text:
See Hear

See Hear is a monthly magazine programme for deaf and hard-of-hearing people in the United Kingdom, broadcast on Wednesday mornings at 8.00am. The programme focuses on the British and the worldwide deaf community and covers a broad range of topics from areas such as education, deaf people's rights, technology and language. The programme is presented entirely in BSL and is broadcast with voice-over (until Series 43) and subtitles in English. This allows both deaf and hearing people (who may be learning sign language) to understand the programme. See Hear is currently the fifth longest-running BBC programme.

1980s
See Hear was launched on BBC1 on 11 October 1981, initially as a series of 20 programmes. It was broadcast with open subtitles, and was presented in sign by Martin Colville, a hearing CODA, and a Deaf presenter Maggie Woolley. The programme was originally broadcast on Sunday afternoons during lunchtime. As the series went from strength to strength different topics, such as discussions, chat shows, and special editions focussing on technology and education for Deaf people were added that ran alongside the original magazine.

Over the years See Hear appeal within the Deaf community increased, and with it the involvement of Clive Mason, the series' longest serving presenter who joined in 1984. Clive was prominently involved with the See Hear Christmas and pantomime specials written by Terry Ruane and the late Dorothy Miles, two deaf people with strong backgrounds in Theatre. By the late 1980s the show was focussed on the important issues and concerns of members of the Deaf community. As the show's popularity grew more Deaf staff were recruited to work on the show, both behind the scenes as well as in front of the camera. As the show neared its 10th anniversary, the BBC, along with other Deaf organisations felt that it needed a change to keep it fresh.

See Hear took a brief hiatus from broadcast, while the format of the show was revamped. The new format had a broader scope than the previous one, because the producers felt that Deaf people were interested in different activities and experiences outside of their own community. When See Hear was broadcast following the new format the audience almost doubled. The new format was a success, and with this the BBC recognised BSL as a language.

1990s
From 5 February 1990, a recorded version of the BBC Breakfast News 7.00am bulletin from BBC One was shown on BBC Two for 15 minutes from 8.00 am – 8.15 am with sign language and subtitles under the name as simply Breakfast News. From 9 October 1995, it moved to 7.00am which was a simulcast with BBC One, with Children's BBC following at 7.15am. By February 1996, Children's BBC began at 7.30 am with Breakfast News starting at 7.15am instead of 7.00am, now branded See Hear Breakfast News in the programme schedules, Starting on 6 October 1997 the programme returned to its 7:00am slot from 1995, with CBBC beginning at 7.15am. This practice stopped in April 1998, thus, the weekday CBBC block began on BBC Two full time from 7.00am. Sign language on Breakfast continues to appear from 7.00 am onwards on BBC News.

During the late 1990s, See Hear was moved from the Sunday lunchtime slot to the Saturday morning slot. At this time the show was once again revamped, with new titles and music created for it. The show was also moved to the Light House in Wolverhampton and new presenter Lara Crooks joined the staff. It was renamed See Hear on Saturday. Since the time of this revamp, the show has constantly upgraded itself to keep up with the changes within the deaf community.

2000s
In 2001, See Hear celebrated its 20th anniversary with three new TV projects: Switch, a drama series that revolved around the lives and relationships of people in the deaf community; The House on the Hill for young Deaf children, written by viewer Amy Possart and presented by Lesley McGilp and Julian Peedle-Calloo, and Hay's Way, showcasing the history of various cities around the UK through deaf academic and historian John Hay's visits.

Five years later, See Hear celebrated its 25th anniversary with a retrospective of See Hear's 25-year history. In October, coinciding with the 25th anniversary, See Hear switched from open subtitles, in use since 1981, to closed subtitles, which has to be activated for subtitles to appear on screen.

At the end of the 2006–2007 series, it was announced that See Hear would move its usual broadcast day from Saturday to Wednesday.

2010s
As of January 2013, See Hear airs on BBC Two on the first Wednesday of every month at around 8:00am, although this schedule would sometimes be altered if any events occur in the schedule (e.g. Christmas & New Year).

William Mager was appointed to produce the 33rd series in July 2013, which makes him See Hear's first deaf series producer since Terry Riley's departure in 2008. The following year, the 34th series was commissioned to be aired weekly until March 2015.

In June 2023, the BBC announced that the programme, alongside DIY SOS would be put up for tender as part of the broadcaster's competitive tender policy.

title: See Hear


text:
Euclidean group

In mathematics, a Euclidean group is the group of (Euclidean) isometries of a Euclidean space $$\mathbb{E}^n$$; that is, the transformations of that space that preserve the Euclidean distance between any two points (also called Euclidean transformations). The group depends only on the dimension n of the space, and is commonly denoted E(n) or ISO(n), for inhomogeneous special orthogonal group.

The Euclidean group E(n) comprises all translations, rotations, and reflections of $$\mathbb{E}^n$$; and arbitrary finite combinations of them. The Euclidean group can be seen as the symmetry group of the space itself, and contains the group of symmetries of any figure (subset) of that space.

A Euclidean isometry can be direct or indirect, depending on whether it preserves the handedness of figures. The direct Euclidean isometries form a subgroup, the special Euclidean group, often denoted SE(n) and E+(n), whose elements are called rigid motions or Euclidean motions. They comprise arbitrary combinations of translations and rotations, but not reflections.

These groups are among the oldest and most studied, at least in the cases of dimension 2 and 3 – implicitly, long before the concept of group was invented.

Dimensionality
The number of degrees of freedom for E(n) is n(n + 1)/2, which gives 3 in case n = 2, and 6 for n = 3. Of these, n can be attributed to available translational symmetry, and the remaining n(n − 1)/2 to rotational symmetry.

Direct and indirect isometries
The direct isometries (i.e., isometries preserving the handedness of chiral subsets) comprise a subgroup of E(n), called the special Euclidean group and usually denoted by E+(n) or SE(n). They include the translations and rotations, and combinations thereof; including the identity transformation, but excluding any reflections.

The isometries that reverse handedness are called indirect, or opposite. For any fixed indirect isometry R, such as a reflection about some hyperplane, every other indirect isometry can be obtained by the composition of R with some direct isometry. Therefore, the indirect isometries are a coset of E+(n), which can be denoted by E−(n). It follows that the subgroup E+(n) is of index 2 in E(n).

Topology of the group
The natural topology of Euclidean space $$\mathbb{E}^n$$ implies a topology for the Euclidean group E(n). Namely, a sequence fi of isometries of $$\mathbb{E}^n$$ ($$i \in \mathbb{N}$$) is defined to converge if and only if, for any point p of $$\mathbb{E}^n$$, the sequence of points pi converges.

From this definition it follows that a function $$f:[0,1] \to E(n)$$ is continuous if and only if, for any point p of $$\mathbb{E}^n$$, the function $$f_p: [0,1] \to \mathbb{E}^n$$ defined by fp(t) = (f(t))(p) is continuous. Such a function is called a "continuous trajectory" in E(n).

It turns out that the special Euclidean group SE(n) = E+(n) is connected in this topology. That is, given any two direct isometries A and B of $$\mathbb{E}^n$$, there is a continuous trajectory f in E+(n) such that f(0) = A and f(1) = B. The same is true for the indirect isometries E−(n). On the other hand, the group E(n) as a whole is not connected: there is no continuous trajectory that starts in E+(n) and ends in E−(n).

The continuous trajectories in E(3) play an important role in classical mechanics, because they describe the physically possible movements of a rigid body in three-dimensional space over time. One takes f(0) to be the identity transformation I of  $$\mathbb{E}^3$$, which describes the initial position of the body. The position and orientation of the body at any later time t will be described by the transformation f(t). Since f(0) = I is in E+(3), the same must be true of f(t) for any later time. For that reason, the direct Euclidean isometries are also called "rigid motions".

Lie structure
The Euclidean groups are not only topological groups, they are Lie groups, so that calculus notions can be adapted immediately to this setting.

Relation to the affine group
The Euclidean group E(n) is a subgroup of the affine group for n dimensions, and in such a way as to respect the semidirect product structure of both groups. This gives, a fortiori, two ways of writing elements in an explicit notation. These are:

 * 1) by a pair (A, b), with A an n × n orthogonal matrix, and b a real column vector of size n; or
 * 2) by a single square matrix of size n + 1, as explained for the affine group.

Details for the first representation are given in the next section.

In the terms of Felix Klein's Erlangen programme, we read off from this that Euclidean geometry, the geometry of the Euclidean group of symmetries, is, therefore, a specialisation of affine geometry. All affine theorems apply. The origin of Euclidean geometry allows definition of the notion of distance, from which angle can then be deduced.

Subgroup structure, matrix and vector representation
The Euclidean group is a subgroup of the group of affine transformations.

It has as subgroups the translational group T(n), and the orthogonal group O(n). Any element of E(n) is a translation followed by an orthogonal transformation (the linear part of the isometry), in a unique way: $$x \mapsto A (x + b)$$ where A is an orthogonal matrix

or the same orthogonal transformation followed by a translation: $$x \mapsto A x + c,$$ with $c = Ab$

T(n) is a normal subgroup of E(n): for every translation t and every isometry u, the composition $$u^{-1}tu$$ is again a translation.

Together, these facts imply that E(n) is the semidirect product of O(n) extended by T(n), which is written as $$\text{E}(n) = \text{T}(n) \rtimes \text{O}(n)$$. In other words, O(n) is (in the natural way) also the quotient group of E(n) by T(n): $$\text{O}(n) \cong \text{E}(n) / \text{T}(n)$$

Now SO(n), the special orthogonal group, is a subgroup of O(n) of index two. Therefore, E(n) has a subgroup E+(n), also of index two, consisting of direct isometries. In these cases the determinant of A is 1.

They are represented as a translation followed by a rotation, rather than a translation followed by some kind of reflection (in dimensions 2 and 3, these are the familiar reflections in a mirror line or plane, which may be taken to include the origin, or in 3D, a rotoreflection).

This relation is commonly written as: $$\text{SO}(n) \cong \text{E}^+(n) / \text{T}(n)$$ or, equivalently: $$\text{E}^+(n) = \text{SO}(n) \ltimes \text{T}(n).$$

Subgroups
Types of subgroups of E(n):
 * Finite groups.:They always have a fixed point. In 3D, for every point there are for every orientation two which are maximal (with respect to inclusion) among the finite groups: Oh and Ih. The groups Ih are even maximal among the groups including the next category.
 * Countably infinite groups without arbitrarily small translations, rotations, or combinations: i.e., for every point the set of images under the isometries is topologically discrete (e.g., for 1 ≤ m ≤ n a group generated by m translations in independent directions, and possibly a finite point group). This includes lattices. Examples more general than those are the discrete space groups.
 * Countably infinite groups with arbitrarily small translations, rotations, or combinations: In this case there are points for which the set of images under the isometries is not closed. Examples of such groups are, in 1D, the group generated by a translation of 1 and one of $\sqrt{2}$, and, in 2D, the group generated by a rotation about the origin by 1 radian.
 * Non-countable groups, where there are points for which the set of images under the isometries is not closed: (e.g., in 2D all translations in one direction, and all translations by rational distances in another direction).
 * Non-countable groups, where for all points the set of images under the isometries is closed: e.g.:
 * all direct isometries that keep the origin fixed, or more generally, some point (in 3D called the rotation group)
 * all isometries that keep the origin fixed, or more generally, some point (the orthogonal group)
 * all direct isometries E+(n)
 * the whole Euclidean group E(n)
 * one of these groups in an m-dimensional subspace combined with a discrete group of isometries in the orthogonal (n−m)-dimensional space
 * one of these groups in an m-dimensional subspace combined with another one in the orthogonal (n−m)-dimensional space

Examples in 3D of combinations:
 * all rotations about one fixed axis
 * ditto combined with reflection in planes through the axis and/or a plane perpendicular to the axis
 * ditto combined with discrete translation along the axis or with all isometries along the axis
 * a discrete point group, frieze group, or wallpaper group in a plane, combined with any symmetry group in the perpendicular direction
 * all isometries which are a combination of a rotation about some axis and a proportional translation along the axis; in general this is combined with k-fold rotational isometries about the same axis (k ≥ 1); the set of images of a point under the isometries is a k-fold helix; in addition there may be a 2-fold rotation about a perpendicularly intersecting axis, and hence a k-fold helix of such axes.
 * for any point group: the group of all isometries which are a combination of an isometry in the point group and a translation; for example, in the case of the group generated by inversion in the origin: the group of all translations and inversion in all points; this is the generalized dihedral group of R3, Dih(R3).

Overview of isometries in up to three dimensions
E(1), E(2), and E(3) can be categorized as follows, with degrees of freedom:

Chasles' theorem asserts that any element of E+(3) is a screw displacement.

See also 3D isometries that leave the origin fixed, space group, involution.

Commuting isometries
For some isometry pairs composition does not depend on order:
 * two translations
 * two rotations or screws about the same axis
 * reflection with respect to a plane, and a translation in that plane, a rotation about an axis perpendicular to the plane, or a reflection with respect to a perpendicular plane
 * glide reflection with respect to a plane, and a translation in that plane
 * inversion in a point and any isometry keeping the point fixed
 * rotation by 180° about an axis and reflection in a plane through that axis
 * rotation by 180° about an axis and rotation by 180° about a perpendicular axis (results in rotation by 180° about the axis perpendicular to both)
 * two rotoreflections about the same axis, with respect to the same plane
 * two glide reflections with respect to the same plane

Conjugacy classes
The translations by a given distance in any direction form a conjugacy class; the translation group is the union of those for all distances.

In 1D, all reflections are in the same class.

In 2D, rotations by the same angle in either direction are in the same class. Glide reflections with translation by the same distance are in the same class.

In 3D:
 * Inversions with respect to all points are in the same class.
 * Rotations by the same angle are in the same class.
 * Rotations about an axis combined with translation along that axis are in the same class if the angle is the same and the translation distance is the same.
 * Reflections in a plane are in the same class
 * Reflections in a plane combined with translation in that plane by the same distance are in the same class.
 * Rotations about an axis by the same angle not equal to 180°, combined with reflection in a plane perpendicular to that axis, are in the same class.

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

title: Euclidean group


text:
Mesoamerican calendars

The calendrical systems devised and used by the pre-Columbian cultures of Mesoamerica, primarily a 260-day year, were used in religious observances and social rituals, such as divination.

These calendars have been dated to early as ca. 1100 BCE. By 500 BCE at the latest, the essentials were fully defined and functional. 260-day calendars are still used in the Guatemalan highlands, Veracruz, Oaxaca and Chiapas, Mexico.

The importance of aboriginal calendars in ritual and other aspects of Mesoamerican life was noted by many missionary priests, travelers, and colonial administrators, and later by ethnographers who described and recorded the cultures of contemporary Mesoamerican ethnic groups.

Types of calendars
Among the various calendar systems in use, two were particularly central and widespread across Mesoamerica. Common to all recorded Mesoamerican cultures, and the most important, was the 260-day calendar, a ritual calendar with no confirmed correlation to astronomical or agricultural cycles. Apparently the earliest Mesoamerican calendar to be developed was known by a variety of local terms, and its named components and the glyphs used to depict them were culture-specific. However, it is clear that type of calendar functioned in essentially the same way across cultures, and across the chronological periods when it was maintained.

The second of the major calendars was one representing a 365-day period approximating the tropical year, known sometimes as the "vague year". Because it was an approximation, over time the seasons and the true tropical year gradually "wandered" with respect to this calendar, owing to the accumulation of the differences in length. There is little hard evidence to suggest that the ancient Mesoamericans used any intercalary days to bring their calendar back into alignment. However, there is evidence to show Mesoamericans were aware of this gradual shifting, which they accounted for in other ways without amending the calendar itself.

These two 260- and 365-day calendars could also be synchronised to generate the Calendar Round, a period of 18980 days or approximately 52 years. The completion and observance of this Calendar Round sequence was of ritual significance to a number of Mesoamerican cultures.

A third major calendar form known as the Long Count is found in the inscriptions of several Mesoamerican cultures, most famously those of the Maya civilization who developed it to its fullest extent during the Classic period (ca. 200–900 CE). The Long Count provided the ability to uniquely identify days over a much longer period of time, by combining a sequence of day-counts or cycles of increasing length, calculated or set from a particular date in the mythical past. Most commonly, five such higher-order cycles in a modified vigesimal (base-20) count were used.

The use of Mesoamerican calendrics is one of the cultural traits that Paul Kirchhoff used in his original formulation to define Mesoamerica as a culture area. Therefore, the use of Mesoamerican calendars is specific to Mesoamerica and is not found outside its boundaries.

Since the sixteenth century, most communities have lost both of these once universal calendars, but one—or, rarely, both—has survived in diverse linguistic groups through the twentieth century.

Ritual 260-day calendar
In the 260-day cycle 20 day names pairs with 13 day numbers, totaling a cycle of 260 days. This cycle was used for divination purposes to foretell lucky and unlucky days. The date of birth was also used to give names to both humans and gods in many Mesoamerican cultures; some cultures used only the calendar name whereas others combined it with a given name. As a result, the word for “day” also means “name” in some Mesoamerican languages. Each day sign was presided over by a god and many had associations with specific natural phenomena..

History
Earliest written evidence for the 260 calendar include the San Andres glyphs (Olmec, 650 BCE, giving the possible date 3 Ajaw ) and the San Jose Mogote danzante (Zapotec, 600 - 500 BCE, giving the possible date 1 Earthquake ), in both cases assumed to be used as names. However, the earliest evidence of the use of the 260-day cycle comes from astronomical alignments in the Olmec region and western Maya Lowlands, dating to about 1100 BCE.

The exact origin of the 260-day count is not known, but there are several theories. One theory is that the calendar came from mathematical operations based on the numbers thirteen and twenty, which were important numbers to the Maya. The numbers multiplied together equal 260.

Another theory is that the 260-day period came from the length of human pregnancy. This is close to the average number of days between the first missed menstrual period and birth, unlike Naegele's rule which is 40 weeks (280 days) between the last menstrual period and birth. It is postulated that midwives originally developed the calendar to predict babies' expected birth dates.

A third theory comes from understanding of astronomy, geography and paleontology. The Mesoamerican calendar probably originated with the Olmecs, and a settlement existed at Izapa, in southeast Chiapas, Mexico, before 1200 BCE. There, at a latitude of about 15° N, the Sun passes through zenith twice a year, and there are 260 days between zenithal passages, and gnomons (used generally for observing the path of the Sun and in particular zenithal passages), were found at this and other sites. The sacred almanac may well have been set in motion on August 13, 1359, BCE, in Izapa.

Trecenas
In the post-classic Aztec calendar the periods of 13 days called a trecena in Spanish (no indigenous word for this period is known) were also important. The days of a trecena were usually numbered from 1 to 13. There were some exceptions, such as in the Tlapanec area where they were counted from 2 to 14. The first day of the trecena, and the god who was its patron, ruled the following thirteen days. If the first day of a trecena was auspicious then so were the next twelve days.

365-day calendar
This 365-day calendar corresponded was divided into 18 'months' of 20 days each, plus 5 'nameless' days at the end of the year. The 365 day year had no leap year so it varied from the solar year by a quarter of a day each year.

The years were given their name in much the same way as the days of the 260-day calendar, 20 names were paired with 18 numbers giving 360 different possibilities for year names

Veintenas
In the post-classic Aztec calendar the 20 days called veintenas in Spanish and meztli, meaning moon, in Nahuatl, were also important.

The five unlucky days
The five unlucky days were called nemontemi in Mexico. Most believe them to have come at the end of each year, but since we do not know when the year started, we cannot know for sure. We do know though, that in the Maya area these five days (called wayeb in Maya) were always the last days of the year.

The nemontemi were seen as 'the useless days' or the days that were dedicated to no gods, and they had prognostic power for the coming year. Therefore, People tried to do as little as possible on these days, and a person who was born during the nemontemi was considered unlucky.

Calendar Round
Since both the 260-day and the 365-day calendar repeat, approximately every 52 years they reach a common end, and a new Calendar Round begins. This 52-year cycle was the most important for most Mesoamericans, with the apparent exception of the Maya elite until the end of the Classic Era, who gave equal importance to the long count calendar. According to their mythology, at the end of one of these 52-year cycles the world would be destroyed by the gods, as it had been, three times in the Popul Vuh and four times for the Aztecs. While waiting for this to happen, all fire was extinguished, utensils were destroyed to symbolize new beginnings, people fasted and rituals were carried out. This was known as the New Fire Ceremony. When dawn broke on the first day of the new cycle, torches were lit in the temples and brought out to light new fires everywhere, and ceremonies of thanksgiving were performed.

Calendar Wheels
The term calendar wheel generally refers to Colonial-period images that display cycles of time in a circular format. Central Mexican calendar wheels incorporate the eighteen annual festivals or the 52-year cycle. In the Maya area, calendar wheels depict a cycle of 13 K'atuns. The only known pre-Hispanic K'atuns wheel appears on a stone turtle from Mayapán.

The earliest known Colonial-period calendar wheel is actually depicted in a square format, on pages 21 and 22 of the Codex Borbonicus, an Aztec screenfold that divides the 52-year cycle into two parts. The Codex Aubin, also known as the Codex of 1576, shows the 52-year calendar in a rectangular format on a single page. Most other calendar wheels use a circular format. The Boban calendar wheel, an early sixteenth-century calendar on native paper, depicts the Central Mexican cycle of eighteen festivals in clockwise rotation, with Arabic numerals used to total the number of days; virtually all the text is in Nahuatl. Some paired festivals share the same glyph, but they are represented in different sizes, the first being the “small feast” and the second the “great feast.” In the center, a 7 Rabbit date (1538) appears with text and images that refer to Tetzcocan town officers.

Lords of the day
In the post-classic Aztec calendar, there were 13 Lords of the Day. These were gods (and goddesses) who each represented one of the 13 days in the trecenas of the 260-day calendar. The same god always represented the same day. Quetzalcohuatl (The feathered serpent), for example, always accompanied the 9th day.

Lords of the Night
There are only nine Lords of the Night, which means that they cannot always represent the same day, but the list of gods repeats itself again and again so each lord accompanies a new number each trecena. Some think that there are nine Lords of the Night because they are connected to the nine levels of the underworld.

Long Count

The 365-day and the 260-day calendars identified and named the days, but not the years. The combination of a solar year date and a 260-year date was enough to identify a specific date to most people's satisfaction, as such a combination did not occur again for another 52 years, above general life expectancy. To measure dates over periods longer than 52 years, the Mesoamericans devised the Long Count calendar. This calendar system was probably developed by the Olmecs and later adopted by the Maya. The use of the long count is best attested among the classic Maya, it is not known to have been used by the central Mexican cultures.

The Long Count calendar identifies a date by counting the number of days from August 11, 3114 BCE in the proleptic Gregorian calendar or September 6, 3114 BCE in the Julian Calendar (-3113 astronomical). The Long Count days were tallied in a modified base-20 scheme. Thus 0.0.0.1.5 is equal to 25, and 0.0.0.2.0 is equal to 40.

Long count
The correlation is based on historical, archaeological and astronomical evidence.

The commonly established way of expressing the correlation between the Maya calendar and the western calendars is to provide number of days from the start of the Julian Period (Monday, January 1, 4713 BCE) to the start of creation on 13.0.0.0.0 4 Ajaw, 8 Kumk'u.

The most commonly accepted correlation is the "Goodman, Martinez, Thompson" correlation (GMT correlation). The GMT correlation establishes that the creation date occurred on September 6 (Julian) or August 11 (Gregorian), 3114 BC (-3113 astronomical), Julian day number (JDN) 584283.

Maya Calendar
The Maya version of the 260-day calendar is commonly known to scholars as the Tzolkin, or Tzolk'in in the revised orthography of the Academia de Lenguas Mayas de Guatemala. The Tzolk'in is combined with the 365-day calendar (known as the Haab, or Haab' ), to form a synchronized cycle lasting for 52 Haabs, called the Calendar Round. The Maya called the 5 unlucky days at the end of the year Wayeb.

The Classic Maya, used the Long Count to record dates within periods longer than the 52 year calendar round. The post-Classic Maya used an abbreviated short count. Many Maya Long Count inscriptions also have a supplementary series which can record which one of the nine Lords of the Night rules, a Lunar series which has information about the lunar cycle, such as lunar phase and position of the Moon in a six lunation cycle and length of the current lunation and an 819-day count.

Central Mexican Calendar
The Central Mexican calendar system is best known in the form that was used by the Aztecs, but similar calendars were used by the Mixtecs, Zapotecs, Tlapanecs, Otomi, Matlatzinca, Totonac, Huastecs, Purépecha and at Teotihuacan. These calendars differed from the Maya version mainly in that they didn't use the long count to fix dates into a larger chronological frame than the 52-year cycle.

The Aztecs referred to the 365 and 260-day cycles as xiuhpohualli (year count) and tonalpohualli (day count) respectively. The veintena was called metztli (moon), and the five unlucky days at the end of the solar year were called nemontemi.

Other cycles
Other calendar cycles were also recorded, such as a lunar calendar, as well as the cycles of other astronomical objects, most importantly Venus.

title: Mesoamerican calendars


text:
Northeast Philadelphia Airport

Northeast Philadelphia Airport is a public airport just north of the intersection of Grant Avenue and Ashton Road in Northeast Philadelphia. It is part of the Philadelphia Airport System along with Philadelphia International Airport and is the general aviation reliever airport for Philadelphia International. Northeast Philadelphia Airport is the sixth busiest airport in Pennsylvania. Two fixed-base operators provide fuel, major aircraft repair, hangar rental, aircraft rental and charter, flight instruction, and aircraft sales.

Location
This airport covers 1150 acre, bounded by Grant Avenue to the south, Academy Road to the east, Comly Road to the north, and the Roosevelt Boulevard (U.S. 1) to the west. (The airport does not extend all the way to these boundaries.) Development includes a Pepsi-Cola bottling plant, an industrial park with aviation-related businesses, the headquarters of the 1st and 8th Districts of the Philadelphia Police Department, and the former site of the Internal Revenue Service Philadelphia Service Center. A TJ Maxx distribution center and an ice skating rink opened in 2001 on land leased from the airport.

When the airport opened, the surrounding area was largely open farmland. Residential neighborhoods and businesses have since developed close to the airport, so pilots must observe noise abatement procedures.

History
Northeast Philadelphia Airport started in the 1930s as the Northeast Airport, a grass field with no paved runways, one of three small airports in the area. Just across Roosevelt Boulevard to the west, next to Red Lion Road, was Boulevard Airport, the most important of the three. Further west was Budd Field (built for Edward G. Budd Manufacturing Company, later as a golf course and other parts for housing) and Somerton Airport (near Bustleton Avenue and Red Lion Road), no longer in existence, close enough that pilots had to take care not to infringe on adjacent traffic patterns. The site of the Boulevard Airport is now a shopping mall (Red Lion Plaza) and housing. The Northeast Airport became today's large airport.

The United States Army Air Corps began construction of a 545 acre airbase in Northeast Philadelphia during World War II, but the project was never completed and the property was turned over to the city in 1944. After the city finished the work, Philadelphia Northeast Airport opened in June 1945. In 1948 the name was changed to North Philadelphia Airport.

The airport expanded in 1960 when Runway 6/24 was extended to its present length. Runway 10/28 was abandoned at this time due to construction on the western end of the runway. The name was changed again in 1980, to the present Northeast Philadelphia Airport.

The airport was the headquarters and maintenance facility for Ransome Airlines, which operated scheduled passenger flights as Allegheny Commuter to Washington D.C. via Reagan National Airport (DCA) and to nearby Philadelphia International Airport (PHL) as well as to other regional destinations beginning in September 1973 as a feeder for Allegheny Airlines. Ransome's passenger operation from PNE was ended by the PATCO strike of 1981 which cut regional airline schedules by 25 percent; the airline operated independently for some time, fed Delta Air Lines flights in the early 1980s, and was later sold to Pan American World Airways and then to Trans World Airlines, ending its life as Trans World Express. PNE continued to be a maintenance base for TWE through the early 1990s. The base shut down in 1995, with a loss of 300 local jobs.

Facilities and aircraft
Northeast Philadelphia Airport covers 1150 acre at an elevation of 121 feet (37 m) above mean sea level. It has two asphalt runways: 6/24 is 7,000 by 150 feet (2,134 x 46 m) and 15/33 is 4,999 by 150 feet (1,524 x 46 m).

In the year ending December 7, 2022, the airport had 83,551 aircraft operations, average 229 per day: 94% general aviation, 5% air taxi and <1% military. 143 aircraft were then based at the airport: 90 single-engine, 28 multi-engine, 17 jet and 8 helicopter.

Tenants

 * AgustaWestland Philadelphia Corporation

Incidents and accidents

 * On October 7, 1952, a USAF Douglas C-47 crashed one mile north of PNE attempting to land but impacted swampy terrain. Three out of the 6 occupants perished.

 * On April 4, 1991, a Sunbell Aviation Helicopters Bell 412 collided Mid-Air with a Piper Aerostar which was flying from Williamsport to Northeast Philadelphia Airport. The Piper was carrying United States Senator of Pennsylvania H. John Heinz III when it collided over Merion Elementary School in Lower Merion Township, Pennsylvania. All aboard both aircraft, as well as two children at the school, were killed. The helicopter had been dispatched to investigate a problem with the landing gear of Heinz's plane. While moving in for a closer look, the helicopter collided with the plane, causing both aircraft to lose control and crash. The subsequent NTSB investigation attributed the cause of the crash to poor judgment by the pilots of the two aircraft involved.

title: Northeast Philadelphia Airport


text:
Alain de Benoist

Alain de Benoist (, ; born 11 December 1943), also known as Fabrice Laroche, Robert de Herte, David Barney, and other pen names, is a French political philosopher and journalist, a founding member of the Nouvelle Droite (France's New Right), and the leader of the ethno-nationalist think tank GRECE.

Principally influenced by thinkers of the German Conservative Revolution, de Benoist is opposed to Christianity, the Declaration of the Rights of Man and of the Citizen, neoliberalism, representative democracy, egalitarianism, and what he sees as embodying and promoting those values, namely the United States. He theorized the notion of ethnopluralism, a concept which relies on preserving and mutually respecting individual and bordered ethno-cultural regions.

His work has been influential with the alt-right movement in the United States, and he presented a lecture on identity at a National Policy Institute conference hosted by Richard B. Spencer; however, he has distanced himself from the movement.

Family
Alain de Benoist was born on 11 December 1943 in Saint-Symphorien (now part of Tours), Centre-Val de Loire, the son of a head of sales at Guerlain, also named Alain de Benoist, and Germaine de Benoist, née Langouët. He grew up in a bourgeois and Catholic family. His mother came from the lower-middle class of Normandy and Brittany, and his father belonged to the Belgian nobility.

During the Second World War, his father was a member of the French resistance armed group French Forces of the Interior. He was a self-declared Gaullist, whereas his wife Germaine was rather left-leaning, and the extended de Benoist family was divided between Free France and Vichy France during the conflict. His paternal grandmother, Yvonnes de Benoist, was the secretary of Gustave Le Bon. De Benoist is also the great-nephew of French Symbolist painter Gustave Moreau.

Early life (1957–1961)
De Benoist was still in high school at Montaigne and Louis-le-Grand lycées during the turmoils of the Algerian war (1954–1962), a period that shaped his political views. In 1957, he met the daughter of the antisemitic journalist and conspiracy theorist Henry Coston. From the age of 15, de Benoist became interested in the nationalist right; he started a career as a journalist in 1960 by writing literary pieces and pamphlets for Coston's magazine Lectures Françaises, generally in defence of the French colonial empire and the pro-colonial paramilitary organization Organisation Armée Secrète (OAS). De Benoist stayed away from Coston’s conspiracy theories on the Freemasonry and the Jews.

Aged 17 in 1961, de Benoist met François d'Orcival, with whom he became the editor of France Information, an underground pro-OAS newspaper. The same year, he started to attend the University of Paris and joined the far-right student society Federation of Nationalist Students (FEN). In 1962, he became the secretary of the group's magazine, Cahiers universitaires, in which he wrote the main articles along with d'Orcival. As a student in law and literature, he began a period of political activism and developed a passion for fantastique cinema. According to philosopher Pierre-André Taguieff, de Benoist possessed an intellectual curiosity that was lacking among his elder colleagues like Dominique Venner (1935–2013) or Jean Mabire (1927–2006), and the young journalist led them to discover a conceptual universe "that they could not imagine", no more than its "possible ideological exploitations".

Radical political activism (1962–1967)
De Benoist met Dominique Venner in 1962. The following year, he took part in the creation of Europe-Action, a white nationalist magazine founded by Venner and in which de Benoist began to work as a journalist. He published at that times his first essays: Salan devant l'opinion ("Salan faces the [public] opinion", 1963) and Le courage est leur patrie ("Braveness is their motherland", 1965), defending French Algeria and the OAS.

Between 1963 and 1965, de Benoist was a member of the Rationalist Union; he probably began to read Louis Rougier's criticism of Christianity during that period. De Benoist met Rougier, who was also a member of the organization, and his ideas deeply influenced de Benoist's own anti-Christianity. In 1965, de Benoist wrote: "We oppose Rougier to Sartre, as we oppose verbal delirium to logics ..., because biological realism is the best support against those idealistic chimeras". De Benoist became in 1964 the editor-in-chief of the weekly publication Europe-Action Hebdomaire, renamed L'Observateur Européen in October 1966. He also wrote in the neo-fascist magazine Défense de l'Occident, founded in 1952 by Maurice Bardèche. After a visit to South Africa at the invitation of Hendrik Verwoerd's National Party government, de Benoist co-wrote with Gilles Fournier the 1965 essay Vérité pour l'Afrique du Sud ("Truth for South Africa"), in which they endorsed apartheid. The following year, he co-wrote with D'Orcival another essay, Rhodésie, pays des lions fidèles ("Rhodesia, country of the faithful lions"), in defence of Rhodesia, a breakaway country in southern Africa ruled at that time by a white-minority government. Ian Smith, the then prime minister of the unrecognized state, prefaced the book. Returning from a trip to the United States in 1965, de Benoist deplored the suppression of racial segregation in the United States, and wrote as a prediction that the system would survive outside the law, thus in a more violent way.

In two essays published in 1966, Les Indo-Européens ("The Indo-Europeans") and Qu'est-ce que le nationalisme? ("What Is Nationalism?"), de Benoist contributed to define a new form of European nationalism in which the European civilization — to be understood as the "white race" — would be considered above its constituting ethnic groups, all united within a common empire and civilization superseding the nation states. This agenda was adopted by the European Rally for Liberty (REL) during the 1967 French legislative election (de Benoist was a member of the REL national council), and later became a core idea of GRECE since its foundation in 1968.

The successive failures of the far-right movements de Benoist had supported since the early 1960s — from the dissolution of OAS and the Évian Accords of 1962, to the electoral defeat of presidential candidate Jean-Louis Tixier-Vignancour in 1965 (in which he had participated via the grassroots movement T.V. Committees), to the debacle of the REL in the March 1967 election — led de Benoist to question his political involvement. In the fall of 1967, he decided to make a "permanent and complete break with political action" and to focus on a meta-political strategy by launching a review. During the May 1968 events in France, then aged 25, de Benoist worked as a journalist for the professional magazine L'Écho de la presse et de la publicité.

Nouvelle Droite and media fame (1968–1993)
The Groupement de Recherche et d'Études pour la Civilisation Européenne (GRECE) was founded in January 1968 in order to serve as a metapolitical, ethnonationalist think-tank promoting the ideas of the Nouvelle Droite. Although the organization was established with former militants of the REL and FEN, de Benoist has been described by scholars as its leader and "most authoritative spokesman". In the 1970s, de Benoist adapted his geopolitical view-points and went from a pro-colonial attitude towards an advocacy of Third-Worldism against capitalist America and communist Russia, from the defence of the "last outposts of the West" towards anti-Americanism, and from a biological to a cultural approach of the notion of alterity, an idea which he developed in his ethnopluralist theories.

De Benoist's works, along with others published by the think tank, began to attract public attention in the late 1970s, when the media coined the term Nouvelle Droite to label the movement. He started to write articles for mainstream right-wing magazines, namely Valeurs Actuelles and Le Spectacle du Monde from 1970 to 1982, and Le Figaro Dimanche (renamed in 1978 Le Figaro Magazine) from 1977 to 1982; he then wrote for the videos section of Le Figaro Magazine until 1992. De Benoist was awarded in 1978 the prestigious Prix de l'essai by the Académie française for his book View for the Right (Vu de droite: Anthologie critique des idées contemporaines). Between 1980 and 1992, he was a regular participant in the radio program Panorama on France Culture.

Although de Benoist had announced his retirement from political parties and elections to focus on metapolitics in 1968, he ran as a candidate for the far-right Party of New Forces during the 1979 European Parliament election. In the 1984 European Parliament election in France, de Benoist announced his intention to vote for the French Communist Party, and justified his choice by describing the party as the most credible anti-capitalist, anti-liberal, and anti-American political force then active in France.

De Benoist met Russian writer Aleksandr Dugin in 1989 and the two of them soon became close collaborators. De Benoist was invited in Moscow by Dugin in 1992, and Dugin presented himself as the Moscow correspondent of GRECE for a time. De Benoist briefly served as a board member of Dugin's magazine Elementy in 1992. The two authors eventually broke off their relationship in 1993 after a virulent campaign in French and German media against the "red and brown threat" in Russia. Whereas de Benoist acknowledged ideological differences with Dugin, especially on Eurasianism and Martin Heidegger, they have maintained regular exchanges since then.

Intellectual re-emergence (1994–present)
In 1979 and 1993, two press campaigns launched in French liberal media against de Benoist damaged his public reputation and influence in France by claiming that he was in reality a "closet Fascist" or a "Nazi". The journalists accused de Benoist of hiding his racist and anti-egalitarian beliefs in a seemingly acceptable public agenda, replacing the doomed hierarchy of races with the less suspicious concept of ethno-pluralism. Although he still frequently comments on politics, de Benoist chose in the early 1990s to focus on his intellectual activity and to avoid media attention. Since the 2000s onward, public interest for de Benoist's works have re-emerged. His writings have been published in several far-right journals, such as the Journal of Historical Review, Chronicles, the Occidental Quarterly, and Tyr, and the New Left academic journal Telos. De Benoist was one of the signatories of the 2002 Manifesto Against the Death of the Spirit and the Earth, reportedly because "it seemed to [him] that it reacts against the practical materialism that is part of a dominant ideology, an ideology for which there is nothing beyond material concerns".

In a 2002, in a republication of his book View from the Right, de Benoist reiterated what he wrote in 1977 that the greatest danger in the world at that time was the "progressive disappearance of diversity from the world", including biodiversity of animals, cultures and peoples. De Benoist is now the editor of two magazines: the yearly Nouvelle École (since 1968) and the quarterly Krisis (since 1988).

Although the extent of the relationship is debated by scholars, de Benoist and the Nouvelle Droite are generally viewed as influential on the ideological and political structure of the Identitarian movement. Part of the alt-right has also claimed to have been inspired by de Benoist's writings.

Views
In his early writings, de Benoist was close to pro-colonial movements and followed an ethno-biological approach of social science, endorsing apartheid as the "last outpost of the West" at a time of "decolonization and international negrification". From the 1970s onward, he has gradually moved towards the defence of the Third World against American imperialism, and has adopted a cultural definition of difference, which is theorized in his concept of ethnopluralism. Scholars have questioned whether this evolution should be regarded as a sincere ideological detachment from the biological racism of his activist youth, or rather as a meta-political strategy set up to disguise non-egalitarian ideas behind more acceptable concepts. De Benoist is also an ardent critic of globalization, unrestricted mass immigration, liberalism, postmodern society, and what he calls the "ideology of sameness".

Political scientist Jean-Yves Camus describes the key idea of de Benoist in those terms: "[T]hrough the use of meta-politics, to think the ways and means that are necessary in order for European civilization, based on the cultural values shared on the continent until the advent of globalization, to thrive and be perpetuated." Although de Benoist embodies the core values of GRECE and the Nouvelle Droite, his works are not always identical to those of other thinkers of the movements. He is opposed in particular to political violence, and he has declared that he had been building "a school of thought, not a political movement." In 2000, he disavowed Guillaume Faye's "strongly racist" ideas regarding Muslims after the publication of The Colonization of Europe: Speaking Truth about Immigration and Islam.

Identity
In 2006, de Benoist defined identity as a dialogical phenomenon, inspired by Martin Buber's philosophy of dialogue and Ich und Du concept. According to him, one's identity is made of two components: the "objective part" coming from one's background (ethnicity, religion, family, nationality), and the "subjective part" freely chosen by the individual. Identity is therefore a perpetual evolution rather than a definitive notion. In 1992, de Benoist dismissed the Front National's use of ethnopluralism on the grounds that it portrayed "difference as an absolute, whereas, by definition, it exists only relationally."

In 1966, he had written: "Race is the only real unit encompassing individual variations. The objective study of history shows that only the European race (white race, caucasian) has continued to progress since its appearance on the rising path of the evolution of the living, unlike races stagnant in their development, therefore in virtual regression."

If scholars like Pierre-André Taguieff have characterized the Nouvelle Droite as a form of mixophobia due to its focus on the notion of difference, de Benoist has also criticized what he calls "the pathology of identity", that is to say the political use of identity by the populist Right in order to push an "us versus them" debate escorted by what he considers to be "[systematic] and [irrational] hating". The difficulty of understanding de Benoist’s views on identity rests upon the fact that his writings have experienced multiple re-synthesis since the 1960s. In 1974, he said "there is no superior race. All races are superior and each of them has its own genius." In 1966, he had written: "The European race does not have absolute superiority. It is only the most capable of progressing in the direction of evolution ... Racial factors being statistically hereditary, each race has its own psychology. All psychology generates value." De Benoist has been influenced by Carl Schmitt's distinction between friend and enemy as the core issue of politics. Despite this, he sees immigrants as eventually victims of globalization, and has argued that immigration was first of all a consequence of multinational companies being greedy for profits and preferring to import cheap labor.

Ethnopluralism
De Benoist rejects the nation state and nationalism on the grounds that both liberalism and nationalism eventually derive from the same metaphysics of subjectivity, and that what he describes as the centralized and Jacobin state established by the French Republic had destroyed regional identities in its project of an "one and indivisible" France. He stands instead for the political autonomy of each and every group, favouring an integral federalism built on the principle of subsidiarity, which in his views would transcend the nation state and give way for both regional and Europe identities to thrive. De Benoist believes that knowledge of ethnic and religious traditions is a duty that must be passed on to following generations, and he has been critical of the idea of a moral imperative to cosmopolitanism.

Liberalism
De Benoist is a critic of the primacy of individual rights, an ideology that he sees embodied in humanism, the French Revolution, and the ideas of the Founding Fathers of the United States. While not a communist, de Benoist has been influenced by the Marxist analysis of the nature of capitalism and conflicting class interests developed by Karl Marx in Das Kapital. As a result, another of his core ideas is that the world is facing the "hegemony of capital" and the "pursuit of self-interest", two typical trends of the postmodern era.

According to scholar Jean-Yves Camus, if de Benoist can share anti-capitalist analysis with leftists, the nature of his goal is indeed different since de Benoist considers the unlimited expansion of the free market and consumerism as key contributors to the erasure of peoples' identities. Furthermore, de Benoist acknowledges the existence of the working class and the bourgeoisie but does not make an essential distinction between the two of them. He rather divides society between the "new dominant class" and the "people". In 1991, the editorial staff of his magazine Eléments described the danger of adopting a "systematic anti-egalitarianism [that could] lead to social Darwinism, which might justify free-market economy".

De Benoist is opposed to the modern American liberal idea of a melting pot. A critic of the United States, he has been quoted as saying: "Some people do not accept the thought of one day having to wear the Red Army cap. In fact, it is a terrible prospect. However, this is not a reason to tolerate the idea of one day having to spend what we have left to live on by eating hamburgers in Brooklyn." In 1991, he described European supporters of the first Gulf War as "collaborators of the American order".

Monotheism
De Benoist has supported ties with Islamic culture in the 1980s, on the grounds that the relationship would be distinct from what he saw as the consumerism and materialism of the American society and from the bureaucracy and repression of the Soviet Union alike. He also opposes Christianity as inherently intolerant, theocratic, and bent on persecution.

Influences
De Benoist's influences include Antonio Gramsci, Ernst Jünger, Martin Buber, Jean Baudrillard, Georges Dumézil, Ernest Renan, José Ortega y Gasset, Vilfredo Pareto, Karl Marx, Guy Debord, Arnold Gehlen, Stéphane Lupasco, Helmut Schelsky, Konrad Lorenz, the Conservative Revolutionaries including Carl Schmitt and Oswald Spengler, the non-conformists of the 1930s, Johann Gottfried Herder, Johannes Althusius, interwar Austro-Marxists, and communitarian philosophers like Alasdair MacIntyre and Charles Taylor.

Critics
Critics of de Benoist like Thomas Sheehan argue he has developed a novel restatement of fascism. Roger Griffin, using an ideal type definition of fascism, which includes "populist ultra-nationalism" and "palingenesis" (heroic rebirth), argues that the Nouvelle Droite draws on such fascist ideologues as Armin Mohler in a way that allows Nouvelle Droite ideologues like de Benoist to claim a "metapolitical" stance but which nonetheless has residual fascist ideological elements. In response to accusations of fascism, de Benoist notes his support of direct democracy and localism, as well as his opposition to authoritarianism, totalitarianism, and militarism, characteristics of historical Fascism. De Benoist's critics also claim his views recall Nazi attempts to replace German Christianity with its own paganism. They note that de Benoist's rejection of the French Revolution's legacy and the allegedly abstract Rights of Man ties him to the same Counter-Enlightenment right-wing tradition as counter-revolutionary Legitimists, fascists, Vichyites, and integral nationalists.

Private life
Identifying as neo-pagan, de Benoist married Doris Christians, a German citizen, on 21 June 1972. They have two children. He is a member of Mensa International, a high-IQ society whose former president of the French branch was a member of the patronage committee of Nouvelle École. De Benoist owns the largest private library in France, with an estimate of 150,000 to 250,000 books.

Selected works

 * Salan devant l'opinion (under the pen name of Fabrice Laroche) (Saint-Just, 1963).
 * Le courage est leur patrie (under the pen name of Fabrice Laroche, with François d'Orcival) (Saint-Just, 1965).
 * Vérité pour l'Afrique du Sud (under the pen name of Fabrice Laroche, with Gilles Fournier) (Saint-Just, 1965).
 * Les Indo-Européens (G.E.D., 1966).
 *  Rhodésie, pays des lions fidèles (with François d'Orcival) (Table Ronde, 1966).
 * Avec ou sans Dieu : l'avenir des valeurs chrétiennes (with Jean-Luc Marion) (Beauchesne, 1970).
 * L'Empirisme logique et la Philosophie du Cercle de Vienne (Nouvelle École, 1970).
 * Nietzsche: Morale et « Grande Politique » (GRECE, 1973).
 * Konrad Lorenz et l'Éthologie moderne (Nouvelle École, 1975).
 * Vu de droite. Anthologie critique des idées contemporaines (Copernic, 1977). (grand prix de l'essai de l'Académie française 1978)
 * Les Bretons (Les Cahiers de la Bretagne réelle, n°396 bis, 1978).
 * Les Idées à l'endroit (Libres-Hallier, 1978).
 * Le Guide pratique des prénoms (under the pen name of Robert de Herte, with [sic] Alain de Benoist), coll. « Hors-série d'"Enfants-Magazine" » (Publications Groupe Média, 1979).
 * Comment peut-on être païen ? (Albin Michel, 1981).
 * Les Traditions d'Europe (Paris: Labyrinthe, 1982).
 * Orientations pour des années décisives (Labyrinthe, 1982).
 * Fêter Noël. Légendes et Traditions (Atlas-Edena, 1982).
 * Démocratie : le problème (Labyrinthe, 1985)
 * (in collaboration with Andre Béjin & Julien Freund) Racismes, Antiracismes (Paris: Librairie des Méridiens, 1986)
 * (with Thomas Molnar) L'éclipse du sacré: discours et résponses (Paris: Table ronde, 1986)
 * Europe, Tiers monde, même combat (Robert Laffont, 1986).
 * Le Grain de sable. Jalons pour une fin de siècle (Labyrinthe, 1994).
 * Nationalisme : Phénoménologie et Critique (GRECE, 1994).
 * Démocratie représentative et Démocratie participative (GRECE, 1994).
 * Nietzsche et la Révolution conservatrice (GRECE, 1994).
 * L'Empire intérieur (Fata Morgana, 1995).
 * La Ligne de mire. Discours aux citoyens européens, t. 1 : 1972–1987 (Labyrinthe, 1995).
 * Famille et Société. Origine, Histoire, Actualité (Labyrinthe, 1996).
 * La Ligne de mire. Discours aux citoyens européens, t. 2 : 1988–1995 (Labyrinthe, 1996).
 * Céline et l'Allemagne, 1933–1945. Une mise au point (Le Bulletin célinien, 1996).
 * Horizon 2000. Trois entretiens avec Alain de Benoist (GRECE, 1996).
 * La Légende de Clovis (Cercle Ernest Renan, 1996).
 * Indo-Européens : à la recherche du foyer d'origine (Nouvelle École, 1997).
 * Ernst Jünger. Une bio-bibliographie (Guy Trédaniel, 1997).
 * Communisme et Nazisme. 25 réflexions sur le totalitarisme au XXe siècle (Labyrinthe, 1998).
 * L'Écume et les Galets. 1991–1999 : dix ans d'actualité vue d'ailleurs (Labyrinthe, 2000).
 * Jésus sous l'œil critique des historiens (Cercle Ernest Renan, 2000).
 * Bibliographie d'Henri Béraud (Association rétaise des Amis d'Henri Béraud, 2000).
 * Dernière Année. Notes pour conclure le siècle (L'Âge d'Homme, 2001).
 * Jésus et ses Frères (Cercle Ernest Renan, 2001).
 * Louis Rougier. Sa vie, son œuvre (Cercle Ernest Renan, 2002).
 * Charles Maurras et l'Action française. Une bibliographie, BCM, 2002
 * Qu'est-ce qu'un militant ? (sous le pseudonyme de Fabrice Laroche, réédition d'un article paru en 1963) (Ars Magna, 2003).
 * Critiques-Théoriques (L'Âge d'Homme, 2003).
 * Au-delà des droits de l'homme. Pour défendre les libertés (éditions Krisis, 2004).
 * Bibliographie générale des droites françaises. 1, Arthur de Gobineau, Gustave Le Bon, Édouard Drumont, Maurice Barrès, Pierre Drieu La Rochelle, Henry de Montherlant, Thierry Maulnier, Julien Freund (Éditions Dualpha, coll. « Patrimoine des lettres », Coulommiers, 2004), 609 p.
 * Bibliographie générale des droites françaises. 2, Georges Sorel, Charles Maurras, Georges Valois, Abel Bonnard, Henri Béraud, Louis Rougier, Lucien Rebatet, Robert Brasillach (Éditions Dualpha, coll. « Patrimoine des lettres », Coulommiers, 2004), 472 p.
 * Bibliographie générale des droites françaises. 3, Louis de Bonald, Alexis de Tocqueville, Georges Vacher de Lapouge, Léon Daudet, Jacques Bainville, René Benjamin, Henri Massis, Georges Bernanos, Maurice Bardèche, Jean Cau (Éditions Dualpha, coll. « Patrimoine des lettres », Coulommiers, 2005), 648 p.
 * Bibliographie générale des droites françaises. 4, Joseph de Maistre, Ernest Renan, Jules Soury, Charles Péguy, Alphonse de Chateaubriant, Jacques Benoist-Méchin, Gustave Thibon, Saint-Loup (Marc Augier), Louis Pauwels (Éditions Dualpha, coll. « Patrimoine des lettres », Coulommiers, 2005), 736 p.
 * Jésus et ses Frères, et autres écrits sur le christianisme, le paganisme et la religion (éditions Les Amis d'Alain de Benoist, 2006).
 * C'est-à-dire. Entretiens-Témoignages-Explications (2 volumes) (éditions Les Amis d'Alain de Benoist, 2006).
 * Nous et les autres. Problématique de l'identité (éditions Krisis, 2006).
 * Carl Schmitt actuel (éditions Krisis, 2007).
 * Demain, la décroissance ! Penser l'écologie jusqu'au bout (Edite, 2007).
 * Dictionnaire des prénoms : d'hier et d'aujourd'hui, d'ici et d'ailleurs (Jean Picollec, 2009).
 * Mémoire vive / Entretiens avec François Bousquet (Éditions de Fallois, Collection « Littérature », 2 mai 2012).
 * Edouard Berth ou le socialisme héroïque. Sorel, Maurras, Lenine (Pardès, 2013).
 * Les Démons du Bien, Du nouvel ordre moral à l'idéologie du genre (Pierre-Guillaume de Roux, 2013).
 * Quatre figures de la Révolution Conservatrice allemande - Werner Sombart -Arthur Moeller van den Bruck -Ernst Niekisch - Oswald Spengler (Éditions Les Amis d'Alain de Benoist, 2014).
 * Le traité transatlantique et autres menaces (Pierre-Guillaume de Roux, 2015).
 * Au-delà des droits de l'Homme. Pour défendre les libertés (Pierre-Guillaume de Roux, 2016).
 * Droite-gauche, c'est fini ! : Le moment populiste (Pierre-Guillaume de Roux, 2017).
 * Ce que penser veut dire. Penser avec Goethe, Heidegger, Rousseau, Schmitt, Péguy, Arendt… (Éditions du Rocher, 2017).
 * Contre le libéralisme (Le Rocher, 2019).
 * Ernst Jünger : entre les dieux et les titans (Via Romana, 2020).
 * La Puissance et la Foi : essais de théologie politique (Pierre-Guillaume de Roux, 2021).

title: Alain de Benoist


text:
Jacob Rabinow

Jacob Rabinow (January 8, 1910 – September 11, 1999) was an engineer and inventor. He earned a total of 229 U.S. patents on a variety of mechanical, optical and electrical devices.

Biography
Rabinow was born in Kharkiv, Ukraine, on January 8, 1910. In 1919, his family moved to China, then in 1921 to the United States. He graduated from the City College of New York with a Bachelor's Degree in Engineering in 1933, and a Master's Degree in Electrical Engineering in 1934. His career as an inventor began when he was hired as a mechanical engineer in 1938 by the National Bureau of Standards (now the National Institute of Standards and Technology, or NIST). He made many developments there, mainly in defense systems, and eventually became Chief of the Electro-Mechanical Ordnance Division at NBS before leaving in 1954 to form his own company.

During this time, Rabinow invented and patented a number of revolutionary devices. Among them are the first disc-shaped magnetic storage media for computers (1954), the magnetic particle clutch (1956), the first straight-line phonograph (1959), the first self-regulating clock (1960) and his famous "reading machine" (1960) which was the first to use the "best match" principle and was the basis for the reading, sorting and processing machines used today by banks and post offices.

In 1964, Rabinow's company joined Control Data Corporation (CDC), and until 1972 he was Vice President of CDC and head of the Rabinow Advanced Development Laboratory. In 1968 Rabinow formed the RABCO company to manufacture straight-line phonographs, and the company was later bought out by Harman Kardon Corporation. In 1972 he returned to NBS where he was Chief Research Engineer until his retirement in 1989.

In addition to his patents, Jacob Rabinow was awarded many other merits for his scientific achievements. Among them are the President's Certificate of Merit (1948), the Industrial R&D Scientist of the Year Award (1960), the IEEE's Harry Diamond Award (1977), and the Lemelson-MIT Lifetime Achievement Award (1998). He published his book, Inventing for Fun and Profit, in 1989. He also delivered many speeches and lectures on inventions and technology, as a guest at many educational institutions and on several television and radio shows. He also served on the board of trustees for Science Service, now known as Society for Science & the Public, from 1971 to 1973.

The Jacob Rabinow Applied Research Award was created by the National Bureau of Standards (now the National Institute of Standards and Technology, or NIST) and first presented in 1975 for outstanding achievements in the practical application of the results of scientific or engineering research.

Rabinow was inducted into the National Inventors Hall of Fame in 2005.

title: Jacob Rabinow


text:
Whitefield

Whitefield may refer to:

India

 * Whitefield, Bangalore, a neighbourhood of Bangalore
 * Whitefield (Bangalore) railway station

United Kingdom

 * Whitefield, Dorset, England, a United Kingdom location
 * Whitefield, Greater Manchester, England
 * Whitefield tram stop
 * Whitefield, Perthshire, Scotland, birthplace of the writer James Browne
 * Whitefield, Somerset, England, a United Kingdom location

United States

 * Whitefield, Illinois, an unincorporated community
 * Whitefield, Maine, a town
 * Whitefield, New Hampshire, a town
 * Whitefield (CDP), New Hampshire, a census-designated place and main village in the town
 * Whitefield, Oklahoma, a town
 * Whitefield Township, Marshall County, Illinois
 * Whitefield Township, Kandiyohi County, Minnesota

People

 * Whitefield (surname), a list of people
 * Whitefield Bentley (1884–1952), Canadian politician
 * Whitefield J. McKinlay (1852–1941), American teacher, state legislator and real estate businessman

Schools

 * Whitefield College (disambiguation)
 * Whitefield Academy (disambiguation)
 * Whitefield School, a secondary school and sixth form in the London Borough of Barnet
 * Whitefield Schools, a special school in Walthamstow in the London Borough of Waltham Forest
 * Whitefield Christian Schools, Toronto, Ontario, Canada

title: Whitefield


text:
Lieutenant Governor of Minnesota

The lieutenant governor of Minnesota is a constitutional officer in the executive branch of the U.S. state of Minnesota. Fifty individuals have held the office of lieutenant governor since statehood. The incumbent is Peggy Flanagan, a DFLer and the first Native American elected to a statewide executive office in Minnesota's history.

Powers and duties
The lieutenant governor assists the governor in carrying out  the  functions  of  the  executive  branch, as  well  as  serving  in  the  governor's  place  in  the  event  of  his or her absence  or  disability. The governor,  as prescribed  by  law,  may  file  a  written  order  with  the  secretary of state  to  delegate  to  the  lieutenant governor  any  powers,  duties,  responsibilities,  or  functions  otherwise performed  by  the  governor. As a key member of the governor's cabinet, the lieutenant governor is consulted on all major policy and budgetary decisions. Moreover, the lieutenant governor is a statutory member of the Executive Council and chairs the Capitol Area Architectural Planning Board, among other responsibilities.

History
In 1886, elections were moved from odd years to even years. Beginning with the 1962 election, the term of the lieutenant governor increased from two to four years. Prior to the 1974 election, governors and lieutenant governors were elected on separate ballots, with the lieutenant governor having independent legislative authority as president of the senate. Since 1974, the lieutenant governor has been relieved of the duty to preside over the state senate and is elected on a joint ticket with the governor. Marlene Johnson, elected in 1982 as the running mate of Rudy Perpich, was the first female lieutenant governor of Minnesota. All eight of her successors in that office have also been women.

List

 * Parties

1 Richardson was actually president pro tem of the Minnesota Senate; became acting lieutenant governor when lieutenant governor Hjalmar Petersen became governor on the death of Floyd B. Olson, but Richardson was never sworn in.

2 Wright was president pro tem of the Minnesota Senate and assumed the office of lieutenant governor in 1954 after Lieutenant Governor Ancher Nelsen resigned to become administrator of the Rural Electric Administration.

3 As president of the Minnesota Senate, Olson assumed office of lieutenant governor when Rudy Perpich, then lieutenant governor, became governor on the resignation of Wendell Anderson, who had appointed himself to the United States Senate on resignation of Walter Mondale who had been elected vice president.

4 As president of the Minnesota Senate, Fischbach became lieutenant governor following the resignation of Tina Smith. Smith was appointed by Governor Mark Dayton to fill the United States Senate seat vacated by Al Franken. Fischbach resigned from the state Senate and took the oath of office for lieutenant governor on May 25, 2018.

Note on Minnesota political parties names

 * Minnesota Democratic–Farmer–Labor Party: On April 15, 1944, the Minnesota Democratic Party and the Minnesota Farmer–Labor Party merged and created the Minnesota Democratic–Farmer–Labor Party (DFL). It is affiliated with the national Democratic Party.
 * Republican Party of Minnesota: From November 15, 1975, to September 23, 1995, the name of the state Republican party was the Independent Republican party (IR). The party has always been affiliated with the national Republican Party.
 * Independence Party of Minnesota: The party was founded under this name in 1992. In 1995 the IPM affiliated with the national Reform Party and renamed itself the Reform Party of Minnesota. In 2000 the Reform Party of Minnesota disaffiliated with the national Reform party and returned to the name Independence party.

title: Lieutenant Governor of Minnesota


text:
User:AdamRetchless/Photos

,

title: User:AdamRetchless/Photos


text:
Carlos Martínez (infielder)

Carlos Alberto Martínez Escobar (August 11, 1965 – January 24, 2006) was a Venezuelan professional baseball player. He played in Major League Baseball (MLB) as a first baseman and third baseman from to  for the Chicago White Sox, Cleveland Indians and California Angels. Listed at 6' 5" (1.98 m), 175 lb. (79 k), he batted and threw right handed.

Career
Martínez was born in La Guaira, the capital city of Vargas state in Venezuela, and played his entire career in the Venezuelan Winter League for his home city team the Tiburones de La Guaira.

Martínez, affectionately nicknamed ″Café″, was signed by the New York Yankees as a free agent in 1983. During the 1986 season, he was sent to the White Sox in the same trade that brought Ron Kittle to the Yankees. Martínez made his major league debut at the age of 22 with the Chicago White Sox in 1988.

Despite his impressive frame, Martínez never was able to fulfill the potential that he showed in the minor leagues. His most productive season came in 1989 with the White Sox, when he posted career highs in batting average (.300), at-bats (350), hits (105), runs (44) and doubles (22), and also was named to the Topps All-Star Rookie Team.

Besides playing for the White Sox, Martínez also spent playing time as a utility player with the Indians and made his last major-league appearance with the Angels in 1995. He is perhaps best remembered as the batter who hit the long fly ball that bounced off José Canseco's head for a home run on May 26, 1993.

In a seven-season career in MLB, Martínez was a .258 hitter with 25 home runs and 161 RBI in 465 game appearances. His minor-league totals include a .276 batting average with 50 homers and 310 RBI in 595 games. He was a reinforcement player for the Águilas del Zulia club that won the 1989 Caribbean Series title.

Personal life
His son, José Martínez, is an outfielder who has played minor league baseball for the White Sox, Atlanta Braves, Kansas City Royals and St. Louis Cardinals, and in the major leagues with the Cardinals in 2016-2019, Tampa Bay Rays and Chicago Cubs in 2020, and currently plays for the New York Mets. While playing for the Royals' Triple-A affiliate Omaha Storm Chasers in 2015, he broke the Pacific Coast League (PCL) record with a .384 average and led the league in on-base percentage (OBP, .461) and was an All-Star.

Martínez died on January 24, 2006, in Catia La Mar, Vargas, at age 40 after a long battle with stomach cancer, according to an article about his son in issue #2 of Cardinals Gameday Magazine.

title: Carlos Martínez (infielder)


text:
Jerry Uelsmann

Jerry Norman Uelsmann (June 11, 1934 – April 4, 2022) was an American photographer.

As an emerging artist in the 1960s, Jerry Uelsmann received international recognition for surreal, enigmatic photographs (photomontages) made with his unique method of composite printing and his dedication to revealing the deepest emotions of the human condition. Over the next six decades, his contributions to contemporary photography were firmly established with important exhibitions, prestigious awards and numerous publications. Among his awards were a Guggenheim Fellowship, National Endowment, Royal Photographic Society Fellowship, and  Lucie Award.

Uelsmann described his creative process as a journey of discovery in the darkroom (visual research laboratory). Going against the established practice of previsualization (Ansel Adams, Edward Weston and others), he coined a new term, post-visualization. He decided the contents of the final print after rather than before pressing the shutter button. Uelsmann constructed his dreams like a visual poet with results that often seemed emotionally more real than the factual world. By the 1980s he became one of the most collected photographers in America. His work influenced generations of both analog and digital photographers. Although he admired digital photography, he remained completely dedicated to the alchemy of film photography in the black and white darkroom.

Early life and education
Uelsmann, a native of Detroit, Michigan, credited his parents Norman (a grocer,1904-1962) and Florence (Crossman) Uelsmann (a homemaker, 1903–1986) for encouraging his creativity. His mother saved his artworks beginning in kindergarten and continuing into college. Uelsmann's father, whose hobby was photography, built a basement darkroom (c. 1948) to share with his two sons, Jerry and Robert.

In high school he worked as a photographer for the school newspaper and later attended Rochester Institute of Technology earning a BFA degree in 1957.

At RIT he was influenced by Minor White and Ralph Hattersley who taught craftsmanship (technical precision) along with the emotional and perceptual aspects of fine arts photography. Uelsmann appreciated White's mystical philosophy and devotion to Zen-like meditation even when not photographing. He was particularly affected by Minor White's belief that fine arts photographers should “strive to capture subjects for what they are and for what else they are”.

Ralph Hattersley had theories like those of Minor White especially concerning self-discovery about which he published a text. A portrait of Hattersley by Uelsmann was used for the cover of Hattersley's book, Discover Your Self Through Photography. Uelsmann recalled the demanding yet meaningful assignments given by Hattersley that caused him to see ordinary objects differently and personally. Visual and spiritual awareness were of paramount importance compared to the photographic equipment. As a student, Uelsmann used many camera formats but settled on a relatively simple medium format (Bronica) for most of his career.

After graduating from Rochester Institute of Technology, Uelsmann enrolled at Indiana University and met Professor Henry Holmes Smith (a mentee of László Moholy-Nagy). He described Smith as a “mind-bomb of inspirational ideas” and challenging questions that encouraged experimentation with concepts and images.

Uelsmann took extensive art history courses and was particularly fascinated by surrealists including René Magritte, Joseph Cornell, and Man Ray, all of whom worked from dreams, fantasies, and visions. Also, he admired the avant-garde techniques of Bauhaus photographers and the intuition of abstract expressionists. He claimed a debt to the 19th-century photomontage artists, Oscar Gustave Rejlander and Henry Peach Robinson. Vincent Van Gogh influenced Uelsmann, too. During a modern art history course at Indiana University, Uelsmann saw an image by Van Gogh and suddenly remembered seeing the same painting (a self-portrait) when he was twelve years old at the Detroit Institute of Arts. He had forgotten the artist's name but never forgot how the painting made him feel. Both Van Gogh and Uelsmann produced expressive self-portraits, although the ones by Uelsmann were often shown as anonymous figures suggesting everyman and named Untitled.

In 1960, Uelsmann earned two degrees from Indiana University, MS (audio-visual studies) and MFA (fine arts photography).

Early career
Uelsmann was recruited in 1960 by Van Deren Coke to teach at the University of Florida (Gainesville), one of the few universities offering photography as a concentration for fine arts majors. He taught at UF until his retirement in 1998.

The first twenty years of his career (1960-1980) involved widespread success with numerous honors in education, writings, and exhibitions.

In 1962, he was one of the founders of the Society of Photographic Education (SPE) which held annual meetings where educators, students and historians could share their ideas and images about photography's relationship to themselves and the world.

Uelsmann delivered his first influential paper, “The Interrelationship of Image and Technique," at the SPE initial conference (1962 in Rochester, NY). His second paper, “Post-Visualization,” was presented in 1964 at the SPE in Chicago, IL. Some details on post-visualization and his technique of composite printing can be found below in Additional Notes and in his book Process and Perception.

He had a career breakthrough in 1967 with a solo exhibition of photomontages at the Museum of Modern Art in New York. John Swarkowski was the director.

Also, in 1967 he won a Guggenheim Fellowship for “Experiments in Multiple Printing Techniques in Photography”. With the grant, he worked on various techniques of printing and experimented with subtle colors from toners such as blues and browns.

In 1968 he returned to the Museum of Modern Art to be included in “Photography as Printmaking”, directed by Peter C. Bunnell. The exhibition increased awareness of innovative contemporary photography as a worthy addition to realistic photography.

Beginning in 1968 and continuing for decades, he scheduled extensive workshops throughout the nation for demonstrations, lectures, and hands-on practice to small groups of students. The first year of workshops included Rhode Island School of Design, Massachusetts Institute of Technology, University of Iowa, The Art Institute of Chicago, San Francisco Museum of Art, Purdue University, Ohio University, Addison Gallery of American Art, George Eastman House, The Friends of Photography (Carmel, CA), University of St. Thomas, and Wheaton College.

In 1972, he won a grant from the National Endowment for the Arts.

In 1978 Uelsmann was included in "Mirrors and Windows: American Photography since 1960" directed by John Szarkowski at the Museum of Modern Art, NY. The show reflected on two theories of contemporary photographers. One theory was about self-expression (mirror of oneself) and the second one involved observations outside of oneself with an emphasis on objectivity. There were a few artists who crossed over between these two theories. The exhibition and book were influential and stimulated much discussion pro and con.

In 1981, Jerry Uelsmann was named one of the top ten most collected photographers by American Photographer magazine.

Bertram Cox Memorial Lecture, 1971
Uelsmann was inducted (1970) as a fellow by the Royal Photographic Society of Great Britain (London) and invited to deliver the fourth Bertram Cox Memorial Lecture in early 1971. His paper was entitled, “Some Humanistic Considerations of Photography”, most of which is archived online. Using specific examples, he explained his process of post-visualization (trying different combinations of negatives). Prior to his sessions in the darkroom, he would study hundreds of negatives using contact sheets (proof sheets). The final print could take hours or days to resolve, but the journey was always magical according to Uelsmann. Trial and error were essential steps.

He expressed gratitude for what photography revealed about himself and his fellow human beings. A persistent theme was about the never ending mysteries of life.

Beginning in the mid-1960s Uelsmann preferred the title, Untitled, for most of his photographs to invite various interpretations.

He described his persona as “an unapologetic romantic” who loves working in the darkroom.

Other parts of his lecture contained humor for which Uelsmann was noted. He joked about negative sandwiches and the random decision of using a leaf of lettuce saying he finally had a negative sandwich that was edible.

Another joke was about falling in a mud hole while on a shooting trip. When he got home, he finished the roll of film by taking photos of his muddy body (self-timer and tripod) while in the bathtub. Although he did not like the print, he sent it to John Szarkowski at the Museum of Modern Art (NY) with a letter written on the back. The surprise was that Szarkowski used the photo for a press release (calendar about exhibitions). Uelsmann, a gifted speaker, gave a memorable lecture combining humor with seriousness.

Mid- to late-career
During his last four decades (1980 to 2022), Uelsmann regularly exhibited while publishing over twenty-five books about his work.

A few of those achievements are summarized below.

 * In 1989 he had a fifty-print exhibition of recent work entitled “Jerry N. Uelsmann: Magic and Poetry in Photography” in Chicago, IL. One reviewer, Larry Thall, commented on Uelsmann's long-standing popularity and importance. The new work evoked his consistent themes and intriguing metaphors about birth, death and the journey in between. Larry Thall observed a heightened concern by Uelsmann regarding the environment. He mentioned photographs showing pristine nature with both congruent and incongruent aspects. For example, he referenced a photograph of the wilderness in Yosemite that, at first, looks normal. The  central yet contradictory subject, an office desk on fire, is perfectly blended into the scene.

 * After retiring from the University of Florida in 1998, Uelsmann set new goals and kept a busy schedule. Although he had shown internationally since the 1970s, he increased his presence abroad in the 21st century.

 * In 2001–2002, Uelsmann participated in an extended interview with photographer, Robert J. Hirsch. The interview contains statements about the value of Uelsmann's personal expressive theory during a time of national disaster post September 11, 2001. The interview was published in Photo Vision Magazine which is not indexed. A website showing the interview was still available July 8, 2022.

 * During 2006-2007, he and Maggie Taylor, a noted digital photographer, produced several two-person exhibitions in the United States, Korea, China, and Italy.

 * In 2011-2012 he was featured in a retrospective exhibition, “The Mind’s Eye, 50 Years of Photography by Jerry Uelsmann”. The show premiered at the Harn Museum of Art in Gainesville, FL in 2011. It traveled to the Peabody Essex Museum of Art, Salem, MA and the James A. Michener Museum, Doylestown, PA.

 * In 2015, he gave a short speech at Carnegie Hall (NY) as an honoree receiving a Lucie Award for achievement in Fine Art.

 * In 2018, he had a solo exhibition in Baton Rouge, LA at the Louisiana State University Museum of Art. The show's title, "Confluence", referred to the flowing nature of Uelsmann's conversations (in 2018) with the scholar, Moa Petersén, especially in reference to love and loss. This dialogue inspired new work. In a lecture for the show's opening, Uelsmann talked about the emotional highs and lows evident in his photography as metaphors for life.

 * He recalled one of the highs being his friendship with Ansel Adams citing a letter Uelsmann had recently rediscovered. Adams, an early and steadfast supporter of Uelsmann, was his senior by 32 years. In the letter (dated 1969), Adams referred to Uelsmann as the “eighth wonder of the world”.

 * Adams wrote that on the eighth day of the creation, Jerry Uelsmann was invented because “things needed moving around”.

 * The photographs of Ansel Adams (realist) and Jerry Uelsmann (surrealist) had at least two common traits. The image quality and focus were superb with meticulously printed black and white photos (mostly landscapes). Both artists were dedicated to producing hand-made images.  Although they represented different art theories, they shared a common goal of authenticity (authentic feelings).   Uelsmann insisted that photographic theory is not a competition.

 * He recalled a whimsical photograph taken in 1969 showing Ansel Adams and one of his Group f/64 partners, Imogen Cunningham, anointing Uelsmann as an honorary West Coast photographer. A print of the scene, photographed by Ted Orland in Point Lobos, CA, is owned by Boston's Museum of Fine Arts.

 * In 2020 Uelsmann gave what may have been his last interview. It was recorded from his darkroom via Zoom video conferencing software and was hosted by Russell Brown, an associate of Adobe Corporation.

Style and technique

Uelsmann produced composite photographs with multiple negatives and extensive darkroom work. He operated up to a dozen enlargers to produce his final images drawing from a large archive of negatives. When beginning a photomontage, he had a strong intuitive sense of what he was looking for, some strategy for how to find it, and an understanding that mistakes are inevitable and are part of the creative process. His darkroom session began by studying his negatives. He covered a large drafting table with hundreds of proof sheets. He folded and overlapped various contact prints, explored the visual possibilities, then brought the options into his darkroom. The negatives he had chosen were placed into different enlargers. He moved the photo paper progressively down the line of enlargers building up an image. Uelsmann was a firm believer that the final image need not be tied to a single negative.

Uelsmann's interpretations invite the viewer to interact with the subject. There are many right answers available when one is willing to contemplate the possibilities. Untitled (Boat and Moon) demonstrates his ability to seamlessly blend multiple photographs into one image that appears to reinvent reality.

Partial chronologies on Uelsmann can be found in these two references.

Critical response
Although many writers published positive, well documented remarks about Uelsmann,  there were others who argued that his work was interesting but too manipulated to be photography. Many advocates of realism believed that a photograph should never be manipulated. Uelsmann was often his own humble critic. He commented in interviews that only 10 to 15 percent of his yearly output of 100-150 photographs stood the test of time according to his own judgement.

Uelsmann, in an interview, talked about a cultural shift away from the poetic expressiveness of the counterculture and beat generation of the 1950s and 1960s that became obvious. For example, in photography he had witnessed a decline in surrealistic photographers being shown in  major museums in the late 1970s and 1980s. However, he remained undaunted and devoted to his philosophy of being personal and finding truth within oneself.

The digital age inadvertently created a new audience for Uelsmann. In the 1990s when Photoshop emerged with its seemingly endless image-altering possibilities, surrealism was revived. In the 21st century, a young generation of photographers became fascinated with Uelsmann's work.

Uelsmann enjoyed sharing his experiences and seeing the photographs of young artists. His lecture at the Michener Museum in PA (2012) is one example that is available online. The students were impressed with his work ethic. They admired his extroverted personality, wit and patience which defined his career and was well summarized by several writers.

According to Peter Bunnell, Uelsmann had a passion for people but also could sustain days alone in the darkroom. John Paul Caponigro suggested that Uelsmann's sense of humor and vivaciousness helped him deal with the darker side of life in his artwork. Music energized his darkroom including jazz, blues, rock and  classical. Uelsmann memorized Broadway and popular tunes which he spontaneously sang even during social gatherings at his home or in lectures. He believed in angels (spirits) commenting about the science and mystery of angels in most religions. Several unique varieties of angels appear in his photographs. In contrast to Uelsmann's exuberance  in everyday life, his photographs are rarely humorous. One example of humor is his photograph entitled Flamingos in Yosemite.

Some clues about the source of his ideas could be seen in Uelsmann's home.

His multi-windowed, contemporary home was surrounded by majestic live oaks with their perpetual mystery. Huge, serpentine-shaped limbs often touch the ground then turn upwards. Uelsmann's sizable darkroom was filled with trinkets such as small toys, bric-a-brac, decals, old cameras, valentines, and pop culture icons (like Mickey Mouse) presenting a visual wonderland that served for laughter and ideas. He often photographed miniature items like the white toy boat that appeared in some of his images. One of the “boat” photographs (Untitled) shows an empty white boat surrounded by dark waters and a distant light (moon). It has sometimes been linked to Minor White's statement before dying, “a boat is waiting for me”. Uelsmann stated that this interpretation was one of many possibilities. He believed that messages (feelings) evoked from any image are derived from the experiences of the viewer.

Personal life
Jerry Uelsmann was married three times in this order: Marilynn Kamischke (later Marilyn Schlott), Diane Farris, and Maggie Taylor.

The marriages ended in divorce. With Diane Farris, he had one son, Andrew, and two grandchildren.

He died on April 4, 2022, at the age 87 In Gainesville, Florida.

Museums
The collections of several major museums contain work by Jerry Uelsmann. Some of those museums are listed below with the number of works owned in 2022.

 * George Eastman Museum, Rochester, NY. 330 photographs by Uelsmann

 * Sidney and Lois Eskenazi Museum of Art, Bloomington, IN. 185 photographs by Uelsmann.

 * Harn Museum of Art, Gainesville, FL. 153 photographs by Uelsmann

 * Ringling Museum of Art, Sarasota, FL. 69 photographs by Uelsmann

 * Princeton University Art Museum, Princeton, NJ. 24 photographs by Uelsmann

 * Museum of Modern Art, New York, NY. 26 photographs by Uelsmann.

 * Metropolitan Museum of Art, New York, NY. 3 photographs by Uelsmann.

 * Whitney Museum of American Art, New York, NY. 5 photographs by Uelsmann,

 * The Art Institute of Chicago, Chicago, IL. 33 photographs by Uelsmann.

 * Getty Museum, Los Angeles, CA. 8 photographs by Uelsmann.

 * San Francisco Museum of Modern Art, San Francisco, CA. 11 photographs by Uelsmann.

 * Smithsonian American Art Museum, Washington, D.C. 21 photographs by Uelsmann.

 * Victoria and Albert Museum, London, England. 2 photographs by Uelsmann.

 * Tokyo Photographic Art Museum, Tokyo, Japan. 7 photographs by Uelsmann.

 * The Museum of Photography, Seoul, Korea. 1 photograph shown in highlights of collection.

 * Center for Creative Photography, University of Arizona, Tucson, AZ. 8 photographs by Uelsmann.

 * Museum of Fine Arts, Boston, MA. 6 photographs by Uelsmann.

 * National Galleries of Scotland, Edinburgh, UK. 1 photograph by Uelsmann.

 * North Carolina Museum of Art, Raleigh, NC. 7 photographs by Uelsmann.

 * The Nelson-Atkins Museum of Art, Kansas City, MO. 12 photographs by Uelsmann.

 * National Gallery of Canada, Ottawa, Ontario, Canada. 24 photographs by Uelsmann.

 * Dallas Museum of Art, Dallas, TX. 12 photographs by Uelsmann.

 * Museum of Fine Arts, Houston, TX. 24 photographs by Uelsmann.

 * Detroit Institute of Arts, Detroit, MI. 2 photographs by Uelsmann.

 * Southeast Museum of Photography, Daytona Beach, FL. 5 photographs by Uelsmann.

 * National Gallery of Australia, Parkes ACT, Australia. 12 photographs by Uelsmann.

Books by Uelsmann
The following list of books was made from searching World Catalog. ISBN numbers or OCLC numbers are included.

 * Uelsmann, Jerry and William E. Parker (Introduction). Eight Photographs, Doubleday, NY 1970.  OCLC 104831
 * Uelsmann, Jerry and Peter Bunnell, Jerry N. Uelsmann, Aperture, NY, 1970    OCLC number 1067615248
 * Uelsmann, Jerry, Peter C. Bunnell (intro), Russell Edson (fables). Jerry N. Uelsmann, Aperture and Philadelphia Museum of Art, 1970. OCLC 158145
 * Uelsmann, Jerry and Peter C. Bunnell. Silver Meditations, Morgan&Morgan, Dobbs Ferry, NY, 1975.   ISBN 9780871000873
 * Uelsmann, Jerry.  Jerry Uelsmann: Photographs from 1975-79, Columbia College,  Chicago, IL, 1980. OCLC number 63388176
 * Uelsmann, Jerry and James Enyeart. Twenty-five Years: A Retrospective, New York Graphic Society, 1982.ISBN 9780821215197
 * Uelsmann, Jerry and John Ames (essay).  Process and Perception, University of Florida Press,1985.ISBN 9780813008301
 * Uelsmann, Jerry and John L. Ward.The Criticism of Photography as Art: The Photographs of Jerry Uelsmann, UF Press, 1988  ISBN 9780813003030
 * Uelsmann, Jerry. Uelsmann/Yosemite, University of Florida Press, Gainesville, FL, 1996. ISBN 9780813014449
 * Uelsmann, Jerry.  Jerry Uelsmann: Photo Synthesis, University of Florida Press, Gainesville, FL. 1996.  ISBN 9780813011608
 * Uelsmann, Jerry and Peter C. Bunnell. Museum Studies, Nazraeli Press, Tucson, AZ, 1999.ISBN 9783923922727
 * Uelsmann, Jerry. Approaching the Shadow, Nazraeli Press, Tucson, AZ, 2000. ISBN 9783923922796
 * Uelsmann, Jerry and Alexander Alberro, and Nora M. Alter. Referencing Art, Nazraeli Press, Tucson, AZ, 2003. OCLC number 607137786
 * Uelsmann, Jerry. Other Realities, Bulfinch Press, Boston, MA and London, 2005. ISBN 9780821257425
 * Uelsmann, Jerry. Meditation Navigation: Jerry Uelsmann 1961–2006, Marsillio Publishing, Venice, Italy, 2007. ISBN 9788831792431
 * Uelsmann, Jerry, Maggie Taylor, Phillip Prodger, Maggie and Jerry: The Works of Jerry Uelsmann and Maggie Taylor, Seoul Museum of Photography, Seoul, Korea, 2007. OCLC number 297155764
 * Uelsmann, Jerry. Imaginary Space: Jerry Uelsmann Retrospective, Photographic Publishing House, Beijing, China, 2007. ISBN 9787802360877
 * 想象的时空 : 杰利 ·尤斯曼回顾 = Imaginary spaces: Jerry Uelsmann retrospective /
 * Xiang xiang de shi kong : Jieli Yousiman hui gui = Imaginary spaces: Jerry Uelsmann retrospective
 * Uelsmann, Jerry and Maggie Taylor. Just Suppose: Photographs by Jerry Uelsmann and Maggie Taylor, University of Florida Press, Gainesville, FL, 2007 OCLC number 503296934.
 * Uelsmann, Jerry. Whispers of Blended Shadows: The Art of Jerry Uelsmann, Taipei Fine Arts Museum, Taipei, Taiwan, 2008.  ISBN 9789860155389
 * Uelsmann, Jerry and A.D. Coleman. Prima Facie: The Photography of Jerry Uelsmann, See+Gallery, Beijing, China, 2008.  ISBN 9789881787675
 * Uelsmann, Jerry, and Phillip Prodger. The Mind's Eye: Photographs by Jerry Uelsmann, ModernBooks Edition, 2010.ISBN 9780980104448
 * Uelsmann, Jerry and Ted Orland. Dances with Negatives, Center for Photographic Art, Carmel, CA.        OCLC number 779852844 2011
 * Uelsmann, Jerry. Synchronistic Moments, Paci Arte Publishing, Brescia, Italy, 2011. ISBN 9788860571151
 * Uelsmann, Jerry and Steven Brown (poet),& producers of these handmade books. Moth and Bonelight,  21st Editions, South Dennis, MA, 2011 OCLC number 708253990
 * Uelsmann, Jerry and Carol McCusker (intro). Uelsmann Untitled: A Retrospective, Univ.of Florida Press, 2014. ISBN 9780813049496

title: Jerry Uelsmann