Admonitions Scroll

The Admonitions Scroll is a Chinese narrative painting on silk that is traditionally ascribed to Gu Kaizhi (ca. 345–ca. 406), but which modern scholarship regards as a 5th to 8th century work that may or may not be a copy of an original Jin Dynasty (265–420) court painting by Gu.  The full title of the painting is Admonitions of the Court Instructress ().  It was painted to illustrate a poetic text written in 292 by the poet-official Zhang Hua (232–300).  The text itself was composed to reprimand Empress Jia (257–300) and to provide advice to the women in the imperial court.  The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady.

The painting, which is now held at the British Museum in London, England, is one of the earliest extant examples of a Chinese handscroll painting, and is renowned as one of the most famous Chinese paintings in the world.  The painting is first recorded during the latter part of the Northern Song (960–1127), when it was in the collection of Emperor Huizong of Song (r. 1100–1126).  It passed through the hands of many collectors over the centuries, many of whom left their seals of ownership on the painting, and it eventually became a treasured possession of the Qianlong Emperor (r. 1735–1796).  In 1899, during the aftermath of the Boxer Rebellion, the painting was acquired by an officer in the British Indian Army who sold it to the British Museum.  The scroll is incomplete, lacking the first three of the twelve original scenes, which were probably lost at an early date.  A monochrome paper scroll copy of the painting, complete in twelve scenes, was made during the Southern Song (1127–1279), and is now in the collection of the Palace Museum in Beijing, China.

The painting was part of the 2010 BBC Radio 4 series, A History of the World in 100 Objects, as item 39.

Background

The Admonitions Scroll was painted to illustrate an eighty-line poetic text written in 292 by the Jin Dynasty official, Zhang Hua (232–300).  Zhang Hua wrote his Admonitions of the Instructress to the Court Ladies () as a didactic text aimed at Empress Jia (257–300), consort of Emperor Hui of Jin (r. 290–301), whose violent and immoral behaviour was outraging the court.

It is not known when the first painting in illustration to Zhang Hua's text was made, but a lacquer screen painting from the tomb of a Northern Wei Dynasty (386–535) official by the name of Sima Jinlong (司馬金龍, died 484) that was excavated in 1986. It includes a panel illustrating the story of Lady Ban refusing to ride in the imperial litter, which corresponds to Scene 5 of the Admonitions Scroll.  Although the text accompanying the lacquer painting is not from Zhang Hua's Admonitions, the painting does indicate that anecdotes recorded in Zhang Hua's text were used as subject matter for artists not long after Gu Kaizhi's death.

It has been suggested that the original Admonitions Scroll may have been commissioned by the Jin Dynasty imperial court in order to express the dismay of the court officials to the murder of Emperor Xiaowu of Jin (r. 372–396) by his consort, Lady Zhang (張貴人), who was never brought to justice.

Authorship and dating
Although the painting was long thought to have been painted by Gu Kaizhi, the painting is not signed or sealed by the artist, and there is no record of Gu Kaizhi having painted such a painting in his biography or in any work which is contemporaneous with his life.  The earliest mention of the painting is by the Song Dynasty painter and poet, Mi Fu (1051–1107), who records in his History of Painting (compiled 1103) that the Admonitions Scroll was in the collection of a palace eunuch by the name of Liu Youfang.  Crucially, he also attributes the painting to Gu Kaizhi, but it is not clear whether this attribution was based on documentary evidence or whether this was simply his opinion based on the style of the painting.  The next reference to the painting occurs in the Xuanhe Painting Manual, which is a catalogue of paintings in the collection of Emperor Huizong of Song (r. 1100–1126) that was compiled in 1120.  The manual records the Admonitions Scroll as one of nine paintings in the imperial collection by Gu Kaizhi.  This imperial authentication of the painting meant that no-one seriously doubted that the Admonitions Scroll was a work by Gu Kaizhi until modern times.

The first suggestion that the painting was not an original Gu Kaizhi painting, but a Tang Dynasty (618–907) copy, was made in a book written by Hu Jing (胡敬, 1769–1845) in 1816.  However, it was not until the 20th century that art historians determined on stylistic grounds that the painting cannot have been produced during the Jin Dynasty, and therefore cannot be an original work by Gu Kaizhi.  However, there is considerable divergence of opinion between experts as to when and where the painting was made, and whether it is based on an earlier work by Gu Kaizhi or not.  The prevalent opinion until recently has been that the painting was a copy of a Gu Kaizhi painting produced during the Sui Dynasty (581–618) or early Tang Dynasty.  A supporter of this point of view is Chen Pao-chen of National Taiwan University, who believes that the original painting must have been painted prior to 484 as she thinks that the scene of Lady Ban on the lacquer screen from the tomb of Sima Jinlong (died 484) must have been modelled on the same scene on the original Admonitions Scroll; but on the basis of what she sees as copyist's errors in the details of the British Museum scroll, she concludes that the extant painting is a Tang Dynasty copy of an earlier work, probably by Gu Kaizhi.

On the other hand, an increasing number of experts have rejected the supposed copyist's errors, and see the painting as a product of the preceding Southern and Northern Dynasties period (420–589).  One often mentioned example of a supposed copyist's error is the apparently confused representation of the palanquin frame in the scene of Lady Ban; but recent ultra-violet examination of the scroll has shown that there has been considerable repainting over a repair to damaged silk in this area.

An advocate of a pre-Tang date for the painting is Wen Fong, emeritus professor of Chinese art history at Princeton University, who has argued that the scroll was made by an anonymous painter at the Nanjing court of one of the Southern dynasties (420–589) during the 6th century, and that although the painting was a copy of a Gu Kaizhi painting, it was heavily influenced by the painting techniques of Zhang Sengyou (active c. 490–540) and Lu Tanwei.  A somewhat different hypothesis has been advanced by Yang Xin, a professor at Peking University, who argues on the basis of artistic style and calligraphy that the painting must have been produced at the court of Emperor Xiaowen (r. 471–499) of the Northern Wei dynasty (386–535), and furthermore that the painting was an original commission by Emperor Xiaowen, not a copy of an earlier composition by Gu Kaizhi or anyone else.

The calligraphy of Zhang Hua's text inscribed on the painting has also been extensively used as dating evidence for the painting.  The calligraphy was once thought to be by Gu Kaizhi's contemporary, the famous calligrapher Wang Xianzhi (344–388), or by Gu Kaizhi himself, but modern scholarly opinion is that the calligraphy was probably added by an anonymous court calligrapher at the same time that the painting was made or at some time later.  However, as with the painting, there are widely divergent opinions about when exactly the text was inscribed on the scroll.  At one extreme, Kohara Hironobu has suggested that the text was not added to the scroll until after 1075, using a deliberately antique Tang dynasty calligraphic style, whereas more recently Wen Fong has stated that the calligraphy of the Admonitions Scroll is more closely related to the style of the monk Zhiyong 智永 who was active during the late 6th and early 7th century, and so the text would have been added during the late 6th century at a Southern dynasty court scriptorium. Other experts have dated the calligraphy even earlier, to the 5th or early 6th century.

Palace Museum copy

In addition to the scroll now held at the British Museum, a copy of the painting made during the Song Dynasty is held at the Palace Museum in Beijing.  This monochrome painting on paper is believed to have been copied from the British Museum scroll during the reign of Emperor Xiaozong of Song (r. 1162–1189).  Unlike the British Museum copy, which is missing the first three scenes, the Palace Museum copy is complete in twelve scenes.  However, as the first three scenes of the Palace Museum copy are not as detailed or complex as the other scenes on the scroll, it is possible that the British Museum scroll had already lost the three initial scenes by the time that it was copied in the 12th century, and thus the first three scenes may have been imaginative reconstructions by the court painter who made the Palace Museum copy.

Makeup of the scroll

The scroll comprises nine scenes of the original twelve scenes that made up the painting attributed to Gu Kaizhi, and a number of appended items that used to be attached to it at either end.  The scroll is now flat mounted on two stretchers, with one separate album leaf:

The nine scenes of the original painting, 25.0 cm in height and 348.5 cm in length;
The end sections and appended material other than the Zou Yigui painting, 25.0 cm in height and 329.0 cm in length;
The painting by Zou Yigui, 24.8 cm in height and 74.0 cm in length.

The makeup of the scroll before it was remounted by the British Museum was:

Blue brocade outer wrapper added when the scroll was remounted for the Qianlong Emperor in 1746, with a buff title-slip inscribed "Gu Kaizhi's painting of the Admonitions of the Instructress, with text, an authentic relic — a precious work of art of the Inner Palace, divine class" (顧愷之畫女史箴並書真蹟,內府珍玩神品) in Qianlong's calligraphy
Song dynasty silk tapestry with a design of a peony among hydrangeas from an early wrapper to the scroll (possibly from a mounting of the painting made for Emperor Huizong of Song)
Silk title inscription in Qianlong's calligraphy comprising three large Chinese characters meaning "Fragrance of a red reed" ()
Silk end section with a number of seal impressions (possibly from a Song Dynasty mounting of the painting)
Yellow silk with a drawing of an orchid and accompanying inscription, both by Qianlong
Nine scenes of the original silk painting attributed to Gu Kaizhi
Silk end section with a number of seal impressions (possibly from a Song Dynasty mounting of the painting)
Painting of an orchid by Qianlong on a piece of yellow silk from a Song Dynasty mounting of the painting
Transcription of the text on silk of the last two admonitions in the calligraphy of Emperor Zhangzong of Jin
Colophon on silk by Xiang Yuanbian (1525–1590)
Long colophon on silk by Qianlong
Painting on silk entitled Pine, Bamboo, Rock and Spring (松竹石泉) by Zou Yigui (1686–1772), commissioned by Qianlong

Description

The British Museum copy of the painting has lost the three initial scenes at the right of the scroll, so the description of these scenes below is based on the Palace Museum copy, even though it is possible that these scenes are not copied from the original picture but are imaginative reconstructions.

The twelve scenes of the scroll are ordered as follows:

Scene 1 — an introductory scene;
Scenes 2–5  — four scenes illustrating stories about the exemplary behaviour of famous palace ladies from history;
Scene 6 — a mountain scene which separates the preceding scenes depicting anecdotes from the following scenes of palace life;
Scenes 7–11 — five scenes that follow the life of a palace lady;
Scene 12  — a concluding scene that shows the Court Instructress writing her admonitions.

The corresponding quotation from Zhang Hua's text is placed to the right of each scene.

Scene 1: Introduction

茫茫造化，二儀始分。
散氣流形，既陶既甄。
在帝庖犧，肇經天人。
爰始夫婦，以及君臣。
家道以正，王猷有倫。
婦德尚柔，含章貞吉。
婉嫕淑慎，正位居室。
施衿結褵，虔恭中饋。
肅慎爾儀，式瞻清懿。

In the boundlessness of creation, yin and yang first separated out.
Scattered qi and flowing substance were moulded and shaped.
At the time of Emperor Fu Xi, heaven and human were first divided.
Thus began the relationship of husband and wife, as well as that of lord and minister.
The way of the household is regulated, the plans of the ruler are ordered.
A woman's virtue values gentleness; she conceals beauty within, and is pure and perfect.
Gentle and meek, virtuous and careful, her proper place is in the chamber.
When she gets married the girl arranges her robes and ties up her apron; respectfully she prepares the household meals.
Solemn and dignified in bearing, with pure virtue she gazes up reverently.

The introductory scene in the Palace Museum copy, missing in the British Museum copy, simply shows a man in court dress and a woman facing each other, representing the basic theme of the painting, that is the role of women in feudal society and the proper relationship between man and woman.  The image is disturbed by a line of text from Zhang Hua's Admonitions text awkwardly placed in between the two figures, but as this line should go with the following scene, it has been taken as evidence that the first three scenes in the Palace Museum copy are not entirely modeled upon the original.

Scene 2: Lady Fan

樊姬感莊，不食鮮禽。

Lady Fan, in order to move King Zhuang, would eat neither fish nor fowl.

This scene illustrates the story of Lady Fan, a consort of King Zhuang of Chu (died 591 BC), who remonstrated against her husband's excessive hunting and lavish banqueting by refusing to eat the meat of any of the animals he killed for three years.  The Palace Museum copy of the painting shows Lady Fan kneeling in front of an empty table, with ritual food vessels standing conspicuously empty and unused nearby.

Scene 3: The Lady of Wei

衛女矯桓，耳忘和音。
志厲義高，而二主易心。

The lady from Wei, in order to reform Duke Huan, made her ears forget the harmonious sounds.
They had strict aspirations and a lofty sense of righteousness, and so the two lords undertook a change of heart.

This scene illustrates the story of the Lady of Wei, a consort of Duke Huan of Qi (died 643 BC), who remonstrated against her husband's love of licentious music by refusing to listen to such music, even though she herself was a great musical talent.  The Palace Museum copy of the painting shows the Lady of Wei listening  to morally uplifting ritual court music played on sets of bells and chimes, which would have been very different from the immoderate and perhaps immodest musical performances her husband preferred.

Scene 4: Lady Feng and the bear

玄熊攀檻，馮媛趍進。
夫豈無畏？知死不恡！

When a black bear climbed out of its cage, Lady Feng rushed forward.
How could she have been without fear? She knew she might be killed, yet she did not care.

This scene illustrates the story of Lady Feng, a consort of Emperor Yuan of Han (r. 48–33 BC), who in 38 BC placed herself in the path of a bear that had escaped from its cage during a wild animal fight show before the emperor, in an attempt to save the emperor's life — the bear was killed by the guards, and Lady Feng survived.  This is the first surviving scene in the British Museum copy (although the accompanying text is missing), and it shows Lady Feng confronting the bear, but being saved just in time by two guards with spears, and the emperor and two court ladies watching  in horror on one side.  The lady on the left of the scene is believed to be Lady Fu, who is noted to have run away from the bear in the biography of Lady Feng in the History of the Latter Han, thus indicating that the artist did not base the painting solely on Zhang Hua's text.

It is interesting to compare this scene in the two copies of the painting.  Although they are very similar with regards to the layout and postures of the figures, the Palace Museum version (upper image) is much more spread out, with a large gap between the attacking bear and Lady Feng, which makes the scene much less dramatic than the British Museum copy. Furthermore, in the Palace Museum copy, Lady Fu is on the other side of the inscription for the following scene, thereby making her an unexplained appendix to the story of Lady Ban, and at the same time destroying the intended contrast between the courageousness of Lady Feng and the cowardice of Lady Fu.

Scene 5: Lady Ban refuses to ride in the imperial litter

班妾有辭，割驩同輦。
夫豈不懷？防微慮遠！

Lady Ban voiced her refusal, and thereby cut herself off from the joys of riding together in the palanquin.
How could she have not minded? But to avoid the slightest suspicion she kept her distance.

This scene illustrates the story of Lady Ban, consort of Emperor Cheng of Han (r. 33–7 BC), who refused to ride in the palanquin with her husband as she said that paintings of wise rulers always showed them in the company of their ministers, whereas paintings of decadent rulers always showed them in the company of their wives and concubines, and so it would be inappropriate for her to be seen in public with the emperor.  The painting shows the emperor being carried in a palanquin, and Lady Ban conspicuously walking behind.  This scene is similar in construction to the painting of the same story on the lacquer screen from the tomb of Sima Jinlong (died 484), but whereas the lacquer painting shows Emperor Cheng alone in the palanquin, in the Admonitions Scroll another court lady is seated beside him, showing that he ignored the advice of Lady Ban, and highlighting the fact that his behaviour as emperor was seen to be responsible for the seizure of power by Wang Mang (45 BC – 23 AD) in 9 AD.

Scene 6: The mountain and hunter

道罔隆而不殺，物無盛而不衰。
日中則昃，月滿則微。
崇猶塵積，替若駭機。

It is the way that nothing exalted is not cast down low; of living things there are none that having flourished do not fade away.
When the sun is at its highest it sinks; when the moon is at its fullest it wanes.
Esteem and honour are as perilous as a pile of dust, decline and fall are as sudden as a crossbow shot.

This scene departs from the pattern of the previous scenes, which illustrated anecdotes at specific historical figures, as the text presents general observations about the impermanence of fame and glory.  The painting depicts the last four lines of the quoted text, showing a triangular mountain (a pile of dust) set between the sun (inhabited by a Three-legged crow) to its right and the full moon (inhabited by a rabbit or a toad) to its left, covered with birds and animals, and with a hunter taking aim at a tiger with his crossbow.

Examination of the painting under ultra-violet has shown that almost all of the mountain (all except for the lower left corner) has been damaged and repaired, which suggests that this central scene was the most studied and handled part of the scroll, perhaps due to the greater critical value placed on landscape painting over figure painting by Ming and Qing dynasty art connoisseurs.

Scene 7: The toilette scene

人咸知飾其容，而莫知飾其性。
性之不飾，或愆禮正。
斧之藻之，克念作聖。

All people know how to ornament their appearance, but none know how to ornament their nature.
If one's nature is not ornamented, rites and proper behaviour will become confused and erroneous.
Chop it and embellish it; overcome your thoughts to make yourself holy.

In contrast to the tense action of the previous scene, this scene is one of calmness and stillness, showing the palace ladies at their toilette.  The focus of the scene is on a lady sitting in front of a bronze mirror, and with a set of nested lacquer boxes laid out to the side.  Behind her, another lady helps comb her hair.  To the right another lady, facing away from the viewer, looks into a mirror held in her hand, which reflects the lady's visage back to the viewer.  The two mirrors in this scene are perhaps intended to be more than just tools for helping with make-up, but mirrors into the souls of the ladies, reflecting their inner nature as much as their external appearance.

Scene 8: The bedroom scene

出其言善，千里應之。
苟違斯義，則同衾以疑。

If the words you utter are good, people will respond from a thousand leagues away.
If you offend against this principle, then even your bedfellow will view you with suspicion.

This scene takes the oblique reference to sharing a bed in the text of Zhang Hua as the subject, showing the emperor visiting one of his consorts in her bed chamber.  However, sitting uneasily on the edge of bed, his feet firmly planted on the floor, he looks across at the lady, as if uncertain whether to enter or not.  The body language of the lady, leaning back against the screen in one corner of the bed, is equally lacking in intimacy.

Scene 9: The family scene

夫出言如微，而榮辱由茲。
勿謂幽昧，靈監無象。
勿謂玄漠，神聽無響。
無矜爾榮，天道惡盈。
無恃爾貴，隆隆者墜。
鑒於小星，戒彼攸遂。
比心螽斯，則繁爾類。

Words are so subtle, yet glory and shame result from them.
Do not think they are dim and dark, for the spiritual looks down on that which casts no shadow.
Do not think they are empty and silent, for the divine hears that which make no sound.
Do not be proud of your honours, for the way of heaven abhors that which is replete.
Do not rely on your nobility, for he who reaches to the highest heights must fall.
Model yourself on the lesser stars, which avoid travelling far.
Keep your heart close to the bush-crickets, and thereby multiply your kind.

This scene takes the last line of the long quotation from Zhang Hua's text as its subject, showing the emperor surrounded by his wives and children, the group forming a triangular formation reminiscent of the mountain in Scene 6.  At first sight, the family group suggests stability and permanence, but the viewer may be expected to remember the earlier reference to the fragility and impermanence of a mountain made of dust, and realise that these familial relationships can collapse just as suddenly.

Scene 10: The rejection scene

驩不可以黷，寵不可以專。
專實生慢，愛極則遷。
致盈必損，理有固然。
美者自美，翩以取尤。
冶容求好，君子所讎。
結恩而絕，職此之由。

Happiness cannot be defiled, affection cannot be prejudiced.
Prejudice results in disdain; if love is taken to the extreme then it will change.
When something reaches fullness it must decline; this principle is immutable.
The beauty who thinks she is beautiful is quickly found fault with.
Wearing thick make-up in order to please, this is what a gentleman despises.
Breaking the bond of favour mainly comes about from this.

In stark contrast to the scene of family union and harmony in the previous scene, this scene shows the emperor turning away from his consort, his hand raised in a gesture of rejection and with a look of disdain on his face.

Scene 11: A lady reflects upon her conduct

故曰：翼翼矜矜，福所以興。
靖恭自思，榮顯所期。

Therefore I say: Be cautious and circumspect in all you do, and from this good fortune will arise.
Calmly and respectfully think about your actions, and honour and fame will await you.

The previous scene showed the final fate of a lady who did not follow the admonitions of the instructress, whereas this penultimate scene shows a palace lady sitting in quiet contemplation, presumably following the admonitions in the accompanying lines, awaiting the honour and fame that should be her reward.

Scene 12: The instructress

女史司箴，敢告庶姬。

The instructress in charge of admonitions boldly speaks to all the palace ladies.

The final scene shows the Court Instructress writing her admonitions on a scroll, her head bowed in concentration, whilst two court ladies walk towards her.

History
The early history of the painting is unknown, and it is not until the latter part of the Northern Song (960–1127) that there is any evidence for the existence of the painting.  The painting and its end sections have numerous seal impressions purportedly indicating the past ownership of the painting, and these provide valuable evidence for the history of the scroll; however many of these are later fabrications of ancient seals intended to increase the appeal of the painting to collectors and connoisseurs.  One particular seal that in the past has been used to link the painting to the Tang Dynasty imperial collection is an impression reading "Seal of the Hongwen [Office]" (), which has been interpreted as referring to the Office for the Dissemination of Culture (弘文館), part of the Hanlin Academy.  However, there are indications that this seal may be a later forgery or else that it may be a genuine post-Tang seal added by a private collector with the name Hongwen, and so it is regarded with suspicion by many experts.

The earliest seal to be accepted as authentic is a large imperial seal inscribed "Sagacious Contemplation, East Wing" (), which refers to the East Wing of the Palace of Sagacious Contemplation, which was an imperial palace built in 1075, during the reign of Emperor Shenzong of Song (r. 1067–1085).  The Palace of Sagacious Contemplation was built for use as a venue for state events and banquets, not for exhibiting works of art, but it is known that Emperor Huizong housed a Tang Dynasty stone engraving of the calligraphic masterpiece, the Orchid Pavilion Preface by Wang Xizhi there, and it is possible that he also housed Gu Kaizhi's masterpiece of painting with it.  At any rate, it is known for certain that the painting was in the imperial collection during the reign of Emperor Huizong as the Admonitions Scroll is included in the 1120 catalogue of Emperor Huizong's art collection. However, as Mi Fu records that a few years earlier the painting had been in the possession of Liu Youfang (劉有方, active 1074–1099), a palace eunuch, it seems probable that the painting was moved around the imperial court, temporarily looked after by palace staff as well as by emperors and their consorts.

In 1127 the capital of the Song empire, Kaifeng, was sacked by the Jurchens, Emperor Huizong and his son Emperor Qinzong of Song (r. 1126–1127) were taken prisoner, and the north of China was subsumed within the Jin dynasty (1115–1234).  What happened to the Admonitions Scroll next is a matter of conjecture.  There is no hard evidence as to whether the scroll ended up in the Jurchen north or was taken to safety to the south of China, which remained under the control of the Chinese as the Southern Song (1127–1279).  One indirect indication that the scroll did not fall into Jurchen hands is that the Beijing copy of the scroll is believed to be an immediate copy of the scroll now in the British Museum, and it is believed to have been made during the reign of Emperor Xiaozong of Song (r. 1162–1189).  On the other hand, one of the end sections of the Admonitions Scroll incorporates seals of Emperor Zhangzong of Jin (r. 1189–1208), but as these are not on the painting itself, they may have been added at a later date from a different source.  One of the end sections also incorporates two seals of the notorious Southern Song chancellor, Jia Sidao (1213–1275), who was instrumental in the Mongol overthrowal of the Southern Song, but if genuine it may only indicate that he was given the scroll by a Mongol prince after the Mongols defeated the Jin in 1234.

After the fall of the Southern Song to the Mongol Yuan Dynasty (1271–1368), an official called Wang Yun (王惲,  1227–1304) was commanded to make an inventory of the Southern Song imperial collection so that the best pieces could be sent to the Yuan capital at Beijing, but his inventory does not mention the Admonitions Scroll. The whereabouts of the painting during the Yuan dynasty are unknown, and it is not mentioned by any of the art connoisseurs of the period, such as Zhou Mi (周密,  1232–1298) or Zhao Mengfu (1254–1322). The only clue to its possible ownership at this time is a seal on the painting inscribed "Ali" in 'Phags-pa script, which may be the name of a Uyghur official who served in southern China in the late 13th century and who is known to have had a collection of Chinese calligraphy.

The exact ownership of the scroll remains uncertain until the middle of the Ming Dynasty (1368–1644), when it was probably in the ownership of the officials Wang Ao (王鏊,  1450–1524) and subsequently Yan Song (1481–1568). After the political downfall of Yan Song in 1562, his collection was confiscated, and the Admonitions Scroll came into the possession of the Ming court. However, the painting did not stay in government ownership for long, as it was noted by He Liangjun (何良俊,  1506–1573) as being in the possession of the official Gu Congyi (顧從義,  1523–1588) during the 1560s. It then entered the collection of wealthy art collector and pawnbroker, Xiang Yuanbian (項元汴,  1525–1590), who marked his ownership of the painting with about fifty seal stamps. Whilst the Admonitions Scroll was in the possession of Xiang, it was seen by the famous painter, Dong Qichang (董其昌,  1555–1636), who copied out the inscriptions to the paintings, which he believed to be by Gu Kaizhi, and published them in 1603 as calligraphic models. Thereafter, the painting changed hands frequently, and during the late Ming and early Qing Dynasty it is known to have been in the possession of Zhang Chou (張丑,  1577–1643), Zhang Xiaosi (張孝思), Da Zhongguang (笪重光,  1623–1692), and Liang Qingbiao (梁清標,  1620–1691), before finally being acquired by a wealthy salt merchant, An Qi (安岐,  1683–c. 1746).

After the death of An Qi, the Admonitions Scroll passed into the hands of the Qianlong Emperor (r. 1735–1796), who treasured the painting as the pinnacle of Chinese art. Qianlong had the painting remounted in 1746, and a number of extra elements were added to the scroll, including a title inscription, a painting of an orchid by Qianlong, a long colophon by Qianlong, and at the very end of the scroll a painting by Zou Yigui (鄒一桂,  1686–1772). He housed the scroll, together with three other masterpieces attributed to the Northern Song painter Li Gonglin (1049–1106), which he collectively named the "Four Beauties" (), in his private residence, the Pavilion of Tranquil Ease (). Qianlong also commissioned two paintings each from eight painters to be affixed to the outer boxes containing the "Four Beauties", but none of the boxes survive. Like Xiang Yuanbian before him, Qianlong marked his ownership of the painting with numerous seal impressions (37 in total), which he apparently added at different times and on different occasions throughout his sixty-year reign.

After the death of Qianlong the Admonitions Scroll remained in the imperial palace at Beijing, but when the building in which the "Four Beauties" were housed was in need of repairs the Empress Dowager Cixi (de facto ruler of China from 1861 to 1908) ordered the four paintings to be transferred to the Summer Palace to the west of the city.  In 1899 the Boxer Rebellion broke out, and the following summer an international force was sent to quell the rebellion and relieve the siege of Western legations in Beijing.  After the suppression of the Boxers, there was a considerable amount of looting throughout the capital, and during this time of chaos Captain Clarence A. K. Johnson (1870–1937) of the 1st Bengal Lancers, who was stationed at the Summer Palace, somehow managed to acquire the Admonitions Scroll.  His family later claimed that he was given the scroll as a reward for escorting a "lady of high birth" and her family to safety, but this story has never been corroborated.  Johnson did not realise the value of the scroll, but when he returned to London in 1902 he took it to the British Museum to have the jade toggle on it valued.  The keeper of the department of Prints and Drawings, Sidney Colvin (1845–1927), and his assistant, Laurence Binyon (1869–1943), recognised the significance of the painting, and in 1903 the British Museum purchased it from Johnson for the sum of £25.  By 1910 the scroll had been examined by a number of experts in Oriental art, and it had been recognised as an ancient masterpiece of Chinese art, and in 1912 the British Museum commissioned the printing of one hundred woodblock colour print facsimiles of the painting by Sugizaki Hideaki (杉崎秀明)  and Urushibara Mokuchu (漆原木虫).  In 1914–1915 the scroll was dismantled, and remounted on two long stretchers, one containing the nine scenes of the original painting, and one containing all the other sections, except for the Zou Yigui painting, which was mounted separately as an album leaf.  Since 1914 the painting has been housed in the North Wing of the British Museum, although it is only occasionally put on public display due to its sensitivity to light; namely, six weeks each year.

Explanatory notes

Reference notes


Ryosuke Fukamachi

Ryosuke Fukamachi (born October 25, 1984) appeared in one game for the Yomiuri Giants of Nippon Professional Baseball in 2007, allowing two earned runs and posting a 54.00 ERA in 1/3 of an inning. He batted and threw right handed, attended Chukyodai Chukyo High School and then Chukyo University. He was born in Nagoya, Aichi, Japan.


Happy Accidents (album)

Happy Accidents (1990) is the third album by Montreal pop-punk band Doughboys. Happy Accidents was released on Restless Records and was produced by Michael Phillip Wojewoda and engineered by David Sutton.

Overview
Happy Accidents, was the second album with singer and guitar player Jonathan Cummins. The album also features drummer Paul Newman from debut album Whatever (1987).

Track listing
 Countdown  2:56
 Sorry Wrong Number  3:17
 Deep End  4:19
 Intravenus De Milo  4:07
 Happy Home  2:26
 Sunflower Honey  3:07
 Far Away  4:41
 Happy Sad Day  2:39
 Wait And See  4:35
 Every Bit Of Nothing  3:09
 Dream Day  4:17
 The Apprenticeship Of Lenny Kravitz  4:30
 Tupperware Party  3:55

Personnel

 Artwork By - Drazen Kozjan
 Bass, Vocals - Paul Newman
 Drums - Jon Bondhead
 Engineer - Bryce Goggin
 Mastered By - David Sutton
 Mixed By - Ormond Jobin
 Producer - Michael Phillip Wojewoda
 Vocals, Guitar - John Kastner, Jonathan Cummins


Połazie Świętochowskie

Połazie Świętochowskie  is a village in the administrative district of Gmina Korytnica, within Węgrów County, Masovian Voivodeship, in east-central Poland. It lies approximately  west of Węgrów and  east of Warsaw.


The Topp Twins: Untouchable Girls

The Topp Twins: Untouchable Girls is a New Zealand documentary film, directed by Leanne Pooley and released in 2009. The film profiles The Topp Twins, a lesbian comedy music duo from New Zealand.

One of the most successful documentary films at the New Zealand box office, the film made over $1 million in its first four weeks of release. To date, it has made almost $2 million in box office sales. The film was produced by Arani Cuthbert. The cinematographer was Leon Narbey.

The film was also screened internationally.

Awards
The film was nominated for three awards at the 2009 Qantas Film and Television Awards, for Best Feature Film – budget under $1 million, Best Original Music in a Feature Film and Best Sound Design in a Feature Film. It won the awards for Best Feature Film and Best Original Music.

At the 2009 Toronto International Film Festival, it won the People's Choice Award for Documentaries.

The film was a nominee for Outstanding Documentary at the 21st GLAAD Media Awards.


Music of Portal 2

Portal 2 is a physics-based puzzle-platformer game created by the Valve and released on Microsoft Windows, Mac OS X, PlayStation 3, Xbox 360 and Linux in April 2011. The game, set in the desolate, labyrinthine Aperture Science facility, challenges the player to navigate test chambers created by the artificial intelligence GLaDOS, using a portal gun, a device able to create portals that link two points in space like a wormhole. The game expands on the original Portal by adding new puzzle elements, such as paint that imparts properties to surfaces, plates that can launch the player and objects over distances, tractor beams and bridges made of light.

The game's music includes original scores composed by Valve's Mike Morasky, and two original songs provided by Jonathan Coulton and the band The National. The bulk of the music was released as a freely-available download across three volumes, entitled Songs to Test By, and later in a four-disc retail Collector's edition that included music from Portal.

"Want You Gone"

Jonathan Coulton's song "Still Alive", which is sung by GLaDOS (voiced by Ellen McLain) over Portals end credits, was considered a large part of Portal's success; in designing Portal 2, Valve desired to incorporate more music into the game, including further involvement from Coulton. Coulton wrote a new song for the game's ending credits, "Want You Gone", also written from GLaDOS's viewpoint. Coulton had discussed with Erik Wolpaw about whether an ending song would be necessary, and how they could create "an emotional moment" comparable to "Still Alive", back in 2009 when Portal 2s ending was not yet determined. Other options were considered, such as several "joke songs" and false endings for the game. Ultimately the game's finale, where GLaDOS effectively "breaks up" with Chell, was set by the last quarter of 2010, and Coulton played the game as it had been developed to that point to generate ideas. Elements of the ending, such as Chell being told to leave Aperture with the door slamming behind her, led to the development of main chorus line "I used to want you dead, but now I only want you gone." Coulton wrote the lyrics and composed the song over the course of several days, with John Flansburgh assisting on electronic drums, and traveled to Valve's headquarters in January 2011 to record it with McLain.

In addition to its inclusion in the Portal 2 soundtrack, a version of "Want You Gone" as sung by Coulton appears on his 2011 album Artificial Heart.

"Exile Vilify"

The indie rock band The National provided another original song, "Exile Vilify"; its lyrics were composed by the group and reviewed by Valve to ensure they fit with the tone of one of the Rattmann's dens, where it appears in-game. The National had expressed an interest in doing music for Valve to Bug Music, their publishing label, which the label forwarded on to Valve in discussing other music opportunities for the game. Valve and Bug Music identified that The National would fit well into Portal 2, as their "raw and emotive music evokes the same visceral reactions from its listeners that Portal does from its players" according to Bug Music's spokesperson Julia Betley. The song is considered by Paste to be a "haunted, piano-lead ballad" similar to the band's song "Think You Can Wait"  used in the film Win Win. "Exile Vilify" is not included in the freely downloadable Portal 2 soundtrack, but instead was released as a digital single by the band.

After the game's release, Valve and The National ran a contest encouraging users to create their own music video for "Exile Vilify", offering as prizes Valve merchandise and a guitar signed by members of the band. Of 320 videos submitted, Valve ultimately awarded two videos first prize. One video featured a sock puppet that "had nothing to do with Portal" but "managed to beautifully capture the spirit of the song", while the other provided an animated retelling of the Lab Rat comic.

Original music
Valve's Mike Morasky was the lead composer for the game's backing music. In keeping with the theme from Portal, Morasky wanted to create music that kept an "old future through a new lens" approach, such as by using minimalist electronic piano or mangled chiptunes. He also wanted to create music that would sound like it would have been composed by a computer, citing the use of "stiff arpeggios, math-like voice leading, odd rhythm patterns and whole tone scales" as a means to achieve this.  Morasky also incorporated the briefly-seen singing turrets—all voiced by McLain— in the piece "Cara Mia Addio!" after recalling that she was a former opera singer, and used snippets of her singing to create something that still sounded synthetic. Except for McLain's vocals, all the music is based on synthesized or sampled sounds, and even with McLain, her voice was resampled to make it sound like a computer.

Morasky created procedurally generated music, which is generated in real time based on the player's actions. This type of music system was based on the previous success of incidental music used in the Left 4 Dead series, and was developed to create a generalized platform for reuse in future Valve productions. Such music is generated by the player's interaction with various puzzle objects in the test chambers, such as launching from an Aerial Faith Plate. Morasky designed the procedure to build out the music more as the player completed more of each puzzle. Morasky also saw this as a means to provide experimentation to the player, exploring both space and timing of events to alter the composition of the music.  Morasky claims that one piece of music "only repeats itself every 76,911 years, 125 days, 7 hours, 56 minutes and 30.3 seconds". Morasky designed this dynamic music as a reward for successfully completing puzzles.

Songs to Test By

Songs to Test By is the three-volume soundtrack for Portal 2, containing nearly all of the music from the game.  The soundtrack was released freely to the Internet volume-by-volume between May and September 2011.  Along with the soundtrack, Valve included several Portal 2-themed ringtones.

Soundtrack listing

A retail four-disc collection, Portal 2: Songs To Test By (Collector's Edition), was released on October 30, 2012 through Ipecac Recordings. Three of the discs include the music already available (listed above), while the fourth disc includes songs from Portal. A mini-comic, "Turret Lullaby", is also included.

Reception
Kym Dillon of IGN used the soundtrack of Portal 2, amongst a few other soundtracks, as an example how a game can use both source music (music that is part of the game environment) and underscoring (music that is only for the player) to create atmosphere in games; Dillon also mentions that he "especially" liked the game's soundtrack. Alyssa Grimley of the Seattle Post-Intelligencer praised Morasky's composing of the soundtrack and called it an "understated genius". She also praised Jonathan Coulton's song "Want You Gone" for the way in which it reflects the changed spirit of GLaDOS when compared to "Still Alive" from the first game. Kirk Hamilton of Kotaku listed Portal 2 as possessing one of the best musical scores in video games for 2011, praising both the composed songs and the dynamically-generated elements.

For the 2011 Spike Video Game Awards, both "Want You Gone" and "Exile Vilify" were nominated for "Best Song in a Game", while the soundtrack was nominated for "Best Original Score". Portal 2s soundtrack was awarded for "Outstanding Achievement in Original Music Composition" at the 15th Annual Interactive Achievement Awards. The game was awarded the "Best Audio" 2012 Game Developers Choice Awards. The Game Audio Network Guild awarded Portal 2 with the "Best Interactive Score" (along with Kinect Disneyland Adventures), and "Best Original Vocal - Pop" for "Want You Gone".


Wahgunyah

Wahgunyah  is a town in northeastern Victoria, Australia. The town is on the southern bank of the Murray River, opposite Corowa, New South Wales, in the Shire of Indigo. Wahgunyah is  north east of the state capital, Melbourne and  west of Albury/Wodonga. At the , Wahgunyah had a population of 891.

The name is believed to be an aboriginal phrase meaning the resting place of crows.

History
The Wahgunyah cattle run was leased by John Foord and John Crisp in 1841. The township was established by Foord in 1856 and became important before the arrival of the railway in 1879 as the furthest upstream port on the Murray. The Post Office opened on 1 July 1858   and a school opened the same year.

All Saints Estate winery to the north of town was established in 1864 by Scottish emigrants George Sutherland Smith and John Banks and its extensive cellar building was, at least in part, modelled on one of the Queen's castles, the Castle of Mey near Smith and Banks's home town Caithness.

The town today
The main factory of Nestlé’s breakfast cereal arm Uncle Tobys is on the outskirts of Wahgunyah.

The town has an Australian rules football team in the Tallangatta & District Football League after having been in the Coreen & District Football League until 2007.


1963–64 Baltimore Bullets season

The 1963–64 NBA season was the Bullets' 3rd season in the NBA and 1st season in the city of Baltimore.

Regular season

Season standings

x – clinched playoff spot

Record vs. opponents

Awards and records
Rod Thorn, NBA All-Rookie Team 1st Team
Gus Johnson, NBA All-Rookie Team 1st Team


Ben Underwood (footballer)

Benjamin Riley "Ben" Underwood (30 September 1901 − 9 March 1958) was an English footballer who played as a left half.

He was born in Alfreton, Derbyshire and began playing with Newton Rangers before joining New Hucknall Colliery. After a brief spell with Sutton Town, Underwood signed for Derby County, but made no first-team appearances, and went on to play League football for Doncaster Rovers, where he made 105 appearances in competitions. He moved to Leeds United, only managing to break into the first team for a few matches, before going on to Coventry City for two seasons.

He married near Derby in 1928 and died in the Bridgnorth area in 1958.


Handbook of a Christian Knight

The Handbook of a Christian Knight (), sometimes translated as The Manual of a Christian Knight, is a work written by Dutch scholar Erasmus of Rotterdam in 1503, and was first published in English in 1533 by William Tyndale.

During a stay in Tournehem, a castle near Saint-Omer in the north of modern-day France, Erasmus encountered an uncivilized, yet friendly soldier who was an acquaintance of Battus, Erasmus' close friend. On the request of the soldier's pious wife, who felt slighted by her husband's behaviour, Battus asked Erasmus to write a text which would convince the soldier of the necessity of mending his ways, which he did. The resulting work was eventually re-drafted by Erasmus and expanded into the Enchiridion militis Christiani. The Enchiridion is an appeal on Christians to act in accordance with the Christian faith rather than merely performing the necessary rites. It became one of Erasmus' most influential works.


I Rock (disambiguation)

I Rock may refer to

 I Rock television show
 Independence Rock Festival in Mumbai


Atlético Petróleos de Luanda (basketball)

Atlético Petróleos de Luanda, commonly known as Petro de Luanda, is an Angolan basketball club based in Luanda. It competes at the local level, at the Luanda Provincial Basketball Championship and at the Angola National Basketball Championship. Additionally, the club plays at the continental level, at the Basketball Africa League (BAL).

Established in 1976, the team is part of a multi-sports club which includes a football and handball team as well. Petro has been one of the most successful teams in Angola, having won the second most Angolan championships with 12, only trailing Primeiro de Agosto. The team has won two continental titles as well, having won the African Champions Cup in 2006 and 2015.

History
As the champions of the 2018–19 Angolan League, Petro qualified for the first season of the Basketball Africa League (BAL).

Honours

Players

Current roster
As of 21 April 2016.

Notable players

Staff

Head coaches


Mark Alnutt

Mark Alnutt is the current director of athletics for the University at Buffalo. He previously served as athletic director for Southeast Missouri State University, and as assistant athletic director for the University of Memphis and the University of Missouri. Alnutt attended college at the University of Missouri, where he was a three-year letterman on the Missouri Tigers football team, playing linebacker and tight end. Alnutt was named athletic director at the University at Buffalo on March 21, 2018.


Chetoogeta Mountain Tunnel

The Chetoogeta Mountain Tunnel () refers to two different railroad tunnels passing through Chetoogeta Mountain in Tunnel Hill, Georgia, United States.

The first tunnel, known as the Western and Atlantic Railroad Tunnel at Tunnel Hill, was completed on May 7, 1850, as part of the construction of the Western & Atlantic Railroad (W & A), the first state road in Georgia. It was the first major railroad tunnel in the South and is 1,447 feet/≈0.27 mi or 441 meters in length.  It was renovated in 1998-2000 and is now open to the public as a privately owned historic site.  It was listed on the National Register of Historic Places in 2002.

The second tunnel was built from 1926 to 1928 and is 1,557 feet/≈0.3 mi or 475 meters long. It is still in use by CSX Transportation, under lease from the Georgia Department of Transportation.  It, like the entire W & A subdivision, is a major route between Atlanta and Chattanooga.

The nearby town of Tunnel Hill, Georgia (originally Tunnelsville) was created and named for the first tunnel, and was the supply base for its construction materials and worker housing.

Two historic events occurred here during the American Civil War; first the Great Locomotive Chase and second a battle between union and confederate forces during the Atlanta Campaign.  The first occurred on April 12, 1862, when a civilian scout, James J. Andrews, led 22 volunteer Union soldiers from three Ohio regiments: the 2nd, 21st, and 33rd Ohio Infantry.  Also named Andrews' Raid, the near suicide mission went deep into Confederate territory, where the men stole the locomotive named the General.  The men were pursued by another train, the Texas, and Confederate forces.  Andrews and company made it north of this location before they ran out of water and steam to run the locomotive, where they abandoned the train.  Many of the men, including Andrews, were hanged in Atlanta.

The second incident was a minor skirmish on May 6 and 7, 1864 between invading Union and Confederate forces.  Union forces were generally invading and securing the rail lines as they progressed towards Atlanta.  Confederate pickets were posted to delay advancing troops.


Misty Thursday

Misty Thursday is an album led by pianist Duke Jordan recorded in 1975 and released on the Danish SteepleChase label.

Reception

AllMusic awarded the album 3 stars.

Track listing
All compositions by Duke Jordan except as indicated
 "There's a Star for You" - 6:28
 "Hymn to Peace" - 4:51
 "Misty Thursday" - 5:56
 "Night Train from Snekkersten" - 6:20
 "Jealous Blues" - 5:31
 "Lady Linda" - 7:46
 "I'm Gonna Learn Your Style" - 8:55
 "Hymn to Peace" [Alternate Take] - 4:21 Bonus track on CD release
 "Night Train from Snekkersten" [Alternate Take] - 5:33 Bonus track on CD release

Personnel
Duke Jordan - piano
Chuck Wayne - guitar
Sam Jones - bass
Roy Haynes - drums


Nature Heritage Fund

The Nature Heritage Fund is a funding body of the New Zealand Government set up in 1990 for the purchase of land which has significant ecological or landscape value.

It is administered by the Department of Conservation, but controlled by the Minister of Conservation. It was initially called the Forest Heritage Fund but the name was changed in 1998 to reflect the need to protect ecosystems other than forests, for example wetlands, tussocklands and shrublands. Funding has declined sharply; while $10m per annum was allocated in the early 2000s, this has reduced to $2m per year in 2016.

In its first 25 years, the fund has purchased and protected  of land, which represents 1.3% of New Zealand's land area. Since its inception, the fund has been chaired by Di Lucas, a landscape architect from Christchurch.


Street dentistry

Street dentistry is the unlicensed practice of dentistry in the street, usually for people who are unable to afford licensed dental care.

History

Before the 20th century, dentistry was largely unregulated. In Europe during the Middle Ages, it was often practiced by monks, who were the most educated of the period. Barbers and blacksmiths, too, performed dental services. One of the first attempts to regulate the practice of dentistry came in France in 1400, when royal decrees prohibited barbers not in the Guild of Barbers from performing surgical procedures except for bleeding, cupping, leeching, and extracting teeth.

In the United States in 1840, Horace H. Hayden and Chapin Harris established the world's first school of dentistry, the Baltimore College of Dental Surgery, and created the Doctor of Dental Surgery degree. In the same year, the world’s first national dental organization, the American Society of Dental Surgeons, was founded. In 1841, Alabama instituted the first dental practice act, regulating the practice of dentistry in the United States.

In New York around the turn of the century, street dentists like Edgar R.R. "Painless" Parker flourished. Despite dentistry becoming regulated, unlicensed dentists still practiced, often offering inferior services, prompting some to call for their prosecution.

As many as 5000 unlicensed dentists may have practiced in New York in the early 1900s. In 1900, 283 complaints were received by the Law Committee of the New York State Dental Society. Some patients died from infections and abscesses resulting from lack of sanitation. Others died from improper administration of anaesthetic. According to a newspaper report in 1910, many of these dentists were immigrants whose home countries did not regulate dentistry as stringently as did the United States.

Modern street dentistry

In India, street services are plentiful, with dentists operating alongside other street services, such as apothecaries, repairmen, and barbers. These practitioners charge far less than licensed dentists, often charging as little as 125 rupees for a procedure such as a bridge—which, at a licensed dentist, could be as expensive as 10,000 rupees. Many learn the trade from their parents.

Street dentistry is not confined to India. In Paris in 2003, 23 unlicensed dentists who practiced out of cafes and grocery stores were arrested. The dentists involved were Syrian immigrants who provided dental services mostly for other immigrants who did not have health insurance.

In 1998, a man was arrested in Van Nuys, California for operating an unlicensed dental practice out of the back of a toy store in a strip mall.

Legal issues

In India, Chapter V, Section 49 of the Dentist Act of 1948 requires dentists, dental mechanics, and dental hygienists to be licensed, making street dentistry illegal, though street dentists continue to practice. Most countries in the developed world have laws preventing the unlicensed practice of dentistry (see Dentistry throughout the world).


Hoykenkamp railway station

Hoykenkamp () is a railway station located in Hoykenkamp, Germany. The station is located on the Oldenburg–Bremen railway. The train services are operated by NordWestBahn. The station has been part of the Bremen S-Bahn since December 2010.

Train services
The following services currently call at the station:

Bremen S-Bahn services  Bad Zwischenahn - Oldenburg - Delmenhorst - Bremen

External links


Barn Owl Review

Barn Owl Review is an American literary magazine based in Akron, Ohio. Barn Owl Review publishes poetry and poetry book reviews annually, debuting each issue in the spring at the AWP conference book fair.

History
Mary Biddinger and Jay Robinson founded Barn Owl Review in 2007 and still serve as co-editors-in-chief. The eighth issue was released in April 2015 in Minneapolis.

Awards and honors
 Arts Access Grant from the Ohio Arts Council, 2009
 Verse Daily, 2010 "The Claw" by Angela Vogel, "Between Seasons" by Rob Schlegel, "Worse Than the Bite" by Rebecca Givens Rolland, and "Too Darn Hot" by Sarah Perrier.
 Verse Daily, 2009 "How it Started" by Leslie Harrison, "Return as Black Currant" by Anna Journey, and "Clouds" by Jason Bredle.
 Verse Daily, 2008 "Proposal" by Sandra Beasley, "Scientific Method" by Adam Clay,  "Driving Out to Innisfree" by Matthew Thorburn, and "Street Fight" by Wayne Miller.


Helen Armstrong (activist)

Helen "Ma" Armstrong (née Jury) (1875–1947) was a Canadian human rights and labour activist, who took part in the 1919 Winnipeg general strike.

Advocacy

Armstrong developed a reputation for herself as a radical activist even before the General Strike in 1919. In 1917, she aided the Women’s Labor League, which helped in "union organization, political advocacy, the education of women workers on… their own rights". She had a strong belief in the equality of men and women and was adamant about empowering women to fight for themselves. She stated in a letter to the editor of the Telegram in 1917: "Girls have got to learn to fight as men have had to do for the right to live, and we women of the Labor League are spending all our spare time in trying to get girls to organize as the master class have done to protect their own interests.". In 1918, she was a leader in the "campaign for minimum-wage legislation for women in Manitoba".

During the First World War, she advocated on behalf of the ‘aliens’, or those deemed to be interned enemies for opposing the conscription, as well as lobbying the government for increased pensions for soldiers' wives and children. She was imprisoned many times for her activism, along with her husband, but still continued to be an outspoken advocate for the oppressed populations of Canada throughout her time.

Throughout the Winnipeg General Strike in 1919, many were fighting to obtain a set minimum wage, an eight-hour work day, as well as the right to organize a union. This strike is considered to be the most crucial in regards to Canadian history. During the General Strike, she campaigned against the wage inequality between men and women, and for changes in the unhealthy conditions many women faced while working. She advocated on behalf of all women, regardless of their class or occupation. She did so in terms of "walking the picket line, making her case in the provincial legislature, or facing the police court magistrate […] in a letter to the deputy minister of labour she wrote "the lives of many of our working girls... so unbearable that in the end the street claims them as easy prey". During the strike, she was able to help many women who had left work in order to aid in the movement, by having places where they could go and receive food and when possible, help with money to pay rent.

Personal life and death
Helen Jury  was  born in 1875 in Toronto, Ontario. She was the eldest daughter of a family with ten children.
While living in Toronto she worked as a tailor in her father’s tailoring shop. Her father, Alfred Jury, was a member of the Knights of Labor which was a "working class organization that campaigned for the nine-hour day…" Helen met George Armstrong in Toronto, whom she later married. Together, they moved to the United States, and moved to Winnipeg in 1905. Helen had four children, but also worked outside the home.

Helen Armstrong died April 18, 1947 in Los Angeles, California, where she was also buried.  In 2001, director Paula Kelly made a documentary on Helen’s life titled The Notorious Mrs. Armstrong.


Woodwinds Health Campus

Woodwinds Health Campus is a former member of the HealthEast Care System and is recognized as innovative for successfully blending integrative health services with traditional medicine. Woodwinds is a full-service 86-bed hospital, located on 30-acres of wetlands. It was one of three hospitals nationally recognized by the U.S. Department of Health & Human Services’ Agency for Healthcare Research and Quality (AHRQ), for its evidence-based healing environment and hospital design. It is a collaboration between M Health Fairview and Children’s Minnesota.

History
Woodwinds Health Campus opened in August 2000 and is the first and only hospital in Woodbury, Minnesota.
Woodwinds Health Campus includes The Natural Care Center by Northwestern Health Sciences University and offers non-traditional treatments such as chiropractic and acupuncture. It also has a community resource center open to community members, patients, visitors and staff.

Care and services
Woodwinds is one of the leading orthopaedic care centers in the Twin Cities and has created an Orthopaedic Learning Center where doctors from around the world can learn new orthopaedic techniques. It’s also one of the first hospitals in the Twin Cities to offer computer-assisted knee surgery for people undergoing total joint replacement and one of the first hospitals to offer artificial disc surgery for patients with lower back pain.
It’s one of the first hospitals in the nation to have acupuncturists on staff who make daily rounds and provide acupuncture to patients to reduce pain, nausea and anxiety, whether they having a baby, undergoing surgery or emergency care.

Woodwinds includes a Level 4 Trauma Center, Certified Stroke Care Center, and Heart & Lung Care. Its Maternity Care Unit has had the highest patient satisfaction in the nation according to Press Ganey.

Woodwinds nurses have achieved the highest employee engagement scores ever recorded by Gallup.

Awards
In 2010, Becker's Hospital Review named Woodwinds as one of the Top 100 Best Places to Work in Healthcare in the country.
HealthGrades rates Woodwinds’ orthopaedic program as the best in the state and named Woodwinds an Outstanding Patient Experience award winner in 2010-2011 based on patient satisfaction data as measured by NRC Picker
Soliant named Woodwinds one of the Top 20 Most Beautiful Hospitals in the country.
In 2009, Woodwinds was named a Thomson Reuters 100 Top Hospital.
Blue Cross Blue Shield Association awarded Woodwinds a Blue Distinction for its expertise in hip and knee replacement as well as spine care.
Also in 2009, Minnesota Hospital Association named Woodwinds the 2009 Best Minnesota Hospital Workplace for its holistic model of care and healing environment.


The Prophecy (professional wrestling)

The Prophecy was a villainous alliance in the Ring of Honor wrestling promotion, led by Christopher Daniels, whose goal was to break down Ring of Honor and rebuild in their own image. Members of The Prophecy refused to follow the Code of Honor, and at times tried to prevent others from doing so as well.

Members
The members of The Prophecy were Christopher Daniels, Simply Luscious, Donovan Morgan, Xavier, Dan Maff, Mark Briscoe, Allison Danger, and B.J. Whitmer. Samoa Joe briefly worked for The Prophecy, but was never a member. Jim Cornette briefly joined The Prophecy, but was kicked out the same night for obeying the Code of Honor.

History

Formation (2002)
Christopher Daniels competed in the main event of the debut ROH show, The Era of Honor Begins, against Low Ki and American Dragon. After losing to Low Ki, Daniels became a villain and refused to shake hands with either opponent, breaking the Code of Honor. The three competed against each other the following show in a Round Robin tournament. After defeating Dragon on the opening match, Daniels forced him to shake his hand because "the better man won". However, after losing to Low Ki in his second match, he refused to shake his hand, and said he would not wrestle Low Ki again unless the ROH Championship (which had not been created yet) was on the line. At Night of Appreciation, Daniels wrestled Donovan Morgan in a singles match. Before the match Daniels said in a backstage interview that he had a lot of respect for Morgan because they were both California wrestlers and they had both won the ECWA Super 8 Tournament, but after he lost he refused to shake Morgan’s hand. He said it was not because he did not respect Morgan, but because he believed the Code of Honor was a lie. The two then formed a partnership.

At Road to the Title, The Prophecy was officially created. Daniels revealed he had seen a prophecy, where he was to lead a group of elite athletes and destroy the Code of Honor, and rebuild ROH in their image. He then announced the first official member Simply Luscious, who felt she had been mistreated by Ring of Honor since the first show. Daniels attempted to become the first ROH Champion when he competed in a sixty-minute iron man match against Low Ki, Spanky and Doug Williams at Crowning a Champion. Despite being the only wrestler to be neither pinned nor submitted, Daniels lost the title to his rival Low Ki. The Prophecy got their revenge two shows later at Unscripted. During Low Ki's title defense against Xavier, Daniels came to the ring to distract him. While Low Ki was distracted, Xavier attacked him from behind and, with the help of Daniels, beat him with a chair and a cement pole. Low Ki crawled back into the ring and was pinned by Xavier, making him the new ROH Champion. After the match, it was made clear that Xavier was the newest member of The Prophecy. Later that night, Daniels and Morgan defeated American Dragon and Mike Modest in the finals of a one night tournament to become the first ROH Tag Team Champions. Even though Daniels and Morgan won the title, any members could defend them.

At Glory by Honor, The Prophecy refused to put any of the titles on the line. The Prophecy wanted Xavier to wrestle someone who he could easily beat and, at the advice of Mark Briscoe, squared off against Jay Briscoe. Despite having lost the majority of his matches in ROH, Jay scored a major upset by beating the ROH Champion. Later, The Prophecy's hired assassin Samoa Joe (in his Ring of Honor debut) faced Low Ki in ROH's first Fight Without Honor. After losing the hard-hitting battle, Joe showed his true colors by obeying the Code of Honor and shaking Low Ki's hand. In the main event, Daniels faced Doug Williams in a grudge match from Crowning a Champion. Angry over Daniels's refusal to shake his hand after the match, Williams challenged him to a match where if he lost Daniels would have to disband The Prophecy and adhere to the Code of Honor. If Williams lost, however, he would no longer be allowed to shake and therefore continually broke the Code of Honor. After winning, Daniels mocked Williams by offering to shake his hand. Despite some tension between The Prophecy and Samoa Joe, who refused to ruin his integrity by disobeying the Code of Honor, The Prophecy continued to be successful for the remainder of the year. At Scramble Madness, rival brothers Jay and Mark Briscoe faced each other in a tag match. Jay chose Amazing Red as his partner, while Mark chose Daniels. After winning the match and becoming the newest member of The Prophecy, Daniels told Mark's parents, who were in the front row, that The Prophecy was Mark's family now.

Feud with The Group (2002–2003)
At Final Battle 2002, while Daniels and Simply Luscious were in the ring talking with Gary Michael Capetta, Steve Corino, Daniel's friend and Luscious' real life boyfriend, came out and said he was going to form a group of his own, one that was so elite it did not even need a name, and they were going to take all the belts in Ring of Honor. He then threatened to break up with Luscious because she was a member of The Prophecy, but stopped when she left them and join The Group. Samoa Joe, also tired of Daniels and The Prophecy, left to join his friend and fellow Pro Wrestling Zero1 wrestler Corino as a member of The Group. Corino said that it was only business and not to be taken personally by Christopher Daniels. Daniels responded by bringing Allison Danger, the real life sister of Steve Corino, into The Prophecy, and start a feud between the two factions.

At Expect the Unexpected, Daniels and Xavier lost the tag team title to A. J. Styles and Amazing Red. Less than two weeks later, Xavier, having suffered a concussion in the tag match, defended the ROH Championship against Samoa Joe. Christopher Daniels and Allison Danger were in his corner, but Michael Shane, the newest member of The Group, came down superkicked him, and the two were cared to the back by The Group. Xavier then lost the title to Joe. He then took time off from ROH, and The Prophecy, to heal. With Xavier gone, Morgan rarely in Ring of Honor anymore, and Mark Briscoe quietly leaving The Prophecy to form a tag team with his brother, Daniels began to search out new members for The Prophecy. At The Epic Encounter, Dan Maff walked out on his partner Monsta Mack after losing to The Backseat Boyz. Later that night, Daniels wrestled Homicide, Maff's trainer, in a singles match. After the match, The Group ran down and attacked both wrestlers. Maff ran down and chased them away, seemingly to help his trainer, but ripped off his "Repeat Offenders" shirt to reveal a Prophecy shirt underneath. He then threw his old shirt on top a Homicide's unconscious face and walked away with Daniels and Danger. After the show, he was confronted by Monsta Mack, who wanted to know why he joined The Prophecy. Maff told him that he was getting nowhere in ROH by obeying the Code of Honor, but that he could rise to the top by siding with Daniels. The two wrestled one final match together at Retribution: Round Robin Challenge II. After losing, Maff and Daniels attacked Monsta Mack. In the Round Robin tournament, Daniels defeated both Amazing Red and Paul London to win the tournament. After the main event, when Samoa Joe (along with Michael Shane) defeated Doug Williams, The Prophecy ran down and attacked The Group.

At Night of the Grudges, The Prophecy and The Group squared off in their first and only match against each other. The two factions wrestled in a six-man tag match with Daniels, Maff and Morgan facing Samoa Joe, CW Anderson and Michael Shane (who was subbing for Steve Corino who pulled out the night before), where the losing faction had to disband. The Prophecy won when Maff pinned the ROH Champion Samoa Joe. Donovan Morgan left ROH, and thus The Prophecy, after the match. As a result of pinning the champion, Maff was granted a match for the ROH Championship at Wrestle Rave 2003. His father died the day before his match, and Maff, despite his best efforts, was unable to defeat Joe in the emotional match, which he dedicated to his father.

Cornette and Xavier (2003)
The Prophecy tried to get back on track at Wrath of the Racket, when manager Jim Cornette made his ROH debut and aligned himself with The Prophecy. Cornette, known as a tag team specialist, he thought The Prophecy was a great team and managed them in the match for the ROH Tag Team Championship against A.J. Styles and Amazing Red. During intermission, when Styles and Red (who already had an injured knee going into the event), The Prophecy and Cornette attacked them. Red injured his knee to such a degree that he was not able to compete that night, and A.J. Styles was left to find another partner or face The Prophecy by himself. Styles chose Dan Maff's former trainer Homicide as his partner, and the two went on to successfully retain the titles. Cornette, despite being a member of The Prophecy, shook the hands of Styles and Homicide because the better team won. He then got into a heated argument with Christopher Daniels for letting him down and losing. The Prophecy then turned on Cornette and attacked him, until Samoa Joe and Amazing Red came to his aid. After the show, Lucy, a member of Second City Saints member and the real life girlfriend of CM Punk (who had previously turned down Daniels' offer to join The Prophecy) was attacked by an unknown assailant. Punk, who was on a tour in Japan at the time, began a long search after his return to discover who her attacker was.

Xavier, making his ROH in-ring return at Bitter Friends, Stiffer Enemies, and faced the leader of The Prophecy Daniels for the number one contendership for the ROH World Championship. The two got into an argument before the match due to Xavier saying that since he was the ROH Champion when he was in The Prophecy, he was the leader, and Daniels played second-fiddle to him. Daniels won the match and the title shot, but it was left unclear if Xavier was still a member of The Prophecy. Later that night, Dan Maff faced off against his former friend Low Ki. The referee stopped the match after Low Ki legitimately knocked Maff out after kicking him in the head.

At Glory by Honor II, Xavier competed in his first match of the "Field of Honor" tournament. He came out with valet Lollipop, adding to the mystery of whether he was still a member of The Prophecy. Allison Danger came out and demanded to know why Lollipop was there, but Xavier sent her back to the locker room, confirming he was no longer a member. In the main event, Christopher Daniels wrestled Samoa Joe for the ROH World Championship. The Prophecy suffered a bit of false hope when, after a close two-count, the time keeper rung the bell thinking the match was over and Daniels had won. The referee explained it was only a two-count and the match continued, until Joe defeated Daniels.

Feud with the Second City Saints and dissolution (2003–2004)
During this time, The Prophecy began to feud with the Second City Saints over the attack on Lucy. CM Punk, seeing The Prophecy as their biggest rival (and vice versa) figured they had to be behind the attack in order to maintain their spot as the most dominant faction in Ring of Honor. Punk continuously confronted and called out the members of The Prophecy. At The Conclusion Punk confronted Dan Maff about the attack, who swore on his father's grave that The Prophecy was not behind it. The following night, Punk called out Daniels and demanded to know if The Prophecy was behind the attack. Daniels said they were not, but Punk did not believe him. Punk attacked Daniels and hit him with his own signature move, the Angel's Wings. At Final Battle 2003 Punk had enough and called out The Prophecy. They came out but were soon attacked by the Saints. As Colt Cabana tied Daniels up in the ropes, Punk wrapped a towel around Allison Danger's throat and threatened to kill her if Daniels didn't admit to the attack. B.J. Whitmer, whom Punk had knocked out in their first match and subsequently often insulted on commentary, ran out and attacked Colt Cabana  with a chair, freeing Daniels. Daniels chased Punk out of the ring and announced that The Prophecy was behind the attack, but he did not do it. Instead, The Prophecy's newest member BJ Whitmer had been the one who attacked Lucy. Maff, who swore on his father's grave The Prophecy wasn't behind the attack, was shocked and upset by this news, but stayed in the group. Later that night, Daniels and Maff wrestled the Great Muta and Arashi in an interpromotional match between Ring of Honor and All Japan Pro Wrestling. After defeating The Prophecy, the Great Muta offered to shake Daniels' hand, who once again refused. Instead, Daniels, Maff and Allison Danger bowed in a sign of respect.

At The Battle Lines are Drawn, ROH's first show of 2004, The Prophecy and the Second City Saints' war came to a head, and the two teams faced in a six-man tag match. The two teams fought throughout the arena, causing the referee to end the match in a no contest. During the match, Dan Maff was left badly beaten by the hands of the Saints. BJ Whitmer was also taken out, leaving only Daniels to fight of CM Punk, Colt Cabana and Ace Steel after the match. He was easily outnumbered, and the Saints Pepsi Plunged him off the top turnbuckle, through a table. Daniels missed the next several weeks due to injury.

At The Last Stand, Maff and Whitmer competed against each other in a four-corner survival match for the number one contendership for the ROH World Championship. There was already tension between the two Prophecy members due to the events of Final Battle, and this match added to their tensions. The match ended with a double pin, as both Maff and Whitmer pinned Matt Stryker and former Prophecy member Xavier at the same time. The two then both got to wrestle Samoa Joe for the ROH World Championship at the Second Anniversary Show. In the opening match of the show, CM Punk came out to the ring dressed as Christopher Daniels. He then began to brag about ending the Christopher Daniels reign in Ring of Honor, adding more fuel to the fire in the two factions’ feud. In the ROH World Championship match, Whitmer and Maff once again squared off against each other when they faced both Joe and Low Ki. Despite the tension, the two worked together in order to insure the title came back to The Prophecy. However, they were unable to get the job done, and Joe retained the title.

At At Our Best, The Prophecy faced the Second City Saints in a match for the number one contendership for the ROH Tag Team Championships. The two teams’ hatred for each other led to a double disqualification. This show was also the final show before the Rob Feinstein controversy. As a result of the show, Total Nonstop Action Wrestling pulled all their contracted wrestlers, Christopher Daniels being one of them, from all ROH shows. The Prophecy was now without a leader. The Prophecy scored two victories in their war with the Second City Saints, as BJ Whitmer defeated Colt Cabana at Reborn: Stage 1, and Ace Steel at Reborn: Stage 2. After the Saints won the ROH Tag Team Championship at Reborn: Stage 2, Whitmer ran down to the ring and attacked CM Punk and Colt Cabana. Ace Steel emerged from the back and laid Whitmer out with a chair shot to the head, before celebrating with the Saints. At Round Robin Challenge III The Prophecy faced both the Second City Saints and the Briscoe Brothers in a round robin tournament. Whitmer and Maff beat Punk and Cabana to win not only the match, but also the ROH Tag Team Championship. Their reign was short lived, as they lost the titles to the Briscoe Brothers later that same night.

The Prophecy got another shot at the title at Generation Next when they faced the Second City Saints, who had won the title back in the final match of the round robin tournament. Despite having gotten the best of the Saints for the past three shows, The Prophecy was defeated after CM Punk Pepsi Plunged Whitmer. Later in the evening, CM Punk called out Ricky Steamboat, whom he had been feuding with. The two began to fight with Steamboat having the upper hand, until Colt Cabana ran out and the Second City Saints double teamed him. The Prophecy ran out and chased off the Saints, rescuing Steamboat.

At World Title Classic, The Prophecy and the Second City Saints fought against each other, as well as against the Briscoe Brothers and Generation Next, in ROH's first Ultimate Endurance match. The match was an elimination match, and after a team was eliminated the rules changed, essentially making it three matches in one. The first match, a submission match, ended with the elimination of Generation Next by The Prophecy. The second match, a scramble tag match, ended with the elimination of the Briscoe Brothers, again by The Prophecy. The Prophecy and the Saints then fought in a falls count anywhere match. The two teams fought all over the arena and used weapons such as chairs and tables to hurt each other. The Prophecy won after Maff gave Colt Cabana a Burning Hammer off the top rope, through a table. After the match, Dan Maff, knowing that Christopher Daniels won't return to Ring of Honor, convinced BJ Whitmer that they should drop The Prophecy name and go out on their own. Whitmer agreed and the two walked away from The Prophecy, as well as Allison Danger. The Prophecy was now officially ended.

Aftermath
Dan Maff and BJ Whitmer spent the next year feuding with Allison Danger, who was angry at them for leaving The Prophecy. She hired numerous wrestlers, including the Carnage Crew, to face the two in a series of hardcore matches. After Mick Foley made his ROH debut, he praise Whitmer and Maff for their hardcore work, and said that to him ROH stand for "Ring of Hardcore". Foley then feuded with Ricky Steamboat, who did not approve of hardcore wrestling. Foley chose Whitmer and Maff as his hardcore tag team, and the two faced Ricky Steamboat's pure wrestlers of Nigel McGuinness and Chad Collyer. At the Third Anniversary Celebration: Part , Maff and Whitmer defeated The Rottweilers (Ricky Reyes and Rocky Romero) to become two-time ROH Tag Team Champions. Their reign was short lived as Dan Maff was forced out of ROH a month later after having a falling out with his trainer Homicide. Whitmer then teamed with Jimmy Jacobs and once again became an ROH Tag Team Champion.

Christopher Daniels made his long-awaited ROH return at Death before Dishonor III. Allison Danger came out earlier in the show to announce that Daniels was on his way back, and that he was going to reform The Prophecy. After the main event, when CM Punk won the ROH World Championship in his final match for ROH before leaving for WWE, he turned heel and said he was going to take the title with him when he left. He then challenged anyone in the locker room to try and stop him. While Punk watched the entrance ramp expecting to see someone like Samoa Joe, Christopher Daniels (to a huge response from the audience) ran in through the crowd behind him. Daniels and Punk began to brawl while the fans chanted "Ring the Bell!" Punk ran out of the ring and out of the building, still holding the ROH title. Daniels tried for the next several shows to win the ROH title, but was unable to do so. Danger would resume her role as Daniels' manager for the rest of his ROH term.

At Hell Freezes Over in 2006, BJ Whitmer attacked Christopher Daniels because he walked out of ROH and The Prophecy in 2004. The two fought at the Fourth Anniversary Show, but their match was ended after wrestlers from Combat Zone Wrestling took over the ring. Whitmer went on to become a member of "Team ROH" along with Samoa Joe, Adam Pearce and Ace Steel and helped fight off the CZW invasion. At The 100th, Daniels made ROH history as, for the first time ever, he respectfully shook Claudio Castagnoli's hand after their match, adhering to the "Code of Honor" (Castagnoli then betrayed ROH later that night and joined his best friend Chris Hero with CZW). Later in the year, Daniels became a two-time ROH Tag Team Champion, as he and Matt Sydal defeated The Kings of Wrestling (Hero and Castagnoli).

Championships and accomplishments
Ring of Honor
ROH World Championship (1 time) – Xavier
ROH Tag Team Championship (3 times) – Christopher Daniels and Donovan Morgan (1) and Dan Maff and B.J. Whitmer (2)
ROH Tag Team Championship Tournament (2002) – Daniels and Morgan


Izara Aishah

Izara Aishah binti Hisham (born 28 September 1992) is a Malaysian actress and model. She debuted in 2011 and since then has starred in dramas, telemovies, television and movies.

Early life
Izara was born on 28 September 1992, in Kampung Bakar Batu, Johor Malaysia. She is the first daughter of three siblings. Her father is Malay while her mother is Pakistani. She graduated from Sekolah Menengah Kebangsaan Seri Hartamas, Kuala Lumpur. Izara began her acting career in 2011. She also won 2nd place in Dewi Remaja 2009/2010. Izara began training in Muay Thai at 16, unfortunately her training stopped due to time limitations. She has been the brand ambassador for several companies and products, and has appeared in commercials for McDonald's, Burger King and Fair and Lovely.

Personal life
Izara marries Adib Khalid, stepson of Malaysian singer, Siti Nurhaliza on 17 November 2017.

Filmography

Film

Television series

Television movie

Awards and nominations


6.5-284 Norma

The 6.5-284 Norma originated as a wildcat cartridge based on the .284 Winchester cartridge necked down to 6.5 mm.

History
The  parent case .284 Winchester was created around 1963, but did not see extensive commercial use.   The 6.5 caliber allowed for the use of long, aerodynamic bullets.  In 1999, Norma submitted it to CIP.  It has since been standardized as the 6.5mm-284 Norma.

Use
The 6.5-284 has been used extensively in benchrest competitions and is known as an extremely accurate long range round. Using an improved version of the 6.5-284, Rich DeSimone set a  world record with a  group. Rich DeSimone's  record has been broken by Tom Sarver, who shot a  group in 2007 using a .300 Hulk wildcat cartridge that is based on the .338 Lapua Magnum cartridge. In contrast, most hunting rifles show similar accuracy at  to . A  bullet in this caliber is typically fired at  to .


Shadow Scale

Shadow Scale is a 2015 fantasy novel by Rachel Hartman and is the sequel and conclusion to her 2012 debut Seraphina.  It was released in hardcover, ebook, and audio book format on March 10, 2015.

Synopsis
Shadow Scale starts about three months after the events of Seraphina.  A war between rebel dragons and those dragons loyal to the peace treaty with humans has begun.  Seraphina sets out to search for other half-human/half-dragons like herself in travels that take her away from Goredd to the states of Samsam, Ninys, and Porphyry, in the hopes that the other half-dragons will be able to protect Goredd from attack.  She is opposed by other forces who have their own plans to make use of the half-dragons.

Reception
Shadow Scale appeared on the New York Times Best Seller List for Young Adult books in its first week of eligibility.  Critical reviews have been positive, with the book receiving several starred reviews.  Kirkus Reviews wrote that Hartman "continues to expand her world with enough history and detail to satisfy even the most questioning of readers, doing it all so naturally that it’s hard to believe this is fiction. Dragon fiction has never flown higher." Booklist and Publishers Weekly also gave Shadow Scale starred reviews, with the latter writing "This is a worthy and wholly satisfying continuation of Seraphina’s tale.".  Quill & Quire wrote "Shadow Scale is an exceptionally written fantasy seen through the eyes of a young woman caught between two worlds. Fans of Seraphina who have been eagerly awaiting this follow up will not be disappointed."


Fast Analog Computing with Emergent Transient States or FACETS is a European project to research the properties of the human brain. Established and funded by the European Union in September 2005, the five-year project involves approximately 80 scientists from Austria, France, Germany, Hungary, Sweden, Switzerland and the United Kingdom.

The main project goal is to address questions about how the brain computes. Another objective is to create microchip hardware equaling approximately 200,000 neurons with 50 million synapses on a single silicon wafer. Current prototypes are running 100,000 times faster than their biological counterparts, which would make them the fastest analog computing devices ever built for neuronal computations.

The institutions involved are the University of Heidelberg, the French National Centre for Scientific Research (CNRS) of Gif sur Yvette, the CNRS of Marseille, the Institut national de recherche en informatique et en automatique, the University of Freiburg, the University of Graz, the École Polytechnique Fédérale de Lausanne, the Swedish Royal Institute of Technology, the University of London, the University of Plymouth, the University of Bordeaux, the University of Debrecen, the University of Dresden and the Institute for Theoretical Computer Science at Technische Universitat Graz.

External links

 FACETS website
 a quick introduction


Lubomyr Ivansky

Lubomyr Ivansky (; born November 1, 1983) is a Ukrainian former footballer.

Playing career
Ivansky began his career in 1998 with FC Karpaty-2 Lviv in the Ukrainian Second League. In 2000, he spent time in the Ukrainian Premier League with the senior team FC Karpaty Lviv. He played with Lviv for five seasons and also featured with the club's reserve team FC Karpaty-3 Lviv in the Ukrainian Second League. After the relegation of Karpaty Lviv he signed with Obolon Kyiv in the Ukrainian First League. In 2006, he went abroad to Poland to sign with Wisła Płock of the Ekstraklasa, and won the Polish Cup.

The following season, he returned to Ukraine to play with FC Stal Alchevsk. The remainder of his time would be spent in the Ukrainian First & Second Leagues with FC Arsenal-Kyivshchyna Bila Tserkva, FC Komunalnyk Luhansk, Karpaty Kamenka-Bug, FC Desna Chernihiv, FC Rukh Vynnyky. In 2010, he returned to Poland to sign with Resovia Rzeszow in the II Liga. In 2016, he went overseas to Canada to sign with FC Ukraine United in the Canadian Soccer League.In his second season he assisted FC Ukraine in achieving a perfect season, and winning the Second Division Championship. While in his third year he assisted in securing the First Division title.

Honors

Wisła Płock
 Polish Cup (1): 2006

FC Ukraine United
 CSL Second Division Championship (1): 2017
 Canadian Soccer League First Division (1): 2018


Media Capture API

The Media Capture API is a web standard under development to allow web applications to access the media capture capabilities of a device (typically a Smartphone or other Mobile Internet device). This would allow a web application to include a function to record audio via the device's microphone, and take a picture or record a video with the device's camera.

The standard currently exists as a "Working draft" under development by the World Wide Web Consortium, and is supported in the Android browser (from version 3.0+).

External links
 The Media Capture API - Working draft by the W3C


Clavagellidae

Clavagellidae is a family of very unusual marine bivalves of the order Anomalodesmata.

Genera and species
 †Ascaulocardium Pojeta and N. F 1987
 Brechites Guettard 1770
 Brechites attrahens
 Brechites brechites
 Brechites dichotomus
 Brechites giganteus
 Brechites javanus
 Brechites penis (Linnaeus, 1758)
 Brechites philippinensis (Chenu, 1842)
 Brechites pulchrum
 Brechites pyriformis
 Brechites radix (Gray, 1858)
 Brechites ramosus
 Brechites sparsus
 Brechites strangulatus
 Brechites vaginiferus (Lamarck, 1818)
 Brechites veitchi
 Clavagella Blainville 1817
 Humphreyia Gray 1858
 Penicillus Bruguière 1789
 †Stirpulina Stoliczka 1870


Zimming

Zimming () is a commune in the Moselle department in Grand Est in north-eastern France.

Population

Politics

Presidential Elections Second Round:


Helmut Bracht

Helmut Bracht (born 11 September 1929 in Dortmund; died 12 May 2011) was a German footballer who played as a midfielder for Westfalia Herne and Borussia Dortmund. He appeared 11 times for Dortmund in the inaugural Bundesliga season, and had a brief spell as manager of the club in 1970.

Honours
 German football championship: 1963


Monday or Tuesday (film)

Monday or Tuesday () is a 1966 Yugoslav drama film directed by Vatroslav Mimica starring Slobodan Dimitrijević.

Plot
The film follows a day in the life of a divorced Zagreb journalist Marko Požgaj (played by Dimitrijević), an average modern intellectual who goes about his daily business. Mundane scenes of Požgaj's day are shown interspersed with flashbacks and fantastic imagery reflecting his inner life. These include his recollections of childhood, his feelings about the present and past, including memories of his first marriage, his current girlfriend Rajka (Jagoda Kaloper) and his father killed in World War II (Pavle Vuisić), as well as his fantasies and hopes about the future.

Themes
 The film's title is a famous quote from Virginia Woolf's 1919 work Modern Fiction (and the title of her 1921 short story collection) in which she described her approach to writing: "Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday."

The film is today regarded as a logical continuation in Mimica's body of work as it replicates the stream of consciousness concept previously seen in his critically acclaimed 1964 film Prometheus of the Island. The film's visual structure (based on a collage of scenes set in the past and present mixed with fantastic imagery, which are indicated by changes in picture quality and colour) and the theme of contemporary social alienation (in part resulting from the trauma of World War II) have urged critics to draw comparisons to his animated film The Inspector Is Back! (Inspektor se vratio kući, 1957) and have been called "trademarks of Mimica's entire body of work".

Reception
Andrew James Horton, writing for the film journal Kinoeye wrote in 2001: "Some of the devices now seem a little dated. Changes in image quality and colour are probably less exciting now than they were then, and the intercutting of documentary footage of the concentration camps particularly now has a somewhat heavy-handed and "obvious" feel to it. But the film still exudes the appeal of what the New Wave must have looked like when it first emerged as a trend, with its concentration on ordinary people and charmingly observed street scenes. And its this that makes the film endearing. There's none of the removed coldness that formal experimentation can bring to a film as an unfortunate by-product."

The film won the Best Film and the Best Director Golden Arena awards at the 1966 Pula Film Festival, the Yugoslav national film awards festival. In addition, Tomislav Pinter won his third Best Cinematography award for his work on both Monday or Tuesday and Rondo (directed by Zvonimir Berković).


Felixounalikevirus

Felixounalikevirus (synonym: FelixO1likevirus) is a genus of viruses in the order Caudovirales, in the family Myoviridae. Bacteria serve as natural hosts, with transmission achieved through passive diffusion.. There are currently three species in this genus, including the type species Salmonella phage FelixO1.

Taxonomy
Group: dsDNA

Structure
Viruses in Felixounalikevirus are non-enveloped, with head-tail geometries. The diameter is around 73 nm. The tail is around 17  nm wide, 113 nm long, with six long straight terminal fibers and a baseplate. The tail sheath presents a criss-cross pattern with no transverse striations. Genomes are linear, around 86kb in length. The genome codes for 131 proteins.

Genome
All three species have been fully sequenced and are available from ICTV, including two strains of Erwinia phage phiEa21-4. They range between 84k and 89k nucleotides, with 118 to 140 proteins. The complete genomes are available from here.

Life cycle
The virus attaches to the host cell using its terminal fibers, and ejects the viral DNA into the host cytoplasm via contraction of its tail sheath. Viral replication is cytoplasmic. DNA-templated transcription is the method of transcription. Once the viral genes have been replicated, the procapsid is assembled and packed. The tail is then assembled and the mature virions are released via lysis.

History
According to the ICTV's 2010–11 report, the genus FelixO1likevirus was first accepted as a new genus, at the same time as all three of its contained species . The following year (2012), the name was changed to Felixounalikevirus. This proposal is available here.


Typhlocybinae

Typhlocybinae is a subfamily of insects in the leafhopper family, Cicadellidae. This is currently the second largest leafhopper subfamily based on the number of described species, but researchers believe there are so many taxa yet undescribed that it is probably the largest subfamily. Approximately 6000 species have been described to science so far.

Tribes
Entomologists divide the subfamily into four to ten tribes. Five tribes are generally accepted:
Alebrini
Dikraneurini
Empoascini
Erythroneurini
Typhlocybini

Selected genera
 Alebra
Dikrella
 Dziwneono
 Empoasca
 Erasmoneura Young, 1952
 Eupteryx
 Jacobiasca
 Sweta Viraktamath & Dietrich, 2011
 Typhlocyba

Gallery


Las Illas

Las Illas is a former commune in Pyrénées-Orientales (France), now part of Maureillas-las-Illas.

Geography
Las Illas is located south of Maureillas and north of Maçanet de Cabrenys (Spain).

History
Las Illas becomes a commune in 1790.

Even though the commune repeatedly asked to have electricity since 1923, Las Illas will only be linked to the electric network on 26 July 1955.

On 20 June 1972, Las Illas is linked with Maureillas and Riunoguès to create the new commune of Maureillas-las-Illas.

Politics and administration

Mayors

Demography
Demography of Las Illas.

Population under the Ancien Régime is calculated either in number of feu fiscal (f, fire tax), or in number of inhabitants.

After 1975, see Maureillas-las-Illas#Population

Sites of interest
 The romanesque church of Notre-Dame du Remède.
 The war memorial.