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Adaptive Huffman coding

Adaptive Huffman coding (also called Dynamic Huffman coding) is an adaptive coding technique based on Huffman coding. It permits building the code as the symbols are being transmitted, having no initial knowledge of source distribution, that allows one-pass encoding and adaptation to changing conditions in data.

The benefit of one-pass procedure is that the source can be encoded in real time, though it becomes more sensitive to transmission errors, since just a single loss ruins the whole code, requiring error detection and correction.

Algorithms
There are a number of implementations of this method, the most notable are FGK (Faller-Gallager-Knuth) and Vitter algorithm.

FGK Algorithm
It is an online coding technique based on Huffman coding. Having no initial knowledge of occurrence frequencies, it permits dynamically adjusting the Huffman's tree as data are being transmitted. In a FGK Huffman tree, a special external node, called 0-node, is used to identify a newly coming character. That is, whenever new data is encountered, output the path to the 0-node followed by the data. For a past-coming character, just output the path of the data in the current Huffman's tree. Most importantly, we have to adjust the FGK Huffman tree if necessary, and finally update the frequency of related nodes. As the frequency of a datum is increased, the sibling property of the Huffman's tree may be broken. The adjustment is triggered for this reason. It is accomplished by consecutive swappings of nodes, subtrees, or both. The data node is swapped with the highest-ordered node of the same frequency in the Huffman's tree, (or the subtree rooted at the highest-ordered node). All ancestor nodes of the node should also be processed in the same manner.

Since the FGK Algorithm has some drawbacks about the node-or-subtree swapping, Vitter proposed another algorithm to improve it.

Vitter algorithm
Some important terminologies & constraints :-
 * Implicit Numbering : It simply means that nodes are numbered in increasing order by level and from left to right. i.e. nodes at bottom level will have low implicit number as compared to upper level nodes and nodes on same level are numbered in increasing order from left to right. In other terms, when we have built the Huffman tree, when merging two nodes into a parent node, we have set the one with the lower value as the left child, and the one with the higher value as the right child.
 * Invariant : For each weight w, all leaves of weight w precede all internal nodes having weight w. In other terms, when we have built the Huffman tree, if several nodes had the same value, we prioritized merging the leaves over the internal nodes.
 * Blocks : Nodes of same weight and same type (i.e. either leaf node or internal node) form a Block.
 * Leader : Highest numbered node in a block.

Blocks are interlinked by increasing order of their weights.

A leaf block always precedes internal block of same weight, thus maintaining the invariant.

NYT (Not Yet Transferred) is a special node used to represent symbols which are  'not yet transferred' .

algorithm for adding a symbol is leaf_to_increment := NULL p := pointer to the leaf node containing the next symbol if (p is NYT) then Extend p by adding two children Left child becomes new NYT and right child is the new symbol leaf node p := parent of new symbol leaf node leaf_to_increment := Right Child of p    else Swap p with leader of its block if (new p is sibling to NYT) then leaf_to_increment := p            p := parent of p     while (p ≠ NULL) do Slide_And_Increment(p) if (leaf_to_increment != NULL) then Slide_And_Increment(leaf_to_increment)

function Slide_And_Increment(p) is previous_p := parent of p if (p is an internal node) then Slide p in the tree higher than the leaf nodes of weight wt + 1 increase weight of p by 1 p := previous_p else Slide p in the tree higher than the internal nodes of weight wt        increase weight of p by 1 p := new parent of p.

Encoder and decoder start with only the root node, which has the maximum number. In the beginning it is our initial NYT node.

When we transmit an NYT symbol, we have to transmit code for the NYT node, then for its generic code.

For every symbol that is already in the tree, we only have to transmit code for its leaf node.

Example

Encoding "abb" gives 01100001 001100010 11.

Step 1:

Start with an empty tree.

For "a" transmit its binary code.

Step 2:

NYT spawns two child nodes: 254 and 255, both with weight 0. Increase weight for root and 255. Code for "a", associated with node 255, is 1.

For "b" transmit 0 (for NYT node) then its binary code.

Step 3:

NYT spawns two child nodes: 252 for NYT and 253 for leaf node, both with weight 0. Increase weights for 253, 254, and root. To maintain Vitter's invariant that all leaves of weight w precede (in the implicit numbering) all internal nodes of weight w, the branch starting with node 254 should be swapped (in terms of symbols and weights, but not number ordering) with node 255. Code for "b" is 11.

For the second "b" transmit 11.

For the convenience of explanation this step doesn't exactly follow Vitter's algorithm, but the effects are equivalent.

Step 4:

Go to leaf node 253. Notice we have two blocks with weight 1. Node 253 and 254 is one block (consisting of leaves), node 255 is another block (consisting of internal nodes). For node 253, the biggest number in its block is 254, so swap the weights and symbols of nodes 253 and 254. Now node 254 and the branch starting from node 255 satisfy the SlideAndIncrement condition and hence must be swapped. At last increase node 255 and 256's weight.

Future code for "b" is 1, and for "a" is now 01, which reflects their frequency.

title: Adaptive Huffman coding


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The Stanley Hotel

The Stanley Hotel is a 140-room Colonial Revival hotel in Estes Park, Colorado, United States, about five miles from the entrance to Rocky Mountain National Park. It was built by Freelan Oscar Stanley, co-founder of the Stanley Motor Carriage Company, and opened on July 4, 1909, as a resort for upper-class Easterners and a health retreat for sufferers of pulmonary tuberculosis. The hotel and its surrounding structures are listed on the National Register of Historic Places. Today, the hotel includes a restaurant, spa, and bed-and-breakfast; with panoramic views of Lake Estes, the Rockies, and Longs Peak.

The Stanley Hotel served as the inspiration for the Overlook Hotel in Stephen King's 1977 novel The Shining and its 1980 film adaptation. It was also a filming location for the related 1997 TV miniseries.

History
In 1903, the steam-powered car inventor Freelan Oscar Stanley (1849–1940) was stricken with a life-threatening resurgence of tuberculosis. The most highly recommended treatment of the day was fresh, dry air with much sunlight and a hearty diet. Therefore, like many "lungers" of his day, Stanley resolved to take the curative air of the Rocky Mountains. He and his wife Flora arrived in Denver, Colorado, in March and, in June, on the recommendation of Dr. Sherman Grant Bonney, moved to Estes Park, Colorado, for the rest of the summer. Over the season, Stanley's health improved dramatically. Impressed by the beauty of the valley and grateful for his recovery, he decided to return every year. He lived to 91, dying of a heart attack in Newton, Massachusetts, one year after his wife, in 1940.

By 1907, Stanley had recovered completely. However, not content with the rustic accommodations, lazy pastimes and relaxed social scene of their new summer home, Stanley resolved to turn Estes Park into a resort town. In 1907, construction began on the Hotel Stanley, a 48-room grand hotel that catered to the class of moderately wealthy urbanites who composed the Stanleys' social circle back east as well as to consumptives seeking the healthful climate.

The land was purchased in 1908 through the representatives of The 4th Earl of Dunraven and Mount-Earl, the Anglo-Irish peer who had originally acquired it by stretching the provisions of the Homestead Act of 1862 and pre-emption rights. Between 1872 and 1884, Lord Dunraven claimed 15000 acre of the Estes Valley in an unsuccessful attempt to create a private hunting preserve, making him one of the largest foreign holders of American lands. Unpopular with the local ranchers and farmers, Dunraven left the area in 1884, relegating the ranch to the management of an overseer. Dunraven's presence in Colorado was parodied in Charles King's novel Dunraven Ranch (1892) and James A. Michener's Centennial (1974). His reputation was such that, when Stanley suggested "The Dunraven" as a name for his new hotel, 180 people signed a buckskin petition requesting that he name it for himself instead.

The main hotel and concert hall were completed in 1909 and the Manor in 1910. To bring guests from the nearest train depot in the foothills town of Lyons, Colorado, Stanley's car company produced a fleet of specially-designed steam-powered vehicles called Mountain Wagons that seated multiple passengers. Stanley operated the hotel almost as a pastime, remarking once that he spent more money than he made each summer.

In 1926, Stanley sold his hotel to a private company incorporated for the sole purpose of running it. The venture failed and, in 1929, Stanley purchased his property out of foreclosure selling it again, in 1930, to fellow automobile and hotel magnate, Roe Emery of Denver. Until 1983, the resort was only open during the summer, shutting down for the winter every year. The presence of the hotel and Stanley's own involvement greatly contributed to the growth of Estes Park (incorporated in 1917) and the creation of the Rocky Mountain National Park (established in 1915).

The hotel was a member of Historic Hotels of America,  a program of the National Trust for Historic Preservation, but is not part of the program as of 2022.

1911 gas explosion
Upon opening, the hotel was alleged to be one of the few in the world powered entirely by electricity. However, lack of available power induced the installation of an auxiliary gas lighting system in June 1911. On June 25 – the day after the pipes had been filled – an explosion occurred that injured a maid and damaged the structure, though contemporary newspaper articles differ on certain details.

A brief article telegraphed to the York Dispatch (of York, Pennsylvania) and circulated by the Associated Press the following day said:

"The Stanley Hotel, built at a cost of $500,000, was partly wrecked last night by an explosion of gas. Eight persons were injured, one seriously. None of the guests were injured. Elizabeth Wilson, of Lancaster, Pa., a hotel employee, was hurled from the second to the first floor, and both ankles were broken. The other seven are African American waiters."

When the Lancaster paper reprinted the story, the editor noted that Elizabeth Wilson's name did not appear in local directories and she could not be identified as a Lancastrian. Similar accounts in local Colorado papers give the maid's name as Elizabeth Lambert and convey various dramatic details that are not confirmed by other articles. The most comprehensive and detailed article on the incident appeared on June 29 in the Fort Collins Express and seems to be the most accurate – positively refuting that the maid had been "hurled from the second to the first floor"

Architecture
The Stanley Hotel National Register Historic District contains 11 contributing structures including the main hotel, the concert hall, a carriage house, manager's cottage, gate house and The Lodge – a smaller bed-and-breakfast originally called The Manor House. The buildings were designed by F.O. Stanley with the professional assistance of Denver architect T. Robert Wieger, Henry "Lord Cornwallis" Rogers, and contractor Frank Kirchoff. The site was chosen for its vantage overlooking the Estes valley and Long's Peak within the National Park. The main building, concert hall and Manor House are steel-frame structures on foundations of random rubble granite with clapboard siding and asphalt shingle roof. Originally, Stanley chose a yellow ocher color for the buildings' exteriors with white accents and trim. Lumber used in the structures was harvested from the areas of Bierstadt Lake and Hidden Valley in the future national park, and purchased from Kirchoff's Lumberyard in Denver and Bluff City Lumber Company of Pine Bluff, Arkansas. The granite was quarried from the Baldwin property near the confluence of Beaver Brook and the Big Thompson River. Non-local materials were brought to Lyons, Colorado by rail and thence to Estes Park by mule-drawn wagon.

Upon opening in 1909, the hotel was alleged to be one of first in the country to be fully electrified from the lighting to the kitchens (although some fixtures could be operated with either electricity or gas). To supply his hotel with power, Stanley led the construction of the Fall River Hydroplant which also brought electricity to the town of Estes Park for the first time. Every guest room had a telephone and each pair of rooms shared an en suite bathroom with running water supplied by Black Canyon Creek, which had been dammed in 1906. Circa 1935, during Roe Emery's tenure as owner the ochre-colored siding was painted white and most of the original electro-gas fixtures were replaced.

Although the style of the hotel evokes the historical architecture of New England, the general form and layout are designed to accommodate contemporary notions of hygiene and comfort. Given Stanley's interest in architectural design and healthful living, he may have been inspired by the Carolina Hotel (built 1899–1900) in Pinehurst, North Carolina, designed by Bertrand E. Taylor (1856–1909) – a national leader in hospital design and, like Stanley, a resident of Newton, Massachusetts. The parallels between the Carolina and the Stanley extend beyond style; the builder of the Carolina, James Walker Tufts, was a Boston soda magnate who initially developed Pinehurst as a health resort for people with pulmonary diseases. Whether or not Stanley had exposure to Taylor's work and ideas, it is certain that he was influenced by Dr. Sherman Grant Bonney of the University of Denver, a contemporary expert in the treatment of tuberculosis; Stanley's Estes Park summer house is illustrated in Bonney's book, Pulmonary Tuberculosis (published while the hotel was under construction), and Stanley himself is acknowledged in the preface for his "interest and efficiency in connection with the photographic illustrations." Although the hotel never operated as a sanitarium per se, it was designed to be an optimal environment for pulmonary health. When the construction plans were announced, the Fort Collins Weekly Courier reported, "[Estes Park] has been a favorite place for doctors to send the more robust of their patients, who were in shape to be braced up by the keen air and the considerable altitude, but it has not always been possible to get suitable accommodations and surroundings for them. With the park turned into a vast pleasure ground, and ample provisions for the best food products, all precious objections will be dissipated." Accordingly, the facilities were sited and designed to meet the requirements expounded in Bonney's book. For instance, according to Bonney,

"'An ideal site for a sanitarium, or, in fact, for all buildings designed especially for pulmonary invalids, should be upon the southern slope of a hill or near the base of a moderately high mountain. In order to afford shelter from the prevailing winds, the building should be located according to regional weather conditions either to the east or the west of a spur extending southward. It is still more advantageous if the mountain rises to a considerable distance in the far background, even to a height of several hundred feet ... The soil should be dry, porous and sandy although a rocky formation is not undesirable. On account of the necessity of irrigation in dry climates, no elaborate attempt should be made to beautify the grounds by laying out expansive lawns or by disposing flower-gardens in the immediate vicinity of the sanitarium, although such ornamentation adds greatly to the attractiveness of the institution. Undoubted benefit accrues to the invalid from a pleasing landscape. Attractive views, combining land and sky effect, contribute to a remarkable degree in breaking an unceasing monotony. Definite inspiration and elevation of spirits are not infrequently afforded by the sublimity of scenic grandeur witnessed in mountain resorts.'"

This text is accompanied by a photograph of "the delightful view afforded from the porches of cottages for consumptives in Estes Park, Colorado." The hotel also provided the ample porches, ventilation, southern exposure, and appetizing food recommended in Bonney's book.

The style of the Stanley Hotel campus is colonial revival. The strong symmetrical arrangement of the primary facade, and the classically derived ornamental articulations such as the two-stage octagonal cupola, Palladian window, fanlights, dormers, swan's neck pediments, scroll brackets, paired Tuscan columns, oval ox-eye windows, and elaborately turned balusters are all stylistic hallmarks of the so-called American Georgian and Federal Styles. The clapboard siding and carved wood elements are characteristic of New England's regional building practices. And yet, these features are modified and arranged to accommodate the tastes and lifestyles of the early twentieth century.

The style of the hotel contrasts sharply with the rustic style used for the other hotels in Estes Park, before and after the Stanley's construction. However, it was not an uncommon choice for a hotel of the Stanley's size and quality in the time period (e.g. Royal Poinciana Hotel, Lake Yellowstone Hotel, Mount Washington Hotel). In general, the colonial revival symbolized the historical roots of modern American cultural values and the positive progress of American civilization. By this token, the Stanley Hotel was an expression of the modest gentility of the builder and his clientele, an advertisement for the modern comforts contained within it, and a beacon for the future of Estes Park as a respectable resort town. All of these connotations were heightened in contrast with the ruggedness of the Rocky Mountains and the rusticity of the other hotels in the area.

Main building
The floor plan of the main hotel (completed 1909) was laid out to accommodate the various activities popular with the American upper class at the turn of the twentieth century and the spaces are decorated accordingly. The music room, for instance, with its cream-colored walls (originally green and white), picture windows and fine, classical plaster-work was designed for letter-writing during the day and chamber music at night – cultured pursuits perceived as feminine. On the other hand, the smoking lounge (today the Piñon Room) and adjoining billiard room, with their dark stained-wood elements and granite arch fireplace were designated for enjoyment by male guests. Stanley himself, having been raised in a conservative household and having recovered from a serious lung disease, did not smoke cigars or drink alcohol, but these were essential after-dinner activities for most men at the time. Billiards, however, was among Stanley's most cherished pastimes.

With no central heating or ventilation system, the structure was designed to facilitate natural airflow; the Palladian window at the top of the grand stair could be opened to induce a cross-breeze through the lobby, French doors in all the public spaces open onto verandas, and two curving staircases connecting the guest corridors prevent stagnant air in the upper floors. Although the main hotel is now heated in the winter, guests still depend on natural ventilation for cooling in the summer. Within a few years of opening, a hydraulic elevator was put in operation. In 1916, the east wing of the main building was extended in the rear adding several guest rooms. Around this time, the alcove of the music room was added. In 1921, a rear veranda was enclosed forming a room that currently serves as a gift shop. Around 1935, the hydraulic elevator system was replaced with a cable-operated system and extended to the fourth floor necessitating the addition of a secondary cupola to house the mechanical apparatus. Originally, a porte-cochère extended from the central bay of the front porch, but this was removed when the south terrace was converted into a parking lot. In 1983, a service tunnel was excavated, connecting the basement-level corridor to the staff entrance. It is cut directly through the living granite on which the hotel rests.

Concert hall
The concert hall, east of the hotel, was built by Stanley in 1909 with the assistance of Henry "Lord Cornwallis" Rogers, the same architect who designed his summer cottage. According to popular legend, it was built by F.O. Stanley as a gift for his wife, Flora. The interior is decorated in the same manner as the music room in the main hotel and vaguely resembles that of the Boston Symphony Hall (McKim, Mead & White, 1900) with which the Stanleys would have been familiar. The stage features a trap door, used for theatrical entrances and exits. The lower level once housed a two-lane bowling alley which was removed during the ownership of Maxwell Abbell. It possibly resembled the bowling alley at the Stanley's Hunnewell Club in Newton, pictures of which are archived in the Newton Free Library. The hall underwent extensive repair and renovation in the 2000s.

The Lodge
Once called The Manor House, this smaller hotel between the main structure and the concert hall is a 1:3 scaled-down version of the main hotel. Unlike its model, the manor was fully heated from completion in 1910 which may indicate that Stanley planned to use it as a winter resort when the main building was closed for the season. However, unlike many other Colorado mountain towns now famous for their winter sports, Estes Park never attracted off-season visitors in Stanley's day and the manor remained empty for much of the year. Today it is called The Lodge and it features a brunch restaurant and is open to guests as another location to stay on the property.

The Shining
In 1974, during their brief residency in Boulder, Colorado, American horror writer Stephen King and his wife Tabitha spent one night at the Stanley Hotel. The visit is known entirely through interviews given by King in which he presents differing narratives of the experience. At the time of his visit, King was writing a book with the working title Darkshine set in an amusement park, but was not satisfied with the setting. According to George Beahm's Stephen King Companion, "on the advisement of locals who suggested a resort hotel located in Estes Park, an hour's drive away to the north, Stephen and Tabitha King found themselves checking in at the Stanley Hotel just as its other guests were checking out, because the hotel was shutting down for the winter season. After checking in and after Tabitha went to bed, King roamed the halls and went down to the hotel bar, where drinks were served by a bartender named Grady. As King returned to his room, numbered 217, his imagination was fired up by the hotel's remote location, its grand size, and its eerie desolation. Later, when King went into the bathroom and pulled back the pink curtain for the tub, which had claw feet, he thought, 'What if somebody died here? At that moment, I knew I had a book.

In a 1977 interview by the Literary Guild, King recounted "While we were living [in Boulder] we heard about this terrific old mountain resort hotel and decided to give it a try. But when we arrived, they were just getting ready to close for the season, and we found ourselves the only guests in the place – with all those long, empty corridors." King and his wife were served dinner in an empty dining room accompanied by canned orchestral music: "Except for our table all the chairs were up on the tables. So the music is echoing down the hall, and, I mean, it was like God had put me there to hear that and see those things. And by the time I went to bed that night, I had the whole book [The Shining] in my mind." In another retelling, King said "I dreamed of my three-year-old son running through the corridors, looking back over his shoulder, eyes wide, screaming. He was being chased by a fire-hose. I woke up with a tremendous jerk, sweating all over, within an inch of falling out of bed. I got up, lit a cigarette, sat in a chair looking out the window at the Rockies, and by the time the cigarette was done, I had the bones of The Shining firmly set in my mind."

The Shining was published in 1977 and became the third great success of King's career after Carrie and 'Salem's Lot. The primary setting is an isolated Colorado resort named the Overlook Hotel which closes for the winter. In the front matter of the book, King tactfully states "Some of the most beautiful resort hotels in the world are located in Colorado, but the hotel in these pages is based on none of them. The Overlook and the people associated with it exist wholly in the author's imagination."

Film location and venue
The Stanley Hotel served as the fictional hotel and filming location for Danbury of Aspen, Colorado, in the 1994 film Dumb and Dumber.

The Shining, a three-part miniseries and horror tv-adaptation, was written and produced by Stephen King, based on his 1977 novel of the same name, which had been largely inspired by the Stanley Hotel. The miniseries was produced by King, who had been dissatisfied with Stanley Kubrick's 1980 film. Unlike Kubrick's version, the miniseries, directed by Mick Garris, was filmed at the Stanley Hotel, which stood in for the fictional "Overlook Hotel", located in the Colorado Rockies. Film production started in March 1996, with the first episode being released in March 1997.

From 2013 to 2015, the hotel hosted the Stanley Film Festival, an independent horror film festival operated by the Denver Film Society, held in early May. The festival featured screenings, panels, student competitions, audience awards and receptions. The Stanley Film Festival was put on hiatus in 2016 and canceled for 2017.

Bravo's cooking competition Top Chef also used the Stanley as a venue for Episode 10 of Season 15, which took place in various locations around Colorado.

Indie rock band Murder by Death have performed an annual series of winter concerts at the Stanley Hotel since 2014, with the 2020 edition being their seventh such event.

Haunted reputation
Despite a peaceful early history, in the years following the publication of The Shining, the Stanley Hotel gained a reputation as a setting for paranormal activity,  and has been frequently named as one of the most haunted hotels in the United States. It has hosted numerous paranormal investigators and appeared in shows such as Ghost Hunters and Ghost Adventures.

Famous guests
The Stanley Hotel has hosted the following persons of note:
 * 1934, Erich Fromm, the German psychoanalyst
 * 1936, Gov. Alf Landon (R, Kansas) while running for president against Franklin Delano Roosevelt
 * 1974, Stephen King, author who was inspired to write The Shining after his stay in room 217
 * 1976, Bob Dylan and Joan Baez, folk revival icons during the Rolling Thunder Revue tour
 * 1994, Emperor Akihito of Japan, Empress Michiko and Crown Prince Naruhito, on a state visit to the U.S.
 * 1994, Dumb and Dumber cast and crew including Jim Carrey and Jeff Daniels
 * 1996, The Shining (miniseries) cast and crew including Rebecca De Mornay and Steven Weber

Ownership history

 * 1908–1926, Freelan Oscar Stanley
 * 1926–1929, The Stanley Corporation
 * 1929–1930, Freelan Oscar Stanley
 * 1930–1946, Roe Emery
 * 1946–1966, Abbell Management Company (later Abbell Hotel Company), run by Maxwell Abbell, Chicago real estate investor
 * ?–1969, Stanley Properties, Inc., headed by Maurice L. Albertson, civil engineer at Colorado State University
 * 1969–?, Richard R. Holechek, Charles F. Hanson and Carol Hanson Pick of Riverside and Palm Springs, California
 * ?–1974, Estes Park Trustees
 * 1974–1995, Frank Normali (Complete Restoration Period)
 * 1995–present, Grand Heritage Hotel Group
 * expected mid-Dec. 2023 sale to Arizona-based Community Finance Corp.

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

title: The Stanley Hotel


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Armiński (crater)

Armiński is a small lunar impact crater that is located on the far side of the Moon, to the northeast of the large walled basin Gagarin. To the northwest of Armiński is the crater Beijerinck, and to the southeast lies Cyrano.

The rim of Armiński is slightly oval in shape, being somewhat elongated in the northeastern direction. It forms a double-crater with Armiński K, a slightly smaller formation nearly attached to the southeast rim. There is pair of a tiny craterlets lying across the southwest part of Arminski's outer wall. The interior floor is relatively level, with a small craterlet near the western inner wall.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Armiński.

title: Armiński (crater)


text:
Jack Horner (politician)

John Henry "Jack" Horner (July 20, 1927 – November 18, 2004) was a Canadian rancher, politician, and Cabinet minister.

Life and career
Nicknamed "Cactus Jack", Horner was born in Saskatchewan, the fifth child in a family of six boys and three girls. His mother's uncle had been a prisoner of Louis Riel's provisional government. His father, Ralph Horner, was a failed Conservative candidate who was appointed to the board of directors of Canadian National Railways by the government of R. B. Bennett in 1931, and then to the Senate of Canada in 1933.

Jack Horner moved to Alberta at the age of 18 to manage a ranch purchased by his father and then bought his own ranch in 1947.

He was first elected to the House of Commons of Canada in the 1958 federal election from the rural central Alberta riding of Acadia, when the Progressive Conservative Party of which he was a member won the biggest majority government in Canadian history. Horner was an avid supporter of Prime Minister John Diefenbaker. Also elected to the Parliament of Canada as Tories were his older brother, Hugh Horner and cousin Albert Horner. With Jack Horner's father, Ralph, still sitting as a Senator, four Horners were sitting in the two chambers of Parliament simultaneously. Another brother, Norval Horner, was elected to the House in 1972. When Acadia was abolished in 1968, the bulk of it was absorbed into the new riding of Crowfoot, and Horner ran from this riding and won.

According to Jack Horner's obituary in The Globe and Mail newspaper:
 * He presented himself as a friend of farmers, a foe of railways, an advocate of capital punishment, a critic of generous unemployment payments, an opponent of the right to strike in essential services, and at all times a staunch free enterpriser. He railed against any changes to the Crow's Nest Pass rate that might hurt farmers. He was alert to any threat of socialism, whether from the Co-operative Commonwealth Federation, Opposition Liberals, or the Red Tories in his own party.

Horner developed a reputation as a right winger and outspoken advocate for the rights of farmers and ranchers. He remained one of "Diefenbaker's cowboys" during the 1960s, backing Diefenbaker against the ultimately successful attempts to unseat him. At the 1966 Tory convention which changed the rules to allow a challenge to a sitting leader, Horner threw a punch at Dalton Camp supporter Roy McMurtry, and accosted Brian Mulroney in a hallway. He resented the leadership of Diefenbaker's successor, Robert Stanfield, describing him as "a very, very sad choice". Horner worked to undermine Stanfield's leadership through manoeuvers such as leading a revolt against the party's support for the Official Languages Act.

He was a candidate for the PC Party leadership at the 1976 convention. At one point during the convention, he knocked over an eavesdropping reporter. He finished fourth in the contest, and threw his support to Claude Wagner, who lost on the final ballot to Joe Clark.

Horner had even less respect for Clark than he had for Stanfield. Although Clark was a fellow Albertan, Horner regarded him as a city slicker. Horner once paid Clark the ultimate rancher's insult by describing him as a "sheep herder."

On April 20, 1977, Horner shocked his constituents and many political observers by crossing the floor to join the Liberal Party, which was at the time deeply unpopular in Alberta. The next day, he joined Pierre Trudeau's Cabinet as minister without portfolio, and was promoted in September 1977 to the position of Minister of Industry, Trade and Commerce. When Diefenbaker, who was still in Parliament 14 years after leaving the Prime Ministership, learned of Horner's defection, he said, "the sheriff has joined the rustlers."

Despite (or perhaps due to) his Cabinet position, Horner's floor-crossing was extremely unpopular in his strongly conservative riding. Even by rural Alberta standards, Crowfoot was an unshakably conservative area. Most of its living residents had never been represented by a Liberal, and the bulk of its territory had been represented by centre-right MPs since 1935. He was not helped by the redistribution ahead of the 1979 federal election, which pushed him into a riding that was almost two-thirds new to him. Although it retained the name of Crowfoot, most of its constituents came from neighbouring Battle River, represented by fellow Tory Arnold Malone.

Many critics argued that Horner's floor crossing was motivated by opportunism as opposed to ideology and ultimately provoked by the pending electoral redistribution. Had Horner remained with the Tories, the redistribution meant he would have had to face Malone for the PC nomination. Horner would have faced a difficult road to gaining the PC nomination in the redistributed Crowfoot. It was more Malone's riding than Horner's, and Malone was also favoured by Clark and the PC establishment. That left Horner with only three options: run as an independent, cross the floor, or retire from federal politics. His chances of retaining his seat as an independent were slim, though slightly better than his chances of being elected as a Liberal given the strong antipathy toward the Liberals in rural Alberta. On the other hand, serving as a government member from Alberta virtually guaranteed Horner a cabinet post for the remainder of the 30th Parliament, since the Liberals had not elected any candidates under their own banner from Alberta in the 1974 election. Serving as a Liberal also gave Horner the prospect of securing patronage appointments under future Liberal governments after leaving Parliament, a prospect that Horner considered quite likely because of his low opinion of Clark's leadership.

In any event, Horner ran for reelection even though polling indicated he faced almost certain defeat. One poll showed him getting only 15 percent of the vote, down from 75 percent in 1974. As expected, Horner was badly defeated in the 1979 election, which unseated the Liberal government. His vote share collapsed to 18 percent, losing almost three fourths of his vote from 1974. Ultimately, he finished a very distant second, more than 20,000 votes behind Malone. Horner attempted a comeback in the 1980 federal election, but despite the return of a Liberal government nationally, Horner again placed a poor second in Crowfoot, winning only 4,761 votes, 1,000 votes fewer than he had managed in 1979.

The Liberal government appointed him to the board of Canadian National Railways, where he served as chairman from 1982 to 1984. From 1984 to 1988, he was Administrator (Federal Deputy Minister equivalent) of the Western Grain Transportation Agency, reporting to Parliament through the Minister of Transport.

He died at a Calgary hospital, leaving his wife, Leola, and two sons, Brent and Craig.

title: Jack Horner (politician)


text:
Uplift

Uplift may refer to:

Geology

 * Orogeny, also known as geologic uplift, a mountain-building process that takes place at a convergent plate margin
 * Tectonic uplift, the geologic uplift of Earth's surface attributed to plate tectonics
 * Uplift mountains, the result of orogeny
 * Llano Uplift, a geologic dome in Texas, United States
 * Nemaha Uplift, or Nemaha Ridge, a buried structural zone in the central United States

Astrophysics

 * Star lifting, also known as stellar uplift, the theoretical prospect of moving a stellar mass

Business

 * Uplift factor, or simply "uplift", adjustments to employee benefits
 * Uplift modelling, in marketing campaigns, the difference in response rate between a treated group and a randomized control group
 * Uplift enterprise computer access to heightened security protocols.

Entertainment

 * Uplift (science fiction), upgrading the capacities of a species or a civilization
 * Uplift Universe, the setting for a series of novels by David Brin
 * Uplifting trance, a musical genre similar to progressive trance
 * "Uplift", a song by Pantera from their 2000 album Reinventing the Steel
 * The Uplift Mofo Party Plan, a 1987 album by Red Hot Chili Peppers

Other uses

 * Uplift Community High School, Chicago, Illinois, US
 * Racial uplift, concept in African American cultural history

title: Uplift


text:
I"s

I"s is a Japanese manga series written and illustrated by Masakazu Katsura. It follows Ichitaka Seto, a high school student who is in love with his classmate Iori Yoshizuki, but is too shy to tell her. Again and again he plans to tell her his true feelings, but each time something (usually a misunderstanding of some kind) gets in the way. Things become even more complicated when Itsuki Akiba returns to Japan; she is a girl Ichitaka was friends with in their childhood before she moved to the United States, and who had a huge crush on him.

I"s was serialized in Shueisha's Weekly Shōnen Jump from 1997 to 2000, with its chapters collected into 15 tankōbon volumes. It was adapted into a two-episode original video animation (OVA), titled From I"s, in 2002, and a six-part OVA, called I"s Pure, which was released in 2005 and 2006. The manga and both OVAs were licensed in North America by Viz Media. The manga was released from April 2005 to September 2007, while the OVAs were released as a box set in March 2009. As of 2008, the I"s manga had over 10 million copies in circulation.

Characters

 * Seto Ichitaka (瀬戸 一貴)
 * Ichitaka Seto has a generally shy and reserved nature, and, due to misfortunes with girls when he was younger, he has acquired a reflexively defensive posture when dealing with older girls. Thus, he is prone to rude comments when it seems some people are just trying to help, and can place an emotional wall in front of himself when people ask about his feelings. Many complications get in the way of Ichitaka's goal of being with Iori, such as amorous pursuits made towards him by other girls (notably Izumi, who can be seen as being the most assertive in showing her feelings). Regardless, he constantly thinks about Iori and it would seem he would want nothing more than for her to be his girlfriend. Throughout the series he finds himself lost in daydreaming or imagination, and several times, he even drifts off right in front of Iori.
 * Ichitaka Seto has a generally shy and reserved nature, and, due to misfortunes with girls when he was younger, he has acquired a reflexively defensive posture when dealing with older girls. Thus, he is prone to rude comments when it seems some people are just trying to help, and can place an emotional wall in front of himself when people ask about his feelings. Many complications get in the way of Ichitaka's goal of being with Iori, such as amorous pursuits made towards him by other girls (notably Izumi, who can be seen as being the most assertive in showing her feelings). Regardless, he constantly thinks about Iori and it would seem he would want nothing more than for her to be his girlfriend. Throughout the series he finds himself lost in daydreaming or imagination, and several times, he even drifts off right in front of Iori.
 * Ichitaka Seto has a generally shy and reserved nature, and, due to misfortunes with girls when he was younger, he has acquired a reflexively defensive posture when dealing with older girls. Thus, he is prone to rude comments when it seems some people are just trying to help, and can place an emotional wall in front of himself when people ask about his feelings. Many complications get in the way of Ichitaka's goal of being with Iori, such as amorous pursuits made towards him by other girls (notably Izumi, who can be seen as being the most assertive in showing her feelings). Regardless, he constantly thinks about Iori and it would seem he would want nothing more than for her to be his girlfriend. Throughout the series he finds himself lost in daydreaming or imagination, and several times, he even drifts off right in front of Iori.

 * Yoshizuki Iori (葦月 伊織)
 * Iori Yoshizuki is prim, proper and friendly. She is a girl who is easy to like and get along with. This generally positive outlook is put to the test from the beginning of the series, which opens on a magazine article featuring Iori in a swimsuit spread. Suddenly, Iori is the center of attention, and she finds it difficult to differentiate whether people (particularly guys) like her for herself or her beauty.
 * Iori Yoshizuki is prim, proper and friendly. She is a girl who is easy to like and get along with. This generally positive outlook is put to the test from the beginning of the series, which opens on a magazine article featuring Iori in a swimsuit spread. Suddenly, Iori is the center of attention, and she finds it difficult to differentiate whether people (particularly guys) like her for herself or her beauty.
 * Iori Yoshizuki is prim, proper and friendly. She is a girl who is easy to like and get along with. This generally positive outlook is put to the test from the beginning of the series, which opens on a magazine article featuring Iori in a swimsuit spread. Suddenly, Iori is the center of attention, and she finds it difficult to differentiate whether people (particularly guys) like her for herself or her beauty.

 * Akiba Itsuki (秋葉 いつき)
 * Itsuki Akiba is loud, reckless and shameless, a complete opposite of Iori, including her affinity towards wearing boyish clothing and having a short haircut. Itsuki and Ichitaka had been friends since grade school, with Itsuki (although a year younger) often being an emotional coach to Ichitaka, particularly regarding girls. The two seemed to become closer than friends in their young life, a relationship that was suddenly interrupted when Itsuki moved away to America four years before the series begins. Just as abruptly, Itsuki returns to Ichitaka's life soon after the series starts, now a fully grown young lady, but still with real feelings for Ichitaka. Halfway through the series, she goes back to America to work with a world-renowned sculptor and is further unseen. After she is gone, she seems to occasionally appear in Ichitaka's mind to scold him during his bouts of self-pity, though these manifestations are really just Ichitaka's subconscious trying to tell him something important.
 * Itsuki Akiba is loud, reckless and shameless, a complete opposite of Iori, including her affinity towards wearing boyish clothing and having a short haircut. Itsuki and Ichitaka had been friends since grade school, with Itsuki (although a year younger) often being an emotional coach to Ichitaka, particularly regarding girls. The two seemed to become closer than friends in their young life, a relationship that was suddenly interrupted when Itsuki moved away to America four years before the series begins. Just as abruptly, Itsuki returns to Ichitaka's life soon after the series starts, now a fully grown young lady, but still with real feelings for Ichitaka. Halfway through the series, she goes back to America to work with a world-renowned sculptor and is further unseen. After she is gone, she seems to occasionally appear in Ichitaka's mind to scold him during his bouts of self-pity, though these manifestations are really just Ichitaka's subconscious trying to tell him something important.
 * Itsuki Akiba is loud, reckless and shameless, a complete opposite of Iori, including her affinity towards wearing boyish clothing and having a short haircut. Itsuki and Ichitaka had been friends since grade school, with Itsuki (although a year younger) often being an emotional coach to Ichitaka, particularly regarding girls. The two seemed to become closer than friends in their young life, a relationship that was suddenly interrupted when Itsuki moved away to America four years before the series begins. Just as abruptly, Itsuki returns to Ichitaka's life soon after the series starts, now a fully grown young lady, but still with real feelings for Ichitaka. Halfway through the series, she goes back to America to work with a world-renowned sculptor and is further unseen. After she is gone, she seems to occasionally appear in Ichitaka's mind to scold him during his bouts of self-pity, though these manifestations are really just Ichitaka's subconscious trying to tell him something important.

 * Isozaki Izumi (磯崎 泉)
 * Izumi Isozaki is two years younger than the other characters and is very much like Itsuki Akiba. However, she is not as shy in expressing her emotions, especially her love for Ichitaka Seto. In fact, she announces her love to almost everyone she knows. She is also a fair bit more daring and is quite superstitious when it comes to love. She constantly tails Seto, and on more than one occasion, has tried to seduce Seto to sleep with her in order to prove her love. Izumi persists in attempting to obtain Seto's love and says that she will try whatever it takes to get him to be with her. She is introduced halfway through the manga, where she meets Seto on the beach during their summer vacation, and after that, she discovers that they go to the same school. She falls for Seto after he defends her from her overly-aggressive boyfriend, and tricks him into going on dates throughout the series. She is convinced that he is her soulmate, and is determined for him to become her boyfriend.
 * Izumi Isozaki is two years younger than the other characters and is very much like Itsuki Akiba. However, she is not as shy in expressing her emotions, especially her love for Ichitaka Seto. In fact, she announces her love to almost everyone she knows. She is also a fair bit more daring and is quite superstitious when it comes to love. She constantly tails Seto, and on more than one occasion, has tried to seduce Seto to sleep with her in order to prove her love. Izumi persists in attempting to obtain Seto's love and says that she will try whatever it takes to get him to be with her. She is introduced halfway through the manga, where she meets Seto on the beach during their summer vacation, and after that, she discovers that they go to the same school. She falls for Seto after he defends her from her overly-aggressive boyfriend, and tricks him into going on dates throughout the series. She is convinced that he is her soulmate, and is determined for him to become her boyfriend.
 * Izumi Isozaki is two years younger than the other characters and is very much like Itsuki Akiba. However, she is not as shy in expressing her emotions, especially her love for Ichitaka Seto. In fact, she announces her love to almost everyone she knows. She is also a fair bit more daring and is quite superstitious when it comes to love. She constantly tails Seto, and on more than one occasion, has tried to seduce Seto to sleep with her in order to prove her love. Izumi persists in attempting to obtain Seto's love and says that she will try whatever it takes to get him to be with her. She is introduced halfway through the manga, where she meets Seto on the beach during their summer vacation, and after that, she discovers that they go to the same school. She falls for Seto after he defends her from her overly-aggressive boyfriend, and tricks him into going on dates throughout the series. She is convinced that he is her soulmate, and is determined for him to become her boyfriend.

 * Asō Aiko (麻生 藍子)
 * Although her name does not begin with an "I", the "Ai" from "Aiko" represents an "i" sound in Japanese, indirectly marking her as an "i." She is quite ditzy, scatterbrained, and is prone to losing or misplacing her possessions, but is also very nice, kind, and unbelievably cheerful, even in bad situations. She also has an uncanny resemblance to Iori Yoshizuki, save for a mole under her left eye. Her close resemblance to Iori causes Seto some complications when she is introduced three-quarters of the way through the manga. She, as well as Seto, fall in love with one another at a later point after they meet. Asō realizes this is a potential problem for Seto and decides to move away in order to keep Seto's and Iori's love intact.
 * One of the series' running gags is the odd similarities between the women who get in the way of Ichitaka being with Iori. Not only do they all have I names (or AI in the case of Aiko Asou), but they all appear very similar in appearance. Izumi looks like Iori when she has long hair and like Itsuki when she has cut it short. Aiko also looks like Iori but this time more of a near perfect double with the exception of a mole on her cheek.
 * One of the series' running gags is the odd similarities between the women who get in the way of Ichitaka being with Iori. Not only do they all have I names (or AI in the case of Aiko Asou), but they all appear very similar in appearance. Izumi looks like Iori when she has long hair and like Itsuki when she has cut it short. Aiko also looks like Iori but this time more of a near perfect double with the exception of a mole on her cheek.

 * Teratani Yasumasa (寺谷 靖雅)
 * Yasumasa Teratani is Ichitaka's best friend who seems to think himself a pro with the opposite gender despite his somewhat nerdy appearance and lack of success with girls. He is often found giving Seto encouragement and good advice. Though sometimes his help is unwarranted and sometimes ends up in a bad situation, he means well with his actions and is bummed when Seto does not succeed. Ichitaka spends a considerable amount of time through the story continuing to ask for advice, but as the story progresses he learns to not rely so heavily on him. He is generally interpreted as well-meaning but is also a jerk and a pervert, and not exactly the smartest person in the series.
 * Yasumasa Teratani is Ichitaka's best friend who seems to think himself a pro with the opposite gender despite his somewhat nerdy appearance and lack of success with girls. He is often found giving Seto encouragement and good advice. Though sometimes his help is unwarranted and sometimes ends up in a bad situation, he means well with his actions and is bummed when Seto does not succeed. Ichitaka spends a considerable amount of time through the story continuing to ask for advice, but as the story progresses he learns to not rely so heavily on him. He is generally interpreted as well-meaning but is also a jerk and a pervert, and not exactly the smartest person in the series.
 * Yasumasa Teratani is Ichitaka's best friend who seems to think himself a pro with the opposite gender despite his somewhat nerdy appearance and lack of success with girls. He is often found giving Seto encouragement and good advice. Though sometimes his help is unwarranted and sometimes ends up in a bad situation, he means well with his actions and is bummed when Seto does not succeed. Ichitaka spends a considerable amount of time through the story continuing to ask for advice, but as the story progresses he learns to not rely so heavily on him. He is generally interpreted as well-meaning but is also a jerk and a pervert, and not exactly the smartest person in the series.

 * Koshinae Jun (越苗 純)
 * Jun Koshinae is a friend from Ichitaka's class. He is first introduced in Volume 4, during a school trip to Kyoto, when he is paired with Iori. At first he appears to be a threat to Ichitaka, for he seems to be in love with Iori, but eventually, it turns out that he is a homosexual and is in love with Higemi-sensei, their teacher. Because Higemi-sensei is paired with Ichitaka, Koshinae requests for a trade, bringing the happy Ichitaka back to his crush. From that point on, Jun becomes one of Ichitaka's best friends, and an important listener when he is not comforted with the advice he got from Teratani. Though he hates physical aggression, he is a very adept martial artist when need be.
 * Jun Koshinae is a friend from Ichitaka's class. He is first introduced in Volume 4, during a school trip to Kyoto, when he is paired with Iori. At first he appears to be a threat to Ichitaka, for he seems to be in love with Iori, but eventually, it turns out that he is a homosexual and is in love with Higemi-sensei, their teacher. Because Higemi-sensei is paired with Ichitaka, Koshinae requests for a trade, bringing the happy Ichitaka back to his crush. From that point on, Jun becomes one of Ichitaka's best friends, and an important listener when he is not comforted with the advice he got from Teratani. Though he hates physical aggression, he is a very adept martial artist when need be.
 * Jun Koshinae is a friend from Ichitaka's class. He is first introduced in Volume 4, during a school trip to Kyoto, when he is paired with Iori. At first he appears to be a threat to Ichitaka, for he seems to be in love with Iori, but eventually, it turns out that he is a homosexual and is in love with Higemi-sensei, their teacher. Because Higemi-sensei is paired with Ichitaka, Koshinae requests for a trade, bringing the happy Ichitaka back to his crush. From that point on, Jun becomes one of Ichitaka's best friends, and an important listener when he is not comforted with the advice he got from Teratani. Though he hates physical aggression, he is a very adept martial artist when need be.

 * Tachiba Nami
 * Nami is a classmate of Ichitaka, Iori, Teratani, and others, and is generally the mood-maker of the group whenever they are all together on a trip, school project, etc. She is very energetic and cheerful and loves to express herself, though her tomboyish and carefree attitude can make others feel awkward at times. She comes from a very rich family, as it is evident halfway through the manga when the group comes over to her house to organize a group project. Some think of her as a slut and a pervert, since she has tried to get people to sleep together and has shown off her body numerous times.
 * Nami is a classmate of Ichitaka, Iori, Teratani, and others, and is generally the mood-maker of the group whenever they are all together on a trip, school project, etc. She is very energetic and cheerful and loves to express herself, though her tomboyish and carefree attitude can make others feel awkward at times. She comes from a very rich family, as it is evident halfway through the manga when the group comes over to her house to organize a group project. Some think of her as a slut and a pervert, since she has tried to get people to sleep together and has shown off her body numerous times.
 * Nami is a classmate of Ichitaka, Iori, Teratani, and others, and is generally the mood-maker of the group whenever they are all together on a trip, school project, etc. She is very energetic and cheerful and loves to express herself, though her tomboyish and carefree attitude can make others feel awkward at times. She comes from a very rich family, as it is evident halfway through the manga when the group comes over to her house to organize a group project. Some think of her as a slut and a pervert, since she has tried to get people to sleep together and has shown off her body numerous times.

 * Morisaki Yuka (森崎 祐加)
 * Yuka is another classmate of Ichitaka and Iori, and along with Nami, is one of Iori's closest friends. Though she does not stand out too much among the rest of the group, she seems to be the only one that Iori can talk deeply to about her issues in life. She, to everyone's surprisem develops a crush on Teratani halfway through the manga, though when he ends up rejecting her those feelings turn into that of contempt. She does not exactly hate Ichitaka, but is put off by his timidness. In the end, she supports him all the way. She is pushed into kissing Teratani by accident in the finale leaving both blushing.
 * Yuka is another classmate of Ichitaka and Iori, and along with Nami, is one of Iori's closest friends. Though she does not stand out too much among the rest of the group, she seems to be the only one that Iori can talk deeply to about her issues in life. She, to everyone's surprisem develops a crush on Teratani halfway through the manga, though when he ends up rejecting her those feelings turn into that of contempt. She does not exactly hate Ichitaka, but is put off by his timidness. In the end, she supports him all the way. She is pushed into kissing Teratani by accident in the finale leaving both blushing.
 * Yuka is another classmate of Ichitaka and Iori, and along with Nami, is one of Iori's closest friends. Though she does not stand out too much among the rest of the group, she seems to be the only one that Iori can talk deeply to about her issues in life. She, to everyone's surprisem develops a crush on Teratani halfway through the manga, though when he ends up rejecting her those feelings turn into that of contempt. She does not exactly hate Ichitaka, but is put off by his timidness. In the end, she supports him all the way. She is pushed into kissing Teratani by accident in the finale leaving both blushing.

 * A former senior in Ichitaka's high school, he is the main recurring villain of the manga. A sexual deviant, he tries to take advantage of Iori no less than three times throughout the manga with various schemes, but is foiled by Ichitaka every single time. After his unsuccessful first attempt he is expelled from the school, after his second attempt he becomes a drug addict on the verge of insanity, and plays a major role later. "Marionette King" is his Internet handle, and his real name is never mentioned in the manga, although it is later revealed to be Samejima.
 * A former senior in Ichitaka's high school, he is the main recurring villain of the manga. A sexual deviant, he tries to take advantage of Iori no less than three times throughout the manga with various schemes, but is foiled by Ichitaka every single time. After his unsuccessful first attempt he is expelled from the school, after his second attempt he becomes a drug addict on the verge of insanity, and plays a major role later. "Marionette King" is his Internet handle, and his real name is never mentioned in the manga, although it is later revealed to be Samejima.
 * A former senior in Ichitaka's high school, he is the main recurring villain of the manga. A sexual deviant, he tries to take advantage of Iori no less than three times throughout the manga with various schemes, but is foiled by Ichitaka every single time. After his unsuccessful first attempt he is expelled from the school, after his second attempt he becomes a drug addict on the verge of insanity, and plays a major role later. "Marionette King" is his Internet handle, and his real name is never mentioned in the manga, although it is later revealed to be Samejima.

 * Mokichi Kida
 * A classmate of Ichitaka and Iori, and he looks very much like a frog. He is a complete pervert, and when he sees Iori in the Fuwarin commercial, he becomes what can best be described as a "total psycho", believing that he and Iori are destined to be together. He has tried numerous times to sleep with Iori. After high school, he plays a minor part in the entire plot. He appears once or twice afterwards, but beyond that, he is considered a minor character.
 * A classmate of Ichitaka and Iori, and he looks very much like a frog. He is a complete pervert, and when he sees Iori in the Fuwarin commercial, he becomes what can best be described as a "total psycho", believing that he and Iori are destined to be together. He has tried numerous times to sleep with Iori. After high school, he plays a minor part in the entire plot. He appears once or twice afterwards, but beyond that, he is considered a minor character.

 * Ichitaka's first crush. When she found out about his feelings back in sixth grade, she promptly told him to leave her alone, as she thought he was gross. This started Ichitaka's "bad-luck-with-the-ladies-itis", and made him promise with Itsuki that they would get married someday. Myoko often comes back to haunt Ichitaka in the first half of the series through wild daydreams and hallucinations, but this has stopped as Ichitaka's confidence grew.
 * Ichitaka's first crush. When she found out about his feelings back in sixth grade, she promptly told him to leave her alone, as she thought he was gross. This started Ichitaka's "bad-luck-with-the-ladies-itis", and made him promise with Itsuki that they would get married someday. Myoko often comes back to haunt Ichitaka in the first half of the series through wild daydreams and hallucinations, but this has stopped as Ichitaka's confidence grew.

Manga
I"s, written and illustrated by Masakazu Katsura, was serialized in the shōnen manga anthology Weekly Shōnen Jump from April 21, 1997 to May 29, 2000. Publisher Shueisha collected the 143 chapters into 15 tankōbon volumes. The manga was licensed in North America by Viz Media, and was released from April 15, 2005 to September 4, 2007. However, Viz censored their releases in order to, as they stated, "fit the criteria of audiences in the U.S.". All edits were done to conceal nudity, specifically characters' breasts, and were made with the approval of Katsura. However, as of the 13th through 15th volumes, the censorship of nudity has ceased. Jason Thompson declared the edits one of "The Greatest Censorship Fails" in manga.

Volume list

 * }

Original video animations
The manga was adapted into two original video animation (OVA) series, From I"s in 2002 and I"s Pure, which was released in 2005 and 2006. The OVA generally follows the main plot of the manga, but due to the shorter nature of the OVA, few of the main characters play a less prominent role (for example, Itsuki only lasts three episodes before her departure and Izumi only appears in the beach storyline arc from manga volume 8) and others such as Jun and Aiko are omitted altogether. Due to the missing characters, there are many situations in the OVA that follow the plot in the manga but are played out by different characters. In addition to the manga, Viz Media also licensed both OVA series and released them in North America as a box-set on March 24, 2009. (North American DVD release UPC: 782009240099)

From I"s
From I"s (フロムアイズ) is the first OVA based on I"s, consisting of two 30-minute episodes, released December 9, 2002 and March 19, 2003, respectively. A box set containing both episodes as well as a making-of documentary on a third DVD, was released on March 25, 2004. The story of From I"s is not an adaptation of a story from the manga, but a new story set during the characters' summer holidays.

I"s Pure
I"s Pure is the second OVA based on I"s, a 6-episode OVA series animated by ARMS, produced by Pierrot, and released on DVD in Japan by Liverpool. There is also a DVD volume 0 containing promotional and background material. The series is a heavily abridged retelling of the major events in volumes 1 to 15.
 * Episodes
 * 1) "Au commencement" (French for the beginning; released December 9, 2005)
 * 2) "Souvenir" (French for to remember; released January 27, 2006)
 * 3) "Adieu" (French for goodbye; released February 24, 2006)
 * 4) "Vertige" (French for giddiness; released March 24, 2006)
 * 5) "Déclaration d'amour" (French for declaration of love; released May 26, 2006)
 * 6) "Ensemble" (French for together; released June 23, 2006)

Drama
A Japanese television drama adaptation aired between December 21, 2018 and April 26, 2019 on SKY PerfecTV!'s SkyPer! channel. It starred Amane Okayama as Ichitaka Seto, and Sei Shiraishi as Iori Yoshizuki. Kyoka Shibata played Itsuki Akiba, and Minori Hagiwara played Izumi Isozaki.

Video games
A video game titled I"s Pure, based on the OVA series of the same name, was released on November 9, 2006 for the PlayStation 2 in Japan.

Additionally, despite being a romantic dramedy, four characters from I"s (Iori, Itsuki, Ichitaka and Izumi) are featured in Jump Ultimate Stars, a fighting game featuring many characters from popular Shōnen Jump series. None of the I"s characters fight directly, however, and simply serve a support role for other characters.

Reception
By 2008, the I  s'' manga had over 10 million copies in circulation.

title: I"s


text:
Francis W. Moore Jr.

Francis W. Moore Jr. (April 20, 1808 – September 1, 1864) became the second mayor of Houston, Texas, in 1838. He was elected twice more and served as mayor of the city in three consecutive decades, the 1830s, 1840s, and 1850s. He was the co-publisher of the Telegraph and Texas Register, a newspaper in Houston.

Early life
Francis W. Moore Jr. was born on April 20, 1808, in Salem, Massachusetts. His father, Francis W. Moore, studied medicine at Harvard University. The Moores relocated to Livingston, New York, in 1828. The younger Moore lost an arm in his youth. By 1834, he moved to Bath, New York, where he enrolled as a law student and worked as a teacher.

Career
Moore volunteered as a Buckeye Ranger, a military unit fighting for Texas Independence from Mexico in 1836.

Telegraph and Texas Register
In March 1837, Moore purchased Thomas Borden's shares in the Telegraph and Texas Register. Moore was co-owner with Gail Borden and soon took over as editor-in-chief. At the time, the newspaper was located in Columbia. The 1st Texas Congress had been expected to name Columbia the capital of the new Republic of Texas. Instead, they chose the brand-new city of Houston. The publishers made plans to move the press to Houston. Houston and Columbia were separated by 50 mi of boggy river bottoms. It was very difficult to transport large loads overland, so publishers made arrangements to ship the printing press via boat. On April 16, 1837, the press arrived in Houston, on the same boat as the executive departments of the Republic of Texas.

The first issue to be printed in Houston appeared on May 2, 1837. In late June, Gail Borden transferred his shares to Jacob W. Cruger. The partnership between Moore and Cruger continued until April 1851, when Moore bought out Cruger.

Under Moore's leadership, the newspaper became "the most influential news organ of the Republic of Texas". Although the capital moved to Austin in 1840, the newspaper remained in Houston. When the capital was relocated, Moore and Cruger established another newspaper, The Texas Sentinel, in Austin. His reporting did not necessarily please politicians. Governor Sam Houston once referred to Moore as that "'lying scribbler of the Telegraph, whose one arm could write more malicious falsehoods than any man with two arms'". Many of the paper's articles were aimed at attracting immigrants to Texas, or retaining those who had recently arrived. Articles emphasized the good character of recent settlers (as opposed to the widespread belief that residents of Texas were scoundrels) and the advantages of living in the country. Through much of 1837, Moore wrote a series of articles describing the natural resources of Texas and the geography of various regions of the nations. Moore's series on the geography of Texas was in 1840 compiled into a book Maps and Descriptions of Texas. The book was reprinted in 1844 as Description of Texas. The articles were widely quoted in other newspapers and journals; an 1843 issue of Southern Agriculturist copied at least one Telegraph article in whole.

Moore included many articles explaining and justifying the Texas Revolution and the very existence of the Republic. At the same time, as early as 1837, the newspaper advocated annexation to the United States, even publishing a series of articles explaining that Texas should have been considered part of the Louisiana Purchase. In 1846, not long after Texas was annexed, Moore and Cruger changed the name of the newspaper to Democratic Telegraph and Texas Register, as they explained, "to designate the plotical tenets that we shall advocate".

Moore designed the Seal of Houston, adopted on February 24, 1840. He was paid $50 for his work.

In 1854, Moore sold the newspaper to Harvey H. Allen.

Politics
Moore was elected as mayor of Houston in 1838. The second mayor of Houston established the first municipal police force. Using both the mayor's office and the printing press, he protested the practice of dueling and attempted to mediate disputes in order to prevent duels.

Geologist
Despite his opinion of Moore's reporting, in 1860 Sam Houston–now Governor of Texas–appointed Moore the State Geologist.

Personal life
Moore wedded Elizabeth Mofat Wood in 1840, whom he had known in Bath, New York. The Moores had nine children.

Death and legacy
Moore died in Duluth, Minnesota, on September 1, 1864. He is interred in Brooklyn, New York, at Green-Wood Cemetery.

title: Francis W. Moore Jr.


text:
Dharmarakṣa

 (, J. Jiku Hōgo; K. Ch’uk Pǒphom c. 233-310) was one of the most important early translators of Mahayana sutras into Chinese. Several of his translations had profound effects on East Asian Buddhism. He is described in scriptural catalogues as Yuezhi in origin.

Life
His family lived at Dunhuang, where he was born around 233 CE. At the age of eight, he became a novice and took the Indian monk named Zhu Gaozuo as his teacher.

As a young boy, Dhamaraksa was said to be extremely intelligent, and journeyed with his teacher to many countries in the Western Regions, where he learned Central Asian languages and scripts. He then traveled back to China with a quantity of Buddhist texts and translated them with the aid of numerous assistants and associates, both Chinese and foreign, from Parthians to Khotanese. One of his more prominent assistants was a Chinese upāsaka, Nie Chengyuan, who served as a scribe and editor.

Dharmaraksa first began his translation career in Chang'an (present day Xi'an) in 266 CE, and later moved to Luoyang, the capital of the newly formed Jin Dynasty. He was active in Dunhuang for some time as well, and alternated between the three locations. It was in Chang'an that he made the first known translation of the Lotus Sutra and the Ten Stages Sutra, two texts that later became definitive for Chinese Buddhism, in 286 and 302, respectively. He died at the age of seventy-eight after a period of illness; the exact location of his death is still disputed.

Works
Altogether, Dharmaraksa translated around 154 sūtras. Many of his works were greatly successful, widely circulating around northern China in the third century and becoming the subject of exegetical studies and scrutiny by Chinese monastics in the fourth century. His efforts in both translation and lecturing on sūtras are said to have converted many in China to Buddhism, and contributed to the development of Chang'an into a major center of Buddhism at the time.

Some of his main translations are:
 * Saddharmapundarika Sūtra, the "Lotus Sutra"
 * Pañcaviṃśatisāhasrikā Prajñāpāramitā Sūtra (The Perfection of Wisdom Sutra in 25,000 Lines, )
 * The Dasabhūmika-sūtra (Ten Stages Sutra, )
 * The Lalitavistara Sūtra
 * The Vimalakīrtinirdeśa
 * The Tathāgataguhyaka Sūtra (Secrets of the Tathāgata)
 * The Bhadrakalpikasūtra
 * The Śūraṅgama Samādhi Sūtra
 * Akṣayamatinirdeśa

title: Dharmarakṣa


text:
Arnold (crater)

Arnold is a lunar impact crater that is located in the north-northeastern part of the visible Moon, near the lunar limb. This location gives the crater a notably oval appearance due to foreshortening, although the formation is actually relatively round. It lies to the northeast of the Mare Frigoris, to the north of the crater Democritus. West of Arnold is the smaller crater Moigno.

The ancient rim of Arnold has been worn and rounded by ages of subsequent bombardment. There is a gap in the wall to the southwest, marked by the tiny crater Arnold J, and the wall is relatively low along the eastern edge. The northern half of the rim is the most intact, particularly to the northeast where is joins the satellite crater Arnold A.

The inner floor of Arnold crater has been resurfaced by lava, and is relatively flat except for a number of tiny craterlets. The most notable crater in the interior is Arnold F, in the northwest section. If the crater once possessed a central peak, no sign of this feature now remains.

Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Arnold.

title: Arnold (crater)