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31958810#2 | Daybehavior | During 1998 and 1999 they, recorded their follow-up album with Kevin Petri, engineer on Massive Attack's debut album "Blue Lines" (1991). NONS, dealing with financial problems, went into bankruptcy 99 and the album was locked from being released. The band in despair decided to take a break and Arell moved to Thailand. |
31958810#3 | Daybehavior | By 2003, Crescentini and Hammar decided to finish the album, now updated with some new material. Their second album, "Have You Ever Touched a Dream?" was released in 2004 by American indie label A Different Drum. |
31958810#4 | Daybehavior | Crescentini and Hammar, not feeling comfortable with the missing part of the trio as well as having musical differences, decided to put the band on hold. |
31958810#5 | Daybehavior | In 2009, Arell thought it was time to rejoin the band and started to work on new material. |
31958810#6 | Daybehavior | During summer and fall 2010, the band recorded their new album, "FOLLOW THAT CAR!", which was released September 2012. |
31958810#7 | Daybehavior | The band also made original music for a film, "Ellinor's Wedding" ("Ellinors bröllop"; 1996) and have had several songs in the "Dance Dance Revolution" music video game. |
31958825#0 | Black bishop | The black bishop ("Euplectes gierowii") is a species of passerine bird in the family Ploceidae native to Africa south of the Sahara. Three subspecies are recognised. |
31958825#1 | Black bishop | The black bishop was first described by the German ornithologist Jean Cabanis in 1880 and named after H. Gierow, a Swedish explorer and collector in Angola. It is sometimes placed with "E. aureus" and "E. hordeaceus" in a separate genus, "Groteiplectes". |
31958825#2 | Black bishop | A study of the molecular phylogeny of bishops and widowbirds published in 2008 found that it formed part of a clade along with the fire-fronted bishop ("E. diadematus"), black-winged red bishop ("E. hordeaceus"), northern red bishop ("E. franciscanus"), southern red bishop ("E. orix"), Zanzibar red bishop ("E. nigroventris") and red-collared widowbird ("E. ardens"). An alternate common name is Gierow's bishop. |
31958825#3 | Black bishop | Three subspecies of the black bishop are now recognized.At , the black bishop is large for its genus. The breeding male is black on the wings, tail, chest, cheeks and forehead. The neck, back of the head and breast band) are orange or orange-red. The under tail-coverts are pale buff with black streaks, and the upper back is yellow or orange-yellow in subspecies "ansorgei", and orange in "friederichseni". The throat is scarlet in the nominate subspecies and black in "ansorgei". The subspecies "friederichseni" has the undertail coverts isabelline. The upper back is golden yellow and the rump is brown. The conical bill, characteristic of finches, is black and the tarsus is brown. Females are dark, including the sides of the face, have boldly spotted under tail-coverts, and dark spots on a buff breast. The female's wing linings are black. The non-breeding male is black on the back, wings and rump, with yellowish supercilia and chin; the sides of face and breast are tawny buff. The juvenile resembles the female but has smaller breast spots. The calls comprise various subdued twittering sounds, including "see-zee see-zee see-zhe see-zhe SEE-ZHEE", "zee-zee-zeezee-zee", and "hishaah, hishaah, SHAAAAAAH, tsee-tseet-tseet-tseet". |
31958825#4 | Black bishop | The black bishop is native to Angola, Cameroon, Central African Republic, Republic of the Congo, Democratic Republic of the Congo, Ethiopia, Kenya, South Sudan, Tanzania, and Uganda. Its preferred habitats are grasslands, shrublands, and wetlands. |
31958825#5 | Black bishop | The black bishop can sometimes be found in small flocks, but is not a highly gregarious species, especially when nesting. It is probably polygynous. The male defends the territory during breeding season. |
31958835#0 | Greenwood frequency | In adaptive optics, the Greenwood frequency is the frequency or bandwidth required for optimal correction with an adaptive optics system. It depends on the transverse windspeed and the turbulence strength in the atmosphere. This can be easily understood since if the turbulence moves over the telescope opening faster, the speed at which the wavefront needs to be corrected is higher, and vice versa. There are various ways to define the Greenwood frequency, but all the definitions attempt to represent the frequency at which the turbulence distortion of the image is changing. The reciprocal of the Greenwood frequency is sometimes known as the Greenwood or atmospheric time constant (τ). Since the distortions are approximately constant over a period less than this time constant, adapting the optical system at a faster rate yields negligible benefits; conversely, adaptive system performance degrades significantly as the response speed decreases below the Greenwood value, since that means that the distortions are changing faster than the system can adapt. Greenwood frequencies in common applications typically run from tens of hertz up to hundreds or even a few kilohertz, but unusual atmospheric conditions or unusual optical equipment can give very different values. |
31958835#1 | Greenwood frequency | One expression for the Greenwood frequency is given by |
31958835#2 | Greenwood frequency | formula_1 |
31958835#3 | Greenwood frequency | With formula_2 the zenith angle, formula_3 the windspeed as function of height and formula_4 the so-called atmospheric turbulence constant structure function, a measure of the turbulence strength as function of height. |
31958846#0 | Tech Plus Forum | The Tech Plus Forum (tech+) is a government-affiliated, international, non-profit "knowledge concert" held each year in Seoul, South Korea. It was created to bring together recognized international and domestic innovation and inspiration leaders in the fields of technology, economy, culture and humanity. The name tech+ literally stands for these four contrasting but closely correlated fields. Since 2009, tech+ has been providing a public platform for the world’s intellectual community to promote and develop theories and solutions to tackle cutting edge issues related to industrial technology. The audience, consisting of university students, academics, government officials and professionals, attracted 8000 participants in 2010. Past speakers have included international and domestic policy makers, business leaders, innovators, artists and academics. Each fall, the tech+ Forum is jointly hosted by the Korean Ministry of Knowledge Economy and JoongAng Ilbo, and is organized by the Korea Institute for Advancement of Technology (KIAT)
At the conclusion of the forum, KIAT releases a series of publications aimed at making suggestions regarding specific government policies. These documents are public and are intended to help shape the direction government policy as well. |
31958846#1 | Tech Plus Forum | The objectives of the tech+ Forum are: |
31958846#2 | Tech Plus Forum | Talks at tech+ 2011, hosted at Grand Peace Palace, Kyung Hee University, focused on the interaction and interconnectedness of technology and humanity. The event was separated into 5 chapters with 23 international and domestic speakers attending. 7428 participants attended over the two-day run. |
31958846#3 | Tech Plus Forum | "tech+ 2011 Program" |
31958846#4 | Tech Plus Forum | "2011 Wiki-notable Speakers" |
31958846#5 | Tech Plus Forum | Under the main theme, Innovate Korea, tech+ 2010 was aimed to link with and complement the 2010 G-20 Seoul summit meeting and the Seoul G20 Business Summit. In cooperation with 22 speakers, tech+ 2010 introduced new paradigms for the future of technology in Korea and the world. |
31958846#6 | Tech Plus Forum | "tech+ 2010 Program" |
31958846#7 | Tech Plus Forum | The 2010 forum aimed at creating a foundation for the co-evolution of the knowledge ecosystem through harmonious communication between all technological fields and the open sharing of insights into the latest critical questions. Session themes included: |
31958846#8 | Tech Plus Forum | "2010 Wiki-notable Speakers" |
31958846#9 | Tech Plus Forum | "Performers" |
31958846#10 | Tech Plus Forum | 2009 marked the launch of the tech+ Forum and aimed at exploring the themes of an "Era of Collaboration and Culture" and "Future Countermove with Enterprise". Session themes included: |
31958846#11 | Tech Plus Forum | "tech+ 2009 Program" |
31958846#12 | Tech Plus Forum | "2009 Wiki-notable Speakers" |
31958859#0 | Kanal Kannan | Kanal Kannan (born as V. Kannan) is an Indian fight master/action choreographer, actor and screenwriter in Kollywood, Malayalam cinema, Cinema of Andhra Pradesh, Cinema of Karnataka and Bollywood. |
31958869#0 | Tatyana Arntgolts | Tatyana Albertovna Arntgolts (Russian: Татья́на Альбе́ртовна Арнтго́льц; born 18 March 1982) is a Russian theater and film actress. |
31958869#1 | Tatyana Arntgolts | Twin sisters Tatyana and Olga born in Kaliningrad, Russian SFSR, Soviet Union. In a family of actors of the Kaliningrad Regional Drama Theater: Honored Artist of the RF Albert Arntgolts and actress Valentina Arntgolts (née Galich).
She has an identical twin sister Olga, who is also an actress. Together they studied at M.S. Schepkin Higher Theatre School in Moscow. |
31958869#2 | Tatyana Arntgolts | In 2008, Tatyana married actor Ivan Zhidkov. In September 2009, she gave birth to daughter Maria in Moscow. In the summer of 2013 the couple divorced. |
31958869#3 | Tatyana Arntgolts | Also, the actress met with Grigory Antipenko, but later the couple broke up. |
31958869#4 | Tatyana Arntgolts | In 1999 Arntgolts made her acting debut in the youth drama series "Prostiye istiny" (The Simple Truth), in which she played student Katya Trofimova. |
31958869#5 | Tatyana Arntgolts | In 2008 Arntgolts participated in the Channel One show "Lednikoviy Period" (Ice Age), where celebrities paired with professional figure skaters and each week competed by performing ice dancing routines. Her partner was Maxim Staviski. |
31958880#0 | Maitland Mackie | Sir Maitland Mackie, (16 February 1912 – 18 June 1996), often known as Mike Mackie, was a British Liberal Party politician, farming pioneer, educational innovator and Lord-Lieutenant of Aberdeenshire. |
31958880#1 | Maitland Mackie | He was the son of Dr Maitland Mackie OBE and Mary Yull. He attended Aberdeen Grammar School. He graduated from the University of Aberdeen with a BSc in Agriculture in 1933. He married Isobel Ross in 1935 and they had two sons and four daughters. He celebrated his silver wedding with her before her death in 1960. In 1963, he married a Texan, Pauline Turner, who died in 1993. The Mackie family is best known for its ownership of the 'Mackie's of Scotland' ice cream company. His younger brothers were John Mackie who served as Labour MP and George Yull Mackie who became a Liberal MP, both subsequently entering the House of Lords. His son, Maitland Mackie, CBE, was Chairman of Mackies Scotland until his death in May 2014, while his grandson, Maitland (Mac) Mackie is the current managing director. |
31958880#2 | Maitland Mackie | In 1932 he started farming. In 1950 he toured America and Canada as an agricultural speaker for British Information Services. He pioneered the use of silage in Scottish dairy farming and was the first man north of the River Tay to own a combine harvester.
A scholarship worth £1,000 in Sir Maitland's name was established at the University of Aberdeen School of Biological Sciences. The scholarship is awarded to students who can demonstrate promise in the field of Animal Production for the Food Industry or Rural Land-use and the Environment. |
31958880#3 | Maitland Mackie | He was Vice-chairman of Aberdeen Youth Council. He was a district commissioner of the scout movement. He was elected to Aberdeenshire County Council in 1951 and served for fifteen years as chairman of the education committee which earned him a Fellowship of the Educational Institute of Scotland. He was Liberal Party parliamentary candidate for West Aberdeenshire at the 1951 General Election; |
31958880#4 | Maitland Mackie | He was Liberal party parliamentary candidate for Aberdeenshire East in the East Aberdeenshire by-election, 1958. |
31958880#5 | Maitland Mackie | He was appointed a CBE in 1965. He was chairman of Aberdeen District Milk Marketing Board from 1965 to 1982. He was a governor of the North of Scotland College of Agriculture from 1968 to 1982. He was the first chairman of the North East of Scotland Development Authority from 1969 to 1975. As chair of the North East of Scotland Development Authority he worked hard to encourage the international oil industry in the area. He headed the first Scottish trade mission to Houston, Texas. He was knighted in 1982. |
31958880#6 | Maitland Mackie | Sir Maitland's autobiography, "A Lucky Chap" was published in 1993. |
31958884#0 | Garanti Gallery | Garanti Gallery (GG) was a cultural institution based in Istanbul, Turkey, specializing in design, architecture and urbanism. Through its various exhibitions, lectures, conferences, workshops and publications, GG filled a great gap regarding its areas of expertise in the city and the country in general. GG was the first venue in Turkey to host the exhibitions of works by internationally renowned architects and designers such as Steven Holl, Zaha Hadid, Archigram, Hella Jongerius, Konstantin Grcic, Ezri Tarazi and Yossi Lemel. |
31958884#1 | Garanti Gallery | GG was founded in 2003 with the support of Garanti Bank. Until August 2008, it organized thirty-one exhibitions at its 70m2 gallery on Istiklal Avenue. Throughout its active period, its programs were shaped by the contribution of an advisory committee made up of Bülent Tanju, UğurTanyeli, Han Tümertekin, Alpay Er, Semra Öndeş and honorary members Bülent Erkmen and Sibel Asna. GG was directed by Münevver Eminoğlu (2003–2005) and Pelin Derviş (2005–2010). In 2010, GG merged with Platform Garanti Contemporary Art Center and the Ottoman Bank Archives and Research Centre (OBARC) under the auspices of Garanti Kültür AŞ to form a new institution – SALT. |
31958884#2 | Garanti Gallery | The exhibitions at GG aimed to explore all types of design and to open them to discussion. The exhibition entitled "Wearing Architecture Inside Out, Rural Studio: Architecture as Transgression and Ambiguity" questioned the concept of social responsibility in architecture by focusing on the experiences the students of Auburn University participating in the applied architecture workshop “Rural Studio” had with their “clients” living well below the poverty line in Hale County, Alabama. Curated by Aykut Köksal, the exhibition entitled "Soundspace: Spatial Works in Contemporary Music" showcased examples of spatial music produced after the 1950s, accompanied by drawings, texts, video recordings of performances and video works based on these compositions. As part of this exhibition, a concert of spatial music works was organized, a first in Turkey. In another project GG cooperated with OBARC to depict in two exhibitions and a book the intellectual and architectural journey of Turgut Cansever, one of the most original and dissident architects of Republic Era Turkey. Directed by Uğur Tanyeli and Atilla Yücel, this project was the first retrospective exhibition of an architect based on archival documents. |
31958884#3 | Garanti Gallery | The range of topics GG opened up for debate in the area of design included the digital world. "Project MUTEN Istanbul" exhibited the urban design proposed by KOL/MAC, one of the leaders of digital architecture, for the Galataport area. Based on network intelligence and strategies, this design was a different and productive scenario that displayed the contradictions and vicious circles in the ongoing debates concerning the area. Following Project MUTEN, the number of experimental works at GG increased and their content became more varied. As one of the stages of the long-term project Fibrous Structures directed by Claudia Pasquero, Marco Poletto and Nilüfer Kozikoğlu, "Fibrous Room; Evolving Structural Logic" exhibited not the design product per se but rather a phase in the design research process. The life-size prototype made of woven hollow fibers developed in time as the fibers were filled with concrete one month later and as the concrete then solidified. Curated and designed by Marcos Novak, the exhibition entitled "Turbulent Topologies" dealt with turbulence as a formal principle and a condition of the global metropolis. Novak examined the turbulent topologies of currents, links, connections, networks and stratifications by using high-tech fragile statues and a virtual environment that the bodies of visitors turned into physical sound and images. After the exhibition in Istanbul, "Turbulent Topologies" was exhibited at Palazzetto Tito (Fondazione Bevilacqua La Masa, 2008) concurrently with the 11th Venice Architecture Biennial and at IVAM (Institut Valencià d'Art Modern, 2009) as part of "Confines", a retrospective curated by Aaron Betsky. |
31958884#4 | Garanti Gallery | GG supported the content of all exhibitions with lectures, conferences, panel discussions and workshops, thereby aiming to create an environment of discussion and production. The most radical example of this was "Hackers and Haute Couture Heretics: Subconstructive Strategies in the Fashion System". Curated by Otto von Busch, the exhibition examined how the processes of hacking, shopdropping and craftivism were used as tactics at the outskirts of fashion. Throughout the six-week period while the exhibition was open, Busch held workshops with artists and designers who proposed new work methods within the fashion system. The aim of the workshops was to create a variety of practical low-level interventions and perspectives from which to look upon fashion both as a phenomenon as well as a material that can be transformed. |
31958884#5 | Garanti Gallery | "Becoming Istanbul" is one of the long-term research and publication projects begun by GG to discuss the method of exhibition as part of the exhibition content itself, and has now been passed on to SALT. For the purposes of the exhibition, an interactive database has been constructed to help defy the received wisdom and clichés that accompany the debates on change and transformation that have been going on in Istanbul for a long time. The database included artist videos, photography series, architectural projects, TV news items and cartoons reflecting the current state of the city, and was projected onto the walls of the exhibition space, allowing each user to browse the database by using a mouse connected to the system. "Becoming Istanbul" was exhibited at the German Architecture Museum (DAM, 2008) in Frankfurt, Deutsches Architektur Zentrum (DAZ, 2009) in Berlin and Al Riwaq Gallery (Bahrain, 2009) in Al Manama. Curators of the exhibition, Pelin Derviş, Bülent Tanju and Uğur Tanyeli, edited the multi-authored dictionary "Becoming Istanbul", which was published in English and German in 2008. The book was published in Turkish in 2009 under the title "İstanbullaşmak: Olgular, Sorunsallar, Metaforlar". The same year saw the publication of Tracing Istanbul [from the air], a book made up of interviews based on aerial photographs by Oğuz Meriç and edited by Meriç Öner, as well as "Mapping Istanbul", which was edited by Pelin Derviş and Meriç Öner and brought together the views and research of numerous academics and experts through maps, diagrams and texts. The exhibition can be visited at SALT Beyoğlu between September and December 2011. The online version of the interactive database can be accessed at http://database.becomingistanbul.org. |
31958884#6 | Garanti Gallery | Between 2005 and 2010, GG published exhibition yearbooks as well as various books related to exhibitions and other projects. |
31958884#7 | Garanti Gallery | "GG 2003-2004", Garanti Gallery 2005, Istanbul, |
31958884#8 | Garanti Gallery | "GG 2005", Garanti Gallery 2006, Istanbul, |
31958884#9 | Garanti Gallery | "GG 2006", Garanti Gallery 2007, Istanbul, |
31958884#10 | Garanti Gallery | "GG 2007-2008", Garanti Gallery 2009, Istanbul, |
31958884#11 | Garanti Gallery | "Turgut Cansever Düşünce Adamı ve Mimar", Uğur Tanyeli, Atilla Yücel, Ottoman Bank Archives and Research Center and Garanti Gallery 2007, Istanbul, |
31958884#12 | Garanti Gallery | "Mimarlığın Aktörleri Türkiye 1900-2000", Uğur Tanyeli, Garanti Gallery 2007, Istanbul, |
31958884#13 | Garanti Gallery | "Becoming Istanbul: An Encyclopedia", Edited by Pelin Derviş, Bülent Tanju, Uğur Tanyeli, Garanti Gallery 2008, Istanbul, |
31958884#14 | Garanti Gallery | "Becoming Istanbul: Eine Enzyklopadie", Edited by Pelin Derviş, Bülent Tanju, Uğur Tanyeli, Garanti Gallery 2008, Istanbul |
31958884#15 | Garanti Gallery | "İstanbullaşmak: Olgular, Sorunsallar, Metaforlar", Edited by Pelin Derviş, Bülent Tanju, Uğur Tanyeli, Garanti Gallery 2009, Istanbul, |
31958884#16 | Garanti Gallery | "Tracing Istanbul (from the air)", Photography: Oğuz Meriç, Edited by Meriç Öner, Garanti Gallery 2009, Istanbul, |
31958884#17 | Garanti Gallery | "Mapping Istanbul", Edited by Pelin Derviş, Meriç Öner, Map design: Superpool, Garanti Gallery 2009, Istanbul, |
31958884#18 | Garanti Gallery | "ISTANBUL PARA-DOXA / Conversations on the City and Architecture, Boğaçhan Dündaralp, Aslı Kıyak İngin, Nilüfer Kozikoğlu", Edited by Pelin Derviş, Garanti Gallery 2010, Istanbul, |
31958884#19 | Garanti Gallery | GG organized a 12-session “Transdisciplines Lecture Series” in collaboration with Platform Garanti in 2008 and 2009. The lectures aimed to open to discussion the production environment that would transcend disciplines as envisioned by the new institution to be formed by GG and Platform Garanti while the process of unification and change undertaken by these two entities still continued. Lecturers in chronological order were Marcos Novak, Marie-Ange Brayer, Peter Taylor, Fiona Raby of Dunne & Raby, George Legrady, Hans Ulrich Obrist, Charles Waldheim, Nikolaus Hirsch, Peter Cook, Gijs van Oenen, Ciro Najle and Trevor Paglen. |
31958884#20 | Garanti Gallery | Architecture and Design Archive Turkey (ADAT) became active in 2008 under the direction of Gökhan Karakuş as the joint project of GG and Platform Garanti, with the aim of demonstrating the historical development in the fields of architecture and design in Turkey. ADAT treats architecture and design as two main factors that complete each other, and as two separate denominators of a shared practice. Archival work follows two different research methodologies in the fields of architecture and design. Architectural research began with the “senior architects” including Cengiz Bektaş, Utarit İzgi, Turgut Cansever, Sedad Hakkı Eldem and Kemali Söylemezoğlu. The personal archives of the architects were digitized and catalogued, and became part of ADAT. A chronological approach was preferred in the field of design, and images of personal and institutional productions belonging to the KareMetal Group of the 1950s, the Koz family (MPD), Yıldırım Kocacıklıoğlu (INTERNO), Aziz Sarıyer (Derin) and Yılmaz Zenger were digitalized and catalogued. During the three years of active research, ADAT collected over 20,000 digital images and more than 4000 physical material. Since 2010, ADAT continues its activities as part of SALT, and plans to open its doors to researchers in 2012. |
31958884#21 | Garanti Gallery | In 2007, GG began to expand the modest library it had formed with the purpose of aiding the research necessary for its exhibitions and events. In 2008 it merged with the library of Platform Garanti Contemporary Art Center. A serious and research-based investment is now under way to include the canonical and most recent publications of a great variety of disciplines that will contribute to the fields of architecture, design and urban planning. The library's holdings open to the public at SALT Research on November 22, 2011. |
31958885#0 | Yellow-crowned bishop | The yellow-crowned bishop ("Euplectes afer") is a species of passerine bird in the family Ploceidae native to Africa south of the Sahara. It is highly sexually dimorphic in its breeding season, during which the male adopts a distinctive yellow and black plumage, contrasting with the female's predominantly brown coloration. Three subspecies are recognised. |
31958885#1 | Yellow-crowned bishop | The yellow-crowned bishop was first described by the German naturalist Johann Friedrich Gmelin in 1789. It and the fire-fronted bishop have occasionally been placed in the separate genus "Taha" but DNA places it in "Euplectes", without close relatives however. In captivity it has interbred with the northern red bishop. Alternate common names include: golden bishop, Napoleon bishop, Napoleon weaver, black-winged golden bishop, goudgeelvink (in Afrikaans), Napoleonwever (in Dutch), euplecte vorabé (in French), Napoleonweber (in German), and obispo coronigualdo (in Spanish). |
31958885#2 | Yellow-crowned bishop | Three subspecies of the yellow-crowned bishop are now recognized.The yellow-crowned bishop is in length and in weight. During the breeding season it is sexually dimorphic — that is, the observable characteristics of the males become more apparent. During the breeding season, the male has distinctive golden yellow and black plumage. The bill of both sexes is short and conical. The color of the male's bill is black during breeding season; by contrast, during non-breeding season, the male's bill is horn in color, as is the female's. The legs and feet are pinkish brown. The male has a black lower face, throat, breast and belly, a wide black collar on the back of the neck, and a brilliant yellow crown, forehead, and hindcrown. There is a yellow patch on the shoulder, and the rump and back are yellow. The wings and tail are brown. During non-breeding seasons the male plumage looks like the female plumage. The female yellow-crowned bishop has pale brown upperparts, with darker streaking. The eyebrow is paler and the underparts are off-white with fine dark streaks on the breast and flanks. |
31958885#3 | Yellow-crowned bishop | The male in breeding plumage resembles the yellow bishop, but the latter species is larger and lacks the yellow crown. Non-breeding males and females can be confused with those of the southern red bishop, but have white rather than the buff-coloured underparts of the latter. |
31958885#4 | Yellow-crowned bishop | The yellow-crowned bishop is native to the African countries of: Angola, Benin, Botswana, Burkina Faso, Cameroon, Central African Republic, Chad, RCongo, DRCongo, Ivory Coast, Ethiopia, Gabon, Gambia, Ghana, Guinea, Guinea-Bissau, Kenya, Lesotho, Liberia, Mali, Mauritania, Mozambique, Namibia, Niger, Nigeria, Senegal, Sierra Leone, South Africa, Sudan, Tanzania, Togo, Uganda, Zambia, and Zimbabwe. It has been introduced in the following countries: Jamaica, Japan, Puerto Rico, Portugal, Spain, and Venezuela. Escaped males have been noted in southern California, where they defended territories. It prefers habitats such as grasslands, vleis, and pans. It likes wheat and sorghum fields, and weedy vegetation along wetlands. |
31958885#5 | Yellow-crowned bishop | The yellow-crowned bishop eats insects, grain, and seeds. It lives in flocks with both males and females. In non-breeding seasons the flocks may contain weavers and sparrows. The call is a "high-pitched, rasping, buzzing swizzling, somewhat insect-like: "zzzzzzz, zzit, zzit, zzzz"". Nesting is November–May, peaking from December–March, and males are polygynous, but the males do not breed in colonies. Each male will build two or more oval nests with a top opening, attracting a female to each nest by flaring their yellow feathers and display flights. Yellow-crowned bishop are gregarious and nomadic, wandering to breeding areas in response to rainfall. Nests are built among standing stems of grasses or sedges or shrubs. Bent over stems of live grass help hide the nest. The female will lay from two to four white eggs. Egg incubation is done solely by the females and lasts 12–14 days. Newborn chicks leave the nest after 11–13 days and are fully independent after an additional five weeks. |
31958910#0 | Saint George and the Princess | Saint George and the Princess is a fresco by the Italian master Pisanello, located in the Pellegrini Chapel of the church of Sant'Anastasia, Verona, northern Italy. It is one of the most notable works of the International Gothic painting. |
31958910#1 | Saint George and the Princess | The work was commissioned by the Pellegrini family, as testified by Andrea Pellegrini's testament of 1429. The external fresco, only partially preserved, was part of a cycle decorating the whole chapel. |
31958910#2 | Saint George and the Princess | The date of the work is uncertain. It is generally assigned to the period between the painter's return from Rome in 1433 and his departure to Ferrara in 1438. The terracotta decoration of the chapel is documented as existing in 1436 and the frescoes are perhaps from the same period, although the two works would hardly coexist. Some scholars date it to 1444-1446, after the Council of Ferrara, due to details connected to the Byzantine diplomats who took part in the latter (such as the horse with broken nostrils used by the Byzantine Emperor John VIII Palaiologos, or the style of some figures' hats). Such details could be however come from Manuel II Palaiologos' procession at the Council of Constance (1414–1418): similar elements existed in the lost frescoes by Pisanello in St. John Lateran, documented by some surviving drawings based on those frescoes. |
31958910#3 | Saint George and the Princess | The fresco was long exposed to water seepages from the ceiling of the church, and was severely damaged, especially in the left part which contains the dragon. The surviving part was detached from the wall in the 19th century, but this caused the loss of the metallic and gilt decorations. |
31958910#4 | Saint George and the Princess | The fresco was formed by two parts: the right one, with St. George leaving the Princess of Trebizond (Trabzon), which is in good conditions; and the left one, with the dragon in the sea, which is nearly lost. |
31958910#5 | Saint George and the Princess | The surviving section shows the moment of St. George's legend in which he is mounting his horse (shown from the rear) before sailing to kill the dragon which was to devour the daughter of the city's king. Behind the princess, on the right, are three horses with knights, and a crouched ram. On the left are a hound and a companion dog. |
31958910#6 | Saint George and the Princess | The painting is highly detailed in the armors, the harnesses, and the garments of the princess and her following. The princess has an elaborated hairdo, with bends holding a large mass of hair; the latter began very highly on the brow, according to a style which was popular in the early 15th century, obtained by cutting the hair on the brow and the temples with a lit candle. The princess' dress is a sumptuous one in cloth and fur. The animals show Pisanello's passion for the portrayal of natural elements. |
31958910#7 | Saint George and the Princess | The left part is occupied by a procession of curious people, depicted in smaller proportions, who have gathered near the place where George's boat is ready to sail off. Their face show a variety of portraits, which were accurately studied as testified by the numerous drawings executed by Pisanello and his workshop (now mostly housed in the Vallardi Codex, at the Cabinet des Dessins of the Louvre Museum in Paris). Among them are two grotesque faces, perhaps inspired by the descriptions of Ottoman Turks who were besieging Constantinople, or perhaps by the older accounts of the Golden Horde. |
31958910#8 | Saint George and the Princess | The upper part features a high cliff with an idealized depiction of Trabzon with rich architectures of towers, spires of religious buildings and, on the far right, a castle. As typical of International Gothic, there are some macabre and grotesque elements: outside the city walls are two hanged men, one with his hose fallen. The latter were perhaps inspired by the daily experience of the author at Piazza delle Forche in Florence ("Gallows Square"). |
31958910#9 | Saint George and the Princess | Some original color details are lost: these include the tempera layer above the face, which now have become pale white; the sky, now heavily darkened; the silver of the armors, obtained by metal insertions, has now disappeared leaving a nearly black surface. |
31958910#10 | Saint George and the Princess | In the damaged section of the fresco, only a few details have survived. The most significant of these is a salamander walking among the bones and other remains of the dragon's victims. |
31958915#0 | Agnes Hewes | Agnes Danforth Hewes (March 30, 1874 – September 30, 1963) was an American writer of children's literature, three times a runner-up for the annual Newbery Medal. Her early childhood overseas had a huge influence on her life and writing. |
31958915#1 | Agnes Hewes | Hewes was born in Tripoli, Lebanon (then part of Syria), to medical missionary parents working for the American Presbytery Board of Missions, Galen Bancroft Danforth and Emily Reynolds Calhoun Danforth. Galen had graduated from Amherst College in 1867 and then studied medicine in Germany and Edinburgh, eventually following in the footsteps of his father, who was also a medical doctor, receiving his medical degree from New York University in 1871. He began his mission work in 1871 and married Emily in Abeih, on Mount Lebanon, Lebanon, on December 25, 1871. |
31958915#2 | Agnes Hewes | Hewes's father died of a fever and pneumonia on July 9, 1875—shortly after she was born—in Lebanon, and her mother died on January 12, 1881. Hewes was left in the care of a nurse and household servants. She stayed in the family home in Abeih with her maternal grandmother, Emily Pitkin Reynolds Calhoun, until she was 12 years old; she grew up speaking Arabic. Hewes's maternal grandfather was another missionary, Dr. (Rev.) Simeon Howard Calhoun. Calhoun died in Buffalo, New York, on December 13, 1876. Thus when Emily Pitkin Calhoun returned to Lebanon to care for her daughter and granddaughter, Hewes could not answer in English. Rev. Simeon and Emily Calhoun's other daughter, Susan Howard Calhoun (Hewes' aunt) married Rev. Charles Newton Ransom and they were also missionaries in Lebanon. These formative years in Lebanon greatly inspired Hewes's lifelong love of foreign lands and cultures: |
31958915#3 | Agnes Hewes | My fairy godmother's priceless gift to me was to let me live my first twelve years in Syria. That, in a nutshell, is my feeling about Syria! That is why I wrote my first book, because I loved Syria so much—its magnificent brilliant scenery, its dear warm-hearted people, its customs come down from the Bible times, its beautiful dignified speech, its rich historical background—that I wanted American children to love it, to see it with my eyes. I felt as if no one could afford to miss knowing my Syria. I feel so still.
Hewes apparently graduated from Elmira College, in Elmira, New York. In 1901 she married Laurence Ilsley Hewes. They had several children between 1902–1916, including Mary, who wrote a book about her mother in 1967. Hewes wrote her first of many youth books in 1923, several of which dealt with culture clashes and early international trade. Following in her family tradition, Hewes became a minister at some point prior to November 1928, which was unusual for women in Protestantism at that time. She eventually settled in San Francisco, California, and died there on September 30, 1963.NH: Three children's books by Hewes were among the annual Newbery Medal runners-up, now called Newbery Honor Books. |
31958921#0 | Rajli, Hisar | Rajli is a village in Hisar district in Haryana state of India. This village has total 1538 families residing. Rajli has population of 8089 as per government records. |
31958921#1 | Rajli, Hisar | Rajli village is administrated by Sarpanch through its Gram Panchayat, who is elected representative of village as per constitution of India and Panchyati Raj Act. |
31958960#0 | Jeanette Eaton | Jeanette Eaton (November 30, 1886 – February 19, 1968) was an American writer of children's books, primarily biography and history. Four times she was one of the runners-up for the annual Newbery Medal. She was a suffragist and feminist. |
31958960#1 | Jeanette Eaton | Eaton was born in Columbus, Ohio. She received a Bachelor of Arts degree from Vassar College in 1908 and a Master of Arts degree from Ohio State University in 1910. |
31958960#2 | Jeanette Eaton | Eaton was a supporter of women's rights since at least her college years, giving her first public suffragist speech soon after she finished college. In 1915 she co-authored, along with Bertha Morton Stevens, "Commercial Work and Training for Girls", which examined the harsh working conditions of women for that time period. In an article in "Harper's Weekly" in August 1915 she argued that modern inventions, such as electricity, washing machines, and typewriters, were the "best friend" of women, not suffrage nor education. She also wrote at least one article for "The Masses", a periodical published from 1911–1917 which had socialist, feminist, and free-love writings. By the late 1920s, she was becoming a recognized writer. She was also an editor for the children's magazine "Story Parade". She continued writing for feminist periodicals such as "AWA [American Woman's Association] Bulletin" and "Woman's Journal". Her strong feminist views were readily apparent in a November 1915 article she wrote for "The Masses":
"The woman's magazine is the savior of society, man's best friend, the final hope of our chivalric civilization. Woman's ambitions, her independence, the assertion of her own free personality are gradually but certainly inhibited by a few years of such reading".
Her writing, which included many biographies for young adults, has sometimes been thought "melodramatic" and to have "bordered on the overblown", but her biography of Mohandas Gandhi, "Gandhi, Fighter Without a Sword" (1950, a 1951 Newbery Honor book) "was written in a more muted and understated style". She was given the 1959 Ohioana Award for her 1958 young adult biography of Mark Twain, "America's Own Mark Twain". |
31958960#3 | Jeanette Eaton | She died in Central Valley, New York. Her papers are held at the University of Minnesota Library, the Children's Literature Research Collections.NH: Four children's books by Eaton were among the annual Newbery Medal runners-up, now called Newbery Honor Books. |
31958984#0 | Orgosolo mural | The Orgosolo mural () is the mural painted in Orgosolo, Province of Nuoro, in Sardinia, Italy. It is being investigated based on historical and anthropological approach. |
31958984#1 | Orgosolo mural | The village of Orgosolo is located about 17 miles from Nuoro, the provincial capital. Despite the geological seclusion, the murals have rich content, from countryside view to global history. Sardinia has about 250 paintings and 150 of those are in the village of Orgosolo. |
31958984#2 | Orgosolo mural | The Orgosolo mural emerged in the late 60s. It was during that time that Italy's economic miracle collapsed by massive strikes and social unrest. Especially, the later 1973 oil crisis abruptly terminated this boom. Thus, murals became a major expression of the social discontent. The first mural in Orgosolo was carried out in 1969 by Dionisio, an anarchist theatrical troupe from Milan. It questioned what was the role of the island in the Italian government's policy. After the idea of mural spread in the small village, a local teacher, Francesco Del Casino, played an important role, as the early works were carried out by his students. Later on, more experienced workers took the job, making the murals more elaborate both in the style and in the content. Del Casino would be the instigator of most paintings of the village of Orgosolo, one of his major motivations being to get students involved in politics. Therefore, murals featured the oppression of Nazism, the struggle for liberation, unemployment ratio and education problem. Even though many kinds of topics were introduced, political events are still the major topics of the mural. |
31958984#3 | Orgosolo mural | The second oil crisis in 1979 once again hit hard in Italy's fragile economy. In addition, the domestic political turmoil created high unemployment rate and high inflation. Strikes, demonstrations, petitions plagued across the country. The country showed signs of recovery around 1983. Then, it moved toward a new period of economic expansion. The growing economy gave advantages to the government to make improvements. More national infrastructure as well as better social health care, education system were built up. This improvement also reflected in murals and paintings. During this period, some of the murals depicted Sardinian village daily life. With the boom of the new economy, people started to look back into their lives with fresh eyes. |
31958984#4 | Orgosolo mural | At the same time, mural creators broadened their view alone with the renaissance of global economy. More and more murals related to global political events were produced, such as the Tiananmen Square protests of 1989, Pratobello protest event, protest against G8 in Genoa, the
destruction of the Twin Towers of the World Trade Center in New York City in 9-11 attack. |
31958984#5 | Orgosolo mural | Since the 1990s, with the increase of tourism and the development of international cultural projects, the Orgosolo mural has drawn wide attention from all over the world. Organizations such as SCI (Service Civil International) has set up workshops of painting murals in Sardinia. |
31958984#6 | Orgosolo mural | Nowadays, the Orgosolo mural is beginning to be recognized as "cultural heritage". In 2000, the local government provided millions of lire for the paintings' conservation and restoration. Therefore, murals in Sardinia have turned into an intellectual recognition rather than tools of political protest in the olden time. Related research by Dr. Francesca Cozzolino in the following paragraph also shows such transformation across different moments. Meanwhile, Sardinia has opened a procedure for recognition of the status of works of art for these unique paintings. |
31958984#7 | Orgosolo mural | Dr.Francesca Cozzolino studied the emergence and evolution of the local mural from an anthropological approach. The understanding of the mural painting as well as the esthetics in mural design is discussed in her thesis. The process for the mural creator to perceive, digest all the global events and finally present them in the fashion of a mural is very complicated: Cozzolino believed that in order to do that, all the related subject such as anthropology, history, politics, sociology and esthetics must be considered altogether.
In addition, based on the study of mural content, evolution and influence, Cozzolino concluded that three moments in the development of the Orgosolo mural can be distinguished: |