The University of Cologne () is a university in Cologne, Germany. It was established in the year 1388, the sixth university to be established in Central Europe. It closed in 1798 before being re-established in 1919. It is now one of the largest universities in Germany with more than 50,000 students. The University of Cologne is a member of the German U15 association of major research-intensive universities and was a university of excellence as part of the German Universities Excellence Initiative from 2012 to 2019. It is constantly ranked among top 20 German universities in the world rankings.

University of Cologne has 4 Clusters of Excellence; CECAD Cluster of Excellence for Aging Research, Cluster of Excellence ECONtribute: Markets & Public Policy, CEPLAS Cluster of Excellence for Plant Sciences and Cluster of Excellence Matter and Light for Quantum Information (ML4Q). As of 2022, among its notable alumni, faculty and researchers are 4 Nobel Laureates, 11 Gottfried Wilhelm Leibniz Prize winners, 7 Humboldt Professorship winners, 2 Humboldt Research Awards winners and 1 Rhodes Scholar.

History

1388–1798
The university of Cologne was established in 1388 as the fourth university in the Holy Roman Empire, after the Charles University of Prague (1348), the University of Vienna (1365) and the Ruprecht Karl University of Heidelberg (1386). The charter was signed by Pope Urban VI. The university began teaching on 6 January 1389, and operated for several hundred years.

In 1798, the university was abolished by the French First Republic, who had invaded Cologne in 1794, because under the new French constitution, many universities were abolished all over France. The last rector Ferdinand Franz Wallraf was able to preserve the university's Great Seal, now once more in use.

1919–today

In 1919, the Prussian government endorsed a decision by the Cologne City Council to re-establish the university. This was considered to be a replacement for the loss of the University of Strasbourg on the west bank of the Rhine, which contemporaneously reverted to France with the rest of Alsace. On 29 May 1919, the Cologne Mayor Konrad Adenauer signed the charter of the modern university.

At that point, the new university was located in Neustadt-Süd, but relocated to its current campus in Lindenthal on 2 November 1934. The old premises are now being used for the Cologne University of Applied Sciences.

Initially, the university was composed of the Faculty of Business, Economics and Social Sciences (successor to the Institutes of Commerce and of Communal and Social Administration) and the Faculty of Medicine (successor to the Academy of Medicine). In 1920, the Faculty of Law and the Faculty of Arts were added, from which latter the School of Mathematics and Natural Sciences was split off in 1955 to form a separate Faculty. In 1980, the two Cologne departments of the Rhineland School of Education were attached to the university as the Faculties of Education and of Special Education. In 1988, the university became a founding member of the Community of European Management Schools and International Companies (CEMS), today's Global Alliance in Management Education.

The university is a leader in the area of economics and is regularly placed in top positions for law and business, both for national and international rankings.

Organization

The University of Cologne is a statutory corporation (Körperschaft des öffentlichen Rechts), operated by the Federal State of North Rhine-Westphalia.

Faculties
The university is divided into six faculties, which together offer 200 fields of study. The faculties are those of Management, Economics and Social Sciences, Law, Medicine (with the affiliated University clinic), Arts, Mathematics and Natural Sciences and Human Sciences.

Rectors

On 24 November 2004, the physicist Axel Freimuth was elected as Rector of the University. His (initially four-year) term began on 1 April 2005. He succeeded Tassilo Küpper and was the 49th Rector since 1919. He was previously Dean of Mathematics and Natural Sciences.

Academic profile
The University of Cologne is member of the association German U15 e.V. which is a coalition of fifteen major research-intensive and leading medical universities in Germany with a full disciplinary spectrum.

Especially the faculties of law and economics are renowned and leading in Germany. Leading researchers are affiliated to Cologne: e.g., Angelika Nußberger, Thomas von Danwitz, Claus Kreß, Martin Henssler, Ulrich Preis, Heinz-Peter Mansel.

Apart from these, affiliated persons with the university have won various awards including Max Planck Research Award, Cologne Innovation Prize (City of Cologne), Postbank Finance Award (Deutsche Postbank), Ernst Jung Prize in Medicine (Jung Foundation), SASTRA Ramanujan Prize, Wilhelm Vaillant Prize (Wilhlem Vaillant Foundation), Heinz Maier Leibnitz Prize (DFG), Alfried Krupp Prize for the Advancement of Young Professors, Innovation Prize of the State of NRW, Karl Arnold Prize (North Rhine-Westphalia Academy of Sciences and Arts).

Rankings

According to the QS World University Rankings, the university held the 268th position globally and the 17th position nationally in 2024. The Times Higher Education World University Rankings for 2023 saw the university at the 160th place globally and 15th place at the national level. In the Academic Ranking of World Universities, more commonly known as the ARWU rankings, for the year 2022, the university was ranked within the 151-200 range globally and between 6th and 9th in the national ranking.

By subject

Museums and collections
GeoMuseum: The only natural history museum in Cologne
Theatre Collection in Schloss Wahn: images and text from European theater from the 16th century
Max Bruch Archive of the Institute of Musicology: autographs and writings from and about Max Bruch
The Kathy Acker Reading Room, the personal library of author Kathy Acker.
Musical Instrument Collection of the Musicology Institute
Egyptian collection: Papyri and parchments, ceramics and small sculptures
Prehistoric collection artefacts from all periods of prehistoric and early history also from foreign sites, from the Neanderthal fist to the bronze sword and iron weapons of the early Middle Ages
Papyrus collection of the Institute of Antiquity
Barbarastollen: Under the main building, a mining gallery was built as part of a museum for trade and industry in 1932

Students and faculty

In 2005, the university enrolled 47,203 students, including 3,718 graduate students. In 2003, the number of post-doctoral researchers was 670.

There were 6,157 international students in the 2005 Summer Semester (approximately 13% of all students). Those from developing countries made up about 60%, representing a total of 123 nations. The largest contingents came from Bulgaria (10.5%), Russia (8.8%), Poland (7.4%), China (6.2%) and Ukraine (5.7%).

There are 508 professors at the university, including 70 women. In addition, the university employs 1,549 research assistants, with an additional 765 at the clinic, and 1,462 other assistants (3,736 at the clinic).

Partner universities
The University of Cologne maintains twenty official partnerships with universities from ten countries. Of these, the partnerships with Clermont-Ferrand I and Pennsylvania State are the oldest partnerships. In addition, Cologne has further cooperations with more than 260 other universities.

Federal University of Ceará, Fortaleza, Brazil (since 1990)
Sofia University St. Kliment Ohridski, Sofia, Bulgaria (since 1985)
Sun Yat-sen University, Guangzhou, Guangdong, China (since 2005)
Fudan University, Shanghai, China (since 2010)
Université d'Auvergne, Clermont-Ferrand I, France (since 1962)
Université Blaise Pascal, Clermont-Ferrand II, France (since 1980)
Aristotle University of Thessaloniki, Thessaloniki, Greece (since 1992)
National Law School of India University, Bangalore, India
Hitotsubashi University, Tokyo, Japan (since 1987)
Keio University, Tokyo, Japan (since 1981)
University of Wrocław, Wrocław, Poland (since 2003)
University of Rajshahi, Rajshahi, Bangladesh
Jagiellonian University, Kraków, Poland (since 1990)
Maxim Gorky Literature Institute, Moscow, Russia
Volgograd State University, Russia (since 1993)
University of Seville, Spain
Charles University, Prague, Czech Republic (since 1999)
Istanbul University, Istanbul, Turkey (since 2003)
University of California at Berkeley, School of Law, Berkeley, CA, U.S.
Duquesne University, Pittsburgh, PA, U.S. (since 2001)
Pennsylvania State University, State College, PA, U.S. (since 1961)

Notable alumni and professors

Albertus Magnus
Thomas Aquinas
Kurt Alder (Nobel Prize in Chemistry 1950)
Eberhard Becker (Rector of University of Dortmund from 2002 to 2008)
Peter Grünberg (Nobel Prize in Physics 2007)
Heinrich Böll (Nobel Prize for Literature)
Karl Carstens (president of the Federal Republic of Germany 1979–1984)
Gustav Heinemann (president of the Federal Republic of Germany 1969 to 1974)
Benjamin List (Nobel Prize in Chemistry 2021)
Karolos Papoulias (former president of the Hellenic Republic)
Martin Broszat (1926–1989), historian
Ute Deichmann, historian
Erich Gutenberg (founder of modern German business studies)
Amos Grunebaum, obstetrician and gynecologist
Jenny Gusyk, a Jewish woman of Turkish citizenship, was the first female and foreign student to be enrolled in 1919.
Sasa Hanten-Schmidt, lawyer and publicist
Leonhard Harding, (born 1936), historian and scholar in African studies
Hans Mayer (1907–2001), literary scholar
Stephan Noller (born 1970), internet-entrepreneur, founder and former committee chairman
Ernst Alfred Philippson (1900–1993), philologist
Axel Ockenfels
Katja Terlau (born 1970), art historian and provenance researcher
Andreas Kaplan, German economist
Eberhard Voit

In popular culture
The University of Cologne was commemorated on the Federal Republic of Germany's postage stamp in 1988, celebrating university's 600 years.

See also
List of medieval universities
Stefan Weinfurter

References

Further reading

External links

 Absolventennetzwerk der Universität zu Köln

1380s establishments in the Holy Roman Empire
1388 establishments in Europe
Lindenthal, Cologne
Educational institutions established in the 14th century
Universities and colleges in Cologne

University of Cologne


Viel Bjerkeset Andersen (born 20 June 1963) is a Norwegian artist noted for her outdoor installations and photography, especially related to public buildings and structures.

Bjerkeset Andersen grew up in Bærum, with photography as her initial medium. She attended the Norwegian National Academy of Craft and Art Industry, École nationale supérieure des Beaux-Arts, and the Norwegian National Academy of Fine Arts.

She has won several awards and grants for her work, including the Beautiful Roads award, governmental grants from Norway, Finland, and France. Her work includes outdoor exhibits and design at schools, highways, tunnels, and hospitals all over Norway.

References

1963 births
Living people
Artists from Bærum
Photographers from Oslo
Oslo National Academy of the Arts alumni

Viel Bjerkeset Andersen


Pumped-storage hydroelectricity (PSH), or pumped hydroelectric energy storage (PHES), is a type of hydroelectric energy storage used by electric power systems for load balancing.  The method stores energy in the form of gravitational potential energy of water, pumped from a lower elevation reservoir to a higher elevation. Low-cost surplus off-peak electric power is typically used to run the pumps. During periods of high electrical demand, the stored water is released through turbines to produce electric power. Although the losses of the pumping process make the plant a net consumer of energy overall, the system increases revenue by selling more electricity during periods of peak demand, when electricity prices are highest. If the upper lake collects significant rainfall or is fed by a river then the plant may be a net energy producer in the manner of a traditional hydroelectric plant.

Pumped-storage hydroelectricity allows energy from intermittent sources (such as solar, wind) and other renewables, or excess electricity from continuous base-load sources (such as coal or nuclear) to be saved for periods of higher demand. The reservoirs used with pumped storage can be quite small when contrasted with the lakes of conventional hydroelectric plants of similar power capacity, and generating periods are often less than half a day.

Pumped storage is by far the largest-capacity form of grid energy storage available, and, as of 2020, the United States Department of Energy Global Energy Storage Database reports that PSH accounts for around 95% of all active tracked storage installations worldwide, with a total installed throughput capacity of over 181 GW, of which about 29 GW are in the United States, and a total installed storage capacity of over 1.6 TWh, of which about 250 GWh are in the United States. The round-trip energy efficiency of PSH varies between 70%–80%, with some sources claiming up to 87%.

The main requirement for PSH is hilly country. The global greenfield pumped hydro atlas lists more than 600,000 potential sites around the world, which is about 100 times more than needed to support 100% renewable electricity. Most are closed-loop systems away from rivers. For example, the United States has about 35,000 potential sites. Areas of natural beauty and new dams on rivers can be avoided because of the very large number of potential sites. Some projects utilise existing reservoirs (dubbed "bluefield") such as the 350 Gigawatt-hour Snowy 2.0 scheme under construction in Australia. Some recently proposed projects propose to take advantage of "brownfield" locations such as disused mines such as the Kidston project under construction in Australia.

Water requirements for PSH are small: about 1 gigalitre of initial fill water per gigawatt-hour of storage. This water is recycled uphill and back downhill between the two reservoirs for many decades, but evaporation losses (beyond what rainfall and any inflow from local waterways provide) must be replaced. Land requirements are also small: about 10 hectares per gigawatt-hour of storage, which is much smaller than the land occupied by the solar and windfarms that the storage might support. Closed loop (off-river) pumped hydro storage has the smallest carbon emissions per unit of storage of all candidates for large-scale energy storage.

Overview

Basic principle

At times of low electrical demand, excess generation capacity is used to pump water into the upper reservoir. When there is higher demand, water is released back into the lower reservoir through a turbine, generating electricity. Reversible turbine/generator assemblies act as combined pump and turbine generator units (usually Francis turbine designs). Variable speed operation further optimizes the round trip efficiency in pumped hydro storage plants.
In micro-PSH applications, a group of pumps and Pump As Turbine (PAT) could be implemented respectively for pumping and generating phases. The same pump could be used in both modes by changing rotational direction and speed: the operation point in pumping usually differs from the operation point in PAT mode.

Types: natural or man-made reservoirs
In open-loop systems, pure pumped-storage plants store water in an upper reservoir with no natural inflows, while pump-back plants utilize a combination of pumped storage and conventional hydroelectric plants with an upper reservoir that is replenished in part by natural inflows from a stream or river. Plants that do not use pumped storage are referred to as conventional hydroelectric plants; conventional hydroelectric plants that have significant storage capacity may be able to play a similar role in the electrical grid as pumped storage if appropriately equipped.

Economic efficiency
Taking into account conversion losses and evaporation losses from the exposed water surface, energy recovery of 70–80% or more can be achieved. This technique is currently the most cost-effective means of storing large amounts of electrical energy, but capital costs and the necessity of appropriate geography are critical decision factors in selecting pumped-storage plant sites.

The relatively low energy density of pumped storage systems requires either large flows and/or large differences in height between reservoirs. The only way to store a significant amount of energy is by having a large body of water located relatively near, but as high as possible above, a second body of water. In some places this occurs naturally, in others one or both bodies of water were man-made. Projects in which both reservoirs are artificial and in which no natural inflows are involved with either reservoir are referred to as "closed loop" systems.

These systems may be economical because they flatten out load variations on the power grid, permitting thermal power stations such as coal-fired plants and nuclear power plants that provide base-load electricity to continue operating at peak efficiency, while reducing the need for "peaking" power plants that use the same fuels as many base-load thermal plants, gas and oil, but have been designed for flexibility rather than maximal efficiency. Hence pumped storage systems are crucial when coordinating large groups of heterogeneous generators. Capital costs for pumped-storage plants are relatively high, although this is somewhat mitigated by their proven long service life of decades - and in some cases over a century, which is three to five times longer than utility-scale batteries. When electricity prices become negative, pumped hydro operators may earn twice - when "buying" the electricity to pump the water to the upper reservoir at negative spot prices and again when selling the electricity at a later time when prices are high.

Along with energy management, pumped storage systems help stabilize electrical network frequency and provide reserve generation. Thermal plants are much less able to respond to sudden changes in electrical demand that potentially cause frequency and voltage instability. Pumped storage plants, like other hydroelectric plants, can respond to load changes within seconds.

The most important use for pumped storage has traditionally been to balance baseload powerplants, but they may also be used to abate the fluctuating output of intermittent energy sources. Pumped storage provides a load at times of high electricity output and low electricity demand, enabling additional system peak capacity. In certain jurisdictions, electricity prices may be close to zero or occasionally negative on occasions that there is more electrical generation available than there is load available to absorb it. Although at present this is rarely due to wind or solar power alone, increased use of such generation will increase the likelihood of those occurrences. It is particularly likely that pumped storage will become especially important as a balance for very large-scale photovoltaic and wind generation. Increased long-distance transmission capacity combined with significant amounts of energy storage will be a crucial part of regulating any large-scale deployment of intermittent renewable power sources.  The high non-firm renewable electricity penetration in some regions  supplies 40% of annual output, but 60% may be reached before additional storage is necessary.

Small-scale facilities
Smaller pumped storage plants cannot achieve the same economies of scale as larger ones, but some do exist, including a recent 13 MW project in Germany. Shell Energy has proposed a 5 MW project in Washington State. Some have proposed small pumped storage plants in buildings, although these are not yet economical. Also, it is difficult to fit large reservoirs into the urban landscape (and the fluctuating water level may make them unsuitable for recreational use). Nevertheless, some authors defend the technological simplicity and security of water supply as important externalities.

History

The first use of pumped storage was in 1907 in Switzerland, at the Engeweiher pumped storage facility near Schaffhausen, Switzerland. In the 1930s reversible hydroelectric turbines became available. This apparatus could operate both as turbine generators and in reverse as electric motor-driven pumps. The latest in large-scale engineering technology is variable speed machines for greater efficiency. These machines operate in synchronization with the network frequency when generating, but operate asynchronously (independent of the network frequency) when pumping.

The first use of pumped-storage in the United States was in 1930 by the Connecticut Electric and Power Company, using a large reservoir located near New Milford, Connecticut, pumping water from the Housatonic River to the storage reservoir  above.

Worldwide use

In 2009, world pumped storage generating capacity was 104 GW, while other sources claim 127 GW, which comprises the vast majority of all types of utility grade electric storage. The EU had 38.3 GW net capacity (36.8% of world capacity) out of a total of 140 GW of hydropower and representing 5% of total net electrical capacity in the EU. Japan had 25.5 GW net capacity (24.5% of world capacity).

In 2010 the United States had 21.5 GW of pumped storage generating capacity (20.6% of world capacity). PSH contributed 21,073 GWh of energy  in 2020 in the United States, but −5,321 GWh  (net) because more energy is consumed in pumping than is generated. Nameplate pumped storage capacity had grown to 21.6 GW by 2014, with pumped storage comprising 97% of grid-scale energy storage in the United States. As of late 2014, there were 51 active project proposals with a total of 39 GW of new nameplate capacity across all stages of the FERC licensing process for new pumped storage hydroelectric plants in the United States, but no new plants were currently under construction in the United States at the time.

The five largest operational pumped-storage plants are listed below (for a detailed list see List of pumped-storage hydroelectric power stations):

Australia
Australia has 15GW of pumped storage under construction or in development. Examples include:

In June 2018 the Australian federal government announced that 14 sites had been identified in Tasmania for pumped storage hydro, with the potential of adding 4.8GW to the national grid if a second interconnector beneath Bass Strait was constructed.

The Snowy 2.0 project will link two existing dams in the New South Wales' Snowy Mountains to provide 2,000 MW of capacity and 350,000 MWh of storage.

In September 2022, a pumped hydroelectric storage (PHES) scheme was announced at Pioneer-Burdekin in central Queensland that has the potential to be the largest PHES in the world at 5 GW.

Norway
There are 9 power stations capable of pumping with a total installed capacity of 1344 MW and an average annual production of 2247 GWh. The pumped storage hydropower in Norway is built a bit differently from the rest of the world. They are designed for seasonal pumping. Most of them can also not cycle the water endlessly, but only pump and reuse once. The reason for this is the design of the tunnels and the elevation of lower and upper reservoirs. Some, like Nygard power station, pump water from several river intakes up to a reservoir.

The largest one, Saurdal, which is part of the Ulla-Førre complex, has four 160 MW Francis turbines, but only two are reversible. The lower reservoir is at a higher elevation than the station itself, and thus the water pumped up can only be used once before it has to flow to the next station, Kvilldal, further down the tunnel system. And in addition to the lower reservoir, it will receive water that can be pumped up from 23 river/stream and small reservoir intakes. Some of which will have already gone through a smaller power station on its way.

Pump-back hydroelectric dams
Conventional hydroelectric dams may also make use of pumped storage in a hybrid system that both generates power from water naturally flowing into the reservoir as well as storing water pumped back to the reservoir from below the dam. The Grand Coulee Dam in the United States was expanded with a pump-back system in 1973. Existing dams may be repowered with reversing turbines thereby extending the length of time the plant can operate at capacity. Optionally a pump back powerhouse such as the Russell Dam (1992) may be added to a dam for increased generating capacity. Making use of an existing dam's upper reservoir and transmission system can expedite projects and reduce costs.

In January 2019, the State Grid Corporation of China announced plans to invest US$5.7 billion in five pumped hydro storage plants with a total 6 GW capacity, to be located in Hebei, Jilin, Zhejiang, Shandong provinces, and in Xinjiang Autonomous Region. China is seeking to build 40 GW of pumped hydro capacity installed by 2020.

Potential technologies

Seawater
Pumped storage plants can operate with seawater, although there are additional challenges compared to using fresh water, such as saltwater corrosion and barnacle growth. Inaugurated in 1966, the 240 MW Rance tidal power station in France can partially work as a pumped-storage station. When high tides occur at off-peak hours, the turbines can be used to pump more seawater into the reservoir than the high tide would have naturally brought in. It is the only large-scale power plant of its kind.

In 1999, the 30 MW Yanbaru project in Okinawa was the first demonstration of seawater pumped storage. It has since been decommissioned. A 300 MW seawater-based Lanai Pumped Storage Project was considered for Lanai, Hawaii, and seawater-based projects have been proposed in Ireland. A pair of proposed projects in the Atacama Desert in northern Chile would use 600 MW of photovoltaic solar (Skies of Tarapacá) together with 300 MW of pumped storage (Mirror of Tarapacá) lifting seawater  up a coastal cliff.

Freshwater coastal reservoirs
Freshwater from the river floods is stored in the sea area replacing seawater by constructing coastal reservoirs. The stored river water is pumped to uplands by constructing a series of embankment canals and pumped storage hydroelectric stations for the purpose of energy storage, irrigation, industrial, municipal, rejuvenation of exploited rivers, etc. These multipurpose coastal reservoir projects offer massive pumped-storage hydroelectric potential to utilize variable and intermittent solar and wind power that are carbon-neutral, clean, and renewable energy sources.

Underground reservoirs
The use of underground reservoirs has been investigated. Recent examples include the proposed Summit project in Norton, Ohio, the proposed Maysville project in Kentucky (underground limestone mine), and the Mount Hope project in New Jersey, which was to have used a former iron mine as the lower reservoir. The proposed energy storage at the Callio site in Pyhäjärvi (Finland) would utilize the deepest base metal mine in Europe, with  elevation difference. Several new underground pumped storage projects have been proposed. Cost-per-kilowatt estimates for these projects can be lower than for surface projects if they use existing underground mine space. There are limited opportunities involving suitable underground space, but the number of underground pumped storage opportunities may increase if abandoned coal mines prove suitable.

In Bendigo, Victoria, Australia, the Bendigo Sustainability Group has proposed the use of the old gold mines under Bendigo for Pumped Hydro Energy Storage.  Bendigo has the greatest concentration of deep shaft hard rock mines anywhere in the world with over 5,000 shafts sunk under Bendigo in the second half of the 19th Century.  The deepest shaft extends 1,406 metres vertically underground.  A recent pre-feasibility study has shown the concept to be viable with a generation capacity of 30 MW and a run time of 6 hours using a water head of over 750 metres.

US-based start-up Quidnet Energy is exploring using abandoned oil and gas wells for pumped storage. If successful they hope to scale up, utilizing some of the 3 million abandoned wells in the US.

Decentralised systems
Small (or micro) applications for pumped storage could be built on streams and within infrastructures, such as drinking water networks and artificial snow-making infrastructures. In this regard, a storm-water basin has been concretely implemented as a cost-effective solution for a water reservoir in a micro-pumped hydro energy storage. Such plants provide distributed energy storage and distributed flexible electricity production and can contribute to the decentralized integration of intermittent renewable energy technologies, such as wind power and solar power. Reservoirs that can be used for small pumped-storage hydropower plants could include natural or artificial lakes, reservoirs within other structures such as irrigation, or unused portions of mines or underground military installations. In Switzerland one study suggested that the total installed capacity of small pumped-storage hydropower plants in 2011 could be increased by 3 to 9 times by providing adequate policy instruments.

Underwater reservoirs

In March 2017 the research project StEnSea (Storing Energy at Sea) announced their successful completion of a four-week test of a pumped storage underwater reservoir. In this configuration, a hollow sphere submerged and anchored at great depth acts as the lower reservoir, while the upper reservoir is the enclosing body of water. Electricity is created when water is let in via a reversible turbine integrated into the sphere. During off-peak hours the turbine changes direction and pumps the water out again, using "surplus" electricity from the grid. The quantity of power created when water is let in grows proportionally to the height of the column of water above the sphere, in other words: the deeper the sphere is located, the more densely it can store energy.
As such the energy storage capacity of the submerged reservoir is not governed by the gravitational energy in the traditional sense, but rather by the vertical pressure variation.

Home use
Using a pumped-storage system of cisterns and small generators, pico hydro may also be effective for "closed loop" home energy generation systems.

Hydraulic Fracturing
Using hydraulic fracturing pressure can be stored underground in impermeable strata such as shale. The shale used contains no hydrocarbons.

Electrolysis

One idea to reduce pumping energy requirements is to use electricity to split water at a low elevation, and then pipe the lighter-than-air hydrogen to a high elevation where it could be burned with atmospheric oxygen to produce water. This high-elevation water could then be returned to the low elevation, potentially more than recovering efficiency losses by harvesting the gravitational potential energy of higher-altitude atmospheric oxygen (which is later harmlessly re-mixed by sun-powered wind).

High-density pumped hydro
RheEnergise aim to improve the efficiency of pumped storage by using fluid 2.5x denser than water ("a fine-milled suspended solid in water"), such that "projects can be 2.5x smaller for the same power."

See also

 Combined cycle hydrogen power plant
 Compressed-air energy storage
 Gravity battery
 Hydrogen fuel cell power plant
 Hydropower
 Tide mill
 List of energy storage power plants

References

External links

 Global pumped hydro atlas, with over 600K potential sites

Dams
Energy storage

Water conservation
Swiss inventions
Grid energy storage

it:Centrale idroelettrica#Centrali con impianti ad accumulazione

Pumped-storage hydroelectricity


Arlo Hanlin Hemphill (born October 7, 1971) is an American wilderness advocate. His educational background is in marine biology. Hemphill is a Fellow National of the Explorers Club and has been listed in Nature (Myers et al. 2000) as one of 100+ global biodiversity experts, credited for his expertise pertaining to the Greater Caribbean and the Tumbes-Chocó-Magdalena biodiversity hotspots.  He is best known for his involvement in regional-scale ocean conservation and was a founding steering committee member of the Deep Sea Conservation Coalition, the Forum for the Conservation of the Patagonian Sea and Areas of Influence, and the Sargasso Sea Alliance.

References

External links
Arlo Hanlin Hemphill - Personal website

1971 births
Living people
American conservationists
Palm Beach Atlantic University alumni
Nova Southeastern University alumni
Male actors from Baltimore
American marine biologists
American oceanographers
American naturalists
Fellows of the Explorers Club
Biologists from Maryland

Arlo Hemphill


Jasna Šamić (born 1 April 1949) is a Bosnian and French writer, author of books (poetry, novels, short stories, essays, research work, theater plays) written both in the French and Bosnian language.

Biography
Jasna Šamić was born on 1 April 1949 in Sarajevo, FPR Yugoslavia (modern-day Bosnia and Herzegovina), where she graduated from elementary school and high school (Sarajevo High school -lyceum- and Conservatory - School of music, and from the University of Sarajevo, where she studied oriental languages and literatures, Turkish, Arabic and Persian; also University of Sarajevo: Third Cycle or Post-graduated Thesis in General Linguistics and Turkology, PHD degree at The Faculty of Philosophy of Sarajevo in 1977; at the University of Paris – Sorbonne Nouvelle, she did the Thesis of National Doctorate (Doctorat d' Etatès Lettres) in 1984, on Sufism and History.

Started as an Assistant and Assistant Professor at the Faculty of Philosophy in Sarajevo, she was Professor of Oriental Literatures at the same Faculty, University of Sarajevo, 1988–1992 (she was expelled from the Faculty without reason). She was also Director of Research associated to the CNRS (French National Centre of Research) in 1992, and Professor of Languages, Literatures, History and Civilisation of the Balkans at the University Marc Bloch of Strasbourg; 2000–2002.
She collaborated with French radio programs: Radio France Internationale, 1986–1993; France Culture, 1992–1996.

In Sarajevo, Jasna Šamić was Director of the literary Revue «Književna riječ», Sarajevo (1973), Vice President of the Department of Oriental Studies at the Faculty of Philosophy, 1980–1984; Vice President of the Union of Translators of Bosnia and Herzegovina (1982–1985); Member of the Reading Panel or Editorial Board in the Veselin Masleša, publishing house, Sarajevo (until 1992); Member of the Editorial Board of the Revue «Kulture Istoka», Belgrade (until 1992).

She is Member of The Asian Society (Sociétéasiatique), Paris, from 1984, Member of the Union of Writers of Bosnia, from 1974, Member of the international PEN Club, Bosnia and Herzegovina, from 2006, Member of the Union of Writers of France, from 1996, member of the international PEN Club of France.

She collaborated at revues in former Yugoslavia and Europe; she participated at International Conferences in Paris, Munich, Belgrade, Istanbul, Princeton, Philadelphia, Strasbourg, Venice, Jerusalem, Bamberg, Vienna, Tel Aviv, Berlin, Tunis, Sarajevo, etc. She gave Lectures at the Universities of former Yugoslavia (until 1992); University of Utrecht (1993); University of Strasbourg for the III cycle students of Turkology and History (2000–2003); University of Grenoble (2000); University of Brussels (2006); French Culture Centre of Luxembourg (2005), The Senate, in Paris (2007).
Director of a literary review Književna sehara (www.balkan-sehara.com)

Jasna Šamić is a winner of the Stendhal French Literary Prize (Lauréate du programme Missions Stendhal) in 2008.and Literary Prize Gauchez- Pillippot 2014, winner of Prize of Public at the Balkans Book Fair (Salon du livre des Balkans), Paris 2018, winner of international Naji Naaman Honorary Prize for all of her work in 2018, winner of several bosnian literary prizes, namely those of the Publishing Foundation (Fodancija za izdavaštvo), Bosnia, 2015 - 2018...
She gave Interviews in different countries (for example at France Culture, France Inter, RFI, Belgium TV, Austrian TV, French TV and radios, etc.). Bosnian TV dedicated to her a 55 minutes broadcast (2001).

Since 1977, Jasna Šamić has been living between Sarajevo and Paris, but since the war in the Balkans of 1992–1995, mostly in Paris, now as a freelance writer.

In 2017, Jasna Šamić has signed the Declaration on the Common Language of the Croats, Serbs, Bosniaks and Montenegrins.

Works

In French
Jasna Šamić, "Dîvan de Ķaimî: Vie et œuvre d'un poéte bosniaque du XVIIe siècle", Synthèse no. 24 (Paris: Institut Français d'Etudes Anatoliennes, Editions Recherche sur les Civilisations, 1986). Pp. 280.
 Jasna Šamić, Le pavillon bosniaque: novel, Dorval editions, 1996
Jasna Šamić, "Bosnie Pont des Deux Mondes", 1996
Jasna Šamić, "Histoire inachevée, (short stories)", éd. de l'Oeil sauvage, Bayonne, 1996.
Jasna Šamić, "L'Amoureux des oiseaux (poetry and short stories)", Bf édition, Strasbourg, 2006.
Jasna Šamić, "Portrait de Balthazar", novel, M.E.O., Bruxelles, 2012; Gauchez-Philippot Price.
Jasna Šamić, "L'Empire des ombres", novel, Publibook, Paris, 2013.
Jasna Šamić, "Le givre et la cendre", (novel), M.E.O, Briuxelles, 2015;
Jasna Šamić, "Trois histoires un destin", (pièces de théâtre), Harmattan, 2016.
Jasna Šamić, "Dans le lit d'un rêve", M.E.O., Bruxelles, 2017
Jasna Šamić, "Les contrées des âmes errantes", M.E.O., Bruxelles, 2019.
Jasna Šamić, "Chambre avec vue sur l'océan" (novel); translated from Bosnian by the autor with G.Adam, M.E.O.,2020.
Jasna Šamić, "Ailleurs est le ciel", poetry, l'Harmattan, Paris,2022.

In Bosnian :
Jasna Šamić, "Isjećeni trenuci (poetry)", Svjetlost, Sarajevo, 1973.
Jasna Samic, "U hladu druge kože (poetry)", V. Masleša, Sarajevo, 1980.
Jasna Šamić, "Iz bilježaka Babur Šaha (poetry)", Svjetlost, Sarajevo, 1986.
Jasna Šamić, "Junus Emre", Glas, Banja Luka, 1990 ;
Jasna Šamić, "Pariški ratni dnevnik", (essay), ENES, Istanbul, 1994 ;
Jasna Šamić, "Sjećanje na život", (theater), Vodnikova domačija, Ljubljana, 1995 ;
Jasna Šamić, "Grad ljubav smrt", (theater), Vodnikova domačija, Ljubljana, 1995 ;
Jasna Šamić, "Mraz i pepeo", (novel), Bosanska knjiga, Sarajevo, 1997 ;
Jasna Šamić, "Valcer", (short stories), Media press, Sarajevo, 1998 ;
Jasna Šamić, "Antologija savremene francuske knjizevnosti (Anthologie de la littérature française contemporaine;translation and preface of the author's)", Zid, Sarajevo, 1998 ;
Jasna Šamić, "Bosanski paviljon", (novel), Svjetlost, Sarajevo 2000 ;
Jasna Šamić, "Soba s pogledom na okean", (novel), Tesanj, 2001 ;
Jasna Šamić, "Pariz Sarajevo 1900", (monographia), Meddia press, Sarajevo, 2001 ;
Jasna Šamić, "Portret Balthazara Castiglionea", (novel), Rabic, Sarajevo, 2002.
Jasna Šamić, "Drame (theater)", Bosanska rijec, 2006
Jasna Šamić, "Carstvo sjenki" (novel), Zoro, Sarajevo-Zagreb, 2007
Jasna Šamić, "Na Seni barka", (short stories), Bosanska rijec, 2008
Jasna Šamić, "Mistika i mistika", (essay), Plima, Cetinje, 2010.
Jasna Šamić, "Mozart" (novel), Sahinpasic, Sarajevo, 2013
Jasna Šamić, "Mistika i mistika"(essay), Buybook, Sarajevo, 2014;
Jasna Šamić "Na postelji od sna" (poetry), Bosnia and Herzegovina Publishing Award Foundation, Dobra knjiga, Sarajevo, 2015
Jasna Šamić "Predjeli lutajućih duša" (novel, first part of the trilogy, Bosnia and Herzegovina Publishing Award Foundation, Planjax, 2017
Jasna Šamić "Carstvo sjenki", (novel) Factum, Beograd, 2018
Jasna Šamić "Svjetlo mraka" (poetry) Dobra knjiga, Sarajevo, 2018
Jasna Šamić, "Deveti val", (novel) Cetinje: OKF; Beograd: Factum izdavaštvo; Sarajevo: Buybook, 2018.
Jasna Šamić "Medo prekinuo seosku idilu", (children's books) with illustrations by Mario Mikulić, (RABIC, Sarajevo, 2018)
Jasna Šamić "Noć je opet na pragu postelje ti", (poetry) Planjax, 2020;
Jasna Šamić "Razbijeni kaleIdoskop", (novel), Rabic, Sarajevo,2021.
Jasna Šamić "Nesretan slučaj", (novel), Factum, Belgrade, 2022.
Jasna Šamić "Atelje na broju 19", (novel), Rabic, Sarajevo, 2022.

Films :
 Les Nakshibendis de Visoko, documentary, 1986.
 Où sont les Bektâchî de Bosnie ?, documentary,1986.
 Une ville l'amour la mort, documentary – production "Festival de toutes les cultures", Paris, 1995.
 1900 Sarajevo Paris, documentary, production TV Bosnia and Herzégovina, 2000.
 L'Artiste et son gâteau, short, 2004.
 Bonjour mon amour, j'ai seize ans, short, 2005.
 Promenade, short; 2007.
 Quo vadis 68 Paris Sarajevo, documentary May 68, 60', coproduction FTV and Festival « Sarajevska zima »
 Coucher auprès du ciel – un souvenir mis en images, documentary, IPI, Parimages, ASJA, Paris 2010
 A number of documentaries for Bosnian TV, TVSA 2013 -2015

Theater direction

 Iz biljezaka Babur Saha; Pozoriste mladih, Sarajevo, 1987 (published in Iz Biljezaka Babur Saha, Svjetlost, 1986).
 Souvenir d'une vie (Memory of a lifetime), Proscenium Theatre, Paris, 1996 (published in DRAMA, Bosanska Rijec, Wuppertal-Tuzla 2007).
 Meeting (Susret), SARTR, Sarajevo, 1998 (published in Drama, Bosanska Rijec, Wuppertal-Tuzla 2007).
 Double Exile (Dvostruki exil), Sarajevo, 1999.
 Call (Telefonski poziv) (based on the short story of Jasna Samic, published in Valcer, Media press, Sarajevo), Kamerni teatar 55, Sarajevo 1999.
 Avant que n'apparraisse le Messager de la Mort, The festival "Bascarsijske noci 2007, Muzej Knjizevnosti - Mak, Sarajevo, 2000 (published in l'Amoureux des oiseaux, bilingual, Bf éditions, Strasbourg, 2007).
 Miniatures, Bosnjacki Institute, Sarajevo, 2008.
 D'un Soleil à l'autre (From one sun to the other one), Maison du Patrimoine, L'Haÿ - les-Roses, 2009.
 Theater " L'aire Falguière", Paris, 2009.
 Anniversaire, text and direction by Jasna Samic, Bar de l'Industrie, Montreil, Paris, 2011 ;
 Portrait de Balthazar, text and direction by Jasna Samic, Maison des associations, Paris, 2012;
 Les souvenirs plus lourds que le roc, text and direction by Jasna Samic, Théâtre de Syldavie, Maisons d'Europe et d'Orient, Paris, 2014

References

 Jasna Samic, Anniversaire

External links
Interview: Samic
http://www.sildav.org/pdf/QUOVADIS.pdf

1949 births
Living people
Signatories of the Declaration on the Common Language
Writers from Sarajevo
Bosnia and Herzegovina emigrants to France
University of Sarajevo alumni
Academic staff of the University of Sarajevo
21st-century French dramatists and playwrights

Jasna Šamić


A basketball card is a type of trading card relating to basketball, usually printed on cardboard, silk, or plastic. These cards feature one or more players of the National Basketball Association, National Collegiate Athletic Association, Olympic basketball, Women's National Basketball Association, Women's Professional Basketball League, or some other basketball related theme.

Some notable producing companies include Panini Group (present days), Bowman Gum and Topps (in early days).

History
The first basketball cards were produced in 1910, in a series cataloged as "College Athlete Felts B-33". The complete series included ten different sports, with only 30-cards being associated with basketball. The cards were issued as a cigarette redemption premium by The number of packages needed to redeem for the tobacco cards is not known.

The next series of basketball cards were issued in 1911, in two separate series, "T6 College Series", measuring approximately 6" by 8", and "T51 College Series", measuring approximately 2" by 3". These series included a variety of sports, with only 6-cards being associated with basketball. One card from the T6 series, and five cards from the T51 series. Both series were produced in two variations; one variation reading "College Series", the other, "2nd Series". The cards were acquired in trade for fifteen Murad cigarette coupons. The offer expired June 30, 1911.

Basketball cards were not seen again until 1932, when C.A. Briggs Chocolate issued a 31-card set containing multiple sports. In exchange for a completed set of cards, Briggs offered baseball equipment.

Bowman Gum produced the first NBA cards, starting in 1948, releasing a 72-piece set that included the George Mikan rookie card. Another US company, Topps, began to manufacture cards during the 1958, returning to production in 1969–70. Fleer had its peak in 1961-62, returning in 1986–87, to resurrect the basketball card industry by releasing an 132-card NBA officially licensed set which included the rookie cards of NBA Hall of Famers Michael Jordan, Patrick Ewing, Clyde Drexler, Joe Dumars, Chris Mullin, Hakeem Olajuwon, Isiah Thomas, Dominique Wilkins, Karl Malone and Charles Barkley as well as an additional 11 card sticker set. This set is seen by many basketball card collectors as the "1952 Topps of basketball." In the 1990s/2000s, several companies produced basketball cards, including Topps, Hoops, Skybox, Fleer, and Upper Deck.

In 2009, the NBA licensed the rights to manufacture and commercialize basketball cards to Italian Panini Group, which became the only licensor for the league and players. Panini has been NBA licensee since then.

References

External links

 Basketball cards on Panini America

Trading cards
Sports memorabilia
Card

Basketball card


The China International Fair for Investment and Trade (CIFIT, simplified chinese:中国国际投资贸易洽谈会, traditional chinese:中國國際投資貿易洽談會), approved by the State Council of the People's Republic of China, takes place on September every year in Xiamen, China. Themed on Introducing FDI and Going Global, CIFIT features a focus upon nationality and internationality, upon investment negotiation and investment policy promotion, upon coordinated development of national and regional economy, and upon economic and trade exchanges across the Taiwan Strait. CIFIT is currently China's only international investment promotion event aimed at facilitating bilateral investment. It's also the largest global investment event approved by UFI.

Location
The trade show is held annually on September 8–11 in the southern coastal city of Xiamen, Fujian on mainland China.

Major Events
Major Events of the 16th CIFIT (2012)

September 6: Press Conference

September 7: Welcoming Banquet & Welcoming Cocktail Party

September 8:International Investment Forum (By Invitation)

September 7–11: Series of Forums and Seminars

September 7–11: Matchmaking Symposia on Investment Projects

09:08-9:45 September 8: Opening Ceremony (By Invitation)

September 8–11: Exhibition

Themes

"Introducing FDI": Showcase China's investment environment, image, policies and business opportunities to promote foreign investment in China.

"Going Global": Showcase investment environment, image, policies and business opportunities of all over the world, guide Chinese enterprises to invest overseas in a positive manner.

History of CIFIT
CIFIT started out as the Fujian Fair for International Investment & Trade (FFIIT). It was held for the ten years between 1987 and 1996. Then came the Ministry of Foreign Trade and Economic Cooperation (Moftec) of the People's Republic of China who saw the opportunity to expand this trade show to include marketing the rest of China for foreign direct investment. Consequently, the FFIIT was promoted officially to CIFIT in January 1997.

See also
 Ministry of Commerce of the People's Republic of China (MOFCOM)
 Special Economic Zone of the People's Republic of China
 Economy of China
 People's Republic of China
 List of China-related topics

References

External links

Xiamen
Trade fairs in China
Investment in China
Autumn events in China


Lesko County () is a unit of territorial administration and local government (powiat) in Subcarpathian Voivodeship, south-eastern Poland, on the Slovak border. It was created in 2002 out of five gminas which previously made up the western part of Bieszczady County. Its administrative seat and only town is Lesko, which lies  south of the regional capital Rzeszów.

The county covers an area of . As of 2019 its total population is 26,532, out of which the population of Lesko is 5,424, and the rural population is 21,108.

Neighbouring counties
Lesko County is bordered by Sanok County to the west, Przemyśl County to the north and Bieszczady County to the east. It also borders Slovakia to the south.

Administrative division
The county is subdivided into five gminas (one urban-rural and four rural). These are listed in the following table, in descending order of population.

Gallery

References

Lesko County
Lesko

Lesko County


Djouab is a town and commune in Médéa Province, Algeria. According to the 1998 census it has a population of 16,751. Djouab is located at 36°08′00″ n., 3°26′00″ e.

Djouab is a commune in the wilaya of Médéa in Algeria. It was sometimes called Sour-Djouab, the "rampart of the Djouabs".

History
The Rapidum military command had a fixed task if one took into account the urban framework of the town of Rapidum, with four bastions, a barracks, cellars, a large armory and well-aligned houses. Rapidum was a large agglomeration; Composed of families of soldiers and could have a population, estimated at more than 8 500 inhabitants. The town of Rapidum is erected over a total area of 375 ha, an army of four centurions under the orders of a Præfectus castris; And a Præfectus statorum, in charge of organizing the city police. The three military posts were constructed on the basis of a geographical study to allow for a rapid connection, taking into account the location of each post in relation to the other, designed to defend Auzia against repeated attacks by the Bavars (a Berber tribe, Also known as the Quinquagesimes or the five federated tribes from the regions of Djurdjura, the Babors and the Bibans.

The Ruins are protected by the APC which had erected a fence in 1996 to preserve the stones (rectangular form) were ransacked and stolen for use in constructions.

Djouab is the ancient Roman city of Rapidum, in the province of Mauretania Caesarean, identified by inscriptions which indicate its name and rank of municipality.

The site was recognized by the archaeologist Adrien Berbugger in 1845, and Henri Choisnet found in 1882 the gates of the city.

References

Communes of Médéa Province

Djouab


Ramunwala Harchoka is a village in Moga district in the Indian state of  Punjab. It is approximately 5 kilometers from the village Buttar Kalan. The Village Ramunwala Kalan, the birthplace of the famous politician Balwant Singh Ramuwalia is about two kilometers from this village. The village is about 11 kilometers from Moga and about 32 kilometers from Jagraon.

The village has mainly two pockets. One is called Model Patti and the other one is simply Harchoka. The villagers are mainly Sikhs of Gill gotra. The village has three Gurudwaras. One is in Model Patti and the other two are in Harchoka Patti. There is also a mosque in the village as a few houses of Muslim Gujjars are there in the Harchoka Patti. The village has two schools run by the state government. One is a primary school and the other one is up to secondary classes.

Villages in Moga district

Ramunwala Harchoka


Arcadia () refers to a vision of pastoralism and harmony with nature. The term is derived from the Greek province of the same name which dates to antiquity; the province's mountainous topography and sparse population of pastoralists later caused the word Arcadia to develop into a poetic byword for an idyllic vision of unspoiled wilderness. Arcadia is a poetic term associated with bountiful natural splendor and harmony. The 'Garden' is often inhabited by shepherds. The concept also figures in Renaissance mythology.  Although commonly thought of as being in line with Utopian ideals, Arcadia differs from that tradition in that it is more often specifically regarded as unattainable.  Furthermore, it is seen as a lost, Edenic form of life, contrasting to the progressive nature of Utopian desires.

The inhabitants were often regarded as having continued to live after the manner of the Golden Age, without the pride and avarice that corrupted other regions. It is also sometimes referred to in English poetry as Arcady. The inhabitants of this region bear an obvious connection to the figure of the noble savage, both being regarded as living close to nature, uncorrupted by civilization, and virtuous.

In antiquity
According to Greek mythology, Arcadia of Peloponnesus was the domain of Pan, a virgin wilderness home to the god of the forest and his court of dryads, nymphs and other spirits of nature. It was one version of paradise, though only in the sense of being the abode of supernatural entities, not an afterlife for deceased mortals.

In the 3rd century BCE the Greek poet Theocritus wrote idealised views of the lives of peasants in Arcadia for his fellow educated inhabitants of the squalid and disease-ridden city of Alexandria.

Greek mythology inspired the Roman poet Virgil to write his Eclogues, a series of poems set in Arcadia.

In the Renaissance
Arcadia has remained a popular artistic subject since antiquity, both in visual arts and literature. Images of beautiful nymphs frolicking in lush forests have been a frequent source of inspiration for painters and sculptors. Because of the influence of Virgil in medieval European literature, e. g. in Divine Comedy, Arcadia became a symbol of pastoral simplicity. European Renaissance writers (for instance, the Spanish poet Garcilaso de la Vega) often revisited the theme, and the name came to apply to any idyllic location or paradise.

Of particular note is Et in Arcadia Ego by Nicolas Poussin. In 1502 Jacopo Sannazaro published his long poem Arcadia that fixed the Early Modern perception of Arcadia as a lost world of idyllic bliss, remembered in regretful dirges.

In the 1580s Sir Philip Sidney circulated copies of his influential heroic romance poem The Countess of Pembroke's Arcadia, which established Arcadia as an icon of the Renaissance; although the story is plentifully supplied with shepherds and other pastoral characters, the primary characters are all royal visitors of the countryside. In 1598 the Spanish playwright and poet Lope de Vega published Arcadia: Prose and Verse, which was a bestseller at the time.

Though depicted as contemporary, this pastoral form is often connected with the Golden Age. It may be suggested that its inhabitants have merely continued to live as persons did in the Golden Age, and all other nations have less pleasant lives because they have allowed themselves to depart from original simplicity.

Acadia
The 16th-century Italian explorer Giovanni da Verrazzano applied the name "Arcadia" to the entire North American Atlantic coast north of Virginia. In time, this mutated to Acadia. The Dictionary of Canadian Biography says: "Arcadia, the name Verrazzano gave to Maryland or Virginia 'on account of the beauty of the trees', made its first cartographical appearance in the 1548 Gastaldo map and is the only name on that map to survive in Canadian usage. . . . In the 17th century Champlain fixed its present orthography, with the 'r' omitted, and Ganong has shown its gradual progress northwards, in a succession of maps, to its resting place in the Atlantic Provinces".

Revival of Mi'kmaq language has provided strong reason to believe that Verrazzano was informed by the name the Mi'kmaq gave to this place. The name Acadie may be derived from the Mi'kmaq, because in their language the word "cadie" means "place of abundance" and can be found in names such as "Tracadie" and "Shubenacadie".

In 19th-century art

In 1848, Judge Samuel Treat, of St. Louis described life of the early settlers in the Midwest with the sentence "Each family produced whatever was necessary  for  its own consumption, and lived in almost Arcadian simplicity."

Composer W. S. Gilbert used the concept of Arcadia in his musicals Happy Arcadia (1872) and Iolanthe (1882).

Around 1880, the German painter Wilhelm von Kaulbach produced an etching, named "Faust und Helena in Arkadien". Faust and Helena are shown in the Arcadian grove, at the place of cheerful poetry, where they produced a son, Euphorion. He represent the spirit of antiquity married to the Nordic-German spirit, as an allegory of German-Greek poetry.

The American painter Thomas Eakins produced a series of Arcadian works in the 1880's: His painting "In Arcadia", which was an "unusual venture into mythology, tackled using the most modern of methods: the camera"  and a relief with nearly 20 sculptures, paintings and phothographs connected with it. The atmosphere of the relief has been described as "vespertinal mixture of sadness and tranquility", a "sylvan realm far removed from the realities in 1883 Philadelphia". New York magazine critic Mark Stevens wrote "His [Eakins] joy in the natural body rarely made its way into his major paintings, perhaps because the subject was so personally complex for him. Only in his great "Swimming", which shows naked young men at a swimming hole, did he create an American Arcadia."
Eakins' student Thomas Pollock Anshutz (1851-1912) had a long preoccupation painting "Arcadian subjects".

In popular culture
One of the most popular Edwardian musical comedies is The Arcadians (1909).

Pastoral science fiction
Pastoral science fiction is a subgenre of science fiction which uses bucolic, rural settings, like other forms of pastoral literature. Since it is a subgenre of science fiction, authors may set stories either on Earth or another habitable  planet or moon, sometimes including a terraformed planet or moon. Unlike most genres of science fiction,  pastoral science fiction works downplay the role of futuristic technologies. The pioneer is author Clifford Simak (1904–1988), a science fiction Grand Master whose output included stories written in the 1950s and 1960s about rural people who have contact with extraterrestrial beings who hide their alien identity.

Pastoral science fiction stories typically show a reverence for the land, its life-giving food harvests, the cycle of the seasons, and the role of the community. While fertile agrarian environments on Earth or Earth-like planets are common settings, some works may be set in ocean or desert planets or habitable moons. The rural dwellers, such as farmers and small-townspeople, are depicted sympathetically, albeit with the tendency to portray them as conservative and suspicious of change. The simple, peaceful rural life is often contrasted with the negative aspects of noisy, dirty, fast-paced cities. Some works take a Luddite tone, criticizing mechanization and industrialization and showing the ills of urbanization and over-reliance on advanced technologies.

See also
 Acadia
 Arcadia (region of Greece)
 Et in Arcadia ego (Guercino), painting by Italian artist Giovanni Francesco Barbieri
 Garden of Eden
 Locus amoenus
 Millennialism
 Neverland
 Olam Haba
 Otherworld

Notes

References

External links

Net in Arcadia Virtual Museum of Contemporary Classicism

Greek mythology
Mythical utopias
Mythological kingdoms, empires, and countries
Renaissance art
Conceptions of heaven
Utopia
Visual motifs

Arcadia (utopia)


Italy 1990 (also known as World Class Soccer in the United States and Italia 1990 in most of Europe) is a soccer video game published by U.S. Gold and programmed by Tiertex Design Studios in 1990. It features the 1990 FIFA World Cup held in Italy but is not part of the official FIFA World Cup series. For the American market it was branded as World Class Soccer. In Europe (except the U.K.) it was released as Italia 1990 by U.S. Gold in association with Erbe Software. It was released for Amiga, Amstrad CPC, Atari ST, Commodore 64, ZX Spectrum and DOS.

U.S. Gold had released the official game of the previous World Cup in 1986 (World Cup Carnival) which was extremely badly received, and would go on to release World Cup USA '94 as the official game of the 1994 World Cup. The official 1990 World Cup licence was acquired by Virgin Mastertronic who produced two titles, World Cup Soccer: Italia '90 for home computers and World Cup Italia '90 for Sega consoles.

Reception
Computer Gaming World criticised the game for only displaying about 10% of the field at a time without a "radar" screen to show the rest, but liked the animation. The magazine concluded that "World Class Soccer should prove an informative and reasonably entertaining way to prepare for the event".

See also
Italia 1990
Italy '90 Soccer
World Cup Italia '90

References

External links

 Review and screenshots in Spanish (archived)
 Review at Stadium 64
 Game at GiantBomb

1990 video games
Association football video games
Amiga games
Amstrad CPC games
Atari ST games
Commodore 64 games
DOS games
ZX Spectrum games
Tiertex Design Studios games
FIFA World Cup video games
1990 FIFA World Cup
Video games developed in the United Kingdom
U.S. Gold games

Italy 1990 (video game)


The 82nd Punjabis was an infantry regiment of the British Indian Army. It was raised  in 1788, as the 29th Madras Battalion. It was designated as the 82nd Punjabis in 1903 and became the 5th Battalion 1st Punjab Regiment in 1922. In 1947, it was allocated to the Pakistan Army, where it continues to exist as 4th Battalion The Punjab Regiment.

Early history
The regiment had its antecedents in the old Madras Army of the British East India Company, which was largely responsible for the British conquest of south and central India. Captain James Dalrymple at Ellore in November 1788, as the 29th Madras Battalion. Next year, it took part in the Third Mysore War. In 1799, it took part in the Seringapatam. Four years later, it was engaged in the Second Mahratta War, while in 1824, it moved to Burma to take part in the First Burma War. It returned to Burma in 1890, and was engaged in the pacification of Upper Burma following the Third Anglo-Burmese War.

82nd Punjabis

In 1903, the regiment, now designated as the 22nd Madras Infantry, was reconstituted with Punjabi Muslims, Hazarawals, Sikhs and Hindu Jats. As a result of the reforms brought about in the Indian Army by Lord Kitchener, all Madras units had 60 added to their numbers, and the regiment's designation was changed to 82nd Punjabis. On the outbreak of the First World War in 1914, the 82nd Punjabis were serving on the North West Frontier of India. In January 1916, they were dispatched to Mesopotamia, where they were engaged in the desperate British efforts to relieve the besieged garrison at Kut al Amara. The regiment suffered 223 casualties in the Battle of Dujaila Redoubt in March 1916. In January 1917, it fought in the Battle of the Hai Salient and then took part in the British advance towards Baghdad. In the fierce fighting at Shumran, while crossing the River Tigris, the regiment again suffered heavy casualties. After capture of Baghdad on 15 March, the 82nd Punjabis remained employed on guard duties, first at Baghdad, and then on the Persian frontier. They returned home in February 1919, and later that year, participated in the Third Afghan War.

Subsequent History
After the First World War, the	82nd Punjabis were grouped with the 62nd, 66th, 76th and 84th Punjabis, and the 1st Brahmans to form the 1st Punjab Regiment in 1922. The battalion was redesignated as 5th Battalion 1st Punjab Regiment. During the Second World War, 5/1st Punjab fought in the Burmese Campaign. After the Japanese invasion of Burma, the battalion fought in a number of rear-guard actions, as the British retreated a thousand miles to India. In 1944, it fought in the Second Arakan Campaign, and then took part in the Reconquest of Burma. After the war, the battalion was sent to Japan as part of the British Commonwealth Occupation Force. In 1947, the 1st Punjab Regiment was allocated to Pakistan Army. In 1956, it was merged with the 14th, 15th and 16th Punjab Regiments to form one large Punjab Regiment, and 5/1st Punjab was redesignated as 4 Punjab. During the 1965 Indo-Pakistan War, the battalion fought at Suleimanki, while in the 1971 war, it again distinguished itself in the Battle of Chhamb.

Genealogy
1788 29th Madras Battalion
1796 2nd Battalion 11th Regiment of Madras Native Infantry
1824 22nd Regiment of Madras Native Infantry
1885 22nd Regiment of Madras Infantry
1901 22nd Madras Infantry
1903 82nd Punjabis
1922 5th Battalion 1st Punjab Regiment
1956 4th Battalion The Punjab Regiment

See also
1st Punjab Regiment
Punjab Regiment

References

Further reading
Qureshi, Maj MI. (1958). The First Punjabis: History of the First Punjab Regiment 1759-1956. Aldershot: Gale & Polden.
Wilson, Lt Col WJ. (1882–88). History of the Madras Army. Madras: The Government Press.
Phythian-Adams, Lt Col EG. (1943). Madras Infantry 1748-1943. Madras: The Government Press.
Rizvi, Brig SHA. (1984). Veteran Campaigners – A History of the Punjab Regiment 1759-1981. Lahore: Wajidalis.

British Indian Army infantry regiments
Punjab Regiment (Pakistan)
Military units and formations established in 1788
1788 establishments in British India

82nd Punjabis


Johnny Handsome is a 1989 American neo-noir  crime thriller film directed by Walter Hill and starring Mickey Rourke, Ellen Barkin, Forest Whitaker and Morgan Freeman. The film was written by Ken Friedman, and adapted from the novel The Three Worlds of Johnny Handsome by John Godey. The music for the film was written, produced and performed by Ry Cooder, with four songs by Jim Keltner.

Plot
John Sedley is a man with a disfigured face, mocked by others as "Johnny Handsome." He and a friend are double-crossed by two accomplices in a crime, Sunny Boyd and her partner Rafe, and a Judge sends Johnny to jail, where he vows to get even once he gets out. In prison, Johnny meets a surgeon named Fisher, who is looking for a guinea pig so he can attempt an experimental procedure in reconstructive cosmetic surgery. Johnny, figuring he has nothing to lose, is given a new, normal-looking face (making him unrecognizable to the people who knew him) before he is released back into society.

Lt. Drones, a dour New Orleans law enforcement officer, is not fooled by Johnny's new look or new life, even when Johnny lands an honest job and begins seeing Donna McCarty, a normal and respectable woman who knows little of his past. The lieutenant tells Johnny that, on the inside, Johnny is still a hardened criminal and always will be. The cop is correct. Johnny cannot forget his sworn vengeance against Sunny and Rafe, joining them for another job, which ends violently for all.

Cast
 Mickey Rourke – John Sedley/"Johnny Handsome"/Johnny Mitchell
 Ellen Barkin – Sunny Boyd
 Elizabeth McGovern – Donna McCarty
 Morgan Freeman – Lt. A.Z. Drones
 Forest Whitaker – Dr. Steven Fisher
 Lance Henriksen – Rafe Garrett
 Scott Wilson – Mikey Chalmette
 David Schramm – Vic Dumask
 Yvonne Bryceland – Sister Luke
 Peter Jason – Mr. Bonet
 J. W. Smith – Mr.Stathansom
 Jeff Meek – Earl
 Allan Graf – Bob Lemoyne
 Ed Zang – Prestige Manager
 John Fertitta – Prestige Salesman
 Raynor Scheine – Gun Dealer
 Edward Walsh – Judge

Production

Development
The novel was published in 1972. Film rights were bought that year by 20th Century Fox who announced the film would be produced by Paul Heller and Fred Weintraub for their Sequoia Productions Company. However the film was not made.

The material was optioned by Charles Roven who tried to interest Walter Hill in it in 1982. Hill turned it down. "I turned it down three years later and about two years after that", said Hill. "I thought it was a good yarn ... [but] ... At the same time, there is this plastic-surgery story I thought cheated on melodrama. It's one of those conventions of 1940's movies, like the missing identical twin or amnesia." Hill added that, "No studio wanted to make it, and I didn't think any actor would be willing to play it."

In 1987 Richard Gere was going to star with Harold Becker to direct. Eventually Al Pacino signed to play the lead. By February 1988 Becker was out as director, replaced by Walter Hill. Then Pacino dropped out and Mickey Rourke was cast instead.

In 1989 Walter Hill explained why he changed his mind:

First, I figured that Hollywood is based on melodrama anyway and, second, I thought up a way to present the story in a way that resisted histrionics. More importantly, I found an actor who could play Johnny and not make it risible. Someone who understood the pitfalls of the thing. The main thing is that motion pictures have conditioned us to expect psychological realism. This is a drama in a different category. It's about moral choices ... I knew I was on very thin ice. If you let any histrionics in, it will fall apart. You have to trust the drama of the whole rather than an individual scene. And that's antithetical to most actors. They want to know, 'Where's my big moment? When do I get to cry and scream?' Mickey understood that.

"I'm drawn to characters where there's no happy ending, where things aren't rosy in the end", said Rourke. "It's not a happy world and there aren't easy, sappy endings to life."

Hill said the film was reminiscent of 1940s film noir:

You have the doomed character, and audiences back then were more comfortable with it. You can imagine John Garfield having a lot of fun with something like this ... But this one has a hard road commercially, and I'd like to see it have a chance to find an audience that will be interested. Some people like the movie and others are really offended by it. That's fine with me. I like movies that stir things up a little.
"I wanted a very neutral palette", said Hill. "If I had my druthers, I'd rather have made it a black-and-white film. I don't think you can make a real film noir without shooting it in black-and-white. But that wasn't one of the options. You either have to have a star or a director that has sufficient clout. This did not fit into any of those categories."

"The audience is invited to anticipate the drama rather than be surprised", added Hill.

"Oh, there are action sequences in it, but it's not the heroes-and-villains kind of piece that people usually perceive to be an action film", Hill said. "I'd say it's more character-driven. ... Characters loaded down with psychoanalytic baggage bore me to death. My own belief is that Freud may have been a brilliant thinker, but Freudianism is completely without scientific basis. At least as `scientific' is usually defined." Instead of seeing character as something defined by puberty-related traumas, Hill prefers to see character defined by action – "what a man does", he says, "not what may or may not have been done to him in some faraway past." In this regard, the core of Johnny Handsome is a " a character-is-destiny story ... Maybe more than film noir, it's a tragedy. Something that just as easily could have played in Elizabethan England or Ancient Greece."

"I don't think this is a very real movie", said Hill. "But at the same time, it's quite real once you understand where you are, once you're kind of `over there.' But not everybody can get over there. And I think that the people that can't get over there, you're not terribly interested in, anyway. Which is probably not the attitude of the marketplace, but ... there are some movies you make for different reasons, you know?"

The novel was set in New Jersey in the small time Mafia but Hill changed it to New Orleans, where he had shot Hard Times (1975). "I thought the small-time Mafia thing had been seen an awful lot, and I thought maybe a kind of look at redneck crime in a Southern city might be a little different", he said.

"New Orleans is the kind of place where you can believe anything is possible", he added. "It's got a Gothic quality... We don't use what the New Orleans tourists see. Just the edge of the film is New Orleans. The book is probably a truer psychological profile than the film. This is the musical version compared to the book. The movie at least presents that there's a lot of agony, though. God, the movie is so . . . dark."

Hill recognised the ending was likely to polarise audiences.

A lot of people, it just kicks 'em right in the head. This is a strange thing to say, but 30 or 40 years ago, I don't think the ending would have been quite so surprising. Because, even though Hollywood is built upon the convention of happy endings, in the old days there was always the 20 percent, or something like that, that weren't. And therefore, if you didn't give 'em a happy ending it wasn't, like, out of nowhere. Now, there's just no movies that are like this. They'll have muted, sad endings ... but the idea that you're gonna shoot down your protagonist, shoot him dead ... But, you know, at the same time I think the film does have a positive ending. It's not a happy ending, but it's a positive ending. I mean, the character does achieve redemption on his own terms. And he always understood what the stakes were, he understood the code he was living by ... But I suspect that that's probably too difficult a calculation for most observers ... I think there's a problem with audiences coming into the movie, because they don't know what to expect. I always thought the proper title of the movie should be, in the Elizabethan sense, The Tragedy of Johnny Handsome. If you told everybody that's what the title of the movie was, they'd kind of be prepared. The story is organized along the lines of a rather more classic tragedy. It's certainly organized around the principle that character is destiny. ... I think it's a movie about moral choice, not psychological truth. If there is such a thing as psychological truth. I think my movies are very much about character. I take the view of character that has basically prevailed for about 2,000 years, up until the end of the second World War. Which is -- this is a vulgar oversimplification -- but it's that `What I do is my character, my actions define my character.' After the second World War, thanks to theories of modern psychology and confusion about what was scientific and what wasn't, the definition of character became much more, `How did I become what I am?' I am not so much interested in that theory as I am in the previous theory. And I think that throws you profoundly out of step with your peers and with the critical community. Not so much around the world, but certainly in the United States. But I think it's changing.

Shooting
Shooting took place in November 1988 in New Orleans, where Hill had previously made Hard Times and Southern Comfort.

Ellen Barkin said she wanted to play her role because her character, Sunny

is one of the great female villains. I don't know if I've ever seen a female villain so evil. Sunny's just mean, that's all there is to it. And the great thing about Sunny in this movie is they just let her be bad. With women they always want to give explanations: she had such a terrible childhood or something. They can't just let women be bad... Sex is just one of the tools Sunny uses to get what she wants. And what she wants is money! Pure greed!

Hill said

I said to her, `Look, I don't know if you ought to do this thing. Because it's a good part. But you're at another kind of stage in your career and people might not think this is a real positive thing to do.' And she said, `Oh, (expletive). I'll never get a chance to play a villain this good. I want to do it.' And I was very happy. I wasn't trying to talk her out of it, I just thought that as a friend I should point out that there might be a down side. She wanted to really play a villain, really go for it. And I encouraged her in that direction.

Hill enjoyed working with Rourke:

Mickey understood, before I had to tell him anything, how to play the part. Which is one of the things about being a director: If you have to explain these things, it'll never work. The casting is the most important thing you're gonna do in terms of directing the actor. You cast the right person who believes in it and who you feel has an understanding similar to yours. I think people confuse being a motion picture director with being an acting coach. I don't think that I directed him 50 lines in the whole movie. If it's all happening the way you want it to happen, don't put your foot through it. Let it happen. He's got very good instincts. His sense of integrity is such that he's made a lot of choices that have not been in the mainstream. Certainly in American movies. He's a big star in Europe. He's not a big star here, yet. I hope he will become one. All this stuff about him being such a bad boy and all that ... He's a very romantic fellow, I think. And like a lot of romantic people he's really disappointed by the way the world really works. And out of that disappointment I think sometimes he lashes out. He's not the easiest -- I don't want to make him sound like he's Ozzie Nelson or something. He's not. He does have a lot of emotions. But he's not a difficult fellow to work with.

"In most cases", Hill says, "producers hope for a huge American box office and treat the European market as a nice little bonus. We're doing the opposite. We're hoping to do respectable business here. But Mickey is a huge star over in Europe. 9 1/2 Weeks and Angel Heart did huge business over there."

Hill said Rourke had to spend hours getting into make up each day. "It was a hell of a hardship on him, poor bastard. He really did suffer. It was like going to the dentist every day, then having to give a performance after going to the dentist. He also worked with a speech therapist to learn the speech impediment that resulted from Johnny's cleft palate and harelip."

The music was done by regular Hill collaborator Ry Cooder. Hill said, "Whatever merit that any of these films I've done have, I'd be the first to say a lot of it has to be due to his contribution. Quite contrary to the usual theory about scores, one of the things I like about his scores is that I can always hear his voice in there. As much as they complement the movie, or serve the movie, they are still uniquely Ry. Ry surrounds a movie and plays through the atmosphere. I like that."

Release
The film premiered in September 1989 at the Toronto Festival of Festivals. It also screened at the Venice Film Festival.

Johnny Handsome received mixed reviews from critics. It holds a rating of 60% on Rotten Tomatoes based on 15 reviews.

Henriksen and Barkin were nominated by the Chicago Film Critics Association for Best Supporting Actor and Best Supporting Actress, respectively.

Box office
The film was a box office failure. Hill later said "the foreign reception has been good but I think that's not unexpected. Whether it would work for an American audience was always problematic. I frankly never thought it would, given what it was, because it was a film that was certainly not a feel good movie. I liked it as a piece of work."

Soundtrack
The soundtrack for the movie was written by Ry Cooder, with 4 of the 16 songs co-written with Jim Keltner.  The music was performed by Cooder, Keltner and Steve Douglas, with occasional horn backing, arranged by Van Dyke Parks.  The soundtrack was produced by Cooder.

Home video release
After the film's theatrical run, the film was released on videocassette and laserdisc in 1990 by International Video Entertainment. In 2002, the film was finally released on DVD, but without any bonus material and was shown in only a full frame presentation.

In 2010 the film was released on Blu-ray through Lions Gate Entertainment in its original widescreen presentation. However, the TriStar Pictures and Carolco logos were removed in favor of a StudioCanal logo.

Legacy
In 2008, Slant Magazine published a review of the Mickey Rourke film The Wrestler which commented on the similarities between that and Johnny Handsome:

There is a moment, early on in the film, when he staggers down the street, through a bleak New Jersey morning, a great hulk of a man, too big for his clothes. His face looks battered and puffy, and suddenly, out of nowhere, I got an acute and clear memory of his performance as the deformed criminal in 1989's Johnny Handsome. In the opening shots of that film, "Johnny Handsome" skulks down the street; his face has a ballooning forehead, a bulbous nose, a cleft palate. We know it is Mickey Rourke because he is the star of the film, but we cannot tell it is him. The story of that film, of "Johnny Handsome" getting an operation on his face that leaves him looking like, well, a young and handsome Mickey Rourke, is the reverse of what we have seen happen in Mickey Rourke's real life. It is one of those odd art-meeting-biography truths. In The Wrestler, Mickey Rourke's actual face looks like the makeup-job he had done in that movie almost 20 years ago, and it's a strange, tragic thing to contemplate.

References

External links

 Review of film by Roger Ebert

1989 films
1989 crime drama films
1980s heist films
American crime drama films
American heist films
American films about revenge
Films based on works by Morton Freedgood
Films directed by Walter Hill
Films produced by Charles Roven
Films scored by Ry Cooder
Films shot in New Orleans
TriStar Pictures films
Carolco Pictures films
American neo-noir films
Films about plastic surgery
1980s English-language films
1980s American films
Films produced by Mario F. Kassar

Johnny Handsome


St Luke's is a historic Anglican church building in central London, and in the London Borough of Islington. It served as a parish church from 1733 to 1959. It was designed by John James and Nicholas Hawksmoor, and is a Grade I listed building.

Following closure in 1959, the church stood derelict and roofless for some 40 years, but since 2003 has been a music centre operated by the London Symphony Orchestra and known as LSO St Luke's. It is the home of the LSO's community and music education programme, LSO Discovery. The main body of the building seats up to 372 and is used by the LSO for rehearsals, and by a wide variety of musicians for performances and recording. Additional rooms in the crypt provide practice facilities for professional musicians, students and community groups.

History

The church is sited on Old Street, north of the City of London. It was built to relieve the City church of St Giles-without-Cripplegate, Cripplegate, under the Commission for Building Fifty New Churches, an attempt to meet the religious needs of London's burgeoning 18th-century population. The ancient parish of St Giles lay partly within the City and partly outside its boundaries in Middlesex: under the Commissioners' scheme these two parts were to be separated, with the Middlesex portion (historically the Manor of Finsbury) becoming a new parish of St Luke's. Construction began in 1727 and was completed in 1733, when the church was consecrated on 18 October (St Luke's day), and the parish detached from that of St Giles.

The architects were the joint salaried surveyors to the Commission, John James and Nicholas Hawksmoor. James is thought to have been responsible for the body of the church, and Hawksmoor for the west tower, the flanking staircase wings, and the obelisk spire (a most unusual feature for an Anglican church). The spire was topped by an unusual weather vane depicting the head of a dragon with a fiery comet-like tail: this was misinterpreted locally as a louse, and by the mid-20th century had gained the church the nickname "lousy St Luke's".

The church stood on often waterlogged ground, near the (historically) notoriously marshy Moorfields area, and from an early date (but particularly from the beginning of the 20th century) suffered from problems of subsidence. The effects of the subsidence remain visible in the distorted shapes of the windows on the north side of the building.

Burials

Burials in the small churchyard included:
Mark Catesby (1683–1749), naturalist. His grave is lost.
William Caslon the elder (1692/1693–1766), type founder, his son William Caslon II (1720–1778) and other members of the family. They are commemorated by a listed chest tomb.
George Dance the Elder (1695–1768), architect, and at one time a member of the vestry. His grave is lost.

In preparation for the conversion of the church into a music centre, the crypt was cleared of burials in the year 2000. A total of 1053 burials were archaeologically recorded, removed, and reburied at Brookwood Cemetery, Surrey. A television documentary, "Changing Tombs" (2001), recorded the process.

Deconsecration and reuse
In 1959, in response to structural problems at the church resulting from subsidence, and to a declining inner-city population, the Diocese of London closed St Luke's and the parish was re-absorbed into that of St Giles-without-Cripplegate. The following year the font and organ case were moved to St Giles' church, the reredos and altar rails to St Andrew Holborn, and the roof was removed for safety reasons. The crypt was bricked up in 1964. The empty shell of St Luke's became a dramatic ruin for some 40 years, overgrown with trees, despite being a Grade I listed building.

After several controversial proposals to redevelop offices inside the retained walls, it was converted by the St Luke Centre Management Company Ltd for the London Symphony Orchestra as a concert hall, rehearsal and recording space, and educational resource. The conversion was designed by Axel Burrough at London architects Levitt Bernstein, who installed a heavy concrete slab roof which keeps out traffic noise from the nearby road. Though this is similar in profile to the former eighteenth-century roof, its great weight is supported on tall steel columns inside the hall described by the designer as "tree-like". The interior acoustic can be varied for different events, from full orchestra to soloists, by the use of absorbent surfaces that unroll like blinds across the ceiling and down the walls, whilst the seating and staging are also highly flexible. Work was completed in 2002, and the centre was brought into use early in 2003.

Special events
The venue regularly hosts open rehearsals by the London Symphony Orchestra in advance of concerts at the nearby Barbican Hall, and has pioneered genre-busting events such as the Eclectica series, which combines classical, jazz, experimental and electronic sound-worlds.

Junior Trinity, the junior department of Trinity Laban Conservatoire of Music and Dance have also performed at LSO St Luke's as part of their seasonal concerts with their Symphony Orchestra, Wind Orchestra, Sinfonia, Big Band, and other notable groups.

During 2006 the BBC used the venue to record concerts by Bruce Springsteen and Paul Simon for broadcast.

Sir Elton John also recorded a concert to publicise his album The Captain & the Kid.

In 2007 MTV used the venue to record a concert from Editors, for broadcast in the same year.

Patti Smith, Philip Glass and Lenny Kaye performed a tribute to Allen Ginsberg in 2007.

Van Morrison recorded a concert at St Luke's on BBC Four Sessions on 25 April 2008 featuring songs from his 2008 album, Keep It Simple.

In September 2008, Duffy played there for BBC Sessions; the concert was televised on 12 October 2008.

In December 2008 BBC Four broadcast Sacred Music: The Story of Allegri's Miserere, presented by Simon Russell Beale, with a performance by The Sixteen conducted by Harry Christophers at St Luke's.

References

Sources

External links

 LSO site on church

Churches in the London Borough of Islington
Grade I listed churches in London
Former churches in London
John James (architect) buildings
Music venues in London
London Symphony Orchestra
Nicholas Hawksmoor buildings
1733 establishments in England

St Luke Old Street


William Wallace Barron (December 8, 1911 – November 12, 2002) was an American Democratic politician in West Virginia. He was the state's 26th Governor from 1961 to 1965.

Life and career
He was born in Elkins, West Virginia.  He attended Washington and Lee University and the West Virginia University Law School. During World War II, he served in the United States Army. In 1949, he was elected mayor of Elkins. He became a member of the West Virginia House of Delegates in 1950 and was re-elected in 1952. He resigned his seat when appointed as Liquor Control Commissioner by Governor William C. Marland subsequent to the 1952 election. He was nominated to Attorney General in 1956.

In 1960, he was elected governor of West Virginia and continued the clean government and civil rights reforms that had been instituted by his predecessor, Cecil H. Underwood.

He died on November 12, 2002, in Charlotte, North Carolina.

Corruption trial and prison
On August 30, 1968, Barron was acquitted of federal charges concerning alleged money kickbacks and rigged state contract schemes in which he and several of his associates were involved. It was later realized that Barron and his wife, Opal Barron, had bribed the jury foreman. Barron was indicted, pleaded guilty and was sentenced to 25 years in prison, albeit this was reduced to 12 years. He served four years of his sentence.

See also
 Virginia Mae Brown

References

External links
 Biography of William W. Barron
 Inaugural Address of William W. Barron
 William W. Barron's Influence on the West Virginia State Centennial Celebration

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1911 births
2002 deaths
20th-century American lawyers
20th-century American politicians
American politicians convicted of bribery
American politicians convicted of federal public corruption crimes
Democratic Party governors of West Virginia
Disbarred American lawyers
Mayors of places in West Virginia
Democratic Party members of the West Virginia House of Delegates
Military personnel from West Virginia
People from Elkins, West Virginia
Presbyterians from West Virginia
United States Army personnel of World War II
United States Army soldiers
Washington and Lee University alumni
West Virginia Attorneys General
West Virginia University College of Law alumni

Wally Barron


A shoulder angel is a plot device used for dramatic and/or humorous effect in fiction, mainly in animation and comic books/strips. The angel represents conscience and is often accompanied by a shoulder devil representing temptation. They are a useful convention for depicting the inner conflict of a character.

Iconography
The shoulder angel often uses the iconography of a traditional angel, with wings, a robe, a halo, and sometimes a harp. The shoulder devil likewise usually looks like a traditional devil with reddish skin, horns, barbed tail, a trident and in some cases, cloven hooves.  Often, both resemble their host, though sometimes they will resemble other characters in the story who are responsible or mischievous. In Western culture the idea develops the Christian concept of a personal guardian angel, who was sometimes considered to be matched by a personal devil who countered the angel's efforts, especially in popular medieval dramas like the 15th century The Castle of Perseverance. In both this and Christopher Marlowe's  play The Tragical History of Doctor Faustus, of about 1592, the "Good Angel" and "Bad Angel" offer competing advice (Act 2, scene 1, etc.) to the hero.

Origins

The non-canonical early Christian book The Shepherd of Hermas, of around A.D. 140–150, has a reference to the idea of two angels: "There are two angels with a man—one of righteousness, and the other of iniquity". These angels in turn descend into a person's heart, and attempt to guide a person's emotions. Hermas is told to understand both angels, but to only trust the Angel of Righteousness. The concept is similar to ideas of personal tutelary spirits that are very common in many ancient and traditional cultures.

In some Christian folklore, each person has a dedicated guardian angel whose task is to follow the person and try to prevent them from coming to harm, both physical and moral.  At the same time each person is assailed by devils, not usually considered as single and dedicated to a single person in the same way as the guardian angel, who try to tempt the person into sin.  Both angels and devils are often regarded as having the ability to access the person's thoughts, and introduce ideas.

Similar beliefs
There is a similar Islamic belief of Kiraman Katibin, two recording angels residing on either shoulder of humans which record their good and bad deeds.  However, these angels do not have influence over the choices one makes, and only record one's deeds. However, there is a concept which is more similar to the shoulder angels: the qareen, which, according to Islamic literature, is a (possibly evil) personal companion, and the guardian angels assigned to each person.

In Japanese Buddhism, the Kushoujin are a pair of beings –  and  – which sit on a person's shoulders, observing and reporting all his deeds. Dōmyō records good deeds, but Dōshō reports bad ones.

In Ancient Greek philosophy, Plato writes in Phaedrus about a speech given by Socrates that splits the soul into three parts: a "charioteer," or the man that participates in everyday life, a "good horse" that knows of self-control, moderation, and shame, and a "bad [horse]" who "does everything to aggravate its yokemate and its charioteer." The bad horse, who "barely yields to horsewhip and goad combined," tempts the charioteer in matters of eros and lust. The good horse, meanwhile, "is obedient to the charioteer" and "still controlled ... by its sense of shame," and meant to steer the charioteer away from the shameful and towards the divine. Both horses are present in the life of the charioteer at every moment, and act in a very similar fashion to the shoulder angel and shoulder devil plot device.

Modern representations

In several modern fictional stories, a character can be marked as especially evil or mischievous by receiving similarly bad advice from both shoulder figures, having a second shoulder devil instead of the angel, or being persuaded by the devil to kick the angel out.

In modern media

Angel on My Shoulder is a 1946 American fantasy film about a deal between the Devil and a dead man.

The Adventures of Tintin comics used this concept in at least two stories. In The Red Sea Sharks (1958), Captain Haddock's bad angel persuades him to drink a bottle of whisky, but the bottle smashes before he is able to drink it, leaving the good angel victorious. In Tintin in Tibet (1960), Snowy is tempted by his demon to lap up Captain Haddock's whiskey leaking from his rucksack. In an later instance from the same book, his demon tempts him to enjoy a huge bone rather than deliver a vital message. His good angel loses the argument, leaving in tears, and he gnaws the bone while the message blows away. Realizing his mistake, Snowy makes amends by reaching a local monastery and brings the monks to help.
In both examples, the angels resemble good or bad versions of their subject, with horns and angel wings.

In 1960, the original Hanna-Barbera cartoon, The Flintstones  season 1, episode 12, "The Sweepstakes Ticket," features Fred Flintstone with an angel conscience on one shoulder and a devil conscience on the other. These characters look like Fred dressed up in angel/devil costume, and they encourage him to trust those around him or to behave dishonestly and greedily.

In 1993, in The Simpsons episode "Whacking Day," Homer presents the concept that everyone has a good and a bad self to Lisa. A fantasy sequence set in Homer's imagination then begins, showing Homer's bad self, visually depicted as Homer in a devil costume, dancing on the grave of the good Homer while singing 'I am Evil Homer, I am Evil Homer', implying that within him the battle for good and evil has long ago been won by his bad angel.

The trope is used in a 1996 Wendy's commercial for a spicy bacon cheeseburger. Founder Dave Thomas is indecisive about the new recipe, and his shoulder angel and devil are him dressed in a white and red suit respectively. Both character appear morally good, but with different personalities, as they are not meant to represent good and evil, but food preferences (with the "angel" representing mild food and the "devil" representing spice). The "devil" Dave wins the debate to add spicy pepper jack cheese to the burger, and the "angel" Dave suggests he be careful while eating the burger. The founder tells his angel to "mind his own business."

In the webcomic Sluggy Freelance (beginning in 1997), all three of the main characters have been shown debating with their shoulder angels and demons, each of whom reflects aspects of their respective hosts: Riff's are both unwilling to commit to a course of action, saying 'don't know' when asked for guidance; Torg's are both childish; and Zoe's demon dresses in revealing outfits, while her angel wishes she could dress in the same fashion.

The 2000 Disney animated film The Emperor's New Groove, its sequel Kronk's New Groove, and the animated series The Emperor's New School feature the concept of shoulder angels and devils, most notably in the character of Kronk. His appear at various points of moral crisis in the franchise for Kronk, but often spend more time antagonizing each other than actually trying to take Kronk down one path or another. The Oscar-winning Disney short Lend a Paw also featured Pluto being influenced by a shoulder angel and devil. In Mickey Mouse Clubhouse, a Disney animated series aimed at preschoolers, Pete has similar manifestations—though simply colored white and red rather than depicted with wings and a halo/horns and a pitchfork, respectively.

In the Discworld novel Nightwatch (2002) by Terry Pratchett, the killer Carcer was considered by the hero Samuel Vimes to have a demon on each shoulder, not opposing each other but in competition to urge Carcer on to worse deeds.  It was said that if Vimes looked deep into Carcer's eyes, he could see the demons looking back.

In the feature film Cloud Atlas (2012), Old Georgie (Hugo Weaving) whispers bad and good advice to Zachry (Tom Hanks). Old Georgie appears only in critical points of the story, where Zachry's mind is split between right and wrong choices.

BYUtv's sketch comedy series Studio C makes use of the concept in several sketches, with the physical comedy aspect of the angel or devil – a full-sized being played by an actor – having to physically climb up onto the shoulder of the one they are attempting to influence for good or evil.

See also

References

External links
 Studio C Shoulder Angel at YouTube

Stock characters
Angels in popular culture
Demons in popular culture
Narrative techniques

Shoulder angel