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Kwame Anthony Appiah

Kwame Akroma-Ampim Kusi Anthony Appiah (born 8 May 1954) is a British-American philosopher and writer who has written about political philosophy, ethics, the philosophy of language and mind, and African intellectual history. Appiah was the Laurance S. Rockefeller University Professor of Philosophy at Princeton University, before moving to New York University (NYU) in 2014. He holds an appointment at the NYU Department of Philosophy and NYU's School of Law. Appiah was elected President of the American Academy of Arts and Letters in January 2022.

Personal life and education
Appiah was born in London, England, to Peggy Cripps Appiah (née Cripps), an English art historian and writer, and Joe Appiah, a lawyer, diplomat, and politician from Ashanti Region, Ghana. For two years (1970–1972) Joe Appiah was the leader of a new opposition party that was made by the country's three opposing parties. Simultaneously, he was the president of the Ghana Bar Association. Between 1977 and 1978, he was Ghana's representative at the United Nations.

Kwame Anthony Appiah was raised in Kumasi, Ghana, and educated at Bryanston School and Clare College, Cambridge, where he earned his BA (First Class) and PhD degrees in philosophy. He has three sisters: Isobel, Adwoa and Abena. As a child, he spent a good deal of time in England, staying with his grandmother Dame Isobel Cripps, widow of the English statesman Sir Stafford Cripps.

Appiah's mother's family has a long political tradition: Sir Stafford was a nephew of Beatrice Webb and was Labour Chancellor of the Exchequer (1947–1950) under Clement Attlee; his father, Charles Cripps, was Labour Leader of the House of Lords (1929–31) as Lord Parmoor in Ramsay MacDonald's government; Parmoor had been a Conservative MP before defecting to Labour.

Through his grandmother Isobel Cripps, Appiah is a descendant of John Winthrop and the New England Winthrop family of Boston Brahmins as one of his ancestors, Robert Winthrop, was a Loyalist during the American Revolutionary War and migrated to England, becoming a distinguished Vice Admiral in the Royal Navy. Through Isobel, he is also descended from the British pharmacist James Crossley Eno.

Through Professor Appiah's father, a Nana of the Ashanti people, he is a direct descendant of Osei Tutu, the warrior emperor of pre-colonial Ghana, whose reigning successor, the Asantehene, is a distant relative of the Appiah family. Also among his African ancestors is the Ashanti nobleman Nana Akroma-Ampim I of Nyaduom, a warrior whose name the Professor now bears.

He lives with his husband, Henry Finder, an editorial director of The New Yorker, in an apartment in Manhattan, and a home in Pennington, New Jersey with a small sheep farm. Appiah has written about what it was like growing up gay in Ghana.

Appiah became a naturalized U.S. citizen in 1997. His nephew is the actor Adetomiwa Edun.

Career
Appiah taught philosophy and African-American studies at the University of Ghana, Cornell, Yale, Harvard, and Princeton Universities from 1981 to 1988. Until 2014, he was the Laurance S. Rockefeller University Professor of Philosophy at Princeton (with a cross-appointment at the University Center for Human Values) and was serving as the Bacon-Kilkenny Professor of Law at Fordham University in the fall of 2008. Appiah also served on the board of PEN American Center and was on a panel of judges for the PEN/Newman's Own First Amendment Award. He has taught at Yale, Cornell, Duke, and Harvard universities and lectured at many other institutions in the US, Germany, Ghana and South Africa, and Paris. Until the fall of 2009, he served as a trustee of Ashesi University College in Accra, Ghana. Since 2014, he is a professor of philosophy and law at NYU.

His Cambridge dissertation explored the foundations of probabilistic semantics. In 1992, Appiah published In My Father's House, which won the Herskovitz Prize for African Studies in English. Among his later books are Colour Conscious (with Amy Gutmann), The Ethics of Identity (2005), and Cosmopolitanism: Ethics in a World of Strangers (2006). He has been a close collaborator with Henry Louis Gates Jr., with whom he edited Africana: The Encyclopedia of the African and African-American Experience. Appiah was elected a Fellow of the American Academy of Arts and Sciences in 1995.

In 2008, Appiah published Experiments in Ethics, in which he reviews the relevance of empirical research to ethical theory. In the same year, he was recognised for his contributions to racial, ethnic, and religious relations when Brandeis University awarded him the first Joseph B. and Toby Gittler Prize.

As well as his academic work, Appiah has also published several works of fiction. His first novel, Avenging Angel, set at the University of Cambridge, involved a murder among the Cambridge Apostles; Sir Patrick Scott is the detective in the novel. Appiah's second and third novels are Nobody Likes Letitia and Another Death in Venice.

Appiah has been nominated for, or received, several honours. He was the 2009 finalist in the arts and humanities for the Eugene R. Gannon Award for the Continued Pursuit of Human Advancement. In 2010, he was named by Foreign Policy magazine on its list of top global thinkers. On 13 February 2012, Appiah was awarded the National Humanities Medal at a ceremony at the White House.

Appiah currently chairs the jury for the Berggruen Prize, and serves on the Berggruen Institute's Philosophy & Culture Center's Academic Board. He was elected as President of the American Academy of Arts and Letters in January 2022.

Ideas
Appiah argues that the formative denotation of culture is preceded by the efficacy of intellectual interchange. From this position he views organisations such as UNICEF and Oxfam in two lights: on the one hand he seems to appreciate the immediate action these organisations provide while on the other he points out their long-term futility. His focus is, instead, on the long-term political and economic development of nations according to the Western capitalist/democratic model, an approach that relies on continued growth in the "marketplace" that is the capital-driven modern world.

However, when capitalism is introduced and it does not "take off" as in the Western world, the livelihood of the peoples involved is at stake. Thus, the ethical questions involved are certainly complex, yet the general impression in Appiah's "Kindness to Strangers" is one which implies that it is not up to "us" to save the poor and starving, but up to their own governments. Nation-states must assume responsibility for their citizens, and a cosmopolitan's role is to appeal to "our own" government to ensure that these nation-states respect, provide for, and protect their citizens.

If they will not, "we" are obliged to change their minds; if they cannot, "we" are obliged to provide assistance, but only our "fair share," that is, not at the expense of our own comfort, or the comfort of those "nearest and dearest" to us.

Appiah's early philosophical work dealt with probabilistic semantics and theories of meaning, but his more recent books have tackled philosophical problems of race and racism, identity, and moral theory. His current work tackles three major areas: 1. the philosophical foundations of liberalism; 2. the questioning of methods in arriving at knowledge about values; and 3. the connections between theory and practice in moral life, all of which concepts can also be found in his book Cosmopolitanism: Ethics in a World of Strangers.

On postmodern culture, Appiah writes, "Postmodern culture is the culture in which all postmodernisms operate, sometimes in synergy, sometimes in competition; and because contemporary culture is, in a certain sense to which I shall return, transnational, postmodern culture is global –though that emphatically does not mean that it is the culture of every person in the world."

Cosmopolitanism

Appiah has been influenced by the cosmopolitanist philosophical tradition, which stretches from German thinkers such as G. W. F. Hegel to African American thinkers like W. E. B. Du Bois, among others. In his article "Education for Global Citizenship", Appiah outlines his conception of cosmopolitanism. He therein defines cosmopolitanism as "universality plus difference". Building from this definition, he asserts that the first takes precedence over the latter, that is: different cultures are respected "not because cultures matter in themselves, but because people matter, and culture matters to people." But Appiah first defined it as its problems but ultimately determines that practising a citizenship of the world and conversation is not only helpful in a post-9/11 world. Therefore, according to Appiah's take on this ideology, cultural differences are to be respected in so far as they are not harmful to people and in no way conflict with our universal concern for every human's life and well-being.

In his book Cosmopolitanism: Ethics in a World of Strangers (2006), Appiah introduces two ideas that "intertwine in the notion of cosmopolitanism" (Emerging, 69). The first is the idea that we have obligations to others that are bigger than just sharing citizenship. The second idea is that we should never take for granted the value of life and become informed of the practices and beliefs of others. Kwame Appiah frequents university campuses to speak to students. One request he makes is, "See one movie with subtitles a month."

In Lies that Bind (2018), Appiah attempts to deconstruct identities of creed, colour, country, and class.

Criticism of Afrocentric world view
Appiah has been a critic of contemporary theories of Afrocentrism. In his 1997 essay "Europe Upside Down: Fallacies of the New Afrocentrism", he argues that current Afrocentricism is striking for "how thoroughly at home it is in the frameworks of nineteenth century European thought", particularly as a mirror image to Eurocentric constructions of race and a preoccupation with the ancient world. Appiah also finds an irony in the conception that if the source of the West lies in ancient Egypt via Greece, then "its legacy of ethnocentrism is presumably one of our moral liabilities."

In popular culture

 * In 2007, Appiah was a contributing scholar in the PBS-broadcast documentary Prince Among Slaves produced by Unity Productions Foundation.
 * In 2007, he also appeared in the TV documentary series Racism: A History as an on-screen contributor.
 * Appiah appeared alongside a number of contemporary philosophers in Astra Taylor's 2008 film Examined Life, discussing his views on cosmopolitanism.
 * In 2009, he was an on-screen contributor to the movie Herskovits: At the Heart of Blackness.
 * In 2015, he became one of three contributors to the New York Times Magazine column "The Ethicist", before assuming sole authorship of the column later that year.
 * He delivered the BBC's Reith Lectures in late 2016 on the theme of Mistaken Identities.
 * In late 2016, he contended that Western civilization did not exist, and argued that many uniquely Western attributes and values were instead shared among many "non-western" cultures and/or eras.
 * In 2018, Appiah appeared in the episode "Can We Live Forever?" of the documentary series Explained.

Awards and honours

 * Anisfield-Wolf Book Award for In My Father's House, April 1993
 * Honorable Mention, James Russell Lowell Prize of the Modern Language Association for In My Father's House, December 1993
 * 1993 Herskovits Award of the African Studies Association "for the best work published in English on Africa", for In My Father's House, December 1993
 * Annual Book Award, 1996, North American Society for Social Philosophy, "for the book making the most significant contribution to social philosophy" for Color Conscious, May 1997
 * Ralph J. Bunche Award, American Political Science Association, "for the best scholarly work in political science which explores the phenomenon of ethnic and cultural pluralism" for Color Conscious, July 1997
 * Outstanding Book on the subject of human rights in North America, Gustavus Myers Center for the Study of Human Rights in North America, for Color Conscious, 10 December 1997
 * Elected member of the American Philosophical Society
 * Honorable Mention, Gustavus Myers Outstanding Book Award, Gustavus Myers Center for the Study of Bigotry and Human Rights for The Ethics of Identity, 9 December 2005
 * Editors' Choice New York Times Book Review, The Ethics of Identity, 26 June 2005.
 * Amazon.com Best Books of 2005, Top 10 Editors' Picks: Nonfiction, The Ethics of Identity, December 2005
 * Arthur Ross Book Award of the Council on Foreign Relations, Cosmopolitanism, May 2007
 * Finalist for Estoril Global Ethics Book Prize, for Cosmopolitanism (2009)
 * A Times Literary Supplement Book of the Year 2010 for The Honor Code
 * One of New York Times Book Review 100 Notable Books of 2010 for The Honor Code
 * New Jersey Council for the Humanities Book Award 2011 for The Honor Code
 * Global Thought Leaders Index 2015, No. 95, The World Post
 * In August 2016, he was enstooled as the Nkosuahene of Nyaduom, a Ghanaian chief of the Ashanti people, in Nyaduom - his family's ancestral chiefdom in Ghana.
 * In 2017 he was elected as a Fellow of the Royal Society of Literature
 * In June 2017 he was named by the Carnegie Corporation of New York as one of its 2017 "Great Immigrants"
 * In December 2021, he received the prestigious Gold Medal from The National Institute of Social Sciences.
 * In June 2022, Professor Appiah received an Honorary Degree from Cambridge University. This is a degree that is bestowed upon people who have made outstanding achievements in their respective fields.

Books

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 * (En coedición con el Centro de Cultura Contemporánea de Barcelona.)
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 * Based on The 2013 Paul Carus Lectures. Cambridge: Harvard University Press, 2017.
 * The Lies That Bind: Rethinking Identity—Creed, Country, Color, Class, Culture. London: Profile Books, 2018 and New York: Liveright Publishing, Profile Books, 2018 ISBN 978-1781259238
 * Based on The 2013 Paul Carus Lectures. Cambridge: Harvard University Press, 2017.
 * The Lies That Bind: Rethinking Identity—Creed, Country, Color, Class, Culture. London: Profile Books, 2018 and New York: Liveright Publishing, Profile Books, 2018 ISBN 978-1781259238

 * Novels

Book chapters

 * Fernande Saint-Martin sous la direction de Bogumil Jewsiewicki et Jocelyn Létourneau, Actes du Célat No. 6, Mai 1992.
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 * Fernande Saint-Martin sous la direction de Bogumil Jewsiewicki et Jocelyn Létourneau, Actes du Célat No. 6, Mai 1992.
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Journal articles

 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * Publisher's website.
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."
 * —"The Key to All Mythologies" (review of Emmanuelle Loyer, Lévi-Strauss: A Biography, translated from the French by Ninon Vinsonneau and Jonathan Magidoff, Polity, 2019, 744 pp.; and Maurice Godelier, Claude Lévi-Strauss: A Critical Study of His Thought, translated from the French by Nora Scott, Verso, 2019, 540 pp.), The New York Review of Books, vol. LXVII, no. 2 (13 February 2020), pp. 18–20. Appiah concludes his review (p. 20): "Lévi-Strauss... was... an inspired interpreter, a brilliant reader.... When the landmarks of science succeed in advancing their subject, they need no longer be consulted: physicists don't study Newton; chemists don't pore over Lavoisier.... If some part of Lévi-Strauss's scholarly oeuvre survives, it will be because his scientific aspirations have not."

title: Kwame Anthony Appiah


text:
Harry Callahan (photographer)

Harry Morey Callahan (October 22, 1912 – March 15, 1999) was an American photographer and educator. He taught at both the Institute of Design in Chicago and the Rhode Island School of Design.

Callahan's first solo exhibition was at the Art Institute of Chicago in 1951. He had a retrospective at the Museum of Modern Art in New York in 1976/1977. Callahan was a recipient of the Edward MacDowell Medal and the National Medal of Arts. He represented the United States in the Venice Biennale in 1978.

Early life
Harry Morey Callahan was born in Detroit, Michigan. He worked at Chrysler when he was a young man then left the company to study engineering at Michigan State University. He dropped out, returned to Chrysler and joined its camera club. Callahan began teaching himself photography in 1938. He formed a friendship with Todd Webb who was also to become a photographer. A talk given by Ansel Adams in 1941 inspired him to take his work seriously. In 1941, Callahan and Webb visited Rocky Mountain State Park but didn't return with any photographs. In 1946 he was invited to teach photography at the Institute of Design in Chicago by László Moholy-Nagy. He moved to Rhode Island in 1961 to establish a photography program at the Rhode Island School of Design, eventually inviting close friend and fellow artist Aaron Siskind to join him, teaching there until his retirement in 1977.

Career
Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year.

He photographed his wife and daughter and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. Even prior to birth, his daughter showed up in photographs of Eleanor's pregnancy. From 1948 to 1953 Eleanor, and sometimes Barbara, were shown out in the landscape as a tiny counterpoint to large expanses of park, skyline or water.

He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere—at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments—double and triple exposure, blurs, large and small format film.

Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white. In 1955 Edward Steichen included his work in The Family of Man, MoMA's popular international touring exhibition.

In 1956, he received the Graham Foundation Award, which allowed him to spend a year in France with his family from 1957 to 1958. He settled in Aix-en-Provence, where he took many photographs.

Along with the painter Richard Diebenkorn, he represented the United States in the Venice Biennale in 1978.

In 1994, he selected 130 original prints with the help of the gallery owner Peter MacGill, and brought them together under the name of French Archives, to offer them to the Maison Européenne de la Photographie in Paris. Some of these images were taken in Aix-en-Provence and in the South of France, and are the subject of a temporary exhibition at the Granet Museum in Aix-en-Provence in 2019.

Callahan left behind 100,000 negatives and over 10,000 proof prints. The Center for Creative Photography at the University of Arizona maintains his photographic archives. In 2013, Vancouver Art Gallery received a gift of almost 600 Callahan photographs from the Larry and Cookie Rossy Family Foundation.

Personal life
Callahan met his future wife, Eleanor Knapp, on a blind date in 1933. At that time she was a secretary at Chrysler Motors in Detroit and he was a clerk. They married three years later. In 1950 their daughter Barbara was born.

Callahan died in Atlanta in 1999. His wife Eleanor died on February 28, 2012, in a hospice in Atlanta at the age of 95.

Publications

 * Harry Callahan. New York: Museum of Modern Art, 1967. . With an introductory essay by Paul Sherman.
 * Harry Callahan: Color: 1941–1980. Providence, R.I.: Matrix Publications, 1980. Edited by Robert Tow and Ricker Winsor. ISBN 978-0936554006. With a foreword by Jonathan Williams and an afterword by A. D. Coleman.
 * Water's Edge. Lyme, CN: Callaway, 1980. ISBN 9780935112016. With an introductory poem by A. R. Ammons and an afterword by Callahan.
 * Eleanor. New York City: Callaway, 1984. ISBN 978-0935112115.
 * Harry Callahan: New Color: Photographs 1978-1987. Kansas City, MO: Hallmark Cards, 1988. ISBN 978-0875296241. Edited(?) and with text by Keith F. Davis. Exhibition catalogue.
 * Harry Callahan. Masters of Photography. New York: Aperture, 1999. ISBN 978-0893818210. With an essay by Jonathan Williams.
 * Harry Callahan: Retrospective. Heidelberg, Germany: Kehrer, 2013. ISBN 978-3868283587. With essays by Dirk Luckow, Peter MacGill, Sabine Schnakenberg, and Julian Cox. Exhibition catalogue.
 * Harry Callahan: Photos. Washington, D.C.: National Gallery of Art, 1996. ISBN 978-0821223130. With text by Sarah Greenough. Exhibition catalogue.
 * Seven Collages. Göttingen: Steidl, 2012. ISBN 978-3869301402. With an essay by Julian Cox.
 * Harry Callahan: The Street. London: Black Dog, 2016. Curated and edited by Grant Arnold. ISBN 978-1910433584. Exhibition catalogue.

Awards

 * 1956: Graham Foundation Award
 * 1993: Edward MacDowell Medal, MacDowell Colony, Peterborough, NH.
 * 1996: National Medal of Arts

Solo exhibitions

 * Art Institute of Chicago, Chicago, IL, 1951
 * Harry Callahan, Museum of Modern Art, New York, 1976/1977. A retrospective.

Collections
Callahan's work is held in the following permanent collections:
 * Art Institute of Chicago: 105 works (as of April 2019)
 * George Eastman Museum: 112 works (as of April 2019)
 * Museum of Contemporary Photography: 28 works (as of April 2019)
 * Museum of Modern Art, New York: 243 works (as of April 2019)
 * Philadelphia Museum of Art: 151 works (as of September 2019)

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

title: Harry Callahan (photographer)


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Fishbourne, Isle of Wight

Fishbourne is a village between Wootton and Ryde, on the Isle of Wight.

The name "Fishbourne" might mean "stream of fish" or "fish spring."

It is positioned on the eastern bank of Wootton Creek, and includes the terminal for the Wightlink car ferry from Portsmouth.

Fishbourne, together with the adjoining Kite Hill area, became a civil parish in 2006 and has a parish council. The parish includes the ruined Norman abbey (founded 1132) and the Benedictine monastery including Quarr Abbey (founded in the early 1900s).

The Royal Victoria Yacht Club and the 'Fishbourne Inn' are located near the ferry terminal.

Public transport is provided by Southern Vectis bus routes 4 and 9, which stop on the main road, and operate to East Cowes, Newport and Ryde.

Governance
Fishbourne is part of the electoral ward called Binstead and Fishbourne. This ward covers much of the Binstead district of Ryde parish and at the 2011 Census had a total population of 3,185.

title: Fishbourne, Isle of Wight


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Category:Enlightenment philosophy

Philosophy of The Age of Enlightenment, not to be confused with the philosophy of Enlightenment (spiritual).

title: Category:Enlightenment philosophy


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It Just Gets Worse

It Just Gets Worse is the sixth album by the grindcore band Anal Cunt, released on November 9, 1999, on Earache Records.

Recording information
The album was recorded between August 1998 and August 1999 (except tracks 38 and 39 which were recorded and mixed in August 1997), although the majority of it was recorded after the band's 1998 tour in Japan. The guitar and drums were recorded on a 4-track at Anal Cunt's practice space and the vocals were recorded on a PA in the studio, where vocalist Seth Putnam mixed it. The album was then released after their 1999 European tour with the band Flächenbrand and was the last of the band's albums released under the Earache label which they got dropped from in May 2000. "Your Kid Committed Suicide Because You Suck" was originally titled "Connor Clapton Committed Suicide Because His Father Sucks". "Chris Barnes Is a Pussy" was based on an alleged incident that involved Putnam being attacked by Six Feet Under's roadies, while their vocalist Chris Barnes fled to his tour bus after a scuffle between the two.

Personnel

 * Anal Cunt
 * Seth Putnam – vocals
 * Josh Martin – guitar
 * Nate Linehan – drums, backing vocals (39)

 * Additional musicians
 * Choke (Slapshot) – backing vocals (1-3, 5, 7, 8, 9, 13, 16, 18, 19, 21–24, 26–29, 31, 34, 36)
 * Anal Cunt Gestapo – backing vocals (5, 21, 35, 36)

title: It Just Gets Worse


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Hartsburg

Hartsburg may refer to:

Places

 * Hartsburg, Illinois, United States
 * Hartsburg, Missouri, United States
 * Hartsburg, Ohio, United States

People with the surname

 * Chris Hartsburg (born 1980), American ice hockey player and coach
 * Craig Hartsburg, a retired Canadian professional hockey player and head coach

title: Hartsburg


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Siemens Combino

The Siemens Combino is a low-floor tram produced by Siemens Mobility (formerly Duewag). The first prototype was produced in 1996 at the Duewag works in Düsseldorf; the trams are now made in Krefeld-Uerdingen.

Due to its modular design using standardised components, and the resulting reduced costs, the Combino was for a time one of the most successful tram types. They were sold to 12 jurisdictions and a further development was sold to two others.

In 2007, a new generation of Combinos was sold to Bern and was known as the Siemens Combino XL. This was an updated version of the original design and was intended to correct defects in the original design.

Subsequently, the model was again renamed and is now known as the Avenio M. 14 of these were produced in 2011 with 12 going to Erfurt and two to Nordhausen.

The Siemens line has been complemented by a new design of trams called the Avenio, which have been built on the design technology of Siemens Combino Plus in Sul de Tejo and Budapest. Unlike the Combino, it does not have suspended sections but rather two axles under each body section. In essence, it is like a train of two axle cars.

Use of the Siemens Combino world-wide
Around 500 trams went into service in the following cities:

Twenty-two trams were ordered by Verona, Italy, but the contract was cancelled because of the technical problems noted in this article.

Technical specifications

The tram is largely made out of aluminium, with a welded underframe to which the body framework is bolted in sections, which means that the Combino can easily be adopted to different lengths, widths and gauges. The length of the trams varies from 19 m (Nordhausen "Duo" and Melbourne D1) to a world record 54 m (Budapest), accommodating between 100 and 250 passengers. All versions are designed to have a 300 mm floor height and a 10 t axle load. It can be built as a one-way or a two-way vehicle, and it is also produced as Siemens DuoCombino with an additional diesel propulsion system, courtesy of BMW's M67 3.9-litre twin-turbocharged V8 engine. The only city to receive the DuoCombino was Nordhausen, Germany.

They usually take 600 V DC overhead power and convert this to 400 V 3-phase AC power for the regenerative low wear motors via 3 IGBT PWM inverters. On board controls, lighting and air conditioning run at 24 V DC.

2004 recall due to flaws in construction
On March 12, 2004, Siemens admitted to problems concerning the stability of the car bodies and, as a precautionary measure, instructed all public transportation services to take all Combinos with a service distance of more than 120000 km out of service. Torsion forces generated in S-curves were much higher than anticipated, leading to cracks around the articulations between the car modules. Subsequently, hairline cracks were found in the joints of the aluminium bodies, which could cause the roof to collapse in the case of an accident. The problem was acute in Combino cars that had run more 150000 km. Cracks were reported on the connections between the sidewalls and the roof girders such that the safety of passengers in the wheel-less modules could not be assured in the event of a severe collision. These flaws were reported in many cities that had adopted the Siemens-Combinos, such as Düsseldorf, Freiburg, Augsburg, Erfurt, Hiroshima, Nordhausen, Basel, Potsdam, Bern, Amsterdam and Melbourne. In March 2004 Siemens Transport Systems confirmed that body-shell problems were emerging at high mileages and it advised all operators to take out about 400 Combinos that had run more than 120000 km.

Siemens launched a three-stage process of rebuilding the 454 modules affected. Under this process the Combino modules were reinforced to give an expected 30-year life.

Potsdam
In 1997, the public transportation authorities of the city of Potsdam were the first to purchase Combino cars. The advantages of its low-floor technology were stressed during the introduction. A total of 48 cars were to be bought through 2009.

The order from Potsdam was of great importance for advertising the Combino in other cities. Cars from Potsdam were frequently used for demonstrations.

After a short period of service, many inhabitants of Potsdam noticed noises during the operation of the cars louder than those of the previously used Tatra cars. In March 2004, the 16 Potsdam cars were taken out of service. As a replacement, several Tatra cars which had been given to museums were taken back into service. The shortage was aggravated by the fact that several old cars had been sold to Hungary just a month before.

In June 2004, Potsdam and Siemens "amicably" declared that the at the time 32 outstanding cars were not going to be delivered. This decision is likely to have consequences for other cities.

Amsterdam
In June 2004, the first Amsterdam Combinos passed the mileage threshold of 120000 km and were taken out of service. Earlier, Siemens technicians had identified stress fractures in the door segments of two of Amsterdam's oldest cars. But, according to Siemens, those turned out not to be dangerous, which is why the cars continued to be used. At the end of April 2004, it was decided not to call upon the twelve undelivered cars which were outstanding at that time.

Kaohsiung Demonstrator
A D-class Melbourne tram was borrowed by Siemens for a demonstrator in Kaohsiung for a three-month period in 2003-2004.

The city did not follow through with purchasing the cars or building a line after the trial. In 2013 the city began construction of the Circular LRT line, which utilises CAF Urbos vehicles.

Poznań
Poznań announced in 2002 a tender for low-floor trams. Siemens won the contract with Combino. Poznań ordered 14 trams, each consisting of five modules, three double doors and three bogies, identical to the Amsterdam version. The first Combino entered service at the end of 2003. Due to flaws in construction, not all trams were in active service. An agreement between Poznań and Siemens provided that the city would pay the fraction (31%) of trams' cost only after the refit of all 14 Combinos. Combinos were usually used on the Poznański Szybki Tramwaj (Poznań Fast Tram) (light rail), that is on lines 14, 15 and 16 until they got replaced by Solaris Tramino trams. Starting from then Combinos are used on different lines to provide access to low-floor trams in other parts of Poznań.

Siemens Combino Supra
The current Combino model (Combino MkI) will no longer be produced. For the cities which have already ordered Combinos, such as Budapest (Hungary) and Almada (Portugal), Siemens will provide trams based on an older ADtranz design, under the new name Combino Supra. The new Combinos will have thin stainless steel rather than aluminium carbodies. Siemens now also wants to sell the Viennese Ultra Low Floor (ULF), another 100%-low-floor model, to other cities. The first two Combino Supras were delivered March 14, 2006 to Budapest.

After serious initial teething problems, which involved door mechanism malfunctions that led to a recall of all Budapest Combino trams by Siemens, the trams were in regular service during 2006. After they had been repaired, Budapest's government decided that they would return them to Siemens. However, this did not happen because of contractual terms. The local public transport company began using them in 2007 and now they are working successfully again.

title: Siemens Combino


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Yellow oriole

The yellow oriole (Icterus nigrogularis) is a passerine bird in the family Icteridae. It should not be confused with the green oriole, sometimes alternatively called the Australasian yellow oriole (Oriolus flavocinctus), which is an Old World oriole.

Distribution and habitat
The yellow oriole is also called the plantain and small corn bird, and in Venezuela it is known as gonzalito. It breeds in northern South America in Colombia, Venezuela, Trinidad, the Guianas, and parts of northern Brazil, (northern Roraima state, and eastern Amapá). The yellow oriole is a bird of open woodland, scrub, and gardens.

Breeding
Its nest is a 40 cm-long hanging basket, suspended from the end of a branch. The normal clutch is three pale green or grey eggs.

Description
This bird is 20 – long, and weighs 38 g, with mainly yellow plumage, as its name suggests. The adult male has a black eye mask, thin black throat line, black tail, and black wings, with a white wing bar and some white feather edging.

The female is similar, but slightly duller, and the juvenile bird has an olive-tinged yellow back, and lacks black on the face.

Taxonomy
Of the four subspecies of yellow oriole, three are restricted to islands. They differ from the widespread nominate race of the mainland in body and bill size, and minor plumage details.

Diet
The species eats mainly large insects, but also consumes nectar and some fruit (such as berries, cherries, mangoes and bananas).

Call
The song of the yellow oriole is a pleasant, melodious fluting, with some buzzing. The calls include a cat-like whine and chattering noises.

title: Yellow oriole


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Holden Nova

The Holden Nova is a compact car which was manufactured by Toyota Australia as a badge engineered Toyota Corolla between August 1989 and 1996. It was a result of the Button car plan which attempted to rationalise the Australian car manufacturing industry. The Nova was sold and marketed under the Holden nameplate, and although referred to as the GM S platform, was nearly identical to the Corolla. However it received minor stylistic changes. The Nova was sold as a four-door sedan and five-door hatchback.

Initially assembled at Toyota's Dandenong plant, in 1994 production was transferred to Altona.

In all years, the Nova was outsold by the Toyota Corolla in Australia, and the car was replaced by the Holden Astra in 1996.

First generation (LE, LF; 1989–1994)
The LE and LF series, based on the Corolla E90 were sold between August 1989 and September 1994. The LE was offered with Toyota's 1.4-litre 60 kW engine (hatchback only) and 1.6-litre 67 kW engine, in Holden's traditional SL (hatchback only), SLX and SLE trims. The LF Nova, available from October 1991, added fuel injection to the 1.6-litre unit, now rated at 75 kW. The SLE hatchback was replaced by a GS model, although SLE continued as a trim on the sedan, then in October 1992, a fuel-injected 1.8-litre 85 kW engine was offered for the GS hatchback. The 1.4-litre option and the SLEs were unavailable from 1993.

Second generation (LG; 1994–1996)
The LG Nova was sold between 1994 and 1996, although a smaller range was offered. The SLX trim level was equipped with a 1.6-litre 78 kW engine, while the GS trim level denoted the fitment of the 1.8-litre engine. Four-door sedan and five-door hatchback options were offered for both levels, and all engines featured fuel injection.

title: Holden Nova


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Hampden House

Hampden House is a country house in the village of Great Hampden, between Great Missenden and Princes Risborough in Buckinghamshire. It is named after the Hampden family. The Hampdens (later Earls of Buckinghamshire) are recorded as owning the site from before the Norman conquest. They lived continually in the house until 1938.

Early history
The core of the present house is Elizabethan. However the south wing known as King John's tower, for some anachronistic reason, dates to the 14th century. This tower is constructed of clunch, a building material peculiar to Buckinghamshire, which is a combination of chalk and mud. The tower has traceried Gothic windows and the remains of the original spiral staircase.

A legend, relevant to this part of the house, is that King Edward III and the Black Prince stayed at Hampden House. During the stay the prince and his Hampden host were jousting, when a quarrel arose, during which the prince was punched in the face by his host. This act of lèse majesté caused the king and Prince to quit the place in great wrath, and cause their host to forfeit some of his estates to the crown. There is, however no documentary evidence for this act, or of the subsequent revenge although the Black Prince is known to have possessed land in nearby Princes Risborough during his life.

The greater part of the original house was rebuilt in brick in the 17th century, this was again altered in the 18th century. The East wing overlooking the gardens is of a severe classical 18th century style, built between two earlier wings.

The chief feature of the grounds is 'The Glade', an avenue through the woods bordered by rhododendrons and ancient oaks. It is terminated by two small lodges known, because of their design, as the 'Pepper Pots'. It is said that the avenue was cut through the wood to facilitate easy access to the house for Queen Elizabeth I when she was entertained at Hampden, during one of her progresses, by Griffith Hampden Esq.

Gothic rebuilding
It is the north and west ranges of the house that have never received the architectural acclaim they deserve, remodelled circa 1750 to a design by the architect Thomas Iremonger, with battlements and ogee topped windows, they are a form of gothic known as Strawberry Hill. This style predates the so-called invention of Strawberry Hill Gothic at Horace Walpole's house by nearly twenty years.

The interior of the house was also remodelled at this time, when a suite of magnificent state rooms were created with remarkable rococo ceilings, and superb marble fireplaces. One fireplace is of especial note carved by Sir Henry Cheere. The 60 ft, panelled, Great Hall with its huge fireplace is the largest room in the house.

The Hampden and Hobart families
Also in the grounds is the parish church, containing many memorials to the Hampden family including a monument to John Hampden, the celebrated patriot, who died of wounds received at the Battle of Chalgrove during the English Civil War in 1643 fighting for the Parliamentarians. He had earlier achieved fame and notoriety by his refusal to pay the Ship Money tax, introduced by the near bankrupt Charles I. Hampden was prosecuted for refusing to pay the tax on his lands in Buckinghamshire and Oxfordshire. He was tried and found guilty, and consequently became a public hero, known as 'The Patriot'. The spot where he refused to pay is marked by a monument in the grand avenue at Hampden House, although the exact location of the actual site is in dispute.

Like many old and aristocratic families the Hampdens, for generations closely associated with the Whig party, eventually found themselves with financial problems. These were exacerbated by Richard Hampden who, while Treasurer of the Navy, invested heavily personally, and with Government funds in the South Sea Bubble the resultant crash in 1720 was devastating for the family fortune. Large parts of the estate were sold until only the house and its immediate surroundings remained in the family's hands. The family never completely regained its former position or wealth.

The true male line of the Hampden family eventually died out. In 1824 the 5th Earl of Buckinghamshire inherited Hampden House and its estates from the heirless Hampden family. His ancestor, Sir John Hobart, 3rd baronet, had married Mary Hampden, a daughter of the house circa 1655. The 5th Earl then joined the Hampden name to his own. The present head of the family is George Miles Hobart-Hampden, 10th Earl of Buckinghamshire.

Hampden House today
As a result of the family's financial problems, Hampden House suffered; cracked brickwork was not repaired but rendered in cement, necessary repairs were not carried out, and general deterioration set in, until in 1938 the family decided to let the house. The first tenants were a private girls' school. The interiors suffered greatly under this regime. The second tenants, Hammer film company, specialising in the making of horror films, no doubt saw the gothic aspects of the house as an attraction as they appeared in many of their films, and notably the 1980 "Hammer House of Horror" UK TV series and 1984s Hammer House of Mystery and Suspense.

Salvation for Hampden House finally came with its freehold sale, to Market Run-off Services, now Hampden Plc, a Specialist Insurance and Financial Support Services company, which between 1986 and 1989 executed a huge programme of essential rebuilding. The magnificent state rooms were restored to their former glory, while the unseen upper floors and service areas were converted to internally modern offices. These offices have since been converted to luxurious bedrooms.

The house and grounds are still used occasionally for filming, and though not open to the public, the state rooms are available for hire as a wedding venue Hampden Weddings. The estate also boasts a driven pheasant shoot voted one of the twenty best in England by 'The Field' magazine The building is a Grade I listed building.

title: Hampden House


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User talk:Kyriacos

Lab 3 - 22/10/2004
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Kyriacos 10:16, 22 Oct 2004 (UTC)

Deletion of Neo Chorio article
JamesBWatson (talk) 14:22, 30 March 2011 (UTC)

title: User talk:Kyriacos