text:
User talk:Mattrobs

[...]

Pro wrestling WikiProject
I've noticed that you've made a lot of good contributions to pro wrestling pages. You should consider joining the pro wrestling WikiProject. --Chrysaor 19:04, Apr 15, 2005 (UTC)
 * Thanks for that suggestion. —mattrobs 06:46, 16 Apr 2005 (UTC)

Image:Chris Jericho Portrait.jpg
You changed this image to a PD tag and I have now reverted back to no source. This image appears to be a promo photo, but you cannot just claim PD without sourcing the image. Thanks. gren グレン 08:37, 1 November 2005 (UTC)

Orphaned fair use image (Image:Jimross-1-.jpg)
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Image:CenaNewTitle.jpg
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Save your image
Save your image please. --Matt57 (talk•contribs) 03:52, 17 July 2007 (UTC)

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ArbCom elections are now open!
MediaWiki message delivery (talk) 12:52, 23 November 2015 (UTC)

title: User talk:Mattrobs


text:
City Council of Helsinki

The City Council of Helsinki (Helsingin kaupunginvaltuusto, Helsingfors stadsfullmäktige) is the main decision-making organ in the local politics of Helsinki, Finland. The City Council deals with issues such as city planning, schools, health care, and public transport.

The 85-seat Council's members are elected every four years in municipal elections. The seat of the Council is the Helsinki City Hall, which overlooks Market Square in central Helsinki. Historically, the center-right National Coalition Party has been the largest player in Helsinki's local politics, with the center-left Social Democratic Party being the second largest. However, since the 2000 elections, the position of the Social Democrats has been challenged by the Green League, for which Helsinki is the strongest area of support nationally, with the former party becoming the second-largest in only the 2008 elections. As of 2021, the second-largest and third-largest parties in the Council are the Green League and the Social Democrats respectively.

The Left Alliance is the Council's fourth-largest party while the Finns are the fifth-largest. The Swedish People's Party is sixth, with the party's support on a steady decline over the years; this can be attributed to the diminishing proportion of Swedish speakers in Helsinki. The agrarian Centre Party, despite being one of the major parties in national politics, has limited support in Helsinki. This is because there are very few farmers in Helsinki.

Chairmen of the City Council

 * Leo Mechelin (1875–1878)
 * A. W. Liljenstrand (1877)
 * J. A. Estlander (1879–1880)
 * Lorenz Leonard Lindelöf (1881–1882)
 * M. W. af Schultén (1883–1887)
 * J. W. Runeberg (1888–1891)
 * Leo Mechelin (1892–1899) (2nd time)
 * P. K. S. Antell (1900–1903)
 * Alfred Norrmén (1904–1918)
 * Alexander Frey (1919–1920)
 * Arthur Söderholm (1922)
 * Leo Ehrnrooth (1923–1925)
 * Antti Tulenheimo (1926–1928)
 * Ivar Lindfors (1929–1934)
 * Yrjö Harvia (1934–1936)
 * Eero Rydman (1937–1944)
 * Eino Tulenheimo (1945–1950)
 * Konsti Järnefelt (1951)
 * Lauri Aho (1952–1956)
 * Teuvo Aura (1957–1968)
 * Jussi Saukkonen (1969–1972)
 * Pentti Poukka (1973–1979)
 * Gustaf Laurent (1980)
 * Harri Holkeri (1981–1987)
 * Kari Rahkamo (1987–1991)
 * Erkki Heikkonen (1991–1992)
 * Arja Alho (1993–1994)
 * Suvi Rihtniemi (1995–2000)
 * Pekka Sauri (2001–2003)
 * Minerva Krohn (2003–2004)
 * Rakel Hiltunen (2005–2008)
 * Otto Lehtipuu (2009–2011)
 * Minerva Krohn (2011–2012)
 * Mari Puoskari (2013–)

Deputy Chairman

 * Väinö Tanner (1929-1930)
 * Johan Helo
 * Pekka Railo
 * Tyyne Leivo-Larsson (1948-1956)
 * B. R. Nybergh (1951-1954)
 * Gunnar Modeen (1954-1964)
 * Yrjö Rantala (1957-1972)
 * Leo Backman (1965-1967)
 * Carl-Gustaf Londen (1967-1974)
 * Keijo Liinamaa (1973-1976)
 * Gustaf Laurent (1974-1980)
 * Per-Erik Förars (1977-1979)
 * Arvo Salo (1979-1980)
 * Grels Teir
 * Jyrki Lohi (1989-1992)
 * Ulla Gyllenberg (1989-1992)
 * Outi Ojala (1993-1994)
 * Erkki Heikkonen (1993-1995)
 * Ulla Gyllenberg (1994-1998)
 * Per-Erik Förars (1995-1996)
 * Tuula Haatainen (1997-2000)
 * Tuija Brax (1998-2000)
 * Hannele Luukkainen (2000)
 * Suvi Rihtniemi (2001-2004)
 * Arto Bryggare (2001-2004)
 * Harry Bogomoloff (2005-)
 * Minerva Krohn (2005-2008)
 * Rakel Hiltunen (2009–2012)
 * Sara Paavolainen (2013–)

City Manager
The City Manager of Helsinki was appointed by the Council. The last holder of the post was Jussi Pajunen. He was appointed for two 7-year terms, starting 1 June 2005. Pajunen was a member of the Council for 8 years, and was the chairman of the city board in 2003–2005. The position of City Manager was abolished in June 2017 and the position of Mayor was created.

Mayor
The position of Mayor of Helsinki was created when the position of City Manager of Helsinki was abolished in June 2017. The incumbent mayor of Helsinki is Juhana Vartiainen. Vapaavuori has been a Helsinki City Council member in the years 1997-2007 and 2017-. Vapaavuori started his term on 7 June 2017.

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

title: City Council of Helsinki


text:
Seizin Press

The Seizin Press was a small press, founded in 1927 by Laura Riding and Robert Graves in London from 1928 until 1935. From 1930 it was based in Majorca.

Besides work by Graves and Riding, the Seizin Press published works by Gertrude Stein, Len Lye, Honor Wyatt and James Reeves. It ceased on the outbreak of the Spanish Civil War; during the 1980s, a "New Seizin Press" was operated by an acquaintance of Graves.

Seizin Press Vero is owned and operated by the Laura (Riding) Jackson Foundation located in Vero Beach, Fl. The first volume "Decades" represents poetry by leading American poets who have participated in the Foundation's annual "Poetry & Barbecue." https://www.LRJF.org.

title: Seizin Press


text:
USS Croaker

USS Croaker (SS/SSK/AGSS/IXSS-246), a Gato-class submarine, was the first ship of the United States Navy to be named for the croaker, any of various fishes which make throbbing or drumming noises.

Construction and commissioning
Croaker′s keel was laid down on 1 April 1943 by Electric Boat Company in Groton, Connecticut. She was launched on 19 December 1943, sponsored by the wife of Admiral William H. P. Blandy, and commissioned on 21 April 1944, with Commander John E. Lee in command.

World War II
Croaker arrived at Pearl Harbor from New London on 26 June 1944, and on 19 July put to sea on her first war patrol, sailing to the East China and Yellow Seas. In a series of brilliantly successful attacks which won her the Navy Unit Commendation, she sank the cruiser Nagara on 7 August, an auxiliary minesweeper, Taito Maru, on 16 August, and two freighters, Daigen Maru No. 7 on 14 August and Yamateru Maru on 17 August. During this patrol, she served as lifeguard during air strikes on the Bonin Islands. She refitted at Midway Atoll from 31 August to 23 September, when she sailed in a coordinated attack group for the same area on her second war patrol. Again successful, she sank the freighters Shinki Maru on 9 October, and Hakuran Maru on 23 October. She shadowed a convoy on 23–24 October, sank the freighter Mikage Maru, and damaged Gassan Maru with her last torpedo. Tubes empty, she returned to Midway to fuel, and pushed on to Pearl Harbor, arriving for refit on 10 November.

Croaker's third war patrol, in the Luzon Straits and South China Sea from 13 December 1944 to 12 February 1945, found her making no contacts with enemy shipping, but providing essential lifeguard service during strikes on Luzon preparatory to the invasion landings in Lingayen Gulf. She refitted at Fremantle, Australia, and on 12 March sailed for a patrol off the coast of Indo-China twice interrupted by the need to return to Australia for repairs. She refitted at Subic Bay, Philippines from 22 April to 15 May, then sailed for her fifth war patrol, in the Java Sea. On 30 May, she attacked a convoy of three small oilers guarded by an escort, with unconfirmed results, and on 5 June returned to Fremantle. Her final war patrol – from 1 July to 13 August – found her assigned to lifeguard duties in the South China Sea and off Hong Kong as the final series of air attacks on Japan were carried out.

Returning to Subic Bay, Croaker sailed for Saipan and continued on to Galveston, Tex., and New London, where she was then decommissioned and placed in reserve 15 May 1946 in the Atlantic Reserve Fleet.

Post-War
Recommissioned on 7 May 1951, she served as schoolship out of New London until 18 March 1953, when she was again decommissioned at Portsmouth Naval Shipyard for conversion to a hunter-killer submarine. She was reclassified SSK-246 on 9 April 1953, and was recommissioned on 11 December 1953. Returning to active duty in February 1954, she operated along the East Coast and in the Caribbean, visiting ports in England while taking part in NATO exercises in 1957 and 1958.

Croaker was reclassified SS-246 again in August 1959. Special submarine exercises took her to England once more in February 1960, after which she resumed local operations out of New London. In September 1960, Croaker departed on a cruise which saw her sailing through the Mediterranean and Suez Canal to call at various Near Eastern ports and Karachi, Pakistan. She returned to New London in mid-December, retracing her outward track.

She was reclassified Auxiliary Submarine AGSS-246 in May 1967. Decommissioned for the last time on 2 April 1968, Croaker was struck from the Naval Vessel Register on 20 December 1971 and reclassified Miscellaneous Unclassified Submarine IXSS-246 in December 1971. From 1977 to 1987, Croaker was displayed as a private attraction in Groton, Connecticut by the Submarine Memorial Association until the Navy revoked its agreement with the group citing a requirement for historical preservation of the vessel. Since 1988, Croaker has served as a museum ship at the Buffalo and Erie County Naval & Military Park in Buffalo, New York.

Awards

 * Navy Unit Commendation
 * American Campaign Medal
 * Asiatic-Pacific Campaign Medal with three battle stars
 * World War II Victory Medal
 * National Defense Service Medal with star

Along with the Navy Unit Commendation, Croaker received three battle stars for those of her war patrols designated as "successful": the first, second, and fifth of her six. She is credited with having sunk 19,710 tons of shipping.

Croaker was listed on the National Register of Historic Places on 12 September 2008.

title: USS Croaker


text:
Bishop of Northampton

The Bishop of Northampton is the Ordinary of the Roman Catholic Diocese of Northampton in the Province of Westminster, England.

The see is in the town of Northampton where the bishop's seat is located in the Cathedral Church of Our Lady and Saint Thomas of Canterbury.

The current bishop is the Right Reverend David Oakley, who was ordained bishop on 19 March 2020.

History
The Apostolic Vicariate of the Eastern District of England was created in 1840 out of the Midland District (which was renamed the Central District) and a couple of counties out of the London District. The Eastern District consisted of the counties of Cambridgeshire (with the Isle of Ely), Huntingdonshire, Lincolnshire, Norfolk, Northamptonshire, Rutland, and Suffolk, all from the former Midland District, and the counties of Bedfordshire and Buckinghamshire from the London District.

On the restoration of the Catholic hierarchy in England and Wales by Pope Pius IX in 1850, most of the Eastern District became the Diocese of Northampton, with the Vicar Apostolic the Eastern District, William Wareing, appointed the first bishop of the diocese. The remainder of the Eastern District (Lincolnshire and Rutland) became part of the Diocese of Nottingham. Through the Local Government Act of 1972, a small area of Buckinghamshire became part of Berkshire, and Huntingdonshire and the Isle of Ely merged into Cambridgeshire. The Diocese of Northampton lost territory (Cambridgeshire, Norfolk, and Suffolk) on the creation of the Diocese of East Anglia in 1976.

title: Bishop of Northampton


text:
Sente

Sente may refer to:

 * Sente, a strategic concept in the game of Go
 * Sente (software), academic reference manager for Mac OS X
 * Sente Technologies, arcade game developer from the mid-1980s
 * One-hundredth of the Lesotho loti

title: Sente


text:
Open quantum system

In physics, an open quantum system is a quantum-mechanical system that interacts with an external quantum system, which is known as the environment or a bath. In general, these interactions significantly change the dynamics of the system and result in quantum dissipation, such that the information contained in the system is lost to its environment. Because no quantum system is completely isolated from its surroundings, it is important to develop a theoretical framework for treating these interactions in order to obtain an accurate understanding of quantum systems.

Techniques developed in the context of open quantum systems have proven powerful in fields such as quantum optics, quantum measurement theory, quantum statistical mechanics, quantum information science, quantum thermodynamics, quantum cosmology, quantum biology, and semi-classical approximations.

Quantum system and environment
A complete description of a quantum system requires the inclusion of the environment. Completely describing the resulting combined system then requires the inclusion of its environment, which results in a new system that can only be completely described if its environment is included and so on. The eventual outcome of this process of embedding is the state of the whole universe described by a wavefunction $$\Psi$$. The fact that every quantum system has some degree of openness also means that no quantum system can ever be in a pure state. A pure state is unitary equivalent to a zero-temperature ground state, forbidden by the third law of thermodynamics. Even if the combined system is in a pure state and can be described by a wavefunction $$ \Psi $$, a subsystem in general cannot be described by a wavefunction. This observation motivated the formalism of density matrices, or density operators, introduced by John von Neumann in 1927 and independently, but less systematically by Lev Landau in 1927 and Felix Bloch in 1946. In general, the state of a subsystem is described by the density operator $$ \rho $$ and the expectation value of an observable $$ A $$ by the scalar product $$ (\rho \cdot A) = \rm{tr}\{ \rho A \} $$. There is no way to know if the combined system is pure from the knowledge of observables of the subsystem alone. In particular, if the combined system has quantum entanglement, the state of the subsystem is not pure.

Dynamics
In general, the time evolution of closed quantum systems is described by unitary operators acting on the system. For open systems, however, the interactions between the system and its environment make it so that the dynamics of the system cannot be accurately described using unitary operators alone.

The time evolution of quantum systems can be determined by solving the effective equations of motion, also known as master equations, that govern how the density matrix describing the system changes over time and the dynamics of the observables that are associated with the system. In general, however, the environment that we want to model as being a part of our system is very large and complicated, which makes finding exact solutions to the master equations difficult, if not impossible. As such, the theory of open quantum systems seeks an economical treatment of the dynamics of the system and its observables. Typical observables of interest include things like energy and the robustness of quantum coherence (i.e. a measure of a state's coherence). Loss of energy to the environment is termed quantum dissipation, while loss of coherence is termed quantum decoherence.

Due to the difficulty of determining the solutions to the master equations for a particular system and environment, a variety of techniques and approaches have been developed. A common objective is to derive a reduced description wherein the system's dynamics are considered explicitly and the bath's dynamics are described implicitly. The main assumption is that the entire system-environment combination is a large closed system. Therefore, its time evolution is governed by a unitary transformation generated by a global Hamiltonian. For the combined system bath scenario the global Hamiltonian can be decomposed into:

 * $$ H=H_{\rm S}+H_{\rm B}+H_{\rm SB} $$

where $$H_{\rm S}$$ is the system's Hamiltonian, $$H_{\rm B} $$ is the bath Hamiltonian and $$H_{\rm SB}$$ is the system-bath interaction. The state of the system can then be obtained from a partial trace over the combined system and bath: $$\rho_{\rm S} (t) =\rm{tr}_{\rm B} \{\rho_{SB} (t)\} $$.

Another common assumption that is used to make systems easier to solve is the assumption that the state of the system at the next moment depends only on the current state of the system. in other words, the system doesn't have a memory of its previous states. Systems that have this property are known as Markovian systems. This approximation is justified when the system in question has enough time for the system to relax to equilibrium before being perturbed again by interactions with its environment. For systems that have very fast or very frequent perturbations from their coupling to their environment, this approximation becomes much less accurate.

Markovian equations
When the interaction between the system and the environment is weak, a time-dependent perturbation theory seems appropriate for treating the evolution of the system. In other words, if the interaction between the system and its environment is weak, then any changes to the combined system over time can be approximated as originating from only the system in question. Another typical assumption is that the system and bath are initially uncorrelated $$ \rho(0)=\rho_{\rm S} \otimes \rho_{\rm B} $$. This idea originated with Felix Bloch and was expanded upon by Alfred Redfield in his derivation of the Redfield equation. The Redfield equation is a Markovian master equation that describes the time evolution of the density matrix of the combined system. The drawback of the Redfield equation is that it does not conserve the positivity of the density operator.

A formal construction of a local equation of motion with a Markovian property is an alternative to a reduced derivation. The theory is based on an axiomatic approach. The basic starting point is a completely positive map. The assumption is that the initial system-environment state is uncorrelated $$ \rho(0)=\rho_{\rm S} \otimes \rho_{\rm B} $$ and the combined dynamics is generated by a unitary operator. Such a map falls under the category of Kraus operator. The most general type of a time-homogeneous master equation with the Markovian property describing non-unitary evolution of the density matrix ρ that is trace-preserving and completely positive for any initial condition is the Gorini–Kossakowski–Sudarshan–Lindblad equation or GKSL equation:
 * $$\dot\rho_{\rm S}=-{i\over\hbar}[H_{\rm S},\rho_{\rm S}]+{\cal L}_{\rm D}(\rho_{\rm S}) $$

$$ H_{\rm S}$$ is a (Hermitian) Hamiltonian part and $${\cal L}_{\rm D}$$:
 * $${\cal L}_{\rm D}(\rho_{\rm S})=\sum_n \left(V_n\rho_{\rm S} V_n^\dagger-\frac{1}{2}\left(\rho_{\rm S} V_n^\dagger V_n + V_n^\dagger V_n\rho_{\rm S}\right)\right)$$

is the dissipative part describing implicitly through system operators $$ V_n $$ the influence of the bath on the system. The Markov property imposes that the system and bath are uncorrelated at all times $$ \rho_{\rm SB}=\rho_{\rm S} \otimes \rho_{\rm B} $$. The GKSL equation is unidirectional and leads any initial state $$ \rho_{\rm S}$$ to a steady state solution which is an invariant of the equation of motion $$ \dot \rho_{\rm S}(t \rightarrow \infty ) = 0 $$. The family of maps generated by the GKSL equation forms a Quantum dynamical semigroup. In some fields, such as quantum optics, the term Lindblad superoperator is often used to express the quantum master equation for a dissipative system. E.B. Davis derived the GKSL with Markovian property master equations using perturbation theory and additional approximations, such as the rotating wave or secular, thus fixing the flaws of the Redfield equation. Davis construction is consistent with the Kubo-Martin-Schwinger stability criterion for thermal equilibrium i.e. the KMS state. An alternative approach to fix the Redfield has been proposed by J. Thingna, J.-S. Wang, and P. Hänggi that allows for system-bath interaction to play a role in equilibrium differing from the KMS state.

In 1981, Amir Caldeira and Anthony J. Leggett proposed a simplifying assumption in which the bath is decomposed to normal modes represented as harmonic oscillators linearly coupled to the system. As a result, the influence of the bath can be summarized by the bath spectral function. This method is known as the Caldeira–Leggett model, or harmonic bath model. To proceed and obtain explicit solutions, the path integral formulation description of quantum mechanics is typically employed. A large part of the power behind this method is the fact that harmonic oscillators are relatively well-understood compared to the true coupling that exists between the system and the bath. Unfortunately, while the Caldeira-Leggett model is one that leads to a physically consistent picture of quantum dissipation, its ergodic properties are too weak and so the dynamics of the model do not generate wide-scale quantum entanglement between the bath modes.

An alternative bath model is a spin bath. At low temperatures and weak system-bath coupling, the Caldeira-Leggett and spin bath models are equivalent. But for higher temperatures or strong system-bath coupling, the spin bath model has strong ergodic properties. Once the system is coupled, significant entanglement is generated between all modes. In other words, the spin bath model can simulate the Caldeira-Leggett model, but the opposite is not true.

An example of natural system being coupled to a spin bath is a nitrogen-vacancy (N-V) center in diamonds. In this example, the color center is the system and the bath consists of carbon-13 (13C) impurities which interact with the system via the magnetic dipole-dipole interaction.

For open quantum systems where the bath has oscillations that are particularly fast, it is possible to average them out by looking at sufficiently large changes in time. This is possible because the average amplitude of fast oscillations over a large time scale is equal to the central value, which can always be chosen to be zero with a minor shift along the vertical axis. This method of simplifying problems is known as the secular approximation.

Non-Markovian equations
Open quantum systems that do not have the Markovian property are generally much more difficult to solve. This is largely due to the fact that the next state of a non-Markovian system is determined by each of its previous states, which rapidly increases the memory requirements to compute the evolution of the system. Currently, the methods of treating these systems employ what are known as projection operator techniques. These techniques employ a projection operator $$\mathcal{P}$$, which effectively applies the trace over the environment as described previously. The result of applying $$\mathcal{P}$$ to $$\rho$$(i.e. calculating $$\mathcal{P}\rho$$) is called the relevant part of $$\rho$$. For completeness, another operator $$\mathcal{Q}$$ is defined so that $$\mathcal{P}+\mathcal{Q}=\mathcal{I}$$ where $$\mathcal{I}$$ is the identity matrix. The result of applying $$\mathcal{Q}$$ to $$\rho$$(i.e. calculating $$\mathcal{Q}\rho$$) is called the irrelevant part of $$\rho$$. The primary goal of these methods is to then derive a master equation that defines the evolution of $$\mathcal{P}\rho$$.

One such derivation using the projection operator technique results in what is known as the Nakajima–Zwanzig equation. This derivation highlights the problem of the reduced dynamics being non-local in time:

 * $$\partial_t{\rho }_\mathrm{S}=\mathcal{P}{\cal L}{{\rho}_\mathrm{S}}+\int_{0}^{t}{dt'\mathcal{K}({t}'){{\rho }_\mathrm{S}}(t-{t}')}.$$

Here the effect of the bath throughout the time evolution of the system is hidden in the memory kernel $$ \kappa (\tau)$$. While the Nakajima-Zwanzig equation is an exact equation that holds for almost all open quantum systems and environments, it can be very difficult to solve. This means that approximations generally need to be introduced to reduce the complexity of the problem into something more manageable. As an example, the assumption of a fast bath is required to lead to a time local equation: $$ \partial_t \rho_S = {\cal L } \rho_S $$. Other examples of valid approximations include the weak-coupling approximation and the single-coupling approximation.

In some cases, the projection operator technique can be used to reduce the dependence of the system's next state on all of its previous states. This method of approaching open quantum systems is known as the time-convolutionless projection operator technique, and it is used to generate master equations that are inherently local in time. Because these equations can neglect more of the history of the system, they are often easier to solve than things like the Nakajima-Zwanzig equation.

Another approach emerges as an analogue of classical dissipation theory developed by Ryogo Kubo and Y. Tanimura. This approach is connected to hierarchical equations of motion which embed the density operator in a larger space of auxiliary operators such that a time local equation is obtained for the whole set and their memory is contained in the auxiliary operators.

title: Open quantum system


text:
User:Photonique

Useful Links

 * Writing_better_articles
 * MOS

title: User:Photonique


text:
I Never Told Anyone

I Never Told Anyone: Writings by Women Survivors of Child Sex Abuse is a 1983 book edited by Ellen Bass and Louise Thornton and marked Bass's first published non-fiction work. It was published by Harper and Row and contains a collection of numerous child sexual abuse testimonials from a wide range of original source material including book excerpts, poems, and essays. The work was republished in 1991 through Harper Perennial and included a new afterword by Bass.

The book's title is a reference to some abuse survivors stating that they had never told anyone about their abuse due to various reasons such as threats of harm or that they did not think that they would be believed.

Synopsis
I Never Told Anyone contains 33 testimonials from women who were sexually abused as children. The book begins with a set of statistics about childhood sexual abuse such as information about the sex of the abuse survivors and perpetrators. The testimonials are placed into the categories of abuse by fathers, relatives, friends and acquaintances, and strangers, each section of which is prefaced by a section discussing the specific category. In the work Bass also details her own experiences and feelings towards female sexuality in the United States.

Development
The idea for the collection came from a writing workshop that Bass held in Santa Cruz, entitled "I Never Told Anyone". Bass, who had held writing workshops in the past, had been approached by a Boston area activist named Leslie who felt that the workshop, especially the act of publicizing its existence, would help serve to raise awareness and create social change. During the workshop Bass found that the issue of sexual abuse "hit a common frayed nerve among workshop participants", many of whom agreed to help with the collection. In publishing the collection Bass and Thornton hoped that it would show that there was therapeutic value in the survivors writing about their abuse and that the work's publication would help give them a voice.

Reception
Psychology in the Schools reviewed the work positively in 1985, stating that it would have a "most definite place" in psychology literature. The journal Family Systems Medicine also reviewed I Never Told Anyone, which they felt was "excellent reading for practitioners involved in treating families, as it illuminates the many varieties of possible child sexual abuse." Kirkus Reviews was more critical, writing "For the women, telling has been cathartic, and others in their situation may experience a similar release. Those involved with children, however, will gain a better understanding of the problem from Robert Geiser's Hidden Victims (1979) and specific guidance from Linda Sanford's Silent Children (1980)."

I Never Told Anyone was criticized in the 1996 book Worlds of Hurt: Reading the Literatures of Trauma, where it was noted that it "frequently compromises the integrity of the personal narratives, reducing and softening their impact on the reader, while at the same time creating the impression that, within each category, all incest experiences are somehow alike. The latter is accomplished, like an uncomfortable fit in a glass slipper, but a little judicious toe and heel trimming." The book also noted that the framework used by Bass and Thornton for I Never Told Anyone classified abused women as within the framework of mental illness and that "By making it clear that child sexual abuse had dramatic effects upon its victims, and by advocating that women seek counseling, advice, and support from professionals and therapy groups, Bass and Thornton create the impression that the survivors are weak, harmless and "sick" - no threat to the status quo."

title: I Never Told Anyone


text:
ABA digital signature guidelines

The ABA digital signature guidelines are a set of guidelines published on 1 August 1996 by the American Bar Association (ABA) Section of Science and Technology Law. The authors are members of the Section's Information Security Committee. The document was the first overview of principles and a framework for the use of digital signatures and authentication in electronic commerce from a legal viewpoint, including technologies such as certificate authorities and public key infrastructure (PKI). The guidelines were a product of a four-year collaboration by 70 lawyers and technical experts from a dozen countries, and have been adopted as the model for legislation by some states in the US, including Florida and Utah.

The Digital Signature Guidelines were followed by the Public Key Infrastructure Assessment Guidelines published by the ABA in 2003.

A similar effort was undertaken in Slovenia by the Digital Signature Working Group (within the Chamber of Commerce and Industry of Slovenia (CCIS)).

title: ABA digital signature guidelines


text:
Atlantic 252

Atlantic 252 was an Irish longwave radio station broadcasting to Ireland and the United Kingdom on 252 kHz (1190 metres) from its 1988 purpose-built transmission site at Clarkstown radio transmitter, County Meath, which provided service to Atlantic 252 from 1989 until 2002. The station's studios were located 12 km (7 mi) away in Mornington House, Summerhill Road, Trim, County Meath. Atlantic 252 also had sales offices and studios at 74 Newman Street in London.

Early history
The concept of Atlantic 252 can be traced to as far back as August 1986, when Irish state broadcaster RTÉ announced it was to use its allocated longwave frequency for a new pop music station. Ireland (and RTE) had been allocated a long wave frequency at the Regional Administrative Broadcasting Conference in Geneva in 1975. RTÉ teamed up with RTL Group / Radio Luxembourg to form Radio Tara – the trading name of Atlantic 252 – which, being on long wave, was able to provide reception across Ireland and the United Kingdom. The Irish Government allowed RTE to allocate the 252 licence to Radio Tara. The broadcaster Pat Kenny, who was a member of the RTE Board was Chairman of Radio Tara (Atlantic 252) between 1990 - 1992. This followed Chris Cary's pirate Radio XIDY test transmissions on 254 kHz longwave in the mid-1980s.

The Radio Tara company was officially registered in 1985, with trading names of Radio Tara, Atlantic 252 and Tara 254, it was dissolved in 2011.

In 1987, RTÉ commenced building a giant three-sided 248-metre broadcast mast in Clarkstown, County Meath, using a specially built pair of air- and water-cooled 300 kW solid-state transmitters (which could be combined to give double power) built by Varian Associates, Texas, despite protests from local residents. Studios were set up in Mornington House, in the nearby town of Trim. The station cost £6 million to set up. Just over 47 million people were in the station's broadcast area.

At 8.00 local time (7.00 GMT) on the morning of 1 September 1989 Gary King announced on Atlantic 252, "Mine is the first voice you will ever hear on Atlantic 252". This was followed by a specially produced pre-recorded introduction tape that introduced everybody employed by the radio station on its launch day, from engineers, administration, management like Travis Baxter and John Catlett, and the station's personality music presenter line-up, including ex-Laser 558 presenter Charlie Wolf, Henry Owens, Mary Ellen O'Brien, Dusty Rhodes, Al Dunne, Tony West, Jeff Graham and the station's newsreader Andrew Turner. An appearance was even made by Rosalyn Reilly, who was to remain the station's cleaning lady for its entire twelve-year history.

The station's official "first record ever played" – on the launch date of 1 September 1989 – was "Sowing the Seeds of Love" by Tears for Fears, followed by "Monkey" by George Michael. The first record played during the period of Atlantic 252's test transmissions had been "Ain't Nobody" by Rufus and Chaka Khan ('89 Remix).

Although the transmitter was in Ireland, the signal's reach meant that it was often looked upon as a "UK national station". Reception reports were received from such locations as Berlin, Finland, Ibiza and Moscow. The signal had even been received in Brazil at night-time. The Scottish musician Mylo has claimed that it was the only station with listenable reception on the Isle of Skye. At launch there were no UK-wide commercial stations (the first would be Classic FM in 1992), and the lack of a UK broadcast licence attracted the attention of the IBA. Although the transmitters were theoretically capable of being combined to operate at a radiated power of 600 kW, international agreements limited it to a daytime maximum 500 kW, and just 100 kW during the hours of darkness.

Mid-1990s peak
Initially, the station transmitted only from 6a.m. until 7p.m., outside of which listeners were invited to tune to Radio Luxembourg. In August 1990, the station extended its broadcasting hours to 2a.m. with post-midnight output being automated under the branding of The Big Mattress. In September 1991, Atlantic 252 began broadcasting a 24-hour service, although until the middle of the decade, overnight programming continued to be automated.

The music format consisted of high-rotation mainstream pop and rock music, with influences borrowed heavily from American radio, and through to 1993, a lot of the station's music was drawn from the top part of the US charts. The station mixed the best songs from the last few years along with the best songs from the top 40 – this was called "Today's Best Music Variety". News summaries were broadcast at 10 to and 20 past the hour during the breakfast show and during part of the drivetine show. Commercial Radio and the BBC initially objected to the station, seeing it as a commercial pirate. However, as UK commercial radio developed and deregulation saw many more stations launching, formats similar to Atlantic's began to appear on FM and Atlantic 252's audience began to decline. Attempts at repositioning followed, including "Real Music, Real Radio", when the station attempted to tackle BBC Radio 1's "new music" format. At the peak of its popularity in 1993, Atlantic 252 had six million listeners aged 15+ in the UK and Ireland, but vastly increased competition from local radio stations with similar formats saw this decline yearly.

Relaunch attempts
In late 1998, under the direction of David Dunne, the station responded to dropping audiences by shifting its format to concentrate on indie and dance music, but it continued to lose listeners. This included 30 hours of "specialist" music, including programmes from The Wise Guys, Eddy Temple Morris and the Trade nightclub. Money was spent on advertising and a high-profile breakfast show was attempted fronted by Marc Brow (including several innovative ideas like travel news backed by new age chill out music called 'Traffic Calming', and specially re-formatted youth news presented by Specialist Producer Mark Ovenden which included one of the first broadcast uses of the term 'The Noughties'), in 1999 the station suffered its lowest Rajar ratings since it first came on the air, with the audience falling to just under one million UK listeners in the last quarter of the year.

In November 1999, with the arrival of John O'Hara as the new managing director, the station re-launched in February 2000 as "The New Atlantic 252". The format was changed to urban contemporary music (such as garage, house, hip hop and R&B) and the station was rebranded with the slogan "Non-stop Rhythm and Dance". There was over £1million spent on rebranding and marketing the station to a new audience and media buyers, including a new website. Under the new format RAJAR ratings rose once more above the one million mark, the station had a better market value, and the sale of the station was announced in early 2001 by its owners RTÉ and CLT.

Last broadcast
The last show on Atlantic was presented by Enda Caldwell on 20 December 2001. This was followed by a tribute show produced by Enda Caldwell and Eric Murphy celebrating the station's twelve-year history of broadcasting and featuring classic airchecks of each year of Atlantic 252's history. The station then transitioned to automation, and continued broadcasting music without continuity, along with pre-booked commercials, until midnight on 2 January 2002, when transmissions ceased.

Notable DJs
Many of the original presenters line-up came from Laser 558/UK Commercial Radio and BBC Radio One and the Irish presenters came from Dublin Superpirates like Sunshine 101 and SuperQ 102. During the early years the presenters that worked utilised funny names, an idea originated in the US at stations like WHTZ FM Z100. Notable presenters included:

 * Bam Bam
 * Robin Banks
 * David Dunne
 * Rick O'Shea
 * Eddy Temple-Morris
 * Charlie Wolf
 * Tony Wrighton

Teamtalk 252
Atlantic 252 was briefly replaced by a sports station TEAMtalk 252, which opened in the early days of January 2002. This faced competition from BBC Radio 5 Live and talkSPORT, and was itself closed in the summer of 2002, just a few months after its launch.

RTE's use of the frequency
From 2004, the frequency was used by RTÉ to provide a version of RTÉ Radio 1 to the expatriate community in Britain.

(DRM) tests have also been heard on this frequency since 2007.

In 2008, Radio 1 stopped broadcasting on MW and the opt-outs, mostly for weekend sports coverage and for religious programming, were transferred to 252 long wave. It also meant that listeners in Northern Ireland, who had previously relied on the MW transmission, were still able to hear Radio 1.

The LW service was due to be withdrawn in 2014 but this was postponed several times and long wave transmissions continued until Friday night into Saturday morning of 14/15 April 2023. The daily cost of transmission was the primary reason for ending the service.

The transmitter mast was demolished on 27 July 2023, three months after it had fallen silent for the final time.

Mornington House is now used as regional offices for Meath County Council.

title: Atlantic 252


text:
User:Defunkt/Todo

  I Plan To Improve: The Second Stage Turbine Blade (comics), The Second Stage Turbine Blade, In Keeping Secrets of Silent Earth: 3, The Bag On Line Adventures

 I Plan To Make:

 I Need To Read: CSB, FACs, Sealand, Trotskyism, Liberalism, Immanuel Kant, Draw in Word, Bertrand Russell,

 Always Needs Work: Help Desk, Duplicate Articles, VfD, Red links, Controversial Issues, Pages Needing Attention, Marvel Characters

 Links: Templates, Nav, Contribs, Wikiversity, Wikiquote, Unusual Articles, Show Preview . edit | [ purge].

title: User:Defunkt/Todo


text:
Index of Quebec-related articles

Articles related to Quebec include:

0–9
1980 Quebec referendum

1995 Quebec referendum

A
Aboriginal peoples in Quebec

Architecture of Quebec

Autoroute (Quebec)

Loi pour promouvoir la langue française au Québec An Act to promote the French language in Québec

Anglo-Quebecker

Anglosphere

Anglicism

Association québécoise de linguistique

B
Bibliothèque et Archives nationales du Québec

C
Canadian identity

Canadiens

Cabinet of Quebec

Canada East

Canadiens

Charter of the French Language

Cinema of Quebec

CIREQ

Cirque du Soleil

Civil Code of Quebec

Coalition New Democratic Party of Quebec – Regroupement des militants syndicaux candidates, 1976 Quebec provincial election

Coat of Arms of Quebec

College Jean-Eudes

Cuisine of Quebec

Culture of Quebec

Commission royale d’enquête sur le bilinguisme et le biculturalisme Royal Commission on Bilingualism and Biculturalism

D
Demographics of Quebec

Demographic history of Quebec

Demolinguistic descriptors used in Canada

Language demographics of Quebec

Céline Dion

E
Economy of Quebec

English-speaking Quebecers

English Canada

F
Family Compact

Fête nationale du Québec

Federalism in Quebec

Flag of Quebec

Français québécois

French Canada

French Canadians

Francophone

French Canadian

French language in Canada

French-speaking Quebecer

Franglais

Front de libération du Québec (FLQ)

G
Gens du pays

Geography of Quebec

H
History of Quebec

History of Quebec French

Holidays of Quebec

Humor in Quebec

Hydro-Québec

J
Joual

L
La Francophonie

Laurentian mountains

Languages of Canada

Law on the state education

Legislative Council of Quebec

List of lieutenant governors of Quebec

List of National Historic Sites of Canada in Quebec

List of protected areas of Quebec

List of Quebec authors

List of Quebec counties

List of Quebec county regional municipalities

List of Quebec festivals

List of Quebec general elections

List of Quebec leaders of the Opposition

List of Quebec media

List of Quebec premiers

List of Quebec regions

List of Quebec television series

List of Quebec universities

List of Quebecers

List of radio stations in Quebec

List of towns in Quebec

Lower Canada

M
Meech Lake Accord

Municipal history of Quebec

Music of Quebec

N
Name of Quebec City

National Assembly of Quebec

National question (Quebec)

1980 Quebec referendum

1995 Quebec referendum

Nunavik

Nationalisme québécois

O
October Crisis (La crise d'octobre)

Œ

Office québécois de la langue française

Official bilingualism in Canada

P
Parlement Jeunesse du Québec

Linguistic prescription

Plains of Abraham Plaines d'Abraham

Politics of Quebec

Poutine

Premier of Quebec

Q
Québécois/Quebecois(e

Québécois people

QMJHL

Quebec Act

Quebec Charter of Rights and Freedoms

Quebec English

Quebec education system

Quebec folklore

Quebec French

Quebec French lexicon

Quebec French phonology

Quebec French profanity

Quebec Selection Certificate (CSQ)

Quebec sovereigntism

Le Québécois

Quebecer (disambiguation)

Quiet Revolution

Quebec diaspora

Quebec nationalism

R
Ginette Reno

Roman du terroir

Rest of Canada

S
Salon du livre anarchiste

Same-sex marriage in Quebec

Sex (band)

The Social Justice Committee of Montreal

Société d'astronomie de Montréal

Société Radio-Canada

Snowmobile

Standard French

T
Joseph-Charles Taché

Sir Étienne-Paschal Taché

Gabriel-Elzéar Taschereau

Henri-Thomas Taschereau

Jean-Thomas Taschereau (jurist)

Joseph-André Taschereau

Marie-Anne-Louise Taschereau

Thomas-Pierre-Joseph Taschereau

Television of Quebec

title: Index of Quebec-related articles


text:
Italian art

Since ancient times, Greeks, Etruscans and Celts have inhabited the south, centre and north of the Italian peninsula respectively. The very numerous rock drawings in Valcamonica are as old as 8,000 BC, and there are rich remains of Etruscan art from thousands of tombs, as well as rich remains from the Greek colonies at Paestum, Agrigento and elsewhere. Ancient Rome finally emerged as the dominant Italian and European power. The Roman remains in Italy are of extraordinary richness, from the grand Imperial monuments of Rome itself to the survival of exceptionally preserved ordinary buildings in Pompeii and neighbouring sites. Following the fall of the Roman Empire, in the Middle Ages Italy remained an important centre, not only of the Carolingian art, Ottonian art of the Holy Roman Emperors, Norman art, but for the Byzantine art of Ravenna and other sites.

Italy was the main centre of artistic developments throughout the Renaissance (1300–1600), beginning with the Proto-Renaissance of Giotto and reaching a particular peak in the High Renaissance of Antonello da Messina, Leonardo da Vinci, Michelangelo and Raphael, whose works inspired the later phase of the Renaissance, known as Mannerism. Italy retained its artistic dominance into the 17th century with the Baroque (1600–1750), and into the 18th century with Neoclassicism (1750–1850). In this period, cultural tourism became a major prop to Italian economy. Both Baroque and Neoclassicism originated in Rome and spread to all Western art. Italy maintained a presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera, and Transavantgarde. Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters, architects and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the country include Rome, Florence, Venice, Milan, Turin, Genoa, Naples, Palermo, Syracuse and other cities. Italy is home to 58 World Heritage Sites, the largest number of any country in the world.

Etruscan art

Etruscan bronze figures and a terracotta funerary reliefs include examples of a vigorous Central Italian tradition which had waned by the time Rome began building her empire on the peninsula.

The Etruscan paintings that have survived to modern times are mostly wall frescoes from graves, and mainly from Tarquinia. These are the most important example of pre-Roman figurative art in Italy known to scholars.

The frescoes consist of painting on top of fresh plaster, so that when the plaster is dried the painting becomes part of the plaster and an integral part of the wall, which helps it survive so well (indeed, almost all of surviving Etruscan and Roman painting is in fresco). Colours were made from stones and minerals in different colours that ground up and mixed in a medium, and fine brushes were made of animal hair (even the best brushes are produced with ox hair). From the mid 4th century BC chiaroscuro began to be used to portray depth and volume. Sometimes scenes of everyday life are portrayed, but more often traditional mythological scenes. The concept of proportion does not appear in any surviving frescoes and we frequently find portrayals of animals or men with some body-parts out of proportion. One of the best-known Etruscan frescoes is that of Tomb of the Lioness at Tarquinia.

Roman art

The Etruscans were responsible for constructing Rome's earliest monumental buildings. Roman temples and houses were closely based on Etruscan models. Elements of Etruscan influence in Roman temples included the podium and the emphasis on the front at the expense of the remaining three sides. Large Etruscan houses were grouped around a central hall in much the same way as Roman town Large houses were later built around an atrium. The influence of Etruscan architecture gradually declined during the republic in the face of influences (particularly Greek) from elsewhere. The Etruscan architecture was itself influenced by the Greeks so that when the Romans adopted Greek styles, it was not a totally alien culture. During the republic, there was probably a steady absorption of architectural influences, mainly from the Hellenistic world, but after the fall of Syracuse in 211 BC, Greek works of art flooded into Rome. During the 2nd century BC, the flow of these works, and more important, Greek craftsmen, continued, thus decisively influencing the development of Roman architecture. By the end of the republic, when Vitruvius wrote his treatise on architecture, Greek architectural theory and example were dominant. With the expansion of the empire, Roman architecture spread over a wide area, used for both public buildings and some larger private ones. In many areas, elements of style were influenced by local tastes, particularly decoration, but the architecture remained recognizably Roman. Styles of vernacular architecture were influenced to varying degrees by Roman architecture, and in many regions, Roman and native elements are found combined in the same building.

By the 1st century AD, Rome had become the biggest and most advanced city in the world. The ancient Romans came up with new technologies to improve the city's sanitation systems, roads, and buildings. They developed a system of aqueducts that piped freshwater into the city, and they built sewers that removed the city's waste. The wealthiest Romans lived in large houses with gardens. Most of the population, however, lived in apartment buildings made of stone, concrete, or limestone. The Romans developed new techniques and used materials such as volcanic soil from Pozzuoli, a village near Naples, to make their cement harder and stronger. This concrete allowed them to build large apartment buildings called  insulae.

Wall paintings decorated the houses of the wealthy. Paintings often showed garden landscapes, events from Greek and Roman mythology, historical scenes, or scenes of everyday life. Romans decorated floors with mosaics — pictures or designs created with small colored tiles. The richly colored paintings and mosaics helped to make rooms in Roman houses seem larger and brighter and showed off the wealth of the owner.

In the Christian era of the late Empire, from 350 to 500 AD, wall painting, mosaic ceiling and floor work, and funerary sculpture thrived, while full-sized sculpture in the round and panel painting died out, most likely for religious reasons. When Constantine moved the capital of the empire to Byzantium (renamed Constantinople), Roman art incorporated Eastern influences to produce the Byzantine style of the late empire. When Rome was sacked in the 5th century, artisans moved to and found work in the Eastern capital. The Church of Hagia Sophia in Constantinople employed nearly 10,000 workmen and artisans, in a final burst of Roman art under Emperor Justinian I, who also ordered the creation of the famous mosaics of Ravenna.

Medieval art

Throughout the Middle Ages, Italian art consisted primarily of architectural decorations (frescoes and mosaics). Byzantine art in Italy was a highly formal and refined decoration with standardized calligraphy and admirable use of color and gold. Until the 13th century, art in Italy was almost entirely regional, affected by external European and Eastern currents. After c. 1250 the art of the various regions developed characteristics in common, so that a certain unity, as well as great originality, is observable.

Italo-Byzantine art
With the fall of its western capital, the Roman Empire continued for another 1000 years under the leadership of Constantinople. Byzantine artisans were used in important projects throughout Italy, and what are called Italo-Byzantine styles of painting can be found up to the 14th century.

Italo-Byzantine style initially covers religious paintings copying or imitating the standard Byzantine icon types, but painted by artists without a training in Byzantine techniques. These are versions of Byzantine icons, most of the Madonna and Child, but also of other subjects; essentially they introduced the relatively small portable painting with a frame to Western Europe. Very often they are on a gold ground. It was the dominant style in Italian painting until the end of the 13th century, when Cimabue and Giotto began to take Italian, or at least Florentine, painting into new territory. But the style continued until the 15th century and beyond in some areas and contexts.

Duecento

Duecento is the Italian term for the culture of the 13th century. The period saw Gothic architecture, which had begun in northern Europe spreading southward to Italy, at least in the north. The Dominican and Franciscan orders of friars, founded by Saint Dominic and Saint Francis of Assisi respectively became popular and well-funded in the period, and embarked on large building programmes, mostly using a cheaper and less highly decorated version of Gothic. Large schemes of fresco murals were cheap, and could be used to instruct congregations. The Basilica of Saint Francis of Assisi, in effect two large churches, one above the other on a hilly site, is one of the best examples, begun in 1228 and painted with frescos by Cimabue, Giotto, Simone Martini, Pietro Lorenzetti and possibly Pietro Cavallini, most of the leading painters of the period.

Trecento

Trecento is the Italian term for the culture of the 14th century. The period is considered to be the beginning of the Italian Renaissance or at least the Proto-Renaissance in art history. Painters of the Trecento included Giotto di Bondone, as well as painters of the Sienese School, which became the most important in Italy during the century, including Duccio di Buoninsegna, Simone Martini, Lippo Memmi, Ambrogio Lorenzetti and his brother Pietro. Important sculptors included two pupils of Giovanni Pisano: Arnolfo di Cambio and Tino di Camaino, and Bonino da Campione.

Renaissance art
During the Middle Ages, painters and sculptors tried to give their works a spiritual quality. They wanted viewers to concentrate on the deep religious meaning of their paintings and sculptures. But Renaissance painters and sculptors, like Renaissance writers, wanted to portray people and nature realistically. Medieval architects designed huge cathedrals to emphasize the grandeur of God and to humble the human spirit. Renaissance architects designed buildings whose proportions were based on those of the human body and whose ornamentation imitated ancient designs.

Early Renaissance
During the early 14th century, the Florentine painter Giotto became the first artist to portray nature realistically since the fall of the Roman Empire. He produced magnificent frescoes (paintings on damp plaster) for churches in Assisi, Florence, Padua, and Rome. Giotto attempted to create lifelike figures showing real emotions. He portrayed many of his figures in realistic settings.

A remarkable group of Florentine architects, painters, and sculptors worked during the early 15th century. They included the painter Masaccio, the sculptor Donatello, and the architect Filippo Brunelleschi.

Masaccio's finest work was a series of frescoes he painted about 1427 in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence. The frescoes realistically show Biblical scenes of emotional intensity. In these paintings, Masaccio utilized Brunelleschi's system for achieving linear perspective.

In his sculptures, Donatello tried to portray the dignity of the human body in realistic and often dramatic detail. His masterpieces include three statues of the Biblical hero David. In a version finished in the 1430s, Donatello portrayed David as a graceful, nude youth, moments after he slew the giant Goliath. The work, which is about 5 ft tall, was the first large free-standing nude created in Western art since classical antiquity.

Brunelleschi was the first Renaissance architect to revive the ancient Roman style of architecture. He used arches, columns, and other elements of classical architecture in his designs. One of his best-known buildings is the beautifully and harmoniously proportioned Pazzi Chapel in Florence. The chapel, begun in 1442 and completed about 1465, was one of the first buildings designed in the new Renaissance style. Brunelleschi also was the first Renaissance artist to master linear perspective, a mathematical system with which painters could show space and depth on a flat surface.

High Renaissance
Arts of the late 15th century and early 16th century were dominated by three men. They were Leonardo da Vinci, Michelangelo, and Raphael.

Leonardo da Vinci painted two of the most famous works of Renaissance art, the wallpainting The Last Supper and the portrait Mona Lisa. Leonardo had one of the most searching minds in all history. He wanted to know how everything that he saw in nature worked. In over 4,000 pages of notebooks, he drew detailed diagrams and wrote his observations. Leonardo made careful drawings of human skeletons and muscles, trying to learn how the body worked. Due to his inquiring mind, Leonardo has become a symbol of the Renaissance spirit of learning and intellectual curiosity.

Michelangelo excelled as a painter, architect, and poet. In addition, he has been called the greatest sculptor in history. Michelangelo was a master of portraying the human figure. For example, his famous statue of the Israelite leader Moses (1516) gives an overwhelming impression of physical and spiritual power. These qualities also appear in the frescoes of Biblical and classical subjects that Michelangelo painted on the ceiling of the Vatican's Sistine Chapel. The frescoes, painted from 1508 to 1512, rank among the greatest works of Renaissance art.

Raphael's paintings are softer in outline and more poetic than those of Michelangelo. Raphael was skilled in creating perspective and in the delicate use of color. He painted a number of pictures of the Madonna (Virgin Mary) and many outstanding portraits. One of his greatest works is the fresco The School of Athens. The painting was influenced by classical Greek and Roman models. It portrays the great philosophers and scientists of ancient Greece in a setting of classical arches. Raphael was thus making a connection between the culture of classical antiquity and the Italian culture of his time.

The creator of High Renaissance architecture was Donato Bramante, who came to Rome in 1499, when he was 55. His first Roman masterpiece, the Tempietto (1502) at San Pietro in Montorio, is a centralized dome structure that recalls Classical temple architecture. Pope Julius II chose Bramante to be papal architect, and together they devised a plan to replace the 4th-century Old St. Peter's with a new church of gigantic dimensions. The project was not completed, however, until long after Bramante's death.

Mannerism

Mannerism was an elegant, courtly style. It flourished in Florence, Italy, where its leading representatives were Giorgio Vasari and Bronzino. The style was introduced to the French court by Rosso Fiorentino and by Francesco Primaticcio. The Venetian painter Tintoretto was influenced by the style.

The mannerist approach to painting also influenced other art forms. In architecture, the work of Giulio Romano is a notable example. The Italian Benvenuto Cellini and Flemish-born Giambologna were the style's chief representatives in sculpture.

Some historians regard this period as degeneration of High Renaissance classicism or even as an interlude between High Renaissance and baroque, in which case the dates are usually from c. 1520 to 1600, and it is considered a positive style complete in itself.

Baroque and Rococo art

In the early 17th century Rome became the center of a renewal of Italian dominance in the arts. In Parma, Antonio da Correggio decorated church vaults with lively figures floating softly on clouds – a scheme that was to have a profound influence on baroque ceiling paintings. The stormy chiaroscuro paintings of Caravaggio and the robust, illusionistic paintings of the Bolognese Carracci family gave rise to the baroque period in Italian art. Domenichino, Francesco Albani, and later Andrea Sacchi were among those who carried out the classical implications in the art of the Carracci.

On the other hand, Guido Reni, Guercino, Orazio Gentileschi, Giovanni Lanfranco, and later Pietro da Cortona and Andrea Pozzo, while thoroughly trained in a classical-allegorical mode, were at first inclined to paint dynamic compositions full of gesticulating figures in a manner closer to that of Caravaggio. The towering virtuoso of baroque exuberance and grandeur in sculpture and architecture was Gian Lorenzo Bernini. Toward 1640 many of the painters leaned toward the classical style that had been brought to the fore in Rome by the French expatriate Nicolas Poussin. The sculptors Alessandro Algardi and François Duquesnoy also tended toward the classical. Notable late baroque artists include the Genoese Giovanni Battista Gaulli and the Neapolitans Luca Giordano and Francesco Solimena.

The leading lights of the 18th century came from Venice. Among them were the brilliant exponent of the rococo style, Giovanni Battista Tiepolo; the architectural painters Francesco Guardi, Canaletto, Giovanni Battista Piazzetta, and Bernardo Bellotto; and the engraver of Roman antiquities, Giovanni Battista Piranesi.

Neoclassical and 19th-century art

Italian Neoclassicism was the earliest manifestation of the general period known as Neoclassicism and lasted more than the other national variants of neoclassicism. It developed in opposition to the Baroque style around c. 1750 and lasted until c. 1850. Neoclassicism began around the period of the rediscovery of Pompeii and spread all over Europe as a generation of art students returned to their countries from the Grand Tour in Italy with rediscovered Greco-Roman ideals.

Just like in other parts of Europe, Italian Neoclassical art was mainly based on the principles of Ancient Roman and Ancient Greek art and architecture, but also by the Italian Renaissance architecture and its basics, such as in the Villa Capra "La Rotonda". Classicism and Neoclassicism in Italian art and architecture developed during the Italian Renaissance, notably in the writings and designs of Leon Battista Alberti and the work of Filippo Brunelleschi.

It places emphasis on symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture of Classical antiquity and in particular, the architecture of Ancient Rome, of which many examples remained. Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aedicules replaced the more complex proportional systems and irregular profiles of medieval buildings. This style quickly spread to other Italian cities and later to the rest of continental Europe.

It first centred in Rome where artists such as Antonio Canova and Jacques-Louis David were active in the second half of the 18th century, before moving to Paris. Painters of Vedute, like Canaletto and Giovanni Paolo Panini, also enjoyed a huge success during the Grand Tour. The sculptor Antonio Canova was a leading exponent of the neoclassic style. Internationally famous, he was regarded as the most brilliant sculptor in Europe. Francesco Hayez is the greatest exponent of Romanticism in Italy: many of his works, usually of Medieval setting, contain an encrypted patriotic Risorgimento message. Neoclassicism was the last Italian-born style, after the Renaissance and Baroque, to spread to all Western Art.

The Macchiaioli

Italy produced its own form of Impressionism, the Macchiaioli artists, who were actually there first, before the more famous Impressionists: Giovanni Fattori, Silvestro Lega, Telemaco Signorini, Giuseppe Abbati. The Macchiaioli artists were forerunners to Impressionism in France. They believed that areas of light and shadow, or macchie (literally patches or spots) were the chief components of a work of art. The word macchia was commonly used by Italian artists and critics in the 19th century to describe the sparkling quality of a drawing or painting, whether due to a sketchy and spontaneous execution or to the harmonious breadth of its overall effect.

A hostile review published on 3 November 1862, in the journal Gazzetta del Popolo marks the first appearance in print of the term Macchiaioli. The term carried several connotations: it mockingly implied that the artists' finished works were no more than sketches, and recalled the phrase "darsi alla macchia", meaning, idiomatically, to hide in the bushes or scrubland. The artists did, in fact, paint much of their work in these wild areas. This sense of the name also identified the artists with outlaws, reflecting the traditionalists' view that new school of artists was working outside the rules of art, according to the strict laws defining artistic expression at the time.

Italian modern and contemporary art

Early in the 20th century the exponents of futurism developed a dynamic vision of the modern world while Giorgio de Chirico expressed a strange metaphysical quietude and Amedeo Modigliani joined the school of Paris. Gifted later modern artists include the sculptors Giacomo Manzù, Marino Marini, the still-life painter Giorgio Morandi, and the iconoclastic painter Lucio Fontana. In the second half of the 20th century, Italian designers, particularly those of Milan, have profoundly influenced international styles with their imaginative and ingenious functional works.

Futurism

Futurism was an Italian art movement that flourished from 1909 to about 1916. It was the first of many art movements that tried to break with the past in all areas of life. Futurism glorified the power, speed, and excitement that characterized the machine age. From the French Cubist painters and multiple-exposure photography, the Futurists learned to break up realistic forms into multiple images and overlapping fragments of color. By such means, they attempted to portray the energy and speed of modern life. In literature, Futurism demanded the abolition of traditional sentence structures and verse forms.

Futurism was first announced on 20 February 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. (See the Manifesto of Futurism.) Marinetti coined the word Futurism to reflect his goal of discarding the art of the past and celebrating change, originality, and innovation in culture and society. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. Exalting violence and conflict, he called for the sweeping repudiation of traditional values and the destruction of cultural institutions such as museums and libraries. The manifesto's rhetoric was passionately bombastic; its aggressive tone was purposely intended to inspire public anger and arouse controversy.

Marinetti's manifesto inspired a group of young painters in Milan to apply Futurist ideas to the visual arts. Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality and expressed their disdain for inherited artistic traditions.

Boccioni also became interested in sculpture, publishing a manifesto on the subject in the spring of 1912. He is considered to have most fully realized his theories in two sculptures, Development of a Bottle in Space (1912), in which he represented both the inner and outer contours of a bottle, and Unique Forms of Continuity in Space (1913), in which a human figure is not portrayed as one solid form but is instead composed of the multiple planes in space through which the figure moves. Realistic principles extended to architecture as well. Antonio Sant'Elia formulated a Futurist manifesto on architecture in 1914. His visionary drawings of highly mechanized cities and boldly modern skyscrapers prefigure some of the most imaginative 20th-century architectural planning.

Boccioni, who had been the most talented artist in the group, and Sant'Elia both died during military service in 1916. Boccioni's death, combined with expansion of the group's personnel and the sobering realities of the devastation caused by World War I, effectively brought an end to the Futurist movement as an important historical force in the visual arts.

Metaphysical art
Metaphysical Painting is an Italian art movement, born in 1917 with the work of Carlo Carrà and Giorgio de Chirico in Ferrara. The word metaphysical, adopted by De Chirico himself, is core to the poetics of the movement.

They depicted a dreamlike imagery, with figures and objects seemingly frozen in time. Metaphysical Painting artists accept the representation of the visible world in a traditional perspective space, but the unusual arrangement of human beings as dummy-like models, objects in strange, illogical contexts, the unreal lights and colors, the unnatural static of still figures.

Novecento Italiano

Novecento movement, group of Italian artists, formed in 1922 in Milan, that advocated a return to the great Italian representational art of the past. The founding members of the Novecento (Italian: 20th-century) movement were the critic Margherita Sarfatti and seven artists: Anselmo Bucci, Leonardo Dudreville, Achille Funi, Gian Emilio Malerba, Piero Marussig, Ubaldo Oppi, and Mario Sironi. Under Sarfatti's leadership, the group sought to renew Italian art by rejecting European avant-garde movements and embracing Italy's artistic traditions.

Other artists associated with the Novecento included the sculptors Marino Marini and Arturo Martini and the painters Ottone Rosai, Massimo Campigli, Carlo Carrà, and Felice Casorati.

Spatialism
Movement founded by the Italian artist Lucio Fontana as the Spatialism, its tenets were repeated in manifestos between 1947 and 1954.

Combining elements of concrete art, dada and tachism, the movement's adherents rejected easel painting and embraced new technological developments, seeking to incorporate time and movement in their works. Fontana's slashed and pierced paintings exemplify his theses.

Arte Povera
Arte Povera an artistic movement that originated in Italy in the 1960s, combining aspects of conceptual, minimalist, and performance art, and making use of worthless or common materials such as earth or newspaper, in the hope of subverting the commercialization of art. The phrase is Italian, and means literally, "impoverished art."

Transavantgarde
The term Transavantgarde is the invention of the Italian critic Achille Bonito Oliva. He has defined Transavantgarde art as traditional in format (that is, mostly painting or sculpture); apolitical; and, above all else, eclectic.

Advocacy and restrictions
According to the 2017 amendments to the Italian Codice dei beni culturali e del paesaggio, a work of art can be legally defined of public and cultural interest if it was completed at least 70 years before. The previous limit was 50 years. To make easier the exportations and the international commerce of art goods as a store of value, for the first time it was given to the private owners and their dealers the faculty to self-certify a commercial value less than 13.500 euros, in order to be authorized to transport goods out of the country's borders and into the European Union, with no need of a public administrative permission. The bill has passed and come into force on 29 August 2017. A public authorization shall be provided for archeological remains discovered underground or under the sea level.

title: Italian art


text:
Street Faërie

Street Faërie is the only studio album recorded by Cree Summer. It was released in 1999 on the Work Group, a now-defunct imprint of Sony Music. The lyrics feature themes of racism, romantic liaisons, and spirituality into the lyrics of guitar-heavy pop and folk songs. "Miss Moon" is an ode to lovemaking while a woman is menstruating. "Fall," a fully orchestral jazz ballad, reads like the breakup of a relationship but is in fact the literal interpretation of the wilting and decay of a leaf: "Black stemmed, orange trimmed/with the slighest wind I'm fallen from you." "Naheo" is a tribute to Summer's Native American roots, while "Curious White Boy" is a Black woman's response to her white lover after she realizes he has become involved with her out of some sense of racial guilt: "Another housekeeper fantasy?/Coffee-colored remedy for your hangover from history", and "Mean Sleep" is an uncredited duet with producer Lenny Kravitz.

Track listing

 * 1) "Revelation Sunshine" (Greg Bell, C.S. Francks) – 4:55
 * 2) "Miss Moon" (Francks, Lenny Kravitz) – 4:30
 * 3) "Still Heart" (Francks, Kravitz, Torrel Ruffin) – 2:51
 * 4) "Deliciously Down" (Francks, Van Hunt) – 4:51
 * 5) "Mean Sleep" (Francks, Hunt) – 4:35
 * 6) "Life Goes On" (Bell, Francks) – 3:29
 * 7) "Fall" (Francks, Ruffin) – 5:55
 * 8) "Angry Boy" (Francks, Ruffin) – 4:56
 * 9) "Sweet Pain" (Francks, Hunt) – 4:22
 * 10) "Smooth My Heart" (Francks, D.R. Harris) – 5:30
 * 11) "Naheo" (Francks, Ruffin) – 4:06
 * 12) "Soul Sister" (Bell, Francks) – 4:16
 * 13) "Curious White Boy" (Francks, Ruffin) – 4:54
 * 14) "Revelation Club Sunshine" (Greg Bell, C.S. Franks) (* Japanese Bonus Track)

Personnel

 * Kimberly Evans - background vocals
 * Lenny Kravitz - bass, guitar, percussion, arranger, drums, harpsichord, organ, programming, tambourine, vocals, background vocals, clavinet, producer, mellotron, cowbell, horn arrangements, mixing, finger cymbals, drum loop, cabasa
 * Terry Manning - engineer, mixing
 * Matt Knobel - Drum programming, digital engineering
 * Craig Ross - acoustic guitar, mandolin, electric guitar
 * Cree Summer - vocals, background vocals
 * Harold Todd - flute, saxophone
 * CeCe White - background vocals

title: Street Faërie


text:
Borden Parker Bowne

Borden Parker Bowne (January 14, 1847 – April 1, 1910) was an American Christian philosopher, Methodist minister and theologian. He was nominated for the Nobel Prize in Literature nine times.

Life
Bowne was born on January 14, 1847, near Leonardville in Monmouth County, New Jersey. In 1876 he became a professor of philosophy at Boston University, where he taught for more than thirty years. He later served as the first dean of the graduate school. Bowne was an acute critic of mechanistic determinism, positivism, and naturalism. He categorized his views as Kantianized Berkeleyanism, transcendental empiricism, and, finally, personalism, emphasizing freedom and the importance of the self, a philosophical branch of liberal theology: of this branch Bowne is the dominant figure; this personalism is sometimes called Boston personalism, in contrast with the California personalism of George Holmes Howison. Bowne's magnum opus, Metaphysics, was published in 1882. Bowne was influenced by Hermann Lotze. He died on April 1, 1910, in Boston, Massachusetts.

Legacy
Bowne has influenced philosophy in various ways. For instance, there has been a direct line of personalists from Bowne through his student, Edgar Sheffield Brightman (1884–1954), through Brightman's student, Peter Anthony Bertocci (1910–1989), to Bertocci's student, Thomas O. Buford (born 1932).

There has also been a more general influence, as with Martin Luther King Jr., who studied at Boston University, and spoke in his Stride Toward Freedom of having gained "a metaphysical basis for the dignity and worth of all human personality."

Bowne received nine nominations for the Nobel Prize in Literature between 1906 and 1909—one from his own sister.

Boston University named a professorship in Bowne's honor. The named professors are:
 * Edgar S. Brightman (1925 - 1953)
 * Peter Anthony Bertocci
 * Stanley Rosen
 * Charles L. Griswold
 * Juliet Floyd (2023-)

Published works

 * The Philosophy of Herbert Spencer (New York, 1874).
 * Studies in Theism (New York, 1882).
 * Metaphysics: A Study in First Principles (New York, 1882; revised ed., 1898).
 * Introduction to Psychological Theory (New York, 1886).
 * Philosophy of Theism (New York, 1887; revised ed. 1902).
 * The Principles of Ethics (New York, 1892).
 * Theory of Thought and Knowledge (New York, 1899).
 * The Christian Revelation (Cincinnati, 1898).
 * The Christian Life (Cincinnati, 1899).
 * The Atonement (Cincinnati, 1900).
 * The Immanence of God (Boston, 1905).
 * Personalism (Boston, 1908).
 * Studies in Christianity (1909).
 * A Man's View of Woman Suffrage (Boston, 1910).
 * The Essence of Religion (Boston, 1910).
 * Kant and Spencer: A Critical Exposition (Boston, 1912).

title: Borden Parker Bowne


text: Category:UK Independence Party politicians


text: Category:Cree Summer albums

title: Category:Cree Summer albums