text:
Robert Indiana

Robert Indiana (born Robert Clark; September 13, 1928 – May 19, 2018) was an American artist associated with the pop art movement.

His iconic image LOVE was first created in 1964 in the form of a card which he sent to several friends and acquaintances in the art world. In 1965, Robert Indiana was invited to propose an artwork to be featured on the Museum of Modern Art's annual Christmas card. Indiana submitted several 12” square oil on canvas variations based on his LOVE image. The museum selected the most intense color combination in red, blue, and green. It became one of the most popular cards the museum has ever offered. Indiana continued to develop his LOVE series, and in 1966, worked with Marian Goodman of Multiples, Inc. to make his first LOVE sculpture in aluminum. In 1970, Indiana completed his first monumental LOVE sculpture in Cor-Ten steel which is in the collection of the Indianapolis Museum of Art.

In addition to being a painter and sculptor, Indiana made posters and prints and also designed stage sets and costumes for the Virgil Thompson and Gertrude Stein opera The Mother of Us All. Indiana's artwork has been featured in numerous exhibitions around the world and is included in the permanent collections of many major museums including the Museum of Modern Art, New York; Tate Modern, London; and the San Francisco Museum of Modern Art.

Biography
Robert Indiana was born Robert Clark in New Castle, Indiana, and was adopted as an infant by Earl Clark and Carmen Watters. After his parents divorced, he relocated to Indianapolis to live with his father so he could attend Arsenal Technical High School (1942–1946), from which he graduated as valedictorian of his class.

After serving for three years in the United States Army Air Forces, Indiana studied at the Art Institute of Chicago (1949–1953), the Skowhegan School of Painting and Sculpture in Maine (summer 1953) and Edinburgh University and Edinburgh College of Art (1953–1954). He returned to the United States in 1954 and settled in New York City.

In New York, Indiana's partner Ellsworth Kelly, whom he met in 1956, helped him find a loft on Coenties Slip. On Coenties Slip he met neighboring artists like Jack Youngerman, Agnes Martin and Cy Twombly, with whom he shared his studio for a time.

In 1958 he changed his surname to Indiana. His career took off in the early 1960s after Alfred H. Barr Jr., bought The American Dream, I for the Museum of Modern Art.

In 1964, Indiana moved from Coenties Slip to a five-story building at Spring Street and the Bowery. In the summer of 1969, he visited Life magazine photographer Elliot Elisofon on the Island of Vinalhaven and began renting the upstairs of the 100 year old Victorian-style Odd Fellows Hall named "The Star of Hope" in the island town of Vinalhaven, Maine. Indiana was drawn to the Odd Fellows insignia which consists of three interlocking links. "The three links of course are truth and friendship, and the important link in the middle just happens to be love.  So I think I was fated to end my life in an Odd Fellows Lodge — Robert Indiana"Half a century earlier, Marsden Hartley had made his escape to the same island. Indiana discovered a great affinity to Marsden Hartley to whom he pays homage in a series of work in the late 1980s. When Elisofon died in 1973, Indiana bought the lodge for $10,000 from his estate. He moved in full-time when he lost his lease on the Bowery in 1978.

Indiana grew reclusive in his final years. He died on May 19, 2018, at his home in Vinalhaven, Maine, of respiratory failure at the age of 89. One day before his death, a lawsuit was filed over claims that his caretaker had isolated him from family and friends, and was marketing unauthorized reproductions of his works.

Work
Indiana's complex and multilayered work explores the power of language, American identity, and personal history, and often consists of striking, simple and direct words. Drawing on the vocabulary of vernacular highway signs and roadside entertainments, Indiana created a body of work that appears bold and energetic. His best known examples include short words like EAT, DIE, HUG, ERR, and LOVE.

In his EAT series, the word blares in paint or light bulbs against a neutral background. In a major career milestone, the architect Philip Johnson commissioned an EAT sign for the New York State Pavilion at the 1964 New York World's Fair. The sign was turned off one day after the opening of the fair because visitors believed it to mark a restaurant. Andy Warhol's contribution to the fair was also removed that day.

Indiana's series of monumental sculptures can be seen across the globe, including LOVE, Imperial LOVE, LOVE Wall, AHAVA, AMOR, and ONE Through ZERO (The Ten Numbers).  Indiana's own hard-edged painterly aesthetic paved the way for the later sculptural editions which would translate this into three dimensions. In the aftermath of the September 11, 2001, attacks, Indiana created his series of Peace Paintings which were exhibited at the Paul Kasmin Gallery in New York in 2004.

Between 1989 and 1994, Indiana painted a series of 18 canvases inspired by the shapes and numbers in the War Motif paintings that Marsden Hartley did in Berlin between 1913 and 1915.

Indiana was also a theatrical set and costume designer; he designed Santa Fe Opera's 1976 production of Virgil Thomson's The Mother of Us All, based on the life of suffragist Susan B. Anthony. He was the star of Andy Warhol's film Eat (1964), which is a 45-minute film of Indiana eating a mushroom. Warhol also made the brief silent film Bob Indiana Etc. (4 minutes, 1963), a portrait of the artist with appearances by Wynn Chamberlain and John Giorno.

Indiana's series of monumental sculptures of the digits zero through to nine, ONE Through ZERO (The Ten Numbers) has been displayed in several cities since its 1980 creation.

LOVE
Indiana's best known image is the word love in upper-case letters, arranged in a square with its trademarked tilted letter "O". The iconography first appeared in a series of poems originally written in 1958, in which Indiana stacked LO and VE on top of one another. The first paintings addressing the subject of love were 4-Star Love (1961) and Love Is God (1964).

The art historian Susan Elizabeth Ryan wrote that in 1964 LOVE had been a "more explicit four-letter word — beginning with F, and with a second letter, a U, intriguingly tilted to the right." Indiana and Kelly had been in a rocky relationship and Indiana had been working on word paintings. She adds "The two men were in the habit of exchanging postcard-size sketches, with Mr. Kelly laying down fields of color and Mr. Indiana adding large words atop the abstractions."

Indiana's red, blue, and green LOVE painting was then selected to appear on the Museum of Modern Art’s annual Christmas card in 1965. In an interview Robert Indiana said "It was the most profitable Christmas card the museum ever published."

Indiana said he was inspired to use these colors because his father used to work at a Phillips 66 gas station whose colors were green and red. Robert Indiana described the original colors as "the red and green of that sign against the blue Hoosier sky". Still it is believed the colors were inspired also by the painting Red Blue Green (1963) of Ellsworth Kelly, his former partner.

Indiana said, "Ellsworth Kelly introduced me to Hard-Edge and was a great influence on my work, and is responsible for my being here".

The first serigraph/silk screen of LOVE was printed as part of an exhibition poster for Stable Gallery in 1966 on the occasion of Indiana's show dedicated to his LOVE series.

In 1973, the United States Postal Service commissioned a stamp design by Indiana and released the eight-cent LOVE stamp in advance of Valentine's Day. Unveiled in a ceremony at the Philadelphia Museum of Art, the stamp became so popular that 425 million were printed over the next two years.

Hebrew version
In 1977, he created a Hebrew LOVE with the four-letter word Ahava (אהבה "love" in Hebrew) using Cor-Ten steel, for the Israel Museum Art Garden in Jerusalem.

Variation for Google
For Valentine's Day 2011, Google paid homage to Indiana's LOVE, which was displayed in place of the search engine site's normal logo.

Exhibitions
In 1962, Eleanor Ward's Stable Gallery hosted Robert Indiana's first New York solo exhibition. Indiana's work has been represented by Paul Kasmin Gallery in New York City, Waddington Custot in London and Galerie Gmurzynska in Europe.

From July 4 – September 14, 2008, Indiana's work was the subject of the grand multiple-location exhibition Robert Indiana a Milano; the main exhibition took place at the Padiglione d’Arte Contemporanea (Pavilion of Contemporary Art), and other works were displayed in public piazzas in Milan.

In 2013, the Whitney Museum of American Art mounted a retrospective of his work entitled Robert Indiana: Beyond LOVE, this exhibition traveled to the McNay Art Museum in San Antonio, Texas.

The first retrospective of Indiana's sculptures in the United Kingdom, spanning 60 years of the artist's career, opened at the Yorkshire Sculpture Park on March 12, 2022, and ran until January 2023.

Appearances of his work in popular culture
Millions of television viewers saw an orange, brown, and white version of Five, one of Indiana's 1965 Numbers series, featured in an episode of The Mary Tyler Moore Show during the 1971–1972 season, in which Rhoda Morgenstern redecorates Lou Grant's dated living room. Lou, evidently not a fan of pop art, complains to Mary, "I bet she went through four other paintings before choosing this one!"

In 2014, ESPN released MECCA: The Floor That Made Milwaukee Famous, a short film in its 30 for 30 series of sports documentaries. It chronicles how Indiana's floor at the MECCA was saved from being sold for scrap.

Collections
Today, Indiana's artworks are featured in the collections of numerous museums globally, including Museum of Modern Art, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; National Gallery of Art, Washington D.C.; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Smithsonian Museum of American Art, Washington, D.C. Farnsworth Art Museum, Rockland, Maine; Stedelijk Museum, Amsterdam, the Netherlands; McNay Art Museum, San Antonio, Texas; Carnegie Institute, Pittsburgh; Allentown Art Museum of the Lehigh Valley, Allentown, Pennsylvania; Williams College Museum of Art or WCMA, in Williamstown, Massachusetts; Delaware Art Museum, Wilmington; Detroit Institute of Art, Michigan; Baltimore Museum of Art, Maryland; Brandeis Museum, Waltham, Massachusetts; Walker Art Center, Minneapolis; Albright-Knox Gallery, Buffalo, New York; San Francisco Museum of Modern Art, California; the Indianapolis Museum of Art, Indiana; and the Los Angeles County Museum of Art, California; Menil Collection, Houston; Tate Modern, London; Museum Ludwig, Cologne, Germany; Van Abbemuseum, Eindhoven, the Netherlands; Nationalgalerie, Berlin; MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien), Vienna; Art Museum of Ontario, Toronto; and Israel Museum, Jerusalem. among many others.

Art market
In May 2011, a 12-foot LOVE sculpture – one in an edition of three identical pieces – sold for $4.1 million.

title: Robert Indiana


text: Category:Rainforests

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

title: Category:Rainforests


text: Category:Reconquista

title: Category:Reconquista


text: Category:Secretaries of State of California


text:
A562 road

The A562 is a road in England which runs from Liverpool to Warrington.

Parliament Street
At Liverpool, the road is known at first as Parliament Street.

Upper Parliament Street to Speke Boulevard
It then becomes Upper Parliament Street, Smithdown Road, Allerton Road, Menlove Avenue, Hillfoot Road, Hillfoot Avenue and Higher Road, before joining Speke Boulevard.

Penketh
It ends in Penketh, Warrington.

title: A562 road


text:
User:Nadavspi/Sandbox

Track listing

 * 1) Advent - 13:46
 * 2) The Night And The Silent Water - 11:00
 * 3) Nectar - 10:09
 * 4) Black Rose Immortal - 20:14
 * 5) To Bid You Farewell - 10:57
 * 6) Eternal Soul Torture - 8:35 (Bonus track on 2000 reissue)

Personnel

 * Mikael Åkerfeldt - Vocals, guitar
 * Peter Lindgren - Guitar
 * Johan DeFarfalla - Bass
 * Anders Nordin - Drums

title: User:Nadavspi/Sandbox


text: Template:Parishes of Guernsey

title: Template:Parishes of Guernsey


text:
Pitsea railway station

Pitsea railway station is on the London, Tilbury and Southend line, serving the town of Pitsea in the borough of Basildon, Essex. It is situated at a junction where a loop via Grays re-joins the main line via Basildon. Down the main line it is 26 mi from London Fenchurch Street; via the loop it is 32 mi from Fenchurch Street. Its three-letter station code is PSE.

It was originally opened in 1855 by the London, Tilbury and Southend Railway but was replaced by a new station on an adjacent site in 1888 when the line from Barking to Upminster fully opened. The station was renamed Pitsea for Vange in 1932, but reverted to the original name Pitsea in 1952.

The station and all trains serving it are currently operated by c2c.

Description
The station is immediately south of the A13 road, adjacent to a level crossing which gives the main road access to the marshes area south of Pitsea and Basildon.

A new station building was opened in October 2005. Derek Twigg (then rail minister) attended for the "ribbon cutting" in November 2005. The building houses customer toilets and a retail unit. The station also has four automatic ticket gates.

The ticket office has two serving positions and uses the Tribute issuing system. Outside the ticket office is a self-service ticket machine that takes payment by both cash and cards.

Services
As of the June 2024 timetable the typical Monday to Friday off-peak service is:
 * 2 tph (trains per hour) westbound to London Fenchurch Street via Basildon
 * 2 tph westbound to London Fenchurch Street via Tilbury Town and Ockendon
 * 4 tph eastbound to Southend Central, of which 2 tph continue to Shoeburyness

title: Pitsea railway station


text:
Raised fist

The raised fist, or the clenched fist, is a long-standing image of mixed meaning, often a symbol of solidarity, especially with a political movement. It is a common symbol representing a wide range of political ideologies, most notably socialism, communism, anarchism, and trade unionism, and can also be used as a salute expressing unity, strength, or resistance.

History
The origin of the raised fist as either a symbol or gesture is unclear. Its use in trade unionism, anarchism, and the labor movement had begun by the 1910s. William "Big Bill" Haywood, a founding member of the Industrial Workers of the World, used the metaphor of a fist as something greater than the sum of its parts during a speech at the 1913 Paterson silk strike. Journalist and socialist activist John Reed described hearing a similar description from a participant in the strike. A large raised fist rising from a crowd of striking workers was used to promote a mass strike in Budapest in 1912. In the United States, clenched fist was described by the magazine Mother Earth as "symbolical of the social revolution" in 1914.

The use of the fist as a salute by communists and antifascists is first evidenced in 1924, when it was adopted for the Communist Party of Germany's Roter Frontkämpferbund ("Alliance of Red Front-Fighters"). In reaction, the Nazi Party adopted the well-known Roman salute two years later. The gesture of the raised fist was apparently known in the United States as well, and is seen in a photograph from a May Day march in New York City in 1936. It is perhaps best known in this era from its use during the Spanish Civil War of 1936–1939, as a greeting by the Republican faction, and known as the "Popular Front salute" or the "anti-fascist salute".

The graphic symbol was popularised in 1948 by Taller de Gráfica Popular, a print shop in Mexico that used art to advance revolutionary social causes. Its use spread through the United States in the 1960s after artist and activist Frank Cieciorka produced a simplified version for the Student Nonviolent Coordinating Committee: this version was subsequently used by Students for a Democratic Society and the Black Power movement.

The raised right fist was frequently used in posters produced during the May 1968 revolt in France, such as La Lutte continue, depicting a factory chimney topped with a clenched fist.

A raised right fist icon appears prominently as a feminist symbol on the covers of two major books by Robin Morgan, Sisterhood is Powerful, published in 1970, and Sisterhood Is Forever, in 2003. The symbol had been popularised in the feminist movement during the Miss America protest in 1968 which Morgan co-organised.

A raised fist incorporates the outline of the state of Wisconsin, as designed in 2011, for union protests against the state rescinding collective bargaining.

Logo
The raised fist logo generally carries the same symbolism as a hand gesture. It was an important symbol of workers rights and labor movements, as well as specific labor actions, such as strikes, boycotts, and walk-outs.

Notable examples include the fist and rose, a white fist holding a red rose, used by the Socialist International and some socialist or social democratic parties, such as the French Socialist Party and the Spanish Socialist Workers' Party. The fist can represent ethnic solidarity, such as in the Black Power fist of Black nationalism and the Black Panther Party, a Black Marxist group in the 1960s, or the White Power fist, a logo generally associated with White nationalism. A Black fist logo was also adopted by the northern soul music subculture. Loyalists in Northern Ireland occasionally use a red clenched fist on murals depicting the Red Hand of Ulster, which is also featured on the flag of Ulster. Irish republicans, on the other hand, have been seen displaying raised fists.

The image gallery shows how a raised fist is used in visual communication. Combined with another graphic element, a raised fist is used to convey polysemous gestures and opposing forces. Depending on the elements combined, the meaning of the gesture changes in tone and intention. For example, a hammer and sickle combined with a raised right fist is part of communist symbolism, while the same right fist combined with a Venus symbol represents Feminism, and combined with a book, it represents some librarians who oppose digital rights management. The Gonzo fist emblem, characterized by two thumbs and four fingers holding a peyote button, was originally used in Hunter S. Thompson's 1970 campaign for sheriff of Aspen, Colorado. It has become a symbol of Thompson and gonzo journalism as a whole.

The Unicode character for the raised fist is.

Salute
Different movements sometimes use different terms to describe the raised fist salute: amongst communists and socialists, raised right fist is sometimes called the red salute, whereas in the United States it is widely known as the Black Power salute due to use by many African-American activists. The Rotfrontkämpferbund paramilitary organization of Communist Party of Germany used the right hand fist salute as early as 1924. By this time, the Soviet Union had already established the use of a traditional Russian military salute. During the Spanish Civil War, it was sometimes known as the anti-fascist salute. A letter from the Spanish Civil War stated: "...the raised fist which greets you in Salud is not just a gesture—it means life and liberty being fought for and a greeting of solidarity with the democratic peoples of the world."

At the 1968 Summer Olympics in Mexico City, medal winners John Carlos and Tommie Smith gave the raised fist salute during the American national anthem as a sign of black power, and as a protest on behalf of the Olympic Project for Human Rights. They were banned from further Olympic activities by the IOC, as the rules then in place prohibited any political statements at the Olympics. The event was one of the most overtly political statements in the history of the modern Olympic Games. Tommie Smith stated in his autobiography, "Silent Gesture", that the salute was not a Black Power salute, but in fact a human rights salute.

Nelson Mandela also used the clenched right fist salute upon his release from Victor Verster Prison in 1990.

The raised right fist is used by officials in People's Republic of China when being sworn into office.

Psychologist Oliver James has suggested that the appeal of the salute is that it allows the individual to indicate that they "intend to meet malevolent, massive institutional force with force of (their) own", and that they are bound in struggle with others against common oppression.

title: Raised fist


text:
User talk:AviGilChaitovsky

JFW | T@lk  21:59, 16 Oct 2004 (UTC)

Shalom
Hi AviGil: I have noticed some of your useful edits. Welcome to Wikipedia, and I hope you will enjoy it enough to stay. IZAK 07:47, 21 Dec 2004 (UTC)

B'nai Mitzvah
AviGil Shalom! I would like to thank you for your excellent corrections to my text. Best regards, gidonb  19:29, 14 Feb 2005 (UTC)

Email?
Shalom Avi: Do you have an Email address? You can reach me through my Wikipedia User page and then click on "E-mail this user". Thanks. IZAK 09:56, 20 May 2005 (UTC)

Wikipedia:Wikiportal/Israel
Hello AviGil: Please contact User:Humus sapiens who wishes to start a Wikiportal/Israel See his request below. Thanks IZAK 08:00, 23 May 2005 (UTC)

Hi IZAK (and everyone else here :), Do you think it's time to create Wikiportal/Israel similar to Wikiportal/India, Wikiportal/New Zealand and other Category:Wikiportals? I'm writing this here because it was you who made those wonderful templates and we don't have a portal yet where we could communicate. What do you think? ←Humus sapiens←Talk 05:26, 23 May 2005 (UTC)

 * Hi Humus, it's only me here, but I will pass your message on to "everyone". Yes, your suggestion is excellent, it is certainly time for what you describe, but I have no experience with Wikipedia portals, and if you know how, go ahead and start an Israel portal and I am sure editors of Israel-related articles will support you and join in the effort/s. Behatzlachah. IZAK 05:33, 23 May 2005 (UTC)

yupsychology.com
Hi, are you interested to help me, Jonathan Benowitz and his friend Sam with the new wiki we've started up at yupsychology.com/wiki? --w:user:unforgettableid 15:52, 23 March 2006 (UTC)

Your contact info
Hi AviGil: Hope you all goes well. You have not enabled your Wikipedia Email feature in your "tool box" on the left hand side of your user page. Sometimes editors overlook that when it's a useful way of staying in touch with other editors. Best wishes. Shabbat Shalom, IZAK 12:50, 23 November 2006 (UTC)

title: User talk:AviGilChaitovsky


text:
Frampton

Frampton, meaning "farmstead on the River Frome", may refer to:

Places

 * Frampton, New South Wales, Australia
 * Frampton, Quebec, Canada

United Kingdom

 * Frampton, Dorset
 * Frampton, Lincolnshire
 * Frampton on Severn, Gloucestershire
 * Frampton Cotterell, Gloucestershire
 * Frampton Mansell, Gloucestershire
 * Frampton, Vale of Glamorgan
 * Frampton (liberty)
 * Frampton West End
 * Frampton Court, a Grade I listed country house and estate in Frampton-on-Severn, Gloucestershire, England
 * Frampton Pools, a biological Site of Special Scientific Interest in Gloucestershire
 * Frampton Priory, a priory in Dorset, England.

Other uses

 * Frampton (surname)
 * Frampton (album), album by Peter Frampton
 * Frampton Comes Alive!, another Peter Frampton album
 * George T. Frampton (born 1944), American attorney
 * Lorna Frampton (1920–2009), English backstroke swimmer
 * Mary Frampton (1773 – 1846), English diarist and botanist
 * Owen Frampton (1919–2005), English art teacher.
 * Stephen Frampton (born 1969), Irish sportsperson.
 * Tregonwell Frampton (1641–1727)

title: Frampton


text:
Finlandia

Finlandia, Op. 26, is a tone poem by the Finnish composer Jean Sibelius. It was written in 1899 and revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, and was the last of seven pieces performed as an accompaniment to a tableau depicting episodes from Finnish history. The premiere was on 2 July 1900 in Helsinki with the Helsinki Philharmonic Society conducted by Robert Kajanus. A typical performance takes between 7½ and 9 minutes depending on how it is performed.

In order to avoid Russian censorship, Finlandia had to be performed under alternative names at various musical concerts. Titles under which the piece masqueraded were numerous and often confusing—famous examples include Happy Feelings at the awakening of Finnish Spring, and A Scandinavian Choral March. According to Finland's tourism website, "While Finland was still a Grand Duchy under Russia performances within the empire had to take place under the covert title of 'Impromptu'."

Most of the piece is taken up with rousing and turbulent music, evoking the national struggle of the Finnish people. Towards the end, a calm comes over the orchestra, and the serene and melodic Finlandia Hymn is heard. Often incorrectly cited as a traditional folk melody, the Hymn section is of Sibelius' own creation.

Although he initially composed it for orchestra, in 1900 Sibelius arranged the work for solo piano.

Sibelius later reworked the Finlandia Hymn into a stand-alone piece. This hymn, with words written in 1941 by Veikko Antero Koskenniemi, is one of the most important national songs of Finland. It has been repeatedly suggested to be the official national anthem of Finland. Today, during modern performances of the full-length Finlandia, a choir is sometimes involved, singing the Finnish lyrics with the hymn section.

With different words, it is also sung as a Christian hymn (I Sought The Lord, And Afterward I Knew; Be Still, My Soul, When Memory Fades, I Then Shall Live, Hail, Festal Day, in Italian evangelical churches: Veglia al mattino ), and was the national anthem of the short-lived African state of Biafra (Land of the Rising Sun). In Wales the tune is used for Lewis Valentine's patriotic hymn Gweddi Dros Gymru (A Prayer for Wales).

Instrumentation
The tone poem is scored for large orchestra, consisting of the following:

 * Woodwinds: 2 flutes, 2 oboes, 2 B♭ clarinets, 2 bassoons
 * Brass: 4 horns, 3 trumpets, 3 trombones, tuba
 * Percussion: timpani, bass drum, cymbals, triangle
 * Strings: 1st violins, 2nd violins, violas, cellos, double basses

Press Celebrations Music
As with the Karelia Suite, the original Press Celebrations Music suite was never originally released under Sibelius' supervision, but after almost 99 years with the sheet music untouched, the suite was reconstructed and released on two different CDs, the first one by the Tampere Philharmonic Orchestra in 1998, conducted by Tuomas Ollila, and the second by the Lahti Symphony Orchestra in 2000, conducted by Osmo Vänskä.

The last two movements of the suite were reworked to become Finlandia.

The original movements are as follows.
 * Preludium: Andante (ma non troppo)
 * Tableau 1: The Song of Väinämöinen
 * Tableau 2: The Finns are Baptized by Bishop Henry
 * Tableau 3: Scene from Duke Johan's Court
 * Tableau 4: The Finns in the Thirty Years' War
 * Tableau 5: The Great Hostility
 * Tableau 6: Finland Awakes

title: Finlandia


text:
Parallel motion linkage

[[Image:Watts Parallel Motion Linkage.gif|thumb|Animation of the parallel motion linkage. Dimensions (unit lengths $a, b$):

Vertical distance between ground joints $a + a$ Horizontal distance between ground joints $b + b, 2b$ Thus, link 1 (total distance between ground joints) $$\approx \sqrt{4a^2 + 4b^2}$$ ]]

In kinematics, the parallel motion linkage is a six-bar mechanical linkage invented by the Scottish engineer James Watt in 1784 for the double-acting Watt steam engine. It allows a rod moving practically straight up and down to transmit motion to a beam moving in an arc, without putting significant sideways strain on the rod.

Description
In previous engines built by Newcomen and Watt, the piston pulled one end of the walking beam downwards during the power stroke using a chain, and the weight of the pump pulled the other end of the beam downwards during the recovery stroke using a second chain, the alternating forces producing the rocking motion of the beam. In Watt's new double-acting engine, the piston produced power on both the upward and downward strokes, so a chain could not be used to transmit the force to the beam. Watt designed the parallel motion to transmit force in both directions whilst keeping the piston rod very close to vertical. He called it "parallel motion" because both the piston and the pump rod were required to move vertically, parallel to one another. In a letter to his son in 1808 describing how he arrived at the design, James Watt wrote "I am more proud of the parallel motion than of any other invention I have ever made." The sketch he included actually shows what is now known as Watt's linkage which was a linkage described in Watt's 1784 patent but it was immediately superseded by the parallel motion.

The parallel motion differed from Watt's linkage by having an additional pantograph linkage incorporated in the design. This did not affect the fundamental principle but it allowed the engine room to be smaller because the linkage was more compact.

The Newcomen engine's piston was propelled downward by the atmospheric pressure. Watt's device allowed live steam to be used for direct work on both sides of the piston, thus almost doubling the power, and also delivering the power more evenly through the cycle, an advantage when converting the reciprocating motion to rotary motion (whether through a crank or through a Sun and planet gear system).

Principle of operation
See the diagram on the right. $a$ is the journal (bearing) of the walking beam $A$, which rocks up and down about $G$. $F$ is the piston, which is required to move vertically but not horizontally. The heart of the design is the four-bar linkage consisting of $D$, $▱BCDE$ and $A$ and the base link is $\overline{KAC}$, both joints on the framework of the engine. As the beam rocks, point $A$ (which is drawn to aid this explanation, but is not a marked point on the machine itself) describes an elongated figure-eight (more precisely, a lemniscate of Bernoulli) in mid-air. Since the motion of the walking beam is constrained to a small angle, $H$ describes only a short section of the figure-eight, which is quite close to a vertical straight line. The figure-eight is symmetrical as long as arms $\overline{AB}$ and $\overline{BE}$ are equal in length, and straightest when the ratio of $\overline{EG}$ to $\overline{AG}$ matches that of $F$ to $F$. If the stroke length (that is, the maximum travel of $\overline{AB}$) is $\overline{EG}$, then the straight section is longest when $\overline{BF}$ is around $≈ 2b$ and $\overline{FE}$ is $≈ 2a$.

It would have been possible to connect $\overline{AB}$ directly to the piston rod (the "Watt's linkage" design), but this would have made the machine an awkward shape, with $\overline{EG}$ a long way from the end of the walking beam. To avoid this, Watt added the parallelogram linkage $F$ to form a pantograph. This guarantees that $S$ always lies on a straight line between $\overline{BE}$ and $\overline{AB}$, and therefore that the motion of $F$ is a magnified version of the motion of $G$. $▱BCDE$ is therefore the point to which the piston rod $F$ is attached. The addition of the pantograph made the mechanism shorter and so the building containing the engine could be smaller.

As already noted, the path of $A$ is not a perfect straight line, but merely an approximation. Watt's design produced a deviation of about one part in 4000 from a straight line. Later, in the 19th century, perfect straight-line linkages were invented, beginning with the Peaucellier–Lipkin linkage of 1864.

title: Parallel motion linkage


text:
Talk:Taylor Caldwell

Date of Publication
Um, in this article, The Devil's Advocate is first said to be published in 1967 but at the end of the page, in her Bibliography, it says that The Devils Advocate was published in 1952 -- so which date is the right one? -- WikiMember, VenusSatanas —Preceding unsigned comment added by 72.188.252.194 (talk) 23:13, 8 May 2011 (UTC)

The Devil's Advocate
http://en.wikipedia.org/wiki/The_Devil's_Advocate is a page on the film -- The Devil's Advocate needs disambiguation

I have asked permission to use the new biography details that I have contributed, if they tell me I can't then I will remove it. Jaycey

 * Please don't re-add the copyrighted material until such time as the owner of the information gives you permission to use it. You must ALSO make sure that they are aware that if they give permission, they are releasing the information under the GFDL license, which allows the information to be modified mercilessly, and spread about the Internet and elsewere.  RickK 07:36, Jun 11, 2005 (UTC)

 * OK, I think what I'll do then is to do a complete rewrite in my own words, using facts from their piece and from other sources I already have, would that be OK? I don't really mind if anyone pinches that, and in any case I can use it to update the Society's pages.  In the meantime, I also placed my contribution into a temporary area (as advised) and I now can't find that - can someone help me please?  (It's the first time I've ever been on here.)  It was a lot of work and I don't want to lose it.  Thanks!  Jaycey

 * Writing in your own words is the Wikipedia way. I deleted the temporary page because it was still a copyvio.  I can mail it to you, if you want.  RickK 19:12, Jun 11, 2005 (UTC)

I have just received an email from Petri Liukkonen in which they say "Thank you for your interest in my page on Taylor Caldwell. Please, feel free to use it any way you want. It is a honor.", which as you can see gives me permission to use their piece here. However, I have replied to them, drawing their attention to the GFDL, and requesting their final go-ahead after having made themselves aware of this. I hope to hear from them today. If they say 'yes', can I reinstate my original piece (which I have found in the history area) incorporating the latest changes which have been made to it? Jaycey 13/6/05

 * PLEASE NOTE that I now have full permission to use/reprint/expand upon the Pegasos article in any way I see fit, also Petri Liukkonen has been made aware of the GFDL. (To all those who obviously don't believe me, please feel free to write to  him at "petri.liukkonen@kuusankoski.fi"!)  I also have some proof that TC wrote "Romance of Atlantis" when she was 12, unfortunately I cannot currently lay my hands on the appropriate book that tells the story - as soon as I have found it, I will state this here.  (And a thank-you to Morwen for doing something constructive to my page!)  Jaycey  I realize this is a five year old post but the information isn't difficult to find (nor was it in 2005)neither is it some big reveal as this information is in the preface of the book itself...

Jcwinfer now known as Jaycey

By a far measure Taylor Caldwell's most famous book is indeed The Devil's Advocate, it was required reading in many colleges yet it is not even mentioned in the list "best-known works include" this is a major oversight.

I also think there should be more discussion of the content of her books. She wrote about a wide variety of subjects; yet some themes are apparent throughout (i.e. a few powerful men controlling the world.)

User malkee — Preceding unsigned comment added by Malkee (talk • contribs) 04:47, 3 January 2014 (UTC)

Sources?
To last contributor - please provide firm evidence for your new material and cite your sources otherwise I shall continue to remove it. (I have never heard of any of these allegations and I run the TCAS). Jaycey 3 July 2005 21:26 (UTC)

Jaycey, my source is Taylor Caldwell's FBI file, specifically section 11. See page 26, an internal FBI memorandum: "Miss CALDWELL has been making her "predictions" for many years and I am not aware of where she gets the inspiration for these predictions.  However, she apparently believes herself to be something of a clairvoyant." Pages 28 and 29 of the same section are a set of newspaper clippings from the Buffalo Evening News detailing her predictions for the year 1970. Page 30 is another internal FBI memorandum which includes the text: "Caldwell claims to have clairvoyant powers;  on one occasion she advised an FBI Agent after President Kennedy's assassination that she had, prior to Kennedy's death, seen his funeral on a turned-off television set."

I hope this is of help. I'm sorry I didn't specify my source.

SCM —Preceding unsigned comment added by 68.99.138.152 (Talk) (undo) (talk) 09:05, 4 July 2005

 * Hmm fair enough, I do have this link and have examined some of these FBI pages myself - I was sceptical because when TC was having her past-life regression theory with Jess Stearn, even though he found the sessions very successful, she still stated that she found them completely untrustworthy and didn't believe a word of the things she had actually said. She may have 'softened up' a little as she got older, and in fact her last husband seems to have been a very esoteric and rather strange character who would probably have encouraged this sort of thing.  I am going to rearrange the main article so I may reinsert your pieces then - I don't like words like 'apparently' and 'claims to have' even from an FBI file - however I will put back anything that seems have to a firm evidential base.  Watch this space....  Jaycey 4 July 2005 12:31 (UTC)

 * Well, an official FBI memo could hardly state as fact that she did have clairvoyant abilities. :)  Agreed, this is something that merits thorough research.  My information on her support of the white minority government in Rhodesia was also derived from her FBI file:  section 6 includes a flyer promoting an organization calling itself FRI, "Friends of Rhodesian Independence", with Taylor Caldwell listed as president.  Glad if this has been of any help at all.  SCM —Preceding unsigned comment added by 68.99.138.152 (Talk) (talk) 16:56, 4 July 2005

On Taylor Caldwell as a psychic and references to previous lives
My name is Jeffrey Caldwell Fried. I have the middle name "Caldwell" because I was named after my grandmother, Taylor Caldwell (Janet Combs was her name when she was married to her first husband, my grandfather). In WikiPedia, and a number of other web resources, I have read several references to my grandmother's psychic abilities and her previous lives. In addition i have the "privilege" to have been mentioned, albeit indirectly, in the book by Jess Stearn as someone purporting to have had a previous life. I do not have any recollection of having told any such story, and, i have no recollection of Taylor Caldwell having made reference in my family's presence of any previous life or psychic ability. My grandmother frequently "enhanced" reality with her fantasies.

What i can report is the damage she caused to her own two children and grandchildren. For a woman of letters she was definitely not an interesting conversationalist, instead she was given to tirades about imagined communists and liberals that were ruining her country giving it over to the weak, many of whom put food on her table by purchasing her books. I still remember how over dinner she informed my brother and myself that she had told my mother to have an abortion instead giving birth to us. And my mother still carries the emotional scars of being brought back into their home only to raise her sister by a second marriage because Taylor Caldwell was incapable of caring for anyone but herself.

Why am i writing this? Because after reading a number of websites that refer to her in glowing terms, i think it is time that people recognized that the art of Taylor Caldwell was never the person.

Jcfried (talk) 02:57, 7 April 2008 (UTC) 20:38, 26 August 2007 (UTC)

 * That is actually quite a fascinating story, Jcfried. Unfortunately, we can't include it because it's not published anywhere.  Get a publisher to make it public knowledge, and we'll then be able to consider putting in something along these lines.  --  JackofOz (talk) 04:11, 6 July 2008 (UTC)

Misleading story of suicide
There seemed to be a misleading info that she committed suicide. Does anyone how and why this circulated? --Jondel 06:26, 17 May 2006 (UTC)

Last marriage
There is a rumor in Buffalo that Taylor's children were concerned about her last marriage to the point of considering her a prisoner. Does anyone have any citations that can either confirm or demolish? I'd like to clear the air in the biographical sketch on the article page.

The Child of the Sea?
According to the bibliography, it looks like this was published about a decade after her death. If this is true, perhaps an anecdote about how her work was published posthumously, and why, would be worthy of mention?

 * I've spent years trying to find out about this book (I think it's The Child From the Sea), my efforts having been hampered by the fact that there is a book of the same name by Elizabeth Goudge (I actually sent for the Caldwell book from an online bookseller, and the Goudge book arrived!). It seems to be listed on various sites but is never in stock and no-one ever seems to be able to tell me anything about it, so any information on it would be gratefully received, as lots of TCASers are interested.  Jaycey (Organiser, TCAS) Jaycey 13:05, 8 August 2007 (UTC)

Typo in quote?
"indulge themselves in imprudence to superiors" - It seems this should be "impudence" - Can some-one check the original? Kdammers (talk) 05:21, 18 May 2008 (UTC)

Childhood
The book cover of Bright Flows the River says, "She began writing novels at nine and by twelve her first novel was submitted to her grandfather, then on the staff of a major Philadelphia publishing house." Kdammers (talk) 05:21, 18 May 2008 (UTC)

Anglo
What does Anglo mean in this context? (She was of Scots-Irish ancestry. She was born in Manchester, England.  She was six when sher family moved to the U.S.) —Preceding unsigned comment added by Kdammers (Talk  (talk) 05:21, 18 May 2008

Mini series
A section should be added to the article about the TV mini-series "Captains and the Kings" based on the book of the same name. The 9 part series also deserves an article of its own. —Preceding unsigned comment added by 24.5.164.208 (talk) 07:39, 6 December 2008 (UTC)

anglo-american
I wonder if this shouldn't be excised. 1) Anglo glosses to England, but TC was Scottish according to the article even though she was born in England. 2) She moved to the U.S. at the age of six or seven. Compare the TC intor paragraph to the one for T.S. Eliot, who was grown when he moved. Kdammers (talk) 09:11, 17 September 2009 (UTC)

father disapproved?
I don't understand the passage that says that she wrote her first novel at the age of eight, but her father disapproved and sent her to work in a bindery. If the father died 'shortly after they moved to the US, when taylor was 7, how can this be possible? Was it her grandfather who disapproved? —Preceding unsigned comment added by 58.169.36.35 (talk) 16:39, 15 October 2010 (UTC)
 * Hmm, i came here to make the same point, ask the same question; i'm a bit disturbed to see this evident nonsense has been here for over a year, at least. I'll remove part of it, therefore, to try to make a bit of sense of what's there. Cheers, LindsayHello 05:31, 7 December 2011 (UTC)

Dear and Glorious Physician – Publication date
Currently this book is dated to 1959 in the text of the Writings section, but 1958 in the bibliography list.

Online I can find instances of both dates, but what appears to be the first Edition published by Doubleday is dated 1959.

My copy of the Fontana (Collins, UK) paperback states on the verso "First published 1959" and "© Reback & Reback 1959" (Reback being the surname of the author's second husband).

All this points to 1959 being the correct date, so unless anyone comes up with contrary evidence, I will amend the Bibliography date to 1959. {The poster formerly known as 87.81.230.195} 2.125.73.196 (talk) 09:18, 15 May 2021 (UTC)

title: Talk:Taylor Caldwell


text:
File:C64 California Games.png

Fair use in California Games
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) Epyx has released no such images into the public domain, and a replacement image could not be created that would adequately provide the same information.
 * 2) The image is being used for no purpose other than to identify the subject of the article.
 * 3) The image resolution has been significantly decreased from the original, so copies made from it would be of inferior quality.
 * 4) The use of this image neither detracts from the game nor inhibits its salability in any way.

title: File:C64 California Games.png


text:
Conundrum

Conundrum may refer to:

 * A riddle, whose answer is or involves a pun or unexpected twist, in particular
 * Riddle joke, a riddle that constitutes a set-up to the humorous punch line of a joke
 * A logical postulation that evades resolution, an intricate and difficult problem.

Literature

 * Conundrum (Lyons novel), a 1994 Doctor Who novel by Steve Lyons
 * Conundrum (Dragonlance novel), a 2001 Dragonlance fantasy novel by Jeff Crook
 * Conundrum, a memoir written by Jan Morris
 * Conundrum Press (disambiguation), two book publishing companies in North America
 * Conundrum, a supervillain who appeared in the Spider-Man comic books

Other fields

 * "Conundrum" (song), an instrumental song by Jethro Tull on their album Bursting Out
 * "Conundrum" (Dallas), the two-hour series finale of primetime soap opera Dallas
 * "Conundrum" (Star Trek: The Next Generation), a 1992 fifth-season episode of Star Trek: The Next Generation
 * The Conundrum, a mountain unicycle made by Surly Bikes
 * Conundrum, an NSA code word for Chrononaut Frank B. Parker in the television series Seven Days
 * HMS Conundrum, the unofficial name of floating drums used to lay undersea oil pipelines between England and France during World War II

title: Conundrum


text:
Episcopal Divinity School

The Episcopal Divinity School (EDS) is an unaccredited theological school in New York City. Established to train people for ordination in the American Episcopal Church, the seminary eventually began training students from other denominations. The school currently does not enroll any seminarians, and states that it is currently "exploring multiple models for theological education."

For most of its history, EDS was headquartered in Cambridge, Massachusetts. From 2018 to 2023, it was affiliated with Union Theological Seminary in New York City.

EDS and its predecessors established a reputation for progressive teaching and action on issues of civil rights and social justice. Its faculty and students were directly involved in many of the social controversies surrounding the Episcopal Church in the latter half of the 20th century and at the start of the 21st. From 1930 to 1964, three out of the four presiding bishops of the Episcopal Church were alumni of EDS's predecessor Episcopal Theological School: James De Wolf Perry, Henry Knox Sherrill, and Arthur Lichtenberger.

Predecessors
The Episcopal Divinity School (EDS) was founded in 1974 by combining the Episcopal Theological School (ETS) and the Philadelphia Divinity School (PDS). ETS's first dean was John Seely Stone, a former PDS lecturer.

Philadelphia Divinity School
The Philadelphia Divinity School was founded in Philadelphia, Pennsylvania in 1857 as the Divinity School of the Protestant Episcopal Church by Alonzo Potter, Bishop of Pennsylvania.

Episcopal Theological School
The Episcopal Theological School was founded in Cambridge, Massachusetts in 1867 by Boston businessman Benjamin Tyler Reed. Although ETS' first dean, John Seely Stone, was part of the evangelical wing of the Anglican church, the school developed into a stronghold of the Broad Church movement and welcomed liberal and progressive views. It was "the first Episcopal theological seminary to welcome modern biblical scholarship," and in 1924 its faculty asked its alumni priests to accommodate congregants who did not believe in the virgin birth. In 1941, ETS became the first Episcopal seminary to appoint a female full-time faculty member (Adelaide Teague Case).

According to one alumnus, the school's reputation for theological progressivism was so strong that "candidates for the Episcopal ministry who did not have independent financial means avoided the Cambridge seminary lest they become so infected with its social heresies that they could not hold suburban pulpits." In 1919, ETS offered its deanship to alumnus C. L. Slattery, who declined the position; nine years later, a committee led by now-Bishop Slattery published a revision to the Book of Common Prayer which made "far-reaching, and in some instances radical," changes to both language and theology, decisively moving away from the concept of total depravity.

The founders chose Cambridge, Massachusetts for its proximity to Harvard University. ETS provided an Anglican alternative to Harvard's divinity school and Memorial Church, both of which were predominantly Unitarian at the time. ETS students were allowed to cross-register in Harvard courses and to use the divinity school library. After retiring from ETS, Henry Washburn served as the director of Harvard Memorial Church from 1940 to 1950.

Merger and creation of EDS
PDS and ETS merged in 1974. Both institutions were facing bankruptcy at the time. Merging the two institutions and consolidating operations on ETS's Cambridge campus allowed the schools to save money while combining their financial endowments. PDS sold its five-acre campus to the University of Pennsylvania, and the PDS campus currently hosts an elementary school assisted by the University of Pennsylvania.

The unified EDS granted degrees until 2017. As an independent seminary, EDS offered Master of Divinity (M.Div.), Master of Arts in Theological Studies (MATS), and Doctor of Ministry (D.Min.) degree programs, as well as a certificate in Anglican studies program. It inherited ETS's relationship with Harvard Divinity School, which included cross-registration. It was a member of the Boston Theological Institute, a consortium of seminaries and divinity schools that share library and academic resources and allow cross-registration for courses.

In 2008, EDS sold seven of its thirteen buildings to Lesley University for $33.5 million to help pay off outstanding debts. The two institutions agreed to share part of the remaining EDS campus, offer cross-registration, and pool resources.

Beginning in 2011, EDS allowed members of the Metropolitan Community Church to train at EDS for ordination in their church, receiving specific instruction on their church's polity.

Affiliation with Union Theological Seminary and move to New York
In 2016, the school's board of trustees decided that the school would cease granting degrees after the end of the 2016–2017 academic year. At the time, the school had four full-time faculty and 35 full-time enrolled students. The school issued a statement explaining that it was losing money and that "[e]nding unsustainable spending is a matter of social justice." It released a slide deck which said that the majority of the school's revenue came from its endowment, that the school had operated at a deficit since at least 2011, and that because the school was relying on its endowment to cover deficits, the endowment was shrinking over time and would eventually become unable to cover future deficits.

After several months of evaluating how it could continue to support the school's mission of theological education, the board of trustees decided to sell its Cambridge campus and to affiliate EDS with Union Theological Seminary (UTS) in New York City. Through this arrangement, Episcopal seminarians would enroll at UTS in the "EDS at Union Anglican Studies Program," earn a M.Div. from UTS, and fulfill requirements for ordination in the Episcopal Church. The institutions signed an 11-year affiliation agreement, starting in 2018. As of December 2022, EDS-at-UTS educated 21 students.

As part of the move from Cambridge, EDS terminated its employment contracts with all faculty and staff, and provided them with severance packages. In 2018, Lesley University exercised its right of first refusal to purchase the remainder of the EDS campus.

Independent, non-degree-granting institution
On March 31, 2023, Union and EDS announced that they were discontinuing their formal affiliation after 5 years, less than halfway into the initial term of the agreement. EDS discontinued its degree-granting programs. M.Div. students in the EDS-at-UTS program transitioned into the UTS Anglican Studies Program. In the meantime, EDS has relocated to temporary offices at the Cathedral of St. John the Divine in New York. It offers some programming in New York and online.

EDS is currently "exploring multiple models for theological education." It states that it "seeks collaborative opportunities to prepare and equip clergy and lay people for transformative and diverse leadership roles." In March 2024, EDS announced that it was searching for a new president, who would "work will the EDS board to determine the vision, direction, and strategic priorities for the strengthening of the church for the future."

Although EDS currently does not educate any students, its financial endowment stood at $74.9 million as of July 31, 2023, which includes the sale price of the Cambridge campus. Before selling the campus, its endowment stood at $53 million in 2016 (it was $70.2 million in 2011).

Social issues
PDS and ETS had both attempted to insulate themselves from affiliations with partisan factions within the church. Where other seminaries that existed or would come to exist within the Episcopal Church often affiliated themselves with either the high church or low church movements, PDS and ETS focused on broad social and academic matters rather than issues of churchmanship as such. This may affiliate them with broad church movements, although neither institution explicitly identified themselves as such. EDS has continued in that tradition.

PDS, ETS and EDS have all been known for their focus on pastoral action around progressive social issues.

African-American education
From its inception, PDS admitted and trained African-American students, which was not done anywhere else in the world. The Episcopal Church itself, originally as the Church of England under the Bishop of London in British colonies in North America, had early seen several attempts from within at including African-American and indigenous American peoples in the full life of the church; the first person to be baptized in the Church of England in North America was a Native American person. Social values, particularly with the rise of racial slavery in North America, meant that there were considerable obstacles to such practices, and debates over whether it was right to baptize African-American slaves were controversial. Clergy who baptized slaves were often expelled from their parishes by the wealthy vestries which held their contracts. The church was largely controlled by affluent whites and despite rare actions by clergy, African-American slaves and ex-slaves were largely excluded from participation in the life of the church.

In 1968, ETS hired its first African-American professor, Robert Avon Bennett.

Education and ordination of women
In the 1880s, PDS begin training women as deaconesses. In 1929 women were first admitted at PDS in small numbers to theological education programs designed for those preparing to teach religion in colleges.

ETS became the first Episcopal seminary to hire a woman, in 1941, to its full-time faculty.

In 1974, after the formation of EDS, 11 women known as the Philadelphia Eleven were "irregularly" ordained to the priesthood of the Episcopal Church. Several EDS faculty members took part in the ordination and two of the new priests, Carter Heyward and Suzanne Hiatt, were employed as EDS faculty. The affiliation of EDS with this ordination would cause many bishops to refuse to send their postulants for ordination to EDS to receive a theological education. EDS retained a reputation for controversy stemming from this incident even after the Episcopal Church as a whole voted to ordain women to the priesthood in 1976. EDS quickly became the first Episcopal seminary to have women teaching in all fields of study.

Civil rights
In 1956, Bishop Henry Knox Sherrill, who graduated from ETS in 1914, spoke out at a press conference on September 18, 1956, in favor of racial integration for the whole church. He said, “integration in the whole church is inevitable; it is fundamental to the heart of the Gospel.”

In 1964, members of the ETS community marched in Boston to protest the racially motivated Birmingham church bombings. In the following year, ETS students and faculty traveled to Alabama to take part in the Selma to Montgomery marches. Several students sought to return to Alabama after the Selma marches to continue to work for racial integration in that state. Jonathan Myrick Daniels, one of those students, was shot and killed outside a store in Hayneville, Alabama, while trying to protect a young African-American woman, Ruby Sales, from a gunman. Sales would go on to attend ETS herself and work for civil rights, founding an inner-city mission dedicated to Daniels who is remembered as a martyr of the Episcopal Church and is remembered regularly at EDS.

LGBT rights
In the 1960s, ETS students who were suspected of being homosexual were dismissed, but as church and social opinion began to slowly turn in favor of tolerance of homosexuals, EDS would become a leading center of studies on LGBT issues within the Episcopal Church and the wider Anglican Communion. In 1974, ethics professor William Hayden McCallum came out as a gay man to the school community. Associate professor and priest Carter Heyward came out as a lesbian to the church in a nationwide publication in 1979. By the 1980s, EDS permitted same-sex couples to live in campus housing as it did heterosexual couples previously. In 1995, when St. John's Memorial Chapel was opened to marriage services by Dean William Rankin, both heterosexual marriages and same-sex unions were permitted, contrary to the trend in the Episcopal Church at the time. In 1999, the school's then dean, Steven Charleston, was the author of the Cambridge Accord, an attempt to reach consensus over the human rights of homosexual people, notwithstanding differences within the Anglican Communion over the moral status of homosexual acts. In 2009, Katherine Hancock Ragsdale became the Dean of EDS, the first openly lesbian person to be dean of an Episcopal seminary. However, in 2015, she indicated she would not seek an extension to her term as Dean – which expired at the end of June – after disputes with faculty regarding changes to the residential seminary model.

Episcopal Theological School - Deans

 * 1869–1876 John Seely Stone
 * 1876–1889 George Zabriskie Gray
 * 1889–1893 William Lawrence '75
 * 1894–1919 George Hodges
 * 1920–1940 Henry Bradford Washburn
 * 1940–1944 Angus Dun
 * 1944–1956 Charles Taylor
 * 1957–1968 John B. Coburn
 * 1969–1974 Harvey H. Guthrie

Episcopal Divinity School - Deans

 * 1974–1976 Harvey H. Guthrie and Edward Harris
 * 1976–1985 Harvey H. Guthrie
 * 1985–1993 E. Otis Charles
 * 1993–1998 William Rankin
 * 1999–2008 Steven Charleston
 * 2009–2015 Katherine Hancock Ragsdale
 * 2018–2023 Kelly Brown Douglas

Episcopal Divinity School - Presidents
Upon leaving Union Theological Seminary in 2023, EDS ceased to be headed by a dean and became headed by a president.

 * 2023-present Kelly Brown Douglas (interim)

title: Episcopal Divinity School


text:
Commodore 64 software

The Commodore 64 amassed a large software library of nearly 10,000 commercial titles, covering most genres from games to business applications, and many others.

Applications, utility, and business software
While the 1541 disk drive's slow performance made the Commodore 64 mostly unsuitable as a business computer, it was still widely used for many important tasks, including computer graphics creation, desktop publishing, and word processing. Info 64, the first magazine produced with desktop publishing tools, was created on and dedicated to the Commodore platform.

The best known art package was perhaps KoalaPainter, primarily because of its own custom graphics tablet user interface - the KoalaPad. Another popular drawing program for the C64 was Doodle!. A Commodore 64 version of The Print Shop existed, allowing users to generate signs and banners with a printer. "The Newsroom" was a desktop publishing suite. Light pens and CAD drawing software were also commercially produced, such as the Inkwell Light Pen and related tools.

There were many prepackaged word processors available for the Commodore 64, such as PaperClip and Vizawrite, but a popular DIY program was SpeedScript, which was available as a type-in program from Compute!'s Gazette.

The Multiplan spreadsheet application from Microsoft was ported to the Commodore 64, where it competed against established packages such as Calc Result. The first Lotus 1-2-3-like integrated software package for the 64 was Viza Software's Vizastar. A complete office suite arrived in the form of British made Mini Office II. In Germany and Scandinavia, many popular application programs were published by German company Data Becker. The typical C64 spreadsheet could store 64 columns and 255 rows, or 16,000 cells, but only 5-10% of them could be used at any one time, due to RAM limitations.

Serious Commodore 64 business users, however, were drawn to GEOS. Due to its speed, ease of use, and full suite of office applications and utility software, GEOS provided a work environment similar to that of an early Apple Macintosh. Arguably the best office applications appeared on GEOS because it was graphically advanced and not limited by the Commodore 64's screen area of 40-columns. Being a fully-fledged OS, GEOS brought the arrival of many add-on fonts, accessories, and applications. It also supported most Commodore 64 peripherals and models of third-party printers. KoalaPad and light pen users could use GEOS too, which greatly increased the amount of clip art available for the platform. GEOS proved very popular because of low price for the necessary hardware (and of course the capability of the OS). This was due in part to the aggressive pricing of the Commodore 64 as a games machine and home computer (With rebates, the C64 was going for as little as US$100 at the time). This was in comparison to a typical PC for US$2000 (which required MS-DOS, and another $99 for Windows 1.0) or the venerable Mac 512K Enhanced also $2000.

There were numerous sound-editing tools for the Commodore 64. Commodore released music-composition software which included a keyboard overlay suited for early model Commodore 64s. Software titles such as the Music Construction Set were available for users to compose music with notes; however, the tools which maximized the C64's sonic capability were demoscene music tools or pure assembly language. MIDI expansion cartridges and speech-synthesizing hardware was also available for more serious musicians. The Prophet64 cartridge was recently released and features a suite of GUI-style applications for sequencing music, drum and rhythm synthesis, MIDI DIN-sync, and taking advantage of the SID chip in other ways, effectively turning the C64 into a true musical instrument that anyone can use. There was also software which could be used to make the Commodore 64 speak, the best-known being SAM.

The first screen shows the C64's BASIC with a small program. The BASIC interpreter not only allows the user to write programs, but it is also used as command prompt, so in order to load a program a BASIC command needs to be entered.
 * KoalaPainter is an early paint program. It uses two screens. The first displays a menu and the second is the picture that is being worked on. The program is controlled either by a joystick or with a KoalaPad graphics tablet (that was also sold by Koala).
 * Magic Desk is an application by Commodore that resembles a real typewriter but contains basic editing functions.
 * Multiplan is a text-based spreadsheet application written by Microsoft.
 * Vizawrite is another text-based word processor for the C64, but it looks more like the professional word processors of the early 80s.
 * GEOS was a graphical user interface, first released in 1987. It was a small revolution at its time because until then GUIs, other than Apple II Desktop/MouseDesk, were available mostly for the much more powerful 16-bit machines.
 * geoPaint is a paint program for GEOS. Despite its lower resolution it had all the capabilities of other GUI-based drawing programs of its time.
 * geoWrite is a word processor for GEOS. It had a GUI and supported many different styles and fonts with the WYSIWYG principle, unlike the other word processors on the C64.
 * UIFLI (Underlay Interlace Flexible Line Interpreter) is a graphics mode on the Commodore 64 invented by DeeKay and Crossbow of Crest in 1995.

Games
"Think back for a minute to the first program you ever saw on a Commodore 64. Chances are it was a game, if you've had a 64 for more than a couple of years."

- Compute!'s Gazette, 1986

By 1985, games were estimated to make up 60 to 70% of Commodore 64 software. Due in part to its advanced sound and graphic hardware, and to the quality and quantity of games written for it, the C64 became better known as a gaming and home entertainment platform than as a serious business computer. Its large installed user base encouraged commercial companies to flood the market with game software, even up until Commodore's demise in 1994. In total over 23,000 unique game titles exist for the Commodore 64.

International Soccer was Commodore's best first-party game; otherwise "the normal standard for Commodore software is mediocrity", InfoWorld stated in 1984. The company did not publish many other games for the C64, instead releasing game cartridges primarily from the failed MAX Machine for the C64. Commodore included an "Ultimax" mode in the Commodore 64's hardware, which allowed the computer to emulate a MAX machine for this purpose.

However, aside from the initial Commodore cartridges, very few cartridge-based games were released for the Commodore. Most third-party game cartridges came from Llamasoft, Activision, and Atarisoft, however some of these games found their way into disk and tape versions too. Only later, when the failed C64GS console was produced, did cartridges make a brief comeback, including the production of a few more cartridge-only games. Crackers managed to port these games to disk later on.

While the 1541 floppy disk drive quickly became universal in the US, in Europe it was common for prepackaged commercial game software to either come on floppy disk or cassette-tape format, and sometimes both. Cassette-based games were usually cheaper than their disk-based counterparts; however, due to the Datasette's lack of speed and random access, many large games (such as role-playing video games) were never made for the cassette format. Despite this, a great deal of software was published only on the cassette format in Europe, including many "budget" games produced by companies like Mastertronic, Firebird, and Codemasters which were released on cassette only and sold for a fraction of the price of full-price commercial software.

Whilst many commercial software companies produced prepackaged game software, an abundant supply of free software was also available. What is noticeable from the Commodore 64's game catalog is that a rather large selection of all C64 games were programmed non-commercially by average Commodore 64 users, with editors included in some games, e.g. Boulder Dash Construction Kit, Pinball Construction Set, SEUCK, The Quill, GameMaker. Given the accessibility of BASIC on the Commodore 64, many BASIC games were created and also ported from other computer platforms and modified for the Commodore 64. In addition, many games exist that were released as Type-in programs from numerous magazines, especially European Commodore magazines. Many books and magazines were published containing listings for games, and public-domain software was developed and released from both BBS systems and public domain libraries such as "Binary Zone" in the UK.

There were many classic must-have games produced on the Commodore 64, perhaps too many to mention, including versions of classic video games. Of particular note, the smash hit Impossible Mission produced by Epyx was originally designed for the Commodore 64. Epyx's multievent games (Summer Games, Winter Games, World Games, and California Games) were very popular, as well as perhaps the first driving game with split-screen dynamics, Pitstop II. Most of these games eventually made an appearance on the Commodore DTV joystick unit many years later. Other hit games such as Boulder Dash, The Sentinel, Archon, and Elite were all given Commodore 64 versions. Cassette users may remember titles such as Master of Magic, Rocketball, One Man and His Droid, and Spellbound on Mastertronic's budget labels. Other notable titles on the Commodore 64 include the Ultima and The Bard's Tale role-playing game series. Hewson/Graftgold were responsible for several well-received C64 titles including Paradroid and Uridium—made famous for their metallic bas-relief styled graphic effects and addictive gameplay. System 3 produced The Last Ninja action adventure series originally on the C64. Armalyte, a groundbreaking shoot 'em up title from Thalamus Ltd, and Turrican I & II are among some of the highest rated games for the Commodore 64 (according to Zzap!64, which awarded "Gold Medals" to these games).

Notable game designers for the Commodore 64 are: Paul Norman, Danielle Barry, Andrew Braybrook, Stephen Landrum, Tim and Chris Stamper, Jeff Minter and Tony Gibson just to name a few.

During the final mainstream commercial years of the Commodore 64, Issue 38 of Commodore Format magazine in November 1993 awarded the only 100% rating ever given to a Commodore 64 game in any major Commodore 64 publication. As no game had ever received such a high rating before, and as the commercial Commodore 64 scene was winding down in the mid-1990s, the awarding of 100% was seen as somewhat controversial. The game, titled Mayhem in Monsterland, was developed to exploit a multitude of programming tricks and quirks in the Commodore 64's hardware to the maximum. The impressive use of non-standard colors and scrolling resulted in perhaps the most graphically stunning game ever produced for the Commodore 64. The gameplay itself is similar to that of Nintendo's Super Mario Bros. and Sega's Sonic the Hedgehog.

Whilst mainstream commercial activity for games no longer exists for the C64, many enthusiasts and hobbyists still write games for the platform. In addition, a few small publishers still sell game software.

Commodore 64 games continue to inspire developers and gamers on modern platforms such as iOS with many games being produced using similar styles of game-play mechanics to those from the Commodore 64 era.

Type-ins, bulletin boards, and disk magazines

Besides prepackaged commercial software, the C64, like the VIC before it, had a large library of type-in programs. Numerous computer magazines offered type-in programs, usually written in BASIC or assembly language or a combination of the two. Because of its immense popularity, many general-purpose magazines that supported other computers offered C64 type-ins (Compute! was one of these), and at its peak, there were many magazines in North America (Ahoy!, Commodore Magazine, Compute!'s Gazette, Power/Play, RUN and Transactor ) dedicated to Commodore computers exclusively. These magazines sometimes had disk companion subscriptions available at extra cost with the programs stored on disk to avoid the need to type them in. The disk magazine Loadstar offered fairly elaborate ready-to-run programs, music, and graphics. Books of type-ins were also common, especially in the machine's early days. There were also many books publishing type-ins for the C-64, sometimes programs that had originally appeared in one of the magazines, but books containing original software were also available.

A large library of public domain and freeware programs, distributed by online services such as Q-Link and CompuServe, BBSs, and user groups also emerged. Commodore also maintained an archive of public domain software, which it offered for sale on diskette. Despite limited RAM and disk capacity, the Commodore 64 was a popular platform for BBS hosting. Some of the most popular installations included the highly optimized and fast Blue Board program, and the Color64 BBS System, which allowed the use of color PETSCII graphics. Many BBS sysops used high-capacity floppy drives like the SFD-1001 or hard drives such as the Lt. Kernal.

Software cracking
The C64 software market had widespread problems with copyright infringement. There were many kinds of copy protection systems, employed on both cassette and floppy disk, to prevent the unauthorized copying of commercial Commodore 64 software. Practically all of them were worked around or defeated by crackers and warez groups. The popularity of this activity has been attributed to the large Commodore 64 user base.

Many BBSs offered cracked commercial software, sometimes requiring special access and usually requiring users to maintain an upload/download ratio. A large number of warez groups existed, including Fairlight, which continued to exist more than a decade after the C64's demise. Some members of these groups turned to telephone phreaking and credit card or calling card fraud to make long-distance calls, either to download new titles not yet available locally or to upload newly cracked titles released by the group.

Not all Commodore 64 users had modems, however. For these people, many warez group "swappers" maintained contacts throughout the world. These contacts would usually mass-mail cracked floppy disks through the postal service. Also, sneakernets existed at schools and businesses all over the world, as friends and colleagues would trade (and usually later copy) their software collections. At a time before the Internet was widespread, this was the only way for many users to amass huge software libraries. Also, and particularly in Europe, groups of people would hold copy-parties explicitly to copy software, usually irrespective of software licence.

Several popular utilities were sold that contained custom routines to defeat most copy-protection schemes in commercial software. (Fast Hack'em—probably the most popular example—was itself widely redistributed.) Pirates Toolbox was another popular set of tools for copying disks and removing copy protection. Tapes could be copied with special software, but often it was simply done by dubbing the cassette in a dual-deck tape recorder or by relying on an Action Replay cartridge to freeze the program in memory and save to cassette. Cracked games could often be copied manually without any special tools. In Europe, some hardware devices, colloquially known as "black boxes", were available under the counter; these connected two C1530 tape decks together at the C64's connection point, permitting a copy to be made whilst loading a game. This overcame the difficulties in direct dubbing of later games using the high-speed loaders that were developed to overcome the very long load times.

BASIC
Like most computers from the late 1970s and 1980s, the Commodore 64 came with a version of the BASIC programming language. It was used for both writing software and for performing the duties of an operating system such as loading software and formatting disks.

The onboard BASIC programming language offered no easy way to tap the machine's advanced graphics and sound capabilities. Accessing these associated memory addresses to make use of the advanced features required using the PEEK and POKE commands, third-party BASIC extensions, such as Simons' BASIC, or to program in assembly language. Commodore had a better implementation of BASIC but chose to ship the C64 with the same BASIC 2.0 used in the VIC-20 to minimize cost. This, however, did not stop countless people making thousands of programs in the BASIC V2 language, and teaching people their first steps in computer programming.

Music
The MOS Technology 6581 SID is the sound chip for the C64, for which many music software programs were written. One musical software tool for the C64 was Kawasaki Synthesizer, created in 1983.

Development tools
Aside from games and office applications such as word processors, spreadsheets, and database programs, the C64 was well equipped with development tools from Commodore as well as third-party vendors. Various assembler solutions were available; the MIKRO assembler came in ROM cartridge form and integrated seamlessly with the standard BASIC screen editor. The PAL Assembler by Brad Templeton was also popular. Several companies sold BASIC compilers, C compilers and Pascal compilers, and a subset of Ada, to mention but a few popular languages available for the machine.

The likely most popular entertainment oriented development suite was the Shoot-'Em-Up Construction Kit, affectionately known as SEUCK. SEUCK allowed those non-skilled in programming to create original, professional-looking shooting games. Garry Kitchen's GameMaker and Arcade Game Construction Kit also allowed non-programmers to create simple games with little effort. Text adventure game tools included The Quill and Graphic Adventure Creator development suites. The Pinball Construction Set gave users a pinball machine to design.

Modern-day development tools
Software development on the Commodore 64 never really stopped. There are many tools available today, including IDEs such as CBM prg Studio, Relaunch64, and WUDSN IDE, which is a plug-in for the open source Eclipse IDE. Along with small C compilers such as cc65, there are many assemblers and cross assemblers to be used on modern day PCs:

 * Turbo Assembler
 * Kick Assembler by Mads Nielsen
 * acme
 * ca65 (which is part of cc65.)
 * c64asm
 * c64asm

C64List by Jeff Hoag is both a cross assembler and cross-platform BASIC editor/tokenizer that allows developers to write mixed BASIC/assembly programs in a text file on a PC and compile it into a single .prg file that can be executed on an actual C64 or emulator.

Tools such as PuCrunch, an LZ77 data and executable self extracting compression program, are also available released under GNU LGPL. Sprite editors like Sprite Pad allow you to design C64 Sprites and animations using Windows. GoatTracker allows you to write music using modern OSs and uses the ReSID engine.

Using CodeNet it is possible to transfer and execute programs to a C64 via a TCP/IP network cable from a PC. Although this does require an Ethernet adapter on the C64 such as Individual Computers RR-Net or an appropriate version of the 1541 Ultimate.

Retrocomputing efforts
The magnetic tapes and disks upon which home computer software was stored are decaying at an alarming rate. In order to preserve game software and information, efforts are underway to copy from these degrading media onto fresh media which will help ensure a long life for the software and make it available for emulation and archiving. In addition, there are other efforts to archive Commodore 64 documentation, software manuals, magazine articles, and other nostalgia (such as software packaging artwork, game screenshots, and Commodore 64 TV commercials). Commodore 64 game software has been remarkably well documented and preserved - a considerable feat when taking the amount of software available for the platform into consideration.

The GameBase 64 (GB64) organization has an online database of game information, which at version 7 holds information for 21,000 unique game titles. The current version of GameBase is v18 and has a database of nearly 29,000 titles. The database is still growing as new information comes to light. Besides the online database a downloadable offline version exists. Using one of the frontends GameBase (Windows only) or jGameBase (platform independent) you can conveniently browse the database entries and directly start them in an emulator. The GoodGB64 variant of Cowering's Good Tools allows users to audit their C64 game collections using the GameBase64 database.

There are tools available to transfer original 1541 floppy discs to or from the PC. The Star Commander is a DOS-based tool, cbm4linux is a Linux tool, and cbm4win is a Windows tool to transfer data from an original floppy drive to the PC, or vice versa, using a simple X-cable. There are also tools available, 64HDD, to allow your C64 to directly load D64 software stored on your PC using the same cables. The Individual Computers Catweasel allows PC users to use their own floppy drive to read C64 disks.

In addition, there is now a growing number of emulators available, which allow the use of an emulated C64 on modern computing hardware. These include VICE, which is free and runs on most modern as well as some older platforms; CCS64, which is available for Windows and is written by Per Håkan Sundell; and Power64, which has versions for Mac OS X and OS 9. It is also possible to play Commodore 64 games online using your browser through emulators written in Javascript.

Also the Quantum Link service has been reconstructed as Quantum Link Reloaded. It can be accessed with a real Commodore 64, or through the VICE emulator.

Special hardware has also been designed to aid the conservation of software, such as the IDE64 cartridge, which allows the user to connect a modern PC IDE ATA hard drive or a CompactFlash flashcard directly to the machine, giving the possibility to copy software onto the hard drive and use it from there, preventing wear on a decades-old floppy disk.

Nintendo's Virtual Console service offers Commodore 64 games for download on the Wii console in North America and Europe.

title: Commodore 64 software


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Frome St Quintin is a village in the county of Dorset in southern England, situated approximately 11 mi northwest of the county town Dorchester. It is sited on an outcrop of greensand near the head of the Frome valley, among chalk hills of the Dorset Downs. Dorset County Council's latest (2013) estimate of the parish population is 150. There are naturally occurring springs in the area and the first habitation is likely to have been during the Roman era. The parish church dates from the 13th century. Just over 0.5 mi west of the village and in Cattistock parish is Chantmarle, a 15th-century manor house with later additions.

title: Frome St Quintin