The Setting of the Sun is a 1752 oil-on-canvas painting by François Boucher. It and its pair The Rising of the Sun were both private commissions for  Madame de Pompadour as full-scale models for the Gobelins Manufactory. The tapestries produced from the paintings were completed in 1754–1755 and hung in the king's bedroom at château de Bellevue. They were sold together with the rest of her collection on 28 April 1766 and passed through four other collections before being bought on 2 August 1855 by Richard Seymour-Conway, 4th Marquess of Hertford. Like the rest of his collection, they now hang in the Wallace Collection in London.

Description
Representing the rhythm of the day, Boucher creates an integrated pairing layered with allegory and symbolism.

In The Setting of the Sun, the god Apollo returns to his mother's arms, bringing dusk along with him, represented by muted pinks, browns, and creams. The foregrounds of both canvases are populated by the nude bodies of nymphs and naiads, overlapping with one another to create a series of arabesque curves that are echoed in the forms of the waves. The meeting of sky and sea affirms the mythological setting of Boucher's paintings. There are 17 mythological humans in the painting which as shown are eight women, three men, and six babies. Including two majestic white horses.

These mythological scenes of harmonious pastels, beautiful nude bodies and gauzy textures exemplify the visual elegance of the Rococo aesthetic; their decorative nature is further enhanced by their function as designs for tapestries, which would have served to adorn and complement a luxurious and fashionable home.

References

1752 paintings
Mythological paintings by François Boucher
Paintings in the Wallace Collection
Bathing in art
Paintings of Apollo

The Setting of the Sun


Adam Film World (AFW) and Adam Film World Guide (AFWG) were American magazines about pornographic film, starting in 1966 as The Adam Film Quarterly.

History
Knight Publishing Corp. had launched Adam magazine in 1956 as an attempt to follow Playboy's success. Adam Film Quarterly was spun off from that magazine by William Rotsler in 1966 to cover the sexploitation film industry. The first issue's cover price was US$1 and the cover story was about The Notorious Daughter of Fanny Hill,  an erotic movie directed by Peter Stootsberry and produced by Bradford Hallworth.

Originally, like Playboy, the publication also covered mainstream films and included feature stories on stars such as Orson Welles or Judy Garland. However, by 1969 it was renamed Adam Film World and issued monthly.

The Internet Adult Film Database owes its start to Peter Van Aarle, who began keeping notes on index cards on adult movies he had seen or were reviewed in Adam Film World starting in 1982.

Adam Film World was called "one of the industry's leading trade publications" in 1994 by the Associated Press.

In his 2001 book Pornography and Sexual Representation, Joseph Slade states, "Extremely valuable are the reports, reviews and gossip of Adam Film World and Adult Video Guide, the oldest American monthly devoted to explicit cinema and generally more reliable than similar magazines, though the information on actors and actresses should be approached with caution. Best described as a fan magazine, Adam Film World hypes the careers of performers for a credulous audience, but partly for that reason it is unparalleled as a guide to the mores and customs of the porn subculture."
Slade pointed out that the magazine's interviews with performers were, to an extent, similar to celebrity interviews in popular mainstream magazines: "Actors and actresses usually begin by talking about their parents, their adolescence, their own children, lovers, the importance of grooming, then move on to discussions of augmented breasts, relative penis sizes, favorite costars and directors, referred techniques of oral, vaginal, or anal sex, striptease dancing on tour as a sideline and—most important—their fan clubs or their 900-telephone numbers."

The publication is also notable for having issued the first movie awards for excellence in pornographic film, first with the X-Caliber Awards in 1975, then replacing them with the AFWG awards starting in 1981 when its sister publication, Adam Film World Guide, was launched. Today the role of adult film awards has been mostly supplanted by Adult Video News, with its AVN Awards, which launched a decade later.

Adam Film World Guide, in turn, spawned an annual Directory of Adult Films starting in 1984. The annuals were "important directories of...hard-core films and videos of the previous eighteen months, with lists of notable films of the past, capsule reviews that rate eroticism from 'warm' to 'volcanic,' addresses of distributors and retail outlets, brief biographies of actors, directors, and producers and indexes by theme, director, and performer."

Edward S. Sullivan was the first editor of Adam Film World, followed briefly in 1984 by John Zeus, while former pornographic film actor Tim Connelly was editor, under the name Jeremy Stone, from 1985 to 2003. Connelly, as Stone, was inducted into the X-Rated Critics Organization Hall of Fame in the Fifth Estate category in 1998.

Knight Publishing eventually expanded to add several other magazine titles such as Adam Black Video Illustrated, Adam Gay Video, and Cinema X Monthly and several others, but Adam Film World remained the flagship of the group until it was discontinued in the late 1990s in favour of Adam Film World Guide. By 2008, owner Bentley Morriss put the company up for sale. When a buyer was not found, the magazine empire folded.

X-Caliber Awards
The Adam Film World annual X-Caliber Awards based their selection of winners "largely on the votes of readers who are members of the audiences of the adult theaters." although after the popular vote is counted, "an editorial panel makes the final selections". The winners were announced annually starting with the August 1976 issue for films released the previous year. By the second year, the Z-Caliber Awards, for the worst movies, were also introduced.

Z-Caliber Awards

Adam Film World Guide Awards

In 1981, Adam Film World revived its awards with a new name, the Adam Film World Guide Awards, to coincide with the launch of a sister magazine, Adam Film World Guide. Rather than giving single awards in several categories, AFWG had only a few categories — top films, top videos, top sex scenes, best male and female performers and best director — but named the top five or top 10 of each. Then, until 2003, in the annual AFWG Directory of Adult Films it ranked the top three movies of the year, a combination of movies shot on film and those shot on videotape:

Starting with the 2002 awards, Adam Film World Guide changed the focus of the annual awards. Rather than naming the top 10 films and top 10 videos (which the Directory then condensed into a list of the year's top three movies), AFWG just named one top film, one top video and 51 other awards to movies and individuals for a wide range of categories such as Best Asian Starlet, Best Fetish Vignette Movie, Best Couples Movie, Best Gonzo Comedy, Best Music, Best Box Cover Art and Best All-Girl Orgy Series.

With movies shot on film and videotape giving way to digital, the Best Films and Best Videos categories were eventually combined into Best Movie, and so in 2005, Adam Film World Guide Directory stopped naming the previous year's top three movies, thereafter just reprinting the entire list of AFWG individual awards. The final awards, for movies released in 2007, were published in the July 2008 issue of Adam Film World Guide.

2002–08

Adam Black Video Top 25
Adam Black Video Directory was an annual publication produced from 1998 to 2007, which grew out of Adam Black Video Illustrated.

In the late 1990s Adam Black Video Directory decided the time had come to honor a list of the best black and interracial movies of all time, because there had been few awards given for them in the past. Adding a few new ones each year, by 2000 the list had grown to a top 25, with a tie for 6th place (shown with year of release in brackets): 1. Black Throat (1985), 2. Maverdick (1995), 3. Let Me Tell Ya 'bout White Chicks (1984), 4. Nasty Video Magazine 5 (1999), 5. Friend to the Black Man (1998), 6. Harlem Candy (1987), 6. N.B.A. (Nuttin' But Ass) (1996), 7. The Look 2000 (1997), 8. The Legend of Reggie D (1989), 9. The Adventures of Dick Black the Black Dick (1987), 10. Pussyman 7 (1994), 11. Starbangers 2 (1994), 12. Escape to Pleasure Island (1998), 13. My Black Ass (1997), 14. Booty Bitch (1995), 15. African Angels (1996), 16. Hot Rod Honeyz, 17. Black Butt Jungle (1998), 18. Kink World (1993), 19. Mac' In 2 (1996), 20. Centerfold (1997), 21. Dear John (1993), 22. Buttman Back in Rio 4, 23. The Dream Team (1996), 24. Isis Blublue filme (1998) and 25. Bomb Ass Pussy (1998).

Adam Gay Video "Dave" Awards
Originated in 1989 by Adam Gay Video Directory editor Dave Kinnick, The "Dave" Awards were originally announced in Kinnick's monthly "Video Review" column in Advocate Men Magazine. They moved to Adam Gay Video 1996 Directory after the column ceased in December 1994.

Notes

Some of the terminology used by Adam Film World for some of the awards was deleted or replaced by something less vulgar in these instances.

In announcing the Z-Caliber Awards in 1977, Adam Film World did not give Worst Direction or Worst Sinematography Awards, saying "We had a couple more Z-Calibers in mind but have deleted them just to be nice—also the contenders were running neck-and-neck." In announcing the 1978 awards, the previous year's awards were also noted and this time a Worst Sinematography Award for 1977 was named, but the Worst Direction for that year was "withheld by request".

The 2002 Adam Film World Guide Directory listed Marissa as first runner-up and Beast as second runner-up, however, this was changed to Euphoria and Taboo 2001 in subsequent directories. It is likely Marissa and Beast were the incorrect entries because Euphoria was named best video that year and since all four movies were shot-on-video productions, it would be the most likely to make the top three movies list overall.

References
 Adam Film World Guide Directory annuals, 1990 to 2005

External links

 "Adam Film World Guide Announces Awards Winners" - 2006
 "Adam Film World Announces Annual (2007) Award Winners"
 "Adam Film World Names Annual Awards Winners" - 2008

Adult industry awards
Film magazines published in the United States
Men's magazines published in the United States
Monthly magazines published in the United States
Pornographic magazines published in the United States
American pornographic film awards
Quarterly magazines published in the United States
Defunct magazines published in the United States
Magazines established in 1966
Magazines disestablished in 1998

Adam Film World


The Globe was a Victorian theatre built in 1868 and demolished in 1902. It was the third of five London theatres to bear the name, following Shakespeare's Bankside house, which closed in 1642, and the former Rotunda Theatre in Blackfriars Road, which for a few years from 1833 was renamed the Globe. The new theatre was also known at various times as the Royal Globe Theatre or Globe Theatre Royal. Its repertoire consisted mainly of comedies and musical shows.

The theatre's most famous production was Charley's Aunt by Brandon Thomas, which enjoyed a record-setting run there, having transferred from the Royalty Theatre. Other long-running pieces included the opéra-comique The Chimes of Normandy (1878) and the farce The Private Secretary (1884).

History

Background and first years

In the 16th century Lyon's Inn, one of the Inns of Chancery attached to London's Inner Temple, stood on the site. By the 1860s the area had deteriorated greatly and the old inn had been converted into what the historians Mander and Mitchenson describe as "dwellings of a dubious nature". In 1864 part of the area was cleared to make way for a new hotel, which failed, and the Globe Theatre, which was built to the commission of its proprietor, Sefton Parry. He designed the theatre himself; the builder was G. Simpson. The Globe stood on the corner of Wych and Newcastle Streets.

Parry built the theatre cheaply, hoping to make handsome profits from compensation when the area was demolished, which was even then in contemplation. It remained in contemplation for more than thirty years. From 1870 the Globe backed on to another theatre owned by Parry, the even more jerry-built Opera Comique. The two theatres were known as "the rickety twins": both were of such flimsy construction that performers could hear each other through the common wall. Nevertheless, the auditorium of the Globe was richly decorated, and much praised by contemporary reviewers.

The Era, reporting on the new theatre in November 1868, quoted the capacity as 1,800, including standing room; the seating capacity was 1,510 plus eight private boxes. Acknowledging the history of the title "Globe Theatre", the new house featured an act-drop representing a view of Stratford-Upon-Avon. That act-drop was destroyed in a fire before the opening night, and replaced by another with a view of Anne Hathaway's cottage.

Parry's first production, a five-act comedy called Cyril's Success, by H. J. Byron, was well received, and ran for 100 performances – considered a very good run for that period. Later productions staged by Parry were unsuccessful, and he gave up the management of the Globe in 1870.

1870s
The Globe was taken over and partially rebuilt only two years after its opening.  The architect was Walter Emden, whose surviving London theatres are the Duke of York's, and (in collaboration) the Garrick and Royal Court theatres. Old and New London described the theatre thus:

The "sunlight" referred to above was a glass roof giving the auditorium natural light, day and night, and allowing ventilation at all times: in an age of gas lighting, the latter would have been a marked advantage. By contrast, at the adjoining Opera Comique audiences "perspired and gasped."

The rebuilt theatre came under a succession of managements through the 1870s, with few successes. For a season of opéra bouffe in 1871, for which "Royal" was added to the theatre's name, standards were not high enough to attract the public, and a new management took over. H. J. Montague opened with a strong company, headed by himself, Carlotta Addison and Henry Compton, but could not make the theatre pay. He was succeeded by Alexander Henderson, who presented his wife, Lydia Thompson, in a long-running burlesque, Blue Beard. A substantial success in the 1870s was the opéra comique Les cloches de Corneville by Robert Planquette, given in an English version by H. B. Farnie and Robert Reece under the title The Chimes of Normandy. It transferred from the smaller Folly Theatre, and ran for a total of 705 performances, setting a new world record for a musical theatre run, which was not overtaken until Dorothy, ten years later.

1880s
The early years of the decade brought the Globe little success. A comic opera in an attempted Gilbert and Sullivan vein, The Vicar of Bray, by Sydney Grundy and  Edward Solomon (1882) ran for only 69 performances, and The Promise of May, a "Rustic Drama in Prose" by the Poet Laureate, Lord Tennyson, lasted only a few nights.

In 1884 the theatre (temporarily called the Royal Globe) had a solid success with The Private Secretary, a farce by and starring Charles Hawtrey (transferred from The Prince of Wales's Theatre in 1884; it ran for 785 performances. Hawtrey then presented other plays at the Globe with varying degrees of success. In the later years of the decade the house saw two Shakespeare seasons, the first led by Richard Mansfield and the second by Frank Benson.

1890–1902
Success on an even greater scale than that of The Private Secretary came to the Globe in 1892, when the farce Charley's Aunt transferred there after a few initial weeks in the smaller Royalty Theatre. It ran for a total of 1,466 performances. John Hare took over the theatre after the end of that run. He brought Kate Terry out of retirement to support the stage debut of her daughter Mabel Terry-Lewis in The Master by Stuart Ogilvie, presented revivals of Tom Robertson's Caste, School and Ours, and premiered Arthur Pinero's comedy The Gay Lord Quex, which ran for 300 performances.

By the time Hare gave up the management of the Globe  in 1900 the long-envisaged Strand Improvement Scheme was finally under way, and the demolition of "the rickety twins" was scheduled by the London County Council. The last company to occupy the theatre was headed by Fred Terry and Julia Neilson, with William Greet as lessee and Frank Curzon managing the house. They presented a melodrama about Russian politics, which failed completely, and for the final production at the Globe they revived a popular costume drama, Sweet Nell of Old Drury. The theatre closed in 1902 and was then demolished to make way for the  construction of Aldwych. Bush House now stands on the site.

Other "Globe" theatres
This Globe was the third of five London theatres to bear the name, following Shakespeare's Bankside house, which closed in 1642, and the former Rotunda Theatre in Blackfriars Road, which for a few years from 1833 was renamed the Globe. Two later London theatres were given the name. The Hicks Theatre in Shaftesbury Avenue, opened in 1906, was renamed the Globe in 1909 and continued under that name until 1994, when it was renamed the Gielgud Theatre. A recreation of Shakespeare's theatre opened in Southwark in 1997 and was given the name Shakespeare's Globe.

Notes, references and sources

Notes

References

Sources

External links
Globe Playbills: in the Templeman Collection of the University of Kent

1868 establishments in England
Buildings and structures demolished in 1902
Former buildings and structures in the City of Westminster
Former theatres in London
Theatres completed in 1868

Globe Theatre (Newcastle Street)


The Miami String Quartet is an American string quartet.  The group was founded in 1988 at The New World School of the Arts by John de Lancie in Miami, Florida.  The Quartet was in Residence at Kent State University in Kent, Ohio, where all four members served as faculty members in the School of Music, and two still remain.  The Quartet was the Grand Prize winner at the Fischoff competition, First Prize winners of the Concert Artists Guild competition, and prize winners at the London and Evian International Quartet Competitions.  They were awarded the Cleveland Quartet Award and were named to the Chamber Music Society of Lincoln Center II Residency as well.  The Miami Quartet has served as Artists in Residence at the Hartt School and Florida International University and perform and teach at the Kent Blossom Music Festival every summer.

Recordings
The Miami String Quartet's first recording, which featured the first two string quartets by Alberto Ginastera, was released in 1994. Their second CD, of Camille Saint-Saëns first two string quartets and Gabriel Fauré's String Quartet, was released in 1997. In 1999, they released a CD of the first three string quartets of Pēteris Vasks.

Current members
Benny Kim, violin
Cathy Meng Robinson, violin
Scott Lee, viola
Keith Robinson, cello

External links
Miami String Quartet official site

Musical groups established in 1988
American string quartets
Musical groups from Kent, Ohio

Miami String Quartet


Samuel Nelson (November 10, 1792 – December 13, 1873) was an American attorney and appointed as judge of New York State courts. He was appointed as a Justice of the Supreme Court of the United States, serving from 1845 to 1872. He concurred on the 1857 Dred Scott decision, although for reasons different from Chief Justice Taney's.

Early life
Nelson was born in Hebron, New York on November 10, 1792, the son of Scotch-Irish immigrants John Rodgers Nelson and his wife Jean McArthur.  Nelson's family was upper middle class, with a prosperous family farm. Nelson was educated in the public schools of Hebron, with an additional three years in private schooling for college preparation.  He entered Middlebury College in Vermont.

His initial intention was to pursue a career as a minister. Upon graduation in 1813, Nelson decided on a legal career. He read law as an apprentice at the firm of John Savage and David Woods in Salem, New York.  Two years later, Savage and Woods dissolved their practice. Nelson moved to Madison County to enter into partnership with Woods.  Nelson received his license to practice law in 1817, and entered private practice in Cortland.  He developed a very successful practice, specializing in real estate and commercial law.

Career
Nelson was a presidential elector in 1820, voting for James Monroe and Daniel D. Tompkins. Nelson served as US Postmaster of Cortland from 1820 to 1823.

In 1821, Nelson served as a delegate to the New York Constitutional Convention, as one of the "Bucktails" faction led by Martin van Buren. Nelson argued for expansion of suffrage and for restructuring the state judiciary.  The revised constitution was adopted, and the state created eight new Circuit Courts.

New York State judge
In 1823, Governor Joseph Yates appointed Nelson as a justice of the new Sixth Circuit Court of Appeals, beginning Nelson's judicial career. He became noted for his work in admiralty and maritime law, and his decisions were rarely appealed.

After eight years as a circuit court judge, Nelson was appointed in 1831 to the New York Supreme Court (then called the New York Supreme Court of Judicature) by Governor Enos Throop. In 1837, Governor William Marcy promoted him to the position of chief justice, succeeding John Savage.

As a justice of the New York Supreme Court, Nelson made his most notable decisions about commercial issues.  But his ruling in the case of Jack v. Martin (1834), which touched New York state law in relation to the federal Fugitive Slave Act of 1793 and the Fugitive Slave Clause of the Constitution, may have foreshadowed his concurring opinion in Dred Scott. Nelson said that only the federal government had the right to legislate on the issue of fugitive slaves.

In 1845, Nelson was an unsuccessful candidate for U.S. Senator in a special New York State Legislature election to fill the seat of Silas Wright. At that time the New York state Democrats were split between factions known as Barnburners and Hunkers, and Nelson was identified with the Hunkers. His Barnburner opponent, John Adams Dix, won the party's nomination and the Senate seat.

Supreme Court
On February 4, 1845, Nelson was nominated by President John Tyler as an associate justice of the Supreme Court of the United States, to fill the vacant seat of Smith Thompson. The unpopular Tyler had failed repeatedly to fill the Thompson vacancy, with the Whig-controlled Senate rejecting his earlier nominations of John C. Spencer, Reuben Walworth, Edward King, and John M. Read.

Tyler's nomination of Nelson was a surprise, but proved to be a popular choice. Nelson was a highly respected chief justice on the New York Supreme Court, and had a reputation of staying out of partisan conflict. The Whigs found Nelson acceptable because, although he was a Democrat, he had a reputation as a careful and uncontroversial jurist. The Senate confirmed Nelson's appointment on February 14, 1845, after just ten days. Samuel Nelson was the only Supreme Court Justice to be appointed by President Tyler.

A diligent but politically neutral member of the Supreme Court, Nelson became an authority on international, admiralty, maritime, and patent law and often addressed himself primarily to the technical aspects of the cases before the court.

As associate justice, Nelson administered the oath to Chief Justice Salmon P. Chase took for presiding over the impeachment trial of Andrew Johnson.

Nelson served as a Justice for 27 years, until his retirement on November 28, 1872. Justice Nelson was a constitutionally conservative Democrat.  He could also be described as a judicial minimalist, meaning he frequently took a moderate stance in cases offering a small, case-specific interpretation of the law, and placed a strong emphasis on precedent. While Nelson was a strong supporter of the Union, he often criticized President Lincoln's policies and did not believe that the Union could be saved in any worthwhile state through the use of force.  While Justice Nelson remained relatively non-partisan, he did side frequently with Chief Justice Roger B. Taney and Justice John Archibald Campbell. Nelson also rather frequently disagreed with Justice Benjamin Robbins Curtis. Justice Nelson remained good friends with Chief Justice Taney throughout his lifetime.

Pennsylvania v. Wheeling
One of Justice Nelson's most important opinions was in the case of Pennsylvania v. Wheeling and Belmont Bridge Company in 1855. The Commonwealth of Pennsylvania sued the builders of a suspension bridge over the Ohio River at Wheeling, Virginia (now West Virginia), chartered by Virginia. It said that the bridge obstructed the passage of steamboats, interfering with interstate commerce, and was therefore a public nuisance.

The suit was litigated for six years and came before the Supreme Court three different times before Justice Nelson's opinion ended it. The Court found that the bridge did qualify as a public nuisance. Congress enacted a law authorizing the bridge at its current height. In its final ruling, written by Nelson, the Court deferred to the legislative branch, overruling its previous decision. It declared that the bridge was not an obstruction to interstate commerce.  Nelson drew this conclusion stating, "So far, therefore, as this bridge created an obstruction to the free navigation of the river, in view of the previous acts of Congress, they are to be regarded as modified by this subsequent legislation; and, although it still may be an obstruction in fact, is not so in the contemplation of law."

Hotchkiss v. Greenwood
Nelson was also the author of the well-known Hotchkiss v. Greenwood opinion in patent law. This opinion established the principle that obvious inventions should not be patentable, which has been a core doctrine of U.S. and international patent law ever since.

Slavery and states rights
Justice Nelson was one of the most prolific opinion writers of the Taney era, but few of his opinions and decisions concerned the most important constitutional questions of the day: slavery and states rights.

In 1834 Mary Martin claimed that Jack "Martin", a black man in New York, was her slave in Louisiana. She filed suit for his return to Louisiana. Jack resisted, claiming that as both he and Mary Martin were currently residents of New York, he was free by New York law, which had abolished slavery. New York had separately passed a law related to procedure for the recovery of fugitive slaves. The Recorder of New York City had issued a certificate to recover Jack Martin, but also issued a writ of habeas corpus by his petition. The circuit court ruled for Ms. Martin, but the case was appealed to the New York Supreme Court. That court's ruling, written by Nelson, found that the power to legislate on the subject of the fugitive slave clause resided exclusively with Congress, and that the New York law was void. This position was upheld by the U.S. Supreme Court in Prigg v. Pennsylvania (1842).

Dred Scott
In Dred Scott, Nelson was originally assigned to write the majority opinion.  That opinion upheld the decision of the Missouri state court against Scott (in Scott v. Emerson), but on the narrow grounds of whether Scott was freed by his temporary residence in a free state. Nelson, avoiding controversy and partisanship as usual, did not address any of the other questions raised in the case, such as black citizenship and the constitutionality of the Missouri Compromise.

While Justice Nelson was preparing this opinion, Justices McLean and Curtis decided to write vehement dissenting opinions. Learning this, Chief Justice Taney, supported by the other southern Justices, decided to write a majority opinion asserting the southern view on those issues: that blacks could not be citizens and the Compromise's restrictions on slavery were unconstitutional.

Despite this switch within the Court, Justice Nelson's views did not change. On March 6, 1857, the Court ruled 7–2 that Dred Scott and his family remained slaves. Justice Nelson concurred in the decision. He issued a separate concurring opinion explaining his different reasoning. He wrote that the question of slavery is one that each state is responsible in deciding for itself, "either by its Legislature or courts of justice, and hence, in respect to the case before us, to the State of Missouri – a question exclusively of Missouri law, and which, when determined by that State, it is the duty of the Federal courts to follow it.  In other words, except in cases where the power is restrained by the Constitution of the United States, the law of the State is supreme over the subject of slavery within its jurisdiction." Therefore, the Federal courts had no jurisdiction, and the appeal should be dismissed with no further discussion. While his reasoning was different from Taney's, he upheld the ruling that Dred Scott was still enslaved. Nelson was a northern Democrat and a Unionist, and was said to be inclined to anti-slavery views.

Before the Civil War, Nelson worked to reach a compromise to prevent a war. In the winter of 1861 Justice Nelson joined Justice John Campbell as intermediaries between southern secessionists and President-elect Lincoln. Even after the fighting started, he tried to find a compromise. Nelson was distressed at this failure. Although staunchly opposed to war and critical of many of Lincoln's policies, he remained loyal to the Union.

Prize Cases
One of Justice Nelson's more noted opinions was his dissent issued in the Prize Cases. President Lincoln had declared a blockade of ports in states that had declared secession, to be enforced by the Navy. Navy ships captured blockade runners, which were seized as prizes under admiralty law. The owners sued for return of their ships, claiming that the blockade was illegal because the President did not have the constitutional authority to declare it.

In 1863, the Court, by vote of 5 to 4, found that the blockade was constitutional. Justice Nelson wrote the dissenting opinion, joined by Chief Justice Taney and Justices Catron and Clifford. He asserted that blockading ports and confiscating enemy property were war powers, and under international law could be exercised only after a formal declaration of war. Nelson wrote that "war cannot lawfully be commenced on the part of the United States without an act of Congress, such act is, of course, a formal notice to all the world, and equivalent to the most solemn declaration." Therefore, the blockade of southern ports by President Lincoln was unconstitutional. Nelson was widely criticized for this opinion.

After the war Nelson urged the administration to reduce the penalties on the defeated South. Nelson's loyalty to the Union was questioned because of his positions.

Later career
In 1871, President Ulysses S. Grant appointed Nelson to serve on the joint high commission to arbitrate the Alabama Claims. During this time he took a leave of absence from the bench. Soon thereafter, Nelson became ill. He resigned from the commission in 1872, shortly before his death.

Personal life
In 1819 Nelson married Pamela Woods, the daughter of David Woods and his wife. They had two children before her death.

In 1825, the widower married again, to Catharine Ann Russell (1805–1875), a daughter of U.S. Representative John Russell. He brought his two children to the marriage and had six children with Catharine. His fourth child with Catharine, son Rensselaer Russell Nelson (1826–1904), became an attorney. He was appointed as the first United States District Court Judge for the District of Minnesota.

Samuel Nelson died in Cooperstown, New York, on December 13, 1873.  He was buried at Cooperstown's Lakewood Cemetery.

Legacy and honors
Nelson received the honorary degree of LL.D. from Geneva College in 1837 and Middlebury College in 1841.  He received honorary LL.D. degrees from Columbia University and Hamilton College in 1870.

His law office was preserved as part of the Farmers' Museum in Cooperstown.

See also
List of justices of the Supreme Court of the United States

References

External links

1792 births
1873 deaths
19th-century American judges
Episcopalians from New York (state)
American people of Scotch-Irish descent
Middlebury College alumni
New York (state) Democrats
New York Supreme Court Justices
New York (state) postmasters
People from Cooperstown, New York
People from Cortland, New York
People from Hebron, New York
United States federal judges appointed by John Tyler
1820 United States presidential electors
Justices of the Supreme Court of the United States
United States federal judges admitted to the practice of law by reading law
American white supremacists

Samuel Nelson


Achille Alberti (1860, in Milan – July 15, 1943) was an Italian sculptor.

Biography
Born in Milan, where he completed his studies at the Brera Academy under Pietro Magni and Riccardo Ripamonti, he later taught sculpture at that Academy. Like the sculptor Achille D'Orsi, he often depicted genre subjects, but he also completed scenes from classical history. In 1885, he completed the works Il Catone Uticense and Vittime del lavoro.

His statuette, Il barcaiuolo,  was exhibited in 1883, and the next year in Turin. He also completed the bronze statuary group Due giugno; Apoteosi (1886);  Leda (1887, Mostra di Venice); a stucco Mater dolorosa (1888, Bologna); a bronze figurine of Il panattiere; and Maria, a marble bas-relief. At the Galleria d'Arte Moderna of Milan, a half dozen of his works are displayed: a bronze bas-relief of Pindar in the Theater of Athens (1891); a stucco bas-relief of Bathers (1891); a marble Portrait of the poet Gian Pietro Lucini (1897);  a marble bust of Maniscalco (1900); a bronze Virago (1907); and a bronze Bustino di Ragazzo (1910).

References

1860 births
1943 deaths
Artists from Milan
Brera Academy alumni
Academic staff of Brera Academy
19th-century Italian sculptors
Italian male sculptors
20th-century Italian sculptors
20th-century Italian male artists
19th-century Italian male artists

Achille Alberti


William D. F. Leushner (November 27, 1863 – October 25, 1935) was a competitive rifle shooter.

As a teenager he moved to Buffalo, New York, and joined the United States National Guard. In the 1908 Summer Olympics, he won a gold medal as a member of the U.S. military rifle team, having the highest individual score in the team competition. In the 1912 Summer Olympics, Leushner won a silver medal in the "team running deer, single shot 100 meters" competition (targets, not actual deer were used) and two bronze medals, finishing third in the "small-bore rifle teams 25 meters", and "small-bore rifle teams 50 meters". Leushner finished his Olympic career at the 1920 Olympics in Antwerp, Belgium, in which for the first time he failed to medal. He was three-time winner of the National Rifle Association of America's Members Trophy, winning the inaugural contest in 1901, and taking the title again in 1903 and 1908.

As a member of the U.S. National Guard, Leushner served on the Mexican border Pancho Villa Expedition with the 74th regiment. He was a marksmanship instructor at Camp Perry during the First World War and one year with the American Army of Occupation from 1919 to 1920. He was eventually made Lieutenant Colonel in the Reserve Corps.

Leushner died on October 25, 1935, aged 71, in his home in Buffalo. He had no children and was survived by his widow and several Canadian relatives.

Awards and medals
 Olympic gold medal 1908 military rifle team competition
 Olympic silver medal 1912 team running deer, single shot
 Olympic bronze medal 1912 small-bore rifle teams 25 meters
 Olympic bronze medal 1912 small-bore rifle teams 50 meters
 N.R.A. Member's trophy 1901
 N.R.A. Member's trophy 1903
 N.R.A. Member's trophy 1908

References

Sources
"Big reception for Yankee marksmen", Buffalo News (byline 'the news bureau' Washington, D.C.), July 17, 1908
"W.F. Leushner, ill 10 days, dies", obituary, Buffalo News (no author given), October 26, 1935
Gene Korzelius, "Buffalo athletes won many world honors in sportdom", Buffalo News, October 11, 1930
David Wallechinsky, The Complete Book of the Olympics
"Noted soldier, Olympic star, taken by death" (obituary), Buffalo Courier (no byline), October 26, 1935

External links
Olympic stats posted on databaseOlympics.com

1863 births
1935 deaths
American male sport shooters
ISSF rifle shooters
Running target shooters
Sportspeople from Buffalo, New York
Sportspeople from Simcoe County
Olympic gold medalists for the United States in shooting
Olympic silver medalists for the United States in shooting
Olympic bronze medalists for the United States in shooting
Shooters at the 1908 Summer Olympics
Shooters at the 1912 Summer Olympics
Sportspeople from Ontario
Medalists at the 1908 Summer Olympics
Medalists at the 1912 Summer Olympics
Canadian emigrants to the United States

William Leushner


Printing and the Mind of Man is a book first published in 1967 and based on an exhibition in 1963.

PMM, as it is usually abbreviated, is regarded as a standard bibliographical reference, and offers a survey of the impact of printed books on the development of western civilization. The book developed from an exhibition put on at two locations to coincide with the 1963 International Printing Machinery and Allied Trades Exhibition (IPEX). At the behest of typographer Stanley Morison it was decided to put together an exhibition of the contribution printing had made to the enlargement of human knowledge. A display at Earls Court concentrated on the technical side of printing, while a display at the British Museum looked more at fine printing. However, both displays had the quite novel intention of promoting the study of books for their role in advancing factual knowledge, rather than for their aesthetics.

Ian Fleming, who lent 40 books from his library, was among the private collectors who contributed to the exhibition. The Fleming Collection, central to the exhibit, is now at the Lilly Library of the Indiana University Bloomington. The Fleming Collection was an attempt to gather together, in first editions, the original contributions of the scientists and practical workers, the total body of whose work has been responsible for the modern revolution.

The catalogue, (which might be considered the pre-first edition of PMM) was printed by Oxford University Press, edited by John Carter, Stanley Morison, Percy H. Muir and others and entitled: Catalogue of a display of printing mechanisms and printed materials arranged to illustrate the history of Western civilization and the means of the multiplication of literary texts since the 15th century, organised in connection with the eleventh International Printing Machinery and Allied Trades Exhibition, under the title Printing and the Mind of Man, assembled at the British Museum and at Earls Court, London, 16–27 July 1963.

A book-length edition, revised and enlarged, was printed at Cambridge University Press and published in 1967 by Cassell in London and Holt, Rinehart & Winston in New York. This first book edition was entitled Printing and the Mind of Man, a descriptive catalogue illustrating the impact of print on the evolution of Western civilization during five centuries. It was edited by John Carter and Percy H. Muir and expanded upon the theme of the impact of printing on human thought.

A second revised edition was published in 1983 by Karl Pressler in Munich ().

References

Further reading
 Sebastian Carter - "Printing and the mind of man" in Matrix Volume 20 (2000)

1963 non-fiction books
1967 non-fiction books
20th-century history books
Books about printing
Bibliography
1983 non-fiction books
Ian Fleming

Printing and the Mind of Man


John Doane Fay (April 20, 1815 in Northampton, then Montgomery Co., now in Fulton County, New York – June 6, 1895 in Rochester, Monroe County, New York) was an American civil engineer and politician from New York

Life
He was educated at Lowville, New York. On May 6, 1839, he married Caroline M. Saxton, and they had one child. Caroline Fay died on October 11, 1841.

Fay participated with Stephen Clark in re-constructing the Long Bridge over the Potomac, and was a Resident Engineer on the New York State canals from 1841 to 1849. On October 23, 1845, he married Maria Lydia Noble (b. April 24, 1824), and they had eight children.

In 1850, Fay and Orville W. Childs were sent to Nicaragua by Cornelius Vanderbilt to make a survey for the proposed Nicaragua canal. He was Division Engineer of the Western Division of the State Canals from 1852 to 1853, from 1856 to 1860, and from 1874 to 1875.

In 1853, he ran for New York State Engineer and Surveyor on the Hard ticket but was defeated by Whig John T. Clark. In 1855, he ran again but was again defeated, this time by American Silas Seymour.

From 1868 to 1873 he was a Canal Commissioner, elected in 1867 and 1870 on the Democratic ticket.

Sources
 Bios of Engineers, at Rochester history
Fay Genealogy (1898; pages 48, 90 and 142)

1815 births
1895 deaths
People from Northampton, Fulton County, New York
Erie Canal Commissioners
American surveyors
American civil engineers
New York (state) Democrats
Engineers from New York (state)

John D. Fay


In communication, media are the communication outlets or tools used to store and deliver content. The term generally refers to components of the mass media communications industry, such as print media, publishing, the news media, photography, cinema, broadcasting (radio and television), digital media, and advertising.

The development of early writing and paper enabling longer-distance communication systems such as mail, including in the Persian Empire (Chapar Khaneh and Angarium) and Roman Empire, can be interpreted as early forms of media. Writers such as Howard Rheingold have framed early forms of human communication, such as the Lascaux cave paintings and early writing, as early forms of media. Another framing of the history of media starts with the Chauvet Cave paintings and continues with other ways to carry human communication beyond the short range of voice: smoke signals, trail markers, and sculpture.

The term media in its modern application relating to communication channels was first used by Canadian communications theorist Marshall McLuhan, who stated in Counterblast (1954): "The media are not toys; they should not be in the hands of Mother Goose and Peter Pan executives. They can be entrusted only to new artists because they are art forms." By the mid-1960s, the term had spread to general use in North America and the United Kingdom. The phrase mass media was, according to H.L. Mencken, used as early as 1923 in the United States.

The term medium (the singular form of media) is defined as "one of the means or channels of general communication, information, or entertainment in society, as newspapers, radio, or television."

Regulations

The role of regulatory authorities (license broadcaster institutions, content providers, platforms) and the resistance to political and commercial interference in the autonomy of the media sector are both considered as significant components of media independence. In order to ensure media independence, regulatory authorities should be placed outside of governments' directives. this can be measured through legislation, agency statutes and rules.

Government regulations

Licensing
In the United States, the Radio Act of 1927 established that the radio frequency spectrum was public property. This prohibited private organizations from owning any portion of the spectrum. A broadcast license is typically given to broadcasters by communications regulators, allowing them to broadcast on a certain frequency and typically in a specific geographical location. Licensing is done by regulators in order to manage a broadcasting medium and as a method to prevent the concentration of media ownership.

Licensing has been criticized for an alleged lack of transparency. Regulatory authorities in certain countries have been accused of exhibiting political bias in favor of the government or ruling party, which has resulted in some prospective broadcasters being denied licenses or being threatened with license withdrawal. As a consequence, there has been a decrease in diversity of content and views in certain countries due to actions made against broadcasters by states via their licensing authorities. This can have an impact on competition and may lead to an excessive concentration of power with potential influence on public opinion.  Examples include the failure to renew or retain licenses for editorially critical media, reducing the regulator's competences and mandates for action, and a lack of due process in the adoption of regulatory decisions.

Government endorsed appointments
State control is also evident in the increasing politicization of regulatory bodies operationalized through transfers and appointments of party-aligned individuals  to senior positions in regulatory authorities. Anatol Lieven in his book explains how Pakistan, a less economically developed country, regulated it's media in 1980's.

Internet regulation
Governments worldwide have sought to extend regulation to internet companies, whether connectivity providers or application service providers, and whether domestically or foreign-based. The impact on journalistic content can be severe, as internet companies can err too much on the side of caution and take down news reports, including algorithmically, while offering inadequate opportunities for redress to the affected news producers.

Self-regulation

At the regional level
In Western Europe, self-regulation provides an alternative to state regulatory authorities. In such contexts, newspapers have historically been free of licensing and regulation, and there has been repeated pressure for them to self-regulate or at least to have in-house ombudsmen. However, it has often been difficult to establish meaningful self-regulatory entities.

In many cases, self-regulations exists in the shadow of state regulation, and is conscious of the possibility of state intervention. In many countries in Central and Eastern Europe, self-regulatory structures seems to be lacking or have not historically been perceived as efficient and effective.

The rise of satellite delivered channels, delivered directly to viewers, or through cable or online systems, renders much larger the sphere of unregulated programing. There are, however, varying efforts to regulate the access of programmers to satellite transponders in parts of the Western Europe and North American region, the Arab region and in Asia and the Pacific. The Arab Satellite Broadcasting Charter was an example of efforts to bring formal standards and some regulatory authority to bear on what is transmitted, but it appears to not have been implemented.

International organizations and NGOs
Self-regulation is expressed as a preferential system by journalists but also as a support for media freedom and development organizations by intergovernmental organizations such as UNESCO and non-governmental organizations. There has been a continued trend of establishing self-regulatory bodies, such as press councils, in conflict and post-conflict situations.

Major internet companies have responded to pressure by governments and the public by elaborating self-regulatory and complaints systems at the individual company level, using principles they have developed under the framework of the Global Network Initiative. The Global Network Initiative has grown to include several large telecom companies alongside internet companies such as Google, Facebook and others, as well as civil society organizations and academics.

The European Commission's 2013 publication, ICT Technology Sector Guide on Implementing the United Nations Guiding Principles on Business and Human Rights, impacts on the presence of independent journalism by defining the limits of what should or should not be carried and prioritized in the most popular digital spaces.

Private sector

Public pressure on technology giants has motivated the development of new strategies aimed not only at identifying 'fake news', but also at eliminating some of the structural causes of their emergence and proliferation. Facebook has created new buttons for users to report content they believe is false, following previous strategies aimed at countering hate speech and harassment online. These changes reflect broader transformations occurring among tech giants to increase their transparency. As indicated by the Ranking Digital Rights Corporate Accountability Index, most large internet companies have reportedly become relatively more forthcoming in terms of their policies about transparency in regard to third party requests to remove or access content, especially in the case of requests from governments. At the same time, however, the study signaled a number of companies that have become more opaque when it comes to disclosing how they enforce their own terms of service, in restricting certain types of content and account. State governments can also use "Fake news" in order to spread propaganda.

Fact-checking and news literacy
In addition to responding to pressure for more clearly defined self-regulatory mechanisms, and galvanized by the debates over so-called 'fake news', internet companies such as Facebook have launched campaigns to educate users about how to more easily distinguish between 'fake news' and real news sources. Ahead of the United Kingdom national election in 2017, for example, Facebook published a series of advertisements in newspapers with 'Tips for Spotting False News' which suggested 10 things that might signal whether a story is genuine or not. There have also been broader initiatives bringing together a variety of donors and actors to promote fact-checking and news literacy, such as the News Integrity Initiative at the City University of New York's School of Journalism. This 14 million USD investment by groups including the Ford Foundation and Facebook was launched in 2017 so its full impact remains to be seen. It will, however, complement the offerings of other networks such as the International Fact-Checking Network launched by the Poynter Institute in 2015 which seeks to outline the parameters of the field. Instagram has also created a way to potentially expose "fake news" that is posted on the site. After looking into the site, it seemed as more than a place for political memes, but a weaponized platform, instead of the creative space it used to be. Since that, Instagram has started to put warning labels on certain stories or posts if third-party fact checkers believe that false information is being spread. Instagram works with these fact checkers to ensure that no false information is being spread around the site. Instagram started this work in 2019, following Facebook with the idea as they started fact checking in 2016.

Electronic media

Developments in telecommunications has provided media the ability to conduct long-distance communication via analog and digital media:

 Analog telecommunications include some radio systems, historical telephony systems, and historical television broadcasts.
 Digital telecommunications allow for computer-mediated communication, telegraphy, computer networks, digital radio, digital telephony and digital television.

Modern communication media includes long-distance exchanges between larger numbers of people (many-to-many communication via e-mail, Internet forums, and telecommunications ports). Traditional broadcast media and mass media favor one-to-many communication (television, cinema, radio, newspaper, magazines, and social media).

Social Media
Electronic Media, specifically social media has become one of the top forms of media that people use in the twenty-first century.  The percent of people that use social media and social networking outlets went from 5% in 2005 to 79% in 2019.  Instagram, Twitter, Pinterest, Tiktok, and facebook are all the most commonly used social media platforms.  The average time that an individual spends on social media is 2.5 hours a day.  With the exponential increase of social media it has also caused a change in which people communicate with others as well as receive information.  About 53% use social media to read/watch the news.

Gaming

Online
The gaming community has grown exponentially, male and female, and about 63% have taken to playing with others, whether online or in-person. Players online will communicate through the system of microphone applicability either through the game or a third party application such as discord. The improvements upon connectivity and software allowed for players online to keep in touch and game instantaneously, disregarding location almost entirely.

Age
Gaming is an activity shared amongst others regardless of age, allowing for a diverse group of players to connect and enjoy their favorite games with. This helps with creating or maintaining relationships: friendships, family, or a significant other.

Ratings and Content
As with most interactive media content, games have ratings to assist in choosing appropriate games regarding younger audiences. This is done by ESRB ratings and consists of the following: E for Everyone, E for Everyone 10+, T for Teen, and M for Mature 17+. Whenever a new game is released, it is reviewed by associations to determine a suitable rating so younger audiences do not ingest harmful or inappropriate content.

Reach
The usage and consumption of gaming has tremendously increased within the last decade with estimates of around 2.3 billion people from around the world playing digital and online video games.  The growth rate for the global market for gaming was expected to grow +6.2% towards 2020. Areas like Latin America had a 20.1% increase, Asia-Pacific - 9.2%, North America - 4.0%, and Europe -11.7%.

Communication
Studies show that digital and online gaming can be used as a communication method to aid in scientific research and create interaction. The narrative, layout, and gaming features all share a relationship that can deliver meaning and value that make games an innovative communication tool. Research-focused games showed a connection towards a greater usage of dialogue within the science community as players had the opportunity to address issues with a game with themselves and scientists as Curtis showed. This helped to push the understanding of how gaming and players can help advance scientific research via communication through games.

See also

Distributed presence
Media franchise
Media manipulation
Media psychology
Media and gender
Press conference

Sources

References

Further reading

 McQuail, Denis (2001) McQuail's Mass Communication Theory (fourth edition), Sage, London, pp. 16–34. MAS
 Biagi, S. (2004). Media Impact. Wadsworth Pub Co, 7th edition.
 Caron, A. H. and Caronia, L. (2007). Moving cultures: mobile communication in everyday life. McGill-Queen's University Press.

Communication

Media (communication)


Killed in action (KIA) is a casualty classification generally used by militaries to describe the deaths of their own personnel at the hands of enemy or hostile forces at the moment of action. The United States Department of Defense, for example, says that those declared KIA did not need to have fired their weapons, but only to have been killed due to hostile attack. KIAs include those killed by friendly fire in the midst of combat, but not from incidents such as accidental vehicle crashes, murder or other non-hostile events or terrorism. KIA can be applied both to front-line combat troops and to naval, air and support troops.

Furthermore, KIA denotes a person to have been killed in action on the battlefield whereas died of wounds (DOW) relates to someone who survived to reach a medical treatment facility. The North Atlantic Treaty Organization (NATO) also uses DWRIA, rather than DOW, for "died of wounds received in action".

PKIA means presumed killed in action. This term is used when personnel are lost in battle, initially listed missing in action (MIA), but after not being found, are later presumed to have not survived. This is typical of naval battles or engagements on other hostile environments where recovering bodies is difficult. A very large number of soldiers killed in action went unidentified in World War I, like John Kipling, the son of British poet Rudyard Kipling, prompting the formation of the Commonwealth War Graves Commission.

NATO definition
NATO defines killed in action or a battle casualty as a combatant who is killed outright or who dies as a result of wounds or other injuries before reaching a medical treatment facility or help from fellow comrades.

See also

 Assassination
 Missing in action (MIA)
 Prisoner of war (POW)
 Wounded in action (WIA)

References

External links

Military terminology
War
War casualties

Killed in action


The Academy Color Encoding System (ACES) is a color image encoding system created under the auspices of the Academy of Motion Picture Arts and Sciences.  ACES is characterised by a color accurate workflow, with "seamless interchange of high quality motion picture images regardless of source".

The system defines its own color primaries based on spectral locus as defined by the CIE xyY specification. The white point is approximate to the chromaticity of CIE Daylight with a Correlated Color Temperature (CCT) of 6000K. Most ACES compliant image files are encoded in 16-bit half-floats, thus allowing ACES OpenEXR files to encode 30 stops of scene information. The ACESproxy format uses integers with a log encoding. ACES supports both high dynamic range (HDR) and wide color gamut (WCG).

The version 1.0 release occurred in December 2014. ACES received a Primetime Engineering Emmy Award in 2012. The system is standardized in part by the Society of Motion Picture and Television Engineers (SMPTE) standards body.

History

Background
The ACES project began its development in 2004 in collaboration with 50 industry technologists. The project began due to the recent incursion of digital technologies into the motion picture industry. The traditional motion picture workflow had been based on film negatives, and with the digital transition, scanning of negatives and digital camera acquisition. The industry lacked a color management scheme for diverse sources coming from a variety of digital motion picture cameras and film. The ACES system is designed to control the complexity inherent in managing a multitude of file formats, image encoding, metadata transfer, color reproduction, and image interchanges that are present in the current motion picture workflow.

Versions
The following versions are available for the reference implementation:

 A number of pre-release versions were tagged from 0.1 (March 1, 2012) to 0.7.1 (February 26, 2014).
 ACES 1.0 (December 2014) is first release version. Three small patches followed.
 ACES 1.1 (June 21, 2018) adds some ODTs for P3, Rec. 2020, and DCDM.
 ACES 1.2 (April 1, 2020) introduces three new specification documents: ACES Metadata File (AML), updated Common LUT Format, new ACES Project Organization and Development Procedure. It also adds some transformations.
 ACES 1.3 (April 30, 2021) adds a colorspace conversion for Sony Venice, a gamut compression method for saturated objects, and some AMF refinements.

System overview
The system comprises several components which are designed to work together to create a uniform workflow:
Academy Color Encoding Specification (ACES): The specification that defines the ACES color space, allowing half-float high-precision encoding in scene linear light as exposed in a camera, and archival storage in files.
Input Device Transform (IDT):  This name was deprecated in version 1.0 and replaced by Input Transform. The process that takes captured images from any indigestible source material and transforms the content into the ACES color space and encoding specifications. There are many IDT's, which are specific to each class of capture device and likely specified by the manufacturer using ACES guidelines.  It is recommended that a different IDT be used for tungsten versus daylight lighting conditions.
Input Transform:  The current terminology name for an Input Device Transform (IDT), as per ACES version 1.0 and above.
Look Modification Transform (LMT): A specific change in look that is applied systematically in combination with the RRT and ODT's. (part of the ACES Viewing Transform)
Output Transform: As per ACES version 1.0 naming convention, this is the overall mapping from the standard scene-referred ACES colorimetry (SMPTE 2065-1 color space) to the output-referred colorimetry of a specific device or family of devices. It is always the concatenation of the Reference Rendering Transform (RRT) and a specific Output Device Transform (ODT), as defined below. For this reason the Output Transform is usually shortened in "RRT+ODT".
Reference Rendering Transform (RRT): Converts the scene-referred colorimetry to display-referred, and resembles traditional film image rendering with an S-shaped curve.  It has a larger gamut and dynamic range available to allow for rendering to any output device (even ones not yet in existence).
Output Device Transform (ODT):  A guideline for rendering the large gamut and wide dynamic range of the RRT to a physically realized output device with limited gamut and dynamic range. There are many ODT's, which will be likely generated by the manufacturers to the ACES guidelines.
Academy Viewing Transform: A combined reference of a LMT and an Output Transform, i.e. "LMT+RRT+ODT".
Academy Printing Density (APD): A reference printing density defined by the AMPAS for calibrating film scanners and film recorders.
Academy Density Exchange (ADX): A densitometric encoding similar to Kodak's Cineon used for capturing data from film scanners.
ACES color space SMPTE Standard 2065-1 (ACES2065-1):  The principal scene-referred color space used in the ACES framework for storing images. Standardized by SMPTE as document ST2065-1. Its gamut includes the full CIE standard observer's gamut with radio-metrically linear transfer characteristics.
ACEScc (ACES color correction space):  A color space definition that is slightly larger than the ITU Rec.2020 color space and logarithmic transfer characteristics for improved use within color correctors and grading tools.
ACEScct (ACES color correction space with toe):  A color space definition that is slightly larger than the ITU Rec.2020 color space and logarithmic-ally encoded for improved use within color correctors and grading tools that resembles the toe behavior of Cineon files.
ACEScg (ACES computer graphics space):  A color space definition that is slightly larger than the ITU Rec.2020 color space and linearly encoded for improved use within computer graphics rendering and compositing tools.
ACESproxy (ACES proxy color space):  A color space definition that is slightly larger than the ITU Rec.2020 color space, logarithmic-ally encoded (like ACEScc, not like ACEScct) and represented with either 10-bits/channel or 12-bits/channel, integer-arithmetics digital representation. This encoding is exclusively designed for transport-only of code values across digital devices that don't support floating-point arithmetic encodings, like SDI cables, monitors, and infrastructure in general.

ACES Color Spaces

ACES 1.0 is a color encoding system, defining one core archival color space, and then four additional working color spaces, and additional file protocols. The ACES system is designed to cover the needs film and television production, relating to the capture, generation, transport, exchange, grading, processing, and short & long term storage of motion picture and still image data. These color spaces all have a few common characteristics:
 They are based on the RGB color model.
 The image data is scene-referred, i.e. the numerical values are related to the original scene lighting, as reflected or emitted from the real objects & lights on the set at the time of filming. The space refers to a "standard reference camera", an imaginary camera that can capture all of human visual perception. Scene-referred code values captured by a real camera are directly related to luminous exposure.
 They are capable of holding 30 stops of exposure.
 The reference white point is sometimes, and incorrectly, referred to as "D60" though there is no such thing as a CIE D60 standard illuminant. Further, the white point is not on the CIE Daylight Locus nor the Planckian Locus, and does not define the neutral axis. Filmmakers are allowed to choose whatever effective whitepoint they need for technical or artistic reasons.
 The white point serves only as a mathematical reference for transforms, and should not be confused with a scene or display reference. It was chosen through an experiment, projecting film containing a LAD test patch onto a theater screen, using a projector with a xenon bulb. That measured white point was then adjusted to be close to, but not on, the CIE daylight locus. The CCT is close to 6000k, with CIE 1931 xy chromaticities of .

The five color spaces use one of two defined sets of RGB color primaries called AP0 and AP1 ("ACES Primaries" #0 and #1); The chromaticity coordinates are listed in the table below:

AP0 is defined as the smallest set of primaries that encloses the entire CIE 1931 standard-observer spectral locus; thus theoretically including, and exceeding, all the color stimuli that can be seen by the average human eye. The concept of using non-realizable or imaginary primaries is not new, and is often employed with color systems that wish to render a larger portion of the visible spectral locus. The ProPhoto RGB (developed by Kodak) and the ARRI Wide Gamut (developed by Arri) are two such color spaces.  Values outside the spectral locus are maintained with the assumption that they will later be manipulated through color timing or in other cases of image interchange to eventually lie within the locus. This results in color values not being "clipped" or "crushed" as a result of post-production manipulation.

AP1 gamut is smaller than the AP0 primaries, but is still considered "wide gamut". The AP1 primaries are much closer to realizable primaries, but unlike AP0, none are negative. This is important for use as a working space, for a number of practical reasons:
 color-imaging and color-grading operations acting independently on the three RGB channels produce variations naturally-perceived on red, green, blue components. This might not be naturally perceived when operating on the "unbent" RGB axes of AP0 primaries.
 all the code values contained in the  range represent colors that, converted into output-referred colorimetry via their respective Output Transforms (read above), can be displayed with either present or future projection/display technologies.

ACES2065-1
This is the core ACES color space, and the only one using the AP0 RGB primaries. It uses photo-metrically linear transfer characteristics (i.e. gamma of 1.0), and is the only ACES space intended for interchange among facilities, and most importantly, archiving image/video files.

ACES2065-1 code values are linear values scaled in an Input Transform so that:
 a perfectly white diffuser would map to  RGB code value.
 a photographic exposure of an 18% grey card would map to  RGB code value.
ACES2065-1 code values often exceed  for ordinary scenes, and a very high range of speculars and highlights can be maintained in the encoding.
The internal processing and storage of ACES2065-1 code values must be in floating-point arithmetics with at least 16 bits per channel.
Pre-release versions of ACES, i.e. those prior to 1.0, defined ACES2065-1 as the only color space. Legacy applications might therefore refer to ACES2065-1 when referring to "the ACES color space". Furthermore, because of its importance and linear characteristics, and being the one based on AP0 primaries, it is also improperly referred to as either "Linear ACES", "ACES.lin", "SMPTE2065-1" or even "the AP0 color space".

Standards are defined for storing images in the ACES2065-1 color space, particularly on the metadata side of things, so that applications honoring ACES framework can acknowledge the color space encoding from the metadata rather than inferring it from other things. For example:
 SMPTE ST2065-4 defines the correct encoding of ACES2065-1 still images within OpenEXR files and file sequences and their mandatory metadata flags/fields.
 SMPTE 2065-5 defines the correct embedding of ACES2065-1 video sequences within MXF files and their mandatory metadata fields.

ACEScg
ACEScg is a scene-linear encoding, like ACES2065-1, but ACEScg is using the AP1 primaries, which are closer to realizable primaries. ACEScg was developed for use in visual effects work, when it became clear that ACES2065 was not a useful working space due to the negative blue primary, and the extreme distance of the other imaginary primaries.

The AP1 primaries are much closer to the chromaticity diagram of real colors, and importantly, none of them are negative. This is important for rendering and compositing image data as needed for visual effects.

ACEScc & ACEScct
Like ACEScg, ACEScc and ACEScct are using the AP1 primaries. What sets them apart is that instead of a scene-linear transfer encoding, ACEScc and ACEScct use logarithmic curves, which makes them better suited to color-grading. The grading workflow has traditionally used log encoded image data, in large part as the physical film used in cinematography has a logarithmic response to light.

ACEScc is a pure log function, but ACEScct has a "toe" near black, to simulate the minimum density of photographic negative film, and the legacy DPX or Cineon log curve.

Converting ACES2065-1 RGB values to CIE XYZ values

Converting CIE XYZ values to ACES2065-1 values

Standards
ACES is defined by several Standards by SMPTE (ST2065 family) and documentations by AMPAS, which include:
 SMPTE ST 2065-1:2012 - Academy Color Encoding Specification (ACES)
 SMPTE ST 2065-2:2012 - Academy Printing Density (APD): Spectral Responsivities, Reference Measurement Device and Spectral Calculation
 SMPTE ST 2065-3:2012 - Academy Density Exchange Encoding (ADX): Encoding Academy Printing Density (APD) Values
 SMPTE ST 2065-4:2013 - ACES Image Container File Layout
 SMPTE ST 2065-5:2016 - Material Exchange Format: Mapping ACES Image Sequences into the MXF Generic Container
 S-2013-001 - ACESproxy: An Integer Log Encoding of ACES Image Data
 S-2014-003 - ACEScc: A Logarithmic Encoding of ACES Data for use within Color Grading Systems
 S-2014-004 - ACEScg: A Working Space for CGI Render and Compositing
 S-2016-001 - ACEScct: A Quasi-Logarithmic Encoding of ACES Data for use within Color Grading Systems
 P-2013-001 - Recommended Procedures for the Creation and Use of Digital Camera System Input Device Transforms (IDTs)
 TB-2014-001 - Academy Color Encoding System (ACES) Documentation Guide
 TB-2014-002 - Academy Color Encoding System (ACES) Version 1.0 User Experience Guidelines
 TB-2014-004 - Informative Notes on SMPTE ST 2065-1 - Academy Color Encoding Specification (ACES)
 TB-2014-005 - Informative Notes on SMPTE ST 2065-2 - Academy Printing Density (APD) – Spectral Responsivities, Reference Measurement Device and Spectral Calculation and SMPTE ST 2065-3 Academy Printing Density Exchange Encoding (ADX) - Encoding Printing Density (APD) Values
 TB-2014-006 - Informative Notes on SMPTE ST 2065-4 - ACES Image Container File Layout
 TB-2014-007 - Informative Notes on SMPTE ST 268:2014 – File Format for Digital Moving Picture Exchange (DPX)
 TB-2014-009 - Academy Color Encoding System (ACES) Clip-level Metadata File Format Definition and Usage
 TB-2014-010 - Design, Integration and Use of ACES Look Modification Transforms
 TB-2014-012 - Academy Color Encoding System (ACES) Version 1.0 Component Names
 TB-2018-001 - Derivation of the ACES White Point CIE Chromaticity Coordinates

A SMPTE standard is also under development to allow ACES code streams to be mapped to the Material Exchange Format (MXF) container.

See also
Academy of Motion Picture Arts and Sciences
Color Decision List
Color Management
Society of Motion Picture and Television Engineers

References

External links

 List of ACES productions - ACES Central
 ACEScg - A Common Color Encoding for Visual Effects Applications
 ACEScg - A Common Color Encoding for Visual Effects Applications - DigiPro 2015 , Slideshare

Academy of Motion Picture Arts and Sciences
Color space
Film and video technology
High dynamic range
SMPTE standards

Academy Color Encoding System


A private road is a road owned or controlled by a private person, persons or corporation rather than a road open to the public and owned by a government. Private roads can be on private land or can be constructed on government land for use by government agencies or by agreements for access to private facilities.

Private roads are private property and are not usually open to the public. Unauthorized use of a private road may be trespassing. In some cases, the owner of a private road may permit the general public to use the road. Road regulations that apply to a public road may not apply to private roads. Common types of private roads include roads retained in subdivisions of land but not dedicated to the public, residential roads maintained by a homeowners association, housing co-operative or other group of homeowners and roads for access to industrial facilities such as forests, mines, power stations and telecommunications.

By country
There are also networks of private highways in Italy and other nations. Such highways typically are toll roads whose upkeep is paid for with user fees, for example, the Dulles Greenway in Virginia, United States.

England and Wales are thought to have about 40,000 private roads. They are not normally the responsibility of the local authority, but the authority may provide services such as street lighting. They normally have to be maintained by residents. They are referred to as unadopted roads because they have not gone through the statutory process of adoption, for example under Highways Act 1980 s37 or s38. Even if not expressly or implicitly dedicated for public use, public use over time may nonetheless have created public rights of way;  though by Part 6 of the Natural Environment and Rural Communities Act 2006, in force from 2 May 2006, many public rights of way for motor vehicles in private roads have now been extinguished.

In Sweden, private road associations manage two thirds of the total road network. However, only four per cent of the total road transportation work is carried on them, mostly rural roads. In fact, only one per cent of the road transports are made on the half of the roads that do not receive government subsidies for their maintenance, with the bulk not receiving subsidies being built and maintained by the forestry industry as needed and most often closed to the public. New private roads that receive government support are often built by the government and transferred to the roads principal stakeholders, those living along it. These form a private road association to maintain it and get subsidies from the government to keep it open to the rest of the public. Even after factoring in the unpaid work of the members of the association, the cost of operation and maintenance is often considerably less than a comparable public road. Finland is similar, with 280,000 km of private roads and only 78,000 km of public roads.

In Canada private roads are main access routes or private driveways onto private property. These roads are typically maintained by private owners of the land they occupy. Some private roads are maintained by a municipality and are open to the public. Many private roads do not have any name signage other than a sign indicating the ownership status; however, in some cities private roads are given conventional street names through the municipal addressing system. One notable private road, the Sultan Industrial Road in Northern Ontario, is 80 kilometres long and forms part of the only existing route between two major provincial highways; it is thus under a public access agreement permitting its use by the public, and nearly half of all traffic on the road in a 2016 study consisted of passenger vehicles rather than company trucks.

In the Czech Republic and Slovakia, all roads of higher categories are public by law. Just the lowest category can be private. This category is called "účelová komunikace" ("účelová komunikácia" in Slovak), the adjective "účelový" can be translated as "purpose-built", special-purpose" or "utilitarian". The road law distinguish "publicly accessible" and "closed" (in a closed area) special-purpose roads. This category includes roads that are used exclusively to connect a private structure or plots to the road network, but also field and forest roads, areas such as car parks, public transport terminals, roads within industrial, military, hospital or school premises and areas etc. Private roads outside closed areas are largely subject to public law and public traffic on them can be restricted only with the consent of state authorities (public accessibility of the landscape is also protected by law). In most cases, they are not distinguished from municipal or regional roads by any signs.

See also
Free-market road (concept of right-libertarian philosophies, especially anarcho-capitalism and minarchism)
Private highway
Private highways in the United States
Dirt road

References

Road transport
Types of roads

Private road


Rose Cannabich (1764–1839) was a German classical pianist. Mozart dedicated a piano sonata to her when he was her teacher in Mannheim, where her father led the well-known orchestra.

History
Rosina Theresia Petronella Cannabich was born in Mannheim, the daughter of the violinist and composer Christian Cannabich and his wife Maria Elisabeth née de la Motte, a lady of the bed chamber to the Duchess of Zweibrücken. She was baptized on 18 March or in April. Her father was the principal violinist (Konzertmeister) in the Mannheim court orchestra. He was instrumental in the Mannheim School, training the orchestra to its noted carefully graduated crescendos and diminuendos.

Rose was the oldest of six children. As was customary among musical families, the children received musical training, probably by their father and other members of the orchestra, such as the singers Augusta Elisabeth Wendling and Elisabeth Augusta Wendling and her husband, the violinist Franz Anton Wendling. Several of Rose's siblings also embarked on a musical career: Carl August Cannabich became a composer and Kapellmeister, and Elisabetha Augusta Cannabich became a singer at the Munich court.

Rose received piano lessons from Wolfgang A. Mozart from November 1777 until March 1778. Mozart and his mother were on a trip to Paris, but stayed for some months in Mannheim to study the orchestra. Mozart wrote to his father on 4 November 1777): "Er hat eine tochter die ganz artig clavier spiellt, und damit ich ihn mir recht zum freünde mache, so arbeite ich iezt an einer Sonata für seine Mad:selle tochter". (He has a daughter who plays the piano rather well, and to make him a friend, I work now on a sonata for his mademoiselle daughter). Mozart wrote about Rose: "... ein sehr schönes artiges mädl. sie hat für ihr alter viell vernunft und geseztes weesen; sie ist serios, redet nicht viell, was sie aber redet – – geschieht mit anmuth und freündlichkeit".) (... A very beautiful and well-behaved girl. For her age she has much good sense, and a demure character; she is serious, and speaks little. But what she does say comes forth with grace and friendliness). It is widely accepted that the sonata dedicated to Rose was his Piano Sonata in C Major, K. 309, (No. 7).

Rose played the solo part of Mozart's Piano Concerto in B-flat major, K. 238, in Mannheim on 13 February 1778. She played in St Petersburg on 20 October 1790, now under her married name Schulz, a piano concerto she had composed, and one by Mozart.

Sources
 Mozart, Wolfgang Amadeus. The Letters of Wolfgang Amadeus Mozart. Edited by Ludwig Nohl. Translated by Lady Wallace. Vol. 1. 2 vols. New York: Hurd and Houghton, 1866.

References

Bibliography
 Slonimsky, Nicolas, ed. Baker's Biographical Dictionary of Musicians. 5th Completely Revised Edition. New York, 1958.

External links
 Cannabich, Rose (Rosina Theresia Petronella, Rosa Theresia) (in German) Bayerisches Musiker Lexikon Online
 Otto Jahn: Life of Mozart:, Volume 1 Cambridge University Press 2013

1764 births
1839 deaths
18th-century German women musicians
German classical pianists
Musicians from Mannheim
18th-century classical pianists
Women classical pianists
German women pianists
19th-century German women musicians
19th-century women pianists

Rose Cannabich


The Front  is a 1976 American drama film set against the Hollywood blacklist in the 1950s, when artists, writers, directors, and others were rendered unemployable, having been accused of subversive political activities in support of Communism or of being Communists themselves. It was written by Walter Bernstein, directed by Martin Ritt, and stars Woody Allen, Zero Mostel and Michael Murphy.

Several people involved in the making of the film—including screenwriter Bernstein, director Ritt, and actors Mostel, Herschel Bernardi, and Lloyd Gough—had been blacklisted. (The name of each in the closing credits is followed by "Blacklisted 19--" and the relevant year.) Bernstein was listed after being named in the Red Channels journal that identified alleged Communists and Communist sympathizers.

Plot
In New York City, 1953, at the height of the anti-Communist investigations of the House Un-American Activities Committee (HUAC), television screenwriter Alfred Miller is blacklisted and cannot get work. He asks his friend Howard Prince, a restaurant cashier and small-time bookie, to sign his name to Miller's television scripts in exchange for ten percent of the money Miller makes from them, i.e. to serve as a "front" for Miller. Howard agrees out of friendship and because he needs the money. The scripts are submitted to network producer Phil Sussman, who is pleased to have a writer not on the television blacklist. Howard's script also offers a plum role for Hecky Brown, one of Sussman's top actors.

Howard becomes such a success that Miller's two fellow screenwriter friends hire him to be their front as well. The quality of the scripts and Howard's ability to write so many impresses Florence Barrett, Sussman's idealistic script editor, who mistakes him for a principled artist. Howard begins dating her but changes the subject whenever she wants to discuss his work.

As investigators expose and blacklist Communists in the entertainment industry, Hecky Brown is fired from the show because six years earlier he marched in a May Day parade and subscribed to The Daily Worker, although he tells the investigators he did it merely to impress a woman he wanted to have sex with. In order to clear his name from the blacklist, Hecky is instructed to find out more about Howard Prince's involvement with the Communist Party, so he invites him to the Catskills, where Hecky is booked to perform on stage. The club owner short-changes Hecky on his promised salary, and when Hecky confronts him, the club owner fires him, denouncing him as a "communist son of a bitch". The professional humiliation and the inability to provide for his wife and children take their toll on Hecky and he kills himself by jumping out of a hotel window.

Howard witnesses other harsh results of the investigative actions of the communist-hunting "Freedom Information Services" on the network's programming. Suspicion is cast his way, and he is called to testify before the House Un-American Activities Committee. He privately tells Florence that he is not a writer, just a humble cashier.

Howard decides that he will respond to the Committee's questions evasively, enabling him to neither admit nor deny anything. After briefly enduring the HUAC questioning – including being asked to speak ill of the dead Hecky Brown, and being threatened with legal consequences for his admission of having placed bets in his capacity as a bookie (which is illegal), Howard takes a stand, telling the Committee that he does not recognize their authority to ask him such questions, and telling them to "go fuck yourselves" before leaving the interrogation room.  The film ends as Howard is taken away in handcuffs, with Florence kissing him good-bye and many protesters cheering him on.

Cast

Reception

Critical reception of The Front was divided between those who thought it effectively and amusingly dealt with the topic of McCarthyism and those who thought it a superficial gloss instead of a pithy statement about the McCarthy era. In 1976, reviewing it for The New York Times, Vincent Canby acknowledged the film's lack of direct political commentary: "The Front is not the whole story of an especially unpleasant piece of American history. It may be faulted for oversimplification. Mr. Ritt and Mr. Bernstein, veterans of the blacklist are not interested in subtleties. Yet, even in its comic moments, The Front works on the conscience. "It recreates the awful noise of ignorance that can still be heard." (Canby, 1976) Pauline Kael wrote in praise of the film and  the performance of Woody Allen in particular: "At its most appealing, this movie says that people shouldn't be pressured to inform on their friends, that people shouldn't be humiliated in order to earn a living. Humbly, this film asks for fairness...When you see Woody Allen in one of his own films, in a peculiar way you take him for granted; here you appreciate his skill, because you miss him so much when he's offscreen."

Roger Ebert dismissed the political value of The Front: "What we get are the adventures of a schlemiel in wonderland". He felt that the Woody Allen character was too comic and unconvincing a writer to represent the true nature of "front" writers. He added that Hecky Brown was a worthwhile character: "The tragedy implied by this character tells us what we need to know about the blacklist's effect on people's lives; the rest of the movie adds almost nothing else".

As of April 2021, The Front holds a rating of 72% on Rotten Tomatoes from 25 reviews.

Accolades
For The Front, Walter Bernstein was nominated for the 1977 Academy Award for Writing Original Screenplay and Zero Mostel was nominated for a BAFTA Award for Best Supporting Actor. Andrea Marcovicci was nominated for the 1977 "Golden Globe Award for New Star of the Year – Actress".

Historical basis
The movie draws from real life incidents in its depiction of the characters. A scene in which Hecky (played by Mostel) goes to entertain at a mountain resort, and then is cheated out of part of his fee, is based on an incident described by Bernstein in his memoirs Inside Out: A Memoir of the Blacklist. In the book, Bernstein describes how Mostel came to entertain at the Concord Hotel in the Catskills, where he used to entertain as a rising comic because he desperately needed the money. The manager of the Concord promised him $500, but when he arrived, reduced that to $250, according to Bernstein. In the movie, Hecky has a violent scene when, after the performance, he learns he has been cheated. In real life, Mostel was told before the performance and acted out his hostility during the performance by cursing at the customers, who thought it was part of the act.

Hecky Brown, and his suicide, was based on blacklisted actor Philip Loeb, a personal friend of Mostel who was investigated by HUAC and fired from his leading role in the television series The Goldbergs in 1951. He died by suicide in 1955. Mostel personally was motivated to participate in the project because he wanted to educate future generations of Americans. As he pointed out in his biography by Jared Brown, "It's part of this country, and a lot of kids don't even realize that blacklisting ever existed."

An informal collective of the blacklisted writers Bernstein, Arnold Manoff, and Abraham Polonsky is portrayed in an early scene in which the Murphy character, modeled on Bernstein, introduces the Allen character to two other blacklisted writers.

Musical adaptation
In 2008, a musical adaptation of The Front had a workshop in New York City. The musical, also titled The Front (or, alternatively, Lucky Break) had music and lyrics by Paul Gordon and Jay Gruska, with a book and additional lyrics by Seth Friedman, and its workshop was co-directed by John Caird and Nell Balaban, starring Brian d'Arcy James as Howard Prince, Richard Kind as Hecky Brown, and Jayne Paterson as Florence Barrett.

See also
 List of American films of 1976

References

External links

 The Front at Turner Classic Movies

 "McCarthyism and the Movies" The Front (1976)

1976 films
1976 drama films
American drama films
Columbia Pictures films
1970s English-language films
Films scored by Dave Grusin
Films about McCarthyism
Films about the Hollywood blacklist
Films about television
American films based on actual events
Films directed by Martin Ritt
Films set in 1953
Films set in New York City
Films shot in New York City
Films with screenplays by Walter Bernstein
1970s American films

The Front


Teresa Ruth Castillo (born October 14, 1983) is an American actress. She originated the contract role of Sabrina Santiago on General Hospital in September 2012.

Personal life
Castillo was born in Long Beach, California, as the youngest of three daughters. She is of Spanish, Mexican, and Chinese ancestry. Castillo started performing in musicals at her high school. Castillo also studied dance at an all girls dance school in Hollywood.

Castillo met Shane Aaron when they worked in theater together at Disneyland.
The couple started dating in May 2004 Aaron later became an event planner and the couple married in May 2008. On June 3, 2014, Castillo announced via Twitter that she had given birth to the couple's first child, a baby girl, Victoria Milani, on May 29. On July 27, 2015, Castillo announced via Instagram that she was expecting a son. On January 26, 2016, Castillo announced that she had given birth to a son, Sebastian James. The couple also has a Cocker spaniel named Lady.

Career
Castillo was scouted for the lead role of the film, Princess Diaries. She was later cast as Princess Jasmine in the live musical theater production of Aladdin at Disneyland. Castillo also appeared in commercials for McDonald's, Chevrolet and Clean & Clear. Castillo also pursued a career in music and as of 2008 was signed to Interscope Records as a part of a girl group. After advice from rapper Snoop Dogg (aka Snoop Lion), Castillo made the decision to focus on acting. Castillo guest starred on several prime time series including How I Met Your Mother and Bones. In 2012, Castillo auditioned for General Hospital after casting director Mark Teschner noticed her on Franklin & Bash. Castillo learned from her manager that she had booked the role several days later.

Filmography

References

External links

1983 births
American soap opera actresses
American television actresses
American actresses of Mexican descent
American actresses of Chinese descent
American people of Spanish descent
Hispanic and Latino American actresses
Living people
21st-century American actresses
Actresses from Long Beach, California

Teresa Castillo


Maycroft is a historic estate located at North Haven in Suffolk County, New York. The main house was built in 1886 and is a massive Queen Anne / Shingle Style frame residence.  It features horizontal massing, asymmetrical composition, high-pitched multigabled roof, prominent tower and chimneys, and multi-paned window sash.  Also on the property are a carriage house, tennis pavilion, brick garage, and frame storage shed.  In 1921, the property was deeded to the Episcopal Diocese of Long Island and used initially as a summer camp and vacation retreat for business women.  In 1952, it was occupied by the Teachers of the Children of God order, who operate the Tuller School.

It was added to the National Register of Historic Places in 1995.

References

External links
Maycroft (Old Long Island; March 12, 2012)

Houses on the National Register of Historic Places in New York (state)
Houses completed in 1886
Shingle Style houses
Houses in Suffolk County, New York
National Register of Historic Places in Suffolk County, New York
Shingle Style architecture in New York (state)

Maycroft


The Diana fritillary (Speyeria diana)  is a fritillary butterfly found in several wooded areas in southern and eastern North America (primarily in the Arkansas River valley, several counties in South Carolina, spots along the Appalachian mountain range, and a few places on the southern Cumberland Plateau). The species exhibits marked sexual dimorphism, with males of the species exhibiting an orange color on the edges of their wings, with a burnt orange underwing. Females are dark blue, with dark, almost dusty underwings, and are also larger than males.

The larvae feed on violet leaves.  Dianas are unusual in that they do not lay their eggs directly on the host plant, instead scattering the eggs around the base of the plant. Upon hatching, larvae burrow into the ground over winter to emerge in spring. Adults feed on flower nectar and dung.

On February 28, 2007, Act 156 of the Arkansas General Assembly designated the Diana fritillary as the official state butterfly. Introduced by Representative John Paul Wells of Logan County, the legislation for making the butterfly a state symbol took note of the butterfly's beauty, educational importance, and impact on tourism. Arkansas is the only state to designate the Diana fritillary as its state butterfly; pairing it with its state insect, the honeybee. Arkansas is the twenty-sixth state to designate a butterfly as a state symbol.

Threats
The opposed threat to these magnificent species is climate change since it has altered and affected the Diana fritillary butterfly's natural habitat. The Diana fritillary population in the Appalachian Mountains and populations living out west will have a decrease of their kind. Other threats to the Diana fritillary butterflies include loss of habitat and agricultural development. Overall, the Diana fritillary species is expected to have a population decrease by the year 2050.

References

Speyeria
Butterflies of North America
Natural history of Arkansas
Symbols of Arkansas
Butterflies described in 1779
Taxa named by Pieter Cramer

Diana fritillary


Triangle Marsh is a wetland of the San Francisco Bay, situated at the base of Ring Mountain at the north end of the Tiburon Peninsula in Marin County, California.

Archaeological Pecked curvilinear nucleated petroglyphs, and recovery on Ring Mountain, hold significant evidence of Native American habitation and likely proof that early Miwok peoples exploited marine resources from Triangle Marsh.

The  property is owned by the Marin branch of the National Audubon Society who restored upland and wetland habitats there with funding from a variety of sources. Federal endangered species, including the clapper rail and salt marsh harvest mouse, live in the Marsh.

See also
 Strawberry Spit
 Class of 1918 Marsh

References

External links
 Chuck Morton and Michael Galloway (2006) Tidal marsh restoration at Triangle marsh, Marin County, John Muir Research Institute
 C. Michael Hogan (2008) Ring Mountain, The Megalithic Portal, ed. A. Burnham
 Marin Audubon Society Restoration Page

Marshes of California
Landforms of Marin County, California
Wetlands of the San Francisco Bay Area
Miwok
Archaeological sites in California
Natural history of Marin County, California
Nature reserves in California
Protected areas of Marin County, California
Tiburon, California

Triangle Marsh