The Nanjing Anti-African protests were mass demonstrations and riots against African students in Nanjing, China, which lasted from December 1988 to the following January.

Background

Animosity towards African students began in the 1960s, when scholarships provided by the Chinese government allowed many students from China-friendly African countries to study in Beijing. This policy was originally based on the idea of third world solidarity and Mao Zedong's linking of the fight against American and Soviet imperialism with Marxist class war. Many of these African students were given larger educational grants than native Chinese students, and hostility towards the Africans was a regular occurrence. Most of these students returned to their home countries before reaching the end of their courses due to poor living conditions and the political uncertainties of the Mao era. From the mid-1970s, China allowed African students to study outside of Beijing.

As well as resentment about the larger stipends given to African students, hostility from Chinese students towards Africans also flared up when there was contact between African men and Chinese women. In an incident in Shanghai in 1979, African students were attacked after reportedly playing loud music and making sexual remarks to Chinese women. These clashes became more common during the 1980s and sometimes led to arrests and deportations of African students. Cultural differences in dating habits added to the tensions.

Nanjing protests
On December 24, 1988, two male African students were entering their campus at Hohai University in Nanjing with two Chinese women. The occasion was a Christmas Eve party. A quarrel between one of the Africans and a Chinese security guard, who had suspected that the women the African students tried to bring into the campus were prostitutes and refused their entry, led to a brawl between the African and Chinese students on the campus which lasted till the morning, leaving 13 students injured.

300 Chinese students, spurred by false rumors that a Chinese man had been killed by the Africans, broke into and set about destroying the Africans' dormitories, shouting slogans. Part of the destruction involved setting fire to the Africans' dormitory and locking them in. The President of the university had to order the fire department to take action.

After the police had dispersed the Chinese students, many Africans fled to the railway station in order to gain safety at various African embassies in Beijing. The authorities prevented the Africans from boarding the trains so as to question those involved in the brawl. Soon their numbers increased to 140, as other African and non-African foreign students, fearing violence or simply by sympathy, arrived at the first-class waiting room at the station asking to be allowed to go to Beijing.

By this time, Chinese students from Hohai University had joined up with students from other Nanjing universities to make up a 3000-strong demonstration that called on government officials to prosecute the African students and reform the system which gave foreigners more rights than the Chinese. On the evening of  December 26, the marchers converged on the railway station while holding banners calling for human rights and political reform. Chinese police managed to isolate the non-Chinese students from the marchers and moved them by force to a military guest house in Yizheng outside Nanjing. The protests were declared illegal, and riot police were brought in from surrounding provinces to pacify the demonstrators, which took several more days.

The African students and their sympathisers were removed from Yizheng to another military guesthouse closer to Nanjing on New Year's Eve, and were returned to their universities the following day.

Aftermath
In January, three of the African students were deported for starting the brawl. The other students returned to Hohai University and were required to follow new regulations, including a night-time curfew, having to report to university authorities before leaving the campus, and having no more than one Chinese girlfriend whose visits would be limited to the lounge area. Guests were still required to be registered.

Anti-African demonstrations spread to other cities, including Shanghai and Beijing.

Tiananmen Square protests
The Nanjing protests were groundbreaking dissidence for China and went from solely expressing concern about alleged improprieties by African men to increasingly calling for democracy or human rights.  They were paralleled by burgeoning demonstrations in other cities during the period between the Nanjing and the 1989 Tiananmen Square protests and massacre, with some elements of the original protests that started in Nanjing still evident in 1989 Tiananmen Square protests and massacre, such as banners proclaiming "Stop Taking Advantage of Chinese Women" even though the vast majority of African students had left the country by that point.

See also
 Racism in China
Africans in Guangzhou
 Controversy over study buddies for international students in China

References

Further reading
China as a Third World State: Foreign Policy and Official National Identity,  Van Ness, Peter, Cornell University Press, 1993
Collective Identity, Symbolic Mobilization, and Student Protest in Nanjing, China, 1988-1989, Crane, George T
The Discourse of Race in Modern China, Dikötter, Frank, Stanford University Press, 1992
Racial Identities in China: Context and Meaning, Dikötter, Frank, 1994
An African Student in China,  Hevi, Emmanuel, Pall Mall, 1963
Anti-Black Racism in Post-Mao China, Sautman, Barry, 1994
The 1988-89 Nanjing Anti-African Protests: Racial Nationalism or National Racism?, Sullivan, Michael J,  1994

1988 in China
1988 riots
1988 protests
1989 in China
1989 riots
Anti-black racism in Asia
Anti-immigration politics in China
Anti-national sentiment
History of Nanjing
Race riots in China
Racially motivated violence against black people
Racism in China
Riots and civil disorder in China
Student protests in China
1989 Tiananmen Square protests and massacre
Africa–China relations
December 1988 events in Asia
January 1989 events in Asia

Nanjing anti-African protests


Aliettite is a complex phyllosilicate mineral of the smectite group with a formula of (Ca0.2Mg6(Si,Al)8O20(OH)4·4H2O) or .

It is a soft, colorless to pale yellow or green earthy mineral which crystallizes in the monoclinic system as minute tabular to platy crystals.

It was first described in 1968 for an occurrence in Monte Chiaro, Albareto, Parma Province, Emilia-Romagna, Italy and named for the Italian mineralogist Andrea Alietti (born 1923).

It occurs in serpentinized ophiolites and their residual soil. It also occurs in altered dolomite. Associated minerals include talc, chlorite, serpentine and calcite. In addition to the type locality in Italy it has been reported from Kinshasa, Katanga; the Chelyabinsk Oblast of the southern Urals and the Turii alkaline Massif of the Kola Peninsula in Russia; the Zirabulak Mountains of Uzbekistan; and the Goldstrike Mine of Eureka County, Nevada, US.

References

Smectite group
Hexagonal minerals

Aliettite


The Mobile District (spanish: Distrito de Mobila) was an administrative division of the Spanish colony of West Florida, which was claimed by the short-lived Republic of West Florida, established on September 23, 1810. Reuben Kemper led a small force in an attempt to capture Mobile from the Spanish on behalf of the new republic, but the expedition ended in failure.

The district was bounded on the north by the 31st parallel, on the south by the Gulf of Mexico, on the east by the Perdido River, and on the west by the Pearl River.

In 1810 the United States, citing the Mobile Act of 1804, justified its annexation of the Baton Rouge District, which had been under the control of the unrecognized Republic of West Florida.  At that time, the Mobile District remained under Spanish control. The District, however, was later declared by Congress to be annexed to the United States on May 14, 1812, immediately prior to the start of the War of 1812 with Great Britain, with whom Spain was allied.

Nearly a year later, a U.S. military force arrived in Mobile to formally accept the presiding Spanish commander's surrender. The Mobile District was incorporated into the Mississippi Territory. From that point, Spanish Florida was equivalent in its geography to today's Florida; however, it would be nearly another decade before Spain ceded Florida to the United States.

Today the former Mobile District forms the southernmost sections of two states, Mississippi and Alabama.

See also
 History of Alabama
 History of Florida
 History of Louisiana
 History of Mississippi
 West Florida Controversy

References

Former regions and territories of the United States
Geography of Florida
States and territories established in 1810

Mobile District


The highfin snake eel (Ophichthus altipennis, also known as the blackfin snake eel or the black-finned snake eel, is an eel in the family Ophichthidae. It was described by Johann Jakob Kaup in 1856, originally under the genus Microdonophis. It is a marine, tropical eel known from the eastern Indian Ocean and northwestern and western central Pacific Ocean, including Australia, French Polynesia, Indonesia, Japan, the Marshall Islands, Malaysia, the Philippines, and Papua New Guinea. It dwells at a depth range of , and forms burrows in soft inshore sand sediments. Males can reach a maximum total length of .

Due to its wide distribution in the Pacific and lack of known threats, the IUCN redlist currently lists the highfin snake eel as "Least Concern".

References

External links

highfin snake eel
highfin snake eel
Taxa named by Johann Jakob Kaup

Highfin snake eel


La Bella Principessa (English: "The Beautiful Princess"), also known as Portrait of Bianca Sforza, Young Girl in Profile in Renaissance Dress and Portrait of a Young Fiancée, is a portrait in coloured chalks and ink, on vellum, of a young lady in fashionable costume and hairstyle of a Milanese of the 1490s. Some scholars have attributed it to Leonardo da Vinci but the attribution and the work's authenticity have been disputed. Supporters of the theory that it was by Leonardo have propositioned that Bianca Maria Sforza is the woman depicted in the drawing.

Some of those who disagree with the attribution to Leonardo believe the portrait is by an early 19th-century German artist imitating the style of the Italian Renaissance, although radiocarbon dating tests show a much earlier date for the vellum. It has also been denounced as a forgery. The white lead has been dated to be at least 225 years old. The work sold for just under $22,000 at auction in 1998, and was bought by its current owner Peter Silverman in 2007. He has championed the attribution to Leonardo, supported by the analysis of academics Martin Kemp and Pascal Cotte.

The drawing was shown as a Leonardo in an exhibition in Sweden in 2010 and was estimated by various newspaper reports to be worth more than $160 million. The Bella Principessa remains locked in a vault in a secret Swiss location.

According to Kemp and Cotte, the sheet was cut from a Milanese vellum book, La Sforziada,  in Warsaw, which celebrates the marriage in 1496 of Galeazzo Sanseverino with Bianca, the illegitimate daughter of Ludovico Sforza, Leonardo's employer. It has subsequently been exhibited in Urbino, Monza and Nanjing; and a facsimile edition of the portrait and the book in Warsaw has been published.

Description
The portrait is a mixed media drawing in pen and brown ink with red, black and white chalk, on vellum,  which has been laid down on an oak board.

There are signs of restoration with thin paint applied with a brush. Three stitch holes in the left-hand margin of the vellum, indicate that the leaf was once in a bound volume.

It represents a girl in her early teens, depicted in profile, the usual way in which Italian artists of the 15th century portraited women. The girl's dress and hairstyle indicate that she was a member of the Court of Milan during the 1490s. If it truly is a Renaissance work, it would have been executed in the 1490s according to Kemp and Cotte. If the subject is Bianca Sforza it would date from 1496, the year of her marriage and her death.

Reflecting the subject of an Italian woman of high nobility, Kemp named the portrait La Bella Principessa, although acknowledging that Sforza ladies were not princesses.

Provenance
If the drawing is originally a Leonardo illustration for the present-day Warsaw copy of the Sforziad, its history is the same as that of the book until the drawing was cut out from the volume. The book is known to have been rebound at the turn of the 18th and 19th century.

The modern provenance of the drawing is known only from 1955 and is documented only from 1998. According to a lawsuit brought by Jeanne Marchig against Christie's after the drawing's re-attribution to Leonardo, the drawing belonged to her husband Giannino Marchig, an art restorer, when they married in 1955. Jeanne Marchig became the owner of the drawing in 1983, following her husband's death.

The work was included in a sale at Christie's in New York on January 30, 1998, catalogued as Young Girl in Profile in Renaissance Dress, and described as "German School, early 19th Century". The seller was Jeanne Marchig. It was sold for $21,850 (including buyer's premium) to a New York art dealer who sold it on for a similar amount in 2007.

In 2007, art dealer Peter Silverman, purchased the portrait from a gallery on East 73rd Street, owned by Kate Ganz. Peter Silverman believed that the portrait was possibly from an older period, potentially dating back to the Renaissance period, and sought the opinions of experts who have since attributed it to Leonardo da Vinci. In 2010 one of those experts, Martin Kemp, made it the subject of his book co-authored with Pascal Cotte, La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci. This is now revised in Kemp and Cotte's La Bella Principessa di Leonardo da Vinci. Ritratto di Bianca Sforza, Florence, 2012.

The drawing was shown as a Leonardo in a 2010 exhibition called And there was Light in Eriksberg, Gothenburg, in Sweden, and was estimated by various newspaper reports to be worth more than $160 million. Silverman promoted the Leonardo connection in his 2012 book Leonardo's Lost Princess: One Man's Quest to Authenticate an Unknown Portrait by Leonardo da Vinci and has declined an offer for the portrait of $80 million.

The fingerprint dispute
Pascal Cotte of Lumière Technology in Paris performed a multi-spectral digital scan of the work. The high resolution images were used by Peter Paul Biro, a forensic art examiner who studied a fingerprint on the vellum which he said was "highly comparable" to a fingerprint on Leonardo's unfinished St. Jerome in the Wilderness. In 2010 David Grann published an article about the drawing in The New Yorker, which implied that Biro had been involved with forged paintings attributed to Jackson Pollock.

Biro consequently sued the writer and the publisher of the New Yorker Advance Media for defamation in 2011. The judge in the case, J. Paul Oetken, ruled that the article contained eight instances that were capable of a defamatory meaning. He eventually dismissed the case on a technicality arguing that Biro was a limited purpose public figure. An appeals court supported the initial judgment. The New Yorker article was republished in 2018 and Biro sued the New Yorker again for republication of a potentially defamatory article. The case is before the court and a ruling is expected. Biro is an analyst and not an "authenticator". He continues to practice art analytics as he has for the past 40 years.

The fingerprint evidence is not cited in the revised Italian edition of the book by Kemp and Cotte or in any of Kemp's subsequent publications. The story of the research and attribution is told in Kemp's Living with Leonardo.

Support for Leonardo attribution

The first study of the drawing was published by Cristina Geddo. Geddo attributes this work to Leonardo based not only on stylistic considerations, extremely high quality and left-handed hatching, but also on the evidence of the combination of black, white and red chalks (the trois crayons technique). Leonardo was the first artist in Italy to use pastels, a drawing technique he had learned from the French artist Jean Perréal, whom he met in Milan in 1494 and/ or 1499.  Leonardo acknowledges his debt to Perréal in the Codex Atlanticus. Geddo also points out that the "coazzone" of the sitter's hairstyle was fashionable during the same period. Strong support for the attribution has come from Elizabetta Gnignera, the costume historian, in her book La Bella Svelata, which studies a wide range of comparative costumes and hair styles.

Expert opinions
A number of Leonardo experts and art historians have concurred with the attribution to Leonardo, including:
 Martin Kemp, Emeritus Research Professor in the History of Art at the University of Oxford,
 Carlo Pedretti, late professor emeritus of art history and Armand Hammer Chair in Leonardo Studies at the University of California, Los Angeles
 Nicholas Turner, former curator at the British Museum and the J. Paul Getty Museum
 Alessandro Vezzosi, the director of the Museo Ideale Leonardo da Vinci in Vinci, Italy
 Cristina Geddo, an expert on Milanese Leonardesques and Giampietrino,
 Mina Gregori, professor emerita at the University of Florence.

Analysis
In 2010, after a two-year study of the picture, Kemp published his findings and conclusions in a book, La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci. Kemp describes the work as "a portrait of a young lady on the cusp of maturity [which] shows her with the fashionable costume and hairstyle of a Milanese court lady in the 1490s". By process of elimination involving the inner group of young Sforza women, Kemp suggested that she is probably Bianca Sforza, the illegitimate (but later legitimized) daughter of Ludovico Sforza ("Il Moro"), duke of Milan. In 1496, when Bianca was no more than 14, she married Galeazzo Sanseverino, captain of the duke's Milanese forces and a patron of Leonardo. Bianca was dead within months of her marriage, having suffered from a stomach complaint (possibly an ectopic pregnancy). Kemp pointed out that Milanese ladies were often the dedicatees of volumes of poetry on vellum, and that such a portrait of a "beloved lady" would have made a suitable title page or main illustration for a set of verses produced on the occasion of her marriage or death.

The physical and scientific evidence from multispectral analysis and study of the painting, as described by Kemp in the first edition of his book with Cotte, may be summarized as follows:
 The technique of the portrait is black, red and white chalks (trois crayons, a French medium), with pen and ink.
 The drawing and hatching was carried out entirely by a left-handed artist, as Leonardo is known to have been, although restorations are by a right-hander.
 There are significant pentimenti.
 The portrait is characterized by particularly subtle details, such as the relief of the ear hinted at below the hair, and the amber of the sitter's iris.
 There are strong stylistic parallels with the Windsor silverpoint drawing of A Woman in Profile, which, like other head studies by Leonardo, features comparable delicate pentimenti to the profile.
 The members of the Sforza family were always portrayed in profile, whereas Ludovico's mistresses were not.
 The proportions of the head and face reflect the rules that Leonardo articulated in his notebooks.
 The interlace or knotwork ornament in the costume and caul corresponds to patterns that Leonardo explored in other works and in the logo designs for his Academy.
 The portrait was executed on vellum—used by him in his illustrations for Luca Pacioli's De divina proportione (1498). We know from his writings that he was interested in the French technique of dry colouring on parchment (vellum). He specifically noted that he should ask the French artist, Jean Perréal, who was in Milan in 1494 and perhaps on other occasions, about the method of colouring in dry chalks.
 The format of the vellum support is that of a  rectangle, a format used for several of his portraits.
 The vellum sheet was cut from a codex, probably a volume of poetry of the kind presented to mark major events in the Sforza women's lives.
 The vellum includes a palmprint in the chalk pigment on the neck of the sitter, which is characteristic of Leonardo's technique.
 The green of the sitter's costume was obtained with a simple diffusion of black chalk applied on top of the yellowish tone of the vellum support. (Kemp has subsequently expressed reservations about this evidence.)
 The nuances of the flesh tints were also achieved by exploiting the tone of the vellum and allowing it to show through the transparent media.
 There are noteworthy similarities between this work and the portrait of Cecilia Gallerani, including the handling of the eyes, the modelling of flesh tones using the palm of the hand, the intricacy of the patterns of the knotwork ornament and the treatment of the contours.
 The now somewhat pale original hatching in pen and ink was retouched in ink in a later restoration, which is far less fluid, precise and rhythmic.
 There have been some re-touchings over the years, most extensively in the costume and headdress, but the restoration has not affected the expression and physiognomy of the face to a significant degree, and has not seriously affected the overall impact of the portrait.

Warsaw copy of the Sforziada
In 2011, after the publication of the first edition of their book, Kemp and Pascal Cotte reported that there was evidence that the drawing had once been part of a copy in the National Library of Poland in Warsaw of the Sforziada.  This is a printed book with hand-illuminated additions containing a long propagandistic poem in praise of the father of Ludovico Sforza, who was Leonardo's patron, recounting the career. The Warsaw copy, printed on vellum with added illumination, was given to Galeazzo Sanseverino, a military commander under Ludovico Sforza, on his marriage to Bianca Sforza in 1496. Kemp and Cotte identified where two sheets were missing from this volume from which they believe the drawing was cut. Kemp and Cotte say that, although "the dimensions and precise locations of the holes in the portrait cannot be obtained with precision", the three holes on the left-hand side of the drawing can be aligned with three of the five stitch holes in the sheets in the book.

According to Kemp and Cotte, the association with the Sforziada suggests that the drawing is a portrait of Bianca Sforza, who was the daughter of Ludovico Sforza and his mistress Bernardina de Corradis. At the time of the portrait, she was around thirteen years old. Leonardo painted three other portraits associated with the family or court of Ludovico Sforza.

The Polish scholar Bogdan Horodyski in 1954-1956 reached the conclusion that the Warsaw illumination refers to both the deceased dukes Galeazzo Maria and Gian Galeazzo and to the dynastic downfall after the usurpation of Ludovico il Moro.  The reproduction of the unpublished heraldic figure attributed to Antonio Grifo, illuminated in the incunabulum "Comedia" by Dante (Cremonese, Venice 1491), now at Casa di Dante in Rome, shows the original coat of arms and insignia of the family of Galeazzo Sanseverino, and the comparison with those illuminated by Birago is not corresponding. Developing this hypothesis, Carla Glori suggests that Caterina Sforza, the daughter of Galeazzo Maria and half-sister of Gian Galeazzo, was the owner of the Warsaw Sforziad and that she gave it to the family of her deceased half-brother between 1496 and 1499.  Horodyski's ideas have recently been revived by Katarzyna Krzyzagórska-Pisarek in her "La Bella Principessa. Arguments against the Attribution to Leonardo", Artibus et Historiae, XXXVI, 215, pp. 61– 89. Pisarek is a member of Artwatch UK, which has offered polemic denunciations of Kemp.

Opposition to Leonardo attribution

The New Yorker article discussed the troubling circumstances in which Kemp attributed this work to Leonardo. But apart from this, strong indications are going against the hypothesis of authenticity, and the attribution to Leonardo has been challenged by a number of scholars who showed interest. Among the reasons for doubting its authorship are the lack of provenance prior to the 20th century – unusual given Leonardo's renown dating from his own lifetime, as well as the fame of the purported subject's family – and the fact that it was on vellum. Only once did Leonardo use vellum and old sheets of it are easily acquired by forgers. Leonardo scholar Pietro C. Marani discounts the significance of the drawing being made by a left-handed artist, noting that imitators of Leonardo's work have emulated this characteristic in the past. Marani is also troubled by use of vellum, "monotonous" detail, use of colored pigments in specific areas, firmness of touch and lack of craquelure. A museum director who wished to remain anonymous believes the drawing is "a screaming 20th-century fake", and finds the damages and repair to the drawing suspicious. The work was not requested for inclusion in the 2011–12 exhibition at the National Gallery in London, which specifically covered Leonardo's period in Milan; Nicholas Penny, director of the National Gallery, said simply "We have not asked to borrow it."

Carlo Pedretti, one of the scholars who attribute this work to Leonardo, had before made a mistake attributing a painting from the twentieth century to him.

Klaus Albrecht Schröder, director of the Albertina, Vienna, said "No one is convinced it is a Leonardo," and David Ekserdjian, a scholar of 16th-century Italian drawings, wrote that he suspects the work is a "counterfeit". Neither Carmen Bambach of the Metropolitan Museum of Art, one of the primary scholars of Leonardo's drawings, nor Everett Fahy, her colleague at the Metropolitan, accepts the attribution to Leonardo.

Several forensic experts on fingerprints have discounted Biro's conclusions, finding the partial fingerprint taken from the drawing too poorly detailed to offer conclusive evidence. Biro's description of the print as being "highly comparable" to a known fingerprint of Leonardo's has similarly been discounted by fingerprint examiners as being too vague an assessment to establish authorship. When asked if he may have been mistaken to suggest that the fingerprint was Leonardo's, Biro answered "It's possible. Yes."  Kemp's later publications do not use the finger-print evidence in support of the attribution.

Noting the lack of mention of dissenting opinion in Kemp's publication, Richard Dorment, the former husband of Ganz, wrote in the Telegraph: "Although purporting to be a work of scholarship, his book has none of the balanced analysis you would expect from such an acclaimed historian. For La Bella Principessa, as he called the girl in the study, is not art history – it is advocacy."

Fred R. Kline, an independent art historian and author of Leonardo's Holy Child--The Discovery of a Leonardo da Vinci Masterpiece: A Connoisseur's Search for Lost Art in America, is known for his discovery of "Leonardo's model drawing" of Infant Jesus (which has yet to be accepted by Leonardo scholars) and for a number of important discoveries of lost art by the Nazarene Brotherhood, a group of German painters working in Rome during the early 19th century who revived the styles and subjects of the Italian Renaissance. Kline has proposed one of the Nazarenes, Julius Schnorr von Carolsfeld (1794–1872), as the creator of the drawing. In evidence, Kline points to a drawing on vellum by Schnorr, Half-nude Female, in the collection of the Kunsthalle Mannheim in Germany, which he suggests depicts the same model, although older, as portrayed in La Bella Principessa.

Comparative material-testing of the vellum supports of the Mannheim Schnorr and La Bella Principessa were anticipated to occur in the New York federal court lawsuit Marchig v. Christie's, brought in May 2010 by the original owner of La Bella Principessa, who accused Christie's of breach of fiduciary duty, negligent misrepresentation and other claims. However, the court dismissed the suit on the ground that the claims were brought years too late (Statute of Limitations and Laches), and thus the merits of the suit were never addressed. The district court decision was upheld on appeal.

Disagreements with the attribution to Leonardo were made before the discovery of the missing page in the Warsaw Sforziada book. No alternative attribution has been accepted by Kemp or his research group. Kline claims that no comparative scientific analysis has been made of the vellum supports in question: the Warsaw Sforziada book, the Mannheim Schnorr (an alternate attribution), and La Bella Principessa, although Kemp and Cotte have shown a close match between the vellum of the portrait and the book. Further analysis of the vellum could possibly provide the conclusive evidence that may support or disqualify Schnorr's authorship.

In November 2015, notorious art forger Shaun Greenhalgh claimed that he created the work in 1978, at the age of 20; Greenhalgh said the woman's face is that of a supermarket check-out girl named Sally who worked in Bolton, outside Manchester. In his memoir A Forger's Tale, written in prison, Greenhalgh claims as a 17 year old to have forged the drawing by obtaining an old piece of vellum from a reused 1587 land deed. Kemp said he found the claim hilarious and ridiculous.

Popular culture
The work of art was studied on the PBS program NOVA in 2012 in a program titled Mystery of a Masterpiece, from NOVA/National Geographic/PBS, which aired on January 25, 2012.

Notes

References

Bibliography
 Geddo, Cristina. "Il pastello ritrovato: un nuovo ritratto di Leonardo?", Artes, 14, 2008-9: 63–87 (with French abstract and the English version "The "Pastel" found: a new Portrait by Leonardo da Vinci?" ).
 Vezzosi, Alessandro. Nuptial Portrait of a Young Woman, Abstract of the monograph Leonardo Infinito,  (accessed 22-05-2014)
 Kemp, Martin, with Pascal Cotte and Peter Paul Biro (2010). La Bella Principessa: The Story of the New Masterpiece by Leonardo da Vinci. London: Hodder & Stoughton.
 Kemp, Martin and Pascal Cotte (2012). La Bella Principessa di Leonardo da Vinci. Ritratto di Bianca Sforza, Florence; Mandragora.
 Geddo, Cristina, Leonardo da Vinci: la découverte extraordinaire du dernier portrait. Les pourquoi d'une authentification. Conférence, Société genevoise d'études italiennes, Genève, Palais de l'Athénée, Salle des Abeilles, 2 octobre 2012, Paris-Genève, Lumière-Technology, 2012  (with the English version Leonardo da Vinci: the extraordinary discovery of the last portrait. The rationale for authentication. A Lecture ).
 Kemp, Martin (2015). Bianca and the Book: The Sforziada and Leonardo's Portrait of Bianca Sforza. Bologna: Scripta Maneant. .
 Kemp, Martin, with Mina Gregori, Cristina Geddo et alii (2015). La Bella Principessa di Leonardo da Vinci: ritratto di Bianca Sforza, Introduction by Vittorio Sgarbi (Monza, Villa Reale), exhibition catalogue, Reggio Emilia, Scripta Maneant (with English, French, Spanish, Polish, Russian and Japanese versions)
 Wozniak, Katarzyna (Kasia). The Warsaw Sforziad. The Leonardo da Vinci Society, Birkbeck College, London, http://www.bbk.ac.uk/hosted/leonardo/#MM
 Wozniak, Katarzyna (Kasia). La Bella Principessa and the Warsaw Sforziad. Circumstances of Rebinding and Excision of the Portrait, The Leonardo da Vinci Society, Birkbeck College, London: http://www.bbk.ac.uk/hosted/leonardo/
 Gnignera, Elisabetta La Bella Svelata, Bologna, 2016.
 Ragai, Jehane (2015). The Scientist and the Forger: Insights into the Scientific Detection of Forgery in Paintings. London: Imperial College Press.
 Kline, Fred R. (2016). Leonardo's Holy Child: The Discovery of a Leonardo da Vinci Masterpiece—A Connoisseur's Search for Lost Art in America. New York & London: Pegasus Books.
 O'Neill, Tom; Colla, Gianluca. Lady with a Secret: A Chalk-And-Ink Portrait May Be a $100 Million Leonardo, National Geographic Magazine, February 2012.
 Centro di Conservazione e Restauro (2014). La Bella Principessa. Dossier tecnico di consegna. Turin: Centro di Conservazione e Restauro, Venaria Reale.
 Silverman, Peter (2012). Leonardo's Lost Princess: One Man's Quest to Authenticate an Unknown Portrait by Leonardo da Vinci. Hoboken: John Wiley & Sons.

Further reading
 Hewitt, Simon (2019). Leonardo Da Vinci and the Book of Doom: Bianca Sforza, The Sforziada and Artful Propaganda in Renaissance Milan.  .

External links

 "Mystery of the Masterpiece"—episode of Nova about the work
 Detailed attribution summary including video excerpts on multispectral scanning and Sforziad verification:

Works attributed to Leonardo da Vinci
1490s drawings
15th-century portraits
Drawings of people
Portraits of women

La Bella Principessa


Actuality film is a non-fiction film genre that, like documentary film, uses footage of real events, places, and things. Unlike documentaries, actuality films are not structured into a larger narrative or coherent whole. In practice, actuality films preceded the emergence of the documentary. During the era of early cinema, actualities—usually lasting no more than a minute or two and usually assembled together into a program by an exhibitor—were just as popular and prominent as their fictional counterparts. The line between "fact" and "fiction" was not as sharply drawn in early cinema as it would be after documentaries came to serve as the predominant non-fiction filmmaking form. Actuality is a film genre that remains related to still photography.

Although actuality films ceased to be produced around 1908, the term "actuality footage" is sometimes used in documentary production to refer to the raw footage.

Beginnings

The first actuality films date to the time of the very inception of projected cinema. The Lumière Brothers, in France, were the principal advocates for this genre and also coined the term—"Actualités"—and used it as a descriptor in the printed catalogs of their films. La sortie des usines Lumière (1895)—the first film exhibited by the Lumières—is by default the earliest actuality film; it might have not been the first one made, but it was definitively the first one shown publicly, on December 28, 1895.

Although Thomas A. Edison, Inc. in the United States was producing films and exhibiting them via the Kinetoscope going back to 1893, the films themselves took place solely inside Edison's improvised studio, the Black Maria; although Bucking Broncho (1894) was the first Edison subject to be filmed outdoors, it necessitated the construction of a special pen next to the Black Maria. The Edison and early Biograph motion picture cameras were bulky and could not be lifted or carried by a single person and required transport by way of a horse cart. The Lumière cameras—from the very start—were small, light, and also functioned as projectors. The Paul-Acres camera, registered in Britain in 1895, was likewise a smaller and more readily portable device than the Edison model, and Birt Acres Filmed The Derby (1895) on it in May. But this, and Paul's other films, were not projected in public until February 1896.

Edison's first principal film producer W. K. L. Dickson broke away from the company in late 1895 to act as a partner in his own concern, American Mutoscope and Biograph, which by 1897 had founded a British subsidiary that Dickson headed.  Although their cameras were even bulkier than Edison's at first, utilizing 68mm film, Biograph's very first subjects—a series of views of Niagara Falls—were actualities, although subjects filmed solely in a studio dominate the Biograph's years before 1900. Other pre-1900 concerns such as Selig (Chicago), Lubin (Philadelphia), Vitagraph (New York), Méliès Star-Film, Pathé Frères and Gaumont (France), and Warwick Trading Company (UK) all made actuality films, though in varying degrees in relation to films made in other genres.

In the United Kingdom, Birt Acres was one of the first to produce films as well as being the first traveling newsreel reporter. In 1894, he created a 70 mm format and filmed the Henley Royal Regatta. He went on to make some of Britain's first films with Robert W. Paul with a 35mm movie camera, the Kineopticon, including Incident at Clovelly Cottage, The Oxford and Cambridge University Boat Race and Rough Sea at Dover. Birt Acres designed the first camera for amateur use in 1898. He called it the 'Birtac Home Cinema', and it used a 17.5mm gauge. Its purpose, in his words, was 'to place animated photography in the reach of everyone'.

Charles Urban became managing director of the Warwick Trading Company in 1897, where he specialized in actuality film, including news film of the Anglo-Boer War. In July 1903 he formed his own company, the Charles Urban Trading Company, and moved to London's Wardour Street in 1908. Urban's business was the first to be located in what became the home of the British film industry. Mitchell and Kenyon was founded by Sagar Mitchell and James Kenyon in 1897, soon becoming one of the largest film producers in the United Kingdom. Other early pioneers include James Williamson, G.A. Smith and Cecil Hepworth, who in 1899, began turning out 100 films a year, with his company becoming the largest on the British scene.

The most successful motion picture company in the United States, with the largest production until 1900, was the American Mutoscope company. This was initially set up to exploit peep-show type short movies displayed with W.K.L. Dickson's mutoscope, after he left the Edison company in 1895. His equipment used 70 mm wide film, and each frame was printed separately onto paper sheets for insertion into their viewing machine. The image sheets stood out from the periphery of a rotating drum and flipped into view in succession.

Lumière genres
Lumière cameramen were trained to shoot in a specific type of framing and to be alert for certain kinds of action. Louis Lumière personally approved every subject released and rejected about 500 films made for the company that did not meet his standards. They were consciously building a document of the world around them in 50-second shots, and Lumière cameramen had the greatest reach worldwide of any motion picture company in the business, filming in Asia, Africa, and other hard-to-reach places. They were careful to preserve and properly store their films, and all but 18 of the 1,423 films they made have survived.

When the Lumière films as a whole were submitted to the "Memory of the World" register at UNESCO, they were subdivided into the following categories:

 Military events
 Everyday scenes
 Official events
 Fiction (comic or historical)
 Circus or music-hall entertainment
 The Lumière family

The first three descriptors nearly encompass the whole of the subject matter represented in actuality films, to which may be added "news events", though these were relatively rare, as it was difficult for any motion picture cameraman to make it, with his equipment, to an actual news event in a timely fashion, leading to the inception of event reconstructions. Nevertheless, both Vitagraph and Biograph released subjects filmed in Galveston after the hurricane of 1900; the aftermath of the San Francisco Earthquake was likewise filmed by at least three companies.

The Lumières never shared their camera system—with its 35mm film and round perforations—with anyone. But Pathé did begin to market its smaller, lighter camera to cinematographers around 1903, and even some cameramen employed by Edison and Biograph began to use them in defiance to the patent cameras owned by the companies that employed them. Biograph relented in 1903, discontinuing the use of 68mm and adopting the increasingly universal 35mm format at this time. The significance of this was that it then became easier for filmmakers to record actuality films generally, though the genre's popularity decreased significantly soon after this.

Traveling actualities
A special kind of actuality film is the traveling actuality, in which a camera is placed on a kind of conveyance—such as a bus, or rail car—so that the scene can change by virtue of the movement of the vehicle which is transporting the camera. These films were among the first in which camera movement is involved. James H. White's' Panoramic View of the Champs Elysees (1900) appears to have been shot from a horse-drawn carriage. More notable examples include Frederick S. Armitage and A. E. Weed's Down the Hudson (1903), and several films by G. W. Billy Bitzer, Interior N.Y. Subway, 14th St. to 42nd St (1905), which was shot from the front of a New York City Subway  car shortly after the system first opened. One notable traveling actuality is the Miles Brothers' Trip Down Market Street Before the Fire (1906), which was shot on a San Francisco streetcar and dropped off for processing on the day before an earthquake and fire severely damaged the city.

Related genres
Certain types of early films often considered within the actuality genre are merely related forms and do not entirely belong to the designation. While sporting events—particularly boat and yacht races—are within the actuality genre, fight films constitute their own genre. The first fight films, such as Edison's The Hornbacker-Murphy Fight (1894) actually precede the advent of actualities altogether and, as the genre evolved through 1916, consisted of a mixture of actual, re-enacted, and staged bouts. The fixed camera position common in early cinema was a good match for taking in even many rounds of boxing, and interest in such subjects was further supported by the fact that boxing itself was illegal in most places, and the films provided access to such entertainment where live boxing matches were prohibited by law.

Reconstructions of various kinds typify early kinds of news coverage; as the camera could not be brought to so many events of public significance or interest, the events were brought before the cameras, with actors or models or both of various kinds employed. This was especially common during the Spanish–American War; although cameras were dispatched to the front in Cuba, the footage sent back was often disappointing, so it was more effective to find a setting in New Jersey and to restage the battle scenes with actors. These films were often promoted to exhibitors and the public alike as an actual recording of the event depicted.

Decline
In 1904, American-born English filmmaker Charles Urban produced Everyday London, a 12-minute travelogue designed to provide views of England to Australians. This film is an actual documentary; although rather roughly assembled, it consists of many short shots and is clearly shaped in the manner of a documentary. In 1905, the Lumières ended their production of actualities, and within the next couple of years, major producers such as Edison and Biograph began to abandon the actuality genre; by 1907, American Biograph was no longer making them, and new start-up companies such as Kalem never produced them at all, concentrating instead on fiction films with actors. When Gaston Méliès arrived in the United States to found the American division of Star Film, he started out making actualities, but swiftly moved into making Westerns. This left production of actualities to smaller producers such as Mitchell and Kenyon in the UK, a company that made no other kinds of films, although Pathé continued to produce actuality films.

In mid-1908, French Pathé introduced the first newsreel. The newsreel was a format in which actualities could be combined, and it provided a context for the views that was timely. Also that year, Charles Urban founded the Kinora Company, the first company established for the exclusive purpose of distributing documentaries and other kinds of non-fiction films. Although some actuality films continued to be made after 1910, the genre ceased to have much influence as public interest shifted toward newsreels and documentaries.

Noted film-makers
 Alfred C. Abadie
 Raymond Ackerman
Birt Acres
Frederick S. Armitage
Will Barker
Billy Bitzer
J. Stuart Blackton
William K. L. Dickson
Max Glücksmann
William Heise
Auguste and Louis Lumière
Wallace McCutcheon
Georges Méliès
Miles Brothers
Mitchell and Kenyon
Paul Nadar
William Daly Paley
Gaston Quiribet
R. W. Paul
Albert E. Smith
Manuel Trujillo Durán
Charles Urban
James H. White

See also
Documentary film
Reality film
Travelogue (film)

References

External resources
The Library of Congress American Memory Collection
Review of "The Lumière Brothers' First Films" from Silent Era
The Cinématographe Lumière - The first public paying screening
History of Edison Motion Pictures: Origins of Motion Pictures--the Kinetoscope
The Spanish–American War in Motion Pictures
Reviews of Films by White and Blechynden

Film genres

Actuality film


Jean-Pierre Étienne (Rochefort, 9 October 1754 – French ship Amsterdam (1810), off Texel, 31 December 1812) was a French Navy officer.

Biography
Etienne started his career in the French Royal Navy in 1766 as a cabin boy, serving on a number of ships as an apprentice, a sailor from 1770, a helmsman from 1773, an aid-pilot from 1775, a second pilot from 1776, and a first pilot from 1778.

In 1781, Etienne served on the Illustre, in  Suffren's squadron. He took part in the Battle of Trincomalee, and sustained leg injuries at the Battle of Cuddalore.

In 1785, Etienne obtain a commission to captain a merchantman, and engaged in slave trade between Angola and Santo Domingo.

In May 1793, Etienne resumed his naval career with the rank of ensign. He was promoted to lieutenant in December, and to captain in January 1794. He was then appointed to the staff of Admiral Martin on Heureux. Transferred to Sans-Culotte in April, he took part in the battles of Cape Noli and Hyères Islands.

In 1796, he was awarded command of the Guillaume Tell. The next year, he was appointed as captain of Heureux. He took part in the Battle of the Nile, where Heureux had to cut her anchor to avoid the burning wreckage of Orient. Drifting, Heureux ran ashore and was captured. Etienne, severely wounded by a round shot, was taken prisoner.

Released in August 1798, Etienne served in Alexandria before returning to France in 1799. Etienne assumed a variety of commands as gunboats flotilla commander and harbour captain in Corsica and later in Holland.

Sources and references

 Dictionnaire des capitaines de vaisseau de Napoléon, Danielle & Bernard Quintin, SPM, 2003,

French Navy officers
1754 births
1812 deaths

Jean-Pierre Étienne


Edward Charles Pickering (July 19, 1846 – February 3, 1919) was an American astronomer and physicist and the older brother of William Henry Pickering. Along with Carl Vogel, Pickering discovered the first spectroscopic binary stars.  He wrote Elements of Physical Manipulations (2 vol., 1873–76).

Personal life
Pickering was born at 43 Bowdoin Street in Boston, Massachusetts, on July 19, 1846, to a distinguished, cultivated family consisting of his brother, William Henry Pickering, father, Edward Pickering, and his mother, Charlotte Hammond. Edward's brother, William, was a graduate of MIT and professor of physics and astronomy. Edward was interested in the stars as a boy and constructed his own telescope by the age of 12. Pickering enjoyed his work at the observatory, but he was also enjoyed mountain climbing and bicycling in earlier days and later he was an interested spectator of football games. He was co-founder and first president of the Appalachian Mountain Club. He was also a lover of classic music. During the first world war he was busy trying to devise useful applications to win the war. The Pickering Polaris Attachment was a device used to determine the range of guns. In 1874, Pickering married Lizzie Wadsworth Sparks, whose father was formerly the President of Harvard. Mrs. Pickering died in 1906, and Edward died in 1919.

Education
Pickering was educated at Boston Latin School, and then studied at the Lawrence Scientific School at Harvard (now known as the Harvard John A. Paulson School of Engineering and Applied Sciences), where he received his Bachelor of Science (BS) degree in 1865.

Career and research

Immediately upon graduating from Harvard he was hired as an instructor of mathematics there, and a year later he moved to the Massachusetts Institute of Technology to be an assistant professor of physics. Two years later, he was made Thayer Professor of Physics. During the 10 years he was there, he created the first physics lab in America that was designed for students to publish their own findings and research. Pickering named this lab the Rogers Laboratory of Physics and pronounced himself Director of the Laboratory. Later, he served as director of Harvard College Observatory (HCO) from 1877 to his death in 1919, where he made great leaps forward in the gathering of stellar spectra through the use of photography.

Shortly after the death of college doctor and amateur astronomer Henry Draper, an opportunity presented itself for Pickering. Draper's death left the incompletion of his work studying astronomy using photography. Draper had no children to carry on and finish his legacy, so his wife, Mary Anna Draper, planned on finishing his work. Pickering wrote a letter to Mrs. Draper "...pray recollect that if I can in any way advise or aid you, I shall be doing but little to repay Dr. Draper for a friendship which I shall always value, but which can never be replaced." Mrs. Draper urgently responded and soon dropped off her husband's work to Pickering. Pickering concluded that Draper's use of photography in astronomy was very promising opposed to the traditional method of observation and recording using one's eye through instruments. In 1884, a paper on such observations was published with the author "the late Henry Draper." After receiving criticism from Dr. William Huggins, a friend of Dr. Draper, Pickering began to hire more assistants to strengthen Draper's findings. This consequently also strengthened and contributed to Harvard Computers.

In 1882 he started his appeals for international variable star observations. This was met with opposition, but eventually such a cooperation was realized in the Variable Star Section of the British Astronomical Association and the American Association of Variable Star Observers (AAVSO). Pickering had a good relationship with the AAVSO and received a gold paper knife with precious stones.

In 1882, Pickering developed a method to photograph the spectra of multiple stars simultaneously by putting a large prism in front of the photographic plate. Using this method, Pickering and his team captured images of over 220,000 stars. This immense amount of photographic research has provided scientists for decades with a seemingly endless library containing the history of every visible star's movements. It is said that this research weighs 120 tons due to the size of photographic plates.

He also, along with Williamina Fleming and Annie Jump Cannon designed a stellar classification system based on an alphabetic system for spectral classes that was first known as the Harvard Stellar Classification and became the basis for the Henry Draper Catalog.

In 1896, Pickering published observations of previously unknown lines in the spectra of the star ζ-Puppis.  These lines became known as the Pickering series (or the Pickering–Fowler series) and Pickering attributed them to hydrogen in 1897.  Alfred Fowler gave the same attribution to similar lines that he observed in a hydrogen-helium mixture in 1912.  Analysis by Niels Bohr included in his 'trilogy' on atomic structure argued that the spectral lines arose from ionized helium, He+, and not from hydrogen.  Fowler was initially-skeptical but was ultimately convinced that Bohr was correct, and by 1915 "spectroscopists had transferred [the Pickering series] definitively [from hydrogen] to helium."   Bohr's theoretical work on the Pickering series had demonstrated the need for "a re-examination of problems that seemed already to have been solved within classical theories" and provided important confirmation for his atomic theory.

Pickering is credited for making the Harvard College Observatory known and respected around the world, and it continues today to be a well-respected observatory and program.

Harvard Computers
The Harvard College Observatory was becoming a premiere observatory in the world and with it came the demand for more assistants. These assistants were critical for taking notes, running calculations and performing analytics. College educated women from around the country offered to work for the Harvard Observatory unpaid to gain experience or until proving their value to be paid. During this time, Pickering recruited over 80 women to work for him, including Annie Jump Cannon, Henrietta Swan Leavitt, Antonia Maury, and Florence Cushman. It was very unusual for such an accomplished scientist to work with this many women, but it has been said that he "became so exasperated with his male assistant's inefficiency, that even his maid could do a better job of copying and computing". These women, the Harvard Computers (also described as "Pickering's Harem" by the male scientific community at the time), made several important discoveries at HCO.  Leavitt's discovery of the period-luminosity relationship for Cepheids, published by Pickering, would prove the foundation for the modern understanding of cosmological distances.

Pickering's treatment of women, during his time, was considered better than most. It is true that they were underpaid compared to their male counterparts and were not given credit nearly as often, but his willingness to include them in the world of astronomy paved the way for many great female scientists and leaders. This aided to the observatory's funding through fellowships and the procurement of women including alumnus and professors aiding in the creation of Harvard Computers.

Death and legacy
Pickering was the fourth and longest-running director of HCO, serving for 42 years. On February 3, 1919, Pickering unexpectedly died from pneumonia and heart complications after being ill for around ten days. He died while holding the position of director of the University Observatory continuing an odd 42-year tradition of HCO Directors dying in office.  After his death, Solon Bailey served as interim director. Pickering's friends and colleges would remember him for his great ability, originality, initiative, and warm-heartedness. Pickering would be remembered by the world for his contribution to astronomical photography, advancement of astronomical discoveries, and his progressive view of women.

Although today his treatment of women is associated with a negative connotation, he was known during the time to give women more equal treatment than most. Doing so paved the way for many more women to become interested and involved in astronomy. Pickering's work with using glass plates to photograph the sky was the start of major technological advances for astronomical photography. Although glass plates are no longer used, his work led to modern uses of charged coupled devices in the 1970s.

Pickering is interred in Mount Auburn Cemetery in Massachusetts.

Honors and awards

His awards and honors include:
Pickering was the youngest person to be elected a Member of the National Academy of Sciences in 1873 when he was 26 years old.
Fellow of the American Academy of Arts and Sciences (1867)
Gold Medal of the Royal Astronomical Society (1886 and 1901)
Valz Prize of the French Academy of Sciences (1888)
Henry Draper Medal from the National Academy of Sciences (1888)
Bruce Medal (1908)
Prix Jules Janssen, the highest award of the Société astronomique de France, the French astronomical society (1908)
LL. D. (honorary degree) at six American universities and two doctor degrees at foreign universities
Rumford Medal
Pour le Merite

The following are named in his honor:
The crater, Pickering lunar crater
The crater, Pickering martian crater
Asteroid 784 Pickeringia
Part of the Veil Nebula, Pickering's Triangle
Mount Pickering, a mountain in California

Publications
(1873–76) Elements of physical manipulation New York: Hurd & Houghton OCLC 16078533
(1882) A plan for securing observations of the variable stars Cambridge: J. Wilson and Son OCLC 260332440
(1886) An investigation in stellar photography Cambridge: J. Wilson and Son OCLC 15790725
(1891) Preparation and discussion of the Draper catalogue Cambridge: J. Wilson and Son OCLC 3492105
(1903) Plan for the endowment of astronomical research Cambridge: Astronomical observatory of Harvard College OCLC 30005226

References

External links

 Women Astronomers at Harvard at the Turn of the Century

Obituaries
  AN 208 (1919) 133/134
 JRASC 13 (1919) 160
 MNRAS 80 (1920) 360

 PASP 31 (1919) 73

1846 births
1919 deaths
Harvard University alumni
Harvard University staff
American astronomers
American astrophysicists
Boston Latin School alumni
Recipients of the Gold Medal of the Royal Astronomical Society
Fellows of the American Academy of Arts and Sciences
Members of the United States National Academy of Sciences
Foreign Members of the Royal Society
Recipients of the Bruce Medal
People from Boston
Members of the Royal Society of Sciences in Uppsala

Edward Charles Pickering


"Mary Jane" is a blues song by Janis Joplin.

The song has five verses; the first includes the line "When I bring home my hard-earned pay, I spend my money all on Mary Jane".

A live performance of the song, recorded in San Francisco 1965 with the Dick Oxtot Jazz Band, is on the 1975 compilation album Janis. The song is also included on the 2007 compilation The Very Best Of Janis Joplin.

The song is often incorrectly attributed to Bessie Smith.

References

Janis Joplin songs
Songs about cannabis

Mary Jane (Janis Joplin song)


The Juno Awards of 2010 honoured music industry achievements in Canada for the latter part of 2008 and for most of 2009. These ceremonies were in St. John's, Newfoundland and Labrador, Canada during the weekend ending 18 April 2010. Primary ceremonies were held at the Mile One Centre and at Prince Edward Plaza on George Street. This also marks the first time to not feature a host.

April Wine was inducted into the Canadian Music Hall of Fame, Bryan Adams received the Allan Waters Humanitarian Award for his part in numerous charitable concerts and campaigns during his career. Ross Reynolds, an original board member of the Canadian Academy of Recording Arts and Sciences and former head of Universal Music Canada received the Walt Grealis Special Achievement Award.

CARAS, the association responsible for the awards, awarded the 2010 ceremonies to the Newfoundland and Labrador capital based on a bid which included government support commitments totalling $1.5 million (), half funded by the province, $250,000 from the St. John's municipal government and the remainder from the Atlantic Canada Opportunities Agency.

Events
Preliminary award-related events, known as Juno Week, began on 12 April 2010 with a launch event at the Confederation Building. Activities during this time included concerts such as JunoFest and the Juno Cup charity hockey game.

On 17 April, the Juno Fan Fare event featured artist interviews, prizes and opportunities for the public to meet musicians. However, some artists such as Alexisonfire were unable to attend when fog conditions that weekend delayed air travel into St. John's. The fog delays also cancelled some concerts the previous evening, and disrupted rehearsals for the main Sunday broadcast.

Also on that Saturday, winners in 32 Juno categories were announced at a special gala dinner at the St. John's Convention Centre. On the following day, prior to the main awards broadcast, a Songwriters' Circle concert was hosted by Dallas Green then broadcast on CBC Radio 2.

Primary ceremony
The primary awards ceremony on 18 April 2010 was telecast by CTV from Mile One Centre and from an outdoor venue on George Street, featuring multiple hosts and presenters.

Classified began the proceedings with "Oh... Canada" from the George Street venue. Bryan Adams could not attend in person due to the air travel disruption from the Icelandic ash cloud incident; he therefore received his Allan Waters Humanitarian Award via satellite.

Other artists performing at the ceremonies broadcast were Justin Bieber, Billy Talent, Blue Rodeo, Michael Bublé, Drake, Great Lake Swimmers, K'naan with Young Artists for Haiti, Metric and Johnny Reid.

Award presenters and personalities included:

 Musicians Barenaked Ladies, Jully Black, Jarvis Church, Terri Clark, Alex Cuba, Amelia Curran, deadmau5, Lights, Damhnait Doyle, Danny Fernandes, Great Big Sea, Dallas Green, Hedley, Carly Rae Jepsen, Shiloh, Stereos, Kim Stockwood, The Trews, Nikki Yanofsky
 Barry Stock (Three Days Grace), hosted April Wine's induction to the Canadian Music Hall of Fame
 Alexandre Bilodeau and Jon Montgomery (2010 Winter Olympics gold medallists)
 Television personalities Luther Brown (judge, So You Think You Can Dance Canada), Leah Miller (eTalk), Seamus O'Regan (Canada AM)
 James Moore (Minister of Canadian Heritage and Official Languages)

The following seven categories were awarded during the main broadcast:

 Album of the Year
 Fan Choice Award
 Group of the Year
 New Artist of the Year
 Rap Recording of the Year
 Single of the Year
 Songwriter of the Year

Rebroadcasts of the Juno Awards telecast were scheduled for A, Bravo!, MuchMore, Star! in late April.

Changes to nomination categories for 2010
Changes were made to the following award categories for this year's nominations:

 Country Album of the Year – formerly known as Country Recording of the Year, this category is now limited to complete albums and single songs may no longer be nominated.
 Music DVD of the Year and Vocal Jazz Album of the Year – voting on these categories is now fully conducted by appointed juries, with the winners no longer voted by the overall CARAS membership.
 Pop Album of the Year and Rock Album of the Year – nominees for these categories are now determined according to an equal weighting of sales figures and jury vote. Winners are still voted on by the overall CARAS membership.
 CD/DVD Artwork of the Year: This category is now called Recording Package of the Year to indicate that other product formats such as vinyl LPs may be considered for nomination.

Nominees and winners
Nominees in the following categories were announced on 3 March 2010. Michael Bublé received the most nominations of any artist this year, represented in six categories and winning four of those (Album of the Year, Fan Choice Award, Pop Album of the Year and Single of the Year). Billy Talent, Drake and Johnny Reid each received four nominations. Drake, who had yet to release a full album, won in two categories (New Artist of the Year and Rap Recording of the Year). K'Naan also won two of his nominations (Artist of the Year and Songwriter of the Year).

Winners of most categories were announced on 17 April at a gala dinner.

Artist of the Year

Winner: K'Naan

Other Nominees:
 Jann Arden
 Michael Bublé
 Diana Krall
 Johnny Reid

Group of the Year

Winner: Metric

Other nominees:
 Billy Talent
 Blue Rodeo
 Hedley
 The Tragically Hip

New Artist of the Year

Winner: Drake

Other nominees:
 Justin Bieber
 Danny Fernandes
 Carly Rae Jepsen
 Shiloh

New Group of the Year

Winner: Arkells

Other Nominees:
 Down With Webster
 The New Cities
 Stereos
 Ten Second Epic

Jack Richardson Producer of the Year

Winner: Bob Rock, "Haven't Met You Yet" and "Baby (You've Got What It Takes)" (Michael Bublé, Crazy Love)

Other Nominees:
 Kevin Churko, "Look Where You're Walking" (Modern Science Mimortl, Modern Science, produced with Kane Churko); "The Dream" (In This Moment, The Dream)
 David Foster, "Cry Me A River" and "All of Me"  (Michael Bublé, Crazy Love)
 Fred St-Gelais, "Plaisirs amers" and "C'est moi" (Marie-Mai, Version 3.0)
 Michael Phillip Wojewoda "Palm Trees" and "The Key (Different Than I Used To Be)" (Jennifer LFO, Songs from the Alien Beacon, produced with Jennifer Foster)

Recording Engineer of the Year

Winner: Dan Brodbeck, "Apple of My Eye" and "Be Careful" (Dolores O'Riordan, No Baggage)

Other Nominees:
 John Bailey, "I Can't Make You Love Me" (Sophie Milman, Take Love Easy); "Havana City" (Hilario Durán, Motion)
 Jon Drew, "Oh! The Boss Is Coming!" and "Pullin' Punches" (Arkells, Jackson Square)
 Darryl Neudorf, "And When You Wake Up" (Blue Rodeo, The Things We Left Behind); "Fever" (Neko Case, Middle Cyclone)
 Denis Tougas, "Save Your Love" and "The Mad Mile" (Kirsten Jones, The Mad Mile)

Songwriter of the Year

Winner: K'naan – "Wavin' Flag" (written with B. Mars, P. Lawrence and J. Daval), "Take A Minute", "If Rap Gets Jealous" (written with Gerald Eaton and Brian West) (K'naan, Troubadour)

Other nominees:
 Michael Bublé – "Haven't Met You Yet", "Hold On" (written with Alan Chang and Amy S. Foster) (Michael Bublé, Crazy Love)
 Emily Haines and James Shaw – "Gimme Sympathy", "Sick Muse", "Help I'm Alive" (Metric, Fantasies)
 Carly Rae Jepsen and Ryan Stewart – "Tug of War", "Bucket", "Money and the Ego" (Carly Rae Jepsen, Tug of War)
 Joel Plaskett – "Through & Through & Through", "Deny, Deny, Deny", "All The Way Down The Line" (Joel Plaskett, Three)

Fan Choice Award

Winner: Michael Bublé

Other nominees:

 Maxime Landry
 Nickelback
 Johnny Reid
 Ginette Reno

Nominated albums

Album of the Year
Winner: Crazy Love – Michael Bublé

Other nominees:
 Billy Talent III – Billy Talent
 Quiet Nights – Diana Krall
 Dance with Me – Johnny Reid
 My World – Justin Bieber

Aboriginal Recording of the Year
Winner: We Are... – Digging Roots

Other Nominees:
 Distant Morning Star – Digawolf
 Sing Soul Girl – Inez Jasper
 Swagger – Lucie Idlout
 Trail of Tears – Wayne Lavallee

Adult Alternative Album of the Year
Winner: Three – Joel Plaskett

Other Nominees:
 How to Fall Down in Public – Howie Beck
 Masters of the Burial – Amy Millan
 Nineteen Seventy-Seven – 1977
 Way Down Here – Cuff the Duke

Alternative Album of the Year
Winner: Fantasies – Metric

Other Nominees:
 Face Control – Handsome Furs
 I Can Wonder What You Did with Your Day – Julie Doiron
 Post-Nothing – Japandroids
 Sainthood – Tegan & Sara

Blues Album of the Year
Winner: The Corktown Sessions – Jack de Keyzer

Other Nominees:
 From the Water – Colin Linden
 I Need a Hat – Downchild
 Low Fidelity – Treasa Levasseur
 Steady Movin – Carlos del Junco

 Recording Package of the Year Winner: Martin Bernard, Stéphane Cocke, Thomas Csano: Beats on Canvas, Beats on CanvasOther Nominees: Thomas Csano, Alex McLean: Wooden Arms, Patrick Watson
 Rachelle Dupere, Derek Henderson, Evan Kaminsky: Masters of the Burial, Amy Millan
 Alex Durlak: Potential Things, Canaille
 Justin Ellsworth, Vanessa Heins, Daniel Romano, Ken Reaume: Bring Me Your Love (special edition), City and Colour

 Children's Album of the Year Winner: Love My New Shirt – Norman FooteOther Nominees: Action Packed – Bobs and Lolo
 I'm Me! – Charlie Hope
 Walk On – The Kerplunks
 We Share The Earth – The Bee's Knees

 Contemporary Christian/Gospel Album of the Year Winner: Where's Our Revolution – Matt BrouwerOther Nominees: Dear Diary – FM Static
 Devotion – Steve Bell
 Welcome to the Masquerade – Thousand Foot Krutch
 What I Gotta Say – Janelle

 Classical Album of the Year (large ensemble) Winner: Mathieu, Shostakovich, Mendelssohn: Concertino & Concertos – Alain Lefèvre & London Mozart PlayersOther Nominees: Bartók – Les Violons du Roy
 Bruckner 8 – Yannick Nézet-Séguin & Orchestre Métropolitain
 Mendelssohn – Piano Concertos 1 & 2 – Symphony No. 5 – Louis Lortie and Orchestre symphonique de Québec
 Selections From the 2009 National Tour – National Youth Orchestra of Canada

 Classical Album of the Year (solo or chamber ensemble) Winner: Joel Quarrington: Garden Scene – Joel QuarringtonOther Nominees: El Dorado – Caroline Leonardelli
 James Ehnes plays Paganini 24 Caprices – James Ehnes
 Philip Glass : Portrait – Angèle Dubeau & La Pietà
 Tchaikovsky: Souvenir de Florence, Quartet No. 1 – I Musici de Montréal

 Classical Album of the Year (vocal or choral performance) Winner: Adrianne Pieczonka sings Puccini – Adrianne PieczonkaOther Nominees: Gomidas Songs – Isabel Bayrakdarian
 Melodiya: Glinka, Mussorgsky, Rachmaninov, Tchaikovsky – Orchestre Radio-Canada Musique
 Porpora Arias – Karina Gauvin
 Songs By Ravel – Gerald Finley

 Francophone Album of the Year Winner: Les sentinelles dorment – Andrea LindsayOther Nominees: Dans mon corps – Les Trois Accords
 Mille excuses milady – Jean Leloup
 Un serpent sous ses fleurs – Yann Perreau
 Un toi dans ma tête – Luc de Larochellière

 Instrumental Album of the Year Winner: As Seen Through Windows – Bell OrchestreOther Nominees: Beats on Canvas – Beats on Canvas
 L'île de Sept Villes – The Hylozoists
 Trifecta – Pavlo, Rik Emmett and Oscar Lopez
 Yalla Yalla! – Sultans of String

 International Album of the Year Winner: Only by the Night – Kings of LeonOther Nominees: Circus – Britney Spears
 The E.N.D – The Black Eyed Peas
 Fearless – Taylor Swift
 I Dreamed a Dream – Susan Boyle

 Contemporary Jazz Album of the Year Winner: The Happiness Project – Charles SpearinOther Nominees: Infernal Machines – Darcy James Argue's Secret Society
 Motion – Hilario Durán
 Silverbirch – John Roney with the Silver Birch String Quartet
 Songbook Vol. 1 – Kirk MacDonald Quartet

 Traditional Jazz Album of the Year Winner: It's About Time – Terry ClarkeOther Nominees: Bluesy Lunedi – Alain Bédard
 Pleased To Meet You – Oliver Jones and Hank Jones
 Regeneration – Al Henderson Septet
 Strands II – Darren Sigesmund

 Vocal Jazz Album of the Year Winner: Ranee Lee Lives Upstairs – Ranee LeeOther Nominees: Haven't We Met? – Emilie-Claire Barlow
 I Like Men – Carol Welsman
 Lovelight – Michael Kaeshammer
 Quiet Nights – Diana Krall

 Pop Album of the Year Winner: Crazy Love – Michael BubléOther Nominees: The Listening – LIGHTS
 My World – Justin Bieber
 The Show Must Go – Hedley
 Stereos – Stereos

 Rock Album of the Year Winner: Billy Talent III – Billy TalentOther Nominees: Dark Horse – Nickelback
 Life Starts Now – Three Days Grace
 Old Crows/Young Cardinals – Alexisonfire
 We Are The Same – The Tragically Hip

 Roots and Traditional Album of the Year (Solo) Winner: Hunter, Hunter, Amelia CurranOther Nominees: Achin in Yer Bones, Romi Mayes
 Losin' Lately Gambler, Corb Lund
 Pink Strat, Bahamas
 Queen's Hotel, John Wort Hannam

 Roots and Traditional Album of the Year (Group) Winner: The Good Lovelies, The Good LoveliesOther Nominees: Annie Lou, Annie Lou
 Let's Just Stay Here, Carolyn Mark and NQ Arbuckle
 Lost Channels, Great Lake Swimmers
 No Fool for Trying, Madison Violet

 World Music Album of the Year Winner: Comfortably Mine, Dominic MancusoOther Nominees: Alex Cuba, Alex Cuba
 La danse de l'exilé, Karim Saada
 Slide to Freedom 2: Make a Better World, Doug Cox Salil Bhatt
 Sunplace, Jaffa Road

Nominated releases

 Single of the Year Winner: "Haven't Met You Yet" – Michael BubléOther Nominees: "Anybody Listening" – Classified
 "Best I Ever Had" – Drake
 "Love Is a First" – The Tragically Hip
 "Rusted from the Rain" – Billy Talent

 Classical Composition of the Year Winner: "Lament in the Trampled Garden", Marjan Mozetich (album, Lament in the Trampled Garden)Other Nominees: "Angels in Flight", Marjan Mozetich (album, Lament in the Trampled Garden)
 "Dreams of Flying", Rob Teehan (performed by National Youth Orchestra of Canada)
 "Earth Songs", Stephen Chatman (album, Earth Songs)
 "Nocturne", Leonard Enns (DaCapo Chamber Choir album, Shadowland)

 Country Album of the Year Winner: Dance With Me, Johnny ReidOther Nominees: Believe, Emerson Drive
 Go, Doc Walker
 The Long Way Home, Terri Clark
 The Road Hammers II, The Road Hammers

 Dance Recording of the Year Winner: For Lack of a Better Name, Deadmau5Other Nominees: I'm No Human, Misstress Barbara
 "Runnin", Doman and Gooding with Dru and Lincoln
 "Shine 4U", Carmen and Camille
 Thunderheist, Thunderheist

 Music DVD of the Year Winner: Iron Maiden: Flight 666 (Iron Maiden), Stefan Demetriou, Sam Dunn, Scott McFadyen, Rod Smallwood, Andy TaylorOther Nominees: Acoustic – Friends & Total Strangers (The Trews), John-Angus MacDonald, Tim Martin, Larry Wanagas
 Drum! Live (Drum!), Daniel Brooker, Brookes Diamond, Doris Mason, Colin Smeltzer, Aaron Young
 Miroir Noir (Arcade Fire), Arcade Fire, Vincent Morisset
 Snakes & Arrows Live (Rush), Pegi Cecconi, Ray Danniels, François Lamoureaux, Pierre Lamoureaux, Allan Weinrib

 R&B/Soul Recording of the Year Winner: "Lonesome Highway", JacksoulOther Nominees: The Black Book, Jully Black
 The Bridge, Melanie Fiona
 Intro, Danny Fernandes
 The Long Way Home, Jarvis Church

 Rap Recording of the Year Winner: So Far Gone, DrakeOther nominees: Self Explanatory, Classified
 "I'm Still Fly", Big Page, Drake & U.G.O Crew
 Troubadour, K'naan
 Yes!, k-os

 Reggae Recording of the Year Winner: Gonna Be Alright, Dubmatix with Prince BlancoOther Nominees: American Dream, Carl Henry
 Breaking Up, Tanya Mullings
 Show Me The Way, Kim Davis
 Wha-La-La-Leng, Ghislain Poirier with Face-T

 Video of the Year Winner: "Little Bit of Red" – Serena RyderOther Nominees:'
 "Anybody Listening" – Classified
 "Heavens to Purgatory" – The Most Serene Republic
 "It's Okay" – Land of Talk
 "Mr. Hurricane" – Beast

Compilation album
A compilation album featuring selected Juno nominees was released on 30 March 2010 by Sony Music Entertainment Canada. Sales of the album support the CARAS music education charity MusiCounts. The artists and track listing is as follows:
 "Haven't Met You Yet", Michael Bublé
 "Wavin' Flag", K'naan
 "Burn It to the Ground", Nickelback
 "Break", Three Days Grace
 "Rusted From The Rain", Billy Talent
 "Oh, The Boss Is Coming!", Arkells
 "Gimme Sympathy", Metric
 "Dead End Countdown", The New Cities
 "Cha-Ching", Hedley
 "Anybody Listening", Classified
 "One Time", Justin Bieber
 "Rich Girl$", Down With Webster
 "Best I Ever Had", Drake
 "Summer Girl", Stereos
 "Operator (A Girl Like Me)", Shiloh
 "Love Is A First", The Tragically Hip
 "A Million Miles Away", Jann Arden
 "Arizona Dust", Blue Rodeo
 "A Woman Like You", Johnny Reid
 "Walk on By", Diana Krall

See also
 Juno Awards of 2002, the first and previous Juno Awards to be hosted in St. John's

References

External links
 Juno Awards official site
 Ruckus on the Edge – 2010 Juno – Newfoundland host committee site

2010
2010 in Canadian music
2010 music awards
April 2010 events in Canada
2010 in Newfoundland and Labrador
Music festivals in St. John's, Newfoundland and Labrador

Juno Awards of 2010


Query by Example (commonly shortened to QBE) is a database query language for relational databases. It was developed at IBM in the 1970s. The development of SQL ran in parallel. QBE was developed for those users who only use databases occasionally, and who do not want to learn a complex language such as SQL.

With Query by example, users are presented with a visual schema of the database, which they edit with a special editor. When they are done, a parser translates their actions into a query in a regular query language such as SQL. Behind the scenes, it is this statement that is actually executed. With a suitable front-end, the user does not need to remember the details of a query language. The user will be able to select tables and columns more quickly, for example by clicking on them, rather than typing their names. This will improve productivity.

In the context of information retrieval, QBE has a somewhat different meaning. The user can submit a document and ask for "similar" documents to be retrieved from a document database. Similarity search is based comparing document vectors (see Vector Space Model).

Today, many database systems have front-ends that resemble QBE.

References

Query languages

Query by Example


Fu River, or Fu Jiang () is a river of in China's Sichuan Province and Chongqing Municipality. It is a right tributary of the Jialing River, which in its turn is a left tributary of the Yangtze; it is thus part of the East China Sea basin.

The Fu River flows in the general southern and south-eastern direction across the central Sichuan (Mianyang and Suining Prefectures), and then enters the Chongqing Municipality, where it merges with the Jialing River.

See also
List of rivers in China

Rivers of Sichuan
Tributaries of the Yangtze River

Fu River (Sichuan)


Kali is one of the goddesses in Hinduism and aspect of Parvati. She is the goddess of creation, destruction and time, and commonly presented as dark and violent. Various Shakta Hindu cosmologies, as well as Shakta Tantric beliefs, worship her as the ultimate reality or Brahman.

Kali is represented as the consort of Lord Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa Mahavidyas, ten fierce Tantric goddesses.

References
 Encyclopedia International, by Grolier Incorporated Copyright in Canada 1974. AE5.E447 1974 031 73-11206  page 95

Hindu gods and goddesses

Kali


Allsvenskan is the highest league of Swedish association football for men.

Allsvenskan (the all Swedish) is also the name of several Swedish sport leagues:

 Damallsvenskan, highest women's association football league
 Allsvenskan (bandy), highest bandy league for since the 2007–08 season
 Allsvenskan and Elitserien (bandy), highest bandy leagues until the 2007–08 season
 Allsvenskan (men's handball), second highest men's handball league
 Allsvenskan (women's handball), second highest women's handball league
 Allsvenskan (rugby), highest rugby league
 Hockeyallsvenskan, second highest ice hockey league
 Superallsvenskan, defunct ice hockey league
 Allsvenskan play-offs, a Swedish association football cup held to decide the Swedish football champions between 1982 and 1990

Allsvenskan (disambiguation)


Machinima ( or ) is a type of animation and digital moviemaking style. It is the use of 3D computer graphics with a 3D video game or computer game to create the 3D animation. The creator who is making the video will record in-game animation and edit it with voice recordings. Machinima can be script-driven, meaning the cameras, characters, and effects are scripted for playback in real time. Unlike other types of animation, the scripting is driven by events and not keyframes.

Machinima limits the controls of other animation types. This is according to Machinima.org. For example, Machinima videos can be shot live or scripted in real time. So it becomes much faster to produce than traditionally animated movies.

Machinima productions can remain close to their gaming roots and feature stunts or other portrayals of gameplay. Popular genres include dance videos, comedy, and drama. Alternatively, some filmmakers attempt to stretch the boundaries of the rendering engines or to mask the original 3-D context. The Academy of Machinima Arts & Sciences (AMAS), a non-profit organization dedicated to promoting machinima, recognizes exemplary productions through Mackie awards given at its annual Machinima Film Festival. Some general film festivals accept machinima, and game companies, such as Epic Games, Blizzard Entertainment and Jagex, have sponsored contests involving it.\

The Making of Machinima
The AMAS defines machinima as "animated filmmaking within a real-time virtual 3-D environment". In other 3-D animation methods, creators can control every frame and nuance of their characters but, in turn, must consider issues such as key frames and in-betweening. Machinima creators leave many rendering details to their host environments, but may thus inherit those environments' limitations. Because game animations focus on dramatic rather than casual actions, the range of character emotions is often limited. However, Kelland, Morris, and Lloyd state that a small range of emotions is often sufficient, as in successful Japanese anime television series.

Another difference is that machinima is created in real time, but other animation is pre-rendered. Real-time engines need to trade quality for speed and use simpler algorithms and models. In the 2001 animated film Final Fantasy: The Spirits Within, every strand of hair on a character's head was independent; real-time needs would likely force them to be treated as a single unit. Kelland, Morris, and Lloyd argue that improvement in consumer-grade graphics technology will allow more realism; For cut scenes in video games, issues other than visual fidelity arise. Pre-rendered scenes can require more digital storage space, weaken suspension of disbelief through contrast with real-time animation of normal gameplay, and limit interaction.

Like live action, machinima is recorded in real-time, and real people can act and control the camera. Filmmakers are often encouraged to follow traditional cinematic conventions, such as avoiding wide fields of view, the overuse of slow motion, and errors in visual continuity. Unlike live action, machinima involves less expensive, digital special effects and sets, possibly with a science-fiction or historical theme. Explosions and stunts can be tried and repeated without monetary cost and risk of injury, and the host environment may allow unrealistic physical constraints. University of Cambridge experiments in 2002 and 2003 attempted to use machinima to re-create a scene from the 1942 live-action film Casablanca. Machinima filming differed from traditional cinematography in that character expression was limited, but camera movements were more flexible and improvised. Nitsche compared this experiment to an unpredictable Dogme 95 production.

Berkeley sees machinima as "a strangely hybrid form, looking forwards and backwards, cutting edge and conservative at the same time". Machinima is a digital medium based on 3-D computer games, but most works have a linear narrative structure. Some, such as Red vs. Blue and The Strangerhood, follow narrative conventions of television situational comedy. Nitsche agrees that pre-recorded ("reel") machinima tends to be linear and offers limited interactive storytelling; he sees more opportunities in machinima performed live and with audience interaction. In creating their improvisational comedy series On the Campaign Trail with Larry & Lenny Lumberjack and talk show Tra5hTa1k with ILL Will, the ILL Clan blended real and virtual performance by creating the works on-stage and interacting with a live audience. In another combination of real and virtual worlds, Chris Burke's talk show This Spartan Life takes place in Halo 2s open multiplayer environment. There, others playing in earnest may attack the host or his interviewee. Although other virtual theatrical performances have taken place in chat rooms and multi-user dungeons, machinima adds "cinematic camera work". Previously, such virtual cinematic performances with live audience interaction were confined to research labs which had powerful computers.

Machinima can be less expensive than other forms of filmmaking. Strange Company produced its feature-length machinima film BloodSpell for less than £10,000. Before using machinima, Burnie Burns and Matt Hullum of Rooster Teeth Productions spent US$9,000 to produce a live-action independent film; in contrast, the four Xbox game consoles used to make Red vs. Blue in 2005 cost $600. The low cost caused a product manager for Electronic Arts to compare machinima to the low-budget independent film The Blair Witch Project, without the need for cameras and actors. Because these are seen as low barriers to entry, machinima has been called a "democratization of filmmaking". Berkeley weighs increased participation and a blurred line between producer and consumer against concerns that game copyrights limit commercialization and growth of machinima.

Comparatively, machinimists using pre-made virtual platforms like Second Life have indicated that their productions can be made quite successfully with no cost at all. Creators like Dutch director Chantal Harvey, producer of the 48 Hour Film Project Machinima sector, have created upwards of 200 films using the platform. Harvey's advocacy of the genre has resulted in the involvement of film director Peter Greenaway who was a juror for the Machinima category and gave a keynote speech during the event.

Character and camera control
Kelland, Morris, and Lloyd list four main methods of creating machinima. From simple to advanced, these are: relying on the game's AI to control most actions, digital puppetry, recamming, and precise scripting of actions. Although simple to produce, AI-dependent results are unpredictable, thus complicating the realization of a preconceived film script. For example, when Rooster Teeth produced The Strangerhood using The Sims 2, a game that encourages the use of its AI, the group had to create multiple instances of each character to accommodate different moods. Individual instances were selected at different times to produce appropriate actions.

In digital puppetry, machinima creators become virtual actors; each crew member controls a character in real-time, as in a multiplayer game. The director can use built-in camera controls, if available. Otherwise, video is captured from the perspectives of one or more puppeteers who serve as camera operators. Puppetry allows for improvisation and offers controls familiar to gamers, but requires more personnel than the other methods and is less precise than scripted recordings. However, some games, such as the Halo series, (except for Halo PC and Custom Edition, which allow AI and custom objects and characters), allow filming only through puppetry. According to Marino, other disadvantages are the possibility of disruption when filming in an open multi-user environment and the temptation for puppeteers to play the game in earnest, littering the set with blood and dead bodies. However, Chris Burke intentionally hosts This Spartan Life in these unpredictable conditions, which are fundamental to the show. Other works filmed using puppetry are the ILL Clan's improvisational comedy series On the Campaign Trail with Larry & Lenny Lumberjack and Rooster Teeth Productions' Red vs. Blue. In recamming, which builds on puppetry, actions are first recorded to a game engine's demo file format, not directly as video frames. Without re-enacting scenes, artists can then manipulate the demo files to add cameras, tweak timing and lighting, and change the surroundings. This technique is limited to the few engines and software tools that support it.

A technique common in cut scenes of video games, scripting consists of giving precise directions to the game engine. A filmmaker can work alone this way, as J. Thaddeus "Mindcrime" Skubis did in creating the nearly four-hour The Seal of Nehahra (2000), the longest work of machinima at the time. However, perfecting scripts can be time-consuming. Unless what-you-see-is-what-you-get (WYSIWYG) editing is available, as in Vampire: The Masquerade – Redemption, changes may need to be verified in additional runs, and non-linear editing may be difficult. In this respect, Kelland, Morris, and Lloyd compare scripting to stop-motion animation. Another disadvantage is that, depending on the game, scripting capabilities may be limited or unavailable. Matinee, a machinima software tool included with Unreal Tournament 2004, popularized scripting in machinima.

Limitations and solutions
When Diary of a Camper was created, no software tools existed to edit demo files into films. Rangers clan member Eric "ArchV" Fowler wrote his own programs to reposition the camera and to splice footage from the Quake demo file. Quake movie editing software later appeared, but the use of conventional non-linear video editing software is now common. For example, Phil South inserted single, completely white frames into his work No Licence to enhance the visual impact of explosions. In the post-production of Red vs. Blue: The Blood Gulch Chronicles, Rooster Teeth Productions added letterboxing with Adobe Premiere Pro to hide the camera player's head-up display.

Machinima creators have used different methods to handle limited character expression. In the Halo video game series, helmets completely cover the characters' faces. To prevent confusion, Rooster Teeth's characters move slightly when speaking, a convention shared with anime. Some machinima creators use custom software. For example, Strange Company uses Take Over GL Face Skins to add more facial expressions to their characters filmed in BioWare's 2002 role-playing video game Neverwinter Nights. Similarly, Atussa Simon used a "library of faces" for characters in The Battle of Xerxes. In some cases, some game companies may provide such software; examples include Epic Games' Impersonator for Unreal Tournament 2004 and Valve Corporation's FacePoser for Half-Life 2. Another solution is to blend in non-machinima elements, as nGame did by inserting painted characters with more expressive faces into its 1999 film Berlin Assassins. It may be possible to point the camera elsewhere or employ other creative cinematography or acting. For example, Tristan Pope combined creative character and camera positioning with video editing to suggest sexual actions in his controversial film Not Just Another Love Story.

References

Further reading

—Also as:

Other websites

 Academic machinima bibliography to 2007
 Academic machinima bibliography to 2011
 Warcraft Movies, a resource for World of Warcraft machinima
 Machinima, a resource for all  machinima works
 Blue Entertainment , a resource for battlefield 2 machinima
 T.O.M.B. The Online Motions Box, links to thousands of Machinima motions
 GamersTube, a resource for various machinima
 The Movie Vault, a competitive machinima video website
 Flight Sim Machinima , links to flight-sim machinima
 Machinination , a resource for machinima artists

 Machinima Central- Machinima Community/Resources

Animation
Computer graphics

Machinima


Meenankal is a village in Thiruvananthapuram district in the state of Kerala, India, and located around 5 kilometers away from the Peppara Wildlife Sanctuary. Meenankal has border with Uzhamalakkal, Vellanad, Anad, Kuttichal, Vithura, Tholickode panchayaths and Thiruneveli District of Tamil Nadu, India. It's located in the Nedumangad Taluk and Aruvikkara Legislative Assembly. It is situated around 35 km away from Thiruvananthapuram city.

Education
Government Tribal High School Meenankal was established in 1957 and it is managed by the Department of Education. It is located in a rural area. The school is located in Nedumangad block of Thiruvananthapuram district. The school consists of Grades from 1 to 10. The school is co-educational and it has an attached pre-primary section with it.

References

Villages in Thiruvananthapuram district

Meenankal


James Franklin McIngvale (born February 11, 1951), also known as "Mattress Mack", is an American businessman. He is known for owning and operating the Gallery Furniture retail chain, based in Houston, Texas.

Early life and education
McIngvale was born on February 11, 1951, in Starkville, Mississippi. He graduated from Bishop Lynch High School in Dallas and attended North Texas State University, now University of North Texas, in Denton where he played football.

Business career

McIngvale is best known for his energetic, fast-paced sales pitches, typically ending with some variant of his catchphrase "saves you money!" His distinctive sales style originated from an incident that occurred early on in Gallery Furniture's history. Faced with financial difficulties, McIngvale invested all his remaining money, approximately $10,000, in a television commercial to be aired on two Houston stations. While watching the commercial being produced, he became dissatisfied and ad-libbed a sales pitch, speaking rapidly because of the limited amount of time available. The commercial proved very effective, and his sales increased dramatically afterward. In 1999, McIngvale spoke to the British Deming Association annual conference about the influence of W. Edwards Deming on his business methods.

McIngvale co-authored the book Always Think Big with Thomas Duening and John Ivancevich, which was published in 2002, and chronicles the ups and downs of his entrepreneurial career.

In May 2009, the Houston Chronicle reported that McIngvale refused to pay $48,000 in taxes to the Greater Northside Management District that were assessed from 2005 to 2007. He did, however, pay taxes to the district in 2008. His Northside facility is within the district's boundary. McIngvale said the management district does not do enough to maintain the area, he described the management district's taxation policies as "taxation without representation." The district sued McIngvale to try to force him to pay the taxes, and McIngvale said he was willing to dispute the charges in court.

Philanthropic efforts

In August 2017, McIngvale opened his stores to people affected by Harvey, a hurricane that flooded the city.

When Tropical Storm Imelda flooded Houston in 2019, McIngvale once again opened the doors of Gallery Furniture and partnered with Crisis Clean Up to provide free meals and shelter at the North Freeway location.

During the 2021 Texas power crisis and winter storms, McIngvale allowed people to shelter from the cold and spend the night at Gallery Furniture. Also in 2021, in the wake of evacuation and destruction due to Hurricane Ida which hit the Gulf Coast (and particularly Louisiana and New Orleans), McIngvale began to shelter Louisianan residents at Gallery Furniture as well as provide warm meals and amenities for free. He also organized a supply donation drive and caravan into south Louisiana to deliver supplies to the area.

A letter in The Houston Chronicle criticized the fact that during McIngvale's humanitarian efforts, he "makes sure cameras are there to catch the moment, [which] amounts to great publicity for him."

Political donations and positions
McIngvale has been described as an "ultra-Republican." He has primarily donated to Republican candidates for office including Donald Trump, Ted Cruz, Lauren Boebert and Madison Cawthorn.

In 2010, McIngvale supported the Tea Party movement. He funded full-page ads for the Tea Party that appeared in the Houston Chronicle. He was a guest speaker along with many local conservative radio hosts for The North Houston Tea Party Patriots at Sam Houston Race Park.

During the 2015 Houston mayor's race, McIngvale endorsed conservative candidate Bill King over Sylvester Turner. Turner won the election.

In 2018, McIngvale endorsed the reelection of Republican U.S. Representative John Culberson and appeared in commercials supporting the congressman. Culberson lost the election to Lizzie Fletcher. In February 2020, after endorsing Bill King for mayor in 2015, McIngvale endorsed the reelection of Democratic mayor, Sylvester Turner. During the 2022 Texas Attorney General election, McIngvale backed unsuccessful challenger George P. Bush against incumbent Ken Paxton.

Governor Greg Abbott named McIngvale to the Strike Force to Open Texas – a group "tasked with finding safe and effective ways to slowly reopen the state" amid the COVID-19 pandemic in April 2020.

After Joe Biden was declared the winner of the 2020 presidential election, McIngvale did not issue payouts to customers, who correctly predicted that Biden would win. Speculation emerged that McIngvale had concerns about voter fraud in the 2020 election. However, in January 2021, two months after the election, McIngvale sent out checks to those who predicted Biden would win. He said the delay was due to the fact he believed the results of the election could change, but conceded those odds were always "very small."

McIngvale funded ads that were described as "inaccurate," which attacked Lina Hidalgo, a Democrat running for County judge of Harris County. After Hidalgo won re-election, McIngvale took out a full-page ad  in The Chronicle publicly calling Hidalgo "a sanctimonious bully" and criticizing her "penchant for social justice and equity."

Personal life
McIngvale and his wife, Linda, have four children. He lives in the Northgate Forest community in an unincorporated area of Harris County, Texas. Ericka Mellon of the Houston Chronicle said that he was "one of Northgate's most recognizable residents."

In 1992, McIngvale and his wife were executive producers of the action-comedy film Sidekicks starring Chuck Norris and Jonathan Brandis; and in return Norris did several television advertising commercials for Gallery Furniture, owned by Jim and Linda. In June 2019, McIngvale suffered a possible transient ischemic attack.

During the 2022 World Series, McIngvale attended Game 3 at Citizens Bank Park in Philadelphia. Phillies fans brought up the Astros sign stealing scandal and accusations of their second baseman Jose Altuve cheating. McIngvale responded by repeatedly yelling "fuck you" at the fans. After the incident, McIngvale referred to Philadelphia sports fans as the "worst fans ever." An article in The Houston Chronicle condemned McIngvale's interaction as an "expletive-ridden tirade" that showed the "dark side to his character."

Sports gambling
On February 3, 2022, McIngvale placed a $4.5 million wager on the Cincinnati Bengals to win Super Bowl LVI. It officially set the record for the largest mobile wager in sports betting history.

As a result of the Houston Astros claiming the 2022 World Series championship, Mack was awarded $75 million in total sports betting payouts, the highest total in sports betting history.

McIngvale has lost $9.2 million betting on the last two CFP National Championship games. In 2022, he bet $6.2 million on the Alabama Crimson Tide to defeat the Georgia Bulldogs; Georgia won, 33–18. A year later, he once again bet against the Bulldogs, putting $3 million on the TCU Horned Frogs to pull the upset. Georgia instead won a second straight championship, 65–7, to date the biggest blowout ever in an FBS bowl game.

References

External links
 Mattress Mack Blog

1951 births
Living people
American businesspeople in retailing
American racehorse owners and breeders
Businesspeople from Houston
American philanthropists
Texas Republicans

Jim McIngvale


Several people are named Hermann Muller or Hermann Müller:

Hermann Müller (1829–1883), German botanist who investigated coevolution between bees and flowers. Name has umlaut.
H.J. Muller (1890–1967), American geneticist who investigated mutations. Name has no umlaut.
Hermann Müller (SPD) Foreign Minister of Germany, 21 June 1919–26 March 1920. SPD party.

Hermann Muller


A city in Colombo District, Western Province, Sri Lanka.  It is situated approximately 17 kilometers south of Colombo surrounded by the suburbs of Moratuwa, Piliyandala, Maharagama, Pannipitiya and Boralesgamuwa. The Bokundara Dedicated Economic Center is the main attraction.  The road connecting Colombo and Horana, known as the 120 bus route, passes through Bokundara.

Settlements in Sri Lanka

Bokundara