Robert P. Manookin (1918–1997) was a Latter-day Saint composer.

Manookin studied under Frank W. Asper, Alexander Schreiner, B. Cecil Gates and J. Spencer Cornwall.

Manookin holds a master's degree from the University of Illinois and a doctorate from the University of Utah.  He first moved to Utah County in 1952.

Several of Manookin's works appeared in the 1985 English edition of the LDS hymnbook.  Among these were "Thy Will, O Lord, Be Done" (words by Frank I. Kooyman) and "See The Mighty Priesthood Gathered" (words by Jean L. Kaberry).  He also wrote the music for Bruce R. McConkie's hymn "In an Upper Room" to be made into a hymn as well as Mabel Jones Gabbott's "The Risen Jesus in America".

Manookin was a professor of music composition and theory at Brigham Young University.  He also served as a member of the General Church Music Committee of the LDS Church as well as both chorister and pianist at both the ward and stake levels.  He was a stake patriarch in the Orem Suncrest Stake until his death.

In 1980 Manookin served an LDS mission in New Zealand with his wife Helene.

References

list of works by Manookin
Deseret News, March 21, 1984
"In an Upper Room", and "The Risen Jesus in America", Ensign, April 1974

1918 births
1997 deaths
American Latter Day Saint hymnwriters
Brigham Young University faculty
People from Utah County, Utah
University of Illinois Urbana-Champaign alumni
University of Utah alumni
American Mormon missionaries in New Zealand
20th-century Mormon missionaries
20th-century American musicians
20th-century American writers
Latter Day Saints from Illinois
Latter Day Saints from Utah

Robert Manookin


Mater (also known as Materia) is a 20th-century portrait painted in oil by Umberto Boccioni, made around 1912-1913, during the Futurism in Milano, Italy, exhibited at the Peggy Guggenheim Collection.

Description
Materia is clearly a full-length portrait of the artist's mother, the main subject of numerous canvases he made, as in the case of the mother with crochet from 1907.
The mother in the painting is portrayed sitting in her house frontally, so as to turn her back to a balcony overlooking the urban landscape behind Porta Romana in Milan.
This compositional choice serves to merge in a single "simultaneous vision" the optical perception of two distinct subjects, the metropolitan environment seen from Via Adige (Via Ripamonti) in Milan and the artist's mother.
The hands of the mother figure are represented crossed and gigantic and constitute the focus of the portrait.
The urban scenario of the Fondazione Prada district in Via Ripamonti appears as a space perfectly integrated with the human figure, the profiles of the houses are represented as generating nuclei of wide beams of transparent blue light, which illuminate the "mother" from above.
Typical of this painting is the energy that is formed thanks to the colors used, an energy that goes in every direction as is typical of the current it belongs to, the Futurism.

Bibliography
Omar Calabrese - Vittorio Giudici, Art dall'Ottocento a oggi, Mondadori Education, 2012

Other websites
Official Website Peggy Guggenheim

Paintings at Porta Romana
1910s paintings
Paintings by Umberto Boccioni
Paintings in Milan

Mater (Boccioni)


The Cathedral of St Stephen is the heritage-listed cathedral church of the Roman Catholic Archdiocese of Brisbane and seat of its archbishop in Brisbane, Queensland, Australia. St Stephen's was only meant to serve as a temporary seat for the archbishop, and plans for a replacement were made with the Holy Name Cathedral, however the cathedral was never built.

History
The cathedral is located on a site bounded by Elizabeth, Charlotte, Creek, and Edward Streets, in the Australian city of Brisbane, Queensland. James Quinn, the first bishop of Brisbane, arrived in 1861 from Ireland, and soon planned to build a large cathedral to accommodate a growing congregation. On 26 December 1863, the Feast of St Stephen, Quinn laid the foundation stone for a grand cathedral designed by Benjamin Backhouse, but this did not at first proceed beyond the foundations. R George Suter was then commissioned to design a smaller, simpler church partly on the foundations, and the current nave was built 1870–74, with the front gables and spires completed 1884. No further was undertaken until James Duhig took up the archbishopric in 1917. With plans to build new larger Holy Name Cathedral in Fortitude Valley, he engaged architects Hennessy, Hennessy & Co to complete St Stephen's with a crossing, transepts and sanctuary in a simpler design than intended, which was built in 1920–22.

Description
St Stephen's is a gothic revival cathedral with a cruciform shape in plan. While this is a plain cathedral by comparison it still has a selection of striking features such as the spire topped sandstone towers, imported stained glass windows from Munich, the organ, the altar and the newer Blessed Sacrament Chapel at the rear of the building. Of particular note is the stained glass window by Harry Clarke, known as the "Mayne" window, which is located above the sanctuary on the east wall. The cathedral is made predominantly of Brisbane tuff and freestone. The Blessed Sacrament Chapel is made from reinforced concrete and the restored spires from glass reinforced concrete.

Inside the cathedral the stained glass windows are vividly illuminated by the sun and cast coloured patterns on the floor and walls. Some of them are small with intimate pictures of Christ and his followers, while the great window over the main door stands tall and proud as it depicts Christ's ascension, then casts its majesty down the length of the great space. The lightweight plaster ceilings arc gracefully overhead. There is a noted contrast between the interior and exterior qualities of space. The interior has a cool and refreshing quality.

Restoration and refurbishment
By the 1980s the cathedral had fallen into a state of disrepair. The interior layout of the building was also unsuitable for the new Catholic liturgy. When it became clear that the planned Holy Name Cathedral, the construction of which had never proceeded beyond the completion of its crypt in 1934, would not proceed, it was decided that St Stephen's and its grounds would undergo major refurbishment which would involve preserving the fabric of the building but replacing all furnishings and interior fittings. As part of the refurbishment the cathedral grounds were enlarged and a carpark was built under the extended east end of the cathedral. The last stage of the cathedral restoration was completed in 2000 when the Jubilee Pipe Organ was installed above the sanctuary.

Cathedral grounds
In addition to the cathedral, the site contains numerous buildings that support the cathedral and the Archdiocese of Brisbane.

St Stephen's Chapel (also known as Old St Stephen's Church) stands immediately to the south-west of the cathedral. The chapel was designed by English architect Augustus Pugin and built between 1847 and 1850. The first Mass was celebrated in the completed building on 12 May 1850. In June 1859 it became the cathedral for the first Bishop of Brisbane. It is the oldest Catholic church in Queensland.

Old St Stephen's School is a three level building facing Charlotte Street. This building was the location of St Stephen's School until the 1960s. The building now contains offices for the Archdiocese of Brisbane.

The Francis Rush Centre was completed in July 2005. The two storey building is the location for the cathedral's administration centre, the offices of the bishops, the choir room and several function and meeting rooms. A new under cover outdoor liturgical space was constructed as part of this development and facilitates special liturgies such as the Easter Vigil and Palm Sunday.

Music

The cathedral currently has three choirs, which perform in the liturgical-north transept where they are amply and clearly able to be heard from the nave both in liturgical works and in leading and complementing the cathedral's customary vigorous congregational hymn-singing. The current cathedral choir was formed in 1970 and is an all-male choir in the English choral tradition. The choir sings at the 10:00 am mass every Sunday except during school holiday periods in June and July, September and January. In addition to this weekly commitment the choir also sings at most major events at the cathedral including Easter, Christmas and ordinations.

The choir has enjoyed high standards throughout its 30-year history during which it has made numerous recordings. The most recent of these was of traditional Christmas carols.

In addition to the choir the cathedral also has a chamber ensemble called The Schola of the Cathedral of St Stephen. The group was formed as part of the restructuring of the cathedral's music department in 2000 and is fully professional. The Schola sings at the 12.00 pm Mass every Sunday and augments the cathedral choir at major events. Both the cathedral choir and The Schola are conducted by Christopher Trikilis, the cathedral's director of music.

The cathedral also has a community choir of approximately 20 voices called St Stephen's Chorale. The chorale sings at the noon Mass once a month. The chorale is conducted by the cathedral sub-organist, Gregory Mayer.

References

External links

 Cathedral website

Roman Catholic cathedrals in Queensland
Roman Catholic churches in Brisbane
History of Brisbane
Roman Catholic churches completed in 1922
Queensland Heritage Register
Gothic Revival church buildings in Australia
Elizabeth Street, Brisbane
Charlotte Street, Brisbane
Benjamin Backhouse church buildings
19th-century Roman Catholic church buildings in Australia
20th-century Roman Catholic church buildings in Australia
Roman Catholic Archdiocese of Brisbane
1863 establishments in Australia
Gothic Revival architecture in Queensland

Cathedral of St Stephen, Brisbane


Unfriended is a 2014 screenlife supernatural horror film directed by Levan Gabriadze and produced by Timur Bekmambetov. Set on a computer screen, it is produced in the so-called Screenlife format. The film stars Shelley Hennig, Moses Storm, Renee Olstead, Will Peltz, Jacob Wysocki, and Courtney Halverson as six high school students in a Skype conversation which is haunted by a student, played by Heather Sossaman, who was bullied by them and committed suicide. The film is told almost entirely through a screencast of a MacBook.

The film premiered at the Fantasia Festival on July 20, 2014, and was theatrically released by Universal Pictures in the United States on April 17, 2015. The film received mixed reviews from critics and was a massive box-office success, grossing $62 million against a $1 million budget. A stand-alone sequel, Unfriended: Dark Web, was released in 2018.

Plot
In Fresno, CA, high school student Laura Barns commits suicide by gunshot after an anonymous user uploads a video of her passing out and defecating at an unsupervised party, making it go viral. One year later, her former childhood best friend Blaire Lily is chatting with her boyfriend Mitch Roussel on Skype, during which they agree to lose their virginities to each other on prom night. Soon after they are joined by their friends and classmates Jess Felton, Ken Smith, and Adam Sewell, and an unknown user known as "billie227."

The group of friends tries various ways to get rid of the intruder but are unsuccessful each time. Blaire looks up the account and realizes that it belonged to Laura Barns, revealing "billie227" as Laura even though the friends are still incredulous about this possibility. The group suspects that a classmate, Val Rommel, is pranking them. After they invite Val to their chat, Jess' Facebook page is updated with embarrassing photos of Val at a party. Jess denies uploading the photos and deletes them from her account, but the pictures instantly reappear on Adam's account. Val receives a message of a picture not visible to the others, but which she considers a threat. Angry, she calls 911 to report that she is being harassed, and abruptly leaves the chat. The group receives a photo of Val and Laura's Facebook messages from before Laura's death, with Val telling Laura to kill herself. Val reappears on the chat, sitting motionless and silent next to a bottle of bleach before collapsing. Police officers arrive shortly after; the friends eavesdrop and learn that Val died from a presumed suicide. Laura then sends each of the friends a personalized message proving intimate knowledge of their secrets; in Blaire's case, which is the one visible to the audience, this turns out to be several pictures revealing that she had an affair with Adam. Ken distributes a program to remove Laura from the chat, and then Adam attempts to call the police. However, the 911 operator turns out to be the intruder and re-enters the chat, revealing a camera view from the other side of Ken's room. He approaches the camera source and his Skype is briefly cut before it shows him killing himself with a blender.

Laura forces the remaining four friends to play a game of Never Have I Ever, stating that the loser will die. During the course of the game, it is revealed that Jess started a rumor that Blaire had an eating disorder; Blaire stole and crashed Jess' mother's car; Mitch made out with Laura (although he says it was one-sided on her end and he pushed her off), and also reported Adam to the police for dealing cannabis; Jess stole $800 from Adam; and Adam offered to trade Jess' life for the others in the group. Tensions flare and a drunken Adam finally loses his temper and uses the game to force Blaire to reveal that she is no longer a virgin, having slept with him behind Mitch's back. Mitch is distraught and retaliates by forcing Adam to admit that he roofied a classmate, raped her while she was unconscious, and then forced her to abort the resulting pregnancy.

Blaire and Adam receive messages sent remotely to their printers which they refuse to show to Mitch and Jess. Mitch threatens to leave if Blaire does not show the note and Laura warns that Mitch will die if he signs off. In a moment of panic, Blaire shows her paper which states: "If you reveal this note, Adam will die." Adam shoots himself, revealing he had the same note, except it was for Blaire.

Laura continues the game, asking Jess if she defaced her grave. When Blaire convinces Jess not to continue playing, Laura cuts the lights in Jess' house and disconnects her video feed. Blaire looks for help on Chatroulette and has a stranger in Nevada send police to Jess' house. Soon after, Jess' Skype reconnects showing her with an activated curling iron in her mouth, killing her.

Laura cuts the lights in Blaire's and Mitch's houses, wanting them to confess who uploaded the video. Blaire tells her that Mitch was the one who posted it; Mitch then stabs himself in the eye with a hunting knife. Blaire tearfully regrets how their friendship ended, but Laura scoffs at the comment and starts another countdown. Laura then uploads an extended version of the party video to Blaire's Facebook which reveals Blaire operating the camera for the original video and laughing, which quickly gains attention, with multiple people sending hateful comments towards Blaire. Laura says that she wishes she could forgive Blaire before leaving the chat. As Blaire hears her bedroom door creak, Laura, now in the form of her spirit, slams Blaire's laptop shut before attacking her.

Cast

Production
Gabriadze was attracted to the project (then titled Offline) as it focused on the theme of bullying. He noted that the nature of bullying had changed since he was in school, as the Internet allowed for bullies to continue their actions even after school hours.

Production was 16 days total, including six 12-hour days of principal photography, three days of pick-ups and then a few more reshoots. When filming began, it mostly consisted of long takes around ten minutes in length. Shelley Hennig, who portrayed Blaire, found that this proved difficult for the energy and motivation needed from her and the other actors. At her request, at least one full, 80-minute-long take was filmed, with each actor in separate rooms with separate computers. The film's ending was captured during one of these feature-length takes.

The film's title changed during shooting (and would also change prior to its theatrical release), as the film's crew felt that the title of Offline was "too general and not obvious" and that the then title of Cybernatural was "more to the point of what it is". For wide release, the film was re-titled Unfriended.

A deleted scene featured Jess being pulled away, presumably by Laura's spirit. Laura then proceeds to physically abuse Jess by the clicks of a cursor all within Jess's Facebook profile. The scene ends when Laura takes a saw and chops one of Jess's hands off. The scene was later scrapped as it "didn't fit with the horror theme".

Release
Unfriended initially had its world premiere on July 20, 2014, at the Fantasia Festival and screened on the film festival circuit under the title of Cybernatural. A generally positive film festival reception and test screenings for the film prompted Universal Pictures to pick up the film rights with the intent to give it a wide theatrical release the following year. The film's title was changed from Cybernatural to Unfriended and the film was theatrically released on April 17, 2015. The film was screened at Playlist Live on February 6, 2015, and premiered at SXSW on March 13, 2015.

Marketing
Unfriended was heavily marketed online, with 60% of the marketing budget being spent on digital platforms. January 12, 2015, the film's first official trailer with the title Unfriended was released.  Shortly after, on February 6, 2015, the film was screened at Playlist Live, a popular convention for internet celebrities from Vine and YouTube. Images were also released.

On February 13, 2015, a campaign was launched with Kik Messenger, in which Kik users could have a chat conversation with Laura. This made use of automated responses and pre-scripted responses, while also driving users to a dedicated microsite.

On March 13, 2015, after the film's premiere at SXSW, an after-party was hosted by Blumhouse. Exclusive Never Have I Ever cards were released at SXSW later, and a "NEVER HAVE I EVER" section was set up on the film's official website. Unfriended-themed photo booths were set up as well. During production, official Facebook and Skype accounts were set up for the characters in the film, and, after the premiere at SXSW, people who attended were "friended" by the official Laura Barns Facebook account. There was also a Twitter account, which tweeted attendees of the after-party.

Home media and streaming
Unfriended was released on DVD and Blu-ray on August 11, 2015. It received a Netflix release in May 2017. The Criterion Collection also added the film to their streaming service in October 2023.

Reception

Box office
Unfriended grossed $32.5 million in North America and $31.6 million in other territories, for a worldwide gross of $64.1 million against a budget of $1 million. Deadline Hollywood calculated the net profit of the film to be $17.1 million, when factoring together all expenses and revenues.

In North America, the film opened against Child 44, Paul Blart: Mall Cop 2 and Monkey Kingdom on April 17, 2015, across 2,739 theaters, earning $6.8 million on its opening day. In its opening weekend, Unfriended earned $15.8 million, which was higher than its $12 million range projection, and finished in third place at the box office behind Furious 7 ($29.2 million) and fellow newcomer Paul Blart: Mall Cop 2 ($23.8 million). Its opening weekend is the biggest debut for an original horror movie since The Conjuring, which opened with $41.9 million in July 2013.

Critical reception
Review aggregator Rotten Tomatoes gives the film an approval rating of 62% based on 185 reviews, with an average rating of 6/10. The site's critical consensus reads, "Unfriended subverts found-footage horror clichés to deliver a surprisingly scary entry in the teen slasher genre with a technological twist." On Metacritic, the film has a weighted average score of 59 out of 100 based on 30 critics, indicating "mixed or average reviews".

Reception at the Fantasia Film Festival was mostly positive. Common praise for the film centered upon its acting and visuals, and Twitch Film commented that the film was an "interesting look at modern methods of communication and the ramifications of the new normal of always-on social interaction." Variety commented that while the film was "exasperating" at points, they also felt that it was clever and innovative.

Dread Central also praised the film overall, but stated that they felt that the movie's one major flaw was "the fashion in which we are trafficked to each scare through multi-screen clicking, copying, pasting and re-sizing, basically all-around multi-tasking. It can be trying to sit through and I liken it to sitting over someone's shoulder watching them web-surf... endlessly." It was named Most Innovative Film at the Fantasia Film Festival and received a Special Mention for Feature Film.

British film critic Mark Kermode gave the film a positive review, calling it a film which understands Skyping culture and cyber-bullying. He said, "Many people who've seen the trailer say, 'You're being stalked through the internet. Just log off.' The point is they can't because they're addicted." While on one hand admitting it was a "shrieky, teen-terrorized, slasher movie," on the other hand he said it was a film about how cyber-bullying only works if you cooperate with it.

Irish film critic Donald Clarke, writing for The Irish Times, gave the film a very positive review, describing it as "genuinely unsettling" and praising the filmmakers' "uncanny grasp of the complicated dynamics of contemporary interaction" and how they succeeded in retaining "a position on the moral high ground while bloody mayhem rages around their feet".

Some critics found the film to contain unintentionally humorous moments that detracted from the experience. Lou Lumenick of the New York Post and Lauren Chval of RedEye found the scenes involving Blaire's pleas for help on Chatroulette, as well as some of the phrases typed by Laura's ghost (including "but in this version [of a drinking game], the loser doesn't drink. The loser dies."), to be more humorous than frightening.

In CinemaScore polls conducted during the opening weekend, cinema audiences gave Unfriended an average grade of "C", on an A+ to F scale.

Sequel

In April 2015, it was announced that Universal Pictures had greenlit a sequel, tentatively titled Unfriended 2. In October 2017, it was announced that the film was shot secretly and the film's working title would be Unfriended: Game Night. On March 9, 2018, the film's official title revealed to be Unfriended: Dark Web. The film was released on July 20, 2018.

See also
 Bullying and suicide
 Cyberbullying
 Chatroom
 The Den
 Friend Request
 List of ghost films
 Take This Lollipop

References

External links

2010s ghost films
2014 independent films
2010s teen horror films
2014 films
2014 horror films
American ghost films
American independent films
American supernatural horror films
American teen horror films
Blumhouse Productions films
Films about cyberbullying
Films about bullying
American films about revenge
Films about suicide
Films directed by Levan Gabriadze
Films set in California
Films set in 2014
Films shot in Los Angeles County, California
Found footage films
Films about the Internet
Films about social media
Techno-horror films
Unfriended (film series)
Universal Pictures films
Bazelevs Company films
Screenlife films
2010s English-language films
2010s American films

Unfriended


A gear shaper is a machine tool for cutting the teeth of internal or external gears, it is a specialised application of the more general shaper machine. The name shaper relates to the fact that the cutter engages the part on the forward stroke and pulls away from the part on the return stroke, just like the clapper box on a planer shaper.

The cutting tool is also gear shaped having the same pitch as the gear to be cut. However number of cutting teeth must be less than that of the gear to be cut for internal gears.  For external gears the number of teeth on the cutter is limited only by the size of the shaping machine.

The principal motions involved in rotary gear shaper cutting are of the following :
 Cutting Stroke: The downward linear motion of the cutter spindle together with the cutter .
 Return Stroke: The upward linear travel of the spindle and cutter to withdraw the cutter to its starting position.
 Indexing Motion: Slow speed continuous rotation of the cutter spindle and work spindle to provide circular feed, the two speeds being regulated through the change gears such that against each rotation of the cutter the gear blank revolves through n/N revolution, where "n" is the number of teeth of the cutter, and "N" is the number of teeth to be cut on the blank.
 Completion of Cutting Operation: The indexing and reciprocating motions continue until the required number of teeth to the required depth are cut all along the periphery of the gear blank.

References

See also
 Hobbing
 Milling (machining)

Gears
Machining

Gear shaper


An analytic language is a language that organizes words and grammar by a strict word order instead of inflections, or word endings that show grammar. Examples of analytic languages include Chinese, English, Vietnamese, Thai, Khmer, and Lao.

In Chinese, sentences are mostly in the SVO (subject-verb-object) word order. So the sentence must be "I  eat noodles", not "I noodles eat" or "eat I noodles". In Chinese this is written as 我吃面条. The verb 吃 (pronounced chī, meaning: "eat") does not change based on the subject "I" or the object "noodles", and likewise the subject 我 (pronounced wǒ, meaning: "I") and object 面条 (pronounced miàntiáo, meaning: "noodle/noodles") do not have any special word endings based on its role or number. What is important is that all the words are in the correct order.

Modern English does have some inflections based on the subject (the verb "eat" becomes "eats" when the subject is a third person "he/she/it") and number ("noodle" is singular while "noodles" is plural), but aside from that, there are almost none. Therefore, Modern English is mostly an analytic language. Modern English has far fewer inflections that almost all other Indo-European languages, such as Spanish, German, and Russian.

Old English was an inflectional language and content words could have several different word endings, much like German today. However, England was taken over by speakers of other languages, especially French, Danish, and Latin, and since the new rulers became second language speakers of English, the grammar simplified to what it is today.

Linguistics

Analytic language


Uno Vallman (Norrala, 24 March 1913 – Stockholm, 5 September 2004) was a Swedish painter.

Vallman studied at the Royal Institute of Art in Stockholm and developed a colourful naivist style of painting under the influence of Isaac Grünewald and Sven Erixson. His breakthrough came with the Ung konst ("Young art") exhibition in Stockholm in 1947. He later learned to know the Danish artist Asger Jorn, whose influence made Vallman develop a more abstract style. Uno Vallman was one of the original members of the avantgarde movement called COBRA which included artists like Karel Appel and Corneille. He was introduced to this group of artists by one of his friends and co-founder of the CoBra Art movement Asger Jorn from Denmark (1914-1973). Uno Vallman travelled a lot for studies to for example Italy, Spain, North Africa, China, Rumania, Mexico, Russia and the USA. Uno Vallman lived in Paris for several years from 1940–1960. During these years he got acquainted with none other than Marc Chagall. Marc Chagall on his behalf was in contact with the artist Miro. He learned a lot of them. Chagall and Vallman had an exhibition in 1952 in the USA Vallman became known as one of the 'Men of 1947' and was one of a group of artists responsible for moving art forwards into a modern age in Scandinavia. The 'Men of 1947' was a group of artists who had an exhibition together during 1947 During the 1960s Vallman was described as the "Picasso of the North" by French art critics. Uno Valmann's art was not only art but was considered a way of living called 'Valmanismen'. In 1968 Uno Vallman was invited to represent Scandinavia together with August Strindberg and Edvard Munch for a modern art exhibition in Mexico City as part of the Olympics.

Uno Vallman's works are included in the Swedish National Museum, The Swedish Modern Museum and some other museums. His works are also included in the collections of Lyndon Johnson, Jimmy Carter and the Tessin Institute in Paris.

He also wrote a book called 'Som lamans utsende I Tibet' (1980) and illustrated a book called 'Kanaljen is seraljen' by the author Lennart Hellsings.

During the 1980s he was mentioned in the media for owning a statue by Paul Gauguin which he sold at auction (Christies New York). After he died his dotter found out the money of the sale had been deposited at a bank account in Luxembourg at Banque Invik. She could see that although the money had been deposited and was never withdrawn, the money appeared to have disappeared. She wrote to the bank without an answer and even threatened the banque with a lawyer called Lennart Lindstrom from the Law firm Grunberger. Uno Vallman had apparently opened the bank account together with another man and signed what is called a "Hold Mail" agreement. A Hold Mail agreement means that the bank is not allowed to send information about communication, available assets and/or transactions. The claim she made was around 8 million Swedish Crowns (around 800.000,00 US dollars) which was around the amount the statue sold for, while all possessions on paper showed a value of 10.000,00 Swedish Crowns (around 1.000,00 US dollars).

Uno Vallman also played an interesting role in a story about a painting that he bought at a gallery which was later authenticated to be by the painter Emile Henry Bernard (a friend of Van Gogh, Cézanne and Gaugain.

References

Konstnären Uno Vallman död

1913 births
2004 deaths
20th-century Swedish painters
Swedish male painters
21st-century Swedish painters
Avant-garde art
Royal Institute of Art alumni
People from Söderhamn Municipality
20th-century Swedish male artists
21st-century Swedish male artists

Uno Vallman


The Kozheozersky Monastery () is a Russian Orthodox monastery founded by Niphont of Kozheozero and Serapion of Kozheozero in the 1550s. The monastery is located on a peninsula in Lake Kozhozero, in Onezhsky District in the north-west of Arkhangelsk Oblast, Russia. Kozheozersky Monastery is one of the most remote monasteries in Russia; there are no roads leading to Kozhozero, and the only way to get to the monastery is by traversing  on foot.

History
In the 16th century the valley of the Onega River was already populated, and the ascetic monks were looking for remote places to get away from people. Niphont of Kozheozero, a monk in the Syryinsky Monastery close to the selo of Chekuyevo, in the lower course of the Onega, arrived to Lake Kozhozero. According to the tradition, this occurred in 1552. In 1557, Sergey, a baptized Tatar prince, arrived to Lalke Kozhozero and became a monk, taking the name Serapion. He later became the first hegumen of the monastery. Since the lands around Lake Kozhozero were not suitable for agriculture, the monastery was initially poor. In 1585, Tsar Feodor Ivanovich transferred lands around the lake to the monastery, and two churches were built. Serapion died in 1611. The next hegumen was Avraamy, who was the disciple of Serapion and died in 1634. The only saint ever living in the monastery was Nikodim of Khozyuga, who came to Kozhozero in 1607, and in 1609 left for a remote location  from  Kozheozersky Monastery.

Nikon, the future patriarch of Moscow and reformer of Russian Orthodox Church, arrived to the monastery in 1641 and was the hegumen from 1643 to 1646. During his period, he solicited considerable investments from two tsars. In 1646, he left for Moscow for some business related to the monastery, and never returned, getting a new appointment.

In 1670, the monastery served as a place for political exile. In the 17th century, it was growing and became rich, however, in the 18th century the financial state of the monastery deteriorated. In 1722 the last hegumen, Georgy, died, and subsequently the monastery was headed by a "builder" (). The first builder was Korniliy (1722-1738). In the beginning of the 1730s, a disastrous fire destroyed all wooden buildings of the monastery, and it was never able to recover. In 1758, the monastery was subordinated to Spaso-Kargopolsky Monastery in Kargopol, and in 1764, it was shut down. Between the 1650s and 1764, 346 monks in total lived in the monastery.

Kozheozersky monastery was reopened in 1853. In 1764, former monastery buildings were turned into a village, and the village population was forcibly resettled in 1853. Until the 1880s, the monastery was poorly managed and remained in a difficult financial situation. The situation improved when Pitirim, formerly a monk in Solovetsky Monastery, became a hegumen in 1885. He renewed the monastery buildings and built a road to the monastery.

During the Civil War in Russia, Kozheozersky Monastery was on the front line between Red and White armies. For some time, it remained on the territory subject to the White government in Arkhangelsk, and a White Army detachment was stationed in the monastery. The front line was close to the selo of Chekuyevo. In the winter 1919/1920, the Red Army underwent a massive attack an, in particular, took the monastery over. The monastery was closed, the fate of the monks is unknown.

For some time, the ruins of Kozheozersky monastery hosted resettled peasants. This settlement was known as Kozhposyolok. In 1954, Kozhposyolok was abandoned, and the monastery was repopulated in 1997 and consecrated in 1999. The only monk permanently residing in the monastery is the hegumen.

List of hegumens
 Nephon (1552 - ?)
 Serapion (? - 1611)
 Abraham (1611-1634)
 Jonah (1634-1643)
 Nikon (1643-1646)
 Theodosius (1655-1662)
 Paul (1663-1680)
 Ananias (1693-1698)
 Matthew (Spitsyn) (1707-1715)

References

External links

Russian Orthodox monasteries in Russia
Religious organizations established in the 1550s
Christian monasteries established in the 16th century
Buildings and structures in Arkhangelsk Oblast
1552 establishments in Russia
Cultural heritage monuments in Arkhangelsk Oblast
Objects of cultural heritage of Russia of regional significance

Kozheozersky Monastery


Mario Bertoncini (27 September 1932, in Rome – 19 January 2019, in Siena) was an Italian composer, pianist, and music educator. In 1962 he was awarded the Nicola d'Atri Prize by the Accademia Nazionale di Santa Cecilia for his Sei Pezzi per orchestra  and in 1965 he was awarded both the Gaudeamus International Composers Award and the Fondation européenne de la Culture prize for Quodlibet. He has performed as a concert pianist with symphony orchestras throughout Europe and North America and in Israel and Korea.

Life and career
Born in Rome, Bertoncini studied music composition with Goffredo Petrassi, piano with Rodolfo Caporali, and electronic music with Gottfried Michael Koenig. He began his career as a concert pianist in Europe in 1956. For several decades he performed widely as both a recitalist and orchestral soloist; appearing under the batons of such conductors as Bruno Maderna, Daniele Paris, Mario Rossi, Paul Hupperts, and Roelof Krol among others. He was a member of the Rome-based improvisation group Gruppo di Improvvisazione di Nuova Consonanza from 1965 to 1973; notably serving as the group's president from 1970 to 1972.

In 1967 Bertoncini was appointed to the music faculty of the Pesaro Conservatory, where he remained through 1973. In 1974 he was made an Artist-in-Residence at the German Academic Exchange Service in Berlin where he created open air kinetic sound-sculptures for presentation at the Berliner Festwochen. In 1975-1976 he worked on the music faculty of McGill University in Montréal. From 1980 until his retirement in 2004 he taught on the music faculty of the Berlin University of the Arts. His final home was in Cetona, Italy.

References
The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie (2001), page 469.

External links
Official Website of Mario Bertoncini

1932 births
2019 deaths
Academic staff of the Berlin University of the Arts
Italian classical pianists
Male classical pianists
Italian male pianists
Italian composers
Italian male composers
Academic staff of McGill University
21st-century classical pianists
21st-century Italian male musicians
Musicians from Rome

Mario Bertoncini


The Ragman's Daughter is a 1972 British romantic crime–drama film directed by Harold Becker and adapted by Alan Sillitoe from his short story of the same name. It was Becker's first film during the 1970s and stars Simon Rouse and, in her screen debut, Victoria Tennant. The film tells the story of the ill-fated love between Tony, a petty thief from a working-class family, and Doris, the daughter of an upwardly mobile scrap dealer.

Plot
Middle-aged Tony Bradmore privately thinks back on his wild youth and his love affair with Doris Randall. Tony's memories are interspersed with scenes from his current life as a cheese factory worker.

The young Tony is unemployed and lives with his working-class parents in a poor neighbourhood of crumbling terraces (rowhouses). He commits petty thefts and burglaries partly as a way of getting money and other items he wants, but also partly for the thrill of it. It is implied that his friends engage in similar behaviour and that theft is viewed as a way of getting by in an area perceived to have few economic opportunities. While hanging out with his friends at a local fish and chip shop, he meets the beautiful blonde Doris, whose dress and manner show that she is from a higher social class than Tony, his family and friends. Doris' father, a prosperous scrap merchant, originally came from Tony's neighbourhood, but due to his shrewd and sometimes dishonest business skills, he made enough money to move his family to a large, detached house in a nicer area. As a result of her father's money, Doris has nice clothes and her own horse, does not have to work, and attends an expensive school. Doris' father wants her to carry on his upward mobility by socialising with well-off young people and attending university, but due to her family background, Doris is uncomfortable with these expectations. She is instead drawn to Tony and the "kicks" they enjoy when spending time together, including riding on Tony's motorcycle and having sex. Doris' father disapproves of Tony, thinking Doris can and should do better, and tries to thwart the relationship.

Tony soon falls in love with Doris, and tries to convince her to run away with him, but Doris refuses. Instead, she encourages Tony to commit more burglaries and take her along, even after they are nearly caught in the act. The couple eventually burgle a shoe shop, during which Doris increases the risk on purpose by turning on lights and encouraging Tony to remain in the shop instead of leaving quickly. The police arrive and pursue Doris and Tony, who initially escape, but Tony in his haste leaves behind evidence that is traced to him. He is arrested and sent to borstal, ending his relationship with Doris. Upon being released, he learns that he had made Doris pregnant, and that she married another man before having the child. Doris and her husband were then killed when the motorcycle they were riding crashed. Doris' parents adopted her son. Denied contact with the child he fathered, Tony steals a radio in broad daylight on a busy street and is quickly apprehended.

The middle-aged Tony continues his pattern of theft by stealing cheese from his employer. He takes the cheese home to his working-class wife and young sons, with whom he has a loving relationship. Tony is caught with stolen cheese when police wrongly suspect him of a major bank robbery and search his bag. The police inform Tony's manager at the cheese factory, who sacks Tony but declines to press any charges. Tony's wife, although slightly frustrated, is supportive of him, although he does not let her know that he has been thinking of Doris all day. Tony reassures his wife that he can probably get a new job with the butcher.

Cast

 Simon Rouse as Tony Bradmore
 Victoria Tennant as Doris Randall
 Patrick O'Connell as Tony, aged 35 yrs
 Jane Wood as Tony's Wife
 Leslie Sands as Doris' father
 Rita Howard as Doris' mother
 Brenda Peters as Tony's mother
 Brian Murphy as Tony's father
 Kevin Richmond as Paul
 Reginald Marsh as George
 Peter Attard as Pete
 Steve Hatton as Alf
 John McEnery as Old man in wagon
 Donald Webster as Jack
 Gareth Thomas as Tom
 John Malcolm as Factory Manager

See also
 List of British films of 1972

References

External links

1972 films
Films directed by Harold Becker
1972 crime drama films
British crime drama films
1972 directorial debut films
1970s English-language films
1970s British films

The Ragman's Daughter


Tarbiat Modares University (:  Dāneshgāh-e Tarbiyat Modares, lit. "Professor Training University") is a graduate university with its main campus in Tehran, Iran. It was founded in 1982 to train university professors and is among the top universities in Iran. Admission is through national-level university exams, and in most programs, is limited to top performers.

About TMU
Established in 1982, Tarbiat Modares University (TMU) is the first comprehensive graduate school in Iran. In particular, the majority of Ph.D. programs in basic sciences and engineering were initially offered at TMU. As an elite exclusively postgraduate university, its primary mission is to train academic staff and researchers for universities and higher education centers, as well as provide an environment for world-class research. TMU currently offers M.A./M.Sc. degrees in 171 academic programs and Ph.D. degrees in 132 academic programs, with more than 8000 students and 775 academic staff.

Faculty of Agriculture
The Faculty of Agriculture was established  in 1983. The primary objective was to train and educate graduate students at M.Sc. and Ph.D. levels for work as professionals in universities and research institutes as well as in the private sectors. A wide range of science courses is offered for postgraduate students. Specialized seminars help students focus their research in areas related to their interests as well as solving agricultural challenges at the national and global scale.

Faculty of Art and Architecture

The faculty offers courses in various areas such as painting, animation, specific art studies, theatre, graphics, visual art literature, architecture, urban and regional planning, construction, and building management.  Facilities include studios, computer center, and library. Many directors, professors, and lecturers in other universities and organizations are graduates of this college.

Faculty of Basic Sciences

The Faculty of Basic Sciences (FBS) was originally composed of the Departments of Biology, Chemistry, Geology, Mathematics, and Physics. Rapid growth in student numbers and an agglomeration of research facilities led to the Departments of Biology, Mathematics, and Top Technologies forming their own corresponding faculties. At this time FBS encompasses the Departments of Chemistry, Geology, and Physics.

The Chemistry Department is active in four areas: Analytical, Inorganic, Organic, and Physical Chemistry. The Geology Department is active in four areas: Economics, Geology, Engineering Geology, Petrology, and Tectonics. The Physics Department is active in three areas: Atomic and Molecular Physics, Condense phase, and Particle Physics.

Faculty of Biological Sciences

Life sciences began with three members of the faculty in plant sciences and genetics groups in 1366. Department of Biochemistry and Biophysics were added in the following year and the Department of Biology was formed into four groups consisting of plant sciences, genetics, biochemistry, and biophysics, with the Nanobiotechnology field added ten years later. The Department of Biology was also added to the Faculty of Biological Sciences.

Faculty of Chemical Engineering

The Faculty of Chemical Engineering was established in 1983. The Faculty has six departments including Chemical Engineering-Process, Petroleum Engineering, Polymer Engineering, Polymerization Processes Engineering, Biotechnology Engineering, and Biomedical Engineering. The faculty is known as the applied scientific hub for biotechnology and hydrocarbon processes across the country.

Faculty of Civil & Environmental Engineering
The Faculty of Civil & Environmental Engineering offers a variety of M.Sc. and Ph.D. degree programs.

Faculty of Electrical and Computer Engineering

The Faculty of Electrical and Computer Engineering (ECE)  provides for specialization in MSc and Ph.D. levels in biomedical engineering, computer engineering, communications, control, electronics, power electronics, power systems and IT Engineering (E-commerce and ICT).

The ECE Faculty has strong research ties with the industry and has significantly increased its collaborations and joint planning activities in recent years. This Faculty has obtained several strategic grants for developing research laboratories in Optoelectronics, VLSI, satellite communications, power electronics converters, and power systems.

Faculty of Humanities

The Faculty of Humanities was established in 1982. The Faculty holds two language laboratories, a library with a large number of rare books, a computer center, and laboratories for geography, psychology, and physical education.

Faculty of Industrial and Systems Engineering
The Faculty of Industrial and Systems Engineering has five departments including Electronic Marketing and Business, Industrial Engineering, IT Engineering, Socio-Economic Systems Engineering, and Systems and Productivity Management.

Faculty of Law

The Faculty of Law was established in 2012 and always focused its attention on promoting education and research, especially at the doctoral level. To accomplish this mission, feasibility studies are carried out to assess the legal principles used in judicial proceedings for research projects.

Faculty of Management and Economics
The Establishment of the Faculty of Management and Economics commenced in 2009.

Faculty of Mathematical Sciences

The Faculty of Mathematical sciences has four departments: Applied Math., Pure Math., Statistics, and Computer Sciences. Department of Applied Mathematics is active in Mathematical Modeling, Numerical Analysis, and Optimization. The research areas in the Department of Pure Mathematics include Algebra (Group Theory and Non-Commutative Algebra), Analysis (Harmonic and Functional Analysis), Dynamical systems, Topology-Geometry (Algebraic and Differential), and Logic. Department of Statistics is actively involved in Spatial and Environmental Statistics, Statistical Shape Analysis, Multilevel Data Analysis, Bayesian Inference, and Official Statistics. Departments of Pure Math., Applied Math, and Statistics offer admission to students in M.Sc. and Ph.D. programs.

The Department of Computer Sciences is active in image processing, machine learning, data mining, and computational aspects of artificial intelligence

Faculty of Mechanical Engineering
Mechanical engineering is regarded as a leading founding member of the faculty.
It now embraces a wide range of scientific disciplines organized in four different groups including: manufacturing engineering, applied design, energy conversion, and aerospace engineering. The department is mostly research oriented though the curriculum is implemented by both course and research.

Faculty of Medical Sciences

The Faculty of Medical Sciences was established in 1982. Doctorate postgraduate courses started in 1988 by admitting 26 Ph.D. students in six fields of medical sciences including Biostatistics, Parasitology, Anatomy, Bacteriology, and Biochemistry. This faculty consists of 18 departments.

Faculty of Engineering and Technology
The Faculty of Engineering works in the areas of materials and mining engineering.

Faculty of Natural Resources and Marine Sciences

The Faculty of Natural Resources and Marine Sciences was founded in 1982 in the city of Noor beside the Caspian Sea. The faculty offers a wide range of research opportunities in nine specialized areas. The faculty includes the academic departments of Watershed Management, Forestry, Fishery, Wood and Paper Science, Environment, Range Management, Marine Biology, and Physical Oceanography.

Rankings

Notable alumni and faculty
 Ali Ahmadzadeh, Iranian Politician and lawyer, Governor of Kohgiluyeh and Boyer-Ahmad Province.
 Mir-Hossein Mousavi, Iranian reformist politician and the leader of the "Green Movement".
 Mohammad Bagher Ghalibaf, speakers of the Parliament of Iran.
 Asghar Farhadi, Iranian film maker and writer who has won two Academy Awards and one Golden Globe for his films A Separation (2011) and The Salesman (2016).
 Hashem Aghajari, Iranian historian.
 Emad Afroogh, politician and sociologist.
 Mohammad Mehdi Zahedi, former Minister of Science and Technology.
 Ata'ollah Mohajerani, former Minister of Culture and Islamic Guidance (Iran).
 Mohsen Kadivar, Iranian philosopher, university lecturer, cleric and activist.
 Mohammad Reza Hafeznia, full professor of political geography.
 Jafar Towfighi, Iranian chemical engineer, academic and politician who served as minister of science, research and technology in the cabinet headed by then president Mohammad Khatami from 2003 to 2005.
 Farhad Daneshjoo, the current president of the Azad University and the former president of TMU.
 Masoumeh Ebtekar, a scientist, journalist and politician, the first woman vice president of Iran.
 Gholamali Montazer, deputy director of Iran's National Elites Foundation.
 Behrouz Boochani, Kurdish journalist, human rights defender, poet and film producer.

Science and Technology Park

MSTP is a comprehensive Science and Technology Park in Tehran which was launched in 2003 by the directive of the Ministry of Science, Research and Technology. This organization possesses two campuses of 60 and 4.8 hectares in North-East (Shahid BaBaee) and West (Pajouhesh Campus) of Tehran, respectively.

In addition, a central office and six incubators (including technology, basic sciences, arts, humanities, agriculture and natural resources, health and medical sciences) are located in downtown Tehran.

See also

Higher Education in Iran
Tarbiat Modares' library management system

References

1982 establishments in Iran
Educational institutions established in 1982

Tarbiat Modares University


The Pech River () is located in eastern Afghanistan.

Course
The Pech River system is fed from glaciers and snow from the Hindu Kush range to its north. The river rises in central Nuristan Province and flows south and southeasterly through the center of Kunar Province, joining the Kunar River (Asmar River, Loy Seend) at the provincial capital of Asadabad. The Kunar River is a tributary of the Kabul River, part of the Indus River basin.

The river has numerous tributaries forming valleys on both sides. These include the Chapa Dara, Waygal, Korangal Valley (site of the film Restrepo), Watapur, and Sharyak valleys.

Culture
In the Pech Valley, Pashto as well as Askunu language is spoken. The Safi tribe of Pashtuns are the majority population in the Pech Valley.

The river's largest settlement is Nangalam, at the confluence of the Waygal River with the Pech River.

Military history
There were a series of U.S. military bases along the Pech River Valley in Kunar Province, including COP Honaker-Miracle, COP Able Main, COP Michigan, and the largest −  FOB Blessing. Most were closed after 2011. In 2011 former FOB Blessing was abandoned by the Afghan National Army (ANA), and the 25th Infantry Division returned to reestablish the area of influence. The new name was COP Nangalam, with a majority of control in the hands of the ANA. In late 2012 with the ANA in control of and the establishment of ANA Fire bases in and along the area that COP Michigan was the U.S. Army's 4th Infantry Division's 4th Brigade Combat Team. U.S. President Barack Obama then pulled the American forces from the valley again, ceding it to the Taliban due to the questionable ability and loyalty of the ANA.

The 2012 book Siren's Song: The Allure of War, by Antonio Salinas, depicts the experience of an American platoon operating in the Pech River Valley.

The 2016 book Hammerhead Six: How Green Berets Waged an Unconventional War Against the Taliban to Win in Afghanistan's Deadly Pech Valley, by Ronald Fry with Tad Tuleja, depicts the experience of an American Special Forces.

See also

 List of rivers of Afghanistan

References

External links

Rivers of Afghanistan
Kabul River
Landforms of Kunar Province
Landforms of Nuristan Province
Rivers of Pakistan

simple:Peche River

Pech River


The white-footed fox (Vulpes vulpes pusilla), also known as the desert fox, is a small, Asiatic subspecies of red fox which occurs throughout most of northwestern Indian subcontinent, Pakistan's desert districts from Rawalpindi to Rajasthan and Kutch in India, Baluchistan, southern Iran, and Iraq. It is mostly found on sand-hills or in the broad sandy beds of semi-dry rivers, and only very rarely in fields, and then in the vicinity of sandy tracts.

Description

Like the Turkmenian fox, the white-footed fox has a primitive, infantile skull compared to those of its northern cousins. It is smaller than the Afghan red fox and Hill foxes, and never exhibits a red phase in its winter coat, nor the silvery, hoary phase of the Afghan red fox. It closely resembles the unrelated Bengal fox in size, but is distinguished by its longer tail and hind feet. As adults, their pelts are easily distinguished from other subspecies by the presence of a very distinct pale patch on each sides of the back behind the shoulders, which is overlapped by a dark, transverse stripe over the shoulders in front of the light patches. The colour on the back varies from brownish yellow to rusty red with slight admixture of white, while the flanks are whitish or greyish. The outer surface of the limbs are iron-grey or rufous, while the inner side of the forelegs and the whole front of the hind legs are white. The face is rufous, with dark markings around the eyes. The underparts are slaty in hue. The chin and the centre of the chest is white. The ear-tips are black or dark brown and paler at the base, lined with whitish hairs. The tail is almost the same colour as the back, but is less rufous on the sides and beneath. Most of the tail's hairs are black, and may form a dark ring at the end of the tail. The tip is white.

Behavior

It is similar in habits to the hill fox, but its diet is more carnivorous than that of other subspecies, and its prey is more restricted to gerbils and sand rats, due to the more barren habitat it occupies.

Gallery

References

Works cited

Vulpes
Mammals of Pakistan
Mammals described in 1854
Mammals of India

White-footed fox


Batman is the main hero of The Dark Knight Trilogy and based on the DC Comics character of the same name. He was played by Christian Bale in all three movies and in the video game based on Batman Begins.

Fictional biography
Bruce Wayne was playing a game of finder's keepers with Rachel Dawes until he landed on a bat cave. He was rescued by his father, Thomas Wayne. After attending an opera featuring bats, his parents were killed by Joe Chill. Bruce Wayne left Gotham City and moved to Asia. He started to train as a member of the League of Shadows until he learned of their plans toward Gotham. He returned to Gotham and became Batman. He has encountered Jonathan Crane/The Scarecrow who has been gassing people with fear toxin supplied by the League of Shadows.

Reception
Christian Bale's portrayal has been well-liked and compared to his predecessors Michael Keaton and Kevin Conroy. Some didn't like his raspy voice.

Fictional characters introduced in 2005
Fictional orphans
DC Comics superheroes
The Dark Knight Trilogy characters

Bruce Wayne (The Dark Knight Trilogy)


Llanelian Road () is a multi-use stadium in Old Colwyn, North Wales and also known as the 4 Crosses Construction Arena for sponsorship purposes.  It is currently used mostly for football matches and is the home ground of Colwyn Bay F.C. of the Cymru North.

The floodlit stadium holds 3,000 people (with covered seating for 1,850 spectators) and was built in 1984 on part of the Parciau farm estate after the club moved from their former home in Eirias Park due to the building of the A55 dual carriageway through Colwyn Bay. Colwyn Bay won their first game at Llanelian Road, beating Lytham 1–0 in an FA Cup preliminary round tie in September 1984.

A shelter was erected at the town end of the ground in 1985 and is more commonly known as the Shed End. Two further covered stands were erected by the end of the decade. Floodlights were first installed at the ground in 1990 and were first switched on for a friendly match against Liverpool. The grass bank on the Llanelian Road side of the ground was terraced during the summer of 1998 following a successful fundraising appeal by the club's Supporters Club.

Colwyn Bay were forced to play away from Llanelian Road for two seasons after the club refused to join the newly formed League of Wales in 1992. The club played for a season in Northwich and a further season at Ellesmere Port Stadium in Ellesmere Port. Colwyn Bay YMCA were formed in 1992 and played at Llanelian Road during the club's time in exile. The club returned to Llanelian Road when they and fellow exiles Newport County and Caernarfon Town secured a High Court injunction in the summer of 1994. A crowd of over 1,600 saw Bay's first competitive match in two years at Llanelian Road, a 1–0 defeat to Marine in the Northern Premier League Premier Division.

During Colwyn Bay's period in exile Colwyn Bay YMCA was formed and played at Llanelian Road between 1992 and 2000.

Llanelian Road hosted two games in the 2008 semi-professional Four Nations Tournament with England facing Gibraltar and Scotland Semi-Pro during May of that year.

Over 2,000 fans were in attendance when Colwyn Bay F.C. beat FC United 1–0 in the 2010–11 season Northern Premier League Premier Division final to earn promotion to the Conference North.

The club's promotion to the Conference North in 2011 also resulted in the club having to make improvements or face relegation. The club were linked with a return to Eirias Stadium because of Conference ground regulations and then manager Dave Challinor was impressed with the facilities but the club remained at Llanelian Road. Major changes saw a new covered stand built over the Llanelian Road terrace, seating 500 and including press facilities and hospitality boxes with new floodlights erected.

In September 2022 the club submitted plans for a new 1.000 seater stand to replace two covered terraced stands on the west side of the ground as well as additional parking. Permission was granted by Conwy County Borough Council in October 2022. Work on the new stand commenced in January 2023.

Colwyn Bay F.C. previously played on three different grounds at Eirias Park during their history. The first pitch in the park was located on land that his now occupied by Eirias High School and later they moved to a pitch where they remained until the early 1980s, when the land was required to dump soil following construction of the A55. The Arena was a temporary home during the early 1980s prior to the club's move to Llanelian Road in 1984.

Under a current sponsorship deal the ground is also known as the 4 Crosses Arena and was also previously known as The Red Lion Foods Stadium.

References

Colwyn Bay F.C.

Llanelian Road


Wang Qishan (; ; born 19 July 1948) is a Chinese retired politician who was one of the leading members of the Chinese Communist Party (CCP).

Wang gained prominence in China's financial sector in the late 1980s. In 1994, Wang became the governor of the China Construction Bank. Wang then successively served in three regional roles: vice governor of Guangdong, Party secretary of Hainan, and Mayor of Beijing. Wang then served as vice premier in charge of finance and commercial affairs under Premier Wen Jiabao from March 2008 to March 2013, during which he also gained a seat on the Politburo.

Between 2012 and 2017, Wang had served as the secretary of the Central Commission for Discipline Inspection, the CCP's internal control and anti-corruption body, and a member of the CCP's Politburo Standing Committee. He has been instrumental in carrying out General Secretary Xi Jinping's anti-corruption campaign since 2013, and is considered to be among Xi's closest political allies. From 2018 to 2023, he served as the vice president of the People's Republic of China, when he was one of the leading figures behind China's foreign affairs.

Early life
Wang Qishan was born in Qingdao, Shandong, but his ancestral hometown is considered Tianzhen, Shanxi. After graduating high school, Wang worked as a sent-down youth in the countryside, performing manual labour with peasants on a commune in the revolutionary heartland of Yan'an, where he met and befriended Xi Jinping. In 1973, Wang was admitted as a "Worker-Peasant-Soldier student" at Northwest University in Xi'an, where he studied history and graduated in 1976.

Wang met Yao Mingshan (), the daughter of Yao Yilin, in Yan'an and the two later wed.

After graduation, Wang worked in the Chinese Academy of Social Sciences, researching late imperial Chinese history (1800s onwards) and Republican era (1912-1949) history.

In 1982, Yao Yilin became an alternate member of the Central Secretariat, and Wang was elevated to the Secretariat's office on rural policy research. This marked the beginning of Wang's political career.

Career in finance
From 1982 to 1988, Wang worked in various posts in policy research. In 1988, Wang was transferred to become the chief executive of the Agricultural Investment Trust of China. A year later he became Vice Governor at China Construction Bank. Wang became Governor of the China Construction Bank in 1994 and served until 1997. During this time, Wang facilitated cooperation with U.S. investment bank Morgan Stanley, and was instrumental in the founding of China's first investment bank, the China International Capital Corp (CICC), and served as its first executive chairman.

In 1997, Wang was transferred to Guangdong to become its Executive Vice Governor, one of the highest posts in the provincial government. At the height of the Asian Financial Crisis, Wang assisted then Guangdong Party Secretary Li Changchun in managing non-performing loans of various state owned enterprises in the province. Since then, Wang developed a reputation for being a "financial specialist" in Premier Zhu Rongji's cabinet. Next, Wang served as the General Office chief of the State Economic Structural Reform Commission ().

Mayor of Beijing and Vice Premiership
Wang took over from disgraced Beijing mayor Meng Xuenong when SARS struck the city in spring 2003, at which time he had only served as the Party Secretary in Hainan for five months. After arriving in Beijing, Wang took an open approach to the release of information about SARS to the public. In contrast to the lack of transparency during the administration of his predecessor, Wang called for a daily press release on the latest information about SARS.

Wang was confirmed as Mayor of Beijing in early 2004. As mayor, Wang also served as the executive chair of the Beijing Organizing Committee for the Olympic Games (BOCOG). In March 2005, during a local radio show, Wang apologized on air to the Beijing public for an ongoing natural gas supply shortage in the city. The action won praise in the media and was said to have decreased the perceived distance between government officials and the public. Wang was known to be frank and responsible.

In 2007, after the 17th Party Congress, he was appointed as a member of the 17th Politburo of the Chinese Communist Party; in 2008, he was named a Vice Premier of the State Council, in charge of finance and commerce. In 2009, Wang was appointed by President Hu Jintao as his special representative to chair the Economic Track of the U.S.-China Strategic and Economic Dialogue for the Chinese side.

Wang was named as one of the most influential people in the world in the 2009 Time 100 list.

Politburo Standing Committee and anti-corruption

In the lead-up to the 18th National Congress of the Chinese Communist Party in 2012, Wang was seen by observers as a rising political star, with a diverse political pedigree spanning the realms of high finance, regional government, and policy development and execution. Wang ultimately entered the ranks of the Politburo Standing Committee, considered the pinnacle of power in China, at the 18th Party Congress, taking on the job of the Secretary of the Central Commission for Discipline Inspection, the party's top anti-graft body. Xi Jinping became General Secretary of the Chinese Communist Party at the same Congress. The appointment was unexpected given Wang's experience in the economic realm; he was seen as a more likely candidate for executive Vice Premier. The decision to hand Wang the disciplinary portfolio seemed to have come as a surprise even to Wang himself: in video footage of a leaked CCDI conference after taking the helm of the body, Wang said of the decision, "you can go look at media reports before the 18th Congress, who knew Wang Qishan was going to become secretary of the CCDI?... That's how things work. You do what the party tells you to do."

Wang's assuming the leading anti-corruption post was believed to be at least partly owing to his relationship with Xi Jinping. Wang was friends with Xi beginning in their youth, they shared a bunk when they were both performing manual labour in Shaanxi province during the Cultural Revolution, and Wang lent Xi books related to economics; Wang also had dealings with Xi during the latter's time as a regional official in Fujian.

Beginning in late 2012, Wang emerged as the public face of Xi Jinping's anti-corruption campaign, the most far-reaching campaign of its sort since the founding of the PRC in 1949, and was instrumental for its implementation. He also became the Leader of the Central Leading Group for Inspection Work, responsible for dispatching teams to the provinces and state-owned enterprises with the goal of rooting out corruption. Following the 18th Party Congress, Wang was often considered the second most powerful man in China, second only to Xi, the Party General Secretary (paramount leader).

Wang became a favourite of the media. In October 2015, the CCDI under Wang's leadership released a new and complete set of regulations on party disciplinary procedures and rules on party member conduct, a document aimed at institutionalizing the party's ability to discipline its members and reduce corruption. Additionally, Wang introduced for the first time a set of disciplinary procedures for party disciplinary officials themselves. Wang's anti-corruption work gained him accolades within the party leadership, with many calling for an extension of his term at the 19th Party Congress in 2017.

Vice President
Wang left the Politburo Standing Committee and CCDI after the 19th Party Congress in October 2017.  In March 2018, he became the Vice President of China, and he is the first vice president without any other job titles in the party since 1998.

Wang Qishan retired from politics in March 2023, after Han Zheng succeeded him as Vice President of China.

Personal life children
Wang is married to Yao Mingshan, daughter of former first Vice Premier of China Yao Yilin; Wang and Yao do not have children. He is sometimes considered a "princeling" through his marriage.

Yao Mingshan's sister is Yao Mingduan, whose husband is Meng Xuenong, former Mayor of Beijing, former Governor of Shanxi, and former member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference.

U.S. Secretary of the Treasury Henry Paulson said that Wang is "decisive and inquisitive" and "an avid historian, enjoys philosophical debates and has a wicked sense of humor". Paulson writes, "He is a Chinese patriot, but he understands the U.S. and knows that each of our two countries benefits from the other's economic success. And he is bold — he takes on challenges, does things that have never been done before and succeeds. Wang managed the largest bankruptcy restructuring in China's history in 1998 and thereby prevented a banking crisis that could have crippled the country's growth."

Wang is a fan of the American television series House of Cards, and has frequently alluded to the show during anti-corruption conferences; he has said that he was especially fascinated by the role of the party whip. He has also said that he has watched some Korean dramas. Wang said, "Korea dramas are ahead of us, yet the core and soul of Korean dramas [represents] an advancement from [art forms seen] in traditional Chinese culture."

References

External links
 Wang Qishan biography @ China Vitae

1948 births
Living people
Mayors of Beijing
Politicians from Qingdao
People's Republic of China politicians from Shandong
Regional leaders in the People's Republic of China
Sent-down youths
Chinese Communist Party politicians from Shandong
Political office-holders in Hainan
Members of the 18th Politburo Standing Committee of the Chinese Communist Party
Secretaries of the Central Commission for Discipline Inspection
Members of the 17th Politburo of the Chinese Communist Party
China Construction Bank people

Wang Qishan


Jacob Baart de la Faille (1 June 1886, Leeuwarden – 7 August 1959, Heemstede) compiled the first catalogue raisonné of the work of Vincent van Gogh, published in 1928. The catalogue was revised and republished by an editorial committee in 1970, and this version is considered to be the definitive catalogue of van Gogh's work.

His catalogue numbers are preceded by an 'F': thus F612 refers to The Starry Night.

Shortly after the publication of the original catalogue, de la Faille became involved in a major fraud affair concerning the Berlin art dealer Otto Wacker. De la Faille had certified the authenticity of 30 paintings which were later determined to be fakes.

Biography

Jacob-Baart de la Faille was born to a Dutch father, Cornelis Baart de la Faille, and a Belgian mother, Henriette Adriana Krayenhoff.
At the University of Utrecht he majored in law, not in art.

Writings

 J.-B. de La Faille: L'Epoque française de Van Gogh, MM. Bernheim-Jeune, éditeurs d'art, Paris ("acheve d'imprimer le 25 aout 1927")
 J.-B. de la Faille: L'Œuvre de Vincent van Gogh, catalogue raisonné, ouvrage accompagné de la reproduction de plus de 1.600 tableaux, dessins, aquarelles et gravures du Maître. 6 vols. Les Éditions G. van Oest, Paris & Bruxelles, 1928
2nd edition, revising the catalogue of paintings only, Hyperion, Paris 1937 (comprising editions in English, French, and German)
3rd edition, edited since 1961 by a committee initially including J. G. van Gelder, W. Jos de Gruyter, A. M. Hammacher (chairman), Jan Hulsker and H. Gerson, in 1962 joined by Annet Tellegen-Hoogendoorn, later by Martha Op de Coul and, due to time passing, by others
 J.-B. de la Faille: Les faux Van Gogh, avec 176 reproductions. Les Éditions G. van Oest, Paris & Bruxelles, 1930

Notes

External links

1886 births
1959 deaths
20th-century Dutch lawyers
Dutch art critics
Dutch art dealers
Vincent van Gogh scholars
Art forgery
People from Leeuwarden

Jacob Baart de la Faille


Nandao is a kind of sword that is used mostly in contemporary Chinese wushu exercises and forms. It is the southern variation of the "northern broadsword", or Beidao. Its blade bears some resemblance to the butterfly sword, also a southern Chinese single-bladed weapon; the main difference is the size, and the fact that the butterfly swords have D-shaped knuckle guards. The main difference with the beidao is that the nandao is mostly used two-handed due to its larger amount of weight, and it has a large metal crossguard useful in deflecting blows and hooking the opponent's weapon; also, although it is single-edged, the nandao is not curved like the northern broadsword.

The differentiation between beidao and nandao appear to be rather modern. There is no historical usage of the term and few antique weapons have been found with a shape that resembles a "nandao". Therefore, it can never have been a major form as widely used as niuweidao, yanmaodao, liuyedao and the Butterfly swords. It needs momentum to be used effectively, you deflect rather than block because of this.

References

Chinese martial arts terminology
Chinese swords
Blade weapons

Events in wushu

Nandao


Armenian Center for Contemporary Experimental Art (or ACCEA; , or NPAK) is a contemporary art institution founded in 1992, and located in Yerevan, capital of Armenia.

About
ACCEA/NPAK was founded in 1992 by Sonia Balassanian and her husband Edward Balassanian, just after the collapse of the Soviet Union and creation of Newly Independent State (NIS) of Armenia. The mission of the organization is the introduction of international contemporary art in Armenia; as well as discovery and encouragement of Armenian contemporary art. ACCEA/NPAK is the only center for contemporary experimental art in the Southern Caucasus, showing "cutting-edge" art of painting, sculpture, installation, video and performing arts.

The ACCEA/NPAK organized the first official participation of Armenia at Venice Biennale of Art in 1995. The effort was continued without interruption until 2009 (eight consecutive times); after which the Ministry of Culture of Armenia took over the effort.

The date of formal incorporation of ACCEA/NPAK as a non-profit foundation in Armenia was 1994.  The organization is also registered as a non-profit 501(c)3 organization in the State of New York, U.S.

Official Pavilion of Armenia at Venice Biennale
In 1995, by the initiative and direction of the Balassanian couple, historically for the first time, Republic of Armenia was represented at the international fine arts exhibition of Venice Biennale. They continued organizing the Armenian Pavilions at Venice Biennale without interruption until 2009 (8 consecutive times).  Armenian Pavilions at Venice Biennale have been realized exclusively by donations collected from the Armenian Diaspora.

 1995: 46th Venice Biennale Artists: Karen Andressian, Samvel Baghdasaryan Commissioner and Curator: Sonia Balassanian Organized by: Armenian Center for Contemporary Experimental Art
 1997: 47th Venice Biennale Title: Armenia and the Diaspora Artists: Sonia Balassanian, Atom Egoyan, Arman Grigoryan, Azat Sarkissian, Stepan Veranian Commissioner and Curator: Anelka Grigorian Organized by: Armenian Center for Contemporary Experimental Art
 1999: 48th Venice Biennale Title: Post Factum: Earth, Space and Dream Artist: Narek Avetissian Curator: Stepan Veranian Commissioner: Edward Balassanian Organized by: Armenian Center for Contemporary Experimental Art
 2001: 49th Venice Biennale Title: Work in Progress Artists: Sona Abgarian, Narine Aramian, Mher Azatian, Nora Badalian, Diana Hakobian, Ara Hovsepian, Hamlet Hovsepian, David Kareyan, Tigran Khachatrian, Hovhannes Margarian, Karine Matsakian, Tatev Mnatsakanian, Samuel Saghatelian, Harutyun Simonian, Arpine Tokmajian Commissioner and Curator: Edward Balassanian Organized by: Armenian Center for Contemporary Experimental Art
 2003: 50th Venice Biennale Title: No Return Artists: David Kareyan, Eva Khachatrian Commissioner and Curator: Edward Balassanian Organized by: Armenian Center for Contemporary Experimental Art
 2005: 51st Venice Biennale Title: Resistance through Art Artists: Sona Abgarian, Vahram Aghasian, Diana Hakobian, Tigran Khachatrian Curator: David Kareyan Commissioner: Edward Balassanian Organized by: Armenian Center for Contemporary Experimental Art
 2007: 52nd Venice Biennale Title: Who is the victim? Artist: Sonia Balassanian Curator: Nina Montmann Honorary Commissioner: Jean Boghossian Organized by: Armenian Center for Contemporary Experimental Art
 2009: 53rd Venice Biennale Title: Gayane Khachaturian: Painter of Dreams Artist: Gayane Khachaturian. Curator and Commissioner: Edward Balassanian. Honorary Commissioner: Jean Boghossian Organized by: Armenian Center for Contemporary Experimental Art

Sources
Active departments of the Center in 2011 are Department of Fine Arts (Painting, sculpture, installation video arts, etc.), Department of Theater, Cinema and Video, and Department of Architecture.
In the past, from time-to-time active departments of the Center have been departments of music (experimental and rock) and literature.
Since April 1996 ACCEA/NPAK has been operating at a 1,823 m2 (19,450 square foot) space provided by the Government of Armenia. The venue is located at the heart of Yerevan in walking distance from the Republic Square, where the Prime Minister's office, several ministries and the National Museum of History and National Gallery of Paintings are located.

Activities
Main objectives of ACCEA/NPAK have been, and continue to be, encouraging and assisting free and uninhibited expression, and opening "new horizons" in arts and artistic expression of Armenian artists, as well as discovery of new and young artistic talents and providing them opportunity of presenting their work. This is the main objective of annual festival of alternative art organized by ACCEA/NPAK. At the center active parts are played by "The Project Room", where artists present new and experimental projects, and the "Open Studio", which has been initiated in 2011. Here individual artist creates a single work during a limited period, showing the creative process as well as the end result at the end of the period.
As an indicator of successes of the center suffice it to state that while in 1992-1994 period it started with one group exhibition per year, during 2001 through 2010 period the number of individual and group exhibitions have fluctuated between 10 and 20 per year.
During the last decade parallel with exhibitions the center has organized two international festivals of experimental theater and video (short and feature films) per year.
In appreciation of cultural services provided to the Armenian contemporary art in early 2002, Government of Armenia issued a decree by which the space occupied by ACCEA/NPAK was provided to it for indefinite period free of charge.
In 2003 by sponsorship of late writer and architect Rouben H. Avanessian (Pen-name: R. Ben) ACCEA/NPAK initiated erection of quadruple-scale bronze cast of forefather of Armenian Contemporary art Yervand Kotchar's "Melancholy" sculpture in Yerevan, in front of the entrance of the center. This is an unprecedented phenomenon in social  and cultural life of the Capital of Armenia.

Educational activities
On the informal level of education ACCEA/NPAK as a rule always publishes booklets and sometimes extensive catalogues for exhibitions, which contain texts by curators describing the conceptual basis and arguments leading to organization of events and exhibitions. Sometimes the publications include artist's statement. The body of these publications form an informal public education initiative for introducing and promoting contemporary concepts of art.

ACCEA/NPAK is in the process of initiating Independent Study Program (ISP) based on the model of New York City's Whitney Museum ISP, where newly graduated artists get opportunity to meet experienced masters in the arts and culture and enrich their insight and global appreciation of art.

References

External links
www.accea.info
www.soniabalassanian.com

Armenian art
Buildings and structures in Yerevan


James Georgopoulos (born 1966 in Manchester, New Hampshire) is a Greek-American visual artist. Georgopoulos works with painting, sculpture, and video installation to address a relationship between highly skilled production techniques, pop culture, and taboo iconography. His work is in various collections, including the Panavision USA Collection. He lives and works in Venice, California.

Early life
Georgopoulos was born in Manchester, New Hampshire, and began creating visual works at the age of 14 while at Cardigan Mountain School. His father was an art collector and became friends with many of the artists he collected, exposing Georgopoulos to their studios at a young age.  Georgopoulos was mentored by Varujan Boghosian, Robert Eshoo, Ivan Albright and James Aponovich when he was just a teenager, leading to his eventual acceptance to Rhode Island School of Design, which Georgopoulos declined for an opportunity in Italy. In his twenties, Georgopoulos was taken under the wing of György Kepes, who was part of the Bauhaus movement, spending many of his formative years in Kepes' studios and cites Kepes as a significant influence.

Georgopoulos relocated to Los Angeles in the early 1990s to work in the film industry with directors such as Oliver Stone and Zack Snyder, which eventually led to a career as an art director for commercials and music videos, including Pink Floyd's Take it Back. During this time, Georgopoulos also worked on several design projects, most notably for Eddie Sotto and Current TV.

Work

In his paintings, Georgopoulos employs an assortment of subject matter, including guns used in blockbuster action films, cameras used to film classics, glossy automobile finishes, pornographic abstraction, and sexuality in art history to address issues of copyright protection, censorship, and the highly designed objects used in the creation of popular culture.

Using techniques that combine the artist's intention, Georgopoulos has consistently worked with imagery that is generally considered off-limits. His work with weaponry, film, automobiles, and pornography is an exploration into male identity, and a self-inquiry into the reasons these objects and subjects are charged with the historical residue they contain.

Georgopoulos' paintings are meant to emulate the flat, transparent texture of the automobile-obsessed Finish Fetish artists of the 1960s such as Larry Bell, Billy Al Bengston, and Craig Kaufman, while his work with pornographic images—which, despite his tendency to use organic pixilated techniques, have been banned from galleries—calls to mind the controversial pieces that landed Wallace Berman in jail in the 1960s.

Georgopoulos has been featured in numerous publications including Flaunt, Bullett Magazine, Treats Magazine, and LA Weekly. He has exhibited internationally, including a solo exhibition at Photo L.A. 2014. He was included in Phillips de Pury's contemporary sale in 2012, and was featured as the artist of honor in 2012 at the Art of Elysium Fifth Annual Heaven Gala.

Guns of Cinema
His series Guns of Cinema, a compilation of gun images from iconic motion pictures and television includes screen-used guns used by Al Pacino in Scarface, Lady Gaga in her music video "Born This Way", John Travolta in Pulp Fiction, Clint Eastwood in Dirty Harry, Arnold Schwarzenegger in Terminator 2: Judgment Day, John Malkovich in RED and Angelina Jolie in Salt. Georgopoulos photographs the live firearms at secured armories with large format film cameras. With the negatives, Georgopoulos makes silver gelatin prints by hand in his Venice, California darkroom and mounts the prints on composite panel. He then hand paints around the image with custom mixed layers of paint before multi layers of epoxy resin and automotive finish are applied to the top, achieving a mirror like reflective surface.

Cameras of Cinema
Similar to Guns of Cinema, the Cameras of Cinema series expresses Georgopoulos' affinity for the film and television industry as he photographed a number of motion picture and television cameras which were used to make Titanic, Star Wars, Michael Jackson's Thriller music video, James Bond, Kill Bill, and Apocalypto, among others.

Sculpture
Identity also plays a role in a series of sculptural retellings of Greek mythologies that Georgopoulos began working on at the end of 2013. This series contains works that are highly technical, utilizing found industrial elements to create idols of Greek gods, which serves to continue his exploration into post-industrial ideas of manufacture and mythmaking. He is also developing a series of sculptures that include video installations housed in shaped automobile frames, unveiled to the public in fall 2014 with Vacation.

For There is No End, a 2015 solo exhibition, Georgopoulos follows in the same lineage of artists such as John Chamberlain or even Marcel Duchamp, by using objects – old car parts, disused slot machines and other jettisoned materials – the artist investigates the self-cannibalizing culture of consumerism. In Rodeo Drive Georgopoulos displays the wrecked body of a Rolls-Royce Silver Shadow, powder coated in white and dripping in automotive gold chrome against a scaled video of famed Rodeo Drive, playing via projection.

In 2016, Georgopoulos' solo exhibition, The Earth is Flat, critiques the development of artificial intelligence (AI) and the values and hazards implicit to autonomous computing. This new body of work addresses technology's integration and prevalence in the alteration of human life in the modern age. The artist's four sculptures, Luddite, Zeus, Weight Watcher and Autonomous X12 themselves are superficially interconnected as to insinuate that technology has implemented itself as an indissoluble event in human history.

Shadows

Georgopoulos explores ways to deconstruct the car in a non-traditional visual form so the viewer can appreciate the massive size and power of a car but in the confines of an interior space. The result is a 1:1 scale flat panel homage to the vintage automobile; made in the measurement specifications (length and width) of the manufacturer dimensions, giving the appearance of the car being flattened from above.

The exotic super flats are the first exploration of this series, in tribute to the most celebrated super car brands, Lamborghini, Ferrari, Aston Martin, McLaren, and Porsche.

Selected exhibitions

2016
 The Earth is Flat, Mama Gallery, Los Angeles
2015
 There is No End, Mama Gallery, Los Angeles
 Pieces of Heaven Art Auction
2014

 Pieces of Heaven Art Auction
 LA Art Show for Axiom Contemporary

References

External links
James Georgopoulos Official Website

1966 births
Living people
Artists from New Hampshire
20th-century American painters
20th-century American sculptors
American installation artists
American contemporary painters
21st-century American painters
People from Manchester, New Hampshire
American people of Greek descent
21st-century American sculptors

James Georgopoulos


In complex analysis, contour integration is a way to calculate an integral around a contour on the complex plane. In other words, it is a way of integrating along the complex plane.

More specifically, given a complex-valued function  and a contour , the contour integral of  along  is written as  or .

Calculating contour integrals with the residue theorem

For a standard contour integral, we can evaluate it by using the residue theorem. This theorem states that

where  is the residue of the function ,  is the contour located on the complex plane. Here,  is the integrand of the function, or part of the integral to be integrated.

The following examples illustrate how contour integrals can be calculated using the residue theorem.

Example 1

Example 2

Multivariable contour integrals

To solve multivariable contour integrals (contour integrals on functions of several variables),  such as surface integrals, complex volume integrals and higher order integrals, we must use the divergence theorem. For right now, let  be interchangeable with . These will both serve as the divergence of the vector field written as . This theorem states that:

In addition, we also need to evaluate , where  is an alternate notation of . The divergence of any dimension can be described as

The following examples illustrate the use of divergence theorem in the calculation of multivariate contour integrals.

Example 1
Let the vector field  be bounded by the following conditions

The corresponding double contour integral would be set up as such:

We now evaluate  by setting up the corresponding triple integral:

From this, we can now evaluate the integral as follows:

Example 2
Given the vector field  and  being the fourth dimension. Let this vector field be bounded by the following:

To evaluate this, we use the divergence theorem as stated before, and evaluate  afterwards. Let , then:

From this, we now can evaluate the integral:

Thus, we can evaluate a contour integral of the fourth dimension.

Related pages

 Cauchy's integral formula
 Line integral

References

Complex analysis

Contour integral


The Shop Girl (La Demoiselle de Magasin) is a painting by James Tissot in the collection of the Art Gallery of Ontario. The painting depicts a young woman standing inside a shop selling ribbons and dresses. In one hand she holds a wrapped package of newly purchased items. With the other she holds open the door to the store for the viewer to depart. The shop is filled with piles of ribbons. Outside, a busy Parisian street scene is visible through the shop windows. A well dressed man stares in through the window and is greeted by the other girl in the shop.

The painting was created in the period 1883–1885 using Tissot's distinctive style of dry pigments and small brush strokes—not impressionism, but still a major departure from the Academy style. It also reflects some of Tissot's main interests, such as the materialistic world of objects and clothing of the late nineteenth century. The painting also employs Tissot's favourite technique of this period of placing the observer directly in the painting, with the shop girl holding the door open for us. It was first exhibited in 1885 at the Galerie Sedelmeyer. It was a part of an exhibit Tissot titled Quinze tableau sur la femme à Paris (fifteen paintings on the woman of Paris). It was his last major exhibition before Tissot embraced religious subjects and spent the rest of his life painting scenes from the Bible. The painting was gifted to the Art Gallery of Ontario in 1968.

Regina Haggo sees this painting as a depiction of barely contained lust.  On the floor a fallen ribbon makes a clear heart shape. To Haggo the position of the heart on the floor makes clear this is a baser form of desire. The women are modestly clothed, but Tissot emphasizes their figures, especially the breasts of the woman raising her arms. In this period a woman working outside the home was considered morally dubious. The leering man and the vantage of the viewer can suggest that more than just the clothing is for sale. The man outside may be flirting with the shop girl, but Haggo notes that Tissot emasculated him by having a women's torso overlap his own.

References

1880s paintings
Collections of the Art Gallery of Ontario
Paintings by James Tissot

The Shop Girl (Tissot)


In works of fiction, especially comic books about superheroes, the hero will normally have an alias and costume aside from their real name while keeping the fact they're superheroes a secret from everyone in civilian life. For example, Spider-Man doesn't tell people he's actually Peter Parker in a mask because then supervillains would try to kill the people Peter knows to get to him. And that's also why Batman doesn't tell people he's Bruce Wayne and Superman doesn't tell people he's Clark Kent. Some supervillains will also have a secret identity because they don't want people to know that they're criminals. There are also some superheroes who don't have a secret identity.

Fiction

Secret identity