Information Technology Security Assessment (IT Security Assessment) is an explicit study to locate IT security vulnerabilities and risks.

Background
In an assessment, the assessor should have the full cooperation of the organization being assessed. The organization grants access to its facilities, provides network access, outlines detailed information about the network, etc. All parties understand that the goal is to study security and identify improvements to secure the systems. An assessment for security is potentially the most useful of all security tests.

Purpose of security assessment
The goal of a security assessment (also known as a security audit, security review, or network assessment), is
to ensure that necessary security controls are integrated into the design and implementation of a project. A properly completed security assessment should provide documentation outlining any security gaps between a project design and approved corporate security policies. Management can address security gaps in three ways:
Management can decide to cancel the project, allocate the necessary resources to correct
the security gaps, or accept the risk based on an informed risk / reward analysis.

Methodology
The following methodology outline is put forward as the effective means in conducting security assessment.
 Requirement Study and Situation Analysis
 Security policy creation and update
 Document Review
Risk Analysis
 Vulnerability Scan
Data Analysis
 Report & Briefing

Sample report
A security assessment report should include the following information:
 Introduction/background information
 Executive and Management summary
 Assessment scope and objectives
 Assumptions and limitations
 Methods and assessment tools used
 Current environment or system description with network diagrams, if any
 Security requirements
 Summary of findings and recommendations
 The general control review result
 The vulnerability test results
 Risk assessment results including identified assets, threats, vulnerabilities, impact and likelihood assessment, and the risk results analysis
 Recommended safeguards

Criticisms and shortcomings
IT security risk assessments like many risk assessments in IT, are not actually quantitative and do not represent risk in any actuarially-sound manner.  Measuring risk quantitatively can have a significant impact on prioritizing risks and getting investment approval.

Quantitative risk analysis has been applied to IT security in a major US government study in 2000.  The Federal CIO Council commissioned a study of the $100 million IT security investment for the Department of Veterans Affairs with results shown quantitatively. United States Department of Veterans Affairs

Professional certifications
There are common vendor-neutral professional certifications for performing security assessment.
CISSP
 CCSP
 CISM
 CISA
 ISO/IEC 27001:2013 Auditor/Lead Auditor
 CRISC
 QSA/ISA

Automated Security Assessment Tools
There are common tools for automatic security assessment for self/third party usage.
 Findings
 Panorays
 RapidFire Tools
 Beyond Security
 Veracode
 RiskWatch
 SolarWinds

External links
ISC2
Information Systems Audit and Control Association
SANS Institute

References

Casas III, Victoriano. 2006. "An Information Security Risk Assessment Model for Public and University Administrators." Applied Research Project. Texas State University. http://ecommons.txstate.edu/arp/109/

Computer security accreditations

Information technology security assessment


"Champagne Supernova" is the sixth and final single off English rock band Oasis' second studio album (What's the Story) Morning Glory?. The song was released on 13 May 1996.

In an interview, lead guitarist Noel Gallagher said of the song:
"Some of the lyrics were written when I was out of it. There's the words: 'Someday you will find me/ Caught beneath a landslide/ In a Champagne Supernova in the sky'. That's probably as psychedelic as I'll ever get. It means different things when I'm in different moods. When I'm in a bad mood being caught beneath a landslide is like being suffocated. The song is a bit of an epic. It's about when you're young and you see people in groups and you think about what they did for you and they did nothing. As a kid, you always believed the Sex Pistols were going to conquer the world and kill everybody in the process. Bands like The Clash just petered out. Punk rock was supposed to be the revolution but what did it do? Fuck all. The Manchester thing was going to be the greatest movement on earth but it was fuck all. When we started we decided we weren't going to do anything for anybody, we just thought we'd leave a bunch of great songs. But some of the words are about nothing. One is about Bracket The Butler who used to be on Camberwick Green, or Chipley or Trumpton or something. He used to take about 20 minutes to go down the hall. And then I couldn't think of anything that rhymed with 'hall' apart from 'cannonball'. so I wrote 'Slowly walking down the hall/ Faster than a cannonball' and people were like, 'Wow, fuck , man'. There's also the line 'Where were you while we were getting high?' because that's what we always say to each other. But the number of people who've started clubs called Champagne Supernova is fucking unbelievable. And the album isn't even released yet."

Track listing
 1996 single (US: Epic ESK 7719, SME 11-003393-17, France: Helter Skelter SAMP 3393)
"Champagne Supernova" (radio edit) – 5:08
"Champagne Supernova" (album version) – 7:28

 1996 CD maxi (Australia: SME 663344 1)
"Champagne Supernova" (radio edit) – 5:08
"Champagne Supernova" (album version) – 7:31
"Slide Away" – 6:29

References

Other websites
"Champagne Supernova" on YouTube

1996 songs
1990s ballads
Rock ballads
Oasis (band) songs
Songs about drugs
Psychedelic rock songs

Champagne Supernova


Men in Black II is an American science fiction action comedy movie. It is about aliens trying to take over the world and Agents J and K must stop that from happening before it is too late.  Some of the stars include Will Smith, Tommy Lee Jones, and Rip Torn. Michael Jackson appears in a cameo when he wants to become Agent M.

It is a sequel to Men in Black and is followed by Men in Black 3.

Cast
Tommy Lee Jones as Agent K
Will Smith as Agent J
Rip Torn as Zed
Lara Flynn Boyle as Serleena
Rosario Dawson as Laura Vasquez
Johnny Knoxville as Scrad and Charlie
Tony Shalhoub as Jack Jeebs
David Cross
Patrick Warburton as Agent T
Tim Blaney as Frank the Pug
Peter Graves as himself
Michael Jackson as himself

Production
The movie's ending was supposed to be set at the World Trade Center, but due to the September 11 attacks, it was reshot with the Statue of Liberty.

Reception
The movie was #1 at the box office against The Powerpuff Girls Movie but had mixed reviews. People didn't like how it was a rehash of the first movie.

References

Other websites

2002 comedy movies
2000s action comedy movies
2002 science fiction movies
2000s sequel movies
American action comedy movies
American science fiction movies
American sequel movies
Comedy science fiction movies
English-language movies
Impact of the September 11 attacks
Men in Black
Movies about dogs
Movies directed by Barry Sonnenfeld
Movies composed by Danny Elfman
Movies set in New York City

Men in Black II


Joseba Sarrionandia Uribelarrea (born April 13th 1958 in Iurreta, Biscay, Basque Country) is a Basque writer. He has written many poetry books, short stories, and novels. In 1985, Sarrionandia escaped from prison after he was put in for being a member of the Basque armed group ETA. Since then, he has lived in secret but he still writes books. He is one of the best-known contemporary Basque writers.

Biography
Sarrionandia studied the Basque language and earned a PhD in Basque Philology from the University of Deusto in Bilbao. He was a Basque language teacher and taught phonetics. His writings were published in a number of Basque magazines. He also translated books by Samuel Taylor Coleridge, Konstantino Kavafis, T. S. Eliot and Fernando Pessoa into the Basque language.

In 1980 Sarrionandia was arrested by Spanish police for being a member of ETA. He was sentenced to 22 years in prison. In 1985 he escaped from prison with Iñaki Pikaea during a concert in the jail with Basque singer Imanol Larzabal. They hid themselves inside a loudspeaker. The Basque rock group Kortatu wrote the song Sarri, Sarri in honor of this. He has lived in secret since his escape and writes a lot about exile.

Sarrionandia has written books and poems which have been sung by different Basque singers. There's also an audio book called Hau da ene ondasun guzia of Sarrionandia reading his own poems as well as many songs performed by different singers.

Awards
 Ignacio Aldekoa Prize (1980)
 Resurreccion Maria Azkue Prize (1980)
 Bilbao City Council Prize (1980)
 Spanish Literature critics', Basque Narrative Prize (1986 and 2001)
 Euskadi Prize for Essay in Basque (2011)

One of his poems
The blacksmith slave
Captive in the rainforests of the West
they brought yo to Rome, slave,
they gave you the blacksmith work
and you make chains.
The red iron that you carry out the oven
can be adapted as you want,
you can make swords
in order that your people could break the chains,
but you, this slave,
you make chains, more chains.
Translation source

Other websites
 Izuen gordelekuetan barrena , online poems.
 Gartzelako poemak , online poems.
 Project for translating a poem into as many languages as possible using wiki technology

1958 births
Living people
Spanish writers

Joseba Sarrionandia


The RTP Control Protocol (RTCP) is a binary-encoded out-of-band signaling protocol that functions alongside the Real-time Transport Protocol (RTP). Its basic functionality and packet structure is defined in RFC 3550. RTCP provides statistics and control information for an RTP session. It partners with RTP in the delivery and packaging of multimedia data but does not transport any media data itself.

The primary function of RTCP is to provide feedback on the quality of service (QoS) in media distribution by periodically sending statistics information such as transmitted octet and packet counts, packet loss, packet delay variation, and round-trip delay time to participants in a streaming multimedia session. An application may use this information to control quality of service parameters, perhaps by limiting flow, or using a different codec.

Protocol functions
Typically RTP will be sent on an even-numbered UDP port, with RTCP messages being sent over the next higher odd-numbered port.

RTCP itself does not provide any flow encryption or authentication methods. Such mechanisms may be implemented, for example, with the Secure Real-time Transport Protocol (SRTP) defined in RFC 3711.

RTCP provides basic functions expected to be implemented in all RTP sessions:
The primary function of RTCP is to gather statistics on quality aspects of the media distribution during a session and transmit this data to the session media source and other session participants. Such information may be used by the source for adaptive media encoding (codec) and detection of transmission faults. If the session is carried over a multicast network, this permits non-intrusive session quality monitoring.
RTCP provides canonical end-point identifiers (CNAME) to all session participants. Although a source identifier (SSRC) of an RTP stream is expected to be unique, the instantaneous binding of source identifiers to end-points may change during a session. The CNAME establishes unique identification of end-points across an application instance (multiple use of media tools) and for third-party monitoring.
Provisioning of session control functions. RTCP is a convenient means to reach all session participants, whereas RTP itself is not. RTP is only transmitted by a media source.

RTCP reports are expected to be sent by all participants, even in a multicast session which may involve thousands of recipients. Such traffic will increase proportionally with the number of participants. Thus, to avoid network congestion, the protocol must include session bandwidth management. This is achieved by dynamically controlling the frequency of report transmissions. RTCP bandwidth usage should generally not exceed 5% of the total session bandwidth. Furthermore, 25% of the RTCP bandwidth should be reserved to media sources at all times, so that in large conferences new participants can receive the CNAME identifiers of the senders without excessive delay.

The RTCP reporting interval is randomized to prevent unintended synchronization of reporting. The recommended minimum RTCP report interval per station is 5 seconds. Stations should not transmit RTCP reports more often than once every 5 seconds.

Packet header

 Version: (2 bits) Identifies the version of RTP, which is the same in RTCP packets as in RTP data packets. The version defined by this specification is two (2).
 P (Padding): (1 bits) Indicates if there are extra padding bytes at the end of the RTP packet. Padding may be used to fill up a block of certain size, for example as required by an encryption algorithm. The last byte of the padding contains the number of padding bytes that were added (including itself).
 RC (Reception report count): (5 bits) The number of reception report blocks contained in this packet. A value of zero is valid.
 PT (Packet type): (8 bits) Contains a constant to identify RTCP packet type.
 Length: (16 bits) Indicates the length of this RTCP packet (including the header itself) in 32-bit units minus one.
 SSRC: (32 bits) Synchronization source identifier uniquely identifies the source of a stream.

Note that multiple reports can be concatenated into a single compound RTCP packet, each with its own packet header.

Message types
RTCP distinguishes several types of packets: sender report, receiver report, source description, and goodbye. In addition, the protocol is extensible and allows application-specific RTCP packets. A standards-based extension of RTCP is the extended report packet type introduced by RFC 3611.

Sender report (SR)The sender report is sent periodically by the active senders in a conference to report transmission and reception statistics for all RTP packets sent during the interval. The sender report includes two distinct timestamps, an absolute timestamp, represented using the timestamp format of the Network Time Protocol (NTP) (which is in seconds relative to midnight UTC on 1 January 1900) and an RTP timestamp that corresponds to the same time as the NTP timestamp, but in the same units and with the same random offset as the RTP timestamps in data packets described by this Sender Report. The absolute timestamp allows the receiver to synchronize RTP messages. It is particularly important when both audio and video are transmitted simultaneously because audio and video streams use independent relative timestamps.
Receiver report (RR) The receiver report is for passive participants, those that do not send RTP packets. The report informs the sender and other receivers about the quality of service.
Source description (SDES) The Source Description message is used to send the CNAME item to session participants. It may also be used to provide additional information such as the name, e-mail address, telephone number, and address of the owner or controller of the source.
Goodbye (BYE) A source sends a BYE message to shut down a stream. It allows an endpoint to announce that it is leaving the conference. Although other sources can detect the absence of a source, this message is a direct announcement. It is also useful to a media mixer.
Application-specific message (APP) The application-specific message provides a mechanism to design application-specific extensions to the RTCP protocol.

Scalability in large deployments
In large-scale applications, such as in Internet Protocol television (IPTV), very long delays (minutes to hours) between RTCP reports may occur, because of the RTCP bandwidth control mechanism required to control congestion (see Protocol functions). Acceptable frequencies are usually less than one per minute. This affords the potential of inappropriate reporting of the relevant statistics by the receiver or causes evaluation by the media sender to be inaccurate relative to the current state of the session. Methods have been introduced to alleviate the problems: RTCP filtering, RTCP biasing and hierarchical aggregation.

Hierarchical aggregation
The Hierarchical Aggregation (or also known as RTCP feedback hierarchy) is an optimization of the RTCP feedback model and its aim is to shift the maximum number of users limit further together with quality of service (QoS) measurement. The RTCP bandwidth is constant and takes just 5% of session bandwidth. Therefore, the reporting interval about QoS depends, among others, on a number of session members and for very large sessions it can become very high (minutes or even hours). However, the acceptable interval is about 10 seconds of reporting. Bigger values would cause time-shifted and very inaccurate reported status about the current session status and any optimization made by the sender could even have a negative effect on network or QoS conditions.

The Hierarchical Aggregation is used with Source-Specific Multicast where only a single source is allowed, i.e. IPTV. Another type of multicast could be Any-Source Multicast but it is not so suitable for large-scale applications with huge number of users.

, only the most modern IPTV systems use Hierarchical aggregation.

Feedback Target
Feedback Target is a new type of member that has been firstly introduced by the Internet Draft draft-ietf-avt-rtcpssm-13. The Hierarchical Aggregation method has extended its functionality. The function of this member is to receive Receiver Reports (RR) (see RTCP) and retransmit summarized RR packets, so-called Receiver Summary Information (RSI) to a sender (in case of single-level hierarchy).

Standards documents
 , Standard 64, RTP: A Transport Protocol for Real-Time Applications

See also
 Streaming media
 Voice over IP

Notes

References

Further reading

Streaming
Application layer protocols
Audio network protocols
VoIP protocols

RTP Control Protocol


The Ratio atque Institutio Studiorum Societatis Iesu (Method and System of the Studies of the Society of Jesus), often abbreviated as Ratio Studiorum (Latin: Plan of Studies), was a document that standardized the globally influential system of Jesuit education in 1599.

The Ratio was a collection of regulations for school officials and teachers. It relied on the classical subjects (theology, philosophy, Latin and Greek) and did not contain any provisions for elementary education. The document was revised in 1832, still built upon the classical subjects but giving more attention to the study of native languages of the students, history, geography, mathematics, and the natural sciences.

The work was the product of many hands and wide experience, but it most directly derives from the efforts of an international team of academics at the Collegio Romano, the Jesuit school in Rome. The Ratio had a major impact on later humanist education. In his Renaissance Literary Theory and Practice, Charles Sears Baldwin writes, "The sixteenth century closed with the full [classical] doctrine operative in the Ratio Studiorum and in the rhetoric of Soarez" (64).

Historical background
The Society of Jesus had not originally envisaged running a network of schools when it was founded, but it soon became progressively involved in and then largely associated with educational work. One hundred years after the order's founding, the Jesuits were running 444 schools. By 1739, they were running 669 schools. The many schools taken over or started by the Society in its first decades all needed plans (rationes). In addition, an increasing number of young men were entering the Society in need of the educational background that was required for priestly service, and the Society began to assume a greater and greater role in the direction of its own formational program.  For these two reasons, there grew a great desire for a standard plan for all of the Society's educational institutions.

Under the generalate of Claudio Aquaviva, in 1581, a committee of twelve Jesuit priests was appointed without clear results.  A new committee of six was soon formed in 1584:  Juan Azor (Spain), Gaspar González (Portugal), James Tyrie (Scotland), Peter Busée (the Netherlands), Anthony Ghuse (Flanders), and Stephen Tucci (Sicily).  This committee produced a trial document, the Ratio of 1586, which was sent to various provinces for comments from the teachers. This plan was not intended for actual use in the classrooms.  Reflection on the reactions led to the issuance of another document in 1591, which was to be employed in all Jesuit schools for three years. The reflection on these experiments was then used by the committee in Rome to create the final official document of 1599.

Content
The Ratio Studiorum was divided into the following sections:

I. Rules for the provincial superior; for the rector of the college; for the prefect of studies, who supervises classes and instruction, and the prefect of discipline, who maintains order and discipline;

II. Rules for the professors of theology: Scripture, Hebrew language, dogmatic theology, ecclesiastical history, canon law, and moral theology. St. Thomas Aquinas was the main author for theological texts.

III. Rules for the professors of philosophy, physics, and mathematics. Aristotle was prescribed as the standard author.

IV. Rules for the teachers of the studia inferiora (the lower department): Latin and Greek, grammar and syntax, humanities and rhetoric. Other subjects were taught from the beginning under the name of "accessories"—especially history, geography, and antiquities.

See also

 Manoel Alvarez

References

Further reading
 Ratio atque Institutio Studiorum Societatis Iesu. Volume 5 of the Monumenta Paedagogica Societatis Iesu, ed. Ladislaus Lukàcs. Volume 129 of the series Monumenta Historica Societatis Iesu, 357-454. Rome: Institutum Historicum Societatis Iesu, 1986.
 Abbott, Don Paul. "Rhetoric and Writing in the Renaissance." A Short History of Writing Instruction. Ed. James J. Murphy. Mahwah, NJ: Lawrence Erlbaum, 2001. 145–72.
 Atteberry, John. "Humanities and Rhetoric." Ratio Studiorum: Jesuit Education 1540–1773. Ed. John Atteberry and John Russell. Boston: John J. Burns Library, 1999.
 Baldwin, Charles Sears. Renaissance Literary Theory and Practice. New York: Columbia UP, 1939.
 Donohue, John W., S.J. Jesuit Education: An Essay on the Foundation of Its Idea. New York: Fordham University Press, 1963.
 Farrell, Allan Peter, S.J. The Jesuit Code of Liberal Education; Development and Scope of the Ratio Studiorum. Milwaukee: Bruce Publishing Company, 1938.
 Ganss, George, S.J. Saint Ignatius' Idea of a Jesuit University. Second Edition. Milwaukee: Marquette University Press, 1956.
 Pavur, Claude, S.J. The Ratio Studiorum: The Official Plan for Jesuit Education.  Saint Louis: The Institute of Jesuit Sources, 2005.
 Scaglione, Aldo. The Liberal Arts and the Jesuit College System. Philadelphia: John Benjamins Publishing Company, 1986.
 Schwickerath, Robert, S.J. Jesuit Education: Its History and Principles Viewed in the Light of Modern Educational Problems. Saint Louis, Missouri: B. Herder, 1903.

External links
Catholic Encyclopedia article on the Ratio Studiorum
"The Method of Teaching in Practice," a chapter from Jesuit Education: Its History and Principles Viewed in the Light of Modern Educational Problems by Robert Schwickerath, S.J. (with bibliography)
Translation of the Ratio Studiorum by Allan P. Farrell, S.J., available in PDF or HTML
Copies of the Ratio Studiorum on Archive.org

Jesuit education
Jesuit publications
History of education
1599 books

Ratio Studiorum


Soyuz TM-32 was a crewed Soyuz spaceflight which was launched on April 28, 2001, and docked with the International Space Station two days later. It launched the crew of the visiting mission ISS EP-1, which included the first paying space tourist Dennis Tito, as well as two Russian cosmonauts. The Soyuz TM-32 remained docked to the station until October; during this time it served as the lifeboat for the crew of Expedition 2 and later for the crew of Expedition 3. In October it landed the crew of ISS EP-2, who had been launched by Soyuz TM-33.

Crew

Docking with ISS
Docked to ISS: April 30, 2001, 07:58 UTC (to nadir port of Zarya)
Undocked from ISS: October 19, 2001, 10:48 UTC (from nadir port of Zarya)
Docked to ISS: October 19, 2001, 11:04 UTC (to Pirs module)
Undocked from ISS: October 31, 2001, 01:38 UTC (from Pirs module)

Mission highlights
TM-32 carried a three-man crew (two Russians and one American, the latter not a professional astronaut) to the International Space Station, ISS. It docked automatically with the ISS at 07:57 UT on April 30, 2001, just a few hours after the space shuttle Endeavour on mission STS-100 undocked. The launched crew stayed for a week and returned in Soyuz TM-31, which had been docked to (or nearby) the station since November 2000 functioning as "lifeboat" for the onboard crew (Expedition 1 and 2).

As the new lifeboat for Expedition 2 and later Expedition 3, TM-32 stayed docked at the station for six months (except for a brief move between docking ports) and finally, on October 31, brought home two cosmonauts and an ESA astronaut who had arrived a week earlier in Soyuz TM-33.

External links

 NASA Soyuz-33/Soyuz-32 (return) Taxi Crew

Crewed Soyuz missions
Spacecraft launched in 2001
Orbital space tourism missions
Spacecraft which reentered in 2001
Spacecraft launched by Soyuz-U rockets
Dennis Tito

Soyuz TM-32


Anna Nagar is a neighbourhood in the metropolitan city of Chennai, India. This area is named after the Tamil leader C. N. Annadurai. This area is in the north-western part of Chennai and forms a part of the Aminjikarai taluk. It is one of the prime residential areas in Chennai.One of the primary landmarks in Anna Nagar is the Anna Nagar Tower, built in 1968 as part of the World Trade Fair.

Anna Nagar originated as a suburban village called Naduvakkarai. It was called Mullam Village and is still referred to like that by the Land and revenue department for all official purposes.The Anna Nagar Tower is a  tall tower built for the 1968 World Trade Fair, by B. S. Abdur Rahman.

The Anna Nagar railway station was inaugurated in the year 2003. It is on the Thirumangalam road, a road that connects Anna Nagar West with Villivakkam area of Chennai.

Neighbourhoods of Chennai

Anna Nagar


The Blood Run Site is an archaeological site on the border of the US states of Iowa and South Dakota. The site was essentially populated for 8,500 years, within which earthworks structures were built by the Oneota Culture and occupied descendant tribes such as the Ioway, Otoe, Missouri, and shared with Quapaw and later Kansa, Osage, and Omaha (who were both Omaha and Ponca at the time) people. The site was so named on account of the iron-stained soil.

History

Arikara, Dakota, and Cheyenne were regular traders with the village and Nakota/Dakota and Arikara people also regularly resided there in later years. The site overlaps the Iowa and South Dakota border, near Sioux Falls, South Dakota, between Granite, Iowa, and Harrisburg, South Dakota.

Although declared a National Historic Landmark in 1970, its integrity is endangered by gravel quarrying and looting. The site was substantially looted and areas wholly destroyed by settlers and looters through the late 1930s and by subsequent generations of collectors. A possible snake mound rivaling the Serpent Mound in Ohio was used for railroad fill.

Blood Run was mapped in the early 18th century by French voyageurs trading with the village, which was then populated largely by Omaha people, but other cultures shared the area, about 480 mounds existed and a population of 10,000 Native people was documented in the corresponding census. In the late 19th century, 176 mounds were still visible. Today 78 mounds still exist, mostly burial. In 1987, the State of Iowa acquired a prominent portion of the site for a state park. The State of South Dakota Game, Fish, and Parks Commission, upon offer of land sale by owners Buzz and Lois Nelson and the sole civilian testimony by SD author of Blood Run (book) (a volume supported by a SD Arts Council Grant) and Sioux Falls Public Schools and Office of Indian Education teacher, Allison Hedge Coke, the Commission voted to acquire the area as state park land in January 2003. Doug Hofer was a supportive presence at the hearing.

In December 2011, South Dakota Governor Dennis Daugaard announced that an agreement was reached on the purchase option for 324 acres in the Blood Run Historical Landmark area on the Lincoln County, S.D., side of the Big Sioux River. "South Dakota Department of Game, Fish and Parks, the Parks and Wildlife Foundation and The Conservation Fund to acquire the property for $3.5 million before the end of the year, according to the governor's office." "The Conservation Fund will purchase and hold the majority of the Nelson property until funds are available and then transfer it to the state of South Dakota."

See also
Iowa archaeology
Indians of Iowa
Gitchie Manitou State Preserve
List of National Historic Landmarks in Iowa
List of National Historic Landmarks in South Dakota
National Register of Historic Places listings in Lyon County, Iowa
National Register of Historic Places listings in Lincoln County, South Dakota

References

Blood Run. Allison Hedge Coke. Salt Publications. 2006 UK. 2007 US.
The Ohio State University  College of Arts and College of Humanities. June 2009. Chadwick Allen, English, "Siting Earthworks in Allison Hedge Coke's Blood Run."  Plenary address, LitFest 2009, University of Dayton, March 28
SD Parks & Wildlife Foundation.

External links

State of Iowa page for site
1837 map
blood run map

Native American history of Iowa
Native American history of South Dakota
Archaeological sites on the National Register of Historic Places in Iowa
Archaeological sites on the National Register of Historic Places in South Dakota
National Historic Landmarks in Iowa
National Historic Landmarks in South Dakota
Former Native American populated places in the United States
Former populated places in Iowa
Former populated places in South Dakota
Protected areas of Lyon County, Iowa
Geography of Lincoln County, South Dakota
State Historical Society of Iowa
National Register of Historic Places in Lyon County, Iowa
Populated places on the National Register of Historic Places

Blood Run Site


A clapper is a basic form of percussion instrument. It is made of two long solid pieces that are clapped together to make sound.

Clappers exist in many forms in many different cultures around the world. They can be made of a wide variety of material. Wood is most common, but metal and ivory have also been used.

Percussion instruments

Clapper (musical instrument)


Rork is a series of eight graphic novels by German comic author Andreas. It is also the name of the protagonist of the series.

The character Rork is a white-haired "wizard" from another dimension who solves supernatural mysteries, before embarking on a quest to discover his origins. During his quest, he is assisted by a cast of characters including occult detective Raffington Event, astrologer Capricorn, the psychic Deliah Darkthorne (aka "Low Valley") and her daughter Sy-Ra, the immortal Yosta, and others. His enemies are the mysterious Pharass and Dahmaloch, revealed to be an analogy for the Devil himself in the later and twin Capricorne series.

The Rork series is notable for its use of allegory, mysticism, visual sequencing and unusual "dynamic" framing, with a visual structure and rhythm rather uncommon in European comics.

Many mysteries explored in the various albums are not revealed until the seventh album and some albums of the twin Capricorne series, and even then many enigmas remain unanswered for the reader.

The series

There are eight volumes in the Rork series:

0. Les Fantômes (The Ghosts) (Lombard, 2012)
1. Fragments (Lombard, 1984)
2. Passages (Lombard, 1984)
3. Le Cimetière des Cathédrales (The Graveyard of Cathedrals) (Lombard, 1988)
4. Lumière d'Etoile (Starlight) (Lombard, 1988)
5. Capricorne (Capricorn) (Lombard, 1990)
6. Descente (Descent) (Lombard, 1992)
7. Retour (Return) (Lombard, 1993)

Publishing history
The Rork stories were originally serialized in Tintin magazine in 1978; after the Belgian edition was cancelled in 1980 the series continued in the French and Dutch edition of the magazine.

The first five Rork stories were translated by Jean-Marc Lofficier & Randy Lofficier. They were first serialized in black & white in Dark Horse's "Cheval Noir" comic, then published as graphic novels by NBM.

Related comics

Capricorn
Capricorn is an astrologer and crime-fighter whose real identity is unknown. Ably assisted by librarian Astor and stunt flyer Ash Grey, Capricorn fights occult threats in the New York of the 1930s. His arch-enemy is the mysterious Mordor Gott.

Capricorn stories
1. L'Objet (The Object) (Lombard, 1996)
2. Électricité (Electricity) (Lombard, 1997)
3. Deliah (Lombard, 1998)
4. Le Cube Numérique (The Numerical Cube) (Lombard, 1999)
5. Le Secret (The Secret) (Lombard, 2000)
6. Attaque (Attack) (Lombard, 2001)
7. Le Dragon Bleu (The Blue Dragon) (Lombard, 2002)
8. Tunnel (Lombard, 2003)
9. Le Passage (Lombard, 2004)
10. Les Chinois (Lombard, 2005)
11. Patrick (Lombard, 2006)

Note: Capricorn's encounter with Rork (in Rork Nos. 5 and 7) takes place between Volumes 4 and 5 of the series.

Raffington Event
Raffington Event is a portly detective of the occult. He met Rork in Volumes 2 and 7 of the Rork saga.

Album
Raffington Event, Detective (Lombard, 1989)

External links
Rork
Dossier Andreas
The Official Rork Website

1978 comics debuts
Fantasy comics
Mystery comics
Fictional characters who use magic
Male characters in comics
Comics characters introduced in 1978
Lombard Editions titles

Rork


In mathematics, Borel's lemma, named after Émile Borel, is an important result used in the theory of asymptotic expansions and partial differential equations.

Statement
Suppose U is an open set in the Euclidean space Rn, and suppose that f0, f1, ... is a sequence of smooth functions on U.

If I is any open interval in R containing 0 (possibly I = R), then there exists a smooth function F(t, x) defined on I×U, such that

for k ≥ 0 and x in U.

Proof
Proofs of Borel's lemma can be found in many text books on analysis, including  and , from which the proof below is taken.

Note that it suffices to prove the result for a small interval I = (−ε,ε), since if ψ(t) is a smooth bump function with compact support in (−ε,ε) equal identically to 1 near 0, then ψ(t) ⋅ F(t, x) gives a solution on R × U. Similarly using a smooth partition of unity on Rn subordinate to a covering by open balls with centres at δ⋅Zn, it can be assumed that all the fm have compact support in some fixed closed ball C. For each m, let

where εm is chosen sufficiently small that

for |α| < m. These estimates imply that each sum

is uniformly convergent and hence that

is a smooth function with

By construction

Note: Exactly the same construction can be applied, without the auxiliary space U, to produce a smooth function on the interval I for which the derivatives at 0 form an arbitrary sequence.

See also

References

Partial differential equations
Lemmas in analysis
Asymptotic analysis

Borel's lemma


Oklahoma! is a 1955 American musical film based on the 1943 musical of the same name by Richard Rodgers and Oscar Hammerstein II, which in turn was based on the 1931 play Green Grow The Lilacs written by Lynn Riggs. It stars Gordon MacRae, Shirley Jones (in her film debut), Rod Steiger, Charlotte Greenwood, Gloria Grahame, Gene Nelson, James Whitmore, and Eddie Albert. The production was the only musical directed by Fred Zinnemann. Oklahoma! was the first feature film photographed in the Todd-AO 70 mm widescreen process (and was simultaneously filmed in CinemaScope 35mm).

Set in Oklahoma Territory, it tells the story of farm girl Laurey Williams (Jones) and her courtship by two rival suitors, cowboy Curly McLain (MacRae) and the sinister and frightening farmhand Jud Fry (Steiger).  A secondary romance concerns Laurey's friend, Ado Annie (Grahame), and cowboy Will Parker (Nelson), who also has an unwilling rival. A background theme is the territory's aspiration for statehood, and the local conflict between cattlemen and farmers.

The film received a rave review from The New York Times, and was voted a "New York Times Critics Pick". It won Academy Awards in the categories of musical scoring and sound recording. In 2007, Oklahoma! was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
Good-natured cowboy Curly McLain admires the beautiful morning while riding his horse to the farm of Laurey Williams, his secret love, and her aunt, Aunt Eller. At the farm he invites Laurey to a box social being held that night to raise money for a new schoolhouse. Frustrated that he waited so long to ask her, Laurey refuses his invitation. Curly tempts her by describing the surrey he plans to drive her in, then tells her he made the story up to get back at her for refusing him. Laurey gets her own revenge by agreeing to go with their menacing field hand, Jud Fry.

Cowboy Will Parker arrives by train from a trip to Kansas City and seeks out his sweetheart, Ado Annie, who, in Will's absence, has become smitten with itinerant peddler Ali Hakim. Will tells Annie that he has earned the $50 her father, a farmer who does not like cowboys, told him he had to earn before he would allow him to marry Annie, but he spent it all on presents for her. Annie tries to resist Will, but eventually gives in, leaving her torn between Will and Ali.

The townspeople gather at Aunt Eller's farm to refresh themselves before the box social. Gertie, a flirtatious woman with a loud, annoying laugh, flirts with Curly and upsets Laurey, despite her promises to not let his games bother her, and Curly flirts back to make Laurey jealous. Curly asks Laurey again if she will go to the social with him, but Laurey, fearful of Jud, refuses again. Curly angrily confronts Jud in the smokehouse, leading to each man firing their gun. Curly stalks off and Jud again threatens Laurey if she changes her mind. Uncertain what to do, Laurey uses a bottle of smelling salts she bought earlier from Ali, hoping to find her answer in a dream. She dreams that she marries Curly, but Jud eventually kills him.

As Jud drives Laurey to the box social, he tells her he is in love with her and tries to kiss her. She whips the horses, causing them to bolt. Once Jud gets them under control, Laurey leaves Jud behind and drives to the social alone.

At the social, despite the host's encouraging everyone to get along, Ado Annie's father belittles the cowboys, causing a fight to break out which Aunt Eller breaks up. Will makes his $50 back by selling his presents to Ali Hakim, who pays Will more than each gift is worth to get Annie back together with Will. When the auction of ladies' picnic hampers begins, Ali Hakim deliberately outbids Will to get Annie to forget her feelings for him and so Will can keep the $50 he needs to marry Annie. Curly and Jud get into a bidding war over Laurey's hamper. Curly sells his saddle, horse, and gun to raise enough money to beat Jud's highest bid and win. Laurey fires Jud after he confronts her and Jud sneers that she will never be rid of him. When Laurey tells Curly what happened, he offers to stay the night at their farm for protection, then goes further and proposes marriage, which Laurey accepts. Meanwhile, Will tells Ado Annie she must stop flirting with other men, despite not being willing to stop flirting with other women. Ali Hakim tells Annie she is better off marrying Will and then resumes his travels.

Weeks later, Curly and Laurey are married. After the ceremony, Jud appears and tries to kill Curly, but Curly kills Jud in self-defense.  The townspeople hold an impromptu trial in Aunt Eller's kitchen where Curly is found not guilty.  He and Laurey leave for their honeymoon, admiring the beautiful morning.

Cast
 Gordon MacRae as Curly McLain
 James Mitchell as Dream Curly (dancer)
 Shirley Jones as Laurey Williams
 Bambi Linn as Dream Laurey (dancer)
 Gene Nelson as Will Parker
 Gloria Grahame as Ado Annie Carnes
 Charlotte Greenwood as Aunt Eller
 Rod Steiger as Jud Fry
 Eddie Albert as Ali Hakim
 James Whitmore as Andrew Carnes
 Barbara Lawrence as Gertie Cummings
 Jay C. Flippen as Skidmore
 Roy Barcroft as Marshal

Production
Interest in a film version of Oklahoma! dates as far back as 1943, when the musical first opened on Broadway. United Artists, Columbia Pictures, 20th Century Fox, and MGM were among the many Hollywood studios interested in the project. Ultimately, the film rights were bought by the Magna Theatre Corporation, a company founded by George Skouras, Joseph Schenck, and Michael Todd for a record $1,000,000 in 1953 (equivalent to approximately $ in ). Magna was initially founded in order to develop a new widescreen process Todd created, called "Todd-AO", and ended up financing the film independently after a deal with Fox fell through. Including the cost of developing the new process, Magna invested $11 million in the film.

Although the film was initially to have been shot on location in the title state, the producers opted to shoot elsewhere, apparently because the oil wells would be a distraction for exterior scenes. Location shooting was done mostly in Nogales, Arizona. The corn field in the opening number as well as the reprise song "Surrey with the Fringe on Top" were shot at the historic Canoa Ranch in Green Valley, Arizona. The train station used in the "Kansas City" routine was located in Elgin, Arizona. Sound stage and backlot sequences were filmed at MGM Studios in Culver City, California.

Oklahoma! was the first production photographed in Todd-AO. The original specification for Todd-AO involved running at 30 frames per second which made it impossible to produce 35mm (which ran at 24 fps) reduction prints from the Todd-AO negative. Therefore, it was simultaneously shot in the more established CinemaScope 35 mm format to allow presentation in theaters lacking 70 mm equipment. Hence, there are actually two different versions of the film comprising different takes. Director Zinnemann mentioned that shooting the film in both formats was a "precautionary measure", as the (converted ca. 1930s Fearless Superfilm 65mm) Todd-AO camera was still being tested during production.

The many actors who tried out for the role of Curly included James Dean and Paul Newman. According to TCM, Dean "made a sensational [screen] test with Rod Steiger in the 'Poor Jud Is Dead' number", but as his voice wasn't strong enough, Gordon MacRae was cast in the main role. Steiger remarked that Dean "hadn't quite got his technique together. At the time of his death, he was working too much on instinct. He'd be brilliant in one scene and then blow the next". He observed that Dean was a "nice kid absorbed by his own ego, so much so that it was destroying him", which he thinks led to his death. Dean reportedly gave him his prized copy of Ernest Hemingway's book Death in the Afternoon, and had underlined every occurrence of the word "death". Joanne Woodward was offered the role of Laurey, which went to Shirley Jones (who had previously performed in a stage production of Oklahoma!). Eli Wallach and Ernest Borgnine were considered for the role of Jud before Rod Steiger was cast.

Robert Russell Bennett expanded his Broadway orchestrations, Jay Blackton conducted, and Agnes de Mille again choreographed. Costume designer Orry-Kelly was hired to oversee the costumes for the film with Ann Roth as his assistant.

From stage to screen
Rodgers and Hammerstein personally oversaw the film to prevent the studio from making changes of the kind that were then typical of stage-to-film musical adaptations—such as putting in new songs by different composers. They also maintained artistic control over the film versions of several of their other stage musicals.

The film Oklahoma! followed the original stage version extremely closely, more so than any other Rodgers and Hammerstein stage-to-film adaptation. However, it did divide the very long (more than 45 minutes) first scene into several shorter scenes, changing the locations of several of the songs in the process.
 Rather than beginning offstage, "Oh, What a Beautiful Mornin'" was now sung as Curly (Gordon MacRae) rode his horse from the now-seen cornfield "as high as a [sic] elephant's eye" to Aunt Eller's farm.
 "Kansas City" was sung and danced at the local train station where Aunt Eller (Charlotte Greenwood) and other cowboys meet Will Parker (Gene Nelson), who has just returned from that city. Also, a few lyrics in the song, about a burlesque stripteaser, had to undergo minor changes to pass film censorship. In the original Broadway musical, the character of Will Parker sings:

 I could swear that she was padded from her shoulder to her heel.
 But later in the second act when she began to peel,
 She proved that everything she had was absolutely real!

 For the film, these were changed to:

 But then she started dancing and her dancing made me feel
 That every single thing she had was absolutely real!
 "I Can't Say No" was sung by Ado Annie (Gloria Grahame) at a lakeside where Laurey has been swimming.
 "Many a New Day" was sung and danced in Laurey's (Shirley Jones) bedroom, as the women, stopping over at the farmhouse on their way to the Skidmore ranch, change their clothes for the upcoming box social that evening.

In a nod to Green Grow the Lilacs, which was the basis of Oklahoma!, Jud attempts to get revenge on Curly and Laurey by burning a haystack they stand on after the wedding, rather than simply attacking Curly with a knife, as in the stage version of the musical. As Curly and Laurey stand atop the burning haystack, Jud pulls a knife and taunts Curly. The couple jumps down, with Curly landing on Jud and inadvertently causing him to fall on his own knife.

The film omitted very little from the stage production, cutting only two songs (Ali Hakim's "It's a Scandal, It's a Outrage"  Jud's "Lonely Room" and one verse from "Oh What a Beautiful Mornin"), and thus ran two-and-a-half hours, much longer than most other screen musicals of the time. It was the first of the huge roadshow musical films that would eventually overrun Hollywood in the 1960s.

Release
Magna held invitational screenings of Oklahoma! over three days at the Rivoli Theatre in New York City starting on October 11, 1955. The official public premiere was on October 13. The film was shown on a two-a-day reserved seat policy with three shows at the weekends and holidays and grossed $573,493 in its first 12 weeks in New York. The film opened on the same roadshow basis at Grauman's Egyptian Theatre in Los Angeles on November 18 and then at the McVicker's Theater in Chicago on December 26.

In its initial theatrical release, the Magna Theatre Corporation handled distribution of the roadshow presentations in 70 mm Todd-AO. In 29 American and 2 Canadian cities it grossed $8,970,087 from 4,672,184 patrons.

RKO Radio Pictures distributed the general release version (in 35 mm anamorphic CinemaScope), which was released after its roadshow run ended. Later, when RKO was experiencing financial turmoil, 20th Century Fox assumed distribution of the general release edition.

Outside the United States, the film was a box office disappointment.

All rights to the film are owned by the estates of Rodgers and Hammerstein. In 1982, the US/Canadian distribution rights to this film were acquired by The Samuel Goldwyn Company and re-issued both the 70 mm and 35 mm versions theatrically. The original 70mm version was restored and screened for the first time since its initial engagements.

In April 2014, a restored version of the Todd-AO version was screened at the Fifth Annual TCM Classic Film Festival in Hollywood. The eight-month restoration was developed in conjunction with 20th Century Fox and the studio's film preservationist Schawn Belston.

First telecast
The Cinemascope version of the film was first telecast as a Thanksgiving Day special by CBS, on the evening of November 26, 1970. Unlike some later telecasts of the film, this one was presented complete and uncut, except for the Overture, Entr'acte, and Exit Music. As with its 1960s telecasts of The Wizard of Oz, CBS felt that the film needed a host to introduce it, so they brought in Sebastian Cabot, Anissa Jones, Johnny Whitaker, and Kathy Garver, all from the long-running CBS sitcom Family Affair, to serve as hosts. The four of them, rather than appearing as themselves, spoke their lines in character, as if they were still playing their roles from the series. Because the film was shown on a Thursday evening, it occupied the same time slot in which Family Affair was shown in 1970, which explains the selection of the four actors from the show to host the film. It earned a Nielsen rating of 27.9 and an audience share of 47%.

DVD
For unexplained reasons the original UK DVD release is a pan and scan version from a noticeably grainy CinemaScope print, even though the companion DVD of South Pacific was taken from a pristine Todd-AO master and presented in widescreen. The 50th Anniversary US DVD release of Oklahoma! by partial rights holder 20th Century Fox is a double-disc release that includes both the CinemaScope and original 70 mm Todd-AO versions in widescreen. The Todd-AO version has an Overture, intermission with Entr'acte, and Exit Music. The CinemaScope version is without intermission or any traditional roadshow features. Shirley Jones does audio commentary on the Todd-AO presentation. In March 2006 this version was also released in the UK as part of a set of remastered Rodgers & Hammerstein DVDs.

Blu-ray
In 2014, 20th Century Fox released in the US a special 4-disc Blu-ray and DVD combo set, with both Todd-AO and CinemaScope 35 versions. The Todd-AO version was superior in definition to the Cinemascope version in this release.

Streaming
In 2021, it was announced that the film will stream on Disney+ beginning April 30, 2021, following the acquisition of 21st Century Fox by The Walt Disney Company. The Todd-AO version was used on the app.
In 2022, it was announced that the film will stream on the Criterion Channel starting January 2023.

Awards and nominations

Musical numbers
 "Overture" – Orchestra (played before the film actually begins)
 "Main Title" – Orchestra (played over the opening credits)
 "Oh, What a Beautiful Mornin'" – Curly
 "Laurey's Entrance" ("Oh, What a Beautiful Mornin'") – Laurey
 "The Surrey with the Fringe on Top" – Curly
 "The Surrey with the Fringe on Top" (Reprise) – Curly
 "Kansas City" – Will, Aunt Eller, Male Ensemble
 "I Cain't Say No" – Ado Annie
 "I Cain't Say No" (Reprise) – Will and Ado Annie
 "Entrance of Ensemble" ("Oh What a Beautiful Mornin'") – Curly, Gertie, and Ensemble
 "Many a New Day" – Laurey and Female Ensemble
 "People Will Say We're in Love" – Curly and Laurey
 "Pore Jud Is Daid" – Curly and Jud
 "Out of My Dreams" – Laurey and Female Ensemble
 "Dream Ballet" – Ensemble
 "Entr'acte" – Orchestra
 "The Farmer and the Cowman" – Carnes, Aunt Eller, Ike Skidmore, Ensemble
 "All Er Nuthin'" – Will and Ado Annie
 "People Will Say We're in Love" (Reprise) – Curly and Laurey
 "Oklahoma" – Curly and Ensemble
 "Finale Ultimo" ("Oh What a Beautiful Mornin'") – Ensemble
 "Exit Music" ("Oklahoma" (Instrumental Reprise)) – Orchestra
 "Exit Music #2" ("People Will Say We're in Love" (Instrumental Reprise)) – Orchestra

Trivia about actors and Todd-AO process

 Gordon MacRae and Shirley Jones would star together again in the 1956 film adaptation of Rodgers and Hammerstein's Carousel.
 Marc Platt, who danced the role of Dream Curly in the original 1943 Broadway stage production of Oklahoma!, also appeared in the 1955 film version in a dancing and speaking role as a cowboy friend of Curly's.  He is the cowboy friend who buys Curly's saddle for $10 at the auction—and who also comments that, the previous year, Ado Annie's sweet potato pie gave him a "three-day bellyache" (Platt is credited in the cast list of the film as a dancer).
 Besides Platt, dancer Bambi Linn, who portrays the role of "Dream Laurey" in the film, had also been a member of the original Broadway cast, in a role alternately called Aggie, "Pigtails", or simply The Child.  She was sixteen years old.
 Magna Corporation, creators and licensors of the Todd-AO widescreen process, offered Rodgers and Hammerstein a substantial stake in the company to secure their cooperation. This explains why a later Rodgers and Hammerstein film, South Pacific (1958) was also photographed in Todd-AO.  The Sound of Music (1965) was photographed in Todd-AO as well; however, before the film went before the cameras, 20th Century Fox, the studio that produced The Sound of Music, purchased the Todd-AO process from Mike Todd.
 Southern Pacific 1673 was painted up and outfitted with turn of the century colors and equipment for the "Kansas City" number. The locomotive was retired in 1955 and given as a gift to the city of Tucson, Arizona where it can be seen on display at the historic depot.

See also
 List of American films of 1955

 Oklahoma! (soundtrack)
 Green Grow the Lilacs (1931 play)

References

Sources

External links

 Oklahoma! essay by Phil Hall on the National Film Registry website

 Oklahoma! essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 , pages 504-505

1955 films
1955 musical films
American musical films
Oklahoma!
Films directed by Fred Zinnemann
Films set in Oklahoma
Films shot in Arizona
Films shot in Los Angeles County, California
Films shot in Oklahoma
United States National Film Registry films
Films that won the Best Original Score Academy Award
Films that won the Best Sound Mixing Academy Award
Films based on musicals
Films scored by Adolph Deutsch
Films with screenplays by William Ludwig
Films with screenplays by Sonya Levien
Films based on adaptations
CinemaScope films
1950s English-language films
1950s American films
English-language musical films

Oklahoma! (1955 film)


Tyndall Glacier or Geike Glacier is one of the largest glaciers in the Southern Patagonian Ice Field. It is located in the Torres del Paine National Park, Chile. The glacier has its main calving front in Geikie Lake and like its neighbor, Grey Glacier, it has been significantly retreating for the last years. The glacier is named after the Irish glaciologist John Tyndall.

References

 Tyndall Glacier at the NASA Earth Observatory

Glaciers of Magallanes Region
Torres del Paine National Park

Tyndall Glacier (Chile)


Valentine Morris (27 October 1727 – 26 August 1789) was a British landowner and politician, responsible for developing the picturesque woodland walks at Piercefield in the Wye Valley, and the Governor of St. Vincent from 1772 to 1779.

Life

Born in Antigua, in the West Indies, Valentine Morris was the son of Colonel Valentine Morris (c. 1678–1743), a sugar plantation owner and merchant who claimed descent from the Walter family of Monmouthshire and who, in 1740, bought Piercefield House near Chepstow.

On his father's death, the younger Valentine Morris, who was then attending school in London, inherited Piercefield. In 1748 he married Mary Mordaunt, a niece of the third Earl of Peterborough, and began living at Piercefield with his family in 1753.  Morris added to the magnificent splendour of the estate and its setting, by landscaping the parkland, with the help of Richard Owen Cambridge, in the fashionable style of Capability Brown.  At a time when tourism in the Wye valley was starting to become popular, Piercefield was developed into a park of national reputation, as one of the earliest examples of Picturesque landscaping.  Morris laid out walks through the woodland and included a grotto, druid's temple, bathing house and giant's cave. He also developed viewpoints along the clifftop above the River Wye, and opened the park up to visitors. One of the many tourists to marvel at this view was the poet Coleridge, who wrote: "Oh what a godly scene....The whole world seemed imaged in its vast circumference."

Morris was strongly in favour of road improvement, and promoted the first Turnpike Bill in Monmouthshire, enacted in 1755 (28 Geo. 2. c. 31).  He gave evidence to the House of Commons that there were no roads in Monmouthshire and, when asked how people travelled, replied: "We travel in ditches." As trustee of several turnpike trusts, he was responsible for maintaining and improving the roads from Chepstow to Raglan, Woolaston, and Beachley, often against the wishes of the local gentry who owned the land through which improvements were made. He was responsible for ensuring the building of over 300 miles of turnpike roads in Monmouthshire and Gloucestershire during the 1760s. As a magistrate, he also imposed standardised weights and measures in trading, for the first time in the area .

However, Morris' personal generosity and his gambling, business and political dealings took him into financial difficulty. In 1771, Thomas Morgan, MP for Monmouthshire and a member of the powerful Morgan family of Tredegar House, died, and Morris resolved to stand in the by-election against Thomas' brother, John. A contested election was highly unusual at the time, and the Morgans attacked Morris as an outsider, a Creole, and a slaveowner.  For his part, Morris appealed to the "honest unbiassed men" of Monmouthshire to "shake off all shackles, assert your independency, and once in your life have courage to dare elect the man of your choice". Morris lost the election, by 535 votes to Morgan's 743.

After failing to be elected, Morris was forced by both political and financial pressures to set sail for his estates in Antigua.  In 1772 he became Governor of the island of St. Vincent's (as it was then known), which had been taken from France by the Treaty of Paris in 1763.  According to an 1801 memoir of Morris by William Coxe, while there he "laboured with so much zeal and activity in promoting the cultivation of the island, that he almost made of it another Piercefield."  He helped defend it at his own expense against the French, but, in 1779, negotiated its surrender to French forces. He later brought charges against the American-born military commander of the island, Lt. Colonel George Etherington, on the grounds of "neglect of duty and ... improper behaviour in the face of the enemy." However, Etherington was acquitted and recent research has suggested that Morris may have been motivated by vindictiveness against him.

By now reduced to poverty, he returned to London.  His wife had attempted suicide and been confined to a madhouse. He was imprisoned for debt, surrendered his estates in the West Indies, and had to sell Piercefield in 1784.  He died in London in 1789, aged 61.

References

1727 births
1789 deaths
Black British history
Governors of British Saint Vincent and the Grenadines
People from Chepstow
Merchants from the British West Indies

Valentine Morris


A trade agreement (also known as trade pact) is a wide ranging tax, tariff and trade treaty  that often includes investment guarantees. The most common trade agreements are of the preferential and free trade types are concluded in order to reduce (or eliminate) tariffs, quotas and other trade restrictions on items traded between the signatories.

Classification of trade pacts

By number and type of signatories
A trade agreement is classified as bilateral (BTA) when signed between two sides, where each side could be a country (or other customs territory), a trade bloc or an informal group of countries (or other customs territories). A trade agreement signed between more than two sides (typically neighboring or in the same region) is classified as multilateral.

By sophistication

There are a variety of trade agreements; with some being quite complex (European Union), while others are less intensive (North American Free Trade Agreement). The resulting level of economic integration depends on the specific type of trade pacts and policies adopted by the trade bloc:

Separate
 Trade and Investment Framework Agreement (TIFA)
 Bilateral Investment Treaty (BIT)
 Preferential Trade Arrangement (PTA) - limited scope and depth of tariffs reduction between the customs territories.
 Free Trade Agreement establishing a Free Trade Area (FTA) - extensive reduction or elimination of tariffs on substantially all trade allowing for the free movement of goods and in more advanced agreements also reduction of restrictions on investment and establishment allowing for the free movement of capital and free movement of services
 Common market - FTA with significantly reduced or eliminated restrictions on the freedom of movement of all factors of production, including free movement of labour and of enterprise; and coordination in economic policy
 Currency union - sharing the same currency
Composite
 Customs union - FTA with common external tariffs of all signatories in respect to non-signatory countries
 Customs and monetary union - Customs union with Currency union
 Economic union - Customs union with Common market
 Economic and monetary union (EMU) - Economic union with Currency Union
 Fiscal Union - common coordination of substantial parts of the fiscal policies (proposed step between EMU and Complete economic integration)

កិច្ចព្រមព្រៀងពិសេស
 World Trade Organization treaty
 agreements in the WTO framework (Textile Agreement and others)
 the now defunct Multilateral Agreement on Investment (in the OECD framework)

By the World Trade Organization
Typically the benefits and obligations of the trade agreements apply only to their signatories.

In the framework of the World Trade Organization a different agreement types are concluded (mostly during new member accessions), whose terms apply to all WTO members on the so-called most-favored basis (MFN), which means that beneficial terms agreed bilaterally with one trading partner will apply also to the rest of the WTO members.

All agreements concluded outside of the WTO framework (and granting additional benefits beyond the WTO MFN level, but applicable only between the signatories and not to the rest of the WTO members) are called preferential by the WTO. According to WTO rules these agreements are subject to certain requirements such as notification to the WTO and general reciprocity (the preferences should apply equally to each of the signatories of the agreement) where unilateral preferences (some of the signatories gain preferential access to the market of the other signatories, without lowering their own tariffs) are allowed only under exceptional circumstances and as temporary measure.

The trade agreements called preferential by the WTO are also known as regional (RTA), despite not necessarily concluded by countries within a certain region. There are currently 205 agreements in force as of July 2007. Over 300 have been reported to the WTO. The number of FTA has increased significantly over the last decade. Between 1948 to 1994, the General Agreement on Tariffs and Trade (GATT), the predecessor to the WTO, received 124 notifications. Since 1995 over 300 trade agreements have been enacted.

The WTO is further classifying these agreements in the following types:
Goods covering:
basic preferential trade agreement (a.k.a. partial scope agreement)
free trade agreement
customs union
Services covering:
Economic Integration Agreement - any agreement, including a basic PTA, that covers also services

ប្រតិកម្ម
Trade pacts are frequently politically contentious since they may change economic customs and deepen interdependence with trade partners. Increasing efficiency through "free trade" is a common goal. For the most part, governments are supportive of further trade agreements.

There have been however some concerns expressed by the WTO. According to Pascal Lamy, Director-General of the WTO, the proliferation of RTA "...is breeding concern — concern about incoherence, confusion, exponential increase of costs for business, unpredictability and even unfairness in trade relations."  The position of the WTO is that while the typical trade agreements (called preferential or regional by the WTO) are useful to a degree, it is much more beneficial to focus on global agreements in the WTO framework such as the negotiations of the current Doha round.

The anti-globalization movement opposes such agreements almost by definition, but some groups normally allied within that movement, e.g. green parties, seek fair trade or safe trade provisions that moderate what they perceive to be the ill effects of globalization.

មើលផងដែរ
Trade and development
Trade creation
Permanent Normal Trade Relations (PNTR)

Lists:
List of international trade topics
List of free trade agreements
List of trade blocs

ឯកសារយោង

ពាណិជ្ជកម្មអន្តរជាតិ

កិច្ចព្រមព្រៀងពាណិជ្ជកម្ម


The fungi imperfecti or imperfect fungi, also known as Deuteromycota, is a type of fungi. It is not a taxonomic category: they are linked only by their asexuality. The taxonomy of fungi is either based on morphological characteristics (what they look like), or that of biological species. Fungi imperfecti do not fit well into these schemes.

Deueromycota literally means "second fungi", and was once a phylum within the fungi. The fungi in deuteromycota reproduce asexually, or vegetatively: sexual reproduction has never been observed in these species. The term is now used only informally for species of fungi that are asexually reproducing members of the fungal phyla Ascomycota and Basidiomycota.

There are about 25,000 species that have been classified in the deuteromycota and many are basidiomycota or ascomycota. Fungi producing the antibiotic penicillin and those that cause athlete's foot and yeast infections are imperfect fungi. In addition, there are a number of edible imperfect fungi, including the ones that provide the distinctive characteristics of Roquefort and Camembert cheese. Some fungi which are used to develop immunosuppressant drugs, are imperfect fungi. Other imperfect fungi are used for insect pest control.

Other, more informal, names besides Deuteromycota ("Deuteromycetes") and fungi imperfecti, are  anamorphic fungi, or mitosporic fungi. None of these names are terms of taxonomic rank. They are convenience terms.

Fungi

Fungi imperfecti


Kababir (; ) is a mixed neighbourhood with a majority of Ahmadi Muslim Arabs and a significant minority of Jews in Haifa, Israel.

History
The Ahmadiyya Muslim Community was founded in the 19th century, originating in India and settled in Kababir. Most of the families who were displaced to Kababir are originally from the village of Ni'lin near Jerusalem. One of the biggest and most well known family is the Odeh's family. They built the neighbourhood's first mosque on Mount Carmel in 1931, and a larger grand mosque in the 1980s. Also the Shambor family is one of the biggest in neighborhood. The Mosque is named after the second Ahmadi Khalifa Mirza Basheer-ud-Din Mahmood Ahmad. The grand mosque has two white minarets standing 34 metres tall, which dominate the low-rise skyline of the residential neighbourhoods on the ridges nearby. In the beginning, the neighbourhood was managed as a commune in which every working male contributed a fee to a mutual account. Some of the men joined the Turkish army, while some worked in the oil refinery in the city of Haifa. Others worked building the Port of Haifa.

See also
Ahmadiyya in Israel
Mahmood Mosque (Kababir)

References

Neighborhoods of Haifa
Ahmadiyya places

Kababir


Henry Dreyfuss Brant (September 15, 1913 – April 26, 2008) was a Canadian-born American composer. An expert orchestrator with a flair for experimentation, many of Brant's works featured spatialization techniques.

Biography

Brant was born in Montreal, to American parents (his father was a violinist), in 1913. Something of a child prodigy, he began composing at the age of eight, and studied first at the McGill Conservatorium (1926–29) and then in New York City (1929–34). He played violin, flute, tin whistle, piano, organ, and percussion at a professional level and was fluent with the playing techniques for all of the standard orchestral instruments.

As a 19-year-old, Brant was the youngest composer included in Henry Cowell's landmark book from 1933, American Composers on American Music; and Cowell realized that Brant had already demonstrated an early identification with the American experimental musical tradition. He was represented in Cowell's anthology by an essay on oblique harmony, an idea which presaged some of the techniques used in his mature spatial compositions.

Thereafter Brant composed, orchestrated, and conducted for radio, film, ballet, and jazz groups. The stylistic diversity of these early professional experiences would also eventually contribute to the manner of his mature output. Starting in the late 1940s, he taught at Columbia University, the Juilliard School and, for 24 years, Bennington College.

During the mid-1950s Brant came to the conclusion that (as he himself put it) "single-style music … could no longer evoke the new stresses, layered insanities, and multi-directional assaults of contemporary life on the spirit." In pursuit of an optimal framework for the presentation of a music which embraced such a simultaneity of musical textures and styles, Brant made a series of experiments and compositions exploring the potential for the physical position of sounds in space to be used as an essential compositional element.

As well as producing works for the concert hall, Brant worked as an orchestrator for many Hollywood productions, including the Elizabeth Taylor movie Cleopatra (1963), one of many collaborations with composer Alex North. Brant helped with the orchestration of North's score for 2001, and due to North's stress-induced muscle spasms, Brant had to conduct the recording session for the film score. Other composers whom he assisted as orchestrator included Virgil Thomson, Aaron Copland, George Antheil, Douglas Moore, and Gordon Parks. Brant's work as an orchestrator was not limited to film and stage: his long-term affinity for the music of Charles Ives — whose The Unanswered Question was an acknowledged inspiration for Brant's spatial music — was ultimately found in the premiere of Brant's arrangement of Ives' Second Piano Sonata, "Concord, Mass 1840–60" as A Concord Symphony in 1996. A Concord Symphony was recorded by the San Francisco Symphony on its SFS Media label.

From 1981, Brant made his home in Santa Barbara, California. There he died on April 26, 2008, at the age of 94.

Music

Beginning with the 1953 score Rural Antiphonies (predating Stockhausen's Gruppen of 1955–57 but coming thirty-five years after Charles Ives's Fourth Symphony of 1912–18 and Rued Langgaard's Music of the Spheres of 1916–18), Brant developed the concept of spatial music, in which the location of instruments and/or voices in physical space is a significant compositional element. He identified the origins of the concept in the antiphonal music of the late renaissance and early baroque, in the antiphonal use of four brass ensembles placed in the corners of the stage in the Requiem of Hector Berlioz and, most importantly, in works of Charles Ives, in particular The Unanswered Question. Henry Brant was America's foremost composer of acoustic spatial music. The planned positioning of performers throughout the hall, as well as on stage, was an essential factor in his composing scheme and a point of departure for a radically expanded range and intensity of musical expression. Brant's mastery of spatial composing technique enabled him to write textures of unprecedented polyphonic and/or polystylistic complexity while providing maximum resonance in the hall and increased clarity of musical detail for the listener. His catalogue comprises over 100 spatial works.

In keeping with Brant's belief that music can be as complex and contradictory as everyday life, his larger works often employ multiple, contrasting performing forces, as in Meteor Farm (1982) for symphony orchestra, large jazz band, two choruses, West African drum ensemble and chorus, South Indian soloists, large Javanese Gamelan ensemble, percussion orchestra and two Western solo sopranos. Brant's spatial experiments convinced him that space exerts specific influences on harmony, polyphony, texture and timbre. He regarded space as music's "fourth dimension," (after pitch, time and timbre). Brant experimented with new combinations of acoustic timbres, even creating entire works for instrumental family groups of a single timbre: Orbits for 80 trombones, organ and sopranino voice, Ghosts & Gargoyles for 9 flutes, and others for multiple trumpets and guitars. This predilection for ensembles of a single tone quality dates from Angels and Devils (1932) for an ensemble of 11 flutes. His experimentation was not always successful however. His 1972 piece Immortal Combat staged outside Lincoln Center was drowned out by traffic noise and a thunderstorm. With the exception of pieces composed for recorded media (in which he used over-dubbing or acoustical sound sources), Brant did not use electronic materials or permit amplification in his music.

He is perhaps best known for his compositions Verticals Ascending (conceptually based on the architecture of the Watts Towers in Los Angeles) and Horizontals Extending. A "spatial opera", The Grand Universal Circus (Libretto: Patricia Gorman Brant) was premiered in 1956. Brant won the Pulitzer Prize for Music in 2002 for his composition Ice Field. In addition to composing, he played the violin, flute, tin whistle, percussion, piano, and organ and frequently included soloistic parts in his large works for himself to play.

Later premieres included Wind, Water, Clouds & Fire, for 4 choirs and instrumentalists, commissioned by Present Music and premiered on November 19, 2004, at The Cathedral of St. John the Evangelist, Milwaukee, Wisconsin. Tremors, for 4 singers and 16 instrumentalists, commissioned by the Getty Research Institute, premiered on June 4, 2004, at the Getty Center in Los Angeles. Tremors was repeated in a Green Umbrella concert at LA's Walt Disney Concert Hall on November 1, 2004. Ghosts & Gargoyles, a concerto for flute solo with flute orchestra, for New Music Concerts, Toronto had its premiere on May 26, 2002. Ice Field, for large orchestral groups and organ, was commissioned by Other Minds for a December 2001 premiere by the San Francisco Symphony.

Brant's handbook for orchestration, Textures and Timbres, was published posthumously.

Orchestra/chamber orchestra
An Adventure
Ballad (The Half Songs)
Decision
Dedication in Memory of a Great Man
Downtown Suite
Symphony in B-flat (The Nineteen-Thirties)
Symphony No. 2 (Promised Land)
Variations on a Canadian Theme
Whoopee in D (1972)
Whoopee in D major: (Overture for a Fine Orchestra)

Solo instrument with orchestra/chamber orchestra
Concerto for Clarinet and Orchestra
Concerto for Saxophone and Orchestra
Fantasy and Caprice, for violin and orchestra
Concerto for Alto Sax and Orchestra (1941)
Concerto for Alto Saxophone Solo Or Trumpet Solo (1996)

String orchestra
Saraband
Two Choral Preludes
Two Lyric Interludes

Band/wind ensemble
Millennium I
Signs and Alarms
Street Music (Three Places in Montreal)
Whoopee in D major

Solo instrument with band/wind ensemble
Concerto for Alto Sax or Trumpet with Nine Instruments
Concerto for Clarinet and Dance (Jazz) Orchestra
Statesmen in Jazz: Three Portraits

Solo instrument with chamber ensemble
Violin Concerto with Lights

Vocal quartet with chamber ensemble
Four Skeleton Pieces
The Scientific Creation of the World

Chamber music

With soloist
Divinity, with solo harpsichord
Feuerwerk, with solo female speaker
Newsflash, with narrator
Piri

Two instruments
Ballad, for violin and piano
Duo, for cello and piano
Partita, for flute and piano
Two Rush Hours in Manhattan, for violin and piano

Three instruments
Ice Age, for clarinet, glockenspiel, and piano (1954)
Imaginary Ballet, for piccolo, cello, and piano
Music for a Five and Dime
Strength through Joy in Dresden: Introduction and Coda to a Theater Piece

Four instruments
Conversations in an Unknown Tongue
Four Mountains in the Amstel
Fourscore
From Bach's Menagerie
Funeral Music for the Mass Dead
Galaxy I
Handorgan Music (1933 Version)
Handorgan Music (1984 Version)
A Requiem in Summer
Variations on a Theme by Robert Schumann

Five to nine instruments
All Souls Carnival
American Commencement
Aria with Thirty Variations
Galaxy II
Hieroglyphics II
Kitchen Music
The Marx Brothers
A Requiem in Summer
Stresses

Percussion ensemble
Origins (Symphony for Percussion)

A cappella chorus
December Madrigal
Peace Music for U.N. Day
The Three-Way Canon Blues

Two pianos
Four Choral Preludes
Toccata on "Wachet Auf"

Solo instrument
The Big Haul, for cello
Confusion in the Salon, for piano
Country Tunes in Jazz, for piano
Four Traumatics, for piano
Mobiles 1, for flute
Oases, for cello
Two Conclusions, for piano
Two Sarabandes, for keyboard instrument

Spatial works
Orbits: A Spatial Symphonic Ritual (for 80 trombones, organ and sopranino voice) (1979)
Autumn Hurricanes, A Spatial Cantata for Widely Separated Vocal and Instrumental Groups (1986)

Orchestra/chamber orchestra
Antiphony I
Antiphony I (chamber version)
Antiphony One
Curriculum ll: Spatial Tone Poem
Desert Forests (2000)
Ice Field
On the Nature of Things (1956)
Plowshares and Swords
Prisons of the Mind
Trinity of Spheres

Awards
A member of the American Academy of Arts and Letters, Brant was awarded the 2002 Pulitzer Prize in Music for Ice Field (2001), commissioned by Other Minds and premiered by the San Francisco Symphony under the direction of Michael Tilson Thomas. He received two Guggenheim Fellowships and was the first American composer to win the Prix Italia. Among other honors were Ford Foundation, Fromm Foundation, National Endowment for the Arts and Koussevitzky awards and the American Music Center's Letter of Distinction. In conjunction with Brant's 85th birthday concert, Wesleyan University conferred upon him the honorary degree of Doctor of Fine Arts (1998). The Paul Sacher Foundation in Basel acquired Brant's complete archive of original manuscripts, including over 300 works, in 1998.

References

External links
Henry Brant's page at Carl Fischer
Henry Brant's Home Page
Henry Brant Tribute by Samara Rainey, WMJ Issue 3, Article 13
OtherMinds.org: Charles Amirkhanian Interviews Henry Brant
MusicMavericks.PublicRadio.org: An interview with Henry Brant by Alan Baker, Minnesota Public Radio, June 2002
Art of the States: Henry Brant two works by the composer
The Henry Brant Collection on innova
San Francisco Chronicle obituary for Brant
Obituary from the Washington Post

1913 births
2008 deaths
20th-century classical composers
21st-century classical composers
American experimental musicians
American male classical composers
American classical composers
Bennington College faculty
Canadian classical composers
Canadian experimental musicians
Juilliard School faculty
Members of the American Academy of Arts and Letters
Pulitzer Prize for Music winners
Pupils of George Antheil
Pupils of Wallingford Riegger
21st-century American composers
20th-century Canadian composers
20th-century American composers
20th-century American male musicians
21st-century American male musicians
Canadian emigrants to the United States

Henry Brant


Network Analysis and Ethnographic Problems: Process Models of a Turkish Nomad Clan is an anthropological and complexity science book by social anthropologists Douglas R. White, University of California, Irvine, and Ulla Johansen of the University of Cologne. It is considered an important publication in anthropology and the political science of Central Asia.

The breakthrough is to code and portray the data of a longitudinal ethnography of a given people as a complex interactive system, in this case from an ethnogenesis in the late 18th century in Turkey to the present date, based on the detailed genealogies and chronicles recorded in fieldwork carried out between 1956 and 2004 recorded by ethnographer Ulla Johansen. The analysis of these data provides for an account of social dynamics relevant to many parts of the Middle East.

Synopsis
The basis for the book is the complete genealogical network for a nomad community, its history, and its migrants and migrations. These form a relational web not just for description but for analysis of social dynamics. The picture that emerges is one of a complexly scalable social system that expands through reproduction, kinship alliances, and fissions, and overcomes internal conflicts and those with neighbors along routes of migration. These networks constitute a generative demographic engine for health, a potential for large sibling groups, and for extensive cooperation within and between these groups constructed through reciprocal ties of marriage. The book is lavishly illustrated with photos, network diagrams, and analytical tables showing how very simple principles of cohesion and scalable alliances between families are able to organize this social system through a series of shifting articulations at a variety of social and spatial levels. Thus continual reshuffling is capable of moving, and does move individuals and groups in the society through a variety of transformations in relation to life problems, social problems, technological problems, and the transmission and enrichment of a highly complex cultural system. The book shows how these adjust dynamically to changing social conditions.

Pedagogy
This book makes major methodological, substantive, and theoretical advances for the disciplines of ethnography, social anthropology, and social history; and marks some new understandings of several of the many forms of social complexity. No previous work has been able to connect dynamical historic and social network analysis with changes that can be visualized and analyzed through time in terms of structure, interaction, and social change, using the actual concrete data of the ethnography, person by person, relation by relation, group by group, change by change. This is a level of integration hitherto never achieved in anthropology. It builds on a methodology for analysis of structural changes that was developed by the lead author. Douglas R. White had previously developed new concepts and measures for the study of social cohesion, starting first with cohesion in kinship ties (structural endogamy) and then progressing to structural cohesion generally, which has since become one of the many major tools of network analysis.

If the book combines complexity theory following lines of thought at the Santa Fe Institute with a contribution to understanding of Middle Eastern social structure, it is through combining network visualization and analysis with the study of the dynamics of marriage choices. The book expands the theory of social practice to show how changes in the structure of a society's kinship network affect the development of social cohesion over time. By rigorously examining the genealogical networks of the Turkish nomad clan and associated clans that are studied, the authors explore how changes in network cohesion are indicative of key processes of social change. This approach alters in fundamental ways the anthropological concepts of social structure, organizational dynamics, social cohesion, marriage strategies, as well as the study of community politics within the dynamics of ongoing personal interaction.

See also
Network science
Social network analysis
Social complexity

References
Network Analysis and Ethnographic Problems: Process Models of a Turkish Nomad Clan, Lexington Books 2006 paper 2004 hardback, Douglas R. White and Ulla C. Johansen.
InterSciWiki: Network Analysis and Ethnographic Problems, an extended synopsis of the book.
Collaborative Long-Term Ethnography and Longitudinal Social Analysis of a Nomadic Clan In Southeastern Turkey, 2002 Ulla Johansen and Douglas R. White, Chapter 4, pp. 81–99, in Chronicling Cultures: Long-Term Field Research in Anthropology, edited by Robert van Kemper and Anya Royce. AltaMira Press.
The Navigability of Strong Ties: Small Worlds, Tie Strength and Network Topology, in Networks and Complexity Special Issue, Complexity 8(1):72-81. 2002. Douglas R. White and Michael Houseman.

References and footnotes

External links
Turkish Aydinli Nomads Study Photos
color figures from Network Analysis and Ethnographic Problems
Book Contents

Anthropology books
Sociology books
Political science books
2004 non-fiction books