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Beckman Institute for Advanced Science and Technology

The Beckman Institute for Advanced Science and Technology is a unit of the University of Illinois Urbana-Champaign dedicated to interdisciplinary research. A gift from scientist, businessman, and philanthropist Arnold O. Beckman (1900–2004) and his wife Mabel (1900–1989) led to the building of the Institute which opened in 1989. It is one of five institutions which receive support from the Arnold and Mabel Beckman Foundation on an ongoing basis. Current research at Beckman involves the areas of molecular engineering, intelligent systems, and imaging science. Researchers in these areas work across traditional academic boundaries in scientific projects that can lead to the development of real-world applications in medicine, industry, electronics, and human health across the lifespan.

History
The Beckman Institute for Advanced Science and Technology has its origins in a 1983 meeting in which chancellor John E. Cribbet, Theodore L. Brown, Mort Weir, Lewis Barron and Ned Goldwasser strategized about approaching private sources to fund new large-scale science projects and centers on the University of Illinois campus. Two committees were formed, chaired by William T. Greenough (psychology) and Greg Stillman (electrical and computer engineering) (later Karl Hess) to develop ideas for a broadly multidisciplinary research facility. Thomas Eugene Everhart, who succeeded Cribbet as chancellor in 1984, and Sarah Wasserman, assistant vice-chancellor for research, helped Brown and Weir to review and develop the final proposal. The committee reports were combined to propose an institute with two main divisions, a center for biology, behavior, and cognition, and another center for materials science, computers and computation. The institution's research program would explore intelligence in the broadest possible sense, extending "from artificial systems invented by man to natural systems found in the biological world".

Arnold Beckman was approached with the proposal by university president Stanley lkenberry, Lew Barron, and Mort Weir. Beckman estimated that the proposal would require the unprecedented sum of $50 million. On October 5, 1985, the university officially announced that Arnold and Mabel Beckman had made the largest donation ever given to a public university at that time – $40M, with a $10M supplement from the state of Illinois – to build a research center at Illinois that would encourage scientists and engineers from different disciplines to work together. By December 10, 1985, the university had chosen the architectural firm of Smith, Hinchman and Grylls (SH&G) (now SmithGroup) and architectural designer Ralph Youngren for the project. A symbolic ground-breaking ceremony took place October 10, 1986. Theodore L. Brown, who had been actively involved in the project as vice chancellor for research and graduate dean, became the first director of the institute as of March 12, 1987. William T. Greenough and Karl Hess became associate directors, with half-time appointments, in the fall of 1987.

By December 1988, the building was sufficiently advanced that faculty groups could begin to move in. Administrative offices were temporarily located in the basement. An official inauguration ceremony was held on April 7, 1989, to open the Beckman Institute for Advanced Science and Technology as one of the first research centers in the world dedicated to interdisciplinary research. Theodore L. Brown was succeeded as director in the summer of 1993 by chemist Jiri Jonas. Jiri Jonas was the Beckman Institute Director from 1993 to 2001; he was succeeded by Pierre Wiltzius, Beckman Institute Director from 2001 to 2008; Tamer Başar, Interim Director from 2008 to 2009; Arthur F. Kramer, Director from 2010 to 2016; Jeffrey S. Moore, Director from 2016 to 2022; and Nadya Mason, Director as of 2022.

According to the 2013–2014 Annual Report of the Beckman Institute for Advanced Science and Technology, more than 200 faculty members from 11 colleges and over 50 different departments are involved in the Beckman Institute. They work with postdoctoral and research scientists, and graduate and undergraduate students doing science in a wide variety of areas.

Research
Scientific exploration at the Beckman Institute is centered around three broad research themes: Intelligent Systems, Integrative Imaging, and Molecular Science and Engineering.

The Intelligent Systems research theme (IntelSys) is a merging of two older themes (Biological Intelligence and Human-Computer Intelligent Interaction). The theme is comprehensive in scope, as researchers seek to understand the brain, cognition, and behavior from the molecular and cellular levels to higher cognitive functions such as memory, attention, and decision making. It also includes technology research such as computer vision, event-related optical signal and speech recognition.

The Integrative Imaging (IntIm) research theme is geared toward the interdisciplinary discovery of fundamental principles in imaging science, and developing new technologies for the next generation of imaging instruments and novel techniques for basic and translational research. Many researchers in the IntIm theme are working on biomedical applications, using ultrasound, magnetic resonance imaging, biophotonics, or medical optical imaging.

The Molecular Science and Engineering (MSE) research theme brings together scientists from biology, engineering, physics and chemistry, to study molecular structures and processes. The MSE research portfolio includes molecular engineering, self-healing materials, and computational biophysics (such as NAMD).

Notable faculty
Tenure-track or tenured faculty members of the University of Illinois Urbana-Champaign are eligible to become members of the Beckman Institute. Prominent members of the Beckman Institute have included:
 * Narendra Ahuja, computer vision
 * Tamer Başar, interim Director
 * Rashid Bashir, bionanotechnology
 * J. Kathryn Bock, psycholinguistics
 * Stephen A. Boppart, biophotonics
 * Martin D. Burke, chemistry
 * Kathryn B. H. Clancy, anthropology
 * Neal J. Cohen, memory systems and neuroscience
 * Jennifer S. Cole, linguistics
 * Brian T. Cunningham, biosensor engineering
 * Minh Do, signal and image processing
 * Gregory S. Girolami, chemistry
 * William T. Greenough, neuroscience
 * Martin Gruebele, chemistry
 * Karl Hess, semiconductor physics
 * Thomas Huang, image formation and processing
 * Douglas L. Jones, image and signal processing
 * Arthur F. Kramer, cognitive aging and neuroscience
 * Paul Lauterbur, magnetic resonance imaging
 * Jean-Pierre Leburton, nanotechnology
 * Stephen E. Levinson, robotics
 * Jennifer A. Lewis, directed assembly of soft functional materials
 * Zaida Luthey-Schulten, molecular dynamics simulation
 * Nadya Mason, physics
 * Jeffrey S. Moore, materials chemistry
 * Catherine J. Murphy, chemistry
 * Gabriel_Popescu_(scientist), quantitative phase imaging
 * Richard Powers, novelist
 * John A. Rogers, soft electronics
 * Justin Rhodes, neurobiology
 * Klaus Schulten, computational biophysics
 * Daniel Simons, psychology
 * Nancy Sottos, self-healing materials
 * Jonathan V. Sweedler, analytical chemistry
 * Scott R. White, self-healing materials
 * Liviu Mirica, chemistry

Beckman Fellowships
The Beckman Institute offers a variety of fellowship programs, which enable researchers to work for short periods of time at the Institute. Beckman Postdoctoral Fellowships are awarded to Beckman scholars who receive 3-year appointments, including both a stipend and a research budget. The first Beckman postdoctoral scholars were Efrat Shimshoni (condensed matter physics) and Andrew Nobel (information theory and statistics). Beckman Graduate Fellowships are awarded to students who are working at the master's or doctorate level. Beckman Senior Fellowships are awarded to senior faculty from other institutions.

Beckman Fellowships administered through the Beckman Institute should not be confused with those administered through the Center for Advanced Study (CAS) at the University of Urbana-Champaign. The CAS awards a series of Beckman Fellowships and Beckman Research Awards which support faculty at Urbana-Champaign in their research activities. These awards were funded through an endowment from Arnold and Mabel Beckman, given in the late 1970s, prior to the establishment of the Beckman Institute. They are administered separately and are awarded throughout the university, not just within the sciences.

Research services
The Beckman Institute hosts two major core research facilities. The Biomedical Imaging Center (BIC) includes the Magnetic Resonance Imaging Laboratory, the Molecular Imaging Laboratory, and the Ultrasound Imaging Laboratory. The Imaging Technology Group includes the Microscopy Suite and the Visualization Laboratory.

Beckman Open House
The Beckman Open House is a biennial event that is held in conjunction with UIUC Engineering Open House which is usually the second weekend in March.


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Florianturm

The Florianturm (Florian Tower, Florian for short) is a telecommunications tower and landmark of Dortmund (Germany). It is named after St. Florian, the patron saint of gardeners.

The Florianturm is the TV tower of Dortmund and was built in 1959 as an attraction for a federal horticultural show with a height of 219.6 m. At the time it was briefly the highest freestanding structure in Germany.

The tower was constructed similarly to a high concrete chimney. It consists of a reinforced concrete tube, which tapers off as it rises, reaching a height of 129.75 m. At 130.6 m there is a building part with two floors. On the lower floor there are operation rooms and on the upper floor at 137.54 m there is a revolving restaurant. At 141.88 m and 144.7 m there are two observation decks.

On the upper observation deck there are installations and aerials of Deutsche Telekom. Since 1959 it has been used for transmitting television signals.

On 7 September 2004, a Russian helicopter was used to replace the aerial. Since then, a 50-kilowatt transmitter has transmitted digital terrestrial television programmes for the Dortmund area.

Since 7 September 2004, the Florianturm has a height of 208.56 m, making it the fourteenth highest structure in Germany.

From 1996 to 1998, the tower was renovated and safety standards were brought up to date.

In 2000, a catwalk for bungee jumping was opened on the upper platform. It was closed in 2003 after a fatal accident and was removed in July 2008.

Data

 * Architect: Will Schwarz, Dortmund
 * Construction time: May 1958 – April 1959
 * Depth of basement: 8.10 m, the lowest part of the substructure is 110.3 m above sea level
 * Diameter of basement: 25 m
 * Thickness of basement plate: 2.5 m
 * Total weight: approx. 7,700 t
 * Volume of cement: approx. 1,385 t
 * Total weight of concrete: approx. 3,400 m³
 * Total weight of steel: approx. 660 t
 * Stability ratio: 3.5x

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

title: Florianturm


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Sonic Labyrinth

Sonic Labyrinth (ソニックラビリンス) is an action-puzzle game developed by Minato Giken and published by Sega for the Game Gear in 1995. The game features Sonic the Hedgehog exploring maze-like stages from an isometric perspective. Dr. Robotnik has robbed Sonic of his trademark speed, so Sonic walks slowly but can roll into a ball and dash across the stages.

Upon release, critical reception to the game was mixed: many critics found the game a unique addition to the Sonic library but flawed by convoluted controls and repetitive gameplay. In retrospect, however, it has received generally negative reviews and is considered among the worst Sonic games ever released. Despite this, the game has been re-released multiple times in the following years.

Gameplay
Sonic Labyrinth is an action and puzzle game with pinball elements. It is presented in an isometric perspective, and has been compared to Marble Madness. Series villain Dr. Robotnik has tricked Sonic the Hedgehog into wearing special shoes designed to rob him of his speed, so Sonic must collect the Chaos Emeralds to release the shoes from his feet.

The player controls Sonic, navigating him through maze-like stages filled with enemies and obstacles that hinder his path. Sonic walks uncharacteristically slowly, but can roll into a ball and dash across the levels to take out enemies and avoid danger. This spin dash move can be charged for extra speed and damage. Sonic must collect three keys in each stage and bring them to the goal to advance to the next level. Sometimes the keys may be hidden within enemies. The game has four zones, each containing three stages. After each set of three stages, there is a bonus round of collecting rings and a boss battle. Collecting 100 rings in the bonus round will net the player an extra life. A time attack mode is also available.

Development and release
Sonic Labyrinth was developed by Minato Giken, and published by Sega. It was released in Japan on 17 November 1995, in North America that November, and in Europe around October or November. The game was included in Sonic Adventure DX (2003) as an unlockable bonus, and in the compilation Sonic Mega Collection Plus (2004). It was rereleased for the Nintendo 3DS on the Japanese eShop digital distribution platform on 16 May 2012. It was later released in Europe on 10 May 2012, and in North America on 17 June 2013. The North American release came as part of a campaign by Nintendo to release 8-bit games on the 3DS eShop following a drought of releases on the distribution service. The game does not take advantage of the system's 3D stereoscopic functionality.

Reception
Critical reception to Sonic Labyrinth was mixed. Multiple reviewers wrote about difficulties controlling Sonic as he bounced wildly around the levels. Mean Machines Sega wrote that "you can get through each level with a bit of practise but you're left wondering how you did it." Electronic Gaming Monthly (EGM) did not like the game's isometric perspective, thinking it contributed to problems directing Sonic around. GamePro wrote that small screen made it occasionally difficult to see what was occurring. They did like the graphics however, as did EGM and Mean Machines Sega, the latter which thought they echoed the graphics of SegaSonic the Hedgehog (1993).

Reflecting their positive thoughts, Mega Fun thought Sonic Labyrinth featured innovative gameplay. GamePro and Famitsu both compared the game to Marble Madness. Sega Magazin thought the game was challenging with sophisticated level design. GamePro believed it was the most interesting of the recent Sonic additions to the Game Gear library. One reviewer at Mean Machines Sega thought it was a good puzzle game to play in short segments, and may be worth the time for fans of Sonic games, pinball, or puzzles. However another critic from the same magazine thought the game was frustrating and repetitive. EGM also thought the game became repetitious after a few levels and would be boring for more experienced players, although Sonic fans may enjoy it. They concluded their thoughts writing: "This title overall tried to mix the standard side-scrolling Sonic game with a worthless pinball title and failed. In turn, this one just comes up short in both playability and enjoyment, causing boredom after the first few stages."

Retrospectively, reception has been negative and is frequently described as one of the worst Sonic games. In a retrospective review, Nintendo Life gave the game a "poor" 4 out of 10 score. They criticized the controls and illogical level design, and the start-stop nature of the gameplay. They also wrote about Sonic's lack of speed when walking on foot, which they thought was baffling for a Sonic game. USgamer called it "a poor man's version of Marble Madness, taking the worst of that game and the worst of Sonic and cramming it into one title. Absolutely dire." Nintendo World Report called it "a demented version of Sonic 3D Blast", drawing similarities through its isometric style. Official Nintendo Magazine called it "a dreadful game with an identity crisis" and "one of the worst Sonic games ever".

title: Sonic Labyrinth


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Talk:Zenna Henderson

See the discussion at http://groups-beta.google.com/group/rec.arts.sf.written/browse_thread/thread/84205c876d03e162

Somebody had added to this page a paragraph about "there were no black characters in Henderson's stories", "there weren't many Jewish characters", etc. I'm certain the person who wrote that was well-meaning, but it would be a hopeless and thankless talk to try to use Wikipedia to chronicle all the things that writers did NOT write about. It seems best to discuss what a writer actually DID write about it. I've noticed that Spike Lee's movies never have any Swedish characters, nor do they ever seem to depict pastry chefs from Belize. But I don't think Spike Lee is racist any more than I think Henderson was, and I don't think such observations are worthwhile in what is intended as an objective, accessible Wikipedia encyclopedia entry.

 * I wrote that. The reason I added it in was that Henderson's anti-Semitism clashes badly with her overall theme advocating understanding and tolerance of those who are different. She didn't just "not put in many Jewish /Mexican /whatever characters", it was the fact that her few ethnic characters were revolting stereotypes. It's an observation, I admit, and if it isn't NPOV enough it should be removed. I thought it was relevant because it illustrates the gap between Henderson's aspirations and her actual views. Like her acidulous observations of her teaching colleagues in "The Anything Box" and "You Know What, Teacher?", or her many stories that start out "I don't like children", her hatred of minorities was something she obviously fought for a lifetime to control. People who think of Henderson as all sweetness and light with those People stories should read the rest of her stuff. --Bluejay Young 21:02, August 17, 2005 (UTC)

I reverted back to the paragraph discussing racial issues. Any controversy and issues about this subject belongs on the discussion page prior to removing large amounts of text. I'm afraid deciding material "doesn't belong" in the encyclopedia excludes differeing points of view. I would encourage discussion about this -- I love her work, but she wasn't all sweetness and light and deserves a deeper realistic portrayal. WBardwin 03:24, 19 August 2005 (UTC)

With all due respect to Bluejay Young, whose views I'm certain are heartfelt, what he is saying about Zenna Henderson having a "hatred of minorities" or writing characters who are "revolting stereotypes" simply isn't supportable from her actual work. Henderson's body of work is collected into a few books which are relatively easy to find in libraries or purchase from used bookstores. If there's no actual support for these statements, they should be excluded from this article, as per Wikipedia's guidelines that work here should be verifiable and supportable by published evidence. I think we have no way of knowing what Henderson's real views were in life, but unless we can support claims or racial hatred or stereotyping with something - anything - that she wrote, whether in available personal letters or in any of her published writing, stories, books, etc., then these sentences simply have no place here. Henderson's stories explicitly draw upon Jewish stories and themes, as with the names and plots of many of her "People" stories. Henderson never criticized Judaism or Jews in any of her writing. Where somebody got the idea that there is "anti-Semitism" in Henderson's work, I just don't understand.

 * Read "Sharing Time", in the Holding Wonder collection. --Bluejay Young 04:36, 3 October 2005 (UTC)

"An early editorial review commented that her in-depth treatment of the People's practices indicated a "more intimate knowledge" than she had publicly admitted." A more intimate knowledge of what, psychic abilities? That would be very interesting. Somewhere I seem to remember reading that Henderson had some contact with Rhine, but I can scarcely believe this. I may be confusing her with someone else (James Tiptree Jr.?). --Bluejay Young 02:49, 6 June 2006 (UTC)

Merwin's Comments
How could Sam Merwin have mentioned her as "up and coming" a year and more before her first story. From the article: "In an essay on the increase in women authors of science fiction in 1950, Sam Merwin mentioned her as an up-and-coming woman SF writer.[7]:250 Her first story was published in The Magazine of Fantasy & Science Fiction in 1951."[7]:253. Can whoever posted the link check? Sir Rhosis (talk) 02:32, 30 May 2020 (UTC)
 * I've checked the source on the Internet Archive, and the article text is correct. Here is the source text:

"'Sam Merwin, Jr., editor of Thrilling Wonder Stories, noted in a December 1950 editorial ... that there was a 'Great Invasion' underway of women writers into science fiction.'[p.249]; 'Some of the newcomers Merwin praised and welcomed were destined for fame. Among them were ... Zenna Henderson.'[p.250]; 'The Magazine of Fantasy and Science Fiction published 183 stories by 64 different women, including debut stories by ... Zenna Henderson (1951) ...'[p.253]."
 * It's possible that Merwin may have read Henderson's first story in 1950 before it was published in 1951. —Bruce1eetalk 07:38, 30 May 2020 (UTC)
 * Also, have a look at the inline comments in that paragraph in the article (go into edit mode). That may explain what happened. —Bruce1eetalk 07:43, 30 May 2020 (UTC)

 * I see. Thank you.  Sir Rhosis (talk) 08:53, 30 May 2020 (UTC)

Zenna Henderson's religion
In the discussion of her religious practice, this article (correctly) states that "During her later years, she attended an independent charismatic fellowship". This is sourced to a couple of Usenet posts from 2014 by Bill Patterson, to which someone has appended the tag "better source needed."

The Bill Patterson who wrote those posts was the late William H. Patterson, Jr., a well-known science fiction historian, author of a two-volume biography of Robert A. Heinlein, and a founder of the Heinlein Society. Bill's father was an evangelical minister in southern Arizona and Zenna Henderson was, in her later years, a member of his church. Obviously a Usenet post is an informal source, but I think Patterson on this particularly subject is as good a source as any number of sources that don't get the "better source needed" tag stuck onto them.

title: Talk:Zenna Henderson


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Arroz a la cubana

Arroz a la cubana ("Cuban-style rice") or arroz cubano is a rice dish popular in Spain, the Philippines, and parts of Latin America. Its defining ingredients are rice and a fried egg. A fried banana (plantain or other cooking bananas) and tomato sauce (sofrito) are so frequently used that they are often considered defining ingredients too.

Despite the name, the dish does not exist in Cuban cuisine and its origins are not definitively known. It may possibly originate from a Spanish misinterpretation of common Cuban meals of eating rice with stews and a fried egg when Cuba was still a Spanish colony.

Spain
In Spain, a typical dish of arroz a la cubana consists of a serving of white rice with tomato sauce (sofrito) and a fried egg. While the most traditional recipe includes a fried plantain (plátano), it is also common to find the recipe using sausages and bacon.

Philippines
In the Philippines, arroz a la cubana has been eaten in the Philippines since Spanish colonial times. Like in other versions, it comes with white rice, fried egg, and some ripe fried cardava or saba banana, sliced length-wise.

It differs significantly from the Spanish and Latin American versions in that instead of a sofrito, it always includes ground meat (giniling, usually beef) in tomato sauce. This component is typically cooked picadillo-style, with minced potatoes, carrots, raisins, peas, onions, garlic, and other ingredients in a tomato-based sauce seasoned with patis (fish sauce), soy sauce, and sometimes chilis.

A regional variant of arroz a la cubana is arroz de Calamba from Calamba, Laguna. It differs in that it is served with strips of smoked fish (tinapa).

Peru
In Peru, it is common for the dish to consist of white rice, fried plantain, a fried hot-dog wiener, and a fried egg over the white rice.

title: Arroz a la cubana


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Ratagnon language

Ratagnon (also translated as Latagnon or Datagnon, and Aradigi) is a regional language spoken by the Ratagnon people, an indigenous group from Occidental Mindoro. It is a part of the Bisayan language family and is closely related to other Philippine languages. Its speakers are shifting to Tagalog. In 2000, there were only two to five speakers of the language. However, in 2010 Ethnologue had reported there were 310 new speakers.

Classification
Ratagnon is closely related to the Cuyonon language, a Bisayan language spoken in the Cuyo Archipelago just to the south of Mindoro.

This may be brought about by migrations of Cuyonons to the southern tip of Mindoro, akin to their migrations to mainland Palawan, a very much gradual process. It could be inferred that these migrations happened at an earlier date before the migrations to mainland Palawan started (around the mid- to late 19th century) due to its diversion from the Cuyonon language (Given that Ratagnon descended from an older language spoken in the general area West of Panay, Ratagnon and Cuyonon are classified under Kuyan), whereas the Cuyonon of mainland Palawan, Calamian and that of the Cuyo itself remain the same language with relatively little dialectal difference.

Distribution
According to the Ethnologue, Ratagnon is spoken in the southernmost extreme tip of Mindoro islands, including the municipalities of Magsaysay and Bulalacao.
 * Magsaysay, Occidental Mindoro
 * Bulalacao, Oriental Mindoro

lists the following locations.
 * lower Caguray River near Santa Teresa, Magsaysay, Occidental Mindoro
 * San Nicolas, Magsaysay, Occidental Mindoro
 * Bamban, Magsaysay, Occidental Mindoro

Vocabulary
Barbian (1977) provides lexical and phonological data for Ratagnon. In contrast to Cuyonon, Ratagnon dropped the schwa sound, instead opting for a u/o sound. It too borrowed lexical terms from the languages of its Mangyan neighbors and to a lesser extent Spanish It is notable in Barbian's Mangyan – English Vocabulary, Ratagnon might have already experienced heavy Tagalization, present in words such as 'heart', tagiposon in Cuyonon, albeit puso in Ratagnon, same with Tagalog's puso. The word 'why', ayamo in Cuyonon, is noted as bakit and basi in Ratagnon, bakit (bakin + at) being a loan from Tagalog, and basi, a Hanunuo Ambahan term (hayga being non-Ambahan), perhaps inferring that basi is a loan from Ratagnon, as Ambahans have been known to use archaic Hanunuo terms and loans from various languages, one being Ratagnon. This phenomenon is also observed in the Hanunuo traditions of Urukay, perhaps closely related to the Erekay of the Cuyonons, both being a form of Balagtasan. Ratagnon also has terms specific to the lowland river surroundings which are not present in modern Cuyonon, most of which are borrowings from Hanunuo and Buhid, whereas a few are either archaic Cuyonon terms or innovations made within the Ratagnon language. Aside from the aforementioned differences from the Cuyonon language, the two languages are still very much mutually intelligible.

Differences from Cuyonon include:

The usage of the t sound over the d sound, present in:

Usage of the k sound over the g sound: The aforementioned dropping of the schwa for the u sound present in: The preference for the l over the r sound: There are some words that differ in meaning between Cuyonon and Ratagnon; this is most notable in terms specific to their respective surroundings, which has created false friends with almost the same, yet different, meanings.

title: Ratagnon language


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Neurophenomenology

Neurophenomenology refers to a scientific research program aimed to address the hard problem of consciousness in a pragmatic way. It combines neuroscience with phenomenology in order to study experience, mind, and consciousness with an emphasis on the embodied condition of the human mind. The field is very much linked to fields such as neuropsychology, neuroanthropology and behavioral neuroscience (also known as biopsychology) and the study of phenomenology in psychology.

Overview
The label was coined by C. Laughlin, J. McManus and E. d'Aquili in 1990. However, the term was appropriated and given a distinctive understanding by the cognitive neuroscientist Francisco Varela in the mid-1990s, whose work has inspired many philosophers and neuroscientists to continue with this new direction of research.

Phenomenology is a philosophical method of inquiry of everyday experience. The focus in phenomenology is on the examination of different phenomena (from Greek, phainomenon, "that which shows itself") as they appear to consciousness, i.e. in a first-person perspective. Thus, phenomenology is a discipline particularly useful for understanding how it is that appearances present themselves to us and how it is that we attribute meaning to them.

Neuroscience is the scientific study of the brain, and deals with the third-person aspects of consciousness. Some scientists studying consciousness believe that the exclusive utilization of either first- or third-person methods will not provide answers to the difficult questions of consciousness.

Historically, Edmund Husserl is regarded as the philosopher whose work made phenomenology a coherent philosophical discipline with a concrete methodology in the study of consciousness, namely the epoche. Husserl, who was a former student of Franz Brentano, thought that in the study of mind it was extremely important to acknowledge that consciousness is characterized by intentionality, a concept often explained as "aboutness"; consciousness is always consciousness of something. A particular emphasis on the phenomenology of embodiment was developed by philosopher Maurice Merleau-Ponty in the mid-20th century.

Naturally, phenomenology and neuroscience find a convergence of common interests. However, primarily because of ontological disagreements between phenomenology and philosophy of mind, the dialogue between these two disciplines is still a very controversial subject. Husserl himself was very critical towards any attempt to "naturalizing" philosophy, and his phenomenology was founded upon a criticism of empiricism, "psychologism", and "anthropologism" as contradictory standpoints in philosophy and logic. The influential critique of the ontological assumptions of computationalist and representationalist cognitive science, as well as artificial intelligence, made by philosopher Hubert Dreyfus has marked new directions for integration of neurosciences with an embodied ontology. The work of Dreyfus has influenced cognitive scientists and neuroscientists to study phenomenology and embodied cognitive science and/or enactivism. One such case is neuroscientist Walter Freeman, whose neurodynamical analysis has a marked Merleau-Pontyian approach.

title: Neurophenomenology


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Slave patrol

Slave patrols—also known as patrollers, patterrollers, pattyrollers, or paddy rollers —were organized groups of armed men who monitored and enforced discipline upon slaves in the antebellum U.S. southern states. The slave patrols' function was to police slaves, especially those who escaped or were viewed as defiant. They also formed river patrols to prevent escape by boat.

Slave patrols were first established in South Carolina in 1704 and the idea spread throughout the colonies before their use ended following the Civil War.

Formation of slave patrols
Slave patrols first began in South Carolina in 1704 and spread throughout the thirteen colonies, lasting well beyond the American Revolution. As colonists enslaved more Africans and the population of enslaved people in South Carolina grew, especially with the invention of the cotton gin, so did the fear of slave uprisings. They developed slave patrols when other means of slave control failed to quell enslaved people's resistance. Their biggest concern was how to keep enslaved people on the plantations being held against their will, since that is where enslaved populations were highest. Initially, slave owners offered incentives to the non slave owning whites, such as tobacco and money, to urge them to be more vigilant in the capture of runaway slaves. When this approach failed, slave patrols were formally established. Legislators introduced laws that enlisted white people in the regulation of enslaved people's activities and movement. Black people were subjected to questioning, searches, and other harassment. Slaves who were encountered without passes from their white "master" were expected to be returned to their owners, as stated in the slave code. If caught by patrols and returned to their masters, punishments included whippings and other physical violence, and the threat of being placed on the auction block and sold away from their families, an option for masters who no longer wanted to deal with "non-compliant" slaves.

State militias as patrollers
Slave owners feared gatherings held by enslaved people would allow them to trade or steal goods, and had the potential for organizing a revolt or rebellion. South Carolina and Virginia selected patrols from state militias. State militia groups were also organized from among the cadets of the Southern military academies, of The Citadel and the Virginia Military Institute, which were founded to provide a military command structure and discipline within the slave patrols and to detect, encounter, and crush any organized slave meetings that might lead to revolt or rebellion.

Slave codes and fugitive slave laws
The Fugitive Slave Laws helped enforce the necessity for slave patrols to abide by the law. Although these laws were initially created to keep tensions low between the north and the south, it caused the physical formation of slave patrols. During the Civil War, the theory of Contraband prevented the return of Southern slaves who reached Union-held territory. This helped limit the role of slave patrols/catchers and changed the war. Another form of help for slaves was the Underground Railroad, which aided slaves in their escape to Northern states. Outside of the Underground Railroad, enslaved Black people went further south to ensure their freedom. Black people also formed their own organized networks and means of escape from slavery to Florida, where Black people negotiated with Native Americans and the Spanish government, and were able to live self-determined and free lives. Formerly enslaved people formed their own towns, military, and merged with the Florida population as Seminoles. Formerly imprisoned Europeans, Irish immigrants, and other former institutionalized Europeans were immigrated through race-based policies to found the state of Georgia. They were partially recruited to form a buffer state to stop enslaved Black people from escaping from the Carolinas, Georgia, and Virginia to Florida. Slave patrols in Georgia were formed for this purpose. Free Black cities and armed and trained Black militaries in Florida were a direct challenge to White dominance and profits in slave-owning states. The concept of self-determined freedom was also a direct challenge to the concept that Whites should rule and to the institution of slavery. Slave patrols and plantation police were organized by Whites as legal and extra-legal means to stop this from occurring.

The use and physical formation of slave patrols came to its end in 1865 when the Civil War ended. This end, however, is linked to post-Civil War groups such as the Ku Klux Klan, which continued to terrorize and threaten the black community. In South Carolina, colonists began to write laws that constricted slaves long before slave patrols were alive and well. Laws implemented set in motion curfews for slaves, strengthening their militia, preventing slaves from bartering goods, and establishing the Charleston town watch. These are examples of some of the laws and ideas that molded what we know as slave codes.

Patrollers' duties
Slave patrollers had their own characteristics, duties, and benefits, apart from slave owners and overseers. Patrollers were often equipped with guns and whips and would exert force in order to bring slaves back to their owners.

At times, black people developed many methods of challenging slave patrolling, occasionally fighting back violently. The American Civil War developed more opportunities for resistance against slave patrols and made it easier for enslaved people to escape. Slave patrol duties started as breaking up slave meetings.

Slave meetings included religious ones. Laws were passed, particularly around the 1820's and 1830's, that made religious gatherings of slaves and free blacks "unlawful assemblies." For example, Virginia passed a law in 1819 that banned any nighttime meetings of free blacks and slaves. South Carolina's law, by 1840, banned meetings at night for "mental instruction or religious worship," whether whites were present or not. In 1831, Mississippi made it unlawful for free blacks or slaves to "preach the gospel."

These slave meetings occurred on holidays, in which they would plan revolts and uprisings. Eventually, slave patrols expanded to be year-round, not just on holidays. Slowly, new duties and rights of patrollers became permitted, including: "apprehending runaways, monitoring the rigid pass requirements for Blacks traversing the countryside, breaking up large gatherings and assemblies of blacks, visiting and searching slave quarters randomly, inflicting impromptu punishments, and as occasion arose, suppressing insurrections."

Slave patrols consisted mostly of white citizens. Most people in slave patrols came from working and middle-class conditions. In some southern states, the militia and army served as slave patrols. In other southern states, slave patrols came about from colonial or state government legislation. Slave patrols typically rode on horseback in groups of four or five, sometimes even in family groups. They often worked sun-up to sun-down and varied their times and locations of patrol, to lower the chances of slaves escaping. They used no special equipment. Their chief tools, instead, were whips and intimidation..

Some states required every white man to arrest and chastise any slave found away from his home without proper authorization. In colonial South Carolina, failure to do so incurred a fine of forty shillings. Recaptured slaves were returned to their masters. In some instances, white men encouraged slaves to escape in order to collect rewards for catching them. In some areas, killing a slave was not considered a crime by the courts or community.

Slave patrollers were compensated in several ways, including exemption from public, county, and parish taxes and fees during their terms of service. In addition, some patrollers were paid additional sums with surplus money.

Also, regardless of the power patrollers held, they had limitations. For example, although whippings and beatings were permitted, a deterrent also existed. This was that, if whipped or beaten too severely, the slave was then of no use to their masters as laborers the next day. As a consequence, overly-brutal patrollers could expect retaliation from slave owners.

American Civil War
The Civil War, which lasted four years, directly threatened the very existence of slavery and, in turn, slave patrols. The first year after the Civil War began, slave patrols increased. Confederates were expecting slave revolts, which inspired them to appoint more patrols. As the war dragged on, more and more White men were being called upon to serve in the Confederate army. White men who would have served in slave patrols had they remained in their communities, went to serve in the Confederate army. Some young men who were turned away by the army, mostly for medical reasons, ended up taking places within the slave patrols. As slave owners entered the Confederate army, some slaves lost the shield they once had to protect them from the harsh and brutal beatings.

After the Emancipation Proclamation, the increasing number of White men being called to the militias of the South in 1862 and 1863 resulted in many slave patrols simply not having enough men to be as active as they once were. As the Union army moved into local areas and communities, the likelihood that enslaved people that could flee to the areas controlled by the Union increased. Slaves who were considered obedient started to disappear in the night, running toward the Union army to emancipate themselves.

Reconstruction
With the war lost, Southern Whites' fears of African Americans increased in 1865 due to Reconstruction governments that were perceived as oppressive to the South. Even though slavery and patrols were legally ended, the patrol system still survived. Almost immediately in the aftermath of the war, informal patrols sprang into action. Later, city and rural police squads, along with the help of Union army officers, revived patrolling practices among free men. During the post-Civil War Reconstruction period of 1865–1877, old-style patrol methods resurfaced and were enforced by postwar Southern police officers and also by organizations such as the Ku Klux Klan.

title: Slave patrol


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Japanese Paleolithic

The Japanese Paleolithic period (旧石器時代) is the period of human inhabitation in Japan predating the development of pottery, generally before 10,000 BC. The starting dates commonly given to this period are from around 40,000 BC, with recent authors suggesting that there is good evidence for habitation from c. 36,000 BC onwards. The period extended to the beginning of the Mesolithic Jōmon period, or around 14,000 BC.

The earliest human bones were discovered in the city of Hamamatsu in Shizuoka Prefecture, which were determined by radiocarbon dating to date to around 18,000–14,000 years ago.

Archaeology of the Paleolithic period
The study of the Paleolithic period in Japan did not begin until quite recently: the first Paleolithic site was not discovered until 1946, right after the end of World War II. Due to the previous assumption that humans did not live in Japan before the Jōmon period, excavations usually stopped at the beginning of the Jōmon stratum (14,000 BC), and were not carried on further. However, since that first Paleolithic find by Tadahiro Aizawa, around 5,000 Paleolithic sites have been discovered, some of them at existing Jōmon archaeological sites, and some dating to the Pleistocene era. Sites have been discovered from southern Kyushu to northern Hokkaido, but most are small and only stone tools have been preserved due to the high acidity of the Japanese soil. As the Paleolithic peoples probably occupied the wide coastal shelves exposed by lower sea levels during the Pleistocene, the majority of sites are most likely inundated.

The study of the Japanese Paleolithic period is characterized by a high level of stratigraphic information due to the volcanic nature of the archipelago: large eruptions tend to cover the islands with levels of Volcanic ash, which are easily datable and can be found throughout the country as a reference. A very important such layer is the AT (Aira-Tanzawa) pumice, which covered all Japan around 21,000–22,000 years ago.

In 2000, the reputation of Japanese archaeology of the Paleolithic was heavily damaged by a scandal, which has become known as the Japanese Paleolithic hoax. The Mainichi Shimbun reported the photos in which Shinichi Fujimura, an amateur archaeologist in Miyagi Prefecture, had been planting artifacts at the Kamitakamori site, where he "found" the artifacts the next day. He admitted the fabrication in an interview with the newspaper. The Japanese Archaeological Association disaffiliated Fujimura from its members. A special investigation team of the Association revealed that almost all the artifacts which he had found were his fabrication.

Since the discovery of the hoax, only a few sites can tentatively date human activity in Japan to 40,000–50,000 BC, and the first widely accepted date of human presence on the archipelago can be reliably dated c. 35,000 BC. One of the most important sites dating to these times is Lake Nojiri, which dates to 37,900 years Before Present (~36,000 BC), which shows evidence of butchery of two of the largest extinct megafauna species native to Japan, the elephant Palaeoloxodon naumanni, and the giant deer Sinomegaceros yabei.

Ground stone and polished tools
The Japanese Paleolithic is unique in that it incorporates one of the earliest known sets of ground stone and polished stone tools in the world, although older ground stone tools have been discovered in Australia. The tools, which have been dated to around 30,000 BC, are a technology associated in the rest of the world with the beginning of the Neolithic around 10,000 BC. It is not known why such tools were created so early in Japan.

Because of this originality, the Japanese Paleolithic period in Japan does not exactly match the traditional definition of Paleolithic based on stone technology (chipped stone tools). Japanese Paleolithic tool implements thus display Mesolithic and Neolithic traits as early as 30,000 BC.

Paleoanthropology
The Paleolithic populations of Japan, as well as the later Jōmon populations, appear to relate to an ancient Paleo-Asian group which occupied large parts of Asia before the expansion of the populations characteristic of today's people of China, Korea, and Japan.

During much of this period, Japan was connected to the Asian continent by land bridges due to lower sea levels. Skeletal characteristics point to many similarities with other aboriginal people of the Asian continent. Dental structures are distinct but generally closer to the Sundadont than to the Sinodont group, which points to an origin among groups in Southeast Asia or the islands south of the mainland. Skull features tend to be stronger, with comparatively recessed eyes. According to “Jōmon culture and the peopling of the Japanese archipelago” by Schmidt and Seguchi, the prehistoric Jōmon people descended from a paleolithic populations of Siberia (in the area of the Altai Mountains). Other cited scholars point out similarities between the Jōmon and various paleolithic and Bronze Age Siberians. There were likely multiple migrations into ancient Japan.

According to Mitsuru Sakitani, the Jōmon people were an admixture of two distinct ethnic groups: A more ancient group (carriers of Y chromosome D1a) that were present in Japan since more than 30,000 years ago and a more recent group (carriers of Y chromosome C1a) that migrated to Japan about 13,000 years ago (Jomon).

Genetic analysis on today's populations is not clear-cut and tends to indicate a fair amount of genetic intermixing between the earliest populations of Japan and later arrivals (Cavalli-Sforza). It is estimated that modern Japanese have about 10% Jōmon ancestry.

Jōmon people were found to have been very heterogeneous. Jōmon samples from the Ōdai Yamamoto I Site differ from Jōmon samples of Hokkaido and geographically close eastern Honshu. Ōdai Yamamoto Jōmon were found to have C1a1 and are genetically close to ancient and modern Northeast Asian groups but noteworthy different to other Jōmon samples such as Ikawazu or Urawa Jōmon. Similarly, the Nagano Jōmon from the Yugora cave site are closely related to contemporary East Asians but genetically different from the Ainu people, who are direct descendants of the Hokkaido Jōmon.

One study, published in the Cambridge University Press in 2020, suggests that the Jōmon people were rather heterogeneous, and that many Jōmon groups were descended from an ancient "Altaic-like" population (close to modern Tungusic-speakers, represented by Oroqen), which established itself over the local hunter gatherers. This “Altaic-like” population migrated from Northeast Asia in about 6,000 BC, and coexisted with other unrelated tribes and or intermixed with them, before being replaced by the later Yayoi people. C1a1 and C2 are linked to the "Tungusic-like people", which arrived in the Jōmon period archipelago from Northeast Asia in about 6,000 BC and introduced the Incipient Jōmon culture, typified by early ceramic cultures such as the Ōdai Yamamoto I Site.

title: Japanese Paleolithic


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Ratagnon people

Ratagnon (also transliterated Datagnon or Latagnon) is one of the eight Indigenous groups of Mangyan in the southernmost tip of Occidental Mindoro and the Mindoro Islands along the Sulu Sea. The Ratagnon live in the southernmost part of the municipality of Magsaysay in Occidental Mindoro. Their language is similar to the Visayan Cuyunon language, spoken by the inhabitants of Cuyo Island in Northern Palawan.

The Ratagnon women wear a wrap-around cotton cloth from the waistline to the knees and some of the males still wear the traditional loincloth. The women's breast covering is made of woven nito (vine). They also wear accessories made of beads and copper wire. The males wear a jacket with simple embroidery during gala festivities and carry flint, tinder, and other paraphernalia for making fire. Both sexes wear coils of red-dyed rattan at the waistline. Like many of their native Mangyan neighbors, they also carry betel chew and its ingredients in bamboo containers. Today only around 310 people speak the Ratagnon language, which is nearly extinct, out of an ethnic population of 2,000 people.

title: Ratagnon people


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Episcopal Diocese of Texas

The Episcopal Diocese of Texas is one of the dioceses of the Episcopal Church in the United States of America. The diocese consists of all Episcopal congregations in the southeastern quartile of Texas, including the cities of Austin, Beaumont, Galveston, Houston (the see city), Waco and, as of July 2022, Fort Worth and other cities within the former diocese in North Texas.

The 166 congregations in the Diocese of Texas have ministries, locally and abroad. They include: homeless and feeding ministries, clinics, after school programs for at risk youth, ministry to seniors, ESL and citizenship classes and much more. Two new churches, St. Julian of Norwich (Austin) and St. Mary Magdalene (Manor) were planted in 2010.

Institutions of the diocese include St. Vincent's House, a social service agency, in Galveston; St. David's Hospital, a healthcare system, in Austin; El Buen Samaritano, an agency to help working poor in Austin; COTS/LOTS, Community of the Streets, outreach to homeless men and women in midtown Houston; Episcopal High School, Houston; St. Andrew's Episcopal School, Austin; and the Seminary of the Southwest in Austin.

The diocese traces its foundation to Christ Church in Matagorda in 1838, when it became the first foreign missionary field of the Episcopal Church (as part of the Republic of Texas). Together with Christ Church, Houston (1839) and Trinity Church, Galveston (1841) it formed the Episcopal Church of Texas, the Episcopal presence in the Republic of Texas. It formally became a diocese of the Episcopal Church in 1849. The diocese expanded to include the territory of the Episcopal Church in North Texas in 2022.

Christ Church became the cathedral of the diocese in 1949. The current bishop is C. Andrew Doyle (born 1966). He succeeded Don Wimberly as diocesan on June 7, 2009, upon Wimberly's retirement.

Previous bishops
Missionary Bishops of Texas include Leonidas Polk and George Washington Freeman (until Texas was admitted to the Union in 1845). The diocese organized in 1849 and elected Alexander Gregg its first bishop in 1859. He served until 1893 when his coadjutor (elected to succeed), George Herbert Kinsolving, became Bishop of Texas. Kinsolving's coadjutor, Clinton Simon Quin, succeeded him 35 years later in 1928.

John Hines served as bishop coadjutor under Quin for ten years and became diocesan in 1955. Nine years later, in 1964, Hines was elected Presiding Bishop of the Episcopal Church where he served for a decade. James Milton Richardson was consecrated the fifth Bishop of Texas on February 10, 1965, and served as diocesan until his death in 1980. The sixth Bishop of Texas, Maurice M. Benitez, was elected in 1980. In June 1993 Claude E. Payne was elected the fourth bishop coadjutor of the Diocese of Texas and became the seventh Bishop of Texas February 10, 1995. Don Wimberly became the eighth bishop of Texas in June, 2003, retiring at the mandatory age of 72 on June 6, 2009. Doyle, elected in May, 2008, was consecrated at St. Martins, Houston, on November 22, 2008, and invested and seated on June 7, 2009.

Additionally, Texas has had nine bishops suffragan and six assistant bishops since becoming a diocese: F. Percy Goddard, James P. Clements, and Roger Howard Cilley; Scott Field Bailey; Gordon T. Charlton; William E. Sterling Sr., Leopoldo J. Alard, and Rayford B. High Jr. served as bishops suffragan. Dena Harrison served as bishop suffragan for the central region of the diocese; she was the thirteenth woman consecrated to the episcopate in the Episcopal Church and the first in a diocese in the South. She was succeeded by Kathryn "Kai" Ryan in 2019. Jeff W. Fisher was elected bishop suffragan for the east Texas region of the diocese on June 2, 2012, following the retirement of Rayford High in 2011. Anselmo Carral, William J. Cox, Don Wimberly, James B. Brown, Ted Daniels and John Buchanan have served as assistant bishops.

Bishops of Texas

Suffragan Bishops of Texas

Schools

 * Ascension Episcopal School, Houston (PN-8)
 * All Saints Episcopal School, Beaumont (PN-8)
 * All Saints Episcopal School, Tyler (PK-12)
 * Calvary Episcopal School, Richmond (PK-12)
 * Episcopal High School, Bellaire
 * Grace Episcopal School, Georgetown
 * Holy Spirit Episcopal School, Houston (PK-8)
 * Holy Trinity Episcopal School, Harris County (PK-8)
 * St. Francis Episcopal School, Piney Point Village (PN-12)
 * St. James the Apostle Episcopal School, Conroe (I-PK)
 * St. Stephen's Episcopal School, Austin
 * St. Stephen's Episcopal School, Houston (PN-12)
 * St. Thomas' Episcopal School, Houston (K-12)
 * St. Thomas the Apostle Episcopal School, Nassau Bay (PK-5)
 * St. Mark's Episcopal School, Houston (PN-8)
 * St. Andrew's Episcopal School, Austin (K-12)
 * Trinity Episcopal Day School, The Woodlands (2-PK)
 * Trinity School of Texas, Longview (PK-12)

title: Episcopal Diocese of Texas


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Kwaidan (film)

Kwaidan (怪談) is a 1964 Japanese anthology horror film directed by Masaki Kobayashi. It is based on stories from Lafcadio Hearn's collections of Japanese folk tales, mainly Kwaidan: Stories and Studies of Strange Things (1904), for which it is named. The film consists of four separate and unrelated stories. Kwaidan is an archaic transliteration of the term, meaning "ghost story". Receiving critical acclaim, the film won the Special Jury Prize at the 1965 Cannes Film Festival, and received an Academy Award nomination for Best Foreign Language Film.

"The Black Hair"
"The Black Hair" (黒髪) is adapted from "The Reconciliation" and "The Corpse Rider", which appeared in Hearn's collection Shadowings (1900).

An impoverished swordsman in Kyoto divorces his wife, a weaver, and leaves her for a woman of a wealthy family to attain greater social status. However, despite his new wealthy status, the swordsman's second marriage proves to be unhappy. His new wife is shown to be callous and selfish. The swordsman regrets leaving his more devoted and patient ex-wife.

The second wife is furious when she realizes that the swordsman not only married her to obtain her family's wealth, but also still longs for his old life in Kyoto with his ex-wife. When he is told to go into the chambers to reconcile with her, the swordsman refuses, stating his intent to return home and reconcile with his ex-wife. He points out his foolish behavior and poverty as the reasons why he reacted the way he did. The swordsman informs his lady-in-waiting to tell his second wife that their marriage is over and she can return to her parents in shame.

After a few years, the swordsman returns to find his home, and his wife, largely unchanged. He reconciles with his ex-wife, who refuses to let him punish himself. She mentions that Kyoto has "changed" and that they only have "a moment" together, but does not elaborate further. She assures him that she understood that he only left her in order to bring income to their home. The two happily exchange wonderful stories about the past and the future until the swordsman falls asleep. He wakes up the following day only to discover that he had been sleeping next to his ex-wife's rotted corpse. Rapidly aging, he stumbles through the house, finding that it actually is in ruins and overgrown with weeds. He manages to escape, only to be attacked by his ex-wife's black hair.

"The Woman of the Snow"
"The Woman of the Snow" (雪女) is an adaptation from Hearn's Kwaidan: Stories and Studies of Strange Things (1903).

Two woodcutters named Minokichi and Mosaku take refuge in a boatman's hut during a snowstorm. Mosaku is killed by a. When the turns to Minokichi she remarks that he is a handsome boy and takes pity by sparing him because of his youth. The warns him to never mention what happened or she will kill him.

Minokichi returns home and never mentions that night. One day while cutting wood he comes across Yuki, a beautiful young woman travelling at sunset. She tells him that she is on her way to Edo, as she lost her family and has relatives there who can secure her a job as a lady-in-waiting. Minokichi offers to let her spend the night at his house with his mother. The mother takes a liking to Yuki and asks her to stay. She never leaves for Edo and Minokichi falls in love with her. The two marry and have children, living happily. The older women in the town are in awe over Yuki maintaining her youth even after having three children.

One night, Minokichi gives Yuki a set of sandals he has made. When she asks why he always gives her red ribbons on her sandals, he tells her of her youthful appearance. Yuki accepts the sandals and tries them on. She is stitching a kimono in the candlelight. In the light, Minokichi recalls the and sees a resemblance between them. He tells her about the strange encounter. It is then that Yuki reveals herself to be the, and a snowstorm comes over the home. Despite the fact he broke his word, she refrains from killing him because of their children. Yuki then leaves Minokichi with the children, warning him to treat them well or she will return and kill him. She disappears into the snowstorm, leaving Minokichi heartbroken. Minokichi places her sandals outside in the snow, and after he goes back inside, they disappear as Yuki accepts them.

"Hoichi the Earless"
"Hoichi the Earless" (耳無し芳一の話) is also adapted from Hearn's Kwaidan (though it incorporates aspects of The Tale of the Heike that are mentioned, but never translated, in Hearn's book).

Hoichi is a young blind musician who plays the. His specialty is singing the chant of The Tale of the Heike about the Battle of Dan-no-ura fought between the Taira and Minamoto clans during the last phase of the Genpei War. Hoichi is an attendant at a temple and is looked after by the others there. One night he hears a sound and decides to play his instrument in the garden courtyard. A spectral samurai appears and tells him that his lord wishes to have a performance at his house. The samurai leads Hoichi to a mysterious and ancient court. Another attendant notices that he went missing for the night as his dinner was not touched. The samurai re-appears on the next night to take Hoichi and affirms that he has not told anyone. Afterwards, the priest asks Hoichi why he goes out at night but Hoichi will not tell him. One night, Hoichi leaves in a storm and his friends follow him and discover he has been going to a graveyard and reciting the Tale of Heike to the court of the dead Emperor. Hoichi informs the court that it takes many nights to chant the entire epic. They direct him to chant the final battle - the battle of Dan-no-ura. His friends drag him home as he refuses to leave before his performance is completed.

The priest tell Hoichi he is in great danger and that this was a vast illusion from the spirit of the dead. They tell Hoichi that if he obeys them again they will tear him to pieces. Concerned for Hoichi's safety, a priest and his acolyte write the text of the Heart Sutra on his entire body including his face to make him invisible to the ghosts and instruct him to meditate. The samurai re-appears and calls out for Hoichi. Hoichi does not answer. Hoichi's ears are visible to the samurai as they forgot to write the text on his ears. The samurai, wanting to bring back as much of Hoichi as possible, rips his ears off to show his lord his commands have been obeyed.

The next morning, the priest and the attendants see a trail of blood leading from the temple. The priest and the acolyte realize their error and believe the ears were a trade for Hoichi's life. They believe the spirits will now leave him alone. A local lord arrives at the temple with a full retinue. They have heard the story of Hoichi the earless and wish to hear him play his. Hoichi is brought before the lord and says he will play to console the sorrowful spirits. The narrator indicates that many wealthy nobles came to the temple with large gifts of money, and Hoichi became a wealthy person.

"In a Cup of Tea"
"In a Cup of Tea" (茶碗の中) is adapted from Hearn's Kottō: Being Japanese Curios, with Sundry Cobwebs (1902).

Anticipating a visit from his publisher, a writer relates an old tale of an attendant of Lord Nakagawa Sadono named Sekinai. While Lord Nakagawa is on his way to make a New Year's visit, he halts with his train at a tea-house in Hakusan. While the party is resting there, Sekinai sees the face of a strange man in a cup of tea. Despite being perturbed, he drinks the cup.

Later, while Sekinai is guarding his Lord, the man whose face appeared in the tea reappears, calling himself Heinai Shikibu. Sekinai runs to tell the other attendants, but they laugh and tell him he is seeing things. Later that night at his own residence, Sekinai is visited by three ghostly attendants of Heinai Shikibu. He duels them and is nearly defeated, but the author notes the tale ends before things are resolved and suggests that he could write a complete ending, but prefers to leave the ending to the reader's imagination.

The publisher soon arrives and asks the Madame for the author, who is nowhere to be found. They both flee the scene in terror when they discover the author trapped inside a large jar of water.

Kurokami

 * Michiyo Aratama as First wife
 * Misako Watanabe as Second Wife
 * Rentarō Mikuni as Husband
 * Kenjiro Ishiyama as Father
 * Ranko Akagi as Mother

Yuki-Onna

 * Tatsuya Nakadai as Minokichi
 * Keiko Kishi as the Yuki-Onna
 * Yūko Mochizuki as Minokichi's mother
 * Kin Sugai as Village woman
 * Noriko Sengoku as Village woman

Miminashi Hōichi no Hanashi

 * Katsuo Nakamura as Hoichi
 * Tetsurō Tamba as Warrior
 * Takashi Shimura as Head priest
 * Yoichi Hayashi as Minamoto no Yoshitsune
 * Kazuo Kitamura as Taira no Tomomori
 * Yōsuke Kondō as Benkei

Chawan no naka

 * Haruko Sugimura as Madame
 * Osamu Takizawa as Author / Narrator
 * Nakamura Ganjirō II as Publisher
 * Noboru Nakaya as Shikibu Heinai
 * Seiji Miyaguchi as Old man
 * Kei Satō as Ghost samurai

Production
While he was a student, producer Shigeru Wakatsuki, founder, and CEO of Ninjin Club, converted the idea of a film adaptation of Kwaidan: Stories and Studies of Strange Things. In 1964, Toho began a three-film deal with director Masaki Kobayashi that concluded with the production Kwaidan. Kobayashi worked with composer Takemitsu Toru for six months to produce the film's score. The film exhausted its budget three quarters into production, which led Kobayashi to sell his house.

Release
Kwaidan premiered at the Yūrakuza Theater, the most prestigious theater in central Tokyo on December 29, 1964. The roadshow version of Kwaidan was released theatrically in Japan on January 6, 1965, where it was distributed by Toho. The Japanese general release for Kwaidan began on February 27, 1965. Kwaidan was reedited to 125 minutes in the United States for its theatrical release which eliminated the segment "The Woman of the Snow" after the film's Los Angeles premiere. It was released in the United States on July 15, 1965, where it was distributed by Continental Distributing. Kwaidan was re-released theatrically in Japan on November 29, 1982, in Japan as part of Toho's 50th anniversary.

Reception
In Japan, Yoko Mizuki the Kinema Junpo award for Best Screenplay. It also won awards for Best Cinematography and Best Art Direction at the Mainichi Film Concours. The film won international awards including Special Jury Prize at the Cannes Film Festival and was nominated for the Best Foreign Language Film at the Academy Awards.

In a 1967 review, the Monthly Film Bulletin commented on the colour in the film, stating that "it is not so much that the colour in Kwaidan is ravishing...as the way Kobayashi uses it to give these stories something of the quality of a legend." The review concluded that the Kwaidan was a film "whose details stay on in the mind long after one has seen it." Bosley Crowther, in a 1965 New York Times review, stated that director Kobayashi "merits excited acclaim for his distinctly oriental cinematic artistry. So do the many designers and cameramen who worked with him. Kwaidan is a symphony of color and sound that is truly past compare." Variety described the film as "done in measured cadence and intense feeling" and that it was "a visually impressive tour-de-force." In his review of Harakiri, Roger Ebert described Kwaidan as "an assembly of ghost stories that is among the most beautiful films I've seen". Philip Kemp wrote in Sight & Sound that Kwaidan was "almost too beautiful to be scary" and that "each tale sustains its own individual mood; but all are unforgettably, hauntingly beautiful."

On review aggregator Rotten Tomatoes, Kwaidan holds an approval rating of 91%, based on 46 reviews, and an average rating of 7.9/10. Its consensus reads: "Exquisitely designed and fastidiously ornate, Masaki Kobayashi's ambitious anthology operates less as a frightening example of horror and more as a meditative tribute to Japanese folklore."

Text of Lafcadio Hearn stories that were adapted for Kwaidan

 * The Reconciliation at K.Inadomi's Private Library
 * The Story of Mimi-nashi-Hōichi at Gutenberg.org
 * Yuki-Onna at Gutenberg.org, read at LibriVox
 * In a Cup of Tea at Gutenberg.org

title: Kwaidan (film)


text:
Talk:John Cale

Fluxus concert / move to New York
The Early life and career section contains two sentences that, on the face of it, contradict one another: "In 1963, he travelled to the United States to continue his musical training with the assistance and influence of Aaron Copland." and "While he was there (at Goldsmiths College in London) he organised an early Fluxus concert, A Little Festival of New Music, on 6 July 1964."

The implication is that he was both in New York but also still studying at Goldsmiths in London when this concert took place, however his autobiography What's Welsh For Zen makes clear that he left Goldsmiths in the summer of 1963 and didn't go back. The autobiography does describe a concert that he organised on his last day at Goldsmiths in 1963, though the name of the event is not given and there is no direct mention of Fluxus; however, he mentions elsewhere that his main collaborator at the concert, Cornelius Cardew, was a British associate of Fluxus. So it seems likely that the date 6 July 1964 is incorrect (it should be 1963) and it was not billed as a Fluxus concert. Freewheeling frankie (talk) 16:16, 9 February 2023 (UTC)

title: Talk:John Cale


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Mangyan

Mangyan is the generic name for the eight Indigenous groups found on the island of Mindoro, southwest of the island of Luzon, each with its own tribal name, language, and customs. The total population may be around 280,001, but official statistics are difficult to determine under the conditions of remote areas, reclusive tribal groups and some having little if any outside world contact.

The ethnic groups of the island, from north to south, are: Iraya, Alangan, Tadyawan, Tawbuid (called Batangan by lowlanders on the west of the island), Buhid, and Hanunoo. An additional group on the southernmost tip is the Ratagnon, who appear to be intermarried with neighboring Bisaya (Cuyonon) lowlanders. The group known on the east of Mindoro as Bangon may be a subgroup of Tawbuid, as they speak the 'western' dialect of that language. They also have a kind of poetry called the ambahan.

Origins
The Mangyans were once the only inhabitants of Mindoro. Being coastal dwellers at first, they have moved inland and into the mountains to avoid the influx and influence of foreign settlers such as the Tagalogs, the Spanish and their conquests and religious conversion, and raids by the Moro. Today, the Mangyans live in relative seclusion along rivers in the highlands but periodically descend lowland to trade. Their sustenance are farming, fruit gathering, and hunting. A certain group of Mangyans living in Southern Mindoro call themselves Hanunó'o, meaning "true", "pure" or "genuine", a term that they use to stress the fact that they are strict in the sense of ancestral preservation of tradition and practices. Before the Spaniards arrived in Mindoro, the people traded with the Chinese extensively, with thousands of pieces of supporting archaeological evidence found in Puerto Galera and in written Chinese references. A division was created among the people of Mindoro when the Spaniards came. There were the Iraya Mangyans, who isolated themselves from the culture of the Spaniards, and the lowland Tagalogs who submitted themselves to Christianity. These two groups only interacted for economic matters through trading forest goods from the Mangyan and consumer goods for the lowlanders.

Despite being grouped as one tribe, Mangyans differ in many ways. In comparison to the technological advance between the two geographical divisions, the southern Mangyan are considered more advanced as seen in their use of weaving, pottery and system of writing. In contrast, the northern Mangyan are simpler in their way of living. Their language, as in the rest of the Philippines, came from the Austronesian language family. However, even if they are defined as one ethnic group, the tribes used different languages. On the average, they only share 40% of their vocabulary.

Another difference between tribes is the date of their arrival in the Philippines. A theory suggests that the southern Mangyan were already present by 900 AD while the northern Mangyan are believed to have arrived hundreds of years later. The Spanish authorities had documented their existence since their arrival in the 16th century. However, historians suggest that the Mangyans may have been the first Filipinos to trade with the Chinese. Examples of this relationship are seen in the burial caves, as porcelains and other potteries abound. However, not much ethnographic research has been made except for the tribal and linguistic differences that may lead to the indication that the tribes can be treated separately.

Ancestral lands
Mangyan communities inhabit the island of Mindoro, laying claim to 40,000 hectares of forest lands. Hanunuo, Gubatnon, and Ratagnon (Hagura) Mangyan of Occidental Mindoro received a certificate of ancestral domain title (CADT) in December 2010 from President Benigno Aquino III. In July 2022, Tadyawan and Tau-buid Mangyan were the first Indigenous communities in Oriental Mindoro to receive their CADT from the National Commission on Indigenous Peoples. The title covers 3,270.78 hectares of ancestral lands in Sabang in Pinamalayan town and Buong Lupa in Gloria town.

Culture and practices
Mangyan are mainly subsistence agriculturalists, planting a variety of sweet potato, upland (dry cultivation) rice, and taro. They also trap small animals and wild pig. Many who live in close contact with lowland Filipinos sell cash crops such as bananas and ginger.

Their languages are mutually unintelligible, though they share some vocabulary and use Hanunó'o script to write: Tawbuid and Buhid are closely related, and are unusual among Philippine languages in having an phoneme; Tawbuid is divided into eastern and western dialects; Western Tawbuid may be the only Philippine language to have no glottal phonemes, having neither  or. They call the lowlanders or the people who live in local suburbs and plains damuong.

Their traditional religious world view is primarily animistic; around 10% have embraced Christianity, both Catholicism and Evangelical Protestantism (The New Testaments have been published in six of the Mangyan languages).

Storytelling
Historically, Mangyan stories were orally transmitted. A select group of stories were preserved in poems and written in syllabic writing. These poems were carved into materials such as bamboo with a sharp object. Practicing oral tradition came with its own set of rules for the Mangyans. For example, folk tales called suyot were only to be told after the sun had set. The Mangyans believed telling stories during daylight would lead to rotting of the teeth.

There were several distinct types of oral works that the Mangyans practiced. There are no English equivalents for the names of Mangyan story categories. English speakers have given descriptive names for these categories.

 * Song poems – Contain the taboos, beliefs, and customs of the Mangyan people. These stories were used to describe the origin of customs and the importance of practicing those customs.
 * Folk beliefs and customs – These stories contain the taboos, beliefs, and customs of the Mangyan people. These stories were used to describe the origin of customs and the importance of practicing those customs.
 * Riddles – These stories were used for entertainment. They were mind games and comical stories told in the evening to pass the time.
 * Folk tales – There were three different types of folk tales told among the Mangyan people. Suyot is the oldest of the oral traditions. They were tales of legend, folklore, and fables. Sugklanon was another type of story, acquired through Bisayan influences. Tultulanon were stories of historical events.

The Mangyans also told stories about their day-to-day life to describe the world around them. There were stories about different medicines they used, and stories used to describe the varieties and characteristics of rice they cultivated. Most of our understanding of Mangyan culture and practices is derived from these oral and written accounts.

Indigenous Mangyan religion
The Mangyan have a complex spiritual belief system which includes the following deities:
 * Mahal na Makaako – The Supreme Being who gave life to all human beings merely by gazing at them.
 * Binayi – Owner of a garden where all spirits rest.
 * Binayo – Is a sacred female spirit, caretaker of the rice spirits (kalag paray). She is married to Bulungabon. The kalag paray must be appeased to ensure a bountiful harvest. It is for this reason that specific rituals are conducted in every phase of rice cultivation. Some of these rituals include the panudlak, the rite of the first planting; the rite of rice planting itself; and the rites of harvesting which consist of the magbugkos or binding rice stalks, and the pamag-uhan, which follows the harvest.
 * Bulungabon – The spirit aided by 12 fierce dogs. Erring souls are chased by these dogs and eventually drowned in a cauldron of boiling water. He is married to Binayo.

Artifacts
The Indigenous Mangyans offer a myriad of culturally rich artifacts that give insight into their culture and trade. The people living in Southern Mindoro during the pre-Hispanic era are exceptional in their weaving, pottery, and system of writing. Their clothing differs between genders. The male generally wears bahag loincloths as covering for the lower body, whereas the female would wear a skirt and a shirt for the top. The terms and materials would differ from tribe to tribe, but more exceptional designs would come from the Hanunó'os. Their textiles are dyed in indigo blue, with an embroidery design called pakudos at the back, and can also be found on their woven bags.

Their system of writing, called surat Mangyan, is a pre-Hispanic syllabic system and is believed to be of Indic origin. It is still practiced today and is still being taught in different Mangyan schools of Oriental Mindoro. The Hanunó'os also practice their own traditional poetry called the ambahan, a rhythmic poetic expression with a meter of seven syllables presented through recitation and chanting or inscribed on bamboo.

title: Mangyan


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Ann Doran

Ann Lee Doran (July 28, 1911 – September 19, 2000) was an American character actress, possibly best known as Carol Stark, the mother of James "Jim" Stark (James Dean) in Rebel Without a Cause (1955). She was an early member of the Screen Actors Guild and served on the board of the Motion Picture & Television Fund for 30 years.

Early years
The daughter of Rose Allen (born Carrie A. Barnett) and John R. Doran, her mother was a silent-film actress. Ann Doran was born in Amarillo, Texas, and attended high school in San Bernardino, California.

Film career
Doran began acting at the age of four. According to a 1979 newspaper article, the actress made her debut at 11 years old. Rarely in a featured role, Doran appeared in more than 500 motion pictures and 1,000 episodes of television series, such as the American Civil War drama Gray Ghost.

Doran worked as a stand-in, then bit player, then incidental supporting player. By 1938, she was under contract to Columbia Pictures, where the company policy was to use the members of its stock company as often as possible. Thus, Doran appears in Columbia's serials (such as The Spider's Web and Flying G-Men), short subjects (including those of The Three Stooges, Charley Chase, Andy Clyde, Harry Langdon and Vera Vague), B features (including the Blondie, Five Little Peppers and Ellery Queen series), and major feature films. She became a favorite of Columbia director Frank Capra and appears in many of his productions. Most of these appearances were supporting roles. In Meet John Doe (1941), she plays the wife of sodajerk-turned-John Doe Club activist Bert Hansen. Though her character speaks some of the film's most pivotal lines of dialog, including an impassioned suicide-preventing plea in the final scene, her appearance in the film is uncredited. Some of Doran's lead roles include Columbia's Charley Chase comedies from 1938 to 1940 and Rio Grande (1938) directed by Sam Nelson and featuring Charles Starrett.

Columbia filmed two boy-and-his-dog stories with juvenile star Ted Donaldson in 1945–46. When the Donaldson films became a full-fledged series (featuring the dog Rusty) in 1947, Doran was cast as Donaldson's mother in the next six films. Her steady, sensible maternal roles led to her being cast as James Dean's mother in Rebel Without a Cause (1955).

Television
Doran played Charlotte McHenry, the housekeeper on Shirley, Agnes Haskell, Eddie Haskell's mother and in a separate appearance Mrs. Bellamy, in Leave It to Beaver and Mrs. Kingston, the housekeeper, on Longstreet.

Doran guest-starred on many television programs, including three appearances in the role of Bonnie Landis in Public Defender, starring with fellow Texan Reed Hadley. She appeared in the anthology series Crossroads in the 1956 episode "The White Carnation", along with Elinor Donahue, James Best and J. Carrol Naish. In 1952, she appeared in an episode of The Lone Ranger titled "Hidden Fortune".

Doran was cast in the children's Western series My Friend Flicka, the story of a boy and his horse on a ranch in Wyoming. She also appeared in episodes of Ray Milland's sitcom Meet Mr. McNutley and Kenneth Tobey's aviation adventure series Whirlybirds. Doran guest-starred on Perry Mason in "The Case of the Prodigal Parent" (1958), "The Case of the Lurid Letter" (1962) and "The Case of the Drowsy Mosquito" (1963) as well as in Rawhide in the episode "Incident of the Challenge".

Doran was cast twice in 1959–1960 in episodes of the series Colt .45, starring Wayde Preston. In 1960, she was cast as Martha Brown, the mother of horse rider Velvet Brown (Lori Martin) in the family drama National Velvet. She made one appearance on McHale's Navy as Mrs. Martha "Pumpkin" Binghamton, wife of Captain Binghamton (Joe Flynn). In 1963 Doran appeared as Minerva Lewis on The Virginian in the episode "Run Away Home." Ann Doran was cast twice as Mrs. Elliott and Hugh Beaumont as Mr. Elliott, parents of Steve Elliott (Mike Minor), in Petticoat Junction. Three years later, she appeared in the first episode of The Legend of Jesse James as Zerelda James Samuel, the mother of Jesse and Frank James. She also appeared on the program M*A*S*H as Nurse Meg Cratty, who runs an orphanage in Korea. In the episode "The Kids", Cratty and her charges bunked with the M*A*S*H unit to avoid snipers.

Death
Doran died at age 89 on September 19, 2000, in Carmichael, California. Following her death, her remains were cremated and scattered at sea. She bequeathed $400,000 to the Motion Picture Country House, the retirement home for the movie industry.

title: Ann Doran


text: Category:1271 deaths

title: Category:1271 deaths


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File:Supertramp - Even in the Quietest Moments.jpg

Cover for album Even in the Quietest Moments by Supertramp.

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 * The image is irreplaceable; a free analogue is impossible to produce as the original will be covered by copyright for the foreseeable future
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 * For the same reasons, the portion of the copyrighted work used is of inherently lower quality than the original, reducing the risk of competitiveness and therefore the effects of this copy on the market for or value of versions held by the owner of the copyright


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Dresden Suspension Railway

The Dresden Suspension Railway (Schwebebahn Dresden) is a suspended funicular located in Dresden, Germany, and connects the districts of Loschwitz and Oberloschwitz (Rochwitz side). It is one of the oldest suspension railways, having entered service on 6 May 1901, the same year the Wuppertal Schwebebahn entered service. Like the Wuppertal railway, this system was designed by Eugen Langen. The line is 274 m long and is supported on 33 pillars.

Overview
Despite its unusual suspended format, the Dresden Suspension Railway is operated as a conventional funicular railway. The two cars are attached to each other by a cable, which runs around a drum at the top of the incline. The ascending car is pulled up the hill by the weight of the descending car, assisted if necessary by an electric drive to the drum.

The line has the following technical parameters:

 * Length: 274 m
 * Height: 84 m
 * Maximum Steepness: 39.2%
 * Cars: 2
 * Capacity: 40 passengers per car
 * Configuration: Double suspension track (Monorail)
 * Maximum speed: 2.5 m/s
 * Traction: Electricity

The Schwebebahn was not damaged in World War II, but it was out of service from 1984 to 1992 due to reconstruction. In 1990 and 2002, extensive repair works took place and there is now a new lookout point on the roof of the upper station.

The Schwebebahn is one of two funicular railways in Dresden, the other being the much more conventional Dresden Cable Car. Both lines are operated by the Dresdner Verkehrsbetriebe AG, who also operate the city's tram, bus and ferry networks.

title: Dresden Suspension Railway


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Even in the Quietest Moments...

Even in the Quietest Moments... is the fifth album by the English rock band Supertramp, released in April 1977. It was recorded mainly at Caribou Ranch Studios in Colorado with overdubs, vocals, and mixing completed at the Record Plant in Los Angeles. This was Supertramp's first album to use engineer Peter Henderson, who would work with the band for their next three albums as well.

Even in the Quietest Moments… reached number 16 on the Billboard Pop Albums Chart in 1977 and within a few months of release became Supertramp's first Gold (500,000 copies or more)–selling album in the US. In addition, "Give a Little Bit" became a US Top 20 single and reached number 29 on the UK Singles Chart. While "Give a Little Bit" was the big hit, both "Fool's Overture" and the title track also received a fair amount of FM album-rock play.

In 1978, Even in the Quietest Moments… was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.

Background and recording
"I think it was Roger who wanted to get out of Los Angeles to do a record. At the time, the sky was the limit, so we decided to record at the Caribou Ranch, on a mountaintop outside of Denver. What we didn't realize was that the thin air in the mountains makes your voice go weird. It also made it hard for John [Helliwell] to play the sax. So we ended up finishing it back in L.A. at the Record Plant. – Rick Davies, Retrospectacle – The Supertramp Anthology CD booklet (2005)"

Though all the songs are credited as being written jointly by Rick Davies and Roger Hodgson, Davies wrote "Lover Boy", "Downstream", and "From Now On" by himself, and Hodgson in turn wrote "Give a Little Bit", "Even in the Quietest Moments", "Babaji", and "Fool's Overture" unaided.

Davies said of "Lover Boy" that "I was inspired by advertisements in men's magazines telling you how to pick up women. You know, you send away for it and it's guaranteed not to fail. If you haven't slept with at least five women in two weeks, you can get your money back." Bob Siebenberg recounted that "Rick had been working on 'Lover Boy' for quite a while and finally came up with the long middle section. I just heard that as a really slow, really solid sort of beat, just to give the song dynamics underneath it all, because the song itself is really powerful and it needed something really solid underneath it."

Most of "Even in the Quietest Moments" was written during the soundcheck for a show at the Tivoli Gardens in Copenhagen. Davies and Hodgson worked out the various parts of the song with Hodgson using an Oberheim and a Solina string synthesiser and Davies at the drum kit. Davies commented on the music: "It starts off in a very standard melody thing and then it notches onto a sort of one chord progression or perhaps we should call it a digression. It's a thing where there's hundreds of sounds coming in and going out, a whole collage thing." Hodgson said of the lyrics: "It's kind of a dual love song – it could be to a girl or it could be to God." Gary Graff of Billboard rated "Even in the Quietest Moments" as Supertramp's fourth-best song.

"Downstream" is performed solely by Davies on vocal and piano, which were recorded together in one take. Siebenberg has described the song as his favourite on the album "because it's so personal and so pure".

Graff rated "From Now On" as Supertramp's eighth-best song, highlighting John Helliwell's saxophone solo and the call-and-response singalong at the end.

"Fool's Overture" had the working title of "The String Machine Epic", and according to John Helliwell: "It came primarily from a few melodies Roger worked out on the string machine thing we use on stage." Written and sung by guitarist/keyboardist Roger Hodgson – who took five years to compose it – the song is a collage of progressive instrumentation and sound samples. Hodgson stated that the song's lyrics are essentially meaningless, explaining: "I like being vague and yet saying enough to set people's imaginations running riot." He also said:"It was very magical the way it came together. It was actually three separate pieces of music that I had for a few years and then one day they all just came together in what I think is a magnificent, kind of epic piece of music." First are excerpts of Winston Churchill's famous 4 June 1940 House of Commons speech regarding Britain's involvement in the Second World War ("Never Surrender"), followed by sounds of police cars and bells from London's Big Ben clock tower. The flageolet-sounding instrument plays an excerpt from Gustav Holst's "Venus", from his orchestral suite The Planets. There is also a reading of the first verse of William Blake's poem "And did those feet in ancient time" (more commonly known as "Jerusalem"), ended by a short sample of the band's song "Dreamer". Ultimate Classic Rock critic Nick DeRiso rated it as Supertramp's seventh-best song. Hodgson rated it as one of the 10 best songs he has written.

Artwork
The front cover is a photo of an actual snow-covered piano and bench with a scenic mountain peak backdrop—an actual, but gutted, grand piano was brought to the Eldora Mountain Resort (a ski area near Caribou Ranch Studios)—which was left overnight and photographed after a fresh snowfall. The sheet music on the piano, though titled "Fool's Overture", is actually "The Star-Spangled Banner".

A remastered CD version of the album with full original artwork, lyrics, and credits restored (including the inner sleeve picture of the band absent from the original CD) was released on 11 June 2002 on A&M Records in the US.

Critical reception
In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau remarked that, unlike most progressive rock, which is "pretentious background schlock that's all too hard to ignore", the album is "modest background schlock that sounds good when it slips into the ear."

AllMusic gave a mixed retrospective review of the album, calling it "elegant yet mildly absurd, witty but kind of obscure", but adding that it "places a greater emphasis on melody and gentle textures than any previous Supertramp release". It criticised the album as not being "full formed", but marked "Give a Little Bit", "Lover Boy", "Fool's Overture", and "From Now On" as worthy of praise.

Track listing
All songs credited to Rick Davies and Roger Hodgson. Listed below are the actual writers, also lead singers of their songs.

1997 and 2002 A&M reissue
The 1997 and 2002 A&M Records reissues were mastered from the original master tapes by Greg Calbi and Jay Messina at Sterling Sound, New York, in 1997 and 2002. The reissues were supervised by Bill Levenson with art direction by Vartan and design by Mike Diehl, with production coordination by Beth Stempel.

Supertramp

 * Roger Hodgson – vocals, 12-string guitar (tracks 1, 3), electric guitar (tracks 1, 2, 5, 6), piano (tracks 5, 7), synthesizers (track 7), pump organ (track 7)
 * Rick Davies – vocals, piano (tracks 1, 2, 4, 6, 7), organ (tracks 1, 3, 6), synthesizers (tracks 2, 3, 5, 7), clavinet (track 1), electric piano (track 6), melodica (track 6)
 * Dougie Thomson – bass (tracks 1–3, 5–7)
 * John Helliwell – saxophones (tracks 1, 2, 5–7), clarinets (track 3, 7)
 * Bob Siebenberg (credited as Bob C. Benberg) – drums and percussion (tracks 1–3, 5–7)

Production

 * Supertramp – producers, orchestral arrangements
 * Peter Henderson – engineer
 * Tom Anderson – assistant engineer, remixing
 * Tom Likes – assistant engineer
 * Steve Smith – assistant engineer
 * Geoff Emerick – mixing engineer
 * Russel Pope – concert sound engineer
 * Garey Mielke – Oberheim programming
 * Michel Colombier, Supertramp – orchestral arrangements
 * Mike Doud – art direction and design
 * Bob Seidemann – photography
 * Kenneth McGowan – inner sleeve photography
 * Frank DeLuna – mastering on original LP
 * Greg Calbi – remastering
 * Jay Messina – remastering

title: Even in the Quietest Moments...