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Mark Morris (choreographer)

Mark William Morris (born August 29, 1956) is an American dancer, choreographer and director whose work is acclaimed for its craftsmanship, ingenuity, humor, and at times eclectic musical accompaniments. Morris is popular among dance aficionados, the music world, as well as mainstream audiences.

Early years
Morris grew up in Seattle, Washington, in a family that appreciated music and dance and nurtured his budding talents; his father Joe taught him to read music and his mother Maxine introduced him to flamenco and ballet. Joe was a high school teacher while Maxine cared for the children at home. Morris had two older sisters, Marianne and Maureen. Everyone in his family were performers, playing instruments, singing in chorus, and dancing. In grade school Morris's neighborhood population changed, with many Black and Asian families moving in, and many white families moving out, with exceptions such as the Morrises. This led to flourishing art from many different cultures, including a Japanese Bon Odori festival, as well as a Samoan dance ensemble at Morris's high school, influencing Morris's later interest in dance cultures outside of Western dance. He began Spanish dance training with Verla Flowers at age eight. Flowers also introduced Morris to ballet, which was considered an effeminate art form even then. He also participated in a folk dance group, the Koleda Folk Ensemble, for many years of his childhood, which is said to have had a profound effect on his later choreography. Throughout Morris's childhood he experienced discrimination for appearing effeminate, which contributed to much of his later choreography. Koleda had a variety of sexual identities and orientations, which is why it was so important to him. By age 14 he had choreographed his first modern piece, and by 15 his first ballet piece. When Morris was 16, his father died. His father's death and their relationship contributed to Morris's later piece Dad’s Charts. After graduating from high school, Morris moved to Madrid to study flamenco with the goal of becoming a Spanish dancer, and briefly toured with the Royal Chamber Ballet of Madrid. He returned home to Seattle after five months, having experienced ongoing discrimination in Spain for being gay. He then trained for a year and a half with Perry Brunson, formerly of the Joffrey Ballet. He then moved to New York at 19 to begin his career as a choreographer. Once in New York he danced with choreographers Eliot Feld, Lar Lubovitch, Laura Dean and Hannah Kahn. By 1980 he launched his company with ten dancers.

Career
On November 28, 1980, Morris got together a group of his friends and put on a performance of his own choreography and called them the Mark Morris Dance Group. For the first several years, the company gave just two annual performances—at On the Boards in Seattle, Washington, and at Dance Theater Workshop in New York. In 1984 he was invited to The American Dance Festival as part of the young choreographers and composers program. In 1986, the company was featured on the nationally televised Great Performances – Dance in America series on PBS.

In 1988, Morris was approached by Gerard Mortier, then the head of the Théâtre Royal de la Monnaie in Brussels. Mortier needed a replacement when Maurice Béjart, who had held the position of Director of Dance for over 20 years, suddenly left and took his company with him. After seeing the Mark Morris Dance Group give one performance, Mortier offered Morris the position. His company, from 1988 to 1991, became the Monnaie Dance Group Mark Morris, the resident company at la Monnaie where Morris was given well-equipped offices and studios; full health insurance for him, his staff and dancers; an orchestra and chorus at his disposal; and one of the great stages of Europe on which to dance.

In 1990, Morris and Mikhail Baryshnikov established the White Oak Dance Project. He continued to create works for this company until 1995.

In 1995, Morris choreographed a work for 14 dancers called World Power. For this work, Morris drew inspiration from a piece of text by Mark Twain in which Twain expresses his thoughts on the U.S. invasion of the Philippines in 1899, 65 years before the Gulf of Tonkin resolution heralded the United States' deepening involvement in Vietnam. The work is set to Lou Harrison's gamelan, trumpet and chorus work In Honor of Mr. Handel and In Honor of Mark Twain. In "Homage to the Pacifica", Harrison included the following passage by Twain:

''We have pacified some thousands of the islanders and buried them, destroyed their fields; burned their villages, and turned their widows and orphans out-of-doors; furnished heartbreak by exile to some dozens of disagreeable patriots: subjugated the remaining ten millions by Benevolent Assimilation, which is the pious new name of the musket; we have acquired property in the three hundred concubines and other slaves of our business partner, the Sultan of Sulu, and hoisted our protecting flag over that swag. And so, by these Providences of God—and the phrase is the government’s, not mine—we are a World Power.''

In addition to using traditional Indonesian gamelan music, Morris studied Indonesian dance, Indonesian puppet theater (wayang kulit) and traditional Javanese court dances, such as the bedhaya and serimpi, extensively borrowing movements, formation patterns and hand gestures from the dances for this work. The music is largely Asian and includes instruments such as the bamboo flute, metallophone and bronze pot gongs.

Due to its strong political message of American and Western imperialism and explicit lyrics and choreography depicting violence against/conquering of indigenous people, World Power is seen as one of Morris's more controversial pieces. The finale contains images of distinct unease: an impatient stamping motif and verses ending with a retreat into the wings, heads tilting backwards, dancers falling down and being dragged on the floor and hands shielding faces, as if in horror. Some argue that Morris appropriated Asian culture by borrowing movements from the Indonesian and Javanese dances and using Asian-inspired music without properly crediting their origins.

Morris is also an acclaimed ballet choreographer, most notably with the San Francisco Ballet, for which he has created eight works. He has also received commissions from such companies as American Ballet Theatre, Boston Ballet, and the Paris Opera Ballet. He has worked extensively in opera, directing and choreographing productions for the Metropolitan Opera, the New York City Opera, English National Opera, and the Royal Opera House, Covent Garden, among others. He directed and choreographed King Arthur for English National Opera in June 2006, and in May 2007 he directed and choreographed Orfeo ed Euridice for the Metropolitan Opera.

He is the recipient of 11 honorary doctorates.

Notable works by Morris include Gloria (1981), set to Vivaldi; Championship Wrestling (1985), based on an essay by Roland Barthes; L'Allegro, il Penseroso ed il Moderato (1988); Dido and Æneas (1989); The Hard Nut (1991), his version of The Nutcracker set in the 1970s; Grand Duo (1993); The Office (1995); Greek to Me (2000); a dance version of the Virgil Thomson–Gertrude Stein opera Four Saints in Three Acts (2001); the ballet A Garden (2001); V (2002) and All Fours (2004). In 2006, he premiered his Mozart Dances, commissioned by the New Crowned Hope Festival and Mostly Mozart Festival in conjunction with the 250th anniversary of the birth of Mozart; and in 2008, his controversial Romeo & Juliet, On Motifs of Shakespeare, set to Prokofiev's recently discovered, original scenario and score, had its premiere. In 2011, he premiered the 150th work of his professional career, Festival Dance, to critical acclaim during sold-out performances at his dance center in Brooklyn.

Morris and his Dance Group collaborated with cellist Yo-Yo Ma in Falling Down Stairs, a film by Barbara Willis Sweete available on volume 2 of Ma's Emmy-winning Inspired by Bach series. There, Morris choreographed a dance based on Bach's Third Suite for Unaccompanied Cello, which Ma performs. Sweete's film depicts the performance as well as the evolution of the dance. Morris has also collaborated with visual artists such as Isaac Mizrahi, Howard Hodgkin, Charles Burns and Stephen Hendee.

In 2001 his company moved into its first permanent headquarters in the United States, the Mark Morris Dance Center, in Brooklyn, at 3 Lafayette Avenue in the Fort Greene neighborhood. 2001 also marked the establishment of the School at the Mark Morris Dance Center. In addition the Mark Morris Dance Group, the center houses rehearsal space for the dance community, outreach programs for local children and persons with Parkinson's disease, and a school offering dance classes to students of all ages.

Morris is the subject of a biography, Mark Morris (1993), by dance critic Joan Acocella. In 2001, he published L'Allegro, il Penseroso ed il Moderato: A Celebration, a volume of photographs and critical essays.

In 2013, Morris was the first choreographer and dancer to be the music director of the Ojai Music Festival.

Though now largely retired from performing, Morris was long noted for the musicality and power of his dancing as well as his amazing delicacy of movement. His body was heavier than the typical dancer's, more like that of an average person, yet his technical and expressive abilities outstripped those of most of his contemporaries.

In 2017, Morris premiered Pepperland, a commissioned production based on the music of The Beatles at Royal Court Liverpool marking the 50th anniversary of the release of Sgt. Pepper's Lonely Hearts Club Band.

In 2019, Morris published Out Loud: A Memoir, written with Wesley Stace.

In 2022, Morris premiered The Look of Love, a production based on the music of Burt Bacharach.

Honors and awards

 * 11 honorary doctorates (Cornish School of the Arts, 2011; Roehampton University, 2010; Centenary College, 2009; Bard College, 2006; Bates College, 2006; George Mason University, 2005; Bowdoin College, 2003; Pratt Institute, 2003; Long Island University, 2002; Juilliard School, 2001; Boston Conservatory of Music, 1994)
 * Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, 2010
 * American Philosophical Society, Member, 2008
 * The Independent Award, Brown University Club of New York, 2007
 * Samuel H. Scripps American Dance Festival Lifetime Achievement Award, 2007
 * WQXR Gramophone Special Recognition Award, 2006
 * New York City Mayor's Award for Arts & Culture, 2006
 * American Academy of Arts & Sciences, Fellow, 2005
 * Laurence Olivier Award (UK), Outstanding Achievement in Dance, 2002
 * Critics' Circle National Dance Award (UK), Best Modern Choreography, 2002
 * Critics' Circle National Dance Award (UK), Best Foreign Dance Company, 2002
 * Time Out Live Awards (UK), Outstanding Production (V), 2002
 * County of Los Angeles Distinguished Artist Award, 2001
 * New York State Governor's Arts Award, 2001
 * Best of Boston, Mark Morris & Yo-Yo Ma, Best Duet, 1999
 * Laurence Olivier Award (UK), Best New Dance Production (L'Allegro, il Penseroso ed il Moderato), 1998
 * Evening Standard Award (UK), 1997
 * Capezio Achievement Award, 1997
 * Scotsman/Hamada Trust Festival Prize, Edinburgh Festival, 1995
 * Edinburgh International Critics Award, 1994
 * Edinburgh International Critics Award, 1992
 * John D. and Catherine T. MacArthur Fellowship, 1991
 * Dance Magazine Award, 1991
 * John Simon Guggenheim Memorial Foundation Fellowship, 1986
 * New York Dance and Performance Award ("Bessie"), 1984, 1990, 2007
 * Numerous honors include Choreographic Fellowships from the New York and New Jersey State Councils on the Arts and the National Endowment for the Arts.

Ballets
Morris has created eight works for the San Francisco Ballet since 1994, including the first American production of Delibes's Sylvia; three works for American Ballet Theatre including Gong with music by Colin McPhee and Drink to Me Only With Thine Eyes with music by Virgil Thomson; and has also received commissions from the Joffrey Ballet and the Boston Ballet, among others. In 2009, the San Francisco Ballet toasted 15 years of collaborations with Morris by presenting the first all-Morris program, performing A Garden (2001), Joyride (2008) and Sandpaper Ballet (1999). His work is in the repertory of Ballet British Columbia, Ballet West, Boston Ballet, Dutch National Ballet, Houston Ballet, Pacific Northwest Ballet and the Washington Ballet. Morris's ballets have also been performed by English National Ballet, Grand Théâtre de Genève, the Royal Ballet, and the Royal New Zealand Ballet. They have been noted for making ballet more accessible to audiences that ordinarily find dance and specifically ballet too difficult to consume.

Ballet commissions

 * Mort Subite—Boston Ballet (1986)
 * Esteemed Guests—Joffrey Ballet (1986)
 * Drink to Me Only With Thine Eyes—American Ballet Theatre (1988)
 * Ein Herz—Paris Opera Ballet (1990)
 * Paukenschlag—Les Grands Ballets Canadiens (1992)
 * Maelstrom—San Francisco Ballet (1994)
 * Quincunx—Les Grands Ballets Canadiens (1995)
 * Pacific—San Francisco Ballet (1995)
 * Sandpaper Ballet—San Francisco Ballet (1999)
 * A Garden—San Francisco Ballet (2001)
 * Gong—American Ballet Theatre (2001)
 * Later—San Francisco Ballet (2002)
 * Non Troppo—American Ballet Theatre (2003)
 * Sylvia—San Francisco Ballet (2004)
 * Up and Down—Boston Ballet (2006)
 * Joyride—San Francisco Ballet (2008)
 * Beaux—San Francisco Ballet (2012)
 * Kammermusik No. 3--Pacific Northwest Ballet (2012)
 * Whelm—Brooklyn Academy of Music (2015)
 * The Letter V--Houston Ballet (2015)
 * After You--American Ballet Theatre (2015)

Operas
Morris has worked extensively in opera for over 20 years, directing and choreographing productions for the Metropolitan Opera, New York City Opera, English National Opera, Seattle Opera, and the Royal Opera, Covent Garden, among others. In 2009, in honor of the bicentennial of Joseph Haydn's death, Gotham Chamber Opera presented the New York City stage premiere of Haydn's L'isola disabitata (Desert Island) in a new production by Morris at the Gerald W. Lynch Theater at John Jay College., rev.

Directed and/or choreographed

 * Salome—Choreographer (Seattle Opera, 1986)
 * Nixon in China—Choreographer (Houston Grand Opera, 1987)
 * Orphée et Euridice—Choreographer (Seattle Opera, 1988)
 * Die Fledermaus—Director (Seattle Opera, 1988)
 * Le nozze di Figaro (Act III wedding scene)—Choreographer (PepsiCo Summerfare, 1988)
 * Dido and Aeneas—Director and Choreographer (La Monnaie, 1989)
 * The Death of Klinghoffer—Choreographer (La Monnaie, 1991)
 * Le nozze di Figaro—Director (La Monnaie, 1991)
 * Orfeo ed Euridice—Director and Choreographer (Handel & Haydn Society, 1996)
 * Platée—Director and Choreographer (Royal Opera, 1997)
 * Four Saints in Three Acts—Director and Choreographer (English National Opera, 2000)
 * Idomeneo (Act III ballet)—Choreographer (Glyndebourne Festival Opera, 2003)
 * King Arthur—Director and Choreographer (English National Opera, 2006)
 * Orfeo ed Euridice—Director and Choreographer (Metropolitan Opera, 2007)
 * L'isola d'isabitata—Director (Gotham Chamber Opera, 2009)

In 2011, the Metropolitan Opera revived its 2007 production of Orfeo ed Euridice, directed by Morris, and the Met premiere of John Adams's Nixon in China, choreographed by Morris in 1987. The latter was filmed and broadcast as part of the Met's Live in HD series in a recreation of Peter Sellars's production created for its 1987 world premiere in Houston, which had previously been performed at the Brooklyn Academy of Music, the Kennedy Center, and by the Los Angeles Opera.

Conductor
In 2006, for the opening of MMDG's 25th anniversary New York season, the company performed Morris's Gloria (1981, rev. 1984) set to Vivaldi's Gloria in D. Morris took up the baton for the first time to conduct the MMDG Music Ensemble and the Juilliard Choral Union. In 2007, he began conducting performances of his opera Dido and Aeneas (1989). He has also led Emmanuel Music, the Seattle Symphony and the Tudor Choir in performance. In 2011, he led the Brooklyn Philharmonic and Brooklyn Interdenominational Choir in a collaboration with MMDG at the Prospect Park Bandshell, part of a Mark Morris Dance Group program presented by Celebrate Brooklyn! Also in 2011, he conducted Dido again with MMDG, this time with the Philharmonia Baroque Orchestra and Chorale; mezzo Stephanie Blythe, singing both Dido and the Sorceress; and baritone Philip Cutlip as Aeneas.

Personal life
Morris lives in the Kips Bay neighborhood of Manhattan. He is gay.

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

title: Mark Morris (choreographer)


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NorNed

NorNed is a 580 km long high-voltage direct current submarine power cable between Feda, Norway and the seaport of Eemshaven in the Netherlands, which interconnects both countries' electrical grids. It was once the longest submarine power cable in the world. Budgeted at €550 million, and completed at a cost of €600m, the NorNed cable is a bipolar HVDC link with a voltage of ±450 kV and a capacity of 700 MW. NorNed is a joint project of the Norwegian transmission system operator Statnett and its Dutch counterpart TenneT. The cable system itself and the two converter stations were produced by ABB.

History
Installation of the first sections started in early 2006 and the final section was laid by the end of 2007. On the Dutch shore, TenneT has connected the cable to the 380 kV Dutch high‑voltage grid. In Feda, Statnett has done the same for the 300 kV Norwegian transmission grid. Commercial operation started on 5 May 2008 with a capacity auction. The first commercial power transfer took place on 6 May 2008.

After two months of operation, the cable generated revenues of approximately €50 million. In the business case drawn up for the NorNed cable, annual revenues were estimated at €64 million.

NorNed has been included in European Market Coupling Company operations as of 12 January 2011. The internal grid in Norway is sometimes not capable of handling enough power for NorNed and Cross-Skagerrak, and capacity for these cables is then artificially limited.

The cable had a fault in 2011, causing 7 weeks out of operation.

A fault was discovered in May 2022, causing a shutdown of operations. Operations are expected to resume in October 2022.

Technology
Although classed as a "bipolar" HVDC scheme, the NorNed scheme is unusual for a Line-Commutated (thyristor-based) HVDC scheme since there is just one 12-pulse converter at each end of the scheme, midpoint-grounded at Eemshaven. With voltage-source converter-based HVDC systems, this arrangement with the two high voltage cables at equal and opposite voltages but only a single converter at each end is referred to as a Symmetrical monopole.

Consequently, with a DC voltage of ±450 kV, the converter for the NorNed project has a terminal to terminal DC voltage rating of 900 kV, making it (as of 2012) the highest voltage rating of any HVDC converter in the world. The connection has a loss of 4.2% (95.8% efficiency).

Trading mechanism
NorNed is the first power link between the Nordic electrical transmission system Nordel and the continent that is planned to be open to the power market. The main trading over the link is presumed to be one day ahead spot market trading based on the price difference between the markets. In spite of quite equal average spot market prices, the hour-by-hour differences are quite significant most of the time. The way the power exchanges will be compensated was to be agreed, and the direct net income from the trade is to be shared 50/50 between TenneT and Statnett.

title: NorNed


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Interactive programming

Interactive programming is the procedure of writing parts of a program while it is already active. This focuses on the program text as the main interface for a running process, rather than an interactive application, where the program is designed in development cycles and used thereafter (usually by a so-called "user", in distinction to the "developer"). Consequently, here, the activity of writing a program becomes part of the program itself.

It thus forms a specific instance of interactive computation as an extreme opposite to batch processing, where neither writing the program nor its use happens in an interactive way. The principle of rapid feedback in extreme programming is radicalized and becomes more explicit.

Synonyms: on-the-fly-programming, just in time programming, conversational programming

Application fields
Interactive programming techniques are especially useful in cases where no clear specification of the problem that is to be solved can be given in advance. In such situations (which are not unusual in research), the formal language provides the necessary environment for the development of an appropriate question or problem formulation.

Interactive programming has also been used in applications that need to be rewritten without stopping them, a feature which the computer language Smalltalk is famous for. Generally, dynamic programming languages provide the environment for such an interaction, so that typically prototyping and iterative and incremental development is done while other parts of the program are running.

As this feature is an apparent need in sound design and algorithmic composition, it has evolved significantly there. More recently, researchers have been using this method to develop sonification algorithms.

Using dynamic programming languages for sound and graphics, interactive programming is also used as an improvisational performance style live coding, mainly in algorithmic music and video.

Example code

 * Live coding of 3D graphics in ActionScript using COLT
 * An example of some code in the dynamic programming language SuperCollider is available here.
 * Another example, written in ChucK is available here
 * Live coding of graphics with fluxus: a screenshot
 * impromptu
 * An example of livecoding in English with Quoth
 * Hot-swapping in the functional reactive programming language Elm

title: Interactive programming


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List of Greek actors

This is a list of Greek actors.

 * Alekos Alexandrakis – (Αλέκος Αλεξανδράκης) (1928–2005)
 * Anthimos Ananiadis – (Άνθιμος Ανανιάδης) (1985–)
 * Jennifer Aniston – (Ιωάννα Αναστασάκη) (1969–)
 * John Aniston – (Ιωάννης Αναστασάκης) (1933–2022)
 * Vasilis Avlonitis – (Βασίλης Αυλωνίτης) (1904–1970)
 * Georges Corraface – (Γιώργος Χωραφάς) (1952–)
 * Cybele – (Κυβέλη) (1887–1978)
 * Jacques Damala – (Aριστεíδης Δαμαλάς) (1855–1889)
 * Rika Dialina – (Ειρήνη "Ρίκα" Διαλυνά) (1931–)
 * Lavrentis Dianellos – (Λαυρέντης Διανέλλος) (1911–1978)
 * Andreas Douzos – (Ανδρέας Ντούζος) (1936–2013)
 * Chronis Exarhakos – (Χρόνης Εξαρχάκος) (1932–1984)
 * Giorgos Fountas – (Γιώργος Φούντας) (1924–2010)
 * Tasos Giannopoulos – (Τάσος Γιαννόπουλος) (1931–1977)
 * Giannis Gionakis – (Γιάννης Γκιωνάκης) (1922–2002)
 * Angelos Grammenos – (Άγγελος Γραμμένος) (1958–)
 * Stathis Giallelis – (Στάθης Γιαλελής) (1941–)
 * Kostas Hatzichristos – (Κώστας Χατζηχρήστος) (1921–2001)
 * Antonis Kafetzopoulos – (Αντώνης Καφετζόπουλος) (1951–)
 * Tzeni Karezi – (Τζένη Καρέζη) (1932–1992)
 * Kostas Kazakos – (Κώστας Καζάκος) (1935–2022)
 * Smaragda Karydi – (Σμαράγδα Καρύδη) (1969–)
 * Kora Karvouni – (Κόρα Καρβούνη) (1980–)
 * Vangelis Kazan – (Βαγγέλης Καζάν) (1936–2008)
 * Vassili Karis – (Βασίλης Καραμεσίνης) (1938–)
 * Manos Katrakis – (Μάνος Κατράκης) (1908–1984)
 * Lambros Konstantaras – (Λάμπρος Κωσταντάρας) (1913–1985)
 * Giorgos Konstantinou – (Γιώργος Κωνσταντίνου) (1934–)
 * Elias Koteas – (Ηλίας Κοτέας) (1961–)
 * Pavlos Kourtidis – (Παύλος Κουρτίδης) (1975–)
 * Zoe Laskari – (Ζωή Λάσκαρη) (1943–2017)
 * Thanos Leivaditis – (Θάνος Λειβαδίτης) (1934–2005)
 * Zeta Makrypoulia – (Ζέτα Μακρυπούλια) (1978–)
 * Costas Mandylor – (Κώστας Θεοδοσόπουλος) (1965–)
 * Louis Mandylor – (Λούης Θεοδοσόπουλος) (1966–)
 * Melina Mercouri – (Μελίνα Μερκούρη) (1920–1994)
 * Giannis Michalopoulos – (Γιάννης Μιχαλόπουλος (1927–2016)
 * Panos Mihalopoulos – (Πάνος Μιχαλόπουλος) (1949–)
 * Memos Mpegnis – (Mέμος Μπεγνής) (1974–)
 * Elena Nathanael – (Έλενα Ναθαναήλ) (1947–2008)
 * Dimitris Nikolaidis – (Δημήτρης Νικολαΐδης) (1922–1993)
 * Dinos Iliopoulos – (Ντίνος Ηλιόπουλος) (1913–2001)
 * Clio-Danae Othoneou – (Κλειώ-Δανάη Οθωναίου) (1979–)
 * Dionysis Papagiannopoulos – (Διονύσης Παπαγιαννόπουλος) (1912–1984)
 * Dimitris Papamichael – (Δημήτρης Παπαμιχαήλ) (1934–2004)
 * Irene Papas – (Ειρήνη Παππά) (1926–2022)
 * Katina Paxinou – (Κατίνα Παξινού) (1900–1973)
 * Anna Rezan – (Άννα Ρεζάν) (1992–)
 * Nikos Rizos – (Νίκος Ρίζος) (1924–1999)
 * Telly Savalas – (Τέλης Σαβάλας) (1922–1994)
 * Kostas Triantafyllopoulos – (Κώστας Τριανταφυλλόπουλος) (1956–2021)
 * Titos Vandis (Τίτος Βανδής) (1907–2003)
 * Aimilios Veakis – (Αιμίλιος Βεάκης) (1884–1951)
 * Antigone Valakou – (Αντιγόνη Βαλάκου) (1930–2013)
 * Nora Valsami – (Νορα Βαλσάμη) (1948–)
 * Thanassis Veggos – (Θανάσσης Βέγγος) (1927–2011)
 * Giorgos Velentzas – (Γιώργος Βελέντζας) (1927–2015)
 * Rena Vlahopoulou – (Ρένα Βλαχοπούλου) (1923–2004)
 * Giannis Voglis – (Γιάννης Βόγλης) (1937–2016)
 * Lefteris Voyatzis – (Λευτέρης Βογιατζής) (1945–2013)
 * Yorgo Voyagis – (Γιώργος Βογιατζής) (1945–)
 * Aliki Vougiouklaki – (Αλίκη Βουγιουκλάκη) (1934–1996)
 * Nikos Xanthopoulos – (Νίκος Ξανθόπουλος) (1934–2023)
 * Pantelis Zervos – (Παντελής Ζερβός) (1908–1982)
 * Voula Zouboulaki – (Βούλα Ζουμπουλάκη) (1924–2015)

title: List of Greek actors


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Globus cruciger

The, also known as stavroforos sphaira (σταυροφόρος σφαίρα) or "the orb and cross", is an orb surmounted by a cross. It has been a Christian symbol of authority since the Middle Ages, used on coins, in iconography, and with a sceptre as royal regalia.

The cross laid over the globus represents Christ's dominion over the world, literally held in the hand of a worthy earthly ruler. In the iconography of Western art, when Christ himself holds the globe, he is called Salvator Mundi (Latin for 'Saviour of the World'). For instance, the 16th-century Infant Jesus of Prague statue holds a globus cruciger in this manner.

History

Holding the world in one's hand, or, more ominously, under one's foot, has been a symbol since antiquity. To citizens of the Roman Empire, the plain spherical globe held by the god Jupiter represented the world or the universe, as the dominion held by the Emperor. A 2nd-century coin from the reign of Emperor Hadrian shows the Roman goddess Salus with her foot upon a globus, and a 4th-century coin from the reign of Emperor Constantine I shows him with a globus in hand. The orbis terrarum was central to the iconography of the Tetrarchy, in which it represented the Tetrarchs' restoration of security to the Roman world. Constantine I claimed to have had a vision of symbol of Christ above the sun, with the words "In this sign, you shall conquer" (Latin: "In hoc signo vinces"), before the Battle of Milvian Bridge in AD 312. This symbol is usually assumed to be the "Chi-Rho (X-P)" symbol, but some think it was a cross. Consequently, his soldiers painted this symbol on their shields and then defeated their foe, Maxentius.With the growth of Christianity in the 5th century, the orb (in Latin works orbis terrarum, the 'world of the lands', whence "orb" derives) was surmounted with a cross, hence globus cruciger, symbolizing the Christian God's dominion of the world. The Emperor held the world in his hand to show that he ruled it on behalf of God. To non-Christians already familiar with the pagan globe, the surmounting of a cross indicated the victory of Christianity over the world. In medieval iconography, the size of an object relative to those of nearby objects indicated its relative importance; therefore the orb was small and the one who held it was large to emphasize the nature of their relationship. Although the globe symbolized the whole Earth, many Christian rulers, some of them not even sovereign, who reigned over small territories of the Earth, used it symbolically.

The first known depiction in art of the symbol was probably in the early 5th century AD, possibly as early as AD 395, namely on the reverse side of the coinage of Emperor Arcadius, yet most certainly by AD 423 on the reverse side of the coinage of Emperor Theodosius II.

The globus cruciger was associated with powerful rulers and angels; it adorned portrayals of both emperors and kings, and also archangels. It remained popular throughout the Middle Ages in coinage, iconography, and royal regalia. The papacy, which in the Middle Ages rivaled the Holy Roman Emperor in temporal power, also used the symbol on top of the Papal tiara, which consisted of a triple crown; the Pope did not use a separate orb as a symbol. The globus cruciger (made up of a monde and cross) was generally featured as the finial of European royal crowns, whether on physical crowns or merely in royal heraldry, for example, in Denmark, the Holy Roman Empire, Hungary, Italy, The Netherlands, Portugal, Romania, Spain, Sweden, and Yugoslavia. It is still depicted not only in the arms of European polities for which a monarchy survives, yet also, since the end of communism in 1991, in the arms of some eastern European polities, despite the termination of their historical monarchies. Even in the modern era in the United Kingdom, the Sovereign's Orb symbolizes both the state and Church of England under the protection and domain of the monarchy.

Use as an alchemical symbol
The globus cruciger was used as the alchemical symbol ( ♁ ) for antimony. It was also used as an alchemical symbol for lupus metallorum "the grey wolf", supposedly used to purify alloyed metals into pure gold. Lupus metallorum (stibnite) was used to purify gold, as the sulphur in the antimony sulphide bonds to the metals alloyed with the gold, and these form a slag which can be removed. The gold remains dissolved in the metallic antimony which can be boiled off to leave the purified gold.

title: Globus cruciger


text:
Talk:Chris Kanyon

Official website
His website has expired and I'm gonna delete the link.

ChrisKanyon.net is active so the link should go back up.--G0aT CheEZeY 12:48, 10 September 2006 (UTC)

Sept. 8, 2006 House Show
I have now heard 4 different versions of what HHH said on the house mike after Kanyon held up the signs. Here are some examples.

1) Kanyon's Blog about it. (something, almost inaudible, I think saying, "Who invited Kanyon?")

2) House Show report from Wrestling Observer ("Who better than Kanyon")

3) PW Torch show report ("who invited Kanyon.")

4) PWInsider.com show report ("We ARE better than Kanyon!") http://pwinsider.com/ViewArticle.asp?id=20198&p=1

Should you mention that it is in question what HHH said? --G0aT CheEZeY 12:46, 10 September 2006 (UTC)

Notability of homosexuality
While it seems that Kanyon has intentionally sought publicity for the revelation of his sexual orientation, I'm not sure that it is particularly notable in the context of this article, which should focus on his wrestling career. He was not a member of any major wrestling organization at the time of his disclosure, nor has his sexual orientation attracted much attention from reliable sources, beyond the publicity that Kanyon has attempted to drum up for himself. Most of the section remains unsourced. Ideally, this section should be either eliminated or reduced to one well-sourced paragraph, at most. Uncle Dick (talk) 19:25, 15 April 2009 (UTC)
 * So this information should be removed... why, exactly? --thickslab (talk) 03:25, 16 April 2009 (UTC)
 * His most recent statement on the issue was that he was homosexual. Hence the Personal life section is correct. It is not undue weight, as the info is only in the Personal life section. Jim Michael (talk) 20:02, 3 April 2010 (UTC)

Is he gay or not?
The homosexuality section is ambiguous, If his "character" is gay he needs to be removed from LGBT sportspeople. If the real person Kanyon is legitimately gay then the section needs to be cleared up. —Preceding unsigned comment added by 70.134.90.146 (talk) 21:51, 31 October 2009 (UTC)
 * The article is clear that he stated he was. Jim Michael (talk) 20:02, 3 April 2010 (UTC)

You guys should mention Mortal Kombat
This artilce says he was taken off of Reptile http://fightgameblog.com/2010/04/chris-kanyon-passes-away/ And these guys quote the same article: http://www.nowpublic.com/world/chris-kanyon-death-homosexual-wrestler-mortis-commits-suicide-2600610.html (I tried to put an examiner link an d it says it was spam...) http://media-newswire.com/release_1115814.html http://bleacherreport.com/articles/372906-rip-chris-kanyon-january-4-1970-april-2-2010 Sincerely Subzerosmokerain (talk) 03:43, 4 April 2010 (UTC)

Never mind, it's already in there. Sincerely Subzerosmokerain (talk) 03:44, 4 April 2010 (UTC) http://media-newswire.com/release_1115814.html

Professional wrestlers who committed suicide
He should be added to this category

http://www.foxnews.com/entertainment/2010/04/04/openly-gay-wrestler-dies-apparent-suicide/?test=latestnews —Preceding unsigned comment added by 70.134.65.11 (talk) 01:26, 5 April 2010 (UTC)

Sexuality
Sources are reporting that Kanyon was one of the first openly gay wrestlers, see, that being the case, it should likely be mentioned in the lead. Sephiroth storm (talk) 21:32, 5 April 2010 (UTC)
 * The article now says his character was openly gay, but he personally was a closeted homosexual. Jim Michael (talk) 02:39, 8 April 2010 (UTC)

Edit request from Vital Idol, 6 April 2010
editsemiprotected

Interview with http://www.trashtalkingradio.com

March 2008

http://my.pogoplug.com/share/p7XmVJeU1Q4hJUFtzQ9qdQ/

Mike Trash Chris Kanyon Interview ON Trash Talking Radio from March 2008 (RIP)Click here to view this share. Mike has shared some files via Pogoplug.

I am Mike Trash the owner of this file verification @ mike@trashtalkingradio.com

Vital Idol (talk) 03:40, 6 April 2010 (UTC)

 * If you wish to grant permission for this file email the following:

I hereby assert that I am the creator and/or sole owner of the exclusive copyright of the photograph(s) attached to this email.

I agree to publish that work under the free license LICENSE Permission is granted to copy, distribute and/or modify this document under the terms of the Creative Commons Attribution Share-Alike License 3.0, and the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of these licenses are held at http://commons.wikimedia.org/wiki/Commons:Creative_Commons_Attribution-ShareAlike_3.0_Unported_License and http://commons.wikimedia.org/wiki/Commons:GNU_Free_Documentation_License.

I acknowledge that I grant anyone the right to use the work in a commercial product and to modify it according to their needs, provided that they abide by the terms of the license and any other applicable laws.

I am aware that I always retain copyright of my work, and retain the right to be attributed in accordance with the license chosen. Modifications others make to the work will not be attributed to me.

I acknowledge that I cannot withdraw this agreement, and that the content may or may not be kept permanently on a Wikimedia project.

FILL IN HERE: DATE, NAME OF THE COPYRIGHT HOLDER

 * to photosubmissionAt_sign.svgedia.org per Contact us/Photo submission. Make sure you attach the file in question.

 * Until then, Avic enna sis @ 06:06, 6 April 2010 (UTC)

R.I.P Chris Kanyon
Chris Kanyon if you hering this Rest In Picece. You will be miss. My favrot match was you in Summerslam 2001.

R.I.P —Preceding unsigned comment added by 24.0.120.35 (talk) 17:54, 1 July 2010 (UTC)

Ken Kanyon
Is his brother's last name really "Kanyon"? I googled him and there's no wrestler with that name. I suspect if he indeed has a brother, his last name would be "Klucsarits." I'm just saying. 65.43.96.3 (talk) 15:49, 18 November 2010 (UTC)

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title: Talk:Chris Kanyon


text:
Bowes Park railway station

Bowes Park railway station is in the London Borough of Haringey in north London, and is on the boundary of Travelcard Zone 3 and Travelcard Zone 4. It is down the line from London King's Cross. The station and all trains serving it are operated by Great Northern, on the Hertford Loop Line. It was first opened by the GNR in 1880, some nine years after the Loop Line itself was completed.

The station is a short walk from Bounds Green Underground station on the Piccadilly line, with which it is a valid out-of-station interchange. It has an unusual location in that it is situated between two quiet residential cul-de-sacs and is accessed from a footbridge over the railway line which divides those streets.

Bowes Park is the only station on the entire Hertford Loop with an island platform.

In autumn 2008, a new Shere FASTticket self-service ticket machine, accepting both cash and credit cards, was installed here (and similarly at other local Govia Thameslink Railway stations).

To the north of the station is a single siding in between the two running tracks which is occasionally used to turn around trains heading to Bounds Green Depot just north of Alexandra Palace. A connection to the now disused GER Palace Gates Line whose terminus, Palace Gates (Wood Green), lay just to the south, was made in 1929.

Services
All services at Bowes Park are operated by Great Northern using EMUs.

The typical off-peak service in trains per hour is:
 * 2 tph to Moorgate
 * 2 tph to Stevenage via Hertford North

Additional services call at the station during the peak hours.

Ticketing
Oyster pay and go has been accepted at the station since 2 January 2010.

title: Bowes Park railway station


text:
Talk:PlainTalk

hi

Support
My iMac G3 (Rev B) supports the PlainTalk Microphone, but my iMac G5 does not. Any idea when this support was dropped? --Ahruman 14:43, 9 October, 2005 (UTC)

I don't know. But I believe the first Macintoshes compatible with the Plaintalk Microphones were the Centris 660av and Centris 840av. --Chris Murphy 14:23, 25 November, 2005 (PST)

Fair use rationale for Image:Speech Recognition status.png
Image:Speech Recognition status.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 05:26, 24 January 2008 (UTC)

WALL-E spoiler
Do we really need information about AUTO's character in WALL-E here? It contains some information which may be seen as spoilers, and in my opinion, all it really needs to say is that the character uses MacInTalk for its voice. Flarn2006 (talk) 02:08, 17 July 2009 (UTC)

Case
MacinTalk or MacInTalk? The article can't seem to decide. - dcljr (talk) 08:51, 14 January 2013 (UTC)

 * Based on searching Apple's own website, it seems that it is properly "MacinTalk" with a lowercase "i". Additional occurrences with lowercase "i": the filenames of MacinTalk extensions seen in this screenshot, and a HyperCard stack by Nigel Perry. (Search results with the uppercase "I" usage seem to be in regard to it being credited in music and movie productions.) – BrianKrent (talk) 10:36, 8 May 2018 (UTC)

Scope
The article discusses both speech synthesis and speech recognition. It should be either divided or retitled. (By the way, my edits were dictated on OS 10.9.) 184.18.45.118 (talk) 00:16, 25 May 2014 (UTC)

Clickable reference?
Why are some references clickable and some not? 184.18.45.118 (talk) 00:25, 25 May 2014 (UTC)

radio
When we lived in Arcata,CA in the mid '90s, there was a radio DJ who was a Vietnam veteran who had lost his voice to Agent Orange, but he used MacinTalk (as he referred to it) to make his announcements. He used the standard 'Fred' voice, but he had it reading a highly customized script for a much more natural sound than we could easily get on our Macs at home. I don't remember if he was on KMUD or KHUM, but he had the afternoon show and was known as "Digital Dan, the DJ with a chip." I've been looking for references to him online, but I haven't found any sources of information about him. He was a delight to listen to and had a great sense of humor. Leeeoooooo (talk) 21:24, 12 February 2015 (UTC)

Change article title?
When I do a Google search for 'Apple PlainTalk' I see that it is used exclusively to refer to the speech synthesis technology in much earlier versions of Mac OS. Apple's developer library calls the technology/feature Speech Synthesis in OS X. Perhaps that'd be a more suitable title. Or better yet,

 * Speech Synthesis in Mac OS

would encompass Mac OS 7 to OS X 10.10 (all versions of the OS that have speech synthesis).

The article also covers speech recognition. I agree with Talk:PlainTalk. If the article is not divided, a more possible title is

Wickedjargon (talk) 02:07, 24 June 2015 (UTC)
 * Speech Synthesis and Recognition in Mac OS

In Music
Synthesised Mac voices are ALSO used in OMD’s Atomic Ranch: from their album, English Electric

Cuddy2977 (talk) 15:07, 1 March 2019 (UTC)

MacSpeak?
I am curious to whether MacSpeak, seen in the film Blank Check, is a variation of PlainTalk as there is a link to this article in Blank Check (film) and the film is mentioned under In Popular Culture in this article. I have tried searching for MacSpeak on Google and the results tend to turn out synthetic voice software from Apple. According to Macintosh Repository, MacSpeak is the original speech synthesizer app that Steve Jobs used to make the mac 128k demo. However, the article is short and it misspells synthesizer as "sythsizer". Considering Blank Check is a comedy film, MacSpeak could be a parody of PlainTalk or MacinTalk. Tk420 (talk) 09:49, 21 April 2022 (UTC)-edited

Hardware: Apple PlainTalk Microphone vs Apple Omnidirectional Microphone
The Apple PlainTalk Microphone, which used the extended proprietary 3.5 mm connector, came only in the "half-oval" form factor (see here). The round Apple microphone, known as the Apple Omnidirectional Microphone, preceded the PlainTalk and used only a standard 3.5 mm connector. It never used the extended connector, despite what this article currently says under the Hardware section. Illinois347 (talk) 03:53, 16 August 2023 (UTC)

What happened to "In Popular Culture"?
Why remove it?? It helped make MacinTalk/PlainTalk more recognizable. FlapjackRulez (talk) 21:51, 17 November 2023 (UTC)

title: Talk:PlainTalk


text:
File talk:Aramaic emphatics.ogg

Very cool to have this! But isn't the volume of this file a bit low? — mark ✎ 10:58, 6 Apr 2005 (UTC)

 * Yup, the volume is too low. I've worked out how to use the normalise feature on Audacity so I could reload the file with a better volume. --Gareth Hughes 22:01, 6 Apr 2005 (UTC)
 * Ah, great!  — mark ✎ 16:17, 7 Apr 2005 (UTC)

Well, I've normalised the recording, and the volume should be a lot better now: tell me what you think. --Gareth Hughes 10:31, 9 Apr 2005 (UTC)

 * Still very low in volume to my ears... or there must be a caching problem and I'm getting the old version (if that's possible?). I've given it a try in Sound Forge and normalized it to a -20 dB RMS level (I'm not fully sure what that means, but in any case, the 'Speech' preset puts it at -10dB and that's a little too loud, causing some distortion). I've also applied a modest noise gate to get rid of the buzz in the silent parts. Download here. What do you think?  — mark ✎ 10:59, 9 Apr 2005 (UTC)

I've uploaded a new version of the file, but now I've listened to yours, and think that's much better. Have a listen: if you agree, upload your version. I cannot profess to know much about the intricacies of sound recording. How do the other files associated with Aramaic language sound to you? --Gareth Hughes 19:51, 9 Apr 2005 (UTC)

title: File talk:Aramaic emphatics.ogg


text:
Wikipedia:WikiProject UK Parliament constituencies/Progress

How to use these tables...
Each entry should read as follows: If a cell is empty is to be taken that the particular check has not taken place.
 * Quality: One of four values:
 * [[Image:25%.svg]] – 2005 & 2001 results are completed, little else - sections are still blank.
 * [[Image:50%.png]] – Some MPs, some election results. Some sections may have been expanded, others variable/blank.
 * [[Image:75%.png]] – More election results, more to the list of MPs. All sections have been expanded upon.
 * [[File:100 percent.svg]] – All sections, including the list of MPs and all the election results are complete/thorough (or complete up till 1885)
 * Elections:
 * The last election the article covers. (Mark C for complete)
 * Infobox: Whether it exists or not.


text:
Wikipedia:Articles for deletion/Foaminess

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. – ABCD 01:07, 12 Apr 2005 (UTC)

Foaminess
"Foaminess" "Bikeman" doesn't Google, which I would expect for an established scientific term. Delete as neologism. Mgm|(talk) 10:59, Apr 6, 2005 (UTC)
 * Delete perhaps it's supposed to be funny?Halidecyphon 11:57, 6 Apr 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
User talk:Gumboot

Welcome to Wikipedia!
Looks like I forgot to give you a proper Wikipedia welcome! So here goes...

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome!
 * How to edit a page
 * Editing, policy, conduct, and structure tutorial
 * Picture tutorial
 * How to write a great article
 * Naming conventions
 * Manual of Style
 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

--PJF (talk) 21:41, 6 Apr 2005 (UTC)

P.S. You may be interested in WikiProject_Melbourne, a project to help complete articles on Melbourne and Victoria on wikipedia.

Merri Creek and Edible Plants
G'day Gumboot,

Firstly, welcome to wikipedia, and thanks for your contributions so far. Your updates to the Merri Creek are very much appreciated! In fact, your changes to this article is the reason why I'm contacting you.

I'll admit that I have a strong interest in bushfoods. Any mention of edible plants along the Merri Creek are likely to be from my edits. The creek is quite significant in the diversity of edible plants that it supports, and the concentration at which it supports them.

In a recent edit you recorded a comment stating:

 * Would also like to change edible plants section as most of these are weed species.

It's certainly true that most wild edible plants in urban areas are considered to be 'weeds', although many of them were intentionally introduced to Australia due to their nutritional qualities and ease-of-growth. There's little doubt that these are invasive species that have colonised the creek, although a number of native edibles can also be found.

The collection of wild plants from the Merri Creek and other areas is common in some social groups. I've regularly seen people collecting wild brassicas from the creek. The stands of jerusalem artichoke are particularly noteworthy, due to their significant size, and the likelyhood that they were intentionally planted.

I'm curious as to what changes you'd like to see to the edible plants section. I had simply jotted down a few species from my own notes. Certainly there's a lot more than can be said, especially as the creek habours species such as amaranth and kangaroo apple that are otherwise rare in the surrounding areas.

All the very best,

--PJF (talk) 11:04, 6 Apr 2005 (UTC)

Image Tagging Image:Dights falls.jpg
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Image Tagging for Image:Merri_2.jpg
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title: User talk:Gumboot


text:
HVDC Three Gorges – Changzhou

The HVDC Three Gorges – Changzhou is an 940 km long bipolar HVDC transmission line in China for the transmission of electric power from the Three Gorges power plant to the area of Changzhou.

The transmission line went into service in 2004. It runs from the static inverter station, Longquan, 31 mi away from the Three Gorges power plant to the static inverter plant, Zhengping, near Changzhou. The HVDC Three Gorges-Changzhou is a bipolar 500 kV powerline with a maximum transmission power rating of 3,000 megawatts.

A part of the line is the Yangtze River Crossing Wuhu over Yangtze River using 229 m tall pylons.

The electrode at Chujiahu is also used by HVDC Hubei - Shanghai for grounding.

title: HVDC Three Gorges – Changzhou


text:
Kaltern an der Weinstraße

Kaltern an der Weinstraße (Caldaro sulla Strada del Vino ), often abbreviated to Kaltern or Caldaro, is a municipality and a village in South Tyrol in northern Italy. It is about 12 km southwest of the city of Bolzano.

Geography
As of 30 November 2010, it had a population of 7,592 and an area of 47.9 km2.

It is famous for its lake, the Kalterer See, and wine (Kalterersee Auslese or Lago di Caldaro scelto). The cuisine combines Italian and Tyrolean styles. The nearby Dolomites area is known for its hiking and climbing routes.

Kaltern borders the following municipalities: Eppan, Neumarkt, Tramin, Vadena, Amblar, Cavareno, Ruffrè-Mendola, and Sarnonico (the last four municipalities belong to the Trentino).

Frazioni
The municipality of Kaltern contains the frazioni (subdivisions, mainly villages and hamlets) Altenburg (Castelvecchio), Oberplanitzing (Pianizza di Sopra), Unterplanitzing (Pianizza di Sotto), St. Josef am See (San Giuseppe al Lago), St. Anton/Pfuss (San Antonio/Pozzo), St. Nikolaus (San Nicoló) and Mitterdorf (Villa di Mezzo).

Coat-of-arms
The coat of arms, used by the end of the 16th century, is a copper kettle with a handle on argent background.

Linguistic distribution
According to the 2011 census, 92.61% of the population speak German, 7.03% Italian and 0.36% Ladin as first language.

Twin towns — sister cities
Kaltern an der Weinstraße is twinned with:

 * 🇩🇪 Heppenheim, Germany (1971)

Notable residents

 * Manfred Fuchs (1938 in Latsch – 2014 in Kaltern) a German entrepreneur and space pioneer
 * Andreas Seppi (born 1984) an Italian professional tennis player

title: Kaltern an der Weinstraße


text:
Flue pipe

A flue pipe (also referred to as a labial pipe) is an organ pipe that produces sound through the vibration of air molecules, in the same manner as a recorder or a whistle, in a pipe organ. Air under pressure (called wind) is driven through a flue and against a sharp lip called a labium, causing the column of air in the pipe to resonate at a frequency determined by the pipe length (see wind instrument). Thus, there are no moving parts in a flue pipe. This is in contrast to reed pipes, whose sound is driven by beating reeds, as in a clarinet.

Stop
Flue pipes include all stops of the Principal, Flute, and String classes, and some stops from the Hybrid class.

Construction

Flue pipes may be metallic or wooden. Metal pipes are usually circular in cross section; wooden pipes are usually square or rectangular, though triangular and round wooden pipes do exist. A flue pipe has two major parts, a foot and a resonator. The foot is the bottom portion of the pipe, usually conical. At its base is the toe hole, through which wind enters it. The length of the foot does not affect the pipe's pitch, so organ builders vary the foot lengths of their flue pipes depending on other factors, including the desired shape of the pipes in the façade, the height of the rackboard in which the pipes are seated, and the weight of the completed pipe.

Voicing of a pipe organ is the art of achieving the required tonal quality from each pipe, as distinct from tuning (setting its pitch or frequency). The term only applies to flue pipes, not to reeds, and is practised by a specialist voicer, who may also be the tuner.

The resonator supports the oscillations of air generated at the mouth of the pipe, a horizontal opening at the juncture of the resonator with the foot. The voicing, the length of the resonator, and the resonator's volume all determine the fundamental pitch of the flue pipe. The conical taper of the pipe determines the overblown pitch. If the pipe is metal, a tuning sleeve or tuning collar may be fixed at the top of the resonator and raised or lowered to vary its length, thereby adjusting the pitch produced.

Between the foot and the resonator, the side of the pipe containing the mouth is flat. A plate of metal or wood called a languid, fixed horizontally here, blocks the airway, except for a small slot called the windway alongside the mouth. This allows air to flow as a sheet of wind directed towards the pipe's mouth. Flat pieces of metal or wood called ears may be attached to the sides of the mouth for tuning purposes, and a horizontal dowel called a roller or beard may be affixed at the pipe to ensure prompt pipe speech.

Actuation
When wind is driven into the foot of the pipe, a sheet of wind is focused by the windway across the mouth to strike just above the edge of the upper lip. This creates a Bernoulli effect, or "siphon effect", causing a low pressure area to be created just below the mouth. When this low pressure area reaches a critical stage, it pulls the airstream past the edge of the mouth, filling the vacuum. This alternately pressurizes the inside and outside of the opening, pressurizing and rarefying the air in the pipe's resonator. The column of air in the resonator thus vibrates at a frequency determined by the pipe's dimensions. See Wind Instrument.

Tonal groups
Flue pipes generally belong to one of three tonal families: flutes, diapasons (or principals), and strings. The basic "foundation" (from the French term ) sound of an organ is composed of varying combinations of these three tonal groups, depending upon the particular organ and the repertory being played.

The end of the pipe opposite the mouth may be either open or closed (also known as Gedackt or stopped). A closed pipe sounds an octave lower than an open pipe of the same length. Also, an open pipe produces a tone in which both the even-numbered and the odd-numbered partials are present, while a stopped pipe produces a tone with odd-numbered partials. The tone of a stopped pipe tends to be gentler and sweeter than that of an open pipe, though this is largely at the discretion of the voicer.

Flutes
In the system of organ flue pipe scaling, "flutes" are generally the widest flue pipes and produce the tone with the most fundamental and the least harmonics among flue pipes. They are so named because they sound like a flute instrument; though most flute stops are not intended to imitate a specific kind of flute, such as the modern orchestral instrument, they produce similar sounds. A stopped flute, such as the Gedackt (German for "covered"), produces a more muffled sound, while an open flute, such as the Waldflöte (German for "forest flute"), produces a rounder, open sound. The Flûte harmonique (French for "harmonic flute"), whose use the great 19th-century French organ builder Aristide Cavaillé-Coll advocated, is a metal flute pipe of double length with a hole punched in the center, which causes the pipe to speak at its first partial with a very round, intense sound. Cavaillé-Coll used the names Flûte Octaviante and Octavin for the 4-foot and 2-foot harmonic flutes, respectively. The Rohrflöte (German for "pipe flute", or more commonly "chimney flute" in English) is a stopped flute rank with a small pipe or chimney built into the cap.

Diapasons
Diapasons or principals produce the characteristic sound of the pipe organ. They are not intended to imitate any other instrument or sound. They are medium-scaled and often feature prominently in the façades of pipe organs, often painted and decorated. Diapasons appear throughout the entire range of the instrument, from 32′ pitch to 1′ pitch (not including mixtures), a range of nine octaves.

A stop of diapason type may or may not actually be labelled "Diapason". The "Diapason" label is most commonly used in English and American-style organs, whereas the same type of stop is known as a "Prinzipal" or "Principal" on German-style organs, and in French organs they would typically be called "Montre" (literally on "Display" - i.e. the pipes at the front of the organ case) or "Prestant" ("standing in front" - Latin ). Furthermore, diapasons at pitches higher than 8′ pitch (pronounced "8 foot", referring to the length of the resonator part of the longest pipe of the stop) are often labelled with other names. For example, on English-style organs, the stops called Principal and Fifteenth sound one octave and two octave pitches respectively above the 8′ Diapason; on German-style organs, the name Octav is used to indicate the stop an octave above the 8′ Prinzipal, and similarly for French instruments, the names Octave and Doublette for 4′ and 2′ pitches respectively are commonly used.

In Italian organs, the 8′ and sometime the 16′ pitches are called "Principale" and form the foundation of the entire organ. One characteristic of the classic Italian organ (from the 16th century on) is the separated "Ripieno". The "Ripieno" includes many Diapason stops, all separate, in contrast to the German and French style "Fourniture" and "Mixtur". The 4′ pitch is called "Ottava" and all the others are named after the harmonic they produce. They can go up to the "Quadragesima Terza" (43rd), a pipe of $1/8$′ pitch.

Strings
String pipes are the smallest-scaled (narrowest) flue pipes. They produce a bright sound that is low in fundamentals and rich in upper partials. String stops are generally named after bowed string instruments such as the Violoncelle, the Gamba, the Geigen (from the German, for violin), and the Viol. One of the most famous organs with a String Division is the Wanamaker Organ.

Undulating stops
Often, an organ will feature two similarly-voiced stops, one tuned slightly sharp or flat of the other. When these stops are played together, a unique undulating effect results due to alternating constructive and destructive interference (beat frequency). Examples include the Voix céleste (French for celestial voice), typically tuned slightly sharp, and the Unda maris (Latin for sea waves), typically tuned slightly flat. String stops are most commonly used as undulating stops, though some builders have made undulating flute stops (notably Ernest M. Skinner's Flute celeste). Rare outside Italy is an undulating diapason, as in the Italian "Voce Umana" (not to be confused with the Vox Humana, which is a soft reed stop with a short resonator).

Labial reeds
Some flue pipes are designed to produce the sounds of reed pipes or to imitate the sounds of orchestral instruments which are approximated by reed pipes. The sound is generally more mellow and sweet than that of a true reed pipe. Examples include the Saxophone, the Muted horn, the Clarinet flute, and the Echo oboe.

Tonal characteristics
The diameter of a flue pipe directly affects its tone. When comparing pipes of otherwise identical shape and size, a wide pipe will tend to produce a flute tone, a medium pipe a diapason tone, and a narrow pipe a string tone. These relationships are referred to as the scale of the pipe: i.e., wide-scaled, normal-scaled, or narrow-scaled. As a pipe's scale increases, more fundamental will be present, and fewer partials will be present in the tone. Thus, the tone becomes richer and fuller as the pipe's diameter widens from string scale to principal scale to flute scale.

The material out of which the pipe is constructed also has much to do with the pipe's final sound. While recent scientific studies have shown that the nature of the metal used in making the pipe has little or no effect on the final sound, organ builders agree that a tin/lead alloy, for example, creates a very different tone than does zinc or copper metals or spotted or frosted alloys.

title: Flue pipe


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Chelidonium majus

Chelidonium majus, the greater celandine, is a perennial herbaceous flowering plant in the poppy family Papaveraceae. One of two species in the genus Chelidonium, it is native to Europe and western Asia and introduced widely in North America.

The plant known as lesser celandine (Ficaria verna) is not closely related, as it belongs to the buttercup family Ranunculaceae.

Description
Greater celandine is a perennial herbaceous plant with an erect habit, and reaches 30 - 120 cm high. The blue-green leaves are pinnate with lobed and wavy margins, up to 30 cm long. When injured, the plant exudes a yellow to orange latex.

The flowers consist of four yellow petals, each about 18 mm long, with two sepals. A double-flowered variety occurs naturally. The flowers appear from late spring to summer, May to September (in the UK), in umbelliform cymes of about four flowers.

The seeds are small and black, borne in a long, cylindrical capsule. Each has an elaiosome, which attracts ants to disperse the seeds (myrmecochory).

Taxonomy and naming
Chelidonium majus is one of the many species described by the father of taxonomy, Carl Linnaeus, in volume one of his Species Plantarum in 1753.

According to the Oxford English Dictionary, the name celandine comes from Late Latin celidonia, from earlier Latin chelidonia or chelidonium, and ultimately from Ancient Greek χελιδόνιον, from χελιδών (chelidṓn) "swallow", hence the common name "swallowwort". Ancient writers said that the flower bloomed when the swallows returned and faded when they left. Chelidonium majus has also been called great celandine,, nipplewort, tetterwort, or simply "celandine". The common name tetterwort also refers to Sanguinaria canadensis.

Distribution and habitat
Chelidonium majus is native in most regions of Europe. It is also found in North Africa in Macaronesia, Algeria and Morocco. In Western Asia it is found in the Caucasus, Armenia, Azerbaijan, Georgia, Kazakhstan, Mongolia, Siberia, Iran and Turkey. Its habitats include rocky slopes, woodlands, waste areas, and roadsides.

Ecology
It is considered an aggressive invasive plant in parts of North America, and an invasive plant in other areas. In Wisconsin, for example, it is a restricted plant. Control is obtained mainly via pulling or spraying the plant before seed dispersal.

Constituents and pharmacology
The whole plant is toxic in moderate doses as it contains a range of isoquinoline alkaloids; use in herbal medicine requires the correct dose. The main alkaloid present in the herb and root is coptisine. Other alkaloids present include methyl 2'-(7,8-dihydrosanguinarine-8-yl)acetate, allocryptopine, stylopine, protopine, cryptopine, hemochelidonine, homochelidonine, norchelidonine, berberine, chelidonine, sanguinarine, chelerythrine, and 8-hydroxydihydrosanguinarine. Sanguinarine is particularly toxic with an of 18 mg per kg body weight (IP in rats). Caffeic acid derivatives, such as caffeoylmalic acid, are also present.

The characteristic latex also contains proteolytic enzymes and the phytocystatin chelidostatin, a cysteine protease inhibitor. It is a traditional folk remedy against warts in France and the UK. It is used in the preparation of a range of off-the-shelf treatments for warts and skin conditions.

Chelidonium is used to make Ukrain, a drug that has been promoted for, but is not known to be effective for, the treatment of cancer and viral infections.

The fresh herb is no longer used officially. No dose-finding studies exist and the reported clinical studies are characterised by a considerable heterogeneity.

Except for homeopathic medicines, the drug is no longer used in most English-speaking countries. In Germany and Switzerland, extracts of Chelidoni herba are a controversial component of the gastric remedy "Iberogast". The OTC-preparation is a top-selling product for the company Bayer, which is now under investigation for not warning consumers from possible hepatotoxic side-effects when taking the drug. Elevated liver-enzymes and toxic hepatitis with a documented fatality have been reported.

The plant is poisonous to chickens.

Herbalism
The aerial parts and roots of greater celandine are used in herbalism. The above-ground parts are gathered during the flowering season and dried at high temperatures. The root is harvested in autumn between August and October and dried. The fresh rhizome is also used. Celandine has a hot and bitter taste. Preparations are made from alcoholic and hot aqueous extractions. The related plant bloodroot has similar chemical composition and uses as greater celandine.

As far back as Pliny the Elder and Dioscorides (1st century CE) this herb has been recognized as a useful detoxifying agent. The root has been chewed to relieve toothache. John Gerard's Herball (1597) states that "the juice of the herbe is good to sharpen the sight, for it cleanseth and consumeth away slimie things that cleave about the ball of the eye and hinder the sight and especially being boiled with honey in a brasen vessell."

It was formerly used by some Romani people as a foot refresher; modern herbalists use its purgative properties. The modern herbalist Juliette de Baïracli Levy recommended greater celandine diluted with milk for the eyes and the latex for getting rid of warts. Chelidonium was a favourite herb of the French herbalist Maurice Mességué. Chelidonium majus has traditionally been used for treatment of various inflammatory diseases including atopic dermatitis. It is also traditionally used in the treatment of gallstones and dyspepsia.

The Iroquois give an infusion of whole plant, another plant and milk to pigs that drool and have sudden movements.

It was also once used to treat liver disorders, owing to the juice's resemblance to bile.

title: Chelidonium majus


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Exeter St Davids railway station

Exeter St Davids railway station is the principal and largest railway station in Exeter, also the busiest station in Devon.

It is 193 mi from the zero point at London Paddington, from where trains travel through Exeter to Plymouth and Penzance. The station is also served by trains from London Waterloo via Salisbury and long distance services to Bristol Temple Meads, Birmingham New Street, Edinburgh Waverley and other places in the North. Local services operate on the Avocet Line to Exmouth, the Riviera Line to Paignton, the Tarka Line to Barnstaple and Dartmoor Line to Okehampton.

It is managed by Great Western Railway and served by trains operated by Great Western Railway, South Western Railway and CrossCountry.

History
The station was opened on 1 May 1844 by the Bristol and Exeter Railway (B&ER). The station was designed by Isambard Kingdom Brunel and was one of his single-sided stations which meant that the two platforms were both on the eastern side of the line. This side is nearer the city and so very convenient for passengers travelling into Exeter, but did mean that many trains had to cross in front of others.

This was not a significant issue while the station was at the end of the line, but on 30 May 1846 the South Devon Railway (SDR) opened a line westwards towards Plymouth. A carriage shed was built for the SDR at the south end of the B&ER platform but the goods sheds and locomotive sheds for both companies were to the west, between the station and the River Exe. The SDR was designed to be worked by atmospheric power and an engine house was built on the banks of the river near the locomotive shed. This was only used for its original purpose for about a year but was not demolished until many years later.

The next railway to arrive at St Davids was the Exeter and Crediton Railway on 12 May 1851, the junction of which is to the north of the station at Cowley Bridge Junction. This line was worked by the B&ER and trains were accommodated at the existing platforms. All these railways were built to the broad gauge, but on 1 February 1862, the  gauge London and South Western Railway (LSWR) brought a line into the station from their own Exeter Central in Queen Street. The LSWR owned the Exeter and Crediton Railway and started to work the line for itself, although the broad gauge was retained for the B&ER to work goods trains to Crediton.

With two gauges and four companies using the single-sided station, it was in need of remodelling. A new double-sided platform opened on the western side of the line and the original up platform at the northern end was closed. The original platforms had all been constructed with individual train sheds covering the tracks, and the opportunity was taken to replace these with one large train shed across all the main tracks and platforms. North of the station was a level crossing and just beyond this an additional goods shed was constructed. Unlike the earlier ones, it was solely for transferring goods between the trains of the two different gauges. These buildings were all designed by Francis Fox, the B&ER engineer, and Henry Lloyd and the work was completed in 1864.

The B&ER was amalgamated with the Great Western Railway on 1 January 1876 and the SDR did the same thing exactly one month later. The main line from Bristol was rebuilt with mixed gauge track that allowed broad gauge trains to run through from London Paddington to Penzance, while at the same time offering a standard gauge track for local trains from Bristol Temple Meads; the new line was ready by 1 March 1876.

The train shed was removed in 1912-13 and the platforms extended northwards towards the level crossing. A second island platform was provided on the west side and this entailed the goods shed being narrowed from two tracks to one at their southern end. The middle island platform was mainly used for LSWR trains while "down" GWR services towards the West Country used the original main platform and the new island platforms. Before Southern Region services to Plymouth were abandoned, passengers could see Plymouth-bound services of the Western Region and Southern Region leaving St Davids in opposite directions. The station has remained largely in this form since, but resignalling works in 1985 saw the ex-LSWR services moved to the main platform so that down ex-GWR line services did not have to cross their path at the south end of the station. A through-line between platforms 1 and 3 was removed at the same time. The new signal box was built on the site of the old atmospheric engine house and replaced three older signal boxes.

Remains of the earlier stations can still be seen. The main façade dates from 1864 and the Great Western Hotel dates from the earliest days, as does the southern section of platform 1. The goods shed opposite platform 6 shows the angle where the southern end was cut back in 1912, and at the northern end, part of the original goods shed still stands beneath later extensions. The 1864 transfer shed can still be seen beside the line beyond Red Cow Crossing; it is now a Grade II listed building.

Station Masters

 * William Mears ca. 1850 - 1891
 * Samuel Morris 1891 - 1900
 * H.E. Williams 1900 - 1911 (formerly station master at Newton Abbot)
 * John Lea 1911 - 1922 (formerly station master at Slough, afterwards station master at Reading)
 * W.E. Denton 1922 - 1926
 * A.J. Humphrey 1926 - 1928 (formerly station master of Weymouth)
 * Ernest Tom Evans 1928 - 1938 (formerly station master at Gloucester)
 * W.J. Gush 1938 - 1939
 * William Nicholls 1939 - 1945 (formerly station master at Wolverhampton Low Level)
 * F.G. Elmore ca. 1950

Facilities
The main buffet and bookshop are both outside the ticket gates. There are also a number of local shops outside the station along with the Great Western Hotel and a Premier Inn hotel. There is a smaller buffet on platforms 5 & 6.

The main passenger footbridge has many paintings resembling frescoes and depicting romantic versions of rail travel. A second bridge fitted with lifts provides disabled access. When the lifts are out of use, a member of station staff escorts people across a foot crossing at track level towards the south of the station.

Location
The station entrance is on the east side of the line, facing the city centre which is about a 15 minutes walk along well-signposted routes. There are also frequent bus services to the centre from outside the station and many trains link St Davids with Exeter Central railway station.

Beyond platform six is the Exeter panel signal box that controls not just St Davids but also the main line north through to Taunton and Cogload Junction and southwards to Totnes and Torquay as well the branches out to Exmouth Junction and Crediton. Next to this is Exeter Traincare Depot where DMU sets used on local services are fuelled. A goods shed is situated beyond Red Cow Crossing at the north end of the platforms, and finally beyond that is Riverside Yard which still sees goods traffic. Cowley Bridge Junction is about a mile away at the far end of Riverside Yard, but the junction for the Exeter Central line is right by the south end of the platforms. This line curves eastwards and climbs steeply to cross a small viaduct before entering a tunnel beneath the city; the main line instead stays on the level and crosses both the River Exe and the city's flood defence channel before curving gently out of sight.

Platform layout
The entrance is on platform 1, which is mainly used for trains to and from Exeter Central and Barnstaple. It is signalled so that two trains can be on the platform simultaneously, with the south end marked as platform 1A. At the north end is platform 2, a separate bay platform that is used from time to time for trains to and from the north – mainly Bristol and Barnstaple – that start or terminate at St Davids.

The middle pair of platforms is numbered 3 & 4. The former is used by similar trains to platform 1, but platforms 4-6 do not have access to the lines from Exeter Central. Instead platform 4 is the main platform for inter-city trains to Paignton, Plymouth and Penzance. Trains from both platforms 1 and 3 can also reach this route so trains from Exmouth that continue westwards will reverse in one of these platforms.

The third platform block sees northbound trains to London Paddington and the North use platform 5. Various local services use platform 6 as do trains from Paddington or the North that terminate at Exeter then return northwards.

Services

There are two direct routes from St Davids to London. The main line is generally considered to be the Great Western Railway service to London Paddington via Reading, which includes the Night Riviera sleeping car service. However, there is also a service operated by South Western Railway on the West of England Line to London Waterloo via Salisbury and Basingstoke. Because of this, the station is one of the few that has trains to London departing in opposite directions at either end of the station – those to Paddington leave northwards while those to Waterloo head south but turn eastwards, and start the steep climb to Exeter Central just outside the station.

London services run hourly between Exeter St Davids and London Waterloo and at least hourly between Exeter St Davids and London Paddington (fast trains every hour, with additional semi-fast trains every other hour stopping at some intermediate stations). The fastest trains between Exeter St Davids and London Paddington take just over 2 hours.

Great Western Railway also runs services to Cardiff Central via Bristol Temple Meads, approximately hourly in the mornings and reducing in frequency throughout the day.

Further long-distance services are operated by CrossCountry to Birmingham New Street, Manchester Piccadilly, Sheffield, Leeds, York, Newcastle, Edinburgh Waverley, Glasgow Central and Aberdeen. These services are roughly hourly for much of the day between Birmingham New Street and Exeter St Davids.

Four local routes converge at St Davids – the Avocet Line from Exmouth, the Tarka Line from Barnstaple, the Riviera Line from Paignton and the Dartmoor Line from Okehampton. Trains from Exmouth generally continue to Paignton every half hour, providing a cross-Exeter service.

Bus services
Bus services from the station, operated by Stagecoach South West, include destinations throughout the city, plus Okehampton, Tiverton, Crediton, Bideford and Barnstaple.

Accidents and incidents
On 4 January 2010, Class 142 diesel multiple unit 142 029 collided with a train comprising two Class 159 diesel multiple units at platform 1. Nine people were injured.

Passenger volume
Exeter St Davids is the busiest station in Devon, handling around 2,619,776 passengers a year in 2018/19. This is just ahead of nearby Exeter Central station (2,532,450) and 200,000 more than Plymouth, where 2,416,376 journeys began or ended. Comparing the year from April 2007 to that which started in April 2002, passenger numbers increased by 30%. The statistics cover twelve month periods that start in April.

title: Exeter St Davids railway station


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Palmers Green railway station

Palmers Green railway station, in Aldermans Hill, is a train station in the London Borough of Enfield in north London, located within Travelcard Zone 4. It is on the line from London King's Cross. The station and all trains serving it are operated by Great Northern.

The station was originally named Palmer's Green & Southgate. It consists of two through platforms numbered 1 and 2 with a pair of tracks in between.

There is a regular Sunday community market in the station car park. Platform 1 has a sheltered waiting room.

The station currently has no lifts, with access to platforms via staircases from the ticket hall, as well as a smaller set of steps onto platform 2 leading from the car park. There are plans to provide step-free access by lifts to the platforms installed by mid-2024.

Services
All services at Palmers Green are operated by Great Northern using EMUs.

The typical off-peak service in trains per hour is:
 * 2 tph to Moorgate
 * 2 tph to Stevenage via Hertford North

Additional services call at the station during the peak hours.

Connections
London Buses routes 121, W6 and 616 serve the station.

title: Palmers Green railway station


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Joan Acocella

Joan Barbara Acocella (née Ross, April 13, 1945 – January 7, 2024) was an American dance critic and author. From 1998 to 2019, she was dance critic for The New Yorker. She also wrote for The New York Review of Books for 33 years and authored books on dance, literature, and psychology.

Early life and education
Joan Barbara Ross was born in San Francisco on April 13, 1945, to Arnold Ross, a cement company executive, and Florence (Hartzell) Ross, a homemaker. She grew up in Oakland, California, and received her B.A. in English in 1966 from the University of California, Berkeley. She earned a PhD in comparative literature at Rutgers University in 1984 with a thesis on the Ballets Russes.

Career
In the 1970s, Acocella was a writer and editor at Random House, where she co-authored a psychology textbook that went on to be reprinted in revised editions for two decades. In the 1980s, she served as senior critic for Dance Magazine, including authoring a piece about her son's performance in The Nutcracker with the New York City Ballet.

Acocella wrote for The Village Voice, and was the New York dance critic for the Financial Times. For 33 years, her writing also appeared regularly in the New York Review of Books. She began writing for The New Yorker in 1992 and served as its dance critic from 1998 to 2019.

In 1997, she accompanied Mikhail Baryshnikov on his first trip back to his birthplace of Riga, Latvia since his defection and exile from the Soviet Union in 1974.

Acocella's books included Creating Hysteria: Women and Multiple Personality Disorder (1999); Mark Morris (1993), a biography of modern dancer and choreographer Mark Morris; and Twenty-Eight Artists and Two Saints (2007), which explores the virtues common among extraordinary artists. Reviewing Twenty-Eight Artists in The New York Times, Kathryn Harrison called Acocella "knowledgeable without being a show-off, meticulous in her research and energetically conversational", and said her "typical essay thus functions as a tantalizing biographical sketch, as well as a critical study, inviting us to pursue a deeper exploration".

Acocella also edited The Diary of Vaslav Nijinsky: Unexpurgated Edition (1999), André Levinson on Dance (1991), and Mission to Siam: The Memoirs of Jessie MacKinnon Hartzell (2001), her grandmother.

Acocella's New Yorker article "Cather and the Academy", which appeared in the November 27, 1995, issue, received a Front Page Award from the Newswomen's Club of New York and was included in the "Best American Essays" anthology of 1996. She expanded the essay into Willa Cather and the Politics of Criticism (2000), receiving a starred review in Publishers Weekly.

Personal life and death
Acocella died of cancer at home in Manhattan, on January 7, 2024, at age 78. At the time of her death, Acocella's partner was Noël Carroll. She had one son from her marriage to Nicholas Acocella, which ended in divorce.

Awards and honors

 * 2017 – Harold D. Vursell Memorial Award, American Academy of Arts and Letters
 * 2017 – Fellow, Dorothy and Lewis B. Cullman Center for Scholars and Writers
 * 2012 – Holtzbrinck Berlin Prize Fellow, American Academy in Berlin.
 * 2009 – Nona Balakian Citation for Excellence in Reviewing, the National Book Critics Circle
 * 2007 – Award in Literature, American Academy of Arts and Letters
 * 2002–20?? – Fellow, New York Institute for the Humanities
 * 1993–1994 – Fellow, Guggenheim Foundation.

title: Joan Acocella


text:
Maven

A maven is an expert. A Yiddish word, deriving from the modern Hebrew conjugation of the verb "lehavin" in its 3rd person singular in the present tense (masculin) - "mevin" (מֵבִין) - which means "to understand, to comprehend". The term may also refer to:

Science and technology

 * Apache Maven, a software tool for build automation
 * MAVEN, an orbiter mission to Mars
 * Maven (Scrabble), a Scrabble-playing algorithm
 * Project Maven, a US Department of Defense project utilizing AI to improve drone targeting

Other uses

 * Maven (car sharing), a former carsharing service of General Motors
 * Maven Networks, a multimedia company acquired by Yahoo!
 * Mitsubishi Maven, a minivan sold in Indonesia since 2005

People

 * Fred Mavin or Maven (1884–1957), English football player and manager
 * Maven (wrestler) (born 1976), American professional wrestler
 * Max Maven (1950–2022), American magician and mentalist

title: Maven


text: Category:Shanghai cuisine

title: Category:Shanghai cuisine


text: User talk:83.109.184.237

title: User talk:83.109.184.237


text: User talk:222.232.113.50

title: User talk:222.232.113.50


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Winterton

Winterton may refer to:

England

 * Winterton, Lincolnshire, a small town in North Lincolnshire, England
 * Winterton Hospital in County Durham
 * in Norfolk:
 * Winterton Dunes, a nature reserve
 * Winterton Ness, an area of foreland on the North Norfolk coast of England.
 * Winterton-on-Sea, a village and civil parish
 * location of Winterton Lighthouse

Canada

 * Winterton, Newfoundland and Labrador, a town in the Canadian province of Newfoundland and Labrador

South Africa

 * Winterton, KwaZulu-Natal, a small town in KwaZulu-Natal

United States

 * Winterton, former name of Altaville, California
 * Winterton, New York, a town in Sullivan County, New York, United States

People

 * Winterton (surname)

Other

 * Earl Winterton, a title in the Peerage of Ireland
 * HMS Coromandel (1795), a ship formerly the East Indiaman Winterton

title: Winterton


text:
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72 ft


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Hooft

Hooft or 't Hooft is a Dutch surname meaning "(the) head" (hoofd in modern Dutch). Notable people with the surname include:

 * Hooft
 * Cornelis Hooft (1547–1627), Dutch statesman, father of P.C. Hooft
 * Pieter Corneliszoon Hooft (1581–1647), Dutch historian, poet and playwright
 * (1617–1678), Dutch mayor of Amsterdam,
 * Catharina Hooft (1618–1691), woman of the Dutch Golden Age
 * Hendrik Daniëlsz Hooft (1716–1794), Dutch politician during the Patriottentijd
 * Jeannette Hooft (1888–1939), Dutch traveler, mountaineer, and writer
 * Henri Hooft (born 1969), Dutch kickboxer and trainer
 * 't Hooft / Visser 't Hooft / Van 't Hooft
 * Willem Visser 't Hooft (1900–1985), Dutch theologian and the first secretary general of the World Council of Churches
 * Haas Visser 't Hooft (1905–1977), Dutch field hockey player
 * Francis van 't Hooft (born 1940), Dutch field hockey player
 * Gerard 't Hooft (born 1946), Dutch theoretical physicist and Nobel Laureate
 * Jotie T'Hooft (1956–1977), Flemish Belgian neo-romantic poet
 * Van Hooft / Van der Hooft
 * (born 1941), Dutch Socialist Party politician
 * Anna Van Hooft (born 1980s), Canadian actress
 * Elroy van der Hooft (born 1990), Dutch football forward

title: Hooft


text:
Template:Surabachi class ammunition ship draught

28 ft


text: User talk:82.35.37.118

title: User talk:82.35.37.118


text:
Template:Surabachi class ammunition ship speed

20 knots (37 km/h)


text:
Template:Surabachi class ammunition ship armament

4 × twin 3 in (76 mm) 50 caliber guns


text: File:Derfuehrersfaceposter.JPG

title: File:Derfuehrersfaceposter.JPG


text:
Template:Surabachi class ammunition ship propulsion

 * 2 × boilers
 * steam turbines
 * single shaft
 * 16,000 shp


text:
Secrets (1933 film)

Secrets is a 1933 American pre-Code Western film directed by Frank Borzage and starring Mary Pickford in her last film role. The film is a remake of Secrets (1924), a silent film starring Norma Talmadge, which was based on a 1922 play of the same name.

In 1930, Pickford had begun a remake of the Norma Talmadge Secrets titled Forever Yours with director Marshall Neilan and actors Kenneth MacKenna and Don Alvarado. After spending $300,000, Pickford stopped production and destroyed all the negatives because she was unhappy with the results.

Plot
Wealthy banker and shipowner William Marlowe and his wife Martha have their hearts set on marrying their daughter Mary to English aristocrat Lord Hurley. However, Mary has other ideas. She has fallen in love with John Carlton, one of her father's clerks. When Mr. Marlowe finds out, he fires John. John decides to go west to make his fortune, then return for Mary, but she insists on going with him. They elope.

The couple settle in California and after a while, have a herd of cattle and a baby boy. While John and hired hand Sunshine are away getting supplies, notorious outlaw Jake Houser and his gang show up and rustle the herd. John rounds up the other ranchers. They catch and hang three of the gang, including Jake's brother, but Jake gets away. Vowing revenge, Jake and his men attack the Carlton home. Help arrives and the rustlers are wiped out. The baby succumbs to illness during the gunfight.

Years pass, and the Carltons prosper greatly. Four more children are born, and John runs for governor of the state. They host a party on the night before the election at their mansion. Lolita Martinez, John's lover, scandalizes everyone by showing up. In private, she insists that Mary free John to marry her. Mary agrees, but John spurns his mistress and begs his wife's forgiveness; she gives it on condition that he tell her about all his prior lovers. Lolita makes public their affair, but John still wins the election.

Later, he becomes a senator, serving for thirty years in Washington, D.C. before deciding to retire and move back to California. This puzzles the couple's grown children; Mary explains that they want time for themselves, to enjoy secrets they can share with no one else. When their offspring still oppose their decision, the couple sneak away.

Cast

 * Mary Pickford as Mary Marlowe Carlton
 * Leslie Howard as John Carlton
 * C. Aubrey Smith as Mr. William Marlowe
 * Blanche Friderici as Mrs. Martha Marlowe (as Blanche Frederici)
 * Doris Lloyd as Susan Channing, Mary's friend
 * Herbert Evans as Lord Hurley
 * Ned Sparks as Sunshine
 * Allan Sears as Jake Houser
 * Mona Maris as Señora Lolita Martinez
 * Huntley Gordon as William Carlton as an Adult
 * Ethel Clayton as Audrey Carlton as an Adult
 * Bessie Barriscale as Susan Carlton as an Adult
 * Theodore von Eltz as Robert Carlton as an Adult

Reception
The New York Times review was mixed: “Mary Pickford, whose comely presence has not decorated the Broadway screens for two years...is now to be seen...in a very free translation of the play ‘Secrets.’ This current offering has its intriguing episodes, notably in the beginning, but the latter sections are somewhat confusing. It seems as if Frances Marion, who was responsible for the adaptation, had suddenly reaized, after becoming very enthusiastic over her own ideas that there must be something about the basic thought of the parent work in the production. Therefor the ‘Secrets’ part of the film does not emerge until an entirely different story is well under way, and when it comes, it is a sorry surprise. It is then that one hears that John Carlton, who has shown himself to be a heroic and an ideal husband, has been philandering in a California city....Notwithstanding the disjointed story, Leslie Howard favors it with an excellent performance. He is admirable as the love-lorn young man, and he looks the rugged pioneer in subsequent episodes. But one cannot say that he ever strikes one as a man who has clandestine appointments with fast women. Miss Pickford is vivacious and charming in the New England phases of the picture, but her acting during the hard times in the log cabin is not always convincing. She is at her best in the lighter interludes....C. Aubrey Smith does capital work as Mary’s unsympathetic father. In fact, it is with regret that one leaves him to go West, for it is quite evident that this good actor will not be seen again. And he is not. There is, however, Mr. Howard ,besides Miss Pickford, all through the years of this trying tale.”

title: Secrets (1933 film)