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Mikoyan-Gurevich MiG-3

The Mikoyan-Gurevich MiG-3 (Микоян и Гуревич МиГ-3) is a Soviet fighter-interceptor used during World War II. It was a development of the MiG-1 by the OKO (opytno-konstruktorskij otdel — Experimental Design Department) of Zavod (Factory) No. 1 in Moscow to remedy problems found during the MiG-1's development and operations. It replaced the MiG-1 on the production line at Factory No. 1 on 20 December 1940 and was built in large numbers during 1941 before Factory No. 1 was converted to build the Ilyushin Il-2.

On 22 June 1941, at the beginning of Operation Barbarossa, some 981 were in service with the Soviet Air Forces (VVS), the Soviet Air Defence Forces (PVO) and Soviet Naval Aviation. The MiG-3 was difficult to fly in peacetime and much more so in combat. Originally designed as a high-altitude fighter-interceptor, combat over the Eastern Front was generally at lower altitudes, where it was inferior to the German Messerschmitt Bf 109 as well as most of its Soviet contemporaries. It was also pressed into service as a fighter-bomber during the autumn of 1941 but it was equally unsuited for this. The losses suffered in combat were very high, in percentage the highest among all the VVS fighters, with 1,432 shot down. The survivors were concentrated in the PVO, where its disadvantages mattered less, the last being withdrawn from service before the end of the war.

Development
The large number of defects noted during flight testing of the MiG-1 forced Mikoyan and Gurevich to make a number of modifications to the design. Testing was done on a full-size aircraft in the T-1 wind tunnel belonging to the Central Aero and Hydrodynamics Institute (TsAGI) to evaluate the problems and their proposed solutions. The first aircraft to see all of these changes applied was the fourth prototype of the I-200. It first flew on 29 October 1940 and was approved for production after passing its State acceptance trials. The first MiG-3, as the improved aircraft was named on 9 December, was completed on 20 December 1940 and another 20 were delivered by the end of the year.

These changes included:
 * The engine was moved forward 100 mm (4 in) to improve longitudinal stability.
 * A new water radiator (OP-310) was fitted
 * The first two modifications allowed an additional 250 L fuel tank to be fitted underneath the pilot's seat.
 * The outer wing panel dihedral was increased by one degree to increase lateral stability.
 * An additional oil tank was mounted under the engine.
 * Piping was fitted to use cooled inert exhaust gasses in the fuel tanks to reduce the chance of fire.
 * The back of the pilot's seat was armored with an 8 mm plate (increased to 9 mm in later models).
 * The supercharger intakes were streamlined.
 * The main landing gear was strengthened and the size of the main wheels was increased to 650 x 200 mm (25.5 x 7.87 in).
 * The canopy glazing was extended aft to improve the view to the rear which allowed for the installation of a shelf behind the pilot for an RSI-1 radio (later upgraded to an RSI-4).
 * The instrument panel layout was improved and a PBP-1A gunsight replaced the original PBP-1.
 * Ammunition for the ShKAS guns was increased to 750 rounds per gun.
 * Two additional underwing hardpoints were added to carry up to 220 kg (485 lb) of bombs, spray containers or RS-82 rockets.

State acceptance testing of two production aircraft was conducted between 27 January and 26 February 1941. They were found to be over 250 kg heavier than the MiG-1, which reduced maneuverability and field performance. Time to 5000 m decreased by over a minute and the service ceiling proved to be 500 m less. The MiG-3 was faster at sea level and at altitude. While the ranges reached by both aircraft were farther than that of the older aircraft, they were still less than the 1000 km required. Mikoyan and Gurevich protested against the range results as their calculations showed that the MiG-3 could reach 1010 km based on a specific fuel consumption (SFC) of 0.46 kg/km (1.64 lb/mile). During the State acceptance trials the SFC was 0.48 kg/km (1.71 lb/mile) but the operational trials conducted earlier showed a SFC of 0.38 kg/km (1.35 lb/mile). They blamed the deficiency on a failure to use an altitude correction and that the engines had not been properly adjusted. They went as far as arranging for two more flights between Leningrad and Moscow to prove that the MiG-3 could fly 1,000 km (621 mi). Two production aircraft were flown on ranges of 1100 km and 971 km, flying at 90% of maximum speed and at an altitude of 7300 m, contradicting the report of the NII VVS (Naoochno-Issledovatel'skiy Institoot Voyenno-Vozdooshnykh Seel—Air Force Scientific Test Institute).

Despite the teething problems with the MiG-3, in 1941, one of the aircraft's designers—Mikhail Gurevich—was awarded the State Stalin Prize for his contribution to Soviet aviation.

A number of reports had been received about poor quality aircraft received by the regiments which pointed directly at the NII VVS as it was responsible for monitoring the quality of the aircraft delivered to the VVS. On 31 May 1941 the People's Commissariat of Defense decreed that the NII VVS had been negligent. A number of senior managers were demoted and the head of the Institute, Major General A. I. Filin was summarily executed.

A number of MiG-3s were found to have unacceptable performance at high altitudes despite having been designed as a high-altitude interceptor. The oxygen supply was often insufficient and the stall and spin characteristics were very dangerous, especially to inexperienced pilots. This was demonstrated on 10 April 1941 when three pilots of the 31st Fighter Regiment of the Air Defenses (IAP PVO) attempted to intercept a German high-altitude reconnaissance aircraft over Kaunas, Lithuania flying at 9000 m. All three aircraft entered irrecoverable spins and the pilots were forced to bail out, one being killed. The NII VVS sent an engineer to investigate and he found that the pilots had flown very few hours on the MiG-3 and that that was their first high-altitude sortie. Other problems included insufficient fuel and oil pressure at altitude due to problems with the pumps.

Comparison with other fighters
The MiG-3's top speed of 640 km/h at 7200 m was faster than the 615 km/h of the German Messerschmitt Bf 109F-2 in service at the beginning of 1941 and the British Supermarine Spitfire V's 603 km/h. At lower altitudes the MiG's speed advantage disappeared as its maximum speed at sea level was only 505 km/h while the Bf 109F-2 could do 515 km/h. Unfortunately for the MiG-3 and its pilots, aerial combat over the Eastern Front generally took place at low and medium altitudes where it had no speed advantage.

The MiG's loaded weight of 3350 kg was greater than the Bf 109F-2's 2728 kg and it was less maneuverable in the horizontal plane than the Bf 109 due to its higher wing loading. This lack of maneuverability was exacerbated by the MiG-3's poor climb performance, its instability at high speeds (which can make aerial gunnery difficult due to the point of aim "wandering" and requiring constant pilot input to remain on target), and its underpowered armament.

The MiG-3's standard armament was one 12.7 mm UBS machine gun and two 7.62 mm ShKAS machine guns, all mounted in the engine cowling and synchronized to fire through the propeller arc. In contrast, most versions of the German Messerschmitt Bf 109 that it encountered had one 20 mm cannon and two 7.92 mm machine guns (although the Bf 109F used during Operation Barbarossa had a 15 mm MG 151/15, meaning that it was armed little better than the MiG). To remedy this problem, 821 aircraft were built with one 12.7 mm UBK machine gun in a pod under each wing in mid-1941. This lowered its speed by about 20 km/h at all altitudes, which was unpopular with the pilots, some of whom removed the pods. One hundred aircraft were equipped with a pair of UBS machine guns in lieu of the ShKAS weapons. Another 215 aircraft also had just the UBS machine guns but were fitted to carry six RS-82 rockets. A total of 72 aircraft mounted a pair of 20 mm ShVAK cannon. A wide variety of armaments were experimented with by various units at the requests of their pilots or to make up shortages.

Production
The NKAP (Narodnyy komissariat aviatsionnoy promyshlennosti—People's Commission of the Aircraft Industry) announced its 1941 production plan on 9 December 1940. Zavod Nr. 1 in Moscow-Chodinka would be required to build a total of 3,500 in 1941. Zavod Nr. 43 in Kiev would begin construction of the MiG-3 and complete one hundred aircraft by the end of the year and Zavod Nr. 21 in Gor'kiy would start to plan construction of an upgraded version of the MiG-3, although this last program was canceled shortly afterwards. 140 were delivered in January 1941 and Zavod Nr. 1 was on pace to exceed its quota with 496 delivered in July, 562 in August and 450 in September. In October the German advance on Moscow forced the Zavod Nr. 1, and its OKO, to evacuate to Kuybyshev where production resumed under unsuitable conditions. However, shortly afterwards, Stalin sent a telegram to the directors of the plants building the Ilyushin Il-2 and the MiG-3 demanding more Il-2 production, resulting in MiG-3 production being terminated in favor of the Il-2, with a final thirty aircraft built in 1942 from spares. An additional factor in cancellation of the MiG-3 was that its Mikulin AM-35A engine was closely related to the Il-2's AM-38 allowing production to be quickly switched from one to the other.

MiG-3 production at Zavod Nr. 1 had already been planned to be reduced from a NKAP order of 27 August that required the factory to produce 420 fighters in September, declining to 100 in December with Il-2 production ramping up to 250 in December while the former aircraft repair plant at Khodynka Aerodrome was to be transferred to the NKAP, redesignated as Zavod Nr. 165, and begin production of MiG-3s. The German advance disrupted these plans for Zavod 165 and it never produced a single MiG-3.

Operational history
MiG-3s were delivered to frontline fighter regiments beginning in the spring of 1941 and were a handful for pilots accustomed to the lower-performance and docile Polikarpov I-152 and I-153 biplanes and the Polikarpov I-16 monoplane. It remained tricky and demanding to fly even after the extensive improvements made over the MiG-1. Many fighter regiments had not kept pace in training pilots to handle the MiG and the rapid pace of deliveries resulted in many units having more MiGs than trained pilots during the German invasion. By 1 June 1941, 1,029 MIG-3s were on strength, but there were only 494 trained pilots. In contrast to the untrained pilots of the 31st Fighter Regiment, those of the 4th Fighter Regiment were able to claim three German high-altitude reconnaissance aircraft shot down before war broke out in June 1941. However high-altitude combat of this sort was to prove to be uncommon on the Eastern Front where most air-to-air engagements were at altitudes well below 5000 m. At these altitudes the MiG-3 was outclassed by the Bf 109 in all respects, and even by other new Soviet fighters such as the Yakovlev Yak-1. Furthermore, the shortage of ground-attack aircraft in 1941 forced it into that role as well, for which it was totally unsuited. Pilot Alexander E. Shvarev recalled: "The Mig was perfect at altitudes of 4,000 m and above. But at lower altitudes it was, as they say, 'a cow'. That was the first weakness. The second was its armament: weapons failure dogged this aircraft. The third weakness was its gunsights, which were inaccurate: that's why we closed in as much as we could and fired point blank."

On 22 June 1941, most MiG-3s and MiG-1s were in the border military districts of the Soviet Union. The Leningrad Military District had 164, 135 were in the Baltic Military District, 233 in the Western Special Military District, 190 in the Kiev Military District and 195 in the Odessa Military District for a total of 917 on hand, of which only 81 were non-operational. An additional 64 MiGs were assigned to Naval Aviation, 38 in the Air Force of the Baltic Fleet and 26 in the Air Force of the Black Sea Fleet.

The 4th and 55th Fighter Regiments had most of the MiG-3s assigned to the Odessa Military District and their experiences on the first day of the war may be taken as typical. The 4th, an experienced unit, shot down a Romanian Bristol Blenheim reconnaissance bomber, confirmed by postwar research, and lost one aircraft which crashed into an obstacle on takeoff. The 55th was much less experienced with the MiG-3 and claimed three aircraft shot down, although recent research confirms only one German Henschel Hs 126 was 40% damaged, and suffered three pilots killed and nine aircraft lost. The most unusual case was the pair of MiG-3s dispatched from the 55th on a reconnaissance mission to Ploieşti that failed to properly calculate their fuel consumption and both were forced to land when they ran out of fuel.

Most of the MiG-3s assigned to the interior military districts were transferred to the PVO where their lack of performance at low altitudes was not so important. On 10 July 299 were assigned to the PVO, the bulk of them belonging to the 6th PVO Corps at Moscow, while only 293 remained with the VVS, and 60 with the Naval Air Forces, a total of only 652 despite deliveries of several hundred aircraft. By 1 October, on the eve of the German offensive towards Moscow codenamed Operation Typhoon, only 257 were assigned to VVS units, 209 to the PVO, and 46 to the Navy, a total of only 512, a decrease of 140 fighters since 10 July, despite deliveries of over a thousand aircraft in the intervening period. By 5 December, the start of the Soviet counter-offensive that drove the Germans back from the gates of Moscow, the Navy had 33 MiGs on hand, the VVS 210, and the PVO 309. This was a total of 552, an increase of only 40 aircraft from 1 October.

Over the winter of 1941–42 the Soviets transferred all of the remaining MiG-3s to the Navy and PVO so that on 1 May 1942 none were left on strength with the VVS. By 1 May 1942, Naval Aviation had 37 MiGs on strength, while the PVO had 323 on hand on 10 May. By 1 June 1944, the Navy had transferred all its aircraft to the PVO, which reported only 17 on its own strength, and all of those were gone by 1 January 1945. Undoubtedly more remained in training units and the like, but none were assigned to combat units by then.

Even with the MiG-3's limitations, Aleksandr Pokryshkin, the third-leading Soviet, and Allied, ace of the war, with 53 official air victories (plus six shared), recorded a number of those victories while flying a MiG-3 at the beginning of the war. He later recalled: "“Its designers rarely succeeded in matching both the fighter's flight characteristics with its firepower… the operational advantage of the MiG-3 seemed to be obscured by its certain defects. However, these advantages could undoubtedly be exploited by a pilot able to discover them”."

Variants
There were several attempts to re-engine the aircraft with the engine it was originally designed for, the Mikulin AM-37. This was designated the MiG-7, and one MiG-3 was converted to evaluate the engine in May 1941. It proved to have poor longitudinal stability and the powerplant itself still had a number of problems. The German invasion the following month caused the cancellation of the development of the AM-37 as Mikulin's resources were required for the AM-35 and AM-38 engines already in production.

To improve the low-level performance of the MiG-3, one aircraft was tested with the AM-38 engine used by the Il-2 in July 1941. It proved to be 14 km/h faster than the normal MiG-3 at sea level and was more maneuverable as well. It was recommended for production after passing its State acceptance trials in September, provided that a cure for the engine's tendency to overheat in ambient temperatures above 16 °C was found. However the sole prototype was shot down on 5 October during flight tests and it was decided not to proceed with the idea as all AM-38 production was allocated to the Il-2. Ironically, later in the war, about 80 MiG-3s were reengined with AM-38s to make them airworthy again. Many of these were rearmed with two 20 mm ShVAK cannon as well.

On 13 May 1941 the NKAP ordered the OKO to convert a MiG-3 to use the Shvetsov ASh-82A radial engine then entering production. The resulting aircraft had a variety of names, including I-210, MiG-3-82, Samolet IKh or Izdeliye 65. The design was a failure, but was promising enough to continue the program as the I-211.

A variety of other tests and other projects were conducted using MiG-3s. Leading edge slats were evaluated in 1941 although they were not fitted on production aircraft, but were used by the I-210. A six-bladed propeller was fitted on one aircraft to increase thrust at high altitude to enable the fighter to catch the high-flying Junkers Ju 86P aircraft then overflying Moscow. A new propeller hub was made that mounted six standard VISh-61 blades, but nothing more is known of the project. Four aircraft were converted to carry AFA-I cameras for evaluation and a fifth was then converted to evaluate all the improvements learned from the first four. It was approved for use after trials at the NII VVS. To improve their service ceiling two aircraft were lightened down to a weight of 3098 kg, but no further details are known other than one reached a height of 11750 m.

There was also a proposal in 1941 to use the MiG-3 as part of a Zveno combination with a Petlyakov Pe-8 mother ship. The four-engined bomber would carry two MiG-3SPB (Skorostnoy Pikeeruyushchiy Bombardirovshchik—Fast Dive Bomber) fighters, modified to carry a 250 kg FAB-250 bomb under each wing, close to the target and would then release them to conduct the attack after which they would fly back to the nearest friendly airbase. Some preliminary work was done before the Germans invaded, but it was abandoned afterwards due to the pressure of other work. The combination was estimated to have a maximum speed of 260 km/h and a range of 1450 km.

Summary of variants

 * MiG-3
 * Production variant powered by a Mikulin AM-35A engine.

 * MiG-3SPB
 * Skorostnoy Pikeeruyushchiy Bombardirovshchik (Fast Dive Bomber), proposed parasite fighter variant for the Zveno project to be carried by a Petlyakov Pe-8 mother ship.

 * MiG-7
 * Single MiG-3 re-engined with a Mikulin AM-37.

 * I-210 (Samolet IKh/Izdeliye 65)
 * Five prototypes powered by a Shvetsov ASh-82A radial engine. Also known as the MiG-3-82 or MiG-9 (not to be confused with the later Mikoyan-Gurevich MiG-9 jet fighter).

 * I-211 (Samolet Ye)
 * Derivative of the I-210 with a redesigned fuselage and powered by a Shvetsov ASh-82F engine. Single prototype built.

 * I-230 (Samolet D)
 * Planned improvement/successor to MiG-3 with a redesigned fuselage and Mikulin AM-35A engine installation. One prototype and five pre-production aircraft built.  Production aircraft would have been designated MiG-3U or MiG-3D.

 * I-231 (Samolet 2D)
 * Improved I-230 with a more powerful Mikulin AM-39 engine. Production aircraft would have been designated MiG-3DD.

 * Undesignated experimental MiG-3 variants
 * Single MiG-3 tested with a Mikulin AM-38 engine.
 * Single MiG-3 tested with leading-edge slats in 1940.
 * Single MiG-3 tested with a six-bladed propeller.
 * Five MiG-3s tested with AFA-I cameras.

Operators

 * Soviet Air Forces (VVS)
 * Soviet Air Defence Forces (PVO)
 * Soviet Naval Aviation
 * Soviet Naval Aviation

 * Royal Romanian Air Force: One aircraft captured in March 1942 following a pilot defection, used as an opposition trainer.
 * Royal Romanian Air Force: One aircraft captured in March 1942 following a pilot defection, used as an opposition trainer.

Surviving aircraft
The Russian company Aviarestoration has rebuilt three MiG-3s. They all use Allison V-12 engines. One is in the US in the Military Aviation Museum of Pungo, Virginia and another, rebuilt from a MiG-3 shot down in 1942, first flew again around the start of 2010. It will remain in Russia.

title: Mikoyan-Gurevich MiG-3


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Pylorus

The pylorus ( or ) pyloric region or pyloric part connects the stomach to the duodenum. The pylorus is considered as having two parts, the pyloric antrum (opening to the body of the stomach) and the pyloric canal (opening to the duodenum). The pyloric canal ends as the pyloric orifice, which marks the junction between the stomach and the duodenum. The orifice is surrounded by a sphincter, a band of muscle, called the pyloric sphincter. The word pylorus comes from Greek πυλωρός, via Latin. The word pylorus in Greek means "gatekeeper", related to "gate" (pyle) and is thus linguistically related to the word "pylon".

Structure

The pylorus is the furthest part of the stomach that connects to the duodenum. It is divided into two parts, the antrum, which connects to the body of the stomach, and the pyloric canal, which connects to the duodenum.

Antrum
The antrum also called the gastric antrum or the pyloric antrum is the initial portion of the pyloric region. It is near the bottom of the stomach, proximal to the pyloric sphincter, which separates the stomach and the duodenum. It may temporarily become partially or completely shut off from the remainder of the stomach during digestion by peristaltic contraction of the prepyloric sphincter; it is demarcated, sometimes, from the pyloric canal by a slight groove.

Canal
The pyloric canal (canalis pyloricus) is the opening between the stomach and the duodenum. The wall thickness of the pyloric canal is up to 3 millimeters (mm) in infants younger than 30 days, and up to 8 mm in adults.

Sphincter
The pyloric sphincter, or valve, is a strong ring of smooth muscle at the end of the pyloric canal which lets food pass from the stomach to the duodenum. It controls the outflow of gastric contents into the duodenum. It receives sympathetic innervation from the celiac ganglion.

Histology

Under microscopy, the pylorus contains numerous glands, including gastric pits, which constitute about half the depth of the pyloric mucosa. They consist of two or three short closed tubes opening into a common duct or mouth. These tubes are wavy, and are about one-half the length of the duct. The duct is lined by columnar cells, continuous with the epithelium lining the surface of the mucous membrane of the stomach, the tubes by shorter and more cubical cell which are finely granular. The glands contain mucus cells and G cells that secrete gastrin.

The pylorus also contains scattered parietal cells and neuroendocrine cells. These endocrine cells include D cells, which release somatostatin, responsible for shutting off acid secretion. (There is a second hormone-sensitive population near the fundus.) Unstriated muscles, which are entirely involuntary, are located at the pylorus.

Function
The pylorus is one component of the gastrointestinal system. Food from the stomach, as chyme, passes through the pylorus to the duodenum. The pylorus, through the pyloric sphincter, regulates entry of food from the stomach into the duodenum.

Clinical significance
In such conditions as stomach cancer, tumours may partly block the pyloric canal. A special tube can be implanted surgically to connect the stomach to the duodenum so as to facilitate the passage of food from one to the other. The surgery to place this tube is called a gastroduodenostomy.

Stenosis
Pyloric stenosis refers to a pylorus that is narrow. This is due to congenital hypertrophy of the pyloric sphincter. The lumen of the pylorus is narrower, and less food is able to pass through. This problem is often detected in the early weeks of life. When it is present, a newborn baby may projectile vomit after eating, but despite vomiting remain hungry. Pyloric stenosis may be managed by the insertion of a stent, or through surgical cutting of the pyloric sphincter, a pyloromyotomy.

Other

 * Pyloric tumors
 * Pyloric gland adenoma

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Pylorus


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Sydney Theatre Company

Sydney Theatre Company (STC) is an Australian theatre company based in Sydney, New South Wales. The company performs in The Wharf Theatre at Dawes Point in The Rocks area of Sydney as well as the Roslyn Packer Theatre (formerly Sydney Theatre) and the Sydney Opera House Drama Theatre.

History
Sydney Theatre Company was formed in December 1978, following the closure of the Old Tote Theatre Company the month before. The then premier, Neville Wran, approached Elizabeth Butcher who had been seconded from the National Institute of Dramatic Art (NIDA) to administer the Old Tote and asked her to set up a new state theatre company to perform in the drama theatre of the Sydney Opera House. Butcher established its legal identity and managerial structure and proposed the name 'Sydney Theatre Company' with John Clark (director of NIDA as the artistic adviser of the first season, five theatre companies were invited to produce six plays to be presented by STC as the 1979 interim season in the drama theatre. The first production, by the Paris Company, was A Cheery Soul by Patrick White (an Australian Nobel Laureate for Literature), directed by Jim Sharman and featuring Robyn Nevin as Miss Docker.

In June 1979, Richard Wherrett, then one of Nimrod Theatre's co-artistic directors, was appointed artistic director of STC to plan and organise activities for the 1980 season. The first STC-produced play was The Sunny South (1 January 1980) by George Darrell with music by Terence Clarke, directed by Richard Wherrett and assisted by John Gaden.

In its early years the company operated out of several rented premises around the city, producing 38 productions in five separate venues. Elizabeth Butcher, STC administrator, was given the task of finding one location that could house all the activities of the company, and a theatre. After an extensive search, Butcher had the vision to propose the derelict Walsh Bay Wharf 4/5 as STC's new home, immediately envisaging the capacity of the building to fulfil all requirements of space, location and additional venue. On 12 September 1983, the premier, Neville Wran, announced that the state government had approved the expenditure of $3.5 million to finance the project. The 60-year-old ironbark timber wharf warehouse was converted into premises suitable for creating, producing, performing and enjoying theatre.

The Wharf was officially handed over to STC in a plaque-unveiling ceremony on 13 December 1984. In 1985, The Wharf, by architects Vivian Fraser in association with NSW Govt Architect JW Thomson, won the Sir John Sulman Medal awarded by the Royal Australian Institute of Architects (NSW Chapter) for a work of excellence in public and commercial architecture. The first STC production in The Wharf Theatre (now Wharf 1), 17 January 1985, was Late Arrivals by Pamela van Amstel and directed by Wayne Harrison in his directorial debut. (Harrison went on to become the second artistic director of the company, in 1990.) The play was part of a season of one-act plays called Shorts at the Wharf.

Other performing arts companies and organisations later moved into the premises at The Wharf, including Sydney Dance Company, Ausdance, Sydney Philharmonia Choirs, Gondwana Choirs, Sydney Children's Choir, Australian Theatre for Young People, and Bangarra Dance Theatre. Nearly 25 years later The Wharf was presented the RAIA 25-Year Award for Enduring Architecture.

Directors working regularly for STC include Gale Edwards, Barrie Kosky, David Berthold, Neil Armfield, Benedict Andrews and Kip Williams. Many Australian actors who would later find wider success, such as Hugo Weaving, Geoffrey Rush, Cate Blanchett, Jacqueline McKenzie, Richard Roxburgh and Toni Collette, established their careers in STC productions.

Jo Dyer was executive producer of STC for ten years.

In January 2024, Alan Joyce who was also the CEO of Qantas, resigned.

Greening the Wharf
The Sydney Theatre Company operates out of a heritage site of the wharf area of Sydney Harbour. Under the leadership of Blanchett and Upton, STC initiated a comprehensive large scale environmental program called Greening the Wharf, investing in solar energy, rainwater harvesting, energy efficiency measures and best practice waste management. The program goes beyond infrastructure projects to include employees, environmentally responsible theatre production, community engagement and education. The program won two Green Globe Awards.

Helpmann Awards
The Helpmann Awards is an awards show, celebrating live entertainment and performing arts in Australia, presented by industry group Live Performance Australia since 2001. Note: 2020 and 2021 were cancelled due to the COVID-19 pandemic.

! Ref.
 * rowspan="4"| 2001
 * Benedict Andrews – La Dispute (Sydney Theatre Company)
 * Helpmann Award for Best Direction of a Play
 * Won
 * rowspan="4"|
 * Robyn Nevin – A Cheery Soul (Company B Belvoir and Sydney Theatre Company)
 * Helpmann Award for Best Female Actor in a Play
 * Nominated
 * Stephen Page – The Sunshine Club (Sydney Theatre Company)
 * Helpmann Award for Best Choreography in a Musical
 * Nominated
 * Trudy Dalgleish – The White Devil (Sydney Theatre Company)
 * Helpmann Award for Best Lighting
 * Won
 * rowspan="6"| 2002
 * Three Sisters (Sydney Theatre Company)
 * Helpmann Award for Best Play
 * Nominated
 * rowspan="6"|
 * Essie Davis – The School for Scandal (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Peter Carroll – The Christian Brothers (Sydney Theatre Company)
 * Helpmann Award for Best Male Actor in a Play
 * Nominated
 * Nick Enright – A Man with Five Children (Sydney Theatre Company)
 * Helpmann Award for Best New Australian Work
 * Nominated
 * Nigel Levings – The Old Masters (Sydney Theatre Company)
 * rowspan="2"| Best Lighting
 * Nominated
 * [ John Rayment – Up for Grabs (Sydney Theatre Company)
 * Nominated
 * rowspan="6"| 2003
 * Copenhagen – Sydney Theatre Company
 * Best Play
 * Won
 * rowspan="6"|
 * Deborah Mailman – Seven Stages of Grieving (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Miranda Otto – A Doll's House (Sydney Theatre Company)
 * Nominated
 * Deborah Kennedy – Soulmate (Sydney Theatre Company)
 * Helpmann Award for Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Peter Carroll – Endgame (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Won
 * Andree Greenwell – Volpone (Sydney Theatre Company)
 * Helpmann Award for Best Original Score
 * Nominated
 * rowspan="3"| 2004
 * Judy Davis – Victory (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * rowspan="3"|
 * Amber McMahon – The Snow Queen (Windmill Performing Arts and Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Peter Carroll – The Republic of Myopia (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * rowspan="3"| 2005
 * Hedda Gabler (Sydney Theatre Company)
 * Best Play
 * Nominated
 * rowspan="3"|
 * Michael Blakemore – Democracy (Sydney Theatre Company)
 * Best Direction of a Play
 * Nominated
 * Zoe Carides – Influence (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Won
 * rowspan="5"| 2006
 * Jennifer Flowers – Doubt: A Parable (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * rowspan="5"|
 * Robert Menzies – Julius Caesar (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Hamish Michael – Two Brothers (Melbourne Theatre Company & Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * Robyn Nevin – Summer Rain (Sydney Theatre Company)
 * Helpmann Award for Best Direction of a Musical
 * Nominated
 * Stella and the Moon Man – Kim Carpenter's Theatre of Image with Sydney Theatre Company and Australian Youth Orchestra
 * Helpmann Award for Best Presentation for Children
 * Won
 * rowspan="4"| 2007
 * The Lost Echo (Sydney Theatre Company)
 * rowspan="2"| Best Play
 * Won
 * rowspan="4"|
 * The Season at Sarsaparilla (Sydney Theatre Company)
 * Nominated
 * Pamela Rabe – Mother Courage and Her Children (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Jefferson Mays – I Am My Own Wife (Melbourne Theatre Company, Sydney Theatre Company and Hothouse Theatre)
 * Best Male Actor in a Play
 * Won
 * rowspan="3"| 2008
 * Susan Prior – Riflemind (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Supporting Role in a Play
 * Nominated
 * rowspan="3"|
 * Alison Whyte – Don's Party (Melbourne Theatre Company and Sydney Theatre Company)
 * Nominated
 * Travis McMahon – Don's Party (Melbourne Theatre Company and Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * rowspan="13"| 2009
 * War of the Roses – Sydney Theatre Company (in association with the Sydney Festival and Perth International Arts Festival)
 * rowspan="2"| Best Play
 * Won
 * rowspan="13"|
 * Women of Troy (Sydney Theatre Company)
 * Nominated
 * Benedict Andrews – War of the Roses (Sydney Theatre Company)
 * rowspan="2"| Best Direction of a Play
 * Nominated
 * Barrie Kosky – Women of Troy (Sydney Theatre Company)
 * Nominated
 * Robyn Nevin – Women of Troy (Sydney Theatre Company)
 * rowspan="3"| Best Female Actor in a Play
 * Won
 * Pamela Rabe – War of the Roses (Sydney Theatre Company)
 * Nominated
 * Cate Blanchett – War of the Roses (Sydney Theatre Company)
 * Nominated
 * Robert Menzies – War of the Roses (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Marta Dusseldorp – War of the Roses (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Won
 * Ewen Leslie – War of the Roses (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Won
 * Robert Cousins – War of the Roses (Sydney Theatre Company)
 * Best Scenic Design
 * Nominated
 * Max Lyandvert – War of the Roses (Sydney Theatre Company)
 * Best Sound Design
 * Won
 * Nick Schlieper – War of the Roses (Sydney Theatre Company)
 * Best Lighting Design
 * Won
 * rowspan="2"| 2010
 * Kathryn Hunter – Kafka's Monkey (Arts Projects Australia in association with Sydney Theatre Company and Malthouse Theatre)
 * Best Female Actor in a Play
 * Nominated
 * rowspan="2"|
 * Paul Charlier – A Streetcar Named Desire (Sydney Theatre Company)
 * Best Sound Design
 * Won
 * rowspan="7"| 2011
 * Uncle Vanya – Sydney Theatre Company (in association with Bell Shakespeare)
 * Best Play
 * Nominated
 * rowspan="7"|
 * Cate Blanchett – Uncle Vanya (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Robyn Nevin – Long Day's Journey into Night (Sydney Theatre Company and Artists Repertory Theatre)
 * Nominated
 * Helen Thomson – In the Next Room (or The Vibrator Play) (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Richard Roxburgh – Uncle Vanya (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * John Bell – Uncle Vanya (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * Nick Schlieper – Baal (Sydney Theatre Company and Malthouse Melbourne)
 * Best Lighting Design
 * Nominated
 * rowspan="4"| 2012
 * Benedict Andrews – Gross und Klein (Big and Small) (Sydney Theatre Company)
 * Best Play
 * Nominated
 * rowspan="4"|
 * Bille Brown – The Histrionic (Malthouse Theatre & Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Justine Clarke – Les Liaisons dDangereuses (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Miranda Otto – The White Guard (Sydney Theatre Company)
 * Nominated
 * rowspan="7"| 2013
 * The Secret River (Sydney Theatre Company)
 * Best Play
 * Won
 * rowspan="7"|
 * Neil Armfield – The Secret River (Sydney Theatre Company)
 * Best Direction of a Play
 * Won
 * Helen Thomson – Mrs. Warren's Profession (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Nathaniel Dean – The Secret River (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Valerie Bader – Australia Day (Sydney Theatre Company and Melbourne Theatre Company)
 * rowspan="2"| Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Miranda Tapsell – The Secret River (Sydney Theatre Company)
 * Nominated
 * Colin Moody – The Secret River (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Won
 * rowspan="9"| 2014
 * Waiting for Godot (Sydney Theatre Company)
 * Best Play
 * Won
 * rowspan="9"|
 * Andrew Upton – Waiting for Godot (Sydney Theatre Company)
 * Best Direction of a Play
 * Nominated
 * Cate Blanchett – The Maids (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Won
 * Richard Roxburgh – Waiting for Godot (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Play
 * Won
 * Paul Blackwell – Vere (Faith) (State Theatre Company of South Australia and Sydney Theatre Company)
 * Nominated
 * Elizabeth Debicki – The Maids (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Luke Mullins – Waiting for Godot (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Supporting Role in a Play
 * Won
 * Ewen Leslie – Rosencrantz and Guildenstern Are Dead (Sydney Theatre Company)
 * Nominated
 * Storm Boy – (with Barking Gecko Theatre Company)
 * Best Presentation for Children
 * Nominated
 * rowspan="14"| 2015
 * Calpurnia Descending (with Malthouse Theatre)
 * rowspan="3"| Best Play
 * Nominated
 * rowspan="14"|
 * Endgame (Sydney Theatre Company)
 * Nominated
 * Suddenly Last Summer (Sydney Theatre Company)
 * Nominated
 * Kip Williams – Suddenly Last Summer (Sydney Theatre Company)
 * rowspan="3"| Best Direction of a Play
 * Won
 * Sarah Goodes – Switzerland (Sydney Theatre Company)
 * Nominated
 * Andrew Upton – Endgame (Sydney Theatre Company)
 * Nominated
 * Robyn Nevin – Suddenly Last Summer (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Sarah Peirse – Switzerland (Sydney Theatre Company)
 * Nominated
 * Hugo Weaving – Endgame (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Won
 * Helen Thomson – After Dinner (Sydney Theatre Company)
 * rowspan="2"| Best Female in a Supporting Role in a Play
 * Won
 * Sarah Peirse – Endgame (Sydney Theatre Company)
 * Nominated
 * Bruce Spence – Endgame (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Supporting Role in a Play
 * Nominated
 * Glenn Hazeldine – After Dinner (Sydney Theatre Company)
 * Nominated
 * Nick Schlieper – Macbeth (Sydney Theatre Company)
 * Best Lighting Design
 * Nominated
 * rowspan="4"| 2016
 * Kip Williams – Love and Information (Sydney Theatre Company and Malthouse Theatre)
 * Best Direction of a Play
 * Nominated
 * rowspan="4"|
 * Cate Blanchett –  The Present (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Sarah Peirse – The Golden Age (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Won
 * Mark Leonard Winter – King Lear (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Won
 * rowspan="1"| 2017
 * Kip Williams – Chimerica (Sydney Theatre Company)
 * Best Direction of a Play
 * Nominated
 * rowspan="1"|
 * rowspan="15"| 2018
 * The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="3"| Best Play
 * Won
 * rowspan="14"|
 * Black is the New White (Sydney Theatre Company)
 * Nominated
 * The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Sarah Goodes – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="3"| Best Direction
 * Won
 * Kip Williams – Cloud Nine (Sydney Theatre Company)
 * Nominated
 * Kip Williams – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Pamela Rabe – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Won
 * Sarah Peirse – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * Nominated
 * Hugo Weaving – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Play
 * Won
 * John Bell – The Father (Sydney Theatre Company and Melbourne Theatre Company)
 * Nominated
 * Anita Hegh – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Supporting Role in a Play
 * Won
 * Kate Box – Top Girls (Sydney Theatre Company)
 * Nominated
 * Peter Carroll – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Supporting Role in a Play
 * Nominated
 * Colin Moody – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Muriel's Wedding The Musical – Sydney Theatre Company and Global Creatures
 * Best Musical
 * Nominated
 * rowspan="14"| 2019
 * Blackie Blackie Brown: The Traditional Owner of Death (with Malthouse Theatre)
 * rowspan="2"| Best Play
 * Nominated
 * rowspan="14"|
 * The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Nominated
 * Declan Green – Blackie Blackie Brown: The Traditional Owner of Death (with Malthouse Theatre)
 * rowspan="3"| | Best Direction of a Play
 * Nominated
 * Imara Savage – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Kip Williams – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Nominated
 * Helen Thomson – Mary Stuart (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Sarah Snook – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Wayne Blair – The Long Forgotten Dream (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Helen Thomson – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Ash Flanders – Blackie Blackie Brown: The Traditional Owner of Death (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * }
 * Nick Schlieper – Macbeth (Sydney Theatre Company)
 * Best Lighting Design
 * Nominated
 * rowspan="4"| 2016
 * Kip Williams – Love and Information (Sydney Theatre Company and Malthouse Theatre)
 * Best Direction of a Play
 * Nominated
 * rowspan="4"|
 * Cate Blanchett –  The Present (Sydney Theatre Company)
 * Best Female Actor in a Play
 * Nominated
 * Sarah Peirse – The Golden Age (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Won
 * Mark Leonard Winter – King Lear (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Won
 * rowspan="1"| 2017
 * Kip Williams – Chimerica (Sydney Theatre Company)
 * Best Direction of a Play
 * Nominated
 * rowspan="1"|
 * rowspan="15"| 2018
 * The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="3"| Best Play
 * Won
 * rowspan="14"|
 * Black is the New White (Sydney Theatre Company)
 * Nominated
 * The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Sarah Goodes – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="3"| Best Direction
 * Won
 * Kip Williams – Cloud Nine (Sydney Theatre Company)
 * Nominated
 * Kip Williams – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Pamela Rabe – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Won
 * Sarah Peirse – The Children – (Melbourne Theatre Company and Sydney Theatre Company)
 * Nominated
 * Hugo Weaving – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Play
 * Won
 * John Bell – The Father (Sydney Theatre Company and Melbourne Theatre Company)
 * Nominated
 * Anita Hegh – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Supporting Role in a Play
 * Won
 * Kate Box – Top Girls (Sydney Theatre Company)
 * Nominated
 * Peter Carroll – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * rowspan="2"| Best Male Actor in a Supporting Role in a Play
 * Nominated
 * Colin Moody – The Resistible Rise of Arturo Ui (Sydney Theatre Company)
 * Nominated
 * Muriel's Wedding The Musical – Sydney Theatre Company and Global Creatures
 * Best Musical
 * Nominated
 * rowspan="14"| 2019
 * Blackie Blackie Brown: The Traditional Owner of Death (with Malthouse Theatre)
 * rowspan="2"| Best Play
 * Nominated
 * rowspan="14"|
 * The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Nominated
 * Declan Green – Blackie Blackie Brown: The Traditional Owner of Death (with Malthouse Theatre)
 * rowspan="3"| | Best Direction of a Play
 * Nominated
 * Imara Savage – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Kip Williams – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Nominated
 * Helen Thomson – Mary Stuart (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Sarah Snook – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Wayne Blair – The Long Forgotten Dream (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Helen Thomson – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Ash Flanders – Blackie Blackie Brown: The Traditional Owner of Death (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * }
 * Declan Green – Blackie Blackie Brown: The Traditional Owner of Death (with Malthouse Theatre)
 * rowspan="3"| | Best Direction of a Play
 * Nominated
 * Imara Savage – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Kip Williams – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Nominated
 * Helen Thomson – Mary Stuart (Sydney Theatre Company)
 * rowspan="2"| Best Female Actor in a Play
 * Nominated
 * Sarah Snook – Saint Joan (Sydney Theatre Company)
 * Nominated
 * Wayne Blair – The Long Forgotten Dream (Sydney Theatre Company)
 * Best Male Actor in a Play
 * Nominated
 * Helen Thomson – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Ash Flanders – Blackie Blackie Brown: The Traditional Owner of Death (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * }
 * Helen Thomson – The Harp in the South: Part One and Part Two (Sydney Theatre Company)
 * Best Female Actor in a Supporting Role in a Play
 * Nominated
 * Ash Flanders – Blackie Blackie Brown: The Traditional Owner of Death (Sydney Theatre Company)
 * Best Male Actor in a Supporting Role in a Play
 * Nominated
 * }
 * }

title: Sydney Theatre Company


text:
Miles Master

The Miles M.9 Master was a British two-seat monoplane advanced trainer designed and built by aviation company Miles Aircraft Ltd. It was inducted in large numbers into both the Royal Air Force (RAF) and Fleet Air Arm (FAA) during the Second World War.

The Master can trace its origins back to the earlier M.9 Kestrel demonstrator aircraft. Following the failure of the rival de Havilland Don as a satisfactory trainer aircraft, the RAF ordered 500 M9A Master advanced trainers to meet its needs. Once in service, it provided a fast, strong and fully aerobatic aircraft that functioned as an excellent introduction to the high performance British fighter aircraft of the day: the Supermarine Spitfire and Hawker Hurricane. Throughout its production life, thousands of aircraft and various variants of the Master were produced, the latter being largely influenced by engine availability. Numerous Masters were modified to enable their use as glider tows. The Master also served as the basis for the Miles Martinet, a dedicated target tug adopted by the RAF.

Perhaps the most radical use of the aircraft was the M.24 Master Fighter. Armed with six 0.303 inch (7.7 mm) machine guns, it was intended for mass production as an emergency fighter during the Battle of Britain; this model did not ultimately see combat. Ordinary trainer models could also be fitted with armaments, including a single .303 in Vickers machine gun and eight bombs, for training purposes only. Beyond the British air services, other nations also chose to adopt the Master, including the South African Air Force, United States Army Air Force, Irish Air Corps, Royal Egyptian Air Force, Turkish Air Force, and the Portuguese Air Force. While thousands of Masters were manufactured, no complete examples have been preserved.

Background
The M.9A Master I was based on the privately developed M.9 Kestrel trainer that was first demonstrated at the Hendon Air show in July 1937, although this aircraft never entered production. The M.9 Kestrel, powered by a single Rolls-Royce Kestrel XVI V-12 engine, capable of generating up to 745 hp (555 kW), could attain a maximum speed of 296 mph (477 km/h). The British Air Ministry had previously selected the de Havilland Don multi-role trainer to meet Specification T.6/36, which called for an advanced trainer aircraft; however, this aircraft would prove to be a failure. Still requiring an aircraft to perform the duties intended for the Don, following the prototype Master (serial N3300) the RAF placed a large order on 11 June 1938 for 500 examples of a modified version of the Kestrel (to specification 16/38), designated M.9A with the service name Master, at a cost of £2 million. This was claimed to be Britain's largest ever contract for a training aircraft at the time.

Upon receipt of this order, Miles had the prototype M.9 rebuilt into a representative prototype for the Master. Alterations included the installation of a lower-powered (715 hp (535 kW)) Kestrel XXX engine, of which there were large surplus stocks available, along with extensive revisions to the airframe, which involved the adoption of a new cockpit canopy, a modified rear fuselage and tail, along with the repositioning of the radiator from underneath the nose to the underside of the wing's centre-section. These modifications came at the cost of a significantly reduced maximum speed over the M.9; despite this, the Master was a relatively fast and manoeuvrable trainer. Miles had designed the Master to fulfil their vision of an effective trainer aircraft, being one that could match the performance of, and possess similar characteristics to, the frontline RAF monoplane fighters of the day, these being the Supermarine Spitfire and the Hawker Hurricane.

Into flight
On 31 March 1939, the first true production Master I conducted its maiden flight. The first production examples were delivered during late July of that year. The Master had entered RAF service just prior to the start of the Second World War. Eventually, 900 Mk. I and Mk. IA Masters were constructed. This total included 26 built as the M.24 Master Fighter which were modified to a single-seat configuration, and armed with six .303 in machine guns for use as an emergency fighter; this model never saw combat use.

When production of the Kestrel engine ceased, a new variant of the Master was designed that used an air-cooled Bristol Mercury XX radial engine, capable of producing 870 hp (650 kW), instead. Thus configured, on 30 October 1939, the first M.19 Master II prototype made its first flight; 1,748 aircraft were eventually built. After the Lend-Lease programme provided a supply of engines from the United States to Britain, a third variant of the Master, designated M.27 Master III, was designed, which was powered by the American-built Pratt & Whitney Twin Wasp Junior, a two-row radial engine that could generate 825 hp (615 kW). A total of 602 Master IIIs were constructed.

In a typical trainer configuration, the Master was equipped to carry eight practice bombs, plus a single .303 in Vickers machine gun that was mounted in the front fuselage. During 1942, it was decided to have the wings of all variants clipped by three feet (c. one metre); this modification reduced the stress imposed upon the wings while also increasing the aircraft's manoeuvrability.

Production
A total of 3,249 Masters were built by Phillips and Powis Aircraft Limited (as Miles was known until 1943) at Woodley, Berkshire; South Marston, near Swindon, Wiltshire; and Doncaster. This was the largest number produced of any Miles aircraft type prior to production of the newer Miles Martinet taking precedence during 1942.

The mass production of this aeroplane at Woodley required a major expansion of the original Phillips & Powis factory, which was officially opened on 27 January 1939 by the Secretary of State for Air, Sir Kingsley Wood. This facility was outfitted with a pioneering moving track assembly line, which is believed to be the first such facility in a British aircraft factory. A similar facility was also installed in the company's shadow factory at South Marston by the end of 1940.

Design
The Miles Master was a tandem-seat low-wing cantilever monoplane, powered by a single reciprocating engine. Initial models used the Kestrel XXX engine; capable of providing up to 745 hp (555 kW), this powerplant enabled the aircraft to achieve a maximum speed of 296 mph (477 km/h), which reportedly made the Master as fast as the single-seat biplane fighters of 1935. The inverted gull wing of the Master was a major distinguishing factor of the aircraft and was adopted – despite higher production costs – for its performance benefits, permitting the stowage of both the retractable undercarriage and fuel tanks; aside from this shaping, the wing's design largely conformed with traditional approaches. It featured hydraulically-actuated split flaps along its trailing edge, their position being indicated electronically on the cockpit's instrumentation panel. The wing's centre-section also accommodated a single machine gun.

While the Master had incorporated relatively advanced aerodynamic characteristics (intended to mimic frontline fighters) for a contemporary trainer aircraft, it used a conventional structure, comprising an oval-section fuselage covered by a plywood skin, featuring a semi-monocoque approach. Forward of the tandem cockpits, the nose is strengthened by a metal former that provides protection against nose-overs, a common occurrence amongst trainee pilots when flying aircraft with 'tail dragger' conventional undercarriage. The tail section had an orthodox cantilever structure, the tailplane being mounted directly on top of the fuselage; the tailplane's aerodynamics were designed to facilitate easy spin recovery. The Kestrel engine is mounted on tubular steel bearings, to facilitate engine removal for ease of maintenance through four main bolts along with the connecting leads. Further maintenance savings were made by de-rating the engine power, giving a longer interval between overhauls.

The Master was furnished with a constant-speed propeller, which was interchangeable between Rotol and de Havilland units. The Kestrel engine of early-built aircraft incorporated various auxiliary drives to power both vacuum and hydraulic pumps, along with an air compressor and a 500-watt electrical generator. Cooling for the water and oil systems was provided via a duct running underneath the fuselage. Fuel was housed in a pair of tanks, each containing up to 36 impgal, accommodated within the wings; the oil tank is mounted behind a fireproof bulkhead while the water tank is mounted in front of the engine. The retractable undercarriage is operated via two separate hydraulic systems along with a hand-pump as backup; the brakes are also hydraulically-actuated.

The cockpit of the Master was designed with considerable attention to best facilitate its use as a trainer aircraft, including for ease of use and comfort. The positions of the two flying crew, the student in front and the instructor behind, was staggered; the rear position was 12 inches higher to provide the instructor with greater visibility. Mid-flight, an instructor could disconnect several of the student pilot's controls, such as the brakes, using various cut-outs. The forward windscreen is composed of moulded Perspex and furnished with a reflector-type gun sight, providing an optically-perfect view of a target. Two small panels can be opened to aid visibility while flying in poor weather conditions, sun blinds are also incorporated. Catches on either side of the sliding canopy allow for the panels to be rapidly detached, facilitating faster bailing-out during an emergency. Other emergency equipment included a Graviner fire extinguisher mounted behind the rear seat and emergency hydraulic controls set into the floor of the cockpit.

Operational history
Typical service use of the Master primarily revolved around (Pilot) Advanced Flying Units, where they were used for training aircrew in preparation for service with frontline squadrons. Amongst other parts of the training syllabus, pilots would often be first exposed to fighter tactics while flying the aircraft. By 1942, advertisements claimed that the Master was being flown by every RAF fighter pilot-in-training.

Several hundred Master IIs were either delivered in, or subsequently converted to, a configuration that allowed their use in the glider-towing role. Such aircraft would have the lower portion of their rudder cut away to allow fitting of a towing hook. Starting in 1942, Miles Masters were extensively used as tugs for General Aircraft Hotspur gliders at various Glider Training Schools. Examples were also operated by multiple Anti-aircraft Co-operation Units of the RAF as a liaison aircraft with British Army units.

Initially, the type was mainly used for training, thus few aircraft entered squadron service. Known deployments were to No. 287 Squadron between February and August 1942, to No. 286 Squadron from November 1944 to February 1945, and to No. 613 Squadron between August 1941 and October 1943.

The Master II was also used for target tug purposes at the Central Gunnery School whilst the School was based at RAF Sutton Bridge from April 1942 to March 1944. In this role, they pulled the drogue targets required for aerial gunnery training by pupils at the Pilot Gunnery Instructors' Training Wing. The Miles Martinet, a derivative of the Master, was a developed specifically to be a target tug and would see widespread use in this capacity.

RAF stocks were frequently diverted to support several of the air services of the Allies and other non-hostile nations. Such diversions included 426 aircraft to the South African Air Force, 52 to the Fleet Air Arm, nine to the United States Army Air Force units based in Britain, 23 to the Royal Egyptian Air Force, 23 to Turkish Air Force, two to Portuguese Air Force, and fourteen to the Irish Air Corps.

Despite having been produced in the thousands, there are no known surviving aircraft of the type today, although a few outer wings and other parts are held by several aviation museums in Britain.

Variants

 * Miles M.9A Master
 * The prototype Master (serial number N3300) was modified from the private venture M.9 Kestrel trainer prototype.

 * Miles M.9B Master I
 * Initial production of variant of the Master, it was powered by the 720 hp Rolls-Royce Kestrel XXX engine. Maximum speed was 226 mph, ceiling was 27000 ft and maximum range was 484 mi. The Miles M.9C Master IA was an improved design with more angular windscreen and a wingspan reduced from 39 ft to 37 ft with squared wingtips, all M.9B Master Is were converted to this standard. Production totalled 900 aircraft built at Woodley.

 * Miles M.19 Master II
 * With supplies of the Kestrel engine dwindling, the Master was re-engined with the 870 hp Bristol Mercury XX, creating the M.19 Master II. Earlier versions had the longer wing while later versions adopted the reduced wingspan. Maximum speed was increased to 242 mph, ceiling was 25100 ft and maximum range was 393 mi. The Miles M.19 Master GT.II was a version modified as a glider tug, at least 133 conversions were made and 290 Master IIs were built as GT.IIs. Production totalled 1,748 aircraft built at Woodley and South Marston.

 * Miles M.24 Master Fighter
 * Stop-gap fighter version of Master I with rear seat removed and six 0.303 Browning machine-guns in the wings. 25 conversions of Master Is on the production line.

 * Miles M.27 Master III
 * To overcome shortages of Mercury engines, the 825 hp Pratt & Whitney R-1535 Twin Wasp Junior was fitted to a modified airframe, creating the M.27 Master III. Maximum speed was 232 mph, ceiling was 27300 ft and maximum range was 320 mi.Production totalled 602 aircraft, all built at South Marston.

 * Miles M.31 Master IV
 * Proposed improved design to give the instructor a better field of view, none built.

Military operators
Royal Air Force operational units
 * Belgian Air Force
 * 🇪🇬 Egypt
 * Royal Egyptian Air Force – 26 aircraft supplied in 1944 from RAF stocks
 * French Air Force
 * Irish Air Corps – 12 former RAF Master IIs were purchased (six in 1943 and six in 1945),
 * Portuguese Air Force – 4 former RAF Master IIs were delivered in 1943 and ten Master IIIs delivered from 1941.
 * 🇿🇦 South Africa
 * South African Air Force – 453 Master IIs were supplied to South Africa (including 25 which were lost at sea and did not arrive).
 * Turkish Air Force
 * Portuguese Air Force – 4 former RAF Master IIs were delivered in 1943 and ten Master IIIs delivered from 1941.
 * 🇿🇦 South Africa
 * South African Air Force – 453 Master IIs were supplied to South Africa (including 25 which were lost at sea and did not arrive).
 * Turkish Air Force
 * Turkish Air Force

 * No. 4 Squadron RAF
 * No. 16 Squadron RAF
 * No. 25 Squadron RAF
 * No. 26 Squadron RAF
 * No. 73 Squadron RAF
 * No. 85 Squadron RAF
 * No. 87 Squadron RAF
 * No. 105 Squadron RAF
 * No. 140 Squadron RAF
 * No. 152 Squadron RAF
 * No. 168 Squadron RAF
 * No. 219 Squadron RAF
 * No. 222 Squadron RAF
 * No. 225 Squadron RAF
 * No. 238 Squadron RAF
 * No. 239 Squadron RAF
 * No. 242 Squadron RAF
 * No. 245 Squadron RAF
 * No. 249 Squadron RAF
 * No. 253 Squadron RAF
 * No. 257 Squadron RAF
 * No. 264 Squadron RAF
 * No. 266 Squadron RAF
 * No. 286 Squadron RAF
 * No. 287 Squadron RAF
 * No. 302 Polish Fighter Squadron
 * No. 306 Polish Fighter Squadron
 * No. 307 Polish Night Fighter Squadron
 * No. 308 Polish Fighter Squadron
 * No. 414 Squadron RCAF
 * No. 460 Squadron RAAF
 * No. 504 Squadron RAF
 * No. 521 Squadron RAF
 * No. 600 Squadron RAF
 * No. 607 Squadron RAF
 * No. 610 Squadron RAF
 * No. 613 Squadron RAF
 * No. 615 Squadron RAF
 * No. 616 Squadron RAF

RAF training units

 * No. 5 Flying Training School RAF
 * No. 8 Flying Training School RAF
 * No. 9 Flying Training School RAF
 * No. 14 Flying Training School RAF
 * No. 15 Flying Training School RAF
 * No. 6 Operational Training Unit RAF
 * No. 41 Operational Training Unit RAF
 * No. 52 Operational Training Unit RAF
 * No. 53 Operational Training Unit RAF
 * No. 55 Operational Training Unit RAF
 * No. 56 Operational Training Unit RAF
 * No. 57 Operational Training Unit RAF
 * No. 58 Operational Training Unit RAF
 * No. 60 Operational Training Unit RAF
 * No. 61 Operational Training Unit RAF
 * Central Flying School

Fleet Air Arm, Royal Navy – about 200 Master Is transferred from the Royal Air Force.

 * 748 Naval Air Squadron
 * 759 Naval Air Squadron
 * 760 Naval Air Squadron
 * 761 Naval Air Squadron
 * 762 Naval Air Squadron
 * 780 Naval Air Squadron
 * 781 Naval Air Squadron
 * 785 Naval Air Squadron
 * 798 Naval Air Squadron

 * United States Army Air Forces – 44 Masters were loaned to the USAAF for communications duties and target tugs for use in the United Kingdom.
 * United States Army Air Forces – 44 Masters were loaned to the USAAF for communications duties and target tugs for use in the United Kingdom.

title: Miles Master


text:
Dial-A-Song: 20 Years of They Might Be Giants

Dial-A-Song: 20 Years Of They Might Be Giants is a 2002 compilation album by American alternative rock band They Might Be Giants, issued by Rhino Records and compiled by the band's co-singer/songwriter and guitarist John Flansburgh. Despite its name, the compilation does not include tracks from the band's "Dial-A-Song" service. It is instead an anthology of various single, album and live tracks from the band's history, spanning their full career up to the time of its release. It includes tracks from every album starting with 1986's They Might Be Giants up through No!, their first children's album, which was released only three months before this compilation.

The first disc focuses mainly on the group's singles and better-known album tracks, while disc two delves into more obscure fan favorites and live cuts.

Song notes

 * "Older" is the original version featured on the album Long Tall Weekend and in the ABC mini-series Brave New World.
 * "Robot Parade" is the "Adult Version", with a more hard rock arrangement, as opposed to the version from the children's album No!
 * "Boss of Me" is best known as the theme song to the TV series Malcolm in the Middle, although the version here is the full single version, not the shortened version used on the show.
 * "Istanbul (Not Constantinople)" is a cover song, originally performed by The Four Lads.
 * "The Guitar" is a semi-remake of The Tokens' "The Lion Sleeps Tonight".
 * "New York City" is a cover, originally performed by Cub.
 * "Cyclops Rock" is several seconds longer than the Mink Car album version and contains different guitar noises at the end.
 * "Dr. Evil" appeared in the film Austin Powers: The Spy Who Shagged Me and on the film's second soundtrack album.
 * "Why Does the Sun Shine (The Sun Is a Mass of Incandescent Gas) (live)" is the live version of the song from Severe Tire Damage and a cover, originally performed by Tom Glazer.
 * "James K. Polk" is a new unreleased version, although it is not labeled as such. It seems to include the same instrumentation as the version from Factory Showroom, but with different vocals.
 * "She's Actual Size (live)" is, along with "James K. Polk", the only other exclusive, unreleased song on the set.
 * "Spy (Original Version)" is listed as an exclusive, unreleased live version, but is actually the version of the song from Why Does The Sun Shine? (The Sun Is a Mass of Incandescent Gas).
 * "Stormy Pinkness (live in Berlin)" is also listed as an exclusive, but it was previously released through the TMBG Unlimited mp3 service.
 * "Fingertips" on this album is one track, while the Apollo 18 album separated the song into 21 different tracks.
 * This album contains the single remixes of both "Don't Let's Start" and "(She Was A) Hotel Detective".

Track listing
All songs by John Flansburgh and John Linnell unless otherwise noted.

Musicians

 * John Flansburgh – guitar, keyboards, vocals, compilation
 * John Linnell – accordion, keyboards, saxophone, vocals, compilation
 * Dan Miller – guitar, synth guitar
 * Danny Weinkauf – bass
 * Dan Hickey – drums
 * Zachary Alford – drums
 * Amy Allison – vocals
 * Alan Bezozi – tambourine, drums (snare)
 * Steve Calhoon – drums
 * Laura Cantrell – vocals
 * Ron Caswell – tuba
 * Hal Cragin – bass
 * Mark Feldman – violin
 * Robin Goldwasser – vocals
 * Sue Hadjopoulas – percussion, conga
 * Nicholas Hill – vocals
 * Kurt Hoffman – horn, horn arrangements, string arrangements
 * Luís Jardim – percussion
 * Gregor Kitzis – violin
 * Julian Koster – singing saw
 * Ron Lawrence – viola
 * Dan Levine – trombone
 * Frank London – trumpet
 * Tony Maimone – bass
 * Elma Mayer – vocals
 * Tim Newman – trombone
 * Jim O'Connor – trumpet
 * Mark Pender – trumpet
 * Mauro Refosco – percussion
 * Erik Sanko – bass
 * Eric Schermerhorn – acoustic guitar, guitar
 * Adam Schlesinger – keyboards, programming, producer
 * Peter Stampfel – banjo, vocals
 * Krystof Witek – violin
 * Lyle Workman – guitar
 * Garo Yellin – cello

Production Crew

 * Danny Alonso – engineer
 * Susan Anderson – photography
 * Paul Angelli – engineer, mixing
 * Ben Bailes – engineer
 * Mark Bishop – engineer
 * Albert Caiati – engineer
 * Bruce Calder – assistant
 * Bob Clearmountain – mixing
 * Paula Court – photography
 * Reuben Cox – photography
 * Peter Dilg – producer
 * Patrick Dillett – producer, engineer, mixing
 * TJ Doherty – engineer
 * Edward Douglas – engineer
 * Tom Durack – producer, mixing
 * Sheryl Farber – editorial supervision
 * Alan Ford – engineer
 * Paul Fox – producer
 * Cheryl Fugate – project assistant
 * Tony Gillis – engineer
 * Barbara Glauber – design
 * Matt Gold – engineer
 * Michael Halsband – photography
 * Cosmo Heidtman – engineer
 * Dan Hersch – remastering
 * Al Houghton – engineer
 * Jim Hughes – compilation
 * Bill Inglot – remastering
 * Hiro Ishihara – engineer
 * Beverly Joel – design
 * Julie Kantner – photography
 * Bill Krauss – producer, engineer
 * Chris Laidlaw – engineer
 * Rich Lamb – engineer
 * Clive Langer – producer
 * Mark Leviton – compilation
 * April Milek – project assistant
 * Katherine Miller – engineer
 * Roger Moutenot – engineer, mixing, whip
 * UE Nastasi – assistant
 * Alex Noyes – engineer
 * Alex Olsson – engineer
 * Randy Perry – project assistant
 * David Robbins – engineer
 * Marc Salata – product manager
 * Tim Scanlin – A&R
 * Brent Sigmeth – engineer
 * Brian Speiser – mixing
 * Jason Spittle – engineer
 * Mark Stern – photography
 * Ed Thacker – engineer, mixing
 * They Might Be Giants – producer
 * Greg Thompson – engineer
 * Sarah Vowell – liner notes
 * Jeff White – compilation
 * Alan Winstanley – producer, mixing
 * Jeremy Wolff – photography
 * Steve Woolard – discographical annotation
 * Toshikazu Yoshioka – engineer


text:
Cone cell

Cone cells or cones are photoreceptor cells in the retinas of vertebrates' eyes. They respond differently to light of different wavelengths, and the combination of their responses is responsible for color vision. Cones function best in relatively bright light, called the photopic region, as opposed to rod cells, which work better in dim light, or the scotopic region. Cone cells are densely packed in the fovea centralis, a 0.3 mm diameter rod-free area with very thin, densely packed cones which quickly reduce in number towards the periphery of the retina. Conversely, they are absent from the optic disc, contributing to the blind spot. There are about six to seven million cones in a human eye (vs ~92 million rods), with the highest concentration being towards the macula.

Cones are less sensitive to light than the rod cells in the retina (which support vision at low light levels), but allow the perception of color. They are also able to perceive finer detail and more rapid changes in images because their response times to stimuli are faster than those of rods. Cones are normally one of three types: S-cones, M-cones and L-cones. Each type expresses a different opsin: OPN1SW, OPN1MW, and OPN1LW, respectively. These cones are sensitive to visible wavelengths of light that correspond to short-wavelength, medium-wavelength and longer-wavelength light respectively. Because humans usually have three kinds of cones with different photopsins, which have different response curves and thus respond to variation in color in different ways, humans have trichromatic vision. Being color blind can change this, and there have been some verified reports of people with four types of cones, giving them tetrachromatic vision. The three pigments responsible for detecting light have been shown to vary in their exact chemical composition due to genetic mutation; different individuals will have cones with different color sensitivity.

Types
Humans normally have three types of cones, usually designated L, M and S for long, medium and short wavelengths respectively. The first responds the most to light of the longer red wavelengths, peaking at about 560 nm. The majority of the human cones are of the long type. The second most common type responds the most to light of yellow to green medium-wavelength, peaking at 530 nm. M cones make up about a third of cones in the human eye. The third type responds the most to blue short-wavelength light, peaking at 420 nm, and make up only around 2% of the cones in the human retina. The three types have peak wavelengths in the range of 564–580 nm, 534–545 nm, and 420–440 nm, respectively, depending on the individual. Such a difference is caused by the different opsins they carry, OPN1LW, OPN1MW, and OPN1SW, respectively, the forms of which affect the absorption of retinaldehyde. The CIE 1931 color space is an often-used model of spectral sensitivities of the three cells of an average human.

While it has been discovered that there exists a mixed type of bipolar cells that bind to both rod and cone cells, bipolar cells still predominantly receive their input from cone cells.

Other animals might have a different number of cone types (see Color vision).

Shape and arrangement

Cone cells are somewhat shorter than rods, but wider and tapered, and are much less numerous than rods in most parts of the retina, but greatly outnumber rods in the fovea. Structurally, cone cells have a cone-like shape at one end where a pigment filters incoming light, giving them their different response curves. They are typically 40–50 μm long, and their diameter varies from 0.5 to 4.0 μm, being smallest and most tightly packed at the center of the eye at the fovea. The S cone spacing is slightly larger than the others.

Photobleaching can be used to determine cone arrangement. This is done by exposing dark-adapted retina to a certain wavelength of light that paralyzes the particular type of cone sensitive to that wavelength for up to thirty minutes from being able to dark-adapt, making it appear white in contrast to the grey dark-adapted cones when a picture of the retina is taken. The results illustrate that S cones are randomly placed and appear much less frequently than the M and L cones. The ratio of M and L cones varies greatly among different people with regular vision (e.g. values of 75.8% L with 20.0% M versus 50.6% L with 44.2% M in two male subjects).

Like rods, each cone cell has a synaptic terminal, inner and outer segments, as well as an interior nucleus and various mitochondria. The synaptic terminal forms a synapse with a neuron bipolar cell. The inner and outer segments are connected by a cilium. The inner segment contains organelles and the cell's nucleus, while the outer segment contains the light-absorbing materials.

The outer segments of cones have invaginations of their cell membranes that create stacks of membranous disks. Photopigments exist as transmembrane proteins within these disks, which provide more surface area for light to affect the pigments. In cones, these disks are attached to the outer membrane, whereas they are pinched off and exist separately in rods. Neither rods nor cones divide, but their membranous disks wear out and are worn off at the end of the outer segment, to be consumed and recycled by phagocytic cells.

Function

The difference in the signals received from the three cone types allows the brain to perceive a continuous range of colors, through the opponent process of color vision. (Rod cells have a peak sensitivity at 498 nm, roughly halfway between the peak sensitivities of the S and M cones.)

All of the receptors contain the protein photopsin, with variations in its conformation causing differences in the optimum wavelengths absorbed.

The color yellow, for example, is perceived when the L cones are stimulated slightly more than the M cones, and the color red is perceived when the L cones are stimulated significantly more than the M cones. Similarly, blue and violet hues are perceived when the S receptor is stimulated more. S Cones are most sensitive to light at wavelengths around 420 nm. However, the lens and cornea of the human eye are increasingly absorptive to shorter wavelengths, and this sets the short wavelength limit of human-visible light to approximately 380 nm, which is therefore called 'ultraviolet' light. People with aphakia, a condition where the eye lacks a lens, sometimes report the ability to see into the ultraviolet range. At moderate to bright light levels where the cones function, the eye is more sensitive to yellowish-green light than other colors because this stimulates the two most common (M and L) of the three kinds of cones almost equally. At lower light levels, where only the rod cells function, the sensitivity is greatest at a blueish-green wavelength.

Cones also tend to possess a significantly elevated visual acuity because each cone cell has a lone connection to the optic nerve, therefore, the cones have an easier time telling that two stimuli are isolated. Separate connectivity is established in the inner plexiform layer so that each connection is parallel.

The response of cone cells to light is also directionally nonuniform, peaking at a direction that receives light from the center of the pupil; this effect is known as the Stiles–Crawford effect.

It is possible that S cones may play a role in the regulation of the circadian system and the secretion of melatonin but this role is not clear yet. The exact contribution of S cone activation to circadian regulation is unclear but any potential role would be secondary to the better established role of melanopsin (see also Intrinsically photosensitive retinal ganglion cell).

Color afterimage
Sensitivity to a prolonged stimulation tends to decline over time, leading to neural adaptation. An interesting effect occurs when staring at a particular color for a minute or so. Such action leads to an exhaustion of the cone cells that respond to that color – resulting in the afterimage. This vivid color aftereffect can last for a minute or more.

Associated diseases

 * Achromatopsia (Rod monochromacy) - a form of monochromacy with no functional cones
 * Blue cone monochromacy - a rare form of monochromacy with only functional S-cones
 * Congenital red–green color blindness - partial color blindness include protanopia, deuteranopia, etc.
 * Oligocone trichromacy - poor visual acuity and impairment of cone function according to ERG, but without significant color vision loss.
 * Bradyopsia - photopic vision cannot respond quickly to stimuli.
 * Bornholm eye disease - X-linked recessive myopia, astigmatism, impaired visual acuity and red-green dichromacy.
 * Cone dystrophy - a degenerative loss of cone cells
 * Retinoblastoma - a type of cancer originating from cone precursor cells

title: Cone cell


text: File:Bulger cctv.jpg

title: File:Bulger cctv.jpg


text:
User:Dorfen

Occasional contributor.

title: User:Dorfen


text:
Archibald McIndoe

Sir Archibald Hector McIndoe (4 May 1900 – 11 April 1960) was a New Zealand plastic surgeon who worked for the Royal Air Force during the Second World War. He improved the treatment and rehabilitation of badly burned aircrew.

Early life
Archibald McIndoe was born 4 May 1900 in Forbury, in Dunedin, New Zealand, into a family of four. His father was John McIndoe, a printer and his mother was the artist Mabel McIndoe née Hill. He had three brothers and one sister. McIndoe studied at Otago Boys' High School and later medicine at the University of Otago. After his graduation he became a house surgeon at Waikato Hospital.

In 1924, McIndoe was awarded the first New Zealand Fellowship at the Mayo Clinic in the United States to study pathological anatomy. The fellowship was for an unmarried doctor and as McIndoe had recently married Adonia Aitkin they had to keep their marriage secret and he sailed without her. When it was no longer possible to maintain the secret she joined him 12 months later. He worked in the clinic as First Assistant in Pathological Anatomy 1925–1927 and published several papers on chronic liver disease. Impressed with his skill, Lord Moynihan suggested a career in Britain, and in 1930 McIndoe moved to London.

When McIndoe could not find work, his cousin Sir Harold Gillies, an otolaryngologist specialising in plastic surgery (who now has an operation for reducing a broken cheekbone named after himself), invited him to join the private practice he ran with Rainsford Mowlem and offered him a job at St Bartholomew's Hospital, where he became a clinical assistant. In 1932, McIndoe received a permanent appointment as a General Surgeon and Lecturer at the Hospital for Tropical Diseases and the London School of Hygiene and Tropical Medicine.

In 1934, McIndoe received a Fellowship of the American College of Surgeons, where he worked until 1939. That year, he became a consulting plastic surgeon to the Royal North Stafford Infirmary and to Croydon General Hospital. In 1938, he was appointed consultant in plastic surgery to the Royal Air Force.

Second World War
When the Second World War broke out, plastic surgery was largely divided on service lines. Gillies went to Rooksdown House near Basingstoke, which became the principal army plastic surgery unit; Tommy Kilner (who had worked with Gillies during the First World War, and who now has a surgical instrument named after him, the kilner cheek retractor), went to Queen Mary's Hospital, Roehampton, and Mowlem to St Albans. McIndoe moved to the recently rebuilt Queen Victoria Hospital in East Grinstead, Sussex, and founded a Centre for Plastic and Jaw Surgery. There, he treated very deep burns and serious facial disfigurement like loss of eyelids. With McIndoe's support, patients at the hospital formed the Guinea Pig Club, a social club and mutual support network: members included Richard Hillary, Geoffrey Page, Bill Foxley and Jimmy Edwards.

McIndoe was a brilliant and quick surgeon. He not only developed new techniques for treating badly burned faces and hands but also recognised the importance of the rehabilitation of the casualties and particularly of social reintegration back into normal life. He disposed of the "convalescent uniforms" and let the patients use their service uniforms instead. With the help of two friends, Neville and Elaine Blond, he also encouraged the locals to support the patients and invite them to their homes. McIndoe referred to the patients as "his boys", while the staff called him "the Boss" or "the Maestro".

Important work included development of the walking-stalk skin graft, and the discovery that immersion in saline promoted healing as well as improving survival rates for victims with extensive burns – this was a serendipitous discovery drawn from observation of differential healing rates in pilots who had come down on land and in the sea.

Later years
After the end of the war, McIndoe returned to private practice. His speciality was the "McIndoe nose".

McIndoe was created CBE in 1944 and after the war he received a number of British and foreign honours, including a Commandeur de la Légion d'honneur (Commander of the Legion of Honour) and was knighted in 1947 for his remarkable work on restoring the minds and bodies of the burnt young pilots of the Second World War through his innovative reconstructive surgery techniques. That same year he visited East Africa for the first time, and took up farming on Kilimanjaro. In 1957, with two former pupils, Michael Wood and Tom Rees, he co-founded the African Medical and Research Foundation (AMREF).

He became a member of a council of the Royal College of Surgeons in 1946 and its vice-president in 1958. His marriage to Adonia ended in 1953, and he married Constance Belchem in 1954. In 1958, McIndoe delivered the Bradshaw Lecture at the Royal College of Surgeons on the topic of the reconstruction of the burned face. He took part in the founding of the British Association of Plastic Surgeons (BAPS) and later served as its third President. The Guinea Pig Club continued to meet after the war, and McIndoe remained its President until his death.

Death
Archibald McIndoe died in his sleep of a heart attack on 11 April 1960, aged 59, in his house at 84 Albion Gate, London. He was cremated at Golders Green Crematorium, and his ashes were given the unique honour for a civilian of being buried at the Royal Air Force church of St Clement Danes in London.

Personal life
McIndoe married Adonia Aitkin of Dunedin on 31 July 1924. They had two daughters, Adonia and Vanora. They were divorced in 1953. In 1954, McIndoe married Constance Belchem, the former wife of Major-General R. F. K. Belchem.

Legacy
On 22 March 1961, the British Minister of Health opened the Blond McIndoe Centre named in his honour at the Queen Victoria Hospital, East Grinstead. The Blond McIndoe Centre, now named the Blond McIndoe Research Foundation, continues research into pioneering treatments to improve wound healing. The Blond McIndoe Research Foundation is a registered charity.

The McIndoe Burns Centre at Queen Victoria Hospital was dedicated in 1994, and there is a burns victim support group centred there which also bears his name.

Specialist science laboratories at Otago Boys' High School, built in 1967, are named in his honour. The school later named one of its houses after McIndoe after the introduction of a house system in 2013.

The Gillies McIndoe Research Institute, a major medical research centre in Wellington, New Zealand, is named in honour of McIndoe and his cousin Sir Harold Gillies.

In 2000, an English Heritage blue plaque was erected on McIndoe's former London home at Avenue Court, Draycott Avenue, Chelsea.

A bronze monument commemorating McIndoe by Martin Jennings, whose own father was one of his patients, was unveiled by Princess Anne in East Grinstead High Street, in front of Sackville College, in 2014. It depicts the standing McIndoe resting his hands reassuringly on the shoulders of a seated injured airman, whose burned hands are clawed together, and whose scarred face is turned to one side. The two figures are encircled by a stone bench.

title: Archibald McIndoe


text:
Jeana Yeager

Jeana Lee Yeager (born May 18, 1952) is an American aviator. She co-piloted, along with Dick Rutan, the first non-stop, non-refueled flight around the world in the Rutan Voyager aircraft from December 14 to 23, 1986. The flight took 9 days, 3 minutes, and 44 seconds and covered 24,986 miles (40,211 km), almost doubling the old distance record set by a Boeing B-52 strategic bomber in 1962.

Early life and career
Jeana Lee Yeager was born on May 18, 1952, in Fort Worth, Texas, to Royal Leland "Lee" Yeager (March 12, 1918 - March 17, 2001) and Alice Evaree Snider ( Harris; October 21, 1924 – February 5, 2013). As a child, she and her family variously lived in Garland, Texas, Oxnard, California, and Commerce, Texas. Following graduation from high school, Yeager, at age 19, married a police officer; they divorced five years later. She then worked as a draftsman and surveyor for a geothermal energy company in Santa Rosa, California. In 1978, Yeager obtained her private pilot's license while still living in Santa Rosa.

Yeager worked for Robert Truax while he was developing a reusable spacecraft. She met Dick Rutan in 1980 and they soon both set distance records in the Rutan VariEze and Long-EZ planes, designed by Dick's brother Burt Rutan. In early 1982, Yeager set a new women's speed record for the 2,000-kilometer closed course and in the fall of 1984 using the VariEze, she set the open-distance record of 2,427.1 statute miles.

Despite having the same last name, Jeana Yeager is not related to fellow aviator and test pilot General Chuck Yeager.

Round-the-world flight
Yeager and Dick Rutan decided to attempt to fly around the world without refueling. They formed Voyager Aircraft, Inc., and Burt Rutan began designing the aircraft. Initially unable to find a commercial sponsor, Yeager started the Voyager Impressive People (VIP) program which became the major source of money to build, test, and fly the aircraft. By mid-1986, Voyager was ready for the flight. Yeager flew as co-pilot on the 216-hour flight and set a world absolute distance record. This was the first time a woman had been listed in an absolute category.

Dick Rutan and Voyager sued Yeager in 1995, alleging that she had misappropriated memorabilia and funds from Voyager. The lawsuit was dropped in 1996.

Awards
In recognition of the 1986 Voyager flight, Yeager received both the Harmon and National Air and Space Museum (NASM) trophies, the FAI De la Vaulx Medal, the Presidential Citizens Medal from President Ronald Reagan and the Collier Trophy (becoming its first female recipient). She shared the Presidential Citizens Medal and Collier Trophy with Dick and Burt Rutan (as well as the NASM Trophy and De la Vaulx Medal with Dick). Yeager shared the 1985 Society of Experimental Test Pilots (SETP) Jack Northrop Award and 1987 SETP Iven C. Kincheloe Award with Voyager pilot Dick Rutan. She was also awarded the Edward Longstreth Medal from the Franklin Institute in 1988. In 2013, Flying magazine ranked Yeager and Dick Rutan No. 33 on their list of the 51 Heroes of Aviation.

title: Jeana Yeager


text:
Talk:Whig Party (UK)

There is already an article on the British Whigs, see Whig. The info here needs to be merged with the info there. Big Jim Fae Scotland

 * I've redirected. No need to merge, as the content here was just a copy and paste from there in the first place.  Morwen 12:49, Mar 18, 2004 (UTC)

title: Talk:Whig Party (UK)


text:
User:Sandrolh22

Esta pagina é dedicada a troca de informações

title: User:Sandrolh22


text: User talk:212.219.149.121

title: User talk:212.219.149.121