The lithium-titanate or lithium-titanium-oxide (LTO) battery is a type of rechargeable battery which has the advantage of being faster to charge than other lithium-ion batteries but the disadvantage of having a much lower energy density.

Uses

Titanate batteries are used in certain Japanese-only versions of Mitsubishi's i-MiEV electric vehicle as well as Honda's EV-neo electric bike and Fit EV. They are also used in the Tosa concept electric bus. Because of the battery's high level of safety and recharge capabilities, LTO batteries are used in car audio applications as well as mobile medical devices.

An LTO battery is also used in the S-Pen that comes with the Samsung Galaxy Note 20 Ultra 5G.

According to a Weatherflow Co. article, the Tempest weather-station device contains a 1300mAh LTO battery, charged via four solar panels, requiring "at least 4 hours of adequate sunlight every two weeks."

The Combustion Predictive Thermometer is described as using an LTO battery. According to Combustion Inc., this allows it to safely survive temperatures up to 105°C (221°F) inside of ovens.

Chemistry

A lithium-titanate battery is a modified lithium-ion battery that uses lithium-titanate nanocrystals, instead of carbon, on the surface of its anode. This gives the anode a surface area of about 100 square meters per gram, compared with 3 square meters per gram for carbon, allowing electrons to enter and leave the anode quickly. Also, the redox potential of Li+ intercalation into titanium oxides is more positive than that of Li+ intercalation into graphite. This leads to fast charging (higher charging current) being much safer in the case of the titanate, than in the case of carbon, since lithium dendrites are less likely to form in the former case. Lithium-titanate cells last for 3000 to 7000 charge cycles; a life cycle of ~1000 cycles before reaching 80% capacity is possible when charged and discharged at , rather than the standard .

A disadvantage of lithium-titanate batteries is their lower inherent voltage (2.4 V), which leads to a lower specific energy (about 30–110 Wh/kg) than conventional lithium-ion battery technologies, which have an inherent voltage of 3.7 V. Some lithium-titanate batteries, however, have an volumetric energy density of up to 177 Wh/L.

Brands and uses

Log9 Materials
The Log9 company is working to introduce its tropicalized-ion battery (TiB) backed by lithium ferro-phosphate (LFP) and lithium-titanium-oxide (LTO) battery chemistries. Unlike LFP and LTO, the more popular NMC (Nickel Manganese Cobalt) chemistry does not have the requisite temperature resilience to survive in the warmest conditions such as in India. LTO is not only temperature resilient, but also has a long life.

Altairnano
Altairnano produces lithium-titanate batteries under the "Nanosafe" line, mainly for battery electric vehicles. Vehicle manufacturers that have announced plans to use Altairnano batteries include Lightning Car Company, which plans to use them for the Lightning GT, an electric sports car; Phoenix Motorcars, for use in its electric sport-utility vehicles; and in Proterra, its electric EcoRide BE35 lightweight 35-foot bus.

Altairnano has also deployed their lithium-titanate energy storage systems for electric grid ancillary services as well as military applications.

Grinergy
Grinergy is a South Korean battery manufacturer founded in 2017. It offers commercial and Warfighter military grade LTO battery technology. Grinergy is a 2023 CES Innovation Honoree

Leclanché
Leclanché is a Swiss battery manufacturer founded in 1909. In 2006, it acquired Bullith AG (Germany) to establish a Li-Ion manufacturing line in Germany. In 2014, their product "TiBox" entered the market. The energy content of the TiBox is 3.2 kWh, with an expected 15,000 cycle life span.

Microvast
Microvast, based in Houston, Texas, makes a lithium-titanate battery that it calls "LpTO". In 2011, the world's first ultrafast charge bus fleet was launched in Chongqing, China. An 80 kWh LpTO battery system was installed in 37 twelve-meter electric buses, which can be fully charged within 10 minutes with a 400 kW charger.

As of 2014, a British bus OEM, Wrightbus, began using Microvast LpTO batteries for 1,000 units of double-decker New Routemaster buses. An 18 kWh LpTO battery system is used to replace the initial Lithium Iron Phosphate battery because the LFP battery encountered performance failure.

As of 2015, the European ZeEUS (zero emission urban transport system) was first offered. Its VDL bus uses a 62.5 kWh LpTO battery system from Microvast for a demonstration project.

As of 2016, the world's largest automated port, PSA TUAS, began using the Microvast LpTO for 22 electric AGVs as a first phase of a project for horizontal container transportation.

Samsung
The Bluetooth-enabled S-Pen in the Samsung Galaxy Note 10 and 10+ contains a lithium-titanate battery which has a stand-by time of ten hours.

Seiko
Seiko uses lithium-titanate batteries in its Kinetic (automatic quartz) wristwatches. Earlier Kinetic watches used a capacitor to store energy, but the battery provides a larger capacity and a longer service life. A technician can easily replace the battery when its capacity eventually deteriorates to an unacceptable level.

Toshiba

Toshiba released a lithium-titanate battery, dubbed "Super Charge Ion Battery" (SCiB). The battery is designed to offer 90% charge capacity in ten minutes.

SCiB batteries are used in the Schwinn Tailwind electric bike. Toshiba has also demonstrated its use as a prototype laptop battery. Toshiba SCiB batteries are used in a Japan-only version of Mitsubishi's i-MiEV and Minicab MiEV electric vehicles, and Honda uses them in its EV-neo electric bike and Fit EV, which came to market in the summer of 2012. JR Central's N700S Shinkansen uses SCiB batteries to operate at low speed in the event of a disruption to overhead power.

The Toshiba lithium-titanate battery is low voltage (2.3 nominal voltage), with low energy density (between the lead-acid and lithium ion phosphate), but has extreme longevity, charge/discharge capabilities and a wide range operating temperatures.

YABO
YABO Power Technology released a lithium-titanate battery in 2012. The standard model YB-LITE2344 2.4V/15Ah battery cell has been used in electric vehicle and energy storage systems.

Yinlong Energy
Gree introduced its Yinlong Battery Technology, a type of fast-charging LTO (lithium-titanate) battery, which can operate in extreme temperature conditions. The batteries have an operational life-span up to 30 years. Yinlong Energy provides batteries for such uses as automobiles and energy storage.

See also
 List of battery types
 List of battery sizes
 Comparison of battery types
 Battery (electricity)
 Electrochemical cell
 Energy storage
 Fuel cell
 Lithium iron phosphate battery

References

Lithium-ion batteries
Rechargeable batteries

Lithium-titanate battery


The US Springfield Model 1795 Musket was the first smoothbore flintlock musket produced in the United States. It was based on the French Model 1763 Charleville musket and like the French design was a .69 caliber musket. The Charleville and the Brown Bess were the two most famous muskets during the 18th century. The Charleville musket had been the primary musket used by Americans during the American Revolutionary War. The Charleville being the more accurate of the two, it was selected as the model for a new American musket.

History

About the middle of the 18th century, French gunsmith Honoré Blanc developed the concept of interchangeable parts for muskets. Blanc tried to interest other European gunsmiths, but they were not impressed by the idea. But he did interest the American Ambassador to France, Thomas Jefferson. Jefferson quickly saw that mass production of weapons parts would free America from dependence on European sources for parts. He could not get Blanc to move to the United States but he did convince President George Washington it was a good idea. In 1798, Eli Whitney got the first contract for 10,000 muskets to be delivered within two years. Whitney used a large force of unskilled workers and machinery to produce standardized identical parts at a low cost. Congress had already decided to pattern the new musket after the 1763 French Charleville model. Whitney, like other contractors, had been given 2 or 3 to work with.

The Model 1795 muskets were the first muskets produced at the Springfield Armory and also the Harpers Ferry Armory. The Harpers Ferry Armory did not begin producing the muskets until 1798 at the earliest and more probably started around 1800. There were some distinct differences in the muskets produced at the two armories. The models from the Springfield Armory have dates of manufacture on the lockplate and have an eagle stamp with the word "Springfield". Between 1795 and 1816, the Springfield Armory produced about 85,000 muskets. Between the two armories, some 700,000 muskets were produced between 1795 and 1844. This makes it the longest production run in American history. The Springfield musket was used in the War of 1812, the Mexican-American War, and even the American Civil War. They were also carried on the Lewis and Clark Expedition.

The Springfield Armory
Created in 1777, during the American Revolution the arsenal stored muskets, cannon, and other weapons. When France entered the war on the side of the United States, the large stores of arms and ammunition were sent to Springfield for storage and to be sent to the troops. After the war there were large supplies of Charleville muskets stored at Springfield. When the US decided to manufacture its own muskets, Springfield had a daunting task ahead of it. The government had to start up arms factories with no past experience in doing so. When Whitney was awarded the contract (for five years) he was paid most of the money up front. The contract paid Whitney $13.40 per musket when it was determined the Springfield armory could make them for $10 each. The reason they did this was to learn from Whitney and other contractors how the weapon was produced and assembled efficiently. When government inspectors saw talented workers at various contractor's factories, they would often persuade them to come work at Springfield. By the 1840s the government no longer saw the need to pay contractors the higher prices and would award contracts based on the best bid.

Related pages
 musket
 Brown Bess
 Flintlock
 Muzzleloader
 Charleville musket
 Fusil de chasse

References

Other websites
 1795 Springfield VS Brown Bess: YouTube

Firearms
1795 establishments in the United States

Springfield Model 1795 Musket


Bruno Nuytten (born 28 August 1945) is a French cinematographer turned director.

Camille Claudel which was Nuytten's first directorial and screenwriting effort, won the César Award for Best film in 1989. The film starred and was co-produced by Isabelle Adjani, with whom he had a son, Barnabé Saïd-Nuytten. Adjani won the Silver Bear for Best Actress at the 39th Berlin International Film Festival for her role in the film.

His sophomore directorial effort, Albert Souffre, though also a heavily emotional movie, was set in contemporary times.

His 2000 film, Passionnément, starred Charlotte Gainsbourg.

His films as cinematographer include Les Valseuses, Barocco, La meilleure façon de marcher, The Bronte Sisters, Brubaker, Garde à vue, Possession, Fort Saganne, So Long, Stooge (Tchao Pantin), Jean de Florette and Manon des Sources (US title: Manon of the Spring). He won the César Award for Best Cinematography in 1977 and 1984, and was nominated in 1980, 1982, 1985 and 1987.

He is a professor at France's national film school La Fémis.

Biography

In his adolescence, Bruno Nuytten played in an amateur theater troupe. His education is varied: training for Art Deco competitions, training for the IDHEC competition, and unfinished training at the Institut national supérieur des arts du spectacle et des techniques de diffusion (INSAS, Belgium, 1967-1969), then obtaining a BTS in "prises de vues" or "shooting" in Paris. He began by being assistant to Ghislain Cloquet (who had been his professor at INSAS), then to Claude Lecomte and to Ricardo Aronovitch. He first worked on short films, then launched himself into the roles of cinematographer and director of photography. He seeks contrasting images, a moving camera, an active relationship with space. By listening to the directors, he learned how to use fixed shots and lighting without contrast when requested by Marguerite Duras (La Femme du Gange (1974), India Song (1975), Son nom de Venise (1976)), or an exaggeratedly expressionist style and a shoulder camera with Andrzej Zulawski (Possession, 1981).

Bruno Nuytten went into directing for Camille Claudel, at the express request of actress Isabelle Adjani, who co-produced the film (with Christian Fechner) and took the leading role. In 2013, she says: "His reason to be, it was the shadow. From the shadow, he made the light exist. He had told me that he would never go into directing. [...] I told him that I would like to use the body of Camille Claudel to be able to personify my own disarray, my cry. He heard me." A few years earlier, Nuytten had remarked: "The only interesting thing that I discovered while talking with a journalist is that in fact I had put myself in scene in the inversion of powers: at the end of the film I had become Camille Claudel and Isabelle Adjani had become Rodin. And there I am more and more Camille Claudel, even if I am not still in the asylum! One never escapes the delicate, fragile, and human things one touches…"

In 2015, Caroline Champetier, also director of photography, devoted the documentary Nuytten/Film to him.

Bruno Nuytten wrote articles for the technical review Le cinema pratique, animated conferences at the Ciné-club de Melun, and lectures at the Université de Paris III. In Switzerland he founded a production company for advertising films.

Bruno Nuytten was the companion of Isabelle Adjani with whom he had a son, Barnabé, in 1979. Since 1996, he has lived with the director Tatiana Vialle, with whom he has had two children, Tobias and Galathée.

Filmography

As a director
 1988: Camille Claudel
 1992: Albert Souffre
 2000: Passionnément
 2002: Jim, la nuit

As a cinematographer
 1969: L'Espace vital by Patrice Leconte - short film
 1971: Les Machins de l'existence by Jean-François Dion - short film
 1971: La Poule de Luc Béraud - short film
 1972: Tristan et Iseult by Yvan Lagrange
 1974: Les Valseuses by Bertrand Blier
 1974: Le Jeu des preuves by Luc Béraud - short film
 1974: La Femme du Gange by Marguerite Duras
 1975: India Song by Marguerite Duras
 1975: Souvenirs d'en France by André Téchiné
 1976: Les Vécés étaient fermés de l'intérieur by Patrice Leconte
 1976: La meilleure façon de marcher by Claude Miller
 1976: L'Assassin musicien by Benoît Jacquot
 1976: Mon cœur est rouge by Michèle Rosier
 1976: Barocco by André Téchiné
 1976: Son nom de Venise dans Calcutta désert by Marguerite Duras
 1977: Le Camion by Marguerite Duras
 1977: La Nuit, tous les chats sont gris by Gérard Zingg
 1978: L'Exercice du pouvoir by Philippe Galland
 1978: La Tortue sur le dos by Luc Béraud
 1979: Les Sœurs Brontë by André Téchiné
 1979: Zoo zéro by Alain Fleischer
 1979: French Postcards by Willard Huyck
 1980: Brubaker by Stuart Rosenberg
 1981: Hôtel des Amériques by André Téchiné
 1981: Garde à vue by Claude Miller
 1981: Possession by Andrzej Żuławski
 1981:  by Michel Vianey
 1982: Invitation au voyage by Peter del Monte
 1983: Tchao pantin by Claude Berri
 1983: La Pirate by Jacques Doillon
 1983: La vie est un roman by Alain Resnais
 1984: Fort Saganne by Alain Corneau
 1985: Les Enfants by Marguerite Duras
 1985: Détective by Jean-Luc Godard
 1986: Jean de Florette by Claude Berri
 1986: Manon des sources by Claude Berri

References

External links

1945 births
Living people
Best Cinematography BAFTA Award winners
César Award winners
French cinematographers
French film directors
People from Melun

Bruno Nuytten


In Europe in the 16th century, there was a big change in the Christian religion. During the Protestant Reformation, hundreds of thousands of people left the Catholic Church to form Protestant churches all over Europe.

"The Five solas" are an important part of reformed theology for the Protestant leaders:

 Sola scriptura (meaning "The Bible only"): Protestants believe that need only to read the Bible to find out what God wants, instead of listening to the Pope or the Catholic Church.

 Solus Christus  (meaning Christ only"): Protestants believe that the only way to heaven is by Jesus dying on the cross and so so they did not have to pray to Mary, saints, or angels.

 Sola Gratia (meaning "grace only:" Protestants believe that God lets people into heaven, but no one deserves it.

Sola fide (meaning "faith only"): Protestants believe that people must trust Jesus for him to let them into heaven.

Soli Deo Gloria (meaning "only glory to God"): Protestants believe that God alone should be worshipped, not the Pope or priests, and people should not trust the Church to get to heaven.

The words "Sola Scriptura", "Solus Christus", "Sola Gratia", "Sola Fide" and "Soli Deo Gloria" are in Latin.

Other websites
Articles on the Five Solas—from a conservative Calvinistic perspective
FiveSolas.com—a Reformed page devoted to the Solas

Protestant theology
Protestant Reformation

Five solas


Tatar nationalism is the belief that Tatars should constitute an independent nation. Finding historical basis in the Khanate of Kazan and Russian–Tatar enmities, Tatar nationalism has often synthesised Islam as a national aspect. Tatar nationalism has historically manifested itself as the Idel-Ural State, as well as the  and the country's period of de facto independence from Russia in the early 1990s.

Origins

Tatar nationalism has been cited by historian Sergei Kondrashov as having two historical causes: Firstly is the Mongol invasion of Kievan Rus' and the subsequent "Mongolo-Tatar domination of Russia". Secondly is the Khanate of Kazan and its subjugation during the Russo-Kazan Wars. Tatar nationalism has also been divided between two schools of thought, known as "Bulgarists" and "Tatarists". The Bulgarists place Volga Bulgaria as the historical origins of modern-day Tatarstan, with the Golden Horde being a foreign, but culturally influential occupying power. The Tatarists, on the other hand, regard Volga Bulgaria and the Golden Horde as equal ancestors of present-day Tatars.

After the Russian conquest of Central Asia, Tatarstan, much like other Muslim-majority nations within the Russian Empire, was conflicted between struggles of ethnic and religious nationalism. Historically, much like other religiously-Islamic ethnic groups within the Empire, Tatars described themselves primarily as Muslims rather than aligning themselves with an ethnic or linguistic identity. This was opposed by Şihabetdin Märcani, among others, who argued in favour of a Tatar ethnic identity. Prior to the Russian Revolution, Tatar activists such as  organised largely within the Union of the Muslims of Russia. Tatar nationalism at this time was influenced by the progressively-minded Jadid movement, which sought to fuse Islam and western innovations in regards to education and other similar topics.

Russian Revolution and the Soviet Union

The Russian Revolution and the subsequent Russian Civil War led to major changes in the development of Tatar nationalism. The Idel-Ural State was created in part to represent Tatars, though it lasted only 28 days before being defeated by the Red Army. Anti-communist nationalists like Apanayev were executed. After the civil war, a group of Muslim national communists emerged under the leadership of Tatar Mirsaid Sultan-Galiev. Beginning in the 1920s, they were steadily removed from power as part of simultaneous purges of Ukrainian, Central Asian, and Tatar national communists.

The Tatar diaspora, including sizeable communities in Germany, Turkey, and China, was indignant to Soviet government as a whole, and some members such as Ayaz İshaki called for the establishment of an independent Tatar state based on Idel-Ural. This advocacy further encited Soviet paranoia, and, during the Great Purge, many Tatars were imprisoned on charges of association with either Sultan-Galiev or İshaki. As a result of the Great Purge, most of Tatarstan's urban intelligentsia was arrested, exiled, or executed by the outbreak of World War II. Tatarstan's major cities were Russified.

World War II

After military setbacks during Operation Barbarossa and protests by the government of Turkey on the treatment of Muslim Soviet prisoners of war, Nazi Germany organised the Idel Ural Legion in 1942. Comprising Tatars as well as other ethnicities within the Idel-Ural region, the Idel Ural Legion included some Tatar nationalists and was stated in German propaganda leaflets to be aimed at the restoration of the Idel-Ural State as independent from the Soviet Union. Most of its members, in addition to their status as prisoners of war, also stated different reasons for joining, such as anti-Russian sentiment, opposition to collective farming, anti-communism, and their families' religion. At the time, members of the Legion did not view themselves as belonging to separate ethnic groups, instead consisting as part of one singular unit. This manifestation of Tatar nationalism did not include its interwar-era leaders, such as İshaki, who, like many of his peers, was viewed with suspicion by the German government and sidelined.

At the same time, Tatars also fought for the Soviet Union and became national heroes. Musa Cälil and his , while part of the Idel-Ural Legion, covertly resisted Germany and later defected back to Soviet forces. Cälil was posthumously awarded the title of Hero of the Soviet Union for his military activities, as well as the Lenin Prize for his , at the urging of Tatar intelligentsia.

Tatar dissidents

Unlike many other nationalities within the Soviet Union, such as Crimean Tatars and Ukrainians, Volga Tatars lacked a similarly well-organised and substantial dissident movement after World War II. However, there were notable events of dissent among Tatars, such as 's 1961 poem Letter of Batu Khan and calls to upgrade the Tatar Autonomous Soviet Socialist Republic to the status of a union republic. In response to Battal's proposal, he was removed from the Communist Party of the Soviet Union. A six-member dissident group, known to the KGB as the "Aydeldinov Group", included , ,  and , and was known to argue for nationalistic viewpoints.

Independent Tatarstan (1990–1994)

Amidst the dissolution of the Soviet Union, Tatar political leaders sought to establish themselves as separate from Russia. The , passed on 24 October 1990, defined Tatarstan as a sovereign state within the Soviet Union. When the Soviet Union dissolved, Tatarstan found itself in a state of de facto independence, something which Tatar leaders sought to strengthen with a 1992 sovereignty referendum and a wide-reaching nation-building exercise. The Tatar language and Islamic education were publicly revived, while the Kul Sharif Mosque began being rebuilt. Tatar nationalism at this time split between moderate and radical camps. The radical Ittifaq Party, led by Fauziya Bayramova, expressly opposed Jadid, Sufism, and European Islam, promoting strong anti-Russian sentiment and an Islamic Tatarstan. The moderate All-Tatar Public Center, on the other hand, was primarily concerned with Tatar independence as opposed to religious matters.

Ultimately, Tatarstan signed a power-sharing agreement with the Russian government in 1994. As part of the agreement, Tatarstan received significant powers, which were later granted to other republics in a system of asymmetric federalism.

Since 1994
With Vladimir Putin's accession to the Russian presidency in 2000, Tatarstan's powers have since been significantly eroded as part of a process of centralisation. Nonetheless, Tatar nationalism has remained a significant part of political life, primarily in opposition to perceived Russian Tatarophobia. Tatar nationalism has also, on occasion, come into conflict with Russians, such as during a 2011 protest regarding Russia's status within Tatarstan.

References

Independence movements
Nationalist movements in Europe
Nationalism
Stateless nationalism in Europe

Tatar nationalism


Son of Ingagi is a 1940 American monster movie directed by Richard C. Kahn. It was the first science fiction horror film to feature an all-black cast. It was written by Spencer Williams based on his own short story, House of Horror. Although the film's title appears to suggest that it is a sequel to the 1930 movie Ingagi, it is not. (The latter is an exploitation film in the guise of an ethnographic film in which purported African women are given over to gorillas as sex slaves.)

Son of Ingagi is about Elanor and Bob Lindsay inheriting the house of doctor Helen Jackson who had just returned from her trip to Africa. Jackson also had returned with a missing link monster named N'Gina as well as African gold. When N'Gina drinks the doctor's potion, it puts him into a rage that makes him murder Dr. Jackson. The Lindsay family inherits Jackson's house where they soon find the presence of the monster.

Plot
After the wedding of Eleanor and Bob Lindsay, a doctor named Helen Jackson had a discussion with Detective Nelson (Spencer Williams) and Jackson's attorney asking them to come over to her place so she can change her will. While Dr. Jackson works in her office she is approached by her brother Zeno, who insists that on Jackson's visits to Africa she must have taken gold and hidden it in her office. In response, Dr.Jackson hits a gong which calls upon the monster N'Gina, a missing link monster who she has taken from her previous trip to Africa. Jackson's brother leaves terrified. At the Lindsay's wedding, an explosion erupts, which leads most party-goers to investigate with only Eleanor staying at home. Eleanor is then visited by Dr.Jackson, who explains that she was in love with Eleanor's father and that she had fled to Africa later after he married Eleanor's mother.

Later in her laboratory, Jackson works on a potion for the benefit of human race. N'Gina takes the potion and drinks it which causes N'Gina to go on a rampage which kills Jackson. The Lindsays later find that they are beneficiaries in Helen's will, and due to her sudden death they are initially suspected of murdering her. Later, the Lindsays are acquitted of the crime, and move into Helen's manor.

Eleanor soon discovers that food is mysteriously disappearing. Bradshaw, the executor of the will, comes to urge them to sell the house, and while rummaging through the desk, he carelessly rings the gong, which summons N'Gina from the hiding place in the cellar. N'Gina reacts to the stranger and kills Bradshaw. Detective Nelson is assigned to solve the mystery of the house and moves into the home. Zeno breaks into the couple's bedroom, but escapes when Eleanor accidentally hits Bob instead of Zeno.

After seeing N'Gina emerge from the basement, Zeno follows N'Gina's path to seize Helen's gold. Zeno finds the gold but is caught by N'Gina who drags Zeno upstairs for Nelson to find. Eleanor spots N'Gina and faints at the sight the creature. N'Gina then carries Eleanor downstairs. When Nelson finds Zeno's body he awakens Bob who searches for Eleanor. N'Gina accidentally starts a fire, and Eleanor's screams draw Bob and Nelson into the basement where Nelson fails to arrest N'Gina. Bob, however, succeeds in locking the beast in a cell while the house and N'Gina burn. Nelson emerges from the bushes outside with the bags of gold while Bob and Eleanor escape unharmed.

Cast
 Zack Williams (actor) as N'Gina
 Laura Bowman as Dr. Jackson
 Alfred Grant as Robert Lindsay
 Daisy Bufford as Eleanor Lindsay
 Arthur Ray as Zeno Jackson
 Spencer Williams as Nelson
 Earl J. Morris as Bradshaw
 Jesse Graves as Chief of Detectives
 The Toppers as themselves

Production

Spencer Williams' screenplay for Son of Ingagi was based on his own story titled House of Horror. Alfred N. Sack, whose Dallas, Texas-based company Sack Amusement Enterprises produced and distributed race films, was impressed with Spencer Williams' screenplay for Son of Ingagi and offered him the opportunity to write and direct a feature film.  William's resulting film was The Blood of Jesus (1941) while Son of Ingagi was directed by the white American director Richard Kahn. At that time, the only African American filmmaker was the self-financed Oscar Micheaux.

Cynthia Erb, author of Tracking King Kong: A Hollywood Icon in World Culture suggests that the reason the film's monster does not match the title in the film was possibly for box office reasons, as to have it relate to the popular success of the exploitation film Ingagi (1930). Both Richard Gilliam of Allmovie and Erb note that N'Gina was probably influenced by Boris Karloff's character in Frankenstein with N'Gina's outbursts of violence and tendency to show emotions of suffering and being mournful.

Reception

Richard Gilliam of the online film database Allmovie wrote that the film was "One of the more interesting low-budget films of the early '40s" and "Despite what its low-budget origin and lurid subject matter might indicate, Son of Ingagi is both well-written and well-acted. It's no undiscovered classic, but it's also not the bottom-of-the-barrel trash that some references sources claim that it is."

References

Sources

External links

1940 films
1940 horror films
1940s monster movies
American science fiction horror films
American black-and-white films
African-American horror films
1940s science fiction horror films
African-American films
Race films
American monster movies
Films directed by Richard C. Kahn
1940s English-language films
1940s American films

Son of Ingagi


Small Machine Algol Like Language (SMALL), is a computer programming language developed by Nevil Brownlee of the University of Auckland.

History
The aim of the language was to enable writing ALGOL-like code that ran on a small machine. It also included the string data type for easier text manipulation.

SMALL was used extensively from about 1980 to 1985 at Auckland University as a programming teaching aid, and for some internal projects. Originally, it was written in Fortran IV, to run on a Burroughs Corporation B6700 mainframe computer. Subsequently, it was rewritten in SMALL, and ported to a Digital Equipment Corporation (DEC) PDP-10 mainframe (on the operating system TOPS-10) and an IBM S360 mainframe (on the operating system VM Conversational Monitor System (VM/CMS)).

About 1985, SMALL had some object-oriented programming features added to handle structures (that were missing from the early language), and to formalise file manipulation operations.

See also
Lua (programming language)
Squirrel (programming language)

References

External links
Nevil Brownlee staff page, Center for Applied Internet Data Analysis
Nevil Brownlee personal page, Center for Applied Internet Data Analysis

Algol programming language family
Systems programming languages
Procedural programming languages
Object-oriented programming languages
Programming languages created in 1980

SMALL


Lance Olsen (born October 14, 1956) is an American writer known for his experimental, lyrical, fragmentary, cross-genre narratives that question the limits of historical knowledge.

Biography

Lance Olsen was born in New Jersey.  He received a B.A. from the University of Wisconsin–Madison (1978, honors, Phi Beta Kappa), an M.F.A. from the Iowa Writers' Workshop (1980), and an M.A. (1982) and Ph.D. (1985) from the University of Virginia. For ten years he taught as associate and then full professor at the University of Idaho; for two he directed the University of Idaho's M.F.A. program. He has also taught at the University of Iowa, the University of Virginia, the University of Kentucky, on summer and semester-abroad programs in Oxford and London, on a Fulbright in Turku, Finland, and at various writing conferences. From 2007 to 2023 he taught experimental narrative theory and practice at the University of Utah. From 2002 to 2018, he served as Chair of the Board of Directors at Fiction Collective Two, or FC2; founded in 1974, FC2 is one of America's best-known ongoing literary experiments and progressive art communities. He was fiction editor at Western Humanities Review from 2007 to 2013. He served as Director of Creative Writing at the University of Utah from 2018 to 2019. Olsen's wife is assemblage-artist Andi Olsen.

Writing

Olsen is author of seventeen novels, one hypermedia text, five nonfiction books, five short-story collections, a poetry chapbook, and two anti-textbooks about experimental writing, as well as editor of two collections of essays about innovative contemporary fiction. His short stories, essays, poems, and reviews have appeared in hundreds of journals, magazines, and anthologies, including Conjunctions, Fiction International, Iowa Review, Village Voice, Time Out New York, BOMB, Hotel Amerika, and Best American Non-Required Reading.  He is known for his fictional biographies (examples of historiographic metafiction), such as Nietzsche's Kisses and Head in Flames, for which he does extensive historical research, as well as his work in avantpop, postmodernism, speculative fiction, experimental writing practices, and critifiction (the blending of theory and narrativity in a single text).

The hypermedial version of his novel 10:01, created in collaboration with artist Tim S. Guthrie, was published by the Iowa Review Web in 2005 and included in the Electronic Literature Organization Collection: Volume One. Olsen is a regular participant in the biennial &NOW Festival, a celebration of experimental and innovative writing, and has collaborated with a board member of &NOW, Davis Schneiderman, on a series of short works.

Awards

In May 2022, Olsen was a fellow at The Rockefeller Bellagio Center on Lake Como, Italy. In the spring of 2018, Olsen taught a seminar on Experimental Forms and delivered two lectures as Chaire des Amériques at the Institut des Amériques de Rennes at the University of Rennes. From May 2015 through April 2016, Olsen was a guest at the DAAD Artists-in-Berlin Program. He was the Mary Ellen von der Heyden Berlin Prize in Fiction Fellow at the American Academy in Berlin from January through May 2013 and the Mellon International Visiting Senior Scholar at Rhodes University in Grahamstown, South Africa, in October 2013. He is a Guggenheim and a two-time N.E.A. fellowship recipient, winner of a Pushcart Prize, and was the governor-appointed Idaho Writer-in-Residence from 1996-1998. His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award, and his work has been translated into Arabic, Croatian, Finnish, German, Italian, Polish, and Turkish.

Bibliography

Novels
Always Crashing in the Same Car: A Novel After David Bowie (Tuscaloosa, AL: Fiction Collective Two, 2023)
Skin Elegies (Ann Arbor, MI: Dzanc Books, 2021)
My Red Heaven (Ann Arbor, MI: Dzanc Books, 2020)
Dreamlives of Debris (Ann Arbor, MI: Dzanc Books, 2017)
There's No Place Like Time: A Retrospective (Lake Forest, IL: &Now Books, 2016)
Theories of Forgetting (Tuscaloosa, AL: Fiction Collective Two, 2014)
Calendar of Regrets (Tuscaloosa, AL: Fiction Collective Two, 2010)
Head in Flames (Portland, OR: Chiasmus Press, 2009)
Anxious Pleasures: A Novel After Kafka (Emeryville, CA: Shoemaker & Hoard, 2007)
Nietzsche's Kisses (Tallahassee, FL: Fiction Collective Two, 2006)
10:01 (print version: Portland, OR: Chiasmus Press, 2005; hypermedia version: Iowa Review Web 7.2 November 2005)
Girl Imagined by Chance (Tallahassee, FL: Fiction Collective Two, 2002)
Freaknest (La Grande, OR: Wordcraft, 2000)
Time Famine (San Francisco, CA: Permeable Press, 1996)
Burnt (La Grande, OR: Wordcraft, 1996)
Tonguing the Zeitgeist (San Francisco, CA: Permeable Press,1994)
Live from Earth (NY: Available Press/Ballantine Books,1991)

Anti-textbooks
Architectures of Possibility: After Innovative Writing (Washington, D.C.: Raw Dog Screaming Press, 2012)
Rebel Yell: Writing Fiction (San Jose: Cambrian Press, 1998)

Nonfiction
There (Fort Wayne, Indiana: Anti-Oedipus Press, 2014)
In Memoriam to Postmodernism: Essays on the Avant-Pop, co-edited with Mark Amerika (SDSU Press, 1995)
Lolita: A Janus Text (NY: Twayne, 1995)
Surfing Tomorrow: Essays on the Future of American Fiction (Prairie Village: Potpourri, 1995), editor
William Gibson (Mercer Island, WA: Starmont House, 1992)
Circus of the Mind in Motion: Postmodernism and the Comic Vision (Detroit: Wayne State University Press, 1990)
Ellipse of Uncertainty: An Introduction to Postmodern Fantasy (Westport, CT: Greenwood Press, 1987)

Short story collections
How to Unfeel the Dead: New & Selected Fictions (Toronto: Teksteditions, 2014)
Hideous Beauties  (Portland, OR: Eraserhead, 2003)
Sewing Shut My Eyes (Normal/Tallahassee: Fiction Collective Two/Black Ice, 2000)
Scherzi, I Believe (La Grande, OR: Wordcraft, 1994)
My Dates With Franz (Amherst, MA: Bluestone Press, 1993)

References

External links
Keynote (2022) before 53ème Congrès de l'Association Française d'Études Américaines (AFEA)
Interview (2020) with Lance Olsen about My Red Heaven with Brooklyn Rail
Interview (2020) with Lance Olsen with David Naimon on ''Between the Covers'
Interview (2013) with Lance Olsen on NPR's Berlin Journal
Interview (2010) with Lance Olsen about Head in Flames with Rain Taxi
Interview (2006) with Lance Olsen about Nietzsche's Kisses, by The Nietzsche Circle

Science fiction critics
20th-century American novelists
21st-century American novelists
American speculative fiction critics
American male novelists
Postmodernists
Experimental literature
National Endowment for the Arts Fellows
Berlin Prize recipients
Poets Laureate of Idaho
University of Wisconsin–Madison alumni
Iowa Writers' Workshop alumni
University of Virginia alumni
Novelists from New Jersey
1956 births
Living people
20th-century American poets
21st-century American poets
American male poets
20th-century American male writers
21st-century American male writers
21st-century American non-fiction writers
American male non-fiction writers
Fulbright alumni

Lance Olsen


The University of Edinburgh School of GeoSciences, is a school within the College of Science and Engineering, which was formed in 2002 by the merger of four departments. It is split between the King's Buildings and the Central Area of the university. The institutes of Ecological Sciences and Earth Science are located at the King's Buildings, whilst the Institute of Geography is located on Drummond Street in the Central Area. In 2013 the department was ranked 8th best place to study geography in the country by The Guardian University Rankings, down from 2nd in 2006.

The school is ranked as one of the best in the UK for Earth Sciences. A 2008 Research Assessment Exercise assessment ranked the "Earth Systems and Environmental Science" department as the best in the UK by number of world leading research and staff. Its Geography department was ranked 15th in the world according to the 2015 QS rankings.

There are over 1100 undergraduate students and 250 postgraduate students in the School of GeoSciences. There are also around 100 research and teaching staff within the school.

The School collaborates with the University of Edinburgh Business School and the School of Economics, to offer a Carbon Management MSc degree, the first in the world, which has students from over 20 countries. The school also has exchange programmes though the Erasmus programme, in addition to universities in Canada, the United States, Australia and New Zealand.

The head of the School of GeoSciences is currently Professor Bryne Ngwenya. Famous recent alumni of the School include former BP chief executive Tony Hayward. Former Rector of the university Peter McColl matriculated at one of the predecessors, the Department of Geography.

Competition for entry is highly selective, in 2010, the School received 2221 applications, but only 275 offers were made, representing a 16.9% of an applicant receiving an offer. The school currently offers 11 undergraduate courses and a range of postgraduate degrees.

References

Education in Edinburgh
Schools of the University of Edinburgh
Geography departments in the United Kingdom
Geology organizations
Ecology organizations
Earth sciences organizations

School of GeoSciences, University of Edinburgh


Jamal R. Nassar is Dean of the College of Social and Behavioral Sciences at California State University, San Bernardino. He was born in Jerusalem, received  a B.A. from Jacksonville University in 1972, a M.A. from the University of South Florida in 1974 and a Ph.D. from the University of Cincinnati in 1978. Immediately afterwards, he joined the faculty at Illinois State University, where he served as chair of the Department of Politics and Government until accepting the post at CSUSB in 2007. His specialty is Middle Eastern politics.

Publications
Globalization and Terrorism: The Migration of Dreams and Nightmares
Intifada: Palestine at the Crossroads
The Palestine Liberation Organization: From Armed Struggle to the Declaration of Independence
Change Without Borders: The Third World at the End of the Twentieth Century
Politics and Culture in the Developing World: The Impact of Globalization.

Many of his articles, chapters and reviews have also been translated into about a dozen other languages.
Dr. Nassar has chaired several national and international conferences on the Middle East, has addressed the United Nations on the Palestine question, and has been a consultant or expert witness in court cases in the United States and Canada.

He was the editor of Arab Studies Quarterly from 1991–95. He remains on the editorial board of this and other scholarly journals.

References

External links
Jamal R. Nassar homepage

Year of birth missing (living people)
Living people
Jacksonville University alumni
University of South Florida alumni
University of Cincinnati alumni
Illinois State University faculty
California State University, San Bernardino faculty
Middle Eastern studies in the United States
Palestinian academics
Educators from Jerusalem
Palestinian emigrants to the United States

Jamal Nassar


Southwest Friesland ( ) is a municipality in the Northern Netherlands, located in the province of Friesland. It had a population of 84,092 in August 2017. Sneek is the municipal seat. With a total area of 841.56 km2, Súdwest-Fryslân is the largest municipality by area in the Netherlands.

History
Súdwest-Fryslân was formed in 2011 from the old municipalities of Bolsward, Nijefurd, Sneek, Wûnseradiel and Wymbritseradiel. In 2014 it was enlarged by parts of the former municipality of Boarnsterhim. On 1 January 2018 it was enlarged by parts of former municipality of Littenseradiel.

Geography

The municipality is formed by several settlements, divided into towns and villages.

Towns
The towns located in Súdwest-Fryslân are Bolsward, Hindeloopen, IJlst, Sneek, Stavoren and Workum.

Villages
The villages located in Súdwest-Fryslân are Abbegea, Allingawier, Arum, Blauwhuis, Bozum, Breezanddijk, Britswerd, Burgwerd, Cornwerd, Dedgum, Easterein, Edens, Exmorra, Ferwoude, Folsgare, Gaast, Gaastmeer, Gauw, Goënga, Greonterp, Hartwerd, Heeg, Hemelum, Hennaard, Hichtum, Hidaard, Hieslum, Hommerts, Idsegahuizum, Idzega, Indijk, It Heidenskip, Itens, Jutrijp, Kimswerd, Kornwerderzand, Koudum, Koufurderrige, Kubaard, Laaxum, Loënga, Lollum, Longerhouw, Lutkewierum, Makkum, Molkwerum, Nijhuizum, Nijland, Offingawier, Oosterend, Oosterwierum, Oosthem, Oppenhuizen, Oudega, Parrega, Piaam, Pingjum, Poppenwier, Raerd, Rien, Roodhuis, Sandfirden, Scharl, Scharnegoutum, Schettens, Schraard, Sibrandabuorren, Smallebrugge, Tirns, Tjalhuizum, Tjerkwerd, Uitwellingerga, Waaxens, Warns, Westhem, Wieuwerd, Witmarsum, Wolsum, Wommels, Wons, Woudsend, Ypecolsga, Ysbrechtum and Zurich.

Hamlets
The hamlets located in Súdwest-Fryslân are Aaksens, Abbegaasterketting, Abbegaasterrige, Andelahuizen, Angterp, Annabuorren, Arkum, Atzeburen, Baarderbuorren, Baburen, Barnsterbuorren, Barsum, Bessens, Bittens, Bloemkamp, Bonjeterp, Bootland, Bovenburen, De Band, De Bieren, De Blokken, De Burd, De Hel, De Grits, De Kat, De Kliuw, De Nes, De Pôle, De Weeren, De Wieren, Dijksterburen, Doniaburen, Doniawier, Draaisterhuzen, Easthim, Eemswoude, Engwier, Exmorrazijl, Feytebuorren, Fiifhûs, Fiskersbuorren, Flansum, Galamadammen, Goëngamieden, Gooium, Grauwe Kat, Greate Wierrum, Grote Wiske, Harkezijl, Hayum, Hemert, Hiddum, Hidaardersyl, Hoekens, Hornsterburen, Houw, Idserdaburen, Ingwert, It Fliet, Jeth, Jonkershuizen, Jousterp, Jouswerd, Kampen, Klaeiterp, Kleine Wiske, Knossens, Kooihuizen, Koudehuizum, Kromwâl, Laad en Zaad, Lippenwâlde, Littenserbuorren, Lytse Gaastmar, Lytshuzen, Makkum, Boazum, Meilahuzen, Monsamabuorren, Nijbuorren, Nijekleaster, Nijezijl, Osingahuizen, Ottenburen, Pikesyl, Rea Skuorre, Remswerd, Rytseterp, Sandfirderrijp, Scharneburen, Sieswerd, Sjungadijk, Skrok, Sotterum, Spears, Spreeuwenstein, Spyk, Strand, Swaenwert, Swarte Beien, Trijehuzen, Tsjerkebuorren, Vierhuizen, Viersprong, Wolsumerketting, Wonneburen and Yndyk.

Politics
The college van burgemeester en wethouders of Súdwest-Fryslân consists of Mayor Haijo Apotheker and aldermen A. Offinga, G. Akkerman-Wielinga, W. Sinnema, A. Ekhart and L. P. Stoel.

Notable people

 Pier Gerlofs Donia (ca.1480 in Kimswerd – 1520) a Frisian rebel leader and pirate
 Menno Simons (1496 in Witmarsum – 1561) a Roman Catholic priest, an influential Anabaptist religious leader, his followers became known as Mennonites
 brothers Boetius à Bolswert (ca.1585 in Bolsward – 1633) and Schelte a Bolswert (1586 in Bolsward – 1659) were copper-plate engravers
 Gysbert Japiks (1603 in Bolsward – 1666) a West Frisian writer, poet, schoolmaster and cantor
 Allart Pieter van Jongestall (1612 in Stavoren – 1676) a Dutch jurist and diplomat
 Jacob Potma (ca.1630 in Workum – 1704) a Dutch Golden Age painter
 Jacob Binckes (1637 in Koudum – 1677) a Dutch commodore
 Lambert Bos (1670 in Workum – 1717) a Dutch scholar and critic
 Eelco Alta (1723 in Makkum - 1798) a Frisian clergyman, theologian and veterinarian
 Cynthia Lenige (1755 in Makkum – 1780) a Frisian poet
 Douwe de Hoop (1800 in Workum - 1830) a Dutch painter and draftsman
 Sgnt James H. Burbank (1838 in Stavoren – 1911) a soldier, awarded the US Medal of Honor
 Hobbe Smith (1862 in Witmarsum – 1942) a Dutch painter in the Post-Impressionist style
 B.D. Dykstra (1871 in Pingjum - 1955) a Dutch American pastor, educator and poet
 Willem de Sitter (1872 in Sneek – 1934) a Dutch mathematician, physicist and astronomer
 Pieter Sjoerds Gerbrandy (1885 in Goënga – 1961) a Dutch politician and Prime Minister of the Netherlands from 1940 to 1945
 Hilbrand Boschma (1893 in Ysbrechtum – 1976) a Dutch zoologist and director of the Rijksmuseum of Natural History
 Hans Wiegel (born 1941) a retired Dutch politician and businessman, lives in Oudega
 Klaas Rusticus (born 1942 in Sneek) a Dutch author and TV and film director
 Hillie Molenaar (born 1945 in Sneek) a Dutch documentary film director
 Jan de Haan (born 1951 in Warns) a contemporary Dutch composer, conductor and musician
 Liuwe Tamminga (1953 in Hemelum – 2021) a Dutch organist and harpsichordist, played Italian Early Music
 Pauline Krikke (born 1961 in Sneek) a Dutch politician and Mayor of The Hague 2017/2019

Sport

 Pim Mulier (1865 in Witmarsum – 1954) introduced tennis, athletics, cricket and hockey to the Netherlands
 Jan Ankerman (1906 in Wommels – 1942) a Dutch field hockey player who competed in the 1928 Summer Olympics
 Wout Zijlstra (born 1964 in Wolsum) a former strongman and Highland Games athlete
 twin brothers Ben & Jan Kouwenhoven (born 1965 in Sneek) sailors, who competed at the 1992 Summer Olympics
 Ronald Zoodsma (born 1966 in Sneek) a retired volleyball player, team silver medallist at the 1992 Summer Olympics
 brothers Gerhard (1967 in Sneek – 2006)  & Willem Potma (born 1969 in Sneek) sailors, who competed at the 1992 and 1996 Summer Olympics
 Pieter Huistra (born 1967 in Goënga) a Dutch former football winger with 394 club caps
 Olof van der Meulen (born 1968 in Sneek) a retired volleyball player and team silver and gold medallist at the 1992 and 1996 Summer Olympics
 Rick Hofstra (born 1977 in Sneek) a Dutch professional darts player
 Sandor van der Heide (born 1978 in Ysbrechtum) a football manager and former player with 282 club caps
 Loes Geurts (born 1986 in Wûnseradiel) a Dutch footballer goalkeeper, over 100 caps for the Netherlands women's national football team
 Sherida Spitse (born 1990 in Sneek) a Dutch football midfielder with over 250 club caps and 175 international caps
 Nyck de Vries (born 1995 in Sneek) is a Dutch Formula E racing driver
 Liesette Bruinsma (born 2000) a Dutch Paralympic swimmer, lives in Wommels

References

External links

Official website

Municipalities of Friesland
Municipalities of the Netherlands established in 2011

Súdwest-Fryslân


Surface-mount technology (SMT) uses electronic devices that are made to be placed directly onto the surface of printed circuit boards (PCBs).

Examples of surface-mount devices are resistors, capacitors, LEDs and integrated circuits. Surface mounted devices are generally smaller than those used in the older through-hole technology, which need longer leads and holes in the circuit board.

Other websites

Electronics

Surface-mount technology


Christina Abrahamsdotter () () (1432–1492) was a Finnish woman, royal mistress and briefly queen of Sweden as the third wife of King Charles VIII.

Biography
The parentage of Christina Abrahamsdotter is not known, but she is believed to have been the daughter of Abraham Pedersson, governor of Raseborg. The ex-King Charles of Sweden got to know her during his exile in Finland 1457–1464. When Charles returned to Sweden in 1464 and reclaimed the Swedish throne, she followed him there as royal mistress. In 1465, they had a son together.

In 1470, during the last year of his life, Charles married Christina. She thereby became queen, and her son became legitimate. The exact date of the marriage is unknown. Traditionally, the wedding was to have taken place on his deathbed. The marriage took place on an unknown date during the spring of 1470, a few weeks before the death of Charles in May. The wedding is said to have taken place in Stockholm with 50 wedding witnesses.

By the marriage, Christina became queen, and her son was legitimized. They were both included in the new will, which excluded his sons-in-law, which had been his previous heirs, specially Ivar Axelsson, whom he had previously appointed his successor. The king therefore appointed his nephew Sten Sture the Elder as regent until his son was old enough to be elected King, and also gave him the task to protect their right to inherit him in his new will. The marriage caused controversy because of the difference in rank. Bishop Henrik Tidemansson of Linköping wrote a poem to illustrate the contemporary controversy over the marriage, where he stated that the marriage took place against the royal council and caused a great hatred toward King Charles because he was considered to have made a bad example. Christina was the only royal mistress in Sweden to have become queen alongside Karin Månsdotter (1568).

On 15 May 1470, Christina became a widow and Queen dowager. After the death of Charles, Sten Sture had the king's will revoked, took all of the power himself as regent and gave the majority of the late king's estates to his sons-in-law rather than to his appointed heir. Christina lived a secluded life after the death of Charles. In 1488, her son successfully claimed a part of his inheritance.

Issue
Kristina Abrahamsdotter had two known children with Charles:

 Anna Karlsdotter (Bonde), married to the nobleman Håkan Svensson (Bölja), governor of Västerås castle.
 Karl Karlsson (Bonde) (1465–1488)

References

 Lars O. Lagerqvist: Sveriges regenter - från forntid till nutid (The regents of Sweden - from then to now)
 Dick Harrison: Karl Knutsson
 Gadd, Pia (Swedish): Frillor, fruar och herrar - en okänd kvinnohistoria (Mistresses, wives and masters - an unknown history of women) Falun 2009

|-

Christina 1470
1432 births
1492 deaths
15th-century Swedish women
Women of medieval Finland
15th-century Finnish people

Christina Abrahamsdotter


I Am Twenty (, translit. Mne dvadtsat let) is a 1965 drama film directed by Marlen Khutsiev. It is Khutsiev's most famous film and considered a landmark of 1960s Soviet cinema.

The film was originally entitled Zastava Iliycha (known in English alternately as Ilyich's Gate or Lenin's Guard), but it was heavily censored upon completion, trimmed to half its original length, retitled and withheld from release until 1965. A restored 3-hour version was released in 1989, and is sometimes referred to by the original title.

Synopsis
The film follows the recently demobilized Sergei, a young man who returns to his Moscow neighborhood after two years of military service. We see the aspirations and realities of his tightly knit group of friends, as well as the everyday lives of other Soviet citizens.

Cast
 Valentin Popov as Sergey Zhuravlyov (as V. Popov)
 Nikolay Gubenko as Nikolay 'Kolya' Fokin (as N. Gubenko)
 Stanislav Lyubshin as Slava Kostikov (as S. Lyubshin)
 Marianna Vertinskaya as Anya (as M. Vertinskaya)
 Zinaida Zinoveva as Olga Mikhaylovna Zhuravlyova (as Z. Zinovyeva)
 Svetlana Starikova as Vera Zhuravlyova (as S. Starikova)
 Lev Prygunov as Aleksandr Zhuravlyov (as L. Prygunov)
 Tatiana Bogdanova as Lyusya Kostikova (as T. Bogdanova)
 Lyudmila Selyanskaya as Katya Yermakova, conductress (as L. Selyanskaya)
 Aleksandr Blinov as Kuzmich (as Sasha Blinov)

Style

I Am Twenty is notable for its often dramatic camera movements, handheld camerawork and heavy use of location shooting, often incorporating non-actors (including a group of foreign exchange students from Ghana and famous poets, among them Yevgeny Yevtushenko) and centering scenes around non-staged events (a May Day parade, a building demolition, a poetry reading). Filmmakers Andrei Tarkovsky and Andrei Konchalovsky both play small roles in the film, as do Rodion Nakhapetov and Lev Prygunov. The dialogue often overlaps and there are stylized flourishes that echo the early French New Wave, especially François Truffaut's black and white films. The screenplay, co-written by Gennady Shpalikov, originally called for a film running only 90 minutes, but the full version of the film runs for three hours.

Production and censorship
I Am Twenty began production in 1959, during the de-Stalinization period of the Khrushchev thaw, when Soviet society experienced several years of unprecedented freedom of speech.

By the time the film was finished, the thaw was waning and the film's openly critical view of Stalinism was deemed unacceptable, as was its portrayal of the lives of everyday Soviet youth worrying about money and jobs and listening to Western music. At a speech in March 1963, Khrushchev personally attacked the film and denounced Khutsiev and his collaborators for "[thinking] that young people ought to decide for themselves how to live, without asking their elders for counsel and help."

References

External links

A critical essay on the film
Dramatic adaptation produced by Radio Moscow at The WNYC Archives
 Вечер памяти Геннадия Шпаликова / March 5, 1997

1960s Russian-language films
1965 films
Venice Grand Jury Prize winners
Films directed by Marlen Khutsiev
Soviet teen films

I Am Twenty


Justyna Maria Steczkowska, also as Justyna (born 2 August 1972) is a Polish singer-songwriter, actress and violinist.

Biography
She is a daughter of Danuta and Stanisław Steczkowski's. In 1990 she graduate music high school in the violin class. She gave up her studies to run her vocal career. At that time Steczkowska sang vocalises in rock groups. The breakthrough occurred in 1994 when 22 years old singer took part in tv music talent show Szansa na sukces (Chance for success) and won. She sang Boskie Buenos a song of a band Maanam, which leader was Kora Jackowska. In the same year she recorded her first song Moja intymność (My Intimacy).

In 1995 she represented Poland in the Eurovision Song Contest. She sang her own song Sama (Alone) and she took the 18th place. Next she met Grzegorz Ciechowski - singer, music producer and leader of rock band Republika. One year later they released Justyna's debut album Dziewczyna Szamana (Shaman's Girl) with the same title single. In 90s she released also 2 albumes: Naga (Naked) and Na koniec świata (At the End of The World). In 1999 she played in the movie At the End of The World.

Since 2000 she released 14 albumes: Dzień i noc (Day and Night) with electronic sounds; Mów do mnie jeszcze (Talk To Me More) feat. actor Paweł Deląg - songs are poems by e.g. William Shakespeare; Alkimja with traditional jewish song in polish language; Złota kolekcja: Moja intymność (Gold Collection: My Intimacy), medley her the most famous songs; Femme Fatale with covers songs of Ewa Demarczyk, Dalida, Marilyn Monroe, Edith Piaf etc.; Daj mi chwilę (Give me a Moment) with her premiere repertoire; Puchowe kołysanki (Lullabies of Fluff) with lullabies wrote for her children; To mój czas (This is My Time) with pop music; Mezalianse (Misalliances) feat. Maciej Maleńczuk - songs from known in 50s and 60s XX century in Poland cabaret Kabaret starszych panów; XV with remastered cover her own songs; Puchowe kołysanki 2 (Lullabies of Fluff 2) - continuation Puchowe kołysanki; Anima with spiritual and mistic trip hop ballads; I na co mi to było? (And What Was It For?) feat. Boban Marković - songs with balkan rhythms; Maria Magdalena. All is love - her first english language album, compilation of symphonic and electronic sounds.

She is married with ex-model and architect Maciej Myszkowski (m. 2000) and they have 3 children: Leon (b. 2000), Stanisław (b. 2005) and Helena (b. 2013).

Discography
 Dziewczyna Szamana (1996)
 Naga (1997)
 Na koniec świata (1999)
 Dzień i noc (2000)
 Mów do mnie jeszcze (2001)
 Alkimja (2002)
 Złota kolekcja: Moja intymność (2003)
 Femme Fatale (2004)
 Daj mi chwilę (2007)
 Puchowe kołysanki (2008)
 To mój czas (2009)
 Mezalianse (2011)
 XV (2012)
 Puchowe kołysanki 2 (2013)
 Anima (2014)
 I na co mi to było? (2015)
 Maria Magdalena. All is love (2019)

References

1972 births
Living people
Polish singer-songwriters

Justyna Steczkowska


Judex  is a 1963 French-language  crime film remake of the 1916 French film serial of the same name concerning the adventures of pulp hero Judex. Directed by French filmmaker Georges Franju, the film stars Channing Pollock as Judex/Vallieres, Édith Scob as Jacqueline and Francine Bergé as Diana.

Plot
The film's plot largely follows the arc of Louis Feuillade's serial, but necessarily cuts down the number of events and characters to fit its feature-length running time.

Franju's film begins with Favraux (Michel Vitold), a corrupt banker, and his secretary Vallieres discussing an apparent blackmail note signed only "Judex" (meaning "judge" or "upholder of the law").  Favraux is puzzled because the note demands only that he return money that he has embezzled from others.  He hires Cocantin (Jacques Jouanneau), a detective, to provide security at a party he  will be giving to announce the engagement of his daughter Jacqueline (Édith Scob), a young widow with a daughter, to an aged but wealthy man.  Another man, Pierre Kerjean (René Génin), suddenly comes in and demands aid from Favraux, for whom he had served time in prison, but Favraux has Vallieres escort him from the room.

Later, Cocantin reports that Kerjean has died after being found on the street.  Favraux receives another warning from Judex, which he takes more seriously.  In the meantime, though, he tells Marie Verdier (Francine Bergé), Jacqueline's governess, that he is infatuated with her and must marry her after Jacqueline's wedding.  That night at the party, where everyone is masked, a mysterious guest wearing  a bird's head performs magic tricks.  When Favraux begins to announce the engagement, though, he collapses, apparently dead.  Later, we see that Judex, who appears in a black hat and cloak, and his assistants have removed Favraux, who was only drugged, from his coffin and imprisoned him.

After Favraux's supposed  funeral, Cocantin shows Jacqueline the letter from Judex, which vowed that vengeance would come to Favraux at the exact time when he died.  Jacqueline wants to go to the police, but Vallieres tells her about her father's crooked past.  Jacqueline renounces any money that she would inherit except for a portion for her daughter, whom she has sent off.  The former governess turns out actually to be Diana Monti, head of a criminal gang, who still wants access to Favraux's fortune.  Diana adopts other roles and disguises in a series of tricks and attacks to kidnap Jacqueline, who is rescued several times by Judex.  Later, Diana also tries to abduct Jacqueline's daughter, but is again foiled, party through actions by the detective Cocantin and his son.  Finally, Diana is isolated on a rooftop and, in a battle with a circus gymnast (Sylva Koscina) aiding the heroes, falls to her death.

At the end Judex and Jacqueline are reunited, walking on a beach as a title appears: ""In homage to Louis Feuillade, in memory of a time that was not happy: 1914."

Cast
 Channing Pollock as Judex/Vallieres
 Édith Scob as Jacqueline
 Francine Bergé as Diana
 Théo Sarapo as Morales
 Sylva Koscina as Daisy
 René Génin as Pierre Kerjean
 Michel Vitold as the Banker Favraux

Production

Development
The production of Judex happened by chance. French writer Francis Lacassin was writing an article on French film, and while doing research he was approached by a production manager with an idea for a film, when he suggested to do a film on Judex. The story came to Jacques Champreux (grandson of the original creator of Judex, Louis Feuillade) and  long-time admirer of director Georges Franju. Champreux asked the latter to make the film and he accepted despite having a stronger desire to remake Fantômas. Georges Franju was not very interested in the character or original story of Judex, stating that "Judex is the only film of Louis Feuillade that isn't good Louis Feuillade," but he wanted to recreate the film in the style of early French cinema that he remembered from his childhood. Jacques Champreux's idea for the film was to combine Georges Franju's film style with the elements of the story in the original Judex and started writing the screenplay with that in mind. Jacques Champreux and Georges Franju had the film open with a costume ball where everyone is wearing animal masks. This scene is influenced by French cartoonist J.J. Grandville, who depicted people with the heads of animals and birds.

Casting
Channing Pollock, who was a famous conjurer in cabaret circles, was cast as Judex. Pollock had been in several films beforehand and the backing producers wanted to make him into a Rudolph Valentino-type star. Georges Franju and Jacques Champreux made his character into more of a magical character rather than a "dispenser of justice". Many actresses were thought of for the role of Diana Monti, originally played by Musidora in the Feuillade's Judex. Franju and Champreaux wanted someone who would "still look good even in the dark" and originally desired to have Brigitte Bardot as Diana Monti which excited their producers. After seeing Les Abysses at the Cannes Film Festival, they chose Francine Bergé who also played the role of Michele in the film. Franju cast Édith Scob as Jacqueline who he had worked with on his previous films, including Eyes Without a Face and Thérèse Desqueyroux.

Release and reception
Judex was released on December 4, 1963, in France. The general reception for the French critics of Judex was fairly positive, with most critics applauded the homage to the original silent film serial while noting the problems that arose when with the over-conscientious approach to style and atmosphere. A critic from L'Express wrote that the film was "pure entertainment, pure charm, a total success". while another from Les Nouvelles littéraires called the film's pacing "lazy" and the film direction "nonchalant, not to say laborious". Claude Mauriac of Le Figaro littéraire wrote that the film did not let the audience relate to the action as it was too caught up attracting them to the "plastic beauty" of the film. The film opened up to generally positive review in the United States as well. Variety wrote a positive review stating that the film was "...a successful homage to the French film serials of the early, silent days...[the film] does not send up this form of pic but rather captures its essential simplicity, adventurousness and innocence." Time also wrote a positive review stating "Judex has too much low-key charm and seriousness to be wildly funny, but Director Franju seems content to woo a minority taste." The New York Times wrote a negative review, stating that Judex "suffers from several afflictions, one of which is ambiguity. It is hard to tell whether Georges Franju, who made it, wants us to laugh at it or take it seriously."

Modern reception has been generally positive. Jonathan Rosenbaum of the Chicago Reader wrote that Judex was "one of the better features of [Franju's] middle period". Time Out wrote that the film is "superbly elegant" and an "enjoyable tribute to the adventure fantasies of Louis Feuillade".

Home media
A Region 2 release of Judex was released on August 25, 2008, by Eureka in their Masters of Cinema series. This release also included the 1973 film Nuits Rouges also directed by Georges Franju.

References

Bibliography

 Ince, Kate. Georges Franju. Manchester University Press, 2005. .

External links

The Secret Heart of Judex an essay by Geoffrey O'Brien at the Criterion Collection

1963 films
1960s French-language films
French black-and-white films
1960s crime thriller films
French crime films
Italian crime films
Remakes of French films
Sound film remakes of silent films
Films directed by Georges Franju
Films scored by Maurice Jarre
1960s Italian films
1960s French films

Judex (1963 film)


American craft is craft work produced by independent studio artists working with traditional craft materials and processes. Examples include wood (woodworking and furniture making), glass (glassblowing and lampworking),  clay (ceramics), textiles, and metal (metalworking). Studio craft works tend to either serve or allude to a functional or utilitarian purpose, although they are just as often handled and exhibited in ways similar to visual art objects.

History
The American studio craft movement is a successor to earlier European craft movements.  Modern studio crafts developed as a reaction to modernity and, particularly, the Industrial Revolution.  During the nineteenth century, Scottish historian Thomas Carlyle and English social critic John Ruskin warned of the extinction of handicrafts in Europe.  English designer and theorist William Morris continued this line of thought, becoming father of England's Arts & Crafts Movement.  Morris distinguished the studio craftsman in this way:  "[O]ur art is the work of a small minority composed of educated persons, fully conscious of their aim of producing beauty, and distinguished from the great body of workmen by that aim."  Both European and American craft traditions have also been influenced by Art Nouveau.  Both of these movements influenced the development of the contemporary studio craft movement in the United States during the late nineteenth century, throughout the twentieth century and to the present.

American craft pioneers
In the early nineteenth century it became popular for rural Americans of modest means to take the decoration of their homes and furniture into their own hands. The artist Rufus Porter was an early proponent of the American craft movement. In 1825 he published  A Select Collection of Valuable and Curious Arts, and Interesting Experiments Which are Well Explained, and Warranted Genuine, and May be Prepared, Safely and at Little Expense, which is a book of instructions for domestic decorative arts, including wall, floor, and furniture painting.

By the end of the nineteenth century, the preindustrial craft trades had almost disappeared.  Industrial expansion and westward movement had largely severed American culture from early Colonial American and Native American craft roots.  Against this backdrop, Louis Comfort Tiffany was a pioneer of the American craft movement, arguing for the placement of well-designed and crafted objects in the American home.  Tiffany's elegant stained glass creations were influenced by the values of William Morris and became America's leading embodiment of art nouveau.

Gustav Stickley, the cabinetmaker, was an early leader in the development of Studio Furniture and the American craft movement.  Stickley's designs were distinguished by their simplicity and by their harmony between interior decorative art and architecture.  Stickley's magazine, "The Craftsman," was a forum for this movement from 1901 through 1916.  Originally focused on expounding ideas from the England's Arts and Crafts Movement, "The Craftsman" increasingly developed American craft concepts over the years of its publication. Stickley's ideas later had influence on Frank Lloyd Wright and future generations of American craftsmen, artists and architects.

The Roycroft movement was an American adaptation of the British arts and crafts movement founded by Elbert Hubbard and his wife Bertha Crawford Hubbard in the small-town of East Aurora, New York in 1895.  Its focus was on writing and publishing ornate books, but it also made furniture and metal products. Roycroft was organized as a living/working artisans' community along the lines of a Medieval European guild.

Early craft institutions
The studio crafts movement was fostered by the establishment of crafts programs within post-secondary educational institutions.  In 1894, for example, North America's first university ceramics department was begun at Ohio State University in Columbus, Ohio.  This was followed in 1901 by the establishment of the first ceramics art school at Alfred University in Alfred, New York.  Similarly, the Rhode Island School of Design in Providence, Rhode Island established the first metal arts class in 1901 and the first textiles class in 1903.

After World War I, a postwar spirit of internationalism influenced the establishment of other important craft institutions, such as the Cranbrook Academy of Art in Bloomfield Hills, Michigan.  Cranbrook craftsmen translated organic and geometric forms into the style that would be known as Art Deco.  At Cranbrook, teachers like Maija Grotell produced important work in their own right while also teaching a new generation of young studio craft artists.

The Depression years and World War II
During the Depression years, the federal Works Progress Administration funded crafts projects as well as public works and murals as a way to both keep workers working and as a way to increase national morale.  This enabled crafts to flourish at a local level.  At the same time, American art programs began to include craft studies into their curricula.

World War II brought an influx of European artists and craftsmen. These European exiles brought with them a range of historical traditions including not only European craft practices but also knowledge of Asian and other non-Western cultures. One example of this influx is Tage Frid, a Danish furniture maker, who established the reputation of the Furniture Making program at Rhode Island School of Design, and there are certainly others. Also during the post World War II period a general dissatisfaction with industrial society began to fuel further support for handmade art objects.  In 1943, the American Craft Council was founded to support craftspeople and cultivate an appreciation for their work.  The ACC's founder, Aileen Osborn Webb was a potter interested in creating marketing opportunities for studio craftsmen.  The organization eventually grew to include American Craft magazine and the Museum of Arts and Design (then called the Museum of Contemporary Crafts and at one point known as the American Craft Museum).  As a result of these phenomena, post-war American craft became stylistically more refined as well as technically more proficient.

The 1950s and Peter Voulkos

During the 1950s, some artists turned to the truth-to-materials doctrine.  This movement entailed an emphasis on the collective production of crafts work.  Craftsmen sometimes worked together during this period to develop more ambitious projects.   Throughout the 1950s and afterwards, potter Peter Voulkos developed increasingly largescale and nontraditional ceramic works, influenced by Abstract Expressionism, which transformed traditional understandings of the craft media.  Like the Abstract Expressionists, Voulkos emphasized performance, process and primal expression in his ceramic forms.  In some cases, Voulkos deconstructed and reconstructed traditional ceramic vessel forms such as plates, ice buckets, and tea bowls.  In other works, Voulkos created new nonutilitarian forms, such as his purely sculptural, large-scale cylindrical "stacks."

Voulkos was also influenced by Zen Buddhism after a 1952 encounter with Japanese potter Shoji Hamada.  Hamada encouraged Voulkos to embrace a Zen approach to ceramics based not only upon technical proficiency but also upon a mental and spiritual union between creator and art object.  Voulkos later cited Hamada's statement that it "took him ten years to learn the potter's wheel and another ten years to forget it"—an insight that inspired Voulkos' early attempts to fully form a teapot in two minutes.

Voulkos taught at Black Mountain College in 1953, where he was further exposed to the avant-garde movements.   In 1954, he founded the ceramics department at the Otis College of Art and Design (then called the Los Angeles County Art Institute).  In California, Voulkos' pottery rapidly became abstract and sculptural.  Voulkos then moved to the University of California, Berkeley, where he founded another ceramics department and taught from 1959 until 1985.  At Berkeley, Voulkos became increasingly prominent for his massive, cracked and slashed pots.

The 1960s and the new glassblowing movement
The culture of the 1960s was even more conducive to the development of studio crafts.  This period saw a rejection of materialism and exploration of alternative ways of living.  For some, the creation of handicrafts provided just such an outlet.  In 1962, then-ceramics professor Harvey Littleton and chemist Dominick Labino began the contemporary  glassblowing movement.  The impetus for the movement consisted of their two workshops at the Toledo Museum of Art, during which they began experimenting with melting glass in a small furnace and creating blown glass art. Thus Littleton and Labino were the first to make molten glass feasible for artists in private studios. Harvey Littleton extended his influence through his own important artistic contributions and through his teaching.  Over the years, Harvey Littleton trained many of the most important contemporary glass artists, including Marvin Lipofsky, Sam Herman (Britain), Fritz Dreisbach and Dale Chihuly.  These Littleton students in turn developed the new movement and spread it across the country.  Marvin Lipofsky, for example, is credited with being one of the founders of the Glass Art Society and introducing studio glass to California.   In 1967, Lipofsky founded the glass program at the California College of Arts and Crafts, which he headed for two decades.

In 1971, Dale Chihuly and Ruth Tamura began the influential Pilchuck Glass School near the rural town of Stanwood, Washington, financially supported by John and Anne Hauberg who supported the idea for a glass-blowing summer school program in the rural Northwest. The subsequent development of this program became the Pilchuck Glass School. Influenced by the Haystack Mountain School of Crafts (the first school to have a glass furnace), and the Penland School of Crafts,  Pilchuck Glass School has become a center of the contemporary American studio glass movement, of which Chihuly is a leading figure. Artist Toots Zynsky, a Pilchuck pioneer, observed that the choice of a Western location for the school reflected a conscious rejection of the Eastern art establishment. The naming of the school also reflected the founders' countercultural attraction to Native American culture.  Chihuly chose the name "Pilchuck," derived from the Chinookan words for "red" and "water," alluding to the iron-rich waters of the nearby Pilchuck River.

The Renwick Gallery

In 1972, the Smithsonian Institution's Renwick Gallery was founded as a studio craft department of the Smithsonian American Art Museum.  Housed in the original Corcoran Gallery of Art building across Pennsylvania Avenue from the White House, it provided a distinguished setting for American studio craft objects in Washington, D.C.

The Year of American Craft
In 1992, President George H. W. Bush signed a proclamation designating 1993 as The Year of American Craft.  As part of this commemoration, Renwick Gallery director Michael Monroe selected seventy-two works by seventy American craftsmen which were donated to the White House to serve as The White House Collection of American Crafts.  This collection was displayed for four months at the National Museum of American Art in 1995.

Types

Notes

Sources
Biography.com Peter Voulkos Biography (1924–2002) (Retrieved 2007-09-01)
Timothy Anglin Burgard, The Art of Craft: Contemporary Works from the Saxe Collection. Fine Arts Museums of San Francisco, 1999.  (paperback).  (hardcover).
 Barbaralee Diamonstein, "Values, Skills and Dreams: Crafts in America", in Michael Monroe, The White House Collection of American Crafts, Harry N. Abrams, Inc. 1995. .
 Julie Hall, Tradition and Change: The New American Craftsman, E.P. Dutton, 1977. .
 Kenneth Trapp and Howard Risatti, Skilled Work: American Craft in the Renwick Gallery. Smithsonian Institution Press, 1998.
 Pohl, Francis K. Framing America. A Social History of American Art. New York: Thames and Hudson, 2002 (pages 118–122)

External links
American Craft magazine
American crafts
American Craft Council
Renwick Gallery official website
Redefining Craft
AmericanStyle magazine
Museum of Arts and Design
The Journal of Modern Craft
International Expositions of Sculpture Objects and Functional Art, Chicago and New York
American Furniture in The Metropolitan Museum of Art, a fully digitized 2 volume exhibition catalog

Decorative arts
Artisans
Handicrafts
Arts and Crafts movement
American art
American Craftsman architecture
Crafts

American craft