History.

In 1838, the British scientist Charles Wheatstone published an explanation of stereopsis (binocular depth perception) arising from differences in the horizontal positions of images in the two eyes. He supported his explanation by showing pictures with such horizontal differences, stereograms, separately to the left and right eyes through a stereoscope he invented based on mirrors. When people looked at these flat, two-dimensional pictures, they experienced the illusion of three-dimensional depth.  Between 1849 and 1850, David Brewster, a Scottish scientist, improved the Wheatstone stereoscope by using lenses instead of mirrors, thus reducing the size of the device.  Brewster also discovered the "wallpaper effect". He noticed that staring at repeated patterns in wallpapers could trick the brain into matching pairs of them as coming from the same virtual object on a virtual plane behind the walls. This is the basis of wallpaper-style "autostereograms" (also known as single-image stereograms).  In 1851 H.W. Dove described "cross-eyed viewing as a stereoscope" with a standard pair of stereoscopic images.  In 1939 Boris Kompaneysky published the first random dot stereogram containing an image of the face of Venus, intended to be viewed with a device.  In 1959, Bela Julesz, a vision scientist, psychologist and MacArthur Fellow, invented the random dot stereogram while working at Bell Laboratories on recognizing camouflaged objects from aerial pictures taken by spy planes. At the time, many vision scientists still thought that depth perception occurred in the eye itself, whereas now it is known to be a complex neurological process. Julesz used a computer to create a stereo pair of random-dot images which, when viewed under a stereoscope, caused the brain to see 3D shapes. This proved that depth perception is a neurological process.  Japanese designer Masayuki Ito, following Julesz, created a single image stereogram in 1970 and Swiss painter Alfons Schilling created a handmade single-image stereogram in 1974, after creating more than one viewer and meeting with Julesz. Having experience with stereo imaging in holography, lenticular photography, and vectography, he developed a random-dot method based on closely spaced vertical lines in parallax.  In 1979, Christopher Tyler of Smith-Kettlewell Institute, a student of Julesz and a visual psychophysicist, combined the theories behind single-image wallpaper stereograms and random-dot stereograms (the work of Julesz and Schilling) to create the first black-and-white "random-dot autostereogram" (also known as single-image random-dot stereogram) with the assistance of computer programmer Maureen Clarke using Apple II and BASIC. Stork and Rocca published the first scholarly paper and provided software for generating auto-random-dot stereograms. This type of autostereogram allows a person to see 3D shapes from a single 2D image without the aid of optical equipment. In 1991 computer programmer Tom Baccei and artist Cheri Smith created the first color random-dot autostereograms, later marketed as "Magic Eye".  A computer procedure that extracts back the hidden geometry out of an autostereogram image was described by Ron Kimmel. In addition to classical stereo it adds smoothness as an important assumption in the surface reconstruction.

How they work.

Simple wallpaper.

Stereopsis, or stereo vision, is the visual blending of two similar but not identical images into one, with resulting visual perception of solidity and depth. In the human brain, stereopsis results from complex mechanisms that form a three-dimensional impression by matching each point (or set of points) in one eye's view with the equivalent point (or set of points) in the other eye's view. Using binocular disparity, the brain derives the points' positions in the otherwise inscrutable "z"-axis (depth).  When the brain is presented with a repeating pattern like wallpaper, it has difficulty matching the two eyes' views accurately. By looking at a horizontally repeating pattern, but converging the two eyes at a point behind the pattern, it is possible to trick the brain into matching one element of the pattern, as seen by the left eye, with another (similar looking) element, beside the first, as seen by the right eye. With the typical wall-eyed viewing, this gives the illusion of a plane bearing the same pattern but located behind the real wall. The distance at which this plane lies behind the wall depends only on the spacing between identical elements.  Autostereograms use this dependence of depth on spacing to create three-dimensional images. If, over some area of the picture, the pattern is repeated at smaller distances, that area will appear closer than the background plane. If the distance of repeats is longer over some area, then that area will appear more distant (like a hole in the plane). People who have never been able to perceive 3D shapes hidden within an autostereogram find it hard to understand remarks such as, "the 3D image will just pop out of the background, after you stare at the picture long enough", or "the 3D objects will just emerge from the background". It helps to illustrate how 3D images "emerge" from the background from a second viewer's perspective. If the virtual 3D objects reconstructed by the autostereogram viewer's brain were real objects, a second viewer observing the scene from the side would see these objects floating in the air above the background image.  The 3D effects in the example autostereogram are created by repeating the tiger rider icons every 140 pixels on the background plane, the shark rider icons every 130 pixels on the second plane, and the tiger icons every 120 pixels on the highest plane. The closer a set of icons are packed horizontally, the higher they are lifted from the background plane. This repeat distance is referred to as the depth or "z"-axis value of a particular pattern in the autostereogram. The depth value is also known as Z-buffer value. The brain is capable of almost instantly matching hundreds of patterns repeated at different intervals in order to recreate correct depth information for each pattern. An autostereogram may contain some 50 tigers of varying size, repeated at different intervals against a complex, repeated background. Yet, despite the apparent chaotic arrangement of patterns, the brain is able to place every tiger icon at its proper depth.

Depth maps.

Autostereograms where patterns in a particular row are repeated horizontally with the same spacing can be read either cross-eyed or wall-eyed. In such autostereograms, both types of reading will produce similar depth interpretation, with the exception that the cross-eyed reading reverses the depth (images that once popped out are now pushed in).  However, icons in a row do not need to be arranged at identical intervals. An autostereogram with varying intervals between icons across a row presents these icons at different depth planes to the viewer. The depth for each icon is computed from the distance between it and its neighbor at the left. These types of autostereograms are designed to be read in only one way, either cross-eyed or wall-eyed. All autostereograms in this article are encoded for wall-eyed viewing, unless specifically marked otherwise. An autostereogram encoded for wall-eyed viewing will produce inverse patterns when viewed cross-eyed, and vice versa. Most Magic Eye pictures are also designed for wall-eyed viewing.  The wall-eyed depth map example autostereogram to the right encodes 3 planes across the "x"-axis. The background plane is on the left side of the picture. The highest plane is shown on the right side of the picture. There is a narrow middle plane in the middle of the "x"-axis. Starting with a background plane where icons are spaced at 140 pixels, one can raise a particular icon by shifting it a certain number of pixels to the left. For instance, the middle plane is created by shifting an icon 10 pixels to the left, effectively creating a spacing consisting of 130 pixels. The brain does not rely on intelligible icons which represent objects or concepts. In this autostereogram, patterns become smaller and smaller down the "y"-axis, until they look like random dots. The brain is still able to match these random dot patterns.  The distance relationship between any pixel and its counterpart in the equivalent pattern to the left can be expressed in a "depth map". A depth map is simply a grayscale image which represents the distance between a pixel and its left counterpart using a grayscale value between black and white. By convention, the closer the distance is, the brighter the color becomes.  Using this convention, a grayscale depth map for the example autostereogram can be created with black, gray and white representing shifts of 0 pixels, 10 pixels and 20 pixels, respectively as shown in the greyscale example autostereogram. A depth map is the key to creation of random-dot autostereograms.

Random-dot.

A computer program can take a depth map and an accompanying pattern image to produce an autostereogram. The program tiles the pattern image horizontally to cover an area whose size is identical to the depth map. Conceptually, at every pixel in the output image, the program looks up the grayscale value of the equivalent pixel in the depth map image, and uses this value to determine the amount of horizontal shift required for the pixel.  One way to accomplish this is to make the program scan every line in the output image pixel-by-pixel from left to right. It seeds the first series of pixels in a row from the pattern image. Then it consults the depth map to retrieve appropriate shift values for subsequent pixels. For every pixel, it subtracts the shift from the width of the pattern image to arrive at a repeat interval. It uses this repeat interval to look up the color of the counterpart pixel to the left and uses its color as the new pixel's own color. Unlike the simple depth planes created by simple wallpaper autostereograms, subtle changes in spacing specified by the depth map can create the illusion of smooth gradients in distance. This is possible because the grayscale depth map allows individual pixels to be placed on one of 2 depth planes, where "n" is the number of bits used by each pixel in the depth map. In practice, the total number of depth planes is determined by the number of pixels used for the width of the pattern image. Each grayscale value must be translated into pixel space in order to shift pixels in the final autostereogram. As a result, the number of depth planes must be smaller than the pattern width.  The fine-tuned gradient requires a pattern image more complex than standard repeating-pattern wallpaper, so typically a pattern consisting of repeated random dots is used. When the autostereogram is viewed with proper viewing technique, a hidden 3D scene emerges. Autostereograms of this form are known as Random Dot Autostereograms.  Smooth gradients can also be achieved with an intelligible pattern, assuming that the pattern is complex enough and does not have big, horizontal, monotonic patches. A big area painted with monotonic color without change in hue and brightness does not lend itself to pixel shifting, as the result of the horizontal shift is identical to the original patch. The following depth map of a shark with smooth gradient produces a perfectly readable autostereogram, even though the 2D image contains small monotonic areas; the brain is able to recognize these small gaps and fill in the blanks (illusory contours). While intelligible, repeated patterns are used instead of random dots, this type of autostereogram is still known by many as a Random Dot Autostereogram, because it is created using the same process.

Animated.

When a series of autostereograms are shown one after another, in the same way moving pictures are shown, the brain perceives an animated autostereogram. If all autostereograms in the animation are produced using the same background pattern, it is often possible to see faint outlines of parts of the moving 3D object in the 2D autostereogram image without wall-eyed viewing; the constantly shifting pixels of the moving object can be clearly distinguished from the static background plane. To eliminate this side effect, animated autostereograms often use shifting background in order to disguise the moving parts.  When a regular repeating pattern is viewed on a CRT monitor as if it were a wallpaper autostereogram, it is usually possible to see depth ripples. This can also be seen in the background to a static, random-dot autostereogram. These are caused by the sideways shifts in the image due to small changes in the deflection sensitivity (linearity) of the line scan, which then become interpreted as depth. This effect is especially apparent at the left hand edge of the screen where the scan speed is still settling after the flyback phase. On a TFT LCD, which functions differently, this does not occur and the effect is not present. Higher quality CRT displays also have better linearity and exhibit less or none of this effect.

Mechanisms for viewing.

Much advice exists about seeing the intended three-dimensional image in an autostereogram. While some people may quickly see the 3D image in an autostereogram with little effort, others must learn to train their eyes to decouple eye convergence from lens focusing.  Not every person can see the 3D illusion in autostereograms. Because autostereograms are constructed based on stereo vision, persons with a variety of visual impairments, even those affecting only one eye, are unable to see the three-dimensional images.  People with amblyopia (also known as lazy eye) are unable to see the three-dimensional images. Children with poor or dysfunctional eyesight during a critical period in childhood may grow up stereoblind, as their brains are not stimulated by stereo images during the critical period. If such a vision problem is not corrected in early childhood, the damage becomes permanent and the adult will never be able to see autostereograms. It is estimated that some 1 percent to 5 percent of the population is affected by amblyopia.

3D perception.

Depth perception results from many monocular and binocular visual clues. For objects relatively close to the eyes, binocular vision plays an important role in depth perception. Binocular vision allows the brain to create a single Cyclopean image and to attach a depth level to each point in it. The brain uses coordinate shift (also known as parallax) of matched objects to identify depth of these objects. The depth level of each point in the combined image can be represented by a grayscale pixel on a 2D image, for the benefit of the reader. The closer a point appears to the brain, the brighter it is painted. Thus, the way the brain perceives depth using binocular vision can be captured by a depth map (Cyclopean image) painted based on coordinate shift.  The eye operates like a photographic camera. It has an adjustable iris which can open (or close) to allow more (or less) light to enter the eye. As with any camera except pinhole cameras, it needs to focus light rays entering through the iris (aperture in a camera) so that they focus on a single point on the retina in order to produce a sharp image. The eye achieves this goal by adjusting a lens behind the cornea to refract light appropriately.  Stereo-vision based on parallax allows the brain to calculate depths of objects relative to the point of convergence. It is the convergence angle that gives the brain the absolute reference depth value for the point of convergence from which absolute depths of all other objects can be inferred.

Simulated 3D perception.

The eyes normally focus and converge at the same distance in a process known as accommodative convergence. That is, when looking at a faraway object, the brain automatically flattens the lenses and rotates the two eyeballs for wall-eyed viewing. It is possible to train the brain to decouple these two operations. This decoupling has no useful purpose in everyday life, because it prevents the brain from interpreting objects in a coherent manner. To see a man-made picture such as an autostereogram where patterns are repeated horizontally, however, decoupling of focusing from convergence is crucial.  By focusing the lenses on a nearby autostereogram where patterns are repeated and by converging the eyeballs at a distant point behind the autostereogram image, one can trick the brain into seeing 3D images. If the patterns received by the two eyes are similar enough, the brain will consider these two patterns a match and treat them as coming from the same imaginary object. This type of visualization is known as "wall-eyed viewing", because the eyeballs adopt a wall-eyed convergence on a distant plane, even though the autostereogram image is actually closer to the eyes. Because the two eyeballs converge on a plane farther away, the perceived location of the imaginary object is behind the autostereogram. The imaginary object also appears bigger than the patterns on the autostereogram because of foreshortening.  The following autostereogram shows three rows of repeated patterns. Each pattern is repeated at a different interval to place it on a different depth plane. The two non-repeating lines can be used to verify correct wall-eyed viewing. When the autostereogram is correctly interpreted by the brain using wall-eyed viewing, and one stares at the dolphin in the middle of the visual field, the brain should see two sets of flickering lines, as a result of binocular rivalry.  While there are six dolphin patterns in the autostereogram, the brain should see seven "apparent" dolphins on the plane of the autostereogram. This is a side effect of the pairing of similar patterns by the brain. There are five pairs of dolphin patterns in this image. This allows the brain to create five apparent dolphins. The leftmost pattern and the rightmost pattern by themselves have no partner, but the brain tries to assimilate these two patterns onto the established depth plane of adjacent dolphins despite binocular rivalry. As a result, there are seven apparent dolphins, with the leftmost and the rightmost ones appearing with a slight flicker, not dissimilar to the two sets of flickering lines observed when one stares at the 4th apparent dolphin.  Because of foreshortening, the difference in convergence needed to see repeated patterns on different planes causes the brain to attribute different sizes to patterns with identical 2D sizes. In the autostereogram of three rows of cubes, while all cubes have the same physical 2D dimensions, the ones on the top row appear bigger, because they are perceived as farther away than the cubes on the second and third rows.

Viewing techniques.

If one has two eyes, fairly healthy eyesight, and no neurological conditions which prevent the perception of depth, then one is capable of learning to see the images within autostereograms. "Like learning to ride a bicycle or to swim, some pick it up immediately, while others have a harder time."  As with a photographic camera, it is easier to make the eye focus on an object when there is intense ambient light. With intense lighting, the eye can constrict the pupil, yet allow enough light to reach the retina. The more the eye resembles a pinhole camera, the less it depends on focusing through the lens. In other words, the degree of decoupling between focusing and convergence needed to visualize an autostereogram is reduced. This places less strain on the brain. Therefore, it may be easier for first-time autostereogram viewers to "see" their first 3D images if they attempt this feat with bright lighting.  Vergence control is important in being able to see 3D images. Thus it may help to concentrate on converging/diverging the two eyes to shift images that reach the two eyes, instead of trying to see a clear, focused image. Although the lens adjusts reflexively in order to produce clear, focused images, voluntary control over this process is possible. The viewer alternates instead between converging and diverging the two eyes, in the process seeing "double images" typically seen when one is drunk or otherwise intoxicated. Eventually the brain will successfully match a pair of patterns reported by the two eyes and lock onto this particular degree of convergence. The brain will also adjust eye lenses to get a clear image of the matched pair. Once this is done, the images around the matched patterns quickly become clear as the brain matches additional patterns using roughly the same degree of convergence.  When one moves one's attention from one depth plane to another (for instance, from the top row of the chessboard to the bottom row), the two eyes need to adjust their convergence to match the new repeating interval of patterns. If the level of change in convergence is too high during this shift, sometimes the brain can lose the hard-earned decoupling between focusing and convergence. For a first-time viewer, therefore, it may be easier to see the autostereogram, if the two eyes rehearse the convergence exercise on an autostereogram where the depth of patterns across a particular row remains constant.  In a random dot autostereogram, the 3D image is usually shown in the middle of the autostereogram against a background depth plane (see the shark autostereogram). It may help to establish proper convergence first by staring at either the top or the bottom of the autostereogram, where patterns are usually repeated at a constant interval. Once the brain locks onto the background depth plane, it has a reference convergence degree from which it can then match patterns at different depth levels in the middle of the image.  The majority of autostereograms, including those in this article, are designed for divergent (wall-eyed) viewing. One way to help the brain concentrate on divergence instead of focusing is to hold the picture in front of the face, with the nose touching the picture. With the picture so close to their eyes, most people cannot focus on the picture. The brain may give up trying to move eye muscles in order to get a clear picture. If one slowly pulls back the picture away from the face, while refraining from focusing or rotating eyes, at some point the brain will lock onto a pair of patterns when the distance between them matches the current convergence degree of the two eyeballs.  Another way is to stare at an object behind the picture in an attempt to establish proper divergence, while keeping part of the eyesight fixed on the picture to convince the brain to focus on the picture. A modified method has the viewer focus on their reflection on a reflective surface of the picture, which the brain perceives as being located twice as far away as the picture itself. This may help persuade the brain to adopt the required divergence while focusing on the nearby picture.  For crossed-eyed autostereograms, a different approach needs to be taken. The viewer may hold one finger between their eyes and move it slowly towards the picture, maintaining focus on the finger at all times, until they are correctly focused on the spot that will allow them to view the illusion.  Stereoblindness, however, is not known to permit the usages of any of these techniques, especially for persons in whom it may be, or is, permanent.

An autostereogram is a single-image stereogram (SIS), designed to create the visual illusion of a three-dimensional (3D) scene from a two-dimensional image. In order to perceive 3D shapes in these autostereograms, one must overcome the normally automatic coordination between accommodation (focus) and horizontal vergence (angle of one's eyes). The illusion is one of depth perception and involves stereopsis: depth perception arising from the different perspective each eye has of a three-dimensional scene, called binocular parallax.


History.

In ancient times, Mendes was a famous city that attracted the notice of most ancient geographers and historians, including Herodotus (ii. 42, 46. 166), Diodorus (i. 84), Strabo (xvii. p. 802), Mela (i. 9 § 9), Pliny the Elder (v. 10. s. 12), Ptolemy (iv. 5. § 51), and Stephanus of Byzantium ("s. v."). The city was the capital of the Mendesian nome, situated at the point where the Mendesian arm of the Nile (, Scylax, p. 43; Ptol. iv, 5. § 10; "Mendesium ostium", Pliny, Mela, "ll. cc.") flows into the lake of Tanis. Archaeological evidence attests to the existence of the town at least as far back as the Naqada II period (4th millennium BCE). Under the first Pharaohs, Mendes quickly became a strong seat of provincial government and remained so throughout the Ancient Egyptian period. In Classical times, the nome it governed was one of the nomes assigned to that division of the native army which was called the "Calasires", and the city was celebrated for the manufacture of a perfume designated as the Mendesium unguentum. (Plin. xiii. 1. s. 2.) Mendes, however, declined early, and disappears in the first century AD; since both Ptolemy ("l. c.") and P. Aelius Aristides (iii. p. 160) mention Thmuis as the only town of note in the Mendesian nome. From its position at the junction of the river and the lake, it was probably encroached upon by their waters, after the canals fell into neglect under the Macedonian kings, and when they were repaired by Augustus (Sueton. "Aug." 18, 63) Thmuis had attracted its trade and population.

Religion.

The chief deities of Mendes were the ram deity "Banebdjedet" (lit. "Ba of the Lord of Djedet"), who was the Ba of Osiris, and his consort, the fish goddess Hatmehit. With their child Har-pa-khered ("Horus the Child"), they formed the triad of Mendes.  The ram deity of Mendes was described by Herodotus in his "History" as being represented with the head and fleece of a goat: "...whereas anyone with a sanctuary of Mendes or who comes from the province of Mendes, will have nothing to do with (sacrificing) goats, but uses sheep as his sacrificial animals... They say that Heracles' overriding desire was to see Zeus, but Zeus was refusing to let him do so. Eventually, as a result of Heracles' pleading, Zeus came up with a plan. He skinned a ram and cut off his head, then he held the head in front of himself, wore the fleece, and showed himself to Heracles like that. That is why the Egyptian statues of Zeus have a ram's head, is why rams are sacred to the Thebans, and they do not use them as sacrificial animals. However there is just one day of the year—the day of the festival of Zeus—when they chop up a single ram, skin it, dress the statue of Zeus in the way mentioned, and then bring the statue of Heracles up close to the statue of Zeus. Then everyone around the sanctuary mourns the death of the ram and finally they bury it in a sacred tomb."  Demonologists in early modern times often imagined Satan as manifesting himself as a goat or satyr, because goats had a reputation for lustful behavior and were used in the iconography of pre-Christian gods like Pan and the goat of Mendes. The occultist Eliphas Levi in his "Dogme et Rituel de la Haute Magie" (1855) drew an image of the fictitious medieval idol Baphomet that conflated it with the goat of Mendes and the imagery of the Satanic satyr. The image of the satyr-like Baphomet and its supposed connection with Mendes has since been repeated by various occultists, conspiracy theorists, and neopagans.

Ruins.

The site is today the largest surviving tell in the Nile delta, and consists of both Tell El-Ruba (the site of the main temple enclosure) and Tell El-Timai (the settlement site of Thmuis to the south). Overall, Mendes is about 3 km long from north to south and averages about 900m east-to-west. An Old Kingdom necropolis is estimated to contain over 9,000 interments. Several campaigns of 20th-century excavations have been led by North American institutions, including New York University and the University of Toronto, as well as a Pennsylvania State University team led by Donald Redford. Under the direction of Prof. Redford, the current excavations are concentrating on a number of areas in and around the main temple.  Work on the New Kingdom processional-style temple has recently uncovered foundation deposits of Merenptah below the second pylon. It is thought that four separate pylons or gates existed for each of the Avatars of the main deity worshiped here. Evidence has suggested that their construction dates from at least the Middle Kingdom, as foundation deposits were uncovered. The original structures were buried, added to, or incorporated into later ones over time by later rulers. Billy Morin, recently at University of Cambridge in England and now at Leiden University in the Netherlands led a team that investigated these further and uncovered several mud-brick walls acting as pylons and their foundations. Over thirty of the bricks were stamped with the cartouche of Menkheperre, the pre-nomen of Thutmose III.  A cemetery of sacred rams was discovered in the northwest corner of Tell El-Ruba. Monuments bearing the names of Ramesses II, Merneptah, and Ramesses III were also found. A temple attested by its foundation deposits was built by Amasis II. The tomb of Nepherites I, which Donald Redford concluded was destroyed by the Persians, was discovered by a joint team from the University of Washington and the University of Toronto in 1992–1993.  On the edge of the temple mound, a sondage supervised by Matthew J. Adams has revealed uninterrupted stratification from the Middle Kingdom down to the First Dynasty. Coring results suggest that future excavations in that sondage should expect to take the stratification down into the Buto-Maadi Period. The material excavated so far is already the longest uninterrupted stratification for all of the Nile Delta, and possibly for all of Egypt.

Mendes (, "gen".: Μένδητος), the Greek name of the Ancient Egyptian city of Djedet, also known in Ancient Egypt as Per-Banebdjedet ("The Domain of the Ram Lord of Djedet") and Anpet, is known today as Tell El-Ruba ().


Technical information.

Processor and RAM.

The A600 shipped with a Motorola 68000 CPU, running at 7.09 MHz (PAL) or 7.16 MHz (NTSC) and 1 MB "chip" RAM with 80-ns access time.  The designers included no capability to upgrade the original CPU as the 68000 is soldered to the motherboard and there is no other connection for upgrade. Despite this, unofficial CPU upgrades include the Motorola 68010, 68020 (at up to 25 MHz), and 68030 (at up to 50 MHz). The processor is upgraded not by replacing the 68000, but rather by fitting a connector over the CPU and commandeering the system bus. However, this approach caused instability problems with some board designs, prompting custom modifications for stable operation. As a result, such CPU expansions were largely unpopular.  RAM can be upgraded to a maximum of 2 MB "chip RAM" using the trap-door expansion slot. An additional 4 MB of "fast RAM" can be added in the PC Card slot using a suitable SRAM card to reach a capacity of 6 MB. However, more "fast RAM" can be added with unofficial memory or CPU upgrades. For example, the A608 board adds up to a maximum of 8 MB additional RAM by connecting over the original 68000. Likewise, CPU upgrades can accommodate up to 64 MB.  Other unofficial community expansions exist, like the FPGA-driven Vampire which adds 128MB Fastmem RAM, HDMI output, SD card for HDD storage and a 64-bit core with full 32-bit compatibility.

Graphics and sound.

The A600 is the last Amiga model to use Commodore's Enhanced Chip Set (ECS), which can address 2 MB of RAM and adds higher resolution display modes. The so-called Super Agnus display chip can drive screen modes varying from 320×200 pixels to 1280×512 pixels. As with the original Amiga chipset, up to 32 colors can be displayed from a 12-bit (4096 color) palette at lower display resolutions. An extra-half-bright mode offers 64 simultaneous colors by allowing each of the 32 colors in the palette to be dimmed to half brightness. Additionally, a 4096-color "HAM" mode can be used at lower resolutions. At higher resolutions, such as 800×600i, only 4 simultaneous colors can be displayed.  Sound was unchanged from the original Amiga design, namely, 4 DMA-driven 8-bit channels, with two channels for the left speaker and two for the right.  The A600 was the first Amiga model with a built-in RF modulator (RCA), which allowed the A600 to be used with a standard CRT television without the need for a Commodore A520 RF Modulator adaptor.

Peripherals and expansion.

The A600 features Amiga-specific connectors including two DB9M ports for joysticks, mice, and light pens, a standard 25-pin RS-232 serial port and a 25-pin Centronics parallel port. As a result, the A600 is compatible with many peripherals available for earlier Amiga models, such as MIDI, sound samplers and video-capture devices.  Expansion capabilities new to the Amiga line were the PCMCIA Type II slot and the internal 44-pin ATA interface both most commonly seen on laptop computers. Both interfaces are controlled by the 'Gayle' custom chip. The A600 has internal housing for one 2.5" internal hard disk drive connecting to the ATA controller.  The A600 is the first of only two Amiga models to feature a PCMCIA Type II interface. This connector allows use of a number of compatible peripherals available for the laptop-computer market, although only 16-bit PCMCIA cards are hardware-compatible; newer 32-bit PC Card (CardBus) peripherals are incompatible. Mechanically, only Type I and Type II cards fit in the slot; thicker Type III cards will not fit (although they may connect if the A600 is removed from its original case). The port is also not fully compliant with the PCMCIA Type II standard as the A600 was developed before the standard was finalized. The PCMCIA implementation on the A600 is almost identical to the one featured on a later Amiga, the 1200. A number of Amiga peripherals were released by third-party developers for this connector including SRAM cards, CD-ROM controllers, SCSI controllers, network cards, sound samplers, and video-capture devices. Although PCMCIA was similar in spirit to Commodore's expansion architecture for its earlier systems, the intended capability for convenient external expansion through this connector was largely unrealized at the time of release because of the prohibitive expense of PCMCIA peripherals for a lower-budget personal computer. Later, a number of compatible laptop-computer peripherals have been made to operate with the A600, including network cards (both wired and wireless), serial modems and CompactFlash adapters.

Operating system.

The A600 shipped with AmigaOS 2.0, consisting of Workbench 2.0 and a Kickstart ROM revision 37.299, 37.300 or 37.350 (Commodore's internal revision numbers). Confusingly, all three ROM revisions were officially designated as version "2.05". Some early A600s shipped with Kickstart 37.299, which had neither support for the internal ATA controller, nor for the PCMCIA interface. Although it is possible to load the necessary drivers from floppy disk, it is not possible to boot directly from ATA or PCMCIA devices. Models fitted with Kickstart 37.300 or 37.350 can utilize those devices at boot time. Version 37.350 improved compatibility with ATA hard disks by increasing the wait time for disks to spin up during boot.  It is possible to upgrade the A600 to Workbench 2.1. This features a localization of the operating system in several languages and has a "CrossDOS" driver providing read/write support for FAT (MS-DOS)-formatted media such as floppy disks or hard drives. Workbench 2.1 was a software only update which runs on all Kickstart ROMs of the 2.0x family.  Following the release of AmigaOS 3.1 in 1994 it was possible to upgrade the A600 by installing a compatible revision 40.63 Kickstart ROM.

Bundled software.

In addition to the stock A600, mouse, power supply, and Workbench disk package, the A600 was available with the following software and hardware bundles:

The Amiga 600, also known as the A600 (codenamed "June Bug" after a B-52s song), is a home computer that was introduced at the CeBIT show in March 1992. The A600 is Commodore International's final model based on the Motorola 68000 CPU and the ECS chipset. It is essentially a redesign of the Amiga 500 Plus, with the option of an internal hard disk drive and a PCMCIA port. A notable aspect of the A600 is its small size. Lacking a numeric keypad, the A600 is only slightly larger than a standard PC keyboard (14" wide by 9.5" long by 3" high and weighing approximately 6 pounds). It shipped with AmigaOS 2.0, which was generally considered more user-friendly than earlier versions of the operating system.


Definition.

Independent repeated trials of an experiment with exactly two possible outcomes are called Bernoulli trials. Call one of the outcomes "success" and the other outcome "failure". Let formula_1 be the probability of success in a Bernoulli trial, and formula_2 be the probability of failure. Then the probability of success and the probability of failure sum to unity (one), since these are complementary events: "success" and "failure" are mutually exclusive and exhaustive. Thus one has the following relations:  Alternatively, these can be stated in terms of odds: given probability "p" of success and "q" of failure, the "odds for" are formula_4 and the "odds against" are formula_5 These can also be expressed as numbers, by dividing, yielding the odds for, formula_6, and the odds against, formula_7, These are multiplicative inverses, so they multiply to 1, with the following relations:  In the case that a Bernoulli trial is representing an event from finitely many equally likely outcomes, where "S" of the outcomes are success and "F" of the outcomes are failure, the odds for are formula_10 and the odds against are formula_11 This yields the following formulas for probability and odds: Note that here the odds are computed by dividing the number of outcomes, not the probabilities, but the proportion is the same, since these ratios only differ by multiplying both terms by the same constant factor.  Random variables describing Bernoulli trials are often encoded using the convention that 1 = "success", 0 = "failure".  Closely related to a Bernoulli trial is a binomial experiment, which consists of a fixed number formula_13 of statistically independent Bernoulli trials, each with a probability of success formula_1, and counts the number of successes. A random variable corresponding to a binomial is denoted by formula_15, and is said to have a "binomial distribution". The probability of exactly formula_16 successes in the experiment formula_15 is given by:  where formula_19 is a binomial coefficient.  Bernoulli trials may also lead to negative binomial distributions (which count the number of successes in a series of repeated Bernoulli trials until a specified number of failures are seen), as well as various other distributions.  When multiple Bernoulli trials are performed, each with its own probability of success, these are sometimes referred to as Poisson trials.

Example: tossing coins.

Consider the simple experiment where a fair coin is tossed four times. Find the probability that exactly two of the tosses result in heads.

Solution.

For this experiment, let a heads be defined as a "success" and a tails as a "failure." Because the coin is assumed to be fair, the probability of success is formula_20. Thus the probability of failure, formula_2, is given by  Using the equation above, the probability of exactly two tosses out of four total tosses resulting in a heads is given by:

In the theory of probability and statistics, a Bernoulli trial (or binomial trial) is a random experiment with exactly two possible outcomes, "success" and "failure", in which the probability of success is the same every time the experiment is conducted. It is named after Jacob Bernoulli, a 17th-century Swiss mathematician, who analyzed them in his "Ars Conjectandi" (1713).


Cubic curves in the plane of a triangle.

Suppose that "ABC" is a triangle with sidelengths,,. Relative to "ABC", many named cubics pass through well-known points. Examples shown below use two kinds of homogeneous coordinates: trilinear and barycentric.  To convert from trilinear to barycentric in a cubic equation, substitute as follows:  to convert from barycentric to trilinear, use  Many equations for cubics have the form  In the examples below, such equations are written more succinctly in "cyclic sum notation", like this:  The cubics listed below can be defined in terms of the isogonal conjugate, denoted by "X"*, of a point "X" not on a sideline of "ABC". A construction of "X"* follows. Let "L" be the reflection of line "XA" about the internal angle bisector of angle "A", and define "L" and "L" analogously. Then the three reflected lines concur in "X"*. In trilinear coordinates, if "X" = "x":"y":"z", then "X"* = ::.

Neuberg cubic.

Trilinear equation: [cyclic sum (cos "A" − 2 cos "B" cos "C")"x"("y" − "z")] = 0  Barycentric equation: [cyclic sum ("a"("b" + "c") + ("b" − "c") − 2"a")"x"("c""y" − "b""z")] = 0  The Neuberg cubic (named after Joseph Jean Baptiste Neuberg) is the locus of a point "X" such that "X"* is on the line "EX", where "E" is the Euler infinity point ("X"(30) in the Encyclopedia of Triangle Centers). Also, this cubic is the locus of "X" such that the triangle "XXX" is perspective to "ABC", where "XXX" is the reflection of "X" in the lines "BC", "CA", "AB", respectively  The Neuberg cubic passes through the following points: incenter, circumcenter, orthocenter, both Fermat points, both isodynamic points, the Euler infinity point, other triangle centers, the excenters, the reflections of "A", "B", "C" in the sidelines of "ABC", and the vertices of the six equilateral triangles erected on the sides of "ABC".  For a graphical representation and extensive list of properties of the Neuberg cubic, see K001 at Berhard Gibert's Cubics in the Triangle Plane.

Thomson cubic.

Trilinear equation: [cyclic sum "bcx"("y" − "z")] = 0  Barycentric equation: [cyclic sum "x"("c""y" − "b""z")] = 0  The Thomson cubic is the locus of a point "X" such that "X"* is on the line "GX", where "G" is the centroid.  The Thomson cubic passes through the following points: incenter, centroid, circumcenter, orthocenter, symmedian point, other triangle centers, the vertices "A", "B", "C", the excenters, the midpoints of sides "BC", "CA", "AB", and the midpoints of the altitudes of "ABC". For each point "P" on the cubic but not on a sideline of the cubic, the isogonal conjugate of "P" is also on the cubic.  For graphs and properties, see K002 at Cubics in the Triangle Plane.

Darboux cubic.

Trilinear equation: [cyclic sum (cos "A" − cos "B" cos "C")"x"("y" − "z")] = 0 Barycentric equation: [cyclic sum (2"a"("b" + "c") + ("b" − "c") − 3"a")"x"("c""y" − "b""z")] = 0  The Darboux cubic is the locus of a point "X" such that "X"* is on the line "LX", where "L" is the de Longchamps point. Also, this cubic is the locus of "X" such that the pedal triangle of "X" is the cevian of some point (which lies on the Lucas cubic). Also, this cubic is the locus of a point "X" such that the pedal triangle of "X" and the anticevian triangle of "X" are perspective; the perspector lies on the Thomson cubic.  The Darboux cubic passes through the incenter, circumcenter, orthocenter, de Longchamps point, other triangle centers, the vertices "A", "B", "C", the excenters, and the antipodes of "A", "B", "C" on the circumcircle. For each point "P" on the cubic but not on a sideline of the cubic, the isogonal conjugate of "P" is also on the cubic.  For graphics and properties, see K004 at Cubics in the Triangle Plane.

Napoleon–Feuerbach cubic.

Trilinear equation: [cyclic sum cos("B" − "C")"x"("y" − "z")] = 0 Barycentric equation: [cyclic sum ("a"("b" + "c") − ("b" − "c"))"x"("c""y" − "b""z")] = 0  The Napoleon–Feuerbach cubic is the locus of a point "X"* is on the line "NX", where "N" is the nine-point center, ("N" = "X"(5) in the Encyclopedia of Triangle Centers).  The Napoleon–Feuerbach cubic passes through the incenter, circumcenter, orthocenter, 1st and 2nd Napoleon points, other triangle centers, the vertices "A", "B", "C", the excenters, the projections of the centroid on the altitudes, and the centers of the 6 equilateral triangles erected on the sides of "ABC".  For a graphics and properties, see K005 at Cubics in the Triangle Plane.

Lucas cubic.

Trilinear equation: [cyclic sum (cos "A")"x"("b""y" − "c""z")] = 0 Barycentric equation: [cyclic sum ("b" + "c" − "a")"x"("y" − "z")] = 0  The Lucas cubic is the locus of a point "X" such that the cevian triangle of "X" is the pedal triangle of some point; the point lies on the Darboux cubic.  The Lucas cubic passes through the centroid, orthocenter, Gergonne point, Nagel point, de Longchamps point, other triangle centers, the vertices of the anticomplementary triangle, and the foci of the Steiner circumellipse.  For graphics and properties, see K007 at Cubics in the Triangle Plane.

1st Brocard cubic.

Trilinear equation: [cyclic sum "bc"("a" − "b""c")"x"("y" + "z"] = 0 Barycentric equation: [cyclic sum ("a" − "b""c")"x"("c""y" + "b""z"] = 0  Let "A"′"B"′"C"′ be the 1st Brocard triangle. For arbitrary point "X", let "X", "X", "X" be the intersections of the lines "XA"′, "XB"′, "XC"′ with the sidelines "BC", "CA", "AB", respectively. The 1st Brocard cubic is the locus of "X" for which the points "X", "X", "X" are collinear.  The 1st Brocard cubic passes through the centroid, symmedian point, Steiner point, other triangle centers, and the vertices of the 1st and 3rd Brocard triangles.  For graphics and properties, see K017 at Cubics in the Triangle Plane.

2nd Brocard cubic.

Trilinear equation: [cyclic sum "bc"("b" − "c")"x"("y" + "z"] = 0 Barycentric equation: [cyclic sum ("b" − "c")"x"("c""y" + "b""z"] = 0  The 2nd Brocard cubic is the locus of a point "X" for which the pole of the line "XX"* in the circumconic through "X" and "X"* lies on the line of the circumcenter and the symmedian point (i.e., the Brocard axis).  The 2nd Brocard cubic passes through the centroid, symmedian point, both Fermat points, both isodynamic points, the Parry point, other triangle centers, and the vertices of the 2nd and 4th Brocard triangles.  For a graphics and properties, see K018 at Cubics in the Triangle Plane.

1st equal areas cubic.

Trilinear equation: [cyclic sum "a"(b − "c")"x"("y" − "z"] = 0 Barycentric equation: [cyclic sum "a"("b" − "c")"x"("c""y" − "b""z"] = 0  The 1st equal areas cubic is the locus of a point "X" such that area of the cevian triangle of "X" equals the area of the cevian triangle of "X"*. Also, this cubic is the locus of "X" for which "X"* is on the line "S"*"X", where "S" is the Steiner point. ("S" = "X"(99) in the Encyclopedia of Triangle Centers).  The 1st equal areas cubic passes through the incenter, Steiner point, other triangle centers, the 1st and 2nd Brocard points, and the excenters.  For a graphics and properties, see K021 at Cubics in the Triangle Plane.

2nd equal areas cubic.

Trilinear equation: ("bz" + "cx")("cx" + "ay")("ay" + "bz") = ("bx" + "cy")("cy" + "ax")("az" + "bx")  Barycentric equation: [cyclic sum "a"("a" − "bc")"x"("c""y" − "b""z")] = 0  For any point "X" = "x":"y":"z" (trilinears), let "X" = "y":"z":"x" and "X" = "z":"x":"y". The 2nd equal areas cubic is the locus of "X" such that the area of the cevian triangle of "X" equals the area of the cevian triangle of "X".  The 2nd equal areas cubic passes through the incenter, centroid, symmedian point, and points in Encyclopedia of Triangle Centers indexed as "X"(31), "X"(105), "X"(238), "X"(292), "X"(365), "X"(672), "X"(1453), "X"(1931), "X"(2053), and others.  For a graphics and properties, see K155 at Cubics in the Triangle Plane.

In mathematics, a cubic plane curve is a plane algebraic curve "C" defined by a cubic equation applied to homogeneous coordinates for the projective plane; or the inhomogeneous version for the affine space determined by setting in such an equation. Here "F" is a non-zero linear combination of the third-degree monomials


Publication history.

The comic was published in August 1999, monthly at first by Top Cow/Image Comics, and then under the Joe's Comics imprint. Within a few months, however, there were unscheduled artist changes and unexplained delays by Top Cow in shipping the comics—sometimes lasting months.  The comic itself came to an unexpected halt after issue 21 due to internal arguments between Straczynski and Top Cow. Straczynski claimed he was cut out of the loop on the potential "Rising Stars" movie. After communication broke down between them, he held back the scripts for the last three issues, and the entire comic was put on hold. In addition to an apology for the way Straczynski was treated in regard to the possible film, Top Cow relented by giving him the full rights to an anthology comic he had written for them, "Dream Police" (later published by Marvel Comics), as well as the rights to the name and logo for the Joe's Comics imprint.  The last issue of "Rising Stars" was published in March 2005. During the intervening time, Straczynski had gone on to write a revamp of Marvel's "Squadron Supreme", "Supreme Power".

Story.

The story is narrated from the future by the last living Special, John Simon, nicknamed "Poet". The genesis of the Specials is shown to be the unforgettable descent of a fierce comet from the heavens. The story starts when the Specials are all grown up, but it constantly flashes back to when they were children. Through these flashbacks, the development of these 113 Specials is shown, starting with the government's monitoring and handling of the events, to the manifestation of their powers, to the impact of these abilities on the afflicted children and the world around them. Some of the Specials use their powers for the good of the world, others for personal benefit and fame, while others simply wish to forget about them and live a normal life.  A series of murders of the Specials spurs John to investigate. He learns that when a Special dies, their "energy" transfers to the remaining Specials, making each more powerful. This fact had become known to a Special with multiple personality disorder, who calls herself Critical Maas. It emerges that Maas has been manipulating "Patriot" (the alter ego of Jason Miller) to kill other Specials so her own power would be increased. At the instigation of Maas, the U.S. government also attacks the Specials, killing more. With her newly increased powers, Maas and a handful of Specials under her telepathic control are able to conquer Chicago, claiming it for themselves.  Ten years pass and John, his half-brother Randy Fisk (alter ego: Ravenshadow), Elizabeth Chandra, and Joshua Kane (alter ego: Sanctuary) lead the rest of the Specials in an attempt to liberate Chicago after the U.S. government promises that all charges against them will be dropped. Maas is defeated, but at a price: Matthew Bright, who had been sent by the government to assist in her defeat, is beaten into a coma by Patriot, while the latter was still under Maas' control.  Seeing that internecine conflict was not what they were empowered for, John proclaims that he wants them all to act as a unit so they can help humanity. The violence in Chicago affected the rest of the Specials as well and they all agree to assist John in his mission.  Another ten years pass, and their mission is almost complete. Humanity has been helped by the Specials, and more importantly, has been given the confidence and resources to further help themselves. But after Randy Fisk wins the Presidency, elements in the U.S. government, seeing the Specials as a threat to their power, plot to assassinate the remaining few.  A bomb, specifically designed to destroy even the most powerful Special, is set off during a gathering of almost all the Specials, excepting John who is busy working on a secret project. All present are killed, including Randy and John's lover, Elizabeth Chandra.  The released power is initially distributed amongst all the people of the world, instantly curing all forms of illness and injury. It also grants everyone limited telepathy, bringing an end to all wars, violence, and strife as people become aware of the thoughts and feelings of those they had previously viewed as their enemies. Those involved in the mass assassination voluntarily come forward and confess. For 24 hours, not a single human being dies.  After that blessed 24 hours, the power soars into the sky and seeks out John, giving him all its power and knocking him out for seven days. He uses that power to provide energy for the project he had been working on: a space ship that travels near the speed of light.  The immense power within John directs the ship to yet another world, an alien planet much like Earth. John's ship erupts into a fireball, strikingly similar to the one that had empowered the Specials, as it comes crashing down onto the planet's surface. It can be assumed that a process similar to what happened with the Specials would happen to this planet's populace. The circle has been completed.

Characters.

Specials.

There are 113 Specials, with the story focusing on a select few and often featuring appearances by others.  At first, the Specials possessed varying levels of power, ranging from the clearly superhuman, such as Matthew Bright and Jason Miller, to almost negligible abilities like being invisible when not in direct sunlight. However, when a Special died, the energy they possessed was evenly distributed among the rest, making them stronger. In an incident similar to the Waco Siege, a number of Specials were killed. The resultant transfer of energy, later known as the Surge, was enough to turn all specials regardless of their standing into high powered individuals.

Spin-offs.

"Rising Stars: Bright".

The first "Rising Stars" spin-off, a three-issue miniseries, written by Fiona Avery, penciled by Dan Jurgens and published in Feb–Apr 2003, is about Matthew Bright's rookie years as a police officer in the NYPD under the name Brendan Miller, after he left Pederson.

"Rising Stars: Voices of the Dead".

The six-issue miniseries "Rising Stars: Voices of the Dead" features Lionel Zerb, a Special who can see dead people, and was published in Apr–Dec 2005. It was again written by Fiona Avery, with pencils by Staz Johnson and Al Rio. It concentrates on various mysteries Lionel uncovers because of his ability.

"Rising Stars: Untouchable".

The five-issue miniseries "Rising Stars: Untouchable" features Laurel Darkhaven, a Special who worked for the CIA as an assassin. Written by Fiona Avery with pencils by Brent Anderson. Published February 2006 – June 2006.

Collected editions.

Typical of Straczynski, the beginning and end of the story were planned before he wrote the first issue. It was set to span 24 issues, and neatly divide up into three acts. Each trade paperback collects one of those acts.  All the publications are collected in one volume:

In other media.

Film adaptation.

In 2016, MGM optioned Rising Stars, with Straczynski slated to write the script and Alex Gartner and Richard Suckle to produce for Atlas Entertainment.

Novelization.

Between 2002 and 2005, a novelization of "Rising Stars" by Arthur Byron Cover was published in a three-volume series.

Rising Stars is a 24-issue comic book limited series written by J. Michael Straczynski about 113 people (called "Specials") born with special abilities following the appearance of a mysterious light in the sky above Pederson, Illinois. The series explores how society may react to the advent of superpowers, and how those who are Specials may react towards society and each other. "Rising Stars" was one of the first comics produced under Straczynski's own "Joe's Comics" imprint for Top Cow Productions.


Biography.

Gaston Tissandier was born in Paris in 1843. He studied chemistry and in 1864 became the head of the experimental laboratory of Union nationales. He was also a teacher at Association polytechnique. His interest in meteorology led him to take up aviation.  His first trip in the air was conducted at Calais in 1868 together with, where his balloon drifted out over the sea and was brought back by an air stream of opposite direction in a higher layer of air. In September 1870, during the Franco-Prussian War, he managed to leave the besieged Paris by balloon.  His most adventurous air trip took place near Paris in April 1875. He and companions, journalist, and, naval officer, were able to reach in a balloon the unheard-of altitude of 8,600 meters (28,000 feet). Both of his companions died from breathing the thin air. Tissandier survived, but became deaf.  In 1883, Tissandier fit a Siemens electric motor to an airship, thus creating the first electric-powered flight.  Tissandier reported his meteorological observations to the French Academy of Sciences. In 1873 he founded the weekly scientific magazine "La Nature", which he edited until 1896, after which it was continued by others. He also authored several books:

Works.

Besides these scientific works, Tissandier also published several titles for the youth, such as "Les récréations scientifiques ou l'enseignement par les jeux" (1880), perhaps the very first title in the genre of books of simple science experiments that anybody can conduct in their own home. Its chapters were in part based on the column "physique sans appareils" (physics without apparatus) in "La Nature".

References.

This text is based in part on articles from old public domain encyclopedias in German and Swedish.

Gaston Tissandier (November 21, 1843 – August 30, 1899) was a French chemist, meteorologist, aviator and editor. Adventurer could be added to the list of his titles, as he managed to escape besieged Paris by balloon in September 1870. He founded and edited the scientific magazine "La Nature" and wrote several books.


Types of wounds.

Wounds are normally described in a variety of ways. Descriptions may include wound size (length) and thickness; plainly visible wound characteristics such as shape and open or closed; and origin, acute or chronic. The most common descriptors of wounds are these:

Blood vessels affected.

External bleeding is generally described in terms of the origin of the blood flow by vessel type. The basic categories of external bleeding are:

External wound management.

The type of wound (incision, laceration, puncture, etc.) has a major effect on the way a wound is managed, as does the area of the body affected and presence of any foreign objects in the wound. Key principles of wound management are:

Elevation.

Elevation was commonly recommended for the control of haemorrhage. Some protocols continue to include it, but recent studies have failed to find any evidence of its effectiveness and it was removed from the PHTLS guidance in 2006.

Direct pressure.

Placing pressure on the wound constricts the blood vessels manually, helping to stem blood flow. When applying pressure, the type and direction of the wound may have an effect, for instance, a cut lengthways on the hand would be opened up by closing the hand into a fist, whilst a cut across the hand would be sealed by making a fist. A patient can apply pressure directly to their own wound, if their consciousness level allows. Ideally a barrier, such as sterile, low-adherent gauze should be used between the pressure supplier and the wound, to help reduce chances of infection and help the wound to seal. Third parties assisting a patient are always advised to use protective latex or nitrile medical gloves to reduce risk of infection or contamination passing either way. Direct pressure can be used with some foreign objects protruding from a wound; padding is applied from each side of the object to push in and seal the wound - objects are never removed.

Pressure points.

In situations where direct pressure and elevation are either not possible or proving ineffective, and there is a risk of exsanguination, some training protocols advocate the use of pressure points to constrict the major artery that feeds the point of the bleed. This is usually performed at a place where a pulse can be found, such as in the femoral artery. There are significant risks involved in performing pressure point constriction, including necrosis of the area below the constriction, and most protocols give a maximum time for constriction (often around 10 minutes). There is particularly high danger if constricting the carotid artery in the neck, as the brain is sensitive to hypoxia and brain damage can result within minutes of application of pressure. Pressure on the carotid artery can also cause vagal tone induced bradycardia, which can eventually stop the heart. Other dangers in use of a constricting method include rhabdomyolysis, which is a buildup of toxins below the pressure point, which if released back into the main bloodstream may cause kidney failure.

Tourniquet.

Another method of achieving constriction of the supplying artery is a tourniquet - a band tied tightly around a limb to restrict blood flow. Tourniquets are routinely used to bring veins to the surface for cannulation, though their use in emergency medicine is more limited. Tourniquet use is restricted in most countries to professionals such as physicians and paramedics, as this is often considered beyond the reach of first aid and those acting in good faith as a good samaritan. A key exception is the military, where many armies carry a tourniquet as part of their personal first aid kit.  Improvised tourniquets, in addition to creating potential problems for the ongoing medical management of the patient, usually fail to achieve force enough to adequately compress the arteries of the limb. As a result, they not only fail to stop arterial bleeding, but may actually increase bleeding by impairing venous bloodflow.

Clotting agents.

Some protocols call for the use of clotting accelerating agents, which can be either externally applied as a powder or gel, or pre-dosed in a dressing or as an intravenous injection. These may be particularly useful in situations where the wound is not clotting, which can be due to external factors, such as size of wound, or medical factors such as haemophilia.  Recombinant factor VIIa (rFVIIa) is not, as of 2012, supported by the evidence for most cases of major bleeding. Its use brings a significant risk of arterial thrombosis, and therefore it should only be used in clinical trials or with patients with factor VII deficiency.

Internal wound management.

Internal wounds (usually to the torso) are harder to deal with than external wounds, although they often have an external cause. The key dangers of internal bleeding include hypovolaemic shock (leading to exsanguination), causing a tamponade on the heart or a haemothorax on the lung. The aortic aneurysm is a special case where the aorta, the body's main blood vessel, becomes ruptured through an inherent weakness, although exertion, raised blood pressure or sudden movements could cause a sudden catastrophic failure. This is one of the most serious medical emergencies a patient can face, as the only treatment is rapid surgery.  In the event of bleeding caused by an external source (trauma, penetrating wound), the patient is usually inclined to the injured side, so that the 'good' side can continue to function properly, without interference from the blood inside the body cavity.  Treatment of internal bleeding is beyond the scope of simple first aid, and a person giving first aid should consider it potentially life-threatening. The definitive treatment for internal bleeding is always surgical treatment, and medical advice must be sought urgently for any victim of internal bleeding.

Emergency bleeding control describes actions that control bleeding from a patient who has suffered a traumatic injury or who has a medical condition that has caused bleeding. Many bleeding control techniques are taught as part of first aid throughout the world, though some more advanced techniques such as tourniquets, are often taught as being reserved for use by health professionals, or as an absolute last resort, to mitigate associated risks, such as potential loss of limbs. To manage bleeding effectively, it is important to be able to readily identify types of wounds and types of bleeding.


Biography.

Bernard Assiniwi was born in July 31, 1935 and died the 2 September 2000. Son of Églantine Bleau and Joseph-Leonidas Zephirin Lapierre, from Algonquin, Cree and Quebecois heritage. As a child he spoke Cree but French was the language of his schooling.  He graduated from the University of Guelph, obtaining a BScA in animal science.  He went on to follow a variety of careers. He was involved with the beginning of the cultural section of the Department of Indian Affairs and Northern Development from 1965 to 1968. In 1965, he also appeared in the film "La vie heureuse de Léopold Z". Other film appearances were "Les smattes" (1972) and "Les forges de Saint-Maurice" (1973). He also served as curator of the Easter Subarctic Cultural area of the Canadian Museum of Civilization until his death in 2000.  From 1968, Assiniwi published over 30 books, as well as writing journal articles, and writing and producing radio programs. He is considered an important contributor to Canadian Literature from a French Canadian Indigenous perspective, paving the way for other Indigenous authors to follow. In 1971, he was one of the first Indigenous authors to write a French language work that was largely read throughout Québec ("Anish-nah-be: Contes adultes du pays algonkin", published by Leméac), For this book, he received a mention in the. Assiniwi went to work for Leméac, from 1972 à 1976, as a director. In 1999, The University of Québec and Trois-Rivières bestowed upon Bernard Assiniwi an honorary doctorate for his literary contributions.  Bernard Assiniwi married Marina Assiniwi and they had three sons : Marc-André Assiniwi (), Christian Assiniwi and Jean-Yves Assiniwi.  Benard Assiniwi died at age 65, from a heart attack following heart surgery.  In 2001 Land Insights created the prix Dr. Bernard-Chagnan-Assiniwi, awarded for the first time in 2001 to Indigenous artists or creators whose work had contributes to their original culture.

Awards.

He won the for French and Quebecois authors in 1997. He as also shortlisted for the Governor General prize of Canada in the same year.

Bernard Assiniwi (pseudonym: "Chagnan" born July 31, 1935 in Montreal; died September 4, 2000) was a writer of French-Canadian and Cree/Algonquin people extraction. In addition to that he was a researcher in Aboriginal History, a producer, and an actor. One of his best known works is "La Saga des Béothuks" or "The Beothuk Saga" in the English translation by Wayne Grady.


Semi-proportional systems.

Most proportional representation systems do not yield precisely proportional outcomes due to the use of election thresholds, small electoral regions, or other implementation details that vary from one elected body to another. This article deals primarily with systems inherently designed to produce moderately proportional election results.  The choice to use a semi-proportional electoral system may be a deliberate attempt to find a balance between single-party rule and proportional representation. Semi-proportional systems can allow for fairer representation of those parties that have difficulty gaining individual seats while retaining the possibility of one party gaining an overall majority when there is a landslide victory.  Because there are many measures of proportionality, and because there is no objective threshold, opinions may differ on what constitutes a semi-proportional system as opposed to a majoritarian or a fully proportional system.

Non-partisan systems.

Election systems in which parties can only achieve proportionality by coordinating their voters are usually considered to be semi-proportional. They are not majoritarian, since in the perfect case the outcome will be proportional, but they are not proportional either, since such a perfect case requires a very high degree of coordination. Such systems include the single non-transferable vote and limited voting, the latter of which becomes less proportional the more votes each voter has. The cumulative voting also allows minority representation, concentrating votes over the number of candidates that every minor party thinks it can support.  This group of non-partisan systems is, at least "technically", non-partisan. Certainly, a group of candidates can coordinate their campaigns, and "politically" present themselves as party members, but there is no obligation for electors to respect those party links, and forms of panachage are usually possible.

Single transferable vote.

Some consider STV to be a semi-proportional system. The degree of proportionality across the country depends on the average size of constituencies. In the 2011 Irish general election, Fine Gael came nine seats (4.8%) short of an overall majority with just 36.1% of the first preference votes. However the result of the election was exceptional, and Fine Gael benefited from a high level of transfers from those who did not rank them first. Under STV a party can win an overall majority with significantly fewer than 50% of the votes, but only if the party also gains a high level of transfers from those who do not rank them first. As it lacks any arbitrary nationwide election threshold, even with the Irish 3 to 5 seat system the level of proportionality does not veer too far from countries with such thresholds.

Partisan systems.

Other forms of semi-proportional representation are based on, or at least use, party lists to work. Looking to the electoral systems effectively in use around the world, there are three general methods to reinforce the majority rule starting from basic PR mechanisms: parallel voting, majority bonuses, and extremely reduced constituency magnitude. An additional member system may reinforce majorities if the proportion of compensatory seats is too low.  A majority bonus system takes an otherwise proportional system based on multi-member constituencies, and introduces disproportionality by granting additional seats to the first party or alliance. Majority bonuses help produce landslide victories similar to those which occur in elections under plurality systems. The majority bonus system was first introduced by Benito Mussolini to win the election of 1924, then it was later used in Italy again, with additional democratic limits, and then again expanded in some neighboring countries like San Marino, Greece and France.  The simplest mechanism to reinforce major parties in PR system is a severely reduced constituency magnitude, so to reduce the possibility for minor national parties to gain seats. If the Spanish electoral system is still considered a form of proportional representation, the binomial voting system used in Chile effectively establishes by law a two-party rule over the country.  The last main group usually considered semi-proportional consists of parallel voting models. The system used for the Chamber of Deputies of Mexico since 1996 is considered a parallel voting system, modified by a list-seat ceiling (8%) for over-representation of parties. The "scorporo" system used for the Parliament of Italy from 1993 to 2005 and the electoral system for the National Assembly of Hungary since 1990 are also special cases.  As well, the additional member systems where the additional members are not sufficient to balance the disproportionality of the original system can produce less than proportional results, especially in the National Assembly for Wales where only 33.3% of members are compensatory. The electoral system commonly referred to in Britain as the "additional member system" is also used for the Scottish Parliament, and the London Assembly, with generally proportional results.

Semi-proportional representation characterizes multi-winner electoral systems which allow representation of minorities, but are not intended to reflect the strength of the competing political forces in close proportion to the votes they receive. Semi-proportional voting systems can be regarded as compromises between forms of proportional representation such as party-list PR, and plurality/majoritarian systems such as first-past-the-post voting. Examples of semi-proportional systems include the single non-transferable vote, limited voting, and parallel voting.


Overview.

Greek skepticism, as a distinct school, began with Pyrrho of Elis (c. 360 BC-c. 270 BC), with antecedents in Xenophanes and Democritus. His followers, the Pyrrhonists, pointed out the problem of the criterion: that our theories and our sense impressions were unable to accurately distinguish truth from falsehood; therefore we must suspend judgment ("epoche"). They were consistent enough to extend their doubt even to their own principle of doubt, making their skepticism universal, thus escaping reproach for basing it upon a fresh dogmatism. Mental imperturbability ("ataraxia") was the result to be attained by cultivating such a frame of mind.  Around 266 BC, Arcesilaus became head of the Platonic Academy, and adopted skepticism as a central tenet of Platonism, making Platonism nearly the same as Pyrrhonism. After Arcesilaus, Academic Skepticism diverged from Pyrrhonism. This skeptical period of ancient Platonism, from Arcesilaus to Philo of Larissa, became known as the New Academy, although some ancient authors added further subdivisions, such as a Middle Academy.  The Academic Skeptics did not doubt the existence of truth; they just doubted that humans had the capacities for obtaining it. They based this position on Plato's "Phaedo", sections 64-67, in which Socrates discusses how knowledge is not accessible to mortals.  While the objective of the Pyrrhonists was the attainment of ataraxia, after Arcesilaus the Academic Skeptics did not hold up ataraxia as the central objective. The Academic Skeptics focused on criticizing the dogmas of other schools of philosophy, in particular of the dogmatism of the Stoics. They acknowledged some vestiges of a moral law within, at best but a plausible guide, the possession of which, however, formed the real distinction between the sage and the fool. Slight as the difference may appear between the positions of the Academic Skeptics and the Pyrrhonists, a comparison of their lives leads to the conclusion that a practical philosophical moderation was the characteristic of the Academic Skeptics whereas the objectives of the Pyrrhonists were more psychological.

Arcesilaus.

Up to Arcesilaus, the Platonic Academy accepted the principle of finding a general unity in all things, by the aid of which a principle of certainty might be found. Arcesilaus, however, broke new ground by attacking the very possibility of certainty. Socrates had said, "This alone I know: that I know nothing." But Arcesilaus went further and denied the possibility of even the Socratic minimum of certainty: "I cannot know even whether I know or not."  The doctrines of Arcesilaus, which must be gathered from the writings of others, represent an attack on the Stoic "phantasia kataleptike" (Criterion) and are based on the skepticism which was latent in the later writings of Plato. Arcesilaus held that strength of intellectual conviction cannot be regarded as valid, inasmuch as it is characteristic equally of contradictory convictions. The uncertainty of sense data applies equally to the conclusions of reason, and therefore man must be content with probability which is sufficient as a practical guide. "We know nothing, not even our ignorance"; therefore the wise man will be content with an agnostic attitude.

Carneades.

The next stage in Academic skepticism was the moderate skepticism of Carneades, which he said owed its existence to his opposition to Chrysippus, the Stoic. Carneades is the most important of the Academic skeptics.  To the Stoic theory of perception, the "phantasia kataleptike", by which they expressed a conviction of certainty arising from impressions so strong as to amount to science, he proposed the doctrine of "acatalepsia", which denied any necessary correspondence between perceptions and the objects perceived. All our sensations are relative, and acquaint us, not with things as they are, but only with the impressions that things produce upon us. Experience, he said, clearly shows that there is no true impression. There is no notion that may not deceive us; it is impossible to distinguish between false and true impressions; therefore the Stoic "phantasia kataleptike" must be given up. There is no phantasia kataleptike ("Criterion") of truth. Carneades also assailed Stoic theology and physics. In answer to the doctrine of final cause, of design in nature, he pointed to those things which cause destruction and danger to man, to the evil committed by men endowed with reason, to the miserable condition of humanity, and to the misfortunes that assail the good man. There is, he concluded, no evidence for the doctrine of a divine superintending providence. Even if there were orderly connexion of parts in the universe, this may have resulted quite naturally. No proof can be advanced to show that this world is anything but the product of natural forces.  Knowledge being impossible, a wise man should practice "epoche" (suspension of judgment). He will not even be sure that he can be sure of nothing. He saved himself, however, from absolute skepticism by the doctrine of plausibility, which may serve as a practical guide in life. Ideas or notions are never true, but only plausible; nevertheless, there are degrees of plausibility, and hence degrees of belief, leading to action. According to Carneades, an impression may be plausible in itself; plausible and uncontradicted (not distracted by synchronous sensations, but shown to be in harmony with them) when compared with others; plausible, uncontradicted, and thoroughly investigated and confirmed. In the first degree there is a strong persuasion of the propriety of the impression made; the second and third degrees are produced by comparisons of the impression with others associated with it, and an analysis of itself. Carneades left no written works; his opinions seem to have been systematized by his pupil Clitomachus, whose works, which included one "on suspension of judgment," were made use of by Cicero.

Philo of Larissa.

In Philo of Larissa we find a tendency not only to reconcile the internal divergences of the Academy itself, but also to connect it with parallel systems of thought. In general, his philosophy was a reaction against the skeptic or agnostic position of the Middle and New Academy in favour of the dogmatism of Plato. Philo of Larissa endeavoured to show that Carneades was not opposed to Plato, and further that the apparent antagonism between Platonism and Stoicism was because they were arguing from different points of view. From this syncretism emerged the eclectic Middle Platonism of Antiochus of Ascalon, the last product of Academic development.

Academic skepticism refers to the skeptical period of ancient Platonism dating from around 266 BC, when Arcesilaus became head of the Platonic Academy, until around 90 BC, when Antiochus of Ascalon rejected skepticism, although individual philosophers, such as Favorinus and his teacher Plutarch continued to defend Academic skepticism after this date. Unlike the existing school of skepticism, the Pyrrhonists, they maintained that knowledge of things is impossible. Ideas or notions are never true; nevertheless, there are degrees of probability, and hence degrees of belief, which allow one to act. The school was characterized by its attacks on the Stoics, particularly the Stoic dogma that convincing impressions led to true knowledge. The most important Academic skeptics were Arcesilaus, Carneades, and Philo of Larissa. The most extensive ancient source of information about Academic skepticism is "Academica," written by the Academic skeptic philosopher, Cicero.


History.

With "Peyton Place", ABC hoped to bring the success of the British serial "Coronation Street" to America. Inspired by that serial, it was decided that it should be aired in prime time. Producer Paul Monash wanted to launch a revival of Grace Metalious' novel of the same name. He refused to acknowledge it as a soap opera, calling it a 'high-class anthology drama'. An hour-long pilot was shot in 1962. Originally, the Cross family from the novel was included, but when Irna Phillips was contacted to change the pilot, she decided to scrap it. Various disagreements between the makers ensued, and the official pilot was not aired until September 15, 1964.  When the series premiered in late 1964, it marked the birth of the prime time American soap opera. The early stories were adapted from the 1956 book and 1957 film of the same name, although some principal character names, backstories and occupations were changed or simply eliminated. The time setting was changed from the early 1940s (of the novel and film) to the present day, and the town's location, which had previously been unidentified, was established as being in the commonwealth of Massachusetts in the fourth episode. Some sensational plot lines from the novel (like incest) were replaced with

Plots.

The series opens with a shot of a church's steeple, and the words "Peyton Place" superimposed, with a tolling of church bells. Announcer Dick Tufeld announces "This is the continuing story of "Peyton Place"." The scene changes to scenes of the town square, a rolling brook, and a panoramic view of Peyton Place. It dissolves to cast members, and then narration of previous episode events by Warner Anderson, who also played Matthew Swain. In 1966 the message was changed to "In color, the continuing story of "Peyton Place"." Warner Anderson left the series after the first season, but continued as narrator to the series until the final episode.

Season 1 (1964–1965).

In the first episode, Dr. Michael Rossi (Ed Nelson) arrives from New York City to set up practice in town. Newspaper editor Matthew Swain (Warner Anderson) tells him people usually try to get away from towns like Peyton Place, not move to them. Matthew's third cousin Allison MacKenzie (Mia Farrow), a close friend of classmate Norman Harrington (Christopher Connelly), has begun to fall in love with his older brother, Rodney (Ryan O'Neal); she is smitten as soon as they share their first kiss. At the end of the episode, Allison's mother, Constance (Dorothy Malone), makes it clear she disapproves of her daughter's newfound relationship with Rodney.  Rodney is startled to find his father, Leslie (Paul Langton), in a passionate embrace with his secretary, Julie Anderson (Kasey Rogers), the mother of Rodney's girlfriend, Betty (Barbara Parkins). Both Leslie and Julie are in unhappy marriages, but Leslie can't explain this to his son in the moment. Confused, Rodney tells Betty he cannot date her anymore and begins to see Allison instead. Betty, confused and hurt because he offered no reason for breaking up with her, discovers she is pregnant and

Season 2 (1965–1966).

The first half of the second season focused on the Rodney Harrington murder trial and the concurrent struggle of Allison Mackenzie after she was injured in a hit-and-run accident and left in a coma.  Rodney is accused in the death of Joe Chernak, who refused to accept Rita's dumping him and falling for Norman. District Attorney John Fowler (John Kerr), son of the former DA who retired heartsick over learning he got a wrongful conviction against Elliot, is also unaware his wife Marian (Joan Blackman), is the driver who struck Allison. Elliot and Steven suspect the younger Fowler wants to avenge his father via another Harrington, since Leslie's original failure convicted Elliot. Against his family attorney's advice, Rodney gives a statement to the police and the DA. Leslie returns to Peyton Place, and ultimately succeeds in getting Rodney bail. Only Allison truly believes in Rodney's innocence before her accident, which happened after she visited Rodney in jail. Norman is haunted by his wish that Joe were dead because he abused Rita. The return of autocratic patriarch Martin Peyton (George Macready) fascinates and unnerves Peyton Place.  A changing Betty also believes in Rodney's innocence: she answered Rodney's original call for an ambulance after Joe fell. Leslie can't convince Rodney to file for a change-of-venue, fearing his own past will prejudice a local jury. Joe's sister Stella Chernak (Lee Grant), a biochemist, arrives home from California and wants Rodney behind bars though she knows he didn't intend to kill Joe. Her father, Gus Chernak (Bruce Gordon), struggling to overcome alcohol, blames Leslie for his own failures -— Leslie demoted then tried to

Season 3 (1966–1967).

The first season in color, Season Three focuses on three things: Constance and Elliot and their newborn son; the preliminary hearing for Lee Webber; and, the arrival and troubles of young Rachel Welles (Leigh Taylor-Young).  The season begins with Connie going into premature labor and giving birth to the son she names Matthew [gift from God]. Rita is happy for the Carsons but desires her own baby, but Norman says if she does he'll have to drop out of college to work full-time. Rita abandons the idea and works as Matthew's babysitter as a second job. Baby Matthew is a hit with the townspeople, especially over-doting grandfather Eli. Connie and Elliot balance being doting parents to their new son with continuing concern over Allison's disappearance.  Steven takes heat for serving as Lee's reluctant defense attorney. The hearing's early highlights include troubling testimony and new doubts from Michael over his fiancée Ann's death. Ground down by Lee's abuse, his estranged wife Sandy shows interest in Rodney. Blind brother Chris testifies against Lee, convinced Lee is guilty. Both John and Steven try to outsmart each other---directly as well as in court. Norman and Rita are shocked to find Rachel hiding in an old abandoned cabin---in possession of a bracelet Elliot once gave Allison as a gift. Hannah first tries to slip out of Peyton Place but returns and tries to distance herself from Martin. Betty is aghast when she determines Steven intends to grill his mother on the witness stand if need be. The hearing draws a

Season 4 (1967–1968).

The primary focus of season four remains Adrienne Van Leyden and Eddie Jacks and the havoc they provoke, until the arrival of young mother Jill Smith and a crisis she provokes for Constance and Elliot Carson, Michael Rossi, and Rev. Tom Winter and his wife, but the season ends with the immediate aftermath of Rodney Harrington's injury in a motorcycle accident.  Adrienne has mixed feelings at first about Martin's manipulations between her and Steven, even as Martin buys her an engagement ring and proclaims their engagement. Steven strains to relieve Betty's suspicions about Adrienne's interest in him, but Adrienne seems to fall in love with Steven. Steven has mixed feelings about Adrienne but gives in to her temptations. Meanwhile, shocking facts about her past come to light, particularly her having driven her husband—a highly respected medical researcher under whom Michael once studied—to suicide, when he found himself too ground down to resist the pressure of her demands after he sacrificed his career for her.  Betty follows Steven and Adrienne to Martin's Boston home and confirms her suspicions. Returning home, she leaves Steven and stays at the Colonial Inn. Rodney, to whom Betty now turns for comfort, can't convince Norman his interest in her is friendship alone. Adrienne visits Betty at the inn but Betty rebuffs her and tells Rod she plans to hire an out-of-town attorney to handle her divorce. Steven confronts Martin and Adrienne about their maneuvers, then storms to the Shoreline Garage and awakens Rod, accusing him of being in on the plot. When Steven accuses Rod of being in on the plot, he angrily turns Rod's bed over with Rod still in it, and Rod knocks him down with a punch.  Adrienne tells Martin she plans to leave Peyton Place.

Season 5 (1968–1969).

Ed Nelson remains the show's lead actor following Dorothy Malone's departure near the end of Season Four; Elizabeth Walker (Carolyn) and Barbara Rush (Marsha) are added to the opening credits. The final season revolves largely around Michael Rossi and Marsha Russell, but also around Rodney Harrington's painful try at recovering from paralysis, Jill and Joe, and African-American neurosurgeon Harry Miles (Percy Rodriguez) who is hit with an unexpected family crisis involving his young son.  Michael offers Jill a nursing job while Carolyn becomes more serious with young bandleader Jeff. Joe objects to Norman and Rita having custody of baby Kelly. Rod isn't comfortable with his therapist. Tom plans to divorce Susan. Norman is concerned about Betty turning to Steven for comfort as Rod's recovery continues painfully. Carolyn learns a truth about her parents' marriage the hard way, when she discovers father Fred is dating a much younger woman, Donna. Betty criticizes Norman for not trusting her. Tom walks out of the ministry and goes to work on a fishing boat. Marsha admits to Carolyn she knew about Fred and Donna before she divorced Fred, but Carolyn blames her mother for the affair. Susan threatens to claim Tom and Jill had an affair if Tom tries divorcing her. Judge Chester reveals Jill leaving the Winter home wasn't the reason he awarded custody of Kelly to Norman and Rita.  Rod fears Betty no longer wants to be with him. Michael persuades reluctant Jill to take a job as a nurse's aide in training to become a full nurse. Fred admits to Carolyn his affair began after the day he feared he no longer loved Marsha. Susan threatens to ruin Tom unless he takes her back. Joe can't admit he still has feelings for Jill—even as he accuses Tom falsely of hiding her and beats him viciously. Marsha tries to convince Carolyn her father is the reason for the divorce. Betty goes to work at the Harrington brothers' motorcycle shop. Harry tries to convince Rod to find his will to use his slowly recovering body

Characters.

Minor characters played by recognizable actors.

Thomas was Martin Peyton's chauffeur, originally portrayed by James Doohan from "" in about a dozen episodes; just one episode after Thomas leaves town on an errand, another "Star Trek" actor, Nichelle Nichols turns up for two episodes as Martin Peyton's nurse. Later Doohan returned for an episode before the character Thomas was taken over by another actor.  Another recurring policeman character was portrayed by Greg Morris.  The member of the

Schedules.

When the show premiered in 1964, "Peyton Place" aired twice a week. Both installments of the show were Top 20 hits in the Nielsen ratings and this inspired ABC to air the show three times a week starting in the summer of 1965. This move caused trouble for people who followed the show religiously, and many people tuned out. The season ratings for "Peyton Place" never rose into the Top 30 again and the serial's production was dropped back to two episodes a week. In 1969, with the show losing viewers with each episode, "Peyton Place" aired in one installment a week until the final episode was shown in June.  The show was one of the first seen on US network television to talk about sex and infidelity in a frank manner. As such, ABC executives would only allow the show to be aired at 9:30 p.m. Eastern/Pacific time, a time at which many children and teenagers were expected to be

Home media.

"Peyton Place: Part One", was released on May 19, 2009 by Shout! Factory as a five-disc set containing 31 half-hour episodes. Shout! Factory released "Peyton Place: Part Two", a five-disc set including 33 half-hour episodes, on July 14, 2009. Shout! Factory released "Peyton Place: Part Three", a five-disc set including 33 half-hour episodes, on March 27, 2018. Shout! Factory released "Peyton Place: Part Four", a five-disc set including 33 half-hour episodes, on June 26, 2018. "Peyton Place: Part Five", a five-disc set including 33 half-hour episodes, was released on September 11, 2018.

Peyton Place is an American prime-time soap opera which aired on ABC in half-hour episodes from September 15, 1964, to June 2, 1969.


Details.

When used to retain piston wrist pins or gudgeon pins, the clips are known as wrist pin clips, wrist pin retainers, or gudgeon pin clips. The most commonly used circlip for this application is a simple spring steel circlip, or plain wire ring.  The term "Jesus clip" comes from the propensity of the clip's spring action to launch the clip at a high velocity when removing or installing, leading to remarks such as, "Oh Jesus, where did it go?"

E-clip.

Common examples include e-clips (e-ring) and the (both internal and external) snap ring or circlip. These general types of fasteners are sized to provide an interference fit onto (or into, in the case of an internal fastener) a groove or land when in use, such that they must be elastically deformed in order to install or remove them.

Installation and maintenance.

The name snap ring generally refers to circlips which have the ends formed to aid installation and removal, and which are not formed from wire (i.e. do not have a round cross-section). These rings are designed to be installed and removed with special pliers. Some of these special pliers can be configured for internal or external clips, while in other cases one pliers is used for internal and another for external clips. For expediency in the field, a pair of needle-nose pliers (for internal clips) or leverage with a flat-headed screwdriver (internal or external) is sometimes used.  Since most snap rings are stamped from sheet steel, one side is slightly rounded and the other has sharp, rough edges. This is due to the stamping die behaving like a cookie cutter and causing a slight rounding of the upper edge of the cut clip. The snap ring must always be installed such that force is transmitted to the retaining groove from the rounded side of the ring, not the rough/square-edged side. If a snap ring is positioned such that its flat side is pressed into the rounded edge of the groove then when load or force is applied, the flat edge of the snap ring will "bite" into the rounded edge of the retaining groove. The snap ring will distort and ride up the rounded edge, spreading an external snap ring and compressing an internal snap ring. This leaves the clip prone to being forced out of its groove and failing at its retaining function. The accompanying images illustrate the correct orientation of the snap ring in its groove. Wet or dry lubrication is recommended to reduce friction against the circlip and maintain function.

A circlip (a portmanteau of "circle" and "clip"), also known as a C-clip, Seeger ring, snap ring or Jesus clip, is a type of fastener or retaining ring consisting of a semi-flexible metal ring with open ends which can be snapped into place, into a machined groove on a dowel pin or other part to permit rotation but to prevent lateral movement. There are two basic types: internal and external, referring to whether they are fitted into a bore or over a shaft. Circlips are often used to secure pinned connections.