In the mathematical field of graph theory, the Coxeter graph is a 3-regular graph with 28 vertices and 42 edges. It is one of the 13 known cubic distance-regular graphs. It is named after Harold Scott MacDonald Coxeter.

Properties
The Coxeter graph has chromatic number 3, chromatic index 3, radius 4, diameter 4 and girth 7. It is also a 3-vertex-connected graph and a 3-edge-connected graph. It has book thickness 3 and queue number 2.

The Coxeter graph is hypohamiltonian: it does not itself have a Hamiltonian cycle but every graph formed by removing a single vertex from it is Hamiltonian. It has rectilinear crossing number 11, and is the smallest cubic graph with that crossing number .

Construction
The simplest construction of a Coxeter graph is from a Fano plane. Take the 7C3 = 35 possible 3-combinations on 7 objects. Discard the 7 triplets that correspond to the lines of the Fano plane, leaving 28 triplets. Link two triplets if they are disjoint. The result is the Coxeter graph. (See image.) This construction exhibits the Coxeter graph as an induced subgraph of the odd graph O4, also known as the Kneser graph .

The Coxeter graph may also be constructed from the smaller distance-regular Heawood graph by constructing a vertex for each 6-cycle in the Heawood graph and an edge for each disjoint pair of 6-cycles.

The Coxeter graph may be derived from the Hoffman-Singleton graph. Take any vertex v in the Hoffman-Singleton graph. There is an independent set of size 15 that includes v. Delete the 7 neighbors of v, and the whole independent set including v, leaving behind the Coxeter graph.

Algebraic properties
The automorphism group of the Coxeter graph is a group of order 336. It acts transitively on the vertices, on the edges and on the arcs of the graph. Therefore, the Coxeter graph is a symmetric graph. It has automorphisms that take any vertex to any other vertex and any edge to any other edge. According to the Foster census, the Coxeter graph, referenced as F28A, is the only cubic symmetric graph on 28 vertices.

The Coxeter graph is also uniquely determined by its graph spectrum, the set of graph eigenvalues of its adjacency matrix.

As a finite connected vertex-transitive graph that contains no Hamiltonian cycle, the Coxeter graph is a counterexample to a variant of the Lovász conjecture, but the canonical formulation of the conjecture asks for an Hamiltonian path and is verified by the Coxeter graph.

Only five examples of vertex-transitive graph with no Hamiltonian cycles are known : the complete graph K2, the Petersen graph, the Coxeter graph and two graphs derived from the Petersen and Coxeter graphs by replacing each vertex with a triangle.

The characteristic polynomial of the Coxeter graph is . It is the only graph with this characteristic polynomial, making it a graph determined by its spectrum.

Gallery

Layouts

These are different representations of the Coxeter graph, using the same vertex labels. There are four colors, and seven vertices of each color.
Each red, green or blue vertex is connected with two vertices of the same color (thin edges forming 7-cycles) and to one white vertex (thick edges).

Properties

References

 Coxeter, H. S. M. "My Graph." Proc. London Math. Soc. 46, 117-136, 1983.

Individual graphs
Regular graphs

Coxeter graph


Christen Dalsgaard  (30 October 1824 – 11 February 1907) was a Danish painter, a late student of Christoffer Wilhelm Eckersberg.

Biography

Early life and education

Christen Dalsgaard was born on 30 October 1824. He was the son of the owner of the estate, Krabbesholm Manor, located near Skive in Jutland. He showed early signs of artistic talent, and received training as a craft painter. In the spring of 1841 Niels Rademacher, a visiting landscape painter, encouraged the young artist and convinced his parents of their son's talent.

Later that year he traveled to Copenhagen and began his art studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in October 1841. In December 1841 he began private studies with painter Martinus Rørbye. These lessons continued until 1847.

In 1843 he began his studies at the academy freehand drawing school, and the following year at the academy plaster school. Home during the summer and holidays, he busied himself by filling sketchbooks with studies of the local landscape, costumes, and way of life. These formed a lifelong basis for his art. He also began collecting local folk costumes, another lifelong interest.

In 1844 Dalsgaard came under the influence of the art historian Niels Lauritz Høyen, who gave a famous lecture titled "On the conditions for the development of a Scandinavian national art" ("Om betingelserne for en skandinavisk nationalkunsts udvikling"). Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist's training). Dalsgaard was a loyal follower of Høyen's artistic ideals, and forwent the customary journey to Italy, choosing rather to concentrate on themes closer to home.

In March 1846 he began studying at the Academy's model school under professors Christoffer Wilhelm Eckersberg, J. L. Lund and Martinus Rørbye. He had his exhibition debut at Charlottenborg in 1847 and continued showing there every year with few exceptions.

An artistic career flourishes
In 1855 he painted his first altarpiece at the church in his hometown of Skive.  He went on to paint a number of other altarpieces in the years to come.

He had his big breakthrough in 1856 with the painting Mormoner på besøg hos en tømrer på landet ("Mormons visit a country carpenter"). The painting, created only six years after the missionaries' arrival in Denmark, is set in the shadowed interior of a provincial cottage. A group of people are gathered around a table, listening to a missionary's message. Light filters in through a small window and an open door. It is a study of contemporary daily life, carefully depicting the interior and costumes of the people in detail.  The painting was donated to the Danish National Gallery (Statens Museum for Kunst) in 1871.

He married Hansine Marie Hansen on 21 August 1857. The newlyweds purchased a house in Frederiksberg. Their circle of social acquaintances included Constantin Hansen, Niels Lauritz Høyen, Wilhelm Marstrand, P.C. Skovgaard, Vilhelm Kyhn, Godtfred Rump, Frederik Vermehren and Julius Exner.

Dalsgaard received the Academy's Neuhausen's prize (Neuhausens præmie) in both 1859 and 1861. He began teaching drawing at Sorø Academy in 1862. Upon being selected, he became a member of the Academy of Art in 1872. He exhibited at the World Exhibition in Paris for the first time in 1878.

He painted his famous painting "I wonder when he will come home" (Mon han dog ikke skulle komme?) in 1879. This painting is typical of his style. The picture features a young woman standing in an open doorway looking off to one side. One foot is on the door frame, and one foot is on the ground outside. The interior is dark and shadowed. The outside is a sunlit agrarian landscape. The title of the painting refers to her inner dialogue.

In 1890 he finished the first of twenty-one small Bible pictures, a project which he continued to work on for the next ten years. He was named a professor at the Academy of Art in 1892, and quit his position at Sorø Academy.

He died on 11 February 1907 in Sorø.

In 1914 the artist's widow contributed a portion of his collection of folk costumes to the National Museum. She died in Sorø on 3 November of that same year. The National Museum acquired the remainder of the collection in 1921.

Works
Christen Dalsgaard, like his contemporaries Julius Exner and Frederik Vermehren, painted primarily genre paintings, national romantic folk scenes rooted in the grasslands of Jutland.  He paid great attention to details – folk costumes, the manners and habits of the people, and architecture and landscape.  He was a storyteller.  His artistic works, as well as those of his contemporaries, opened the way for more realistic paintings in the late 1800s.

A collection of his work can be found at the Skive Art Museum. Other paintings can be found at the National Museum of Denmark in Copenhagen, among other museums.

See also
List of Danish painters

References

External links

 KID Kunst Index Danmark ("Art Index Denmark")
 Danish Biographical Encyclopedia ("Dansk biografisk Leksikion")

1824 births
1907 deaths
19th-century Danish painters
Danish male painters
20th-century Danish painters
Danish romantic painters
People from Skive Municipality
Royal Danish Academy of Fine Arts alumni
Recipients of the Thorvaldsen Medal
19th-century Danish male artists
20th-century Danish male artists

Christen Dalsgaard


Inter pastoralis officii sollicitudines (Latin for "among the concerns of the pastoral office") was a motu proprio issued 22 November 1903 by Pope Pius X that detailed regulations for the performance of music in the Roman Catholic Church. The title is taken from the opening phrase of the document. It begins: "Among the concerns of the pastoral office, ... a leading one is without question that of maintaining and promoting the decorum of the House of God in which the august mysteries of religion are celebrated...." The regulations pointed toward more traditional music and critiqued the turn toward modern, orchestral productions at Mass.

Context
By the late nineteenth century, "operatic Church-music" was dominant in Italy. Churches were known to set Latin texts to such secular favorites as the sextet from Donizetti's Lucia di Lammermoor or the quartet from Verdi's Rigoletto.

A movement for liturgical reform, including scholarship devoted to early Church practice and Gregorian Chant performance, had developed over the course of the nineteenth century. Local jurisdictions implemented changes independent of direction from the Vatican. Earlier in his career Pope Pius taught courses on liturgical music and chant to seminarians. In 1888, as Bishop of Mantua, he removed women from church choirs and ended the use of bands. A few years later as Patriarch of Venice, he ended the use of a popular setting of "Tantum Ergo" and instituted Sunday Vespers chanted by a choir of men and boys. In 1893, when Pope Leo XIII was considering issuing guidance on liturgical music, the future Pius X submitted a 43-page proposal. A section of that document, substantially unchanged, he issued ten years later, less than four months after becoming pope, as Tra le sollecitudini. The new rules were adopted more readily in Italy, where the introduction of secular music had been greatest. The reception of TLS in Belgium was termed a "dead letter" and in France Saint-Saëns sided with its opponents.

Responses to TLS varied with musical tastes, though some pointed to Italy as the proper target of the charge of theatricality. Some Americans protested that the prohibition on women vocalists would simply be ignored, where popular sentiment viewed the choir as an expression of the congregation rather than, as Pius did, as a clerical and therefore exclusively male role.

Pope Pius implemented the principles of TLS in his immediate jurisdiction through the Roman Commission on Sacred Music, which had been established in 1901.

Provisions
TLS reaffirmed the primacy of Gregorian chant, which had largely fallen out of favor, and the superiority of Renaissance polyphony, especially that of Giovanni Pierluigi da Palestrina, over other, later polyphonic music. It recognized that some modern compositions are "of such excellence, sobriety and gravity, that they are in no way unworthy of the liturgical functions", but warned that they needed to be "free from reminiscences of motifs adopted in the theaters, and be not fashioned even in their external forms after the manner of profane pieces". Texts of the variable and common parts of the liturgy should always be in Latin and sung "without alteration or inversion of the words, without undue repetition, without breaking syllables, and always in a manner intelligible to the faithful who listen". It also prohibited female singers and restricted contralto and soprano parts to boys (thus excluding castratos for good), discouraged music with secular influences, and barred the use of piano, percussion, and all other instruments aside from the organ, unless given special permission from a bishop or comparable prelate to use wind instruments.

The failure to allow for strings excluded many classical works composed expressly for liturgical use, including the many settings of the ordinary of the Mass by Haydn and Schubert, Mozart's Requiem, and Beethoven's Missa Solemnis.

In a 2001 address to the members of the Pontifical Institute of Sacred Music, Pope John Paul II echoed Pius' words, that sacred music should be "an integral part of the solemn liturgy, sharing its overall purpose which is the glory of God and the sanctification and edification of the faithful". In 2003, Pope John Paul II marked the centenary of TLS with an essay on liturgical music, underscoring points of agreement and occasionally adjusting its principles.

See also
Mediator Dei 1947 encyclical on liturgy
Liber Usualis 1896 edition of Gregorian chant

References

External links
 Text, Libreria Editrice Vaticana; available in Spanish, Italian, Latin, and Portuguese only.

Catholic music
Documents of Pope Pius X
1903 in Christianity
1903 documents
Motu proprio
Catholic liturgical law

Inter pastoralis officii sollicitudines


Solomon "Sol" Garfunkel born 1943, in Brooklyn, New York, is an American mathematician who has dedicated his career to mathematics education. Since 1980, he has served as the executive director of the award-winning non-profit organization "Consortium for Mathematics and Its Applications", working with teachers, students, and business people to create learning environments where mathematics is used to investigate and model real issues in our world.

Garfunkel is best known for hosting the 1987 PBS series titled "For All Practical Purposes: An Introduction to Contemporary Mathematics", followed by the 1991 series, "Algebra: In Simplest Terms", both often used in classrooms.

Early life
At the age of 24, Garfunkel received his PhD in Mathematical Logic from the University of Wisconsin–Madison. While in attendance he worked with Howard Jerome Keisler, Michael D. Morley, and Stephen Kleene. Garfunkel then worked at Cornell University and the University of Connecticut at Storrs.

Garfunkel continued his work advocating for the improvement of mathematics in public school systems. He coauthored the article "How to Fix Our Math Education" with David Mumford, emeritus professor of mathematics at Brown University. Since published, this article has been credited with successfully bringing new awareness to the topic. The article has become a topic for a vast number of blogs, and has been translated into several languages. Garfunkel has served as project director for several National Science Foundation curriculum projects, and in 2009 was awarded the Glenn Gilbert National Leadership Award from the National Council of Supervisors of Mathematics.

Most recently, Garfunkel co-founded the International Mathematical Modeling Challenge.

References

External links
https://web.archive.org/web/20060902004846/http://itech.fgcu.edu/faculty/fmaa/1998program/plenary.html
http://www.comap.com/product/?idx=746 For All Practical Purposes hosted by Sol
http://www.learner.org/resources/series66.html Algebra Video Course hosted by Sol

1943 births
20th-century American mathematicians
21st-century American mathematicians
American logicians
University of Wisconsin–Madison alumni
Living people

Sol Garfunkel


The German battleship Bismarck was built by Nazi Germany. It was one of the most famous and recognized warships of World War II. It sailed for just one mission, known as Operation "Rheinübung". It was named in honor of the German statesman, Otto von Bismarck.

Its construction began on 1 July 1936 in a shipyard in Hamburg, Germany. The ship was launched on 14 February 1940. The Bismarck class battleship was the largest type of battleship built by any European power. Her sister ship Tirpitz was the second in this class.

Description

The Bismarck and Tirpitz were planned in the mid-1930s by the German Kriegsmarine to counter France and its own naval expansion. Construction began in 1936 and were supposed to fall within the 35,000 long ton limit as imposed by the Washington regime and the Anglo-German Naval Agreement during the Interwar period. Both of them secretly ignored the limits but before it's completion, the agreement and the treaty fell apart due to Japan's withdrawal in 1937. Bismarck weighed 41,700t (long tons) and 50,300 t (49,500 long tons) when fully loaded and had a overall length of 251m (823 ft 6in) which was the largest built than any other European power until HMS Vanguard after the war. Bismarck had a top speed of 30.01 knots (55.58 km/h; 34.53 mph) during trials and had a max distance of 16,430 km (10,210 mi) without refuels. Bismarck had a crew of 2000-2200 and had them divided into twelve divisions of 180-200 per division and half of them were assigned to main and secondary weaponry while the other half were support crew. (Cooks, Radio Operators) The Bismarck had an armament of eight 38 cm (15 in) guns, twelve 15 cm (5.9 in) guns, sixteen 10.5 cm (4.1 in) guns, sixteen 3.7 (1.5 in) guns, and twelve 2 cm (0.79 in) guns. Bismarck's main belt had a thickness of 320mm (12.6 in) and was additionally covered with upper and main armor deck ranging from 50mm to 120mm ( 2in to 4.7in ) while the turret faces were protected by 360mm (14.2 in) fronts while the sides were 220mm (8.7 in) thick.

Operation "Rheinübung"

On 5th May 1941 Hitler started Operation Rheinübung to sever Britain's lifeline which consisted of merchant ships bringing vital supplies such as food and raw materials. If this lifeline was cut  Britain would be forced to either sue for peace, negotiate an armistice or leave the British Isles. The goal of Rheinübung was to break into the Atlantic Ocean and attack allied merchant ships transporting essential goods. German Naval Command (OKM) established a network of tankers and supply ships around the area Bismarck and Prinz Eugen sailed. Britain knew Nazi Germany was going to attack these supply lines and stationed multiple battlecruisers, aircraft carriers, and battleships.

Battle of Denmark Strait
At 05:45 24th of May, German lookouts spotted smoke in the distance which turned out to be from two of the Royal Navy's ships called HMS Hood and HMS Prince of Wales. At 05:52 Hood opened fire at what they thought was Bismarck but instead of Prinz Eugen while Prince of Wales fired on Bismarck. Both Prince of Wales and Hood attacked Bismarck and Prinz Eugen head on only allowing them to use their front guns while Bismarck and Prinz Eugen could fire with all their weaponry. After several minutes of shelling, Hood turned 20° left to use its rear turrets and after a minute of firing, Prinz Eugen scored a hit on Hood causing an ammunition fire which was quickly extinguished. Bismarck fired three salvos which caused it to find the range to Hood and the order to rapid-fire was given. Hood turned 20° to the left again to make itself parallel with Bismarck and Prinz Eugen. Prinz Eugen shifted its fire towards Prince of Wales to keep both British ships under fire and scored a couple of hits on Wales. Prinz Eugen was ordered to move behind Bismarck to keep track of Norfolk and Suffolk. At 06:00 Hood was completing her second turn to the left when Bismarck's salvo hit. Two of the shells landed short while one of the shells struck Hood's thin deck armor and caused 112 t ( 110 long tons ) of  ammo to explode causing Hood to split in half in only eight minutes and only three out of 1149 crew survived. After the sinking of Hood, Bismarck redirected its fire towards Prince of Wales and hit Wales directly in the bridge killing all but 3 officers and was still being fired upon and guns were malfunctioning on the new battleship and after scoring a bunch of ineffective hits on Bismarck, the order was given to retreat at 06:13

Chase
After the engagement, Bismarck's commander reported that Hood sunk and another battleship thinking it was King George V or Renown escaped but was damaged and transmitted a damage report along with his intentions to let Prinz Eugen detach and head to Saint-Nazaire for repairs. Prinz Eugen reported that Bismarck was leaking oil and an hour later a British plane reported the oil slick to Suffolk and Norfolk which was joined by a damaged Prince of Wales. Winston Churchill ordered all ships in the area to join in the pursuit against Prinz Eugen and Bismarck which resulted in six battleships, two battlecruisers, two aircraft carriers, thirteen cruisers, and twenty one destroyers were ordered to hunt down Bismarck and Prinz Eugen. With weather worsening Bismarck's commander attempted to detach Prinz Eugen but the squall wasn't heavy enough to hide her withdrawal from Norfolk and Suffolk which continued to maintain radar contact. Prinz Eugen was successfully detached and Bismarck turned to face Suffolk which forced Suffolk to turn away at high speeds while Prince of Wales fired at Bismarck and received fire back. Although Bismarck had been damaged earlier she was still able to achieve 27-28 knots and was still able to reach Saint-Nazaire unless slowed down. The British sent aircraft carrier Victorious and an additional four light cruisers to have Swordfish torpedo bombers find and engage Bismarck but due to the inexperience of the pilots, they nearly attacked Norfolk and a US Coast Guard USCGC Modoc and alerted Bismarck's anti-aircraft gunners.

References

Warships
Military of Germany

Bismarck (ship)


Nelly Miricioiu (born 31 March 1952) is a Romanian-born British operatic soprano singing a large repertoire ranging from bel canto to verismo.

Biography
Born in Adjud, Romania, Miricioiu started singing at 5 and was hailed as a child prodigy. At 9 she started studying piano and at 14 she won her first singing contest, "Young Talents, Great hopes". At 18 she sang in Pergolesi's La serva padrona and joined the Conservatory of Iași where she continued her studies with Tibi Popovici. In 1972 she was the youngest contestant in the Francisco Vinas Musical Competition in Barcelona and in 1975 she won the first prize at the very first Maria Callas Grand Prix in Athens. More first prizes followed at competitions in Geneva, Paris, Sofia, Oostend.

Miricioiu made her operatic debut in Mozart's The Magic Flute, as the Queen of the Night at Iaşi Romanian Opera, and continued to sing at Brasov Opera House between 1975 and 1978 in roles such as Mimì in La bohème, Micaëla in Carmen and Rosalinde in Die Fledermaus.

In 1981, she left Romania and months later she debuted in Glasgow at the Scottish Opera as Violetta in La traviata; Manon Lescaut and Tosca followed. The following year she made her debut at the Royal Opera House in London as Nedda in Pagliacci, opposite Jon Vickers, Piero Cappuccilli and Thomas Allen. She later appeared as Marguerite in Gounod's Faust, Antonia in The Tales of Hoffmann and Valentine in Les Huguenots. In 1983, she made her debut at La Scala in Milan in the title role of Lucia di Lammermoor, and thereafter appeared at most major opera houses of Europe: Amsterdam, Brussels, Rome, Hamburg, Geneva, Munich, Vienna, Salzburg, Paris, Madrid, Barcelona, earning considerable acclaim for her interpretation of Violetta in La traviata, amongst many other roles such as Mimì in La bohème, Cio-Cio San in Madama Butterfly, Silvana in Respighi's La fiamma, the title role in Cilea's Adriana Lecouvreur and the title role in Zandonai's Francesca da Rimini.

Miricioiu has also appeared in the United States, notably in Washington, D.C., Philadelphia, Dallas, San Francisco, and made her debut at the Metropolitan Opera in New York as Mimì (La bohème) in 1989. She also appeared in South America, notably in Santiago, and the Teatro Colón in Buenos Aires.

In 1992, she sang Amenaide in Rossini's Tancredi to great acclaim in Salzburg, and then began concentrating on the bel canto repertory, singing other Rossinian heroines such as the title roles in Armida, Semiramide, Ermione, as well as Donizetti and Bellini roles, such as in Anna Bolena, Roberto Devereux, Il pirata and Norma.

In 1996, she was trusted with the revival of the now famous Tosca production for Maria Callas at the Royal Opera House.

She began an association with Opera Rara, appearing in long-forgotten works by Rossini and Donizetti but also by composers such as Pacini and Mercadante, both in concerts and recordings, notably Ricciardo e Zoraide, Rosmonda d'Inghilterra, Maria de Rudenz, Pacini's Maria, regina d'Inghilterra, and Mercadante's Orazi e Curiazi and Emma d'Antiocchia.

Her repertory also includes Verdi roles in operas such as Ernani, Luisa Miller, I vespri siciliani, Don Carlo. She has worked with some of the most prestigious conductors and directors, and opposite leading artists of the day, such as José Carreras, Plácido Domingo, José Cura, Roberto Alagna, to name but a few.

Discography

Puccini: Tosca, Naxos
Donizetti: Rosmonda d'Inghilterra, Opera Rara
Donizetti: Roberto Devereux, Opera Rara
Donizetti: Maria de Rudenz, Opera Rara
Rossini: Ricciardo e Zoraide, Opera Rara
Mercadante: Orazi e Curiazi, Opera Rara
Mercadante: Emma d'Antiochia, Opera Rara
Pacini: Maria Regina d'Inghilterra, Opera Rara
Respighi: La fiamma, Agora
Mascagni: Cavalleria rusticana, Chandos
Rossini Gala, Opera Rara
Mercadante Rediscovered, Opera Rara
Donizetti: , Opera Rara
, Opera Rara
Mercadante – , Opera Rara
Rossini: Three Tenors, Opera Rara
Nelly Miricioiu, Etcetera
Nelly Miricioiu – Bel Canto Portrait, Opera Rara
Prinsengracht Concert, Vanguard
Live at the Concertgebouw, Challenge
Recital at Wigmore Hall, Etcetera
Nelly Miricioiu Live in Amsterdam, Vanguard

Awards
 Romanian Royal Family: Knight of the Decoration of Nihil Sine Deo
 Romanian Royal Family: Knight of the Decoration of the Cross of the Romanian Royal House

References

Sources
Forbes, Elizabeth: "Miricioiu, Nelly" in Grove Music Online

External links

, 2006 film by Marilena Rotaru on Rotaru's official YouTube channel

1952 births
Living people
Romanian emigrants to the United Kingdom
English operatic sopranos
People from Adjud
Romanian operatic sopranos
20th-century Romanian women opera singers
20th-century British women opera singers

Nelly Miricioiu


The Japanese kickboxing is called in English oriental kickboxing. According to certain people, the word "kickboxing" would have been invented, in Japan, in the years 1950 by experts of karate who needed to fight with total contact.

In the year 1958, a man who practised kickboxing is the student of oriental languages, the Burmese Maung Gyi who studied martial arts from experts of bando in Burma and also from Gogen Yamaguchi - the grand person with special skill of karate, called "the cat". Maung Gyi fights in Japan under different names and makes the Burmese boxing (lethwei) known in time when the competitions of Japanese kickboxing happened.

Writings of the subject
  Alain Delmas, 1. Dictionnaire encyclopédique de la boxe et des autres boxes, Amiens, 1981-2005 - 2. Lexique de combatique, Ligue Midi-Pyrénées, Toulouse, 1975

Other websites
  "A History of Kickboxing"  by Mikes Miles historian of the American kickboxing

Kickboxing

en:Kickboxing#Japanese

Japanese kickboxing


The Ketchikan Daily News is the primary daily newspaper for Ketchikan, Alaska, founded in 1934.

Lew Williams, Jr., who became the paper's managing editor in 1966, was well known in Alaska as an opinion columnist. Originally appearing mainly in the Anchorage Times, his columns were regularly published in many Alaskan newspapers up until his death.  His children (including Lew Williams III, the mayor of Ketchikan 1990 - 2018)

Content
The Ketchikan Daily News is usually made up of one section including Local, Alaska, Opinion, Sports, Entertainment, Nation, and World pages in its Monday, Tuesday, Thursday and Friday editions. The Wednesday edition includes a "B" section usually titled "Education." The Weekend Edition covering Saturday and Sunday has a B section titled "Waterfront" along with Sunday Comics and a "Local Scene" supplement that contains book and movie reviews and occasionally an article on coming performances or art events.

External links

1934 establishments in Alaska
Daily newspapers published in the United States
Ketchikan, Alaska
Newspapers published in Alaska
Newspapers established in 1934

Ketchikan Daily News


The United Nations Standard Products and Services Code (UNSPSC) is a taxonomy of products and services for use in eCommerce.  It is a four-level hierarchy coded as an eight-digit number, with an optional fifth level adding two more digits.

The latest release (August 14, 2023) of the code set is 26.0801.

The third newest UNv240301 release contains 740 changes to the previous UNSPSC version UNv23.0701 which are 721 new items added, 12 existing items edited, 6 existing items moved, and 1 existing item deleted. The new UNv24.0301 release contains 157,116 total items.

The changes include a new Segment 57000000 -Humanitarian Relief Items, Kits, or Accessories, requested by United Nation Global Marketplace (UNGM); additional codes were added to support the United States Department of Agriculture (USDA) in is effort to the Specialty Crops Inspection at the U.S. border.

The UNSPSC competes with a number of other product and commodity coding schemes, including the European Union's Common Procurement Vocabulary, ECLASS, and GS1's Global Product Classification.

History
The UNSPSC was organized upon the signature of a Memorandum of Understanding signed on September 29, 1998, by John S. Svendsen, the director of the Inter-agency Procurement Services Office (IAPSO) of the United Nations Development Programme (UNDP) and on November 1, 1998, by Lawrence M. Barth, a Vice President of the Dun & Bradstreet Corporation. The development of the first version was overseen by Peter R. Benson, who was also responsible for the design and development of the code management procedure as a modification of the Delphi statistical forecasting method. The process allowed for the rapid development of consensus without dominance or influence.

The ECCMA, a non-profit membership association, was formed in 1999 to manage and promote the UNSPSC until March 2003, with the release of version 6.0315. The UNDP then appointed GS1 US as code manager in May 2003 and ECCMA develops the ECCMA Open Technical Dictionary (eOTD) and the international standards ISO 22745 and ISO 8000.

Description
The four primary levels of the code are: Segment, Family, Class and Commodity.

Each level is coded in two decimal digits, with '00' treated specially to give segments, families and classes their own eight-digit codes.

Thus 'Cats' are coded as 10101501, 'Dogs' are coded as 10101502 and 'Cattle' as 10101516.  The class of 'Livestock' is 10101500; the family of 'Live animals' is 10100000, and all in the segment 10000000 of 'Live Plant and Animal Material and Accessories and Supplies'.

Optionally, a further two digits can be added for the business function, such as 'retail' or wholesale.

Governance
The UNSPSC was jointly developed by the United Nations Development Programme (UNDP) and Dun & Bradstreet in 1998 and is currently managed by GS1 US, which is responsible for overseeing code change requests, revising the codes and issuing regularly scheduled updates to the code, as well as managing special projects and initiatives.

Availability and languages
The codeset is available in English, French, German, Spanish, Italian, Japanese, Korean, Dutch, Mandarin Chinese, Portuguese, Danish, Norwegian, Swedish, and Hungarian. The latest PDF version of the codeset is available for download at no cost, though a user account is required and can be created (also at no cost). A version in Microsoft Excel format is available to members, who can also request changes and suggest additions to the code.

See also

Notes

External links

Dun & Bradstreet
Product classifications
Identifiers
United Nations Development Programme

UNSPSC


The gittern was a relatively small gut-strung, round-backed instrument that first appears in literature and pictorial representation during the 13th century in Western Europe (Iberian Peninsula, Italy, France, England). It is usually depicted played with a quill plectrum, as can be seen clearly beginning in manuscript illuminations from the thirteenth century. It was also called the  in Spain,  or  in France, the  in Italy and  in Germany. A popular instrument with court musicians, minstrels, and amateurs, the gittern is considered an ancestor of the modern guitar and other instruments like the mandore, bandurria and gallichon.

From the early 16th century, a -shaped (flat-backed)  began to appear in Spain, and later in France, existing alongside the gittern. Although the round-backed instrument appears to have lost ground to the new form which gradually developed into the guitar familiar today, the influence of the earlier style continued. Examples of lutes converted into guitars exist in several museums, while purpose-built instruments like the gallichon utilised the tuning and single string configuration of the modern guitar. A tradition of building round-backed guitars in Germany continued to the 20th century with names like  and .

Up until 2002, there were only two known surviving medieval gitterns, one in the Metropolitan Museum of Art (see external links), the other in the Wartburg Castle Museum. A third was discovered in a medieval outhouse in Elbląg, Poland.

Structure

The back, neck and pegbox were probably usually carved from one piece of timber. Occurring less rarely later in the 15th century, the back was built up from a number of thin tapered ribs joined at the edges, as was characteristic of the lute. Unlike the sharp corner joining the body to the neck seen in the lute, the gittern's body and neck either joined in a smooth curve or straight line. The sickle, or occasional gentle arc pegbox, made an angle with the neck of between 30 and 90 degrees. Unlike the lute, most pegboxes on gitterns ended in a carving of a human or animal head.

Most gitterns were depicted as having three or (more commonly) four courses of double strings. There are also references to some five course gitterns in the 16th century. Although there is not much direct information concerning gittern tuning, the later versions were quite possibly tuned in fourths and fifths like the mandore a few decades later. Frets were represented in a few depictions (mainly Italian and German), although apparently absent in most French, Spanish and English depictions. The gittern's sound hole was covered with a rosette (a delicate wood carving or parchment cutting), similar to the lute.

The construction resembles other bowed and plucked instruments, including the rebec, Calabrian and Byzantine lyra, gǎdulka, lijerica, klasic kemençe, gudok and cobza. These have similar shapes, a short neck, and like the gittern are carved out of a single block of wood.

Relationship between gittern, the citole, lute and guitar family

Some have pointed out that there have been errors in scholarship (starting in the 19th century) which led to the gittern being called mandore and vice versa, and similar confusion with the citole. As a result of this uncertainty, many modern sources refer to gitterns as mandoras, and to citoles as gitterns.

A number of modern sources have also claimed the instrument was introduced to Europe from the Arabic regions in a manner similar to the lute, but actual historical data supporting this theory is rare, ambiguous, and may suggest the opposite. The various regional names used (including the Arabic) appear derived over time from a Greco-Roman (Vulgar Latin) origin, although when and how this occurred is presently unknown. It is possible the instrument existed in Europe during a period earlier than the Arabic conquests in the Iberian peninsula, with the names diverging alongside the regional evolution of European languages from Latin following the collapse of the Roman Empire (compare Romance languages).

While the name of the lute (Portuguese alaúde, Spanish laud, from Arabic al-ʿūd), and the instrument itself has been interpreted as being of Arabic/Persian origin, the gittern does not appear in historical Arabic source material to support what can only be speculation.

Etymology and identity

The gittern had faded so completely from memory in England that identifying the instrument proved problematic for 20th-century early music scholarship. It was assumed the ancestry of the modern guitar was only to be discovered through the study of flat-backed instruments. As a consequence, what is now believed to be the only known surviving medieval citole was until recently labelled a gittern.

In 1977, Lawrence Wright published his article The Medieval Gittern and Citole: A Case of Mistaken Identity. in issue 30 of the Galpin Society Journal; with detailed references to primary historical source material revealing the gittern as a round-backed instrument - and the so-called 'Warwick Castle gittern' (a flat-backed instrument) as originally a citole.

Wright's research also corresponded with observations about the origins of the flat-backed guitarra made by 16th-century Spanish musicologist Juan Bermudo. With this theoretical approach, it became possible for scholars to untangle previously confusing and contradictory nomenclature. Because of the complex nature of the subject, the list and links below should assist in further reading.

Names in English: gittern, gittron, giterninge, giterne. John Playford's A Booke of New Lessons for the Cithern & Gittern (published in London in 1652) may represent a response to the continued popularity of both instruments; although references to the gittern virtually disappear in England during the following century. The guitar that re-surfaces during the mid-1750s (referred to as English guitar or 'guittar'), enjoying a wave of popularity that faded away in the 19th century; is an entirely different instrument related to later developments of the cittern. During the 14th century in Geoffrey Chaucer's time, the 'e' that appears at the end of his English spelling 'gyterne' would have been pronounced. But following the great vowel shift - Playford's gittern has lost the 'e' altogether. Although Wright's work enabled identification of the medieval instrument, references to it in 16th century England are more ambivalent regarding structure - leading to the initial confusion identifying the citole.  It seems reasonable French and Spanish fashions influenced the gittern during the time of Henry VIII as they did elsewhere.

 Names in French: gviterre (the 'v' is a Latin substitute for 'u'), guisterne, guitarre, guiterne, guyterne, guiterre, quinterne, quitaire, quitarre (the 'e' at the end of the word may have been stressed in a different and heavier manner to modern pronouncement in a similar manner to the English). In France, the plucked form of the flat-backed 'vielle' (cognate with Spanish 'vihuela'), never assumed the importance it developed in the Iberian and Italian peninsulas. As a consequence the replacement of the round-backed guitarre by the new Spanish style appears disconnected with little to trace in historic sources. The 16th century saw the publications (with illustrations on the front cover depicting the instrument) of works by composers like Guillaume Morlaye and Adrian Le Roy intended for the four course flat-backed guitar, reflecting a new popularity in France possibly more so than Spain.
Names in Italian: chitarino (It. diminutive, i.e. small chitara), chitarrino, chitarra, cythara. James Tyler has considered the possibility of the chitarino being ancestral to the early mandolin during the 15th century. The chitarrone (literally large 'chitarra'), is an instrument that appeared in the late 1580s and became important for its role in basso continuo supporting various musical ensembles during the 17th century as well as for solo works. The alternative name 'tiorba' (English theorbo) displaced the original word, and is now the preferred term used by modern musicians.
Names in German: quintern, chiterna, quinterna - possibly derived from the later development of a five course instrument (overlay of Latin quinctus 'five' with chiterna or similar). Juan Bermudo mentioned having seen a 5 course guitarra but that 4 course instruments were normal. The quinterna that appears in the German Michael Praetorius treatise on musical instruments of 1618, Syntagma Musicum (Plate 16) - has pegs inserted sideways in the pegbox but the body is now a flat figure-of-8 shape. Like Bermudo, Praetorius also mentions 5 course instruments but considers 4 courses normal. The surviving instrument by Hans Oth is unusual in comparison to historical depictions, the strings pass over the bridge and are fastened to the lower edge of the body. The strings in historical illustrations are normally shown fastened to the bridge, which may suggest the instrument was converted from four courses at a later date to its construction and the original bridge detached.
Name in Spanish: guiterna
Names in Arabic: kouitra, quitra, kaitara. This four course round-backed instrument is usually mentioned in connection with theories supporting an Arabic origin for the gittern. It is constructed in a similar manner to the chitarra Italiana and the oud, although the pegbox has lost all trace of its 'sickle-shaped' predecessor.  The modern instrument appears to have survived and developed in Algeria in isolation from surrounding regions, and is traditionally associated with the music of Al-Andalus. This cultural tradition in North Africa is considered closely linked to development in the Iberian peninsula and the later expulsion of the Moriscos between 1609 and 1614.
Name in Portuguese: The process whereby the round-backed guitarra became a flat-backed instrument in Spain (and the instrument itself) appears to have left little impact on Portuguese history. The usage of 'guitarra' in the 18th century (to present) Portugal refers to a different instrument - the guitarra portuguesa, related to later developments of the cittern.

The modern Portuguese equivalent to the 'Spanish guitar' is still generally known as viola (violão in Brazil - literally large viola), as are some smaller regional related instruments. Portuguese 'viola' (like Italian), is cognate with Spanish 'vihuela'. Unlike in Spain, all these instruments traditionally used metal strings until the advent of modern nylon strings. While the modern violão is now commonly strung with nylon (although steel string variations still exist), in Portugal musicians differentiate between the nylon strung version as guitarra clássica and the traditional instrument as viola de Fado, reflecting the historical relationship with fado music.

While the English and Germans are considered to have borrowed their names from the French, Spanish "guitarra", Italian "chitarra", and the French "guitarre" are believed ultimately to be derived from the Greek "kithara" - although the origins of the historical process which brought this about are not yet understood, with very little actual evidence other than linguistic to explore.

Role in literature

Cantigas of Santa Maria

In Spanish literature, the 13th-century Cantigas de Santa Maria with its detailed colored miniature illustrations depicting musicians playing a wide variety of instruments is often used for modern interpretations - the pictures reproduced and captioned, accompanied by claims supporting various theories and commenting on the instruments.

None of the surviving four manuscripts contain captions (or text in the poems) to support observations other than the gittern appears to have had equal status with other instruments. Although social attitudes towards instruments like the lute, rebec, and gittern may have changed in Spain much later with the cultural impact of the Reconquista - what is recorded in the Cantigas indicates the opposite during this period of history.

Far from being considered an example of Islamic culture, the instrument was used for one occasion to illustrate principles of Christian religious doctrine. French theologian Jean Gerson compared the four cardinal virtues to "la guiterne de quatre cordes" (the gittern of four strings). Italian statesman and poet Dante Alighieri, referring to the qualities (and possibly the structure) of the gittern, said, "...just as it would be a blameworthy operation to make a spade of a fine sword or a goblet of a fine chitarra."

Guillaume de Machaut
However, 14th-century French composer Guillaume de Machaut in his poem Prise d'Alexandrie: 1150 "Lutes, moraches and guiterne / were played in taverns", notes a secular role away from religious references or royal and ducal courts.

Geoffrey Chaucer

Chaucer also mentions the gittern in the Canterbury Tales (late 14th century) being played by people who frequent taverns. In The Miller's Tale, Absalom serenades a woman outside her window:
    Now was ther of that chirche a parish clerk,
    the which that was ycleped (called) Absalon...
    and as wel coud he play on a giterne.
    In all the town n'as (there never was) brewhous ne (nor) taverne,
    that he ne visited with his solas [solos].

And his The Cooks Tale., Al konne he pleye on gyterne or ribible (all can he play on gittern or rebab).

Other written records
Praetorius, commenting on a dual-purpose social role, "..in Italy, the Ziarlatini and Salt' in banco use them for simple strummed accompaniments to their villanelle and other vulgar, clownish songs. (These people are something like our comedians and buffoons.)
However, to use the (chiterna) for the beautiful art-song of a good professional singer is a different thing altogether."

The gittern often appeared during the 14th to early 15th century in the inventories of several courts. Charles V of France's court recorded four, including one of ivory, while the Italian courts of Este and Ferrara recorded the hiring of gittern (chitarra) masters.

Resources
Early Music Muse - Gittern

Early Music Instrument Database - Gittern

References

External links

 Guide to Early Instruments - The Gittern and Citole discussed. Author writes strongly as to why there is historical confusion over instrument names.
 The Guitar in England

Early musical instruments
Mandolin family instruments
Guitar family instruments
Necked bowl lutes
Medieval musical instruments

Gittern


The Mecklenburg Lake Plateau or Mecklenburg Lakeland ( or ) is the largest coherent lake and canal region in Germany and is sometimes called "the land of a thousand lakes". There are several nature parks and well-known lakes with unique flora and fauna in the region, such as the Müritz, the biggest German lake lying entirely within Germany, the Plauer See, the Fleesensee, the Tollensesee, the Schmaler Luzin and the Kölpinsee.

Important towns of the region are Neubrandenburg, Neustrelitz, Waren, Röbel, Teterow, Malchow, Mirow and Plau am See.

Geography

The Mecklenburg Lake District is situated in the central and southern part of the state of Mecklenburg-Western Pomerania, mostly in historical region of Mecklenburg. In the south it crosses the border of the state Brandenburg. Hence it is also known as the Mecklenburg-Brandenburg Lake District.

Like the Pomeranian and Masurian lake plateaux, the Mecklenburg Lake District was formed about 12,000 years ago from the glacial meltwater valleys (urstromtäler) and sandar of the last ice age. The main terminal moraine of the Pomeranian stage of the Weichselian, the ridge that runs from Eberswalde-Chorin through Feldberg, Mecklenburg Switzerland to the Kühlung ridge near Kühlungsborn, borders the lakeland to the north.

The lakeland can be roughly divided as follows:

On Brandenburg territory the lakeland continues into the Uckermark and Rheinsberg Lake Region.

The area in and around the Mecklenburg Lake District is partly hilly but mostly flat, sparsely populated and mainly covered by forests, lakes and marshes. The lakes themselves are popular for recreation, boating, fishing and several water sport activities. They are a natural habitat for numerous plants and animals, including endangered species.

History
The lakeland was already settled around 10,000 BC by huntsmen and fishermen. From 4,000 BC the first farming communities were established, leaving behind megalithic tombs.

In the 4th and 5th centuries, the Germanic settlers of the region migrated south and were replaced from the 7th century by West Slavs (historically known as Wends), who intermingled with the population that had stayed behind.

From the 12th century, the influence of German settlers increased.

For a few years the area was a member of the European Geoparks Network and the Global Network of National Geoparks but as at 2011 it no longer possesses that status.

Natural regions
The designated natural regions in the Mecklenburg Lake District are the Müritz National Park, with Germany's second-largest lake, as well as the wildlife reserves of Feldberg Lake District Nature Park, Mecklenburg Switzerland and Lake Kummerow Nature Park and the Nossentiner/Schwinzer Heath Nature Park.

See also
 :Category:Lakes of Mecklenburg-Vorpommern

References

External links

Mecklenburg Lakes - Land of a thousand lakes

Regions of Mecklenburg-Western Pomerania
Geography of Mecklenburg
North German Plain

Mecklenburg Lake Plateau


The Giver is a novel by Lois Lowry. It is science fiction. Bantam Books published the book in 1993. It won the Newbery Medal for excellence in American literature for children in 1994. The Giver has sold more than 5 million copies.

People have been complaining that the novel "The Giver" is unsuitable for children, simply because it is too dark. This is why the book has been often challenged.

The Giver is the first book in a quartet. Gathering Blue, Messenger, and Son are the books.

1993 books
American children's books
Science fiction books
Newbery Medal winning books

The Giver


Emanuel Czuber (Prague, 19 January 1851 – Gnigl, 22 August 1925) was an Austrian mathematician.

Biography
He graduated from a German secondary school (Realschule) in 1869 and continued his studies at the German Technical University in Prague, where he played an active part in the Association for Free Lectures on Mathematics - a student association and the predecessor of the Union of Czech Mathematicians and Physicists. From 1872 to 1874, while he was still a student, he acted as an assistant to Karel Koristka. He submitted his habilitation thesis on practical geometry (geodesy) to the Technical University at Prague in 1876 and obtained the right to lecture. From 1875 to 1886 he taught at the Second German Realschule in Prague. He married Adalberta Willigh in 1878 and had a daughter Berta, born in 1879, a son Emanuel, a second son, Erich, and a second daughter, Elisabet, born in 1884. His daughter, Berta, later made a morganatic marriage with Archduke Ferdinand Karl of Austria, brother of Franz Ferdinand whose assassination in Sarajevo started WWI.

Czuber was appointed as an ordinary professor (equivalent to today's full professor) at the German Technical University in Brno in 1886. In the academic year 1890-91 he was a Rector of the university. After the end of the academic year 1890-91 he took up an appointment as an ordinary professor at the Technical University in Vienna. The position became vacant when Anton Winckler applied for retirement and, although Czuber was not the first choice to fill the chair, other people who were put forward such as Moriz Allé and then Emil Weyr were not interested in accepting it. Czuber was Rector in the academic year 1894-95 and continued to hold the position of professor at the Technical University of Vienna up to 1921 when he finally retired.

Among the topics Czuber studied was probability theory and related areas, contributing in 1900 to the 'Enzyklopädie der mathematischen Wissenschaften'. In fact, he wrote the first papers with original results on the probability theory in the Czech region. A large part of his studies, however, was devoted to questions concerning actuarial mathematics. He wrote several books (in German) such as Theorie der Beobachtungsfehler (1891), Die Entwicklung der Wahrscheinlichkeitstheorie und ihre Anwendungen (1898), Die Wahrscheinlichkeitsrechnung und ihre Anwendungen auf Fehlerausgleichung. Statistik und Lebensversicherung (first edition 1903, second edition 1908, reprinted 1968), Die statistischen Forschungsmethoden (1921), Die philosophischen Grundlagen der Wahrscheinlichkeitsrechnung (1923), and Mathematische Bevölkerungstheorie (1923).

For several years he was an editor of 'Technische Blätter' (1876 to 1886). He also wrote some textbooks, e.g., 'Lehrbuch über Differential- und Integralrechnung' (1898) and 'Einführung in die höhere Mathematik' (1909). He translated a textbook 'Calcul des probabilités', which had been written by Franz A Meyer. On the other hand his book Wahrscheinlichkeiten und Mittelwerte (1884) was translated into French, although the translation was not published until 1902. As an author he was active right up to the end of his life.

He was honoured many times: at the age of 48 he was a "court advisor" (a special title typical for Austro-Hungarian Empire). He also received an honorary degree from the Technical University in Munich in 1918.

Personal life
His first wife was Johanna Liebleina (1834-1881). They had a son and a daughter:
 Bertha Czuber (1879-1979), who was the morganatic wife of Archduke Ferdinand Karl of Austria, the younger brother of Archduke Franz Ferdinand of Austria, the heir to the Austrian throne until his death in Sarajevo in 1914.
 Erich Czuber (1881-1966)
After the death of his first wife, Emanuel married Adalberta Willigk (1859-1953). They had one son and a daughter:
 Emanuel Czuber (b. 1888)
 Elisabeth Czuber (1884-1976); married Leopold Forst Schaller (b. 1881)

References

External links

1851 births
1925 deaths
19th-century Austrian mathematicians
20th-century Austrian mathematicians
Mathematicians from Prague
Czech Technical University in Prague alumni
Academic staff of TU Wien
Mathematicians from Austria-Hungary

Emanuel Czuber


In physics, a field means that a physical quantity is assigned to every point in space (or, more generally, spacetime). A field is seen as extending throughout a large region of space so that it influences everything. The strength of a field usually varies over a region. Michael Faraday became the first to coin the term "field", in 1849.

For some fields, there is a number for each point in space. They are called scalar fields. For more complicated fields, there are more than one number for each point in space. They are called vector fields or tensor fields. For example, one can model a gravitational field by a vector field where a vector indicates the acceleration a mass would experience at each point in space. Other examples are temperature fields or air pressure fields, which are often illustrated on weather reports by isotherms and isobars by joining up the points of equal temperature or pressure respectively.

Types of fields

Classical fields
Newtonian gravitation: describes the gravitational force as a mutual interaction between two masses.
Electromagnetism:  electric and magnetic fields are not only fields of force which dictate the motion of particles, but also have an independent physical reality because they carry energy.
Gravitation in general relativity: this is Einstein's theory of gravity.
Waves as fields

Quantum fields
It is now believed that quantum mechanics should underlie all physical phenomena.

Field theory
A field theory is a physical theory that describes how one or more physical fields interact with matter.

Related pages
 Elasticity
 Fluid dynamics
 General relativity
 Maxwell's equations
 Particle physics

References

 Landau, Lev D. and Lifshitz, Evgeny M. 1971. Classical theory of fields. 3rd ed, London: Pergamon.  Vol. 2 of the Course of Theoretical Physics.

Basic physics ideas

Field (physics)


A think tank is a special organization which helps other organizations and groups with problems they do not know how to solve. They do this by providing data or knowledge, and by discussing the options in detail. They get their information by doing research, and by collecting ideas  and data from a wide range of sources.

Origins
The first think tank was the British Royal United Services Institute (1831), though of course the term "think tank" is much later, post World War II. Non-government institutions in the United States started early in the 20th century. The Arthur D. Little consultancy, incorporated in 1909, pioneered the idea of contracted professional services. The Carnegie Endowment for International Peace was founded in 1910. The Institute for Government Research, which later merged into the Brookings Institution, was formed in 1916. Other early twentieth century organizations now classified as think tanks include the Hoover Institution (1919), and Chatham House in London (1920). The Great Depression and its aftermath spawned several economic policy organizations, such as the National Planning Association (1934) and the Committee for Economic Development (1943).

The cold war era
Think tanks of the modern kind started after the Second World War, in the cold war era. The RAND Corporation was started in 1946 inside the Douglas Aircraft Company, and was set up as an independent corporation in 1948. The name was taken from R&D (research and development), though in fact it did no development. The RAND used the same operations research (O.R.) methods which scientists had developed during the war. This was the application of knowledge, scientific methods and thinking to solve the new problems posed by the war. After the war, the RAND used very similar techniques, mostly based on the hard sciences like maths, physics and economics. It was and still is funded mainly by the American government.

The cold war period raised the question of how the American government might handle nuclear weapons in bargaining and negotiating with the Soviet Union. This was the speciality of Herman Kahn, a RAND staff member who set up his own think tank in 1961, called the Hudson Institute. His publications on how to think about these issues, and those of Thomas Schelling, were landmarks in the post-war history of negotiating strategy.

Modern period
More recently, think tanks have specialised into particular areas of interest, such as foreign policy. Many have become advocates for political interests, doing research which can be used by public relations and lobbying groups.

Related pages
Lobbying

References

Think tank


Kristen Pritchett formerly Kristen Elizabeth Heiss (born May 12, 1987) is an American backstroke and freestyle swimmer. She is a 14-time collegiate All-American, Big 12 Conference swimmer of the year, 10-time Big 12 Champion, an Olympic Trials finalist, US National Team Member (2008–2010), and won the 200 freestyle at the 2008 U.S. Open.

Early years
Kristen was born May 12, 1987, to Susan and Bill Heiss in Casper, Wyoming. Her father, Bill Heiss, is an All-American high school swimmer from Greeley, Colorado, and an All-American collegiate swimmer and NCAA champion with the Indiana Hoosiers 1970–1974.  Kristen has one brother, Erik.

A 2005 graduate of Kelly Walsh High School, Kristen lettered four years for coach Dean Hawks. While there, she was a three-time All-American, four-time All-State, two-time Wyoming 4A Swimmer of the Meet, Academic All-American, and a member of the National Honor Society. She held the state record in the 100 backstroke (broken 2010 by Shaya Schaedler of Gillette, Wyoming), and is a three time state champion in the 200 freestyle. She swam for both the Casper Swim club and the Colorado Springs Swim team.

Freshman Year 2005–2006
As a freshman, Kristen was a first-team All-American and Big 12 champion in the 800 freestyle relay. She also was a Texas A&M/Verizon Athletic Scholar Award recipient. At the Big 12 championships she finished 3rd in the 200 backstroke with a 1:59.05 and 5th in the 100 backstroke with a 55.41. At the NCAA championships, she was part of the 800 freestyle relay that took 6th place while also taking 26th in the 200 back (1:58.96), 31st in the 100 back (55.35), and 51st in the 500 free (4:55.70).

Sophomore Year 2006–2007
As a sophomore, Kristen was Big 12 Swimmer of the Year, First Team CSCAA All-American selection, First Team Academic All-Big 12, Texas A&M/Verizon Athletic Scholar Award recipient, and Team Co-MVP. She was Big 12 Champion in both the 500 free (4:44.79) and 200 back (1:55.95) while also swimming the lead off leg for the record holding 800 freestyle relay. She also took third in the 100 back (54.71). At the NCAA championships she placed 5th in the 200 back in an all-time Big 12 record of 1:54.09. She also placed 13th in the 200 free and 14th in the 500 free becoming the first swimmer in Texas A&M history to swim in three individual evening finals at an NCAA Championship.

In the summer before her junior year, Kristen took fifth at summer nationals in the 200 back and qualified to be part of the U.S. National Team that participated at the Japan International Grand Prix in Japan.

Junior Year 2007–2008
Kristen was part of the Texas A&M's team which placed 4th at the NCAA Championships at Ohio State University.  At the 2008 NCAA Championships, Heiss placed 3rd in both the 200 backstroke (1:53.37) and the 500 freestyle (4:40.03). She swam the second leg of the Aggies' NCAA runner-up 800 freestyle relay that swam the 3rd fastest time in NCAA history (6:59.50).  Successfully defended her title in the 200 backstroke at the 2008 Big 12 Conference championship.

Redshirt Season 2008–2009
At the 2008 United States Olympic Trials, she finished 5th place in the 200 meter backstroke in a time of 2:10.18. Throughout the 2008 Trials, Heiss kept a blog about her experiences and the trials, and will serve as an editorial intern for Swimmingworldmagazine.com.
Her performance, including her three career-best 200 Backstroke times, and two career-best 200 freestyle times, came less than two weeks after spending 5 days in a Bryan, Texas, hospital undergoing treatment for pulmonary embolisms.

At the 2008 Swimming US Open, Heiss finished second to world record holder Hayley McGregory in the 200 meter backstroke under the meet record set by Olympian Margaret Hoelzer with a time of 2:09.99. With this performance, she secured a spot on the 2009 World University Games in Belgrade, Serbia. The next night, she took silver in the 400 meter freestyle with a time of 4:09.25. On the third night, Heiss took gold in the 200 freestyle, being only the 2nd A&M swimmer to ever do so. She tied with former NCAA Champion Mary Descenza in a lifetime best of 1:59.43.

Heiss Redshirted the 2008–2009 collegiate season while recovering from shoulder surgery.

Senior Year 2009–2010
Seven months after shoulder surgery, Heiss returned to the pool in July 2009 to compete in the World University Games in Belgrade, Serbia.  Kristen represented the United States and was selected as a captain for the US team.  In Serbia, Heiss earned silver medals in the 200 backstroke and 400 freestyle, a bronze medal in the 200 freestyle, and anchored the gold medal United States 800 freestyle relay.

At the 2010 Big 12 Conference championship, Heiss won the 200 backstroke for the third time in her career in addition to winning the 500 freestyle.  Kristen finished her collegiate eligibility at the 2010 NCAA Championships where she placed 6th in both the 200 backstroke (1:53.67) and 500 freestyle (4:38.97).

Post-Graduate
After finishing her collegiate eligibility in March 2010, Heiss underwent a second shoulder surgery and retired from competitive swimming.  Beginning in the Spring of 2010, Heiss became a coach with the Bozeman Barracudas in Bozeman, Montana

She later went on to coach the Casper Area Swim Club in her hometown of Casper, Wyoming.
In July 2013, she was hired as an assistant swim coach at the University of Missouri, where she remained until the end of the 2015–2016 season.

References

1987 births
Living people
American female swimmers
Sportspeople from Casper, Wyoming
Texas A&M Aggies women's swimmers
Universiade medalists in swimming
FISU World University Games gold medalists for the United States
Medalists at the 2009 Summer Universiade
21st-century American women

Kristen Heiss


The Santa Compaña ("Holy Company") is a deep-rooted mythical belief in rural northwest of Iberia: Galicia, Asturias (Spain) and Northern Portugal. It is the Iberian version of the pan-European mythical motif known as the Wild Hunt.

It is also known under the names of "Estadea", "Estantiga'" (estantigua in Spanish, from Latin hostis antiquus, meaning "ancient host"), "Rolda", "As da nuite" (The Night Ones), "Pantalla", "Avisóns", "Pantaruxada"; all of which are terms that denote the presence of the dead in the world of the living. In Asturias it's prominently well-known as Güestia, which is related to the Asturian word "güeste" (host in English language).

Description
Although many different versions of the Santa Compaña can be found, the common belief is that of a procession of the dead (or a procession of souls that are in torment) that wander through the village paths of a parish beginning at midnight wearing white, hooded cloaks.

The procession is led by a living person (usually a parishioner of a particular church) carrying a cross or a cauldron of holy water (sometimes they carry both), followed by several of the souls of the dead holding lit candles. Although these souls are not always seen, the popular legend claims that the scent of melted wax can be detected on the breeze as they pass to warn of their presence. The living leader of the procession is compelled by a supernatural force (in this case, a mysterious curse) to go out every night and walk by towns, villages and forests; but will have no recollection of it the following day. By the same token, because the living person is unaware of what he/she is doing, there is no chance that they will renounce their duty in leading the Santa Compaña, as the curse that forces them to lead the procession puts them into a trance every midnight. The procession ends before daybreak and the living leader of the procession returns to their bed with no memory of what occurred, but will awake the next morning still weary, as though they did not get adequate rest. This person can only be freed of the curse if they come across another person during the procession to carry the cross or the cauldron (or both), as the curse will be passed onto that person. It is said that if the curse leader does not pass the curse onto another person in a matter of weeks, he/she will eventually grow pale, thin and sickly and eventually die, following which the curse will be unknowingly passed onto another parishioner.

To avoid receiving the curse, the person who sees the Santa Compaña pass by must quickly draw "Solomon's Circle" on the ground using chalk (a circle with Seal of Solomon inside a six-pointed star, which can be changed into a cross) and enter it, or lie face-down until the procession passes. Another way to evade the Santa Compaña is to tie a black cat in the middle of the Santa Compaña's path and quickly run away from it, or to perform diverse warding symbols with both hands such as the horn gesture (extending the index and little fingers with the rest of the fingers folded inwards) or the fig sign (which consists of closing the fist and putting the thumb between the index and middle fingers). The person leading the procession can be a man or a woman—this depends on whether the patron saint of the parish is male or female. The Santa Compaña's purpose is to announce death and its primary mission is to visit the homes where death is due.

According to popular belief, apart from the living procession leader, the Santa Compaña can't be seen but can be felt, eliciting a shiver or shudder as it passes, accompanied with a sensation of intense danger. It is also believed that those who can see the Santa Compaña are people who, when baptised by the priest of their parish, were mistakenly anointed with holy oil for the sick instead of chrism. In other versions, it is believed that they are people with special sensibilities who are able to see hidden things. Some people are unable to see the souls in the procession but can see the light of their candles, floating in the air like ignis fatuus or will-o'-the-wisp (similar to the "spook lights" in the rural USA or "jack o'lantern" in the rural UK) as they move along their path.

Origins
It may be related to Odin's Wild Hunt, or the Welsh Hounds of Annwn and the Breton Celtic westward processions of the dead to the End of the World. It is equivalent to the Irish Banshee and Breton Ankou.

See also
Banshee
Madam Koi Koi
Ankou
Wild Hunt
Nightmarchers

References

Bibliography
J. Cuveiro Piñol, Diccionario Gallego, Barcelona, 1876: Compaña: entre o vulgo, creída hoste ou procesión de bruxas que andan de noite alumeadas con osos de mortos, chamando ás portas para que as acompañen, aos que desexan que morran axiña…
Elisardo Becoña Iglesias, "La Santa Compaña, El Urco y Los Muertos", A Coruña, 1980
Paula Cristobo, La Santa Compaña. Entre el mito, la realidad y la superstición. Revista Investigación, 2002
Santiago Compostela Website

Christian folklore
Galician mythology
Asturian mythology
Portuguese legendary creatures
Spanish ghosts
Ghosts

Santa Compaña


Monthureux-sur-Saône (, literally Monthureux on Saône) is a commune in the Vosges department in Grand Est in northeastern France.

Inhabitants are called Monthurolais.

History

Origins and Etymology
The name Monthureux comes from the base Latin word "monasteriolum" meaning 'little monastery'.  By the fourteenth century the name had mutated to  Monstreuil.

The origins of the little town are uncertain.   During the turbulent aftermath of the Gallo-Roman period, the site currently occupied by Monthureux-sur-Saône was probably abandoned to the forest.   The name "Monasteriolum" (little monastery) only dates from the end of the ninth century.   Subsequent spelling included "Monstreuil", "Montreuil", "Montreux" and "Montureux".   The "h" in the spelling of the modern name is believed to result from a clerical error by a transcriber in 1628 who wrote "Montheureux".

The beginnings of Monthureux are frequently thought to involve the Gallo-Roman cemetery and the feudal castle, but the site was actually  settled long before the arrival of the Romans.   The town was settled in the time of the Lingons who had their capital at Langres, and who controlled the territory in this area all the way to the Upper Saône valley (modern Haute-Saône) and the vast Forest of Darney.

Romans and their successors
Once the Romans arrived, they organised the construction of various military roads, one of which passes Monthureux on the way from Langres to Baccarat.

After the Romans came the Franks and the Burgundians and presumably these tribes populated the region.   However, it is probably that during the time Monthureux itself was not populated.

Medieval
The monastery for which the town is named may have dated back to the Carolingian period.   The current church positioned on the site of the old monastery was completely rebuilt in the sixteenth century, but some traces of the eleventh-century arches survive on the exterior of the building on its north side. Of the priory itself, just two massive pillars survive, at the foot of an old stone staircase leading to the old cemetery.

Personalities
 Charles Levy (1805-1872), born at Monthureux-sur-Saône, registered a patent for a nail manufacturing machine that improved the production process.   A street at Bains-les-Bains is named after him.
 Charles Godard (1827-1899), born at Monthureux-sur-Saône, was an architect who worked for the diocese of Langres and a prodigious builder of churches in the area.

See also
Communes of the Vosges department

References

Communes of Vosges (department)

Monthureux-sur-Saône


In May 2012, two major earthquakes struck Northern Italy, causing 27 deaths and widespread damage. The events are known in Italy as the 2012 Emilia earthquakes, because they mainly affected the Emilia region.

The first earthquake, registering magnitude 6.1, struck in the Emilia-Romagna region, about  north of the city of Bologna, on  at 04:03 local time (02:03 UTC). The epicentre was between Finale Emilia, Bondeno and Sermide. Two aftershocks of magnitude 5.2 occurred, one approximately an hour after the main event and another approximately eleven hours after the main event. Seven people were killed.

A magnitude 5.8 earthquake struck the same area nine days later, on 29 May, causing an additional twenty deaths and widespread damage, particularly to buildings already weakened by the 20 May earthquake. The epicentre was in Medolla: the quake itself occurred at a depth of about .

Tectonic setting
The Po Plain, a foreland basin formed by the downflexing of the crust by the loading of the Apennine thrust sheets, overlies and mainly conceals the active front of the Northern Apennines fold and thrust belt, across which there is about one millimeter (0.04 in) per year of active shortening at present. Information from hydrocarbon exploration demonstrates that the area is underlain by a series of active thrust faults and related folds, some of which have been detected from anomalous drainage patterns. These blind thrust faults are roughly WNW–ESE trending, parallel to the mountain front, and dip shallowly towards the south-southwest. Several damaging historical earthquakes,  such as the 1570 Ferrara earthquake, have occurred in the area.

Earthquake sequence

The 20 May earthquake sequence began with a magnitude 4.0 foreshock at 01:13 local time (23:13 UTC 19 May). Less than three hours later, at 04:04 local time (02:04 UTC) the biggest of these earthquakes occurred with magnitude 6.1 between Finale Emilia (province of Modena) and Sant'Agostino (province of Ferrara). This strong quake destroyed all the churches and many of the factories in the area. Seven people were killed. In San Carlo more than 350 families lost their houses. Within the next nine days, there were six aftershocks exceeding magnitude 5, 28 of magnitude 4–5 and 139 of magnitude 3–4. The mainshock could be felt as far away as Switzerland. The focal mechanism indicates that the earthquake was a result of thrust faulting, with a north–south direction of compression, on a fault plane trending west–east. This type of faulting is consistent with the regional tectonic setting.

On 29 May (about 09:00 CEST, 07:00 UTC), a magnitude 5.8 earthquake hit the same area. The hypocentre has been estimated at  below Mirandola.  A series of two or three, according to different sources, strong aftershocks with magnitudes larger than 5 occurred at between 12:55 and 13:02 local time. The 09:00 shock and the 13:00 shocks were felt throughout Northern Italy, up to the Aosta province. The 09:00 earthquake was also felt in Austria, Switzerland, Slovenia and Croatia, with reports of swaying buildings in Austria. The two large aftershocks at 12:55 and 13:02 could also be felt in Austria. This earthquake had a similar mechanism to the 20 May shock.

This earthquake, like the previous earthquake of 20 May, was distinctly felt in Trentino Alto Adige. It was especially felt on the upper floors of buildings both in Trento and Bolzano, and created some concern among residents.

On 6 June at 06:08 local time, a magnitude 4.5 earthquake hit 50 km further east with an epicenter off the coast of Ravenna in Romagna at a depth 25.6 km.
The earthquake was felt strongly and distinctly in Ravenna and Rimini, then less in Pesaro and Ancona, and very slightly in the province of Modena, in areas already affected by earthquakes in recent days. This earthquake was generated by a fault other than that responsible for the earthquakes of 20 and 29 May in Emilia, although part of the same group of geological structures.

Damage

Initial reports after the 20 May shock listed seven dead, including four workers at a factory in Ferrara, and about 5,000 people left homeless. At least 100 structures of historical significance have been damaged or destroyed. Many churches in towns around the epicentre suffered damage. One of the towers of Castello Estense, a moated medieval structure in the centre of Ferrara, was damaged in the earthquake. Half of a clock tower in Finale Emilia dating from the 13th century (known as the torre dei modenesi) fell down in the mainshock and the remaining part collapsed completely during an aftershock later that day. There was also significant damage to factories and agricultural land in the region.

Production of Grana Padano and Parmigiano-Reggiano hard cheeses was badly affected; approximately 300,000 wheels, with an estimated value of €200 million, were destroyed.

Five of the deaths were caused by the collapse of recently constructed factory buildings. Stefano Gresta, president of the National Institute of Geophysics and Volcanology, deemed it "unacceptable that modern constructions such as warehouses and industrial sheds have collapsed in an earthquake which was strong, but not exceptional". The area was not included in seismic hazard maps until 2003, when, after a reassessment, it was classified as "medium risk", with a 10% likelihood of such an earthquake in the next 450 years. A law introduced in 2006 imposed building standards appropriate for the seismic hazard classification, but few of the older buildings have been upgraded to meet these requirements.

The 29 May magnitude 5.8 earthquake left 18 people dead, more than 350 injured, and more than 15,000 homeless. The roof of the 15th-century cathedral of Mirandola, already damaged on 20 May, collapsed after the 29 May shock. The earthquake was felt in most of Northern Italy, triggering evacuation of schools and other buildings. Some buildings in the Modena province and neighbouring areas, already damaged in the first earthquake, collapsed.

After the mainshock of 20 May, inspections were underway to determine which buildings were safe to reenter. The 29 May earthquake occurred during the daytime, when many people were working. As in the mainshock of 20 May, many of the dead in the 29 May earthquake were workers inside huge warehouses and factories. A local union representative has demanded an investigation to determine who was responsible for permitting the companies to resume operations.

Both the 20 and 29 May events caused damage to the neighbouring provinces of Bologna, Reggio Emilia, Rovigo and Mantua, where parts of the ducal palace were damaged.

An aftershock on the 3 June was felt throughout Northern Italy and caused the collapse of the 18th century clock tower in Novi di Modena, already imperilled by the earthquake of recent days.

The earthquake damage in Emilia "could exceed 4 billion" according to the vice-president of Confindustria Emilia-Romagna, Gaetano Maccaferri, who released these figures in testimony before the Senate Committee on Industry.

See also
List of earthquakes in 2012
List of earthquakes in Italy

References

External links

 Italy quake homeless in emergency shelters – BBC News
 Deadly northern Italy earthquake hits heritage sites – BBC News

2012 disasters in Italy
2012 earthquakes
21st century in Emilia-Romagna
Buried rupture earthquakes
Disasters in Emilia-Romagna
Earthquake clusters, swarms, and sequences
2012
May 2012 events in Italy

2012 Northern Italy earthquakes


The Tomytronic 3D is a series of portable, handheld gaming devices released by Tomy. The device featured a strap so the player would be able to wear it around the neck in-between playing. The Tomytronic simulated 3D by having two LCD panels that were lit by external light through a window on top of the device. Released in 1983, it was the first dedicated home video 3D hardware.

Games
Seven games were released:
 Skyfighters (AKA Dog Fight / Tandy Sky Duel)
 Thundering Turbo (AKA Cosmos LeMans / Turbo Racer / Thundering Turbos)
 Sky Attack (AKA Tank Attack)
 Shark Attack (AKA Jaws 3D)
 Planet Zeon (AKA Space Laser War / Space Attack)
 Jungle Fighter
 Sherman Attack

In some markets, games were released with a different name as above. One game, Skyfighters, was licensed by Tandy and renamed Tandy Sky Duel. The rarest of the seven games are Jungle Fighter and Sherman Attack, both believed to have been released in Japan only.

References

Products introduced in 1982
Handheld video games
Handheld game consoles
Stereoscopy
Jaws (franchise) video games
World War II video games
Science fiction video games
Tomy games

Tomytronic 3D


Middle Low German is a development step of the Low German language ("Niederdeutsch"). It was in use in the northern part of Germany. It developed from Old Saxon, in the Middle Ages. The first records date from the 13th century. It was one of the languages the Hanseatic League used. It also influenced the Nordic languages, such as Swedish, which took loanwords from it. At that time, it was also used for treaties and diplomacy. One of the surviving testimonies is the Sachsenspiegel.

West Germanic languages

Middle Low German


Museum Campus is a  museum park that sits near Lake Michigan in Chicago and surrounds three of the city's most famous museums.

It is dedicated to the natural sciences: the Adler Planetarium & Astronomy Museum, the Shedd Aquarium, and the Field Museum of Natural History. It is also known for holding the Soldier Field football stadium and the Lakeside Center of the McCormick Place.

It used to hold Meigs Field airport on Northerly Island before it was destroyed. The campus holds the southeast corner of Grant Park.

Neighborhoods in Chicago
Parks in Chicago

Museum Campus


Adinazolam (marketed under the brand name Deracyn) is a tranquilizer of the triazolobenzodiazepine (TBZD) class, which are benzodiazepines (BZDs) fused with a triazole ring. It possesses anxiolytic, anticonvulsant, sedative, and antidepressant properties. Adinazolam was developed by Jackson B. Hester, who was seeking to enhance the antidepressant properties of alprazolam, which he also developed. Adinazolam was never FDA approved and never made available to the public market; however, it has been sold as a designer drug.

Side effects
Overdose may include muscle weakness, ataxia, dysarthria and particularly in children paradoxical excitement, as well as diminished reflexes, confusion and coma may ensue in more severe cases.

A human study comparing the subjective effects and abuse potential of adinazolam (30 mg and 50 mg) with diazepam, lorazepam and a placebo showed that adinazolam causes the most "mental and physical sedation" and the greatest "mental unpleasantness".

Pharmacodynamics and pharmacokinetics
Adinazolam binds to peripheral-type benzodiazepine receptors that interact allosterically with GABA receptors as an agonist to produce inhibitory effects.

Metabolism
Adinazolam was reported to have active metabolites in the August 1984 issue of The Journal of Pharmacy and Pharmacology. The main metabolite is N-desmethyladinazolam. NDMAD has an approximately 25-fold high affinity for benzodiazepine receptors as compared to its precursor, accounting for the benzodiazepine-like effects after oral administration. Multiple N-dealkylations lead to the removal of the dimethylaminomethyl side chain, leading to the difference in its potency. The other two metabolites are alpha-hydroxyalprazolam and estazolam. In the August 1986 issue of that same journal, Sethy, Francis and Day reported that proadifen inhibited the formation of N-desmethyladinazolam.

See also
 Benzodiazepine
 Alprazolam
 Fluadinazolam
 GL-II-73

References

Triazolobenzodiazepines
Chloroarenes
Designer drugs
GABAA receptor positive allosteric modulators
Hypnotics

Adinazolam


Robert Daniel Morris (born October 19, 1943) is a British-born American composer and music theorist.

Early life and education
Born in Cheltenham, England, in 1943, Morris received his musical education at the Eastman School of Music (B.M. in composition with distinction) and the University of Michigan (M.M. and D.M.A. in composition and ethnomusicology), where he studied composition with John La Montaine, Leslie Bassett, Ross Lee Finney, and Eugene Kurtz.

Career
As a Margret Lee Crofts Fellow, Morris worked with Gunther Schuller. Morris has taught composition, electronic music, and music theory at the University of Hawaiʻi at Mānoa and Yale University, where he was chairman of the Composition Department and director of the Yale Electronic Music Studio. He was also director of the Computer and Electronic Studio, director of graduate (music) Studies, and associate professor of Music at the University of Pittsburgh. In 1980 Morris joined the faculty of the Eastman School of Music, where he currently teaches as professor of composition. Other teaching posts have included positions at the University of the Arts, the Pennsylvania Governor's School for the Arts, the University of Pittsburgh Computer Music Workshop, and the Berkshire Music Center at Tanglewood.

Written works

Musical compositions
Morris has written music for a wide variety of musical forms and media. He has composed over 160 works including computer and improvisational music. Much of his output from the 1970s is influenced by non-Western music and uses structural principles from Arabic, Indian, Indonesian, Japanese, and early Western musics. While such influences are less noticeable in his more recent works, the temporal and ornamental qualities of Eastern music have permanently affected Morris's style. Moreover, Morris has found much resonance among his musical aesthetics, his experiences in hiking (especially in the Southwestern United States), his study and appreciation of Carnatic Music of South India, and his reading of ancient Indian, Chinese, and Japanese Buddhist texts. Among his present compositional projects is a series of the works to be played outdoors in a natural setting. Seven of these works are complete and have been performed: Playing Outside (2000), Coming Down to Earth (2002), Oracle (2005), Sound/Path/Field (2006), Arboretum (2009), Sun, Moon, Earth (2012) and Four Gardens (2014). A new work for wind ensemble outdoors was premiered on Sunday September 18, 2022 by the Eastman Wind Ensemble at Durand Eastman Park in Rochester, New York. This new composition is entitled Sounds, Trees, Meadows and was premiered as a part of the Centennial celebration of the Eastman School of Music.

Books
In addition to his music, Morris has written three books and over 50 articles and reviews which have appeared in the Journal of Music Theory, In Theory Only, Music Theory Spectrum, Journal of the American Musicology Society, and Perspectives of New Music, contributing to theories of musical analysis and aesthetics, compositional design, and electronic and computer music. Morris was the recipient of the "Outstanding Publication Award" of the Society for Music Theory in 1988 for his book, Composition with Pitch-Classes: A Theory of Compositional Design, published by Yale University Press, and in 2001 for his article "Voice Leading Spaces" in Music Theory Spectrum 20/2. Advanced Class Notes for Atonal Theory, is available from Frog Peak Music. Morris is currently co-editor of Perspectives of New Music and contributing editor of The Open Space Magazine. His most recent book is The Whistling Blackbird: Essays and Talks on New Music (2010).

Notable students

References

Further reading
 Alegant, Brian. 2014. "On Robert Morris's Refrains". Perspectives of New Music 52, no. 2: 42–65.
 Barkin, Elaine. 2014. "Liner Notes in the Form of a Suite". Perspectives of New Music 52, no. 2: 14–16.
 Brody, Martin. 2006. "Down to Earth: Robert Morris's Restaging of the Sublime". The Open Space Magazine, nos. 8–9 (Fall–Spring): 74–81.
 Czerner, Dorota. 2014. "A poem for Robert Morris at 70'". Perspectives of New Music 52, no. 2: 26–30.
 Dembski, Stephen. 1989. "The Context of Composition: The Reception of Robert Morris's Theory of Compositional Design". Theory and Practice 14–15:187–202.
 Forshee, Jon. 2004. "Reflex-Ions of Robert Morris' Four or Five Mirrors". The Open Space Magazine, no. 6 (Fall): 144–50.
 Hanninen, Dora. 2014. "Nature and Composition in Robert Morris's Indoor Music: On strange flowers, occasional storms". Perspectives of New Music 52, no. 2: 66–85.
 Hanninen, Dora. 2003. "A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition". Music Theory Spectrum 25, no.2: 59-98.
 Haskins, Rob. 2014. "Differing Evocations of Buddhism in Two Works by Robert Morris and John Cage". Perspectives of New Music 52, no. 2: 345–58.
 Leong, Daphne. 2014. "Time's 'Suchness' in Morris's Clear Sounds". Perspectives of New Music 52, no. 2: 195–225.
 Lofthouse, Marcus, and Brian Alegant. 2002. "Having Your Cake and Eating It Too: The Property of Reflection in Twelve-Tone Rows, or, Further Extensions on the Mallalieu Complex". Perspectives of New Music 40, no. 2 (Summer): 233–72.
 Plylar, David Henning. 2014. "Poset-ting the Phronetic: Coming to Rowing Terms in Robert Morris's Doubles and Pairs". Perspectives of New Music 52, no. 2: 226–48.
 Ravikiran, Chitravina N. 2014. "Robert Morris and the concept of Melharmony". Perspectives of New Music 52, no. 2: 154–61.
 Scotto, Ciro. 2014. "The Interpretation of a Musical Language from the Perspective of a Compositional Unit". Perspectives of New Music 52, no. 2: 325–44.
 Shultis, Christopher. 2014. "Robert Morris and the Missing Middle". Perspectives of New Music 52, no. 2: 316–24.
 Slawson, Wayne. 2014. "To Know Robert Morris's MA". Perspectives of New Music 52, no. 2: 259–72.
 Straus, Joseph N. 2014. "An Analytical Example for Bob". Perspectives of New Music 52, no. 2: 162–68.

External links
Eastman School of Music: Robert Morris biography page
Interview with Robert Morris, NewMusicBox
Article about Robert Morris, Rochester City Newspaper

1943 births
American male classical composers
American classical composers
American music theorists
Living people
Twelve-tone and serial composers
University of Michigan School of Music, Theatre & Dance alumni
Eastman School of Music alumni
Musicians from Cheltenham
University of Rochester alumni
University of Hawaiʻi at Mānoa faculty
Yale University faculty
Bucknell University faculty
University of the Arts (Philadelphia) faculty

Robert Morris (composer)


Lathyrus clymenum, also called Spanish vetchling, is a flowering plant in the family Fabaceae, native to the Mediterranean. The seeds are used to prepare a Greek dish called fava santorinis. The plant is cultivated on the island of Santorini in Greece and was recently added to the European Union's products with a Protected Designation of Origin.

For 3,500 years residents of Santorini and neighbouring islands have been cultivating the legume species Lathyrus clymenum, known elsewhere only as a wild plant. The peculiar ecosystem that was created by the volcanic explosions on Santorini island, the volcanic ash, the cellular soil, and the combination of humidity created by the sea and the drought, make the bean a unique resource. When weather conditions are good, farmers on the island can reap about 800 kilograms of beans per hectare. A vulnerable crop, it can be destroyed by strong winds that blow away its flowers before they can yield the pea, by drought or by a sudden heat wave almost instantly. Its production is thus limited, making it an expensive crop that costs €700 per acre. The cost for consumers is about €9–10 per kilogram.

Fava santorinis
The cooked fava are mixed with chopped onion into a purée, typically served with chopped onion, olive oil and lemon juice.

Nutrient content
The plant Lathyrus clymenum which the 'Fava Santorinis' is made of, has very high content of protein (25%) and is an excellent source of dietary fibre (26%). It is very low in fat, as most of its carbohydrates derive from complex carbohydrates and protein.

Although it looks like the Indian 'Toor Dal' or 'Chana Dal', it is a completely different species with much higher nutritional value.

There is historical evidence that pulses and in particular wild lentils started being cultivated in Greece in 6,000 BC (for example, Lathyrus clymenum was found in jars in the ruins of Akrotiri, Santorini, which date from approximately 1600 BC). The Greek microclimate has been ideal for the evolution of such crops, and the Greeks have mastered their cooking and have benefited from their high nutritional value throughout history.

References

External links

clymen
Greek cuisine
Greek products with protected designation of origin
Santorini
Plants described in 1753
Taxa named by Carl Linnaeus

Lathyrus clymenum


Max Friedlaender (12 October 1852, Brieg/Brzeg, Province of Silesia, Prussia – 2 May 1934, Berlin) was a German bass singer, music editor, and musicologist. He specialized in German Lieder.

Life
Friedlaender studied voice with well-known teachers Manuel Garcia in London and Julius Stockhausen in Frankfurt, both of the bel-canto school. From 1881 to 1883 the singer lived and worked at Frankfurt, moving to Berlin in 1883. He received a doctorate from the University of Rostock in 1894 with a dissertation on Franz Schubert and joined the music faculty at Berlin University in 1894.

Friedlaender emigrated to America in 1911 where he taught at Harvard University. He succeeded Rochus von Liliencron as general editor for a Book of National Songs for Men's Choirs first proposed by Kaiser Wilhelm II in 1906. In the 1920s, Friedlaender was closely involved in the formation of the Deutscher Volksliedarchiv (German folksong archive). The Nazi regime popularized the archive's work in keeping with its nationalist cultural policies – ironic given Friedlaender's Jewish heritage.

Works
Friedlaender's edited several popular song anthologies for the Leipzig music publisher CF Peters including works by Robert Schumann, Felix Mendelssohn, Carl Loewe, Ludwig van Beethoven, seven volumes of Schubert songs, a collection of folk songs, and a "Choral Manual." Some of these editions are still in print today. In his researches, Friedlaender discovered several previously unknown songs by Schubert. His magnum opus is a two-volume study of German song in the 18th century (Cotta, Stuttgart 1902).

Literary works
 1885: 100 Deutsche Volkslieder (100 German folk songs)
 "Gluck's Klopstocksche Oden" (1886); (Gluck's Klopstock Ode)
 "Ein Hundert Deutsche Volkslieder" (1886); (100 German folksongs)
 1887: Beiträge zur Biographie Franz Schuberts; (Schubert Biographical Researches)
 "Beethoven's Schottische Lieder" (1889); (Beethoven's Scottish Songs)
 "Chorschule" (1891); (Choral Manual)
 "Wiegenlieder" (1894); (Cradle songs)
 "Gesänge von Beethoven" (1896); (Songs of Beethoven)
 "Goethe's Gedichte in der Musik" (1896); (Goethe's poems in Music)
 "Haydn's Canons" (1899);
 "Beethoven's Klavier-Rondo" (1900);
 1902: Das deutsche Lied im 18. Jahrhundert, 2 vols. (The German song in the 18th century)

References

 Arthur Eaglefield Hull (Ed.), A Dictionary of Modern Music and Musicians (Dent, London 1924).
 Hans Joachim Moser: Friedländer, Max. In: NDB Bd. 5, S. 455
 P. V. Bohlman, Landscape - Region - Nation - Reich; German Folk Song in the nexus of National Identity, in Celia Applegate (Ed.), Music and German National Identity (University of Chicago, 2002).

External links

1852 births
1934 deaths
Burials at Stahnsdorf South-Western Cemetery
People from Brzeg
People from the Province of Silesia
German male musicians
German musicologists
Schubert scholars
Harvard University people
Prussian musicians

Max Friedlaender (musicologist)


Ömer Naci Soykan (10 February 1945, Rize – 4 December 2017, Istanbul) was a Turkish philosopher.

Life
He was born in 1945. He graduated from Trabzon High School in 1965. He studied Philosophy, Sociology, Ancient Greek and Latin in İstanbul University during his undergraduate period from 1965 to 1971. He was a visiting student in Hamburg University from 1969 to 1971. Soykan received his PhD in 1982 with his thesis entitled as "Forms of Being and Art in Schelling." In the same year, he began to lecture in Mimar Sinan University. He worked as an assistant professor in Sociology Department of İnönü University from 1984 to 1986. He joined in Sociology Department of Mimar Sinan University in 1986. He became an associate professor in 1988 and a professor in 1996. He worked in the same department until 2006. After his being commissioned to found the Philosophy Department of Mimar Sinan Fine Arts University, he became the head of Philosophy Department, where he served until his retirement in 2013.

For 6 months, in 2001, he was invited to New York University (NYU) as a visiting scholar. He became the member of Internationale Schelling-Gesellschaft e.V. in 1987 and Austrian Ludwig Wittgenstein Society in 1996. He was also among the members of Philosophical Society of Turkey and Philosophical Association of Turkey.

Work
Soykan has written over two hundred articles in Turkish and he also has written ten articles in German and English. In 2000, he gave a speech in Drew University's Schleiermacher 2000 Conference in English. He has written seventeen books in Turkish; some of which are available in libraries like British Library, The Library of American Congress, Bibliothèque nationale de France. Some of his books are as follows:
Philosophy and Language
Art as Unity of Theory and Practice
Philosophical Views from Turkey (4 Volumes)
Investigations (2 Volumes).

References
Mehmet AKKAYA, "Ö. Naci Soykan'la Söyleşi", İnsancıl, 2001/08, Sf.30-42.

20th-century Turkish philosophers
Turkish philosophers
Philosophers of language
1946 births
2017 deaths
Academic staff of Mimar Sinan Fine Arts University
People from Rize

Ömer Naci Soykan


South is one of the 4 cardinal directions on a compass. South is normally down on the bottom of most maps. For example: Angola is to the south of Nigeria, which is itself to the south of Morocco . The South Pole is the farthest south you can go.

Basic English 850 words
Compass directions

South