In the developmental biology of the early twentieth century, a morphogenetic field is a group of cells able to respond to discrete, localized biochemical signals leading to the development of specific morphological structures or organs. The spatial and temporal extents of the embryonic field are dynamic, and within the field is a collection of interacting cells out of which a particular organ is formed. As a group, the cells within a given morphogenetic field are constrained: thus, cells in a limb field will become a limb tissue, those in a cardiac field will become heart tissue. However, specific cellular programming of individual cells in a field is flexible: an individual cell in a cardiac field can be redirected via cell-to-cell signaling to replace specific damaged or missing cells. Imaginal discs in insect larvae are examples of morphogenetic fields.

Historical development
The concept of the morphogenetic field, fundamental in the early twentieth century to the study of embryological development, was first introduced in 1910 by Alexander G. Gurwitsch. Experimental support was provided by Ross Granville Harrison's experiments transplanting fragments of a newt embryo into different locations.

Harrison was able to identify "fields" of cells producing organs such as limbs, tail and gills and to show that these fields could be fragmented or have undifferentiated cells added and a complete normal final structure would still result. It was thus considered that it was the "field" of cells, rather than individual cells, that were patterned for subsequent development of particular organs. The field concept was developed further by Harrison's friend Hans Spemann, and then by Paul Weiss and others. The concept was similar to the meaning of the term entelechy of vitalists like Hans Adolf Eduard Driesch (1867–1941).

By the 1930s, however, the work of geneticists, especially Thomas Hunt Morgan, revealed the importance of chromosomes and genes for controlling development, and the rise of the new synthesis in evolutionary biology lessened the perceived importance of the field hypothesis. Morgan was a particularly harsh critic of fields since the gene and the field were perceived as competitors for recognition as the basic unit of ontogeny. With the discovery and mapping of master control genes, such as the homeobox genes the pre-eminence of genes seemed assured. But in the late twentieth century the field concept was "rediscovered" as a useful part of developmental biology. It was found, for example, that different mutations could cause the same malformations, suggesting that the mutations were affecting a complex of structures as a unit, a unit that might correspond to the field of early 20th century embryology.

Scott Gilbert proposed that the morphogenetic field is a middle ground between genes and evolution. That is, genes act upon fields, which then act upon the developing organism. Jessica Bolker described morphogenetic fields not merely as incipient structures or organs, but as dynamic entities with their own localized development processes, which are central to the emerging field of Evolutionary developmental biology ("evo-devo"). In 2005, Sean B. Carroll and colleagues mention morphogenetic fields only as a concept proposed by early embryologists to explain the finding that a forelimb bud could be transplanted and still give rise to a forelimb; they define "field" simply as "a discrete region" in an embryo.

References

Further reading

External links
See a morphogenetic field model and simulation at: Lahoz-Beltra, R., Selem Mojica, N., Perales-Gravan, C., Navarro, J., Marijuan, P.C., 2008. Towards a Morphogenetic Field Theory.

Developmental biology

Morphogenetic field


Dr Robert Uvedale (1642–1722) was an English cleric teacher and horticulturist. He ran a grammar and boarding school north of London, took part in botanical exchanges, and published as a classical scholar.

Life
Son of Robert Uvedale of Westminster, he was born in the parish of St. Margaret's, Westminster, on 25 May 1642. He was educated at St. Peter's College, Westminster, under Richard Busby, having probably as contemporaries John Locke, John Dryden and Leonard Plukenet. At the funeral of Oliver Cromwell in 1658 Uvedale is said to have snatched one of the escutcheons from the bier, which was preserved in his family. In April 1659 Uvedale was elected queen's scholar of Trinity College, Cambridge, his name being then registered as Udall. He was elected Fellow of Trinity College in 1664, and is said to have been first a divinity fellow, and afterwards a law fellow.

Between 1663 and 1665 Uvedale became master of Enfield Grammar School in Enfield, Middlesex, and took a lease of the manor-house commonly called Queen Elizabeth's Palace (later the Palace School), in order to take boarders. During the Great Plague of 1665 the whole of Uvedale's household escaped the disease, owing, it was thought, to their inhaling the vapour of vinegar poured over a red-hot brick. In 1676 it was made a ground of complaint against Uvedale that he neglected the grammar school for his boarders, his opponents making the further charge against him of having obtained an appointment as an actor and comedian at the Theatre Royal from the lord chamberlain to protect himself from the writ of execution. Among his pupils were Henry Hare, 3rd Baron Coleraine; Francis Hastings, 10th Earl of Huntingdon; Robert Needham, 8th Viscount Kilmorey, who died at the school in 1717; Sir Jeremy Sambroke, William Sloane, and another nephew of Sir Hans Sloane.

Uvedale, who had proceeded M.A. in 1666, became LL.D. of Cambridge in 1682. In 1696 his neighbour, Archbishop John Tillotson, appointed Uvedale to the rectory of Orpington, Kent, with the chapelry of St Mary Cray, but he appears not to have resided. He died at Enfield on 17 August 1722, and was buried in the parish church.

Horticulture
As a horticulturist Uvedale earned a reputation for his skill in cultivating exotics, being one of the earliest possessors of hothouses in England. In John Nichols's Literary Illustrations are sixty letters from Uvedale to Richard Richardson of North Bierley, dated between 1695 and 1721, mainly referring to the exchange of plants.

Works
Uvedale was invited to contribute the life of Dion to the translation of Plutarch, edited by Dryden, Somers, and others, published between 1683 and 1686. Uvedale's portion appeared in 1684.

Legacy
After his death Uvedale's growing plants were mostly sold to Sir Robert Walpole for his collection at Houghton Hall. His herbarium, in fourteen thick volumes, forms vols. 302–15 of the Sloane collection. It contains plants not only from Sherard, Richardson, Petiver, Plukenet, Robart, Rand, Dale, Doody, Sloane, and Du Bois, but also from Tournefort, Magnol, Vaillant, and other continental botanists, labelled by Uvedale. Petiver founded a genus Uvedalia in Uvedale's honour, which, however, became Polymnia Uvedalia of Linné, and Robert Brown gave the same name to a genus, Uvedalia, of Australian plants, merged by De Candolle into the genus Mimulus, and resurrected in 2012.

Family
Uvedale married Mary (1656–1740), second daughter of Edward Stephens of Charrington, Gloucestershire, granddaughter of Sir Matthew Hale. By her he had five daughters and three sons:

 Robert Uvedale, D.D., fellow of Trinity College, Cambridge, vicar of Enfield from 1721 till his death in 1731;
James Uvedale, M.A., rector of Bishop's Cleeve, Gloucestershire; and
Samuel Uvedale, B.A., rector of Barking, Suffolk, and father of Admiral Samuel Uvedale, who served with Lord Rodney.

Notes

Attribution

1642 births
1722 deaths
Heads of schools in London
17th-century English botanists
17th-century English educators
18th-century British botanists

Robert Uvedale


The Dewoitine D.15 was a single-engine, single-seat biplane fighter aircraft built in France in the 1920s.  Intended to offer structural simplifications when compared with monoplanes, it had a disappointing performance and was soon abandoned.

Design and development
In a long series of single-engine fighters built by Dewoitine from the D.1 of 1922 to the 1940 D.521, the Dewoitine D.15 was the only biplane. An attempt to design a competitive but structurally less complicated  machine, it was a single bay biplane with wings of unequal span mounted without stagger, braced by pairs of outward sloping parallel interplane struts, cross wire bracing and N form cabane struts. Ailerons were fitted only on the longer, upper wing. In plan the unswept  wings had constant chord and straight edges, ending in angled tips.  They were metal structures, entirely fabric covered.  The D.15's tailplane, mounted on top of the fuselage was similar in plan and structure to the wing.  The fin and rudder were triangular; the latter, mounted on a rudder post only just ahead of the tailplane trailing edge, extended down to the keel.

The D.15's flat-sided fuselage had steel longerons and Duralumin tube cross members; the sides were fabric covered but the curved ventral and dorsal decking was metal. The front of its single seat open cockpit was at the wing trailing edge, though there was a small wing cut-out to assist his forward and upper vision.  The fighter was powered by an upright  Hispano-Suiza 12Ha liquid-cooled V-12 engine, driving a two-blade propeller.  It had a fixed conventional undercarriage with a single axle enclosed within a wing-like fairing which was mounted on to the fuselage with forward, near vertical shock absorbing legs, torsionally strengthened by sloping, rearward struts.  There was a tailskid.  Two  synchronised Vickers machine guns mounted on the fuselage fired through the propeller arc and two  Darne machine guns were placed on the upper wing centre-section, firing over the propeller.

The D.15 first flew on 13 August 1924 and demonstrated a lack of both lateral (yaw) and longitudinal (pitch) stability.  After modification it went for tests at Villacoublay with the Commission des Essais Pratiques de l'Aviation (Commission for Trials of Aircraft Practices) for tests.   These showed that the D.15 had a poorer performance than the Dewoitine D.19, a parasol-wing aircraft, despite the latter's lower power. Accordingly, the D.19 was not submitted to the Service Technique de l'Aéronautique (Technical Section of Aeronautics) 1923 fighter programme's tests, held in 1925–26.

Specifications

References

Single-engined tractor aircraft
Biplanes
1920s French fighter aircraft
D.15
Aircraft first flown in 1924

Dewoitine D.15


The Charlatan is the independent weekly student newspaper at Carleton University in Ottawa, Ontario.

It is published by a not-for-profit corporation, Charlatan Publications Inc., and is independent of student associations and university administration. Papers are free, and are available in news-stands both on and off campus. It is published weekly during the fall and winter semesters, and monthly during the summer. Its circulation as of 2015 was 8,500 copies with an average readership of 15,000. All Carleton students are eligible to contribute.

History

The Carleton: 1945–1971
Originally called the Carleton, the paper's first issue appeared on November 28, 1945, the same year Carleton College's School of Journalism was formed. Only four issues appeared in the first year, but by 1948 it was a regular weekly newspaper.

News coverage in the beginning focused on veterans' affairs and experiences during the Second World War, as Carleton's student body was primarily made up of returning veterans. During the 1960s, the newspaper became more anti-establishment and frequently published stories critical of the university.

The paper's first office was in the Student Union Building on First Avenue in the Glebe neighbourhood in Ottawa, but when Carleton relocated to its current Rideau River campus in 1952, the Carleton moved to a basement-level office below Patterson Hall. When Carleton's student centre, or University Centre, was built in 1970, the Carleton moved to the fifth floor of that building, where it remains today.

The Charlatan: 1971-present
Prior to 1971, The Carleton had a tradition of naming its end-of-term issue as The Charlatan. Citing a desire to have a more fun, pranksterish image in keeping with the political spirit of the times, editor-in-chief Phil Kinsman encouraged using that name permanently. The Charlatan became the paper's official name after a staff referendum in March 1971. As the student body became progressively more fragmented, the paper distanced itself from the Carleton University Students' Association (CUSA) and became a self-appointed critic.

During this time the paper coverage became more humorous. Editors frequently published joke articles or made up stories entirely. In 1973, the editorial staff invented a joke candidate for a student government election. In 1974, the Charlatan's photo editor Paul Couvrette secretly inserted a fake obituary of himself into the paper on production night.

The Charlatan was notable for the quality of its photography and graphics, to the extent that, in October 1973, it noted the extent to which they were the subject of plagiarism by other Canadian campus papers, as well as within Carleton University itself.

Since its founding, the paper had been owned, operated, and funded by Carleton's undergraduate student government. Editors and CUSA had several disputes over funding and editorial policy throughout the early 1970s, and to mediate these conflicts the two sides created a Joint Publishing Board in 1975 (which CUSA first considered in June 1974). The joint board consisted of two representatives each from CUSA and the Charlatan, who appointed an independent fifth person, usually the university ombudsman, as chairman.

After further editorial clashes with CUSA in the 1980s, the Charlatan began to lobby for its autonomy from CUSA, with humorous "Charlatan on strike" posters and "Charlatan Liberation Front" buttons. This was achieved by a vote of 1,013-457 in a campus-wide referendum in March 1988, immediately after which it was incorporated as Charlatan Publications Inc.

The paper celebrated its 70th anniversary in September 2014.

As of September 2020, the paper does not circulate weekly or monthly print issues of the paper as a result of COVID-19 related precautions.

Operations, Style and Sections

The Charlatan reports on campus news as well as national and international stories affecting students. It also covers campus sports and arts. Any Carleton student can volunteer, or seek election for one of 11 part-time editorial positions or the full-time position of editor-in-chief. Editors are elected by staff every spring and hold their positions for one academic year.

The newspaper has six sections published in the physical paper: News, National, Features, Opinions-Editorials, Arts, and Sports, in addition to Photo, Multimedia, Graphics, and Web content. The newspaper's website, charlatan.ca launched in 2009. The Charlatan's weekly talk-radio show, CharlatanLive launched in 2010 on Carleton's campus-based community radio station, CKCU-FM.

The paper is funded by advertising and by an annual, non-refundable levy of $5.67 per undergraduate. These funds are administered by an elected board of directors, composed of:
Five students-at-large, who do not contribute to the paper and are elected at the corporation's AGM;
Two representatives elected by contributing staff;
Two professional representatives, at least one of whom must be a practicing journalist not on Carleton's faculty, and the other of whom may be a faculty member;
The editor-in-chief, whose membership on the board is ex officio only.

The powers of the board and the editorial staff are defined in a written constitution. Generally, the board is not allowed to intervene in editorial policy unless there are legal issues involved.

Alumni
Some of the Charlatan's alumni have become renowned journalists, authors, designers, and photographers. Three of the former directors of Carleton's School of Journalism — T. Joseph Scanlon, Stuart Adam and Peter Johansen — are Charlatan alumni, as are several other members of the school's current faculty.

Notable alumni include:

David Berman, author
Bob Cox, Winnipeg Free Press Publisher
Greg Ip, The Economist editor, former Wall Street Journal reporter
Warren Kinsella, National Post media columnist and former aide to prime minister Jean Chrétien
Richard Labonté, literary critic and anthologist
Mark MacKinnon, The Globe and Mail foreign correspondent
 Mark Masters, The Sports Network hockey reporter
James Orr, film director and screenwriter
Sasa Petricic, CBC TV correspondent
Paul Watson, Toronto Star blogger and correspondent
Chris Wattie, National Post reporter
 Steven, mannequin
Vahe Guzelimian, photographer
 Jennifer Pagliaro, Toronto Star city reporter
 Chris Hannay, The Globe and Mail political reporter
 Temur Durrani, The Globe and Mail reporter
 Gregory "Jreg" Guevara, Ottawa Mayor candidate (2022 Ottawa municipal election) and International Political Journalist

Current staff

Editor-in-chief: Faith Greco
Copy editor: Natasha Baldin
News editors: Elissa Mendes, Audrey Gunn and Myles Bodie
Features editor: Jenna Legge
Op-ed editor: Ryan Clark
Arts editor: Kyra Vellinga
Sports editor: Janson Duench
Photo editor: Owen Spillios-Hunter
Graphics editor: Alisha Velji
Social media manager: Nehaa Bimal
Multimedia/web editor: Matteo Golin
Managing editor: Emily McGrath

Competition
The Charlatan competed (usually in a friendly manner, though not exclusively) with The Resin, a student-run newspaper for residence students funded by the Rideau River Residence Association. Founded as the Pho-paw in 1973, it had suspended its operations between 2008 and 2012 before being revived, but it finally ceased publication in 2014. It returned in online form only in 2015.

Carleton's engineering society also has its own newspaper, The Iron Times, which runs a satirical column every issue called "Uses for The Charlatan."

Over the years, Carleton has supported several other campus newspapers, including the CUSA Update, published by CUSA for a short time after the Charlatan's incorporation in 1988. None of these competitors have survived to the present day.

Launching its first issue on February 9, 2009, The Leveller describes itself as "a publication covering news, current events, and culture at Carleton University, in the City of Ottawa and, to a lesser extent, the wider world". The Leveller had published four issues between February and April 2009, and five more between November 2009 and March 2010. In March 2010, The Leveller won a Graduate Student Association referendum for a $1.50 levy per graduate student.

Criticism

Over the years, some students, particularly those affiliated with or supportive of CUSA, have been very critical of the Charlatan. One CUSA president organized a public debate on this subject in 1983. The Charlatan was accused of covering trivial topics and of publishing error-prone articles concerning student-run bodies that sometimes required retractions or issue corrections.

Students not supportive of CUSA have been critical as well, citing that the Charlatan has changed articles or played up or down quotes and events in order give a more positive image to the student council.

In rare instances, critics have resorted to newspaper vandalism and theft, the most recent major instance of which was in March 2000, when 6,900 copies of a single issue were taken.

In early 2006, two referendum questions asking for an increase in the Charlatan'''s per-student levy were defeated, by votes of 2276-1350 and 1926-1600 respectively. Critics of the Charlatan'' have pointed to these results as evidence of general dissatisfaction or apathy with the paper. Other increases in student levies also have a history of being defeated.

See also
List of student newspapers in Canada
List of newspapers in Canada

Further reading

References

External links

Student newspapers published in Ontario
Carleton University
Newspapers published in Ottawa
Weekly newspapers published in Ontario
Newspapers established in 1945
1945 establishments in Ontario

The Charlatan (student newspaper)


Mighty Mouse Playhouse is an American Saturday morning television anthology series featuring animated short films starring Mighty Mouse. The series aired on CBS from 1955 to 1967. The series was credited with both popularizing the Mighty Mouse character in popular culture far beyond what the original film shorts had done and putting Saturday morning cartoons on the map.

Mighty Mouse was not extraordinarily popular in theatrical cartoons, but was still Terrytoons' most popular character. What made him a cultural icon was television. Most of the short film studios, both live-action and animated, were in decline by the 1950s, pressured both by the loss of film audiences to television as well as the increased popularity (and financial benefits) of low-budget, stylized, limited animation. Most of the studios cashed out of the short-film production business and began licensing or selling their back catalogs to television. Paul Terry went as far as to sell the entire Terrytoon company to CBS in 1955. The network began running Mighty Mouse Playhouse in December 1955. It remained on the air for nearly twelve years (and featured The Mighty Heroes during the final season). Mighty Mouse cartoons became a staple of children's television programming for a period of over thirty years, from the 1950s through the 1980s.

Terrytoons, under CBS ownership, produced only three further Mighty Mouse theatrical cartoons in the 1959–1961 time frame (this was in marked contrast to other animated cartoon lines such as Looney Tunes, Tom & Jerry and Woody Woodpecker, all of which continued to produce new film shorts for nearly a decade after licensing their library to television). The company evidently believed that the existing library of shorts was enough to keep youngsters tuning into CBS every Saturday morning; the library consisted of 80 shorts, enough for 26 half-hour episodes.

Some early vinyls credit the original 1955 Mighty Mouse Playhouse theme song to The Terrytooners, Mitch Miller and Orchestra, but recent publishing has generally credited The Sandpipers.

Cast
Tom Morrison as voice of Mighty Mouse (in TV program wraparounds and shorts filmed after 1955)
Arthur Kay as Gandy Goose
Carol Lawrence as Pearl Pureheart (1950's)

References

External links

1955 American television series debuts
1967 American television series endings
1950s American animated television series
1960s American animated television series
1950s American anthology television series
1960s American anthology television series
American children's animated action television series
American children's animated adventure television series
American children's animated anthology television series
American children's animated superhero television series
Animated television series about mice and rats
CBS original programming
Television series by CBS Studios
Television series by Terrytoons

Mighty Mouse Playhouse


The Sedan railway line branched off from the South Australian Railways' Adelaide to Wolseley line at Monarto South running 70 kilometres north to Sedan.

History
The Sedan line opened Monarto South to Sedan on 13 October 1919. The original stations were at Pallamana, Tepko, Apamurra, Milendella, Sanderston, Kanappa, Cambrai, and Sedan, with station buildings and livestock loading facilities at Appamurra, Cambrai and Sedan.

On 1 June 1964, the line was curtailed to Cambrai, briefly reopening in 1967 to assist in the construction of the Swan Reach to Sedan pipeline. It was cut back further to Apamurra on 9 October 1987. Parts of the line between Apamurra and Cambrai were removed in 2001 by the Pichi Richi Railway Preservation Society for use on its Stirling North to Port Augusta line.

In August 1995, work commenced to gauge convert the line south of Apamurra to standard gauge. It reopened on 20 November 1995. The line closed in 2005.

References

Closed railway lines in South Australia
Railway lines opened in 1919
Railway lines closed in 2005
Standard gauge railways in Australia

Sedan railway line


The ney (, ), is an end-blown flute that figures prominently in Persian music, Turkish music and Arabic music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continually for 4,500–5,000 years in ancient Egypt, making it one of the oldest musical instruments still in use.

The Egyptian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow on. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may instead be made of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called neyzen, can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technically difficult passages in other dastgahs or maqams.

In Romanian, this instrument is called "fluier", the word nai is applied to a curved pan flute while an end-blown flute resembling the Persian ney is referred to as caval.

Typology

The typical Persian ney has six holes, one of which is on the back. Egyptian and Turkish neys normally have seven holes, six in front and one thumb-hole in the back.

The interval between the holes ranges from a semitone to three quarter tones, although microtones (and broader pitch inflections) are achieved via partial hole-covering, changes of embouchure, or positioning and blowing angle. Microtonal inflection is common and crucial to various traditions of taqsim (improvisation in the same scale before a piece is played).

Neys are constructed in various keys. In the Egyptian and Arabic system, there are seven common ranges: the longest and lowest-pitched is the Rast which is roughly equivalent to C in the Western equal temperament system, followed by the Dukah in D, the Busalik in E, the Jaharka in F, the Nawa in G, the Hussayni in A, and the Ajam in B (or B♭), with the Dukah Ney being the most common. Advanced players will typically own a set of several neys in various keys, although it is possible (albeit difficult) to play fully chromatically on any instrument. A slight exception to this rule is found in the extreme lowest range of the instrument, where the fingering becomes quite complex and the transition from the first octave (fundamental pitches) to the second is rather awkward.

Kargı düdük
Gargy-tuyduk (Karghy tuiduk) is a long reed flute whose origin, according to legend, is connected with Alexander of Macedonia, and a similar instrument existed in ancient Egypt. Kargı in Turkish means reed (Arundo donax, also known as Giant reed). The sound of the gargy-tuyduk has much in common with the two-voiced kargyra. During the playing of the gargy-tuyduk the melody is clearly heard, while the lower droning sound is barely audible. The allay epic songs have been described by the Turkologist N. Baskakov who divides them into three main types:

a) Kutilep kayla, in which the second sound is a light drone.
b) Sygyrtzip kayla, with a second whistling sound like the sound of a flute.
c) Kargyrlap kayla, in which the second sound can be defined as hissing. The sound of the Turkmen gargy-tuyduk is most like the Altay Kargyrkip kayla. The garg-tuyduk can have six finger holes and a length of 780 mm or five finger holes and a length of 550 mm. The range of the garg-tuyduk includes three registers:
1) The lowest register – "non-working" – is not used during the playing of a melody.
2) The same as on the "non-working" register but an octave higher.
3) High register from mi of the second octave to ti.

Pamiri nay
The Pamiri nay is a transverse flute made of wood or, in Eastern Badakhshan, eagle bone. Although the name is similar to the Arabic end-blown nay, it might well be that this side-blown flute is more related to Chinese flutes such as the dizi, perhaps through a Mongol link. It is used for solo melodies as well as with orchestras and for vocal accompaniment. One of the main uses of the nay is for the most original form of the traditional performance 'falaki'. These are brief melodic sessions which can express complaints against destiny, the injustice of heaven or exile to distant places, and sentiments such as the sorrow of a mother separated from her daughter, the sorrow of a lover torn from her/his beloved, etc.

Other forms with similar names

The ney (nej) of Uzbekistan, Tajikistan, and Karakalpakstan is a transverse flute that can be made of different materials, often indicated by a prefix in the name. The agach-nai is a wooden flute, the garau-nai a bamboo flute, the misnai a flute made of sheet iron and the brindgzhi-nai a brass flute.

The Romanian pan flute nai consists of at least 20 to over 30 pipes closed at the bottom, which are connected to each other in a slight arc.

See also
Turkish ney
Classical Turkish Music
Tambin, a similar sounding flute used in West Africa.
Tsuur / Choor
Kawala, a similar instrument used in Arabic music
Persian traditional music
Arabic Music
Music of Iran
Washint
Dilli Ney

References

General bibliography
Effat, Mahmoud (2005). Beginner's Guide to the Nay. Translated by Jon Friesen; originally published in Arabic in 1968. Pitchphork Music. .
Marwan Hassan (2010). Kawala & Nay: Die Ur-Flöten der Menschheit: Bauen, stimmen, pflegen und spielen. [German: Explaining How to Build and Play the Kawala, Saluang, or Ghab and Ney-Flute]

External links

Egyptian musical instruments
Arabic musical instruments
Turkish musical instruments
End-blown flutes
Persian musical instruments
Middle Eastern music
Romanian musical instruments
Moldovan musical instruments
Ancient Egyptian musical instruments
Sufi music
Iranian inventions
Bamboo flutes

Ney


A serekh was an important type of heraldic crest used in Ancient Egypt.

Appearance
Serekhs, particularly those found throughout Egyptian history, are typically composed of three components: a recessed or niched façade, the king's name inscribed in a panel, and a falcon. While both the façade and name depictions are consistent in history, during a portion of Egyptian history there appears variety among the animal incarnation specified. This can be seen by the falcon being presented singularly, joined alongside a Seth chimera, completely replaced by the Seth, or absent of both. Prominent examples include the mid-Dynasty II's ruler Peribsen whose serekh exclusively displays the Seth animal and his predecessor, Khasekhemwy, whose serekh joins both falcon and Seth animal.

Dissecting these components, it appears each element serves a purpose in its iconography of kingship. The recessed or niched façade, which appears at the bottom of the serekh, is often considered associated with the king's ownership of large building such as a palace or tomb. This rendition would serve both to certify the king's authority but also to acknowledge his possession of wealth. The panel, which exists between the niched façade and the falcon, is observed as the space where the king's name is written. It's underlying purpose is often debated, however, some claim it to be an allusion to early architectural elements such as the false doors in many pharaonic tombs. On top of this panel, as stated earlier, is often a falcon denoting the god Horus. Horus's presence in the serekh suggests the name inscribed in the panel as being the king's Horus name, but the god's association with kingship often lends credibility to the monarch. Both the Seth and Horus animals can be shown wearing a red, white, or double crown of Egypt and in some instances, appear in control of weapons. Such personification indicates the larger role played by the serekh, and potentially the use of the animal god as a representation of the king. The king himself would often be known to contain or exemplify the 'Ka' of Horus, which was the internal spirit that was later removed following the kings death and transitioned to fill that of the succeeding king. This retention of a godly spirit would be then be used as the deciding testament for the kings right to the throne. This relationship between the king's Ka and the Horus god in royal serekh's can be traced to many of the earliest texts and coalesce with the development of early writing. Until Dynasty IV, serekhs served as the only means for royal identification and later become secondary to the cartouche.

The name depicted in the panel is denoted as the king's Horus name- in the case that the Horus animal is depicted- and is a tribute to the belief that kings were considered son of the god Osiris and therefore a semi-divine earthly representation of Horus. This name, which is one of five great names, is further argued to be the king's Ka name. The characterization of the Horus falcon also provides a means of dating serekhs and further identifying their owner. For instance, Horus's represented in crouching positions is a distinguishing trademark of Dynasty 0 and First Dynasty serekhs. Additionally, the presence of a concave top below the Horus symbol, rather than straight, suggests a date no later than the reign of king Aha. After Dynasty 2, the previously broad falcon tail is also redesigned to become more narrow and straight.

The word "serekh" comes from the Egyptian word for "facade". There are many different serekhs on different types of objects. Many different decorations and details of the facade are shown in many different examples. It seems that there were no strict rules for the design of the serekh.

Use

A serekh was normally used as a royal crest, showing the name of the pharaoh. They have been found as far back as the predynastic Naqada II (Gerzean) period (ca. 3400 BC.). The hieroglyphs forming the king's name were placed inside a rectangular area above the serekh. From the Old Kingdom period onward, the word serekh appears in old papyri.

A serekh was not only important in validating the authority of the king during his time of rule, but it subsequently allowed fallen kings to maintain a legacy long after death. In the time of ancient Egypt this was especially important as the adoption of a name signified the beginning of one's existence. This connection between name and existence was so well established that often it was not uncommon for the serekh of a royal to stand in his place. This is captured by the many serekhs exhibiting arms and hands attached to either the falcon animal or the panel element wielding weapons or holding captives. This personification of serekhs suggests an active participance in its surroundings and therefore its role as embodiment of the inscribed king. This anthropomorphizing of glyphs and symbolic images, such as the catfish glyph on an ivory cylinder of Narmer which epitomizes the duality of function, continues throughout Egyptian history and can be seen in a variety of contexts. It is seen most noticeably in the serekh's of king Aha where the falcon god Horus yields a weapon within the confines of the serekh.

Given the predominant usage of serekhs in the identification of kingship, especially preceding Dynasty IV, the presence of such also serve to demonstrate Egyptian presence in foreign areas. Inscribed serekhs into natural stone sites provide compelling evidence of travel or expansion of Egyptian populations into such areas.

Placement
Serekh's appear on a variety of surface throughout history, progressing alongside the material industry current at the time. Most noticeably appearing on statues and landmarks, they also sit on the likes of many less elaborate medium such as rock or pots. These less precious materials, however, simultaneously exhibit reduced precision and detail of incised serekhs compared to those on more esteemed material such as alabaster. Additionally, names included within serekhs are often short-handed on pottery vessels. Frequently in rock art, such as on stone massifs, serekhs are accompanied by other pictorial hieroglyphs or artistic scenes. The style of artwork placed alongside the serekhs also serves to help date illegible or damaged components.

Images

References

Ancient Egypt

Serekh


George Lowen Coxhill (19 September 1932 – 10 July 2012) known professionally as Lol Coxhill, was an English free improvising saxophonist. He played soprano and sopranino saxophone.

Biography
Coxhill was born to George Compton Coxhill and Mabel Margaret Coxhill (née Motton) at Portsmouth, Hampshire, UK. He grew up in Aylesbury, Buckinghamshire, and bought his first saxophone in 1947. After national service he became a busy semi-professional musician, touring US airbases with Denzil Bailey's Afro-Cubists and the Graham Fleming Combo. In the 1960s he played with visiting American blues, soul and jazz musicians including Rufus Thomas, Mose Allison, Otis Spann, and Champion Jack Dupree. He also developed his practice of playing unaccompanied solo saxophone, often busking in informal performance situations. Other than his solo playing, he performed mostly as a sideman or as an equal collaborator, rather than a conventional leader – there was no regular Lol Coxhill Trio or Quartet as would normally be expected of a saxophonist. Instead he had many intermittent but long-lasting collaborations with like-minded musicians.

In the late 1960s and early 1970s, he was a member of Canterbury scene bands Carol Grimes and Delivery and then Kevin Ayers and the Whole World.

He became known for his solo playing and for work in duets with pianist Steve Miller and guitarist G. F. Fitzgerald.

He was thought to have largely inspired Joni Mitchell's song "For Free", while busking solo on the old footbridge which formed part of the Hungerford Bridge between Waterloo and Charing Cross.

Coxhill collaborated with other musicians including Mike Oldfield, Morgan Fisher (of Mott the Hoople), Chris McGregor's Brotherhood of Breath and its musical descendant The Dedication Orchestra, Django Bates, the Damned, Hugh Metcalfe, Derek Bailey, Fred Frith and performance art group Welfare State.

He lived for a while in the Digswell Arts Trust in Welwyn Garden City and was a much liked member of the commune.

He often worked in small collaborative groups with semi-humorous names such as the Johnny Rondo Duo or Trio (with pianist Dave Holland – not the bassist of the same name), the Melody Four (characteristically a trio, with Tony Coe and Steve Beresford), and The Recedents (with guitarist Mike Cooper and percussionist Roger Turner), known as such because the members were (in Coxhill's words) "all bald", though the name may additionally be a play on the American band the Residents. Typically these bands performed a mix of free improvisation interspersed with ballroom dance tunes and popular songs. There was humour throughout his music but he sometimes felt it necessary to tell audiences that the free playing was not intended as a joke.

Coxhill was compere and occasional performer at the Bracknell Jazz Festival, and a raconteur as well as a musician; he often would introduce his music by saying the words, "what I am about to play you may not understand".  It was following a performance at Bracknell that he recorded the melodramatic monologue Murder in the Air.

His son Simon is a punk drummer who played with Acme Sewage Co. his daughter Claire is a vocalist and his daughter Maddie sings and plays in a ukulele band. All three children appear with their father on "I am the Walrus", one of the tracks on Ear of Beholder and later featured on The Exotic Beatles part 2.

On 26 July 2007, Coxhill married Ulrike Gertrud Scholz. They had been together since 1991.

Discography
 Ear of Beholder (Dandelion, 1971)
 Toverbal Sweet (Mushroom, 1972)
 Coxhill/Miller/Miller/Coxhill (Caroline, 1973)
 Welfare State & Lol Coxhill (Caroline, 1975)
 Fleas in Custard (Caroline, 1975)
 Diverse (Ogun, 1977)
 Lid (Ictus, 1978)
 The Joy of Paranoia (Ogun, 1978)
 Moot (Ictus, 1978)
 Digswell Duets (Random Radar, 1979)
 Slow Music (Pipe, 1980)
 Chantenay 80 (Nato, 1981)
 Instant Replay (Nato, 1983)
 French Gigs (AAA, 1983)
 The Dunois Solos (Nato, 1984)
 Cou$cou$ (Nato, 1984)
 The Inimitable (Chabada, 1985)
 10:02 (Nato, 1985)
 Cafe De La Place (Nato, 1986)
 Frog Dance (Impetus, 1986)
 Before My Time (Chabada, 1987)
 Termite One (Bruce's Fingers, 1990)
 The Holywell Concert (Slam, 1990)
 Solo (Shock, 1990)
 Halim (Nato, 1993)
 Three Blokes (FMP, 1994)
 One Night in Glasgow (Scatter, 1995)
 Xmas Songs (Rectangle, 1998)
 Boundless (Emanem, 1998)
 Alone and Together (Emanem, 1999)
 Mouth (Fragile Noise, 2001)
 Worms Organising Archdukes (Emanem, 2002)
 Spectral Soprano (Emanem, 2002)
 Milwaukee 2002 (Emanem, 2003)
 Out to Launch (Emanem, 2003)
 Darkly (Ictus, 2006)
 Darkly Again (Ictus, 2006)
 More Together Than Alone (Emanem, 2007)
 The Early Years (Ping Pong, 2007)
 Fine Tuning (Amirani, 2010)
 Success with Your Dog (Emanem, 2010)
 The Rock On the Hill (Nato, 2011)
 Old Sights, New Sounds (Incus, 2011)
 Sitting On Your Stairs (Emanem, 2013)
 Morphometry (Glo-Spot, 2020)

As sideman
With Kevin Ayers
 Shooting at the Moon (Harvest, 1970)
 The Confessions of Dr. Dream and Other Stories (Island, 1974)
 Odd Ditties (Harvest, 1975)
 Singing the Bruise (Band of Joy, 1996)
 The Garden of Love (Voiceprint, 1997)
 Too Old to Die Young (Hux, 1998)
 Banana Follies (Hux, 1998)

As sideman/session player (partial list)
1971 No Roses – Shirley Collins and the Albion Country Band
1971 "Tokoloshe Man" – John Kongos
1972 Boo – Juliet Lawson (Sovereign Records)
1973 1984 – Hugh Hopper
1973 Lonely Street – Delroy Washington (Count Shelly Records) – sax accompaniment and solo
1974 The Confessions of Dr. Dream and Other Stories – Kevin Ayers
1975 The Death of Imagination – Penny Rimbaud (Red Herring Records)
1977 Music for Pleasure – The Damned
1980 Way & Bar – John Otway & Wild Willy Barrett
1980 Krazy Kong Album – Wild Willy Barrett – sax solo on title track
1982 The Flying Padovanis – Va Plus Haut – sax solo on the track
1983 It's All Done By Mirrors – The Astronauts

With Company
 Company 6 (Incus, 1978)
 Company 7 (Incus, 1978)
 Fictions (Incus, 1981)

With others
 Mick Audsley, Dark and Devil Waters (Sonet, 1973)
 Mick Audsley, Storyboard (Sonet, 1974)
 Heidi Berry, Love (4AD, 1991)
 Borah Bergman, Acts of Love (Mutable Music, 2005)
 Thomas Borgmann, Kith 'n Kin (Cadence,  1998)
 Caravan, Waterloo Lily (Deram, 1972)
 Andrea Centazzo, Situations (New Tone, 2000)
 Andrea Centazzo, Thirty Years from Monday (Ictus, 2006)
 Eugene Chadbourne, Jesse Helms Busted with Pornography (Fire Ant, 1996)
 Eugene Chadbourne, Psychad (Swamp Room, 1997)
 Shalom Chanoch, Shalom (DJM, 1971)
 Shirley Collins and The Albion Country Band, No Roses (Pegasus, 1971)
 Lindsay Cooper, Music from the Gold Diggers (Sync Pulse, 1983)
 Lindsay Cooper, Rags & the Golddiggers (ReR, 1991)
 Mike Cooper, Island Songs (Nato, 1996)
 Morgan Fisher, Claws Cherry (Red,  1980)
 Frank Chickens, We Are Frank Chickens (Kaz, 1984)
 The Flying Padovani's, Western Pasta (Demon, 1981)
 Carol Grimes, Fools Meeting (B&C, 1970)
 GP Hall, Figments of Imagination (FMR, 1996)
 George Haslam, Solos East West (Slam, 1997)
 George Haslam, From Whichford Hill (Slam, 2008)
 Charles Hayward, Mathilde 253 (Slam, 2011)
 Hugh Hopper, 1984 (CBS, 1973)
 John Kongos, Kongos (Fly, 1971)
 Alexis Korner, Bootleg Him! (Warner Bros., 1972)
 Alexis Korner, Both Sides (Castle Music, 2006)
 Phil Minton, My Chelsea (Rectangle, 2011)
 Tom Newman, Fine Old Tom (Virgin,  1975)
 John Otway & Wild Willy Barrett, Way & Bar (Polydor, 1980)
 Playgroup, Epic Sound Battles Chapter Two Cherry (Red, 1983)
 Penny Rimbaud, The Death of Imagination ((Red,  Herring, 2001)
 Paul Rutherford, Chicago 2002 (Emanem, 2002)
 Second Hand, Death May Be Your Santa Claus (See for Miles, 1997)
 Spontaneous Music Ensemble, Trio/Triangle (Emanem, 2008)
 John Stevens, A Luta Continua (Konnex, 1994)
 David Toop, Black Chamber (Sub Rosa, 2003)
 Ultramarine, Hymn Remixes (Blanco y Negro, 1994)
 Gary Windo, His Master's Bones (Cuneiform, 1996)
 Trevor Watts, Trevor Watts' Moire (Music Arc, 1985)
 Robert Wyatt, Flotsam Jetsam (Rough Trade,  1994)

Filmography
 Hospital patient in Stephen Frears's Walter, 1982, Central Independent Television
 Frogdance, a documentary about Coxhill, was shown by Channel 4 (1987)
 Appearance as a butler in Sally Potter's 1992 film Orlando
 Cameo appearance in the season-five episode "A Much Underestimated Man" of the TV detective series Strangers (a precursor to the series Bulman)
 Appearance as a priest in Derek Jarman's 1986 film Caravaggio
 Appearance as a priest in Fhiona Louise's 1989 film Cold Light of Day

Further reading
 The Bald Soprano: A Portrait of Lol Coxhill by Jeff Nuttall. Nottingham, Tak Tak Tak, 1989.
 The Sound of Squirrel Meals: The Work of Lol Coxhill edited by Barbara Schwarz, Black Press, 2006.

References

External links

 Lol Coxhill's Facebook page
 Biography and discography from European Free Improvisation Pages
 Video sample from Frogdance
 The Wire's100 Records That Set The World On Fire (When No One Was Listening)
 Fund raising concert in aid of diabetes uk 7 June 2003 at Besbrode Pianos Leeds

1932 births
2012 deaths
Avant-garde jazz musicians
English jazz soprano saxophonists
British male saxophonists
Emanem Records artists
English buskers
Free improvisation
Musicians from Portsmouth
People from Aylesbury
Delivery (band) members
British male jazz musicians
The Albion Band members
Brotherhood of Breath members
The Dedication Orchestra members
Incus Records artists
Mushroom Records artists
FMP/Free Music Production artists
20th-century saxophonists

Lol Coxhill


Felix Pollak (November 11, 1909 – November 19, 1987) was an American librarian, translator, and poet.

Pollak was born in Vienna, Austria, in 1909 to Geza Pollak and Helene Schneider Pollak. A Jew and liberal anti-fascist, he studied law and theater at the University of Vienna before emigrating to the United States in 1938 following the annexation of Austria by the Third Reich. He briefly worked as a door-to-door salesman in New York City before enrolling at the University of Buffalo, where he received a Bachelor of Arts degree in library science in 1941.

While working as a librarian, Pollak was drafted into the U.S. Army in 1943, where he worked as a translator for German prisoners of war. After the war, he enrolled at the University of Michigan, where he received a master's degree in library science in 1949.  Pollak also received a Dr.Jur. from the University of Vienna in 1953.

From 1949 to 1959, Pollak worked as a rare books librarian at Northwestern University. He became a rare books librarian at the University of Wisconsin in 1959, where he remained until his retirement in 1974. One of his primary duties was maintaining and developing the Sukov collection of literary magazines (now called the Little Magazine Collection), which remains to date one of the world's finest collections of small literary magazines and publications by independent poetry presses. After his retirement, Pollak continued to reside in Madison, Wisconsin, until his death in 1987.

In addition to his work as a librarian, Pollak was an accomplished poet. He published seven volumes of poetry, and his work appeared in a range of prominent publications, including The American Poetry Review, Poetry Northwest, New Letters, Prairie Schooner, Quixote, TriQuarterly, The Madison Review, and the Wisconsin Academy Review. His most famous poem, "Speaking: The Hero", has frequently been cited as a forceful example of Vietnam war protest poetry, though it was written in response to the Nazi concentration camps and the bombing of Hiroshima.

Since 1994, the University of Wisconsin Press has annually awarded a poetry prize named after Pollak.

Bibliography
 Felix Pollak, The Castle and the Flaw. New Rochelle, New York: Elizabeth Press, 1963.
 Felix Pollak, Say When. La Crosse, Wisconsin: Juniper Press, 1969.
 Felix Pollak, Ginkgo. New Rochelle, New York: Elizabeth Press, 1973.
 Felix Pollak, Subject to Change. La Crosse, Wisconsin: Juniper Press, 1978.
 Felix Pollak, Prose and Cons. La Crosse, Wisconsin: Juniper Press, 1983.
 Felix Pollak, Tunnel Visions. Peoria, Illinois: Spoon River Poetry Press, 1984.
 Felix Pollak, Benefits of Doubt. Peoria, Illinois: Spoon River Poetry Press, 1988.
 Felix Pollak, Vom Nutzen des Zweifels. Frankfurt am Main: Fischer, 1989.
 Felix Pollak, Lebenszeichen. Aphorismen und Marginalien. Vienna: Verlag für Gesellschaftskritik, 1992.
 Gregory H. Mason. Arrows of Longing: The Correspondence between Anais Nin and Felix Pollak, 1952–1976. Ohio University Press: 1998.

Further reading
 David Pavelich, 'James L. Weil and Felix Pollak: A Case Study of the Elizabeth Press', in Parenthesis; 19 (2010 Autumn), pp. 45–47
.

References

1909 births
1987 deaths
Jewish emigrants from Austria after the Anschluss to the United States
Writers from Madison, Wisconsin
Writers from Illinois
Poets from Wisconsin
University of Wisconsin–Madison faculty
Northwestern University faculty
University of Michigan School of Information alumni
University at Buffalo alumni
University of Vienna alumni
American librarians

Felix Pollak