Empty category

In linguistics, an empty category is an element in the study of syntax that does not have any phonological content and is therefore unpronounced. Empty categories may also be referred to as covert categories, in contrast to overt categories which are pronounced. When representing empty categories in tree structures, linguists use a null symbol to depict the idea that there is a mental category at the level being represented, even if the word(s) are being left out of overt speech. The phenomenon was named and outlined by Noam Chomsky in his 1981 framework, and serves to address apparent violations of locality of selection — there are different types of empty categories that each appear to account for locality violations in different environments.
Classification.
Empty categories come in two major types: null DPs and null heads. These major categories can be broken down further:
Null DPs.
There are four main types of null DPs: DP-trace, WH-trace, PRO, and "pro". Each type appears in a specific environment, and is further differentiated by two binding features: the anaphoric feature [a] and the pronominal feature [p]. The four possible interactions of plus or minus values for these features yield the four types of null DPs.
In the table, [+a] refers to the anaphoric feature, meaning that the particular element must be bound within its governing category. [+p] refers to the pronominal feature which shows that the empty category is taking the place of an overt pronoun. Having a negative value for a specific feature indicates that a particular type of null DP is "not" subject to the requirements of the feature.
Null heads.
There are many types of null heads, including null determiners and null complementizers. All null heads are the result of some movement operation on the underlying structure, forcing a lexical item out of its original position, and leaving an empty category behind.
Empty categories are present in most of the world's languages, although different languages allow for different categories to be empty.
Generation of empty categories.
Not all empty categories enter the derivation of a sentence at the same point. Both DP-trace and WH-trace, as well as all of the null heads, are only generated as the result of movement operations. Trace refers to the syntactic position which is left after something has moved, helping to explain how DP-trace and WH-trace get their names. What is meant by "trace" is that there is a position in the sentence that holds syntactic content in the deep structure, but that has undergone movement so that it is not present at the surface structure. Conversely, both "PRO" and "pro" are not the result of movement and must be generated in the deep structure. In both the government and binding and minimalism frameworks, the only method of base-generation is lexical insertion. This means that both "PRO" and "pro" are held to be entries in the mental lexicon, whereas DP-trace and Wh-trace, and the null heads are not categories in the lexicon.
Four types of null DPs: the classical theory.
PRO (Big Pro).
The empty category subclass called PRO, referred to as "big pro" when speaking, is a DP which appears in a caseless position. PRO is a universal lexical element, it is said to be able to occur in every language, in an environment with a non-finite embedded clause. However, its occurrence is limited: PRO "must" occupy the specifier position of the embedded, non-finite clause, such as in the example below:
This example does not use PRO, but instead, uses an overt pronoun ("you") in the specifier position of the embedded non-finite clause:
 1a) "Hei would like youj to stay."
This example does use PRO, because instead of an overt pronoun, there is an empty category which is co-referenced with "He", appearing in the specifier position of the non-finite embedded clause:
 1b) "Hei would like PROi to stay."
The example tree to the right is the tree structure for this sentence, [Hei would like PROi to stay], and shows PRO surfacing in the specifier position of the TP in the embedded clause, and co-referenced to (referring to the same being as) the subject of the matrix clause. We can interpret this as the DP subject [He] having control over PRO. In other words, the meaning of PRO is determined by the meaning of DP [He], as they are co-referenced. This is an example of a subject control construction, where the pronominal subject [He] is selected for by both the main verb [like] and the embedded infinitive verb [stay], thus forcing the introduction of an unpronounced lexical item (PRO) at the subject of the embedded clause, in order to fulfil the selectional requirements of both verbs. Alternatively, we see object control constructions when the object of the sentence controls the meaning of PRO.
However, while the meaning of PRO can be determined by its controller (here, the subject of the matrix clause), it does not have to be. PRO can either be controlled ("obligatory control") or uncontrolled ("optional control"). The realization that PRO does not behave exactly like an R-Expression, an anaphor, or a pronoun (it is in fact, simultaneously an anaphor and a pronoun) led to the conclusion that it must be a category in and of itself. It can sometimes be bound, is sometimes co-referenced in the sentence, and does not fit into binding theory.
Note that in modern theories, embedded clauses that introduce PRO as a subject are CPs.
"pro" (little pro).
"Little pro" occurs in a subject position of a finite clause and has case. The DP is ‘dropped’ from a sentence if its reference can be recovered from the context; "pro" is the silent counterpart of an overt pronoun. Spanish is an example of a language with rich subject-verb morphology that can allow null subjects. The agreement-marking on the verb in Spanish allows the subject to be identified even if the subject is absent from the spoken form of the sentence. This does not happen in English because the agreement-markings in English are not sufficient for a listener to be able to deduce the meaning of a missing referent.
Chinese is an example of a pro-drop language, where both subjects and objects can be dropped from the pronounced part of finite sentences, and their meaning remains clear from the context. In pro-drop languages, the covert "pro" is allowed to replace all overt pronouns, resulting in the grammaticality of sentences that do not have a subject nor object that is overtly pronounced:
This example illustrates how a Chinese question might be asked with "Zhangsan" as the subject and "Lisi" as the object:
 2a) "Zhangsan kanjian Lisi le ma?"
 Zhangsan see Lisi ASP Q?
 ‘Did Zhangsan see Lisi?’
Below is an example of a response to the question above. Both subject and object are optionally pronounced categories. The meaning of the sentence can be easily recovered, even though the pronouns are dropped. (Round brackets indicate an optional element.)
 2b)"(ta) kanjian (ta) le."
 (He) saw (him).
The same point can be made with overt pronouns in English, as in the sentence “John said I saw him”. Where the chance of picking [John] as the antecedent for [him] is clearly greater than that of picking any other person.
In example 3), the null object must be referring to the matrix clause subject [Zhangsan] but not the embedded subject [Lisi], since of the Binding Theory states that it must be free. (Square brackets indicate that an element is covert (not pronounced), as in the second English translation.)
 3)"Zhangsan shuo Lisi hen xihuan."
 Zhangsan say Lisi very like.
 'Zhangsan said that Lisi liked [him].'
DP-trace (tDP).
In certain syntactic environments (e.g. specifier VP and the specifier position of a TP which introduces a non-finite verb), case features are unable to be “checked”, and a determiner phrase must move throughout the phrase structure in order to check the case features. When this happens, a movement rule is initiated, and the structure is altered so that we hear the DP overtly pronounced in the position of the sentence which it has been moved to; a DP-trace is an empty category that appears at the original spot (the underlying position) of the DP, and stands for the syntactic space in the tree that the DP previously occupied. DP-trace is found in complementary distribution to PRO.
Underlying word order in the sentence "Cheri seems to like Tony."
 4a) "[ ] seems Cheri to like Tony."
Spoken form of the sentence "Cheri seems to like Tony."
 4b) "Cheri seems [ tDP ] to like Tony."
This English example shows that DP [Cheri] is originally introduced in the specifier position of the embedded infinitive clause, before moving to the specifier position of the matrix clause. This movement happens in order to check the features of the raising verb [seem], and leaves behind a DP-trace (tDP) in the original position of the DP. You can use the position of the DP-trace to identify where the DP is introduced in the underlying structure.
WH-trace (tWH).
DPs can move for another reason: in the case of Wh-questions. In English, these are questions that begin with <wh> (e.g. who/whom, what, when, where, why, which, and how); words that serve the same function in other languages do not necessarily begin with <wh>, but are still treated as “Wh-items” under this framework. The responses to these questions cannot be yes or no; they must be answered using informative phrases. Wh-items undergo Wh-movement to the specifier of CP, leaving a Wh-trace (tWH) in its original position. Just like for DP-movement, this movement is the result of feature checking, this time, to check the [+WH] feature in C.
To form a Wh-question in the example below, the DP [who] moves to the specifier of the CP position, leaving a Wh-trace in its original position. Due to the extended projection principle, there is DP movement to the specifier of TP position. There is also T to C movement, with the addition of Do-support. These additional movement operations are not shown in the given example, for simplicity.
Example 5: Underlying order of words in the sentence “Who did Lucy see?” (Square brackets throughout example 5 indicate an empty category.)
 5a) "[ ] did Lucy see who"
Spoken form of the sentence "Who did Lucy see?"
 4b) "Who did Lucy see [ tWH ]?"
The tree to the right illustrates this example of WH-trace. Initially, the sentence is "[CP] did Lucy see who,” which has an empty specifier position of CP, as indicated by square brackets. After the Wh-item [who] is relocated to the specifier position of CP, the empty position is left at the end, in the original position of [who]. What is left in its place is the WH-trace.
A special relationship holds between the WH-item and the complementizer of a sentence:
 5a) "[DP The person [CP who ØC [TPlikes Max]]] is here."
 5b) "[DP The person [CP tWH that [TPlikes Max]]] is here."
 5c) "* [DP The person [CP tWH ØC [TPlikes Max]]] is here."
In this example, the complementizer or the WH-item can have null categories, and one or the other may show up as null. However, they cannot both be null when the WH-item is the subject.
An important note to remember is that DP-trace and WH-trace are the result of movement operations, while "pro" and "PRO" must be base generated.
Types of null heads.
Not only can DPs be empty; functional categories can be empty as well. Null determiners and null complementizers are empty categories that are the result of more recent research. These null heads are positions which end up being unpronounced at the surface level but are not included in the anaphoric and pronominal features chart that accounts for other types of empty categories.
Null determiners.
Null determiners are used mainly when the Theta assignment of a verb only allows an option for a DP as a phrase category in the sentence (with no option for a D head). Proper nouns and pronouns cannot grammatically have a determiner attached to them, though they still are part of the DP phrase. In this case, one needs to include a null category to stand as the D of the phrase as its head. Since a DP phrase has a determiner as its head, but one can end up with NPs that are not preceded by an overt determiner, a null symbol (e or Ø) is used to represent the null determiner at the beginning of the DP.
Examples of nouns that do not need a determiner:
 [Ø Lucy]
 [Ø she]
The null determiners are subdivided into the same classes as overt determiners are, since the different null determiners are thought to appear in different grammatical contexts:
Ø[+PROPER]
 NP[+PROPER,-PRONOUN]
Ø[,+PRONOUN]
 NP[-PLURAL, -PROPER, +PRONOUN]
Ø[+PLURAL]
 NP[+PLURAL, -PROPER, -PRONOUN]
Null complementizers.
Complementizerless environments (phrases which lack an overt C element) have often been attested in cross-linguistic data. In many cases, the complementizer is optionally present in a phrase:
In the following example, round brackets represent an optional element. In example (b), the optional element has been left out, leaving the C position empty.
 6a) She thinks (that) the cat is cute.
 b) She thinks Ø the cat is cute.
The existence of null complementizers has led to theories that attempt to account for complementizerless environments: the CP Hypothesis and the IP Hypothesis.
The CP Hypothesis states that finite subordinate clauses that lack an overt C at the surface level contain a CP layer that projects an empty (or unpronounced) C head.
Some evidence for this claim arises from cross-linguistic analyses of yes/no question formation, where the phenomenon of subject-auxiliary inversion (utilized in English) appears in complementary distribution with an overt complementizer question marker (for example, in Irish). Such work suggests that these are not two distinct mechanisms for yes/no question formation, but instead, that a subject-object inversion construction simply contains a special type of silent question marked complementizer. This claim is further supported by the fact that English does exhibit one environment — namely, embedded questions — that utilizes the overt question marked C “if”, and that these phrases do not employ subject-auxiliary inversion.
In addition to this, some compelling data from the Kansai dialect of Japanese, in which the same adverb can evoke different meaning depending on where it is attached in a clause, also points towards the existence of a Null C. For example, in both complementizerless and complementizer environments, the adverbial particle "dake" (“only”) evokes the same phrasal meaning:
 7a) Adverbial "dake" (“only”) attached to complementizer:
 John-wa [Mary-ga okot-ta tte-dake] yuu-ta.
 John-ToP Mary-NOM get.angry-PAST that-only say-P
 ‘John said only that Mary got angry.'
 7b) Averbial "dake" (“only”) attached to complementizerless phrase:
 John-wa [Mary-ga okot-ta dake] yuu-ta.
 John-TOP Mary-NOM get.angry-PAST only say-PAsT
 'John said only Mary got angry.'
The interpretation of both (a) and (b) is as follows: “among a number of things that John might have said, John said only that Mary got angry”
 7c) Adverbial "dake" (“only”) attached to tense:
 John-wa [Mary-ga okot-ta-dake tte] yuu-ta.
 John-ToP Mary-NOM get.angry-PAST-only that say
 'John said that it is only the case that Mary got angry.'
The interpretation of (c) is as follows: “John said that among a number of people that might have gotten angry, only Mary did.”
As demonstrated by (c), the adverb should evoke a different meaning than in (a) if it is attached to any item other than C. Because (a) and (b) yield the same interpretation, this suggests that the adverbial particle must be attached at the same spot in both clauses. In (a), the adverb "dake" is clearly attached to C; so even in the complementizerless environment (b), the adverb "dake" must still attach to C, thus pointing to the existence of a null complementizer in this phrase.
The IP Hypothesis, on the other hand, asserts that the complementizer layer is simply nonexistent in overtly complementizerless clauses.
Literature arguing for this hypothesis is based upon the fact that there are some syntactic environments under which a null C head would violate the rules of government under the Empty Category Principle, and thus should be disallowed.
Other work focuses on some differences in grammatical adjunction possibilities to “that” versus “that-less” clauses in English, for which the CP Hypothesis apparently cannot account. It states that under the CP Hypothesis, both clauses are CPs and thus should display the same adjunction possibilities; this is not what we find in the data. Instead, disparities in grammaticality emerge in environments of topicalization and adverbial adjunction. The IP Hypothesis is said to make up for the shortcomings of the CP hypothesis in these domains.
In Icelandic, for example, the verb """vonast til" selects for an infinitival complement:
 8a) Strákarnir vonast til að PRO verða aðstoðaðir.
 boy.PL.M.DEF hope.PL.3 for to become assisted.PRET.PTCP.PL.M
 'The boys hoped that somebody would help them.'
While in Latvian, the equivalent verb "cerēt" takes an overt complementizer phrase:
 8b) Zēni cer, ka viņiem kāds palīdzēs.
 boy.PL hope.3 that they.DAT.PL someone help.FUT.3
 'The boys hope that somebody will help them.'
However, while both hypothesis possess some strong arguments, they also both have some crucial shortcomings. Further research is needed in order to concretely establish a more widely agreed-upon theory.
VP-shells and empty Vs.
Ditransitive verbs.
Verbs that select for three arguments cause an issue for X-bar theory, where ternary branching trees are not allowed. In order to overcome this, a second VP, called a "VP shell," is introduced in order to make room for the third argument. As a consequence, a null V is created:
The verb "put" moves to the higher V in order to assign case to the second argument, "the key."
Causatives.
Consider the following sentences:
9a) The towel was wet.
9b) They will wet the towel.
9c) This will wet the towels.
The selectional properties - "the towel" always being considered the subject of "wet" - suggest the presence of a silent V contributing a causative meaning. In other words, the head is responsible for the object's theta-role.
Questions of acquisition and other possible applications.
One of the main questions that arises in linguistics when examining grammatical concepts is how children learn them. For empty categories, this is a particularly interesting consideration, since, when children ask for a certain object, their guardians usually respond in “motherese”. An example of a motherese utterance which doesn't use empty categories is in response to a child's request for a certain object. A parent might respond “You want what?” instead of “What do you want?”. In this sentence, the wh-word doesn't move, and so in the sentence that the child hears, there is no wh-trace. Possible explanations for the eventual acquisition of the notion of empty categories are that the child then learns that even when he or she doesn't hear a word in the original position, they assume one is still there, because they are used to hearing a word.
At the beginning of acquisition, children do not have a concrete concept of an empty category; it is simply a weaker version of the concept. It is noted that ‘thematic government’ may be all the child possesses at a young age and this is enough to recognize the concept of empty category. The proper amount of time must be given to learn the certain aspects of an empty category (case marking, monotonicity properties, etc.).


Tom Peete Cross

Tom Peete Cross (December 8, 1879 – December 25, 1951) was an American Celticist and folklorist.
Education and career.
Cross did his undergraduate education at Hampden–Sydney College, receiving his B.A. in 1899. He went on to Harvard University to pursue an M.A. (1906) and Ph.D. (1909). After receiving his Ph.D., he spent a year studying in Dublin, Ireland, then returned to the United States in 1910 to take up a position as an instructor at Harvard. In 1911 he became the head of the English department at Sweet Briar College. Following that, he spent his next year at the University of North Carolina, and in 1913 became the chair of the Department of English and Comparative Literature at the University of Chicago. His "alma mater" Hampden–Sydney College awarded him an honorary doctorate of literature in 1927. He was also member of the Modern Language Association and the American Council of the Irish Texts Society. He retired in 1945.
Works.
One major work of Cross' was "A List of Books and Articles, Chiefly Bibliographical, Designed to Serve as an Introduction to the Bibliography and Methods of English Literary History", first published in 1919; it would go through numerous editions, renamed from the 7th onwards as the "Bibliographical Guide to English Studies". Following his death it was expanded by Donald F. Bond as the "Reference Guide to English Studies". He also published a number of journal articles and a monograph on the Arthurian legends.
Cross' final work, the "Motif-Index of Early Irish Literature", whose compilation he had begun more than five decades earlier at the inspiration of Fred N. Robinson, was published post-humously as part of Indiana University Bloomington's Folklore Series in 1952. Stith Thompson, who visited him in late 1951, reported that he worked literally until the day he died reading the galley proofs in order to complete the corrections. Kenneth H. Jackson praised the "Motif-Index" as "enormously comprehensive and so extremely useful". However, William Sayers would half a century later criticise it as being limited by its "original conceptual categories, where such modern notions as ideology, gender, physical aberrance, the abject and the like are absent".
Personal life.
Cross was born in 1879 in Nansemond County, Virginia to Thomas Hardy Cross and Eleanor Elizabeth Wright. His father was a planter. He had one younger brother, Hardy Cross, who would go on to achieve fame in the field of structural engineering for his development of the moment distribution method. He and his brother both did their preparatory education at Norfolk Academy. Cross was married to Elizabeth Weathers Cross. He had two daughters, Ellen Elizabeth Cross and Evelyn Douglas Cross. The former married music scholar Storm Bull in 1939. At the end of his career, Cross retired to a farm in Aylett, Virginia, where he lived until his death. Late in life, he suffered a heart attack, and his poor health kept him from being able to climb stairs, but he still continued his work on his "Motif-Index". After his death, his wife moved to Boulder, Colorado, where she lived with Bull and her daughter until her own death in 1957.


Joh Sasaki

 is a Japanese writer and journalist; chiefly known for his historical fiction and mystery novels.
Biography.
Joh Sasaki was born in Yubari, Hokkaido, Japan. He spent his early youth in Nakashibetsu City and later ventured to Sapporo where Sasaki attended Tsukisamu High School. He released his first novel, , in 1979. Sasaki quickly established himself as a writer after winning the All Yomimono New Writers Prize for "Tekkihei, tonda" which was also later adapted for the big screen. Today Sasaki is known as a household author with numerous works in genres stretching from historical fiction, young adult fiction to police crime fiction, and even various TV Crime Drama adaptations.
In 2009, Sasaki won Japan's number one literary award, the Naoki Prize, for his work "Haikyo ni kou", and also holds many other literary awards.
 These days Sasaki is actively developing his stories for the stage in addition to directing a Children's e-picture book project called Joh's Picture Book Project.
Literary style.
Joh Sasaki is well known in Japan as a social entertainment writer. In his novel " Mayonaka no tooi kanata" (later re-titled to "Shinjuku no arifureta yoru"), he depicts the underground lifestyles of the Japanese mafia, boat people, and illegal alien workers. In "Yoru ni sono na o yobeba", Sasaki portrays a chilling Cold War scene in a mystery set in Otaru, Hokkaido and Berlin, Germany. His police mystery thriller, "Utau keikan" (later re-titled to "Warau keikan") was adapted for the big screen and provides an early setting for his later internationally acclaimed roman-fleuve novel "Keikan no chi" which was eventually adapted for television. Sasaki's "Berlin hikō shimei" (English title: "Zero Over Berlin") garnered critical acclaim for telling a World War II story from the other side about a fly-by-night mission involving a Type Zero Fighter (Mitsubishi A6M Zero) secretly making its way from Japan all the way to Berlin at the request of the Luftwaffe. "Zero Over Berlin" is presently Sasaki's only novel translated into English.


Antiphon (epic poet)

Antiphon () of Athens, according to the Suda, was an interpreter of signs, epic poet and sophist, surnamed "Logomageiros" (Λογομάγειρος), which means both "Word-cook" and "Word-butcher." None of his works are extant, and he is only attested in the Suda.


Suzanne Ferrand

Suzanne Ferrand (born 1902) was a French artist. She illustrated two World War I posters. One was titled (in French), "Grow Wheat, It is Gold for France." It prominently features wheat, a sickle, and the French flag. The second poster released in 1918, was titled (in French), "Save Your Wine For Our Soldiers." On the poster is a wine jug, a vine of grapes, and a cup filled with wine.
It was mostly inspired by the 1920s, as a turbulent time after the end of the First World War.
Marxism was an ideology with a great influence on the artists of that time, even on Suzzane Ferrand.
Her contemporaries were artists Celia Fiennes, Vera Allison, Theodor Baumgartner, Francesco De Rocchi, and William Beattie.


Diffusive gradients in thin films

The diffusive gradients in thin films (DGT) technique is an environmental chemistry technique for the detection of elements and compounds in aqueous environments, including natural waters, sediments and soils. It is well suited to "in situ" detection of bioavailable toxic trace metal contaminants. The technique involves using a specially-designed passive sampler that houses a binding gel, diffusive gel and membrane filter. The element or compound passes through the membrane filter and diffusive gel and is assimilated by the binding gel in a rate-controlled manner. Post-deployment analysis of the binding gel can be used to determine the time-weighted-average bulk solution concentration of the element or compound via a simple equation.
History.
The DGT technique was developed in 1994 by Hao Zhang and William Davison at the Lancaster Environment Centre of Lancaster University in the United Kingdom. The technique was first used to detect metal cations in marine environments using Chelex 100 as the binding agent. Further characterisation of DGT, including the results of field deployments in the Menai Strait and the North Atlantic Ocean, was published in 1995. The technique was first tested in soils in 1998, with results demonstrating that kinetics of dissociation of labile species in the porewater (soil solution) could be determined via DGT. Since then, the DGT technique has been modified and expanded to include a significant number of elements and compounds, including cationic metals, nitrate, phosphate and other oxyanions (V, CrVI, As, Se, Mo, Sb, W), antibiotics, bisphenols, and nanoparticles, and has even been modified for the geochemical exploration of gold.
DGT Research Ltd. was established in July 1997 by the original developers of the technique, Profs. Davison and Zhang, and sells ready-made DGT® devices for water, soil and sediment deployments to measure different analytes, as well as the component parts for self-assembly. The company holds the original patents for the device and DGT® is a trademark which is registered throughout the world. In 2014 a rival company "EasySensor" was set up by Prof. Shiming Ding and supplies devices that the company claims are analogous to the original DGT® products.
The DGT device.
The most commonly used DGT device is a plastic "piston-type" probe, and comprises a cylindrical polycarbonate base and a tight-fitting, circular cap with an opening (DGT window). A binding gel, diffusive gel and filter membrane are stacked onto the base, and the cap is used to seal the gel and filter layers inside Dimensions of the gel layers vary depending on features of the environment, such as the flow rate of water being sampled; an example is an approximately 2 cm device diameter containing a 1mm gel layer. Other commonly used probe configurations include those for deploying in sediments (to measure solute mobilisation with depth) and in planar form for measuring solute dynamics in the plant rhizosphere.
Principles of operation.
Deployment.
DGT devices can be directly deployed in aqueous environmental media, including natural waters, sediments, and soils. In fast-flowing waters, the DGT device's face should be perpendicular to the direction of flow, in order to ensure the diffusive boundary layer (DBL) is not affected by laminar flow. In slow-flowing or stagnant waters such as in ponds or groundwater, deployment of DGT devices with different thicknesses of diffusive gel can allow for the determination of the DBL and a more accurate determination of bulk concentration. Modifications to the diffusive gel (e.g. increasing or decreasing the thickness) can also be undertaken to ensure low detection limits.
Analysis of binding gels and chemical imaging.
After the DGT devices/probes have been retrieved, the binding gels can be eluted using methods that depend on the target analyte and the DGT binding gel (for example, nitric acid can be used to elute most metal cations from Chelex-100 gels). NaOH can be used to elute most oxyanions from Zr-Oxide(Ding et al., 2010, 2011,2016; Sun et al.,2014).The eluent can then be quantitatively analysed via a range of analytical techniques, including but not limited to: ICP-MS, GFAAS ICP-OES, AAS, UV-Vis spectroscopy or computer imaging densitometry. For chemical imaging and to obtain two-dimensional (2D) sub-mm high resolution distribution of analytes in heterogenous environments, such as sediments and the rhizosphere, the retrieved gel strips can be analyzed by PIXE or LA-ICP-MS after gel drying.
The DGT equation.
DGT is based on the application of Fick's law. Once the mass of an analyte has been determined, the time-averaged concentration of the analyte in the bulk, formula_1, can be determined by application of the following equation:
where formula_3 is the mass of the analyte on the resin, formula_4 is the thickness of the diffusive layer and filter membrane together, formula_5 is the diffusion coefficient of the analyte, formula_6 is the deployment time, and formula_7 is the area of the DGT window. More elaborate analysis techniques may be required in cases where the ionic strength of the water is low and where significant organic matter is present.


Agrawal Jain

Agrawal Jains are an Indian Jain community who originated from Hisar, Haryana.
Legends.
According to texts from the Mughal period preserved in Delhi temple libraries, the emergence of the Agrawals is associated with Lohacharya and the Kashtha Sangh. Lohacharya arrived at Agroha in Vikram Samvat 760. He was given food by the local people and he founded the Kashtha Sangh order by installing a wooden idol. The Kashtha Sangh religious order has thus been closely associated with the Agrawal community.
According to some legends, Agrawals were once ruled by a Raja Divakar who was a devout Jain.
History.
Agrawal Jains in Delhi.
The Agrawal merchant Nattal Sahu and the Agrawal poet Vibudh Shridhar lived during the rule of Tomara Anangapal of Yoginipur (now Mehrauli, near Delhi). Vibudh Shridhar wrote Pasanahacariu in 1132, which includes a historical account of Yoginipur (early Delhi near Mehrauli) then.
In 1354, Firuz Shah Tughluq started the construction of a new city near Agroha called "Hisar-e Feroza" "Firuz's Fort". Most of the raw material for building the town was brought from Agroha. Hisar was a major center of the Agrawal community.
Some Agrawals rose to good positions in Mughal period, specially during Akbar. Sahu Todar was a supervisor of the royal mint at Agra, who had rebuilt the 514 Jain stupas at Mathura in 1573, during the rule of Akbar.
Sah Ranveer Singh was a royal treasurer during the rule of Akbar. He established the town Saharanpur. His father as well as son and grandson had built several Jain temples, including the one at Kucha Sukhanand in Delhi.
Agrawal Jains in Rajput Kingdoms.
Many Agrawals migrated to Rajasthan. They form a large fraction of the merchant population of Shekhawati region. Along with Maheshwari, Khandelwal and Oswals, they form the Marwari bania community.
In the early 15th century, Agrawals flourished as a trader community under the Tomaras of Gwalior.
Historian K.C. Jain comments:
In the 15th century, many Agrawals migrated to Amer kingdom (now Jaipur). In VS 1535, Agrawal Nenasi conducted a Panch-kalyanak Pratishtha ceremony at Sanganer. A copy of Amarsen Chariu copied in VS 1577 at Sonipat was found at Amer, suggesting that Agrawals took sacred texts with them during this migration.
Prachin Shri Agarwal Digambar Jain Panchayat.
Seth Girdhari Lal, the son of Raja Shugan Chand, founded the organization Hissar Panipat Agarwal Jain Panchayat. It is now known as Prachin (i.e. old) Shri Agarwal Digambar Jain Panchayat. It is the oldest Agrawal Jain organization. It has been led by descendants of same family. The organization manages the historical Naya Mandir as well as the Lal Mandir.
The Panchayat has been active in promoting unity among Jains of different sectarian backgrounds.


Verna Fields Award

The Verna Fields Award is the Golden Reel Award which is annually presented by Motion Picture Sound Editors to a filmmaking student in order to recognize the excellence of their sound editing work. Luke Dunn Gielmuda of the Australian Film Television and Radio School won the 1998 award for his work on "Preoccupied". At the 2004 Golden Reel Awards held at Century Plaza Hotel, Manny Holihan won the Verna Fields Award.
2006.
Winner: "Crooked Mick"
Nominees:
2007.
Winner: "Temerario"
Nominees:
2008.
Winner: "Shot Open"
Nominees:
2009.
Winner: "Mummy's Boy"
Nominees:
2010.
Winner: "Scarecrow"
Nominees:
2011.
Winner: "Stanley Pickle"
Nominees:
2012.
Winner: "The Pride of Wade Ellison"
Nominees:
2013.
Winner: "Head Over Heels"
Nominees:
2014.
Winner: "Robomax"
Nominees:
2015.
Winner: "Sea Odyssey"
Nominees:


Suman Mukhopadhyay

Suman Mukhopadhyay (; born 20 November 1966) is an Indian film director.
Career.
His first cinematic directorial debut film was "Herbert" which was released in 2005. Herbert won the National Award for Best Bengali film.
He is in the post-production of his latest Hindi feature film "Nazarband". His last film is "Asamapta"(Incomplete), premiered in IFFLA, USA and is on Netflix. Before that "Shesher Kabita" (The Last Poem) with Rahul Bose and Konkona Sen Sharma premiered in Dubai International Film Festival and released on 7 August 2015. "Kangal Malsat"(The War Cry of the Beggars) his 4th feature film released on August 2013. "Mahanagar@Kolkata" was completed in 2009. The film was screened in Munich, Kerala and New York film festivals. His second film "Chaturanga", based on Tagore's novel, was completed in 2008 and premiered at the Montreal World Film Festival. Chaturanga was screened in 36 national and international festivals. The film received a Gran Prix award at Bridgefest, Sarajevo; the Best Director award at the Philadelphia Independent Film Festival and the Golden Palm at Mexico International Film Festival.
Recently Mukhopadhyay has done a Zee5 original feature film "Posham Pa" and directed five episodes of "Parchhayee" based on Ruskin Bond stories.
Mukhopadhyay has done theatre productions ranging from European drama to major adaptations of Bengali works. He used to be a part of Bengali theatre Group Chetana. Among his many works some are "Raja Lear", "Sunyo Sudhu Sunyo Noy", "Bisarjan", "Teesta Paarer Brittanto" and "Samay Asamayer Brittanto", adapted from the novels by Debesh Roy and "Mephisto", based on Klaus Mann's German novel. He has also staged Rabindranath Tagore's "Raktakarabi"; "Falguni-Prelude", Shakespeare/Brecht's "Coriolanus" and Śūdraka's "The Little Clay Cart". He directed "The Man of the Heart" ("Life and times of Lalon Fokir") at the University of California, Berkeley and Girish Karnad's "Nagamandala" at the Department of Theatre, Kalamazoo College, Michigan. "Man of the Heart" was also invited to Barbican Centre, London.
Awards.
His film "Chaturanga" received the Gran Prix at Bridge Fest, Sarajevo; Best Director at Philadelphia Independent Film Festival and the Golden Palm at Mexico International Film Festival.
Others.
Mukhopadhyay is a known face of Civil Society Movement in West Bengal from the tenure of Left Front Government. He also participated in rallies or talk shows against political violence by all the parties. On 21 June he joined in a protest march in Metro Channel with other intellectuals of Kolkata led by poet Shankha Ghosh in protest against the growing crimes against women in the state and the 2013 Kamduni gang rape and murder case.


Amedeo Giorgi

Amedeo P. Giorgi is an American psychologist known for his contributions to phenomenology and humanistic psychology. He developed the Descriptive Phenomenological Method in Psychology.
Career.
Giorgi received his PhD in experimental psychology from Fordham University in 1958. After working as a human factors consultant to government and industry for several years, Giorgi moved into an academic career, beginning at Manhattan College, followed by Duquesne University, and later the University of Quebec at Montreal.
He is a professor at Saybrook University in San Francisco, with which he has been associated since 1986. Becoming critical of mainstream psychology after obtaining his PhD, Giorgi began to seek alternative approaches to the study of psychological material. In so doing, he studied philosophical phenomenology, especially the work of Edmund Husserl and Maurice Merleau-Ponty, and adopted that approach as a framework for developing an alternative approach to the understanding of psychological problems. Giorgi's speciality is in the area of psychological research practices, especially qualitative research approaches. He is the developer of a phenomenological method (The Descriptive Phenomenological Method in Psychology) based on the thought of Husserl and Merleau-Ponty. He has directed over 100 dissertations that have used the method on a wide variety of psychological problems, and he has published over 100 articles on the phenomenological approach to psychology. Giorgi has lectured on phenomenological psychology in Europe, Asia, Latin America, Australia and South Africa. He is the founder and original editor (for over 25 years) of the Journal of Phenomenological Psychology and is author of the classic text 'Psychology as a Human Science: A Phenomenologically based Approach' (New York: Harper & Row, 1970). In addition, he has published, inter alia, 'Phenomenology and Psychological Research' (Pittsburgh, PA: Duquesne University Press, 1985 - Editor) and 'Qualitative Research in Psychology' (Pittsburgh, PA: Duquesne University Press, 1986 - Editor, with P. D. Ashworth & A. J. J. de Koning).
Giorgi and Adrian Van Kaam were founding members of the "Duquesne School" of psychology, where he began formalizing phenomenological methods for psychology. He was a key figure in the history of the humanistic psychology movement, alongside such notable pioneers as Carl Rogers and Fritz Perls. He is a noted historian of the field of psychology, particularly alternative strands.
In May 2010, he was the invited speaker of the annual conference of the Interdisciplinary Coalition of North American Phenomenologists.


Margaret Fisher (artist)

Margaret Fisher (born 1948) is an American performance and media artist best known for interdisciplinary works that pair gestural choreography to experimental visual theater characterized by a cartoon aesthetic with wide-ranging cultural references. She emerged amid a 1970s Bay Area experimental performance scene that included artists such as Lynn Hershman Leeson, George Coates, Bill Irwin and Winston Tong, and co-founded the intermedia production group MA FISH CO and the alternative theater Cat's Paw Palace in Berkeley. Fisher's work has been featured at the Venice Biennale, Dance Theatre Workshop, PS1 and The Kitchen in New York, SFMOMA, Image Forum (Tokyo), and the Musée d'art contemporain de Montréal Mue-danse Festival; it has been reviewed in "The New York Times", "The Village Voice", "Los Angeles Times", "La Repubblica", "Artweek", "San Francisco Chronicle", and "Dance Magazine". Critic Rita Felciano describes Fisher's approach as one of "artful intellect" and her multimedia pieces as "demanding puzzles, tightly structured and pervaded by a stillness and internal quiet." In addition to producing art, Fisher is an independent researcher and author of numerous books on twentieth-century performance, radio, film and poetry. She lives and works in Emeryville, California and is married to composer Robert Hughes.
Life and career.
Fisher was born in 1948 in Miami, Florida and grew up in a family of painters that included her mother, Ethel Fisher, and sister, Sandra Fisher Kitaj. Her father, Gene Fisher, co-founded F&R Builders in 1954, which became Lennar Corporation in 1971 after his departure. In 1966, she attended the University of California, Berkeley where she earned a degree in criminology (AB, 1969) while also learning hatha yoga. In the 1970s, she studied dance and choreography with Margaret Jenkins and contact improvisation with Steve Paxton, co-founded Cat's Paw Palace (1973), and began performing in experimental works of her own and others, such as Alison Knowles, Jim Nollman and George Coates.
In 1976, while performing in Beth Anderson's opera "Joan" at the Cabrillo Music Festival, Fisher met her future husband, composer-conductor Robert Hughes, co-founder with Tom Buckner of the experimental music group Arch Ensemble. By 1978, they were collaborating on projects that would be performed in Europe, Japan, Canada, and throughout the United States. In 1984, after settling in Emeryville, Fisher and Hughes co-founded MA FISH CO with artist/designer Jerry Carniglia and continued to tour internationally with new and prior works. In 1999, Fisher returned to UC Berkeley, earning MA and PhD degrees in Performance Studies (2002–3); since that time she has devoted much of her time to independent research and writing.
Artistic work and reception.
Fisher's artistic output includes experimental dance and performance, installation, film and video, and direction of new music pieces. Some of her most widely discussed early works were performed under her own name (often in collaboration with Hughes) and later reworked by MA FISH CO; from 1983 onward, she developed work both within MA FISH CO and with outside collaborators.
Style and early work.
Fisher's performing style has been characterized as striking in presence, virtuosity and concentration, and difficult to categorize. Her unconventional approach—which she labels "cellular movement"—developed out of studies of yoga and contact improvisation; it is based on the body's energy impulses and movement from the joints, rather than patterns in space or movement across a stage. In addition to yoga, her inspirations include American, Italian and Japanese sign language, martial arts, and Bharatanatyam dance. Critics note as unique to her choreography: chiseled, repetitive gestural isolations that create tension and a sense of pent-up energy; a focus on smaller body parts (hands, fingers, toes, face, neck) rather than the torso for kinetic expression; rhythmic patterns akin to language, poetry or jazz; and movement on a horizontal, pictorial-like plane.
Fisher's early works integrated her idiosyncratic choreography with multimedia technology (low and high), music and poetry, disparate literary and pictorial references, and an introspective sensibility. Critic Charles Shere noted Fisher's approach to using the stage as an area to develop parallel messages (rather than a space to move through), which typically assigned equal weight to elements such as object, light, gesture, rhythm, body, image, sound and word. "The New York Times"'s Jack Anderson described Fisher's early performances as interesting, if obscure, "kinetic puzzles" proceeding by means of metamorphosis, free association, private jokes and far-flung allusions.
"Send/Receive" (1977, with Liza Béar, Richard Lowenberg, Willoughby Sharp and Keith Sonnier) demonstrated Fisher's embrace of technology; it used a NASA CTS satellite—the first artist-initiated project to do so—to facilitate a performance in which Fisher (in San Francisco) and Nancy Lewis (in New York) responded to one another's movements in real time. Fisher's solo suite, "Splitting" (1977–82), featured an evolving, increasingly complex movement language that combined immediacy and improvisation, with "moments of bizarre, dadaist lunacy" (involving plucked chickens and a harmonica, among other elements); critic Robert Palmer described it as a fascinating, non-linear work whose flow and rhythmic drive suggested contemporary jazz. The dream-like, minimal performances "Gli Insetti" and "Il Miglior Fabbro" (1978–89) referenced the works of entomologist Jean Henri Fabre and offered divergent takes on the scientist's relationship to his object of study. They featured Hughes as "Arturo Scienziato" and Fisher as a woman/insect traversing her life-cycle through movements reviewers termed alternately grotesque, hilarious, and rapacious; composer Robert Ashley called Fisher's choreography, "the most authoritative demonstration of the mechanics of insect movement."
In "The True and False Occult" (1980–2), Fisher explored new relationships between time, space and language to suggest zero-gravity movement, floating heads on a pilgrimage to Mt. Fuji, text poured from a teapot, calligraphy exercises for disembodied hands, and swimming through water (by means of a mylar pool); Dance critic Jennifer Dunning compared its "bizarre but magical world" to the "interior of a Joseph Cornell box in its simplicity, playfulness and inviting privacy."
Fisher also worked independently with composers Charles Amirkhanian, Beth Anderson, Robert Ashley, Roger Reynolds, Don Buchla, Ivan Wyschnegradsky, and Ron Pellegrino's Real Electric Symphony. She was Lou Harrison's music copyist from the mid 1980s until his death in 2003 and set two video works to his music in 2017.
MA FISH CO.
MA FISH CO (founded in 1983) brought together Fisher's direction, performance and choreography, Hughes's electronic and acoustic music scores, and Jerry Carniglia's stage design and sculptures in performances, installations and mixed-media works that increasingly incorporated video, slide projection, and the participation of performer-technicians. "Oakland Tribune" critic Janice Ross described their work as "dense layerings of stories, visions and subplots" that mixed "surrealist sets, props and symbolic costumes [and] witty and idiosyncratic choreography."
"The Bride Stripped Bare By Her Bachelors, Even" (1984) was an experimental, dadaist opera that Fisher choreographed and designed for composer Charles Shere (later re-conceived independently by Fisher for MA FISH CO in 1994). The opera was inspired by Duchamp's eponymous work on glass. It coupled threat and wit in an exploration of the absurdist theme of mechanized sex, partly expressed through the angular gestural language of an army of bachelors—commanded by the bride (Fisher)—who never achieve fulfillment; its complex "moving tableaux vivants" included stark sets by Carniglia, Chris McFee and Fisher, machinery and mechanical devices, chance sound fragments and unconventional music.
Three interdisciplinary performance works—"AG Nature" (1983–9), "Antebellum Bedlam" (1985–6) and "Vice Versa" (1986–8)—investigate historically determined "crimes against nature" (usury, sodomy, war), themes drawn from the writings of Dante and Pound, and imagery inspired during Fisher's fellowship year in Japan. "AG Nature" included "War Nerves", which featured a woman wearing a red and yellow mortarboard and seated on the floor amid flickering TVs, whose gestures translate Pound's Canto XLV into Japanese and Italian sign language, and "Little Sodomy Piece", which features Hughes's hypnotically compelling score (likened by critic Tony Reveaux to the sound of weasels in heat) and a performer costumed like a Japanese ghost character, whose stark Japanese Butoh dancing suggests violence and anguished compulsion. "Antebellum Bedlam" offered a highly crafted, surreal universe of flying cartoon boats, a sculpted air-craft carrier hosting MAFISHCO's multi-media orchestra, a bank of slide and film strip projectors doubling as gun barrels, and pulsating music by Hughes (doubling as General Douglas MacArthur) to tell of Korean War animosities.
In "City of Dis" (1989–90)—based on a two-sentence Cocteau story about a pet chameleon placed on a piece of plaid to keep warm that dies of exhaustion—Fisher created flat, two-dimensional choreography (focused on the torso and upper body with minimal foot movement) performed close to the audience. Critics wrote that it took "internally generated movement to fresh and visually rich new extremes" with an entrancing intimacy "like a peeping Tom intruding into a private world." In the two installation works, "Reliquary for the River Styx" (1989) and "Reliquary for the River Marsyas" (1992), MA FISH CO elaborated themes from "Vice Versa" and "City of Dis", including references to Dante and mythology; their elements included performance, viewer participation, and a genuflection bench, reliquary, and video tower.
Fisher's performance and film and video archive, including that of MA FISH CO, is housed at the New York Public Library Jerome Robbins Dance Division.
Film & video collaborations.
Fisher/MA FISH CO's film and video projects have screened internationally (Image Forum Tokyo, Mill Valley Film Festival, Centre Pompidou) and earned experimental film awards from the Venice Biennale ("Liquid Movie", 1981, with ), Sony Visions of America, and the Milan and Montreal film festivals, among others. Fisher experimented with film and video early in her career, in works such as "Saxophone" (1977, with John Adams) and "Thermographic Video Cartoons" (1979, with Richard Lowenberg)—whose images were produced using thermal imaging technology developed for the Vietnam War—and more extensively with MA FISH CO.
MA FISH CO describes its heavily layered films as "faux-foreign"—shot in foreign languages with English subtitles and designed with a foreign-film aesthetic (e.g., the grainy, Russian-influenced "The Üble Marionette", 1992). "The Letter P, The Story of Pulcinella" (1997) combines puppets and live action, music and text in a poetic, allusion-filled re-imagining of the Italian "commedia dell'arte" figure Pulcinella that explores historical connections to European anti-Semitism and themes of ghettoization and survival. Other films reconsider or refashion the works of artists like Marcel Duchamp ("Letters of Duchamp", 1994 with Charles Shere) or continue the theme of zero gravity ("Spider and the Fly", 1993).
Cat's Paw Palace.
Cat's Paw Palace was an alternative, free-form theater co-founded by Fisher and Gregory Bentley, which opened in Berkeley's historic Sawtooth Building in 1973 and was the first artist-run venue in the East Bay. The space was a venue for experimental dance, theater, music, poetry, performance, video and film, that emphasized collaboration, improvisation, audience proximity and dialogue. Cat's Paw drew on a network of West Coast underground artists from Vancouver to San Diego; in addition to featuring some of Fisher's early work, it presented approximately 600 artists between 1973–7, including Lauren Elder and Carolee Schneeman, Kei Takei's Moving Earth dance company, ODC/Dance, musician G. S. Sachdev, and poets David Melnick and Ron Silliman. The theater's archive is housed at the San Francisco Museum of Performance and Design.
Writing and publishing.
Since 2002, Fisher has written as an academic and independent researcher (often collaborating with Hughes), publishing on twentieth–century performance, film, radio and poetry, including books on futurism and the music of Ezra Pound; her study, "Ezra Pound's Radio Operas: The BBC Experiments, 1931–1933" (2002), received an Ezra Pound Society Book Award. She has written several books published through her and Hughes's imprimatur, Second Evening Art, including: "Tempo as an Organizing Principle in the 1924 Film" Ballet mécanique (2016) and "The Recovery of Ezra Pound's Third Opera, Settings of Poems by Catullus and Sappho" (2005). In 2012, Fisher also published her English translation of "RADIA" by Italian Futurist poet and playwright Pino Masnata with introduction and appendices.
Fisher has also written articles on Pound's work for the publications "Performance Research", "Music@", "Yale University Library Gazette" and "Make It New", and the books, "Encyclopedia of Ezra Pound" (2005), "Ezra Pound in Context" (2009), and "The Companion to Ezra Pound and the Arts" (2019). She has also contributed to the books, "Futurism and the Technological Imagination" (2009) and "Handbook of International Futurism" (2019), and the journals, "Italogramma", "Modernism/Modernity", and "Conjunctions".
Awards and recognition.
Fisher has been recognized for her artistic and academic work. She received an Ezra Pound Society Lifetime Achievement Award with Robert Hughes (2013), an American Academy in Rome Prize for Modern Italian Studies (2009), and a Civitella Ranieri Foundation visiting scholar residency for her research and writing. As an artist, she was awarded three National Endowment for the Arts (NEA) Choreographer Fellowships, three NEA Interarts Project awards, a California Arts Council Fellowship, a Djerassi Foundation Bessie Schönberg Fellowship, and commissions for new works by the KALA Institute, Jerome Foundation, Opera at the Institute/PS1, and Fine Arts Museums of San Francisco, among others. Fisher has also received a Japan-U.S. Artist Exchange Fellowship, a Fulbright-Hays Research Award to Italy, and travel awards and artist residencies from Djerassi, Exploratorium in San Francisco, 's Teatro L'Avogaria (Venice), and Lake Placid Center for the Arts (1983).


Richard Joyce (philosopher)

Richard Joyce (born 1966) is a British-Australian-New Zealand philosopher, known for his contributions to the fields of meta-ethics and moral psychology. He is Professor of Philosophy at Victoria University of Wellington.
Background and education.
Joyce was born in England and raised in New Zealand (and is an Australian citizen). After an initial education at the University of Auckland, he received his PhD from Princeton University in 1998 (studying under Gilbert Harman). After Princeton, he was a lecturer at the University of Sheffield for a few years, and then held research fellowships at the Australian National University and the University of Sydney. He took up his professorship at Victoria University of Wellington in 2010.
Ideas.
To hold an error theory about morality is to endorse a kind of radical moral skepticism—a skepticism analogous to atheism in the religious domain. The atheist thinks that religious utterances, such as "God loves you," really are truth-evaluable assertions (as opposed to being veiled commands or expressions of hope, etc.), but that the world just doesn't contain the items (e.g., God) necessary to render such assertions true. Similarly, the moral error theorist maintains that moral judgments are truth-evaluable assertions (thus contrasting with noncognitivism) but that the world doesn't contain the properties (e.g., moral goodness, evil, moral obligation) needed to render moral judgments true. In other words, moral discourse aims at the truth but systematically fails to secure it. This view was argued for by J.L. Mackie in his 1977 book, and Mackie's position and arguments have been developed by Joyce in many publications, most notably his 2001 book "The Myth of Morality".
If a moral error theory is true, then what are we supposed to do with our faulty moral discourse? The natural thought is that we should more or less do away with it (abolitionism). Another possibility is that we should carry on believing it, even while maintaining that it is false (conservationism). Joyce, in contrast, defends a third way—the fictionalist view—which treats morality as a kind of convenient fiction. According to the moral fictionalist, we should carry on using moral discourse, though not believing it or asserting it, such that it has a status similar to make-believe. Joyce likens this view to our familiar use of metaphors, whereby we can convey something important and true via saying something false.
Where does the human capacity for moral thinking come from? One view is that it is the by-product of other psychological faculties that evolved for other purposes—perhaps a relatively recent cultural phenomenon that emerged when humans started living in large groups. Joyce has explored and tentatively advocated the alternative nativist view, according to which human moral thinking is a distinct biological adaptation (i.e., that we are "hard-wired" for moral thinking). Joyce hypothesizes that moral thinking evolved in order to strengthen our ancestors' motivation to engage in adaptive cooperative behavior. This is the subject of his 2006 book "The Evolution of Morality".
If human moral thinking evolved in order to strengthen cooperative bonds among our ancestors, then the question arises as to why we should suppose that it provides us with accurate information. Why should we trust our moral intuitions, no matter how strong they are, if we have a reasonable explanation of their origin that is compatible with their being entirely false? Joyce has developed and defended what has come to be known as an "evolutionary debunking argument," according to which the evolutionary origin of human moral thinking might give us cause to doubt our moral judgments. The conclusion of Joyce's debunking argument is not the error-theoretic view that all moral judgments are false (though this is a conclusion he argues for elsewhere), but the epistemological view that all moral judgments are unjustified.
Works.
Joyce is the author of several books:
He is editor (or co-editor) of several collections:
Joyce has also published numerous journal articles and book chapters.


Lost Boy, Lost Girl

Lost Boy, Lost Girl is a 2003 horror/suspense novel by American writer Peter Straub. The book won the 2003 Bram Stoker Award for Best Novel and was a 2004 August Derleth Award nominee.
Synopsis.
The novel revolves around a middle-aged writer named Timothy Underhill, struggling to help his brother Philip and his nephew, Mark, cope with the recent suicide of Philip's wife, Nancy. A perplexing series of events revolving around a haunted house, a pedophilic serial killer and the lost girl of the title, is triggered when Mark suddenly goes missing and is suspected to be the latest victim of the killer. Mark had begun to harbor an obsession, after the death of his mother, with an abandoned house on the Underhills' street. Timothy and Philip struggle to connect the threads of this mystery and find Mark before he falls victim to the horrors of the abandoned home; horrors both human and supernatural in nature.
A sequel, "In the Night Room" (2004), continues the story.


Peter Vardy (theologian)

Peter Christian Vardy (born July 1945) is a British theologian. The author or co-author of 18 books about religion and ethics, Vardy was vice-principal of Heythrop College, a Jesuit college in London, from 1999 to 2011. He is known for the religious-studies conferences he runs in the UK for schools.
Early life and education.
Vardy was born to Mark Vardy and Christa Lund Vardy; his mother was Danish. He attended Charterhouse, an independent school in Godalming, Surrey. In 1974 he married his first wife, Anne Vardy, née Moore; the couple had two sons and three daughters before divorcing in 2004. Vardy remarried in 2009; he and his wife Charlotte, née Fowler, have one daughter.
Vardy trained as a chartered accountant, becoming a fellow of the Institute of Chartered Accountants (FCA) in 1967. He ran management-training sessions for the National Westminster Bank and Swiss Bank Corporation, and was the chairman of H. Young Holdings plc from 1979–1983. At the age of 30, Vardy began to study theology, receiving a BA from the University of Southampton in 1979 and a PGCE (a teaching qualification) from the West Sussex Institute of Higher Education in 1980. He was awarded a master's degree in theology from King's College London in 1982, and a PhD in theology in 1984, also from King's, for a thesis entitled "The concept of eternity".
Academic career.
Vardy taught philosophy of religion at King's College London and the Institute of Education. He began lecturing at Heythrop College in 1986 and in 1999 became the vice-principal, a position he held until his retirement in 2011.
Whilst at Heythrop, he served on the University of London's Board of Theology (1990–1993). Vardy served as President of the London Society for the Study of Religion from 1996 to 1998 and remained a member until at least 2007 when the Society celebrated its centenary.
Vardy's primary academic interest is in the philosophy of Søren Kierkegaard, whose work he taught at Heythrop for 25 years. From 1987 he organized annual dinners in London on the anniversary of Kierkegaard's death, and in 1996 his book "Kierkegaard" was published, later published as "The SPCK Introduction to Kierkegaard".
Work with schools.
Conferences.
Vardy served as chair of the governors of Shebbear College, a Methodist school in Devon. He has also worked as a member of the Methodist Schools Committee, and has been a keynote speaker at conferences in the field of education, including for UNESCO and UNHRC. While at Heythrop, Vardy served as an editorial adviser for "Dialogue", a journal of religion and philosophy aimed at sixth-form students, and made a series of teaching videos through Dialogue Education. He began running day conferences for sixth-form students in the mid 1990s and set up Wombat Education Ltd in 1998. In 2002 he and Julie Arliss of Richard Huish College, Taunton, organized a conference there and several others around the UK. In 2009 Vardy and his second wife, Charlotte Vardy, set up Candle Conferences Ltd, and in 2012 Candle Education Ltd, through which they run day conferences for schools.
Since 2010 Vardy has campaigned against the introduction of the English Baccalaureate, which he argues has led to a decline in numbers taking religion studies. He views philosophy of religion as an exercise in exploring the terms left undefined by theology (such as "God" and "soul") and encouraging humility. Education is a way to help young people become fully human, in his view, or good in the Aristotelian sense. He described the approach in his books "What is Truth?" (2001) and "Being Human" (2003), and in a paper, "Becoming Fully Human", for "Dialogue Australasia" in 2007.
Dialogue Australasia Network.
In 1999 Vardy worked as a consultant for an Australian school, Geelong Grammar School, in Geelong, Victoria. Later he helped to set up the Dialogue Australasia Network, promoting the "five strands" approach to religious studies in schools that he proposed at the inaugural conference of Dialogue Australasia Network in 1997. This was implemented in a number of Australasian Independent Schools. He also served as an editor and occasional author for the journal "Dialogue Australasia".
Media.
Vardy has served as an editorial adviser for BBC and Channel 4 documentaries, has been interviewed by ABC Radio in Australia, and has written for several publications, including "Times Higher Education", "Eureka Street", and "The Age". Vardy's "Introduction to Kierkegaard" was recommended in 2003 by the BBC Radio 4 Open Book's Reading Clinic.
Selected works.
Books
Articles and chapters


Nat (unit)

The natural unit of information (symbol: nat), sometimes also nit or nepit, is a unit of information or entropy, based on natural logarithms and powers of "e", rather than the powers of 2 and base 2 logarithms, which define the bit. This unit is also known by its unit symbol, the nat. The nat is the coherent unit for information entropy. The International System of Units, by assigning the same units (joule per kelvin) both to heat capacity and to thermodynamic entropy implicitly treats information entropy as a quantity of dimension one, with . Physical systems of natural units that normalize the Boltzmann constant to 1 are effectively measuring thermodynamic entropy in nats.
When the Shannon entropy is written using a natural logarithm,
it is implicitly giving a number measured in nats.
One nat is equal to  shannons ≈ 1.44 Sh or, equivalently,  hartleys ≈ 0.434 Hart. The factors 1.44 and 0.434 arise from the relationships
One nat is the information content of an event if the probability of that event occurring is 1/"e".
History.
Boulton and Wallace used the term "nit" in conjunction with minimum message length which was subsequently changed by the minimum description length community to "nat" to avoid confusion with the nit used as a unit of luminance.
Alan Turing used the "natural ban".


Millennium Snow

, also known as A Thousand Years of Snow, is a Japanese manga series written and illustrated by Bisco Hatori. It was originally serialized in Hakusensha's "LaLa" magazine from July 2001 to May 2002, and later resumed in the January 2013 issue of "LaLa DX" and ended in the December 2013 issue. The story focuses on a sickly teenage girl and a vampire who just might save her life. "Millennium Snow" is licensed in English for release in North America, Australia and Southeast Asia.
Plot.
"Millennium Snow" focuses on Chiyuki Matsuoka, a high school girl hospitalized with a heart problem. Since birth her heart has been very weak and she was told that she would probably live to be only fifteen. However, one day she meets Tōya Kanō, a vampire, with the opposite problem: Tōya lives for about one thousand years. It's customary for a vampire at his age of eighteen to choose a human partner to be with for 1000 years who in turn would let him drink their blood and share his life span for the millennium.
Early in the series, Chiyuki offers Tōya her blood, so that she would be able to live longer, but Tōya refuses, claiming he dislikes the sight and taste of blood. In the beginning, he even looks down on humans, believing that they are weak creatures who will only die before him and leave him behind, but later on he, with the help of Chiyuki, starts to see the world in a different perspective.
Release.
"Millennium Snow" is written and illustrated by Bisco Hatori. The manga was originally serialized in Hakusensha's "LaLa" magazine between the July 2001 and May 2002 issues, and was later collected into two "tankōbon" volumes published from November 2001 to August 2002. A special chapter titled was released in the July 2002 issue of "LaLa DX". The manga resumed in the January 2013 issue of "LaLa DX", and ended in the December 2013 issue. "Millennium Snow" is licensed in English for release in North America by Viz Media, and in New Zealand and Australia by Madman Entertainment. Chuang Yi has licensed the series in English and Mandarin.
Reception.
"Millennium Snow" was positively received by readers. The first volume of the English-language release appeared at the fourth place on "Publishers Weekly"s list of the bestselling graphic novels for April 2007. More than 20,000 copies of the first volume were sold in 2007. In 2013, the Japanese edition of volume three sold an estimated 27,582 copies for the week of August 5–11, with an estimated 27,765 copies sold in all.
In his review of the first "Millennium Snow" volume, Anime News Network's Theron Martin felt that the character designs "not only have the typical ridiculously lanky look but simply aren't very appealing despite her efforts to portray Toya and Satsuki as bishonen studs." Martin liked the unrelated bonus story at the end of the volume, calling it "exquisitely beautiful and melancholy". "Millennium Snow" ranked sixth on About.com's 2007 Reader's Poll for Best New Shojo Manga.


Melanie Killen

Melanie Killen is a developmental psychologist and Professor of Human Development and Quantitative Methodology, and Professor of Psychology (Affiliate) at the University of Maryland, and Honorary Professor of Psychology at the University of Kent, Canterbury, UK. She is supported by funding from the National Institute of Child Health and Human Development (NICHD), and the National Science Foundation (NSF) for her research. In 2008, she was awarded Distinguished Scholar-Teacher by the Provost's office at the University of Maryland. She is the Director of the Social and Moral Development Lab at the University of Maryland.
Education.
Killen obtained her Ph.D. in Developmental Psychology from the University of California, Berkeley, where she was a NIMH Predoctoral trainee. Her PhD advisor was Elliot Turiel. She received her B.A. in Psychology from Clark University, where she was awarded a New England Psychological Association undergraduate Honorary Fellow.
Research.
Killen, along with Adam Rutland, developed the Social Reasoning Developmental (SRD) model which identifies three factors, morality, group identity, and psychological knowledge, that bear on how individuals make social decisions, evaluate intergroup contexts, and display social biases when judging acts to be right or wrong. Morality includes fairness, equality, and rights; group identity includes group dynamics, in-group preferences and outgroup distrust, group advantaged and disadvantaged status, and group functioning; psychological knowledge includes attributions of intentions and mental state knowledge.
Killen has received funding from the NSF and the NICHD for a randomized control trial (RCT) of a program developed by her team designed to reduce prejudice and bias and promote positive intergroup friendships in childhood. The program is called Developing Inclusive Youth (DIY) and has a teaching component called Teaching Inclusive Youth (TIY). The long term goal is to implement the program in school districts interested in addressing prejudice and bias in childhood.
In 2011-2012, Killen and her research team were commissioned by Anderson Cooper at CNN AC360 to conduct a study on children's racial biases which aired in April 2012, and won an Emmy Award for Outstanding News and Analysis, October 1, 2013.
Killen serves on the brain trust initiative in the education unit for the National Museum of African American History and Culture in Washington, D.C., and is a Fellow of the American Psychological Association (APA), Association for Psychological Science (APS), and the Society for the Psychological Study of Social Issues (SPSSI).
Research Areas and Topics of Interest.
Moral Development
Social Cognitive Development
Social exclusion and inclusion in social decision-making
The origins of prejudice, bias, and discrimination
Intergroup attitudes in childhood and adolescence
Moral reasoning and group dynamics
Peer relationships
Children's understanding of social inequalities and social mobility
Honors and CV.
For complete list of honors and CV, see faculty website


Anatol Petrytsky

Anatol Petrytsky (January 31 (February 12), 1895, Kyiv-March 6, 1964, Kyiv) was a Ukrainian painter, stage and book designer.
Biography.
Petrytsky was born in the family of a railwayman. From 1912 to 1918, he studied at the Kiev Art School. Was an apprentice of Vasyl Krychevsky. At the same time, he studied at the studio of Alexander Murashko. In 1916, he debuted as a stage designer. He was Chief Artist of the Young Theater, Les Kurbas (1917-1919) and completed the majority of theatre performances, including "Autumn," "Candida," "Flooded Bell," and "Christmas Vertep."
In 1927, he was one of the founders (together with writers Geo Shkurupii, Dmitry Buzk, Leonid Skrypnyk, Oleksiy Poltoratsky, and Oleksii Vlizko ,and artist Vadym Meller) of the futuristic organization "New Generation."
Petrytsky was the main artist of the First State Drama Theater of the Ukrainian SSR and the Ukrainian musical drama in Kyiv, and also designed books and magazines. He joined the literary associations White Studio (1918) and Flamingo (1919).
The painting "Disabled" by A. Petrytsky was presented at the Venice Biennale of 1930, received a high grade, and then traveled to America for several years as part of an exhibition of paintings, many of which were written by the European press.
Petrytsky died on March 6, 1964 and was buried in Baykovoye Cemetery in Kiev. His tombstone was bronze, the work of sculptor G. N. Kalchenko, and installed in 1970.
More than 500 of Petrytsky's works of stage design belong to the collection of the Museum of Theatre, Music and Cinema of Ukraine. Additionally, some of his works are kept at the National Art Museum of Ukraine.


Tamil Nadu State Film Award for Best Editor

The Tamil Nadu State Film Award for Best Editor is given by the state government as part of its annual Tamil Nadu State Film Awards for Tamil (Kollywood) films.


Nick Clooney

Nicholas Joseph Clooney (born January 13, 1934) is an American journalist, anchorman, and television host. He is the brother of singer Rosemary Clooney and the father of actor George Clooney.
Early life.
Clooney was born in Maysville, Kentucky, the son of Marie Frances (née Guilfoyle; 1904–1972) and Andrew Joseph Clooney (1902–1974). He was one of five children. His father was of Irish and German descent and his mother was of Irish ancestry. While serving as a Corporal in the U.S. Army, he was a disc jockey in the American Forces Network in Germany, hosting the shows "Music in the Air" and "Melody-Go-Round". He then moved to California for a try at show business. When that did not work out, Clooney moved to Ohio, where he met Nina Warren when she was a contestant in a beauty pageant he was judging; they married in August 1959. In addition to his son, George, Nick Clooney has a daughter named Adelia (known as Ada).
Broadcasting and journalism career.
Clooney had an eight-year stint (1958-1966) at WKYT-TV in Lexington, Kentucky, then went to Ohio to host his own TV show, "The Nick Clooney Show", first in Columbus, Ohio, for WLWC television in 1968, then for Cincinnati's WCPO-TV in 1969, and finally with its greatest degree of success for crosstown rival WKRC-TV through the early 1970s. "The Nick Clooney Show" was a local morning show, with a variety and talk-show format. In December 1974, he gained his first national fame by hosting the short-lived ABC daytime game show "The Money Maze". Broadcast nationally on ABC at 4 p.m., WKRC-TV (at the time an ABC affiliate) delayed "The Money Maze" so it could be seen back-to-back with "The Nick Clooney Show" at 10:30 and 11 a.m., respectively.
After ABC canceled "The Money Maze" on July 4, 1975, Clooney returned to WKRC-TV and became the station's news director and lead anchor. As a journalist, he is probably best remembered for his coverage of the 1977 Beverly Hills Supper Club fire and its aftermath, which spanned several years. Many people in the region first heard about the fire from Clooney when WKRC interrupted its Saturday night prime-time schedule to broadcast news of the fire. Clooney pursued a hard news focus that was quite different from the sensationalism often seen on local television. Under his leadership, WKRC-TV became a solid #1 in the local news ratings, dethroning CBS affiliate WCPO-TV, which had controlled ratings for more than two decades under Al Schottelkotte's leadership.
After leaving WKRC in 1984, Clooney then worked in Los Angeles, California, as the 5 p.m. and 11 p.m. co-anchor at KNBC. He returned again to WKRC-TV in the late 1980s, but by that time, NBC affiliate WLWT was number one in the late newscast, with former Cincinnati mayor Jerry Springer as its main anchor; Clooney was not able to lead WKRC back to ratings leadership it enjoyed in the past. He moved on to Salt Lake City, Utah for several years to host the newly created evening news program on the FOX affiliate KSTU. Then in 1994, a short stint as a news anchor for NBC affiliate WGRZ-TV in Buffalo, New York.
He resurfaced nationally in television as a host and researcher for the cable channel American Movie Classics, where he introduced and presented backgrounds of classic movies, along with Bob Dorian. In 1999, he returned to his former radio home WSAI in Cincinnati, starting as afternoon host September 13, then moving to mornings in November to replace Bob Braun, who had health problems.
2004 Congressional campaign.
Clooney ran as a Democrat in the 2004 election for a seat in the House of Representatives representing Kentucky's 4th Congressional District. His opponent for the open seat was Republican Geoff Davis. Clooney was recruited to run by Ken Lucas, the outgoing Democratic congressman who had held onto the conservative district with his moderate views. With his name recognition and well-publicized endorsement from Lucas, Clooney was a big favorite to keep the seat in Democratic hands.
Early in 2004, Davis fought through a (sometimes rough) three-way Republican primary. Despite a commanding early lead, when the national media began to report on the electoral contest (due to his famous son George Clooney), his Republican opponents began using the phrase "Hollywood vs the Heartland" to describe the race. Clooney's lead began to disappear and he was dealt a blow when both "The Kentucky Enquirer" and the "Community Press" newspapers endorsed Davis.
Clooney lost 44% to 54%. During his concession speech, he said his short career in politics was over. He went back to writing a column for "The Cincinnati Post" three times a week, covering a wide range of topics, until the "Post"'s discontinuation at the end of 2007.
Post-Congressional run.
In 2006, Clooney and his son George travelled to Darfur, Sudan, and filmed a documentary, "A Journey to Darfur", which was broadcast on American cable TV as well as in United Kingdom and France. In 2008, it was released on DVD with the proceeds from its sale being donated to the International Rescue Committee to help the people of Darfur.
Clooney became a strong activist for Darfur. He has done several open forums and speeches at local high schools in Ohio and Kentucky, and has participated in different rallies for Darfur. On March 16, 2007, following a Darfur rally, Clooney was awarded an honorary Class of 1952 diploma from St. Xavier High School, the high school he attended in Cincinnati before moving to California. On October 11, 2007, Clooney visited Turpin High School in Cincinnati to talk to students about Darfur. The University of Kentucky announced that it would present him with an honorary degree at its 2007 commencement.
Clooney served as the host of the Dayton Literary Peace Prize awards ceremony in both 2007 and 2008.
In fall 2008, Clooney joined the faculty at American University in Washington, D.C. as American University School of Communication and Newseum Distinguished Journalist in Residence. Clooney's appointment is part of a long-term partnership between the School of Communication and the Newseum, the interactive museum of news in Washington, D.C. As part of the school-Newseum partnership, Clooney hosted the fifth annual AU School of Communication-Newseum Reel Journalism Film Festival and other events at the Newseum. "After a news career that stretches back to the Eisenhower administration, I'm looking forward to joining American University's School of Communication and the Newseum to work with a new generation of prospective journalists," said Clooney.
Clooney taught Opinion Writing in fall 2008, and in spring 2009, he taught Films that Changed Us, a new course based on his book, "The Movies That Changed Us: Reflections on the Screen" (Atria, 2002). The book analyzes the significance of such iconic American films as "The Birth of a Nation", "The Jazz Singer", "Dr. Strangelove", "Stagecoach", "The Graduate", "Star Wars" and "Saving Private Ryan".
Clooney was the commencement speaker for the University of Cincinnati on June 8, 2012 and was awarded an honorary degree the following day.
In 2014, Nick Clooney appeared in "The Monuments Men" which was directed by his son, George Clooney, who played one of the leading characters, Stokes. Nick Clooney played the older Stokes visiting Bruges, Belgium, years later to see the Madonna, which was one of the many treasures rescued by the Monuments Men.


Holst action

In the field of theoretical physics, the Holst action is an equivalent formulation of the Palatini action for General Relativity (GR) in terms of vierbeins (4D space-time frame field) by adding a part of a topological term (Nieh-Yan) which does not alter the classical equations of motion as long as there is no torsion,
where formula_2 is the tetrad, formula_3 its determinant (the space-time metric is recovered from the tetrad by the formula formula_4 where formula_5 the Minkowski metric), formula_6 the curvature considered as a function of the connection formula_7:
formula_9 a (complex) parameter, and where we recover the Palatini action when formula_10. It only works in 4D. To be torsion free means the covariant derivative defined by the connection formula_7 when acting on the Minkowski metric formula_5 vanishes, implying the connection is anti-symmetric in its internal indices formula_13.
As with the first order tetradic Palatini action where formula_2 and formula_7 are taken to be independent variables, variation of the action with respect to the connection formula_7 (assuming it to be torsion-free) implies the curvature formula_6 be replaced by the usual (mixed index) curvature tensor formula_18 (see article tetradic Palatini action for definitions). Variation of the first term of the action with respect to the tetrad formula_2 gives the (mixed index) Einstein tensor and variation of the second term with respect to the tetrad gives a quantity that vanishes by symmetries of the Riemann tensor (specifically the first Bianchi identity), together these imply Einstein's vacuum field equations hold.
Applications.
The canonical 3+1 Hamiltonian formulation of the Holst action with formula_20 happens to correspond to Ashtekar variables which formulates (complex) GR as a special type of Yang-Mills gauge theory. The action was seen simply to be the Palatini action with the curvature tensor replaced by its self-dual part only (see article self-dual Palatini action).
The canonical 3+1 Hamiltonian formulation of the Holst action for real formula_9 was shown to have a configuration variable which is still a connection, and the theory still a special kind of Yang-Mills gauge theory, but has the advantage that it is real, as is then the corresponding gauge theory (so we are dealing with real General Relativity). This Hamiltonian formulation is the classical starting point of loop quantum gravity (LQG) which imports non-perturbative techniques from lattice gauge theory. The parameter defined by formula_22 is usually referred to as the Barbero-Immirzi parameter The Holst action finds application in most recent versions of spin foam models, which can be considered path integral versions of LQG.


Lotschnittaxiom

The Lotschnittaxiom (German for "axiom of the intersecting perpendiculars") is an axiom in the foundations of geometry, introduced and studied by Friedrich Bachmann It states:
Perpendiculars raised on each side of a right angle intersect.
Bachmann showed that, in the absence of the Archimedean axiom, it is strictly weaker than the rectangle axiom, which states that there is a rectangle, which in turn is strictly weaker than the Parallel Postulate, as shown by Max Dehn. In the presence of the Archimedean axiom, the Lotschnittaxiom is equivalent with the Parallel Postulate.
Equivalent formulations.
As shown by Bachmann, the Lotschnittaxiom is equivalent to the statement
Through any point inside a right angle there passes a line that intersects both sides of the angle.
It was shown in that it is also equivalent to the statement
The altitude in an isosceles triangle with base angles of 45° is less than the base.
and in that it is equivalent to the following axiom proposed by Lagrange:
If the lines a and b are two intersecting lines that are parallel to a line g, then the reflection of a in b is also parallel to g.
As shown in, the Lotschnittaxiom is also equivalent to the following statements, the first one due to A. Lippman, the second one due to Henri Lebesgue
Given any circle, there exists a triangle containing that circle in its interior.
Given any convex quadrilateral, there exists a triangle containing that convex quadrilateral in its interior.
Three more equivalent formulations, all purely incidence-geometric, were proved in
Given three parallel lines, there is a line that intersects all three of them.
There exist lines a and b, such that any line intersects a or b.
If the lines a_1, a_2, and a_3 are pairwise parallel, then there is a permutation (i,j,k) of (1,2,3) such that any line g which intersects a_i and a_j also intersects a_k.
In Bachmann's geometry of line-reflections.
Its role in Friedrich Bachmann's absolute geometry based on line-reflections, in the absence of order or free mobility (the theory of metric planes) was studied in and in.
Connection with the Parallel Postulate.
As shown in, the conjunction of the Lotschnittaxiom and of Aristotle's axiom is equivalent to the Parallel Postulate.


Gunasthana

 (Sanskrit: "levels of virtue") are the fourteen stages of spiritual development and growth through which a soul gradually passes before it attains "moksha" (liberation). According to Jainism, it is a state of soul from a complete dependence on "karma" to the state of complete dissociation from it. Here the word "virtue" does not mean an ordinary moral quality, but it stands for the nature of soul — knowledge, belief and conduct.
Classification.
The fourteen "Gunasthāna" represents the soul's gradual manifestation of the innate qualities of knowledge, belief and conduct in a more and more perfect form. Following are the stages of spiritual development:
The Fourteen stages.
The first stage signifies gross ignorance. If at this stage, a person meditates on his existence, there is a temporary suspension of the following:
This "gunasthāna" represents the mental state of the soul in the process or act of falling from right faith. Here "sā" means "with" and sādana means "exhausted", hence that which is characterised by exhausted faith.
"Misra" literally means mixed. At this stage, a person hovers between certainty and doubt on Right belief.
When doubts of an individual are removed, he/she reaches this stage and becomes a "samyagdrishti" (true believer). The doubts may have been removed by meditation or the instruction of a spiritual teacher.
"Deśa" means partial and "virata" means vow i.e. observance of the partial vows in pursuit of Right conduct.
First step of life as a "Jain muni" (monk). The stage of complete self-discipline, although sometimes brought into wavering through negligence.
The stage of one in whom the passions are still occurring in a gross form.
The stage of one who practices the process called "annivrtti karaņa" and in whom however the passions are still occurring.
The stage of one in whom the passions occur in a subtle form.
The stage of one who has suppressed every passion but still does not possess omniscience.
The stage of who has annihilated every passion but does not yet possess omniscience. According to the Jain text, "Gommatsāra Jīvakanda":
"Sa" means "with" and yoga refers to the three channels of activity, i.e., mind, speech and body. "Kevali" is a term used to refer the omniscient beings ("arihantas"). This stage is characterised by the destruction of all inimical ("ghātiā") "karmas" and attainment of omniscience.
This is the last stage on the Path, and is followed by the soul's destruction of the "aghātiā karmas". Those who pass this stage are called "siddha" and become fully established in Right Faith, Right Knowledge and Right Conduct.
The destruction of causes of bondage.
The whole scheme of "gunasthana" in Jain philosophy is devised in a logical order according to the principle of decreasing sinfulness and increasing purity. At the first stage, all the five causes of bondage — Irrational beliefs ("mithyatva"), non-restraint ("avirati"), carelessness ("pramada"), passions ("kashaya") and activities of mind, speech and body ("yoga") — are in full operation. Irrational beliefs ("mithyatva") are partially suppressed in the second and third stages, and are fully eliminated in the fourth stage. In stages five and six, non-restraint ("avirati") is gradually eliminated in stages. From the seventh stage onwards, carelessness is removed and only passions and activity exercise their influence. From the eleventh to the thirteenth all the passions are eliminated and only activity is present. On the last stage, there is no activity, hence no binding of karma.
The destruction of karmas.
Out of the four ghatiya karmas, darsana mohiniya karma (perception deluding karma) is destroyed first in the fourth stage of "gunasthana". Caritra mohiniya karma (conduct deluding karma) is destroyed next in the twelfth gunasthana. The remaining three ghatiya karmas (knowledge obstructing karma, perception obstructing karma and energy obstructing karma) are destroyed in the 13th stage and the rest four aghatiya karmas (life-span determining, body determining, status determining and feeling producing karmas) are destroyed in the 14th or the last stage of gunasthana.


Eugenia Rico

Eugenia Rico is a Spanish novelist, poet and journalist.
Life.
Coming from a poor family she won her first literary award at the age of five. She studied Law and International Relations in Oviedo, Toulouse and Brussels but gave up everything to dedicate herself to literature. She traveled through the whole world, including India, South America, China and Africa.
She started writing and, after a difficult period in which she even sold flowers in the street, she worked in the reconversion of mining communities. Her first novel "Sad Lovers" was a great success winning her wide recognition. Afterwards she published "The White Death" (dealing with the loss of his little brother).
She contributes to El País, El Mundo, La Revista de occidente, La Nouvelle Revue Francaise and Der Spiegel. She has been the first Spaniard selected as a resident in the prestigious International Writing Program at the University of Iowa.


Brynley F. Roberts

Brynley Francis Roberts (born 1931), known as Bryn Roberts, is a Welsh scholar and critic, who has written much on the Welsh language and Celtic history. He was Professor of Welsh Language and Literature at the University of Wales, Swansea 1978–1985 and Librarian of the National Library of Wales in 1985–1994, then made editor of the "Dictionary of Welsh Biography" in 1987 and of "Y Traethodydd" in 1999. He is on the council of the Honourable Society of Cymmrodorion and involved in the Morfa Chapel, Aberystwyth, part of the Presbyterian Church of Wales.


LM3LABS

LM3LABS is a start-up company that develops hardware and software for motion-based control of computers.
History.
LM3Labs was founded in 2004 to commercialize products that use technologies developed in part at the French National Centre for Scientific Research (CNRS). These technologies use finger tracking, gesture interaction, body interaction, and eye and face recognition to provide interaction with computer systems by gestures instead of through hardware such as keyboards and mice. The prototype installation was installed in the executive showroom at the headquarters of mobile phone operator NTT DoCoMo.
Computer Interactivity.
The technologies developed by LM3LABS combine active and passive gesture recognition with displays to present and control information. One system, called Catchyoo, controls digital signage to track user interaction with advertisements. The company has also introduced AirStrike, which allows touchless gesture control of computers such moving a window or turning a page. They have also demonstrated combining Airstrike with a holographic display to create an interactive hologram.


MTV Video Music Award for Best Editing

The MTV Video Music Award for Best Editing is a craft award given to the artist, the artist's manager, and the editor of the music video. From 1984 to 2007, the award's full name was Best Editing in a Video, before acquiring its current name in 2008.
The biggest winners are Jarrett Fijal and Ken Mowe with three wins each. Jim Haygood, Eric Zumbrunnen, and Robert Duffy follow closely behind with two wins each. The most nominated editor is Jarrett Fijal with eight followed by Robert Duffy with seven. Closely following them is Jim Haygood with six nominations. The performer whose videos have won the most awards is Beyoncé. Likewise, Beyoncé's videos have received the most nominations with five. Beyoncé and Billie Eilish are the only performers to have won a Moonman in this category for their work co-editing 7/11 in 2015 and editing Bad Guy in 2019 respectively. However, three other performers have been nominated for their work co-editing videos: George Michael ("Freedom! '90"), Jared Leto ("Hurricane"), and Ryan Lewis ("Can't Hold Us")