Biography.

Bruno Kurz spent his childhood in Kressbronn am Bodensee (Lake Constance). He is the oldest son of Rupert Kurz (born 1933), a metal worker, and his late wife Gertrud Kurz (1934–2007). During his secondary education at the Knaben-Realschule (all-boys secondary modern) Lindau, Bruno Kurz was introduced to oil painting by his mathematics teacher. After finishing his Abitur (German university entrance qualification) at the Technisches Gymnasium (comparable to grammar school) Friedrichshafen, he started an engineering degree, which was disrupted by being called up for Zivildienst (compulsory paid community work as alternative to military service). Subsequently, he did a year's travel, going by ship to Israel and Rhodes, where he created his first group of paintings and finally decided to study painting. After his return, Kurz studied at the Freie Kunstschule (Free Art School) Stuttgart under (1980–81) and at the (Karlsruhe Academy of Fine Arts) under Per Kirkeby and (1981–86).  Bruno Kurz has been concerned with particular aspects of light and colour since his youth. While still studying, he undertook extensive travels to Southern Europe and India (1983/84 and 1986/87), later to Mexico and Canada. The experience of nature and new realms of colour and light led to numerous experiments with painting surfaces and colour substances, and major work cycles evolved. A project grant on the theme of "Heimat" enabled his first journey to Northern Europe in 1998, where he visited the Outer Hebrides, the Oakland Islands, the Scottish Highlands and Bergen in Norway. Celtic symbols and their typical merging of circle and cross, Irish-Scottish monasticism and its connections with the Lake Constance region, together with impressions of nature formed the basis for a large project-related exhibition in his home town Kressbronn am Bodensee, featuring expansive installations. From 2000 onwards, such experiences of landscape effected a new series of pictures: Over ten years, he worked on his "Hebrides Cycle", where, for the first time, the horizontal layers of delicate colour fields emerged that characterise his work; they would become a core aspect of his future painting practice. Since 2013, the artist has frequently travelled to Iceland and Greenland.  "What's important is, that an artist just like our 20th century Canadian painters, goes north in search of the light and in search of interesting themes. Everyone knows that the northern artists went south for discovering the light. The best example of that is Provence. But here we have an artist who goes north because the light is just as beautiful, strong and pure. So Bruno Kurz comes along in the depths of winter and goes round the Hebrides in his kayak and is impressed by what he sees. Without any photos, of course, he goes back to his studio, and paints with a good distance, this distance that is so important for painters so they are not overwhelmed by nature, but have had time and space to absorb and process it." Bruno Kurz lives and works in Karlsruhe. He shows his work in one-person and group exhibitions in galleries in Germany, Canada and Switzerland and has solo presentations at international art fairs such as Art Toronto, Art Zuerich or Art Cologne.

Installations.

Bruno Kurz obtained his first studio on the premises of the IWKA (Industriewerke-Karlsruhe-Augsburg) in Karlsruhe in 1986. With Georg Schalla, he founded the artists' group KUNSTRAUM IWKA and campaigned for the preservation of the huge industrial buildings on the premises. He co-organised a series of exhibitions titled "Letzte Arbeitsberichte IWKA I and II", which was vital for saving the building Hallenbau A, now Zentrum für Kunst und Medien, ZKM (Center for Art and Media Karlsruhe). Yet the artists could not ultimately prevent the destruction of the other buildings and the sale of the estate – in December 1986, the Karlsruhe City Council authorised the premises to be demolished, including the enormous art installations in the industrial buildings. For their gesamtkunstwerk (total work of art) KUNSTRAUM IWKA, the artists group were awarded a project grant by the Kunstfond (Arts Fund) Bonn, which entailed a documentary exhibition in Bonn.  Bruno Kurz created large-scale art installations in his first studio on the IWKA premises. He wanted to generate an adequate counterbalance to the colossal industrial building through large-scale art works and installed huge geometric sculptures of plastic sheeting that reflected the sunlight coming through the sawtooth roof (Installation Kunstraum IWKA, 1987): "Rain water puddles caused by the leaking roof cast back vast reflections and gave the artist further stimuli for his work. In 1988, for the first time, he used water as a sculptural material in space. The clarity of the installations he has since created is a result of these early architectural-monumental experiences of space. Further down the line, he created his spectacular installation 'aller Farben bloß' in the baroque halls of the Ettlinger Schloss (Ettlingen Palace)." Taking inspiration from the monikers "Green, Blue and Red Salon" and their corresponding tapestries, he installed coloured plastic film in the windows of the halls and created a sequence of coloured light. Notwithstanding the wide range of artistic possibilities offered by three-dimensional space, the formal, aesthetic and conceptual means of his installations clearly relate to his painting practice.

Teaching.

Apart from working as a freelance painter, Bruno Kurz also took on a variety of teaching posts in Higher Education. From 1993 to 1997, he taught Drawing at the Pädagogische Hochschule (University of Education) Karlsruhe, 2002–2008 Painting at the Europäische Kunstakademie (European Academy of Fine Arts) Trier, and 2002–2007 Experimental Painting at the Landesakademie (State Academy Schloss Rotenfels). He is also concerned with art historic analysis and with conveying the practical application of various approaches to painting to lay-persons. Since 1984 he has been part of the team of tutors at the Staatliche Kunsthalle Karlsruhe.

Abstract landscape painting.

Based on the composition of a classic landscape painting, Bruno Kurz creates delicately structured landscapes of colour, which do not reference an actual place any more but depict moods and atmospheres – floating between stillness and energetic dynamism. "The quietness emanating from his works results from their concentration, from their formal and chromatic restraint and the conscious rejection of the spectacular in his pictorial subject matter: landscape and colour space. Despite their discreet harmonies, the works of Bruno Kurz are actual bundles of energy." Emphatically horizontal lines and areas can visually expand beyond the frameless margins of the picture into infinity, and, in conjunction with vertical colour gradients, form a Perpetual motion, effecting a balance of opposite movements – to the point of apparent stillness.  This impression is emphasised through his choice of the square format. Since Kazimir Malevich, the square is considered the absolute form of abstract painting in the 20th century, and, in Bruno Kurz' work, finds its way into landscape painting. It does not become a theme in itself, but lends an almost archaic force to the imaginary horizons and changes in direction of the colour gradients between sky, water and earth. The square creates an unusual section of these colour-landscapes while, at the same time, focussing the permanent oscillation between states of matter.  Energy fields and directions of movement are geometrically fixated and concentrated as in a cross, the symbol of the union of extremes, of synthesis and proportion. It combines time and space. This primeval formal element of art history serves as the subcutaneous base structure in most of Kurz' paintings. It is subliminally discernible in particular geometric components, vertical and horizontal lines, cross-hatching on metal or in brush strokes and enhances the meditative aura of the paintings. Square and cross double the force that originates here, apparently still, yet always in motion: both in the variations of incidence and reflection of light and in the gaze of the beholder. Through the consistent reduction and abstraction of the forms and elements, an unfathomable, almost sacral depth is created. Or as one of his German galleries points out: "Inspired by the classical composition of the countryside, Bruno Kurz produces nuanced, abstract color landscapes of unbelievable illumination and depth."

Colour.

In addition to his strict formal aesthetics, Kurz also examines the physical qualities of his chosen materials. The painter experiments with diverse dyes and paints, merges synthetic elements, pigments, inks, water colour, acrylic and oil paints or resins and fillers in unconventional combinations and layers of colour. ′′Horizontal layers provide the colours a clear compositional order.(...) At the same time, their colour space appears to pulsate in fields of light. (Several paintings in this series are named after Lucifer, a deity in Roman myth who personified the Morning Star and whose name means 'Light-Bringer'.) Reflective surfaces – consisting of resin, India ink glazes or transparent silk gauzes layered over a vertically delineated metal background – afford the works a striking luminosity and shimmering colour spectrum.′′  The materials are applied in such a way that they keep generating new effects and perplexing visual impressions. The eye of the beholder can immerse itself deeply in these colour landscapes and thereby encounter extreme opposites – from glassy, translucent glazes to relief-like three-dimensional colourstrips. Beneath the seemingly two-dimensional surface, multiple planes and pigment layers shine through, which evolve through a long process of overpainting and modifying extremely subtle textures. "Kurz's surfaces are richly worked, with paint developed in rich layers. His textural surfaces, inscribed with scumbles, swipes, scrapes, and miasmas of color, capture the rich and varied lands through which he travels in search of beauty.(...) Kurz's bright colors and abstract imagery follow in the tradition of Abstract Expressionist color field painters — such as Mark Rothko and Jan Kolata." The transformation of the conventional canvas painting into a colour space floating in front of the wall is the result of years of engagement with the three core themes Colour – Material – Light.

Material and light.

For Bruno Kurz, painting does not start with paint, but with the choice of the painting surface. He utilises very different materials such as wood, canvas, silk or paper. ′′Through layering as well as the combination of unconventional materials – gauze, sheet metal, resin – the artist accomplishes wild optical impressions. Words such as transparency, levity, and dissolution describe the effect best. (...)The thoroughly reflective resin layers and metallic surfaces create light tricks and reflections that define the atmosphere of the works.′′  Over the last few years, the artist has increasingly used sheet metals; in his studio, he prepares and alters their surfaces with grinding machines. Thus, light and colour will later be differently absorbed and reflected. The first horizontal aspects are already generated in the primary material and influence colouring and colour gradients from the outset.  Many titles of his work (e.g. "Lichtfänger" (Light Catcher) or "Translucent Horizons") demonstrate the mindset behind Kurz' oeuvre: navigating the phenomenon of light. The geometric lines of the paint application or the material constitute the basic structure inherent in any new work. Within these lines, Kurz works on the theme of light with always freshly composed and varied arrangements of colour and materials. "There is no such thing as the right light for my paintings", the painter points out: every incidence of light, every change of the beholder's position effects a new situation, new hues and colour fields emerge – his work appears to change constantly. ′′Depending on the incidence of light and position of the viewer, the paintings may be perceived in a variety of ways. The multiple viewpoints offered by the works are the hallmark of their vitality.′′  Yet it radiates an unexpected calm, which is the result of optimised formal reduction and concentration. In Kurz' work, light does not visualise anything representational, but, beyond the interplay of colours, indicates the potential for inwardness and a capacity for knowledge. Thus the painter creates the conditions for meditation. His paintings offer vanishing points and spaces of tranquility: "In our hectic world, stillness is the true spectacle."

Bruno Kurz (born 1957 in Langenargen at Lake Constance) is a German painter. He primarily works on reflective surfaces such as metal, creating paintings of great luminosity and depth – expansive colour fields with vague allusions to landscape. Apart from painting, his work comprises large art installations fashioned through light.


Early life and career.

Cojocar was born October 23, 1985, in Sibiu, Romania. She began gymnastics at the age of three, though she told her coach she was five because she was afraid that he would not accept such a young gymnast. A few years later, she was accepted into the junior national team in Oneşti. After one year, Cojocar was accepted as a member of the senior national team in Deva, under the direct guidance of head coach Octavian Bellu. She made her international debut at the age of fourteen at the 2000 Junior European Championships in Paris, where she won three gold medals (in the all-around, ahead of teammate Silvia Stroescu, and on vault and balance beam) and two silver medals (on floor exercise and with the team). She was touted as the new leader of the young Romanian team and quickly drew international attention, appearing on the cover of the June/July 2000 edition of "International Gymnast".

Senior career.

In August 2001, Cojocar competed in the Goodwill Games in Brisbane, Australia. She won the all-around title, upsetting more established gymnasts, such as Russia's Svetlana Khorkina, and earned a bronze medal on the floor exercise. Her first major senior event was later in the year at the 2001 World Championships in Ghent, Belgium, where she placed first with the Romanian team, sixth in the all-around, and fourth on beam.  Cojocar underwent shoulder surgery in December 2001. In early 2002, she was one of the gymnasts affected when Bellu decided to send the entire senior national team home from the Deva training center. Cojocar returned to her home club in Sibiu to train and was one of the only gymnasts eventually asked to return to Deva. She competed in the 2002 World Championships, placing fifth on vault and ninth on floor exercise.

Retirement.

In 2003, Cojocar retired from gymnastics because of a chronic liver problem. After leaving Deva, she was outspoken about alleged problems on the national team. She said she had been diagnosed with high cholesterol in 2000 and prescribed Zocor, which was not intended for use by children and had experienced several serious side effects. She claimed the she had complained of weakness and of severe muscle and ligament pain, but Bellu forced her to continue training and take the medication. In addition, Cojocar alleged that Bellu was physically abusive to the gymnasts, and that some girls had suffered "terrible beatings".  In 2004, Cojocar began training again in an effort to make the Olympic team, but proved unsuccessful. Afterward, she enrolled at Lucian Blaga University of Sibiu, from which she graduated in 2008 with a degree in physical education. She went on to work as a coach at her former club in Sibiu and at a club in Norway.  Cojocar is also a jewelry designer and has an online shop.

Music career.

In 2006, Cojocar released the single "Domine", and in September 2007, she released on Myspace a song she had written herself, "I Don't Wanna Lose U".  Cojocar worked with Mihai Trăistariu, Romania's representative in the 2006 Eurovision Song Contest, to enter the 2008 contest, but she did not pass the national song selection.

Skills.

"Vault": Double-twisting Yurchenko; round-off, back handspring with full turn on, piked back salto off.  "Uneven bars": Kip–cast to handstand (KCH), clear hip to handstand, toe-on to high bar, KCH, giant, hop full, full pirouette, 11⁄2 pirouette, Tkatchev, KCH, overshoot, KCH, sole circle, jump to high bar, KCH, giant, giant, full-in dismount.  "Balance beam": Jump to knee mount, back handspring, back handspring, tucked full; switch split leap; Chen; front aerial; full turn; tucked side salto; back handspring, back handspring, triple twist dismount.  "Floor exercise": Front handspring, 21⁄2 twist; round-off, back handspring, double pike; double-twisting cat leap, hitchkick; round-off, back handspring, tucked double salto backward with full twist; switch ring leap, double-twisting tuck jump; full turn with leg horizontal; round-off, whip, triple twist.

Floor exercise music.

2001–2002: "Esperanza/El Conquistador"

Sabina Carolina Cojocar (born October 23, 1985) is a Romanian retired international elite artistic gymnast and singer. She became a world gold medalist with the Romanian women's gymnastics team in 2001 and is also a five-time medalist at the 2000 Junior European Gymnastics Championships.


Geography.

The village of Alcaucín extends its lands to the north of the Axarquía, between the mountains of the Sierra de Alhama and Sierra de Tejeda with the corridor of Periana. It includes the "Boquete de Zafarraya" an important mountain pass in the mountainous region of Axarquía. It adjoins the Sierras of Tejeda, Almijara and Alhama Natural Park to the east.  Being in the Sierra de Tejeda, the end is rather abrupt as it passes from the Maroma 2,066 meters to 200 meters in Puente Don Manuel. The surrounding terrain is predominantly dense forest.

Flora and fauna.

In this environment lies one of the richest areas of flora and fauna of the Axarquía. Within the vegetation, the most characteristic feature is the pine forest, which in this case is of Aleppo and is repopulating.  The most common tree species are poplars, cedars, oaks, and cypress. There are terebinth shrub species such as, gorse, jaguarzos, ivy thickets, and vines. Herbs such as thyme, rosemary, palmitos and torviscos can be found here as well.  Closer to the "Senos de la Tejada", the pines are disappearing to make way for size shrub species such as juniper, savin, hawthorn, and yew, which is currently on the decline, although is teem on some cliffs on the north side of Sierra Tejada.  The mountain goat is the most visible animal. The weasel, bobcat, badger, and genet live in these in the areas with the highest density of trees.  Among the birds there are the linnet, blackbird, warbler, redstart, skylark and nightingale.

History.

Alcaucín is a name of Arabic origin, derived from al-qawsayn (القوسين) meaning "The Arcs." Some authors hypothesize that the name was due to the existence of an aqueduct and others to the abundance of yew trees, whose wood is used for making hunting bows, which have the form of an arc.  The term city of the municipality is from the areas of Málaga that can testify as the first to be inhabited by man, as documented in the "Boquete de Zafarraya" excavations that state that in 1983 human remains appeared including a jaw, which belonged to a Neanderthal man. During the period of Phoenician colonization, they laid the foundations of the fortress of Zalía, but it was the Arabs who built the present castle in 1485 until it was conquered by the Catholic Monarchs.  During the Andalusian earthquake of 25 December 1884, 134 houses in the municipality collapsed, 22 in the nucleus (6 dead and 5 seriously injured) and 112 in the surrounding area. The rest suffered serious or moderate damage, and there were 3 dead.

Alcaucin () is a town and municipality in the province of Málaga, part of the autonomous community of Andalusia in southern Spain. It borders with the province of Granada. The municipality is situated approximately 54 kilometers to the city of Málaga. It is 507 km from the capital of Madrid. The name was derived from "al-kautín", the Arabic of "the arches." It has a population of approximately 1,600 residents, partly living in the hamlet of Puente Don Manuel. Natives of the town are called "Alcaucineños" and have the nickname of "tiznaos".


Early life.

Anne Day-Helveg was born in Vienna as Anna Lydia Popper. Her Jewish parents, the lawyer Dr. Simon S. C. Popper (1856–1932) and his wife Jenny Popper (née Schiff, 1864–1936), converted to Lutheranism two years after she was born. Thus, she became a Lutheran too. She grew up with her older sister Dora (1893–1930) and her younger brother Karl (1902–1994).

Marriage and writing.

Day-Helveg married three times. She changed her name several times by marriage (Gruner, Helveg, Lothringer) or by taking pen-names. As a dancer and dance teacher she was known as Annie Helveg during her time in Vienna. As a writer of romantic stories she called herself Anne Day-Helveg or Anne Day. In 1938, shortly after her mother's death, she left Austria escaping from the Nazis to France without any money or passport. In 1941, under the name Anna Gruner-Helveg, she was accepted as stateless refugee in Geneva. Her famous brother Karl Popper supported her during war time by sending money through the Red Cross, though he himself lived under financial strains in New Zealand. She became a Swiss citizen after marrying the Swiss writer Fred Lothringer. They lived and worked together in Ascona, the place where she died in 1975.  Anne's only remarkable success was the romance in German language "Liane, das Mädchen aus dem Urwald" (Liane: The Girl from the Jungle), after having been made a German film in 1956 (Liane, Jungle Goddess). It is about a female Tarzan starring the four-star actors Marion Michael, Hardy Krüger, Irène Galter, and Reggie Nalder. In those years the topless young beauty Marion Michael was a sensation. Soon youth protection organizations discussed the case.

Anne Day-Helveg (12 November 1898 – 14 September 1975) was an Austrian dancer, dance teacher, and romance writer. One of her novels was made into a film titled "Liane, das Mädchen aus dem Urwald" (Liane, Jungle Goddess). Her younger brother was the famous philosopher Karl Raimund Popper.


Algorithm.

To establish TOTP authentication, the authenticated and authenticator must pre-establish both the HOTP parameters and the following TOTP parameters:  Both the authenticator and the authenticatee compute the TOTPvalue, then the authenticator checks if the TOTPvalue supplied by the authenticated matches the locally generated TOTPvalue. Some authenticators allow values that should have been generated before or after the current time in order to account for slight clock skews, network latency and user delays.

TOTP value.

TOTP uses the HOTP algorithm, substituting the counter with a non-decreasing value based on the current time.  The time counter, "C", is an integer counting the number of durations, "T", in the difference between the current Unix time, "T", and some epoch ("T"; cf. Unix epoch); the latter values all being in integer seconds.  Note that Unix time is not strictly increasing. When a leap second is inserted into UTC, Unix time repeats one second. But a single leap second does not cause the integer part of Unix time to decrease, and "C" is non-decreasing as well so long as "T" is a multiple of one second.

Practical considerations.

For subsequent authentications to work, the clocks of the authenticated and the authenticator need to be roughly synchronized (the authenticator will typically accept one-time passwords generated from timestamps that differ by ±1 time interval from the authenticated's timestamp).

Weaknesses and vulnerabilities.

TOTPvalues can be phished like passwords, though this requires attackers to proxy the credentials in real time.  Implementations that don't limit login attempts are vulnerable to brute forcing of values.  An attacker who steals the shared secret can generate new, valid TOTPvalues at will. This can be a particular problem if the attacker breaches a large authentication database.  Because TOTP devices have consumable batteries and clocks that can de-synchronize, and can be lost and/or stolen, all real-world implementations have backup methods to bypass the protection (e.g.: printed recovery codes, SMS/email/phone call delivered recovery code or link), etc.). This can create significant support costs for services with large user-bases, and also provide weak points for attackers to try first.  TOTPvalues are valid for longer than the amount of time they show on the screen (typically twice as long). This is a concession that the authenticating and authenticated sides' clocks can be skewed by a large margin.

History.

A TOTP draft was developed through the collaboration of several OATH members in order to create an industry-backed standard. It complements the event-based one-time standard HOTP and offers end user organizations and enterprises more choice in selecting technologies that best fit their application requirements and security guidelines. In 2008, OATH submitted a draft version of the specification to the IETF. This version incorporates all the feedback and commentary that the authors received from the technical community based on the prior versions submitted to the IETF. In May, 2011, TOTP officially became RFC 6238.

The Time-based One-time Password algorithm (TOTP) is an extension of the HMAC-based One-time Password algorithm (HOTP) generating a one-time password (OTP) by instead taking uniqueness from the current time. It has been adopted as Internet Engineering Task Force (IETF) standard RFC 6238, is the cornerstone of Initiative for Open Authentication (OATH), and is used in a number of two-factor authentication (2FA) systems.


History and structure.

The house was built in 1930–1931, and David Ben-Gurion and his family lived there from June 1931 until 1953, when they moved to a small wooden house in Kibbutz Sde-Boker in the Negev desert, after which they returned to the Tel Aviv house only part of each year.  The house was built on Jewish National Fund (JNF) land, when the first "shechunat ha-po'alim" ("lit." workers neighborhood, i.e. a workers housing project) was established there in 1930–31, as Shechunat HaPo'alim Aleph, at the junction of Jewish National Fund Boulevard and Lassalle Street. The Jewish National Fund (Hebrew: Keren Kayemet Le'Israel) Boulevard was renamed to Ben-Gurion Boulevard after the politician's death in 1973.  The house was designed by engineer David Tuvia, and as customary in "workers neighborhoods" in Israel at the time, the house included only one room and was worth 350 British Mandate pounds. The Ben-Gurion family asked for permission to build a second floor, which was granted. The house was expanded in 1946, and renovated in 1960.

First floor.

The first floor included the room of Ben-Gurion's second daughter, Renana. It also served Ben-Gurion during the Suez Crisis ("Mivtza' Kadesh", "Operation Kadesh") as a shelter and a bedroom. From this room Ben-Gurion conducted his communication with Moshe Dayan, then his Chief of Staff, and from there he received front line updates on the progress of the operation.

Second floor.

The second floor houses a four-room library, a toilet and a bedroom, and served only Ben-Gurion himself at the time.  The library holds his personal collection of periodicals and 20,000 books, in ancient Greek, Latin, English, Hebrew, French, Turkish, German, Russian and other languages. The library, known for its unusual size, may give an idea as to Ben-Gurion's fields of interest. The books deal mainly with the subjects of Zionism, history, various cultures and religions, a collections of Hebrew Bible books and more. The many books on IDF's fallen soldiers show the importance given to this subject by Ben-Gurion.  One of the library rooms served as Ben-Gurion's study room, where he had his own study corner, in which he wrote in his diary. It also contained a special phone, that was a direct line to the Defense Ministry's office (compare the Red Phone).  On 13 May 1948, Ben-Gurion hosted the Minhelet ha'am ("People's Administration") body: Aharon Zisling, Yehuda Leib Maimon, and Moshe Sharett, where they formulated and drafted the final version of the Israeli Declaration of Independence ("Megilat HaAtzma'ut"). The next day, they went from this house to Dizengoff House, now known as "Independence Hall", and where the Tel Aviv Museum of Art was located at the time, where Ben-Gurion announced on the establishment of the State of Israel.

The house nowadays.

In his will Ben-Gurion requested to bequest the house to the State of Israel, as is stated: Three years after Ben-Gurion died, the "Ben-Gurion law 1977" was enacted, which stipulates that the house will be open to the public, and will serve as a museum in memory of Ben-Gurion and as a commemoration of his legacy, as well ""as a Reading, Reviewing and Research center"", as Ben-Gurion himself requested.  The house was opened to the public on 29 November 1974, and as of today, guided tours and symposiums are conducted in the house, with the purpose of depicting Ben-Gurion's character and life work as a leader. In addition, memorabilia, historical documents, and Ben-Gurion's titles awarded to him when he was prime minister are exhibited in the house.  The Boulevard in which the house is situated, was called at the time Ben-Gurion lived there, "Keren Kayemet Boulevard" ("Jewish National Fund Boulevard"), and was renamed "Ben-Gurion Boulevard" after Ben-Gurion died. The name "Keren Kayemet Boulevard" was then moved to a central street within a northern Tel Aviv neighborhood, "Ever Ha-Yarkon" suburb, and is still named after the JNF today.

The Ben-Gurion House is a historic house museum in Tel Aviv, which served as the family home of pre-State Zionist leader and then first Defense and Prime Minister of Israel, David Ben-Gurion, between 1931 and 1953. Until his death in 1973 it continued serving as an additional residence, along with two others, one private – "Ben-Gurion's hut" at Kibbutz Sde Boker in the Negev (known as his desert home), and the official residence as Prime Minister of Israel during his multiple terms as head of government. The latter, known as Julius Jacobs House, is located in Rehavia, Jerusalem.


Geography and Historical Context of the Treaty.

The Timor Gap refers to the 60,000 square kilometre “coffin-shaped” area between Australia and East Timor. The area contains several oil and gas reserves. The exact value of the resources contained in the Timor Gap is unknown, but three of the largest reserves, Elang-Kakatua, Bayu-Undan and Sunrise-Troubadour are estimated to hold US$17 billion worth of oil.  The Timor Gap does not refer to any geographical landmark but is instead the area of continental shelf that was subject to negotiations between Indonesia, Australia and Portugal in the early 1970s. In 1971-2 Indonesia and Australia delimited their seabed boundaries in the Timor Sea. Australia attempted to negotiate with Portuguese Timor to come to a similar boundary agreement, but these negotiations remained inconclusive when Portugal withdrew from East Timor in 1975. As a result, there was a break in the Australia-Indonesia boundary in the area surrounding East Timor. This break is known as the Timor Gap.  On 7 December 1975, Indonesian forces invaded and annexed East Timor as its twenty-seventh province. This was nine days after East Timor had declared its independence following Portugal withdrawing from the country. The UN did not recognise Indonesia as the ruling force of East Timor and asserted Portugal as the administering authority of the nation. Australia initially refused to acknowledge Indonesian control of East Timor. However, in 1979 it gave de jure recognition of Indonesian occupation of the country, and began negotiations with Indonesia in relation to closing the Timor Gap.

Controversy surrounding Australia’s involvement in the Indonesian invasion in East Timor.

The extent to which Australia knowingly allowed or encouraged Indonesia to invade East Timor has long attracted international debate. Australia was the only western nation to recognise Indonesian rule. It has been contended by commentators such as Noam Chomsky, that Australia was motivated to support Indonesia due to the prospect of an eventual Timor Gap Treaty, which would have significant financial and resource benefits, and enhance the nation’s relationship with Indonesia and its foothold in Asia.  Gareth Evans responded to these criticisms by asserting that Australia did not support the Indonesian invasion of East Timor, but had no power to stop Indonesia’s invasion. He stated that there was “nothing morally offensive” about Australia’s recognition of Indonesian sovereignty in East Timor as it never denied the right of self-determination of the East Timorese population. He also argued that East Timor “was never disadvantaged by the Timor Gap Treaty”, as it was always intended that East Timor would replace Indonesia in the Treaty if they emerged as an independent nation.

Formation and Signing of the Treaty.

Indonesia and Australia held substantially different positions on how the Timor Gap should be delimited. Both positions were supported by conflicting sources of International Law, complicating the treaty making process.  Australia proposed that the boundaries should be determined according to the Convention on the Continental Shelf 1958, which grants sovereignty to a nation over the continental shelf beyond their shores. Australia contended that the Timor Trough marked the edge of its continental shelf, giving the nation sovereignty over a significant share of the Timor Gap pursuant to the Convention. This position was upheld in the North Sea Continental Shelf Cases of 1969, where the International Court of Justice determined a state’s continental shelf to be the “natural prolongation of its land territory”.  Indonesia’s position was based on the UN Convention on the Law of the Sea (UNCLOS) 1982, which gives a state full and exclusive rights over the 200 nautical miles from its territorial sea baseline, even if its continental shelf is geographically much smaller (unless proved that the continental shelf extends beyond this 200 nautical miles).  As neither party would concede, and an agreement on boundary lines could not be made, the parties instead agreed to a provisional arrangement in accordance to UNCLOS Article 83. In 1985, the parties agreed on the ‘Zone of Cooperation’ which would allow them to jointly exploit the resources in the Timor Gap. This arrangement was formalised on 11 December 1989 when the Timor Gap Treaty was signed by the Australian and Indonesian Foreign Ministers, Gareth Evans and Ali Alatas, during a flight over the Timor Gap. The Zone of Cooperation has been “heralded as the most complex, comprehensive and sophisticated maritime joint development zone ever concluded”.

Effect of the Treaty.

The Timor Gap Treaty divided the Zone of Cooperation into three areas – Areas A, B and C. It created a regime for an initial term of 40 years for the exploration of resources in these three areas. Part II of the Treaty set out that Area B, the southern part of the Gap, was to be administered by Australia, with Indonesia entitled to 10 per cent of the Resource Rent Tax from petroleum revenues in the area. Area C, the northern part of the Gap, was to be administered by Indonesia who had to provide 10 per cent of tax revenue from petroleum activities in the area to Australia. Area A, the middle and largest portion of the Gap, was jointly administered by both parties and revenues were divided equally. The rights of both parties to Area A were monitored by the Joint Authority and Ministerial Council created by the Treaty. The Treaty stipulated that this division of the Zone of Cooperation did not affect the ability for Australia and Indonesia to reach a permanent boundary agreement, and both parties should continue efforts to do so.

Area A — Shared Zone.

Area A was administered by a Ministerial Council and a Joint Authority, which were responsible for the activities and allocation of resources in the Area. The Ministerial Council oversaw all matters concerning the Area, including the supervision of the Joint Authority. The Joint Authority performed a practical role in managing the activities of the Area.  Part III of the Treaty outlined the function and structure of the Ministerial Council. Article 6(1) stipulated that the Ministerial Council held "overall responsibility for all matters relating to the exploration for and the exploitation of the petroleum resources in Area A of the Zone of Cooperation", including any policy making. A number of measures were put in place to ensure that the Ministerial Council held equal representation of both parties. An equal number of ministers from each nation were appointed to sit on the Council. Article 5(5) of the Treaty required that all decisions made by the Ministerial Council were achieved by unanimity. The location of the annual meetings that were held by the Council also alternated between Indonesia and Australia. The first annual meeting was held in 1991 in Bali, Indonesia and was attended by two ministers from each nation.  The function and structure of the Joint Authority was found in Part IV of the Treaty. The Joint Authority was directly accountable to the Ministerial Council and was required to perform under its direction. Article 8 outlined that the Joint Authority was responsible for “the management of activities relating to exploration for and exploitation of the petroleum resources in Area A”. One of its largest roles was to enter into Production Sharing Contracts with corporations, under Article 8(b) of the Treaty. These contracts allowed companies to exploit oil resources in the Area. The Joint Authority supervised the behaviour of these companies to ensure all activities were pursuant to the Treaty's Petroleum Mining Code. A sample Production Sharing Contract was provided in Annex C of the Treaty. The Joint Authority was unable to enter into or terminate any contracts without the approval of the Ministerial Council. All activities of the Joint Authority were originally funded by Australia and Indonesia, but were intended to eventually be supported by the revenues generated by any mining in Area A.  These responsibilities of the Joint Authority were equally shared between Australia and Indonesia. The Executive Board consisted of one Executive Director from each nation (which were appointed by the Ministerial Council) and one director of each of the four functions of the Authority: Technical, Financial, Corporate Services and Legal. The directors of the Technical and Financial functions could not be representatives from the same nation, as these were the two most important functions of the Authority. Agreement had to be reached by both parties on every decision. If no agreement could be made, the matter was referred to the Ministerial Council. The Joint Authority had offices in both Darwin, Australia and Jakarta, Indonesia.

International Court of Justice Proceedings.

In 1991, Portugal brought proceedings against Australia in the International Court of Justice (ICJ) in regards to the Timor Gap Treaty. Portugal argued that by being a party to the Treaty, Australia had violated the right to self determination of the East Timorese population, and had disregarded Portugal’s status as the administering authority of East Timor. The ICJ handed down its judgement on 30 June 1995. It ruled that no case was able to be brought against Australia without also considering Indonesia’s role as a Treaty party. To decide whether Indonesia could lawfully enter into treaties on behalf of the East Timorese population, the Court would have been required to determine whether Indonesia’s invasion of East Timor was lawful. The Court ruled 14 to 2 that this decision could not be made without Indonesia’s consent as they were an indispensable third party. Portugal’s claim were dismissed.  Judge Weeramantry and Judge Skubiszewski dissented the decision. Judge Skubiszewski condemned the ruling of the court, stating that "recognition of annexation erodes self-determination", and the court's adherence to legal correctness alone had been to the detriment of justice and was "cause for concern".

Effect of East Timor’s Independence on the Treaty.

East Timor gained independence from Indonesia in 1999. On 25 October 1999, The United Nations Transitional Administration in East Timor (UNTAET) was created by the Security Council Resolution 1272 to help East Timor transfer to a self governing territory. Had East Timor transitioned to independence immediately without UN administration, customary international law dictates that the nation would have “start[ed] with a clean slate in the matter of treaty obligations”. East Timor would not have been required to assume the treaty obligations of Indonesia.  However, Resolution 1272 gave extensive treaty-making power to the UNTAET, allowing the UN (via the UNTAET) to replace Indonesia as Australia’s treaty party, until East Timor transitioned to complete independence. On 5 July 2001, this arrangement was formalised in a Memorandum of Understanding that established the Joint Petroleum Development Area (JPDA). The JPDA covered the same area as the Zone of Cooperation. This agreement was incorporated into Australian law in the "Timor Gap Treaty (Transitional Arrangements) Act 2000 (Cth)."

Current Position.

The Timor Gap Treaty was replaced by the "Timor Sea Treaty between the Government of East Timor and the Government of Australia" (Timor Sea Treaty). On 20 May 2002, The Timor Sea Treaty was signed in Dili by the Australian Prime Minister at the time, John Howard, and the then East Timorese Prime Minister, Mari Alkatiri. This was the same day that East Timor gained independence from UN rule. This new treaty created only one zone. Revenue from that zone was divided 10% to Australia and 90% to East Timor.  In April 2016, East Timor brought conciliation proceedings against Australia under Annex V of the UNCLOS with the intent of establishing permanent maritime boundaries. A UNCLOS Conciliation Commission considered the matter and was able to solve the boundary disputes of each party. Following the proceedings, the "Treaty between Australia and the Democratic Republic of Timor-Leste Establishing their Maritime Boundaries in the Timor Sea" (Maritime Boundaries Treaty) was drafted. The Maritime Boundaries Treaty was signed on 9 March 2018 at the UN Headquarters in New York by the Foreign Ministers of Australia and East Timor. This treaty established permanent maritime boundaries between East Timor and Australia and a framework for resource development.  The Timor Sea Treaty was terminated on 30 August 2019 when the Maritime Boundaries Treaty came into force.

The Timor Gap Treaty was formally known as the "Treaty between Australia and the Republic of Indonesia on the zone of cooperation in an area between the Indonesian province of East Timor and Northern Australia". It was a bilateral treaty between the governments of Australia and Indonesia, which provided for the joint exploitation of petroleum and hydrocarbon resources in a part of the Timor Sea Seabed. The treaty was signed on 11 December 1989 and came into force on 9 February 1991. The signatories to the treaty were then Australian Foreign Affairs Minister Gareth Evans and then Indonesian Foreign Minister Ali Alatas.


Year-wise Fair Details.

2019.

The 27th New Delhi World Book Fair was held at Pragati Maidan, New Delhi January 5–13. The theme of the fair was ‘Books for Readers with Special Needs’ and Sharjah is the ‘guest of honours’ country.

2018.

The 26th New Delhi World Book Fair, January 6–14 at Pragati Maidan, New Delhi, was organised by the National Book Trust (NBT) in association with India Trade Promotion Organisation. The themed was environmental issues such as climate change, global warming, and water pollution. Guest of honor country was 'European Union'.

2017.

The 25th New Delhi World Book Fair was organised between January 7–15 at Pragati Maidan, New Delhi. The organizer of the NDWBF 2017 was National Book Trust- NBT, Ministry of Human resources Development, Government of India in collaboration with ITPO India Trade Promotion Organisation. The theme presentation of the 2017 edition was 'Manushi - Books Written on and by Women'. The focus of the Book Fair was on the 'Culture of Reading'. The Minister of State HRD Dr Mahenra Nsth Pandey inaugurated the fair. The highlights of the fair included 60 years of NBT history in the theme pavilion & children activities in the Children Pavilion including activities to celebrate Swami Vivekananda's birth anniversary as 'National Youth Day' on 12 January 2017. The book fair witnessed author interactions, book releases, national seminars on -"Best practices in Developing Reading skills & Research perspective in Developing Content for Children". The Director of the NDWBF 2017 Dr Rita Chowdhury, Director of NBT, and under chairmanship of Shri Baldeo Bhai Sharma, Chairman of National Book Trust, Ministry of Human Resource Development,Government of India overlooked the functioning of the fair."

2016.

The 24th New Delhi World Book Fair was held during January 9–17, 2016 at Pragati Maidan, New Delhi with China as the Guest of Honour Country. The theme of the 2016 edition was cultural diversity 'Vivid Bharat - Diverse India'. The message of the Sino-Indo partnership for the New Delhi Book Fair 2016 was the connecting rainbow -"Renaissance of Civilizations- Understanding through exchanges".The Union HRD Minister Smriti Irani inaugurated the fair.

2015.

The 23rd edition was held during February 14–22, 2015 at Pragati Maidan. The guest of honour country was Singapore with Korea as the focus country. The theme of the Fair was 'Suryodaya: Emerging voices from North East India'. The slogan of the fair was "Books opening the mind. Doors opening the future." The Union HRD Minister Smriti Irani inaugurated the Fair, while HRD Minister of State Upendra Kushwaha inaugurated the Children's pavilion. National Book Trust under the "Young India Library" series was to put up for sale a new edition of a book on parables covering a new dimension of Swami Vivekananda for developing scientific temper in children.

2014.

The 22nd edition was held during February 15–23, 2014 at Pragati Maidan. The Guest of Honour country was Poland, while the theme was 'Kathasagara: Celebrating Children's Literature'. New Delhi World Book Fair 2014 witnessed journalist Abhigyan Prakash launching a book titled, "Development and Communication Morphosis" written by Gaurav Sharma.

2013.

The 21st edition was scheduled during February 4–10, 2013 at Pragati Maidan. Under an MoU, the annual event was organized jointly by the National Book Trust (NBT) & India Trade Promotion Organization (ITPO) with the theme being 'Indigenous Voices: Mapping India's Folk & Tribal Literature' and France as the guest country.  The then HRD Minister Shashi Tharoor inaugurated the Fair, presided by Dr. Karan Singh, M.P. & Chairman Indian Council for Cultural Relations. Some of the events held for the first time included cosplay, school librarians' meet, artist & illustrators' gallery and the counsellors desk in the Children & Youth pavilion. An annual National Debut Youth Fiction Writers meet was also held to promote greater interest in readership.

2012.

The 20th New Delhi World Book Fair 2012 was held at Pragati Maidan, New Delhi from February 25 to March 4, 2012. The fair was inaugurated by the then HRD Minister Kapil Sibal. A corporate social responsibility initiative was undertaken by the publishing industry to launch the Pink Ribbon Book Tag at the Book Fair to support the Indian Cancer Society for a humanitarian cause. The theme of the 20th World Book Fair was 'Towards 100 years of Indian Cinema'.

The New Delhi World Book Fair, hosted at Pragati Maidan in New Delhi, is India's oldest book fair after the Kolkata Book Fair. The first New Delhi World Book Fair was held from March 18 to April 4, 1972 in roughly 6790 m area with 200 participants. It was inaugurated by V. V. Giri, then President of India.


History.

The house was built for Colonel Harvey Merrick Vaile and his wife, Sophia. Vaile was born in Vermont in 1831; he graduated in law from the University of Louisville and moved to Kansas City, Missouri in 1859, before finally settling in Independence in 1870. A "strong supporter of the abolitionism movement" with a passion for politics, he was among the founders of the Republican Party in Jackson County. Vaile shrewdly built his wealth by investing in several business ventures, primarily interests in the construction of the Erie Canal; he was also part-owner and operator of Star Mail routes, with rights for the route to Santa Fe. Vaile was a prominent figure in Independence business and social circles, and "desired a magnificent residence as an outward expression of his wealth." Construction began around 1871, and the mansion was completed in 1881, at a cost of $150,000 (the equivalent of about $3–4 million in 2020, when adjusted for inflation). The Vaile Mansion quickly became the showplace of Jackson County, and offered "lavish hospitality to notables of the 1880s and 1890s including many U.S. Senators and congressional representatives."  In the early 1880s Vaile was involved in the Star route scandal. Charged with defrauding the government, he faced two trials, in 1882 and 1883: both of them ended in a not guilty verdict, but Vaile had to spend more than $100,000 in trial expenses. In February 1883, while he was in Washington, D.C., his wife Sophia, who had been diagnosed with stomach cancer, was found dead at home from a morphine overdose, in what was a case of suspected suicide. Vaile occupied the mansion until his death in 1895; immediately thereafter, his heirs contested ownership of the estate in a legal battle that lasted five years.  The house changed hands multiple times over the ensuing decades; in 1908 it became a sanatorium, and was subsequently converted by attorney Carey May Carroll into a nursing home and the operating site for "Vaile Pure Water Co.," a spring water bottling company. After Miss Carroll's death, the mansion, which was threatened with demolition, was purchased by Roger and Mary Mildred DeWitt, who started making repairs; in 1983 it was acquired by the City of Independence through a donation by Mrs. DeWitt, and underwent a long-term restoration project. The Harvey M. Vaile Mansion is now a historic house museum operated by the Vaile Victorian Society, a non-profit organization established in 1983 by a group of local residents.

Description.

The Harvey M. Vaile Mansion was designed by Kansas City architect Asa Beebe Cross (1826–1894) in the Second Empire style; its design was reportedly inspired by a large house visited by Vaile and his wife in Normandy. The symmetrical structure consists of a two-and-a-half-story block surmounted by a three-story central tower; constructed of hand-pressed red brick (purchased at a cost of $50,000), it features an elaborate one-story porch, limestone moldings, heavy bracketed cornices, dormered mansard roofs, and multicolor slate shingles. The profusion of applied ornament well exemplifies "the High Victorian taste for leaving no surface areas untouched." The tall, narrow windows, together with the central tower's double mansard roof, emphasize the strong sense of verticality of the façade.  When completed, the Vaile Mansion was, according to an 1882 "Kansas City Times" reporter, "the most princely house and the most comfortable home in the entire west." It features thirty-one rooms with fourteen-feet-high ceilings decorated by French, German, and Italian artists. All of the original furniture was auctioned off when the estate left the Vaile family (the house was refurnished by the Vaile Victorian Society after 1983); however, the interiors still boast the original paintwork, nine marble fireplaces (one of which cost $1500), and two of the three original chandeliers, originally intended for the White House (Harvey Vaile was able to purchase them for $800 while he was in Washington, D.C., because there was some flaw in them). State-of-the-art amenities original to the house include speaking tubes, gasoliers, indoor running hot and cold water, and flush toilets; equipped with a built-in 6,000 gallon water tank, the Vaile Mansion was the first house in Jackson County with indoor plumbing.  The mansion was originally surrounded by a 630-acre estate (now reduced to a mere 5.6 acres), which included a grape vineyard and an apple orchard. Vaile had a wine processing plant on his property, as well as a wine cellar capable of holding 48,000 gallons.

The Harvey M. Vaile Mansion is located at 1500 North Liberty Street in Independence, Missouri. Built in 1881 for businessman Harvey M. Vaile, it is a locally significant example of Second Empire architecture. The house was listed on the National Register of Historic Places in 1969 and designated locally in 2002; it is open to the public as a museum.


Background.

Langlet was born in Borås, Sweden. He was educated at Chalmers University of Technology in Gothenburg and at the Royal Institute of Art, Stockholm where he trained under Per Axel Nyström (1793-1868). From 1850, he attended the École des Beaux-arts in Paris where he trained under Guillaume-Abel Blouet (1795–1853).

Career.

He first made his mark when designing the Norwegian Parliament Building, which was built between 1861–1866. He also drew plans the Fredrikstad Town Hall (1861-64) and the Fredrikstad Hospital (1863), several villas and Sagatun, the first folk high school in Norway. After 1866 he returned to Sweden, where he oversaw the construction of twelve churches, including Erska Church in Sollebrunn (1885-1886). He still drew the occasional building in Norway, including Hartvig Nissens Girls' School in Oslo (1859-60) and Drammen Theater (1869–1870). From 1867, he was included in the editorial staff of the engineering publication "Tidskrift för byggkunkonst og ingeniørskennis". He took the position of editor in 1871. He was also an instructor at KTH Royal Institute of Technology. He was later given responsibility for the Stockholm Royal Palace.  From 1884 to 1886 he led the works for the preservation of the medieval Visby City Wall ("Visby ringmur").  From 1886 to 1893 was the building manager for the restoration of the 13th century Uppsala Cathedral ("Uppsala domkyrka").

Personal life.

Emil Victor Langlet was married to author and translator Clara Mathilda Ulrika Clementine Söderén (1832-1904). They were the parents of civil engineer Filip Langlet (1866-1950), chemist Abraham Langlet (1868-1936), painter Alexander Langlet (1870-1953) and author Valdemar Langlet (1872-1960).

Emil Victor Langlet (26 February 1824 – 10 March 1898) was a Swedish architect. He is most commonly associated with his design for the Norwegian Parliament Building in Oslo, Norway.


Early life and education.

She was born Grete Zimmer on June 5, 1924, to a Jewish family in Wiener Neustadt, Austria. At age 15, Zimmer emigrated to America from Nazi-controlled Austria in 1939 with her younger sisters Josefin (Fini) and Bella; as Americans, Josefin became Josephine (Jo), while Grete and Bella traded the last letter of each name to become Greta and Belle. The eldest Zimmer sister Lily emigrated to Palestine, took the name Tirza, and remained in Israel after fighting in the 1948 War of Independence. Their parents, Max and Ida, unable to leave Europe, died in concentration camps during the Holocaust.  Zimmer attended Queens Vocational High School, the Central High School of Needle Trades and the Harlem Evening High School. Supporting herself as a dental assistant, she then took classes at the Fashion Institute of Technology (FIT) and studied costuming with the New School of Social Research's Dramatic Workshop, led by Erwin Piscator. Later, while living in New York in the 1940s and 1950s, she variously worked in toy design and doll clothing, as well as early television with the Bil Baird puppets, and summer theater at the Camp Tamiment Playhouse.

"V-J Day in Times Square".

On VJ Day, August 14, 1945, Zimmer had left work at the dentists' office dressed in her uniform and was celebrating the end of World War II in Times Square when a stranger dressed in a Navy sailor's uniform grabbed her and kissed her. Photographer Alfred Eisenstaedt, who was in Times Square documenting the celebration, captured the moment with his Leica. The resulting photograph, "V-J Day in Times Square", was first published in "Life" magazine in 1945 with the caption, "In New York's Times Square a white-clad girl clutches her purse and skirt as an uninhibited sailor plants his lips squarely on hers".  When Eisenstaedt took the photo, he failed to get any personal information from his subjects leaving their identities unknown for decades. In the ensuing years, many women claimed to be the woman in the photo. Zimmer, now Greta Friedman, eventually saw the photo again in the 1960s and instantly recognized herself. She wrote to "Life" magazine and provided additional photos to verify her identity. "Life" editors did not contact her until 1980 when, after research and analysis, confirmed that Friedman was the woman in the photograph.  While "V-J Day in Times Square" went on to become an iconic photo that was generally viewed as a celebratory and romantic photograph, Friedman had mixed feelings about it. "I was grabbed by a sailor and it wasn't that much of a kiss, it was more of a jubilant act that he didn't have to go back, I found out later, he was so happy that he did not have to go back to the Pacific where they already had been through the war. And the reason he grabbed someone dressed like a nurse was that he just felt very grateful to nurses who took care of the wounded," Friedman stated in a 2005 interview with the Library of Congress. She went on to say, "I felt he was very strong, he was just holding me tight, and I'm not sure I -- about the kiss because, you know, it was just somebody really celebrating. But it wasn't a romantic event. It was just an event of thank God the war is over kind of thing," adding that "it wasn't my choice to be kissed. The guy just came over and kissed or grabbed." "I did not see him approaching, and before I know it I was in this tight grip," Friedman told CBS News in 2012.

Later years and death.

In 1956, she married Dr. Mischa Friedman, a WWII veteran of the U.S. Army Air Corps and a scientific researcher for the Army at Fort Detrick, moving to Frederick, Maryland. She attended Hood College, studying oil painting, printing, sculpture, and watercolors, but did not graduate until 1981, the same year her two grown children Mara and Joshua also graduated from college. Friedman worked for ten years at Hood restoring books.  Friedman died at age 92 on September 8, 2016, in Richmond, Virginia. She is inurned beside her husband at Arlington National Cemetery.

Greta Zimmer Friedman (born Grete Zimmer; June 5, 1924 – September 8, 2016) was an Austrian-born American who was photographed being grabbed and kissed by Navy sailor, George Mendonsa (1923–2019) in the iconic "V-J Day in Times Square" photograph of 1945 by "Life magazine" photographer Alfred Eisenstaedt. Widely misattributed as being a photograph of a nurse, she was actually a dental assistant with a similar uniform.


History.

Friedrich Natalis (1864–1935), who had been working for the Schuckert-Werke (later Siemens-Schuckertwerke) since 1897, had already developed the cam-switching principle in Germany before 1900. In 1895, however, Johann Sigmund Schuckert founder of the electrical engineering company supplied cam switches with cam rollers and spring-loaded individual switches (DRP 88586). Thus the term cam switch has been used for such and similar devices over the years. Schuckert also supplied the "carbon control switch" designed by Natalis since 1901 with copper-carbon switching devices with spark-blowers (common spark blowers for direct current or single-spark blowers for direct and alternating current). The main current cam switch retained some significance, even when the rifle control pushed it where it was more economical. In miniature machine construction, the cam switch probably did not appear until the early 1930s. In 1931 the American company General Electric GE released their switch SBl, a 20A auxiliary current control switch, basically a miniaturized image of the large main current control switches. The devices had simple interruption and silver crossover, in some cases they were equipped with a snap mechanism. In Europe around 1940, the first cam switch from Ghielmetti, Solothurn / Switzerland, began to replace conventional roller switches. Switches could also be supplied as auxiliary current control switches with corresponding circuits. They were marketed under the trade name Ghielmetti-Clavier. In September 1948, Kraus & Naimer (of Vienna) produced C15 (15 A), the first company-owned cam switch. In 1949, the company also presented the world's first cam-designed cam switch. At the beginning of 1950, Kraus & Naimer cam switches C30 (30A) were followed with the same design. The Kraus & Naimer cam switches C16 to C200, which came into the market in the spring of 1951, had a decisive influence on the advancement of the cam switch and the introduction of the roller switch in electrical engineering. They had a double interruption and a motor switching capacity appropriate to the rated current. The large number of possible combinations and the extensive additional equipment as characteristic features were responsible for the later development of cam switches as an industrial standard. Kraus & Naimer developed the world's smallest cam switch (model CA4N), which is in the market since 1994.

Cam switches are mainly used within the low voltage range. On a shaft, switching cams are made of abrasion-resistant conductive material. By rotating the shaft, the contacts are opened or closed by the cams. Often, a plurality of cams are seated on a shaft, which simultaneously switch or switch several pairs of contacts.


Early life and education.

Lane was born in Greenville, South Carolina, and dropped out of high school there. She then worked as a fashion designer for a time, before moving to Los Angeles in 2006 and later to New York City. After doing so, she broke up with a country musician, who left her to record an album in Alabama; this experience inspired her to begin writing country music songs. Lane, who now lives in Nashville, also owns and operates a clothing store called "High Class Hillbilly".

Career.

On September 27, 2011, Lane released her debut album, "Walk of Shame", on Iamsound Records. She co-wrote 'Gone, Gone, Gone' with producer Lewis Pesacov of Fool's Gold. Her second album, "All or Nothin", was released on New West Records on May 6, 2014. It was produced by Dan Auerbach of the Black Keys, whom she met at a flea market. Auerbach allowed Lane to record the album at his studio, Easy Eye Sound Studio, for free. Lane has said that working with Auerbach in the making of this album was very easy and natural for her. "All or Nothin" features a duet between Lane and Auerbach, "Love's on Fire".  Lane's album "Highway Queen" was released on February 17, 2017. It was recorded near Dallas, TX at The Echo Lab from February to June 2016 with Nikki's boyfriend Jonathan Tyler, as well as the other members of her current touring band. Two music videos were released ahead of the album's release; the title track, Highway Queen, in which Nikki and friends crush cars with a monster truck, and Jackpot, in which Nikki and Jonathan Tyler successfully try their luck in old Sin City, ultimately resulting in a Vegas chapel wedding.  In another video released in August 2017 for the song Send The Sun, Nikki and the band play live on a vintage country television studio set and also perform a two-person dance routine.  Unfortunate circumstances struck Nikki's band around the time of recording Highway Queen, when lead guitarist Alex Munos was sidelined by cancer and started receiving treatment in May 2016. He would later recover and return to the band around the time of Highway Queen's release.  In July 2017 former drummer Ben Eyestone passed away from colon cancer. He had played drums on Nikki Lane's first two albums.

Critical reception.

Lane's sound has been compared to that of Wanda Jackson, as well as the sound of Neko Case's early albums. She has also been referred to as the First Lady of Outlaw Country.

Walk of Shame.

A review of "Walk of Shame" in Exclaim! stated that Lane has "a petulant, Valley of the Dolls lyrical style" and praised her vocal delivery. Another review of this album was written by Mark Deming, who said that "Lane has confidence to spare and a voice that lives up to her own self-worth" and gave the album 3.5 out of 5 stars. Deming also said that Lane has yet to fully master the art of recording music in a studio.

All or Nothin'.

According to review aggregator Metacritic, "All or Nothin" has received generally favorable reviews from critics, with a score of 79 out of 100. Holly Gleason, writing in "Paste", awarded it a score of 8.5 out of 10 and said that the album's songs "read like Polaroids from a wild heart gone ragged". Gleason also praised Auerbach's production, which she called "savvy". Lane told "Billboard" that she was flattered at the positive reception this album had received from the press.

Nikki Lane (born October 17, 1983) is an American country music singer-songwriter and artist. She has released three albums: "Walk of Shame", "All or Nothin'", and "Highway Queen".


Personal life.

Palmiero-Winters was born in Meadville, Pennsylvania, and competed in track and distance running from a young age. In 1994, she was involved in a motorcycle accident which crushed her left leg. After three years and twenty-five surgeries, her leg was amputated below the knee. She would not be able to run at all until three years after the amputation.

Early running career.

In 2004, Palmiero-Winters entered the Silver Strand Marathon. Despite being five months pregnant and running on a prosthetic leg only meant for walking, she finished second in her division. She entered the 2005 New York City Triathlon the following summer, still using a walking prosthesis as well as a bike borrowed from her employer, and placed third in her division.  At this point, Palmiero-Winters decided to engage in running on a more serious level. After obtaining a highly customized prosthetic leg from A Step Ahead Prosthetics in Hicksville, NY, she decided to relocate to New York in order to become a member of Team A Step Ahead, a group of amputee athletes professionally coached and sponsored by A Step Ahead Prosthetics.  By May 2006, Palmiero-Winters had been training extensively and, with a new prosthetic, she ran the New York City Marathon in 3:24 and broke the world record for a below-knee female amputee by more than twenty-five minutes. She followed this up by running the 2006 Chicago Marathon in 3:04, which stands as the best marathon time for a below-knee amputee, male or female.

Ultramarathons.

By 2009, Palmiero-Winters had decided to switch from marathons to the more demanding ultramarathons, which are races longer than the marathon distance of 26.2 miles. She would run ten ultramarathons between 2009 and 2010, finishing first in the female division at the Heartland 100 Mile in October 2009 and finishing first overall at the Arizona Road Racers Run to the Future twenty-four-hour race on December 31, 2009 by running 130.4 miles during the allotted time. It was the first time an amputee had won an ultramarathon.  After this performance, Palmiero-Winters was named to the US ultrarunning team for the IAU 24-Hour Ultramarathon World Championships in Brive, France. It was the first time an amputee had been named to a United States able-bodied championship team. On May 17, 2010, she finished 18th in the female division at the World Championships, running 123.99 miles.  Palmiero-Winters' next race was the Western States Endurance Run on June 26, 2010. She became the first amputee to finish the 100-mile race. By finishing in 27:43:10, she received the bronze buckle presented to runners who finish in under thirty hours.  In 2011 Palmiero-Winters became the first female amputee to finish the Badwater Ultramarathon. She had a finish time of 41:26:42.  In 2019 she became the first female amputee to finish the Marathon Des Sables.

Paratriathlon.

Palmario-Winters won her classification at the International Triathlon Union Paratriathlon World Championships in 2005 and 2006. In 2007, Palmiero-Winters was the first athlete was a physical disability invited to race in the elite able-bodied division of the NYC Triathlon.  In 2014, Palmiero-Winters became the first amputee, male or female, to complete the Ultraman triathlon, a 3-day, 320 mile race.

Awards.

Palmiero-Winters was named USA Triathlon's Female Physically Challenged Athlete of the Year in 2006. She was awarded the 2009 AAU James E. Sullivan Award as the best amateur athlete in the country and also won ESPN's 2010 ESPY award as the top female athlete with a disability. In 2009, she was also named the director of Team A Step Ahead.

Amy Palmiero-Winters (born August 18, 1972) is a below-knee amputee who currently holds eleven world records in various events. In 2010, she was awarded the James E. Sullivan Award as the top amateur athlete in the United States and the ESPN ESPY Award as the top female athlete with a disability in the world.


Concept and construction.

In the late 1960s, ships operated in the Helsinki–Stockholm service were small liners owned by Finland Steamship Company (FÅA), Rederi AB Svea and Steamship Company Bore. The ships used in the service were not built for navigating through thick sea ice, and as a result service had to be suspended during the winter months. Siljavarustamo, a joint subsidiary of the three companies mentioned before, had begun operating purpose-built car/passenger ferries from western Finland to Stockholm and other nearby ports in 1961, and by the end of the decade Siljavarustamo begun planning for ferries for the Helsinki–Stockholm service as well. Plans were to construct two ferries for a daily service, with high enough ice classification to allow year-round traffic on the route, and high enough speed to allow them to depart in the evening, with an arrival in the following morning (instead of the daytime departures of the ships used in the service at the time).  The main responsibility for designing the ships was given to Carl-Bertel Engström, following objectives set by marketing executives Gösta Ryning and Kalevi Etelä. On 3 January 1971 Siljavarustamo placed an order for the new ships with the Dubigeon Normandie shipyard in Nantes, France. At the same time as the ships were ordered, the owners of Siljavarustamo were drawing up plans to reorganise their operations. The decision was made to turn Siljavarustamo into a joint marketing company for FÅA, Svea and Bore under the new name Silja Line, while the ships owned by Siljavatustamo would be transferred to the fleets of Siljavarustamo's owners. Just five days after the new ships were ordered, and attendum was signed, allowing for the building contract to be transferred to FÅA, Svea or Bore. In February 1970 the contract of the first ship was transferred to FÅA, eventually becoming their, while the contract of the second ship was transferred to Svea on 9 November 1970.  The keel of the Svea-owned ship was laid on 2 June 1971, and she was launched six months later on 3 December 1971. On 13 February 1972 a storm broke the ship loose from her fitting-out berths, resulting in minor damage. Despite the difficulties the ship was delivered to Rederi AB Svea on 26 May 1972, and christened "Svea Regina" by Mrs Ingegerd Hägglöf, the wife of Mr Ingemar Hägglöf, the Swedish Ambassador to Finland. Following delivery the "Svea Regina" sailed from Nantes to Stockholm via the Kiel Canal. On 30 May 1972 she arrived at Nybroviken, Stockholm.

Service history.

1972–79.

On 5 June 1972 the "Svea Regina" set on her maiden voyage from Stockholm to Helsinki. The "Aallotar" had entered service four months previously, and with a "Svea Regina" joining her sister on the route, daily year-round service was initiated between the capitals of Finland and Sweden for the first time. Despite doubts voiced, even by people within the Silja consortium, the "Aallotar" and "Svea Regina" proved to be a phenomenal success. In practice the ships proved to be too small for the route within their first year of service, and already on 4 June 1973 FÅA, Svea and Bore placed orders for three larger ships to replace the "Svea Regina" and "Aallotar" on the Helsinki service.  The "Svea Regina" ended service on the Helsinki–Stockholm route on 24 May 1975 after less than three years, when she was replaced by the new and larger. The "Svea Regina" was initially moved to the Turku–Mariehamn–Stockholm service on the same date, but she returned to the Helsinki–Stockholm route during a docking of the "Svea Corona" between 20 June and 17 July of the same year. Following this she returned to the Turku–Stockholm service until 4 October 1975, when she joined the "Aallotar" in Turku–Norrtälje service. The line to Norrtälje was closed a year later, on 1 September 1976, and the "Svea Regina" was laid up in Stockholm.  Between 2 June and 30 August 1977 the "Svea Regina" was chartered to Compagnie Nationale Algerienne de Navigation Maritime (CNAN) for services from Marseilles to Algiers, Bejaia and Oran. Following the end of the charter she returned to Norrtälje for another lay-up period. In March 1978 the ship briefly returned to Silja Line service on the Turku–Stockholm route, before chartered as an accommodation vessel to Det Bergenske D/S A/S between 31 March and 20 May 1978. Following the end of the charter the ship again returned to Silja Line's Turku–Stockholm service for the duration of the 1978 summer season, after which she was again laid up, this time in Turku.  On 18 September 1978 the "Svea Regina" again returned to service this time for Silja Line's cruise traffic. Four days later she was sold by Rederi AB Svea to the Finland Steamship Company, and on 2 October 1978 her name was shortened to "Regina" and she was re-registered to Helsinki. Her initial service with Silja Cruise proved short, as she was chartered to Polferries on 27 October 1978, for use on their Helsinki–Nynäshamn–Gdańsk service. Polferries had also chartered the "Aallotar" for the same service, and for a while the two sisters again served together on the same route. The charter contracts for both the "Regina" and "Aallotar" included a purchase options, but although a Memorandum of Agreement about the sale of both ships had been signed in November and December 1978, respectively, in the end Polferries decided to purchase the "Aallotar" but not the "Regina".  The charter to Polferries ended in April 1979, and subsequently the "Regina" was chartered to a German travel agency for cruises from Kiel to the Norwegian Fjords from 20 March until 12 June 1979. After that charter she again returned to Turku–Stockholm service for Silja Line until 1 September 1979. After this she was briefly chartered to Brittany Ferries for their St Malo–Portsmouth service. Between 28 October and 29 November 1979 she returned to Turku–Stockholm service for one last time, for duration of the docking of the.

1979–89.

On 29 November 1979 the "Regina" was sold to a holding company of the Karageorgis Lines, renamed "Mediterranean Sun" and re-registered in Greece. In 1980 she entered service on Karageorgis Lines' Patras–Ancona route. During the same year her ownership was transferred to a different Karageorgis Lines holding company, and she was re-registered in Cyprus. She remained on the Patras–Ancona service until 1981, when she was laid up in Patras. In 1982 the "Mediterranean Sun" was sold to the Maritime Company of Lesvos, again re-registered in Greece, renamed "Odysseas Eleytis" and placed in NEL Lines service on the Piraeus–Lesvos, Rhodes–Limassol–Alexandria and Piraeus–Rhodes services. In December 1983 the "Odysseas Eleytis" participated in the evacuation of Palestine Liberation Organization members, including Yasser Arafat, from Lebanon.  In June 1985 the "Odysseas Eleytis" was sold to the DFDS subsidiary SeaEscape, renamed "Scandinavian Sky" and re-registered at The Bahamas. She was radically rebuilt at Werft Nobiskrug, Rendsburg, Germany for use on SeaEscape's Miami–Bahamas cruise service, on which she entered service in August 1985.

MS "Svea Regina was a car and passenger ferry, built in 1972 by the Dubigeon Normandie shipyard in Nantes, France for Rederi AB Svea for use in Silja Line traffic. She subsequently sailed under the names Regina, Mediterranean Sun, Odysseas Eleytis, Scandinavia Sky, Tallink, El Tor, Monte Carlo and El Safa", until scrapped in Alang, India in 2005.


Life.

He was born at Cosgrove, Northamptonshire (where his father, also Henry Longueville Mansel, fourth son of General John Mansel, was rector). He was educated at Merchant Taylors' School, London and St John's College, Oxford. He took a double first in 1843, and became tutor of his college. He was appointed reader in moral and metaphysical philosophy at Magdalen College in 1855, and Waynflete Professor of Metaphysical Philosophy in 1859. He was a great opponent of university reform and of the Hegelianism which was then beginning to take root in Oxford. In 1867 he succeeded Arthur Penrhyn Stanley as regius professor of ecclesiastical history, and in 1868 he was appointed dean of St Paul's. He died in Cosgrove on the first of July 1871.  The philosophy of Mansel, like that of Sir William Hamilton, was mainly due to Aristotle, Immanuel Kant and Thomas Reid. Like Hamilton, Mansel maintained the purely formal character of logic, the duality of consciousness as testifying to both self and the external world, and the limitation of knowledge to the finite and "conditioned." His doctrines were developed in his edition of Aldrich's "Artis logicae rudimenta" (1849) — his chief contribution to the reviving study of Aristotle — and in his "Prolegomena logica: an Inquiry into the Psychological Character of Logical Processes" (1851, 2nd ed. enlarged 1860), in which the limits of logic as the "science of formal thinking" are rigorously determined.  In his Bampton lectures on "The Limits of Religious Thought" (1858, 5th ed. 1867; Danish trans. 1888) he applied to Christian theology the metaphysical agnosticism which seemed to result from Kant's criticism, and which had been developed in Hamilton's "Philosophy of the Unconditioned". While denying all knowledge of the supersensuous, Mansel deviated from Kant in contending that cognition of the ego as it really is belongs among the facts of experience. Consciousness, he held — agreeing thus with the doctrine of "natural realism" which Hamilton developed from Reid — implies knowledge both of self and of the external world. The latter Mansel's psychology reduces to consciousness of our organism as extended; with the former is given consciousness of free will and moral obligation.  These lectures led Mansel to a bitter controversy with the Christian socialist theologian Frederick Maurice.  A summary of Mansel's philosophy is contained in his article "Metaphysics" in the 5th edition of the "Encyclopædia Britannica" (1860). He also wrote  He contributed a commentary on the first two gospels to the "Speaker's Commentary" (1881).  Mansel*s mother, Maria, was the daughter of Admiral Sir Robert Moorsom.

The Very Reverend Henry Longueville Mansel, D.D. (6 October 1820 – 30 July 1871) was an English philosopher and ecclesiastic.


Reported cases.

Germany.

The most famous carwalker was Michael Hartmann who performed the act in Munich, Germany, in the 1980s. The peak of automobile friendly policies was around the seventies and the eighties in the western world, and such high number of motor vehicles in urban areas had as consequence a large number of cars illegally parked on side-walks and other pedestrian-reserved areas. Hartmann, in his book which describes his actions, states that once in 1988 he was walking with his girlfriend and due to many cars parked on the side-walk, they had to continuously zigzag between the cars so he decided to walk straightforward above the cars.

United Kingdom.

An initiative in Kings Heath (Birmingham) distributes posters that warn drivers their cars will be "bonneted" if parked on pavement obstructing pedestrians.

France.

Another reported case happened in Lyon, France, in 2011 when Peter Wagner, a German engineer, decided to walk on top of a car that was illegally parked on the side-walk in such a manner that he could not squeeze past. At that moment the owner of the car arrived and later sued him for property damage, demanding 800 Euros for repairs. The carwalker was condemned to pay 300 Euros, but later appealed. His appeal was denied.

Mexico.

In Mexico City, a pedestrian activist called Peatónito, a mix of the Spanish words for pedestrian ("peatón") and astonished ("atónito"), is famous for walking over cars. He wears a Mexican wrestler mask, a cape and proclaims himself to be a superhero for pedestrians.

Carwalking is the act of stepping onto and walking across a stationary car. Depending on the technique and equipment used, carwalking can lead to damage of private property. It often is a response to cars being parked illegally in areas exclusively allocated to pedestrians and a protest against the negative impacts of high motorization rates in urban areas.


Early life.

The son of Frederic and Amy Austin, Austin was educated at Gresham's School, Holt, the Royal College of Music, and in Munich. At Gresham's, he acted in school plays, in 1921 playing Benedick in "Much Ado About Nothing" and in 1922 Hortensio in "The Taming of the Shrew", opposite W. H. Auden as Katherina.

Career.

After his second 6-month stint in Munich, Austin became an assistant conductor for the Royal College opera class. He was assistant conductor and chorus master for a production of "Mr Pepys" at the Everyman Theatre, Hampstead, and for other theatrical shows. Adrian Boult invited him to assist with an opera season in Bristol which Austin assumed the lead when Boult was obliged to go to Egypt, and was then asked to be conductor of the small professional Glen Pavilion orchestra in the city with whom he made his first broadcast on the BBC. In 1929, he became Conductor for three years with the Carl Rosa Opera Company touring throughout Great Britain, and then worked briefly with the short-lived Metropolitan Opera Company in 1933. While conducting an all-star production of "The Golden Toy" at the London Coliseum with Peggy Ashcroft, Wilfred Lawson, Nellie Wallace and Lupino Lane the following year, he saw an advertisement for the musical director of the Bournemouth Municipal Orchestra.  Chosen from a large number of applicants to succeed Sir Dan Godfrey, from 1934 to 1940 Austin was Musical Director of the Bournemouth Corporation, that is, he was the chief conductor of the Bournemouth Municipal Orchestra, which is now the Bournemouth Symphony Orchestra. In 1935 he married the 'cellist Leily Howell whom he had met when she played a concerto with the Bournemouth orchestra. During his years on the south coast Austin was expected to conduct three concerts per week in the winter and more in summer; requiring him to greatly expand his repertoire. For the annual festival Austin continued the tradition of Godfrey in inviting eminent musicians to take part, these included Thomas Beecham, Henry Wood, Hamilton Harty and Igor Stravinsky.  He resigned from the Municipal Orchestra when Bournemouth Corporation cut the complement to only 24 players. During the Second World War he served as Music Advisor, Northern Command (1941–1945), ENSA. Following the war, he became a Professor of the Royal College of Music, from 1946 to 1976, and was also the college's Director of Opera from 1955 to 1976, when he retired.  Concurrently, Austin served as Music Director to the New Era Concert Society (1947–1957) and was a guest conductor at Sadler's Wells Theatre, with other London and provincial orchestras in the UK, and overseas in the Netherlands, Belgium, Germany, Spain, Sweden, Switzerland, Finland, Yugoslavia, Czechoslovakia, Cuba, Mexico, South Africa, the United States, and also in South America.

Recording.

Austin recorded a selection of works by Balfour Gardiner in May 1955 for Argo, with Alexander Young, the Goldsmiths’ Choral Union and the London Symphony Orchestra (Overture to a Comedy, Shepherd Fennel’s Dance, April, Philomela). Later that year with cellist André Navarra he set down recordings of Bloch's Schelomo and Tchaikovsky's Variations on a Rococo Theme Op.30 for Parlophone. A recording of "The Beggar's Opera" featured Dennis Noble, Carmen Prietto, Martha Lipton, Roderick Jones, Marjorie Westbury, John Cameron and William McAlpine.

Richard Dennis Oliver Austin FRCM (26 December 1903, in Birkenhead – 1 April 1989, in Reading) was the chief conductor of the Bournemouth Municipal Orchestra from 1934 until 1940 and later a Professor of the Royal College of Music.


Education.

Haber received his B.A. degree from the George Washington University in 1979, his M.A. from UCLA in 1981, and his Ph.D. degree from UCLA in 1985. Following the receipt of his Ph.D., he began work as an assistant professor at Columbia University in 1985.

Experience.

In 1987 Haber became an assistant professor at Stanford University. Since 2003 he has been the A.A. and Jeanne Welch Milligan Professor in the School of Humanities and Sciences. From 1997–2011 he served as the Director of the Social Science History Program, and from 1995–1998 he served as the Associate Dean for the Social Sciences and Director of Graduate Studies in the School of Humanities and Sciences.  Haber is among Stanford's most distinguished teachers, having been awarded every teaching prize Stanford has to offer. He is the only member of the Stanford faculty to have been awarded the Dean's Award for Distinguished Teaching (twice, in 1992 and again in 2002), the Allan V. Cox Medal for Faculty Excellence in Fostering Undergraduate Research, the Phi Beta Kappa Teaching Prize, and the Walter J. Gores Award for Excellence in Teaching, which is Stanford's highest teaching honor. Haber's abilities as a teacher and mentor were acknowledged by the Economic History Association, which at its 2013 meeting awarded him the Jonathan R. Hughes Prize for Excellence in Teaching.

Current Work.

Haber's work has focused on how regulatory and supervisory agencies are often used by incumbent firms to stifle competition, thereby curtailing economic opportunities and slowing technological progress. His most recent book (coauthored with Charles Calomiris), "Fragile by Design: The Political Origins of Banking Crises and Scarce Credit", examines why governments often choose to craft banking regulatory policies in ways that stifle competition and increase systemic risk.  Haber is currently at work in two research areas. One is the impact of geography on the evolution of societies' fundamental economic and political institutions. His research in this area has been featured in the mainstream press. His other current area of interest is the impact of the U.S. patent system on innovation and competition among firms.

Stephen H. Haber (born July 12, 1957) is a professor of political science and history known for his work on the political institutions and economic policies that promote innovation and improvements in living standards. Haber is a professor in the School of Humanities and Sciences at Stanford University and a senior fellow of the Hoover Institution, the Stanford Institute for Economic Policy Research, and the Stanford Center for International Development. He directs the Hoover Institution's Working Group on Intellectual Property, Innovation, and Prosperity.


Background.

Two months after releasing his previous double album "The Documentary 2" and "The Documentary 2.5" respectively, The Game took to Instagram to announce his next project entitled "1992". Without saying too much about the album, he did reveal the album will have no guest appearances and the project will be executive produced by Nigerian producer and frequent collaborator Bongo. The album's artwork was designed by Joe Cool, famed artist who is most famous for designing the cover of Snoop Dogg's famed album "Doggystyle", along with Justin Roach.

Recording and production.

Explaining the album concept in an interview, The Game said it's based on his personal experiences growing up in Compton, California including the LA Riots, O.J. Simpson's murder trial and the Dream Team. Hip-hop artist Nas coached The Game in this aspect by speaking daily, listening to and sending back and forth tracks from the album. Long time collaborator and record producer Bongo is also described as having helped complete the album and providing production for the project. Talking about the album, Bongo describes it as having the approach of Golden age hip-hop in a way younger audiences can relate to and enjoy it.

Release and promotion.

On June 20, 2016, the lead single "All Eyez" produced by Scott Storch and featuring American singer Jeremih was released. The song was sent to rhythmic contemporary radio on July 12, 2016 and has since peaked at number 79 on US "Billboard" Hot 100 chart. The music video was shot in Malibu by director Benny Boom. The video stars The Game himself as well as Jamaican Canadian recording artist / model Kreesha Turner with appearances by Jeremih and Scott Storch. It premiered on August 16, 2016 on Vevo.  Upon completion of the album, The Game embarked on his 1992: Block Wars Tour in an effort to promote the album. The tour running from August 26, 2016 until October 6, 2016 involved an array of shows in various cities across the US. The European stretch of the tour is due to take place in the following winter. On September 15, 2016, the album became available to pre-order on iTunes. Along with this, the track list consisting of 13 songs was revealed and the song "True Colors / It's On" became available as an instant download with a pre-order. The song features production from Bongo and vocals from underground Los Angeles rap artist Osbe Chill.  A week later while performing at a Miami beach nightclub, The Game publicly threatened Philadelphia rapper Meek Mill on-stage. The following day, the song "92 Bars" premiered on Power 105.1. The song contained numerous lyrics aimed at Meek Mill including comments about Meek's relationship with Nicki Minaj and his feud with rap superstar Drake. This prompted Meek to respond to Game on a remix of Young M.A.'s song, "Ooouuu" with appearances by fellow rappers Omelly and Beanie Sigel. The song was released on September 18, 2016. Following this, The Game made his own remix of the same song titled "Pest Control". Taking shots not only at Meek, but affiliates Omelly, Beanie Sigel and Sean Kingston for their involvement in the beef, the song was released two days after Meek's remix on September 20, 2016. A music video for "Pest Control" was shot in Brooklyn and Baltimore. The video premiered on Worldstar Hip-Hop on September 27, 2016.  "Baby You" became available as an instant download with a pre-order starting September 30, 2016. The song features vocals from American singer Jason Derulo, while production was handled by Miami-based production duo and long time collaborator Cool & Dre.

Commercial performance.

"1992" debuted at number four on the US "Billboard" 200 with 32,000 album-equivalent units, which included 25,000 pure album sales, marking the second highest debut of the week and the second best-selling album of the week. It serves as The Game's ninth top-ten album in the United States. "1992" marking The Game's eighth number one-album on the Top R&B/Hip-Hop Albums chart, tie Tupac Shakur and Lil Wayne for the third most number-one, among Hip Hop acts on that chart. The album is The Game's sixth album to entry on the US Top R&B/Hip Hop Albums in 2016, more than any other act. The album also became The Game's eighth solo album in a row to top the Top Rap Albums chart, extending his record for the most number-one albums by a solo act in the chart. "1992" is the third album by Game to debut at number-one on the US Independent Albums in one year. In the United Kingdom, the album debuted at number 38 on the UK Albums Chart, it serves as The Game's ninth UK top 40 album. "1992" is Game's third number-one album on the UK R&B Chart.

Critical reception.

"1992" received generally positive reviews from most music critics.

Track listing.

Sample credits  Notes

1992 is the eighth studio album by American rapper The Game. It was released on October 14, 2016, by Blood Money Entertainment and eOne Music. The album features two guest appearances by R&B singer Jeremih and by Jason Derulo, as well as uncredited appearances by Osbe Chill, Lorine Chia and Sonyae Elise.