The Game Boy is an 8-bit fourth generation handheld game console developed and manufactured by Nintendo. It was first released in Japan on April 21, 1989, in North America later the same year, and in Europe in late 1990. It was designed by the same team that developed the Game & Watch series of handheld electronic games and several Nintendo Entertainment System (NES) games: Satoru Okada, Gunpei Yokoi, and Nintendo Research & Development 1.

It is Nintendo's second handheld game console and combines features from both the Game & Watch handheld and NES home system. The console features a dot-matrix screen with adjustable contrast dial, five game control buttons (a directional pad, two game buttons, and "START" and "SELECT"), a single speaker with adjustable volume dial and, like its rivals, uses cartridges as physical media for games. The color scheme is made from two tones of grey with accents of black, blue, and dark magenta. All the corners of the portrait-oriented rectangular unit are softly rounded, except for the bottom right, which is curved. At launch, it was sold either as a standalone unit, or bundled with one of several games, among them Super Mario Land and Tetris. Several accessories were also developed, including a carrying pouch, a camera, and a printer.

The Game Boy received mixed reviews from critics and was deemed technologically inferior to its fourth-generation competitors (Sega's Game Gear, Atari's Lynx, and NEC's TurboExpress). Its lack of a backlight, graphics, bulky design and price were met with criticism, but it also received praise for its battery life, library of games and durability in its construction. It quickly outsold the competition, selling one million units in the United States within a few weeks. An estimated 118.69 million units of the Game Boy and its successor, the Game Boy Color, have been sold worldwide, making it the fourth best-selling video game console of all time. It is one of the most recognizable devices from the 1990s, becoming a cultural icon in the years following its release. Several redesigns were released during the console's lifetime, including the Game Boy Pocket in 1996 and the Game Boy Light in 1998 (Japan only). Production of the Game Boy continued until 2003, well after the release of its second successor, the Game Boy Advance, in 2001.

Development
The Game Boy was designed by Nintendo's chief engineer Gunpei Yokoi and its Nintendo R&D1 team. Following the popularity of the Nintendo Entertainment System, he held a meeting with Nintendo president Hiroshi Yamauchi, saying that he could do a handheld system with interchangeable games. The original internal code name for the Game Boy is Dot Matrix Game, referring to its dot-matrix display in contrast to the preceding Game & Watch series (which Yokoi had created in 1980) that has segmented LCDs pre-printed with an overlay, limiting each model to only play one game. The initials DMG came to be featured on the final product's model number: "DMG-01". Satoru Okada and Yokoi led the development of the console, which led to disagreements. Yokoi felt that the console could be small, light, durable and successful and have a recognizable library of games. Shigesato Itoi visited Nintendo and conceived the name "Game Boy" for the console Yokoi was designing. The internal reaction to the Game Boy at Nintendo was initially very poor, earning it the derogatory nickname "DameGame" from Nintendo employees, in which dame (だめ) means "hopeless" or "useless".

Game Boy was unveiled as a prototype in 1987 and later exhibited at multiple industry trade shows. The device incorporated a key design element from its predecessor, the Game & Watch: the 8-way directional control pad, often referred to as the "D-pad". The concept was developed by Gunpei Yokoi and his team at R&D1. Yokoi recognized that traditional joysticks might hinder the portability of handheld devices. As a result, he designed the D-pad – a flat controller that would not extend beyond the handheld device's casing. Hiroshi Yamauchi estimated that the console would achieve sales exceeding 25 million units in its initial three years, a claim that was regarded as bold for that period.

Nintendo's philosophy centered on the belief that the appeal of a gaming system was primarily determined by the quality of its games. With this in mind, Gunpei Yokoi and Satoru Okada developed Super Mario Land, a portable adaptation of the Super Mario Bros. game, intending it to be the flagship title for the Game Boy. However, Henk Rogers brought the Soviet Union-made game, Tetris, to the attention of Nintendo of America. Despite its simple graphics and lack of a well-known brand, Tetris suitability for a handheld platform convinced Nintendo president Minoru Arakawa to port and bundle it with the Game Boy. As a result, Tetris was bundled with the Game Boy in every region except Japan on its release, which occurred in Japan in April 1989, followed by North America in July, and Europe in September of the following year.

Nintendo had spent $10 million on marketing the Game Boy. All remaining units were sold by March 23, 2003.

Hardware
The Game Boy has four operation buttons labeled "A", "B", "SELECT", and "START", and a directional pad (d-pad). There is a volume control dial on the right side of the device and a similar dial on the left side to adjust the contrast. At the top of the Game Boy, a sliding on-off switch and the slot for the Game Boy cartridges are located. The on-off switch includes a physical lockout to prevent users from either inserting or removing a cartridge while the unit is switched on. Nintendo recommends users leave a cartridge in the slot to prevent dust and dirt from entering the system.

The Game Boy contains optional input or output connectors. On the left side of the system is an external 3.5 mm × 1.35 mm DC power supply jack that allows users to use an external rechargeable battery pack or AC adapter (sold separately) instead of four AA batteries. The Game Boy requires 6 V DC of at least 150 mA. A 3.5 mm stereo headphone jack is located on the bottom side of the unit which allows users to listen to the audio with the bundled headphones or external speakers.

The right side of the device offers a port that allows a user to connect to another Game Boy system via a link cable, provided both users are playing games that support connecting to each other (usually only the same copies of the game; the Pokémon games however, are a notable exception, as they can connect to each other between different generations). The port can also be used to connect a Game Boy Printer. The link cable was originally designed for players to play head-to-head two-player games such as in Tetris. However, game developer Satoshi Tajiri later used the link cable technology as a method of communication and networking in the popular Pokémon video game series.

Play It Loud! edition

On March 20, 1995, Nintendo released several special edition Game Boy models with colored cases, advertising them in the "Play It Loud!" campaign, known in Japan as  Play It Loud! units were manufactured in green, red, white, black, yellow, blue, and clear (transparent), also referred to as "x-ray". A rare, limited edition Manchester United Game Boy is red, with the logos of the team emblazoned on it. The Play It Loud's screens also have a darker border than the normal Game Boy.

Technical specifications

Revisions

On July 21, 1996, Nintendo released the Game Boy Pocket for US$69.99 in Japan and September 3, 1996, in North America: a smaller, lighter unit that required fewer batteries. It has space for two AAA batteries, which provide approximately 10 hours of gameplay. The unit is also fitted with a 3 volt, 2.35 mm x 0.75 mm DC jack which can be used to power the system. The Pocket has a smaller link port, which requires an adapter to link with the older Game Boy. The port design is used on all subsequent Game Boy models, excluding the Game Boy Micro. The screen was changed to an FSTN LCD which included a compensation layer to produce a true black-and-white display, rather than the "pea soup" monochromatic display of the original Game Boy. Also, the Game Boy Pocket (GBP) has a larger screen than the Game Boy Color (GBC) that later superseded it. The GBP's screen has a  diagonal,  width, and  height, compared to a  diagonal for the GBC. Although like its predecessor, the Game Boy Pocket has no backlight to allow play in a darkened area, it did notably improve visibility and pixel response-time (mostly eliminating ghosting). The first version did not have a power LED. This was soon added due to public demand, along with new Game Boy Pocket units of different colors (released on April 28, 1997), some of them new to the Game Boy line. There were several limited-edition Game Boy Pockets, including a gold-metal model exclusive to Japan. Although several publishers took advantage of the surge in new Game Boy users that came with the release of the Game Boy Pocket by re-releasing older Game Boy games, the Game Boy Pocket was not a new software platform and played the same software as the original Game Boy model.

A clear 'skeleton' Famitsu Model-F edition appeared in 1997, which had only 5,000 units released, and a clear yellow edition.

The Game Boy Light was released on April 14, 1998, and only available in Japan. Like the Game Boy Pocket, the system was priced at ¥6,800. The GBL is slightly bigger than the GBP and features an electroluminescent backlight for low-light conditions. It uses two AA batteries, which give it approximately 12 gameplay hours with the light on and 20 with it off. It was available in two standard colors: gold and silver. It also received numerous special editions, including a clear 'skeleton' Famitsu 500 edition (Model-F02) with white buttons. This edition was also limited to 5000 units, like the first Model-F. Astro Boy edition with a clear case and a picture of Astro Boy on it, an Osamu Tezuka World edition with a clear red case and a picture of his characters, and a solid yellow Pokémon Center Tokyo version.

Games

Launch titles
The Game Boy was released alongside six launch titles, which are listed in the table below:

Re-releases
Various Game Boy and Color games have been re-released on newer Nintendo consoles through its digital distribution services. On June 6, 2011, Nintendo launched the Virtual Console service on the Nintendo 3DS handheld system. All releases (aside from the Pokémon games) do not support multiplayer.

On February 8, 2023, Nintendo announced the introduction of Game Boy/Color games to its Nintendo Switch Online service.

Reception

Though it was less technically advanced than Sega's Game Gear, Atari's Lynx and other competitors, notably by not supporting color, the Game Boy's lower price along with longer battery life made it much more successful. In its first two weeks in Japan, from its release on April 21, 1989, the entire stock of 300,000 units was sold; a few months later on July 31, 1989, 40,000 units were sold on its first release day. More than 118.69 million units of the Game Boy and Game Boy Color combined have been sold worldwide, with 32.47 million units in Japan, 44.06 million in the Americas, and 42.16 million in other regions. By Japanese fiscal year 1997, before Game Boy Color's release in late 1998, 64.42 million units of the Game Boy had been sold worldwide. At a March 14, 1994, press conference in San Francisco, Nintendo vice president of marketing Peter Main answered queries about when Nintendo was coming out with a color handheld system by stating that sales of the Game Boy were strong enough that it had decided to hold off on developing a successor handheld for the near future.

In 1995, Nintendo of America announced that 46% of Game Boy players were female, which was higher than the percentage of female players for both the Nintendo Entertainment System (29%) and Super Nintendo Entertainment System (14%). In 2009, the Game Boy was inducted into the National Toy Hall of Fame, 20 years after its introduction.

The console received mixed reviews from critics. In a 1997 year-end review, a team of four Electronic Gaming Monthly editors gave the Game Boy scores of 7.5, 7.0, 8.0, and 2.0. Sushi-X (who contributed the 2.0) panned the system due to its black-and-white display and motion blur, while his three co-reviewers praised its long battery life and strong games library, as well as the sleek, conveniently pocket-sized design of the new Game Boy Pocket model.

Notes

References

Bibliography

External links

Official website
Game Boy at Nintendo.com (archived versions at the Internet Archive Wayback Machine)
Game Boy (original) games list at Nintendo.com (archived from the original at the Internet Archive Wayback Machine)

Game Boy Development Manual

Products introduced in 1989
Products introduced in 1990
Game Boy consoles
1980s toys
1990s toys
2000s toys
Monochrome video game consoles
Regionless game consoles
Fourth-generation video game consoles
Handheld game consoles
Z80-based video game consoles
Products and services discontinued in 2003
Experimental musical instruments
Discontinued handheld game consoles

Game Boy


William Drake (1943–2014) was the founder of the firm of William Drake, Organ Builder that manufactures pipe organs in Buckfastleigh, Devon, England. He held a Royal Warrant as organ builder to Queen Elizabeth II.

Biography
Drake was born 1947 in Baltimore, Maryland to an English father and mother of Swiss-American citizenship.  Returning to England in 1952 on the death of his father he was educated at Dartington College of Arts where he learned the organ under John Wellingham.

He was inspired to become an organ builder following a visit as a teenager to the exhibition of newly built organs at St Albans International Organ Festival at St Albans Abbey. After completing an apprenticeship in Austria with Rieger Orgelbau he worked with Rudolf Janke in Göttingen. He built a small award-winning organ as his Meisterstuck in the workshop of Patrick Collon in Brussels.

Drake established the firm of William Drake Ltd in 1974 in Buckfastleigh, Devon. The company was part of the John Loosemore Centre for Organ and Early Music - an entity that taught a number of subjects concerning the organ - such as playing of the organ, history, and organ-building.  Eventually that program was discontinued, but Drake's organ-building firm continued in the premises.

William Drake Ltd has built new organs and restored instruments in a number of countries, including New Zealand and the United States. For the design of instruments, the firm takes its inspiration from English organs of the 18th and 19th centuries.  Organs built by Drake's company are mechanical action instruments and restorations adhere to high standards of historical accuracy.

William Drake died on 11 January 2014, aged 70. Today the business continues under the direction of Geert Noppers and Joost de Boer, who have been members of the staff for many years.

Selected organs
Restoration of the 1780 Seede organ at the Roman Catholic Chapel at Lulworth Castle, Dorset completed 1986, a project that attracted attention internationally.
A new organ at Jesus College, Oxford, 1993
A new organ in eighteenth century manner, within a 1732 case Grosvenor Chapel Mayfair London, completed 1991
Palace of Westminster St Mary Undercroft crypt chapel, a new instrument 1999
Lincoln Cathedral completed 2010
A new instrument in the Peacock Room, Trinity College of Music, Greenwich, London, 2003
1818 Ballroom Organ at Buckingham Palace, completed 2003
1849 Sutton Organ at Jesus College, Cambridge
1857 Robson Organ Queen's University of Belfast, completed 2005
Gray and Davison organ from the 1851 Great Exhibition in Crystal Palace, now installed at St Anne's Limehouse, restored 2006
Restoration of the George Dallam/Christian Smith, and later, organ at the church of St Giles in the Fields, London
A new instrument at Lincoln College, Oxford, 2010
A new instrument in the OBE Chapel, St Faith's Chapel in the crypt of St Paul's Cathedral London 2012
1760 George England organ at Christ's Chapel of God's Gift, Dulwich, restored
Restoration of the Richard Bridge organ at Christ Church Spitalfields which Drake had planned and worked on since 2000, and was completed posthumously by the firm 2015.

References

External links
 William Drake, organ builder

Drake, William, Organ Builder
Drake, William, Organ Builder
British royal warrant holders
Organ builders of the United Kingdom
1974 establishments in England
Musical instrument manufacturing companies of the United Kingdom
Companies based in Devon

William Drake (organ builder)


Klytie Pate  (20 October 1912 – 10 June 2010) was an Australian studio potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller.

Early life
Clytie Winifred Wingfield Sclater (later Klytie Pate) was born in Melbourne in 1912.  Her father remarried when she was 13, so Klytie went to live with her aunt, Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Ivanhoe, and thus her work reflected Art Deco, Art Nouveau, The Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy.
Pate made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking.  Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor.

In 1931, at the age of 19, Klytie studied painting and drawing at the National Gallery of Victoria Art School under William Beckwith McInnes
and Charles Arthur Wheeler.
In 1933 Klytie took classes at the School of Applied Art at Melbourne Technical College now known as RMIT University. She studied figure drawing and applied art under her uncle, Napier Waller, modelling under George Allen, and pottery under John Knight and Gladys Kelly.  Her environment, her unusual talent, her training, and her drive started Klytie on a path to recognition which increased as time went on.  Klytie was also surrounded by the flora and fauna of Australia, and its unique shapes and colours. As a young woman she loved taking trips to the bush, visiting the Mornington Peninsula, and the Dandenongs with groups of friends.

Pre War years
In a drawing class at RMIT she met William Pate, who was to become a graphic designer and painter. They married in 1937, and built a weekend cottage at Montrose on the side of Mount Dandenong, an area that then teemed with bush animals and birds- favoured subjects of her pots. The cottage was called "Joliwynds".

Klytie strongly demonstrated the influence of "Australiana" during that period with lyre birds, kangaroos and native flowers incised into her pottery.

Post war
In 1941 Klytie held her first solo exhibition of pottery at the Kozminsky Gallery in Melbourne. She continued to exhibit regularly for the next 50 years.
She taught at Melbourne Technical College until 1945, when she was then able to pursue pottery full-time.  The Pates lived in a flat on the Punt Road hill, where her studio was located.
In 1947, Klytie, together with Alan Lowe, became the first ceramicists to have their studio pottery purchased by the National Gallery of Victoria. In 1983 Pate was the first woman in her particular field for which a retrospective was held at the National Gallery of Victoria. In 2008 she was the sole living Australian artist featured included in the Art Deco exhibition held at NGV.

"Beleura", on the Mornington Peninsula, is a historic house managed by the National Trust of Australia, Victoria, where Klytie's pottery is displayed throughout.
Her work was collected by John Tallis, who owned Beleura and was a personal friend of the Pates. Following his death the Tallis family and Foundation continued to add to the collection of Klytie's pottery.

The potter

Klytie Pate's pots take form in numerous shapes and sizes. Over the years she managed to produce a staggering amount of pottery, much of which is distributed in private collections across Australia, which makes it difficult to grasp the scope of her work. Even so, galleries often had to wait for an opportunity to exhibit her work as she became better known. She made lidded jars, large bowls and vases, lamp bases, jugs, animals and birds, large decorated plates, wall tiles, tea sets and mugs. Klytie went through different periods where she concentrated on a certain colour glaze, shape, or theme in the production of her pots. However, notably, apart from sets of cups and saucers, no two pieces are the same.

Making pottery was a process that Klytie carried out from beginning to end. Careful in the clay she selected, in more recent years she worked from a home studio.

In 1991 Klytie was awarded the Order of Australia, for service to the Arts, particularly ceramic art and sculpture.

Gallery and museum collections
National Gallery of Victoria, Melbourne, VIC:
City of Ballarat Fine Art Gallery, Ballarat, VIC
Beleura, National Trust of Australia, Mornington, VIC
National Museum of Australia, Canberra, NSW
The Powerhouse Museum, Sydney, NSW
Shepparton Art Museum, Shepparton, VIC

Notes

References
  Lane, Terence.  Pioneering Potter Spun her Wheel to Fame. 31 Aug. 2010  http://www.theage.com.au/national/pioneering-potter-spun-her-wheel-to-fame-20100830-147dl.html
  Australian Art Pottery 1900–1950, Casuarina Press, 2004, Ed: Kevin Fahy, John Freeland, Keith Free, Andrew Simpson: Melbourne Studio Pottery of the 1930s: The Melbourne Tech Group by Terence Lane . http://www.casuarinapress.com.au/australian_art_pottery.htm
   Edwards, Geoffrey:  Klytie Pate ceramics, 25 May – 3 July 1983, National Gallery of Victoria.  http://catalogue.nla.gov.au/Record/868974
"Letters from Klytie Pate to Mary Rowe", Private Collection, Melbourne, Australia.
"A dinner party and a visit to Klytie's studio." DVD, Private Collection . New York USA. 1989
  Kerr, Joan : Dictionary of Australian Artists Online. http://www.daao.org.au/main/read/4971
Avicam, The Development of Ceramics in Australia. https://web.archive.org/web/20110707193123/http://www.avicam.com/muse/ceramicsAustralia/briefHistory.php
 Ceramics shine endures, James Cockington, 10 November 2010.  http://www.smh.com.au/money/investing/ceramics-shine-endures-20101109-17l28.html
Collection: Powerhouse Museum, Covered jar, earthenware, Klytie Pate, Victoria, 1969. http://www.dhub.org/object/118977
Collection: Powerhouse Museum, Vase, earthenware, Klytie Pate, Victoria, 1940–1950. http://www.dhub.org/object/118975,pate

1912 births
2010 deaths
Australian potters
Artists from Melbourne
Australian women ceramicists
Women potters
Recipients of the Medal of the Order of Australia
National Gallery of Victoria Art School alumni
RMIT University alumni

Klytie Pate


Gerson Goldhaber (February 20, 1924 – July 19, 2010) was a German-born American particle physicist and astrophysicist. He was one of the discoverers of the J/ψ meson which confirmed the existence of the charm quark. He worked at Lawrence Berkeley National Laboratory with the Supernova Cosmology Project, and was a professor of physics at the University of California, Berkeley as well as a professor at Berkeley's graduate school in astrophysics.

Biography
Goldhaber was born on February 20, 1924, in Germany. His Jewish family fled Nazi Germany to Egypt and Goldhaber earned a master's degree in physics in 1947 from the Hebrew University of Jerusalem. Goldhaber was awarded his Ph.D. in 1950 from the University of Wisconsin and became a naturalized citizen of the United States in 1953 while he was on the faculty of Columbia University.

Goldhaber became a professor at the University of California, Berkeley and did additional work at the Lawrence Berkeley National Laboratory. At Berkeley, Goldhaber was part of a particle physics research team that used photographic emulsion to track the movements of subatomic particles in proton-proton scattering experiments that led to the identification of the antiproton, a discovery that earned Owen Chamberlain and Emilio G. Segrè the Nobel Prize in Physics in 1959.

From 1960-61 Goldhaber was a Ford Foundation fellow at CERN, Geneva. During this period he co-authored with his wife and B. Peters a CERN report. A particle he discovered in 1963 was given the name A meson, named after his son Amos.

In 1974, Goldhaber was part of a team at the Stanford Linear Accelerator Center led by Burton Richter that co-discovered the J/ψ meson, a flavor-neutral meson consisting of a charm quark and a charm antiquark. Richter was awarded the Nobel Prize in Physics in 1976 for his research, together with Samuel C. C. Ting of the Massachusetts Institute of Technology who found the particle as part of his own research. For his work on the project, Goldhaber won the American Physical Society's Panofsky Prize and was named California Scientist of the Year.

He later became involved with Rich Muller, Carl Pennypacker and Saul Perlmutter, of the Supernova Cosmology Project.  The project, founded in 1988 at Lawrence Berkeley, searched the Universe for signs of supernovae, which could be used to determine the rate at which the Universe was expanding. By 1997, data that the group had gathered provided evidence that the rate of the expansion of the Universe was increasing due to what they termed dark energy, contrary to the prevailing theory that expansion would slow down and ultimately reverse itself with a Big Crunch as the ultimate fate of the universe.

Goldhaber was a member of the United States National Academy of Sciences and the Royal Swedish Academy of Sciences. Together with Robert N. Cahn, Goldhaber co-wrote the text The Experimental Foundations of Particle Physics.

A resident of Berkeley, California, Goldhaber died at his home there at age 86 on July 19, 2010. He was survived by his second wife, science writer Judith Margoshes, as well as two daughters, a son and three grandchildren. During their 41-year marriage, he collaborated with Judith on two books of sonnets, which were illustrated with watercolors he had painted. His marriage to nuclear chemist Sulamith Goldhaber ended with her death from a brain tumor in 1965 while the couple was traveling in India. Goldhaber's brother Maurice was a particle physicist who served as director of the Brookhaven National Laboratory, one of many physicists in Goldhaber's family.

Awards and honors
 Fellow of the American Physical Society
 1991 - Panofsky Prize of the American Physical Society in recognition of his discovery of charmed mesons
 1982 - Elected as a foreign member of the Swedish Royal Academy
 1977 - California Scientist of the Year award, for his work on charmed mesons
 1976-77 - Morris Loeb Lecturer in Physics, Harvard University
 1977 - Elected member of the National Academy of Sciences
 1972-73 - Guggenheim Fellow at CERN
 1958-59, 1975-76, 1984-85 - Awarded Miller Professorships at the University of California Berkeley.

See also
 Sulamith Goldhaber — wife and colleague
 Maurice Goldhaber — brother
 Nat Goldhaber — son

References

Bibliography

External links
 George H. Trilling, "Gerson Goldhaber", Biographical Memoirs of the National Academy of Sciences (2010)
 Scientific publications of G. Goldhaber on INSPIRE-HEP

1924 births
2010 deaths
American cosmologists
Harvard University staff
Hebrew University of Jerusalem alumni
People from Chemnitz
University of California, Berkeley College of Letters and Science faculty
University of Wisconsin–Madison College of Letters and Science alumni
Members of the United States National Academy of Sciences
Winners of the Panofsky Prize
People associated with CERN
Ford Foundation fellowships
Emigrants from Nazi Germany
Immigrants to the United States
Members of the Royal Swedish Academy of Sciences

Gerson Goldhaber


Odama is a video game for the GameCube developed by Vivarium and published by Nintendo in 2006. The game was produced and designed by Seaman creator, Yutaka Saito.  It is the penultimate GameCube game to be published by Nintendo, followed by The Legend of Zelda: Twilight Princess.

Odama blends tactical wargaming with pinball gameplay. The game takes place in a feudal Japan setting. The main character is a young general named Yamanouchi Kagetora, who is intent on avenging his father's death by reviving the most ingenious weapon ever to hit the medieval battlefield: the Odama. The Odama is a gigantic ball powerful enough to destroy whatever it strikes, friend or foe. Using giant flippers, players aim the Odama to bowl over enemies, shatter their defenses and wreak havoc on the battlefield. With the GameCube Microphone, players direct their soldiers out of the Odama's way and into the fray by charging the enemy, defending positions and seizing the enemy gates.

Plot
The main character in Odama is Yamanouchi Kagetora, a young general struggling to avenge his clan and preserve the Way of Ninten-do, which is a philosophy that means "The way of heavenly duty". With this philosophy to guide him, he finds that his individual soldiers can band together to create a force strong enough to defeat even the most powerful enemy, a general named Karasuma Genshin. Genshin betrayed Lord Yamanouchi Nobutada, Kagetora's father, in a coup, leading Lord Nobutada to take his own life in order to avoid the shame of defeat. Kagetora exacts his revenge, using only limited resources against a vast army. One of these resources is a sacred object protected by his clan: a legendary weapon called the Odama.

Gameplay
The player controls flippers, which operate exactly like those in a pinball game: they strike the Odama back into the battlefield, directing it into targets and away from soldiers. Between the two flippers, the commander stands guard, hacking down any soldiers who attempt to pass. Players can tilt the battlefield, allowing them to alter the course of the Odama. The goal is to shatter the enemy gates with the Odama and direct a crew of men carrying a giant bell to pass through the opened gates. Players' soldiers will defend their crew and seize enemy positions to protect their men on the mission.

The GameCube Microphone was included with the game. Using the Microphone, players direct soldiers by giving voice commands. There are 11 commands, ranging from generic (moving left and right, advancing and retreating) to map-specific and special moves.

Development
Odama was developed by Vivarium Inc. and chiefly designed by Yoot Saito, the creator of Seaman for the Dreamcast. According to Nintendo producer Shigeru Miyamoto, the publisher was initially taken aback by the game's curious mix of pinball and real-time tactics and Saito's initial pitch, "I want to make a pinball game set in feudal Japan." However, Saito eventually convinced them after creating a demo of the game.

Odama debuted at the Electronic Entertainment Expo (E3) in 2004. This version of the game showcased the use of the DK Bongos, which allowed a second player to raise troop morale and distract enemy troops by repeatedly beating the drums. However, this feature was absent from its E3 showing the next year and dropped prior to the game's release.

Reception

The game received "mixed" reviews according to video game review aggregator Metacritic.  In Japan, Famitsu gave it a score of three eights and one seven for a total of 31 out of 40.

Odama won IGN's Most Innovative Design for a GameCube game in 2006.

References

Notes

External links

2006 video games
Nintendo games
GameCube games
GameCube-only games
GameCube microphone games
Microphone-controlled computer games
Pinball video games
Real-time tactics video games
Video games about samurai
Video games developed in Japan
Video games set in feudal Japan
Single-player video games
Vivarium Inc. games

Odama


Ludovico Morbioli (1433 - 9 November 1485) was an Italian Roman Catholic from Bologna who led a dissolute life before adopting a life of repentance. Morbioli was married but separated from his wife after experiencing a sudden religious conversion in Venice during a grave illness - he forever wandered the streets preaching on penance and the need for personal mortifications. His use of a white habit has given rise to misconceptions that he was part of the Carmelite Order when he was not.

Morbioli's beatification received full approval on 24 October 1843 after Pope Gregory XVI confirmed the late penitent's longstanding and enduring local 'cultus' - or popular veneration.

Life
Ludovico Morbioli was born in 1433 in Bologna to Francesco Antonio and Agnes Morbioli as one of six children (five males and one female).

He led a dissolute life of vice that included drinking and other forms of pleasure-seeking.

Morbioli married Lucia Tura - the daughter of Giovanni who knew Morbioli's father. In 1462 he relocated to Venice where he was stricken with a serious illness which prompted him to be taken to the Canons Regular of Saint Salvatore for aid and in order to recuperate. It was during his time of recuperation that he underwent a profound spiritual crisis that challenged him to the core and resulted in his determination to make a radical change to his own life - one of penance for his earlier misdeeds.

He returned to Bologna sometime in 1470 in order to start a life of penitence with austerities he would undertake as a particular penance. He separated from his wife and put on a plain shirt - hence being confused for a Carmelite - and then put on a white one with a cross on his chest that he wore all the time. He preached penance and self-mortification to the people that he encountered and he would often go with those condemned to the scaffold for merciful comfort and solace. He visited Modena and Ferrara on a mule and travelled with a cross in his hands. He slept on the pavement and in other places like the homeless did and he let his hair become wild and his beard grow.

He spent his last months in a basement that he transformed into a cell like those in convents. Morbioli fell ill and refused each kind of relief to help him recover but his refusal led to his peaceful death on the basement floor on 9 November 1485. His remains were interred in the Cathedral of Saint Peter but could not later be relocated in its restoration that took place under Cardinal Gabriele Paleotti from 1566 until 1597. His remains have not been uncovered.

Beatification
The beatification process commenced under Pope Innocent X in 1654 after being titled as a Servant of God while Cardinal Girolamo Boncompagni inaugurated the process; this process never completed and the cause was suspended despite such a popular 'cultus' - or popular veneration - to the late Morbioli.

References

External links
Saints SQPN

1433 births
1485 deaths
15th-century venerated Christians
15th-century Italian people
Beatifications by Pope Gregory XVI
Italian beatified people
People from Bologna
Italian venerated Catholics

Ludovico Morbioli


Town Hall Arts Center, formerly the Littleton Town Hall, is located in downtown Littleton, Colorado and has been a local professional theatre, producing comedies, musicals and plays to the Denver metropolitan area for over 30 years. The building was designated a National Register of Historic Places on September 4, 1980.

Littleton Town Hall (1920–1977)
Designed by Colorado architect Jacques Benedict and built in 1920 as a new center for civic activities, the Italianate building contained the treasurer's office, council chambers, fire truck and hose rooms, and a large second-floor auditorium. The design was inspired by the Palazzo della Ragione in Vicenza, northern Italy, yet it has American elements like  an eagle in the lunettes over the second story windows and the Colorado state flower, the Columbine on the facade.

The floor plan was modified beginning in the 1950s to add offices. The Town Hall was one of the first buildings designated under the historic preservation ordinance in 1972. A new office building was occupied by the City of Littleton in 1977. Through fundraising and other efforts, it opened as a performing arts center and art gallery in 1983.

Town Hall Arts Center (since 1983)
Town Hall Arts Center is now a live theater, cultural center, and art gallery, offering six main stage musicals or comedies and seven to eight concerts during the September through June production season. The theater program for children produces two shows annually with professional actors. Classes are held throughout the year for students aged  seven to seventeen in stage craft, acting, and creative dramatics.

References

Further reading
  - Information about how the Town Hall Arts Center programs were developed

External links

Official Town Hall Arts Center Website
History and photographs of the old Town Hall at Historic American Buildings Survey

Italianate architecture in Colorado
Government buildings completed in 1920
Theatres in Colorado
City and town halls on the National Register of Historic Places in Colorado
Littleton, Colorado
Buildings and structures in Arapahoe County, Colorado
Tourist attractions in Arapahoe County, Colorado
National Register of Historic Places in Arapahoe County, Colorado

Town Hall Arts Center


Mary Rubin Schepisi (born March 6, 1949) is an American artist currently working in Melbourne, Australia, and New York City.  She is married to the film director Fred Schepisi.

Background

Schepisi was born Mary Rubin into a Jewish family in New York City.  Her father, the son of Polish immigrants, operated a company supplying industrial uniforms.  Her mother migrated to the United States from England.  Always supportive of Schepisi's interest in the arts, her parents enrolled her in the Art Students League of New York at the age of 10, where she came to study with many leading figures in the formative art movements of the 1960s, including the painters Jean Liberte and Milton Glasier.  She attended Birch Wathen School on the Upper East Side and Boston University's College of Fine Arts.  Schepisi spent her early career in the fashion and modeling industries.  She has one sister, Leslie Slatkin, a nephew, William Slatkin, one son, Nicholas Schepisi, who currently works in film in New York, and six step-children.

Work
Schepisi's figurative-based works involve drawing, painting, collage, needlework and a range of mixed media applications. When signing her smaller works Schepisi on occasion uses the lower-case monogram "mrs".  Her art practice is notable for the high level of engagement she pursues with her subject matter.  From the political to the personal, covering topics from perestroika to domestic violence, Schepisi often develops a close working partnership with her subjects as each body of work takes shape.

Schepisi's early work comprised small-scale pieces undertaken in her travels to film locations with her director-husband Fred Schepisi.  One notable exhibition from these years was Glasnost/Perestroika (1990) shown in different configurations in London, Los Angeles and Melbourne, which was executed in 1989 during the shooting of The Russia House in Moscow, the first American production granted permission to film in the Soviet Union.   With access to many leading figures in Russian film circles, including Raisa Fomina, Masha Chugunova (assistant to Andrei Tarkovsky), the producer Leonid Vereschagin and the famed director Elem Klimov, the artist employed painting and collage—clipping reports in the morning newspaper and gathering ephemera from her daily travels in Moscow—to chronicle the rapidly changing cultural landscape under Mikhail Gorbachev's policy of perestroika.

Schepisi's most recent body of work, Beauty Interrupted (2011) involves photographs of models in New York, Paris and Milan fashion shows similarly over-painted with contemporary and topical imagery including burkhas and burkinis (Islam-approved swimwear).

Her more personal work is both intimate and confronting, delving into issues of domestic violence, mental illness and sexual assault, in some cases combining text with portraiture.  In Speculations (2004), Schepisi asked a large number of women to write often highly personal biographical essays before painting their portraits.   The essays and paintings were then hung unmatched, leaving it to the viewer to connect each woman's life story to her portrait.

In recent years Schepisi has turned to needlework to address both the personal and political from her strongly feminist perspective.   The subject matter for these pieces varies widely, from images of handguns and household cleaning products to indigenous Australian iconography and text-based invectives.  A current work-in-progress entails a body of needlepoint revealing an exchange of imagined love letters sent between her Polish grandmother and the fictive Leipzig artist Johann Dieter Wassmann (1841–1898).   Of this use of text Schepisi writes:

Schepisi has been an active supporter of arts philanthropy, in 2009 organizing an art auction that raised $84,000 for the Juvenile Diabetes Research Foundation.  She and her husband own a winery on Victoria's Mornington Peninsula, where they live part of the year.

Exhibitions

Solo exhibitions
2018: Out of the Heat, In from the Cold, Artvisory Gallery, Melbourne
2011: Beauty Interrupted, L'Oreal Melbourne Fashion Festival
2011: It's Up To You, Mossgreen Gallery, Melbourne
2009: Guns, Birds & Words, Bowman/Bloom, New York
2009: Guns, Birds & Words, Chapman & Bailey, Melbourne
2007: Inferences ... a summer diary, Bowman/Bloom, New York
2004: The Collection, Span Galleries, Melbourne
2004: Speculations, Span Galleries, Melbourne
2002: Bodies of Evidence, Span Galleries, Melbourne
2002: Mary's Little Gems, 69 Smith Street, Melbourne
2000: Postcard Show, Royal College of Art, London
1998: Toys for Joy, Royal Children's Hospital, Melbourne
1997: George Gallery, Melbourne
1994: The Sofa Series, William Mora Gallery, Melbourne
1990: Glasnost/Perestroika, Jo Wilder Gallery, Los Angeles
1990: Glasnost/Perestroika, William Mora Gallery, Melbourne
1990: Glasnost/Perestroika, San Lorenzo, London
1988: Evil Angels, Peter Grant Fine Art, Melbourne

Group exhibitions
2010: Conflict/Interest, Second Street Gallery, Charlottesville, Virginia
2008: The Beast In Me, Bowman/Bloom, New York
2001: Art by Gum, School of Botany Foundation, University of Melbourne
2000: Secret, Royal College of Art Exhibition, London
1999: George Galley, Melbourne
1998: Exchanging Places, George Gallery in Residence, Ray Hughes Gallery, Sydney
1995: Sofa Series, at the River, Southgate, Melbourne
1991: Mr. Baseball, Diane Farris Gallery, Vancouver

External links
 Mary Schepisi website

References

American contemporary artists
1949 births
Living people
Postmodern artists
Feminist artists
Artists from New York City
Art Students League of New York alumni
American people of Polish-Jewish descent
American people of English descent
Boston University College of Fine Arts alumni
20th-century American artists
20th-century American women artists
21st-century American women artists
Birch Wathen Lenox School alumni

Mary Schepisi


Majuwana Kankanamage Victor Ivan (Sinhala language: මාජුවානා කන්කානම්ගේ වික්ටර් අයිවන්) is Sri Lankan journalist. He was a Marxist rebel in his youth and later became the Editor of the controversial Sinhalese newspaper Ravaya. He served as the Editor of the Ravaya for 25 years consecutively since its inception. Victor is an investigative journalist, political critic, a theorist, social activist and also an author of several books.

He was the 7th accused of the main court case on the Youth Insurrection 1971. The panel of judges described him as the most colourful character of all suspects respondents. Judgment of the Criminal Justice Commission. Inquiry No, 1 – Government Printer- page 255. He was sentenced to 5 years imprisonment at the end of the inquiry. During his imprisonment he abandoned the doctrine of the JVP as well as that of Marxism. While rejecting the doctrine of violence he became an ardent follower of Mahatma Gandhi adopting the philosophy of non-violence expounded by him.

Early life
Born on 26 June 1949, Ivan was educated at St. Anthony's College, Kandy.

Insurrection
He was a leader of the 1971 insurrection of the Janatha Vimukthi Peramuna (JVP) and used the nom-de-guerre Podi Athula (as opposed to "Loku Athula" the former minister Athula Nimalasiri Jayasinghe). He was unable to take part in the insurrection has he was badly wounded months before while making bombs for it and had undergo surgery at a private hospital in Colombo.

The leaders prosecuting the 1971 April insurrection trail began on 12 June 1972, at the Queen's Club, located at the Baudddhaloka Mawatha, before the Criminal Justice Commission composed of Chief Justice H N G Fernando (Chairman) Justice A C A Alles, Justice V T Thamotheram, Justice H Dheragoda and Justice T W Rajaratnam. Those pleading not guilty were brought in batches before the commission. The main case consisted of 41 suspects which included Mr Ivan. They were considered to be the main architects of the uprising and the youth rebellion. Ivan and several other rebellions were found guilty and were punished with imprisonments.

In 1977 he was released with others on an un-conditional pardon given by Jayawardena Government. Later he joined LSSP and unsuccessfully contested the Galle by-election. He now recalls that the insurrection was a "foolish dream"

While in prison, Victor Ivan wrote two books: The first was entitled "The challenge of tenant farming" (අඳ ගොවිතැනේ අභියෝගය; published in 1979), which explored the  feudal character of taxation on cultivations and the tenant farming system in Sri Lanka, and its adverse impact on productivity.

The other was on the History of JVP and 1971 Insurrection. In that he claims that the prevailing discriminatory caste system in the Sri Lankan society had been an important contributory factor in the 1971 insurrection. Later, he wrote another book titled "Social background of Youth Rebels of Sri Lanka" in which he argues that the caste system, apart from being a major factor in the youth insurrections in the Sinhala South, has equally become a crucial factor in the youth insurrections triggered by the Tamil youths in the North as well. This is a new dimension that Victor Ivan has added to the intellectual stock of reflective analyses of the social issues of Sri Lanka.

Until then the society in general, and even the social scientists, considered caste a taboo and an issue not to be discussed openly. The insights that he made persistently on this subject has eventually resulted in the social scientists in Sri Lanka too, sharing his view and admitting that the caste constitutes an important factor affecting the social crisis the country is faced today. The report submitted by the Presidential Commission appointed in 1990, pursuant to the suppression of the second JVP insurrection in 1989, to investigate into the factors that had caused the youth insurrections admitted that the caste system had played a crucial role in the Sinhala and Tamil youth uprisings.

Ivan in his book "Pansale Viplawaya" published in Sinhala in 2009, which has been translated into English titled "Revolt in the Temple-The Buddhist Revival up to Gangodawila Some Thera –" has made an in-depth analysis of this proposition explaining the impact of caste discrimination on Buddhist political trends that emerge intermittently in Sri Lanka. In another book written by him on "Caste, Family & Politics" Ivan makes a deep analysis on how the caste system has impacted on politics of Sri Lanka since of independence to date.

Journalism
Victor Ivan entered the field of journalism in 1986, at a time when the country was in turmoil with the outbreak of violent youth insurrections triggered by the Sinhalese in the South and the Tamils in the North. "The Ravaya", the monthly magazine that he launched soon became popular among the readers and turned out to be the magazine of highest demand at that time. Revelation of the presence of radio-active substances in the products of "Nestle" company in the aftermath of the Chernobille Disaster was one of the most remarkable article published by Ravaya magazine.

The Ravaya magazine maintained a critical and analytically approach. It had an average monthly sale of 40,000 copies. With the surge of JVP insurrection, almost all media organisations cautiously refrained from reporting things which were not in favour of the JVP as well as the security forces that were fighting against the JVP. Thus, when all other media agencies remained silent, the Ravaya adopted a bold policy of expressing its views openly. It followed a policy of criticising the excesses committed by both parties – the JVP and the security forces.

During this period, a large number of media people were assassinated by the JVP and the security forces alike on account of their taking sides of either of the two parties. Those who were sympathetic to the JVP came under severe wrath of the security forces and vice versa. The rebels proscribed the 1988 presidential election declaring it is illegal and demanding the voters to boycott it. The JVP adopted a policy of assassinating those who defied their orders. Victor Ivan, through the Ravaya magazine appealed to the people to ignore the orders of the rebels and exercise their right to vote.

The strategy of the JVP was to prevent the unlikely change of the government and create a favourable atmosphere for the candidate of the governing party to win the election and obtain the support of the defeated opposition parties in their pursuit of propelling the youth uprising into a successful end. But Victor Ivan openly declared that if the JVP prevents the government change by force, it will undoubtedly result in the wholesale extermination of the rebels themselves by the government.  It so happened that the ruling party won the election and eventually the JVP was crushed.

Magazine converted to a newspaper
After the defeat of the JVP by the security forces, Victor Ivan upgraded the Ravaya magazine into a tabloid size weekly newspaper. Since then its scope was widened. The Ravaya no longer remained a publication confined to the critics only. It expanded its perspective becoming a newspaper committed to exposing the corruptions and wrongdoings taking place in the country. The average sale of the Ravaya newspaper increased to the level of 80,000 copies per week .It became a visionary guide and the force that inspired the opposition political parties and political movements which had become frail and weak at that time.
The Ravaya led the political campaign that brought Chandrika Kumaratunga back to the political scene and   ultimately raised her in to power.  But Victor Ivan declined to accept any position offered to him by Chandrika after she was elected the President of the country. Later, he became a vehement critic of the rule of Chandrika. The disputes that arose consequent thereof, created an atmosphere where Victor Ivan had to come under   death threats from the rule of Chandrika.

Upon her retirement, President Chandrika Kumaranatunga, got the approval of the Cabinet of Ministers to vest a valuable piece of state owned land in her name. Victor Ivan filed a case against her on this corrupt   transaction (C.A. (Writ) No. 2074/2005). The court ruled out that the land in dispute be revested in the state. Victor Ivan wrote a book titled "Chaurya Rajina"  in sinhala about Chandrika Kumaranatunga and the period of her rule. The English translation of it was published under the title "The Queen of Deceit". The book created an enviable sales record in Sri Lanka. More than 50,000 copies of it were sold in a very short time.

Author work
He is the author of several books including;
 The challenge of tenant farming (Sinhala)1979 – අඳ ගොවිතැනේ අභියෝගය 1979
 The insurrection of '71 (Sinhala)1979 – 71 කැරැල්ල 1979
Sri Lanka in crisis (Sinhala and English) 1989 – අර්බුදයේ ගමන් මග 1988
 The Tamil challenge (Sinhala) 1989 – දෙමළ අභියෝගය 1989
 The social background of the young rebels of Sri Lanka (Sinhala) 1993 – ශ්රී ලංකාවේ නූතන කැරලිකරුවන්ගේ සමාජ පසුබිම 1993
 From the peace pact to the impeachment (Sinhala) 1993 – සාම ගිවිසුමේ සිට දෝෂාභියෝගය දක්වා 1993
 Principles and Techniques of Chess (Sinhala) 1994 – චෙස් මූලධර්ම හා තාක්ෂනය 1994
 Violence, Non-Violence and Revolution (Sinhala) 1999 – ප්රචණ්ඩත්වය, අවිහිංසාව හා විප්ලවය 1999
 Freedom, national integration, and family struggle in politics (Sinhala) 1999 – නිදහස, ජාතික ඒකාග්රතාව හා දේශපාලනයේ පවුල් පොරය 1999
 An unfinished struggle (Sinhala and English) 2003 – නොනිමි අරගලය 2003
 Sri Lanka: A lost paradise (Sinhala and English) 2006 – කදුළු සලන පාරාදීසය 2006
 The revolution in the temple (Sinhala) 2006 – පන්සලේ විප්ලවය 2006
 The queen of deceit (English and Sinhala) 2006 – චෞර රැජින 2006
Innocence of the Pen Questioned (Sinhala and English) 2010 - පෑන අහිංසකද? 2009
 චෞර රාජ්යය 2010
 ප්රභාකරන් පරාජය කිරීම 2010
 මට පෙනෙන හැටි 2010
 දේශපාලනයේ පවුල හා කුලය 2011
 ලංකාව ගලවා ගැනීම 2011
 දෙමළ අභියෝගය 2012
 අවසානය කුමක්ද? 2012
 ජීවිතයේ ප්රබෝධය, මරණයේ අසිරිය 2013
 අර්බුදයේ අන්දරය, 1815 - යටත් විජිත යුගයේ සිට 2009 - ඊලාම් යුද්ධයේ අවසානය දක්වා

Parliamentary Privileges Act and Criminal Defamation  Law
Victor Ivan challenged the validity of two laws passed by the Parliament that caused great fear in the minds of the media people. This initiative created the appropriate background for abolishing of both these laws. He challenged the legality of the Parliamentary Privileges Act in regard to a case filed against him under the provisions of the said act. There were three other similar cases filed against him under the same Act at that time. He boldly challenged the legitimacy of the law itself and argued successfully that though, the parliament is entitled to safeguard its privileges, the Parliamentary Committee of Inquiry has no right to sit on judgment against people and punish them without having a proper trial procedure approved by law which is an essential prerequisite for instituting legal action and imposing punishments. In view of the wide  publicity given for this  fundamental objection that he raised  against the law itself and  the pressure exerted  by the opposition parties and the international organisations, the parliament was compelled to abolish the parliamentary privileges law and stop the Parliamentary Committee of Inquiry sitting on  cases against  media people  and  imposing punishments on  them.

His next legal battle was against the Criminal Defamation Law which was in operation against the media people. There were 11 cases filed against him under this law. Perhaps, he may be the only journalist in the world against whom such a large number of cases had been filed under the Criminal Defamation Law. According to his interpretation the use of the Criminal Defamation Law against the media people is suggestive of the Attorney General exercising his discretion against people on political grounds which is contrary to the rule of law. In the circumstance, Victor Ivan filed a fundamental rights case against the Attorney General challenging the validity of the practice adopted by him in filing court cases against him (victor) under the Criminal Defamation Law.  He made the Attorney General a respondent both on official as well as on personal level.

Ivan lost the case and he made an appeal to the committee for Human Rights in Geneva under U.N. Convenat on Civil and Political Rights against the verdict of the Supreme Court. The Human Rights Committee in Geneva conducted an inquiry on his appeal (by that time the government had already abolished the Law of Criminal Defamation and had been informed to the Human Rights Committee) and reached the verdict the fundamental rights of Victor Ivan had been violated and ordered to pay compensation for the damage caused to him. (CCRP/C/81/D/909/2000 August 2004)

In the name of the Independence of the judiciary
Of all the struggles made by Victor Ivan, the one he launched against Sarathnanda Silva, the Chief Justice of Sri Lanka (1999– 2009) which he aimed at safeguarding the independence of the judiciary is reckoned  to be the most outstanding and  daring  struggle.
The Ravaya once exposed a Magistrate who had been accused of raping a female respondent of a court case heard by him. Sarathnanda Silva, the Attorney General, adamantly maintained a rigid stand of safeguarding the accused when the Criminal Investigations Department had confirmed after investigations that the accused magistrate had actually committed the offence. Under the circumstance, Victor Ivan, began to delve into the character of the Attorney General himself on the presumption that he too, might be a corrupt person as much as the accused he was safeguarding. He was able to discover a good incident that revealed the corrupt nature of his character.

When Sarath Nanda Silva was the head of the Court of Appeal, which was prior to his being appointed to the post of Attorney General, his legal wife had left him but not legally separated from him. During this time Sarath Nanda Silva lived with a mistress in his own house who happened to be the wife of a close friend of him. The husband of his mistress, a chemical engineer filed a case against his wife and Sarath Nanda Silva making both of them respondents seeking court approval to dissolve his marriage on account of the immoral behaviour of his wife with Sarath Nanda Silva .  It came to light that the District Judge who heard this case had acted in favour of the Attorney General and in a manner which is oppressive to the chemical engineer and was contrary to the rule of law. The case record and the verdict of the judge amply manifested that the District Judge had been biased and acted as a puppet of the Attorney General.

Ivan exposed the true facts of this case accusing the magistrate and the Attorney General. At the same time he continued to voice against this rapist magistrate, the district Judge who chaired the case against Sarath Nanda Silva and Attorney general which ultimately resulted in the Chief Justice being compelled to appoint 2 tri partite committees to investigate into the allegations made against the magistrate and the district judge. The 2 committees found both of them guilty of the charges levelled against them by Victor Ivan. Apart from this, he filed a case in the Supreme Court against the Attorney General seeking his expulsion from the legal profession on the grounds of his corrupt behaviour. On the basis of his complaint, the Supreme Court initiated an investigation against the Attorney General. While the investigation was in progress, the incumbent Chief Justice went on retirement. Surprisingly, the President appointed Sarath Nanda Silva who had faced corruption charges as the New Chief justice. DatoParam Kumaraswamy of the UNO openly condemned this appointment. Sarath Nanda Silva was a close confidant of the President. The independent stand of the judiciary was not to her liking. She wanted to save her friend from the unfortunate mess he had fallen into and also to find a person like Sarath Nanda Silva whom she could manipulate in wielding her power over the judiciary.

Ivan making a vehement protest against this inapt appointment published the Ravaya newspaper as a Black Issue with a picture depicting the new Chief Justice taking the oath before the President overturned in black background.  Thereafter, he submitted a fundamental rights petition challenging the appointment of the new Chief Justice. The International Bar association and the Law Commission of India making a joint representation sent V.S. Malimath, a retired Chief justice from Kerala to Sri Lanka to observe the proceedings of this historic trial'.

The International Bar Association, in a report published in  November 2001 on caption 'Sri Lanka: Failing to Protect the Rule of Law and the Independence of the Judiciary' has given a comprehensive account of the illegal manner and ludicrous nature in which this inquiry was held. Victor Ivan, throughout the tenure of the new chief justice vehemently and persistently criticised all illegal actions and injustices that he committed in the arena of judiciary. Based on a comprehensive study of the telephone correspondences over a period of three months he was able to prove that the chief justice has had connections with the underworld. Based on the resultant crisis situation in the judiciary following the appointment of Sarath Nanda Silva as the chief justice, Victor Ivan published a book titled 'Unfinished Struggle-For the Independence of the Judiciary' while Sarath Nanda Silva  was holding the post of Chief justice . Addressing  the Second Global Conference of the Investigative Journalists held in Copenhagen from 2–4 May 2003, which he attended on invitation, Victor Ivan shared his experience  of  investigative journalism that he practised in regard to the judiciary of Sri Lanka and the legal battle he had to pursue in the process.

Perception on media
He has an acidic criticism about the media culture in Sri Lanka and some acknowledged theoretical aspects of media as well. His experience and views on the subject are amply expressed in the book titled 'Innocence of the Pen Questioned' that he published in 2009. He criticised others and similarly let others criticise him. Perhaps, the Ravaya may be the only newspaper which has allowed others to criticise the editor of it in the same newspaper. This can be reckoned to be a new tradition added to the media culture.

Philosophy
Ivan admires Bertrand Russell, so his son is named Athula Russell. Russell was a six-time Sri Lanka chess champion from 2003 to 2010.

References

Sri Lankan rebels
Sinhalese writers
Sri Lankan journalists
Living people
Alumni of St. Anthony's College, Kandy
1949 births
Janatha Vimukthi Peramuna members

Victor Ivan


The talwar (), also spelled talwaar and tulwar, is a type of curved sword or sabre from the Indian subcontinent.

Etymology and classification
The word talwar originated from the Sanskrit word taravāri () which means "one-edged sword". It is the word for sword in several related languages, such as Hindustani (Hindi and Urdu), Nepali, Marathi, Gujarati, Punjabi, etc. and as  () in Bengali.

Like many swords from around the world with an etymology derived from a term meaning simply 'sword', the talwar has in scholarship, and in museum and collector usage, acquired a more specific meaning. Unfortunately, South Asian swords, while showing a rich diversity of forms, suffer from relatively poor dating (so developmental history is obscure) and a lack of precise nomenclature and classification. The typical talwar is a type of sabre, characterised by a curved blade (without the radical curve of some Persian swords), possessing an all-metal hilt with integral quillons and a disc-shaped pommel. This type of hilt is sometimes called the 'Indo-Muslim hilt', or 'standard Indian hilt'. Talwars possessing only slightly curved blades can be called sirohi. However, many other variations exist. Swords with straight blades and the disc-pommel hilt are usually referred to as 'straight-bladed talwars' (though the word dhup is also used), those with the same hilt, but yatagan-type forward-curved blades are termed 'sosun patta'. Swords with sabre-blades and all metal Indo-Muslim hilts, but having the pommel in the shape of the head of an animal or bird, instead of the disc, are termed talwar, without being differentiated by name.

History
The talwar belongs to the same family of curved swords as the Persian shamshir, the Turkish kilij, Arabian saif and the Afghan pulwar, all such swords being originally derived from earlier curved swords developed in Turkic Central Asia. The talwar typically does not have as radical a curve as the shamshir and only a very small minority have the expanded, stepped, yelman typical of the kilij.

The talwar has a distinctive, all-metal, Indo-Muslim hilt, developed in Medieval western India. The increasing influence in India of Turco-Afghan, and later Turco-Mongol, dynasties (employing Persian and Central Asian arms) in the Late Medieval and subsequent eras led to ever greater use of sabre-like, curved swords. By Mughal times, the talwar had become the most popular form of sword in the Subcontinent. The talwar was the product of the marriage of the curved blade derived from Turco-Mongol and Persian swords and the native all-metal Indo-Muslim hilt.

Characteristics

The talwar was produced in many varieties, with different types of blades. Some blades are very unusual, from those with double-pointed tips (zulfikar) to those with massive blades (sometimes called tegha - often deemed to be executioner's swords but on little evidence). However, all such blades are curved, and the vast majority of talwars have blades more typical of a generalised sabre. As noted above, swords with blades other than curved sabre-blades, or possessing hilts radically different from the Indo-Muslim type are usually differentiated by name, though usage is not entirely consistent.

Many examples of the talwar exhibit an increased curvature in the distal half of the blade, compared to the curvature nearer the hilt. Also relatively common is a widening of the blade near the tip (often without the distinct step [latchet] to the back of the blade, characteristic of the yelman of the kilij). The blade profile of the British Pattern 1796 light cavalry sabre is similar to some examples of the talwar, and it has been suggested that the talwar may have contributed to the design of the British sabre.

A typical talwar has a wider blade than the shamshir. Late examples often had European-made blades, set into distinctive Indian-made hilts. The hilt of the typical talwar, is of the Indo-Muslim type, and is often termed a "disc hilt" from the prominent disc-shaped flange surrounding the pommel. The pommel often has a short spike projecting from its centre, sometimes pierced for a cord to secure the sword to the wrist. The hilt incorporates a simple cross-guard which frequently has a slender knucklebow attached. The hilt is usually entirely of iron, though brass and silver hilts are found, and is connected to the tang of the blade by a very powerful adhesive resin. This resin, or lac, is derived from the peepal tree, it is softened by heating and, when cooled, it sets solidly. More ornate examples of the talwar often show silver or gold plated decoration in a form called koftgari. Talwars of princely status can have hilts of gold, profusely set with precious stones, one such, preserved at the Baroda Palace Armoury, is decorated with 275 diamonds and an emerald.

Use
The talwar was used by both Cavalry and Infantry. The grip of the talwar is cramped and the prominent disc of the pommel presses into the wrist if attempts are made to use it to cut like a conventional sabre. These features of the talwar hilt result in the hand having a very secure and rather inflexible hold on the weapon, enforcing the use of variations on the very effective "draw cut". The fact that the talwar does not have the kind of radical curve of the shamshir indicates that it could be used for thrusting as well as cutting purposes. The blades of some examples of the talwar widen towards the tip. This increases the momentum of the distal portion of the blade when used to cut; when a blow was struck by a skilled warrior, limbs could be amputated and persons decapitated. The spike attached to the pommel could be used for striking the opponent in extreme close quarter circumstances when it was not always possible to use the blade. Due to the presence of a blunted ricasso the talwar can be held with the fore-finger wrapped around the lower quillon of the cross guard.

Gallery

See also
 Firangi
 Khanda
 Kukri
 Mughal weapons

Notes

References

Further reading

Indian swords
South Asian swords
Single-edged swords
Pakistani swords
Indo-Persian weaponry
Swords
Weapons of India

Talwar


Kathy Rain is a point-and-click adventure video game developed by Clifftop Games and published by Raw Fury. The game is set in 1995 and follows a college girl named Kathy who returns to her hometown to look into a mystery related to her recently deceased grandfather while confronting her troubled past.

Plot

In 1995, Kathy Rain, a college student studying journalism, returns to her fictional hometown of Conwell Springs after she learns of her paternal grandfather's, Joseph Rain's, passing. At the funeral, she immediately reconnects with her grandmother, whom she has not seen since she was a child. Shortly after the funeral, Kathy's grandmother explains that an incident involving Joseph had left him confined to a wheelchair in a vegetative state without any medical explanation. Curious, Kathy decides to probe deeper into what happened to her grandfather.

In town, Kathy finds a tape from Joseph in the police archives and gets involved in a case he had been investigating. In particular, a young girl named Lily Myers who drowned in 1975 in an apparent suicide. Kathy visits Lily's mother at their lakeside cabin and learns that, leading up to Lily's death, she had become very withdrawn and engrossed in her paintings, which had generated particular interest for Joseph. Lily's mother had since sold off Lily's paintings to an art collector in order to continue supporting herself and her son, Nathan. The art collector happens to be Charles Wade, a fellow pilot and best friend of Joseph in years past. Kathy is eventually able to track down Charles at the local health clinic in Conwell Springs. After realizing who she is, Charles explains that he and Joseph had a falling out after Kathy's father, Brian, and her mother became involved in criminal activity. Charles moved out of Conwell Springs later due to his growing business, but he never forgot his friendship with Joseph. However, he knows nothing of the incident that caused Joseph to become comatose. He also explains that all the art he had bought from Lily's family had since been stolen from his family mansion, but has no further information on who may have stolen them or why. Kathy eventually finds out that the local bike gang, the Black Hats, stole the paintings. As her father was part of the gang, Kathy is able to enter their bar and meet with the gang president, Big Beau. However, he refuses to tell her about the robbery.

Unable to get more information at this point, Kathy turns her attention to an overdeveloped photo Joseph had stashed in a safe: an image of a forest with three bright orbs of lights and a red flower. Kathy has suspicions that the local church, whose founder ran a cult in the 1970s, may know more, as their symbol features the same three light orbs, but cannot get any more useful information from the current priest, Isaac. Kathy's roommate, Eileen, helps Kathy identify the flower as an endangered flower that has the ability to induce hallucinations. Kathy eventually finds her way to the spot where the photo was taken, but suddenly has a strange encounter with a mysterious bald man dressed in red who instructs her to continue following her grandfather. Kathy then mysteriously finds herself back at her grandmother's house. Kathy returns to the photo site, and this time she finds a torn drawing by Nathan featuring the mysterious man in red. Kathy then learns that Isaac had hired the Black Hats to steal Lily's paintings.

The next day, Eileen unexpectedly shows up at Kathy's grandmother's residence, hoping to assist Kathy after uncovering that there had been an unusually high number of disappearances and institutionalizations in Conwell Springs for the last few decades. Eileen decides to help Kathy by confronting Isaac about the art theft. Kathy takes this time to meet with Jimmy Cochran, another fellow pilot and friend to both Joseph and Charles, who is now currently admitted to the same institution where Kathy's mother is. Though Jimmy is deemed delusional, he is actually sharp and provides supernatural insight on what happened to Lily, Joseph, and many others. Jimmy ominously warns Kathy that Eileen is already in mortal danger. Kathy rushes back to Conwell Springs, where she breaks into Isaac's office and finds an ornate key, but is quickly caught by Isaac and the sheriff for breaking and entering. Kathy is imprisoned but quickly breaks out and finds that the key she swiped unlocks Isaac's family mausoleum in the town's cemetery. There, she knocks out Isaac and finds a comatose Eileen. Isaac is arrested, and Eileen is taken to Kathy's grandmother. Kathy finds and unlocks a storage facility where Isaac had hoarded all of Lily's paintings. The same storage facility also holds more memorabilia from Joseph in a neighboring unit. Kathy then goes to the police station to record a statement and confront Isaac. Isaac explains that he did not cause Joseph's incident, but interprets the vegetative states of Eileen and Joseph as being "claimed by God". Nevertheless, Isaac admits to being responsible for many of the missing locals in recent years. He also explains that he wasn't destroying Lily's paintings, but rather uncovering what was hidden underneath, and that the red man can be found somewhere north of Conwell Woods. Kathy then rushes to Lily's family home and uses paint thinner on Lily's last surviving landscape painting, which unveils a painting of Nathan holding Lily underwater. Kathy then meets Nathan outside the family home, where he explains that Lily had forced him to drown her. When asked about the red man in his drawings, Nathan explains that the red man always fought with Lily, and that he can still talk to her. Kathy then requests that Nathan escort her to where he talks to Lily. Nathan takes Kathy to the site of Joseph's photo but is quickly blinded by the three light orbs that appear. Kathy has a vision that helps her uncover additional information hidden within Isaac's office. Kathy then proceeds to decrypt that information to find the location Isaac mentioned: a deep pit in the middle of the forest surrounded by the hallucinogenic red flowers. The red man appears and explains to Kathy what she needs to do to save Eileen, and Kathy proceeds down into the pit.

The bottom of the pit proves to be a supernatural plane where visitors are forced to confront their pasts and sources of misery. Kathy is forced to come to terms with her hatred for her parents. She is eventually guided by an apparition of Lily to meet with Joseph, who instructs Kathy to burn all the red flowers to sever this supernatural world from the reality above to save Eileen and future potential victims. The two bid farewell, but not before Joseph tells Kathy that he's proud of her for the remarkable courage she has shown throughout this entire journey. Kathy returns to the surface and sets the entire meadow ablaze. She heads back to find Eileen no longer comatose, and learns that Isaac had hung himself while in prison.

The next morning, Kathy and Eileen bid farewell to Joseph at his grave one last time. Kathy remarks that they had made a pretty good investigative team, and teases Eileen to not get kidnapped next time. Eileen ignores this, excited at the prospect that there will be a "next time".

Development and release
Kathy Rain was developed by Clifftop Games, a one-man Swedish indie studio founded by Joel Staaf Hästö. Hästö called the television series Twin Peaks an influence for the game. The game was developed using the Adventure Game Studio development tool. The game was showcased at Gamescom in 2015. The game was published by Raw Fury and released for Windows and macOS on 5 May 2016, alongside a demo. The game was later released for Android and iOS on 23 November 2016. In early 2021, a director's cut for the game was announced, and was released for Windows, macOS, Android, iOS and Nintendo Switch on 26 October 2021.

Reception

Kathy Rain was received favourably by video game critics. Despite the game's initial sales being underwhelming, publisher Raw Fury vowed to continue supporting the developer.

See also
Whispers of a Machine, Clifftop Games' next game

References

External links

2016 video games
Adventure Game Studio games
AGS Award winners
Android (operating system) games
Detective video games
Nintendo Switch games
Indie games
IOS games
MacOS games
Point-and-click adventure games
Single-player video games
Video games developed in Sweden
Video games featuring female protagonists
Video games set in 1995
Windows games
Raw Fury games
Clifftop Games games

Kathy Rain


John Patrick may refer to:

John Patrick (cricketer) (born 1955), Grenadian cricketer
John Patrick (footballer, born 1870) (1870–?), Scottish international footballer of the 1890s
John Patrick (golfer), Scottish professional golfer
John Patrick (rugby union) (1898–1959), American rugby union player
John Patrick (dramatist) (1905–1995), American playwright and screenwriter
John Patrick (Northern Ireland politician) (1898–?), Northern Irish politician for Mid Antrim
John Patrick (Maine politician) (born 1954), American politician and mechanic
John R. Patrick (born 1945), American businessman, former IBM VP
John Patrick, physician, medical ethicist, president of Augustine College
John Patrick, subdean of Lincoln Cathedral
John Patrick (basketball) (born 1968), basketball coach
John Patrick (American football) (1918–2000), American football blocking back
John Douglas Patrick (1863–1937), American painter
Johnny Patrick (born 1988), American football cornerback
John Patrick (footballer, born 2003), Spanish footballer

See also

John Patrick


Atıl İnaç (born 22 March 1975) is a Turkish film director.

Early life
İnaç was born into a family of filmmakers: his mother was a screenwriter and his father a producer. İnaç went to the United States for high school education. Upon graduation, he studied philosophy at the University of Missouri-Kansas City. Later, İnaç earned his degree in Boğaziçi University (Istanbul), Philosophy Department. He continued his academic studies at Claremont Graduate University - Philosophy Department, specializing in philosophy of language.

He worked as a producer for TRT (Turkish Radio Television) in 3 radio shows which were broadcast nationwide in Turkey. İnaç's amateur studies in jazz music led him to produce and host jazz-oriented radio shows on Acik Radyo, a prominent, private Turkish radio station. He also wrote articles on and did interviews with jazz musicians and jazz composers.

Filmmaking
During his graduate studies, he worked for Pittard Sullivan Branding Firm in Los Angeles as branding development consultant. Upon his return to Istanbul, Atil İnaç started writing and directing TV series and sitcoms for most of the major television networks in Turkey between 2003-2007.

İnaç completed his feature debut Zincirbozan in 2007. It was a controversial political depiction of the 1980 military coup d'état in Turkey.

Director's second feature Kolpaçino was a blockbuster comedy which was distributed both nationally and internationally.

A Step into the Darkness / (Buyuk Oyun) was his third film which was partially shot in post-war Iraq. The film went to numerous international film festivals.

He co-directed the feature drama The Partner (Ortak) in association with his director brother Ulas İnaç. It tells the story of a young, struggling actor who decides to change the course of his life, and starts pimping a young college girl to earn his living. They set one rule only: not to fall in love with each other. The Partner (Ortak) was theatrically released in late 2013.

İnaç later wrote his last feature film Circle in 2012. The story is centered on the social decadence and its destructive reflections on the lives of urbanized, educated and thus tamed middle class people in the midst of a political and economical turmoil of the past decade in Turkey. The film won Film-Directors Best Director award in 2013 Adana International Film Festival, and Best Film, Best Actor, Best Actress, Best Supporting Actor awards in 2014 Ankara International Film Festival.

Filmography
 Zincirbozan (2007)
 Kolpaçino (2009)
 Yaşar ne Yaşar ne Yaşamaz (2008)
 A Step into the Darkness (2010)
 Partner (2011)
 Circle (2013)

References

External links
 Company website
 Atil İnaç on IMDb

1975 births
Living people
Turkish male screenwriters
Turkish film directors
People from Ankara

Atıl İnaç


Outsports is a sports news website concerned with LGBT issues and personalities in amateur and professional sports. The company was founded in 1999 by Cyd Zeigler, Jr. and Jim Buzinski.

The Outsports Revolution (Alyson Publications), by Zeigler and Buzinski, was released in 2007. The book chronicles the development of the Outsports.com brand and its impact on the world of gay sports, covers the gay sports movement, introduces both famous and non-famous LGBT athletes, and examines various myths and controversies regarding gays and sports.

The site received the 2003 National Lesbian and Gay Journalists Association's Excellence in New Media Journalism Award.

Outsports was purchased by Vox Media in 2013. Buzinski and Zeigler retained editorial control and continue to operate the site as part of its sports blog network SB Nation. In spring 2023, Zeigler was criticized for his public transition to the Republican Party and for his endorsement of Governor Ron DeSantis for the 2024 United States presidential election.

See also
 Athlete Ally

References

External links
 Outsports.com

LGBT-related websites
LGBT sports organizations in the United States
SB Nation

Outsports


Miriam Wattenberg (April 2013), better known by her pseudonym Mary Berg, was a Polish-born, half-American, Jewish girl who kept a diary written mostly in German-occupied Poland during World War II. During the first months of World War II many Jews from Łódz (before their imprisonment in the Łódz Ghetto in April 1940), including Mary and her family escaped to Warsaw which was much safer for Jews at the time. But in the following months of their stay there, the situation of Jews got almost as bad, and by October 1940, they and other Jews from Warsaw were forced to live in the Warsaw Ghetto.

They stayed in the ghetto for almost two years. Because of their American connection, in July 1942, Miriam and her family left the Warsaw Ghetto on a transport to a prison in Kawiak where they would be detained. They stayed in the prison for a few months. Mary and her family tried to escape, but were unsuccessful. Because of this in January 1943, they left on a transport to the Vittel internment camp in France, in which people who tried to escape were imprisoned. The family departed the Vittel internment camp. On 1 March 1944, they boarded a train to Lisbon, the capital city of Portugal. They arrived in their destination three days later on 4 March. By then, many inmates of Vittel, including Mary's roommate, had been deported to Auschwitz. In Lisbon, the Berg family boarded SS Grispholm for the voyage to the United States. It was there where she published her diary.

The diary is written between 10 October 1939 and 7 March 1944, in the Polish language. The diary was first published as a book in February 1945 by the publishing company L.B. Fischer, in the United States. The diary went out of print in the 1950's. The diary was first published as a book in Poland in 1986. The diary was republished in the United States in 2006, under the book title as The diary of Mary Berg: growing up in the Warsaw Ghetto, and again on 1 April 2009.

Period chronicled in Mary Berg's diary
On 10 October 1939, Mary Berg wrote the first entry in a new notebook of her diary. In the first entry of her diary she wrote that several years ago she did write a diary (which is lost), but stopped, but eventually decided to continue writing, several years later. The last entry in her diary is dated 7 March 1944, more than three years later after she wrote the first entry in her diary.

Mary Berg


The whitetip reef shark (Triaenodon obesus) is a species of requiem shark, and the only member of its genus. The whitetip reef shark gets its name because of the white tips on its first dorsal fin and caudal fin. This shark has a slim body, with a short, wide head, a blunt, flattened snout, and oval-shaped eyes. The body is dark grey to brown in colour, and the underside is white.

The whitetip reef shark is widely distributed across the entire Indo-Pacific region, and is common along coral reefs, but is also found over sandy flats, in lagoons, and near drop-offs to deeper water. This species of shark is viviparous, giving birth to 1-5 pups after a gestation period lasting up to 12 months. The whitetip reef shark is currently listed as Near Threatened by the IUCN.

Description
thumb|left|225px|The Whitetip reef shark has a flattened snout, flaps of skin infront of its nostrils, and oval eyes with vertical pupils
The whitetip reef shark has a slim body, and has a short, wide head. The snout is flattened and blunt, and has large flaps of skin in front of the nostrils. The eyes are small and oval-shaped, and have vertical pupils.  Along with the mouth which slants downwards, the visible brow ridges give this shark a permanent "disgusted" expression to its face. The first dorsal fin is located well behind the pectoral fins. The second dorsal fin is large, but smaller than the first dorsal. The pectoral fins are wide and triangular in shape. The anal fin is about as large as the second dorsal fin. There is no interdorsal ridge (ridge between the two dorsal fins), and there are no lateral keels on the caudal penduncle.

The whitetip reef shark earns its common name for the white tips on the first dorsal fin and upper caudal fins. The body is dark grey to brown, and the underside is white. Small dark spots are sometimes present over the entire body. The remaining fins may also have white tips, but not always. The whitetip reef shark is sometimes confused with the Silvertip shark due to their similar appearances. However, the silvertip shark is a much heavier species, and has a large first dorsal fin and a much smaller second dorsal fin. Also, its caudal fin is lined with white, rather than tipped, as with the whitetip reef shark.
The whitetip reef shark is quite a small species of shark, growing to a maximum length of just under 7 feet (2.1 metres), however, individuals are rare at lengths over 5.2 feet (1.6 metres). Males mature at about 3.4 feet (1.04 metres) long, and generally reach lengths of up to 5.5 feet (1.7 metres). Females reach maturity at 3.4-3.6 feet (1.04-1.1 metres), and grow to at least 5.2 feet (1.6 metres).  Whitetip reef sharks weigh a maximum weight of 18 kg.

Distribution

The whitetip reef shark is widely distributed across the entire Indo-Pacific region. In the Indian Ocean, it is found from northern KwaZulu-Natal, South Africa to the Red Sea and the Indian subcontinent, including Madagascar, Mauritius, the Comoros, the Aldabra Group, the Seychelles, Sri Lanka, and the Chagos Archipelago. In the western and central Pacific, it occurs from off southern China, Taiwan, and the Ryukyu Islands, to the Philippines, Southeast Asia, and Indonesia, to northern Australia, and is also found around numerous islands in Melanesia, Micronesia, and Polynesia, as far as Hawaii to the north, and the Pitcairn Islands to the southeast. In the eastern Pacific, it occurs from Costa Rica to Panama, and off the Galápagos Islands.

The whitetip reef shark is found mainly at coral reefs, but it is also found over sandy flats, in lagoons, and near drop-offs to deeper water.  They prefer very clear water and rarely swim far from the bottom. This species is most common at a depth of . Sometimes, they may enter water less than 1 metre deep, and there is a record of a whitetip reef shark being captured from a depth of  in the Ryukyu Islands.

Behaviour
thumb|left|225px|The Whitetip reef shark spends most of the day laying still on the bottom
The whitetip reef shark is usually seen swimming in clear waters along coral reefs, and has been reported at depths to up to 1,083 feet (330 metres). This species rarely swims to the surface, and is capable of lying motionless on the bottom for long periods of time. During daylight hours, whitetip reef sharks form large groups in caves, sometimes appearing stacked up like a pile of logs. The same sharks often return repeatedly to the same cave for long periods of time, changing location only periodically. The whitetip reef shark is most active throughout the night.

Feeding
During the night, the whitetip reef shark becomes very active, and searches for prey along the bottom. When the shark finds a prey, it chases the prey into a crevice or small cave, trapping it. The slim body, blunt snout, and tough skin helps the whitetip reef shark hunt successfully in these small spaces. It feeds mainly on bony fish, including eels, squirrelfish, snappers, damselfish, parrotfish, surgeonfish, and triggerfish. It also eats octopuses, crabs, and lobsters.

Reproduction
Whitetip reef sharks are viviparous, and after a gestation period which can last around 12 months, the females give birth to 1-5 pups, which range from 52-60 cm in length. During mating, 1 to 11 males follow a female, until one of them gently nips the female's gill region. If the female accepts the male, the male grasps one of the female's pectoral fins in his mouth, and mates with her. Whitetip reef sharks reach maturity at around the age of 8 years, and live up to a maximum age of 25 years.

Human interaction
The whitetip reef shark is fished in the waters off Pakistan, India, Sri Lanka and Madagascar. It is also believed to be fished in other waters across its range, but there is not a lot of information about this. The meat and liver are sold for human consumption, despite the fact that the liver has been reported as toxic. Although this shark is widely distributed, its restricted habitat, depth range, small litter size, and the long time to reach maturity means that the whitetip reef shark may become increasingly threatened to overfishing.

This shark is quite harmless to humans due to its easygoing nature and small teeth. It avoids close contact with humans, swimming off when approached by swimmers or divers. Since the whitetip reef shark is often attracted to food, divers have been able to hand feed individuals. However, sometimes an individual will become overly excited by spearfishing or when bait is present, and might bite the diver. This species is also known to bite if harassed.

Conservation
The whitetip reef shark is widespread and quite abundant, and there is no legislation against fishing this species. The whitetip reef shark project of Hawaii is currently researching this shark's life history, movement patterns, and habitat range, in hope that this will help in the future management of the populations of this shark. The Food and Agriculture Organisation of the United Nations (FAO) have been working for years on the International Plan of Action for the Conservation and Management of Sharks (IPOA-SHARKS). However, the vast size of the oceans where the whitetip reef shark is found, and the difficulty of law enforcement in many areas, make the task of managing the conservation of this shark extremely difficult. The whitetip reef shark is currently listed as Near Threatened by the IUCN.

References

Sharks

Whitetip reef shark


The 79th Pennsylvania Volunteer Infantry (also known as the "Lancaster Rifles") was an infantry regiment that served in the Union Army during the American Civil War.

Service
The 79th Pennsylvania Infantry was organized at Lancaster, Pennsylvania and mustered in for a three-year enlistment on September 19, 1861, under the command of Colonel Henry Augustus Hambright.  The regiment was recruited in Lancaster and Washington counties.

The regiment was attached to Negley's 4th Brigade, McCook's Command, at Nolin, to November 1861. 7th Brigade, Army of the Ohio, to December 1861. 7th Brigade, 2nd Division, Army of the Ohio, to March 1862. Negley's Independent Brigade, Army of the Ohio, to August 1862. 28th Brigade, 3rd Division, Army of the Ohio, to September 1862. 28th Brigade, 3rd Division, I Corps, Army of the Ohio, to November 1862. 3rd Brigade, 1st Division, Centre, Army of the Cumberland, to January 1863. 3rd Brigade, 1st Division, XIV Corps, Army of the Cumberland, to April 1863. 2nd Brigade, 1st Division, XIV Corps, to October 1863. 3rd Brigade, 1st Division, XIV Corps, to July 1865.

The 79th Pennsylvania Infantry mustered out of service on July 12, 1865.

Detailed service
Moved to Pittsburg, thence to Louisville, Ky., October 18, and to Nolin Station, Ky., October 24. Duty at Nolin until December 1861, and at Munfordville until February 1862. Moved to Bowling Green, Ky., thence to Nashville, Tenn., February 14-March 3. At Nashville until March 28. Ordered to Columbia, Tenn., and guard Nashville & Decatur Railroad until May. Expedition to Rodgersville, Ala., May 13–14. Lamb's Ferry May 14. Negley's Expedition to Chattanooga May 28-June 17. Jasper, Sweeden's Cove, June 4. Chattanooga June 7–8. Ordered to Tullahoma, Tenn., and duty there until August. Ordered to Nashville, thence march to Louisville, Ky., in pursuit of Bragg August 21-September 26. Pursuit of Bragg into Kentucky October 1–16. Battle of Perryville October 8. Guard Louisville & Nashville Railroad at Mitchellsville November 9-December 7. Advance on Murfreesboro December 26–30. Jefferson December 30. Battle of Stones River December 30–31, 1862 and January 1–3, 1863. Duty at Murfreesboro until June. Expedition to McMinnville April 20–30. Tullahoma Campaign June 23-July 7. Hoover's Gap June 24–26. Occupation of middle Tennessee until August 16. Passage of Cumberland Mountains and Tennessee River, and Chickamauga Campaign August 16-September 22. Davis Cross Roads or Dug Gap September 11. Battle of Chickamauga September 19–21. Rossville Gap September 21. Siege of Chattanooga September 24-October 26. Reopening Tennessee River October 26–29. Battle of Chattanooga November 23–25. Reenlisted February 9, 1864. Veterans on furlough March and April. Atlanta Campaign May 1-September 8. Demonstration on Rocky Faced Ridge May 8–11. Battle of Resaca May 14–15. Operations on line of Pumpkin Vine Creek and battles about Dallas, New Hope Church and Allatoona Hills May 25-June 5. Pickett's Mills May 27. Operations about Marietta and against Kennesaw Mountain June 10-July 2. Pine Hill June 11–14. Lost Mountain June 15–17. Assault on Kennesaw June 27. Ruff's Station, Smyrna Camp Ground, July 4. Chattahoochie River July 5–17. Peachtree Creek July 19–20. Siege of Atlanta July 22-August 25. Utoy Creek August 5–7. Flank movement on Jonesboro August 25–30. Battle of Jonesboro August 31-September 1. Operations in northern Georgia and northern Alabama against Hood September 29-November 3. March to the Sea November 15-December 10. Siege of Savannah December 10–21. Campaign of the Carolinas January to April, 1865. League Cross Roads, near Lexington, S.C., February 15. Cloud's House February 27. Averysboro, N. C., March 16. Battle of Bentonville March 19–21. Occupation of Goldsboro March 24. Advance on Raleigh April 9–13. Occupation of Raleigh April 14. Bennett's House April 26. Surrender of Johnston and his army. March to Washington, D.C., via Richmond, Va., April 29-May 20. Washington, D.C. for the Grand Review of the Armies May 24.

Casualties
The regiment lost a total of 268 men during service; 4 officers and 118 enlisted men killed or mortally wounded, 1 officer and 145 enlisted men died of disease.

Commanders
 Colonel Henry Augustus Hambright

See also

 List of Pennsylvania Civil War Units
 Pennsylvania in the Civil War

References
 Dyer, Frederick H.  A Compendium of the War of the Rebellion (Des Moines, IA:  Dyer Pub. Co.), 1908.

Attribution

External links
 Regimental history

Military units and formations established in 1861
Military units and formations disestablished in 1865
Units and formations of the Union Army from Pennsylvania
1861 establishments in Pennsylvania

79th Pennsylvania Infantry Regiment


In experimental physics, a test theory tells experimenters how to perform particular comparisons between specific theories or classes of theory.

Without a good reference test theory, these experiments can be difficult to construct. Different theories often define relationships and parameters in different, often incompatible, ways. Sometimes, physical theories and models that nominally produce significantly diverging predictions can be found to produce very similar, even identical, predictions, once definitional differences are taken into account.

A good test theory should identify potential sources of definitional bias in the way that experiments are constructed. It should also be able to deal with a wide range of possible objections to experimental tests based upon it. Discovery that a test theory has serious omissions can undermine the validity of experimental work that is designed according to that theory.

Examples

Parameterized post-Newtonian formalism is used to compare theories of gravity.

Test theories of special relativity are useful when designing experiments to look for possible violations of Poincare symmetry.

Physics experiments

Test theory