander, the film follows Scamander in modern times as he seeks to get his suitcase through airport security, past an overzealous Transportation Security Administration (TSA) agent (played by the show's host, James Corden).

Books

Fantastic Beasts and Where to Find Them – The Original Screenplay
Fantastic Beasts and Where to Find Them – The Original Screenplay is an official book containing the original screenplay written by J. K. Rowling for the film of the same name.
On 1 September 2016, Pottermore released the final covers for the UK and US editions of the screenplay. The cover artwork and interior illustrations were designed by Miraphora Mina and Eduardo Lima, the founders of MinaLima.

Fantastic Beasts: The Crimes of Grindelwald – The Original Screenplay
Fantastic Beasts: The Crimes of Grindelwald – The Original Screenplay was released on 16 November 2018, the same day the film premiered in the UK and US. It was released in both book form and digital form. The events of the screenplay followed the screenplay of the second film. It was written by J. K. Rowling. The cover was designed by MinaLima Design. The book does not contain Rowling's original version, but has been edited to align with the final theatrical cut of the film. As such it does not include any deleted or extended scenes and has been updated to incorporate ad-libbed or modified dialogue.

Fantastic Beasts: The Secrets of Dumbledore – The Complete Screenplay
Fantastic Beasts: The Secrets of Dumbledore – The Complete Screenplay is the screenplay for Fantastic Beasts: The Secrets of Dumbledore. It was released on 19 July 2022. The book was designed by Paul Kepple and Alex Bruce at Headcase Design. The events of the screenplay follows the screenplay of the third film. It was written by J. K. Rowling and Steve Kloves.

Video games

Music

Reception

Box office performance
Fantastic Beasts and Where to Find Them was the eighth highest-grossing film of 2016, and The Crimes of Grindelwald was the tenth highest-grossing film of 2018.

Critical and public response
The series has received mixed critical reception, being deemed critically inferior to the more positively reviewed Harry Potter films.

Accolades

Academy Awards
In 2017, Fantastic Beasts and Where to Find Them won the Academy Award for Best Costume Design, becoming the first film in the overall Wizarding World franchise to win an Academy Award.

British Academy Film Awards

Theme park attraction
Fantastic Beasts: The Wonder of Nature was open from 9–15 December 2020 and from 17 May 2021 to 3 January 2022 at the Natural History Museum. It consisted of creatures, specimens and artefacts from the museum's scientific collection displayed side by side with elements from the Wizarding World as well as digital installations. This exhibit featured 100 objects, including props from the Fantastic Beasts and Harry Potter films. There is a similar exhibition set to open at the Royal Ontario Museum in Toronto, Canada on 11 June 2022 through 2 January 2023.

References

External links

 Growing Up with Harry Potter – photo essay by Time

Warner Bros. Pictures franchises
American film series
BAFTA Outstanding British Contribution to Cinema Award
British film series
Films about magic
Films about witchcraft
Film series based on fantasy books
Film series introduced in 2016
Works based on Harry Potter

Fantastic Beasts


Tutur Tinular is an Indonesian historical-drama radio series.  Consists of 24 chapters with a total of 720 episodes, it was first aired in January 1989. At its prime, it was aired on 515 radio stations in Indonesia with millions of listeners. It was adapted to movies (Tutur Tinular I, II, III, IV) from 1989-1992. It was then adapted into a TV series  produced by Genta Buana Pitaloka and first aired on ANTV on October 25, 1997.

The 1997 TV series version is considered as one of the best adaptation of the radio series.

Cast
 Anto Wijaya as Arya Kamandanu
 Piet Ermas as Arya Dwipangga
 Deivy Zulyanti Nasution as Nari Ratih
 Murti Sari Dewi as Sakawuni
 Lamting as Loe Shih Shan
 Lie Yun Juan as Mei Shin
 Batdorj-in Baasanjab as Kau Hsing 1
 Tian Wei Dong as Kubilai Khan
 Agus Kuncoro as Raden Wijaya (Prabu Kertarajasa Jayawardhana)
 Chairil JM as Mpu Ranubhaya
 Hendra Cipta as Mpu Hanggareksa
 Syaiful Nazar as Mpu Tong Bajil
 Anika Hakim as Dewi Sambi
 Tizar Purbaya as Prabu Kertanagara
 Piet Pagau as Prabu Jayakatwang (season 1) and Mpu Lunggah (season 2)
 Nungki Kusumastuti as Nararya Turukbali
 Hadi Leo as Lembu Sora
 Herbi Latul as Ranggalawe
 Candy Satrio as Patih Nambi
 Rayvaldo Luntungan as Rakai Dukut dan Dyah Halayudha
 Rizal Muhaimin as Ardharaja (season 1) and Ra Tanca (season 2)
 Johan Saimima as Patih Kebo Mundarang
 Irgy Ahmad Fahrezi as Prabu Jayanagara
 Hans Wanaghi as Meng Chi
 Wingky Harun as Ki Tamparowang
 Dian Sitoresmi as Nini Ragarunting
 Lilis Suganda as Ayu Pupuh/Dewi Tunjung Biru (season 1) and Tribhuwaneswari 2 (season 2)
 Teddy Uncle as Pranaraja (season 1) and Mpu Wahana (season 2)
 Rizal Djibran as Ra Kuti
 Febriyanti as Gayatri Rajapatni
 Dhini Aminarti as Tribhuwana Wijayatunggadewi
 Yuni Sulistyawati as Palastri (season 1), Luh Jinggan (season 2), and Sitangsu (season 2)
 Wulan Guritno as Praharsini
 Trixie Fadriane Etheim as Young Ayu Wandira
 Suzanna Meilia as Sunggi (season 1), Dyah Dara Pethak (season 2), and Ayu Wandira (season 2)
 Benny Burnama as Ki Pamungsu
 Bambang Suryo as Arya Wiraraja
 Rendy Ricky Bramasta as Banyak Kapuk
 Deonardus as Jambunada
 M. Iqbal as Young Panji Ketawang
 Sawung Sembadha as Panji Ketawang
 Rizal Fadli as Figuran (season 1), Balunghura (season 1)and Panji Ketawang (season 2)
 Eddy Dhosa as Kuda Prana
 Rifky Alfarez as Gajah Mada
 David Macpal as Dangdi
 Anne J. Cotto as Mertaraga
 Irman F.R. Heryana as Lanang Dhanapala
 Aspar Paturusi as Rekyan Wuru
 S. Manan Dipa as Ramapati (season 1), Mpu Sasi (season 2), and Rakai Pamitihan (season 2)
 Fitria Anwar as Kurantil
 Tien Kadaryono as Nyi Pamiji
 Alex Bernard as Kebo Kluyur (season 1) and Wong Yin (season 2)
 Andre Yega as Adirasa (season 1) and Jarawaha (season 2)
 Nani Somanegara as Nyi Rongkot
 Antoni Sumadi as Ki Sugatabrahma
 Rochim Lahatu as Kebo Anabrang (season 1 dan 2) and Jabung Tarewes (season 2)
 Tanase as Gajah Pagon (season 1)
 Zainal Pattikawa as Jaran Lejong (season 1) and Ra Wedeng (season 2)
 Norman Syam as Jarawaha (season 1), Gajah Biru (season 1 dan 2), and Ra Yuyu 2 (season 2)
 Garnis Pangandaran as Langkir (season 1), dan Trisura (season 2)
 Steven Sakari as Wong Chau
 Ricky Husada as Chan Pie
 Land Sudirman Piyana as Linggapati
 Abhie Cancer as Kau Hsing 2
 Lilis Puspitasari as Werdamurti (season 1) and Jangir (season 2)
 Prie Panggie as Ra Kawi (season 1), and Walikadep (season 2)
 Krisno Bossa as Ki Bokor
 Uliasari as Retno Palupi
 Syamsul Gondo as Wirot
 Aldona Toncic as Tabib

Synopsis
The story began when Kamandanu, a blacksmith's second son, was interested to an old sage, Ranubhaya who was an expert in martial arts. He started to study martial arts from Ranubhaya and learned that Ranubhaya was actually his father's schoolmate in weaponry. While Kamandanu's father chose to be a weapon supplier to government—at the time: Kingdom Singhasari, Ranubhaya chose to not cooperate with the government and isolate himself.

When the father learn the teacher-student relationship between his second son and Ranubhaya, he became angry and accused Ranubhaya as traitor and used the government army to attack Ranubhaya's shrine. The relationship between Kamandanu and his father became worse and Kamandanu wanderer as a warrior.

The story became more complex when Ranubhaya, which had survived from his house destruction, was kidnapped by Kubilai Khan's envoy who were amazed by his expertise in weaponry. Being a prisoner in China, he was forced to make a great sword, Nagapuspa (naga means dragon). Finishing the sword, he was murdered by the official who was afraid if Ranubhaya created another sword for rival of Nagapuspa. Before his death, he asked a warrior couple, Lo Si Shan and Mei Ling, to bring the sword to Che Po (Java Island, pronounced in old-china language) and give it to Kamandanu.

The story was continued by the involvement of Kamandanu in Raden Wijaya's troop, survivors of Singhasari kingdom after being attack by Kediri kingdom. The involvement repair the relationship between Kamandanu and his father, especially after his brother, Dwipangga betrayed them. Kamandanu helped Raden Wijaya create his own kingdom, Majapahit.

Tutur Tinular was started in Kertanegara's era (last king of Singhasari) and ended in Jayanegara's era (second king of Majapahit). It began when the main character was still young and ended when the main character had already old. It shows the development from an idealist young lad to a sage who didn't want to see the war again and isolated himself.

The development of other characters were also interesting. Dwipangga for example, began his life in this story as a physically weak poet. Then, he tried to changed his life by betrayed his family for golds of Kediri. After being beaten and humiliated by his own brother in front of his wife and his son, he studied martial-art and became a scary warrior, called as Penyair Berdarah (Bleeding Poet). After beaten by Kamandanu for the second time, he disappeared and forgotten until his daughter found him as a pitiful helpless blind old man.

Awards

References

External links

Indonesian television soap operas
1997 Indonesian television series debuts
1999 Indonesian television series endings
ANTV original programming

Tutur Tinular (TV series)


Touchstones Rochdale is an art gallery, museum, local studies centre, visitor information centre and café forming part of the Central Library, Museum and Art Gallery in Rochdale, Greater Manchester, England. It is a Grade II listed building.

The first part of the stone building was opened as a library in 1884 with the museum and gallery being added in 1903 and extended in 1913. It became an art and heritage centre in 2003. It houses collections relating to local history and related topics, with changing exhibitions over time.

History

The library was built first, opening in 1884, after a fire at Rochdale Town Hall destroyed the "Clock Tower Library" in 1883. The art gallery and museum were built and linked to the library in 1903, and an extension added in 1913.  The building was converted into an art and heritage centre in 2003.

Collections

The museums has collections relating to: social history, costume and textiles, archaeology, Egyptology, geology, natural history and decorative arts. There is a particular focus on the American Civil War and its impact on the cotton industry during the Lancashire Cotton Famine of the 1860s. The collection is accredited by Arts Council England. It also hosts changing exhibitions.

Architecture

It is in Yorkshire stone and has a slate roof.  The library has  one storey, a front of three gables with ball finials, a central porch with an arcaded parapet, an elliptical-headed doorway, and mullioned and transomed windows with elliptical heads and hood moulds.  The museum and art gallery have two storeys, a four-bay central block, a three-bay gabled block to the right, and a diagonally-set gabled block to the left.  On the gables are panels of carved figures.

See also

Listed buildings in Rochdale

References

External links

Buildings and structures in Rochdale
Museums in Greater Manchester
Art museums and galleries in Greater Manchester
Tourist attractions in the Metropolitan Borough of Rochdale

Touchstones Rochdale


Tre Arrow (born Michael Scarpitti in 1974) is a green anarchist who gained prominence in the U.S. state of Oregon in the late 1990s and early 2000s for his environmental activism, bid for Congress as a Pacific Green Party candidate, and then for his arrest and later conviction for committing acts of arson on cement and logging trucks. He unsuccessfully sought political asylum in Canada, and was extradited to Portland, Oregon, on February 29, 2008, to face 14 counts of arson and conspiracy. These actions were claimed as acts of protest by the Earth Liberation Front (ELF). On June 3, 2008, Arrow pleaded guilty to 2 counts of arson and was sentenced with 78 months in prison. He was released to a halfway house in 2009.

Background
Arrow first came to public attention in July 2000 when he scaled a U.S. Forest Service building in downtown Portland, Oregon and lived on a nine-inch ledge for eleven days, to protest the plan to log near Eagle Creek, Oregon. His protest played an important role in reversing the Forest Service's plans to log the area.

Arrow ran for Congress in 2000 and received 15,000 votes as a Pacific Green Party candidate.

In October 2001, he suffered a broken pelvis, broken ribs and a concussion when he fell 60 feet from a hemlock tree where he had perched to protest a logging sale in Tillamook County.

Arson incidents
Arrow was sought by the FBI in connection with the April 15, 2001, arson at Ross Island Sand and Gravel in Portland. Three trucks were damaged in the amount of $200,000. The Earth Liberation Front (ELF) claimed this fire via a written communique. The U.S. Department of Justice says it considers ELF to be the worst domestic terrorism group.

Another arson occurred a month later at Ray Schoppert Logging Company in Eagle Creek, Oregon, on June 1, 2001. Two logging trucks and a front loader were damaged, resulting in $50,000 worth of damage. The ELF did not claim responsibility, but the explosions were similarly created by milk jugs filled with gasoline, and a fuse made from incense and a pack of matches.

Arrest and legal proceedings
Jacob Sherman, a 21-year-old Portland State University student, was subsequently arrested by the FBI and interrogated on four separate occasions. About four months after his arrest Sherman admitted to his involvement in both arsons. In order to avoid a potential life sentence in prison, Sherman named three others who had participated in the crimes: Tre Arrow, Angela Marie Cesario and Jeremy David Rosenbloom. Cesario and Rosenbloom decided to enter plea agreements since Sherman had already implicated Arrow. All three entered guilty pleas and while Sherman named the high-profile activist Arrow as the mastermind behind the arsons, Cesario and Rosenbloom disputed this and testified that Jacob himself was the mastermind.

Arrow was indicted by a federal grand jury in Oregon and charged with four felonies for this crime on October 18, 2002. He was listed on the FBI's December 2002 most-wanted list, and appeared on the America's Most Wanted television program.

Arrow fled to Canada, but on March 13, 2004, he was arrested in Victoria for stealing bolt cutters and was also charged with being in Canada illegally. He was in custody in the Vancouver Island Regional Correctional Centre near Victoria where he unsuccessfully fought extradition back to the United States.

Arrow's family and supporters had expressed concern that he could not receive a fair trial in the United States due to character assassination by the media; at least two newspapers have referred to Arrow as an "eco-terrorist", and the FBI held his capture up as an example of its success in prosecuting terrorists in a 2004 report to Congress. Judges in both Canadian and American cases against him have ruled that the term "terrorist" could not be used during the proceedings against him.

Arrow was sentenced August 12, 2008, in Portland Oregon federal court to 78 months in federal prison for his part in two arson attacks in 2001 by U.S. District Judge James A. Redden. Arrow had earlier pleaded guilty, acknowledging he set fire to cement-mixing trucks at Ross Island Sand and Gravel Company in Portland on April 15, 2001, and logging trucks at Schoppert Logging Company in Eagle Creek on June 1, 2001. Arrow's three co-defendants had each completed 41-month prison terms in 2003. The Judge increased the ordinary 60-month mandatory minimum term for arson based on a finding that Arrow committed the arson attacks in an aggravated manner calculated to influence or affect the conduct of the victims by intimidation, coercion and retaliation.

In June 2009, Arrow entered a halfway house in Portland, Oregon, after a year in federal prison.

On Mar 6, 2012, Arrow was arrested for domestic violence. However, no charges were filed as a result of this incident.

Candidacy for Portland mayor

On March 5, 2012, Arrow submitted a completed nominating petition for the office of mayor of Portland and was added to the register of candidates.

On April 18, 2012, during an environmentally themed Portland mayoral debate, Arrow made a scene and was shouted down by the Portland, Oregon crowd and asked to return to his seat.

In the non-partisan primary, Arrow placed eighth out of twenty-three candidates with 916 votes, 0.68% of the votes cast.

See also
 Veganarchism
 Raw veganism
 Jeff Luers - environmentalist sentenced to twenty-two years for SUV arson attacks in Eugene, released after serving ten
 Marius Mason - activist sentenced to twenty-two years for arson
 Direct action
 Green Scare
 Operation Backfire (FBI)
 Eco-terrorism

References

External links
Tre Arrow's web site

1974 births
American people convicted of arson
American environmentalists
Earth Liberation Front
Living people
People extradited from Canada to the United States
Oregon Greens
American anarchists
Politicians from Portland, Oregon
Green anarchists

Tre Arrow


The Quaternary glaciation, also known as the Pleistocene glaciation, is an alternating series of glacial and interglacial periods during the Quaternary period that began 2.58 Ma (million years ago) and is ongoing. Although geologists describe this entire period up to the present as an "ice age", in popular culture this term usually refers to the most recent glacial period, or to the Pleistocene epoch in general. Since Earth still has polar ice sheets, geologists consider the Quaternary glaciation to be ongoing, though currently in an interglacial period.

During the Quaternary glaciation, ice sheets appeared, expanding during glacial periods and contracting during interglacial periods. Since the end of the last glacial period, only the Antarctic and Greenland ice sheets have survived, while other sheets formed during glacial periods, such as the Laurentide Ice Sheet, have completely melted.

The major effects of the Quaternary glaciation have been the continental erosion of land and the deposition of material; the modification of river systems; the formation of millions of lakes, including the development of pluvial lakes far from the ice margins; changes in sea level; the isostatic adjustment of the Earth's crust; flooding; and abnormal winds. The ice sheets, by raising the albedo (the ratio of solar radiant energy reflected from Earth back into space), generated significant feedback to further cool the climate. These effects have shaped land and ocean environments and biological communities.

Long before the Quaternary glaciation, land-based ice appeared and then disappeared during at least four other ice ages. The Quaternary glaciation can be considered a part of a Late Cenozoic Ice Age that began 33.9 Ma and is ongoing.

Discovery

Evidence for the Quaternary glaciation was first understood in the 18th and 19th centuries as part of the scientific revolution. Over the last century, extensive field observations have provided evidence that continental glaciers covered large parts of Europe, North America, and Siberia. Maps of glacial features were compiled after many years of fieldwork by hundreds of geologists who mapped the location and orientation of drumlins, eskers, moraines, striations, and glacial stream channels to reveal the extent of the ice sheets, the direction of their flow, and the systems of meltwater channels. They also allowed scientists to decipher a history of multiple advances and retreats of the ice. Even before the theory of worldwide glaciation was generally accepted, many observers recognized that more than a single advance and retreat of the ice had occurred.

Description

To geologists, an ice age is defined by the presence of large amounts of land-based ice. Prior to the Quaternary glaciation, land-based ice formed during at least four earlier geologic periods: the Karoo (360–260 Ma), Andean-Saharan (450–420 Ma), Cryogenian (720–635 Ma) and Huronian (2,400–2,100 Ma).

Within the Quaternary ice age, there were also periodic fluctuations of the total volume of land ice, the sea level, and global temperatures. During the colder episodes (referred to as glacial periods or glacials) large ice sheets at least  thick at their maximum covered parts of Europe, North America, and Siberia. The shorter warm intervals between glacials, when continental glaciers retreated, are referred to as interglacials. These are evidenced by buried soil profiles, peat beds, and lake and stream deposits separating the unsorted, unstratified deposits of glacial debris.

Initially the glacial/interglacial cycle length was about 41,000 years, but following the Mid-Pleistocene Transition about 1 Ma, it slowed to about 100,000 years, as evidenced most clearly by ice cores for the past 800,000 years and marine sediment cores for the earlier period. Over the past 740,000 years there have been eight glacial cycles.

The entire Quaternary period, starting 2.58 Ma, is referred to as an ice age because at least one permanent large ice sheet—the Antarctic ice sheet—has existed continuously. There is uncertainty over how much of Greenland was covered by ice during each interglacial. Currently, Earth is in an interglacial period, the Holocene epoch beginning 15,000 to 10,000 years ago; this has caused the ice sheets from the Last Glacial Period to slowly melt. The remaining glaciers, now occupying about 10% of the world's land surface, cover Greenland, Antarctica and some mountainous regions. During the glacial periods, the present (i.e. interglacial) hydrologic system was completely interrupted throughout large areas of the world and was considerably modified in others. The volume of ice on land resulted in a sea level about  lower than present.

Causes

Earth's history of glaciation is a product of the internal variability of Earth's climate system (e.g., ocean currents, carbon cycle), interacting with external forcing by phenomena outside the climate system (e.g., changes in Earth's orbit, volcanism, and changes in solar output).

Astronomical cycles

The role of Earth's orbital changes in controlling climate was first advanced by James Croll in the late 19th century. Later, the Serbian geophysicist Milutin Milanković elaborated on the theory and calculated that these irregularities in Earth's orbit could cause the climatic cycles now known as Milankovitch cycles. They are the result of the additive behavior of several types of cyclical changes in Earth's orbital properties.

Firstly, changes in the orbital eccentricity of Earth occur on a cycle of about 100,000 years. Secondly, the inclination or tilt of Earth's axis varies between 22° and 24.5° in a cycle 41,000 years long. The tilt of Earth's axis is responsible for the seasons; the greater the tilt, the greater the contrast between summer and winter temperatures. Thirdly, precession of the equinoxes, or wobbles in the Earth's rotation axis, have a periodicity of 26,000 years. According to the Milankovitch theory, these factors cause a periodic cooling of Earth, with the coldest part in the cycle occurring about every 40,000 years. The main effect of the Milankovitch cycles is to change the contrast between the seasons, not the annual amount of solar heat Earth receives. The result is less ice melting than accumulating, and glaciers build up.

Milankovitch worked out the ideas of climatic cycles in the 1920s and 1930s, but it was not until the 1970s that a sufficiently long and detailed chronology of the Quaternary temperature changes was worked out to test the theory adequately. Studies of deep-sea cores and their fossils indicate that the fluctuation of climate during the last few hundred thousand years is remarkably close to that predicted by Milankovitch.

Atmospheric composition
One theory holds that decreases in atmospheric , an important greenhouse gas, started the long-term cooling trend that eventually led to the formation of continental ice sheets in the Arctic. Geological evidence indicates a decrease of more than 90% in atmospheric  since the middle of the Mesozoic Era. An analysis of  reconstructions from alkenone records shows that  in the atmosphere declined before and during Antarctic glaciation, and supports a substantial  decrease as the primary cause of Antarctic glaciation.

 levels also play an important role in the transitions between interglacials and glacials. High  contents correspond to warm interglacial periods, and low  to glacial periods. However, studies indicate that  may not be the primary cause of the interglacial-glacial transitions, but instead acts as a feedback. The explanation for this observed  variation "remains a difficult attribution problem".

Plate tectonics and ocean currents

An important component in the development of long-term ice ages is the positions of the continents. These can control the circulation of the oceans and the atmosphere, affecting how ocean currents carry heat to high latitudes. Throughout most of geologic time, the North Pole appears to have been in a broad, open ocean that allowed major ocean currents to move unabated. Equatorial waters flowed into the polar regions, warming them. This produced mild, uniform climates that persisted throughout most of geologic time.

But during the Cenozoic Era, the large North American and South American continental plates drifted westward from the Eurasian Plate. This interlocked with the development of the Atlantic Ocean, running north–south, with the North Pole in the small, nearly landlocked basin of the Arctic Ocean. The Drake Passage opened 33.9 million years ago (the Eocene-Oligocene transition), severing Antarctica from South America. The Antarctic Circumpolar Current could then flow through it, isolating Antarctica from warm waters and triggering the formation of its huge ice sheets. The weakening of the North Atlantic Current around 3.65 to 3.5 million years ago resulted in cooling and freshening of the Arctic Ocean, nurturing the development of Arctic sea ice and preconditioning the formation of continental glaciers later in the Pliocene. The Isthmus of Panama developed at a convergent plate margin about 2.6 million years ago and further separated oceanic circulation, closing the last strait, outside the polar regions, that had connected the Pacific and Atlantic Oceans. This increased poleward salt and heat transport, strengthening the North Atlantic thermohaline circulation, which supplied enough moisture to arctic latitudes to initiate the northern glaciation.

Rise of mountains
The elevation of continental surface, often as mountain formation, is thought to have contributed to cause the Quaternary glaciation. The gradual movement of the bulk of Earth's landmasses away from the tropics in addition to increased mountain formation in the Late Cenozoic meant more land at high altitude and high latitude, favouring the formation of glaciers. For example, the Greenland ice sheet formed in connection to the uplift of the west Greenland and east Greenland uplands in two phases, 10 and 5 Ma, respectively. These mountains constitute passive continental margins. Computer models show that the uplift would have enabled glaciation through increased orographic precipitation and cooling of surface temperatures. For the Andes it is known that the Principal Cordillera had risen to heights that allowed for the development of valley glaciers about 1 Ma.

Effects
The presence of so much ice upon the continents had a profound effect upon almost every aspect of Earth's hydrologic system. Most obvious are the spectacular mountain scenery and other continental landscapes fashioned both by glacial erosion and deposition instead of running water. Entirely new landscapes covering millions of square kilometers were formed in a relatively short period of geologic time. In addition, the vast bodies of glacial ice affected Earth well beyond the glacier margins. Directly or indirectly, the effects of glaciation were felt in every part of the world.

Lakes

The Quaternary glaciation produced more lakes than all other geologic processes combined. The reason is that a continental glacier completely disrupts the preglacial drainage system. The surface over which the glacier moved was scoured and eroded by the ice, leaving many closed, undrained depressions in the bedrock. These depressions filled with water and became lakes.

Very large lakes were formed along the glacial margins. The ice on both North America and Europe was about  thick near the centers of maximum accumulation, but it tapered toward the glacier margins. Ice weight caused crustal subsidence, which was greatest beneath the thickest accumulation of ice. As the ice melted, rebound of the crust lagged behind, producing a regional slope toward the ice. This slope formed basins that have lasted for thousands of years. These basins became lakes or were invaded by the ocean. The Baltic Sea and the Great Lakes of North America were formed primarily in this way.

The numerous lakes of the Canadian Shield, Sweden, and Finland are thought to have originated at least partly from glaciers' selective erosion of weathered bedrock.

Pluvial lakes

The climatic conditions that cause glaciation had an indirect effect on arid and semiarid regions far removed from the large ice sheets. The increased precipitation that fed the glaciers also increased the runoff of major rivers and intermittent streams, resulting in the growth and development of large pluvial lakes. Most pluvial lakes developed in relatively arid regions where there typically was insufficient rain to establish a drainage system leading to the sea. Instead, stream runoff flowed into closed basins and formed playa lakes. With increased rainfall, the playa lakes enlarged and overflowed. Pluvial lakes were most extensive during glacial periods. During interglacial stages, with less rain, the pluvial lakes shrank to form small salt flats.

Isostatic adjustment

Major isostatic adjustments of the lithosphere during the Quaternary glaciation were caused by the weight of the ice, which depressed the continents. In Canada, a large area around Hudson Bay was depressed below (modern) sea level, as was the area in Europe around the Baltic Sea. The land has been rebounding from these depressions since the ice melted. Some of these isostatic movements triggered large earthquakes in Scandinavia about 9,000 years ago. These earthquakes are unique in that they are not associated with plate tectonics.

Studies have shown that the uplift has taken place in two distinct stages.  The initial uplift following deglaciation was rapid (called "elastic"), and took place as the ice was being unloaded. After this "elastic" phase, uplift proceed by "slow viscous flow" so the rate decreased exponentially after that. Today, typical uplift rates are of the order of 1 cm per year or less, except in areas of North America, especially Alaska, where the rate of uplift is 2.54 cm per year (1 inch or more). In northern Europe, this is clearly shown by the GPS data obtained by the BIFROST GPS network. Studies suggest that rebound will continue for at least another 10,000 years. The total uplift from the end of deglaciation depends on the local ice load and could be several hundred meters near the center of rebound.

Winds
The presence of ice over so much of the continents greatly modified patterns of atmospheric circulation. Winds near the glacial margins were strong and persistent because of the abundance of dense, cold air coming off the glacier fields. These winds picked up and transported large quantities of loose, fine-grained sediment brought down by the glaciers. This dust accumulated as loess (wind-blown silt), forming irregular blankets over much of the Missouri River valley, central Europe, and northern China.

Sand dunes were much more widespread and active in many areas during the early Quaternary period. A good example is the Sand Hills region in Nebraska which covers an area of about . This region was a large, active dune field during the Pleistocene epoch but today is largely stabilized by grass cover.

Ocean currents
Thick glaciers were heavy enough to reach the sea bottom in several important areas, which blocked the passage of ocean water and affected ocean currents. In addition to these direct effects, it also caused feedback effects, as ocean currents contribute to global heat transfer.

Gold deposits
Moraines and till deposited by Quaternary glaciers have contributed to the formation of valuable placer deposits of gold. This is the case of southernmost Chile where reworking of Quaternary moraines have concentrated gold offshore.

Records of prior glaciation

Glaciation has been a rare event in Earth's history, but there is evidence of widespread glaciation during the late Paleozoic Era (300 to 200 Ma) and the late Precambrian (i.e. the Neoproterozoic Era, 800 to 600 Ma). Before the current ice age, which began 2 to 3 Ma, Earth's climate was typically mild and uniform for long periods of time. This climatic history is implied by the types of fossil plants and animals and by the characteristics of sediments preserved in the stratigraphic record. There are, however, widespread glacial deposits, recording several major periods of ancient glaciation in various parts of the geologic record. Such evidence suggests major periods of glaciation prior to the current Quaternary glaciation.

One of the best documented records of pre-Quaternary glaciation, called the Karoo Ice Age, is found in the late Paleozoic rocks in South Africa, India, South America, Antarctica, and Australia. Exposures of ancient glacial deposits are numerous in these areas. Deposits of even older glacial sediment exist on every continent except South America. These indicate that two other periods of widespread glaciation occurred during the late Precambrian, producing the Snowball Earth during the Cryogenian period.

Next glacial period

The warming trend following the Last Glacial Maximum, since about 20,000 years ago, has resulted in a sea level rise by about . This warming trend subsided about 6,000 years ago, and sea level has been comparatively stable since the Neolithic. The present interglacial period (the Holocene climatic optimum) has been stable and warm compared to the preceding ones, which were interrupted by numerous cold spells lasting hundreds of years. This stability might have allowed the Neolithic Revolution and by extension human civilization.

Based on orbital models, the cooling trend initiated about 6,000 years ago will continue for another 23,000 years.
Slight changes in the Earth's orbital parameters may, however, indicate that, even without any human contribution, there will not be another glacial period for the next 50,000 years.
It is possible that the current cooling trend might be interrupted by an interstadial phase (a warmer period) in about 60,000 years, with the next glacial maximum reached only in about 100,000 years.

Based on past estimates for interglacial durations of about 10,000 years, in the 1970s there was some concern that the next glacial period would be imminent. However, slight changes in the eccentricity of Earth's orbit around the Sun suggest a lengthy interglacial period lasting about another 50,000 years. Additionally, human impact is now seen as possibly extending what would already be an unusually long warm period. Projection of the timeline for the next glacial maximum depend crucially on the amount of  in the atmosphere. Models assuming increased  levels at 750 parts per million (ppm; current levels are at 417 ppm) have estimated the persistence of the current interglacial period for another 50,000 years. However, more recent studies concluded that the amount of heat trapping gases emitted into Earth's oceans and atmosphere will prevent the next glacial (ice age), which otherwise would begin in around 50,000 years, and likely more glacial cycles.

References

External links

Glaciers and Glaciation
Pleistocene Glaciation and Diversion of the Missouri River in Northern Montana

Alaska's Glacier and Icefields
 (the last 2 million years)
IPCC's Palaeoclimate(pdf)
Causes
Astronomical Theory of Climate Change
Milutin Milankovitch and Milankovitch cycles

Ice ages
Pleistocene
Pleistocene events
Glaciation

Quaternary glaciation


Sigismondo d'India (c. 1582 – before 19 April 1629) was an Italian composer of the late Renaissance and early Baroque eras. He was one of the most accomplished contemporaries of Monteverdi, and wrote music in many of the same forms as the more famous composer.

Life
D'India was probably born in Palermo, Sicily in 1582, though details of his life are lacking until around 1600.  During the first decade of the 17th century he probably traveled widely in Italy, meeting composers, acquiring patrons at various aristocratic courts, and absorbing the musical styles at each locale.  This was a time of transition in music history, as the polyphonic style of the late Renaissance was giving way to the widely diverse practices of the early Baroque, and d'India seems to have acquired an unusually broad grasp of the total stylistic practice in Italy: the expressive madrigal style of Marenzio, the grand polychoral work of the Venetian School, the conservative polyphonic tradition of the Roman School, the attempts to recover the music of the ancient world in monody and its larger vehicle, the newly developing opera, as well as the mannered, emotionally intense chromatic style of Carlo Gesualdo in Naples.  D'India is known to have been in Florence, the birthplace of opera, as well as Mantua, where Monteverdi was working.  In Naples he probably met Gesualdo, and by 1610 he was in Parma and Piacenza.  The next year, 1611, he was hired by Charles Emmanuel I, Duke of Savoy, to direct music in Turin, where he remained until 1623; these were the most productive years of his life, during which he amalgamated the disparate types of music he had heard and absorbed during the years 1600–1610 into a unified style.

After leaving Turin – apparently forced out by malicious gossip – he traveled around Italy for five months before settling for a time at the D'Este court in Modena (October 1623 to April 1624), and then moved to Rome; he seems to have died in Modena, although details on the end of his life are as sparse as they were for its beginning. A record exists of his being granted an appointment in Bavaria at the court of Maximilian I, although there is no evidence he went there; he may have died first.

Works
D'India's output consisted of music in most of the vocal forms of the time, including monodies, madrigals, and motets.  His monodies, the most numerous and significant portion of his work, were of many types:  arias, both through-composed and strophic, variations over ground basses, laments, madrigals in the monodic style, and others.

Stylistically, d'India's music has features in common with Monteverdi's music of the same period:  expressive chromaticism, dissonances with unusual resolutions, and a keen sense of drama.  Indeed, some of the longer monodies are effectively operatic scenes, though d'India did not write anything specifically called an "opera."

His polyphonic madrigals often borrow textural ideas from Gesualdo, especially in juxtaposing slow, intensely chromatic music with light, almost delirious diatonic passages; in this regard d'India was one of Gesualdo's few successors (until the 20th century).  Some of d'India's later music is unusual in showing aspects of the influence of almost all of the contemporary composers in Italy within a single piece.

Publications:

 Il primo libro de madrigali a 5 voci (1606)
 Libro secondo de madrigali a 5 voci (1611)
 Il terzo libro de madrigali a 5 voci (1615)
 Il quarto libro de madrigali a 5 voci (1616)
 Il quinto libro de madrigali a 5 voci (1616)
 Il sesto libro de madrigali a 5 voci (unknown, presumed lost)
 Settimo libro de madrigali a 5 voci (1624; no copies of the Alto part are known to exist)
 Ottavo libro de madrigali a 5 voci (1624)
 Villanelle alla napolitana, a 3 voci, libro primo (1608)
 Libro Secondo delle Villanesse alla napolitana a 3,4, et 5 voci (1612)
 Le Musiche e Balli a 4 voci (1621)
 Le Musiche di Sigismondo D'India nobile palermitano da cantar solo (1609)
 Le Musiche a 2 voci di Sigismondo D'India (1615)
 Le Musiche del sig. Sigismondo D'India (1618)
 Le Musiche del Cavalier Sigismondo D'India a 1 et 2 voci, libro quarto (1621)
 Le Musiche del Cavalier Sigismondo D'India, libro quinto (1623)
 Novi concentus ecclesiastici, 1610 [2–3vv)
 Liber secundus sacrorum concentuum, 1610 (3–6vv)
 Liber primus motectorum, 1627 (4–5vv, bc)

Sources and further reading
Bukofzer, Manfred, Music in the Baroque Era. New York: W.W. Norton & Co., 1947.
Reese, Gustave. 1959. Music in the Renaissance, revised edition. New York: W.W. Norton & Co..

Footnotes

External links

1580s births
1629 deaths
Renaissance composers
Italian Baroque composers
Composers from Sicily
Musicians from Palermo
Madrigal composers
17th-century Italian composers
Italian male classical composers
17th-century male musicians

Sigismondo d'India


Johann Jakob Falkeisen (born 1804 in Basel) is a swiss artist painter and engraver.

Biography
After studying in Paris, Falkeisen went to Milan to further his career as an artist and worked under Giovanni Migliara (1785-1837) and Louis Cherbuin (1810-1875) until 1838.
Falkeisen took the opportunity to travel to Bursa in 1843, visiting Athens and Constantinople, to work in his family's silk factory which was being run by his brother, who was also the Austrian Consul for Bursa.
The Falkeisen family bought the factory, together with Tasciyan, an Armenian dragoman from the British Embassy, from a French entrepreneur called M. Glaizal, who had started the enterprise in 1837. The Falkeisen factory was the first steam-powered silk-spinning factory in Bursa and manufactured silk thread.
Johann Falkeisen lived in Turkey until 1855 when the family factory was destroyed by fire as a result of an earthquake and he returned to Basel. He then joined the fledgling Kunstmuseum in Basel where he worked as a curator.

Bibliography
 XXV vedute dei luoghi i più interessanti del lago di Como disegnate dal vero ed incise di Johann Jakob Falkeisen, Ed. L. Ronchi, 1839
 Janet E. Buerger, French daguerreotype, International Museum of Photography at George Eastman House, Alice Swan, 1989, ISBN 9780226079851
 A Collection of Watercolours by Johann Jakob Falkeisen (1803-1883) A Swiss Artist in the Ottoman Empire, Ed. Karen Taylor Fine Art, 2018

1804 births
1883 deaths
19th-century Italian painters
Swiss painters
People from Basel

Johann Jakob Falkeisen


The London Borough of Brent () is a Lunnon burgh in Northwast Lunnon, Ingland an forms pairt o Ooter Lunnon. The major aurie is Wembley.

It borders Harrow tae the north-wast, Barnet tae the north-east, Camden tae the east an Ealing, Hammersmith and Fulham, an Kensington and Chelsea tae the sooth, an Wastmeenster tae the sooth-east. Maist o the eastren border is formit bi the Roman road Watling Street, nou the modren A5.

Brent haes a mixtur o residential, industrial an commercial land. Wembley is the major toun o Brent, which is hame tae Wembley Stadium an Wembley Arena.

Brent is in the HA an NW postcode auries. Brent postcodes include: HA0, HA1, HA3, HA9, NW2, NW6, NW9 an NW10.

The Brent Cross shoppin centre is no locatit in Brent, but in the London Borough of Barnet. It takes its name frae the River Brent which runs throu the steid.

Auries
Alperton
Brent Park
Brondesbury
Brondesbury Park
Church End
Cricklewood (note: pairt o Cricklewood is in Camden an Barnet)
Dollis Hill
Harlesden
Kensal Green
Kenton (note: pairt o Kenton is in Harrow)
Kilburn (note: pairt o Kilburn is in Camden)
Kingsbury
Neasden
North Wembley
Park Royal (note: pairt o Park Royal is in Ealing)
Preston
Queen's Park
Queensbury (an aw pairtly in Harrow)
Stonebridge
Sudbury (an aw pairtly in Harrow)
Tokyngton
Wembley
Wembley Park
Willesden

References

Airticles includin recordit pronunciations (UK Inglis)
UK locations wi ethnic minority-majority populations
1965 establishments
1960s establishments in Europe

London Borough of Brent


Independent Lens  is a weekly television series airing on PBS featuring documentary films made by independent filmmakers. Past seasons of Independent Lens were hosted by Angela Bassett, Don Cheadle, Susan Sarandon, Edie Falco, Terrence Howard, Maggie Gyllenhaal, America Ferrera, Mary-Louise Parker, and Stanley Tucci, who served two stints as host from 2012-2014.

The series began in 1999 and for three years aired 10 episodes each fall season. In 2002, PBS announced that in 2003 the series would relaunch with ITVS as the production company, under the leadership of Sally Jo Fifer and Lois Vossen, and would expand to 29 primetime episodes a year. The 2019-20 season is regarded as the 18th season for the series.

Independent Lens has won six Primetime Emmy Awards and 20 films have won News & Documentary Emmy Awards. In 2012, "Have You Heard From Johannesburg?" won for Exceptional Merit in Documentary Filmmaking; in 2007, A Lion in the House won for Exceptional Merit in Nonfiction Filmmaking; and A Lion's Trail won in 2006 for Outstanding Cultural and Artistic Programming. Three other films won for Best Documentary: Billy Strayhorn: Lush Life in 2008, Be Good, Smile Pretty in 2004, and Sing Faster: The Stagehands' Ring Cycle in 2000. Four Independent Lens films won News & Documentary Emmys in 2017 alone: The Armor of Light; (T)error; Best of Enemies; and In Football We Trust. As well, seven Independent Lens films garnered Academy Award nominations for Best Documentary: Enron: The Smartest Guys in the Room (2006),  The Weather Underground (2004),  Waste Land (2010), Hell and Back Again (2011), How to Survive a Plague (2012), I Am Not Your Negro (2016), and Hale County This Morning, This Evening (2018). Other awards conferred upon Independent Lens films include the George Foster Peabody Award, International Documentary Association Documentary Awards, Alfred I. duPont–Columbia University Award, and Sundance Film Festival Awards.

Episodes

Audience Award
Independent Lens gives out an annual Audience Award.  The TV viewing audience is invited to rate each episode of the series (through online voting), and an award is given to each season's winner. Winners of the Audience Award have included:

2003 Heart of the Sea
2004 Jimmy Scott: If You Only Knew
2005 On a Roll
2006 The Devil's Miner
2007 China Blue
2008 Na Kamalei: The Men of Hula
2009 Adjust Your Color: The Truth of Petey Greene
2010 Mine
2011 Two Spirits
2012 Strong! and Have You Heard from Johannesburg?
2013 The Revisionaries
2014 Don't Stop Believin': Everyman's Journey
2015 Kumu Hina
2016 Trapped
2017 They Call Us Monsters
2018 Unrest
2019 Out of State

See also
 POV
 Wide Angle

References

External links
Independent Lens | PBS Web site
ITVS.org Independent Lens series page
Independent Lens blog

PBS original programming
2003 American television series debuts
2000s American documentary television series
2010s American documentary television series
Peabody Award-winning television programs
Documentary film series

Independent Lens


David Ross Garner (born August 4, 1954) is an American composer of opera and vocal, instrumental, and chamber music. He is also an educator, on faculty at the San Francisco Conservatory of Music.

Early life and education
David Garner was born in South Side, Chicago. He spent most of his childhood in Lincoln, Nebraska and Lake Oswego, Oregon upon his parents' relocations for academic positions. He was given piano and cello lessons throughout his childhood and performed in recitals and with youth orchestras.

Garner attended UCLA as a Classics major for two years before deciding that music was a better match. He left in 1974 and returned home to Oregon where he pursued music privately, playing blues, rock fusion, and classical piano while he prepared to audition at the San Francisco Conservatory of Music for the piano performance program. He was originally rejected from the program and spent six months as an adult extension student before auditioning again and being accepted in 1976. He would complete his degree in piano performance in 1979.

Career

Teaching career
Concurrent with his graduating from the San Francisco Conservatory, Garner was appointed to the faculty as a part-time theory instructor, becoming full-time in 1984 when he was also named Chairman of the Musicianship and Theory Department. He remained in that position until 2000, when he elected to take a position in the Composition Department. He has remained in that position since and currently teaches composition, chamber music, and theory.

Composition career
Garner began composing in his youth, and has never had a lesson in composition. His body of work covers a wide variety of instrumentation, with his most prolific content being produced for the voice. He has produced a continuous output of compositional work since the early 1980s, shortly after becoming a faculty member at the San Francisco Conservatory. Garner's compositions have won multiple awards and grants, including First Place for the American Prize in Composition in 2015 and two Silver Medals from the Global Music Awards for Spoon River Songs and Surviving: Women's Words.

Garner developed a compositional technique for his String Quartet No. 2 which he calls Tonal Serialism. He describes it as "a method of musical composition that uses precepts of the 12-tone techniques developed by Arnold Schoenberg and the Second Viennese School with one important difference: where 'classical serialism' seeks to obscure tonal centricity and favor 'free' tonality, tonal serialism preserves harmonic and structural elements of traditional tonal music, most notably a purposeful gravitation toward a tonal center through the coincidence of vertical consonance and dissonance."

Garner's work is frequently commissioned by performers and organizations, and his compositions have been recorded on the Centaur and Pentatone labels, in addition to self-produced recordings and a release produced by Quadre Music Group. He is also the resident composer for Ensemble for These Times, a chamber music group whose work focuses on contemporary repertoire.

Operas
Mary Pleasant at Land's End is Garner's first full-length opera, composed of two acts and set to a libretto by Mark Hernandez, also an alumnus of the San Francisco Conservatory of Music. The work was commissioned by Opera Parallèle. The opera gives an account of Mary Ellen Pleasant, a daughter of slaves who assisted with the Underground Railroad before moving West to San Francisco's Barbary Coast. The opera explores Pleasant's significance as an integral part of the founding of San Francisco and the state of California, as she fought to ensure the civil rights of black settlers.

According to librettist Mark Hernandez, the opera "traces much of Pleasant's astonishing life, beginning with her days as a shepherd for the Underground Railroad. Arriving in San Francisco, she becomes a beloved leader in the young city. Eventually, this daughter of slaves stands as one of the richest and most influential individuals of the time. Her championing of people and causes, however, brings her into conflict with a more familiar face of wealth and power, and the ensuing struggle plays out in a notorious courtroom drama that mesmerizes the public. Sensationalist press coverage demonizes Pleasant, playing on attitudes towards her race and gender. An essential figure in the founding of San Francisco, and indeed the state of California, she is forgotten even as the city bursts into world prominence."

Set in the 1880s, Mary Pleasant at Land's End is composed of two acts (approximately two hours of music total), and calls for four principal artists, six comprimario artists, and mixed chorus. The music is replete with the soaring vocalism for which Garner is so widely admired. He uses an eclectic mix of musical styles, including quotes from popular music of the 1870s and 1880s, along with a large amount of percussion and ostinato. Much of the percussion employs traditional drumming patterns of the Caribbean, which Garner uses to represent the four major characters. Hernandez's libretto draws on language and circumstances of the time, drawing on the historical perspective gathered in Lynn M. Hudson's book, "The Making of 'Mammy Pleasant'." Hernandez "felt it was important that it be as [historically] accurate as possible."

A full workshop of the opera was presented on January 14, 2017 at the San Francisco Conservatory of Music. The opera is slated to be the first major opera to come out of a conservatory for more than 100 years.

Garner's previous operas include Daughter of Night (2010), and The Money Tree (1999), both one-act operas.

Songs and vocal music
Music involving the voice makes up the majority of Garner's works. In this genre, Garner has been consistently lauded for his careful attention to setting text, his skill described as "getting to the semantic core of each of the poems he has set." His eclectic background in musical styles informs his accompaniments, displaying rhythmic and melodic elements which support the texts of his pieces. He has written for a cappella voice, voice and piano, voice and chamber ensemble, and for choral ensembles.

Co-founder of the chamber group Ensemble for These Times, Garner composed four song cycles as part of their Jewish Music & Poetry Project: Chanson für Morgen (2011–12), Phönix (2013), Song is a Monument (2014), and Mein blaues Klavier (2015). The cycles were recorded by the ensemble under the project name Surviving: Women's Words, released on Centaur Records in April 2016.

From 2007 to 2013, he worked with Iranian American soprano Raeeka Shehabi-Yaghmai to compose piano accompaniments and orchestrations of Persian melodies for the Persian Melody Project. Yaghmai purposely sought out Garner as someone who would merge the sound and techniques of Western composition to the melodies originating in the Middle East. The Project has currently produced eighteen songs, with five pieces receiving their orchestrated world premiere with Oakland East Bay Symphony in 2008. Ten of the songs accompanied by piano have been recorded and slated for CD release in 2017.

Garner's work Phenomenal Woman was commissioned by Kathleen Sisco in 2004 and appears on Garner's CD Phenomenon: The Music of David Garner, on the Pentatone Classics label. The work was performed by Lisa Delan in May 2010 for Jazz at Lincoln Center.

Instrumental music
Garner's instrumental music includes works for solo and duo piano, chamber music, and orchestral music.

His String Quartet No. 2 was commissioned by the 2014 San Francisco-Shanghai International Chamber Music Festival. The piece won the 2015 American Prize in Composition in the Chamber Music Professional Division. His first quartet (String Quartet No. 1) was commissioned by the Picasso Quartet and was premiered in 2009.

Selected compositions

Three Blake Settings, for soprano and piano (1985)
Annettes-Lieder, for soprano, cello and piano (1986)
Dances From King David, for soprano and piano (1988)
Four for Shiva for piano, four hands (1988)
Trio, for three marimbas (1989)
Rorrim's Run, for violin and piano (1989)
Medea Alone, for a cappella soprano (1989)
Six Caprices of García Lorca, for tenor and piano (1990)
Three Etudes, for piano (1994)
 El Alma y la Memoria, for soprano and piano (1995)
Epitaphs, for mixed a cappella chorus (1996)
Fireflies and Willows, three songs for soprano, baritone and piano (1997)
Tombstones in the Starlight, for soprano and piano (1998)
Cinco Poemas de Jaime Manrique, for tenor and piano (1999)
The Money Tree, one-act opera (1999)
Seven Nocturnes, for mezzo-soprano and chamber orchestra (2000)
Dhurga Dances, for two pianos (2001)
Viñetas Flamencas, for tenor, piano and woodwind quintet (2001)
Five Fugues for Organ (1997-2002)
Five Chokas for the New Princess, for 3 women's voices, a cappella (2003)
Trumpet Sonata, for trumpet and piano (2004)
Cuadro Cuadrangulos, for four horns (2004)
String Quartet No. 1 (2004)

Phenomenal Woman, for soprano and piano (2004)
The Cremation of Sam McGee, for soprano, violin and piano (2005)
Piano Trio (2007)
Six Persian Songs and Melodies, for soprano and orchestra (2008)
Danny Boy, for tenor and piano (arrangement) (2008)
Compound Carmen, a burlesque for two mezzo-sopranos and speaker (2008)
Daughter of Night, one-act opera for solo mezzo-soprano and jazz ensemble (2010)
Spoon River Songs, for mezzo-soprano and piano (2010)
Chanson für Morgen, for soprano and piano (2011)
Vilna Poems, for soprano, clarinet, cello and piano (2012)
Phönix, for soprano and piano (2013)
String Quartet No. 2 (2013)
Six (more) Persian Songs and Melodies, for soprano and orchestra (2013)
Cello Capriccio, for cello and piano (2014)
Three Carols, for soprano, baritone, oboe, percussion and strings (2014)
Song is a Monument, for soprano, cello and piano (2014)
Mein blaues Klavier, for soprano, cello and piano (2015)
Auld Lang Syne, for soprano, cello and piano (arrangement) (2015)
Mary Pleasant at Land's End, full 2-act opera (2016)
Jump. I will catch you, for mezzo-soprano, cornet, double bass and harp (2016)
Trio for 5 Instruments, for oboe, English horn, clarinet in A, bass clarinet, and double bass (2017)

Discography
2005 – Citrus. Includes Cuadro Cuadrangulos. Works by Francisco de Paula Aguier, David Garner, Nathan Pawelek, Mark Adam Watkins, Christopher Wiggins, Daniel Wood. Performed by Meredith Brown, Alex Camphouse, Nathan Pawelek, Daniel Wood. Quadre Music Group 733792657229.

2008 – And If the Song Be Worth a Smile. Includes Annettes-Lieder. Works by William Bolcom, David Garner, Gordon Getty, Jake Heggie, Luna Pearl Woolf. Performed by Kristin Pankonin, Matt Haimovitz, Susanne Mentzer, Lisa Delan. PENTATONE PTC 5186099.

2009 – Phenomenon:The Music of David Garner. Includes excerpts from Spoon River Songs, Viñetas Flamencas, Fireflies and Willows, Phenomenal Woman. Performed by Kristin Pankonin, Lisa Delan, Stephanie Friede, William Stone, Francsico Araiza, Susanne Mentzer. PENTATONE PTC 5186301.

2013 – The Hours Begin to Sing. Includes Vilna Poems. Performed by Lisa Delan, Kristin Pankonin, Matt Haimovitz, David Krakauer,. PENTATONE PTC 5186459.

2013 – Spoon River Songs. Performed by Catherine Cook and Kristin Pankonin. David Garner 888174568966.

2015 – December Celebration: New Carols by Seven American Composers. Includes Three Carols. Works by Mark Adamo, William Bolcom, John Corigliano, David Garner, Gordon Getty, Jake Heggie, Luna Pearl Woolf. Performed by Lisa Delan, Lester Lynch, Steven Bailey, Dawn Harms, Musicians of the New Century Chamber Orchestra, Volti Chorus. PENTATONE PTC 5186537.

2016 – Out of the Shadows: Rediscovered American Art Songs. Includes Auld Lang Syne. Works by Paul Bowles, David Garner, Gordon Getty, Paul Nordoff, Stephen Paulus. Performed by Lisa Delan, Kevin Korth, Matt Haimovitz. PENTATONE PTC 5186572.

2016 – Surviving: Women's Words. Includes Chanson für Morgen, Mein blaues Klavier, Phönix, Song Is a Monument. Performed by Nanette McGuiness, Dale Tsang, Adaiha Somer, Ensemble for These Times. Centaur Records CEN 3490.

Awards and grants
2016 – Silver Medal, Global Music Awards, Surviving: Women's Words

2016 – Silver Medal, Global Music Awards, Spoon River Songs

2015 – First Prize, American Prize in Composition, String Quartet No. 2

2015 – Faculty Development Grant, for recording Surviving: Women's Words

2014 – Opera Parallèle, Grant Award for creation of Mary Pleasant at Land's End

2014 – Hal Leonard Labor of Love Composition Contest, for Cinq Hommages

2013 – Nomination, American Academy of Arts and Letters Award in Music

2012 – Faculty Development Grant, for recording Spoon River Songs

1997 – Sarlo Family Foundation Award for Excellence in Teaching

References

21st-century classical composers
American classical composers
San Francisco Conservatory of Music faculty
1954 births
Living people
20th-century classical composers
American male classical composers
University of California, Los Angeles alumni
Musicians from Lincoln, Nebraska
People from Lake Oswego, Oregon
San Francisco Conservatory of Music alumni
Classical musicians from California
20th-century American male musicians
21st-century American male musicians

David Garner (composer)


Made of Honor (Made of Honour in the United Kingdom, Ireland, Canada, and Australia) is a 2008 American romantic comedy movie directed by Paul Weiland and written by Adam Sztykiel, Deborah Kaplan, and Harry Elfont. The movie stars Patrick Dempsey, Michelle Monaghan, and Sydney Pollack.

The plot follows a lifelong playboy who falls in love with his best friend, only to have her get engaged and ask him to be her maid of honor. It was released by Columbia Pictures in the United States on May 2, 2008. Critics gave the movie negative reviews because of its formulaic humor and script. Yet the movie earned $106.4 million worldwide against a $40 million budget making it a box office success. It was released on DVD on September 16, 2008.

Cast

 Patrick Dempsey as Thomas "Tom" Bailey, Jr.
 Michelle Monaghan as Hannah
 Kevin McKidd as Colin McMurray
 Kathleen Quinlan as Joan
 Sydney Pollack as Thomas Bailey, Sr.
 Chris Messina as Dennis
 Kadeem Hardison as Felix
 Richmond Arquette as Gary
 Busy Philipps as Melissa
 Kristen Schaal as Stephanie
 Sarah Wright as Sexy blonde
 Emily Nelson as Hilary
 James Sikking as Reverend Foote
Christine Barger as Psychoblogger
 Danny Woodburn as Tiny Shorts Guy
 Beau Garrett as Gloria
 Kelly Carlson as Christie Bailey
 Valerie Edmond as Kelly
 Hannah Gordon as Deirdre McMurray
 Eoin McCarthy as Ewan
 Clive Russell as Finlay
 Mary Birdsong as Sharon
 Murray McArthur as Driver in Scotland
 Grant Thomson as Huge Scottish Football Player

2008 romantic comedy movies
American romantic comedy movies
British romantic comedy movies
Columbia Pictures movies
2000s English-language movies
Movies directed by Paul Weiland

Made of Honor


The Sarda Primitiva is an indigenous breed of domestic goat from the Mediterranean island of Sardinia, off the west coast of Italy. It is quite distinct from the better-known Sarda breed of goat. It is raised in the mountainous areas of  the historic sub-regions of Ogliastra, of Sarrabus-Gerrei and of Sulcis-Iglesiente. It is one of the forty-three autochthonous Italian goat breeds of limited distribution for which a herdbook is kept by the Associazione Nazionale della Pastorizia, the Italian national association of sheep- and goat-breeders.

At the end of 2013 the registered population was 5399.

References

Goat breeds
Dairy goat breeds
Goat breeds originating in Italy

Sarda Primitiva


The Vienna Public Library, also known as Vienna Carnegie Library, is a Carnegie library at 401 Poplar St. in Vienna, Illinois. It was built in 1911 with a $5000 grant from the Carnegie Foundation. The brick building, designed by local architect Thomas Clymer, features a tall flight of stairs leading to the front entrance; two pilasters flank the staircase. The building provided a permanent home for Vienna's library program, which was established in 1895 and had rotated through a number of local buildings prior to 1911. County medical services have also been based in the library: The American Red Cross used the building as its headquarters during a 1917 influenza outbreak, and a trachoma clinic operated in the basement from 1936 to 1964. The building has also been used as a gym, a headquarters for city services, and a meeting place for several women's organizations and the Johnson County Historical Society.

The library was added to the National Register of Historic Places on January 24, 1995. It is one of two buildings on the National Register in Johnson County, along with the Johnson County Courthouse.

Notes

External links

Library buildings completed in 1911
Buildings and structures in Johnson County, Illinois
Carnegie libraries in Illinois
Education in Johnson County, Illinois
Public libraries in Illinois
Libraries on the National Register of Historic Places in Illinois
1911 establishments in Illinois
National Register of Historic Places in Johnson County, Illinois

Vienna Public Library


Lakana, also known as la'kana or laka, are traditional outrigger canoes of the Malagasy people of Madagascar. It is a single-outrigger canoe with a dugout main hull.

It is traditionally a sailing vessel, but most  lakana are now equipped with motor engines. The sailing rig could be one of two types. An Austronesian square-sail is more common (e.g. in Ambaro Bay). This rig is limited to largely downwind use, has limited ability to sail with the wind on the beam and no windward capability. In ordinary use, they are sailed out to the fishing grounds on the land breeze that occurs in the morning and then return on the sea breeze that starts later in the day. The lateen rig is used for larger lakana, with examples found in, for instance, Narindra Bay. The lateen rig allows a lakana to sail closer to the wind, so giving some windward performance.

The boat is often referred to by the general French term "pirogue", which can include boats with no outriggers. The technology was adapted in neighboring East Africa, like the Tanzanian ngalawa and the Fulani laana.

These are made from Farafatsy wood (Givotia madagascariensis (Euphorbiaceae)).  Its outrigger is of Mafaiboha wood (Commiphora mafaidoha (Burseraceae)) though locals prefer the Hazomalany wood  (Hazomalania voyronii of the family of Hernandiaceae).

See also
Jukung
Proa
Va'a

Nptes

References

Types of fishing vessels
Sailing ships
Outrigger canoes
Indigenous boats

Lakana


Eisaku Noro Company, Ltd. is a yarn manufacturer located in the Aichi Prefecture of Japan. The company produces yarns for handcrafting under the Noro brand name, as well as machine yarns for textile production using the Eisaku Noro label. The company was founded over forty years ago by Eisaku Noro. The handcrafting yarns in particular are well known for their vivid colors and combinations of diverse fiber types. They differ from a number of other manufactured yarns in the industry by having lengthier spans of color in the runs, causing distinctive striping patterns, as well as being partially spun by hand versus being produced completely by machines. In 2012, Noro Knitting Magazine initiated publication, which features knit and crochet patterns specifically designed for use with the yarns.

Founder
Eisaku Noro has had a love of painting since childhood, and into adulthood. He won a gold prize during his junior year of school in a drawing competition, and his art teacher tried to persuade his parents to encourage him to become a professional painter. He attributes his skill using color combinations to having been able to observe nature in an unspoiled area of Japan where he grew up.

He attended and graduated from Matsusaka Technical High School located on Honshu island in the Mie prefecture. Afterwards, he worked for two wool spinning companies, each producing specialty yarn. During this eighteen-year period, he gained production skills as well as managerial knowledge. He decided to leave and go into business on his own in order to implement his own ideas and creativity.

Production
All animal fibers that are used in the yarns come from certified organic farms, from international sources such as Australia, the Falkland Islands and South Africa. Eisaku Noro is personally involved with inspecting all aspects of production, from visiting the animal farms to checking the machinery used and keeping restrictions on the dye processes to maintain products that are as eco-friendly as possible. He says "Friction, rubbing and heat during processing weaken the fibers in direct proportion to the length of time they are processed. By dramatically shortening this process, we are preventing damage to the enzymes in the fibers and simultaneously profiting the environment."

Differences in processing from other yarn manufacturers include the use of a single roller on the carding machine instead of the usual three, hand-feeding tufts of fiber into the carding machine, and the arrangement of specified color runs by hand. The single roller as well as the shorter bed on the spinning machine result in less twist to the single ply than other yarns, giving a variance in thickness along its length. The spinning method allows the yarns to be thirty to forty percent lighter in weight than similar yarns of the same thickness.

One of the brand's unique yarns is Silk Garden, made with a high proportion of mohair and silk. Due to their inherent properties, neither fiber has scales on the surface, which prevents them from clinging together the way wool and other fibers with scales normally would, making spinning them difficult. Eisaku Noro had to develop a new approach to working with the fibers in order to be able to spin them in high quantities, which the industry had previously thought impossible.

In order to emphasize the particular qualities of one fiber over another, for instance sheen or softness, the yarns are deliberately spun with uneven distributions of the fibers, instead of the same proportion of all the fibers throughout the skein. This results in a pleasing spotted, or nepped, appearance in the end fabric.

The signature vivid color palettes of the yarns are inspired by natural items, such as forests, flower blossoms, and seas, with complementary accents. Eisaku Noro says developing a new yarn composition of colors and materials can take up to six or seven years.

2011 earthquake
Following the devastating 2011 Tōhoku earthquake and tsunami, Eisaku Noro addressed a letter on March 18, 2011, to their US distributor, Knitting Fever, and to his customers, who desired to donate funds for relief efforts for Japan. The letter states that he and his company were fortunate not to have suffered any damages, relates the plight of the people who were affected, and expresses his gratitude for those concerned for them.

Another letter that contained a map and Lufthansa's precautionary shipping statement, originally on the European handcraft yarn distributor's website from Noro's son and operations manager Takuo Noro, gives details of the distances of their main site and dye house from the damaged Fukushima nuclear power plant, as well as the ports their company uses to import raw goods and export products. The ports, in Nagoya, Osaka, and Kobe, are located to the south or west of the company. He also states that the production facilities are all indoors and the radiation levels in these areas have not changed from normal levels. He concludes the letter saying there have been no changes in their surroundings since the earthquake and that the Japanese government was considering conducting radiation inspections on all of the nation's outgoing products.

References

External links
 Official website
 Official website - American hand crafting yarns distributor
 Official website - European industrial yarns distributor (archived)
 Aichi-brand.jp: Business profile of Eisaku Noro Company
 Biographical information about Eisaku Noro

Textile companies of Japan
Knitting tools and materials
Yarn
Crochet
Sewing
Weaving
Companies based in Aichi Prefecture
Japanese brands

Eisaku Noro Company


The Human Condition, first published in 1958, is Hannah Arendt's account of how "human activities" should be and have been understood throughout Western history. Arendt is interested in the vita activa (active life) as contrasted with the vita contemplativa (contemplative life) and concerned that the debate over the relative status of the two has blinded us to important insights about the vita activa and the way in which it has changed since ancient times. She distinguishes three sorts of activity (labor, work, and action) and discusses how they have been affected by changes in Western history.

History

The Human Condition was first published in 1958. A second edition, with an introduction by Margaret Canovan, was issued in 1998. The work consists of a prologue and six parts.

Structure

I – The Human Condition

Arendt introduces the term vita activa (active life) by distinguishing it from vita contemplativa (contemplative life). Ancient philosophers insisted upon the superiority of the vita contemplativa, for which the vita activa merely provided necessities. Karl Marx flipped the hierarchy, claiming that the vita contemplativa is merely a superstructure on the fundamental basic life-processes of a society. Arendt's thesis is that the concerns of the vita activa are neither superior nor inferior to those of the vita contemplativa, nor are they the same. The vita activa may be divided into three sorts of activities: labor, work and action.

II – The Public and the Private Realm
According to Arendt, ancient Greek life was divided between two realms: the public realm in which "action" was performed, and the private realm, site of the household ruled by its head. The mark of the private was not intimacy, as it is in modern times, but biological necessity. In the private realm, heads of households took care of needs for food, shelter, and sex. By contrast, the public realm was a realm of freedom from these biological necessities, a realm in which one could distinguish oneself through "great words and great deeds." Property requirements for citizenship reflected the understanding that unless one was able to take care of one's biological necessities, one could not be free from them and hence could not participate in the public realm as a free person among equals. Slaves and subordinated women were confined to the private realm where they met the biological necessities of the head of the household. The public realm naturally was accorded higher status than the private.

With the fall of the Roman Empire, the church took over the role of the public realm (though its otherworldly orientation gave it a character distinct from the previous public realm), and the feudal lords ran their lands and holdings as private realms. The modern period saw the rise of a third realm, the social realm. The social realm is concerned with providing for biological needs, but it does so at the level of the state. Arendt views the social realm as a threat to both the private and the public realm. In order to provide for the needs of everyone, it must invade the private sphere, and because it makes biological needs a public matter, it corrupts the realm of free action: There is no longer a realm free from necessity.

III – Labor
Arendt claims that her distinction between labor and work has been disregarded by philosophers throughout history even though it has been preserved in many European languages. Labor is human activity directed at meeting biological (and perhaps other) necessities for self-preservation and the reproduction of the species. Because these needs cannot be satisfied once and for all, labor never really reaches an end. Its fruits do not last long; they are quickly consumed, and more must always be produced. Labor is thus a cyclical, repeated process that carries with it a sense of futility. In the ancient world, Arendt asserts, labor was contemptible not because it was what slaves did; rather, slaves were contemptible because they performed labor, a futile but necessary activity. In the modern world, not just slaves, but everyone has come to be defined by their labor: We are job-holders, and we must perform our jobs to meet our needs. Marx registers this modern idea in his assertion that man is animal laborans, a species that sets itself apart from the animals not by its thinking, but by its labor. But Marx then contradicts himself in foreseeing a day when production allows the proletariat to throw off the shackles of their oppressors and be free from labor entirely. By Marx's own lights, this would mean they cease to be human. Arendt worries that if automation were to allow us to free ourselves from labor, freedom would be meaningless to us without the contrast with futile necessity that labor provides. Because we define ourselves as job-holders and have relegated everything outside of labor to the category of play and mere hobbies, our lives would become trivial to us without labor. Meanwhile, advances in production and the transformation of work into labor means that many things that were once to be lasting works are now mere disposable objects of consumption. "The solution…consists in treating all use objects as though they were consumer goods, so that a chair or a table is now consumed as rapidly as a dress and a dress used up almost as quickly as food."

IV – Work
Work, unlike labor, has a clearly defined beginning and end. It leaves behind a durable object, such as a tool, rather than an object for consumption. These durable objects become part of the world we live in. Work involves an element of violation or violence in which the worker interrupts nature in order to obtain and shape raw materials. For example, a tree is cut down to obtain wood, or the earth is mined to obtain metals. Work comprises the whole process, from the original idea for the object, to the obtaining of raw materials, to the finished product. The process of work is determined by the categories of means and end. Arendt thinks that thinking of ourselves primarily as workers leads to a sort of instrumental reasoning in which it is natural to think of everything as a potential means to some further end. Kant's claim that humanity is an end in itself shows just how much this instrumental conception of reason has dominated our thinking. Utilitarianism, Arendt claims, is based on a failure to distinguish between "in order to" and "for the sake of." The homo faber mentality is further evident with the "confusion" in modern political economy when the ancient word "worth", still present in Locke, was replaced by that of "use value" as distinct from "exchange value" by Marx. Marx also thought that the prevalence of the latter over the former constituted the original sin of capitalism. The substitution of the notion of "use value" for "worth" in economic discourse, marks the beginning of the disappearance of a notion of a kind of worth that is intrinsic, as opposed to value, which is the quality that a thing can never possess regardless of its relations to other things, and therefore depends on "market value".

Although use objects are good examples of the products of work, artworks are perhaps the best examples, since they have the greatest durability of all objects. Since they are never used for anything (least of all labor), they don't get worn down.

V – Action
"Human plurality, the basic condition of both action and speech, has the twofold character of equality and distinction. If men were not equal, they could neither understand each other, nor understand their predecessors, nor make plans for the future and foresee the needs of their successors".
The third type of activity, action (which includes both speech and action), is the means by which humans disclose themselves to others, not that action is always consciously guiding such disclosure. Indeed, the self revealed in action is more than likely concealed from the person acting, revealed only in the story of her action. These stories can be recorded in documents or monuments and be visible in everyday objects and works of art. But the stories told are very different from these "reifications", because they "tell us more about their subjects, the 'hero' in the center of each story, than any product of human hands ever tells us about the master who produced it". Action is the means by which we distinguish ourselves from others as unique and unexchangeable beings. With humans, unlike with other beings, there is not just a generic question of what we are, but of who each is individually. Action and speech are always between humans and directed toward them, and it generates human relationships. Diversity among the humans that see the action makes possible a sort of objectivity by letting an action be witnessed from different perspectives. Action has boundless consequences, often going far beyond what we could anticipate. The Greeks thought of the polis as a place where free people could live together so as to act. Philosophers like Plato, disliking action's unpredictability, modeled the ideal polis on the household. In it, the philosopher king produces the lasting work of legislation, and the people labor under him. Against attempts to replace action with work and labor, Arendt offers two solutions to the two greatest problems action creates: forgiveness to temper action's irreversibility, and promises to mitigate its unpredictability: "without being bound to the fulfillment of promises, we would never be able to keep our identities; we would be condemned to wander helplessly and without direction in the darkness of each man's lonely heart".

VI – The Vita Activa and the Modern Age
Arendt thinks that three great events determined the character of the modern age: "the discovery of America and the ensuing exploration of the whole earth; the Reformation, which by expropriating ecclesiastical and monastic possessions started the two-fold process of individual expropriation and the accumulation of social wealth; the invention of the telescope and the development of a new science that considers the nature of the earth from the viewpoint of the universe." None of these events could have been foreseen. They happened suddenly and had repercussions their instigators never intended. One effect of each of these events is to increase our alienation from the world, which Arendt thinks is far more characteristic of our age than alienation from the self (as Marx thought). The shrinking distances brought about by exploration and transportation technology makes humans more an inhabitant of the Earth than of their particular place within it. The process of expropriation kicked off by the Reformation expropriated people from their land and place in the world. Galileo's discovery of the continuity between the Earth and the universe alienates people from their world by showing that an Earth-centered view of the world is illusory, that the Sun does not rise and set as it appears to. What set Galileo apart from other heliocentric theorists is that he proved that heliocentric theories were not merely useful instruments for predicting/explaining data but proper descriptions of reality. Ironically, the outcome of the scientific revolution is that current theories have become so bizarre and that perhaps no one can grasp the world they describe. They have turned out to be useful primarily as instruments, after having shattered our previous understanding of the world. Meanwhile, science now further alienates humans from the world by unleashing processes on Earth that previously occurred only further out in the universe. Humans may have found an Archimedean point to move the world, but only by losing their place in it.

The consequence of this world alienation for philosophy has been an intense focus on the self, the one remaining sphere of certainty and knowledge. The world described by science cannot be known, or not with certainty, but the self, Descartes and other moderns thought, could be known. Though his cogito, ergo sum was anticipated by Augustine, his "dubito ergo sum" (De libero arbitrio, Chapter III) is original and a hallmark of modernity: beginning from doubt. The notion of common sense as a sense in which the other five were fitted to a common world ceded to a conception of common sense as an inner faculty with no relationship to the world, and the assumption that all humans had faculties like this in common became necessary to get theories going, but without the assumption of a common world, the assumption of faculties in common lost some warrant.

Galileo's discoveries also have implications for the 'vita activa' and 'contemplativa'. That he made the discoveries with a telescope, with a product of human work, signals an important change in science. Knowledge is acquired not simply by thinking, but by making. Homo faber and the life of work were thus exalted over the life of contemplation. Indeed, the model of scientific inquiry, the experiment, is one in which the scientist unleashes a process by which the scientist produces results. This way of doing science is naturally understood in terms of work processes. The philosopher has consequently been relegated to a position of relative insignificance, merely puzzling over what the scientists have shown. But in the end, Homo faber ceded primacy to animal laborans. The life of labor became the central concern because all of these developments took place in a Christian society that valued life far more than others have. After secularization, this vestigial preoccupation with life as the central value dominates our activities. It has made us into a society of laborers. Judged by the historical significance of what they do, the people most capable of action now are perhaps the scientists, but unfortunately, they act into nature and not human relationships, and thus their action cannot be the source of meaningfulness that illuminates human existence.  Action is still possible in free societies, but fragile.

Criticisms
According to Maurizio Passerin d'Entreves, in H. Arendt there would be two conflicting conceptions of nature: On the one hand, with the advent of industrialization and capitalism, human beings increasingly lose their subjectivity to become mere elements of nature who are exclusively interested in their own survival and in the production of perishable objects; on the other hand, it is nature that is subjugated by man, who seeks more and more to replace it with artificial objects resulting from technology, and through laboratory experiments they even try to modify the very nature of man and to extend their dominion over nature in space and time. "The modern world would thus appear to be too natural and too artificial, too much under the dominance of labor and the life-process of the species, as well as too much under the dominance of techne".

References

Footnotes

Bibliography

  (Revision as of May 2018)

1958 non-fiction books
Books by Hannah Arendt
Books about violence
Books in political philosophy
Books in philosophy of technology
University of Chicago Press books

The Human Condition