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Winterbourne Abbas

Winterbourne Abbas is a village and civil parish in south west Dorset, England, situated in a valley on the A35 road 5 mi west of Dorchester. In the 2011 census the parish had a population of 355.

History
In the early hours of 6 May 2023, a large fire broke out at an industrial estate outside the village. The A35 road was closed for several hours.

The village
Winterbourne Abbas is a pleasant rural village, only spoilt by the heavy traffic which passes through on the A35. The Coach and Horses Inn dates from 1814 or earlier and was a coaching inn on the turnpike road from Dorchester to Bridport. The Baptist Chapel dates from 1872 and has been converted to residential use. Other notable buildings include the Old Post Office in the middle of a terrace of cottages and the Grange.

The Nine Stones stone circle lies just to the west of the village just to the south of the A35 road and surrounded by trees. It is probably the best example of a stone circle in Dorset. Also near the village are the remains of various ancient barrows and burial chambers, including Poor Lot Barrow Cemetery.

The village has a school 'Winterbourne Valley First School', taking approximately 70 pupils of 3 to 9 years of age. The school was assessed as 'Outstanding' by OFSTED in 2011.

The church
The parish church is dedicated to St Mary and is a Grade I listed building, being inscribed in the register on 26 January 1956. The church is built from coursed rubble stone and flint, dressed with local stone from Ham Hill, Somerset and the Ridgeway. The roof is slate and the tower, at the west end, has three stages and is supported by buttresses. The oldest parts of the church are the thirteenth century nave and the chancel, the chancel having been rebuilt in the fourteenth century. In the fifteenth century, the nave was widened to the north and the tower and rood stair installed. In the sixteenth century the entrance to the former south chapel was blocked, and in the seventeenth century, the porch was added. The eighteenth century saw an alteration to the chancel and the addition of buttresses to the nave. There is the Royal coat of arms of Charles II dated 1661 on the chancel arch, and the Jacobean gallery is carved with the date 1701. South of the Sanctuary there is a piscina from about 1320 with a pyramidal hood and canopy supported by two figures.

Politics
After 2019 structural changes to local government in England, Winterbourne Abbas is part of the Winterborne and Broadmayne ward which elects 1 member to Dorset Council.

title: Winterbourne Abbas


text:
User talk:Thestaxman

Welcome to Wikipedia Thestaxman! Thanks for the New articles: Al Jackson and Donald 'Duck' Dunn and your work on the Steve Cropper article. We're working on some other Stax-related articles as well.

Help is never far away around here. Please create your User page so we can get to know ya. Welcome aboard! Quinobi 12:12, 18 Oct 2004 (UTC)

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
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You need to work on your formating. Arminius 00:32, 25 Oct 2004 (UTC)

Imperial Show Bands
Did you mean to create two pages: The Imperial Show Band and Imperial Show Band? If so, on the one you think we shouldn't keep, put on the top of the page and an administrator will delete it. (John User:Jwy talk) 01:45, 16 May 2007 (UTC)
 * Actually, the histories should probably be merged, and whichever isn't where the article content is should be a redirect to the other article. I'll report it at Cut and paste move repair holding pen
 * In the future, to "rename" an article please use the Move tab instead of cut&paste. That said, based on WP:NC and Google "the" vs Google no "the I think there's a strong argument that Imperial Show Band is the better name. Sohelpme 04:40, 17 May 2007 (UTC)
 * Since only the original author and myself (the only other editor of the page) approved of the removal, I didn't think this would be a problem. (John User:Jwy talk) 04:46, 17 May 2007 (UTC)
 * I don't know about using "The" for this specific group, but WP:NC states that bands that use "The" (on their published recordings and/or website) should use it at the beginning of the article name. Closenplay 12:40, 17 May 2007 (UTC)

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Exekias

Exekias (Ἐξηκίας, Exēkías) was an ancient Greek vase painter and potter who was active in Athens between roughly 545 BC and 530 BC. Exekias worked mainly in the black-figure technique, which involved the painting of scenes using a clay slip that fired to black, with details created through incision. Exekias is regarded by art historians as an artistic visionary whose masterful use of incision and psychologically sensitive compositions mark him as one of the greatest of all Attic vase painters. The Andokides painter and the Lysippides Painter are thought to have been students of Exekias.

Background
The works of Exekias are distinguished by their innovative compositions, precise draughtsmanship, and subtle psychological characterization, all of which transcend the inherent challenges of the black-figure technique. John Boardman, the eminent historian of Greek art, described Exekias' style as follows: "The hallmark of his style is a near statuesque dignity which brings vase painting for the first time close to claiming a place as a major art." He was an innovative painter and potter, who experimented with new shapes and devised unusual painting techniques, such as the use of a coral-red slip, to enhance colour.

Fourteen signed works by Exekias have survived, while many more have been attributed to him based on the stylistic connoisseurship method developed by John Beazley. His signed pieces provide insight not only into the work of Exekias himself but also into the way ancient pottery workshops operated. Twelve of the fourteen vessels bearing his name refer to him not as their painter but as their potter, by adding the word epoíēsen (ἐποίησεν) to his name. This may be translated as "Exekias made [me]", in contrast to égrapsen (ἓγραψεν), which translates as "painted [me]" (literally: "drew [me]"). On two amphorae, Berlin 1720 and Vatican 344, both terms are used in the iambic trimeter inscription, Exēkías égrapse kapoíēsé me ("Exekias made and painted me"), indicating that in these cases Exekias was responsible for both the potting of the vase and its painted decoration. Fragments of a third amphora (Taranto 179196) also show the use of both terms, when the inscriptions are restored. This leads to speculation regarding the meaning of the epoíēsen signatures and why, in some instances, Exekias signed only as potter on vases that he clearly painted as well. It has been suggested that he chose to sign as painter only the works he was particularly proud of. According to a different approach, Exekias' epoíēsen signatures could be understood as functioning as a general workshop stamp, which would mean that Exekias may have simply been the master-potter who supervised the production of the vessel. Seven of the vessels signed "Exēkias epoíēsen," however, carry too little decoration to afford comparison. Only two of the remaining vases signed with epoíēsen can be attributed to the same hand as those signed "... égrapse kapoíēsé me"—that is, to the painter Exekias. Beazley attributed one of the vases with the potter-only signature to the so-called Group E, to which Exekias is closely related.

While Exekias' work itself offers a glimpse of the culture of ancient pottery, the find spots of his vases also reveal information about the market in which Exekias positioned himself. Fragments of column krater and a hydria attributed to Exekias were excavated on the Athenian Acropolis, suggesting that Exekias maintained a clientele in his home city. The fact that two of his vases were found on the Acropolis, an important religious sanctuary, underscores his prestige as a vase painter. Exekias not only enjoyed a thriving market in Athens; many of his extant vases were also exported to Etruria, Italy, found at sites such as Vulci and Orvieto, where they were buried in Etruscan tombs. Being admirers of Greeks and their arts and letters, the Etruscans developed a taste for Greek vases, over 30,000 of which have been found in the region. The presence of Exekias' work in Etruria indicates that foreigners also admired his vases, and that he catered to markets both at home and abroad.

Group E
In the words of Beazley, Group E is "the soil from which the art of Exekias springs, the tradition which on his way from fine craftsman to true artist he absorbs and transcends.” Based on the overarching stylistic similarities between the work of Group E and Exekias, Beazley hypothesized that Exekias first began his career in the workshop of the so-called Group E artists. "Group E" produced work that is not only considered closely related to the work of Exekias, but also represents a conscious break from the pottery traditions of the first half of the sixth century BC. Group E has been credited with the development of new, elegant vessel shapes such as the "Type A amphora".  Exekias, however, is the only member of the Group who signed his products which suggests that Exekias may have been responsible for the development of such vessel shapes as the Type A cup, the Type A belly amphora and the calyx krater. Apart from the specialization in certain vessel shapes, the Group E artists also shared a common range of subjects: the birth of Athena, Theseus fighting the Minotaur, Herakles fighting the Nemean Lion, and Herakles and the three-bodied Geryon, are among the themes most often pictured on vases by this group.

Vessel shapes
Exekias does not seem to have specialized in a specific vessel type. Among the vases made or decorated by him are neck amphorae, Type A and B amphorae, calyx kraters, column kraters, Type A cups, dinoi, hydriai, and at least one Panathenaic amphora. Probably his most unusual work is represented by two series of funerary plaques found in Athens (Berlin Antikensammlung 1811, 1814). The plaques, showing the funerary ritual for a deceased man, were probably attached to the walls of a funerary monument.

Themes
In his vase paintings, Exekias does not only reinterpret the mythological traditions of his time, but at times even sets new fashions. One of his most famous works is the so-called "Dionysus Cup", a kylix now in Munich (Antikensammlung 2044). The kylix falls into the "eye-cup" category and is decorated on the exterior with two pairs of eyes, which may be an original Exekian motif. The interior shows a depiction of the god Dionysos against a background of coral-red slip, which coats the entire picture space. Here, Exekias uses the tondo as a working surface for the main scenario: Dionysus was the god of inspiration, and the painting depicts his initial journey to Athens by ship. Pirates had seized the ship and were planning, perhaps, to sell Dionysus into slavery. Instead, the god caused vines to grow from the mast, frightening the pirates so much that they jumped overboard and were changed into dolphins, here seen swimming around the ship. Exekias is the first Athenian vase painter to depict Dionysus sailing in the expanse of the interior of a cup. While many of Exekias' pieces display an image from a mythological story they are generally not the most famous moments. The "Eye-cup" that depicts Dionysus does not show the God fighting his kidnappers but instead shows him relaxing in his boat with his kidnappers turned into dolphins around him. Exekias could have chosen any moment, but this is the one he painted.

Another visual adaptation of the mythological past can be seen on the Vatican amphora 344, which is regarded by some art historians as Exekias' masterpiece. The Vatican amphora depicts Achilles and Ajax playing a board game, with both men identified by their names added in the genitive. Ajax and Achilles sit across from each other, looking down at a block situated between them. The board game they are playing, which might be compared to a backgammon or checkers variant, was played with a die. According to the words written next to the two players, Achilles proclaims he has thrown a four, while Ajax has a three. Although the two of them are pictured playing, they are clearly depicted as being on duty, accompanied by their body armor and holding their spears, suggesting that they might head back into battle at any moment. There are small details that Exekias adds to this piece that separate it from other depictions of this narrative. Achilles is shown with his helmet still resting on his head which represents he has more power than Ajax. Also, Ajax is shown with his heel slightly lifted, suggesting that he is nervous in the presence of Achilles. Apart from the selection of this very intimate, seemingly relaxed scene as a symbol for the Trojan War, this vase-painting also showcases the talent of Exekias as an artist: the figures of both Achilles and Ajax are decorated with fine incised details, showing elaborate textile patterns and almost every hair in place. There is no extant literary source that is known to have circulated in the sixth century BC in Athens regarding a narrative involving Ajax and Achilles playing a board game. Exekias may have drawn his inspiration for this innovative composition from local oral bardic traditions regarding the Trojan War, which may have developed during his lifetime in the cultural context of sixth century Athens. Despite the ambiguity surrounding the origin of this mythological narrative, Exekias' new depiction of Ajax and Achilles playing a board game was popular and was copied over 150 times in the ensuing fifty years.

The only "kalós" name used on vases attributed to or signed by Exekias as a painter is the Onētorídēs love name. The Onētorídēs love name appears on the Vatican 344 amphora, the London B 210 amphora, the Berlin F 1720 amphora, and the Athenian calyx-krater which has traditionally been attributed to Exekias. The Stēsías love name, Stēsías kalós, (Stesias [is] beautiful), is inscribed on the Louvre F 53 amphora, which Beazley attributed to the Group E phase of Exekias' artistic career.

Composition
In addition to the main tableau, in which figures interact physically and often with psychological import, there are often subordinate areas of interest on the vases of Exekias. Border decoration, and particularly large, beautifully constructed spirals with palmettes, frame and enliven the compositions. The central tableau is sometimes framed by areas of black, so that it appears suddenly out of the darkness, so to speak. Characteristically, Exekias uses the shape of the vessel, with its curving surface, as a terrain to which the lines and forms of the painting conform. As the viewer contemplates the vase, attention is drawn to the central scene: the game board (in the depiction of Achilles and Ajax Playing a Game), the face of Penthesilea (in the Death of Penthesilea), the starry robe of Dionysus, the sword implanted in the earth (in the Suicide of Ajax). On the rounded surface of the vase, this point is seen head on. All the other main lines of the composition either radiate around the thematic center or lead to it as the spokes of a wheel: the spears of the warriors, the curved backs of their hunching forms, the wind-filled sails of the ship and its curved bottom, the circle of dolphins. Other scenes are crowded with figures, such that attention is drawn toward the complex composition itself, or to individual men and women in a chariot or the magnificent horses arranged in groups. A variety of compositional devices are used to brilliant effect in the painting of Exekias, riveting the attention of the viewer, who then lingers to appreciate the finely executed forms and exquisite details.

Line
Also characteristic of Exekias is his expert use of line, both in terms of his finely drawn figures and also his carefully incised detail—to delineate hair, beards, unique facial features, aspects of armor and furniture, traits of plants and animals, and particularly the patterns on woven or embroidered garments, which are impressively varied and spectacularly precise. This can be appreciated in the famous Vatican amphora (344), on which Achilles and Ajax are both shown wearing richly ornamented cloaks, with almost every element clearly visible and identifiable despite the small scale. Incised designs include rosettes of various types, swastikas with squared or rounded arms, stars, and loops, arranged in panels divided by bands of many types of geometric decoration. Musculature is deftly executed, as are details of hands, feet, and armor, and hair is precisely drawn with a series of lines that run exactly parallel and end in curls; the facial expressions of the two heroes are likewise perfectly accomplished, so as to indicate, within the conventions of black figure, the intense concentration as shown by the gaze of both players.

title: Exekias


text:
User talk:GuentherGravenreuth

Stop the vandalism please. Even if you don't like GWB, vandalizing the article isn't acceptable. You risk to get blocked if you continue. andy 12:13, 18 Oct 2004 (UTC)

title: User talk:GuentherGravenreuth


text:
Winterbourne Steepleton

Winterbourne Steepleton is a village and civil parish in south west Dorset, England, situated in a winterbourne valley 5 mi west of Dorchester, next to the village of Winterbourne Abbas. The name of the village derives from its site next to a seasonal winterbourne stream and from having a stone church steeple - one of only three medieval stone spires in the county (the others being at Iwerne Minster and Trent). In the 2011 census the parish had a population of 297.

The village
Winterbourne Steepleton is a rural village set back from the main road. Notable buildings include Steepleton Manor, a large house built of Portland stone dating from 1870 and replacing a previous building. Close by is the thatched Manor Cottage, built in the 16th century, and Manor Farm, dating from the 17th century or earlier. Close to the east end of the parish church is the 17th century Mill House, built of stone and brick.

The church
The parish church, dedicated to St Michael, dates mostly from the 12th and 13th centuries, although the nave has Saxon elements and the tower and porch are 14th-century addition. It is a Grade I listed building, having been inscribed in the register on 26 January 1956. The west tower, nave, chancel and south porch are built of rubble-stone with dressings of stone from Ham Hill, Somerset. The roofs are slated. The tower has three stages with buttresses to the lower two, and is topped by a plain parapet. The spire was added in the 18th century and is octagonal with pinnacles at the corners. Several of the windows date from the 15th century and have pairs of cinque-foiled lights with vertical tracery between.

title: Winterbourne Steepleton


text:
Category:Towns in Warwickshire

Towns in the English county of Warwickshire. There are no cities in the administrative county of Warwickshire because both of the cities in the historic county of Warwickshire (Birmingham and Coventry) are now in the metropolitan county of the West Midlands.

title: Category:Towns in Warwickshire


text:
Jan Jesenius

Jan Jesenius, also written as Jessenius (Johannes Jessenius, Jeszenszky János, Ján Jesenský; December 27, 1566 – June 21, 1621), was a Bohemian physician, politician and philosopher.

Early years
He was from an old noble family, the House of Jeszenszky, originally from the Kingdom of Hungary. He presented himself in his own works as eques Ungarus ("Hungarian knight"). According to scholar publications, he had Slovak,  Polish or German roots. His father, Boldizsár Jeszenszky de Nagyjeszen, left Turóc County (today the Turiec region in Slovakia) because of the Ottomans' military campaign against Upper Hungary and settled down in Silesia in 1555. He married Marta Schülerin, who came from a wealthy German bourgeois family.

Jesenius was born in Breslau (Wrocław), where he studied at the Elisabeth gymnasium. From 1583 he studied at the University of Wittenberg, from 1585 at the University of Leipzig, and from 1588 at the University of Padua.

Professional achievements
His most important philosophical work was Zoroaster (1593), a work of universal philosophy which attempted to recover the lost wisdom of the ancients.

From 1593 Jesenius was the physician of the Prince of Saxony, and from 1594 professor of anatomy at the University of Wittenberg. After 1600 he settled down in Prague as professor and anatomical consultant for Rudolf II, King of Bohemia and Holy Roman Emperor.

In 1600 he attracted considerable public interest by performing a public autopsy in Prague. (His notes on the autopsy were published in 2005 by Karolinum, a publishing house of Charles University of Prague.)

In 1617 he was elected rector of Charles University of Prague.

Political career
He was also a diplomat and orator, and after the dethroning of Habsburgs in the Crown of Bohemia, he took several diplomatic missions for Bohemian estates and for the newly elected king Frederick of the Palatinate.

In 1618, Jesenius was arrested in Pressburg (Bratislava) after being sent as a deputy by the Bohemian estates, and was held in a prison of Vienna. In December, he was released in exchange for two Habsburg captives. There is a legend that, before his release, he wrote the inscription IMMMM on the wall of his prison cell. Ferdinand explained this as Imperator Mathias Mense Martio Morietur (Latin for "Emperor Mathias will die in the month of March"), and he wrote another prophecy next to it: Iesseni, Mentiris, Mala Morte Morieris ("Jesenius, you lie, you will die a horrible death").

Both predictions came true: Emperor Mathias died in March 1619, and Jesenius was arrested after the defeat of King Frederick of Bohemia by Emperor Ferdinand II in 1620 (Battle of White Mountain) and executed, along with 26 other Bohemian estates leaders, on the Old Town Square in 1621.

title: Jan Jesenius


text:
Witchampton

Witchampton is a village and civil parish in East Dorset, England, situated on the River Allen 5 mi north of Wimborne Minster. The 2011 census recorded a population of 398.

Witchampton lies close to where the dip slope of the chalk hills of Cranborne Chase is overlain by newer deposits of London Clay. Although Witchampton is sited within the area of the chalk, where cob and thatch are the traditional building materials, the nearness of the clay has resulted in many of the older houses in the village being built from brick. The early 16th-century Abbey House contains some of the earliest brickwork in the county.

To the northeast of the village there used to be a paper mill by the river. In 1980 it was described by writer Roland Gant as a "discreet industrial oasis in an agricultural plain". It had been in operation since the early 18th century, but has now been converted to residential accommodation.

11th-century whalebone chess pieces have been found within the parish, and are some of the best surviving early English chess pieces.

title: Witchampton


text:
Larry James

George Lawrence "Larry" James (November 6, 1947 – November 6, 2008), also known as James Swift, was an American track athlete. At the 1968 Olympics he won a gold medal in the 4 × 400 m relay and a silver in the individual 400 m.

Early life
James was born on November 6, 1947, in Mount Pleasant, New York, and took up track in seventh grade. He attended White Plains High School, where he competed in the intermediate hurdles and the triple jump, and was a member of relay teams that set national records.

Athlete
A double medalist at the 1968 Summer Olympics in Mexico City, James also set world records and won NCAA titles during his track career. James won the silver medal in the 400 m with his time of 43.97 seconds at the 1968 Summer Olympics, bettering the existing world record but placing him second behind teammate (and fellow Hall of Famer) Lee Evans (43.86). James added a gold medal at the Mexico City Games by running the third leg on the U.S. 4 × 400 m relay team, which set a world record of 2:56.16 seconds, which was eventually tied in 1988 but was not beaten until 1992.

James, at the age of 20 years and 10 months, set the 400 m world record of 44.1 seconds in placing second to Evans at the 1968 Olympic Trials at Echo Summit, California, when Evans' winning time of 44.0 was disallowed by the IAAF because he wore illegal brush spike shoes. James was a double gold medalist at the 1970 World University Games, winning the 400 m hurdles and running the anchor leg on Team USA's 4 × 400 m relay team (3:03.33). As a collegian at Villanova University under Hall of Fame coach Jumbo Elliott, James won the NCAA Men's Outdoor Track and Field Championship 440 yd title in 1970 and NCAA Men's Indoor Track and Field Championship crowns at that distance in 1968, 1969 and 1970. At the 1968 Penn Relays, his anchor leg of 43.9 was the fastest ever run in the history of the relay carnival and sparked Villanova's scintillating comeback victory over Rice University. His finish in this race is pictured on the cover of the May 1968 issue of Track and Field News.

Coaching
The head manager for Team USA at the 2003 World Outdoor Championships, James was chair of USATF's budget committee and had recently retired after 28 years as the Dean of Athletics and Recreational Programs and Services at the Richard Stockton College of New Jersey. The soccer and track-and-field stadium at the College is named for him, and features a large touchstone at its entrance.

In addition to the bachelor's degree in business administration that he earned from Villanova, James received a Master of Public Policy in 1987 from Rutgers University.

In 2003, James was inducted into the National Track and Field Hall of Fame.

He died on his 61st birthday on November 6, 2008, at his home in Galloway Township, New Jersey of colon cancer.

title: Larry James


text:
Dataflow programming

In computer programming, dataflow programming is a programming paradigm that models a program as a directed graph of the data flowing between operations, thus implementing dataflow principles and architecture. Dataflow programming languages share some features of functional languages, and were generally developed in order to bring some functional concepts to a language more suitable for numeric processing. Some authors use the term datastream instead of dataflow to avoid confusion with dataflow computing or dataflow architecture, based on an indeterministic machine paradigm. Dataflow programming was pioneered by Jack Dennis and his graduate students at MIT in the 1960s.

Considerations
Traditionally, a program is modelled as a series of operations happening in a specific order; this may be referred to as sequential, procedural, control flow (indicating that the program chooses a specific path), or imperative programming. The program focuses on commands, in line with the von Neumann vision of sequential programming, where data is normally "at rest".

In contrast, dataflow programming emphasizes the movement of data and models programs as a series of connections. Explicitly defined inputs and outputs connect operations, which function like black boxes. An operation runs as soon as all of its inputs become valid. Thus, dataflow languages are inherently parallel and can work well in large, decentralized systems.

State
One of the key concepts in computer programming is the idea of state, essentially a snapshot of various conditions in the system. Most programming languages require a considerable amount of state information, which is generally hidden from the programmer. Often, the computer itself has no idea which piece of information encodes the enduring state. This is a serious problem, as the state information needs to be shared across multiple processors in parallel processing machines. Most languages force the programmer to add extra code to indicate which data and parts of the code are important to the state. This code tends to be both expensive in terms of performance, as well as difficult to read or debug. Explicit parallelism is one of the main reasons for the poor performance of Enterprise Java Beans when building data-intensive, non-OLTP applications.

Where a sequential program can be imagined as a single worker moving between tasks (operations), a dataflow program is more like a series of workers on an assembly line, each doing a specific task whenever materials are available. Since the operations are only concerned with the availability of data inputs, they have no hidden state to track, and are all "ready" at the same time.

Representation
Dataflow programs are represented in different ways. A traditional program is usually represented as a series of text instructions, which is reasonable for describing a serial system which pipes data between small, single-purpose tools that receive, process, and return. Dataflow programs start with an input, perhaps the command line parameters, and illustrate how that data is used and modified. The flow of data is explicit, often visually illustrated as a line or pipe.

In terms of encoding, a dataflow program might be implemented as a hash table, with uniquely identified inputs as the keys, used to look up pointers to the instructions. When any operation completes, the program scans down the list of operations until it finds the first operation where all inputs are currently valid, and runs it. When that operation finishes, it will typically output data, thereby making another operation become valid.

For parallel operation, only the list needs to be shared; it is the state of the entire program. Thus the task of maintaining state is removed from the programmer and given to the language's runtime. On machines with a single processor core where an implementation designed for parallel operation would simply introduce overhead, this overhead can be removed completely by using a different runtime.

Incremental updates
Some recent dataflow libraries such as Differential/Timely Dataflow have used incremental computing for much more efficient data processing.

History
A pioneer dataflow language was BLODI (BLOck DIagram), published in 1961 by John Larry Kelly, Jr., Carol Lochbaum and Victor A. Vyssotsky for specifying sampled data systems. A BLODI specification of functional units (amplifiers, adders, delay lines, etc.) and their interconnections was compiled into a single loop that updated the entire system for one clock tick.

In a 1966 Ph.D. thesis, The On-line Graphical Specification of Computer Procedures, Bert Sutherland created one of the first graphical dataflow programming frameworks in order to make parallel programming easier. Subsequent dataflow languages were often developed at the large supercomputer labs. POGOL, an otherwise conventional data-processing language developed at NSA, compiled large-scale applications composed of multiple file-to-file operations, e.g. merge, select, summarize, or transform, into efficient code that eliminated the creation of or writing to intermediate files to the greatest extent possible. SISAL, a popular dataflow language developed at Lawrence Livermore National Laboratory, looks like most statement-driven languages, but variables should be assigned once. This allows the compiler to easily identify the inputs and outputs. A number of offshoots of SISAL have been developed, including SAC, Single Assignment C, which tries to remain as close to the popular C programming language as possible.

The United States Navy funded development of ACOS and SPGN (signal processing graph notation) starting in the early 1980s. This is in use on a number of platforms in the field today.

A more radical concept is Prograph, in which programs are constructed as graphs onscreen, and variables are replaced entirely with lines linking inputs to outputs. Incidentally, Prograph was originally written on the Macintosh, which remained single-processor until the introduction of the DayStar Genesis MP in 1996.

There are many hardware architectures oriented toward the efficient implementation of dataflow programming models. MIT's tagged token dataflow architecture was designed by Greg Papadopoulos.

Data flow has been proposed as an abstraction for specifying the global behavior of distributed system components: in the live distributed objects programming model, distributed data flows are used to store and communicate state, and as such, they play the role analogous to variables, fields, and parameters in Java-like programming languages.

Languages
Dataflow programming languages include:

 * Céu (programming language)
 * ASCET
 * AviSynth scripting language, for video processing
 * BMDFM Binary Modular Dataflow Machine
 * CAL
 * Cuneiform, a functional workflow language.
 * CMS Pipelines
 * Hume
 * Joule
 * Keysight VEE
 * KNIME is a free and open-source data analytics, reporting and integration platform
 * LabVIEW, G
 * Linda
 * Lucid
 * Lustre
 * Max/MSP
 * Microsoft Visual Programming Language - A component of Microsoft Robotics Studio designed for robotics programming
 * Nextflow: a workflow language
 * Orange - An open-source, visual programming tool for data mining, statistical data analysis, and machine learning.
 * Oz now also distributed since 1.4.0
 * Pipeline Pilot
 * Prograph
 * Pure Data
 * Quartz Composer - Designed by Apple; used for graphic animations and effects
 * SAC Single assignment C
 * SIGNAL (a dataflow-oriented synchronous language enabling multi-clock specifications)
 * Simulink
 * SISAL
 * SystemVerilog - A hardware description language
 * Verilog - A hardware description language absorbed into the SystemVerilog standard in 2009
 * VisSim - A block diagram language for simulation of dynamic systems and automatic firmware generation
 * VHDL - A hardware description language
 * Wapice IOT-TICKET implements an unnamed visual dataflow programming language for IoT data analysis and reporting.
 * XEE (Starlight) XML engineering environment
 * XProc

Libraries

 * Apache Beam: Java/Scala SDK that unifies streaming (and batch) processing with several execution engines supported (Apache Spark, Apache Flink, Google Dataflow etc.)
 * Apache Flink: Java/Scala library that allows streaming (and batch) computations to be run atop a distributed Hadoop (or other) cluster
 * Apache Spark
 * SystemC: Library for C++, mainly aimed at hardware design.
 * TensorFlow: A machine-learning library based on dataflow programming.

title: Dataflow programming


text: Category:Towns in Suffolk

title: Category:Towns in Suffolk


text:
User:CoAX

 * Was born in Rouen, France in 1977.
 * Has a webpage.
 * The Anome has answered his question.
 * Has very lightly contributed to The Free Encyclopedia.

(Minor) Contributions

 * Roots Manuva

Creation

 * Snuff (band)

Coax is also short for coaxial cable, used to connect multiple equipments together (using T-shaped connectors and terminators). The created network could then host a LAN Party.

title: User:CoAX


text:
File:Ghost world.JPG

Summary
Ghost World cover

Picture from Fantagraphics

title: File:Ghost world.JPG


text:
Category:Towns in Hampshire

 * For towns in New Hampshire, USA, see Category:Towns in New Hampshire

See also categories for the cities of Portsmouth, Southampton and Winchester.

title: Category:Towns in Hampshire


text:
Woodlands, Dorset

Woodlands is a village and civil parish in the East Dorset district of Dorset, South-West England. It is five miles (8 km) north of Wimborne Minster.

The village is home to the Church of the Ascension which is a Grade II listed building. In 2001, the parish had a population of 544 but in 2011 the number had fallen to 522.

Demography
The population grew from 346 in 1811 to 476 in 1851 and then declined to 384 in 1911 but grew from a low point of 323 in 1951 to reach 544 in the 2001 census. In 2011, the village had a population of 522, 272 males and 250 females; the majority (504) were white British and Christianity (334) was the main religion.

In 1831 the majority of the population (67) were employed as agricultural labourers, and in 1881 that had increased to 70.

Housing
In 2017, the average house price in Woodlands was £447,735 which is more than in neighbouring Verwood (£332,770) and Three Legged Cross (£352,353) but cheaper than nearby Holt (£699,607).

Recreation
Remedy Oak golf club is south of the village.

Parish church
Woodlands is home to the Anglican Church of the Ascension, a Grade II listed building. The church is in the Diocese of Salisbury. The church was dedicated in 1892 and was given to the village by Harriet, the Countess of Shaftesbury, in memory of her husband Anthony who was the 8th Earl of Shaftesbury. The church was designed by prolific church architect George Frederick Bodley who designed cathedrals in Tasmania and Washington. The exterior of the church is in plain brick. Inside are three central columns arcading down the middle of the nave. On entering the church there is a large 12th-century circular stone font from Knowlton church (two miles west) which, according to tradition, was used for baptisms by Saint Aldhelm.

History
Woodlands parish was established when the hamlets of Baggeridge, Woodlands and Knowlton (the earliest settlement) were detached from Horton in the 19th century. Woodlands village was then first recorded in 1244. Woodlands was part of the Shaftesbury estate until after the Second World war.

The parish is home to the hamlet of Knowlton with its prehistoric henges known as Knowlton Circles.

In 1870-72 John Marius Wilson's Imperial Gazetteer of England and Wales said that in Woodlands:

"The Duke of Monmouth, after the battle of Sedgemoor, was taken here in a ditch."

The village is mentioned in 'Owen's book of fairs' in 1788 as having a yearly fair selling horses, cheese and toys on 5 July.

title: Woodlands, Dorset


text:
Glossary of leaf morphology

The following terms are used to describe leaf morphology in the description and taxonomy of plants. Leaves may be simple (a single leaf blade or lamina) or compound (with several leaflets). The edge of the leaf may be regular or irregular, may be smooth or bearing hair, bristles or spines. For more terms describing other aspects of leaves besides their overall morphology see the leaf article.

The terms listed here all are supported by technical and professional usage, but they cannot be represented as mandatory or undebatable; readers must use their judgement. Authors often use terms arbitrarily, or coin them to taste, possibly in ignorance of established terms, and it is not always clear whether because of ignorance, or personal preference, or because usages change with time or context, or because of variation between specimens, even specimens from the same plant. For example, whether to call leaves on the same tree "acuminate", "lanceolate", or "linear" could depend on individual judgement, or which part of the tree one collected them from. The same cautions might apply to "caudate", "cuspidate", and "mucronate", or to "crenate", "dentate", and "serrate".

Another problem is to establish definitions that meet all cases or satisfy all authorities and readers. For example, it seems altogether reasonable to define a mucro as "a small sharp point as a continuation of the midrib", but it may not be clear how small is small enough, how sharp is sharp enough, how hard the point must be, and what to call the point when one cannot tell whether the leaf has a midrib at all. Various authors or field workers might come to incompatible conclusions, or might try to compromise by qualifying terms so vaguely that a description of a particular plant practically loses its value.

Use of these terms is not restricted to leaves, but may be applied to morphology of other parts of plants, e.g. bracts, bracteoles, stipules, sepals, petals, carpels or scales. Some of these terms are also used for similar-looking anatomical features on animals.

Leaf structure
Leaves of most plants include a flat structure called the blade or lamina, but not all leaves are flat, some are cylindrical. Leaves may be simple, with a single leaf blade, or compound, with several leaflets. In flowering plants, as well as the blade of the leaf, there may be a petiole and stipules; compound leaves may have a rachis supporting the leaflets. Leaf structure is described by several terms that include:

Leaf and leaflet shapes
Being one of the more visible features, leaf shape is commonly used for plant identification. Similar terms are used for other plant parts, such as petals, tepals, and bracts.

Edge
Leaf margins (edges) are frequently used in visual plant identification because they are usually consistent within a species or group of species, and are an easy characteristic to observe. Edge and margin are interchangeable in the sense that they both refer to the outside perimeter of a leaf.

Leaf folding
Leaves may also be folded, sculpted or rolled in various ways. If the leaves are initially folded in the bud, but later unrolls it is called vernation, ptyxis is the folding of an individual leaf in a bud.

Latin descriptions
The Latin word for 'leaf', folium, is neuter. In descriptions of a single leaf, the neuter singular ending of the adjective is used, e.g. folium lanceolatum 'lanceolate leaf', folium lineare 'linear leaf'. In descriptions of multiple leaves, the neuter plural is used, e.g. folia linearia 'linear leaves'. Descriptions commonly refer to the plant using the ablative singular or plural, e.g. foliis ovatis 'with ovate leaves'.

title: Glossary of leaf morphology


text:
Milena Jesenská

Milena Jesenská (10 August 1896 – 17 May 1944) was a Czech journalist, writer, editor and translator.

Early life
Jesenská was born in Prague, Austria-Hungary (now Czech Republic). Her family is believed to descend from Jan Jesenius, the first professor of medicine at Prague's Charles University who was among the 27 Bohemian luminaries executed in the Old Town Square in Prague on 21 June 1621 for defying the authority of the Habsburgs King Ferdinand II. However, this belief has been challenged as unfounded. Jesenská's father Jan was a dental surgeon and professor at Charles University in Prague; her mother Milena Hejzlarová died when Milena was 16. Jesenská studied at Minerva, the first academic gymnasium for girls in the Austro-Hungarian Empire. After graduation she enrolled briefly at the Prague Conservatory and at the Faculty of Medicine but abandoned her studies after two semesters. In 1918 she married Ernst Pollak, a Jewish intellectual and literary critic whom she met in Prague's literary circles, and moved with him to Vienna. The marriage, which allegedly caused her to break off relations with her father for several years, was an unhappy one.

Career
Since Pollak's earnings were initially inadequate to support the pair in the city's war-torn economy, Jesenská had to supplement their household income by working as a translator. In 1919 she discovered a short story (The Stoker) by Prague writer Franz Kafka, and wrote to him to ask for permission to translate it from German to Czech. The letter launched an intense and increasingly passionate correspondence. Jesenská and Kafka met twice: they spent four days in Vienna together and later a day in Gmünd. Eventually Kafka broke off the relationship, partly because Jesenská was unable to leave her husband, and their almost daily communication ceased abruptly in November 1920. They meant so much to each other, however, that they did exchange a few more letters in 1922 and 1923 (and Kafka turned over to Jesenská his diaries at the end of his life). Jesenská's translation of The Stoker was a first translation of Kafka's writings into Czech (and as a matter of fact, into any foreign language); later she translated two other short stories by Kafka and also texts by Hermann Broch, Franz Werfel, Upton Sinclair, and many others. Jaroslav Dohal, the name given for the translator of the Czech edition of Kafka's short-story "Reflections for Gentlemen-Jockeys", is most likely a pseudonym for Jesenská.

In Vienna, Jesenská also began to write herself, contributing articles and later also editorials to women's columns in some of the best known Prague dailies and magazines. For example, she contributed to Tribuna, and between 1923 and 1926, she wrote for Národní listy, Pestrý týden and Lidové noviny.

In 1925 Jesenská divorced Pollak and moved back to Prague, where she later met and married avant-garde Czech architect Jaromír Krejcar, with whom she had a daughter, Jana Černá. In Prague she continued working as a journalist, writing for newspapers and magazines, and also as children's books editor and translator. Some of her articles from the period were published in two separate collections by the Prague Publishing House Topič.

In the 1930s Jesenská became attracted to communism (like many other Czech intellectuals of the period), but eventually abandoned her sympathies for the ideology altogether in 1936, when she grew aware of excesses of Stalinism. In October 1934 her second marriage ended - she gave a consent to divorce Krejcar so that he could marry a Latvian interpreter whom he met during his visit to the Soviet Union.

Between 1938 and 1939 she edited the prestigious Czech magazine for politics and culture Přítomnost (The Presence), founded and published in Prague by the esteemed political commentator and democrat Ferdinand Peroutka. Here she wrote editorials and visionary commentaries on the rise of the Nazi Party in Germany, the Anschluss of Austria to Nazi Germany and the possible consequences this was to have for Czechoslovakia.

Death
After the occupation of Czechoslovakia by the German army, Jesenská joined an underground resistance movement and helped many Jewish and political refugees to emigrate. She herself decided to stay, however, despite the consequences. In November 1939 she was arrested by the Gestapo and imprisoned first in Prague's Pankrác Prison and later in Dresden. In October 1940 she was deported to a concentration camp in Ravensbrück in Germany. Here she provided moral support to other prisoners and befriended Margarete Buber-Neumann, who wrote her first biography after the war. Like other inmates, Jesenská was tattooed with an identity number in the camp - in her case the number was "4714". She nevertheless was given the nickname "4711" ("Siebenundvierzig-elf") by other detainees, a reference to a brand of Eau de Cologne which was at the time one of Germany's best known brands. Jesenská died of kidney failure, in Ravensbrück, on 17 May 1944.

Righteous Among the Nations
On December 14, 1994, Yad Vashem recognized Milena Jesenská as Righteous Among the Nations.

Milena Jesenská's daughter
Jana "Honza" Krejcarová, the daughter of Jesenská and Jaromír Krejcar, was a writer for the Czech underground publication Půlnoc in the early 1950s and for Divoké víno in the 1960s. In 1969 her biography of her mother was printed under the title Adresát Milena Jesenská. "Written at a time when the new freedom that had dawned in Czechoslovakia under Dubček was already doomed, it was rushed to the printer unedited and unchecked [...]. In the event it was too late to escape the clamp-down; the book never reached the Prague shops and only the odd copy was smuggled out of the country."

In music
Jesenská was the subject of a cantata for soprano and orchestra, entitled Milena, by the Argentine composer Alberto Ginastera. Ginastera's work was based on Kafka's letters.

British Industrial musician Bryn Jones, under the moniker of Muslimgauze, included a track named after her in his album Opaques.

French singer-songwriter, Dominique A, wrote a song dedicated to Milena Jesenská in the song "Milena Jesenská" of his 1998 single Ep "L'Attirance" (Ovni Records - Acuarela).

American singer-songwriter, Rhett Miller, mentions Milena in the song "Our Love" of his 2002 debut album "The Instigator".

French-American musical group Moriarty referenced Milena in the song called "Za Milena J." of his 2015 album "Epitaph" and her relationship with Franz Kafka.

Works
Anthologies of Jesenská's texts and articles published during her lifetime:

 * Cesta k jednoduchosti ("The Road to Simplicity"). Praha: Topič, 1926.
 * Člověk dělá šaty ("Man Makes Clothes"). Praha: Topič, 1927.

Anthologies of Jesenská's texts, articles, and correspondence published after her death:

 * Ludmila Hegnerová, ed. Milena Jesenská zvenčí a zevnitř: Antologie textů Mileny Jesenské. (Anthology of Jesenská's texts.) Praha: Prostor, 1996.
 * Václav Burian, ed. Nad naše síly: Češi, židé a Němci 1937-1939. (Articles published in Přítomnost). Olomouc: Votobia, 1997.
 * Kathleen Hayes, ed. The Journalism of Milena Jesenska: A Critical Voice in Interwar Central Europe. Translated from Czech and with an introduction by Kathleen Hayes. New York: Berghahn Books, 2003.
 * Alena Wágnerová, ed. Dopisy Mileny Jesenské. (Jesenská's letters.) Prague: Prostor, 1998.

Selected bibliography

 * Jana Černá. Adresát Milena Jesenská, Prague 1969.
 * Jana Černá. Kafka’s Milena, London: Souvenir Books, 1988.
 * Mary Hockaday. Kafka, Love, and Courage: The Life of Milena Jesenská. New York: The Overlook Press, 1997. ISBN 0-87951-731-X
 * Margarete Buber-Neumann. Milena: The Tragic Story of Kafka's Great Love. Arcade Publishing, 1997. ISBN 1-55970-390-3
 * Kafka, Franz. Letters to Milena. Translated by Philip Boehm, New York City: Schocken Books, 1990. ISBN 0-8052-0885-2

title: Milena Jesenská


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Woolland

Woolland is a village and civil parish in north Dorset, England, situated in the Blackmore Vale under Bulbarrow Hill 7 mi west of Blandford Forum. In 2013 the estimated population of the civil parish was 50. The village had a population of 76 in 2001.

The village is first mentioned in Cartularium Saxonicum from the year 939 Wonlond, the Domesday Book from the year 1086 Winlande and the Pipe Rolls from the year 1170 Wunlanda. The name is interpreted as Old English wynn-land meadow land or pasture land.

The sculptor Elisabeth Frink had a studio in the village during the 1970s.

title: Woolland


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Andy Donato

Andy Donato (born January 13, 1937) is an editorial cartoonist and painter, and former art director for the Toronto Sun.

Life and career
Donato was born in Scarborough, Ontario. His father, Luciano Donato, was an Italian immigrant from the town of Fardella in the southern province of Potenza while his mother, Adelina Benedetti, was born in Canada. Donato worked at his father’s grocery store while growing up.

He graduated from Danforth Collegiate and Technical Institute in 1955 and worked at Eaton's as a layout artist. He joined the Toronto Telegram in 1961, working as a graphic artist in the promotion department. He lived in Brampton, Ontario in the 1960s and contributed editorial cartoons to the weekly Bramalea Guardian. In 1968, he was appointed art director for The Telegram and began cartooning for the newspaper on a part-time basis. After The Telegram folded in 1971, he joined The Toronto Sun. In 1974, he started cartooning full-time. In 1985 and 1986, he served as president of the Association of American Editorial Cartoonists.

He is well known among Sun readers for his signature image of a bird, "Donato's bird." Finding the bird, lost in the newspaper, has been a common device in Sun promotions through the years.

Some of his most famous work was done when Pierre Elliott Trudeau was Prime Minister and Joe Clark was leader of the official opposition. As the two leaders battled it out, Donato lampooned both of them extensively. For years, Joe Clark was drawn wearing children's mittens (attached to his suit with strings), a reference to the time his luggage went missing on a trip to Israel. The final cartoon of the series appeared after Trudeau's airplane was hit by a bus while on the tarmac. It showed a puzzled Trudeau staring at the bus while one of his aides held up Clark's mittens and said: "We don't know who the driver was, but we found his mittens."

A notable cartoon was a blank cell titled "Canada's foreign ownership policy" - a parody of Canada's lack of controls over foreign ownership of Canadian companies.

One famous Donato cartoon, which was widely reproduced in the United States and is now in the Library of Congress was published during the Iranian hostage crisis. Titled "The American Dream", it is a parody of the famous photograph of the Raising the Flag on Iwo Jima but depicts the Iwo Jima marines raising the US flag while standing on a prostrate Ayatollah Khomeini.

Donato was criticized in 2004 when his cartoon comparing David Miller with Adolf Hitler was published after Miller refused to allow a debate on Chief Julian Fantino's contract renewal. In 2014, a Donato cartoon depicting politician Olivia Chow in a Mao suit was criticized as racist. The newspaper issued an apology "to Olivia Chow and anyone else offended by the cartoon."

It is said that many Canadian politicians consider it an honour if Donato pillories them. When he drew a picture of Liberal MP Carolyn Parrish with both feet stuck in her mouth - Parrish requested the original drawing. Other politicians have done the same, many times. According to his friends, Donato's philosophy was: "The first time any politician is targeted, he, or she, gets the original drawing on request."

Donato formally retired from the Sun in 1997 but continues to draw for the Sun chain on a contract basis that pays him roughly $400 a cartoon.

Donato had a dispute with the Canada Revenue Agency over the manner in which he was donating some of his works to certain educational institutions in 1999 and 2001. He was partially successful in his appeal to the Tax Court of Canada, and was awarded costs in the case. The judgment was sustained on appeal to the Federal Court of Appeal.

Donato is also a landscape artist working in a style he calls "bent realism". His paintings mostly depict urban landscapes, particularly Toronto neighbourhoods. He has been the subject of exhibitions in Toronto, New York City, London, and Johannesburg featuring his paintings from 1965 to present.

Quotes
"A cartoonist is a like a blind javelin thrower at the Olympics. He's not too accurate, but he sure gets the attention of the spectators."

title: Andy Donato


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Woodsford

Woodsford is a village and civil parish beside the River Frome, Dorset, England, about 4 mi east of the county town Dorchester. Dorset County Council's 2013 mid-year estimate of the parish population is 80.

Manor
The Domesday Book of 1086 records the manor as Waredesford, which the 18th-century historian John Hutchins interpreted as meaning a ford across the Varia, an alternative name for the River Frome. More recent opinion is that Waredesford referred to a ford belonging to a man named Weard. Two holdings were recorded, which have been interpreted as corresponding to East Woodsford (the current village) and West Woodsford (now Woodsford Castle).

Woodsford Castle is the surviving range of a 14th-century fortified manor house. King Edward III granted William de Whitefield a licence to crenellate in 1335. The house has the largest thatched roof in the county and has been restored by the Landmark Trust. The house is a Grade I listed building.

Parish church
The Church of England parish church of St John the Baptist was 13th-century, but was largely rebuilt in 1862–63 to designs by the Gothic Revival architect Thomas Henry Wyatt. Remnants of the 13th-century church include the lower part of the west tower and an Early English Gothic lancet on the south side of the nave west of the south porch. The parish is part of the Benefice of Moreton, Woodsford and Crossways with Tincleton.

Economic history
In the Frome Valley at Woodsford there used to be a system of watermeadows.

Demography
Dorset County Council's 2013 mid-year estimate of the parish population is 80. The 2001 Census recorded the parish's population as 67. In the 2011 census figures for Woodsford parish have been combined with those of neighbouring Tincleton parish; the population in this combined area was 236.

title: Woodsford


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Category:British films

This category contains articles about British films.

title: Category:British films


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Viola Meynell

Viola Meynell, Mrs. Dallyn (15 October 1885, in Barnes, London – 27 October 1956) was an English writer, novelist and poet. She wrote around 20 books, but was best known for her short stories and novels.

Biography
Her parents were Wilfrid Meynell and Alice Thompson Meynell, noted Roman Catholic publishers and writers. Her father was a publisher and her mother was the sister of the well-known artist Lady Butler, (Charge of the Greys). Her parents had a chaotic and busy literary household in Palace Court, Nottinghill Gate, London. There was a constant stream of visitors such as Eric Gill, Robert Browning, Stevenson, Henley, Coventry Patmore, George Meredith, Francis Thompson, Stephen Phillips, W. B. Yeats, G. K. Chesterton, Shane Leslie, Sir Ronald Storrs and others more or less renowned.

Viola had seven siblings. Her brother Francis was the driving force of The Nonesuch Press, with whom in the pre-war days she made homemade books on the kitchen table, dyeing with onion skins and typing her verse to be stitched by hand into the pages.

They had a second home in the country at Greatham, Sussex where Viola married local farmer, John Dallyn, and had her only child, a son, John Jacob ("Jake") Dallyn (b. 1922).

She was an early supporter of D. H. Lawrence, offering practical help in the way of typing his manuscripts and accommodation, by way of a room in her home at Greatham. She was also a champion of Herman Melville at a time when he was unfashionable. In 1920 she engineered the publishing of Moby Dick as the first American novel in the Oxford World's Classics series in England and wrote the introduction to that volume. During Lawrence's stay at Greatham he wrote England My England, a thinly disguised and unpleasant jab at her family. Greatham became its own centre with visitors as varied as Eric Gill, Hilaire Belloc, and Cynthia Asquith.

Her books sold well, many of them being republished both in England and in America. She had a large circle of literary friends and correspondents, including Katherine Mansfield, Compton Mackenzie and T. H. White.

She died on 27 October 1956, and was interred in Houghton Catholic Church cemetery, near Greatham.

Works

 * Martha Vine (1910) – published anonymously
 * Cross in Hand Farm (1911)
 * Lot Barrow (1913)
 * Modern Lovers (1914)
 * Columbine (1915)
 * Narcissus (1916)
 * Julian Grenfell (1917)
 * Second Marriage (1918)
 * Verses (1919)
 * Antonia (1921)
 * Young Mrs. Cruse (1924)
 * A Girl Adoring (1927)
 * Alice Meynell (1929)
 * The Frozen Ocean (1930) Poetry.
 * Follow Thy Fair Sun (1935)
 * Kissing The Rod (1937)
 * Friends of a Lifetime: Letters to Sydney Carlyle Cockerell (1940) editor
 * An Anthology of Nature Poetry (1942)
 * Letters of J. M. Barrie (1943; editor)
 * Lovers (1944)
 * First Love and Other Stories (1947)
 * Ophelia (1951)
 * Francis Thompson and Wilfrid Meynell (1952)
 * Louise and Other Stories (1954)
 * The Best of Friends: Further Letters to Sydney Carlyle Cockerell (1956) editor
 * Collected Stories (1957)

Other works

 * Eyes of Youth (1910) – a collection of poems by friends and family
 * George Eliot (1913)
 * Introduction to Romola: George Eliot (1913)
 * Introduction to Felix Holt: The Radical (1913)
 * Introduction to Moby Dick: Herman Melville (1925)

title: Viola Meynell


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Homunculus argument

The homunculus argument is an informal fallacy whereby a concept is explained in terms of the concept itself, recursively, without first defining or explaining the original concept. This fallacy arises most commonly in the theory of vision. One may explain human vision by noting that light from the outside world forms an image on the retinas in the eyes and something (or someone) in the brain looks at these images as if they are images on a movie screen (this theory of vision is sometimes termed the theory of the Cartesian theater: it is most associated, nowadays, with the psychologist David Marr). The question arises as to the nature of this internal viewer. The assumption here is that there is a "little man" or "homunculus" inside the brain "looking at" the movie.

The reason why this is a fallacy may be understood by asking how the homunculus "sees" the internal movie. The answer is that there is another homunculus inside the first homunculus's "head" or "brain" looking at this "movie". But that raises the question of how this homunculus sees the "outside world". To answer that seems to require positing another homunculus inside this second homunculus's head, and so forth. In other words, a situation of infinite regress is created. The problem with the homunculus argument is that it tries to account for a phenomenon in terms of the very phenomenon that it is supposed to explain.

In terms of rules
Another example is with cognitivist theories that argue that the human brain uses "rules" to carry out operations (these rules often conceptualised as being like the algorithms of a computer program). For example, in his work of the 1950s, 1960s and 1970s, Noam Chomsky argued that (in the words of one of his books) human beings use Rules and Representations (or to be more specific, rules acting on representations) in order to cognate (more recently Chomsky has abandoned this view; cf. the Minimalist Program).

Now, in terms of (say) chess, the players are given "rules" (i.e., the rules of chess) to follow. So: who uses these rules? The answer is self-evident: the players of the game (of chess) use the rules: it's not the case that the rules themselves play chess. The rules themselves are merely inert marks on paper until a human being reads, understands and uses them. But what about the "rules" that are, allegedly, inside our head (brain)? Who reads, understands and uses them? Again, the implicit answer is, and some would argue must be, a "homunculus": a little man who reads the rules of the world and then gives orders to the body to act on them. But again we are in a situation of infinite regress, because this implies that the homunculus utilizes cognitive processes that are also rule bound, which presupposes another homunculus inside its head, and so on and so forth. Therefore, so the argument goes, theories of mind that imply or state explicitly that cognition is rule bound cannot be correct unless some way is found to "ground" the regress.

This is important because it is often assumed in cognitive science that rules and algorithms are essentially the same: in other words, the theory that cognition is rule bound is often believed to imply that thought (cognition) is essentially the manipulation of algorithms, and this is one of the key assumptions of some varieties of artificial intelligence.

Homunculus arguments are always fallacious unless some way can be found to "ground" the regress. In psychology and philosophy of mind, "homunculus arguments" (or the "homunculus fallacies") are extremely useful for detecting where theories of mind fail or are incomplete.

The homunculus fallacy is closely related to Ryle's regress.

title: Homunculus argument


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Impulse Airlines

Impulse Airlines was an Australian airline which operated regional and low-cost trunk services between 1992 and 2004. It was acquired by Qantas in 2001 to form the basis of Qantas' new regional airline QantasLink. The airline had its head offices on the grounds of Sydney Airport in Mascot.

Establishment
Impulse Airlines was founded by Gerry and Sue McGowan, commencing operations on 18 December 1992 following the acquisition of Port Macquarie based Oxley Airlines. In April 1994, it was rebranded as Impulse Airlines. In May 1994 Impulse purchased Pacific Aviation from Ansett Transport Industries.

It operated a network of regional routes throughout New South Wales and into Queensland. The network included routes to Armidale, Barcaldine, Biloela, Blackwater, Brisbane, Canberra, Coffs Harbour, Coolangatta, Cooma, Grafton, Glen Innes, Hervey Bay, Kempsey, Maroochydore, Maryborough, Melbourne, Newcastle, Port Macquarie, Roma, Sydney, Taree and Tamworth. The airline operated a fleet of Beechcraft 1900 aircraft. It was affiliated with the Ansett frequent flyer programme and its flights had designated AN flight numbers.

In August 1994, Impulse Airlines expanded its fleet and became the first Australian operator of the BAe Jetstream 41. It acquired five of the type in 1994 and had planned to acquire a further five in 1996. Impulse used the aircraft to pioneer non-stop services between Newcastle and Melbourne but was soon met with competition from Qantas who utilised the much larger BAe 146 on the route. Impulse was forced to discontinue the services and withdraw the Jetstream 41s from service. After Qantas lost interest in the route following Impulse's withdrawal, Impulse eventually re-entered the route with Beech 1900s in February 1997.

Low-cost airline
In June 2000, the airline acquired Boeing 717 jet aircraft and commenced operations as a low-cost airline on Australia's trunk eastern seaboard routes in direct competition with Ansett and Qantas. It had ceased its previous affiliation with Ansett. Services initially operated between Sydney and Melbourne and quickly expanded to include Brisbane, Newcastle and Hobart. Together with Virgin Blue which also commenced services in mid-2000, Impulse Airlines brought upon a substantial restructuring of the Australian airline industry. The new low cost entrants injected competition into the long-lived duopoly between Qantas and Ansett, arguably contributing to the downfall of the latter. The airline gradually began to phase in a bright blue livery with a cockatoo on the tail of its aircraft.

In April 2001, Impulse and Qantas came to an agreement where Impulse would wet lease all its services to Qantas with Qantas to market the routes and give Impulse a cash injection with a further option for Qantas to buy out the company. Qantas exercised its option in November 2001, and Impulse was absorbed into QantasLink. The introduction of the cockatoo livery did not progress beyond a few aircraft. Both the Boeing 717 and Beech 1900 aircraft were initially utilised in the QantasLink fleet however the Beech 1900s were soon withdrawn from service while the Boeing 717 fleet was expanded.

In April 2003, following a long running investigation by the Australian Securities & Investments Commission, Rene Rivkin was found guilty of insider trading after having purchased 50,000 Qantas shares which resulted in a $346,000 profit. He was charged with using confidential and market-sensitive information with regards to an impending merger of Qantas and Impulse Airlines. He bought these shares on behalf of Rivkin Investments on 24 April 2001, just hours after speaking to the executive chairman of Impulse, Gerry McGowan.

The airline was a major sponsor of the Newcastle Knights National Rugby League team.

Jetstar
After QantasLink had acquired the 717 fleet in 2001 it was planned that Qantas would use it as a base for a budget airline to be launched in 2003. Impulse Airline's former 717s were used for Jetstar's initial fleet when the airline officially launched domestic passenger service between Newcastle and Melbourne on 24 May 2004, one day before Impulse Airlines ceased operations.

The facilities developed by Impulse Airlines for its Newcastle base continued to be used as a heavy maintenance base for Jetstar until June 2020, despite Jetstar's headquarters being in Melbourne.

title: Impulse Airlines


text:
Subdivision surface

In the field of 3D computer graphics, a subdivision surface (commonly shortened to SubD surface or Subsurf) is a curved surface represented by the specification of a coarser polygon mesh and produced by a recursive algorithmic method. The curved surface, the underlying inner mesh, can be calculated from the coarse mesh, known as the control cage or outer mesh, as the functional limit of an iterative process of subdividing each polygonal face into smaller faces that better approximate the final underlying curved surface. Less commonly, a simple algorithm is used to add geometry to a mesh by subdividing the faces into smaller ones without changing the overall shape or volume.

The opposite is reducing polygons or un-subdividing.

Overview
A subdivision surface algorithm is recursive in nature. The process starts with a base level polygonal mesh. A refinement scheme is then applied to this mesh. This process takes that mesh and subdivides it, creating new vertices and new faces. The positions of the new vertices in the mesh are computed based on the positions of nearby old vertices, edges, and/or faces. In many refinement schemes, the positions of old vertices are also altered (possibly based on the positions of new vertices).

This process produces a denser mesh than the original one, containing more polygonal faces (often by a factor of 4). This resulting mesh can be passed through the same refinement scheme again and again to produce more and more refined meshes. Each iteration is often called a subdivision level, starting at zero (before any refinement occurs).

The limit subdivision surface is the surface produced from this process being iteratively applied infinitely many times. In practical use however, this algorithm is only applied a limited, and fairly small ($$\leq 5$$), number of times.

Mathematically, the neighborhood of an extraordinary vertex (non-4-valent node for quad refined meshes) of a subdivision surface is a spline with a parametrically singular point.

Refinement schemes
Subdivision surface refinement schemes can be broadly classified into two categories: interpolating and approximating.

 * Interpolating schemes are required to match the original position of vertices in the original mesh.
 * Approximating schemes are not; they can and will adjust these positions as needed.

In general, approximating schemes have greater smoothness, but the user has less overall control of the outcome. This is analogous to spline surfaces and curves, where Bézier curves are required to interpolate certain control points, while B-Splines are not (and are more approximate).

Subdivision surface schemes can also be categorized by the type of polygon that they operate on: some function best for quadrilaterals (quads), while others primarily operate on triangles (tris).

Approximating schemes
Approximating means that the limit surfaces approximate the initial meshes, and that after subdivision the newly generated control points are not in the limit surfaces. There are five approximating subdivision schemes:
 * Catmull and Clark (1978), Quads – generalizes bi-cubic uniform B-spline knot insertion. For arbitrary initial meshes, this scheme generates limit surfaces that are C2 continuous everywhere except at extraordinary vertices where they are C1 continuous (Peters and Reif 1998).
 * Doo-Sabin (1978), Quads – The second subdivision scheme was developed by Doo and Sabin, who successfully extended Chaikin's corner-cutting method (George Chaikin, 1974 ) for curves to surfaces. They used the analytical expression of bi-quadratic uniform B-spline surface to generate their subdivision procedure to produce C1 limit surfaces with arbitrary topology for arbitrary initial meshes. An auxiliary point can improve the shape of Doo-Sabin subdivision. After a subdivision, all vertices have valence 4.
 * Loop (1987), Triangles – Loop proposed his subdivision scheme based on a quartic box-spline of six direction vectors to provide a rule to generate C2 continuous limit surfaces everywhere except at extraordinary vertices where they are C1 continuous (Zorin 1997).
 * Mid-Edge subdivision scheme (1997–1999) – The mid-edge subdivision scheme was proposed independently by Peters-Reif (1997) and Habib-Warren (1999). The former used the mid-point of each edge to build the new mesh. The latter used a four-directional box spline to build the scheme. This scheme generates C1 continuous limit surfaces on initial meshes with arbitrary topology. (Mid-Edge subdivision, which could be called "√2 subdivision" since two steps halve distances, could be considered the slowest.)
 * √3 subdivision scheme (2000), Triangles – This scheme was developed by Kobbelt and offers several interesting features: it handles arbitrary triangular meshes, it is C2 continuous everywhere except at extraordinary vertices where it is C1 continuous and it offers a natural adaptive refinement when required. It exhibits at least two specificities: it is a Dual scheme for triangle meshes and it has a slower refinement rate than primal ones.

Interpolating schemes
After subdivision, the control points of the original mesh and the newly generated control points are interpolated on the limit surface. The earliest work was so-called "butterfly scheme" by Dyn, Levin and Gregory (1990), who extended the four-point interpolatory subdivision scheme for curves to a subdivision scheme for surface. Zorin, Schröder and Sweldens (1996) noticed that the butterfly scheme cannot generate smooth surfaces for irregular triangle meshes and thus modified this scheme. Kobbelt (1996) further generalized the four-point interpolatory subdivision scheme for curves to the tensor product subdivision scheme for surfaces. In 1991, Nasri proposed a scheme for interpolating Doo-Sabin; while in 1993 Halstead, Kass, and DeRose proposed one for Catmull-Clark.

 * Butterfly (1990), Triangles – named after the scheme's shape
 * Modified Butterfly (1996), Quads – designed to overcome artifacts generated by irregular topology
 * Kobbelt (1996), Quads – a variational subdivision method that tries to overcome uniform subdivision drawbacks

Key developments

 * 1978: Subdivision surfaces were described by Edwin Catmull and Jim Clark (see Catmull-Clark subdivision surface), and by Daniel Doo and Malcom Sabin (see Doo-Sabin subdivision surfaces).
 * 1995: Ulrich Reif solved subdivision surface behaviour near extraordinary vertices.
 * 1998: Jos Stam contributed a method for exact evaluation for Catmull-Clark subdivision surfaces under arbitrary parameter values.

title: Subdivision surface


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Wootton Fitzpaine

Wootton Fitzpaine is a village and civil parish in the county of Dorset in South West England. It lies approximately 3 mi north-east of Lyme Regis in a small side valley of the River Char, close to the Marshwood Vale. The civil parish covers an area of 3307 acres and includes the ecclesiastical parish and small settlement of Monkton Wyld to the west. In the 2011 census the civil parish had 180 dwellings, 134 households and a population of 345.

Wootton Fitzpaine village
Wootton Fitzpaine village consists primarily of two small centres: a larger western part comprising the village hall and about 50 densely placed houses, and a smaller eastern part comprising about a dozen houses, the church and manor house. The village is sited on Middle Lias and greensand and has a history of being agriculturally relatively prosperous.

The village name derives from 'Wodetone', meaning a farm close to a wood, plus the name of the manorial family, Fitzpaine.

The parish church was built mostly between the 13th and 15th centuries but was restored and added to in 1872. It lies within the grounds of the adjacent Wootton House, a three-storey brick-built house re-built in about 1765 by Thomas Rose-Drewe (1740-1815), second grandson of Thomas Rose (died 1747) of Wootton House, but also restored and added to in the late 19th century. The rectory dates from the end of the 15th century. Twenty structures within the parish are listed by English Heritage for their historic or architectural interest.

The village has a website http://www.wootton-fitzpaine.co.uk/

Monkton Wyld village
50.76286°N, -2.94044°W

St Andrew's Church, Monkton Wyld was designed by Richard Cromwell Carpenter.

Monkton Wyld Court is the largest building in this hamlet, a Grade II listed Victoria Gothic former rectory built in 1848. It was also designed by Carpenter. It offers terraced south facing lawns, a dairy farm and an organic walled kitchen garden. The building was used between 1940 and 1982 as a progressive boarding school. In 1982, Simon Fairlie and Gill Barron run it as an educational centre for sustainable living,  The Land is Ours campaigns for Landrights in Britain there, and Guest House accommodates 42 visitors.

Footpaths and trails
The Wessex Ridgeway and Monarch's Way long-distance footpaths pass through the parish, as does the Liberty Trail, a more local designated way.

Notable residents

 * Richard Rose (died 1658), a member of the Long Parliament
 * Thomas Rose (died 1747), Sheriff of Dorset in 1715
 * John Bradbury, 3rd Baron Bradbury (born 1940)

title: Wootton Fitzpaine