Affine arithmetic (AA) is a computer arithmetic which was made to improve the performance of interval arithmetic.

Background
Today, the interval arithmetic technology which was made by Sunaga and R. Moore is used in many areas including validated numerics. But unfortunately, interval arithmetic is useless when numerical computation is repeated many times. Therefore, many experts have studied how to overcome this weakness. Affine arithmetic is one result of this movement.

Applications
Affine arithmetic is available in some interval arithmetic libraries like INTLAB. It is also used in the following fields:

 Electrical circuits
 Mixed signal systems
 Numerical methods for ordinary differential equations
 Optimization
 Power flow
 Root-finding algorithms

Improvements
Some experts are trying to improve affine arithmetic. Their results are known as the extended affine arithmetic or modified affine arithmetic.

Libraries
This a list of libraries that supports affine arithmetic:
 kv
Libaffa
YalAA
ASOL

References

Further Reading

Applications

 L. H. de Figueiredo and J. Stolfi (1996), "Adaptive enumeration of implicit surfaces with affine arithmetic". Computer Graphics Forum, 15  5,  287–296.
 W. Heidrich (1997), "A compilation of affine arithmetic versions of common math library functions". Technical Report 1997-3, Universität Erlangen-Nürnberg.
 L. Egiziano, N. Femia, and G.  Spagnuolo (1998), "New approaches to the true worst-case evaluation in circuit tolerance and sensitivity analysis — Part II: Calculation of the outer solution using affine arithmetic". Proc. COMPEL'98 — 6th Workshop on Computer in Power Electronics (Villa Erba, Italy),  19–22.
 W. Heidrich, Ph. Slusallek, and H.-P. Seidel (1998), "Sampling procedural shaders using affine arithmetic". ACM Transactions on Graphics, 17  3,  158–176.
 A. de Cusatis Jr., L. H. Figueiredo, and M. Gattass (1999), "Interval methods for ray casting surfaces with affine arithmetic". Proc. SIBGRAPI'99 — 12th Brazilian Symposium on Computer Graphics and Image Processing,  65–71.
 I. Voiculescu, J. Berchtold, A. Bowyer, R. R. Martin, and Q. Zhang (2000), "Interval and affine arithmetic for surface location of power- and Bernstein-form polynomials". Proc. Mathematics of Surfaces IX,  410–423. Springer, .
 Q. Zhang and R. R. Martin (2000), "Polynomial evaluation using affine arithmetic for curve drawing". Proc. of Eurographics UK 2000 Conference,  49–56. .
 N. Femia and G. Spagnuolo (2000), "True worst-case circuit tolerance analysis using genetic algorithm and affine arithmetic — Part I". IEEE Transactions on Circuits and Systems, 47  9,  1285–1296.
 R. Martin, H. Shou, I. Voiculescu, and G. Wang (2001), "A comparison of Bernstein hull and affine arithmetic methods for algebraic curve drawing". Proc. Uncertainty in Geometric Computations,  143–154. Kluwer Academic Publishers, .
 A. Bowyer, R. Martin, H. Shou, and I. Voiculescu (2001), "Affine intervals in a CSG geometric modeller". Proc. Uncertainty in Geometric Computations,  1–14. Kluwer Academic Publishers, .
 L. H. de Figueiredo, J. Stolfi, and L. Velho (2003), "Approximating parametric curves with strip trees using affine arithmetic". Computer Graphics Forum, 22  2,  171–179.
 C. F. Fang, T. Chen, and R. Rutenbar (2003), "Floating-point error analysis based on affine arithmetic". Proc. 2003 International Conf. on Acoustic, Speech and Signal Processing.
 A. Paiva, L. H. de Figueiredo, and J. Stolfi (2006), "Robust visualization of strange attractors using affine arithmetic". Computers & Graphics, 30  6,  1020– 1026.

Surveys
L. H. de Figueiredo and J. Stolfi (2004) "Affine arithmetic: concepts and applications." Numerical Algorithms 37 (1–4), 147–158.
 J. L. D. Comba and J. Stolfi (1993), "Affine arithmetic and its applications to computer graphics". Proc. SIBGRAPI'93 — VI Simpósio Brasileiro de Computação Gráfica e Processamento de Imagens (Recife, BR),  9–18.
 Nedialkov, N. S., Kreinovich, V., & Starks, S. A. (2004). Interval arithmetic, affine arithmetic, Taylor series methods: why, what next?. Numerical Algorithms, 37(1-4), 325-336.

Numerical analysis
Computer science

Affine arithmetic


Johann Joachim Kändler (June 15, 1706 – May 18, 1775) was a German sculptor who became the most important modeller of the Meissen porcelain manufactury, and arguably of all European porcelain.  He worked at Meissen for over 40 years, from 1731 until his death in 1775.

Meissen pieces of all sorts were normally made with moulds, whose designs Kändler mostly created, supervising the production of the moulds, and checking the quality of the many examples cast.  He was often not involved with their painting, which can vary between examples.

In addition to his work as a modeller, Kändler also came to serve in other roles at Meissen. First as chief of sculptural shaping, later as arcanist, he led the state porcelain manufactury through the restless period of the Seven Years' War and kept production going against the odds.

Life
Kändler was born in Fischbach near Arnsdorf, Germany, as the son of a pastor. He received a classical education and developed an excellent knowledge of Greco-Roman mythology. This knowledge, great skill with his hands and an exceptional gift for observation laid the foundations for Kändler's later career, which would lead him to the court of Prussian King Frederick the Great. The profits of his porcelain work rose in tandem with his social status. Yet at the end of his life, although he owned several properties and his own vineyard, he left behind large debts. He was buried at .

Work
Kändler's professional life began as an apprentice under the important Dresden court sculptor and altar carver Johann Benjamin Thomae (1682–1751). Already at this time he showed much skill, which led to him being given important tasks. His talent did not remain unnoticed and on 22 June 1731 at the age of 25, he was appointed court sculptor by Augustus II and installed as a modeller at the Meissen porcelain manufactory. There he became assistant to Johann Jacob Kirchner, and succeeded him as "modelmaster" in 1733 when Kirchner resigned. His early porcelain animal groups combine a forceful impression of nature with the influence of Dresden sculpture. Later, Kändler was in charge of sculptural shaping and finally became an "arcanist", admitted to the secrets of the formula for porcelain. The summit of his career in official terms was his appointment as Court Commissioner in 1749.

The fame of the Meissen factory was based on the porcelain completed under Kändler's technical and aesthetic direction. In the Swan Service for his Director, Heinrich von Brühl, also the dictatorial First Minister, he developed the small figural scenes which enrich the table service. In its elegant flourish and easy charm, his work shows the heavy influence of rococo.

The works which he produced at Meissen, substantially changed the porcelain industry. His early sculptures, which primarily drew motifs from the natural world, were celebrated for their accuracy and elegance, which contrasted with most work in their pathos. His bird sculptures are especially noteworthy, such as jays with squirrels and stag beetles, orioles, and woodpeckers with cockchafers. Other animal sculptures included one of Clara the rhinoceros. The "Swan Service" created for von Brühl, which is today considered a masterpiece of porcelain art, marked his turn to small decorative figures. Later, as Kändler became increasingly involved in court life, he took inspiration from the very popular form of theatre, commedia dell'arte. Together with his co-workers, he created entire groups of small accessories and figurines, which took the romantic shepherd imagery of rococo and infused it with the life of Commedia dell'arte characters. These figures, especially the Harlequins, give a more evocative sense of this form of theatre than most illustrations.

Out of the over a thousand different items, the "Monkey Band" (or orchestra) created in 1753, which Kändler wished to be seen as a metaphorical rejection of any kind of compulsion, stands out. With this homage to the Enlightenment ideal of the free and rational human, he tapped into the contemporary zeitgeist and created a timeless masterpiece of European porcelain art. To this day, the monkey orchestra has lost none of its popularity and it is still often reproduced. A crucifixion group made by Kändler stands in the . Kändler also produced a model of Augustus III of Poland on a horse which was intended to be a life size statue for the city. It was never carried through though.

There is an all white figure of the Triumph of Amphitrite in the Berlin Museum that is the only known figure Kändler ever signed himself. He was succeeded by his assistants Johann Friedrich Eberlein and Peter Reinecke.

After forty years work at the manufactury, he died at Meissen on 18 May 1775.

Collections
Examples of the thousands of pieces modelled by Kändler can be seen in most major museums collecting ceramics.  The best UK collection is on the sixth floor of the Victoria and Albert Museum, London. Other museums containing Kändler's work include the Birmingham Museum of Art, the Getty Museum, the National Gallery of Art, and the Rijksmuseum. In Germany you can find his sculptures in the Bavarian National Museum and the Dresden Porcelain Collection at Zwinger Palace.

Gallery

References

Biographical information from the Getty Museum
"Kändler, Johann Joachim." The Grove Encyclopedia of Decorative Arts. Volume 2. Oxford University Press, 2006. pg. 535-536

1706 births
1775 deaths
German potters
18th-century German sculptors
18th-century German male artists
German male sculptors
Court sculptors
German designers
Meissen porcelain

Johann Joachim Kändler


Ernst Christian Andreas Martin Fabricius (Darmstadt, 6 September 1857 – Freiburg im Breisgau, 22 March 1942) was a German historian, archaeologist and classical scholar. Between 1882 and 1888 he participated in excavations in Greece and Asia Minor and also pioneered German research on the Roman Empire border defenses known as the Limes Germanicus.

Biography
Ernst Fabricius began his university studies in Strasbourg. In 1881 he received a doctorate in 'Comprehensive Greek Architecture' from the University of Bonn. His teachers included Adolf Michaelis, Rudolf Schöll, Heinrich Nissen and Hermann Usener. As a fellow of the German Archaeological Institute, along with geographer Heinrich Kiepert, he visited Italy, Greece and Asia Minor. In 1886, he was appointed professor of classical philology, archeology and ancient history at the University of Berlin. Subsequently, he participated in excavations in Greece and Asia Minor, specifically at Pergamon, Lesbos, Samos and Crete.

From 1888 until his retirement (1926) he was professor of ancient history at the Albert-Ludwigs-Universität in Freiburg, and the University of Freiburg in Breisgau.

At the University of Freiburg, Fabricius was the dean of the college, rector (1910–11), and Chairman of the Committee for the construction of the new universities. In 1902 he was appointed President of the German Limes Commission for the Committee on the Germanic-Rhaetian Limes.

During his career, Fabricius was extensively involved in politics. He served in the parliament of Baden (Badische Ständeversammlung) from 1913 to 1918.

He was a supporter of both German colonialism and Pangermanism. For many years he was a member of the People's League for Germans Abroad (Volksbund für das Deutschtum im Ausland) becoming president of the association in 1920.

Fabricius worked with Federico Halbherr on the Italian archaeological mission to Crete, and was a major contributor in the excavation and study of the Gortyn Code ("Leggi di Gortina") on civil rights.

Publications
 Federico Halbherr, Ernst Fabricius e Domenico Comparetti, Leggi antiche della città di Gortyna in Creta. Firenze (Torino, Roma) : Loescher, 1885
 Der Limes vom Rhein bis zur Lahn. Nach den Untersuchungen der Streckenkommissare, Peters, Heidelberg 1915
 Über die Lex Mamilia Roscia Peducaea Alliena Fabia, Winter, Heidelberg 1924 (Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Philosophisch-Historische Klasse, 1924/25, 1)
 as co-editor: Der obergermanisch-raetische Limes des Roemerreiches. Im Auftrag der Reichs-Limeskommission, Peters, Berlin-Leipzig, Heidelberg 1894–1938. – Reprint Greiner, Remshalden, 2005,

Bibliography
 Jürgen von Beckerath, Wilhelm Schleiermacher: Bibliographie Ernst Fabricius. In: Bericht der Römisch-Germanischen Kommission 32, 1942, pp. 229–236.

External links
 Breve autobiografia di Fabricius

1857 births
1942 deaths
German classical scholars
20th-century German historians
Archaeologists from Hesse
Writers from Darmstadt
German male non-fiction writers
Members of the Göttingen Academy of Sciences and Humanities

Ernst Fabricius


There are three main hypotheses as to the origins of the Etruscan civilization. Autochthonous development in situ out of the Villanovan culture, as claimed by the Greek historian Dionysius of Halicarnassus who described the Etruscans as indigenous people who had always lived in Etruria. A migration from the Aegean sea, as claimed by a couple of Greek historians: Herodotus, who described them as a group of immigrants from Lydia in Anatolia, and Hellanicus of Lesbos who claimed that the Tyrrhenians were the Pelasgians originally from Thessaly, Greece The third hypotheses is reported by Livy and Pliny the Elder, the  Etruscans as related to Rhaetian people to the north and other populations living in the Alps.

German linguist Helmut Rix proposed the Tyrsenian language family, with Etruscan related to the Rhaetic language spoken in the Alps north of Etruria, and to the Lemnian language spoken in Lemons. In particular the Lemnian language could have arrived in the Aegean Sea during the Late Bronze Age, when Mycenaean rulers recruited groups of mercenaries from Sicily, Sardinia and various parts of the Italian peninsula.

The latest mtDNA study (2013) suggests that the Etruscans appear to fall very close to a Neolithic population from Central Europe and to other Tuscan populations.

References

Etruscan civilization

Etruscan origins


Aristotle and the Gun and Other Stories is a collection of short stories by American science fiction and fantasy author L. Sprague de Camp. It was published in hardcover in August 2002 by the Gale Group as part of its Five Star Speculative Fiction Series.

The book contains short works of fiction by the author spanning much of his writing career, having originally been published from 1939 to 1993. It also contains an introduction by Harry Turtledove.

Contents
"Introduction" by Harry Turtledove
"Aristotle and the Gun"
"The Gnarly Man"
"A Gun for Dinosaur" (a Reginald Rivers time travel story)
"The Honeymoon Dragon" (a Reginald Rivers time travel story)
"The Mislaid Mastodon" (a Reginald Rivers time travel story)
"Nothing in the Rules"
"Two Yards of Dragon" (a Eudoric Dambertson fantasy)

Reception
Don D'Ammassa wrote that the collection "includes some of his best stories," particularly the title story and "The Gnarly Man," noting that while all "are quite finely told ... none are the equal of the first two."

Roland Green called it a "high-quality volume" of "vintage short pieces," singling out "A Gun for Dinosaur," "The Gnarly Man," "Two Yards of Dragon," the title story, and "one of the classics of sf/fantasy humor, 'Nothing in the Rules,'" for particular mention. He also praised the introduction by Harry Turtledove, "who is the closest thing to a still-writing de Camp," as "match[ing] the stories in outstanding merit." Assessing the collection's worth for libraries, he advised them to "[c]onsider this a necessary acquisition wherever all these stories aren't otherwise and for sure in the collection. And let there be more and more of their fellows, until all the de Camps' many well-chosen words are
again available."

Guy Soffer characterized the book as "a very nice presentation of L. Sprague de Camp's style, which blends fantasy and science fiction," and its stories as "fairly short, very readable and mostly also very funny." In his survey of the stories, he commended the irony in "The Gnarly Man," the humor in "Nothing in the Rules" and "Two Yards of Dragon," and finds the Reginald Rivers stories "fascinating." Overall, he felt de Camp "manages to paint a believable picture and wrap it up in a scientifically conceivable way," and recommended it "as light reading, suitable for readers of all ages."

Tom Easton, recalling the author as "always one of my favorite SF&F writers," urged de Camp's "many fans [to] get a copy," and predicted it should set any "not already a fan ... to looking for such gems as The Incomplete Enchanter, Lest Darkness Fall, and more." He called the title story "a classic exposition of the time-travel paradox," and assessed "A Gun for Dinosaur" as a classic as well.

Notes

2002 short story collections
Cengage books
Science fiction short story collections by L. Sprague de Camp

Aristotle and the Gun and Other Stories


Resia Schor (December 5, 1910 in Lublin, Poland – November 26, 2006 in New York City) was a Polish-born artist who lived and worked in New York City from 1941 until her death in 2006.

Early life
Resia Schor (née Ainstein) was born near Lublin, Poland in 1910. Her Jewish family, though from a traditionally observant background with ties to Hasidim, was rather urban and Polish, and her mother believed she had right to pursue advanced studies in art despite her gender. She studied painting at the Academy of Fine Arts in Warsaw. There she met the painter and sculptor Ilya Schor; they lived in Paris and married there at the outbreak of the Second World War. on December 3, 1941, they came to the United States and settled in New York City. Both Schors' extended families perished in the Holocaust. The Schors had two daughters born in New York City: artist and writer Mira Schor and scholar of French literature and feminist theory, Naomi Schor. Resia Schor exhibited her paintings in New York City in the 1950s under the name Resia Ain. She also studied silversmithing with her husband.

Later work
After Ilya Schor's death in 1961, Resia Schor worked exclusively in metal, creating one of a kind jewelry and Judaica, as well as multi-media sculptures, all in a bold modernist abstract style with a painterly feel for color and texture.

The noted poet Richard Howard wrote of Schor's work: "…the underlying signification … that Resia Schor has undertaken all along. If I had to find a single word for it, I should choose process, the continuous process of growth and change which we recognize in all plant forms and which we cannot dissect or paralyze to any purpose by "realism."... Process is what Goethe meant when he had Faust exclaim, gazing at the sign of the Macrocosm:

Wie alles sich zum Ganzen webt,
Eins in dem andern wirkt und lebt!
How everything is woven into the whole;
Each in the other works and lives! [...]
Speaking of the Macrocosm, we are reminded, indeed, that the Ancients used to represent the earth as the back of an immense turtle, all things that live and grow sending down their roots into the great participating shell which bears them into the empty air. That is what these recent pieces of Resia Schor suggest, and if in their articulation of process we can only call them abstract, then it is the abstraction of energy itself her pieces display, 'the force that through the green fuse drives the flower.'"

She exhibited her works in solo exhibitions at the Arras Gallery in New York City, The East End Gallery in Provincetown, MA, and The Benson Gallery in Bridgehampton, New York. In the 1980s and 1990s, her work was included in group exhibitions at the Provincetown Art Association and Museum (PAAM) and in the exhibition Family, at The Aldrich Contemporary Art Museum in Connecticut. In the late 1960s and the 1970s, her work was included in exhibitions including "The Women's Art Symposium," Turman Gallery, Indiana State University," Made in Metal," The Junior Art Gallery, Louisville, KY, "National Jewelry Exhibition by Outstanding Contemporary American Artist–Craftsmen," Lawrence University, Appleton, WI, "First Survey of Contemporary American Crafts," The University Art Museum, The University of Texas, Austin, and "Crafts Invitational," The Gallery of the Maryland Institute, Baltimore, MD.

In 1969, the musicians of the orchestra of the New York Philharmonic commissioned a mezuzah by Resia Schor as their farewell gift to Leonard Bernstein. An exhibition "Mezuzot by Resia Schor" was held at Yeshiva University Museum in New York City in 2000.

Gallery

Bibliography
 The Tale of The Goldsmith's Floor, a 32-minute video originally created by Mira Schor for the 2003 Brown University and differences Conference, "The Lure of the Detail." "The Tale of The Goldsmith's Floor," illustrated video script, differences, Volume 14, Number 3, Fall 2003, pp. 137–61.
 Rosenbaum, Belle, Upon Thy Doorposts, The Jacob and Belle Rosenbaum Foundation, New York, 1995.
 Karp, Abraham J., ed., The Jews in America: A Treasury of Art and Literature, Hugh Lauter Levin Associates, 1994.
 Faulkner, Ray and Zigfield, Edwin. Introduction to the Visual Arts, Art Today, 1965, 1969.
 Kanof, Abram. Jewish Ceremonial Art and Religious Observance, Harry N. Abrams, Inc., New York, 1969.
 Hammel, Lisa. "Carrying on an artist–jeweler's work," The New York Times, June 2, 1969, p. 50.
 Howard, Richard. "Jewelry by Resia Schor," Crafts Horizons, July/August, 1966.
 Dore Ashton, "Painting by Resia Ain," New York Times, 1959.

References

1910 births
2006 deaths
American people of Polish-Jewish descent
American women painters
American women sculptors
Jewish American artists
Jewish feminists
20th-century Polish painters
21st-century Polish painters
20th-century Polish women artists
21st-century Polish women artists
20th-century American sculptors
20th-century American painters
20th-century American women artists
21st-century American women artists
20th-century American Jews
21st-century American Jews
Polish emigrants to the United States

Resia Schor


The Carpinteria Tar Pits (also Carpinteria Oil Seeps) are a series of natural asphalt lakes situated in the southern part of Santa Barbara County in southern California, US.

The Carpinteria Tar Pits are a natural asphalt lake areas similar to Tierra de Brea Trinidad and Tobago, Lake Guanoco in Venezuela and the La Brea Tar Pits (Los Angeles) and McKittrick Tar Pits (McKittrick) both also located in the US state of California.

Geography
The Carpinteria Tar Pits are located in the southeastern extremity of Santa Barbara County about  southeast of Santa Barbara in the town of Carpinteria.

The area is a designated park, the Tar Pits Park, and lies within the Carpinteria State Beach area in the southern part between the Santa Rosa and the San Miguel campsites. Most of the tar pits are located along a short stretch directly on the beach and generate from the underlying Carpinteria Offshore Oil Field.

Geology
The Carpinteria Tar Pits most likely date from the Pleistocene epoch.

The creation of an asphalt lake is typically the result of upwards migrations of hydrocarbons along a geologic fault.  Additionally, in connection with subduction pressure can be created against underlying oil source rock.

The oil moves towards the surface and slowly transforms into bitumen; on the way through the lithosphere, it picks up clay and water and is cooled into asphalt.

History
The Carpinteria Tar Pits were known to the Chumash people, who mined the asphalt and used it as a sealant for waterproofing their tomols (plank-built boats) and other purposes.

The area was named "La Carpinteria" (the carpentry) by a Spanish expedition under explorer Gaspar de Portolá, which arrived in the area on August 17, 1769. Starting around 1915, the tar pits were mined and the asphalt was used for building a coastal highway. In 1933, the area was designated a state beach and in 1941 it was formally opened to the public.

The tar pits have trapped and preserved hundreds of Pleistocene Age birds and animals. Some findings are on display at the Carpinteria Valley Museum of History, but no paleontological studies have been conducted because the tar pits were used as a local rubbish dump.

See also
Petroleum seep
Asphalt volcano
Coal Oil Point seep field

References

Asphalt lakes
Carpinteria, California
Parks in Santa Barbara County, California
Pleistocene paleontological sites of North America
Lagerstätten
Natural history of California
Paleontology in California
Oil fields in Santa Barbara County, California

Carpinteria Tar Pits


The D series (also called D/W series) is a line of pickup trucks that was sold by Dodge from October 1960 to September 30, 1993. The same basic design was retained until the October 1993 introduction of a completely redesigned Ram. The D/W series shared its AD platform with the Dodge Ramcharger/Plymouth Trail Duster twins. 4×2 models were designated D, while 4×4 models were designated W.

First generation (1961–65)

The Chrysler A engine of  was the smallest V8 option; and all of Chrysler's larger engines, with the notable exception of the Chrysler Hemi engine, were available as factory options. The original design was built until the spring of 1965, when the facelifted, single-headlamp version arrived. For 1963, Dodge introduced a four-door crew-cab version of the D series, becoming the first "Big Three" American manufacturer to market a factory-produced truck with two rows of seating (following the 1961 introduction of the International Travelette).

Besides straight-sided beds (called Sweptline), the D series also offered step-sided narrow beds (called Utiline) in  (D-100 only),  (D-100 and 200), and  (D-300 only) lengths.

The first generation of the D series was manufactured in Warren, Michigan. They were given the Dodge and Fargo brands. The trucks were produced by the Dodge Division of the Chrysler Corporation.

Custom Sports Special and high-performance package
1964 saw the introduction of the sporty Custom Sports Special. The Custom Sports Special included bucket seats, console, carpeting and racing stripes. The optional high-performance package could be ordered with a CSS truck or by itself on a base model truck complete with Chrysler's big  wedge-head V8 for 1964 and  V8 for 1965. The 426 cubic inch engine produced 365 hp (272 kW) and 470 lb·ft (637 N·m)—in line with the muscle-car revolution that was then sweeping Detroit. The high-performance package also included the LoadFlite automatic transmission, a 6000 rpm-rated Sun tachometer with heavy-duty gauges, power steering, dual exhaust and rear axle torque rods (traction bars) sourced from 1961 Imperials. Custom Sports Special trucks were produced from 1964 to 1967. The high-performance package required customized fabrication including tailor-made traction bar brackets, alterations to the frame cross members and an enlarged firewall to make room for the exhaust manifold. The High Performance Package was only offered from 1964 to early 1966.

Second generation (1965–71)

1965–67

The D series was mildly redesigned in spring of 1965, hence there are both two-headlight and four-headlight models titled as 1965s. Updates for mid-'65 included a wider tailgate and the replacement of the A-series engines with the updated LA series, as well as a six-inch wheelbase stretch on  bed models. In 1967, the D-series trucks received big-block 383 2-barrel engines as a standard option.

From 1965 until the early 1980s, D-series trucks were assembled in Warren, Michigan, by the Chrysler Corporation. Foreign models were manufactured by Automotive Industries Ltd. in Israel at a new factory located at Nazareth-Illit, using straight-four and straight-six gasoline engines mated to a manual transmission. This factory also produced the Jeep Wagoneer SUV for the Israeli army, and British Ford Escort and Ford Transit vehicles for the civilian market. The D series were made both for the civilian market and for the Israeli Army. The models were D100 and D200 light trucks, D500 truck, and the D600 truck with the straight-six engine and having on-demand four-wheel drive. There was also a bus version made (mainly for army use). This bus was a 20-seat bus built on the chassis of the D500 truck using the straight-four engine with front and rear hydraulic doors, as well as the complete D500 front end and dashboard.

1968–71

The 1968 models received a new front grille—two rows of four holes each. A new Adventurer trim package replaced the old Custom Sports Special; basically, it included a padded front seat with vinyl trim (either full bench or buckets with console) and carpeting, plus other hallmarks such as extra chrome trim and courtesy lighting. This generation continued to be built in South Africa as well. Sold as the D300 or the D500, the lighter model received the 225 Slant-Six, while the heavier-duty D500 had the 318 ci V8. Power outputs are  (net), respectively; SAE claims are 140 and 212 hp.

By 1970, the Adventurer would be expanded into three separate packages: the base Adventurer, the Adventurer Sport and the top-line Adventurer SE. The Adventurer SE included such things as a chrome grille, wood trim on the dashboard, the padded vinyl front seat with color-keyed seatbelts, full courtesy lighting, extra insulation, dual horns, full carpeting, luxury door panel trim, a vinyl-embossed trim strip ran along the sides of the truck, full wheel discs and a woodgrain-insert panel on the tailgate. The 1970 models also featured a new four-section grille (two rows of two holes each).

"The Dude"
In August 1969, the "Dude Sport Trim Package" was released. This was essentially the D100 already in production, with an added black or white body-side "C" stripe decal; a Dodge Dude decal on the box at the rear marker lamps; tail lamp bezel trim; and dog dish hub caps with trim rings. The Dude's tailgate was unique, featuring a Dodge decal on a flat tailgate surface, without the typical tailgate's embossed logo. The Dudes were only offered in the 1970 and 1971 model years and only 1,500 to 2,000 Dudes were produced. Actor Don Knotts promoted The Dude in its marketing campaigns.

Third generation (1972–93)

A redesign of the D series for the 1972 model year introduced a more rounded look. This redesign, which lasted until 1980 with minor changes, included new features such as an independent front suspension and pocketed taillights (the distinctive reverse-on-top lights were recessed to  to avoid damage in loading docks and confined spaces). Styling cues, such as the scalloped hood and rounded fenderwells, were similar to the rounded, smooth look of the 1971 Plymouth Satellite. These trucks were built with a considerable amount of galvanized steel to resist rust and corrosion, making them very durable.

Dodge pioneered the extended-cab pickup with the introduction of the Club Cab for 1973. Available with either a  or  Sweptline bed, the Club Cab was a two-door cab with small rear windows which had more space behind the seats than the standard cab, but was not as long as the four-door crew cab. Inward-facing jump seats were available, providing room for five passengers. 1974 saw the introduction of the 440  engine as an option for the light trucks, as well as a "Dyna-Trac" dual-rear-wheel option on D300 pickups with a  GVWR.

The 1972 D series was made famous in the television show Emergency!, where a D300 chassis cab was the featured paramedic rescue squad vehicle for all seven seasons.

Special models

Notable models produced during this era were the 1978–1979 Li'l Red Express, the Warlock, the Macho Power Wagon, the Macho Power Wagon Top Hand, Macho Power Wagon Palomino, and the Adventurer.

The Warlock, as part of Dodge's "adult toys" line from the late 1970s, is a short wheelbase truck produced in limited production in 1976 and regular production from 1977 to 1979. Warlocks came in black, red, green, and blue; however, other colors could be special-ordered. Its main draw was being a factory customized truck, also known as a "trick truck," and was designed to appeal to young 4×4 buyers. The Warlock featured custom gold wheels, wide tires, bucket seats, and a Utiline bed with oak racks. Optional equipment included five-spoke wheels, bucket seats, tinted glass, chrome rear bumper, and power steering. All had black interiors, with gold accents on the dash and the doors, and a "tuff" steering wheel. The exterior was accented by gold pin striping around the wheel wells and the body lines. The pin striping continued inside onto the doors, dashboard, and instrument panel. On the 1976 model, Dodge was printed in gold on the tailgate, while Warlock was printed in gold on the tailgate through 1978; the 1979 model instead had "Warlock II" printed.

The colors of the Dodge Macho Power Wagon Palomino were the same as a Palomino horse (all Li'l Red Express trucks were Adventurers, but not vice versa).  The Li'l Red Express was not available for sale in California, Florida, Maryland, Oregon, or Washington state, and did not meet special noise standards in certain locations.  Because of this, the Midnite Express was born.

The Midnite Express was not a factory option like the Li'l Red Express; it was a dealer-installed package. Dealers that could not sell the Li'l Red Express used high-optioned Warlocks, repainted them metallic black, and ordered all of the Li'l Red Express parts through their parts department. The Midnite Express was available for the 1978 model year only. This truck was equipped much like the Li'l Red Express with exhaust stacks, wheels, and gold pinstriping. The Midnite Express was painted black instead of red and featured a "Midnite Express Truck" decal on the door. Most Midnite Express trucks were powered by the 440 engine, instead of the 360 like the Li'l Red Express. All of these trucks were considered "lifestyle" pickups and were marketed to an audience that wanted specialty, personal-use trucks.

Diesel
The 1978 models also saw the introduction of the first diesel-powered Dodge pickup truck. Available as an economy choice in the D/W 150 and 200 trucks was Mitsubishi's 6DR5 4.0L inline six-cylinder naturally-aspirated diesel, rated at  at 3500 rpm, and 230 N·m (169 ) at 2200 rpm. The diesel used standard Dodge manual and automatic transmissions via a custom adapter plate which had the LA V8 bolt pattern. This rare factory option, VIN code H, was the result of the 1973 oil crisis and the collaboration of Chrysler and Mitsubishi. The engine, while being trustworthy and having far better economy than any other engine in the Dodge lineup at the time, suffered from low power output and was considered to be underpowered by American standards, despite having been previously used in the Japanese 3.5-ton cab-over Mitsubishi T44 Jupiter Truck and in industrial applications. It was not available in California. Because of the low sales, it was phased out quickly, and as a result, it became practically a single-year specialty.

Thousands of D-series trucks entered military service as the M880 series CUCV.

Dodge Ram (1981–93)

This final generation received a facelift in October 1980 when the D series was rebadged as the Dodge Ram pickup around when Lee Iacocca took charge of the ailing Chrysler Corporation. Such things including an embossed "DODGE RAM" name on the tailgate along with other obvious changes like the grille and hood, the taillights, and the entire interior. More subtle was the addition of a "shoulder" line reminiscent of the GM competition. Beginning in 1982, even more corrosion-resistant steel was used in the construction of the trucks. This body style continued until 1993 and many of these vehicles are still on the road. Many body panels are interchangeable for all models from 1971 to 1993, so it is not uncommon to see a "hybrid" with, as an example, a 1978 grille mounted with a 1974 hood and a 1991 cab. Sometimes the bed is swapped with a moving truck style box for models like these. In most jurisdictions, the year is dictated by the year of the truck's chassis regardless of the body which has been bolted to it. Also kept was the narrow Utiline bed that dated back to the 1940s; this was dropped in 1985. Throttle-body injection was introduced in 1988.

A narrower range of engines was offered: the base power plant was the  slant-6, now with top-fed hydraulic tappets, and the  and  LA-series V8s. The slant-6 was supplanted by the  V6 for 1988; in 1992, it and the V8s became Magnum engines. The 6BT  12-valve Cummins B-series diesel engine became an option in 1989.

Sales were good during the Sweptline era and into the late 1970s. A combination of stagnant styling that was nearly two decades old plus brand loyalty primarily to Chevrolet and Ford during the 1980s and 1990s reduced sales volume for the first-generation Dodge Ram. A wholly new Dodge Ram was released for the 1994 model year.

Engines

In popular culture

A 1972 Dodge D300 was used as a LA County Fire Department paramedic rescue vehicle, also known as Squad 51 in the television show Emergency!. The utility body was custom-built by Universal Studios for Emergency! according to the Los Angeles County Fire Department's specifications for its paramedic rescue vehicles. After the series ended it was donated to the LA County Fire Department and placed into the reserve fleet where it was occasionally put into service as a Paramedic Squad. Subsequently it was transferred to the department's Museum and was then restored thoroughly in 1999. The only change in the restoration was a diesel engine which replaced the engine that was previously used. There were three Dodge D-series vehicles used in the filming of Emergency!, a 1971, 1972, and 1973 Dodge D300. The 1972 and the 1973 were identical except for the grilles.

In the Supernatural episode "Route 666," the ghost of a deceased man haunts a town as a phantom D300. The vehicle is extensively modified, particularly through the addition of two diesel smokestacks, and filmed in such a way that identifying features are hard to see. The truck is most recognizable in a scene where Sam and Dean Winchester pull the actual wreckage of the truck out of a pond.

In the TV series Simon & Simon, the character Rick Simon owned a red 1979 Dodge Macho Power Wagon.

See also
Fargo Trucks

Notes

External links

 1961–71 Dodge Truck Website (Medium & Heavy Duty Trucks)
 Old Dodges.com (Medium & Heavy Duty Dodges)

Cars introduced in 1960
1970s cars
1980s cars
All-wheel-drive vehicles
D series
Pickup trucks
Rear-wheel-drive vehicles
Cars of Brazil

Dodge D series


was the 66th emperor of Japan, according to the traditional order of succession.

Ichijō's reign spanned the years from 986 to 1011.

Biography
Before he ascended to the Chrysanthemum Throne, his personal name (imina) was Kanehito-shinnō (懐仁).
Kanehito-shinnō was the first son of Emperor En'yū and Fujiwara no Senshi, a daughter of Fujiwara no Kaneie. Since there are no documented siblings, it is supposed that he was an only child.

Ichijō had five Empresses or Imperial consorts and five Imperial sons and daughters.

Events of Ichijō's life
His reign coincided with the culmination of Heian period culture and the apex of the power of the Fujiwara clan. He ascended to the throne after a period of political instability that began within the Fujiwara clan after they successfully eliminated the Minamoto clan as a political rival. The internal power struggle that ensued within the Fujiwara saw the untimely ends of three emperors. Ichijō had been appointed crown prince under Emperor Kazan in 984. Two years later, after Emperor Kazan abdicated in 986, Ichijō ascended to the throne at the age of six. The young Emperor Ichijō was under the influence of his uncle Fujiwara no Michinaga from the start of his reign, though Michinaga's true ascent to political dominance did not begin until 995 after the deaths of his older brothers and the exile of his political rival and nephew, Korechika.

These events took place during the Kanna era (see Japanese era name nengō 年号), after Emperor Kazan abdicated. The succession (senso) was received by a cousin, the son of his father's younger brother.

 August 1, 986 (Kanna 2, 23rd day of the 6th month):   Emperor Ichijō is said to have acceded to the throne (sokui).

A son of Emperor Reizei, who was older than Ichijō, was appointed crown prince. Kaneie became the regent (Sesshō) and effectively ruled the state. After Kaneie died in 990, his first son and Ichijō's uncle Fujiwara no Michitaka was appointed  regent.

 March 1, 991 (Shōryaku 2, 12th day of the 2nd month): The former-Emperor En'yū died at the age of 33.
 1008 (Kankō 5, 8th day of the 2nd month): Kazan died at the age of 41.
 July 16, 1011 (Kankō 8, 13th day of the 6th month): In the 25th year of Emperor Ichijō's reign (一条天皇二十五年), the emperor abdicated; and the succession (senso) was received by his cousin.   Shortly thereafter, Emperor Sanjō is said to have acceded to the throne (sokui).
 July 19, 1011 (Kankō 8, 16th day of the 6th month): Emperor Ichijō takes tonsure as a Buddhist monk.
 July 25, 1011 (Kankō 8, 22nd day of the 6th month): Emperor Ichijō died.

The mother of the emperor had a large influence over the appointment of officials, "the emperor's officials controls matters of the state, as the imperial mother makes affairs of the court solely her own."

Ichijō had two empress consorts. First was Teishi (or Fujiwara no Sadako), a daughter of Fujiwara no Michitaka. Second was Shōshi (or Akiko), a daughter of Fujiwara no Michinaga, a younger brother of Michitaka. Most people thought it impossible to have two empress consorts, but Michinaga claimed that the empress held two separate titles, Chūgū and Kōgō, which were different in principle and could therefore given to two different women.

The courts of both empresses were known as centers of culture. Sei Shōnagon, author of The Pillow Book,  was a lady in waiting to Teishi. Murasaki Shikibu was a lady in waiting to Shoshi. There were other famous poets in the courts of the empresses.

Ichijō loved literature and music. For this reason, high ranked courtiers felt the necessity for their daughter to hold cultural salons with many skillful lady poets. Particularly he was fond of the flute. Ichijō was known for his temperate character and was beloved by his subjects.

During Ichijō's reign, Imperial visits were first made to the following four shrines: Kasuga, Ōharano, Matsunoo, and Kitano; and in the years which followed, Emperors traditionally made yearly Imperial visits to these shrines and to three others: Kamo, Iwashimizu and Hirano.

The actual site of Ichijō's grave is known.  This emperor is traditionally venerated at a memorial Shinto shrine (misasagi) at Kyoto.

The Imperial Household Agency designates this location as Ichijō's mausoleum.  It is formally named En'yū-ji no kita no misasagi.

Ichijō  is buried amongst the "Seven Imperial Tombs" at Ryōan-ji Temple in Kyoto.  The mound which commemorates the Emperor Ichijō is today named Kinugasa-yama.  The emperor's burial place would have been quite humble in the period after Ichijo died.

These tombs reached their present state as a result of the 19th century restoration of imperial sepulchers (misasagi) which were ordered by Emperor Meiji.

Kugyō
 is a collective term for the very few most powerful men attached to the court of the Emperor of Japan in pre-Meiji eras.

In general, this elite group included only three to four men at a time.  These were hereditary courtiers whose experience and background have brought them to the pinnacle of a life's career.

During Kazan's reign, this apex of the Daijō-kan included:
 Sesshō, Fujiwara no Kaneie (藤原兼家), 929–990.
 Sesshō, Fujiwara no Michitaka (藤原道隆), 953–995.
 Kampaku, Fujiwara no Kaneie.
 Kampaku, Fujiwara no Michikane, 961–995.
 Daijō-daijin, Fujiwara no Kaneie.
 Daijō-daijin, Fujiwara no Yoritada (藤原頼忠), 924–989.
 Daijō-daijin, Fujiwara no Tamemitsu(藤原為光), 942–992.
 Sadaijin, Fujiwara no Michinaga (藤原道長), 966–1027.
 Udaijin, Fujiwara no Michikane (藤原道兼).
 Naidaijin, Fujiwara no Michitaka.
 Naidaijin, Fujiwara no Korechika (藤原伊周), 973–1010.
 Naidaijin, Kan'in Kinsue (藤原公季), 956–1029.
 Dainagon

Eras of Ichijō's reign
The years of Ichijō's reign are more specifically identified by more than one era name or nengō.
 Eien               (987–988)
 Eiso               (988–990)
 Shōryaku           (990–995)
 Chōtoku            (995–999)
 Chōhō              (999–1004)
 Kankō              (1004–1012)

Consorts and children
Empress (Kōgō): Fujiwara no Teishi/Sadako (藤原定子), Fujiwara no Michitaka's 1st daughter
 First Daughter: Imperial Princess Shushi/Nagako (脩子内親王; 997–1049)
 First son: Imperial Prince Atsuyasu (敦康親王; 999–1019)
Second Daughter: Imperial Princess Bishi (媄子内親王; 1001–1008)
Empress (Chūgū): Fujiwara no Shōshi/Akiko (藤原彰子) later Jōtō-mon-In (上東門院), Fujiwara no Michinaga's daughter
 Second son: Imperial Prince Atsuhira (敦成親王) later Emperor Go-Ichijō
 Third son: Imperial Prince Atsunaga (敦良親王) later Emperor Go-Suzaku
Consort (Nyōgo): Fujiwara no Gishi (藤原義子; 974–1053), Fujiwara no Kinsue's daughter
Consort (Nyōgo): Fujiwara no Genshi (藤原元子; b.979), Fujiwara no Akimitsu's daughter; later married Minamoto no Yorisada
Consort (Nyōgo): Fujiwara no Sonshi (藤原尊子; 984–1022), Fujiwara no Michikane's daughter; later married Fujiwara no Michitō in 1015
Consort (Mikushige-dono-no-Bettō): Fujiwara no Michitaka's 4th daughter (985-1002)

Ancestry

Notes

References
 Brown, Delmer M. and Ichirō Ishida, eds. (1979).  Gukanshō: The Future and the Past. Berkeley: University of California Press. ;  OCLC 251325323
 Moscher, Gouverneur. (1978). Kyoto: A Contemplative Guide. ;  OCLC 4589403
 Ponsonby-Fane, Richard Arthur Brabazon. (1959).  The Imperial House of Japan. Kyoto: Ponsonby Memorial Society. OCLC 194887
 Titsingh, Isaac. (1834). Nihon Odai Ichiran; ou,  Annales des empereurs du Japon.  Paris: Royal Asiatic Society, Oriental Translation Fund of Great Britain and Ireland.  OCLC 5850691
 Varley, H. Paul. (1980).  Jinnō Shōtōki: A Chronicle of Gods and Sovereigns. New York: Columbia University Press. ;  OCLC 59145842

See also
 Emperor of Japan
 List of Emperors of Japan
 Imperial cult
 Emperor Go-Ichijō
 Seimei Shrine

Japanese emperors
980 births
1011 deaths
People of Heian-period Japan
Heian period Buddhist clergy
10th-century Japanese monarchs
11th-century Japanese monarchs
Japanese Buddhist monarchs
Japanese retired emperors
People from Kyoto

Emperor Ichijō


Aqua is the graphical user interface, design language and visual theme of Apple's macOS operating system. It was originally based on the theme of water, with droplet-like components and a liberal use of reflection effects and translucency. Its goal is to "incorporate color, depth, translucence, and complex textures into a visually appealing interface" in macOS applications. At its introduction, Steve Jobs noted that "... it's liquid, one of the design goals was when you saw it you wanted to lick it".

Aqua was first introduced at the 2000 Macworld Conference & Expo in San Francisco. Its first appearance in a commercial product was in the July 2000 release of iMovie 2, followed by Mac OS X 10.0 the following year. Aqua is the successor to Platinum, which was used in Mac OS 8, Mac OS 9, and developer releases of Rhapsody (including Mac OS X Server 1.2). The appearance of Aqua has changed frequently over the years, most recently and drastically with the release of macOS Big Sur in 2020 which Apple calls the "biggest design upgrade since the introduction of Mac OS X."

Background
For years, Apple had been trying and failing to produce a next-generation Mac OS operating system, including projects code-named Pink, Taligent, and Copland. Mac OS X was ultimately built on NeXTSTEP, after Apple purchased NeXT and its CEO, Steve Jobs, returned to Apple, the company he had cofounded.

Early versions of Mac OS X, called Rhapsody, was a developer release that had an interim user interface, blending MacOS 8's "Platinum" and OpenStep looks. The Rhapsody approach was ultimately abandoned, and the new operating system was dubbed Mac OS X in 1998. Early developer previews of Mac OS X shipped with an interface similar to Rhapsody, combining classic Mac OS and NextStep. The final operating system interface, Aqua, would be unveiled at Macworld Expo in January 2000.

Design elements
Aqua uses blue, white, and gray as the principal colors throughout its style. Window toolbars, window backgrounds, buttons, menus and other interface elements are all found in either of these colors. For instance, toolbars and sidebars are often grey or metal-colored, window backgrounds and popup menus are white and buttons (in older systems also scrollbar handles) are accented with a bright blue. In versions of  prior to OS X Yosemite, most controls have a "glass" or "gel" effect applied to them. David Pogue described this effect as "lickable globs of Crest Berrylicious Toothpaste Gel".

macOS has few native customization options to change the overall look of the system. Users can choose a graphite appearance instead of the default blue one. When using the graphite appearance, controls have a slate-like, grey-blue or grey color, including the primary window controls which are red, yellow and green with the default appearance. The appearance option was added at the behest of developers and users who found the blue appearance garish or unprofessional.  Yosemite added a dark mode that darkens the predominantly white menubar and Dock. Users can also freely choose a highlight color for text and file selection.

Interface elements

Windows
Historically, Aqua had two window designs: the default Aqua windows and "brushed metal" windows. Aqua windows typically have a metal-like or gray titlebar with three buttons on the left side (for closing, minimizing and zooming or entering fullscreen mode). Visually, these buttons used to be placed on top, but later appeared 'sunken' into the window. Aqua windows have almost no frame or outside border, instead drop shadows are used to separate and distinguish active from inactive windows. The aesthetic of the window backgrounds changed from pin-striped to white backgrounds. Brushed-metal windows had a thick frame with a metallic texture or dark-gray background and sunken buttons and inner frames. They had the additional property of being draggable at every point of the frame instead of just the titlebar and toolbar. Apple recommended brushed-metal windows for applications that mimic real-world devices (such as iTunes) or are used to interface with such devices (such as iSync), but was criticised by designers for not following its own guidelines or applying it inconsistently (it was also used in Safari or Finder). Brushed-metal windows have been largely phased out since Leopard and become visually indistinctive from Aqua windows.

In addition to titlebars, windows can also have toolbars with separate buttons. Up to Leopard, toolbars were visually separated from the titlebar and had the same background as the window frame or were pin-striped. Leopard introduced a unified style that extended the metal-like background of the titlebar to the toolbar, making it appear as one whole. Optionally, a separator could be placed between the titlebar and the toolbar to mimic the previous style. OS X Yosemite brought a compacter version of the toolbar that fused the titlebar and toolbar together, made it shorter and removed the window title (for example, in Safari 8 and later).

Drawers are accessory sidebar views that can slide out from any edge of a window except the top edge. They can be resized perpendicular to their window edge but follow the window's size in the other direction. Drawers were once frequently used to display controls and information that did not need to be always visible, but Apple now recommends against their use.

Sheets are dialog boxes that are modal to a specific window. When opened, they are thrust towards the user like a sheet of paper, hence the name. They are partially transparent and focus attention on the content of the sheet. The parent window's controls are disabled until the sheet is dismissed, but the user is able to continue work in other windows (including those in the same application) while the sheet is open.

Menus

Menus are backed with a slightly translucent solid gray, and when menu items are highlighted they appear blue. In application menus, which run in a single bar across the top of the screen, keyboard shortcuts appear to the right-hand side of the menu whilst the actual menu item is on the left. In Yosemite, the menus are much more translucent and have a blur effect.

Drop down menus for use in windows themselves are also available in several varieties. The standard "pop up" menu is white with a blue end cap with opposing arrows, whilst 'pull down' menus only have one downward facing arrow in the end cap. 'Pull down' menus are available in four different Aqua varieties, most of which have fallen into disuse in later macOS releases.

Text boxes and fields
Text boxes are black on white text with a sunken effect border. In addition to regular square text boxes, rounded search text boxes are available . For more extensive text requirements, there is also a multi-line text field. A combined text box and pull down menu is available, which allows the user to type in a value in addition to choosing from a menu. There is also a combination textbox and picker control, which allows the user to type in a date and time or edit it with directional buttons. Mac OS X 10.4 introduced a new interface element that allows the user to drag non-editable 'tokens' to a text box, between which text can be typed. Whitespace before and after the tokens is trimmed.

Push buttons
Standard push buttons with rounded corners are available in two varieties: white and blue. A blue button is the default action, and in OS releases prior to Yosemite, would appear to pulse to prompt the user to carry out that action. The action of a blue button can usually also be invoked with the return key. White buttons are usually associated with all other actions.

Also available are rounded bevel buttons, designed to hold an icon; standard square buttons; glass square buttons and round buttons. In addition, circular, purple online help buttons are available which display help relative to the current task when clicked. Disclosure triangles, although technically buttons, allow views of controls to be shown and hidden to preserve space.

Checkboxes and radio buttons
In macOS, empty check boxes are small, white rounded rectangles. When they are checked, they turn blue and a checkmark is present. They are essentially buttons which can be toggled on or off. Radio buttons are similar in appearance and behaviour except that they are circular and contain a dot instead of a check. Radio buttons are classed into groups of which only one can  be activated at a time.

In Yosemite, a short animation was added to show the checkbox or radio button filling in.

Tables and lists
Tables and lists can be broadly categorised in three ways: A standard multi-columnar table with space to enter values or place other interface elements such as buttons; An outline view that can contain disclosure triangles to show and hide sets of data; and a Miller columns view akin to the column view in the Finder. All table views can use alternating blue and white row backgrounds.

Progress indicators
Two main types of loading/saving progress indicator are available: a progress bar or a monochromatic spinning wheel (not the spinning pinwheel). The progress bar itself is available in two varieties: indeterminate, which simply shows diagonal blue and white stripes in animation with no measure of progress; or determinate, which shows a blue pulsing bar against a white background proportional to the percentage of a task completed. The spinning wheel indicator, also found in the Mac OS X startup screen since version 10.2, is simply a series of 12 increasingly darker grey lines arranged circularly, like the side view of a spoked wheel rotating clockwise. Many other interfaces have adopted this device, including the Firefox and Camino web browsers and many Web 2.0-influenced web sites.

In Yosemite, the progress bar was changed to a thin, light gray. The "indeterminate" variation kept the pulses, but slower and spaced out. A progress indicator now appears during boot, replacing the spinning wheel indicator found in earlier versions.

Miscellaneous
Sliders are available in three types: one with tick marks and a triangular scrubber, one with a round scrubber and no tick marks and a circular slider which can be rotated. All are available horizontally or vertically. The circular slider is simply a gray dot on a white circle which can be rotated to set values.

macOS has a standard control for picking colors which appears as a regular square button with a color sample in the middle. When clicked, it shows the standard macOS color palette.

Tabs in macOS are nearly identical to push buttons, with the unselected tab(s) being white and the selected tab being blue. Image "wells" are also available: a small, sunken container into which image files can be dropped. When the well contains an image, it can display a thumbnail representation of the file's contents.

Typefaces
Apple used Lucida Grande as the system typeface from the first release Cheetah to Mavericks. Occasionally, Apple also used Helvetica and Helvetica Neue, such as in applications like Mail and iPhoto. The system typeface was changed to Helvetica Neue in Yosemite and changed again in El Capitan into Apple's own San Francisco typeface. macOS makes use of system-wide typeface anti-aliasing to make edges appear smoother and preserve the distinct shapes of typefaces, sometimes at the cost of sharpness and clarity.

Animations

Aqua makes heavy use of animation. Examples include:
 Dock icons bounce up and down as their corresponding applications are launched.
 Dock icons also bounce up and down, in a different rhythm, when a background application requires the user's attention.
 Dock icons can increase in size when approached by the cursor. This feature (called "magnification") is optional.
 When minimized, windows are "sucked" into the Dock using the "Genie effect" or "Scale effect." Both of the effects are customizable by the user. The former makes a window turn into a curvy shape so it looks like reverse animation of a genie exiting a lamp, and the latter scales down the window until it is small enough to be in the Dock. By pressing the shift key, both effects can be seen in slow motion. These keystrokes can also be applied to other Aqua effects such as Dashboard, Mission Control and Front Row. Holding Control as well as Shift makes the minimize effect take twice as long as just holding Shift. Holding just Control also slows down the animation slightly. There is another undocumented dock effect called "Suck" which can be enabled by hand editing a configuration file or using a Terminal command; this appears to be the same effect that accompanies the removal of widgets from the Dashboard.
 When a folder on the desktop is opened or closed, the corresponding Finder window appears to come from, or disappear into, the folder icon rather than just appearing from nowhere. This effect was present in the Classic Mac OS Finder as ZoomRects, but had disappeared from early Mac OS X developer releases.
 Sheets are "posted" out of window title bars. Sheets appear to be pieces of paper being thrust toward the user, or slide out like paper from a tray.
 Dashboard widgets appear to fly onto the screen. Dashboard widgets appear with a "ripple" effect, as if being dropped onto the surface of a pond. When removed, widgets are sucked into the close button as if being drawn into a vacuum. This effect can be applied on windows being minimized to the Dock. Starting from Mac OS X 10.7 Lion, the default Dashboard configuration differs from that of previous versions (it takes its own space in Mission Control), causing the rippling effect to be removed. However, the user can re-invoke the original Dashboard (along with the ripple effect) in System Preferences.
 The contents of a stack will appear to spring out from behind the icon when clicked.
 In the Mac OS X Public Beta, docked items dragged onto the desktop simply disappeared, apparently 'dropping' onto the desktop. This behaviour was changed with Mac OS X 10.0; from this release onward, items dragged off the dock would 'disappear' in a cartoon-like puff of smoke, an effect which Apple later used in various places (such as Safari's Bookmarks Bar and iPhoto's tag removal). A similar effect was used in Apple's Newton OS. In OS X 10.10 Yosemite, this effect is no longer present; the item simply disappears, however can still be seen on the boot picker of Intel-based Mac computers when a boot device (such as a external hard-drive) is disconnected from the computer.
 Starting from Mac OS X 10.7 Lion, windows which contain a document or website open with an animation similar to Windows Aero. A similar zoom effect can be seen when opening files from the desktop, or within a Finder window. This also applies to the entire desktop when a user logs in.
When fast user switching is used, Apple's "Cube" effect is used to transfer between desktops and/or the login window.

Many of these effects can be turned off by the user or are only available on supported hardware.

Underlying technology
Aqua is powered by the display server Quartz Compositor.

History

Jobs introduced the Aqua interface as an attempt by Apple to create a more powerful interface for professional users, while making an approachable product for new computer users.

Mac OS X Jaguar, Panther and Tiger
Mac OS X 10.2 "Jaguar" brought flatter interface elements, such as new buttons and drop-down menus, and reduced the transparency to tone down the pinstripes in windows and menus. These trends continued in subsequent Mac OS X releases.

In Mac OS X Panther buttons were made to appear sunken into their surroundings, following a general trend of more flattened interface elements in the operating system. The traditional pinstripes were replaced with a much subtler theme, most notably in the menu bar, and the use of transparency was again reduced (for example in the title bars of inactive windows). Tabs also changed; they were made flatter and the whole tab area was sunken rather than raised. Tab buttons were centered on the top border of the tab area. New icons appeared across the system, including a new flatter, glossier Finder icon and a new System Preferences icon. Panther also featured an increased use of the "Brushed Metal" look, especially to the Finder and Safari web browser. Brushed Metal had first appeared in QuickTime Player 4.0 in 1999. Apple's Human Interface Guidelines stated that the brushed metal interface be used for programs that mimic the operation or interface of common real world devices (skeuomorphism).

Mac OS X Tiger brought more subtle changes, including the unified titlebar scheme. Pinstripes were removed from the menu bar entirely and replaced with a glossy, white look. Tabs were altered to appear as normal segmented buttons. The Apple menu icon was toned down to a more matte appearance and the new Spotlight search utility was permanently bound to the very right of the menu bar in the same color and gradient of the Apple menu.

Mac OS X Leopard and Snow Leopard
Mac OS X Leopard brought wide-ranging changes to Aqua. Aqua windows and "brushed metal" windows obtained the same metal-like, gray look, pin-striped backgrounds were removed entirely, toolbars and titlebars were fused into a whole, differences between active and inactive windows became more distinct through thicker drop shadows and a monochrome appearance of inactive windows, the color of the menubar was changed into gray with an optional semi-transparency look on capable Macs and the Dock obtained a 3D look with a reflective glass-like 'floor'. The Dock's design, when placed on the left or right side, changed to a black translucent background with a white border and rounded corners. Context menus had slightly-rounded corners and numerous icons were redesigned, including folder icons and System Preferences icons.

Mac OS X Snow Leopard made almost no changes to Aqua. Most notably, the context menu of Dock items changed from a solid white to a translucent black.

Mac OS X Lion, OS X Mountain Lion and Mavericks
Mac OS X Lion introduced many changes inspired by iOS that persisted in OS X Mavericks as well as OS X Yosemite, although the latter changed the overall aesthetic. Scrollbars were removed and scrollbar handles turned into thin, semi-transparent bars that disappear when not used. The corner radii of push buttons were reduced, giving an appearance similar to Mac OS 8 and 9. The gel-like appearance of most components was replaced with a slightly glossy and flatter look. Window backgrounds became slightly brighter and window corners were rounded. Lion also added more animations.

OS X Mountain Lion brought only minor changes and changed the Dock's appearance into a frosted-glass style, with rounded corners, rectangular indicator lights, a new diagonal separator and a new Trash icon.

OS X Mavericks dispensed with several rich and ornamental designs, reflecting the design overhaul in . The applications Calendar, Contacts and Notes respectively lost their leather, book and notepad appearance (all introduced in Lion). Linen textures in Notification Center and Launchpad were removed as well and replaced with simple gray backgrounds.

OS X Yosemite, El Capitan, macOS Sierra, High Sierra, Mojave, and Catalina
In OS X Yosemite, many of the Aqua elements and icons were simplified and flattened, following a similar design change in . Apple incorporated the same saturated frosted-glass effect, called "Vibrancy", across the system. Examples include the Dock, the menubar, sidebars, Notification Center and Mission Control. A similar effect was applied to toolbars, but they maintained their gray appearance. Toolbar buttons became white and Apple introduced a more compact type of toolbar that removed the window title, but retained the toolbar buttons (for example, in Safari). Certain controls, such as checkboxes and radio buttons, gained animations, whereas animations in other places were removed, such as the "poof" animation when removing an icon from the Dock and the "cube" animation when fast-switching to another user account. Apple changed the system typeface to Helvetica Neue. Yosemite also added a 'dark theme' you can turn on in the settings which makes the dock and menu bar black.

OS X El Capitan made only minor changes to Aqua. The white toolbar buttons regained a slightly glossy look, the spinning pinwheel was redesigned and the Vibrancy effect was reduced in certain areas, such as Mission Control. The system typeface was changed once more, to Apple's own San Francisco typeface, concurrent with  and following the typeface's release in watchOS in April 2015. These changes continued throughout macOS Sierra, High Sierra, Mojave, and Catalina.

macOS Big Sur, Monterey, Ventura, and Sonoma

macOS Big Sur brought major changes to Aqua design that brings it in line with other Apple platforms such as iOS and iPadOS. The Dock is now detached from the screen edge and more rounded on all corners. The icons are now all squircle-shaped and take on more noticeable depth in general. Titlebars lose their gradient chrome, opting for a flat white look, and the titlebar text is now bold, and inline with toolbar items, which are no longer contained within a distinct background. Modal dialogs have changed significantly, only being as large as the content inside; laid out with a large icon at the top, text in the center, and buttons at the bottom. Sheets no longer slide out like paper from under the titlebar, instead more simply fading in from the center of the window. Unified sidebars have become more commonplace and are the default for all applications. Windows now have more rounded corners take on a tint from the user's wallpaper, akin to Windows 11's Mica effect. The menubar is now completely transparent, using a strong blur to differentiate from the background. This revision of Aqua continued to be used in macOS Monterey, Ventura, and Sonoma.

Microsoft Windows apps

Aqua has also been embedded in Apple's applications for Microsoft Windows, such as iTunes, QuickTime and Safari (although not in Safari 4). iTunes for Windows has generally adopted the same developments as the concurrent macOS version, with the exception of the use of native Windows user interface controls and Windows-style title bar buttons at the upper right of the player window. The Windows version of Safari, in version 3, included a functional Aqua look and feel that was very similar to macOS. As of version 4, a more Windows-like theme was employed using the standard Windows user interface controls and window border. QuickTime for Windows uses the same theme as seen in older versions of QuickTime for , with brushed-metal windows and Aqua buttons on top.

Criticism
Much of Aqua's original design resembled the translucent two-tone look of Apple's contemporary hardware. In 2003 and 2004, Apple moved to the use of brushed aluminium in their industrial design (such as with the aluminium Apple Cinema Displays). The design of Aqua changed accordingly. This somewhat inconsistent mix of interface styles has been controversial among the Mac community.

Litigation
In the past, Apple has threatened legal action against those who make themes similar to their look and feel. The Mac skinning community took exception to Apple's heavy-handed actions against all Aqua lookalikes. Stardock's Brad Wardell contrasted the company's litigious approach with Microsoft's approach to incorporating third-party skins into Windows XP.

See also
Compiz
 KWin
 Metro (design language)
 Windows Aero
 GNOME

References

External links

Computer-related introductions in 2000
Design language
Graphical user interfaces
3D GUIs
MacOS user interface
Widget toolkits

Aqua (user interface)


WKBI-FM (93.9 FM, "B94") is a Top 40 (CHR) music formatted radio station based in Saint Marys, Pennsylvania. It is owned by Dennis and Rose Heindl, through licensee Laurel Media, Inc.

History
WKBI-FM has since its inception, been the sister station of WKBI (AM), which first went on the air back in 1950, and had been the first station built as part of the Allegheny Mountain Network.  WKBI-FM first went on the air in August 1966, and had originally been licensed to Ridgway.  Though Ridgway is the seat of government for Elk County, the station's city of license was later changed to Saint Marys, which lies about 12 miles east of Ridgway.

For a period during the late 1970s, this station was known as WTMX.  The call letters were representative of the famous cowboy of the silver screen, Tom Mix.  The station was located at the corner of Main St. and North Broad St. in Ridgway, PA.  It was a country music radio station.

WKBI-FM was formerly on the 94.3 FM frequency until the upgrading of signal, when the station moved to 93.9 FM. Former names of the WKBI-FM include, 94.3 The Wizard, Variety 94, and B94.

WKBI-FM, now known as B94, is programmed as a Top 40/CHR Pop radio station.

Former DJs include, Erik Lane (now at WKVA), Nancy Kelley, Zack Williams (now at ENERGY 92.1 WMYB Myrtle Beach), Joe Disque, Jesse Davis, Jonny Ryan, Rich Thomas, Stephanie Rae,  Jennifer Lee, Ally O'Neil, J.B. Savage (who left to work for Cumulus in Albany, GA) Shannel Huston, Taylor Jordan, Tim Allen, Terry Long, Matt Stone (known as Matt Matthews on WKBI, now at KRUZ-FM in Santa Barbara), A.J. Michaels and others.

Some of the DJs who worked there during the 1970s were, "Disco Joe Thompson", "Stubby King", Ken Hoff, Angie Fararri, Dean Paige, Rick Porter, Tom Rogers, Mark Benson, Mike McClain who was hired on January 31, 1977 at the age of 14, Keith McKervey, who left the radio station to pursue a position with the popular "Up with People", Ken Ciroli, Ray Rettger (A.K.A. Joe Emmeran)

Rick Porter is now a sportscaster and weekend dj on 97.5 the Hound WDDH and occasionally does sports play by play on WKBI-FM.

In the 1990s and 2000s, WKBI was an owned-and-operated affiliate of the Tyrone-based Allegheny Mountain Radio Network. That network was dismantled over the course of the late 2000s; WKBI was sold to Laurel Media (owners of WDDH) in late 2012 as part of the dismantling. The sale was consummated on January 31, 2013 at a price of $766,047; the price included both WKBI-FM and sister station WKBI.

External links

KBI-FM
Contemporary hit radio stations in the United States
Radio stations established in 1977

WKBI-FM


Corrhenes is a genus of longhorn beetles of the subfamily Lamiinae, containing the following species:

subgenus Corrhenes
 Corrhenes crassicollis (Pascoe, 1864)
 Corrhenes elongata Breuning, 1938
 Corrhenes flavovittata Breuning, 1938
 Corrhenes funebris Breuning, 1938
 Corrhenes glauerti McKeown, 1942
 Corrhenes guttulata Pascoe, 1865
 Corrhenes macmillani Gilmour, 1950
 Corrhenes mystica (Pascoe, 1863)
 Corrhenes papuana Breuning, 1959
 Corrhenes paulla (Germar, 1848)
 Corrhenes sectator (Pascoe, 1865)
 Corrhenes stigmatica (Pascoe, 1863)
 Corrhenes undulata Breuning, 1938

subgenus Fulvocorrhenes
 Corrhenes fulva Pascoe, 1875
 Corrhenes funesta (Pascoe, 1869)
 Corrhenes grisella Pascoe, 1875
 Corrhenes nigrithorax McKeown, 1942

subgenus Setocorrhenes
 Corrhenes mastersi Blackburn, 1897
 Corrhenes scenica (Pascoe, 1863)

References

Pteropliini

Corrhenes


, a.k.a. Remon Hanazawa, is a Japanese pink film actress who has also performed in adult videos (AV). She has appeared in award-winning pink films such as Lunch Box (2004) and Molester's Train: Sensitive Fingers (2007). She was named "Best New Actress" for her work in this genre in 2004, and "Best Actress" second place in 2005 at the Pink Grand Prix. The Kansai region Pinky Ribbon Awards chose Hanazawa for Best Supporting Actress in 2005, and Outstanding Performance by an Actress in 2007.

Career
Hanazawa began working in adult videos at least as early as December 2003 when she took part in the "train molester" video  for the  studio. In May 2004, she appeared with Sakura Sakurada in the lesbian-themed  for the Moodyz studio and has also performed in a number of other adult videos for various studios.

Hanazawa made her pink film debut in Shinji Imaoka's Lunch Box (March 2004), which was selected as Best Film at the 2004 Pink Grand Prix. In the film, Hanazawa plays the role of one of star Yumika Hayashi's co-workers and sexual rivals. Her performance in this film earned her a "Best New Actress" award at the 2004 Pink Grand Prix, beating popular AV idol Sora Aoi, who had also made her pink film debut that year. During 2004 Hanazawa performed in 20 of these theatrical pink film releases. Her performance in Akira Katō's Teacher with Beautiful Skin: Big Tit Vibe-Torture (2005), earned her the Best Actress, 2nd place award at the 2005 Pink Grand Prix ceremony.

In his book Behind the Pink Curtain: The Complete History of Japanese Sex Cinema, Jasper Sharp uses one of Hanazawa's scenes in Yutaka Ikejima's Family Gets Rude Chapter 1: Perverts' Fun (2004) to illustrate the creative means pink film directors employ to suggest more than is legally possible in Japanese softcore pornography. Hanazawa masturbates in a scene that Sharp characterizes as "pretty lewd", yet she is seen only in soft focus in the background. The foreground focus of the camera is a bouquet of flowers, behind which the masturbating Hanazawa moans, "Look at my flower!"

Besides Imaoka and Ikejima, other major pink film directors in whose films Hanazawa has appeared include Toshiki Satō (Tokyo Booty Nights, 2004), Tetsuya Takehora (Peep Show, 2004), Yumi Yoshiyuki, Sachi Hamano, and Yoshikazu Katō. Katō's Molester's Train: Sensitive Fingers (2007) gave Hanazawa a second appearance in a Pink Grand Prix Best Film-winner. The film was also given the Gold Prize at the Pinky Ribbon Awards.

Hanazawa also appeared with Kyōko Kazama, Akiho Yoshizawa and Mihiro in the Edo period historical costume drama, The Inner Palace: Indecent War, in July 2006. A sequel The Inner Palace: Flower of War came out in August of the same year. The two videos were released by AV studio Max-A in hardcore versions under their DoraMax label and also shorter softcore R-15 rated versions for the Pure Max label.

In February 2008, Hanazawa had a supporting role in the mainstream horror film Rika: The Zombie Killer starring Risa Kudō. The movie, described by one reviewer as an "outrageously silly film", was released on DVD with English subtitles in September 2009. Hanazawa was one of several colleagues and friends who appeared in Korean-Japanese director Tetsuaki Matsue's 2009 documentary on Yumika Hayashi, .

Partial filmography

Bibliography

English

Japanese

References

|-
! colspan="3" style="background: #DAA520;" | Pink Grand Prix
|-

|-
! colspan="3" style="background: #DAA520;" | Pinky Ribbon Awards
|-

|-

1984 births
Japanese pornographic film actresses
Japanese film actresses
Pink film actors
Living people
People from Hyōgo Prefecture

Lemon Hanazawa


Adult Video News (also called AVN or AVN Magazine) is an American trade magazine that covers the adult video industry. The New York Times notes that AVN is to pornographic films what Billboard is to records. AVN sponsors an annual convention, called the Adult Entertainment Expo or AEE, in Las Vegas, Nevada along with the AVN Awards, an award show for the adult industry modeled after the Oscars.

AVN rates adult films and tracks news developments in the industry. An AVN issue can feature over 500 movie reviews. The magazine is about 80% ads and is targeted at adult-video retailers. Author David Foster Wallace has described AVN articles to be more like infomercials than articles, but he also described the AVN magazine as "sort of the Variety of the US porn industry."

History
Paul Fishbein, Irv Slifkin, and Barry Rosenblatt founded AVN in 1983 in Philadelphia, Pennsylvania. Slifkin left in 1984; having lost interest in reviewing adult movies due to the industry's transition from film to videos. Rosenblatt and Fishbein had a falling out in 1987. Eventually, Fishbein moved the magazine to the San Fernando Valley where it operates to this day. Fishbein sold the company in 2010.

AVN is widely quoted for various figures about the adult industry and its revenues. AVN estimated that the sales and rentals of adult videos topped four billion dollars in 2000 and 2002. Forbes has called this figure "baseless and wildly inflated". When Forbes asked AVN how it arrived at this figure, the managing editor responded, "I don't know the exact methodology... It's a pie chart." When asked to separate the figures for sales versus rentals, a standard practice among those who cover the video industry, the editor did not think those figures were available. Adams Media Research noted that no one tracked the adult video business with rigor or precision and that the most generous estimate of sales and rentals combined was $1.8 billion. AVN estimated that adult industry revenue in 2005 was $12.6 billion with $2.5 billion of that coming from the Internet. However, ABC News reported that this figure could not be independently verified. According to Michael Goodman of the Yankee Group, it is difficult to estimate for an industry where few companies are public and new providers continually appear.

Notable alumni
Eli Cross (as Mark Logan): former managing editor
Anthony Lovett: publisher and editor-in-chief (2005–2010).

AVN Europe
In October 2007, AVN launched the first ever pan-European, English-language adult industry trade-magazine, AVN Europe, with editorial offices based in Budapest, Hungary. For about two years, AVN Europe published monthly issues with reviews and news items as well as in-depth background articles on such topics as historical development, distribution patterns and women's erotica. By mid-2009, following a change of editorial staff, the publication lowered its ambitions somewhat, focusing more on photos from trade shows and other light-weight content. It folded soon after; the last issue was June 2009.

Adult Entertainment Expo

AVN sponsors an annual convention, the AVN Adult Entertainment Expo (AEE), held each January in Las Vegas. The Expo is the largest pornography industry trade show in the United States.

Award Shows

AVN Adult Movie Awards

AVN also hosts an award show for the adult industry modeled after the Oscars. The awards feature over 100 categories and has an attendance of over 3500 people. David Foster Wallace skeptically noted that AVN, in 1997, reviewed over 4,000 new releases in every category in comparison to the 375 films that the Academy Awards were required to see for the Oscars.  This number increased to 8,000 for the 2008 Awards and Paul Fishbein comments that it is "a very long, horrible process". The New York Times noted that the "precise criteria for winning an AVN are not, well, explicit". Awards often go to consistent advertisers in AVN.

Sports columnist Bill Simmons commented that the Awards were "the most secretly captivating telecasts on TV" alongside the National Spelling Bee and Westminster Kennel Club Dog Show. Violet Blue, the sex writer, describes the Awards as "big backslapping event where the same companies and same names win year after year... To think of the 'porn Oscars' as a true representation of porn's very best is like having sex with a Jenna Jameson love doll and telling your friends you had sex with the porn star". Even Tyla Winn, an award winner, had trouble remembering one of her sex scenes that was nominated.

GayVN Awards

AVN also sponsors the GAYVN Awards which are presented annually to honor work done in the gay pornography industry. Awards for gay adult video were a part of the AVN awards from 1988 to 1998. In 1999, AVN decided to separately host the GayVN Awards.

AVN Online
AVN produces a publication dedicated to online adult business trends.  In print and on the web, AVN Online publishes articles devoted to the diverse adult internet experience, such as a story about the Village TV Gay News.

See also

 AVN Adult Entertainment Expo
 AVN Awards
 XBIZ

References

External links

 AVN – Industry News

1983 establishments in Pennsylvania
Business magazines published in the United States
Magazines about the media
Magazines established in 1983
Magazines published in Los Angeles
Magazines published in Philadelphia
Monthly magazines published in the United States
Mass media in Los Angeles County, California
Pornographic magazines published in the United States
Professional and trade magazines

AVN (magazine)


On 25 March 1971, the Pakistani military, supported by paramilitary units, launched the military operation to pacify the insurgent-held areas of East Pakistan, which led to a prolonged conflict with the Bengali Mukti Bahini. Although conventional in nature during March–May 1971, it soon turned into a guerrilla insurgency from June of that year. Indian Army had not directly supported the Bengali resistance but had launched Operation Jackpot to support the insurgency from May 1971.

The initial deployments of the Pakistan armed forces were to combat and contain the activities of the Mukti Bahini. This was changed over time and by December 1971, 3 Infantry and 2 ad hoc divisions were deployed to face the Mitro Bahini.

Background: Initial deployments against Mukti Bahini

From the March 1971, the Pakistani military's Eastern Command under its commander Lieutenant-General A.A.K. Niazi, started military deployment to provide the defence of borders linked with India against a possible penetration by the Indian Army. During this time, the 9th Infantry Division, headquartered in Jessore under its GOC Major-General Shaukat Riaz, had held the area of responsibility for looking after the looking area south of the Padma River for the defence of borders linked with India while the 16th Infantry Division, that headquartered in Bogra under its GOC Major-General Nazar Hussain Shah, had been responsible for the area north of Padma and west of Jamuna rivers.

The 14th Infantry Division under its GOC Major-General Rahim Khan, was headquartered in Dhaka that had the entire area of responsibility for the rest of the province.

The original plan was based on a series of exercises, known as Titumeer, which were held during 1970–1971, was revised several times and approved in October 1971. General Niazi had created 4 ad hoc infantry brigades and 2 ad hoc infantry divisions before the final order of battle was devised. The final order of battle prior to 3 December 1971, was:

Eastern Command Headquarters, Dhaka
Commander, Eastern Command: Lt. Gen. A.A.K. Niazi
GOC, 14th Infantry Division (till March '71): Maj. Gen. Khadim Hussain Raja
Military Advisor: Maj. Gen. Rao Farman Ali
COS: Brig. Baqir Siddiqi
CO Artillery: Brig. S.S.A. Kashim
CO Armoured: Col. Bakhtier
CO Engineers: Brig. Iqbal Sharif
CO Signals: Brig. Areef Reza
CO Medical: Brig. Fahim Ahmed Khan
CO SSG Army: Lt. Col. Tariq Mehmood
Dir. ISPR: Major Siddique Salik
Dir. Military Intelligence: Major K.M. Arif

Units under HQ Control: **6th Engineer Regiment **10th Engineer Regiment – detached to various locations **11th Engineer Regiment –  Lt. Col Sarwar ** 43rd Light Ack Ack – Lt. Col. Mohammad Afzal ** 19th Signal Regiment **3rd Commando Battalion (less elements) **Army Aviation Squadron #4 – Lt. Col. Liakat Bokhari

Dhaka Defence Scheme (adhoc)

Brig. Kashim (North): Dhaka Cantonment & Tongi area
Brig. Mian Mansoor (East): Munshiganj & Narayanganj
Brig. T.H. Malik: Hilli & Bogra
Brig. Bashir: Dhaka city proper
Brig. William Harrison: Comilla & Chittagong
EPCAF HQ and Sector units:
Police and Razakars

36 Ad hoc Infantry Division
GOC: Major General Muhammad Jamshed HQ Dhaka
Area of Operation: Dhaka, Tangail and Mymensingh districts
93 Infantry Brigade: Brig Abdul Qadir Khan HQ Mymensingh
83 Independent. Mortar battery
31 Baluch –  Jamalpur
33 Punjab – Mymensingh
71 Wing WPR – Kishorganj
70 Wing WPR – Bijaipur

14 Infantry Division
GOC: Major General Abdul Majid Qazi, HQ Brahmanbaria
Area of Operation: Sylhet and Northern Comilla districts
31st Field Artillery – Ashuganj – Brahmanbaria – Shamshernagar
88 Independent Mortar Battery – Sylhet
171 Independent Mortar Battery – Comilla

Sylhet
202 Adhoc Brigade: Brig. Salimullah
31 Punjab – Sylhet
91 Mujahid Force Battalion – Sunamganj
12 Azad Kashmir – Sylhet
Also: Wings of Tochi, Thal and Khyber scouts

Moulvibazar
313 infantry Brigade: Brig. Iftikar Rana
22 Baloch – Kulaura (Battle of Gazipur)
30 Frontier Force – Shamshernagar (in Kamalganj)
91 Mujahid Force (minus elements) & Tochi Scouts – Sherpur

Brahmanbaria
27th Infantry Brigade: Brig. Saadullah
33rd Baluch – Kasba
12th Frontier Force – Akhaura
2 Troops of M-24 Chaffee – Akhaura

39 Ad hoc Division
GOC: Maj. Gen. Rahim Khan (replaced by Brig. Mian Mansoor) – Chandpur
Area of Operation: Comilla, Feni and Northern Chittagong
53rd Field Artillery – Comilla

Comilla
117th Infantry Brigade: Brig. Sheikh M.H. Atif
30 Punjab – Saldanadi
25th Frontier Force – Mainamati
12th Azad Kashmir – Comilla

Feni
53rde Infantry Brigade: Brig. Aslam Niazi
15th Baluch – Belonia
39th Baluch – Laksham
23rd Punjab – Mean Bazar
21 Azad Kashmir – Laksham

Ramgarh
91st Ad hoc Brigade: Brig. Mian Taskeenuddin HQ Chittagong
24th Frontier Force – Ramgarh
Chakma and Mizo troops
EPCAF 11th and 14th Wings

Chittagong
97th Independent Brigade: Brig. Ata Mohd. Khan Malik
48th Baluch – Chittagong
2 SSg Commando – Rangamati
60th Wing Rangers – Ramgarh
61st Wing Rangers – Cox's Bazar
 Naval Contingent
46th Light Ack Ack Battery

16th Infantry Division
GOC: Maj. Gen. Nazar Hussain Shah HQ: Bogra, then Natore
Area of Operation: Rajshahi, Bogra, Dinajpur, Rangpur and Pabna Districts

29th Cavalry less elements –Rangpur
30 SIGNALS BATTALION - Rangpur
13 Engineer Battalion - Various Locations
48th Field Regiment – Thakurgaon
80th Field Regiment – Hili
117th Mortar Battery – Kurigram

Saidpur
23rd Infantry Brigade: Brig. Iqbal Shaffi
25th Punjab – Lalmanirhut
26th Frontier Force – Dinajpur
48th Punjab – Thakurgaon
8 Punjab – Rangpur
34th Punjab – Nilphamari
86th Mujahid – Gaibandha

Bogra
205th Infantry Brigade: Brig. Tajammul Hussain Malik HQ: Khetlal
32nd Baluch – Ghoraghat
4th Frontier Force – Hili
3rd Baluch – Jaipurhut

Nator
34th Infantry Brigade: Brig. Mir Abdul Nayeem
32nd Punjab – Nawabganj
13th Frontier Force – Sapahar

Rajshahi
Rajshahi Ad hoc Brigade

9th Infantry Division
GOC: Maj. Gen HM. H. Ansari HQ Jessore
Area of Operation: Khulna, Jessore, Kushtia, Faridpur, Barisal and Patuakhali districts
3rd Ind. Armored Squadron – Jessore
55th Field Artillery – Satkhira and Chaugacha
49th Field Artillery – Chuadanga
211th Independent Mortar Battery – Chaugacha

Jhenidha
57th Infantry Brigade: Brig. Manzoor Ahmed
18th Punjab – Darshana
50th Punjab – Jhenida
29th Baluch – Kushtia
Squadron 29th Cavalry – Kushtia

Jessore
107th Infantry Brigade: Brig. Malik Hayat Khan
22nd Frontier Force – Benapole
38th Frontier Force – Afra
6th Punjab – Jessore
21st Punjab – Satkhira
15th Frontier Force – Jessore
12th Punjab – Jessore

Khulna
314th Ad Hoc Brigade: Col. Fazle Hamid

Pakistan Air Force
Air Officer Commanding, Dacca airbase: Air Cdre Inamul Haque Khan
Officer Commanding (Operations Wing): GP.Capt. Zulfiqar Ali Khan
Officer-in Charge (OIC), No. 14 Squadron "Tail-choppers'': Wg. Cdr. Mohammed Afzal Chowdhury
Number of aircraft of the squadron: 20 F-86 Sabers
Training unit: 3 T-33

Pakistan Navy
Flag Officer Commanding, Eastern Naval Command: R.Adm Mohammad Shariff
CO Pakistan Marines/CO SSG Navy: Capt. Ahmad Zamir
Dir. MILCOM: Cdr. T.K. Khan
Dir. Nav Intel.: Cdr. Mansurul Haq
4 Gunboats: PNS Rajshahi, Comilla, Sylhet and Jessore
1 Patrol Boat: PNS Balaghat
17 armed boats

See also
 Mitro Bahini order of battle
 Evolution of Pakistan Eastern Command plan
 Military plans of the Bangladesh Liberation War
 Timeline of the Bangladesh Liberation War
 Indo-Pakistani wars and conflicts

Notes and references

Notes

References

Indo-Pakistani War of 1971
Battles of the Bangladesh Liberation War
Orders of battle
Bangladesh Liberation War

Pakistan Army order of battle, December 1971


Lauro Puñales (English: Lauro Daggers) is a 1969 historical drama film directed by René Cardona, and starring Antonio Aguilar, Flor Silvestre, and Jaime Fernández.

Plot
In Emiliano Zapata's hometown of Anenecuilco lives Lauro Puñales, a famous revolutionary leader and agrarian. The town's political boss and municipal president are confidants to the federals. The political boss urges the peasants to give him back the lands that they took from them, albeit Lauro defends the peasants and also promotes the revolutionary cause. He is in love with Rosenda, a widow and daughter of notable citizen Damián Rodríguez.

Cast
Antonio Aguilar – Lauro González
Flor Silvestre – Rosenda Rodríguez
Alma Delia Fuentes – Teresa Rodríguez
Elsa Cárdenas – María Elena Rodríguez
Carlos López Moctezuma – don Damián Rodríguez
Eleazar García – Juvencio (as Eleazar García 'Chelelo')
Alejandro Reyna – Albino (as Alejandro Reyna 'Tio Placido')
Jaime Fernández – Emiliano Zapata
Carlos Cortés – Capitan Luis Bermúdez
Julián Pastor – Carlos Reyes
Miguel Ángel Ferriz – General Bermúdez
Guillermo Rivas – Saturnino López
Jorge Russek – Coronel Villegas
Arturo Martínez – don Leobardo Nochebuena
Agustín Isunza – doctor
Joaquín Martínez – Matías
Manuel Garay
René Barrera

External links

1969 films
Mexican Revolution films
1960s Spanish-language films
Mexican historical drama films
1960s historical drama films
Films about Emiliano Zapata
1969 drama films
1960s Mexican films

Lauro Puñales


Aloysius Masnata, (S.J.) (May 2, 1823 – November 18, 1886) was the 5th president of Santa Clara University, California, United States. He was a Genoese priest. At the age of seventeen he was admitted into the novitiate  of the Society of Jesus. After studying philosophy and rhetoric and teaching for a year, he was sent to Vals, France, for the study of theology. After his study in France, he immigrated to the United States with other Jesuits after ordination and completed his fourth year of theology at Georgetown College along with Rev. Salvator Canio and Rev. Joseph Bixio. After his study he spent four years teaching rhetoric at Frederick, Maryland, where he was minister and socius to the master of novices. In 1854 Masnata S.J. sailed to California through Panama and arrived in San Francisco, United States, along with Fr. Charles Messea S.J. and Fr. Anthony Maraschi S.J. In 1865 he was appointed Santa Clara University's fifth president successor of the presidency of Burchard Villiger. In 1868, shy and lacking in proper English, Masnata was replaced by Aloysius Varsi. In 1873 Fr. Aloysius Masnata, S.J. served as the 6th president of San Francisco's St. Ignatius College. On November 18, 1886, Aloysius Masnata died in Los Gatos, California.

References

External sources

1823 births
1886 deaths
19th-century American Jesuits
19th-century Italian Jesuits
Georgetown University alumni
Santa Clara University faculty
Santa Clara University people
Presidents of Santa Clara University
Presidents of the University of San Francisco
Italian emigrants to the United States

Aloysius Masnata


Franck Jurietti (born 30 March 1975) is a French former professional footballer who played as a full-back. He spent most of his career with Bordeaux.

Club career
Jurietti's professional career started at Lyon, having already been part of their youth team. However, he did not get to play a single game and was transferred to Gueugnon at the end of the season. There he achieved promotion to Division 1 for his first year at the club, and on 19 July 1995, he played his first Ligue 1 match against Metz. At the end of the season, Gueugnon were again relegated, and, after one more year in Ligue 2 where they were unable to achieve back promotion, Jurietti left the club to SC Bastia, where he stayed for three years.

In 2000, he was transferred to Monaco where he was never quite able to settle and after 6 months, he was loaned for the rest of the season to rivals Marseille. He returned to Monaco for one more season and had a trial spell with Premier League side Everton in 2003 but did not secure a contract. He then joined Bordeaux, the club in which he has been the most successful so far, winning the championship once (after finishing twice runner-up) and the Coupe de la Ligue twice. He was the captain during the final against Vannes that Bordeaux won 4–0.

His contract expired in 2010, and he was notified by manager Laurent Blanc that it would not be renewed, effectively putting an end to his playing career.

International career
In 2005, after an excellent start of season with Bordeaux, Jurietti was called up by Raymond Domenech for the France national team for the final two 2006 World Cup qualifying matches. After remaining an unused substitute against Switzerland, Jurietti made his international debut on 12 October 2005 during the 4–0 victory against Cyprus, but only came on for the last five seconds in what was to remain his sole international appearance. This makes him the French player with the shortest international career ever, ahead of Bernard Boissier, who had played two minutes for France in 1975.

Style of play
Jurietti could play on both sides of the defence, and was also known to fill in as a midfielder when called upon. He  developed a reputation for being one of the most "dangerous" players in the French league.

Honours
Lyon
Coupe Gambardella: 1993–94

Monaco
Coupe de la Ligue: 2002–03

Bordeaux
Ligue 1: 2008–09
Coupe de la Ligue: 2006–07, 2008–09
Trophée des Champions: 2008, 2009

Notes and references

External links

1975 births
Living people
Sportspeople from Valence, Drôme
Footballers from Drôme
French people of Corsican descent
French men's footballers
France men's under-21 international footballers
France men's international footballers
Men's association football defenders
Olympique Lyonnais players
FC Gueugnon players
SC Bastia players
AS Monaco FC players
Olympique de Marseille players
FC Girondins de Bordeaux players
Ligue 1 players

Franck Jurietti


De Udstillede (English: The Exhibited) is a 2000 Danish documentary film directed by Jesper Jargil. It documents a theatrical experiment devised by Lars von Trier.

The mechanism
Lars von Trier's experiment, conducted in 1996, was called Psychomobile 1 – The World Clock. Von Trier set up a video camera in the desert near Los Alamos, New Mexico, pointed at a piece of ground. The images recorded by this camera were fed into a digital apparatus.

At the same time, the Art Society Building in Copenhagen had been converted into a theatrical space consisting of 19 rooms. These rooms formed the stage to be used for three hours per day for 50 days by a group of 53 actors. Each room had a viewing space for the audience, who could wander from room to room to see the interactions of the actors. The actors were not given a script, but rather an explanation of their characters, each of which had four different sets of traits. The actors were instructed to improvise based on these four character phases.

Each room had a siren and a set of four coloured lights, and each phase of each character was linked to one of the four lights. Whatever light was illuminated in a particular room meant that any actors in that room had to act according to the character traits which corresponded to that light. When the siren in a particular room sounded, this signaled a change in which light was illuminated, and the actors had to adjust their performance accordingly.

The change of light was triggered by a certain number of ants crossing a certain part of the image being recorded in New Mexico. The frequency with which the changes occurred was thus determined by whether very few or a great many ants happened to be crossing the area of desert watched by the video camera.

The result
Jargil's film largely follows the problems and emotions faced by the actors in this unusual situation. It documents the way in which problems between the actors in real life affected their performance, and vice versa. Von Trier appears at the beginning of the film, organising the project and giving the actors direction, however he was away from Copenhagen during most of the actual theatrical event.

External links

Review of De Udstillede
Review of De Udstillede
Entry on von Trier at filmreference.com, containing information on De Udstillede

Danish avant-garde and experimental films
2000 films
2000s Danish-language films
Danish documentary films
Documentary films about films
2000 documentary films
Lars von Trier
2000s avant-garde and experimental films

De Udstillede