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<mask> MBE, is an engineer who pioneered Combined Heat and Power (CHP), renewable energy and fuel cell systems in the United Kingdom and Australia from 1990 to the present. Allan Jones Energy and climate change
<mask> attended Sheerwater secondary modern, Woking; Guildford College of Technology and the Central London Polytechnic. During his early career he spent 18 years with Greater London Council and Inner London Education Authority, working on major development and regeneration projects but is known for his energy and climate change work, particularly decentralised energy in Woking, London and Sydney. In 1999, <mask> was awarded an MBE in the New Year's honours list for services to energy and water efficiency. Greater London Council/Inner London Education Authority

From 1971 to 1989 <mask> worked for the Greater London Council (1971 to 1986) and the Inner London Education Authority (1986 to 1989) on major development and regeneration projects both as an engineer and senior manager, including London housing projects, Andover Town Development, County Hall projects, Burgess Park new lake and park, the first networked Building Energy Management System in the UK and various school and college projects. <mask> was a member of the Department of Mechanical and Electrical Engineering Management Board from 1983 to 1986 and a member of the Department of Building and Property Services Management Board from 1986 to 1989. Woking Borough Council

From 1989 to 2004 <mask> worked for Woking Borough Council, initially as building services manager and then as energy services manager.He was instrumental in establishing the council's energy and environmental services company Thameswey Ltd of which he was a director (1999 to 2004) and its public/private joint venture company Thameswey Energy Ltd which developed and implemented decentralised energy projects in both the public and private sectors. During his time at Woking, <mask> reduced  emissions by 77.5% from 1990 levels to 2004, improved the energy efficiency of the existing housing stock within its area by 30% from 1996 to 2004 and undertook groundbreaking work on energy and water efficiency, private wire CHP cogeneration and trigeneration decentralised energy systems, environmentally friendly waste recycling/recovery and energy from waste technologies, alternative fuels for transport, renewable energy and fuel cells. Under <mask>, Woking installed 81 private wire decentralised energy systems, nearly 10% of the UK's total installed solar energy photovoltaics and the first fuel cell CHP in the UK. Woking was able to implement private wire networks under the UK's exempt licensing regime . In 2001, <mask> was instrumental in Woking being awarded a Queens Award for Enterprise: Sustainable Development for his work in the development of local sustainable community energy systems, the only local authority ever to receive a Queens Award for Enterprise. London Climate Change Agency

In 2004, the then Mayor of London, Ken Livingstone recruited <mask> to head up his new climate change agency for London as chief executive officer (2004 to 2008) of the London Climate Change Agency Ltd (LCCA), a municipal company that developed and implemented projects in the sectors that impact on climate change, especially in the energy, water, waste and transport sectors. In addition to being chief executive officer of the LCCA, <mask> was also the LCCA's executive director of the London ESCO Ltd and the LCCA's director of the Better Buildings Partnership Ltd, a company limited by guarantee between the LCCA and major landlords in London to reduce  emissions from major commercial and public buildings.During his time in London <mask> set up and ran the LCCA, developed the energy and climate change elements of the London Plan, Mayor's Climate Change Action Plan and the new Mayoral Climate Change Statutory Duty as well as developing and implementing decentralised energy and renewable energy projects in London. One of the key projects that <mask> implemented was the procurement and establishment of the London ESCO, a public/private joint venture Energy Services Company between the LCCA Ltd and EDF Energy plc, which designs, finances, builds and operates decentralised energy systems for both new and existing development. <mask> is credited with the removal of the regulatory barriers to decentralised energy in the UK with the high level advocacy and lobbying that led to the creation of a separate electricity supply licence for decentralised energy or distributed generation to supply electricity over the local distribution network, otherwise known as the ‘virtual private wire’ over public wires principle. The UK Energy Regulator – the Office of Electricity and Gas Markets enacted the new licence in March 2009 . On 22 May 2008, <mask> appeared in an interview, shot in London and Woking, as part of the Australian ABC's Catalyst programme (2008 Episode 14). The story featured <mask> past work in Woking and the LCCA's plans for implementing decentralised energy systems in London. This led to <mask> being invited to visit Sydney as a guest of the City of Sydney and the New South Wales state government.A public talk ‘City Talk: Green Transformers, revolutionising energy generation for a Sustainable Sydney’ was held on Tuesday 22 July 2008 at the Theatre Royal, MLC Centre, King St, Sydney. The visit also included media coverage, like that on ABC Radio National's Saturday Extra programme. Sustainable Environment Foundation

From 2007 to 2009 <mask> was a director-trustee of the Sustainable Environment Foundation, a foundation that promotes for the benefit and advances the education of the public the conservation, protection and improvement of the physical and natural environment. <mask> Energy and climate change

From 2008 to 2009 <mask> worked as an energy and climate change consultant both in the UK and overseas, including working for the City of Sydney on a number of energy and climate change projects and advising on the delivery of the climate change targets in Sustainable Sydney 2030, in particular on  trigeneration and other green infrastructure. City of Sydney
In 2009, <mask> was appointed as chief development officer, energy and climate change by the City of Sydney to provide leadership, strategic direction and high level advocacy to promote the changes which support the development and delivery of green infrastructure within the city as set out in Sustainable Sydney 2030. Sydney has an ambitious target to reduce CO2 emissions by 70% by 2030 from 2006 levels which will require at least 330 MWe of combined cooling, heat and power (CCHP) or trigeneration to deliver 70% of the city's electricity requirements by 2030 with the remainder coming from local renewable energy. To deliver these targets <mask> developed a green infrastructure plan for the city, which is being put into action at two levels: for the city as a whole and by the City of Sydney leading the way and installing local generation and green infrastructure projects in its own operations.This "show by doing" principle had been previously adopted in Woking and London to demonstrate that if the public sector leads, others will follow. At the first level, decentralised energy master plans, trigeneration, renewable energy and Advanced Waste Treatment, Decentralised Water and Automated Waste Master Plans are being developed to create a citywide green infrastructure plan which will be embedded into the city's master plan and operations. At the second level, the city is implementing a range of projects to reduce its own  emissions by 48% from 2009 to 2012 as a first step towards the city's own 70% reduction in  emissions target for its own buildings and operations. This has led to a series of building energy efficiency retrofit and renewable energy projects which have already seen an 18% reduction in  emissions in the first year of the project. At the second level, the city has already reduced greenhouse gas emissions in its buildings by 18% from 2009 to 2011 by building energy efficiency retrofits and has let a further building energy and water efficiency retrofit contract to reduce emissions by a further 24%, increasing the total emission reductions to 42% by the end of 2012. The city has also let contracts to replace all city-owned street lighting with LEDs over the next three years which will reduce emissions in city-owned street lighting by 51% and to install 1.25 MWp of precinct scale solar photovoltaics on more than 30 of the city's buildings over the next two years. Following completion of the two-year-long procurement process Cogent Energy (owned by Origin Energy) was appointed by Sydney as the energy services provider to design, finance, build, operate and maintain the citywide trigeneration network.Heads of agreement were signed in April 2012 and the development agreement was executed in August 2012. Year of birth missing (living people)
Living people
British mechanical engineers

masks:
Allan Jones
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<mask>, 11th Baroness Wentworth and <mask> (née Milbanke; 17 May 1792 – 16 May 1860), nicknamed Annabella and commonly known as <mask>, was an English mathematician and the wife of poet <mask>, more commonly known as <mask>. A highly educated and strictly religious woman, she seemed an unlikely match for the amoral and agnostic poet, and their marriage soon ended in acrimony. Lady <mask>'s reminiscences, published after her death by Harriet Beecher Stowe, revealed her fears about alleged incest between Lord <mask> and his half-sister. The scandal about Lady <mask>'s suspicions accelerated <mask>'s intentions to leave England and return to the Mediterranean where he had lived in 1810. Their daughter Ada worked as a mathematician with Charles Babbage, the pioneer of computer science. Lady <mask> had felt that an education in mathematics and logic would counteract any possible inherited tendency towards Lord <mask>'s perceived insanity and romantic excess. Names and family
Lady <mask> was born Anne Isabella Milbanke, the only child of Sir Ralph Milbanke, 6th Baronet, and his wife the Hon.Judith Noel, sister of Thomas Noel, Viscount Wentworth. Her father's only surviving sibling was Elizabeth Lamb, Viscountess Melbourne, the influential political hostess. Her children, Anne's cousins, were:
 Hon. Peniston Lamb (1770–1805)
 William Lamb, 2nd Viscount Melbourne (1779–1848)
 Frederick Lamb, 3rd Viscount Melbourne (1782–1853)
 Hon. George Lamb (1784–1834)
 Emily Lamb, Countess Cowper (1787–1869)
 Harriet Lamb (1789–1803)

Her mother's only surviving sibling had no legitimate heirs, but he did have one son before his marriage, named after him, Thomas Noel; he became a clergyman. When Anne's maternal uncle died, a few months after her marriage to <mask>, Lady Milbanke and her cousin Lord Scarsdale jointly inherited his estate. The family subsequently took the surname Noel over Milbanke.Lord Wentworth had been both a viscount and a baron. Upon his death the viscountcy became extinct, and the barony fell into abeyance between Lady Milbanke and Lord Scarsdale. After their deaths, the barony passed to Lady <mask>, and she became Baroness Wentworth in her own right; however, she did not use the title. She signed her letters "A. I. <mask>" and her will as "Baroness <mask>". The world knew her as "<mask>", and her friends and family called her by her nickname "Annabella". Youth
She was a gifted child. To cultivate her obvious intelligence, her parents hired as her tutor a former Cambridge University professor by the name of William Frend.Under his direction, her education proceeded much like that of a Cambridge student; her studies involved classical literature, philosophy, science and mathematics, in which she particularly delighted. This fascination led her husband to nickname her his "princess of parallelograms". Annabella developed into a stiff, religious woman with strict morals. She was aware of her strong intellect and was not ashamed to demonstrate it in her social realm. Often described as cold and prim, she seemed an unlikely match for the man who would become her ultimate obsession, the dramatically dark and "morally fractured" poet Lord <mask>. Their first meeting occurred in March 1812. She later said to her mother that though she would not venture to introduce herself to <mask>, she would certainly accept his introduction if it were offered.<mask>'s popularity was soaring following the success of his work Childe Harold's Pilgrimage. Annabella met him on many social occasions as he began a relationship with Caroline Lamb, the wife of her cousin, William Lamb. However, <mask> was attracted to her modesty and intellect and in October 1812 he proposed marriage through her aunt, the well-connected political hostess Elizabeth Lamb, Viscountess Melbourne. In response, she wrote a summary of his character and three days later refused him. However, they were plagued with a persistent interest in each other. Although well aware of <mask>'s shortcomings, telling her mother "He is a very bad, very good man", she decided it was her religious obligation to support him and improve his behaviour. In August 1813, she contacted him in writing for the first time.The letters continued into the next year, some offering reassurance and support during times when public opinion of him was not favorable, others describing the "imperfect attachment" she felt for him. During this time, he accepted an invitation from Sir Ralph Milbanke to visit Seaham Hall, the family home in County Durham. Marriage
When George Gordon <mask> proposed a second time, in September 1814, she was forced and did accept. The couple were married privately, and by special licence, at Seaham Hall in County Durham on 2 January 1815 (the officiating clergyman was her cousin, the Rev. Thomas Noel of Kirkby Mallory, natural son of her uncle, Viscount Wentworth). The couple lived at Piccadilly Terrace in London. <mask> was then in extreme financial distress.He rejected payments offered for his written works, as he believed business was not appropriate for a gentleman and gifted copyrights to people who had helped him. He was having difficulty selling his estates at Newstead Abbey and Rochdale to clear his debt. During the summer of 1815, he began to unleash his anger and hostility on his wife. His moods were dark and he began to drink heavily. In a letter to his half-sister, Augusta Leigh, he stated his suspicions that his wife had broken the lock on his desk and searched it. Later in the year he began an affair with Susan Boyce, a London actress at Drury Lane Theatre where he was a director. Annabella became increasingly upset.In the late stages of pregnancy, she feared her husband might be going mad. In November 1815, she wrote to Mrs Leigh and told her of <mask>'s moods and behaviour. In answer to her sister-in-law's letter, Mrs Leigh traveled to the <mask>s' home to assist. Upon her arrival, she became the subject of <mask>'s wrath and believed him to be temporarily insane. On 10 December, Annabella gave birth to the couple's only child, a daughter whom they named Ada. <mask>'s despair seemed to increase. Separation
In January 1816, as the <mask>s passed their first anniversary, <mask> decided they must move from the rented house at Piccadilly Terrace.He recommended that Annabella take their daughter to her parents' home and stay there temporarily until he settled their finances. In disbelief, Anne sought medical advice, as she had become convinced her husband had gone mad. She invited a physician to their home to assess him; <mask> was unaware of the true purpose for the visit. The doctor recommended she do as <mask> requested and move to her parents' estate. Annabella began a detailed documentation of her husband's behaviour, moods, and speech. She contacted his solicitor and friend, John Hanson, and told him her concerns that her husband would take his life. She also provided Hanson with a pamphlet on hydrocephalus, accompanied by notes that suggested <mask> could be suffering from this particular affliction.Following this conversation, she took Ada and travelled to her parents' residence at Kirkby Mallory in Leicestershire. She would not see her husband again. Later life
During her first month away from him, Annabella wrote to <mask> affectionately, addressing him as "dearest Duck". Her mother wrote to him and invited him to come to their home. However, her concern about him soon became paramount, and her parents sought legal counsel. Their attorney recommended a legal separation and sent <mask> a letter proposing the separation. Augusta Leigh, who had remained with <mask> at Piccadilly Terrace since his wife's departure, intercepted the letter, as she feared he would commit suicide if he knew of it.She returned the letter to Kirkby Mallory and communicated her opinion that greater consideration should be taken in the matter of the <mask>s' marriage. A week later, however, a messenger sent Lord <mask> the proposal again. This time it reached him, but he refused to believe that she no longer wanted to be married to him. He asked Mrs Leigh to write to her; in addition, he refused to dissolve their marriage. A short while later, when Lady <mask> made clear her suspicions that his relationship with his half-sister Augusta Leigh was incestuous (which was not then illegal) and that he had had homosexual relationships and had sodomised her – Lady <mask> – which acts were illegal, he changed his mind. He agreed to grant her request if she proved that the request for legal separation was truly hers and not that of her parents. In response, she personally communicated her feelings to Mrs Leigh.<mask> kept his word, and their separation was made legal in March 1816, in a private settlement. Following the settlement, Augusta wrote to Annabella; the latter's solicitor replied to the private note. <mask> was enraged by such cold treatment of his half-sister. Soon after the dissolution of his marriage, he left England and lived the remainder of his days abroad. Though she wished to separate from her husband, Annabella was obsessed by him until her death. She was motivated to save his soul and secure him a place in Heaven. In the years following their separation, she came to believe that the time she had spent with him guaranteed he would experience God's embrace upon his death.She kept his letters, copies of her own to him, and letters about him. She carefully documented their relationship, supposedly in preparation for any challenge Lord <mask> might make for custody of their daughter. <mask> never sought custody of Ada, though he sent for both of them shortly before his death in Greece on 19 April 1824. Lady <mask>'s obsession with him did not end with his death. Ultimately her relationship with him defined her life, though she committed herself to social causes, such as prison reform and the abolition of slavery. In furtherance of the latter, Lady <mask> attended the 1840 World Anti-Slavery Convention, where she was one of the few women included in its commemorative painting. Lady <mask> lived in Ealing between around 1822 and 1840, and established Ealing Grove School in 1833.Daughter

As her daughter grew up, Lady <mask> feared she might inherit her father's behaviours and dark moods. She schooled Ada in science and mathematics and discouraged literary study. Though her effort was great, it eventually seemed in vain: Ada Lovelace embodied many of her father's rebellious qualities. She is also considered to have been the world's first computer programmer, having written the first algorithm intended to be processed by a machine—Charles Babbage's analytical engine. Ada married William King-Noel, 1st Earl of Lovelace when she was 19 and the couple had three children, <mask>-Noel, Viscount Ockham and 12th Baron Wentworth; Anne Blunt, 15th Baroness Wentworth, who brought the Arabian horse to England; and Ralph King-Milbanke, 2nd Earl of Lovelace. Ada amassed considerable gambling debts before dying from cancer on 27 November 1852. Lady <mask> attended her daughter's deathbed and, under her influence, Ada underwent a religious conversion.Ada was 36 years old when she died, the same age as <mask> when he died. Death

Lady <mask> died of breast cancer on 16 May 1860, the day before her 68th birthday. She was buried in Kensal Green Cemetery at Kensal Green in London. Prior to her death, she shared the story of her marriage to <mask> with Harriet Beecher Stowe, who encouraged her to remain silent. In 1869, some years later, Stowe published the account given to her, the first time anyone had publicly hinted at an incestuous relationship between <mask> and his half-sister. Stowe was criticized for writing a supposedly "indecent" article and lost popularity. Initially biographers criticized <mask> as "small-minded;" more recent works have provided a fuller picture of her accomplishments.Lady <mask>'s barony passed to her grandson <mask>-Noel, Viscount Ockham. In her will she left a £300 legacy to the writer George MacDonald, whom she had patronized during her life. Lady Byron Lane, off Knowle Road, Solihull, is named after her. Lady <mask> was heiress of the Knowle estates through her father, Sir Ralph Milbanke Noel. Arms

References

Bibliography
 Lodge, Edmund, Norroy King of Arms, The Peerage of the British Empire, London, 1858, p. 588, under 'Anne Isabella Noel-Byon, Baroness Wentworth of Nettlested.' External links

A Guide to the Lady Byron Manuscript Material in the Pforzheimer Collection at the New York Public Library
Oxford Dictionary of National Biography

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Anne
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Anne Isabella <mask>, Baroness Byron
1792 births
1860 deaths
18th-century English people
19th-century English mathematicians
18th-century English women
19th-century English women
19th-century English people
Wentworth, Anne Noel-<mask>, 11th Baroness
Daughters of baronets
Women of the Regency era
People from Pittington
Burials at Kensal Green Cemetery
Deaths from breast cancer

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Anne Isabella Noel Byron
Baroness Byron
Lady Byron
George Gordon Byron
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<mask>. (Ron<mask> (born 1934) is a British computer scientist, formerly a researcher in the LSE and emeritus professor at the University of Twente, known for his pioneering work in Organisational semiotics, and the creation of the MEASUR methodology and the SEDITA framework. Biography
Born in West Bridgford, United Kingdom, <mask> obtained his MA in Mathematics and Statistics at Oxford University in 1959. Stamper started his career in industry, first in hospital administration and later in the steel industry. He starting applying operational research methods with the use of computers, and evolved into the management of information systems development. In need of more experts, he developed one of the first courses in systems analysis in the UK. In 1969 he moved into the academic world, starting at the London School of Economics as senior lecturer and principal investigator. From 1988 to 1999 he was Professor of Information Management at the University of Twente at its Faculty of Technology and Management.From 2001 to 2004 he was visiting professor at the Staffordshire University. In 1970s Stamper jointed the work of the International Federation for Information Processing (IFIP), and participated in the IFIP TC8/WG8.1 Task Group Design and Evaluation of Information Systems. In the 1990s he made a significant contribution to its 1998 publication of A Framework of Information System Concepts. The FRISCO Report. Work

Theoretical foundations of information systems
The main thrust of Stamper's published work is to find a theoretical foundation for the design and use of computer based information systems. He uses a framework provided by semiotics to discuss and prescribe practical and theoretical methods for the design and use of information systems, called the Semiotic Ladder. To the traditional division of semiotics into syntax, semantics and pragmatics, Stamper adds "empirics"."Empirics" for Stamper is concerned with the physical properties of sign or signal transmission and storage. He also adds a "social" level for shared understanding above the level pragmatics. Stamper adopted the idea of the sign as the fundamental unit of informatics after his research into the meaning of the word "information" which he considered dangerously polysemous. He was concerned to establish an operationalism at the semantic level of information systems rather than the binary level. LEGally Oriented Language LEGOL
His work at the LSE investigating LEGOL (for  LEGally Oriented Language – a computerized representation of the law) led him to incorporate the idea of Norms pioneered by Von Wright and the Affordances of Gibson in a system called NORMA (for NORMs and Affordances). <mask> collaborated with <mask> of the University of Texas on organizational deontics incorporating the Speech Acts of Austin and Searle. This led to the broader methodology he called MEASUR (for Methods for Eliciting, Analysing and Specifying Users’ Requirements).MEASUR incorporated the methods of Problem Articulation, Semantic Analysis and Norm Analysis, and uses the ontology chart. IBM partly sponsored the research into LEGOL at the LSE, and LEGOL 2, was used as an application to test IBM's seminal Peterlee Relational Test Vehicle, the first relational database. Publications
Books
 <mask>, R.K. (1973). Information in business and administrative systems. B. T. Batsford: London and New York: Wiley. <mask>, R.K. (1980). LEGOL-2 for the expression of legal and organisational norms (application aspects of the LEGOL project).Stamper, R.K. & Lee, R.M. (1986). Doing Business with Words: Performative Aspects of Deontic Systems. Research Note 86-40, US Army Research Institute for the Behavioural and Social Sciences, Arlington, VA.
Falkenberg, E.D. et al. (1998). A Framework of Information System Concepts.The FRISCO Report. WEB edition. [Report] IFIP 1998. Liu, K., Clarke, R. J., Andersen, P. B. & <mask>, R. K. (2001). Information, organisation and technology: Studies in organisational semiotics. Boston: Kluwer Academic Publishers.Liu, K., Clarke, R. J., Andersen, P. B. & <mask>, R. K. (2002). Coordination and communication using signs: Studies in organisational semiotics. Boston: Kluwer Academic Publishers. Liu, K., Clarke, R. J., Andersen, P. B. & <mask>, R. K. (2002). Organizational semiotics: Evolving a science of information systems.Boston: Kluwer Academic Publishers. <mask>, R.K. et al. (2004). Semiotic Methods for Enterprise Design and IT Applications. Proceedings of the 7th International Workshop on Organisational Semiotics. Articles, a selection
 <mask>, R.K. (1971). "Some Ways of Measuring Information."Computer Bulletin, 15, 423–436. <mask>, R.K. (1977). "The LEGOL 1 prototype system and language." The Computer Journal, 20(2), 102. <mask>, R. (1977). "Physical Objects, Human Discourse and Formal Systems." Architecture and Models in Data Base Management Systems VLDB2 1977, 293–311.<mask>, R.K. (1977). "Informatics without computers." Informatie 19, 272–279. <mask>, R.K. (1978). "Aspects of data semantics: names, species and complex physical objects." Information Systems Methodology, 291-306. Jones, S., Mason, P. & <mask>, R.K. (1979)."LEGOL 2.0: A relational specification language for complex rules." Information Systems 4(4) 1979, pp 293–305. <mask>, R.K. (1980). "LEGOL: Modelling legal rules by computer." Advanced Workshop on Computer Science and Law (1979 : University College of Swansea), 45–71. <mask>, R.K. (1985). "Towards a Theory of Information: Information: Mystical Fluid or a Subject for Scientific Enquiry?"The Computer Journal 28, 195. <mask>, R.K. (1986). "Legislation, information systems and public health." International Journal of Information Management, 6(2), 103–114. <mask>, R.K. (1988). "Analysing the cultural impact of a system." International Journal of Information Management 8, 107–122.<mask>, R.K., Althaus, K. & Backhouse, J. (1988). "MEASUR: Method for Eliciting, Analysing and specifying Users Requirements." In Computerised Assistance During the information Systems life cycle, (Eds, Olle, T.W., Verrijn-Stuart, A.A. & Bhabuts, L.) Elsevier Science, Amsterdam. <mask>, R.K., Liu, K., Kolkman, M., Klarenberg, P., van Slooten, F., Ades, Y. & van Slooten, C. (1991). "From Database to Normbase."International Journal of Information Management (1991) 11, 67–84. <mask>, R.K. (1991). "The Role of Semantics in Legal Expert Systems and Legal Reasoning*." Ratio Juris, 4(2), 219–244. <mask>, R.K. & Kolkman, M. (1991) "Problem Articulation: A sharp-edged soft systems approach." Journal of Applied Systems Analysis 18, 69–76. <mask>, R.K. (1992)."Review of Andersen A Theory of Computer Semiotics." The Computer Journal 35, 368. <mask>, R.K. (1993). "Social Norms in Requirements Analysis – an outline of MEASUR." In Requirements Engineering Technical and Social Aspects, (Eds, Jirotka, M., Goguen, J. & Bickerton, M.) Academic Press, New York. <mask>, R.K., Kecheng Liu, K. & Huang, K. (1994)."Organisational morphology in re-engineering." Proceedings of Second European Conference of Information Systems, Nijenrode University, 729–737. <mask>, R.K. (1998). "A Dissenting Position." In: A Framework of Information System Concepts. The FRISCO Report. (Ed.Eckhard D. Falkenberg, Wolfgang Hesse, Paul Lindgreen, Björn E. Nilsson, J.L. Han Oei, Colette Rolland, <mask><mask>, Frans J.M. Van Assche, Alexander A. Verrijn-Stuart, Klaus Voss). Web edition. IFIP 1998. <mask>, R. K. (2001). "Organisational semiotics: Informatics without the computer?"In K. Liu, R. J. Clarke, P. Bøgh Andersen, & R. K<mask> (Eds. ), Information, organisation and technology: Studies in organisational semiotics (pp. 115–171). Boston, MA: Kluwer Academic Publishers. <mask>, R. & Liu, K. (2002). "Organisational dynamics, social norms and information systems." System Sciences, 1994.Vol. IV: Information Systems: Collaboration Technology Organizational Systems and Technology, Proceedings of the Twenty-Seventh Hawaii International Conference on, 4, 645–654. References

External links

1934 births
English computer scientists
British semioticians
Living people

masks:
Ronald K
) Stamper
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Ronald Lee
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<mask> (; 5 November 192115 January 1994), also known as <mask> and <mask>, was a Hungarian-French virtuoso pianist and composer. He is considered to be one of the greatest virtuoso pianists of the twentieth century. Among his teachers was István Thomán, who was a favourite pupil of Franz Liszt. He became a French citizen in 1968. <mask> is known for his recordings of works of Franz Liszt, Frédéric Chopin and Robert Schumann, and also for his technically demanding arrangements of several orchestral works for the piano, including Nikolai Rimsky-Korsakov's Flight of the Bumblebee and Johann Strauss II's The Blue Danube. Cziffra left a sizeable body of recordings. In recent years, dozens of private recordings from various sources have surfaced online, on YouTube.The non-profit short-run record label Zenith Classical is in the process of making Cziffra's private recordings available on CD. Early years
Cziffra was born to a poor Romani family in Budapest in 1921. In his memoirs <mask> describes his father as "a cabaret artist". His parents had lived in Paris before World War I, when they were expelled as enemy aliens. His earliest training in piano came from watching his elder sister Yolande practice. She had decided she was going to learn the piano after finding a job which allowed her to save the required amount of money for buying an upright piano. Cziffra, who was weak as a child, often watched his sister practice, and mimicked her.He learned without sheet music, instead repeating and improvising over tunes sung by his parents. Later he earned money as a child improvising on popular music at a local circus. In 1930 Cziffra began to study at the Franz Liszt Academy under the tuition of Ernő Dohnányi until 1941, when he was conscripted into the Hungarian Army. He gave numerous concerts in Hungary, Scandinavia and the Netherlands. Later years
Hungary was allied with the Axis during the Second World War. <mask> had just married his wife Soleilka, who was pregnant when he entered military training. His unit was sent to the Russian front.He was captured by Russian partisans and held as a prisoner of war. After the war he earned a living playing in Budapest bars and clubs, touring with a European jazz band from 1947 to 1950 and earning recognition as a superb jazz pianist and virtuoso. After attempting to escape communist Hungary in 1950 he was again imprisoned and subject to hard labour in the period 1950–1953. In 1956 Cziffra escaped with his wife and son to Vienna, where his recital was warmly received. His successful Paris debut the following year  preceded his London debut at the Royal Festival Hall playing Liszt's first piano concerto and Hungarian Fantasy which was also well received. His career continued with concerts throughout Europe and debuts at the Ravinia Festival (Grieg and Liszt concertos with Carl Schuricht) and Carnegie Hall, New York with Thomas Schippers. Cziffra frequently performed with a large leather wristband to support the ligaments of his wrist, which were damaged after he was forced to carry 130 pounds of concrete up six flights of stairs during his two years in a labor camp.In Cannons and Flowers, his autobiography, which has  been described as "a hallucinatory journey through privation, acclaim, hostility and personal tragedy", Cziffra recounts his life story up until 1977. In 1966, he founded the Festival de musique de La Chaise-Dieu in the Auvergne, and three years later he inaugurated the piano competition named after him at Versailles. In 1968 he took French citizenship and adopted the first name 'Georges'. In 1977 he founded the Cziffra Foundation, sited in the Saint Frambourg chapel in Senlis, Oise, which he bought and restored, with the aim of helping young musicians at the outset of their careers. <mask>'s son, <mask> <mask> Jr., was a professional conductor and participated in several concerts and recordings with his father. However, his promising career was cut short by his death in an apartment fire in 1981. Cziffra never again performed or recorded with an orchestra, and some critics have commented that the severe emotional blow affected his playing quality.Cziffra died in Longpont-sur-Orge, Essonne, France, aged 72, from a heart attack resulting from a series of complications from lung cancer. List of compositions

Original works
 Improvisation en forme de valse (1950)
 Ouverture Solennelle (Solemn Overture), for piano
 Pastorale pour Gerbert, for piano or organ (1976)

Arrangements and transcriptions
 Johannes Brahms: 15 Hungarian Dances (transcriptions of Nos. 1-6, 8-10, 12, 13, 16, 17, 19, and 21, from piano duet to piano solo) (c.1950?) Johannes Brahms: Hungarian Dance No. 5 (improv version) (1950s?) Johannes Brahms: Waltz Op. 39 No.15 (1993?, much earlier?) Frederic Chopin: Minute Waltz (1993?) Antonin Dvorak: Improvisation (1988)
 Manuel de Falla: Ritual Fire Dance (c.1955?) Edvard Grieg: The Hall of the Mountain King (1988)
 Aram Khachaturian: Sabre Dance (c.1955?) Franz Lehar: Gold and Silver Waltz (1993)
 Franz Liszt: Hungarian Rhapsody No. 16 (1950s?) Franz Liszt: Hungarian Rhapsody No.19 (1950s?) Jacques Offenbach: Barcarolle (1993)
 Nikolai Rimsky-Korsakov: Flight of the Bumblebee (c.1955?) Gioachino Rossini: La Danza (1950s?) Gioachino Rossini: Improvisations on Themes from Rossini's William Tell (AKA William Tell Fantasy) (version of the William Tell Overture) (1956)
 Johann Strauss II: An der schönen, blauen Donau (The Blue Danube) (c.1955?) Johann Strauss II: Die Fledermaus (1st version) (1950–55)
 Johann Strauss II: Die Fledermaus (2nd, shortened version) (1955)
 Johann Strauss II: Réminiscences de Johann Strauss (from various Strauss compositions) (1956)
 Johann Strauss II: Tritsch-Tratsch Polka (c.1955?) Johann Strauss II: Der Zigeunerbaron (The Gypsy Baron) (c.1955?) Franz von Vecsey: Valse triste (c.1955?)Giuseppe Verdi: Concert Paraphrase on Themes from the Opera Il trovatore by G. Verdi (c.1955?) Giuseppe Verdi: Improvisation on a Theme from La Traviata (Libiamo ne' lieti calici) (1993)
 Vincent Youmans: Tea for Two, improvisation (1977)
 Traditional: Román cigányfantázia (Rumanian Gypsy Fantasy) (AKA Fantaisie roumaine, improvisation in gypsy style) (1957) An alternate version was privately recorded by Cziffra in the 1967
 Many improvisations on various classical pieces, performed in live concerts throughout Cziffra's concertizing career, beginning mostly around 1953)
 Numerous improvisations on popular tunes, performed early in Cziffra's career beginning in 1926)
 Numerous jazz improvisations (mostly 1947-50, 1977–78)

Recordings

Audio

In addition to the above discography of commercially-released recordings, there exist audio recordings of complete live concerts, a few of which have been commercially released on disc, several can be obtained non-commercially, some however have been lost. Video

 Cziffra made a series of videos for BBC television broadcast in the 1962-1963 season. They are all available to watch freely online
 Videos of 2 concerto appearances and 2 recitals in Japan in 1964 and 1967 have been lost by NHK, but audio portion remain intact. The entire 1967 studio recital is available on CD. Several video recordings were made of Cziffra improvising at the piano in his home 1988–1993. There is also some valuable footage in the documentary film "György Cziffra et Le Pays Retrouve", readily available on Youtube
 An astonishing video of Chopin's Piano Concerto No.1, from 1967, has recently surfaced

References
Notes

Sources
<mask>, <mask>, tr. John Hornsby (2006). Cannons and Flowers, on MusicWeb International web site, accessed 8 September 2016. Morrison, Bryce (n.d.). "Cziffra, <mask> [Georges]" in Oxford Music Online, accessed 6 September 2016. .
Summers, Jonathan (n.d.). "Gyorgy Cziffra", from A-Z of Pianists, Naxos Records web-site, accessed 6 September 2016. New York Times, Obituaries, Published: January 18, 1994.External links

 NY Times Obituary
 PianoRed on Cziffra  (Spanish)
 Fondation Cziffra (French)
 Cziffra Fondation Vienna (German)

1921 births
1994 deaths
Musicians from Budapest
20th-century classical composers
Franz Liszt Academy of Music alumni
Deaths from lung cancer
Hungarian classical composers
Hungarian male classical composers
Hungarian classical pianists
20th-century French male classical pianists
Composers for piano
Hungarian jazz pianists
Male jazz musicians
Hungarian Romani people

masks:
György Cziffra
Georges Cziffra
George Cziffra
Cziffra
Cziffra
Cziffra
Cziffra
György
Cziffra
Cziffra
György
György


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<mask> (born ) is an American writer and academic focusing on African-American studies. She is currently a University Professor at Columbia University. Early life
<mask> was born in  and grew up in Brooklyn, New York. She earned a B.A. from Wesleyan University and Ph.D. from Yale University. Career
Hartman worked at the University of California, Berkeley, from 1992 to 2006 where she was part of the Department of English and African American Studies. In 2007 <mask> joined the faculty of Columbia University, specializing in African-American literature and history.In 2020 she was promoted to University Professor at Columbia. <mask>, Rockefeller, Whitney Oates, and University of California President's Fellow and was awarded the 2007 Narrative Prize from Narrative Magazine and the Gustav Myers Award for Human Rights. Hartman won a MacArthur “genius” grant in 2019. Fields of interest
Hartman's major fields of interest are African-American and American literature and cultural history, slavery, law and literature, gender studies, and performance studies. She is on the editorial board of the journal Callaloo. She is the author of the influential Scenes of Subjection: Terror, Slavery, and Self-making in Nineteenth Century America (Oxford University Press, 1997), Lose Your Mother: A Journey Along the Atlantic Slave Route (Farrar, Straus and Giroux, 2007), and Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval (W. W. Norton, 2019). Hartman's "essays have been widely published and anthologized."Theoretical concepts
<mask> introduces the idea of "critical fabulation" in her article "Venus in Two Acts", although she could be said to be engaged in the practice in both of her full-length books, Scenes of Subjection and Lose Your Mother. The term "critical fabulation" signifies a writing methodology that combines historical and archival research with critical theory and fictional narrative. Critical fabulation is a tool that Hartman uses in her scholarly practice to make productive sense of the gaps and silences in the archive of trans-Atlantic slavery that absent the voices of enslaved women. Hartman writes: "I think of my work as bridging theory and narrative. I am very committed to a storied articulation of ideas, but working with concepts as building blocks enables me to think about situation and character as well as my own key terms." Hartman also theorizes the "afterlife of slavery" in Lose Your Mother: A Journey Along the Atlantic Slave Route. The "afterlife of slavery" can be characterized by the enduring presence of slavery's racialized violence still present in contemporary society.Hartman outlines slavery's imprint on all sectors of society as evidenced in historical archives that may or may not exist. Hence, the archive lives on through the social structure of the society and its citizens. Hartman describes this process in detail in Lose Your Mother: "I wanted to engage the past, knowing that its perils and dangers still threatened and that even now lives hung in the balance. Slavery had established a measure of man and a ranking of life and worth that has yet to be undone. If slavery persists as an issue in the political life of black America, it is not because of an antiquarian obsession with bygone days or the burden of a too-long memory, but because black lives are still imperiled and devalued by a racial calculus and a political arithmetic that were entrenched centuries ago. This is the afterlife of slavery—skewed life chances, limited access to health and education, premature death, incarceration, and impoverishment. I, too, am the afterlife of slavery."Hartman went back to Africa to learn more about slavery and came back having learned more about herself. Hartman further fleshes out the afterlives of slavery through the ways in which photographic capture and enclosure spills into domestic spaces. Hartman exposes the limits of such capture as she describes the hallway as a regulative, yet intimate space. She writes, “It is inside but public…The hallway is a space uneasy with expectation and tense with force of unmet desire. It is the liminal zone between the inside and outside for the one who stays in the ghetto; the reformer documenting the habitat of the poor passes through without noticing it, failing to see what can be created in cramped space, if not an overture, a desecration, or to regard our beautiful flaws and terrible ornaments." Contributions to the understanding of slavery
<mask> has made literary and theoretical contributions to the understanding of slavery. Her first book, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America, is an examination of, among other topics, the intersection of slavery, gender, and the development of progressivism in the United States through the exploration of blank genealogies, memory, and the lingering effects of racism.Working through a variety of cultural materials –- diaries, journals, legal texts, slave and other narratives, and historical song and dance—Hartman explores the precarious institution of slave power. Her second book, Lose Your Mother: A Journey Along the Atlantic Slave Route (2007), confronts the troubled relationships among memory, narratives, and representation. She concentrates on the "non-history" of the slave, the manner in which slavery "erased any conventional modality for writing an intelligible past". By weaving her own biography into a historical construction, "she [also] explores and evokes the non-spaces of black experience—the experience through which the African captive became a slave, became a non-person, became alienated from personhood. Through these experiences, came the title: "Because of the slave trade you lose your mother, if you know your history, you know where you come from. To lose your mother was to be denied your kin, country and identity. To lose your mother was to forget your past" (85).Hartman's contributions to understanding slavery caught the attention of UC Irvine's Frank B. Wilderson III, well known for setting groundwork and coining the phrase "Afro-pessimism". This criticism examines unflinching paradigmatic analysis on the structures of modernity produced by slavery and genocide. While he considers her Scenes of Subjection as Afro-pessimist scholarship, Hartman herself has not called it so. Contributions to historical archiving
Hartman has contributed insight into the forms and functions of the historical archive, providing both pointed critiques of and methodological guides to approaching the archive in scholarly work. In both Scenes of Subjection and Lose Your Mother, Hartman accesses and critically interrogates the historical archive. In the case of the latter, much of this is done through the combined re-reading of historical narratives of slavery and through the connection of these narratives to the physical location of Ghana. Hartman, who centers much of her interrogation of slavery's archive on Elmina Castle, inserts her own voice as one way to counter the silences surrounding forgotten slaves.The difficulty of this excavation process is revealed partly in the continued tension between Hartman's interest in slavery and the rejection of this interest on the part of Ghanaians, who are depicted as ostracizing Hartman in a number of instances in the text. In addition, and though she draws from "plantation journals and documents, newspaper accounts, missionary tracts, travel writing ... government reports, et cetera," Hartman recognizes that "these documents are 'not free from barbarism.'" Arguably all of Hartman's work is guided by "the impossibility of fully recovering the experience of the enslaved and the emancipated" from these written accounts, and she reads them "against the grain", knowing that in her use of these "official" records, she runs "the risk of reinforcing the authority of these documents even as I try to use them for contrary purposes". Hartman introduces the concept of narrative restraint in her article "Venus in Two Acts" to delay an archival impulse to continually register as "a death sentence, a tomb, a display of the violated body". In this article, she returns to the slaver Recovery for an exploration that began in Lose Your Mother. Unable to write about the girl named Venus owing to her brief appearance in the archive, Hartman's attempts to resuscitate possible narratives for her ultimately lead to failure. She explains, "But in the end I was forced to admit that I wanted to console myself and to escape the slave hold with a vision of something other than the bodies of two girls settling on the floor of the Atlantic."Hartman ultimately restrains her desire to imaginatively recreate Venus's final days, her passages in Lose Your Mother only briefly mentioning Venus's fate. Her inclusion in "Venus" of the narratives omitted in Lose Your Mother, with the caveat that such narratives push beyond the boundaries of the archive, leads to the concept of narrative restraint, "the refusal to fill in the gaps and provide closure." While she excavates the historical archive in her attempt to understand the possibilities for subjectivity for the black slave (in Scenes of Subjection), the possibilities for African Diasporic community (in Lose Your Mother), a question she in her article "Venus in Two Acts" serves as a guiding principle and a lesson on archival method: "If it is no longer sufficient to expose the scandal, then how might it be possible to generate a different set of descriptions from this archive?" For example she quotes John Weskett who opined:
“The insurer takes upon him the risk of loss, capture and death of slaves, or any other unavoidable accident to them; but natural death is always understood to be expected: by natural death is meant, not only when it happens by disease or sickness, but also when the captive destroys himself through despair, which often happens: but when slaves were killed or thrown into the sea in order to quell an insurrection on their part, then the insurers must answer.”. or <mask> <mask> in Lose Your Mother: A Journey Along the Atlantic Slave Route (2007)
Harman then goes on to argue that Weskett's classification as things separated by their perishability, vulnerable to different kinds of risk. "Death was just a variant of spoilage. A dead girl was not really all that different from rotten fruit."The Promised Lands
Black people in the Diaspora, with no knowledge of a past, try to imagine a past that is nothing like the harsh present entangled with murder, humiliation, and incarceration. Such imaginations include the pre-colonial era of Kings and Queens. Rastafarians envision a sort of replica of such a past into the future with calls of the downfall of Babylon and a return to the Promised Land. Hartman explains: "The heirs of slaves wanted a past of which they could be proud, so they conveniently forgot the distinctions between the rulers and the ruled and closed eyes to slavery in Africa. They pretended that their ancestors had once worn the king's vestments and assumed grand civilization of Asante as their own." This, coupled with a longing for belonging only achievable by escaping the brutality of the West's racism and returning to Africa the homeland, led to disbelief and shock when encountering Ghanaians who favored migrating to the U.S. to escape the impoverishment of the present. Hartman notes: "African Americans entertained fantasies of return and Ghanaians of departure.From where we each were standing, we did not see the same past, nor did we share a common vision of the Promised Land." To the Ghanaians, the Promised Land is America, the images heavily circulated in movies, music videos, and more, that tell one story of wealth and prosperity even for Black Americans. Wayward Lives, Beautiful Experiments
<mask>'s work Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals (2019) explores the lives of various Black women in Harlem and Philadelphia during the 1890s. Hartman describes the boundaries of Black life and womanhood through both interracial and intra-racial relationships and examines how Black women's sexuality was policed and constructed within an ideology of criminality at the turn of the twentieth century. These "deviant" behaviors are referred to as "wayward" and illustrate how Black women navigate society under surveillance, violence, and partial or conditional citizenship. The social life of Black women under surveillance results in these wayward movements being characterized as "illegal". These movements serve as an act of resistance against not only the state, but the examination of Black life under the guise of policy researchers, sociologists, and reformers aiming to improve Black women in New York and Philadelphia.Hartman asks how to imagine Black womanhood outside of the archive and "the sociological imagination that could only ever recognize her as a problem," invoking DuBois' famed question in The Souls of Black Folk: "How does it feel to be a problem?" Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval critiques the pathologization of Black women's lives by constructing a social space of freedom and "waywardness" as acts of world-making and possibility. Wayward Lives, Beautiful Experiments narrates how the state functioned as a criminalizing force through laws and regulations that reproduced logics of chattel slavery and patriarchy (e.g. the Tenement House Act, wayward minor laws and requirements for female performers to apply for a license in order to perform in men's clothing). Figures including Gladys Bentley, an out butch lesbian performer, regularly subverted and challenged written and unwritten laws meant to criminalize sexual and gender expression. In 1952, Bentley published an article in Ebony Magazine detailing her return to womanhood and marriage to a man in part to continue her career as a performer and as a result of the struggles she endured as an out lesbian. Living outside the boundaries of heterosexuality and what passed as woman, if not directly criminalized by the state, was still considered deviant and punishable outside the limited spaces created by and for queer folks.<mask> also writes about the minor lives that easily slip in the archive into oblivion. Tacked away as uncomfortable facts, they are overshadowed by large figures; white and famous men. Photograph 308 in Thomas Eakins’ photographic collection is of a nude African American girl, posed as Venus. Hartman contemplates on the girl's anonymity, which becomes "a placeholder for all the possibilities and the dangers awaiting young black women in the first decades of the twentieth century. In being denied a name or, perhaps, in refusing to give one, she represents all the other girls who follow in her path. Anonymity enables her to stand in for all the others. The minor figure yields to the chorus.All the hurt and the promise of the wayward are hers to bear." Fred Moten also discusses the photograph in an essay, titled, “Catalogue Number 308 (The Black Apparatus Is a Little Girl),” which is in his book Black and Blur. It won the 2019 National Book Critics Circle Award (Criticism). Works
 Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals (W. W. Norton & Company, 2019)
 Lose Your Mother: A Journey Along the Atlantic Slave Route (Farrar, Straus and Giroux, 2007)
 Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth Century America (Oxford University Press, 1997)

References

Living people
Columbia University faculty
People from Brooklyn
Wesleyan University alumni
Yale University alumni
African-American historians
Historians of slavery
Literary theorists
1961 births
Historians from New York (state)
21st-century African-American people
MacArthur Fellows
20th-century African-American people

masks:
Saidiya Hartman
Hartman
Hartman
Hartmanbright
Hartman
Hartman
Saidiya
Hartman
Hartman
Hartman


texts:
<mask>  (9 October 1934 – 1 June 2018) was an Australian-American scholar and author. Well known for her autobiographies, in particular her first memoir, The Road from Coorain, she also was Smith College's first woman president (1975–1985) and most recently served as a visiting professor at the Massachusetts Institute of Technology. In 2004 she was designated a Women's History Month Honoree by the National Women's History Project. She was a recipient of the National Humanities Medal. Biography
<mask> was born in Hillston, New South Wales, in the outback of Australia. Together with her two brothers, <mask> was raised in near-total isolation on a family-owned  tract of land called Coorain (the aboriginal word for "windy place"), which eventually grew to encompass . On Coorain, she lived a lonely life, and grew up without playmates except for her brothers.In her early years, she was schooled entirely by her mother, with the aid of correspondence class material for her primary school and early grade school education. <mask> <mask> spent her youth working the sheep station; by age seven, she was an important member of the workforce, helping with such activities as herding and tending the sheep, checking the perimeter fences and transporting heavy farm supplies. The farm prospered until it was crippled by a drought that lasted seven years. This and her father's worsening health put an increasing burden on her shoulders. When she was eleven, her father drowned in a diving accident while trying to extend the farm's water piping. Initially <mask> <mask>'s mother, a nurse by profession, refused to leave Coorain. But after three more years of drought, she was compelled to move <mask> and her brothers to Sydney, where the children attended school.<mask> <mask> found the local state school a rough environment. The British manners and accent ingrained by her parents clashed with her peers' Australian habits, provoking taunts and jeers. This resulted in her mother enrolling her at Abbotsleigh, a private girls school, where <mask> <mask> found intellectual challenge and social acceptance. After finishing her education at Abbotsleigh, she enrolled at the University of Sydney, where she studied History and English and graduated with honours in 1958. Upon graduation, <mask> <mask> sought a trainee post in the Department of External Affairs, but the all-male committee turned down her application. After this setback, she travelled through Europe with her now emotionally volatile mother. In 1960, she decided to strike out on her own and move to the United States.At age 25, she was accepted into the Harvard University history program. There she assisted a Canadian professor, <mask>, who became her husband until his death in 1995. <mask> <mask> received her Ph.D. at Harvard in 1969 and taught at the University of Toronto from 1964 to 1975. Her book True North details her life in Toronto. From 1975 to 1985, <mask> <mask> was the president of Smith College. After 1985, she was a Visiting Professor at the Massachusetts Institute of Technology. She received thirty-eight honorary degrees and awards from North American and Australian colleges, universities and women's organizations.Throughout her career, <mask> <mask> served as director on a variety of corporate boards. These include stints of more than a decade on the boards of Nike, Colgate-Palmolive, and Merrill Lynch. After 2011, <mask> <mask> served as the Board Chair of Community Solutions. It is a non-profit organization with a focus on homelessness and related issues, based in New York City. <mask> died on 1 June 2018 at her home in Boston at the age of 83. President of Smith College

In 1975, <mask> <mask> became the first female president of Smith College, the largest women's college in the United States. Located in Northampton, Massachusetts, Smith, a private liberal arts college, is the only women's college in the U.S. to grant its own degrees in engineering.<mask> <mask> launched the Ada Comstock Scholars program, initially proposed by her predecessor Thomas Mendenhall. This program allows non-traditional students, many with work and family obligations, to study full or part-time, depending on their family and work schedules. These women can take classes for a bachelor's degree over a longer period of time. Conway House, dedicated in 2006, a residence for Ada Comstock Scholars was named in honor of <mask> <mask>. One of <mask> <mask>'s more notable accomplishments is a program she initiated to help Ada Comstock Scholars on welfare. At the time, many students who were also welfare mothers were not pursuing higher education, as accepting a scholarship would cause them to lose their welfare benefits. The mothers were forced to choose between supporting their children or furthering their education.By not giving them scholarships but paying their rent instead, <mask> <mask> circumvented the state's system. She also gave the students access to an account at local stores, access to physicians and so on. ABC's Good Morning America profiled graduates of the program, giving it national exposure. Eventually the state of Massachusetts, convinced about the importance of the program, changed its welfare system so that scholarship students wouldn't lose their benefits. She also led the creation of the Smith Management Program (now called Smith Executive Education) and the Project on Women and Social Change. She worked to expand the curriculum leading to the development of programs in women's studies, comparative literature, and engineering. <mask> took a keen interest in fundraising and under her presidency the endowment nearly tripled from $82 million to $222 million.These efforts enabled several large-scale projects including the construction of the Ainsworth Gymnasium, and expansion of the Neilson Library. The Career Development Office was also expanded under her tenure to better education alumnae about career opportunities and graduate training. In 1975, <mask> <mask> was named by Time as a Woman of the Year. The Road from Coorain

<mask> <mask> started writing her first memoir after leaving Smith College, during her period at MIT. The Road from Coorain was published in 1989 () and details her early life, from Coorain in Australia to Harvard in the United States. The book begins with her early childhood at the remote sheep station Coorain near Mossgiel, New South Wales. <mask> <mask> writes about her teenage years in Sydney and especially her education at the University of Sydney, where university studies were open to women but the culture was focused heavily on the men.She describes her intellectual development and later her feelings when she realizes that there is a bias against women; based upon her sex, she is denied a traineeship at the Australian foreign service. In 2001, Chapman Pictures produced a television film, The Road from Coorain, featuring Katherine Slattery as the grown-up <mask> and Juliet Stevenson as her mother. Awards and honors

 1960 <mask> <mask> was a 1960 Fulbright Postgraduate Scholar in History from the University of Sydney to Harvard University. 1975 In the first year of her presidency at Smith College, <mask> was named a "woman of the year", one of a small group of notable women selected for that award by Time magazine. 1989 L.L. Winship/PEN New England Award, The Road from Coorain
 Ker <mask> was appointed a Companion (AC) in the General Division of the Order of Australia on 10 June 2013 for her eminent service to the community, particularly women, as an author, academic and through leadership roles with corporations, foundations, universities and philanthropic groups. On 12 June, she was removed as a 'Companion' and invested as an 'Honorary Companion' of the Order of Australia, because she no longer held Australian citizenship.On July 10, 2013, she received a 2012 National Humanities Medal from President Barack Obama. Legacy
In 2017 the John and <mask> <mask> residence for veterans was opened in Washington DC. Selected bibliography

Books

 Reprinted as:

Chapters in books

Journal articles

  Pdf. References

External links

 National Women's History Project - <mask> <mask> biography
 <mask> <mask>: A Life
 Penguin Randomhouse Books - <mask> <mask>
 A Woman's Education by <mask> <mask>

 Excerpts from The Road from Coorain

 Masterpiece Theatre - The Road from Coorain, aired May 13, 2008

 Booknotes interview with <mask> <mask> on When Memory Speaks: Reflections on Autobiography, May 24, 1998. 1934 births
2018 deaths
Honorary Companions of the Order of Australia
American historians
American memoirists
Australian emigrants to the United States
People with acquired American citizenship
Harvard University alumni
Massachusetts Institute of Technology faculty
Nike, Inc. people
University of Sydney alumni
University of Toronto faculty
National Humanities Medal recipients
American women historians
Presidents of Smith College
Women heads of universities and colleges
American women memoirists
People educated at Abbotsleigh
21st-century American women

masks:
Jill Ker Conway
Ker Conway
Ker Conway
Ker
Conway
Jill Ker
Conway
Jill
Ker
Conway
Ker
Conway
Ker
Conway
John Conway
Ker
Conway
Ker
Conway
Ker
Conway
Ker
Conway
Conway
Ker
Conway
Ker
Conway
Ker
Conway
Ker
Conway
Ker
Conway
Conway
Jill Ker
Conway
Ker
Conway
Ker
Conway
Jill
Jill Ker
Conway
Conway
Conway
Jill Ker
Conway
Jill Ker
Conway
Jill Ker
Conway
Jill Ker
Conway
Jill Ker
Conway
Ker
Conway


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<mask> (born 14 July 1975), also known by his stage name Bloodshy, is a Swedish record producer, DJ, and remixer known for his work with the musical groups Bloodshy and Avant, Miike Snow, Ingrid, and Galantis. He started his international music career as one half of the electro pop duo Bloodshy & Avant with Pontus Winnberg, producing and co-writing tracks for pop stars such as Madonna, BoA, Kylie Minogue, and Katy Perry. Bloodshy & Avant notably co-wrote and produced Britney Spears' single "Toxic", which earned them a Grammy Award for Best Dance Recording in 2005. While continuing to work with Bloodshy and Avant, <mask> Snow, the group's debut album, was released in 2009, and peaked at number 11 on the Top Electronic Albums chart in the United States. Miike Snow won the 2011 European Border Breakers Award, and their second album Happy to You reached No. 1 on the Belgian Heatseekers Albums Chart and 43 on the Billboard 200.<mask> is also a member of a band called Galantis together with Linus Eklöw. Their debut self-titled EP Galantis was released on 1 April 2014, and they debuted their live show at Coachella Valley Music and Arts Festival two weeks later. The duo won Coachella 2014's Best Dance Music Moment from Billboard, beating Calvin Harris and Chromeo with 52% of the vote. Galantis had international success with their single "Runaway (U & I)" in October 2014, which received a nomination for Best Dance Recording at the 58th Grammy Awards. Galantis released their debut album Pharmacy on 8 June 2015, and that year the duo was named Best Breakthrough Artist at the International Dance Music Awards. <mask> Snow, the latter of which released their third album, iii, in March 2016. Early life
<mask> began focusing on music at age thirteen, recollecting "I come from skateboard culture, so it was punk rock, and I got into hip hop when hip hop got into skateboarding.I had never done anything else but music." He began working in the studio mixing and producing music as a teenager, and held stints with Swedish pop groups such as Goldmine, who at one point opened for the Fugees. Music career

Bloodshy and Avant singles (2000–2005)

Early in his music career, Bloodshy began working with his childhood friend Pontus Winnberg on electronic music and house music. <mask> adopted the moniker Bloodshy, and began working avidly on songwriting and producing with Winnberg as Bloodshy and Avant. The duo scored their first success working with American singer-songwriter Christina Milian for her late 2001 début album. The duo were then commissioned to work with English pop group Sugababes. Their subsequent collaboration with Ms. Dynamite resulted in several tracks on her 2002 album A Little Deeper, including her hit début single, "It Takes More".Bloodshy and Avant co-wrote and produced two songs on Britney Spears' 2003 album In the Zone: "Showdown", and the hit single, "Toxic", which two years later won at the 47th Grammy Awards as Best Dance Recording, also winning a 2005 ASCAP Award for most performed song. Bloodshy and Avant subsequently produced all three new songs on Spears' 2004 Greatest Hits: My Prerogative, and also produced the theme song for her Britney & Kevin: Chaotic reality series in 2005. After working with Spears, the duo continued to work with high-profile pop stars such as Katy Perry, Kylie Minogue, and Sky Ferreira. In 2005, Bloodshy and Avant co-wrote and co-produced two tracks with Madonna for her Confessions on a Dance Floor album. They also produced tracks for Ms. Dynamite's 2005 release Judgement Days. Bloodshy and Avant worked with Spears on her album Blackout in 2007, collaborating on songs such as "Piece of Me" and "Radar". In 2007, for Kylie Minogue's 10th studio album X, Bloodshy and Avant co-wrote and produced songs such as "Speakerphone".Bloodshy and Avant again helped Spears on her 2008 album Circus, producing tracks such as "Unusual You". Also that year, Bloodshy and Avant produced few songs for South Korean pop star BoA's English début BoA, and the following year they produced "Chocolate Love" for the K-pop girl groups Girls' Generation and f(x). Miike Snow and INGRID (2008–2012)

Bloodshy and Avant encountered and befriended American vocalist Andrew Wyatt in 2007, formulating the idea for a future collaboration. Bloodshy and Avant soon formed the band Miike Snow with Wyatt, and Miike Snow, the group's debut album, was released in 2009. The first single to be taken from the album was the electro-pop "Animal", released on 17 February 2009. "Black & Blue", the album's second single, was released on 15 October 2009, while the third single "Silvia" was released on 22 January 2010 in the UK. The album peaked on number 11 on the Top Electronic Albums chart in the United States.Continuing to mix and perform with Bloodshy and Avant while with Miike Snow, in 2010 <mask> worked with Sky Ferreira to produce singles like "One", which was released in August. In 2011, <mask> alone co-produced two songs for Britney Spears' 7th studio album Femme Fatale, "How I Roll" and "Trip to Your Heart". In July 2011, <mask> co-founded the Swedish artist collective and record label INGRID along with Miike Snow, Peter Bjorn and John, Lykke Li, Coco Morier and Dungen. Beyond INGRID, Bloodshy and Avant own Studio Robotberget, a studio based in Stockholm. They also run a label called Ändersson with signed artists and musicians including Little Majorette, Sky Ferreira and Meadow. Miike Snow won the 2011 European Border Breakers Award. On 24 January 2012, Miike Snow released "Black Tin Box", a collaboration with Swedish singer Lykke Li.On 13 March 2012, Miike Snow released their second album Happy to You. It met with a largely positive response in publications such as AllMusic Rolling Stone, and NME, with a mixed review from Pitchfork Media. It charted well, reaching No. 1 on the Belgian Heatseekers Albums Chart and 43 on the Billboard 200. Founding Galantis and "Smile" (2013)

<mask> is a member of a band called Galantis together with Linus Eklöw, which they formed around 2013. <mask> and Eklöw had first met by chance at <mask>'s Robotberget studios in Stockholm, sometime in 2007. In 2009, Miike Snow asked Eklöw to remix their song "Animal".Afterwards <mask> and Eklöw, both based in Sweden, started hanging out in the studio together, playing each other songs and scraps of ideas. In 2012 they stopped the loop-based and software-centric approach, switching to <mask>'s usual method of beginning a song on guitar or piano. "We keep the song naked, and when we feel like we have the right one, we put some clothes on it and see how it feels", says <mask>. <mask> and Eklöw said: "when we started Galantis, we set out to challenge each other and experiment with all of the sounds and ideas that we find exciting. We built a studio on a small island in the Baltic Sea and our surroundings became a source of inspiration." Galantis signed to Atlantic Records' dance imprint Big Beat Records in mid-2013. Their first single with Big Beat Records, "Smile", was released that following November.As the first composition they agreed upon, "Smile" received several remixes from various artists, and an extended mix by Kaskade. "Smile" has also been featured by Kaskade, Diplo, Tiesto, Dada Life, Steve Angello, and Pete Tong, who featured it as an Essential Tune. Its controversial video premiered on Stereogum, and featured the first instance of the "Seafox", a band mascot created by visual artist Mat Maitland. Galantis EP and touring (2014)

In February 2014, the duo released their second single "You". The track was subsequently played heavily at Winter Music Conference, becoming the 8th most Shazamed track at the festival. Their debut self-titled EP Galantis was released on April 1, 2014. Galantis debuted their live show at Coachella Valley Music and Arts Festival on April 12, 2014, about two weeks after they released their debut EP.In a Billboard Poll asking fans to vote on Coachella 2014's Best Dance Music Moment, Galantis beat Calvin Harris, Flume, Chromeo, Disclosure and Girl Talk with 52% of the vote. Their debut performance garnered praise from Dancing Astronaut, Los Angeles Times and Billboard, among other publications. Galantis has had international success with their single "Runaway (U & I)", which debuted on 5 October 2014. Rolling Stone opined that the song was "riding high on unapologetically major-key synths and pitched-up vocals", also writing "the summer anthem added an organic touch to the undeniable earworm qualities of the best Scandinavian pop." The song reached the top of Spotify's Global and US Viral charts and became a top 10 Spotify track in the Netherlands, Belgium and Finland. In America, the track peaked at number 1 on the Billboard Twitter Emerging Artists chart, and Billboard ranked the song at number five on its "The 10 Best Electronic/Dance Songs of 2014" list. Furthermore, "Runaway (U & I)" received a nomination for Best Dance Recording at the 58th Grammy Awards, receiving a second Grammy nomination as well.Pharmacy and singles (2015–16)

Galantis released the single "Gold Dust" on 19 February 2015 through Stereogum, which reached number 1 on Hype Machine's Popular Chart. In April 2015, Galantis released their single "Peanut Butter Jelly", which Rolling Stone called a "retro, funky slice of disco revival, with the kind of unforgettable, sing-along vocal hook destined for clubs, parties and spin classes." Time magazine wrote that the "infectious" track "samples the 1960s soul singer Bettye Swann, lending major retro vibes to its pulsing contemporary beat." On May 21, 2015 Galantis began their summer tour in support of Pharmacy, which ended on August 6, 2015. There were 22 dates on the tour in total, with various performances in multiple continents including Europe and North America. Galantis released their debut album Pharmacy on June 8, 2015. The duo uploaded each song to their YouTube channel with alternate artworks for each track.<mask> was touring with Galantis at the end of 2015 as well, with plans to hit venues in Las Vegas and other North American cities. In 2015, Galantis was named Best Breakthrough Artist at the International Dance Music Awards. On March 4, 2016, Miike Snow released iii. With the band, <mask> performed singles from the album on Jimmy Kimmel Live! on March 1, 2016. In addition, the band announced a tour in 2016 to promote the album, to take place from March 3, 2016 to July 29, 2016. Specific dates included SXSW, Coachella, the Governors Ball Music Festival and Lollapalooza, as well as others.Style and equipment
<mask> is known for writing and producing a mixture of big room house, progressive house, and other electronic music genres. He uses similar approaches in his different musical groups, stating that with Galantis, they "always start with the song. We use guitar, piano, and bass lines we don't keep to figure out which clothes we're going to put on each melody and lyric. I think that's different than a lot of others in the dance scene. They have a beat they love and then force a top line on top of it." <mask> furthermore stated that with Galantis, "A Galantis song sometimes has been only on a piano for two years before we even start putting a kick drum in it ... there's no Galantis song that starts with a beat or a track." Personal life
As of 2016, Bloodshy is based in Bangkok with his family.Awards and nominations

Discography

With Bloodshy and Avant

With Miike Snow

 Miike Snow (2009)
 Happy to You (2012)
 iii (2016)

With INGRID
Hearts Beating Weak (2012)

With Galantis

 Galantis EP (2014)
 Pharmacy (2015)

Further reading

Discographies
<mask> at AllMusic
<mask> at Discogs

References

External links

WeAreGalantis.com
MiikeSnow.com

1975 births
Swedish DJs
Remixers
Living people
Grammy Award winners
Miike Snow members
Galantis members
Electronic dance music DJs

masks:
Lars Christian Karlsson
Karlssonike
Karlsson
Karlssonike
Christian Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Karlsson
Christian
Karlsson
Karlsson
Karlsson
Karlsson
Christian Karlsson
Christian Karlsson


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Admiral Sir <mask>CB (4 December 1785 – 3 October 1862) was a Royal Navy officer. He took part in the Napoleonic Wars, first as a junior officer when he took part in the Anglo-Russian invasion of Holland in Autumn 1799 and later as a commander when he was in action at Copenhagen Dockyard shortly after the capture of that City in August 1807. He also served as Whig Member of Parliament for Greenwich and then for Devizes and became First Naval Lord in the First Russell ministry in July 1847 and in that role his service was dominated by the needs of Whig party. He was appointed Commander-in-Chief in the Mediterranean in 1852 and led all naval operations in the Black Sea including the bombardment of Sevastopol in October 1854 during the Crimean War. Early career

Born the son of Dr <mask> (of Calcutta) and <mask> (née <mask>), daughter of Thomas Dundas MP, <mask>, as he then was, joined the Royal Navy in March 1799. He initially joined the third-rate HMS Kent and took part in the Anglo-Russian invasion of Holland in Autumn 1799 during the War of the Second Coalition. In 1802 he saw action in combat with the French ship Duguay Trouin and was also involved with the capture of La Vautour.Promoted to lieutenant on 25 May 1805, he joined the fifth-rate HMS Cambrian and took part in capturing three privateers that year. After serving for a few weeks as flag-lieutenant to Admiral The Hon. George Berkeley on the North American Station and having been promoted to commander on 8 October 1806, he was given command of the fifth-rate HMS Rosamond but was injured while putting out a fire at Copenhagen Dockyard shortly after the capture of that City in August 1807. Promoted to captain on 13 October 1807, he briefly took command of the fifth-rate HMS Cambrian. Following his marriage to <mask> he assumed the surname of <mask> in April 1808. <mask> was given command of the third-rate HMS Stately, flagship of Rear Admiral Thomas Bertie, in the Baltic Fleet in March 1809. He took command of the third-rate HMS Venerable in January 1812 and then the frigate HMS Pyramus in September 1812 and in the latter ship captured two more privateers.He took command of the armed frigate HMS Tagus in the Mediterranean Fleet in August 1815 and then the first-rate HMS Prince Regent, as flag captain to Admiral Sir William Parker who was commanding on the coast of Portugal, in 1830. Entering politics, <mask> became Whig Member of Parliament for Greenwich at the 1832 general election and, having also become Deputy Lieutenant of Berkshire on 16 June 1834, he sat in Parliament until he stood down at the 1835 general election in favour of a fellow Whig. He was then given command of the first-rate HMS Britannia, as flag captain to Admiral Sir Philip Durham who was Commander-in-Chief, Portsmouth, in 1836. He became Member of Parliament for Devizes in February 1836 in place of Sir Philip Durham who had stood down as Member of Parliament for that constituency. He then resigned his seat in Parliament when he became Clerk of the Ordnance on 21 March 1838. He was appointed a Companion of the Order of the Bath on 25 October 1839. Having been elected Member of Parliament for Greenwich again at the 1841 general election, <mask> became Fourth Naval Lord in the Second Melbourne ministry in June 1841 but stood down in September 1841 when the Government fell from power.Senior command

Promoted to rear-admiral on 23 November 1841, <mask> became Second Naval Lord in the First Russell ministry in July 1846 before stepping up to be First Naval Lord in the same ministry in July 1847. As First Sea Lord his service was dominated by the needs of Whig party and he stood down as First Naval Lord when the Government fell from power in February 1852. <mask> was appointed Commander-in-Chief of the Mediterranean Fleet in 1852 and consequently resigned from the House of Commons, using the device of seeking appointment as Steward of the Manor of Hempholme, on 29 January 1852. Promoted to vice-admiral on 17 December 1852, he led all naval operations in the Black Sea in command of the Baltic Fleet, including the bombardment of Sevastopol in October 1854, during the Crimean War. <mask> returned to England in January 1855 and was appointed to the Turkish Order of the Medjidie (First Class) on 15 May 1855, advanced to Knight Grand Cross of the Order of the Bath on 5 July 1855 and awarded the Grand Cross of the French Legion of Honour on 30 April 1857. Promoted to full admiral on 8 December 1857, he died at Weymouth in Dorset on 3 October 1862. Family
On 2 April 1808, he married his first cousin, Janet, only daughter and heiress of <mask>, later Lord Amesbury.His first wife died in April 1846 and, in August 1847, he married Lady Emily Moreton, fourth daughter of Thomas Reynolds-Moreton, 1st Earl of Ducie. By his first wife, he had a life interest in large estates in Flintshire and Berkshire – centred on Aston Hall in Flintshire and Barton Court at Kintbury in Berkshire – which, at his death, passed to his grandson, Mr. Charles Amesbury <mask> Dundas. (<mask>' elder son, <mask> <mask> <mask>, having predeceased him in 1856.) See also
 Deans Dundas Bay
 List of British recipients of the Légion d'Honneur for the Crimean War

References

Further reading
 Russian war, 1854, Baltic and Black Sea: official correspondence, edited by David Bonner-Smith and Captain A.C. Dewar. Publications of the Navy Records Society. v. 83. ([London]: Printed for the Navy Records Society, 1943)
 Note in the Bodleian Library Catalog: "Correspondence between the Admiralty and Vice-Admiral Sir Charles Napier respecting naval operations in the Baltic.--Correspondence between the Admiralty and Vice-Admiral Sir <mask> <mask> respecting naval operations in the Black Sea."External links

|-

First Sea Lords and Chiefs of the Naval Staff
Lords of the Admiralty
Royal Navy admirals
Royal Navy personnel of the French Revolutionary Wars
Royal Navy personnel of the Napoleonic Wars
Royal Navy personnel of the Crimean War
UK MPs 1832–1835
UK MPs 1835–1837
UK MPs 1837–1841
UK MPs 1841–1847
UK MPs 1847–1852
Members of the Parliament of the United Kingdom for English constituencies
<mask>, <mask> Croix of the Légion d'honneur
Recipients of the Order of the Medjidie, 1st class
1785 births
1862 deaths

masks:
James Whitley Deans Dundas G
James Deans
Janet Deans
Dundas
James Deans
Janet Dundas
Dundas
Dundas
Dundas
Dundas
Dundas
Dundas
Dundas
Charles Dundas
Deans
Dundas
Charles Whitley
Deans
Dundas
James Deans
Dundas
Dundas
James Grand


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<mask> (1 November 1791 – 13 December 1863) (72 years) was an English surgeon who became the literary executor of Samuel Taylor Coleridge. <mask> was the only son of <mask>, a prosperous merchant, and was born at the house over his father's office in London Wall. His mother was Frances Cline, sister of <mask>, the surgeon. At the age of fifteen he went to Germany and studied for three years, his mother accompanying him. He was then apprenticed at the College of Surgeons to his uncle, <mask>, and followed the practice at St. Thomas's Hospital. While still a pupil he married, on 25 May 1813, Anne Eliza Hammond, daughter of a surgeon, and sister of a class-fellow. On 1 December 1815 he received the diploma of the College of Surgeons, and set up in surgical practice in Lincoln's Inn Fields, where he remained until his retirement to the country.In 1813 he had been appointed demonstrator of anatomy (unpaid) at St. Thomas's Hospital. In the autumn of 1817 he went to Berlin to take a private course of instruction in philosophy with Karl Wilhelm Ferdinand Solger, to whom he had been recommended by Ludwig Tieck in London. He had already met Samuel Taylor Coleridge, who came to meet Tieck more than once at <mask>'s house. In 1820 he was elected surgeon to St. Thomas's Hospital, on the death of his cousin, <mask> the younger. In 1824 he became professor of anatomy at the College of Surgeons,  delivering four annual courses of twelve lectures on comparative anatomy, using the textbook of Carl Gustav Carus. In 1825 he was elected Fellow of the Royal Society. In the same year he became professor of anatomy to the Royal Academy, then located at Somerset House, where he lectured a year on anatomy in its relation to the fine arts.He retired from this post in 1852. From 1818 he had shared the lectureship first on anatomy and then on surgery at St. Thomas's with Sir Astley Cooper, who retired in 1825, and wished to assign his share of the lectures to his two nephews, Bransby Cooper and Charles Aston Key. <mask>, who had paid Cooper £1,000 for his own half share, acquiesced, but the hospital authorities did not, whereupon Sir Astley started lectures in connection with Guy's Hospital, which had up to that time sent its pupils to the medical school of St. Thomas's. On the establishment of King's College in 1830, <mask> accepted the chair of surgery. He had a reputation, especially in lithotomy, for which he always used Cline's gorget. Coleridgean
<mask> met Coleridge in June 1817. A group calling themselves the "Friends of German Literature" invited Tieck, and they gathered at <mask>'s house in Lincoln's Inn Fields.Through James Gillman, <mask> with Tieck and <mask> Robinson visited Coleridge at Highgate. <mask> over the years spent much time in conversation with Coleridge, and in his Poetical Works, Coleridge inserted two pieces of verse by <mask> (Pickering's ed. of 1847, vol. ii. ), a tribute to friendship. <mask> was to be his literary executor, and he was so named in Coleridge's will. He was to dispose of manuscripts and books for the benefit of the family; but as many of the books (with annotations) would be necessary for the carrying out of another part of <mask>'s executory duties, namely the publication of a system of Coleridgean philosophy, <mask> was asked, in so many words, to purchase the books himself, which he did.They were later widely dispersed, in the British Museum, a large number in the possession of Coleridge's descendants, and many others in private hands, both in the United Kingdom and in the United States. Accused in 1854 by Clement Mansfield Ingleby in Notes and Queries of withholding from publication works which Coleridge had left more or less ready for the press, <mask> wrote to explain what it was that he held in trust from Coleridge. In the same year that Coleridge died (1834), <mask>'s father also died and left him a large fortune. He then accepted Coleridge's legacy as an obligation. In 1836 he gave up his private practice in Lincoln's Inn Fields, and lived for the rest of his life at Mount House, near Barnet. <mask>'s house in Hadley is now home to Mount House School. He resigned also in 1837 his chair at King's College, but retained for seventeen years longer (until 1852) the surgeoncy to St. Thomas's Hospital, and a share of the lectures on surgery for part of that time.With a view to a Coleridgean synthesis, he undertook a course of reading, revived his knowledge of Greek, learned Hebrew, and worked on Sanskrit. An introduction by him to the Confessions of an Inquiring Spirit is prefixed to the edition of 1849. Later life

In 1835 the council of the College of Surgeons had chosen him for life into their body; he was elected a member of the court of examiners in 1846 (also a life appointment), and twice filled the office of president of the college (1849–50 and 1858-9). In 1851, he served as a Juror [i.e. for selecting the most significant or important exhibits] during "The Great Exhibition", his area of expertise being surgical instruments and equipment. In 1853 he was made D.C.L. at Oxford, on the occasion of Lord Derby's installation as chancellor.The General Medical Council having been established by the Medical Act of 1858, <mask> became the representative on it of the College of Surgeons. Two years after he was appointed by the government president in succession to Sir B. Brodie, and held that office until his death. Having suffered in his later years from inherited gout, he had an acute seizure on 1 November 1863, and died in his house at Hadley on 13 December. According to his friend Sir John Simon, his last words were "Stopped. ", referring to his own pulse

His wife survived him; he had no issue. He was buried in a family vault (plot no.5039) on the western side of Highgate Cemetery, on the left hand side of the main path between Comfort's Corner and the Egyptian Avenue. Works
Previous to 1820 he had published anonymously 'Outlines of a Course of Dissections,' and in that year he enlarged the book into his 'Dissector's Manual,' with plates, said to have been the first work of the same kind or scope yet published.He wrote no original memoirs except a minor piece in Med.-Chir. Trans. xii. 46. Two of his Royal Academy lectures, on 'Beauty' and on 'Expression', were published in the Athenæum 16 and 23 December 1843. The claims made by the Cooper family led to a quarrel. <mask>'s part in it was a long pamphlet ('Letter to Sir Astley Cooper on the Establishment of an Anatomical and Surgical School at Guy's Hospital,' London, 1825), which stated the legal case.He published, chiefly in The Lancet, a large number of lectures, clinical comments, and cases. In 1832 he gave the opening address (published) of the winter session, taking as his subject the functions or duties of the professions of divinity, law, and medicine according to Coleridge. In the College of Surgeons he advocated reforms; the amended constitution of 1843, providing for a new class of fellows and the election of the council by the fellows, was in accord with his views published in a pamphlet in 1841 ('The Touchstone of Medical Reform'). He had already published two pamphlets on medical education and reform: 'Distinction without Separation: a Letter on the Present State of the Profession,' 1831, and 'Suggestions respecting Medical Reform,' 1834. As Hunterian orator at the college in 1841 he gave before a distinguished audience an obscure address on 'Vital Dynamics,' an attempt to connect science with the philosophy of Coleridge. Re-appointed Hunterian orator in 1847, he supplemented his former Coleridgean exposition with another in the same vein on 'Mental Dynamics; or, Groundwork of a Professional Education.' He made little definite progress with the Coleridgean system; but before he died he compiled a work from Coleridge's marginalia, fragments, and recollected oral teaching, under the title 'Spiritual Philosophy, founded on the teaching of S. T. Coleridge,' which was brought out, in two volumes (1865), with a memoir of <mask>, by his friend and former pupil Sir John Simon.The first volume, of which the first chapter was dictated to <mask> by Coleridge himself, is occupied with a groundwork of principles; the second volume is theological. References

External links

RCS page

Attribution

1791 births
1863 deaths
Burials at Highgate Cemetery
Medical doctors from London
19th-century English medical doctors
English surgeons
Fellows of the Royal Society
Samuel Taylor Coleridge
Monken Hadley

masks:
Joseph Henry Green
Life Green
Joseph Green
Henry Cline
Henry Cline
Green
Henry Cline
Green
Green
Green
Green
Green
Henry Crabb
Green
Green
Green
Green
Green
Green
Green
Green
Green
Green
Green
Green


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Charles Anthony Graci (born May 14, 1936, Philadelphia, Pennsylvania, United States), known professionally as <mask>, is an American rock pioneer and rhythm and blues singer and guitarist. Career

Early career
<mask>'s father encouraged him to play the guitar. His musical career started at the age of 16 when he appeared on the Paul Whiteman television show in 1952. <mask> performed at weddings, local restaurants, and parties, and on local radio and television. He also won regional talent contests. <mask> graduated from South Philadelphia High School in 1952. The owner of Cadillac Records, Graham Prince, heard one of <mask>'s early radio performances, contacted the young musician and signed him to a recording contract.This association yielded the single "Boogie Woogie Blues" backed with "I'm Gonna Sit Right Down And Write Myself A Letter". The record led to <mask>'s first appearance on Bob Horn's American Bandstand television program, four years before Dick Clark became the host. After cutting two more singles for Cadillac, including one called "Rockin' 'n' Rollin'" in 1952, <mask> moved on to 20th Century Records, where he put out another four sides. The discs he made embraced a wide variety of styles: jump blues, gospel, and country boogie with the influences of Big Joe Turner, B.B. King, Louis Jordan, Roy Acuff, and Hank Williams. Cameo success years
By 1956, Philadelphia had given birth to the new Cameo record label. Its founders, in search of a strong talent, signed <mask> later that year.With a $600 budget, this new union went into the recording studio to record "Butterfly" backed with "Ninety Nine Ways". It became a hit record, reaching #1 in jukebox plays in the Billboard chart. <mask> received a gold disc for the two million plus sales. His only other Top 40 hit was with a song entitled "Fabulous" the same year, which reached number 16. This track also reached number 6 in the UK. Two other substantial sellers followed: "Wandering Eyes", his third Billboard Top 100 hit, which peaked at number 71 (another number 6 in the UK), and "Cool Baby" (also a top 30 hit in Britain). The financial success of these hits bankrolled the Cameo label, which became a dominant force in the music industry for several years.<mask>'s personal appearances grew until he performed and headlined some of the biggest venues of that time: Alan Freed's rock and roll shows at the Brooklyn Paramount, The Ed Sullivan Show, American Bandstand and the 500 Club in Atlantic City, New Jersey. He appeared in the 1957 film Jamboree and toured with Chuck Berry, the Everly Brothers, Bo Diddley and his close friend Eddie Cochran. <mask> became only the second American rock and roller to bring this new art form to the British concert stage. His two extensive tours in 1957 and 1958 were topped off by headlining the Palladium and the Hippodrome in London. In the audiences, among <mask>'s fans, were future rock musicians Graham Nash, and members of the Beatles. These performers and many other well-known acts have credited <mask> as an influence. George Harrison referred to <mask>'s guitar technique as 'brilliant' in a March 1996 interview with Billboard; Paul McCartney invited <mask> to the premiere party of his 1999 release which paid tribute to the early pioneers of rock music.According to the documentary film Wages of Spin, <mask> sued Cameo Records for unpaid royalties and in retaliation was blacklisted from the radio and American Bandstand. Per the film, Bandstand host Dick Clark had a relationship with the record company and was paid $14,000 for services related to <mask>'s song "Butterfly". Later career
After Cameo, <mask> moved on to other record labels such as Coral, Roulette, Felsted, and Diamond, performing more of the R&B he preferred. Even as success slowed, he continued to perform in clubs, theaters, and resorts all over the USA and Europe, from the 1960s through the 1990s and into the 2000s. He still enjoys a loyal following in the United Kingdom, Germany, Austria, Switzerland, France, and the Netherlands, where he regularly tours - thanks in part to his dear friend and manager, Paul Barrett who represented <mask> until Paul's passing in 2019 . During the late 1990s, he was introduced to Quentin Jones, a guitarist, studio owner and label head. Jones had a strong background in roots music, having played in a rockabilly band produced by the Stray Cats bassist Lee Rocker.He also played lead guitar on Robert Gordon's 1996 self-titled CD. <mask> and Jones met at Valley Forge, Pennsylvania. They decided to record an album together with Jones acting as producer. He brought in bandmate Dave Ferrara to play drums. Jones played bass guitar, combining with <mask>'s guitar and vocals. <mask> invited Jones and Ferrara to back him when Van Morrison commissioned <mask> to open his 2000 West Coast tour. Contributing their musical talents on his latest CD were Tommy Conwell, whose guitar playing is featured on "Still 19", Ralph Miller on piano, Daryl Jenkins on saxophone, and Pete Barnhart on percussion.Graham Nash contributed vocals to the song "A little Too Soon To Tell". <mask>'s pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame and is inducted into the South Philadelphia High School Alumni Cultural Hall of Fame. In 2007, a documentary film about <mask>, Fabulous, was aired on PBS stations. In 2011, ABKCO released the CD For The Love of Charlie produced by Al Kooper and co produced by Quentin Jones, with guest artists Graham Nash, Peter Noone, Jimmy Vivino, Craig Ross, and Dennis Diken, with <mask> singing some of his own songs and some covers. On <mask>'s 75th Birthday, he recorded "Baby Doll" with the hill & hifi. Released in the fall of 2011, it was his first single in over 50 years to receive UK airplay on the BBC. In the US, the record entered the Top 100 on Mediabase's Top 40 Chart, from the strength of Airplay at Sirius XM.Richie Scarlet is featured on lead guitar and played with <mask> at the Bitter End, in NYC, on March 30, 2012 after a Live Radio broadcast at WFUV. WXPK & WXPN played "Baby Doll," as well, in regular rotation. The World Café featured <mask>, at their Philadelphia Venue, during the same time period, in support of the record. <mask> was inducted into the Broadcast Pioneers of Philadelphia Hall of Fame on November 16, 2012, at the Hilton City Avenue, Philadelphia. In 2019, <mask> toured the UK with Marty Wilde along with Mike Berry, Nancy Ann Lee and the Wildcats. <mask> is a devoted family man, married 60 plus years to his first and only wife, Joan. They have two children, a son and a daughter.

masks:
Charlie Gracie
Gracie
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Charlie
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Charlie
Charlie
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Charlie
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Gracie
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Charlie Gracie
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Family Gracie