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<mask> (, "Génthios";  181168 BC) was an Illyrian king who belonged to the Labeatan dynasty. He ruled in 181–168 BC, being the last attested Illyrian king. He was the son of Pleuratus III, a king who kept positive relations with Rome. The capital city of the Illyrian kingdom under Gentius was Scodra. In 180 BC, during his early reign, the Dalmatae and Daorsi declared themselves independent from his rule and the city of Rhizon abandoned him prior to his defeat, receiving immunity from the Romans. He married Etuta, the daughter of the Dardanian king Monunius II. In 171 BC, <mask> was allied with the Romans against the Macedonians, but in 169 BC he changed sides and allied himself with Perseus of Macedon.The southernmost city of the Illyrian kingdom was Lissos (now Lezhë, Albania), a situation established since the First Illyrian War. He arrested two Roman legati, accusing them of not coming as emissaries but as spies. <mask> destroyed the cities of Apollonia and Epidamnos (Roman Dyrrachium, now Durrës, Albania), which were allied with Rome. In 168 BC, he was defeated at Scodra by a Roman force under L. Anicius Gallus, in only twenty or thirty days, and in 167 brought to Rome as a captive to participate in Gallus's triumph, after which he was interned in Iguvium. The date of his death is unknown. After his defeat, the Romans split the region into three administrative divisions, called meris. The extent of the first meris is not known, while the second was Labeates, and the third was Acruvium, Rhizon, Olcinium and their environs.Name
The Illyrian name Gentius appears to derive from PIE *g'en- "to beget", cognate to Latin gens, gentis "kin, clan, race". It must reflect the reconstructed noun *gent(i)yos, designating the king as the head of his kin, like the Proto-Germanic [[:wikt:Reconstruction:Proto-Germanic/kuningaz|*kun-ing-az]]. Biography

Relations with Rome

By 181 BC the loyal Pleuratus had been succeeded by his son Gentius. During his reign relations with the Ardiaean state and Rome started to dwindle. The coast and hinterland south of the Drin remained under Roman control since the First Illyrian Wars against Teuta. Gentius moved to increase power over kindred peoples living to the north and west. Among the islands the Greek city of Issa (now Vis, Croatia) had retained some form of independence under Roman protection but Pharos (now Hvar, Croatia) remained an Illyrian possession.On the mainland the Delmatae and the Daorsi were at one time subjects, but the former defected soon after the accession of <mask>. Illyrian strength lay in the navy and ships and it was their interference with Adriatic shipping which once more aroused Roman interest in the area. In 180 BC a Roman praetor responsible for coastal protection arrived in Brudisium with some ships of Gentius said to have been caught in the act of piracy. An embassy to Illyria failed to locate the king; but the praetor discovered that Romans were held for ransom at Korčula. No outcome of the affair is reported and it may well be that the Senate accepted a claim by Gentius' envoys that the charges were false. Ten years later, when Rome was gripped with war-fever against Perseus of Macedon, Issa accused Gentius of plotting war with the king and now the Illyrian envoys were denied a hearing before the Senate. Instead the Romans seized 54 Illyrian lembi at anchor in the harbour of Epidamnos.On the eve of war a Roman senator was sent to Illyria to remind <mask> of his formal friendship with the Roman Republic. Alliance with the Dardani and Macedon

In 169 BC <mask> arranged the murder of his brother Plator killed because his plan to marry Etuta, daughter of the Dardanian king Monunius II, would have made him too powerful. <mask> then married Plator's fiancée for himself, securing the alliance of the powerful Dardani. Perseus of Macedon having recaptured several Roman outposts in Roman occupied Illyria controlled the route leading west to the Ardiaean state. At this point Perseus sent his first embassy to <mask>, consisting of the Illyrian exile Pleuratus and the Macedonian Adaeus and Beroea. They found <mask> at Lissos and informed him of Perseus' successes against the Romans and Dardani and the recent victory over the Penestae. The Illyrians replied that he lacked not the will to fight the Romans but the money.No promises were made on this point either by this embassy or another sent from Stuberra shortly afterwards. Perseus continued his efforts to involve <mask> in the war, preferably it was said, at no cost to his treasury. The Illyrian exile Plearatus raised 1,000 infantry and 200 cavalry from the Penestae. The Roman invasion of Macedonia in 168 BC forced the king to promise a subsidy to <mask>, whose ships might be employed to attack the Romans. A sum of 300 talents was mentioned and Perseus sent his companion Pantauchus to make the arrangements. In the city of Meteon (now Medun, Montenegro) hostages were agreed and <mask> accepted the oath of the king. He sent Olympio with a delegation to Perseus to collect the money, and the treaty was concluded with some ceremony at Dium on the Thermaic Gulf.A formal parade of the Macedonian cavalry was held which may have impressed the Illyrians and the cavalry may have represented the Macedonians in the ratification of the treaty. The 300 talents were counted out of the royal treasure at Pella and the Illyrians were permitted to mark it with their own stamp. An advance of ten talents was forwarded to <mask> and when this was passed over by Pantauchus the king was urged to commence hostilities against the Romans. When Gentius imprisoned two Roman envoys sent by Appius Claudius at Lychnidus, Perseus recalled the rest of the subsidy in belief that <mask> was now his ally, come what may. Rise to power

Gentius accompanied the new anti-Roman orientation in Illyrian foreign policy with a series of measures to strengthen his state. First, he concentrated the finances by establishing a single tax over all the subjects and by taking royal control of the monetary workshops or mints of Lissus and Scodra, the two cities where he resided. At this time Gentius was issuing bronze coins.In the Selcë hoard there are two coins of <mask> with Macedonian emblems. The other coins of <mask> have what is probably his head with a cap not unlike the petasos, and a torque around his head, and on the reverse in one case a thunderbolt and in the others a warship, the lembi. Thus, according to an inventory made by the Romans, the state treasury had 27 pounds of gold, 19 of silver, 120,000 Illyrian drachmas and 13,000 Roman denarii on the eve of the war with Rome. <mask> and Perseus sent a joint embassy to invite Rhodes in the war against Rome. <mask> also built up a fleet of 270 lembi, showing that he awaited an enemy in the Adriatic. His army numbered 15,000 men. Gentius was now prepared to go to war with Rome.Third Illyrian War

In January/February 168 BC <mask>, having mustered his force of 15,000 men and fleet of lembi at Lissus, the southernmost city of his state, advanced into Roman territory and laid siege to the Illyrian city of Bassania, a Roman ally which refused to yield although it was only 5 miles from Lissus. His half-brother Caravantius, detaching 1,000 infantry and 50 horsemen, attacked the Cavii, failing to capture one of their cities while ravaging the fields of the city of Caravandis. A flotilla of eight lembi set off a little later to attack the coastal colonial cities of Epidamno and Appolonia. Meanwhile, the Romans under Appius Claudius had heard of the alliance that Gentius made with Perseus of Macedonia and the arrest of the Roman envoys. He therefore moved his army out of their winter quarters at Nymphaeum, added to it with troops from Byllis, Epidamnos and Appolonia as he marched north, and encamped by the river Genesus (Shkumbin, Albania). There he met with the new Roman commander, Lucius Anicius Gallus, a praetor. Anicius had crossed over from Italy to Appolonia with two legions, comprising 600 cavalry and 10,400 infantry, and 800 cavalry and 10,000 infantry from the Italian allies.His fleet, whose size is not known, was strengthened by a draft of 5,000 sailors. To this imposing force he added 200 cavalry and 2,000 infantry of the Parthini, an Illyrian koinon allied to the Romans. These combined forces outnumbered those of Gentius by two to one. As a folio of Livy's text is missing, little is known of this campaign. It seems that Anicius's fleet engaged the Illyrians at sea and captured a number of their lembi. Next, they defeated the Illyrians on land, allowing them to advance into the heart of Illyrian territory. Once there, they secured the surrender of enemy cities mostly through negotiation rather than direct assault.Gentius concentrated his remaining forces near his capital Shkodra, a well-fortified city situated in a strong natural position. When Anicius approached with his army in battle formation, the Illyrians fled into the city in panic. <mask> asked for, and was given, a three-day truce hoping that Caravantius would come at any moment with a large relieving army: but that it did not happen. After his defeat, Gentius sent two envoys from among the prominent tribal leaders, Teuticus and Bellus, to negotiate with the Roman commander. On the third day of the truce,  <mask> came to the Roman camp and surrendered to Anicius who gave him a dinner with full honours and then put him under arrest. The Illyrians in Shkodra surrendered and released the Roman envoys. The Roman army marched north of Scutari Lake where, at Meteon, they captured Gentius's queen Etuta, his brother Caravantius and his sons Scerdilaides and Pleuratus along with other leading Illyrians.The fall of the Ardiaean State is transmitted by Livy in a ceremonial manner of the triumph of Anicius in Rome:

This part of the campaign had only lasted thirty days. There were certainly further operations in the northern part of the Ardiaean State for Anicius placed garrisons in some towns, citadels and fortresses. These include the cities of Issa, Rhizon and Olcinium and the tribal states of the Daorsi and the Pirustae. Some came over to Rome on their own accord while other places such as Pharos were reduced by force and their property looted. Aftermath

Rome's triumph included the capture of many royal flags, other booty, the furniture of the king himself and the treasure mentioned above. Millions of sectercii were gained from the sale of the booty, in addition to the gold and silver that went to the state treasury. By decision of the Senate, <mask> and his family were sent to Spoletum, to be kept under observation.The other captives were imprisoned in Rome. But the inhabitants of Spoletum refused to keep the royal family under watch, so they were transferred to Iguvium. The booty seized in Illyria included 220 vessels. By decree of the Senate, C. Cassius Longinus gave these vessels taken from Gentius to the inhabitants of Corcyra, Appolonia and Epidamnus. The year of <mask>' death is not known but there are ruins of what is perhaps his tomb. The Roman punishment of Illyria spared only those koina that had backed Rome openly in the war. Those who had been enemies, their cities, buildings and public institutions were burned and thoroughly looted.Those spared retained their previous manner of administration, with officials elected every year, and paid Rome only half the taxes that they had previously paid to <mask>. The federation-based koina were dissolved and each unit was recognized as a separate koinon, enjoying local autonomy and often the right to mint its own coins. While the southern Illyrian lands had been conquered once and for all, the Roman legions continued for about another hundred years with attempts to conquer the northern and eastern territories. Probable continuance
The archaeologist Hasan Ceka has hypothesized that the name of one of the envoys of <mask>, Bellus might have been an incorrect transcription of Ballaeus (Ballaios). Although from the linguistic point of view this identification is very problematic, some have accepted the idea that Ballaois was the successor of <mask>, who had friendly relations with Rome. Ballaois was an Illyrian king only attested on his coins and ruled (perhaps 167–135 BC or other dates) of the Ardiaei. Ballaios appears to have ruled after 168 BC at Queen Teuta's old stronghold, Rhizon.At the time the region was part of the Roman Republic and the Ardiaean kingdom had been dissolved since the time of <mask>. He had some sort of rivalry with Pharos. Whilst the abundance of his coinage in the region would suggest that he was a very influential figure there is no literary or historical evidence of his existence. Legacy

Gentiana lutea, and by extension the rest of the Gentiana genus, was named after <mask>, as a tribute as it was thought that he had found out that the herbs had tonic properties. <mask> is depicted on the reverse of the Albanian 50 lekë coin, issued in 1996 and 2000, and on the obverse of the 2000 lekë banknote, issued in 2008. See also
List of rulers of Illyria

References

Bibliography

Illyrian royalty
2nd-century BC rulers
Year of birth unknown
Year of death unknown

masks: Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius Gentius


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<mask> is believed to be the only butter carver in the United States who works with live models. She is known for carving the likeness of Princess Kay of the Milky Way along with the 11 Princess Kay finalists out of 90-pound blocks of butter at the annual Minnesota State Fair. Each year, her work draws hundreds of thousands of visitors to the Dairy Building, where the Midwest Dairy Association sponsors the butter carving in front of fair goers. The newly crowned Princess Kay and 11 finalists each spend about six hours with <mask> in the rotating 40-degree butter booth, as <mask> carves their likenesses out of butter. Princess Kay sits in the booth on the first day of the fair while the 11 finalists get their likenesses carved over the remaining days of the state fair. <mask> carves these sculptures out of Grade A salted butter provided by AMPI (Associated Milk Producers Inc.), in New Ulm, Minnesota. In 2011, she celebrated 40 years working with Midwest Dairy Association as a butter sculptor.Estimations show that she has carved more than 450 sculptures and 32,000 pounds of butter. Since she has started, the butter sculptures have gone from an oddity to something identified with Minnesota. Butter sculpting at the State Fair was originally initiated to highlight Minnesota's claim as the "butter capital of the nation." In addition to Princess Kay and the finalists, <mask> has sculpted the likenesses of celebrities from David Letterman to former Minnesota First Lady Mary Pawlenty. She even sculpted Conan O'Brien out of white chocolate and used bacon for the hair. One of her commissions was to carve Sesame Street character Big Bird out of a 300-pound block of butter. National Geographic has twice featured her work, and she has turned down requests from Oprah Winfrey and Johnny Carson, who wanted her to rush her carvings in one hour.Minnesota State Fair

Running since 1859, the Minnesota State Fair is one of the largest fairs in the United States that is second only to Texas. It runs for 12 days starting sometime during the end of August and ends on Labor Day which is the first Monday of September. It takes place in Falcon Heights, Minnesota which borders the Twin Cities of Minneapolis and St. Paul. <mask> arrives just after dawn ever yday at the state fairgrounds wearing long underwear, rubber gloves with a non-porous yellow rain coat over layers of clothing, and woolen socks with crocs. Her routine is to walk the fairgrounds to get herself excited for the day. Starting between 9:00 a.m. and 9:30 a.m., <mask> spends most of her day at the State Fair with the dairy royalty in the 40-degree "butter booth," a rotating walk-in, glass-walled refrigerator. Depending on the princesses’ hair, the carving of the butter sculpture takes six to eight hours per finalist.<mask> said that straight hair is easier than curly hair and short hair is easier than the long. She takes breaks after 90 minutes to warm up her hands, eat greasy fair food, and visit with fair goers. The most difficult part about each sculpture is getting the smile of the princess perfect. The rest of the sculpture she said in an interview with Minnesota Original comes naturally. The butter carving booth is one of the most popular exhibits at the state fair. The princess's family and friends stand around the rotating cooler as <mask> carves her sculpture. While she carves their faces, the princesses hold a microphone and answers question from the public about life on a dairy farm.In between interviews, <mask> talks to the princesses about boys, her children and her grandchildren. She likes working with butter as a medium because it's forgiving and can be "squished" into any form. It's also an attractive, eye-catching surface. She said the salted butter is much nicer to carve than the unsalted butter. Freezing the butter before carving leaves the image looking flaky. She uses a number of tools to mold and shape the butter, such as a long sharp floss-like cord, a number of knives and a 5-gallon pail to put the scraps in for the princesses to take home. She said in one of her interviews with The Wall Street Journal that this job was too big for a butter knife.She uses a similar style to Michelangelo who chipped away at his images. She plans to continue the butter sculpting at the Minnesota State Fair until she is no longer able to use her fingers. <mask>'s legacy helped lead to the creation of the Butter-fy Yourself Facebook App in 2010. The app transforms a simple Facebook profile photo into one of six butter personalities, including a dairy princess, a butter hippie, a butter cow, a butter liberty, butter bouffant and butter up, a baseball player. Awards
To mark her 40th anniversary, the Midwest Dairy Association granted a $1,000 scholarship in <mask>'s name to the Minneapolis College of Art and Design, to commemorate her dedication to carving butter heads. It was not until 2011 that <mask> went to a dairy farm. The 2007 Princess Kay of the Milky Way, Ann Miron Tauzell hosted a party on her father's farm in honor of <mask>'s 40 years.<mask> toured the AMPI butter-producing operation in New Ulm, Minnesota, the state's largest butter factory, that hand packs the butter blocks she's used all those years. According to the Star Tribune, <mask> is considered a celebrity among the dairy industry. "Growing up on a dairy farm is not exactly glamorous," said Christa Mounts Schlosser, now a dairy inspector for the state. "It's smelly and dirty. But for one day when you're spinning in that booth with <mask>, you're on a pedestal."'' Early life
<mask> was born in northeast Minneapolis as <mask> and spent some time growing up in Wilmar, Minnesota when her father sold Wonder Bread. Her mother worked as a secretary and her father was an aluminum siding salesman.In 1950, at 8 years-old she attended her first Minnesota State Fair. She hasn't missed a fair since. Although spending most of her senior year in a hospital, she graduated from Richfield High School in 1960. She was married to <mask> and had two daughters before enrolling at the Minneapolis College of Art and Design, in Minneapolis, Minnesota. She was one of the first married women with children to enroll there. She received a degree in visual arts with a concentration in sculptures. In 1968, as an art student, she walked into the Dairy Building at the Minnesota State Fair on a hot day and marveled at the artist in the cooler sculpting butter heads as dairy princesses modeled, wishing she could be in the cooler too.She was recommended for the job in 1972 when a woman from her college contacted her to fill the void of the original butter sculptor who was moving. Her audition for the job was to work on a 55-pound block of butter for three hours. In 1985 Earl and <mask> divorced. She worked as a middle-school art teacher in Twin Cities’ schools and later at General Mills. For a while, she lived and owned a sculpture studio and gift shop in Danbury, in north Wisconsin. There she made ceramic wildlife sculptures for her gift shop. More than 20 years ago, she created her own line of greeting cards, known as the “Elderberries” which conveys gentle humor about aging.She has taught calligraphy, sculpture and drawing. In 2000, she received a master's degree in theology from the University of St. Catherine in St. Paul, Minnesota. She took poetry classes at the Loft Literary Center in Minneapolis and continues to write and study for an online group. She also attended workshops to become a Zumba fitness instructor. She took classes in kinesiology, the study of human movement, to teach specialized classes. These are for older athletes, a special fitness level or classes for medical related issues. Life in the off season
<mask> currently resides in Oceanside, California, north of San Diego and works as a wine adviser.She now crafts necklaces and bracelets out of hand-tooled leather. References

 Featured on the PBS program "MN Original" from the TPT St. Paul, MN Station:

Artists from Minneapolis
Year of birth missing (living people)
Living people
Sculptors from Minnesota

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<mask> (born 12 November 1973 in Chatham, Kent) is a Northern Irish professional snooker player. He represents Northern Ireland in international events, as his parents are from Belfast. <mask> has enjoyed moderate success in his career, reaching his highest ranking, 26th, for the 2004–05 season, and has reached one ranking final, at the 2014 Players Championship Grand Final, where he lost 4–0 to Barry Hawkins. Alongside this, <mask> reached a ranking semi-final, at the 2007 Grand Prix, losing to the eventual champion Marco Fu, and five quarter-finals. Representing Northern Ireland with teammate Mark Allen, he reached the final of the 2011 World Cup, where they lost to China. <mask> has qualified for the World Championship five times without winning a match at the Crucible Theatre, although he twice drew the defending champion – John Higgins in 1999, and Peter Ebdon in 2003. He was ranked within the world's top 64 players from 1997 until he fell off the main tour, losing his professional status, in 2016.Career

Early career

<mask> turned pro and joined the professional ranks in 1993/94 at the age of 20. In 1995/96 he got to the latter stages of three events and was up 38 places to 72nd in the World Rankings. In 1997 he got to his first ranking Quarter-final in the UK Championship by beating Ian Burmby 6–5 in the first round, Steve Davis 6–2 in the second round, Andy Hicks 9–6 in the third round, and Gary Ponting 9–6 in the last 16, taking him to the Quarter-finals where he lost 6–9 to Ronnie O'Sullivan. 2003/2004
He started the 2003/04 season in superb form reaching the British Open quarter final and the last 32 of the UK Championship beating Joe Swail 9–4 in the first round, then losing 9–7 to Matthew Stevens. He also reached the last 32 of the LG Cup. He was briefly provisionally in the top 16 but then suffered a mid season slump. Things picked up a little later in the campaign and he was assured of a place in the top 32 for the first time at number 26, and overtook Swail to become the number one player from Northern Ireland.2004/2005
He then had some problems with his cue and his form suffered during the 2004/5 season when he failed in all but two of the ranking events, and despite reaching the Irish Masters quarter final he found himself back down to 38th in the rankings. 2006/2007
He returned to the top 32 after 2006/2007, the highlight being a run to the last 16 of the Northern Ireland Trophy. 2007/2008
He reached his first ranking semi-final at the 2007 Grand Prix. <mask> came through Group B which included Ronnie O'Sullivan, Steve Davis, Dominic Dale and qualifiers Tom Ford and Mark Joyce. He beat Davis and Dale 4–0, Ford 4–3 and Joyce 4–2, his only defeat coming at the hands of Ronnie O'Sullivan, 4–2. He defeated qualifier Ricky Walden 5–0 in the last 16 with breaks of 101 and 91. In his quarter-final he faced Joe Perry, who he defeated 5–3 with breaks of 68, 57, 123 and rounding of the match with a 53.Eventual champion Marco Fu edged him out 6–5 in the semi-final. For a while before this tournament, he had no snooker club to practice in. Showing his best form for years, he also reached the Quarter-final of the 2007 Northern Ireland Trophy, beating Liang Wenbo (5–2) in the first round. Then he beat former World Champions Mark Williams (5–3) and Ken Doherty (5–1) on the way. His run ended in the hands of Mark Allen, who he lost to 5–3. He lost form in 2008 however, failing to qualify for the World Championship after a 2–10 defeat to journeyman Mark Davis. 2008/2009
<mask>'s 2008/2009 season was solid but unspectacular.He won his opening match in six of the season's eight tournaments, but only went further in two of them. Crucially, he qualified for the World Championship by defeating Liu Song and Ken Doherty (gaining revenge for a defeat Doherty inflicted on him in the Northern Ireland Trophy). He was beaten 10–5 by Ali Carter in the first round. 2009/2010
<mask> qualified for five of the six ranking events during the 2009–10 season, but once there lost in the wildcard round of the Shanghai Masters to Li Yan and in the first round of the other four. He finished the year ranked world number 28. 2010/2011
<mask> began the 2010–11 season brightly by reaching the semi-finals of the second Players Tour Championship event. He defeated Anthony McGill in the last 16 and Ricky Walden in the quarter-finals, before losing 1–4 to Barry Pinches.He played in all 12 of these minor-ranking events and reached the last 16 on three occasions, which helped him finish 25th on the Order of Merit to qualify for the Finals, where he was defeated 2–4 by Matthew Stevens in the first round. He qualified for two other ranking events, the Welsh Open and China Open, but lost in the first round on both occasions to finish the season ranked world number 32. 2011/2012
<mask> could not qualify for a single ranking event during the 2011–12 season. He also did not fare well in the Players Tour Championship events as he took part in all 12 of them but only advanced to the last 16 once to finish 57th on the PTC Order of Merit and 42nd in the world rankings. 2012/2013
<mask> could not feature in the main draw of a ranking event until the Welsh Open in February. He beat David Grace and Ali Carter to qualify, but was then whitewashed 0–4 by Sam Baird in the first round. He had a very poor season in the PTC events to finish 89th on the Order of Merit.Green's slide down the world rankings during recent years continued as he finished 56th, a drop of 14 places from the start of the season. 2013/2014
<mask> beat Martin O'Donnell 5–3 to qualify for the first ranking event of the 2013–14 season, the Wuxi Classic. At the venue he saw off Michael Wasley 5–1, before losing 5–2 to David Morris in the second round. <mask> reached his first final after 20 years as a professional at the minor-ranking Paul Hunter Classic in August. He won four matches to reach the quarter-finals where he beat Joe Swail 4–1, then held his nerve against Ali Carter to win 4–3 after leading 3–0. In the final he faced Ronnie O'Sullivan and was defeated 4–0 in 44 minutes. He secured the highest break in the qualifying rounds of the International Championships, a break of 142 in a 6–5 defeat to Thepchaiya Un-Nooh.At the Ruhr Open <mask> made the highest break of his professional career, a 144 in a 4–0 first round win over Germany's Phil Barnes. <mask> went on to beat Nigel Bond 4–2 and then lost 4–2 to Anthony Hamilton in the last 32. His season seemed to be heading for an anti-climax as he could not win more than one match in any event until he played in the PTC Finals. His aforementioned final saw him finish 17th on the Order of Merit to qualify and he then defeated Ricky Walden 4–1 and came from 3–0 down against Anthony Hamilton to triumph 4–3. The wins kept on coming for <mask> as he knocked out number one seed Mark Allen 4–2 and Marco Fu 4–2 to play in his first ranking event final. After his semi-final match with Fu, <mask> stated that the week had made him feel like a professional snooker player for the first time in two years as he had been playing well against the top players. He played practice partner Barry Hawkins in the final and did not pot a ball in the first two frames and went on to be beaten 4–0, but the £38,000 runner-up's cheque is the biggest of his career to date.It also helped him climb 12 spots in the rankings to end the season as the world number 44. 2014/2015
<mask> got off to a slow start in the 2014–15 season by failing to qualify for the first four ranking events. He won his first match in a ranking event at the UK Championship defeating Vinnie Calabrese 6–2. <mask> made a break of 139 in his second round match against Matthew Stevens but lost 6–3. <mask> won his first qualifying match for the German Masters but then lost in the final qualifying round to Li Hang. At the Welsh Open, <mask> won his first match defeating Daniel Wells, but then suffered a whitewash at the hands of in form Liang Wenbo in the second round. <mask> enjoyed his best run of the season in a ranking event at the Indian Open in reaching the Last 32.He defeated Ahmed Saif 4–0 in qualifying, and at the venue defeated Matthew Stevens 4–2, but was then edged out in the last 32 by Jamie Jones 4–3. <mask> beat the in form Chris Wakelin 5–1 to qualify for the China Open, but was then beaten 5–2 by practice partner Barry Hawkins at the main venue. <mask> participated in all 6 of the Players Tour Championship events, with his best performance a run to the last 32, defeating Neil Robertson along the way. He lost his first match only once in these events, but was only able to advance beyond the last 64 on one occasion, to finish 56th in the order of merit. At the World Championship, <mask> beat Elliot Slessor 10–4 in the first qualifying round, but lost in the second qualifying round 10–6 to Mitchell Mann. <mask> finished the season ranked in 40th place, from a position of 44 at the start of the season. 2015/2016
A 5–0 thrashing of David Morris saw <mask> qualify for the Australian Goldfields Open, but he was the victim of a 5–0 defeat in the first round to Michael Holt.He was eliminated 6–5 in a scrappy match at the second round stage of the UK Championship against David Gilbert. <mask> then lost seven of his last nine matches to finish the season as the world number 66, just outside of the top 64 who keep their places. He entered Q School, but only won two matches over the two events played to confirm his relegation from the tour. 2016/2017
<mask> qualified for the Paul Hunter Classic and beat Hatem Yassin 4–0, Stuart Bingham 4–3 and Michael Georgiou 4–1, before being thrashed 4–0 by Jamie Jones in the fourth round. He was defeated 4–3 by Stephen Maguire in the opening round of the Gibraltar Open and 10–6 by Fergal O'Brien in the first round of World Championship qualifying. 2017/18
<mask> played in the EBSA Play-off and saw off Ian Glover 4–2 and Steven Hallworth 4–1 to be awarded a two-year tour card. Personal life

<mask> currently lives in Rainham in Medway.Performance and rankings timeline

Career finals

Ranking finals: 1

Minor-ranking finals: 1

Non-ranking finals: 2 (2 titles)

Team finals: 1

References

External links

<mask> at worldsnooker.com

1973 births
Living people
English people of Northern Ireland descent
Snooker players from Northern Ireland
Sportspeople from Chatham, Kent
World Games gold medalists
Competitors at the 2005 World Games

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Gerard Eamonn Greene
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<mask> (c.1750-1805)  was a doctor, a surgeon, and a notable artist of the early Maritime Fur Trade. His drawings of the people and places he encountered on his voyages show the meticulous precision of a surgeon and scientist rather than the hand of a trained artist. He was also a prominent author and translator of documents on Alchemy and Rosicrucianism, many of which are still in print. Early history

Little is known of <mask>’s early history. His name is probably Swedish, but he is believed to have been born in Germany. He claimed to have been trained as a physician, surgeon and chemist at the University of Strausburg. He served as a surgeon in the Dutch navy from 1763 to 1770, then moved to England.<mask> was employed by the famous naturalist Joseph Banks as a secretary from 1772 to 1775, accompanying the naturalist on a scientific exploration of Iceland. He was then engaged by Captain William Kent of the Royal Navy, a friend of Joseph Banks and collector for him, until 1779. Over the next decade he made at least six voyages as surgeon on merchant vessels, including voyages to Greenland (Spitsbergen), Guinea, and Jamaica. In the late 1780s Bacstrom found a patron, whose name is unknown,  who established him in an expensive laboratory in Marylebone to conduct research in natural philosophy. When his sponsor died in 1789,  <mask> again found himself without work. He eventually received sponsorship  to collect samples for Banks on a voyage around the world via Cape Horn, Nootka Sound, China and the East Indies that was to be undertaken by a group of London merchants as a commercial venture. Pacific Voyage

The vessels chosen for this voyage were the Butterworth, a former French frigate of 392 tons,  a large sloop named the Jackal (sometimes written as Jackall or Jack Hall), and a smaller sloop named Prince Lee Boo, all under the command of Captain William Brown.They sailed from England in late 1791. By March 1792 they were encamped on Staten Island near Cape Horn, slaughtering seals and boiling their oil. They sailed across the Pacific to the Marquesas Islands in June,  reaching Vancouver Island on the Northwest coast of North America in July 1792. <mask> left the Butterworth at Nootka on Oct. 15 “on account of the ill and mean usage I received from Capt. W. Brown and his Officers.”

He was briefly a guest of the Spanish officers at Nootka before being welcomed on board the Three Brothers, a brig out of Newcastle, sailing with the schooner Prince William Henry. On the Three Brothers, <mask> sailed up into Haida Gwaii and into Southeast Alaska near what is now Sitka. There are many drawings from this period of the voyage.Returning to Nootka Sound, <mask> took passage as surgeon on the American flagged brig Amelia for China. But just outside Macao she was stopped by the British cruiser HMS Lion, and her true papers were found to be French. She was therefore seized as a British prize of war, leaving <mask> stranded in Canton. He eventually signed on as surgeon aboard the Warren Hastings, an ex-East Indiaman of 600 tons flying Genoese colors, with a British captain, and a crew from 13 different nations, bound for the Cape of Good Hope and Ostend. But, led by the French chief mate, the French, Spanish, Portuguese and Italian crew mutinied and took possession of the ship, confining <mask> and others below deck as prisoners. They then sailed to Mauritius where the ship and her cargo were condemned as a French prize of war. After 6 months in Mauritius, <mask> was able to buy passage on an American ship bound for New York,  but his ship was once again captured by a British naval ship, this time in the Virgin Islands, and once again the ship and cargo were seized as a prize of war.Thanks to help from the governor of the British Virgin Islands, George Leonard, <mask> eventually arrived home in London July 23, 1795,  four years and eight months after he left. Alchemy and Rosicrucianism

<mask> <mask> is considered by some to be “one of the most important scholars of alchemy in the last few centuries.”
While in Mauritius, <mask> was initiated and admitted into the Fraternity of Rosicrucians. on 12 September 1794 by the Comte Louis de Chazal  This Comte de Chazal is said to have been 96 years old at the time of <mask>'s initiation according to McLean. His alchemical knowledge is said to have been transmitted to him in 1740 in Paris, and John W. Hamilton Jones suggests in the introduction to <mask>'s Alchemical Anthology that  Chazal's teacher is said to have been none other than the Count of St. Germain. On returning to London, he proceeded to support himself by publishing both prints of his drawings from his voyages and esoteric texts. He translated Latin, German and French alchemical works into English and worked with members of the Societas Rosicruciana in Anglia and the Theosophy of the 19th century, according to Hockley. <mask>'s translation of Catena Aurea Homeri (Golden Chain of Homer) was published by Helena Petrovna Blavatsky in 1891 in the Theosophical magazine Lucifer.According to Adam McLean, Alexander Tilloch (1759-1825), the founder of the Philosophical Magazine which published Bacstrom's travelogue in 1799, had been a student of Bacstrom. McLean reports in his article that Tilloch's admission document matches almost verbatim with the corresponding document for Bacstrom, giving further indication that the group of Rosicrucians in England  around 1800 known as “Bacstrom Society” actually existed. A remarkable feature of this document is, as McLean notes, the 4th promise insures not to exclude women from initiation. "As there is no distinction of sexes in the spiritual world, neither amongst the blessed Angels nor among the rational immortal spirits of the Human race... our Society does not exclude a worthy woman from being initiated, God himself not having excluded women from partaking of every felicity in the next life." The similarity of the "Philosophical Seal" of the Bacstrom Society of Rosicrucians depicted in Waite  (a triangle and square  inscribed in a circle) with the emblem used by the Lectorium Rosicrucianum today is also striking. Among Bacstrom's circle of associates in London were the physician and astrologer Ebenezer Sibly (1751-ca.1799) and the General Charles Rainsford (1728-1809). From Frederick Hockley, Bacstrom's writings probably came into the hands of William Alexander Ayton (1816-1909), William Wynn Westcott and Samuel Liddell MacGregor Mathers, thus influencing the teachings of the Hermetic Order of the Golden Dawn, and thus in turn influencing the development of Western occultism in the 20th century.A collection of <mask>'s  manuscripts and other alchemical writings was acquired by Manly Palmer Hall in 1923. After his death in 1990 they were sold to the J. Paul Getty Museum in Malibu. A bibliography of the Hall's collection appeared in 1986. Digitised manuscripts are available in the Internet Archive. An authentic copy of a long letter of Sigismond <mask> and sent to Mr. Hand has been handwritten by Frederick Hockley in 1839: the Mr. Yardley's Process. Then, this manuscript has been bought in 1913 by the famous bookseller Pierre Dujols and given to Julien Champagne, the illustrator of Fulcanelli's books. Julien Champagne wrote the French translation of the Mr. Yardley's Process in front of the English text in blank frames that have been previously drawn by Frederick Hockley on all verso pages.After more than one century, this manuscript owned by Champagne's family has been published in facsimile by Éditions Les Trois R (France, 2015-2016). Later Years

Sigismond <mask> died in 1805. References

Éditions Les Trois R. Mr. Yardley's Process. France, 2015-2016. External links
The copy of the admission of <mask> <mask> into the Fraternity of Rosicrucians (Rosicrucianism) by the Comte de Cazal in 1794 is in the Andover-Harvard Theological Library at Harvard Divinity School in Cambridge, Massachusetts. A collection of 67 of <mask> <mask>'s drawings and watercolors is archived in the Beinecke Rare Book and Manuscript Library at Yale University
Description of Mr. Yardley's Process (France, 2015-2016) on Les Éditions Les Trois R website. 1805 deaths
Year of birth uncertain

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<mask> (born October 6, 1948, Washington, D.C.) is an American graphic designer, painter and art educator in design. She also served as the first female principal at Pentagram, which she joined in 1991. Education
<mask> studied at the Tyler School of Art, in Elkins Park, Pennsylvania and earned a Bachelor of Fine Arts in 1970. Life and career

<mask> moved to New York City and took her first job as a layout artist for Random House's children's book division. CBS Records
In 1972, she was hired by CBS Records to the advertising and promotions department. After two years, she left CBS Records to pursue a more creative endeavor at a competing label, Atlantic Records, where she became the art director, designing her first album covers. A year later <mask> returned to CBS as an art director for the cover department.During her eight years at CBS Records, she is credited with designing as many as 150 album covers a year. Some of those iconic album cover designs are Boston (Boston), Eric Gale (Ginseng Woman), Leonard Bernstein (Poulenc Stravinsky), Bob James (H), Bob James and Earl Klugh (One on One), Roger Dean and David Howells (The Ultimate Album Cover Album) and Jean-Pierre Rampal and Lily Laskin (Sakura: Japanese Melodies  for Flute and Harp). Her designs were recognized with four Grammy nominations. She is also credited with reviving historical typefaces and design styles. (H.K)

Russian constructivism
She left Atlantic Records to work on her own in 1982. <mask> developed a typographic solution based on Art Deco and Russian constructivism, which incorporated outmoded typefaces into her work. The Russian constructivism had provided <mask> inspiration for her typography; she didn't copy the early constructivist style but used its vocabulary of form on her works.Koppel & Scher
In 1984 she co-founded Koppel & Scher with editorial designer and fellow Tyler graduate Terry Koppel. During the seven years of their partnership, she produced identities, packaging, book jackets, and advertising, including the famous Swatch poster. Pentagram
In 1991, after the studio suffered from the recession and Koppel took the position of Creative Director at Esquire magazine, <mask> began consulting and joined Pentagram as a partner in the New York office. Since then, she has been a principal at the New York office of the Pentagram design consultancy, where she has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes, among others, Bloomberg, Microsoft, Bausch + Lomb, Coca-Cola, Shake Shack, the Museum of Modern Art, the Sundance Institute, the High Line, Jazz at Lincoln Center, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, the New Jersey Performing Arts Center, the United States Holocaust Memorial Museum, the Philadelphia Museum of Art, and the New York City Department of Parks and Recreation. Educator
In 1992, she became a design educator, teaching at the School of Visual Arts (SVA) in New York. She received more than 300 awards from international design associations as well as a series of prizes from the American Institute of Graphic Design (AIGA), The Type Directors Club (NY), New York Art Directors Club and the Package Design Council. She is a select member of Alliance Graphique Internationale (AGI) and her work is included in the collections of New York Museum of Modern Art, the Library of Congress in Washington, D.C., the Museum für Gestaltung, Zurich and the Centre Georges Pompidou".As an artist she is known for her large-scale paintings of maps, covered with dense hand-painted labeling and information. She has taught at the School of Visual Arts in New York for over two decades, along with positions at the Cooper Union, Yale University and the Tyler School of Art. Print
Scher has contributed to numerous issues of Print. Her first Print cover was with her friend Steven Heller. Together they created a parody issue in 1985, a genealogy chart of graphic design. Television
Scher was profiled in the first season of the Netflix docu-series Abstract: The Art of Design. Branding & Identities Systems

The Public Theater

In 1994, <mask> was the first designer to create a new identity and promotional graphics system for The Public Theater, a program that became the turning point of identity in designs that influence much of the graphic design created for theatrical promotion and for cultural institutions in general.Based on the challenge to raise public awareness and attendance at the Public Theater along with trying to appeal to a more diverse demographic, <mask> created a graphic language that reflected street typography and graffiti-like juxtaposition. In 1995, <mask> and her Pentagram team created promotional campaigns for the Public Theater's production of Savion Glover's Bring in 'da Noise, Bring in 'da Funk that featured the wood typefaces used throughout The Public Theater's identity. <mask> was inspired by Rob Ray Kelly's American Wood Types and the Victorian theater's poster when she created the cacophony of disparate wood typefaces, silhouetted photographs and bright flat colors for the theater's posters and billboard. <mask> limited her colors to two or three while highlighted the play's title and theater logo that surrounded the tap artist in a typographical be-bop. The design was to appeal to a broad audience from the inner cities to the outer boroughs, especially those who hadn't been attracted to theater. From 1993 to 2005, <mask> worked closely with George C. Wolfe, The Public's producer and Oskar Eustis, who joined as artistic director during the fiftieth anniversary in 2005, on the development of posters, ads, and distinct identities. As part of the anniversary campaign, the identity was redrawn using the font Akzidenz Grotesk.The word "theater" was dropped and emphasis was placed on the word "public". By 2008, the identity was even more definitive as it used a font called Knockout, created by Hoefler & Frere-Jones, which provided affordable and accessible productions. The Public Theater posters:
Bring in 'da Noise, Bring in 'da Funk, Public Theater poster/Pentagram: <mask>/USA, 1995
Bring in 'da Noise, Bring in 'da Punch, On-Broadway poster/Pentagram: <mask>/USA, 1996
Bring in 'da Noise, Bring in 'da Funk, Final Season/Pentagram: <mask>/USA, 1997
The Public Theater's Season Print Ads, Rendered in the New Identity/Pentagram: <mask>/USA, 1994
HIM poster/Pentagram: <mask>/USA, 1994
The Diva is Dismissed/Pentagram: <mask>/USA, 1994
Fucking A, A Contemporary Take on The Scarlet Letter, poster/Pentagram: <mask>/USA, 2002

New York Shakespeare Festival in Central Park
In 1994, <mask> created the first poster campaign for the New York Shakespeare Festival in Central Park production of The Merry Wives of Windsor and Two Gentlemen of Verona, and was borrowed from the tradition of old-fashioned English theater style. This laid the foundation for the new overall identity and visual language that came to define the Public Theater for the rest of the decade and beyond. The designs for the Shakespeare in the Park campaign were seen across New York, including buses, subways, kiosks, and billboards. <mask>'s Shakespeare in the Park campaign had become a seasonal tradition in the city. The identity has progressed over the years, and the Public Theater logo was redesigned in 2005 and 2008.The campaign in 2008 for the productions of Hamlet and Hair utilized the strict 90 degree angles of a De Stijl-inspired grid, a pattern in Manhattan's streetscape. The identity is like New York itself, constantly evolving. In 2010, <mask> designed the New York Shakespeare Festival in Central Park poster which presented powerful productions of The Winter's Tale and The Merchant of Venice, starring Al Pacino as Shylock. <mask>'s festival promotional campaign focused on the reminiscent language in both plays by pulling lines from each production to meet in a dimensional expressive of words and typography. This campaign was awarded for Print Regional Design Annual 2011. In 1964, the Franklin Gothic No.2 logotype was originally designed by Ivan Chermayeff. By 2004, Matthew Carter had redrawn a new custom typeface named MoMA Gothic.Although MoMA's core identity is a well developed iconic museum, applications like the web, print, and physical environment have not been unified or visionary like the museum itself. In order to continually carry the spirit of the institution, the museum hired Pentagram to design a more powerful and integrated comprehensive system. To create a new approach that modernizes the institution's image, <mask> designed a complete methodology for the new system to work at any scale, from an exterior banner to a print advertisement in the newspaper. She designed a strong grid to uniform placement of images and types. The artwork is cropped to maximize visual impact, and each quadrant of a page or a banner has a specific function. A particular image is selected as the signature focus for an exhibit and list of upcoming events unrelated to the featured into a text block. The black on white logotype placed in a vertical position whenever is possible and always bleeds off an edge.Julia Hoffman, MoMA's creative Director for Graphic and Advertising, and her internal team have used the new system and brought the system to life in applications from larger banners and subway posters to the website. The Metropolitan Opera
<mask> and Julia Hoffman designed the new identity for the Metropolitan Opera. The Metropolitan general manager, Peter Gelb, proposed to rebrand the institution and reach wide audiences like the younger generation who had never set foot inside the opera hall. The identity was set in Baskerville and Avenir and the campaign featured a performance of Madama Butterfly. The print ad campaign launched on August 20, 2006 and according to Thomas Michel, the Metropolitan's marketing director, it was a successful sales day in the history of the organization. New York City Ballet
<mask> designed a new identity and promotional campaign for the New York City Ballet, one

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 of the largest and well-known dance companies, founded in 1933 by Lincoln Kirstein and George Balanchine. <mask> designed with Lisa Kitchenberg of Pentagram and the NYCB's Luis Bravo, to create an identity that linked the company's legacy and location to a modern and dramatic new aesthetic.The logo was set in the font DIN, which appears slightly stacked on each layer. The palette was composed of black, white and silvery grays, resembling how the buildings of New York appear sometimes. It has a softened transparency and a subtle gradation of color that includes shades of blue blacks, green blacks and red blacks. <mask> also cropped the images of City Ballet dancers to create more tension and drama. The new identity and graphics appeared on bus shelter, subway poster, magazines and newspapers ads, in the company's programs and website, and in environmental graphics at the New York State Theater at Lincoln Center, where the company performs. Period Equity
<mask> worked with associate designer Courtney Gooch to create the identity for Period Equity, a non-profit that is dedicated to providing affordable and safe access to menstrual products in the United States. She worked with Period Equity co-founders, Jennifer Weiss Wolf and Laura Strausfeld, to create the identity.Weiss-Wolf and Strausfeld initially wanted to call their organization "Menstrual Equality", but Scher saw Period Equity as less off-putting. The term "period" is more playful than "menstrual", and allows for more graphic options. When the organization achieves its goal, the name can be shifted to "Equity, Period". This will allow them to later extend their work beyond menstrual inequality into other issues. Scher used the typeface New Rail Alphabet, designed by Margaret Calvert, for its neutral appearance, but replaced its square-edged punctuation with round. The branding concept puts their wordmark in between two big red dots on a white background. These dots are meant to allude to the idea of periods, but they are used in a clean and modernist style.The identity also uses copy such as "Periods are not luxuries. Period." to play with the theme. The identity is serious enough for legal work, but also loud and fun, which is necessary when discussing a topic that is normally stigmatized and seen as not appropriate to discuss in public. Microsoft: Windows 8 logo
In 2012, <mask> created a new logo for Windows 8 that takes the logo back to its roots as a window. The logo re-imagines their older four-colour symbol as a more modern geometric shape. Early in the development process, <mask> asked Microsoft, "Your name is Windows.Why are you a flag?" Although Microsoft's original brand started as a window, its graphic evolved into a flag as computing systems became more powerful. As <mask> assumed, the waving flag was most likely the result of comments that a plain window looked too static with severe straight lines. The old logo was flat and drawn in motion, while the new logo can convey actual motion by suggesting dimensionality using lines receding into space. This worked better with the brand, as the name Windows was originally used as a metaphor for seeing into screens. The logo itself is based on classical perspective drawing rather than computerized perspective. The cross bars on the window stay the same size no matter what the size of the logo is, meaning it must be redrawn for each time it increases in size.The focus on the analogy of perspective was used to convey the idea that Microsoft products are tools for individuals to achieve their goals from their own perspective. The logo design is neutral to show that it can work in many situations, and for any user. The new logo is meant to work with the Metro design language of Windows 8. Environmental graphic designs

New Jersey Performing Arts Center
In 2000, <mask> designed an interior design for the New Jersey Performing Arts Center. In the design, there are words running along the walls, tubes and balconies reflecting with vast letters that gives a joyful effect to represent the show's performance in the building. It was signature and environmental graphics for the Lucent Technologies Center for Arts Education, a school affiliated with NJPAC. Achievement First Endeavor Middle School
For the Achievement First Endeavor Middle School at Clinton Hill, Brooklyn, a charter school for grades 5 through 8, <mask> created a program of environmental graphic that helps school interiors to become a better learning environment.She created a vibrant space with bold typography font of Rockwell and simple paint to change the life of its students. With the help of Rogers Marvel Architects, who designed the school as a refurbishment and expansion of the existing building. The design was based on Endeavor's teaching philosophy and a series of motivational slogans used by its teachers. <mask> enlarged these concepts into super-graphics that help define the interior spaces. The graphics appear as an equations form ("Education = Choice", "Education = Freedom") in the hallways and quotations running around the wall of gymnasium and staircase, to encourage students to do better and create a unique environment of their own. Paintings

The Maps
In 2006, an exhibition at Maya Stendhal gallery in New York City, <mask> painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contain much textual detail. She created lines that represented the separation  of political allies or borders dividing enemies.<mask> created the maps into layers that reference what we think when we think of Japan, Kenya, or the Upper East Side. For instance, The United States (1999) was painted in blocky white print and full with a list of facts that we comprehend when we think about cities. Africa (2003) is represented in a stark black and white palette, hinting at a tortured colonial past. The land of the red rising sun is represented when we think of Japan (2004). This was <mask>'s first solo exhibition as a fine artist and she sold every piece between $40,000 to $135,000. The Maya Stendhal's owner decided to extend the exhibition for four weeks, until January 21. Therefore, <mask> decided to produce silk-screened prints of The World that contained large-scale images of cities, states, and continents blanketed with place names and other information.It is full of mistakes, misspellings, and visual allusions to stereotypes of places such as South America, painted with hot colors and has two ovaries on the sides. It was not created to be a reliable map but convey a sense of the places that are mediated and mangled. <mask> has been described as a "maximalist", stating, "Less is more and more is more. It's the middle that's not a good place". <mask> is currently represented by Bryce Wolkowitz Gallery. NYC Transit and Manhattan
In 2007, <mask> created screen-prints of NYC Transit and Manhattan that were printed on hand-made deluxe Lana Quarelle paper. NYC Transit portrays the island of Manhattan as a busy destination crisscrossed by a subway system of loopy, color-coded lines and stations.It also shows the Manhattan night famed neighborhoods. Limited Edition Print Map
In 2008, Maya Stendhal released a limited edition print map of China and renowned artist <mask>. The map is 48.5 x 40 inches, printed on deluxe Lanaquarelle paper, hand-made in the Vosges region of France. <mask> collaborated with Alexander Heinrici to convey the hand-painted map to represent the rapid economic growth, booming industry, the success of Olympic bid, and superpower status on China. Personal life
In January 1970, <mask> met Seymour Chwast when she was a senior at the Tyler School of Art. They met through an interview at Pushpin, arranged by an art director named Harris Lewine, where she took her portfolio to him. In 1973, she and Chwast married, and divorced five years later.They remarried in 1989. <mask> and Chwast live and work in New York City. Awards
 Art Directors Club Hall of Fame 1998, Chrysler Award for Innovation in Design 2000,  AIGA Medal 2001, * National Design Award (Cooper Hewitt Smithsonian) 2013
 Honorary doctorates from Corcoran School of Art, Maryland Institute of Art and Moore College of Art
 Awards for graphic design; American Book Award nominations for best book design, and for best compilation of written and graphic material, both 1981, both for The Honeymoon Book: A Tribute to the Last Ritual of Sexual Innocence. The School of Visual Arts grants a Master Series Award, showcase of Make It Bigger
 Awards: Print's Regional Design Annual 2011 for Shakespeare in the Park 2010 campaign, Map Murals for Queens Metropolitan Campus, and Environmental Graphic for Parking Garage at 13-17 East 54th Street. Books
 The Brownstone, Princeton Architectural Press, 2016. ()
 <mask>, <mask>. (2002) Make it Bigger.New York: Princeton Architectural Press,
 Scher, <mask>. (2011) Maps. New York: Princeton Architectural Press,

Book reviews
 Chwast, Seymour, and <mask>, <mask>. "Bookend." New York Times Book Review (1998): 55. <mask>, <mask>. "The Queen Of Howdy Doody Dada."Print 54.3 (2000): 61. Newspaper articles
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Notes

Further reading
 Helvetica (2007 film) includes an interview with Scher
 <mask>: Recent Exhibitions at Stendhal Gallery New York (2006–2010)
 <mask> bio at AIGA.org
<mask> bio at pentagram.com
 <mask> Curriculum Vitae (CV)
 Hillmancurtis feature <mask>: Type is Image (QuickTime)
 Art Directors Club biography, portrait and images of work
 <mask>: Great design is serious at TED

External links
<mask>: Pentagram
<mask> Biography at AIGA.org
<mask>: Bryce Wolkowitz Gallery
Paual Scher: Designer at play(TED)
<mask>: Great design is serious at TED
 Helvetica (2007) includes an interview with <mask>. Helvetica Website
 https://www.moma.org/artists/7070

1948 births
Living people
People from Washington, D.C.
AIGA medalists
American graphic designers
Women graphic designers
Temple University Tyler School of Art alumni
School of Visual Arts faculty
Design educators
American women illustrators
American illustrators
American women academics
21st-century American women
Pentagram partners (past and

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<mask> (born 1969) is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. Turpin established the first international collective of street photographers, In-Public, in 2000 and was a member until 2018. His work has been published in his own book, On The Night Bus (2016) and in various survey publications, as well as being included in a number of group exhibitions. He publishes through <mask>in Publishing, makes short films, and gives workshops on street photography

Phil Coomes, writing for BBC News in 2009, considered Turpin "one of the best" street photographers. Life and work
<mask> was born and raised in London in 1969. He studied an art and design foundation course at the University of Gloucestershire, specialising in photography; then a BA in photography, film and video at the University of Westminster.Whilst at university he showed his second year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding). Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like minded photographers to hold exhibitions, produce books and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018. In 2010 he established Nick Turpin Publishing which published the book 10 – 10 Years of In-Public (2010). He makes short films.In-Sight (2011), was commissioned for and premièred at Format International Photography Festival in Derby in 2011. In August 2017, in collaboration with Hoxton Mini Press and Jason Reed, Turpin organised  Street London, a street photography symposium. He has also given talks about and workshops on street photography. Publications

Publications by Turpin
On The Night Bus. Tales from the City Book 2. London: Hoxton Minipress, 2016. . With a foreword by Will Self, "I Used to Take the Night Bus." Publications with contributions by Turpin
Publication #1.London: Nick Turpin Publishing, 2009. Essays by Hin Chua, David Gibson, Michael David Murphy and <mask>. Photographs by Narelle Autio, Martin Kollar, Joel Meyerowitz, Tod Papageorge, Trent Parke, Matt Stuart and Garry Winogrand. Edition of 2000 copies. Street Photography Now. London: Thames & Hudson, 2010. (hardback).London: Thames & Hudson, 2011. (paperback). Edited by Sophie Howarth and Stephen McLaren. 10 – 10 Years of In-Public. London: Nick Turpin Publishing, 2010. . Includes an essay by Jonathan Glancey, "Outlandish Harmony"; a foreword by Turpin; and a chapter each by <mask>, David Gibson, Richard Bram, Matt Stuart, Andy Morley-Hall, Trent Parke, Narelle Autio, Jesse Marlow, Adrian Fisk, Nils Jorgensen, Melanie Einzig, Jeffrey Ladd, Amani Willett, Gus Powell, Christophe Agou, Otto Snoek, Blake Andrews, David Solomons, George Kelly and Paul Russell. London Street Photography: 1860–2010. London: Museum of London; Stockport: Dewi Lewis, 2011. .Selected from the Museum of London collection by Mike Seaborne and Anna Sparham. Published to accompany an exhibition at the Museum of London. Unseen London. London: Hoxton Mini Press, 2017. . With photographs by and interviews with various photographers, and text by Rachel Segal Hamilton. London Nights. London: Hoxton Mini Press. 2018. . With essays by Anna Sparham and poetry by Inua Ellams.Published in conjunction with an exhibition at the Museum of London. Film by Turpin
In-Sight (2011). 38 minute documentary directed and edited by Turpin, commissioned by Format for the Format International Photography Festival, Derby, 2011. Includes interviews with Turpin, David Gibson, David Solomons, Richard Bram, Melanie Einzig, Gus Powell, Christophe Agou, Jesse Marlow and Otto Snoek, and shows them at work. Exhibitions with others
Crosswalks: Contemporary Street Photography, Oklahoma City Museum of Art, Oklahoma City, OK, 24 May – 8 October 2006. With work by Turpin and 13 other photographers. Onto the Streets, Photofusion, London, 21 July – 16 September 2006, then toured with the British Council.10 - 10 years of In-Public / In-Public @ 10, Photofusion Gallery, London. Included photographs by In-Public members <mask>, Matt Stuart, David Gibson, Richard Bram, Andy Morley-Hall, Trent Parke, Narelle Autio, Adrian Fisk, Nils Jorgensen, Jesse Marlow, Melanie Einzig, Jeffrey Ladd, Amani Willett, Gus Powell, Christophe Agou, Otto Snoek, Blake Andrews, David Solomons, George Kelly and Paul Russell. Street Photography Now, Third Floor Gallery, Cardiff, 10 October – 14 November 2010. Photographs from the book Street Photography Now (2011). Street Photography Now, shop windows throughout the Canal Saint-Martin area, part of Mois de la Photo-OFF, Paris, 5–28 November 2010; Gallery Lichtblick, Cologne, 2010; Uno Art Space, Stuttgart, 2 April – 25 June 2011. With work by <mask> as well as Autio, Maciej Dakowicz, Bruce Gilden, Thierry Girard, Markus Hartell, Jorgensen, Martin Kollar, Jens Olof Lasthein, Frederic Lezmi, Marlow, Jeff Mermelstein, Parke, Gus Powell, Snoek, Stuart, Alex Webb, and Wolgang Zurborn. Right Here, Right Now – Exposures From The Public Realm, Derby Museum and Art Gallery, Format International Photography Festival, Derby, UK, 4 March – 3 April 2011.Exhibition of photographs by various In-Public members, and the film In-Sight (2011). London Street Photography: 1860-2010, Museum of London, London, 18 February – 4 September 2011. Included work by Turpin as well as In-Public members Bram, Fisk, David Gibson, Jorgensen, Russell, Stuart, and others. Travelled to Museum of the City of New York, 27 July – 2 December 2012. Entente Cordial, St Pancras International railway station, London, 1–31 July 2011, included Turpin's The French with work by Jorgensen, part of The London Street Photography Festival. 10 - 10 years of In-Public / In-Public @ 10, with work by 20 photographers including Turpin; The French by Turpin; and In-Sight (2011), part of Les Ballades Photographiques festival, Seyssel, France, 12–23 July 2011. From Distant Streets: Contemporary International Street Photography, Galerie Hertz, Louisville Photo Biennial, Louisville, KY, 2 October – 12 November 2011.Contemporary London Street Photography, King's Cross Station, London Festival of Photography, London. London Nights, Museum of London, London, May–November 2018. Collection
<mask>'s work is held in the following collection:
Museum of London, London. Notes

References

External links

<mask>'s profile at In-Public (4 May 2017, via the Wayback Machine)
'Picturing Britain: BBC Radio 4: <mask>'

1969 births
Living people
Photographers from London
Street photographers
21st-century British photographers

masks:
Nick Turpin
Nick Turp
Turpin
Turpin
Turpin
Turpin
Turpin
Turpin
Turpin
Nick Turpin


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<mask> (born 31 March 1958) is a German politician who has served as co-chair of The Left parliamentary group in the Bundestag since 2015. Prior, he served as federal treasurer of The Left from 2006 to 2009 and federal managing officer from 2005 to 2010. He was a prominent member of The Left's predecessor party, the PDS, of which he served as treasurer from 1991 to 1997 and federal managing officer from 1997 to 2002. He has been a member of the Bundestag since 2005, and previously served from 1998 to 2002. In his capacity as Bundestag co-leader, he served with Sahra Wagenknecht from 2015 to 2019, and with Amira Mohamed Ali since 2019. <mask> has served as federal co-lead candidate for his party on three occasions: 2002, 2017, and 2021. Personal life
<mask> was born and raised in Stralsund, East Germany, today located in the German state of Mecklenburg-Vorpommern.After completing his schooling at the EOS Franzburg in 1976, he studied political economy at the University of Economic Studies at Berlin-Karlshorst, graduating in 1983. Following graduation, <mask> joined the business department of the German daily paper Junge Welt. From 1986 until 1990, he studied at the Academy for Social Sciences at the Communist Party of the Soviet Union headquarters in Moscow, before returning to the Junge Welt as their business executive. <mask> is married and has two children. Political career
<mask> joined the Socialist Unity Party of Germany (SED), the ruling party of East Germany, in 1977. He co-founded the Committee of Young Comrades (AGJG) in 1989. Following German reunification, <mask> remained a member of the Party of Democratic Socialism (PDS), serving as federal treasurer and later federal managing officer.He was elected to the Bundestag in 1998. In the 2002 German federal election, <mask> was one of four lead candidates for the PDS, alongside Gabi Zimmer, Petra Pau, and Roland Claus. The party failed to meet the five percent electoral threshold, and only returned two representatives, both directly elected in constituencies. <mask> thus lost his seat in the Bundestag. He was subsequently asked to resign as federal managing officer, and declined to seek re-election in October. However, he was nominated for the position again by PDS leader Lothar Bisky in 2005, and elected to the position in December. He returned to the Bundestag in the 2005 election.After the merger of the PDS into The Left in 2007, <mask> became federal managing officer of the new party. <mask> managed The Left's 2009 federal election campaign. The party won 11.9% of votes nationwide and 76 seats in the Bundestag; he was re-elected at the top position of the party list in Mecklenburg-Vorpommern. In January 2010, after disputes within the party, <mask> announced he would not seek re-election as federal managing officer at the party congress in May. Later in January, he became deputy chairman of the Left's Bundestag group. In this position, he focused on the national budget and finances. In January 2012, Der Spiegel reported that 27 of the Left's 76 members of the Bundestag were under surveillance by the Federal Office for the Protection of the Constitution, including <mask>.The surveillance of Bundestag deputies, including many such as <mask> who were not connected with groups classified as anti-constitutional, was criticised by the FDP, SPD, and Greens. The monitoring of Bundestag deputies without clear cause was ruled unconstitutional by the Federal Constitutional Court in 2013, and surveillance of The Left's deputies was discontinued. In late 2011, <mask> declared his intention to run for party chairman at the 2012 party congress, even after incumbent Oskar Lafontaine announced his desire to seek re-election. Lafontaine withdrew before the congress, and <mask> was defeated by Bernd Riexinger, an ally of Lafontaine from the party's left-wing. <mask> won 251 votes (45%) to Riexinger's 297 (53%). <mask> was elected co-leader of the Left's Bundestag group in 2015 alongside Sahra Wagenknecht, succeeding long-time leader Gregor Gysi. <mask> won 91.6% of votes cast.As the Left was at the time the largest opposition party in the Bundestag, <mask> became a prominent leader of the opposition for the remainder of the parliamentary term. <mask> and fellow parliamentary leader Wagenknecht were the Left's lead candidates for the 2017 federal election. The party made small gains in the election, though they fell from third to fifth place with 9.2% of votes and 69 seats. <mask> contested the Rostock – Landkreis Rostock II constituency and placed second behind the victorious CDU candidate, winning 24.8% of votes. Ahead of the 2021 federal election, <mask> was once again chosen as one of The Left's two lead candidates alongside new party co-leader Janine Wissler. They were confirmed with 87% of votes by the party executive on 9 May. Political positions

<mask> is considered a prominent leader of the moderate, reformist wing of The Left.During the 2013–17 parliamentary term, <mask> advocated for a federal coalition between the Left and the SPD. Ahead of the 2017 German presidential election, <mask> supported the prospect of a joint centre-left candidate supported by the SPD, Left, and Greens. After the SPD rejected this proposal, the Left refused to support SPD candidate Frank-Walter Steinmeier. In response to a 2011 incident in which several members of The Left refused to participate in a minute of silence for victims of the Berlin Wall, <mask> suggested that members who refused to condemn the Wall should leave the party. He also distanced himself from a congratulatory birthday letter, signed by party co-leaders Gesine Lötzsch and Klaus Ernst, sent to Fidel Castro by members of the party. In 2017, <mask> stated that former Stasi employees should not always be excluded from government office, believing that a critical assessment of each individual is necessary. He also argued against characterising East Germany as an injustice state (Unrechtsstaat), describing the usage of the term as a "cudgel" lacking nuance.He stated: "It is undisputed that there was serious injustice and victims of it in the GDR. It is also indisputable that there were areas of the rule of law in the GDR." <mask> accused the German government of delivering a weak response to the 2016 Turkish purges, and demanded that more pressure should be put the Turkish government to respect democracy and human rights. Controversy
In early January 2010, <mask> was accused of disloyalty by Left parliamentary leader Gregor Gysi after passing information to Der Spiegel about the retirement of party leader Oskar Lafontaine. <mask> denied this, as well as allegations that he sought to succeed Lafontaine as chairman, and defended his record as federal managing officer. However, he announced that he would not seek re-election to the position at the party congress in May. In September 2015, shortly before <mask>'s election as parliamentary co-leader, Die Welt reported on leaked documents showing that, in 2012, he privately commissioned Thomas Westphal to draft a detailed report on the members of The Left's 44-member executive committee.The file indicated the views of each member and their position in the party. Most controversially, each was classified according to allegiance: allies were labeled Z for "reliable", others U for "independent", and rivals L for "left" or "Lafodödel", a derisive term for supporters of Lafontaine. The file was extensively researched and updated over time. <mask> claimed that Gysi requested the creation of the file after the 2012 party congress to gauge support for Lafontaine among the new party executive, though Gysi denied this. <mask> stated that the document represented the "relatively normal process" of categorising regional association and factions, not party opponents, and that he only used the term "Lafodödel" in a single email. He also claimed it was already public knowledge within the party in 2012, and the issue was discussed with the people involved at the time. Upon the publication of the Die Welt article, prominent members Jan van Aken, Martina Renner, and Klaus Ernst expressed outrage at the existence of <mask>'s document.References

External links

 <mask> <mask>'s homepage in German
 Biography by German Bundestag
 Biography by party Die Linke
 Dietmar Bartsch's Twitter account

1958 births
Living people
People from Stralsund
People from Bezirk Rostock
Socialist Unity Party of Germany politicians
Party of Democratic Socialism (Germany) politicians
The Left (Germany) politicians
Members of the Bundestag for Mecklenburg-Western Pomerania
Members of the Bundestag 2021–2025
Members of the Bundestag 2017–2021
Members of the Bundestag 2013–2017
Members of the Bundestag 2009–2013
Members of the Bundestag 2005–2009
Members of the Bundestag 1998–2002
Members of the Bundestag for The Left

masks:
Dietmar Gerhard Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Bartsch
Dietmar
Bartsch


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<mask> (born 23 June 1975) is a Japanese-born British philosopher specialising in the philosophy of religion, the philosophy of mind and applied philosophy. <mask> is H.G. Wood Professor of the Philosophy of Religion (formerly known as H. G. Wood Professor of Theology) at the University of Birmingham. He is also former president of the British Society for the Philosophy of Religion, and Co-Director of the John Hick Centre for Philosophy of Religion. He is best known for his work on the nature and existence of God and the problem of consciousness. Early life and education
<mask> was born in Tokyo, Japan. He studied philosophy and applied mathematics at Stony Brook University in the United States and received his PhD from the Australian National University (ANU) in 2004.Career
From 2004 to 2005 he was Izaak Walton Killam Memorial Postdoctoral Fellow in the Department of Philosophy at the University of Alberta, Canada and Research Fellow at the Centre for Applied Philosophy and Public Ethics at ANU. He started teaching at the University of Birmingham in 2006. He was awarded the Philosophical Quarterly Essay Prize in 2007, the John Templeton Award for Theological Promise by the John Templeton Foundation and the University of Heidelberg in 2008, and the Excellence in Philosophy of Religion Prize by the University of St. Thomas in 2010. In 2018 he was appointed as the editor of Religious Studies (journal) published by Cambridge University Press. He is also currently Philosophy of Religion Editor of Cambridge Elements and Philosophy Compass and Book Series Co-Editor of Palgrave Frontiers in Philosophy of Religion and a member of the editorial board of the International Journal for Philosophy of Religion, the European Journal for Philosophy of Religion and Ashgate's the British Society for the Philosophy of Religion Book Series. Research
Nagasawa's research interests include philosophy of religion (the existence of God, divine attributes, the problem of evil, science and religion), philosophy of mind (phenomenal consciousness, the mind-body problem, semantic externalism) and applied philosophy (medical ethics, the meaning of life, death and immortality). Publications
 Books (Monographs)
 (2017)  Miracles: A Very Short Introduction, Oxford University Press, 2017.(2017)  Maximal God: A New Defence of Perfect Being Theism, Oxford University Press, 2017. (2011)  The Existence of God: A Philosophical Introduction, Routledge, 2011. (2008)  God and Phenomenal Consciousness: A Novel Approach to Knowledge Arguments, Cambridge University Press, 2008. Winner of the 2008 John Templeton Award for Theological Promise. Books (Edited Collections)
 (2017)  Palgrave Handbooks of the Afterlife (Edited with Benjamin Matheson), Palgrave Macmillan, 2017. (2015)  Alternative Concepts of God: Essays on the Metaphysics of the Divine (Edited with Andrei Buckareff), Oxford University Press, 2015. (2015)  Consciousness in the Physical World: Perspectives on Russelliam Monism (Edited with Torin Alter), Oxford University Press, 2015.(2012)  Special Issue on Nonphysicalist Monism, Journal of Consciousness Studies (Edited with Max Velmans), 2012 19, No. 9-10. (2012)  Scientific Approaches to the Philosophy of Religion, Palgrave Macmillan, 2012. (2011)  Special Issue on Anselmian theism, International Journal for Philosoph of Religion 69, Issue 2, 2011. (2008)  New Waves in Philosophy of Religion (Edited with Erik Wielenberg), Palgrave Macmillan (New Waves in Philosophy Series), 2008. (2004)  There's Something About Mary: Essays on Phenomenal Consciousness and Frank Jackson's Knowledge Argument (Edited with Peter Ludlow and Daniel Stoljar), MIT Press, 2004. Papers
 ‘Panpsychism versus Pantheism, Polytheism, and Cosmopsychism’, William Seager (ed.), Routledge Companion of Panpsychism, Routledge, forthcoming. ‘The Problem of Evil for Atheists’, Nick Trakakis (ed. ), TBA, Oxford University Press, forthcoming. ‘Global Philosophy of Religion and its Challenges’, in Paul Draper and J. L. Schellenberg (eds. ), Renewing Philosophy of Religion: Beyond the Faith-Based Model, Oxford University Press, forthcoming. (2017) ‘Where does Consciousness Come From?’, BBC Focus magazine, August, pp. 64–69, 2017.(2017) ‘Panpsychism and Priority Cosmopsychism’ (with Khai Wager) in Godehard Gruentrup and Ludwig Jaskolla (eds. ), Panpsychism: Contemporary Perspectives, Oxford University Press, pp. 113-129, 2017. (2016) ‘Modal Panentheism’, Andrei Buckareff and <mask> <mask> (eds. ), Alternative Concepts of God: Essays on the Metaphysics of the Divine, Oxford University Press, pp. 91–105, 2016. (2016) ‘Silence, Evil, and Shusaku Endo’, in Adam Green and Eleonore Stump (eds.), Hidden Divinity and Religious Belief: New Perspectives, Cambridge University Press, pp. 246-259, 2016. (2015) ‘Multiverse Pantheism’, Klaas Kraay (ed. ), God and the Multiverse: Scientific, Philosophical, and Theological Perspectives, Routledge, pp. 177–191, 2015. (2014) ‘The Paradox of Eden and Black-and-White Mary’, in Andrew Moore (ed. ), God, Mind and Knowledge, Ashgate, pp.135-143, 2014. (2013) ‘Maximal God and the Problem of Evil’, Jeanine Diller and Asa Kasher (eds. ), Models of God and Other Ultimate Realities, Springer, pp. 233–243, 2013. (2013) ‘Models of Anselmian Theism’, Faith and Philosophy 30, pp. 3-25, 2013. (2012) ‘Introduction to Nonphysicalist Monism’ (with Max Velmans), Journal of Consciousness Studies 19, pp.7–18, 2012. (2012) ‘What is Russellian Monism?’ (with Torin Alter), Journal of Consciousness Studies 19, pp. 67-95, 2012. Reprinted in Torin Alter and <mask> <mask> (eds. ), Consciousness in the Physical World: Perspectives on Russellian Monism, Oxford University Press. (2012) ‘Infinite Decomposability and the Mind-Body Problem’, American Philosophical Quarterly 49, pp. 357–367, 2012.(2012) ‘Is There a Shallow Logical Refutation of the Ontological Argument?’, a special issue on the ontological argument, European Journal for Philosophy of Religion 4, pp. 87-99, 2012. (2012) ‘John Hick’s Pan(en)theistic Monism’, Religious Pluralism and the Modern World: An Ongoing Engagement with John Hick, Sharada Sugirtharajah (ed. ), Palgrave Macmillan, pp. 176–189, 2012. (2011) ‘Anselmian Theism’, Philosophy Compass 6, pp. 564-571, 2011.(2010) ‘The Knowledge Argument and Epiphenomenalism’, Erkenntnis 72, pp. 37–56, 2010. (2010) ‘The Ontological Argument and the Devil’, Philosophical Quarterly 60, pp. 72-91. Winner of the 2010 Excellence in Philosophy of Religion Prize, 2010. (2010) ‘Australasian Dualism’, Graham Oppy, Nick Trakakis, et al. (eds.), A Companion to Australasian Philosophy, Monash University Publishing, 2010. (2009) ‘Immortality without Boredom’ (with Lisa Bortolotti), Ratio 22, pp. 261-277, 2009. (2009) ‘The Knowledge Argument’, Tim Bayne, Axel Cleeremans and Patrick Wilken (eds. ), The Oxford Companion to Consciousness, Oxford University Press, pp. 395–397, 2009. (2009) ‘Foreword’ to John Hick and Arthur McGill (eds.), The Many-Faced Argument: Recent Studies on the Ontological Argument for the Existence of God (new reprint), Eugene, Oregon, Wipf and Stock, 2009. (2008) ‘A New Defence of Anselmian Theism’, Philosophical Quarterly 58, pp. 577–596. Winner of the 2007 Philosophical Quarterly Essay Prize, 2008. (2007) ‘Millican on the Ontological Argument’, Mind 116, pp. 1027-1040, 2007. (2007) ‘A Further Reply to Beyer on Omniscience’, Sophia 46, pp.65–67, 2007. (2007) ‘The Grounds of Worship Again: A Reply to Crowe’ (with Tim Bayne) , Religious Studies 43, pp. 475-40, 2007. (2007) ‘Formulating the Explanatory Gap’, The American Philosophical Association Newsletter on Philosophy and Computers, 2007. (2007) ‘Proxy Consent and Counterfactuals’, Bioethics 22, pp. 16-24, 2007. (2007) ‘Surgeon Report Cards and the Concept of Defensive Medicine’, Steve Clarke and Justin Oakley (eds.), Informed Consent and Clinical Accountability: The Ethics of Auditing and Reporting Surgeon Performance, Cambridge University Press, pp. 255–265, 2007. (2006) ‘A Place for Protoconsciousness?’, Psyche, Symposium on Gregg Rosenberg’s A Place for Consciousness, 2006. (2006) ‘The Grounds of Worship’ (with Tim Bayne), Religious Studies 42, pp. 299–313, 2006. (2005) ‘Omniscience and Physicalism: A Reply to Beyer’, Sophia 44, pp. 55-58, 2005.(2005) ‘I Can’t Make You Worship Me’ (with Campbell Brown), Ratio 18, pp. 138–144, 2005. (2005) ‘Anything You Can Do God Can Do Better’ (with Campbell Brown), American Philosophical Quarterly 42, pp. 221-227, 2005. (2005) ‘The Best of All Possible Worlds’ (with Campbell Brown), Synthese 143, pp. 309–320, 2005. (2005) ‘Chappell on the Consistency of Criticisms of Christianity’, Ratio 18, pp.104-106, 2005. (2004) ‘Introduction’ (with Daniel Stoljar), in There is Something About Mary: Essays on Phenomenal Consciousness and Frank Jackson’s Knowledge Argument, MIT Press, pp. 1–36, 2004. (2004) ‘Skeptical Theism and Moral Skepticism: A Reply to Almeida and Oppy’ (with Nick Trakakis), Ars Disputandi 4, 2004. (2004) ‘Subjective Characters of Experience in Medical Ethics: A Reply to Atkins’, Journal of Applied Philosophy 21, pp. 219–223, 2004. (2004) ‘Salvation in Heaven?’ (with Graham Oppy and Nick Trakakis), Philosophical Papers, 33, pp.95-117. Reprinted in Graham Oppy (2006) Arguing About Gods, Cambridge University Press, 2004. (2003) ‘Thomas vs. Thomas: A New Approach to Nagel’s Bat Argument’, Inquiry 46, pp. 377–394, 2003. (2003) ‘I Trust You, You’re a Doctor’, Australian Journal of Professional and Applied Ethics 5, pp. 70-73, 2003. (2003) ‘Moral Evil and Human Freedom: A Reply to Tierno’, Sophia 42, pp.107–11, 2003. (2003) ‘SARS and Health Care Workers’ Duty’, Eubios Journal of Asian and International Bioethics 13, p. 208, 2003. (2003) ‘Divine Omniscience and Experience: A Reply to Alter’, Ars Disputandi 3, 2003. (2003) ‘Divine Omniscience and Knowledge De Se’, International Journal for Philosophy of Religion 53, pp. 73-82, 2003. (2003) ‘God’s Point of View: A Reply to Mander’, The Heythrop Journal 44, pp. 60–63, 2003.(2002) ‘Externalism and the Memory Argument’, Dialectica 56, pp. 335-346, 2002. (2002) ‘The Knowledge Argument Against Dualism’, Theoria LXVIII, pp. 205–223, 2002. (2000) ‘“Very-Slow-Switching” and Memory: A Critical Note on Ludlow’s Paper’, Acta Analytica 15, pp. 173–175, 2000. References

External links
 Personal webpage
 <mask> <mask>'s profile page on the documentary series Closer To Truth.1975 births
Living people
Philosophers of mind
Philosophers of religion
Japanese philosophers
Stony Brook University alumni
Australian National University alumni
Academics of the University of Birmingham
Panpsychism

masks:
Yujin Nagasawa
Nagasawa
Nagasawa
Yujin
Nagasawa
Yujin
Nagasawa
Yujin
Nagasawa