text:
Detalion

Detalion S.C, was a Polish video game developer founded by a partnership of six people, that first met in the early 1990s (Maciej Miąsik, Robert Ożóg, Łukasz Pisarek, Krzysztof Bar, Roland Pantoła & Danuta Sienkowska), working from game developer and publisher LK Avalon.

These games (particularly Mysterious Journey: Schizm) were noted for the complexity and great difficulty of their puzzles, and also were hailed as having some of the best graphics in the industry at the time. Detalion was one of the first developers to use the DVD-ROM disc as an effective medium for software distribution.

After Detalion's disestablishment in 2005, its founders went on to create Detalion Games (basically a one-person shop, headed by Roland Pantola, which produced basic game concepts) and Detalion Art (to work as an outsourcing studio doing various jobs, including for CD Projekt game The Witcher, until being purchased by City Interactive in 2007 and rebrand as City Interactive Rzeszów). In the same year, they started to work on Art of Murder series. In 2010, Detalion Games was working in Galander, an upcoming action game developed for PC but since then no more information was released about the game. In 2012, Roland Pantola from Detalion Games created a sister studio called Detalion Furniture to create innovative furniture design.

In 2018, after 15 years, Roland Pantola revealed that Schizm III: Nemezis is in development for Microsoft Windows through Detalion Games, using Unreal Engine 4 and will be published by PlayWay S.A. In Schizm III: Nemezis, you return to the beautiful planet of Argilus (original Schizm) as Amia and Bogard, two tourists hoping for an enjoyable and relaxing vacation. It was released on July 8, 2021.

V-Cruise Engine
V-Cruise engine was developed by Detalion for Microsoft Windows to provide immersive experience and ultra-smooth, fast and effective navigation between hundreds of locations of their games. V-Cruise engine provides full motion 25p 360 degree panoramic views.

Features

 * Supports hardware accelerated 3D sound cards for full 360 degree sound positioning.
 * CD quality music.

title: Detalion


text:
Alan Lennox-Boyd, 1st Viscount Boyd of Merton

Alan Tindal Lennox-Boyd, 1st Viscount Boyd of Merton, CH, PC, DL (18 November 1904 – 8 March 1983), was a British Conservative politician.

Background, education and military service
Lennox-Boyd was the son of Alan Walter Lennox-Boyd by his second wife Florence Annie, daughter of James Warburton Begbie and Anna Maria née Reid. He had an elder half-sister and three full brothers, two of whom were killed in the Second World War and one who died in Germany in April 1939. He was educated at Sherborne School, Dorset, and graduated from Christ Church, Oxford, with a BA later promoted to MA. In the Second World War he saw active service as a lieutenant in the Royal Naval Volunteer Reserve with Coastal Forces.

Political career
Lennox-Boyd was elected as Member of Parliament (MP) for Mid Bedfordshire in 1931 (at the age of 26), and was admitted to Inner Temple, as a barrister in 1941. He was a member of Winston Churchill's peacetime government as Minister for Transport and Civil Aviation from 1952 to 1954. In this post he once memorably opined that road accidents were the result not of the taking of large risks, but of the taking of small risks very large numbers of times.

As a Minister, he opened the third Woodhead Tunnel on the British Railways electrified railway across the Pennines on 3 June 1954.

In 1954, he became Secretary of State for the Colonies, where he oversaw early stages of decolonisation, with the granting of independence to Cyprus, Ghana, Malaya and Sudan. He was in office during the Mau Mau Rebellion in Kenya, and was persuaded to stay in office by Harold Macmillan after being censured for the Hola massacre. He talked openly about independence for the Federation of Malaya, and invited the then Chief Minister of Malaya, Tunku Abdul Rahman and his colleagues to Lancaster House to discuss the possibility of independence.

In 1955, Lennox-Boyd threatened to resign from his post when some Tory cabinet members wanted to apply immigration controls to New Commonwealth countries. This was in the early period of the post-Windrush era of immigration to Britain, which had seen an unexpectedly large inflow to Britain from non-white races as a result of the British Nationality Act 1948. This act, implemented by the previous Labour government, granted British citizenship to the entire Commonwealth; in 1955, Lennox-Boyd would either accept controls on the whole Commonwealth or none at all. As the Conservatives were committed to the rights of Old Commonwealth citizens to come to Britain, they chose to have no controls.

Following the Suez Crisis of 1956, Lennox-Boyd appears to have made the initial approach to writer Ian Fleming about the possibility of Prime Minister Sir Anthony Eden's using Fleming's Jamaican house, Goldeneye, for a rest cure, given the precarious state of Eden's health. Because of security considerations, he initially intimated to Fleming that he wanted Goldeneye for a holiday of his own and, when he resisted Fleming's suggestion that his and Fleming's wife (a close friend of Lady Eden) liaise over the arrangements, Fleming at first assumed that he was planning an extra-marital assignation.

After the 1959 general election, Lennox-Boyd was replaced as Colonial Secretary by Iain Macleod. In September 1960, Lennox-Boyd was raised to the peerage as Viscount Boyd of Merton of Merton-in-Penninghame in the County of Wigtown. This caused a by-election for his Mid Bedfordshire constituency, which was won by Stephen Hastings. He was further honoured the same year when he was appointed a Member of the Order of the Companions of Honour. Being opposed to the line taken in Harold Macmillan's Wind of Change speech, Lennox-Boyd subsequently became an early patron of the right-wing Conservative Monday Club. Whilst this may appear to contrast with his earlier objection to racialised immigration controls, according to David Goodhart, this was explained by him being "a believer in the imperial idea rather than racial equality".

Other public positions and business career
Lord Boyd of Merton held the office of Deputy Lieutenant of Bedfordshire between 1954 and 1960 and Deputy Lieutenant of Cornwall in 1965. He was managing director of Arthur Guinness & Sons between 1959 and 1967, and was a Member of the Order of the Companions of Honour and Privy Counsellor.

Mau Mau rebellion
Lennox-Boyd was Minister of State for the Colonies 1951–52, making his first visit to Kenya in 1952. Kenya was governed by Sir Evelyn Baring under emergency powers. The policing of those powers was in the hands of Lieutenant-General Sir George Erskine, commander in chief of East Africa Command. Their War Council included the deputy governor and a representative of the white settlers but of no other social, racial or tribal group.

In 1954, Lennox-Boyd was made Colonial Secretary. Lennox-Boyd's early hands-on visit to South Nyeri in the Kikuyu reserves, for instance, was accompanied by Baring and Erskine. (Virtually the entire Kikuyu population had been moved into fortified villages or detention camps, though the statistics were fudged.) They had a lengthy meeting with Chief Mundia. The Chief and his Home Guards were charged with beating several detainees, one of whom had died. Governor Baring quietly suggested to the assistant police commissioner that it would be politically inexpedient to prosecute such a loyal ally. But dropping the charges offended the impartiality of Colonel Arthur Young, the new chief commissioner. Informed of Young's intention to resign on principle, Lennox-Boyd persuaded Young to reduce his objection to a "difference of opinion", thus leaving Baring and Erskine's manoeuvre in place and Lennox-Boyd's reputation untouched. Supporters of Young were subsequently encouraged to take jobs outside Kenya.

In June 1957, Lennox-Boyd received a secret memorandum written by Sir Eric Griffiths-Jones, the Attorney General of Kenya. The letter described the abuse of Mau Mau detainees. The memorandum was passed on by Baring, who is alleged to have added a covering letter asserting that inflicting "violent shock" was the only way to deal with Mau Mau insurgents. It is clear from Hansard reports of Lennox-Boyd's answers to questions in the House of Commons that Lennox-Boyd entirely supported the Baring–Erskine regime and the attitudes that went with it.

The hermetic seal on the flow of information about Kenya was blown by Barbara Castle, who made her own visit to Kenya for the Daily Mail and subsequently reported to the House on the government's failure to recognise "that the Africans are human beings with fundamental human rights as people".

There seems to be no evidence that Lennox-Boyd then or later supported any movement towards the independence of Kenya. From his earliest years in politics he had openly admired the fascist dictators; reluctantly accepted democracy in Britain; supported the British Empire as a natural expression of racial superiority in an unequal world. His later joining the Monday Club was of a piece with rejecting Macmillan's adjustment of Conservatism to a post-colonial future. In April 2011, a Guardian report described a cache of government documents which might indicate that, despite clear briefings, Lennox-Boyd repeatedly denied that the abuses were happening, and publicly denounced those colonial officials who came forward to complain. The cache, along with interviews with survivors, became the basis of Catherine Elkins's Britain's Gulag: the brutal end of empire in Kenya.

Personal life
Alan Lennox-Boyd married Lady Patricia Guinness (1918–2001), daughter of the 2nd Earl of Iveagh, on 29 December 1938. His mother-in-law, the Countess of Iveagh, had been an MP in 1927–35, and he was brother-in-law to Sir Henry ('Chips') Channon, also an MP (1935–58), making them jointly a first mother-in-law and son-in-law set of MPs. Lennox-Boyd and Lady Patricia had three children:

 * Simon Lennox-Boyd, 2nd Viscount Boyd of Merton (b. 7 December 1939)
 * Hon. Christopher Lennox-Boyd (22 July 1941 – 3 August 2012)
 * Hon. Mark Lennox-Boyd (b. 4 May 1943)

Lord Boyd of Merton was knocked down and killed by a car when walking across the Fulham Road in London in March 1983, aged 78, and, after cremation, was buried at St Stephen's Church, Saltash, Cornwall. He was succeeded by his eldest son, Simon.

Lady Boyd of Merton died in May 2001, aged 83. She gave her name to the Viscountess of Merton cup, awarded at the Cornwall Spring Flower Show.

According to many sources, Lennox-Boyd was gay. He is depicted in James Lees-Milne's diary of 1942–1943, Ancestral Voices, as being infatuated with the American aesthete Stuart Preston. His passionate gay love affairs (and their recklessness), are revealed in Channon's diaries. Historian and biographer Michael Bloch describes the former regent and Crown Prince of Iraq, 'Abd al-Ilah, as being homosexual and a "close friend" of Lennox-Boyd. Bloch writes that after 'Abd al-Ilah was killed during the 14 July Revolution in 1958, "the revolutionaries discovered intimate letters from Lennox-Boyd among the Prince's papers, which they released to the world's press."

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


text:
Pagan Poetry

"Pagan Poetry" is a song recorded by Icelandic singer Björk for her fourth studio album Vespertine (2001). It was released as the second single from the album on 5 November 2001, by One Little Indian Records. A moderate commercial success, the single peaked at number 38 in the United Kingdom and number 15 in Canada.

Writing and recording
Björk had always wanted to work with music boxes, but was waiting for the right occasion. Until then, she had been collecting them and wanted to write her own songs in them. According to her, the music box company were not very excited in the beginning. "They'd made wooden boxes for eons and I wanted see-through plexiglass. They couldn't get their head round it - they were like 'Why?' They wanted to make the plonky sound softer with wood but I wanted it as hard as possible, like it was frozen. In the end, they said it was the best thing they'd ever done". Björk then featured the music box into the song's composition. The song is written and recorded in C sharp minor.

Critical reception
Heather Phares of AllMusic said of "Pagan Poetry" that it "shares a spacious serenity with the album's quietest moments" and included this song as a track pick. Rolling Stone said, "In 'Pagan Poetry', she deploys the implied heaven of Zeena Parkins harp and a flotilla of music boxes with an Asian-teahouse touch." Blender said "'Pagan Poetry' sounds like the prelude to a particularly exotic sexual interlude." Saul Campbell from 7 magazine called the track "terrifying" and an album standout.

In March 2006, on the Spanish edition of Rolling Stone, "Pagan Poetry" was ranked number 38 by Spanish music professionals and experts on a list of the best songs of the 21st century. Pitchfork placed the song at number 227 on its list of "The Top 500 Tracks of the 2000s."

Music video
The accompanying music video for "Pagan Poetry" was directed by Nick Knight, who had previously photographed the cover image for her third studio album Homogenic (1997). The video is described as being about "a woman preparing herself for marriage and for her lover". It features highly blurry and stylized images of explicit sex from Björk's personal footage, including fellatio and ejaculation, and images of large needles sewing pearls to skin. The second half of the video features Björk in a dress designed by Alexander McQueen, which covers only the lower portion of her body. The upper portion of the dress consists of pearls piercing her skin, which is shown throughout the first half. The video ends with a shot of a Corset piercing.

The video had three stages of shooting: A video-shoot of piercings, a private video-shoot handled by Björk, and a film-shoot of Björk. The piercings video and film-shoot were done in a day in June 2001 in Knight's studio in London. The sole light source was diffused sunlight shining through the ceiling windows of the second floor daylight studio. This studio gave a "northlight" look and had a rawness to it that matched the subject matter, photography director Simon Chaudoir said.

Five young women who were into subculture and piercings were cast for the video. Knight directed Chaudoir to shoot the piercings by placing the Sony Mini DV camera on the women's bodies - mostly chests, arms, and shoulders - and getting as physically near as he could while maintaining a close, macro focus on a wide-angle lens. A nurse and piercing unit were on hand, but no thimble, so the bleeding most often came from cast girls' thumbs as they pushed the needles in. "It was one of the most difficult things I've ever filmed because I felt I was on the verge of throwing up. I liked to actually only watch it by the video monitor rather than with my eyes as it were because it was just too much", Chaudoir said. Björk also pierced her own ear at the shoot, but all other piercings were the cast girls'. Knight gave Björk a Sony Mini DV camera and asked her to shoot her own private scenes.

Tired of music videos which featured the singer looking to the camera and lip-synching throughout, Chaudoir suggested having Björk lip-synch and look into the camera only for some of the last lines. He also suggested using a track so they could move closer to her as she sings these lines or move closer before she sings them—"so it's like a reveal of her", he said. There was no script, so some improvisation made it to the final cut. Since blue-screening and CGI work were not involved, Chaudoir did not use diffusion or consulted with post-production, and he arrived with only a few assistants—a gaffer, loader, grip, focus puller, and some electricians. "Basically what I was asked to do and what I thought I'd be able to do is more or less there. It would have benefited from being simplified down to a much more bold and direct visualization of what she was trying to do. I think we were too subtle in that", Knight said.

The video was banned by MTV in the United States, but was eventually shown in unedited form on MTV2 in a presentation of the "20 Most Controversial Music Videos". The music video was placed sixth on the "20 Of The Most Controversial Music Videos Ever" list by NME, which described it as "scarier than her dead swan dress or when she punched that photographer". It was also included on the list by Rolling Stone, "The 15 Most NSFW Music Videos of All Time", and was considered by Slant the sixth best music video by Björk. The dress was shown in Björk's MoMA retrospective in 2015. It was sold as part of Kerry Taylor Auctions "Passion for Fashion" sale in London, in June 2016.

Live performances
In 2001, Björk performed "Pagan Poetry" on the Late Show with David Letterman with a Greenland women's choir, harpist, and electronica duo Matmos.

Track listing
UK CD1 and Australian CD single
 * 1) "Pagan Poetry" (video edit)
 * 2) "Pagan Poetry" (Matthew Herbert Handshake Mix)
 * 3) "Aurora" (Opiate version)

UK CD2 and Japanese CD single
 * 1) "Pagan Poetry" (album version) – 5:17
 * 2) "Domestica" – 3:25
 * 3) "Batabid" – 2:26

UK DVD single
 * 1) "Pagan Poetry" (video)
 * 2) "Pagan Poetry" (Matthew Herbert Handshake Mix)
 * 3) "Aurora" (Opiate version)

European CD single
 * 1) "Pagan Poetry" (video edit)
 * 2) "Pagan Poetry" (Matthew Herbert Handshake Mix)

title: Pagan Poetry


text:
Interlinear gloss

In linguistics and pedagogy, an interlinear gloss is a gloss (series of brief explanations, such as definitions or pronunciations) placed between lines, such as between a line of original text and its translation into another language. When glossed, each line of the original text acquires one or more corresponding lines of transcription known as an interlinear text or interlinear glossed text (IGT) – an interlinear for short. Such glosses help the reader follow the relationship between the source text and its translation, and the structure of the original language. In its simplest form, an interlinear gloss is a literal, word-for-word translation of the source text.

History
Interlinear glosses have been used for a variety of purposes over a long period of time. One common usage has been to annotate bilingual textbooks for language education. This sort of interlinearization serves to help make the meaning of a source text explicit without attempting to formally model the structural characteristics of the source language.

Such annotations have occasionally been expressed not through interlinear layout, but rather through enumeration of words in the object and meta language. One such example is Wilhelm von Humboldt's annotation of Classical Nahuatl:

1  2   3       4     5   6    7        8   9

ni- c- chihui  -lia  in  no-  piltzin  ce  calli

1  3      2   4    5    6     7     8    9

ich mache es  für  der  mein  Sohn  ein  Haus

This "inline" style allows examples to be included within the flow of text, and for the word order of the target language to be written in an order which approximates the target language syntax. (In the gloss here, mache es is reordered from the corresponding source order to approximate German syntax more naturally.) Even so, this approach requires the readers to "re-align" the correspondences between source and target forms.

More modern 19th- and 20th-century approaches took to glossing vertically, aligning the same sort of word-by-word content in such a way that the metalanguage terms were placed vertically below the source language terms. In this style, the given example might be rendered thus (here English gloss):

ni- c- chihui -lia in no- piltzin ce calli

I it make for to-the my son a house

"I made my son a house."

Here word ordering is determined by the syntax of the object language.

Finally, modern linguists have adopted the practice of using abbreviated grammatical category labels. A 2008 publication which repeats this example labels it as follows:

ni-c-chihui-lia in no-piltzin ce calli

1SG.SUBJ-3SG.OBJ-mach-APPL DET 1SG.POSS-Sohn ein Haus

This approach is denser and also requires effort to read, but it is less reliant on the grammatical structure of the metalanguage for expressing the semantics of the target forms.

In computing, special text markers are provided in the Specials Unicode block to indicate the start and end of interlinear glosses.

Structure
Though there is no formal specification for the IGT format, the Leipzig Glossing Rules are a set of guidelines that aim to standardize the format as much as possible.

An interlinear text for linguistics will commonly consist of some or all of the following, usually in this order, from top to bottom: and finally
 * The original orthography (typically in italic or bold italic),
 * a conventional transliteration into the Latin alphabet,
 * a phonetic transcription,
 * a morphophonemic transliteration,
 * a word-by-word or morpheme-by-morpheme gloss, where morphemes within a word are separated by hyphens or other punctuation,
 * a free translation, which may be placed in a separate paragraph or on the facing page if the structures of the languages are too different for it to follow the text line by line.

As an example, the following Taiwanese Minnan clause has been transcribed with five lines of text:
 * 1. the standard pe̍h-ōe-jī transliteration,
 * 2. a gloss using tone numbers for the surface tones,
 * 3. a gloss showing the underlying tones in citation form (before undergoing tone sandhi),
 * 4. a morpheme-by-morpheme gloss in English, and
 * 5. an English translation:

(1.) goá iáu-boē koat-tēng tang-sî boeh tńg-khì

(2.) goa1 iau1-boe3 koat2-teng3 tang7-si5 boeh2 tng1-khi3.

(3.) goa2 iau2-boe7 koat4-teng7 tang1-si5 boeh4 tng2-khi3.

(4.) I not-yet decide when want return.

(5.) "I have not yet decided when I shall return." Word-by-word alignment. According to the Leipzig Glossing Rules, it is standard to left-align the words in the object language with the corresponding words in the metalanguage; this alignment can be seen between lines (1-3) and line (4).

Morpheme-by-morpheme correspondence. At the sub-word level, segmentable morphemes are separated by hyphens, both in the example and in the gloss. There should be the same number of hyphens in the example and in the gloss, as shown in the following example:

Gila abur-u-n ferma hamišaluǧ güǧüna amuqʼ-da-č

now they-OBL-GEN farm forever behind stay-FUT-NEG

'Now their farm will not stay behind forever.'

Grammatical category labels. In amuqʼ-da-č, the stem (amuq) is translated into the corresponding English lexeme (stay) while the inflectional affixes (da) and (č) are inflectional affixes representing future tense and negation. These inflectional affixes are glossed as FUT and NEG; a list of standard abbreviations for grammatical categories that are widely used in linguistics can be found in the Leipzig Glossing Rules.

One-to-many correspondences. When a single object-language element corresponds to several metalanguage elements, they are separated by periods. E.g., çık-mak

come.out-INF

'to come out'

Non-overt elements. if the morpheme-by-morpheme gloss (middle line) contains an element that does not correspond to an overt element in the example, a standard strategy is to include an overt "ø" in the object-language text, which is separated by a hyphen like an overt element would be:

puer-ø

boy-NOM

'boy'

Reduplication is treated similarly to affixation but with a tilde (instead of the standard hyphen) that connects the copied element to the stem:

bi~bili

IPFV~buy

'is buying'

Punctuation
In interlinear morphological glosses, various forms of punctuation separate the glosses. Typically, the words are aligned with their glosses; within words, a hyphen is used when a boundary is marked in both the text and its gloss, a period when a boundary appears in only one. That is, there should be the same number of words separated with spaces in the text and its gloss, as well as the same number of hyphenated morphemes within a word and its gloss. This is the basic system, and can be applied universally. For example:

oda-dan hız-lı çık-tı-m

room-ABL speed-COM go.out-PFV-1sg

room-from speed-with go_out-perfective-I

'I left the room quickly.'

An underscore may be used instead of a period, as in go_out-PFV, when a single word in the source language happens to correspond to a phrase in the glossing language, though a period would still be used for other situations, such as Greek oikíais house.FEM.PL.DAT 'to the houses'.

However, sometimes finer distinctions may be made. For example, clitics may be separated with a double hyphen (or, for ease of typing, an equal sign) rather than a hyphen. A French example:

je⹀te⹀aime

I⹀you⹀love

'I love you.'

Affixes which cause discontinuity (infixes, circumfixes, transfixes, etc.) may be set off by angle brackets, and reduplication with tildes, rather than with hyphens:

sulat su~sulat s⟨um⟩ulat s⟨um⟩u~sulat

write contemplative mood~write ⟨agent trigger.past⟩write ⟨agenttrigger⟩contemplative~write (See affix for other examples.)

Morphemes which cannot be easily separated out, such as umlaut, may be marked with a backslash rather than a period:

unser-n Väter-n

our-DAT.PL father\PL-DAT.PL

'to our fathers' (the singular of Väter 'fathers' is Vater)

A few other conventions which are sometimes seen are illustrated in the Leipzig Glossing Rules.

Interlinear gloss resources
Efforts have been undertaken to digitize IGT for hundreds of the world's languages.

Online Database of Interlinear Text
The Online Database of Interlinear Text (ODIN) is a database of over 200,000 instances of interlinear glosses for more than 1,500 languages extracted from scholarly linguistic research. The database was constructed in two phases: automatic construction followed by manual correction. The automatic construction stage itself was completed in three steps:

 * 1) First, search engines (e.g., Google, Bing) were queried to retrieve scholarly documents that were likely to contain interlinear glosses. The queries comprised terms relevant to linguistic research such as grammatical morphemes (e.g., "NOM", short for nominative; "3SG", short for 3rd person singular).
 * 2) Second, each line in an extracted document was tagged for whether it was a line belonging to an interlinear gloss or not using sequence-labeling methods from Machine Learning.
 * 3) Third, each interlinear gloss instance was assigned a language name (e.g., Tagalog) and an ISO 693-3 language ID. Language names and IDs were automatically assigned to interlinear glosses using Coreference Resolution models from Natural Language Processing, where the interlinear gloss instance was tagged with the language name (and ID) that appears in the scholarly document the interlinear gloss instance was extracted from.

In the manual correction phase, the database creators manually corrected the boundaries of the interlinear gloss instances discovered by the sequence-labelling method in Step 2 of the automatic construction phase. The creators then verified the language names and language codes in a second and third pass over the data, respectively.

Automatic processing of interlinear gloss instances
Natural Language Processing models leveraging interlinear gloss resources, such as the Online Database of Interlinear Text, have been developed.

Automatic glossing
Natural Language Processing systems, for example, have been developed to automatically produce interlinear glosses.:

mi-s ħumukuli elu-ab-ok'ek'-asi anu

you-GEN camel we.OBL-ERG.1.PL-steal-PRT be.NEG

'We didn't steal your camel.' Given the morpheme segmented line (first line above) and the free translation line (third line above), the task is to produce the middle glossed line comprising stem translations (e.g., mi:you) and the grammatical category labels corresponding to affixes (e.g., a:ERG.1.PL). Sequence prediction models from Natural Language Processing have been used to perform this task. Two factors contribute to the difficulty of this task:

 * 1) The translation is not necessarily in alignment with the morpheme segmented line (e.g., camel is the last word in the translation but the second word in the morpheme segmented line).
 * 2) Some words in the morpheme segmented line have multiple correspondences in the gloss (e.g., anu:be.NEG).

Automatic discovery of morphological structure from glosses
Researchers have used interlinear glosses is to obtain the morphological paradigms of the object language (i.e., the language being glossed). To automatically create morphological paradigms from interlinear glosses, researchers have created tables for every stem in the gloss and a (possibly empty) slot for every grammatical category (e.g., ERG) in the gloss. For instance, given the glossed sentence below:

Vecher-om ya pobeja-la v magazin

evening-INS 1.SG.NOM run-PFV.PST.SG.FEM in store.ACC

'In the evening I ran to the store.'

There would be a paradigm for the stem pobeja with slots for PFV.PST.SG.FEM and PFV.PST.SG.MASC: The slot for PFV.PST.SG.FEM would be filled (since it was observed in the interlinear gloss data) but the slot for PFV.PST.SG.MASC would be empty (assuming that no other interlinear gloss instance contains pobeja inflected for the PFV.PST.SG.MASC grammatical category). A statistical machine learning model for morphological inflection can be used to fill in the missing entries.

title: Interlinear gloss


text:
User:Ericg/experimental/template/test ii

Specifications (D35 Bonanza)
Generated using the text:


text:
User:Paleok

Paleok: I am a college student with a BS in geology from Tennessee Technological University and working on a Master's degree at Texas Tech University. My interests are in geology, especially vertebrate paleontology, and evolutionary biology. I am a very poor speller (check out the articles I have written). So, please mop up after me.

title: User:Paleok


text:
User talk:Citizensunshine

Manhattan Valley
Can you include a publication date on your New Yorker reference? The article title is otherwise of little use. Thanks. Uucp 18:39, 12 July 2006 (UTC)

Fixed. The article now references and links to all the periodicals relied on. Citizen Sunshine 20:23, 13 July 2006 (UTC)

Hi Citizen - In looking over this article, I'm a little baffled by the mention of the Sing & Sing market. Is this really a landmark? In what way? I grew up on 98th Street, and I don't know this place at all. - Corporal Tunnel (talk) 18:42, 1 January 2010 (UTC)

License tagging for Image:Church-of-Ascension-107th.jpg
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Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:17, 30 November 2015 (UTC)

Our project
Good afternoon Citizensunshine. I noted a recent edit you made to the Zeta Psi page, reverting vandalism. Thanks for that.

Should you have further interest in Greek societies, we'd welcome your participation on our shared project, the Fraternities and Sororities Project.

For many of us, these institutions represent a very impactful period in our lives. I know of several chapter advisors among the regular 300 participants, along with general alumni and undergrads that are Wiki-savvy. We presently keep an eye on 1,500 or so Greek pages, while a fairly substantial number of recent or dormant local chapters don't make the cut. There are perhaps 6,000 locals that do not have a Wikipedia article, and maybe 50 that do - mostly at Ivy League schools. Long ago, the Baird's Manual editors decided to include as national groups those societies that had three or more chapters, or locals that met a certain bar of longevity: ten years or more. We follow that same logic.

The Project page lists several items on our To Do list, but among them are:

 * 1) Review any of our watched pages for vandalism.
 * 2) Update chapter information for the many lists of chapters.
 * 3) Write an article to list the Greeks on a particular campus. 50 of these have been done, so far.
 * 4) Research a new article for a page that is missing. On our watchlist, these show up as red links.
 * 5) Vote on whether to keep a contested page or not.

There is a debate among editors on Wikipedia about whether to aggressively delete articles or allow their inclusion, based on a notoriously fickle determination of NOTIBILITY. Once an article is factually and cleanly written, I personally favor Inclusion, in order to make life easier for future researchers. Especially for fraternity, sorority and collegiate society articles.

If this last issue is of interest, you may wish to weigh in on a recent discussion of an "Article for Deletion" or AfD: Two or three of these crop up each month. One we are currently discussing is Articles for deletion/Delta Beta Phi. Voting is simple, and the instructions are at the top. Just add a line, with your vote, to Keep or Delete (or some other option) bolded at the start of the line.

Whatever you choose to do, we would welcome your participation in this Greek-friendly project. Join by adding your name here. Jax MN (talk) 23:07, 21 January 2021 (UTC)

 * Thanks for the invitation, Jax MN. I've added my name.  How does participation work?  On the particular matter you raised, this AfD thing seems rather dangerous -- I hadn't thought it was used so summarily for items remotely close to the line of notability.  I tend to agree with you, as my comments indicate, that we shouldn't be deleting true and sourced information on some amorphous concept of notability that is very difficult to define, and reserve AfDs for either malicious articles or those wholly without demonstrable factual basis. I'd never heard of Delta Beta Phi before, but I'm glad to have been introduced to it: a very minor but interesting piece of fraternal history.

 * Nicely, nicely done. Thank you for your very helpful argument about this.  The particular user that offered this AfD has a low-level campaign to similarly delete lots of these.  I'd run into them before, and the capricious, random AfD PRODs were just as you describe: unnecessary, and harmful to future research.  These fraternity articles aren't harming anyone.  Wikipedia is poorer for only allowing the major organizations to have a page...  This is why I went long in my earlier response to them, citing the infamous "deletion" versus "inclusion" battle.  --I'm not going to convince the person who nominated this AfD, but it might convince some lurkers to switch to a more inclusive position.  Thank you, thank you.  And I don't have a particular dog in this fight, not any connection to Delta Beta Phi.  But it is a line in the sand.  Now that the F&S Project is heating up to more activity, my plan is to restore some of the already-deleted pages, that are otherwise good articles, maybe only needing some polishing.

 * To your question, the project page has a list of some suggestions of things that need fixin'. About three months ago I began adding Greek pages that were not yet linked to the Project's watchlist.  That list has now jumped from about 300 articles to now about 1,150, with some redlinks.  The reference I recently added to Delta Beta Phi is the continuation of Baird's Manual, now significantly expanded online from the printed 1991 version. It is being curated by Pi Beta Phi's national historian and Greek scholar, Fran Becque.  Adding that reference alone to many of the pages that need more citations would be a big help.  On many of the watchlist pages I've created a to do list on the talk page.  I was moving from A-Z, and started adding that particular update about midway through the alphabet.  So I have to go back and put the  template into most of the pages between Alpha and perhaps Mu. Jax MN (talk) 08:35, 22 January 2021 (UTC)

Another AfD has cropped up. I commented there; you might find it interesting. See Articles for deletion/Kappa Sigma (Philippines). Of course the Watchlist has several articles about Philippine (and Puerto Rican, and German...) fraternities, so prior to my comments, I did some research. There are several category pages that list an extensive selection of Latino fraternities:
 * List of fraternities and sororities in the Philippines
 * List of fraternities and sororities in Puerto Rico
 * Concilio Interfraternitario Puertorriqueño de la Florida
 * List of Latino Greek-letter organizations <--The table on this page has multiple errors that need cleanup. I plan to get to it.

It appears that many once had Wikipedia pages, but these were deleted. Even as Stubs. The only residual traces are redlinks for these pages, and when attempting to link to them, an alert pops up that they'd been previously deleted. At some point one of us can attempt to revive them (for many of these, the original page may be viewable, upon permission by admins, but only to attempt a firmer rewrite.) My attention has been on the US-based societies, but I dug in enough to realize that a flurry of these deletions came about maybe five years ago, and was only stopped when someone began to argue that Philippine SEC registration conveys a level of authenticity. That made sense to me, and I therefore incorporated that rule in the project's rules for notability. --Subject to discussion, of course.

In this particular AfD instance, the proposer slid in an "uncontested deletion" PROD, and was probably surprised when I objected, and (per the rules) deleted it. I provided a rationale on the Talk page, as directed. But he/she persisted, and put it up for a formal debate. Such a waste of time.

This same person recently inserted a "citations needed" tag on a page I wrote, List of fraternities and sororities at the College of Wooster, which already has 110 references(!). An interesting campus, and I have no connection to it. Therefore all content on the page is from the noted references. I though he was playing a subtle joke, and reverted it, but he/she was serious. If this continues, I may file a harassment complaint. He wouldn't have noticed it unless he was sifting through our project, or my personal efforts. I see no purpose in picking apart random articles like this. Jax MN (talk) 21:19, 25 January 2021 (UTC)

 * Update: That same editor placed an AfD PROD on yet another page. I'm having a difficult time assuming their actions to be in good faith.  In case you want to weigh in, here is a link: Articles for deletion/Eta Sigma Gamma. Jax MN (talk) 17:45, 11 February 2021 (UTC)

Articles for deletion
You may not have seen these. There is an current AfD debate on two Project articles. Jax MN (talk) 15:26, 11 April 2022 (UTC)
 * See WikiProject Deletion sorting/Fraternities and sororities

title: User talk:Citizensunshine


text:
Glenville, North Carolina

Glenville is an unincorporated community and census-designated place (CDP) in Jackson County, North Carolina, United States. It is now a popular lakeside vacation community with many second homes that sometimes are rented around Lake Glenville, which flooded and destroyed the original town. As of the 2010 census, the year-round population was 110.

Geography
Glenville is in south-central Jackson County. It is on the east side of Lake Glenville (formerly Thorpe Lake), a reservoir on the West Fork of the Tuckasegee River. North Carolina Highway 107 passes through the community, leading north (downriver) 16 mi to Cullowhee and south 5 mi to Cashiers.

According to the U.S. Census Bureau, the Glenville CDP has a total area of 3.5 sqkm, of which 0.02 sqkm, or 0.46%, are water.

History
Prior to incorporation in 1891, it was named "Hamburgh" and later "Hamburg", from which the township gets its name. The Hamburgh post office was established there in 1856, but settlement began at least as early as 1827. It was used as a fort in case of attack from the local Cherokee people. At the time of incorporation in 1891, it was the largest town in Jackson County, a surprising fact considering it was so small. The town had a private high school, the first in Jackson County, formed in 1886 and was just like Cullowhee High School, founded in 1889, which has now become Western Carolina University. The Glenville school became a public institution in 1891. In 1926, a new Glenville School was built on a hill above the town, with grades 1-11. It was the main high school for that part of the county until 1975, when Blue Ridge School opened, consolidating Cashiers Elementary and Glenville School. When the lake was filled in the 1940s, the waters were brought to the edge of the campus, making the school lakeside. It was the pride of the community but deteriorated after being abandoned and was demolished around 2000 to make way for lakeside homes. The town managed to save its church and graveyard from the lake, and they were moved not far beyond the present shoreline; today they rest lakeside.

The original town was destroyed in 1941 by Nantahala Power and Light after it built a hydroelectric dam, forming Lake Glenville on the Tuckasegee River. The area next to the lake is still called Glenville, however, and has United States Postal Service ZIP Code 28736, assigned mostly to the many vacation homes now built around the lake. The area is now a popular tourist and second home destination, and the lake has many multimillion-dollar homes around it.

Lake Glenville is renowned for bass fishing and annually hosts bass fishing tournaments. Smallmouth bass live abundantly in Lake Glenville, as well do lake trout, crappie, largemouth bass, bream, and perch species. Certain species of catfish also live in the lake, mainly "channel cats". There are numerous creeks that produce the water for Lake Glenville, including Cedar creek (Cedar Creek and Bee Tree Creek combined), Mill Creek, Hurricane Creek, and Pine Creek, as well as other natural springs consumed at the base of the lake. Lake Glenville is the highest reservoir east of the Mississippi, with a surface elevation of 3492 ft. The majority of higher income seasonal residents are from Florida or Georgia. It is a popular area due to families seeking refuge from the summer heat of the South. The average summer temperature in Glenville is approximately 83 F. This is much lower than the average summer temperatures in the surrounding 100 miles.

The town made news in 2014 when Lucy Morgan, who had retired to Glenville, exposed a $49.6 million mortgage fraud/Ponzi scheme being run by developer Domenico Rabuffo while he was in the United States Federal Witness Protection Program. It was the subject of the American Greed episode "Goodfella Gone Bad".

title: Glenville, North Carolina


text: User talk:69.172.244.161

title: User talk:69.172.244.161


text:
List of Northwest Territories Legislative Assemblies

This is a list of the Northwest Territories Legislative Assemblies dates and legislative sessions from 1870–present. The current capital is Yellowknife since 1967. There have been twenty-eight legislatures since becoming a territory in 1870.


text:
Tony Gatlif

Tony Gatlif (born as Michel Dahmani, 10 September 1948) is a French film director of Romani ethnicity who also works as a screenwriter, composer, actor, and producer.

Personal
Gatlif was born in Algeria of Pied noir ancestry. After his childhood there, Gatlif arrived in France in 1960 following the Algerian War of Independence.

Career
Gatlif struggled for years to break into the film industry, playing in several theatrical productions until directing his first film, La Tête en ruine, in 1975. He followed it with the 1979 La Terre au ventre, a story of the Algerian War of Independence.

Since the 1981 film Corre, gitano, Gatlif's work has been focused on the Romani people of Europe, from whom he partially traces his descent.

After making Gaspard et Robinson in 1990, Gatlif spent 1992 and 1993 shooting Latcho Drom, which was awarded numerous prizes. This feature-length musical film, often mislabelled as a documentary, deals with gypsy culture throughout the world around the theme of their music and dance. For Vincent Ostria, then journalist at the Cahiers du Cinéma, it was "the most genuine film of the year (1993 editor's note)." A year later, Gatlif brought the world of the author J. M. G. Le Clézio to the screen in Mondo (1994).

His 2004 film Exils, won the Best Director Award at the 2004 Cannes Film Festival. His film Transylvania also premiered at Cannes in May 2006.

Screenwriter

 * La Rage au poing (1975)

Director and screenwriter

 * La Tête en ruine (1975)
 * La Terre au ventre (1978)
 * Corre gitano (1981)
 * Canta gitano (1981)
 * Les Princes (1982)
 * Rue du départ (1985)
 * Pleure pas my love (1989)
 * Gaspard et Robinson (1990)
 * Latcho Drom (1993)
 * Mondo (1995)
 * Gadjo dilo (1997)
 * Je suis né d'une cigogne (1998)
 * Vengo (2000)
 * Swing (2001)
 * Exils (2004)
 * Transylvania (2006)
 * Korkoro (2009)
 * Indignados (2012)
 * Geronimo (2014)
 * Djam (2017)
 * Tom Medina (2021)

title: Tony Gatlif


text:
Category:Paleogeography

 * Paleogeography — prehistoric landforms and their names.

title: Category:Paleogeography


text: Category:Vedas

title: Category:Vedas


text:
Cocoon (Björk song)

"Cocoon" is a song by Icelandic singer Björk for her fourth studio album, Vespertine (2001). Written and produced by Björk and Thomas Knak, it was released as the album's third single on 11 March 2002 by One Little Indian Records. Inspired by her relationship with artist Matthew Barney, Björk wanted to create a record with a domestic mood. Working with Knak, she wrote "Cocoon", a song which is lyrically about a woman who describes making love with her lover during their post-coital hibernation, and includes frank sexual narrative related both explicitly and through over-sharing and metaphor.

Music critics received "Cocoon" with positive reviews, calling it one of the album's highlights. The song experienced moderate commercial success on record charts in the United Kingdom, Australia, and France but reached the top ten in Spain. The accompanying music video for "Cocoon" was directed by Eiko Ishioka and was filmed in New York City. It premiered at the Raindance Film Festival in October 2001, and was made available online through the singer's official website in February 2002, closer to the song's release as a single. It depicts Björk as a geisha whose makeup extends over her entire bleached nude body. The video was considered inappropriate and was banned from primetime MTV, following her music video for "Pagan Poetry". Björk promoted the song by performing it on the Vespertine world tour and several television and radio shows.

Background and development
In 2000, Björk starred on her acting debut Dancer in the Dark. While she worked on the film, she also began producing her next album, writing new music and teaming with new collaborators. She had to go to Denmark to work on the film and there was nothing going on. She was lying on the beach whilst looking at the ocean, with a ghetto blaster listening to producer Thomas Knak's music. When she realised he was from Copenhagen, she called him up". "Cocoon", produced by Knak, was one of the last songs to be written for the album; its melody came to Björk in a sudden rush and she contacted him. She made a long-distance, late-night phone call to Knak in Denmark, and woke him up. "I didn't have any track of time so she didn't really know that I was asleep. She was explaining that she had this melody in her head and maybe, if I had the time, she would still have two or three weeks to decide if this track could be worked on", said the producer. Knak took it as a chance to make a more minimal track, similar to his own releases. He liked the idea of having two songs on the album, and immediately after he put down the phone, he started working. His original treatment of "Cocoon", made with an Ensoniq ASR-10, appeared relatively intact in the final version. Knak elaborated: "She had two changes: one for one semitone up and another for I think about 20BPM slower or something. I don't really make music so I'm not really used to thinking could the singer really sing in a tempo. From there she started working on the lyrics and one more melody for the vocal".

They met up in January 2001 in London to record the song. He went into a studio with only three tracks for the mix, and was impressed that there were many technicians and programmers that probably had been using a hundred. However, the singer was protecting the idea of the raw version, and said: "This is how we wanted to be". They added two changes to the song and then spent the rest of the day recording Björk's vocals. They wanted to have only one take that really worked so that they did not have to edit different takes. They recorded 20 takes, and used the fifth or sixth, and because of that, the producer thought that "this track is very intimate and personal because of the way the vocals were recorded". The way the song was recorded was "kind of rough" according to Knak; "It's also very close to the mic; all these things that you wouldn't normally keep. In that sense, it is very kind of, almost naked. In the structure and in the feeling because of the lyrics".

Music and lyrics
"Cocoon" is a song based around a bassline and beats which "sound like fingertips on skin". Discussing the glitch sound of the song, Björk said: "when you take technology and use the areas where it breaks, where it's faulty, you're entering a mystery zone where you can't control it." Björk's whispered vocals in "Cocoon" were described as "near-cracking falsetto and a breathy ecstasy". Lyrically, for Michael Cragg from The Guardian newspaper, "it feels almost intrusive, like reading someone's diary as they write about a new love", as Björk had just started the relationship with Barney. Its lyrics are set between metaphor, with her singing "who would have known that a boy like him would have entered me lightly, restoring my blisses" and over-sharing, whilst also stating "He slides inside, half awake, half asleep ... gorgeousness, he's still inside me".

When asked about its sexually explicit nature, the singer responded: "Erm, yeah. I guess a part of me wanted to be truthful about what it is that really drives me, and maybe give back to the place that is nourishing me ... I don't know what to say. When I read books or see films or listen to albums I want certain things. I want a heart—I'm very old school like that, I'm very emotional ... I just didn't want anybody to know. I wanted it for myself. The lyric to 'Cocoon' was a whole diary, then I had to edit 90 per cent of it out. It's very hard to explain, but when I read it and the other person it's about reads it, we don't feel abused or anything. I think there's songs where I've been more ... scruffy about what I'm expressing. I have a problem with music that's too indulgent. It's like 'Keep your own dirty laundry, please'".

Critical reception
"Cocoon" was received with positive reviews from music critics. AllMusic's Heather Phares called the song "seductively alien". Seth Stevenson from Slate magazine gave a positive review to it, commenting that because of the song, Björk is "actually at her best either barely murmuring or full-out yelling, and she may be the most stylized vocalist in music today". Michael Cragg from The Guardian commented that "Vespertine is littered with defining moments. While the first single Hidden Place, the choir-assisted Undo and the Matmos collaboration Aurora are among the highlights, it's Cocoon that best represents the album's sense of heavy-lidded, post-coital hibernation". David Fricke from Rolling Stone commented that "the flurry of rhythm" at the start of the song felt like "the gravity of a spider scurrying across linoleum". Ian Gittins, author of Björk: Human Behaviour - the Stories Behind Every Song, referred to "Cocoon" as the eyes of many of the most significant moments of Vespertine, as well as the most complete display and literal philosophy that the singer had taken for the album.

British magazine NME's Joe Logic was also positive saying, "Soft organs and Rice Krispies (Eh? - Cereal Ed) feature heavily on a very minimalist 'Cocoon', a beautiful love song featuring Bjork whispering sexual lyrics over a track that To Rococo Rot would be proud of". Stephen Dalton from the same publication was less positive, and stated: "Then there is the uncomfortably intimate, tremble-whisper Björk voice of 'Cocoon' where she relates the joy of shutting herself away with her lover with a broken music box and some mouldy old string". Greg Kot from Blender magazine commented that album openers "Hidden Place" and "Cocoon" "live up to their billing as sound sanctuaries, with Björk singing a barely-above-a-whisper lullaby enhanced by the plush embrace of a choir". The Wire opined that the track "nearly matches the macabre tone of Dancer in the Dark, particularly the trembling moment three minutes in, when her barely audible whisper conjures a feeling beyond sadness as she pleads, 'Who would have known?'"

Commercial performance
In the United Kingdom, "Cocoon" debuted at its peak position of number 35 on the UK Singles Chart issued on 17 March 2002. It fell to number 65 the next week, before falling off the chart altogether in its third week. The song debuted at number 61 in France on 23 March 2002, but fell to number 89 the next week, before falling off the chart. In Spain, "Cocoon" was a commercial success, peaking at number nine.

Music video
The accompanying music video for "Cocoon" was directed by Eiko Ishioka and shot in April 2001 in New York City. It premiered at the Raindance Film Festival on 24 October 2001, and was made available online via Björk's official website on 12 February 2002. Its treatment was described as playing with "minimalist white for both costume and bleached eyebrows, treating Björk as a geisha whose makeup extends over her entire nude body". The video begins with many apparently nude Björks singing. Throughout the video, red threads emerge from her nipples and circulate between her breasts and nose, finally enveloping her in a cocoon. Björk actually wore a very close-fitting body suit. Following the music video for previous single "Pagan Poetry", it was also banned from primetime MTV. The music video for "Cocoon" was included on Björk's video albums Volumen Plus (2002) and Greatest Hits – Volumen 1993–2003 (2002).

Live performances
Björk performed "Cocoon" on the 2001 Vespertine world tour. It was later included on the DVD Live at Royal Opera House (2002). She also performed the song on the American talk show The Tonight Show with Jay Leno. Jeremy Allen from NME magazine included it on his list of "10 Greatest Musical Moments" on the show, commenting: "with her fingers tinted like icicles and the background sonics just a sparse and glitchy soundscape with tinkles of warm xylophone like the inside of some ethereal cave, the singer takes a little bit of Iceland to the USA – via heaven – with her voice as commanding as it ever was". She also performed it across Europe following its release as a single, including The Jonathan Ross Show, Die Harald Schmidt Show, Johnny Vaughan Tonight, Top of the Pops, and Music Planet 2Nite.

Track listings and formats

 * UK CD1
 * 1) "Cocoon" – 4:30
 * 2) "Pagan Poetry" (Music Box) – 3:00
 * 3) "Sun in My Mouth" (Recomposed by Ensemble) – 3:10

 * UK CD2
 * 1) "Cocoon" (radio edit) – 3:34
 * 2) "Aurora" (Music Box) – 1:08
 * 3) "Amphibian" – 4:35

 * UK DVD
 * 1) "Cocoon" – 4:30
 * 2) "Pagan Poetry" (Music Box) – 3:00
 * 3) "Sun in My Mouth" (Recomposed by Ensemble) – 3:10

 * UK CDR
 * 1) "Cocoon" (radio edit) – 3:34

 * UK VHS
 * 1) "Cocoon" (music video) – 4:23

Credits and personnel
Credits adapted from "Cocoon" liner notes.
 * Björk − vocals, songwriter, producer, programming
 * Thomas Knak − songwriter, producer, programming
 * Mark "Spike" Stent − mixing
 * Eiko Ishioka − art direction
 * Tim Wilder − CGI artist
 * Rafael Esquer − graphic design
 * Erik Gosh − music box engineering at Bugosh Music Recording Studios
 * Siobhan Paine − coordination at Olympic Studios, London, England

title: Cocoon (Björk song)


text:
Francis Chapin

Francis W. Chapin (February 14, 1899 – February 23, 1965) was an American artist. His works included both watercolors and oil paintings of landscapes and portraits.

Biography
He was born in Bristolville, Ohio. He graduated from Washington and Jefferson College, where he was a member of Phi Delta Theta, in 1921. A year later he enrolled at the Art Institute of Chicago where he spent six years and won the Bryan Lathrop Fellowship in his last year. He chose to remain in Chicago where he became known as the “Dean of Chicago Painters.” It wasn't until 1929 when he hosted his first pair of one-man shows.

Chapin was an instructor at the Art Institute of Chicago from 1929 to 1947. In 1932, Chapin was approached by Grant Wood and accepted a faculty position at the Stone City Art Colony, where he taught lithography for two summers. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. From 1934 to 1938, he taught at Art Institute of Chicago's summer art school at Saugatuck, Michigan, and he served as director of the summer school from 1941 to 1945. He was also the Artist-in-Residence at the Old Sculpin Gallery on Martha's Vineyard for many years. In 1951, he was elected into the National Academy of Design as an Associate member, and became a full member in 1953. Also from 1951 to 1953, he served as visiting artist at the University of Georgia.

Among Chapin’s notable showings were at the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts and the Corcoran Gallery in Washington, D.C. His works are in permanent collections at the Art Institute of Chicago, Brooklyn Museum (NYC), Philadelphia Museum of Art, Metropolitan Museum of Art (NYC), Pennsylvania Academy of the Fine Arts, Syracuse University, and other museums.

Chapin died in his home at 347 Menomonee Street in Chicago on February 23, 1965. In reporting his death, one newspaper described Chapin's appearance as follows: "he was a colorful figure, nearly 6 feet 6 inches tall, and thin, and usually wearing tweeds."

Chapin's papers are held in the Archives of American Art, Smithsonian Institution.

title: Francis Chapin


text:
WJCL (TV)

WJCL (channel 22) is a television station in Savannah, Georgia, United States, affiliated with ABC. Owned by Hearst Television, the station maintains a transmitter in unincorporated western Chatham County, near Bloomingdale. Its studios are located in the Savannah Morning News building on Chatham Parkway in Savannah. The building also houses its former sister station, Hardeeville, South Carolina–licensed Fox affiliate WTGS (channel 28, now owned by the Sinclair Broadcast Group), which now operates separately from WJCL.

History
The station began operations on July 18, 1970. It was the fourth television station to launch in Savannah and immediately became the area's first-ever primary ABC affiliate. Prior to channel 22 signing on, CBS affiliate WTOC-TV (channel 11) and NBC affiliate WSAV-TV (channel 3) shared secondary affiliations with ABC. Originally owned by former Savannah mayor and avid amateur radio operator Julius Curtis Lewis Jr. (whose initials provided the call sign), the station marked many "firsts". At the time, it built the tallest broadcast tower in the market rising some 1500 ft above sea level.

Local color news film and reel-to-reel videotape were introduced to the Savannah market by WJCL. It claims to have been the first station in the area to televise a live event (President Richard Nixon's Savannah visit and ride in a parade on Skidaway Road) as well as broadcasting in stereo. WJCL-TV and WJCL-FM (96.5 FM) were both run by Lewis Broadcasting's executive vice president, J. Fred Pierce, from 1972 until the television station's first sale in 1999. Channel 22 dropped the "-TV" suffix from the callsign in 1981.

In 1982, WJCL swapped affiliations with WSAV (due to the latter's action) and became an NBC affiliate. In 1985, WSAV was one of several ABC affiliates nationwide unhappy with the network's weak prime time programming offerings. That year, WJCL returned to ABC, while WSAV reverted to being an NBC affiliate full-time. When Lewis purchased the WNOK television and radio stations in Columbia, South Carolina in 1977, he quickly sold off WNOK radio (for an undisclosed price) and immediately changed the television outlet's callsign to WLTX. In 1982, he purchased WYEA in Columbus, Georgia from AFLAC and changed its calls to WLTZ to follow a similar call letter format used for his station in South Carolina's capitol ("LT" meaning "Lewis Television").

In the early 1990s, Lewis sold two of his radio stations, WSTZ-FM and WSTZ-AM in Jackson, Mississippi for an undisclosed price. In 1999, Lewis Broadcasting sold WJCL to Grapevine Communications, which merged with Piedmont Television around the same time. In the mid-to-late 1990s, Lewis decided to divest an even larger portion of his media interests and sold four of his combined eight owned and/or previously owned radio and television stations including WJCL, WTGS, WJCL-FM, and WLTX. Lewis died in 2005, and on May 1, 2007, Lewis Broadcasting, by then owned by his son, Julius Curtis Lewis III, entered into an agreement with SagamoreHill Broadcasting to sell-off its last remaining television station, WLTZ. In 1995, WJCL became a charter UPN affiliate as a secondary basis until 1997 when former WB affiliate WUBI took over the UPN affiliation.

In 2001, WJCL partnered with Carleton Public Relations, Inc. to produce ABC 22 LawCall. Radio on-air personality Lexie Kaye was hired by Carleton Public Relations as producer of the weekly live, legal call-in show. The program featured Mike Avery as host along with attorneys from the Carter & Tate firm with a weekly guest and various topics. This was the first legal call-in show in the nation to use the "LawCall" name. The show aired until June 2006 on Sundays from 11 to 11:30 p.m. WJCL and WTGS were sold to New Vision Television (in an ironic twist, a prior incarnation of New Vision once owned rival WSAV) and Parkin Broadcasting respectively in 2007. The station unveiled a new blog-based website in June 2007.

On November 2, 2007, it was announced that with the recent acquisition of WJCL by New Vision, a brand new website was on the way. The revamped website (operated largely in-house with technology borrowed from Broadcast Interactive Media) featured the usual news, weather, and sports along with streaming video. In January 2009, the websites of WJCL and several of its sister stations migrated to the Inergize Digital Network platform (with KOIN in Portland, Oregon, being the first station in the New Vision group featuring it). The station is the setting of the second season of TV Guide Network's Making News which began airing on June 4, 2008.

On May 7, 2012, LIN TV Corporation announced that it would acquire the New Vision Television station group for $330.4 million and the assumption of $12 million in debt. Along with the outright ownership of WJCL, the agreement included the acquisition of New Vision's shared services agreement with Parkin Broadcasting, giving LIN operational control of WTGS. On October 2, the FCC approved the proposed sale to LIN TV. The transaction was completed on October 12.

On March 21, 2014, LIN Media entered into an agreement to merge with Media General in a $1.6 billion deal. Because Media General already owned NBC affiliate WSAV-TV, the companies were required to sell either WSAV or WJCL to another station owner in order to comply with FCC ownership rules as well as planned changes to those rules regarding same-market television stations which would prohibit sharing agreements. On August 20, 2014, Media General announced that it would keep WSAV and sell WJCL, along with WVTM-TV in Birmingham, Alabama, to Hearst Television, with WTGS going to Sinclair Broadcast Group. The sale was completed on December 19, and Hearst closed on its purchase of WJCL and WVTM on December 22.

News operation
Through a news share agreement established in 1996, WJCL produces a prime time newscast on its now-former sister station (known as WTGS Fox News at Ten). For a while, WTGS also simulcast WJCL's Good Morning Show on weekdays (from 5 until 7) but it was dropped at some point. WTGS replaced WJCL's newscast with one produced by its own stations WPDE-TV in June 2016.

WJCL and WTGS combined operations with the Savannah Morning News and were relocated to the newspaper's facility on Chatham Parkway in Savannah. The stations began broadcasting at their new location on October 4, 2011. The station has an hour of news at 5 p.m. with a weekday morning show that airs WTGS from 7 to 8 a.m. WJCL does not air a midday show during the week, but did add weekend morning newscasts in March 2020.

Notable former on-air staff

 * Rob Fowler – meteorologist (1982; now at WCBD in Charleston)
 * Audrey Puente – meteorologist; now at WNYW
 * Rich Edson – Washington correspondent, Fox News Channel

Subchannels
The station's signal is multiplexed:

Analog-to-digital conversion
WJCL discontinued regular programming on its analog signal, over UHF channel 22, on February 17, 2009, the original target date on which full-power television stations in the United States were to transition from analog to digital broadcasts under federal mandate (which was later pushed back to June 12, 2009). The station's digital signal relocated from its pre-transition UHF channel 23 to channel 22.

title: WJCL (TV)


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Rondout Creek

Rondout Creek is a 63.3 mi tributary of the Hudson River in Ulster and Sullivan counties, New York, United States. It rises on Rocky Mountain in the eastern Catskills, flows south into Rondout Reservoir, part of New York City's water supply network, then into the valley between the Catskills and the Shawangunk Ridge, where it goes over High Falls and finally out to the Hudson at Kingston, receiving along the way the Wallkill River.

The name of Rondout Creek comes from the fort, or redoubt, that was erected near its mouth. The Dutch equivalent of the English word redoubt (meaning a fort or stronghold) is reduyt. In the Dutch records of Wildwyck, however, the spelling used to designate this same fort is invariably Ronduyt during the earliest period, with the present form rondout (often capitalized) appearing as early as November 22, 1666.

The Rondout Creek became economically important in the 19th century when the Delaware and Hudson Canal followed closely alongside it from Napanoch to the village of Rondout, now part of Kingston, which grew rapidly as the canal's northern port. Today it is important not only for the reservoir, but for the fishing and other recreational opportunities it provides.

Due to the Wallkill, it drains a vast area stretching over 1100 sqmi all the way down to Sussex County, New Jersey. The high mountains around its upper course and the reservoir, which collects water from three others, also add to its flow.

Course
The Rondout goes through several different stages because of the changes in surrounding geography and past development, such as the canal and reservoir, that has drawn on its waters. Its headwaters, above the reservoir, are a typical mountain stream. Below the reservoir it remains fairly rocky but widens into the floor of a narrow valley. At Napanoch, where it turns northeast and receives its first significant tributary, the Ver Nooy Kill, it becomes wider, as does the valley it drains, and deeper.

North of the Shawangunks, where the Wallkill trickles down from Sturgeon Pool, it is wide enough to be referred to as the Rondout River at some points. At Creeklocks, the former northern outlet of the canal, it becomes wide and deep enough to be navigable, and several marinas line the banks of the stream, now more than 100 ft wide, at Kingston just above its mouth.

Catskills and headwaters
Rising below the col between Rocky Mountain and Balsam Cap, the Rondout Creek flows generally southerly down the slopes of Rocky Mountain into a narrow valley, receiving tributary Picket Brook on the left and three unnamed streams from the slopes of Peekamoose Mountain to the right. A mile or two from its source, it reaches some private lands and its first road, Peekamoose Road (Ulster County 42). It has dropped 1440 ft in its first two miles. It turns to the southwest to follow a wider valley, known informally as Peekamoose Gorge. Most of the land surrounding the creek is part of New York's Forest Preserve, "forever wild" and thus undeveloped. The rocky stream boasts several popular swimming holes, one of which is known as Blue Hole for the greenish tone of the deep water within. South of the small outlet stream from Peekamoose Lake, it is crossed and then followed by Peekamoose Road, which at first runs high above the creek but then close by it.

Along here it receives several tributaries from the right — Buttermilk Falls Brook, with its eponymous waterfall near its mouth, High Falls Brook and Bear Hole Brook — most of them rising, like the Rondout itself, in the Slide Mountain Wilderness Area to the west. To the east is another Forest Preserve management unit, the Sundown Wild Forest. Some unnamed tributaries come from here. Because of the protected areas on both sides of the creek and the ease of public access, this area has become one of the Catskills' popular trout streams, and fly-fishermen can be seen here during the season.

It crosses under Peekamoose Road, here also carrying the Long Path hiking trail, again just north of a popular camping area in the small Peekamoose Wild Forest, and then passes the hamlet of Sundown and widens slightly as a floodplain develops alongside. The land along the creek is now largely in private hands, and there is little public access to it as it crosses into Sullivan County.

Reservoir to Napanoch
After crossing under NY 55A, it widens into the reservoir just below Grahamsville and begins flowing more to the east-southeast. Routes 55 and 55A bracket the reservoir to the south and north respectively. One-third of the way along the reservoir's 9 mi length, it crosses back into Ulster County. Now at an elevation of 840 ft, the creek resumes at the site of the former hamlet of Lackawack, leaving the Catskill Park, now headed eastwards, in a rocky, wider streambed through some slightly more development.

It follows closely alongside Route 55, deviating from it only when it turns north to Honk Lake, another impoundment. Past here it crosses under 55 again and comes into Napanoch. After crossing under US 209 and receiving the Ver Nooy Kill it bends northeast, paralleling the Shawangunk Ridge and the edge of the Catskill Plateau.

Rondout Valley
The creek, here wider and deeper, forms the bed of a widening valley as it continues northeast past Eastern Correctional Facility, where the first remnant of the canal, an empty ditch next to an old railroad station, can be found alongside. The creek continues towards Kerhonkson, where Route 55 and US 44 cross over. US 209 continues paralleling the Rondout towards High Falls, as it begins to curve to the east around the northern end of the ridge.

Here, it goes over the spectacular waterfall that gives the community its name, just below NY 213. These were the subject of controversy in recent years, since they were considered both a popular swimming hole and an attractive nuisance. The local fire department, which owned the land, had to sell it to keep its liability insurance premiums affordable, and the new owner has posted the property for the same reason.

Lower Rondout and Kingston
Around the north end of the Shawangunks, it receives as tributaries many of the streams of the Minnewaska State Preserve: Peters Kill, Stony Kill and Coxing Kill. It begins to curve more to the east again. Route 213 replaces Route 209 as the Rondout's paralleling road, with the canal's empty ditch running next to both along the way to Rosendale, the next settlement, which grew up around the canal and, later, a local cement industry that used the creek to get its product to market.

Here it crosses under Route 213 and NY 32 in a gravel-lined flood control channel, but returns to a more natural bed shortly afterwards to flow beneath the New York State Thruway. In the wooded areas east of the Thruway, the Wallkill River, its flow attenuated by Sturgeon Pool just upriver, joins in from the south. The Rondout turns north, then east again, crossing Route 213 again. At Creeklocks the last lock and the end of the canal are still visible. In Kingston itself it widens and flows under a pair of bridges, the historic Kingston–Port Ewen Suspension Bridge, which carried US 9W until the construction of the neighboring John T. Loughran Bridge. The city's West Strand neighborhood along the waterfront has been rejuvenated in recent years and many boats can be seen moored at docks here on summer weekends. Old shipbuilders' factories line the northern bank, and one of them has been converted into the Hudson River Maritime Museum. After a slight curve through swampier, less developed lowlands in the Kingston Point neighborhood, the Rondout empties into the Hudson at Rondout Lighthouse, just opposite Rhinecliff.

Colonial era
The early Dutch settlers realized the value of the creek for their colonial ambitions. However, the contention that a trading post or fort was established at the mouth of the Rondout in the early part of the 17th century is thoroughly debunked in Marc B. Fried's The Early History of Kingston and Ulster County, NY, pp. 3–14 and 155–61. The first non-Native structure at this location was undoubtedly the house of settler Christoffel Davits in 1653, and a fort was built here by the colonial government in 1660. The local Native Americans likewise frequented the area. In 1652, an Englishman, Thomas Chambers, became the first to acquire a land deed from the Indians, nearby, along the Esopus Creek (which has a vast expanse of good farmland), and thus began the genesis of present-day Kingston. The Rondout's role in the area's early settlement was as a port for the settlement that was made along the Esopus Creek [The Early History of Kingston, chapter 2]

Canal era
Settlement did slowly progress inland, but it was not until well after American independence that the Rondout would become economically important. In the early 1820s two Philadelphia businessmen realized the immense profits that could be made if they could find a way to get the mostly unmined high-quality anthracite coal from undeveloped Northeastern Pennsylvania to the lucrative markets of New York City. Railroads had not yet been perfected, so they saw the possibility of a canal running from Honesdale, Pennsylvania, to the Hudson at what was then the village of Rondout. In 1828 they obtained a charter for their company to do this, and the Delaware and Hudson Canal was opened a few years later. Coal was transferred from canal barges to river ships at Rondout, and it became a boomtown quickly. The canal remained a prosperous operation until late in the 19th century when rail transportation finally became more affordable, and ended its days in 1904 after a brief period carrying Rosendale cement. The former terminal port area for the canal is now Kingston's Rondout-West Strand Historic District, listed on the National Register of Historic Places.

Reservoir era
In the mid-20th century, the stream would find another important use. Naturalist John Burroughs had anticipated it when he explored the upper headwaters with a friend early in the century, writing in his essay "A Bed of Boughs" of the purity of the stream's waters and its benefits for both man and fish:

"My eyes had never before beheld such beauty in a mountain stream. The water was almost as transparent as the air — was, indeed, like liquid air; and as it lay in these wells and pits enveloped in shadow, or lit up by a chance ray of the vertical sun, it was a perpetual feast to the eye — so cool, so deep, so pure; every reach and pool like a vast spring. You lay down and drank or dipped the water up in your cup, and found it just the right degree of refreshing coldness. One is never prepared for the clearness of the water in these streams. It is always a surprise. See them every year for a dozen years, and yet, when you first come upon one, you will utter an exclamation. I saw nothing like it in the Adirondacks, nor in Canada. Absolutely without stain or hint of impurity, it seems to magnify like a lens, so that the bed of the stream and the fish in it appear deceptively near. It is rare to find even a trout stream that is not a little 'off color,' as they say of diamonds, but the waters in the section of which I am writing have the genuine ray; it is the undimmed and untarnished diamond.

If I were a trout, I should ascend every stream till I found the Rondout. It is the ideal brook."

Starting in 1915 with Ashokan Reservoir, New York City had been expanding its water supply system with reservoirs in the Catskills. In 1937 it began construction of Merriman Dam near Lackawack, which would soon be flooded forever to allow the growing city to tap the pure waters Burroughs had written about. Those waters began to reach city taps in 1951, and the reservoir itself was completed three years later. Today, via the Delaware Aqueduct, and the connections it has via the Neversink Aqueduct to the Neversink, Pepacton and Cannonsville reservoirs to the west supplementing the upper Rondout's drainage, it supplies half the city's daily water draw.

title: Rondout Creek