Vaishali Kasaravalli

Vaishali Kasaravalli (12 April 1952 – 27 September 2010) was a noted Kannada actress, television serial director and costume designer.
Early life.
She was born on 12 April 1952 in Gulbarga to theatre enthusiast parents Dr. Chitagopi and Nirmala. She completed BA.
Career.
Actor.
She was initiated to theatre by B. V. Karanth. After her family migrated to Bangalore, Vaishali acted in many plays including Hayavadana, Jokumaraswamy, Midsummer Nights Dream, Natakakaarana Shdhaneyalli Aaru Paathragalu and many others. She also directed Sevanthi Prasanga and translated many classic works from Marathi and Hindi.
She made her film debut with "Yaava Janmada Maitri" followed by "Professor Huchuraya" in 1972. Her popular films are Akramana, Yarigu Helbedi, Kittu Puttu, "Kubi Matthu Iyala", Angaialli Apsare, Kraurya, Hombisilu, Swamy, Thabarana Kathe, Ksheera Sagara, Anukolakkoba Ganda, Asegoba Meesegobba, Mooru Daarigalu, Mahadasoshi Sharana Basava, Chandramuki Pranasaki, Panjarada Gili, Hoovondhu Beku Ballige, Vigneswarana Vahana, Shanker Guru, Palitamsha, Parivarthana, Sparsha, Nigatha, Ganeshana Maduve, Gauri Ganesha, Thavarumane Udugore, No 73 Shanthinivasa and others. Her performance as the leading lady in Aakramana directed by Girish Kasaravalli won her laurels and also a state government award for the Best actress.
Vaishali also acted in many tele-serials including Namma Nammalli, Kasa Musure Saroja, Malgudi Days, Kshamaya Daritri, Mayamruga, Manvanthara, Sadhane. Namma Nammalli directed by T. S. Nagabharana was the first of the serials she was featured in.
Movies.
1972 Yaava Janmada Maitri (Actress)
1972 Subhadra Kalyana (Actress)
1974 Professor Hucchuraya (Actress)
1974 Eradu Kanasu (Actress)
1974 Bhootayyana Maga Ayyu (Actress)
1974 Bangaarada Panjara (Actress)
1976 Phalitamsha (Actress)
1976 Parivarthane (Actress)
1977 Kittu Puttu (Actress - Gowri)
1978 Sandarbha (Dubbing Artist)
1978 Shankar Guru (Actress)
1978 Hombisilu (Actress - Doctor Vasanthi)
1978 Geejagana Goodu (Dubbing Artist)
1980 Vathsalya patha (Dubbing Artist)
1980 Akramana (Actress)
1982 Manasa Sarovara (Actress)
1983 Anveshane (Dubbing Artist)
1984 Vigneshwara Vahana (Actress)
1985 Maruthi Mahime (Actress)
1985 Mamatheya Madilu (Actress)
1986 Henne Ninagenu Bandhana (Actress)
1988 Chiranjeevi Sudhakar (Actress)
1988 Tabarana Kathe (Actress)
1988 Mahadasohi Sharana Basava (Actress)
1988 Kadina Benki (Actress)
1989 Mane (Dubbing Artist)
1989 Bangarada Baduku (Actress)
1990 Shruthi (Actress)
1990 Hosa Jeevana (Actress)
1990 Ganeshana Maduve (Actress- Satyabhama/Ganesha's Mother)
1990 Abhimanyu (Actress)
1990 Aasegobba Meesegobba (Actress)
1991 Thavarumane Udugore (Actress)
1991 Readymade Ganda (Actress)
1991 Mangalya (Actress)
1991 Kalyana Mantapa (Actress)
1991 Gowri Kalyana (Actress)
1991 Gowri Ganesha (Actress - Chandramouli\'s mother)
1992 Amara Prema (Actress)
1992 Kubi Matthu Iyala (Actress,Costume)
1992 Ksheera Sagara (Actress)
1992 Hatamari Hennu Kiladi Gandu (Actress)
1992 Goonda Rajya (Actress)
1992 Ganesha Subramanya (Actress)
1992 Belliyappa Bangarappa (Actress)
1992 Agni Panjara (Actress)
1993 Nanendu Nimmavane (Actress)
1993 Manikantana Mahime (Actress)
1993 Kadambari (Actress)
1993 Hoovondu Beku Ballige (Actress)
1993 Anuragada Alegalu (Actress)
1993 Angaiyalli Apsare (Actress)
1994 Yarigu Helbedi (Actress)
1995 Nighatha (Actress)
1995 Hosa Baduku (Actress)
1996 Sowbhagya Devathe (Actress)
1996 Hello Daddy (Actress)
1996 America America (Actress)
1996 Kraurya (Associate Director, Costume Design)
1997 Thaayi Saheba (Costume Design)
1997 Prema Raga Hadu Gelathi (Actress)
1997 Kalavida (Actress)
1999 Chandramukhi Pranasakhi (Actress)
2000 Shreerasthu Shubhamasthu (Actress)
2000 Premi (Actress)
2002 Dweepa (Costume)
2003 Panchali (Actress)
2003 Wrong Number (Actress)
2006 Savira Mettilu (Actress)
2007 No. 73, Shanthi Nivasa (Actress - Seethadevi)
2007 Nayi Neralu (Dubbing Artist)
2010 Kanasembo Kudureyaneri (Costume)
Director.
She has directed popular Kannada TV serials like `Muttina Torana' and `Moodala Mane'.
Costume designer.
Vaishali Kasaravalli worked as a costume designer in her husband's films such as "Bannada Vesha", "Mane", "Kubi Mathu Iyyala", "Kraurya", "Thaayi Saheba" (won national award in 1998), "Dweepa" and "Kanasemba Kudureyaneri".
Awards.
Vaishali received several honors including
Politics.
Vaishali was into politics in the late '90s. She contested for the Bangalore City Corporation elections in 1996 from the Lok Shakti party but lost. She was a staunch admirer of former chief minister Ramakrishna Hegde.
Personal life.
Vaishali was married to acclaimed film-maker Girish Kasaravalli. She had two children, Apoorva Kasaravalli and Ananya Kasaravalli
Death.
She died on 27 September 2010 in Bangalore, after ailing for few years with diabetes, liver and kidney problems. Her body was kept at Ravindra Kalakshetra for her relatives, friends and fans to pay their final respect. She was cremated according to her family tradition at Banashankari crematorium in Bangalore.


Andrew Nicholls and Darrell Vickers

Andrew Nicholls (born 14 July 1957) and Darrell Vickers (born 17 July 1957) are an English-born Canadian writing team. They were head writers of "The Tonight Show Starring Johnny Carson" from 1988 to 1992. Both their families moved independently from England to the same town in Canada, and they met in junior high in 1969, where they began collaborating almost immediately. The duo moved to Los Angeles in 1983 to continue their careers, and are members of WGA, WGC, SACD, SOCAN, ACCT, and ATAS.
Career.
Nicholls and Vickers began writing music and comedy together while at Ridgeway Junior High School (now École élémentaire Antonine Maillet or Antonine-Maillet Elementary School) in Oshawa, Ontario (Canada). After high school they wrote for stage, radio, TV, syndicated cartoonists and stand-up comedians.
From 1979 to 1982 they performed in Southern Ontario as Nobby Clegg and the Civilians, after having received airplay at Brampton alternative station CFNY-FM with home-recorded songs. The band found some success with the singles "Essay - Me Dad" and "I Wanna Be in Commercials," which were also included in the 1981 compilation "Toronto Calling". Nicholls and Vickers later used the band's name for a character on the Showtime show "Rude Awakening". In that series, the Nobby Clegg character was played by Roger Daltrey, best known as the lead singer of The Who.
From 1986 to 1992 they helped write 770 hours of produced material for "The Tonight Show Starring Johnny Carson", earning 4 Emmy nominations, and were the show's head writers from December 1988, until Carson's retirement on 22 May 1992.
In 1997, the pair received a Genie nomination, Best Animated Series, for "Ned's Newt" (Nelvana). They also received a WGC nomination for the series in 1999. The title character was voiced by Harland Williams and was cited in several interviews as one of the favorite TV shows of legendary cartoonist Ed Gorey.
In 2001, the two received a Gemini nomination for "Best Comedy Series" for their work developing, writing the pilot, and serving as Story Editors on "John Callahan's Quads!".
The duo were nominated for a Pulcinella Award, Best Animated Episode, at the 2003 Cartoons on the Bay Festival in Positano, Italy, for both "" and "The World of Tosh". They were again nominated for the Pulcinella for Best Kids Series at the 2015 Festival, for "Pumpkin Reports."
In 2008, "Will & Dewitt" was awarded a Gemini Award for Best Pre-School Series. Nicholls & Vickers wrote the series bible and 28 episodes, and served as Story Editors.
Vickers is part of a music band called "Death of the Author Brigade"—which was formed through the internet (none of the band members have met in person).
As a writing team, Vickers and Nicholls have over 1200 hours of produced television credits. They have also written and produced 38 television and radio pilot scripts (as of 2020).
In 2019, Nicholls' full-length stage play {LOVE/Logic} had its world premiere at the Wyatt Theater Pavilion, UC Davis, California.
In 2020, Nicholls published a how-to book, Comedy Writer.


Poornima Ramaswamy

Poornima Ramaswamy is an Indian fashion costume designer and entrepreneur. She won a National Film Award for her first film "Paradesi" (2013), and has continued to work in Indian cinema and stage.
Career.
Poornima is related to the owners of fashion retail brand Naidu Hall, and initially began her career by working with the family business and designing outfits for friends. She completed a degree in business management and was interested in taking over the management of the group. After getting married, Poornima resettled in Erode, where she learnt more about handwoven sarees, which she was keen to pass on to Naidu Hall's collections.
She became acquainted to Malar, the wife of director Bala, and through the connection, she gained the chance to work on her first film, "Paradesi" (2013). The film depicted the tale of slave labourers in the Indian hill country from the 1930s, prompting Poornima to work on get the aesthetics correct. She subsequently won the National Film Award for Best Costume Design for the film.
After "Paradesi", she was invited to work on a French film, "Son Epouse", directed by Michel Spinosa. She has regularly worked with Jyothika since her comeback to Tamil films, collaborating with her in "36 Vayadhinile" (2015), "Magalir Mattum" (2017) and "Naachiyaar" (2018). She also notably worked on reimagining Madhavan's appearance in "Irudhi Suttru" (2006) and Rajkiran's look in Dhanush's "Pa Paandi" (2017). She has pushed for the use of handloom fabric in films, often dressing the cast in organic cotton material.


Shon McCarthy

Shonda McCarthy Simmons (also known as Shon McCarthy and Shon Simmons; born 1973 of 1974) is the Director/Curator of three Jackson State University art galleries. The galleries are JSU's Johnson Hall gallery, College of Liberal Arts gallery, and JSU Downtown galleries. Exhibitions are student centered and assist to "Exposure+Experience=Lifelong Learning"(gallery mission) for student by including student work with the international and national artists' exhibitions. Exhibitions have ranged from painting created by musician George Clinton. JSU was the first university to exhibit his paintings. In September 2016, McCarthy collaborated with the Philadelphia Museum of Art and procured a gifted 25 piece permanent collection of Patrick Kelly (thanks to a donation from Bill and Bjorn Amelan). Spring of 2017, she collaborated with London's Belgravia Art Gallery to bring art created and signed by Nelson Mandela. McCarthy created JSU's Gallery1 Summer Art Institute and where JSU Department of Art Alumni taught art to 150 K-9 students. For two summers, she supervised and instructed art to over 200 K-9 students this included mulit-medium art to sewing instruction. McCarthy later procured an additional 250 plus pieces from the Patrick Kelly collection in the summer of 2017, it is housed the H.T. Sampson Archives.
For ten years, McCarthy was a fashion designer in New York City. She created an accessories line that became known as the "It Bag" for celebrities. She has been mentioned have in financial publications such as the "Wall St Journal" and Nikkei in Japan, "Vogue" online, "Elle" (US, Italy, UK) and Japan, Harpers Bazaar Japan and "Lucky Magazine" write-ups. The accessories were carried in stores such as Bloomingdales, Henri Bendel, Harvey Nichols, Fred Segal, and LeBon Marche. She was a guest speaker for a Marketing class at Parsons Fashions School in New York.
McCarthy is a licensed art instructor. McCarthy instructed a class at Millsaps College's Enrichment Series titled, " How To Start Your Own Fashion Line" in 2015 and 2016. She received her B.A. from Millsaps College and her Masters from Jackson State University.


John Halpern

John Halpern a.k.a. 'Paul' from "The Guardian" was born in Cuckfield, Sussex, UK in 1967, and is a cryptic crossword compiler for newspapers including "The Guardian", "The Independent" (as 'Punk'), "The Times", the "Daily Telegraph" (as 'Dada') and "The Financial Times" (as 'Mudd').
Halpern's interest in "The Guardian" cryptic crossword puzzle began when he was a student in Canterbury, and he wondered if the compilers could possibly be human beings. After completing a puzzle for the first time, he set about creating two of his own to send to his hero John Galbraith Graham, also known as "Araucaria", and accomplished this two and a half years later. He now writes three or four a week for a variety of publications.
Having studied music and maths, Halpern became a local reporter, barman, warehouse packer, bank clerk and lab technician. He taught English in Rome, but found that hands-on examples of the present continuous kept causing him to lead his students out of the classroom, on to the street and into bars where he would put their understanding of his lesson to the test: ‘You are buying me a drink’.
Halpern’s favourite clue of his own is:
To make cheese, how do you milk a Welsh hedgehog? (10)
Answer: Caerphilly.
The first clue he ever wrote for the Guardian was:
Name sewn into "footballers’" underwear (8)
Answer: "kNickers".
John lives with his wife Taline, near the East Sussex coast.
In March 2012, Halpern and Graham hosted a crossword show which was held at "The Guardian" offices. He is working on a film and follow-up tour.


Gravitar

Gravitar (working title Lunar Battle) is a color vector graphics arcade game released by Atari, Inc. in 1982. Using the same "rotate-and-thrust" controls as "Asteroids" and "Space Duel", the game was known for its high level of difficulty. It was the first of over twenty games (including the 1983 "Star Wars)" Mike Hally designed and produced for Atari. The main programmer was Rich Adam and the cabinet art was designed by Brad Chaboya. Over 5,427 cabinets were produced. An Atari 2600 version, ported by Dan Hitchens, was published by Atari in 1983.
Gameplay.
The player controls a small blue spacecraft. The game starts in a fictional solar system with several planets to explore. If the player moves his ship into a planet, he will be taken to a side-view landscape. Unlike many other shooting games, gravity plays a fair part in "Gravitar": the ship will be pulled slowly to the deadly star in the overworld, and downward in the side-view levels.
The player has five buttons: two to rotate the ship left or right, one to shoot, one to activate the thruster, and one for both a tractor beam and force field. "Gravitar", "Asteroids", "Asteroids Deluxe" and "Space Duel" all used similar 5-button controlling system.
In the side-view levels, the player has to destroy red bunkers that shoot constantly, and can also use the tractor beam to pick up blue fuel tanks. Once all of the bunkers are destroyed, the planet will blow up, and the player will earn a bonus. Once all planets are destroyed, the player will move onto another solar system.
The player will lose a life if he crashes into the terrain or gets hit by an enemy's shot, and the game will end immediately if fuel runs out.
"Gravitar" has 12 different planets. "Red Planet" is available in all 3 phases in the universe; it contains a reactor. Shooting the reactor core activates a link. Escaping the reactor successfully moves the player to the next phase of planets, awards bonus points and 7500 units of fuel. Reactor escape time reduces after each phase and eventually becomes virtually impossible to complete.
After completing all 11 planets (or alternatively completing the reactor three times) the player enters the second universe and the gravity will reverse. Instead of dragging the ship towards the planet surface, the gravity pushes it away. In the third universe the landscape becomes invisible and the gravity is positive again. The final, fourth universe, has invisible landscape and reverse gravity. After completing the fourth universe the game starts over. However, the reactor escape time will never reset back to high levels again.
The programmers thought that even the best players could never complete the most difficult planets on the invisible levels. Neither of the key developers themselves, Mike Hally and Rich Adam, have ever completed their own game in their own words: "without cheating."
Ports.
The silver label version of Atari 2600 "Gravitar" was originally only available to Atari Club members. It was later sold in stores in limited quantities. Atari later released it in the red box and label style in large quantities. The silver label is very desirable to collectors for its rarity and association with the Atari Club.
Legacy.
"Gravitar" inspired the 1986 computer game "Thrust".
Dual-stick shooter "Black Widow" was offered as a conversion kit for "Gravitar". The kit included a new marquee, control panel, side art, and an additional wiring harness. The kit used the original "Gravitar" PCB, with a few small modifications and a new set of ROM chips. Many factory-built "Black Widows" were produced using unsold "Gravitar" cabinets, and although they contain original (not "Gravitar" conversion) board sets, they had "Black Widow" side art applied over the "Gravitar" sideart.
"Gravitar" is part of the "Atari Anthology" for Windows, Xbox, and PlayStation 2 as well as the "Atari Anniversary Edition Vol. 2" for Dreamcast, PlayStation, and Windows. "Gravitar" is also included in the Atari Flashback 3. In April 2019, "Gravitar" was added to the TeslAtari game collection included in Tesla vehicles.
In the 1983 James Bond film "Never Say Never Again", Domino Petachi (Kim Basinger) is seen about to play "Gravitar" before meeting up again with Bond (Sean Connery) at Casino de Monte Carlo. The indoor scene was filmed at Elstree Studios in Hertfordshire, England - the arcade cabinets used would have been sourced from Atari's European factory in Ireland.
Records.
Dan Coogan, of Phoenix, Arizona, set a "Gravitar" world record, scoring 8,029,450 points from December 22 to 23, 2006, playing for 23 hours and 15 minutes. The previous world record for score was 4,722,200, which held for 24 years, set by Ray Mueller of Boulder, Colorado, on December 4, 1982, after playing for 12 hours and 21 minutes.


Syntax quest


Luciano Ricceri

Luciano Ricceri (26 April 1940 – 1 February 2020) was an Italian production designer and costume designer, winner of the David di Donatello for Best Sets and Decorations for the 1991 film "Captain Fracassa's Journey" and the 2001 film "Unfair Competition".
Biography.
Ricceri began his career in the early 1960s, being an assistant to Piero Gherardi on the sets of Federico Fellini's "8½" and "Juliet of the Spirits". He later became a loyal collaborator of Ettore Scola, working on many of his films, including "Captain Fracassa's Journey", which earned him the Nastro d'Argento for Best Production Design, and "Unfair Competition", for which he won the David di Donatello for Best Sets and Decorations.
Ricceri was also a very prolific production designer for television series: he built the sets of Giuliano Montaldo's "Marco Polo" entirely in studios. He was later hired on "Inspector Montalbano", building the sets of 19 episodes between 1999 and 2017.
Ricceri died in Orte on 1 February 2020, at the age of 79.


Michael Carlin (art director)

Michael Carlin is an Australian art director who was nominated at the 81st Academy Awards for the film "The Duchess". He was nominated for Best Art Direction, which his nomination was shared with Rebecca Alleway.


TRAK

TRAK is a general enterprise architecture framework aimed at systems engineers based on MODAF 1.2.
History.
TRAK was originally commissioned by London Underground Limited. Development started in 2009 and was based on the then current views of architectural description within London Underground which were based on ISO/IEC 42010 and tied to the systems engineering lifecyle defined in ISO/IEC 15288 .
Although the original intent was to develop a rail-specific architecture framework in adapting MODAF to suit local needs any defence or domain-specific content was removed and the result was a domain-free metamodel and viewpoints that were only based on representing complex systems.
TRAK was released under open source licenses in February 2010.
It has been formally adopted by the UK Department for Transport who chair the TRAK Steering Group that manages the overall direction, strategy and formal releases of TRAK.
The TRAK development team received a Working Group award. (photo on the INCOSE Transportation Working Group page ). TRAK was a finalist for the 2011 IET Innovation Awards.
TRAK Structure.
TRAK is defined in a logical way - that is to say free of any notion of how TRAK is implemented in any tool or any architecture description language.
TRAK has 24 architecture viewpoints which are grouped into 5 perspectives. Each viewpoint belongs to a single perspective and specifies a single view (type). Each viewpoint specifies what sets of types of architectural description element and relationships (tuples) can appear. The architectural description element types and relationships are specified by the TRAK metamodel.
The logical definition of TRAK consists of 3 documents, each of which is an open source project on Sourceforge:
TRAK Architecture Perspectives.
TRAK has 5 architecture perspectives, each of which groups together architecture viewpoints and views of an overlapping subject area:
Enterprise Perspective.
This perspective covers the enduring capabilities that are needed as part of the bigger enterprise.These are high level needs that everything else contributes to and form part of the long term strategic objectives that need to be managed.
Concept Perspective.
The concept perspective covers the logical view of what is needed in response to the capabilities required by the enterprise in the enterprise perspective. It covers the logical connection of nodes, for example a service control centre, to other nodes with no recognition of how this might be realised either by organisation or technology. It also implies no particular part of a life cycle – it covers everything from concept to disposal ("lust to dust"!).
Procurement Perspective.
The procurement perspective provides a top level view of the solution to the enterprise capability needs outlined in the enterprise perspective and developed in the concept perspective. It provides a way of showing how projects deliver the solutions described in the solution perspective to provide capability. It provides a way of showing time dependency between projects and is an essential for investigating capability gaps.
Solution Perspective.
The solution perspective provides views about the solution – whether proposed or realised. It covers the parts of ‘systems’ whether human or machine, their exchanges and protocols. The solution perspective describes how organisations and equipment are organised and governed. The solution perspective describes how the logical requirements outlined in the concept perspective are realised and shows how the solution(s) realise the capability needed by the enterprise and described in the enterprise perspective.
Management Perspective.
The management perspective provides views that describe the architectural task and those relationships that are common across other perspectives. It provides ways of defining the scope and findings of the architectural task - structuring the approach and modelling.
The management perspective provides ways of describing the normative standards that apply. It contains views that provide supporting information to aid the portability and understanding of the model(s).
TRAK Architecture Viewpoints & Views.
Each architecture view in TRAK is specified by a corresponding architecture viewpoint. The viewpoint is designated using a 'p' in the numbering e.g. a CVp-01 is the architecture viewpoint that specifies a CV-01 architecture view.
In general use if there is a risk of confusion with a similarly-numbered view in another framework such as DODAF or MODAF then a namespace prefix is used e.g. TRAK::SV-01
TRAK defines 24 architecture viewpoints (by comparison DODAF 2.0 has 52 views/models, MODAF 1.2.004 has 47 views and NAF 3.1 has 49 subviews )
These defined in the TRAK Viewpoints specification. Additional information is provided in a community wiki.
TRAK Metamodel.
The TRAK Metamodel both simplifies and extends the basic concepts within the MODAF 1.2 metamodel. It has removed and redefined stereotypes and any defence-specific constructs have been removed. The TRAK Metamodel specification contains a comparison of the TRAK metamodel at initial release against MODAF 1.2.003. This is also outlined separately.
The TRAK metamodel is shown below. "Note that this is not a controlled copy".
Significant changes vs MODAF include:
Structurally there are other changes:
The way in which TRAK is managed and released via a set of open source projects is also quite different from other enterprise architecture frameworks. All change requests and feature requests and the sentencing of them are fully visible to anyone, not restricted to those who specify or develop the framework. Releases are under change control and all history is maintained by versioning software (Subversion (SVN)).
Presentation of TRAK Views.
TRAK does not specify a notation or presentation language (architecture description language in ISO/IEC 42010 terminology) in which to present the architecture views. TRAK architecture descriptions are not therefore UML, SysML or BPMN models although any of these notations can be used to prepare at least some of the views (an ADL might not contain the necessary concepts/stereotypes or might not allow them to be connected in the way needed to represent a TRAK architecture view).
TRAK requires the metamodel element name of every architecture description element in a TRAK architecture view to be explicitly shown so that each TRAK view can be read as a set of declarative statements e.g.
Tuples can be presented using nodes and relationships with directions (a directed graph).
TRAK also allows a view to be constructed from textual statements. Since a TRAK view is a set of tuples / triples it is possible to use a graph or a set of RDF triples to present a TRAK view. A RDF ontology description of the TRAK metamodel elements is being developed. This takes the definitions of the elements from the TRAK Metamodel specification output from a graph model of TRAK within a Neo4J graph database. A TRAK architecture view consisting of RDF triples can be linked to the RDF TRAK metamodel ontology to form a knowledge graph. Each triple represents a fact or assertion.
TRAK also requires every block and every connector to have a name and for these to be visible (explicit). The intent of this is to ensure that a TRAK architecture view is read as the author of the view meant it and improve semantic consistency. Presentation rules that apply to all TRAK architecture views are specified in the overall TRAK specification (as 'Bye Laws').
TRAK is a logical definition - it specifies what needs to be shown and minimum acceptable content but does not mandate how you achieve it. TRAK simply defines the node and connector elements and the allowed combinations (triples) that must / may appear in each view. It does not specify or mandate any particular notation or language. For example a simple block and connector diagram (as above) is acceptable as is a set of plain text statements, a diagram using the UML, a graph or a set of RDF triples. For the same reason TRAK View content is specified using an abstract and different notation from any notation that might be used to implement a TRAK architecture View to avoid a common fault arising from a fault in a single notation affecting both the TRAK viewpoint content definition and the 'design response' - the content of a particular TRAK view.
ISO 42010 Considerations.
TRAK applies ISO/IEC 42010 in the following ways:-
An overall comparison between TRAK and ISO/IEC 42010 is made in the TRAK Enterprise Architecture Framework document. A more detailed comparison against the 2011 version of the standard is made separately and is viewable as a set of web pages. These, together with a compliance matrix, compare:-
Creating an Architecture Description Using TRAK.
TRAK itself does not mandate process. There is an element of process introduced, however, because TRAK adheres to ISO/IEC 42010 which states that an architecture description is produced in response to a task and the task stakeholder concerns and also because TRAK has master architecture views which creates dependencies between views and results in minimum allowed architecture view sets.
This gives rise to a minimal process which is:
Licensing.
TRAK is released under 2 forms of open source license:
Tool Support.
TRAK supports modelling tools through the following mechanisms:
A comparison of the stereotype (concepts) in the UML against those in the TRAK Metamodel provides an analysis, for the UML Profile for TRAK, what TRAK Viewpoints and therefore TRAK Views UML is able to represent fully, partially and not at all. This is a consequence of the constructs available in UML and the particular implementation in the UML Profile for TRAK and arises because different architecture description languages (ADLs) are often design for different purposes and sometimes different domains i.e. in ISO/IEC 42010 the concerns they address are different from those that the architecture framework, in this case TRAK, does.
As tools represent an implementation of the logical definition of TRAK they may contain limitations or errors owing to the notation language (architecture description language) used and tool-specific capabilities.


Frankfurt Group

The Frankfurt Group, also called the Frankfurt Gang or the Frankfurt Five, was a group of English-speaking composers and friends who studied composition under Iwan Knorr at the Hoch Conservatory in Frankfurt am Main in the late 1890s. The group included Balfour Gardiner, Norman O'Neill, Cyril Scott and Roger Quilter, who were all English, and Percy Grainger and Frederick Septimus Kelly, who were born in Australia but established themselves as composers in England. Although they did not study in Frankfurt all at the same time they remained close friends from their student days onwards.
Knorr, though German-born, was strongly influenced by and was a believer in fostering the individuality of his pupils. The Frankfurt group were united more by their friendship and their non-conformity than by any common aim, though they did share a dislike of Beethoven, and a resistance to the musical nationalism of the self-styled English Musical Renaissance of Hubert Parry and Charles Villiers Stanford, and of the later English Pastoral School of Ralph Vaughan Williams and Gustav Holst. All of them had a predilection for the music of Frederick Delius, although there remains some doubt as to when the individual members first became aware of his music, which was certainly later than when they were a group in the 1890s. The group was distinguished by its rebelliousness, and by studying abroad they stood apart from the conservative wider English musical establishment.
Grainger described the group as Pre-Raphaelite composers, arguing that they were musically distinguished from other British composers by "an excessive emotionality ... particularly a tragic or sentimental or wistful or pathetic emotionality", reached through a focus on chords rather than musical architecture or "the truly English qualities of grandeur, hopefulness and glory". Most rebellious were Grainger and Scott, whose music often crossed the boundaries of accepted musical convention. Scott's work for a time gave up the use of bars and time signatures, while employing dissonant harmonies and highly individual orchestration. The music of Quilter, O'Neill and (sometimes) Balfour Gardiner, shows an influence derived from Delius.


Sumathi Best Teledrama Makeup Artist Award

The Sumathi Best Teledrama Makeup Artist Award is presented annually in Sri Lanka by the Sumathi Group for the best Sri Lankan makeup artist in television.
The award was first given in 1995. Following is a list of the winners since then.


William Barber (engraver)

William Barber (May 2, 1807 – August 31, 1879) was the fifth Chief Engraver of the United States Mint from 1869 until his death. He succeeded James B. Longacre in the position.
Biography.
Mr. Barber was born in London, England on May 2, 1807. He learned his profession from his father, John Barber, and was employed on silver plate work, after his emigration to the United States.
He resided in Boston for 10 years and was variously employed in his line of work. His skill in this way came to the knowledge of Mr. Longacre, then Engraver of the Mint, and he secured his services as an assistant in 1865. On January 20, 1869, upon the death of Mr. Longacre, he was appointed by President Andrew Johnson as his successor, and continued in that position for the rest of his life. He fell ill in Atlantic City in the second half of August, 1879, and died at home on Ellsworth Street in Philadelphia on August 31. Besides much original work on pattern coins, he also produced over 40 medals, public and private, the work on all of them very creditable.
Barber is best known for his "Britannia"-inspired Trade dollar design, which was produced from 1873–1878 for circulation in the Far East, and in proof-only form thereafter until 1883. (The 1884 and 1885 Trade dollars were clandestinely made at the mint and are not actually part of the series. They are ultra-rarities, with ten and five coined, respectively, and despite their dubious origin, are highly valued)
When preparations were made to create a new denomination, the double dime (twenty-cent piece), William Barber and Philadelphia Mint Superintendent James Pollock knew that the design needed to be significantly different than the Liberty Seated design used on the quarter dollar. Barber designed a series of patterns that were designed to do just that, including the so-called "Sailor Head" and "Liberty at the Seashore" designs. He also created two different wreath designs and one shield design for the reverse. However, Mint Director H.R. Linderman mandated that Barber instead use the Liberty Seated design with an eagle on the reverse, thus dooming the coin to failure. The double dime saw circulation only in 1875 and 1876, with proofs struck in 1877 and 1878.
William Barber designed and engraved a number of medals. Among them are the 1869 "broken column" medalet (mini medal) remembering Lincoln's assassination, the popular 1869 Pacific Railroad medal, the even more popular 1876 Centennial medal, and the second Ulysses S. Grant Inaugural medal. What most people don't know is that William Barber designed what would have been the first U.S. commemorative coin, had it ever been made. Original sketches of a Liberty head quarter dollar were to commemorate the beginning of the nation's second century. Unfortunately, the beautiful design didn't overcome lack of interest in the idea for the coin, and it never made it to the pattern stage.
Barber was also a prolific pattern designer, and for a time engaged in a "pattern war" with fellow coin designer and future Chief Engraver George T. Morgan. There were numerous pattern designs for "Standard" coinage soon after he became the chief engraver. The only part of this idea that became reality was a standardized "Commercial" dollar which eventually became the Trade dollar. The high watermark of his pattern work was the beautiful so-called "Amazonian" pattern coinage of 1872. Made for both silver and gold denominations, today they are some of the most prized and valuable of collectible patterns.
In 1876, following the failure of the double dime, tension developed between William Barber and the Mint Director. Linderman wanted some new blood in the Engraving department. It isn't known whether this was a result of the debacle of the twenty-cent piece or if Linderman simply wanted new talent. Regardless of the reason, Linderman hired George T. Morgan from England for the Engraving Department. However, he did this rather behind the back of the Chief Engraver. To make matters worse, when Morgan arrived in Philadelphia, Linderman specified the new arrival would report to himself in Washington, not to the Chief Engraver as was the normal practice. This management decision by Linderman resulted in difficulties of Morgan fitting in with William Barber, the Engraving department, and Mint Superintendent James Pollock. While there was an uneasy relationship between William Barber and George Morgan, the main hostility was between Barber and Linderman.
Following Linderman's retirement in 1878, things returned to a normal existence, and Morgan began reporting into the Chief Engraver, and began a close working relationship with Assistant Engraver Charles Barber. At the time of his death, William Barber was highly thought of by his colleagues at the Mint. On September 2, 1879, two days after his death, a special meeting of the staff was held at the mint to discuss the life and passing of William Barber. A record of this meeting is found in a touching 2-page memo that summarizes the meeting and was presented to the family. It includes the passages,
and it is signed by Superintendent A. Loudon Snowden, Assayer William E. DuBois, Melter & Refiner James E. Booth, and Coiner O.C. Bosbyshell,
Following William's death, several of the assistant engravers wanted the top job, including Charles Barber, George Morgan, and others. After a number of months of deliberation, President Rutherford B. Hayes made the decision, and Charles Barber succeeded his father as Chief Engraver on January 20, 1880.
Personal.
William married Anna Maria (Anna May) and had four children. Son Charles E. Barber is well known. William and Anna May also had another son, named Harry, apparently younger than Charles. They also had two daughters, Florence (died July 1900) and Mary (died June 1913).
Anna May Barber died on October 28, 1880, a little more than a year after her husband. William and Anna May Barber, along with their two daughters, are buried in Mount Moriah Cemetery, on Cobbs Creek Parkway in Philadelphia. Until a painting of a young William Barber (c. 1840s) was found in the possession of the family, the only known image of William was on an 1880 medal commemorating the engraver, executed by his son, Charles.
In February 2019, the family discovered photographs of William and Anna Maria Barber (c. 1870s). On the back of the old wooden frame, in the handwriting of Edith Barber (Charles Barber's daughter, William's granddaughter), we learn who was in the pictures. This remarkable photo was announced at the Baltimore Expo.


Super Mario Ball

Super Mario Ball, known in North America as Mario Pinball Land, is a pinball video game that was developed by Fuse Games and published by Nintendo for the Game Boy Advance and released in 2004. It is the ninth Mario game for the Game Boy Advance and is a spin-off of the "Super Mario" series of games. The game was rereleased to the Wii U virtual console on November 27, 2014.
Gameplay.
To proceed, Mario must collect enough stars to open specific doors, a gameplay element borrowed from "Super Mario 64". There are 35 stars to collect in total. Mario must explore different areas to reach his aim of saving the princess. There are five different worlds, each guarded by a boss. The worlds consists of the Fun Fair (the main starting area), Grassy Greens, Frosty Frontier, Shifting Sands, and Bowser's Castle.
Plot.
Mario and Princess Peach visit a funfair and wait in line to try a ride called the Air Cannon, where the rider is turned into a ball via the Spherasizer and shot out of the cannon. As Peach is about to take her turn, two Goombas kidnap her by aiming the cannon towards Bowser's Castle. To save Peach, Mario uses the Spherasizer to turn into a ball, allowing for the pinball action of the game.
Development.
As Adrian Barritt and Richard Horrocks, veterans of the "Pro Pinball" series, had founded Fuse Games, they decided that, in the words of Barritt "we needed a bit of impact before they would even bother to speak to us". So they thought about a Mario pinball game, and produced a playable demo, featuring both the possible first area and the last one with a showdown with Bowser. Afterwards Barritt and Horrocks went to Seattle to pitch the idea to Nintendo of America executives, and were approved. As the resources were limited, Fuse decided not to develop the game for the Nintendo GameCube, resorting to the Game Boy Advance instead. Barritt added that he considered the portable "[an] ideal platform for a pinball game, something that you can just pick up and knock the ball around for a bit" and stated that "with experience on systems like the Super Nintendo we knew we'd be able to push the hardware of the GBA very hard to its limits". Despite Fuse hiring more people, the whole game was created by a small team of only five people.
"Super Mario Ball" was first announced under the working title of "Mario Pinball" in Nintendo's product release schedule on April 1, 2004 as one of two previously unannounced "Mario" titles for the GBA alongside an untitled new entry in the "Mario Party" series that would make use of the handheld's e-Reader peripheral, with a planned release date of May 24. Further details were later revealed during the 2004 E3 expo, with playable demos and a release date of October 4. The game's final name was announced in June 2004 on Nintendo's official website.
Reception.
"Super Mario Ball" received "mixed" reviews according to the review aggregation website Metacritic. In Japan, "Famitsu" gave it a score of three sevens and one eight for a total of 29 out of 40.
Most reviews praised the excellent graphics, but criticized the game for being pointlessly difficult and having overall poor gameplay. IGN's review in particular criticized the gameplay for having "bad table layouts with an overwhelmingly annoying 'playfield reset' element". The review concluded that "the gameplay itself is far more flawed and annoying than it is fun to play". Adrian Barritt later admitted that during development they wound up not making the game easy enough for pinball beginners as "you had to take the time to control the ball", which led to Fuse trying to not repeat the same mistakes in follow-up "Metroid Prime Pinball". Not all reviews were negative, however, as GameSpot said that the game "combines Mario with pinball to create an interesting kind of adventure game".
Nintendo World Report gave the game a 7.5/10.


Clare Waight Keller

Clare Waight Keller (born 19 August 1970) is a British stylist and fashion designer, who has served as the Artistic Director for a number of luxury fashion houses and brands, including Pringle of Scotland, Chloé, and Givenchy.
Early life and education.
Keller was born in Birmingham, England on 19 August 1970. She studied at Ravensbourne College of Art, where she graduated with a bachelor's degree in Fashion, followed by a master's degree at the Royal College of Art.
Career.
She started her career at Calvin Klein in New York as a stylist for the women's ready-to-wear line, then at Ralph Lauren, for the Purple Label menswear line. In 2000, she was hired by Tom Ford to join Gucci, responsible for women's ready-to-wear and accessories, until her departure in 2004. The following year, she became Artistic Director of Pringle of Scotland. In 2007, she received the Scottish Fashion Awards 'Designer of the Year' in the cashmere category. She resigned her position at Pringle of Scotland in 2011. In the same year, she moved to Paris where she became the Artistic Director of Chloé. In 2017, Keller was appointed Artistic Director of haute couture and ready-to-wear for women and men at Givenchy. Replacing Riccardo Tisci, she was the first woman to hold the position at the company.
She designed the wedding dress which Meghan Markle wore for her wedding to Prince Harry, Duke of Sussex, on 19 May 2018.
For her second couture show, Waight Keller went through Givenchy's archives, and used modern materials "to create something that floats".
In January 2019, for autumn/winter 19, Waight Keller presented her first standalone menswear collection for Givenchy in Paris. It was an intimate salon show that just consisted of 17 looks with a complete day to evening wardrobe. While future Givenchy ready-to-wear and haute couture shows will remain combined, this means Waight Keller's vision of Givenchy menswear is given its own stage.
She left Givenchy on 10 April 2020.
Awards and honors.
At the 2018 British Fashion Awards, Keller was presented the British Designer of the Year Womenswear Award by Meghan, Duchess of Sussex and actress Rosamund Pike.
In 2019, "Time" magazine included Keller in its annual list of the most influential people of the year.
Personal life.
She is married to Philip Keller, an architect. They have three children.


Slide (footwear)

Slides are a form of footwear. They are backless and open-toed, essentially an open-toed mule. Slides can be high-heeled, flat-heeled or somewhere in between, and may cover nearly the entire foot from ankle to toe, or may have only one or two narrow straps. They usually include a single strap or a sequence of straps across the toes and the lower half of the foot to hold the shoe on the foot. The term is descriptive in that this shoe is easy to 'slide' on and off the foot when the wearer wants to do so. Slides do not have a “Y” shaped strap, like the flip-flop. As of August 2019, slides are trending because of the desire for a more comfortable shoe that still allows participation in activities and sports.
History.
Slides can be traced back to Ancient Rome, Italy. Though they are often thought to come from as far back as Ancient Egypt or Ancient Greece, there is a lack of documentation to further prove that. The popularity of slides in the United States started in the late 1960s, when vibrant, colorful aesthetics, such as cheery flower motifs, were followed. Across the world in Germany the brand Birkenstock created the first fitness slide, a simple design made from contoured cork with a single buckled leather strap. Another German company, Adidas invented the well-known Adilette pool slide.
Use.
Slides are typically employed in casual situations. They are a unisex footwear worn by both men and women. However, high fashion designers such as Prada, Gucci, Burberry, Walk London and Marc Jacobs have included them in their collection. The different designs and ideas that come from the designers are including everything imaginable. Crafting slides from premium grade leathers and suedes, feathers to using floral patterns, faux fur lining and regal pearls being attached or used as the main design behind slides.


Space Quest IV

Space Quest IV: Roger Wilco and the Time Rippers is a 1991 graphic adventure game by Sierra On-Line. It was released on floppy disks on March 4, 1991, and released on CD-ROM in December 1992 with full speech support and featuring "Laugh-In" announcer Gary Owens as the voice of the narrator. It featured 256-color hand painted graphics and a fully mouse-driven interface. It was one of the first games to use motion capture animation. The game cost over US$1,000,000 to produce and sold more than its three predecessors combined. An Atari ST version was announced via Sierra Online's magazine, Sierra News Magazine, but was later canceled.
Plot.
In this installment, Roger embarks on a time-travel adventure through "Space Quest" games both past and future. A reborn Sludge Vohaul from "Space Quest XII: Vohaul's Revenge II" chases Roger through time in an attempt to finally kill him. Roger also visits "Space Quest X: Latex Babes of Estros" (whose title is a parody of Infocom's game "Leather Goddesses of Phobos") and "Space Quest I"; in the latter, the graphics and music revert to the style of the original game and Roger is threatened by a group of monochromatic bikers who consider Roger's 256 colors pretentious. None of the gameplay takes place in "Space Quest IV". In fact, the "actual" "Space Quest IV" is only seen briefly in the introduction.
Gameplay.
In contrast to the first three games, "Space Quest IV" uses a point-and-click interface, featuring icons for different actions. The icons are an eye, a talking head, a walking person, a hand, a mouth, and a nose, representing "look", "talk", "walk to", "use", "taste", and "smell", respectively. The last two almost never do anything other than provoke a humorous response from the game.
"Ms. Astro Chicken".
"Ms. Astro Chicken: Flight of the Pullet" is a video game embedded within the "Latex Babes of Estros" portion of the game, in a mall arcade. It is a sequel of sorts to "Astro Chicken", an arcade game that appeared in "Space Quest III". The game's name is a parody of the actual arcade game "Ms. Pac-Man". The Astro Chicken theme music is a variation on the Chicken Reel, a traditional folk song best known for its use in animated cartoons.
In the game, the player controls a flying chicken, whose enemies include flying squirrels, windpumps, shotgun-wielding hunters and hunting dogs. Dropping eggs on enemies immobilizes them and increases the player's score. After playing the game for a while, the arcade cabinet explodes, though this has no effect on the player or broader game.
Copy protection.
Originally, the time pod codes could only be found in the manual as a form of copy protection. In later releases, the codes were added to the game.
Reception.
According to Sierra On-Line, combined sales of the "Space Quest" series surpassed 1.2 million units by the end of March 1996.
In 1991, "Dragon" gave the game 5 out of 5 stars. In 1992, they gave the Macintosh version of the game 5 out of 5 stars as well. "Computer Gaming World"s Charles Ardai stated in 1993 that "the CD-ROM version is even more filling than the original. It accentuates and improves all of the game's strong points", with Owens and others providing much better voice acting than in "King's Quest V". While noting that the CD-ROM did not change the brevity of the gameplay, Ardai added that "there are better adventure games than "Space Quest IV" [but] there are few games that are more entertaining. Fewer still are improved so much in the transition to CD-ROM". He concluded that ""Space Quest IV" is the perfect multimedia game: it looks and sounds great and it offers an experience one could not get from a floppy-based game". In April 1994 the magazine said that the CD version's voices "bring Roger Wilco's campy world to life ... one of his finest and funniest adventures".
In 1996, "Computer Gaming World" named "Space Quest IV" as the funniest game ever made. The editors wrote that it "transformed every sci-fi time-travel cliche with Gary Owens' voice ... providing the perfect comedic counterpoint."
In 2011, Adventure Gamers named "Space Quest IV" the 48th-best adventure game ever released.


French Mitchell

French (Curley) Mitchell was a well-known American fiddler from Buffalo, West Virginia. French played the fiddle for more than 60 years and was a regular at the annual Vandalia Gathering on the statehouse grounds in Charleston.
Performances.
His first professional music job came in the mid-20s, when he and his brother, Auvil, and a banjo player formed the Buffalo Nighthawks and played on "The Old Farm Hour" on Charleston radio station WOBU.
Curley performed on the WMMN "Sagebrush Roundup" radio show in the late 1930s.
The Mitchell brothers went on to play in Columbus, Ohio, and later in Wheeling on the WWVA Jamboree with Cowboy Loye and Tex Harrison. Mitchell played professionally off and on for the next 20 years.
Recordings.
French had one album recorded by the West Virginia Division of Culture and History when he was in his 70s. It was called "First Fiddle" and contained old favorites as well as several of his own compositions.
The album is now out of print.
He has one track ("Turkey in the Straw") on the LP called "The Music Never Dies: A Vandalia Sampler, 1977-1987" (Elderberry ER004).


Vincent Peranio

Vincent Peranio (born 1945) is an American film and television production designer, art director, set designer, and actor.
Peranio began his career designing film sets for John Waters. Because of his work with Waters, he is considered one of the Dreamlanders, Waters' ensemble of regular cast and crew members.
Biography.
Peranio was born in 1945 in Baltimore.
Peranio's first credited project is the creation of "Lobstora", a room-sized rapacious lobster in Waters' "Multiple Maniacs" (1970).
After "Multiple Maniacs", Peranio developed a successful career creating the sets for all subsequent films of Waters and other films and TV shows, including Barry Levinson's "Liberty Heights" and the crime dramas,
"", "The Corner", and the HBO television production "The Wire".
At times, Peranio's brother Ed Peranio assisted with prop construction and creating effects, as well as portraying minor roles in the early Waters films.


Ni no Kuni

Ni no Kuni is a series of role-playing video games published by Bandai Namco worldwide and developed and published by Level-5 in Japan. The first games in the series chiefly follow the young Oliver, and his journey to another world to save his mother and stop the beckoning evil. The sequel follows Evan Pettiwhisker Tildrum, a boy king who is usurped from his castle, and sets out to reclaim his kingdom. The games utilize several magic elements, allowing players to use magical abilities during gameplay, as well as creatures known as familiars, which can be tamed for suitability during battle.
Conceived as a project for Level-5's tenth anniversary, ' was released in December 2010 for the Nintendo DS. An enhanced version of the game for the PlayStation 3, ', was released in Japan in November 2011. The games were developed separately, retaining similar stories, but featuring significant artwork, graphics and specification changes. A localized version of the game was published in Western regions by Namco Bandai Games in January 2013. A sequel, "", was released on Microsoft Windows and PlayStation 4 in March 2018. Three mobile games have also been produced: "Hotroit Stories" in December 2010 through the Roid service, "Daibouken Monsters" in May 2012 through the GREE service, and "Cross Worlds" in 2020. The former follows the story of Oliver and Mark as they try to find parts for a car, and the latter is a social card game in which players collect cards featuring imajinn.
The animated sequences for "Dominion of the Dark Djinn" and "Wrath of the White Witch" were produced by Studio Ghibli, and the original score was composed by Joe Hisaishi and Rei Kondoh. The artwork was also greatly inspired by Studio Ghibli's other productions. The character development—particularly that of Oliver and his friends—was a large focus of development, and was intended to make children empathize with the characters and for adults to relive their adolescence. The developers chose to initially develop for the Nintendo DS due to its suitability for gameplay, and later used the power of the PlayStation 3 to its full potential to render the world with great detail.
Games in the series have been praised as being among the best modern role-playing games. Reviewers mostly aimed their praise at particular elements of the games: visual design, and its resemblance to Studio Ghibli's previous work; characters and story, for their believability and complexity; the soundtrack, and Hisaishi's ability to capture the essence of the game world; and the unique gameplay, particularly for its ability to blend formulas from other role-playing game franchises. The games also won awards from several gaming publications. In May 2018, Bandai Namco reported that the series had shipped 2.8 million copies worldwide. An animated film adaptation produced by OLM, Inc. and distributed by Warner Bros. was released in 2019.
Games.
 was released in Japan on December 9, 2010, for the Nintendo DS. After his mother dies, Oliver sets out on a journey to another world to save her. Alongside the fairy Shizuku, Oliver meets Maru and Jairo on the way, who assist him on journey. After retrieving three magical stones to complete a wand to defeat Jabou, Oliver discovers that he cannot save his mother, but vows to protect the world regardless. He defeats Jabou, who uses his power to ensure that Oliver does not die as well.
 was released in Japan on December 9, 2010, for mobile devices through their Roid service. It follows the story of Oliver and his friend, who create a custom car by finding parts around Hotroit, eventually making their way to an abandoned factory and encountering creatures.
 was released for the PlayStation 3 in Japan on November 17, 2011, and published in Western regions by Namco Bandai Games in January 2013; the game was released for Nintendo Switch in September 2019 alongside a Remastered version for Microsoft Windows and PlayStation 4. The game is an enhanced version of "Dominion of the Dark Djinn"; the plot is almost identical, featuring an extended ending. Some character names were also changed; Shizuku was changed to Drippy, Maru to Esther, Jairo to Swaine, Lars to Marcassin, and Jabou to Shadar, among others. After Shadar is defeated, the White Witch appears and casts a spell that turns the citizens into undead-like creatures. When Oliver and his friends reverse the spell, they discover that the White Witch was once a young queen called Cassiopeia who had noble intentions, but was manipulated into wanting the destruction of the world. After Oliver defeats the White Witch, she is restored to her former self, and declares to dedicate her life to making amends for her actions. Oliver then returns to his old life in Motorville.
 was released in Japan on May 11, 2012, for mobile devices through the GREE service. Players travel to another world and collect cards featuring imajinn. An occupant of the other world is trapped in every card; by flipping the card, players have the ability to use the occupant's abilities during battles.
 was released for Microsoft Windows and PlayStation 4 on March 23, 2018. The story follows King Evan Pettiwhisker Tildrum, who is usurped from his castle, and sets out to reclaim his kingdom. He is aided by Roland, a visitor from another world, and Tani, the daughter of a boss of air pirates.
 will be released for Android and iOS in Japan in 2020, developed by Netmarble. The game follows a beta tester for "Project N", a fictional virtual reality game. It will also include five character classes, and well as a multiplayer kingdom feature with player versus player combat.
Common elements.
The series consists of four role-playing games and one social card game. Each game typically features a third-person camera. The player controls the player character in a combination of combat and puzzle game elements to achieve goals and complete the story. "Hotroit Stories" is the only installment to feature an overhead perspective, while "Daibouken Monsters" is played as a card game, with no character movement. All games in the series feature a battle mode. During battles, player command a single human ally. To fight enemies in the main game, players use magical abilities or familiars; in "Hotroit Stories", players attack using items such as dry ice for similar effects, while "Daibouken Monsters" limits players to using familiars only. The battle mode in "Wrath of the White Witch" and "Revenant Kingdom" is on an open battlefield, allowing players to freely roam around the area, while "Dominion of the Dark Djinn" employs a grid layout, whereby players can create formations to avoid attacks.
Like other role-playing games, the series have players complete quests, which are linear scenarios with set objectives, to progress through the story. Outside of quests, players can freely roam the open world, finding towns, dungeons, and other dangerous places scattered throughout. One of the core aspects of the games is the ability to travel between worlds; the majority of the games take place in a magical world, often referred to as the "other world", while part of the games take place in Oliver's hometown. Upon leaving a location, players enter the World Map, which can be navigated, or used to select a destination. The world may be fully explored from the beginning of the game without restrictions, although story progress unlocks more gameplay content and forms of transport to navigate the world. In the main games, players initially run to navigate the world, though later gain the ability to travel by boat; "Wrath of the White Witch" adds the ability to ride on the back of a dragon.
Familiars, known as in the Japanese version of the games, are creatures that wander throughout the game world. They can be found in different shapes and forms, and can be obtained after being defeated in battle. They can then be tamed, in order to be suitable to send out in battle to fight for players. Players command familiars, who generally have a range of magic and physical attacks. Familiars level up and evolve alongside the human characters; each have unique statistics and capabilities, and can be guided through their upgrades with treats and equipped with items. Familiars are not present in "Revenant Kingdom"; creatures known as Higgledies are used in combat, with different spirits using special moves on enemies.
Development.
Conceived as a project for Level-5's tenth anniversary, "Ni no Kuni: The Another World" was announced in the September 2008 issue of "Famitsu", as a title for the Nintendo DS. In June 2010, Level-5 announced that the game would also be released for the PlayStation 3, with significant differences; the DS version was renamed "Ni no Kuni: Dominion of the Dark Djinn", while the PlayStation 3 version was given the title "Ni no Kuni: Wrath of the White Witch". Both versions were revealed to be in development separately, only retaining the same "story axle", while features such as artwork, graphics and specifications all received significant changes. Journalists noted that the game's announcement ignited widespread anticipation within the gaming industry.
Level-5 collaborated with Studio Ghibli to produce the game's animated sequences, and the game features graphics and visuals replicating the traditional animation style of Studio Ghibli films. The collaboration began when musician Naoya Fujimaki, who had previously worked with both companies, introduced Level-5 president Akihiro Hino to Studio Ghibli president Toshio Suzuki. At the time, Studio Ghibli had completed work on "Ponyo" (2008), and the animation team had no ongoing projects, which influenced Suzuki's decision to collaborate with Level-5. Another influencing factor of the collaboration was witnessing Hino's passion for the project. Studio Ghibli approached the production process in the same way that they would create an animated film. Work on the animation began in July 2008, and took much longer than the predicted three months.
Studio Ghibli's Yoshiyuki Momose served as the director of animation, drawing character designs and storyboards. Hino wished "Dominion of the Dark Djinn" and "Wrath of the White Witch" to have a heartwarming feel; the artwork and character movements was greatly inspired by Studio Ghibli's work, particularly due to their attention to detail, as well as their talent in creating storyboards and utilizing camera control. The development team constantly watched Studio Ghibli's films during development. The team wanted the theme of the game to resonate with children; they initially considered the idea of expressing adventure and dreams. They later explored the concept of a child's greatest influence, their mother, and the possibility of losing them. The game's main playable character, Oliver, is a 13-year-old boy. The team decided to make him a child as they wished to showcase a coming of age story. They wanted children to empathize with Oliver's development, and adults to relive the excitement of their adolescence.
For "Dominion of the Dark Djinn", the development team found that the Nintendo DS was best suited to the game's development. Alongside the launch of "Dominion of the Dark Djinn" on December 9, 2010, Level-5 also launched the first chapter of "Hotroit Stories", titled , for mobile devices via the Roid service. "Wrath of the White Witch" was developed for the PlayStation 3. The team planned to bring the game to the console from the beginning of development, but opted to work on the DS version of the game beforehand due to the larger number of DS users in Japan at the time. The team found they could render the game world with great detail, using the hardware to its full potential to present the animation, world and music. Hino felt that the PlayStation 3 version allowed the game's music to accompany the imagery, which was not possible on the DS version.
Following the Japanese launch of "Wrath of the White Witch" on November 17, 2011, Level-5 developed "Daibouken Monsters". The development of the game is the result of a comprehensive partnership between Level-5 and GREE, which resulted in the former developing three titles for the latter. Early registrations for the game began on March 21, 2012, and it launched for mobile devices through the GREE service on May 11, 2012.
Level-5 worked with localization company Shloc to translate "Wrath of the White Witch" for Western regions; the two studios collaborated for many weeks. The team found great difficulty when localizing the game for Western regions, particularly due to the large amounts of text and audio that required translation. Other minor changes to the artwork and animation also occurred, such as making Oliver bow in a Western manner. By December 12, 2012, development on the localized version of "Wrath of the White Witch" stopped as the game was submitted for manufacturing. It was released in North America on January 22, 2013, in Australia on January 31, and in Europe on February 1. The game was released for the Nintendo Switch on September 20, 2019. A remastered version, featuring enhanced graphical capabilities, will be released for Microsoft Windows and PlayStation 4 on the same day.
"Ni no Kuni II: Revenant Kingdom" was announced at PlayStation Experience on December 5, 2015. It was released for Microsoft Windows and PlayStation 4 on March 23, 2018. Studio Ghibli was not directly involved with development. Hino said that the game aimed to better fulfill the ambitions of the original game, with deeper stories and improved visuals. In June 2019, Hino stated that a third instalment in the series was in development.
Music.
When Studio Ghibli agreed to produce the animated sequences of "Ni no Kuni", they contacted Joe Hisaishi to work on the game's music. Hisaishi, who previously worked with Studio Ghibli on films such as "Princess Mononoke" (1997) and "Spirited Away" (2001), met with Hino. After witnessing Hino's passion for the project, Hisaishi agreed to work on the game's soundtrack. Rei Kondoh also created background music for the score, and all in-game music was performed by the Tokyo Philharmonic Orchestra. "Kokoro no Kakera", the theme song for "Dominion of the Dark Djinn" and "Wrath of the White Witch", was written by Hisaishi; his daughter Mai Fujisawa performed the song in Japanese, while chorister Archie Buchanan performed the English version. The team found great difficulty in selecting a performer for the English version, though ultimately settled upon Buchanan due to his ability to convey the "vulnerability and innocence" of the game's characters in a "moving and powerful performance". For the orchestral music to fit onto the Nintendo DS at a high quality, "Ni no Kuni: Dominion of the Dark Djinn" was shipped on a 4-gigabit game card. Hisaishi also worked on the score for "Ni no Kuni II: Revenant Kingdom".
Two "Ni no Kuni" soundtracks were commercially released. An album titled "Ni no Kuni: Shikkoku no Madoushi Original Soundtrack" was released in Japan on February 9, 2011, featuring music from "Dominion of the Dark Djinn". A two-disc soundtrack was later released on March 28, 2013; the first disc is a re-release of the Japanese soundtrack, while the second disc contains additional tracks from "Wrath of the White Witch".
Film.
An animated film adaptation, simply titled "NiNoKuni", was produced by OLM, Inc. and distributed by Warner Bros. It premiered in Japan on August 23, 2019, and was localized in English and released via Netflix on January 16, 2020. The film was directed by Yoshiyuki Momose, produced and written by Hiro, and composed by Hisaishi.
Reception.
The first two main games were very well received, with praise particularly directed at the visual design, characters and story, soundtrack, and unique gameplay. "Dominion of the Dark Djinn" scored 38/40 from Japanese publication "Famitsu", who felt that the game's elements are effectively utilized to maintain excitement. Michael Baker of RPGamer named it the "best overall game" at the time, and Janelle Hindman of RPGLand wrote that the game is "a reminder of why people used to flock to the JRPG genre in the first place". "Nintendo Gamer"s Matthew Castle called it "one of the best experiences on DS". "Wrath of the White Witch" also received critical acclaim. It received 85 out of 100 from Metacritic, indicating "generally favorable reviews". Colin Moriarty of "IGN" named it "one of the best RPGs", and among the best PlayStation 3 exclusives, and Kevin VanOrd of GameSpot wrote that it joins "that elite group of games providing such an enticing world that you can't imagine never having visited".
The artistic design of "Dominion of the Dark Djinn" and "Wrath of the White Witch" received acclaim, being favorably compared to Studio Ghibli's previous work; Stephanie Bendixsen of "Good Game" called the art "vibrant and exciting", noting that it "brings the game to life in the most beautiful way". The story and characters were also well received, with IGN's Moriarty naming them among the game's standout features and "Edge" praising the believable and complex characters. Critics considered the games' music to be appropriate for gameplay; Jim Sterling of "Destructoid" compared the soundtrack favorably to "Dragon Quest VIII", and RPGLand's Hindman lauded the music as "gorgeously crafted". The gameplay and combat system polarized reviews; some reviewers found it a refreshing mix of styles from other role-playing games, with Joystiq's Sinan Kubba calling it a "triumph", while others noted its difficulty, and similarity to similar games.
The game's received multiple nominations and awards from several gaming publications. "Dominion of the Dark Djinn" won the award for Future Division from the Japan Game Awards in 2009 and 2010, and the Excellence Award in 2011, and also awarded the Rookie Award from "Famitsu" in 2011. "Wrath of the White Witch" appeared on several year-end lists of the best role-playing games of 2013, receiving wins from "Destructoid", "Game Revolution", "GameTrailers", "IGN", the 18th Satellite Awards and the Spike VGX 2013 Awards. It also received Best Game from "The Huffington Post", Best Sound from Cheat Code Central, and Excellence in Animation at the SXSW Gaming Awards. At the 13th National Academy of Video Game Trade Reviewers Awards, it received multiple wins, including awards for Animation, Art Direction, Original Light Mix Score, Original Family Game, as well as Original/Adapted Song for "Kokoro no Kakera".
In May 2018, Namco Bandai reported that the series had collectively shipped 2.8 million copies worldwide, with "Wrath of the White Witch" shipping over 1.1 million copies and "Revenant Kingdom" shipping over 900k. By the end of 2011, it was reported that "Dominion of the Dark Djinn" sold over 560,000 units; it was the 33rd best-selling game in Japan in 2010, and the 45th best-selling in 2011.


Flag of Hamburg

There are three flags of Hamburg, Germany. The "Landesflagge" (civil flag), the State flag of Hamburg ("Staatsflagge") and the admiralty flag ("Admiralitätsflagge") consist of the Coat of arms of Hamburg on a red flag.
Overview.
The civil flag shows a white castle with three towers on red background, which is used as a civil flag as a state flag for most purposes. (It was historically used as civil ensign as well.) The oldest seal with the castle is thought to date from 1241. The first flag featuring the current form was in the mid-16th century, although this was most probably a red field, a white escutcheon and red castle. After about 1623, the escutcheon began to be omitted, leaving a red castle on white or a white castle on red. It was only in 1751 that the white castle on red was decreed as the flag of Hamburg.
The civil flag is free for use to everybody. The state flag of Hamburg is only used by the Senate of Hamburg as the head of state. This flag was created in 1897 on the occasion of the opening of the new town hall. The Admiralty flag of Hamburg is used only for state buildings connected to the navigation and at the jacks of boats of Hamburg's Water Constabulary, since there are no genuine warships under city command anymore. It portrays the admiralty coat of arms which have existed since 1642.


Carroll Morgan (computer scientist)

Charles "Carroll" Morgan (born 1952) is an American computer scientist who moved to Australia in his early teens. He completed his education there (high school, university, several years in industry), including a Doctor of Philosophy (Ph.D.) degree from the University of Sydney, and then moved to the United Kingdom in the early 1980s. In 2000, he returned to Australia.
During the 1980s and 1990s, Morgan was based at the Oxford University Computing Laboratory in England as a researcher and lecturer working in the area of formal methods, and a Fellow of Pembroke College. Having been influenced by the Z notation of Jean-Raymond Abrial, he authored "Programming from Specifications" as an attempt to combine the high-level specification aspects of Z, with the rigorous computer program derivation methods of Edsger W. Dijkstra. His treatment concentrated on elementary program constructs to make the material accessible to undergraduates in their early years. Some of the ideas there were later incorporated as elements of the B-Method by Abrial, when Abrial returned in Oxford in the last half of the 1980s.
Together with Annabelle McIver, Morgan later authored "Abstraction, Refinement and Proof for Probabilistic Systems", in which the same themes were pursued for probabilistic programs.
Morgan is now a professor in the School of Computer Science and Engineering at the University of New South Wales, and a Senior Principal Researcher at Trustworthy Systems, part of CSIRO's Data61, both in Australia. His main research interests are probabilistic models for computer security and concurrency. He is a known proponent of a formalized approach to program development called the refinement calculus. He has authored many papers.
He is involved with developing international standards in programming and informatics, as an active member of several International Federation for Information Processing (IFIP) working groups, including IFIP Working Group 2.1 on Algorithmic Languages and Calculi, which specified, maintains, and supports the programming languages ALGOL 60 and ALGOL 68.


Creative Capers Entertainment

Creative Capers Entertainment is an American animation studio founded by Terry and Sue Shakespeare with David Molina in 1989. Based in Altadena, California. It specializes in flash and hand-drawn animation in various feature films, television series, commercials, CD-ROMs and video games. The studio is populated by animators who worked in Sullivan Bluth Studios Ireland, Ltd. including Mark Koetsier, Silvia Hoefnagels, Stefan Fjeldmark, Greg Tiernan (co-founder of Dagda Film), Shane Zalvin, etc. It also operates a division called Creative Capers Cartoons, also known as The Hollywood Cartoon Company, which was mainly used for providing additional animation for some feature films. The studio was also an uncredited additional animation facility for "Beauty and the Beast", "Aladdin" and "The Lion King".


WRC 7

WRC 7, also known as WRC 7 FIA World Rally Championship, is a racing video game based on the 2017 World Rally Championship season. The game was developed by French developer Kylotonn and published on 15 September 2017 by Bigben Interactive for Microsoft Windows, PlayStation 4 and Xbox One. The game carries an official FIA esports licence.
Reception.
The game was released to mixed reception, with reviewers praising improvements over its predecessor but criticised the game's controls and lack of depth compared to the likes of "DiRT 4". Metacritic gave it a score of 70 out of 100 for each of the three platform releases.
"GameSpot" said: "For all its minor faults and bare-bones nature in comparison to others, WRC 7 is still an enjoyable, but seriously challenging rally title. It's not the most welcoming game for newcomers, and even experienced racers will find some of the rougher stages tricky".
The game won the award for "Best Sports Game" at the 2017 Ping Awards.


The Swindle (video game)

The Swindle is a stealth action game developed by Size Five Games. The game was released for Windows, OS X, PlayStation 3, PlayStation 4, PlayStation Vita, Xbox One, and Wii U in 2015.
The game received generally positive reception, with critics praising the game's setting and tense gameplay.
Gameplay.
The game takes place over 100 days. Each day a thief is sent on a heist to a part of London. The thief can search the region for money, avoiding or destroying a variety of guard robots patrolling the grounds. The thief can employ a variety of tools to destroy walls and other obstacles, hack computers for additional funds, or bug locations to turn them into income streams.
Other gameplay elements include perma-death, as a thief can die in a variety of ways, or become stuck and eliminated with a suicide pill to avoid capture, and the player assumes another thief on the following night.
Plot.
Set in a steampunk variation of London, "The Swindle'" follows a group of thieves who are attempting to hijack an AI being developed by Scotland Yard. If the AI is completed, the thieves' exploits will be at an end.
Reception.
The game received generally positive reception, with an aggregate score of 70/100 on Metacritic based on reviews from 25 critics.
Jordan Erica Webber of PC Gamer rated the game 80/100, calling the game's interface "streamlined and readable" and the game itself "immensely satisfying".
Zack Furniss of Destructoid rated the game 75/100, calling it "a festival of moments, of anecdotes filled with failures and smiles", but criticized the game for having potential bugs and exploits, as well as a "weird bloom effect" and "wonky" collision.
James Cunningham of Hardcore Gamer rated the game 70/100, calling the controls "troubling" and a "work in progress", but saying it was "awfully close to being excellent" due to the variety of enemies, art style and large amount of tools at the player's disposal.


Symbiocom

Symbiocom (also known as Syn-Factor) is a first person adventure game developed by Istvan Pely in 1998. It is a pseudo-sequel to "Majestic Part 1: Alien Encounter" (1995) and the predecessor to "Zero Critical" (1999).
Plot.
The player is a new service technician aboard "I.S.T. Rident", a class B space-faring passenger liner in the "Delta quadrant". Implanted into the player's brain is a "symplant" (or simply, a "sym"), a symbiotic artificial intelligence designed by "SYNSYM Corporation" to act as a companion as well as a tool to help people in scientific and technical disciplines work more efficiently.
The Rident was experiencing a problem with its artificial gravity generators, and as a maintenance engineer, the player was assigned to fix the ship's formula_1 gravity arrays. As a safety measure, Captain Roland Tailor and co-pilot Yuri Ruport decided to keep the ship's worm-drive off-line while the gravity generator is being worked on. Disabling the worm-drive significantly reduced the speed of the vessel. At this point the Rident was attacked by two war ships. The Rident shakes violently, knocking the passengers off balance, and alarms all around the ship start going off. The captain orders an SOS distress signal to be sent and hollers to prepare the lifeboats. The player falls unconscious while busy fixing the ship's gravitomagnetism.
The game begins with the player being woken by alerts from the implanted sym. I.S.T. Rident is left adrift in the depths of space and the player is alone aboard a deserted spacecraft. The player's objectives are to escape from the crippled transport and to find out who destroyed the ship and what happened to the 163 crew members and passengers aboard.
Development.
The game was developed by Istvan Pely and his team, Sherban Young (screenplay writer) and Seth Jones (musician and sound editor). Symbiocom was intended as a pseudo-sequel to "Majestic Part 1: Alien Encounter" (1995) as it takes place in the same universe. Whilst the storyline and characters of Symbiocom do not continue over in the subsequent game "Zero-Critical" (1999), there are few references to its events.
In an interview in 1998, Istvan Pely stated that Symbiocom was implemented very close to its original concept. He added that:
Gameplay and reception.
The protagonist of this game is both nameless and faceless, a feature that was praised by certain critics. The game is divided into five chapters, each taking place in a completely different environment. Each location is displayed with 3D pre-rendered graphics and a 360° view. Movement is restricted to sudden jumps between still screens and "move along a rail" videos from location to location. The locales are generally unpopulated. There are very few character interactions throughout the game. Most of the player's interactions take place with drones and entertainment robots. The player's sym talks to the player in text only.
The puzzles are inventory and logic types. In his review, Gordon Aplin (1998), states that the puzzles "are not too difficult for experienced adventurers and are logically consistent within the game world." It is possible to die in this game, however the player will be automatically restored to a point before they made their fatal error.
The game has been compared to the film Soylent Green.


Daniel J. Porter

Daniel Jonathan Porter (born June 13, 1966) is an American Internet entrepreneur. He is the founder and CEO of Overtime, a digital sports platform. He was previously the Head of Digital at William Morris Endeavor, the former CEO of OMGPOP and the creator of the Draw Something mobile game. Following to the sale of OMGPOP to Zynga, he was the GM of Zynga New York for one year following the sale. He also served as the first President of Teach For America
Background.
Born in Cambridge MA, Porter was raised in Ardmore, Pennsylvania, a suburb of Philadelphia. His parents were college professors at the University of Pennsylvania and Bryn Mawr College. His great uncle is the Nobel Prize–winning economist Milton Friedman. He is married to filmmaker Melanie Judd and they have two sons.
Educational career.
Porter began by teaching at Clara Barton High School in the Crown Heights neighborhood of Brooklyn, New York. in 1990 he joined the early team of Teach America at its first summer training institute and in 1994 became the President of Teach For America where he worked on the expansion of the program to Phoenix and Seattle and the Americorps program. After leaving Teach For America, Porter ran Cities in Schools, a youth organization in New York City, which also was a partner with Goldman, Sachs in running the High School, Metropolitan Corporate Academy.
Business career.
In 1999 Porter served as the President of TicketWeb. He led its sale to TicketMaster (IAC) in 2000.
Porter also worked for Richard Branson's Virgin Group where he started the Virgin Festival in North America, ran Corporate development for Virgin USA and invested in several companies.
In 2012 he was named by "Business Insider" as the 6th most influential person in New York tech.
In April 2013 Porter left Zynga
From 2013 to 2016 Porter ran digital at WME - IMG where he conceived of and launched the Esports practice, culminating in the E League, led the digital talent division, launched the fashion network Made to Measure and launched and led WME Ventures.
In November 2016 Porter left WME - IMG to launch Overtime. Overtime raised a seed round led by Greycroft and former NBA Commissioner David Stern in January 2017, and an A round, led by Andreessen Horowitz and including Kevin Durant, announced in February 2018. In its first year Overtime generated over one billion video views. By 2019 Overtime was doing a billion video views every month and had expanded to basketball, football, soccer and video games.
Draw Something.
In 2009 Porter became the CEO of Iminlikewithyou which subsequently changed its name to OMGPOP. In February 2012 the company released the mobile game Draw Something. In 50 days the game had 50 million downloads making it at the time the fastest-growing mobile game ever. On March 22, 2012 Zynga acquired OMGPOP for $180 million. Draw Something eventually recorded over 250 million downloads.
Controversy.
Porter stirred controversy when, over Twitter, he slammed a former employee who decided to leave the company concurrent with the acquisition. He was involved in a back and forth over Twitter with Notch of Minecraft fame.
Education.
Porter is a 1988 graduate of Princeton University with an A.B. in History. He is a 1995 graduate of NYU with an M.A. in Latin American Studies. He graduated from Friends Central School, in Wynnewood PA.


Edward Powys Mathers

Edward Powys Mathers (28 August 1892 – 3 February 1939) was an English translator and poet, and also a pioneer of compiling advanced cryptic crosswords. Powys Mathers was born in Forest Hill, London, the son of a newspaper proprietor. He was educated at Loretto and Trinity College, Oxford.
He translated J. C. Mardrus's French version of "One Thousand Nights and One Night". His English version of Mardrus appeared in 1923, and is known as Mardrus/Mathers. He also translated "The Garden of Bright Waters: One Hundred and Twenty Asiatic Love Poems" (1920); and the Kashmiri poet Bilhana in "Bilhana: Black Marigolds" (1919), a free interpretation in the tradition of Edward FitzGerald, quoted at length in John Steinbeck’s novel "Cannery Row". These are not scholarly works, and are in some cases based on intermediate versions in European languages. Some of his translations were set to music by Aaron Copland.
He was also a composer of cryptic crosswords for "The Observer" under the pseudonym "Torquemada" from 1926 until his death. Under this pseudonym, he reviewed detective stories from 1934 to 1939.