Ken Wilson (born October 20, 1947) is an American sportscaster, known primarily for his many years as a play-by-play announcer of National Hockey League and Major League Baseball games.

For twenty seasons Wilson called St. Louis Blues hockey on FoxSports Net Midwest, KPLR-TV, and KMOX radio. His famous catch phrase when calling Blues games was 'Oh Baby!', which he injected during moments of extreme excitement. Wilson called NHL games for 22 seasons, including games for ESPN and SportsChannel America, and spent 24 seasons broadcasting for several Major League Baseball teams.

Early life and education

Wilson was born in Detroit, Michigan on October 20, 1947. He played hockey and baseball as a youngster, graduating in 1965 from Redford High School, where he was an All-City baseball player. During the 1960s he was greatly influenced by Detroit Tigers' broadcaster Ernie Harwell, who would later provide him with career advice.  In 1969 he earned a degree in journalism from the University of Michigan. While attending Michigan he got his first broadcasting job at WCBY in Cheboygan, Michigan following his freshman year. He later worked at WPAG in Ann Arbor, Michigan and WPHM in Port Huron, Michigan during college, as well as at WCBN, the Michigan student radio station, where he did play-by-play of football, basketball, hockey and baseball. Wilson then attended graduate school at the University of Hawaiʻi in Honolulu, Hawaii.

Career in Hawaii
While attending graduate school, Wilson worked as a disc jockey at KKUA in Honolulu. He landed a play-by-play position with the AAA Hawaii Islanders in 1970, working with Al Michaels. During a seven-year stretch living in Hawaii (1970-1976), he not only did play-by-play for the Islanders, but became sports director of the NBC affiliate in Honolulu, called University of Hawaii basketball games on radio and TV, and did play-by-play of high school football and basketball on radio. Wilson coined the term "Fabulous Five" to describe the all-black Hawaii basketball starting five that played in the NIT and the NCAA tournament during the early 1970s. In his memoir, Dreams from My Father, President Barack Obama recalled coming of age during that time, watching this group. Two decades later the name was resurrected at the University of Michigan during the Chris Webber and Jalen Rose era. Wilson also called Cincinnati Swords (American Hockey League) games from 1972-1974. In 1974 he developed one of the first sports talk radio shows in the United States, Hawaii Sports Huddle. In 1976 he received acclaim as Hawaii Sportscaster of the Year, prior to moving on to become the first announcer for the Seattle Mariners, along with Dave Niehaus, in 1977.

Hockey play-by-play
In 1986, he became the play-by-play announcer of the NHL on ESPN in the regular season, working primarily with Bill Clement and called the 1986 Stanley Cup Finals. In 1987, on ESPN, he called Rendez-vous '87 in Quebec City, an international hockey series between the Soviet National Team and the NHL All-Stars. From 1988–1992, he called NHL games on SportsChannel America, partnered with Herb Brooks. He also did hockey play-by-play for the 1990 Goodwill Games on TBS, working with John Davidson.
After spending two seasons as the television voice of the Chicago Blackhawks (1982–1984), working with Dale Tallon, he was approached by Anheuser-Busch, then part owner of the Sports Time Cable Network, to move from covering the Blackhawks to the St. Louis Blues to partner with play-by-play announcer Dan Kelly. He called his first St. Louis Blues game on October 11, 1984, a 4–2 Blues win in Calgary. Wilson called one of the greatest games in St. Louis Blues history, known as the Monday Night Miracle, during the 1986 playoffs. His association as the Blues' play-by-play announcer continued to grow stronger after that. After Kelly's death, he became the team's TV play-by-play announcer with former Blues players Joe Micheletti, Bruce Affleck, and Bernie Federko. He earned the Missouri Sportscaster of the Year award in 2001, along with four Mid-America Emmy Awards for play-by-play. After the 2003–04 NHL season, when his contract ended after calling 1,556 National Hockey League games, he moved back to Honolulu.

Baseball play-by-play
After broadcasting baseball at the University of Michigan (Big 10) and with the Hawaii Islanders (AAA), Wilson joined the expansion Seattle Mariners in 1977. Wilson spent six seasons with the Mariners. In 1983, after moving to Chicago to broadcast hockey, Wilson worked part-time for the Chicago White Sox. Wilson also was the television voice of the Cincinnati Reds (1983–85). During the 1985 baseball season, Wilson, working with Joe Morgan, called Pete Rose's 4192nd hit that broke Ty Cobb's all-time record. Having already moved to doing hockey with the St. Louis Blues in 1984, he moved to announcing select St. Louis Cardinals games in 1985, while handling Reds' television at the same time. He continued his work in baseball, announcing Cardinals games between 1985 and 1990, California Angels' games from 1991–1995, Oakland A's games from 1996–1998, and Seattle Mariners games in 2011 and 2012. Wilson is one of a handful of broadcasters to call three perfect games during his big league career (Kenny Rogers, Texas Rangers, 1994; Phillip Humber, Chicago White Sox, 2012, and, Felix Hernandez, Seattle Mariners, 2012), as well as two no-hitters, George Brett's 3,000th hit and Gaylord Perry's 300th victory. Wilson did radio and television play-by-play for the Hawaii Winter Baseball League in 2006 and 2007. He returned to the Seattle Mariners' television booth on July 27, 2008 to fill-in for his former partner Dave Niehaus, who was being inducted to the Hall of Fame on the same day. Wilson returned to the Mariners again for the 2011 and 2012 seasons, providing radio and TV play-by-play as part of a rotating committee of announcers replacing Niehaus, who died on November 10, 2010. Wilson broadcast 2,230 games during his Major League career. He is the television voice of the Brisbane Bandits of the Australian Baseball League for the 2023-2024 season.

Other notable career
While working in Seattle, Wilson did play-by-play for Seattle Pacific University basketball and later was the radio voice of Washington State University basketball.

During his time at Sports Time, Wilson called the U.S. Olympic Basketball Team game against a team of NBA stars, played at the Hoosier Dome in Indianapolis, Indiana on July 9, 1984. The crowd of 67,678 was the largest crowd to see a basketball game in the U.S. at the time.

Wilson was also the Sports Time voice of Big 8 basketball (1984–85), partnering with Lucius Allen.

During the 1990s, he did boxing, Friday Night Ringside, with Boom Boom Mancini, including covering early Mike Tyson bouts, as well as Grand Prix Horse Jumping on ESPN.

In 1997, Wilson purchased the Zanesville (Ohio) Baseball Club of the independent Frontier League and moved the club to the western suburbs of St. Louis. He formed an investor group and served as managing partner of the River City Rascals, until selling his interest in 2004. He helped form a second group that purchased a Frontier League expansion team in 2000. That club began play in 2001 in the eastern suburbs of St. Louis as the Gateway Grizzlies. Wilson sold his ownership interest in that club in 2013.

When he moved back to Honolulu in 2004, he spent a year as a reporter on KHON-TV, prior to opening Mama's Island Pizza in 2005. Along with his wife, Wilson operated the restaurant until February 2008.

In 2008, Wilson became president of the West Coast League, a top summer collegiate wood-bat baseball league, serving in that position until 2013. The following year he helped found and became president of the Great West League, a summer collegiate wood-bat baseball league that began play in 2016.

In 2015 Wilson became owner and operator of the Portland Pickles, a team in the Great West League. The Pickles had 16 sellouts and played to 99% of capacity at Portland's Walker Stadium in their inaugural 2016 season. Following the season, Wilson divested himself of his ownership interest in the team and served full-time as the commissioner of the Great West League, until it ceased operating following the 2018 season.

In 2020 he founded the Women's Collegiate Softball League in Portland, Oregon, to begin play with the All-Star Softball Festival in July, 2022. Following the All-Star Softball Festival it was decided to disband the league.

References

1947 births
Living people
American Hockey League broadcasters
American radio sports announcers
American television sports announcers
Baseball executives
California Angels announcers
Chicago Blackhawks announcers
Chicago White Sox announcers
Cincinnati Reds announcers
Major League Baseball broadcasters
Minor League Baseball broadcasters
National Football League announcers
National Hockey League broadcasters
Oakland Athletics announcers
Philadelphia Eagles announcers
St. Louis Blues announcers
St. Louis Cardinals announcers
Seattle Mariners announcers
Sportspeople from Detroit
University of Hawaiʻi at Mānoa alumni
University of Michigan alumni
Redford High School alumni

Ken Wilson (sportscaster)


Lois Nettleton (August 16, 1927 – January 18, 2008) was an American actress. She acted in television and movies and on stage. She was a semifinalist at the 1948 Miss America pageant. She acted in dozens of television shows, including Gunsmoke and Daniel Boone.

Nettleton was born in Oak Park, Illinois. She died of lung cancer in California at age 80.

American television actors
American stage actors
American movie actors
Actors from Illinois
1927 births
2008 deaths

Lois Nettleton


A Tour Thro' the Whole Island of Great Britain is an account of his travels by English author Daniel Defoe, first published in three volumes between 1724 and 1727. Other than Robinson Crusoe, Tour was Defoe's most popular and financially successful work during the eighteenth century. Pat Rogers notes that in Defoe's use of the "literary vehicle (the 'tour' or 'circuit') that could straddle the literal and the imaginative," "Nothing...anticipated Defoe's Tour". Thanks in part to his extensive travels and colourful background as a soldier, businessman, and spy, Defoe had "hit on the best blend of objective fact and personal commentary" in his descriptions of locations and trips around Britain.

Composition and structure

The Tour is roughly divided into several tours, or circuits, around Britain. Volume 1 contains three letters. The first two, Through Essex, Colchester, Harwich, Suffolk, Norfolk, and Cambridgeshire, and through Kent Coast, Maidstone, Canterbury, Sussex, Hampshire, and Surrey, are complete circuits, both beginning and ending in London. Letter 3 describes a journey out to Land's End, while Letter 4 starts Volume 2 with the journey back. Letter 5 focuses on London and the Court. Volume 2 ends with Letters 6 and 7 describing a path out to Anglesey and back. Finally, in Volume 3, the narrator begins at the Trent or the Mersey and slowly travels northwards from the Midlands, taking up Letters 8 through 10. Finally, Scotland is divided into three convenient units for Letters 11 through 13.

Defoe did not necessarily travel to all of these locations, and certainly did not travel them as or just before he was writing the work; rather, he relied on his past journeys, likely during his time as a merchant or while working for politician Robert Harley in the early 18th century, and, at times, relied on or was inspired by other travel literature such as William Camden's Britannia and John Strype's new version of John Stow's Survey of London.

Publication history

Following the first edition, printed between 1724 and 1727, the Tour was published several more times. A decade after the original printing, printer and future novelist Samuel Richardson secured the rights and printed the second edition of the Tour, releasing an edition with substantial revisions on 13 October 1738. He was responsible for at least some of the revisions in this edition, as well as in the subsequent editions of 1742, 1748, 1753, and 1761–62. Richardson's biographers comment that a "travel book seems an odd thing for Richardson to have worked on, since few men were less travelled," and note that, "as it is revised [by Richardson], the Tour becomes less and less like a travel book".

References

External links
 A tour thro' the whole island of Great Britain, divided into circuits or journies, online edition of the first edition at Vision of Britain.
 A tour thro' the Whole Island of Great Britain (complete, but not proof-read), from Internet Archive, 6th edition, London: D. Browne [etc.], 1762.
 A tour thro' the Whole Island of Great Britain – Eastern Counties of England (partial), from Project Gutenberg, unknown edition.
 Defoe on Turnpike roads (excerpt)

1724 books
Works by Daniel Defoe
English non-fiction books
British travel books
Books about the United Kingdom

A Tour thro' the Whole Island of Great Britain


The American Society of Pension Professionals & Actuaries (ASPPA) is a national organization for career retirement plan professionals. The membership consists of the many disciplines supporting retirement income management and benefits policy. ASPPA represents those who have made a career of retirement plan and pension policy work.

ASPPA was founded in 1966 originally as an actuarial organization. Since then ASPPA has expanded and diversified its membership to include all types of pension professionals — from actuaries, consultants, and administrators to insurance professionals, financial planners, accountants, attorneys, and human resource managers.

Exam-based Professional Credentials

ASPPA offers the following examination-based professional credentials:
Tax-Exempt & Governmental Plan Consultant (TGPC)
Qualified Plan Financial Consultant (QPFC)
Qualified 401(k) Administrator (QKA)
Qualified Pension Administrator (QPA)
Certified Pension Consultant (CPC)
Fellow, Society of Pension Actuaries (FSPA)

The examination requirements for the above certifications include proficiency in the following subject areas:
Retirement Plan Fundamentals
Plan Financial Consulting
Administration Issues of Defined contribution plans
Administration Issues of Defined benefit plans
Financial and Fiduciary Aspects of Qualified Pension Plans.

Conferences

ASPPA provides or co-sponsors more than 15 major conferences in the retirement plan industry throughout the year.

See also
Employee Retirement Income Security Act
Retirement plan
Retirement plans in the United States
Human resources
Human resource consulting
Enrolled Actuary

References

External links
Home Page for ASPPA
 ASPPA Newsroom

Actuarial associations
Professional associations based in the United States


The Uninvited Guest () is a 2004 Spanish mystery thriller film and the directorial debut of Guillem Morales.  It stars Andoni Gracia, Mónica López and Francesc Garrido.

Plot
Felix (Gracia) is an architect who lives in a large house. He appears to be sensitive about visitors since being separated from his wife Vera (López). One night, a man asks to come in and use the phone. Felix allows him to do so, leaves the room for a few minutes, and then discovers the man is nowhere to be seen. For the next few days, Felix hears strange noises in the house, and suspects that the man never left. Felix calls the police who are unable to find anything. He then calls Vera and asks her to visit him, eventually resulting in them having sex. But he becomes paranoid when he thinks he hears her talking to someone in the kitchen and accidentally injures her with a knife.

Felix's suspicions are heightened when his neighbour's dog enters the house and appears to hear noises from upstairs too. His neighbour, Mrs Mueller, runs after the dog and appears to be thrown down the stairs, killing her and her dog in the process. The police determine that she merely slipped. Eventually, Felix encounters someone in his house and shoots them, leaving them locked in a room. Felix locks down his house and leaves. He naps in his car until he is awakened by two children who are looking at a picture that Felix drew of the strange man. They identify him as "Martin" and points Felix towards Martin's house.

Felix sneaks into Martin's house and sees Martin's wife; Claudia (also played by López) who is paralysed from the waist down. Felix stays hidden in her house for the next few days and discovers that Martin is an archeologist who was away on a business trip and has been unkind to Claudia since her accident. Felix becomes infatuated with Claudia and manages to speak to her by hiding in plain sight at a surprise birthday party.

Eventually, Felix alerts Claudia and Martin's friend Bruno to his presence by breaking a vase and finding a key to the locked basement. Claudia reveals to Bruno that she actually locked Martin in the basement. Felix escapes the house through the basement (in the process taking an injury from Bruno and possibly injuring/killing Bruno and Claudia in turn), which leads to a tunnel where he finds Martin's corpse. The tunnel leads to Felix's own basement. Felix climbs upstairs and discovers that the "man" he shot a few nights ago is actually Vera, who as she lays dying on the floor, reveals she is pregnant.

Cast

Release
The film premiered at the 37th Sitges Film Festival in December 2004. The film was theatrically released in Spain on 21 October 2015.

Reception
Mónica López clinched the Best Actress Award at Sitges for her double role in the film. Morales was nominated for the Goya Award for Best New Director the 20th Goya Awards for his work on The Uninvited Guest.

See also
 List of Spanish films of 2005
 List of films featuring home invasions

References

External links

2004 films
2000s Spanish-language films
Spanish thriller films
2004 directorial debut films
Rodar y Rodar films
2000s Spanish films

The Uninvited Guest (2004 film)


The blue-spotted salamander (Ambystoma laterale) is a mole salamander native to the Great Lakes states and northeastern United States, and parts of Ontario and Quebec in Canada. Their range is known to extend to James Bay to the north, and southeastern Manitoba to the west.

Description
Blue-spotted salamanders are between  in length, of which the tail comprises 40%. Their skin is bluish-black, with characteristic blue and white flecks on its back, and bluish-white spots on the sides of its body and tail. They have elongated bodies. The vent is typically black, which contrasts with the paler belly. Larvae that have transformed may have yellow splotches; these turn blue once the individual becomes terrestrial. Occasionally, a melanistic individual may be found in the wild.

They have long toes: four on the front feet and five on the hind feet. Typically, specimens will have 12–14 costal grooves. Males tend to be smaller than females, though they have longer, flattened tails.

Habitat
Blue-spotted salamanders are primarily found in moist, deciduous hardwood forests and swampy woodlands, though they can be found in coniferous forests and fields too. They prefer vernal pools that retain water into mid-summer, to ensure access to a suitable breeding habitat. Underbrush, leaf litter, rocks and logs are commonly used for shelter. Studies are beginning to show that habitat selection may also be affected by factors such as light pollution and chemical hues.

Reproduction
Eggs are laid in small agglomerations attached to twigs, rocks or plants at the edge of a woodland pond or ditch. Clutches average a dozen eggs, and females may lay up to 500 eggs yearly. Males and females first mate when two years old. Breeding occurs in early spring near vernal pools.

Eggs take about one month to hatch. At hatching, larvae have a well-developed mouth and eyes. Front limbs form at two weeks, and hind limbs form at three weeks. It will fully transform to its terrestrial state by late summer.

Blue-spotted salamanders are known to be associated with unisexual (all-female) populations of ancient origin. The unisexual females often look like blue-spotted salamanders but have hybrid genomes and require sperm from a co-occurring, related species to fertilize their eggs and initiate development. Usually the eggs then discard the sperm genome and develop asexually (i.e., gynogenesis, with premeiotic doubling); however, they may incorporate the genome from the sperm into the resulting offspring. Sperm incorporation commonly takes the form of genome addition (resulting in ploidy elevation in the offspring), or genome replacement, wherein one of the maternal genomes is discarded. This unique mode of reproduction has been termed kleptogenesis by Bogart and his colleagues.

Relationship with Tremblay's salamander
Female Tremblay's salamanders (Ambystoma tremblayi) breed with male blue-spotted salamanders from March to April. Eggs are laid singly or in small masses of 6 to 10 eggs on debris at pond bottom. The males' chromosome contribution only stimulates the egg's development; its genetic material is ignored.

References

 IUCN RangeMap
 Scientific and Common Names of the Reptiles and Amphibians of North America Explained
 Brodman, R. (2005). Ambystoma laterale, Blue-spotted Salamander, pp 614–616. In: Amphibian Declines: The Conservation Status of United States Species. M. Lannoo, (ed.), University of California Press, Berkeley. Ambystoma laterale species account and conservation status

External links
Blue Spotted Salamander (Ambystoma laterale), Natural Resources Canada

Mole salamanders
Amphibians of Canada
Amphibians of the United States
Fauna of the Great Lakes region (North America)
Fauna of the Eastern United States
Fauna of the Northeastern United States
Extant Pleistocene first appearances
Amphibians described in 1856

Blue-spotted salamander


Joseph Wilford Booth (1866–1928) was an American missionary of The Church of Jesus Christ of Latter-day Saints and educator in the early 20th-century.

Booth was born in Alpine, Utah Territory. He attended Brigham Young Academy, he then became a school teacher. He married Mary Rebecca "Reba" Moyle in the Logan Utah Temple in 1890. Booth served his first mission to the Ottoman Empire from 1898 until 1902. He returned as a missionary in 1903, this time accompanied by his wife. He was later mission president there from 1904 until 1909. He tried to start missionary work in Greece in 1905. After returning to Utah he resumed his work as a school teacher.

Booth again served as mission president starting in 1921, although the mission headquarters were later moved to Syria. His wife did not join him until 1924. Most of those who converted to Mormonism were Armenians, although some Greeks and Arabs were also converted. He died while serving as mission president in 1928.

In 1925, Booth wrote a book entitled Come Listen to A Prophet's Voice.

References
Daniel F. Boone, "J. Wilford Booth" in Arnold K. Garr, et al., ed. The Encyclopedia of Latter-day Saint History (Salt Lake City: Deseret Book, 2000), p. 124.
BYU missionary diaries bio of Booth

External links
Joseph wilford Booth's diary from at L. Tom Perry Special Collections, Brigham Young University

1866 births
1928 deaths
American leaders of the Church of Jesus Christ of Latter-day Saints
American Mormon missionaries in Syria
Brigham Young Academy alumni
19th-century Mormon missionaries
20th-century Mormon missionaries
American Mormon missionaries in Greece
Mission presidents (LDS Church)
People from Alpine, Utah
American expatriates in the Ottoman Empire
Mormon missionaries in the Ottoman Empire
Latter Day Saints from Utah

Wilford Booth


Sir Wynn Normington Hugh-Jones, LVO, (1 November 1923 – 5 July 2019), sometimes known as Sir Hugh Jones, was a British diplomat, administrator and Liberal Party official.

Hugh-Jones was born at Llangollen in north Wales where his father was Headmaster of the County School. He was educated at Ludlow Grammar School and went up to Selwyn College, Cambridge in 1941 where he got his degree in natural sciences in just two years. During the rest of Second World War he served as a Signals Officer in the Royal Air Force. He returned after the war to complete a second degree at Cambridge, in history.

Jones entered the Diplomatic Service in 1947 and served in various overseas and London postings until 1971 when he was seconded first to the Lord President's Office and then the Cabinet Office to assist in the Great Debate which preceded the United Kingdom's entry to the European Economic Community and to help steer the European Communities Bill through Parliament. He left government service in 1973 to become the Director General of the English Speaking Union (ESU).

Jones' father had been a Liberal and his political sympathies were always towards the Liberal Party, although as a public servant or ESU administrator he could not participate in national political activity. However, in 1977 he was appointed Secretary General of the Liberal Party and served in this post until 1983. From 1984-87 he was Joint Honorary Treasurer of the party. He steered the party through the period of the Lib-Lab Pact (1977–78) under the leadership of David Steel and during the formation of the Alliance with the newly founded Social Democratic Party, playing a key role in the seats' negotiations which so bedevilled the parties. Financially the late 1970s and early 1980s were difficult for the Liberal Party. Jones was forced to describe the party's position as being on a knife edge so he must have taken the Treasurer's post with misgivings in 1984.

Having been appointed a Member of the Royal Victorian Order MVO (LVO from 1985) in 1961, he was knighted for political and public service in the 1984 New Year Honours List.

After retirement Sir Hugh, as a resident of Avebury in Wiltshire became chairman of the Avebury in Danger campaign (now the Avebury Society) which fought to preserve Avebury as a World Heritage Site and living village. He also undertook lecture tours of the United States on east-west relations and other international and political questions.  He separated from his first wife, Ann with whom he had three children and later married Oswynne Jordan.

Jones published the first volume of his autobiography, Diplomacy to Politics by way of the Jungle in 2002 and the second Campaigning Face to Face in 2007. He died in July 2019 at the age of 95.

References

Interview with Malcolm McBain, 2005
Campaigning Face to Face, Book Guild Publishing, Brighton, 2007

1923 births
2019 deaths
British diplomats
Knights Bachelor
Liberal Party (UK) politicians
People from Llangollen
Royal Air Force personnel of World War II
Royal Air Force officers

Wynn Hugh-Jones


The Handley Page H.P.22 and H.P.23 were single-seat sport monoplanes produced for the 1923 Lympne light aircraft trials.  They were not successful.

Development
With prizes worth a total of £2,150, the Lympne light aircraft competition of October 1923 attracted 28 entries including the Avro 558,  de Havilland Humming Bird and Gloster Gannet.  Handley Page provided three  contestants,  at that time without a company type letter but bearing the competition numbers 23, 25 and 26. These were designed by W.H Sayers, technical editor of The Aeroplane and owed much to a glider that he, along with Frank Courtney and Maurice Wright had designed and built for the glider competition held at Itford Hill the previous year. In the later 1920s, when Handley Page began using the familiar H.P. numbering system they retrospectively named the initially similar no.23 and 25 the H.P.22 and no.26 became the H.P.23.

As originally completed, all three aircraft had much in common.   They had almost constant chord wings that carried ailerons fitted with slots for low speed control.  The fuselage was of square cross-section, with the underside tapering towards the tail.  There was no fixed tailplane, only an elevator, and both types had a fixed triangular fin.  On the H.P.22s this carried a rectangular, unbalanced rudder, but the H.P.23's rudder was rounded on the trailing edge and horn-balanced.  The open cockpit was ahead of the wings and the undercarriage had two small wheels, mounted inboard on the fuselage on the H.P.22 and outboard on the H.P.23.  The main differences between the two types came about because the H.P.23 was designed for the speed prizes rather than those for flight duration. It therefore had a much shorter span of 20 ft (6.1 m) compared with 36 ft 6 in (11.13 m) for the H.P.22.  This wing had full span leading edge slots and camber changing flaps.  Both types had their engine mounted on a pylon immediately ahead of the pilot.  The H.P.22 used a 397 cc ABC flat-twin and the H.P.23 a 750 cc Blackburne V-twin, the latter requiring slight changes to the pylon and nose.

No.23 proved impossible to get airborne, even when the little ABC was replaced with a 500 cc Douglas.  No. 25 was therefore reworked: the wing was lowered to shoulder height with its incidence increased to 7°,  the ABC engine was faired in and the cockpit faired over apart from two small viewing ports, giving a smooth nose profile.   Thus modified, with a lightweight pilot and bungee-cord takeoff assistance, allowed under the rules, no.25 took part in the competition though without success.  The H.P.23 could not be completed in time for the competition.  It was later bought by the Air Ministry and moved to Martlesham, though it never flew there.

Specifications (H.P.22)

References

Notes

Bibliography

1920s British sport aircraft
H.P.22
Aircraft first flown in 1923

Handley Page H.P.22


The Koch Institute for Integrative Cancer Research at MIT ( ; also referred to as the Koch Institute or KI) is a cancer research center affiliated with the Massachusetts Institute of Technology (MIT) located in Cambridge, Massachusetts, United States. The institute is one of seven National Cancer Institute-designated basic laboratory cancer centers in the United States.

The institute was launched in October 2007 with a $100 million grant from David H. Koch and the  research facility opened in December 2010, replacing the MIT Center for Cancer Research (CCR). The institute is affiliated with 29 MIT faculty members in both the Schools of Engineering and Science.

History
In 1974, the Center for Cancer Research was founded by 1969 Nobel laureate Salvador Luria to study basic biological processes related to cancer. The center researches the genetic and molecular basis of cancer, how alterations in cellular processes affect cell growth and behavior, and how the immune system develops and recognizes antigens. The CCR was both a physical research center as well as an organizing body for the larger MIT cancer research community of over 500 researchers. Financial support for the CCR primarily came from Center Core grant from the National Cancer Institute as well as research project grants from the National Institutes of Health, Howard Hughes Medical Institute, and foundation support. The CCR research groups were successful in identifying oncogenes, immunology of T lymphocytes, and roles of various cellular proteins. The CCR produced four Nobel Laureates: David Baltimore (1975), Susumu Tonegawa (1987), Phillip Sharp (1993), and H. Robert Horvitz (2002).

In 2006, President Susan Hockfield announced plans for a new CCR center to support and expand cancer research performed by biologists and engineers. A $20 million grant was made by the Ludwig Fund, part of Ludwig Cancer Research, in November 2007 to support a Center for Molecular Oncology to be administered by the CCR. In 2007, MIT announced it had received a $100 million gift from David H. Koch, the executive vice president of the oil conglomerate Koch Industries. Koch graduated from MIT with bachelor's and master's degrees in chemical engineering and served on the university's board of directors since 1988. Koch survived a prostate cancer diagnosis in 1992, previously donated $25 million over ten years to MIT to support cancer research, and is the namesake of the university's Koch Biology Building. The gift supported the construction of the estimated $240–$280 million facility, on the condition that MIT build the center even if fund raising fell short.

Mission
The Koch Institute emphasizes basic research into how cancer is caused, progresses, and responds to treatment. Unlike many other NCI Cancer Centers, it will not provide medical care or conduct clinical research, but it partners with oncology centers such as the Dana-Farber Cancer Institute and Massachusetts General Hospital's Cancer Center. The institute combines the existing faculty of the CCR with an equivalent number of engineering faculty to promote interdisciplinary approaches to diagnosing, monitoring, and treating cancer.

The Koch Institute has identified five areas of research that it believes are critical for controlling cancer: Developing nanotechnology-based cancer therapeutics, creating novel devices for cancer detection and monitoring, exploring the molecular and cellular basis of metastasis, advancing personalized medicine through analysis of cancer pathways and drug resistance, engineering the immune system to fight cancer.

Affiliates
The Koch Institute is home to faculty members from various departments, including Biology, Chemistry, Mechanical Engineering, and Biological Engineering; more than 40 laboratories and 500 researchers across the campus. Koch Institute faculty teach classes at MIT, as well as train graduate and undergraduate students as well as postdoctoral fellows. The Koch Institute is affiliated with two current Nobel Laureates (Horvitz and Sharp), eighteen members of the National Academy of Sciences, eight members of the National Academy of Engineering, five National Medal of Science laureates, and ten Howard Hughes Medical Institute investigators, and one MacArthur Foundation Fellowship recipient.

Notable faculty members affiliated with the Koch Institute include:

Building

The  research facility is located on the corner of Main Street and Ames Street near Kendall Square in Cambridge, Massachusetts. The building is located opposite the Whitehead Institute and Broad Institute and near the biology and chemical engineering buildings on the north-eastern end of MIT's campus. MIT broke ground on Building 76 in March 2008, a topping-off ceremony was held in February 2009, and the building was dedicated on March 4, 2011.

The building was designed by Cambridge-based architecture firm Ellenzweig, which designed several other buildings on the MIT campus. The structural engineer was LeMessurier. Designed to encourage interaction and collaboration, the building employs both dedicated lab space as well as common areas, and features a ground-floor gallery exhibiting art and technical displays related to biomedical research. The building includes facilities for bioinformatics and computing, genomics, proteomics and flow cytometry, large-scale cell and animal facilities for genetic engineering and testing, advanced imaging equipment, and nanomaterials characterization labs.

Activity since 2007
The KI remains funded by a NCI center grant as well as 110 fully funded projects. Research volume in 2017–2018 totaled $93.2 million. , notable grants include Mouse Models of Cancer Consortium, Integrative Cancer Biology Program, and the Centers for Excellence in Nanotechnology and Cancer.

In 2011, scientists at the institute pinpointed a genetic change that makes lung cancer more likely to spread around the body and may help scientists develop new drugs to fight secondary tumors.

In 2020, Alex K. Shalek, Christopher Love, Travis Hughes and Marc Wadsworth developed an updated protocol for the commonly used low-input RNA sequencing method Seq-Well, increasing output resolution by ten times.

References

External links

 Interview with Tyler Jacks

Cancer research organizations
Cancer organizations based in the United States
NCI-designated cancer centers
Massachusetts Institute of Technology research institutes
Medical and health organizations based in Massachusetts
Institute for Integrative Cancer Research, David H. Koch
2007 establishments in Massachusetts


The Turkish Van is a semi-long-haired, standardised breed of domestic cat, which was developed in the United Kingdom from a selection of cats obtained from various cities of modern Turkey, especially southeast Turkey. The breed is rare, is one of the larger breeds, and is distinguished by the Van pattern (named after the breed), where the colour is restricted to the head and the tail, and the rest of the cat is white; this is due to the expression of the piebald white spotting gene, a type of partial leucism. A Turkish Van may have blue or amber eyes, or be odd-eyed (having one eye of each colour).

The breed was first recognised as such by a breeder/fancier organisation, the UK-based Governing Council of the Cat Fancy (GCCF), in 1969, under the name Turkish cat. It was later renamed Turkish Van to better distinguish it from the Turkish Angora breed.  The Turkish Van has been claimed to be descended from (and is often confused with) the landrace of usually all-white Van cats, mostly found near Lake Van, though one of the two original breeders' own writings indicate clearly that none of the breed's foundation cats came from the Van area.

Breed standards

Breed standards allow for one or more body spots as long as there is no more than 20% colour and the cat does not give the appearance of a bicolour. A few random spots are acceptable, but they should not detract from the pattern. The rest of the cat is white. Although red tabby and white is the classic Van colour, the colour on a Van's head and tail can be one of the following: red, cream, black, blue, red tabby, cream tabby, brown tabby, blue tabby, tortoiseshell, dilute tortoiseshell (also known as blue-cream), brown-patched tabby, blue-patched tabby, and any other colour not showing evidence of crossbreeding with the point-coloured breeds (Siamese, Himalayan, etc.). Not all registries recognise all of these colour variations.

While a few registries recognise all-white specimens as Turkish Vans, most do not. The US-based Cat Fanciers' Association (CFA, the world's largest registry of pedigreed cats) and Fédération Internationale Féline (FIFe, the largest international cat fancier organisation) recognise only Van-patterned specimens, as they define the breed by both its type and pattern. The Germany-based but international World Cat Federation (WCF) considers the all-white specimens a separate breed, which it calls the Turkish , a name that is easily confused with the landrace Van cat, which is called  (two words) in Turkish. In other registries, the all-white cats are not considered show quality and are therefore actively bred against. They are prone to deafness; this is a common defect with many all-white animals.

Varieties

History

In 1955, two British photographers, Laura Lushington and Sonia Halliday, while on assignment in Turkey for the Turkish Ministry of Tourism, were given two unrelated cats in Turkey, which Lushington took home with her and allowed to mate. When the offspring came out identical to their parents – chalk white with dark tail and head markings – she set to establishing a standardised breed, originally named Turkish cat, later Turkish Van, and having it recognised by the British cat fancy organisations. Lushington returned to Turkey to find another pair, with the goal of breeding to the standard "three clear generations".

According to Lushington, her original imported cats were: Van Iskenderun Guzelli (female), a cat that came from Hatay Province, Iskenderun, and Stambul Byzantium (male), a cat given by a hotel manager in Istanbul, both in 1955. Two later additions to the gene pool were Antalya Anatolia (female), from the city of Antalya, and Burdur (male), from Burdur city, both in 1959. Lushington did not see Van city before 1963, and only stayed there "for two days and two nights". It is unclear why the name "Turkish Van" was chosen, or why one of the original 1955 kittens was named "Van Iskenderun Guzelli", given their provenance. Of the founding 1955 pair, Lushington wrote, in 1977:

It is unclear whether Lushington was intending to imply that the Hatay and Istanbul kittens had originally come from the Lake Van region, or was simply referring to the Turkish Van foundation stock as "Van kittens" for short. Neither city is near Van Province, and there is no evidence that specimens of the Van cat landrace were ever among the foundation stock.

The Turkish Van was given full pedigree status in 1969 by the Governing Council of the Cat Fancy (GCCF). Called simply the Turkish cat at this point, the name was changed in 1979 in the UK (1985 in the US) to Turkish Van to better distance the breed from the Turkish Angora cat (originally called simply Angora, an old spelling of Ankara).

The Turkish Van began to be imported into America in the 1970s. Beginning in 1983, two Florida breeders, Barbara and Jack Reark, worked to popularise this breed, and in 1985, The International Cat Association (TICA) granted the Turkish Van championship status. In 1988, the Cat Fanciers' Association (CFA) accepted the breed for registration in the miscellaneous class. The CFA later bestowed provisional status to the Van in 1993, and championship status in 1994. In that first year, four Turkish Vans attained the grand title.

Physical characteristics

The Turkish Van is a large, muscular cat with a moderately long body and tail. It has strong, broad shoulders and a short neck; the jock of the cat world. The body of a Van should neither be stocky, or thin. It should call to mind the body build of an athlete, and indeed, it is one of the largest cats. They take from 3 to 5 years to reach their full maturity and when they do males range in weight from 10 - 20 pounds with females ranging from 7 - 12 pounds.

The coat on a Turkish Van is considered semi-long-haired. While many cats have three distinct hair types in their coat – guard hair, awn hair, and down hair – the Turkish Van has no evident undercoat, only one coat. This makes their coat feel like cashmere or rabbit fur. The lack of an undercoat gives a sleek appearance. The coat is uncommonly water repellent, which makes bathing these cats a challenge, though the coat dries quickly. The breed actually has two lengths of hair, determined by season. In the winter, the hair is thick and long. In the summer, the hair sheds to leave a shorter, lighter coat.  The coat begins short at birth and grows in gradually over a period of three to five years, so that the kittens may be short-haired in appearance, with thin tails, but as they mature, the fur on the chest will fill out, and the tail will thicken into a full brush tail. The tail does not shed hair or change according to the season, but remains long and full. The ears remain feathered with fur, so that even with its summer coat, the Van looks soft and fluffy.

The Turkish Van is one of the larger cat breeds. Ideal type should feature broad shoulders with a body that is "top-heavy", that is, a cat with its center of gravity forward. The cat is moderately long, and its back legs are slightly longer than its front legs, but neither the cat itself nor its legs are so long as to be disproportionate. They have large paws and rippling hard muscle structure which allows them to be very strong jumpers. Vans can easily hit the top of a refrigerator from a cold start on the floor. They are slow to mature and this process can take 3 years, possibly longer. Vans have been known to reach  long from nose to tip of tail.

A Turkish Van may have blue eyes, amber eyes, or be odd-eyed (having one eye of each colour, a condition known as heterochromia iridis).

The breed typically has very large ears when it is a kitten, growing into its ears over time. The nose is straight and Asiatic, considered long for a semi-longhair, and with its high cheek bones, and startlingly bright eyes, it gives off quite an exotic appearance.

Behavior

The TICA standard notes several characteristics, including their high intelligence, energy and playfulness – also making them somewhat mischievous. Muscular and highly driven, they like to climb and perch high up, to study their environment, and they get around their domain with impressive athleticism. They make quite successful hunters as a consequence. Their drive makes them easily trainable with positive reinforcement - to play fetch, do tricks or walk on a leash. Although there may be efforts to move the breed towards greater sociability. a 2021 study in Finland did find that the Turkish Vans in their research showed higher than average tendencies towards fearfulness, aggression towards humans, as well as a lower stress tolerance (notable excessive grooming and litter-box problems), and lower sociability to humans and cats.

Curious, Turkish Vans want to be with their owner participating in whatever is happening, and so they may follow a person from room to room. While Turkish vans are affectionate to their family members, these are not normally lap cats. They may lie next to their owners and will happily allow themselves to be petted, but this is not a breed that tolerates being picked up and often wants to be  their owner, not  their owner.

Turkish Vans do well in a single-pet household and don't seem to suffer much from separation anxiety. When put in a home with other cats, they much prefer being around other Turkish Vans. Dogs can be no problem as long as they are introduced properly and patiently.

When it comes to families, Turkish Vans are happy to play with children, but care must be taken to make sure small ones are reminded that the breed may not enjoy being held, and may strike out if forced into such a situation. The native Van cats of Turkey have been nicknamed the "swimming cats", due to an unusual fascination with water. Despite the modern Turkish Van breed consisting almost entirely of pedigreed, indoor-only cats with no access to large bodies of water, and despite dubious connections between them and the cats of the Lake Van area, some feel that the Turkish Van has a notable affinity for water; for example, instead of swimming in a lake, they may stir their water bowls or play with water in the toilet, and some may even follow their owners into water. However, the idea that the breed likes water more than other cats may be mistaken according to some pet writers.

Genetics
The Turkish Van is largely free of genetic issues and breed-specific health defects. Unlike the Turkish Angora, the Turkish Van does not have issues with deafness.

Additionally, due to the Turkish Van's larger size, spay or neutering procedures are sometimes delayed to around 1 year of age, as an early adjustment to their hormone levels can affect how their bones and muscles grow.

The piebald spotting gene (partial leucism) appears in other different species (like the horse and the ball python). It also shows up in other breeds of cat, since the Van pattern is merely an extreme expression of the gene.

The breed's variability of eye colour is genetically caused by the white spotting factor, which is a characteristic of this breed. The white spotting factor is the variable expression of the piebald gene that varies from the minimal degree (1), as in the blue-eyed cats with white tip on the tail to the maximal degree (8–9) that results in a Van-patterned cat, when coloured marks occupy at most 20% of the white background, but the white background in the breed covers about 80% of the body. Breeding two cats together with the same level of white spotting will produce cats with a similar degree of spotting.

Van-patterned Turkish Vans are not prone to deafness, because their phenotype is associated with the Van pattern (Sv) semi-dominant gene. Solid-white Turkish Angoras carry the epistatic (masking) white colour (W) dominant gene associated with white fur, blue eyes, and often deafness. All-white cats of Turkish Van stock may share this gene. All three types of cat may exhibit eye colours that are amber, blue or odd. Deafness is principally associated with white cats having two blue eyes.

See also

 Cat coat genetics

References

External links

 Turkish Van Breed Profile
 Turkish Van Breed Article
 Turkish Van discussion group

Cat breeds originating in Turkey
Natural cat breeds
Cat breeds

Turkish Van


The Apple Filing Protocol (AFP), formerly AppleTalk Filing Protocol, is a proprietary network protocol, and part of the Apple File Service (AFS), that offers file services for macOS, classic Mac OS, and Apple II computers.  In OS X 10.8 Mountain Lion and earlier, AFP was the primary protocol for file services. Starting with OS X 10.9 Mavericks, Server Message Block (SMB) was made the primary file sharing protocol, with the ability to run an AFP server removed later in macOS 11 Big Sur. AFP supports Unicode file names, POSIX and access-control list permissions, resource forks, named extended attributes, and advanced file locking.

Compatibility
AFP versions 3.0 and greater rely exclusively on TCP/IP (port 548) for establishing communication, supporting AppleTalk only as a service discovery protocol. The AFP 2.x family supports both TCP/IP (using Data Stream Interface) and AppleTalk for communication and service discovery. Many third-party AFP implementations use AFP 2.x, thereby supporting AppleTalk as a connection method. Still earlier versions rely exclusively on AppleTalk. For this reason, some older literature refers to AFP as "AppleTalk Filing Protocol".  Other literature may refer to AFP as "AppleShare", the name of the Mac OS 9 (and earlier) AFP client.

Notable current compatibility topics are:
 Mac OS X v10.4 and later eliminates support for AFP servers that rely solely on AppleTalk for communication.
 Computers using classic Mac OS can connect to AFP 3.x servers, with some limitations. For example, the maximum file size in Mac OS 8 is 2 gigabytes. Typically, Mac OS 9.1 or later is recommended for connecting to AFP 3.x servers; for versions of original Mac OS prior to 9.1, installation of the AppleShare client 3.8.8 is required.
 AFP 3.0 and later is required for network home directories, since Mac OS X requires POSIX permissions on user home directories. Single sign-on using Kerberos requires AFP 3.1.
APFS: AFP is incompatible with sharing of APFS volumes but is still usable as a Time Machine destination in High Sierra.

History
Early implementations of AFP server software were available in Mac OS starting with System 6, in AppleShare and AppleShare IP, and in early "1.x" releases of Mac OS X Server. In client operating systems, AFP was called "Personal File Sharing", and supported up to ten simultaneous connections. These AFP implementations relied on version 1.x or 2.x of the protocol. AppleShare IP 5.x, 6.x, and the "1.x" releases of Mac OS X Server introduced AFP version 2.2. This was the first version to offer transport connections using TCP/IP as well as AppleTalk. It also increased the maximum share point size from four gigabytes to two terabytes, although the maximum file size that could be stored remained at two gigabytes due to limitations in the original Mac OS.

Changes made in AFP since version 3.0 represent major advances in the protocol, introducing features designed specifically for Mac OS X clients.

However, like the AppleShare client in original Mac OS, the AFP client in Mac OS X continues to support type and creator codes, along with filename extensions.

AFP 3.0 was introduced in Mac OS X Server 10.0.3, and was used through Mac OS X Server 10.1.5. It was the first version to use the UNIX-style POSIX permissions model and Unicode UTF-8 file name encodings. Version 3.0 supported a maximum share point and file size of two terabytes, the maximum file size and volume size for Mac OS X until version 10.2. (Note that the maximum file size changed from version 2.2, described above.) Before AFP 3.0, 31 bytes was the maximum length of a filename sent over AFP.

AFP 3.1 was introduced in Mac OS X Server version 10.2. Notable changes included support for Kerberos authentication, automatic client reconnect, NFS resharing, and secure AFP connections via Secure Shell (SSH). The maximum share point and file size increased to 8 terabytes with Mac OS X Server 10.2, and then to 16 terabytes with Mac OS X Server 10.3.

AFP 3.2 adds support for Access Control Lists and extended attributes in Mac OS X Server 10.4. Maximum share point size is at least 16 terabytes, although Apple has not published a limits document for Mac OS X Server 10.4. Apple implemented AFP 3.2 support in their AirPort Time Capsule wireless router device.

AFP 3.2+ was introduced in Mac OS X Leopard and adds case sensitivity support and improves support for Time Machine (synchronization, lock stealing, and sleep notifications).

AFP 3.3 mandates support for Replay Cache functionality (required for Time Machine).

AFP 3.4, introduced in OS X Mountain Lion, includes a minor change in the mapping of POSIX errors to AFP errors.

See Apple's Developer documentation on AFP Version Differences.

The macOS client
In Mac OS X Tiger, users can connect to AFP servers by browsing for them in the Network globe or entering an AFP Uniform Resource Locator (URL) into the Connect to Server dialog. In Mac OS X Leopard and later releases, AFP shares are displayed in the Finder sidebar. AFP URLs take the form: afp:///, where  is the server's IP address, Domain Name System (DNS) name, or Bonjour name, and  is the name of the share point.  In Snow Leopard and later, a URL of the form afp://// can be used to mount a subdirectory underneath a share point.

macOS also offers Personal File Sharing, a "light" implementation of the current version of AFP. In Mac OS X 10.4, users can share the contents of their Public folders by checking Personal File Sharing in the Sharing section of System Preferences.

AFP URLs for AppleTalk servers took the form: afp://at/:. For networks without AppleTalk zones, an asterisk (*) would be substituted for the zone name.

Third-party implementations
Third party server implementations of AFP are available from a number of companies.
An open source AFP server called Netatalk (AFP 3.4) is available for Unix-like operating systems. A range of NAS solutions integrate Netatalk to enable support for AFP.
Novell Open Enterprise Server supports AFP.
Microsoft includes AFP 2.2 server support as an option in some versions of Windows (NT, 2000 & 2003). Windows NT Server (3 and 4) only supported AppleTalk, 2000 added AppleShare over IP; Services for Macintosh (SFM), was removed from Windows Server 2008 onwards.
Novell's NetWare supports AFP.
HELIOS UB+ supports AFP on a whole array of different Unix based platforms.
The open source Filesystem in Userspace (FUSE) and command-line client implementation afpfs-ng for Linux and Unix-like operating systems
GroupLogic ExtremeZ-IP (AFP 3.3) and MacServerIP for Windows offer AFP 3.x support - now Acronis Files Connect.
Adaptec's Snap Server is a NAS with a proprietary implementation of AFP 3.1.
Jaffer is a Java implementation of AFP 3.1.
Xinet from North Plains Systems offers an AFP platform that can run on most Unix based platforms.  One of their products, ka-share, has been a main stay on Solaris SPARC and Silicon Graphics IRIX platforms.
Columbia AppleTalk Package (CAP) is a historical open source implementation of AFP and AppleTalk from Columbia University that was last updated in 1996.
supported by GVfs through gfvs-afp-volume-monitor

See also
List of network protocols
List of file systems

References

External links
File Services Manual for Mac OS X Server 10.4
Apple Filing Protocol Programming Guide
Apple Filing Protocol Reference
Mac OS X: Some Mac OS X Applications and Services Require AFP 3.0 or Later
Inside AppleTalk - original specification for the AppleTalk protocol stack including AFP
Glossary of Networking Terms
NewsFactor Network article, A
Macintosh: File System Specifications and Terms
Apple Technical Note TN1150 on the HFS Plus Volume Format
Apple shifts from AFP to SMB2

Apple Inc. file systems
Network protocols
Network file systems
Presentation layer protocols

Apple Filing Protocol


The Method of Equal Shares is a proportional method of counting ballots that applies to participatory budgeting, to committee elections, and to simultaneous public decisions. It can be used when the voters vote via approval ballots, ranked ballots or cardinal ballots. It works by dividing the available budget into equal parts that are assigned to each voter. The method is only allowed to use the budget share of a voter to implement projects that the voter voted for. It then repeatedly finds projects that can be afforded using the budget shares of the supporting voters. In contexts other than participatory budgeting, the method works by equally dividing an abstract budget of "voting power".

The Method of Equal Shares is being used in a participatory budgeting program in the Polish city of Wieliczka in 2023. The program, known as Green Million (Zielony Milion), will distribute 1 million złoty to ecological projects proposed by residents of the city. It will also be used in a participatory budgeting program in the Swiss city of Aarau in 2023 (Stadtidee).

Use in academic literature
The Method of Equal Shares was first discussed in the context of committee elections in 2019, initially under the name "Rule X". From 2022, the literature has referred to the rule as the Method of Equal Shares, particularly when referring to it in the context of participatory budgeting algorithms. The method can be described as a member of a class of voting methods called expanding approvals rules introduced earlier in 2019 by Aziz and Lee for ordinal preferences (that include approval ballots).

Motivation
The method is an alternative to the knapsack algorithm which is used by most cities even though it is a disproportional method. For example, if 51% of the population support 10 red projects and 49% support 10 blue projects, and the money suffices only for 10 projects, the knapsack budgeting will choose the 10 red supported by the 51%, and ignore the 49% altogether. In contrast, the method of equal shares would pick 5 blue and 5 red projects.

The method guarantees proportional representation: it satisfies a strong variant of the justified representation axiom adapted to participatory budgeting. This says that a group of X% of the population will have X% of the budget spent on projects supported by the group (assuming that all members of the group have voted the same or at least similarly).

Intuitive explanation

In the context of participatory budgeting the method assumes that the municipal budget is initially evenly distributed among the voters. Each time a project is selected its cost is divided among those voters who supported the project and who still have money. The savings of these voters are decreased accordingly. If the voters vote via approval ballots, then the cost of a selected project is distributed equally among the voters; if they vote via cardinal ballots, then the cost is distributed proportionally to the utilities the voters enjoy from the project. The rule selects the projects which can be paid this way, starting with those that minimise the voters' marginal costs per utility.

Example 1
The following example with 100 voters and 9 projects illustrates how the rule works. In this example the total budget equals $1000, that is it allows to select five from the nine available projects. See the animated diagram below, which illustrates the behaviour of the rule.

The budget is first divided equally among the voters, thus each voters gets $10.
Project  received most votes, and it is selected in the first round. If we divided the cost of  equally among the voters, who supported , each of them would pay . In contrast, if we selected, e.g., , then the cost per voter would be . The method selects first the project that minimises the price per voter.

Note that in the last step project  was selected even though there were projects which were supported by more voters, say . This is because, the money that the supporters of  had the right to control, was used previously to justify the selection of , , and . On the other hand, the voters who voted for  form 20% of the population, and so shall have right to decide about 20% of the budget. Those voters supported only , and this is why this project was selected.

For a more detailed example including cardinal ballots see Example 2.

Definition
This section presents the definition of the rule for cardinal ballots. See discussion for a discussion on how to apply this definition to approval ballots and ranked ballots.

We have a set of projects , and a set of voters . For each project  let  denote its cost, and let  denote the size of the available municipal budget. For each voter  and each project  let  denote the 's cardinal ballot on , that is the number that quantifies the level of appreciation of voter  towards project .

The method of equal shares works in rounds. At the beginning it puts an equal part of the budget, in each voter's virtual bank account, . In each round the method selects one project according to the following procedure.

Example 2

The following diagram illustrates the behaviour of the method.

Discussion

This section provides a discussion on other variants of the method of equal shares.

Other types of ballots

The method of equal shares can be used with other types of voters ballots.

Approval ballots

The method can be applied in two ways to the setting where the voters vote by marking the projects they like (see Example 1):
 Setting  if project  is approved by voter , and  otherwise. This assumes that the utility of a voter equals the total amount of money spent on the projects supported by the voter. This assumption is commonly used in other methods of counting approval ballots for participatory budgeting, for example in the knapsack algorithm, and typically results in selecting fewer more expensive projects.
 Setting  if project  is approved by voter , and  otherwise. This assumes that the utility of a voter equals the number of approved selected projects. This typically results in selecting more but less expensive projects.

Ranked ballots

The method applies to the model where the voters vote by ranking the projects from the most to the least preferred one. Assuming lexicographic preferences, one can use the convention that  depends on the position of project  in the voter's  ranking, and that , whenever  ranks  as more preferred than .

Formally, the method is defined as follows.

For each voter  let  denote the ranking of voter  over the projects. For example,  means that  is the most preferred project from the perspective of voter ,  is the voter's second most preferred project and  is the least preferred project. In this example we say that project  is ranked in the first position and write , project  is ranked in the second position (), and  in the third position ().

Each voter is initially assigned an equal part of the budget . The rule proceeds in rounds, in each round:

Committee elections

In the context of committee elections the projects are typically called candidates. It is assumed that cost of each candidate equals one; then, the budget  can be interpreted as the number of candidates in the committee that should be selected.

Unspent budget

The method of equal shares can return a set of projects that does not exhaust the whole budget. There are multiple ways to use the unspent budget:

Comparison to other voting methods

In the context of committee elections the method is often compared to Proportional Approval Voting (PAV), since both methods are proportional (they satisfy the axiom of Extended Justified Representation (EJR)). The difference between the two methods can be described as follow.

MES is similar to the Phragmen's sequential rule. The difference is that in MES the voters are given their budgets upfront, while in the Phragmen's sequential rule the voters earn money continuously over time. The methods compare as follows:

MES with adjusting initial budget, PAV and Phragmen's voting rules can all be viewed as extensions of the D'Hondt method to the setting where the voters can vote for individual candidates rather than for political parties. MES further extends to participatory budgeting.

Implementation
Below there is a Python implementation of the method that applies to  participatory budgeting. For the model of committee elections, the rules is implemented as a part of the Python package abcvoting.

import math

def method_of_equal_shares(N, C, cost, u, b):
    """Method of Equal Shares

    Args:
      N:     a list of voters.
      C:     a list of projects (candidates).
      cost:  a dictionary that assigns each project its cost.
      b:     the total available budget.
      u:     a dictionary; u[c][i] is the value that voter i assigns to candidate c.
             an empty entry means that the corresponding value u[c][i] equals 0.
    """
    W = set()
    total_utility = {c: sum(u[c].values()) for c in C}
    supporters = {c: set([i for i in N if u[c][i] > 0]) for c in C}
    budget = {i: b / len(N) for i in N}
    while True:
        next_candidate = None
        lowest_rho = float("inf")
        for c in C.difference(W):
            if _leq(cost[c], sum([budget[i] for i in supporters[c]])):
                supporters_sorted = sorted(supporters[c], key=lambda i: budget[i] / u[c][i])
                price = cost[c]
                util = total_utility[c]
                for i in supporters_sorted:
                    if _leq(price * u[c][i], budget[i] * util):
                        break
                    price -= budget[i]
                    util -= u[c][i]
                rho = price / util \
                        if not math.isclose(util, 0) and not math.isclose(price, 0) \
                        else budget[supporters_sorted[-1]] / u[c][supporters_sorted[-1]]
                if rho < lowest_rho:
                    next_candidate = c
                    lowest_rho = rho
        if next_candidate is None:
            break
        W.add(next_candidate)
        for i in N:
            budget[i] -= min(budget[i], lowest_rho * u[next_candidate][i])
    return _complete_utilitarian(N, C, cost, u, b, W)  # one of the possible completions

def _complete_utilitarian(N, C, cost, u, b, W):
    util = {c: sum([u[c][i] for i in N]) for c in C}
    committee_cost = sum([cost[c] for c in W])
    while True:
        next_candidate = None
        highest_util = float("-inf")
        for c in C.difference(W):
            if _leq(committee_cost + cost[c], b):
                if util[c] / cost[c] > highest_util:
                    next_candidate = c
                    highest_util = util[c] / cost[c]
        if next_candidate is None:
            break
        W.add(next_candidate)
        committee_cost += cost[next_candidate]
    return W

def _leq(a, b):
    return a < b or math.isclose(a, b)

Extensions
Fairstein, Meir and Gal extend MES to a setting in which some projects may be substitute goods.

Empirical support
Fairstein, Benade and Gal compare MES to greedy aggregation methods. They find that greedy aggregation leads to outcomes that are highly sensitive to the input format used, and the fraction of the population that participates. In contrast, MES leads to outcomes that are not sensitive to the type of voting format used. This means that MES can be used with approval ballots, ordinal ballots or cardinal ballots, without much difference in the final outcome. These outcomes are stable even when only 25%-50% of the population participates in the election.

Fairstein, Meir, Vilenchik and Gal study variants of MES both on real and synthetic datasets. They find that these variants do very well in practice, both with respect to social welfare and with respect to justified representation.

External links

 Website explaining and discussing the Method of Equal Shares in several languages

References

Vote counting
Multi-winner electoral systems
Preferential electoral systems
Proportional representation electoral systems
Participatory budgeting
Cardinal electoral systems
Approval voting

Method of Equal Shares


A Toby Jug, also sometimes known as a Fillpot (or Philpot), is a pottery jug in the form of a seated person, or the head of a recognizable person. Typically the seated figure is a heavy-set, jovial man holding a mug of beer in one hand and a pipe of tobacco in the other and wearing 18th-century attire: a long coat and a tricorn hat. The tricorn hat forms a pouring spout, often with a removable lid, and a handle is attached at the rear. Jugs depicting just the head and shoulders of a figure are also referred to as Toby jugs, although these should strictly be called "character jugs" or face jugs, the wider historical term.

The original Toby Jug, with a brown salt glaze, was developed and popularised by Staffordshire potters in the 1760s.  It is thought to be a development of similar Delft jugs that were produced in the Netherlands. Similar designs were produced by other potteries, first in Staffordshire, then around England, and eventually in other countries, both in Europe and in British colonies.

The Jug in the form of a Head, Self-portrait (1899) by Paul Gauguin is an unusual example from a painter. They were made in the 1760s in the Netherlands.

Etymology
There are competing theories for the origin of the name "Toby Jug". Although it has been suggested that the pot is named after Sir Toby Belch in Shakespeare's play Twelfth Night, or Uncle Toby in Laurence Sterne's Tristram Shandy, the most widely accepted theory is that the original was a Yorkshireman, Henry Elwes, 'famous for drinking 2,000 gallons of strong stingo beer from his silver tankard, while eating nothing....He was nicknamed Toby Fillpot, and after his death in 1761 the London publisher of popular prints, Carrington Bowles, issued a mezzotint portrait of him. It became a best-seller - as did the Burslem Potter Ralph Wood's "Toby" jugs based on the portrait.' Toby Fillpot was also the subject of a popular poem, 'The Brown Jug', by Francis Fawkes:

DEAR TOM , this brown jug, that now foams with mild ale,
(In which I will drink to sweet Nan of the Vale)
Was once Toby Fillpot, a thirsty old soul
As e'er drank a bottle or fathomed a bowl;
In boosing about 't was his praise to excel,
And among jolly topers he bore off the bell.

It chanced, as in dog-days he sat at his ease,
In his flower-woven arbour, as gay as you please,
With a friend and a pipe, puffing sorrows away,
And with honest old Stingo was soaking his clay,
His breath-doors of life on a sudden were shut,
And he died full as big as a Dorchester butt.

His body when long in the ground it had lain,
And time into clay had resolved it again,
A potter found out in its covert so snug,
And with part of fat Toby he formed this brown jug;
Now sacred to friendship, to mirth, and mild ale,
So here 's to my lovely sweet Nan of the Vale.

Cultural references
In the book and 1949 film Twelve O'Clock High a Toby Jug depicting Robin Hood is used as a signal in the officer's club, to discreetly warn aircrews that there will be a mission the following day, without revealing this to outsiders who might be visiting. The Toby Jug plays a pivotal role in the film.

A Toby Jug collector and her large collection also figure prominently in the plot of the Bravo/Netflix series Imposters.

Ma Mary discusses losing her mother's collection of Toby jugs in Series 3 Episode 3 of Derry Girls.

Popular comedian Joe Wilkinson includes a link to this Wikipedia page about Toby Jugs within his Twitter biography.

Collections
The American Toby Jug Museum is located on Chicago Avenue in Evanston, Illinois, US.

See also
SylvaC

References

External links

 American Toby Jug Museum

Liquid containers
Drinkware
Beer vessels and serving
Pottery

Toby Jug


Lisa Francesca Nand (born 24 July 1974, in Bromborough, Wirral, Merseyside) is a journalist, travel writer and broadcaster (also known as Chessy) who started off on BBC Radio before becoming a co-presenter on the Ian Collins show on the UK radio station TalkSPORT. When she was appointed in 2006 she was the first female presenter on TalkSPORT. In 2006 she was voted third favourite female national radio presenter by readers of Merry Media News. She has been published widely online (for several years she had a bi-monthly travel vlog and blog for Sky.com and was also the UK correspondent for US company STR/Hotel News Now) and in the UK press (Telegraph, Independent, The Times, Daily Mail, National Geography Traveller) and is a regular expert guest on national radio and television (a regular travel expert on LBC Radio, BBC1's Rip Off Britain, BBC2 Radio2, 5Live and local BBC stations) as well as being known for creating and presenting online travel videos.

In 2015 she directed the authored documentary, First Heartbeat, about her experiences with miscarriage, broadcast on TLC UK and Discovery International around the world.

She is a patron of the charity Thyroid UK.

References

External links
 The Lisa Francesca Nand Q&A Interview at talkSport
 Lisa Francesca Nand's journey with underactive Thyroid at Web of Stories

1974 births
Living people
People from Bromborough
English people of Indo-Fijian descent
English journalists
People educated at Varndean College

Lisa Francesca Nand


Academic Sports Association (Polish: Akademicki Związek Sportowy, AZS) is a mass students' sport organization, one of the biggest sports associations in Poland. Its main objectives are development of physical education, promotion of healthy lifestyle and physical activities among Polish youth.

Currently, AZS has around 50 000 members, students of around 200 colleges across Poland. Students, associated with the organization, can practice various kinds of sports as amateurs and as professionals. AZS sportspersons make up around 25% of members of Polish national teams, they are represented in all major sports events across the world, including the Olympic Games.

History

Early days
Akademicki Związek Sportowy was founded on 15 May 1909, during a meeting of students, which took place in Collegium Novum of the Jagiellonian University in Kraków. A student of medicine of the Jagiellonian University, Wacław Majewski, became first director of the association.

In the Second Polish Republic, AZS quickly developed into a mass organization, present in all Polish major urban areas. Number of its branches grew, and by 1939, there were seven of them:
 since 1918 in Warsaw,
 since 1919 in Poznań,
 since 1921 in Wilno and Gdańsk,
 since 1922 in Lwów and Lublin.

In the 1930s, the AZS had around 3 000 members, may of whom were renowned on the international stage. Among most famous AZS's sportspersons of the interbellum period, there were Halina Konopacka, Roger Verey, Jerzy Ustupski, Władysław Segda and Adam Papée. Most popular sports, practiced by members of the organization, were tourism, rowing, track and field, tennis, fencing and skiing.
Quick growth of the organization made it necessary to create central office of the AZS, which would coordinate activities of all local branches. It was created on 18–19 March 1923 in Warsaw, during a meeting of all representatives. First director of the central office was Stefan Grodzki.

After World War II
As soon as the war was over, AZS recreated its activities, and its main office was moved to Kraków. New branches were opened in all academic centers of Poland. In 1945, AZS became active in colleges and universities in Katowice, Łódź, Gliwice, Wrocław and Częstochowa. Next branches were opened almost every year:
 1946 – Toruń, Szczecin,
 1949 – Zabrze-Rokitnica,
 1950 – Olsztyn, Białystok,
 1955 – Opole,
 1963 – Rzeszów,
 1965 – Bydgoszcz,
 1966 – Zielona Góra,
 1968 – Koszalin,
 1969 – Kielce, Płock, Radom, Siedlce, Słupsk,
1970s – Bielsko-Biała, Gorzów Wielkopolski, Cieszyn.

Currently
Academic Sports Association is currently the most popular students organization in Poland. According to its official webpage, it has 318 clubs, active at almost all Polish colleges and universities, both private and public. At one school, there can be only one AZS organization. As of 30 September 2007, it had more than 50 000 members. Its members have won numerous medals during the biggest sporting events in the world, including the Olympic Games. It has three sports centers – in Wilkasy, in Gorki Zachodnie near Gdańsk and in Zieleniec. It carries out activities in almost all kinds of sports.

Clubs
Sports teams, affiliated with AZS, used to compete in large numbers in top Polish leagues in such sports as volleyball and basketball.
Currently, in PlusLiga, there is one team affiliated with AZS:
 AZS Olsztyn

Olympic gold medallists from AZS
 Waldemar Baszanowski – AZS AWF Warszawa
 Leszek Blanik – AZS Gdańsk
 Ryszard Bosek – AZS Warszawa
 Marek Dąbrowski – AZS Warszawa
 Magdalena Fularczyk – AZS WSG Bydgoszcz
 Arkadiusz Godel – AZS Lublin
 Sylwia Gruchała – AZS Gdańsk
 Otylia Jędrzejczak – AZS AWF Warszawa
 Robert Korzeniowski – AZS AWF Katowice
 Tomasz Majewski – AZS AWF Warszawa
 Beata Mikołajczyk – AZS WSG Bydgoszcz
 Zbigniew Zarzycki – AZS AWF Warszawa
 Adrian Zieliński – AZS WSG Bydgoszcz
 Szymon Ziółkowski – AZS Poznań

External links
 Main page of the AZS organization

1909 establishments in Poland
Sports organizations established in 1909
Student sport in Poland
European members of the FISU
Sports governing bodies in Poland

University Sports Association of Poland


Cape Mendocino is a geographic feature of the northern Californian coastline.  It is the westernmost point of the coast of California in Humboldt County.

The cape was named in the 1540s.  The name honors Antonio de Mendoza. He was the Viceroy of New Spain.

History
This It has been known as a landmark since the 16th century. Spanish ships crossed the Pacific Ocean by following the Pacific trade winds. The North Equatorial Current brought them to the North American coastline.  After landfall, the Manila galleons would sail down the coast to Acapulco in Mexico.

Francis Drake sighted Cape Mendocino in 1576.

Hasekura Tsunenaga's sailed from Japan to Cape Mendocino in 1613.  Hasekura was on a diplomatic mission.  He was traveling to the courts of Philip II of Spain and Pope Paul V.

Geology
The Cape Mendocino region is an active earthquake zone. In April 1992, three big earthquakes were centered near the cape.

The Mendocino Triple Junction is to the west of Cape Mendocino under the Pacific Ocean. It is a geologic triple junction where three tectonic plates come together. The San Andreas Fault, a transform boundary, runs south from the junction, separating the Pacific Plate and the North American Plate. To the north is the Cascadia subduction zone, where the Gorda Plate is being subducted under the edge of the North American plate.  Running west from the triple junction is the Mendocino Fracture Zone, the transform boundary between the Gorda Plate and the Pacific Plate.

References

Other websites
 United States Geological Survey (USGS), M7.2 – Cape Mendocino, 1992
 Bruke Museum, Cascadia tectonic history with map

Landforms of California
Capes of the United States
Humboldt County, California

Cape Mendocino


Jaanisaar is a 2015 Indian Hindi-language film, directed by Muzaffar Ali, and written by Javed Siddiqui, Shama Zaidi and Muzaffar Ali. Jaanisaar is a love saga of a revolutionary tawaif of Avadh, India, and a prince brought up in England, set 20 years after the first war of Indian Rebellion of 1857. The film stars Pakistani actor Imran Abbas and fashion entrepreneur Pernia Qureshi, who made her debut with the film. The film was released on 7 August 2015.

Plot
A period drama set in 1877, the film depicts the story of a revolutionary killer, Prince Amir Haydar, Noor and Mir Mohsin Sahab. Raja Amir Haydar, A Prince from a Princely State of India son of Nawab Raja Abbas Haydar. After the death of his Father he is sent to London by the British and comes  back to India after completion of his studies. Noor, a tawaif or dancer who fights against the British secretly in the organization made by Mir Mohsin. Raja Amir Haydar and Noor both fall in love and Raja Amir Haydar also participates in the freedom fight against the British alongside Noor and Mir Mohsin Sahab.

Cast

Production

Development
Jaanisaar marks the comeback of director Muzaffar Ali, who is known for his cult film Umrao Jaan (1981). The film was initially titled Raqs: The Dance Within, but was later changed to Jaanisaar. Muzaffar Ali said in an interview− "People would often ask me what 'Raqs' means, so I thought of calling the film something that was more familiar, like 'Jaanisaar'. There were also some problems with registering the name. 'Raqs' is already registered with a body, I wasn't aware of. So, we had to rename the film." The film is produced by Ali's wife, Meera, and Arno Krimmer is the executive producer. Regarding the story-line, Ali commented− "I feel our own people need to learn certain parts of our history to become more responsible citizen. History is written into two ways -- written by conqueror and the other one is the human history. I felt this story has to be told. The country needs to know this story."

Filming
The film has been entirely shot in Uttar Pradesh, mostly in Lucknow Quaiserbagh Baradari. Some scenes were filmed at the director's hometown, Kotwara (Lakhimpur-Kheri, U.P.) Ali remarked− "Jaanisaar is set in 20 years after Umrao Jaan, that is 1877. I always like to delve into the past to look at the future. I shot the film in our house." Birju Maharaj and Kumudini Lakhia have choreographed the dance sequences.

Casting
The film has Pakistani actor Imran Abbas Naqvi, his second film in Bollywood, preceded by Creature 3D. It also marks the debut of Pernia Qureshi, who is a notable fashion stylist and costume designer by profession. Regarding her appearance in the film, director Muzaffar Ali remarked, "Pernia is different. I needed a strong dancer and at the same time a fresh face. She really danced her life out into the film. She did a very good job of a revolutionary dancer."

Soundtrack
Playback singers for Jaanisaar include notable Indian and Pakistani artists such as Shreya Ghoshal, Abida Parveen and Sukhwinder Singh and famous folk singer Malini Awasthi. The music has been composed by Muzaffar Ali & Ustad Shafqat Ali Khan. Shreya Ghoshal has given her voice to 5 tracks from the album. The full album was released on 24 July 2015.

References

External links

2015 films
2010s Hindi-language films
Films about courtesans in India
Films set in the British Raj
Films directed by Muzaffar Ali

Jaanisaar


Hallin's spheres is a theory of news reporting and its rhetorical framing posited by journalism historian Daniel C. Hallin in his 1986 book The Uncensored War to explain the news coverage of the Vietnam war. Hallin divides the world of political discourse into three concentric spheres: consensus, legitimate controversy, and deviance. In the sphere of consensus, journalists assume everyone agrees. The sphere of legitimate controversy includes the standard political debates, and journalists are expected to remain neutral. The sphere of deviance falls outside the bounds of legitimate debate, and journalists can ignore it. These boundaries shift, as public opinion shifts.
Hallin's spheres, which deals with the media, are similar to the Overton window, which deals with public opinion generally, and posits a sliding scale of public opinion on any given issue ranging from conventional wisdom to unacceptable.

Hallin used the concept of framing to describe the presentation and reception of issues in public. For example, framing the use of drugs as criminal activity can encourage the public to consider that behavior anti-social. Hallin's work  which was later referred to in the controversial formulation of the concept of an opinion corridor, in which the range of acceptable public opinion narrows, and opinion outside that corridor moves from legitimate controversy into deviance.

Description

Sphere of consensus

This sphere contains those topics on which there is widespread agreement, or at least the perception thereof. Within the sphere of consensus, 'journalists feel free to invoke a generalized "we" and to take for granted shared values and shared assumptions'. Examples include such things as motherhood and apple pie. For topics in this sphere, journalists feel free to be advocating cheerleaders without having to be neutral or present any opposing view point and be disinterested observers."

Sphere of legitimate controversy

For topics in this sphere rational and informed people hold differing views within limited range. These topics are therefore the most important to cover, and also ones upon which journalists are seemingly obliged to remain disinterested reporters, rather than advocating for or against a particular view. Schudson notes that Hallin, in his influential study of the US media during the Vietnam War, argues that journalism's commitment to objectivity has always been compartmentalized. That is, within a certain sphere—the sphere of legitimate controversy—journalists seek conscientiously to be balanced and objective. The work of Walter Williams professor at the University of Missouri, Rod Petersen, advanced the idea that priming - controlling the narratives that media covers -- can be the tool that media use to get deviant news subjects into the legitimate controversial circles of new coverage.

Sphere of deviance

Topics in this sphere are rejected by journalists as being unworthy of general consideration. Such views are perceived as being out of hand unfounded, taboo, or of such minor consequence that they are not newsworthy. Hallin argues that in the sphere of deviance, 'journalists also depart from standard norms of objective reporting and feel authorized to treat as marginal, laughable, dangerous". They either avoid mentioning or ridicule the controversial subject as outside the bounds of acceptable controversy. And censor the individuals and groups who are associated with it. A simple example: a person claiming that aliens are manipulating college basketball scores might have difficulty finding sports media coverage for such a claim. A more political example: the US media regulator FCC's "Fairness Doctrine" aimed at radio stations, advocated balance between right and left political news and opinions yet specified that broadcasters didn't have to reserve any space or time for Communist viewpoints.

Uses of the terms

Craig Watkins (2001, pp. 92–4) makes use of the Hallin's spheres in a paper examining ABC, CBS, and NBC television network television news coverage of the Million Man March, a demonstration that took place in Washington, DC on October 16, 1995. Watkins analyzes the dominant framing practices – problem definition, rhetorical devices, use of sources, and images – employed by journalists to make sense of this particular expression of political protest. He argues that Hallin's three spheres are a way for media framing practices to develop specific reportorial contexts, and each sphere develops its own distinct style of news reporting resources by different rhetorical tropes and discourses.

Piers Robinson (2001, p. 536) uses the concept in relation to debates that have emerged over the extent to which the mass media serves elite interests or, alternatively, plays a powerful role in shaping political outcomes. His article reviews Hallin's spheres as an example of media-state relations, that highlights theoretical and empirical shortcomings in the 'manufacturing consent' thesis (Chomsky, McChesney). Robinson argues that a more nuanced and bi-directional understanding is needed of the direction of influence between media and the state that builds upon, rather than rejecting, existing theoretical accounts.

Hallin's theory assumed a relatively homogenized media environment, where most producers were trying to reach most consumers. A more fractured media landscape can challenge this assumption because different audiences may place topics in different spheres, a concept related to the filter bubble, which posits that many members of the public choose to limit their media consumption to the areas of consensus and deviance that they personally prefer.

See also

 Ambit claim
 Argument to moderation
 Creeping normality
 Cultural hegemony
 Door-in-the-face technique
 Political suicide
 Slippery slope
 Spiral of silence
 Third rail of politics
 Overton window

References

External links

 Rosen, Jay. "Audience Atomization Overcome: Why the Internet Weakens the Authority of the Press," PressThink.org (January 12, 2009).
 Smith, Christopher. The Sphere of Deviance WNYmedia Network, 2009.
 "Does NPR have a Liberal Bias?", On the Media (New York Public Radio) (September 14, 2012). Retrieved 11 February 2013.

Framing (social sciences)
Knowledge representation
Propaganda techniques
Journalism

Hallin's spheres


Robin Sellick (born 1967) is an Australian portrait photographer, widely regarded as "Australia's leading celebrity photographer".

Early life
The son of a miner, Sellick was born in Broken Hill in outback NSW, Australia, where, as a teenager, he gained a reputation as a "dog photographer", taking portraits of people's pets for free, before graduating to wedding portraits after moving to Adelaide in 1988. It was here, while working at a wedding portrait studio, that Sellick mistakenly developed slide film in chemicals meant for print, and thus became an accidental pioneer of cross processing, the exaggerated colours that result from the process becoming Sellick's trademark in coming years. In 1990, his exploration of this method saw him become the first person to win both of the highest awards for portraiture in Australia in the same year through the Australian Institute of Professional Photography, a feat he was to repeat the following year.

In 1992, Sellick was awarded a perfect score at the prominent 101st International Exhibition of Professional Photography in Chicago, and, that same year, used funds from a Young Achiever Award and a Queen Elizabeth II Silver Jubilee Grant to travel to New York, where he would subsequently work as an assistant for Annie Leibovitz, Mark Seliger and Mary Ellen Mark.

Career
Returning to Australia in 1994, Sellick rose to commercial prominence in the burgeoning Australian magazine market, his portraits appearing regularly in magazines such as Vogue, Marie Claire, Who Weekly and Australian Style. He was instrumental in developing a new visual aesthetic for Who Weekly as it transformed into a glossy, full-colour magazine, and his style became influential as Australia's magazine market became more sophisticated. Sellick's work has also been published internationally, appearing on the cover of magazines such as Q, NME and German Rolling Stone.

A notable campaigner against what he refers to as "the vigorous pursuit of mediocrity" in Australian photography and its commercial industry (in 1995, he notoriously told Nancy Pilcher, then editor of Vogue Australia, that her magazine was "an international embarrassment", and never worked for Vogue again), Sellick is outspoken on the "lack of identity" in Australian photography.

"In Australia, magazine photographers do one of two things: they endeavour to make photographs which resemble, as closely as possible, photographs they've seen taken by other photographers in Europe or America, otherwise known as plagiarism; and those not blessed with even that much talent choose to make photographs which will never inspire or offend anyone in any way."

- Excerpt from a speech by Robin Sellick at the National Portrait Gallery, August 2009.

Exhibitions
Sellick's first major public exhibition, "Celebrity", held at Crown Casino in Melbourne in 2006, was the highest-attended event at the casino in that year. It was also the first major exhibition of celebrity portraiture by an Australian photographer outside of the National Portrait Gallery.

The following year, Crown Casino invited Sellick back, the subsequent exhibition, "Exposing Robin Sellick", broking attendance records for the year 2007.

Books
Sellick's first book, Facing, was published in Australia in 2004 and launched at the National Portrait Gallery in Canberra.

Sellick's next book, Life & Times in the Republic of Broken Hill, a collaboration with author Jack Marx released in 2011, was something of "an antidote" to his career as a celebrity photographer, the subjects of the portraits being ordinary people from the historic mining town.

Awards
Australian Institute of Professional Photography's Don Taylor Award and Townsend Award - 1990 and 1991. Sellick was the first to win both awards at the same time.
101st International Exhibition of Professional Photography perfect score - 1992. Sellick's was the first perfect score in four years, and he was the first Australian to achieve this result.

References

External links

http://www.epson.com.au/downloads/pdf/robinsellick.pdf
Australian Institute of Professional Photography

1967 births
Living people
People from Broken Hill, New South Wales
Australian photographers

Robin Sellick


Charlotte Corday (Marie-Anne Charlotte de Corday d'Armont, 27 July 1768 – 17 July 1793), was a figure of the French Revolution. In 1793, she was sent to the guillotine for the assassination of Jacobin leader Jean-Paul Marat.  She blamed Marat for the more extreme course the Revolution had taken. He played a large role in the takedown of the Girondins. Corday believed in the Girondins' cause.  In 1847, writer Alphonse de Lamartine gave Corday the nickname  (the Angel of Assassination).

Biography
Charlotte Corday was born in Saint-Saturnin-des-Ligneries, Orne in Normandy, France in 1768. Corday was from a family of minor aristocrats.

When Corday was a girl, her older sister and their mother, Charlotte Marie Jacqueline Gaultier de Mesnival died. Her father sent Corday and her younger sister to a convent in Caen.  In the convent's library, Corday read the writing of Plutarch, Rousseau, and Voltaire After 1791, Corday lived in Caen with her cousin, Madame Le Coustellier de Bretteville-Gouville. They were very close. Corday was going to inherit her cousin's estate.

Politics
As the French Revolution became more and more extreme, Corday began to support the Girondins even more. She loved their speeches and liked many of the Girondins she met in Caen very much. She decided that she needed to do what the Girondins were doing. She thought that they were the party that would save France from the radicalism of the Jacobins. The Jacobins believed that France would be saved only by terrifying the people into obedience. They believed that violence was the only way. Corday and the Girondins did not agree with this approach. Corday decided to kill Marat, because she believed he was the most radical. She believed this because she blamed him for the September Massacres.

Assassination of Marat
Jean-Paul Marat was a member of the radical Jacobin party that led the Reign of Terror. He wrote an important and widely read newspaper called  (the Friend of the People). Corday also blamed Marat for the civil war she thought would happen in France. She believed that Marat was bad for the future of France and that his death would stop the violence in France. She also believed that Louis XVI should not have been executed.

On July 9th, 1793, Corday left her cousin's estate and went to Paris, where she bought a knife. At her hotel, she wrote a letter to the French people. In the letter, she explained why she had killed Marat. She called it  ("Address to the French people, friends of law and peace").

At first, she planned to assassinate Marat in front of the entire National Convention. However, Marat did not attend meetings anymore, because of a skin disease. She changed her plan and went to his home. The first time she came, Marat's wife, Simonne Evrard, did not let her come in. When she came back in the evening, Marat let her in. She gave him the names of Girondins in Caen, and he wrote them down. Then, she stabbed him with the knife she had bought. Marat called "" ("help me, my dear friend!") to his wife and died.

David, one of Marat's friends  painted Marat's body. The painting became famous.

The moment was also painted by Baudry.

Trial and Execution

Corday said that she had planned to kill Marat alone. There was no evidence against this. Corday said that she "killed one man to save a hundred thousand" at her trial.

Four days after she killed Marat, Corday was execution via guillotine.

Corday's plan worked, but it also failed. The violence in France did not stop. Marat became a martyr.

Citations

Assassins
Executed French people
French murderers
People executed by decapitation
1768 births
1793 deaths
People of the French Revolution
People from Orne

Charlotte Corday