Victor Mancha, also known as Victorious, is a fictional superhero appearing in American comic books published by Marvel Comics. The character appeared in the award-winning series Runaways. Like the original Runaways, Victor has a supervillain for a parent; his is the classic Avengers villain Ultron, an evil robot bent on world domination. Victor, however, is a cyborg, with human flesh and natural tissue cloned from his human mother which completely conceals his metal parts and circuitry.

Publication history
Victor Mancha was created by author Brian K. Vaughan and artist Adrian Alphona and debuted in Runaways vol. 2 #1 (April 2005).

Fictional character biography
When Ultron encountered a woman named Marianella Mancha who is unable to have a child due to a drug that was put in her, Ultron took some of her DNA and cloned it while combining some of his advanced nano-technology to create for her a son named Victor Mancha.

The Runaways first heard of Victor Mancha as a boy who would grow up to become the villain "Victorious", a man who would rule the world after dismantling the Avengers. Due to his prophesied betrayal, Victor was kept under close surveillance when he first joined the team, but has since been accepted as a full-fledged member. He is the team's only Latino member and one of two members who can pilot the Leapfrog, the Runaways' mode of transportation.

True Believers
Victor is first introduced as the son of Mexican single mother Marianella Mancha, supposed widow of a United States Marine Corps member who was killed in action.

When an older version of Gertrude Yorkes arrives in the present, she informs the Runaways of a villain in her time named "Victorious", and how they must stop him right now while he is still a teen. It is at this point she dies, but the Runaways decide to comply with her wish. After the Runaways track Victor down at his school, the sight of Karolina Dean activates Victor's electromagnetic superpowers - it would later be revealed that Victor's powers would manifest only when he came in contact with another superhero, hence Karolina.

Remembering how future-Gert mentioned that Victorious's father was the "greatest evil in all the universe", the Runaways sift through possibilities such as Magneto, Electro, Kingpin, Red Skull, Leader, and Galactus. Although Doctor Doom calls Victor proclaiming he is his father, it turns out that it is merely a Doombot created by Ultron. Victor discovers that his actual "father" is Ultron who created Victor as a sleeper agent for the Avengers. Victor was meant to grow up, travel to New York and meet the Avengers. After years of loyal service, he would have access to their most guarded secrets, and then Ultron would have taken over and destroyed every hero on the planet. The Runaways foiled this plan, but Victor still fears this future may come true. Ultron kills Marianella and overrides Victor's circuits, forcing him to attack the Runaways. With help from Excelsior, the Runaways and Victor defeat Ultron, but they take Victor in after realizing that Victor is in the same boat as they are.

Runaways
Over the next few months, Victor proves himself to the team, particularly to Chase Stein, in battle to make up for his alternate future self. He falls out of grace for a short while after Nico Minoru discovers that the second Pride has tapped into Victor's circuits and was using him to spy on the team.

After the Runaways' fight with the new
Pride, Victor begins a physical relationship with Nico; he confesses to have initiated it because he harbors romantic feelings for her, but Nico claims to have participated as a way to escape her survivor's guilt regarding the death of Gertrude Yorkes. However, Victor still attempts a rescue when he discovers Chase has Nico hostage, but is easily shut down when Chase asks him a rhetorical question designed to overload Victor's circuits. Victor recovers with help from Molly Hayes (vicariously by Alex Wilder) and saves Nico from becoming an innocent sacrifice to the Gibborim. At this point, Victor and Nico begin a romantic relationship, but their moment of bliss is interrupted when the team is forced to run from Iron Man and the pro-registration forces of Marvel's Civil War.

Civil War
During a S.H.I.E.L.D. operation to capture the Runaways, Victor uses his powers to shield the Leapfrog from a barrage of missiles. The second wave of missiles are coated with Teflon, so they are unaffected by Victor's magnetic powers and hit him. He suffers grievous damage and the team returns with him to the Hostel. Victor then experiences intense seizures when the Vision arrives with the Young Avengers.

Although the Runaways are initially mistrustful of the Young Avengers, Stature is able to pull the Vision away from Victor. The Vision explains that he and Victor were experiencing a form of feedback caused by their shared programming because both of them were created by Ultron.

Nico and Victor also initiate a relationship.

Victor's assortment of humorous nicknames is a sort of running gag  in the series' second volume, with such names as "Static Cling Lad", "Mr. Roboto", "Victron", "Calculator Kid", "Señor Cyborg", "Man of La Mancha", "RoboPinocchio", and Magnet Man."

Dead-End Kids
After escaping Iron Man and S.H.I.E.L.D., Nico makes a decision to make a deal with the Kingpin, which disgusts Victor. In a twisted turn of events, the Runaways end up time-displaced in 1907 New York. It is during this period where Victor meets Lillie "the Spieler" McGurty, a girl who can fly to the sound of music. While separated from Nico, Victor bonds with Lillie's carefree spirit. A short time later, he has a dream of kissing Lillie. Nico, understanding her relationship with Victor is deteriorating, backs off and allows Victor to initiate a relationship with Lillie, who agrees to return to the present with the Runaways. Right before the Runaways board the time machine that takes them home, Lillie changes her mind and decides to stay instead, due to fear of jumping into the future. Klara Prast takes her place instead, arriving with the Runaways in the present. Although the Runaways do not know, Lillie is still alive, regretting her decision.

The Runaways come under attack when a group of Majesdaneans arrive on Earth to capture Karolina. In the end, the team is overpowered, but Xavin shapeshifts into Karolina's form and takes her place as a prisoner of the Majesdaneans.

Avengers A.I.
Following the Age of Ultron storyline, Victor Mancha joins up with Henry Pym's Avengers A.I. alongside Monica Chang, Vision (his older "brother"), and a reprogrammed Doombot. During one mission he sacrifices himself to save a server containing an A.I. civilization. The team later discovers he is alive inside a server called The Diamond when he sends Morse code to Pym that says "Fruit Loops", a cereal he hates, which Pym interprets as he is still alive. Victor finds allies against the rogue A.I. He and the Avengers are saved when Monica Chang cuts off the virus by preventing the execution of a rogue LMD.

Vision
Some time later, Victor moves in with Vision after getting an internship in Washington, D.C. It is later revealed that Victor is actually acting as an undercover agent for the Avengers, with orders to spy on Vision and his family due to their increasingly erratic behavior. It is revealed via flashbacks that during his time with the Runaways, Victor had secretly developed an addiction to Vibranium, which for him acts similar to narcotics used by humans. After using the Vibranium in a special piano given to Vision by Black Panther, Victor misjudges the strength of his powers and accidentally kills Vision's son, Vin. Captain America arrests him, but Vision defeats the Avengers to reach his cell. Vision is unable to kill Victor, but Victor's cybernetic heart is ripped out of his body by Vision's wife Virginia—killing him. With his final thoughts, he is at peace, knowing that he "will never be Victorious."

Becoming Victorious
When Chase Stein attempts to revive Victor's head, the "Victorious" program begins. It is revealed that Victor is conscious when Chase Stein, Nico Minoru, Gertrude Yorkes, and Old Lace visit Molly Hayes to see if she is interested in reforming the Runaways again. During this visit, Molly is the only one to figure out that he is conscious, and is happy that Victor is still alive in a sense. Victor asks Molly to keep this a secret as he figures out whether or not he wants to rejoin Chase and the others. But unknown to the Runaways, Molly's grandmother plucks a strand of hair from Victor's head with unclear intentions.

Powers and abilities
Victor Mancha is a cyborg, created from the DNA of Marianella Mancha and the technology of Ultron. Victor was constructed using advanced nanite technology that will evolve and mature with Victor into adulthood so that his robotic innards will transform into artificial human organs, indistinguishable from real ones. Ultron created Victor with several computer-related abilities, including a high level of intelligence, vast amounts of hard drive memory (which Victor refers to as photographic memory), and the ability to communicate with other machines directly. Victor also possesses some level of superhuman strength, incredible speed, a powerful jumping ability, and an automated self-repair function.

In combat, Victor primarily employs his electromagnetic abilities; he is capable of directing high voltage electrical energy from his hands and manipulating magnetic fields to reshape and bend metallic objects. Much like Magneto, Victor can use Earth's natural magnetic lines of force to levitate and fly.

Despite his array of powers, Victor has four known weaknesses, many of which stem from his mechanical roots. At his current age, Victor's nanites have not yet fully transformed into human organs, so his entire body will set off metal detectors, potentially drawing him unwanted attention. Second, Victor's mainframe can be hacked and controlled remotely; "Hunter" (of the second Pride) (Victor removed it with an internal firewall) and Ultron are the only two that have successfully hacked Victor thus far. Victor discovered his third weakness during the Runaways' first encounter with the Young Avengers, when he and the Vision both short-circuited upon getting too close to each other. The Runaways and Young Avengers eventually discovered that when any two of Ultron's creations come within a close vicinity, both create a devastating feedback, harming both machines. This weakness has apparently since been removed, as Victor has been shown interacting with the Vision's new family without any harm to either.

While decoding The Abstract, Chase discovered Victor's last and most potent weakness: three questions designed specifically to overload Victor's circuits and lock him into a never ending loop of meaningless binary, which Nico refers to as "the blue screen of death." Chase used the first phrase against Victor after the cyborg discovered Nico in chains: "Could God make a sandwich so big that even He couldn't finish it?"  The only way for Victor to recover from his shutdown mode is by hearing the question's answer from someone else. Once Victor's mainframe becomes functional again, he cannot be affected by that specific phrase ever again. The two other phrases are unrevealed as yet, and are known only to Chase and Nico.

Other versions

What If?
In What If the Runaways became the Young Avengers?, Victor is first contacted by his future self of Victorious after Victorious traveled back from the future with Iron Lad, who accidentally landed in Victorious's time while attempting to escape Kang the Conqueror. Victor and Victorious steal the Iron Lad armor and Victor pretends to be Iron Lad. He then recruits the Runaways forcing them to be an actual superhero team with costumes, but intends to kill them. When Kang appears to rescue his younger self, the subsequent fight results in Iron Lad being killed and Kang being erased from history while Victor destroys his future self rejecting his evil ways. Having averted his destiny, Victor then departs via Kang's time-belt to find his own way, leaving the Runaways to continue as Young Avengers with Chase now using parts of the Iron Lad armor.

Age of Ultron
During the Age of Ultron storyline, Victor Mancha was bringing some children to one of the Runaways' old bases in Los Angeles. Victor is having a hard time because he believes that if he uses his machine abilities, he will just help Ultron's victory. He does not tell any of his newfound friends about his background because he is afraid they will not accept him. In a flashback, it is shown that his Runaways teammates were all killed by Ultron and that Victor had stored digital versions of them in his memory banks, but these files seem to be corrupted since they seem to telling him that he needs to become more machine and less human. The Ultron Sentinels find the hideout and start killing some of the kids that Victor had saved. Victor decides to fight the Ultron Sentinels while determining that if this is the end, he will go down fighting.

Avengers A.I.
In one alternate future, Alexis has a vision of 12,000 A.D. in which rogue A.I. Dimitrios wiped out humanity, the Kree, the Skrulls, and the Inhumans and traps all mutants in a pocket dimension. Only the Avengers A.I. survive, led by Alexis. Victor in this future wields Ultimate Thor's hammer and joins the surviving Avengers in attacking Dimitrios, who created a spaceship out of Galactus's carcass. He is killed by Dimitrios and Doombot then sacrifices himself, since Victor was the only person he considered a "Pal".

In other media

Television
 Victor Mancha / Victorious is mentioned as an antagonistic force in the years 2022 and 2028 in the third season of Runaways. Mancha was responsible for the deep scar that a future Chase Stein from 2028 received on his neck. In that alternate future, Mancha was also involved with Alex Wilder.

Conceptual origins
On colorist Christina Strain's Live Journal, she revealed that Victor's eyes are green with a golden center, which was modeled after Gael García Bernal.

References

Comics characters introduced in 2005
Fictional characters from Los Angeles
Marvel Comics cyborgs
Fictional technopaths
Marvel Comics characters with superhuman strength
Marvel Comics robots
Marvel Comics male superheroes
Characters created by Brian K. Vaughan
Mexican superheroes
Marvel Comics superheroes
Avengers (comics) characters
Fictional characters with eidetic memory

Victor Mancha


The Hopewell Project is a solar-powered residence in North America that generates hydrogen for subsequent reconversion into electricity, meeting all of the home's power needs, including heating and cooling, through renewable solar energy.  The  solar/hydrogen-powered home is located northwest of Hopewell, New Jersey in East Amwell Township, cost $500,000 and was dedicated on October 20, 2006.

Project overview

The Hopewell Project is an organization of private citizens advocating the adoption of renewable energy technologies.  The Hopewell Project does not advocate a particular renewable energy technology.

The Solar-Hydrogen Residence that has been set up and is operating in Hopewell, New Jersey combines photovoltaic solar, electrolyzer, fuel cell, computer software, and other technologies that have been carefully selected to work in concert to make the renewable energy installation 100% reliant on renewable energy sources for the home's energy needs, negating the need for utility delivered non-renewable energy sources.

The New Jersey project, which opened in October 2006 after four years of planning and building, cost around $500,000, some $225,000 of which was provided by the New Jersey Board of Public Utilities. The project also got equipment and expertise from a number of commercial sponsors including Exide, which donated some $50,000 worth of batteries, and Swagelok, an Ohio company that provided stainless steel piping costing around $28,000. Michael Strizki, the project promoter, contributed about $100,000 of his own money.

In the summer, the solar panels generate 60% more electricity than the super-insulated house needs. The excess is stored in the form of hydrogen which is used in the winter—when the solar panels can't meet all the domestic demand—to make electricity in the fuel cell.

Future developments

The Hopewell Project is currently developing a complete solar-hydrogen-fuel cell turnkey system that could be installed on an  average home. The target is to bring the system to market by 2008, for the approximate price of a mid-range automobile (considerably lower than the price for the initial system).

See also
Hydrogen station

References

External links
 The Hopewell Project - official website
 Hydrogen House Project
 The project explained

Houses in Hunterdon County, New Jersey
Environment of the United States
Hydrogen production

The Hopewell Project


The Simple Girl () is a 1957 West German musical comedy film directed by Werner Jacobs and produced by Artur Brauner. It starred Caterina Valente, Rudolf Prack and Ruth Stephan.

Production
The film  was directed by German director Werner Jacobs and produced by Artur Brauner. It is based on an idea by Curth Flatow who also wrote the screenplay, together with . The working title was Bravo, Caterina. Horst Wendlandt was line producer and Brauner's wife, Maria, was in charge of costume design. Filming took place in May 1957 at the Spandau Studios in Berlin. The film's sets were designed by the art directors Emil Hasler and Paul Markwitz.

The film premiered on 23 August 1957 at the Thalia in Wiesbaden.

Plot
Caterina Bastiani, a talented young actress, is offered the leading role in a musical. This is her big break but the author of the novel on which the musical is based is less than pleased about this adaption — and he does not think much of Caterina. Caterina meets a girl by accident who has applied to work for the author as a maid. She takes the girl's place in order to prove her talent as an actress and shows up at the author's home as the new maid herself.

Cast
 Caterina Valente as Caterina Bastiani
 Rudolf Prack as Thomas Krauss
 Ruth Stephan as Milli
 Rudolf Platte as Werner Pätzold
 Dorit Kreysler as Mrs. Seidel
 Helen Vita as Eva Krapke
 Peter W. Staub as Pit
 Stefan Haar as Jürgen Krauss
 Richard Allan as Robert Holden
 Hans Olden as Anton Schwarz
 Franz-Otto Krüger as Regisseur
 Henry Lorenzen as Komponist Heino Kies
 Herbert Weißbach as Baron Westhoff
 Edith Adana as Baronin Westhoff

References

Bibliography
 Hans-Michael Bock and Tim Bergfelder. The Concise Cinegraph: An Encyclopedia of German Cinema. Berghahn Books, 2009.

External links

 Artur-Brauner-Archive at the Deutsches Filmmuseum in Frankfurt (German), containing the production files for this movie

1957 films
1957 musical comedy films
German musical comedy films
West German films
1950s German-language films
Films directed by Werner Jacobs
Gloria Film films
Films shot at Spandau Studios
1950s German films

The Simple Girl


The Amoebozoa are a eukaryote phylum of Amoeba-like protozoa. They are a sister clade to the fungi and the animals.   Most move by  internal cytoplasmic flow. Their finger-like pseudopodia are characteristic.

They are a major group with about 2,400 described species of amoeboid protists. In most classification schemes, Amoebozoa is ranked as a phylum in either the kingdom Protista or the kingdom Protozoa. In the  classification of the International Society of Protistologists, it is kept as an unranked "supergroup" in the Eukaryota.

Sequence analysis shows Amoebozoa is a monophyletic clade. Most phylogenetic trees identify it as the sister group to Opisthokonta. That is another major clade which contains both fungi and animals as well as some 300 species of unicellular protists. Amoebozoa and Opisthokonta are sometimes  grouped together in a high-level taxon, called Unikonta, Amorphea, or Opimoda.

Amoebozoa includes many of the best-known amoeboid organisms, such as Chaos, Entamoeba, Pelomyxa and the genus Amoeba itself.

Most are unicellular, and are common in soils and aquatic habitats. Some are symbionts of other organisms, including several pathogens.The Amoebozoa also include the mycetozoan slime moulds, multinucleate or multicellular forms which produce spores and can usually be seen by eye.

Nutrition is usually by phagocytosis. The cell surrounds food particles, sealing them into vacuoles where they are digested and absorbed. When food is scarce, most species form cysts, which may be carried by air to other places. In slime moulds, these structures are called spores, and form on stalked structures called fruiting bodies or sporangia.

Most Amoebozoa lack flagella and more generally do not form microtubule-supported structures except during mitosis. However, flagella occur among some archamoebae, and many slime moulds produce biflagellate gametes.

A characteristic form is the model organism Dictyostelium discoideum.

References

Protozoa

Amoebozoa


Hanoch Levin (; December 18, 1943 – August 18, 1999) was an Israeli dramatist, theater director, author and poet, best known for his plays. His absurdist style is often compared to the work of Harold Pinter and Samuel Beckett.

Biography

Levin was born in 1943 to Malka and Israel Levin, who immigrated to then-British Mandate of Palestine in 1935 (now Israel) from Łódź, Poland. He grew up in a religious Jewish home in the Neve Sha'anan neighborhood in southern Tel Aviv. His father ran a grocery store.

As a child, he attended the Yavetz State Religious School.  In the 1950s, his brother, David, who was nine years older than he was, worked as an assistant director at the Cameri Theater. His father died of a heart attack when he was 12 years old. Hanoch attended Zeitlin Religious High School in Tel Aviv. After ninth grade, he left school to help support the family. He worked as a messenger boy for the Herut company and took classes at a night school for working youth at the Ironi Aleph middle school. There he joined a drama club and acted in Michal, Daughter of Saul by Aharon Ashman.

After serving his compulsory military duty as a code clerk in the signal corps, Levin began to study philosophy and Hebrew literature at Tel Aviv University (1964–67). In 1965 he joined the editorial board of the Dorban newspaper, one of the university's two student newspapers. Some passages from the period were republished, with thorough revisions, as part of his later work. For example, "A Hardened Ballad of a Soldier Man and Woman" from June 1966 was revised as "Black Eagle on a Red Roof" and published after the 1982 Lebanon War.

During his university studies, Levin associated with the Communist Party, where he met Danny Tracz, the dramatist of the Communist youth. A friendship and professional kinship developed between the two that lasted beyond the period of their party activities.

Levin was married twice, to Naava Koresh and Edna Koren. His partner in the last years of his life was actress and dubber Lillian Barto. He had four children.

Levin was known for his refusal to give interviews. In one of the few interviews that he gave at the beginning of his career (to Michael Handelzalts from Israel Defense Forces Radio), he answered the question "Why do you write specifically for the theater?":" I just think, the theater, it's much more charming, much more involving when you see these things on the stage. It's just much more exciting, I don't know why... you see the world, that way, formed on the stage. I don't know whether the material takes on a different quality, or it's better or worse, but in any case for me it's more exciting, material that's produced on the stage."

Levin died of prostate cancer on August 18, 1999. He continued to work even in the hospital, nearly to his last day, but didn't have time to finish the staging of his play The Crybabies. During his lifetime he composed 63 plays and directed 22 of them.

Literary and theater career
In 1967, Levin published a poem called "Birkot ha-Shahar" (the name of the Jewish "dawn blessings") in the literary journal Yochani, and was met with critical acclaim. The poem was later reprinted in his poetry collection Life of the Dead. In Haaretz he published the stories "Stubborn Dina" (1966) and "Pshishpsh" (1971, also published in the book The Eternal Invalid and the Beloved), as well as the verse cycles "Party Song of the Wicked: An Idyll" (1968, later appeared in Life of the Dead) and "Flawed People" (1970). Following Meir Wieseltier's invitations, he began in 1971 to publish stories, poems, and verse in the literary journal Exclamation Point (סימן קריאה): "The World of the Sycophantes" in 1973, "A Hunchback Finds a Prostitute" in 1976, "Life of the Dead" in 1981, and others.

Also in 1967, Levin sent a radio play called Catch the Spy to a radio drama competition at Kol Israel, winning first prize. The show, under the direction of David Levin, was broadcast several times. Levin's translation into English won first prize in 1969 in a radio drama competition in Italy. It was later published in the book Finale.

In 1967–70, Levin devoted himself to political satire. In March 1968 he began working on a cabaret show entitled You, Me and the Next War, with Edna Shavit. The show was mounted in August 1968 at the Bar-Barim club in Tel Aviv by four of Shavit's students from the theatre department at Tel Aviv University: Bat-Sheva Zeisler, Shifra Milstein, Gad Keynar and Rami Peleg.  Danny Tracz was the producer. Next, Levin wrote a satire called Ketchup. Under the direction of his brother, David, it was performed in the basement of the Satirical Cabaret in Tel Aviv in March 1969. In these two works, Levin mocked Israeli military pathos (as in the parody "Victory Parade for the 11 Minutes War" of the victory speech by General Shmuel Gonen at the close of the Six-Day War), the impotence and complacency of Israel's politicians ("Peace Talks in the Middle East"), and presented a macabre treatment of bereavement ("Squares in the Cemetery").

The criticism directed at Levin following You, and Me and the Next War and Ketchup deepened after the premiere of his third political play, Queen of a Bathtub ("מלכת אמבטיה), produced by the Cameri Theater in April 1970. David Levin directed the controversial play, which made pointed use of vulgarity, and contained provocative sketches such as "The Binding" in which Isaac begs his father Abraham not to hesitate to slaughter him, and "The Courting" which mocks Israeli volubility and arrogance. Perhaps because it was presented on the stage of an established theater, the play aroused an unprecedented storm of public opinion. Viewers protested and made a disturbance during the performances. The National Religious Party demanded censorship of a song that, in its opinion, profaned the honor of the Bible. The government threatened to withdraw its financial support from the theater. The criticism further addressed the play itself: "a combination of flawed dialogues and ditties attempting to toss salt on our open wounds" (Dr. Haim Gamzu); "This 'theatrash' (mahazevel) makes us all out to be despicable killers, citizens of a militarist, bloodthirsty state." (Uri Porat); and "a scene about a reporter, who comes to interview a young widow whose husband died in the trenches, and makes love with her, only a demonic or infirm mind could devise... it's a malicious abuse of thousands of bereaved parents" (Reuven Yanai). In spite of Levin's objections, the theater's management decided, in the wake of these outraged responses, to close the show after only nineteen performances.

Critical acclaim
Levin's first "artistic" play was the comedy Solomon Grip, which premiered in May 1969 at the Open Theater under direction of Hillel Ne'eman. He achieved his first great public success with his next comedy, Hefez, which was mounted on the stage of the Haifa Theater in March 1972, directed by Oded Kotler. This play had previously been passed up by the Cameri and Habima. His next play, Ya'akobi and Leidental, the first that Levin also directed, was first presented in December 1972 at the Cameri Theater. During the 1970s, he continued to write and direct plays that primarily appeared at the Haifa Theater and Cameri (see the list of plays below). During this period Levin also wrote two screenplays: Floch, directed by Danny Wolman in 1972, and Fantasy on a Romantic Theme, directed by Vitek Tracz in 1977. The two movies earned the acclaim of critics, but not the public.

The next great tempest occurred in the wake of the play Job's Passion in 1981. The play included a scene in which the naked Job, in the person of Yosef Carmon, is impaled through his anus on a pole by the Caesar's soldiers, and is sold to a circus so that his death throes can draw a crowd. Miriam Taaseh-Glazer, at the time the Deputy Minister of Education and Culture, announced from the Knesset dais that the State need not fund a theater "where a naked guy hangs for ten minutes with all his privates waving around." Levin's next play, The Great Whore of Babylon (1982), aroused opposition even among his colleagues the Cameri Theater actors, chiefly Yossi Yadin. Following this opposition, the play was cut by 20 minutes.

Levin returned to political writing in The Patriot, which opened October 1982 at the Neve Zedek Theater, directed by Oded Kotler. The play is about an Israeli citizen who asks to emigrate to the United States. The American consul asks him to spit on his mother, kick an Arab boy's face, and afterward, to taunt God. Although the Council for Film and Drama Criticism banned the entire play, Kottler decided to present it. Yitzhak Zamir, then the government's legal counsel, recommended indictments against the theater management for transgressing censorship law. The play was allowed to go on only after it was edited.

During the 1980s, some of the critics charged that Levin was repeating material in his plays (Yakish and Poupche, Hamitlabet), although his later plays (The Dreaming Child, Those Who Walk in the Darkness, Repose, and others) received widespread acclaim.

In 1994, The Dreaming Child was adapted as a television film by noted Israeli director Ram Loevy. The opera The Child Dreams, composed by Gil Shohat, premiered in January 2010 on the occasion of the 25th anniversary of the Israeli Opera. Sets and costumes were designed by Gottfried Helnwein, and the production was directed by Omri Nitzan, Artistic Director of the Cameri Theater, who also helped Shohat adapt the play into the libretto.

Levin also wrote popular songs ("Mr. Almost and Mrs. Already" recorded by Yehudit Ravitz, "What Does the Bird Care" and "Not Enough Room for Two on the Electric Pole" recorded by Aharit Hayamim, "I Live From Day to Day" recorded by Rita, "London" recorded by Chava Alberstein); published two books of prose (The Eternal Invalid and the Beloved and A Man Stands Behind a Seated Woman) and a book of poetry (Life of the Dead); and composed and directed episodes of the TV show Layla Gov ("How We Played -Pranks of Chupak and Afchuk").

Dramatic themes and style
Nurit Yaari divides Levin's plays into three general categories, based on their themes, characters and theatrical forms:
 Satirical Cabarets – Levin's early political pieces, "a straightforward reaction to the political reality prevailing at the time of their presentation…Levin's cabarets are composed of a series of sketches interspersed with songs"
 Domestic Comedies – Plays focused on small, representative elements of society: individuals, families, friends and neighbors, "the dramatic space of these plays extends between the home, as the smallest unit, and the neighborhood. The city and country are not mentioned" In this group Yaari identifies three subcategories:
 Courtship and marriage
 A particular family
 A neighborhood.
 Spectacles of Doom – Levin's philosophical and mythical works, which are usually based on ancient myths and biblical texts. These plays vary greatly in terms of plot, structure and the myths they draw upon, but habitually display similar themes such as: "the agonies and humiliations suffered by people" and "the futility of human suffering" as well as the recurring motifs of "degradation and death"

Awards and recognition
In 1994, Levin was the co-recipient (jointly with Meir Wieseltier) of the Bialik Prize for literature.

Levin's death brought new interest in his early stage works. The Israeli Theater Habimah performed several plays by Levin. An updated version of the political satire "You, Me and the Next War" was staged from 2004 through 2008 by the original crew with Bart Berman at the piano.

In 2000 the musician Dudi Levi released the disk Hanoch Levin Project, comprising eleven songs whose words Hanoch Levin composed.

Published works

Plays

Hefetz
Solomon Grip
Ya'akobi & Leidental
Young Varda'le
Schitz
Krum
Popper
The Rubber Merchants
Winter Funeral
Suitcase Packers
Execution
Job's Passion
The Great Whore of Babylon
The Lost Women of Troy
Everyone Wants to Live
Yakish & Poupche
Beaten and Defeated
The Labor of Life
The Hesitator
Dreaming Child
Hops & Hopla
The Wonderful Woman Inside Us
The Whore from Ohio
Mouth Open
The Conqueror
Beheading
Rape Trial
The Man with the Knife in the Middle
Elmo and Ruth
Anxious and Frightened
The People That Walked in Darkness
Murder
Must Be Punished
Singles
The Dreamer
The Perpetual Mourner
The Caretakers
The Emperor
Embarrassed
Shozes & Bjijina
Kludog the Miserable King
To Hold On and Never Let Go
Spasm and Twist
Redemption
And a Kiss for the Aunt
Emperor Gok
All the Queen's Men
A Servant's Devotion to his Rigorous Lady
Romantics
Requiem
Move my Heart

Sketches, revues and cabarets
You, me and the next war
Ketchup
Queen of a Bathtub
The Patriot
The Gigolo from Congo

Screenplays
Floch
'Fantasy on a Romantic ThemeProseThe Eternal Invalid and The BelovedA Man Stands Behind a Seated WomanPoetryThe Blessings of Dawn (1965)Friends' Party Poem (1967)Lives of the Dead (1980)As a Breeze Blows (1981)Farewell Rhymes to a Beloved (1998)Farewell Letters to a Beloved (1998)

Children's booksThe Happy, Cheerful CockUncle Max's Journey''

See also
List of Bialik Prize recipients
Theater of Israel
Culture of Israel

References

External links
 Biblical Thematics in Stage Design for the Hebrew Theatre Ben-Meir, Orna. Tel Aviv University.
 Hanoch Levin – Success Story article by Moti Sandak at Jewish-theater.com

 Hanoch Levin at Institute for Translation of Hebrew Literature.

1943 births
1999 deaths
Jews from Mandatory Palestine
Israeli people of Polish-Jewish descent
Jewish Israeli writers
Israeli male dramatists and playwrights
Israeli male poets
Jewish dramatists and playwrights
Tel Aviv University alumni
20th-century Israeli poets
20th-century Israeli dramatists and playwrights
Deaths from cancer in Israel
Deaths from prostate cancer
Burials at Kiryat Shaul Cemetery
Writers from Tel Aviv

Hanoch Levin


Meredith Attwell Baker is the president and chief executive officer of CTIA, an industry trade group that represents the international wireless telecommunications industry. From 2009 to 2011, Baker was a member of the United States Federal Communications Commission, nominated by U.S. President Barack H. Obama. She also served in the National Telecommunications and Information Administration as a political appointee, and was subsequently named a deputy assistant secretary of the Commerce Department by President George W. Bush in February 2007.

Early life and education
Baker is a native of Houston, Texas. Her father, Kirby Attwell, was president of Lincoln Liberty Life Insurance, a subsidiary of Lincoln Consolidated, at which he worked with the late former Texas Democratic U. S. Senator Lloyd Bentsen. Her great-great grandfather was Isaac Van Zandt, a political leader in the Republic of Texas. The Attwells have had long-standing friendships with the Baker and Bush political families. She is a daughter-in-law of James A. Baker, III.

In high school, Baker attended the Sidwell Friends School for one semester. She earned her Bachelor of Arts in journalism and Spanish in 1990 from Washington and Lee University in Lexington, Virginia. She procured a law degree from the University of Houston in 1994. Baker is a member of the State Bar of Texas.

Career
Early in her career, Baker worked at the United States Court of Appeals for the Fifth Circuit in Houston, and later at the law firm DeLange and Hudspeth, where she focused on bankruptcy and corporate law. She worked at the U.S. Department of State in the agency's Legislative Affairs Office from 1990 to 1992.

From 1998 to 2000, Baker served as director of congressional affairs for CTIA, at which she helped designate 9-1-1 as the national emergency number and fought against cell phone "cloning". She then served as senior counsel at Covad Communications from 2000 to 2002, taking time off to assist George W. Bush's campaign with the 2000 United States presidential election recount in Florida. She later served as vice president at Williams Mullen from 2002 to 2004, where she focused on intellectual property, international trade, and telecommunications.

United States Department of Commerce
In January 2004, Baker joined the National Telecommunications and Information Administration (NTIA), which is an agency of the United States Department of Commerce, as a senior advisor. She was subsequently named a deputy assistant secretary of the Department of Commerce by President George W. Bush in February 2007, and then assistant secretary and acting head of NTIA after John Kneuer left the agency in November 2008. She also served as the Office of International Affairs acting associate administrator and was detailed to the White House Office of Science and Technology Policy.

During her tenure at NTIA, Baker "advised and represented the Executive Branch on both domestic and international telecommunications and information policy activities". According to her FCC biography, Baker's mission at NTIA was to "promote market-based policies that encourage innovation and benefit consumers" as she encouraged efficient radio spectrum use by the federal government and headed the management of the Internet's domain name and numbering system. Baker argued the "government would do best to tread lightly" in broadcast regulations given the "robust and diverse media marketplace". In 2008, Baker voiced concern over the FCC's ruling that Comcast violated policy by "blocking and degrading" file-sharing applications. She also oversaw the $1.5 billion coupon program to help consumers with the nation's digital television transition.

Federal Communications Commission

Baker was nominated by President Obama as a member of the FCC on June 25, 2009. She was sworn in on July 31, 2009, and held the role until June 3, 2011. Like all of President Obama's political appointees, she signed an ethics pledge preventing her from lobbying anyone working at the FCC for two years after she left the independent agency, or any FCC appointees for the rest of Obama's presidency. Baker was one of two Republicans on the five-person commission.

During her tenure, Baker supported efforts to increase radio spectrum availability for wireless broadband services. She also advocated for smart antenna technology and a spectrum database to maximize radio wave use. Baker reportedly voted "with some reservations" to start creating new net neutrality guidelines only after voicing her concerns to Julius Genachowski.  She disagreed with his inclusion of wireless service providers within net neutrality policies.

NBC Universal
In May 2011, Baker accepted a job as senior vice president of governmental affairs for NBC Universal. The move, which came four months after the FCC approved the merger of Comcast and NBC Universal, received some criticism from groups who opposed the merger and voiced concerns about the revolving door between legislative and regulatory agencies and private sector companies. The company said that it did not approach Baker about the position until mid April, after NBC Universal lobbyist Bob Okum resigned. Similarly, Baker said she had no contact with NBC Universal or Comcast about the position when the acquisition was pending. Both Baker and Comcast said the FCC's general counsel, Austin Schlick, was made aware of the potential transition on April 18, and Baker recused herself from merger discussions. Comcast also noted that Kyle E. McSlarrow, who hired Baker at NBC Universal, was not employed by the company when the merger was completed; he was serving at the National Cable and Telecommunications Association (NCTA) at the time.

While Baker could immediately lobby Congress and supervise employees who directly lobby the FCC, to comply with Obama's ethics pledge, she could not personally lobby any executive branch political appointee (including the FCC) during Obama's presidency. However, after two years, she could lobby non-political appointees at the FCC. Additionally, she may never personally lobby anyone on the Comcast/NBC merger agreement.

CTIA
Baker became CTIA's president and CEO in mid 2014, having previously served as the advocacy group's director of congressional affairs from 1998 to 2000.  In a statement released after her hiring, Baker identified three spectrum priorities for the association: "place more emphasis on technical and engineering expertise related to spectrum and wireless technologies; work with commercial and government users to produce a viable five-year plan for the future of spectrum usage; and begin to regularly assess how efficiently spectrum is being used."

In January 2015, Baker testified on the importance of an open Internet but against the reclassification of mobile broadband as a Title II service under the Communications Act of 1934 at a hearing held by the House Energy Subcommittee on Communications and Technology. Two months later, CTIA, NCTA, and USTelecom, filed legal challenges against the FCC's net neutrality order reclassifying broadband under Title II.

Baker has testified before Congress on the issue of spectrum.  In a March 2016 media call, she said the industry is ready to invest billions of dollars to fund spectrum and new infrastructure, suggesting the "spectrum pipeline should become a national priority" because "100 MHz of spectrum is equal to $30 billion to the economy and 1 million jobs."  In 2016, CTIA released reports outlining the importance of U.S. leadership in 5G and high band spectrum. The organization praised the FCC's unanimous vote in July 2016 to allow wireless operations above 24 GHz.

In 2017, CTIA released a report authored by Accenture on the economic benefits of 5G deployment, with Baker noting, "Accenture's report confirms the significant benefits from the next generation of wireless, driven by hundreds of billions of dollars that the wireless industry will invest to deploy 5G."

Personal life
Baker and her husband James A. Baker, IV, who serves as a senior partner at the law firm Baker Botts as of 2009, married in Ravello, Italy, in 2006. James is the son of attorney and statesman James Baker, III, who served as White House Chief of Staff and United States Secretary of the Treasury under President Ronald Reagan, and as United States Secretary of State and White House Chief of Staff under President George H. W. Bush.

As of 2009, the couple resided in McLean, Virginia, with his four daughters from a previous marriage.

Works

References

Further reading

External links

1968 births
Living people
Members of the Federal Communications Commission
People from McLean, Virginia
University of Houston alumni
Washington and Lee University alumni
Texas lawyers
Women nonprofit executives
Businesspeople from Houston
American women chief executives
American corporate directors
Texas Republicans
Virginia Republicans
Obama administration personnel
21st-century American businesswomen
21st-century American businesspeople

Meredith Attwell Baker


Factory glass is a term used by collectors of art glass to distinguish relevant items, mostly of decorative rather than utilitarian glass, from the more individual or unique studio glass and by studio glass artists to distinguish their work from the more standardised items which are generally made in larger glassworks.  It can be an equivalent for the 20th century of the term art glass, which is largely applied to 19th-century or early 20th-century pieces.

It is difficult to specify how large a glassworks would be before it is considered a factory but size is not the key indicator. The crucial distinction would be where there is a significant degree of specialisation or "division of labour" as opposed to the more hands-on working methods used by a single glass artist, with perhaps an assistant, in a studio.

Exceptions
Not all glass made in factories counts because more individual, limited edition or one-off pieces were made for a variety of reasons. Examples would include; experimental, "end-of-day" and apprentice  pieces and "friggers" (test or trial pieces) but also special orders and one-off commissions.

Factory "studio" glass"
At Fenton, Dave Fetty, a factory glass worker for most of his career, was allowed to use specialist skills, learned before joining the factory, in limited editions of "offhand" pieces without the use of moulds. Such pieces are more akin to studio glass than "factory glass".

In the United Kingdom, Whitefriars and Caithness, have produced limited production "studio" lines alongside standard production in the same factory.
At the ZBS glassworks in Czechoslovakia, there was a separate department for making more experimental studio type pieces which were later hived off and came to be called Libera. The small Skrdlovice works was used by designers in the communist era to test out their designs with short runs before some went on to full production at other factories. The limited test items are much more prized by collectors but it is often difficult to be sure which ones these are and which ones were replicated in full production runs elsewhere.

Standardised production
While, the exceptions would generally account for a very small proportion of overall production, the term applies, strictly speaking, only to the production which was standardised, where many workers would be involved in the making of each item.

Other types of glass made in factories
The many other types of glass which are generally made in factories are usually referred to by their individual names; for example; float glass (for windows) and "glass packaging" (bottles, jars, and containers) and domestic glassware.

See also

History of glass
Pressed glass
Studio glass

References and external links

Sculpture
Visual arts media

Factory glass


The Frank L. and Mabel H. Dean House is an historic house at 10 Cedar Street in Worcester, Massachusetts.  Built in 1901 for a prominent lawyer and politician, it is a well-preserved example of period Colonial Revival architecture, with rare period handpainted wall murals.  The house was listed on the National Register of Historic Places in 2002.

Description and history
The Dean House stands in a formerly residential area a short way northwest of downtown Worcester, at the northwest corner of Linden and Cedar Streets.  It is generally surrounded by parking lots.  It is a -story wood-frame structure, with a hip roof and clapboarded exterior.  It is three bays wide and four deep, with a rear ell that is one bay wide and one bay deep. A two-bay, two-story pavilion projects from the east side of the main body of the house.  The house is topped by a high hipped roof with embedded gable dormers; the edges of the roof are flared in a graceful curve.  The eaves and raking sections of the roof are trimmed with modillion brackets, below which are a band of dentil molding and a narrow frieze.  The interior of the house is elaborately trimmed in wood, and many of the downstairs rooms are decorated with wall murals.

The house was built in 1901 for Frank L. Dean, a prominent lawyer and Republican politician.  The house was built next door to a fine Second Empire house (now demolished), and not far from the childhood home of Dean's wife, Mabel Houghton.  Frank Dean served one term as mayor of Worcester in 1903, and then as the personal secretary to Governos Curtis Guild Jr. and Eben Draper.  Mabel Houghton Dean was a member of the Worcester Women's Club, an exclusive social and philanthropic organization.  Their house is a good example of a generously scaled American Foursquare with Colonial Revival features.

See also
National Register of Historic Places listings in northwestern Worcester, Massachusetts
National Register of Historic Places listings in Worcester County, Massachusetts

References

Colonial Revival architecture in Massachusetts
Houses completed in 1901
Houses in Worcester, Massachusetts
Houses on the National Register of Historic Places in Worcester County, Massachusetts
National Register of Historic Places in Worcester, Massachusetts

Frank L. and Mabel H. Dean House


Black Moss Covert Nature Reserve is a 2.1 hectare nature reserve in England managed by the Cheshire Wildlife Trust. It is a Site of Biological Importance and is located on Carrington Moss, two kilometres west of Altrincham town centre ().

Description
A small flat birch-dominated woodland with a good circular path around it, the site has a public footpath running immediately past the entrance as well as a connecting path running from the Pennine Way.  The site has a large count of bramble species (14) and a varied ground flora that includes remote sedge, bluebell, wood avens and dog rose.  The woodland is very good for fungi with candle snuff fungus, fly agaric and common puff ball among the fruiting bodies seen.  Butterflies include the speckled wood, common brimstone and peacock whilst the normal array of birds common to such habitat can also be found such as long-tailed tit, jay, wren and treecreeper.

Notes

References

Nature reserves in Greater Manchester
Cheshire Wildlife Trust reserves

Black Moss Covert Nature Reserve


MetroPaint is a recycled-content latex paint (RCLP) that has been produced in Portland, Oregon, United States by Metro since 1992.

Metro receives post-consumer latex paint (PCLP) from garbage customers. Technicians inspect the paint for recyclability: recyclable paint is sorted by color, and unrecyclable paint is disposed in landfills. The recyclable paint is then color-corrected. Additives are blended in, and the paint is then filtered, performance tested, packaged into pails and cans, and sold back to the public at a price intended to recover the program's labor and material costs.

RCLP classification
The majority of MetroPaint is produced as a consolidated recycled latex paint, which means the content of post-consumer latex paint (PCLP) is a minimum of 95%. The balance of the ingredients may be post-industrial latex paint or chemical additives. This is contrasted with "remanufactured" latex paint, which must contain a minimum of 50% PCLP.

Metro manufactures the paint primarily as an interior/exterior application, low-sheen finish, in two quality grades: Standard and Green Seal Certified. MetroPaint was the first recycled latex paint to receive certification under the Green Seal GS-43 Recycled Content Latex Paint environmental standard.

Program history
Metro began collecting and recycling post-consumer latex paint (PCLP) from the public in 1991 as part of its household hazardous waste program. While not considered a hazardous waste, latex paint was received by regional garbage customers along with hazardous wastes such as oil-based paints, pesticides, solvents, and cleaners. In an effort to handle the latex paint in a cost-effective, environmentally-responsible manner, Metro decided to recycle the reusable latex paint and return it to the public.

Initially sorted into only about 5 or 6 basic colors, the latex paint was bulked into 55-gallon drums and then donated to charitable non-profit organizations or given away to public customers at no charge. Metro encountered difficulties in both finding a market for the drums of paint and in efficiently recycling the paint.

In August 1999, Metro opened their first latex paint recycling facility in Oregon City, Oregon, USA. This combined recycling and retail center allowed for more efficient processing of the paint, and packaging into more marketable 5-gallon pails. At the same time, Metro began selling the paint back to the public at a price intended to recoup the program's labor and material costs, which placed the product's price up to 80% less than that of comparable new paint. By this time, Metro's color palette was increased to about 10 to 12 basic colors. Metro also introduced the "Color Blending Guide", which showed customers that other colors could be created by blending together the basic MetroPaint colors.

As the paint gained in popularity with homeowners, painters, and landlords, these customers affectionately dubbed the product "MetroPaint," a truncated version of "Metro's recycled latex paint".

Metro partnered with Rodda Paint in January 2001 to conduct quality performance testing in an effort to quantitatively demonstrate that MetroPaint was comparable to conventional latex paint. Metro developed a pail label and brand image for MetroPaint. Considerable efforts were given to marketing the paint, including selling the paint through a few small dealers, though the vast majority of paint sales occurred at the MetroPaint store. In April 2003, Metro improved the marketability of MetroPaint by selling it in 1-gallon cans. In February 2005, Metro relocated the recycling and sales to a new facility, located on Swan Island in Portland, Oregon, USA.

As a result of the Product Stewardship Institution's National Paint Dialog, in August 2007, MetroPaint became the first recycled latex paint to be certified under Green Seal's new GS-43 Recycled Content Latex Paint environmental standard. This third-party certification attested that MetroPaint is an environmentally-responsible product that performs as well as conventional latex paint.

Metro developed a new brand image to coincide with the Green Seal certification. In July 2008, Metro began selling "specialty" colors in 1-quart cans. By February 2009, MetroPaint's color palette had expanded to about 20 basic colors, several "potpourri" colors, the specialty quart colors, and the color blending guide. In June 2009, Metro partnered with Miller Paint as a major dealer for the Certified MetroPaint product line.

Color sorting
Annually, Metro handles about 270,000 liquid gallons of latex paint received in about 525,000 pails and cans. Technicians inspect the label and contents of each container to ensure that only latex paint meeting specific requirements is recycled.

Metro sorts the recyclable latex paint into about 20 basic colors. The majority of these colors are standardized, that is, Metro repeatedly produces these colors consistently from batch to batch. However, a portion of the recyclable paint does not "fit" with these standard colors; as appropriate, Metro produces these colors as limited "special" colors to augment the standard colors and reduce the amount of paint wasted in landfills.

Paint packaging
Metro bulks the color-sorted processed recyclable latex paint into intermediate bulk containers (IBC) or "totes." Between one and three of these totes are produced and packaged as a batch or lot; a typical batch of MetroPaint is between 300 and 900 gallons.

Prior to packaging, technicians adjust the batch's color to match the "standardized" target color using other recycled latex paint; no tints or colorants are used. Once a precise visual match is achieved, a small amount of additives, such as thickeners or preservatives, may be blended into the batch.

The prepared batch of paint is then filtered to remove any particulate matter and packaged into 5-gallon pails, 1-gallon cans, or 1-quart cans.

Performance
Since August 2007, Metro produces some of the paint as Green Seal "Certified" MetroPaint. This paint is certified by Green Seal to meet the requirements for environmental responsibility per Green Seal's GS-43 Standard for Recycled Content Latex Paint.

The Green Seal GS-43 Standard requires that the paint's performance meets the applicable Master Painters Institute's (MPI) detailed paint performance standards. As a result, Certified MetroPaint also meets the MPI consolidated recycled latex paint performance requirements for #10-RC (exterior low-sheen) and either #53-RC (interior flat) or #44-RC (interior velvet).

The majority of "Standard" MetroPaint is also performance tested against the same criteria and requirements.

Metro offers limited warranties on both Standard and Certified MetroPaint.

Pricing
Metro sets the price of MetroPaint to leverage the supply and demand for each color in an effort to recover 100% of the Metro Latex Paint Recycling program's labor and materials costs, with this goal never being fully realized, until the Oregon Paint Stewardship law went into effect, resulting in PaintCare.

Beginning July 2010, Metro became the PaintCare-contracted latex paint recycler for latex paint collected throughout the state of Oregon instead of just the Portland, Oregon metropolitan region. The revenue generated by this contract should enable the labor and material costs of this Metro program to be covered.

Waste latex paint
About 25% of the post-consumer latex paint received is unrecyclable. This waste latex paint is injected into a landfill in an effort to use the liquids to facilitate garbage decomposition.

References

Notes
 "MetroPaint: quality recycled latex paint." Metro. N.p., n.d. Web. 2 July 2010. <http://www.oregonmetro.gov/index.cfm/go/by.web/id=521>.
 "MetroFAQS". Metro. <http://www.co.washington.or.us/HHS/SWR/Recycling/loader.cfm?csModule=security/getfile&pageid=578201>

Paint and coatings companies of the United States
Companies based in Portland, Oregon
Metro (Oregon regional government)
1992 establishments in Oregon

MetroPaint


In computing, off-site data protection, or vaulting, is the strategy of sending critical data off the main site. The place where the data is stored is often called the data vault.

In many organisations, there is some data which is so important that it must be protected. Protection against hacking can be done by means of software, but protection against physical damage is a different problem.  The solution is to put the data in more than one place, so a major disaster, (such as fire or explosions) does not prevent the recovery of the computer system with all its most important data.

Data is usually taken off-site using media such as magnetic tape or optical storage. Data can also be sent electronically to a remote backup service, which is called electronic vaulting or e-vaulting.

Sending backups off-site makes sure systems and servers can be reloaded with the latest data in the event of a disaster, accidental error, or system crash. Sending backups off-site also ensures there is a copy of data that is not stored on-site. Off-site backup services are convenient for companies that backup data on a daily basis (classified and unclassified).

Although some organizations manage and store their own off-site backups, many choose to have their backups managed and stored by others who specialize in the protection of off-site data.

References

Nicol, Gerard 2006. Protecting data off-site.

Computing

Off-site data protection


Gaetano Errico (19 October 1791 – 29 October 1860) was an Italian Roman Catholic priest from Naples and the founder of the Missionari dei Sacri Cuori di Gesù e Maria. Errico was born to devout and hardworking parents whose income was modest but sufficient for him to do his ecclesial studies in Naples. It was common for him to be seen twice a week tending to the ill despite his studies and he also helped his father on occasion at his warehouse. He became a teacher after his ordination and later a parish priest.

Errico became better known for having had a vision while on a retreat in 1818 in which Saint Alfonso Maria de' Liguori came to him in a vision requesting he both found a religious congregation and oversee the establishment of a new church dedicated to the Blessed Mother. Errico did this despite several obstacles, though he did not see it through to the end until just over a decade later.

His canonization cause was introduced under Pope Leo XIII in 1884 and he became titled as a Servant of God; Pope Paul VI later named him as Venerable in 1974 upon confirming his heroic virtue while Pope John Paul II later beatified him on 14 April 2002. Pope Benedict XVI canonized Errico as a saint on 12 October 2008 in Saint Peter's Square.

Life
Gaetano Errico was born on 19 October 1791 in Secondigliano in Naples as the second of nine children to Pasquale Errico (d. 28 March 1834; Good Friday) and Maria Marseglia (d. 19 April 1837); his parents were married on 17 April 1788 in the Saint Charles church. His father (who came from Miano but whose relations hailed from Frattamaggiore) managed a small pasta warehouse and his mother (who was born in Secondigliano) worked at the local loom weaving plush. Errico was a pious child having learnt the Christian faith from his devout parents whom he helped in their work or in the chores around the house. His nephew Beniamino Errico became a priest and two cousins were part of the Order of Friars Minor Capuchin as friars.

His mother once took him as a child to the Redemptorists to be blessed and the priest did this after having looked at the child, telling his mother: "This child will be a priest, a great preacher, he will be a saint and he will do good work in Secondigliano". Errico often aided his father at his warehouse where his father would sometimes lose his temper when under financial strain; he would sometimes slap Errico when he would lose his temper irrespective of whether or not Errico had behaved. The priests Giovanni Tagliamonte and Michelangelo Vitagliano were his teachers growing up and Vitagliano would later serve as Errico's confessor until Vitaglaino died. The parish priest Fr. Pumpo gave him his First Communion when he turned seven and he received his Confirmation on 2 January 1802 in the Naples Cathedral from Bishop Iorio; the priest Domenico Cafolla acted as his sponsor.

Errico first felt compelled to enter the priesthood after he turned fourteen and he received permission from his parents to pursue that vocation. He had his sights set on either entering the Order of Friars Minor Capuchin (since two cousins were friars) or the Redemptorists, however, both rejected his application on the basis of his age. But he was not dejected due to this experience and instead focused on his ecclesial studies that he began in Naples in January 1808 (also receiving the clerical cassock for the first time); he had to walk five miles from home to get to class since he was not living on Naples due to his parents' meagre income not providing for this. Errico – during his studies – visited the sick twice per week and also would encourage children to attend catechism classes for instruction in the faith.

He received his ordination to the priesthood in the Naples Cathedral in the Santa Restituta chapel on 23 September 1815 from Cardinal Luigi Ruffo Scilla. He became a teacher after his ordination and worked as such until 1835 while he also served as a parish priest for the Santi Cosma e Damiano parish church. He was devoted to the sacrament of penance and ministering to the ill, which both became trademarks for his life. He also imposed austerities on himself and penances such as consuming only bread and water and self-flagellation. Errico made annual retreats to the Redemptorist house in Pagani in Salerno. In 1818 during one such retreat he had a vision in which Saint Alfonso Maria de' Liguori came to him and told him that God wanted him to build a new church and to found a new religious congregation. Errico set himself on doing this, and had strong support from the people after having announced it at Pentecost in 1826 (he purchased the land back in 1822). However, this support started to fade over time due to a lack of adequate funding and low work levels. But he continued the project and dedicated and blessed the new church of Madonna Addolorata on 9 December 1830; this church would become a popular destination for pilgrims.

Around the beginning of 1833, he built a small house for himself and a companion (and left his parents' home); it was close to that church so that he could tend to its needs. His companion was not a priest but helped maintain the church. In 1833 came the first members of what would become Errico's religious order known as the Missionari dei Sacri Cuori di Gesù e Maria. On 8 February 1834 the group signed a petition addressed to Cardinal Filippo Giudice Caracciolo asking that they be considered a religious congregation. but the priests grew impatient and left Errico to manage on his own. This small group received diocesan support on 14 March 1836 while the Rome-based Sacred Consistorial Congregation also provided approval on 30 June 1838. He also had to receive permission from the Kingdom of the Two Sicilies which provided its assent on 13 May 1840. In April 1846 he travelled to Rome with the intention of receiving papal approval for his order. This did not materialize for Pope Gregory XVI died on 1 June, leaving Errico in Rome during the conclave. He had a brief encounter with Cardinal Giovanni Mastai-Ferretti and referred to him as "Your Holiness" when speaking with him, having some indication that he would become pope. The order later received full papal approval on 7 August 1946 from the new Pope Pius IX after he and Errico met sometime prior to this. He served as the order's first Superior General.

Errico died in his hometown on 29 October 1860 at 10:00 am due to a visceral fever. He had been ill since mid-October, having contracted bronchitis at that point. It became hard for him to breathe on 26 October at which point his priest nephew Beniamino Errico celebrated Mass at his bedside. On 28 October he received the Anointing of the Sick, and died the next morning while looking at a statue of the Blessed Mother. In 2015 his order had 27 houses (in places such as Indonesia and the United States of America) with 141 religious and 90 priest members. The order's generalate is based in Rome at the Santa Maria in Publicolis church.

Sainthood

Diocesan process and heroic virtues
The beatification process commenced in Naples in an informative process tasked to collect evidence and documentation on Errico's life and possible prospects for being proclaimed a saint. The introduction of the cause came on 18 December 1884 under Pope Leo XIII, in which Errico was titled as a Servant of God – the first official stage in the sainthood process. Theologians deemed his writings to be in line with the magisterium of the faith in 1893 and later held an apostolic process. Both processes received validation from the Congregation of Rites on 11 December 1897.

Errico became titled as Venerable on 4 October 1974 after Pope Paul VI recognized that he had lived a life of heroic virtue in accordance with the cardinal and theological virtues.

Beatification
The process for the investigation of a miracle both opened and concluded in 1999 and received validation from C.C.S. officials in Rome on 10 December 1999. The healing believed to be a miracle was deemed to be a legitimate miracle on 24 April 2000 at the behest of Pope John Paul II who in a decree confirmed that Errico could be beatified on that basis. The miracle in question was the healing of Caccioppoli Salvatore who had a perforated stomach wall; his wife put a relic under his pillow and his health improved at a quick pace. This illness was first noted during the morning on 9 January 1952 and Salvatore healed in the hospital a short while later.

John Paul II beatified Errico on 14 April 2002.

Canonization
The process for the investigation of the miracle required for canonization opened in Naples on 10 November 2004 and concluded its business on 10 October 2005 prior to it being validated in 2006. It received the papal approval of Pope Benedict XVI in mid-2007 in which he acknowledged the 2003 healing of Anna Russo (who hailed from Errico's hometown). The date for the canonization was announced on 1 March 2008.

On 12 October 2008 he was proclaimed to be a saint of the Roman Catholic Church during a Mass held in Saint Peter's Square.

References

External links
 Saints SQPN
 Holy See

1791 births
1860 deaths
19th-century Italian Roman Catholic priests
19th-century venerated Christians
Beatifications by Pope John Paul II
Canonizations by Pope Benedict XVI
Founders of Catholic religious communities
Italian beatified people
Italian Roman Catholic saints
Venerated Catholics
19th-century Neapolitan people

Gaetano Errico


PGA Tour Latinoamérica was a third level professional golf tour formed in 2012 and operated by the PGA Tour. It was formed in concert with the now also defunct Tour de las Américas. Executives from the Tour de las Américas became employees of the new tour.

PGA Tour Latinoamérica was one of a number of lower-tier tours that factored into the Official World Golf Ranking, previously awarding a minimum of six points to the winner and points to the top six plus ties. The top five in the tour's Order of Merit earned status to play on the Korn Ferry Tour, with the money leader being fully exempt. The Order of Merit winner also received the Roberto De Vicenzo Award, named after one of the first golf stars to come out of Latin America. Players finishing 6th-50th retained privileges on PGA Tour Latinoamérica, but were also able to advance to the Korn Ferry Tour Qualifying Tournament depending on position. Those 2nd-5th could also improve their status at the Korn Ferry Tour Qualifying Tournament, gaining entry into the final stage.

In April 2023, the PGA Tour announced that the 2023 PGA Tour Latinoamérica season would be the last, as from 2024 the tour would merge with the PGA Tour Canada, creating the PGA Tour Americas.

History

2012 season

The 2012 season was the inaugural season of the tour and ran a series of 11 tournaments from September to December in seven Latin American countries. Colombian Jesús Rivas teed the first shot on the new tour.  The Order of Merit winner for the season was Ariel Cañete and the five players to graduate to the Web.com Tour based on their Order of Merit positions were Cañete, Óscar Fraustro, Clodomiro Carranza, Matías O'Curry, and Tommy Cocha.

2013 season

The 2013 season was the first full season of play on the tour with an increased schedule of 14 tournaments running in 2 distinct swings with events played from March to May and October to December. Under the new format the number of tournaments was increased. In April 2013, the NEC Corporation became the title sponsor of the tour, being renamed as the NEC Series-PGA Tour Latinoamérica. The Order of Merit winner for the season was Ryan Blaum and the five players to graduate to the Web.com Tour based on their Order of Merit positions were Blaum, José de Jesús Rodríguez, Timothy O'Neal, Jorge Fernández-Valdés, and Manuel Villegas.

2014 season

The 2014 season continued to be played in the 2 swing format as in 2013 but was extended to a total of 18 tournaments for the season. A notable addition to the schedule was the Bridgestone America's Golf Cup, a new unofficial money event on the tour; the event has the highest purse of any event on the tour at $600,000. Initially it was confirmed that Tiger Woods and Matt Kuchar would play in the team event; however, following Woods's injuries in 2014, they did not compete. The Order of Merit winner for the season was Julián Etulain and the five players to graduate to the Web.com Tour based on their Order of Merit positions were Etulain, Marcelo Rozo, Tyler McCumber, Brad Hopfinger, and Jorge Fernández-Valdés.

2015 season

The 2015 season had one more event than the 2014 season, with one event dropped from the schedule, the TransAmerican Power Products CRV Open, and two added: the Honduras Open and the PGA Tour Latinoamérica Tour Championship. Rodolfo Cazaubón led the Order of Merit to earn a Web.com Tour card. Also exempt are Kent Bulle, Rafael Campos, Alexandre Rocha, and Tommy Cocha.

2016 season

The 2016 season had eighteen official events plus The Aruba Cup, an unofficial event where the PGA Tour Latinoamérica competed against PGA Tour Canada. The Visa Open de Argentina gave the winner entry into the 2017 Open Championship. The five players that earned Web.com Tour cards were Nate Lashley, Augusto Núñez, Mito Pereira, Emilio Domínguez, and Samuel Del Val.

Developmental Series

In 2013, the tour organized other events from the region into a Developmental Series. The top five finishers from each event qualify for the Dev Series Final, and the top fifteen finishers at the Final earn status on PGA Tour Latinoamérica for the following year. Events on the Dev Series include the Abierto del Sur, Abierto Norpatagónico, Abierto del Litoral, and Abierto de Venezuela.

Aruba Cup
The Aruba Cup was a team tournament first held on December 15–17, 2016 at Tierra del Sol Resort and Country Club. A PGA Tour Latinoamérica team played against a PGA Tour Canada team, with ten players in each team. PGA Tour Latinoamérica won the inaugural event.

Order of Merit winners

Notes

References

External links

Professional golf tours
Sports competitions in the Americas
Latin America
2012 establishments in Mexico

PGA Tour Latinoamérica


The 1980 Ipswich Borough Council election was the second election to the Ipswich Borough Council under the  system of electing by thirds, whereby a third of the councillors were to stand for election, each time. These new arrangements had been determined by the Local Government Boundary Commission as laid out in their Report 280.

It took place as part of the 1982 United Kingdom local elections.

There were 16 wards each returning one councillor. The Labour Party retained control of the Council.

References

Ipswich Borough Council elections
Ipswich

1982 Ipswich Borough Council election


A long range pseudoknot is a pseudoknot containing a long loop region, and may be a mechanism of translational control.

A long range pseudoknot is thought to negatively regulate the translation of the IF3-L35-L20 operon in E. coli. This operon encodes the translation initiation factor IF-3 and ribosomal proteins L35 and L20. In this example, the RNA-RNA interaction occurs between nucleotides separated by a 300 nucleotide loop region.

A long range pseudoknot is also believed to be required for the activity of the Neurospora VS ribozyme.

References

External links
Rfam entry for Long range pseudoknots

Non-coding RNA

Long range pseudoknots


Sclerotic rings are rings of bone found in the eyes of many animals in several groups of vertebrates, except for mammals, amphibians, and crocodilians. The ring is located within the soft tissue of the sclera, commonly known as the "white" of the eye.

They can be made up of cartilaginous material (scleral cartilage) or bony material (scleral ossicles), or often a combination of both, that come together to form a ring. The exact arrangement, size, shape, and number of ossicles is diverse from group to group. They are believed to have a role in supporting the eye, especially in animals whose eyes are not spherical, or which live underwater. Fossil sclerotic rings are known for a variety of extinct animals, including ichthyosaurs, pterosaurs, and dinosaurs, but are often not preserved.

The rings help to provide structure to the eye, especially in animals that do not have round eyes. Animals that move rapidly, including both fast flying birds and fast swimming fish have the most robust sclerotic rings, indicating that these thick rings are used to protect the eye during intense changes in pressure in the air and in the water. Additionally, sclerotic rings may help the eye adjust to different viewing differences, also known as visual accommodation. Muscles are used to adjust the shape of the eye for accommodation, and the rings provide attachment sites for these muscles. In aquatic animals, the lens is squeezed in a different way to compensate for differences in light refraction underwater, and so the shape of the ring can be different than those in terrestrial animals.

Extant Animals

Reptiles
A combination of scleral cartilage and ossicles are present, in which the cartilage acts as a cup around the posterior (rear) position of the eye and ossicles at the anterior (front) position of the eye form the ring.

Within Lepidosaurs (snakes, lizards, tuatara, and relatives), sclerotic rings have been found in all major lineages except Serpentes, or snakes, and two families within Anguimorpha: Dibamidae and Rhineuridae, which are both legless lizard families. All of these clades that lack a sclerotic ring share either a burrowing lifestyle or lack of limbs, indicating a possible correlation among these traits and loss of the sclerotic ring. Lizards typically have 14 ossicles in the ring, though this can vary.

Within Archelosauria (turtles, birds, crocodilians, and relatives), only birds and turtles retain the sclerotic rings. Fossil evidence shows that extinct marine crocodiles living in the Mesozoic had sclerotic rings, so the trait was lost over time. Sclerotic rings of varying lengths, curvatures, numbers of ossicles, and thickness are found in all birds. Birds typically have 12-18 ossicles, with 14 being the most common number.

Fish
While all fish have scleral cartilage, Teleost fish are the only family to retain sclerotic rings, with the rings being absent in the more basal clades Cladistia, Chondrostei, Lepisosteiformes, and Amiiformes.

Teleost fish typically have only one or two ossicles per ring, and fish with no ossicles still retain cartilage. Most teleosts do not have ossicles, but this can vary even within groups. As a general trend, more basal groups (such as Elopomorpha and Osteoglossomorpha) tend to have no ossicles, while more derived groups (such as Percomorpha) are likely to have a variable number of ossicles (zero to two).

More active fish are more likely to have sclerotic rings, indicating that the rings help keep the eye stable during rapid swimming.

Gallery

References

Vertebrate anatomy
Dinosaur anatomy
Eye
Skull

Sclerotic ring


The Eagle HF89 and its evolution, the Eagle HF90, is a racing car built and entered by Dan Gurney's All American Racers team, for the IMSA GT Championship. It was raced from 1989 until 1991 in IMSA's premier sports-car racing category, the GTP (Grand Touring Prototype) division. The design was also sometimes called the Eagle MkII.

Background
From 1983 until 1988, Dan Gurney's team entered cars in the IMSA GTO and GTU divisions, with Toyota Celicas as the basis for their cars. After claiming the driver's and constructors' championships in the GTO division in 1987 with driver Chris Cord, and a third place in the division the following year, the AAR team switched to the IMSA GTP division for 1989.

The team used two types of cars; the other chassis was a TOM'S Toyota 88C car (an FIA Group C-based car). Both were powered by a turbocharged, 2.1-liter inline-4 engine producing approximately 600 horsepower, which was similar to the engines AAR used in their IMSA GTO and GTU cars.

The "Eagle" marque was used by Dan Gurney's AAR team to denote their racing cars, the "HF" comes from the initials of the designers' surnames, Hopkins and Fujimori, and 89 from the two-digit year of its initial competition. Four chassis were constructed, and two were modified in 1990 and reclassified as HF90.

History
The car made its debut at the 1989 IMSA Miami GTP race (car #99), but retired from the event with an engine timing belt malfunction. The team concentrated its efforts on the #98 car; AAR would not enter the HF89 until the Lime Rock GTP race. The car then completed its first race with a 5th-place finish at the following event at the Mid-Ohio GTP race. The HF89 did not finish any other races that season.

By 1990, the Eagle HF89 replaced the 88C, and chalked up its first win at the 1990 IMSA Topeka GTP event, with Juan Manuel Fangio II driving. The team followed up with three more wins: Sears Point, as well as temporary street course races at San Antonio and Del Mar.

While the team experienced some success in 1989 and 1990 with the HF89 and HF90 evolution, the chassis had a very small margin for setup error - in the words of driver Juan Manuel Fangio II, "When were in the window, the car was good in every way, but out of the window, the car was not right at all." This led the team to prepare a clean-sheet design for 1991 - the Eagle MkIII.

In 1991, the HF89 won its final IMSA GTP race with Fangio driving, at the IMSA Camel Continental VIII at Watkins Glen. At the following GTP race at Laguna Seca, the Eagle MkIII made its race debut with AAR, which would eventually replace the Eagle HF89. The final race for the Eagle HF89 was at the IMSA GT race at Portland, where it finished in third place.

References
Note: All specifications from

IMSA GTP cars
HF89
Toyota Racing Development
Cars of the United States

Eagle HF89


The Great Seal of France () is the official seal of the French Republic. After the 1792 revolution established the First French Republic, the insignia of the monarchy was removed from the seal. Over time, the new seal changed. At first, it featured Marianne, symbol of the revolution. It evolved to show that the people developed their culture and politics. In modern times, it depicts Liberty, along with aspects of culture such as art, education, and agriculture.

Description
The Great Seal features Liberty, wearing a crown with seven arches. She holds a fasces and is supported by a ship's tiller with a cock carved or printed on it, representing the Gallic rooster (le coq gaulois), a symbol of the Gauls and early French nation. At her feet is a vase with the letters "SU" ("Suffrage Universel", "Universal suffrage"). At her right, in the background, are symbols of the arts (painter's tools), architecture (Ionic order), education (burning lamp), agriculture (a sheaf of wheat) and industry (a cog wheel). The scene is surrounded by the legend "RÉPUBLIQUE FRANÇAISE, DÉMOCRATIQUE, UNE ET INDIVISIBLE" ("French Republic, democratic, one and indivisible") and "24 FEV.1848" (24 February 1848) at the bottom.

The reverse bears the words "AU NOM DU PEUPLE FRANÇAIS" ("in the name of the French people") surrounded by a crown of oak (symbol of perennity and justice) and laurel (symbol of glory) leaves tied together with wheat and grapes (agriculture and wealth), with the circular national motto "".

History

Pre-Revolution
The first seals were created by the Merovingian kings to authenticate their orders. Merely rings originally, later worn on a necklace, the royal seals grew bigger and bigger under the House of Capet to reach around . These are the modern dimensions of the seal.

All the seals under the Ancien Régime featured the king sitting on this throne and giving justice, yet every king had his own personal seal, a unique item which passed with him. All edicts, orders, decrees and declarations were then sealed.

Revolutionary period
On August 13, 1792, representatives of the National Convention arrested King Louis XVI. He was imprisoned, and later executed on January 21, 1793. This act of regicide demonstrated that "the Convention had irreversibly ruled out any compromise with the Revolution's opponents." With the absence of the king, the French Republic sought a new national symbol. It was from these tumultuous times that the French symbol of Marianne emerged. The French Revolution not only challenged the political authority of the Old Regime led by the monarchy; it also challenged the traditional symbols that had thus far defined the French people. Anthropologists have argued that every society needs a "center" which includes social and political mapping that gives the people a sense of their place. In the traditional model of authority, "the king was the sacred center and culture was firmly fixed in the longstanding notions of a catholic hierarchical order." By de-centering this frame of traditional authority while overthrowing the monarchy, revolutionaries realized that the cultural framework of the past could not be carried into the future, and that the use of the king as the insignia of the seal had to be replaced with a new seal signifying the Republic. Revolutionaries began iconoclastically destroying tangible reminders of the Old Regime, such as breaking the seals of royalty, the scepter and the crown and melting them into republican coins.

The abolition of royalty, however, led to questions about the importance of having a unified symbol. In the beginning, seals were only used to compensate for the imperfection of writing. Yet as Henri Grégoire argued, civilized people found that "a sign, a type, was necessary to give character to authenticity" to all public acts. The nation would only be recognizable by its public symbolic representation, and hence it was agreed that a new seal of state would be created to give the new republic a sense of permanence. The seal was not only a representation of public authority, but it signified the new republican mold. As Lynn Hunt puts it, "new symbols could make new men." The French Revolution stood for the notion that members of a society could invent culture and politics for themselves. As the National Convention worked to unify the Republic after the fall of the monarchy, the process to declare a national symbol became more urgent. In the end, "the choice of a new insignia seemed almost automatic." In order to dispel all traces of monarchical influence, the members of the National Convention "proposed the choice of Liberty." The choice was a clear one and deputies of the Convention like Abbe Grégoire proposed that the Republic's image should be "Liberty, 'so that our emblem, circulating all over the globe, should present to all peoples the beloved image of Republican liberty and pride.'" This notion of Liberty is, in a sense, "the very essence of the Republic."

Liberty was officially represented by the female figure of Marianne, which adheres to traditional iconographic expectations. The Phrygian cap worn by this figure of liberty was representative of the inherent freedom of the French people and provided a sharp contrast to the crown of the monarchy. According to Maurice Agulhon, an expert on this particular symbol of the French Revolution, Marianne "represented both Liberty, an eternal value, and at the same time the newly constituted regime of the French Republic."  She was depicted as "a woman holding a stave surmounted by a cap and trampling a yoke underfoot; this is the emblem that the ancients gave to Liberty won through valor." The feminine civic allegory of Marianne was distant from the controversial personalities of National Convention; therefore, Marianne's "abstraction and impersonality" allowed the symbol to endure the different phases of the Revolution. In addition, Marianne's close resemblance to the Catholic figure of Mary created unity between the rational revolutionaries and the devout peasantry. The emblem of Marianne was not only widely accepted, but also widely diffused in France. However, as the Revolution radicalized in 1793 with the rise of the Committee on Public Safety, the emblem of Marianne was replaced by a far more formidable symbol of the Revolution: Jacques-Louis David's statue of Hercules.

Post-Revolution
Napoléon, Louis XVIII and Charles X all used monarchical seals like the Old Regime, Louis-Philippe used one showing only his bust.

The present seal dates back to the Second Republic, which briefly used the seals of the First Republic before having a new design made by the artist Jacques-Jean Barre on the 8 September 1848.

Usage

Under the Second Republic, usage of the Great Seal of France tended to be reduced to sealing laws, decrees of the National Assembly and diplomatic treaties. The function of Keeper of the seals was officially linked to that of Minister of Justice at that time (the French Minister of Justice is popularly referred to "").

After the Second Empire, the practice of applying seals to laws was gradually abandoned and restricted to constitutional acts and diplomatic treaties (for instance, the Treaty of Versailles was sealed in this way).

Under the Fourth Republic, the only document to be sealed was the Constitution of October 27, 1946.

Since the Fifth Republic, after sealing the Constitution of October 4, 1958, it became common practice to seal some constitutional modifications. Used in 1946, and twice at the beginning of the Fifth Republic, the sealing ceremonies became much less common from 1963 to 1991 period when only two laws – ordinary, but of great symbolic importance – were sealed. Since 1992, the pace of ceremonies has increased again: the constitutional changes since then were often the subject of a seal.

The date of the ceremony was very close to the date of passage of the law until 1964. It was subsequently clearly separated from the vote and publication of the text. An extreme case consists in the Constitutional Law no. 99-569 of July 8, 1999 on equality between women and men, sealed March 8, 2002, two and a half years after the entry into force of the law.

Sealing ceremonies are always held at the  where the Keeper of the Seals, the Minister of Justice, holds a sealing press affixed to a best and the unique matrices of the Seal of the State.

Sealing documents

Sealing wax

Originally, sealers used a plastic sealing wax which they shaped by hand into generally circular pieces which were definitely shaped by a press.

Nowadays, a liquid wax is fed directly into the inferior part of a shape made of a stamp and a mobile metallic ring; the shape is closed and the wax cools down until it becomes pasty before it is applied.

Usage of the Great Seal having become obsolete between 1920 and 1946, the recipe for the wax was lost. In 1946, trials had to be made by the Sigillographic service of the National Archives.

Color

The Ancien Régime used a green wax for important documents, and a yellow for less important ones.

The Restoration, the July Monarchy and the Third Republic kept the yellow wax, while the First Republic, the Consulate and the Empire used a red wax.

The Constitution of 1946 is sealed with red wax. The Constitution of 1958 and subsequent documents were sealed with yellow wax, until 2002 when green was again used.

Ribbons

The Empire sealed on wide yellow and blue silk ribbons; the Republic and the Consulate, on a tricolor braid.

The Third Republic used the same red and green ribbon as the Monarchy. Since 1946 (the Fourth and Fifth Republics), a tricolor ribbon is in use.

Notes

Bibliography

Agulhon, Maurice. Marianne into Battle: Republican Imagery and Symbolism in France 1789-1880. Cambridge: Cambridge University Press, 1981.
Bourgin (Georges), Introduction à l'état sommaire des versements faits aux archives nationales par les ministères et les administrations qui en dépendant (série BB Justice), t. IV, lxxxxiii pages, Paris, Didier, 1947.
Les constitutions de la France, 1791-1992. Exposition réalisée par le Ministère de la Justice et l'association « Expo 200 », Paris, 6 novembre-31 décembre 1992.
Durand-Barthez (Pascal), Histoire des structures du Ministère de la Justice, 1789-1945, Paris, Presses universitaires de France, 1973, 92 p. : 35-36.
Durand-Barthez (Pascal), "Qu'est-ce que le Sceau de France", Histoire pour tous, n° 22, February 1962.
Guillaume (Marc), "Le Sceau de France, titre nobiliaire et changement de nom", paper delivered at the Académie des sciences morales et politiques, www.asmp.fr.
Hunt, Lynn. Politics, Culture, and Class in the French Revolution. Berkeley: University of California Press, 1984.
Monnerie (Michel), "Sceller avec le grand Sceau de l'État. Mode d'emploi", Histoire de la Justice, 7, 1994, p. 199-207.
Nave (Guilhem), Les textes constitutionnels de 1791 à 1995. Analyse technique des documents, Unpublished report, October 1996, 27 p. [to be consulted at the French Archives nationales].
Nielen-Vandevoorde (Marie-Adélaïde), "Le sceau de la 5e République", Revue de l'AMOPA, 161, July 2003, p. 27 à 29.
Popkin, Jeremy D. A Short History of the French Revolution. Boston: Prentice Hall, 2010.
Rouvier (Louis), Les Sceaux de la Grande Chancellerie de France de 458 à nos jours, Marseille, imprimerie de la société du Petit Marseillais, 1935, 94 p. : 83-84. [About the great and the little seals of the third Republic].
Rouvier (Louis), La Chancellerie et les Sceaux de France, Marseille, Imprimerie marseillaise-Moullot, 1950, 181 p. : p. 87-89.
Vallet (J.), "Le Sceau de France", La Vie judiciaire, August, 14-20 1977, p. 5.
Yvorel (Jean-Jacques), " 'Déritualisation' et désacralisation de l'audience du sceau (XVIIIe-XIXe siècles)", Le sanglot judiciaire, la désacralisation de la justice, VIIIe-XXe siècles, Séminaire de Royaumont sous la direction de Frédéric Chauvaud, Créaphis, 1999, p. 209-224.

Further reading

Agulhon, Maurice. Marianne into Battle: Republican Imagery and Symbolism in France, 1789-1880. Cambridge: Cambridge University Press, 1981.
Kafker, Frank A., and James Michael Laux. The French Revolution: Conflicting Interpretations. New York: Random House, 1968.
Ozouf, Mona. Festivals and the French Revolution. Cambridge, Mass.: Harvard University Press, 1988.
Popkin, Jeremy D. A Short History of the French Revolution. 2nd ed. Upper Saddle River, N.J.: Prentice Hall, 1998.

1848 establishments in France
French heraldry
Government of France
Liberty symbols
France
France
National symbols of France
Symbols introduced in 1848

Great Seal of France


Motoactv (styled MOTOACTV) is a smartwatch sold by Motorola Mobility which contains a number of hardware features and software applications tailored to fitness training.  The watch contains apps for monitoring athletic activity using a built-in accelerometer to measure strides and GPS to measure distance. It can also be synced with a Speed/Cadence Bike Sensor or foot pod via ANT+ technology. The watch can communicate with external devices over Bluetooth 4.0 such as pulse sensor and Bluetooth stereo headphones for music.  In addition, there is a DJ mode that will custom tailor the music dynamically to the workout. It was announced on October 18, 2011, and released to the US market on November 6, 2011. The watch was discontinued by Motorola in 2013.

When connected to a phone, the watch will display caller ID, text messages and calendar alerts. Plugins are available for Facebook, Twitter and Weather.

The device reports that it is running Android 2.3.4 which according to Google is the same API as Android 2.3 with some minor patches and bug fixes.

Hardware specifications
 600 MHz OMAP3 (3630) ARMv7 CPU supporting ARM extensions thumb, vfp, vfpv3, edsp & neon.
 256MB of RAM and 8GB or 16GB of NAND Flash Memory
 802.11b/g/n
 Bluetooth 4.0 (low-power mode)
 ANT+ for connectivity to fitness sensors (heart rate, etc.)
 FM Tuner (w/RDS for station & song identification)
 PowerVR GPU
 1.6" 220x176 capacitive multitouch LCD display
 5 additional hardware buttons on the side [Start, Music, Volume +, Volume -, Standby]
 1 additional capacitive button on the front for Back.

Android software
Many apps install and run with the small 220x176 display, though not often very usably. CMW reports Angry Birds runs well.  Google Earth performs well but with some UI issues.  Google Maps not only runs well and utilizes the built-in GPS, it is very usable on the tiny screen.  With the Street View addon installed, Motoactv. GPU impressively handles pseudo 3D Street View transitions at a fluid 60fps.

Usability tweaks
One particular limitation with the Motoactv is the lack of either an on-screen or hardware "Menu" key, which is necessary to access most of the functionality of most Android apps.  This can be remedied by remapping one of app-specific buttons at the top.  For instance, the 'Music' key can be remapped to Menu simply by mapping key 387 to menu in file /system/usr/keylayout/sholes-keypad.kl.  In order to change files in /system, an "adb remount" must be issued.

References

External links
 Official Motorola MOTOACTV Product Page
 CMW's initial announcement of booter patch

Android (operating system) devices
Motorola products
Smartwatches

Motoactv