Mikalojus Konstantinas Čiurlionis (;  – ) was a Lithuanian composer, painter, choirmaster, cultural figure, and writer in Polish.

Čiurlionis contributed to symbolism and art nouveau, and was representative of the fin de siècle epoch. He has been considered one of the pioneers of abstract art in Europe. During his short life, he composed about 400 pieces of music and created about 300 paintings, as well as many literary works and poems. The majority of his paintings are housed in the M. K. Čiurlionis National Art Museum in Kaunas, Lithuania. His works have had a profound influence on modern Lithuanian culture.

Biography

Childhood and early music studies
Mikalojus Konstantinas Čiurlionis was born in Senoji Varėna, a town in southeastern Lithuania that at the time was in the Russian Empire (now Lithuania). His mother Adelė née Radmanaitė (Radmann) (1854-1919) was descended from a Lutheran family of Bavarian origin, born in Vileikiai village (Lazdijai region). His father Konstantinas Čiurlionis (1851-1914, born in Guobiniai) whas an organist and a choirmaster, who briefly played the organ in Liškiava where the couple met. The new family moved to Senoji Varėna, where their firstborn was born. There were 9 children in the family: Mikalojus Konstantinas (1875-1911), Marija (1879-1969), Juzė (1882-1969), Povilas (1884-1945), Stasys (1887-1944), Petras (1890-1924), Jonas (1891-1955), Valerija (1896-1955), and Jadvyga (1898-1992). Čiurlionis's family spoke Polish, Mikalojus Konstantinas could understand and read Lithuanian, but he was not proficient and later asked help with it from his fiancée in 1907.

In 1878, his family moved to Druskininkai,  away, where his father went on to be the town organist. Mikalojus Konstantinas, called Konstantinas or Kastukas by the family quickly showed his musical abilities - he was a musical prodigy: he could play by ear at age five and could sight-read music freely by age seven. He would often fill in for his father to play the organ at Mass, while he played piano at home. Their friend doctor Jozef Markiewicz spotted his talents and after he finished the folk school of Druskininkai, wrote a letter to the Lithuanian noble Michał Mikołaj Ogiński  to enroll M. K. Čiurlionis to the Palace Orchestra School in Plungė.

M. K. Čiurlionis studied in the Plungė Palace Orchestra School from 1889 to 1893.  Here he played the flute, received his first orchestra uniform and musical theory basics. He would often travel with the orchestra to play concerts in Rietavas, Palanga, Riga. He had a warm relationship with M. Ogiński, and so the Duke granted him a scholarship which allowed the composer to study in Warsaw.

Life abroad
Supported by Prince Ogiński' scholarship Čiurlionis studied piano and composition at Warsaw Institute of Music from 1894 to 1899. He studied piano with the guidance of , composition with the guidance of the composer Zygmunt Noskowski. Here he met the future Polish composer and director or Warsaw Conservatory . Together they've discussed music and paintings, critiqued each other's compositions, went on vacation in Morawski's parents' place in Zakroczym. Here he met his friend's sister Maria Morawska. Father, after noticing the love of his young daughter and at the time unknown artist, intervened and married Maria of to a widower. M. K. Čiurlionis buried himself in work: wrote preludes, fugues, canons, variation cycles for the piano. For his graduation, in 1899, he wrote a cantata for mixed chorus and symphonic orchestra titled De Profundis, and received the diploma for composition specialty. He declined the offer to become the orchestra master for Lublin's Music Society Choir and continued creating - in 1900 he finished his first symphonic poem "In the Forest", which was dedicated to E. Morawski.

After receiving the approval and further scholarship from M. Ogiński, in 1901 M. K. Čiurlionis joined the Leipzig Conservatory, where he was taught composition by Carl Reinecke, contrapunto by Salomon Jadassohn. Though he was not proficient in German, he still enrolled to aesthetics, history, psychology classes. It is apparent from the letters that M. K. Čiurlionis felt very lonely in Leipzig and he wanted to come back to Druskininkai, he kept constantly writing letters to his family and E. Morawski.

As he was in Leipzig, he listened to and studied the works of G. F. Haendel, P. Tchaikovsky, R. Wagner, F. Liszt, H. Berlioz, R. Strauss, created the symphonic overture "Kęstutis". Since he couldn't come back home, he started drawing during his free time. The sudden death of M. Ogiński and disrupted financial support made it harder to finish the Conservatory, but he succeeded in receiving the teacher's license from Leipzig's Conservatory.

Interest in painting
M. K. Čiurlionis returned to Warsaw in 1902 and joined the Warsaw Drawing school where he was taught drawing by Jan Kauzik. As he was living in Warsaw, he had to work as a private music tutor to support himself and his brothers who were also studying in Warsaw. With the strong decision to paint, he refused to teach at Warsaw's Institute of Music. In 1903, he painted the 7 painting cycle "Funeral Symphony", but also did not forget music: he started creating his second symphonic poem "The Sea".

He continued his painting studies in Warsaw School of Fine Arts from 1904 to 1906.  His main teacher in Warsaw was symbolist painter Kazimierz Stabrowski, who was also the founder of the first lodges of the Theosophical Society in Poland and passed to Čiurlionis an interest in Theosophy and other esoteric subjects. In the School he was taught drawing by , Konrad Krzyżanowski, sculpture by Xawery Dunikowski, painting by Ferdynand Ruszczyc, went to the organized plein-airs. In 1904 he has shown 19 of his works (stained glass projects, cycle of 6 paintings "The Storm", book covers) in the private exhibition of the School. In 1905 there was M. K. Čiurlionis exhibition, where he has shown the 10-painting cycle "Fantasies", in the same year he has also participated in the first annual exhibition of Warsaw School of Arts.

As he was working as a private music tutor, he has acquainted himself with the family of Wolmans, who quickly became his friends. He had an especially warm relationship with Bronisława Wolman, who sponsored M. K. Čiurlionis' painting. As a thank you, M. K. Čiurlionis gifted her numerous paintings including "Friendship" (1906/1907). In 1905 B. Wolman invited M. K. Čiurlionis with a couple of his friends to resort town of Anapa, near the Black Sea. Here M. K. Čiurlionis traveled the Caucasus, painted, photographed, searched for inspiration.

B. Wolman gave M. K. Čiurlionis money for his trip in Europe: he went to Prague, Dresden, Nuremberg, Munich, Vienna, the artist adored the works of Van Dyck, Rembrandt, Böcklin. In 1906 he has shown his works in the exhibition of Warsaw's School of Fine Arts in Saint Petersburg (the cycles "Creation of the World", "Day", "The Storm" and other creations). Articles started appearing in the press about M. K. Čiurlionis, the first Lithuanian article was in "Vilniaus žinios" (no. 123).

Dedication to Lithuania
In 1906, M. K. Čiurlionis wrote to his brother Povilas: "I am going to dedicate all of my previous and future work to Lithuania". As he received the invitation to participate in the First Exhibition of Lithuanian Art in 1907 at Vileišis Palace, Vilnius, he sent his paintings (33 paintings shown), and also helped organizing it. Soon after this event, the Lithuanian Art Society was founded, and Čiurlionis was one of its 19 founding members.

In 1907 M. K. Čiurlionis moved to Vilnius and actively involved himself in the cultural life: he was elected to the board of Lithuanian Art Society, was the choirmaster of choir "Vilniaus kanklės". During his visit to the dress rehearsal of "Blinda" by Gabrielius Landsbergis-Žemkalnis he met the writer Sofija Kymantaitė (1886–1958). Together with her and the Lithuanian Art Society they prepared the Second Exhibition of Lithuanian Art, discussed the creation of "Folk Palace" (art museum).

Together with Sofija (fiancée) they went to Palanga in 1908, and on 1 January 1909 they got married, later visited Sofija's parents in Kuliai, Karklėnai, Sofija's uncle in Plungė, stayed in Druskininkai.

Fight for Recognition and Death
Trying to become more known, M. K. Čiurlionis followed his friends' advice and left for Saint Petersburg in 1908. Here he met Mstislav Dobuzhinsky, who introduced the Lithuanian artist to the Russian Artist Society. To have enough money, he had to once again become a private music tutor. While being in Saint Petersburg, M. K. Čiurlionis did not forget Lithuania: he offered Lithuanian Art Society to create a music section, sent harmonized folk songs to "Vilniaus kanklės" choir, together with Sofija wrote music for their opera "Jūratė".

In 1909, after the wedding and parent visits, both newlyweds came to Saint Petersburg. Here M. K. Čiurlionis paintings were exhibited in "Salon" exhibition, in the Sixth Exhibition of Russian Artist Society, among them - his newest painting - "Rex" (1909). Few of his paintings he has also sent to the First Spring Exhibition of Vilnius Artist Society, to the Thirteenth Art Lover Society "Sztuka" Exhibition in Krakow. In March, 1909, Sofija and M. K. Čiurlionis came back to Lithuania, where they helped organizing the Third Art Exhibition of Lithuanian Art, painted the "Rūta" Society hall curtain, wrote the critique essay book "In Lithuania". At the end of the year, M. K. Čiurlionis left for Saint Petersburg again.

Constant work without breaks, material deprivations tired out M. K. Čiurlionis - Sofija found him acting strange on Christmas Eve and brought him to a neuropathologist and psychiatrist V. Bechterev, who diagnosed him with burnout. In 1910 both came back to Druskininkai, later M. K. Čiurlionis was hospitalized in a health resort "Czerwony Dwór" (Red Manor) in Marki, Poland, northeast of Warsaw. While he was getting better, his only daughter - Danutė - was born. In 1911, he went for a walk and got pneumonia and died on 10 April 1911 at 35 years of age. He was buried at the Rasos Cemetery in Vilnius. He never saw his daughter Danutė (1910–1995).

Čiurlionis felt that he was a synesthete; that is, he perceived colours and music simultaneously. Many of his paintings bear the names of musical pieces: sonatas, fugues, and preludes.

M. K. Čiurlionis as a composer
M. K. Čiurlionis is the originator of Lithuanian professional music. The precise number of Čiurlionis musical compositions is not known – a substantial part of his manuscripts did not survive, including those that perished in the fire during the war. The ones available for us today include sketches, rough drafts, and fragments of his musical ideas. The nature of the archive determined the fact that Čiurlionis' works were finally published only a hundred years after the composer's death. Today, the archive amounts to almost 400 compositions, the major part of which are works for piano (around 200), but also significant opuses for symphony orchestra (symphonic poems "In the Forest" and "The Sea", symphonic overture "Kęstutis", cantata for choir and orchestra "De Profundis"), string quartet, fugue "Kyrie", works like "Sanctus", "Agnus Dei", "Let's not be sad" ("Neliūskime"), works for various choirs (original compositions and Lithuanian folk song arrangements (around 40)), as well as works for organ.

In 1909 in Warsaw his collection book of harmonized Lithuanian folk songs "Vieversėlis" was published. M. K. Čiurlionis' harmonized folk songs like "Dawning dawn" ("Beauštanti aušrelė"), "Oh It Goes, It Goes" ("Oi lekia, lekia"), "Dad Will Dance" ("Šoks tėvelis suktinį"), and "Promised So Far" ("Taip toli žadėta") were played/sung in Lithuanian song festivals in Chicago (USA) and Toronto (Canada).

Together with Kazimieras Būga, Augustinas Voldemaras, Česlovas Sasnauskas, J. Tallat-Kelpša, M. K.Čiurlionis has prepared the Lithuanian music terminology dictionary "Our music terminology" ("Mūsų muzikos terminologija") in 1909.

Some of his most-performed musical works include:

Orchestral
Miške (In the Forest), symphonic poem for orchestra (1901; published posthumously)
Kęstutis, Symphonic Overture (1902; piano score survives, orchestrated by Robertas Šervenikas)
Jūra (The Sea), symphonic poem for orchestra (1907; published posthumously)
Pasaulio sutvėrimas (The Creation of the World), Symphonic Poem (c. 1907; reconstructed by Arvydas Malcys)
Dies Irae, Symphonic Poem (c. 1910, reconstructed by Giedrius Kuprevičius)

Choral
Folk songs for choir
De Profundis, for choir and orchestra

Chamber music
String Quartet in C minor

Piano
Nocturne in C-sharp minor
Prelude in B-flat minor
Prelude in F-sharp major
Nocturne in F minor
Impromptu in F-sharp minor
Prelude in A major
Prelude in D flat major
Fugue in B minor
Karalaitės kelionė: Pasaka (The Princess's Journey: A Fairy Tale)

Organ
Seven fugues for organ (Fugue in G minor)

M. K. Čiurlionis as a painter
M. K. Čiurlionis started to form late as a painter. Even though it is known that he would paint his surroundings while studying in Plungė in 1893, he started his professional painter path only when he was 27 years old, after he joined Warsaw's Drawing School. Later M. K. Čiurlionis said "They did not teach me anything there that I wanted to learn". Already in the first paintings you could see M. K. Čiurlionis' inclination towards symbolism and abstraction, the veil of mysticism and secrecy in creating. As the most comfortable art technique for himself, the artist chose the antique painting method with tempera. Another characteristic, showing M. K. Čiurlionis attraction to antique art - compositions of cycles, diptychs, triptychs, most common to art of Middle Ages.
In the first M. K. Čiurlionis paintings (from 1903) there is an abundance of fantasy creatures, mystic rulers of the past, traces of Lithuanian pagan culture, elements of cosmogony - Gods, planets, stars, the Sun. These elements were accompanied the painter during all of his creative life, receiving more concrete and suggestive forms. From the very beginning, M. K. Čiurlionis felt that the best form to express himself is the cyclical exploration of an idea. And thus such cycles were created like 7-painting cycle "Funeral symphony" (1903), 4-painting cycle "Day" (1904, one painting missing), 5-painting cycle "The Deluge" (1904, one painting missing), triptych "Rex" (1904, not to confuse with the culminative painting "Rex" of 1909), 13-painting cycle "Creation of the World" (1905/6), 3-painting cycle "Sparks" (1906), 12-painting cycle "Zodiac" (1906).

The time between 1907 and 1909 is the most mature and productive for M. K. Čiurlionis as a painter. Paintings have clearer, more stylized forms. His 8-painting cycle "Winter" (1907) and triptych "My Road" (1907) are especially mature, verging on the border of abstraction. There are more traces of musical structure in his painting: the 4-painting cycles, repeating the musical sonata structures with parts allegro, andante, scherzo, finale. M. K. Čiurlionis painted 7 sonatas which received their associative names after his death: "Sonata I (Sonata of the Sun)" (1907), "Sonata II (Sonata of the Spring)" (1907), "Sonata no. 3 (Sonata of the Serpent)" (1908), "Sonata no. 4 (Sonata of the Summer)" (1908), "Sonata no. 5 (Sonata of the Sea)" (1908), "Sonata no. 6 (Sonata of the Stars)" (1908), "Sonata no. 7 (Sonata of the Pyramids)" (1909). There are other musical paintings such as diptych "Prelude and Fugue" (1908), "Prelude. Fugue" (1908), as well as triptych's "Fantasy" (1908) middle part of Fugue.

M. K. Čiurlionis pays a lot of attention to Lithuania's past culture, nature of his homeland. Like creating music, when painting he looks for inspiration in folk art and culture. We can see that not only in the landscape triptych "Raigardas" (1907), but also in fairytale motive full paintings "The Prince's Jouurney" (1907), triptych "Fairytale" (1907), we can find ethnographic motives in the painting "Fairytale (Fairytale of the Fortress)" (1909).

One of the most famous M. K. Čiurlionis painting is "Rex", created in 1909. Here the artist's experience connects with the research of C. Flammarion, Holy Scripture, Indo-European myths.

Some of the most popular Mikalojus Konstantinas Čiurlionis paintings include:

 Friendship (1906)
 8 painting cycle Winter (1906–1907)
 12 painting cycle The Zodiac (1907)
 13 painting cycle Creation of the World (1906-1907)
 Spring – four paintings (1907–08)
 3 painting cycle Summer  (1907–08)
 Sonata I (Sonata of the Sun) (1907)
 Sonata II (Sonata of the Spring) (1907)
 Sonata no. 3 (Sonata of the Serpent) (1908)
 Sonata no. 4 (Sonata of the Summer')' (1908)
 Sonata no. 5 (Sonata of the Sea) (1908)
 Sonata no. 6 (Sonata of the Stars) (1908)
 Sonata no. 7 (Sonata of the Pyramids) (1908)
 Diptych Prelude and Fugue (1908)
 Triptych Fantasy (1908)
 3 painting cycle Fairy-Tale (1909)
 Rex (1909)
 Fairytale of the Kings (1908-1909)

Posthumous recognition

After Čiurlionis's death in 1911, the Russian critic  (transliterated as Tschoudowsky in English) wrote: Now that he is dead, the authors of the spiritual revival of Lithuania present Ciurlionis (sic) as a national artist. It is not for us to judge; however his extraordinary independence of all contemporary art leads one to believe that he was really created by the hidden forces of his people; and it is well for us to be able to believe that this singular genius does not merely represent a chance caprice of fate, but is the precursor of a future sublime Lithuanian art. When I think of him, an idea imposes itself on my mind: the Lithuanian people had no Middle Ages, perhaps it has preserved intact until the 20th century, even better than we Russians, the immense energy of mystic life inherited from the Arians which our Western brothers have so prodigally squandered in their Middle Ages.In 1911, the first posthumous exhibition of Čiurlionis's art was held in Vilnius and Kaunas. During the same year, an exhibition of his art was held in Moscow, and in 1912 his works were exhibited in St. Petersburg.

On 13 January 1913, Čiurlionis division was formed next to Lithuanian Art Society and one of its goals was to accumulate the late painter's works of art. The necessity to save M. K. Čiurlionis heritage rushed art lovers to take more action in creating the "Folk Palace" - the art museum to house these paintings.

In 1913 with the initiative of Stasys Šilingas and Antanas Žmuidzinavičius, a fund to buy M. K. Čiurlionis' paintings was created. The finances came from donations and the members of Lithuanian Art Society fees.

On 14 December 1921 the law to create M. K. Čiurlionis gallery was passed by Constituent Assembly of Lithuania. The temporary M. K. Čiurlionis gallery was opened in Kaunas on 13 December 1925 thanks to Paulius Galaunė.  On 1 November 1936, the gallery was moved to the newly built Vytautas Magnus Culture Museum palace. In 1944, this art museum was renamed M. K. Čiurlionis State Museum of Arts.

In 1957, the Lithuanian community in Chicago opened the Čiurlionis Art Gallery, hosting collections of his works.

In 1963, the Čiurlionis Memorial Museum was opened in Druskininkai, in the house where Čiurlionis and his family lived. This museum holds biographical documents as well as photographs and reproductions of the artist's works. In 1965, the second Čiurlionis' family home opened up.

In 1964, Lithuanian alpinists climbed several peaks of the Pamir Mountains in Tajikistan and named the first one (5794 m) Čiurlionis Peak (Lithuanian: Čiurlionio viršūnė) under the suggestion of a team member, pianist Aleksandras Jurgelionis.

In 1965, a sculptor, medal creator Juozas Kalinauskas created the M. K. Čiurlionis memorial medal.

The National M. K. Čiurlionis School of Art in Vilnius was named after M. K. Čiurlionis in 1965. It received the National status in 2001.

In 1968 the M. K. Čiurlionis quartet[lt] was formed.

In 1969 M. K. Čiurlionis gallery was moved to the annex building (architect Feliksas Vitas) of the museum.

Čiurlionis inspired the Lithuanian composer Osvaldas Balakauskas' work Sonata of the Mountains (1975), and every four years junior musical performers from Lithuania and neighboring countries take part in the Čiurlionis Competition.

In 1975 the Crimean astrophysicist Nikolai Chernykh discovered a new asteroid (diameter of 8 km) and named him Čiurlionis asteroid.

In Senoji Varėna, in the place of the house where M. K. Čiurlionis was born there is a memorial rock. From Old Varėna to Druskininkai there is "Čiurlionis route" an alley of 22 oak waycrosses, created by folk craftsmen in 1975-1976.

In 1995 Druskininkai music school was named after M. K. Čiurlionis. Here the international M. K. Čiurlionis pianist and organ player competitions are held.

In 1995 M. K. Čiurlionis home in Vilnius was opened.

1997 the M. K. Čiurlionis State Museum of Arts was given the status of a National museum and was renamed to M. K. Čiurlionis National Art Museum and still hosts the majority of Čiurlionis paintings. Some of his paintings are also in Lithuanian National Museum of Art, Warsaw's National Museum, State Russian museum in Saint Petersburg.

Čiurlionis's works have been displayed at international exhibitions in Japan, Germany, Spain, and elsewhere. His paintings were featured at "Visual Music" fest, an homage to synesthesia that included the works of Wassily Kandinsky, James McNeill Whistler, and Paul Klee, at the Museum of Contemporary Art, Los Angeles in 2005.

In 2009, Genovaitė Kazokas () published Musical Paintings, a book where she argued that Theosophy, esotericism and Spiritualism were important influences on Čiurlionis' art.

In 2009 LRT (Lithuanian national television) had 12 documentary episodes, dedicated to M. K. Čiurlionis, called "Code of Čiurlionis", in series "Signs of Time" (Laiko ženklai). Authors were L. Pociūnienė, P. Savickis.

A commemorative plaque has been placed on the building of the former hospital in Marki, Poland where Mikalojus Konstantinas Čiurlionis died in 1911.

In 2011, commemorate the artist's 100 years of death, UNESCO declared the year of M. K. Čiurlionis. The remembrance of M. K. Čiurlionis was celebrated with various events. There was a specific musical note manuscript published in Japan.

Čiurlionis's life was depicted in the 2012 film Letters to Sofija, directed by Robert Mullan.

In 2019 the first national sertified cultural route "M. K. Čiurlionis route" started its acitivities. Each year it unites 7 regions of Lithuania (connected to M. K. Čiurlionis) in two main events, celebrating M. K. Čiurlionis (topographic week "Lithuania of M. K.Čiurlionis" in May, and M. K. Čiurlionis birthday celebration in September).

 M. K. Čiurlionis' researchers
The personality and creations of M. K. Čiurlionis interest not only Lithuanian, but also foreign art researchers. The most famous researchers in Lithuania are his sisters Jadvyga Čiurlionytė and Valerija Čiurlionytė-Karužienė, other famous researchers include Vytautas Landsbergis, Antanas Andrijauskas, Rasutė Andriušytė-Žukienė. There are many books and articles continuously published.

Books about M. K. Čiurlionis:

 P. Galaunė "M. K. Čiurlionis" (1938)
 N. Worobiow "M.K. Čiurlionis, der litauische Mahler und Musiker" (1938)
 V. Čiurlionytė-Karužienė "M. K. Čiurlionis. Apie muziką ir dailę" (1960)
 J. Čiurlionytė "Atsiminimai apie M. K. Čiurlionį" (1963)
 A. Savickas, J. Gaudrimas " M. K. Čiurlionis" (1965)
 V. Landsbergis compiled "M. K. Čiurlionio laiškai Sofijai" (1973)
 G. Vaitkūnas "Mikalojus Konstantinas Čiurlionis" (1975)
 V. Landsbergis "Čiurlionio dailė" (1976)
 J. Bruveris compiled "Čiurlioniui 100" (1977)
 V. Landsbergis "Vainikas Čiurlioniui" (1980)
 R. Aleksis "Mikalojus Konstantinas Čiurlionis Lithuanian Visionary Painter" (1984)
 S. Yla "M.K.Čiurlionis kūrėjas ir žmogus" (1984)
 V. Landsbergis "Čiurlionio muzika" (1986)
 V. Landsbergis "M.K.Čiurlionis. Time and Content" (1992)
 S. Goštautas compiled "Čiurlionis:painter and Composer. Collected essays and Notes, 1906-1989" (1994)
 S. Fauchereau "Ciurlionis par exemple" (1996)
 J. Siedlecka "Mikołaj Konstanty Čiurlionis Preludium Warszawskie" (1996)
 V. Koreškovas "Mikalojus Konstantinas Čiurlionis. Paveikslai, eskizai, mintys" (1997)
 V. Landsbergis compiled "Žodžio kūryba" (1997 m.)
 A. Nedzelskis, G. Domin "M.K.Čiurlionis in Leipzig" (1999)
 V. Strolia "M.K.Čiurlionio diskografija" (2001)
 D. Kučinskas "M.K.Čiurlionio fortepijoninės muzikos tekstas (genezės aspektas)" (2004)
 R. Andriušytė-Žukienė "M.K.Čiurlionis: tarp simbolizmo ir modernizmo" (2004)
 V. B. Pšibilskis compiled "Atsiminimai apie M.K.Čiurlionį" (2006)
 Collection of articles "Čiurlionio amžius" (2006)
 E. Giszter "Mikalojus Konstantinas Čiurlionis litewski malarz i kompozytor" (2006)
 D. Kučinskas "Chronologinis Mikalojaus Konstantino Čiurlionio muzikos katalogas" (2007)
 V. Landsbergis "Visas Čiurlionis" (2008)
 R. Okulicz-Kozaryn "Lietuvis tarp karaliaus-dvasios įpėdinių" (2009)
 G. Kazokas "Musical paintintings. Life and work of M. K. Čiurlionis (1875-1911)" (2009)
 Collection of articles "Meno idėjų migracija XX a. pradžioje: M. K. Čiurlionio amžininkų kūryba" (2010)
 R. Janeliauskas "Neatpažinti Mikalojaus Konstantino Čiurlionio muzikos ciklai" (2010)
 S. Urbonas complied "Čiurlionis Vilniuje" (2010)
 "M. K. Čiurlionis ir pasaulis" (2011)
 V. Landsbergis "Mažoji čiurlioniana" (2011)
 V. Landsbergis "Mikalojus Konstantinas Čiurlionis. Laiškai Sofijai" (2011)
 G. Daunoravičienė, R. Povilionienė "Mikalojus Konstantinas Čiurlionis (1875-1911): jo laikas ir mūsų laikas" (2013)
 D. Kamarauskienė "Išėjau su Čiurlioniu. Tuoj grįšiu" (2014)
 L. Laučkaitė "M. K. Čiurlionis et l'art lithuanian au debut su XX' siecle" (2016)
 N. Gaidauskienė "Mikalojus Konstantinas Čiurlionis Vilniuje" (2016)
 M. Pleitaitė, K. Momkus "Šiandien karaliai mums pasakas seka" (2017)
 N. Gaidauskienė, R. Zubovas "Čiurlionio namai Vilniuje: istorija ir veikla" (2017)
 R. Okulicz-Kozaryn, N. Adomavičienė, P. Kimbris compiled "Mikalojus Konstantinas Čiurlionis: korespondencija 1892-1906" (2019)
 J. Šeniavskij "M. K. Čiurlionis ir Sankt Peterburgas" (2019)
 S. Žvirgždas "M. K. Čiurlionis ir Vilnius" (2019)
 S. Jastrumskytė compiled "Čiurlionis ir pasaulis. Estetikos ir meno filosofijos tyrinėjimai VI" (2019)
 M. Mildažytė-Kulikauskienė compiled "Mikalojus Konstantinas Čiurlionis: Piešiniai, kompozicijų eskizai, grafika" (2020)
 V. Palčinskaitė "Trolis Molis ir Čiurlionis" (2021)
 A. Andrijauskas "Teosofinės meno filosofijos idėjų atspindžiai Stabrausko ir Čiurlionio tapyboje" (2021)
 S. Fauchereau "Baltijos šalių menas XIX-XX a." (2021)
 Ž. Svigaris, L. Ivanova "Sonatiniai M. K. Čiurlionio garsovaizdžiai" (2022)
 A. Andrijauskas "Čiurlionio orientalizmo metamorfozės" (2022)
 V. Landsbergis "Debesies laivu: užrašai apie Mikalojų Konstantiną Čiurlionį" (2022)

To further research on M. K. Čiurlionis each year the conference "Sonatic soundscapes of M. K. Čiurlionis" is held in Druskininkai. A lot of institutions, researching M. K. Čiurlionis are united by the first national sertificated cultural route "M. K. Čiurlionis route".

 Gallery

Family
Mikalojus had four brothers: Povilas Čiurlionis (1884-1945),  (1887-1944), Petras Čiurlionis (1890-1924),  (1891-1955) and four sisters: Marija Čiurlionytė (1879-1969), Juzė Čiurlionytė-Stulgaitienė (1882-1966), Valerija Čiurlionytė-Karužienė (1896-1982),  (1898-1992).

See also
List of things named after Mikalojus Konstantinas Čiurlionis
Rokas Zubovas

Notes

References

Further reading

 Andriušytė-Žukienė Rasute. 2002. The Art of Mikalojus Konstantinas Čiurlionis: At the Junction of Two Epochs. Vilnius: Organisation Committee Frankfurt.
 Andriušytė-Žukienė, Rasute. 2004. M.K. Čiurlionis: Tarp Simbolizmo ir Modernizmo.Vilnius: Versus Aureus.
 Čiurlionytė, Jadwyga. 1973. Atsiminimai apie M. K. Čiurlionį. Vilnius: Vaga.
 Goštautas, Stasys with Birutė Vaičjurgis-Šležas, editors. 1994. Čiurlionis: Painter and Composer. Collected Essays and Notes, 1906–1989. Vilnius: Vaga.
 Kazokas, Genovaitė. 2009. Musical Paintings: Life and Work of M. K. Čiurlionis (1875–1911). Vilnius: Logotipas.
 Rannit, Aleksis. 1984. M.K. Čiurlionis: Lithuanian Visionary Painter. Chicago: Lithuanian Library Press.
 Užukauskaitė, Lina. 2019. Ein ikonisches Paar: Mikalojus Konstantinas Čiurlionis' Briefe an Sofija. In: Liebesgeschichte(n): Identität und Diversität vom 18. bis zum 21. Jahrhundert. Hg. v. Frank Becker und Elke Reinhardt- Becker. Frankfurt am Main, New York: Campus, 131-149. ISBN 9783593510293
 Vorobjov, Nikolai. 1938. M.K. Čiurlionis, der litauisches Maler und Musiker.'' Kaunas and Leipzig: Verlag Pribačis.

External links

 Mikalojus Konstantinas Čiurlionis: Life, Paintings, Music
 Biography at the Lithuanian Music Information and Publishing Centre

 The complete Piano Music of Mikalojus Konstantinas Čiurlionis: Nikolaus Lahusen/Rokas Zubovas

1875 births
1911 deaths
19th-century classical composers
19th-century Lithuanian painters
19th-century male musicians
20th-century classical composers
20th-century Lithuanian painters
20th-century male musicians
Lithuanian classical composers
Lithuanian people of German descent
Male classical composers
Romantic composers
Art Nouveau painters
Symbolist painters
Academy of Fine Arts in Warsaw alumni
Chopin University of Music alumni
People from Troksky Uyezd
People from Varėna District Municipality
Pupils of Salomon Jadassohn
Burials at Rasos Cemetery
Deaths from pneumonia in Poland
Lithuanian writers in Polish

Mikalojus Konstantinas Čiurlionis


Aaron Lemonick (February 2, 1923 – June 19, 2003) was a Princeton University physics professor and administrator who served as dean of the graduate school from 1969 to 1973, and as dean of the faculty from 1973 to 1989. Joseph Taylor, winner of the 1993 Nobel Prize in Physics, attributes his decision to study physics instead of mathematics to Lemonick's freshman physics course at Haverford. Princeton awarded him the President's Award for Distinguished Teaching when he retired in 1994, and he received an honorary degree in 2001.

Lemonick served in the US Air Force during World War II, and later attended the University of Pennsylvania as an undergraduate. He began his association with Princeton as a graduate student in physics and received his Ph.D. in 1954. He taught at Haverford College and became chair of the physics department there in 1957, as well as working as a research collaborator at Brookhaven National Laboratory. He became a member of the Princeton faculty as an associate professor of physics in 1961. He was elected a Fellow of the American Physical Society in 1964. He was the father of Science writer Michael D. Lemonick

Ruth Simmons, the current president of Brown, who worked under Lemonick as a Princeton administrator, cites him as one of the major influences on her career. He was also a force behind the foundation of Princeton's Women's Studies program, as well as its Molecular Biology department.

References

1923 births
2003 deaths
Educators from Philadelphia
Fellows of the American Physical Society
United States Army Air Forces personnel of World War II
20th-century American physicists
University of Pennsylvania alumni
Princeton University faculty
Princeton University alumni

Aaron Lemonick


Vayoel Moshe () is a Hebrew book written by Rabbi Joel Teitelbaum, founder of the Satmar Hasidic movement, in 1961. In it, Teitelbaum argues that Zionism is incompatible with Judaism.

As Teitelbaum explains in the introduction, the book's title is taken from the biblical verse of Exodus 2:21, and hints to Teitelbaum's first name (Yoel), and to his grandfather, Moshe Teitelbaum. The verse, which states, "And Moses agreed to stay ... an alien in a foreign land", hints to Teitelbaum's conclusion that the Jewish people should remain in exile.

The book is considered to be Teitelbaum's magnum opus, and is of the utmost importance to Satmar Hasidim, as well as to other Haredim who follow the Satmar doctrine regarding Zionism. Satmar Hasidism has many institutions, buildings, and neighborhoods named after the book.

Vayoel Moshe is primarily a book of Halacha, Jewish law. However, it draws on Rabbinic Jewish philosophy as well.

Structure
The book consists of three parts:

1. Maamar Shalosh Shevuos (Treatise regarding the Three Oaths), is an in-depth analysis of the Three Oaths and their practical halachic implications.

The "Three Oaths" are originally detailed by the Talmud in tractate Ketubot. The Talmud discusses a passage from the Song of Songs in the Tanakh (Hebrew Bible) in which God made the Israelites promise "to wait for Him before arousing his love", as "King Solomon in Song of Songs thrice adjured the daughters of Jerusalem not to arouse or bestir the love until it is ready". The Talmud explains that the Jewish people are bound by three oaths:
 Not to ascend to Eretz Yisrael "like a wall" (i. e.,  in a strong manner).
 Not to rebel against the nations of the world.
 Not to delay the coming of the Messiah.

The Talmud follows the discussion of the oaths with a strong warning:... Rabbi Elazar said: The Holy One, Blessed be He, said to the Jewish people: If you fulfill the oath, it is good, and if not, I will abandon your flesh, and all will devour you like the gazelles and like the hinds of the field.
Teitelbaum discusses the legal status of the oaths, and what they imply. He argues that while the oaths are clearly metaphorical, and do not have the legal status of actual oaths, they are to be understood as guidelines for what is considered to be an attempt to leave exile before divine redemption, which he posits is severely forbidden and is tantamount to heresy.<ref>Vayoel Moshe, Maamar Shalosh Shevuos, simanim 42-45</ref>

2. Maamar Yishuv Eretz Yisroel (Treatise about settling the Land of Israel), which seeks to clarify if there is a halachic obligation to dwell in the land of Israel, as well as general halachic concerns regarding Jews emigrating to Israel, known as Aliyah.

3. Maamar Leshon HaKodesh (Treatise about the holy tongue), in which Teitelbaum writes that not only is there no reason to choose to speak Modern Hebrew – it is actually forbidden. This was written as a personal answer to the chief rabbi of Montreal at the time, Rabbi Pinchas Hirschsprung, and it was later added into this book.

Other arguments
 Rabbi Teitelbaum refers to Religious Zionism as a "major desecration of God's name".
 Blames Zionism for worsening, and the aveirah of Zionism for being a cause of, the Holocaust, both in direct ways, as well as on a spiritual level, by causing the fulfillment of the slaughter the Talmud says will happen if the oaths are violated.
 Refers to Zionist leaders such as Theodor Herzl as  "heretics".
 Argues that any participation in the Israeli elections is one of the worst sins, and halachically, a Jew must rather be killed than vote.
 Blames some of the bloodshed in the Middle East on the Zionists.
 Rules that it is forbidden to accept any money from Israeli government programs.
 Asserts that the way of the Baal Shem Tov is forgotten today, and that Hasidus is no longer properly understood.
 Argues against the practice of  making decisions on the basis of folk tales about Hasidic rabbis, especially in matters of Halacha.
 Stresses that blind faith in the righteous is foolish, as even genuinely learned and pious scholars can be misled, make errors, or abandon their righteous ways; rather, a person must conduct his own examination of the original sources.

See also
 Three Oaths
External links
Rabbi Gil Student's arguments against Vayoel Moshe, with a counter argument
 The book Vayoel Moshe (full in Hebrew)
 An English translation of Vayoel Moshe'' in progress, as well as lectures in English.
 Rav Aviner's response to Vayoel Moshe
 Shaul Magid: The Satmar Are Anti-Zionist. Should We Care?: In:

References

Books critical of Zionism
Satmar (Hasidic dynasty)
1961 non-fiction books
Hasidic literature
Hasidic anti-Zionism

Vayoel Moshe


The Zaisan Memorial () is a memorial in the southern area of the Mongolian capital of Ulaanbaatar in the duureg (district) of Khan-Uul that honors allied Mongolian and Soviet soldiers killed in World War II.  Located on a hill in the southern part of the city, the  memorial features a circular painting that depicts scenes of friendship between the people of the USSR and Mongolia. The mural depicts scenes such as Soviet support for Mongolia's independence declaration in 1921, the defeat of the Japanese Kwantung Army by the Soviets at Khalhkin Gol on the Mongolian border in 1939, victory over Nazi Germany and peacetime achievements such as Soviet space flights including the flight of Soyuz 39 which carried the first Mongolian into space, Jugderdemidiin Gurragchaa.

After driving to the uppermost parking lot on the hill, visitors must make a climb of three hundred steps before reaching the monument and mural. (612 steps, if they start at the base of the hill.)  Those who make the climb are rewarded with a panoramic view of the entire city of Ulaanbaatar in the valley below, as well as the Tuul River flowing past the city.

In 2003, a tank memorial, which previously had been located on a crossroads between Zaisan and the city center, was moved to the foot of the hill. It features a Soviet tank from a brigade paid for by the Mongolian people. The tank memorial includes a map showing the route the brigade took from Moscow in 1943 to its participation in the fall of Berlin in 1945.

Zaisan is a popular meeting point for school outings and graduation festivities. In recent times, more and more modern luxury housing developments have popped up near the Zaisan region, making it popular as an elite residential district.

See also
 Mongolia in World War II

References

External links

 Large photo of the Zaisan Memorial

Monuments and memorials in Mongolia
Buildings and structures in Ulaanbaatar
Mongolia–Soviet Union relations

Zaisan Memorial


Reference Re Assisted Human Reproduction Act is an appeal from the Quebec Court of Appeal to the Supreme Court of Canada on a reference question posed as to the constitutional validity of the Assisted Human Reproduction Act that had been passed by the Parliament of Canada.

Initial reference

The Court of Appeal was asked by the Government of Quebec to answer the following question:

The Court ruled in the affirmative in some respects of the question.

Appeal to the Supreme Court

The appeal was allowed in part, with the Court rendering a rare 4-4-1 mixed decision. The justices' opinions were as follows:

 = constitutionally valid
 = constitutional to the extent that they relate to constitutionally valid provisions
 = constitutionally invalid

The McLachlin opinion

The Act is essentially a series of prohibitions, followed by a set of subsidiary provisions for their administration.  While the Act will have beneficial effects and while some of its effects may impact on provincial matters, neither its dominant purpose nor its dominant effect is to set up a regime that regulates and promotes the benefits of artificial reproduction. Here, the matter of the statutory scheme, viewed as a whole, is a valid exercise of the federal power over criminal law.  The dominant purpose and effect of the legislative scheme is to prohibit practices that would undercut moral values, produce public health evils, and threaten the security of donors, donees, and persons conceived by assisted reproduction.

The LeBel/Deschamps opinion

The impugned provisions represent an overflow of the exercise of the federal criminal law power.  Their pith and substance is connected with the provinces' exclusive jurisdiction over hospitals, property and civil rights, and matters of a merely local nature.  The impugned provisions affect rules with respect to the management of hospitals, since Parliament has provided that the Act applies to all premises in which controlled activities are undertaken. Furthermore, the fact that several of the impugned provisions concern subjects that are already governed by the Civil Code of Quebec and other Quebec legislation is an important indication that in pith and substance, the provisions lie at the very core of the provinces' jurisdiction over civil rights and local matters.

The Cromwell opinion

The matter of the impugned provisions is regulation of virtually every aspect of research and clinical practice in relation to assisted human reproduction.  The matter of the challenged provisions is best classified as relating to the establishment, maintenance and management of hospitals, property and civil rights in the province and matters of a merely local or private nature in the province. However, ss. 8, 9 and 12 in purpose and effect prohibit negative practices associated with assisted reproduction and fall within the traditional ambit of the federal criminal law power.  Similarly, ss. 40(1), (6) and (7), 41 to 43, and 44(1) and (4) set up the mechanisms to implement s. 12 and, to the extent that they relate to provisions of the Act which are constitutional, were properly enacted by Parliament.  Sections 45 to 53, to the extent that they deal with inspection and enforcement in relation to constitutionally valid provisions of the Act, are also properly enacted under the criminal law power.  The same is true for ss. 60 and 61, which create offences.  Section 68 is also constitutional, although its operation will be limited to constitutional sections of the Act.  Given that the other provisions establishing the Assisted Human Reproduction Agency of Canada are not contested, there is no constitutional objection to s. 19.

Aftermath
The Act was rectified and the remainder brought into force in the following stages:

References

Supreme Court of Canada cases
Canadian federalism case law
Reproductive rights case law
2010 in Canadian case law
Supreme Court of Canada reference question cases


Coffin bread, also known as coffin lid or coffin board (Taiwanese Hokkien: koaⁿ-chhâ-pang 棺柴枋, ), is a Taiwanese bread bowl which originated in Tainan.

History
Coffin bread has been sold at night markets in Tainan and Taipei since at least the 1940s. It became popular with US troops stationed in Taiwan.

Description
Coffin bread starts as a thick Texas toast style slab of white bread. The bread is hollowed out and either toasted or fried before it is filled with a creamy stew of chicken, seafood, tripe, or mushroom. It is then topped with a piece of toasted or fried bread, creating the "coffin" look.

See also
 Taiwanese cuisine
 Bunny chow

References

Taiwanese cuisine
Breads

Coffin bread


Alexia Fast (born 12 September 1992) is a Canadian actress who began her career at the age of seven when she wrote, directed and starred in the short film The Red Bridge, which premiered at the 2002 Atlantic and Reel to Reel Film Festivals. She obtained her first agent at the age of 11 and starred in her first feature film, Fido (2006), at 13.

Career
At the age of seven, Alexia Fast wrote, directed and starred in a short film entitled The Red Bridge. She starred in her first feature film, Fido (2006), after gaining her first agent at the age of 11. She has appeared in a number of television films, feature films and in episodes of various television series. Fast played a role in Hungry Hills and Repeaters, both of which premiered at the Toronto International Film Festival. In 2010, she had a leading role in Triple Dog. In 2012, she had a supporting role in the film Jack Reacher.

Fast has won two Leo Awards, the first one 2007 in the category Best Lead Performance by a Female in a Feature Length Drama for her role in Past Tense and 2011 in the category Best Supporting Performance by a Female in a Feature Length Drama for Repeaters.

Filmography

Film

Television

References

External links

1992 births
Actresses from Vancouver
Canadian child actresses
Canadian film actresses
Canadian television actresses
Living people
21st-century Canadian actresses

Alexia Fast


Teylers Museum () is an art, natural history, and science museum in Haarlem, Netherlands. Established in 1778, Teylers Museum was founded as a centre for contemporary art and science. The historic centre of the museum is the neoclassical Oval Room (1784), which was built behind the house of Pieter Teyler van der Hulst (1702–1778), the so-called Fundatiehuis (Foundation House). Pieter Teyler was a wealthy cloth merchant and banker of Scottish descent, who bequeathed his fortune for the advancement of religion, art, and science. He was a Mennonite and follower of the Scottish Enlightenment.

History
In his will, Pieter Teyler stipulated that his collection and part of his fortune should be used to establish a foundation for their promotion: Teylers Stichting. The Teyler legacy to the city of Haarlem was split into two societies: Teylers First or Theological Society (Dutch: Teylers Eerste of Godgeleerd Genootschap), intended for the study of religion and Teylers Second Society (Dutch: Teylers Tweede Genootschap), which was to concern itself with physics, poetry, history, drawing, and numismatics.

The executors of Teyler's will, the first directors of Teylers Stichting, decided to establish a centre for study and education. Under a single roof, it would house all manner of suitable artifacts, such as books, scientific instruments, drawings, fossils, and minerals. The concept was based on a revolutionary ideal derived from the Enlightenment: that people could discover the world independently, without coercion by church or state. The example that guided the founders in establishing Teylers Museum was the Mouseion of classical antiquity: a "temple for the muses of the arts and sciences" that could also serve as a meeting place for scholars and the venue for various collections.

Oval Room

In 1779, Leendert Viervant started on the design of an "art and book room" behind Teyler's residence. This neoclassical room, whose shape quickly led it to be called the Oval Room, was designed for research and study; here, scientific experiments would be conducted, public demonstrations held, and books, drawings, and prints viewed by the public. The Oval room was opened in 1784, with the scientist Martin van Marum as its first director.

A showcase in the centre displays a mineralogical collection from the 18th century and the showcases around hold 18th-century scientific instruments. The upper gallery, which was designed to let in the maximum amount of light for viewing purposes, has 12 built-in bookcases, largely containing period encyclopaedias and periodicals.

Extensions
Over the ensuing centuries, the museum was gradually extended. The arrangement of each new part was consistent with the insights of the day; thereafter it remained almost wholly unchanged. In the 19th century, the museum was expanded with a gallery for fossils ('Gaanderij der Versteeningen', in 1888 changed to the Numismatic Cabinet) and two painting galleries: Teylers First Painting Gallery in 1838 and Paintings Gallery II in 1892. In 1878, to mark the first centenary, a new entrance on the Spaarne (the current main entrance) was designed by the Viennese  architect Christian Ulrich. It opened in 1885. The rooms behind it – the Instrument Room, and Fossil Room I and, behind it, Fossil Room II – were designed by the Haarlem architect A. van der Steur. At the same time, the library was extended and a 150-seat auditorium was added.  Over a century later, in 1996, a large new wing was added; this was the design of Hubert-Jan Henket. In 2002, an adjoining property was added to the museum to serve as the museum shop and multimedia room.

Collection
Teylers Museum holdings include fossils (some are the first ever discovered of Archaeopteryx), minerals, scientific instruments, medals, coins, and paintings.

The museum's first director, Martinus van Marum contributed to and used the facilities at Teylers Museum to research static electricity. To study fossils, he purchased fossil material such as the Mosasaurus. To demonstrate the principles of hydraulics, he commissioned models of mills and cranes.
To disseminate natural and cultural knowledge, public experiments were conducted, such as those with van Marum's large electrostatic generator built in 1784 by John Cuthbertson in Amsterdam (the largest in the world). Lectures were given and scientific literature published.

The collection of Teylers Museum holdings include works by Michelangelo, Raphael, Guercino, and Claude Lorrain. The museum contains graphic work of Rembrandt and Adriaen van Ostade.

The Painting Galleries show a collection of works from the Dutch Romantic School and the later Hague and Amsterdam Schools, including major works by Barend Cornelis Koekkoek, Andreas Schelfhout, Cornelis Springer, Hendrik Willem Mesdag, Jan Willem Pieneman, Anton Mauve, Jacob Maris, Jan Hendrik Weissenbruch, George Hendrik Breitner, Jozef Israëls, and Isaac Israëls.

In 2007, the works of John James Audubon were displayed.

The original mission of the second society included research, as well as education. After the death of van Marum, Teylers continued to attract scientists of high standing as caretakers. The theoretical physicist and Nobel Prize winner Hendrik Lorentz was appointed Curator of Teylers Physics Cabinet in 1910, a position he held until his death in 1928. At the time of his appointment, Lorentz was at the height of his scientific career and was a central figure in the international community of physicists. Under his leadership, the Teylers Museum conducted scientific research in such diverse fields as optics, electromagnetism, radio waves, and atom physics. Lorentz was succeeded by the physicist and musician Adriaan Fokker. Physicist Wander Johannes de Haas served as conservator in the 1920s.

The museum's entire archives have also survived intact. They include the complete series of accounts for all acquisitions, extensions, salaries and day-to-day purchases since 1778, the complete series of visitors' books since 1789, and the minutes of all meetings of the museum board since 1778.

The museum is open six days a week; Tuesdays-Sundays 10:00-17:00.

Heritage site
The museum is on the top 100 Dutch heritage sites list compiled by the Department for Conservation in 1990. It was nominated on 12 December 2011 by the Dutch Cabinet for UNESCO World Heritage Site status, based on its long history as a public knowledge institute and its continued efforts to preserve public access to its collections. However, the nomination was withdrawn in 2013.

Administration
Since 1 January 2022, Marc de Beyer is the museum director. The former director is Marjan Scharloo. Terry van Druten is curator of the art collections of the museum, Trienke van der Spek is curator of the scientific collections, including fossils, minerals and the library.

The museum had 137,000 visitors in 2019.

Teylers Museum is a member of the Museumvereniging (Museum Association).

See also
 Teylers Hofje – related site
 Jaap van der Veen/Teylers Museum Prize for the Contemporary Art Medal - prize
 Tiberius Cornelis Winkler – curator
 Hendrik Jacobus Scholten – curator
 Gerrit Jan Michaëlis – curator
 Vincent Jansz van der Vinne – first caretaker
 Highgrove Florilegium – book in the collection

References

Further reading
 M. Scharloo (ed.), Teylers Museum: A Journey in Time (Haarlem 2010).
 R. J. Forbes (ed.), Martinus van Marum. Life and Work, 6 vols (Haarlem 1969-1976).
 A. G. MacGregor, Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to the Nineteenth Century (London 2007).
 Teyler 1778-1978. Studies en bijdragen over Teylers Stichting naar aanleiding van het tweede eeuwfeest (Haarlem / Antwerpen 1978) (in Dutch).
 W. W. Mijnhardt, Tot Heil van 't Menschdom. Culturele genootschappen in Nederland 1750-1815 (Amsterdam 1988) (in Dutch).
 B. Sliggers (red.), De idealen van Pieter Teyler. Een erfenis uit de Verlichting (Haarlem 2006) (in Dutch).

External links

 Teylers Museum – official website

1784 establishments in the Dutch Republic
Biographical museums in the Netherlands
Fossil museums
History of science museums
Museums in Haarlem
Natural history museums in the Netherlands
Rijksmonuments in Haarlem
Science museums in the Netherlands
Art museums and galleries in the Netherlands
Paleontology in the Netherlands
18th-century architecture in the Netherlands
Neoclassical architecture in the Netherlands

Teylers Museum


"One Minute" is a song recorded by American recording artist Kelly Clarkson taken from her third studio album, My December (2007). The song served as the album's second single in Australia on September 18, 2007, through 19 Recordings and RCA Records. Clarkson originally wrote it for her second studio album, Breakaway (2004), with songwriters Kara DioGuardi, Chantal Kreviazuk and Raine Maida; however, it did not make the final track listing. It was then reworked for My December, being produced by David Kahne, and co-produced by Jason Halbert and Jimmy Messer. "One Minute" is an alternative rock song with electropop influences, and consists of "rapid-fire give-and-take verses".

Upon its release, "One Minute" was met with positive reviews from music critics, with one considering it to be the musical highlight of My December, along with "Never Again" and "Don't Waste Your Time". Following strong radio airplay, the song debuted at number 41 in Australia, reaching its peak of number 36 a week later. No accompanying music video was recorded for the song; however, Clarkson promoted it through few live appearances, including at Daytona 500 in February 2007, and on Take 40's Live Lounge.

Release and composition

In 2004, Clarkson teamed up with songwriters Kara DioGuardi and Chantal Kreviazuk to work on songs for her second studio album, Breakaway (2004). Together they wrote "Where Is Your Heart", while musician Raine Maida, Kreviazuk's husband, co-wrote "Walk Away" and "One Minute" with the trio. However, only the first two songs were included on the album. "One Minute" was then reworked for My December, being produced by David Kahne, and co-produced by Jason Halbert and Jimmy Messer. After receiving strong radio airplay in Australia, it was released as the second single from the album in the country, on September 18, 2007, through 19 Recordings and RCA Records.

"One Minute" is an alternative rock song with electropop influences, and begins with Clarkson singing, "You're going crazy, running on empty / You can't make up your mind / You try to hide it, but you had to say it / Restless all this time." It is composed in the key of A major and is set in time signature of common time, with a tempo of 124 beats per minute. Clarkson's vocal range spans over an octave, from A3 to D5. Critics have observed the influence of 1980s music on the song, while Talia Kraines of BBC Music compared it to pop rock songs released by singers Ashlee Simpson and Lindsay Lohan. A reviewer for Billboard commented on the song's structure, writing that "One Minute" consists of "rapid-fire give-and-take verses".

Critical response
"One Minute" received generally positive reviews from music critics. On his review for My December, Josh Love of Stylus Magazine wrote that the song, along with "Don't Waste Your Time", "as lyrically sour as they may be, [...] are both fantastically layered pop-rockers." Chris Willman of Entertainment Weekly considered the album to be Clarkson's "darker, more personal, riskier" release until that point. Willman added that "One Minute" was a "lighter [pleasure] that (take note, Team Clive!) would make [a] dandy warm-weather [single]." Michael Endelman of Spin considered it a "snarling disco rock" song, while Nick Levine of Digital Spy deemed it "pounding [and] insistent". Penn Live blogger Ashley Z. said that "the anger on this record can be overwhelming at times," which could be an argument for the "existence" of "One Minute". Allmusic long-time contributor Stephen Thomas Erlewine considered it the highlight of My December, along with "Never Again" and "Irvine", writing that the song "give this album some much needed spark."

Live performances
Clarkson first performed "One Minute" at Daytona 500 on February 18, 2007, where she premiered the song prior to the album's release. Later that year, she performed the song during a special titled Nissan Live Sets on Yahoo! Music, and on Take 40's Live Lounge. The latter was released as a promotional live video in Australia, as no accompanying music video for the single was filmed. "One Minute" was included on the set list of the album's supporting concert tour, the My December Tour (2007–08).

Formats and track listings
CD single
 "One Minute" –
 "Never Again" (live at AOL Sessions) –

Digital download
 "One Minute" –
 "Never Again" –

Charts
On the week of October 7, 2007, "One Minute" debuted at number 41 in Australia, following strong radio airplay. The following week, it peaked at number 36, before falling out of the top 50 two weeks later.

Release history

References

2007 singles
Kelly Clarkson songs
Songs written by Kara DioGuardi
Songs written by Kelly Clarkson
Songs written by Chantal Kreviazuk
Songs written by Raine Maida
Song recordings produced by David Kahne
RCA Records singles
19 Recordings singles
2007 songs
Sony BMG singles

One Minute


A simple programmable logic device (SPLD) is a programmable logic device with complexity below that of a complex programmable logic device (CPLD).

The term commonly refers to devices such as ROMs, PALs, PLAs and GALs.

Basic description
Simple programmable logic devices (SPLD) are the simplest, smallest and least-expensive forms of programmable logic devices. SPLDs can be used in boards to replace standard logic components (AND, OR, and NOT gates), such as 7400-series TTL.

They typically comprise 4 to 22 fully connected macrocells. These macrocells typically consist of some combinatorial logic (such as AND OR gates) and a flip-flop. In other words, a small Boolean logic equation can be built within each macrocell. This equation will combine the state of some number of binary inputs into a binary output and, if necessary, store that output in the flip-flop until the next clock edge. Of course, the particulars of the available logic gates and flip-flops are specific to each manufacturer and product family. But the general idea is always the same.

Most SPLDs use either fuses or non-volatile memory cells (EPROM, EEPROM, Flash, and others) to define the functionality.

These devices are also known as:

 Programmable array logic (PAL)
 Generic array logic (GAL)
 Programmable logic arrays (PLA)
 Field-programmable logic arrays (FPLA)
 Programmable logic devices (PLD)

Advantages
PLDs are often used for address decoding, where they have several clear advantages over the 7400-series TTL parts that they replaced:
One chip requires less board area, power, and wiring than several do.
The design inside the chip is flexible, so a change in the logic does not require any rewiring of the board. Rather, simply replacing one PLD with another part that has been programmed with the new design can alter the decoding logic.

References

Gate arrays

Simple programmable logic device


Asha Rao is a mathematician and expert in cyber security. She is the Associate Dean, or Head of Department, of Mathematical Sciences and Professor at RMIT University.

Education and career
Rao completed her PhD in Algebra at the University of Pune. She started working at RMIT University as a lecturer in 1992, and became a Professor in 2016.

Her higher education teaching and curriculum design in mathematics and cybersecurity, as well as her trans-disciplinary research expertise applying mathematics have been used to solve real world problems for a range of industry partners including the Department of Defence. Professor Rao is the Founding Chair of Women In Mathematics and her leadership and advocacy for women in STEM has been recognised by the award of RMIT STEM Athena Swan Award.

One facet of her research focuses on the mathematical foundations of quantum cryptography, coding theory, and risk management. This involves utilizing algebraic methods in the realms of communication, coding, and information theory, as well as employing risk management strategies to ensure adherence to regulations, such as the Anti-Money Laundering and Counter Terrorism Act.

Rao has authored more than 60 refereed scientific publications and contributed chapters to two scholarly books.

Media
Highlights include influential academic contributions in the cyber security space as well as science communication outreach advocating for the importance of mathematics in high profile media platforms such as the Australian Financial Review and The Conversation.

Rao has published on the use of signatures, PINs and credit card fraud in 2014, for The Conversation. Rao has contributed to numerous podcasts, discussing cybersecurity, mathematics and physics.

During the latter part of 2020, she undertook the position of Interim Director at the Australian Mathematical Sciences Institute (AMSI) while concurrently holding the position of Associate Dean. AMSI serves as the collaborative effort of 14 Australian universities and serves as the leading organization advocating for mathematics in Australia.

Gender
Rao has worked to address gender-related challenges that hinder the advancement of women and girls in STEM professions. In her role as the inaugural leader of Women in Maths, she has spearheaded various programs aimed at enhancing gender equality in the field of mathematical sciences in Australia. She remains an advocate for encouraging young women to pursue mathematics, actively engaging in discussions about this imperative through both conventional media and social platforms.

Awards and recognition
Rao has been recognised by numerous awards including:

2021 Australia India Science, Research & Development Award, India and Australia Business and Community Alliance

2021 Victorian Honour Roll of Women Trailblazer

2019 Superstars of STEM, Science and Technology Australia

2016 RMIT Media Stars Award

References

Living people
Academic staff of RMIT University
Year of birth missing (living people)
Savitribai Phule Pune University alumni
21st-century women mathematicians
Computer security specialists
21st-century Australian mathematicians

Asha Rao


Haughton-le-Skerne is a village in the borough of Darlington in the ceremonial county of County Durham, England. It is situated in the north east of Darlington. The village lies to the west of the River Skerne.
At the centre of the village green, is the main road towards Darlington town centre going across the river, south of the church. There used to be a linen mill on the riverbank on the east side of the village. Part of the mill leat can still be seen today.

St Andrew's Church at the west end of the village green is the oldest church in Darlington, circa 1125. Some of the stones may have originated in a previous church on the same site.

Parts of the existing rectory have monastic ruins built into the foundation and some inner walls, speculated to be evidence of an earlier building on this site.

On the north side of Haughton-le-Skerne, a turnpike led over the river to the ports on the Tees estuary, carrying traffic including salt from the Bishop's salt mines.

Haughton-le-Skerne is now connected to a large suburb of Darlington, with areas including Springfield and Whinfield.

The community was referred to in the ITV series Downton Abbey as it was the location where Mrs. Beryl Patmore (Lesley Nicol) would find a cottage which would serve as a boarding house, and when she retired, would serve as her home for her retirement days.

John Wrightson (1840-1916), founder of Downton Agricultural College and great grandfather of Downton writer Julian Fellowes was born in the village.

References

Villages in County Durham
Suburbs of Darlington

Haughton-le-Skerne


Sir Lucian Charles Grainge  (born 29 February 1960) is the chairman and chief executive officer of Universal Music Group. Grainge has worked in the music business for his entire career. Billboard magazine named Grainge as the most powerful person in the music business on four occasions in the 2010s, and the first Executive of the Decade ever.

Early life and career
Grainge grew up in a Jewish family in North London. Grainge left Queen Elizabeth's Grammar School for Boys at the age of 18, and began working as a runner at MPC, a talent scout company in 1978. After contacting several record label bosses, he was offered a job by Maurice Oberstein, chairman of CBS Records, working at publishing company April Music's A&R department. His first signing was The Psychedelic Furs. In 1982, he became the director of RCA Music Publishing. Two years later he became an A&R director for MCA Records. He set up PolyGram Music Publishing in 1986 and joined Polydor as general manager of A&R and business affairs in 1993. He was promoted to managing director of Polydor in 1997.

Universal Music Group
Grainge became the chairman of the UK division of the Universal Music Group, and then in 2005 of Universal Music Group International. He served in this position until 2010. On 1 January 2011 he became CEO of Universal Music Group, and then chairman on 9 March 2011, succeeding Doug Morris.

Within his first year as chairman & CEO of Universal, the company acquired EMI's Recorded Music operations. Grainge argued that selling to Universal was the only way to improve EMI, for the benefit of the entire industry. UMG subsequently attempted to revitalise former EMI labels including Capitol Records and Virgin Records. Commenting on the EMI acquisition, BuzzFeed commented that "Grainge will go down as the master architect of what is likely to be the last big deal in the music business".

As chairman and Chief Executive of Universal, Grainge has also sought to increase the group's international digital expansion via distribution partnerships with technology companies, including Apple, Spotify, Facebook, Tencent, and YouTube. Grainge led the 2017 multi-year global license agreement between UMG and Spotify.

Grainge led the acquisition of Bravado, then part of Sanctuary, and transformed it into UMG's entertainment merchandising and brand management division, Bravado. The company represents artists including Justin Bieber, Lady Gaga, and Kanye West, and has formed partnerships with retailers including Barneys, Bloomingdale's and Selfridge's.

Grainge also oversaw the expansion of classical labels Deutsche Grammophon and Decca Classics, and agreed a global strategic partnership with entertainment company Live Nation.

In 2017, UMG was worth $22 billion, triple what it was worth when Grainge took over at the company. In July 2018, JPMorgan said that UMG could be worth as much as $40 billion and then increased the valuation to $50 billion in 2019.

In 2015, Vivendi announced that Grainge had agreed to extend his tenure as UMG's chairman and CEO until at least 2020, stating he was key to its strategy. Under his management, UMG experienced growth in annual revenue, digital recorded music revenue and EBITDA. Grainge successfully floated UMG into its IPO in 2021.

Personal life
In 1993, Grainge's first wife, Samantha Berg, experienced complications while giving birth to their son Elliot, and fell into a coma from which she never recovered. She died in England in 2007. Elliot Grainge is founder and CEO of independent record label 10K Projects.

In 2002, Grainge married his second wife, Caroline. Their daughter Alice was born in 2001. They also have a daughter, Betsy. In November 2012 Grainge and his wife reportedly paid US$13 million for a house in Pacific Palisades. They had previously leased a Brentwood home from the owner of Rhino Entertainment.

In March 2020, Grainge was admitted to intensive care for a month in Los Angeles after contracting COVID-19, subsequently fully recovering.

His older brother was Nigel Grainge, the founder of Ensign Records.

Honours and awards
In 2008, Grainge received the Music Industry Trusts' Award, which recognises the world's most successful music executives. The award was presented by members of U2, and Take That performed at the ceremony.

Grainge was appointed Commander of the Order of the British Empire (CBE) in the 2010 New Year Honours for services to the creative industries. In 2012, he was appointed a British Business Ambassador by the UK Prime Minister David Cameron. He was knighted in the 2016 Birthday Honours for services to British business and inward investment. He was inaugurated to appointment to the Order of the British Empire and Knight Bachelor by Prince William on 29 November 2016.

Grainge is a trustee of the American Friends of The Royal Foundation of The Duke and Duchess of Cambridge and Prince Harry.

In 2013, he received the Humanitarian Award from The Foundation for Ethnic Understanding. That same year, UMG was honoured with a SAG-AFTRA American Scene Award, recognising the company's commitment to diversity as exemplified by its "entire catalog and roster of artists." In 2014, he was awarded the President's Merit Award ("Icon Award") by the Grammy Award in recognition of his significant contributions to the music industry. In 2015, he received the Spirit of Life Award from the City of Hope, awarded for outstanding achievements in business and dedication to philanthropic causes.

Grainge serves on the boards of Lionsgate and Northeastern University.

In 2015, Grainge was featured in Amy, a documentary film depicting the life and death of British singer Amy Winehouse.

In October 2016, Variety presented Grainge with its 2016 Empowerment Award for overseeing a "noticeable shift in the demographics of the industry leader's C-suites" with women occupying some of the highest executive positions at Universal Music Group.

In May 2017, the Cannes Lions International Festival of Creativity announced that Grainge would be honored as the 2017 Media Person of the Year, the first music executive to receive this honour. Philip Thomas, CEO of Ascential Events, organizers of Cannes Lions, praised his "bold investments in music and technology that helped return the industry to growth, while continuing to foster an environment that puts artists first".

In June 2018, Grainge was inducted into the Songwriters Hall of Fame with the Howie Richmond Hitmaker award. At the ceremony, Ariana Grande performed in his honor and Grainge was inducted by The Weeknd.

He was awarded an honorary doctorate of music by the Berklee College of Music in May 2016 and an honorary doctorate of global commerce by Northeastern University in May 2017.

In March 2019, Grainge received a PTTOW! Icon Award, which "honors trailblazers in their industries who have had an impact on culture around the world."

In September 2019, Grainge received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Peter Gabriel.

Billboard named Grainge as the first-ever Executive of the Decade after he topped the magazine's "Power 100" list as the most powerful person in the music business in 2013, 2015, 2016, 2019 and 2022. He is the only person to ever hold that distinction more than once and for consecutive years.

Irving Azoff called him "'the great hope for the music business'" and Jimmy Lovine commented that Grainge "is working to restore [a] spirit of risk-taking and innovation" by being "'willing and open to entrepreneurship and that kind of thing the record industry has gotten depleted of.'" An interview feature in Billboard described Grainge as "a fierce and tireless advocate for the recorded-music business". In 2013, CNET wrote that "Grainge is positioning Universal to lead the pack" of major labels in their embracing of new digital opportunities. A 2014 front-page Los Angeles Times profile said that "if anyone can save the music business, it might be Grainge."

In January 2020, Grainge was awarded a star on the Hollywood Walk of Fame with UMG artists including Beck, Justin Bieber, Birdman, Lewis Capaldi, Tori Kelly, Sam Smith, and Hailee Steinfeld in attendance. Shawn Mendes and Lionel Richie were the ceremony's featured presenters. Ellen K of KOST Radio Morning Show host, the emcee of the event, said, "I've never seen so many stars show up to a Walk of Fame ceremony before."

References

External links
 The Rise of Lucian Grainge
 Mandelson web cutoff plan 'potentially illegal'

Living people
1960 births
British Jews
British music industry executives
American music industry executives
Universal Music Group
Commanders of the Order of the British Empire
Knights Bachelor
Businesspeople awarded knighthoods
People from Pacific Palisades, Los Angeles

Lucian Grainge


Collaborative leadership is a management practice which is focused on leadership skills across functional and organizational boundaries.

Term Exploration
The phrase collaborative leadership (specifying a particular type of public sector leadership) first appeared in 1992 with the founding of the Institute for Collaborative Leadership (a USA-based nonprofit serving the public sector) and later in the 1990s in response to the twin trends of growth in strategic alliances between private corporations, and the formation of long-term public private partnership contracts to rebuild public infrastructure.

Kurt Lewin was first to apply cooperative system in scientific method in 1947 about individual nutrition in the United States.

In her 1994 Harvard Business Review article "Collaborative Advantage", Rosabeth Moss Kanter addressed leaders who recognize that critical business relationships exist "that cannot be controlled by formal systems but require (a) dense web of interpersonal connections". In their book published that same year, Chrislip and Larson looked at the attributes of great civic leaders in communities across the US and found some similar attributes. "Collaboration needs a different kind of leadership; it needs leaders who can safeguard the process, facilitate interaction and patiently deal with high levels of frustration"

In 2013, Harvard Business Review authors Nick Lovegrove and Matthew Thomas (co-founders of The InterSector Project), explore the complex relationship between the business, government and social sectors as it relates to said sectors role in addressing society's most pressing challenges; issues such as managing resource constraints, controlling health care costs, training the twenty-first-century workforce, developing and implementing smart-grid and intelligent-urbanization technologies, and stabilizing financial systems to foster sustainable economic growth.  Their research suggests that the future of collaborative leadership depends on the ability of leaders to engage and collaborate with the business, government and social sectors (see below for the distinguishing characteristics of such leaders).

Hank Rubin, author and founder of the Institute for Collaborative Leadership, has written "A collaboration is a purposeful relationship in which all parties strategically choose to cooperate in order to accomplish a shared outcome." In his book Collaborative Leadership: Developing Effective Partnerships for Communities and Schools, Rubin asks "Who is a collaborative leader?" and answers "You are a collaborative leader once you have accepted responsibility for building - or helping to ensure the success of - a heterogeneous team to accomplish a shared purpose . Your tools are (1) the purposeful exercise of your behavior, communication, and organizational resources in order to affect the perspective, beliefs, and behaviors of another person (generally a collaborative partner) to influence that person's relationship with you and your collaborative enterprise and (2) the structure and climate of an environment that supports the collaborative relationship."

Rubin and Brock distinguish collaborative leadership from collective impact, defining the latter as "...(beginning) when we, as a community, agree to a set of shared outcomes and then, individually, return to our home organizations and work with our staffs, boards, and volunteers to figure out what we - individually and organizationally - can best do to achieve those shared goals." Collaborative leadership is how we align and integrate across organizations.

David Archer and Alex Cameron, in their 2008 book Collaborative Leadership: How to succeed in an interconnected world, identify the basic objective of the collaborative leader as the delivery of results across boundaries between different organisations. They say "Getting value from difference is at the heart of the collaborative leader's task... they have to learn to share control, and to trust a partner to deliver, even though that partner may operate very differently from themselves."

Providing further exploration, in his 2015 book Enabling Collaboration – Achieving Success Through Strategic Alliances and Partnerships , Martin Echavarria argues that Collaborative Leadership is  the result of individual collaborative leadership capability, as well as group leadership. In this respect, he argues that individuals can support and contribute to collaboration and do so from a leadership point of view; but at the group level, where collaboration can be behaviorally experienced. Echavarria cites the work of Enrique Pichon-Rivière, who developed the Operative Group method for working with groups, Wilfred Bion an influential British psychoanalyst, Kurt Lewin and others and describes the Operative Partnership Methodology for coaching teams to collaborate (an issue which is addressed vis-a-vis strategic alliances in said publication.

Characteristics of collaborative leaders
There have been a number of research projects and reviews of key lessons learned for collaborative leaders.

Nick Lovegrove and Matthew Thomas, writing for the Harvard Business Review, interviewed over 100 leaders who possess a demonstrated ability to engage and collaborate across the business, government and social sectors.  The authors identified six major, distinguishing characteristics:

 Balanced motivations. A desire to create public value no matter where they work, combining their motivations to wield influence (often in government), have social impact (often in nonprofits) and generate wealth (often in business)
 Transferable skills. A set of distinctive skills valued across sectors, such as quantitative analytics, strategic planning and stakeholder management
 Contextual intelligence. A deep empathy of the differences within and between sectors, especially those of language, culture and key performance indicators
 Integrated networks. A set of relationships across sectors to draw on when advancing their careers, building top teams, or convening decision-makers on a particular issue
 Prepared mind. A willingness to pursue an unconventional career that zigzags across sectors, and the financial readiness to take potential pay cuts from time to time
 Intellectual thread. Holistic subject matter expertise on a particular intersector issue by understanding it from the perspective of each sector

Madeline Carter, writing for the Center for Effective Public Policy as part of a research project funded by the United States Department of Justice and State Justice Institute, defines five qualities of a collaborative leader:

 Willingness to take risks
 Eager listeners
 Passion for the cause
 Optimistic about the future
 Able to share knowledge, power and credit

Archer and Cameron list ten key lessons for successful collaborative leaders:

Find the personal motive for collaborating
Find ways of simplifying complex situations for your people
Prepare for how you are going to handle conflict well in advance
Recognize that there are some people or organisations you just can't partner with
Have the courage to act for the long term
Actively manage the tension between focusing on delivery and on building relationships
Invest in strong personal relationships at all levels
Inject energy, passion and drive into your leadership style
Have the confidence to share the credit generously
Continually develop your interpersonal skills, in particular: empathy, patience, tenacity, holding difficult conversations, and coalition building.

Rod Newing writing in a Financial Times supplement special report says "If a collaboration is to be effective, each party must recognise and respect the different culture of the other". And traditional development paths don't prepare leaders well for this "traditional management development, is based on giving potential managers a team of people and a set of resources to control – and success is rewarded with more people and more resources to control. By contrast, collaboration requires managers to achieve success through people and resources outside their control and for this they have had no preparation".

Steven Wilson mentions in "Collaborative leadership: it's good to talk," four major key leadership traits that all highly collaborative leaders share:
 Focus on authentic leadership; placing the goals of the organization ahead of their own self-interest and following through on their commitments
 Relentlessly pursue transparent decision making; clear how their decisions are made and who is accountable for the outcomes
 View resources as instruments of action; realizing shared goals through the flexible use of shared resources
 Clarify the relationship between decisions, rights, accountability and rewards; taking time to establish decision paths and a common vocabulary that everyone can comprehend for successful collaborations
Chantale Mailhot, Stephanie Gagnon, Anne Langley and Louis-Felix Binitte did a research project to examine the qualities of distributing leadership and the effects diversity has on groups. They found that "coupling of leaders and objects helped to maintain the worldview of the different groups involved at different levels in the research project, while directing them towards project objectives". In retrospect, the differences of each individual increases innovation due to the variety of minds at work. With everyone having their own qualities and prior experiences, the integration between them in a leadership role contributes to the overall experience. In this study, the case was made that collaborative leadership has many benefits and is more practical than just one person solely having the role as the leader.

The best thing a collaborative leader can do is to lead by example. They have to 'walk the talk', and be seen to model the right behaviors. Leaders must show a willingness take risks, continually question their own ideas, and reward others for their clear communication and valuable insights.

Applications
The need for collaborative leadership is being recognised in more and more areas;
Public Private Partnerships
Global Supply Chains
Civic collaboration to solve complex community problems
On-line collaboration – Linux, Wikipedia etc.
Political collaboration to tackle global issues such as the credit crunch, climate change and terrorism
The Government-  According to Heather Getha-Taylor and Ricardo S. Morse as part of their article, collaborative leadership has an impact on the roles of local government officials. It is said that public administration is shifting to a more collaborative leadership oriented field, because it helps with the set of skills necessary for the jobs.
Education- According to Abdolhamid Arbabi and Vali Mehdinezhad collaborative leadership adds to cooperation which allows for adaptability and consistency. It "increases organizational commitment and decreases employee resistance to changes." There is a significant correlation between the teachers self-efficiency and the principles style of collaborative leadership. According to Gialamas, Pelonis, and Medeiros collaborative leadership allows for leaders to work together. It allows for a better adaptability to change which in turn allows for "growth and development."
Health Services- According to Markle-Reid, Dykeman, Ploeg, Stradiotto, Andrews, Bonomo, & Stradiotto, collaborative leadership in the Health area will allow for a more widespread set of skills required to help the patients. An example brought up is the idea that the elderly do not receive the help they require because the people do not know how to react in the given case. They know what to do, but when confronted by the situation they do not know how to act. Collaborative leadership will allow for the skills necessary as well as a uniform set of actions they must follow.
An Ipsos MORI research report published in 2007 found that relationship management and collaborative leadership were the top two qualities or capabilities that Directors of organisations involved in large business partnerships would have liked to have had more access to when setting up or running a partnership.

See also
Business partnering
Collaboration
Shared leadership
Situational leadership
Strategic alliance
Wikinomics
Orpheus Chamber Orchestra

References

Further reading

Business terms
Leadership studies
Collaboration

Collaborative leadership


The Government of Canada is a constitutional monarchy. It has a monarch, who currently is King Charles III. He appoints a Governor General to Canada to represent himself. The country is run by a democratically elected government, led by a Prime Minister. A Parliament is elected, usually every five years. From the parliament, a cabinet is organized with the prime minister as leader.

Government of Canada


Whisky Romeo Zulu is a 2004 Argentine drama film directed by Enrique Piñeyro and written by Piñeyro and Emiliano Torres. Verónica Cura was the  executive producer and Enrique Piñeyro was the producer.

The drama is based on the experiences of Enrique Piñeyro, former airline pilot turned whistle-blower, who became a film actor-director, and of the August 31, 1999 LAPA (Líneas Aéreas Privadas Argentinas) airline accident.

The LAPA Boeing 737-200 plane, LAPA flight 3142, went into flames after crashing into a mound in midtown Buenos Aires, causing the death of 65 people, and severely injuring 17. The film's basic theme: the general corrosive deregulation, the greedy cost-cutting corporations, and the corrupt government officials, found in the Argentine airline industry. The film is named after the NATO phonetic alphabet version of the identifier of the accident aircraft, LV-WRZ (Lima Victor – Whisky Romeo Zulu)

Plot
The picture opens with the District Attorney (Adolfo Yanelli), listening to voices from a recording in the black box retrieved from an air disaster. The docudrama then tells the story of director Enrique Piñeyro, who plays himself as T, a principled pilot at LAPA, an Argentine airline, upset over his company's disregard of basic safety regulations in order to save money.

When T complains, he is labeled a troublemaker by the airline company. Soon he's chastised by his fellow pilots. When things get worse he walks out of the cockpit after multiple navigational instruments are inoperative and refuses to fly. The company simply replaces him and gets another pilot to fly. Increasingly frustrated and worried about a crash, T finally writes an angry letter to his superiors, warning that a crash is inevitable if action is not taken.

The letter is leaked to the media, and the airline is sold, but the new owners want Pineyro to retract his statement. Complicating matters, their public relations person is Marcela (Mercedes Morán), a love interest from his youth. Even though Marcela is married, T pursues her. T's story is inter-cut with the District Attorney who is looking into the LAPA flight 3142 crash, and starts receiving death threats. Yanelli's character manages to bring the company's chief executives and the Argentine Air Force authorities before a criminal court, establishing a unique precedent in commercial aviation history.

Cast
 Enrique Piñeyro as T
 Mercedes Morán as Marcela
 Alejandro Awada as Gonzalo
 Carlos Portaluppi as Gordo
 Martin Slipak as Pequeño T (Little T)
 Ana Celentano as the wife of Fiscal

Distribution
The picture was first presented at the Toronto International Film Festival on September 10, 2004. It opened wide in Argentina on April 21, 2005.

The film screened at various film festivals, including: the San Francisco International Film Festival, in April, 2005  the Biarritz La Cita Film Festival, France; the Flanders International Film Festival; Belgium; the Wisconsin Film Festival, United States; the Seattle International Film Festival; the World Film Festival of Bangkok; the Havana Film Festival; and others.

Background
The film is a fictional reproduction of the background of LAPA Flight 3142 as seen through the eyes of Enrique Piñeyro, who was a LAPA pilot from 1988 to 1999.

Piñeyro resigned from his position in June 1999 – two months before the accident occurred- after voicing his concerns about the LAPA's safety policy. Regarding his motivation for making the film, Piñeyro said:

"I was personally interested in recounting how the accident came to occur, not the fact that the pilots forgot about the flaps and the plane blew up, but why they forgot the flaps. And what was the process, because forgetting the flaps was the straw that broke the camel's back in a series of tremendous violations of regulations. I was interested in portraying what isn't apparent about the accident, not just the final link (the pilot). Because all the links that came before were conveniently hidden because they compromised the establishment, the business."

According to producers, due to the nature of the film, a lot of the filming was done in secret. This was especially true when they filmed in airline areas. Some shots were taken with telephoto lenses.

Critical reception
Film critic Pamela Troy liked the acting in the film and wrote, "Much more than a whistle blowing thriller, this beautifully made film is a powerful critique of profit-making over concern for human life."

Critic Scott Foundas, writing for FIPRESCI believes the film achieved Enrique Piñeyro's exact goal. He wrote, "Whisky Romeo Zulu ...emerges as a stirring, if obvious piece of agitprop that achieves exactly what it sets out to achieve. That is to say it works the audience up into an angry lather, and you emerge from the theater never wanting to set foot on another airplane again — at least, not if you feel you may have paid less than fair market value for the ticket."  However, Foundas did not like the flashbacks to Piñeyro's childhood which he called "gooey and nostalgic."

The film critic for Seattle's The Stranger, Andrew Wright, liked Piñeyro's directorial debut, and wrote, "[D]irector Enrique Piñeyro's utterly damning docudrama comes off as both a searing factual indictment of Argentina's passenger-flight standards, and a crackerjack thriller in its own right...It also helps that he proves to be an instinctive filmmaker, employing an intriguingly fractured, minutely detailed take on the material, which hopscotches between events leading up to the easily avoidable incident, and a harried investigator's efforts to make sense of the flight recordings afterward."

Awards
Wins
 Biarritz La Cita International Film Festival: Best Film; Official Jury Award; 2004.
 Havana Film Festival: Coral Award; Best Feature Film debut; Cultural Diversity Award; 2004.
 Buenos Aires International Festival of Independent Cinema: Best Film – Audience Award, National Film; Best Film – Signis Award; 2004.
 Viña del Mar International Film Festival: Best Actor Award to Enrique Piñeyro; 2004.
 Bahamas International Film Festival: "Spirit of Freedom" Jury Mention; 2004.
 Latin American Festival of Film and Video: Special Jury Award; Best Film – Critics Association Award; Brazil; 2005.
 Lleida Latin-American Film Festival: Best Director; Enrique Piñeyro; 2005.

Nominations
 Argentine Film Critics Association Awards: Silver Condor, Best Art Direction, Cristina Nigro; Best Cinematography, Ramiro Civita; Best Editing, Jacopo Quadri; Best First Film, Enrique Piñeyro; Best Original Screenplay, Enrique Piñeyro; Best Sound, Marcos De Aguirre; Best Supporting Actor, Alejandro Awada; 2006.

References

External links

 Whisky Romeo Zulu at cinenacional.com

2004 films
2000s political drama films
Aviation films
Films about aviation accidents or incidents
Argentine independent films
2000s Spanish-language films
Films shot in Buenos Aires
Films set in Buenos Aires
Argentine drama films
2004 directorial debut films
2004 drama films
2000s Argentine films

Whisky Romeo Zulu


Juliane Margaret Beate Koepcke (born 10 October 1954), also known by her married name Juliane Diller, is a German-Peruvian mammalogist who specialises in bats. The daughter of German zoologists Maria and Hans-Wilhelm Koepcke, she became famous at the age of 17 as the sole survivor of the 1971 LANSA Flight 508 plane crash; after falling  while strapped to her seat and suffering numerous injuries, she survived 11 days alone in the Peruvian Amazon rainforest until local fishermen rescued her.

Early life
Koepcke was born in Lima on 10 October 1954, the only child of German zoologists Maria (née von Mikulicz-Radecki; 1924–1971) and Hans-Wilhelm Koepcke (1914–2000). Her parents were working at Lima's Museum of Natural History when she was born. At the age of 14, she left Lima with her parents to establish the Panguana research station in the Amazon rainforest, where she learned survival skills. Educational authorities disapproved and she was required to return to the Deutsche Schule Lima Alexander von Humboldt to take her exams, graduating on 23 December 1971.

Crash
On 24 December 1971, just one day after she graduated, Koepcke flew on LANSA Flight 508. Her mother Maria had wanted to return to Panguana with Koepcke on 19 or 20 December 1971, but Koepcke wanted to attend her graduation ceremony in Lima on 23 December. Maria agreed that Koepcke could stay longer and instead they scheduled a flight for Christmas Eve. All flights were booked except for one with LANSA. Koepcke's father, Hans-Wilhelm, urged his wife to avoid flying with the airline due to its poor reputation. Nonetheless, the flight was booked. The plane was struck by lightning mid-flight and began to disintegrate before plummeting to the ground. Koepcke found herself still strapped to her seat, falling  into the Amazon rainforest.

Koepcke survived the fall but suffered injuries such as a broken collarbone, a deep cut on her right arm, an eye injury, and a concussion. She then spent 11 days in the rainforest, most of which were spent making her way through water by following a creek to a river. While in the jungle, she dealt with severe insect bites and an infestation of maggots in her wounded arm. After nine days, she was able to find an encampment that had been set up by local fishermen. She gave herself rudimentary first aid, which included pouring gasoline on her arm to force the maggots out of the wound. A few hours later, the returning fishermen found her, gave her proper first aid, and used a canoe to transport her to a more inhabited area. She was soon airlifted to a hospital.

Koepcke's unlikely survival has been the subject of much speculation. Experts have said that she survived the fall because she was harnessed into her seat, the window seat, which was attached to the two seats to her left as part of a row of three. That was thought to have functioned as a parachute which slowed her fall. The impact may have also been lessened by the updraft from a thunderstorm Koepcke fell through, as well as the thick foliage at her landing site. As many as 14 other passengers were later discovered to have survived the initial crash but died while waiting to be rescued.

Aftermath

After recovering from her injuries, Koepcke assisted search parties in locating the crash site and recovering the bodies of victims. Her mother's body was discovered on 12 January 1972.

Koepcke returned to her parents' native Germany, where she fully recovered from her physical injuries. Like her parents, she studied biology at the University of Kiel and graduated in 1980. She received a doctorate from Ludwig Maximilian University of Munich and returned to Peru to conduct research in mammalogy, specialising in bats. She published her thesis, "Ecological study of a bat colony in the tropical rain forest of Peru", in 1987.

In 1989, Koepcke married Erich Diller, a German entomologist who specialises in parasitic wasps. In 2000, following the death of her father, she took over as the director of Panguana. She currently serves as a librarian at the Bavarian State Collection of Zoology in Munich.

Koepcke's autobiography Als ich vom Himmel fiel: Wie mir der Dschungel mein Leben zurückgab (German for When I Fell from the Sky: How the Jungle Gave Me My Life Back) was released in 2011 by Piper Verlag. The book won that year's Corine Literature Prize. In 2019, the government of Peru made her a Grand Officer of the Order of Merit for Distinguished Services.

Portrayal in media
Koepcke's survival has been the subject of numerous books and films, including the low-budget and heavily fictionalized I miracoli accadono ancora (1974) by Italian filmmaker Giuseppe Maria Scotese, which was released in English as Miracles Still Happen and is sometimes called The Story of Juliane Koepcke. She was portrayed by English actress Susan Penhaligon in the film.

Koepcke's story was more faithfully told by Koepcke herself in German filmmaker Werner Herzog's documentary Wings of Hope (1998). Herzog was interested in telling her story because of a personal connection; he was scheduled to be on the same flight while scouting locations for his film Aguirre, the Wrath of God (1972), but a last-minute change of plans spared him from the crash. He had planned to make the film ever since narrowly missing the flight but was unable to contact Koepcke for decades since she avoided the media; he located her after contacting the priest who performed her mother's funeral. Koepcke accompanied him on a visit to the crash site, which she described as a "kind of therapy" for her.

Works

See also
 Nicholas Alkemade, British soldier who survived falling from his aeroplane in 1944
 Ivan Chisov, Soviet soldier who survived falling from his aeroplane in 1942
 Alan Magee, American soldier who survived falling from his aeroplane in 1943
 Vesna Vulović, Serbian flight attendant who survived the mid-air breakup of JAT Flight 367 in 1972
 Larisa Savitskaya, Soviet woman who was the sole survivor of Aeroflot Flight 811 in 1981
 List of sole survivors of aviation accidents or incidents

References

Further reading

External links

 Plane Crashes Since 1970 with a Sole Survivor. airsafe.com

1954 births
Living people
People from Lima
German people of Polish descent
German people of Austrian descent
Peruvian people of German descent
Peruvian people of Austrian descent
German mammalogists
German librarians
German women librarians
Fall survivors
Sole survivors
Survivors of aviation accidents or incidents
Peruvian librarians
Peruvian biologists
Women mammalogists
21st-century German biologists
20th-century German biologists
20th-century Peruvian scientists
20th-century Peruvian women
21st-century Peruvian women
21st-century Peruvian scientists
21st-century German women scientists
20th-century German women scientists

Juliane Koepcke