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Assistive cane

An assistive cane is a walking stick used as a crutch or mobility aid. A cane can help redistribute weight from a lower leg that is weak or painful, improve stability by increasing the base of support, and provide tactile information about the ground to improve balance. In the US, ten percent of adults older than 65 years use a cane, and 4.6 percent use walkers.

In contrast to crutches, canes are generally lighter, but, because they transfer the load through the user's unsupported wrist, are unable to offload equal loads from the legs.

Another type of crutch is the walker, a frame held in front of the user and which the user leans on during movement. Walkers are more stable due to their increased area of ground contact, but are larger and less wieldy and, like canes, pass the full load through the user's wrists in most cases.

Parts of medical canes
The basic cane has four parts. These parts vary depending on the design of the cane and the needs of the user.
 * Handle. The handle of a cane is extremely important to the user. Many different styles exist, the most common traditional designs are the Tourist (or Crook) handle, the Fritz Handle and the Derby Handle. Ergonomically shaped handles have become increasingly common for canes intended for medical use, both increasing the comfort of the grip for the user (particularly important for users with disabilities which also affect their hands or wrists), and better transmitting the load from the user's hand and arm into the shaft.
 * Collar. The collar of a cane may be only a decorative addition made for stylistic reasons, or may form the structural interface between shaft and handle.
 * Shaft. The shaft of the cane transmits the load from the handle to the ferrule and may be constructed from carbon fiber polymer, metal, composites, or traditional wood.
 * Ferrule. The tip of a cane provides traction and added support when the cane is used at an angle. Many kinds of ferrules exist, but most common is a simple, ridged rubber stopper. Users can easily replace a ferrule with one that better suits their individual needs.

Modern canes may differ from the traditional fixed structure. For instance, a quad cane has a base attached to the shaft that provides increased stability by having four ferrules, and an adjustable cane may have two shaft segments telescoping one inside the other to allow adjustment for multiple sizes.

All cane users who need a walking cane for medical reasons should consult a medical professional before choosing the style that best suits them. It is particularly important that the cane be the proper height for the individual user.

Types of canes

 * White cane: specifically designed for assisting the visually impaired, these are longer and thinner and allow the user to "feel" the path ahead. They also alert others, such as motorists, that the user is blind and should be regarded with caution. In the UK, red banding on a white cane indicates a deaf-blind user.
 * Folding cane: has several joints, generally linked by an internal elastic cord, enabling them to be folded into a shorter length when not in use.
 * Forearm cane: a regular or offset cane with additional forearm support, enabling increased stability and load shifted from the wrist to the forearm.
 * Quad cane: has four ferrules at the base, enabling them to stand freely, and offering a more firm base for standing.
 * Tripod cane: opens in a tripod fashion. Often available with an attached seat.
 * Adjustable cane: features two or more shaft pieces for a telescoping effect that allows the user to lengthen or shorten their walking cane to fit to size. This feature can be combined with other variations.
 * Shillelagh: a cane made of blackthorn wood, originating in Ireland and still a recognized symbol thereof.

Accessories

 * The most common accessory is a hand strap, to prevent loss of the stick should the hand release its grip. These aides are then threaded through a hole drilled into the stick rather than tied around.
 * A clip-on frame or similar device can be used to hold a stick against the top of a table.
 * In cold climates, a metallic cleat may be added to the foot of the cane. This dramatically increases traction on ice. The device is usually designed so it can easily rotate to the side to prevent damage to indoor flooring.
 * Different handles are available to better match the size of the user's hands and their medical needs.
 * Rubber ferrules give extra traction on most surfaces.

Handedness
Canes are generally held in the hand that is opposite to the side of the injury or weakness. It allows the cane to be used for stability in a way that lets the user focus much of their weight away from their weaker side and onto the cane. This prevents the person's center of balance from swaying from side to side as they walk. It also allows for fluid movement that better matches walking, as the hand on the opposite side of the leg generally sways forward in normal human locomotion. Personal preference, or a need to hold the cane in the dominant hand means some cane users choose to hold the cane on the same side as the affected leg.

title: Assistive cane


text:
Matrix model

Matrix model may refer to:

 * a model using a matrix in mathematics
 * Matrix theory (physics), a quantum mechanical model
 * Matrix population models, a type of population model that uses matrix algebra
 * Matrix management, an organizational structure

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

title: Matrix model


text: Category:America

title: Category:America


text:
Little Ben

Little Ben is a cast iron miniature clock tower, situated at the intersection of Vauxhall Bridge Road and Victoria Street, in Westminster, central London, close to the approach to Victoria station. In design it mimics the famous clock tower colloquially known as Big Ben at the Palace of Westminster, found at the other end of Victoria Street.

Little Ben was manufactured, according to Pevsner, by Gillett & Johnston of Croydon, and was erected in 1892; removed from the site in 1964, and restored and re-erected in 1981 by Westminster City Council with sponsorship from Elf Aquitaine Ltd "offered as a gesture of Franco-British friendship".

There is a rhyming couplet Apology for Summer Time signed "J.W.R." affixed to the body of the clock:

My hands you may retard or may advance my heart beats true for England as for France.

The couplet is a reference to the plan that the clock be permanently on Daylight Saving Time leading to the time being correct for France during the winter months and correct for the UK during the summer. However this policy was either changed, or never implemented, since recently it is on GMT in winter and BST in summer like all other clocks in Great Britain.

А replica of Little Ben called Lorloz (painted silver) was erected in 1903 in the centre of Victoria, capital of Seychelles to mark the Diamond Jubilee of Queen Victoria in 1897.

Little Ben was removed in 2012 and put in storage during upgrade works to London Victoria station. The timepiece was refurbished and the clock tower was reinstalled on 28 February 2016.

Little Ben was listed Grade II on the National Heritage List for England in December 1987.

title: Little Ben


text:
User:Hemanshu/Javascript

document.write('\ <\/div><\/div\>')

title: User:Hemanshu/Javascript


text:
Maakies

Maakies is a comic strip by Tony Millionaire. It began publication in February 1994 in the New York Press. It has previously run in many American alternative newsweeklies including The Stranger, LA Weekly and Only. It has also appeared in several international venues including the Italian comics magazine Linus and the Swedish comics magazine Rocky.

On December 14, 2016, Tony Millionaire announced that Maakies had ended. One of the reasons he stated for discontinuing the strip was that many of the weekly papers that carried the strip were no longer in business.

On May 19, 2021, Tony Millionaire announced that weekly strips were being published again.

Characteristics
Maakies focuses on the darkly comic misadventures of Uncle Gabby (a "drunken Irish monkey" ) and Drinky Crow (a crow), two antiheroes with a propensity for drunkenness, violence, suicide, and venereal disease. According to Millionaire, "Maakies is me spilling my guts... Writing and drawing about all the things that make me want to jump in the river, laughing at the horror of being alive."

Maakies strips typically take place in an early 19th-century nautical setting. There is rarely any continuity between strips. The comic often includes visual references to historic works of art, especially to the popular graphic arts such as Japanese ukiyo-e, European engravings, and early American newspaper comics.

Like many early 20th century Sunday strips, each Maakies comic usually includes a second, smaller strip (known as a "topper") that runs along the bottom of the main strip. Tiny landscape drawings are interspersed between the panels of these strips. Also, a tugboat (referred to once as "the enigmatic Maakies tug") appears somewhere in the background of virtually every strip.

Meaning of the title
Millionaire has given differing accounts of the origin and meaning of the word "maakies." "Maak" is the name of a character in the strip, a ship's captain who apparently is Uncle Gabby's employer, and in one sense the strip seems to be named after him. Discussing the strip's development, Millionaire said "I fleshed them [the characters] out as best I could at the time, knowing that they'd grow over time. That's why I didn't call the strip Drinky Crow. I called it Maakies because I didn't know who would become the most important characters as I went along."

However, on more than one occasion he has claimed that the true significance of the strip's name is a strict secret: "I can't release that information until a certain person dies... Because he or she would be extremely pissed off to even know that that name was being used."

Elsewhere he has attributed the origin of the word to his friend Spike Vrusho: "Some of the tugboats in New York harbor have a big M painted on the side of them and my friend Spike Vrusho used to say "MAAKIES!" in a high pitched screech every time he saw one."

Dr. Terrence Ross
Terrence Ross is a real-life friend of Tony Millionaire from Fort Greene who frequently appears as a character in Maakies. In the strip he is drawn as a mechanical lizard who wears a black cloak and hat and has the number '147' imprinted on his forehead; he claims this is his IQ. Sometimes he delivers a monologue or reads a poem of his own composition. Other times he introduces one of his sinister or bizarre trademarked inventions, such as a "safety harness" that ejects the wearer's spinal column from their body using a cherry bomb and M-80s. The book collection Premillennial Maakies is dedicated to "Terry Ross".

Guest cartoonists
Numerous episodes of Maakies have been drawn (and possibly written) by cartoonists other than Millionaire. The most frequent "guest cartoonist" is Millionaire's nephew Curtis Sarkin, who drew the strip in a child's unsteady scrawl; his daughter and nieces have also made occasional contributions. One Maakies strip reprinted, in the original German, four panels of an illustrated poem by Wilhelm Busch dated 1867 and featuring the accidental demise of Hans Huckebein, an inebriated, Drinky Crow-like bird; in another, Millionaire illustrated a poem about the sea written by M Otis Beard, and dated it a century prior to the actual date on which the poem was penned. On another occasion, after Millionaire had drawn a comic featuring a stereotypical Native American character, Maakies ran a rebuttal strip by Tania Willard of the Secwepemc Nation lambasting Millionaire, his characters, and his editor.

A pair of Maakies strips are purportedly drawn by Drinky Crow and Uncle Gabby (who passed out in the middle of drawing his).

Other cartoonists who have drawn Maakies:
 * Jim Campbell
 * Rick Detorie
 * Renée French
 * Sam Henderson
 * Kaz
 * Michael Kupperman
 * Carol Lay
 * Eric Reynolds
 * Johnny Ryan
 * Jon Sarkin (Millionaire's brother-in-law)
 * Christine Shields

Book collections

 * Maakies (2000)
 * The House at Maakies Corner (2002)
 * When We Were Very Maakies (2004)
 * Der Struwwelmaakies (2005)
 * Premillennial Maakies (2006) – a hardcover reprint of the contents of the first Maakies book.
 * The Maakies with the Wrinkled Knees (2008)
 * Drinky Crow's Maakies Treasury (2009) - contains the contents of The House at Maakies Corner, When We Were Very Maakies, and Der Struwwelmaakies.
 * Little Maakies on the Prairie (2010)
 * Green Eggs and Maakies (2013)
 * Maakies: Drinky Crow Drinks Again (2016)

All the Maakies collections are published by Fantagraphics Books and designed by Chip Kidd. All but the first of the books are hardcover, printed in an unusual 12 x format that preserves the dimensions of Millionaire's original drawings.

With the exception of the first collection and its hardcover reprint, the title of each of the Maakies books refers to a classic children's book – A. A. Milne's The House at Pooh Corner and When We Were Very Young, Heinrich Hoffman's Der Struwwelpeter, Johnny Gruelle's Raggedy Ann and Andy and the Camel with the Wrinkled Knees, and Laura Ingalls Wilder's Little House On The Prairie.

Related works
The characters of Uncle Gabby and Mr. Crow in Millionaire's Sock Monkey comics and books are loosely connected to their Maakies counterparts. They make occasional appearances in the weekly strip.

A horsefly named Billy Hazelnuts appeared in an early Maakies strip. However, this character is unrelated to the titular character in Millionaire's 2006 graphic novel Billy Hazelnuts.

The tiny 4 x hardcover book Mighty Mite The Ear Mite (2003, Fantagraphics Books) is based on recurring characters in Maakies.

Millionaire has occasionally drawn X-rated adaptations of his familiar Maakies characters (e.g. "Shtuppi Eisberg, the Libidinous Penguin" instead of Drinky Crow) for Screw, Legal Action Comics and other explicit venues.

Animation
Several short Maakies Flash animations were shown on Saturday Night Live in the late 1990s. Several more animations were produced but never broadcast. All of the Maakies Flash animations are included on the DVD collection God Hates Cartoons, published by Bright Red Rocket.

A Maakies short bridges the two-halves of the 2002 They Might Be Giants documentary Gigantic.

An animated television pilot for The Drinky Crow Show, based on the Maakies characters, premiered on Cartoon Network's Adult Swim on May 13, 2007. Dino Stamatopoulos provided the voice of the titular character, and They Might Be Giants performed the show's theme song. The show premiered on Adult Swim on November 23, 2008 and ran for one season containing ten episodes. It ended on January 25, 2009. The cancellation of the show was confirmed by a Maakies comic.

title: Maakies


text: Category:Asia

title: Category:Asia


text:
Category:Oceania

1. In its narrow usage it refers to: 2. In a wider usage it includes: Australia. 3. It may also include: the Malay archipelago. 4. In uncommon usage includes islands such as: Japan and the Aleutian Islands.
 * Oceania is a name used for varying groups of islands of the Pacific Ocean.
 * Polynesia (including New Zealand and the Hawaiian Islands),
 * Melanesia (including New Guinea and the Solomon Islands),
 * Micronesia

 *  Continent: The islands of Oceania and the continent of Australia form a geographic region which is sometimes, for the purposes of dividing the whole world into areas, called a 'continent'. As such, it is the smallest "continent" in area and the second smallest, after Antarctica, in population.

title: Category:Oceania


text: Category:Africa

title: Category:Africa


text:
Weighted round robin

Weighted round robin (WRR) is a network scheduler for data flows, but also used to schedule processes.

Weighted round robin is a generalisation of round-robin scheduling. It serves a set of queues or tasks. Whereas round-robin cycles over the queues or tasks and gives one service opportunity per cycle, weighted round robin offers to each a fixed number of opportunities, as specified by the configured weight which serves to influence the portion of capacity received by each queue or task. In computer networks, a service opportunity is the emission of one packet, if the selected queue is non-empty.

If all packets have the same size, WRR is the simplest approximation of generalized processor sharing (GPS). Several variations of WRR exist. The main ones are the classical WRR, and the interleaved WRR.

Principles
WRR is presented in the following as a network scheduler. It can also be used to schedule tasks in a similar way.

A weighted round-robin network scheduler has $$n$$ input queues, $$q_1,...,q_n$$. To each queue $$q_i$$ is associated $$w_i$$, a positive integer, called the weight. The WRR scheduler has a cyclic behavior. In each cycle, each queue $$q_i$$ has $$w_i$$ emissions opportunities.

The different WRR algorithms differ on the distributions of these opportunities in the cycle.

Classical WRR
In classical WRR the scheduler cycles over the queues. When a queue $$q_i$$ is selected, the scheduler will send packets, up to the emission of $$w_i$$ packet or the end of queue.

Interleaved WRR
Let $$w_{max}=\max\{ w_i \}$$, be the maximum weight. In IWRR, each cycle is split into $$w_{max}$$ rounds. A queue with weight $$w_i$$ can emit one packet at round $$r$$ only if $$r \leq w_i$$.

Example

Consider a system with three queues $$q_1,q_2,q_3$$ and respective weights $$w_1=5,w_2=2,w_3=3$$. Consider a situation where they are 7 packets in the first queue, A,B,C,D,E,F,G, 3 in the second queue, U,V,W and 2 in the third queue X,Y. Assume that there is no more packet arrival.

With classical WRR, in the first cycle, the scheduler first selects $$q_1$$ and transmits the five packets at head of queue,A,B,C,D,E (since $$w_1=5$$), then it selects the second queue, $$q_2$$, and transmits the two packets at head of queue, U,V (since $$w_2=2$$), and last it selects the third queue, which has a weight equals to 3 but only two packets, so it transmits X,Y. Immediately after the end of transmission of Y, the second cycle starts, and F,G from $$q_1$$ are transmitted, followed by W from $$q_2$$.

With interleaved WRR, the first cycle is split into 5 rounds (since $$max(w_1,w_2,w_3)=5$$). In the first one (r=1), one packet from each queue is sent (A,U,X), in the second round (r=2), another packet from each queue is also sent (B,V,Y), in the third round (r=3), only queues $$q_1,q_3$$ are allowed to send a packet ($$w_1 >= r$$, $$w_2 < r$$ and $$w_3 >= r$$), but since $$q_3$$ is empty, only C from  $$q_1$$ is sent, and in the fourth and fifth rounds, only D,E from  $$q_1$$ are sent. Then starts the second cycle, where F,W,G are sent.

Task scheduling
Task or process scheduling can be done in WRR in a way similar to packet scheduling: when considering a set of $$n$$ active tasks, they are scheduled in a cyclic way, each task $$\tau_i$$ gets $$w_i$$ quantum or slice of processor time .

Properties
Like round-robin, weighted round robin scheduling is simple, easy to implement, work conserving and starvation-free.

When scheduling packets, if all packets have the same size, then WRR and IWRR are an approximation of Generalized processor sharing: a queue $$q_i$$ will receive a long term part of the bandwidth equals to $$\frac{w_i}{\sum_{j=1}^n w_j}$$ (if all queues are active) while GPS serves infinitesimal amounts of data from each nonempty queue and offer this part on any interval.

If the queues have packets of variable length, the part of the bandwidth received by each queue depends not only on the weights but also of the packets sizes.

If a mean packets size $$s_i$$ is known for every queue $$q_i$$, each queue will receive a long term part of the bandwidth equals to $$\frac{s_i \times w_i}{\sum_{j=1}^n s_j \times w_j}$$. If the objective is to give to each queue $$q_i$$ a portion $$\rho_i$$ of link capacity (with $$\sum_{i=1}^n \rho_i=1$$), one may set $$w_i = \frac{\rho_i}{s_i}$$.

Since IWRR has smaller per class bursts than WRR, it implies smaller worst-case delays.

Limitations and improvements
WRR for network packet scheduling was first proposed by Katevenis, Sidiropoulos and Courcoubetis in 1991, specifically for scheduling in ATM networks using fixed-size packets (cells). The primary limitation of weighted round-robin queuing is that it provides the correct percentage of bandwidth to each service class only if all the packets in all the queues are the same size or when the mean packet size is known in advance. In the more general case of IP networks with variable size packets, to approximate GPS the weight factors must be adjusted based on the packet size. That requires estimation of the average packet size, which makes a good GPS approximation hard to achieve in practice with WRR.

Deficit round robin is a later variation of WRR that achieves better GPS approximation without knowing the mean packet size of each connection in advance. More effective scheduling disciplines were also introduced which handle the limitations mentioned above (e.g. weighted fair queuing).

title: Weighted round robin


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Thomas Bee

Thomas Bee (1739 – February 18, 1812) was a delegate to the Second Continental Congress, Lieutenant Governor of South Carolina and a United States district judge of the United States District Court for the District of South Carolina.

Education and career
Born in 1739 in Martigny, Province of South Carolina, British America, Bee attended the University of Oxford and read law in 1761. He entered private practice in Charleston from 1761 to 1762, and subsequently engaged in private practice from 1765 to 1769, 1769 to 1772, and 1782 to 1786, also engaging in planting. He was a member of the South Carolina Commons House of Assembly from 1762 to 1765, and from 1772 to 1776. He was a Justice of the Peace in 1775. He was a member of the Council of Safety in 1775 and 1776. He was a member of the South Carolina General Assembly from 1776 to 1778. He was a member of the South Carolina House of Representatives from 1778 to 1779, 1781 to 1782, and 1786 to 1788, serving as Speaker in January and February 1779. He was a commissioner for stamping and issuing paper bills of credit in Charleston in 1769. He was Lieutenant Governor of South Carolina in 1780. He was a delegate to the Second Continental Congress (Continental Congress) from 1780 to 1781. In 1781, Bee was elected a member of the American Philosophical Society. He was a member of the South Carolina Senate from 1788 to 1790.

Federal judicial service
Bee was nominated by President George Washington on June 11, 1790, to a seat on the United States District Court for the District of South Carolina vacated by Judge William Drayton Sr. He was confirmed by the United States Senate on June 14, 1790, and received his commission the same day. He published reports of the district court in 1810. His service terminated on February 18, 1812, due to his death in Pendleton, South Carolina. He was interred in Woodstock Cemetery in Goose Creek, South Carolina.

Bee was nominated by President John Adams to be Chief Judge of the United States Circuit Court for the Fifth Circuit on February 21, 1801, and was confirmed by the Senate on February 24, 1801, but he declined the appointment.

Family
Bee was the father of Barnard E. Bee Sr., who took part in the Texas Revolution and who was a political figure in the Republic of Texas, and the great grandfather of Carlos Bee, a United States representative from Texas. Two of Barnard's sons became known as Confederate generals during the American Civil War: Barnard Elliott Bee Jr. and Hamilton P. Bee.

title: Thomas Bee


text:
Counter-melody

In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody. In other words, it is a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and it is typically heard in a texture consisting of a melody plus accompaniment.

In marches, the counter-melody is often given to the trombones or horns. American composer David Wallis Reeves is credited with this innovation in 1876.

The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a harmony part sung by a backup singer in that whereas the harmony part typically lacks its own independent musical line, a countermelody is a distinct melodic line.

title: Counter-melody


text:
User:Jengod/John Schofield

Lt. Gen. John Schofield, USA (1108)* secretary of war, commanding general ACW (mil. districts)

title: User:Jengod/John Schofield


text:
Category:Natural sciences

The natural sciences are those branches of empirical science that produce a comprehension of the natural world through the use of data collected from it by observation and measurement to construct deterministic and/or stochastic quantitative models of its phenomena.

title: Category:Natural sciences


text: Template:Copyvio

title: Template:Copyvio


text:
SERCA

SERCA, or sarcoplasmic/endoplasmic reticulum Ca2+-ATPase, or SR Ca2+-ATPase, is a calcium ATPase-type P-ATPase. Its major function is to transport calcium from the cytosol into the sarcoplasmic reticulum.

Function
SERCA is a P-type ATPase. It resides in the sarcoplasmic reticulum (SR) within myocytes. It is a Ca2+ ATPase that transfers Ca2+ from the cytosol of the cell to the lumen of the SR. This uses energy from ATP hydrolysis during muscle relaxation.

There are 3 major domains on the cytoplasmic face of SERCA: the phosphorylation and nucleotide-binding domains, which form the catalytic site, and the actuator domain, which is involved in the transmission of major conformational changes.

In addition to its calcium-transporting functions, SERCA1 generates heat in brown adipose tissue and in skeletal muscles. Along with the heat it naturally produces due to its inefficiency in pumping ions, when it binds to a regulator called sarcolipin it stops pumping and functions solely as an ATP hydrolase. This mechanism of thermogenesis is widespread in mammals and in endothermic fishes.

Regulation
The rate at which SERCA moves Ca2+ across the SR membrane can be controlled by the regulatory protein phospholamban (PLB/PLN). SERCA is not as active when PLB is bound to it. Increased β-adrenergic stimulation reduces the association between SERCA and PLB by the phosphorylation of PLB by PKA. When PLB is associated with SERCA, the rate of Ca2+ movement is reduced; upon dissociation of PLB, Ca2+ movement increases.

Activity regulation of SERCA can also involve phosphorylation of SERCA itself by interaction with GSK3β. Phosphorylation of SERCA2a at S663 was shown to reduce SERCA2a activity.

Another protein, calsequestrin, binds calcium within the SR and helps to reduce the concentration of free calcium within the SR, which assists SERCA so that it does not have to pump against such a high concentration gradient. The SR has a much higher concentration of Ca2+ (10,000x) inside when compared to the cytoplasmic Ca2+ concentration. SERCA2 can be regulated by microRNAs, for instance miR-25 suppresses SERCA2 in heart failure.

For experimental purposes, SERCA can be inhibited by thapsigargin and induced by istaroxime.

SERCA function is upregulated in the skeletal muscle of rabbits and in rodent myocardium by thyroid hormones. This mechanism may contribute to the proarrhythmogenic effect of thyrotoxicosis.

Paralogs
There are 3 major paralogs, SERCA1-3, which are expressed at various levels in different cell types.
 * ATP2A1 – SERCA1
 * ATP2A2 – SERCA2
 * ATP2A3 – SERCA3

There are additional post-translational isoforms of both SERCA2 and SERCA3, which serve to introduce the possibility of cell-type-specific Ca2+-reuptake responses as well as increasing the overall complexity of the Ca2+ signaling mechanism.

title: SERCA


text:
Bridal Veil Falls (Niagara Falls)

Bridal Veil Falls is the smallest of the three waterfalls that make up Niagara Falls. It is located on the United States side in New York state. Luna Island separates it from the American Falls and Goat Island separates it from the Horseshoe Falls. Bridal Veil Falls faces to the northwest and has a crest 56 ft wide.

Bridal Veil is similar in appearance to American Falls, starting with a vertical fall of 78 ft followed by the water violently descending the talus boulders to the Maid of the Mist pool 103 ft below. The total vertical drop is 181 ft. The crest elevation of the Falls is 508 ft.

The Cave of the Winds attraction allows visitors to walk up to the base of Bridal Veil Falls. A pedestrian bridge crosses from Goat Island to Luna Island several yards (meters) upstream from the crest of the falls.

The waterfall has also been known in the past as Luna Falls and Iris Falls.

title: Bridal Veil Falls (Niagara Falls)


text:
Eugene Lee-Hamilton

Eugene Lee-Hamilton (6 January 1845 – 9 September 1907) was a late Victorian English poet. His work includes some notable sonnets in the style of Petrarch. He endowed a literary prize administered by Oriel College in Oxford University, where he was a student. The prize is open to students of Oxford and of Cambridge University and continues to this day.

Life and works
Eugene Lee-Hamilton was born in London on 6 January 1845; his parents were James Lee-Hamilton, who died in 1852, and Matilda Abadam (1815–1896), daughter of Edward Hamlyn Adams.

Lee-Hamilton was educated mainly in France and Germany. In 1864 he was sent to the University of Oxford. In 1869 he entered the British diplomatic service. He was first attached to the Embassy at Paris, where, due to his early experiences of French life, and mastery of the French language, he was eminently suitable. After the Franco-German War broke out he took part in the Alabama arbitration at Geneva. Subsequently he was appointed secretary in the British Legation at Lisbon. He had to renounce this second position in 1873, when, suddenly, he collapsed altogether, losing the use of his legs, and suffering agonies of pain. He expressed it in one of his sonnets,

"To keep through life the posture of the grave, While others walk and run and dance and leap."

It was to while away the tedium arising out of this malady that he first took to composing verse. All of his poetry from this time was composed without his touching pen or paper, and subsequently dictated.

Early poems
Hamilton's first miscellaneous poems appeared in 1878, and attracted no notice whatever; and it was only with the publication of The New Medusa that his poetry began to receive attention. This volume was followed, in 1885, by one entitled Apollo and Marsyas, and his next publication, entitled Imaginary Sonnets, came out in the fall of 1888. As a writer of sonnets he is most remarkable.

He spent much of his adult life suffering from psychological ailments.Linda Villari in the Albany Review (1908),"'Doctors came and went to little effect, and by most of them his malady was soon pronounced to be a most perilous case of cerebro-spinal disease. By the following year (1874) all hope of recovery seemed gone; and thus, at the age of twenty-nine, this promising young diplomatist and budding poet had to renounce all his ambitions and try to resign himself to a lingering death. Accordingly, refusing all medical treatment, he would only accept his dear mother's care and assistance. So by slow stages she brought him to her own home in Italy, henceforth his adopted country. At any rate the original diagnosis of his case had been far too pessimistic, for at long last, and dating, I think, from the time when the family left their Florence flat, and settled in the pleasant Villa Palmerino among vineyards and olive-groves a few miles away, certain signs of improvement began to appear in his general condition. But they were such faint signs as to be almost unheeded by the patient himself. Having long renounced every hope of recovery he could not realise that any change should be for the better. He had tried too many doctors in vain, so refused to consult any more. But his sister had heard of a foreign specialist who had succeeded in curing cases of the same nature. Accordingly she consulted him on her own responsibility, and, by applying the treatment he prescribed, gradually roused her brother's will to be cured. Evidently the main disease, and its accompanying nervous prostration were both diminishing. The first triumph came the day that the sick man discovered he could stand on his feet for two minutes. Then, still more gradually, with many throw-backs, power of movement returned, but it was only in 1894 that the miracle was completed, and Lee-Hamilton restored to the active world of men. Save for a very slight limp, there was no outer trace of invalidism. He seemed to have regained his lost youth at a bound, for he re-entered society with all the zest of an undergraduate.'"

He was nursed by his mother and sporadically by his half-sister, Violet Paget, who wrote under the name Vernon Lee. Lee-Hamilton lived with his mother and step-father in Florence, Italy, during his illness, and it was only after his mother died in 1896 and he recovered that he was able to travel again, eventually marrying the novelist Annie E. Holdsworth in 1898 and fathering a child, Persis Margaret, in 1903, but she died of meningitis in infancy. This led to him writing the poem, Mimma Bella; In Memory of a Little Life. Villari, "But he soon fell ill and one malady followed another in lamentably quick succession. Surgical treatment in Switzerland cured him of one complaint, but his nerves were irretrievably shaken, and his heart became dangerously weak. Then in November 1906 he was prostrated by a stroke of paralysis, accompanied by other even more alarming symptoms. Still one did not lose hope, for there were frequent rallies; he even regained some power of movement, showed all his usual interest in men and things, enjoyed receiving his friends in the shady villa garden, and read much, although unable to hold a pen. When spring merged into summer it became necessary to take him to some cooler spot within a day's journey from Florence; so the Baths of Lucca were chosen, and a hillside villa at some distance from his old quarters was found for him. At first he rather shrank from revisiting the scene of so many painful memories, but soon, I think, he looked forward to regaining his health there. I saw my old friend for the last time on the eve of his departure. He seemed very cheerful, and solely troubled by having to sit idle while his wife was so busy with the packing. He not only bore the journey well, but truly enjoyed it, and at first seemed decidedly better for the change. But, in one respect, he was a difficult patient to manage, for his active brain always craved the stimulus of social intercourse. He could not resign himself to quiet rest in the open air. Instead, he exhausted his energies by taking long drives, paying visits to one or two cherished friends, and receiving all who called upon him. Before long the final break-down came. Yet during a brief rally just before his death, he spent several hours in explaining to a youthful poet – who was regretting his inability to write sonnets—the whole technique of the difficult art of which he himself was so perfect a master. In fact, his last work was the wreath of sonnets, in memory of his lost child, that only appeared in print after he had been laid to rest beside her in Florence. He died at Villa Pierotti, Bagni di Lucca, on the seventh of September, the day fixed for his return to the home he loved so well."

Analysis
Lee-Hamilton wrote in the tradition of shorter Victorian verse, particularly the dramatic sonnet. Robert Browning was an influence, but Lee-Hamilton refined the art of the dramatic monologue, and there is a restless imagination to his sonnets.

Certain motifs recur, such as submersion in water, being buried in the earth, being shackled, the conflict between body and mind, dark female archetypes such as the gorgon, and male archetypes such as the madman or the murderous lover. Lee-Hamilton has failures when an image or plot that loses force because it lacks restraint. His major works are his sonnets, and his successes depend on technical ability. He condensed the dramatic monologue into a sonnet format, and gained power, in sonnets that are concise and restrained.

Imaginary Sonnets (1888) drew on historical, mythic and imaginary figures: each spoken by a particular person at a definite time. Philip Hobsbaum (in Metre, Rhythm and Verse Form) suggests that Lee-Hamilton's Sonnets of the Wingless Hours (1894) is the only Victorian sonnet sequence that can compare to Gerard Manley Hopkins. In longer poems of collections such as the New Medusa (1882), there are narratives and dramatic monologues that explore the darker side of life; as in Browning, lust, jealousy, and fear predominate.

Works

 * Poems and Transcripts (London: William Blackwood, 1878).
 * Gods, Saints and Men (London: W Satchell & Co, 1880).
 * The New Medusa (London: Eliot Stock, 1882).
 * Apollo and Marsyas (London: Eliot Stock, 1884).
 * Imaginary Sonnets (London: Elliot Stock, 1888).
 * The Fountain of Youth (London: Eliot Stock, 1891).
 * Sonnets of the Wingless Hours (London: Eliot Stock, 1894).
 * (as translator), The Inferno of Dante (London: Grant Richards, 1898).
 * (with his wife) Forrest Notes (London: Grant Richards, 1899).
 * The Lord of the Dark Red Star (London: The Walter Scott Publishing Co., 1903).
 * The Romance of the Fountain (London: T Fisher Unwin, 1905).
 * Mimma Bella (London: Heinemann, 1908).

title: Eugene Lee-Hamilton


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Archive Sent by MediaWiki message delivery (talk) 18:01, 1 February 2024 (UTC)

Nomination of Military designation of days and hours for deletion
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Archive Sent by MediaWiki message delivery (talk) 16:48, 1 April 2024 (UTC)

Your submission at Articles for creation: Hohlraum effect (May 2)
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Clear friend  a  💬  01:13, 2 May 2024 (UTC)

 * While I'll be the first to admit that the stub I threw together needs amplification, it cannot be rejected as a "neologism". It's an obscure term used in spectroscopy for decades. Besides Mitchell and Salvaggio 2003, a quick Google Books search yields instances dating back to the mid-twentieth century. I first ran across the term during a search of the Canadian National Defence catalog of publications.
 * Maybe it would work better as a small section in the Kirchhoff's law of thermal radiation article ? Urhixidur (talk) 01:51, 2 May 2024 (UTC)

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Loie Fuller

Loie Fuller (born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American dancer and a pioneer of modern dance and theatrical lighting techniques.

Early life and debut
Marie Louise Fuller was born on January 15, 1862, in Fullersburg, Illinois, on a remote farm conveniently linked to Chicago by a newly-constructed plank road. When Fuller was two, her parents Reuben Fuller and Delilah Eaton moved to Chicago and opened a boarding house. Fuller's parents took her to the Progressive Lyceum, a hub of Freethought, on Sunday mornings.

Fuller debuted on the stage as a toddler, performing a variety of dramatic and dance roles in Chicago. Her dramatic debut at the age of four was at the Chicago Academy of Music, playing a young boy in Was He Right?. Fuller's career as a child performer progressed with little formal training and much variety, as she experimented with dramatic reading, singing, and dance. As a child, Fuller's family moved in and out of Chicago, with Fuller eventually securing a part in Buffalo Bill's touring act at the age of nineteen.

Marie Louise Fuller changed her name to the more glamorous "Loïe" at the age of sixteen. An early free dance practitioner, Fuller developed her own natural movement and improvisation techniques. In multiple shows she experimented with a long skirt, choreographing its movements and playing with the ways it could reflect light.

Career
By 1891, Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design, and created the Serpentine Dance. After much difficulty finding someone willing to produce her work when she was primarily known as an actress, she was finally hired to perform her piece between acts of a comedy entitled Uncle Celestine, and received rave reviews.

"'Soon, she (Loïe Fuller) auditioned for Rudolph Aronson of New York's Casino Theatre. He named her dance “The Serpentine” and hired her to perform it as an entr’act in the comedy Uncle Celestin. Fuller achieved critical success with her Serpentine performances at the Casino and—when a dispute with Aronson forced her to switch venues—at the Madison Square Theatre. However, Fuller's artistic achievements were soon dwarfed by legal troubles (among them, a copyright infringement suit against Minnie Renwood, the dancer Aronson hired to replace Fuller...'"

Almost immediately, she was replaced by imitators (originally Minnie "Renwood" Bemis). In the hope of receiving serious artistic recognition that she was not getting in America, Fuller left for Europe in June 1892. She became one of the first of many American modern dancers who traveled to Europe to seek recognition. Her warm reception in Paris persuaded Fuller to remain in France, where she became one of the leading revolutionaries in the arts.

A regular performer at the Folies Bergère with works such as Fire Dance, Fuller became the embodiment of the Art Nouveau movement and was often identified with symbolism, as her work was seen as the perfect reciprocity between idea and symbol. Fuller began adapting and expanding her costume and lighting, so that they became the principal element in her performance—perhaps even more important than the actual choreography, especially as the length of the skirt was increased and became the central focus, while the body became mostly hidden within the depths of the fabric. The choreography of the Serpentine Dance was filmed by multiple early filmmakers, including Auguste and Louis Lumière, but it is unclear whether the recordings depict Fuller herself.

Gab Sorère and Fuller would make three films together, Le Lys de la vie (The Lily of Life, 1921), Visions des rêves (Visions of dreams, 1924) and Les Incertitudes de Coppélius (Uncertainties of Coppelius, 1927). Le Lys de la vie was a silent film, based upon a story written by Queen Marie of Romania, a close friend of the couple and is the only one of the films which survived.

"The only surviving reel of her work is a segment from Le Lys de la Vie, and features a show within a show with classically-costumed figures dancing by the sea, a banquet, royal intrigue, and romance with René Clair featured as a prince on horseback.    "

According to Celia McGerr's biography of René Clair, in 1920, singer Damia "persuaded a reluctant Clair to play the role of a suave Parisian in Loie Fuller's poetic film on danceLe lys de la vie, by telling him about the pretty girls who would be present."

Fuller's pioneering work attracted the attention, respect, and friendship of many French artists and scientists, including Jules Chéret, Henri de Toulouse-Lautrec, François-Raoul Larche, Henri-Pierre Roché, Auguste Rodin, Jean-Léon Gérôme, Franz von Stuck, Maurice Denis, Thomas Theodor Heine, Paul-Léon Jazet, Koloman Moser, Demétre Chiparus, Stéphane Mallarmé, and Marie Curie. Fuller was also a member of the Société astronomique de France (French Astronomical Society).

Fuller patented many of her innovations in stage lighting, including the use of chemical compounds for creating color gel, and the application of chemical salts to luminescent lighting and garments.

Fuller also sought legal protection for her choreography, but was less successful. Her lawsuit against imitator Minnie Renwood Bemis was decided in Bemis' favor, allowing Bemis' performances at Madison Square Garden to continue. The judge in the case ruled that Fuller's original choreography told no story and therefore could not be copyrighted. The precedent set by Fuller's case remained in place until the passage of the Copyright Act of 1976, which explicitly extended protection to nondramatic choreographic works. Another notorious imitator was Lord Yarmouth, later 7th Marquess of Hertford, who performed the Serpentine Dance under the stage name of ‘Mademoiselle Roze’.

Fuller supported other pioneering performers, such as Sada Yacco  and fellow United States-born dancer Isadora Duncan. Fuller helped Duncan ignite her European career in 1902 by sponsoring independent concerts in Vienna and Budapest.

Loie Fuller's original stage name was "Louie". In modern French "L'ouïe" is the word for a sense of hearing. When Fuller reached Paris she gained a nickname which was a pun on "Louie"/"L'ouïe". She was renamed "Loïe" – this nickname is a corruption of the early or Medieval French "L'oïe", a precursor to "L'ouïe", which means "receptiveness" or "understanding". She was also referred to by the nickname "Lo Lo Fuller".

Personal life
Fuller met her romantic partner of over 30 years, Gab Sorère, in the mid-1890s. Sorère was born Gabrielle Bloch, the daughter of wealthy French bankers, in 1870, and eventually took the name Gab Sorère in 1920. Bloch first saw Fuller perform at the age of 14, and by 1898 Fuller and Bloch were living together.

Fuller and Bloch's relationship initially attracted some attention in the press, as Bloch dressed exclusively in menswear, and was 8 years Fuller's junior. The press coverage of their relationship declined over time, focusing more on Fuller's mother, and allowing Bloch and Fuller to live a relatively unbothered life.

Fuller met Crown Princess Marie of Romania, later to become Queen Marie, in 1902, at a performance in Bucharest. Marie and Fuller became close, and maintained an extensive correspondence as close friends. Their relationship was the subject of scandalous rumors, alleging that Fuller and Queen Marie were lovers. Fuller, through a connection at the United States embassy in Paris, played a role in arranging a United States loan for Romania during World War I.

Later, during the period when the future Carol II of Romania was alienated from the Romanian royal family and living in Paris with his mistress Magda Lupescu, she befriended them; they were unaware of her connection to Carol's mother Marie. Fuller initially advocated to Marie on behalf of the couple, but later schemed unsuccessfully with Marie to separate Carol from Lupescu. With Queen Marie and American businessman Samuel Hill, Fuller helped found the Maryhill Museum of Art in rural Washington state, which has permanent exhibits about her career.

Later life and death
Fuller occasionally returned to America to stage performances by her students, the "Fullerets" or Muses, but spent the end of her life in Paris. She died of pneumonia at the age of 65 on January 1, 1928, in Paris, two weeks shy of her 66th birthday. She was cremated and buried in the columbarium of the Père-Lachaise cemetery (site No. 5382) in Paris.

Legacy
After Fuller's death, her romantic partner of thirty years, Gab Sorère inherited the dance troupe as well as the laboratory Fuller had operated. Sorère took legal action against dancers who wrongfully used Fuller's fame to enhance their own careers   and produced both films and theatrical productions to honor Fuller's legacy as a visual effects artist.

Fuller's work has been experiencing a resurgence of professional and public interest. Rhonda K. Garelick's 2009 study entitled Electric Salome demonstrates her centrality not only to dance, but also modernist performance. Sally R. Sommer has written extensively about Fuller's life and times Marcia and Richard Current published a biography entitled Loie Fuller, Goddess of Light in 1997. The philosopher Jacques Rancière devoted a chapter of Aisthesis, his history of modern aesthetics, to Fuller's 1893 performances in Paris, which he considers emblematic of Art Nouveau in their attempt to link artistic and technological invention. Giovanni Lista compiled a 680-page book of Fuller-inspired art work and texts in Loïe Fuller, Danseuse de la Belle Epoque in 1994. In the 1980s, Munich dancer Brygida Ochaim revived Fuller's dances and techniques, also appearing in the Claude Chabrol film The Swindler.

In 2016, Stéphanie Di Giusto directed the movie The Dancer about the life of Loïe Fuller, with actresses Soko as Loïe and Lily-Rose Depp as Isadora Duncan. Jody Sperling choreographed Soko's dances for the movie, served as creative consultant and was Soko's dance coach, training her in Fuller technique. The movie premiered at the 2016 Cannes Film Festival.

Fuller continues to be an influence on contemporary choreographers. Sperling, who re-imagines Fuller's genre from a contemporary perspective, has choreographed dozens of works inspired by Fuller and expanded Fuller's vocabulary and technique into the 21st century. Sperling's company Time Lapse Dance consists of six dancers all versed in Fuller-style technique and performance. Another is Ann Cooper Albright, who collaborated with a lighting designer on a series of works that drew inspiration from Fuller's original lighting design patents. Shela Xoregos choreographed a tribute, La Loȉe, a solo which shows several of Fuller's special effects.

Taylor Swift's 2018 Reputation Tour featured a segment dedicated to Fuller. During her performance of "Dress" each night on the tour, several dancers recreated the "Serpentine Dance." In the Reputation Stadium Tour concert film on Netflix, after "Dress" there is a message showing Taylor's dedication to Fuller.

Into the 2019 film Radioactive Loie Fuller (Drew Jacoby) is a friend of the main character Marie Curie. The scientist envisions Fuller dancing in the green light of radium. The dancer also introduces the Curies to a medium.

Written works
Fuller's autobiographical memoir Quinze ans de ma vie was written in English, translated into French by Bojidar Karageorgevitch and published by F. Juven (Paris) in 1908 with an introduction by Anatole France. She drafted her memoirs again in English a few years later, which were published under the title Fifteen Years of a Dancer's Life by H. Jenkins (London) in 1913. The New York Public Library Jerome Robbins Dance Collection holds the nearly complete manuscript to the English edition and materials related to the French edition.

Fuller's autobiography is a first hand account, and she was known for being very adaptive in her story telling. There are seven highly dramatized versions of how she got her first silk skirt; however, the real story is unknown. As well as writing about inventing the Serpentine Dance, she also wrote extensively about her own theories of modern dance and motion.

title: Loie Fuller


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Ruth St. Denis

Ruth St. Denis (born Ruth Dennis; January 20, 1879 – July 21, 1968) was an American pioneer of modern dance, introducing eastern ideas into the art and paving the way for other women in dance. She was inspired by the Delsarte advocate Genevieve Stebbins. St. Denis was the co-founder in 1915 of the American Denishawn School of Dancing and Related Arts. She taught notable performers including Martha Graham and Doris Humphrey. In 1938, she founded the pioneering dance program at Adelphi University. She published several articles on spiritual dance and the mysticism of the body.

Her signature solos continue to be performed. She was inducted into the National Museum of Dance and Hall of Fame in 1987.

Early life
Ruth Dennis was born in Newark, New Jersey on January 20, 1879. Her parents were Ruth Emma Hull (a physician by training), and Thomas Laban Dennis, a machinist and inventor; they were not married. She was raised on the small Pin Oaks Farm in New Jersey, where she studied Christian Science. She used to invent melodramas, specialising in fainting and collapsing to the floor in front of an audience of friends. As a child, she learned exercises based on François Delsarte's Society Gymnastics and Voice Culture. This was the beginning of St. Denis's dance training, and was instrumental in developing her technique later in life. In 1891 she raised the money to travel briefly to New York, auditioning in the Marwig studio; she was pronounced to have talent, and her mother set about getting her into theatre. In 1892, she witnessed the Delsarte advocate Genevieve Stebbins performing a matinee, The Dance of Day; she described the experience as "the real birth of my art life".

Debut
In 1894, after years of practicing Delsarte poses, she debuted as a skirt dancer for Worth's Family Theatre and Museum. From this modest start, she progressed to touring with an acclaimed producer and director, David Belasco; this gave her the opportunity to observe Belasco's skill in creating a theatrical atmosphere with a "perfect combination of subliminal suggestion and concrete detail". While touring in Belasco's production of Madame DuBarry in 1904 she had a career-changing moment. She was at a drugstore with another member of Belasco's company in Buffalo, New York, when she saw a poster advertising Egyptian Deities brand cigarettes. The poster portrayed the Egyptian goddess Isis enthroned in a temple; this image captivated her on the spot and inspired her to create dances that expressed the mysticism that the goddess's image conveyed. From then on, she was immersed in Oriental philosophies. In 1905, she began her career as a solo artist, soon making her first European tour using the stage name of St. Denis. The first piece that resulted from her interest in the Orient was Radha performed in 1906. Drawing from Hindu mythology, Radha is the story of Krishna and his love for a mortal milkmaid. Radha was originally performed to music from Léo Delibes' opera Lakmé. This piece was a celebration of the five senses and appealed to a contemporary fascination with the Orient. In 1909, St. Denis performed a Salome dance at Broadway's Hudson Theatre. This was during the height of the "Salomania" craze in the U.S., and one reviewer declared she was “out-Salomeing all the Salomes" and that "Miss St. Denis burst upon dazzled audiences.” Although her choreography was not culturally accurate or authentic, it was expressive of the themes that St. Denis perceived in Oriental culture and highly entertaining to contemporary audiences. St. Denis believed dance to be a spiritual expression, and her choreography reflected this idea.

Denishawn
In 1911, a young dancer named Ted Shawn was impressed by seeing St. Denis perform in Denver. In 1914, Shawn applied to be her student, and soon became her artistic partner and husband. Together they founded Denishawn, the "cradle of American modern dance." One of her more famous pupils was Martha Graham. Together St. Denis and Shawn founded the Los Angeles Denishawn school in 1915. Students studied ballet movements without shoes, ethnic and folk dances, Dalcroze Eurhythmics, and Delsarte gymnastics. In 1916 they created a collection of dances inspired by Egypt, which included Tillers of the Soil, a duet between St. Denis and Shawn, as well as Pyrrhic Dance, an all-male dance piece. Her exploration of the Orient continued into 1923 when she staged Ishtar of the Seven Gates in which she portrayed a Babylonian goddess. Together St. Denis and Shawn toured throughout the 1910s and 1920s, often performing their works on the vaudeville stage.

Other notable dancers such as Doris Humphrey, Lillian Powell, Evan-Burrows Fontaine and Charles Weidman studied at Denishawn. Graham, Humphrey, Weidman and the future silent film star Louise Brooks all performed as dancers with the Denishawn company. At Denishawn, St. Denis served as inspiration to her young students, while Shawn taught the technique classes. St. Denis and Shawn were instrumental in creating the legendary dance festival Jacob's Pillow.

Later career
Although Denishawn had crumbled by 1930, St. Denis continued to dance, teach and choreograph independently as well as in collaboration with other artists. St. Denis redirected her works from Orient-inspired to combining religion and dance through her Rhythmic Choir of Dancers. Kelly Mayo comments that through these works, St. Denis sought to embody the Virgin Mary in the same manner in which she once sought to embody goddesses. In 1938 St. Denis founded Adelphi University's dance program, one of the first dance departments in an American university. It has since become a cornerstone of Adelphi's Department of Performing Arts. She cofounded a second school in 1940, the School of Nataya, which focused on teaching Oriental dance. For many years, St. Denis taught dance at her studio, at 3433 Cahuenga Boulevard West, near Universal City, California.

Death and legacy
St. Denis died in Los Angeles on July 21, 1968, aged 89. Her signature solos continue to be performed as in "The Art of the Solo" at the Baltimore Museum of Art in 2006, which began with St. Denis's "The Incense". George Jackson described this as "waft[ing] into space as the image of a woman in motion amidst ascending spirals of smoke", conveying "serenity, 'spirituality' if you will, ... [not] at odds with sensuality."

St. Denis was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in 1987, its first year.

The global organization Dances of Universal Peace were started by a student of St. Denis, Samuel L. Lewis. The Dances of Universal Peace organization subsequently published many of St. Denis's writings on spiritual dance and the mysticism of the body.

Books

 * Lotus Light. Poems. Boston/New York, 1932.
 * An Unfinished Life: an Autobiography. Dance Horizons Republication, Brooklyn, New York, 1969.

Articles

 * "Ballet of the States". Dance Chronicle. Studies in Dance and the Related Arts. Volume 20, Issue 1/1997, pp. 52–60.
 * "Dance as spiritual expression". Rogers, Frederick Rand (ed.): Dance: A Basic Educational Technique. A Functional Approach to the Use of Rhythmics and Dance as Prime Methods of Body Development and Control, and Transformation of Moral and Social Behaviour. Dance Horizons, New York 1980, pp. 100–111, ISBN 978-0-8712-7108-2.
 * "The Dance as Life Experience". Brown, Jean Morrison (ed.): The Vision of Modern Dance. Princeton Book Company, Princeton/New Jersey 1979, pp. 21–25, ISBN 978-0-9166-2213-8.
 * "Religious Manifestations in the Dance". Sorell, Walter (ed.): The Dance has many Faces. Columbia University Press, New York/London 1968, pp. 12–18, ISBN 978-0-2310-2968-1.
 * "Freedom. A Rhythmic Interpretation". Dance Observer. Volume 23, Issue 1/1956, pp. 6–7.
 * "What is Religious Dance?" Dance Observer. Volume 17, Issue 5/1950, pp. 68–69.
 * "Seeds of a New Order". Division of Higher Education of the Board of Education of the United Methodist Church (ed.): Motive. Volume 8, Issue 7/1948, pp. 28–29.
 * "My Vision". Dance Observer. Volume 7, Issue 3/1940, pp. 33, 42.
 * "The Dance of the East". Theatre Arts Monthly. The International Magazine of Theatre and Screen. August 1927, pp. 605–612.

title: Ruth St. Denis


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Scott Speicher

Michael Scott Speicher (July 12, 1957 – unknown) was a naval aviator in the United States Navy who was shot down over Iraq during the Persian Gulf War becoming the first American combat casualty of the war. His fate was not known until 2 August 2009 when the U.S. Navy reported that Speicher's remains had been found in Iraq by the United States military. The official cause of death was "homicide by undetermined means" and DNA testing showed survival after his crash. He is also the most recent American to have been shot down in air-to-air combat.

Early life and education
Michael Scott Speicher was born in Kansas City, Missouri, on 12 July 1957. Scott and his sister went to Lakewood Elementary School and Eastgate Middle School before attending Winnetonka High School.

When Speicher was 15, his family moved to Jacksonville, Florida, where he attended Nathan Bedford Forrest High School. After graduating from high school, he then attended Florida State University (FSU). Speicher graduated from FSU in 1980 with a bachelor's degree in accounting and business management. While at Florida State, he met Joanne, whom he eventually married, and they had two children. 18 months after Speicher went missing in the 1991 Persian Gulf War, friend and fellow U.S. Navy pilot Buddy Harris married Joanne, and they had two more children.

Speicher's father had been a fighter pilot in World War II. Speicher went on his first airplane flight when he was five years old. Speicher was a cadet member of the Civil Air Patrol as a teenager. Upon graduation from FSU, Speicher joined the U.S. Navy and attended Aviation Officer Candidate School at Naval Air Station Pensacola, Florida. After flight training at various bases, he was designated as a naval aviator and spent several years as both a fleet squadron aviator in the A-7 Corsair II and F/A-18 Hornet and as a flight instructor on the F/A-18.

By the early 1990s, Speicher had attained the rank of lieutenant commander and was stationed at NAS Cecil Field near Jacksonville, Florida. He was assigned to Strike Fighter Squadron Eighty One (VFA-81 Sunliners), deploying with Carrier Air Wing 17 (CVW-17) aboard the aircraft carrier USS Saratoga (CV-60). At the time of his deployment to the Iraq theater, Speicher and his wife had a 3-year-old daughter and 1-year-old son.

Loss incident
Speicher was flying an F/A-18 Hornet fighter, BuNo 163484, when he was shot down by Iraqi Air Force (IQAF) aircraft 100 miles west of Baghdad, in the early hours of 17 January 1991, the first night of Operation Desert Storm. His plane crashed in a remote, uninhabited wasteland known as Tulul ad Dulaym at 33.24328°N, 42.35504°W. He was the first combat casualty for American forces in the war.

The U.S. Navy maintained in a 1997 document that Speicher was downed by a surface-to-air missile. However, an unclassified summary of a 2001 CIA report suggests that Speicher's aircraft was shot down by a missile fired from an Iraqi aircraft, most likely a MiG-25, flown by Lieutenant Zuhair Dawoud, 84th squadron of the IQAF. Speicher was at 28,000 feet and travelling at 0.92 Mach (540 knots) when the front of the aircraft suffered a catastrophic event. The impact from the R-40 missile threw the aircraft laterally off its flight path between fifty and sixty degrees with a resulting 6 g minimum load. A pilot on the same mission stated: "I'm telling you right now, don't believe what you're being told. It was that MiG that shot Spike down."

1990s
The day after the shoot-down, Speicher was placed on MIA status. On 22 May 1991, after the end of the Gulf War, Speicher's status was changed to killed in action, body not recovered (KIA/BNR). Navy Commander Buddy Harris, who was a friend and fellow naval aviator of Speicher's, became a strong advocate for searching for Speicher, often meeting with U.S. officials.

In December 1993, a military official from Qatar discovered the wreckage of a plane in the desert, which was subsequently identified as Speicher's aircraft. The canopy was a good distance from the rest of the aircraft, suggesting Speicher had tried to eject. In April 1994, a U.S. satellite photographed apparent human-made symbols on the desert floor near the wreck's location, which might possibly be Speicher's E & E (Escape and Evade) sign, suggesting that Speicher might have survived the crash. A covert American operation to inspect the site was considered, but rejected by Chairman of the Joint Chiefs of Staff, General John Shalikashvili, as too risky.

In December 1995, working through the International Committee of the Red Cross, investigators from the U.S. Navy and U.S. Army's Central Identification Laboratory went to Iraq and conducted an excavation of the crash site. Bedouin nomads gave investigators a flight uniform that was likely Speicher's, with his name supposedly cut out of it, but the investigators concluded it had been planted there. Other evidence led investigators to further conclude Speicher had likely ejected, and was not in the plane at the time it crashed. In September 1996, the Secretary of the Navy in a new review reaffirmed the presumptive finding of death.

In 1997, a U.S. Department of Defense document leaked to The New York Times showed that the Pentagon had not been forthcoming with information previously requested by U.S. Senator Rod Grams of Minnesota. Senator Grams publicly accused the Pentagon of misleading him, and joined with Senator Bob Smith of New Hampshire in calling for an investigation by the Senate Intelligence Committee. The Speicher case was taken up by the National Alliance of Families, which had been quite active in the Vietnam War POW/MIA issue. Speculative theories were developed as to the circumstances of Speicher's shoot-down, and assuming he was still alive, why the U.S. military might not want to find him and why Iraq might not want to return him.

2000s
In January 2001, the Secretary of the Navy changed Speicher's status to "missing in action". This was the first time the Defense Department had ever made such a change. In conjunction with the change in classification, Speicher was promoted to commander, in accordance with U.S. Navy practice for POWs held a long time. The 2001 CIA report stated that he may have survived by ejecting. Rumors from Iraq said that Speicher was captive, walked with a limp, and had facial scars. In July 2002, Speicher was further promoted to Captain.

Speicher's possible situation became a more high-profile issue in the build-up to war. In March 2002, the Washington Times ran five successive front-page articles about it, National Review Online ran a long piece on it, and on 12 September 2002, President George W. Bush mentioned Speicher in a speech to the United Nations General Assembly as part of his case for war against Iraq. Senator Bill Nelson of Florida also took a strong interest in the case. Speicher's status was changed again to "missing/captured" on 11 October 2002, one day after the United States Congress authorized the use of military force in Iraq. Then-U.S. Secretary of the Navy Gordon R. England said, "While the information available to me now does not prove definitively that Commander Speicher is alive and in Iraqi custody, I am personally convinced the Iraqis seized him sometime after his plane went down. Further, it is my firm belief that the government of Iraq knows what happened to Cmdr. Speicher."

Upon the 2003 invasion of Iraq in March 2003, a major investigation on the ground began, that also further increased public attention to the matter. In April 2003, Speicher's possible initials were discovered in a cell at Hakmiyah prison in Baghdad. Investigators did not think it was significant because a similar carving of "MJN" was found directly above the "MSS" scrawl. Subsequent tests on hair found in the cell's drain did not match Speicher's DNA. Senator Nelson went to Iraq to visit the prison personally. Speicher's name was also found on a document in Iraq, dated January 2003, that had the names of prisoners being held in the country. Officials stated that the 90-page document offered no evidence of whether Speicher was alive and might have been written either to provide an accounting of former Iraqi POWs or to confuse the U.S. military.

Over time, as the U.S. occupation increasingly gained control over Anbar Province, the Pentagon said that Speicher probably was not captured.

On 5 January 2009, the U.S. Navy held a review board to consider officially closing the case. The review board recommended that the Pentagon continue investigating what happened to Speicher. The recommendation went to Secretary of the Navy Donald C. Winter who had the final decision. Speicher's family believed and was worried that would change the status of Captain Speicher to KIA and declared they would oppose such action.

On 10 March 2009, the Secretary of the Navy declared that Captain Speicher's status was changed from "Missing/Captured" back to "Missing-in-Action."

Discovery and positive identification
On 2 August 2009, the Navy reported that Speicher's remains were found in Iraq by United States Marines from 3rd Battalion, 3rd Marines. His jawbone was used to identify him after study at the Charles C. Carson Center for Mortuary Affairs at Dover Air Force Base. According to local civilians, Speicher was buried by Bedouins after his plane was shot down. Senator Nelson attributed the delayed finding to the culture of the locality: "These Bedouins roam around in the desert, they don't stay in one place, and it just took this time to find the specific site."

Speicher's family expressed gratitude that the Defense Department had stayed with the case and that closure was now available. The Christian Science Monitor termed the case "a veritable saga punctuated with hope, uncertainty, and despair for the past 18 years."

Legacy
Florida State University named its tennis center after Speicher, an avid player. The $1.2 million Scott Speicher Tennis Complex was completed in 2003. In 2018, FSU President John Thrasher joined members of Speicher’s family to unveil a new memorial honoring Speicher. The memorial, located at the entrance of the tennis facility named after him in 1993, features a bronze Navy pilot’s helmet and oxygen mask and will eventually include a bronze Navy G-1 flight jacket and naval officer's khaki garrison cap similar to what Speicher would have worn.

A memorial statue and plaque were erected on Naval Air Station Cecil Field and dedicated to him. The Naval Air Station has since been deactivated but the facility remains in operation as a joint civil–military airport.

A memorial head marker dedicated to Speicher stood in Section H of Arlington National Cemetery in Virginia as of 2002. The memorial markers are erected when there are no identifiable remains for an individual whose death has been substantiated. Cemetery policy states that if remains are later recovered, the head marker will be interred with the coffin.

In effort to honor Speicher, a former Iraqi air base in the northern Iraqi city of Tikrit was renamed COB Speicher.

A U.S. Navy F/A-18 Hornet on display outside the Naval Aviation Schools Command at NAS Pensacola, Florida, was dedicated to the Speicher family in May 2009. The aircraft was painted in the markings of United States Navy squadron VFA-81 "Sunliners" and USS Saratoga (CV-60), which was Speicher's squadron and ship when he was shot down. A front-page story in the 7 August 2009 issue of the Naval Air Station Pensacola newspaper Gosport describes how Speicher's remains were discovered and identified after 18 years. The story has a photo of Speicher's children talking with a member of VFA-81 next to the plane.

On 13 August 2009, the remains of Captain Speicher arrived in Florida 18 years after having been shot down in the Persian Gulf War. The plane containing his remains touched down at Naval Air Station Jacksonville at 3 p.m. Thousands of friends and family gathered for his burial. Captain Speicher's final resting place is at the Jacksonville Memory Garden located in Orange Park, Florida.

On 7 September 2009, Captain Speicher was honored at the start of the Florida State University football game against the University of Miami at Bobby Bowden Field at Doak Campbell Stadium when a flight of F/A-18s performed the missing man formation.

On Memorial Day 2010, an American flag and a wooden cross bearing his name were commissioned, adding him to the Clay County Florida Parade of Flags.

Family
Speicher was married to JoAnne and they had two children (Meghan and Michael).

In the early months and years after Speicher's incident over Iraq, JoAnne Speicher was supported by Speicher's friend, "Buddy" Harris. Eventually, the two became a couple and married. Harris took her two children as his own, then they had two children (Madison and Makenzie) of their own. Harris was a significant voice for action to settle the details of Speicher's death, and has been an ongoing voice for POWs and MIAs.

title: Scott Speicher


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Alexander Island

Alexander Island, which is also known as Alexander I Island, Alexander I Land, Alexander Land, Alexander I Archipelago, and Zemlja Alexandra I, is the largest island of Antarctica. It lies in the Bellingshausen Sea west of Palmer Land, Antarctic Peninsula from which it is separated by Marguerite Bay and George VI Sound. The George VI Ice Shelf entirely fills George VI Sound and connects Alexander Island to Palmer Land. The island partly surrounds Wilkins Sound, which lies to its west. Alexander Island is about 240 mi long in a north–south direction, 50 mi wide in the north, and 150 mi wide in the south. Alexander Island is the second-largest uninhabited island in the world, after Devon Island.

History
Alexander Island was discovered on January 28, 1821, by a Russian expedition under Fabian Gottlieb von Bellingshausen, who named it Alexander I Land for the reigning Tsar Alexander I of Russia.

What, in fact, is an island, was believed to be part of the Antarctic mainland until 1940. Its insular nature was proven in December 1940, by a two-person sledge party composed of Finn Ronne and Carl Eklund of the United States Antarctic Service. In the 1950s, a British base administered as part of the British Antarctic Territory was constructed as Fossil Bluff (Base KG).

The island was claimed by the United Kingdom in 1908 as part of the British Antarctic Territory. Territorial claims have also been set by both Chile (in 1940) and Argentina (in 1942). Currently, under the Antarctic Treaty no claim has been officially recognized. The island contains the British Fossil Bluff meteorological centre and refuelling base.

Geography
The surface of Alexander Island is predominantly ice-covered. There exist some exposed nunataks and a few ice-free areas of significant size, including Ablation Point Massif. The nunataks are the peaks of north–south trending mountain ranges and hills. They include the Colbert, Havre, Lassus, Rouen, Sofia University, and Walton Mountains, the Staccato Peaks, the Lully Foothills, the Finlandia Foothills, the Elgar Uplands, and the Douglas Range. These mountains, peaks, hills, and uplands are surrounded by a permanent ice sheet, which consists of glaciers that flow off of Alexander Island. These glaciers flow west into the Bach and Wilkins Ice Shelves and Bellingshausen Sea, and east into the George VI Ice Shelf. The George VI Ice Shelf is fed by both by outlet glaciers from the ice cap on Palmer Land and Alexander Island.

Another notable feature of Alexander Island is Hodgson Lake, a former subglacial lake that has emerged from under an ice sheet that had covered it. Hodgson Lake is 2 km long by 1.5 km, and has a 93.4 m deep water column that lies sealed beneath a 3.6 to 4.0 m thick perennial lake ice.

The northern side of Hodgson Lake is bounded by the Saturn Glacier, which flows east into George VI Sound, while the southern side of Hodgson Lake is bounded by the northern face of Citadel Bastion. During the Last Glacial Maximum, Hodgson Lake was covered by the ice sheet at least 470 m thick.

This ice sheet started thinning about 13,500 years ago. It retreated and left Hodgson Lake covered by perennial ice sometime before 11,000 years ago. This lake has been covered by perennial ice since that time.

Other features on the island include Damocles Point and Mount Tyrrell.

Brahms Inlet
Brahms Inlet (-71.46667°N, -73.68333°W) is an ice-filled inlet, 25 nmi long and 6 nmi wide, indenting the north side of Beethoven Peninsula on Alexander Island between Harris Peninsula and Derocher Peninsula, while the headland Mazza Point lies immediately northeast of the inlet and Mount Grieg lies immediately southeast of the base of Brahms Inlet. It was observed from the air and first mapped by the Ronne Antarctic Research Expedition (RARE), 1947–48, and re-mapped from the RARE air photos by Derek J.H. Searle of the Falkland Islands Dependencies Survey in 1960. It was named by the UK Antarctic Place-Names Committee after Johannes Brahms, the German composer.

Harris Peninsula
Harris Peninsula (-71.51667°N, -74.1°W) is a broad snow-covered peninsula surmounted by Mount Lee, between Verdi Inlet and Brahms Inlet on the north side of the Beethoven Peninsula, located in the southwest portion of Alexander Island, Antarctica. It is one of eight peninsulas of Alexander Island. It was photographed from the air by the RARE, 1947–48, and mapped from these photographs by D. Searle of the Falkland Islands Dependencies Survey, 1960. It was named by the Advisory Committee on Antarctic Names for Commander Michael J. Harris, U.S. Navy, Commanding Officer of Squadron VXE-6, from May 1982 to May 1983.

Lyadov Glacier
Lyadov Glacier (-71.53333°N, -73.75°W) is a glacier flowing east-northeast from Harris Peninsula, Alexander Island, into Brahms Inlet. It was named by the USSR Academy of Sciences in 1987 after Anatoly Lyadov (1855–1914), a Russian composer.

Geology
According to Hole, "The geology of Alexander Island can be attributed mainly to processes associated with the subduction of proto-Pacific oceanic crust along the western margin of the Antarctic Peninsula, from latest Triassic to Late Tertiary times." The LeMay Group accretionary prism complex, along with plutonic and volcanic rocks, are prevalent along the western portion of the island. The LeMay Group consists of variably-deformed and metamorphosed sedimentary and igneous rocks. Although it is dominated by deformed arkosic sedimentary rocks, it includes turbiditic greywackes, black mudstones, and conglomerates. The 4 km thick Upper Jurassic to Lower Cretaceous Fossil Bluff Group sedimentary rocks outcrop as a 250 km long by 30 km wide belt along the eastern coast. This Fossil Bluff Group consists of a basal deep-marine assemblage 2200 m thick, overlain by a mudstone assemblage up to 950 m thick, followed by a shallow-marine assemblage of coarsening upward sandstones. Alkali basalts erupted after the cessation of subduction. These range in age from the tephrites at Mount Pinafore (5.5–7.6 Ma), to the basanites at Rothschild Island (5.5 Ma) and Hornpipe Heights (2.5 Ma), to the alkali and olivine basalts on Beethoven Peninsula (<1-2.5 Ma).

The LeMay Range Fault trends N-S, parallel to the George VI Sound, and the Fossil Bluff Formation is downfaulted to the east of this fault against the LeMay Group. Sand dykes are found against this fault zone and in many other parts of the Fossil Bay Formation. Fossils within the Fossil Bluff Formation include ammonites, belemnites, bivalves, and serpulids.

title: Alexander Island


text:
Category:Applied sciences

Applied science is the use or the study of the use of scientific knowledge to develop technology.

title: Category:Applied sciences