text:
Isotopes of nitrogen

Natural nitrogen (7N) consists of two stable isotopes: the vast majority (99.6%) of naturally occurring nitrogen is nitrogen-14, with the remainder being nitrogen-15. Thirteen radioisotopes are also known, with atomic masses ranging from 9 to 23, along with three nuclear isomers. All of these radioisotopes are short-lived, the longest-lived being nitrogen-13 with a half-life of $9.965 minutes$. All of the others have half-lives below 7.15 seconds, with most of these being below 620 milliseconds. Most of the isotopes with atomic mass numbers below 14 decay to isotopes of carbon, while most of the isotopes with masses above 15 decay to isotopes of oxygen. The shortest-lived known isotope is nitrogen-10, with a half-life of $143 yoctoseconds$, though the half-life of nitrogen-9 has not been measured exactly.

List of isotopes

 * 9Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 2
 * <1 as
 * 5p
 * 4Helium
 * 10Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 3
 * p ?
 * 9Carbon ?
 * 1−, 2−
 * 11Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 4
 * $10.042$ [$143 ys$]
 * p
 * 10Carbon
 * 1/2+
 * style="text-indent:1em" | 11mNitrogen
 * colspan="3" style="text-indent:2em" | $11.026$
 * p
 * 1/2−
 * rowspan=2|12Nitrogen
 * rowspan=2 style="text-align:right" | 7
 * rowspan=2 style="text-align:right" | 5
 * rowspan=2|$585 ys$
 * rowspan=2|$780 keV$
 * β+ ($740 keV$)
 * 12Carbon
 * rowspan=2|1+
 * rowspan=2|
 * rowspan=2|
 * β+α ($690 ys$)
 * 8Beryllium
 * 13Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 6
 * β+
 * 13Carbon
 * 1/2−
 * 14Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 7
 * colspan=3 align=center|Stable
 * 1+
 * [$12.019$, $11 ms$]
 * style="text-indent:1em" | 14mNitrogen
 * colspan="3" style="text-indent:2em" | $98.07 %$
 * IT
 * 14Nitrogen
 * 0+
 * 15Nitrogen
 * style="text-align:right" | 7
 * style="text-align:right" | 8
 * colspan=3 align=center|Stable
 * 1/2−
 * [$1.93 %$, $13.006$]
 * rowspan=2|16Nitrogen
 * rowspan=2 style="text-align:right" | 7
 * rowspan=2 style="text-align:right" | 9
 * rowspan=2|$9.965 min$
 * rowspan=2|$14.003$
 * β− ($0.996$)
 * 16Oxygen
 * rowspan=2|2−
 * rowspan=2|
 * rowspan=2|
 * β−α ($0.997$)
 * 12Carbon
 * rowspan=2 style="text-indent:1em" | 16mNitrogen
 * rowspan=2 colspan="3" style="text-indent:2em" |$2,312.59 keV$
 * rowspan=2|$15$
 * IT ($0.003$)
 * 16Nitrogen
 * rowspan=2|0−
 * rowspan=2|
 * rowspan=2|
 * β− ($0.004$)
 * 16Oxygen
 * rowspan=3|17N
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 10
 * rowspan=3|$16.006$
 * rowspan=3|$7.13 s$
 * β−n ($99.998 %$)
 * 16Oxygen
 * rowspan=3|1/2−
 * rowspan=3|
 * rowspan=3|
 * β− ($0.002 %$)
 * 17Oxygen
 * β−α ($120.42 keV$)
 * 13Carbon
 * rowspan=4|18Nitrogen
 * rowspan=4 style="text-align:right" | 7
 * rowspan=4 style="text-align:right" | 11
 * rowspan=4|$5.25 µs$
 * rowspan=4|$100 %$
 * β− ($0 %$)
 * 18Oxygen
 * rowspan=4|1−
 * rowspan=4|
 * rowspan=4|
 * β−α ($17.008$)
 * 14Carbon
 * β−n ($4.173 s$)
 * 17Oxygen
 * β−2n ?
 * 16Oxygen ?
 * rowspan=2|19Nitrogen
 * rowspan=2 style="text-align:right" | 7
 * rowspan=2 style="text-align:right" | 12
 * rowspan=2|$95.1 %$
 * rowspan=2|$4.9 %$
 * β− ($0.003 %$)
 * 19Oxygen
 * rowspan=2|1/2−
 * rowspan=2|
 * rowspan=2|
 * β−n ($18.014$)
 * 18Oxygen
 * rowspan=3|20Nitrogen
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 13
 * rowspan=3|$619.2 ms$
 * rowspan=3|$80.8 %$
 * β− ($12.2 %$)
 * 20Oxygen
 * rowspan=3|(2−)
 * rowspan=3|
 * rowspan=3|
 * β−n ($7 %$)
 * 19Oxygen
 * β−2n ?
 * 18Oxygen ?
 * rowspan=3|21Nitrogen
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 14
 * rowspan=3|$19.017$
 * rowspan=3|$336 ms$
 * β−n ($58.2 %$)
 * 20Oxygen
 * rowspan=3|(1/2−)
 * rowspan=3|
 * rowspan=3|
 * β− ($41.8 %$)
 * 21Oxygen
 * β−2n ?
 * 19Oxygen ?
 * rowspan=3|22Nitrogen
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 15
 * rowspan=3|$20.023$
 * rowspan=3|$136 ms$
 * β− ($57.1 %$)
 * 22Oxygen
 * rowspan=3|0−#
 * rowspan=3|
 * rowspan=3|
 * β−n ($42.9 %$)
 * 21Oxygen
 * β−2n ($21.027$)
 * 20Oxygen
 * rowspan=4|23Nitrogen
 * rowspan=4 style="text-align:right" | 7
 * rowspan=4 style="text-align:right" | 16
 * rowspan=4|$85 ms$
 * rowspan=4|$87 %$
 * β− (> $13 %$)
 * 23Oxygen
 * rowspan=4|1/2−#
 * rowspan=4|
 * rowspan=4|
 * β−n ($22.034$)
 * 22Oxygen
 * β−2n ($23 ms$)
 * 21Oxygen
 * β−3n (< $54 %$)
 * 20Oxygen
 * rowspan=3|
 * rowspan=3|
 * β−n ($34 %$)
 * 19Oxygen
 * β−2n ?
 * 18Oxygen ?
 * rowspan=3|21Nitrogen
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 14
 * rowspan=3|$12 %$
 * rowspan=3|$23.039$
 * β−n ($13.9 ms$)
 * 20Oxygen
 * rowspan=3|(1/2−)
 * rowspan=3|
 * rowspan=3|
 * β− ($46.6 %$)
 * 21Oxygen
 * β−2n ?
 * 19Oxygen ?
 * rowspan=3|22Nitrogen
 * rowspan=3 style="text-align:right" | 7
 * rowspan=3 style="text-align:right" | 15
 * rowspan=3|$42 %$
 * rowspan=3|$8 %$
 * β− ($3.4 %$)
 * 22Oxygen
 * rowspan=3|0−#
 * rowspan=3|
 * rowspan=3|
 * β−n ($24.05$)
 * 21Oxygen
 * β−2n ($52 ns$)
 * 20Oxygen
 * rowspan=4|23Nitrogen
 * rowspan=4 style="text-align:right" | 7
 * rowspan=4 style="text-align:right" | 16
 * rowspan=4|$25.06$
 * rowspan=4|$260 ns$
 * β− (> $9.965 minutes$)
 * 23Oxygen
 * rowspan=4|1/2−#
 * rowspan=4|
 * rowspan=4|
 * β−n ($511 keV$)
 * 22Oxygen
 * β−2n ($5,700 years$)
 * 21Oxygen
 * β−3n (< ⇭⇭⇭)
 * 20Oxygen
 * rowspan=4|1/2−#
 * rowspan=4|
 * rowspan=4|
 * β−n (⇭⇭⇭)
 * 22Oxygen
 * β−2n (⇭⇭⇭)
 * 21Oxygen
 * β−3n (< ⇭⇭⇭)
 * 20Oxygen
 * β−3n (< ⇭⇭⇭)
 * 20Oxygen
 * 20Oxygen

Nitrogen-13
Nitrogen-13 and oxygen-15 are produced in the atmosphere when gamma rays (for example from lightning) knock neutrons out of nitrogen-14 and oxygen-16:
 * 14N + γ → 13N + n
 * 16O + γ → 15O + n

The nitrogen-13 produced as a result decays with a half-life of ⇭⇭⇭ to carbon-13, emitting a positron. The positron quickly annihilates with an electron, producing two gamma rays of about ⇭⇭⇭. After a lightning bolt, this gamma radiation dies down with a half-life of ten minutes, but these low-energy gamma rays go only about 90 metres through the air on average, so they may only be detected for a minute or so as the "cloud" of 13N and 15O floats by, carried by the wind.

Nitrogen-14
Nitrogen-14 is one of two stable (non-radioactive) isotopes of the chemical element nitrogen, which makes about 99.636% of natural nitrogen.

Nitrogen-14 is one of the very few stable nuclides with both an odd number of protons and of neutrons (seven each) and is the only one to make up a majority of its element. Each proton or neutron contributes a nuclear spin of plus or minus spin 1/2, giving the nucleus a total magnetic spin of one.

The original source of nitrogen-14 and nitrogen-15 in the Universe is believed to be stellar nucleosynthesis, where they are produced as part of the CNO cycle.

Nitrogen-14 is the source of naturally-occurring, radioactive, carbon-14. Some kinds of cosmic radiation cause a nuclear reaction with nitrogen-14 in the upper atmosphere of the Earth, creating carbon-14, which decays back to nitrogen-14 with a half-life of ⇭⇭⇭.

Nitrogen-15
Nitrogen-15 is a rare stable isotope of nitrogen. Two sources of nitrogen-15 are the positron emission of oxygen-15 and the beta decay of carbon-15. Nitrogen-15 presents one of the lowest thermal neutron capture cross sections of all isotopes.

Nitrogen-15 is frequently used in NMR (Nitrogen-15 NMR spectroscopy). Unlike the more abundant nitrogen-14, which has an integer nuclear spin and thus a quadrupole moment, 15N has a fractional nuclear spin of one-half, which offers advantages for NMR such as narrower line width.

Nitrogen-15 tracing is a technique used to study the nitrogen cycle.

Nitrogen-16
The radioisotope 16N is the dominant radionuclide in the coolant of pressurised water reactors or boiling water reactors during normal operation. It is produced from 16O (in water) via an (n,p) reaction, in which the 16O atom captures a neutron and expels a proton. It has a short half-life of about 7.1 s, but its decay back to 16O produces high-energy gamma radiation (5 to 7 MeV). Because of this, access to the primary coolant piping in a pressurised water reactor must be restricted during reactor power operation. It is a sensitive and immediate indicator of leaks from the primary coolant system to the secondary steam cycle and is the primary means of detection for such leaks.

title: Isotopes of nitrogen


text:
Isotopes of carbon

Carbon (6C) has 14 known isotopes, from 8Carbon to 20Carbon as well as 22Carbon, of which 12Carbon and 13Carbon are stable. The longest-lived radioisotope is 14Carbon, with a half-life of $5.7$ years. This is also the only carbon radioisotope found in nature, as trace quantities are formed cosmogenically by the reaction 14Nitrogen + neutron → 14Carbon + 1Hydrogen. The most stable artificial radioisotope is 11Carbon, which has a half-life of $20.34 min$. All other radioisotopes have half-lives under 20 seconds, most less than 200 milliseconds. The least stable isotope is 8Carbon, with a half-life of $3.5 s$. Light isotopes tend to decay into isotopes of boron and heavy ones tend to decay into isotopes of nitrogen.

List of isotopes

 * 8Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 2
 * $8.038$ [$3.5 zs$]
 * 2p
 * 6Beryllium
 * 0+
 * rowspan=3|9Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 3
 * rowspan=3|$230 keV$
 * rowspan=3|$9.031$
 * β+ ($126.5 ms$)
 * 9Boron
 * rowspan=3|3/2−
 * rowspan=3|
 * rowspan=3|
 * β+α ($54.1 %$)
 * 5Lithium
 * β+p ($38.4 %$)
 * 8Beryllium
 * 10Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 4
 * β+
 * 10Boron
 * 0+
 * rowspan=1|11Carbon
 * rowspan=1 style="text-align:right" | 6
 * rowspan=1 style="text-align:right" | 5
 * rowspan=1 |$7.5 %$
 * rowspan=1 |$10.017$
 * β+
 * 11Boron
 * rowspan=1 |3/2−
 * rowspan=1 |
 * rowspan=1 |
 * style="text-indent:1em" |11mCarbon
 * colspan=3 style="text-indent:2em" |$19.301 s$
 * p ?
 * 10Boron ?
 * 1/2+
 * 12Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 6
 * 12 exactly
 * colspan=3 align=center|Stable
 * 0+
 * [$11.011$, $20.34 min$]
 * 13Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 7
 * colspan=3 align=center|Stable
 * 1/2−
 * [$12,160 keV$, $0.988$]
 * 14Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 8
 * β−
 * 14Nitrogen
 * 0+
 * Trace
 * < 10−12
 * style="text-indent:1em" |14mCarbon
 * colspan="3" style="text-indent:2em" |$0.99$
 * IT
 * 14Carbon
 * (2−)
 * 15Carbon
 * style="text-align:right" | 6
 * style="text-align:right" | 9
 * β−
 * 15Nitrogen
 * 1/2+
 * rowspan=2|16Carbon
 * rowspan=2 style="text-align:right" | 6
 * rowspan=2 style="text-align:right" | 10
 * rowspan=2|$13.003$
 * rowspan=2|$0.01$
 * β−n ($0.012$)
 * 15Nitrogen
 * rowspan=2|0+
 * rowspan=2|
 * rowspan=2|
 * β− ($14.003$)
 * 16Nitrogen
 * rowspan=3|17Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 11
 * rowspan=3|$5.7 y$
 * rowspan=3|$22,100 keV$
 * β− ($15.011$)
 * 17Nitrogen
 * rowspan=3|3/2+
 * rowspan=3|
 * rowspan=3|
 * β−n ($2.449 s$)
 * 16Nitrogen
 * β−2n ?
 * 15Nitrogen ?
 * rowspan=3|18Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 12
 * rowspan=3|$16.015$
 * rowspan=3|$750 ms$
 * β− ($99 %$)
 * 18Nitrogen
 * rowspan=3|0+
 * rowspan=3|
 * rowspan=3|
 * β−n ($1 %$)
 * 17Nitrogen
 * β−2n ?
 * 16Nitrogen ?
 * rowspan=3|19Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 13
 * rowspan=3|$17.023$
 * rowspan=3|$193 ms$
 * β−n ($71.6 %$)
 * 18Nitrogen
 * rowspan=3|1/2+
 * rowspan=3|
 * rowspan=3|
 * β− ($28.4 %$)
 * 19Nitrogen
 * β−2n ($18.027$)
 * 17Nitrogen
 * rowspan=3|20Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 14
 * rowspan=3|$92 ms$
 * rowspan=3|$68.5 %$
 * β−n ($31.5 %$)
 * 19Nitrogen
 * rowspan=3|0+
 * rowspan=3|
 * rowspan=3|
 * β−2n (< $19.035$)
 * 18Nitrogen
 * β− (> $46.2 ms$)
 * 20Nitrogen
 * rowspan=3|$47 %$
 * β− ($46 %$)
 * 18Nitrogen
 * rowspan=3|0+
 * rowspan=3|
 * rowspan=3|
 * β−n ($7 %$)
 * 17Nitrogen
 * β−2n ?
 * 16Nitrogen ?
 * rowspan=3|19Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 13
 * rowspan=3|$20.04$
 * rowspan=3|$16 ms$
 * β−n ($70 %$)
 * 18Nitrogen
 * rowspan=3|1/2+
 * rowspan=3|
 * rowspan=3|
 * β− ($18.6 %$)
 * 19Nitrogen
 * β−2n ($11.4 %$)
 * 17Nitrogen
 * rowspan=3|20Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 14
 * rowspan=3|$21.049$
 * rowspan=3|$30 ns$
 * β−n ($22.058$)
 * 19Nitrogen
 * rowspan=3|0+
 * rowspan=3|
 * rowspan=3|
 * β−2n (< $6.2 ms$)
 * 18Nitrogen
 * β− (> $61 %$)
 * 20Nitrogen
 * rowspan=3|
 * rowspan=3|
 * β−2n (< $37 %$)
 * 18Nitrogen
 * β− (> $2 %$)
 * 20Nitrogen
 * β− (> $23.069$)
 * 20Nitrogen

 * rowspan=3|22Carbon
 * rowspan=3 style="text-align:right" | 6
 * rowspan=3 style="text-align:right" | 16
 * rowspan=3|$20.34 minutes$
 * rowspan=3|$0.96 MeV$
 * β−n ($1.98 MeV$)
 * 21Nitrogen
 * rowspan=3|0+
 * rowspan=3|
 * rowspan=3|
 * β−2n (< $5.7$)
 * 20Nitrogen
 * β− (> ⇭⇭⇭)
 * 22Nitrogen
 * β− (> ⇭⇭⇭)
 * 22Nitrogen
 * 22Nitrogen

Carbon-11
Carbon-11 or 11Carbon is a radioactive isotope of carbon that decays to boron-11. This decay mainly occurs due to positron emission, with around 0.19–0.23% of decays instead occurring by electron capture. It has a half-life of ⇭⇭⇭.

 * 11Carbon → 11Boron + +  + ⇭⇭⇭
 * 11Carbon + → 11Boron +  + ⇭⇭⇭

It is produced from nitrogen in a cyclotron by the reaction
 * 14Nitrogen + → 11Carbon + 4Helium

Carbon-11 is commonly used as a radioisotope for the radioactive labeling of molecules in positron emission tomography. Among the many molecules used in this context are the radioligands [[[Carbon|11Carbon]DASB]] and [[[Carbon|11Carbon]Cimbi-5]].

Natural isotopes
There are three naturally occurring isotopes of carbon: 12, 13, and 14. 12Carbon and 13Carbon are stable, occurring in a natural proportion of approximately 93:1. 14Carbon is produced by thermal neutrons from cosmic radiation in the upper atmosphere, and is transported down to earth to be absorbed by living biological material. Isotopically, 14Carbon constitutes a negligible part; but, since it is radioactive with a half-life of ⇭⇭⇭ years, it is radiometrically detectable. Since dead tissue does not absorb 14Carbon, the amount of 14Carbon is one of the methods used within the field of archeology for radiometric dating of biological material.

Paleoclimate
12Carbon and 13Carbon are measured as the isotope ratio δ13C in benthic foraminifera and used as a proxy for nutrient cycling and the temperature dependent air–sea exchange of CO2 (ventilation). Plants find it easier to use the lighter isotopes (12Carbon) when they convert sunlight and carbon dioxide into food. For example, large blooms of plankton (free-floating organisms) absorb large amounts of 12Carbon from the oceans. Originally, the 12Carbon was mostly incorporated into the seawater from the atmosphere. If the oceans that the plankton live in are stratified (meaning that there are layers of warm water near the top, and colder water deeper down), then the surface water does not mix very much with the deeper waters, so that when the plankton dies, it sinks and takes away 12Carbon from the surface, leaving the surface layers relatively rich in 13Carbon. Where cold waters well up from the depths (such as in the North Atlantic), the water carries 12Carbon back up with it; when the ocean was less stratified than today, there was much more 12Carbon in the skeletons of surface-dwelling species. Other indicators of past climate include the presence of tropical species and coral growth rings.

Tracing food sources and diets
The quantities of the different isotopes can be measured by mass spectrometry and compared to a standard; the result (e.g., the delta of the 13Carbon = δ13Carbon) is expressed as parts per thousand (‰) divergence from the ratio of a standard:

The usual standard is Peedee Belemnite, abbreviated "PDB", a fossil belemnite. Due to shortage of the original PDB sample, artificial "virtual PDB", or "VPDB", is generally used today.

Stable carbon isotopes in carbon dioxide are utilized differentially by plants during photosynthesis. Grasses in temperate climates (barley, rice, wheat, rye, and oats, plus sunflower, potato, tomatoes, peanuts, cotton, sugar beet, and most trees and their nuts or fruits, roses, and Kentucky bluegrass) follow a C3 photosynthetic pathway that will yield δ13C values averaging about −26.5‰. Grasses in hot arid climates (maize in particular, but also millet, sorghum, sugar cane, and crabgrass) follow a C4 photosynthetic pathway that produces δ13C values averaging about −12.5‰.

It follows that eating these different plants will affect the δ13C values in the consumer's body tissues. If an animal (or human) eats only C3 plants, their δ13C values will be from −18.5 to −22.0‰ in their bone collagen and −14.5‰ in the hydroxylapatite of their teeth and bones.

In contrast, C4 feeders will have bone collagen with a value of −7.5‰ and hydroxylapatite value of −0.5‰.

In actual case studies, millet and maize eaters can easily be distinguished from rice and wheat eaters. Studying how these dietary preferences are distributed geographically through time can illuminate migration paths of people and dispersal paths of different agricultural crops. However, human groups have often mixed C3 and C4 plants (northern Chinese historically subsisted on wheat and millet), or mixed plant and animal groups together (for example, southeastern Chinese subsisting on rice and fish).

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

title: Isotopes of carbon


text:
The Magician (1958 film)

Ansiktet (lit. Swedish: "The Face" ), also released as The Magician, is a 1958 Swedish film written and directed by Ingmar Bergman, starring Max von Sydow and Ingrid Thulin. The plot follows a traveling magician named Albert Vogler, whose allegedly supernatural live shows are challenged by the skeptical population of a small village.

Blending elements of psychological drama and horror, the film was distantly inspired by G. K. Chesterton's play Magic.

The film was selected as the Swedish entry for the Best Foreign Language Film at the 31st Academy Awards, but was not accepted as a nominee.

Plot
Albert Vogler is a magician who leads a troupe of performers, known as Vogler's Magnetic Health Theater, who claim to possess supernatural abilities. Among them are Albert's grandmother, Granny Vogler; his wife Manda, who performs in costume as a man under the alias Mr. Aman; his charismatic assistant, Tubal; and their driver, Simson. Albert proclaims to have discovered animal magnetism. After leaving a show in Copenhagen, the group travel by carriage through the wilderness into Sweden, and hear screams emanating from the woods. They find an ill man lying on the ground nearby, who introduces himself as Johan Spegel, a former vaudevillian. The troupe decide to bring him along with them, and he becomes progressively ill. Albert keenly observes Johan as he apparently dies in the carriage.

The troupe arrive in a village and are met by Consul Egerman who, along with his wife Ottilia, is interested in the occult. Tubal informs Egerman and his associates that Albert is mute, and the townsmen question the nature of their magic show based on the advertisements promoting it. Dr. Vergerus, the Minister of Health, accuses Albert of practicing quackery and pseudoscience; the men privately plan to wager on Albert's abilities. Later, the troupe have dinner with Sara and Sanna, two servants who are enthralled by their presence, and Tubal peddles love potions made by Granny. The head cook, Sofia, is impervious to Tubal's bravado, but finds him attractive and solicits him for sex.

As a storm brews, Sanna grows frightened of the group after Granny tells her she is a witch who is 200 years old. Meanwhile, Simson flirts with Sara, and the two drink the aphrodisiac potions together before having sex. Ottilia approaches Albert and tells him that she believes in his powers, and that her husband and the other townsmen criticize him only because they do not understand him. She further explains that she hopes he can make contact with her deceased daughter. After Ottilia leaves, Albert is visited by Johan, who did not die. Johan laments his "unused" life to Albert before again dying in his arms; Albert conceals his body in a hidden compartment of a large trunk. Egerman observes the exchange from the shadows and is shaken by it, unsure if he has witnessed an apparition.

Dr. Vergerus approaches Manda in her room, her masculine disguise removed. She tells him the troupe are fleeing from the authorities, and admits that the group's entire act is a fraud. Albert listens to their conversation before entering the room, and assaults Vergerus when he goads him. Albert removes his wig, and Manda comforts him, recounting their travails on the road, the home they left behind, and his decision to disguise himself as a mute.

The following morning, the troupe perform a magic show for the townspeople. Tubal asks Henrietta Starbeck, the wife of the Police Superintendent, to be a volunteer in the show; apparently using magnets, Manda elicits cruel admissions from Henrietta about her husband, publicly humiliating him. Next, Engelson volunteers Antonsson, the stableman, for a trick in which Albert apparently manipulates his body. During the performance, Albert collapses and dies, and Antonsson flees in horror, later committing suicide. Albert's body is placed in his trunk—which, unbeknownst to Vergerus, also contains Johan's body—and brought to the attic for an autopsy.

After Vergerus performs a full autopsy, he is terrified when Albert emerges from the shadows, alive. Vergerus demands to know whose body he has performed an autopsy on. Albert responds that it was a "poor actor"—it was in fact Johan, who was also in the trunk. Angered, Vergerus remarks the troupe's performance as "miserable", and contemptuously pays Albert with a single coin for the entertainment. Manda has Simson hitch their horses so the troupe can leave, but Tubal tells her he wishes to stay with Sofia. Granny also tells Manda she will no longer join them, and plans to live the remainder of her years with the funds she has saved by selling her potions. Upset over Simson's departure, Sara asks Albert and Manda if she can join them, to which they agree. Before they can depart, Albert and Manda are escorted back into the house by police officers. They initially believe they are to be charged with crimes, but, to their surprise, the Police Superintendent Starbeck notifies them that the king wishes to have them perform at the Royal Palace. Shortly afterward, Albert, Manda, Simson, and Sara depart for Stockholm.

Production
In 1946 Bergman had staged a theatre production of Magic in Swedish. The play distantly inspired the film.

Filming took place at the Filmstaden studios from June 30 and terminated on August 27, 1958.

Release
The film was theatrically released in Sweden on 26 December 1958.

Reception
The Magician has a 100% approval rating on Rotten Tomatoes. Don Druker of the Chicago Reader called it "one of Bergman's most tightly structured and frightening films". Author and film critic Leonard Maltin awarded the film three out of four stars, calling it "A thoughtful (and too-long underrated) portrait of a man who is part-faker, part-genius". The film won Grand Jury Prize, New Cinema Award and the Pasinetti Award at 1959 Venice Film Festival. It was also nominated for the Golden Lion. The Film was nominated for a BAFTA Award in Best Film From Any Source category in 1960.

Woody Allen, shortly after Bergman died in 2007, included The Magician as one of the five films by the Swedish director that he would most recommend to individuals unfamiliar with the filmmaker.

title: The Magician (1958 film)


text:
Ralph Reese

Ralph Reese (born May 19, 1949) is an American artist who has illustrated for books, magazines, trading cards, comic books and comic strips, including a year drawing the Flash Gordon strip for King Features. Prolific from the 1960s to the 1990s, he is best known for his collaboration with Byron Preiss on the continuing feature "One Year Affair", serialized in the satiric magazine National Lampoon from 1973 to 1975 and then collected into a 1976 book.

Reese early in his career worked in the studio of Wally Wood, assisting on both mainstream and alternative-press comics and on trading cards. He went on to do mainly fantasy and horror illustrations for science-fiction magazines and black-and-white horror-comics magazines. He drew many fantasy, horror and science-fiction stories for Marvel Comics, DC Comics and Valiant Comics.

Early life
Born in New York City, Reese attended New York's High School of Art and Design. He was in the same graduating class as Larry Hama and Frank Brunner.

Early career
While still an art student in 1966, Reese began his career at age 16 as an assistant to artist Wally Wood, who became a dominant influence on Reese's art.

Wally Wood studio
Reese contributed to various Wood projects, including Topps trading cards, DC Comics stories and Wood's independent comics. His first confirmed comics work is an illustration for a one-page text story, "...And Thereby Hangs A Tale...", in witzend #1 (Summer 1966). His first comics story was co-penciling and co-inking with Wood a 10-page science-fiction in Heroes, Inc. Presents Cannon (1969). In 2001, Reese recalled his duties at the Wood's studio: "After a while, I got to keeping his files in order. His file was astounding! He must have had 30 file drawers of clippings, and I kept them in order. I also kept the place in order. When I first met Wally he had been working in the same room for 12 years, so there was a lot of clutter. The first time I saw his studio I couldn't figure out what was hanging from the ceiling. There were all these things with grey felt on them. They turned out to be hundreds of model airplanes on strings, covered with dust."

With the Wood Studio as a launching pad, Reese became a prolific freelancer. In 1969, he did a cover and numerous interior illustrations for Galaxy Science Fiction. For Robert Sproul's Major Publications, he was a regular 1969-70 contributor to Web of Horror, edited by Terry Bisson. His first confirmed solo comics story credit is as penciler-inker of Bisson's four-page story "The Skin-Eaters' in Major Publications' Web of Horror #1 (Dec. 1969). He illustrated two Otto Binder stories in Web of Horror #2 (Feb. & April 1970).

Comics and commercial illustration
During the 1970s, Reese's artwork surfaced in a wide variety of publications, from underground comics to slick magazines, including National Lampoon and Esquire. He sometimes collaborated with Larry Hama. In Comics Interview #37 (1986), Hama recalled working with Reese and Wood: "I guess in 1971 or thereabouts, I was living in Brooklyn and working with Ralph Reese, freelance stuff. I was penciling, and he was inking. We were doing a lot of jobs for National Lampoon. At the time, Woody was moving to Brooklyn, six to eight blocks from where I lived. In the process of helping him move, he said, 'Hey, are you interested in a semi-regular job?' I said sure."

Reese worked from 1972 to 1977 at Neal Adams' Continuity Associates studio at 9 East 48th Street in Manhattan. There he became acquainted with a group of freelance artists that included Jack Abel, Sergio Aragones, Dick Giordano, Russ Heath, Bob McLeod, Marshall Rogers, Joe Rubinstein and Lynn Varley. At Continuity, Reese and Hama sometimes worked as a team, and they created illustrations for a variety of clients, including the Children's Television Workshop.

Reese's comic book credits include pages for Acclaim, Byron Preiss, Eclipse Comics, Marvel Comics, Skywald Publications and Warren Publishing. While working in the mainstream, he also contributed to underground titles, including Conspiracy Capers, Drool, and editor Jay Lynch's Kitchen Sink Press comic Bijou Funnies.

His work for DC Comics included stories for House of Mystery, House of Secrets, The Witching Hour and The Unexpected.

In 1973, Reese illustrated Thomas Disch's "The Roaches" for the black-and-white horror-comics magazine Monsters Unleashed, published by Marvel's Curtis Magazines imprint, and the following year, he continued in a similar vein with art for Gerry Conway's story, "The Rats" in Haunt of Horror. With these two stories, featuring extreme close-up drawings of roaches and rats, Reese depicted horror lurking in real-life vermin, and both stories had several reprints.

After he collaborated with Byron Preiss on the feature "One Year Affair" in the National Lampoon, the two did installments of a follow-up, "Two Year Affair". For Atlas/Seaboard Comics he drew "Midnight Muse" in Devilina #1 (January 1975). In 1982, Reese teamed with Al Williamson, Dan Green and Carlos Garzon on a comics adaptation of the movie Blade Runner. In 1985, Reese horror stories were reprinted in the two issues of Reese's Pieces (Eclipse). Also during the 1980s, Reese illustrated more than a dozen titles in Bantam Books' Choose Your Own Adventure series.

In 1989 and 1990, he drew both the daily and Sunday strips of King Features' Flash Gordon, scripted by Bruce Jones. From 1992 to 1997, he did much work for the comic book Magnus Robot Fighter and other Valiant Comics series, including Raj and X-O Manowar. Also in the 1990s, he contributed to several Paradox Press titles: The Big Book of Hoaxes, The Big Book of Freaks, The Big Book of Losers and The Big Book of Little Criminals.

In 2009, Reese returned to DC with "The Thirteenth Hour" in issue #13 (July 2009) of editor Angela Rufino's House of Mystery revival for Vertigo. In 2010, an interview with Reese was reprinted in Pure Imagination's Wild Wood.

Awards

 * Shazam Award for Best Inker (Humor Division) in 1973 and 1974.

title: Ralph Reese


text:
Isotopes of boron

Boron (5B) naturally occurs as isotopes 10Boron and 11Boron, the latter of which makes up about 80% of natural boron. There are 13 radioisotopes that have been discovered, with mass numbers from 7 to 21, all with short half-lives, the longest being that of 8Boron, with a half-life of only $771.9 ms$ and 12Boron with a half-life of $20.2 ms$. All other isotopes have half-lives shorter than $17.35 ms$. Those isotopes with mass below 10 decay into helium (via short-lived isotopes of beryllium for 7Boron and 9Boron) while those with mass above 11 mostly become carbon.

List of isotopes

 * 6Boron?
 * style="text-align:center" | 5
 * style="text-align:center" | 1
 * p-unstable
 * 2p?
 * 4Lithium?
 * 2−#
 * 7Boron
 * style="text-align:center" | 5
 * style="text-align:center" | 2
 * $6.051$ [$7.03$]
 * p
 * 6Beryllium
 * (3/2−)
 * 8Boron
 * style="text-align:center" | 5
 * style="text-align:center" | 3
 * β+α
 * 4Helium
 * 2+
 * style="text-indent:1em" | 8Boron
 * colspan="3" style="text-indent:2em" | $570 ys$
 * 0+
 * 9Boron
 * style="text-align:center" | 5
 * style="text-align:center" | 4
 * p
 * | 8Beryllium
 * 3/2−
 * 10Boron
 * style="text-align:center" | 5
 * style="text-align:center" | 5
 * colspan=3 align=center|Stable
 * 3+
 * colspan=2 align=center|[$801 keV$, $8.025$]
 * 11Boron
 * style="text-align:center" | 5
 * style="text-align:center" | 6
 * colspan=3 align=center|Stable
 * 3/2−
 * colspan=2 align=center|[$771.9 ms$, $10,624 keV$]
 * style="text-indent:1em" | 11Boron
 * colspan="3" style="text-indent:2em" | $9.013$
 * 1/2+, (3/2+)
 * rowspan=2|12Boron
 * rowspan=2 style="text-align:center" | 5
 * rowspan=2 style="text-align:center" | 7
 * rowspan=2|$800 zs$
 * rowspan=2|$10.013$
 * β− ($0.189$)
 * 12Carbon
 * rowspan=2|1+
 * rowspan=2|
 * rowspan=2|
 * β−α ($0.204$)
 * 8Beryllium
 * rowspan=2|13Boron
 * rowspan=2 style="text-align:center" | 5
 * rowspan=2 style="text-align:center" | 8
 * rowspan=2|$11.009$
 * rowspan=2|$0.796$
 * β− ($0.811$)
 * 13Carbon
 * rowspan=2|3/2−
 * rowspan=2|
 * rowspan=2|
 * β−n ($12,560 keV$)
 * 12Carbon
 * rowspan=3|14Boron
 * rowspan=3 style="text-align:center" | 5
 * rowspan=3 style="text-align:center" | 9
 * rowspan=3|$12.014$
 * rowspan=3|$20.2 ms$
 * β− ($99.4 %$)
 * 14Carbon
 * rowspan=3|2−
 * rowspan=3|
 * rowspan=3|
 * β−n ($0.6 %$)
 * 13Carbon
 * β−2n ?
 * 12Carbon ?
 * style="text-indent:1em" | 14Boron
 * colspan="3" style="text-indent:2em" | $13.018$
 * IT ?
 * 0+
 * rowspan=3|15Boron
 * rowspan=3 style="text-align:center" | 5
 * rowspan=3 style="text-align:center" | 10
 * rowspan=3|$17.16 ms$
 * rowspan=3|$99.734 %$
 * β−n ($0.266 %$)
 * 14Carbon
 * rowspan=3|3/2−
 * rowspan=3|
 * rowspan=3|
 * β− (< $14.025$)
 * 15Carbon
 * β−2n (< $12.36 ms$)
 * 13Carbon
 * 16Boron
 * style=text-align:center | 5
 * style=text-align:center | 11
 * n ?
 * 15Boron ?
 * 0−
 * rowspan=5|17Boron
 * rowspan=5 style=text-align:center | 5
 * rowspan=5 style=text-align:center | 12
 * rowspan=5|$93.96 %$
 * rowspan=5|$6.04 %$
 * β−n ($17,065 keV$)
 * 16Carbon
 * rowspan=5|(3/2−)
 * rowspan=5|
 * rowspan=5|
 * β− ($4.15 zs$)
 * 17Carbon
 * β−2n ($15.031$)
 * 15Carbon
 * β−3n ($10.18 ms$)
 * 14Carbon
 * β−4n ($98.7 %$)
 * 13Carbon
 * 18Boron
 * style=text-align:center | 5
 * style=text-align:center | 13
 * n
 * 17Boron
 * (2−)
 * rowspan=4|19Boron
 * rowspan=4 style=text-align:center | 5
 * rowspan=4 style=text-align:center | 14
 * rowspan=4|$1.3 %$
 * rowspan=4|$1.5 %$
 * β−n ($16.04$)
 * 18Carbon
 * rowspan=4|(3/2−)
 * rowspan=4|
 * rowspan=4|
 * β−2n ($4.6 zs$)
 * 17Carbon
 * β−3n (< $17.047$)
 * 16Carbon
 * β− (> $5.08 ms$)
 * 19Carbon
 * 20Boron
 * style=text-align:center | 5
 * style=text-align:center | 15
 * n
 * 19Boron
 * (1−, 2−)
 * 21Boron
 * style=text-align:center | 5
 * style=text-align:center | 16
 * 2n
 * 19Boron
 * (3/2−)
 * rowspan=5|17Boron
 * rowspan=5 style=text-align:center | 5
 * rowspan=5 style=text-align:center | 12
 * rowspan=5|$63 %$
 * rowspan=5|$21.1 %$
 * β−n ($12 %$)
 * 16Carbon
 * rowspan=5|(3/2−)
 * rowspan=5|
 * rowspan=5|
 * β− ($3.5 %$)
 * 17Carbon
 * β−2n ($0.4 %$)
 * 15Carbon
 * β−3n ($18.056$)
 * 14Carbon
 * β−4n ($26 ns$)
 * 13Carbon
 * 18Boron
 * style=text-align:center | 5
 * style=text-align:center | 13
 * n
 * 17Boron
 * (2−)
 * rowspan=4|19Boron
 * rowspan=4 style=text-align:center | 5
 * rowspan=4 style=text-align:center | 14
 * rowspan=4|$19.064$
 * rowspan=4|$2.92 ms$
 * β−n ($71 %$)
 * 18Carbon
 * rowspan=4|(3/2−)
 * rowspan=4|
 * rowspan=4|
 * β−2n ($17 %$)
 * 17Carbon
 * β−3n (< $9.1 %$)
 * 16Carbon
 * β− (> $2.9 %$)
 * 19Carbon
 * 20Boron
 * style=text-align:center | 5
 * style=text-align:center | 15
 * n
 * 19Boron
 * (1−, 2−)
 * 21Boron
 * style=text-align:center | 5
 * style=text-align:center | 16
 * 2n
 * 19Boron
 * (3/2−)
 * 16Carbon
 * β− (> $20.075$)
 * 19Carbon
 * 20Boron
 * style=text-align:center | 5
 * style=text-align:center | 15
 * n
 * 19Boron
 * (1−, 2−)
 * 21Boron
 * style=text-align:center | 5
 * style=text-align:center | 16
 * 2n
 * 19Boron
 * (3/2−)
 * 21Boron
 * style=text-align:center | 5
 * style=text-align:center | 16
 * 2n
 * 19Boron
 * (3/2−)
 * 2n
 * 19Boron
 * (3/2−)

Boron-8
Boron-8 is an isotope of boron that undergoes β+ decay to beryllium-8 with a half-life of $912.4 ys$. It is the strongest candidate for a halo nucleus with a loosely-bound proton, in contrast to neutron halo nuclei such as lithium-11.

Although neutrinos from boron-8 beta decays within the Sun make up only about 80 ppm of the total solar neutrino flux, they have a higher energy centered around 10 MeV, and are an important background to dark matter direct detection experiments. They are the first component of the neutrino floor that dark matter direct detection experiments are expected to eventually encounter.

Boron-10
Boron-10 is used in boron neutron capture therapy as an experimental treatment of some brain cancers.

title: Isotopes of boron


text:
Isotopes of beryllium

Beryllium (4Be) has 11 known isotopes and 3 known isomers, but only one of these isotopes (9Beryllium) is stable and a primordial nuclide. As such, beryllium is considered a monoisotopic element. It is also a mononuclidic element, because its other isotopes have such short half-lives that none are primordial and their abundance is very low (standard atomic weight is $9.012$). Beryllium is unique as being the only monoisotopic element with both an even number of protons and an odd number of neutrons. There are 25 other monoisotopic elements but all have odd atomic numbers, and even numbers of neutrons.

Of the 10 radioisotopes of beryllium, the most stable are 10Beryllium with a half-life of $1.387$ million years and 7Beryllium with a half-life of $53.22 days$. All other radioisotopes have half-lives under $15 seconds$, most under $30 milliseconds$. The least stable isotope is 16Beryllium, with a half-life of $650 yoctoseconds$.

The 1:1 neutron–proton ratio seen in stable isotopes of many light elements (up to oxygen, and in elements with even atomic number up to calcium) is prevented in beryllium by the extreme instability of 8Beryllium toward alpha decay, which is favored due to the extremely tight binding of [[Helium|4Helium]] nuclei. The half-life for the decay of 8Beryllium is only $81.9 attoseconds$.

Beryllium is prevented from having a stable isotope with 4 protons and 6 neutrons by the very large mismatch in neutron–proton ratio for such a light element. Nevertheless, this isotope, [[Beryllium|10Beryllium]], has a half-life of $1.387$ million years, which indicates unusual stability for a light isotope with such a large neutron/proton imbalance. Other possible beryllium isotopes have even more severe mismatches in neutron and proton number, and thus are even less stable.

Most 9Beryllium in the universe is thought to be formed by cosmic ray nucleosynthesis from cosmic ray spallation in the period between the Big Bang and the formation of the Solar System. The isotopes 7Beryllium, with a half-life of $53.22 d$, and 10Beryllium are both cosmogenic nuclides because they are made on a recent timescale in the Solar System by spallation, like [[Carbon|14Carbon]].

List of isotopes

 * 5Beryllium
 * 4
 * 1
 * p ?
 * 4Lithium ?
 * (1/2+)#
 * 6Beryllium
 * 4
 * 2
 * $5.04$ [$6.02$]
 * 2p
 * 4Helium
 * 0+
 * 7Beryllium
 * 4
 * 3
 * ε
 * 7Lithium
 * 3/2−
 * Trace
 * [[Beryllium|8Beryllium]]
 * 4
 * 4
 * $5 zs$ [$91.6 keV$]
 * α
 * 4Helium
 * 0+
 * style="text-indent:1em" | 8Beryllium
 * colspan="3" style="text-indent:2em" | $7.017$
 * α
 * 4Helium
 * 2+
 * 9Beryllium
 * 4
 * 5
 * colspan=3 align=center|Stable
 * 3/2−
 * 1
 * style="text-indent:1em" | 9Beryllium
 * colspan="3" style="text-indent:2em" | $53.22 d$
 * $8.005$ [$81.9 as$]
 * 3/2−
 * [[Beryllium|10Beryllium]]
 * 4
 * 6
 * β−
 * 10Boron
 * 0+
 * Trace
 * rowspan=3|11Beryllium
 * rowspan=3|4
 * rowspan=3|7
 * rowspan=3|$5.58 eV$
 * rowspan=3|$16,626 keV$
 * β− ($9.012$)
 * 11Boron
 * rowspan=3|1/2+
 * rowspan=3|
 * β−α ($14,390.3 keV$)
 * 7Lithium
 * β−p ($1.25 as$)
 * 10Beryllium
 * style="text-indent:1em" | 11Beryllium
 * colspan="3" style="text-indent:2em" | $367 eV$
 * $10.014$ [$1.387 y$]
 * IT ?
 * 11Beryllium ?
 * 3/2−
 * rowspan=2|12Beryllium
 * rowspan=2|4
 * rowspan=2|8
 * rowspan=2|$11.022$
 * rowspan=2|$13.76 s$
 * β− ($96.7 %$)
 * 12Boron
 * rowspan=2|0+
 * rowspan=2|
 * β−n ($3.3 %$)
 * 11Boron
 * style="text-indent:1em" | 12Beryllium
 * colspan="3" style="text-indent:2em" | $0.001 %$
 * IT
 * 12Beryllium
 * 0+
 * 13Beryllium
 * 4
 * 9
 * n ?
 * 12Beryllium ?
 * (1/2−)
 * style="text-indent:1em" | 13Beryllium
 * colspan="3" style="text-indent:2em" | $21,158 keV$
 * (5/2+)
 * rowspan=5|14Beryllium
 * rowspan=5|4
 * rowspan=5|10
 * rowspan=5|$0.93 zs$
 * rowspan=5|$500 keV$
 * β−n ($12.027$)
 * 13Boron
 * rowspan=5|0+
 * rowspan=5|
 * β− (> $21.46 ms$)
 * 14Boron
 * β−2n ($99.5 %$)
 * 12Boron
 * β−t ($0.5 %$)
 * 11Beryllium
 * β−α (< $2,251 keV$)
 * 10Lithium
 * style="text-indent:1em" | 14Beryllium
 * colspan="3" style="text-indent:2em" | $233 ns$
 * (2+)
 * 15Beryllium
 * 4
 * 11
 * n
 * 14Beryllium
 * (5/2+)
 * 16Beryllium
 * 4
 * 12
 * $13.036$ [$1 zs$]
 * 2n
 * 14Beryllium
 * 0+
 * 12Beryllium ?
 * (1/2−)
 * style="text-indent:1em" | 13Beryllium
 * colspan="3" style="text-indent:2em" | $1,500 keV$
 * (5/2+)
 * rowspan=5|14Beryllium
 * rowspan=5|4
 * rowspan=5|10
 * rowspan=5|$14.043$
 * rowspan=5|$4.53 ms$
 * β−n ($86 %$)
 * 13Boron
 * rowspan=5|0+
 * rowspan=5|
 * β− (> $9 %$)
 * 14Boron
 * β−2n ($5 %$)
 * 12Boron
 * β−t ($0.02 %$)
 * 11Beryllium
 * β−α (< $0.004 %$)
 * 10Lithium
 * style="text-indent:1em" | 14Beryllium
 * colspan="3" style="text-indent:2em" | $1,520 keV$
 * (2+)
 * 15Beryllium
 * 4
 * 11
 * n
 * 14Beryllium
 * (5/2+)
 * 16Beryllium
 * 4
 * 12
 * $15.053$ [$790 ys$]
 * 2n
 * 14Beryllium
 * 0+
 * (2+)
 * 15Beryllium
 * 4
 * 11
 * n
 * 14Beryllium
 * (5/2+)
 * 16Beryllium
 * 4
 * 12
 * $16.062$ [$650 ys$]
 * 2n
 * 14Beryllium
 * 0+
 * 16Beryllium
 * 4
 * 12
 * $0.73 MeV$ [$1,390,000 y$]
 * 2n
 * 14Beryllium
 * 0+
 * 0+

Beryllium-7
Beryllium-7 is an isotope with a half-life of 53.3 days that is generated naturally as a cosmogenic nuclide. The rate at which the short-lived 7Beryllium is transferred from the air to the ground is controlled in part by the weather. 7Beryllium decay in the Sun is one of the sources of solar neutrinos, and the first type ever detected using the Homestake experiment. Presence of 7Beryllium in sediments is often used to establish that they are fresh, i.e. less than about 3–4 months in age, or about two half-lives of 7Beryllium.

Beryllium-10

Beryllium-10 has a half-life of ⇭⇭⇭, and decays by beta decay to stable boron-10 with a maximum energy of 556.2 keV. It is formed in the Earth's atmosphere mainly by cosmic ray spallation of nitrogen and oxygen. 10Be and its daughter product have been used to examine soil erosion, soil formation from regolith, the development of lateritic soils and the age of ice cores. 10Be is a significant isotope used as a proxy data measure for cosmogenic nuclides to characterize solar and extra-solar attributes of the past from terrestrial samples.

Decay chains
Most isotopes of beryllium within the proton/neutron drip lines decay via beta decay and/or a combination of beta decay and alpha decay or neutron emission. However, 7Beryllium decays only via electron capture, a phenomenon to which its unusually long half-life may be attributed. Notably, its half-life can be artificially lowered by 0.83% via endohedral enclosure (7Be@C60). Also anomalous is 8Beryllium, which decays via alpha decay to 4Helium. This alpha decay is often considered fission, which would be able to account for its extremely short half-life.

title: Isotopes of beryllium


text:
List of programs broadcast by TV3 in Norway

This is a list of programs that have been or are being broadcast by TV3 (Viasat) on its Norwegian channel.


text:
Philip Ridley

Philip Ridley is an English storyteller working in a wide range of artistic media.

As a visual artist he has been cited as a contemporary of the 'Young British Artists', and had his artwork exhibited internationally.

As a novelist he has created fiction for both children and adults and has had particular success and recognition as a children's author.

In the field of cinema he is perhaps best known for his award-winning screenplay for the 1990 film, The Krays (1990), a biopic about the Kray twins which was directed by Peter Medak. As a filmmaker in his own right he is recognised for creating a loose trilogy of horror films: The Reflecting Skin (1990), The Passion of Darkly Noon (1995) and Heartless (2009) for which he has acquired a cult following.

As a playwright he has been described as "a pioneer of In-yer-face theatre", which is a style and sensibility of drama that characterised many new plays that were performed in Britain during the 1990s. Ridley's debut play, The Pitchfork Disney (1991), is considered by many to be a seminal work that influenced the development of this form of theatre, with one critic even dubbing it "the key play" of the 1990s. A great number of his plays for adults have been perceived as controversial, being met with both condemnation and high acclaim upon their initial reception. As a writer for the stage he is also recognised for creating an ongoing series of plays for young people (The Storyteller Sequence) and has written theatrical works for children and family audiences.

As a songwriter he has created songs for his cinematic and theatrical works, frequently collaborating with composer Nick Bicât. He and Bicât have also formed a music group called Dreamskin Cradle with singer Mary Leay. Ridley has also written songs for composer Anna Meredith, particularly operatic work.

Ridley is also a poet, photographer, and performance artist and has written drama for radio.

Although Ridley creates stories through a wide range of media, he dislikes his work being categorised by the medium in which it is told, often referring to them belonging to each other as "different peaks of the same mountain."

Biography
Ridley was born in Bethnal Green in the East End of London, where he lived and worked for the majority of his life until moving to another part of East London, Ilford. Ridley studied painting at Saint Martin's School of Art, and his work has been exhibited throughout Europe and Japan. He started as both a performance artist and the creator of a long sequence of charcoal drawings called The Epic of Oracle Foster. One drawing from this sequence, "Corvus Cum", portraying a man ejaculating a black bird, was exhibited at the ICA in London while Ridley was still a student and – with calls for it to be displayed behind a curtain – became a cause célèbre. Ridley also started his own theatre group as a student, acting in many of the productions, and made several short art films.

Work in literature
Ridley has written three books for adults: Crocodilia (1988), In the Eyes of Mr. Fury (1989), and Flamingoes in Orbit (1990).

His children's novels include Mercedes Ice (1989), Dakota of the White Flats (1989), Krindlekrax (1991) (winner of both the Smarties Prize and the WH Smith Mind-Boggling Book Award), Meteorite Spoon (1994), Kasper in the Glitter (1994) (nominated for the Whitbread Prize), Scribbleboy (1997) (shortlisted for the Carnegie Medal), Zinderzunder (1998), Vinegar Street (2000), Mighty Fizz Chilla (2002) (shortlisted for the Blue Peter Book of the Year Award), and Zip's Apollo (2005). He also has written two short stories for younger children, Dreamboat Zing (1996) and The Hooligan's Shampoo (1996).

Work in cinema
After graduating from St Martin's, Ridley created the short film, Visiting Mr Beak (1987), which starred the veteran actor Guy Rolfe. He later created a short film for Channel 4 called The Universe of Dermot Finn (1988), which featured renowned actress Sheila Hancock and was officially selected for the Cannes Film Festival, where it was a critical success and went on to receive theatrical distribution.

While still a student at St Martin's, Ridley wrote a screenplay for The Krays (1990), which was directed by Peter Medak and starred real life brothers Gary Kemp and Martin Kemp, who previously were recognised for their band, Spandau Ballet.

Ridley has also directed three feature films from his own screenplays: The Reflecting Skin (1990) (winner of 11 international awards), The Passion of Darkly Noon (1995) (winner of the Best Director Prize at the Porto Film Festival), and Heartless (2009). Ridley's third film as writer-director, Heartless, premiered at the Frightfest horror film festival in London in August 2009. The film stars Jim Sturgess, Clémence Poésy, Noel Clarke, Eddie Marsan, Luke Treadaway, Ruth Sheen, and Timothy Spall, and was released in the UK in May 2010. It was the first mainstream British film to be released across all platforms (theatrical, DVD, Blu-ray, download) at the same time.

In 1996 Hungary's Titanic Film Festival had a major retrospective of Ridley's work.

Work in theatre
Ridley has written 15 adult stage plays: the seminal The Pitchfork Disney (1990), the multi-award-winning The Fastest Clock in the Universe (1992), Ghost from a Perfect Place (1994), Vincent River (2000), the controversial Mercury Fur (2005), Leaves of Glass (2007), Piranha Heights (2008), Tender Napalm (2011), Shivered (2012), Dark Vanilla Jungle (2013), Radiant Vermin (2015), Tonight with Donny Stixx (2015), Karagula (2016), and The Poltergeist (2020).

Ridley has also written various monologues, many of which have been selectively performed together onstage. This includes Killer (consisting of the monologues Killer, Sledgehammers, and Vesper) performed in 2017, Angry (consisting of the monologues Angry, Okay, Bloodshot, Dancing, Now, and Air) performed in 2018, and The Beast Will Rise (consisting of the monologues Performance, Gators, Star, Rosewater, and Cactus) performed in 2020.

Ridley is additionally known for his series of plays for young people (known collectively as The Storyteller Sequence), consisting of Karamazoo (2004), Fairytaleheart (1998), Moonfleece (2004), Sparkleshark, and Brokenville (2003).

He has also written two plays for young children, Daffodil Scissors (2004) and Krindlekrax (2002) - a stage adaptation of his successful children's novel of the same name - as well as a play for the whole family, Feathers in the Snow (2012).

Ridley was one of 25 contemporary British writers asked to contribute a scene to NT25 Chain Play, celebrating 25 years of the Royal National Theatre in London.

Work in music
Ridley's output as a lyricist has produced a wide range of songs, a number of which have featured in a variety of his plays, films, and novels. As a student Ridley participated in music by creating work with a band called Haunted Staircase (who released their double-sided record Flutters in the early 1980s) and also worked as a DJ at a nightclub.

As a songwriter he has regularly collaborated with the composer, Nick Bicât. For Ridley's film, The Passion of Darkly Noon, they created two songs: "Look What You've Done" (sung by Gavin Friday) and "Who Will Love Me Now?" (sung by PJ Harvey), the latter of which was voted as BBC Radio 1's Best Film Song of 1998. It was later covered by the techno/house band Sunscreem as Please Save Me, whose cover entered the UK top 40 chart, became a cult hit in clubs, and featured in the film South West 9. For his film Heartless Ridley and Bicât created ten songs (performed by Mary Leay, Joe Echo, and lead actor Jim Sturgess).

In 2010 Ridley and Bicât formed the music group, 'Dreamskin Cradle' (with singer Mary Leay). The group's first album, Songs from Grimm (2014), consisted of twelve songs inspired by female characters in Brothers Grimm fairy tales and was released on all major download sites. Some songs from the album were performed as part of a live performance called Grimm Tales, which was developed by the St Paul's Institute and featured readings from the actress Jeany Spark, reflections from Canon Edmund Newell, and extracts from Brothers Grimm fairy tales adapted by poet laureate Carol Ann Duffy. Dreamskin Cradle have also released two singles: Fade and Float (written for Ridley's stage play, Tender Napalm) and Ladybird First (written for Ridley's stage play, Dark Vanilla Jungle).

Ridley also has written the libretto of an opera for teenagers titled Tarantula in Petrol Blue, composed by Anna Meredith, which had its premiere in 2009.

Other artistic work
Riley is a photographer, with his images appearing on the covers of a number of his published plays. He also has had a number of photography exhibitions mainly consisting of portraits of his friends and images of East London.

Ridley is also a poet, with some of his poetry published in a number of anthologies, and has earned a following for his ongoing series of performance poetry, Lovesongs for Extinct Creatures.

Ridley has won both the Evening Standard's Most Promising Newcomer to British Film and Most Promising Playwright Awards. He is the only person ever to receive both prizes.

He featured on BBC2's flagship arts programme, The Culture Show, on 2 March 2012.

Literature
Works for Adults
 * 1986 – Embracing Verdi (short story)
 * 1987 – Leviathan (short story)
 * 1988 – Crocodilia (novel)
 * 1989 –  In the Eyes of Mr. Fury (novel, expanded and rewritten version published in 2016)
 * 1990 – Flamingoes in Orbit (short story collection, rewritten new version published in 2018)
 * 1995 – Alien Heart (short story)
 * 1997 – Introduction to Philip Ridley Plays: 1 (semi-autobiographical prose, extended and updated versions published in 2002 and 2012 )
 * 1998 – Wonderful Insect (short story)
 * 2009 – Introduction to Philip Ridley Plays: 2 (semi-autobiographical prose)
 * 2021 – Sunday (short story)

Works for Children
 * 1989 – Mercedes Ice (novel)
 * 1989 – Dakota of the White Flats (novel)
 * 1991 – Krindlekrax (novel)
 * 1994 – Meteorite Spoon (novel)
 * 1995 – Kasper in the Glitter (novel)
 * 1997 – Scribbleboy (novel)
 * 1998 – Zinderzunder (novel)
 * 2000 – Vinegar Street (novel)
 * 2002 – Mighty Fizz Chilla (novel)
 * 2005 – Zip's Apollo (novel)

Works for Younger Children
 * 1996 – The Hooligan's Shampoo (short story)
 * 1996 – Dreamboat Zing (short story)

Poetry
Ongoing performance sequence - Lovesongs for Extinct Creatures:
 * Your Love
 * Dark Sky Craving
 * The Silver Hat
 * I'm Waiting to be Killed
 * The Seams

Performance sequence - Heartbeat on the Horizon:
 * Press Conference
 * After
 * Flash Boom
 * Shrapnel
 * I Will

Miscellaneous poetry:
 * The Dying Lizard Man
 * Someone Wants to Kill Me Again
 * Getting Through The Day
 * The Prince and the Snail
 * Waiting For Faces To Fall
 * I Am The Boy
 * Sparkling Cannibals

Theatre
Adult Stage Plays
 * 1991 – The Pitchfork Disney
 * 1992 – The Fastest Clock in the Universe
 * 1994 – Ghost from a Perfect Place
 * 2000 – Vincent River
 * 2005 – Mercury Fur
 * 2007 – Leaves of Glass
 * 2008 – Piranha Heights
 * 2011 – Tender Napalm
 * 2012 – Shivered
 * 2013 – Dark Vanilla Jungle
 * 2015 – Radiant Vermin
 * 2015 – Tonight with Donny Stixx
 * 2016 – Karagula
 * 2020 – The Poltergeist
 * 2021 – Tarantula

Libretto
 * 2007 – On Such A Day (short operatic piece)
 * 2009 – Tarantula in Petrol Blue (opera for teenagers)

Plays for Young People (The Storyteller Sequence) Play for the Whole Family
 * 1997 – Sparkleshark (professional premiere in 1999)
 * 1998 – Fairytaleheart (also worked as the director of the original stage production)
 * 2000 – Brokenville (performed earlier as a work-in-progress under the title Apocalyptica in 1998)
 * 2004 – Moonfleece (professional premiere in 2010)
 * 2004 – Karamazoo (monologue)
 * 2012 – Feathers in the Snow

Plays for Children
 * 2000 – Scribbleboy (adapted by Ridley from his children's novel of the same name. Play unproduced and script unpublished)
 * 2002 – Krindlekrax (adapted by Ridley from his children's novel of the same name)
 * 2004 – Daffodil Scissors

Monologues (sometimes performed as Live Art) Monologues presented as theatre pieces: Online monologues:
 * 1986 – Vesper (first performed as a live art piece by Ridley in the Ten Painters Exhibition at St Martins School of Art)
 * ???? – Bloodshot
 * ???? – Angry
 * ???? – Vooosh!
 * ???? – Now
 * ???? – Okay
 * ???? – Wound
 * ???? – It
 * 2013 – Dark Vanilla Jungle
 * 2015 – Tonight with Donny Stixx
 * 2017 – Killer
 * 2017 – Sledgehammers
 * 2018 – Dancing
 * 2017 – Killer (a theatrical presentation of three monologues: Killer, Sledgehammers, and Vesper)
 * 2018 – Angry (a theatrical presentation of six monologues: Angry, Okay, Bloodshot, Dancing, Now, and Air)
 * 2020 – The Beast Will Rise (a theatrical presentation of five monologues: Performance, Gators, Star, Rosewater, and Cactus)
 * 2020 – The Poltergeist
 * 2021 – Tarantula
 * 2014 - Mercury Fur - New Monologues (Four monologues written by Ridley to promote The Greenhouse Theatre Company's production of Mercury Fur transferring to the West End: Elliot, Naz, Lola, Darren. Presented on The Greenhouse Theatre Company's YouTube channel. )
 * 2020 - The Beast Will Rise (a series of monologues in response to Coronavirus performed by the cast of Ridley's postponed play The Beast of Blue Yonder: Gators, Zarabooshka, Chihuahua, Origami, Wound, Telescope, River, Eclipse, Performance, Star, Night, Puzzle, Snow, Rosewater, Cactus. Presented online at The Beast Will Rise (Tramp) )

Radio plays

 * 1989 – October Scars the Skin (script unpublished)
 * 1989 – The Aquarium of Coincidences (script unpublished)
 * 1991 – Shambolic Rainbow (script unpublished)

Film
Feature Films
 * 1990 – The Krays (screenwriter)
 * 1990 – The Reflecting Skin (director and screenwriter)
 * 1995 – The Passion of Darkly Noon (director and screenwriter)
 * 2010 – Heartless (director and screenwriter)

Short Films
 * 1987 – Visiting Mr Beak (director and screenwriter)
 * 1988 – The Universe of Dermot Finn (director and screenwriter)

Songs
As part of Dreamskin Cradle (with Nick Bicât)

2011 – From the stage play Tender Napalm
 * Fade and Float (sung by Mary Leay)

2013 – From the stage play Dark Vanilla Jungle
 * Ladybird First (sung by Mary Leay)

2014 – From the Album Songs from Grimm
 * The Path You Know (sung by Mary Leay)
 * Fearless (sung by Mary Leay)
 * Waiting For You (sung by Mary Leay)
 * Don't Call Me Magic (sung by Mary Leay)
 * Not Here (sung by Mary Leay)
 * Did That Just Happen (sung by Mary Leay)
 * Things Will Change (sung by Mary Leay)
 * Somewhere Something's Spinning (sung by Mary Leay)
 * I Found You (Sung by Mary Leay)
 * A Million Magic Things (sung by Mary Leay)
 * Bring You Back (sung by Mary Leay)
 * Tenderly Tender Me (sung by Mary Leay)

Songs in Cinematic Works

1995 – From the film The Passion of Darkly Noon (music Nick Bicât)
 * Who Will Love Me Now? (sung by PJ Harvey)
 * Look What You've Done (To My Skin) (sung by Gavin Friday)

2010 – From the film Heartless (music Nick Bicât)
 * Heartless (sung by Jim Sturgess)
 * This Is The World We Live In (sung by Joe Echo)
 * What Skin Is All About (sung by Joe Echo)
 * The Other Me (sung by Joe Echo)
 * Lie to Me (sung by Joe Echo)
 * It Must Be Somewhere (sung by Mary Leay)
 * The Darker It Gets (sung by Joe Echo)
 * In You Are All The Stories (sung by Joe Echo)
 * Beautiful (sung by Joe Echoe)
 * Phoenix in Dynamite Sky (sung by Joe Echo)

Other musical works

198? – From the record single Flutters (double sided record featuring Philip Ridley as part of the band Haunted Staircase)
 * Side A: Flutters (A New Kind of Lovesong)
 * Side B: Something for the Children (A New Kind of Lullaby)

2009 – Fin Like a Flower (music by Anna Meredith, sung by Michael Chance. On the album The NMC Songbook)

2009 – Songless (music by Anna Meredith. Premiered at the Twickenham Choral Society. Unreleased)

2010 – Heal You (music by Anna Meredith, sung by Juice Vocal Ensemble. Performed as part of Laid Bare: 10 love songs. Released as a single in 2014)

2016 – Love and Defection (Mix-tape made for The Voice of Cassandre, a French Radio show which invites international artists to create their own mix-tapes.)

Exhibitions
Group Shows
 * 1981 – New Contemporaries, ICA, London.
 * 1982 – New Contemporaries, ICA, London.
 * 1983 – Christie's Student Show, Christie's, London.
 * 1984 – The Leicester Exhibition, Leicester.
 * 1985 – Open Drawing Exhibition, Tettenhall Gallery, Wolverhampton.
 * 1985 – Open Exhibition, Lamont Gallery, London.
 * 1986 – Ten Painters, 7th Floor Gallery, St. Martin's School of Art, London.
 * 1986 – Summer Exhibition, Bernard Baron Gallery, London.
 * 1987 – Group Show, Tom Allen Centre, London.
 * 1987 – Selected Show, Lamont Gallery, London.
 * 1987 – Young Contemporaries, Birch & Conran, London.
 * 1988 – Decency, Discreetly Bizarre Gallery, London.
 * 1988 – Selected Show, Lamont Gallery, London.
 * 1988 – Mendacity, Discreetly Bizarre Gallery, London.
 * 1988 – Magical Cats, Lamont Gallery, London.
 * 1988 – Art Jonction International, Nice, France.
 * 1988 – Bergamo Art Fair, Bergamo, Italy.
 * 1996 – Freezeframe, Lamont Gallery, London.
 * 2011 – Behind The Eyes, The Sassoon Gallery, London. (Photographic portraits. Behind The Eyes was a community arts project inspired by Ridley's play Mercury Fur)

Solo Shows
 * 1985 – The Roaring Dreams Show, Tom Allen Centre, London.
 * 1985 – The Feeling Landscapes Show, Bernard Baron Gallery, London.
 * 1985 – The Glittering Gargolyes Show, The Fallen Angel, London.
 * 1986 – Mermaids, Monsters and Sleeping Moons, Mermaid Theatre, London.
 * 1986 – Recent Images, The Fallen Angel, London.
 * 1986 – The Epic of Oracle Foster, Lamont Gallery, London.
 * 1987 – Shy Moon, The Garden Gallery, London.
 * 1989 – The Vinegar Blossoms, Lamont Gallery, London.
 * 2007 – Recent Portraits, The Soho Theatre, London (photography exhibition)
 * 2007 – East London, Trafalgar Studios, London (photography exhibition)
 * 2008 – Recent Portraits 2, The Soho Theatre, London (photography exhibition)
 * 2017 – Rebels and Rubble, Shoreditch Town Hall, London (mini photography exhibition)

Selected works in anthologies

 * 1987 – Short Story Embracing Verdi in the anthology Oranges and Lemons: Stories by Gay Men (edited by David Rees and Peter Robbins)
 * 1988 – Short Story Leviathan in the anthology 20 Under 35: Original Stories by Britain's Best New Young Writers (edited by Peter Straus)
 * 1995 – Short Story Alien Heart in Projections 4½ (edited by John Boorman and Walter Donohue)
 * 1996 – Extract from The Fastest Clock in the Universe in the collection Live 3: Critical Mass (edited by David Tushingham)
 * 1997 – Short Story Embracing Verdi in the anthology The Mammoth Book of Gay Short Stories (edited by Peter Burton)
 * 1997 – Three poems: Someone Wants to Kill Me, The Seams and Getting Through the Day in The Bush Theatre Book (edited by Mike Bradwell)
 * 2000 – Extract from Krindlekrax in the collection Out of this world
 * 2003 – Poem The Silver Hat in the anthology Love (edited by Fiona Waters)
 * 2005 – Poem The Prince and the Snail in the anthology The Works 4 (edited by Gaby Morgan)
 * 2007 – Three poems: Dark Sky Craving, Waiting For Faces To Fall and I Am The Boy in the anthology Poems for the Retired Nihilist: Volume 2 (edited by Graham Bendel)
 * 2009 – Monologue Vesper in Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations (edited by Aleks Sierz)
 * 2021 – Short story Sunday in  Main stream: An Anthology of Stories from the Edges (edited by Justin David and Nathan Evans)

Derivative works

 * In the British radio and TV comedy Little Britain the character of Vicky Pollard comes from Darkley Noone council estates which is named after Ridley's film The Passion of Darkly Noon.
 * The music track The Light at the End (Effect) by industrial/noise rock duo Uniform (from their 2017 LP Wake in Fright) uses a dialogue excerpt from The Reflecting Skin.
 * In 2011 the Schema Arts Collective used Ridley's 2005 play Mercury Fur as the basis for a community arts project called Behind the Eyes, which took place at the Sassoon Gallery, London. The project featured an amateur production of Mercury Fur, displayed artwork inspired by the play and Ridley himself collaborated by exhibiting a series of photographic portraits he had created of the production's cast. A behind the scenes documentary about the project called Mercury Fur Unveiled was also made and later broadcast on the Community Channel in 2013 and is free to watch online.
 * In 2007 performance pieces inspired by Ridley's semi-autobiographical Introduction to Philip Ridley Plays: 1 were presented by young directors under the title Gleaming Dark. This received a one-off performance at Trafalgar Studios in conjunction with the venue's revival of Ridley's play Vincent River.
 * A quote from Ridley's children novel Dakota of the White Flats is used as the epigraph for chapter 6 of Cornelia Funke's young adult fantasy novel Inkspell.
 * The German band Troy Flamingo are named after a character from one of Ridley's short stories.
 * The American band the Reflecting Skin is named after Ridley's film of the same name.
 * Reece Nagra's remix of Buju Banton's song Murderer opens with an expert of dialogue from The Krays and became a drum and bass anthem.
 * Phil Western's 1998 album The Escapist features excerpts of dialogue from The Reflecting Skin.
 * The song Fury Eyes (from the Creatures' second album, Boomerang) is dedicated to Ridley's novel In the Eyes of Mr. Fury.
 * The Song Troy Flamingo from Madonna Hip Hop Massaker's 1995 album Teenie Trap is based on the title story of Ridley's 1999 book Flamingoes in Orbit.
 * Ridley's song Who Will Love Me Now? was covered by the techno/house band Sunscreem under the title Please Save Me. The song became a cult hit in clubs, entered the top 40 UK chart, top 30 US dance chart and featured in the film South West 9.
 * The song Omlagus Garfungiloops (from Coil's 1992 album Stolen & Contaminated Songs) features excerpts of dialogue from The Reflecting Skin.
 * The Scottish band River Head used a photography still from The Reflecting Skin on the cover of their 1992 single sided 7-inch EP Was Away / Haddit.
 * Ridley's image Rainbow Kiss was used on the cover of the short story collection Oranges and Lemons: Stories by Gay Men, to which he also contributed as a writer.
 * Ridley's charcoal drawing The Conversation was used as the cover to cult band Blowzabella's 1988 album Pingha Frenzy.

Notable awards won

 * The 2013 Scotsman Fringe First Award for Dark Vanilla Jungle.
 * The 2010 Toronto After Dark Film Festival Vision Award for Best Independent Feature Film for Heartless.
 * The 2010 Fantasporto Film Festival Best Film Award for Heartless.
 * The 2010 Fantasporto Film Festival Best Director Award for Heartless.
 * The 2009 Leeds International Film Festival Silver Melies Award for Heartless.
 * The 1993 WH Smith Mind-Boggling Book Award for Krindlekrax.
 * The 1993 Meyer-Whitworth Award for Most Promising New Playwright for The Fastest Clock in the Universe.
 * A 1992 Time Out Award for The Fastest Clock in the Universe.
 * The 1992 Critics' Circle Theatre Award for Most Promising Playwright for The Fastest Clock in the Universe.
 * The 1992 Evening Standard Theatre Award for Most Promising Playwright for The Fastest Clock in the Universe.
 * The 1991 Nestle Smarties Book Prize (9–11 years category) for Krindlekrax.
 * The 1990 Evening Standard British Film Award for Most Promising Newcomer for The Krays.
 * The 1990 Evening Standard British Film Award for Best Film for The Krays
 * Silver Leopard at the Locarno Film Festival for The Reflecting Skin.
 * Grand Prize at the Stockholm Film Festival for The Reflecting Skin.

Notable award nominations

 * Longlisted for the 2016 Off-West End Best New Play Award for Karagula
 * Longlisted for the 2016 Off-West End Best Production Award for Karagula
 * Shortlisted for the 2011 London Festival Fringe Best Play Award for the 2010 London revival of Vincent River.
 * Shortlisted for the 2013 Brian Way Best New Play Award for Feathers in the Snow
 * Shortlisted for the 2012 Off-West End Best New Play Award for Shivered
 * Shortlisted for the 2011 London Festival Fringe Best Play Award for the 2010 London revival of Vincent River.
 * Nominated for the 2011 London Festival Fringe Best Play Award for Tender Napalm
 * Shortlisted for The MOBIUS Best Off-West End Production award for Piranha Heights at the 2009 WhatsOnStage.com Theatregoers Choice Awards
 * Longlisted for the Carnegie Medal for Mighty Fizz Chilla
 * Shortlisted for the Blue Peter Book Award: The Book I Couldn't Put Down for Mighty Fizz Chilla
 * Shortlisted for The Carnegie Medal for Scribbleboy
 * Shortlisted for the 1995 Whitbread Children's Book Award for Kasper in the Glitter
 * Shortlisted for the 1990 Evening Standard British Film Awards for Best Screenplay for The Krays
 * Best Short Film at Cannes Film Festival for The Universe of Dermot Finn

title: Philip Ridley


text:
Anna Mae Hays

Anna Mae Violet Hays ( McCabe; February 16, 1920 – January 7, 2018) was an American military officer who served as the 13th chief of the United States Army Nurse Corps. She was the first woman in the United States Armed Forces to be promoted to a general officer rank; in 1970, she was promoted to brigadier general. Hays paved the way for equal treatment of women, countered occupational sexism, and made a number of recommendations which were accepted into military policy.

Early life and education
Anna Mae Violet McCabe was born on February 16, 1920, in Buffalo, New York, the middle of three children. Her father was Daniel Joseph McCabe (1881–1939), and her mother was the former Matie Florence Humphrey (1885–1961), who was of Welsh descent; both her parents were officers of The Salvation Army. Her elder brother was Daniel Joseph II, and her younger sister was Catherine Evangeline.

During her childhood, the McCabe family moved several times in Western New York and the Lehigh Valley region of eastern Pennsylvania, ultimately settling in Allentown, Pennsylvania in 1932 when she was about 12 years old. Hays attended Allentown High School, now William Allen High School, graduating with honors in 1938. Hays had a love of music, playing the piano, the organ, and the French horn and wanted to go to Juilliard School to study music, but due to a lack of funds for tuition she decided to pursue nursing instead. Hays enrolled at the Allentown General Hospital School of Nursing in 1939, graduating in 1941 with a diploma in nursing.

Later in her career, she earned a bachelor's degree in nursing education in 1958 from Columbia University in New York City and a Master of Science in Nursing degree in 1968 from The Catholic University of America in Washington, D.C.

India
In May 1942, she joined the Army Nurse Corps, and was sent to India in January 1943 during World War II. She served with the 20th Field Hospital in Ledo in the northeastern region of Assam.

The hospital was stationed at the entrance to Ledo Road, which cut through jungles into Burma. The living and working conditions were primitive; buildings were made of bamboo, and dysentery, leeches and snakes were common, particularly during monsoon seasons. Just over two years later, in April 1945, she was promoted to first lieutenant.

After serving two and a half years in India, Hays was on leave in the United States when World War II ended. Remaining with the Corps, she served as an operating room nurse and later as a head nurse at Tilton General Hospital at Fort Dix, New Jersey; as obstetrics supervisor at Valley Forge General Hospital in Phoenixville, Pennsylvania, and as a head nurse at Fort Myer in Virginia.

Korea
In August 1950, she was deployed to Inchon to serve in the Korean War. She was posted to the 4th Field Hospital for seven months, and later described the conditions in the hospital there as worse than those in India in World War II, due to the cold temperatures in the operating room and a lack of supplies.

During the next fourteen months, she and 31 other nurses treated more than 25,000 patients. As she had done in India, Hays spent some of her off-duty time in Korea assisting chaplains by playing a field pump organ for church services, some of which were held on the front lines. Following her tour in Korea, Hays was transferred to Tokyo Army Hospital in April 1951 and served a year there. A year later, she was transferred to Fort Indiantown Gap, Pennsylvania, as an obstetric and pediatric director.

After graduating from the Nursing Service Administration Course at Fort Sam Houston in San Antonio, Texas, she was appointed head nurse at the Walter Reed Hospital in Washington D.C. emergency room, where she served as the head nurse of the Radioisotope Clinic. During this time she was selected as one of three private nurses for President Dwight D. Eisenhower after he became ill with ileitis; on her retirement she said that this experience was one of the most memorable of her nursing career.

In October 1960, she became the chief nurse of the 11th Evacuation Hospital in Pusan. From 1963 to 1966, she was assistant chief of the Army Nurse Corps. In July 1967, she was promoted to the rank of Colonel, and on September 1 of the same year she was appointed chief of the Corps, a position she held until her retirement on August 31, 1971.

During the Vietnam War, Hays travelled to Vietnam three times to monitor American nurses stationed there. She also managed the development of new training programs and an increase in the number of nurses serving overseas.

On May 15, 1970, President Richard Nixon appointed Hays to the rank of brigadier general and on June 11, 1970, she was promoted at a ceremony, officiated by the Army Chief of Staff, General William C. Westmoreland, and the Secretary of the Army, Stanley R. Resor. Following Hays' promotion, Elizabeth P. Hoisington, Director of the Women's Army Corps, was also promoted to the rank of brigadier general. Hays said in her address to the gathering, that the general stars "reflect[ed] the dedicated, selfless, and often heroic efforts of Army nurses throughout the world since 1901 in time of peace and war."

After her appointment she asked to be dropped off at the army officers' club front entrance, countering the prevailing occupational sexism. Although entitled to enter and use the club before, female officers were expected to come through the side entrance.

Hays made a number of recommendations regarding the treatment of women, which were accepted into military policy, including not automatically discharging who became pregnant and not determining appointments to the Army Nurse Corps Reserve based on the age of a nurse's dependents. In addition, regulations were changed to allow spouses of female service members to claim similar privileges to spouses of male service members.

Recognition
In addition to the military honors Hays received, her service was also recognized in her native Lehigh Valley; in 2015, Lehigh and Northampton counties named the Coplay-Northampton Bridge in her honor. In 2012, she was named to Lehigh County's Hall of Fame. In November 2017, she was presented with a Flag of Valor quilt during a Veterans Day ceremony at Knollwood.

In June 2020, Allentown School District in Allentown, Pennsylvania named one of Allentown's 15 elementary schools in her honor. The elementary school, Brigadier General Anna Mae Hays Elementary School. Completed in August 2020, Brigadier General Anna Mae Hays Elementary School is located at 1227 West Gordon Street in Allentown.

Personal life
In July 1956, she married William A. Hays, who directed the Sheltered Workshops that provided jobs for disabled people in Washington D.C. William Hays died in 1962.

Death
Hays died at Knollwood Retirement Facility in Washington, D.C., on January 7, 2018, at age 97, from complications of a heart attack.

Three days later, Pennsylvania governor Tom Wolf ordered the state flag at the Pennsylvania State Capitol in Harrisburg and at all state facilities in Allentown to fly at half staff in honor to her death.

Hays was eligible to buried at Arlington National Cemetery, but had chosen instead to be buried with her parents in Grandview Cemetery in South Whitehall Township, Pennsylvania in her native Lehigh County, Pennsylvania.

title: Anna Mae Hays


text:
Fixed-pattern noise

Fixed-pattern noise (FPN) is the term given to a particular noise pattern on digital imaging sensors often noticeable during longer exposure shots where particular pixels are susceptible to giving brighter intensities above the average intensity.

Overview
FPN is a general term that identifies a temporally constant lateral non-uniformity (forming a constant pattern) in an imaging system with multiple detector or picture elements (pixels). It is characterised by the same pattern of variation in pixel-brightness occurring in images taken under the same illumination conditions in an imaging array. This problem arises from small differences in the individual responsitivity of the sensor array (including any local postamplification stages) that might be caused by variations in the pixel size, material or interference with the local circuitry. It might be affected by changes in the environment like different temperatures, exposure times, etc.

The term "fixed pattern noise" usually refers to two parameters. One is the dark signal non-uniformity (DSNU), which is the offset from the average across the imaging array at a particular setting (temperature, integration time) but no external illumination and the photo response non-uniformity (PRNU), which describes the gain or ratio between optical power on a pixel versus the electrical signal output. The latter is often simplified as a single value measured at e.g. 50% saturation level, implying a linear approximation of the not perfectly linear photo response non-linearity (PRNL). Often PRNU as defined above is subdivided in pure "(offset) FPN" which is the part not dependent on temperature and integration time, and the integration time and temperature dependent "DSNU".

Sometimes pixel noise as the average deviation from the array average under different illumination and temperature conditions is specified. Pixel noise therefore gives a number (commonly expressed in rms) that identifies FPN in all permitted imaging conditions, which might strongly deteriorate if additional electrical gain (and noise) is included. Recent uses for PRNU include measures to fighting motion picture piracy.

In practice, a long exposure (integration time) emphasizes the inherent differences in pixel response so they may become a visible defect, degrading the image. Although FPN does not change appreciably across a series of captures, it may vary with integration time, imager temperature, imager gain and incident illumination, it is not expressed in a random (uncorrelated or changing) spatial distribution, occurring only at certain, fixed pixel locations.

Suppression of FPN
FPN is commonly suppressed by flat-field correction (FFC) that uses DSNU and PRNU to linearly interpolate and reduce the local photo response (non-uniform PRNL) to the array average. Hence, two exposures with an equal illumination across the array are necessary (one without light and one close to saturation) to obtain the values. Note that this correction usually is very sensitive to modifications of the system parameters (i.e., exposure time, temperature). The main challenge is to generate a flat field illumination for short time exposures and wavelengths, to avoid speckle (in monochromatic light conditions) and statistical fluctuations of the light stream that become most obvious at short integration times.

Many patents and methods exist to reduce or eliminate fixed pattern noise in digital imagers. Specific for the suppression of "offset FPN" as defined above, on-chip techniques for suppression exist, such as correlated double sampling.

title: Fixed-pattern noise


text:
Wikipedia:Articles for deletion/Mario Bandstand

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was MERGE to Mario Party. Already done. Will apply the redirect. -Splash 23:58, 30 August 2005 (UTC)

Mario Bandstand
One mini-game from a whole series is not worthy of an article, it's also very short and there's no reason why it should be in an encyclopedia. Taylor 11:14, 24 August 2005 (UTC)
 * Repaired broken vfd2 substitution. --GraemeL (talk) 12:15, 24 August 2005 (UTC)

 * speedy redirect to Mario Party, since I have already merged the contents of the one-sentence article. Brighterorange
 * speedy redirect. Optichan 21:49, August 24, 2005 (UTC)
 * Redirect per above. Thunderbrand 12:30, August 27, 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Jazz poetry

Jazz poetry has been defined as poetry that "demonstrates jazz-like rhythm or the feel of improvisation" and also as poetry that takes jazz music, musicians, or the jazz milieu as its subject. Some critics consider it a distinct genre though others consider the term to be merely descriptive. Jazz poetry has long been something of an "outsider" art form that exists somewhere outside the mainstream, having been conceived in the 1920s by African Americans, maintained in the 1950s by counterculture poets like those of the Beat generation, and adapted in modern times into hip-hop music and live poetry events known as poetry slams.

Aesthetics
In his book Digitopia Blues – Race, Technology and the American Voice, poet and saxophonist John Sobol argues that jazz was a transformative vehicle for African-American self-empowerment whose dominant characteristic and purpose was a search for mastery of a language of power, undertaken by a historically enslaved oral people denied access to words of power. Sobol believes that poets who have felt constrained by the hegemony of the literate tradition have grasped an essential kinship with jazz as a realm of masterful oral power and have sought to mimic or recreate jazz modalities in their poetry, thus earning the description 'jazz poetry'{fact|date=July 2022}.

The Harlem Renaissance
Early jazz poetry did not mimic the sounds and improvisational spirit of jazz. Instead, it heavily referenced the musical form with allusions made to musicians, instruments, and locations key to the burgeoning jazz scene. Poets including Vachel Lindsay (who actually abhorred the "primitive" sound of jazz music) and Mina Loy wrote poetry in this vein. It was with the advent of the Harlem Renaissance that jazz poetry developed into what it is today..

Poets such as Langston Hughes incorporated the syncopated rhythms and repetitive phrases of blues and jazz music into their writing. Many Harlem Renaissance writers were deeply concerned with racial pride and with the creation of purely African-American poetry. Since jazz music was an important part of African-American culture at the time, Hughes and others like him adapted the musical genre to create their own, singularly African-American voices that could easily be distinguished from the work of white poets. Many of Hughes' poems, such as "The Weary Blues", sound almost exactly like popular jazz and blues songs of the period, and vice versa. His work is also highly evocative of spirituals.

Bebop and the beat generation
As members of the Beat generation began to embrace aspects of African-American culture during the 1950s, the art of jazz poetry shifted its focus from racial pride and individuality to spontaneity and freedom. In this case, both jazz poetry and jazz music were seen as powerful statements against the status quo.

Jack Kerouac would often have musical accompaniment for his poetry readings. His colleague, musician and composer David Amram, would often play the piano or bongos as Kerouac read. Amram later wrote of their work together:

"We never once rehearsed. We did listen intently to one another. Jazz is all about listening and sharing. I never drowned out one word of whatever Jack was reading or making up on the spot. When I did my spontaneous scatting [...] he would play piano or bongos and he never drowned out or stepped on a word or interrupted a thought that I or anyone else had when they joined us in these late night-early morning get-togethers. We had mutual respect for one another, and anyone who joined us received the same respect. We almost never used a microphone. Most of the time, there weren't any available!"

Lawrence Ferlinghetti had a similar collaboration with saxophone player Stan Getz. Beat poet Bob Kaufman was said by some to be the greatest jazz poet ever to have lived, with the exception of Langston Hughes. Kaufman paid homage to jazz in poems such as "O Jazz O" and "Morning Joy." His work is notable for its syncopated rhythms, surreal imagery, and a quality of alienation stemming from his own life as a drifter and a jailbird.

The New York poet Kenneth Koch collaborated with the painter Larry Rivers, who had worked as a jazz saxophonist, on poetry and jazz. Koch wrote later of the experience: "Last year Larry Rivers and I tried to kill poetry-and-jazz by parodying it; our first session at the Five Spot, however, turned out to be so enjoyable (for us, at least) that we repeated the experience several times. I don't think we killed it."

In the 1960s, Beat poet LeRoi Jones renamed himself Amiri Baraka and revived the idea of jazz poetry as a source of black pride. He collaborated on recordings with David Murray, such as "Evidence" on Murray's Fo Deuk Revue (1996). Baraka was a cultural nationalist who believed that "Black People are a race, a culture, a Nation". Elements of jazz show up often in Baraka's work, such as syncopation and repetition of phrases. Gil Scott-Heron, often seen as one of the founding fathers of rap music, also used many of the artistic devices of jazz poetry in his spoken-word albums of the 1970s and 1980s.

title: Jazz poetry


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Religious education in primary and secondary education

Religious education is the term given to education concerned with religion. It may refer to education provided by a church or religious organization, for instruction in doctrine and faith, or for education in various aspects of religion, but without explicitly religious or moral aims, e.g. in a school or college. The term is often known as religious studies.

Egypt gives the choice of studying either Christianity or Islam at public and private schools

England
Religious Education (RE) is a compulsory subject in the state education system in England, despite it not being part of the national curriculum. Schools are required to teach a programme of religious studies according to local and national guidelines.

Religious education in England is mandated by the Education Act 1944 as amended by the Education Reform Act 1988 and the School Standards and Framework Act 1998. The provision of religious education is compulsory in all state-funded schools, but it is not compulsory for any children to take the subject. The subject consists of the study of different religions, religious leaders, and other religious and moral themes. The syllabus is agreed locally by a Standing Advisory Council on Religious Education, and it may reflect the predominant place of Christianity in religious life, but also it might give an equal platform to all of the major world religions. All parents have the right to withdraw a child from religious education, which schools must approve.

Additionally, all schools are required by law to provide a daily act of collective worship, of which at least 51% must be Christian in basis over the course of the academic year. This is separate and unrelated to RE lessons. Sarah Smalley, the chair of the Association of Religious Education Inspectors, Advisors and Consultants, stated that some "schools did have problems fulfilling the requirement for worship" due to what they thought was "a lack of space to gather the entire school for worship," although Smalley noted that "there is actually no requirement for such a gathering, as smaller groups are allowed." The National Union of Teachers suggested in 2008 that parents should have a right to have specific schooling in their own faith and that imams, rabbis and priests should be invited to offer religious instruction to pupils in all state schools.

Each government jurisdiction in England has a Local Agreed Syllabus which serves as a mandate for the scope and sequence of subject teaching for each Key Stage, and possibly for each school year; use of the syllabi is only mandated for certain types of schools, such as Voluntary Controlled schools. Voluntary Aided and independent schools are free to outline their own course of study; the schools most likely to actually use the syllabi maintained schools and Voluntary Aided nondenominational schools. The Qualifications and Curriculum Authority has also produced the non-statutory National Framework for Religious Education, which provides guidelines for the provision of RE at all key stages, and models the eight-levels as applied in National Curriculum subjects.

France
In France, RE is replaced by a non-religious moral teaching (called civic and moral education: éducation civique et morale, EMC). Children can additionally receive, on a voluntary basis, a religious education, either at school in private religious school, or outside of school, in their religious community, if they are in a public (State) school. Although in some rare regions, namely Alsace-Moselle, the old Concordat of 1801 being still valid because of the German occupation at the time of the separation of Church and State in France and the strong stand of population in favour of this, religious education is compulsory, and a dispensation is necessary if the child refuses to be following (Catholic or Protestant) religious education.

Ireland
In Ireland, religion is taught in a subject called Religious Education which is compulsory in many schools for the Junior Certificate, but available as an option for the Leaving Certificate. The course educates students about communities of faith, the foundations of the major world religions, the sacred texts, religious practices and festivals for Muslims, Jews, Hindus, Buddhists and Christians. Students also learn about religious change in Ireland, meaning in life, religious and non-religious responses to the search for meaning, atheism, agnosticism and other forms of belief. Students are also educated about morality in a number of different faiths and their moral codes.

Israel
Israeli schools are divided into four different tracks: state-secular (Mamlachti), state-religious (Mamlachti dati), independent religious (חרדי Haredi or חינוך עצמאי Ḥinuch Atzmai), and Arab.

All Jewish students, regardless of religious affiliation, must pass bible classes to get a Bagrut certificate. Muslims, Christians, and the Druze are tested on their religion instead.

The majority of Israeli children attend state schools. The state-secular schools teach bible and Oral Torah. The state-secular bible classes also teach Biblical criticism. State-religious schools, catering to youngsters from the Orthodox sector (mainly Religious Zionist/Modern Orthodox), offer intensive Jewish studies programs, and emphasize tradition and observance. The Chinuch Atzmai schools focus almost entirely on Torah study and offer very little in terms of secular subjects. Secular subjecs are mostly taught only at young ages. On middle and high school level, only religion is taught.

Japan
There is no state-mandated RE curriculum in Japan. In place of RE, there is a short but nonetheless compulsory subject called "Ethics" in primary school, where the purpose is to teach moral values rather than to teach ethics as an academic subject. However, despite the stated secular stance, references to the majority religions of Shinto and Buddhism are sometimes made in class texts.

Lebanon
Being a confessionalist country, with no state religion, Lebanon is expected to have a neutral position regarding religious education in its schools, which is not the case in the country, as well as many European and American countries. Lebanon doesn't have a law concerning RE in its educational establishments. Schools have the right to either give RE classes, or do the opposite. Religious classes are not obligatory, nor banned, and they are not replaced by "ethics" classes.

Private schools (Christian and Muslim) give mandatory religious classes, reflecting their religious identification. Students from other religions don't take any classes during the religious ones, but they always can sign up for the RE class. Catholic schools give only Catholic classes, mandatory for Christian students, but can be signed up for by Muslim students. If not, Muslims do not take any classes in parallel to Christian ones. Public schools have a somewhat more liberal religious program. A Lebanese public school may give or not give RE classes which regard the predominant religion of the population in the area the school is located in. Students are required to take these classes, whether they are Christian or Muslim. A public school located in a mixed area would prefer not to give RE classes, unless voted otherwise by locals. RE classes may be both Christian and Muslim at the same time in this case, and students divide when this happens.

Malaysia
The Malaysian education system makes Moral Studies compulsory for non-Muslim students at secondary and primary schools. Muslim students instead partake in Islamic Studies lessons. There are special religious classes (Kelas Aliran Agama) in normal schools in addition to government-funded religious schools (Sekolah Menengah Kebangsaan Agama) and (Sekolah Agama Bantuan Kerajaan). Both subjects figure among the seven compulsory subjects undertaken by students for the Sijil Pelajaran Malaysia. There has been considerable debate about the usefulness of the "Moral" subject, primarily due to the strict exam-oriented marking schemes.

Norway
, Article 2 of the Constitution of Norway mandates Evangelical-Lutheran parents to provide a religious upbringing for their children. With the revision of the Constitution in 2012, this mandate was removed. In the education system, religious education is found in a subject now labeled KRLE (Christianity, religion and ethical education). A minimum of 50% of the subject should be on Christianity, yet preaching has been disapproved since 1969.

Scotland
In Scottish state schools, religious education is called "Religious and Moral Education" from ages 5 to 14, and "Religious, Moral and Philosophical Studies" from 14 to 18.

The majority of state schools in are non-denominational, but as a result of the Education Act 1918, separate denominational state schools were also established. The vast majority of denominational state schools are Roman Catholic. The school buildings built and maintained by the Roman Catholic Church were handed over to the state under the Education Act. Since then, the Catholic schools are fully funded by the Scottish Government and administered by the Education and Lifelong Learning Directorate. As part of the deal, there are specific legal provisions to ensure the promotion of a Catholic ethos in such schools: applicants for positions in the areas of Religious Education, Guidance or Senior Management must be approved by the Roman Catholic Church in Scotland, which also appoints a chaplain to each of its schools.

There are also a number of Scottish Episcopal schools, and one Jewish state primary school.

South Africa
The South African National Policy on Religion and Education adopted in September 2003 provides for religion education, i.e. education about diverse religions, which does not promote any particular religion in the public school curriculum. The policy does not apply to private schools.

Middle East
The majority of Middle Eastern countries provide compulsory religious studies in both private and public schools. The religious studies in private schools can be based on the religious beliefs of the student and can be complied with by the school.


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RMS Trent

RMS Trent was a British Royal Mail paddle steamer built in 1841 by William Pitcher of Northfleet for the Royal Mail Steam Packet Company. She measured 1,856 gross tons and could carry 60 passengers. She was one of four ships constructed at Blackwall, all named after some of the principal rivers of England. The others were the Thames, Medway and Isis.

Commander Edward C. Miller R.N. was appointed to take out the mails from Southampton on 1 March 1842.

Trent served the transatlantic passenger route until she was requisitioned by the British government on the outbreak of the Crimean War in 1854 for use as a troopship. She returned to her former civilian service in 1856.

Her interception by USS San Jacinto (1850) during the American Civil War in November 1861 provoked the Trent Affair, also known as the Mason and Slidell Affair, which almost led to war between the United Kingdom and the United States.

Trent continued in service until 1865, when she was sold and subsequently scrapped.

title: RMS Trent


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File:Greyhawk Book.jpg

Licensing
This image is of a book cover

title: File:Greyhawk Book.jpg